(Hands-On Basic Training for Musicians). Composed by Bobby Owsinski. Book; Books and DVDs; DVD; Method/Instruction; Pro Audio; Pro Audio Textbook; Reference Textbooks. Boot Camp. 160 pages. Published by Alfred Music

(Melody, Lyrics and Simplified Chords in the Key of C). By Various. For C Instruments. Easy Fake Book. Softcover. 240 pages. Published by Hal Leonard

Easy Guitar with Standard Notation and Tab. By Various. Easy Guitar (Simplified arrangements for guitar). With notes and tablature. Size 9x12 inches. 342 pages. Published by Hal Leonard.

Chamber Music Clarinet, Flute, Guitar, Horn, Viola, Violin, Violoncello

SKU: PR.114420410

Chamber Concerto for Guitar and Ensemble. Composed by George Rochberg. Set of Score and Parts. 30+10+8+10+12+10+10+10 pages. Duration 20 minutes. Theodore Presser Company #114-42041. Published by Theodore Presser Company (PR.114420410).

UPC: 680160687015.

In one of the dedicatory poems to his verse play The Shadowy Waters (1906), William Butler Yeats asks: Is Eden far away...? Do our woods and winds and verponds cover more quiet woods, More shining winds, more star-glimmering ponds? Is Eden out of time and out of space? How do you answer such questions? We have only the vague elusive promptings of our own mysterious, troubled hearts to tell us that the Eden we long for is there, somewhere beyond the physical world which frames our existence, in another realm of different dimensions. And - what is most painful to admit - that it is closed to us in the form in which we live and breathe, even if at times we do have intimations..., Yeats is telling us that this paradise, this Eden we yearn for is here - present even if invisible, palpable even if intangible. In his Second Symphony, Mahler meets an angel who tells him he can't get into heaven, he's locked out. The news is shattering. What follows is an inconsolable sorrowing, the same sorrowing that comes when we wake to the realization that we too are locked out of Eden. Eden is the heaven of our longing and desire for release from pain and suffering. Eden is the image in our restive minds that reflects the reconciled, resolved, quiescent state of soul we hunger for. But Eden eludes -because it is not a place. It is a state of soul which answers none of the illusory, hampering conditions that shape and bind us to the real world of our bodies, our appetites, our passions, and our beliefs. I have turned Yeats' question Is Eden out of time and out of space? into its own answering. However near we may sense its presence at times, Eden remains unreachable, ungraspable, unknowable, unthinkable. It forever eludes us. I wrote this music the way I did to shut out -with quietness and otherworldliness - the clamor and clang of the raucous Garish Day, to turn away its tumult and noise, to negate its stridency and chaos. Perhaps in the cleansing stillness and blessing of this emptied-out state of soul, Eden, through still hidden, may not be so far way; though still unreachable, may be close enough almost to touch.
In one of the dedicatory poems to his verse play “The Shadowy Waters” (1906), William Butler Yeats asks:“Is Eden far away…?Do our woods and windsand verponds cover morequiet woods,More shining winds,more star-glimmeringponds?Is Eden out of timeand out of space?”How do you answer such questions? We have only the vague elusive promptings of our own mysterious, troubled hearts to tell us that the Eden we long for is there, somewhere beyond the physical world which frames our existence, in another realm of different dimensions. And – what is most painful to admit – that it is closed to us in the form in which we live and breathe, even if at times we do have intimations…, Yeats is telling us that this paradise, this Eden we yearn for is here – present even if invisible, palpable even if intangible.In his Second Symphony, Mahler meets an angel who tells him he can’t get into heaven, he’s locked out. The news is shattering. What follows is an inconsolable sorrowing, the same sorrowing that comes when we wake to the realization that we too are locked out of Eden.Eden is the heaven of our longing and desire for release from pain and suffering. Eden is the image in our restive minds that reflects the reconciled, resolved, quiescent state of soul we hunger for. But Eden eludes –because it is not a place. It is a state of soul which answers none of the illusory, hampering conditions that shape and bind us to the real world of our bodies, our appetites, our passions, and our beliefs.I have turned Yeats’ question “Is Eden out of time and out of space?” into its own answering. However near we may sense its presence at times, Eden remains unreachable, ungraspable, unknowable, unthinkable. It forever eludes us.I wrote this music the way I did to shut out –with quietness and otherworldliness – the clamor and clang of the raucous “Garish Day,” to turn away its tumult and noise, to negate its stridency and chaos. Perhaps in the cleansing stillness and blessing of this emptied-out state of soul, Eden, through still hidden, may not be so far way; though still unreachable, may be close enough almost to touch.

Chamber Music Clarinet, Flute, Guitar, Horn, Viola, Violin, Violoncello

SKU: PR.11442041S

Chamber Concerto for Guitar and Ensemble. Composed by George Rochberg. Full score. 30 pages. Duration 20 minutes. Theodore Presser Company #114-42041S. Published by Theodore Presser Company (PR.11442041S).

UPC: 680160687022.

In one of the dedicatory poems to his verse play The Shadowy Waters (1906), William Butler Yeats asks: Is Eden far away...? Do our woods and winds and verponds cover more quiet woods, More shining winds, more star-glimmering ponds? Is Eden out of time and out of space? How do you answer such questions? We have only the vague elusive promptings of our own mysterious, troubled hearts to tell us that the Eden we long for is there, somewhere beyond the physical world which frames our existence, in another realm of different dimensions. And - what is most painful to admit - that it is closed to us in the form in which we live and breathe, even if at times we do have intimations..., Yeats is telling us that this paradise, this Eden we yearn for is here - present even if invisible, palpable even if intangible. In his Second Symphony, Mahler meets an angel who tells him he can't get into heaven, he's locked out. The news is shattering. What follows is an inconsolable sorrowing, the same sorrowing that comes when we wake to the realization that we too are locked out of Eden. Eden is the heaven of our longing and desire for release from pain and suffering. Eden is the image in our restive minds that reflects the reconciled, resolved, quiescent state of soul we hunger for. But Eden eludes -because it is not a place. It is a state of soul which answers none of the illusory, hampering conditions that shape and bind us to the real world of our bodies, our appetites, our passions, and our beliefs. I have turned Yeats' question Is Eden out of time and out of space? into its own answering. However near we may sense its presence at times, Eden remains unreachable, ungraspable, unknowable, unthinkable. It forever eludes us. I wrote this music the way I did to shut out -with quietness and otherworldliness - the clamor and clang of the raucous Garish Day, to turn away its tumult and noise, to negate its stridency and chaos. Perhaps in the cleansing stillness and blessing of this emptied-out state of soul, Eden, through still hidden, may not be so far way; though still unreachable, may be close enough almost to touch.
In one of the dedicatory poems to his verse play “The Shadowy Waters” (1906), William Butler Yeats asks:“Is Eden far away…?Do our woods and windsand verponds cover morequiet woods,More shining winds,more star-glimmeringponds?Is Eden out of timeand out of space?”How do you answer such questions? We have only the vague elusive promptings of our own mysterious, troubled hearts to tell us that the Eden we long for is there, somewhere beyond the physical world which frames our existence, in another realm of different dimensions. And – what is most painful to admit – that it is closed to us in the form in which we live and breathe, even if at times we do have intimations…, Yeats is telling us that this paradise, this Eden we yearn for is here – present even if invisible, palpable even if intangible.In his Second Symphony, Mahler meets an angel who tells him he can’t get into heaven, he’s locked out. The news is shattering. What follows is an inconsolable sorrowing, the same sorrowing that comes when we wake to the realization that we too are locked out of Eden.Eden is the heaven of our longing and desire for release from pain and suffering. Eden is the image in our restive minds that reflects the reconciled, resolved, quiescent state of soul we hunger for. But Eden eludes –because it is not a place. It is a state of soul which answers none of the illusory, hampering conditions that shape and bind us to the real world of our bodies, our appetites, our passions, and our beliefs.I have turned Yeats’ question “Is Eden out of time and out of space?” into its own answering. However near we may sense its presence at times, Eden remains unreachable, ungraspable, unknowable, unthinkable. It forever eludes us.I wrote this music the way I did to shut out –with quietness and otherworldliness – the clamor and clang of the raucous “Garish Day,” to turn away its tumult and noise, to negate its stridency and chaos. Perhaps in the cleansing stillness and blessing of this emptied-out state of soul, Eden, through still hidden, may not be so far way; though still unreachable, may be close enough almost to touch.

The Complete Resource for Every Guitar Player!. By Various. Guitar Collection. Softcover. With notes and tablature. 240 pages. Published by Hal Leonard.

12-String Guitar

SKU: HL.287559

By Various. Guitar Collection. Pop, Standards. Softcover. With guitar tablature. 120 pages. Published by Hal Leonard (HL.287559).

ISBN 9781540043313. UPC: 888680904715. 9.0x12.0x0.299 inches.

This one-of-a-kind collection presents accessible, must-know songs from the Beatles and Bob Dylan to Dave Matthews Band and Tom Petty for those who have been learning 12-string guitar and are eager to put their new skills to work. You'll find a combination of tab, chords and lyrics for 50 great songs, including: California Dreamin' • Carry On • Closer to the Heart • Do You Believe in Magic • Free Fallin' • Give a Little Bit • A Hard Day's Night • Hotel California • Leaving on a Jet Plane • Life by the Drop • Like the Way I Do • Melissa • Mr. Tambourine Man • More Than a Feeling • The One I Love • Over the Hills and Far Away • Solsbury Hill • Space Oddity • Still the Same • Turn! Turn! Turn! (To Everything There Is a Season) • The Waiting • Wish You Were Here • You Wear It Well • and more!

About First 50

You've been taking lessons, you've got a few chords under your belt, and you're ready to buy a songbook. Now what? Hal Leonard has the answers in its First 50 series. The First 50 series steers new players in the right direction. These books contain easy to intermediate arrangements for must-know songs. Each arrangement is simple and streamlined, yet still captures the essence of the tune.

(for Violin). By Various. For Violin. Instrumental Solo. Softcover. 114 pages. Published by Hal Leonard

By Melanie Smith. For Violin. Theory. All. Level: Beginning. Book. Size 8.5x11. 84 pages. Published by Mel Bay Publications, Inc.

Violin and piano - Advanced

SKU: DY.DO-1525

Composed by David Braid. Score and part. Les Editions Doberman-Yppan #DO 1525. Published by Les Editions Doberman-Yppan (DY.DO-1525).

ISBN 9782897963057.

J'aime les formes musicales concises telles que le Prélude et la Fugue, où il y a une idée claire et directe, suivie d'une autre plus complexe et développée.

Conformément à cette idée, cette œuvre se compose de deux pièces distinctes, la première - Transfigured Life - vise à attirer l'auditeur avec son rythme rapide et dansant et sa partie de violon simple et mélodique. Il se «transfigure» via quelques courts intermèdes au piano solo en seulement deux notes alternées pour terminer - qui sont le cœur de l'idée originale, maintenant clarifiée en effaçant tout le reste.

Le deuxième morceau - Still Life - conserve son sentiment de quiétude grâce à une ligne de piano simple qui laisse beaucoup d'espace à la partie contrastée (mais encore une fois simple) du violon. En tant que pièce absolue et non programmatique, le titre fait référence uniquement à la couleur et au rythme atmosphériques ; c'est à l'auditeur de voir la « nature morte » de son choix dans son esprit.

Une note sur les performances :
Malgré ma référence à des lignes « simples » et l'évitement déterminé par l'œuvre des grincements modernistes traditionnels, l'œuvre présente certains défis d'exécution en termes de phrasé et d'ensemble qui nécessitent des compétences et une musicalité considérables. L'œuvre a eu le privilège d'être récemment enregistrée par le violoniste Ezgi Sarıkcıoğlu et la pianiste Rossitza Stoycheva, et est disponible sur toutes les principales plateformes :

https://open.spotify.com/album/6p5YIe17ci0UMuo2RqZgjR
https://music.apple.com/gb/album/transfigured-life-still-life-world-premiere-recording/1738035953
Envoyer des commentaires

Transfigured Life - Still Life, Op. 165 (violin and piano) - David Braid

I am keen on concise musical forms such as Prelude and Fugue, where there is one clear straightforward idea, followed by another that is more involved and developed.

In keeping with that idea, this work consists of two distinct pieces, the first - Transfigured Life - aims to draw in the listener with its quick, dancing rhythm and simple, melodic violin part. It 'transfigures' via a few short solo piano interludes into just two alternating notes to end - which are the core of the original idea, now made clear by clearing everything else out of the way.

The second piece - Still Life - retains its sense of stillness through an uncomplicated piano line that gives lots of space for the violin's contrasting (but again simple) part. As an absolute, not programmatic, piece the title refers to the atmospheric colour and pacing only; it's up to the listener to see 'Still life' of their choosing in their own mind.

A note on performance:
Despite my reference to 'simple' lines, and the work's determined avoidance of mainstream modernist squeak - the work has certain performance challenges of phrasing and ensemble that requires considerable skill and musicianship. The work has had the privilege of being recently recorded by violinist Ezgi Sarıkcıoğlu and pianist Rossitza Stoycheva, and is available on all major platforms:

https://open.spotify.com/album/6p5YIe17ci0UMuo2RqZgjR
https://music.apple.com/gb/album/transfigured-life-still-life-world-premiere-recording/1738035953.

For Guitar. 1-2-3 Fingerstyle Guitar is designed for intermediate to advanced flat-pick players who are ready to throw down that pick for a while to finally get a handle on fingerstyle. That's the secret ingredient of this study program -- its a beginning fingerstyle. DVD. Published by eMedia Music