| Turkish Dance Melodies Advance Music
5 Saxophones SAATBar SKU: AP.1-ADV7544 For SAATBar Saxophone Quintet(+)
5 Saxophones SAATBar SKU: AP.1-ADV7544 For SAATBar Saxophone Quintet. Arranged by Albert Loritz. 5 or More; Solo Small Ensembles; Woodwind - Saxophone Quintet. Advance Music. Traditional. Score and Part(s). Advance Music #01-ADV7544. Published by Advance Music (AP.1-ADV7544). UPC: 805095075441. English. Traditional. Albert Loritz gives the Turkish Dance Melodies an atmospheric oriental feast arranged for saxophone quintet (SAATBar). Features interwoven melodies and sounds of the Bosporus, Black Sea, and mountains of Anatolia. $30.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Here Comes the Lion Guard Choral CD Hal Leonard
Choral (ShowTrax CD) SKU: HL.159367 Arranged by Alan Billingsley. Disney ...(+)
Choral (ShowTrax CD) SKU: HL.159367 Arranged by Alan Billingsley. Disney Choral. CD. Published by Hal Leonard (HL.159367). UPC: 888680617714. 5.0x5.0x0.2 inches. This uplifting song, performed by Beau Black, is the theme from The Lion Guard, the new Disney Channel animated series featuring Kion, son of Simba and Nala. It explores the sounds of the African Savanna, and helps young singers as they learn to work together and make lasting friendships. $26.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Black Cat Crossing - Beginner Kendor Music Inc.
String Orchestra string orchestra (88555) with opt. 3rd Violin/Viola TC 3 and pi...(+)
String Orchestra string orchestra (88555) with opt. 3rd Violin/Viola TC 3 and piano - Grade 1 SKU: KN.8181 Composed by Lorie Gruneisen. Accent String Orchestra. Kendor Music Inc #8181. Published by Kendor Music Inc (KN.8181). UPC: 822795081817. Grade 1 string players will absolutely love the vocalized cat sounds (meow and hissss!) that punctuate this highly imaginative original! Educational features here include playing F-naturals in a minor key, negotiating transitions between pizzicato and arco passages, and observing dynamic changes. Each set includes three copies of the 3rd Violin/Viola T.C. part and an optional part for piano. Duration 1:40. $48.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Paint It, Black Marching band [Score] - Easy Alfred Publishing
Marching Band - Grade 3 SKU: AP.42111S As Recorded by The Rolling Ston...(+)
Marching Band - Grade 3 SKU: AP.42111S As Recorded by The Rolling Stones. By Keith Richards, Mick Jagger, and The Rolling Stones. By Keith Richards and Mick Jagger. Arranged by Roland Barrett. Marching Band; Performance Music Ensemble; Single Titles. Mega Sounds for Marching Band. Rock. Score. 8 pages. Alfred Music #00-42111S. Published by Alfred Music (AP.42111S). ISBN 9781470656058. UPC: 038081470627. English. The Rolling Stones are still going strong! Here is one of their biggest hits in a driving new arrangement by veteran writer Roland Barrett. This is in your face writing that will rock the stands! $8.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Element 4 Open Pore Electric Bass Michael Kelly Guitar Co.
SKU: HL.456816 Transparent Black. Michael Kelly Guitars. Guitars. ...(+)
SKU: HL.456816 Transparent Black. Michael Kelly Guitars. Guitars. Michael Kelly Guitar Co. #MKO4OBKMRC. Published by Michael Kelly Guitar Co. (HL.456816). UPC: 809164026488. 17.0x48.5x4.2 inches. Element 4OP With a blend of style, tone and incredible playability the Element 4OP was designed to be played and enjoyed. The open pore finish preserves the natural acoustic properties of the sungkai body, a tonewood that offers an even tone across all frequencies and loads of sustain. The maple neck and fingerboard provide a tight low end with a solid bite. The 34″ scale length combined with the comfort “C†neck profile and satin finish gives the Element 4OP a smooth and quick playing feel. Created with the most demanding players in mind, the electronics were designed to offer complete sonic flexibility. The Element 4OP is equipped with two Rockfield single coil pickups and paired with a 2-band active preamp for quickly dialing in a wide range of sounds. A push/pull pot bypasses the preamp for a passive vintage tone. From tight low-end punch to sparkling highs, the Element 4OP will quickly become your go to instrument on stage or in the studio. $429.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Celtic Fake Book
Fake Book [Fake Book] Hal Leonard
C Edition. Fake Book (Includes melody line and chords). Size 9x12 inches. 256 pa...(+)
C Edition. Fake Book (Includes melody line and chords). Size 9x12 inches. 256 pages. Published by Hal Leonard.
(2)$29.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Concerto - Piano And Orchestra - Solo Part Schott
Piano and orchestra - difficult SKU: HL.49046544 For piano and orchest...(+)
Piano and orchestra - difficult SKU: HL.49046544 For piano and orchestra. Composed by Gyorgy Ligeti. This edition: Saddle stitching. Sheet music. Edition Schott. Softcover. Composed 1985-1988. Duration 24'. Schott Music #ED23178. Published by Schott Music (HL.49046544). ISBN 9781705122655. UPC: 842819108726. 9.0x12.0x0.224 inches. I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. The markings of the movements are the following: 1. Vivace molto ritmico e preciso 2. Lento e deserto 3. Vivace cantabile 4. Allegro risoluto 5. Presto luminoso.The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale; my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. In the Piano Concerto I realized new concepts of harmony and rhythm. The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time 'rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form; later in the fourth movement it will be considerably developed. The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement; however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly; they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales; in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting; illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated; the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus; indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. (Gyorgy Ligeti). $34.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Coordinate Movement for Pianists GIA Publications
SKU: GI.G-9987 Anatomy, Technique, and Wellness Principles. Compos...(+)
SKU: GI.G-9987 Anatomy, Technique, and Wellness Principles. Composed by Lisa Marsh. Body Mapping. Music Education. 168 pages. GIA Publications #9987. Published by GIA Publications (GI.G-9987). ISBN 9781622773985. Coordinate Movement for Pianists explores the art and science of playing piano from a fundamental yet often overlooked perspective: sound is the result of movement. What movements, then, produce the most desirable sounds at the piano? Drawing from experience in the fields of piano instruction, medicine, and Body Mapping, author Lisa Marsh presents a detailed discussion—complete with anatomical drawings and music examples—about the types of movement that contribute to a healthy, fluid, and versatile piano technique. This resource is divided into three parts. In the first, Marsh establishes several foundational concepts, including the relationship between sound and movement, sensory awareness, and the practice of inclusive awareness. This section also introduces the key anatomical structures involved in playing piano. Part II focuses on the development of a piano technique based on relaxed, efficient, and anatomically accurate movements. Technical skills addressed include: tremolos, trills, leaps, scales, navigating black and white keys, octaves, chords, voicing, articulation, pedaling, fingerings, repeated notes, and tone production, among others. The dozens of music examples included in Part II, excerpted from the standard piano literature, offer an opportunity for pianists to practice healthy movements in context. This section also includes several chapters that offer practical tips for practicing, learning, and memorizing music. Part III rounds out this resource with a thoughtful discussion about musicians’ physical, mental, and emotional wellness. Topics covered include finding community and employment, combating performance anxiety, preventing injury, and rehabilitating after injury. Coordinate Movement for Pianists is a brilliant reminder that healthy movement is the basis for a fulfilling and lifelong enjoyment of piano. Regardless of experience or level, students and teachers alike are certain to gain new inspiration and reap the benefits from applying these ideas to their own craft. Lisa Marsh is Director of the Coordinate Movement Program at Portland State University, where she specializes in wellness for musicians. Her work as an educator, performer, and composer is informed by years of experience in the fields of medicine, piano study, Body Mapping, and Alexander Technique. $34.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Very Young Pianist Listens And Creates, Book 1 Piano solo - Beginner Kjos Music Company
By Jane Bastien. (Very Young Pianist Library). Bastien Piano. Ear Training. Leve...(+)
By Jane Bastien. (Very Young Pianist Library). Bastien Piano. Ear Training. Level: Book A,1. Music Book. Size 232. Published by Neil A. Kjos Music Company.
$5.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| We Are Witnesses - Choral Book Word Music
Moderately Easy SKU: WD.080689619175 Encounters with the Savior...a Mu...(+)
Moderately Easy SKU: WD.080689619175 Encounters with the Savior...a Musical for Easter. Composed by Kenna Turner West. Choral, cantatas. Eastertide. Book. Word Music #080689619175. Published by Word Music (WD.080689619175). UPC: 080689619175. What better way to share Easter Sunday with your choir and congregation than by singing out the testimonies of those who encountered Jesus firsthand? Throughout Jesus’ ministry, people experienced divine appointments with Him that left them amazed and in awe. Presented by the Simply Word Series, this is the retelling of those testimonies in an inspiring new Easter Musical, WE ARE WITNESSES, from Word Music & Church Resources.
The best-selling Simply Word Series is dedicated to constructing musicals perfect for every choir and creating experiences your congregation will never forget. As part of this popular series, WE ARE WITNESSES, arranged and orchestrated by Daniel Semsen, will give your choir over-the-top, dynamic SATB sounds, delivered via accessible vocal part-writing, punctuated and enhanced by the use of brilliant CD Accompaniment Tracks, DVD Accompaniment Tracks, and orchestrations. Created by Kenna Turner West, and featuring new songs co-written with Kenna by esteemed writers such as Tony Wood, Lee Black, Jason Cox, Don Koch and more, WE ARE WITNESSES is sure to be a unique, refreshing, and profoundly meaningful experience for your choir and congregation, as you use these anointed songs and compelling narrative testimonies to share the Gospel of Christ with your community.
God has raised this Jesus to life, and we are all witnesses of it. Acts 2:32 (NIV)
CLICK HERE to learn what's in the Promotional Media Kit! $12.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Pulze Multifunctional Modern Bluetooth Modeling Amplifier Hal Leonard
SKU: HL.1479055 Black. Hotone Pedals. Guitar/Bass Amplifier. Hal L...(+)
SKU: HL.1479055 Black. Hotone Pedals. Guitar/Bass Amplifier. Hal Leonard #AP-30BK. Published by Hal Leonard (HL.1479055). 19.5x10.25x8.5 inches. Pulze is a modern Bluetooth digital modeling amplifier with a minimalist exterior design, suitable for a variety of electric and acoustic instruments. Meticulously designed enclosure and speakers ensure high-quality audio playback performance and professional instrument tones within a portable form factor, faithfully reproducing classic sounds found on records. With a fully touchscreen operation combined with Bluetooth 5.0 module and a companion mobile app, Pulze offers a user-friendly, intelligent operating experience. It integrates recording, live streaming, and more features to inspire and capture your musical creativity at any time. For a long time, Hotone's comprehensive effects, have been acclaimed by many musicians for their excellent sound quality and authentic feel. Hotone's signature CDCM HD and F.I.R.E. digital modeling technology has continually evolved. Now, our experienced team has injected our digital modeling technology into the all-new Pulze Amplifier. With a high-quality dual-core digital processing platform, powerful algorithms can be fully utilized. Pulze strikes a perfect balance between tone and size. With a carefully designed ABS enclosure and a pair of custom 3.5-inch full-range speakers, everything is tailored to provide dynamic, rich, detailed, and exceptional tones during your performances. Typically, tube amplifiers require ample space to unleash their immense volume. However, Pulze delivers outstanding sound performance at any volume level, making it the ideal choice for both practice and home performances. Additionally, the stereo Class D amplifier, combined with 30 watts of output power, allows Pulze to shine in small-scale live venues. “It's a professional instrument amplifier and a portable audio system for enjoying music” -- That's the initial concept behind Pulze's design. Engineered with precision, Pulze not only faithfully reproduces the characteristics of musical instruments but also serves as a stunning stereo speaker. With multiple connectivity options like USB, Bluetooth, and Aux In, Pulze allows you to play high-quality music from your computer and smartphone anytime, anywhere. Its transparent highs and well-defined lows provide a live music experience wherever you are. Building upon true stereo signal processing and audio playback, Pulze incorporates the innovative Space+ stereo enhancement technology. It creates a broader soundstage, more realistic presence, and richer sound depth, whether you're playing or listening to music. Pulze surrounds you with an immersive listening experience. A wealth of tones 46 amps simulations 48 cabs simulations 60+ classic effects simulations 20 user IR slots with 5 built-in Celestion-authorized classic speaker IRs. $419.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| The Real Book - Volume 2 (C Instruments)
C Instruments [Fake Book] - Intermediate Hal Leonard
By Various Composers. Fake Book (Includes melody line and chords). Size 8.5x11 i...(+)
By Various Composers. Fake Book (Includes melody line and chords). Size 8.5x11 inches. 416 pages. Published by Hal Leonard.
(5)$49.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Real Book - Volume 2 - Mini Edition Fake Book [Fake Book] Hal Leonard
C Instruments. By Various. Fake Book (Includes melody line and chords). Publishe...(+)
C Instruments. By Various. Fake Book (Includes melody line and chords). Published by Hal Leonard.
$44.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Real Book - Volume 2 Bb Instruments [Fake Book] Hal Leonard
B-flat Edition. By Various. Fake Book (Includes melody line and chords). Size 8....(+)
B-flat Edition. By Various. Fake Book (Includes melody line and chords). Size 8.5x11 inches. Published by Hal Leonard.
(1)$49.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Real Book - Volume 2: Second Edition C Instruments [Sheet music + Audio access] Hal Leonard
Book with Play-Along Tracks. Composed by Various. Real Book Play-Along. Softco...(+)
Book with Play-Along Tracks.
Composed by Various. Real
Book Play-Along. Softcover
Audio Online. 440 pages.
Published by Hal Leonard
$75.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Real Book - Volume II - Second Edition CD-ROM Fake Book [CD-ROM] Hal Leonard (C Edition). By Various.
CD ROM SHEET MUSIC.
CD-ROM. Published by Hal
Leonard
$30.99 - See more - Buy onlinePre-shipment lead time: 3 to 5 business days | | |
| The Real Book - Volume 2 Fake Book [Fake Book] Hal Leonard
Eb Instruments. By Various. Fake Book (Includes melody line and chords). Size 9x...(+)
Eb Instruments. By Various. Fake Book (Includes melody line and chords). Size 9x11 inches. Published by Hal Leonard.
$49.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Real Book - Volume 2 Bass Clef Instruments [Fake Book] Hal Leonard
Bass Clef Edition. By Various. Fake Book (Includes melody line and chords). Size...(+)
Bass Clef Edition. By Various. Fake Book (Includes melody line and chords). Size 9x11 inches. Published by Hal Leonard.
$49.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Deep-Sky Objects Chamber Orchestra Boosey and Hawkes
Chamber Ensemble (Full Score) SKU: HL.48024013 For Soprano, Chamber En...(+)
Chamber Ensemble (Full Score) SKU: HL.48024013 For Soprano, Chamber Ensemble, and Electronics. Composed by Sebastian Currier. Boosey & Hawkes Scores/Books. Classical. Softcover. 40 pages. Published by Boosey & Hawkes (HL.48024013). ISBN 9781495090097. UPC: 888680671266. 11x14 inches. Deep-Sky Objects is a cycle of love songs set in the distant future, exploring intergalactic longing and desire. It is scored for soprano, piano quintet, and pre-recorded electronic sounds. When the piano quintet was in its heyday, the subject that permeated so many of the great Romantic song cycles was that of longing and lost love. Deep-Sky Objects transfers this trope to the outer reaches of the universe In the cycle a woman sings of her lover who is far away in a remote planet in some unspecified star system. At moments she remembers a time when they were together, but mostly she longs for him and stoically imagines that his presence, even so remote, gives her hope:
I can live in the world
With your love because
I know you exist
at the end of the black universe
The electronics part often references various “sounds from space,” from pulsars (which are routinely converted into audio signals by astronomers), the signals of made-made satellites, actual audio of the Huygens probe landing on Saturn's moon, Titan, as well as many sounds suggestive of the eerie, remote and unfathomable reaches of deep space. Each of the ten songs is preceded by a short sample, or incipit, which creates micro-compositions based on the title of each song. The text is written specifically for Deep-Sky Objects, by Sarah Manguso.–Sebastian Currier. $65.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Real Book - Volume 3 Fake Book [Fake Book] Hal Leonard
C Instruments. By Various. Fake Book (Includes melody line and chords). Size 9x1...(+)
C Instruments. By Various. Fake Book (Includes melody line and chords). Size 9x11 inches. 464 pages. Published by Hal Leonard.
(4)$49.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Marche fatale Piano solo [Score] Breitkopf & Härtel
Piano SKU: BR.EB-9253 Composed by Helmut Lachenmann. Solo instruments; st...(+)
Piano SKU: BR.EB-9253 Composed by Helmut Lachenmann. Solo instruments; stapled. Edition Breitkopf. World premiere of the orchestral version: Stuttgart, January 1, 2018World premiere of the piano version: Mito, June 17, 2017 Have a look into EB 9283. New music (post-2000). Score. Composed 2016/17/20. 12 pages. Duration 8'. Breitkopf and Haertel #EB 9253. Published by Breitkopf and Haertel (BR.EB-9253). ISBN 9790004185537. 9 x 12 inches. Marche fatale is an incautiously daring escapade that may annoy the fans of my compositions more than my earlier works, many of which have prevailed only after scandals at their world premieres. My Marche fatale has, though, little stylistically to do with my previous compositional path; it presents itself without restraint, if not as a regression, then still as a recourse to those empty phrases to which modern civilization still clings in its daily utility music, whereas music in the 20th and 21st centuries has long since advanced to new, unfamiliar soundscapes and expressive possibilities. The key term is banality. As creators we despise it, we try to avoid it - though we are not safe from the cheap banal even within new aesthetic achievements.Many composers have incidentally accepted the banal. Mozart wrote Ein musikalischer Spass [A Musical Jape], a deliberately amateurishly miscarried sextet. Beethoven's Bagatellen op. 119 were rejected by the publisher on the grounds that few will believe that this minor work is by the famous Beethoven. Mauricio Kagel wrote, tongue in cheek, so to speak, Marsche, um den Sieg zu verfehlen [Marches for being Unvictorious], Ligeti wrote Hungarian Rock; in his Circus Polka Stravinsky quoted and distorted the famous, all too popular Schubert military march, composed at the time for piano duet. I myself do not know, though, whether I ought to rank my Marche fatale alongside these examples: I accept the humor in daily life, the more so as this daily life for some of us is not otherwise to be borne. In music, I mistrust it, considering myself all the closer to the profounder idea of cheerfulness having little to do with humor. However: Isn't a march with its compelling claim to a collectively martial or festive mood absurd, a priori? Is it even music at all? Can one march and at the same time listen? Eventually, I resolved to take the absurd seriously - perhaps bitterly seriously - as a debunking emblem of our civilization that is standing on the brink. The way - seemingly unstoppable - into the black hole of all debilitating demons: that can become serene. My old request of myself and my music-creating surroundings is to write a non-music, whence the familiar concept of music is repeatedly re-defined anew and differently, so that derailed here - perhaps? - in a treacherous way, the concert hall becomes the place of mind-opening adventures instead of a refuge in illusory security. How could that happen? The rest is - thinking.(Helmut Lachenmann, 2017)CD (Version for Piano):Nicolas Hodges CD Wergo WER 7393 2 Bibliography:Ich bin nicht ,,pietistisch verformt. Ein Gesprach [von Jan Brachmann] mit dem Komponisten Helmut Lachenmann, in: FAZ vom 7. Juni 2018, p. 15.
World premiere of the piano version: Mito/Japan, June 17, 2017, World premiere of the orchestral version: Stuttgart, January 1, 2018, World premiere of the ensemble version: Frankfurt, December 9, 2020. $30.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Marche fatale Orchestra [Score] Breitkopf & Härtel
Orchestra SKU: BR.PB-5432 Composed by Helmut Lachenmann. Orchestra; stapl...(+)
Orchestra SKU: BR.PB-5432 Composed by Helmut Lachenmann. Orchestra; stapled. Partitur-Bibliothek (Score Library). World premiere of the orchestral version: Stuttgart, January 1, 2018World premiere of the piano version: Mito, June 17, 2017 Have a look into EB 9283. New music (post-2000). Full score. Composed 2016/17/20. 48 pages. Duration 8'. Breitkopf and Haertel #PB 5432. Published by Breitkopf and Haertel (BR.PB-5432). ISBN 9790004212790. 10 x 12.5 inches. Marche fatale is an incautiously daring escapade that may annoy the fans of my compositions more than my earlier works, many of which have prevailed only after scandals at their world premieres. My Marche fatale has, though, little stylistically to do with my previous compositional path; it presents itself without restraint, if not as a regression, then still as a recourse to those empty phrases to which modern civilization still clings in its daily utility music, whereas music in the 20th and 21st centuries has long since advanced to new, unfamiliar soundscapes and expressive possibilities. The key term is banality. As creators we despise it, we try to avoid it - though we are not safe from the cheap banal even within new aesthetic achievements.Many composers have incidentally accepted the banal. Mozart wrote Ein musikalischer Spass [A Musical Jape], a deliberately amateurishly miscarried sextet. Beethoven's Bagatellen op. 119 were rejected by the publisher on the grounds that few will believe that this minor work is by the famous Beethoven. Mauricio Kagel wrote, tongue in cheek, so to speak, Marsche, um den Sieg zu verfehlen [Marches for being Unvictorious], Ligeti wrote Hungarian Rock; in his Circus Polka Stravinsky quoted and distorted the famous, all too popular Schubert military march, composed at the time for piano duet. I myself do not know, though, whether I ought to rank my Marche fatale alongside these examples: I accept the humor in daily life, the more so as this daily life for some of us is not otherwise to be borne. In music, I mistrust it, considering myself all the closer to the profounder idea of cheerfulness having little to do with humor. However: Isn't a march with its compelling claim to a collectively martial or festive mood absurd, a priori? Is it even music at all? Can one march and at the same time listen? Eventually, I resolved to take the absurd seriously - perhaps bitterly seriously - as a debunking emblem of our civilization that is standing on the brink. The way - seemingly unstoppable - into the black hole of all debilitating demons: that can become serene. My old request of myself and my music-creating surroundings is to write a non-music, whence the familiar concept of music is repeatedly re-defined anew and differently, so that derailed here - perhaps? - in a treacherous way, the concert hall becomes the place of mind-opening adventures instead of a refuge in illusory security. How could that happen? The rest is - thinking.(Helmut Lachenmann, 2017)CD (Version for Piano):Nicolas Hodges CD Wergo WER 7393 2 Bibliography:Ich bin nicht ,,pietistisch verformt. Ein Gesprach [von Jan Brachmann] mit dem Komponisten Helmut Lachenmann, in: FAZ vom 7. Juni 2018, p. 15.
World premiere of the piano version: Mito/Japan, June 17, 2017, World premiere of the orchestral version: Stuttgart, January 1, 2018, World premiere of the ensemble version: Frankfurt, December 9, 2020. $63.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Tales from the Briar Patch: Part 1 - Briar Patch Theodore Presser Co.
Chamber Music Mezzo-soprano voice, Piano, baritone voice, soprano voice, tenor v...(+)
Chamber Music Mezzo-soprano voice, Piano, baritone voice, soprano voice, tenor voice SKU: PR.411411930 Composed by Nkeiru Okoye. Vocal Score. 60 pages. Duration 25 minutes. Theodore Presser Company #411-41193. Published by Theodore Presser Company (PR.411411930). UPC: 680160687589. This rebooted triptych of short operas is family friendly and full of fun, while paying tribute to the African tradition of storytelling for all ages. Sister Sparrow, Sister Robin and Madame Partridge retell the antics of Bre'r Rabbit and his nemesis Bre'r Fox in Briar Patch, The Pot of Sense, and Madame Partridge and her Eggs. Okoye's music blends African American musical styles of jazz, blues, and gospel with contemporary concert music sounds. Combined with Moore's libretto, the result brings to mind a meeting Langston Hughes and Gilbert and Sullivan on steroids, en route to the Black church. A concert version of Briar Patch will be available for full orchestra with five soloists. Libretto by Carman Moore. The music blends African American musical styles of jazz, blues, and gospel with contemporary concert music sounds. Intended for all audiences. NOTE: Each story from the Tales from the Briar Patch is derived from African folk tales. The character Bre'r Rabbit is actually the trickster, Anansi the Spider, of ancient Ghanaian folklore. While many people associate him and his friends with Joel Chandler Harris' Uncle Remus stories, the stories predate Harris and hist stories. The creators updated the language, using all animals to portray the story, with the trio of spirited birds narrating. Producers find that the works rate well with all audiences and are especially useful for community discussions and engagement. This rebooted triptych of short operas is family friendly and full of fun, while paying tribute to the African tradition of storytelling for all ages. Sister Sparrow, Sister Robin and Madame Partridge retell the antics of Bre’r Rabbit and his nemesis Bre’r Fox in “Briar Patch,†“The Pot of Sense,†and “Madame Partridge and her Eggs.†Okoye’s music blends African American musical styles of jazz, blues, and gospel with contemporary concert music sounds. Combined with Moore’s libretto, the result brings to mind a meeting Langston Hughes and Gilbert and Sullivan on steroids, en route to the Black church. A concert version of “Briar Patch†will be available for full orchestra with five soloists. Libretto by Carman Moore. The music blends African American musical styles of jazz, blues, and gospel with contemporary concert music sounds. Intended for all audiences.NOTE: Each story from the Tales from the Briar Patch is derived from African folk tales. The character “Bre’r Rabbit†is actually the trickster, “Anansi the Spider,†of ancient Ghanaian folklore. While many people associate him and his friends with Joel Chandler Harris’ Uncle Remus stories, the stories predate Harris and hist stories. The creators updated the language, using all animals to portray the story, with the trio of spirited birds narrating. Producers find that the works rate well with all audiences and are especially useful for community discussions and engagement. $35.99 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| The Real Book - Enhanced Chords Edition C Instruments [Fake Book] Hal Leonard
Arranged by David Hazeltine. Fake Book. Softcover. 232 pages. Published by Hal...(+)
Arranged by David Hazeltine.
Fake Book. Softcover. 232
pages. Published by Hal
Leonard
$35.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Element 5 Open Pore Electric Bass Michael Kelly Guitar Co.
SKU: HL.456817 Transparent Black. Michael Kelly Guitars. Guitars. ...(+)
SKU: HL.456817 Transparent Black. Michael Kelly Guitars. Guitars. Michael Kelly Guitar Co. #MKO5OBKMRC. Published by Michael Kelly Guitar Co. (HL.456817). UPC: 809164026518. 17.0x48.5x4.2 inches. Element 5OP Designed for the modern bass player, the Element 5OP 5-string bass will immediately become a favorite instrument in your collection - not just for its striking looks but its tone and playability. The Element 5OP's open pore grain finish preserves the natural acoustic properties of the sungkai wood body, resulting in a wider range of sustained frequencies and a stellar low-end. Its 35″ maple neck and fingerboard provide a well-balanced feel and pinpoint articulation even on the low B string. The “C†neck profile features a satin finish for an extremely comfortable feel and easy lateral movement. The Element 5OP offers sonic flexibility without compromising authentic bass tone. For dialing up a broad range of sounds, it's equipped with two Rockfield single coil pickups, matched up with a 2-band EQ & preamp. If more of a vintage flavor is your preference, a push-pull switch bypasses the preamp and puts out a traditional passive tone. Between its gorgeous visuals and pristine low-end punch, the Element 5OP will be your go-to instrument on stage, at practice or in the studio. $429.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Targeting Music Musical Awakening [Sheet music + CD] Schott
Year 3. By Dorothy Taylor, William Mcvicker. Schott. BOOK W/CD. 96 pages. Publis...(+)
Year 3. By Dorothy Taylor, William Mcvicker. Schott. BOOK W/CD. 96 pages. Published by Schott.
$30.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Omni AC Hal Leonard
SKU: HL.301329 Acoustic Simulator Guitar Pedal. Hotone Pedals. Gui...(+)
SKU: HL.301329 Acoustic Simulator Guitar Pedal. Hotone Pedals. Guitar Pedal. Hal Leonard #OMP-5. Published by Hal Leonard (HL.301329). UPC: 888506090059. 5.5x4.25x2.25 inches. Designed for both acoustic and electric instruments, the Hotone Omni AC is a compact, acoustic simulator pedal that delivers realistic acoustic instrument emulations. These exceptionally authentic sounds are the result of new Black-Tek acoustic simulation technology, which is built on Hotone's CDCM (Comprehensive Dynamic Circuit Modeling) architecture. The Omni AC offers 15 high-quality acoustic simulations, including steel and nylon string guitars, mandolin, acoustic fretless acoustic bass, and classic double basses. A detailed 4-band semi-parametric EQ is included to further tailor the sound. An internal voltage boost circuit provides tons of headroom ensuring the input signal will stay clean, regardless of the instrument's output level. A high-contrast OLED screen makes editing and recalling setting easy in high and low light environments. Omni AC has 15 editable presets which can be adjusted on the pedal or managed via free Mac/PC software. The footswitch can be assigned to bypass the effect or mute the signal. A 1/4″ thru jack provides an unprocessed dry signal to other devices or amplifiers. The pedal includes a 1/4″ output, a balanced XLR out to connect to mixers or audio interfaces, an 1/8″ headphone monitor and an 1/8″ stereo aux input making the Omni AC perfect for both live and recording setups. Features include: • Compact, easy-to-use acoustic simulator pedal • Advanced DSP-powered platform ensures high sound quality • 24-bit AD/DA conversion, great dynamic response • Internal voltage boost circuit for exceptional headroom • 15 high-quality acoustic simulations via Hotone's new Black-Tek modeling • Detailed 4-band semi-parametric EQ with 12dB maximum boost and cut • Micro USB jack for updating firmware and loading/managing presets via free Mac/PC software • 1/4″ input and thruput • XLR and 1/4″ outputs • Ground/Lift switch • 1/8″ stereo Aux In for line level devices (unaffected by Omni AC) • 1/8″ headphone output for practicing and jamming • 15 presets • High-contrast OLED screen • Assignable footswitch with LED • 9V DC (center positive) power supply and USB micro cable included. $149.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Requiem Orchestra [Study Score / Miniature] Schott
Soprano, tenor, Knabensoprano, flugelhorn, mixed choir and chamber orchestra (St...(+)
Soprano, tenor, Knabensoprano, flugelhorn, mixed choir and chamber orchestra (Study Score) SKU: HL.49018099 Boy Soprano, Soprano, Tenor, Flugelhorn, Mixed Chorus, and Chamber Orchestra Study Score. Composed by Harald Weiss. This edition: Paperback/Soft Cover. Sheet music. Study Score. Classical. Softcover. Composed 2008/2009. 188 pages. Duration 100'. Schott Music #ED20619. Published by Schott Music (HL.49018099). ISBN 9790001158428. UPC: 884088567347. 8.25x11.75x0.457 inches. Latin - German. On letting go(Concerning the selection of the texts) In the selection of the texts, I have allowed myself to be motivated and inspired by the concept of 'letting go'. This appears to me to be one of the essential aspects of dying, but also of life itself. We humans cling far too strongly to successful achievements, whether they have to do with material or ideal values, or relationships of all kinds. We cannot and do not want to let go, almost as if our life depended on it. As we will have to practise the art of letting go at the latest during our hour of death, perhaps we could already make a start on this while we are still alive. Tagore describes this farewell with very simple but strikingly vivid imagery: 'I will return the key of my door'. I have set this text for tenor solo. Here I imagine, and have correspondingly noted in a certain passage of the score, that the protagonist finds himself as though 'in an ocean' of voices in which he is however not drowning, but immersing himself in complete relaxation. The phenomenon of letting go is described even more simply and tersely in Psalm 90, verse 12: 'So teach us to number our days, that we may apply our hearts unto wisdom'. This cannot be expressed more plainly.I have begun the requiem with a solo boy's voice singing the beginning of this psalm on a single note, the note A. This in effect says it all. The work comes full circle at the culmination with a repeat of the psalm which subsequently leads into a resplendent 'lux aeterna'. The intermediate texts of the Requiem which highlight the phenomenon of letting go in the widest spectrum of colours originate on the one hand from the Latin liturgy of the Messa da Requiem (In Paradisum, Libera me, Requiem aeternam, Mors stupebit) and on the other hand from poems by Joseph von Eichendorff, Hermann Hesse, Rabindranath Tagore and Rainer Maria Rilke.All texts have a distinctive positive element in common and view death as being an organic process within the great system of the universe, for example when Hermann Hesse writes: 'Entreiss dich, Seele, nun der Zeit, entreiss dich deinen Sorgen und mache dich zum Flug bereit in den ersehnten Morgen' ['Tear yourself way , o soul, from time, tear yourself away from your sorrows and prepare yourself to fly away into the long-awaited morning'] and later: 'Und die Seele unbewacht will in freien Flugen schweben, um im Zauberkreis der Nacht tief und tausendfach zu leben' ['And the unfettered soul strives to soar in free flight to live in the magic sphere of the night, deep and thousandfold']. Or Joseph von Eichendorff whose text evokes a distant song in his lines: 'Und meine Seele spannte weit ihre Flugel aus. Flog durch die stillen Lande, als floge sie nach Haus' ['And my soul spread its wings wide. Flew through the still country as if homeward bound.']Here a strong romantically tinged occidental resonance can be detected which is however also accompanied by a universal spirit going far beyond all cultures and religions. In the beginning was the sound Long before any sort of word or meaningful phrase was uttered by vocal chords, sounds, vibrations and tones already existed. This brings us back to the music. Both during my years of study and at subsequent periods, I had been an active participant in the world of contemporary music, both as percussionist and also as conductor and composer. My early scores had a somewhat adventurous appearance, filled with an abundance of small black dots: no rhythm could be too complicated, no register too extreme and no harmony too dissonant. I devoted myself intensely to the handling of different parameters which in serial music coexist in total equality: I also studied aleatory principles and so-called minimal music.I subsequently emigrated and took up residence in Spain from where I embarked on numerous travels over the years to India, Africa and South America. I spent repeated periods during this time as a resident in non-European countries. This meant that the currents of contemporary music swept past me vaguely and at a great distance. What I instead absorbed during this period were other completely new cultures in which I attempted to immerse myself as intensively as possible.I learned foreign languages and came into contact with musicians of all classes and styles who had a different cultural heritage than my own: I was intoxicated with the diversity of artistic potential.Nevertheless, the further I distanced myself from my own Western musical heritage, the more this returned insistently in my consciousness.The scene can be imagined of sitting somewhere in the middle of the Brazilian jungle surrounded by the wailing of Indians and out of the blue being provided with the opportunity to hear Beethoven's late string quartets: this can be a heart-wrenching experience, akin to an identity crisis. This type of experience can also be described as cathartic. Whatever the circumstances, my 'renewed' occupation with the 'old' country would not permit me to return to the point at which I as an audacious young student had maltreated the musical parameters of so-called contemporary music. A completely different approach would be necessary: an extremely careful approach, inching my way gradually back into the Western world: an approach which would welcome tradition back into the fold, attempt to unfurl the petals and gently infuse this tradition with a breath of contemporary life.Although I am aware that I will not unleash a revolution or scandal with this approach, I am nevertheless confident as, with the musical vocabulary of this Requiem, I am travelling in an orbit in which no ballast or complex structures will be transported or intimated: on the contrary, I have attempted to form the message of the texts in music with the naivety of a 'homecomer'. Harald WeissColonia de San PedroMarch 2009. $93.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
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