| Audio Mixing Boot Camp Alfred Publishing
(Hands-On Basic Training for Musicians). Composed by Bobby Owsinski. Book; Books...(+)
(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
$29.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Contemporary Anthology of Solo Guitar Music Guitar Classical guitar [Sheet music] - Intermediate Mel Bay
By Charles Postlewate. For Guitar (Classical). Solos. Classic. Intermediate-Adva...(+)
By Charles Postlewate. For Guitar (Classical). Solos. Classic. Intermediate-Advanced. Book. 158 pages. Published by Mel Bay Publications, Inc
$24.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Blast Beats Evolved Drums [DVD] Hudson Music
Instructional/Drum/DVD. Instruction, Technique. DVD. Hudson Music #HDDVDDR21. Pu...(+)
Instructional/Drum/DVD. Instruction, Technique. DVD. Hudson Music #HDDVDDR21. Published by Hudson Music
$29.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Ultimate Progressive Drumming Drums [Sheet music + Audio access] Hudson Music
Percussion. Instruction. Softcover Video Online. Hudson Music #HDBK50. Publis...(+)
Percussion. Instruction.
Softcover Video Online.
Hudson Music #HDBK50.
Published by Hudson Music
$19.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| 45 Exercices De Mise En Place - Pour Batterie Percussion Ensemble [Sheet music + CD] Salabert
Percussion Ensemble SKU: BT.SLB-00261200 Composed by Pierre Pinto. Method...(+)
Percussion Ensemble SKU: BT.SLB-00261200 Composed by Pierre Pinto. Method. Book with CD. Composed 2002. 68 pages. Editions Salabert #SLB 00261200. Published by Editions Salabert (BT.SLB-00261200). French. 45 Exercices de mise en place, de la ronde la double croche dans les mesures simples 2/4, 3/4 et 4/4.Enfin une méthode qui traite du problème majeur des musiciens amateurs : la mise en place rythmique. Pierre Pinto et Alex Védère, musiciens professionnels, ont conçu dans cette optique 45 exercices progressifs accompagnés d’un compact disc (1 heure d'enregistrement). Gr ce au système de balance, il vous sera possible de jouer en supprimant l'instrument concerné, ou alors d'écouter le trio original. Cette méthode s'adresse plus particulièrement aux batteurs, aux guitaristes et aux bassistes possédant des bases de solfège rythmique et de lecture en clés de sol et defa. Le but de cet ouvrage est de développer une même façon de concevoir la mise en place rythmique entre les instrumentistes. Vous trouverez dans cette méthode des exercices composés, arrangés et agencés de manière progressive et attrayante (les explications et la méthode de travail suivre précèdent chaque chapitre). Le recueil pour le guitariste est édité sous la référence SLB 00261400. Le recueil pour le bassiste est édité sous la référence SLB 00261300. L'enregistrement spécifique chacun des instruments comporte les 45 exemples traités dans l'ouvrage, il devrait apporter une aide précieuse pour mener bien l'étude de cette méthode. $42.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| 45 Exercices De Mise En Place - Pour Guitare Guitar [Sheet music + CD] Salabert
Guitar or Lute SKU: BT.SLB-00261400 Composed by Pierre Pinto. Book with C...(+)
Guitar or Lute SKU: BT.SLB-00261400 Composed by Pierre Pinto. Book with CD. Composed 2002. 88 pages. Editions Salabert #SLB 00261400. Published by Editions Salabert (BT.SLB-00261400). 45 Exercices de mise en place, de la ronde la double croche dans les mesures simples 2/4, 3/4 et 4/4.Enfin une méthode qui traite du problème majeur des musiciens amateurs : la mise en place rythmique. Pierre Pinto et Alex Védère, musiciens professionnels, ont conçu dans cette optique 45 exercices progressifs accompagnés d’un compact disc (1 heure d'enregistrement). Gr ce au système de balance, il vous sera possible de jouer en supprimant l'instrument concerné, ou alors d'écouter le trio original.Cette méthode s'adresse plus particulièrement aux guitaristes et aux bassistes (possédant des bases de solfège rythmique et de lecture en clés de sol et de fa), ainsiqu’aux batteurs. Le but de cet ouvrage est de développer une même façon de concevoir la mise en place rythmique entre les instrumentistes. Vous trouverez dans cette méthode des exercices composés, arrangés et agencés de manière progressive et attrayante (les explications et la méthode de travail suivre précèdent chaque chapitre). Le recueil pour le batteur est édité sous la référence SLB 00261200. Le recueil pour le bassiste est édité sous la référence SLB 00261300. L'enregistrement spécifique chacun des instruments comporte les 45 exemples traités dans l'ouvrage, il devrait apporter une aide précieuse pour mener bien l'étude de cette méthode. $42.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| 45 Exercices De Mise En Place - Pour Guitare Basse Guitar [Sheet music + CD] Salabert
Guitar or Lute SKU: BT.SLB-00261300 Composed by Pierre Pinto. Book with C...(+)
Guitar or Lute SKU: BT.SLB-00261300 Composed by Pierre Pinto. Book with CD. Composed 2002. Editions Salabert #SLB 00261300. Published by Editions Salabert (BT.SLB-00261300). 45 Exercices de mise en place, de la ronde la double croche dans les mesures simples 2/4, 3/4 et 4/4.Enfin une méthode qui traite du problème majeur des musiciens amateurs : la mise en place rythmique. Pierre Pinto et Alex Védère, musiciens professionnels, ont conçu dans cette optique 45 exercices progressifs accompagnés d’un compact disc (1 heure d'enregistrement). Gr ce au système de balance, il vous sera possible de jouer en supprimant l'instrument concerné, ou alors d'écouter le trio original. Cette méthode s'adresse plus particulièrement aux batteurs, aux guitaristes et aux bassistes possédant des bases de solfège rythmique et de lecture en clés de sol et defa. Le but de cet ouvrage est de développer une même façon de concevoir la mise en place rythmique entre les instrumentistes. Vous trouverez dans cette méthode des exercices composés, arrangés et agencés de manière progressive et attrayante (les explications et la méthode de travail suivre précèdent chaque chapitre). Le recueil pour le batteur est édité sous la référence SLB 00261200. Le recueil pour le guitariste est édité sous la référence SLB 00261400. L'enregistrement spécifique chacun des instruments comporte les 45 exemples traités dans l'ouvrage, il devrait apporter une aide précieuse pour mener bien l'étude de cette méthode. $36.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| French Art Songs: The Ultimate Collection (Version 2.0)
Voice solo [CD Sheet Music] Subito Music
By French. For Vocal. (Voice). CD Sheet Music (Version 2.0). PDF file on CD. 370...(+)
By French. For Vocal. (Voice). CD Sheet Music (Version 2.0). PDF file on CD. 3700 pages. Published by Subito Music.
(4)$28.95 - See more - Buy onlinePre-shipment lead time: 3 to 5 business days | | |
| George Kollias - Intense Metal Drumming II Drums [DVD] Hudson Music
(Two-Disc Set). By George Kollias. For Drum. DVD. DVD. Hudson Music #HDDVDGO21. ...(+)
(Two-Disc Set). By George Kollias. For Drum. DVD. DVD. Hudson Music #HDDVDGO21. Published by Hudson Music
$29.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Where the Heavens Meet Earth Concert band - Easy Alfred Publishing
Concert Band - Grade 2.5 SKU: AP.49110 Composed by Jeremy Bell. Concert B...(+)
Concert Band - Grade 2.5 SKU: AP.49110 Composed by Jeremy Bell. Concert Band; MakeMusic Cloud; Performance Music Ensemble. Young Symphonic. Form: Chorale. Folk. Score and Part(s). 144 pages. Duration 3:30. Alfred Music #00-49110. Published by Alfred Music (AP.49110). ISBN 9781470646301. UPC: 038081564661. English. Where the Heavens Meet Earth is a beautiful, lyrical work for young band. Featuring flowing melodic lines and a beautiful four-note motive that transfers throughout the ensemble, the piece is a perfect mid-program work to feature the colors of the different instrumental sections, permitting opportunities to teach about blend and balance within the group. This original Jeremy Bell piece was inspired by the picturesque salt flats in Bolivia called Salar de Uyuni. Located in the Southwest near the Andes, the flats were formed by the transformations of several prehistoric lakes. With variations in elevation that average around a meter, the extreme flatness following a rain turns the 80-mile landscape into the world's largest mirror, reflecting the sky above. (3:30). $65.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Lip Slurs for Horn French horn GIA Publications
A Progressive Method of Flexibility Exercises. Composed by Howard Hilliard. ...(+)
A Progressive Method of
Flexibility Exercises.
Composed by Howard Hilliard.
Music Education. 48 pages.
GIA Publications #317237.
Published by GIA Publications
$14.95 - 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 | | |
| Where the Heavens Meet Earth Concert band - Easy Alfred Publishing
Concert Band - Grade 2.5 SKU: AP.49110S Composed by Jeremy Bell. Concert ...(+)
Concert Band - Grade 2.5 SKU: AP.49110S Composed by Jeremy Bell. Concert Band; Performance Music Ensemble. Young Symphonic. Form: Chorale. Folk. Score. 20 pages. Duration 3:30. Alfred Music #00-49110S. Published by Alfred Music (AP.49110S). ISBN 9781470646318. UPC: 038081564678. English. Where the Heavens Meet Earth is a beautiful, lyrical work for young band. Featuring flowing melodic lines and a beautiful four-note motive that transfers throughout the ensemble, the piece is a perfect mid-program work to feature the colors of the different instrumental sections, permitting opportunities to teach about blend and balance within the group. This original Jeremy Bell piece was inspired by the picturesque salt flats in Bolivia called Salar de Uyuni. Located in the Southwest near the Andes, the flats were formed by the transformations of several prehistoric lakes. With variations in elevation that average around a meter, the extreme flatness following a rain turns the 80-mile landscape into the world's largest mirror, reflecting the sky above. (3:30). $8.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Radius Ring Modulator/Frequency Shifter Pedal Red Panda
SKU: HL.1341904 Red Panda. Guitar Pedal. Red Panda #RPL-109. Published by...(+)
SKU: HL.1341904 Red Panda. Guitar Pedal. Red Panda #RPL-109. Published by Red Panda (HL.1341904). UPC: 665760908494. 3.5x5.0x3.0 inches. Radius goes far beyond traditional ring modulation. With precise control over the balance and frequency ratios of both sidebands, you'll have more advanced control than with any ring mod that has come before. Organic, complex harmonic structures, bell-like tones, metallic textures, frequency shifting, soft tremolo, and bubbly phaser sounds are all on tap. Pitch tracking, a push-to-tune footswitch, and picking dynamics make it responsive and predictable in concert. In the studio, Radius has well-spaced controls for tabletop use and a full MIDI implementation for DAW integration. The 24-bit 96 kHz codec, audiophile op amps and stereo input/output make it equally at home in the studio or control room. Radius is a musical ring modulator and frequency shifter that lets you modfy the timbre of your instrument in new ways. With a multi-waveform LFO, step modulator, and MIDI-playable carrier oscillator, Radius modernizes classic electronic techniques for the future. Features: • Stereo ring modulator and frequency shifter • Continuous mix between ring modulation and frequency shifting • Selectable 2X frequency ratios for upper and lower sidebands • Frequency shifting with feedback • Three carrier frequency ranges (low, high, quantized) • Carrier frequency pitch tracking (monophonic, +/- 100%) • Pust-to-tone carrier oscillator • MIDI-playable carrier oscillator • Multi-waveform LFO (triangle, square, random, intelligent random, X mod +/-) • Step modulator (1-8 steps), programmable via front panel • Tap tempo and MIDI clock sync • Envelope follower • Envelope-triggered LFO (one-shot ramp, pulse, random, step mod) • Configurable AUX switch (tap, tune, preset, LFO) • USB and TRS MIDI • Full MIDI implementation • 96 kHz sampling rate • Web editor with preset upload/download • User-installable firmware updates (USB) Designed and assembled in USA. Requires a 9V DC 250 mA power supply (not included). $349.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Variations on "America" Piano solo Theodore Presser Co.
Chamber Music Piano SKU: PR.110418370 Composed by Charles Ives. Arranged ...(+)
Chamber Music Piano SKU: PR.110418370 Composed by Charles Ives. Arranged by Danny Holt. Performance Score. 20 pages. Duration 8 minutes. Theodore Presser Company #110-41837. Published by Theodore Presser Company (PR.110418370). ISBN 9781491135075. UPC: 680160686247. Composed as an organ solo by the 17-year-old Ives for his own performance purposes, the beloved Variations on America is a treat for any occasion, whether a holiday concert, a serious recital, or other special event. Danny Holt’s transcription for Piano, Four Hands adds a dazzling new option to play at home or on stage, taking best advantage of Ives’ tremendous contrasts in color, dynamics, and texture. Composed when Charles Ives was a teenager, Variations on “America†is both a convenient introduction to Ives’ body of work, and an early example of his iconoclastic musical voice and creative genius. Just a few years after composing this piece, Ives would leave home to study music at Yale. But until then he had been taught by his father, George (who had been a bandmaster in the Civil War). George subjected the young Ives to experiments such as singing a song in one key while being accompanied in another, or arranging for two marching bands to converge on a town center, with the resulting cacophony that ensued.The Variations exemplifies an early period of experimentation in Ives’ work, spurred on by the unusual pedagogy of his father. The piece is particularly notable for its use of bitonality in the two interludes, subtly foreshadowing more well-known examples by Stravinsky, Bartók, and others by approximately two decades.The bitonal interludes were so ahead of their time, in fact, they were omitted from the first copy that was submitted to a publisher in 1892. (Alas, the piece was rejected even despite these “shocking†elements having been left out, and it wasn’t published until more than five decades later.) There is some ambiguity about when exactly Ives added the interludes into his manuscript copy, though ample evidence suggests he had performed the piece with the interludes around the time he notated the piece in 1891-92. In any case, in light of this piece and his other polytonal explorations from the last decade of the 19th century, it seems fair to give Ives credit for being a pioneer in this area!This arrangement for Piano, Four Hands, closely follows Ives’ original version for organ, setting aside William Schuman’s popular adaptation for symphony orchestra and William Rhoads’ band transcription of the Schuman orchestration. Pianists will find that the piece translates well to the instrument. Ideally, the choreography and logistics of elbow-to-elbow four-hands playing approximates the wild joy one gets from watching an organist play the piece (e.g., the elaborate pedal part in the final variation).In preparing this publication, attention was paid to details in the dual Critical Editions (Presser 443-41003) of both Ives’ manuscript edition and the 1949 publication edited by organist E. Power Biggs (who is credited with discovering what had been a long-lost, forgotten work.) But as with much of Ives’ output, attempting to create a true ‘urtext’ score is a futile endeavor, and especially with a piece such as this one – in which Ives incorporated improvisation in live performance – seems unnecessary anyhow. True die-hards are of course encouraged to consult the critical editions and even find inspiration in the orchestrated version. Generally, performers are advised to be wild, have fun, and not to be too rigid in their interpretive choices.Dynamics in this arrangement mostly follow the organ score closely. Pianists will use good judgment about pedaling throughout, which should be straightforward and intuitive. Courtesy accidentals have been provided frequently – without parentheses – balancing the need for extra clarity in the context of Ives’ murky musical language, and a desire to avoid unnecessary clutter.A few notes that might inform interpretive decisions:mm. 15-16: There are inconsistencies here between Ives’ original manuscript and the 1949 Biggs edition, regarding the top voice in m. 15, beat 3 (C# vs. Cn) and m. 16 (D Major vs. D Minor).mm. 76-84 & 143-146: In both Interludes, Ives emphatically notates extreme dynamic contrast, in order to highlight the bitonality. Although it may seem counterintuitive (or even a misprint, as has apparently been misconstrued by some), performers are urged to follow the composer’s marking!m. 109: Two-note slurs have been added here for clarity and consistency with other similar passages, though they do not appear in either the original manuscript or Biggs.m. 112: The last two eighth notes of Primo appear as 16ths in the original manuscript.mm. 183-186: The original manuscript has a slightly different bass line.mm. 184 & 186: Primo gestures have been re-written to be slightly more idiomatic for Piano, Four Hands.m. 186: The breath mark at the end of this bar does not appear in either the manuscript or Biggs, but is an editorial suggestion – aside from being appropriately dramatic, it will indeed be necessary in a reverberant hall!I would like to thank Steven Vanhauwaert, the other half of my piano duo, 4handsLA, for his input on early drafts of this arrangement.— Danny Holt, April 2022. $24.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Habañera Concert band - Intermediate C.L. Barnhouse
Concert band - Grade 3 SKU: CL.026-4456-01 Aria from Carmen. Arran...(+)
Concert band - Grade 3 SKU: CL.026-4456-01 Aria from Carmen. Arranged by Stanton. Concert Band. Build-A-Band. Extra full score. Composed 2016. Duration 2 minutes, 57 seconds. C.L. Barnhouse #026-4456-01. Published by C.L. Barnhouse (CL.026-4456-01). This classic spicy Spanish theme is an excellent rhythmic contrast piece that is familiar to all. Teaching concepts include chromatic scales, melody vs. accompaniment playing, and extreme dynamics. All players get to play melody. Cues are written throughout for easy adaptation for all size bands. Optional parts for guitar, piano, bass and percussion will round out the sound of your band. Give your students exposure to this great Romantic melody. About Build-A-Band Series The Build-A-Band Series provides educational and enjoyable music for bands with incomplete or unbalanced instrumentation. Written using just four or five parts (plus percussion), these effective arrangements will work with any combination of brass, woodwind, string and percussion instruments as long as you distribute the parts so that each of the five parts is covered. All of the publications in the Build-A-Band Series have been arranged to be playable with any instrumentation as long as each part is used: 1st Part, 2nd Part, 3rd Part, 4th Part, and Bass Part. (Please note: In some of these arrangements the 4th Part, and the Bass Part are the same, making it possible to play those arrangements with only 4 parts.) $8.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Fantasia on the Dargason (from Second Suite in F, Mvt. IV) Concert band - Intermediate C.L. Barnhouse
Concert band - Grade 3 SKU: CL.026-4223-01 Arranged by Stanton. Concert B...(+)
Concert band - Grade 3 SKU: CL.026-4223-01 Arranged by Stanton. Concert Band. Build-A-Band. Extra full score. Composed 2013. Duration 2 minutes, 40 seconds. C.L. Barnhouse #026-4223-01. Published by C.L. Barnhouse (CL.026-4223-01). Scott Stanton's arrangement of this classic Gustav Holst band composition now makes Holst's entire Second Suite in F available in the Build-A-Band format. Playable with any instrumentation as long as you have the four main parts covered by the instrument of your choice, the arrangement includes optional piano, guitar, mallet percussion and percussion parts. Now bands with extreme instrumentation problems or groups of very small size can experience performing this staple of the concert band repertoire. A true classic! About Build-A-Band Series The Build-A-Band Series provides educational and enjoyable music for bands with incomplete or unbalanced instrumentation. Written using just four or five parts (plus percussion), these effective arrangements will work with any combination of brass, woodwind, string and percussion instruments as long as you distribute the parts so that each of the five parts is covered. All of the publications in the Build-A-Band Series have been arranged to be playable with any instrumentation as long as each part is used: 1st Part, 2nd Part, 3rd Part, 4th Part, and Bass Part. (Please note: In some of these arrangements the 4th Part, and the Bass Part are the same, making it possible to play those arrangements with only 4 parts.) $10.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Piano Concerto in a minor, Op. 2
Piano; Piano Accompaniment (Piano For 2 Players) SKU: HL.48025439 For ...(+)
Piano; Piano Accompaniment (Piano For 2 Players) SKU: HL.48025439 For Piano and Piano Reduction (from Orchestra). Composed by Leokadiya Kashperova. BH Piano. Classical, Concerto. Softcover. Duration 2040 seconds. Boosey & Hawkes #M060142031. Published by Boosey & Hawkes (HL.48025439). ISBN 9781784549077. UPC: 196288216384. Leokadiya Kashperova (1872–1940), hitherto consigned to a footnote in musical history as Stravinsky's piano teacher, is undergoing rediscovery. A double graduate of the St Petersburg Conservatoire, she emerged as a virtuoso pianist and composer in the romantic tradition. She was associated with some of the great musicians of her day, including Balakirev and Auer. She performed in both Germany and the UK in the 1900s, but her career petered out after 1920. The Piano Concerto (1900) is Kashperova's earliest surviving orchestral work, and it was premiered by the composer the following year in Moscow and St Petersburg, bringing her much wider recognition and paving the way for an international career. Cast in three movements and in a Romantic idiom, pianistic virtuosity is often channelled into the pianist's left hand, which is required to negotiate widely-spaced 'extreme' arpeggios – awkwardly angular when adagio, fiendishly technical when molto allegro. Kashperova's orchestral colours are achieved by felicitous solos for the woodwind, horns and brass. Noteworthy, too, are unexpected glimpses of chamber music when, in the last movement for example, the piano combines fleetingly with solo violin and solo cello in passages. The concerto's quick music (Molto allegro and Allegro con anima) admirably portrays the vivacious personality of their composer, described in 1906 as offering those around her 'an abundance of joy, excitement and fun'. The central movement, by contrast, is a tender Adagio which offers the listener a gem of musical poetry. $47.00 - See more - Buy online | | |
| Piano Concerto in A minor Op. 2
Piano SKU: HL.48025440 Piaon Solo Part. Composed by Leokadiya Kash...(+)
Piano SKU: HL.48025440 Piaon Solo Part. Composed by Leokadiya Kashperova. BH Piano. Classical, Concerto. Softcover. Duration 2040 seconds. Boosey & Hawkes #M060142024. Published by Boosey & Hawkes (HL.48025440). ISBN 9781784549060. UPC: 196288216391. Leokadiya Kashperova (1872–1940), hitherto consigned to a footnote in musical history as Stravinsky's piano teacher, is undergoing rediscovery. A double graduate of the St Petersburg Conservatoire, she emerged as a virtuoso pianist and composer in the romantic tradition. She was associated with some of the great musicians of her day, including Balakirev and Auer. She performed in both Germany and the UK in the 1900s, but her career petered out after 1920. The Piano Concerto (1900) is Kashperova's earliest surviving orchestral work, and it was premiered by the composer the following year in Moscow and St Petersburg, bringing her much wider recognition and paving the way for an international career. Cast in three movements and in a Romantic idiom, pianistic virtuosity is often channelled into the pianist's left hand, which is required to negotiate widely-spaced 'extreme' arpeggios – awkwardly angular when adagio, fiendishly technical when molto allegro. Kashperova's orchestral colours are achieved by felicitous solos for the woodwind, horns and brass. Noteworthy, too, are unexpected glimpses of chamber music when, in the last movement for example, the piano combines fleetingly with solo violin and solo cello in passages. The concerto's quick music (Molto allegro and Allegro con anima) admirably portrays the vivacious personality of their composer, described in 1906 as offering those around her 'an abundance of joy, excitement and fun'. The central movement, by contrast, is a tender Adagio which offers the listener a gem of musical poetry. $38.00 - See more - Buy online | | |
| Piano Concerto in a minor, Op. 2 Boosey and Hawkes
Orchestra; Piano (Score) SKU: HL.48025216 Piano and Orchestra Score(+)
Orchestra; Piano (Score) SKU: HL.48025216 Piano and Orchestra Score. Composed by Leokadiya Kashperova. Boosey & Hawkes Scores/Books. Classical. Softcover. 116 pages. Boosey & Hawkes #M060140273. Published by Boosey & Hawkes (HL.48025216). ISBN 9781784548124. UPC: 196288133445. 9.0x12.0x0.371 inches. Leokadiya Kashperova (1872–1940), hitherto consigned to a footnote in musical history as Stravinsky’s piano teacher, is undergoing rediscovery. A double graduate of the St Petersburg Conservatoire, she emerged as a virtuoso pianist and composer in the romantic tradition. She was associated with some of the great musicians of her day, including Balakirev and Auer. She performed in both Germany and the UK in the 1900s, but her career petered out after 1920. The Piano Concerto (1900) is Kashperova's earliest surviving orchestral work, and it was premiered by the composer the following year in Moscow and St Petersburg, bringing her much wider recognition and paving the way for an international career. Cast in three movements and in a Romantic idiom, pianistic virtuosity is often channelled into the pianist’s left hand, which is required to negotiate widely-spaced 'extreme' arpeggios – awkwardly angular when adagio, fiendishly technical when molto allegro. Kashperova's orchestral colours are achieved by felicitous solos for the woodwind, horns and brass. Noteworthy, too, are unexpected glimpses of chamber music when, in the last movement for example, the piano combines fleetingly with solo violin and solo cello in passages. Theconcerto’s quick music (Molto allegro and Allegro con anima) admirably portrays the vivacious personality of their composer, described in 1906 as offering those around her 'an abundance of joy, excitement and fun'. The central movement, by contrast, is a tender Adagio which offers the listener a gem of musical poetry. $65.00 - See more - Buy online | | |
| By Dawn's Early Light Concert band - Intermediate C.L. Barnhouse
Concert band - Grade 3 SKU: CL.026-4227-01 Composed by Shaffer. Concert B...(+)
Concert band - Grade 3 SKU: CL.026-4227-01 Composed by Shaffer. Concert Band. Build-A-Band. Extra full score. Composed 2013. Duration 2 minutes, 7 seconds. C.L. Barnhouse #026-4227-01. Published by C.L. Barnhouse (CL.026-4227-01). A delightful lyrical piece by popular composer David Shaffer that works wonderfully in the Build-A-Band format. Playable as long as you have the four main parts covered by the instruments of your choice. Arrangement includes optional parts for piano, timpani, percussion and mallet percussion. Will sound great with bands with extreme instrumentation issues and very small groups. Extremely nice! About Build-A-Band Series The Build-A-Band Series provides educational and enjoyable music for bands with incomplete or unbalanced instrumentation. Written using just four or five parts (plus percussion), these effective arrangements will work with any combination of brass, woodwind, string and percussion instruments as long as you distribute the parts so that each of the five parts is covered. All of the publications in the Build-A-Band Series have been arranged to be playable with any instrumentation as long as each part is used: 1st Part, 2nd Part, 3rd Part, 4th Part, and Bass Part. (Please note: In some of these arrangements the 4th Part, and the Bass Part are the same, making it possible to play those arrangements with only 4 parts.) $6.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Pumping Nylon (2nd edition) Guitar Classical guitar [Sheet music + DVD] Alfred Publishing
A Classical Guitarist's Technique Handbook. Composed by Scott Tennant. This ...(+)
A Classical Guitarist's
Technique Handbook. Composed
by Scott Tennant. This
edition: 2nd. Book;
Classical Guitar Method or
Supplement; DVD; Digital
Download;
Method/Instruction;
Software. Pumping Nylon
Series. 144 pages. Published
by Alfred Music
$29.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Pumping Nylon Guitar Classical guitar Alfred Publishing
(A Classical Guitarist's Technique Handbook). Composed by Scott Tennant. For Gui...(+)
(A Classical Guitarist's Technique Handbook). Composed by Scott Tennant. For Guitar. This edition: 2nd. Book; Classical Guitar Method or Supplement; Method/Instruction; Other. Pumping Nylon Series. 144 pages. Published by Alfred Music
$21.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Pumping Nylon -- Complete Guitar Classical guitar [Sheet music + Audio access] Alfred Publishing
The Classical Guitarist's Technique Handbook. Composed by Scott Tennant. This ed...(+)
The Classical Guitarist's Technique Handbook. Composed by Scott Tennant. This edition: 2nd. Book; Classical Guitar Method or Supplement; Digital Download; Method/Instruction; Software. Pumping Nylon Series. 272 pages. Published by Alfred Music
$29.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| The Banks of Bonnie Doon String Orchestra [Score and Parts] - Easy Alfred Publishing
Arranged by Dave Black. Orchestra. String Orchestra. Strictly Strings Series. Fo...(+)
Arranged by Dave Black. Orchestra. String Orchestra. Strictly Strings Series. Folk. Grade 2. Conductor Score and Parts. 72 pages
$42.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
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