Saxophone SKU: M7.AHW-4003 14 Simple but Tricky Rhythmic Studies. ...(+)
Saxophone
SKU:
M7.AHW-4003
14
Simple but Tricky
Rhythmic Studies.
Composed by Peter Yellin.
Sheet music. Performance
book. 56 pages. Charles
Colin Corp. #AHW 4003.
Published by Charles
Colin Corp.
(M7.AHW-4003).
English.
The
series starts on an
intermediate easy level
and progresses from
there. This first book
contains simple rhythms
with very few technical
problems on the horn.
This book will hopefully
sharpen the students' eye
to the simple but tricky
rhythms he or she will be
confronted with
throughout their musical
career. Chord changes are
also included on some of
the studies with space
for the student to
improvise if he or she is
so inclined.
Piano. Composed by Robert Schumann and Franz Liszt (1811-1886). Edited by Ann...(+)
Piano. Composed by Robert
Schumann and Franz Liszt
(1811-1886). Edited by
Annette Oppermann. Sheet
music. Henle Music
Folios.
Classical. Single sheet.
Op.
39. G. Henle #HN1204.
Published by G. Henle
For oboe. Composed by Toshio Hosokawa (1955-). Sheet music. Woodwind Solo...(+)
For oboe. Composed
by Toshio Hosokawa
(1955-). Sheet music.
Woodwind Solo. Classical.
Softcover. Composed
2014-2015. 1191. Duration
7'. Schott Music #SJ1191.
Published by Schott Music
(HL.49045466).
Piano / keyboard (KEYB+DISK) - easy to intermediate SKU: HL.49034887 T...(+)
Piano / keyboard
(KEYB+DISK) - easy to
intermediate
SKU:
HL.49034887
The
best of the charts.
Composed by Top. This
edition: Saddle
stitching. Sheet music
with MIDI-floppy disk.
Edition Schott. Edition
with MIDI-Diskette. 60
pages. Schott Music #MF
2034-01. Published by
Schott Music
(HL.49034887).
Piano - easy SKU: HL.49008229 15 Easy Trios. Composed by Leslie Se...(+)
Piano - easy
SKU:
HL.49008229
15
Easy Trios. Composed
by Leslie Searle. This
edition: Saddle
stitching. Sheet music.
Edition Schott.
Classical. 28 pages.
Schott Music #ED 8933.
Published by Schott Music
(HL.49008229).
ISBN
9790001125574. UPC:
884088055554.
9.0x12.0x0.11
inches.
15
Originalkompositionen fur
Keyboard-Ensemble in
breiter stilistischer
Vielfalt. Gut klingend
und leicht spielbar.
Ideal fur
Schuler-Ensemble.
Composed by Edwin Mclean. Sheet Music. The FJH Piano Ensemble Series. Playing sc...(+)
Composed by Edwin Mclean.
Sheet Music. The FJH
Piano Ensemble Series.
Playing score. 11 pages
pages. Published by The
FJH Music Company Inc
(FJ.E1105).
For Viola Solo. Composed by Garth Knox. This edition: Saddle stitching. Sheet mu...(+)
For Viola Solo. Composed
by Garth Knox. This
edition: Saddle
stitching. Sheet music.
String Solo. Special
Import. Composed 2008. 16
pages. Duration 7'.
Schott Music #VAB71.
Published by Schott Music
Additional Material for piano solo. Composed by John Kember. This edition...(+)
Additional Material
for piano solo.
Composed by John Kember.
This edition: Saddle
stitching. Sheet music.
Piano. Educational,
Classical. Softcover.
13635. 84 pages. Schott
Music #ED13635. Published
by Schott Music
(HL.49045007).
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).
Lyrical Flute Encores Flûte traversière et Piano - Intermédiaire Music Distribution Services
Flute and piano - intermediate SKU: M7.APUE-516285 Edited by Karen North....(+)
Flute and piano -
intermediate
SKU:
M7.APUE-516285
Edited
by Karen North. Sheet
music. Score and part.
MDS (Music Distribution
Services) #APUE 516285.
Published by MDS (Music
Distribution Services)
(M7.APUE-516285).
ISBN
9781875516285.
Welc
ome to Lyrical Flute
Encores, the eagerly
anticipated companion
volume to Lyrical Flute
Legends. In this book, we
continue to explore the
rich and diverse world of
contemporary flute music,
with a variety of styles
that will delight
intermediate level flute
players. This collection
of newly commissioned
works showcases the
creativity and innovation
of some of today's most
exciting composers, each
bringing their unique
perspective to the
lyrical and expressive
qualities of the flute.
From haunting melodies to
playful rhythms, the
music in this collection
is sure to inspire and
captivate flutists and
audiences alike. There
are biographies of all
the composers at the end
of the flute part, as
well as notes and helpful
performance suggestions
for the works. Free Flute
and Piano recordings, and
Piano backing tracks for
every piece can be found
on YouTube at
'theyoungfluteplayer' (no
spaces) channel, see the
playlist for Lyrical
Flute Encores.
Piano (NOTEN+CD) - easy SKU: HL.49033131 Der kompakte Rock-Pop-Kurs zu...(+)
Piano (NOTEN+CD) - easy
SKU: HL.49033131
Der kompakte
Rock-Pop-Kurs zu jeder
Klavierschule und fur den
Selbstunterricht..
Composed by Moser. This
edition: Paperback/Soft
Cover. Sheet music with
CD. Edition Schott.
Edition with CD. 88
pages. Schott Music #ED
9503. Published by Schott
Music (HL.49033131).
ISBN 9783795756178.
9.25x12.0x0.279 inches.
German.
Dieses Buch
wurde fur alle
geschrieben, die schon
immer ROCK PIANO spielen
wollten. So wie Elton
John, Bruce Hornsby,
Stevie Wonder oder Alicia
Keys. Alles worauf es bei
dieser Musik ankommt und
worauf man achten muss,
wird hier anhand ganz
leichter Stucke gezeigt
und zusatzlich auf der
beiliegenden CD von
Jurgen Moser vorgespielt.
Die systematischen
Ubungen und die speziell
fur diesen Zweck
komponierten Songs zeigen
jedem, der sein Spiel
weiterentwickeln will, wo
es beim ROCK PIANO lang
geht. Als besonderen
Bonus gibt es auf der CD
auch noch die
Band-Playbacks zu den
Songs. Das macht Spass -
damit kann jeder dann so
richtig abrocken!
Mezzo-soprano voice and harp (Mezzo-Soprano) SKU: HL.49046065 For Mezz...(+)
Mezzo-soprano voice and
harp (Mezzo-Soprano)
SKU: HL.49046065
For Mezzo-Soprano and
Harp. Composed by Han
Lash. Sheet music.
Edition Schott.
Softcover. Composed 2016.
30 pages. Duration 20'.
Schott Music #ED31323.
Published by Schott Music
(HL.49046065).
ISBN
9781540041838. UPC:
888680901370.
9.0x12.0x0.125 inches.
French.
(8 of Her Original Piano Solos). Composed by Carol Matz. For Piano. Book; Graded...(+)
(8 of Her Original Piano
Solos). Composed by Carol
Matz. For Piano. Book;
Graded Standard
Repertoire; Piano
Collection; Piano
Supplemental. Favorite
Solos. Early Elementary;
Elementary. 24 pages.
Published by Alfred Music
Piano Accompaniment;
Violin (Score & Parts) -
difficult
SKU:
HL.49018055
Memorial for the
Columbia Astronauts
Violin and Piano
Reduction. Composed
by Peter Eö, s, and
tvö. This edition:
Saddle stitching. Sheet
music. String. Classical.
Softcover. Composed
2006/2007. 80 pages.
Duration 21'. Schott
Music #ED20258. Published
by Schott Music
(HL.49018055).
ISBN
9790001149044. UPC:
884088556327.
9.0x12.0x0.313
inches.
Eotvos
wrote this piece in
memory of the seven
astronauts who lost their
lives in the Space
Shuttle Columbia tragedy
in 2003. The number 7
determines the musical,
rhythmic and formal
structure of the work: 49
musicians are divided
into seven groups, and as
well as the solo violin
there are six further
violins arranged
correspondingly around
the hall; and the solo
violin itself portrays
each of the astronauts
and their different
origin, from America via
Israel to India, in
folkloristically tinged
cadenzas.'The violin
concerto Seven is a very
personal monologue and
the musical expression of
my sympathy towards the
seven astronauts who lost
their lives while
exploring space in
fulfilment of a
fundamental dream of
mankind.' (Peter
Eotvos)
Guitars solo SKU: BR.EB-9468 Composed by Jose Maria Sanchez-Verdu. Solo i...(+)
Guitars solo
SKU:
BR.EB-9468
Composed
by Jose Maria
Sanchez-Verdu. Solo
instruments; stapled.
Edition Breitkopf. New
music (post-2000). Sheet
Music. Composed 2022. 28
pages. Duration 12'.
Breitkopf and Haertel #EB
9468. Published by
Breitkopf and Haertel
(BR.EB-9468).
ISBN
9790004189481. 9 x 12
inches.
His
triptych for guitar
quartet takes as
inspiration the trilogy
of gods of Memphis in
ancient Egypt. The work
is a poetic journey
through the mythological
landscapes of their world
around 3000 BC. Sakkara
is a plateau south of
Cairo, where an ideal
space for a culture of
the afterlife developed,
through tombs and the
construction of the first
pyramids. To this
contributed the
fundamental role of
Imhotep, the great
architect in the III
Dynasty from the Sakkara
area, who was almost a
god in his time and most
likely responsible for
the stepped pyramid of
Djoser. The trilogy is
formed by the couple Ptah
and Sekhmet, and
Nefertem, their son. Ptah
is the patron of artists,
and at the same time the
god for measuring time.
Sekhmet was the wife and
sister of Ptah, goddess
of war -- related to the
Sun god and associated
with the color red.
Nefertem, son of both,
was the god of fragrance,
of perfume and linked to
the lotus flower, the
symbol of rebirth. The
three movements of this
composition are musical
spaces created on poetic
associations around this
mythical world and in an
area that has always
fascinated me: Sakkara.
The work is commissioned
by the
Aleph-Gitarrenquartett,
which is also its
dedicatee. (Jose M.
Sanchez-Verdu,
2022)
World
premiere: Karlsruhe, ZKM,
January 14, 2023
Commissioned by the
Aleph-Gitarrenquartett.
p>
Piano Accompaniment; Violin (Score and Solo Part) - difficult SKU: HL.4904445...(+)
Piano Accompaniment;
Violin (Score and Solo
Part) - difficult
SKU:
HL.49044450
Violin
and Piano. Composed
by Thierry Pé and
cou. This edition: Saddle
stitching. Sheet music.
String. Soleil-Feu refers
to the first attempt to
create a world out of a
rain of fire (nahui
quiahuitl) as described
in the cosmogony of
Ancient Mexican
civilisation. The element
of fire is reflected in
the musical soundscape of
this work; rampant,
rhythmic moti. Classical,
Contemporary. Softcover.
Composed 2013. 32 pages.
Duration 6'. Schott Music
#ED21888. Published by
Schott Music
(HL.49044450).
ISBN
9790001198639.
9.0x12.0x0.124
inches.
This work
is part of a cycle of
five short pieces for a
single instrument and
piano, focused on the
five ages in the
cosmogony of Ancient
Mexican civilisation. The
peoples of the Mexican
highlands believe that
time follows specific
cycles and that the world
was created following the
pattern of 'trial and
error'. The creation of
the world is divided into
several periods which are
termed 'suns' (we are
currently living in the
fifth phase named
'Ollin'). Each period
will be brought to an end
through a natural
catastrophe.Solei-Feu
refers to the first
attempt to create a world
out of a rain of fire
(nahui quiahuitl).The
element of fire is
reflected in the musical
soundscape of this work,
constructed from rampant,
rhythmic motifs,
fragmented splinters,
spinning upswings and
impacts reverberating
through space. An
intimate dialogue
develops between violin
and piano on the basis of
extremely simple figures.
Interconnecting lines and
dense musical material
are thrown against each
other in a play of
contrasting registers and
blended tonal colouring,
creating a mysterious and
disturbing mythological
universe coloured by its
ontological pessimism.
Thierry
Pecou
Soleil-Feu
refers to the first
attempt to create a world
out of a rain of fire
(nahui quiahuitl) as
described in the
cosmogony of Ancient
Mexican civilisation. The
element of fire is
reflected in the musical
soundscape of this work;
rampant, rhythmic motifs,
fragmented splinters,
spinning upswings and
impacts reverberating
through space create a
mysterious and disturbing
mythological universe
coloured by its
ontological pessimism.
Thierry Pecou.
Piano, Vocal and Guitar SKU: HL.646032 Loose-Leaf Bookkeeping Forms fo...(+)
Piano, Vocal and Guitar
SKU: HL.646032
Loose-Leaf Bookkeeping
Forms for the Piano
Teacher. Educational
Piano. Teacher Resource.
Softcover. 12 pages.
Duration 7200 seconds.
Schaum Publications, Inc.
#4001. Published by
Schaum Publications, Inc.
(HL.646032).
UPC:
008148040018.
5.5x8.5x0.151
inches.
These handy
sheets save time and help
to organize your student
records. May be used as a
permanent record of
enrollment. Keeps record
of: each lesson given,
music sold, and payments
made. One sheet needed
for each student. Each
sheet has space for two
years of lessons. Size is
5-1/2 x 8-1/2 and each
page is 3-hole punched to
fit inside of planner
binders.