Piano SKU: BT.EMBZ20004A Complete Edition. Composed by Liszt Feren...(+)
Piano
SKU:
BT.EMBZ20004A
Complete Edition.
Composed by Liszt Ferenc.
EMB New Listz Edition.
Studies & Exercises. Book
Hardcover. Composed 2021.
240 pages. Editio Musica
Budapest #EMBZ20004A.
Published by Editio
Musica Budapest
(BT.EMBZ20004A).
For Chamber
Orchestra. Composed
by James Matheson. This
edition: Version 6/10/10.
Contemporary. Large
Score. With Standard
notation. Composed
February 13 2003. 84
pages. Duration 18
minutes. Theodore Presser
Company #416-41423L.
Published by Theodore
Presser Company
(PR.41641423L).
UPC:
680160602094. 11 x 14
inches.
Colonnade
is inspired by Albanys
majestic New York State
Board of Education
Building, and written on
a commission from the
Albany Symphony
Orchestra. It was an
intriguing task, in part
because in order to
accept the commission I
had to agree to write a
work inspired by a
building I had not yet
seen. This problem was
compounded by the fact
that, for me, the very
notion of extra-musical
inspiration is a complex
one, particularly with
respect to literary or
visual sources. I
generally find ideas and
abstracted notions more
generative of musical
ideas than specific ones
(a poem, an experience, a
painting). So when I went
to see and tour the
building, I sought to
identify fundamental
formal aspects of the
building which I could
process into musical
ideas, and would then be
linked to the building
through a sense of formal
relationship. In the end,
two characteristics of
the building stood out as
noteworthy and
undiminished by time
(compared with, for
instance, the buildings
rotunda, which contains a
series of quaintly
outdated allegorical
paintings): the exterior
colonnade and a beautiful
interior vaulted ceiling,
designed by Rafael
Guastavino. For me, a
colonnade acts as a
metaphor for the tension
between knowledge and
perception. We all know,
for instance, that the
columns are of the same
height and are
equidistant from each
other. Nevertheless,
while the mind
understands this fully,
it is also the case that
there exists no place no
standpoint or viewpoint
anywhere in the universe
from which one can
perceive this; the
columns always appear to
be of uneven height and
spacing. If one then adds
motion to perspective a
walk along the colonnade,
for instance the fixed,
even, rigidly identical
columns acquire
elasticity, and begin to
change kaleidoscopically
they shrink, grow, become
closer, and then further
apart. Further, the
detail of the buildings
facade behind the
colonnade shifts into and
out of visibility, with
different portions
obscured by the columns
from each vantage point.
These considerations
underlie the outer
sections of Colonnade, in
which a continuously
repeated, continuously
varied rising figure
suggestive of a column
dominates. The iterations
of this elastic, evolving
figure are interspersed
with other music
suggestive of the
buildings facade. The
second feature of the
building that caught my
attention was the vaulted
ceiling, designed by
Guastavino, of one of the
buildings largest rooms.
The ceiling enhances the
spaciousness of the room,
giving it an openness and
lightness that is quite
captivating. The middle
section of Colonnade has
this openness at its
core, and is dominated by
long, arching lines that,
to me, suggest the
refined beauty of this
ceiling. World premiere
March 8, 2003; Albany
Symphony Orchestra
conducted by David Alan
Miller.
Cultivate Your Acoustic Skills with Practical Lessons and 45 Great Riffs and Son...(+)
Cultivate Your Acoustic
Skills with Practical
Lessons and 45 Great
Riffs and Songs. Guitar
Method. Acoustic,
Instruction, Method.
Softcover Audio Online.
With guitar tablature. 80
pages. Published by Hal
Leonard
(16 Songs Arranged for Solo Guitar in Travis Picking Style). By Various. Arrange...(+)
(16 Songs Arranged for
Solo Guitar in Travis
Picking Style). By
Various. Arranged by
David Hamburger. Guitar
Solo. Softcover. Guitar
tablature. 32 pages.
Published by Hal Leonard
Performed by Pantera. Guitar tablature songbook for guitar and voice. Parental a...(+)
Performed by Pantera.
Guitar tablature songbook
for guitar and voice.
Parental advisory -
explicit lyrics. Series:
Guitar Anthology Series.
156 pages. Published by
Alfred Publishing.
String Orchestra SKU: BT.MUSM570367214 Composed by Robert Saxton. Classic...(+)
String Orchestra
SKU:
BT.MUSM570367214
Composed by Robert
Saxton. Classical. Score
Only. 25 pages.
University of York Music
Press #MUSM570367214.
Published by University
of York Music Press
(BT.MUSM570367214).
English.
Robert
Saxton 's The
Resurrection Of The
Soldiers for String
Orchestra. Composed and
published 2016. Duration:
c. 12 minutes. The
Resurrection Of The
Soldiers for String
Orchestra was
commissioned by George
Vass, to whom it is
dedicated, and the
English Symphony
Orchestra, for the 2016
Presteigne Festival, with
funds generously provided
by the John S. Cohen
Foundation and the Arts
Council of England.
The title derives from
the final panel of
Stanley Spencer’s
Sandham Chapel visionary
series of paintings which
were the result of
Spencer’s
experiences in the
British army in World War
One and depicts soldiers
emerging from their
graves on the last day.
Themusic is in three
continuous sections: a
slow, sustained
introduction which is, in
essence, a descent from
the note E by means of a
prolation canon, but
which ascends to a rather
intense climactic point
before finally falling
and giving way to an
active fugue which, after
arriving at an anguished,
sustained climax, is
succeeded by a closing
slow movement consisting
of a rising melodic line
which permeates the
entire texture
heterophonically ,
leading to the closing E
major triad. The work
thus traces a cyclical
pitch path which, while
tracing a cyclical path,
also develops
expressively towards a
sense of hope and
resurrection. - Robert
Saxton, April 2016.
Chamber Music String Quartet SKU: PR.114405050 Composed by John Downey. S...(+)
Chamber Music String
Quartet
SKU:
PR.114405050
Composed
by John Downey. Set of
Score and Parts. With
Standard notation. 53
pages. Duration 25
minutes. Theodore Presser
Company #114-40505.
Published by Theodore
Presser Company
(PR.114405050).
UPC:
680160008377. 11 x 14
inches.
Although
structurally it
subdivides into five
movements, the entire
quartet emerges as one
vast continuum. There are
no formal breaks between
movements. However,
certain musical signposts
can be discerned,
associated with each of
the movements'
terminations and new
beginnings. The opening
movement, The Nostalgia
of Clanging Bell
Sonorities, begins
floating on recurrent Bbs
whose soft rhythmic flow
slowly puts into motion
strong undercurrents
suggestive of the latent
power of water... After
several suggestions of
tolling bells, the
movement gradually fades
into hushed tones of
veiled and very distant
sonorities. It uses a
unique efffect, for the
first time in a musical
context, conveyed through
the use of extra heavy
practice mutes. The
second movement, The
Spill of Water ,
disengages itself from
the first through its
distinct contrast in
tempo. Water moves fast,
and when it splashes, it
tends to run wildly. In
this case, it happens to
be bubbly water that
gushes forth bodly...
smashing across rocky
shorlines. So, too, the
music attempts to conjure
such moods. At the end of
this movement, a cello
cadenza emerges,
introducing an
introspective type of
melodicism. The third
movement, The Poignancy
of Memory, contains many
silences as it tries to
convey memory through
fragmented remembrances
much like often occur in
our dream state.
Progressing through
several slowly building
images, it gradually
works itself into
juxtaposition of musical
images. Towards the
movement's end, high
harmonics are sounding in
all four instruments
while left hand pizzicato
notes in the cello pluch
the last remembrances of
this central core. Almost
imperceptibly, the viola
assumes leadership as it
dissolves into: The
fourth movement, The
Fluidity of Motion, which
has mostly the viola, but
also the cello,
articulating lyrical
statements against the
sheets of sound conjured
up by the two violins
playing a flood of
swirling figures, evokes
a kind of static motion
in spae. Here, the
virtually imperceptible
manner in which this
hushed whisper continues
incessantly, can suggest
the potential fluidity
with which movement may
inch forward... Later
into the fourth movement
, two fairly extended
solos by the second and
then the first violins,
lead to a kind of
spontaneous dialogue
among the four
instrumentalists.
Eventually, this musical
conversation gets caught
up in: The fifth
movement's The Rush of
Time, which opens with a
hushed flurry of speed,
precipitates the Finale.
It generates, at first
slowly, but then very
swiftly, whole shifts of
rhythmic fields that
initially seem to
conflict with one
another. Ultimately, this
use of 'psycho-rhythmics
contributes to an on-rush
of motion and time.
Rhythmic changes are, at
times, abruptly
precipitated with but
little or no preparation
creating a kind of
inevitability in forward
thrust, while the
movement rushes forward
with a feeling of gradual
and continuous
acceleration. It gathers
density as more and more
notes are piled
progressively upon
successive beats. The
attempt is to spark
tension and ignite
excitement by means of
frenetic confrontations
of dissimilitudes.
Ultimately - with the
help of time - these
polarities centrifically
spin out their own
destinies with their
accompanying fall-out and
own inevitable
resolutions.
Chamber Music String Quartet SKU: PR.11440505S Composed by John Downey. F...(+)
Chamber Music String
Quartet
SKU:
PR.11440505S
Composed
by John Downey. Full
score. With Standard
notation. 53 pages.
Duration 25 minutes.
Theodore Presser Company
#114-40505S. Published by
Theodore Presser Company
(PR.11440505S).
UPC:
680160008391. 11 x 14
inches.
Although
structurally it
subdivides into five
movements, the entire
quartet emerges as one
vast continuum. There are
no formal breaks between
movements. However,
certain musical signposts
can be discerned,
associated with each of
the movements'
terminations and new
beginnings. The opening
movement, The Nostalgia
of Clanging Bell
Sonorities, begins
floating on recurrent Bbs
whose soft rhythmic flow
slowly puts into motion
strong undercurrents
suggestive of the latent
power of water... After
several suggestions of
tolling bells, the
movement gradually fades
into hushed tones of
veiled and very distant
sonorities. It uses a
unique effect, for the
first time in a musical
context, conveyed through
the use of extra heavy
practice mutes. The
second movement, The
Spill of Water,
disengages itself from
the first through its
distinct contrast in
tempo. Water moves fast,
and when it splashes, it
tends to run wildly. In
this case, it happens to
be bubbly water that
gushes forth bodly...
smashing across rocky
shorelines. So, too, the
music attempts to conjure
such moods. At the end of
this movement, a cello
cadenza emerges,
introducing an
introspective type of
melodicism. The third
movement, The Poignancy
of Memory, contains many
silences as it tries to
convey memory through
fragmented remembrances
much like often occur in
our dream state.
Progressing through
several slowly building
images, it gradually
works itself into
juxtaposition of musical
images. Towards the
movement's end, high
harmonics are sounding in
all four instruments
while left hand pizzicato
notes in the cello pluck
the last remembrances of
this central core. Almost
imperceptibly, the viola
assumes leadership as it
dissolves into: The
fourth movement, The
Fluidity of Motion, which
has mostly the viola, but
also the cello,
articulating lyrical
statements against sheets
of sound conjured up by
the two violins playing a
flood of swirling
figures, evokes a kind of
static motion in space.
Here , the virtually
imperceptible manner in
which this hushed whisper
continues incessantly,
can suggest the potential
fluidity with which
movement may inch
forward... Later into the
fourth movement, two
fairly extended solos by
the second and then the
first violins, lead to a
kind of spontaneous
dialogue amont the four
instrumentalists.
Eventually, this musical
conversation gets caught
up in: The fifth
movement's The Rush of
Time, which opens with a
hushed flurry of speed,
precipitates the Finale.
It generates, at first
slowly, but then very
swiftly, whole shifts of
rhythmic fields that
initially seem to
conflict with one
another. Ultimately, this
use of psycho-rhythmics
contributes to an on-rush
seem of motion and time.
Rhythmic changes are, at
times, abruptly
precipitated with but
little or no preparation
creating a kind of
inevitability in forward
thrust, while the
movement rushes forward
with a feeling of gradual
and continuous
acceleration. It gathers
density as more and more
notes are piled
progressively upon
successive beats. The
attempt is to spark
tension and ignite
excitement by means of
frenetic confrontations
of dissimilitudes.
Ultimately - with the
help of time - these
polarities centrifically
spin out their own
destinies with their
accompanying fall-out and
own inevitable
resolutions.
Composed by Joe Carr. Saddle- stitched. School Of. Solos. Book and online aud...(+)
Composed by Joe Carr.
Saddle-
stitched. School Of.
Solos.
Book and online audio. 32
pages. Mel Bay
Publications,
Inc #21740M. Published by
Mel
Bay Publications, Inc
Written by Barry Finerty. Instructional book and accompaniment CD for all instru...(+)
Written by Barry Finerty.
Instructional book and
accompaniment CD for all
instruments. The Seriuos
Jazz Practice Book
provides a unique and
comprehensive plan for
mastering these basic
building blocks of jazz,
on any instrument. 162
pages. Published by Sher
Music Company.
Chamber Music SKU: PR.16400213S Composed by Dan Welcher. Spiral. Full sco...(+)
Chamber Music
SKU:
PR.16400213S
Composed
by Dan Welcher. Spiral.
Full score. With Standard
notation. 1+37 pages.
Duration 11 minutes.
Theodore Presser Company
#164-00213S. Published by
Theodore Presser Company
(PR.16400213S).
UPC:
680160037636. 8.5 x 11
Landscape
inches.
The unusual
combination of cello,
percussion and piano
seems more incongruous
than it actually sounds.
When I first heard the
ensemble Aequalis, in a
full evening program I
was absolutely astonished
at the combination of
lyricism, pulse, and
color. Something about
the mix causes the cello
to sound marimba-like,
the vibraphone to imitate
the cello's harmonics,
and the piano to become a
kind of proto-orchestra
of colors and effects.
Tsunami was
written for Aequalis in
the summer and fall of
1991 with the assistance
of a grant from Chamber
Music America. The title,
the Japanese word for
tidal wave (which is a
misnomer -- tsunamis have
nothing to do with the
tides), refers to the
phenomenon of an undersea
disturbance causing a
huge wall of water to
flood the first land in
its path. The initial
earthquake or volcanic
eruption that sends a
seismic shock through the
water is invisible --
it's only when that shock
wave hits land, recoils,
and takes ocean swells
back with it, that the
wave begins to form. In
successive landings,
recoilings, and
re-landings, this force
finally spends itself,
usually inundating
anything in its path,
sometimes to a depth of
one hundred feet or more.
My piece does not
attempt to depict this
natural cataclysm -- how
could it, with three
instruments? -- but the
form of the first half of
the work is based on it.
The initial percussive
shock that opens the
piece creates a stir in
the form of a cello
motive marked swelling
and employing long
portamenti pushing
upwards. After a second
shock, the cello motive
begins an undersea
journey -- very slow and
lyrical at first --
accompanied by
non-pitched percussion
only. Eventually the
piano joins, first with
echoing bass notes, then
with a rather mechanical
motive high on the
keyboard. This force
grows, the cello line
climbs higher and higher
until another
double-shock is heard --
perhaps the energy has
hit land? Following this,
the percussion becomes
melodic (marimba), and we
now have two lines in
canon accompanied by a
separate line in the
piano. This, too, builds
to a climax, and an even
louder and more vigorous
shock results. Now the
texture is a three-way
canon with cello,
vibraphone, and piano
chasing each other in
ever faster cycles of
sound. The height of this
is a triple cadenza in
which all three players
spend their pent-up
energy, one at a time.
The second part of
the piece follows after a
settling-down, and is
marked Dancing. This is a
rondo, with a recurring
theme (heard first in the
marimba) followed by
three contrasting
sections heard between
reiterations of the main
tune (the form could be
diagrammed A-A-B-A-C-A).
The mood is one of joyous
kinetic energy, with
elements of Eastern or
Balinese gamelan sounds,
and employing several
pentatonic scales (as
does the first half of
the work). It ends in a
vigorous, stomping dance.
--Dan Welcher
 .
By Frank Ticheli. Concert band. Suitable for the most advanced high school bands...(+)
By Frank Ticheli. Concert
band. Suitable for the
most advanced high school
bands, community,
college, university, and
professional bands.
Level: Grade 6. Conductor
Full Score. Duration
21:00. Published by
Manhattan Beach Music.