| Rise Again Songbook Paroles et Accords Hal Leonard
(Words and Chords to Nearly 1200 Songs 9x12 Spiral Bound). Edited by Annie Patte...(+)
(Words and Chords to
Nearly 1200 Songs 9x12
Spiral Bound). Edited by
Annie Patterson and Peter
Blood. For Vocal. Vocal.
Softcover. 304 pages.
Published by Hal Leonard
$39.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Rise Again Songbook Hal Leonard
(Words and Chords to Nearly 1200 Songs Spiral-Bound). Edited by Annie Patterson ...(+)
(Words and Chords to
Nearly 1200 Songs
Spiral-Bound). Edited by
Annie Patterson and Peter
Blood. For Vocal. Vocal.
Softcover. 304 pages.
Published by Hal Leonard
$34.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Ultimate Fake Book - C Instruments (3rd Edition)
Fake Book [Fake Book] Hal Leonard
C Edition. Fake Book (Includes melody line and chords). Size 9x12 inches. 816 pa...(+)
C Edition. Fake Book
(Includes melody line and
chords). Size 9x12
inches. 816 pages.
Published by Hal Leonard.
(31)$55.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Real Little Ultimate Fake Book - 3rd Edition (C Edition) [Fake Book] Hal Leonard
Fakebook (spiral bound) for voice and C instrument. With vocal melody, lyrics, c...(+)
Fakebook (spiral bound)
for voice and C
instrument. With vocal
melody, lyrics, chord
names, leadsheet notation
and guitar chord chart.
Series: Hal Leonard Fake
Books. 813 pages.
Published by Hal Leonard.
(4)$39.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Ultimate Fake Book - 3rd Edition Fake Book [Fake Book] Hal Leonard
Eb Edition. By Various. Fake Book (Includes melody line and chords). Size 9x12 i...(+)
Eb Edition. By Various.
Fake Book (Includes
melody line and chords).
Size 9x12 inches. 816
pages. Published by Hal
Leonard.
(2)$49.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Ultimate Fake Book - Third Edition (Bb version)
Instruments en Sib [Fake Book] Hal Leonard
Bb Edition. Fake Book (Includes melody line and chords). Size 9x12 inches. 816 p...(+)
Bb Edition. Fake Book
(Includes melody line and
chords). Size 9x12
inches. 816 pages.
Published by Hal Leonard.
(8)$49.95 - Voir plus => AcheterDélais: 3 to 5 business days | | |
| Buskers Fake Book All Time Hit Piano seul Music Sales
| | |
| Bach: Major Choral Works Vocal Scores (Version 2.0) Chorale [CD Sheet Music] Subito Music
By Johann Sebastian Bach. For Choral. (Vocal Scores). CD Sheet Music (Version 2....(+)
By Johann Sebastian Bach.
For Choral. (Vocal
Scores). CD Sheet Music
(Version 2.0). PDF file
on CD. 2500 pages.
Published by Subito
Music.
$19.95 - Voir plus => AcheterDélais: 3 to 5 business days | | |
| The Best Rock Pop Fake Book Instruments en Do [Fake Book] Hal Leonard
(For C Instruments). By Various. For C Instruments. Fake Book. Softcover. 576 pa...(+)
(For C Instruments). By
Various. For C
Instruments. Fake Book.
Softcover. 576 pages.
Published by Hal Leonard
$39.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Suzuki Viola School MIDI Disk Acc./CD-ROM, Volume 1 Alto seul [CD-ROM] Alfred Publishing
Suzuki Viola School MIDI Disk Acc./CD-ROM, Volume 1. For Viola. CD-ROM; MIDI Dis...(+)
Suzuki Viola School MIDI
Disk Acc./CD-ROM, Volume
1. For Viola. CD-ROM;
MIDI Disk;
Method/Instruction;
String - Viola (Suzuki).
Suzuki Viola School.
Beginner. Published by
Alfred Music Publishing
$19.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Fiddler's Fakebook
Violon [Fake Book] Oak Publications
Edited by David Brody. For violin. Format: fake book. With lead melody, chord na...(+)
Edited by David Brody.
For violin. Format: fake
book. With lead melody,
chord names,
instructional text and
performance notes. Folk,
americana and british.
302 pages. 9x12 inches.
Published by Oak
Publications.
(7)$29.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Lightning Catcher - Facile Carl Fischer
Orchestra Cello, Contrabass, Piano, Viola, Violin 1, Violin 2, Violin 3 - Grade ...(+)
Orchestra Cello,
Contrabass, Piano, Viola,
Violin 1, Violin 2,
Violin 3 - Grade 2
SKU: CF.YAS181
Composed by Peter Terry.
Young String Orchestra.
Set of Score and Parts.
With Standard notation.
8+8+5+5+2+2+5+12 pages.
Duration 2 minutes, 3
seconds. Carl Fischer
Music #YAS181. Published
by Carl Fischer Music
(CF.YAS181). ISBN
9781491151464. UPC:
680160908967. 9 x 12
inches. Key: B
minor. Peter
Terry's The Lightning
Catcher celebrates youth
and the mysteries of
summer nights. The wonder
of lightning bugs and the
hours spent chasing,
catching, and releasing
them back are childhood
staples for many. With
bold gestures and
textures, this dramatic
piece takes the audience
back in time to the days
of their youth. The
Lightning Catcher is
a piece that celebrates
youth and the mysteries
of a summer night.
These mysteries
include the wonder of
lightning bugs: spending
hours chasing them,
catching them in jars and
then releasing them back
into the night, only to
catch them again on
another perfect night.
Coupled with
this
experience are memories<
span class=s2> of summer
thunderstorms moving
across the Great Lakes
and a certain naive wish
that this too could be
caught in a glass jar for
later release.
The
Lightning Catcher is
a dramatic work with big,
bold gestures and
textures. Make sure that
you reserve enough volume
and energy to make the
ending the biggest point
in the piece.
I enjoyed
writing this piece and
hope your students will
enjoy playing these
contrasting styles and
that you will find the
piece beneficial in
teaching important
musical concepts.
Peter
Terry, 2018 . The
Lightning Catcher is
a piece that celebrates
youth and the mysteries
of a summer night.
These mysteries
include the wonder of
lightning bugs: spending
hours chasing them,
catching them in jars and
then releasing them back
into the night, only to
catch them again on
another perfect night.
Coupled with
this
experience are memories<
span class=s2> of summer
thunderstorms moving
across the Great Lakes
and a certain naA-ve wish
that this too could be
caught in a glass jar for
later release.
The
Lightning Catcher is
a dramatic work with big,
bold gestures and
textures. Make sure that
you reserve enough volume
and energy to make the
ending the biggest point
in the piece.
I enjoyed
writing this piece and
hope your students will
enjoy playing these
contrasting styles and
that you will find the
piece beneficial in
teaching important
musical concepts.
Peter
Terry, 2018 . The
Lightning Catcher is
a piece that celebrates
youth and the mysteries
of a summer night.
These mysteries
include the wonder of
lightning bugs: spending
hours chasing them,
catching them in jars and
then releasing them back
into the night, only to
catch them again on
another perfect night.
Coupled with
this
experience are memories<
span class=s2> of summer
thunderstorms moving
across the Great Lakes
and a certain naA-ve wish
that this too could be
caught in a glass jar for
later release.
The
Lightning Catcher is
a dramatic work with big,
bold gestures and
textures. Make sure that
you reserve enough volume
and energy to make the
ending the biggest point
in the piece.
I enjoyed
writing this piece and
hope your students will
enjoy playing these
contrasting styles and
that you will find the
piece beneficial in
teaching important
musical concepts.
Peter
Terry, 2018 . The
Lightning Catcher is
a piece that celebrates
youth and the mysteries
of a summer night.
These mysteries
include the wonder of
lightning bugs: spending
hours chasing them,
catching them in jars and
then releasing them back
into the night, only to
catch them again on
another perfect night.
Coupled with
this
experience are memories<
span class=s2> of summer
thunderstorms moving
across the Great Lakes
and a certain naive wish
that this too could be
caught in a glass jar for
later release.
The
Lightning Catcher is
a dramatic work with big,
bold gestures and
textures. Make sure that
you reserve enough volume
and energy to make the
ending the biggest point
in the piece.
I enjoyed
writing this piece and
hope your students will
enjoy playing these
contrasting styles and
that you will find the
piece beneficial in
teaching important
musical concepts.
Peter
Terry, 2018 . The Lightning Catcher is
a piece that celebrates
youth and the mysteries
of a summer night. These
mysteries include the
wonder of lightning bugs:
spending hours chasing
them, catching them in
jars and then releasing
them back into the night,
only to catch them again
on another perfect night.
Coupled with this
experience are memories
of summer thunderstorms
moving across the Great
Lakes and a certain naive
wish that this too could
be caught in a glass jar
for later release. The
Lightning Catcher is a
dramatic work with big,
bold gestures and
textures. Make sure that
you reserve enough volume
and energy to make the
ending the biggest point
in the piece. I enjoyed
writing this piece and
hope your students will
enjoy playing these
contrasting styles and
that you will find the
piece beneficial in
teaching important
musical concepts. Peter
Terry, 2018. The
Lightning Catcher is a
piece that celebrates
youth and the mysteries
of a summer night. These
mysteries include the
wonder of lightning bugs:
spending hours chasing
them, catching them in
jars and then releasing
them back into the night,
only to catch them again
on another perfect night.
Coupled with this
experience are memories
of summer thunderstorms
moving across the Great
Lakes and a certain
naïve wish that this
too could be caught in a
glass jar for later
release.The Lightning
Catcher is a dramatic
work with big, bold
gestures and textures.
Make sure that you
reserve enough volume and
energy to make the ending
the biggest point in the
piece.I enjoyed writing
this piece and hope your
students will enjoy
playing these contrasting
styles and that you will
find the piece beneficial
in teaching important
musical concepts.Peter
Terry, 2018.
About Carl
Fischer Young String
Orchestra
Series Thi
s series of Grade 2/Grade
2.5 pieces is designed
for second and third year
ensembles. The pieces in
this series are
characterized
by: --Occasionally
extending to third
position --Keys
carefully considered for
appropriate
difficulty --Addition
of separate 2nd violin
and viola
parts --Viola T.C.
part
included --Increase
in independence of parts
over beginning levels $55.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Appalachian Fiddle Music Violon Mel Bay
Fiddle - Beginning; Intermediate; Advanced SKU: MB.30091 Featuring 43 ...(+)
Fiddle - Beginning;
Intermediate; Advanced
SKU: MB.30091
Featuring 43 Fiddlers
and 188 of Their
Tunes. Perfect
binding. Folk. Book. 212
pages. Mel Bay
Publications, Inc #30091.
Published by Mel Bay
Publications, Inc
(MB.30091). ISBN
9781513466378. 8.75 x
11.75
inches. Appalachian
fiddle music, based on
the musical traditions of
the people who settled in
the mountainous regions
of the southeastern
United States, is
widely-known and played
throughout North America
and parts of Europe
because of its complex
rhythms, its catchy
melodies, and its
often-ancient-sounding
stylistic qualities. The
authors explore the lives
and music of 43 of the
classic Appalachian
fiddlers who were active
during the first half of
the 20th century. Some of
them were recorded
commercially in the
1920s, such as Gid
Tanner, Fiddlin? John
Carson, and Charlie
Bowman. Some were
recorded by folklorists
from the Library of
Congress, such as William
Stepp, Emmett Lundy, and
Marion Reece. Others were
recorded informally by
family members and
visitors, such as John
Salyer, Emma Lee
Dickerson, and Manco
Sneed. All of them played
throughout most of their
lives and influenced the
growth and stylistic
elements of fiddle music
in their regions. Each
fiddler has been given a
chapter with a biography,
several tune
transcriptions, and tune
histories. To show the
richness of the music,
the authors make a
special effort to show
the musical elements in
detail, but also
acknowledge that nothing
can take the place of
listening. Many of the
classic recordings used
in this book can be found
on the web, allowing you
to hear and read the
music together. $24.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| RandB Fake Book - C Instruments - 2nd Edition
Fake Book [Fake Book] - Intermédiaire Hal Leonard
For voice and C instrument. Format: fakebook. With vocal melody, lyrics and chor...(+)
For voice and C
instrument. Format:
fakebook. With vocal
melody, lyrics and chord
names. Randb and classic
soul. Series: Hal Leonard
Fake Books. 437 pages.
9x12 inches. Published by
Hal Leonard.
(9)$44.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Country and Western Gospel Hymnal - Volume 1 (Book)
Chorale [Vocal Score] Brentwood-Benson
For voice. Format: vocal score (spiral bound). With vocal score and chord names....(+)
For voice. Format: vocal
score (spiral bound).
With vocal score and
chord names. Gospel and
Country. 9x12 inches.
Published by
Brentwood-Benson Music
Publishing. Clic
k for Split Trax
Cassette (2)$12.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Piano Course - Book 1 Piano seul Schirmer
Piano Technique. By Howard Kasschau. Piano Method. Size 9x12 inches. 64 pages. P...(+)
Piano Technique. By
Howard Kasschau. Piano
Method. Size 9x12 inches.
64 pages. Published by G.
Schirmer, Inc.
(3)$12.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Uke'n Play Ukulele For Kids Ukulele [Partition + Accès audio] - Débutant Amsco Wise Publications
Ukulele - Grade 1 SKU: BT.MUSAM1011626 Composed by Mike Jackson. Uke'n Pl...(+)
Ukulele - Grade 1 SKU:
BT.MUSAM1011626
Composed by Mike Jackson.
Uke'n Play Ukulele.
Tuition. Book with Online
Audio. Composed 2016. 48
pages. Wise Publications
#MUSAM1011626. Published
by Wise Publications
(BT.MUSAM1011626).
ISBN 9781785582554.
English. This
updated Kids  edition
of the bestselling Uke'n
Play Ukulele  series
will get young beginners
strumming, singing and
playing easy songs that
only feature 3 chords.
Written by professional
player and educator Mike
Jackson , the book
features his unique
instant play method, some
simple songs that are
familiar to all children,
together with
downloadable play-along
audio. The book opens
with how to tune up,
before detailing Jackson
's innovative instant
play method, which kids
are guaranteed to love.
Once they've mastered
this, Uke'n Play Ukulele
For Kids teaches 25
simple songs that are
instantly-recognisable
and well-known. The first
few songs use justone
chord, before introducing
two more. Each features
chord diagrams, lyrics
and chord symbols,
helping children learn to
play the Ukulele by
practising strumming the
chords and getting used
to finger positions,
while also playing fun
tunes. Songs include Row,
Row, Row Your Boat, The
Lion Sleeps Tonight,
Jingle Bells , and many
more. The accompanying
audio downloads will help
you tune up, get familiar
with the songs, then play
along with a full backing
band. Some songs also
feature Mike 's handy
hints so learning the Uke
goes as smoothly as
possible. Uke'n Play Supa
Easy Ukulele  is a
fantastic resource for
the classroom, or other
groups of young
beginners. Featuring
valuable advice for
introducing children to
music through the
Ukulele, the book will
enable them to start
making music straight
away. With well-known
songs like My Darling
Clementine  and
Michael Finnegan , this
is a beginner's instant
play method for kids that
truly does work. Mike
Jackson  is a
professional Ukulele
player and
multi-instrumentalist who
has sold over 250,000
albums and performed
extensively across
Australia and the rest of
the world. $15.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Hymns of the Church Marimba [Partition] Innovative Percussion
Hymns of the Church by Various. Arranged by Blaine Locheed. Marimba Solo - Unacc...(+)
Hymns of the Church by
Various. Arranged by
Blaine Locheed. Marimba
Solo - Unaccompanied. For
marimba solo (1 marimba
low A (optional low F and
c parts)). Level 3. Book.
Duration various time
durations. Published by
Innovative Percussion
$16.00 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Folk Songs North America Sings (Kodaly Collection) Piano, Voix [Partition] E.C. Kerby
Voice and Piano. By Richard Johnston. (resource book). Vocal Collection. Size 8....(+)
Voice and Piano. By
Richard Johnston.
(resource book). Vocal
Collection. Size 8.5x11
inches. 400 pages.
Published by E.c. Kerby.
$50.00 - Voir plus => AcheterDélais: 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 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
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