Everything You Need to Know to Start Playing Now!. Composed by Morton Manus and ...(+)
Everything You Need to
Know to Start Playing
Now!. Composed by Morton
Manus and Ron Manus. Bass
Guitar Method or
Supplement;
Method/Instruction. Teach
Yourself Series. Book;
DVD. 80 pages. Alfred
Music #00-44503.
Published by Alfred Music
Ligne De Mélodie, Paroles et Accords [Partition] - Facile Hal Leonard
Easy guitar/vocal songbook for guitar and voice. With leadsheet notation (includ...(+)
Easy guitar/vocal
songbook for guitar and
voice. With leadsheet
notation (includes melody
line and chords), chord
names, guitar chord
diagrams, strum and pick
patterns and lyrics.
Series: Easy Guitar. 176
pages. Published by Hal
Leonard.
Essential Patterns and Bass Lines for All Styles. By David Keif. Musicians Insti...(+)
Essential Patterns and
Bass Lines for All
Styles. By David Keif.
Musicians Institute Press
(Instruction taken from
the curriculum of MI).
Book and CD package. With
notes and tablature. Size
9x12 inches. 24 pages.
Published by Musicians
Institute.
The Complete Guide. By Alexis Sklarevski. Musicians Institute Press (Instruction...(+)
The Complete Guide. By
Alexis Sklarevski.
Musicians Institute Press
(Instruction taken from
the curriculum of MI).
With notes and tablature.
Size 9x12 inches. 136
pages. Published by
Musicians Institute.
Essential Scales, Theory, Bass Lines and Fingerings. By Paul Farnen. Musicians I...(+)
Essential Scales, Theory,
Bass Lines and
Fingerings. By Paul
Farnen. Musicians
Institute Press
(Instruction taken from
the curriculum of MI).
With notes and tablature.
Size 9x12 inches. 88
pages. Published by
Musicians Institute
Wendi Hrehovcsik. Musicians Institute Press (Instruction taken from the curricul...(+)
Wendi Hrehovcsik.
Musicians Institute Press
(Instruction taken from
the curriculum of MI).
Size 9x12 inches. 64
pages. Published by
Musicians Institute.
Chords for Bass Basse electrique [Partition + Accès audio] Musicians Institute
Master Class Series. Musicians Institute Press. Instruction. Softcover Audio Onl...(+)
Master Class Series.
Musicians Institute
Press. Instruction.
Softcover Audio Online.
With guitar tablature. 80
pages. Published by
Musicians Institute Press
A Love Supreme Big band [Conducteur et Parties séparées] - Avancé Jazz Lines Publications
Recorded by the Lincoln Center Jazz Orchestra. Arranged by Wynton Marsali...(+)
Recorded by the
Lincoln Center Jazz
Orchestra. Arranged
by Wynton Marsalis. Jazz,
Swing. Score and parts.
Published by Jazz Lines
Publications
(JL.JLP-7420).
Electric guitar - Intermediate SKU: MB.30522M Celtic Rock Solos. C...(+)
Electric guitar -
Intermediate
SKU:
MB.30522M
Celtic
Rock Solos. Composed
by Philip John Berthoud.
British, Saddle-stitched,
World. Rock and Blues.
Book and online audio. 52
pages. Mel Bay
Publications, Inc
#30522M. Published by Mel
Bay Publications, Inc
(MB.30522M).
ISBN
9781513464237. 8.75 x
11.75
inches.
Ideal for the
intermediate-level
guitarist, these 17
traditional tunes from
the UK plus one from
France are arranged to be
played with your electric
guitar plugged-in. The
transformation that
occurs in switching from
acoustic to electric
instruments adds an
unmistakable Celtic rock
element to the
authorâ??s companion
recording.
<
span style=font-family:
Arial;> The tunes are all
played twice through on
the recording and
transcribed note-for-note
in the book. The
recording features backup
from both electric bass
and a second electric
guitar, often played with
a slide and a little
â??dirtâ? thrown into
the mix. Skillful
bodhrán and djembe
playing on many of the
tracks adds to the
dynamic nature of the
recording.
<
span style=font-family:
Arial;> Many of these
tunes can be played in
lower positions but a few
venture as high as the
14th fret. Playing one
note at a time within a
narrow range, if you
donâ??t read
particularly well now,
working through these
tunes will help you
improve and gain
confidence as a sight
reader.
Written in
standard notation and
guitar tablature.
Includes access to online
audio.
Book with Online Audio and Video Alto Sax The Best Step-by-Step Guide to Start...(+)
Book with Online Audio
and Video
Alto Sax
The Best Step-by-Step
Guide to
Start Playing. Do It
Yourself.
Instruction, Method.
Softcover
Media Online. 128 pages.
Published by Hal Leonard
Noir Vignettes Contrebasse, Piano (duo) Theodore Presser Co.
Chamber Music Double Bass, Piano SKU: PR.114418110 For Double Bass and...(+)
Chamber Music Double
Bass, Piano
SKU:
PR.114418110
For
Double Bass and
Piano. Composed by
Stacy Garrop. Set of
Score and Parts. With
Standard notation. 24+16
pages. Duration 13
minutes. Theodore Presser
Company #114-41811.
Published by Theodore
Presser Company
(PR.114418110).
ISBN
9781491111994. UPC:
680160640423.
The
film noir genre of 1940s
cinema typically includes
a strong but flawed male
lead (often a detective),
a beautiful woman who
coerces the male into
committing murder or is a
killer herself (a
“femme
fataleâ€), and a
twisting plot line that
involves one or more
homicides. These movies
typically are shot in
black and white, with
emphasis on shadows and
light, alcohol and
cigarettes, trench coats
and fedoras. Most of the
story lines do not have
happy endings. Inspired
by this genre, NOIR
VIGNETTES consists of
four movements, each
depicting an aspect of
film noir: Murder at
Midnight, Loaded Gun,
Femme Fatale, and Last
Cigarette. String bass
parts are provided both
for standard orchestral
tuning and for solo
tuning. In the
mid-1940s, film critics
in France noticed a trend
emerging in movies from
the United States, which
they coined film noir
(which translates to
“black
filmâ€). These
movies were dark, moody,
and pessimistic,
reflecting the agitation
and anxiety present in
society following World
War II. Several
characteristics are
commonly found in many of
these movies, including a
strong but flawed male
lead (often a detective),
a beautiful woman who
either coerces the male
lead into committing
murder for her or is a
killer herself (a
“femme
fataleâ€), and a
twisting, turning plot
line that involves one or
more homicides.
Additionally, there are
several visual elements
that these movies share:
many are shot in black
and white, with great
emphasis on the use of
shadows and light;
alcohol and cigarettes
are heavily consumed by
men and women alike; and
men typically wear trench
coats and fedoras. Most
of the story lines do not
have happy endings.
Examples of film noir
include Orson
Welles’ The Lady
from Shanghai, Billy
Wilder’s Double
Indemnity, and John
Huston’s The
Maltese Falcon.NOIR
VIGNETTES for Double Bass
and Piano consists of
four movements, each
depicting a different
aspect of film noir:
Murder at Midnight,
Loaded Gun, Femme Fatale,
and Last Cigarette.This
piece was commissioned by
the University of
Illinois Research Board
on behalf of double
bassist Michael
Cameron.-Stacy
Garrop.
Chamber Music Violin SKU: CF.BF142 22 Holiday Arrangements for Any Com...(+)
Chamber Music Violin
SKU: CF.BF142
22 Holiday
Arrangements for Any
Combination of String
Instruments. Composed
by Basque Carol, Bernard
de la Monnoye, Catalonian
Carol, English Carol,
Felix Bartholdy
Mendelssohn, Franz Xaver
Gruber, French carol,
James Pierpont, John
Henry Hopkins, John Wade,
Lewis Redner, Mykola
Leontovich, Richard
Storrs Willis, and Welsh
Carol. Arranged by Todd
Parrish. Collection -
Score. 48 pages. Carl
Fischer Music #BF142.
Published by Carl Fischer
Music (CF.BF142).
ISBN
9781491160145. UPC:
680160918744.
The
22 holiday classics
contained in this
collection have been
carefully arranged for
any combination of string
trio. The melodies,
both sacred and secular,
cover many centuries and
originate in Western
Europe and the United
States. Each work was
selected for its quality,
musical interest, and
appropriateness in a
chamber setting. All
pieces in this collection
have stood the test of
time and are worthy of
both study and
performance. Arranged
specifically for a
chamber setting, the
trios may be performed in
a variety of venues from
church services to
holiday gatherings. This
Compatible String
Ensembles collection of
Christmas Trios will set
the mood in any
environment.This Series
is Available for:Violin
BF142Viola BF143Cello
BF144Bass BF145. The
22 Christmas tunes
contained in this
collection have been
carefully arranged for
any combination of string
trio. The most standard
instrumentation for
voicing is violin, viola,
and cello. However, three
of the same instruments
work well as do other
groupings, given that the
higher-pitched instrument
plays the higher part.
This three-part format
follows a standard order:
part 1 is melody, part 2
is harmony, and part 3 is
a traditional bass line.
Optional 8va markings are
sometimes given to help
the voicings sound
better.The selections
have been arranged in
alphabetic order. The
melodies, both sacred and
secular, cover many
centuries and originate
in Western Europe and the
United States. Each work
is in the public domain
and was selected for both
its quality and musical
interest.Arranged
specifically for a
chamber setting, the
trios may be performed in
a variety of venues from
church services to
holiday gatherings. Some
repeats are marked in the
music, but any selection
may be repeated for the
appropriate amount of
music needed. Bowings
have been added as
suggestions, and some
fingerings have been
added to show the
direction of shifts
beyond first
position.—Todd
ParrishOrchestra Editor,
Carl Fischer MusicJune
2021.
For
Chamber Orchestra.
Composed by James
Matheson. This edition:
Version 6/10/10. Sws.
Contemporary. Full score.
With Standard notation.
Composed February 13
2003. 84 pages. Duration
18 minutes. Theodore
Presser Company
#416-41423. Published by
Theodore Presser Company
(PR.416414230).
ISBN
9781598066630. UPC:
680160602087. 9x12
inches.
Colonnade
is James
Matheson’s
intriguing response to
the Albany
Symphony’s
commission to create a
work inspired by the NY
State Board of Education
Building, designed by the
renowned architect Rafael
Guastavino. Matheson
explains that “A
colonnade acts as a
metaphor for the tension
between knowledge and
perception. The columns
are the same height and
equidistant from each
other; while the mind
understands this fully,
there exists no place
from which one can
perceive this –
the columns always appear
to be of uneven height
and spacing. If one then
adds motion to
perspective, identical
columns acquire
elasticity, and begin to
change kaleidoscopically
– they shrink,
grow, become closer, and
then further
apart.†This
structural paradox is
given musical life in the
outer sections of
Colonnade, while the
long, arching middle
section is inspired by
the vaulted ceiling of
one of the
building’s largest
rooms, enhancing the
structure’s
spacious openness and
lightness. Colonnade
is inspired by
Albany’s 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.
Thisproblem 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 seeand 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 theend,
two characteristics of
the building stood out as
noteworthy and
undiminished by time
(compared with, for
instance, the
building’s
rotunda, which contains a
series of quaintly
outdated allegorical
paintings): theexterior
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 building’s
façade behind the
colonnadeshifts 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,
evolvingfigure are
interspersed with other
music – suggestive
of the building’s
façade. The second
feature of the building
that caught my attention
was the vaulted ceiling,
designed by Guastavino,of
one of the
building’s 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.
Chorus (with soloists) and piano (solos: SMezMez(A)ATTBarBBB - choir: SSAATTBB -...(+)
Chorus (with soloists)
and piano (solos:
SMezMez(A)ATTBarBBB -
choir: SSAATTBB -
picc.2.2.2.2. - 4.2.3.0.
- timp - hp - str)
SKU: BR.DV-6081
Lyrical Opera in 3
Acts. Composed by
Pjotr Iljitsch
Tschaikowsky. Edited by
Manfred Koerth / Wo
Ebermann. Arranged by M.
Koerth and W. Ebermann.
Choir; Softbound.
Deutscher Verlag. Opera;
Music theatre; Romantic.
Piano/Vocal Score. 300
pages. Deutscher Verlag
fur Musik #DV 6081.
Published by Deutscher
Verlag fur Musik
(BR.DV-6081).
ISBN
9790200460032. 9.5 x 12
inches.
Duration:
full evening Translation
: German (W. Ebermann/M.
Koerth), Engl. (D.
Llyod-Jones), French (M.
Delines) Place and
time: Partly on the
estate, partly in
Petersburg, in 20ies of
the 19th
Century
Characters
: Larina, Owner of the
Estate (mezzo-soprano) -
Tatiana (soprano) and
Olga (alto), her
Daughters - Filipjewna,
Wet Nurse
(mezzo-soprano/alto) -
Eugen Onegin (baritone) -
Lenskij (tenor) - Prince
Gremin (bass) - A
Commander (bass) -
Saretzkij (bass) -
Triquet, a French Man
(tenor) - Guillot, a
Valet (silent part) -
Country Folk, Ball
Guests, Squire, Officers
(chorus) - Waltz,
mazurka, polonaise and
Russian dance (Ballet
)
There is an
interesting parallel
between the subject of
the opera and
Tchaikovsky's life during
the year he wrote the
work (1877): in each
case, a letter provokes
fateful developments in
the lives of the
protagonists. In the
opera, Tatyana's love
letter to Eugene sets off
the tragedy, whereas in
real life, the love
letter of a pupil led the
composer into a marriage,
which lasted all of ...
three months. Tchaikovsky
took this doomed decision
without love, solely
because the circumstances
want it and because I
cannot act differently.
Certain allusions made,
for example, in a letter
of January 1878 to
Taneyev suggest that the
composer's personal
situation also flowed
into the work: I did not
want anything to do with
the so-called 'grand
opera.' I am looking for
an intimate but powerful
drama which is built on
the conflict of
circumstances which I
myself have seen and
experienced, a conflict
which truly moves me.
Partly for this reason
the composer decided to
call the work not an
opera but lyrical
scenes.Eugene Onegin,
conceived by Tchaikovsky
for limited resources and
a small stage, is the
most frequently performed
Russian opera today along
with Mussorgsky's Boris
Godunov, which represents
a completely contrary
aesthetic stance.
Tschaikowskys
letzte Oper - auf ein
Libretto seines Bruders
Modest nach der
Dramenvorlage des
danischen Schriftstellers
Henrik Hertz - lebt von
den poetischen Momenten
und den symbolbeladenen
Charakterportrats der
Hauptfiguren: Die junge
blinde Jolanthe wird von
ihrem Vater aus Sorge um
ihren Makel und zum
Schutz ihrer
Jungfraulichkeit und vor
den Widrigkeiten der Welt
in einen paradiesischen
Garten gesperrt. Er
befielt zu ihrem Schutz
sie um ihre Blindheit
unwissend zu lassen. Ein
Arzt warnt sehen werde
sie nur konnen wenn sie
es selbst wolle gleich
welche Angste aus der
vollstandigen Erkenntnis
der Welt erwachsen. Als
der junge Vaudemont in
ihre Abgeschiedenheit
einbricht und sich beide
ineinander verlieben
befreit er sie von ihrer
Unwissenheit erklart was
Farbe und Licht bedeuten.
Erst die Liebe zu ihm
macht sie sehend.
Die dunkle Welt
der Jolanthe zeichnet
Tschaikowsky zu Beginn
musikalisch durch eine
Introduktion
ausschliesslich fur
Blaser. Erst mit dem
Eintritt in die
unbekannte Welt der Liebe
und des Sehens verwendet
Tschaikowsky einen warmen
Streicherklang. Gerade
dadurch stiess die Oper
wohl bei Zeitgenossen auf
Verstorung. Tschaikowskys
,,Jolanthe nimmt in
seinem Opernschaffen eine
Sonderstellung ein: neben
dem glucklichen Ende
einer Apotheose des
Lichts und der Liebe mit
einem religios gepragten
Schlusschoral ist es
eines der wenigen
Buhnenwerke Tschaikowskys
ohne Bezug zur russischen
Geschichte. Der
ausgepragte Lyrismus des
Werks verweist
stattdessen auf
Tschaikowskys Nahe zur
franzosischen Kultur die
im 19. Jahrhundert einen
starken Einfluss auf
Russland hatte. Die Oper
wurde 1892 am
Mariinsky-Theater in
Sankt Petersburg als
Auftragswerk zusammen mit
seinem Ballett ,,Der
Nussknacker
uraufgefuhrt.
Nebe
n der Produktion des
Munchner
Rundfunkorchesters wurde
,,Jolanthe szenisch
erfolgreich bei den
Festspielen Baden-Baden
mit Anna Netrebko und
Piotr Beczala als
Liebespaar rehabilitiert.
Ausserhalb Deutschlands
lief die Opernraritat in
Toulouse Tokyo San
Sebastian und Monte
Carlo. Zuletzt erneut die
,,Suddeutsche Zeitung:
,,Jolanthe ist eine
Opernausgrabung die
,,wirklich zu Unrecht
vergessen ist.
Tchaikovsky's last opera
- on a libretto by the
composer's brother Modest
based on the drama by the
Danish author Henrik
Hertz - derives its
life-blood from its
poetic moments and the
symbol-laden portraits of
the leading characters:
the blind young Yolanta
is kept prisoner in a
paradisiacal garden by
her father who fears for
her purity and her
virginity and seeks to
protect her from the
adversities of the world.
To do so he orders
everyone to keep her
ignorant of the fact that
she is blind. A doctor
warns that she will only
be able to see when she
is ready to do so herself
no matter what fears
might result from a
complete experience of
the world. When the young
Vaudemont breaks into her
secluded world and the
two fall in love he frees
her from her ignorance
and explains the
significance of color and
light. It is through her
love for him that she is
finally able to see. At
the beginning of the work
Tchaikovsky depicts
Yolanta's dark world with
an introduction scored
exclusively for winds. It
is not until her
discovery of the unknown
world of love and sight
that Tchaikovsky uses a
warm string sound. This
is what many of the
composer's contemporaries
found disturbing about
the
opera.
Tchaikovsky
's Yolanta occupies a
special place in the
composer's operatic
oeuvre: for one it has a
happy ending an
apotheosis of light and
love with a religiously
stamped closing chorale;
for another it is one of
Tchaikovsky's few stage
works without any
reference to Russian
history. Instead the
work's pronounced
lyricism points to the
composer's closeness to
French culture. which
exerted a strong
influence on Russia in
the 19th
century.
The opera
was given its world
premiere at the Mariinsky
Theater in St. Petersburg
in 1892. It had been
commissioned along with
the ballet The
Nutcracker. Next to the
production by the
Munchner
Rundfunkorchester Yolanta
was also successfully
rehabilitated in a recent
staged production at the
Baden-Baden Festival with
Anna Netrebko and Piotr
Beczala as the lovers.
Outside of Germany the
operatic rarity was
performed in Toulouse
Tokyo San Sebastian and
Monte Carlo.
In
closing another quote
from the Suddeutsche
Zeitung: 'Yolanta' is an
operatic rediscovery of a
work that was truly
'wrongly forgotten'.
From Terra Nostra.
Composed by Stacy Garrop.
Full score. Duration
3:15. Theodore Presser
Company #312-41902S.
Published by Theodore
Presser Company
(PR.31241902S).
UPC:
680160690589.
English.
Commission
ed by the San Francisco
Choral Society and the
Piedmont East Bay
Children’s Choir,
Terra Nostra is a
70-minute oratorio on the
relationship between our
planet and humankind, how
this relationship has
shifted over time, and
how we can re-establish a
harmonious balance. Part
I: Creation of the World
explores various creation
myths from different
cultures, culminating in
a joyous celebration of
the beauty of our planet.
Part II: The Rise of
Humanity examines human
achievements,
particularly since the
dawn of our Industrial
Age, and how these
achievements have
impacted the planet. Part
III: Searching for
Balance questions how to
create more awareness for
our planet’s
plight, re-establish a
deeper connection to it,
and find a balance for
living within our
planet’s
resources. In addition to
the complete oratorio,
stand-alone movements for
mixed chorus, and for
solo voice with piano,
are also available
separately. Terra
Nostra focuses on the
relationship between our
planet and mankind, how
this relationship has
shifted over time, and
how we can re-establish a
harmonious balance. The
oratorio is divided into
three parts:Part I:
Creation of the World
celebrates the birth and
beauty of our planet. The
oratorio begins with
creation myths from
India, North America, and
Egypt that are integrated
into the opening lines of
Genesis from the Old
Testament. The music
surges forth from these
creation stories into
“God’s
World†by Edna St.
Vincent Millay, which
describes the world in
exuberant and vivid
detail. Percy Bysshe
Shelley’s
“On thine own
child†praises
Mother Earth for her role
bringing forth all life,
while Walt Whitman sings
a love song to the planet
in “Smile O
voluptuous cool-breathed
earth!†Part I ends
with “A Blade of
Grass†in which
Whitman muses how our
planet has been spinning
in the heavens for a very
long time.Part II: The
Rise of Humanity examines
the achievements of
mankind, particularly
since the dawn of the
Industrial Age. Lord
Alfred Tennyson’s
“Locksley
Hall†sets an
auspicious tone that
mankind is on the verge
of great discoveries.
This is followed in short
order by Charles
Mackay’s
“Railways
1846,†William
Ernest Henley’s
“A Song of
Speed,†and John
Gillespie Magee,
Jr.’s “High
Flight,†each of
which celebrates a new
milestone in
technological
achievement. In
“Binsey
Poplars,†Gerard
Manley Hopkins takes note
of the effect that these
advances are having on
the planet, with trees
being brought down and
landscapes forever
changed. Percy Bysshe
Shelley’s “A
Dirge†concludes
Part II with a warning
that the planet is
beginning to sound a
grave alarm.Part III:
Searching for Balance
questions how we can
create more awareness for
our planet’s
plight, re-establish a
deeper connection to it,
and find a balance for
living within our
planet’s
resources. Three texts
continue the
earth’s plea that
ended the previous
section: Lord
Byron’s
“Darknessâ€
speaks of a natural
disaster (a volcano) that
has blotted out the sun
from humanity and the
panic that ensues;
contemporary poet Esther
Iverem’s
“Earth
Screaming†gives
voice to the modern
issues of our changing
climate; and William
Wordsworth’s
“The World Is Too
Much With Us†warns
us that we are almost out
of time to change our
course.
Contemporary/agrarian
poet Wendell
Berry’s “The
Want of Peaceâ€
speaks to us at the
climax of the oratorio,
reminding us that we can
find harmony with the
planet if we choose to
live more simply, and to
recall that we ourselves
came from the earth. Two
Walt Whitman texts
(“A Child said,
What is the grass?â€
and “There was a
child went forth every
dayâ€) echo
Berry’s thoughts,
reminding us that we are
of the earth, as is
everything that we see on
our planet. The oratorio
concludes with a reprise
of Whitman’s
“A Blade of
Grass†from Part I,
this time interspersed
with an additional
Whitman text that
sublimely states,
“I bequeath myself
to the dirt to grow from
the grass I
love…â€My hope
in writing this oratorio
is to invite audience
members to consider how
we interact with our
planet, and what we can
each personally do to
keep the planet going for
future generations. We
are the only stewards
Earth has; what can we
each do to leave her in
better shape than we
found her?
From Terra Nostra.
Composed by Stacy Garrop.
Set of Score and Parts.
Duration 3:15. Theodore
Presser Company
#312-41902A. Published by
Theodore Presser Company
(PR.31241902A).
UPC:
680160690510.
English.
Commission
ed by the San Francisco
Choral Society and the
Piedmont East Bay
Children’s Choir,
Terra Nostra is a
70-minute oratorio on the
relationship between our
planet and humankind, how
this relationship has
shifted over time, and
how we can re-establish a
harmonious balance. Part
I: Creation of the World
explores various creation
myths from different
cultures, culminating in
a joyous celebration of
the beauty of our planet.
Part II: The Rise of
Humanity examines human
achievements,
particularly since the
dawn of our Industrial
Age, and how these
achievements have
impacted the planet. Part
III: Searching for
Balance questions how to
create more awareness for
our planet’s
plight, re-establish a
deeper connection to it,
and find a balance for
living within our
planet’s
resources. In addition to
the complete oratorio,
stand-alone movements for
mixed chorus, and for
solo voice with piano,
are also available
separately. Terra
Nostra focuses on the
relationship between our
planet and mankind, how
this relationship has
shifted over time, and
how we can re-establish a
harmonious balance. The
oratorio is divided into
three parts:Part I:
Creation of the World
celebrates the birth and
beauty of our planet. The
oratorio begins with
creation myths from
India, North America, and
Egypt that are integrated
into the opening lines of
Genesis from the Old
Testament. The music
surges forth from these
creation stories into
“God’s
World†by Edna St.
Vincent Millay, which
describes the world in
exuberant and vivid
detail. Percy Bysshe
Shelley’s
“On thine own
child†praises
Mother Earth for her role
bringing forth all life,
while Walt Whitman sings
a love song to the planet
in “Smile O
voluptuous cool-breathed
earth!†Part I ends
with “A Blade of
Grass†in which
Whitman muses how our
planet has been spinning
in the heavens for a very
long time.Part II: The
Rise of Humanity examines
the achievements of
mankind, particularly
since the dawn of the
Industrial Age. Lord
Alfred Tennyson’s
“Locksley
Hall†sets an
auspicious tone that
mankind is on the verge
of great discoveries.
This is followed in short
order by Charles
Mackay’s
“Railways
1846,†William
Ernest Henley’s
“A Song of
Speed,†and John
Gillespie Magee,
Jr.’s “High
Flight,†each of
which celebrates a new
milestone in
technological
achievement. In
“Binsey
Poplars,†Gerard
Manley Hopkins takes note
of the effect that these
advances are having on
the planet, with trees
being brought down and
landscapes forever
changed. Percy Bysshe
Shelley’s “A
Dirge†concludes
Part II with a warning
that the planet is
beginning to sound a
grave alarm.Part III:
Searching for Balance
questions how we can
create more awareness for
our planet’s
plight, re-establish a
deeper connection to it,
and find a balance for
living within our
planet’s
resources. Three texts
continue the
earth’s plea that
ended the previous
section: Lord
Byron’s
“Darknessâ€
speaks of a natural
disaster (a volcano) that
has blotted out the sun
from humanity and the
panic that ensues;
contemporary poet Esther
Iverem’s
“Earth
Screaming†gives
voice to the modern
issues of our changing
climate; and William
Wordsworth’s
“The World Is Too
Much With Us†warns
us that we are almost out
of time to change our
course.
Contemporary/agrarian
poet Wendell
Berry’s “The
Want of Peaceâ€
speaks to us at the
climax of the oratorio,
reminding us that we can
find harmony with the
planet if we choose to
live more simply, and to
recall that we ourselves
came from the earth. Two
Walt Whitman texts
(“A Child said,
What is the grass?â€
and “There was a
child went forth every
dayâ€) echo
Berry’s thoughts,
reminding us that we are
of the earth, as is
everything that we see on
our planet. The oratorio
concludes with a reprise
of Whitman’s
“A Blade of
Grass†from Part I,
this time interspersed
with an additional
Whitman text that
sublimely states,
“I bequeath myself
to the dirt to grow from
the grass I
love…â€My hope
in writing this oratorio
is to invite audience
members to consider how
we interact with our
planet, and what we can
each personally do to
keep the planet going for
future generations. We
are the only stewards
Earth has; what can we
each do to leave her in
better shape than we
found her?
Groove Mastery Basse electrique [Partition + CD] Musicians Institute
The Bassist's Guide to Time, Feel, and Rhythm. Musicians Institute Press (Instru...(+)
The Bassist's Guide to
Time, Feel, and Rhythm.
Musicians Institute Press
(Instruction taken from
the curriculum of MI).
Softcover with CD. With
notes and tablature. Size
9x12 inches. 56 pages.
Published by Musicians
Institute Press.
Chamber Music Flute(s) SKU: PR.144407290 Composed by Ali Ryerson. Perform...(+)
Chamber Music Flute(s)
SKU: PR.144407290
Composed by Ali Ryerson.
Performance Score. 4
pages. Duration 4
minutes. Theodore Presser
Company #144-40729.
Published by Theodore
Presser Company
(PR.144407290).
ISBN
9781491135150. UPC:
680160687008.
Jazz
luminary Ali Ryerson
traces a unique and
personal artistic path in
this solo work. With an
engaging form reminiscent
of jazz charts (a dreamy
introduction, a catchy,
swinging head, and
improvisatory-feeling
12-bar choruses),
Ryerson’s music
pays deeply-felt homage
to Charlie Parker and
other jazz greats, while
maintaining an organic
connection to the lineage
of unaccompanied woodwind
music in the classical
tradition. Classical
players will gain insight
into jazz harmony,
rhythm, and expression as
they learn this knockout
recital piece, while
Ryerson fans in the jazz
world gain an image of
her musical mind in this
fully-notated
composition. Jazz
Dream, a jazz-inspired
solo flute piece, was
commissioned by Claudia
Anderson for her Glass
Ceilings project. Claudia
once told me that playing
jazz flute has been one
of her musical ambitions.
I daresay her performance
of JD could very well
break a glass ceiling of
her own!Moved by the
events of 2020, composing
Jazz Dream became my way
of honoring my musical
heroes from the Black
community, namely the
jazz musicians who
created this music and
truly broke glass
ceilings. As jazz shares
its origins with the
blues, both genres having
originated in the
African-American
community, I decided on a
12-bar blues form as the
framework for the
piece.The opening theme
gently draws us into a
dream-like state, with a
melody in slow motion and
lines that linger. When
the REM cycle kicks into
gear, there’s an
abrupt rhythmic shift
that leads straight into
a swingin’ blues.
Idiomatic jazz rhythms
abound, with blue notes
galore – the
tension notes that
virtually define the
sound of both the blues
and jazz (i.e. the
flatted third, fifth, and
seventh notes of a scale
in place of the expected
major intervals).After
several groovin’
choruses of a 12-bar
blues in B(, often played
as if the soloist is
improvising, the blues
modulates to the key of
E(, and as a tribute to
the great Charlie Parker
(AKA Bird), I
harmonically suggest the
more complex set of bebop
changes that Parker
introduced in his
composition, Blues for
Alice. Often referred to
as Bird Changes or Bird
Blues, instead of the
basic I - IV – V
chord progression
commonly used in the
blues, Parker used a
series of sequential ii-V
progressions (and
secondary ii-V
progressions). With the
addition of some tritone
substitutions, a
chromatically descending
bass line deftly replaces
the original I-IV-V root
movement. This is the
harmonic background I was
hearing as I wrote this
particular chorus.After
my 12-bar nod to
Bird’s changes,
the introductory dream
theme returns, now in
tempo and with a
straight-ahead swing
feel. Variations on this
theme follow, again to be
played as if improvising,
with the soloist once
again bringing their own
personality into the
performance. This section
builds to a climax, the
music pauses, then
modulates to C, with a
return to the original
blues theme. The energy
and groove increase
through the final
flourish, where a blues
line ends on the
idiomatic flatted
fifth.
Country Hits Ligne De Mélodie, Paroles et Accords [Partition] Amsco Wise Publications
The Gig Book. By Adrian Hopkins_Tom Farncombe. The Gig Book. Country. Book Only....(+)
The Gig Book. By Adrian
Hopkins_Tom Farncombe.
The Gig Book. Country.
Book Only. 274 pages.
Wise Publications
#MUSAM997502. Published
by Wise Publications