| Hebrew Children (from Southern Harmony) Chorale Peters
By Duckworth. For SAATTB a cappella. (eng). Duration ca.4'. Published by C.F. Pe...(+)
By Duckworth. For SAATTB
a cappella. (eng).
Duration ca.4'. Published
by C.F. Peters.
$6.50 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| The Hills Are Bare At Bethlehem Chorale SATB SATB, Piano [Octavo] - Intermédiaire Hinshaw Music Inc.
(from Southern Harmony, 1835). Arranged by Neil Harmon. For SATB choir, harp...(+)
(from Southern Harmony,
1835).
Arranged by Neil Harmon.
For
SATB choir, harp, flute,
clarinet, bassoon (Piano
or
Harp, Flute, Clarinet and
Bassoon). Advent and
Christmas. Main Key: A
Flat
Major. Christmas, Concert
and
Sacred. Difficulty:
Medium
(Adult). Published by
Hinshaw
Music Inc.
$2.15 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| What Wondrous Love Is This Chorale SATB SATB, Piano Lorenz Publishing Company
SATB choir, piano SKU: LO.10-5562L Composed by Lloyd Larson. Choral. Sacr...(+)
SATB choir, piano SKU:
LO.10-5562L Composed
by Lloyd Larson. Choral.
Sacred Anthem, General,
Holy Week, Lent. Octavo.
Lorenz Publishing Company
#10/5562L. Published by
Lorenz Publishing Company
(LO.10-5562L). ISBN
9780787773731. Base
d on the Appalachian Folk
Hymn from Southern
Harmony with new music,
What Wondrous Love
showcases the sacrifice
Christ made on the cross.
This emotive arrangement
features a descending
melodic figure in the
piano accompaniment that
paints the recurring
portion of the text When
I was sinking down. This
anthem is a blend of
despair of Christ's death
and the hope of the
resurrection. $2.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| A Sacred Suite Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire C. Alan Publications
By Brant Karrick. For Concert Band (Piccolo, Flute 1/2, Oboe, Bassoon, Clarinet ...(+)
By Brant Karrick. For
Concert Band (Piccolo,
Flute 1/2, Oboe, Bassoon,
Clarinet in Bb 1/2,
Clarinet in Bb 3, Bass
Clarinet, Alto Saxophone
1/2, Tenor Saxophone,
Baritone Saxophone,
Trumpet in Bb 1, Trumpet
in Bb 2/3, Horn in F 1/2,
Trombone 1, Trombone 2/3,
Euphonium, (Baritone
T.C.), Tuba,). Band
Music. Pioneer Band
Series. Grade 3. Score
and parts. Duration 7:20.
Published by C. Alan
Publications
$75.00 $71.25 (- 5%) Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Capriccio, Op 170 Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire Southern Music Ltd
Score and Parts Concert Band - Grade 3 SKU: HL.1455257 For Concert Ban...(+)
Score and Parts Concert
Band - Grade 3 SKU:
HL.1455257 For
Concert Band.
Composed by James Barnes.
Southern Music Band.
Concert. Softcover.
Duration 300 seconds.
Southern Music Company
#S1029CB. Published by
Southern Music Company
(HL.1455257). UPC:
196288209331.
9.0x12.0x0.949
inches. Capriccio
is the third composition
by James Barnes that
resulted from a
commission by the Zushi
High School Alumni Band
in Kanagawa Prefecture,
Japan. It is a
light-hearted, happy
piece in rondo form, full
of bell tones in the
brass, accompanied by
jazzy harmony, long
melodic lines and lots of
counterpoint in the
woodwinds. $95.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Capriccio, Op 170 (Full Score) Orchestre d'harmonie [Conducteur] - Intermédiaire Southern Music Ltd
Concert Band (Score) - Grade 3 SKU: HL.1455258 For Concert Band. C...(+)
Concert Band (Score) -
Grade 3 SKU:
HL.1455258 For
Concert Band.
Composed by James Barnes.
Southern Music. Concert.
Softcover. 45 pages.
Duration 300 seconds.
Southern Music Company
#S1029FS. Published by
Southern Music Company
(HL.1455258). ISBN
9781638878186. UPC:
196288209348.
9.0x12.0x0.332
inches. Capriccio
is the third composition
by James Barnes that
resulted from a
commission by the Zushi
High School Alumni Band
in Kanagawa Prefecture,
Japan. It is a
light-hearted, happy
piece in rondo form, full
of bell tones in the
brass, accompanied by
jazzy harmony, long
melodic lines and lots of
counterpoint in the
woodwinds. $15.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Amazing Grace Orchestre d'harmonie [Conducteur] - Intermédiaire Manhattan Beach Music
By Frank Ticheli. Concert band. Suitable for advanced middle school, high school...(+)
By Frank Ticheli. Concert
band. Suitable for
advanced middle school,
high school, community
and college bands. Level:
Grade 3. Conductor Full
Score. Duration 6:00.
Published by Manhattan
Beach Music.
(2)$22.50 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Amazing Grace Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire Manhattan Beach Music
By Frank Ticheli. Concert band. Suitable for advanced middle school, high school...(+)
By Frank Ticheli. Concert
band. Suitable for
advanced middle school,
high school, community
and college bands. Level:
Grade 3. Conductor score
and set of parts.
Duration 6:00. Published
by Manhattan Beach Music.
$150.00 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Grooves for Electric Bass Basse electrique [Partition + CD] Musicians Institute
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.
$16.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Chord-Melody Guitar Guitare notes et tablatures [Partition + CD] Musicians Institute
A Guide to Combining Chords and Melody to Create Solo Arrangements in Jazz and P...(+)
A Guide to Combining
Chords and Melody to
Create Solo Arrangements
in Jazz and Pop Styles.
By Bruce Buckingham.
Musicians Institute Press
(Instruction taken from
the curriculum of MI).
Softcover with CD. With
notes and tablature. 64
pages. Published by
Musicians Institute
Press.
(1)$24.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Hark1 I Hear the Harps Eternal Chorale TTBB TTBB [Octavo] - Intermédiaire MorningStar Music Publishers
By Craig Carnahan. For TTBB choir, a cappella. Luther College Music Series. ...(+)
By Craig Carnahan. For
TTBB
choir, a cappella. Luther
College Music Series.
Hope/Assurance, All
Saints/All
Souls. Moderately
difficult.
Octavo. 11 pages.
Published by
MorningStar Music
Publishers
$2.65 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Wayfaring Stranger Chorale 3 parties SAB, Piano Hal Leonard
Arranged by Roger Emerson. Voices in Harmony. Concert, Festival, Folk. Octavo....(+)
Arranged by Roger
Emerson.
Voices in Harmony.
Concert,
Festival, Folk. Octavo.
Duration 150 seconds.
Published by Hal Leonard
$2.60 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| I Will Arise Chorale SATB SATB A Cappella [Octavo] - Intermédiaire MorningStar Music Publishers
By Kenneth Dake. For SATB choir, a cappella. Hope/Assurance. Medium. Octav...(+)
By Kenneth Dake. For SATB
choir, a cappella.
Hope/Assurance. Medium.
Octavo. 8 pages.
Published by
MorningStar Music
Publishers
$2.25 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Come, Ye Sinners, Poor and Needy - Performance/Accompaniment CD CD Chorale Lorenz Publishing Company
SKU: LO.99-3847L Composed by Bryan Sharpe. Choral. Sacred Anthem, General...(+)
SKU: LO.99-3847L
Composed by Bryan Sharpe.
Choral. Sacred Anthem,
General, Lent.
Performance/accompaniment
CD. Lorenz Publishing
Company #99/3847L.
Published by Lorenz
Publishing Company
(LO.99-3847L). UPC:
000308149494. Perfo
rmance/accompaniment CD
for “Come, Ye
Sinners, Poor and
Needy†(10/5109L)
The a cappella setting of
the nineteenth-century
tune RESTORATION from
William Walker’s
Southern Harmony is
arranged in an early
American style with
creative vocal textures
and a vocal solo.
Optional percussion parts
are offered to assist in
driving the rhythmic
energy. $29.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| And Let Our Joys Be Known Chorale SATB Fred Bock Music Company
Choral (SATB) SKU: HL.1436082 Composed by Benjamin Harlan. Fred Bock Publ...(+)
Choral (SATB) SKU:
HL.1436082 Composed
by Benjamin Harlan. Fred
Bock Publications.
Octavo. Fred Bock Music
Company #BG2704.
Published by Fred Bock
Music Company
(HL.1436082). UPC:
196288203834. This
combination pairs a text
by one of our greatest
hymn writers, Isaac Watts
(who was a contemporary
of Bach and Handel) with
a spirited tune from
William Walker's Southern
Harmony, an 1835
shaped-note tune book
which included many hymns
which have since become
part of our hymnological
canon, including
“What Wondrous Love
is This†(WONDROUS
LOVE) and
“Brethren, We Have
Met to Worshipâ€
(HOLY MANNA). Energy and
rhythmic precision will
delight singers and
listeners alike. $2.95 - Voir plus => Acheter | | |
| Tune My Heart Orgue - Intermédiaire Lorenz Publishing Company
Composed by David Kidwell. Sacred. Lorenz Publishing Company #70/2140L. Publis...(+)
Composed by David
Kidwell.
Sacred. Lorenz Publishing
Company #70/2140L.
Published
by Lorenz Publishing
Company
$33.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Hymns from the Southern Harmony 2 Violons, Piano - Facile Latham Music Enterprises
Violin Duet and Piano with optional Viola and Cello - Grade 2.5 SKU: AP.36-52...(+)
Violin Duet and Piano
with optional Viola and
Cello - Grade 2.5 SKU:
AP.36-52711464
Composed by Catherine
McMichael. Duet or Duo;
Performance Music
Ensemble; Violin Duet.
Ludwig Masters. Sacred.
Score. Latham Music
Enterprises #36-52711464.
Published by Latham Music
Enterprises
(AP.36-52711464). UPC:
679360786093.
English. Lyrically
beautiful settings of
these historically rich
tunes, most with an open
modal sound. Violin 1 is
at the intermediate
level, Violin 2 is
slightly more advanced,
and the piano part is
moderately difficult.
What Wondrous Love, My
Shepherd Will Supply My
Need, Rock of Ages, Holy
Manna, Come Ye Sinners,
Christian's Farewell and
Bozrah. Piano part is
optional.
These products
are currently being
prepared by a new
publisher. While many
items are ready and will
ship on time, some others
may see delays of several
months. $21.95 - Voir plus => Acheter | | |
| What Wondrous Love Is This Chorale 3 parties SAB Fred Bock Music Company
Choral (SAB) SKU: HL.319779 Arranged by Tim Sharp and Wes Ramsay. Fred Bo...(+)
Choral (SAB) SKU:
HL.319779 Arranged by
Tim Sharp and Wes Ramsay.
Fred Bock Publications.
General Worship, Sacred,
Traditional. Octavo. 12
pages. Fred Bock Music
Company #BG2678.
Published by Fred Bock
Music Company
(HL.319779). UPC:
888680972806.
6.75x10.5x0.029
inches. ACDA
Executive Director, Tim
Sharp, and famed
Nashville composer Wes
Ramsay joined forces to
create a new and powerful
anthem using the words
from one of Southern
Harmony's best-loved
texts. A striking piano
part opens the piece
reminiscent of one of
Grieg's Holberg Suites,
that gives way to a
flowing melody. Communion
or Lent, medium in
difficulty. $2.55 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Come, Ye Sinners, Poor and Needy Chorale SATB SATB A Cappella Lorenz Publishing Company
Composed by Bryan Sharpe. Choral. Sacred Anthem, General, Lent. Octavo. Lorenz...(+)
Composed by Bryan Sharpe.
Choral. Sacred Anthem,
General, Lent. Octavo.
Lorenz Publishing Company
#10/5109L. Published by
Lorenz Publishing Company
(LO.10-5109L).
$2.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| What Wondrous Love Is This Chorale SATB SATB, Cordes Fred Bock Music Company
Arranged by Tim Sharp, Wes Ramsey. Fred Bock Publications. Octavo. 12 pages. Fre...(+)
Arranged by Tim Sharp,
Wes Ramsey. Fred Bock
Publications. Octavo. 12
pages. Fred Bock Music
Company #BG2644.
Published by Fred Bock
Music Company
(HL.254399).
$2.45 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Hail to the Lord's Anointed Chorale SATB SATB, Orgue [Octavo] Schirmer
By Austin C. Lovelace. For SATB choir and Organ. Based on the folk hymn from Wil...(+)
By Austin C. Lovelace.
For SATB choir and Organ.
Based on the folk hymn
from William Walker's
Southern Harmony. Sacred,
Christian. Octavo.
Composed 2007. 4 pages.
Duration 2 minutes
$1.55 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| What Wondrous Love Is This Chorale SATB SATB divisi, A Cappella - Intermédiaire MorningStar Music Publishers
By Matthew Culloton. For SATB choir divisi, a cappella. Lent. Medium. Published ...(+)
By Matthew Culloton. For
SATB choir divisi, a
cappella. Lent. Medium.
Published by MorningStar
Music Publishers
$2.65 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Hark! I Hear the Harps Eternal: Hark, I Hear the Harps Resounding Chorale SSAA SSAA A Cappella - Intermédiaire MorningStar Music Publishers
SSAA choir (a cappella) - Intermediate SKU: MN.50-3092 Composed by Craig ...(+)
SSAA choir (a cappella) -
Intermediate SKU:
MN.50-3092 Composed
by Craig Carnahan. All
Saints/All Souls, Advent,
21st Century, Heaven,
Hope/Assurance.
MorningStar Music
Publishers #50-3092.
Published by MorningStar
Music Publishers
(MN.50-3092). UPC:
688670530920.
English. A setting
for SSAA voices of the
early-American tune
INVITATION from William
Walker's Southern
Harmony. This energetic
and pleasing setting
features a double text
option: one that is
appropriate for Advent
using the text Comfort,
Comfort Now My People and
the other, more widely
known version for general
use. $2.65 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Harmony and Theory Guitare [DVD] Hal Leonard
(Essential Guitar Pure Theory - Basics). By Danny Gill. Guitar. Lick Library. DV...(+)
(Essential Guitar Pure
Theory - Basics). By
Danny Gill. Guitar. Lick
Library. DVD. Hal Leonard
#RDR0242. Published by
Hal Leonard
$19.95 - 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 | | |
| Wiregrass March - Intermédiaire Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Crash Cym...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Bells,
Clarinet 1, Clarinet 2,
Crash Cymbals, Euphonium,
Euphonium T.C., Flute,
Horn 1, Horn 2, Mallet
Percussion, Oboe,
Percussion 1, Percussion
2, Snare Drum, Trombone
1, Trombone 2, Trumpet 1,
Trumpet 2 and more. -
Grade 3 SKU:
CF.CPS238F Composed
by R. Alan Carter. Sws.
Cps. Full score. 16
pages. Duration 2:20.
Carl Fischer Music
#CPS238F. Published by
Carl Fischer Music
(CF.CPS238F). ISBN
9781491158173. UPC:
680160916771. 9 x 12
inches. Wiregrass
March was written to
celebrate the southern
portion of Georgia and
Alabama known as
Wiregrass Country,
because of the type of
grass that grows in this
sandy soil. This march is
written in the
traditional style of
Henry Fillmore. After a
short introduction, the
first strain has a light,
happy melody with a
simple flourish from the
low brass. The second
strain is highlighted by
chromatic harmony to add
depth. The new melodic
content introduced by the
low clarinets and
euphonium first time
through the trio add to
the beauty of this march.
This is followed by a
flourish of brass to the
end. Wiregrass March
was written to celebrate
the southern portion
ofGeorgia and Alabama
known as Wiregrass
Country, because of
thetype of grass that
grows in this sandy soil.
This march is written
inthe traditional style
of Henry Fillmore. After
a short introduction,
thefirst strain has a
light, happy melody with
a simple flourish from
thelow brass. The second
strain is highlighted by
chromatic harmony toadd
depth. The new melodic
content introduced by the
low clarinetsand
euphonium first time
through the trio add to
the beauty of thismarch.
This is followed by a
flourish of brass to the
end. $14.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
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