Score Only Concert Band (Score) - Grade 4 SKU: HL.4006619 Composed by Pau...(+)
Score Only Concert Band
(Score) - Grade 4
SKU:
HL.4006619
Composed
by Paul Murtha.
MusicWorks Grade 4.
Contest, Festival.
Softcover. 36 pages.
Duration 850 seconds.
Published by Hal Leonard
(HL.4006619).
UPC:
840126923285.
9.0x12.0x0.109
inches.
Inspired by
the legend of a mythical
ancient kingdom (in
present day South
Carolina), The Land
Called Chicora is a
programmatic work telling
of the 16th century
Spanish and French
explorers in search of
this treasured
civilization. With
descriptive scenes
ranging from the majestic
sailing ships along the
coast, to the foreboding
forests of the interior,
to the impending
treachery of the natives'
threatened way of life,
this impressive work is
both magical and
rewarding.
Advanced SKU: LM.29521 Pour guitare electricque, saxophone, piano et p...(+)
Advanced
SKU:
LM.29521
Pour
guitare electricque,
saxophone, piano et
percussion. Composed
by Hugues Dufourt.
Ensemble Music. Score.
Editions Henry Lemoine
#29521. Published by
Editions Henry Lemoine
(LM.29521).
ISBN
9790230995214. 9 x 12
inches.
Francais.
La
partition qui s'inspire
de L'Atelier rouge et lui
emprunte son titre est
une commande de
l'ensemble Nikel auquel
elle est dediee. Ecrite
pour saxophone, guitare
electrique, percussion et
piano, la piece evolue au
travers d'associations
insolites de timbres :
multiphoniques de
saxophones, waterphone
amplifie, dispositif de
production de bruit a la
guitare, sons tires de
l'interieur du piano. Les
formes du discours
traditionnel sont ainsi
soumises a l'action
deformantes des milieux
et s'absorbent dans une
autre logique, celle de
la tension pure. Hugues
Dufourt.
Piano (Piano) SKU: HL.50583871 Methode D'Improvisation Piano, claviers...(+)
Piano (Piano)
SKU:
HL.50583871
Methode
D'Improvisation Piano,
claviers et tous
instruments
polyphoniques.
Composed by Jean-Michel
Arnaud. Salabert. Method.
Book Only. Composed 2002.
Editions Salabert
#SLB2874. Published by
Editions Salabert
(HL.50583871).
International (more
than one
language).
Trilingu
al method (French,
English, German). Musical
constructions to
improvise on piano,
keyboards and other
polyphonic instruments.
Your creation will be
based on ten symbols
(widespread chords and
chords in close position,
ascending and descending
movements, loops, and so
on). Within a given
symbol, you are free to
choose absolutely any
note(s) you want. The
most important thing is
to gain experience
through playing,
following the
explanations as they
occur throughout the
book. Each student will
be able to develop
individually, creating
his or her own palettes
and plans for building
blocks, also making use
of traditional harmonies
if they have been
mastered in themeantime.
Dreisprachige
Verfahren (Franzosische,
Englisch, Deutsch). Dazu
benutzen Sie 10 Symbole
(breiter Akkord, enger
Akkord, aufsteigende
Linie, absteigende Linie,
Zyklus oder Schleide
usw.). Innerhalb dieser
Symbole konnen die Noten
frei gewahlt werden. Am
wichtigsten ist bei allem
die Praxis. Die
Erlauterungen zu den
einzelnen Ubungen werden
verstandlicher bei der
Arbeit auf der Tastatur.
Jeder kann den ihm
eigenen Weg gehen, seine
eigenen Farbpaletten und
Klang-Ebenen erzeugen,
indem er die
traditionellen Harmonien
verwendet, die er
vielleicht inzwischen zu
beherrschen gelernt
hat.
Methode
trilingue (francais,
anglais, allemande) .
Constructions pour
improviser au piano, aux
claviers et tous
instruments
polyphoniques. Votre
creation / recreation
sera basee sur 10
symboles (accords larges,
etroits, montees,
descentes, boucles,
etc.). A l'interieur d'un
symbole, la liberte du
choix des notes sera
totale. L'important, dans
votre travail, sera de
pratiquer. Les
explications donnees se
comprendront plus
facilement pendant le
travail sur le clavier.
Chaucun pourra suivre une
evolution personalisee,
en creant ses palettes,
ses plans de
constructions sonores, en
utilisant, le materiau
harmonique traditionnel
s'il a ete maitrise
entre-temps.
Orchestra (Study Score) SKU: HL.49046988 Lyric Trilogy After Maurice M...(+)
Orchestra (Study Score)
SKU: HL.49046988
Lyric Trilogy After
Maurice Maeterlinck Study
Score, French.
Composed by Aribert
Reimann. Edition Schott.
Classical. Softcover. 280
pages. Duration 5400
seconds. Schott Music
#ED23491. Published by
Schott Music
(HL.49046988).
ISBN
9781705174333. UPC:
842819115281.
8.25x11.75x0.695
inches.
SYNOPSIS
Aribert Reimann's
'Trilogie lyrique' is
based on three plays by
Maurice Maeterlinck: In
L'Intruse, a family is
sitting at the table with
their blind grandfather.
They are waiting for the
doctor to arrive and tend
to his daughter who is
lying ill in bed after
having given birth: her
new-born son has not yet
made a single sound. The
old man senses that
something is wrong due to
the uneasy atmosphere in
the room. Who is sitting
in our midst? he asks. He
is the only one who
cansee the presence of
death. Interieur: Once
again a family is
gathered round the table
in the evening, but this
time we observe the
action from outside,
looking through the
window with the
grandfather and a
stranger: no sound can be
heard. Outside the house,
the stranger reports that
the eldest daughter has
drowned and that he has
pulled her out of the
river. Although the
corpse is already being
carried through the
village to the family,
the grandfather cannot
bring himself to destroy
this idyll. La Mort de
Tintagiles: The young
Tintagiles is told a
story about a mysterious
castle and the aged queen
who has all potential
heirsto the throne
murdered. His siblings
sense that Tintagiles has
been summoned to the
castle to be murdered,
but nobody openly
expresses this fact. It
is the sinister
messengers of death from
the interludes, now
visible as the queens
servants, who ful?l her
demand and snatch the
sleeping boy from his
sisters'arms. Commentary
'In comparison with his
Medea for example with
its stormy outbreaks of
emotion and violence,
Reimann's score is worked
in an impressive
refinement of sound. It
begins with rumbling,
hesitating and expressive
music in the first
section, demanding highly
ingenious sound effects
from the lower strings
including tapping and
faltering glissandos in
its noisy expression of
mortal fear. Inthe second
part, the woodwind
formation plays at times
almost in chamber music
fashion and is then
suddenly painfully
shrill. The third part
luxuriates and rages in
its rich, full
orchestration. The manner
in which Reimann displays
his mastery in textural
shading, the invention of
sounds welling up and
fading away, the rhythmic
and melodic capacity of
suffering and the music's
inner violence are all
utterly
compelling.'(Wolfgang
Schreiber, Opernwelt,
November 2017).
SKU: HL.392385 For Dreadnought Guitars. Gator Cases. Fretted Instr...(+)
SKU: HL.392385
For Dreadnought
Guitars. Gator Cases.
Fretted Instrument
Accessories. Duration 210
seconds. Gator Cases
#GC-DREAD. Published by
Gator Cases (HL.392385).
UPC: 716408500126.
7.0x43.5x18.5
inches.
The
GC-DREAD is a hard-shell
molded case built to
protect your dreadnought
acoustic guitar from
harm. Constructed with
impact-resistant ABS
plastic and outiftted
with heavy-duty aluminum
edging and lockable
latches, storing your
instrument has never been
more secure. An EPS foam
interior has been
carefully contoured to
the curves of your guitar
and is generously padded
with deep plus lining to
keep your guitar looking
as good as new. Whether
you're on the road or
right at home, the
GC-DREAD guitar case is a
must-have.
I The sun, the sea - II The earth: her dance - III Clouds, winds, skies. Comp...(+)
I The sun, the sea - II
The
earth: her dance - III
Clouds, winds, skies.
Composed by Christian
Mason.
Breitkopf and Haertel #EB
9334. Published by
Breitkopf
and Haertel
Trio (clar,va,perc) SKU: BR.EB-9414 Composed by Helmut Lachenmann. Chambe...(+)
Trio (clar,va,perc)
SKU: BR.EB-9414
Composed by Helmut
Lachenmann. Chamber
music; stapled. Edition
Breitkopf. World
premiere: Munich, March
5, 1968EB 9414 will be
published in June 2021.
Music post-1945; New
music (post-2000).
Performance score.
Composed 1966. 24 pages.
Duration 16'. Breitkopf
and Haertel #EB 9414.
Published by Breitkopf
and Haertel (BR.EB-9414).
ISBN 9790004188880.
10.5 x 14
inches.
Das Stuck
stellt fur mich einen von
verschiedenen Versuchen
dar, aus einem streng
punktuellen Musikdenken
herauszufinden, mit dem
ich mich seit meinem
Studium bei Luigi Nono
identifiziert hatte und
dem ich auf meine eigene
Weise treu zu bleiben
entschlossen war,
besonders in jener Zeit,
als sich die sogenannte
Avantgarde mehr und mehr
auf surrealistische
Kompromisse mit der
burgerlichen
Bequemlichkeit
einzulassen schien. Die
Besetzung - Klarinette,
Bratsche und Schlagzeug
(Marimbaphon mit
Almglocken, Becken, Pauke
und Bongos) -
gewahrleistete eine
homogene Ausgangsbasis
der instrumentalen
Mittel, von wo aus
einerseits eine Art
Klang-Gestik - das heisst
enger oder weiter
verzweigte
Tonfigurationen - sich
entwickeln liess, wahrend
andererseits die
Klangdifferenzierung nach
innen weiter getrieben
werden konnte bis hinein
in die bewusstgemachte
Anatomie des entstehenden
(geblasenen,
geschlagenen, geriebenen,
gestrichenen, gezupften,
getupften usw.) Tones.
Zwischen diesen beiden
Gegensatzen -
Verflussigung des
punktuell Gedachten hier
und seiner Versteinerung
beziehungsweise inneren
Aufbrechung, Offnung dort
- bewegt sich diese
Musik: Gegensatze, die
ich in spateren Werken
bis in radikale Extreme
weitergetrieben habe,
wahrend hier das Ganze
noch einem eher
abstrakt-spielerischen
Gesamtcharakter
verpflichtet bleibt.
(Helmut Lachenmann, 1989)
Trio fluido , noch vor
dem Schlagzeugsolostuck
Interieur I, meinem Opus
1, entstanden, gehort
einer Schaffensphase an,
die noch streng
strukturalistisch gepragt
war, in der also
ausschliesslich am
akustischen Material
orientierte Beziehungen
und Entwicklungen
kompositorisch gesteuert
wurden. Was immer in
diesem Stuck an
Spielerischem einerseits,
an Verfremdung und
Klangzersetzung
andererseits zu finden
ist, ergab sich aus der
Anwendung von solchen
immanent orientierten
Gesetzmassigkeiten, war
also nirgends Gegenstand
von expressiver
Spekulation. Formal hat
man es mit einer vielfach
gebrochenen, aber
insgesamt zugleich
steigenden und fallenden
Kurve zu tun: Auf dem
Hintergrund scheinbar
lose aufgereihter
Abschnitte kehren sich
mehr und mehr extreme
Materialeigenschaften
hervor, schliessen sich
zusammen, bewirken
insgesamt eine
Zuspitzung, die umschlagt
in den Kontrast eines
statischen, durch innere
Fluktuationen belebten
Feldes. Dieses zerfasert
sich seinerseits bis zum
Schluss, wobei hinter den
Tonfiguren die
Gerauschkomponenten,
hinter diesen die
Erfahrung von der
korperlichen
Beschaffenheit des
klingenden Stoffes und
dahinter die auf solche
Weise entleerte Zeit
freigelegt,
bewusstgemacht und in den
musikalischen
Zusammenhang
eingegliedert wird.
Strukturelles Musizieren:
Das ist eine paradoxe
Vorstellung. In Trio
fluido entdeckt und nutzt
die Musik selbst diesen
Widerspruch. Mit der
zunehmenden Auflosung
(und zugleich der
instrumentaltechnischen
Ausuferung im Schlagzeug)
schalen sich jene andere
Materialwahrnehmung und
daran gebundene
Expressivitat heraus, die
in meinen spateren
Werken, zuerst in temA,
Air und Klangschatten
Ausgangshaltung
bedeuteten, um die
Reflexion der Bedingungen
des Horens und
Musizierens ins Horen
selbst mit einzubeziehen.
(Helmut Lachenmann, 1993)
CD: Uwe Mockel, Barbara
Maurer, Christian
Dierstein CD Montaigne
Auvidis MO 782023
Bibliography: Brunner ,
Eduard: krawall im saal.
Eduard Brunner uber seine
Erfahrungen mit der Musik
von Helmut Lachenmann und
die Zusammenarbeit mit
dem Komponisten, in: Neue
Zeitschrift fur Musik 167
(2006), Heft 1, p.
32f.
Piano Solo - advanced SKU: FD.FD0437 Composed by Gualtiero Dazzi. Clavier...(+)
Piano Solo - advanced
SKU: FD.FD0437
Composed by Gualtiero
Dazzi. Claviers. Carnets
du 21e Siecle. Score.
Duration 1-3 minutes.
Editions Francois
Dhalmann #FD0437.
Published by Editions
Francois Dhalmann
(FD.FD0437).
ISBN
9790560244372.
Part
ition pour piano solo.
Claudio Abbado, alors
directeur musical de La
Scala de Milan, a ete une
figure centrale de la vie
musicale et culturelle de
ma ville natale pendant
toute ma periode
d'apprentissage au
Conservatoire Giuseppe
Verdi. J'ai eu le
privilege, encore
adolescent, de suivre
avec grand interet son
travail d'interprete du
grand repertoire lyrique
et symphonique ainsi que
son engagement pour
defendre la musique de
notre temps. Mis a part
la place centrale
qu'occupe Claudio Abbado
parmi les plus grands
interpretes des dernieres
decennies, on retiendra
de lui son intense desir
de transmission
personnifie par la
creation d'orchestres de
jeunes auxquelles il a
consacre la plus part de
son temps depuis que la
maladie avait commence a
sevir. A l'annonce de son
deces le 20 Janvier, il
m'a semble indispensable
de me souvenir de lui et
de lui rendre hommage par
cette humble contribution
: une Auvre pour piano
seul, composee quelques
jours apres sa mort et
dediee a mon fils Jacopo
qui aura quinze ans en
cette annee 2014. Tombeau
de Claudio Abbado est une
piece en forme d'etude
qui, compte tenu des
difficultes techniques
qu'elle comporte, peut
etre inscrite dans un
cursus d'apprentissage a
un niveau avance (debut
de troisieme cycle). La
piece se deroule selon
une ligne dramaturgique
tres facilement reperable
: apres un depart tres
agite, virtuose, sonore
et plein de vitalite, le
discours musical est
interrompu par une partie
plus calme et plus douce
qui vient ronger de
l'interieur les figures
rapides jusqu'a gagner
tout l'espace et a amener
la musique vers un
silence de plus en plus
present et des sonorites
etouffees en sons
harmoniques. Gualtiero
Dazzi.
Violoncello SKU: SU.93010570 For Violoncello. Composed by Elinor A...(+)
Violoncello
SKU:
SU.93010570
For
Violoncello. Composed
by Elinor Armer. Strings,
Cello. Unaccompanied.
Score. Subito Music
Corporation #93010570.
Published by Subito Music
Corporation
(SU.93010570).
The mind has
mountains'Instrumentation
: Violoncello
Duration: 3'30
Composed: 2018
Published by: Subito
Music Publishing.
Piano SKU: BR.BV-486 New Playing Techniques for Piano. Composed by...(+)
Piano
SKU:
BR.BV-486
New
Playing Techniques for
Piano. Composed by
Klaus Steffes-Hollander.
Solo instruments;
Softbound. Buchverlag
Breitkopf & Hartel (Music
Books). Music pedagogy.
Book. 136 pages.
Breitkopf and Haertel #BV
486. Published by
Breitkopf and Haertel
(BR.BV-486).
ISBN
9783765104862. 6.5 x 9.5
inches. German.
The
piano, the concert grand
piano as a percussion
instrument, as a string
instrument, as a plucked
instrument? Why not? -
here are resonant
surfaces and there are
strings. In fact, it
seems obvious to pluck
the strings, to produce
harmonics, to play in the
interior space with
mallets, to use bow
hairs, e-bow and
bottleneck.But how do I
find my way in this style
of playing beyond the
keys? Is that even
allowed? What if I break
something in the process?
And where is this or that
spot, and what do you
call it? What works
convincingly, and where
are the difficulties?
Klaus Steffes-Hollander
answers these and other
questions in this
book.
Orchestra Bass Clarinet,
Bassoon 1, Bassoon 2,
Bongos, Cello, Clarinet,
Contrabass, Crotales,
Cymbals, English Horn,
Field Drum, Flute,
Glockenspiel, Horn 1,
Horn 2, Oboe 1, Oboe 2,
Percussion, Piano, Snare
Drum, Triangle, Trumpet,
Vibraphone, Viola and
more.
SKU:
PR.416411770
For
Violin, Piano, and
Chamber Orchestra.
Composed by William
Kraft. Full score. With
Standard notation.
Duration 17 minutes.
Theodore Presser Company
#416-41177. Published by
Theodore Presser Company
(PR.416411770).
UPC:
680160091508.
I was
tempted to call the piece
Throw Back because it
consciously employs
rhythmic and harmonic
approaches characteristic
of the earlier part of
the twentieth century,
much of which plays a
part in forging my
musical personality.
Going along with the
impetus, I have paid
homage by subtly
interpolating stylistic
or actual references to
such unexpected
bedfellows as Scriabin,
Ravel, Debussy, Piston,
Roussel, and Ysaye. I
hope I will be musically
forgiven. In one
continuous movement,
there are three definite
internal sections:
Presto-Largo-Allegro. The
first section opens with
a very soft percussion
cadenza. If the acoustics
allow it, the player will
use sponge pottery
mallets (sponge-headed
mallets employed to
smooth the interior of a
pot as it is being
spin-dried). No matter
how hard the
percussionist strikes the
drums, the dynamic cannot
go above pp (pianissimo).
This cadenza serves as a
basis for the first
movement. The elements of
the cadenza are taken by
the orchestra to make the
first major statement,
similar to the classical
concerto; but rather than
making a restatement, the
soloists, when they come
in, begin with
variational ideas. The
second section is given
over to the soloists, and
is lyrical. The third
section begins with an
alternation between
strict rhythmic pulsation
and free-sounding
timbres, as if reluctant
to leave the second
section behind. The
rhythmic aspect takes
over more and more as the
piece progresses toward
its conclusion. Double
Play was commissioned by
the Saint Paul Chamber
Orchestra with financial
assistance from the
Northwest Area
Foundation. It received
its premiere on January
7, 1983, in St. Paul,
with the St. Paul Chamber
Orchestra; Pinchas
Zukerman, violinist; Marc
Neikrug, piano; and the
composer conducting.
Learn to Play Brazilian Guitar with Step-by-Step Lessons and 17 Great Songs. Gui...(+)
Learn to Play Brazilian
Guitar with Step-by-Step
Lessons and 17 Great
Songs. Guitar Method.
Instruction, Latin,
Brazilian. Softcover
Audio Online. With guitar
tablature. 64 pages.
Published by Hal Leonard