(Intermediate to Advanced Level). By Various. Arranged by Randall Hartsell. For ...(+)
(Intermediate to Advanced
Level). By Various.
Arranged by Randall
Hartsell. For
Piano/Keyboard. Willis.
Intermediate to Advanced.
Softcover. 32 pages.
Published by Willis Music
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).
DJ Mixing and Remixing. By Featuring DJ KNS. Books and DVDs; Method/Instruction;...(+)
DJ Mixing and Remixing.
By Featuring DJ KNS.
Books and DVDs;
Method/Instruction; Pro
Audio; Pro Audio DJ DVD.
DJ Styles Series. DVD.
Alfred Music #00-904926.
Published by Alfred Music
Bläserquintett Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor EMB (Editio Musica Budapest)
Wind Quintet SKU: BT.EMBZ14152 Composed by Endre Szervánszky. Book Onl...(+)
Wind Quintet
SKU:
BT.EMBZ14152
Composed
by Endre Szervánszky.
Book Only. Composed 1997.
128 pages. Editio Musica
Budapest #EMBZ14152.
Published by Editio
Musica Budapest
(BT.EMBZ14152).
First published
in 1957, this work has
been reprinted multiple
times and appears now as
both a full score as well
as the individual parts
that comprise it. Endre
Szervanszky (1911-1977)
created this work during
a creative period when
the basic starting point
for musical invention was
Hungarian folk song.
However, the demanding
and expert reshaping of
this musical material
also characterized his
musical creations. This
quintet for winds has
also earned recognition
from instrumental
musicians with its
sophistication,
intensity, superb
instrumental arrangement,
and classical
four-movement
structure.This
publication is printed on
high-quality,
age-resistant paper that
is producedin an
environmentally-friendly,
climate-neutral manner
using renewable raw
materials.
(The Easiest Guitar Method Ever!). By Ron Manus and L. C. Harnsberger. For Guita...(+)
(The Easiest Guitar
Method Ever!). By Ron
Manus and L. C.
Harnsberger. For Guitar.
This edition: Books, CDs
and DVD. Book; DVD;
Enhanced CD; Guitar
Method or Supplement;
Method/Instruction. Kid's
Guitar Course. Children.
Beginner. Published by
Alfred Music
60 Daily Recreations to Solve First Keyboard Problems/Early to Mid-Elementary Le...(+)
60 Daily Recreations to
Solve First Keyboard
Problems/Early to
Mid-Elementary Level.
Willis. Book only. Size
9x12 inches. 60 pages.
Published by Willis
Music.
(For Beginners of All Ages). By Steven Manus. For Harmonica. Method/Instruction;...(+)
(For Beginners of All
Ages). By Steven Manus.
For Harmonica.
Method/Instruction;
Miscellaneous Instrument
- Harmonica. Teach
Yourself Series.
Beginner. Book and
Harmonica. 160 pages.
Published by Alfred Music
Publishing
Piano SKU: BT.WMR101464 Arranged by Christopher Hussey. John Thompson's E...(+)
Piano
SKU:
BT.WMR101464
Arranged
by Christopher Hussey.
John Thompson's Easiest
Piano Course. Book Only.
Composed 2016. 32 pages.
Willis Music #WMR101464.
Published by Willis Music
(BT.WMR101464).
ISBN
9781783056507.
English.
15 easy
arrangements of Mozart's
most well-known musical
creations for the
beginning pianist.
Progresses from early to
late elementary level.
Pieces include: Ave verum
corpus · The
Birdcatcher's Song ·
Clarinet Concerto ·
Diesirae · Eine Kleine
Nachtmusik · Gran
Partita · La ci darem
la mano · A Musical
Joke · Piano Sonata in
C Major, and more!
For Violin and Piano. Composed by Various. Edited by Wolfgang Birtel. String...(+)
For Violin and Piano.
Composed by Various.
Edited
by Wolfgang Birtel.
String
Solo. Softcover. 111
pages.
Schott Music #ED22404.
Published by Schott Music
Intermediate SKU: WD.080689526176 Composed by Joshua Bryant Spacht. Chora...(+)
Intermediate
SKU:
WD.080689526176
Composed by Joshua Bryant
Spacht. Choral, cantatas.
Christmas. Book. Word
Music #080689526176.
Published by Word Music
(WD.080689526176).
UPC:
080689526176.
Impro
visatory yet structured,
wildly imaginative yet
comfortably familiar,
these musical creations
for choir and orchestra
evoke an energy best
expressed in the realm of
the fantastical while
simultaneously embracing
an obsessively
intentional focus on the
joy and significance of
NOEL in the life of every
believer. It is an
anthology of songs and
arrangements designed to
soar on wings constructed
of myriad forms and
styles, lifted by the
hearts and voices that
sing them. At the same
time, its message keeps
us firmly grounded and
anchored by the message
of love, hope and
redemption that is the
heart of the Christmas
story and which is the
heartbeat of a loving
God. Fantasia Noel,
Christ is born!
Love's Old Sweet Song Chorale SATB SATB A Cappella - Facile Excelcia Music Publishing
Chorus SATB chorus a cappella SKU: XC.DJS2404 Composed by James Lynam Mol...(+)
Chorus SATB chorus a
cappella
SKU:
XC.DJS2404
Composed
by James Lynam Molloy.
Arranged by Derric
Johnson. Intermezzo Grade
2.0-2.5. Octavo. Excelcia
Music Publishing
#DJS2404. Published by
Excelcia Music Publishing
(XC.DJS2404).
10.5 x
6.75 inches.
Derric
Johnson's arrangement of
Love's Old Sweet Song
stands out as one of his
most accessible yet
breathtaking creations,
offering a perfect
balance of simplicity and
beauty. Tailored for all
levels of SATB choirs,
this arrangement serves
as an ideal middle piece
in any concert,
resonating with the
timeless charm of the
beautiful love song while
accommodating singers of
varying skill levels with
its approachable yet
enchanting harmonies.
By Chuck Bird and Susan Peters. For Harp (Folk/Celtic). Solos. Bill's Music She...(+)
By Chuck Bird and Susan
Peters. For Harp
(Folk/Celtic). Solos.
Bill's Music Shelf.
Ragtime.
Beginning-Intermediate.
Book Online Audio. 120
pages. Published by Mel
Bay Publications, Inc
Medium voice and piano - Medium-easy / medium acc. SKU: JK.19046 Composed...(+)
Medium voice and piano -
Medium-easy / medium acc.
SKU: JK.19046
Composed by Janice Kapp
Perry. Difficulty Easy
Medium, Children, Vocal
Solo. Christian,
Inspirational. Jackman
Music Corporation #19046.
Published by Jackman
Music Corporation
(JK.19046).
Original vocal
solo for medium voice and
piano accompaniment,
arranged in A flat to D
flat major, with
easy-to-play notes. This
piece is sung through a
child's eyes, who ponders
on the creations of the
earth. Composer:
Janice Kapp Perry
Lyricist: Ruth S.
Kapp Difficulty:
Medium-easy / medium
acc. *** Some Janice
Kapp Perry products may
require a few days
additional shipping time.
Thank you!
String Quartet SKU: HL.14028274 Composed by Cyril Scott. Music Sales Amer...(+)
String Quartet
SKU:
HL.14028274
Composed
by Cyril Scott. Music
Sales America. Classical.
Book [Softcover]. Music
Sales #NOV26253001.
Published by Music Sales
(HL.14028274).
Stri
ng Quartet No.2
was written in 1951, and
dedicated to Percy and
Ella Grainger. It is
recognised as one of his
least extravagant
creations, but is
nevertheless a solid work
which is continually
underappreciated. This is
the set of
parts.
Cyril
Scott (1879-1970)
was a British composer,
pianist and poet. His
most popular works, which
he is largely remembered
by today, were written in
the years preceding the
Second World War, however
he continued to compose
prolifically, in the face
of indifference from the
outside world, right up
until his death at the
age of 91. His music is
predominantly in the
Romantic style, and
serves as atasteful
reminder of a bygone age.
String Quartet SKU: HL.14028275 Composed by Cyril Scott. Music Sales Amer...(+)
String Quartet
SKU:
HL.14028275
Composed
by Cyril Scott. Music
Sales America. Classical.
Score. Music Sales
#NOV262530. Published by
Music Sales
(HL.14028275).
Stri
ng Quartet No.2
was written in 1951, and
dedicated to Percy and
Ella Grainger. It is
recognised as one of his
least extravagant
creations, but is
nevertheless a solid work
which is continually
underappreciated.
<
em>Cyril Scott
(1879-1970) was a British
composer, pianist and
poet. His most popular
works, which he is
largely remembered by
today, were written in
the years preceding the
Second World War, however
he continued to compose
prolifically, in the face
of indifference from the
outside world, right up
until his death at the
age of 91. His music is
predominantly in the
Romantic style, and
serves as a tasteful
reminder of a bygoneage.