(Words and Chords to Nearly 1200 Songs 9x12 Spiral Bound). Edited by Annie Patte...(+)
(Words and Chords to
Nearly 1200 Songs 9x12
Spiral Bound). Edited by
Annie Patterson and Peter
Blood. For Vocal. Vocal.
Softcover. 304 pages.
Published by Hal Leonard
(Words and Chords to Nearly 1200 Songs Spiral-Bound). Edited by Annie Patterson ...(+)
(Words and Chords to
Nearly 1200 Songs
Spiral-Bound). Edited by
Annie Patterson and Peter
Blood. For Vocal. Vocal.
Softcover. 304 pages.
Published by Hal Leonard
(C Edition) For voice and C instrument. Format: fakebook. With vocal melody, lyr...(+)
(C Edition) For voice and
C instrument. Format:
fakebook. With vocal
melody, lyrics and chord
names. Series: Hal
Leonard Fake Books. 856
pages. 9x12 inches.
Published by Hal Leonard.
For voice and C instrument. Format: fakebook. With vocal melody, lyrics and chor...(+)
For voice and C
instrument. Format:
fakebook. With vocal
melody, lyrics and chord
names. Folk. Series: Hal
Leonard Fake Books. 536
pages. 9.6x12 inches.
Published by Hal Leonard.
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).
For Flute. Composed by Johann Sebastian Bach (1685-1750), Muzio Clementi (1752-1...(+)
For Flute. Composed by
Johann Sebastian Bach
(1685-1750), Muzio
Clementi (1752-1832),
Wolfgang Amadeus Mozart
(1756-1791), Larry Clark,
Jacques Fereol Mazas
(1782-1849), Giuseppe
Gariboldi, and Ernesto
Kohler (1849-1907).
Arranged by Larry Clark.
SWS. Back To School.
Softcover. With Standard
notation. Carl Fischer
Music #WF104. Published
by Carl Fischer Music
Composed by Travis
Weller. Folio. Cps. Set
of Score and Parts.
8+8+4+8+8+8+4+4+8+4+4+8+8
+8+8+6+6+6+4+8+6+2+4+4+6+
32 pages. Duration 3
minutes, 10 seconds. Carl
Fischer Music #CPS234.
Published by Carl Fischer
Music (CF.CPS234).
ISBN 9781491156346.
UPC: 680160914883. 9 x 12
inches.
Mercury -
the Roman god of
financial gain, commerce,
travelers, boundaries,
luck, trickery,
merchants, and thieves. A
popular deity in Roman
culture, he was instantly
recognized by his unique
winged shoes (talaria)
and hat (petasos). With
its close proximity to
the sun and faster orbit
than all other planets,
the Romans named this
small celestial body
after the swift-winged
messenger of their
culture. It is not
surprising that in
Holst's major orchestral
suite The Planets that
Mercury utilizes such
light and swift themes.
There is some duality to
the title of the work.
Part of it involves my
impression of what a
playful chase of the
winged messenger sounds
like. The other part is
the opening motif chasing
two themes of Holst
around the rest of the
work. It was only after
developing the first few
ideas that I recognized
some of the commonalities
with some of those same
themes from Holst's
orchestral work. There
are several quotations
from that famous piece by
Holst (notably as both
are stated successively
at mm. 13-20). The idea
of someone having to
chase the Winged
Messenger struck me as a
unique title around which
to craft a work. One of
my core beliefs about
music is that it can be
imbued with meaning by a
composer, and as the
sonic story unfolds an
ensemble, director, and
audience members can draw
out their own meaning
from the experience. Who
exactly is chasing
Mercury? I leave that up
to the wonderfully
creative minds of the
young ladies and
gentlemen who have the
opportunity to bring this
work to life. The
opportunity to compose
music and allow student
musicians to give this
piece new life and draw
out different meanings is
a humbling experience.
Rehearsal Notes and
Suggestions As stated
earlier, the opening
motif (a range of a
seventh) comes back
frequently in the work in
a variety of settings and
textures. Throughout the
work, it is important for
students to recognize the
two themes from Holst
when they are present in
the sound canvas. If the
solos (clarinet and alto
saxophone) are utilized,
the supporting parts
around and underneath
those lines must be
sensitive and play in
such a way to properly
balance those parts.
There are number of muted
sections for the trumpet
section, and I would
advocate for all trumpets
acquiring the same mute
to contribute to unity in
timbre. The bold fanfare
sections (the first
occurs at m. 37) must be
presented with a unified
articulation style. As
the texture intensifies
prior to m. 169, it is
crucial for the ensemble
to play within themselves
and exercise musical
courtesy to allow all
voices to be heard as
they arrive at m. 181. My
thanks in advance for
your support of this
music, and I wish you
well as you and your
ensemble begin Chasing
Mercury!. Mercury
– the Roman god of
financial gain, commerce,
travelers, boundaries,
luck, trickery,
merchants, and thieves. A
popular deity in Roman
culture, he was instantly
recognized by his unique
winged shoes (talaria)
and hat (petasos). With
its close proximity to
the sun and faster orbit
than all other planets,
the Romans named this
small celestial body
after the swift-winged
messenger of their
culture. It is not
surprising that in
Holst’s major
orchestral suite The
Planets that Mercury
utilizes such light and
swift themes.There is
some duality to the title
of the work. Part of it
involves my impression of
what a playful chase of
the winged messenger
sounds like. The other
part is the opening motif
chasing two themes of
Holst around the rest of
the work. It was only
after developing the
first few ideas that I
recognized some of the
commonalities with some
of those same themes from
Holst’s orchestral
work. There are several
quotations from that
famous piece by Holst
(notably as both are
stated successively at
mm. 13–20). The
idea of someone having to
chase the Winged
Messenger struck me as a
unique title around which
to craft a work.One of my
core beliefs about music
is that it can be imbued
with meaning by a
composer, and as the
sonic story unfolds an
ensemble, director, and
audience members can draw
out their own meaning
from the experience. Who
exactly is chasing
Mercury? I leave that up
to the wonderfully
creative minds of the
young ladies and
gentlemen who have the
opportunity to bring this
work to life. The
opportunity to compose
music and allow student
musicians to give this
piece new life and draw
out different meanings is
a humbling
experience.Rehearsal
Notes and SuggestionsAs
stated earlier, the
opening motif (a range of
a seventh) comes back
frequently in the work in
a variety of settings and
textures. Throughout the
work, it is important for
students to recognize the
two themes from Holst
when they are present in
the sound canvas. If the
solos (clarinet and alto
saxophone) are utilized,
the supporting parts
around and underneath
those lines must be
sensitive and play in
such a way to properly
balance those parts.
There are number of muted
sections for the trumpet
section, and I would
advocate for all trumpets
acquiring the same mute
to contribute to unity in
timbre. The bold fanfare
sections (the first
occurs at m. 37) must be
presented with a unified
articulation style. As
the texture intensifies
prior to m. 169, it is
crucial for the ensemble
to play within themselves
and exercise musical
courtesy to allow all
voices to be heard as
they arrive at m. 181. My
thanks in advance for
your support of this
music, and I wish you
well as you and your
ensemble begin Chasing
Mercury!
Anime Themes in Flute Ensemble. Composed by Various. Ensemble de Anime. Japane...(+)
Anime Themes in Flute
Ensemble. Composed by
Various.
Ensemble de Anime.
Japanese
Anime; Game; J-POP. Book.
Yamaha Music Media
#GTW01100861. Published
by
Yamaha Music Media
Flute. Arranged by various, ed. John O'Reilly. Book; CD; Instrumental Series; ...(+)
Flute. Arranged by
various,
ed. John O'Reilly. Book;
CD;
Instrumental Series;
Play-
Along. Instrumental Solos
Series. Movie; Pop; Rock.
48
pages. Published by
Alfred
Music
Guitar SKU: HL.146362 Book Only. Guitar Tab Method. Instruction. S...(+)
Guitar
SKU:
HL.146362
Book
Only. Guitar Tab
Method. Instruction.
Softcover. Published by
Hal Leonard (HL.146362).
ISBN 9781495023354.
UPC: 888680070212.
9.0x12.0x0.11
inches.
“The
ultimate learning tool to
go from zero to guitar
hero in no time!â€
–Guitar World
magazine Designed for
electric or acoustic
guitar. Get started
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The method's unique,
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Book 1 includes: parts of
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easy-to-follow guitar
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riffs starting on the low
E string, tempo &
time signatures,
understanding notes and
rests, palm muting,
vibrato, power chords,
open chords, strumming,
slides and slurs,
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many music styles, nearly
100 riffs and songs, and
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Spanish Edition Guitar SKU: HL.114930 Metodo De Tab Para Guitarra....(+)
Spanish Edition Guitar
SKU: HL.114930
Metodo De Tab Para
Guitarra. Guitar Tab
Method. Instruction,
Method, Spanish Edition.
Softcover with CD. With
guitar tablature. 32
pages. Published by Hal
Leonard (HL.114930).
ISBN 9781480312579.
UPC: 884088876326.
9.0x12.0x0.17
inches.
The
revolutionary Hal Leonard
Guitar Tab Method
(HL00697411) is now
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By Mark Biggs. For Dulcimer (Mountain). solos. Complete. All Styles. Level: Mul...(+)
By Mark Biggs. For
Dulcimer (Mountain).
solos. Complete. All
Styles. Level: Multiple
Levels. Book/CD Set. Size
8.75x11.75. 196 pages.
Published by Mel Bay
Publications, Inc.