(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.
Autoharp Complete Method.
For Autoharp. Ashley
Publications. Theory. 96
pages. Ashley Mark
Publishing Company
#AS10462. Published by
Ashley Mark Publishing
Company
Piano SKU: HL.48182068 The Buzzard, The Black Wheatear and the Curlew ...(+)
Piano
SKU:
HL.48182068
The
Buzzard, The Black
Wheatear and the Curlew
Piano. Composed by
Olivier Messiaen. Leduc.
Classical. Softcover. 24
pages. Alphonse Leduc
#AL22947. Published by
Alphonse Leduc
(HL.48182068).
Complete Lyrics for Over 1000 Songs from Broadway to Rock. By Various. Lyric Lib...(+)
Complete Lyrics for Over
1000 Songs from Broadway
to Rock. By Various.
Lyric Library. Softcover.
Size 8.5x11 inches. 373
pages. Published by Hal
Leonard.
SKU: BA.BVK02494 Composed by Johann Sebastian Bach. Edited by Christoph W...(+)
SKU: BA.BVK02494
Composed by Johann
Sebastian Bach. Edited by
Christoph Wolff and
Martina Rebmann. This
edition: facsimile.
Linen. Autograph:
Staatsbibliothek zu
Berlin - Preußischer
Kulturbesitz. Facsimile.
BWV 244. 178/27 pages.
Baerenreiter Verlag
#BVK02494_00. Published
by Baerenreiter Verlag
(BA.BVK02494).
ISBN
9783761824948. 37.5 x
24.5 cm inches. Text
Language: English,
German. Preface: Barbara
Schneider-Kempf.
â
€œI have never
experienced such silence
or seen an audience moved
in this way.†Felix
Mendelssohn
Bartholdy
Up to
the present day there has
scarcely been a work in
the history of music
which has fascinated
listeners and performers
more than Bach’s
“St Matthew
Passionâ€.
Originally composed for
Vespers on Good Friday,
and even longer in
duration than the
“St John
Passionâ€, it
reconstructs the story of
Christ’s Passion
with immense musical,
emotional and spiritual
intensity.
And so,
this monumental and
complex composition has
come to rank amongst the
high points of Western
culture. For good reason
the
“rediscoveryâ€
of Johann Sebastian
Bach’s music began
in 1829 with the
performance of this work
by Felix Mendelssohn
Bartholdy and the Berlin
Singakademie.
The
autograph manuscript is
regarded as one of
Bach’s most
beautiful – the
fair copy demonstrates
the importance he
attached to the careful
preservation of the work
for posterity. A further
spezial feature is the
coloured ink with which
he wrote the biblical
text and the music of the
chorale “O Lamm
Gottes,
unschuldigâ€.
This facsimile edition
reproduces the autograph
score of the “St
Matthew Passionâ€
for the first time in
high-quality colour
printing. The Bach
specialist Christoph
Wolff introduces the
background to the
work’s composition
and the characteristics
of the
manuscript.
Barbar
a Schneider-Kempf and
Martina Rebmann
(Staatsbibliothek zu
Berlin) provide further
details regarding the
history of the autograph
manuscript.
Organ - advanced SKU: HL.49045437 For Organ. Composed by Enjott Sc...(+)
Organ - advanced
SKU:
HL.49045437
For
Organ. Composed by
Enjott Schneider. This
edition: Saddle
stitching. Sheet music.
Organ Large Works.
Classical. Softcover.
Composed 2016. 48 pages.
Duration 24'. Schott
Music #ED 22668.
Published by Schott Music
(HL.49045437).
ISBN
9790001162715. UPC:
841886029088.
9.0x12.0x0.168
inches.
On the
occasion of the
quincentenary of
Reformation Day in 2017,
the composer Enjott
Schneider thoroughly
studied Martin Luther the
individual and all his
contradictions. The
result is a brilliant,
demanding organ symphony
which is perfect for
concerts on the subject
of Reformation and Martin
Luther.The composer
describes the five
movements of the symphony
as follows:'1st
movement:Wir glauben all
an einen Gott with its
quintuplet-like beginning
is very Gregorian in
style, outlining the
range of Lutheran
emotionalism between the
Middle Ages and the
modern era. The
irrationality of faith
ultimately has priority
over any thought and
evidence. At the
beginning of the
movement, sounds of
knocking on wood remind
of the nailing of the
Ninety-Five Theses to the
doors of churches in
Wittenberg. The chorale
melody sometimes hides
with an almost rough
medieval saltarello,
referring to Luther's
robustness and vitality
with which he knew to
carry away even common
people.2nd movement:In
1530, the electoral
prince of Saxony
presented to Luther at
Coburg Castle the golden
signet ring with the
Luther rose which became
the symbol of his
theology of grace. A
white heart with black
cross is fixed on a
five-petalled rose. To
him, white is the colour
of angels and ghosts,
black stands for the pain
of crucification: The
just shall live by faith,
but by faith in the
Crucified. But the fact
that the rose and the
heart are the dominating
symbols shows how
Catholic Marian piety
remained an ingredient of
Luther's spirituality
throughout his life. In
line with the dominant
five-petal structure of
the rose, this movement
was composed, to a large
extent, in accordance
with the floating,
lyrical rhythm in 5/8
time.3rd movement:The
omnipresence of death and
dying - from the plague
and war to the
never-ending dangers of
daily life - was an
essential part of the
world view of that time.
Fears ensued that might
heighten into the
grotesque, e.g. in the
pictures of Hieronymus
Bosch. The Danse macabre
was a popular motif in
those years. Luther's
chorale Mitten wir im
Leben sind / mit dem Tod
umfangen from 1524
(Enchiridion from Erfurt)
is based on the Gregorian
chant Media vita in morte
sumus created in France
around 750 and, with its
idea of transience,
inspired a simplistic
air.4th movement:The
famous confession
delivered at the Diet of
Worms in 1521, I stand
here and can say no more.
God help me. Amen, are
not Luther's words but
the version later used as
text for a pamphlet.
However, it represents
quite plainly the
straightforwardness and
inevitability of his
mission. Musically, it
was made into a perpetuum
mobile, i.e. a dogged,
ostinato and never-ending
musical air.5th
movement:The Mighty
Fortress, on the other
hand, is one of the great
symbols of Martin Luther
which, with its shining C
major key, embodies the
Protestant ideology and
willful nature of the
Reformation unlike any
other song. Heinrich
Heine called it the
Marseille anthem of the
Reformation, Friedrich
Engels the Marseillaise
of the Peasants' Wars.
This disputability is not
thought through to the
end but rather
interrupted: With a
jubilant birdcall version
of the melody, the finale
shows a rather
chamber-music-like side
of the ideals of freedom
of Christians.'.
Piano - Grade 7-8 SKU: ST.C463 Composed by Federico Ruiz. Edited by Clara...(+)
Piano - Grade 7-8
SKU:
ST.C463
Composed by
Federico Ruiz. Edited by
Clara Rodriguez. Piano
and keyboard music.
Collection. Clifton
Edition #C463. Published
by Clifton Edition
(ST.C463).
ISBN
9790570814633.
This
volume contains
contrasting works by
Federico Ruiz spanning
quite a large and rich
period of his
compositional output that
goes from his early
Micro-Suite (1971), to
lilting, sweet and
rhythmic Venezuelan
waltzes passing by the
mysterious, intimate, and
intense Nocturno (1994)
plus pieces originally
composed for film, and
theatre. Real eclecticism
in styles, moods and
atmospheres that show
Ruizâ??s talents and
scope.
The
Nocturno is a deep,
intriguing, substantial
piece presenting a
satisfying length which
moves from different
paths of the mind and the
heart written in an
abstract, chromatic
idiom, that does not
dissociate itself from
the Venezuelan waltz and
the joropo. One could
perhaps say that there is
a deconstruction of the
latter. For the
interpretation, the
composer has suggested to
me that it is allowed to
have some flexibility in
the tempo. Ruiz kindly
dedicated it to me, and I
have had the pleasure of
performing it in many
concerts.
Although
all highly expressive,
the Three Venezuelan
Waltzes present in this
collection as well as the
piece titled Aliseo, are
works that are close to
the colourful Venezuelan
folk tradition. Federico
Ruiz had given me two of
them when we first met:
â??Tu Presenciaâ??
(1981) and
â??EloÃsaâ?? (1989)
and then I attended a
performance of the play
â??Office Number Oneâ??
by Miguel Otero Silva
with a fantastic actor,
Elba Escobar in the role
of Carmen Rosa and, I
just fell in love and was
very moved by the
incidental music that I
later discovered, by
reading the programme,
had been written by
Federico Ruiz. Later that
evening, I called him and
asked to please make a
piano score of the
composition, so I could
have the desired piece in
my hands. That is how
â??Carmen Rosaâ?
waltz (1987) came to
exist in a piano
version.
â??Elois
aâ?? is another
Venezuelan waltz with
more jazzy harmonies
where precision in the
rhythm and elegant
playing is also
essential, as it is in
most of his
pieces.
â??Tu
Presenciaâ?? was
dedicated to his mother,
Margarita. It is written
with the structure of the
Venezuelan waltz, which
consists of a nostalgic
subject that leads to a
faster, happier middle
section where the typical
graceful rhythm is given
by the left-hand
accompaniment figure of a
dotted crotchet followed
by a quaver and a
crotchet.
The
craft and magic found in
the five movements of the
Micro-Suite is based on a
dodecaphonic row by Ernst
Krenek. They remind us of
the idiom of the Second
Viennese School. These
real miniatures seem to
tell short stories. The
â??Preludioâ?? is full
of humour. I imagine
dancing figures given by
the jumps all over the
keyboard and extreme
dynamics; the phrases
give the impression of a
conversation with many
questions and answers.
The â??Invenciónâ??
is a kaleidoscopic piece
where the hands mirror
each other. The
â??Passacagliaâ?? is
the longest movement, at
just over a minute where
the prime motif is
repeated three times on
the bass line. For its
construction Federico
Ruiz uses as well the
retrograde and the
retrograde inversion of
the twelve-tone series.
It must be played
expressively with dynamic
contrasts between
pianissimo and louder
events. The
â??Scherzoâ?? has
repetitive motifs of a
minor third in both hands
and the â??Finalâ??
displays virtuosic
passages for the
pianist.
Guitar SKU: BT.MUSAM996996 Arranged by Russ Shipton. The Complete Guitar ...(+)
Guitar
SKU:
BT.MUSAM996996
Arranged by Russ Shipton.
The Complete Guitar
Player. Pop & Rock. Book
with CD. Wise
Publications
#MUSAM996996. Published
by Wise Publications
(BT.MUSAM996996).
ISBN
9781849380140.
English.
Th
e Complete Guitar
Player series
has taught hundreds of
thousands how to play and
the accompanying
songbooks have featured
hits by Paul Simon, Elvis
Presley, The Beatles,
John Denver and many
othertopartists.
N
ow these songbooks are
available in super value
omnibus editions like
this one. The songs are
still graded by ease of
playing and everything is
there... standard
notation, Guitar chord
boxes, full lyrics
andevenstrumming
patterns!
Over 180
great songs! Perfect for
all players and
singers!
The bonus
CD contains backing
tracks to 16 of the songs
in the book.
14 contemporary pieces
from around the
world. Composed by
Jos Van Den Dungen.
Educational Tool. Book
with Online Audio.
Composed 2021. 32 pages.
De Haske Publications
#DHP 1033470-404.
Published by De Haske
Publications
(BT.DHP-1033470-404).
ISBN 9789043161756.
9x12 inches.
International.
C
olours of the World
is a varied, swinging
collection of pieces each
of which has its own
colour. They include not
only tango, blues, tex
mex and Cuban but also
house, Balkan and folk.
To be able to play the
pieces well youwill need
to have some playing
experience: sometimes the
third position is used
and vibrato is also
desirable. However, these
fourteen pieces are
relatively easy to play
and you will gain much
pleasure from them. Great
attentionhas been paid to
the accompaniment
recordings which are
available online in MP3
format - the musicians
are specialists in their
field, so each piece has
its own original
atmosphere.
Veerti
en speelstukken vormen in
Colours of the
World een prettig en
afwisselend geheel. De
enigszins handige violist
met kennis van drie
posities zal zich deze
cocktail van stijlen
zeker laten smaken.
Diverseinspiratiebronnen
van over de hele wereld
zijn gebruikt, waaronder
Hongarije, Cuba,
Argentinië, Amerika,
Ierland en Marokko, maar
ook uit verschillende
periodes, bijvoorbeeld de
riddertijd. De
begeleidingsopnames
(online inmp3-formaat
beschikbaar) zijn
ingespeeld door
muzikanten die zijn
gespecialiseerd in hun
eigen stijl: van stevige
rock en tex-mex tot
Balkanklanken en
housemuziek.
Co
lours of the World
ist eine bunte Mischung
von Stücken in Stilen
aus aller Welt. Dazu
gehören z. B. Tango,
Blues, Tex-Mex,
kubanische Musik, House
u. v. m. Die Stücke
erfordern ein gutes
Rhythmusgefühl
undeinen ausreichenden
Tonumfang. Die online im
MP3-Format verfügbaren
Begleitaufnahmen wurden
von professionellen
Musikern eingespielt.
Dabei wurden für die
Stilarten typische
Instrumente wie z. B.
Becken oder
Akkordeonverwendet,
sodass die Stücke alle
eine eigene,
ursprüngliche
Atmosphäre
ausstrahlen.
Colours
of the World propone
musiche in diversi stili
musicali quali tango,
blues, tex-mex, house,
musiche balcaniche e
folk. Le registrazioni
audio accessibili online
come file MP3 permettono
di suonare con un
accompagnamentofornito da
musicisti
professionisti.
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).
SATB divisi a cappella. Performed by The King's Singers. Arranged by The King's ...(+)
SATB divisi a cappella.
Performed by The King's
Singers. Arranged by The
King's Singers. (SATB div
a cappella). King
Singer's Choral. Book
only. Size 6.75x10.5
inches. 64 pages.
Published by Hal Leonard.
SATB Choir and Piano SKU: HL.14043700 Composed by Various. Arranged by Gi...(+)
SATB Choir and Piano
SKU: HL.14043700
Composed by Various.
Arranged by Gitika
Partington. Choral. Pop &
Rock. Softcover Audio
Online. Composed 2015.
Novello & Co Ltd.
#NOV165110. Published by
Novello & Co Ltd.
(HL.14043700).
ISBN
9781783058617. UPC:
888680736491.
9.0x12.0x0.125 inches.
English.
Sing Pop A
Cappella is a collection
of a cappella
arrangements of fantastic
pop songs old and new, by
renowned teacher, singer
and director Gitika
Partington . Her
arrangements are used by
choirs across the UK, and
she emphasises that being
able to read music is not
necessary. Rewarding and
enjoyable, Book Three
continues her project to
bring people together
through the power of
song. What's great about
Gitika Partington 's Sing
Pop A Cappella series is
how she understands that
to make great music or to
sing a great song, it's
not necessary to be able
to sight-read. It may be
useful, but she has
learned that there are
other ways to communicate
music, namely through ear
training,repetition and
gesture. Her
arrangements, five of
which appear in this
book, have enabled youth
and community choirs to
spring up across the
country, making singing
truly and universally
accessible.
Included in this book are
wonderfully rich a
cappella arrangements of
Ain't No Sunshine
by Bill Withers,
Black Is The Colour Of My
True Love's Hair, Rick
Astley's Never Gonna Give
You Up, Adele's Rolling
In The Deep and a
huge favourite, Sway
(Quien Sera) . Vocal
scores for these
innovative and enjoyable
arrangements are included
in standard notation,
although Partington
recommends learning by
ear as something equally
beneficial. To aid with
this, the accompanying
download card includes
five tracks of audio for
each song. One features a
full performance
demonstration while the
other four each focus on
either soprano, alto,
tenor or bass. The easy
download of these tracks
makes learning efficient
and fun, as you are able
to listen wherever you
are. The great thing
about a cappella singing
is that it can be done
anywhere, with limited
resources, with members
who don't necessarily
have any musical
training. Partington
has created a book
that can be used by a
cappella choirs who love
pop music that sounds
great and will thrill
audiences. Sing Pop A
Cappella is not just a
songbook, though, it also
includes an
extensive.
Violin SKU: HL.48024637 Handbook for Teachers and Parents. Compose...(+)
Violin
SKU:
HL.48024637
Handbook for Teachers
and Parents. Composed
by Geza Szilvay. Boosey &
Hawkes Chamber Music.
Classical. Softcover. 303
pages. Fennica Gehrman
#M550112490. Published by
Fennica Gehrman
(HL.48024637).
ISBN
9781540055583. UPC:
888680946166.
Accor
ding to Geza Szilvay, the
Colourstrings (r) method
can make a violin player
of almost anyone with
motivation. The key to
maintaining musical
culture lies with the
teacher. The
Colourstrings (r) is a
teaching method developed
by Geza and Csaba
Szilvay. Themethod is
ideal for preschool
beginners and can be used
effectively in
instrumental teaching
throughout the school
years. It createsan
environment in which
singing, playing games
and instrument live side
by side, for the
happiness of the child.
The Handbook for Teachers
and Parents brings
together the entire
Colourstrings(r) series
for the violin. The
Handbook guides the
teachers and parents
through books A-F and
Yellow Pages I-III,
offering expert advice
and methodological
support to teaching in
Colourstrings(r) method.
The method makes use of
colourful teaching
materials and supports
learning by appealing to
many senses. Founded on
the principles ofZoltan
Kodaly, Colourstrings (r)
develops the capacity for
internal listening so
that the child learns to
visualize the notes heard
and to aurilize the notes
on the page. The method
has been fostered by
ESTA, ASTA, AUSTA, ISME,
NMPU and IKS. The
Colourstrings(r) approach
developed by the Szilvay
brothers has gained an
international reputation
and is now taught all
over the world. A number
of special
Colourstrings(r)
institutions - schools,
centres and societies -
have been established in
several European
countries in order to
implement and further
this child-centred
teaching concept.
Piano, Voix et Guitare [Partition] - Intermédiaire Hal Leonard
The Largest Collection of Piano/Vocal/Guitar Arrangements. Performed by Various....(+)
The Largest Collection of
Piano/Vocal/Guitar
Arrangements. Performed
by Various.
Piano/Vocal/Chords
Songbook (Arrangements
for piano and voice with
guitar chords). Published
by Hal Leonard.
Christmas Colours Fanfare [Conducteur] - Facile Gobelin Music Publications
Fanfare Band - Grade 2 SKU: BT.GOB-000748-120 Composed by Bruce Fraser. S...(+)
Fanfare Band - Grade 2
SKU:
BT.GOB-000748-120
Composed by Bruce Fraser.
Score Only. 24 pages.
Gobelin Music
Publications #GOB
000748-120. Published by
Gobelin Music
Publications
(BT.GOB-000748-120).
‘Christmas
Colours’ is a palette
consisting of several
Christmas songs.
Bruce Fraser has
mainly used the colours
green (the colour of
holly) and white (the
colour of snow). This
composition begins with
the chiming of festive
bells - if you listen
well, however, you can
already hear short
fragments from 'The Holly
and the Ivy', whose
entire melody is finally
played, alternated with
'The Sussex Carol'. After
this, the pace slows down
and the stately 'See amid
the Winter Snow' sounds,
but parts from 'Jingle
Bells' and 'Silent Night'
can also be heard.
Then, after walking under
'The Holly and the Ivy'
once again, the
celebration of Christmas
may
begin!
Christmas
Colours is een potpourri
met allemaal
verschillende
kerstliedjes. Bruce
Fraser gebruikt vooral de
kleuren groen van de
'holly' (hulst) en wit
van de 'snow'
(sneeuw). Het werkje
begint met feestelijke
klokjes waar,als u goed
luistert, fragmentjes van
'The Holly and the Ivy'
tussendoor klinken.
Uiteindelijk klinkt de
hele melodie, afgewisseld
met 'The Sussex
Carol'. Na de
tempovertaging klinkt het
statige 'See amid the
winter snow',met
fragmenten van 'Jingle
Bells' en 'Silent Night'.
Tenslotte lopen we
nog één keer onder 'The
Holly and the Ivy' door
en kan het Kerstfeest
beginnen.
Christmas Colours Orchestre d'harmonie [Conducteur et Parties séparées] - Facile Gobelin Music Publications
Concert Band/Harmonie - Grade 2 SKU: BT.GOB-000747-010 Composed by Bruce ...(+)
Concert Band/Harmonie -
Grade 2
SKU:
BT.GOB-000747-010
Composed by Bruce Fraser.
Set (Score & Parts). 59
pages. Gobelin Music
Publications #GOB
000747-010. Published by
Gobelin Music
Publications
(BT.GOB-000747-010).
‘Christmas
Colours’ is a palette
consisting of several
Christmas songs.
Bruce Fraser has
mainly used the colours
green (the colour of
holly) and white (the
colour of snow). This
composition begins with
the chiming of festive
bells - if you listen
well, however, you can
already hear short
fragments from 'The Holly
and the Ivy', whose
entire melody is finally
played, alternated with
'The Sussex Carol'. After
this, the pace slows down
and the stately 'See amid
the Winter Snow' sounds,
but parts from 'Jingle
Bells' and 'Silent Night'
can also be heard.
Then, after walking under
'The Holly and the Ivy'
once again, the
celebration of Christmas
may
begin!
Christmas
Colours is een potpourri
met allemaal
verschillende
kerstliedjes. Bruce
Fraser gebruikt vooral de
kleuren groen van de
'holly' (hulst) en wit
van de 'snow'
(sneeuw). Het werkje
begint met feestelijke
klokjes waar,als u goed
luistert, fragmentjes van
'The Holly and the Ivy'
tussendoor klinken.
Uiteindelijk klinkt de
hele melodie, afgewisseld
met 'The Sussex
Carol'. Na de
tempovertaging klinkt het
statige 'See amid the
winter snow',met
fragmenten van 'Jingle
Bells' en 'Silent Night'.
Tenslotte lopen we
nog één keer onder 'The
Holly and the Ivy' door
en kan het Kerstfeest
beginnen.
Christmas Colours Ensemble de cuivres [Conducteur et Parties séparées] - Facile Gobelin Music Publications
Brass Band - Grade 2 SKU: BT.GOB-000749-030 Composed by Bruce Fraser. Set...(+)
Brass Band - Grade 2
SKU:
BT.GOB-000749-030
Composed by Bruce Fraser.
Set (Score & Parts).
Gobelin Music
Publications #GOB
000749-030. Published by
Gobelin Music
Publications
(BT.GOB-000749-030).
‘Christmas
Colours’ is a palette
consisting of several
Christmas songs.
Bruce Fraser has
mainly used the colours
green (the colour of
holly) and white (the
colour of snow). This
composition begins with
the chiming of festive
bells - if you listen
well, however, you can
already hear short
fragments from 'The Holly
and the Ivy', whose
entire melody is finally
played, alternated with
'The Sussex Carol'. After
this, the pace slows down
and the stately 'See amid
the Winter Snow' sounds,
but parts from 'Jingle
Bells' and 'Silent Night'
can also be heard.
Then, after walking under
'The Holly and the Ivy'
once again, the
celebration of Christmas
may
begin!
Christmas
Colours is een potpourri
met allemaal
verschillende
kerstliedjes. Bruce
Fraser gebruikt vooral de
kleuren groen van de
'holly' (hulst) en wit
van de 'snow'
(sneeuw). Het werkje
begint met feestelijke
klokjes waar,als u goed
luistert, fragmentjes van
'The Holly and the Ivy'
tussendoor klinken.
Uiteindelijk klinkt de
hele melodie, afgewisseld
met 'The Sussex
Carol'. Na de
tempovertaging klinkt het
statige 'See amid the
winter snow',met
fragmenten van 'Jingle
Bells' en 'Silent Night'.
Tenslotte lopen we
nog één keer onder 'The
Holly and the Ivy' door
en kan het Kerstfeest
beginnen.
Christmas Colours Orchestre d'harmonie [Conducteur] - Facile Gobelin Music Publications
Concert Band/Harmonie - Grade 2 SKU: BT.GOB-000747-140 Composed by Bruce ...(+)
Concert Band/Harmonie -
Grade 2
SKU:
BT.GOB-000747-140
Composed by Bruce Fraser.
Score Only. Gobelin Music
Publications #GOB
000747-140. Published by
Gobelin Music
Publications
(BT.GOB-000747-140).
‘Christmas
Colours’ is a palette
consisting of several
Christmas songs.
Bruce Fraser has
mainly used the colours
green (the colour of
holly) and white (the
colour of snow). This
composition begins with
the chiming of festive
bells - if you listen
well, however, you can
already hear short
fragments from 'The Holly
and the Ivy', whose
entire melody is finally
played, alternated with
'The Sussex Carol'. After
this, the pace slows down
and the stately 'See amid
the Winter Snow' sounds,
but parts from 'Jingle
Bells' and 'Silent Night'
can also be heard.
Then, after walking under
'The Holly and the Ivy'
once again, the
celebration of Christmas
may
begin!
Christmas
Colours is een potpourri
met allemaal
verschillende
kerstliedjes. Bruce
Fraser gebruikt vooral de
kleuren groen van de
'holly' (hulst) en wit
van de 'snow'
(sneeuw). Het werkje
begint met feestelijke
klokjes waar,als u goed
luistert, fragmentjes van
'The Holly and the Ivy'
tussendoor klinken.
Uiteindelijk klinkt de
hele melodie, afgewisseld
met 'The Sussex
Carol'. Na de
tempovertaging klinkt het
statige 'See amid the
winter snow',met
fragmenten van 'Jingle
Bells' en 'Silent Night'.
Tenslotte lopen we
nog één keer onder 'The
Holly and the Ivy' door
en kan het Kerstfeest
beginnen.
Christmas Colours Fanfare [Conducteur et Parties séparées] - Facile Gobelin Music Publications
Fanfare Band - Grade 2 SKU: BT.GOB-000748-020 Composed by Bruce Fraser. S...(+)
Fanfare Band - Grade 2
SKU:
BT.GOB-000748-020
Composed by Bruce Fraser.
Set (Score & Parts). 49
pages. Gobelin Music
Publications #GOB
000748-020. Published by
Gobelin Music
Publications
(BT.GOB-000748-020).
‘Christmas
Colours’ is a palette
consisting of several
Christmas songs.
Bruce Fraser has
mainly used the colours
green (the colour of
holly) and white (the
colour of snow). This
composition begins with
the chiming of festive
bells - if you listen
well, however, you can
already hear short
fragments from 'The Holly
and the Ivy', whose
entire melody is finally
played, alternated with
'The Sussex Carol'. After
this, the pace slows down
and the stately 'See amid
the Winter Snow' sounds,
but parts from 'Jingle
Bells' and 'Silent Night'
can also be heard.
Then, after walking under
'The Holly and the Ivy'
once again, the
celebration of Christmas
may
begin!
Christmas
Colours is een potpourri
met allemaal
verschillende
kerstliedjes. Bruce
Fraser gebruikt vooral de
kleuren groen van de
'holly' (hulst) en wit
van de 'snow'
(sneeuw). Het werkje
begint met feestelijke
klokjes waar,als u goed
luistert, fragmentjes van
'The Holly and the Ivy'
tussendoor klinken.
Uiteindelijk klinkt de
hele melodie, afgewisseld
met 'The Sussex
Carol'. Na de
tempovertaging klinkt het
statige 'See amid the
winter snow',met
fragmenten van 'Jingle
Bells' en 'Silent Night'.
Tenslotte lopen we
nog één keer onder 'The
Holly and the Ivy' door
en kan het Kerstfeest
beginnen.
