(Featuring: Love Is Here to Stay / Let's Call the Whole Thing Off / Someone to W...(+)
(Featuring: Love Is Here
to Stay / Let's Call the
Whole Thing Off / Someone
to Watch Over Me / 'S
Wonderful / Nice Work If
You Can Get It /
Embraceable You / I Got
Rhythm). Arranged by Jay
Althouse. Choir Secular.
SATB choir. Choral
Octavo. Pop Choral. Form:
Medley. 28 pages.
Published by Alfred Music
Publishing
(Featuring: Love Is Here to Stay / Let's Call the Whole Thing Off / Someone to W...(+)
(Featuring: Love Is Here
to Stay / Let's Call the
Whole Thing Off / Someone
to Watch Over Me / 'S
Wonderful / Nice Work If
You Can Get It /
Embraceable You / I Got
Rhythm). Arranged by Jay
Althouse. Choir Secular.
3-Part Mixed Choir (SAB).
Choral Octavo. Pop
Choral. Form: Medley. 28
pages. Published by
Alfred Music Publishing
(Featuring: Love Is Here to Stay / Let's Call the Whole Thing Off / Someone to W...(+)
(Featuring: Love Is Here
to Stay / Let's Call the
Whole Thing Off / Someone
to Watch Over Me / 'S
Wonderful / Nice Work If
You Can Get It /
Embraceable You / I Got
Rhythm). Arranged by Jay
Althouse. Choir Secular.
This edition: SoundTrax
CD. CD; Choral Octavo.
Pop Choral. Form: Medley.
Masterwork Arrangement;
Secular; Standard.
Published by Alfred Music
Book/Online Audio Piano/Keyboard SKU: HL.697293 Fast Track Music Instruct...(+)
Book/Online Audio
Piano/Keyboard
SKU:
HL.697293
Fast Track
Music Instruction.
Instructional and Play
Along. Softcover Audio
Online. With chord names,
instructional text and
introductory text. 48
pages. Published by Hal
Leonard (HL.697293).
ISBN 9780793575459.
UPC: 073999972931.
9.0x12.0x0.13 inches.
Blake Neely and Gary
Meisner.
Keyboard 2
takes over where Keyboard
1 left off, with more
rhythms and techniques,
chord substitution, rock,
blues, and shuffle
styles, intros and
outros, and 95 songs and
examples which are
demonstrated on the audio
tracks. The audio is
accessed online using the
unique code in each book
and includes PLAYBACK
tools such as tempo
adjustment, looping,
changing keys, panning,
and more.
About Fast
Track Music
Instruction
<
p>FastTrack is (you
guessed it!) a fast way
for beginners to learn to
play that instrument they
just bought. FastTrack is
different from other
method books: we've made
them user-friendly with
plenty of cool songs that
make it easy and fun for
players to teach
themselves. Plus, the
last section of all the
FastTracks books have the
same songs so that
students can form a band
and jam together.
Accompagnement Piano [Partition] - Intermédiaire Daybreak Music
(Solos with Ensemble Arrangements for Two or More Players) Arranged by Stan Peth...(+)
(Solos with Ensemble
Arrangements for Two or
More Players) Arranged by
Stan Pethel. For piano
accompaniment and guitar
(chords only). Format:
piano/chords songbook.
With piano accompaniment,
chord names and solo
cues. Contemporary
Christian. 48 pages. 9x12
inches. Published by
Daybreak Music.
By Timothy Loest And Timothy Wimer. Rhythms and Beyond. Concepts covered include...(+)
By Timothy Loest And
Timothy Wimer. Rhythms
and Beyond. Concepts
covered include:
identifying the exact
count where each note is
sounded, eighth-note
subdivision, syncopation,
sixteenth notes, and
more. Level: All.
Published by The FJH
Music Company Inc.
Musical Activities to Expand Rhythmic Vocabulary. Composed by Lynn Brinck...(+)
Musical Activities to
Expand Rhythmic
Vocabulary. Composed
by Lynn Brinckmeyer.
Shawnee Press. Softcover.
56 pages. Published by
Shawnee Press
(HL.35031313).
Clarinet SKU: AP.1-ADV14706 English/German Language Edition. Compo...(+)
Clarinet
SKU:
AP.1-ADV14706
English/German
Language Edition.
Composed by Fred Lipsius.
Improvisation;
Method/Instruction;
Play-Along; Technique
Musicianship; Woodwind -
Clarinet Method or
Collection. Advance
Music: Reading Key Jazz
Rhythms. Jazz. Book and
CD. Advance Music
#01-ADV14706. Published
by Advance Music
(AP.1-ADV14706).
UPC:
805095147063.
English.
With
Reading Key Jazz Rhythms:
Clarinet Book & CD set by
Fred Lipsius, you will
learn essential jazz
rhythms first hand from
world-class
professionals! Reading
Key Jazz Rhythms is a
collection of 24 easy to
medium level jazz etudes,
and 24 simplified
guide-tone versions of
the etudes. They are
ideal for learning the
basic language of jazz,
swing phrasing, and
articulation. A perfect
tool for preparing for
the jazz ensemble or for
any other
ensemble/orchestra which
performs jazz related
music (pops orchestras,
musical, studio, movie
scores, concert and
marching bands, etc.).
Each etude is based on a
specific rhythm or a
combination of rhythmic
figures. Some etudes
sound like very lyrical
improvised jazz solos,
while others are more
like a melody to a
standard. On the
accompanying CD the
soloist demonstrates the
24 melodious etudes
together with a
professional rhythm
section. You can also
improvise along with the
play-along tracks using
the chord symbols. The
guide tones are the
essential or defining
notes for each given
chord type. So if
improvising is new to you
and you find yourself
getting lost, you can
always return to a guide
tone and play
rhythmically around it.
Any etude and its
corresponding simplified
guide tone version can be
played together as a duet
(with or without the CD
accompaniment) with your
teacher or a friend.
Trumpet SKU: AP.1-ADV14703 Trumpet. Composed by Fred Lipsius. Bras...(+)
Trumpet
SKU:
AP.1-ADV14703
Trumpet. Composed
by Fred Lipsius. Brass -
B-flat Cornet (Trumpet)
Method or Collection;
Improvisation;
Method/Instruction;
Play-Along; Technique
Musicianship. Advance
Music: Reading Key Jazz
Rhythms. Jazz. Book and
Digital Download. Advance
Music #01-ADV14703.
Published by Advance
Music (AP.1-ADV14703).
UPC: 805095147032.
English.
With this
book/audio downloads set
you will learn essential
jazz rhythms first-hand
from world-class
professionals! With this
book and audio set you
will learn essential jazz
rhythms first-hand from
world-class professionals
! Reading Key Jazz
Rhythms is a collection
of 24 easy to medium
level jazz etudes, and 24
simplified guide tone
versions of the etudes.
They are ideal for
learning the basic
language of jazz, swing
phrasing, and
articulation. A perfect
tool for preparing for
the jazz ensemble or for
any other
ensemble/orchestra which
performs jazz related
music (f.i., pops
orchestras, musical,
studio, movie scores,
concert and marching
bands, etc.). Each etude
is based on a specific
rhythm or a combination
of rhythmic figures. Some
etudes sound like very
lyrical improvised jazz
solos, while others are
more like a melody to a
standard. On the
accompanying audio
downloads the soloist
demonstrates the 24
melodious etudes together
with a professional
rhythm section. You can
also improvise along with
the play-along tracks
using the chord symbols.
The guide tones are the
essential or defining
notes for each given
chord type. So if
improvising is new to you
and you find yourself
getting lost, you can
always return to a guide
tone and play
rhythmically around it.
Any etude and its
corresponding simplified
guide tone version can be
played together as a duet
(with or without the
accompaniment) with your
teacher or a friend.
Trombone SKU: AP.1-ADV14704 English/French/German Language Edition...(+)
Trombone
SKU:
AP.1-ADV14704
English/French/German
Language Edition.
Composed by Fred Lipsius.
Brass - Trombone and
Baritone Method or
Collection;
Improvisation;
Method/Instruction;
Play-Along; Technique
Musicianship. Advance
Music: Reading Key Jazz
Rhythms. Jazz. Book and
CD. Advance Music
#01-ADV14704. Published
by Advance Music
(AP.1-ADV14704).
UPC:
805095147049.
English.
With
Reading Key Jazz
Rhythms:Trombone Book &
CD set by Fred Lipsius,
you will learn essential
jazz rhythms first hand
from world-class
professionals! Reading
Key Jazz Rhythms is a
collection of 24 easy to
medium level jazz etudes,
and 24 simplified guide
tone versions of the
etudes. They are ideal
for learning the basic
language of jazz, swing
phrasing, and
articulation. A perfect
tool for preparing for
the jazz ensemble or for
any other
ensemble/orchestra which
performs jazz related
music (pops orchestras,
musical, studio, movie
scores, concert and
marching bands, etc.).
Each etude is based on a
specific rhythm or a
combination of rhythmic
figures. Some etudes
sound like very lyrical
improvised jazz solos,
while others are more
like a melody to a
standard. On the
accompanying CD the
soloist demonstrates the
24 melodious etudes
together with a
professional rhythm
section. You can also
improvise along with the
play-along tracks using
the chord symbols. The
guide tones are the
essential or defining
notes for each given
chord type. So if
improvising is new to you
and you find yourself
getting lost, you can
always return to a guide
tone and play
rhythmically around it.
Any etude and its
corresponding simplified
guide tone version can be
played together as a duet
(with or without the CD
accompaniment) with your
teacher or a friend.
Flute SKU: AP.1-ADV14705 English/German Language Edition. Composed...(+)
Flute
SKU:
AP.1-ADV14705
English/German
Language Edition.
Composed by Fred Lipsius.
Improvisation;
Method/Instruction;
Play-Along; Technique
Musicianship; Woodwind -
Flute Method or
Collection. Advance
Music: Reading Key Jazz
Rhythms. Jazz. Book and
CD. Advance Music
#01-ADV14705. Published
by Advance Music
(AP.1-ADV14705).
UPC:
805095147056.
English.
With
Reading Key Jazz Rhythms:
Flute Book & CD set by
Fred Lipsius, you will
learn essential jazz
rhythms first hand from
world-class
professionals! Reading
Key Jazz Rhythms is a
collection of 24 easy to
medium level jazz etudes,
and 24 simplified guide
tone versions of the
etudes. They are ideal
for learning the basic
language of jazz, swing
phrasing, and
articulation. A perfect
tool for preparing for
the jazz ensemble or for
any other
ensemble/orchestra which
performs jazz related
music (pops orchestras,
musical, studio, movie
scores, concert and
marching bands, etc.).
Each etude is based on a
specific rhythm or a
combination of rhythmic
figures. Some etudes
sound like very lyrical
improvised jazz solos,
while others are more
like a melody to a
standard. On the
accompanying CD the
soloist demonstrates the
24 melodious etudes
together with a
professional rhythm
section. You can also
improvise along with the
play-along tracks using
the chord symbols. The
guide tones are the
essential or defining
notes for each given
chord type. So if
improvising is new to
you, and you find
yourself getting lost,
you can always return to
a guide tone and play
rhythmically around it.
Any etude and its
corresponding simplified
guide tone version can be
played together as a duet
(with or without the CD
accompaniment) with your
teacher or a friend.
Horn SKU: AP.1-ADV14709 English/German Language Edition. Composed ...(+)
Horn
SKU:
AP.1-ADV14709
English/German
Language Edition.
Composed by Fred Lipsius.
Brass - French Horn
Method or Collection;
Improvisation;
Method/Instruction;
Play-Along; Technique
Musicianship. Advance
Music: Reading Key Jazz
Rhythms. Jazz. Book and
CD. Advance Music
#01-ADV14709. Published
by Advance Music
(AP.1-ADV14709).
UPC:
805095147094.
English.
With
Reading Key Jazz Rhythms:
French Horn Book & CD set
by Fred Lipsius, you will
learn essential jazz
rhythms first hand from
world-class
professionals! Reading
Key Jazz Rhythms is a
collection of 24 easy to
medium level jazz etudes,
and 24 simplified guide
tone versions of the
etudes. They are ideal
for learning the basic
language of jazz, swing
phrasing, and
articulation. A perfect
tool for preparing for
the jazz ensemble or for
any other
ensemble/orchestra which
performs jazz related
music (pops orchestras,
musical, studio, movie
scores, concert and
marching bands, etc.).
Each etude is based on a
specific rhythm or a
combination of rhythmic
figures. Some etudes
sound like very lyrical
improvised jazz solos,
while others are more
like a melody to a
standard. On the
accompanying CD the
soloist demonstrates the
24 melodious etudes
together with a
professional rhythm
section. You can also
improvise along with the
play-along tracks using
the chord symbols. The
guide tones are the
essential or defining
notes for each given
chord type. So if
improvising is new to
you, and you find
yourself getting lost,
you can always return to
a guide tone and play
rhythmically around it.
Any etude and its
corresponding simplified
guide tone version can be
played together as a duet
(with or without the CD
accompaniment) with your
teacher or a friend.
Piano/Keyboard SKU: AP.1-ADV14710 English/German Language Edition....(+)
Piano/Keyboard
SKU:
AP.1-ADV14710
English/German
Language Edition.
Composed by Fred Lipsius.
Improvisation;
Keyboard/Piano;
Method/Instruction;
Play-Along; Technique
Musicianship. Advance
Music: Reading Key Jazz
Rhythms. Jazz. Book and
CD. Advance Music
#01-ADV14710. Published
by Advance Music
(AP.1-ADV14710).
UPC:
805095147100.
English.
With
Reading Key Jazz
Rhythms:Piano Book & CD
set by Fred Lipsius, you
will learn essential jazz
rhythms first hand from
world-class
professionals! Reading
Key Jazz Rhythms is a
collection of 24 easy to
medium level jazz etudes,
and 24 simplified guide
tone versions of the
etudes. They are ideal
for learning the basic
language of jazz, swing
phrasing, and
articulation. A perfect
tool for preparing for
the jazz ensemble or for
any other
ensemble/orchestra which
performs jazz related
music (pops orchestras,
musical, studio, movie
scores, concert and
marching bands, etc.).
Each etude is based on a
specific rhythm or a
combination of rhythmic
figures. Some etudes
sound like very lyrical
improvised jazz solos,
while others are more
like a melody to a
standard. On the
accompanying CD the
soloist demonstrates the
24 melodious etudes
together with a
professional rhythm
section. You can also
improvise along with the
play-along tracks using
the chord symbols. The
guide tones are the
essential for defining
notes for each given
chord type. So if
improvising is new to you
and you find yourself
getting lost, you can
always return to a guide
tone and play
rhythmically around it.
Any etude and its
corresponding simplified
guide tone version can be
played together as a duet
(with or without the CD
accompaniment) with your
teacher or a friend.
Violin SKU: AP.1-ADV14708 Violin. Composed by Fred Lipsius. Improv...(+)
Violin
SKU:
AP.1-ADV14708
Violin. Composed
by Fred Lipsius.
Improvisation;
Method/Instruction;
Play-Along; String -
Violin Studies or
Collection; Technique
Musicianship. Advance
Music: Reading Key Jazz
Rhythms. Jazz. Book and
Digital Download. Advance
Music #01-ADV14708.
Published by Advance
Music (AP.1-ADV14708).
UPC: 805095147087.
English.
With this
book/audio set you will
learn essential jazz
rhythms first-hand from
world-class professionals
! Reading Key Jazz
Rhythms is a collection
of 24 easy to medium
level jazz etudes, and 24
simplified guide tone
versions of the etudes.
They are ideal for
learning the basic
language of jazz, swing
phrasing, and
articulation. A perfect
tool for preparing for
the jazz ensemble or for
any other
ensemble/orchestra which
performs jazz related
music (pops orchestras,
musical, studio, movie
scores, concert and
marching bands, etc.).
Each etude is based on a
specific rhythm or a
combination of rhythmic
figures. Some etudes
sound like very lyrical
improvised jazz solos,
while others are more
like a melody to a
standard. On the
downloadable audio tracks
the soloist demonstrates
the 24 melodious etudes
together with a
professional rhythm
section. You can also
improvise along with the
play-along tracks using
the chord symbols. The
guide tones are the
essential or defining
notes for each given
chord type. So if
improvising is new to you
and you find yourself
getting lost, you can
always return to a guide
tone and play
rhythmically around it.
Any etude and its
corresponding simplified
guide tone version can be
played together as a duet
(with or without the
audio accompaniment) with
your teacher or a
friend.
(Score) SKU: HL.49046957 ... zum Singen, Zuhoren, Erzahlen und Mitklat...(+)
(Score)
SKU:
HL.49046957
...
zum Singen, Zuhoren,
Erzahlen und Mitklatschen
German song bo.
Edition Schott. Classroom
Resources, Educational,
German Edition.
Softcover. 48 pages.
Schott Music #ED20955D.
Published by Schott Music
(HL.49046957).
UPC:
196288090656.
The
children drive to school
via their island in the
blue sea in a red rattle
bus. Then it suddenly
goes BANG. A cheeky
monkey threwa coconut on
the rattle bus roof. And
it doesn't stop at this
one stop: the children
experience even more
surprises and learn a lot
about music in the
process. The rhythm
journey with the red
rattle bus by Dorothea
and Rudolf Nykrin (Music
and dance for children, I
know my way around music)
encourages children to
sing, speak, listen and
rhythmically clap along.
This is ensured by many
happy songs and rhythms,
groovy pieces of music
and an exciting story -
an ideal work for
elementary lessons,
kindergarten and for at
home.
Rhythm (Guitar) (Guitar) SKU: HL.49047190 Sicherer Groove und Anschlag...(+)
Rhythm (Guitar) (Guitar)
SKU: HL.49047190
Sicherer Groove und
Anschlag – die
Rhythmuslehre für
Gitarre Germ. Guitar.
Etude, German Edition,
Technique. Softcover.
Schott Music #SPL1099D.
Published by Schott Music
(HL.49047190).
UPC:
196288152231.
Cryst
al-clear rhythms and
technique – these
are needed to play fat
riffs. “Rhythm on
Guitar†therefore
is all about the right
hand. Starting with basic
patterns through to
virtuoso semiquaver
combinations, Frank Doll
(“Griffbrett-Theori
eâ€) presents the
work on rhythms.
Strumming, tapping,
legato techniques and
more are explained and
practised in numerous
examples which eventually
leads toimproving your
solo play as well!
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).
Guitar - Intermediate SKU: MB.30923M A Path to Fluency in Odd Meters a...(+)
Guitar - Intermediate
SKU: MB.30923M
A Path to Fluency in
Odd Meters and
Polyrhythms for All
Instruments.
Improvising, Lines &
Phrases, Saddle-stitched.
Jazz. Book and online
audio. 96 pages. Mel Bay
Publications, Inc
#30923M. Published by Mel
Bay Publications, Inc
(MB.30923M).
ISBN
9781513468600. 8.75x11.75
inches.
Advanced
Rhythmic Concepts for
Improvisation off
ers the advancing student
a method to expand their
rhythmic vocabulary and
explore some of the more
challenging aspects of
the modern jazz idiom. It
puts rhythm and time-feel
front and center, and
offers techniques for
strengthening your inner
metronome, enhancing your
time-feel, expanding your
rhythmic flexibility, and
especially, learning how
to improvise fluently in
odd meters. The book
includes over 120 audio
tracks, with 52 backing
tracks featuring a superb
rhythm section for the
student to play along
with. There are multiple
examples of grooves in
each meter, as well as
multi-meter exercises,
arrangements of
standards, an exploration
of triplet groupings,
polyrhythmic exercises,
and full compositions.
Includes access to online
audio.