The Drummer's Guide to Musical Styles and the Legends Who Defined Them. By Rich ...(+)
The Drummer's Guide to
Musical Styles and the
Legends Who Defined Them.
By Rich Lackowski. For
Drum Set. Percussion -
Drum Set Method or
Collection. Instructional
Book and Examples CD. 244
pages. Published by
Alfred Publishing.
Deluxe Guitar Play-Along Volume 26. By Alex Lifeson and Rush. Deluxe Guitar Pl...(+)
Deluxe Guitar Play-Along
Volume 26. By Alex
Lifeson and
Rush. Deluxe Guitar Play-
Along. Rock. Softcover
Audio
Online. 144 pages.
Published
by Hal Leonard
Orchestra Piano SKU: PR.11641861SP Composed by William Kraft. Part. 35 pa...(+)
Orchestra Piano
SKU:
PR.11641861SP
Composed by William
Kraft. Part. 35 pages.
Duration 21 minutes.
Theodore Presser Company
#116-41861SP. Published
by Theodore Presser
Company (PR.11641861SP).
UPC:
680160685202.
What?
! - my composer
colleagues said - A
concerto for the piano?
It's a 19th century
instrument! Admittedly we
are in an age when
originally created
timbres and/or
musico-technological
formulations are often
the modus operandi of a
piece. Actually, this
Concerto began about two
years ago when, during
one of my creative jogs,
the sound of the
uppermost register of the
piano mingled with wind
chimes penetrated my
inner ear. The challenge
and fascination of
exploring and developing
this idea into an
orchestral situation
determined that some day
soon I would be writing a
work for piano and
orchestra. So it was a
very happy coincidence
when Mona Golabek phoned
to tell me she would like
discuss the Ford
Foundation commission.
After covering areas of
aesthetics and
compositional styles, we
found that we had a good
working rapport, and she
asked if I would accept
the commission. The
answer was obvious. Then
began the intensive
thought process on the
stylistic essence and
organization of the work.
Along with this went a
renewed study of
idiomatic writing for the
piano, of the kind
Stravinsky undertook with
the violin when he began
his Violin Concerto. By a
stroke of great fortune,
the day in February 1972
that I received official
notice from the Ford
Foundation of the
commission, I also
received a letter from
the Guggenheim Foundation
informing me I had been
awarded my second
fellowship. With the good
graces of Zubin Mehta and
Ernest Fleischmann,
masters of my destiny as
a member of the Los
Angeles Philharmonic, I
was relieved of my
orchestral duties during
the Hollywood Bowl
season. Thus I was able
to go to Europe to work
and to view the latest
trends in music
concentrating in London
(the current musical
melting pot and showcase
par excellence), Oslo,
Norway, for the Festival
of Scandinavian Music
called Nordic Days, and
Warsaw, Poland, for its
prestigious Autumn
Festival. Over half the
Concerto was completed in
that summer and most of
the rest during the 72-73
season with the final
touches put on during a
month as Resident Scholar
at the Rockefeller
Foundation's Villa
Serbelloni in Bellagio,
Italy. So much for the
external and
environmental influences,
except perhaps to mention
the birds of Sussex in
the first movement, the
bells of Arhus (Denmark)
in the second movement
and the bells of Bellagio
at the end of the
Concerto. Primary in the
conception was the
personality of Miss
Golabek: she is a
wonderfully vital and
dynamic person and a real
virtuoso. Therefore, the
soloist in the Concerto
is truly the protagonist;
it is she (for once we
can do away with the
generic he) who unfolds
the character and intent
of the piece. The first
section is constructed in
the manner of a
recitative - completely
unmeasured - with letters
and numbers by which the
conductor signals the
orchestra for its
participation. This
allows the soloist the
freedom to interpret the
patterns and control the
flow and development of
the music. The Concerto
is actually in one
continuous movement but
with three large
divisions of sufficiently
contrasting character to
be called movements in
themselves. The first
'movement' is based on a
few timbral elements: 1)
a cluster of very low
pitches which at the
beginning are practically
inaudibly depressed, and
sustained silently by the
sostenuto pedal, which
causes sympathetic
vibrating pitches to ring
when strong notes are
struck; 2) a single
powerful note indicated
by a black note-head with
a line through it
indicating the strongest
possible sforzando; 3)
short figures of various
colors sometimes ominous,
sometimes as splashes of
light or as elements of
transition; 4) trills and
tremolos which are the
actual controlling
organic thread starting
as single axial tremolos
and gradually expanding
to trills of increasingly
larger and more powerful
scope. The 'movement'
begins in quiescent
repose but unceasingly
grows in energy and
tension as the stretching
of a string or rubber
band. When it can no
longer be restrained, it
bursts into the next
section. The second
'movement,' propelled by
the released tension, is
a brilliant virtuosic
display, which begins
with a long solo of wispy
percussion, later joined
in duet with the piano.
Not to be ignored, the
orchestra takes over
shooting the material
throughout all its
sections like a small
agile bird deftly
maneuvering through
nothing but air, while
the piano counterposes
moments of lyricism. The
orchestra reaches a
climax, thrusting us into
the third 'movement'
which begins with a
cadenza-like section for
the piano. This moves
gently into an expressive
section (expressive is
not a negative term to
me) in which duets are
formed with various
instruments. There are
fleeting glimpses of
remembrances past, as a
fragmented
recapitulation. One
glimpse is hazily
expressed by strings and
percussion in a moment of
simultaneous contrasting
levels of activity, a
technique of which I have
been fond and have
utilized in various
fixed-free relationships,
particularly in my
Percussion Concerto,
Contextures and Games:
Collage No. 1. The second
half of the third
'movement; is a large
coda - akin to those in
Beethoven - which brings
about another display of
virtuosity, this time
gutsy and driving,
raising the Concerto to a
final climax, the soloist
completing the fragmented
recapitulation concept as
well as the work with the
single-note sforzando and
low cluster from the very
opening of the first
movement.
German Favorites for Accordion composed by Various. Arranged by Gary Dahl. For a...(+)
German Favorites for
Accordion composed by
Various. Arranged by Gary
Dahl. For accordion. This
edition: Paperback.
Collection. Ethnic. Book.
Text Language: English.
48 pages. Published by
Santorella Publications
Dragon Fight Orchestre d'harmonie - Facile Hal Leonard
Concert Band (Score) - Level 2.5 SKU: HL.4007993 For Concert Band, Gra...(+)
Concert Band (Score) -
Level 2.5
SKU:
HL.4007993
For
Concert Band, Grade 2.5
Score. Composed by
Otto M. Schwarz. Concert.
Softcover. Duration 435
seconds. Hal Leonard
#SDP0812101. Published by
Hal Leonard (HL.4007993).
At the best
viewpoint over the Alps
of Liechtenstein, the
village of Guflina is
situated. Underneath the
overhanging ledge, there
is said to have been a
cave in the mountain. In
it lived a terrible
dragon that was on the
rampage on the
surrounding meadows,
spreading fear and terror
among the population. At
the same time there lived
a giant man up in
Guflina, who had the
strength of twelve normal
men. The farmers implored
him to help them in their
distress. The giant
ventured to fight the
dragon and was lying in
wait above the cave. When
the dragon refused to
appear, the giant threw
stones into the entrance
of the cave. They got
into a fight, which the
giant only just won with
difficulty. Since that
day, people have lived in
peace and prosperity.
SATB Chorus SKU: JU.JMG1375 Composed by Bob Burroughs and Esther Burrough...(+)
SATB Chorus
SKU:
JU.JMG1375
Composed
by Bob Burroughs and
Esther Burroughs.
Anthems. Octavo. Jubilate
Music Group #JMG1375.
Published by Jubilate
Music Group (JU.JMG1375).
UPC:
850055807617.
Openi
ng with a sense of
urgency, this anthem with
a missions theme is
challenging, exciting,
and empowering. With a
charge to Go witness in
your villages and
towns... and Go into all
the world balanced with
the promise of
God’s abiding
presence and strength,
this anthem is an
offering of light and
promise for an often dark
world.
Concert Band (FULL SCORE) - Level 3.5 SKU: HL.4007480 One Village Unit...(+)
Concert Band (FULL SCORE)
- Level 3.5
SKU:
HL.4007480
One
Village United.
Composed by Thomas Doss.
Mitropa Music Concert
Band. Concert. Softcover.
Duration 480 seconds.
Mitropa Music
#2220-21-140M. Published
by Mitropa Music
(HL.4007480).
UPC:
196288058038.
Intro
duction: Like a dark
veil, an ominous sense of
foreboding takes hold
across the world. A
looming danger, one
previously unknown to
mankind, slowly
approaches, bringing our
daily lives to a grinding
halt. A perilous virus
gives us no choice other
than to stay in our
homes, leaving us unable
to work in our offices or
even visit family and
friends. Something that
has only been talked
about in history books is
coming to pass: a
pandemic! Bar 74: Like a
dark veil, an ominous
sense of foreboding takes
hold across the world. A
looming danger, one
previously unknown to
mankind, slowly
approaches, bringing our
daily lives to a grinding
halt. A perilous virus
gives us no choice other
than to stay in our
homes, leaving us unable
to work in our offices or
even visit family and
friends. Something that
has only been talked
about in history books is
coming to pass: a
pandemic! Bar 82: People
help each other out.
Neighbourly assistance
and support within one's
own family becomes more
apparent. We stand by
each other. Suddenly we
have the time for things
that we did not have
before. Time for
reflection... Bar 106: A
new era commences.
Finally, hope reappears.
We leave our houses, but
nothing is quite the same
anymore. With renewed
strength, people begin to
perceive the future in a
positive and optimistic
way once again. With
greater attention and
awareness of the here and
now, we feel that,
despite it all, we can be
happy.