Concert band - Grade 1 SKU: CL.023-4574-01 Composed by Romeyn. Young Conc...(+)
Concert band - Grade 1
SKU:
CL.023-4574-01
Composed by Romeyn. Young
Concert Band. Sound
Foundations Series. Audio
recording available
separately (item
CL.WFR393). Extra full
score. Composed 2017.
Duration 2 minutes, 6
seconds. C.L. Barnhouse
#023-4574-01. Published
by C.L. Barnhouse
(CL.023-4574-01).
Stately, regal
and dignified are all
words to describe Into
The Court Of The King.
The march begins softly,
and gradually grows as
the music develops,
giving the feeling of a
courtly procession. Even
though ranges are
limited, this exceptional
march will make your band
sound musically rich and
mature. A valuable
teaching piece, suitable
for any concert or
festival performance.
Beginning band writing at
its finest!
The Lion Sleeps Tonight Orchestre d'harmonie [Conducteur et Parties séparées] - Facile De Haske Publications
Concert Band/Harmonie - Grade 2.5 SKU: BT.DHP-1064123-010 From The Lio...(+)
Concert Band/Harmonie -
Grade 2.5
SKU:
BT.DHP-1064123-010
From The Lion King 3:
Hakuna Matata.
Arranged by Frederik
Kampstra. De Haske Pop
Collection. Pop & Rock.
Set (Score & Parts).
Composed 2006. De Haske
Publications #DHP
1064123-010. Published by
De Haske Publications
(BT.DHP-1064123-010).
9x12 inches.
English-German-French-Dut
ch.
The Lion Sleeps
Tonight was originally
recorded in 1939 and was
an instant hit in many
countries. Since then,
countless artists have
recorded this well-known
song. The Lion Sleeps
Tonight was also used in
the famous Disney movie
The Lion King. Add a
little Disney magic to
any concert with this
stirring arrangement.
The Lion
Sleeps Tonight werd
in 1939 onder de titel
Mbube (Afrikaans voor
leeuw) opgenomen door de
Zuid-Afrikaanse bedenker
van de song, Solomon
Linda, en zijn groep The
Evening Birds. Het nummer
werd een grote hit in
Afrika.Een aangepaste
versie werd ook een hit
in Groot-Brittannië en
de Verenigde Staten. Vele
covers volgden en in de
loop der tijd werd de
aanstekelijke melodie
wereldwijd bekend. The
Lion Sleeps Tonight
is onder andere
gebruiktvoor de beroemde
Disney-film The Lion
King. Deze song met
zijn bewogen geschiedenis
inspireerde Frederik
Kampstra tot het
schrijven van dit
levendige
arrangement.
Th
e Lion Sleeps Tonight
wurde erstmals 1939 unter
dem Titel Mbube
(afrikanisch für
Löwe) vom
südafrikanischen
Komponisten Solomon Linda
und dessen Band The
Evening Birds
aufgenommen. Von 1961
stammt die heute bekannte
Version von George David
Weiss, Luigi Creatore und
Hugo Peretti, die schon
von unzähligen
großen Künstlern
neu interpretiert wurde.
The Lion Sleeps
Tonight wurde sogar
in den Soundtrack zum
Disney-Zeichentrickfilm
Der König der
Löwen aufgenommen.
Frederik Kampstras
lebhafte Bearbeitung
für Blasorchester
sorgt für echtes
Safari-Feeling!
The
Lion Sleeps Tonight
è opera del cantante
sudafricano Solomon
Linda, che scrisse Mbube
(leone in lingua zulù)
nel lontano 1939. Mentre
la canzone ebbe un
successo mondiale, il suo
autore morì in
miseria.
L’incredibile
storia di questa canzone
dalla melodia
accattivante ha ispirato
Frederik Kampstra nello
scrivere questo
arrangiamento.
Composed by Bud Woodruff.
Halloween. Intermezzo.
Halloween. Set of parts.
Excelcia Music Publishing
#ISO2209. Published by
Excelcia Music Publishing
(XC.ISO2209).
12 x 9
inches.
In an
attempt to musically
capture that creepy
feeling of walking in the
Dark, Composer Bud
Woodruff brings us a
spooky new work for
String Orchestra. Perfect
for that first Fall
Concert!
Performance Kit Choral (Perf Kit with Audio Download) By Various. Arranged by...(+)
Performance Kit Choral
(Perf
Kit with Audio Download)
By Various. Arranged by
Roger
Emerson. Choral
Collection.
Pop, Rounds. Softcover
Audio
Online. Published by Hal
Leonard
Floatation Ensemble Jazz [Conducteur] - Facile C.L. Barnhouse
Grade 3 SKU: CL.033-0390-01 Composed by Hooper. Jazz Ensemble. Extra full...(+)
Grade 3
SKU:
CL.033-0390-01
Composed by Hooper. Jazz
Ensemble. Extra full
score. Composed 1988.
C.L. Barnhouse
#033-0390-01. Published
by C.L. Barnhouse
(CL.033-0390-01).
A ballad-like
samba giving the feeling
of
``floating’â€
as many of the
Brazilian melodies and
rhythms do. A chance to
show off the ensemble
tone of the band as there
are many warm chord
structures in this
creative chart by
super-writer Les
Hooper.
Composed
by Dale Jergenson.
Christmas, 21st Century.
Choral score. Duration 2
minutes, 46 seconds.
Laurendale Associates
#CH-1002. Published by
Laurendale Associates
(MN.CH-1002).
English.
This
arrangement uses MIDI
Organ registrations, but
may be performed by a
standard pipe or
electronic organ if
desired. The use of
Guitar and Flute gives a
feeling of old world with
a contemporary folk
sound. Old French Carol.
Duration 2:46.
By Dennis Alexander, Gayle Kowalchyk, E. L. Lancaster, Victoria McArthur, and Ma...(+)
By Dennis Alexander,
Gayle Kowalchyk, E. L.
Lancaster, Victoria
McArthur, and Martha
Mier. For Piano.
Method/Instruction; Piano
- Alfred's Premier Piano
Course; Technique
Musicianship. Premier
Piano Course. Children.
Book. 40 pages
Instruments en Do [Fake Book] - Intermédiaire Hal Leonard
C Edition. Composed by Various. Fake Book. Jazz. Fakebook (softcover). With voca...(+)
C Edition. Composed by
Various. Fake Book. Jazz.
Fakebook (softcover).
With vocal melody,
lyrics, chord names,
black and white photos,
discography and
introductory text. 400
pages. Hal Leonard
#FBM0003. Published by
Hal Leonard
Pietro's Return March Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire Daehn Publications
Concert band - Grade 4 SKU: DH.DP200102-SET Composed by Deiro. Arranged b...(+)
Concert band - Grade 4
SKU:
DH.DP200102-SET
Composed by Deiro.
Arranged by Larry Daehn.
Score and set of parts.
Duration 2 minutes, 42
seconds. Published by
Daehn Publications
(DH.DP200102-SET).
Of Pietro
Deiro's 170 compositions,
Pietro's Return was the
most famous. It was
written for accordion in
1913 and arranged for
military band in 1925.
This brisk march (Tempo
di marcia risoluto) has
the feeling of a bustling
Italian tarantella. Great
fun!
Trombone - easy SKU: BT.DHP-1196096-404 Kleine Werke aus groÃ?en Kino...(+)
Trombone - easy
SKU:
BT.DHP-1196096-404
Kleine Werke aus
groÃ?en Kinohits.
Yamaha BläserKlasse
Solo.
TV-Film-Musical-Show.
Book with Online Audio.
Composed 2019. 28 pages.
De Haske Publications
#DHP 1196096-404.
Published by De Haske
Publications
(BT.DHP-1196096-404).
ISBN 9789043156769.
German.
Die
Unterhaltungsfilme aus
der Produktion von Walt
Disney Pictures,
insbesondere die
Zeichentrickfilme,
prägen bis heute ganze
Generationen von Kindern
und Jugendlichen. Nicht
wegzudenken ist dabei die
Musik, die nicht nur in
den Filmen selbst zu
hören ist, sondern
unter anderem auch den
Grundstein für mehrere
groÃ?e Musical-Erfolge
gelegt hat. In
BläserKlasse
Disney sind 14 der
berühmtesten Melodien
aus Walt-Disney-Filmen
versammelt. Die Ausgabe
ist als ergänzendes
Spielmaterial für
Posaunenschüler
konzipiert, die ihr
Instrument in
Bläserklassen
erlernen. Die
Solo-Arrangements sind
genau auf den
Lernfortschritt in der
BläserKlassen-Methode
Essential Elements
abgestimmt, da zu jedem
einzelnen Song angegeben
ist, ab welcher Lektion
der Methode er sich
eignet. Für das
authentische
Disney-Feeling sorgen die
stilechten Begleitungen,
die online im MP3-Format
abgerufen werden
können.
100 Seasonal Favorites. By Various. Easy Piano Songbook (Easy arrangements for p...(+)
100 Seasonal Favorites.
By Various. Easy Piano
Songbook (Easy
arrangements for piano
and voice). Size 9x12
inches. 272 pages.
Published by Hal Leonard.
3-6 octave handbells - Grade 3 SKU: BP.HB579 Composed by Matthew Compton....(+)
3-6 octave handbells -
Grade 3
SKU:
BP.HB579
Composed by
Matthew Compton. Arranged
by Matthew Compton.
Handbell choir music.
Sacred, Christmas.
Handbell score.
Beckenhorst Press #HB579.
Published by Beckenhorst
Press (BP.HB579).
Arranged for 3
to 6 octave handbell
choir. Level 3+. An
opening peal figure gives
way to the theme of the
traditional carol, all in
10/8 time. A more
standard verse in 4/4
gives way once more to
10/8 as the piece comes
in for a raucous
conclusion. Unexpected
and compelling harmonies
abound throughout, giving
this old carol a new
feeling. A great choice
for advanced ensembles
looking for a chance to
work on mixed meter.
Tuba septet & drum set SKU: P2.90128 Composed by Jim Self. Chamber music,...(+)
Tuba septet & drum set
SKU: P2.90128
Composed by Jim Self.
Chamber music,
Contemporary. Published
by Potenza Music
(P2.90128).
The
Shadow Knows for Six
Tubas and Drums
(optional) was composed
by Jim Self in 2010 as a
class recording project
at the University of
Southern California
Thornton School of Music.
The entire class of
tubists played F Tubas.
The Shadow Knows is
written for six tubas
panned across a
180-degree spectrum.
Performances should have
the tubas spread evenly
with the drums in the
rear center. The spatial
quality of the music is
important to the texture.
The drums are optional
and substitute percussion
instruments can be used
so one drum set player
can do all. The
piece begins with an
octave G's vamp that
leads into a scherzo like
melody. Lots of cascading
and special effects
emphasize the spectral
nature of the music.
Rhythmic hemiolas give
the feeling of constant
meter changes between and
6/8. The second section
is a pretty waltz over
jazzy harmonies
punctuated by various
tuba solos and move
rhythmic permutations.
This is followed by three
short duets and a return
to the initial groove and
theme culminating in a
fast coda-like section.
The initial vamp returns
with a big rallentando
and octave changes--and
the piece ends with a
quasi-improvised solo in
the 1st tuba over a
bluesy chord. The
Shadow Knows was
premiered and recorded in
April 2010 at USC. Tubas:
(R-L in Mix) Steven
Caron, Lyndsey Hoh
McClure, Zeewoong Munn,
Kyle Mylonakis, Blake
Cooper, Danny Garcia;
Drums: Brian Foreman. DMA
student Dave Holben
conducted. It was
recorded and mixed by USC
Professor Rick Schmunk,
The recording can be
heard at www.jimself.com
and copies can be
purchaced there also. The
Shadow Knows was
completed on February 2
so the title refers to
the Ground Hog seeing his
shadow in Punxsutawney,
PA. It also remembers the
old radio mystery
show--The Shadow.
Trombone SKU: HL.870077 Composed by Various. Essential Elements Band Foli...(+)
Trombone
SKU:
HL.870077
Composed by
Various. Essential
Elements Band Folios.
Pop. Softcover. 16 pages.
Published by Hal Leonard
(HL.870077).
ISBN
9781705150269. UPC:
196288017004.
9.0x12.0x0.077
inches.
30 popular
melodies at an easy level
in solo books for all the
instruments in the
Essential Elements Band
Method. Perfect
motivational music for
students to play and
practice featuring songs
by Billie Eilish, Queen,
Shawn Mendes, Taylor
Swift, Star Wars, The
Avengers, and more!
Titles include: Believer
• Blinding Lights
• Don't Stop
Believin' •
Dynamite •
Hallelujah • The
Imperial March (Darth
Vader's Theme) •
Let It Go •
Señorita • Seven
Nation Army •
Sucker • This Is Me
• We Are the
Champions • Wildest
Dreams • You Will
Be Found • and
more.
(Eight Tangos Violin and Piano). Composed by Peter Ludwig. For Piano Accompanime...(+)
(Eight Tangos Violin and
Piano). Composed by Peter
Ludwig. For Piano
Accompaniment, Violin.
Schott. Softcover. 86
pages. Schott Music
#ED20883. Published by
Schott Music
By Various. Edited by Chuck Sher. For Bb instruments. This edition: spiral-bound...(+)
By Various. Edited by
Chuck Sher. For Bb
instruments. This
edition: spiral-bound.
Real Easy Books series.
Fake book. 186 pages.
Published by Sher Music
Company
Performed by Santana. For guitar and voice. Format: guitar tablature songbook. W...(+)
Performed by Santana. For
guitar and voice. Format:
guitar tablature
songbook. With guitar
tablature, standard
notation, vocal melody,
lyrics, chord names,
guitar chord diagrams,
guitar notation legend
and black and white
photos. Rock, pop rock
and latin pop. Series:
Hal Leonard Guitar
Recorded Versions. 96
pages. 9x12 inches.
Published by Hal Leonard.
Orchestra violin 1
(picc.2.2.2.2 - 2.2.2.0 -
timp - str)
SKU:
BR.OB-14616-15
Pastoral Symphony -
Urtext based on the new
Complete Edition (G.
Henle Verlag).
Composed by Ludwig van
Beethoven. Edited by Jens
Dufner. Orchestra;
stapled.
Orchester-Bibliothek
(Orchestral Library).
The study score
(,,Studien-Edition) is
available at G. Henle
Verlag
Symphony;
Classical. Part. 20
pages. Duration 40'.
Breitkopf and Haertel #OB
14616-15. Published by
Breitkopf and Haertel
(BR.OB-14616-15).
ISBN
9790004344477. 10 x 12.5
inches.
It was only
shortly after the 5th
Symphony that Beethoven
completed the Pastoral
Symphony. The two formed
a complementary work
pair, consigned together
to a patron in June 1808,
publicly premiered in
Vienna in December 1808,
and published by
Breitkopf & Hartel in the
spring of 1809. During
this period, Beethoven
revised the symphony
several times. Only in
the course of preparing
for publication did
Beethoven send Breitkopf
& Hartel a letter,
together with a list of
corrections, disclosing
the title that he
desired, Pastoral
Symphony or recollections
of country life. More an
expression of feeling
than painting. The
Pastoral with its
tone-painting elements
gives evidence of
Beethoven's closeness to
nature, characterizing in
five movements his
various experiences and
images of nature. Based
on the music text of the
Beethoven Complete
Edition, the new
performance material of
this recently published
edition presents the
current, authoritative
status of Beethoven
research for this
work.
Piano, Vocal and Guitar SKU: BT.MUSAM1000450 By Jenni Wheeler. By Glee Ca...(+)
Piano, Vocal and Guitar
SKU:
BT.MUSAM1000450
By
Jenni Wheeler. By Glee
Cast.
TV-Film-Musical-Show.
Book Only. Wise
Publications
#MUSAM1000450. Published
by Wise Publications
(BT.MUSAM1000450).
ISBN
9781849385121.
This
great songbook features
17 songs from the hit TV
show
Glee in
Piano, Vocal and Guitar
arrangements.
In
cludes the hit single
Don't Stop
Believin',
originally
releasedbyJourney
. Both the
original and the
Glee
cast version made it into
the charts in January
2010, both in the top
ten, a rare occurrence in
UK chart history. Also
includes
otherGleesingles, such as
Take a Bow,
originally by
Rihanna,
Keep Holding On,
released in 2006 by
Avril
Lavigne and
featured as the theme
song for the
filmEragon,Bust A Move,
the 1989 hip-hop release
from Young
MC, Sweet
Caroline, the
extensively covered
Neil
Diamond hit and
Queen's
SomebodyToLove.<
br/>
GLEE, de
Amerikaanse High School
hit, wordt ook
uitgezonden op de
Nederlandse televisie en
is een enorm succes.
Vanaf 14 september 2010
is deze serie te zien bij
RTL 5 en de kijkcijfers
hebben zich na de eerste
paar uitzendingen
verdubbeld.Glee bevat
humor, spanning,
cheerleeders,
footballspelers en flink
wat tienerdrama, maar
onderscheidt zich sterk
van andere soortgelijke
programma's door de
bijzondere muziek in de
serie. Er worden namelijk
nummers vanbekende
artiesten gezongen, die
in een nieuw hip jasje
gestoken zijn. Glee is
hierdoor hard op weg om
de grootste hype van dit
seizoen te
worden!Leverbaar:G
lee Songbook:
Season 1,
Volume 1 Glee Songbook:
Season 1, Volume 2
GleeSongbook: Season 1,
Volume 3
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).
Choral (2-Part) SKU: HL.1358769 (Choral Medley). Arranged by Mac H...(+)
Choral (2-Part)
SKU:
HL.1358769
(Choral
Medley). Arranged by
Mac Huff. Broadway
Choral. Broadway,
Nineties, Pop. Octavo. 36
pages. Duration 600
seconds. Published by Hal
Leonard (HL.1358769).
UPC: 196288192671.
6.75x10.5x0.076
inches.
From the
Tony-nominated production
and Juliet comes this
powerhouse medley of 90s
and 2000s hits, each
featured in the musical.
Program this showstopping
selection and your
audience will be sure to
sing along!
Performed by Ricky Nelson. For voice, piano and guitar chords. Format: piano/voc...(+)
Performed by Ricky
Nelson. For voice, piano
and guitar chords.
Format:
piano/vocal/chords
songbook. With vocal
melody, piano
accompaniment, lyrics,
chord names and guitar
chord diagrams. Rock 'n'
roll. 69 pages. 9x12
inches. Published by Hal
Leonard.