(Words and Chords to Nearly 1200 Songs 9x12 Spiral Bound). Edited by Annie Patte...(+)
(Words and Chords to
Nearly 1200 Songs 9x12
Spiral Bound). Edited by
Annie Patterson and Peter
Blood. For Vocal. Vocal.
Softcover. 304 pages.
Published by Hal Leonard
(Words and Chords to Nearly 1200 Songs Spiral-Bound). Edited by Annie Patterson ...(+)
(Words and Chords to
Nearly 1200 Songs
Spiral-Bound). Edited by
Annie Patterson and Peter
Blood. For Vocal. Vocal.
Softcover. 304 pages.
Published by Hal Leonard
(C Edition) For voice and C instrument. Format: fakebook. With vocal melody, lyr...(+)
(C Edition) For voice and
C instrument. Format:
fakebook. With vocal
melody, lyrics and chord
names. Series: Hal
Leonard Fake Books. 856
pages. 9x12 inches.
Published by Hal Leonard.
(4th Edition ) For voice and C instrument. Format: fakebook. With vocal melody, ...(+)
(4th Edition ) For voice
and C instrument. Format:
fakebook. With vocal
melody, lyrics and chord
names. Pop rock, rock and
pop. Series: Hal Leonard
Fake Books. 584 pages.
9x12 inches. Published by
Hal Leonard.
Ligne De Mélodie, Paroles et Accords [Fake Book] - Intermédiaire Hal Leonard
For voice and C instrument. Format: fakebook. With vocal melody, lyrics, chord n...(+)
For voice and C
instrument. Format:
fakebook. With vocal
melody, lyrics, chord
names and guitar chord
chart. Gospel and
worship. Series: Hal
Leonard Fake Books. 295
pages. 9x12 inches.
Published by Hal Leonard.
Ligne De Mélodie, Paroles et Accords [Fake Book] - Intermédiaire Sher Music Company
By Various. Almost 600 pages of world-famous Sher Music transcriptions! Don't go...(+)
By Various. Almost 600
pages of world-famous
Sher Music
transcriptions! Don't go
to the gig without it!.
Various. Fake Book.
Published by Sher Music
Company.
Focus [Complete Set] Orchestre à Cordes [Conducteur et Parties séparées] Jazz Lines Publications
By Stan Getz and Beaux Arts String Ensemble. By Eddie Sauter. Edited by Rob Dubo...(+)
By Stan Getz and Beaux
Arts String Ensemble. By
Eddie Sauter. Edited by
Rob Duboff, Jeffrey
Sultanof, Alex Chilowicz,
and Andrew Homzy.
Arranged by Eddie Sauter.
For string ensemble
(score and parts)
(Soloist (parts in
concert, B-flat, and
E-flat), Violin I (8
parts), Violin II (8
parts), Viola (5 Parts),
Cello (5 Parts) , Double
Bass (3 Parts), Harp,
Piano/Celeste, Percussion
(Snare Drum, Marimba,
Tambourine)). Advanced.
Score and parts.
Published by Jazz Lines
Publications
Saxophone, Accordion, Double Bass SKU: HL.14033723 Composed by Karsten Fu...(+)
Saxophone, Accordion,
Double Bass
SKU:
HL.14033723
Composed
by Karsten Fundal. Music
Sales America. Classical.
Score. 15 pages. Music
Sales #KP01526. Published
by Music Sales
(HL.14033723).
ISBN
9788759891322.
Danish.
Together
Apart/Apart Together for
Saxophone, Accordion and
Double Bass was composed
by Karsten Fundal in
2004. Written for and
commissioned by Poing.
Programme note: This
piece is the 3rd in a row
of pieces, which
concentrates on a
rhythmical relationship
that continues to puzzle
me. It is actually two
relationships embedded.
The 1st is a pattern that
is very inspired by the
composer Per Norgard, who
in the beginning of the
90's got very preoccupied
with the idea that you
can have rhythms that
never meet. This happens
if you start a rhythm,
like a quintuplet, on the
beat and one, like a
triplet, off beat. This
can, with different
rhythms, give very
intricate interwoven
patterns, that gives the
illusion that they are
not cyclic. In my case I
use the two ratio five to
seven, in the described
way. This rythms have the
strange property that if
you take each 5th note of
the seven and each 7 note
of the five you get a
ratio almost identical:
49:50. This is very
intriguing, as you can
use the possibility of
letting them be equal or
the possibility of
letting them interfere.
In the first case you get
an interlocking rhythm
which is smooth: an equal
rhythmic pattern. In the
second case you get a
similar situation, but
where one of them is one
short after 50 of the
other ones, which results
in a disturbing almost
equality, but not quite.
Therefore the title:
because when I use the
unequal rhythm I put the
two layers in a similar
tone register, or a
similar way of playing,
and when I use the equal
one I put them a part
tone wise speaking. This
is a very technical
description, but it is
very hard to put it in
more wide terms, but you
might compare it with
driving in a train and
looking at two fence rows
behind each other: if the
poles are placed exactly
halfway between each
other you will experience
an illusion of a fast
jump if there is enough
distance between them, as
a result of the
perspective. If they are
placed in a way that
there are almost the same
numbers of poles, like
49:50, you will
experience a very complex
pattern, which seems
unpredictable. But of
course when using it in
music the whole thing is
somewhat different, but
even then it gives an
idea of my preoccupation.
What also intrigues me is
that the relations are
very hard to use in a
musical way, and that is
also quire a challenge.'
Finally I have to say
that I enjoyed very much
writing for Poing, as
these crazy guys are
capable of doing almost
anything you want in an
nearly literal sense. -
Karsten Fundal summer
2004.