(Guitar TAB). For Guitar. Book; Guitar Mixed Folio; Guitar TAB. The New Guitar T...(+)
(Guitar TAB). For Guitar.
Book; Guitar Mixed Folio;
Guitar TAB. The New
Guitar TAB Big Book.
Adult Contemporary; Folk;
Pop; Pop/Rock; Rock. 264
pages. Published by
Alfred Music
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, Voix et Guitare [Partition] - Intermédiaire Hal Leonard
Performed by The Doors. For voice, piano and guitar chords. Format: piano/vocal/...(+)
Performed by The Doors.
For voice, piano and
guitar chords. Format:
piano/vocal/chords
songbook. With vocal
melody, piano
accompaniment, lyrics,
chord names, guitar chord
diagrams, introductory
text and black and white
photos. Classic rock and
psychedelic rock. 412
pages. 9x12 inches.
Published by Hal Leonard.
Doors (score and parts) Ensemble de Percussions [Conducteur et Parties séparées] C. Alan Publications
Composed by Dave Hall. Percussion Ensemble. For Percussion Ensemble (Crotales (2...(+)
Composed by Dave Hall.
Percussion Ensemble. For
Percussion Ensemble
(Crotales (2 octaves)
Vibraphone 1 Vibraphone 2
Bells (Double Seconds
(Steel Pan) Tam-Tam)
Marimba 1 (4-octave)
(Small Triangle,
Suspended Cymbal (shared
with Marimba 3) Marimba 2
(4.3 or 5-octave) (Large
Triangle, Suspended
Cymbal (shared with
Marimba 4) ). Medium
difficult. Score and
parts. Duration 9:30.
Published by C. Alan
Publications
SKU: GI.G-10049 Teaching Universal Skills to Improve Performance and B...(+)
SKU: GI.G-10049
Teaching Universal
Skills to Improve
Performance and Benefit
Life. Composed by
Dylan Savage. Music
Education. 278 pages. GIA
Publications #10049.
Published by GIA
Publications
(GI.G-10049).
ISBN
9781622774333.
Musi
c teachers know their
students don’t
just learn to play music,
they are also exposed to
universal life skills
along the way. But
that’s just part
of the story. Currently,
most students are largely
left to learn these
universal
skills—like
problem-solving,
patience, focus,
collaboration, critical
thinking, creativity, and
communication—on
their own and often not
very effectively. The
Transposed Musician is a
practical guide to
teaching these universal
skills within the context
of a traditional music
lesson. The results not
only empower students to
better confront the
challenges of the
twenty-first century,
they significantly
improve
musicianship—a
double benefit. Author
Dylan Savage spent two
decades refining his
approach to teaching
universal skills through
music, and he shares them
in this book. Each of the
eight chapters of The
Transposed Musician
focuses on a specific
universal skill
(problem-solving, focus,
patience, critical
thinking, communication,
collaboration,
improvisation, and
creativity) and shows how
students can apply that
skill to music. He then
shows how teachers can
guide those students to
“transposeâ€
that skill to life and
back again to music with
far deeper understanding
and musicianship. With
practical examples and
clear writing, this book
is for music educators
wishing to help their
students become both
better musicians and also
better-equipped citizens
of the world. Students
truly become
“transposed
musicians†for life
and for music. Dylan
Savage is Associate
Professor of Piano at the
University of North
Carolina–Charlotte
. He is also a
Bösendorfer Concert
Artist, a Capstone
Records Recording Artist,
and a winner of the Rome
Festival Orchestra
Competition.
https://thetransposedmusi
cian.com/ This book is
priceless and contains a
wealth of music teaching
information that every
teacher should apply to
their studio. Dylan
Savage’s use of
universal skills
transforms music teaching
into a viable and
essential part of
education in the
twenty-first-century.
This teaching approach of
using universal skills
can revolutionize
teaching music in both
the private studio and
college level and will
give teachers a greater
sense of purpose and
satisfaction in their
work. This book
challenges many
preconceived ideas about
teaching music and
mastering performance.
Bravo for shaking up the
status quo.
—Randall Hartsell
  Composer,
Clinician, Teacher This
book asks and explores
fascinating questions
about what it means to
study music in a changing
world. Are there skills
we can learn in our music
lessons which can enrich
our lives in
other non-musical
areas, and then can we
bring those expanded
skills back into our
study of music itself?
Too often our
conservatories are
dead-ends, stuck with
outdated, one-dimensional
approaches which can lead
to stunted personal
development. This book
suggests ways in which we
can break down doors, for
students and teachers
alike, and celebrate
music as something
life-affirming, in and
out of the studio.
—Stephen Hough
  Pianist,
Composer, Writer Dylan
Savage has given us a
fresh and creative
pedagogy to guide our
music students toward
life as
twenty-first-century
musicians. His career as
pianist and teacher, and
his firsthand experience
in the marketplace of
business and industry,
allow him to forge a
systematic approach to
teaching universal skills
in the music lesson. In
each of the eight
chapters, skills such as
problem-solving, focus,
critical thinking,
collaboration, and
improvisation are defined
and applied to musical
skills. These in turn are
“transposedâ€
to non-musical
applications. We observe
the music lessons and the
active
“transpositionâ€
or transfer of
universal skills
exemplified through
descriptions of
particular lessons. The
anxieties, confusions,
and ultimate comfort and
understanding of students
are guided by the
questions of the teacher.
The book is beautifully
organized and is enriched
by quotations of artists,
musicians and
philosophers, and
suggested readings and
references. I really
think this is an
important and helpful
book with a point of view
that is much needed. The
empathy and knowledge of
the author steer the
reader toward the
realities of
today’s musical
world, a world that
requires skilled
musicians to have
universal skills that
benefit their lives,
regardless of their
ultimate career paths.
—Phyllis Alpert
Lehrer  Â
Professor Emerita,
Westminster Choir College
of Rider University Â
 Artist Faculty,
Westminster Conservatory
In The Transposed
Musician, Dylan Savage
combines a
visionary’s deep
understanding of the
challenges music students
and teachers face with an
eminently practical way
to meet those challenges.
Using a master
teacher’s insight,
Savage
“transposesâ€
eight potential stumbling
blocks into eight
universal skills that can
be acquired through a
beautifully organized,
step-by-step approach. In
turn, he shows how these
skills can be applied to
other areas in our
rapidly changing world,
helping us lead more
satisfying, meaningful,
and fulfilling lives, not
only as musicians, but as
human beings. For
students and teachers
alike, an inspired and
inspiring book.
—Barbara
Lister-Sink, Ed.D. Â
 Producer, Freeing
the Caged Bird The
Transposed Musician is an
important contribution to
our literature on
teaching essential life
skills including
problem-solving,
patience, focus, critical
thinking, and creativity
within the traditional
music lesson. Teachers
and students both can
benefit from the study
and application of these
skills. Applications are
made both to the
traditional lesson as
well as to non-music
applications.
—Jane Magrath Â
 Pianist, Author,
Teacher  Â
University of Oklahoma
Twenty-five hundred years
ago Plato recommended
music first in his ideal
curriculum for potential
leaders of
Athens—before
sport, mathematics, and
moral philosophy. None of
his candidates, one may
assume, aspired to become
a professional musician.
Nevertheless, throughout
centuries, otherwise
people have acknowledged
that the study and
practice of music
generates collateral
benefits essential to
human fulfillment. In his
new book The
Transposed Musician,
Professor Dylan Savage of
the University of North
Carolina at Charlotte
identifies eight of these
benefits—Problem
Solving, Focus, Patience,
Critical Thinking,
Communication,
Collaboration,
Improvisation, and
Creativity—and
calls them
“universal
skills†which may
be developed consciously
and systematically within
the context of
traditional music
lessons. Doing so takes
what has been implicit
all along and makes it
explicit. Music is good
for us! Music teachers,
even at the highest
conservatory level, learn
from Professor Savage
that they are not so much
professional trainers as
guides to a happier, more
successful life.
—Dr. Joseph
Robinson  Â
Principal Oboe, New York
Philharmonic
(1978–2005) Â
 Successful author,
teacher, producer, and
arts advocate Savage's
excellent book couldn't
be more timely, unique,
clear, full of wisdom,
and exactly what we need.
As he points out, music
teachers have known for
generations—in a
rather generalized
way—that musical
skills can strengthen
life skills in many ways.
Dylan Savage is the first
to address this
'transposition'
intentionally, with
specific exercises in the
transferrable skills.
What better gift could
there be for music
students facing an
ever-changing world?
—William Westney
  Award-winning
concert pianist (Geneva
Competition) and teacher
  Author
of The Perfect Wrong
Note: Learning to Trust
Your Musical Self.
Performed by The Doors. For guitar and voice. Format: easy guitar/vocal songbook...(+)
Performed by The Doors.
For guitar and voice.
Format: easy guitar/vocal
songbook (no tablature).
With standard notation,
vocal melody, lyrics,
chord names, guitar chord
diagrams and strum
patterns. Classic Rock
and Psychedelic Rock. 64
pages. 9x12 inches.
Published by Hal Leonard.
Performed by The Doors. For voice and piano. Format: easy piano/vocal/chords son...(+)
Performed by The Doors.
For voice and piano.
Format: easy
piano/vocal/chords
songbook. With vocal
melody, piano
accompaniment, lyrics and
chord names. Classic rock
and psychedelic rock. 94
pages. 9x12 inches.
Published by Hal Leonard.
Performed by The Doors. For guitar and voice. Includes guitar tablature songbook...(+)
Performed by The Doors.
For guitar and voice.
Includes guitar tablature
songbook and
accompaniment CD. With
standard guitar notation,
guitar tablature, vocal
melody, lyrics, chord
names, guitar chord
diagrams, guitar notation
legend and strum and pick
patterns. Classic rock
and psychedelic rock.
Series: Hal Leonard
Signature Licks . 72
pages. 9x12 inches.
Published by Hal Leonard.
The Doors on Tour Orchestre [Conducteur et Parties séparées] - Intermédiaire Alfred Publishing
(Featuring: Light My Fire / People Are Strange / Hello, I Love You). Composed by...(+)
(Featuring: Light My Fire
/ People Are Strange /
Hello, I Love You).
Composed by The Doors.
Arranged by Patrick
Roszell. Orchestra. Full
Orchestra; Part(s);
Score. Pop Concert Full
Orchestra. Form: Medley.
Rock. Grade 3. 226 pages.
Published by Alfred Music
The Doors on Tour Orchestre d'harmonie [Conducteur] - Intermédiaire Alfred Publishing
Featuring: Light My Fire / People Are Strange / Hello, I Love You. Compos...(+)
Featuring: Light My
Fire / People Are Strange
/ Hello, I Love You.
Composed by The Doors.
Arranged by Patrick
Roszell. Concert Band;
Performance Music
Ensemble; Single Titles.
Pop Concert Band. Form:
Medley. Rock. Score. 32
pages. Duration 4:45.
Alfred Music #00-43142S.
Published by Alfred Music
(AP.43142S).
The Doors on Tour Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire Alfred Publishing
(Featuring: Light My Fire / People Are Strange / Hello, I Love You). Compose...(+)
(Featuring: Light My Fire
/
People Are Strange /
Hello,
I Love You). Composed by
The
Doors. Arranged by
Patrick
Roszell. Concert Band.
Concert Band; Part(s);
Score. Pop Concert Band.
Form: Medley. Rock. Grade
3.
Published by Alfred Music
Cassatt. Composed
by Dan Welcher. Premiere:
Cassatt Quartet,
Northeastern Illinois
University, Chicago, IL.
Contemporary. Full score.
With Standard notation.
Composed 2007. WRT11142.
52 pages. Duration 24
minutes. Theodore Presser
Company #164-00272S.
Published by Theodore
Presser Company
(PR.16400272S).
UPC:
680160588442. 8.5 x 11
inches.
My third
quartet is laid out in a
three-movement structure,
with each movement based
on an early, middle, and
late work of the great
American impressionist
painter Mary Cassatt.
Although the movements
are separate, with
full-stop endings, the
music is connected by a
common scale-form,
derived from the name
MARY CASSATT, and by a
recurring theme that
introduces all three
movements. I see this
theme as Mary's Theme, a
personality that stays
intact while undergoing
gradual change. I
The Bacchante (1876)
[Pennsylvania Academy of
Fine Arts, Philadelphia,
Pennsylvania] The
painting shows a young
girl of Italian or
Spanish origin, playing a
small pair of cymbals.
Since Cassatt was trying
very hard to fit in at
the French Academy at the
time, she painted a lot
of these subjects, which
were considered typical
and universal. The style
of the painting doesn't
yet show Cassatt's
originality, except
perhaps for certain
details in the face.
Accordingly the music for
this movement is
Spanish/Italian, in a
similar period-style but
using the musical
signature described
above. The music begins
with Mary's Theme,
ruminative and slow, then
abruptly changes to an
alla Spagnola-type fast
3/4 - 6/8 meter. It
evokes the
Spanish-influenced music
of Ravel and Falla.
Midway through,
there's an accompanied
recitative for the viola,
which figures large in
this particular movement,
then back to a truncated
recapitulation of the
fast music. The overall
feeling is of a
well-made, rather
conventional movement in
a contemporary
Spanish/Italian style.
Cassatt's painting, too,
is rather conventional.
II At the Opera
(1880) [Museum of Fine
Arts, Boston,
Massachusetts]
This painting is one of
Cassatt's most well known
works, and it hangs in
the Museum of Fine Arts
in Boston. The painting
shows a woman alone in a
box at the opera house,
completely dressed
(including gloves) and
looking through opera
glasses at someone or
something that is NOT on
the stage. Across the
auditorium from her, but
exactly at eye level, is
a gentleman with opera
glasses intently watching
her - though it is not
him that she's looking
at. It's an intriguing
picture. This
movement is far less
conventional than the
first movement, as the
painting is far less
conventional. The music
begins with a rapid,
Shostakovich-type
mini-overture lasting
less than a minute, based
on Mary's Theme. My
conjecture is that the
woman in the painting has
arrived late to the
opera, busily stumbling
into her box. What
happens next is a kind of
collage, a kind of
surrealistic overlaying
of two different
elements: the foreground
music, at first is a
direct quotation of
Soldier's Chorus from
Gounod's FAUST (an opera
Cassatt would certainly
have heard in the
brand-new Paris Opera
House at that time),
played by Violin II,
Viola, and Cello. This
music is played sul
ponticello in the melody
and col legno in the
marching accompaniment.
On top of this, the first
violin hovers at first on
a high harmonic, then
descends into a slow
melody, completely
separate from the Gounod.
It's as if the woman in
the painting is hearing
the opera onstage but is
not really interested in
it. Then the cello joins
the first violin in a
kind of love-duet (just
the two of them, at
first). This music isn't
at all Gounod-derived;
it's entirely from the
same scale patterns as
the first movement and
derives from Mary's Theme
and its scale. The music
stays in a kind of
dichotomy feeling,
usually
three-against-one, until
the end of the movement,
when another Gounod
melody, Valentin's aria
Avant de quitter ce lieux
reappears in a kind of
coda for all four
players. It ends
atmospherically and
emotionally disconnected,
however. The overall
feeling is a kind of
schizophrenic,
opera-inspired dream.
III Young Woman in
Green, Outdoors in the
Sun (1909) [Worcester Art
Museum, Massachusetts]
The painting, one
of Cassatt's last, is
very simple: just a
figure, looking sideways
out of the picture. The
colors are pastel and yet
bold - and the woman is
likewise very
self-assured and not in
the least demure. It is
eight minutes long, and
is all about melody -
three melodies, to be
exact (Young Woman,
Green, and Sunlight). No
angst, no choppy rhythms,
just ever-unfolding
melody and lush
harmonies. I quote one
other French composer
here, too: Debussy's song
Green, from Ariettes
Oubliees. 1909 would have
been Debussy's heyday in
Paris, and it makes
perfect sense musically
as well as visually to do
this. Mary Cassatt
lived her last several
years in near-total
blindness, and as she
lost visual acuity, her
work became less sharply
defined - something akin
to late water lilies of
Monet, who suffered
similar vision loss. My
idea of making this
movement entirely melodic
was compounded by having
each of the three
melodies appear twice,
once in a pure form, and
the second time in a more
diffuse setting. This
makes an interesting two
ways form:
A-B-C-A1-B1-C1.
String Quartet No.3
(Cassatt) is dedicated,
with great affection and
respect, to the Cassatt
String Quartet, whose
members have dedicated
themselves in large
measure to the furthering
of the contemporary
repertoire for
quartet.
Chamber Music String Quartet SKU: PR.164002720 Cassatt. Composed b...(+)
Chamber Music String
Quartet
SKU:
PR.164002720
Cassatt. Composed
by Dan Welcher. Spiral
and Saddle. Premiere:
Cassatt Quartet,
Northeastern Illinois
University, Chicago, IL.
Contemporary. Set of
Score and Parts. With
Standard notation.
Composed 2007. WRT11142.
52+16+16+16+16 pages.
Duration 24 minutes.
Theodore Presser Company
#164-00272. Published by
Theodore Presser Company
(PR.164002720).
UPC:
680160573042. 8.5 x 11
inches.
My third
quartet is laid out in a
three-movement structure,
with each movement based
on an early, middle, and
late work of the great
American impressionist
painter Mary Cassatt.
Although the movements
are separate, with
full-stop endings, the
music is connected by a
common scale-form,
derived from the name
MARY CASSATT, and by a
recurring theme that
introduces all three
movements. I see this
theme as Mary's Theme, a
personality that stays
intact while undergoing
gradual change. I
The Bacchante (1876)
[Pennsylvania Academy of
Fine Arts, Philadelphia,
Pennsylvania] The
painting shows a young
girl of Italian or
Spanish origin, playing a
small pair of cymbals.
Since Cassatt was trying
very hard to fit in at
the French Academy at the
time, she painted a lot
of these subjects, which
were considered typical
and universal. The style
of the painting doesn't
yet show Cassatt's
originality, except
perhaps for certain
details in the face.
Accordingly the music for
this movement is
Spanish/Italian, in a
similar period-style but
using the musical
signature described
above. The music begins
with Mary's Theme,
ruminative and slow, then
abruptly changes to an
alla Spagnola-type fast
3/4 - 6/8 meter. It
evokes the
Spanish-influenced music
of Ravel and Falla.
Midway through,
there's an accompanied
recitative for the viola,
which figures large in
this particular movement,
then back to a truncated
recapitulation of the
fast music. The overall
feeling is of a
well-made, rather
conventional movement in
a contemporary
Spanish/Italian style.
Cassatt's painting, too,
is rather conventional.
II At the Opera
(1880) [Museum of Fine
Arts, Boston,
Massachusetts]
This painting is one of
Cassatt's most well known
works, and it hangs in
the Museum of Fine Arts
in Boston. The painting
shows a woman alone in a
box at the opera house,
completely dressed
(including gloves) and
looking through opera
glasses at someone or
something that is NOT on
the stage. Across the
auditorium from her, but
exactly at eye level, is
a gentleman with opera
glasses intently watching
her - though it is not
him that she's looking
at. It's an intriguing
picture. This
movement is far less
conventional than the
first movement, as the
painting is far less
conventional. The music
begins with a rapid,
Shostakovich-type
mini-overture lasting
less than a minute, based
on Mary's Theme. My
conjecture is that the
woman in the painting has
arrived late to the
opera, busily stumbling
into her box. What
happens next is a kind of
collage, a kind of
surrealistic overlaying
of two different
elements: the foreground
music, at first is a
direct quotation of
Soldier's Chorus from
Gounod's FAUST (an opera
Cassatt would certainly
have heard in the
brand-new Paris Opera
House at that time),
played by Violin II,
Viola, and Cello. This
music is played sul
ponticello in the melody
and col legno in the
marching accompaniment.
On top of this, the first
violin hovers at first on
a high harmonic, then
descends into a slow
melody, completely
separate from the Gounod.
It's as if the woman in
the painting is hearing
the opera onstage but is
not really interested in
it. Then the cello joins
the first violin in a
kind of love-duet (just
the two of them, at
first). This music isn't
at all Gounod-derived;
it's entirely from the
same scale patterns as
the first movement and
derives from Mary's Theme
and its scale. The music
stays in a kind of
dichotomy feeling,
usually
three-against-one, until
the end of the movement,
when another Gounod
melody, Valentin's aria
Avant de quitter ce lieux
reappears in a kind of
coda for all four
players. It ends
atmospherically and
emotionally disconnected,
however. The overall
feeling is a kind of
schizophrenic,
opera-inspired dream.
III Young Woman in
Green, Outdoors in the
Sun (1909) [Worcester Art
Museum, Massachusetts]
The painting, one
of Cassatt's last, is
very simple: just a
figure, looking sideways
out of the picture. The
colors are pastel and yet
bold - and the woman is
likewise very
self-assured and not in
the least demure. It is
eight minutes long, and
is all about melody -
three melodies, to be
exact (Young Woman,
Green, and Sunlight). No
angst, no choppy rhythms,
just ever-unfolding
melody and lush
harmonies. I quote one
other French composer
here, too: Debussy's song
Green, from Ariettes
Oubliees. 1909 would have
been Debussy's heyday in
Paris, and it makes
perfect sense musically
as well as visually to do
this. Mary Cassatt
lived her last several
years in near-total
blindness, and as she
lost visual acuity, her
work became less sharply
defined - something akin
to late water lilies of
Monet, who suffered
similar vision loss. My
idea of making this
movement entirely melodic
was compounded by having
each of the three
melodies appear twice,
once in a pure form, and
the second time in a more
diffuse setting. This
makes an interesting two
ways form:
A-B-C-A1-B1-C1.
String Quartet No.3
(Cassatt) is dedicated,
with great affection and
respect, to the Cassatt
String Quartet, whose
members have dedicated
themselves in large
measure to the furthering
of the contemporary
repertoire for
quartet.
Performed by The Doors. For guitar and voice. Format: guitar tablature songbook....(+)
Performed by The Doors.
For guitar and voice.
Format: guitar tablature
songbook. With guitar
tablature, standard
notation, vocal melody,
lyrics, chord names,
introductory text and
black