Fakebook (spiral bound) for voice and C instrument. With vocal melody, lyrics, c...(+)
Fakebook (spiral bound)
for voice and C
instrument. With vocal
melody, lyrics, chord
names, leadsheet notation
and guitar chord chart.
Series: Hal Leonard Fake
Books. 813 pages.
Published by Hal Leonard.
(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). By Various. For voice and C instrument. Hal Leonard Fake Books. Pop...(+)
(C Edition). By Various.
For voice and C
instrument. Hal Leonard
Fake Books. Pop Vocal and
Vocal Standards.
Difficulty: easy-medium.
Fakebook. Vocal melody,
lyrics and chord names.
396 pages. Published by
Hal Leonard fakebook
Pop Vocal and Vocal
Standards
Scott Joplin Reconsidered. Composed by Scott Joplin (1868-1917). Edited by L...(+)
Scott Joplin
Reconsidered.
Composed by Scott Joplin
(1868-1917). Edited by
Lara
Downes. Collection.
Theodore
Presser Company
#440-40028.
Published by Theodore
Presser
Company
Guitar - Beginning SKU: MB.31103M Third Edition. Bluegrass, Wire b...(+)
Guitar - Beginning
SKU: MB.31103M
Third Edition.
Bluegrass, Wire bound.
World. Book and online
audio. 236 pages. Mel Bay
Publications, Inc
#31103M. Published by Mel
Bay Publications, Inc
(MB.31103M).
ISBN
9781513468792. 8.75x11.75
inches.
Adam Granger
self-published the first
edition of
Grangerâ??s Fiddle
Tunes for Guitar in
1979. A second edition
was published in 1994.
Now Mel Bay Publications
presents the third
edition of the
book.
This 236-page book
is the most extensive and
best-documented
collection of fiddle
tunes for the flatpicking
guitar player in
existence, and includes
reels, hoedowns,
hornpipes, rags,
breakdowns, jigs and
slip-jigs, presented in
Southern, Northern,
Irish, Canadian, Texas
and Old-time
styles.
There are 508
fiddle tunes referenced
under 2500 titles and
alternate titles. The
titles are fully indexed,
making the book doubly
valuable as a reference
book and a source
book.
In this new
edition, all tunes are
typeset, instead of being
handwritten as they were
in the previous editions,
making the tabs easier to
read.
The tunes in
Grangerâ??s Fiddle
Tunes for Guitar are
presented in Easytab, a
streamlined tablature
notation system designed
by Adam specifically for
fiddle
tunes.
The book comes
with a link which gives
access to mp3 recordings
by Adam of all 508 tunes,
each played once at a
moderate tempo, with
rhythm on one channel and
lead on the
other.
Also included in
Grangerâ??s Fiddle
Tunes for Guitar are
instructions for reading
Easytab, descriptions of
tune types presented in
the book, and primers on
traditional flatpicking
and rhythm guitar.
Additionally, there are
sections on timing,
ornamentation, technique,
and fingering, as well as
information on tune
sources and a history of
the
collection.
Mel Bay also
offers The Granger
Collection, by Bill
Nicholson, the same 508
tunes in standard music
notation.
For voice and C instrument. Format: fakebook. With vocal melody, lyrics and chor...(+)
For voice and C
instrument. Format:
fakebook. With vocal
melody, lyrics and chord
names. Traditional pop
and vocal standards.
Series: Hal Leonard Fake
Books. 424 pages. 9x12
inches. Published by Hal
Leonard.
(Over 850 Classical Themes and Melodies in the Original Keys) For C instrument. ...(+)
(Over 850 Classical
Themes and Melodies in
the Original Keys) For C
instrument. Format:
fakebook (spiral bound).
With vocal melody
(excerpts) and chord
names. Lassical. Series:
Hal Leonard Fake Books.
646 pages. 9x12 inches.
Published by Hal Leonard.
Choral TBB chorus SKU: CF.CM9588 Composed by Tomas Luis de Victoria. Arra...(+)
Choral TBB chorus
SKU:
CF.CM9588
Composed by
Tomas Luis de Victoria.
Arranged by Jeb Mueller.
Fold. Performance Score.
8 pages. Duration 1
minute, 59 seconds. Carl
Fischer Music #CM9588.
Published by Carl Fischer
Music (CF.CM9588).
ISBN 9781491154106.
UPC: 680160912605. 6.875
x 10.5 inches. Key: Eb
major. Latin. Traditional
Latin.
Tomas Luis
de Victoria (15481611) is
widely considered the
greatest Spanish
Renaissance composer and
one of the most
influential musicians of
his time. Included in his
oeuvre are two settings
of the Pange
lingua, both
produced in 1581. This
motet is excerpted from
the first of those and
incorporates the original
Roman melody, or cantus
firmus. (He composed his
second Pange
lingua based on a
Spanish melody.) The
baritones anchor the
motet by singing the tune
in augmentation. This
line should be intoned
with a flowing, legato
articulation that
incorporates subtle
phrasing and text
stresses. The more
rhythmic tenor and bass
lines complement the
melody and illustrate the
hopeful nature of its
text. Singing this piece
with two pulses per
measure will encourage a
steady and vital
performance. Composers
provided minimal
performance details in
their scores during this
period in music history,
so I added a time
signature, bar lines,
dynamics, and metronome
markings in order to
facilitate performances
that musicologists
believe mimic those of
Victorias time. It should
be noted that dynamics
are largely subjective,
so performers may make
alternative choices. Each
tenuto indicates
word stress; the most
musical performances will
incorporate gentle
crescendos and
decrescendos before and
after each of them.
Lastly, using minimal
vibrato, especially at
cadences, will imbue this
wonderful motet with
style and clarity.
PRONUNCIATION GUIDE
Victoria received much of
his training in Italy,
therefore making
Italianate Latin most
appropriate. Pure vowels
are critical to correct
pronunciation, and those
phonemes remain constant
without exceptions. The
most problematic of the
vowels is o, which sounds
similar to the English
words bought and got. The
letter t should be
produced dentally: lift
the tongue to the top of
the mouth as in English,
but aspirate less on the
release. All occurrences
of s should be soft and
never hardened to [z],
such as in praise. Verbum
caro, panem verum,
[v??bum k??? p?n?m v?rum]
verbo carnem efficit:
fitque sanguis Christi
merum. [v??b? k??n?m
??fit?it fitkw? s??gwis
k?isti m??um] Et si
sensus deficit, ad
firmandum cor sin cerum.
[?t si s?nsus ?d?fit?it,
?d fi??m?ndum k?? sin
t???um] Jeb
Mueller. TomA!s Luis
de Victoria (1548a1611)
is widely considered the
greatest Spanish
Renaissance composer and
one of the most
influential musicians of
his time. Included in his
oeuvre are two settings
of the Pange
lingua, both
produced in 1581. This
motet is excerpted from
the first of those and
incorporates the original
Roman melody, or cantus
firmus. (He composed his
second Pange
lingua based on a
Spanish melody.) The
baritones anchor the
motet by singing the tune
in augmentation. This
line should be intoned
with a flowing, legato
articulation that
incorporates subtle
phrasing and text
stresses. The more
rhythmic tenor and bass
lines complement the
melody and illustrate the
hopeful nature of its
text. Singing this piece
with two pulses per
measure will encourage a
steady and vital
performance. Composers
provided minimal
performance details in
their scores during this
period in music history,
so I added a time
signature, bar lines,
dynamics, and metronome
markings in order to
facilitate performances
that musicologists
believe mimic those of
Victoriaas time. It
should be noted that
dynamics are largely
subjective, so performers
may make alternative
choices. Each
tenuto indicates
word stress; the most
musical performances will
incorporate gentle
crescendos and
decrescendos before and
after each of them.
Lastly, using minimal
vibrato, especially at
cadences, will imbue this
wonderful motet with
style and clarity.
PRONUNCIATION GUIDE
Victoria received much of
his training in Italy,
therefore making
Italianate Latin most
appropriate. Pure vowels
are critical to correct
pronunciation, and those
phonemes remain constant
without exceptions. The
most problematic of the
vowels is ao,a which
sounds similar to the
English words bought and
got. The letter ata
should be produced
dentally: lift the tongue
to the top of the mouth
as in English, but
aspirate less on the
release. All occurrences
of asa should be soft and
never hardened to [z],
such as in praise. Verbum
caro, panem verum, [vEE
3/4 bum kEE 3/4 E pEnEm
vErum] verbo carnem
efficit: fitque sanguis
Christi merum. [vEE 3/4
bE kEE 3/4 nEm EEfitEit
fitkwE sEAgwis kE 3/4
isti mEE 3/4 um] Et si
sensus deficit, ad
firmandum cor sin cerum.
[Et si sEnsus EdEfitEit,
Ed fiE 3/4 EmEndum kEE
3/4 sin tEEE 3/4 um] Jeb
Mueller. Tomas Luis de
Victoria (1548-1611) is
widely considered the
greatest Spanish
Renaissance composer and
one of the most
influential musicians of
his time. Included in his
oeuvre are two settings
of the Pange
lingua, both
produced in 1581. This
motet is excerpted from
the first of those and
incorporates the original
Roman melody, or cantus
firmus. (He composed his
second Pange
lingua based on a
Spanish melody.) The
baritones anchor the
motet by singing the tune
in augmentation. This
line should be intoned
with a flowing, legato
articulation that
incorporates subtle
phrasing and text
stresses. The more
rhythmic tenor and bass
lines complement the
melody and illustrate the
hopeful nature of its
text. Singing this piece
with two pulses per
measure will encourage a
steady and vital
performance. Composers
provided minimal
performance details in
their scores during this
period in music history,
so I added a time
signature, bar lines,
dynamics, and metronome
markings in order to
facilitate performances
that musicologists
believe mimic those of
Victoria's time. It
should be noted that
dynamics are largely
subjective, so performers
may make alternative
choices. Each
tenuto indicates
word stress; the most
musical performances will
incorporate gentle
crescendos and
decrescendos before and
after each of them.
Lastly, using minimal
vibrato, especially at
cadences, will imbue this
wonderful motet with
style and clarity.
PRONUNCIATION GUIDE
Victoria received much of
his training in Italy,
therefore making
Italianate Latin most
appropriate. Pure vowels
are critical to correct
pronunciation, and those
phonemes remain constant
without exceptions. The
most problematic of the
vowels is o, which sounds
similar to the English
words bought and got. The
letter t should be
produced dentally: lift
the tongue to the top of
the mouth as in English,
but aspirate less on the
release. All occurrences
of s should be soft and
never hardened to [z],
such as in praise. Verbum
caro, panem verum,
[verbum karo panem verum]
verbo carnem efficit:
fitque sanguis Christi
merum. [verbo karnem
'efitSit fitkwe saNGgwis
kristi merum] Et si
sensus deficit, ad
firmandum cor sin cerum.
[et si sensus 'defitSit,
ad fir'mandum kor sin
tSerum] Jeb
Mueller. Tomas Luis de
Victoria (1548-1611) is
widely considered the
greatest Spanish
Renaissance composer and
one of the most
influential musicians of
his time. Included in his
oeuvre are two settings
of the Pange lingua, both
produced in 1581. This
motet is excerpted from
the first of those and
incorporates the original
Roman melody, or cantus
firmus. (He composed his
second Pange lingua based
on a Spanish melody.) The
baritones anchor the
motet by singing the tune
in augmentation. This
line should be intoned
with a flowing, legato
articulation that
incorporates subtle
phrasing and text
stresses. The more
rhythmic tenor and bass
lines complement the
melody and illustrate the
hopeful nature of its
text. Singing this piece
with two pulses per
measure will encourage a
steady and vital
performance. Composers
provided minimal
performance details in
their scores during this
period in music history,
so I added a time
signature, bar lines,
dynamics, and metronome
markings in order to
facilitate performances
that musicologists
believe mimic those of
Victoria's time. It
should be noted that
dynamics are largely
subjective, so performers
may make alternative
choices. Each tenuto
indicates word stress;
the most musical
performances will
incorporate gentle
crescendos and
decrescendos before and
after each of them.
Lastly, using minimal
vibrato, especially at
cadences, will imbue this
wonderful motet with
style and clarity.
PRONUNCIATION GUIDE
Victoria received much of
his training in Italy,
therefore making
Italianate Latin most
appropriate. Pure vowels
are critical to correct
pronunciation, and those
phonemes remain constant
without exceptions. The
most problematic of the
vowels is o, which sounds
similar to the English
words bought and got. The
letter t should be
produced dentally: lift
the tongue to the top of
the mouth as in English,
but aspirate less on the
release. All occurrences
of s should be soft and
never hardened to [z],
such as in praise. Verbum
caro, panem verum,
[verbum karo panem verum]
verbo carnem efficit:
fitque sanguis Christi
merum. [verbo karnem
'efitSit fitkwe saNGgwis
kristi merum] Et si
sensus deficit, ad
firmandum cor sin cerum.
[et si sensus 'defitSit,
ad fir'mandum kor sin
tSerum] Jeb
Mueller. Tomas Luis de
Victoria (1548-1611) is
widely considered the
greatest Spanish
Renaissance composer and
one of the most
influential musicians of
his time. Included in his
oeuvre are two settings
of the Pange lingua, both
produced in 1581. This
motet is excerpted from
Pange lingua more
hisapano. The baritones
anchor the motet by
singing the tune in
augmentation. This line
should be intoned with a
flowing, legato
articulation that
incorporates subtle
phrasing and text
stresses. The more
rhythmic tenor and bass
lines complement the
melody and illustrate the
hopeful nature of its
text. Singing this piece
with two pulses per
measure will encourage a
steady and vital
performance. Composers
provided minimal
performance details in
their scores during this
period in music history,
so I added a time
signature, bar lines,
dynamics, and metronome
markings in order to
facilitate performances
that musicologists
believe mimic those of
Victoria's time. It
should be noted that
dynamics are largely
subjective, so performers
may make alternative
choices. Each tenuto
indicates word stress;
the most musical
performances will
incorporate gentle
crescendos and
decrescendos before and
after each of them.
Lastly, using minimal
vibrato, especially at
cadences, will imbue this
wonderful motet with
style and clarity.
PRONUNCIATION GUIDE
Victoria received much of
his training in Italy,
therefore making
Italianate Latin most
appropriate. Pure vowels
are critical to correct
pronunciation, and those
phonemes remain constant
without exceptions. The
most problematic of the
vowels is o, which sounds
similar to the English
words bought and got. The
letter t should be
produced dentally: lift
the tongue to the top of
the mouth as in English,
but aspirate less on the
release. All occurrences
of s should be soft and
never hardened to [z],
such as in praise. Verbum
caro, panem verum,
[verbum karo panem verum]
verbo carnem efficit:
fitque sanguis Christi
merum. [verbo karnem
'efitSit fitkwe saNGgwis
kristi merum] Et si
sensus deficit, ad
firmandum cor sin cerum.
[et si sensus 'defitSit,
ad fir'mandum kor sin
tSerum] Jeb
Mueller. Tomás Luis
de Victoria
(1548–1611) is
widely considered the
greatest Spanish
Renaissance composer and
one of the most
influential musicians of
his time. Included in his
oeuvre are two settings
of the Pange lingua, both
produced in 1581. This
motet is excerpted from
Pange lingua more
hisapano.The baritones
anchor the motet by
singing the tune in
augmentation. This line
should be intoned with a
flowing, legato
articulation that
incorporates subtle
phrasing and text
stresses. The more
rhythmic tenor and bass
lines complement the
melody and illustrate the
hopeful nature of its
text. Singing this piece
with two pulses per
measure will encourage a
steady and vital
performance.Composers
provided minimal
performance details in
their scores during this
period in music history,
so I added a time
signature, bar lines,
dynamics, and metronome
markings in order to
facilitate performances
that musicologists
believe mimic those of
Victoria’s time.
It should be noted that
dynamics are largely
subjective, so performers
may make alternative
choices. Each tenuto
indicates word stress;
the most musical
performances will
incorporate gentle
crescendos and
decrescendos before and
after each of them.
Lastly, using minimal
vibrato, especially at
cadences, will imbue this
wonderful motet with
style and
clarity.PRONUNCIATION
GUIDEVictoria received
much of his training in
Italy, therefore making
Italianate Latin most
appropriate. Pure vowels
are critical to correct
pronunciation, and those
phonemes remain constant
without exceptions. The
most problematic of the
vowels is
“o,†which
sounds similar to the
English words bought and
got. The letter
“t†should be
produced dentally: lift
the tongue to the top of
the mouth as in English,
but aspirate less on the
release. All occurrences
of “s†should
be soft and never
hardened to [z], such as
in praise.Verbum caro,
panem
verum,[vɛɾbum
kɑɾɔ
pɑnɛm
vɛrum]verbo carnem
efficit: fitque sanguis
Christi
merum.[vɛɾbɔ
kɑɾnɛm
ˈɛfitʃit
fitkwÉ›
sɑŋgwis kɾisti
mɛɾum]Et si sensus
deficit, ad firmandum cor
sin cerum.[ɛt si
sɛnsus
ˈdɛfitʃit,
É‘d
fiɾˈmɑndum
kɔɾ sin
tʃɛɾum]Jeb
Mueller.
366 More Great Songs for Better Living. Arranged by Jim Beloff, Liz Belof...(+)
366 More Great Songs
for Better Living.
Arranged by Jim Beloff,
Liz Beloff. Fake Book.
Country, Pop,
Standards. Softcover. 416
pages. Published by Hal
Leonard (HL.212971).
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).
Written by Mark Levine. Instructional book (spiral bound). With instructional te...(+)
Written by Mark Levine.
Instructional book
(spiral bound). With
instructional text,
musical examples and
black and white photos.
522 pages. Published by
Sher Music Company.
Composed by Various. For Piano/Keyboard. Hal Leonard Fake Books. Classical. Diff...(+)
Composed by Various. For
Piano/Keyboard. Hal
Leonard Fake Books.
Classical. Difficulty:
medium to
medium-difficult.
Fakebook. Melody line,
chord names and lyrics
(on some songs). 413
pages. Published by Hal
Leonard