Techniques pour l'interpretation en solo de jazz et de musique moderne....(+)
Techniques pour
l'interpretation en
solo de
jazz et de musique
moderne.
Composed by Gene Rizzo.
Studies & Exercises.
Book
Only. Composed 2010. 36
pages. Hal Leonard
#1703-09-
401 DHE. Published by Hal
Leonard
Guitar SKU: BT.SINFJ100 Composed by M. Vercesi. Method. Book with CD. 96 ...(+)
Guitar
SKU:
BT.SINFJ100
Composed
by M. Vercesi. Method.
Book with CD. 96 pages.
Sinfonica #SINFJ100.
Published by Sinfonica
(BT.SINFJ100).
ISBN
9788884001337.
Italian.
Pop jazz
funk rock blues - 21
brani originali - 3
arrangiamenti di brani
celebri - esercizi
tecnici progressivi -
CD con
accompagnamento. Loper
a è divisa in 14
capitoli e ciascun
capitolo tratta un
argomento diverso ed è
costituito dauna serie di
esercizi atti ad ottenere
risultati molteplici
(senso del ritmo,
lettura, conoscenza delle
scale, diverse tecniche,
polifonia) e, fatta
eccezione per il settimo,
è arricchito da uno o
più brani originali
scritti nel linguaggio
tonale mache spesso
strizzano locchio al
jazz, al pop, al rock,
alla musica dei
cantautori e alla
tradizione
latino-americana.
Composed by Piet Swerts.
Sovereign Series. Set
(Score & Parts). Composed
1999. De Haske
Publications #DHP
0991533-010. Published by
De Haske Publications
(BT.DHP-0991533-010).
Following the
spectacular movie
Titanic, the story of the
world famous ship stood
in the spotlights once
again. Piet Swerts was
inspired by this
catastrophic saga to
compose this beautifully
narrative piece,
reflecting the masses of
people in Southampton,
playing children and the
undulating sea. The piece
gradually picks up
impetuously culminating
with the looming iceberg
and the dramatic sinking
of the Titanic.
The Titanic Saga Orchestre d'harmonie - Avancé De Haske Publications
Concert Band - Grade 5 SKU: BT.DHP-0991533-040 Composed by Piet Swerts. S...(+)
Concert Band - Grade 5
SKU:
BT.DHP-0991533-040
Composed by Piet Swerts.
Sovereign Series. Set
(Score & Parts). Composed
1999. De Haske
Publications #DHP
0991533-040. Published by
De Haske Publications
(BT.DHP-0991533-040).
Following the
spectacular movie
Titanic, the story of the
world famous ship stood
in the spotlights once
again. Piet Swerts was
inspired by this
catastrophic saga to
compose this beautifully
narrative piece,
reflecting the massesof
people in Southampton,
playing children and the
undulating sea. The piece
gradually picks up
impetuously culminating
with the looming iceberg
and the dramatic sinking
of the Titanic.
Choral (SATB divisi) SKU: HL.1428492 Composed by Mari Esabel Valverde. Ge...(+)
Choral (SATB divisi)
SKU: HL.1428492
Composed by Mari Esabel
Valverde. Gentry
Publications. Octavo.
Gentry Publications
#JG2717. Published by
Gentry Publications
(HL.1428492).
UPC:
196288202547.
The
“Prayer of St.
Francis” calls us to
respond to inhumanity
with humanity habitually
as a movement towards
peace. Opening with a
dissonant cry for good
will, the singers sing a
series of entreaties, and
the piano carries them
over gently undulating
quadruplets. The music
flows freely till its
final cadence.
Chamber Music Clarinet Trio SKU: PR.114424090 Composed by Igor Stravinsky...(+)
Chamber Music Clarinet
Trio
SKU:
PR.114424090
Composed
by Igor Stravinsky.
Arranged by Gregory
Barrett. Set of Score and
Parts. 8+16 pages.
Duration 5 minutes.
Theodore Presser Company
#114-42409. Published by
Theodore Presser Company
(PR.114424090).
ISBN
9781491137383. UPC:
680160690107.
Strav
insky’s 1918 Three
Pieces for Solo Clarinet
has long been savored by
clarinetists as a rare
gem in the
instrument’s
repertory, full of
rhythmic drive and
Stravinsky’s jazzy
neo-classicism. Composer
and clarinetist Gregory
M. Barrett’s
remarkable adaptation for
3 clarinets is a tour de
force, assimilating
Stravinsky’s
harmonic, rhythmic, and
contrapuntal style to
create a striking
addition to the clarinet
literature. Igor
Stravinsky’s Three
Pieces for Solo Clarinet
(1918) is a core work in
clarinetists’
repertoire, and I
havereimagined it for the
convivial grouping of
three players. The
arrangement contains all
of
Stravinsky’sorigin
al, but now his solo line
is shared among three in
a new matrix of harmony,
imitation,
andcounterpoint.The molto
tranquillo first piece
develops from the
emphasized C# in
Stravinsky’s first
measure andmoves to a
somewhat somber mood when
C# is revealed to be the
dominant of F# minor.
Withincreasing expansion
of tessitura in the
sustained harmonies, the
sun comes out in the last
phrase with ajoyous Eb
major chord.The
circus-like second piece
finds the three clarinets
whirling in the air in
synchronized trapeze
artiststyle. The emphasis
is on imitation and fluid
hand-offs. Chords with
major 7ths and 2nds
contrast withtriadic
harmony. Following the
cat and mouse middle
section, where dancing
patterns of twos
andthrees alternate, the
summit of the big top is
reached again just before
the players settle down
to earthwith a welcome C
major chord of
respite.The ragtime
burlesque of
Stravinsky’s third
piece is heightened by
homophonic rhythm among
the threeplayers. Each
clarinet part has its own
specialty. Clarinet 1
loves 32nd notes,
Clarinet 2 shows off with
fasttriplets, and
Clarinet 3 likes the low
notes and in general
supporting its friends.
Quartal harmony
withstacked 4ths is
emphasized, but where
Stravinsky’s
melody suggests triads, I
have taken his hint.
Thepropulsive rhythms are
truly exciting, and with
the wink of an eye, the
music ends all too
soon.
Oboe(s) solo SKU: BR.EB-9240 For Solo Oboe. Composed by Jorg Birke...(+)
Oboe(s) solo
SKU:
BR.EB-9240
For
Solo Oboe. Composed
by Jorg Birkenkotter.
Solo instruments;
stapled. Edition
Breitkopf. Solo concerto;
Music post-1945; New
music (post-2000). Score.
Composed 2013/14. 16
pages. Duration 13'30.
Breitkopf and Haertel #EB
9240. Published by
Breitkopf and Haertel
(BR.EB-9240).
ISBN
9790004185407. 9 x 12
inches.
Belcanto is
a term for the Italian
art of singing which took
its development from the
richly ornamented solo
vocalism of the early
17th century (nobile
maniera di cantare) and
dominated European
operatic singing until
the first half of the
19th century. Complete
control over the voice
meant not only legato and
messa di voce, but also
appoggiatura and
portamento, as well as
virtuoso ornamentation by
means of coloratura
(canto fiorito). This
development towards
utmost virtuosity,
emulating instrumental
playing techniques, led
to a mannered, artificial
style on the one hand,
but on the other also
emphasized the physical
aspects of interpretation
(castrati were considered
the ideal belcanto
singers). And today? In
his essay The Grain of
the Voice, Roland Barthes
writes: The grain is the
body in the voice as it
sings, the hand as it
writes and the limb as it
performs. Initially, he
refers to the friction
between language and
voice in singing, but
then transfers his
thoughts to the
physicality of
instrumental music. In
this spirit, I went in
search of beautiful
singing, a beauty which
perhaps results in the
very place where the
grain, the roughness,
meaning also physical
resistance, are not
smoothed over. The oboe
seemed very suitable to
me for singing with such
a physical expressivity,
as a very unruly
instrument! The backbone
of my piece is one
single, quasi endless
melodic line, consisting
of intervals that are
constantly pulled apart
and contracted again
(breathing). Many
different actions attach
themselves to these
notes: coloratura,
trills, chords
(multiphonics), double
flageolets. However,
there are not only sound
types, but also impulses,
repetitions, rhythmic
figures and other
elements: composed
elements of belcanto. In
the opera tradition
described above, these
were improvised ornaments
or additions; here they
become composed figures
which originate with the
notes of the melody, but
also pull on them, bend
them, and charge them
with physicality. (Jorg
Birkenkotter).