Celtic harp - Intermediate SKU: MB.97226M By Kim Robertson. Harp: Folk an...(+)
Celtic harp -
Intermediate
SKU:
MB.97226M
By Kim
Robertson. Harp: Folk and
Pedal, Saddle-stitched,
Celtic / Irish, Solos.
Style. Book and online
video. 64 pages. Mel Bay
Publications, Inc
#97226M. Published by Mel
Bay Publications, Inc
(MB.97226M).
ISBN
9780786695225. 8.75 x
11.75 inches.
Kim
Robertson is one of
Americas premier Celtic
harp soloists. Her
technique and range of
expression are
extraordinary as
illustrated in this book
containing the selections
from her highly acclaimed
CD Treasures of the
Celtic Harp. The book
contains all of the
selections from Kim
Robertsons Treasures of
the Celtic Harp video
except Sailors Hornpipe.
Includes access to the
online performance
video.
Twenty-Three Classic, Traditional, and Ethnic Wedding Arrangements. Compo...(+)
Twenty-Three Classic,
Traditional, and Ethnic
Wedding Arrangements.
Composed by Beth A. Kolle
and Laurie Riley.
Squareback saddle stitch.
Book and online audio.
Published by Mel Bay
Publications, Inc
(MB.98748M).
(For Solo Harp). By Gary Schocker. For harp. Contemporary. Solo part. Standard n...(+)
(For Solo Harp). By Gary
Schocker. For harp.
Contemporary. Solo part.
Standard notation.
Composed July 07 2012. 16
pages. Duration 16
minutes. Published by
Theodore Presser Company
Composed by Star Edwards. Harp: Folk and Pedal,Style,Celtic / Irish,Classical...(+)
Composed by Star Edwards.
Harp: Folk and
Pedal,Style,Celtic /
Irish,Classical,Folk,Feat
ured
Products,Method. Young
Beginner. Book and Online
Audio. 80 pages.
Published by
Mel Bay Publications, Inc
Chamber Music harp SKU: PR.110406720 Composed by Samuel Adler. Classical....(+)
Chamber Music harp
SKU: PR.110406720
Composed by Samuel Adler.
Classical. Softcover.
With Standard notation.
Duration 14 minutes.
Theodore Presser Company
#110-40672. Published by
Theodore Presser Company
(PR.110406720).
UPC:
680160001316.
I
have always been fond of
writing works for
specific people or
organizations. It has
been my good fortune
during most of my
creative career to be
asked to compose for many
extraordinary performers.
The Sonata for
Harpsichord Solo is such
a case in point: it was
written in 1982 for
Barbara Harbach, a superb
performer, close friend,
and collaborator on many
musical projects. The
Sonata was premiered on
March 2, 1984, in a
recital given by Dr.
Harbach at Nazareth
College in Rochester, New
York. During my formative
years as a composer, one
seldom heard of the
harpsichord as a modern
instrument, though while
I attended undergraduate
school at Boston
University, some of us
banded together to
construct a small
harpsichord from one of
the first do-it-yourself
kits which began to
appear in the late '40s.
It was also during this
time that I heard the
Sonatina for Violin and
Harpsichord by my teacher
Walter Piston and
consequently specified
that the accompanying
instrument for my second
violin sonata could
either be a piano or a
harpsichord. It was not
until recently, however,
that my interest in the
harpsichord as a solo
instrument for new music
was aroused. This was
because of the emergence
of so many young
virtuosi, such as Barbara
Harbach, who are
interested in the
performance of new music
besides the great
harpsichord music of the
Classical, Baroque, and
pre-Baroque eras. The
keyboard music of
Domenico Scarlatti has
always intrigued and
fascinated me. The
brevity, excitement, and
clarity of this sparkling
music is charming as well
as exhilarating. It is
this type of Baroque
sonata that inspired the
conception and form of my
harpsichord sonata. The
entire work is loosely
based on the musical
translation of Barabara
Harbach's name,
especially the conflict
of the B (B-flat) and H
(B-natural in German
notation). This secondo
rub or dissonance
especially pervades the
first movement, which is
in a modified sonata
form, pitting jagged and
tense melodic elements
against most lyrical and
smooth lines. This second
movement is a song-like
melody accompanied by
rolled chords which may
be played on the lute
stop of the instrument if
this sonata is performed
on a two-manual
harpsichord. The final
movement is an
ever-driving joyous
toccata which brings the
work to an exciting close
with a coda made up of
accelerating repeated
chords. --Samuel
Adler.
Composed by Chuck Bird and Susan Peters. Squareback saddle stitch. Book and onli...(+)
Composed by Chuck Bird
and Susan Peters.
Squareback saddle stitch.
Book and online audio.
120 pages. Published by
Mel Bay Publications, Inc
(MB.95500M).
Chamber Music harp SKU: PR.114423960 Composed by Chen Yi. Sws. Performanc...(+)
Chamber Music harp
SKU: PR.114423960
Composed by Chen Yi. Sws.
Performance Score. 4
pages. Duration 3
minutes. Theodore Presser
Company #114-42396.
Published by Theodore
Presser Company
(PR.114423960).
UPC:
680160689293. 9 x 12
inches.
Shadowy
lines traced in fading
colors suggest a mountain
range in silhouette
against the night sky in
this mesmerizing and
poetic miniature for solo
harp. The composer takes
the instrument’s full
range as her canvas,
carrying the listener’s
imagination from distant
peaks to shrouded
foothills. Particularly
memorable is a recurring
tremolo motifxa0 played
with a wooden drumstick
on the instrument’s
lowest strings. DARK
MOUNTAINS is artistically
refined, but not
virtuosic, making it a
novel and approachable
addition to the
repertoire for developing
and professional harpists
alike.
Harp SKU: HL.14043600 Harp. Composed by Simon Holt. Music Sales Am...(+)
Harp
SKU:
HL.14043600
Harp. Composed by
Simon Holt. Music Sales
America. Classical,
Contemporary. Softcover.
12 pages. Chester Music
#CH82940. Published by
Chester Music
(HL.14043600).
9.0x12.0x0.058
inches.
Simon Holt
's the man in the wind
and the west moon was
composed for Solo Harp in
2013, having been
commissioned by The Tanza
Trust. The piece takes
its title from a line in
a Dylan Thomas poem named
'And death shall have no
dominion'. The four
sections of the work see
shifting harmonies
throughout, with the
first section repeating
but also changing ever so
subtly. The unique thing
about the piece is that
each section is
dynamically different,
but is left open to
interpretation by the
player. The man in
the wind and the west
moon was
first performed on the
2nd of June 2014 at
Milton Court Concert Hall
in London by Alex Rider.
The piece lasts around
7minutes, and the bottom
C and D strings should be
tuned to C# and D#
respectively.
By Chuck Bird and Susan Peters. For Harp (Folk/Celtic). Solos. Bill's Music She...(+)
By Chuck Bird and Susan
Peters. For Harp
(Folk/Celtic). Solos.
Bill's Music Shelf.
Ragtime.
Beginning-Intermediate.
Book Online Audio. 120
pages. Published by Mel
Bay Publications, Inc
Composed by Laurie Riley and Beth Kolle. For Folk Harp and Pedal Harp. Squarebac...(+)
Composed by Laurie Riley
and Beth Kolle. For Folk
Harp and Pedal Harp.
Squareback saddle stitch.
You Can Teach Yourself.
Beginning. Book and
online audio. Published
by Mel Bay Publications,
Inc
Clarinet in A and harp SKU: HL.49044302 Composed by Stefan Heucke. This e...(+)
Clarinet in A and harp
SKU: HL.49044302
Composed by Stefan
Heucke. This edition:
Saddle stitching. Sheet
music. Ensemble.
Softcover. Composed 2012.
Op. 67. 40 pages.
Duration 15'. Schott
Music #KLB93. Published
by Schott Music
(HL.49044302).
ISBN
9790001197922.
9.0x12.0x0.136
inches.
Im Fruhjahr
2012 schrieb ich fur das
Duo Imaginaire ein knapp
viertelstundiges Werk fur
die ganz ungewohnliche,
aber umso reizvollere
Duobesetzung von
Klarinette und Harfe. Der
romantisch-ironische
Titel einer
melancholischen Serenade
gibt den semantischen
Inhalt des Stuckes recht
genau wieder. Musikalisch
formal handelt es sich um
ein grossformatiges
rondoartiges Gebilde, in
dem sich zahlreiche
melodische und virtuose
Episoden um ein
schwebend-synkopisches
Thema gruppieren, das
sich zwar verandert, aber
als roter Faden trotzdem
deutlich wiederzuerkennen
ist. Das Stuck besitzt
einen tonalen Rahmen, der
auf siebentonigen Skalen
basiert, die die
Gegebenheiten der Harfe
als diatonisches
Instrument nutzen, ohne
ein einziges Mal als
echte Dur- oder
Mollskalen in Erscheinung
zu treten. Der
serenadenhafte Charakter
des Stuckes wird
unterstrichen durch die
Charakterisierung der
Klarinette als lineares
Gesangsinstrument und die
Harfe als akkordisch
gefuhrtes Zupfinstrument.
Selbstverstandlich
verlassen beide
Instrumente immer wieder
den ihnen angestammten
Bereich (die Harfe
beginnt zu singen,
wahrend sich die
Klarinette in uppigen
Figurationen ergeht),
wodurch ein
kammermusikalisch dichtes
und klanglich reizvolles
Gewebe entsteht.- Stefan
Heucke.
Viola, Electronics SKU: CA.1630200 For Viola and live electronics....(+)
Viola, Electronics
SKU: CA.1630200
For Viola and live
electronics. Composed
by Walter Feldmann. This
edition: Paperbound.
German title: Courbe 2
(1993/2001). Full score.
Composed 1993/rev. 2001.
34 pages. Duration 8
minutes. Carus Verlag #CV
16.302/00. Published by
Carus Verlag
(CA.1630200).
ISBN
9790007099695. Language:
all languages.
The
viola solo courbe 2 is
based on an excerpt from
the viola part in the
Trio for flute, viola and
harp << courbes >> -
sequences. In the densest
time curve of this piece
the viola plays the
leading role for a span
of almost three minutes.
This material is taken
from the Trio, presented
and divided into separate
parts. courbe 2 is three
times longer in duration
than the Trio excerpt
from which it is derived.
The musical text of the
individual fragments
remains as it is in the
original, but, pulsating,
demarcated in seconds.
Fissures emerge between
the fragments, windows
open: - to harmonic
fields, central sounds,
taken over from the
reverberations, from
which new tone material
is derived; the fields in
turn are distorted and
spacialised by the
electronics - to metrical
structures and pulses
freed from the individual
motives of the original
musical text, which forms
new variants in
interaction with these
fields. Thus in courbe 2
which, as already
indicated, is three times
longer in duration than
the original, three
musical levels are
interpenetrated, whereby
all three are derived
from one tone, which
plays an absolutely
central role in most of
my works. It is a
reference to the French
writer Anne-Marie Albiach
(and to her great text <<
H II >> lineaires), and
it remains as the only
tone at the end of the
piece, definitively,
determining everything, b
= 247 Hertz. Walter
Feldmann.