Edited by Paul Stewart Cranford. Arranged by Melissa Emmons and Brenda Stubbert....(+)
Edited by Paul Stewart
Cranford. Arranged by
Melissa Emmons and Brenda
Stubbert. For Fiddle.
Perfect binding, Solos.
Cranford Publications.
Canadian-Maritime.
Intermediate. Book. 72
pages. Published by
Cranford Publication
Beginning Fiddle Tunes and Techniques. By Brian Wicklund. By Brian Wicklund. For...(+)
Beginning Fiddle Tunes
and Techniques. By Brian
Wicklund. By Brian
Wicklund. For Fiddle.
Methods. American Fiddle
Method. Bluegrass and
Country. Level:
Beginning. Book CD DVD.
64 pages. Published by
Mel Bay Publications, Inc
Composed by Brian Wicklund and April Verch. Saddle-stitched. American Fiddle Met...(+)
Composed by Brian
Wicklund and April Verch.
Saddle-stitched. American
Fiddle Method. Book and
online audio. 80 pages.
Published by Mel Bay
Publications, Inc
(MB.20142M).
Intermediate Fiddle Tunes and Techniques. by Brian Wicklund. Level: Intermediate...(+)
Intermediate Fiddle Tunes
and Techniques. by Brian
Wicklund. Level:
Intermediate. Book/CD
Set. Size 8.75x11.75. 64
pages. Published by Mel
Bay Pub., Inc.
Intermediate Fiddle Tunes and Techniques. By Brian Wicklund. For Fiddle. Methods...(+)
Intermediate Fiddle Tunes
and Techniques. By Brian
Wicklund. For Fiddle.
Methods. Bluegrass and
Country. Level:
Intermediate. Book CD
DVD. 64 pages. Published
by Mel Bay Publications,
Inc.
(20 Famous Tunes from Ireland With a CD of performances and backin). By Various....(+)
(20 Famous Tunes from
Ireland With a CD of
performances and backin).
By Various. Edited by
Patrick Steinbach.
Arranged by Heiko
R�¼hmkorff. For
Violin. String. Softcover
with CD. 28 pages. Schott
Music #ED21378. Published
by Schott Music
Score and Parts Mixed Ensemble (Score & Parts) SKU: HL.233289 For Viol...(+)
Score and Parts Mixed
Ensemble (Score & Parts)
SKU: HL.233289
For Violin,
Vibraphone, Piano,
Sustaining Keyboard and
Contrabass. Composed
by John Luther Adams.
Music Sales America.
Classical. Set. Duration
1800 seconds. Chester
Music #CH85987. Published
by Chester Music
(HL.233289).
12.0x9.25x0.43
inches.
Score and
separate parts with
spiral-bound
keyboard/organ part.
Number 5, 1950 was Mark
Rothko's last painting
before the breakthrough
into his mature format.
In it the luminous color
fields of a classic
Rothko are inscribed
across the middle with
three delicate lines.
Describing this painting
and its pivotal position
in Rothko's work, Brian
O'Doherty observes:
'After this, the lines
disappear completely.' In
recent years gesture and
figuration have
disappeared from my
music. What used to be
background has emerged to
become a musical world
composed entirely of
floating color fields. In
this new world I've
changed media, moving
from the orchestra to
smaller combinations of
acoustical instruments
and
electronically-processed
sounds. I still think in
orchestral terms, but
this hybrid medium allows
me to create orchestral
textures for more
practical and readily
available ensembles.
Initially I imagined this
as a kind of monolithic
music -an entire piece as
one rich and complex
sound. Then I came to
hear it as homophonic or
heterophonic. And now -
in this musical world
that I thought was
completely free of lines
- I've come to hear a
polyphony of harmonic
clouds. Maybe the lines
never disappear
completely. Maybe
Christian Wolff was right
when he quipped: 'No
matter what we do, sooner
or later it all sounds
melodic.' - John Luther
Adams.
Chamber Ensemble (Study Score) SKU: HL.49046391 For Violin, Cello, Nor...(+)
Chamber Ensemble (Study
Score)
SKU:
HL.49046391
For
Violin, Cello,
Northumbrian pipes,
Hammond Organ and
Orchestr. Composed by
Jon Lord. Edited by Paul
Mann. Study Score.
Classical. Softcover. 146
pages. Duration 3420
seconds. Schott Music
#ED23177. Published by
Schott Music
(HL.49046391).
ISBN
9781540086549. UPC:
842819108696.
The
general inspiration for
the music was an idea of
Durham, garnered from two
or three short visits and
a reading of a short
history - so a sort of
Durham of the mind, a
stylized Durham; 'my'
Durham, if you will,
imagined into music.
However, the
defininginspiration for
the piece was the
Cathedral. My first visit
to Durham in 2001 saw me
standing open-mouthed on
Palace Green, and then in
silent awe as I walked
into that formidable
magnificence inside. Most
of the themes came from
the days immediately
following my first
experience of this
extraordinary, inspiring
building. The feeling
that the very stones and
pillars themselves are
imbued with centuries of
prayer, withpeople's joy,
grief, despair, even
anger; gratitude and
hope. As the tunes and
chords and sounds started
to organize themselves in
my mind and onto
manuscript paper, I
realized that I was
writing a sort of day in
the life of Durham, and
that the Cathedral
wouldbe its beginning,
would be in its middle,
and would be at its
ending. The piece
consists of six
'pictures' arranged into
three parts - the
morning, afternoon and
evening of this imaginary
Durham city. Jon Lord,
2017.