by Stacy Phillips. For fiddle. All styles, fiddle tunes. Level: Multiple Levels....(+)
by Stacy Phillips. For
fiddle. All styles,
fiddle tunes. Level:
Multiple Levels. Book.
Solos. Size 8.75x11.75.
268 pages. Published by
Mel Bay Pub., Inc.
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.
compiled by Dr. Ed Whitcomb. For Fiddle. songbook. Canadian. Level: Beginning-In...(+)
compiled by Dr. Ed
Whitcomb. For Fiddle.
songbook. Canadian.
Level:
Beginning-Intermediate.
Book. Size 8.75x11.75.
224 pages. Published by
Mel Bay Publications,
Inc.
Continuo SKU: FZ.6222 Serie I - France 1600-1800. Edited by Jean S...(+)
Continuo
SKU:
FZ.6222
Serie I -
France 1600-1800.
Edited by Jean
Saint-Arroman. This
edition: Facsimile.
Methodes & Traites.
Score. Published by Anne
Fuzeau Productions -
France (FZ.6222).
ISBN
9790230662222. 24.00 x
33.00 cm
inches.
These early
music methods are in
facsimile in six books.
Volume 1: Anonyme -
BARTOLOTTI A. M. - BOYVIN
J. - BUTERNE J-B. - CARRE
A. Sieur de La Grange -
CHARPENTIER M-A. -
CHAUMONT L. - D'ANGLEBERT
J-H. - DE LA BARRE M. -
DELAIR D. - FLEURY N. -
MARAIS M. - NIVERS G. G.
- PERRINE - SAINT-LAMBERT
M. de. Volume 2: CAMPION
F. - CAMPION T. - CHERON
A. - CLERAMBAULT N. -
COUPERIN F. - DANDRIEU
J-F. - DELAIR D. -
LECLAIR J. -M. - RAMEAU
J. -P. Volume 3: Anonyme
- CAMPION F. - DORNEL A.
- FORQUERAY A. - GERVAIS
L. - GOUDAT - GUILLEMAIN
L. -G. - MONNIER Le Cadet
- MONTECLAIR M. P. de -
PINGRE A-G. - RAMEAU J.
-P. - SERRE DE RIEUX J. -
TELEMANN G. P. - TRAVENOL
L. A. Volume 4: ALEMBERT
J. Le Rond d' -
BLAINVILLE C. H. de -
CORRETTE M. - DUBUGRARRE
- GEMINIANI F S. -
LAPORTE C. de. Volume 5:
BETHISY J-L. de - BIFERI
F. (fils) - CLEMENT C-F.
- DUBREUIL J-J. - GARNIER
H. - GIANOTTI P. -
GOUGELET Madame - LABBET
A. J. - LE BOEUF - RAMEAU
J. -P. - ROUSSIER P-J. -
SIMON S. - TAPRAY J.
Volume 6: Anonyme -
BEMETZRIEDER A. -
CORRETTE M. - FROESTLER
B. - GOURNAY B. C. -
LANGLE H-F-M. - RODOLPHE
J-J. - ROUSSIER P-J.
Table of contents: Volume
1: Fleury Nicolas:
Methode pour apprendre
facilement - 1660.
Bartolotti Angelo
Michele: Table pour
apprendre facilement -
1669. Carre Antoine:
Livre de Guitarre
Contenant Plusieurs
pieces - 1671. Perrine:
Livre de Musique pour le
Lut - 1680. Anonyme:
Petites Reigles
Generalles qui peuvent
servir de methode - 1680.
Nivers Guillaume Gabriel:
Motets a voix seule -
1689. D'Anglebert Jean
Henry: Pieces de clavecin
- 1689. Marais Marin:
Basse-continues des
pieces a une et a deux
Violes - 1689. Anonyme:
(traite abrege
d'accompagnement) - c.
1690. Anonyme: Regles
pour l'Accompagnement -
1690. Delair Denis:
Traite d'accompagnement
pour le theorbe - 1690.
Charpentier Marc Antoine:
Abrege des regles de
l'accompagnement - c.
1692. Chaumont Lambert:
Pieces D'orgue sur les 8
tons - 1695. Buterne
Jean-Baptiste: Petites
Reigles pour
l'accompagnement - 1700.
Boyvin Jacques: Second
livre d'orgue - 1700.
Anonyme: Traite
d'accompagnement du
Clavecin - c. 1700. De La
Barre Michel: Premier
livre de pieces pour la
flute - 1702.
Saint-Lambert Michel de:
Nouveau Traite de
l'accompagnement - 1707.
Volume 2: Couperin
Francois: Regles pour
l'accompagnement - s. d.
Campion Thomas: Traite
d'accompagnement et de
composition - 1716.
Clerambault Nicolas:
Regles d'accompagnement -
1716. Clerambault
Nicolas: Principes
d'accompagnement - 1716.
Dandrieu Jean Francois:
Principes de
l'accompagnement - 1719.
Rameau Jean-Philippe:
Traite de l'harmonie -
1722. Delair Denis:
Nouveau traite
d'accompagnement - 1724.
Leclair Jean-Marie:
Premier livre de sonates
- 1723. Rameau
Jean-Philippe: Nouveau
systeme de musique
theorique - 1726. Cheron
Andre: Sonates en trio -
1727. Campion Francois:
Lettre du sieur Campion a
un philosophe - 1729.
Campion Thomas: Addition
au traite
d'accompagnement - 1730.
Volume 3: Pingre
Alexandre Gui: Traite de
l'harmonie - s. d. Rameau
Jean-Philippe:
Observations sur la
Methode d'Accompagnement
- 1730. Rameau
Jean-Philippe: Plan
abrege d'une Methode
nouvelle - 1730.
Monteclair Michel
Pignolet de: Reponse du
second Musicien au
premier - 1729. Rameau
Jean-Philippe: Replique
du premier Musicien a la
reponse du second - 1730.
Monteclair Michel
Pignolet de: Reponse du
second Musicien au
premier Musicien - 1730.
Rameau Jean-Philippe:
Replique du premier
Musicien a l'ecrit du
second - 1730. Rameau
Jean-Philippe:
Dissertation sur les
differentes metodes -
1732. Gervais Laurent:
Methode pour
l'accompagnement - 1733.
Campion Francois: Second
recueil d'airs - 1734.
Serre de Rieux Jean: Les
dons des Enfans de Latone
- 1734. Telemann Georg
Philipp: Nouveaux
Quatuors en six Suites -
1738. Goudat: Principes
de Laccompagnement -
1738. Travenol Louis
Antoine: Premier livre de
Sonates a violon seul -
1739. Guillemain Louis
Gabriel: Six sonates en
quatuors - 1743. Monnier
le Cadet: L'art de
Toucher le Clavecin dans
son propre caractere - c.
1745. Dornel Antoine: le
Tour du Clavier - 1745.
Forqueray Antoine: Pieces
de Viole avec la Basse
Continue - 1747. Anonyme:
(Methode
d'accompagnement) - s. d.
Volume 4: Alembert Jean
Le Rond d': Elemens de
musique - 1752.
Blainville Charles Henri
de: Essay sur un
troisieme mode - 1751.
Corrette Michel: Le
maitre de Clavecin -
1753. Laporte Claude de:
Traite theorique et
pratique - 1753.
Geminiani Francesco
Saverio: L'art de bien
accompagner - 1754.
Dubugrarre: Methode plus
courte et plus facile -
1754. Volume 5: Tapray
Jean: Abrege de
l'accompagnement - 1755.
Labbet Antoine Joseph et
Leris Antoine de:
Sentiment d'un
Harmoniphile - 1756.
Clement Charles Francois:
Essai sur
l'accompagnement - 1758.
Gianotti Pietro: Le guide
du compositeur - 1759.
Rameau Jean-Philippe:
Code de musique pratique
- 1760. Bethisy
Jean-Laurent de:
Exposition de la theorie
et de la pratique - 1764.
Roussier Pierre-Joseph:
Traite des accords et de
leur succession - 1764.
Le Boeuf: Traite
d'harmonie et regles
d'accompagnement - 1766.
Garnier Honore: Nouvelle
methode pour
l'accompagnement - 1767.
Dubreuil Jean-Jacques:
Manuel harmonique - 1767.
Biferi Francesco Fils:
Traite de musique abrege,
divise en trois parties -
1770. Simon Simon:
Theorie pratique
d'accompagnement - s. d.
Gougelet Madame: Methode
ou abrege des regles -
1771. Volume 6: Roussier
Pierre-Joseph: L'harmonie
pratique - 1775. Corrette
Michel: Prototipes
contenant des lecons
d'accompagnement - 1775.
Anonyme: Abrege des
regles de composition -
1777. Bemetzrieder
Antoine: Nouvelles lecons
de clavecin ou
instructions generales -
1782. Rodolphe
Jean-Joseph: Theorie
d'accompagnement - c.
1785. Gournay B. C. :
Lettre a M. l'abbe
Roussier - 1785. Langle
Honore-Francois-Marie:
Traite de la basse sous
le chant - 1797.
Froestler B. : Traite
d'harmonie et de
modulation - 1800.
Anonyme: Principes de
l'accompagnement - s. d.
Anonyme: Regles
d'accompagnement - s. d.
Collection supervised by
the musicologist Jean
Saint-Arroman, professor
at the Conservatoire
National Superieur de
Musique et de Danse of
Paris and at the CEFEDEM
Ile de France (Training
Centre for Music
Teachers). He is the
author of the majority of
our prefaces and has also
been involved in library
searches. Facsimiles of
copies from: -
Conservatory Library of
Geneva (Switzerland). -
Conservatory Library of
Dijon (France). - Royal
Conservatory of Liege
(Belgique). - Municipal
Library of Bordeaux
(France). - Municipal
Library of Grenoble
(France). - Municipal
Library of Lyon (France).
- National Library of
Paris (France). - Royal
Library of Brussels
(Belgium). -
Sainte-Genevieve Library
of Paris (France). -
British Library of London
(England). - Nederlands
Muziek Instituut of The
Hague (Netherlands). -
Yale University, Music
Library of New Haven
(USA). -
Zentralbibliothek of
Zurich (Switzerland).
Anne Fuzeau Classique
propose the complete
theoretic documentation,
methods, classical music
scores on the
continuo.
Organ - intermediate to advanced SKU: HL.49016185 Die Marianische....(+)
Organ - intermediate to
advanced
SKU:
HL.49016185
Die
Marianische. Composed
by Enjott Schneider. This
edition: Paperback/Soft
Cover. Sheet music. Organ
Collection. Als
Gegenstuck zur
Orgelsinfonie Nr.1 Pater
Noster bietet die 2.
Orgelsymphonie weichere
und geheimnisvollere
(eben marianische)
Klangwelten an und
skizziert Stationen aus
Marias Lebensweg. Als
Instrument empfiehlt sich
eine Orgel mit mindestens
drei Manu. Composed 2006.
55 pages. Duration 24'.
Schott Music #ED 20074.
Published by Schott Music
(HL.49016185).
ISBN
9790001145411. UPC:
884088202507.
9.0x12.0x0.141
inches.
As a
counterpart to theOrgan
Symphony No. 1 Pater
Noster (ED 9937), the
Organ Symphony No. 2
offers softer and more
mysterious (Marian) sound
worlds, sketching stages
of Mary's life: an
adoring Salve Regina
grows from the mystic
source, followed by
Berceuse pour Marie as a
lullaby of the Christmas
events. The third
movement Mater Dolorosa
falls back on the
well-known Gregorian
sequence Stabat Mater,
taking Mary's pain at the
cross as its central
theme. The finale treats
the Ave Maris Stella in a
crescendo from pp to ff
in a positive and solemn
manner, in memory of
Mary's assumption. It is
advisable to use an organ
with at least three
manuals.
Composed by Charles Marie Widor (1844-1937). Edited by Daniel Mitterdorfer and...(+)
Composed by Charles Marie
Widor (1844-1937). Edited
by
Daniel Mitterdorfer and
Harold Fabrikant.
Classical.
Score. Crescendo Music
Publications
#9790-902257060.
Published by Crescendo
Music
Publications
Scarborough Fair Chorale SSAA SSAA, Piano [Octavo] - Intermédiaire Hinshaw Music Inc.
By English Folk Song. Arranged by Anne Marie Hildebrandt. For SSAA Choir (Accomp...(+)
By English Folk Song.
Arranged by Anne Marie
Hildebrandt. For SSAA
Choir (Accompaniment:
Piano). Secular. Medium
Advanced Jr. High/High
School or Medium Adult.
Octavo. Duration 4 min,
10 sec
By Jean-Marie Leclair (1697-1764). Edited by Jean Saint-Arroman, Philippe Lescat...(+)
By Jean-Marie Leclair
(1697-1764). Edited by
Jean Saint-Arroman,
Philippe Lescat. 2
violins and continuo. For
Violin. Facsimiles. La
Musique Francaise
Classique de 1650 a 1800.
Grade 0. 74 pages
The Wexford Carol Chorale 3 parties SSA A Cappella [Octavo] Hinshaw Music Inc.
(Traditional Irish). Arranged by Anne Marie Hildebrandt. For SSA choir (a cappel...(+)
(Traditional Irish).
Arranged by Anne Marie
Hildebrandt. For SSA
choir (a cappella).
Advent and Christmas.
Main Key: F Major.
Christmas, Concert and
Sacred. Difficulty:
Medium Advanced (Jr.
High/High School) or
Medium (Adult). Octavo.
12 pages. Duration 4
Piano seul [Partition] - Intermédiaire Alfred Publishing
The Greatest Love Of All Composed by Michael Masser, Linda Creed Homecoming Com...(+)
The Greatest Love Of All
Composed by Michael
Masser, Linda Creed
Homecoming Composed by
Hagood Hardy
Weve Got Tonight Composed
by Bob Seger
Song From M*a*s*h
(Suicide Is Painless)
Composed by Johnny
Mandel, Mike Altman
Misty Composed by Erroll
Garner, Johnny Burke
Other Side Of Midnight
Composed by Michel
Legrand
The Rose Composed by
Amanda Mc Broom
Tears In Heaven Composed
by Eric Clapton, Will
Jennings
Theme From New York, New
York Composed by Fred
Ebb, John Kander
Heart Composed by Richard
Adler, Jerry Ross
Hey There Composed by
Richard Adler, Jerry Ross
Colors Of My Life
Composed by Cy Coleman,
Michael Stewart
Over The Rainbow Composed
by Harold Arlen, E.y.
Harburg
Separate Lives Love Theme
From "white Nights"
Theme From Ice Castles
Composed by Marvin
Hamlisch, Carole Bayer
Sager
Tonight I Celebrate My
Love Composed by Michael
Masser, Gerry Goffin
In This Life Composed by
Mike Reid, Allen Shamblin
Up Where We Belong
Composed by W Jennings, B
Sainte, Marie, J Nitzsche
From A Distance Composed
by Julie Gold
I Will Always Love You
Composed by Dolly Parton
Oh! What It Seemed To Be
Composed by Bennie
Benjamin, George David
Weiss, Frankie
I Believe I Can Fly
Composed by R. Kelly
Valentine Composed by Jim
Brickman, Jack Kugell
How Do I Live Composed by
Diane Warren
Colors Of The Wind
Composed by Stephen
Schwartz, Alan Menken
A Dream Is A Wish Your
Heart Makes Composed by
Mack David, Al Hoffman,
Jerry Livingston
see less... Tell Him
Composed by Linda
Thompson, David Foster
Con Te Patiro / Time To
Say Goodbye Composed by
Lucio Quarantotto,
Francesco Sartori
Karen's Theme Composed by
Richard Carpenter
The Prayer Composed by
Carole Bayer Sager, David
"babyface" Foster
My One True Friend
Composed by Carole Bayer
Sager, Carole King
Love Solo Composed by Dan
Coates
I Don't Want To Miss A
Thing Composed by Diane
Warren
As Time Goes By Composed
by Herman Hupfeld
La Vie En Rose Composed
by Louiguy, Piaf
(French), David (Eng.)
What's New? Composed by
Bob Haggart, Johnny Burke
Summer Me, Winter Me
Composed by Michel
Legrand, Alan, Marilyn
Bergman
Evergreen Composed by
Barbra Streisand, Paul
Williams
Arthur's Theme (Best That
You Can Do) Composed by
Burt Bacharach, Carole
Bayer Sager
Can You Read My Mind
Composed by John
Williams, Leslie Bricusse
Love And Marriage
Composed by Jimmy Van
Heusen, Sammy Cahn
Desperado Composed by Don
Henley, Glenn Frey
The Wind Beneath My Wings
Composed by Jeff Silbar,
Larry Henley
How Do You Keep The Music
Playing? Composed by
Michel Legrand, Alan
Bergman
Anywhere The Heart Goes
Composed by Henry
Mancini, Will Jennings
Once Before I Go Composed
by Dean Pitchford, Peter
Allen
Star Wars - Main Theme
Composed by John Williams
Open Arms Composed by
Steve Perry, Jonathan
Cain
Canon In D Composed by
Johann Pachelbel
That's What Friends Are
For Composed by Burt
Bacharach, Carole Bayer
Sager
Friends Or Lovers Both To
Each Composed by Paul
Gordon, Jay Gruska
Forever Composed by Kenny
Loggins, Eva Loggins,
David Foster
Saving All My Love For
You Composed by Gerry
Goffin, Michael Masser
Miss Celie's Blues
Composed by Quincy Jones,
Rod Temperton, And
Anne's Theme Composed by
Hagood Hardy
One Moment In Time
Composed by Albert
Hammond, John Bettis
Kei's Song Composed by
David Benoit
I Say A Little Prayer
Composed by Burt
Bacharach, Hal David
Happy Birthday To You
Composed by Mildred J.
Hill, Patty S. Hill
May You Always Composed
by Larry Marks, Dick
Charles
If My Friends Could See
Me Now Composed by Cy
Coleman, Dorothy Fields
You Can Always Count On
Me Composed by Cy
Coleman, David Zippel
Ashokan Farewell Composed
by Jay Ungar
Everything I Do I Do It
For You Composed by Bryan
Adams, Robert Lange,
Michael Kamen
Send In The Clowns
Composed by Stephen
Sondheim
She Loves Me Composed by
Sheldon Harnick, Jerry
Bock
How Could I Ever Know?
Composed by Marsha
Norman, Lucy Simon
My Unknown Someone
Composed by Cy Coleman,
Adolph Green, Betty
Comden
Favorite Son Composed by
Cy Coleman, Adolph Green,
Betty Comden
I Swear Composed by Gary
Baker, Frank Myers
I Can Love You Like That
Composed by S Diamond, M
Derry, J Kimball
Beauty And The Beast
Composed by Howard
Ashman, Alan Menken
Angel Eyes Composed by
Jim Brickman
If You Believe Composed
by Jim Brickman
Because You Loved Me
Composed by Diane Warren
Un-break My Heart
Composed by Diane Warren
Ragtime Composed by
Stephen Flaherty, Lynn
Ahrens
Complete Advanced Piano
Solos (Music for All
Occasions). Arranged by
Dan Coates. For solo
piano. Piano -
Intermediate / Advanced
Collection; Piano
Supplemental. The
Professional Touch
Series. Contemporary
Instrumental and Pop. SMP
Level 9 (Advanced).
Collection. Standard
notation (does not
include words to the
songs). 304 pages.
Published by Alfred Music
Publishing
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.
Kyrie Chorale 3 parties [Octavo] Hinshaw Music Inc.
By James E. Green And Anne-Marie Hildebrandt. Edited by Maribeth Yoder-White. Fo...(+)
By James E. Green And
Anne-Marie Hildebrandt.
Edited by Maribeth
Yoder-White. For 3-part
choir, any combination
(Accompaniment: Piano).
Accent On Young Voices.
Sacred, Concert. Medium
Advanced Jr. High/High
School or Medium Adult.
Octavo. 16 pages.
Duration c. 3 minutes 40
seconds. Published by
Hinshaw Music Inc.
Vocal and Piano SKU: HL.14043201 Composed by Edvard Brink. Music Sales Am...(+)
Vocal and Piano
SKU:
HL.14043201
Composed
by Edvard Brink. Music
Sales America. Classical.
Softcover. Composed 2014.
Edition Wilhelm Hansen
#WH17746. Published by
Edition Wilhelm Hansen
(HL.14043201).
ISBN
9788759884850.
Ann-
Marie by the Danish
composer Edvard Brink ,
scored for Voice and
Piano. This piece from
'Under Dansk Flag eller
Sommerrejsen 1921'
incorporates text by Karl
Ewert.
(Edition de 1696). By Dietrich Buxtehude (1637-1707). Edited by Marie Marie Fran...(+)
(Edition de 1696). By
Dietrich Buxtehude
(1637-1707). Edited by
Marie Marie Francoise
Bloch. String Trio. For
Viol, Violin. Facsimiles.
Collection Dominantes.
Grade 0. 124 pages
Alto flute in G, English horn, Bass Clarinet, Bassoon, Horn SKU: CA.1632800(+)
Alto flute in G, English
horn, Bass Clarinet,
Bassoon, Horn
SKU:
CA.1632800
Synchroniestudie Nr. 2
fur tiefes
Blaserquintett.
Composed by Walter
Feldmann. This edition:
Paperbound. German title:
Une Geometrie.
Synchronstudie F Blaser.
Full score. Composed
2005. 54 pages. Duration
14 minutes. Carus Verlag
#CV 16.328/00. Published
by Carus Verlag
(CA.1632800).
ISBN
9790007112745. Language:
all languages.
E
texts of the French
author Anne-Marie Albiach
have long been the point
of departure for my
works. Following the
viola concerto <<
monstrueuse vecut dans le
cadre >> la memoire,
which is based on her <<
H II>> lineaires, the
three texts entitled <<
une geometrie >> have
generated a new cycle. As
in the other two works of
the cycle, << figurations
de memoire >> is
predicated on two
different readings of the
text: on the one hand a
(private) reading by
Anne-Marie Albiach in
which time is measured
[demarcated] out; while
on the other hand the
graphic text is measured
millimeter by millimeter.
The latter serves as the
basis - the genetic code
- for the temporal,
horizontal structure of
the quintet, whereas the
reading of the author
appears in rhythmic
surfaces which interrupt
the horizontal plane. In
<< figurations de memoire
>> two clearly
recognizable elements are
repeated: the tone b
(which plays a central
roll in most of my works)
and a chord of fifths
built around the tone b -
a piece of memory
(memoire) from viola
concerto. In contrast,
the extended chords of
the reading consist of
five tones which in their
frequencies are
equidistant from each
other (like an overtone
chord). For the
generation of tone
materials the chords of
both levels are
compressed and stretched
within the ranges
(frames) of tones from
which the horizontal
positions of the text
fragments are derived:
lower, borderline tones
on the left margin, and
higher borderline tones
on the right margin. Thus
the disposition on the
page, essential for
Anne-Marie Albiach (and
first introduced in
poetry by Mallarme in Un
coup de des jamais
n'abolire le hasard), is
rendered in sound.
Naturally each element of
the text serves to mold
structure and dynamic, to
include typography:
fragments within
quotation marks, in
italics, etc., yield
different sonorous images
[sonorities] and
movements. Each word from
the typographical reading
is orchestrated
[instrumentated]
differently, which is
important for the whole
cycle (however, the
chords of the spoken
reading are always played
by five instruments; here
only speech and pauses in
speech [[interruptions of
speech]are distinguished
from each other). Thus a
tight network of
instrumental combinations
is created in which, word
for word, the text is
made audible. The most
important element in the
process: the vertical,
synchronized playing
together of the
individual instruments
(Synchorniestudie),
ranging from solo to
quintet.
Alto flute in G, English horn, Bass Clarinet, Bassoon, Horn SKU: CA.1632809(+)
Alto flute in G, English
horn, Bass Clarinet,
Bassoon, Horn
SKU:
CA.1632809
Synchroniestudie Nr. 2
fur tiefes
Blaserquintett.
Composed by Walter
Feldmann. Une Geometrie.
Synchronstudie F Blaser.
Set of Orchestra Parts.
Composed 2005. 100 pages.
Duration 14 minutes.
Carus Verlag #CV
16.328/09. Published by
Carus Verlag
(CA.1632809).
Language: all
languages.
E texts
of the French author
Anne-Marie Albiach have
long been the point of
departure for my works.
Following the viola
concerto << monstrueuse
vecut dans le cadre >> la
memoire, which is based
on her << H II>>
lineaires, the three
texts entitled << une
geometrie >> have
generated a new cycle. As
in the other two works of
the cycle, << figurations
de memoire >> is
predicated on two
different readings of the
text: on the one hand a
(private) reading by
Anne-Marie Albiach in
which time is measured
[demarcated] out; while
on the other hand the
graphic text is measured
millimeter by millimeter.
The latter serves as the
basis - the genetic code
- for the temporal,
horizontal structure of
the quintet, whereas the
reading of the author
appears in rhythmic
surfaces which interrupt
the horizontal plane. In
<< figurations de memoire
>> two clearly
recognizable elements are
repeated: the tone b
(which plays a central
roll in most of my works)
and a chord of fifths
built around the tone b -
a piece of memory
(memoire) from viola
concerto. In contrast,
the extended chords of
the reading consist of
five tones which in their
frequencies are
equidistant from each
other (like an overtone
chord). For the
generation of tone
materials the chords of
both levels are
compressed and stretched
within the ranges
(frames) of tones from
which the horizontal
positions of the text
fragments are derived:
lower, borderline tones
on the left margin, and
higher borderline tones
on the right margin. Thus
the disposition on the
page, essential for
Anne-Marie Albiach (and
first introduced in
poetry by Mallarme in Un
coup de des jamais
n'abolire le hasard), is
rendered in sound.
Naturally each element of
the text serves to mold
structure and dynamic, to
include typography:
fragments within
quotation marks, in
italics, etc., yield
different sonorous images
[sonorities] and
movements. Each word from
the typographical reading
is orchestrated
[instrumentated]
differently, which is
important for the whole
cycle (however, the
chords of the spoken
reading are always played
by five instruments; here
only speech and pauses in
speech [[interruptions of
speech]are distinguished
from each other). Thus a
tight network of
instrumental combinations
is created in which, word
for word, the text is
made audible. The most
important element in the
process: the vertical,
synchronized playing
together of the
individual instruments
(Synchorniestudie),
ranging from solo to
quintet. Score and parts
available separately -
see item CA.1632800.
For
bass flute (alto flute
solo), bass clarinet,
baritonsaxophone, guitar,
2 violins. Composed
by Walter Feldmann.
German title: Vertical Et
Blanc 2006. Playing
score. Composed 2006. 70
pages. Carus Verlag #CV
16.330/00. Published by
Carus Verlag
(CA.1633000).
ISBN
9790007113469. Language:
all languages.
The
texts of the French
author Anne-Marie Albiach
have long been the point
of departure for my
works. Following the
viola concerto <<
monstrueuse vecut dans le
cadre >> la memoire,
which is based on her <<
H II >> lineaires, the
three texts entitled <<
une geometrie >> have
generated a new cycle. As
in the other two works of
the cycle, << vertical et
blanc >> is predicated on
two different readings of
the text: on the one hand
a (private) reading by
Anne-Marie Albiach in
which time is measured
out; while on the other
hand the graphic text is
measured millimeter by
millimeter. The latter
serves as the basis - the
genetic code - for the
temporal, horizontal
structures of the
ensemble part, whereas
the reading of the author
appears late in the
melodic lines of the solo
alto flute, which force
the ensemble to play an
accompaniment in flat
surfaces. In << vertical
et blanc >> one clearly
recognizable element is
repeated: a ninth chord,
the basic element in the
works of Claude Debussy,
the composer who I admire
wholeheartedly. For the
generation of tone
materials this chord is
compressed and stretched
within the ranges
(frames) of tones which
are derived from the
horizontal positions of
the text fragments:
lower, borderline tones
on the left margin, and
higher borderline tones
on the right margin. Thus
the disposition on the
page, essential for
Anne-Marie Albiach (and
first introduced in
poetry by Mallarme in Un
coup de des jamais
n'abolira le hasard), is
rendered in sound.
Naturally each element of
the text serves to mould
structure and dynamics,
to include the
typography: fragments
within quotation marks,
in italics, etc., yield
different sonorities and
movements. Whereas the
ensemble articulates
rhythmically each
character of the text,
the rhythms of the solo
flute articulate only its
syllables and words. Each
word of the author's
reading of the text is
instrumentated
differently, which is
important for the entire
cycle. Thus a compact
network of instrumental
combinations is created
in which, word for word,
the text is made
audible.
Very easy SKU: HL.49013242 Ein Weg zur Melodie. Composed by Fritz ...(+)
Very easy
SKU:
HL.49013242
Ein
Weg zur Melodie.
Composed by Fritz Jö
and de. This edition:
Paperback/Soft Cover.
Sheet music. Bausteine
fur Musikerziehung und
Musikpflege. Classical.
Playing score. 39 pages.
Schott Music #B 109.
Published by Schott Music
(HL.49013242).
La
memoire, fur viola solo
and und big ensemble.
Composed by Walter
Feldmann. (r)MONSTRUEUSE
VECUT DANS LE CADRE-.
Study score. Composed
2002-2004. 74 pages.
Duration 23 minutes.
Carus Verlag #CV
16.326/07. Published by
Carus Verlag
(CA.1632607).
ISBN
9790007108120. Language:
all
languages.
Commissi
oned by the Ensemble
Intercontemporain In 1989
I first discovered the
writings of Anne-Marie
Albiach. H II lineaires
especially impressed me,
on the one hand through
the sensual presence of
the words, and on the
other hand, above all,
through the spatial
disposition of the
typography. This is a
form of writing which has
nothing to do with all
that has existed before
it. This impression was
the starting point for a
creative work which has
since become a kind of a
project to which I will
dedicate myself
throughout my life. Since
that time of my first
discovery (in which
hundreds of pages of
sketches and a published
excerpt of a score of a
syntagma have been
composed, namely <<
monstrueuse vecut dans le
cadre >> la memoire) I
have attempted to develop
a new musical system that
encompasses all the
parameters of
composition. All of these
works which I have
composed are independent
from this enormous
project, but at the same
time they form the
experimental laboratory
for the all-encompassing
musical system towards
which I am working and
developing: a new system
of determining pitches,
metre, dynamics, musical
diction, manner of
performance, etc. With <<
monstrueuse vecut dans le
cadre >> la memoire it
appears that the research
for this project has been
concluded. After the two
large cycles << Les
Georgiques >> on texts
from Claude Simon and <<
Tristram Shandy >> from
Laurence Sterne, both
employing techniques from
my work with Albiach's
texts, I could finally
compose this work, which
was originally conceived
for voice and 6
instrumental groups - the
system was mastered, so
to speak. Anne-Marie
Albiach's establishes the
genetic code for the
piece, without the words
having to be spoken.. Her
text is, in the true
sense of the word,
measured from one
syntagma (syntactical
element), from one void
(space) to another, and
this results in temporal
structures of ensemble
texture. This is opposed
to another texture, which
is the temporal
measurement of a
recitation of the text by
the author: her voice,
using the range of her
voice, is the viola solo
- a recitation, in its
unique individuality, on
which the cold,
typographical structure
of the ensemble
superimposed. Every time
I read a text of
Anne-Marie Albiach, it
seems to me that she is
saying that which I do.
An extremely rare
coincidence, like that
with the violist Odile
Auboin, the soloist, who
I think works in the same
manner and has the same
approach to things. Score
available separately -
see item CA.1632600.