Playing music should be as simple and natural as drawing a breath, yet most musicians are hindered by self-consciousness, apprehension, self-doubt, and stress. Before we can truly express our inner self, we must first learn to be at peace andovercome the distractions that can make performance difficult. Kennys remarkable work deals directly with these hindrances, and presents ways to let our natural creative powers flow freely with minimal stress and effort. Includes an inspiring CD ofmeditations designed to initiate positive thought. This book has become a favorite of many musicians who credit it with changing their lives! Many are so impressed that they buy copies fortheir musician friends as gifts. Easy, effortless readingpaperback. Playing music should be as simple and natural as drawing a breath, yet most musicians are hindered by self-consciousness, apprehension, self-doubt and stress. Before we can truly express our inner self, we must first learn to be at peace and overcome the distractions that can make performance difficult. Kenny's remarkable work deals directly with these hindrances, and presents ways to let our natural creative powers flow freely with minimal stress and effort. Includes an inspiring CD of meditations designed to initiate positive thought. This book has become a favorite of many musicians who credit it with changing their lives! Many are so impressed that they buycopies for their musician friends as gifts. Easy, effortless reading paperback. / Librairie en anglais / Livre / Tout Instrument

This songbook is a comprehensive keyboard anthology of songs from the American progressive metal band, formed in 1985.Learning To Live; Metropolis Par. 1; Wait For Sleep; 6:00; Scarred; Scene Two: I. Overture 1928; Scene Three: I. Through My Words; Scene Three: II. Fatal Tragedy; Scene Four: Beyond This Life; Scene Nine: Finally Free; The Great Debate; Selections From Six Degrees Of Inner Turbulence: About To Crash, War Inside My Head, The Test That Stumped Them All, Goodnight Kiss, Solitary Shell; Endless Sacrifice; Stream Of Consciousness; Vacant.

Since the beginning of time man has pondered what happens when our physical body dies. Some believe we go to Heaven. Others doubt its existence entirely. Then there are those who have had near death experiences and live to tell their stories. This composition starts delicately as peacefulness returns to the soul. It intensifies as we approach our new consciousness, constantly modulating between the two as we gain knowledge of our new surroundings. (4:45) / Concert Band

Arrangeur: P.A. Chiti. This volume offers a sampling of fourteen great vocal works from the Romantic era for Medium and Low voice that have long been out of the common consciousness but not been entirely forgotten! Rossini and Donizetti among others, wrote songs for everybody from prima donnas to amateurs, each with an impressive sensitivity and depth. Editor and mezzo-soprano, Patricia Atkins Chiti, has drawn from her personal collection of songs, many of which have been out of print for more than a century. Italian Art Songs of the Romantic Era contains fourteen fabulous songs, a detailed foreword that introduces the Romantic era and the Romanze, providing an excellentway for young singers to learn the style of major composers. There is carefully edited text and music, an extensive background to each composer and each song, translations and even phonetic pronunciation guides for Italian. / Répertoire d'Examen / Recueil / Voix

Score and parts for Saariaho's Cendres , arranged for Alto Flute, Cello and Piano. Quoting Saariaho: While writing Cendres , I was mainly concentrating on the interpretation of particular musical ideas by the three different instruments of the trio, each of which has its unique character and palette of colours. Musical tension is created and regulated by sometimes bringing the instruments as close together as possible in all ways (pitch, rhythm, dynamics, articulation, colour etc.), or, at the other extreme, letting each of them express the music in their most idiomatic fashion. Between these two extremes there is an unlimited number of possible ways to create more or less homogenous musical situations. The consciousness of this variety was the rope on which I was balancing whilst working on the piece. Cendres was commissioned by the Gesellschaft fur Neue Musik Ruhr and Kulturbüro der Stadt Essen for the Wolpe Trio. Duration 10 minutes. / Violoncelle, Flûte Et Piano

Par MC NEFF STEPHEN. My research for Banished began with a small group of students during a Trinity Laban co-lab period in 2013, though the idea goes back over 30 years when I first saw Steve Gooch’s Female Transport and stored the idea of adapting it as an opera until the right opportunity arose. I have been involved in opera for a long time and it has always been a frustration for me that while there is an abundance of female talent (particularly so in conservatories and colleges) there is a noticeable lack of challenging roles available for young women. The roles most often undertaken are maids or innocent girls, compliant wives or tomboys. Not that the problem is necessarily confined exclusively to young women, but where good roles exist, the women are all too often merely passive or victims. Things happen to them rather than them making things happen. They are unable to influence their circumstances and are usually resigned to their fate. Worse still, they are often judged in some way responsible for what happens to them, culpable even because of their looks, their way of life or a streak of independence. Just think about Mimi, Carmen and Violetta (to name only three on a long list). All these characters die, and their attempts at individuality contribute to their demise in some way that they have no control over. With some exceptions female characters in opera are too often sad, mad or bad. Redressing this balance and taking advantage of the richness in vocal talent is only one reason to write an opera reflecting the reality of a group of strong women who work things out for themselves. The transportation of people to Australia at the beginning of the nineteenth century is not a particularly well understood part of history beyond a sort of folk myth. What were the circumstances, who were the people and what happened to them? Opera does not exist to completely answer these questions, but it can focus on the women as individuals and help tell their story. (All the women named in the opera actually existed.) My approach has to been to put the women’s narrative centre stage and, in the confines of an oppressive, dangerous environment go with them on their journey as they survive or sink. The demands on the women are huge. At every turn they are oppressed by their jailers, the system that brought them here and their own low expectations. They have to work out ways to overcome these odds. We discover them through their music in solos and ensembles, sometimes reflective, at other times boasting about their lives a petty criminals and trying to establish status and pecking order. Alongside this I have used references to music of the time to create another reality built on larger ensembles and choruses. This is a sort of collective consciousness aware of loss, longing and context – even of a broad political dimension to the realities of Transportation. Despite the acute awareness of their circumstances in these ensembles, there is also a resilience and strength that transcends the individual stories. Stephen McNeff / Instrumental Music / Répertoire / Voix

Par FRANCES-HOAD CHERYL. Pieces of Light was commissioned by the Flautadors for their 20 th Anniversary. When the group approached me about writing a piece, I had just finished reading Pieces of Light; The New Science of Memory by Charles Fernyhough, and it struck me that a work inspired by memories and how they are created in our brains would be very appropriate for a group of musicians celebrating such a wonderful milestone. A quote by Nabokov in particular provided ideas for both the rapid, rhythmic music that starts and ends the piece and the slow, 'light-filled' chords of the middle section: [In Nabokov's autobiography, Speak, Memory, he sees] 'the awakening of consciousness as a series of spaced flashes, with the intervals between them gradually diminishing until bright blocks of perception are formed, affording memory a slippery hold.' In addition, this work has really been shaped by the recorders themselves: before writing, I spent several hours with Ian Wilson (a member of the group) learning about the myriad different types of instrument I could write for. The renaissance instruments particularly appealed due to their fabulous timbre, despite the fact that, due to their open hole design, diatonic music works much better than anything chromatic. I became rather obsessed with the idea of writing chromatic music for diatonic instruments, and so in this piece I use recorders at both modern (A440) and baroque (A415, a semi-tone lower) pitch. This allowed me to write a piece that uses all twelve semitones of the scale throughout, whilst never writing a note for any individual recorder that falls outside its particular diatonic major scale: a compositional device that pleased me greatly! —Cheryl Frances-Hoad, 2019 / Date parution : 2022-09-07/ Répertoire / 4 Flûtes à Becs

Par GETCHELL ROBERT W.. The First Book of Practical Studies is designed to develop chord consciousness and to provide additional experience in the fundamental rhythms, key signatures, and articulations and to improve accuracy in reading through the use of interesting and melodic studies. It may be used either to supplement or to follow any beginning method book and will serve as an ideal preparation for slightly more advanced techniques to be found in the Second Book . / Méthode en anglais / Etude / Cor

Par XIAO XINZHOU. Duet for Clarinet and Piano 'Subconscioius light' by XIAO Xinzhou. From the composer: 'The word 'subconscious' came from the book 'The Aesthetic Unconsciousness' by Jacques Rancière. The 'light' of this piece comes from an accidental feeling that I try to grasp but is elusive... It seems that neither 'subconscious' nor 'light' can directly feel its concrete existence in music, and the connection between them seems indistinctive or ambiguous. To express the feeling of the relationship between these two concepts in my mind, I used my work to compose a world, deconstructed, extracted and reconstructed the integer multiple harmonics of note D in the writing process, therefore, condensing them into the pitch material of this piece and cast them on the dynamic textures. These textures take a large portion of the whole music, constantly evolving under control, which can be viewed as the intention of grasping something. Simultaneously, I arranged some appearance of harmonic series prototypes to symbolise the light I long to see.' / Date parution : 2022-11-29/ Répertoire / Clarinette et Piano