Fakebook (spiral bound) for voice and C instrument. With vocal melody, lyrics, c...(+)
Fakebook (spiral bound)
for voice and C
instrument. With vocal
melody, lyrics, chord
names, leadsheet notation
and guitar chord chart.
Series: Hal Leonard Fake
Books. 813 pages.
Published by Hal Leonard.
Performed by Foreigner. For guitar and voice. Format: guitar tablature songbook...(+)
Performed by Foreigner.
For guitar and voice.
Format: guitar tablature
songbook. With guitar
tablature, standard
notation, vocal melody,
lyrics, chord names and
black & white photos.
Hard Rock and Pop Rock.
Series:
Play-It-Like-It-Is
Guitar. 96 pages. 9x12
inches. Published by
Cherry Lane Music.
Complete Lyrics for Over 1000 Songs from Broadway to Rock. By Various. Lyric Lib...(+)
Complete Lyrics for Over
1000 Songs from Broadway
to Rock. By Various.
Lyric Library. Softcover.
Size 8.5x11 inches. 373
pages. Published by Hal
Leonard.
SKU: BR.EB-9387 Composed by Christian Mason. Edition Breitkopf. New music...(+)
SKU: BR.EB-9387
Composed by Christian
Mason. Edition Breitkopf.
New music (post-2000);
Music post-1945. Set of
parts. Composed 2019.
Duration 20'. Breitkopf
and Haertel #EB 9387.
Published by Breitkopf
and Haertel (BR.EB-9387).
ISBN 9790004188576. 0
x 0
inches.
Commissione
d by the Kolner
Philharmonie (KolnMusik)
for the non bthvn projekt
2020 and the Cite de la
musique / Philharmonie de
Paris Dedicated to
Arditti Quartet Each
movement of this quartet
explores a single state,
its lights and its
shadows. Each movement,
you could say, is a
moment . And these
moments could last for
more or less time without
compromising their
essential nature. The
processes could be
extended or compressed,
repeated or reversed, but
the core ideas - if they
are ideas, but maybe they
are simply experiences? -
are what they are.
Despite this, the precise
sequence of movements
matters a great deal.
Heard together they do
articulate some kind of
linear narrative, maybe
even a metaphorical
journey (albeit a
circular one where the
arrival might, who knows,
prove to be a new
departure). One situation
gives way to another and
instrumental
relationships within the
quartet vary, but
ultimately the
imaginative impulse
behind the piece
preferences states of
unity. Whether or not
this unity is expressed
texturally - sometimes
literal unisons pervade,
but not always - there is
generally a sense that
even seemingly diverse
aspects relate to a
fundamental condition of
concord: a conscious
limitation in the pitch
structure to spectral
emanations of the root
notes E-flat and C. At
the opening this is
unambiguously audible in
the perpetual alternation
of these two notes in the
low cello register. Later
the two spectra are woven
into a micro-tonal
'double-spectral-mode'
(derived from the first
24 partials of the C and
E-flat fundamentals),
which defines the subtle
melodic inflection of the
second movement, and the
never-quite-chromatic
ascending scales of the
third. For now this feels
like a rich source of
melodic possibility, so
far only just glimpsed...
And why the insistence on
E-flat? Probably by way
of historical anecdote.
Apparently Karl Holz (a
member of the
Schuppanzigh Quartet)
said to Beethoven: We
performed your Quartet in
E-flat Op. 127 in his
[Weber's] honour; he
found the Adagio too
long; but I told him:
Beethoven also has a
longer feeling and a
longer imagination than
anyone standing or not
standing today. - Since
then, even Linke (another
member of the quartet)
can no longer stand him:
we cannot forgive him for
this. Listening again to
Op. 127, in light of
these comments, I was
struck by the opening
moment: the unfolding of
an E-flat 7th chord over
the course of a few bars.
Every time I hear it I
find myself wishing that
Beethoven would have
lingered longer there,
without resolution or
progression, just
enjoying that sonority.
And maybe - why not? -
tune the 7th naturally.
And what would it be to
stretch that moment into
an entire piece? What
would Weber think of
that?! In the end I was
not so extreme in my
self-limitation, and
other concerns took over,
but it was from these
thoughts that the
composition process
began... Lastly, about
the title: it comes from
a book called 'The Clock
of the Long Now' by
Stewart Brand, published
at the turn of the
millennium. It's about
the creation of a
thousand-year clock to
embody the aspiration to
thinking in terms of
longer time-spans than
are presently habitual.
If the music of Beethoven
embodied a 'longer'
feeling and imagination
than some of his
contemporaries were able
to appreciate, what is
our relation to time now?
Longer or shorter? Maybe
it depends who you ask...
It's probably more
extreme in both
directions: attention
spans might be
diminishing in the
digital world, but
conversely there is an
awareness of distant
pasts and potential
futures which would have
been inconceivable at the
time of Beethoven. In any
case, the interesting
thing is to ponder how
societal conditions,
assumptions and
expectations might -
whether consciously or
unconsciously - influence
the time of art, for
listeners and creators
alike. And what if time
is running out?
(Christian
Mason)
World
premiere: Paris, Cite de
la musique, January 14,
2020.
Composed by Christian Mason. World premiere: Paris, Cite de la musique, Januar...(+)
Composed by Christian
Mason.
World premiere: Paris,
Cite
de la musique, January
14,
2020. Breitkopf and
Haertel
#EB 9377. Published by
Breitkopf and Haertel
For voice. C Edition. Format: fake book. With vocal melody, lyrics and chord nam...(+)
For voice. C Edition.
Format: fake book. With
vocal melody, lyrics and
chord names. Christmas
and holiday. Series: Hal
Leonard Fake Books. 157
pages. 9x12 inches.
Published by Hal Leonard.
For
Band. Composed by Dan
Welcher. Folder.
Premiered by the
University of Texas
Symphony Band, Scott S.
Hanna, conductor, at
Butler School of Music,
UT/Austin, Austin, Texas.
Contemporary. Set of
Score and Parts. With
Standard notation.
Composed 14-Sep. 40
pages. Duration 7
minutes. Theodore Presser
Company #165-00097.
Published by Theodore
Presser Company
(PR.165000970).
ISBN
9781491100462. UPC:
680160626717. 9x12
inches.
Commissione
d by a consortium of 20
high school and
university bands
coordinated by Scott
Hanna of the University
of Texas at Austin,
Downshifting is inspired
by Welcher’s joy
of bicycle riding.
Welcher explains in the
program note: When I
decided to write a piece
for band that was
basically entertaining
and uplifting, it made
perfect sense to call it
Downshifting... With
three gears on the front
sprocket and seven on the
rear, it’s
possible to keep
one’s legs going
at a constant speed (for
me, q = 126) while the
bike itself may be moving
very slowly or very
quickly. I determined to
capitalize on this in
writing Downshifting,
which keeps the same
mathematical inner pulse,
‘shifting’
(with a ratchet) as the
terrain changes.. One
of the joys of life for
me is riding my 21-speed
bicycle. As a
basically non-athletic
person who nonetheless
likes to stay in shape, I
have found that riding my
bike provides just the
exercise I need. The
workout is strenuous, but
pleasant—and the
infinite variety of
scenery I pass keeps me
alert and wide awake.Â
When I decided to write a
piece for band that was
basically entertaining
and uplifting, it made
perfect sense to call it
Downshifting.With three
gears on the front
sprocket and seven on the
rear, it’s
possible to keep ones
legs going at a constant
speed (for me,
that’s 126 to the
quarter note) while the
bike itself may be moving
very slowly or very
quickly. I determined
to capitalize on this in
writing the music, which
manages to keep the same
mathematical inner pulse,
“shiftingâ€
(with a ratchet) as the
terrain changes. So
Downshifting begins with
that steady pulse, on a
grid of eighth notes in
2/4 to propel the little
vehicle forward.Â
There’s a joyous
little tune in our heads
as we begin our ride.Â
As the initial thrill of
riding on the flat gives
way to monotony, we stay
in that pulse for the
first minute or so of the
ride. Then, as the
first hill becomes
visible, we shift the
bike down: even though
the eighths are equal,
the pulse feels slower
(and we’re now in
6/8 time). Ultimately
the compound meter shifts
again as the climb
begins, and we’re
now plodding doggedly up
the hill. (The music
reflects all of these
changes, with subtitles
such as “Working
harder—Seeing the
climb, aheadâ€,
“Steady and
committed…the climb
begins!â€,
“Straining against
the gradeâ€,
etc.).There are two
hills, and two long
climbs (but in different
keys, reflecting the
change in scenery).Â
When at last the summit
of the second hill is
reached (“Flying,
Over the Topâ€), we
coast at last down the
other side at breakneck
speed. The initial
joyous melody returns,
but now in a spread-out
coasting pulse. At
the end of the ride, we
slow to a
stop—then take one
last sprint (shifting
five times in the
process) in order to end
on a biker’s
high.Downshifting was
commissioned by a
consortium of fourteen
high school and college
bands, overseen by my
longtime colleague at the
University of Texas,
Scott Hanna. The
piece is dedicated to him
(and to all bicycle
enthusiasts).
