Accent on Duets 1 Piano, 4 mains [Partition] - Intermédiaire Willis Music
(Mid to Later Intermediate Level 1 Piano, 4 Hands). By William L. Gillock. Arran...(+)
(Mid to Later
Intermediate Level 1
Piano, 4 Hands). By
William L. Gillock.
Arranged by William L.
Gillock. Willis. Mid to
Late Intermediate.
Softcover. 72 pages
(7 Piano Solos for the Church Pianist/Mid to Later Intermediate Level). By Vario...(+)
(7 Piano Solos for the
Church Pianist/Mid to
Later Intermediate
Level). By Various.
Arranged by Glenda
Austin. Willis. Mid to
Late Intermediate.
Softcover. 32 pages.
Published by Willis Music
Daily Guitar Warm-Ups Guitare notes et tablatures [Partition + Accès audio] Hal Leonard
Physical and Musical Exercises to Help Maximize Practice Time. Essential Element...(+)
Physical and Musical
Exercises to Help
Maximize Practice Time.
Essential Elements
Guitar. Warm-up,
Instruction. Softcover
Audio Online. With guitar
tablature. 40 pages.
Published by Hal Leonard
32 Carefully Graded Original Mid to Late Intermediate Piano Solos from the Four ...(+)
32 Carefully Graded
Original Mid to Late
Intermediate Piano Solos
from the Four Stylistic
Periods. Edited by M'lou
Dietzer. Graded Standard
Repertoire; Masterworks;
Piano Collection.
Masterwork. Book. 48
pages. Alfred Music
#00-14576. Published by
Alfred Music
Three Characters Piano Trio: Violon, Alto, Piano Faber Piano Adventures
(The Collaborative Artist). Composed by Randall Faber. For Piano Trio. Faber Pia...(+)
(The Collaborative
Artist). Composed by
Randall Faber. For Piano
Trio. Faber Piano
Adventures�®. Late
Intermediate. Softcover.
Faber Piano Adventures
#FF7009. Published by
Faber Piano Adventures
SATB Double Choir - Late intermediate SKU: GI.WJMS1147 Composed by Odd J....(+)
SATB Double Choir - Late
intermediate
SKU:
GI.WJMS1147
Composed
by Odd J. Overøye and
Odd J. Overøye.
Jo-Michael Scheibe Choral
Series. Classical.
Octavo. 20 pages. Walton
Music #WJMS1147.
Published by Walton Music
(GI.WJMS1147).
UPC:
888680085407. English,
Latin. Text Source: Psalm
28.
Light and
celebratory, this joyous
anthem uses rhythmic,
ostinato-like vocal lines
to support the melodic
theme. A sustained middle
section provides
contrast, capturing the
majesty and mystery of
God. Time signature
changes and interesting
harmonic writing make
this a good challenege
for more advanced
choirs. Jo-Michael
Scheibe Choral Series.
Recording by the Nidaros
Cathedral Choir, Vivianne
Sydnes, conductor.
Organ - intermediate SKU: HL.49005319 Organ. Composed by Hermann S...(+)
Organ - intermediate
SKU: HL.49005319
Organ. Composed by
Hermann Schroeder. Edited
by Raimund Keusen. This
edition: Saddle
stitching. Sheet music.
Edition Schott.
Classical. Composed 1959.
18 pages. Duration 13'.
Schott Music #ED 4989.
Published by Schott Music
(HL.49005319).
ISBN
9790001057295. UPC:
073999804775.
9.0x12.0x0.105
inches.
Hermann
Schroeder (1904-1984)
ranks among the major
German organ composers of
the 20th century, being
an excellent organist
himself. Many of his more
than 100 organ works deal
with themes of the
Gregorian chorale. The
chorale's modal
diatonicism which is
freer and different than
the later major-minor
tonality establishes a
perfect symbiosis with
the free tonality of the
contemporary composer. In
the five-movement chorale
partita, the more than
1,000 years old
Mixolydian Whitsun
Sequence of Hrabanus
Maurus (9th century) is
used in an imaginative
and formally varied way:
as a virtuoso toccata, in
the second movement
'ostinato' as a strict
trio setting over a
seven-bar ostinato in the
pedal, as a capriciously
playful 'bicinium', and
as a meditative,
harmonically appealing
'arioso'. The fifth
movement (fantasia
ricercare) displays
brilliant full-handed
chords and virtuoso
passages as well as a
fugato in the middle
section. A rewarding
concert piece for
Whitsun, with an
excellent possibility of
virtuoso interpretation
and colourful
registration.
(Hal Leonard Piano Repertoire Book with Audio Access Included). Composed by Vari...(+)
(Hal Leonard Piano
Repertoire Book with
Audio Access Included).
Composed by Various.
Edited by Jennifer Linn.
For Piano/Keyboard.
Educational Piano
Library. Late Elementary.
Softcover Audio Online.
40 pages. Published by
Hal Leonard
Composed by Melody Bober. For Piano. Graded Standard Repertoire; Piano Suite; Pi...(+)
Composed by Melody Bober.
For Piano. Graded
Standard Repertoire;
Piano Suite; Piano
Supplemental; Sheet;
Solo. Recital Suite
Series. Form: Suite.
Recital. Late
Intermediate. 12 pages.
Published by Alfred Music
TTBB choir, piano reduction - Late intermediate SKU: GI.WW1690 Composed b...(+)
TTBB choir, piano
reduction - Late
intermediate
SKU:
GI.WW1690
Composed by
Ola Gjeilo. Concert,
School. Walton Choral.
Classical. Octavo. 12
pages. Walton Music
#WW1690. Published by
Walton Music (GI.WW1690).
UPC: 785147011361.
Latin. Text by Hildegard
von Bingen.
This
setting of Hildegard von
Bingen's Ave Generosa
text uses a hauntingly
joyful tonality, paying
homage to the mysterious
story of Mary. A
beautiful middle section
is surrounded by
contrasting, modal
beginning and ending
sections. The
juxtaposition of
sustained and moving
moments holds true to the
composer's style, while
the harmonic structure
and vocal construction
offer something very
fresh. Audio and Video
temporarily featuring
SATB version.
Composed by Christian
Natta. Score and Parts.
Forton Music #FM229.
Published by Forton Music
(FT.FM229).
ISBN
9790570481286.
Flut
e Ensemble - Piccolo, 3
Flutes, 3 Alto Flutes, 2
Bass Flutes, Optional
Contrabass Flute. Written
for a very large flute
choir in a modern style,
this is an interesting
piece to work on and
listen to. The first and
third sections use the
instruments to form
harmonically rich block
chords that shift
chromatically up and down
the ranges of the
instruments. The middle
section uses the lower
instruments to create a
driving ostinato, over
the top of which the
themes from the first
section appear in more
imitative forms. Finally,
both ideas combine for
the final short section
before ending on a
strange, ethereal chord.
Suitable for more
advanced groups, this
work was inspired by the
composer's childhood,
watching people working
the land and the folk
music they listened
to.
Piano seul [Partition] - Intermédiaire/avancé Alfred Publishing
(Piano Solos). By Koji Kondo, Kozue Ishikawa, Toru Minegishi, Kenta Nagata, Ak...(+)
(Piano Solos). By Koji
Kondo,
Kozue Ishikawa, Toru
Minegishi, Kenta Nagata,
Akito
Nakatsuka, Asuka Ohta,
Manaka
Tominaga, and Hajime
Wakai.
For Keyboard; Piano. This
edition: Intermediate /
Advanced Piano Solos.
Book;
Piano Collection; Piano
Supplemental. Video Game.
Advanced; Early Advanced;
Intermediate; Late
Intermediate. 84 pages.
Published by Alfred Music
Publishing
Boy
Soprano, Soprano, Tenor,
Flugelhorn, Mixed Chorus,
and Chamber Orchestra
Study Score. Composed
by Harald Weiss. This
edition: Paperback/Soft
Cover. Sheet music. Study
Score. Classical.
Softcover. Composed
2008/2009. 188 pages.
Duration 100'. Schott
Music #ED20619. Published
by Schott Music
(HL.49018099).
ISBN
9790001158428. UPC:
884088567347.
8.25x11.75x0.457 inches.
Latin - German.
On
letting go(Concerning the
selection of the texts)
In the selection of the
texts, I have allowed
myself to be motivated
and inspired by the
concept of 'letting go'.
This appears to me to be
one of the essential
aspects of dying, but
also of life itself. We
humans cling far too
strongly to successful
achievements, whether
they have to do with
material or ideal values,
or relationships of all
kinds. We cannot and do
not want to let go,
almost as if our life
depended on it. As we
will have to practise the
art of letting go at the
latest during our hour of
death, perhaps we could
already make a start on
this while we are still
alive. Tagore describes
this farewell with very
simple but strikingly
vivid imagery: 'I will
return the key of my
door'. I have set this
text for tenor solo. Here
I imagine, and have
correspondingly noted in
a certain passage of the
score, that the
protagonist finds himself
as though 'in an ocean'
of voices in which he is
however not drowning, but
immersing himself in
complete relaxation. The
phenomenon of letting go
is described even more
simply and tersely in
Psalm 90, verse 12: 'So
teach us to number our
days, that we may apply
our hearts unto wisdom'.
This cannot be expressed
more plainly.I have begun
the requiem with a solo
boy's voice singing the
beginning of this psalm
on a single note, the
note A. This in effect
says it all. The work
comes full circle at the
culmination with a repeat
of the psalm which
subsequently leads into a
resplendent 'lux
aeterna'. The
intermediate texts of the
Requiem which highlight
the phenomenon of letting
go in the widest spectrum
of colours originate on
the one hand from the
Latin liturgy of the
Messa da Requiem (In
Paradisum, Libera me,
Requiem aeternam, Mors
stupebit) and on the
other hand from poems by
Joseph von Eichendorff,
Hermann Hesse,
Rabindranath Tagore and
Rainer Maria Rilke.All
texts have a distinctive
positive element in
common and view death as
being an organic process
within the great system
of the universe, for
example when Hermann
Hesse writes: 'Entreiss
dich, Seele, nun der
Zeit, entreiss dich
deinen Sorgen und mache
dich zum Flug bereit in
den ersehnten Morgen'
['Tear yourself way , o
soul, from time, tear
yourself away from your
sorrows and prepare
yourself to fly away into
the long-awaited
morning'] and later: 'Und
die Seele unbewacht will
in freien Flugen
schweben, um im
Zauberkreis der Nacht
tief und tausendfach zu
leben' ['And the
unfettered soul strives
to soar in free flight to
live in the magic sphere
of the night, deep and
thousandfold']. Or Joseph
von Eichendorff whose
text evokes a distant
song in his lines: 'Und
meine Seele spannte weit
ihre Flugel aus. Flog
durch die stillen Lande,
als floge sie nach Haus'
['And my soul spread its
wings wide. Flew through
the still country as if
homeward bound.']Here a
strong romantically
tinged occidental
resonance can be detected
which is however also
accompanied by a
universal spirit going
far beyond all cultures
and religions. In the
beginning was the sound
Long before any sort of
word or meaningful phrase
was uttered by vocal
chords, sounds,
vibrations and tones
already existed. This
brings us back to the
music. Both during my
years of study and at
subsequent periods, I had
been an active
participant in the world
of contemporary music,
both as percussionist and
also as conductor and
composer. My early scores
had a somewhat
adventurous appearance,
filled with an abundance
of small black dots: no
rhythm could be too
complicated, no register
too extreme and no
harmony too dissonant. I
devoted myself intensely
to the handling of
different parameters
which in serial music
coexist in total
equality: I also studied
aleatory principles and
so-called minimal music.I
subsequently emigrated
and took up residence in
Spain from where I
embarked on numerous
travels over the years to
India, Africa and South
America. I spent repeated
periods during this time
as a resident in
non-European countries.
This meant that the
currents of contemporary
music swept past me
vaguely and at a great
distance. What I instead
absorbed during this
period were other
completely new cultures
in which I attempted to
immerse myself as
intensively as possible.I
learned foreign languages
and came into contact
with musicians of all
classes and styles who
had a different cultural
heritage than my own: I
was intoxicated with the
diversity of artistic
potential.Nevertheless,
the further I distanced
myself from my own
Western musical heritage,
the more this returned
insistently in my
consciousness.The scene
can be imagined of
sitting somewhere in the
middle of the Brazilian
jungle surrounded by the
wailing of Indians and
out of the blue being
provided with the
opportunity to hear
Beethoven's late string
quartets: this can be a
heart-wrenching
experience, akin to an
identity crisis. This
type of experience can
also be described as
cathartic. Whatever the
circumstances, my
'renewed' occupation with
the 'old' country would
not permit me to return
to the point at which I
as an audacious young
student had maltreated
the musical parameters of
so-called contemporary
music. A completely
different approach would
be necessary: an
extremely careful
approach, inching my way
gradually back into the
Western world: an
approach which would
welcome tradition back
into the fold, attempt to
unfurl the petals and
gently infuse this
tradition with a breath
of contemporary
life.Although I am aware
that I will not unleash a
revolution or scandal
with this approach, I am
nevertheless confident
as, with the musical
vocabulary of this
Requiem, I am travelling
in an orbit in which no
ballast or complex
structures will be
transported or intimated:
on the contrary, I have
attempted to form the
message of the texts in
music with the naivety of
a 'homecomer'. Harald
WeissColonia de San
PedroMarch 2009.
2 Pianos, 4 Hands/Mid-Intermediate Level. By John Thompson. Willis. 52 pages. Pu...(+)
2 Pianos, 4
Hands/Mid-Intermediate
Level. By John Thompson.
Willis. 52 pages.
Published by Willis
Music. SMP Level 6
(Late Intermediate); NFMC
Level: Junior Class 1B.
Arranged by Kenon D. Renfrow. For Piano. Piano Collection. Masterwork. Level: In...(+)
Arranged by Kenon D.
Renfrow. For Piano. Piano
Collection. Masterwork.
Level: Intermediate /
Late Intermediate. Book.
32 pages. Published by
Alfred Publishing.
(Piano Solos). Composed by Koji Kondo, Toru Minegishi, Kenta Nagata, Asuka O...(+)
(Piano Solos). Composed
by
Koji Kondo, Toru
Minegishi,
Kenta Nagata, Asuka Ohta,
and Hajime Wakai. For
Piano
Solo. This edition: Piano
Solos. Book; Piano
Collection; Piano
Supplemental. Video Game.
Early Advanced; Late
Intermediate. 80 pages.
Published by Alfred Music
Solo and SATB choir divisi (a cappella) - Late Intermediate SKU: MN.50-6127(+)
Solo and SATB choir
divisi (a cappella) -
Late Intermediate
SKU:
MN.50-6127
Composed
by Ken Medema and Kenneth
Dake. Instrument parts.
MorningStar Music
Publishers #50-6127.
Published by MorningStar
Music Publishers
(MN.50-6127).
UPC:
688670561276.
English.
This
well-known Ken Medema
song from the 1970's is
given a tour-de-force a
cappella treatment by
Kenneth Dake. Requiring
divisi into eight parts,
gospel harmonies abound.
The choir sings doo-wop
syllables under a soloist
(high voice) for twelve
measures in the middle of
the piece. To our way of
thinking, this does not
rule it out for worship
because of the careful
writing and wonderful
effect it achieves. For a
choir that can handle the
divisi and lack of
accompaniment, this is
absolutely not to be
missed!
Arranged by Nigel Hess. For Keyboard; Piano. Piano Collection; Piano Supplementa...(+)
Arranged by Nigel Hess.
For Keyboard; Piano.
Piano Collection; Piano
Supplemental; Solo. Faber
Edition. Christmas;
Traditional; Winter. 6 ;
Advanced; Early Advanced;
Grade 5; Grade 5.5;
Intermediate; Late
Intermediate. Published
by Faber Music
Killer Queen Quatuor à cordes: 2 violons, alto, violoncelle [Conducteur et Parties séparées] - Intermédiaire De Haske Publications
String Quartet - late intermediate SKU: BT.DHP-1115204-070 As Performe...(+)
String Quartet - late
intermediate
SKU:
BT.DHP-1115204-070
As Performed by
Queen. Composed by
Freddie Mercury. Arranged
by Anthony Gröger. De
Haske Pops for String
Quartet. Pop & Rock. Set
(Score & Parts). Composed
2011. 12 pages. De Haske
Publications #DHP
1115204-070. Published by
De Haske Publications
(BT.DHP-1115204-070).
9x12 inches.
English-German-French-Dut
ch.
De Haske's
best-selling Pops for
String Quartet series
offers excellent
arrangements for
intermediate string
quartets who want to
bring some classic pop to
their performances.Have
you ever played Queen
with your string quartet?
Now you can treat the
audience to music from
this iconic band.
Onder de naam
Pops for String
Quartet heeft de
Haske een nieuwe serie
ontwikkeld voor
strijkkwartetten die zich
eens buiten het klassieke
pad willen begeven. Een
collectie van uitstekende
arrangementen in
gemiddelde
moeilijkheidsgraad!Brian
May (gitarist van Queen)
: Killer Queen was
the turning point. It was
the song that best summed
up our kind of music, and
a big hit, and we
desperately needed it as
a mark of something
successful happeningfor
us... I was always very
happy with this song.
Maak uw publiek en uzelf
ook blij met deze
uitgave!
Unter dem
Titel Pops for String
Quartet hat De Haske
eine Notenreihe ins Leben
gerufen, die
Streichquartette, die
sich einmal abseits der
ausgetretenen klassischen
Pfade bewegen wollen, mit
ausgezeichneten
Arrangements im leichten
bis mittleren
Schwierigkeitsgrad
versorgt.Haben Sie schon
einmal Queen im
Streichquartett gespielt?
Mit dieser Ausgabe
können Sie sich (und
Ihrem Publikum) dieses
Vergnügen
gönnen!
La
collection Killer
Queen pour Quatuor
Cordes.
Pops
for String Quartet:
una collana per tutti i
violinisti desiderosi di
suonare qualcosa di
diverso dal repertorio
classico.Avete gi suonato
un brano dei Queen con un
quartetto di archi? Un
brano che delizier sia
voi sia chi vi
ascolta!