| Steven Reineke: Goddess of Fire Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire/avancé C.L. Barnhouse
By Steven Reineke. Concert Band. Level: Grade 4.5. Score and set of parts. Compo...(+)
By Steven Reineke.
Concert Band. Level:
Grade 4.5. Score and set
of parts. Composed 2006.
Duration 0:09:59.
Published by C.L.
Barnhouse.
(2)$98.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| When Music Sounds Chorale SATB SATB A Cappella Pavane Publishing
Mit Werken von Brabec und Hannig. Composed by Nancy Hill Cobb. Arranged by Vac...(+)
Mit Werken von Brabec und
Hannig. Composed by Nancy
Hill Cobb. Arranged by
Vaclav
Pokorny. Sheet music.
Pavane
Choral. A Cappella,
Concert,
Poetry. Set of parts.
1431.
12 pages. Pavane
Publishing
#P1431. Published by
Pavane
Publishing
$2.35 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Sounds Of Christmas Chorale SATB SATB, Clavier Carl Fischer
Choral SATB Choir, keyboard SKU: CF.CM9230 Composed by Vicki Tucker Court...(+)
Choral SATB Choir,
keyboard SKU:
CF.CM9230 Composed by
Vicki Tucker Courtney.
Christmas and Holiday.
Performance. With
Standard notation. 8
pages. Duration 2:10.
Carl Fischer Music
#CM9230. Published by
Carl Fischer Music
(CF.CM9230). ISBN
9780825883484. UPC:
798408083489. 6.875 x
10.5 inches. Key: C
major. Text: Bert
Stratton. Bert
Stratton. Holiday
cheer abounds in this
charming selection from
Vicki Tucker Courtney and
Bert Stratton. In a
gentle 6/8 meter, we are
reminded that the sounds
of Christmas linger in
our hearts throughout the
year. A beautiful school
selection for a holiday
concert. Duration:
2:10. $2.25 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Sound Particles 2.X Hal Leonard
SKU: HL.1458386 Team - 18 Month License for Single Projects. Sound...(+)
SKU: HL.1458386
Team - 18 Month
License for Single
Projects. Sound
Particles. Vault
Download. Hal Leonard
#1342-1003. Published by
Hal Leonard (HL.1458386).
Sound particles
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| Sound Particles 2.x Indie (perpetual) Hal Leonard
SKU: HL.1458384 Indie (Perpetual License). Sound Particles. Vault ...(+)
SKU: HL.1458384
Indie (Perpetual
License). Sound
Particles. Vault
Download. Hal Leonard
#1342-1001. Published by
Hal Leonard (HL.1458384).
Sound particles
is an immersive audio
software capable of
generating thousands
(even millions) of sounds
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if you work on film,
videogames, TV or VR,
this audio software will
let you create everything
you can imagine. Create
Sounds Like Never Before
Sound Particles uses
computer graphics
techniques applied to
audio. Our software
combines particle systems
with a 3D Computer
Graphics-like engine.
That is why Sound
Particles is capable of
generating thousands of
sounds to create complex
sound effects, enriching
the audio results.
Immersive Audio With
Sound Particles, you can
create sounds in
virtually any output
format you can image:
mono, stereo, Ambisonics,
5.1, 7.1, Dolby Atmos
beds, Auro 3D, and many
more. New Audio Engine
The 2.1 update
incorporates a new audio
engine, responding to
real-time changes with
optimized iterations,
delivering the best audio
quality possible. Scale
Sound Particles opens the
door to the creation of
high-scale sounds. From
the sounds of thousands
of violins playing to the
sound of one million
people talking. Batch
Processing Create your
session and set Sound
Particles to output
hundreds of different
renders in one pass. This
feature makes mass
productions of sound
effects a reality.
Greatest Features Sound
Particles is something
completely different from
any other professional 3D
audio software that
exists today with batch
processing, CGI
integration, binaural
monitoring, and doppler
effect. Randomness We can
think of the sounds we
hear in the real-world as
random events. That is
why Sound Particles has a
randomized set of
parameters that you can
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add depth and richness to
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Unlimited Resources Sound
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mouse clicks. Binaural
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Particles will let you
monitor binaural audio by
decoding any type of
audio format. $399.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Sound Particles 2.X Pro Hal Leonard
SKU: HL.1458385 Perpetual License. Sound Particles. Vault Download...(+)
SKU: HL.1458385
Perpetual License.
Sound Particles. Vault
Download. Hal Leonard
#1342-1002. Published by
Hal Leonard (HL.1458385).
Sound particles
is an immersive audio
software capable of
generating thousands
(even millions) of sounds
in a virtual 3D audio
world. Creating highly
complex sounds has never
been this quick. The
Ultimate 3D Audio
Software With Sound
Particles, you will take
the art of creating
sounds to a whole new
level. It doesn't matter
if you work on film,
videogames, TV or VR,
this audio software will
let you create everything
you can imagine. Create
Sounds Like Never Before
Sound Particles uses
computer graphics
techniques applied to
audio. Our software
combines particle systems
with a 3D Computer
Graphics-like engine.
That is why Sound
Particles is capable of
generating thousands of
sounds to create complex
sound effects, enriching
the audio results.
Immersive Audio With
Sound Particles, you can
create sounds in
virtually any output
format you can image:
mono, stereo, Ambisonics,
5.1, 7.1, Dolby Atmos
beds, Auro 3D, and many
more. New Audio Engine
The 2.1 update
incorporates a new audio
engine, responding to
real-time changes with
optimized iterations,
delivering the best audio
quality possible. Scale
Sound Particles opens the
door to the creation of
high-scale sounds. From
the sounds of thousands
of violins playing to the
sound of one million
people talking. Batch
Processing Create your
session and set Sound
Particles to output
hundreds of different
renders in one pass. This
feature makes mass
productions of sound
effects a reality.
Greatest Features Sound
Particles is something
completely different from
any other professional 3D
audio software that
exists today with batch
processing, CGI
integration, binaural
monitoring, and doppler
effect. Randomness We can
think of the sounds we
hear in the real-world as
random events. That is
why Sound Particles has a
randomized set of
parameters that you can
control in order to
create the most realistic
sounds. Postproduction
Use Sound Particles to
add depth and richness to
your sounds. Import
videos and match particle
system to exact events.
Unlimited Resources Sound
Particles doesn't have
any type of limitations
regarding the amount of
sounds you can use.
Import hundreds and
hundreds of audio files
to a particle system and
let them do the rest.
Track Presets Create and
save an infinite number
of track and microphone
settings, recall track
setups with just two
mouse clicks. Binaural
Monitoring Sound
Particles will let you
monitor binaural audio by
decoding any type of
audio format. $999.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Concerto - Piano And Orchestra - Solo Part Schott
Piano and orchestra - difficult SKU: HL.49046544 For piano and orchest...(+)
Piano and orchestra -
difficult SKU:
HL.49046544 For
piano and orchestra.
Composed by Gyorgy
Ligeti. This edition:
Saddle stitching. Sheet
music. Edition Schott.
Softcover. Composed
1985-1988. Duration 24'.
Schott Music #ED23178.
Published by Schott Music
(HL.49046544). ISBN
9781705122655. UPC:
842819108726.
9.0x12.0x0.224
inches. I composed
the Piano Concerto in two
stages: the first three
movements during the
years 1985-86, the next
two in 1987, the final
autograph of the last
movement was ready by
January, 1988. The
concerto is dedicated to
the American conductor
Mario di Bonaventura. The
markings of the movements
are the following: 1.
Vivace molto ritmico e
preciso 2. Lento e
deserto 3. Vivace
cantabile 4. Allegro
risoluto 5. Presto
luminoso.The first
performance of the
three-movement Concerto
was on October 23rd, 1986
in Graz. Mario di
Bonaventura conducted
while his brother,
Anthony di Bonaventura,
was the soloist. Two days
later the performance was
repeated in the Vienna
Konzerthaus. After
hearing the work twice, I
came to the conclusion
that the third movement
is not an adequate
finale; my feeling of
form demanded
continuation, a
supplement. That led to
the composing of the next
two movements. The
premiere of the whole
cycle took place on
February 29th, 1988, in
the Vienna Konzerthaus
with the same conductor
and the same pianist. The
orchestra consisted of
the following: flute,
oboe, clarinet, bassoon,
horn, trumpet, tenor
trombone, percussion and
strings. The flautist
also plays the piccoIo,
the clarinetist, the alto
ocarina. The percussion
is made up of diverse
instruments, which one
musician-virtuoso can
play. It is more
practical, however, if
two or three musicians
share the instruments.
Besides traditional
instruments the
percussion part calls
also for two simple wind
instruments: the swanee
whistle and the
harmonica. The string
instrument parts (two
violins, viola, cello and
doubles bass) can be
performed soloistic since
they do not contain
divisi. For balance,
however, the ensemble
playing is recommended,
for example 6-8 first
violins, 6-8 second, 4-6
violas, 4-6 cellos, 3-4
double basses. In the
Piano Concerto I realized
new concepts of harmony
and rhythm. The first
movement is entirely
written in bimetry:
simultaneously 12/8 and
4/4 (8/8). This relates
to the known triplet on a
doule relation and in
itself is nothing new.
Because, however, I
articulate 12 triola and
8 duola pulses, an
entangled, up till now
unheard kind of polymetry
is created. The rhythm is
additionally complicated
because of asymmetric
groupings inside two
speed layers, which means
accents are
asymmetrically
distributed. These
groups, as in the talea
technique, have a fixed,
continuously repeating
rhythmic structures of
varying lengths in speed
layers of 12/8 and 4/4.
This means that the
repeating pattern in the
12/8 level and the
pattern in the 4/4 level
do not coincide and
continuously give a
kaleidoscope of renewing
combinations. In our
perception we quickly
resign from following
particular rhythmical
successions and that what
is going on in time
appears for us as
something static,
resting. This music, if
it is played properly, in
the right tempo and with
the right accents inside
particular layers, after
a certain time 'rises, as
it were, as a plane after
taking off: the rhythmic
action, too complex to be
able to follow in detail,
begins flying. This
diffusion of individual
structures into a
different global
structure is one of my
basic compositional
concepts: from the end of
the fifties, from the
orchestral works
Apparitions and
Atmospheres I
continuously have been
looking for new ways of
resolving this basic
question. The harmony of
the first movement is
based on mixtures, hence
on the parallel leading
of voices. This technique
is used here in a rather
simple form; later in the
fourth movement it will
be considerably
developed. The second
movement (the only slow
one amongst five
movements) also has a
talea type of structure,
it is however much
simpler rhythmically,
because it contains only
one speed layer. The
melody is consisted in
the development of a
rigorous interval mode in
which two minor seconds
and one major second
alternate therefore nine
notes inside an octave.
This mode is transposed
into different degrees
and it also determines
the harmony of the
movement; however, in
closing episode in the
piano part there is a
combination of diatonics
(white keys) and
pentatonics (black keys)
led in brilliant,
sparkling quasimixtures,
while the orchestra
continues to play in the
nine tone mode. In this
movement I used isolated
sounds and extreme
registers (piccolo in a
very low register,
bassoon in a very high
register, canons played
by the swanee whistle,
the alto ocarina and
brass with a harmon-mute'
damper, cutting sound
combinations of the
piccolo, clarinet and
oboe in an extremely high
register, also
alternating of a
whistle-siren and
xylophone). The third
movement also has one
speed layer and because
of this it appears as
simpler than the first,
but actually the rhythm
is very complicated in a
different way here. Above
the uninterrupted, fast
and regular basic pulse,
thanks to the asymmetric
distribution of accents,
different types of
hemiolas and inherent
melodical patterns appear
(the term was coined by
Gerhard Kubik in relation
to central African
music). If this movement
is played with the
adequate speed and with
very clear accentuation,
illusory
rhythmic-melodical
figures appear. These
figures are not played
directly; they do not
appear in the score, but
exist only in our
perception as a result of
co-operation of different
voices. Already earlier I
had experimented with
illusory rhythmics,
namely in Poeme
symphonique for 100
metronomes (1962), in
Continuum for harpsichord
(1968), in Monument for
two pianos (1976), and
especially in the first
and sixth piano etude
Desordre and Automne a
Varsovie (1985). The
third movement of the
Piano Concerto is up to
now the clearest example
of illusory rhythmics and
illusory melody. In
intervallic and chordal
structure this movement
is based on alternation,
and also inter-relation
of various modal and
quasi-equidistant harmony
spaces. The tempered
twelve-part division of
the octave allows for
diatonical and other
modal interval
successions, which are
not equidistant, but are
based on the alternation
of major and minor
seconds in different
groups. The tempered
system also allows for
the use of the
anhemitonic pentatonic
scale (the black keys of
the piano). From
equidistant scales,
therefore interval
formations which are
based on the division of
an octave in equal
distances, the
twelve-tone tempered
system allows only
chromatics (only minor
seconds) and the six-tone
scale (the whole-tone:
only major seconds).
Moreover, the division of
the octave into four
parts only minor thirds)
and three parts (three
major thirds) is
possible. In several
music cultures different
equidistant divisions of
an octave are accepted,
for example, in the
Javanese slendro into
five parts, in Melanesia
into seven parts, popular
also in southeastern
Asia, and apart from
this, in southern Africa.
This does not mean an
exact equidistance: there
is a certain tolerance
for the inaccurateness of
the interval tuning.
These exotic for us,
Europeans, harmony and
melody have attracted me
for several years.
However I did not want to
re-tune the piano
(microtone deviations
appear in the concerto
only in a few places in
the horn and trombone
parts led in natural
tones). After the period
of experimenting, I got
to pseudo- or
quasiequidistant
intervals, which is
neither whole-tone nor
chromatic: in the
twelve-tone system, two
whole-tone scales are
possible, shifted a minor
second apart from each
other. Therefore, I
connect these two scales
(or sound resources), and
for example, places occur
where the melodies and
figurations in the piano
part are created from
both whole tone scales;
in one band one six-tone
sound resource is
utilized, and in the
other hand, the
complementary. In this
way whole-tonality and
chromaticism mutually
reduce themselves: a type
of deformed
equidistancism is formed,
strangely brilliant and
at the same time
slanting; illusory
harmony, indeed being
created inside the
tempered twelve-tone
system, but in sound
quality not belonging to
it anymore. The
appearance of such
slantedequidistant
harmony fields
alternating with modal
fields and based on
chords built on fifths
(mainly in the piano
part), complemented with
mixtures built on fifths
in the orchestra, gives
this movement an
individual, soft-metallic
colour (a metallic sound
resulting from
harmonics). The fourth
movement was meant to be
the central movement of
the Concerto. Its
melodc-rhythmic elements
(embryos or fragments of
motives) in themselves
are simple. The movement
also begins simply, with
a succession of
overlapping of these
elements in the mixture
type structures. Also
here a kaleidoscope is
created, due to a limited
number of these elements
- of these pebbles in the
kaleidoscope - which
continuously return in
augmentations and
diminutions. Step by
step, however, so that in
the beginning we cannot
hear it, a compiled
rhythmic organization of
the talea type gradually
comes into daylight,
based on the simultaneity
of two mutually shifted
to each other speed
layers (also triplet and
duoles, however, with
different asymmetric
structures than in the
first movement). While
longer rests are
gradually filled in with
motive fragments, we
slowly come to the
conclusion that we have
found ourselves inside a
rhythmic-melodical whirl:
without change in tempo,
only through increasing
the density of the
musical events, a
rotation is created in
the stream of successive
and compiled, augmented
and diminished motive
fragments, and increasing
the density suggests
acceleration. Thanks to
the periodical structure
of the composition,
always new but however of
the same (all the motivic
cells are similar to
earlier ones but none of
them are exactly
repeated; the general
structure is therefore
self-similar), an
impression is created of
a gigantic, indissoluble
network. Also, rhythmic
structures at first
hidden gradually begin to
emerge, two independent
speed layers with their
various internal
accentuations. This
great, self-similar whirl
in a very indirect way
relates to musical
associations, which came
to my mind while watching
the graphic projection of
the mathematical sets of
Julia and of Mandelbrot
made with the help of a
computer. I saw these
wonderful pictures of
fractal creations, made
by scientists from Brema,
Peitgen and Richter, for
the first time in 1984.
From that time they have
played a great role in my
musical concepts. This
does not mean, however,
that composing the fourth
movement I used
mathematical methods or
iterative calculus;
indeed, I did use
constructions which,
however, are not based on
mathematical thinking,
but are rather craftman's
constructions (in this
respect, my attitude
towards mathematics is
similar to that of the
graphic artist Maurits
Escher). I am concerned
rather with intuitional,
poetic, synesthetic
correspondence, not on
the scientific, but on
the poetic level of
thinking. The fifth, very
short Presto movement is
harmonically very simple,
but all the more
complicated in its
rhythmic structure: it is
based on the further
development of ''inherent
patterns of the third
movement. The
quasi-equidistance system
dominates harmonically
and melodically in this
movement, as in the
third, alternating with
harmonic fields, which
are based on the division
of the chromatic whole
into diatonics and
anhemitonic pentatonics.
Polyrhythms and harmonic
mixtures reach their
greatest density, and at
the same time this
movement is strikingly
light, enlightened with
very bright colours: at
first it seems chaotic,
but after listening to it
for a few times it is
easy to grasp its
content: many autonomous
but self-similar figures
which crossing
themselves. I present my
artistic credo in the
Piano Concerto: I
demonstrate my
independence from
criteria of the
traditional avantgarde,
as well as the
fashionable
postmodernism. Musical
illusions which I
consider to be also so
important are not a goal
in itself for me, but a
foundation for my
aesthetical attitude. I
prefer musical forms
which have a more
object-like than
processual character.
Music as frozen time, as
an object in imaginary
space evoked by music in
our imagination, as a
creation which really
develops in time, but in
imagination it exists
simultaneously in all its
moments. The spell of
time, the enduring its
passing by, closing it in
a moment of the present
is my main intention as a
composer. (Gyorgy
Ligeti). $34.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Air Mail Special Big band [Conducteur et Parties séparées] Jazz Lines Publications
By Benny Goodman. Edited by Jeffrey Sultanof. Arranged by Jimmy Mundy. For big b...(+)
By Benny Goodman. Edited
by Jeffrey Sultanof.
Arranged by Jimmy Mundy.
For big band. Swing.
Medium-difficult. Score
and parts. Published by
Jazz Lines Publications
$65.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Soleil-Feu Violon et Piano SSA Schott
Piano Accompaniment; Violin (Score and Solo Part) - difficult SKU: HL.4904445...(+)
Piano Accompaniment;
Violin (Score and Solo
Part) - difficult SKU:
HL.49044450 Violin
and Piano. Composed
by Thierry Pé and
cou. This edition: Saddle
stitching. Sheet music.
String. Soleil-Feu refers
to the first attempt to
create a world out of a
rain of fire (nahui
quiahuitl) as described
in the cosmogony of
Ancient Mexican
civilisation. The element
of fire is reflected in
the musical soundscape of
this work; rampant,
rhythmic moti. Classical,
Contemporary. Softcover.
Composed 2013. 32 pages.
Duration 6'. Schott Music
#ED21888. Published by
Schott Music
(HL.49044450). ISBN
9790001198639.
9.0x12.0x0.124
inches. This work
is part of a cycle of
five short pieces for a
single instrument and
piano, focused on the
five ages in the
cosmogony of Ancient
Mexican civilisation. The
peoples of the Mexican
highlands believe that
time follows specific
cycles and that the world
was created following the
pattern of 'trial and
error'. The creation of
the world is divided into
several periods which are
termed 'suns' (we are
currently living in the
fifth phase named
'Ollin'). Each period
will be brought to an end
through a natural
catastrophe.Solei-Feu
refers to the first
attempt to create a world
out of a rain of fire
(nahui quiahuitl).The
element of fire is
reflected in the musical
soundscape of this work,
constructed from rampant,
rhythmic motifs,
fragmented splinters,
spinning upswings and
impacts reverberating
through space. An
intimate dialogue
develops between violin
and piano on the basis of
extremely simple figures.
Interconnecting lines and
dense musical material
are thrown against each
other in a play of
contrasting registers and
blended tonal colouring,
creating a mysterious and
disturbing mythological
universe coloured by its
ontological pessimism.
Thierry
Pecou
Soleil-Feu
refers to the first
attempt to create a world
out of a rain of fire
(nahui quiahuitl) as
described in the
cosmogony of Ancient
Mexican civilisation. The
element of fire is
reflected in the musical
soundscape of this work;
rampant, rhythmic motifs,
fragmented splinters,
spinning upswings and
impacts reverberating
through space create a
mysterious and disturbing
mythological universe
coloured by its
ontological pessimism.
Thierry Pecou. $22.99 - Voir plus => Acheter | | |
| Coming Together for Wine and for Bread / This Is My Body, Holy and Good Chorale SATB SATB, Clavier - Débutant GIA Publications
SATB choir, assembly, keyboard accompaniment, C instrument - Beginning SKU: G...(+)
SATB choir, assembly,
keyboard accompaniment, C
instrument - Beginning
SKU: GI.G-8598
The Songs of Sally Ann
Morris and Adam M. L.
Tice. Composed by
Sally Ann Morris.
Eastertide, OT 28 A, Body
and Blood of Christ, OT
22 C, Easter PM, Easter 3
A, Holy Thursday, Easter
Vigil, OT 13 A.
Celebration Series. Tune
Name: Banquet, Ewing.
Sacred. Octavo. With
guitar chord names. 8
pages. GIA Publications
#8598. Published by GIA
Publications (GI.G-8598).
UPC: 785147859802.
English. Text by Adam M.
L. Tice. Scripture:
Matthew 22:1–14,
Mark 14:22–24,
Luke 14:7–24, Luke
24:30–31, John
6:35, 1 Corinthians
11:23–26, Romans
6:8–13, Romans
12:1–2. Patt
erns, a new hymn tune by
Sally Ann Morris, is the
setting for an intriguing
but simple text by Adam
Tice that repeats
sentiments of longing for
God, yet the entreaty is
profoundly changed with
the subsitution of one
word in each verse.
Coming Together for Wine
and for Bread has a tune
that sounds as though it
has always been with
us—but in
actuality, it is from the
creative mind of Sally
Ann Morris. The coupling
of a Morris tune with an
Adam Tice text can prove
to be very enriching to
those who sing the new
creation, as well as to
those who hear it. This
edition offers two such
gems! EWING is yoked with
an intriguing but simple
text that repeats
sentiments of longing for
God, yet the entreaty is
profoundly changed with
the subsitution of one
word in each verse. C
Instrument part is only
for This Is My Body, Holy
and Good. $2.20 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Annelies GIA Publications
SKU: GI.G-CD-914 Composed by James Whitbourn. GIA ChoralWorks. Music Educ...(+)
SKU: GI.G-CD-914
Composed by James
Whitbourn. GIA
ChoralWorks. Music
Education. CD. GIA
Publications #914.
Published by GIA
Publications
(GI.G-CD-914). UPC:
747313307074. The
first major choral
setting of The Diary of
Anne Frank takes the
teenager's remarkable and
penetrating observations,
written whilst hiding in
an Amsterdam attic, as
the basis of its
extaordinary and moving
libretto. Whitbourn's
music for this work has
been described as
woundingly beautiful (The
Daily Telegraph). He
reflects sounds of the
Westerkerk bells and
tunes heard on the radio
in the Annexe, along with
representations of Anne
Frank's Jewish and German
heritage, details that
add to a score whose
respectful understatement
is its greatest strength
(The Times). This Grammy
Award Nominated recording
is conducted by James
Jordan with Soprano,
Arianna Zukerman, the
Westminster Williamson
Voices, and The Lincoln
Trio with Bharat Chandra,
on Clarinet. For an
insightful look into the
making of this
heartbreakingly stunning
recording, be sure to
read The Musicians Trust
(G-8388) written by James
Jordan and James
Whitbourn. A portion of
the book chronicles the
process that culminated
in the now Grammy
nominated recording and
details the journey to
its creation. Visit
the Grammy's website. $9.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Evening Gale Chorale SATB SATB, Piano - Intermédiaire GIA Publications
SATB choir, piano accompaniment, cello, percussion - Intermediate SKU: GI.G-1...(+)
SATB choir, piano
accompaniment, cello,
percussion - Intermediate
SKU: GI.G-10239
Night Song /
Acquainted with the Night
/ The Sundown Sea.
Composed by Anthony
Bernarducci. Evoking
Sound. Music Education.
Octavo. 56 pages. GIA
Publications #10239.
Published by GIA
Publications
(GI.G-10239). English.
Text Source: Prairie
Waters by Night,
Acquainted with the
Night, A Song of
Creation Text by Carl
Sandburg. Each
movement of this work
describes aspects of the
night in a different
location, utilizing the
poetry of Carl Sandburg,
Robert Frost, and Joaquin
Miller. The music strives
to portray the artistic
intention of each poem
while also illustrating
sounds of the locations
through the use of
instrument and
voice. The percussion
part is for orchestral
chimes, wind chimes, bass
drum, low brake drum,
ocean drum and
tom-toms. $9.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Without Form and Void Chorale SATB SATB, Piano Theodore Presser Co.
Choral SATB choir, piano SKU: PR.362034230 A Prologue to THE CREATION ...(+)
Choral SATB choir, piano
SKU: PR.362034230
A Prologue to THE
CREATION by Franz Joseph
Haydn. Composed by
Dan Welcher. Sws.
Premiered at the
Northwest Hills United
Methodist Church, Austin,
TX. Choral. Performance
Score. With Standard
notation. Composed July 5
2014. 16 pages. Duration
5:15. Theodore Presser
Company #362-03423.
Published by Theodore
Presser Company
(PR.362034230). ISBN
9781598069556. UPC:
680160624225. Letter
inches.
English. When the
Texas Choral Consort
asked Welcher to write a
short prologue to Haydn's
The Creation, his first
reaction was that Haydn
already presents Chaos in
his introductory
movement. As he thought
about it, Welcher began
envisioning a truer void
to precede Haydn's
depiction of Chaos within
the scope of 18th-century
classical style - quoting
some of Haydn's themes
and showing human voices
and inhuman sounds in a
kind of pre-creation
melange of color, mood,
and atmosphere. Welcher
accepted this challenge
with the proviso that his
prologue would lead
directly into Haydn's
masterpiece without
stopping, and certainly
without applause in
between. Scored for mixed
chorus and Haydn's
instrumentation, Without
Form and Void is a
dramatically fresh yet
pragmatic enhancement to
deepen any performance of
Haydn's The Creation.
Orchestral score and
parts are available on
rental. When Brent
Baldwin asked me to
consider writing a short
prologue to THE CREATION,
my first response was
“Why?â€Â
THE CREATION already
contains a prologue;
it’s called
“Representation of
Chaosâ€, and
it’s
Haydn’s way of
showing the formless
universe. How could a
new piece do anything but
get in the way? But
the more I thought about
it, the more it made
sense. The Age of
Enlightenment’s
idea of
“Chaos†was
just extended
chromaticism, no more
than Bach used (in fact,
Bach went
further).Perhaps there
might be a way to use the
full resources of the
modern orchestra (or at
least, a Haydn-sized
orchestra) and the modern
chorus to really present
a cosmic soup of unborn
musical atoms, just
waiting for
Haydn’s sure touch
to animate them.Â
Perhaps it could even
quote some of
Haydn’s themes
before he knew them
himself, and also show
human voices and inhuman
sounds in a kind of
pre-creation mélange
of color, mood, and
atmosphere. So I
accepted the challenge,
with the proviso that my
new piece not be treated
as some kind of
“overtureâ€,
but would instead be
allowed to lead directly
into Haydn’s
masterpiece without
stopping, and certainly
without applause. I
crafted this five minute
piece to begin with a
kind of “music of
the spheresâ€
universe-hum, created by
tuned wine glasses and
violin harmonics. The
chorus enters very soon
after, with the opening
words of Genesis
whispered simultaneously
in as many languages as
can be found in a
chorus. The first two
minutes of my work are
all about unborn human
voices and unfocused
planetary sounds,
gradually becoming more
and more
“coherentâ€
until we finally hear
actual pitches, melodies,
and words. Three of
Haydn’s melodies
will be heard, to be
specific, but not in the
way he will present them
an hour from now.Â
It’s almost as if
we are listening inside
the womb of the universe,
looking for a faint
heartbeat of worlds,
animals, and people to
come. At the end of
the piece, the chorus
finally finds its voice
with a single word:
“God!â€,Â
and the orchestra finally
finds its own pulse as
well. The unstoppable
desire for birth must now
be answered, and it
is----by Haydn’s
marvelous oratorio. I
am not a religious man in
any traditional
sense. Neither was
Haydn, nor Mozart, nor
Beethoven. But all of
them, as well as I, share
in what is now called a
humanistic view of how
things came to be, how
life in its many forms
developed on this planet,
and how Man became the
recorder of history.Â
The gospel according to
John begins with a parody
of Genesis: “In
the beginning was the
Word, and the Word was
with God, and the Word
was God.â€Â  I
love that phrase, and
it’s in that
spirit that I offer my
humble
“opener†to
the finest work of one of
the greatest composers
Western music has ever
known. My piece is
not supposed to sound
like Haydn.Â
It’s supposed to
sound like a giant
palette, on which a
composer in 1798 might
find more outrageous
colors than his era would
permit…but which, I
hope, he would have been
delighted to hear. $3.50 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Planet Soup Intuition
SKU: M7.ELLI-3450 A Stirring Collection of Cross-Cultural Collaboratio...(+)
SKU: M7.ELLI-3450
A Stirring Collection
of Cross-Cultural
Collaborations & Musical
Hybrids. Composed by
V.A. 3 CDs. 3 CDs with
48-page booklet. Duration
183'. Intuition #ELLI
3450. Published by
Intuition (M7.ELLI-3450).
ISBN 9781559613118.
UPC:
052296345020. Plane
t Soup is about the way
music grows on earth.
It's about the complex
intermingling and
recreation of musical
cultures as they travel
around the world, carried
by soldiers and slaves;
tourists and bootleggers;
airwaves and concerts,
and by the millions of
musical conversations
going on everyday around
the world as musicians,
always hungry for new
sounds, interact and
re-invent their art. It's
an organic, beautiful
growth of staggering
proportion. It's Planet
Soup. Slow cooked to
perfection. Three hours
of compelling global
music created by over 200
musicians in over 35
countries. $20.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Gloria, Sing Out His Praise Chorale SATB Fred Bock Music Company
Choral (SATB) SKU: HL.1436084 Composed by Patricia Mock. Arranged by Faye...(+)
Choral (SATB) SKU:
HL.1436084 Composed
by Patricia Mock.
Arranged by Faye Ló and
Johann Christoph Pez.
Fred Bock Publications.
Octavo. 12 pages. Fred
Bock Music Company
#BG2702. Published by
Fred Bock Music Company
(HL.1436084). UPC:
196288203858.
6.75x10.5x0.029
inches. “Let
every breath on earth be
raised, and every
creature join in
praise!” This anthem
begins with an energetic
and engaging invitation
to join the sounds of
celebration in response
to the goodness and
greatness of God from all
His creation! The
syncopated rhythms in the
opening accompaniment
quickly set the tone for
an uplifting time of
worship and lead to an
interlude of praise to
the familiar tune,
“Praise Him, Praise
Him.”. $3.25 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| His Eye Is On The Sparrow Cloches Hope Publishing Company
Arranged by Joel Raney. General Worship, Sacred. Handbell score. 8 pages. Publi...(+)
Arranged by Joel Raney.
General Worship, Sacred.
Handbell score. 8 pages.
Published by Hope
Publishing Company
(HP.2792).
$6.25 - Voir plus => AcheterDélais: 4 to 6 business days | | |
| Centavo Warm Audio
SKU: HL.1122872 Professional Overdrive Pedal. Warm Guitar Pedals. ...(+)
SKU: HL.1122872
Professional Overdrive
Pedal. Warm Guitar
Pedals. Guitar Pedal.
Duration 69 seconds. Warm
Audio #WA-CV. Published
by Warm Audio
(HL.1122872). UPC:
850031640146.
6.5x8.25x4.0
inches. The Warm
Audio Centavo is an
accurate recreation of
the most sought-after
overdrive pedal of the
90's and beyond. Whether
you're after the fabled
clean boost tones,
transparent overdrive, or
you want to push your
dirty channels to true
grit, the Centavo has all
of the adored tones of
the vintage box. In
addition, the Warm Audio
Centavo has the infamous
“MODâ€
selectable on the back.
When in the
“upâ€
position, low-end
response on the bottom
strings is extended. With
a true-to-original,
custom-cast golden
enclosure & all the
signature sounds of the
original, Centavo
delivers an authentically
legendary pedal
experience. $179.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Centavo Limited Edition Silver Overdrive Pedal
SKU: HL.1497517 Warm Guitar Pedals. Guitar Pedal. Warm Audio #WA-CVS. Pub...(+)
SKU: HL.1497517
Warm Guitar Pedals.
Guitar Pedal. Warm Audio
#WA-CVS. Published by
Warm Audio (HL.1497517).
UPC: 850031640443.
6.75x8.5x3.75
inches. The Warm
Audio Limited Edition
Silver Centavo is an
accurate recreation of
the most sought-after
overdrive pedal of the
90's and beyond. Whether
you're after the fabled
clean boost tones,
transparent overdrive, or
you want to push your
dirty channels to true
grit – the Centavo has
all of the adored tones
of the vintage box. In
addition, the Warm Audio
Centavo has the infamous
“MOD” selectable on
the back. When in the
“up” position,
low-end response on the
bottom strings is
extended. With a
true-to-original,
custom-cast vintage
silver enclosure and the
signature sounds of the
original, Centavo
delivers an exclusive and
authentic pedal
experience. $179.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Soundbreaking Hal Leonard
SKU: HL.275913 Stories from the Cutting Edge of Recording Music. E...(+)
SKU: HL.275913
Stories from the
Cutting Edge of Recording
Music. Edited by
Robert Santelli. Book.
Biography / Music Bisac,
Biography/Composers &
Musicians,
Recording/Music Business.
Hardcover Media Online.
144 pages. Published by
Hal Leonard (HL.275913).
ISBN 9781495177538.
UPC: 888680745134.
9.0x12.0x0.756 inches. As
Told By The Artists
Foreword by George Martin
Introductory Essays -
Robert
Santelli. This book
was inspired by the
eight-part Grammy(r)
nominated film series
titled, Soundbreaking:
Stories from the Cutting
Edge of Recorded Music.
As Executive Producer,
Sir George Martin, was
the inspiration and
intellectual force behind
the series, which
explores a century's
worth of innovation and
experimentation in the
creation of music to
present a
behind-the-scenes look at
the birth of new sounds.
From the Beatles'
groundbreaking use of
multitrack technology to
the synthesized stylings
of Stevie Wonder, from
disco-era drum machines
to the modern art of
sampling, Soundbreaking
tells the stories behind
the sounds and reveals
how innovation redefined
not only what we listen
to and how we listen to
it, but our very sense of
what music is and can be.
Soundbreaking features
original interviews with
more than 150 of the most
celebrated artists,
producers, and music
industry pioneers of our
time. This volume
presents a curated
selection of those
interviews from across
eras and genres. The
twenty-one artists
featured here share their
personal insights, which
point to themes that
emerge and echo
throughout: the
importance of varied
cultural influences on
music careers; the role
of technology innovation
in the creative process;
and most commonly, the
human connection to
music. Through their lens
we discover fascinating
new insights into music
and especially into the
relationship between
artist and genres, an
area that has been rarely
studied. For some
readers, this book will
evoke many of the sounds
and textures of days gone
by. For others, it will
serve to open doors to
further enjoyment and
that those readers will
pursue artists and others
whose names may not be
familiar. Robert
Santelli's introductions
to each of the profiles
puts each artist in
context. They have all
made valuable
contributions to what has
often been referred to as
the soundtrack of our
lives. Their music is as
relevant today as when we
first heard it. Recorded
music has crossed the
lines that separate
cultures, ideas, and
generations. In exploring
the story of their own
music, the voices in this
book provide thoughtful
insight to the
extraordinary influences
of recorded music on the
modern world. $39.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| America, The Beautiful Chorale SATB SATB [Octavo] Beckenhorst Press
By John Ness Beck Foundation. (SATB). Choral. Sacred. Published by Beckenhorst ...(+)
By John Ness Beck
Foundation. (SATB).
Choral. Sacred. Published
by Beckenhorst Press.
$2.10 $1.995 (- 5%) Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Marsling Octafuzzdrive Hal Leonard
SKU: HL.1458137 Interstellar Audio Machines. Guitar Pedal. Hal Leonard #I...(+)
SKU: HL.1458137
Interstellar Audio
Machines. Guitar Pedal.
Hal Leonard #IAMMOV2.0.
Published by Hal Leonard
(HL.1458137).
Introducing the
Marsling Octafuzzdrive
– a pedal as
distinctive as its sound.
The Beings at IAM take a
modern spin on the
discontinued '70s era
fOXX, enhanced with two
interstellar
modifications. First, the
octave-up effect is now
at your feet, offering
on-the-fly versatility
with a footswitch.
Additionally, a tone
control toggle switch has
been incorporated,
empowering players to
select from three unique
tonal profiles. The
Marsling stands out as
the epitome of
versatility within the
Interstellar galaxy. The
Marsling Octafuzzdrive is
a recreation of the fOXX
Tone Machine, first
released in 1971 and
discontinued in 1978. The
Tone Machine is a thick
fuzz that uses a phase
spliter and complementary
rectifier to create an
octave overtone. The Tone
Machine has a lot in
common with the Fender
Blender, but with a more
pronounced octave and
smoother tone, as well as
the ability to disable
the octave by turning off
half of the phase
splitter. And the tone is
not unlike the Superfuzz,
although it uses a
different method of
octave generation to get
there. The Marsling is
faithful to the original,
but with two added
modifications. First, the
octave switch for octave
up is on a footswitch for
on and off capabilities
instead of a toggle
switch. The second
modification is the tone
control. The tone control
of the original is
somewhat similar to the
Big Muff, but many people
find it's difficult to
get good sounds from the
treble side of the
rotation. By increasing
the value of the
treble-side tone
capacitor, it improves
the usability. A switch
has been added to let you
choose between two
different capacitors in
addition to the
original. $199.00 - Voir plus => Acheter | | |
| Carl Martin 2Wah Pedal Hal Leonard
SKU: HL.438850 EAST SOUND RESEARCH. Guitar Pedal. Hal Leonard #CM0205. Pu...(+)
SKU: HL.438850
EAST SOUND RESEARCH.
Guitar Pedal. Hal Leonard
#CM0205. Published by Hal
Leonard (HL.438850).
UPC: 196288079422.
4.75x11.75x3.333
inches. Have you
ever wanted two
distinctly different
vintage 'wah' sounds at
your feet? Perhaps you
wished for a brighter wah
for rhythm work and a
deeper, darker wah for
leads; and the ability to
switch back and forth
quickly? Well, Carl
Martin has been busy
creating your wish; the 2
Wah. This familiar
looking, retro-styled
pedal, has an all-metal
casing with a non-slip
foot pad. It can be
powered by 9v battery,
but we always recommend
using a regulated power
supply (like the Carl
Martin Big John Power
Supply) for maximum
headroom and effect.
Input is on the right and
output on the left
(remember your Wah should
be the first pedal in
your chain), and the
standard effect on-off by
stepping on the front of
the rocker to engage the
true bypass on-off
switch. There are two
three-way mode switches
on the front of the 2 Wah
marked Low (red LED) and
High (green LED). These
are connected to an
on-off switch at the back
of the pedal (step on
back of rocker to engage
this switch). The three
low and the three high
settings are recreations
of six of the most
popular vintage wah
sounds since the
beginning of wah. The
Attack knob allows you to
fine-tune exactly how you
want the rocker to
modulate your guitar
signal. Six different wah
sounds, from Hendrix to
Trower to Earth Wind
& Fire and beyond,
all in one pedal. So why
didn't we call it the 6
Wah? Well you would have
to ask Carl... $209.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Mass for use in a Royal Abbey - CD audio Orgue Anne Fuzeau Productions
Organ SKU: FZ.50529 Vocal Ensemble Ad Limina. Composed by Gaspard ...(+)
Organ SKU:
FZ.50529 Vocal
Ensemble Ad Limina.
Composed by Gaspard
Corrette. Edited by Regis
Allard. Book and CD.
Published by Anne Fuzeau
Productions - France
(FZ.50529). 12.5 x 14
cm inches. Anne
Fuzeau Classique propose
to discover our
facsimiles' music in CD.
Regis Allard, historical
organ of Saint Michel de
Bolbec (Calvados). Mass
in the 8th tone for organ
- Gaspard Corrette.
Processional of the Royal
Abbey of Chelles -
Guillaume Gabriel Nivers.
Romano-Monasticum Gradual
- Guillaume Gabriel
Nivers. Divine Office for
use by the Ursuline
Ladies of Dijon - Charles
Derey. Improvised verses
on the organ, Regis
Alard. Alternating
with Nivers's 'musical
plainchant', Corrette's
Mass sounds like a homage
of the organ to itself,
as it gracefully takes on
the role of preacher of
the Divine Cult.
Regis Allard was
trained by Andre Isoir
and Michel Chapuis (for
several years he had
private lessons with the
latter) as well as at the
Schola Cantorum in Paris,
where he graduated. He
devotes himself
exclusively to the
interpretation of early
music and participates in
numerous events centred
on historic instruments
in France, Spain, Holland
and northern Germany. He
was a prize winner in the
International Competition
of French Music in
Toulouse. His first disk,
with pieces by Heinrich
Scheidemann on the Arp
Schnitger organ in the
Stade church in northern
Germany, received a Choc
from Le Monde de la
Musique. His latest
recording, J. S. Bach's
Art of the Fugue under
the Hortus label
performed on the new
instrument of the church
Saint Louis en l'isle in
Paris, received critical
praise. Ad Limina
This group of women
cantors, all trained in
the Conservatory,
themselves music
teachers, choir
directors, soloists, come
from either side of the
French-Swiss border,
whence the name Ad
Limina, which means 'at
the border'. This
ensemble pursues a novel
exploration of the paths
of religious music, from
the baroque period to our
day, with emphasis on
Gregorian plainchant and
European music from the
19th century to
contemporary
creation. $23.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| The Hymn Fake Book - C Edition
Ligne De Mélodie, Paroles et Accords [Fake Book] - Facile Hal Leonard
For voice and C instrument. Format: fakebook (spiral bound). With vocal melody, ...(+)
For voice and C
instrument. Format:
fakebook (spiral bound).
With vocal melody,
lyrics, piano
accompaniment, chord
names and leadsheet
notation. Hymn. Series:
Hal Leonard Fake Books.
494 pages. 9x12 inches.
Published by Hal Leonard.
(3)$39.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Conducting Business Livre - Pas de partitions Biographie Amadeus Press
Unveiling the Mystery Behind the Maestro. Amadeus. Biography/Composers an...(+)
Unveiling the Mystery
Behind the Maestro.
Amadeus.
Biography/Composers and
Musicians, Classical
Reference. Hardcover. 312
pages. Published by
Amadeus Press
(HL.333460).
$33.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Allegria for Large Orchestra Orchestre [Conducteur d'étude / Miniature] Schott
Orchestra (Study Score) SKU: HL.49004865 Score. Composed by Werner...(+)
Orchestra (Study Score)
SKU: HL.49004865
Score. Composed by
Werner Egk. Edition
Schott. Classical. Book
with Audio-Online.
Composed 1952. 132 pages.
Schott Music #ED4408.
Published by Schott Music
(HL.49004865). ISBN
9781423413134. UPC:
073999276947.
6.0x9.0x0.366
inches. Diction
lessons on each aria in
the series recorded by
top language coaches from
the Metropolitan Opera
and the Juilliard School
plus International
Phonetic Alphabet and
word for word
translations
<
br>With these
book/CDpackages that
match the standard aria
collections edited by
Robert L. Larsen, any
singer anywhere has
access to the best
diction coaching
available at a very
affordable price. Each
aria is recorded twice.
In the first version
thecoach recites the text
as an actor would speak
it, showing flow of the
language and the mood.
The second version is a
slow, deliberate lesson,
allowing time for the
student to repeat each
line. These experienced
language coachesadapt the
“R” in German
and French in the slow
versions for singers.
They also are very
sensitive to liaisons
between word sounds in
the musical settings. The
book includes
International Phonetic
Alphabet for each ariaand
word for word
translations.
The native speaking
professional diction
coaches from the
Metropolitan Opera and
the Juilliard School are:
Corradina Caporello for
Italian, Pierre Vallet
for French, Irene
Spiegelmanfor German,
Kathryn LaBouff for
English, Yveta Synek
Graff for Czech, and Gina
Levinson for Russian.
Companion to 50483986
Coloratura Arias for
Soprano.
Dicti
on lessons on each aria
in the series recorded by
top language coaches from
the Metropolitan Opera
and the Juilliard School
plus International
Phonetic Alphabet and
word for word
translations
<
br>With these
book/CDpackages that
match the standard aria
collections edited by
Robert L. Larsen, any
singer anywhere has
access to the best
diction coaching
available at a very
affordable price. Each
aria is recorded twice.
In the first version
thecoach recites the text
as an actor would speak
it, showing flow of the
language and the mood.
The second version is a
slow, deliberate lesson,
allowing time for the
student to repeat each
line. These experienced
language coachesadapt the
“R” in German
and French in the slow
versions for singers.
They also are very
sensitive to liaisons
between word sounds in
the musical settings. The
book includes
International Phonetic
Alphabet for each ariaand
word for word
translations.
The native speaking
professional diction
coaches from the
Metropolitan Opera and
the Juilliard School are:
Corradina Caporello for
Italian, Pierre Vallet
for French, Irene
Spiegelmanfor German,
Kathryn LaBouff for
English, Yveta Synek
Graff for Czech, and Gina
Levinson for Russian.
Companion to 50483986
Coloratura Arias for
Soprano.
Dicti
on lessons on each aria
in the series recorded by
top language coaches from
the Metropolitan Opera
and the Juilliard School
plus International
Phonetic Alphabet and
word for word
translations
<
br>With these
book/CDpackages that
match the standard aria
collections edited by
Robert L. Larsen, any
singer anywhere has
access to the best
diction coaching
available at a very
affordable price. Each
aria is recorded twice.
In the first version
thecoach recites the text
as an actor would speak
it, showing flow of the
language and the mood.
The second version is a
slow, deliberate lesson,
allowing time for the
student to repeat each
line. These experienced
language coachesadapt the
“R” in German
and French in the slow
versions for singers.
They also are very
sensitive to liaisons
between word sounds in
the musical settings. The
book includes
International Phonetic
Alphabet for each ariaand
word for word
translations.
The native speaking
professional diction
coaches from the
Metropolitan Opera and
the Juilliard School are:
Corradina Caporello for
Italian, Pierre Vallet
for French, Irene
Spiegelmanfor German,
Kathryn LaBouff for
English, Yveta Synek
Graff for Czech, and Gina
Levinson for Russian.
Companion to 50483986
Coloratura Arias for
Soprano.
Dicti
on lessons on each aria
in the series recorded by
top language coaches from
the Metropolitan Opera
and the Juilliard School
plus International
Phonetic Alphabet and
word for word
translations
<
br>With these
book/CDpackages that
match the standard aria
collections edited by
Robert L. Larsen, any
singer anywhere has
access to the best
diction coaching
available at a very
affordable price. Each
aria is recorded twice.
In the first version
thecoach recites the text
as an actor would speak
it, showing flow of the
language and the mood.
The second version is a
slow, deliberate lesson,
allowing time for the
student to repeat each
line. These experienced
language coachesadapt the
“R” in German
and French in the slow
versions for singers.
They also are very
sensitive to liaisons
between word sounds in
the musical settings. The
book includes
International Phonetic
Alphabet for each ariaand
word for word
translations.
The native speaking
professional diction
coaches from the
Metropolitan Opera and
the Juilliard School are:
Corradina Caporello for
Italian, Pierre Vallet
for French, Irene
Spiegelmanfor German,
Kathryn LaBouff for
English, Yveta Synek
Graff for Czech, and Gina
Levinson for Russian.
Companion to 50483986
Coloratura Arias for
Soprano.
Dicti
on lessons on each aria
in the series recorded by
top language coaches from
the Metropolitan Opera
and the Juilliard School
plus International
Phonetic Alphabet and
word for word
translations
<
br>With these
book/CDpackages that
match the standard aria
collections edited by
Robert L. Larsen, any
singer anywhere has
access to the best
diction coaching
available at a very
affordable price. Each
aria is recorded twice.
In the first version
thecoach recites the text
as an actor would speak
it, showing flow of the
language and the mood.
The second version is a
slow, deliberate lesson,
allowing time for the
student to repeat each
line. These experienced
language coachesadapt the
“R” in German
and French in the slow
versions for singers.
They also are very
sensitive to liaisons
between word sounds in
the musical settings. The
book includes
International Phonetic
Alphabet for each ariaand
word for word
translations.
The native speaking
professional diction
coaches from the
Metropolitan Opera and
the Juilliard School are:
Corradina Caporello for
Italian, Pierre Vallet
for French, Irene
Spiegelmanfor German,
Kathryn LaBouff for
English, Yveta Synek
Graff for Czech, and Gina
Levinson for Russian.
Companion to 50483986
Coloratura Arias for
Soprano. $23.95 - Voir plus => Acheter | | |
| The Voice GIA Publications
SKU: GI.G-DVD-1030 Insights into the Physiology of Singing and Speakin...(+)
SKU: GI.G-DVD-1030
Insights into the
Physiology of Singing and
Speaking. Music
Education. DVD. GIA
Publications #1030.
Published by GIA
Publications
(GI.G-DVD-1030). ISBN
9790502395773. This
incredible DVD-ROM
features more than 160
minutes of images and
video detailing what
takes place inside the
body when we sing or
speak. Prepared by the
Freiburg Institute for
Musicians’
Medicine in Germany, this
DVD-ROM uses high-end
visualization techniques
to provide insights into
the crucial movements of
the larynx, diaphragm,
lungs, tongue, and velum
(soft palate). Narrated
in either English or
German, these anatomical
structures are explained
in detail with the aid of
more than 100 film clips
to show the lungs and the
diaphragm, the larynx,
and the vocal tract
during various singing
styles, in different
vocal ranges, and while
speaking. These images
provide unique insights
into the physiology of
the creation and forming
of sounds, as well as the
breath support processes.
This DVD-ROM enables
vocal instructors to more
clearly and concisely
demonstrate these complex
processes to provide a
great benefit to all
singers! $39.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Dj Mixing And Remixing Dj Stlyes Series [Livre + DVD] Alfred Publishing
DJ Mixing and Remixing. By Featuring DJ KNS. Books and DVDs; Method/Instruction;...(+)
DJ Mixing and Remixing.
By Featuring DJ KNS.
Books and DVDs;
Method/Instruction; Pro
Audio; Pro Audio DJ DVD.
DJ Styles Series. DVD.
Alfred Music #00-904926.
Published by Alfred Music
$16.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Jatekok - Games - Spiele 1 Piano seul EMB (Editio Musica Budapest)
Piano SKU: BT.EMBZ8377 Composed by Gyorgy Kurtag. Educational Tool. Book ...(+)
Piano SKU:
BT.EMBZ8377 Composed
by Gyorgy Kurtag.
Educational Tool. Book
Only. Composed 1979. 88
pages. Editio Musica
Budapest #EMBZ8377.
Published by Editio
Musica Budapest
(BT.EMBZ8377).
English-German-Hungari
an. The idea of
composing 'Games' was
suggested by children
playing spontaneously,
children for whom the
piano still means a toy.
They experiment with it,
caress it, attack it and
run their fingers over
it. They pile up
seemingly disconnected
sounds, and if this
happens to arouse their
musical instinct they
look consciously for some
of the harmonies found by
chance and keep repeating
them. Thus this series
does not provide a tutor,
nor does it simply stand
as a collection of
pieces. It is a
possibility for
experimenting and not for
learning to play the
piano.Pleasure in
playing, the joy of
movement - daring and if
need be fast movement
over the entire keyboard
right from the
firstlessons instead of
clumsy groping for keys
and the counting of
rhythms - all these
rather vague ideas lay at
the outset of the
creation of this
collection. Playing - is
just playing. It requires
a great deal of freedom
and initiative from the
performer. On no account
should the written image
be taken seriously but
the written image must be
taken extremely seriously
as regards the musical
process, the quality of
sound and silence. We
should trust the picture
of the printed notes and
let is exert its
influence upon us. The
graphic picture conveys
an idea about the
arrangement in time of
even the most free
pieces. We should make
use of all that we know
and remember of free
declamation, folk-music
parlando-rubato, of
Gregorian chant and of
all that improvisational
musical practice has ever
brought forth.Let us
tackle bravely even the
most difficult task
without being afraid of
making mistakes: we
should try to create
valid proportions, unity
and continuity out of the
long and short values -
just for our own
pleasure! (BMC CD
139). $23.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
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