Arranged by Daniel Kelley. For Violin/Flute/Oboe and Piano. Solos. Recital, Chur...(+)
Arranged by Daniel
Kelley. For
Violin/Flute/Oboe and
Piano. Solos. Recital,
Church. Level:
Intermediate/Advanced.
Piano Score and Solo
Part. Published by Last
Resort Music Publishing.
Arranged by Daniel Kelley. For Cello (or Bassoon) and Piano. Solos. Recital, Chu...(+)
Arranged by Daniel
Kelley. For Cello (or
Bassoon) and Piano.
Solos. Recital, Church.
Level:
Intermediate/Advanced.
Piano Score and Solo
Part. Published by Last
Resort Music Publishing.
Arranged by Daniel Kelley. For Clarinet, Piano. Solos. Recital, Church. Level: I...(+)
Arranged by Daniel
Kelley. For Clarinet,
Piano. Solos. Recital,
Church. Level:
Intermediate/Advanced.
Piano Score and Solo
Part. Published by Last
Resort Music Publishing.
Arranged by Daniel Kelley. For Viola and Piano. Solos. Recital, Church. Level: I...(+)
Arranged by Daniel
Kelley. For Viola and
Piano. Solos. Recital,
Church. Level:
Intermediate/Advanced.
Piano Score and Solo
Part. Published by Last
Resort Music Publishing.
Essentials of Music Theory Software, Version 2.0, Volume 1. (Educator Version). ...(+)
Essentials of Music
Theory Software, Version
2.0, Volume 1. (Educator
Version). By Andrew
Surmani and Morton Manus.
Reference Textbooks;
Textbook - General;
Theory. Essentials of
Music Theory. Software.
Published by Alfred Music
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
Here is an
anthem with fresh
perspective and
innovative musical
elements. Unfolding
slowly, this
impressionistic tone poem
marries text and music
with great care and
elegance. The lyric
comparison of creation to
a sanctuary is unique
but, when joined with the
composer's palette of
compositional colors, the
result is an anthem of
great scope and beauty.
Praiseworthy!
Composed
by Hayato Hirose. De
Haske Concert Band.
Concert Piece. Set (Score
& Parts). Composed 2007.
De Haske Publications
#1074199. Published by De
Haske Publications
(HL.44007209).
Based on the
Old Testament biblical
story of the building of
the Tower ofBabel, a
tower built to reach the
heavens, composer Hayato
Hirose hascreated this
dramatic programmatic
work in seven movements
that areplayed without
interruption. With
skilful detail each
movement portrays an
aspect of the story of
the tower and its
ultimate destruction. A
magnificent epic work!
Op basis van het
bekende verhaal over de
toren van Babel uit het
Oude Testament schreef
componist Hayato Hirose
een indrukwekkend
programmatisch werk in
zeven delen - uit te
voeren zonder pauzes. De
delen zijn getiteld:
Tower ofBabel (De
toren van Babel) -
Settlers from the
East (Kolonisten uit
het oosten) - Building
the Tower (Het bouwen
van de toren) -
Hope (Hoop) -
God's Worry (De
zorgen van God) -
Confusion
(Verwarring) - en
Dispersion
(Verspreiding).
Au
f der Grundlage der
biblischen Geschichte vom
Turmbau zu Babel aus dem
Alten Testament schuf
Hayato Hirose ein
dramatisches
programmatisches Werk in
sieben Satzen, die ohne
Unterbrechung zu spielen
sind. Sie erzahlen
kunstvoll und detailreich
die Geschichte vom Beginn
des Turmbaus uber den
Zorn Gottes bis hin zur
Verwirrung der Sprachen
und der Zerstreuung der
Menschen uber die ganze
Welt. Ein grossartiges
Werk!
En 2006,
Hayato Hirose compose
Tower of Babel (La
Tour de Babel), une
œuvre dediee a son
professeur et maitre, le
compositeur belge Jan Van
der Roost. L'œuvre a
ete donnee en creation
mondiale, le 20 septembre
2006 a Louvain en
Belgique, par l'Orchestre
d'Harmonie de l'Institut
Lemmens place sous la
direction du
compositeur.Apres le
Deluge, les rescapes de
l'Arche de Noe eurent une
descendance nombreuse.
Partis de l'orient, ils
trouverent une vallee au
pays de Shinear et ils
s'y etablirent. Afin de
ne pas etre disperses sur
toute la surface de la
terre, ils deciderent de
batir une ville et une
tour - la Tour de Babel -
dont le sommet toucherait
le ciel.Inquiet du
dessein des fils des
hommes, l'Eternel
descendit pour voir la
ville et la tour qu'ils
batissaient. Il confondit
leur langage afin qu'ils
ne se comprennent plus
les uns les autres.
Ainsi, ils cesserent de
batir la ville, et de la
L'Eternel les dispersa
sur toute la surface de
la terre. (Genese 11 :
1-9) Hayato Hirose s'est
inspire du celebre recit
biblique selon l'Ancien
Testament pour composer
cette œuvre a
programme dramatique en
sept mouvements, qui
s'enchainent sans
interruption.1. La Tour
de Babel2. Venus de
l'orient3. La
construction de la tour4.
L'espoir5. Les
inquietudes de
l'Eternel6. La
confusion7. La
dispersion.
For
String Sextet.
Composed by Shulamit Ran.
Contemporary. Set of
Score and Parts. With
Standard notation.
Composed December 16
2008. 22+8+8+7+8+8+8
pages. Duration 15
minutes. Theodore Presser
Company #114-41429.
Published by Theodore
Presser Company
(PR.114414290).
UPC:
680160594030.
Writt
en for Concertante, a
string sextet which has
commissioned six
different works, each
highlighting one of its
players. In Ran's new
work, the second cellist,
Zvi Plesser, was
spotlighted with an
outgoing, intensely
lyrical opening theme,
according to a New York
Times review. Yet, Lyre
of Orpheus never
overlooks the
collaborative,
conversational essence of
the ensemble. Read the
full review here:
http://www.nytimes.com/20
09/03/18/arts/music/18con
c.html?_r=1&adxnnl=1&part
ner=rssnyt&emc=rss&adxnnl
x=1286200920-wRrt7MJ416+F
pOYAUe/IOQ For advanced
performers. Lyre of
Orpheus was composed for
Concertante, the New
York-based string sextet,
for its One Plus Five
Project, a three-year,
six-composer
commissioning project
designed to create six
string sextets, each
featuring one of
Concertante’s core
players.This particular
commission was made with
the goal of giving
center-stage to the
ensemble’s first
cello, a choice I was
especially grateful for,
not only because it
features Zvi Plesser, the
outstanding Israeli
cellist, but also because
it gave ma an opportunity
to highlight an
instrument for which,
from a very early stage
in my life, I have felt a
special affinity. The
cell’s
“soulâ€, so
naturally combining
passion and lyricism, has
always touched me in a
special way.As sometimes
happens, naming the piece
was the final act in the
process of creation.Â
Once titled, though, I
found myself looking
through the piece with a
mixture of delight and
astonishment – the
narrative of the almost
iconic mythological story
of love and loss seems as
one entirely plausible,
and to my mind
convincing, way to tract
the unfolding of the
musical events. Of
course, the music was
written with no such tale
(or any tale, for that
matter) in mind. But
perhaps some stories are
emblematic of so much
that is part of our lives
and psyches, of our
desires, fears and
wishes. Orpheus,
whose longing for
Eurydice recognizes no
boundaries of heaven and
hell… Love
regained, then forever
lost…Â
Orpheus’ lyre
intoning his sorrowful
yearning…Lyre of
Orpheus, approximately
fifteen minutes in
length, composed in late
2008, is intermittently
songful, caressing,
passionate, pained,
ferocious, longing.Â
The instrumentation
consists of 2 violins, 2
violas, 2 cellos, the
first of which is the
soloist/protagonist, the
second notable for having
its lowest string tuned
down a third to achieve
extra lower notes.This
commission has been made
possible by the Chamber
Music America
Commissioning Program,
with funding generously
provided by the Aaron
Copland Fund for Music,
and the Chamber Music
America Endowment
Fund.
For
String Sextet.
Composed by Shulamit Ran.
Contemporary. Full score.
With Standard notation.
Composed December 16
2008. 22 pages. Duration
15 minutes. Theodore
Presser Company
#114-41429S. Published by
Theodore Presser Company
(PR.11441429S).
UPC:
680160594054. 9.5 x 13
inches.
Written for
Concertante, a string
sextet which has
commissioned six
different works, each
highlighting one of its
players. In Ran's new
work, the second cellist,
Zvi Plesser, was
spotlighted with an
outgoing, intensely
lyrical opening theme,
according to a New York
Times review. Yet, Lyre
of Orpheus never
overlooks the
collaborative,
conversational essence of
the ensemble. Read the
full review here:
http://www.nytimes.com/20
09/03/18/arts/music/18con
c.html?_r=1&adxnnl=1&part
ner=rssnyt&emc=rss&adxnnl
x=1286200920-wRrt7MJ416+F
pOYAUe/IOQ For advanced
performers. Lyre of
Orpheus was composed for
Concertante, the New
York-based string sextet,
for its One Plus Five
Project, a three-year,
six-composer
commissioning project
designed to create six
string sextets, each
featuring one of
Concertante’s core
players. This
particular commission was
made with the goal of
giving center-stage to
the ensemble’s
first cello, a choice I
was especially grateful
for, not only because it
features Zvi Plesser, the
outstanding Israeli
cellist, but also because
it gave ma an opportunity
to highlight an
instrument for which,
from a very early stage
in my life, I have felt a
special affinity. The
cell’s
“soulâ€, so
naturally combining
passion and lyricism, has
always touched me in a
special way. As
sometimes happens, naming
the piece was the final
act in the process of
creation. Once
titled, though, I found
myself looking through
the piece with a mixture
of delight and
astonishment – the
narrative of the almost
iconic mythological story
of love and loss seems as
one entirely plausible,
and to my mind
convincing, way to tract
the unfolding of the
musical events. Of
course, the music was
written with no such tale
(or any tale, for that
matter) in mind. But
perhaps some stories are
emblematic of so much
that is part of our lives
and psyches, of our
desires, fears and
wishes. Orpheus,
whose longing for
Eurydice recognizes no
boundaries of heaven and
hell… Love
regained, then forever
lost…Â
Orpheus’ lyre
intoning his sorrowful
yearning… Lyre
of Orpheus, approximately
fifteen minutes in
length, composed in late
2008, is intermittently
songful, caressing,
passionate, pained,
ferocious, longing.Â
The instrumentation
consists of 2 violins, 2
violas, 2 cellos, the
first of which is the
soloist/protagonist, the
second notable for having
its lowest string tuned
down a third to achieve
extra lower
notes. This commission
has been made possible by
the Chamber Music America
Commissioning Program,
with funding generously
provided by the Aaron
Copland Fund for Music,
and the Chamber Music
America Endowment
Fund.—Shulamit
Ran.
Edited by June C. Montgomery And Kenon D. Renfrow. For Piano. Piano Collection. ...(+)
Edited by June C.
Montgomery And Kenon D.
Renfrow. For Piano. Piano
Collection. Level: Late
Elementary / Early
Intermediate. Book. 56
pages. Published by
Alfred Publishing.
Chamber Music Violin SKU: PR.144407530 Composed by Lauren Bernofsky. 12 p...(+)
Chamber Music Violin
SKU: PR.144407530
Composed by Lauren
Bernofsky. 12 pages.
Duration 10 minutes, 30
seconds. Merion Music
#144-40753. Published by
Merion Music
(PR.144407530).
ISBN
9781491136614. UPC:
680160687992.
A
violinist herself, Lauren
Bernofsky has described
SONATA FOR SOLO VIOLIN as
drawn from
autobiographical
inspiration, including
gestures from Bachâ??s
beloved Partita in E
Major. Bernofsky opens
with a Preludio movement
whose references to Bach
may be disguised, but
they are surely lurking.
The second movement is
lusciously contrapuntal
with the idiomatic
finesse of a violinist
composing for her own
instrument, while
musically journaling the
emotional pain of living
through 2020. The third
and final movement is
aptly marked
â??white-hot,â? and
the music certainly
is. My SONATA FOR SOLO
VIOLIN was commissioned
by violinist Megan Healy
as part of The Maud
Powell Project, which
celebrated the 100th
anniversary of the
ratification of the 19th
Amendment. The project
included the creation of
five new works for solo
violin inspired by and
dedicated to the memory
of pioneering American
violinist Maud Powell
(1867-1920). Healy
premiered the sonata on
May 8, 2021 at PianoForte
Studios in Chicago.Among
the works Powell most
frequently performed in
her recitals was the
â??Preludioâ?
movement from Bachâ??s E
major Partita, and I
decided to refer to that
music in my own first
movement, also titled
â??Preludio.â? The
beginning subtly reflects
Bachâ??s opening
three-note motive,
wherein the music dips
down a semitone and then
comes back up. This
melodic material returns
throughout the movement
in various forms. I also
refer to Bachâ??s
sixteenth-note dominated
texture, and the gesture
in the third measure,
which outlines a perfect
fifth and then fills it
in with notes that
alternate between a scale
and a pedal tone. The
corresponding passage in
my piece occurs in the
same place, measure 3.
Apart from these
references to Bach, my
sonata is much more
modern sounding,
especially in its
chromatic character.I was
still thinking of
Bachâ??s solo violin
writing while composing
the second movement,
particularly the
polyphonic nature of the
slow movements, where the
melodic interest moves
around between the
voices. Emotionally, I
wanted my movement to
reflect the acute sadness
I had been experiencing
over the political and
social situation in the
United States as I wrote
the piece. I realized
that this is a
historically noteworthy
time in U.S. history,
marked not only by
political unrest, but
also by a challenge to
the very values that I
consider essential to
what makes a person
fundamentally human. I
wanted to create a record
of that pain in my
music.The final movement
is marked
â??White-hot.â? It is
imbued with a relentless,
passionate intensity.
Wanting again to reflect
aspects of our own time,
I included glissandi that
refer to rock music,
specifically the
â??fall-offsâ? I
frequently hear played by
electric guitarists. I
borrowed from another
(completely different)
musical tradition as
well, one that is
near-and-dear to my
heart: Klezmer. Klezmer
(Eastern European Jewish
folk music) is
characterized in part by
scales colored by
augmented seconds, and is
often performed by solo
instrumentalists who
improvise embellishments
like quick grace notes.
The second, more lyrical
theme in this movement is
my nod to Klezmer
style.While this piece is
an homage to Maud Powell,
I also think of it as my
own musical
autobiography, as it
combines some of my
favorite aspects of
music, and is played on
my own instrument.
Mixed Trios. By Various. Arranged by Daniel Kelley. For Flute or Oboe or Violin....(+)
Mixed Trios. By Various.
Arranged by Daniel
Kelley. For Flute or Oboe
or Violin. Trios. Music
for Three. Sacred /
Spirituals. Level:
Intermediate/Advanced.
Part 1. Published by Last
Resort Music Publishing.
Mixed Trios. By Various. Arranged by Daniel Kelley. For Flute or Oboe or Violin....(+)
Mixed Trios. By Various.
Arranged by Daniel
Kelley. For Flute or Oboe
or Violin. Trios. Music
for Three. Sacred /
Spirituals. Level:
Intermediate/Advanced.
Part 2. Published by Last
Resort Music Publishing.
Mixed Trios. By Various. Arranged by Daniel Kelley. For Cello or Bassoon. Trios....(+)
Mixed Trios. By Various.
Arranged by Daniel
Kelley. For Cello or
Bassoon. Trios. Music for
Three. Sacred /
Spirituals. Level:
Intermediate/Advanced.
Part 3. Published by Last
Resort Music Publishing.
Mixed Trios. By Various. Arranged by Daniel Kelley. For Keyboard or Guitar. Trio...(+)
Mixed Trios. By Various.
Arranged by Daniel
Kelley. For Keyboard or
Guitar. Trios. Music for
Three. Sacred /
Spirituals. Level:
Intermediate/Advanced.
Part. Published by Last
Resort Music Publishing.
Mixed Trios. By Various. Arranged by Daniel Kelley. For Clarinet in Bb. Trios. M...(+)
Mixed Trios. By Various.
Arranged by Daniel
Kelley. For Clarinet in
Bb. Trios. Music for
Three. Sacred /
Spirituals. Level:
Intermediate/Advanced.
Part 2. Published by Last
Resort Music Publishing.
Composed by James Olcott. Trumpet Ensemble. For 4 trumpets. Small Ensemble. J...(+)
Composed by James Olcott.
Trumpet Ensemble. For 4
trumpets. Small Ensemble.
Jazz. Grade 5. Score and
parts. Standard notation.
Composed 2003. 46 pages.
Published by Triplo Press
SKU: HL.1141413 Blue Microphones. Lighting. Duration 210 seconds. Hal Leo...(+)
SKU: HL.1141413
Blue Microphones.
Lighting. Duration 210
seconds. Hal Leonard
#946-000006. Published by
Hal Leonard (HL.1141413).
UPC: 097855175052.
7.0x18.0x2.75
inches.
Built for
streaming, the Logitech
Litra Beam desktop key
light with TrueSoft
technology makes it easy
to achieve professional
lighting effects. Direct
light where you want it
for a cinematic look.
Easily swap between
lighting techniques to
express different moods.
Whether you're shooting a
YouTube video, streaming
on Twitch or just working
from home, Litra Beam
ensures you always look
your best. Natural Skin
Tones, Radiant Look
Logitech's TrueSoft
technology delivers
balanced full-spectrum
LED light with cinematic
color accuracy for a
natural, radiant look
across all skin tones.
The Ultimate Desktop Fit
Litra Beam is packed with
features that make it
easier than ever t
oachieve professional
lighting effects in any
space. Its slim, elegant
design can snuggle up to
your monitor and fit into
your desktop in ways
other lights can't.
Built-in cable management
in the base keeps your
setup looking sleek. And
three 1/4-20 thread
fittings allow you to
attach Litra Beam to its
desktop stand in multiple
ways to achieve your
desired lighting setup.
Safe for All-Day
Streaming Litra Beam has
cleared even the
strictest testing
guidelines to ensure safe
all-day streaming. So,
whether you're creating a
new video for YouTube of
kicking off a marathon
streaming session, Litra
Beam helps you stay
comfortable and confident
on-camera – all
day long. Fine-Tune Your
Look On Camera Litra Beam
features 5 brightness and
5 color temperature
settings (2700K-6500K) to
dial in the look you
want. Or, you can hold
down the buttons for
continuous, stepless
adjustment. Quick Access
to Your Favorite Settings
Download Logitech's free
G HUB desktop app and
connect via USB or
Bluetooth® to control
brightness and color
temperature, save
presets, turn light
on/off, and more right
from your desktop. And,
if you have a Logitech G
keyboard or mouse, you
can use G-Keys to easily
turn your light on/off,
change brightness and
color temperature, and
more. Logitech TrueSoft
Technology TrueSoft was
designed to solve common
challenges for today's
content creator including
quality of light, harsh
shadows, and eye fatigue
from long hours of
streaming. Litra Beam was
purpose-built for
streaming and uses
TrueSoft technology to
wrap the subject in soft
and diffused, accurate
LED light that is gentle
on the eyes for all-day
professional content
creation.
I share creation Chorale SATB SATB [Vocal Score] Oxford University Press
By Bob Chilcott. For SATB choir and optional percussion. Mixed Voices. Contempor...(+)
By Bob Chilcott. For SATB
choir and optional
percussion. Mixed Voices.
Contemporary, Choral
Works. Vocal score. 24
pages. Duration 8'.
Published by Oxford
University Press
SAM Choral (SA MEN (SAMKLANG)) SKU: HL.373786 SAM-Klang Choral Series<...(+)
SAM Choral (SA MEN
(SAMKLANG))
SKU:
HL.373786
SAM-Klang Choral
Series. Composed by
Franz Joseph Haydn.
Arranged by Morten
Schuldt-jensen. Choral.
Softcover. 224 pages.
Published by Hal Leonard
(HL.373786).
ISBN
9781705149867. UPC:
196288016519.
6.75x10.5x0.631
inches.
Die
Schöpfung is not only
a decisive high point in
Joseph Haydn's career as
a composer, but also
marks a turning point in
the history of the
oratorio in general. On
the threshold of the 19th
century, Haydn broke with
the traditional dominance
of arias, gave the chorus
much greater importance
and thus paved the way
for a new
“chororatorioâ€
- one of the main
pillars of the
up-and-coming bourgeois
concert life. The name
SAM-Klang takes the three
voice parts from the
arrangements -- Soprano,
Alto and Men -- and
combines it with the
Scandinavian and German
words for
“sound†to
create the portmanteau
word “sound
together†or
“harmony.â€
The series offers basic
and advanced choral
repertoire. In addition
to new repertoire and new
arrangements, you will
also find essential parts
of the classical German,
Scandinavian, French and
English SATB repertoire,
carefully and
considerately reworked
for SAM. The arrangements
retain the characteristic
features of the original
movements and have almost
the same richness of
timbre, resulting in
works which sound nearly
unchanged to an audience.
Piano reductions of all
choral movements
facilitate rehearsal
preparation. The
arrangements offer
development opportunities
for all voice sections,
bringing new life and new
quality to SAM choir
work. SAM-Klang enables
youth choirs to gain
access to classical
choral literature and
ensures that mixed choirs
who face challenges in
finding singers for all
male voice parts continue
to have access to
well-loved
repertoire.