Featuring 43 Fiddlers
and 188 of Their
Tunes. Perfect
binding. Folk. Book. 212
pages. Mel Bay
Publications, Inc #30091.
Published by Mel Bay
Publications, Inc
(MB.30091).
ISBN
9781513466378. 8.75 x
11.75
inches.
Appalachian
fiddle music, based on
the musical traditions of
the people who settled in
the mountainous regions
of the southeastern
United States, is
widely-known and played
throughout North America
and parts of Europe
because of its complex
rhythms, its catchy
melodies, and its
often-ancient-sounding
stylistic qualities. The
authors explore the lives
and music of 43 of the
classic Appalachian
fiddlers who were active
during the first half of
the 20th century. Some of
them were recorded
commercially in the
1920s, such as Gid
Tanner, Fiddlin? John
Carson, and Charlie
Bowman. Some were
recorded by folklorists
from the Library of
Congress, such as William
Stepp, Emmett Lundy, and
Marion Reece. Others were
recorded informally by
family members and
visitors, such as John
Salyer, Emma Lee
Dickerson, and Manco
Sneed. All of them played
throughout most of their
lives and influenced the
growth and stylistic
elements of fiddle music
in their regions. Each
fiddler has been given a
chapter with a biography,
several tune
transcriptions, and tune
histories. To show the
richness of the music,
the authors make a
special effort to show
the musical elements in
detail, but also
acknowledge that nothing
can take the place of
listening. Many of the
classic recordings used
in this book can be found
on the web, allowing you
to hear and read the
music together.
By Richard Matteson, Jr. For Fretted. Tune book. Bluegrass. Level: Beginning. Bo...(+)
By Richard Matteson, Jr.
For Fretted. Tune book.
Bluegrass. Level:
Beginning. Book. Size
8.75x11.75. 248 pages.
Published by Mel Bay
Publications, Inc.
Piano, Voix et Guitare [Partition] - Intermédiaire Hal Leonard
The Largest Collection of Piano/Vocal/Guitar Arrangements. Performed by Various....(+)
The Largest Collection of
Piano/Vocal/Guitar
Arrangements. Performed
by Various.
Piano/Vocal/Chords
Songbook (Arrangements
for piano and voice with
guitar chords). Published
by Hal Leonard.
(Leadsheets for Performance and Personal Enjoyment). Composed by David Mcdonald....(+)
(Leadsheets for
Performance and Personal
Enjoyment). Composed by
David Mcdonald. For voice
solo. Sacred Vocal.
Published by Lillenas
Publishing Company
By Nicolas Horvath. By Robert Orledge and Claude Debussy (1862-1918). Redi...(+)
By Nicolas Horvath. By
Robert Orledge and Claude
Debussy (1862-1918).
Rediscoverd Debussy.
Christmas. Score. Musik
Fabrik #MFCD017A.
Published
by Musik Fabrik
Chamber Music Saxophone Quartet SKU: PR.114417130 & Happy Birthday to ...(+)
Chamber Music Saxophone
Quartet
SKU:
PR.114417130
&
Happy Birthday to
Prism. Composed by
Chen Yi. Sws each.
Contemporary. Set of
Score and Parts. With
Standard notation.
Composed 2014.
24+12+12+12+8 pages.
Duration 14 minutes.
Theodore Presser Company
#114-41713. Published by
Theodore Presser Company
(PR.114417130).
ISBN
9781491110409. UPC:
680160626687. 9x12
inches.
A recipient
of the New Music USA 2013
Live Music For Dance
Award commissioning
grant, Not Alone is
inspired by the ancient
Chinese poet Li Bai's
poem Drinking Alone under
the Moon with the Shadow.
The premiere was given on
April 26, 2014 by the
PRISM Quartet with the
Nai-Ni Chen Dance
Company, which
commissioned the work to
celebrate its 25th
Anniversary NYC Season.
From the Program Note by
Matthew Levy (The PRISM
Quartet), Not Alone
(2014) is an
interdisciplinary
work...but it stands
alone in a chamber music
setting. The work spans a
stunning range of
textures, from
introspective solos for
each of the four
saxophones to majestic
hyper-active gestures.
The PRISM Quartet
recorded Not Alone for a
2017 release on XAS
Records titled Paradigm
Lost. But we're excited
for a wider community of
saxophonists to embrace
the work, and share it
with their own audiences.
Not Alone is published
together with Happy
Birthday to PRISM, a
brief miniature that Chen
Yi wrote for the
quartet's 20th
anniversary celebration
in 2004. For advanced
performers.______________
___________Text from the
scanned back cover:NOT
ALONE for Saxophone
QuartetHAPPY BIRTHDAY TO
PRISM for Saxophone
QuartetNot Alone is a
14-minute saxophone
quartet and dance score
inspired by the ancient
Chinese poet Li
Bai’s
“Drinking Alone
under the Moon with the
Shadow.†The
expansively-textured sax
quartet matches the
exploratory and dramatic
movements and gestures in
the dance. NOT ALONE was
commissioned by the
Nai-Ni Chen Dance Company
which premiered the work
in collaboration with the
PRISM Quartet. Also
included in this
publication is Chen
Yi’s fascinating
take on “Happy
Birthday to You,â€
composed in celebration
of Prism’s 25th
anniversary season. A
recipient of the New
Music USA 2013 Live Music
For Dance Award
commissioning grant, Not
Alone is inspiredby the
ancient Chinese poet Li
Bai’s poem
“Drinking Alone
under the Moon with the
Shadow.†The
premierewas given on
April 26, 2014 by the
PRISM Quartet with the
Nai-Ni Chen Dance
Company, which
commissioned thework to
celebrate its 25th
Anniversary NYC
Season. Program Note
by composer Chen YiThe
original inspiration for
this work for both the
choreographer and the
composer came from the
Tang Dynasty poem - Alone
Under the Moon by Li Bai.
The poem describes the
poet being alone in a
garden. The moon and his
shadow became his
companions that night.
The choreographer brings
this idea to modern life
in an urban setting. She
created a series of
“mindscapesâ€
which are the result of
the exploration of the
different mental and
physical states of being
alone.Through
self-examination, the
choreographer raises the
question: are we ever
really alone? Our
physical being may be
standing by itself, but
what about our
introspective self? When
we are still, we let our
thoughts pass by like
flowing water. If we
could engage with our
shadows, what would it be
like?Program Note by
Matthew Levy, The PRISM
QuartetThe PRISM Quartet
has commissioned a great
many composers since our
founding days in 1984.
Chen Yi is among ahandful
of our very favorites,
and one to whom
we’ve returned
time and time again. Her
music is powerful,
expansive,intimate, and
draws connections between
Eastern and Western,
ancient and modern
traditions in a voice all
her own.Chen Yi has
written or adapted four
works for the PRISM
Quartet. She penned a
wonderful miniature
called HappyBirth day to
PRISM to celebrate the
ensemble’s 20th
anniversary back in 2004
(Dedication, Innova
Recordings).We
subsequently commissioned
her to compose Septet
(2008) for Erhu, Pipa,
Percussion, and Saxophone
Quartet(2008), premiered
and recorded with the New
York ensemble Music From
China (Antiphony, Innova
Recordings 2010).In 2015,
the PRISM Quartet
performed and recorded
(XAS Records) a new
version of her saxophone
quartet concerto,BA YIN,
with the University of
Missouri-Kansas City Wind
Ensemble under the baton
of Steven Davis
(originally writtenfor
the Rascher Quartet and
scored for saxophones and
string
orchestra.).Finally, Not
Alone (2014) is an
interdisciplinary work
written for the Nai-Ni
Chen Dance Company with
the PRISMQuartet, but it
stands alone in a chamber
music setting. The work
spans a stunning range of
textures, from
introspectivesolos for
each of the four
saxophones to majestic
hyper-active gestures.
The PRISM Quartet
recorded Not Alonefor a
2017 release on XAS
Records titled Paradigm
Lost. But we’re
excited for a wider
community of saxophonists
toembrace the work, and
share it with their own
audiences.In his liner
notes for the recording,
WNYC’s John
Schaefer writes:
“As with much of
her music, Chen employs
percussiveeffects and
glissandi; in Chinese
music these are not
considered
“extended
techniques†or
special effects, but
animportant part of the
performer’s
arsenal. Here, they help
create the twilit mood of
the opening moments. The
piecesoon becomes more
dramatic, suggesting the
arrival of the
drinker’s
companions (real or
imagined) and his or
herincreasingly garrulous
outbursts. Passages of
consonance and discord
can easily be heard as
companionable singingand
bouts of drunken
argument. The piece
bustles along on a kind
of restless energy,
until, finally, that
restlessnesssubsides,
giving way to a gently
humorous ending where a
short falling phrase
signals the drinker
falling
asleep.â€.
Composed by Muzio
Clementi. Arranged by
Douglas Townsend. Carl
Fischer Young String
Orchestra Series.
Classical. Full score.
With Standard notation.
12 pages. Carl Fischer
Music #YAS13F. Published
by Carl Fischer Music
(CF.YAS13F).
ISBN
9780825848339. UPC:
798408048334. 8.5 X 11
inches. Key: G
major.
IApart from
some of his Sonatinas,
Opus 36, Clementi's life
and music are hardly
known to the piano
teachers and students of
today. For example, in
addition to the above
mentioned Sonatinas,
Clementi wrote sixty
sonatas for the piano,
many of them unjustly
neglected, although his
friend Beethoven regarded
some of them very highly.
Clementi also wrote
symphonies (some of which
he arranged as piano
sonatas), a substantial
number of waltzes and
other dances for the
piano as well as sonatas
and sonatinas for piano
four-hands.In addition to
composing, Clementi was a
much sought after piano
teacher, and included
among his students John
Field (Father of the
'Nocturne'), and
Meyerbeer.In his later
years, Clementi became a
very successful music
publisher, publishing
among other works the
first English edition of
Beethoven's Violin
Concerto, in the great
composer's own
arrangement for the
piano, as well as some of
his string quartets.
Clementi was also one of
the first English piano
manufacturers to make
pianos with a metal frame
and string them with
wire.The Sonatina in C,
Opus 36, No. 1 was one of
six such works Clementi
wrote in 1797. He must
have been partial to
these little pieces (for
which he also provided
the fingerings), since
they were reissued
(without the fingering)
by the composer shortly
after 1801. About 1820,
he issued ''the sixth
edition, with
considerable improvements
by the author;· with
fingerings added and
several minor changes,
among which were that
many of them were written
an octave higher.IIIt has
often been said,
generally by those
unhampered by the facts,
that composers of the
past (and, dare we add,
the present?), usually
handled their financial
affairs with their public
and publishers with a
poor sense of business
acumen or common sense.
As a result they
frequently found
themselves in financial
straits.Contrary to
popular opinion, this was
the exception rather than
the rule. With the
exception of Mozart and
perhaps a few other
composers, the majority
of composers then, as
now, were quite
successful in their
dealings with the public
and their publishers, as
the following examples
will show.It was not
unusual for 18th- and
19th-century composers to
arrange some of their
more popular compositions
for different
combinations of
instruments in order to
increase their
availability to a larger
music-playing public.
Telemann, in the
introduction to his
seventy-two cantatas for
solo voice and one melody
instrument (flute, oboe
or violin, with the usual
continua) Der Harmonische
Gottesdienst, tor
example, suggests that if
a singer is not available
to perform a cantata the
voice part could be
played by another
instrument. And in the
introduction to his Six
Concertos and Six Suites
for flute, violin and
continua, he named four
different instrumental
combinations that could
perform these pieces, and
actually wrote out the
notes for the different
possibilities. Bach
arranged his violin
concertos for keyboard,
and Beethoven not only
arranged his Piano Sonata
in E Major, Opus 14, No.
1 for string quartet, he
also transposed it to the
key of F. Brahm's
well-known Quintet in F
Minor for piano and
strings was his own
arrangement of his
earlier sonata for two
pianos, also in F
Minor.IIIWe come now to
Clementi. It is well
known that some of his
sixty piano sonatas were
his own arrangements of
some of his lost
symphonies, and that some
of his rondos for piano
four-hands were
originally the last
movements of his solo
sonatas or piano trios.In
order to make the first
movement of his
delightful Sonatina in C,
Opus 36, No. 1 accessible
to young string players,
I have followed the
example established by
the composer himself by
arranging and transposing
one of his piano
compositions from one
medium (the piano) to
another. (string
instruments). In order to
simplify the work for
young string players, in
the process of adapting
it to the new medium it
was necessary to
transpose it from the
original key of C to G,
thereby doing away with
some of the difficulties
they would have
encountered in the
original key. The first
violin and cello parts
are similar to the right-
and left-hand parts of
the original piano
version. The few changes
I have made in these
parts have been for the
convenience of the string
players, but in no way do
they change the nature of
the music.Since the
original implied a
harmonic framework in
many places, I have added
a second violin and viola
part in such a way that
they not only have
interesting music to
play, but also fill in
some of the implied
harmony without in any
way detracting from the
composition's musical
value. Occasionally, it
has been necessary to
raise or lower a few
passages an octave or to
modify others slightly to
make them more accessible
for young players.It is
hoped that the musical
value of the composition
has not been too
compromised, and that
students and teachers
will come to enjoy this
little piece in its new
setting as much as
pianists have in the
original one. This
arrangement may also be
performed by a solo
string quartet. When
performed by a string
orchestra, the double
bass part may be
omitted.- Douglas
TownsendString editing by
Amy Rosen.
About Carl
Fischer Young String
Orchestra
Series
Thi
s series of Grade 2/Grade
2.5 pieces is designed
for second and third year
ensembles. The pieces in
this series are
characterized
by: --Occasionally
extending to third
position --Keys
carefully considered for
appropriate
difficulty --Addition
of separate 2nd violin
and viola
parts --Viola T.C.
part
included --Increase
in independence of parts
over beginning levels
Piano - Grade 5 SKU: FA.MFCD017B By Nicolas Horvath. By Claude Debussy an...(+)
Piano - Grade 5
SKU:
FA.MFCD017B
By
Nicolas Horvath. By
Claude Debussy and Robert
Orledge. Rediscoverd
Debussy. Christmas.
Score. Musik Fabrik
#MFCD017B. Published by
Musik Fabrik
(FA.MFCD017B).
8.27 x
11.69
inches.
Contains Le
Roi Lear:
Prelude,Premiere Fanfare,
and La Mort de
Cordelia,Toomai des
elephants, Rodrigue et
Chimene: Prelude a l'acte
1p. Le Martyre de Saint
Sebastien: La Passion ,
and No-ja-li ou Le Palais
du Silence
From
Robert Orledge's
notes:
My interest
in the wonderful music of
Claude Debussy began in
the 1980s when I
researched and published
a book with Cambridge
University Press entitled
Debussy and the Theatre.
During the course of my
studies in Paris, I was
amazed to discover that
Debussy planned over 50
theatrical works but only
finished two of these
entirely by himself (the
opera Pelleas et
Melisande in 1893-1902
and the ballet Jeux for
Diaghilev's Ballets
Russes in 1912-13). Of
the rest, many were never
started musically (like
Siddartha and Orphee-roi
with the Oriental scholar
Victor Segalen, 1907);
some had a few
tantalising sketches
(like the Edgar Allan Poe
opera Le Diable dans le
beffroi, 1902-03); some
were half-finished (like
his other Poe opera La
Chute de la Maison Usher,
1908-17); while others
were musically complete
but had their
orchestrations completed
by other composers (like
Khamma, by Charles
Koechlin, 1912-13; or Le
Martyre de Saint
Sebastien and La Boite a
joujoux by his 'angel of
corrections' ['l'ange des
Corrections'] Andre
Caplet in 1911 and 1919
respectively).
For
it has to be admitted
that what some scholars
call Debussy's
'compulsive achievement'
could equally well be
viewed as laziness,
especially as far as the
minute detail required
for calligraphing his
orchestral scores was
concerned. It was as if
creating the music itself
was of greater importance
than controlling its
final sound, even if
Debussy was an
imaginative orchestrator
when he found the time
and energy to do it. It
also seems true that
Debussy also preferred
inventing ideas to
turning them into
complete pieces. However,
despite the lack of
detail in many of his
sketches (missing clefs,
key signatures, dynamics,
phrasing, etc.) the notes
themselves are
surprisingly accurate,
whether or not they can
be compared with a later
draft. Thus, a large
number of sketches exist
for his Chinese ballet
No-ja-li ou Le Palais du
Silence and it is not too
difficult to see which
parts of Georges de
Feure's 1913 scenario
(see below) inspired
which ideas. But Debussy
hardly made any attempt
to join them together
after the first few
bars.
It was
usually up to his
publisher, Jacques
Durand, to find solutions
when Debussy risked a
breach of contract.
Debussy was supposed to
supervise the
orchestrations completed
by others, but this
supervision was usually
very light and restricted
to quiet, sensitive
moments in which problems
were easier to spot. Far
from jealously guarding
every one of his created
notes, as Ravel did,
Debussy once even went as
far as to ask Koechlin to
'write a ballet for him
that he would sign' on 26
March 1914 when he was
hard-pressed to fulfil
his lucrative contract
for No-ja-li with Andre
Charlot at the Alhambra
Theatre in London. In the
end, Debussy (through
Durand) sent Charlot the
symphonic suite Printemps
instead, whose
orchestration had been
completed by Henri Busser
in the Spring of
1912.
So, when I
was offered early
retirement as Professor
of Music at Liverpool
University in 2004, I
seized the opportunity it
would give me to spend
time trying to
reconstruct some of
Debussy's lost potential
masterpieces from his
existing sketches and
drafts--then
orchestrating them in
Debussy's style when this
was appropriate. I had
begun this mission in
2001 with the most
promising project, the
missing parts of Scene 2
of La Chute de la Maison
Usher and the sheer joy
it gave me at every stage
persuaded me to tackle
other projects,
especially when Debussy
experts were unable to
identify exactly where I
took over from Debussy
(and vice versa) in
Usher.
Guitar - Intermediate SKU: MB.WBM76M Saddle-stitched. Country. Book and o...(+)
Guitar - Intermediate
SKU: MB.WBM76M
Saddle-stitched. Country.
Book and online audio.
Mel Bay Publications, Inc
#WBM76M. Published by Mel
Bay Publications, Inc
(MB.WBM76M).
ISBN
9781736363096. 8.75x11.75
inches.
This
comprehensive book
contains the solos found
in five William Bay
guitar solo
collections.á The
solos range from colorful
foot tapping reels,
breakdowns, hornpipes,
jigs, fiddle tunes and
sea chanteys to country
and Celtic ballads and
waltzes.á Also
included are numerous
original guitar
solos.á All 143 solos
in this collection are
recorded by the author
and online access to the
recordings is included.
All solos are presented
in notation and
tablature.
Sanctuary Piano Trio: piano, violon, violoncelle Theodore Presser Co.
Chamber Music Violin, cello, Piano SKU: PR.114418250 Composed by Stacy Ga...(+)
Chamber Music Violin,
cello, Piano
SKU:
PR.114418250
Composed
by Stacy Garrop.
Contemporary. Set of
Score and Parts. With
Standard notation.
Composed 2013. 40+16+16
pages. Duration 23
minutes. Theodore Presser
Company #114-41825.
Published by Theodore
Presser Company
(PR.114418250).
UPC:
680160640959. 9 x 12
inches.
In 2011,
Barbara Garrop, my
mother, commissioned me
to write a piano trio in
memory of Norman Garrop,
my father, who passed
away about thirty years
ago. When I started
brainstorming about
topics for the piece, I
found it difficult to
recall many moments of my
early life involving my
father. Too many years
had passed, and the
memories that I could
summon were of achild
looking up to her father,
not an adult relating to
an equal. However, while
collecting stories of my
father from various
family members, along
with discovering a number
of objects that had once
belonged to him and that
I had stored away in
boxes decades ago, I
began to realize that
this piece wasn't so much
about my father as it was
about my re-discovering
the man that he was: a
loving husband and dad
who cared deeply about
his family and his
passions (which included
bike riding, collecting
coins, strumming our
guitar, playing baseball,
watching football games,
entertaining people,
helping to run local
theater and puppet
productions, and carving
objects out of wook); an
accountant who dreamed of
a better future: a
treasurer of our local
synagogue; an early
advocate for computers
(we owned an Apple II+);
and a pranster with a
great sense of humor.
Ultimately, I decided to
musically tell the story
of my search for these
memories. In the first
movement (Without), a
child calls out in a
sing-song voice,
searching for her lost
parent. This search
intesifies over the
course of the movement
through a series of
themes, including a
stepping motif in which a
two-note progression
steadily climbs higher, a
pseudo-jewish folksong,
and a passionate longing
theme. The child's search
becomes increasingly
intense throughout the
movement, calling out
fervently and repeatedly
to the parent; the
movement ends in a moment
of great tnesion and
uncertainty. The second
movment (Within) quietly
opens with the lost
parent finally answering,
represented by a solo
cello; the child (now
personified by the
violin) has found the
parent within the
sanctuary of her own
heart. This movement
highlights the joy and
solemnity of this
beautiful discovery.
-S.G.
Sanctuary Piano Trio: piano, violon, violoncelle Theodore Presser Co.
Chamber Music Violin, cello, Piano SKU: PR.11441825S Composed by Stacy Ga...(+)
Chamber Music Violin,
cello, Piano
SKU:
PR.11441825S
Composed
by Stacy Garrop.
Contemporary. Score. With
Standard notation.
Composed 2013. 40 pages.
Duration 23 minutes.
Theodore Presser Company
#114-41825S. Published by
Theodore Presser Company
(PR.11441825S).
UPC:
680160643745. 9 x 12
inches.
In 2011,
Barbara Garrop, my
mother, commissioned me
to write a piano trio in
memory of Norman Garrop,
my father, who passed
away about thirty years
ago. When I started
brainstorming about
topics for the piece, I
found it difficult to
recall many moments of my
early life involving my
father. Too many years
had passed, and the
memories that I could
summon were of achild
looking up to her father,
not an adult relating to
an equal. However, while
collecting stories of my
father from various
family members, along
with discovering a number
of objects that had once
belonged to him and that
I had stored away in
boxes decades ago, I
began to realize that
this piece wasn't so much
about my father as it was
about my re-discovering
the man that he was: a
loving husband and dad
who cared deeply about
his family and his
passions (which included
bike riding, collecting
coins, strumming our
guitar, playing baseball,
watching football games,
entertaining people,
helping to run local
theater and puppet
productions, and carving
objects out of wook); an
accountant who dreamed of
a better future: a
treasurer of our local
synagogue; an early
advocate for computers
(we owned an Apple II+);
and a pranster with a
great sense of humor.
Ultimately, I decided to
musically tell the story
of my search for these
memories. In the first
movement (Without), a
child calls out in a
sing-song voice,
searching for her lost
parent. This search
intesifies over the
course of the movement
through a series of
themes, including a
stepping motif in which a
two-note progression
steadily climbs higher, a
pseudo-jewish folksong,
and a passionate longing
theme. The child's search
becomes increasingly
intense throughout the
movement, calling out
fervently and repeatedly
to the parent; the
movement ends in a moment
of great tnesion and
uncertainty. The second
movment (Within) quietly
opens with the lost
parent finally answering,
represented by a solo
cello; the child (now
personified by the
violin) has found the
parent within the
sanctuary of her own
heart. This movement
highlights the joy and
solemnity of this
beautiful discovery.
-S.G.
Duo Flûte traversière et Piano Theodore Presser Co.
Chamber Music flute, piano SKU: PR.114422710 Composed by Charles Gibb. Se...(+)
Chamber Music flute,
piano
SKU:
PR.114422710
Composed
by Charles Gibb. Set of
Score and Parts. 44+8
pages. Duration 24
minutes. Theodore Presser
Company #114-42271.
Published by Theodore
Presser Company
(PR.114422710).
ISBN
9781491136072. UPC:
680160688227.
DUOâ
€™s succinct movement
titles (I. Here, II.
Open, III. Stark, IV.
Ardent) tease at
revealing the grand and
heartfelt inspiration for
exuberant romanticism in
this sonata-like work of
symphonic proportions and
depth. Charles Gibb is
both an accomplished
pianist and an
award-winning flutist,
who has written of this
compelling major addition
to the literature:
“This work is a
journey. What journey and
whose journey does not
matter. It is my journey,
it is your journey. It is
the journey of those who
came before us, and of
those who will come after
us. I wrote this hoping
that we can find each
other along the road, so
we can realize that we
don’t need to go
on the journey
alone.â€
Gibb’s DUO is sure
to become a favorite
major work for flute
recitalists. This work
is a journey. What
journey and whose journey
does not matter. It is my
journey, it is your
journey. It is the
journey of those who came
before us, and of those
who will come after us. I
wrote this hoping that we
can find each other along
the road, so we can
realize that we
don’t need to go
on the journey
alone.“Hereâ€
begins with three notes
that shape the rhythmic
and harmonic content of
the entire work. Melodies
and harmonies including
the tonic, dominant, and
leading tone can be found
in each of the four
movements. The first
moments of this movement
introduce the melody,
offering itself
unencumbered and
uninhibited. It shows
itself as it is. The
melodies soar, the
harmonies become voiced
more intricately, and the
opening theme repeats in
full grandeur. The
momentum slows down, and
the movement ends with a
sense of completion, yet
remains unbalanced.A
striking piano gesture
launches
“Open,†the
idea of instability
reflected with the
flowing flute trills and
unclear meter patterns in
the piano. The sensation
of an unsteady grace in
5/8 time arrives with a
piano ostinato. The
melody is expressive, yet
insecure and unbalanced
due to changing meters.
After a grand pause, the
movement transitions to
4/4 time with the flute
switching between duplet
and triplet flourishes.
After a rapid descent in
the flute, the opening
gesture returns, changed
and abruptly
interrupted.The third
movement,
“Stark,†is
very static, beginning
plainly but markedly. The
falling fifth calls out
continually throughout
the movement, searching,
lost. Melodies appear in
pieces, some smooth and
flowing, others rather
disjunct. The piece
climaxes with a line of
mournfulness, yet
revealing a deeper
strength through intense
projection of tone in the
high register. However,
the static harmonies
return, this time
unsteady all the way to
its foundation. This
destabilization repeats,
and then quietly
recedes.“Ardentâ
is the longest of the
movements and spans a
wide range of musical
emotion. Part of the
movement is fast paced,
energetic, and balances
order and disarray.
However, once the chaos
dies down, a gentle,
expressive theme comes
in. The theme itself is
very resolute; it is
order appearing from the
pandemonium. Conflict
returns, and order and
chaos become less
distinguishable from one
another, and soon fuse
together. However, order
returns with new meaning,
synthesized with previous
musical content, creating
a truer, deeper sense of
awareness or
understanding. A moment
of ambiguity arises, but
the flute persists,
supported by the
sensitive but firm
figuration in the piano,
and resoundingly comes to
a close, unburdened and
at ease.
Composed by Camille Saint- Saens (1835-1921). Edited by Fabien Guilloux and Fra...(+)
Composed by Camille
Saint-
Saens (1835-1921). Edited
by
Fabien Guilloux and
François
de Médicis. This
edition:
Edition of selected
works,
Urtext edition. Linen.
Saint-
Saens, Camille. OEuvres
instrumentales completes
III/4. Edition of
selected
works, Performance score,
anthology. Baerenreiter
Verlag
#BA10304-01. Published by
Baerenreiter Verlag
By John Cage (1912-1992). For for any instrument or combination of instruments. ...(+)
By John Cage (1912-1992).
For for any instrument or
combination of
instruments. Modern.
Sheet Music. Composed
1952. Duration 4 minutes
33 seconds. Published by
Edition Peters
Chamber Music Organ, Trumpet SKU: PR.114419810 Composed by Stacy Garrop. ...(+)
Chamber Music Organ,
Trumpet
SKU:
PR.114419810
Composed
by Stacy Garrop. Set of
Score and Parts. 33+12
pages. Duration 21
minutes. Theodore Presser
Company #114-41981.
Published by Theodore
Presser Company
(PR.114419810).
ISBN
9781491136638. UPC:
680160681921.
Stacy
Garrop’s ROAD
WARRIOR is music of
real-life tragedy,
expressed through the
power of a trumpet/organ
duo. Drawing inspiration
from Neil Peart’s
autobiographical book,
“Ghost Rider:
Travels on the Healing
Road,â€
Garrop’s work
grieves the loss of a
friend’s young son
and the journey to
healing. ROAD
WARRIOR’s
evocative movement titles
are drawn from passages
in Peart’s book:1.
I Am the Ghost Rider2. My
Little Baby Soul3. Are
You With Me
Here?. When Clarion
members Keith Benjamin
(trumpet), Melody Steed
(organ), and I initially
discussed possible topics
for a new piece, Keith
brought up his son
Cameron, who had passed
away at the age of seven
from leukemia. While
Cameron’s life
ended too soon, he left
an indelible and lasting
mark on his those
surrounding him. Keith
asked if I could
commemorate Cameron
musically.In talking over
possible ways to do this,
Keith mentioned the book
Ghost Rider: Travels on
the Healing Road. The
book was written by Neil
Peart, who is well-known
as the longtime drummer
and lyricist of the band
Rush. Peart suffered the
heartbreaking loss of his
daughter in 1997,
followed by his wife 10
months later. In an
effort to work through
the grieving process,
Peart did what his wife
suggested before she
passed: he got onto his
motorcycle and hit the
open road. Ghost Rider
chronicles a year of
Peart’s life in
which he drove for 55,000
miles, zigzagging his way
across Canada, the
western portion of the
United States, Mexico,
and Belize.
Peart’s powerful
story illustrates how he
coped with immense loss
and eventually emerged on
the other side to once
again embrace life. Keith
had found Peart’s
book helpful in dealing
with Cameron’s
death; moreover, Mr.
Peart sent Cameron a
signed cymbal while he
was in the hospital
undergoing treatment.
This unexpected gesture
of compassion and
generosity meant the
world to both Cameron and
Keith.I chose three
phrases from
Peart’s book to
serve as the inspiration
for the movements in Road
Warrior. In the first
movement, I am the ghost
rider, I imagined the
performers to be howling
phantoms that are
haunting drivers on a
nearly deserted highway.
Peart often mentioned
that he felt haunted by
ghosts from the past
while on his journey, and
sometimes felt like a
ghost himself, moving
through an immaterial
world as he rode from
town to town. The second
movement, My little baby
soul, references
Peart’s wording to
define his own inner
essence that he was
trying to protect and
nurture while on his
journey. In this gentle
movement, I capture the
innocence and simplicity
of a newborn soul. The
piece concludes with Are
you with me here? In this
movement, I depict the
performers as they search
to find connections to
those they have lost, and
to those still
living.Over the course of
his travels, Peart kept
up a steady letter
correspondence with his
close friend Brutus. In
one of his first letters,
he repeatedly asks Brutus
if he is with him in
spirit. I found it to be
very poignant that while
in his self-imposed
exile, Peart discovered
that he still needed
connections to humanity.I
wish to thank Mr. Peart
for granting me
permission to use his
phrases as the movement
titles, and for serving
as the inspiration for
Road Warrior. Rarely do
any of us make it through
our lives without being
touched by the loss of
someone dear to us. I
found Peart’s
insights into his
grieving and recovery
process to be insightful,
eloquent, and
surprisingly comforting.
His journey is a touching
reminder that with enough
fortitude and time, we
can work through what
fate deals us and
continue down our own
road of life.
Viola Position 1 Alto seul [Partition + CD] - Facile De Haske Publications
Viola - easy SKU: BT.DHP-1145555-400 Fingerings, scales and triads...(+)
Viola - easy
SKU:
BT.DHP-1145555-400
Fingerings, scales and
triads. Composed by
Nico Dezaire. Tuition.
Book with CD. Composed
2014. 92 pages. De Haske
Publications #DHP
1145555-400. Published by
De Haske Publications
(BT.DHP-1145555-400).
ISBN 9789043135979.
English-German-French-Dut
ch.
Position
1 covers the four
fingerings of the first
position. The connection
between these fingerings
and the different keys -
up to three sharps or
flats - is also dealt
with. The book features
38 exercises for the
various fingerings,
sevenscale and triad
exercises, and 68
attractive performance
pieces in a range of
musical styles. The
performance pieces can be
played with CD
accompaniment (demo and
play-along tracks are
featured on CDs 1 and 2)
or with piano
accompaniment. The
pianoaccompaniments can
be found on CD 2 in PDF
form.
In
Position 1 worden
alle vingerstellingen
binnen de 1e positie
geleerd aan de hand van
grepenschema?s,
oefeningen en
speelstukken. Verder
wordt het verband gelegd
tussen de verschillende
vingerstellingen in
toonladders en
drieklanken inde 1e
positie over 2 oktaven.
De 68 speelstukken kunnen
met cd-begeleiding worden
gespeeld, of met
live-pianobegeleidingen.
Deze worden als pdf
geleverd op de 2
bijbehorende cd?s. De
vertrouwde afwisseling
van nieuwe stukken,
arrangementen
vanklassieke thema?s en
volksliedjes ontbreekt
uiteraard niet!
In
Position 1 geht es
um die vier Griffarten
der ersten Lage. Diese
Griffarten werden auch
mit den verschiedenen
Tonarten - mit bis zu
drei Kreuzen oder Bs -
verknüpft. Das Buch
umfasst 38 Ã?bungen
für die verschiedenen
Griffarten,
siebenTonleiter- und
Dreiklangsübungen
sowie 68 reizvolle
Vortragsstücke in
einer ganzen Palette an
Musikstilen. Die
Vortragsstücke
können zu den
Begleitungen auf den
beiden CDs (die Demo- und
Mitspielversionen
enthalten), aber auch mit
einem Pianistengespielt
werden. Die
Klavierstimmen sind im
PDF-Format zum Ausdrucken
auf der CD 2
enthalten.
Position
1 affronta le quattro
diteggiature della prima
posizione. La
pubblicazione contiene 38
esercizi per le varie
posizioni, sette scale e
terze, come anche 68
accattivanti brani in
vari stili musicali da
suonare in pubblico.
Questipossono essere
eseguiti sia con lausilio
dei 2 CD inclusi (traccia
demo e traccia
play-along), sia con
l´accompagnamento di
un pianista. Le parti del
piano, contenute sul
secondo CD, sono
scaricabili in formato
PDF.