| Teach Yourself to Play Guitar Guitare notes et tablatures [Partition] - Facile Hal Leonard
A Quick and Easy Introduction for Beginners. Guitar Educational. With notes and ...(+)
A Quick and Easy
Introduction for
Beginners. Guitar
Educational. With notes
and tablature. Size 9x12
inches. 48 pages.
Published by Hal Leonard.
$8.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Forty Progressive Etudes Trombone [Partition + CD] Carl Fischer
For Trombone. Composed by Sigmund Hering. SWS - affix CD on cover 3. Back To Sch...(+)
For Trombone. Composed by
Sigmund Hering. SWS -
affix CD on cover 3. Back
To School. Softcover.
With Standard notation.
Carl Fischer Music
#O4441X. Published by
Carl Fischer Music
$21.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Rhythm Reading for Drums - Book 2 GIA Publications
SKU: GI.G-317202 Composed by Garwood Whaley. Music Education. Book. 48 pa...(+)
SKU: GI.G-317202
Composed by Garwood
Whaley. Music Education.
Book. 48 pages. GIA
Publications #317202.
Published by GIA
Publications
(GI.G-317202). ISBN
9781574631630. UPC:
884088506117. Rhyth
m Reading for Drums
provides a highly
organized, systematic
approach to reading and
understanding rhythm for
the beginning
drummer/percussionist.
Basic rhythm patterns
including counting system
and foot tapping
indications are
introduced on each page
in eight-measure studies
followed by a short solo.
Each solo serves as a
page summary and a
motivational tool for
students. Music educators
and private instructors
will find this method to
be a comprehensive
approach to rhythm
reading and musical
drumming. Click here for
a YouTube video on Rhythm
Reading for Drums, Book
2. $9.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Double Bass Drumming Batterie Modern Drummer Publications
Percussion. Instruction. Softcover. Modern Drummer Publications #FRANCODBLBO...(+)
Percussion. Instruction.
Softcover. Modern Drummer
Publications
#FRANCODBLBOOK.
Published by Modern
Drummer
Publications
$18.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Inside The Brazilian Rhythm Section - Book/2 CDs [Partition + CD] Sher Music Company
Nelson Faria, Cliff Korman. Brazilian -Latin Jazz. Published by Sher Music Compa...(+)
Nelson Faria, Cliff
Korman. Brazilian -Latin
Jazz. Published by Sher
Music Company.
$34.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Conversational Solfege, Level 2 CD Chorale SATB SATB, Clavier GIA Publications
SATB choir, keyboard accompaniment SKU: GI.G-527 Level 2. Composed...(+)
SATB choir, keyboard
accompaniment SKU:
GI.G-527 Level
2. Composed by John
M. Feierabend. Choral.
Conversational Solfege.
Music Education. Octavo.
GIA Publications #527.
Published by GIA
Publications (GI.G-527).
Text by Noel
Goemanne. Conversat
ional Solfege is a
dynamic and captivating
first-through-eighth
grade general music
program that enables
students to become
independent musical
thinkers with the help of
a rich variety of folk
and classical
music. It is organized
around increasingly
complex rhythmic and
melodic content. Each new
rhythmic or melodic
element is discovered
first in patterns and
then reinforced with folk
songs, rhymes, and
classical examples.
Central to the
Conversational Solfege
program is the use of
music harvested from our
rich and diverse American
musical history. This
variety of music serves
as a common thread that
spans and bonds
generations. Each book
contains varied song
material so the teacher
can select appropriate
music for the lower
grades or older
beginners. This 12-step
teaching method carefully
brings students from
readiness to, ultimately,
creating music through
inner hearing and then
transferring their
musical thoughts into
notation—in other
words, to compose music!
This CD provides
14Â classical
selections referenced in
Conversational Solfege
Level 2. These examples
provide reinforcement for
emerging literacy skills,
and they also enable
students to listen to
wonderful classical
examples with greater
attention. Listening to
classical music can be
challenging for
elementary students. With
nothing to hang onto, the
many notes can be too
much to comprehend and
attention soon wanes. But
with minimal literacy
skills, students will
have enough musical
information to discover
that classical music can
be accessible and
appealing. In the
included booklet, timings
are given for each
selection and the
portions of the music
that are readable by the
students are reproduced.
Whether using this CD
with Conversational
Solfege instructional
materials or simply as a
resource of classical
music with simple to read
rhythmic and melodic
material, both teachers
and students will delight
in discovering this
wonderful music through
literacy. This series is
a complete, innovative
approach to teaching
music that will stay
fresh year after year.
CONTENTS Conversational
Solfege Unit 5:Â 1.
Antonin Dvorak •
New World Theme
Conversational Solfege
Unit 6:Â 2. Franz
Joseph Haydn •
Theme from  the
Surprise Symphony, 3.
Camille
Saint-Sans •
Turtles from Carnival of
the Animals, 4. Ludwig
van Beethoven •
Symphony No. 7, 2nd
Movement, 5. Josef
Strauss •
Feuerfest (Fireproof)
Polka, Op. 269
Conversational Solfege
Unit 7:Â 6. Jacques
Offenbach •
Can-Can, 7. Dmitry
Kabalevsky •
Pantomime from the
Comedians, 8. Edvard
Grieg • In the
Hall of the Mountain King
Conversational Solfege
Unit 9 and Unit 11:Â 9.
Jacques
Offenbach •
Barcarolle Conversational
Solfege Unit 10:Â 10.
Edvard Grieg •
Morning Conversational
Solfege Unit 11:Â 11.
Ottorino
Respighi •
Ground in G
Conversational Solfege
Unit 12:Â 12. Johann
Sebastian Bach •
Jesu, Joy of Men's
Desiring, 13. Jean
Sibelius •
Finlandia Conversational
Solfege Unit 13:Â 14.
Ludwig Van
Beethoven •
Symphony No. 6, Movement
5Â John M. Feierabend
is Professor Emeritus and
former Director of Music
Education at The Hartt
School of Music,
University of Hartford,
Connecticut. $15.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Scott Lang's Leadership Travel Guide (DVD companion) GIA Publications
SKU: GI.G-DVD-748 Composed by Scott Lang. Music Education. DVD. GIA Publi...(+)
SKU: GI.G-DVD-748
Composed by Scott Lang.
Music Education. DVD. GIA
Publications #748.
Published by GIA
Publications
(GI.G-DVD-748).
Scott
Lang’s Leadership
Travel Guide is a
must-have for anyone
seeking to encourage
student leadership in a
musical group or other
school organization. The
companion to this DVD,
the leadership method
book is an interactive
journey for all
stakeholders in your
program. Scott
Lang’s
exceptionally effective
process encourages
significant personal and
program growth. His
proven approach is
equally effective with
high school and
college-aged students.
This Companion DVD,
produced by Scott Lang
and featuring interviews
with students and
teachers, will be sent
free to anyone who orders
10 or more books. Scott
Langis a nationally
recognized speaker on the
development of student
leadership. He is the
author of Leadership
Success: A Holistic
Approach to Developing
Your Student Leadership
Program(GIA Publications,
DVD-608), an interactive
DVD/CD-ROM also featuring
Tim Lautzenheiser,
Patrick Sheridan, and Jon
Gomez. $24.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Essential Musicianship for Strings Accompagnement Piano Hal Leonard
Ensemble Concepts, Intermediate Level - Piano Accompaniment. By Various. Essenti...(+)
Ensemble Concepts,
Intermediate Level -
Piano Accompaniment. By
Various. Essential
Musicianship Strings. 28
pages. Published by Hal
Leonard.
$7.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Guitar Exercises Guitare EMB (Editio Musica Budapest)
Guitar (GUITAR SOLO) SKU: HL.50487097 Composed by Laszlo Szendrey-Karper....(+)
Guitar (GUITAR SOLO)
SKU: HL.50487097
Composed by Laszlo
Szendrey-Karper. EMB.
Volume 8. Studies. Book
Only. Editio Musica
Budapest #Z12277.
Published by Editio
Musica Budapest
(HL.50487097). ISBN
9790080122778. A/4
inches. Laszlo
Szendrey-Karper. La
szlo Szendrey-Karper
(1932-1991) was an
internationally renowned
guitarist, and the
founder of organized
guitar teaching in
Hungary. He wrote an
instructional methodology
for the guitar, and
composed studies and
pieces for students. The
eight books of his series
Guitar Exercises and
Pieces provide a variety
of pieces for elementary
and intermediate guitar
students to play,
arranged in order of
difficulty. A basic
source for
Szendrey-Karper was
Hungarian folk songs, in
addition to which he
transcribed for the
guitar well known pieces
composed for other
instruments. Alongside
his own pieces and
etudes, he selected for
the series studies and
concert pieces by other
composers (including
Ferdinando Carulli,
Matteo Carcassi, Johann
Krieger, Henry Purcell,
and Laszlo Borsody). $14.45 - Voir plus => Acheter | | |
| Guitar Exercises Guitare EMB (Editio Musica Budapest)
Guitar (GUITAR SOLO) SKU: HL.50487022 Composed by Laszlo Szendrey-Karper....(+)
Guitar (GUITAR SOLO)
SKU: HL.50487022
Composed by Laszlo
Szendrey-Karper. EMB.
Volume 3. Studies. Book
Only. Editio Musica
Budapest #Z12040.
Published by Editio
Musica Budapest
(HL.50487022). ISBN
9790080120408. A/4
inches. Hungarian,
English, German. Laszlo
Szendrey-Karper. La
szlo Szendrey-Karper
(1932-1991) was an
internationally renowned
guitarist, and the
founder of organized
guitar teaching in
Hungary. He wrote an
instructional methodology
for the guitar, and
composed studies and
pieces for students. The
eight books of his series
Guitar Exercises and
Pieces provide a variety
of pieces for elementary
and intermediate guitar
students to play,
arranged in order of
difficulty. A basic
source for
Szendrey-Karper was
Hungarian folk songs, in
addition to which he
transcribed for the
guitar well known pieces
composed for other
instruments. Alongside
his own pieces and
etudes, he selected for
the series studies and
concert pieces by other
composers (including
Ferdinando Carulli,
Matteo Carcassi, Johann
Krieger, Henry Purcell,
and Laszlo Borsody). $14.45 - Voir plus => Acheter | | |
| Guitar Exercises Guitare EMB (Editio Musica Budapest)
Guitar (GUITAR SOLO) SKU: HL.50487045 Composed by Laszlo Szendrey-Karper....(+)
Guitar (GUITAR SOLO)
SKU: HL.50487045
Composed by Laszlo
Szendrey-Karper. EMB.
Volume 5. Studies. Book
Only. Editio Musica
Budapest #Z12121.
Published by Editio
Musica Budapest
(HL.50487045). ISBN
9790080121214. A/4
inches. Hungarian,
English, German. Laszlo
Szendrey-Karper. La
szlo Szendrey-Karper
(1932-1991) was an
internationally renowned
guitarist, and the
founder of organized
guitar teaching in
Hungary. He wrote an
instructional methodology
for the guitar, and
composed studies and
pieces for students. The
eight books of his series
Guitar Exercises and
Pieces provide a variety
of pieces for elementary
and intermediate guitar
students to play,
arranged in order of
difficulty. A basic
source for
Szendrey-Karper was
Hungarian folk songs, in
addition to which he
transcribed for the
guitar well known pieces
composed for other
instruments. Alongside
his own pieces and
etudes, he selected for
the series studies and
concert pieces by other
composers (including
Ferdinando Carulli,
Matteo Carcassi, Johann
Krieger, Henry Purcell,
and Laszlo Borsody). $17.95 - Voir plus => Acheter | | |
| Gitarrenübungen und Stücke II Guitare EMB (Editio Musica Budapest)
Guitar SKU: BT.EMBZ12039 Composed by László Szendrey-Karper. Studie...(+)
Guitar SKU:
BT.EMBZ12039 Composed
by László
Szendrey-Karper. Studies
& Exercises. Book Only.
Composed 1981. 20 pages.
Editio Musica Budapest
#EMBZ12039. Published by
Editio Musica Budapest
(BT.EMBZ12039).
English-German-Hungari
an. László
Szendrey-Karper
(1932-1991) was an
internationally renowned
guitarist, and the
founder of organized
guitar teaching in
Hungary. He wrote an
instructional methodology
for the guitar, and
composed studies and
pieces for students. The
eight books of his series
Guitar Exercises and
Pieces provide a variety
of pieces for elementary
and intermediate guitar
students to play,
arranged in order of
difficulty. A basic
source for
Szendrey-Karper was
Hungarian folk songs, in
addition to which he
transcribed for the
guitar well known pieces
composed for other
instruments. Alongside
his own pieces and
études, he selected
for the series studies
and concert pieces by
othercomposers (including
Ferdinando Carulli,
Matteo Carcassi, Johann
Krieger, Henry Purcell,
and László
Borsody). $10.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Guitar Exercises Guitare EMB (Editio Musica Budapest)
Guitar (GUITAR SOLO) SKU: HL.50487044 Composed by Laszlo Szendrey-Karper....(+)
Guitar (GUITAR SOLO)
SKU: HL.50487044
Composed by Laszlo
Szendrey-Karper. EMB.
Volume 4. Studies. Book
Only. Editio Musica
Budapest #Z12120.
Published by Editio
Musica Budapest
(HL.50487044). ISBN
9790080121207. A/4
inches. Hungarian,
English, German. Laszlo
Szendrey-Karper. La
szlo Szendrey-Karper
(1932-1991) was an
internationally renowned
guitarist, and the
founder of organized
guitar teaching in
Hungary. He wrote an
instructional methodology
for the guitar, and
composed studies and
pieces for students. The
eight books of his series
Guitar Exercises and
Pieces provide a variety
of pieces for elementary
and intermediate guitar
students to play,
arranged in order of
difficulty. A basic
source for
Szendrey-Karper was
Hungarian folk songs, in
addition to which he
transcribed for the
guitar well known pieces
composed for other
instruments. Alongside
his own pieces and
etudes, he selected for
the series studies and
concert pieces by other
composers (including
Ferdinando Carulli,
Matteo Carcassi, Johann
Krieger, Henry Purcell,
and Laszlo Borsody). $19.95 - Voir plus => Acheter | | |
| Guitar Exercises Guitare EMB (Editio Musica Budapest)
Guitar (GUITAR SOLO) SKU: HL.50487096 Composed by Laszlo Szendrey-Karper....(+)
Guitar (GUITAR SOLO)
SKU: HL.50487096
Composed by Laszlo
Szendrey-Karper. EMB.
Volume 7. Studies. Book
Only. Editio Musica
Budapest #Z12276.
Published by Editio
Musica Budapest
(HL.50487096). ISBN
9790080122761. A/4
inches. Laszlo
Szendrey-Karper. La
szlo Szendrey-Karper
(1932-1991) was an
internationally renowned
guitarist, and the
founder of organized
guitar teaching in
Hungary. He wrote an
instructional methodology
for the guitar, and
composed studies and
pieces for students. The
eight books of his series
Guitar Exercises and
Pieces provide a variety
of pieces for elementary
and intermediate guitar
students to play,
arranged in order of
difficulty. A basic
source for
Szendrey-Karper was
Hungarian folk songs, in
addition to which he
transcribed for the
guitar well known pieces
composed for other
instruments. Alongside
his own pieces and
etudes, he selected for
the series studies and
concert pieces by other
composers (including
Ferdinando Carulli,
Matteo Carcassi, Johann
Krieger, Henry Purcell,
and Laszlo Borsody). $19.95 - Voir plus => Acheter | | |
| Guitar Pieces And Exercises Volume 2 Guitare EMB (Editio Musica Budapest)
Guitar SKU: HL.50485815 Composed by Laszlo Szendrey-Karper. EMB. Volume 2...(+)
Guitar SKU:
HL.50485815 Composed
by Laszlo
Szendrey-Karper. EMB.
Volume 2. Studies. Book
Only. Editio Musica
Budapest #Z12039.
Published by Editio
Musica Budapest
(HL.50485815). ISBN
9780634092756. UPC:
073999806847. A/4 inches.
Hungarian, English,
German. Laszlo
Szendrey-Karper. La
szlo Szendrey-Karper
(1932-1991) was an
internationally renowned
guitarist, and the
founder of organized
guitar teaching in
Hungary. He wrote an
instructional methodology
for the guitar, and
composed studies and
pieces for students. The
eight books of his series
Guitar Exercises and
Pieces provide a variety
of pieces for elementary
and intermediate guitar
students to play,
arranged in order of
difficulty. A basic
source for
Szendrey-Karper was
Hungarian folk songs, in
addition to which he
transcribed for the
guitar well known pieces
composed for other
instruments. Alongside
his own pieces and
etudes, he selected for
the series studies and
concert pieces by other
composers (including
Ferdinando Carulli,
Matteo Carcassi, Johann
Krieger, Henry Purcell,
and Laszlo Borsody). $14.45 - Voir plus => Acheter | | |
| Guitar Exercises Guitare EMB (Editio Musica Budapest)
Guitar (GUITAR SOLO) SKU: HL.50487095 Composed by Laszlo Szendrey-Karper....(+)
Guitar (GUITAR SOLO)
SKU: HL.50487095
Composed by Laszlo
Szendrey-Karper. EMB.
Volume 6. Studies. Book
Only. Editio Musica
Budapest #Z12275.
Published by Editio
Musica Budapest
(HL.50487095). ISBN
9790080122754. A/4
inches. Laszlo
Szendrey-Karper. La
szlo Szendrey-Karper
(1932-1991) was an
internationally renowned
guitarist, and the
founder of organized
guitar teaching in
Hungary. He wrote an
instructional methodology
for the guitar, and
composed studies and
pieces for students. The
eight books of his series
Guitar Exercises and
Pieces provide a variety
of pieces for elementary
and intermediate guitar
students to play,
arranged in order of
difficulty. A basic
source for
Szendrey-Karper was
Hungarian folk songs, in
addition to which he
transcribed for the
guitar well known pieces
composed for other
instruments. Alongside
his own pieces and
etudes, he selected for
the series studies and
concert pieces by other
composers (including
Ferdinando Carulli,
Matteo Carcassi, Johann
Krieger, Henry Purcell,
and Laszlo Borsody). $21.95 - Voir plus => Acheter | | |
| Practical Piano Pedagogy: The Definitive Text for Piano Teachers and Pedagogy Students Piano seul [Partition + CD] Alfred Publishing
By Dr. Martha Baker-Jordan. For Piano. Textbook - Keyboard. Book and CD-ROM. 456...(+)
By Dr. Martha
Baker-Jordan. For Piano.
Textbook - Keyboard. Book
and CD-ROM. 456 pages.
Published by Alfred
Publishing.
$49.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| 60 Warm-Up Chorales for Concert Band (Harmonie) Orchestre d'harmonie Hal Leonard
Concert Band (Score & Parts) SKU: HL.4008643 Score and Parts. Comp...(+)
Concert Band (Score &
Parts) SKU:
HL.4008643 Score
and Parts. Composed
by Franco Cesarini.
Arranged by Franco
Cesarini. Editions Franco
Cesarini. Concert Band,
Tuning, Warm-Up.
Softcover. Hal Leonard
#EFC003-CBHA. Published
by Hal Leonard
(HL.4008643). ISBN
9798350114997. UPC:
196288189664. Durin
g his experience as a
band conductor and
teacher of wind orchestra
conducting at university,
Franco Cesarini has dealt
with the topic of
warm-ups very frequently.
Throughout these long
years of conducting he
has had the opportunity
to try many existing
methods, evaluating their
advantages and
disadvantages. After a
long time, he has decided
to compile a collection
of chorales for warm-ups,
which are organized
according to the criteria
that he considers most
effective. While working
on his60 Warm-up Chorales
for Concert Band, Franco
Cesarini has always borne
in mind that amateur
musicians play for
pleasure. He feels that
it is extremely important
that they have
satisfaction at every
moment of the rehearsal
and not to start the
rehearsal with needless
“punishingâ€
exercises. Nobody is
really motivated to start
playing with scales, long
notes, or tricky
rhythmical exercises.
There is often a
distinguished absentee in
band rehearsals, namely
music itself! Although
this publication does not
foresee a specific tempo
for the chorales, they
should often be performed
rather slowly but without
dragging. Dynamics are
not indicated, so that
the conductor has the
opportunity to draw the
attention of the
musicians to his gestures
and to make them react
according to his
indications. Timpani and
bell parts have been
added with the aim of not
leaving the
percussionists completely
inactive during the
warm-up phase, but can
also be omitted. The
chorales are written in
four parts (SATB) and are
also playable in smaller
groups. The four voices
can be played in
different combinations of
woodwinds or brass
quartets or in mixed
combinations. The
collection includes ten
chorales for the
following keys: D flat
major, A flat major, E
flat major, B flat major,
F major and C major. With
his 60 Warm-up Chorales
Franco Cesarini would
like to convey the
message to play the
chorales in a musical
way, thus raising the
musiciansÂ’awareness
of phrasing, the right
interpretation of
cadences, rubato and
agogic. Above all, never
do anything
withoutputting the
musical aspect in the
foreground. $206.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| 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 | | |
| 60 Warm-Up Chorales for Concert Band (Harmonie) Orchestre d'harmonie Hal Leonard
Concert Band (Full Score) SKU: HL.4007483 Score. Composed by Franc...(+)
Concert Band (Full Score)
SKU: HL.4007483
Score. Composed by
Franco Cesarini. Arranged
by Franco Cesarini.
Editions Franco Cesarini.
Concert Band, Tuning,
Warm-Up. Softcover. Hal
Leonard #EFC003-SC.
Published by Hal Leonard
(HL.4007483). UPC:
196288058175. Durin
g his experience as a
band conductor and
teacher of wind orchestra
conducting at university,
Franco Cesarini has dealt
with the topic of
warm-ups very frequently.
Throughout these long
years of conducting he
has had the opportunity
to try many existing
methods, evaluating their
advantages and
disadvantages. After a
long time, he has decided
to compile a collection
of chorales for warm-ups,
which are organized
according to the criteria
that he considers most
effective. While working
on his60 Warm-up Chorales
for Concert Band, Franco
Cesarini has always borne
in mind that amateur
musicians play for
pleasure. He feels that
it is extremely important
that they have
satisfaction at every
moment of the rehearsal
and not to start the
rehearsal with needless
“punishingâ€
exercises. Nobody is
really motivated to start
playing with scales, long
notes, or tricky
rhythmical exercises.
There is often a
distinguished absentee in
band rehearsals, namely
music itself! Although
this publication does not
foresee a specific tempo
for the chorales, they
should often be performed
rather slowly but without
dragging. Dynamics are
not indicated, so that
the conductor has the
opportunity to draw the
attention of the
musicians to his gestures
and to make them react
according to his
indications. Timpani and
bell parts have been
added with the aim of not
leaving the
percussionists completely
inactive during the
warm-up phase, but can
also be omitted. The
chorales are written in
four parts (SATB) and are
also playable in smaller
groups. The four voices
can be played in
different combinations of
woodwinds or brass
quartets or in mixed
combinations. The
collection includes ten
chorales for the
following keys: D flat
major, A flat major, E
flat major, B flat major,
F major and C major. With
his 60 Warm-up Chorales
Franco Cesarini would
like to convey the
message to play the
chorales in a musical
way, thus raising the
musiciansÂ’awareness
of phrasing, the right
interpretation of
cadences, rubato and
agogic. Above all, never
do anything
withoutputting the
musical aspect in the
foreground. $62.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
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