| First 50 Gospel Songs You Should Play on Guitar Ligne De Mélodie, (Paroles) et Accords - Facile Hal Leonard
By Various. Guitar Collection. General Worship, Gospel, Sacred. Softcover. 64 ...(+)
By Various. Guitar
Collection.
General Worship, Gospel,
Sacred. Softcover. 64
pages.
Published by Hal Leonard
$14.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Everything For The Church Soloist Piano seul [Partition] Hope Publishing Company
| | |
| Touch The Sky - Anthem Chorale Unison Word Music
Choir SKU: WD.080689414237 Composed by Daniel Semsen. Arranged by Daniel ...(+)
Choir SKU:
WD.080689414237
Composed by Daniel
Semsen. Arranged by
Daniel Semsen. Choral.
Sacred Anthem. Octavo.
Word Music #080689414237.
Published by Word Music
(WD.080689414237).
UPC:
080689414237. Arran
ged by Daniel
Semsen, this song
from Hillsong
United paints a
lyrical canvas evoking
the realization that when
all else fails, it is in
those moments when we
need Him most…those
times when, at our lowest
point, God’s Love
sweeps in. Falling to our
knees, we actually
“touch the
sky†as we reach
out to Him and rely on
His power to lift us out
of darkness. A
contemporary musical
setting that feels
universal in its appeal,
Touch the Sky
invites us to join in and
lift our voices to sing
this heart-song to our
Savior, Redeemer and
King, as we lay down our
lives in complete
surrender to His
Love. $3.40 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Spring in Dresden Theodore Presser Co.
Orchestra Bass Drum, Bassoon 1, Bassoon 2, Clarinet 1, Clarinet 2, Contrabass, F...(+)
Orchestra Bass Drum,
Bassoon 1, Bassoon 2,
Clarinet 1, Clarinet 2,
Contrabass, Flute 1,
Flute 2, Harp, Horn 1,
Horn 2, Horn 3, Horn 4,
Marimba, Oboe 1, Oboe 2,
Percussion 1, Percussion
2, Percussion 3, Snare
Drum, Suspended Cymbal,
Tam-tam, Trombone 1 and
more. SKU:
PR.11641963S Composed
by Chen Yi. Full score.
58 pages. Duration 20
minutes. Theodore Presser
Company #116-41963S.
Published by Theodore
Presser Company
(PR.11641963S). UPC:
680160684472. The
violin concerto is
commissioned by Friends
of Dresden Music
Foundation for American
soloist Mira Wang and the
New York Philharmonic and
Staatskapelle Dresden as
an American commemoration
of the reconstruction of
the Dresden Frauenkirche,
60 years after its
destruction in World War
II by American and
British Forces. The world
premiere is given at the
Semperoper in Dresden,
Germany, on October 9, 10
& 11, 2005, conducted
by Ivan Fischer. Full of
excitement and inner
power, the musical image
is vivid, energetic,
sometimes lyrical and
sometimes dramatic. The
major angular thematic
material (a three note
motive) consists of big
leaps in interval (a
perfect fourth downward
and then a minor seventh
upward, first introduced
by the violin solo in
measures 27-29). Except
for the cadenzas which
stand at the middle
(Rehearsal E, measure
127) and the two ends of
the piece as a frame, the
virtuosic violin solo
line is always
accompanied by the ever
moving and growing
textures in the
background. The rests
between long and short
phrases symbolize the
space in Chinese
paintings. The Beijing
Opera reciting tune, and
the fingerings to produce
sliding tones in the
performance of the
Chinese fiddle erhu are
also borrowed in the
writing and the
performing of the western
instruments. The musical
imagination of the violin
concerto came from an
ancient Chinese poem with
the same title, written
by Du Fu (712-770) in
Tang Dynasty. Happy Rain
on a Spring Night by Du
Fu (712-770 in Tang
Dynasty) Happy rain comes
in time, When spring is
in its prime. With night
breeze it will fall, And
quietly moisten all.
Clouds darken wild roads,
Light brightens a little
boat. Saturated at dawn,
With flowers blooming the
town. (English
translation by Chen Yi
from the original poem in
Chinese) The following is
the poem in its original
Chinese form, and the
detailed introduction on
the structural plan of
the violin concerto
Spring in Dresden. It's
like the welcome rain on
a quiet spring night that
nurtures the budding
seeds, our new society is
pushing us forward to the
new future. The music
reflects the scenes and
the expression according
to the meaning of the
poem when it's being
unfolded line by line.
Although the tempo is set
63 quarter notes per
minute throughout (played
vividly, never slow
down), the tension is
being built up from the
quiet background in the
beginning, to the
sustained climax towards
the end. The musical
image in Rehearsal A and
B (measures 39-80)
represents the first four
lines of the poem. The
wind instruments response
to the rustling of fast
moving notes on muted
string triplets,
decorated by occasional
strokes produced by
metallic string sound and
high woodwind gestures.
The music in Rehearsal C
and D (measures 81-126)
represents the next two
lines of the poem. It's
so dark, a little light
in the boat is shimmering
on the lake... The
breathy sound and key
slaps on the flutes
create a mysterious
atmosphere, in a dialogue
with other instruments.
The cello glissandi
recite the poem in the
tone of Mandarin, echoed
by the string harmonics.
The music in Rehearsal F,
G and H (m 129-202) is a
toccata, starting in the
orchestra (led by the
marimba), which builds up
a big shape, to reach the
climax in m. 157
(Rehearsal G, the
location of the Golden
Section, according to the
length of the music
without cadenzas), and
keeps the vivid scene
towards the coda (from
Rehearsal I, m. 203),
which stands on the
energetic peak until the
clear cutoff on measure
239, followed by the
short, yet powerful solo
conclusion with the
lingering echo produced
by the high string
harmonics. On the top,
there is a recall of the
three note motive in the
sound of wonderland,
touched by the motor-on
vibraphone meaningfully.
The music is written for
2 flutes, 2 oboes, 2
clarinets (in Bb), 2
bassoons, 4 French horns
(in F), 2 trumpets (in
Bb), 3 trombones, tuba,
harp, 3 percussion
players (Perc. 1:
xylophone; Perc. 2:
suspended cymbal,
Japanese high woodblock,
snare drum, bass drum and
vibraphone; Perc. 3:
marimba and tam-tam),
solo violin, and strings.
Duration is about 20
minutes. The violin
concerto is commissioned
by Friends of Dresden
Music Foundation for
American soloist Mira
Wang and the New York
Philharmonic and
Staatskapelle Dresden as
an American commemoration
of the reconstruction of
the Dresden Frauenkirche,
60 years after its
destruction in World War
II by American and
British Forces. The world
premiere is given at the
Semperoper in Dresden,
Germany, on October 9, 10
& 11, 2005, conducted by
Ivan Fischer.Full of
excitement and inner
power, the musical image
is vivid, energetic,
sometimeslyrical and
sometimes dramatic. The
major angular thematic
material (a three
notemotive) consists of
big leaps in interval (a
perfect fourth downward
and then a minorseventh
upward, first introduced
by the violin solo in
measures 27-29). Except
for thecadenzas which
stand at the middle
(Rehearsal E, measure
127) and the two ends of
the piece as a frame, the
virtuosic violin solo
line is always
accompanied by the ever
moving and growing
textures in the
background. The rests
between long and short
phrases symbolize the
space in Chinese
paintings. The Beijing
Opera reciting tune, and
the fingerings to produce
sliding tones in the
performance of the
Chinese fiddle erhu are
also borrowed in the
writing and the
performing of the western
instruments.The musical
imagination of the violin
concerto came from an
ancient Chinese poem with
the same title, written
by Du Fu (712-770) in
Tang Dynasty.Happy Rain
on a Spring Nightby Du Fu
(712-770 in Tang
Dynasty)Happy rain comes
in time,When spring is in
its prime.With night
breeze it will fall,And
quietly moisten
all.Clouds darken wild
roads,Light brightens a
little boat.Saturated at
dawn,With flowers
blooming the
town.(English translation
by Chen Yi from the
original poem in
Chinese)The following is
the poem in its original
Chinese form, and the
detailed introduction
onthe structural plan of
the violin concerto
Spring in
Dresden.It’s like
the welcome rain on a
quiet spring night that
nurtures the budding
seeds, our newsociety is
pushing us forward to the
new future. The music
reflects the scenes and
theexpression according
to the meaning of the
poem when it’s
being unfolded line by
line.Although the tempo
is set 63 quarter notes
per minute throughout
(played vividly,
neverslow down), the
tension is being built up
from the quiet background
in the beginning, tothe
sustained climax towards
the end. The musical
image in Rehearsal A and
B (measures39-80)
represents the first four
lines of the poem. The
wind instruments response
to therustling of fast
moving notes on muted
string triplets,
decorated by occasional
strokesproduced by
metallic string sound and
high woodwind gestures.
The music in RehearsalC
and D (measures 81-126)
represents the next two
lines of the poem. It's
so dark, a littlelight in
the boat is shimmering on
the lake... The breathy
sound and key slaps on
theflutes create a
mysterious atmosphere, in
a dialogue with other
instruments. The
celloglissandi recite the
poem in the tone of
Mandarin, echoed by the
string harmonics.
Themusic in Rehearsal F,
G and H (m 129-202) is a
toccata, starting in the
orchestra (led bythe
marimba), which builds up
a big shape, to reach the
climax in m. 157
(Rehearsal G,the location
of the Golden Section,
according to the length
of the music
withoutcadenzas), and
keeps the vivid scene
towards the coda (from
Rehearsal I, m. 203),
whichstands on the
energetic peak until the
clear cutoff on measure
239, followed by the
short,yet powerful solo
conclusion with the
lingering echo produced
by the high
stringharmonics. On the
top, there is a recall of
the three note motive in
the sound ofwonderland,
touched by the motor-on
vibraphone
meaningfully.The music is
written for 2 flutes, 2
oboes, 2 clarinets (in
Bb), 2 bassoons, 4 French
horns (in F), 2 trumpets
(in Bb), 3 trombones,
tuba, harp, 3 percussion
players (Perc.
1:xylophone; Perc. 2:
suspended cymbal,
Japanese high woodblock,
snare drum, bass drum and
vibraphone; Perc. 3:
marimba and tam-tam),
solo violin, and
strings.Duration is about
20 minutes. $35.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Spring in Dresden Theodore Presser Co.
Orchestra Bass Drum, Bassoon 1, Bassoon 2, Clarinet 1, Clarinet 2, Contrabass, F...(+)
Orchestra Bass Drum,
Bassoon 1, Bassoon 2,
Clarinet 1, Clarinet 2,
Contrabass, Flute 1,
Flute 2, Harp, Horn 1,
Horn 2, Horn 3, Horn 4,
Marimba, Oboe 1, Oboe 2,
Percussion 1, Percussion
2, Percussion 3, Snare
Drum, Suspended Cymbal,
Tam-tam, Trombone 1 and
more. SKU:
PR.11641963SP
Composed by Chen Yi.
Part. 11 pages. Duration
20 minutes. Theodore
Presser Company
#116-41963SP. Published
by Theodore Presser
Company (PR.11641963SP).
UPC:
680160684496. The
violin concerto is
commissioned by Friends
of Dresden Music
Foundation for American
soloist Mira Wang and the
New York Philharmonic and
Staatskapelle Dresden as
an American commemoration
of the reconstruction of
the Dresden Frauenkirche,
60 years after its
destruction in World War
II by American and
British Forces. The world
premiere is given at the
Semperoper in Dresden,
Germany, on October 9, 10
& 11, 2005, conducted
by Ivan Fischer. Full of
excitement and inner
power, the musical image
is vivid, energetic,
sometimes lyrical and
sometimes dramatic. The
major angular thematic
material (a three note
motive) consists of big
leaps in interval (a
perfect fourth downward
and then a minor seventh
upward, first introduced
by the violin solo in
measures 27-29). Except
for the cadenzas which
stand at the middle
(Rehearsal E, measure
127) and the two ends of
the piece as a frame, the
virtuosic violin solo
line is always
accompanied by the ever
moving and growing
textures in the
background. The rests
between long and short
phrases symbolize the
space in Chinese
paintings. The Beijing
Opera reciting tune, and
the fingerings to produce
sliding tones in the
performance of the
Chinese fiddle erhu are
also borrowed in the
writing and the
performing of the western
instruments. The musical
imagination of the violin
concerto came from an
ancient Chinese poem with
the same title, written
by Du Fu (712-770) in
Tang Dynasty. Happy Rain
on a Spring Night by Du
Fu (712-770 in Tang
Dynasty) Happy rain comes
in time, When spring is
in its prime. With night
breeze it will fall, And
quietly moisten all.
Clouds darken wild roads,
Light brightens a little
boat. Saturated at dawn,
With flowers blooming the
town. (English
translation by Chen Yi
from the original poem in
Chinese) The following is
the poem in its original
Chinese form, and the
detailed introduction on
the structural plan of
the violin concerto
Spring in Dresden. It's
like the welcome rain on
a quiet spring night that
nurtures the budding
seeds, our new society is
pushing us forward to the
new future. The music
reflects the scenes and
the expression according
to the meaning of the
poem when it's being
unfolded line by line.
Although the tempo is set
63 quarter notes per
minute throughout (played
vividly, never slow
down), the tension is
being built up from the
quiet background in the
beginning, to the
sustained climax towards
the end. The musical
image in Rehearsal A and
B (measures 39-80)
represents the first four
lines of the poem. The
wind instruments response
to the rustling of fast
moving notes on muted
string triplets,
decorated by occasional
strokes produced by
metallic string sound and
high woodwind gestures.
The music in Rehearsal C
and D (measures 81-126)
represents the next two
lines of the poem. It's
so dark, a little light
in the boat is shimmering
on the lake... The
breathy sound and key
slaps on the flutes
create a mysterious
atmosphere, in a dialogue
with other instruments.
The cello glissandi
recite the poem in the
tone of Mandarin, echoed
by the string harmonics.
The music in Rehearsal F,
G and H (m 129-202) is a
toccata, starting in the
orchestra (led by the
marimba), which builds up
a big shape, to reach the
climax in m. 157
(Rehearsal G, the
location of the Golden
Section, according to the
length of the music
without cadenzas), and
keeps the vivid scene
towards the coda (from
Rehearsal I, m. 203),
which stands on the
energetic peak until the
clear cutoff on measure
239, followed by the
short, yet powerful solo
conclusion with the
lingering echo produced
by the high string
harmonics. On the top,
there is a recall of the
three note motive in the
sound of wonderland,
touched by the motor-on
vibraphone meaningfully.
The music is written for
2 flutes, 2 oboes, 2
clarinets (in Bb), 2
bassoons, 4 French horns
(in F), 2 trumpets (in
Bb), 3 trombones, tuba,
harp, 3 percussion
players (Perc. 1:
xylophone; Perc. 2:
suspended cymbal,
Japanese high woodblock,
snare drum, bass drum and
vibraphone; Perc. 3:
marimba and tam-tam),
solo violin, and strings.
Duration is about 20
minutes. The violin
concerto is commissioned
by Friends of Dresden
Music Foundation for
American soloist Mira
Wang and the New York
Philharmonic and
Staatskapelle Dresden as
an American commemoration
of the reconstruction of
the Dresden Frauenkirche,
60 years after its
destruction in World War
II by American and
British Forces. The world
premiere is given at the
Semperoper in Dresden,
Germany, on October 9, 10
& 11, 2005, conducted by
Ivan Fischer.Full of
excitement and inner
power, the musical image
is vivid, energetic,
sometimeslyrical and
sometimes dramatic. The
major angular thematic
material (a three
notemotive) consists of
big leaps in interval (a
perfect fourth downward
and then a minorseventh
upward, first introduced
by the violin solo in
measures 27-29). Except
for thecadenzas which
stand at the middle
(Rehearsal E, measure
127) and the two ends of
the piece as a frame, the
virtuosic violin solo
line is always
accompanied by the ever
moving and growing
textures in the
background. The rests
between long and short
phrases symbolize the
space in Chinese
paintings. The Beijing
Opera reciting tune, and
the fingerings to produce
sliding tones in the
performance of the
Chinese fiddle erhu are
also borrowed in the
writing and the
performing of the western
instruments.The musical
imagination of the violin
concerto came from an
ancient Chinese poem with
the same title, written
by Du Fu (712-770) in
Tang Dynasty.Happy Rain
on a Spring Nightby Du Fu
(712-770 in Tang
Dynasty)Happy rain comes
in time,When spring is in
its prime.With night
breeze it will fall,And
quietly moisten
all.Clouds darken wild
roads,Light brightens a
little boat.Saturated at
dawn,With flowers
blooming the
town.(English translation
by Chen Yi from the
original poem in
Chinese)The following is
the poem in its original
Chinese form, and the
detailed introduction
onthe structural plan of
the violin concerto
Spring in
Dresden.It’s like
the welcome rain on a
quiet spring night that
nurtures the budding
seeds, our newsociety is
pushing us forward to the
new future. The music
reflects the scenes and
theexpression according
to the meaning of the
poem when it’s
being unfolded line by
line.Although the tempo
is set 63 quarter notes
per minute throughout
(played vividly,
neverslow down), the
tension is being built up
from the quiet background
in the beginning, tothe
sustained climax towards
the end. The musical
image in Rehearsal A and
B (measures39-80)
represents the first four
lines of the poem. The
wind instruments response
to therustling of fast
moving notes on muted
string triplets,
decorated by occasional
strokesproduced by
metallic string sound and
high woodwind gestures.
The music in RehearsalC
and D (measures 81-126)
represents the next two
lines of the poem. It's
so dark, a littlelight in
the boat is shimmering on
the lake... The breathy
sound and key slaps on
theflutes create a
mysterious atmosphere, in
a dialogue with other
instruments. The
celloglissandi recite the
poem in the tone of
Mandarin, echoed by the
string harmonics.
Themusic in Rehearsal F,
G and H (m 129-202) is a
toccata, starting in the
orchestra (led bythe
marimba), which builds up
a big shape, to reach the
climax in m. 157
(Rehearsal G,the location
of the Golden Section,
according to the length
of the music
withoutcadenzas), and
keeps the vivid scene
towards the coda (from
Rehearsal I, m. 203),
whichstands on the
energetic peak until the
clear cutoff on measure
239, followed by the
short,yet powerful solo
conclusion with the
lingering echo produced
by the high
stringharmonics. On the
top, there is a recall of
the three note motive in
the sound ofwonderland,
touched by the motor-on
vibraphone
meaningfully.The music is
written for 2 flutes, 2
oboes, 2 clarinets (in
Bb), 2 bassoons, 4 French
horns (in F), 2 trumpets
(in Bb), 3 trombones,
tuba, harp, 3 percussion
players (Perc.
1:xylophone; Perc. 2:
suspended cymbal,
Japanese high woodblock,
snare drum, bass drum and
vibraphone; Perc. 3:
marimba and tam-tam),
solo violin, and
strings.Duration is about
20 minutes. $25.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Spring in Dresden Theodore Presser Co.
Orchestra Bass Drum, Bassoon 1, Bassoon 2, Clarinet 1, Clarinet 2, Contrabass, F...(+)
Orchestra Bass Drum,
Bassoon 1, Bassoon 2,
Clarinet 1, Clarinet 2,
Contrabass, Flute 1,
Flute 2, Harp, Horn 1,
Horn 2, Horn 3, Horn 4,
Marimba, Oboe 1, Oboe 2,
Percussion 1, Percussion
2, Percussion 3, Snare
Drum, Suspended Cymbal,
Tam-tam, Trombone 1 and
more. SKU:
PR.11641963L Composed
by Chen Yi. Large Score.
58 pages. Duration 20
minutes. Theodore Presser
Company #116-41963L.
Published by Theodore
Presser Company
(PR.11641963L). UPC:
680160684489. The
violin concerto is
commissioned by Friends
of Dresden Music
Foundation for American
soloist Mira Wang and the
New York Philharmonic and
Staatskapelle Dresden as
an American commemoration
of the reconstruction of
the Dresden Frauenkirche,
60 years after its
destruction in World War
II by American and
British Forces. The world
premiere is given at the
Semperoper in Dresden,
Germany, on October 9, 10
& 11, 2005, conducted
by Ivan Fischer. Full of
excitement and inner
power, the musical image
is vivid, energetic,
sometimes lyrical and
sometimes dramatic. The
major angular thematic
material (a three note
motive) consists of big
leaps in interval (a
perfect fourth downward
and then a minor seventh
upward, first introduced
by the violin solo in
measures 27-29). Except
for the cadenzas which
stand at the middle
(Rehearsal E, measure
127) and the two ends of
the piece as a frame, the
virtuosic violin solo
line is always
accompanied by the ever
moving and growing
textures in the
background. The rests
between long and short
phrases symbolize the
space in Chinese
paintings. The Beijing
Opera reciting tune, and
the fingerings to produce
sliding tones in the
performance of the
Chinese fiddle erhu are
also borrowed in the
writing and the
performing of the western
instruments. The musical
imagination of the violin
concerto came from an
ancient Chinese poem with
the same title, written
by Du Fu (712-770) in
Tang Dynasty. Happy Rain
on a Spring Night by Du
Fu (712-770 in Tang
Dynasty) Happy rain comes
in time, When spring is
in its prime. With night
breeze it will fall, And
quietly moisten all.
Clouds darken wild roads,
Light brightens a little
boat. Saturated at dawn,
With flowers blooming the
town. (English
translation by Chen Yi
from the original poem in
Chinese) The following is
the poem in its original
Chinese form, and the
detailed introduction on
the structural plan of
the violin concerto
Spring in Dresden. It's
like the welcome rain on
a quiet spring night that
nurtures the budding
seeds, our new society is
pushing us forward to the
new future. The music
reflects the scenes and
the expression according
to the meaning of the
poem when it's being
unfolded line by line.
Although the tempo is set
63 quarter notes per
minute throughout (played
vividly, never slow
down), the tension is
being built up from the
quiet background in the
beginning, to the
sustained climax towards
the end. The musical
image in Rehearsal A and
B (measures 39-80)
represents the first four
lines of the poem. The
wind instruments response
to the rustling of fast
moving notes on muted
string triplets,
decorated by occasional
strokes produced by
metallic string sound and
high woodwind gestures.
The music in Rehearsal C
and D (measures 81-126)
represents the next two
lines of the poem. It's
so dark, a little light
in the boat is shimmering
on the lake... The
breathy sound and key
slaps on the flutes
create a mysterious
atmosphere, in a dialogue
with other instruments.
The cello glissandi
recite the poem in the
tone of Mandarin, echoed
by the string harmonics.
The music in Rehearsal F,
G and H (m 129-202) is a
toccata, starting in the
orchestra (led by the
marimba), which builds up
a big shape, to reach the
climax in m. 157
(Rehearsal G, the
location of the Golden
Section, according to the
length of the music
without cadenzas), and
keeps the vivid scene
towards the coda (from
Rehearsal I, m. 203),
which stands on the
energetic peak until the
clear cutoff on measure
239, followed by the
short, yet powerful solo
conclusion with the
lingering echo produced
by the high string
harmonics. On the top,
there is a recall of the
three note motive in the
sound of wonderland,
touched by the motor-on
vibraphone meaningfully.
The music is written for
2 flutes, 2 oboes, 2
clarinets (in Bb), 2
bassoons, 4 French horns
(in F), 2 trumpets (in
Bb), 3 trombones, tuba,
harp, 3 percussion
players (Perc. 1:
xylophone; Perc. 2:
suspended cymbal,
Japanese high woodblock,
snare drum, bass drum and
vibraphone; Perc. 3:
marimba and tam-tam),
solo violin, and strings.
Duration is about 20
minutes. The violin
concerto is commissioned
by Friends of Dresden
Music Foundation for
American soloist Mira
Wang and the New York
Philharmonic and
Staatskapelle Dresden as
an American commemoration
of the reconstruction of
the Dresden Frauenkirche,
60 years after its
destruction in World War
II by American and
British Forces. The world
premiere is given at the
Semperoper in Dresden,
Germany, on October 9, 10
& 11, 2005, conducted by
Ivan Fischer.Full of
excitement and inner
power, the musical image
is vivid, energetic,
sometimeslyrical and
sometimes dramatic. The
major angular thematic
material (a three
notemotive) consists of
big leaps in interval (a
perfect fourth downward
and then a minorseventh
upward, first introduced
by the violin solo in
measures 27-29). Except
for thecadenzas which
stand at the middle
(Rehearsal E, measure
127) and the two ends of
the piece as a frame, the
virtuosic violin solo
line is always
accompanied by the ever
moving and growing
textures in the
background. The rests
between long and short
phrases symbolize the
space in Chinese
paintings. The Beijing
Opera reciting tune, and
the fingerings to produce
sliding tones in the
performance of the
Chinese fiddle erhu are
also borrowed in the
writing and the
performing of the western
instruments.The musical
imagination of the violin
concerto came from an
ancient Chinese poem with
the same title, written
by Du Fu (712-770) in
Tang Dynasty.Happy Rain
on a Spring Nightby Du Fu
(712-770 in Tang
Dynasty)Happy rain comes
in time,When spring is in
its prime.With night
breeze it will fall,And
quietly moisten
all.Clouds darken wild
roads,Light brightens a
little boat.Saturated at
dawn,With flowers
blooming the
town.(English translation
by Chen Yi from the
original poem in
Chinese)The following is
the poem in its original
Chinese form, and the
detailed introduction
onthe structural plan of
the violin concerto
Spring in
Dresden.It’s like
the welcome rain on a
quiet spring night that
nurtures the budding
seeds, our newsociety is
pushing us forward to the
new future. The music
reflects the scenes and
theexpression according
to the meaning of the
poem when it’s
being unfolded line by
line.Although the tempo
is set 63 quarter notes
per minute throughout
(played vividly,
neverslow down), the
tension is being built up
from the quiet background
in the beginning, tothe
sustained climax towards
the end. The musical
image in Rehearsal A and
B (measures39-80)
represents the first four
lines of the poem. The
wind instruments response
to therustling of fast
moving notes on muted
string triplets,
decorated by occasional
strokesproduced by
metallic string sound and
high woodwind gestures.
The music in RehearsalC
and D (measures 81-126)
represents the next two
lines of the poem. It's
so dark, a littlelight in
the boat is shimmering on
the lake... The breathy
sound and key slaps on
theflutes create a
mysterious atmosphere, in
a dialogue with other
instruments. The
celloglissandi recite the
poem in the tone of
Mandarin, echoed by the
string harmonics.
Themusic in Rehearsal F,
G and H (m 129-202) is a
toccata, starting in the
orchestra (led bythe
marimba), which builds up
a big shape, to reach the
climax in m. 157
(Rehearsal G,the location
of the Golden Section,
according to the length
of the music
withoutcadenzas), and
keeps the vivid scene
towards the coda (from
Rehearsal I, m. 203),
whichstands on the
energetic peak until the
clear cutoff on measure
239, followed by the
short,yet powerful solo
conclusion with the
lingering echo produced
by the high
stringharmonics. On the
top, there is a recall of
the three note motive in
the sound ofwonderland,
touched by the motor-on
vibraphone
meaningfully.The music is
written for 2 flutes, 2
oboes, 2 clarinets (in
Bb), 2 bassoons, 4 French
horns (in F), 2 trumpets
(in Bb), 3 trombones,
tuba, harp, 3 percussion
players (Perc.
1:xylophone; Perc. 2:
suspended cymbal,
Japanese high woodblock,
snare drum, bass drum and
vibraphone; Perc. 3:
marimba and tam-tam),
solo violin, and
strings.Duration is about
20 minutes. $55.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Gospel - Super Easy Songbook Piano Facile - Facile Hal Leonard
By Various. Super Easy Songbook. Gospel, Christian. Softcover. 112 pages. Pub...(+)
By Various. Super Easy
Songbook. Gospel,
Christian.
Softcover. 112 pages.
Published by Hal Leonard
$16.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Eden: Out of Time and Out of Space Theodore Presser Co.
Chamber Music Clarinet, Flute, Guitar, Horn, Viola, Violin, Violoncello SKU: ...(+)
Chamber Music Clarinet,
Flute, Guitar, Horn,
Viola, Violin,
Violoncello SKU:
PR.114420410
Chamber Concerto for
Guitar and Ensemble.
Composed by George
Rochberg. Set of Score
and Parts.
30+10+8+10+12+10+10+10
pages. Duration 20
minutes. Theodore Presser
Company #114-42041.
Published by Theodore
Presser Company
(PR.114420410). UPC:
680160687015. In
one of the dedicatory
poems to his verse play
The Shadowy Waters
(1906), William Butler
Yeats asks: Is Eden far
away...? Do our woods and
winds and verponds cover
more quiet woods, More
shining winds, more
star-glimmering ponds? Is
Eden out of time and out
of space? How do you
answer such questions? We
have only the vague
elusive promptings of our
own mysterious, troubled
hearts to tell us that
the Eden we long for is
there, somewhere beyond
the physical world which
frames our existence, in
another realm of
different dimensions. And
- what is most painful to
admit - that it is closed
to us in the form in
which we live and
breathe, even if at times
we do have
intimations..., Yeats is
telling us that this
paradise, this Eden we
yearn for is here -
present even if
invisible, palpable even
if intangible. In his
Second Symphony, Mahler
meets an angel who tells
him he can't get into
heaven, he's locked out.
The news is shattering.
What follows is an
inconsolable sorrowing,
the same sorrowing that
comes when we wake to the
realization that we too
are locked out of Eden.
Eden is the heaven of our
longing and desire for
release from pain and
suffering. Eden is the
image in our restive
minds that reflects the
reconciled, resolved,
quiescent state of soul
we hunger for. But Eden
eludes -because it is not
a place. It is a state of
soul which answers none
of the illusory,
hampering conditions that
shape and bind us to the
real world of our bodies,
our appetites, our
passions, and our
beliefs. I have turned
Yeats' question Is Eden
out of time and out of
space? into its own
answering. However near
we may sense its presence
at times, Eden remains
unreachable, ungraspable,
unknowable, unthinkable.
It forever eludes us. I
wrote this music the way
I did to shut out -with
quietness and
otherworldliness - the
clamor and clang of the
raucous Garish Day, to
turn away its tumult and
noise, to negate its
stridency and chaos.
Perhaps in the cleansing
stillness and blessing of
this emptied-out state of
soul, Eden, through still
hidden, may not be so far
way; though still
unreachable, may be close
enough almost to
touch. In one of the
dedicatory poems to his
verse play “The
Shadowy Watersâ€
(1906), William Butler
Yeats asks:“Is Eden
far away…?Do our
woods and windsand
verponds cover morequiet
woods,More shining
winds,more
star-glimmeringponds?Is
Eden out of timeand out
of space?â€How do
you answer such
questions? We have only
the vague elusive
promptings of our own
mysterious, troubled
hearts to tell us that
the Eden we long for is
there, somewhere beyond
the physical world which
frames our existence, in
another realm of
different dimensions. And
– what is most
painful to admit –
that it is closed to us
in the form in which we
live and breathe, even if
at times we do have
intimations…, Yeats
is telling us that this
paradise, this Eden we
yearn for is here
– present even if
invisible, palpable even
if intangible.In his
Second Symphony, Mahler
meets an angel who tells
him he can’t get
into heaven, he’s
locked out. The news is
shattering. What follows
is an inconsolable
sorrowing, the same
sorrowing that comes when
we wake to the
realization that we too
are locked out of
Eden.Eden is the heaven
of our longing and desire
for release from pain and
suffering. Eden is the
image in our restive
minds that reflects the
reconciled, resolved,
quiescent state of soul
we hunger for. But Eden
eludes –because it
is not a place. It is a
state of soul which
answers none of the
illusory, hampering
conditions that shape and
bind us to the real world
of our bodies, our
appetites, our passions,
and our beliefs.I have
turned Yeats’
question “Is Eden
out of time and out of
space?†into its
own answering. However
near we may sense its
presence at times, Eden
remains unreachable,
ungraspable, unknowable,
unthinkable. It forever
eludes us.I wrote this
music the way I did to
shut out –with
quietness and
otherworldliness –
the clamor and clang of
the raucous “Garish
Day,†to turn away
its tumult and noise, to
negate its stridency and
chaos. Perhaps in the
cleansing stillness and
blessing of this
emptied-out state of
soul, Eden, through still
hidden, may not be so far
way; though still
unreachable, may be close
enough almost to
touch. $50.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Eden: Out of Time and Out of Space Theodore Presser Co.
Chamber Music Clarinet, Flute, Guitar, Horn, Viola, Violin, Violoncello SKU: ...(+)
Chamber Music Clarinet,
Flute, Guitar, Horn,
Viola, Violin,
Violoncello SKU:
PR.11442041L
Chamber Concerto for
Guitar and Ensemble.
Composed by George
Rochberg. Large Score. 30
pages. Duration 20
minutes. Theodore Presser
Company #114-42041L.
Published by Theodore
Presser Company
(PR.11442041L). UPC:
680160687039. In
one of the dedicatory
poems to his verse play
The Shadowy Waters
(1906), William Butler
Yeats asks: Is Eden far
away...? Do our woods and
winds and verponds cover
more quiet woods, More
shining winds, more
star-glimmering ponds? Is
Eden out of time and out
of space? How do you
answer such questions? We
have only the vague
elusive promptings of our
own mysterious, troubled
hearts to tell us that
the Eden we long for is
there, somewhere beyond
the physical world which
frames our existence, in
another realm of
different dimensions. And
- what is most painful to
admit - that it is closed
to us in the form in
which we live and
breathe, even if at times
we do have
intimations..., Yeats is
telling us that this
paradise, this Eden we
yearn for is here -
present even if
invisible, palpable even
if intangible. In his
Second Symphony, Mahler
meets an angel who tells
him he can't get into
heaven, he's locked out.
The news is shattering.
What follows is an
inconsolable sorrowing,
the same sorrowing that
comes when we wake to the
realization that we too
are locked out of Eden.
Eden is the heaven of our
longing and desire for
release from pain and
suffering. Eden is the
image in our restive
minds that reflects the
reconciled, resolved,
quiescent state of soul
we hunger for. But Eden
eludes -because it is not
a place. It is a state of
soul which answers none
of the illusory,
hampering conditions that
shape and bind us to the
real world of our bodies,
our appetites, our
passions, and our
beliefs. I have turned
Yeats' question Is Eden
out of time and out of
space? into its own
answering. However near
we may sense its presence
at times, Eden remains
unreachable, ungraspable,
unknowable, unthinkable.
It forever eludes us. I
wrote this music the way
I did to shut out -with
quietness and
otherworldliness - the
clamor and clang of the
raucous Garish Day, to
turn away its tumult and
noise, to negate its
stridency and chaos.
Perhaps in the cleansing
stillness and blessing of
this emptied-out state of
soul, Eden, through still
hidden, may not be so far
way; though still
unreachable, may be close
enough almost to
touch. In one of the
dedicatory poems to his
verse play “The
Shadowy Watersâ€
(1906), William Butler
Yeats asks:“Is Eden
far away…?Do our
woods and windsand
verponds cover morequiet
woods,More shining
winds,more
star-glimmeringponds?Is
Eden out of timeand out
of space?â€How do
you answer such
questions? We have only
the vague elusive
promptings of our own
mysterious, troubled
hearts to tell us that
the Eden we long for is
there, somewhere beyond
the physical world which
frames our existence, in
another realm of
different dimensions. And
– what is most
painful to admit –
that it is closed to us
in the form in which we
live and breathe, even if
at times we do have
intimations…, Yeats
is telling us that this
paradise, this Eden we
yearn for is here
– present even if
invisible, palpable even
if intangible.In his
Second Symphony, Mahler
meets an angel who tells
him he can’t get
into heaven, he’s
locked out. The news is
shattering. What follows
is an inconsolable
sorrowing, the same
sorrowing that comes when
we wake to the
realization that we too
are locked out of
Eden.Eden is the heaven
of our longing and desire
for release from pain and
suffering. Eden is the
image in our restive
minds that reflects the
reconciled, resolved,
quiescent state of soul
we hunger for. But Eden
eludes –because it
is not a place. It is a
state of soul which
answers none of the
illusory, hampering
conditions that shape and
bind us to the real world
of our bodies, our
appetites, our passions,
and our beliefs.I have
turned Yeats’
question “Is Eden
out of time and out of
space?†into its
own answering. However
near we may sense its
presence at times, Eden
remains unreachable,
ungraspable, unknowable,
unthinkable. It forever
eludes us.I wrote this
music the way I did to
shut out –with
quietness and
otherworldliness –
the clamor and clang of
the raucous “Garish
Day,†to turn away
its tumult and noise, to
negate its stridency and
chaos. Perhaps in the
cleansing stillness and
blessing of this
emptied-out state of
soul, Eden, through still
hidden, may not be so far
way; though still
unreachable, may be close
enough almost to
touch. $44.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Eden: Out of Time and Out of Space Theodore Presser Co.
Chamber Music Clarinet, Flute, Guitar, Horn, Viola, Violin, Violoncello SKU: ...(+)
Chamber Music Clarinet,
Flute, Guitar, Horn,
Viola, Violin,
Violoncello SKU:
PR.11442041S
Chamber Concerto for
Guitar and Ensemble.
Composed by George
Rochberg. Full score. 30
pages. Duration 20
minutes. Theodore Presser
Company #114-42041S.
Published by Theodore
Presser Company
(PR.11442041S). UPC:
680160687022. In
one of the dedicatory
poems to his verse play
The Shadowy Waters
(1906), William Butler
Yeats asks: Is Eden far
away...? Do our woods and
winds and verponds cover
more quiet woods, More
shining winds, more
star-glimmering ponds? Is
Eden out of time and out
of space? How do you
answer such questions? We
have only the vague
elusive promptings of our
own mysterious, troubled
hearts to tell us that
the Eden we long for is
there, somewhere beyond
the physical world which
frames our existence, in
another realm of
different dimensions. And
- what is most painful to
admit - that it is closed
to us in the form in
which we live and
breathe, even if at times
we do have
intimations..., Yeats is
telling us that this
paradise, this Eden we
yearn for is here -
present even if
invisible, palpable even
if intangible. In his
Second Symphony, Mahler
meets an angel who tells
him he can't get into
heaven, he's locked out.
The news is shattering.
What follows is an
inconsolable sorrowing,
the same sorrowing that
comes when we wake to the
realization that we too
are locked out of Eden.
Eden is the heaven of our
longing and desire for
release from pain and
suffering. Eden is the
image in our restive
minds that reflects the
reconciled, resolved,
quiescent state of soul
we hunger for. But Eden
eludes -because it is not
a place. It is a state of
soul which answers none
of the illusory,
hampering conditions that
shape and bind us to the
real world of our bodies,
our appetites, our
passions, and our
beliefs. I have turned
Yeats' question Is Eden
out of time and out of
space? into its own
answering. However near
we may sense its presence
at times, Eden remains
unreachable, ungraspable,
unknowable, unthinkable.
It forever eludes us. I
wrote this music the way
I did to shut out -with
quietness and
otherworldliness - the
clamor and clang of the
raucous Garish Day, to
turn away its tumult and
noise, to negate its
stridency and chaos.
Perhaps in the cleansing
stillness and blessing of
this emptied-out state of
soul, Eden, through still
hidden, may not be so far
way; though still
unreachable, may be close
enough almost to
touch. In one of the
dedicatory poems to his
verse play “The
Shadowy Watersâ€
(1906), William Butler
Yeats asks:“Is Eden
far away…?Do our
woods and windsand
verponds cover morequiet
woods,More shining
winds,more
star-glimmeringponds?Is
Eden out of timeand out
of space?â€How do
you answer such
questions? We have only
the vague elusive
promptings of our own
mysterious, troubled
hearts to tell us that
the Eden we long for is
there, somewhere beyond
the physical world which
frames our existence, in
another realm of
different dimensions. And
– what is most
painful to admit –
that it is closed to us
in the form in which we
live and breathe, even if
at times we do have
intimations…, Yeats
is telling us that this
paradise, this Eden we
yearn for is here
– present even if
invisible, palpable even
if intangible.In his
Second Symphony, Mahler
meets an angel who tells
him he can’t get
into heaven, he’s
locked out. The news is
shattering. What follows
is an inconsolable
sorrowing, the same
sorrowing that comes when
we wake to the
realization that we too
are locked out of
Eden.Eden is the heaven
of our longing and desire
for release from pain and
suffering. Eden is the
image in our restive
minds that reflects the
reconciled, resolved,
quiescent state of soul
we hunger for. But Eden
eludes –because it
is not a place. It is a
state of soul which
answers none of the
illusory, hampering
conditions that shape and
bind us to the real world
of our bodies, our
appetites, our passions,
and our beliefs.I have
turned Yeats’
question “Is Eden
out of time and out of
space?†into its
own answering. However
near we may sense its
presence at times, Eden
remains unreachable,
ungraspable, unknowable,
unthinkable. It forever
eludes us.I wrote this
music the way I did to
shut out –with
quietness and
otherworldliness –
the clamor and clang of
the raucous “Garish
Day,†to turn away
its tumult and noise, to
negate its stridency and
chaos. Perhaps in the
cleansing stillness and
blessing of this
emptied-out state of
soul, Eden, through still
hidden, may not be so far
way; though still
unreachable, may be close
enough almost to
touch. $29.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Spirit Theodore Presser Co.
Chamber Music Clarinet SKU: PR.114419200 For solo Bb Clarinet. Com...(+)
Chamber Music Clarinet
SKU: PR.114419200
For solo Bb
Clarinet. Composed by
Shulamit Ran. Solo part.
With Standard notation. 8
pages. Duration 7
minutes. Theodore Presser
Company #114-41920.
Published by Theodore
Presser Company
(PR.114419200). ISBN
9781491114223. UPC:
680160671731. 9 x 12
inches. Spirit was
composed in memory of the
renowned clarinetist
Laura Flax. Laura
commissioned Ran’s
first solo clarinet work,
For an Actor: Monologue
for Clarinet, to premiere
with the Da Capo Chamber
Players in 1978. Ran
returned to the clarinet
in many compositions over
the years, sometimes as a
lead instrument and at
other times as an
important voice, yet
always inspired by
Laura’s rich
sound, blazing technique,
and the “brain and
guts†that she
brought to her playing.
As a memorial, Spirit is
not about absence, but
rather a celebration
displaying a wide range
of emotions, with at
least a tiny glimpse of
Laura’s brilliant
spirit and spiritedness.
Only in the work’s
final stretch does the
sense of parting and loss
take over. SPIRIT was
composed in memory of
Laura Flax (1952-2017),
the renowned New
York-based clarinetist
and my cherished friend.
Our musical and personal
association began in 1977
when Laura invited me to
compose a solo clarinet
work, For an Actor:
Monologue for Clarinet,
in memory of her mother,
Hazel Flax, whom I had
known.After composing For
an Actor for Laura I came
back to the clarinet in
many of my compositions
over the years, sometimes
as a lead instrument and
at other times as an
important voice. In all
of my clarinet music
Laura is present. The
rich sound, blazing
technique, the
“brain and
guts†that she
brought to her playing,
and her remarkable
person, have inspired me
in so many ways during
the four decades of our
friendship, and beyond.I
did not want Spirit to be
about absence, though. I
wanted the piece to
exhibit a wider range of
emotions, as well as
capture at least a tiny
glimpse of Laura’s
brilliant spirit and
spiritedness. Only in the
work’s final
stretch does the sense of
“parting,â€
and of loss, take
over.Upon completing
Spirit on October 21,
2017 I found myself
compelled to add at the
bottom of the score the
words “To Laura,
always in my
heart,†as though
in an effort to reach
out, for a brief moment,
and touch the
unreachable.—Shula
mit Ran. $9.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Pioneers Fanfare - Intermédiaire Anglo Music
Fanfare Band - Grade 3 SKU: BT.AMP-125-020 Composed by Philip Sparke. Ang...(+)
Fanfare Band - Grade 3
SKU:
BT.AMP-125-020
Composed by Philip
Sparke. Anglo Music
Midway Series. Concert
Piece. Set (Score &
Parts). Composed 2009.
Anglo Music Press #AMP
125-020. Published by
Anglo Music Press
(BT.AMP-125-020). 9x12
inches.
English-German-French-Dut
ch. In The Pioneers
Philip Sparke salutes the
bicentenary of an
expedition by two all
time American heroes -
Meriwether Lewis and
William Clark. They were
commissioned by US
President Thomas
Jefferson to find the
headwaters of the
Missouri and a route to
the Pacific following the
Louisiana Purchase, which
doubled the size of the
USA. They set out as the
‘Corps of
Discovery’ from
Louisville, Kentucky, in
May 1804 and not only did
they succeed in reaching
the Pacific through
hostile territory, but
also found their way back
- in 3 years! The piece
is not descriptive of the
journey but gives the
composer the opportunity
to celebrate the 200th
anniversary of this
amazing feat. Add a
touchof the wild-west to
any concert with this
exciting work.
De
titel van dit werk
verwijst naar het begin
van het avontuur van de
‘National
Children’s Brass
Band of Great
Britain’, maar
The Pioneers is
ook een eerbewijs aan
twee helden van de
componist: Meriwether
Lewis en William
Clark,die twee eeuwen
geleden op expeditie
gingen in opdracht van de
Amerikaanse president
Thomas Jefferson. Ze
vertrokken vanuit
Louisville, Kentucky in
mei 1804. Ze slaagden er
niet alleen in om de
Grote Oceaan te bereiken
doorvijandig gebied, maar
ze vonden ook hun weg
terug - in drie jaar! Het
werk beschrijft deze reis
niet, maar geeft de
componist de mogelijkheid
om deze geweldige
prestatie te
memoreren.
Der
Titel ist ein Salut an
die Zweihundertjahrfeier
einer Expedition von zwei
Heldenfiguren des
Komponisten - Meriwether
Lewis und William Clark.
Ihre Expeditionstruppe,
bekannt als das
‘Corps of
Discovery’,
erforschte das
Quellgebiet des Missouri
und fand eine Route zum
Pazifik durch feindliches
Gebiet. Der Komponist
ergriff die Gelegenheit,
den 200. Jahrestag dieser
Meisterleistung zu
feiern, mit diesem Werk,
das sich auch wunderbar
zur Umrahmung Ihres
nächsten festlichen
Anlasses
eignet.
Le 30
avril 1803, le Traité
de cession de la
Louisiane entre la France
et les États-Unis
était signé.
L’acquisition de
ces terres permet aux
États-Unis de doubler
la superficie de leur
territoire de
l’époque.
Meriwether Lewis et
William Clark sont alors
mandatés par le
président Thomas
Jefferson, pour
cartographier les sources
du Missouri et tracer une
voie vers le Pacifique.
Parti de Louisville dans
le Kentucky, en mai 1804,
le corps
expéditionnaire
(‘Corps of
Discovery’)
traverse
d’interminables
territoires hostiles,
réussit atteindre le
Pacifique et rentre au
terme d’un
périple de deux ans !
Cette composition ne fait
pas le récit du
voyage, mais permet au
compositeur
decommémorer les deux
cents ans de cette
fabuleuse expédition.
Il 30 aprile 1803
fu firmato il trattato di
cessione della Louisiana
tra la Francia e gli
Stati Uniti.
L’acquisizione di
queste terre permise agli
Stati Uniti di
raddoppiare la superficie
del proprio territorio.
L’allora
presidente Thomas
Jefferson incaricò
Meriwether Lewis e
William Clark di
cartografare le sorgenti
del fiume Missouri e
tracciare la strada verso
il Pacifico. Partita da
Louisville (Kentucky),
nel maggio del 1804, la
spedizione attraversò
interminabili territori
ostili, riuscendo a
raggiungere il Pacifico
per poi tornare alla base
di partenza al termine di
un periplo durato due
anni. Questo brano non
è un racconto del
viaggio, ma permette al
compositoredi commemorare
i duecento anni di questa
favolosa spedizione. $145.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| The Pioneers Fanfare - Intermédiaire Anglo Music
Fanfare Band - Grade 3 SKU: BT.AMP-125-120 Composed by Philip Sparke. Ang...(+)
Fanfare Band - Grade 3
SKU:
BT.AMP-125-120
Composed by Philip
Sparke. Anglo Music
Midway Series. Concert
Piece. Score Only.
Composed 2009. 40 pages.
Anglo Music Press #AMP
125-120. Published by
Anglo Music Press
(BT.AMP-125-120). 9x12
inches.
English-German-French-Dut
ch. In The Pioneers
Philip Sparke salutes the
bicentenary of an
expedition by two all
time American heroes -
Meriwether Lewis and
William Clark. They were
commissioned by US
President Thomas
Jefferson to find the
headwaters of the
Missouri and a route to
the Pacific following the
Louisiana Purchase, which
doubled the size of the
USA. They set out as the
‘Corps of
Discovery’ from
Louisville, Kentucky, in
May 1804 and not only did
they succeed in reaching
the Pacific through
hostile territory, but
also found their way back
- in 3 years! The piece
is not descriptive of the
journey but gives the
composer the opportunity
to celebrate the 200th
anniversary of this
amazing feat. Add a
touchof the wild-west to
any concert with this
exciting work.
De
titel van dit werk
verwijst naar het begin
van het avontuur van de
‘National
Children’s Brass
Band of Great
Britain’, maar
The Pioneers is
ook een eerbewijs aan
twee helden van de
componist: Meriwether
Lewis en William
Clark,die twee eeuwen
geleden op expeditie
gingen in opdracht van de
Amerikaanse president
Thomas Jefferson. Ze
vertrokken vanuit
Louisville, Kentucky in
mei 1804. Ze slaagden er
niet alleen in om de
Grote Oceaan te bereiken
doorvijandig gebied, maar
ze vonden ook hun weg
terug - in drie jaar! Het
werk beschrijft deze reis
niet, maar geeft de
componist de mogelijkheid
om deze geweldige
prestatie te
memoreren.
Der
Titel ist ein Salut an
die Zweihundertjahrfeier
einer Expedition von zwei
Heldenfiguren des
Komponisten - Meriwether
Lewis und William Clark.
Ihre Expeditionstruppe,
bekannt als das
‘Corps of
Discovery’,
erforschte das
Quellgebiet des Missouri
und fand eine Route zum
Pazifik durch feindliches
Gebiet. Der Komponist
ergriff die Gelegenheit,
den 200. Jahrestag dieser
Meisterleistung zu
feiern, mit diesem Werk,
das sich auch wunderbar
zur Umrahmung Ihres
nächsten festlichen
Anlasses
eignet.
Le 30
avril 1803, le Traité
de cession de la
Louisiane entre la France
et les États-Unis
était signé.
L’acquisition de
ces terres permet aux
États-Unis de doubler
la superficie de leur
territoire de
l’époque.
Meriwether Lewis et
William Clark sont alors
mandatés par le
président Thomas
Jefferson, pour
cartographier les sources
du Missouri et tracer une
voie vers le Pacifique.
Parti de Louisville dans
le Kentucky, en mai 1804,
le corps
expéditionnaire
(‘Corps of
Discovery’)
traverse
d’interminables
territoires hostiles,
réussit atteindre le
Pacifique et rentre au
terme d’un
périple de deux ans !
Cette composition ne fait
pas le récit du
voyage, mais permet au
compositeur
decommémorer les deux
cents ans de cette
fabuleuse expédition.
Il 30 aprile 1803
fu firmato il trattato di
cessione della Louisiana
tra la Francia e gli
Stati Uniti.
L’acquisizione di
queste terre permise agli
Stati Uniti di
raddoppiare la superficie
del proprio territorio.
L’allora
presidente Thomas
Jefferson incaricò
Meriwether Lewis e
William Clark di
cartografare le sorgenti
del fiume Missouri e
tracciare la strada verso
il Pacifico. Partita da
Louisville (Kentucky),
nel maggio del 1804, la
spedizione attraversò
interminabili territori
ostili, riuscendo a
raggiungere il Pacifico
per poi tornare alla base
di partenza al termine di
un periplo durato due
anni. Questo brano non
è un racconto del
viaggio, ma permette al
compositoredi commemorare
i duecento anni di questa
favolosa spedizione. $27.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Tower of Babel Orchestre d'harmonie - Avancé De Haske Publications
Concert Band/Harmonie - Grade 5 SKU: BT.DHP-1074199-010 Composed by Hayat...(+)
Concert Band/Harmonie -
Grade 5 SKU:
BT.DHP-1074199-010
Composed by Hayato
Hirose. Concert and
Contest Collection CBHA.
Concert Piece. Set (Score
& Parts). Composed 2007.
De Haske Publications
#DHP 1074199-010.
Published by De Haske
Publications
(BT.DHP-1074199-010).
9x12 inches.
English-German-French-Dut
ch. 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 Sätzen, die
ohne Unterbrechung zu
spielen sind. Sie
erzählen kunstvoll und
detailreich die
Geschichte vom Beginn des
Turmbaus über den Zorn
Gottes bis hin zur
Verwirrung der Sprachen
und der Zerstreuung der
Menschen über die
ganze Welt. Ein
großartiges Werk!
En 2006, Hayato
Hirose compose Tower
of Babel (La Tour de
Babel), une
œuvre dédiée
son professeur et
maître, le compositeur
belge Jan Van der Roost.
L’œuvre a
été donnée en
création mondiale, le
20 septembre 2006 Louvain
en Belgique, par
l’Orchestre
d’Harmonie de
l’Institut Lemmens
placé sous la
direction du
compositeur.Après le
Déluge, les
rescapés de
l’Arche de Noé
eurent une descendance
nombreuse. Partis de
l’orient, ils
trouvèrent une
vallée au pays de
Shinéar et ils s'y
établirent. Afin de ne
pas être dispersés
sur toute la surface de
la terre, ils
décidèrent de b tir
une ville et une tour -
la Tour de Babel - dont
le sommet toucherait le
ciel.Inquiet du dessein
des fils des hommes,
l’Éternel
descendit pour voir la
ville et la tour
qu’ils b
tissaient. Il confondit
leur langage afin qu'ils
ne se comprennent plus
les uns les autres.
Ainsi, ils cessèrent
de b tir la ville, et de
l L’Éternel
les dispersa sur toute la
surface de la terre.
(Genèse 11 : 1-9)
Hayato Hirose
s’est inspiré
du célèbre récit
biblique selon
l’Ancien Testament
pour composer cette
œuvre programme
dramatique en sept
mouvements, qui
s’enchaînent
sans interruption.1. La
Tour de Babel2. Venus de
l’orient3. La
construction de la tour4.
L’espoir5. Les
inquiétudes de
l’Éternel6. La
confusion7. La
dispersion. $256.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Tower of Babel Orchestre d'harmonie - Avancé De Haske Publications
Concert Band/Harmonie - Grade 5 SKU: BT.DHP-1074199-140 Composed by Hayat...(+)
Concert Band/Harmonie -
Grade 5 SKU:
BT.DHP-1074199-140
Composed by Hayato
Hirose. Concert and
Contest Collection CBHA.
Concert Piece. Score
Only. Composed 2007. 52
pages. De Haske
Publications #DHP
1074199-140. Published by
De Haske Publications
(BT.DHP-1074199-140).
9x12 inches.
English-German-French-Dut
ch. 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 Sätzen, die
ohne Unterbrechung zu
spielen sind. Sie
erzählen kunstvoll und
detailreich die
Geschichte vom Beginn des
Turmbaus über den Zorn
Gottes bis hin zur
Verwirrung der Sprachen
und der Zerstreuung der
Menschen über die
ganze Welt. Ein
großartiges Werk!
En 2006, Hayato
Hirose compose Tower
of Babel (La Tour de
Babel), une
œuvre dédiée
son professeur et
maître, le compositeur
belge Jan Van der Roost.
L’œuvre a
été donnée en
création mondiale, le
20 septembre 2006 Louvain
en Belgique, par
l’Orchestre
d’Harmonie de
l’Institut Lemmens
placé sous la
direction du
compositeur.Après le
Déluge, les
rescapés de
l’Arche de Noé
eurent une descendance
nombreuse. Partis de
l’orient, ils
trouvèrent une
vallée au pays de
Shinéar et ils s'y
établirent. Afin de ne
pas être dispersés
sur toute la surface de
la terre, ils
décidèrent de b tir
une ville et une tour -
la Tour de Babel - dont
le sommet toucherait le
ciel.Inquiet du dessein
des fils des hommes,
l’Éternel
descendit pour voir la
ville et la tour
qu’ils b
tissaient. Il confondit
leur langage afin qu'ils
ne se comprennent plus
les uns les autres.
Ainsi, ils cessèrent
de b tir la ville, et de
l L’Éternel
les dispersa sur toute la
surface de la terre.
(Genèse 11 : 1-9)
Hayato Hirose
s’est inspiré
du célèbre récit
biblique selon
l’Ancien Testament
pour composer cette
œuvre programme
dramatique en sept
mouvements, qui
s’enchaînent
sans interruption.1. La
Tour de Babel2. Venus de
l’orient3. La
construction de la tour4.
L’espoir5. Les
inquiétudes de
l’Éternel6. La
confusion7. La
dispersion. $52.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Tower Of Babel Sc/pts Full Score Orchestre d'harmonie - Avancé De Haske Publications
Concert Band/Harmonie (Score) - Grade 5 SKU: HL.44007209 Composed by Haya...(+)
Concert Band/Harmonie
(Score) - Grade 5 SKU:
HL.44007209 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). UPC:
884088239725. 9x12
inches.
English-German-French-Dut
ch. 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. $49.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Good Ol' Gospel Clavier Hal Leonard
E-Z Play Today #21. Composed by Various. E-Z Play Today. Gospel, Christi...(+)
E-Z Play Today
#21. Composed by
Various. E-Z Play Today.
Gospel, Christian,
Sacred. Softcover. 96
pages. Published by Hal
Leonard (HL.197200).
$15.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Little Black Songbook: Hit Songs For Ukulele Music Sales
| | |
| AirLine AWXm Micro UHF Wind Instrument Wireless System Hal Leonard
SKU: HL.301319 HM60 SYS D-Band. Samson Wireless. Wireless System. ...(+)
SKU: HL.301319
HM60 SYS D-Band.
Samson Wireless. Wireless
System. Hal Leonard
#SW9A9SHM60-D. Published
by Hal Leonard
(HL.301319). UPC:
809164222248. 9.5x9.0x3.5
inches. For the
working horn player who
is looking for the
freedom to go wireless,
the AirLine AWXm Wind
Instrument system offers
the latest in wireless
technology by pairing the
innovative ATX clip-on
transmitter with the
portable AR99m micro
receiver. Small enough to
fit into any gig bag,
this system provides high
definition sounds for
wind instruemtns without
the need of a beltpack or
cable. Features: ATX-End
Your Reach The ATX
wireless transmitter
enables easy,
inconspicuous mounting
while providing a secure
connection to the bell of
the instrument. The
innovative clip design
allows the performer to
easily switch between
instruemnts without the
hassle of a wire or
beltpack. Small enough to
fit in the palm of your
hand, the lightweight ATX
transmitter features a
rechargeable batery that
provides up to 8 hours of
continuous use, perfect
for any extended
performance. Clear as a
Bell Designed
specifically for live
peroformance, the HM60
condenser microphone
delivers the dynamic,
natural sound of the
instrument with a wide 20
Hz to 18 kHz frequency
response. Able to handle
high sound pressure
levels (SPL) of up to 125
dB, the HM60 is well
suited for close miking
brass and woodwind
instruments. The
supercardioid polar
pattern provides
excellent isolation of
the instrument while
reducing pickup of
unwanted ambient sounds.
The unique 3-point halo
isolation mount minimizes
mechanical vibrations and
keyclick noises. Micro
and Multifunctional With
True RF Diversity, the
AR99m micro receiver
ensures for maximum
wireless clarity with an
operating range up to
300'. With three output
connections (1/4-inch,
1/8-inch, and XLR), the
AR99m offers more
compatibility while being
a fraction of the size of
other receivers. With a
simple touch of a button,
the AR99m analyzes the
100 available channels
and selects the clearest
channel for your area.
Turn the AR99m into a
dual channel system by
connecting a Samson XPD
Series USB Digital
Wireless System (sold
separately).
Applications: •
Club-date musicians
• Wedding DJs and
performers • House
of worship •
Education/corporate
AV. $399.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| euphonia Professional Rotary Mixer Aucune valeur Hal Leonard
SKU: HL.1455816 AlphaTheta. DJ Gear. Hal Leonard #EUPHONIA. Published by ...(+)
SKU: HL.1455816
AlphaTheta. DJ Gear. Hal
Leonard #EUPHONIA.
Published by Hal Leonard
(HL.1455816). UPC:
841300102434.
19.0x21.0x9.0
inches. The
euphonia produces a
euphoric sound with the
clarity of digital and
the richness of analog
that's never been heard
from a DJ mixer before.
To deliver a clearer
sound quality that
accurately reproduces the
expression of the music,
the euphonia uses
high-quality 32-bit A/D
and D/A converters as
well as 96kHz/64 bit
floating point mixing
processing operations in
the DSP, utilizing the
digital signal processing
technology AlphaTheta has
developed over many
years. All sound coming
out of the euphonia
passes through a
transformer circuit
co-designed by AlphaTheta
and Rupert Neve Designs,
the legendary makers of
outstanding analog audio
circuitry and mixing
desks revered by artists
and sound engineers
around the world. This
transformer circuit,
tuned specifically for
the euphonia, adds
harmonics to the music
and creates a glossy and
energetic sound that's
smoother for mixing. Low
frequencies such as kicks
and bass are more stable
and punchy, mid
frequencies like vocals
and instruments have more
presence and gloss, and
high frequencies such as
hi-hats sound silky and
natural. The transformer
breaks down the barrier
between vintage live and
modern electric sounds,
making mixing easier and
surprisingly natural, as
if recordings in
different styles were
orginally one piece of
music. When you touch the
faders on the euphonia,
you won't want to let go.
To enhance its intuitive
mixing experience, the
unit is loaded with
rotary faders that
feature a brand-new
carefully developed
design to give you the
feeling that you and the
mixer are one. After
extensive testing, the
perfect knob sizers were
chosen, with an elastomer
applied to the outer
circumference of each to
ensure a comfortable and
reliable grip as well as
a high level of vibration
absorption. The uniquely
developed mechanism for
the faders also benefits
from optimum weighting.
You'll notice a
difference in the feel of
the knobs when you turn
them at different speeds,
as a smooth load is
applied when you turn a
knob slowly for delicate
fine-tuning and a limited
load level is applied
when you turn the knob
quickly to instantly
reach your intended
volume level. And the
fader volume curves have
been optimized through
feedback from numerous
DJs, enabling smooth and
natural mixing without
equalizing, so you can
concentrate on volume
control. This innovative
fader allows for musical
expression that will move
your audience and enhance
your performance. Get an
instant visual grasp of
the status of your mix
and the balance of tack
volume levels by glancing
at the euphonia's Energy
Visualizer. Conventional
VU meters only have 1
needle meter, making it
difficult for DJs to
graps multiple channel
levels at the same time.
But the euphonia's
uniquely developed Mix
Level Meter features a
needle meter for each
channel so you can
visually check the levels
for all channels and mix
smoothly. $3799.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Ada Productions OZ
Guitar solo - Intermediate SKU: DZ.DZ-4316 Composed by Mehmet Refik Kaya....(+)
Guitar solo -
Intermediate SKU:
DZ.DZ-4316 Composed
by Mehmet Refik Kaya.
Arranged by Celil Refik
Kaya. Score. Les
Productions d'OZ #DZ
4316. Published by Les
Productions d'OZ
(DZ.DZ-4316). ISBN
9782898522338. Ada
(Island) is a captivating
composition that was
originally written in
2011 for the Turkish
lute. This piece draws
its inspiration from the
tranquil and picturesque
atmosphere of Büyükada,
one of the charming
islands in the Sea of
Marmara. Büyükada, with
its serene landscapes,
historical architecture,
and tranquil shores,
serves as a perfect muse
for the evocative
melodies and intricate
harmonies that
characterize Ada
(Island).
Ada
(Island) was later
arranged for classical
guitar. This adaptation
allows the composition to
reach a broader audience
while retaining its
original charm and depth.
The classical guitar
arrangement highlights
the versatility of the
piece, maintaining its
delicate nuances and
evocative melodies, while
offering a new
perspective through the
guitar's distinctive
tonal
qualities.
Whether
performed on the Turkish
lute or the classical
guitar, Ada (Island)
remains a poignant
tribute to the enchanting
beauty of Büyükada,
capturing the island's
essence and transporting
listeners to its serene
shores.
«Ada
(Island)» est une
composition captivante
écrite à l'origine en
2011 pour le luth turc.
Cette pièce s'inspire de
l'atmosphère tranquille
et pittoresque de
Büyükada, l'une des
charmantes îles de la
mer de Marmara.
Büyükada, avec ses
paysages sereins, son
architecture historique
et ses rivages
tranquilles, constitue
une muse parfaite pour
les mélodies
évocatrices et les
harmonies complexes qui
caractérisent « Ada
(l'île) ».
Ada
(Island) a ensuite été
arrangé pour guitare
classique. Cette
adaptation permet à la
composition de toucher un
public plus large tout en
conservant son charme et
sa profondeur d'origine.
L'arrangement de guitare
classique met en valeur
la polyvalence du
morceau, en conservant
ses nuances délicates et
ses mélodies
évocatrices, tout en
offrant une nouvelle
perspective à travers
les qualités tonales
distinctives de la
guitare.
Qu'il
soit interprété au luth
turc ou à la guitare
classique, Ada (Île)
reste un hommage poignant
à la beauté
enchanteresse de
Büyükada, capturant
l'essence de l'île et
transportant les
auditeurs vers ses
rivages sereins. $4.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Greatest Hits -- The 1990s for Piano Piano, Voix Alfred Publishing
(Over 40 Pop Music Favorites). For Guitar; Keyboard; Piano; Voice. This ed...(+)
(Over 40 Pop Music
Favorites). For Guitar;
Keyboard; Piano; Voice.
This
edition:
Piano/Vocal/Guitar.
Artist/Personality; Book;
P/V/C Mixed Folio;
Piano/Vocal/Chords.
Greatest
Hits. Pop; Pop/Rock;
Rock.
264 pages. Published by
Alfred Music
$22.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Song of Thanksgiving Chorale SATB SATB, Piano Brookfield Press
Lord, to You Immortal Praise. Composed by Conrad Kocher. Arranged by John Leav...(+)
Lord, to You Immortal
Praise.
Composed by Conrad
Kocher.
Arranged by John Leavitt.
Brookfield Choral Series.
General Worship, Sacred,
Thanksgiving. Octavo. 8
pages. Published by
Brookfield Press
$2.10 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Noona Comprehensive Piano Complete Performer Level 2 Piano seul Heritage Music Press
By Walter Noona. Piano. Level: Level 2. Piano method. Published by Heritage Musi...(+)
By Walter Noona. Piano.
Level: Level 2. Piano
method. Published by
Heritage Music Press.
$14.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Scoring the Screen Hal Leonard
SKU: HL.194637 The Secret Language of Film Music. Music Pro Guides...(+)
SKU: HL.194637
The Secret Language of
Film Music. Music Pro
Guides. Composition,
Musicals Reference,
Songwriting. Softcover.
424 pages. Published by
Hal Leonard (HL.194637).
ISBN 9781495073731.
UPC: 888680641528.
7.0x10.0x1.071 inches.
Andy Hill Music Pro
Guides. Today,
musical composition for
films is more popular
than ever. In
professional and academic
spheres, media music
study and practice are
growing; undergraduate
and postgraduate programs
in media scoring are
offered by dozens of
major colleges and
universities. And
increasingly, pop and
contemporary classical
composers are expanding
their reach into cinema
and other forms of screen
entertainment. Yet a
search on Amazon reveals
at least 50 titles under
the category of film
music, and, remarkably,
only a meager few
actually allow readers to
see the music itself,
while none of them
examine landmark scores
like Vertigo, To Kill a
Mockingbird, Patton, The
Untouchables, or The
Matrix in the detail
provided by Scoring the
Screen: The Secret
Language of Film Music.
This is the first book
since Roy M.
Prendergast's 1977
benchmark, Film Music: A
Neglected Art, to treat
music for motion pictures
as a compositional style
worthy of serious study.
Through extensive and
unprecedented analyses of
the original concert
scores, it is the first
to offer both aspiring
composers and music
educators with a view
from the inside of the
actual process of
scoring-to-picture. The
core thesis of Scoring
the Screen is that music
for motion pictures is
indeed a language,
developed by the masters
of the craft out of a
dramatic and commercial
necessity to communicate
ideas and emotions
instantaneously to an
audience. Like all
languages, it exists
primarily to convey
meaning. To quote
renowned orchestrator
Conrad Pope (who has
worked with John
Williams, Howard Shore,
and Alexandre Desplat,
among others): “If
you have any interest in
what music 'means' in
film, get this book. Andy
Hill is among the handful
of penetrating minds and
ears engaged in film
music today.â€. $41.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Family Friends and God Song Edition CD GIA Publications
SKU: GI.G-008435 Composed by James V. Marchionda. Sacred. GIA Publication...(+)
SKU: GI.G-008435
Composed by James V.
Marchionda. Sacred. GIA
Publications #008435.
Published by GIA
Publications
(GI.G-008435).
Father Jim
travels the U.S., and
sometimes the world,
presenting parish
missions filled with
inspired speaking and
soul-touching song. This
album stems from Father
Jim's original recording
of Family, Friends, and
God: The Music and
Preaching of Fr. Jim
Marchionda (008421) and
includes only the songs
found on that first
inpsiring album. Listen
in your car, on walks, or
at home as Father Jim's
music speaks to your
heart about the
importance of family,
friends, and most of all,
God, in your life and how
you relate to the world
around you. $17.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Concerto Piano seul Theodore Presser Co.
Orchestra Piano SKU: PR.11641861SP Composed by William Kraft. Part. 35 pa...(+)
Orchestra Piano SKU:
PR.11641861SP
Composed by William
Kraft. Part. 35 pages.
Duration 21 minutes.
Theodore Presser Company
#116-41861SP. Published
by Theodore Presser
Company (PR.11641861SP).
UPC:
680160685202. What?
! - my composer
colleagues said - A
concerto for the piano?
It's a 19th century
instrument! Admittedly we
are in an age when
originally created
timbres and/or
musico-technological
formulations are often
the modus operandi of a
piece. Actually, this
Concerto began about two
years ago when, during
one of my creative jogs,
the sound of the
uppermost register of the
piano mingled with wind
chimes penetrated my
inner ear. The challenge
and fascination of
exploring and developing
this idea into an
orchestral situation
determined that some day
soon I would be writing a
work for piano and
orchestra. So it was a
very happy coincidence
when Mona Golabek phoned
to tell me she would like
discuss the Ford
Foundation commission.
After covering areas of
aesthetics and
compositional styles, we
found that we had a good
working rapport, and she
asked if I would accept
the commission. The
answer was obvious. Then
began the intensive
thought process on the
stylistic essence and
organization of the work.
Along with this went a
renewed study of
idiomatic writing for the
piano, of the kind
Stravinsky undertook with
the violin when he began
his Violin Concerto. By a
stroke of great fortune,
the day in February 1972
that I received official
notice from the Ford
Foundation of the
commission, I also
received a letter from
the Guggenheim Foundation
informing me I had been
awarded my second
fellowship. With the good
graces of Zubin Mehta and
Ernest Fleischmann,
masters of my destiny as
a member of the Los
Angeles Philharmonic, I
was relieved of my
orchestral duties during
the Hollywood Bowl
season. Thus I was able
to go to Europe to work
and to view the latest
trends in music
concentrating in London
(the current musical
melting pot and showcase
par excellence), Oslo,
Norway, for the Festival
of Scandinavian Music
called Nordic Days, and
Warsaw, Poland, for its
prestigious Autumn
Festival. Over half the
Concerto was completed in
that summer and most of
the rest during the 72-73
season with the final
touches put on during a
month as Resident Scholar
at the Rockefeller
Foundation's Villa
Serbelloni in Bellagio,
Italy. So much for the
external and
environmental influences,
except perhaps to mention
the birds of Sussex in
the first movement, the
bells of Arhus (Denmark)
in the second movement
and the bells of Bellagio
at the end of the
Concerto. Primary in the
conception was the
personality of Miss
Golabek: she is a
wonderfully vital and
dynamic person and a real
virtuoso. Therefore, the
soloist in the Concerto
is truly the protagonist;
it is she (for once we
can do away with the
generic he) who unfolds
the character and intent
of the piece. The first
section is constructed in
the manner of a
recitative - completely
unmeasured - with letters
and numbers by which the
conductor signals the
orchestra for its
participation. This
allows the soloist the
freedom to interpret the
patterns and control the
flow and development of
the music. The Concerto
is actually in one
continuous movement but
with three large
divisions of sufficiently
contrasting character to
be called movements in
themselves. The first
'movement' is based on a
few timbral elements: 1)
a cluster of very low
pitches which at the
beginning are practically
inaudibly depressed, and
sustained silently by the
sostenuto pedal, which
causes sympathetic
vibrating pitches to ring
when strong notes are
struck; 2) a single
powerful note indicated
by a black note-head with
a line through it
indicating the strongest
possible sforzando; 3)
short figures of various
colors sometimes ominous,
sometimes as splashes of
light or as elements of
transition; 4) trills and
tremolos which are the
actual controlling
organic thread starting
as single axial tremolos
and gradually expanding
to trills of increasingly
larger and more powerful
scope. The 'movement'
begins in quiescent
repose but unceasingly
grows in energy and
tension as the stretching
of a string or rubber
band. When it can no
longer be restrained, it
bursts into the next
section. The second
'movement,' propelled by
the released tension, is
a brilliant virtuosic
display, which begins
with a long solo of wispy
percussion, later joined
in duet with the piano.
Not to be ignored, the
orchestra takes over
shooting the material
throughout all its
sections like a small
agile bird deftly
maneuvering through
nothing but air, while
the piano counterposes
moments of lyricism. The
orchestra reaches a
climax, thrusting us into
the third 'movement'
which begins with a
cadenza-like section for
the piano. This moves
gently into an expressive
section (expressive is
not a negative term to
me) in which duets are
formed with various
instruments. There are
fleeting glimpses of
remembrances past, as a
fragmented
recapitulation. One
glimpse is hazily
expressed by strings and
percussion in a moment of
simultaneous contrasting
levels of activity, a
technique of which I have
been fond and have
utilized in various
fixed-free relationships,
particularly in my
Percussion Concerto,
Contextures and Games:
Collage No. 1. The second
half of the third
'movement; is a large
coda - akin to those in
Beethoven - which brings
about another display of
virtuosity, this time
gutsy and driving,
raising the Concerto to a
final climax, the soloist
completing the fragmented
recapitulation concept as
well as the work with the
single-note sforzando and
low cluster from the very
opening of the first
movement. $47.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Behold This Mystery (Cantata) Subito Music
SATB, S&T soloists & Chamber Orchestra SKU: SU.80209801 For SATB, S&T ...(+)
SATB, S&T soloists &
Chamber Orchestra SKU:
SU.80209801 For
SATB, S&T soloists &
Chamber Orchestra.
Composed by Daniel E.
Gawthrop. Vocal/Choral,
Sacred Choral. A
cappella. Choral Score.
Subito Music Corporation
#80209801. Published by
Subito Music Corporation
(SU.80209801).
Suitable for
concert or worship (esp.
All Saints) 1111; 2221;
timp, perc, hp, cel; stgs
Duration: 30'15 Text:
adapted from the New
Testament by Jane Griner
Published by: Dunstan
House Also available for
sale: Two churches, one
Presbyterian, one
Methodist, located in two
adjacent states, wanted
to commission a major
work for chorus and
orchestra to use in a
memorial service held
annually near the feast
of All Saints, but felt
that, considering the
costs involved in hiring
an orchestra for the
performance, they
couldn’t also
afford the commissioning
fee which an extended
work would necessitate.
Composer Daniel E.
Gawthrop put the two
directors in touch with
each other, and a joint
commission was conceived.
Originally, the plan
called for two completely
separate premières,
one at each church, but
as the directors
consulted on musical
matters they decided that
it would add an element
of ecumenism and outreach
to the project if they
joined the two choirs
together for both
performances.
Accordingly, on the first
of the two Sundays the
South Carolina
Presbyterians joined the
North Carolina Methodists
in their Sunday morning
services to sing the
première of Behold
This Mystery. On the
following Sunday the
travel was reversed for
the second première.
The involved choirs,
congregations, clergy and
directors all declared
the project a triumph.
Further performances
followed, and the piece
has now earned a place in
the small but
distinguished category
called Twentieth Century
Extended Works for Chorus
and Orchestra Which Have
Received More Than One
Performance. Behold This
Mystery is suitable
anywhere that you might
program a requiem, e.g.,
either in concert or
within the context of a
worship service. It lasts
about 27 minutes in
performance. Soprano and
Baritone soloists are
called for, although a
Tenor may be substituted
for the (rather high)
Baritone part if needed.
The choral parts are not
terribly difficult but
this is an extended work,
probably equivalent to
five or six typical
anthems. Instrumental
parts are not virtuosic;
collegiate and
professional ensembles
should have no trouble
preparing the piece with
only a few rehearsals.
Minimum order quantity: 8
copies. Perusal copies
are available by
contacting
office@DunstanHouse.com
b> (include the
organization name with
your request). To order
quantities fewer than
8. $9.50 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
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