| Blues and the Soul of Man Guitare notes et tablatures [Partition + Accès audio] Mel Bay
Guitar (fingerpicking) SKU: MB.30844M An Autobiography of Nehemiah Ski...(+)
Guitar (fingerpicking)
SKU: MB.30844M
An Autobiography of
Nehemiah Skip James.
Composed by Nehemiah Skip
James. Theory and
Reference, Squareback
saddle stitch. Style.
Book and online audio.
132 pages. Mel Bay
Publications, Inc
#30844M. Published by Mel
Bay Publications, Inc
(MB.30844M). ISBN
9781513464268. 8.75 x
11.75
inches. Skip James was one
of the most influential
early Bluesmen, but his
importance as a stylist
remained undiscovered
until he was brought out
of a long retirement by
the Folk/Blues revival of
the early 1960â??s. Born
in 1902 and raised in
Bentonia, Nehemiah Curtis
James was brought up in a
religious family: his
father was a bootlegger
who reformed and became a
Baptist preacher. Skip
learned piano in school
but picked up guitar from
his friend Henry Stuckey.
In 1931 Skip was picked
up by a scout for
Paramount Records and he
cut 26 tracks, of which
18 were released, in a
two day session at their
Grafton, Wisconsin
studios. These recordings
presented a unique and
haunting genius that
influenced legendary
bluesmen as Robert
Johnson, Kansas Joe McCoy
and Johnny Temple. But
the recordings sold
poorly, having been
released during the Great
Depression, and he
drifted into
obscurity. <
span style=font-family:
Arial;> We have included
as online downloads
Skipâ??s 1931
recordings. The crackling
sound of these rare
recordings cannot obscure
the brilliance of this
seminal Blues
master. After over 30
yearâ??s retirement from
music, Skip was
rediscovered by Blues
enthusiasts Bill Barth,
John Fahey and Henry
Vestine. They persuaded
Skip to appear at the
Newport Folk Festival in
1964, where his
renditions of his old
songs were still powerful
and moving. His
performances as well as
his old and new
recordings influenced a
generation of new
musicians: Eric Clapton,
Alan Wilson of Canned
Heat, Cream, Deep Purple,
Chris Thomas King, Alvin
Youngblood Hart, Derek
Trucks, Beck, Big Sugar,
John Martyn, Lucinda
Williams and Rory Block
to name a
few. Books on
legendary Blues musicians
written by white
musicologists tend to
offer a subjective
perspective on how the
artists felt, thought or
reacted. A tainted
picture is captured that
has more to do with the
writerâ??s social and
musical experiences. This
autobiography is
different. The words,
thoughts and feelings
come directly from the
artistâ??s lips. This is
the story of Nehemiah
â??Skipâ? James told
by Nehemiah â??Skipâ?
James. $24.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Irish Mandolin Playing: A Complete Guide Mandoline [Partition + Accès audio] - Facile Mel Bay
Composed by Philip John Berthoud. Squareback saddle stitch. Book and online audi...(+)
Composed by Philip John
Berthoud. Squareback
saddle stitch. Book and
online audio. Published
by Mel Bay Publications,
Inc (MB.99777M).
$24.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Alpinia. 3 Pieces for 5 Guitars or Guitar Ensemble (2011) Guitare [Conducteur et Parties séparées] Ut Orpheus
Guitar; Methods and Music for Children SKU: UT.CH-157 Composed by Giorgio...(+)
Guitar; Methods and Music
for Children SKU:
UT.CH-157 Composed by
Giorgio Signorile. Saddle
stitching. Classical.
Score and Parts. 40
pages. Ut Orpheus #CH
157. Published by Ut
Orpheus (UT.CH-157).
ISBN 9790215320369. 9
x 12
inches. Vals
d'la Masca; Il racconto
della Montagna; Sequenze
sotterranee
Th
e Alpinia Suite
was commissioned and
composed for the festival
<>
and is dedicated to my
friend and colleague Elio
Galvagno. It was
performed for the first
time on August 30, 2011,
in the Church of San
Giovanni in Saluzzo, by
an ensemble of
professional and student
guitarists from all over
Europe. This piece was
written to commemorate
the first ascent of mount
Monviso, by William
Mathews, Frederick
Jacomb, Jean Baptiste
Croz and Michel Croz,
exactly 150 years before,
on August 30,
1861. The first
movement is a small
Waltz. I imagined a
Masca (a sort of
alpine pixie, a teasing
sprite), dancing all
around the house and
playing tricks, mostly
harmless and funny. The
Masca is a
legendary and very
important character in
the folklore of my
valleys, and all
rationally inexplicable
events of everyday life
are ascribed to her -
such as objects that
cannot be found anymore,
holes in flour sacks,
salt in sugar
bowls... The next two
movements are a homage to
the Mountains. The Tale
is a sort of journal, a
bright and peaceful
chronicle of a hike
uphill, in which the
beauty of the place is
highlighted by an easy
harmony and a sweet
melody. After this,
Underground
sequences evokes that
same world in a darker
and nocturnal way; the
faster pace and the
choice of repeated and
varying patterns are
meant to show the
transformation of the
former environment into
something more complex
and tormented. Here
mountains are a metaphor
of human life, warts and
all: their sundrenched
slopes and their green
pasture grasslands, but
also their icy and
dangerous northern sides,
which demand calm,
training and
caution. (G.
Signorile). $27.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Cello Playing Vol 4 Schott
Cello (Vol 4) SKU: HL.49003448 A system of study from the very beginni...(+)
Cello (Vol 4) SKU:
HL.49003448 A
system of study from the
very beginning to a stage
of perfection.
Composed by Joachim
Stutschewsky. This
edition: Saddle
stitching. Sheet music.
Edition Schott.
Classical. 48 pages.
Schott Music #ED1588-02.
Published by Schott Music
(HL.49003448). ISBN
9790001033909. UPC:
842819102984.
9.0x11.75x0.153 inches.
German -
English. $28.99 - Voir plus => Acheter | | |
| Tomas Cruz Conga Method Volume 3 Advanced Conga [Partition + Accès audio] - Avancé Mel Bay
Timba: Modern Cuban Conga Rhythms. Composed by Tomas Cruz, with Kevin Moo...(+)
Timba: Modern Cuban
Conga Rhythms.
Composed by Tomas Cruz,
with Kevin Moore, Mike
Gerald and Orlando Fiol.
Squareback saddle stitch.
Book and online video.
Published by Mel Bay
Publications, Inc
(MB.20301M).
$22.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| 24 Caprices Violon - Intermédiaire/avancé Schott
In forme of Etudes, in all 24 keys. Composed by Jacques Pierre Joseph Rode. ...(+)
In forme of Etudes, in
all 24
keys. Composed by Jacques
Pierre Joseph Rode.
Edited by
Ulrich Groener. Arranged
by
Ida Bieler. This edition:
Saddle stitching. Sheet
music. String. 84 pages.
Schott Music #ED20584.
Published by Schott Music
$28.99 - Voir plus => Acheter | | |
| Frailing the Guitar Guitare notes et tablatures [Partition + Accès audio] Mel Bay
Unleashing the Clawhammer in Guitar Fingerpicking. Composed by Steve Baug...(+)
Unleashing the
Clawhammer in Guitar
Fingerpicking.
Composed by Steve
Baughman.
Saddle-stitched. Book and
online audio. 32 pages.
Published by Mel Bay
Publications, Inc
(MB.99739M).
$17.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| A New Approach to Odd-Times for Drum Set Batterie [Partition + CD] Mel Bay
Composed by Steve Lyman. For drum set. Saddle Stitched. Book/CD Set. Published b...(+)
Composed by Steve Lyman.
For drum set. Saddle
Stitched. Book/CD Set.
Published by Mel Bay
Publications, Inc
$14.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Music of Mexico for Acoustic Guitar Volume 1 Guitare notes et tablatures [Partition + Accès audio] - Intermédiaire Mel Bay
Composed by Ruben Delgado. For guitar. Saddle-stitched. Intermediate. Book and o...(+)
Composed by Ruben
Delgado. For guitar.
Saddle-stitched.
Intermediate. Book and
online audio. Published
by Mel Bay Publications,
Inc
$19.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Andante con variazioni WoO 44b Violoncelle, Piano - Facile Schott
Cello; Piano - easy to intermediate Cello and Piano. Composed by Ludwig van Beet...(+)
Cello; Piano - easy to
intermediate
Cello and Piano. Composed
by Ludwig van Beethoven
(1770-1827). Arranged by
Julius Berger. This
edition: Saddle
stitching. Sheet music.
String. Classical.
Softcover. 16 pages.
Schott Music #CB239.
Published by Schott Music
$13.99 - Voir plus => Acheter | | |
| 180 Beats Per Minute String Sextet Score And Parts Orchestre de chambre [Partition] - Avancé Schott
String sextet (2 Vl. * 2 Va. * 2 Vc. oder 2 Vl. * Va. * 3 Vc.) - difficult For s...(+)
String sextet (2 Vl. * 2
Va. * 2 Vc. oder 2 Vl. *
Va. * 3 Vc.) - difficult
For string sextet.
Composed by Jorg Widmann.
This edition: Saddle
stitching. Sheet music.
String Ensemble.
Softcover. Composed 1993.
76 pages. Duration 6'.
Schott Music #ED21265.
Published by Schott Music
$54.00 - Voir plus => Acheter | | |
| Bridgetower Fantasy for Violin and Piano Violon et Piano Schott
Violin and piano SKU: HL.49045822 For violin and piano. Composed b...(+)
Violin and piano SKU:
HL.49045822 For
violin and piano.
Composed by Vijay Iyer.
This edition: Saddle
stitching. Sheet music.
String Solo. Softcover.
Composed 2015. 72 pages.
Duration 15'. Schott
Music #ED30264. Published
by Schott Music
(HL.49045822). ISBN
9781540024749. UPC:
888680737764.
9.25x12.0x0.29
inches. The
Kreutzer Sonata was
originally dedicated not
to Rudolphe Kreutzer (who
never performed it) but
to George Bridgetower, a
famed 18th-century
Afro-European concert
violinist. In an early
draft, Beethoven jokingly
labeled the piece in
starkly racialized terms:
Sonata Mulattica composed
for the mulatto
Brischdauer, big wild
mulatto
composer.Beethoven and
Bridgetower performed the
premiere, which was by
all accounts a success,
and even featuring some
improvised embellishment
by the violinist. While
celebrating afterwards,
the two quarreled about
what Beethoven construed
as Bridgetower's insult
of a female acquaintance;
the composer then revoked
the original dedication,
adding Kreutzer's name
instead. The work gained
acclaim, while
Bridgetower's career
languished; he eventually
died in
poverty.Bridgetower has
been the subject of
considerable research and
speculation, most notably
in poet Rita Dove's book,
Sonata Mulattica. From
our 21st-century vantage,
considering Bridgetower's
unique circumstance, we
can only see him as an
ambiguous figure who, in
embodying difference,
provoked inspiration,
fantasy, desire, anger
and, finally, erasure.My
piece is a collection of
imaginings about George
Bridgetower. It is not
programmatic, but it
takes on an episodic
character, assembled from
contrasting fragments.
The dance rhythms,
recurring figures and
gestural contours are
intended to feature the
embodied expertise and
expressivity of the
performers, who at times
must access liminal
sounds and execute
complex synchronies. I am
grateful to Jenny Koh and
Shai Wosner for involving
me in their beautiful,
virtuosic
music-making. $70.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Benthien A Piano Aktiv Bd4 Piano seul - Intermédiaire Schott
Piano (NOTEN+CD) - intermediate SKU: HL.49032647 Die Methode fur Digit...(+)
Piano (NOTEN+CD) -
intermediate SKU:
HL.49032647 Die
Methode fur
Digitalpiano.
Composed by Axel
Benthien. This edition:
Saddle stitching. Sheet
music with CD. Edition
Schott. Edition with CD.
76 pages. Schott Music
#ED 8504-50. Published by
Schott Music
(HL.49032647). ISBN
9783795754051.
German. Dieses neue
Unterrichtswerk wendet
sich an alle, die das
Musizieren auf modernen
Digitalpianos erlernen
wollen, sei es im
Unterricht oder im
Selbststudium. Anfanger
jeder Altersstufe und
ohne musikalische
Vorkenntnisse, aber auch
Blaser, Gitarristen und
Sanger, die uber das
Tasteninstrument einen
Einstieg in Harmonielehre
und Komposition suchen,
finden hier in kompakten
Unterrichtseinheiten mit
popularen Songs und
nutzlichen Tipps einen
sicheren Weg zum Erfolg.
Das Werk ist fur
Einzelunterricht und in
ganz besonderer Weise
auch fur den gemischten
Gruppenunterricht mit
Tasteninstrumenten
geeignet. Zum Einhoren,
Mitspielen und als
motivierende Lernhilfe
ist eine CD
enthalten. $23.95 - Voir plus => Acheter | | |
| Benthien A Piano Aktiv Bd4 Piano seul - Intermédiaire Schott
Piano (KL) - intermediate SKU: HL.49032645 Die Methode fur Digitalpian...(+)
Piano (KL) - intermediate
SKU: HL.49032645
Die Methode fur
Digitalpiano.
Composed by Axel
Benthien. This edition:
Saddle stitching. Sheet
music. Edition Schott. 76
pages. Schott Music #ED
8504. Published by Schott
Music (HL.49032645).
ISBN 9783795751883.
German. Dieses neue
Unterrichtswerk wendet
sich an alle, die das
Musizieren auf modernen
Digitalpianos erlernen
wollen, sei es im
Unterricht oder im
Selbststudium. Anfanger
jeder Altersstufe und
ohne musikalische
Vorkenntnisse, aber auch
Blaser, Gitarristen und
Sanger, die uber das
Tasteninstrument einen
Einstieg in Harmonielehre
und Komposition suchen,
finden hier in kompakten
Unterrichtseinheiten mit
popularen Songs und
nutzlichen Tipps einen
sicheren Weg zum Erfolg.
Das Werk ist fur
Einzelunterricht und in
ganz besonderer Weise
auch fur den gemischten
Gruppenunterricht mit
Tasteninstrumenten
geeignet. Zum Einhoren,
Mitspielen und als
motivierende Lernhilfe
wird eine CD
angeboten. $27.99 - Voir plus => Acheter | | |
| A Choral Fantasia, Op. 51 [Conducteur d'étude / Miniature] Eulenburg
Chorus; Orchestra; Organ; Score (Study Score) Composed by Gustav Holst (1874-193...(+)
Chorus; Orchestra; Organ;
Score (Study Score)
Composed by Gustav Holst
(1874-1934). This
edition: Saddle
stitching. Sheet music.
Eulenburg
Taschenpartituren (Pocket
Scores). Classical. Study
Score. Op. 51. 32 pages.
Duration 17'. Eulenburg
Edition #ETP1098.
Published by Eulenburg
Edition
$14.99 - Voir plus => Acheter | | |
| Selected Songs Volume Ii (2) For Voice And Piano (or Orchestra) Piano, Voix Schott
Voice and piano (or orchestra) For Voice and Piano (or Orchestra). Composed by M...(+)
Voice and piano (or
orchestra)
For Voice and Piano (or
Orchestra). Composed by
Mikis Theodorakis
(1925-). This edition:
Saddle stitching. Sheet
music. Vocal. Softcover.
Composed 2002. 68 pages.
Duration 34'. Schott
Music #ED21658. Published
by Schott Music
$29.99 - Voir plus => Acheter | | |
| 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 | | |
| Classical Riqq Technique [Partition + Accès audio] Mel Bay
Hand percussion and bodhran - Beginning; Intermediate; Advanced SKU: MB.22062...(+)
Hand percussion and
bodhran - Beginning;
Intermediate; Advanced
SKU: MB.22062M
Composed by Michel Merhej
Baklouk. Squareback
saddle stitch,
Percussion: Hand
Percussion and Bodhran,
Method. World Music. Book
and online audio. 128
pages. Mel Bay
Publications, Inc
#22062M. Published by Mel
Bay Publications, Inc
(MB.22062M). ISBN
9781513460536. 8.75 x
11.75 inches. Built
around the life and
teachings of master
percussionist, Michel
Merhej Baklouk, this book
has been designed as a
biographical tribute, a
teaching manual, and a
resource guide for anyone
wishing to develop a
deeper understanding of
the role that percussion
plays in Near Eastern
Arabic music. This book
differs from most
technique manuals in that
it includes historical
information about Arabic
music as it pertains to
the life and work of a
single artist, Michel
Merhej Baklouk.The book
is composed of three
parts: Introduction,
Lessons, and Reference
Information. Each part is
written to stand on its
own as well as fit with
the whole so that readers
can approach the book
either as individual
articles and lessons, or
in its entirety, to be
read from cover to cover.
By presenting Michel's
work in this way, we hope
to appeal to a wider
audience, percussion
students at varying skill
levels and from varying
music disciplines and
backgrounds, students of
music and Middle Eastern
studies, or anyone else
interested in twentieth
century Arab music and
culture.The first part,
Introduction, contains
several essays about
Michel's life, his
teaching philosophy,
pedagogical practices,
musical aesthetics and
performance practices.
Although these sections
may be read
independently, they are
also designed to help
percussion students apply
the book's lessons to
their own playing and
musical
interpretations.The
technical focus of this
book is on the riqq;
however, students of
Arabic music (beginning
through advanced) can
adapt the practical
exercises to gain mastery
of the percussion
instrument(s) of their
choice.The second part,
Lessons, begins with
information about how to
hold the percussion
instrument (case in
point: the riqq) and how
to practice effectively.
It then presents the body
of exercises that Michel
developed for his
students. These exercises
have been taken directly
from Michel's notated
lessons, which he
developed into units
corresponding to levels
of proficiency, or
academic years as he
taught them at the
Conservatory in Beirut;
however, for the purposes
of this book, the
exercises are reorganized
to correspond to subject
matter and only roughly
mirror Michel's
conservatory sequence.
Unit 1, Technique
Building Exercises, is
aimed at novice players
or anyone who is new to
reading music. Units 2
through 5 focus on
specific rhythmic
structures with
increasing complexity.
Students should master
each unit of exercises
before proceeding to the
next unit. The third
part, Reference
Information, includes a
notation reference, a
list of rhythms, a list
of further reading
recommendations, and a
glossary of Arabic music
terms, many of which are
used in the text. All
Arabic words in this book
appear in italics, except
proper names, and with
the exception of some
proper Arab names, the
text is essentially
written in the standard
system of transliteration
used by the Library of
Congress and most
academic literature
Throughout the book you
will see quotations from
Michel offset in the
text. These prosaic
tidbits may be words of
wisdom, interesting
anecdotes about Michel's
life, or insights into
his work and world of
music.Each provides a
glimpse into the
personality of this
exceptional musician. As
a technical manual for
students of Arabic
percussion, Classical
Riqq Technique provides
specific exercises and
explores important
concepts, some of which
are rarely taught, even
in private lessons. At
the same time, this book
strives for a broader
goal, to present and
preserve classical
percussion from the
perspective of a master
who not only lived in but
also influenced the
golden age of Arabic
music. Includes access to
online audio. $22.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Bläserbuch zum Gotteslob Barenreiter
Voice 4 (Bass)in B (Notviolin)(Tsecond romb,Tthird romb,horn-Bar,Euph,B-Tuba ) (...(+)
Voice 4 (Bass)in B
(Notviolin)(Tsecond
romb,Tthird
romb,horn-Bar,Euph,B-Tuba
) (4. Voice (Bass) in B
(Treble clef) (2.
Trombone, 3. Trombone,
Baritone horn, Euphonium,
B-Tuba)) SKU:
BA.BA11242-49 Edited
by Andreas Dewey,
Bernhard Blitsch, and
Richard Mailänder.
Ring stitching. Eigenteil
des Erzbistums Köln.
Single part. 82 pages.
Baerenreiter Verlag
#BA11242_49. Published by
Baerenreiter Verlag
(BA.BA11242-49). ISBN
9790006563630. 15 x 21 cm
inches. The
acclaimed percussionist
Christian Dierstein has
joined forces with a
research group at the
Basel Academy of Music to
examine the techniques of
percussion playing from
an innovative
perspective. The main
focus falls less on the
instruments than on their
sound producers: beaters,
mallets, sticks, bows,
specific manual
techniques up to and
including electronic
pulse generators. This
book describes all of
them in detail and
illustrates their range
of application in
carefully selected and
annotated examples from
the repertoire.
Many essays by guest
authors such as Nicolaus
A. Huber, Steven Schick,
Fritz Hauser and Bernhard
Wulff relate the
performance descriptions
to ongoing aesthetic
debates. They reveal that
sound production and
interaction with
sound-generating objects
have moved centre stage
in contemporary
composition and its
expanded concepts of
material and performance.
The result is a
comprehensive reference
book for composers and
performers that will also
serve as a source of
inspiration for future
innovative approaches in
percussion
playing.
The
authors Christian
Dierstein completed his
musical studies with
Bernhard Wulff
(Freiburg), Gaston
Sylvestre (Paris) and
Wassilios Papadopulus
(Mannheim). A multiple
prize-winner at music
competitions, he has
played percussion
withEnsemble
Recherchesince 1988
andTrio Accantosince 1994
together with Nic Hodges
and Marcus Weiss. In
addition he has been
professor of percussion
and contemporary chamber
music at the Basel
Academy of Music since
2001.
Michel Roth
is professor of
composition and music
theatre at the Basel
Academy of Music and a
member of its research
department. As a composer
he is a regular guest at
music festivals, recently
with a focus on music
theatre. In 2017
Barenreiter published
hisTechniques of Trombone
Playingco-written with
Mike Svoboda. This was
awarded theBest
Editionprize by the
German Music Publishers
Association in
2018.
Jens Ruland
studied percussion with
Carlos Tarcha at the
Cologne University of
Music (2007-12) where he
completed his performance
and teaching degree with
distinction. Since 2012
he has consolidated his
studies with Christian
Dierstein in Basel. He is
a founding member ofhand
werk(Cologne),232
percussion(Cologne),Ensem
ble New4Art(Switzerland)
and the music theatre
duoAkt-tkA(Spain and
Switzerland).
$15.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| String Quartet No. 8 Quatuor à cordes: 2 violons, alto, violoncelle Merion Music
Chamber Music String Quartet SKU: PR.144407270 Composed by Sydney F. Hodk...(+)
Chamber Music String
Quartet SKU:
PR.144407270 Composed
by Sydney F. Hodkinson.
Sws. Set of Score and
Parts. 44+16+16+16+16
pages. Duration 22
minutes. Merion Music
#144-40727. Published by
Merion Music
(PR.144407270). UPC:
680160681891. 9 x 12
inches. My Eighth
and Ninth String
Quartets, begun in late
2017, are sonic cousins.
Akin to real cousins,
each piece exhibits
differing natures. They
were requested by two
ensembles that have
become asecond familiesa
to me: The Jupiter
Quartet of Urbana,
Illinois and the Amernet
Quartet based in Miami,
Florida. Their collective
dedication to, and care
for, our art remains a
personal and constant
are-fuelinga for me. The
quartets were
commissioned by, and
dedicated to, Margaret
and Philip Verleger of
Denver, Colorado.
Additional financial
support was provided by
the School of Music at
Stetson University,
Timothy Peter, Dean.
Quartet No.8 is laid out
in a classical
four-movement design. The
work does break somewhat
from conventional
tradition by often
placing quartet members
into soloistic roles as
the movement titles note.
individual The opening
piece presents at the
outset a three-note motto
which is turned over,
tumbled, and
energetically discussed,
primarily by a violin
duet. It is a duel. The
two players part company
only infrequently during
the movement's progress,
pausing briefly for other
commentary by their
alower cohortsa, the
Viola and Cello do not
argue, but abet their
friends' aeffortsa. The
piece's overall character
is fairly bright and
dancelike, closing in an
unresolvedastandoffa. not
Two principal
asound-objectsa stitch
the second movement
scherzo together: sliding
hands (glissandos) and a
plucked ashufflea
(pizzicato) - both
instigated by the (solo)
cellist. The others are
influenced - or are not -
by their aleadera, and
follow - or interrupt -
the cello throughout
their four-voiced
conversation. The third
movement (longest of the
set) is an elegy
dedicated to the memory
of a close personal
friend, the American
composer David Maslanka
(1943 - 2017). Its'
genesis is a simple
5-note melody derived
from my own name
(SaC/DaC/EaC/H). This
line commences in the
(solo) viola and is
obsessively uttered
without relief during the
movement's lamentations.
The closing movement
revisits much of that
opening three-note
material, but now dressed
up for the full quartet
to view. It is a slowly
accelerating romp which -
twice - cannot avoid a
nod to the Amernet and
Jupiter performers by
offering a humble bow to
the 4th movement of
Gustav Holst's PLANETS -
Jupiter: The Bringer of
Jollity. My quartet
serves as an honouring
salute of thanks for the
talent, respect, and
friendship of these two
young quartets. STRING
QUARTET No. 8 is roughly
22 minutes in duration.
It was written as an
homage to Franz Joseph
Haydn, my
adesert-island-composera,
and completed in Holly
Hill, Florida in early
April of 2019. S.H. $70.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| String Quartet No. 8 Quatuor à cordes: 2 violons, alto, violoncelle [Conducteur] Merion Music
Chamber Music String Quartet SKU: PR.14440727S Composed by Sydney F. Hodk...(+)
Chamber Music String
Quartet SKU:
PR.14440727S Composed
by Sydney F. Hodkinson.
Sws. Full score. 44
pages. Duration 22
minutes. Merion Music
#144-40727S. Published by
Merion Music
(PR.14440727S). UPC:
680160681907. 9 x 12
inches. My Eighth
and Ninth String
Quartets, begun in late
2017, are sonic cousins.
Akin to real cousins,
each piece exhibits
differing natures. They
were requested by two
ensembles that have
become asecond familiesa
to me: The Jupiter
Quartet of Urbana,
Illinois and the Amernet
Quartet based in Miami,
Florida. Their collective
dedication to, and care
for, our art remains a
personal and constant
are-fuelinga for me. The
quartets were
commissioned by, and
dedicated to, Margaret
and Philip Verleger of
Denver, Colorado.
Additional financial
support was provided by
the School of Music at
Stetson University,
Timothy Peter, Dean.
Quartet No.8 is laid out
in a classical
four-movement design. The
work does break somewhat
from conventional
tradition by often
placing quartet members
into soloistic roles as
the movement titles note.
individual The opening
piece presents at the
outset a three-note motto
which is turned over,
tumbled, and
energetically discussed,
primarily by a violin
duet. It is a duel. The
two players part company
only infrequently during
the movement's progress,
pausing briefly for other
commentary by their
alower cohortsa, the
Viola and Cello do not
argue, but abet their
friends' aeffortsa. The
piece's overall character
is fairly bright and
dancelike, closing in an
unresolvedastandoffa. not
Two principal
asound-objectsa stitch
the second movement
scherzo together: sliding
hands (glissandos) and a
plucked ashufflea
(pizzicato) - both
instigated by the (solo)
cellist. The others are
influenced - or are not -
by their aleadera, and
follow - or interrupt -
the cello throughout
their four-voiced
conversation. The third
movement (longest of the
set) is an elegy
dedicated to the memory
of a close personal
friend, the American
composer David Maslanka
(1943 - 2017). Its'
genesis is a simple
5-note melody derived
from my own name
(SaC/DaC/EaC/H). This
line commences in the
(solo) viola and is
obsessively uttered
without relief during the
movement's lamentations.
The closing movement
revisits much of that
opening three-note
material, but now dressed
up for the full quartet
to view. It is a slowly
accelerating romp which -
twice - cannot avoid a
nod to the Amernet and
Jupiter performers by
offering a humble bow to
the 4th movement of
Gustav Holst's PLANETS -
Jupiter: The Bringer of
Jollity. My quartet
serves as an honouring
salute of thanks for the
talent, respect, and
friendship of these two
young quartets. STRING
QUARTET No. 8 is roughly
22 minutes in duration.
It was written as an
homage to Franz Joseph
Haydn, my
adesert-island-composera,
and completed in Holly
Hill, Florida in early
April of 2019. S.H. $34.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Last Door Of Light Chamber Orchestra Study Score Schott
Chamber orchestra (1.2.0.2-2.2.0.0-timp-str (7.6.5.4.3)) SKU: HL.49019531 ...(+)
Chamber orchestra
(1.2.0.2-2.2.0.0-timp-str
(7.6.5.4.3)) SKU:
HL.49019531 For
chamber orchestra.
Composed by Sir Peter
Maxwell Davies. This
edition: Saddle
stitching. Sheet music.
Study Score. Softcover.
Composed 2008. Op. 293.
48 pages. Duration 20'.
Schott Music #ED13522.
Published by Schott Music
(HL.49019531). ISBN
9790220133879. UPC:
884088945466.
8.25x11.75x0.194
inches. Peter
Maxwell Davies was
thinking of individual
and communal
vulnerability when
composing this piece,
especially in relation to
the problem of climate
change and his home in
the Orkney Islands, which
is under threat from
rising sea levels.
However, this theme is
not a completely negative
one: Davies claims we
must all enter the last
door of light but the
journey is full of light
and joy. The melody at
the start of the work,
which Davies composed in
the '70's and never used,
could be an Island folk
melody and is subject to
constant transformation
throughout the piece
before reaching
apotheosis at the
end. $28.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Blues Harmonica Jam Tracks and Soloing Concepts #3 Harmonica [Partition + Accès audio] Mel Bay
Harmonica - Beginning-Intermediate SKU: MB.99115M Level 3: Complete Bl...(+)
Harmonica -
Beginning-Intermediate
SKU: MB.99115M
Level 3: Complete
Blues Harmonica Lesson
Series. Composed by
David Barrett. Blues
Harp, Saddle-stitched,
Style, Harmonica:
Diatonic. Harmonica
Masterclass Lesson.
Blues. Book and online
audio. 36 pages. Mel Bay
Publications, Inc
#99115M. Published by Mel
Bay Publications, Inc
(MB.99115M). ISBN
9780786686339. 8.75 x
11.75 inches. Blues
Harmonica Jam Tracks and
Soloing by David Barrett
covers a variety of
subjects including heads,
hooks, bridges, unison
playing, harmony playing,
instrumental song
construction and comping.
The jam tracks present
songs just as they would
be performed live or on a
recording. Guest artists
on the jam tracks include
Gary Smith, R.J. Mischo,
Gary Primich, Andy Just,
Tom Ball, Joe Filisko,
Mitch Kashmar and Mark
Hummel. Along with the
jam tracks, the audio
download recording also
contains samples of all
notated examples.
Includes access to online
audio.
â?¢
Covers a variety of
subjects including heads,
hooks, comping, and
more â?¢ Jam tracks
present songs as they
would be live â?¢
Full of guest artists:
Gary Smith, Andy Just,
Mitch Kashmar, Mark
Hummel. $14.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Variations on an American Folk Song (Colorado Trail) Op. 28 for Guitar Guitare Ut Orpheus
Composed by John W. Duarte (1919-). Edited by Richard Alexander Vaughan. Saddl...(+)
Composed by John W.
Duarte
(1919-). Edited by
Richard
Alexander Vaughan. Saddle
stitching. Classical. Ut
Orpheus #CH 359.
Published by
Ut Orpheus
$14.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Irish Fiddle Playing - Volume 2 Violon [Partition + Accès audio] - Intermédiaire Mel Bay
A Guide for the Serious Player. Composed by Philip John Berthoud. Squareb...(+)
A Guide for the
Serious Player.
Composed by Philip John
Berthoud. Squareback
saddle stitch. Book and
online audio. Published
by Mel Bay Publications,
Inc (MB.99776M).
$22.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
Page suivante 1 31 61 |