By Ira Gershwin, George Gershwin. Arranged by Mark Hayes. For SoundPax. Choral O...(+)
By Ira Gershwin, George
Gershwin. Arranged by
Mark Hayes. For SoundPax.
Choral Octavo. Pop
Choral. Instrumental
Accompaniment. 64 pages.
Published by Alfred
Publishing.
Movement IX from The Lost Birds. Composed by Christopher Tin. BH Secular Chora...(+)
Movement IX from The Lost
Birds. Composed by
Christopher
Tin. BH Secular Choral.
Concert, Poetry. Octavo.
12
pages. Duration 140
seconds.
Hal Leonard #M051486045.
Published by Hal Leonard
By Ira Gershwin, George Gershwin. Arranged by Mark Hayes. For Choir. (SATB). Ch...(+)
By Ira Gershwin, George
Gershwin. Arranged by
Mark Hayes. For Choir.
(SATB). Choral Octavo.
Pop Choral. Choral
Octavo. 12 pages.
Published by Alfred
Publishing.
Band/Orchestra (Mallet and Miscellaneous Percussion). Published by Alfred Publis...(+)
Band/Orchestra (Mallet
and Miscellaneous
Percussion). Published by
Alfred Publishing. This
book provides etudes that
will develop the various
technical elements
involved in 4-mallet
playing, and also
introduces students to a
variety of contemporary
harmonic, rhythmic and
notational styles, and
different musical forms.
Contemporary Etudes for 3
and 4 Mallets still
provides one of the few
pathways leading students
from traditional
harmonies, simple rhythms
and conventional notation
to the complexity and
variety of musical styles
they will encounter in
the 21st century.
Full Score. Composed by Poul Ruders. Music Sales America. Classical. Scor...(+)
Full Score.
Composed by Poul Ruders.
Music Sales America.
Classical. Score Only.
Composed 2017. 80 pages.
Edition Wilhelm Hansen
#WH32201. Published by
Edition Wilhelm Hansen
(HL.232526).
First Sonata on Shakespearean Characters Solo Guitar. Composed by Hans Werner ...(+)
First Sonata on
Shakespearean
Characters Solo Guitar.
Composed by Hans Werner
Henze
(1926-). Edited by Marco
Minà.
Guitar. Classical.
Softcover.
48 pages. Duration 1500
seconds. Schott Music
#GA580.
Published by Schott Music
Composed by Alban Berg (1885-1935) and Alban Berg (1885-1935). Contemporary. Per...(+)
Composed by Alban Berg
(1885-1935) and Alban
Berg (1885-1935).
Contemporary. Performance
score. With Standard
notation. 20 pages.
Universal Edition
#UE36674. Published by
Universal Edition
(PR.UE036674).
Suite No. 1 Guitare Guitare classique [Conducteur] - Avancé Productions OZ
Guitar solo - Advanced SKU: DZ.DZ-4308 Composed by Giorgio Mirto. Score. ...(+)
Guitar solo - Advanced
SKU: DZ.DZ-4308
Composed by Giorgio
Mirto. Score. Les
Productions d'OZ #DZ
4308. Published by Les
Productions d'OZ
(DZ.DZ-4308).
ISBN
9782898522253.
Foll
owing a recent experience
on the jury of a guitar
competition, I noted with
great pleasure that
Giorgio Mirto, with whom
I had shared the role of
juror, wanted to
celebrate the experience
of the competition -
during from which we
discovered that we had
had a great affinity of
thought - with something
which could endure over
time and not evaporate as
often happens in short
and occasional meetings
between musicians. He did
it as a true composer,
which he is, and
dedicated to me a very
beautifully crafted Suite
to which I allowed myself
to collaborate at least
formally, by suggesting
titles for the four
movements. This is how
Suite n.1 was born, a
piece that does not
strictly respect the
formal rules of the
Baroque era, but
reinterprets and reuses
them in a new key. The
work's obvious late
Baroque inspiration led
me to find titles that
invited the performer to
delve deeper into the
work's aesthetic
inspiration. So I
suggested to Giorgio that
he title the four
movements with something
that linked their content
to four greats of the
18th century. German
masters. The prelude has
thus become from Eisenach
because of its sometimes
improvised Bach-like
atmosphere, the second
movement, vaguely
toccata, speaks an organ
language in the manner of
Buxtehude (who lived in
Lübeck), the slow
movement has a Handelian
quality - and Handel was
born in Halle - and the
last movement, far from
being a true Chaconne,
undoubtedly has the
latter's taste for
variation and ostinato,
typical traits of
Telemann who lived in
Magdeburg. The cities
that appear in the titles
are therefore indelible
to the authors cited.
Furthermore, one should
not think that the style
of the work is in any way
German, given that
Giorgio Mirto expresses
himself in a very joyful
language that synthesizes
modality with minimalism,
all seasoned with a a nod
to Pink's progressive
rock Floyd. or a Mike
Oldfield... The result of
this mixture of ideas,
inspirations and styles
is a work that personally
I never tire of reading
and rereading, for the
freshness that emanates
from it and for the
climate expressive which
rises, nourishing itself
with full efficiency. We
ultimately cannot ignore
that the note B, the one
which marks in a minor
way some of the most
expressive works of the
guitar repertoire, from
the study of Sor which
made generations of
students fall in love
with the guitar, until to
that of Frank Martin's
Four Pieces via La
Catedral di Barrios, is
the modal fulcrum of the
entire Suite: it is true
that the Prelude begins
with a clear chord in E
minor and lingers on an
open ending in A minor ,
but it almost seems that
the initial E serves as a
launching pad for a
continuation of the work
in which the dominant,
that is to say the B, is
the true musical North,
the pole star which
guides us in the other
three movements until the
end of the Chaconne de
Magdebourg. I wish
Giorgio and our Suite
great longevity and a
favorable destiny in the
complex and complex world
of contemporary guitar
composition. And I thank
him again, flattered by
his very kind
dedication.
Guitar SKU: UT.CH-101 Composed by Davide Notartomaso. Saddle stitching. C...(+)
Guitar
SKU:
UT.CH-101
Composed by
Davide Notartomaso.
Saddle stitching.
Classical. Ut Orpheus #CH
101. Published by Ut
Orpheus (UT.CH-101).
ISBN 9790215315815. 9
x 12
inches.
Composit
ion winner of the 2nd
Edition (2008) of the
Classical Guitar Musical
Composition Competition
â??Suoni Nuovi
Autoriâ?? in Latina,
Italy (Section
1) The composition
Roma born after a
short travel in the
eternal city. The
multiple cultural,
historical and landscaped
stimuli that derive from
its ruins must touch the
mind of every visitor
dipping it and
transporting it behind in
the history: these are
the feelings that have
inspired the composition
of a
conceptualistic-descripti
ve music work, dedicated
to the places that more
meant during the
authorâ??s travel.
First part,
â??Anfiteatro
Flavioâ??, is clearly
dedicated to Colosseo. It
is so imposing and
majestic that recalls
still today the outcry of
the battles and the noise
of the iron: all that is
translate in music with
frequent changes of time
and a virtuosistic and
pressing writing. The
apex of the fight marks
in the composition a
growing culminated in a
moment of suspension and
the immediate resumption
with change of theme for
the victory moment and
its majestic
celebration. The
second part, â??Villa
Borgheseâ??, marks the
passage to a situation of
ecstasy and serenity
inspired from the beauty
and tranquillity of the
places of the famous
roman park. The
composition develops with
sweetness but are also
present dissonant notes
that recall the park
contextualizzation in the
heart of the city, with
its chaotic present and
with the urgent violence
of its past.
Global Animals Ensemble d'Accordéons - Intermédiaire De Haske Publications
Accordion Orchestra - intermediate SKU: BT.DHP-1135489-060 Six beastly...(+)
Accordion Orchestra -
intermediate
SKU:
BT.DHP-1135489-060
Six beastly
humoresques. Composed
by Helmut Quakernack.
Accordion. Set (Score and
Parts). Composed 2013. De
Haske Publications #DHP
1135489-060. Published by
De Haske Publications
(BT.DHP-1135489-060).
9x12 inches.
English-German-French-Dut
ch.
GLOBAL ANIMAL
consists of six witty
humoresques, each
depicting an
extraordinary creature.
Thereâ??s the Australian
dancing buck that loves
to dance in pairs, a
down-in-the-dumps
Egyptian hippo in a
permanent grouse with the
world, or the
dastardlySouthern
European trill mosquito.
The extinct Mongolian
striped lion is deeply
mourned, while the arctic
numbskull is so shy that
heâ??s never been
spotted. Then thereâ??s
the continuous shriek of
the Columbian screeching
ape thatâ??s hard to
miss.(Accordion
I-II-III-Electronium-Acco
rdion
IV-Bass-Percussion) Global Animals
consists of six witty
humoresques, each
depicting an
extraordinary
creature.Thereâ??s the
Australian dancing buck
that loves to dance in
pairs, a
down-in-the-dumps
Egyptian hippo in a
permanent grouse with the
world, or the dastardly
Southern European trill
mosquito.The extinct
Mongolian striped lion is
deeply mourned, while the
arctic numbskull is so
shy that heâ??s never
been spotted. Then
thereâ??s the continuous
shriek of the Columbian
screeching ape thatâ??s
hard to
miss.
Global
Animals besteht aus sechs
tierisch-witzigen
Humoresken über
ungewöhnliche Tiere
unseres Planeten:
Da
gibt es den australischen
Tanzbock, der gerne zu
zweit tanzt, ein
ägyptisches, sehr
weinerlichen Flusspferd,
das mit sich und der Welt
unzufrieden ist, oder die
heimtückische
südeuropäische
Trillermücke. Dem
verstorbenen mongolischen
Streifenlöwenwird in
tiefer Trauer die letzte
Ehre erwiesen, während
die einfältige
arktische Dumpfbacke so
scheu ist, dass kaum
jemand sie je gesehen
hat. Der permanent
kreischende,
kolumbianische Schreiaffe
ist dagegen kaum zu
überhören.
11 Miniaturen. Composed by Claus Kuhnl. Edition Breitkopf. In these eleven s...(+)
11 Miniaturen. Composed
by
Claus Kuhnl. Edition
Breitkopf.
In these eleven short
piano
pieces, the composer
follows
the cue of such
modern-day
masters as Olivier
Messiaen,
Karlheinz Stockhausen,
Helmut
Lachenmann and Nicolaus
A.
Huber.
Pedagogical. Breitkopf
and
Haertel #EB-9175.
Published
by Breitkopf and Haertel
Guitar - Intermediate SKU: DY.DO-1522 Composed by Francis Bebey. Arranged...(+)
Guitar - Intermediate
SKU: DY.DO-1522
Composed by Francis
Bebey. Arranged by Ingrid
Riollot. Score. Les
Editions Doberman-Yppan
#DO 1522. Published by
Les Editions
Doberman-Yppan
(DY.DO-1522).
Francis
Bebey was born in Douala
in July 1929, into a
large family where his
father, a pastor,
struggled to feed his
children. But Francis had
the opportunity to go to
school. Admiring his
elder brother, Marcel
Eyidi Bebey, he educated
himself, distinguished
himself, and eventually
received a scholarship to
go and take his
baccalaureate in
France. We approached
the end of the 1950s when
he arrived in La
Rochelle. More than ever,
in this France where
Africans were looked at
with curiosity,
condescension, or
disdain, Francis relied
on his intellectual
resources. A diligent
worker, he obtained his
Baccalaureate, then moved
to Paris where he started
English studies at the
Sorbonne. One day, he
knew what truly attracted
him: he wanted to do
radio. Francis learned
his craft in France and
in the USA. After
working for a few years
as a reporter, he was
hired in 1961 as an
international civil
servant in the UNESCO
Information
Department. In
parallel, Francis had
always been drawn to
musical creation. His
very serious daytime
activity didnâ??t
prevent him from
frequenting jazz clubs in
the evenings. In Paris,
the Jazz, the trendy
music of that time, but
also rumba and salsa
attracted him. He
collected records and
attended numerous
concerts. With his
accomplice Manu Dibango,
Francis took the stage
and played
music. Francis liked
classical music since his
childhood. He grew up
listening to the cantatas
and oratorios of Bach or
Handel that his father
had sung in the temple.
He became passionate
about the guitar,
impressed by the Spanish
and South American
masters, and decided to
learn to strum the
instrument himself. He
started composing guitar
pieces, blending the
various influences that
flow through him with the
traditional African music
he had carried within
since childhood. His
approach captivated the
director of the American
Cultural Center (then
located in the
Saint-Germain
neighborhood of Paris),
who offered him the
opportunity to perform in
front of an audience.
Francis gave his first
guitar recital there
(1963) in front of a
mesmerized audience. His
first solo album was
released shortly
thereafter. Gradually,
Francis became recognized
as a musician and
composer. Several albums
of the African guitar
ambassador, as described
by the press, were
released. He also wrote
books, to the point that
his artistic career
became challenging to
reconcile with his career
as a civil servant. In
1974, even though he had
become the General
Manager in charge of
music at UNESCO, he took
the bold leap and
resigned from this
prestigious institution
to dedicated himself to
the three activities that
interested him: music,
literature, and
journalism. He
explored the traditional
musical heritage of the
African continent,
notably through the thumb
piano sanza, and the
polyphonic music of the
Central African pygmies,
or singing in his native
language and composing
humoristic songs in
French! Success
followed. Francis Bebey
traveled the world: from
France to Brazil,
Cameroon to Sweden,
Germany to the Carribean,
or Morocco to Japan...
the list of countries
where he was invited to
perform, gives lectures,
or meets readers is very
long. In addition to
public recognition, he
enjoyed the recognition
of his fellow musicians,
such as guitarist John
Williams or Venezuelan
Antonio Lauro, who
invited him to be a part
of the jury for a
classical guitar
competition in
Caracas. His life was
the journey of an African
pioneer, a man rooted in
his cultural heritage and
carrying a message of
sharing and hope for the
world. His originality
continues to vibrate
around the world since
his passing at the end of
May 2001.
Choral (SATB a cappella) SKU: HL.1412183 Composed by Brian Tate. Pavane C...(+)
Choral (SATB a cappella)
SKU: HL.1412183
Composed by Brian Tate.
Pavane Choral. Octavo.
Duration 190 seconds.
Pavane Publishing
#JR1143. Published by
Pavane Publishing
(HL.1412183).
UPC:
196288195764.
6.75x10.5x0.029
inches.
Following
the same compositional
style of his choral hit
“Connected,” this
piece carries the message
that everything changes
and nothing remains but
change. Each part gets
their own unique melody
and they each sound like
a chant from a spiritual
or a folk song or even
the blues. It has that
preachiness that can only
come from an old wise
person that everyone
admires and loves. And on
top of that it is so fun
to sing, and it makes
people stop and listen.
Easy for high school and
community choirs.