By Eric Taylor. ABRSM Music Theory in Practice Answers is a brand new resource t...(+)
By Eric Taylor. ABRSM
Music Theory in Practice
Answers is a brand new
resource to accompany the
fully- revised Grades 1
to 5 of the Music Theory
in Practice series. Each
volume provides model
answers for every
exercise covered in the
corresponding Music
Theory in Practic.
Education. Grade 5
By Eric Taylor. ABRSM Music Theory in Practice Answers is a brand new resource t...(+)
By Eric Taylor. ABRSM
Music Theory in Practice
Answers is a brand new
resource to accompany the
fully- revised Grades 1
to 5 of the Music Theory
in Practice series. Each
volume provides model
answers for every
exercise covered in the
corresponding Music
Theory in Practic.
Education. Grade 1
Ligne De Mélodie, Paroles et Accords [Fake Book] - Intermédiaire Hal Leonard
For voice and C instrument. Format: fakebook. With vocal melody, lyrics, chord n...(+)
For voice and C
instrument. Format:
fakebook. With vocal
melody, lyrics, chord
names and guitar chord
chart. Gospel and
worship. Series: Hal
Leonard Fake Books. 295
pages. 9x12 inches.
Published by Hal Leonard.
Composed by Jacob De
Haan. Musica Sacra. Hymns
& Chorals. Set (Score &
Parts). Composed 2003. De
Haske Publications #DHP
1033337-015. Published by
De Haske Publications
(BT.DHP-1033337-015).
In een
uitvoering voor brassband
en koor is het in de
meeste gevallen aan te
bevelen de optie voor
scherp koper weg te
laten. Het koor zingt
zelfstandig, begeleid
door een volledige
brassband. In een
instrumentale uitvoering
kunt u denken aan
eencombinatiekwartet
(twee cornetten en twee
trombones) +
brassband.Koorpartijen
apart
verkrijgbaar.
5.
Doppelrohrblattinstrument
e (wahlweise + Flöte,
wahlweise +
Kontrabass)
6.
Tutti
7. Alle
Holzbläser
8.
Alle Blechbläser
In einer Aufführung
mit Brass Band und Chor
ist es gewöhnlich
ratsam, nicht die erste
Option (Chor + Blech +
Blasorchester) zu
wählen. Der Chor singt
unabhängig, begleitet
von einer
vollständigen Brass
Band. In einer
Instrumentalaufführung
könnenSie sich für
ein kombiniertes Quartett
(zwei Kornette und zwei
Posaunen) + Brass Band
entscheiden. Chorstimmen
separat
erhältlich.
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).
Lyrics/Chords Ukulele SKU: HL.232108 By The Beatles. Ukulele. Pop. Softco...(+)
Lyrics/Chords Ukulele
SKU: HL.232108
By
The Beatles. Ukulele.
Pop. Softcover. Composed
2014. 384 pages. Hal
Leonard #NO91894.
Published by Hal Leonard
(HL.232108).
ISBN
9781783052738. UPC:
888680677329.
4.5x7.5x0.899
inches.
Complete
lyrics and chords to 195
Beatles songs, including:
Across the Universe
• All My Loving
• All You Need Is
Love • And I Love
Her • Back in the
U.S.S.R. • The
Ballad of John and Yoko
• Birthday •
Blackbird • A Day
in the Life • Day
Tripper • Dear
Prudence • Drive My
Car • Eight Days a
Week • Eleanor
Rigby • Good Day
Sunshine • Got to
Get You into My Life
• A Hard Day's
Night • Help!
• Helter Skelter
• Here Comes the
Sun • Hey Jude
• I Saw Her
Standing There • I
Want to Hold Your Hand
• In My Life
• Let It Be •
The Long and Winding Road
• Lucy in the Sky
with Diamonds •
Penny Lane •
Revolution •
Something • Ticket
to Ride • Twist and
Shout • When I'm
Sixty-Four • While
My Guitar Gently Weeps
• Yellow Submarine
• Yesterday •
and more. 4-1/2 inches x
7-1/2 inches.
Trombone - intermediate SKU: BT.DHP-1094886-400 Arranged by Peter Kleine ...(+)
Trombone - intermediate
SKU:
BT.DHP-1094886-400
Arranged by Peter Kleine
Schaars. Trioflex. Book
with CD. Composed 2010.
28 pages. De Haske
Publications #DHP
1094886-400. Published by
De Haske Publications
(BT.DHP-1094886-400).
ISBN 9789043133449.
9x12 inches.
English-German-French-Dut
ch.
Trio
Flex is a clever
concept that offers you a
range of possible
options. As well as a
demo version played by
live instruments, the
enclosed CD contains two
play-along tracks for
each piece. One track
features the combo only,
and the other track
features the combo plus
the second and third
parts of the trio. Peter
Kleine Schaars has
arranged ten well-known
numbers for three wind
instruments in various
styles and genres. Play
the melody with the combo
on the CD, or play the
trio version with the
other two recorded parts.
That will sound great in
itself. But you can also
form a trio with two
co-players, and have
yourselves accompanied by
the combo on the CD. No
matterwihich variation
you choose, get ready for
a musical experience that
will amaze your audience!
Trio-Flex
is een uitgekiend concept
dat verschillende
mogelijkheden met zich
meebrengt. De
meegeleverde cd bevat -
naast een live
ingespeelde demoversie -
van elk nummer twee
begeleidingstracks. Op de
ene track hoor je
alleenhet combo en op de
andere track hoor je het
combo met daarbij de
tweede en derde stem van
het trio.Fun
Favorites Peter
Kleine Schaars bewerkte
tien bekende nummers voor
drie spelers in diverse
genres en stijlen. Speel
demelodie met het combo
op de cd, of speel de
trioversie met de
tegenstemmen. Dat klinkt
al geweldig. Maar je kunt
ook met twee medespelers
een trio vormen en je
door het combo op de cd
laten begeleiden. Welke
variant je ook
kiest:bereid je voor op
een muzikale belevenis
die je publiek versteld
zal doen
staan!
Trio-Fle
x ist ein cleveres
Konzept, das verschiedene
Möglichkeiten bietet.
Neben einer live
eingespielten Demoversion
enthält die
beiliegende CD zwei
Mitspielversionen jedes
Stückes. Eine wird nur
von der Combo gespielt,
die andere von der Combo
zusammen mit der zweiten
und dritten Stimme des
Trios.Peter Kleine
Schaars arrangierte zehn
bekannte Titel für
drei Posaunen in
verschiedenen Genres und
Musikstilen. Die Melodie
zur Combo auf der CD
gespielt oder die
Trioversion mit den
Gegenstimmen auf der CD -
das alleine klingt schon
wunderbar. Am
schönsten ist
allerdings, wenn sich
zwei Mitspieler finden
und dann im Trio zur
Combo-Begleitung auf der
CD musiziert werdenkann.
Ganz egal, für
welche Variante man sich
entscheidet: Es wird eine
musikalische Erfahrung,
die jedes Publikum
begeistert!
Fun
Favorites è una
pubblicazione basata sul
concetto di TRIO-FLEX; si
può quindi fare musica
con tre strumentisti, da
soli con il combo, o da
soli con il combo e le
parti del trio.
3 Trumpets - easy SKU: BT.DHP-1094837-400 Arranged by Peter Kleine Schaar...(+)
3 Trumpets - easy
SKU:
BT.DHP-1094837-400
Arranged by Peter Kleine
Schaars. Trioflex. Book
with CD. Composed 2009.
28 pages. De Haske
Publications #DHP
1094837-400. Published by
De Haske Publications
(BT.DHP-1094837-400).
ISBN 9789043133050.
9x12 inches.
English-German-French-Dut
ch.
Trio
Flex is a clever
concept that offers you a
range of possible
options. As well as a
demo version played by
live instruments, the
enclosed CD contains two
play-along tracks for
each piece. One track
features the combo only,
and the other track
features the combo plus
the second and third
parts of the trio. Peter
Kleine Schaars has
arranged ten well-known
numbers for three wind
instruments in various
styles and genres. Play
the melody with the combo
on the CD, or play the
trio version with the
other two recorded parts.
That will sound great in
itself. But you can also
form a trio with two
co-players, and have
yourselves accompanied by
the combo on the CD. No
matterwihich variation
you choose, get ready for
a musical experience that
will amaze your audience!
Trio-Flex
is een uitgekiend concept
dat verschillende
mogelijkheden met zich
meebrengt. De
meegeleverde cd bevat -
naast een live
ingespeelde demoversie -
van elk nummer twee
begeleidingstracks. Op de
ene track hoor je
alleenhet combo en op de
andere track hoor je het
combo met daarbij de
tweede en derde stem van
het trio.Fun
Favorites Peter
Kleine Schaars bewerkte
tien bekende nummers voor
drie spelers in diverse
genres en stijlen. Speel
demelodie met het combo
op de cd, of speel de
trioversie met de
tegenstemmen. Dat klinkt
al geweldig. Maar je kunt
ook met twee medespelers
een trio vormen en je
door het combo op de cd
laten begeleiden. Welke
variant je ook
kiest:bereid je voor op
een muzikale belevenis
die je publiek versteld
zal doen
staan!
Trio-Fle
x ist ein cleveres
Konzept, das verschiedene
Möglichkeiten bietet.
Neben einer live
eingespielten Demoversion
enthält die
beiliegende CD zwei
Mitspielversionen jedes
Stückes. Eine wird nur
von der Combo gespielt,
die andere von der Combo
zusammen mit der zweiten
und dritten Stimme des
Trios.Peter Kleine
Schaars arrangierte zehn
bekannte Titel fu?r drei
Trompeten in
verschiedenen Genres und
Musikstilen. Die Melodie
zur Combo auf der CD
gespielt oder die
Trioversion mit den
Gegenstimmen auf der CD -
das alleine klingt schon
wunderbar. Am
schönsten ist
allerdings, wenn sich
zwei Mitspieler finden
und dann im Trio zur
Combo-Begleitung auf der
CD musiziert werdenkann.
Ganz egal, fu?r welche
Variante man sich
entscheidet: Es wird eine
musikalische Erfahrung,
die jedes Publikum
begeistert!
Fun
Favorites è una
pubblicazione basata sul
concetto di TRIO-FLEX; si
può quindi fare musica
con tre strumentisti, da
soli con il combo, o da
soli con il combo e le
parti del trio.
Clarinet - easy SKU: BT.DHP-1094835-400 Arranged by Peter Kleine Schaars....(+)
Clarinet - easy
SKU:
BT.DHP-1094835-400
Arranged by Peter Kleine
Schaars. Trioflex. Book
with CD. Composed 2009.
28 pages. De Haske
Publications #DHP
1094835-400. Published by
De Haske Publications
(BT.DHP-1094835-400).
ISBN 9789043133036.
9x12 inches.
English-German-French-Dut
ch.
Trio
Flex is a clever
concept that offers you a
range of possible
options. As well as a
demo version played by
live instruments, the
enclosed CD contains two
play-along tracks for
each piece. One track
features the combo only,
and the other track
features the combo plus
the second and third
parts of the trio. Peter
Kleine Schaars has
arranged ten well-known
numbers for three wind
instruments in various
styles and genres. Play
the melody with the combo
on the CD, or play the
trio version with the
other two recorded parts.
That will sound great in
itself. But you can also
form a trio with two
co-players, and have
yourselves accompanied by
the combo on the CD. No
matterwihich variation
you choose, get ready for
a musical experience that
will amaze your audience!
Trio-Flex
is een uitgekiend concept
dat verschillende
mogelijkheden met zich
meebrengt. De
meegeleverde cd bevat -
naast een live
ingespeelde demoversie -
van elk nummer twee
begeleidingstracks. Op de
ene track hoor je
alleenhet combo en op de
andere track hoor je het
combo met daarbij de
tweede en derde stem van
het trio.Fun
Favorites Peter
Kleine Schaars bewerkte
tien bekende nummers voor
drie spelers in diverse
genres en stijlen. Speel
demelodie met het combo
op de cd, of speel de
trioversie met de
tegenstemmen. Dat klinkt
al geweldig. Maar je kunt
ook met twee medespelers
een trio vormen en je
door het combo op de cd
laten begeleiden. Welke
variant je ook
kiest:bereid je voor op
een muzikale belevenis
die je publiek versteld
zal doen
staan!
Trio-Fle
x ist ein cleveres
Konzept, das verschiedene
Möglichkeiten bietet.
Neben einer live
eingespielten Demoversion
enthält die
beiliegende CD zwei
Mitspielversionen jedes
Stückes. Eine wird nur
von der Combo gespielt,
die andere von der Combo
zusammen mit der zweiten
und dritten Stimme des
Trios.Peter Kleine
Schaars arrangierte zehn
bekannte Titel für
drei Klarinetten in
verschiedenen Genres und
Musikstilen. Die Melodie
zur Combo auf der CD
gespielt oder die
Trioversion mit den
Gegenstimmen auf der CD -
das alleine klingt schon
wunderbar. Am
schönsten ist
allerdings, wenn sich
zwei Mitspieler finden
und dann im Trio zur
Combo-Begleitung auf der
CD musiziert werdenkann.
Ganz egal, für
welche Variante man sich
entscheidet: Es wird eine
musikalische Erfahrung,
die jedes Publikum
begeistert!
Fun
Favorites è una
pubblicazione basata sul
concetto di TRIO-FLEX; si
può quindi fare musica
con tre strumentisti, da
soli con il combo, o da
soli con il combo e le
parti del trio.
Flute - easy SKU: BT.DHP-1094834-400 Arranged by Peter Kleine Schaars. Tr...(+)
Flute - easy
SKU:
BT.DHP-1094834-400
Arranged by Peter Kleine
Schaars. Trioflex. Book
with CD. Composed 2009.
28 pages. De Haske
Publications #DHP
1094834-400. Published by
De Haske Publications
(BT.DHP-1094834-400).
ISBN 9789043133029.
9x12 inches.
English-German-French-Dut
ch.
Trio
Flex is a clever
concept that offers you a
range of possible
options. As well as a
demo version played by
live instruments, the
enclosed CD contains two
play-along tracks for
each piece. One track
features the combo only,
and the other track
features the combo plus
the second and third
parts of the trio. Peter
Kleine Schaars has
arranged ten well-known
numbers for three wind
instruments in various
styles and genres. Play
the melody with the combo
on the CD, or play the
trio version with the
other two recorded parts.
That will sound great in
itself. But you can also
form a trio with two
co-players, and have
yourselves accompanied by
the combo on the CD. No
matterwihich variation
you choose, get ready for
a musical experience that
will amaze your audience!
Trio-Flex
is een uitgekiend concept
dat verschillende
mogelijkheden met zich
meebrengt. De
meegeleverde cd bevat -
naast een live
ingespeelde demoversie -
van elk nummer twee
begeleidingstracks. Op de
ene track hoor je
alleenhet combo en op de
andere track hoor je het
combo met daarbij de
tweede en derde stem van
het trio.Fun
Favorites Peter
Kleine Schaars bewerkte
tien bekende nummers voor
drie spelers in diverse
genres en stijlen. Speel
demelodie met het combo
op de cd, of speel de
trioversie met de
tegenstemmen. Dat klinkt
al geweldig. Maar je kunt
ook met twee medespelers
een trio vormen en je
door het combo op de cd
laten begeleiden. Welke
variant je ook
kiest:bereid je voor op
een muzikale belevenis
die je publiek versteld
zal doen
staan!
Trio-Fle
x ist ein cleveres
Konzept, das verschiedene
Möglichkeiten bietet.
Neben einer live
eingespielten Demoversion
enthält die
beiliegende CD zwei
Mitspielversionen jedes
Stückes. Eine wird nur
von der Combo gespielt,
die andere von der Combo
zusammen mit der zweiten
und dritten Stimme des
Trios.Peter Kleine
Schaars arrangierte zehn
bekannte Titel für
drei Flöten in
verschiedenen Genres und
Musikstilen. Die Melodie
zur Combo auf der CD
gespielt oder die
Trioversion mit den
Gegenstimmen auf der CD -
das alleine klingt schon
wunderbar. Am
schönsten ist
allerdings, wenn sich
zwei Mitspieler finden
und dann im Trio zur
Combo-Begleitung auf der
CD musiziert werdenkann.
Ganz egal, für
welche Variante man sich
entscheidet: Es wird eine
musikalische Erfahrung,
die jedes Publikum
begeistert!
Fun
Favorites è una
pubblicazione basata sul
concetto di TRIO-FLEX; si
può quindi fare musica
con tre strumentisti, da
soli con il combo, o da
soli con il combo e le
parti del trio.
Choral Children's choir, Piano SKU: PR.312419290 From Terra Nostra...(+)
Choral Children's choir,
Piano
SKU:
PR.312419290
From
Terra Nostra.
Composed by Stacy Garrop.
Performance Score. 8
pages. Duration 2
minutes, 35 seconds.
Theodore Presser Company
#312-41929. Published by
Theodore Presser Company
(PR.312419290).
ISBN
9781491137932. UPC:
680160692620. Texts from
The King James Bible,
creation myths from
India, North America, and
Egypt; Edna St. Vincent
Millay, Percy Bysshe
Shelley, Walt Whitman,
Lord Byron, Esther
Iverem, William
Wordsworth, Wendell
Berry, Lord Alfred
Tennyson, Charles Mackay,
William .
Terra
Nostra focuses on the
relationship between our
planet and mankind, how
this relationship has
shifted over time, and
how we can re-establish a
harmonious balance. The
oratorio is divided into
three parts:Part I:
Creation of the World
celebrates the birth and
beauty of our planet. The
oratorio begins with
creation myths from
India, North America, and
Egypt that are integrated
into the opening lines of
Genesis from the Old
Testament. The music
surges forth from these
creation stories into
“God’s World” by
Edna St. Vincent Millay,
which describes the world
in exuberant and vivid
detail. Percy Bysshe
Shelley’s “On thine
own child” praises
Mother Earth for her role
bringing forth all life,
while Walt Whitman sings
a love song to the planet
in “Smile O voluptuous
cool-breathed earth!”
Part I ends with “A
Blade of Grass” in
which Whitman muses how
our planet has been
spinning in the heavens
for a very long time.Part
II: The Rise of Humanity
examines the achievements
of mankind, particularly
since the dawn of the
Industrial Age. Lord
Alfred Tennyson’s
“Locksley Hall” sets
an auspicious tone that
mankind is on the verge
of great discoveries.
This is followed in short
order by Charles
Mackay’s “Railways
1846,” William Ernest
Henley’s “A Song of
Speed,” and John
Gillespie Magee, Jr.’s
“High Flight,” each
of which celebrates a new
milestone in
technological
achievement. In “Binsey
Poplars,” Gerard Manley
Hopkins takes note of the
effect that these
advances are having on
the planet, with trees
being brought down and
landscapes forever
changed. Percy Bysshe
Shelley’s “A Dirge”
concludes Part II with a
warning that the planet
is beginning to sound a
grave alarm.Part III:
Searching for Balance
questions how we can
create more awareness for
our planet’s plight,
re-establish a deeper
connection to it, and
find a balance for living
within our planet’s
resources. Three texts
continue the earth’s
plea that ended the
previous section: Lord
Byron’s “Darkness”
speaks of a natural
disaster (a volcano) that
has blotted out the sun
from humanity and the
panic that ensues;
contemporary poet Esther
Iverem’s “Earth
Screaming” gives voice
to the modern issues of
our changing climate; and
William Wordsworth’s
“The World Is Too Much
With Us” warns us that
we are almost out of time
to change our course.
Contemporary/agrarian
poet Wendell Berry’s
“The Want of Peace”
speaks to us at the
climax of the oratorio,
reminding us that we can
find harmony with the
planet if we choose to
live more simply, and to
recall that we ourselves
came from the earth. Two
Walt Whitman texts (“A
Child said, What is the
grass?” and “There
was a child went forth
every day”) echo
Berry’s thoughts,
reminding us that we are
of the earth, as is
everything that we see on
our planet. The oratorio
concludes with a reprise
of Whitman’s “A Blade
of Grass” from Part I,
this time interspersed
with an additional
Whitman text that
sublimely states, “I
bequeath myself to the
dirt to grow from the
grass I love…”My hope
in writing this oratorio
is to invite audience
members to consider how
we interact with our
planet, and what we can
each personally do to
keep the planet going for
future generations. We
are the only stewards
Earth has; what can we
each do to leave her in
better shape than we
found her?
(4th Edition ) For voice and C instrument. Format: fakebook. With vocal melody, ...(+)
(4th Edition ) For voice
and C instrument. Format:
fakebook. With vocal
melody, lyrics and chord
names. Pop rock, rock and
pop. Series: Hal Leonard
Fake Books. 584 pages.
9x12 inches. Published by
Hal Leonard.
(Sounds of a Better World). By Jim Papoulis and Mike Greenly. 2PT/DESCANT. BH So...(+)
(Sounds of a Better
World). By Jim Papoulis
and Mike Greenly.
2PT/DESCANT. BH Sounds of
a Better World. 16 pages.
Boosey and Hawkes
#M051480876. Published by
Boosey and Hawkes
Wind Power Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire Hal Leonard
Score and Parts Concert Band (Score and Parts) - Grade 3 SKU: HL.4008724 ...(+)
Score and Parts Concert
Band (Score and Parts) -
Grade 3
SKU:
HL.4008724
Composed
by Robert Buckley.
MusicWorks Grade 3.
Concert. Softcover.
Duration 300 seconds.
Published by Hal Leonard
(HL.4008724).
UPC:
196288194750.
9.0x12.0x0.676
inches.
In this
impressive piece, the
title âWind
Powerâ can refer
either to the various
machines that are driven
by the wind, or the
soaring sound of a wind
band. In a cinematic
style, this work opens
powerfully with a series
of tone clusters followed
by a constantly moving
series of notes depicting
the ebb and flow of the
wind. Then we are soaring
high above the ground in
a glider with only the
sound of the wind keeping
us aloft. With dramatic
shifts in dynamics along
with pulsing rhythms,
this piece is a fun
challenge for all members
of the ensemble. Dur: ca.
5:00.
Wind Power Orchestre d'harmonie [Conducteur] - Intermédiaire Hal Leonard
Concert Band (Score) - Grade 3 SKU: HL.4008725 Score. Composed by ...(+)
Concert Band (Score) -
Grade 3
SKU:
HL.4008725
Score. Composed by
Robert Buckley.
MusicWorks Grade 3.
Concert. Softcover.
Duration 300 seconds.
Published by Hal Leonard
(HL.4008725).
UPC:
196288194767.
9.0x12.0x0.074
inches.
In this
impressive piece, the
title “Wind Power”
can refer either to the
various machines that are
driven by the wind, or
the soaring sound of a
wind band. In a cinematic
style, this work opens
powerfully with a series
of tone clusters followed
by a constantly moving
series of notes depicting
the ebb and flow of the
wind. Then we are soaring
high above the ground in
a glider with only the
sound of the wind keeping
us aloft. With dramatic
shifts in dynamics along
with pulsing rhythms,
this piece is a fun
challenge for all members
of the ensemble. Dur: ca.
5:00.
Violin - intermediate SKU: BT.DHP-1064024-400 For the developing violi...(+)
Violin - intermediate
SKU:
BT.DHP-1064024-400
For the developing
violinist. Arranged
by Gunter Van Rompaey and
Nico Dezaire. De Haske
Study and Play. Studies
and Exercises. Book with
CD. Composed 2006. 72
pages. De Haske
Publications #DHP
1064024-400. Published by
De Haske Publications
(BT.DHP-1064024-400).
ISBN 9789043124621.
9x12 inches.
English-German-French-Dut
ch.
Studies can be
boring - you usually play
them alone and the lack
of rhythm and harmony can
be dispiriting. This very
practical collection
contains the best studies
written throughout two
centuries of violin
education. The studies -
all in the first position
- have been provided with
completely new piano
accompaniments which give
a harmonic and rhythmic
helping hand, so that
practicing becomes more
instructive and more fun.
Each edition within this
concept features two CDs.
For each study there are
three tracks on the CDs:
a demo version, a
play-along version in
normal tempo and one in a
slower, study tempo. The
following technical
skills are included in
the Selected
Studiesprogramme:
Book 2: For the
right hand: string
shifts, staccato, legato,
spiccato; For the left
hand: position work in
the second and third
position; position
shifts, trills.
2 Flutes and Basso Continuo - intermediate-adv SKU: HL.44005642 For tw...(+)
2 Flutes and Basso
Continuo -
intermediate-adv
SKU:
HL.44005642
For
two flutes and basso
continuo. Composed by
Jacques-Martin
Hotteterre. Fentone
Instrumental Books.
Transcription. Book with
CD. Composed 2005.
Fentone Music #F 891.
Published by Fentone
Music (HL.44005642).
The Trio Sonata
for two recorders and
Basso continuo is one of
many successful works
from the pen of Jacques
Hotteterre, a French 17th
century composer. For The
Platinum Series, this
sonata has been adapted
for two flutes. On the CD
you will first hear all
the accompaniments on the
harpsichord, which you
can use if no accompanist
is available, followed by
demo tracks with two
flutes and harpsichord.
This beautiful piece can
also by performed by 2
flutes and cello with the
supplied cello
part.
De
triosonate voor twee
blokfluiten en basso
continuo is een van de
vele succesvolle werken
die Jacques Martin
Hotteterre heeft
geschreven. Voor The
Platinum Series is
deze sonate voor twee
dwarsfluiten bewerkt. Op
de geweldigecd hoor je
eerst alle begeleidingen
(klavecimbel en fluit 2)
- erg handig als er geen
begeleider in de buurt is
- en vervolgens de
voorbeeldtracks met twee
fluiten en klavecimbel.
De basso continuo is
bruikbaar voor zowel
pianistenals
klavecinisten; en met de
bijlagen (een eerste en
tweede fluitpartij en een
cellopartij) is deze
mooie muziek ook
speelbaar met een eigen
ensemble.
Die
Triosonate fur zwei
Blockfloten und Basso
continuo stammt von
Jacques Hotteterre, einem
franzosischen Komponisten
des 17. Jahrhunderts. Fur
die Platinum-Serie wurde
diese Sonate fur zwei
Floten bearbeitet. Auf
der CD erklingen zunachst
alle Begleitungen auf dem
Cembalo - diese konnen,
wenn kein Begleiter zur
Stelle ist, verwendet
werden. Darauf folgen
Demoversionen mit zwei
Floten und Cembalo. Der
enthaltene Basso continuo
kann sowohl auf dem
Klavier als auch auf dem
Cembalo gespielt werden.
Diese schone Musik kann
auch von einem Ensemble
(2 Floten & Cello)
aufgefuhrt werden. Die
Reihe The Platinum
Series enthalt
bekannte klassische Werke
fur
verschiedeneInstrumente,
die nun verschiedenen
Holzblasern zuganglich
gemacht wurden und sich
in ihrer neuen Form
wunderbar als
Konzertstucke eignen. Die
CDs der Platinum
Series bieten Ihnen
die Gelegenheit, zu einer
schonen Begleitung, die
live mit Klavier,
Cembalo, Kammerensemble
oder gar
Sinfonieorchester
eingespielt wurde, zu
spielen. Auf der CD
erklingen jeweils alle
Begleitungen und
Demo-Versionen. Die
Stucke mit Basso
continuo, der auf dem
Klavier oder
Cembalogespielt werden
kann, enthalten jeweils
eine separate Solo- und
Cellostimme, sodass sie
auch von einem Ensemble
aufgefuhrt werden konnen.
Alle sechs Ausgaben sind
im Schwierigkeitsgrad
mittelschwer - schwer.
La collection
Platinum Series
rassemble des œuvres
classiques composees a
l'origine pour divers
instrument et idealement
adaptees pour des
instruments a vent de la
famille des bois. Chaque
ouvrage de cette
collection est enrichi
d'un compact disc
(version integrale +
accompagnement) d'une
grande qualite musicale.
Pour vous offrir un
excellent confort de jeu,
les accompagnements ont
ete confies au piano, au
clavecin, a un ensemble
de musique de chambre et
quelquefois meme a un
Orchestre Symphonique.
Les oeuvres avec basse
continue (adaptee pour le
piano ou le clavecin)
disposent d'une partie
soliste et d'une partie
pour violoncelle separees
afin de pouvoir
constituer unensemble
instrumental.
La
collezione The
Platinum Series e
sinonimo di alta qualita.
Troverete le piu
importanti pagine di
musica trascritte per
strumenti a fiato. Sul CD
sono registrati dapprima
l'intero brano col
solista, e poi le sole
basi musicali
d'accompagnamento,
realizzate con strumenti
autentici che realizzano
il basso continuo al
clavicembalo. Da oggi
potrete interpretare col
saxofono le musiche di
grandi compositori come
Benedetto Marcello,
oppure suonare al
clarinetto la
trascrizione del Concerto
n.1 di Breval per
violoncello. Per le
composizioni da suonare
in duo, troverete sul CD
sia l'incisione completa
del brano, che la sola
seconda voce o il solo
Basso continuo, cosi da
potersuonare sia da soli
che assieme ad un vostro
amico.
Lyrics/Chords Guitar SKU: HL.242081 By The Beatles. The Little Black Song...(+)
Lyrics/Chords Guitar
SKU: HL.242081
By
The Beatles. The Little
Black Songbook. Pop. 384
pages. Hal Leonard
#HL00242081. Published by
Hal Leonard (HL.242081).
ISBN 9781785588617.
UPC: 888680704407.
4.75x7.75x0.956
inches.
A
pocket-sized collection
of 195 Beatles hits
presented in chord
songbook format. Includes
complete lyrics, chord
names & a handy chord
box reference sheet.
Including classic hits
such as: All You Need Is
Love • Can't Buy Me
Love • Day Tripper
• Do You Want to
Know a Secret •
Eleanor Rigby •
From Me to You •
Get Back • Help!
• Hey Jude •
I Want to Hold Your Hand
• Let It Be •
Magical Mystery Tour
• Ob-La-Di Ob-La-Da
• Please Please Me
• Ticket to Ride
• Twist and Shout
• and more.
Opera Piano, solo Voices SKU: PR.411411630 Opera in Two Acts. Comp...(+)
Opera Piano, solo Voices
SKU: PR.411411630
Opera in Two Acts.
Composed by Ricky Ian
Gordon. Piano Reduction
Score. 438 pages.
Duration 2 minutes, 30
seconds. Theodore Presser
Company #411-41163.
Published by Theodore
Presser Company
(PR.411411630).
ISBN
9781491137635. UPC:
680160691081. English.
Intimate Apparel by Lynn
Nottage.
Originally
an award-winning play,
Lynn Nottage’s INTIMATE
APPAREL was inspired by
her great-grandmother’s
life in New York in the
early 20th century. The
Pulitzer-laureate also
created the libretto for
Ricky Ian Gordon’s
grand-yet-intimate opera
whose complete
instrumentation is two
pianos. The story follows
the life of a young,
single seamstress who has
recently emigrated from
Barbados, the fascinating
cast of characters in her
life, and her
socially-unacceptable
feelings of affection for
a Jewish fabric salesman.
The premiere production
of this 2½-hour drama
was televised nationally
from Lincoln Center on
PBS’s “Great
Performances.”. Inti
mate Apparel began with
an old photograph that I
found haphazardly wedged
between the pages of a
Family Circle magazine. I
was helping my
grandmother, who’d
developed debilitating
senile dementia, move
from her longtime home in
Crown Heights, Brooklyn.
In the midst of a pile of
weathered magazines I
discovered a black and
white passport photograph
of my grandmother Waple
and her younger sister
Eurita sitting on their
mother’s lap. It was
the first time I’d ever
seen an image of my
great-grandmother Ethel,
a striking woman with
high West African
cheekbones and a gentle
intensity. She had been a
seamstress from Barbados,
who at the age of 18
arrived alone in New York
City at the dawn of the
Twentieth Century. The
image invited a thousand
questions, none that
could be answered by the
living, and it led me on
a journey to piece
together the history of
my great-grandmother
Ethel, a woman who was
basically a stranger to
me. The only clue that I
had about Ethel, was a
story that my grandmother
had once told me about
her mother corresponding
with a man laboring on
the Panama Canal, who
would eventually become
her husband. I was
fascinated by this story,
which served as the
inspiration for INTIMATE
APPAREL.As I began my
research for INTIMATE
APPAREL at the New York
Public Library, I
discovered that lives of
Black working women in
the early 1900s were
woefully absent from the
archive. So, I found
myself perusing help
wanted listings, boarding
house and clothing
advertisements, looking
for any sign of women
like my great-grandmother
on the printed page. As I
was doing so, I began to
find the characters that
would populate the world
of INTIMATE APPAREL;
Esther the lonely
seamstress, Mrs. Dickson
the proprietress of the
boardinghouse for Black
women, Mr. Marks the
Jewish fabric salesman on
the Lower Eastside, Mrs.
Van Buren the wealthy
white socialite on the
Upper Eastside, Mayme the
sex worker in the
tenderloin, and George
the laborer toiling on
the Panama Canal. As I
was conjuring the
characters, I realized
that I was interested in
the unexpected
intersections between
class, race, and gender
at the turn of the
Twentieth Century, and
what happens when people
across cultural and
economic divides are
thrust into spaces of
intimacy.INTIMATE APPAREL
began its life as a
popular play, but it was
the brilliant composer
Ricky Ian Gordon who
invited me to consider
adapting it into an
opera. He saw something
epic and expansive in the
life of Esther that he
felt demanded to be sung,
and with his loving
guidance I was able to
write my first libretto.
It took me several tries
to figure out how to
wrestle my play into a
form that was new to me.
As a playwright, I kept
wanting to maintain
absolute control of the
narrative. But, it was
Ricky’s words that
freed me creatively to
find my way into the
libretto. He said,
“You’re not trusting
my music as a narrative
tool; I can say “I love
you” without any words,
with just music. So,
allow me to be your
collaborator on the
storytelling.” And once
he said that, we found
INTIMATE APPAREL the
opera together.
