Guitare notes et tablatures [Fake Book] - Intermédiaire Hal Leonard
For voice and guitar chords. Format: fake book (spiral bound). With guitar chord...(+)
For voice and guitar
chords. Format: fake book
(spiral bound). With
guitar chord diagrams,
vocal melody and guitar
tablature (of vocal
melody only). Series: Hal
Leonard Fake Books. 344
pages. 9x12 inches.
Published by Hal Leonard.
Viola SKU: BT.9781408114582 Composed by Peter Davey. Abracadabra. Exam Ma...(+)
Viola
SKU:
BT.9781408114582
Composed by Peter Davey.
Abracadabra. Exam
Material. Book with CD.
64 pages. Collins Music
Publishing
#9781408114582. Published
by Collins Music
Publishing
(BT.9781408114582).
ISBN 9781408114582.
English.
Now in
a third edition,
Abracadabra
Viola has a
fresh, contemporary new
look and is the perfect
book for pupil and
teachers.
This
title offers an identical
selection of repertoire
to the other booksin the
Abracadabra Strings
series, so they can be
used in any combination
for group or whole class
lessons and mixed
ensemble performances.
Used alone, they remain
ideal for individual
tuition.
With
tunes you know andwant to
play, carefully graded in
20 learning steps, this
new edition of the
popular tutor also
includes duets, trios and
teacher's parts. Clear
fingering and bowing
diagrams and concise
theory explanations help
to teachthefundamentals
of the instrument, and
each new technical aspect
is reinforced by several
pieces using that
particular
technique.
Abracadabra
Viola now also
includes two CDs of
performance and
backingtracks, featuring
selected orchestral
backings.
SKU: BR.EB-9387 Composed by Christian Mason. Edition Breitkopf. New music...(+)
SKU: BR.EB-9387
Composed by Christian
Mason. Edition Breitkopf.
New music (post-2000);
Music post-1945. Set of
parts. Composed 2019.
Duration 20'. Breitkopf
and Haertel #EB 9387.
Published by Breitkopf
and Haertel (BR.EB-9387).
ISBN 9790004188576. 0
x 0
inches.
Commissione
d by the Kolner
Philharmonie (KolnMusik)
for the non bthvn projekt
2020 and the Cite de la
musique / Philharmonie de
Paris Dedicated to
Arditti Quartet Each
movement of this quartet
explores a single state,
its lights and its
shadows. Each movement,
you could say, is a
moment . And these
moments could last for
more or less time without
compromising their
essential nature. The
processes could be
extended or compressed,
repeated or reversed, but
the core ideas - if they
are ideas, but maybe they
are simply experiences? -
are what they are.
Despite this, the precise
sequence of movements
matters a great deal.
Heard together they do
articulate some kind of
linear narrative, maybe
even a metaphorical
journey (albeit a
circular one where the
arrival might, who knows,
prove to be a new
departure). One situation
gives way to another and
instrumental
relationships within the
quartet vary, but
ultimately the
imaginative impulse
behind the piece
preferences states of
unity. Whether or not
this unity is expressed
texturally - sometimes
literal unisons pervade,
but not always - there is
generally a sense that
even seemingly diverse
aspects relate to a
fundamental condition of
concord: a conscious
limitation in the pitch
structure to spectral
emanations of the root
notes E-flat and C. At
the opening this is
unambiguously audible in
the perpetual alternation
of these two notes in the
low cello register. Later
the two spectra are woven
into a micro-tonal
'double-spectral-mode'
(derived from the first
24 partials of the C and
E-flat fundamentals),
which defines the subtle
melodic inflection of the
second movement, and the
never-quite-chromatic
ascending scales of the
third. For now this feels
like a rich source of
melodic possibility, so
far only just glimpsed...
And why the insistence on
E-flat? Probably by way
of historical anecdote.
Apparently Karl Holz (a
member of the
Schuppanzigh Quartet)
said to Beethoven: We
performed your Quartet in
E-flat Op. 127 in his
[Weber's] honour; he
found the Adagio too
long; but I told him:
Beethoven also has a
longer feeling and a
longer imagination than
anyone standing or not
standing today. - Since
then, even Linke (another
member of the quartet)
can no longer stand him:
we cannot forgive him for
this. Listening again to
Op. 127, in light of
these comments, I was
struck by the opening
moment: the unfolding of
an E-flat 7th chord over
the course of a few bars.
Every time I hear it I
find myself wishing that
Beethoven would have
lingered longer there,
without resolution or
progression, just
enjoying that sonority.
And maybe - why not? -
tune the 7th naturally.
And what would it be to
stretch that moment into
an entire piece? What
would Weber think of
that?! In the end I was
not so extreme in my
self-limitation, and
other concerns took over,
but it was from these
thoughts that the
composition process
began... Lastly, about
the title: it comes from
a book called 'The Clock
of the Long Now' by
Stewart Brand, published
at the turn of the
millennium. It's about
the creation of a
thousand-year clock to
embody the aspiration to
thinking in terms of
longer time-spans than
are presently habitual.
If the music of Beethoven
embodied a 'longer'
feeling and imagination
than some of his
contemporaries were able
to appreciate, what is
our relation to time now?
Longer or shorter? Maybe
it depends who you ask...
It's probably more
extreme in both
directions: attention
spans might be
diminishing in the
digital world, but
conversely there is an
awareness of distant
pasts and potential
futures which would have
been inconceivable at the
time of Beethoven. In any
case, the interesting
thing is to ponder how
societal conditions,
assumptions and
expectations might -
whether consciously or
unconsciously - influence
the time of art, for
listeners and creators
alike. And what if time
is running out?
(Christian
Mason)
World
premiere: Paris, Cite de
la musique, January 14,
2020.
By Various.
Harmonica. Blues,
Country, Folk, Pop, Rock.
Softcover. 336 pages.
Published by Hal Leonard
(HL.300155).
ISBN
9781540061874. UPC:
888680960902. 9.0x12.0
inches.
Play your
favorite harmonica solos
and learn new classics
with this new collection
of songs for 10-hole
diatonic C harp! This
comprehensive songbook
presents an extensive
collection of 140 songs
spanning diverse genres
including blues, rock,
country, folk,
traditional, gospel, and
pop. Curated for
harmonica enthusiasts of
all levels, each song is
meticulously transcribed
with harmonica tabs,
lyrics, and chord
symbols, and skillfully
adapted for various
harmonica positions.
Furthermore, the songbook
offers valuable insights
for performing each piece
in its original key,
along with note-for-note
transcriptions of intros,
licks, and solos by
esteemed harp experts and
virtuosos from varied
musical backgrounds. Add
this new songbook to your
collection today to
unlock the endless
possibilities of your
harmonica!
I Can Hear Northern Lights Quatuor à cordes: 2 violons, alto, violoncelle [Conducteur et Parties séparées] Fennica Gehrman
String quartet SKU: FG.55011-484-5 Composed by Kai Nieminen. Score and pa...(+)
String quartet
SKU:
FG.55011-484-5
Composed by Kai Nieminen.
Score and parts. Fennica
Gehrman #55011-484-5.
Published by Fennica
Gehrman (FG.55011-484-5).
ISBN
9790550114845.
In
January 1999, Nieminen
worked with his oboe
piece Elegy for Agatha.
The work kept running
through his mind. Its
musically intimate and
intriguing setting seemed
to include sufficient
elements for explicating
a bigger whole. The poem
by Hannele Huovi was the
inspiration of the
sequel: Kuulen virtaavaa
valoa ja se on pimeys (I
can here streaming light
and it is darkness).
In his work, Nieminen
also looks back on his
days in military service.
The mental pictures
created decades ago on
guard during winter frost
amid silence combined
with Huovi's poem took a
musical shape. I Hear
Streaming Light (1999)
for the String Quartet
was created out of these
ideas, which together
with Elegy for Agatha
constitute a whole called
I Can Hear Northern
Lights. All musical
material and melodic
themes of the string
quartet piece originate
from Elegy for Agatha but
they do not appear in
their original forms.
Classroom SKU: BT.9780713663440 Gospel & Spiritual. Book with CD. 96 page...(+)
Classroom
SKU:
BT.9780713663440
Gospel & Spiritual. Book
with CD. 96 pages.
Collins Music Publishing
#9780713663440. Published
by Collins Music
Publishing
(BT.9780713663440).
ISBN 9780713663440.
English.
This
book contains 59 tried
and tested songs about
topics including the
world, the seasons, being
a friend and caring for
animals. There are
tuneful hymns and
thought-provoking
subjects, just what's
needed to fill the
musicslot in assembly or
at Sunday school.
Includes CD of backing
tracks.
Featuring 43 Fiddlers
and 188 of Their
Tunes. Perfect
binding. Folk. Book. 212
pages. Mel Bay
Publications, Inc #30091.
Published by Mel Bay
Publications, Inc
(MB.30091).
ISBN
9781513466378. 8.75 x
11.75
inches.
Appalachian
fiddle music, based on
the musical traditions of
the people who settled in
the mountainous regions
of the southeastern
United States, is
widely-known and played
throughout North America
and parts of Europe
because of its complex
rhythms, its catchy
melodies, and its
often-ancient-sounding
stylistic qualities. The
authors explore the lives
and music of 43 of the
classic Appalachian
fiddlers who were active
during the first half of
the 20th century. Some of
them were recorded
commercially in the
1920s, such as Gid
Tanner, Fiddlin? John
Carson, and Charlie
Bowman. Some were
recorded by folklorists
from the Library of
Congress, such as William
Stepp, Emmett Lundy, and
Marion Reece. Others were
recorded informally by
family members and
visitors, such as John
Salyer, Emma Lee
Dickerson, and Manco
Sneed. All of them played
throughout most of their
lives and influenced the
growth and stylistic
elements of fiddle music
in their regions. Each
fiddler has been given a
chapter with a biography,
several tune
transcriptions, and tune
histories. To show the
richness of the music,
the authors make a
special effort to show
the musical elements in
detail, but also
acknowledge that nothing
can take the place of
listening. Many of the
classic recordings used
in this book can be found
on the web, allowing you
to hear and read the
music together.
By William Bay. For Guitar (All). Methods. You Can Teach Yourself. All Styles. L...(+)
By William Bay. For
Guitar (All). Methods.
You Can Teach Yourself.
All Styles. Level:
Beginning. Book/CD Set.
Size 8.75x11.75. 112
pages. Published by Mel
Bay Publications, Inc.
(C Edition) Performed by Chicago. For C instrument. Format: fakebook. With leads...(+)
(C Edition) Performed by
Chicago. For C
instrument. Format:
fakebook. With leadsheet
notation (includes melody
line and chords) and
lyrics. Pop rock and soft
rock. Series: Hal Leonard
Fake Books. 232 pages.
9x12 inches. Published by
Hal Leonard.
Performed by Diane Warren. By Diane Warren. Edited by Carol Cuellar. Piano/Vocal...(+)
Performed by Diane
Warren. By Diane Warren.
Edited by Carol Cuellar.
Piano/Vocal songbook
(Piano/Vocal/Chords.
Arrangements for piano
and voice with guitar
chords). 144 pages.
Published by Alfred
Publishing.