Composed by Phil Duncan. For diatonic harmonica. Perfect binding. Methods. Beg...(+)
Composed by Phil Duncan.
For
diatonic harmonica.
Perfect
binding. Methods.
Beginning.
Book and Online Audio. 44
pages. Published by Mel
Bay
Publications, Inc
Published by Alfred Publishing. (22668) ISBN 0739034723. Great for mandolinists...(+)
Published by Alfred
Publishing. (22668)
ISBN 0739034723. Great
for mandolinists who have
learned the basics and
are ready to take the
next step. Important
techniques are introduced
like hammer-ons and
pull-offs, different
styles of tremolo,
slides, cross-picking and
rolls. Also included are
in-depth discussions of
how to learn tunes,
introductions to new time
signatures, and a more
in-depth look at
important musical
styles.
Written by Vladimir Bobri. Instructional book for guitar. With standard notation...(+)
Written by Vladimir
Bobri. Instructional book
for guitar. With standard
notation, introductory
text and instructional
text. 17 pages. Published
by Alfred Publishing.
Composed by Sean
O'Loughlin. Young String
Orchestra. Set of Score
and Parts. With Standard
notation.
16+16+4+10+10+10+3+12
pages. Duration 3
minutes, 38 seconds. Carl
Fischer Music #YAS190.
Published by Carl Fischer
Music (CF.YAS190).
ISBN 9781491151556.
UPC: 680160909056. 9 x 12
inches. Key: E
minor.
As part of a
collaboration between
students and composer,
Sean O'Loughlin, Dark
Dreams is a dark and
mysterious piece that
utilizes techniques such
as tremolo and pizzicato.
Following a slow and
mysterious opening which
illustrates the tapestry
of sound for the
composition, the work
develops the musical
material into various
vivid, intense, and
gripping musical
moments.
Dark
Dreams was
commissioned by
the Westport, Connecticut
Public Schools for the
Bedford Middle School 7th
Grade Orchestra, Michele
Anderson, director. It is
a piece influenced by
many ideas from the
students including such
descriptive words as
dark, mysterious, vivid,
intense and gripping. The
collaboration process on
commissions like this are
very rewarding for both
the students and
composer.
The students
were looking to include
techniques like tremolo
and pizzicato, so the
opening includes both of
these to set the tapestry
of sound for the
composition. The slow and
mysterious opening gives
way to an intense fast
section at m. 19. Trading
off between upper and
lower strings adds to the
tension before the upper
strings take hold of the
melody at m. 31. This
melody is derived from
the slow opening
material. The lower
strings get their chance
on the melody at m. 47 in
an augmented form. This
builds to a dramatic slow
section at m. 57. The
opening material returns
at m. 66 to transition
back to the fast
material. Make sure to
play the silence at m. 88
for maximum effect and
really lean into the
final note even though it
is on beat 3 of the
measure.
. <
p class=s4>Dark
Dreams was
commissioned by
the Westport, Connecticut
Public Schools for the
Bedford Middle School 7th
Grade Orchestra, Michele
Anderson, director. It is
a piece influenced by
many ideas from the
students including such
descriptive words as
dark, mysterious, A
vivid, intense and
gripping. The
collaboration process on
commissions like this are
very rewarding for both
the students and
composer.
The students
were looking to include
techniques like tremolo
and pizzicato, so the
opening includes both of
these to set the tapestry
of sound for the
composition. The slow and
mysterious opening gives
way to an intense fast
section at m. 19. Trading
off between upper and
lower strings adds to the
tension before the upper
strings take hold of the
melody at m. 31. This
melody is derived from
the slow opening
material. The lower
strings get their chance
on the melody at m. 47 in
an augmented form. This
builds to a dramatic slow
section at m. 57. The
opening material returns
at m. 66 to transition
back to the fast
material. Make sure to
aplaya the silence at m.
88 for maximum effect and
really lean into the
final note even though it
is on beat 3 of the
measure.
. <
p class=s4>Dark
Dreams was
commissioned by
the Westport, Connecticut
Public Schools for the
Bedford Middle School 7th
Grade Orchestra, Michele
Anderson, director. It is
a piece influenced by
many ideas from the
students including such
descriptive words as
dark, mysterious, A
vivid, intense and
gripping. The
collaboration process on
commissions like this are
very rewarding for both
the students and
composer.
The students
were looking to include
techniques like tremolo
and pizzicato, so the
opening includes both of
these to set the tapestry
of sound for the
composition. The slow and
mysterious opening gives
way to an intense fast
section at m. 19. Trading
off between upper and
lower strings adds to the
tension before the upper
strings take hold of the
melody at m. 31. This
melody is derived from
the slow opening
material. The lower
strings get their chance
on the melody at m. 47 in
an augmented form. This
builds to a dramatic slow
section at m. 57. The
opening material returns
at m. 66 to transition
back to the fast
material. Make sure to
aplaya the silence at m.
88 for maximum effect and
really lean into the
final note even though it
is on beat 3 of the
measure.
. <
p class=s4>Dark
Dreams was
commissioned by
the Westport, Connecticut
Public Schools for the
Bedford Middle School 7th
Grade Orchestra, Michele
Anderson, director. It is
a piece influenced by
many ideas from the
students including such
descriptive words as
dark, mysterious, vivid,
intense and gripping. The
collaboration process on
commissions like this are
very rewarding for both
the students and
composer.
The students
were looking to include
techniques like tremolo
and pizzicato, so the
opening includes both of
these to set the tapestry
of sound for the
composition. The slow and
mysterious opening gives
way to an intense fast
section at m. 19. Trading
off between upper and
lower strings adds to the
tension before the upper
strings take hold of the
melody at m. 31. This
melody is derived from
the slow opening
material. The lower
strings get their chance
on the melody at m. 47 in
an augmented form. This
builds to a dramatic slow
section at m. 57. The
opening material returns
at m. 66 to transition
back to the fast
material. Make sure to
play the silence at m. 88
for maximum effect and
really lean into the
final note even though it
is on beat 3 of the
measure.
. D
ark Dreams was
commissioned by the
Westport, Connecticut
Public Schools for the
Bedford Middle School 7th
Grade Orchestra, Michele
Anderson, director. It is
a piece influenced by
many ideas from the
students including such
descriptive words as
dark, mysterious, vivid,
intense and gripping. The
collaboration process on
commissions like this are
very rewarding for both
the students and
composer. The students
were looking to include
techniques like tremolo
and pizzicato, so the
opening includes both of
these to set the tapestry
of sound for the
composition. The slow and
mysterious opening gives
way to an intense fast
section at m. 19. Trading
off between upper and
lower strings adds to the
tension before the upper
strings take hold of the
melody at m. 31. This
melody is derived from
the slow opening
material. The lower
strings get their chance
on the melody at m. 47 in
an augmented form. This
builds to a dramatic slow
section at m. 57. The
opening material returns
at m. 66 to transition
back to the fast
material. Make sure to
play the silence at m. 88
for maximum effect and
really lean into the
final note even though it
is on beat 3 of the
measure. Dark Dreams
was commissioned by the
Westport, Connecticut
Public Schools for the
Bedford Middle School 7th
Grade Orchestra, Michele
Anderson, director. It is
a piece influenced by
many ideas from the
students including such
descriptive words as
dark, mysterious,
 vivid, intense and
gripping. The
collaboration process on
commissions like this are
very rewarding for both
the students and
composer. The students
were looking to include
techniques like tremolo
and pizzicato, so the
opening includes both of
these to set the tapestry
of sound for the
composition. The slow and
mysterious opening gives
way to an intense fast
section at m. 19. Trading
off between upper and
lower strings adds to the
tension before the upper
strings take hold of the
melody at m. 31. This
melody is derived from
the slow opening
material. The lower
strings get their chance
on the melody at m. 47 in
an augmented form. This
builds to a dramatic slow
section at m. 57. The
opening material returns
at m. 66 to transition
back to the fast
material. Make sure to
“play†the
silence at m. 88 for
maximum effect and really
lean into the final note
even though it is on beat
3 of the measure.
About Carl
Fischer Young String
Orchestra
Series
Thi
s series of Grade 2/Grade
2.5 pieces is designed
for second and third year
ensembles. The pieces in
this series are
characterized
by: --Occasionally
extending to third
position --Keys
carefully considered for
appropriate
difficulty --Addition
of separate 2nd violin
and viola
parts --Viola T.C.
part
included --Increase
in independence of parts
over beginning levels
Composed by Sean
O'Loughlin. Young String
Orchestra (YAS). Full
score. With Standard
notation. 12 pages. Carl
Fischer Music #YAS190F.
Published by Carl Fischer
Music (CF.YAS190F).
ISBN 9781491151921.
UPC: 680160909421. 9 x 12
inches.
As part of
a collaboration between
students and composer,
Sean O'Loughlin, Dark
Dreams is a dark and
mysterious piece that
utilizes techniques such
as tremolo and pizzicato.
Following a slow and
mysterious opening which
illustrates the tapestry
of sound for the
composition, the work
develops the musical
material into various
vivid, intense, and
gripping musical
moments.
Dark
Dreams was
commissioned by
the Westport, Connecticut
Public Schools for the
Bedford Middle School 7th
Grade Orchestra, Michele
Anderson, director. It is
a piece influenced by
many ideas from the
students including such
descriptive words as
dark, mysterious, vivid,
intense and gripping. The
collaboration process on
commissions like this are
very rewarding for both
the students and
composer.
The students
were looking to include
techniques like tremolo
and pizzicato, so the
opening includes both of
these to set the tapestry
of sound for the
composition. The slow and
mysterious opening gives
way to an intense fast
section at m. 19. Trading
off between upper and
lower strings adds to the
tension before the upper
strings take hold of the
melody at m. 31. This
melody is derived from
the slow opening
material. The lower
strings get their chance
on the melody at m. 47 in
an augmented form. This
builds to a dramatic slow
section at m. 57. The
opening material returns
at m. 66 to transition
back to the fast
material. Make sure to
play the silence at m. 88
for maximum effect and
really lean into the
final note even though it
is on beat 3 of the
measure.
. <
p class=s4>Dark
Dreams was
commissioned by
the Westport, Connecticut
Public Schools for the
Bedford Middle School 7th
Grade Orchestra, Michele
Anderson, director. It is
a piece influenced by
many ideas from the
students including such
descriptive words as
dark, mysterious, A
vivid, intense and
gripping. The
collaboration process on
commissions like this are
very rewarding for both
the students and
composer.
The students
were looking to include
techniques like tremolo
and pizzicato, so the
opening includes both of
these to set the tapestry
of sound for the
composition. The slow and
mysterious opening gives
way to an intense fast
section at m. 19. Trading
off between upper and
lower strings adds to the
tension before the upper
strings take hold of the
melody at m. 31. This
melody is derived from
the slow opening
material. The lower
strings get their chance
on the melody at m. 47 in
an augmented form. This
builds to a dramatic slow
section at m. 57. The
opening material returns
at m. 66 to transition
back to the fast
material. Make sure to
aplaya the silence at m.
88 for maximum effect and
really lean into the
final note even though it
is on beat 3 of the
measure.
. <
p class=s4>Dark
Dreams was
commissioned by
the Westport, Connecticut
Public Schools for the
Bedford Middle School 7th
Grade Orchestra, Michele
Anderson, director. It is
a piece influenced by
many ideas from the
students including such
descriptive words as
dark, mysterious, A
vivid, intense and
gripping. The
collaboration process on
commissions like this are
very rewarding for both
the students and
composer.
The students
were looking to include
techniques like tremolo
and pizzicato, so the
opening includes both of
these to set the tapestry
of sound for the
composition. The slow and
mysterious opening gives
way to an intense fast
section at m. 19. Trading
off between upper and
lower strings adds to the
tension before the upper
strings take hold of the
melody at m. 31. This
melody is derived from
the slow opening
material. The lower
strings get their chance
on the melody at m. 47 in
an augmented form. This
builds to a dramatic slow
section at m. 57. The
opening material returns
at m. 66 to transition
back to the fast
material. Make sure to
aplaya the silence at m.
88 for maximum effect and
really lean into the
final note even though it
is on beat 3 of the
measure.
. <
p class=s4>Dark
Dreams was
commissioned by
the Westport, Connecticut
Public Schools for the
Bedford Middle School 7th
Grade Orchestra, Michele
Anderson, director. It is
a piece influenced by
many ideas from the
students including such
descriptive words as
dark, mysterious, vivid,
intense and gripping. The
collaboration process on
commissions like this are
very rewarding for both
the students and
composer.
The students
were looking to include
techniques like tremolo
and pizzicato, so the
opening includes both of
these to set the tapestry
of sound for the
composition. The slow and
mysterious opening gives
way to an intense fast
section at m. 19. Trading
off between upper and
lower strings adds to the
tension before the upper
strings take hold of the
melody at m. 31. This
melody is derived from
the slow opening
material. The lower
strings get their chance
on the melody at m. 47 in
an augmented form. This
builds to a dramatic slow
section at m. 57. The
opening material returns
at m. 66 to transition
back to the fast
material. Make sure to
play the silence at m. 88
for maximum effect and
really lean into the
final note even though it
is on beat 3 of the
measure.
. D
ark Dreams was
commissioned by the
Westport, Connecticut
Public Schools for the
Bedford Middle School 7th
Grade Orchestra, Michele
Anderson, director. It is
a piece influenced by
many ideas from the
students including such
descriptive words as
dark, mysterious, vivid,
intense and gripping. The
collaboration process on
commissions like this are
very rewarding for both
the students and
composer. The students
were looking to include
techniques like tremolo
and pizzicato, so the
opening includes both of
these to set the tapestry
of sound for the
composition. The slow and
mysterious opening gives
way to an intense fast
section at m. 19. Trading
off between upper and
lower strings adds to the
tension before the upper
strings take hold of the
melody at m. 31. This
melody is derived from
the slow opening
material. The lower
strings get their chance
on the melody at m. 47 in
an augmented form. This
builds to a dramatic slow
section at m. 57. The
opening material returns
at m. 66 to transition
back to the fast
material. Make sure to
play the silence at m. 88
for maximum effect and
really lean into the
final note even though it
is on beat 3 of the
measure. Dark Dreams
was commissioned by the
Westport, Connecticut
Public Schools for the
Bedford Middle School 7th
Grade Orchestra, Michele
Anderson, director. It is
a piece influenced by
many ideas from the
students including such
descriptive words as
dark, mysterious,
 vivid, intense and
gripping. The
collaboration process on
commissions like this are
very rewarding for both
the students and
composer. The students
were looking to include
techniques like tremolo
and pizzicato, so the
opening includes both of
these to set the tapestry
of sound for the
composition. The slow and
mysterious opening gives
way to an intense fast
section at m. 19. Trading
off between upper and
lower strings adds to the
tension before the upper
strings take hold of the
melody at m. 31. This
melody is derived from
the slow opening
material. The lower
strings get their chance
on the melody at m. 47 in
an augmented form. This
builds to a dramatic slow
section at m. 57. The
opening material returns
at m. 66 to transition
back to the fast
material. Make sure to
“play†the
silence at m. 88 for
maximum effect and really
lean into the final note
even though it is on beat
3 of the measure.
About Carl
Fischer Young String
Orchestra
Series
Thi
s series of Grade 2/Grade
2.5 pieces is designed
for second and third year
ensembles. The pieces in
this series are
characterized
by: --Occasionally
extending to third
position --Keys
carefully considered for
appropriate
difficulty --Addition
of separate 2nd violin
and viola
parts --Viola T.C.
part
included --Increase
in independence of parts
over beginning levels
Composed by Matt Turner.
Concert String Orchestra
(CAS). Set of Score and
Parts. With Standard
notation.
16+16+4+10+10+10+4+16
pages. Duration 4
minutes, 14 seconds. Carl
Fischer Music #CAS111.
Published by Carl Fischer
Music (CF.CAS111).
ISBN 9781491151303.
UPC: 680160908806. 9 x 12
inches. Key: G
minor.
Composed by
Matt Turner, Moonlight
Odyssey for string
orchestra is a
hard-driving piece which
takes the listener on an
adventure full of
rhythmic twists and turns
as well as Middle
Eastern-flavored
melodies. The piece
begins rubato with a
quiet drone. The soloist
should take time at the
beginningdont hurry
through the introduction.
The tremolos in mm. 3 and
7 should shimmerplay very
quietly but intensely.
Exaggerate and move
quickly through the
crescendo in mm. 12 and
16. The ostinato section
beginning in m. 10 should
be staccato (as marked)
and precisebe careful not
to rush! Cellists and
bassists should rock out
and emphasize the
accented notes in mm. 50
and 51 to set up the next
section. Exaggerate
dynamics
throughout. The piece
begins rubato with a
quiet drone. The soloist
should take time at the
beginningadonat hurry
through the introduction.
The tremolos in mm. 3 and
7 should shimmeraplay
very quietly but
intensely. Exaggerate and
move quickly through the
crescendo in mm. 12 and
16. The ostinato section
beginning in m. 10 should
be staccato (as marked)
and preciseabe careful
not to rush! Cellists and
bassists should arock
outa and emphasize the
accented notes in mm. 50
and 51 to set up the next
section. Exaggerate
dynamics
throughout. The piece
begins rubato with a
quiet drone. The soloist
should take time at the
beginning--don't hurry
through the introduction.
The tremolos in mm. 3 and
7 should shimmer--play
very quietly but
intensely. Exaggerate and
move quickly through the
crescendo in mm. 12 and
16. The ostinato section
beginning in m. 10 should
be staccato (as marked)
and precise--be careful
not to rush! Cellists and
bassists should rock out
and emphasize the
accented notes in mm. 50
and 51 to set up the next
section. Exaggerate
dynamics
throughout. The piece
begins rubato with a
quiet drone. The soloist
should take time at the
beginning—donâ€
™t hurry through the
introduction. The
tremolos in mm. 3 and 7
should
shimmer—play very
quietly but intensely.
Exaggerate and move
quickly through the
crescendo in mm. 12 and
16. The ostinato section
beginning in m. 10 should
be staccato (as marked)
and precise—be
careful not to rush!
Cellists and bassists
should “rock
out†and emphasize
the accented notes in mm.
50 and 51 to set up the
next section. Exaggerate
dynamics throughout.
About Carl
Fischer Concert String
Orchestra
Series
Thi
s series of pieces (Grade
3 and higher) is designed
for advancing ensembles.
The pieces in this series
are characterized
by:
Expanded use
of rhythms, ranges and
keys but technical
demands are still
carefully
considered
More
comprehensive bowing
techniques
Viola
T.C.
included
Careful
selection of keys and
degree of difficulty for
advancing
musicians
Composed by Matt Turner.
Concert String Orchestra
(CAS). Full score. With
Standard notation. 16
pages. Carl Fischer Music
#CAS111F. Published by
Carl Fischer Music
(CF.CAS111F).
ISBN
9781491151679. UPC:
680160909179. 9 x 12
inches.
Composed by
Matt Turner, Moonlight
Odyssey for string
orchestra is a
hard-driving piece which
takes the listener on an
adventure full of
rhythmic twists and turns
as well as Middle
Eastern-flavored
melodies. The piece
begins rubato with a
quiet drone. The soloist
should take time at the
beginningdont hurry
through the introduction.
The tremolos in mm. 3 and
7 should shimmerplay very
quietly but intensely.
Exaggerate and move
quickly through the
crescendo in mm. 12 and
16. The ostinato section
beginning in m. 10 should
be staccato (as marked)
and precisebe careful not
to rush! Cellists and
bassists should rock out
and emphasize the
accented notes in mm. 50
and 51 to set up the next
section. Exaggerate
dynamics
throughout. The piece
begins rubato with a
quiet drone. The soloist
should take time at the
beginningadonat hurry
through the introduction.
The tremolos in mm. 3 and
7 should shimmeraplay
very quietly but
intensely. Exaggerate and
move quickly through the
crescendo in mm. 12 and
16. The ostinato section
beginning in m. 10 should
be staccato (as marked)
and preciseabe careful
not to rush! Cellists and
bassists should arock
outa and emphasize the
accented notes in mm. 50
and 51 to set up the next
section. Exaggerate
dynamics
throughout. The piece
begins rubato with a
quiet drone. The soloist
should take time at the
beginning--don't hurry
through the introduction.
The tremolos in mm. 3 and
7 should shimmer--play
very quietly but
intensely. Exaggerate and
move quickly through the
crescendo in mm. 12 and
16. The ostinato section
beginning in m. 10 should
be staccato (as marked)
and precise--be careful
not to rush! Cellists and
bassists should rock out
and emphasize the
accented notes in mm. 50
and 51 to set up the next
section. Exaggerate
dynamics
throughout. The piece
begins rubato with a
quiet drone. The soloist
should take time at the
beginning—donâ€
™t hurry through the
introduction. The
tremolos in mm. 3 and 7
should
shimmer—play very
quietly but intensely.
Exaggerate and move
quickly through the
crescendo in mm. 12 and
16. The ostinato section
beginning in m. 10 should
be staccato (as marked)
and precise—be
careful not to rush!
Cellists and bassists
should “rock
out†and emphasize
the accented notes in mm.
50 and 51 to set up the
next section. Exaggerate
dynamics throughout.
About Carl
Fischer Concert String
Orchestra
Series
Thi
s series of pieces (Grade
3 and higher) is designed
for advancing ensembles.
The pieces in this series
are characterized
by:
Expanded use
of rhythms, ranges and
keys but technical
demands are still
carefully
considered
More
comprehensive bowing
techniques
Viola
T.C.
included
Careful
selection of keys and
degree of difficulty for
advancing
musicians
Composed by
Jay Coles. Yas. Set of
Score and Parts. Duration
3 minutes, 44 seconds.
Carl Fischer Music
#YAS236. Published by
Carl Fischer Music
(CF.YAS236).
ISBN
9781491164884. UPC:
680160923793. Key: E
minor.
Intrepid is
full of chaotic energy.
It’s a fast-paced,
aggressive, and
all-around powerful work
for young string players
that makes them sound
mature beyond their
abilities. This piece is
perfect for teaching
accents, staccatos, as
well as a marcato style
of bowing. The melody
passes from section to
section as the piece
progresses.The chaotic
energy begins in m. 1.
Don’t be afraid to
allow the cellos and
basses to come out
strong, punching the G on
beat 3 for maximum
intensity. This opening
section should drive
hard, leading to the main
theme in m. 12, beginning
in the cello and bass
sections. Pay close
attention to the accents.
Articulating those
correctly is important
for building up to the
climactic moment that
happens at the end.The
brief, slow middle
section is a great legato
section to teach young
musicians musicality and
musicianship. Starting at
m. 68, the main melodic
material returns and
juxtaposes and floats
through various sections
of the orchestra until
the piece reaches a
dramatic conclusion. The
ending uses heavy
tremolo, but all tremolos
are optional throughout.
Have fun performing
Intrepid!
Composed
by Jay Coles. Yas. Full
score. Duration 3
minutes, 44 seconds. Carl
Fischer Music #YAS236F.
Published by Carl Fischer
Music (CF.YAS236F).
ISBN 9781491165287.
UPC: 680160924196. Key: E
minor.
Intrepid is
full of chaotic energy.
It’s a fast-paced,
aggressive, and
all-around powerful work
for young string players
that makes them sound
mature beyond their
abilities. This piece is
perfect for teaching
accents, staccatos, as
well as a marcato style
of bowing. The melody
passes from section to
section as the piece
progresses.The chaotic
energy begins in measure
1. Don’t be afraid
to allow the cellos and
basses to come out
strong, punching the
“G†on beat 3
for maximum intensity.
This opening section
should drive hard leading
to the main theme in
measure 12, beginning in
the cello and bass
sections. Pay close
attention to the accents.
Articulating those
correctly is important
for building up to the
climactic moment that
happens at the end.The
brief, slow middle
section is a great legato
section to teach young
musicians musicality and
musicianship. Starting at
measure 68, the main
melodic material returns
and juxtaposes and floats
through various sections
of the orchestra until
the piece reaches a
dramatic conclusion. The
ending uses heavy
tremolo, but all tremolos
are optional throughout.
Have fun performing
Intrepid!
by Charles Postlewate. For Guitar (Classic). technique. Classic. Level: Intermed...(+)
by Charles Postlewate.
For Guitar (Classic).
technique. Classic.
Level: Intermediate.
Book. Size 8.75x11.75. 56
pages. Published by Mel
Bay Publications, Inc.
(An Alfred Classical Guitar Masterworks Edition). Composed by Francisco Tá...(+)
(An Alfred Classical
Guitar
Masterworks Edition).
Composed by Francisco
Tárrega. For Guitar.
Book;
Classical Guitar Folio;
Masterworks. Classical
Guitar Masterworks.
Masterwork Arrangement;
Romantic. 24 pages.
Published by Alfred Music
Guitar SKU: UT.CH-122 Per Maurizio (2009) for Guitar. Composed by ...(+)
Guitar
SKU:
UT.CH-122
Per
Maurizio (2009) for
Guitar. Composed by
Gilberto Cappelli. Edited
by Piero Bonaguri. Saddle
stitching. Piero Bonaguri
Collection. Classical. Ut
Orpheus #CH 122.
Published by Ut Orpheus
(UT.CH-122).
ISBN
9790215318410. 9 x 12
inches.
'Per Piero'
and 'Per Maurizio' are
among the most recent
pieces written for solo
guitar by Gilberto
Cappelli. The first
piece, written in 2006,
represents a surprise
present for my fiftieth
birthday: it was written
after a request of a
pupil of mine, Alessandra
Lucchi, who performed it
as a premiere during my
birthday party. The
second piece (2009)
expresses the
composer’s
participation for the
pain caused by the sudden
death of Maurizio
Biasini, scientist and
guitarist who completed
his musical studies at
Cesena Conservatory where
Gilberto Cappelli was in
the Board of Examiners.
The piece was premiered
at a concert in memory of
Maurizio held in the
Bonci Theatre in
Cesena. The use of a
particular tremolo effect
is a typical
characteristic of all the
guitar works of this
composer; a tremolo which
is very different from
the traditional one. The
performer is asked to
produce – as much
as possible – a
long and continuous
sound, as if it were a
voice or the long sound
of string or wind
instruments. The tremolo
will have to be very
dense and homogeneous. In
the case of a tremolo on
two or three strings it
is necessary to start
playing two or three
sounds simultaneously
only once and then
continuing alternating
them – but always
tending to achieve a
homogeneity of sound.
(Piero Bonaguri).
Guitar (GIT DVD(PA) - intermediate to advanced SKU: HL.49032562 Gitarr...(+)
Guitar (GIT DVD(PA) -
intermediate to advanced
SKU: HL.49032562
Gitarrenschule fur
Unterricht und
Selbststudium.
Composed by Keyboard.
This edition:
Paperback/Soft Cover.
Sheet music with DVD.
Edition Schott. Edition
with DVD. 136 pages.
Schott Music #ED 8254-01.
Published by Schott Music
(HL.49032562).
ISBN
9783795757656.
German.
Gerhard
Graf-Martinez is a
passionate flamenco
guitarist and teacher.
The wealth of his
knowledge is captured in
this two-volume work ,
which also reflects
valuable experience
gained from his
activities as a tutor at
national and
international seminars
and workshops. The CD
included with volume 1
contains all the pieces
and musical examples for
volumes 1 and 2. Besides
being a pure pleasure to
listen to - Flamenco puro
- it also conveys the
authentic sound and the
pulsating compas of this
music. This is the only
way to learn to play the
music properly yourself.
The DVD will take you to
the passionate world of
Flamenco, and you will
quickly immerse yourself
in this Spanish musical
phenomenon. - Flamenco
Guitar Method on DVD -
All video sequences as
slow versions and at
original speed -
Explanation and
presentation of all
techniques - various
camera perspectives
selectable (multi-angle)
- All sound examples are
underlaid with notes and
tablature. - Duration: 80
Minutes For more
information please have a
look at
www.graf-martinez.com/fla
menco-guitar-dvd.html
[1]Links:------[1]
http://www.graf-martinez.
info/flamenco-guitar-dvd.
html.
Written by Jim Dalton. Instructional book and accompaniment CD for mandolin. Ser...(+)
Written by Jim Dalton.
Instructional book and
accompaniment CD for
mandolin. Series:
National Guitar Workshop
Method - Approved
Curriculum. 48 pages.
Published by Alfred
Publishing.
SKU: HL.438829 EAST SOUND RESEARCH. Guitar Pedal. Hal Leonard #CM0006. Pu...(+)
SKU: HL.438829
EAST SOUND RESEARCH.
Guitar Pedal. Hal Leonard
#CM0006. Published by Hal
Leonard (HL.438829).
UPC: 852940000714.
4.5x7.25x2.657
inches.
The Carl
Martin TremO'vibe is an
analog “two in
one†effect pedal
consisting of a tremolo
and a real vibrato, both
with independent sets of
speed and depth controls.
The tremolo effect works
like a change in volume.
The vibrato, which works
as a change in tone
(pitch modulation), is
carefully designed to
imitate the sound of a
real tube vibrato.
Featuring two switches,
The “onâ€
switch allows you to
engage or bypass the
unit. The
“selectâ€
switch allows you to
switch between Tremolo
and Vibrato. The Carl
Martin TremO'vibe is an
excellent choice for
Guitar, Bass, Keyboard,
or any other electronic
instrument, that requires
the highest sonic
clarity, maximum dynamic
range and noise free
performance. The unit has
a built in regulated
power supply which
enables us to design
circuitry of the highest
quality with maximum
headroom.
Composed by Nathan Daughtrey. Percussion Ensemble. For Marimba (4-mallet) (marim...(+)
Composed by Nathan
Daughtrey. Percussion
Ensemble. For Marimba
(4-mallet) (marimba
(5-octave)). Medium.
Duration 3:00. Published
by C. Alan Publications
Two Performance Scores viola and double bass - advanced SKU: HL.49046217 ...(+)
Two Performance Scores
viola and double bass -
advanced
SKU:
HL.49046217
For
Viola and Double Bass Two
Performance Scores.
Composed by Pierre
Jalbert. Sheet music.
String Ensemble.
Softcover. Composed 2018.
12 pages. Duration 14'.
Schott Music #ED30190.
Published by Schott Music
(HL.49046217).
ISBN
9781540056368. UPC:
888680948054.
9.0x12.0x0.075
inches.
Duo
Concertante contains five
brief movements of
contrasting character.
The first movement
functions as a short
prelude, with the viola
and bass combining to
form alternating high and
low harmonies and trading
off solo lines. The
second movement is a
playful scherzo, played
pizzicato by both
instruments, while the
third movement is the
central, lyrical movement
of the work, with
undulating natural
harmonic tremolos and a
rhythmically driving
interruptive middle
section. The fourth
movement consists almost
entirely of quickly bowed
natural harmonics with
fleeting rhythmic
tremolos on both
instruments. The final
movement contains rapidly
driving music in constant
motion, interrupted twice
by cadenza-like free
sections which are
non-synchronized. The two
instruments then come
together for the final
push to the end.Duo
Concertante was written
for James and Deborah
Dunham on the occasion of
their 35th anniversary,
with support from the
Shepherd School of Music,
Rice University. Pierre
Jalbert.
Orchestra Piano SKU: PR.11641861SP Composed by William Kraft. Part. 35 pa...(+)
Orchestra Piano
SKU:
PR.11641861SP
Composed by William
Kraft. Part. 35 pages.
Duration 21 minutes.
Theodore Presser Company
#116-41861SP. Published
by Theodore Presser
Company (PR.11641861SP).
UPC:
680160685202.
What?
! - my composer
colleagues said - A
concerto for the piano?
It's a 19th century
instrument! Admittedly we
are in an age when
originally created
timbres and/or
musico-technological
formulations are often
the modus operandi of a
piece. Actually, this
Concerto began about two
years ago when, during
one of my creative jogs,
the sound of the
uppermost register of the
piano mingled with wind
chimes penetrated my
inner ear. The challenge
and fascination of
exploring and developing
this idea into an
orchestral situation
determined that some day
soon I would be writing a
work for piano and
orchestra. So it was a
very happy coincidence
when Mona Golabek phoned
to tell me she would like
discuss the Ford
Foundation commission.
After covering areas of
aesthetics and
compositional styles, we
found that we had a good
working rapport, and she
asked if I would accept
the commission. The
answer was obvious. Then
began the intensive
thought process on the
stylistic essence and
organization of the work.
Along with this went a
renewed study of
idiomatic writing for the
piano, of the kind
Stravinsky undertook with
the violin when he began
his Violin Concerto. By a
stroke of great fortune,
the day in February 1972
that I received official
notice from the Ford
Foundation of the
commission, I also
received a letter from
the Guggenheim Foundation
informing me I had been
awarded my second
fellowship. With the good
graces of Zubin Mehta and
Ernest Fleischmann,
masters of my destiny as
a member of the Los
Angeles Philharmonic, I
was relieved of my
orchestral duties during
the Hollywood Bowl
season. Thus I was able
to go to Europe to work
and to view the latest
trends in music
concentrating in London
(the current musical
melting pot and showcase
par excellence), Oslo,
Norway, for the Festival
of Scandinavian Music
called Nordic Days, and
Warsaw, Poland, for its
prestigious Autumn
Festival. Over half the
Concerto was completed in
that summer and most of
the rest during the 72-73
season with the final
touches put on during a
month as Resident Scholar
at the Rockefeller
Foundation's Villa
Serbelloni in Bellagio,
Italy. So much for the
external and
environmental influences,
except perhaps to mention
the birds of Sussex in
the first movement, the
bells of Arhus (Denmark)
in the second movement
and the bells of Bellagio
at the end of the
Concerto. Primary in the
conception was the
personality of Miss
Golabek: she is a
wonderfully vital and
dynamic person and a real
virtuoso. Therefore, the
soloist in the Concerto
is truly the protagonist;
it is she (for once we
can do away with the
generic he) who unfolds
the character and intent
of the piece. The first
section is constructed in
the manner of a
recitative - completely
unmeasured - with letters
and numbers by which the
conductor signals the
orchestra for its
participation. This
allows the soloist the
freedom to interpret the
patterns and control the
flow and development of
the music. The Concerto
is actually in one
continuous movement but
with three large
divisions of sufficiently
contrasting character to
be called movements in
themselves. The first
'movement' is based on a
few timbral elements: 1)
a cluster of very low
pitches which at the
beginning are practically
inaudibly depressed, and
sustained silently by the
sostenuto pedal, which
causes sympathetic
vibrating pitches to ring
when strong notes are
struck; 2) a single
powerful note indicated
by a black note-head with
a line through it
indicating the strongest
possible sforzando; 3)
short figures of various
colors sometimes ominous,
sometimes as splashes of
light or as elements of
transition; 4) trills and
tremolos which are the
actual controlling
organic thread starting
as single axial tremolos
and gradually expanding
to trills of increasingly
larger and more powerful
scope. The 'movement'
begins in quiescent
repose but unceasingly
grows in energy and
tension as the stretching
of a string or rubber
band. When it can no
longer be restrained, it
bursts into the next
section. The second
'movement,' propelled by
the released tension, is
a brilliant virtuosic
display, which begins
with a long solo of wispy
percussion, later joined
in duet with the piano.
Not to be ignored, the
orchestra takes over
shooting the material
throughout all its
sections like a small
agile bird deftly
maneuvering through
nothing but air, while
the piano counterposes
moments of lyricism. The
orchestra reaches a
climax, thrusting us into
the third 'movement'
which begins with a
cadenza-like section for
the piano. This moves
gently into an expressive
section (expressive is
not a negative term to
me) in which duets are
formed with various
instruments. There are
fleeting glimpses of
remembrances past, as a
fragmented
recapitulation. One
glimpse is hazily
expressed by strings and
percussion in a moment of
simultaneous contrasting
levels of activity, a
technique of which I have
been fond and have
utilized in various
fixed-free relationships,
particularly in my
Percussion Concerto,
Contextures and Games:
Collage No. 1. The second
half of the third
'movement; is a large
coda - akin to those in
Beethoven - which brings
about another display of
virtuosity, this time
gutsy and driving,
raising the Concerto to a
final climax, the soloist
completing the fragmented
recapitulation concept as
well as the work with the
single-note sforzando and
low cluster from the very
opening of the first
movement.
By William Bay. For Guitar (All). Chord book. Guitar Journals. All Styles. Level...(+)
By William Bay. For
Guitar (All). Chord book.
Guitar Journals. All
Styles. Level:
Beginning-Intermediate.
Book. Size 9.5x11.25. 224
pages. Published by Mel
Bay Publications, Inc.
by William Bay. For flatpick and plectrum guitar. All styles, notes and tab. Lev...(+)
by William Bay. For
flatpick and plectrum
guitar. All styles, notes
and tab. Level:
Intermediate-Advanced.
Book. Technique. Size
8.75x11.75. 132 pages.
Published by Mel Bay
Pub., Inc.
For Guitar (All). Technique. Guitar Journals. All Styles. Level: Beginning-Inter...(+)
For Guitar (All).
Technique. Guitar
Journals. All Styles.
Level:
Beginning-Intermediate.
Book. Size 9x11.25. 144
pages. Published by Mel
Bay Publications, Inc.
(Hands-On Basic Training for Musicians). Composed by Bobby Owsinski. Book; Books...(+)
(Hands-On Basic Training
for Musicians). Composed
by Bobby Owsinski. Book;
Books and DVDs; DVD;
Method/Instruction; Pro
Audio; Pro Audio
Textbook; Reference
Textbooks. Boot Camp. 160
pages. Published by
Alfred Music
Orchestra SKU: BA.BA06861 Sinfonie (1923-1928). Composed by Leos J...(+)
Orchestra
SKU:
BA.BA06861
Sinfonie
(1923-1928). Composed
by Leos Janacek. Arranged
by Leoš Faltus and
Miloš Štedron. This
edition: complete
edition, urtext edition.
Linen. Complete Critical
Edition of the Works of
Leos Janacek H/3.
Complete edition, Score,
Set of parts. Duration 40
minutes. Baerenreiter
Verlag #BA06861_00.
Published by Baerenreiter
Verlag (BA.BA06861).
ISBN 9790260104211.
34.3 x 27 cm
inches.
Leoš
Janácek’s
symphonic fragment Dunaj
(The Danube) dates from
the period of the
composition of
“Katya
Kabanovaâ€. The
composer was not
concerned with a
musical-picturesque
description of a river
landscape, but with the
mythical link between
women’s destinies
and
water.
“Pale
green waves of the
Danube! There are so many
of you, and one followed
by another. You remain
interlocked in a
continuous flow. You
surprise yourselves where
you ended up – on
the Czech shores! Look
back downstream and you
will have an impression
of what you have left
behind in your haste. It
pleases you here. Here I
will rest with my
symphony.†Thus
Leoš Janácek
described the idea behind
the composition project
which occupied him in
1923/24. However, after
further work, it remained
incomplete in 1926. His
“symphonyâ€
entitled Dunaj has
survived as a
continuously-notated,
four-movement bundle of
sketches in score form.
It is one of the works
which occupied him until
his death. The scholarly
reconstruction by the two
Brno composers Miloš
Štedron and Leoš
Faltus closely follows
the original
manuscript.
A
whole conglomeration of
motifs stands behind the
incomplete work. What at
first seems like a
counterpart to
Smetana’s Vltava,
in fact doesn’t
turn out to be a musical
depiction of the Danube.
On the contrary, the
fateful link between the
destiny of women, water
and death permeates the
range of motifs found in
the work. It seems to be
no coincidence that
Janácek, whilst
working on the opera
Katya Kabanova, in which
the Volga, as the river
bringing death plays an
almost mythical role,
planned a Danube
symphony, and that its
content was linked with
the destiny of women: in
the sketches, two poems
were found which may have
provided the stimulus for
several movements of the
symphony. He copied a
poem by Pavla
Kriciková into the
second movement, in which
a girl remarks that
whilst bathing in a pond,
she was observed by a
man. Filled with shame,
the young naked woman
jumps into the water and
drowns. The outer
movements likewise draw
on the poem
“Lola†by the
Czech writer Sonja
Špálová,
published under the
pseudonym Alexander
Insarov. This is about a
prostitute who asks for
her heart’s
desire: she is given a
palace, but then goes on
a long search for it and
is finally no longer
wanted by anyone. She
suffers, feels cold and
just wants a warm fire.
Janácek adds his
remark “she jumps
into the Danube†to
the inconclusive
ending.
To these
tangible literary models
is added Adolf
Veselý’s verbal
account which reports
that the composer wanted
to portray “in the
Danube, the female sex
with all its passions and
driving forcesâ€.
The third movement is
said to characterise the
city of Vienna in the
form of a
woman.
It is
evident that in his
composition, Janácek
was not striving for a
simple, natural lyricism.
The River Danube is
masculine in the Slavic
language –
“ten Dunajâ€
– and assumes an
almost mythical
significance in the
national character,
indeed often also a role
bringing death. The four
movements are motivically
conceived. Elements of
sound painting, small
wave-like figures in the
first movement, motoric,
driving movements in the
third are obvious
evocations of water. And
the content and the
literary level are easy
to discover. The
“tremolo of the
four timpaniâ€,
which was amongst
Janácek’s first
inspirations, appears in
the second movement. It
is not difficult to
retrace in it the fate of
the drowning bather. The
oboe enters lamentoso
towards the end of the
movement over timpani
playing tremolo, its
descending figure is
taken over by the flute,
then upper strings and
intensified considerably.
The motif of drowning
– Lola’s
despair – returns
again in the fourth
movement in the clarinet,
before the work ends
abruptly and
dramatically.
One
special effect is the use
of a soprano voice in the
motor-driven third
movement. The singer
vocalises mainly in
parallel with the solo
oboe, but also in
dialogue with other parts
such as the viola
d’amore, which
Janácek used in
several late works as a
sort of “voice of
loveâ€.
About
Barenreiter
Urtext
What can I
expect from a Barenreiter
Urtext
edition?<
/p>
MUSICOLOGICA
LLY SOUND - A
reliable musical text
based on all available
sources - A
description of the
sources -
Information on the
genesis and history of
the work - Valuable
notes on performance
practice - Includes
an introduction with
critical commentary
explaining source
discrepancies and
editorial decisions
... AND
PRACTICAL -
Page-turns, fold-out
pages, and cues where you
need them - A
well-presented layout and
a user-friendly
format - Excellent
print quality -
Superior paper and
binding