PARTITIONS GRATUITES :
ROMANTIQUE
- What If...

For Three-Part Mixed Voices A Cappella. By John Dowland. Arranged by Russell L. Robinson. Mixed choir. For SAB Chorus, Keyboard Rehearsal. Carl Fischer Performance Series for Chorus. Choral. Piano/Vocal Score. 8 pages. Published by Carl Fischer.

300 Songs. Composed by Various. Mandolin. Softcover. 456 pages. Published by Hal Leonard

Edited by Jerry Willard. For guitar. Includes guitar solo book and examples CD. With standard notation, guitar tablature, fingerings and introductory text. Renaissance, baroque and classical period. 78 pages. 9x12 inches. Published by Music Sales.

Composed by Johann Sebastian Bach (1685-1750), edited by Riemenschneider. For piano. Format: piano solo book. With piano reduction, introductory text, instructional text, lyrics and performance notes. Baroque. 184 pages. 9x12 inches. Published by Schirmer

Five Centuries Of Choral Music For Mixed Voices by Various. For Choral (SATB). Choral Collection. Renaissance, Baroque, Classical Period, 20th Century and Vocal Standards. Difficulty: medium. Vocal score (6 copies needed for performance). Vocal score and piano accompaniment. 156 pages. G. Schirmer #ED2529. Published by G. Schirmer

Piano - difficult

SKU: HL.49008315

Part VII-XI. Composed by Moritz Eggert. This edition: Saddle stitching. Sheet music. Edition Schott. Classical. Composed 1995-1998. 70 pages. Duration 33'. Schott Music #ED9137. Published by Schott Music (HL.49008315).

ISBN 9790001126403. UPC: 073999352016. 8.0x11.75x0.221 inches.

'Hammerklav ier' is a full-length cyclical work. The composer tries casting off the straight-jacket of hide-bound musical traditions, sending the listener on a voyage of discovery and liberation. The 'Hammer' of the title refers not to the mechanical action of the pianoforte nor to Beethoven's 'Hammerklaviersonata' but to the mental approach required of the performer who doesn't just simply depress the keys of the piano but needs to be a true 'performance artist'. The composer has recorded the entire cycle for WERGO (WER 6611-2).

Saxophone, Accordion, Double Bass

SKU: HL.14033723

Composed by Karsten Fundal. Music Sales America. Classical. Score. 15 pages. Music Sales #KP01526. Published by Music Sales (HL.14033723).

ISBN 9788759891322. Danish.

Together Apart/Apart Together for Saxophone, Accordion and Double Bass was composed by Karsten Fundal in 2004. Written for and commissioned by Poing. Programme note: This piece is the 3rd in a row of pieces, which concentrates on a rhythmical relationship that continues to puzzle me. It is actually two relationships embedded. The 1st is a pattern that is very inspired by the composer Per Norgard, who in the beginning of the 90's got very preoccupied with the idea that you can have rhythms that never meet. This happens if you start a rhythm, like a quintuplet, on the beat and one, like a triplet, off beat. This can, with different rhythms, give very intricate interwoven patterns, that gives the illusion that they are not cyclic. In my case I use the two ratio five to seven, in the described way. This rythms have the strange property that if you take each 5th note of the seven and each 7 note of the five you get a ratio almost identical: 49:50. This is very intriguing, as you can use the possibility of letting them be equal or the possibility of letting them interfere. In the first case you get an interlocking rhythm which is smooth: an equal rhythmic pattern. In the second case you get a similar situation, but where one of them is one short after 50 of the other ones, which results in a disturbing almost equality, but not quite. Therefore the title: because when I use the unequal rhythm I put the two layers in a similar tone register, or a similar way of playing, and when I use the equal one I put them a part tone wise speaking. This is a very technical description, but it is very hard to put it in more wide terms, but you might compare it with driving in a train and looking at two fence rows behind each other: if the poles are placed exactly halfway between each other you will experience an illusion of a fast jump if there is enough distance between them, as a result of the perspective. If they are placed in a way that there are almost the same numbers of poles, like 49:50, you will experience a very complex pattern, which seems unpredictable. But of course when using it in music the whole thing is somewhat different, but even then it gives an idea of my preoccupation. What also intrigues me is that the relations are very hard to use in a musical way, and that is also quire a challenge.' Finally I have to say that I enjoyed very much writing for Poing, as these crazy guys are capable of doing almost anything you want in an nearly literal sense. - Karsten Fundal summer 2004.

By Various. E-Z Play Today (Easy big-note right-hand-only arrangements for piano, organ, and electronic keyboard). Softcover. 392 pages. Published by Hal Leonard.