| Intelli-Shred Guitare notes et tablatures [Partition + CD] Alfred Publishing
(The Thinking Musicians Guide to Incredible Guitar Soloing) Written by Kevin Dil...(+)
(The Thinking Musicians
Guide to Incredible
Guitar Soloing) Written
by Kevin Dillard.
Instructional book and
examples CD for guitar.
Series: National Guitar
Workshop Book - Approved
Curriculum. 96 pages.
Published by Alfred
Publishing.
(1)$20.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Rueggeberg M Ein Haus Voll Musik [Conducteur] - Intermédiaire Schott
Speakers and orchestra - intermediate to advanced SKU: HL.49033128 Ein...(+)
Speakers and orchestra -
intermediate to advanced
SKU: HL.49033128
Eine musikalische
Geschichte. Composed
by Rueggeberg. This
edition: Paperback/Soft
Cover. Sheet music.
Edition Schott. This work
is based on a children's
book by Margret and Rolf
Rettich (ED 9307 = Book;
ED 9307-50 = Book + CD)A
contemporary piece
suitable for a young
audience. The various
soloists and instrumental
sections of the orchestra
are introduced in
characteristi. Score.
Composed 1999. 160 pages.
Duration 32'. Schott
Music #ED 9498. Published
by Schott Music
(HL.49033128). ISBN
9790001132626.
German. A man lives
in a town in which he can
barely hear the music
going round in his head
for the noise. He
purchases a house in the
country and numerous
tenants move in: the
string family, wind
players, a pianist, a
female harpist, a drummer
and a timpanist. They all
learn to listen to each
other and play together
whilmaking music. During
the progress of the work,
orchestral instruments
and the role of the
conductor are
explained.
This
work is based on a
children's book by
Margret and Rolf Rettich
(ED 9307 = Book; ED
9307-50 = Book + CD)A
contemporary piece
suitable for a young
audience. The various
soloists and instrumental
sections of the orchestra
are introduced in
characteristic passages.
The story linking the
musical items is told by
a narrator. $42.00 - Voir plus => Acheter | | |
| Rueggeberg M Ein Haus Voll Musik - Intermédiaire Schott
Speakers and orchestra (ST) - intermediate to advanced SKU: HL.49033129 <...(+)
Speakers and orchestra
(ST) - intermediate to
advanced SKU:
HL.49033129 Eine
musikalische
Geschichte. Composed
by Rueggeberg. Sheet
music. Edition Schott.
Set of Parts. Duration
32'. Schott Music #ED
9498-10. Published by
Schott Music
(HL.49033129). ISBN
9790001132633.
German. This work
is based on a children's
book by Margret and Rolf
Rettich (ED 9307 = Book;
ED 9307-50 = Book + CD)A
contemporary piece
suitable for a young
audience. The various
soloists and instrumental
sections of the orchestra
are introduced in
characteristic passages.
The story linking the
musical items is told by
a narrator. $123.00 - Voir plus => Acheter | | |
| Without Form and Void Chorale SATB SATB, Piano Theodore Presser Co.
Choral SATB choir, piano SKU: PR.362034230 A Prologue to THE CREATION ...(+)
Choral SATB choir, piano
SKU: PR.362034230
A Prologue to THE
CREATION by Franz Joseph
Haydn. Composed by
Dan Welcher. Sws.
Premiered at the
Northwest Hills United
Methodist Church, Austin,
TX. Choral. Performance
Score. With Standard
notation. Composed July 5
2014. 16 pages. Duration
5:15. Theodore Presser
Company #362-03423.
Published by Theodore
Presser Company
(PR.362034230). ISBN
9781598069556. UPC:
680160624225. Letter
inches.
English. When the
Texas Choral Consort
asked Welcher to write a
short prologue to Haydn's
The Creation, his first
reaction was that Haydn
already presents Chaos in
his introductory
movement. As he thought
about it, Welcher began
envisioning a truer void
to precede Haydn's
depiction of Chaos within
the scope of 18th-century
classical style - quoting
some of Haydn's themes
and showing human voices
and inhuman sounds in a
kind of pre-creation
melange of color, mood,
and atmosphere. Welcher
accepted this challenge
with the proviso that his
prologue would lead
directly into Haydn's
masterpiece without
stopping, and certainly
without applause in
between. Scored for mixed
chorus and Haydn's
instrumentation, Without
Form and Void is a
dramatically fresh yet
pragmatic enhancement to
deepen any performance of
Haydn's The Creation.
Orchestral score and
parts are available on
rental. When Brent
Baldwin asked me to
consider writing a short
prologue to THE CREATION,
my first response was
“Why?â€Â
THE CREATION already
contains a prologue;
it’s called
“Representation of
Chaosâ€, and
it’s
Haydn’s way of
showing the formless
universe. How could a
new piece do anything but
get in the way? But
the more I thought about
it, the more it made
sense. The Age of
Enlightenment’s
idea of
“Chaos†was
just extended
chromaticism, no more
than Bach used (in fact,
Bach went
further).Perhaps there
might be a way to use the
full resources of the
modern orchestra (or at
least, a Haydn-sized
orchestra) and the modern
chorus to really present
a cosmic soup of unborn
musical atoms, just
waiting for
Haydn’s sure touch
to animate them.Â
Perhaps it could even
quote some of
Haydn’s themes
before he knew them
himself, and also show
human voices and inhuman
sounds in a kind of
pre-creation mélange
of color, mood, and
atmosphere. So I
accepted the challenge,
with the proviso that my
new piece not be treated
as some kind of
“overtureâ€,
but would instead be
allowed to lead directly
into Haydn’s
masterpiece without
stopping, and certainly
without applause. I
crafted this five minute
piece to begin with a
kind of “music of
the spheresâ€
universe-hum, created by
tuned wine glasses and
violin harmonics. The
chorus enters very soon
after, with the opening
words of Genesis
whispered simultaneously
in as many languages as
can be found in a
chorus. The first two
minutes of my work are
all about unborn human
voices and unfocused
planetary sounds,
gradually becoming more
and more
“coherentâ€
until we finally hear
actual pitches, melodies,
and words. Three of
Haydn’s melodies
will be heard, to be
specific, but not in the
way he will present them
an hour from now.Â
It’s almost as if
we are listening inside
the womb of the universe,
looking for a faint
heartbeat of worlds,
animals, and people to
come. At the end of
the piece, the chorus
finally finds its voice
with a single word:
“God!â€,Â
and the orchestra finally
finds its own pulse as
well. The unstoppable
desire for birth must now
be answered, and it
is----by Haydn’s
marvelous oratorio. I
am not a religious man in
any traditional
sense. Neither was
Haydn, nor Mozart, nor
Beethoven. But all of
them, as well as I, share
in what is now called a
humanistic view of how
things came to be, how
life in its many forms
developed on this planet,
and how Man became the
recorder of history.Â
The gospel according to
John begins with a parody
of Genesis: “In
the beginning was the
Word, and the Word was
with God, and the Word
was God.â€Â  I
love that phrase, and
it’s in that
spirit that I offer my
humble
“opener†to
the finest work of one of
the greatest composers
Western music has ever
known. My piece is
not supposed to sound
like Haydn.Â
It’s supposed to
sound like a giant
palette, on which a
composer in 1798 might
find more outrageous
colors than his era would
permit…but which, I
hope, he would have been
delighted to hear. $3.50 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| In the Silent Night, God Speaks - Performance CD Laurel Press
SKU: LO.99-1481LA A strikingly vivid and thoughtful portrayal. Com...(+)
SKU: LO.99-1481LA
A strikingly vivid and
thoughtful portrayal.
Composed by Gregg Sewell.
Choral, cantatas.
Christmas, Sacred.
Performance CD. Laurel
Press #99/1481LA.
Published by Laurel Press
(LO.99-1481LA). UPC:
000308054521. God
created the world by
speaking into the silence
of chaos. Ever creative,
he offers salvation to
us, breaking the silence
surrounding our lives by
speaking through his son,
Jesus the Christ. This
unique Christmas work
examines the ways in
which God has spoken to
us from creation to the
birth of Christ Child.
God's creative word comes
to us through the angels,
the shepherds, the Wise
Men and through the Babe
of Bethlehem himself. The
orchestrations are
distinctive, and the
choral parts are
moderately easy, yet
full-sounding. $15.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| String Quartet No. 4 Quatuor à cordes: 2 violons, alto, violoncelle Carl Fischer
Chamber Music String Quartet SKU: CF.BE24 The Planet on the Table....(+)
Chamber Music String
Quartet SKU:
CF.BE24 The Planet
on the Table.
Composed by Martin
Bresnick. Folio. Set of
Score and Parts.
48+20+16+16+16 pages.
Duration 32 minutes. Carl
Fischer Music #BE24.
Published by Carl Fischer
Music (CF.BE24). ISBN
9781491156780. UPC:
680160915323. 9 x 12
inches. La. Based
on Wallace Stevens' poem
The Planet on the Table
this string quartet's
world is made of the
music and sounds of
remembered times or of
something heard that the
composer, Martin
Bresnick, liked. The
quartet has five
movements, each headed by
a quotation from one of
Stevens' poems as a point
of departure or pathway
into those remembered
sounds and music. What
matters is that my music,
like his (Stevens')
poetry, should bear some
lineament or character,
some affluence, if only
half perceived in the
poverty of its sounds, of
the planet of which it
was part.. Wallace
Stevens' poem The Planet
on the Table begins -
Ariel was glad he had
written his poems, They
were of a remembered time
Or of something seen that
he liked. In this string
quartet, also entitled
The Planet on the Table,
my planet is made of the
music and sounds of a
remembered time or of
something heard that I
liked. The quartet has
five movements, each
headed by a quotation
from one of Stevens'
poems* as a point of
departure or pathway into
those remembered sounds
and music: I. Mrs.
Anderson's Swedish Baby
II. She Measured the Hour
III. Scene 10 Becomes 11
IV. Someone Has Walked
Across the Snow V. His
Self and the Sun Like
Stevens, my self and the
sun are one, and my
music, like his poetry,
although makings of my
self, is also makings of
the sun. Stevens wrote it
was not important that
his poetry survive, which
is also true of my work.
What matters is that my
music, like his poetry,
should bear some
lineament or character,
some affluence, if only
half perceived in the
poverty of its sounds, of
the planet of which it
was part. *Sources for
the titles: I. The
Pleasures of Merely
Circulating II. The Idea
of Order at Key West III.
Chaos in Motion and Not
in Motion IV. Vacancy in
the Park V. The Planet on
the Table. Wallace
Stevens' poem The Planet
on the Table begins
-Ariel was glad he had
written his poems,They
were of a remembered
timeOr of something seen
that he liked.In this
string quartet, also
entitled The Planet on
the Table, my planet is
made of the music and
sounds of a remembered
time or of something
heard that I liked.The
quartet has five
movements, each headed by
a quotation from one of
Stevens' poems* as a
point of departure or
pathway into those
remembered sounds and
music:I. Mrs. Anderson's
Swedish BabyII. She
Measured the HourIII.
Scene 10 Becomes 11IV.
Someone Has Walked Across
the SnowV. His Self and
the SunLike Stevens, my
self and the sun are one,
and my music, like his
poetry, although makings
of my self, is also
makings of the sun.
Stevens wrote it was not
important that his poetry
survive, which is also
true of my work.What
matters is that my music,
like his poetry, should
bear some lineament or
character, some
affluence, if only half
perceived in the poverty
of its sounds, of the
planet of which it was
part.*Sources for the
titles:I. The Pleasures
of Merely CirculatingII.
The Idea of Order at Key
WestIII. Chaos in Motion
and Not in MotionIV.
Vacancy in the ParkV. The
Planet on the Table. $55.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
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