| Joe Satriani - What Happens Next Guitare notes et tablatures Hal Leonard
By Joe Satriani. Guitar Recorded Version. Rock. Softcover. With guitar tablat...(+)
By Joe Satriani. Guitar
Recorded Version. Rock.
Softcover. With guitar
tablature. 146 pages.
Published by Hal Leonard
$24.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Rufus and Rita [Conducteur] Theodore Presser Co.
Opera Piano, solo Voices SKU: PR.441410300 Composed by Lauren Bernofsky. ...(+)
Opera Piano, solo Voices
SKU: PR.441410300
Composed by Lauren
Bernofsky. Score. With
Standard notation. 56
pages. Duration 30
minutes. Theodore Presser
Company #441-41030.
Published by Theodore
Presser Company
(PR.441410300). ISBN
9781491111512. UPC:
680160667543. 9 x 12
inches. Lauren
Bernofsky. RUFUS
AND RITA is an adorable,
light-hearted opera about
a girl and her zany dog,
commissionedby
Reimagining Opera for
Kids for in-school
performances. The
libretto features several
forks in theroad where
the audience votes on
what should happen next.
The opera is scored for
four singersof any voice
range, plus piano; there
is also an expanded
version for chamber
ensemble. RUFUS AND
RITA is a light-hearted
opera for young
audiences, scored for
fouradult singers of any
voice type. Singers may
adjust octaves as
necessary, soany part may
be sung by a male or
female voice.A chamber
version of the
accompaniment is also
available from
TheodorePresser Company
(441-41031), scored for a
flexible-instrumentation
ensembleof piano with any
two treble instruments
and one bass instrument.*
* *RUFUS AND RITA
contains many improvised
elements, from spoken
dialogueto improvised
vocal parts. Instructions
are given throughout the
score. Theduration is
approximately 30 minutes,
depending on the length
of theimprovised
sections.The libretto is
flexible – at
several points in the
show, the audience votes
onwhat happens next, from
choices given by a
narrator. Some musical
numbers,as well as props
and set accessories, are
determined by the choice.
Forinstance, if the
audience votes for Rufus
to have found a dog
biscuit, then 2a.The Dog
Treat is performed (and
2b. Fido's Lament is
omitted.) The pianistmay
serve as the narrator,
who announces what is
being voted on and
talliesthe vote by
observing a show of
hands.* * *Thanks to Mary
Alice Cox, D.V.M., for
her expertise regarding
the medical careof Rufus
in “The Cureâ€
and to Susan Archibald
for her editorial
comments.Thanks, also, to
Felissa Elfenbein for
permission to use her
zucchini dog
treatrecipe.My
everlasting thanks to my
editor, Daniel Dorff, for
his faith in my
music.Finally, my deepest
gratitude to Kim Carballo
and the cast of
ReimaginingOpera for
Kids, who helped me
develop the opera into
its final version. $30.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Ninja Orchestre à Cordes - Débutant Highland/Etling
Composed by Richard Meyer. Orchestra. Part(s); Score; String Orchestra. Highland...(+)
Composed by Richard
Meyer. Orchestra.
Part(s); Score; String
Orchestra.
Highland� String
Explorer. Grade 1. 72
pages. Published by
Highland/Etling
$50.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| String Quartet No. 3 Quatuor à cordes: 2 violons, alto, violoncelle [Conducteur] Theodore Presser Co.
String quartet String Quartet SKU: PR.16400272S Cassatt. Composed ...(+)
String quartet String
Quartet SKU:
PR.16400272S
Cassatt. Composed
by Dan Welcher. Premiere:
Cassatt Quartet,
Northeastern Illinois
University, Chicago, IL.
Contemporary. Full score.
With Standard notation.
Composed 2007. WRT11142.
52 pages. Duration 24
minutes. Theodore Presser
Company #164-00272S.
Published by Theodore
Presser Company
(PR.16400272S). UPC:
680160588442. 8.5 x 11
inches. My third
quartet is laid out in a
three-movement structure,
with each movement based
on an early, middle, and
late work of the great
American impressionist
painter Mary Cassatt.
Although the movements
are separate, with
full-stop endings, the
music is connected by a
common scale-form,
derived from the name
MARY CASSATT, and by a
recurring theme that
introduces all three
movements. I see this
theme as Mary's Theme, a
personality that stays
intact while undergoing
gradual change. I
The Bacchante (1876)
[Pennsylvania Academy of
Fine Arts, Philadelphia,
Pennsylvania] The
painting shows a young
girl of Italian or
Spanish origin, playing a
small pair of cymbals.
Since Cassatt was trying
very hard to fit in at
the French Academy at the
time, she painted a lot
of these subjects, which
were considered typical
and universal. The style
of the painting doesn't
yet show Cassatt's
originality, except
perhaps for certain
details in the face.
Accordingly the music for
this movement is
Spanish/Italian, in a
similar period-style but
using the musical
signature described
above. The music begins
with Mary's Theme,
ruminative and slow, then
abruptly changes to an
alla Spagnola-type fast
3/4 - 6/8 meter. It
evokes the
Spanish-influenced music
of Ravel and Falla.
Midway through,
there's an accompanied
recitative for the viola,
which figures large in
this particular movement,
then back to a truncated
recapitulation of the
fast music. The overall
feeling is of a
well-made, rather
conventional movement in
a contemporary
Spanish/Italian style.
Cassatt's painting, too,
is rather conventional.
II At the Opera
(1880) [Museum of Fine
Arts, Boston,
Massachusetts]
This painting is one of
Cassatt's most well known
works, and it hangs in
the Museum of Fine Arts
in Boston. The painting
shows a woman alone in a
box at the opera house,
completely dressed
(including gloves) and
looking through opera
glasses at someone or
something that is NOT on
the stage. Across the
auditorium from her, but
exactly at eye level, is
a gentleman with opera
glasses intently watching
her - though it is not
him that she's looking
at. It's an intriguing
picture. This
movement is far less
conventional than the
first movement, as the
painting is far less
conventional. The music
begins with a rapid,
Shostakovich-type
mini-overture lasting
less than a minute, based
on Mary's Theme. My
conjecture is that the
woman in the painting has
arrived late to the
opera, busily stumbling
into her box. What
happens next is a kind of
collage, a kind of
surrealistic overlaying
of two different
elements: the foreground
music, at first is a
direct quotation of
Soldier's Chorus from
Gounod's FAUST (an opera
Cassatt would certainly
have heard in the
brand-new Paris Opera
House at that time),
played by Violin II,
Viola, and Cello. This
music is played sul
ponticello in the melody
and col legno in the
marching accompaniment.
On top of this, the first
violin hovers at first on
a high harmonic, then
descends into a slow
melody, completely
separate from the Gounod.
It's as if the woman in
the painting is hearing
the opera onstage but is
not really interested in
it. Then the cello joins
the first violin in a
kind of love-duet (just
the two of them, at
first). This music isn't
at all Gounod-derived;
it's entirely from the
same scale patterns as
the first movement and
derives from Mary's Theme
and its scale. The music
stays in a kind of
dichotomy feeling,
usually
three-against-one, until
the end of the movement,
when another Gounod
melody, Valentin's aria
Avant de quitter ce lieux
reappears in a kind of
coda for all four
players. It ends
atmospherically and
emotionally disconnected,
however. The overall
feeling is a kind of
schizophrenic,
opera-inspired dream.
III Young Woman in
Green, Outdoors in the
Sun (1909) [Worcester Art
Museum, Massachusetts]
The painting, one
of Cassatt's last, is
very simple: just a
figure, looking sideways
out of the picture. The
colors are pastel and yet
bold - and the woman is
likewise very
self-assured and not in
the least demure. It is
eight minutes long, and
is all about melody -
three melodies, to be
exact (Young Woman,
Green, and Sunlight). No
angst, no choppy rhythms,
just ever-unfolding
melody and lush
harmonies. I quote one
other French composer
here, too: Debussy's song
Green, from Ariettes
Oubliees. 1909 would have
been Debussy's heyday in
Paris, and it makes
perfect sense musically
as well as visually to do
this. Mary Cassatt
lived her last several
years in near-total
blindness, and as she
lost visual acuity, her
work became less sharply
defined - something akin
to late water lilies of
Monet, who suffered
similar vision loss. My
idea of making this
movement entirely melodic
was compounded by having
each of the three
melodies appear twice,
once in a pure form, and
the second time in a more
diffuse setting. This
makes an interesting two
ways form:
A-B-C-A1-B1-C1.
String Quartet No.3
(Cassatt) is dedicated,
with great affection and
respect, to the Cassatt
String Quartet, whose
members have dedicated
themselves in large
measure to the furthering
of the contemporary
repertoire for
quartet. $38.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Ninja Orchestre à Cordes [Conducteur] - Débutant Highland/Etling
Composed by Richard Meyer. Performance Music Ensemble; Single Titles; String Orc...(+)
Composed by Richard
Meyer. Performance Music
Ensemble; Single Titles;
String Orchestra.
Highland/Etling String
Explorer. Score. 8 pages.
Duration 2:15.
Highland/Etling
#00-44828S. Published by
Highland/Etling
(AP.44828S).
$8.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Broadway Favorites - Women's Edition Hal Leonard
Guitar Accompaniment; Piano Accompaniment; Vocal SKU: HL.256665 Singer...(+)
Guitar Accompaniment;
Piano Accompaniment;
Vocal SKU:
HL.256665 Singer +
Piano/Guitar.
Composed by Various.
Vocal Sheet Music.
Broadway. Softcover. 204
pages. Published by Hal
Leonard (HL.256665).
ISBN 9781540015341.
UPC: 888680723736.
9.0x12.0x0.514 inches.
Vocal Sheet
Music. The Hal
Leonard Vocal Sheet Music
series is an exciting new
series for singers,
featuring authentic piano
accompaniments and custom
guitar chord diagrams,
tailored to each song's
unique chord progressions
and designed to provide
realistic support. 25
songs for women's voices
are included in this
volume, all from
contemporary Broadway
classic shows such as:
Bright Star * Frozen *
Hamilton * Kinky Boots *
The Last Five Years *
Next to Normal *
Something Rotten *
Waitress * War Paint *
Wicked * and more. $19.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Amazing Incredible Shrinking Violin Violon [Partition + CD] - Débutant Centerstream
For Violin. Fiddle. Softcover with CD. 48 pages. Published by Centerstream Pu...(+)
For Violin. Fiddle.
Softcover with CD. 48
pages.
Published by Centerstream
Publications
$19.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| String Quartet No. 3 Quatuor à cordes: 2 violons, alto, violoncelle Theodore Presser Co.
Chamber Music String Quartet SKU: PR.164002720 Cassatt. Composed b...(+)
Chamber Music String
Quartet SKU:
PR.164002720
Cassatt. Composed
by Dan Welcher. Spiral
and Saddle. Premiere:
Cassatt Quartet,
Northeastern Illinois
University, Chicago, IL.
Contemporary. Set of
Score and Parts. With
Standard notation.
Composed 2007. WRT11142.
52+16+16+16+16 pages.
Duration 24 minutes.
Theodore Presser Company
#164-00272. Published by
Theodore Presser Company
(PR.164002720). UPC:
680160573042. 8.5 x 11
inches. My third
quartet is laid out in a
three-movement structure,
with each movement based
on an early, middle, and
late work of the great
American impressionist
painter Mary Cassatt.
Although the movements
are separate, with
full-stop endings, the
music is connected by a
common scale-form,
derived from the name
MARY CASSATT, and by a
recurring theme that
introduces all three
movements. I see this
theme as Mary's Theme, a
personality that stays
intact while undergoing
gradual change. I
The Bacchante (1876)
[Pennsylvania Academy of
Fine Arts, Philadelphia,
Pennsylvania] The
painting shows a young
girl of Italian or
Spanish origin, playing a
small pair of cymbals.
Since Cassatt was trying
very hard to fit in at
the French Academy at the
time, she painted a lot
of these subjects, which
were considered typical
and universal. The style
of the painting doesn't
yet show Cassatt's
originality, except
perhaps for certain
details in the face.
Accordingly the music for
this movement is
Spanish/Italian, in a
similar period-style but
using the musical
signature described
above. The music begins
with Mary's Theme,
ruminative and slow, then
abruptly changes to an
alla Spagnola-type fast
3/4 - 6/8 meter. It
evokes the
Spanish-influenced music
of Ravel and Falla.
Midway through,
there's an accompanied
recitative for the viola,
which figures large in
this particular movement,
then back to a truncated
recapitulation of the
fast music. The overall
feeling is of a
well-made, rather
conventional movement in
a contemporary
Spanish/Italian style.
Cassatt's painting, too,
is rather conventional.
II At the Opera
(1880) [Museum of Fine
Arts, Boston,
Massachusetts]
This painting is one of
Cassatt's most well known
works, and it hangs in
the Museum of Fine Arts
in Boston. The painting
shows a woman alone in a
box at the opera house,
completely dressed
(including gloves) and
looking through opera
glasses at someone or
something that is NOT on
the stage. Across the
auditorium from her, but
exactly at eye level, is
a gentleman with opera
glasses intently watching
her - though it is not
him that she's looking
at. It's an intriguing
picture. This
movement is far less
conventional than the
first movement, as the
painting is far less
conventional. The music
begins with a rapid,
Shostakovich-type
mini-overture lasting
less than a minute, based
on Mary's Theme. My
conjecture is that the
woman in the painting has
arrived late to the
opera, busily stumbling
into her box. What
happens next is a kind of
collage, a kind of
surrealistic overlaying
of two different
elements: the foreground
music, at first is a
direct quotation of
Soldier's Chorus from
Gounod's FAUST (an opera
Cassatt would certainly
have heard in the
brand-new Paris Opera
House at that time),
played by Violin II,
Viola, and Cello. This
music is played sul
ponticello in the melody
and col legno in the
marching accompaniment.
On top of this, the first
violin hovers at first on
a high harmonic, then
descends into a slow
melody, completely
separate from the Gounod.
It's as if the woman in
the painting is hearing
the opera onstage but is
not really interested in
it. Then the cello joins
the first violin in a
kind of love-duet (just
the two of them, at
first). This music isn't
at all Gounod-derived;
it's entirely from the
same scale patterns as
the first movement and
derives from Mary's Theme
and its scale. The music
stays in a kind of
dichotomy feeling,
usually
three-against-one, until
the end of the movement,
when another Gounod
melody, Valentin's aria
Avant de quitter ce lieux
reappears in a kind of
coda for all four
players. It ends
atmospherically and
emotionally disconnected,
however. The overall
feeling is a kind of
schizophrenic,
opera-inspired dream.
III Young Woman in
Green, Outdoors in the
Sun (1909) [Worcester Art
Museum, Massachusetts]
The painting, one
of Cassatt's last, is
very simple: just a
figure, looking sideways
out of the picture. The
colors are pastel and yet
bold - and the woman is
likewise very
self-assured and not in
the least demure. It is
eight minutes long, and
is all about melody -
three melodies, to be
exact (Young Woman,
Green, and Sunlight). No
angst, no choppy rhythms,
just ever-unfolding
melody and lush
harmonies. I quote one
other French composer
here, too: Debussy's song
Green, from Ariettes
Oubliees. 1909 would have
been Debussy's heyday in
Paris, and it makes
perfect sense musically
as well as visually to do
this. Mary Cassatt
lived her last several
years in near-total
blindness, and as she
lost visual acuity, her
work became less sharply
defined - something akin
to late water lilies of
Monet, who suffered
similar vision loss. My
idea of making this
movement entirely melodic
was compounded by having
each of the three
melodies appear twice,
once in a pure form, and
the second time in a more
diffuse setting. This
makes an interesting two
ways form:
A-B-C-A1-B1-C1.
String Quartet No.3
(Cassatt) is dedicated,
with great affection and
respect, to the Cassatt
String Quartet, whose
members have dedicated
themselves in large
measure to the furthering
of the contemporary
repertoire for
quartet. $53.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
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