| Secret Geometry Merion Music
Chamber Music Piano, Tape SKU: PR.140400670 Composed by James Primosch. P...(+)
Chamber Music Piano, Tape
SKU: PR.140400670
Composed by James
Primosch. Performance
Score. With Standard
notation. 18 pages.
Duration 15 minutes.
Merion Music #140-40067.
Published by Merion Music
(PR.140400670). UPC:
680160023271. Secre
t Geometry can be heard
as a short piano sonata,
with the movements
forming a typical
fast--slow--fast pattern.
The electronic sounds on
tape are tightly
interworven with the
piano, often serving to
extend and transform the
piano's sound. The goal
is to create a hybrid
sound world. The phrase
secret geometry is used
to describe the play of
forms in certain
paintings, referring to
structural patterns that
are used to organize the
pictorial elements. Since
the electronic medium
permits a composer to
focus on the
micro-structure of
individual sounds, as
well as more customary
concerns with patterns of
pitch and rhythm, it
seemed appropriate to
choose a title that
emphasizes the careful
shaping of every
compositional element.
But this is not to
neglect the spiritual
impulse of the work.
After all, the obscure
motion of the Holy Spirit
herself describes a
secret geometry, what
Thomas Merton called a
hidden wholeness. Written
for the distinguished
pianist Aleck Karis,
Secret Geometry was
composed with the
assistance of a grant
from the Pennsylvania
Council on the Arts. The
tape was realized in the
Presser Electronic Music
Studio of the University
of Pennsylvania. $55.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Advanced Modern Rock Guitar Improvisation - Book CD DVD Guitare notes et tablatures [CD + DVD] - Débutant Mel Bay
By Jon Finn. For Guitar (Electric). improvisation. Rock. Level: Beginning-Interm...(+)
By Jon Finn. For Guitar
(Electric).
improvisation. Rock.
Level:
Beginning-Intermediate.
Book CD DVD. Size
8.75x11.75. 128 pages.
Published by Mel Bay
Publications, Inc.
$29.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Une Geometrie, Nr. 1 - Figurations de memoire Carus Verlag
Alto flute in G, English horn, Bass Clarinet, Bassoon, Horn SKU: CA.1632800(+)
Alto flute in G, English
horn, Bass Clarinet,
Bassoon, Horn SKU:
CA.1632800
Synchroniestudie Nr. 2
fur tiefes
Blaserquintett.
Composed by Walter
Feldmann. This edition:
Paperbound. German title:
Une Geometrie.
Synchronstudie F Blaser.
Full score. Composed
2005. 54 pages. Duration
14 minutes. Carus Verlag
#CV 16.328/00. Published
by Carus Verlag
(CA.1632800). ISBN
9790007112745. Language:
all languages. E
texts of the French
author Anne-Marie Albiach
have long been the point
of departure for my
works. Following the
viola concerto <<
monstrueuse vecut dans le
cadre >> la memoire,
which is based on her <<
H II>> lineaires, the
three texts entitled <<
une geometrie >> have
generated a new cycle. As
in the other two works of
the cycle, << figurations
de memoire >> is
predicated on two
different readings of the
text: on the one hand a
(private) reading by
Anne-Marie Albiach in
which time is measured
[demarcated] out; while
on the other hand the
graphic text is measured
millimeter by millimeter.
The latter serves as the
basis - the genetic code
- for the temporal,
horizontal structure of
the quintet, whereas the
reading of the author
appears in rhythmic
surfaces which interrupt
the horizontal plane. In
<< figurations de memoire
>> two clearly
recognizable elements are
repeated: the tone b
(which plays a central
roll in most of my works)
and a chord of fifths
built around the tone b -
a piece of memory
(memoire) from viola
concerto. In contrast,
the extended chords of
the reading consist of
five tones which in their
frequencies are
equidistant from each
other (like an overtone
chord). For the
generation of tone
materials the chords of
both levels are
compressed and stretched
within the ranges
(frames) of tones from
which the horizontal
positions of the text
fragments are derived:
lower, borderline tones
on the left margin, and
higher borderline tones
on the right margin. Thus
the disposition on the
page, essential for
Anne-Marie Albiach (and
first introduced in
poetry by Mallarme in Un
coup de des jamais
n'abolire le hasard), is
rendered in sound.
Naturally each element of
the text serves to mold
structure and dynamic, to
include typography:
fragments within
quotation marks, in
italics, etc., yield
different sonorous images
[sonorities] and
movements. Each word from
the typographical reading
is orchestrated
[instrumentated]
differently, which is
important for the whole
cycle (however, the
chords of the spoken
reading are always played
by five instruments; here
only speech and pauses in
speech [[interruptions of
speech]are distinguished
from each other). Thus a
tight network of
instrumental combinations
is created in which, word
for word, the text is
made audible. The most
important element in the
process: the vertical,
synchronized playing
together of the
individual instruments
(Synchorniestudie),
ranging from solo to
quintet. $33.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Une Geometrie, Nr. 1 - Figurations de memoire Carus Verlag
Alto flute in G, English horn, Bass Clarinet, Bassoon, Horn SKU: CA.1632809(+)
Alto flute in G, English
horn, Bass Clarinet,
Bassoon, Horn SKU:
CA.1632809
Synchroniestudie Nr. 2
fur tiefes
Blaserquintett.
Composed by Walter
Feldmann. Une Geometrie.
Synchronstudie F Blaser.
Set of Orchestra Parts.
Composed 2005. 100 pages.
Duration 14 minutes.
Carus Verlag #CV
16.328/09. Published by
Carus Verlag
(CA.1632809).
Language: all
languages. E texts
of the French author
Anne-Marie Albiach have
long been the point of
departure for my works.
Following the viola
concerto << monstrueuse
vecut dans le cadre >> la
memoire, which is based
on her << H II>>
lineaires, the three
texts entitled << une
geometrie >> have
generated a new cycle. As
in the other two works of
the cycle, << figurations
de memoire >> is
predicated on two
different readings of the
text: on the one hand a
(private) reading by
Anne-Marie Albiach in
which time is measured
[demarcated] out; while
on the other hand the
graphic text is measured
millimeter by millimeter.
The latter serves as the
basis - the genetic code
- for the temporal,
horizontal structure of
the quintet, whereas the
reading of the author
appears in rhythmic
surfaces which interrupt
the horizontal plane. In
<< figurations de memoire
>> two clearly
recognizable elements are
repeated: the tone b
(which plays a central
roll in most of my works)
and a chord of fifths
built around the tone b -
a piece of memory
(memoire) from viola
concerto. In contrast,
the extended chords of
the reading consist of
five tones which in their
frequencies are
equidistant from each
other (like an overtone
chord). For the
generation of tone
materials the chords of
both levels are
compressed and stretched
within the ranges
(frames) of tones from
which the horizontal
positions of the text
fragments are derived:
lower, borderline tones
on the left margin, and
higher borderline tones
on the right margin. Thus
the disposition on the
page, essential for
Anne-Marie Albiach (and
first introduced in
poetry by Mallarme in Un
coup de des jamais
n'abolire le hasard), is
rendered in sound.
Naturally each element of
the text serves to mold
structure and dynamic, to
include typography:
fragments within
quotation marks, in
italics, etc., yield
different sonorous images
[sonorities] and
movements. Each word from
the typographical reading
is orchestrated
[instrumentated]
differently, which is
important for the whole
cycle (however, the
chords of the spoken
reading are always played
by five instruments; here
only speech and pauses in
speech [[interruptions of
speech]are distinguished
from each other). Thus a
tight network of
instrumental combinations
is created in which, word
for word, the text is
made audible. The most
important element in the
process: the vertical,
synchronized playing
together of the
individual instruments
(Synchorniestudie),
ranging from solo to
quintet. Score and parts
available separately -
see item CA.1632800. $52.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| une geometrie: figurations de memoire Carus Verlag
BClt (Clt), Asax (Ssax), BClt, Eh, Fg SKU: CA.1632850 Composed by Walter ...(+)
BClt (Clt), Asax (Ssax),
BClt, Eh, Fg SKU:
CA.1632850 Composed
by Walter Feldmann.
Feldmann: une geometrie:
figurations de memoire.
Full score. 54 pages.
Carus Verlag #CV
16.328/50. Published by
Carus Verlag
(CA.1632850). ISBN
9790007242510. Language:
all
languages. Score
available separately -
see item CA.1632800. $30.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| une geometrie: figurations de memoire Carus Verlag
BClt (Clt), Asax (Ssax), BClt, Eh, Fg SKU: CA.1632869 Composed by Walter ...(+)
BClt (Clt), Asax (Ssax),
BClt, Eh, Fg SKU:
CA.1632869 Composed
by Walter Feldmann.
Feldmann: une geometrie:
figurations de memoire.
Set of Orchestra Parts.
Carus Verlag #CV
16.328/69. Published by
Carus Verlag
(CA.1632869). ISBN
9790007242565. Language:
all
languages. Score
and parts available
separately - see item
CA.1632800. $52.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Une Geometrie, Nr. 3 - Vertical et Blanc Carus Verlag
Bass flute, Bass clarinet, Baritone saxophone, Guitar, 2 Violins SKU: CA.1633...(+)
Bass flute, Bass
clarinet, Baritone
saxophone, Guitar, 2
Violins SKU:
CA.1633000 For
bass flute (alto flute
solo), bass clarinet,
baritonsaxophone, guitar,
2 violins. Composed
by Walter Feldmann.
German title: Vertical Et
Blanc 2006. Playing
score. Composed 2006. 70
pages. Carus Verlag #CV
16.330/00. Published by
Carus Verlag
(CA.1633000). ISBN
9790007113469. Language:
all languages. The
texts of the French
author Anne-Marie Albiach
have long been the point
of departure for my
works. Following the
viola concerto <<
monstrueuse vecut dans le
cadre >> la memoire,
which is based on her <<
H II >> lineaires, the
three texts entitled <<
une geometrie >> have
generated a new cycle. As
in the other two works of
the cycle, << vertical et
blanc >> is predicated on
two different readings of
the text: on the one hand
a (private) reading by
Anne-Marie Albiach in
which time is measured
out; while on the other
hand the graphic text is
measured millimeter by
millimeter. The latter
serves as the basis - the
genetic code - for the
temporal, horizontal
structures of the
ensemble part, whereas
the reading of the author
appears late in the
melodic lines of the solo
alto flute, which force
the ensemble to play an
accompaniment in flat
surfaces. In << vertical
et blanc >> one clearly
recognizable element is
repeated: a ninth chord,
the basic element in the
works of Claude Debussy,
the composer who I admire
wholeheartedly. For the
generation of tone
materials this chord is
compressed and stretched
within the ranges
(frames) of tones which
are derived from the
horizontal positions of
the text fragments:
lower, borderline tones
on the left margin, and
higher borderline tones
on the right margin. Thus
the disposition on the
page, essential for
Anne-Marie Albiach (and
first introduced in
poetry by Mallarme in Un
coup de des jamais
n'abolira le hasard), is
rendered in sound.
Naturally each element of
the text serves to mould
structure and dynamics,
to include the
typography: fragments
within quotation marks,
in italics, etc., yield
different sonorities and
movements. Whereas the
ensemble articulates
rhythmically each
character of the text,
the rhythms of the solo
flute articulate only its
syllables and words. Each
word of the author's
reading of the text is
instrumentated
differently, which is
important for the entire
cycle. Thus a compact
network of instrumental
combinations is created
in which, word for word,
the text is made
audible. $38.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
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