PARTITIONS GRATUITES : PAROLES ET ACCORDS
- Shakedown - Cymbals

Choral (SAB Choir)

SKU: HL.346022

By Bob Seger. By Bob Seger, Harold Faltermeyer, and Keith Forsey. Arranged by Mac Huff. Pop Choral Series. Eighties, Movies, Pop, Rock. Octavo. Duration 200 seconds. Published by Hal Leonard (HL.346022).

UPC: 840126921625. 6.75x10.5x0.036 inches.

By Bob Seger. Arranged by Tom Wallace. Arrangers' Publ Marching Band. Pop. Softcover. Published by Arrangers' Publishing Company

Choral (2-Part)

SKU: HL.346023

By Bob Seger. By Bob Seger, Harold Faltermeyer, and Keith Forsey. Arranged by Mac Huff. Pop Choral Series. Eighties, Movies, Pop, Rock. Octavo. Duration 200 seconds. Published by Hal Leonard (HL.346023).

UPC: 840126921632. 6.75x10.5x0.036 inches.

Choral (SATB)

SKU: HL.346021

By Bob Seger. By Bob Seger, Harold Faltermeyer, and Keith Forsey. Arranged by Mac Huff. Pop Choral Series. Eighties, Movies, Pop, Rock. Octavo. Duration 200 seconds. Published by Hal Leonard (HL.346021).

UPC: 840126921618. 6.75x10.5x0.036 inches.

SKU: CA.622800

Composed by Hans Leo Hassler and Johann Sebastian Bach. German title: Wenn Ich Einmal Soll Scheiden (2). Sacred vocal music, Hymn settings, End of the church year, Lent and Passiontide, Mourning, death. Full score. Carus Verlag #CV 06.228/00. Published by Carus Verlag (CA.622800).

ISBN 9790007011802.

Chamber Ensemble

SKU: HL.14022412

Composed by Asbjorn Schaathun. Music Sales America. Classical. Score. 72 pages. Music Sales #KP00754. Published by Music Sales (HL.14022412).

ISBN 9788759858646. English-Danish.

MUS ICAL GRAFITTI(II)In Musical Grafitti(II), virtuoso drawings for amplified piano, large ensemble and tape with cosmic sounds, von den herrn Asberion Ska-tune (1983-84), Schaathun is particularly concerned about investigating the relationship between various kinds of compositional techniques and their actual influence on the sound image, and therebye on the musical language. Thus is Musical Grafitti about different settings of the same musical gesture, which are presented in the initializing Formula. At the same time Formula serves as a model for the progression of the entire piece on various levels.The computer-program SCHAATON, written especially for this work by Swedish composer Bo Rydberg, governs the relative intervallic relationship in the first extensive piano exposition. In this part of the piece, the computer establishes the chordal focal points of the work, thus rather paradoxically making itself redundant.The brief tape interpolations and the long ending consist of cosmic noise recorded by a satelite. This noise symbolizes the outermost edge of the musical continuum Schaathun is seeking to describe: from white noise to music characterized by an advanced syntax. To compose is to control a defined continuum of sound. In this piece the control is represended by the Formula.The piece may also be read as a big prelude to Luciano Berios points on the curve to find... At one point Schaathun's curve crosses Berios curve, and the contours become directly involved in Berio's instrumentation before passing through and the soloist disappears into the coloured noise into which the piece fades away.(+ Fransk versjon NMI).

Bass Clarinet and Orchestra

SKU: HL.14001122

Composed by Asbjorn Schaathun. Music Sales America. Classical. Score. Music Sales #KP00663. Published by Music Sales (HL.14001122).

ISBN 9788759855669. Danish.

ACTIONS, INTERPOLATIONS AND ANALYSES, symphonies for bass-clarinet and large ensemble (1987-90), is what is commonly termed a work in progress. So far Schaathun has completed three of five parts. The is the composer's first large-scale attempt to investigate possible connections between ostensibly unrelated material. Explained in simple terms, it involves taking two of Schaathun's own type of texture (composed by means of different techniques) and letting them rotate around a familiar musical object (in this case a short excerpt from Stravinskij's Symphonies of Wind instruments in which he employs the famous frozen chords). In the course of the piece the elements takes over various characteristics from one another and the form progresses from fairly clear-cut textures to a situation where the various textures are superimposed, creating a dramatic flow. On a more advanced level, the piece is about trying to mediate between different musical textures as metaphors for the different levels of the sound itself. One of the main questions in this context is; What is size in music? Is it possible to take a small chord(i.e. narrow register, few instruments, simple tone colours) and then blow it up (wide register, many instruments, advanced mixtures) in such a way that the listener still perceives it as the same chord? You have simply moved closer to the sound. At any rate, when Schaathun composed the piece, he himself travellig into the sound, as if were viewing a texture from a distance. He then recomposed the same situation and drew closer, and then recompose it a third time and simply get close enough to discover the world of sounds that thus emerged. A world of sounds capable of travelling at a tremendous speed... However, like all concertos, the piece is of course about the individual and his relationship to his surroundings (society). Schaathun has often pondered on the reason for this preoccupation wih solo concertos. The answer derives from his firm conviction that nothing would ever happen if it weren't for the initiative, the Action, of the individual.