| Buffalo Dusk: Song for Soprano, Mezzo-Soprano, or Tenor and Piano on a Poem by Carl Sandburg Piano, Voix - Intermédiaire Schirmer
Soprano voice, mezzo-soprano voice, or tenor voice and piano - Intermediate SK...(+)
Soprano voice,
mezzo-soprano
voice, or tenor voice and
piano - Intermediate
SKU: EC.9229
Composed by Juliana Hall.
E.C.
Schirmer Publishing
#9229.
Published by E.C.
Schirmer
Publishing
$9.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Requiem Orchestre [Conducteur d'étude / Miniature] Schott
Soprano, tenor, Knabensoprano, flugelhorn, mixed choir and chamber orchestra (St...(+)
Soprano, tenor,
Knabensoprano,
flugelhorn, mixed choir
and chamber orchestra
(Study Score) SKU:
HL.49018099 Boy
Soprano, Soprano, Tenor,
Flugelhorn, Mixed Chorus,
and Chamber Orchestra
Study Score. Composed
by Harald Weiss. This
edition: Paperback/Soft
Cover. Sheet music. Study
Score. Classical.
Softcover. Composed
2008/2009. 188 pages.
Duration 100'. Schott
Music #ED20619. Published
by Schott Music
(HL.49018099). ISBN
9790001158428. UPC:
884088567347.
8.25x11.75x0.457 inches.
Latin - German. On
letting go(Concerning the
selection of the texts)
In the selection of the
texts, I have allowed
myself to be motivated
and inspired by the
concept of 'letting go'.
This appears to me to be
one of the essential
aspects of dying, but
also of life itself. We
humans cling far too
strongly to successful
achievements, whether
they have to do with
material or ideal values,
or relationships of all
kinds. We cannot and do
not want to let go,
almost as if our life
depended on it. As we
will have to practise the
art of letting go at the
latest during our hour of
death, perhaps we could
already make a start on
this while we are still
alive. Tagore describes
this farewell with very
simple but strikingly
vivid imagery: 'I will
return the key of my
door'. I have set this
text for tenor solo. Here
I imagine, and have
correspondingly noted in
a certain passage of the
score, that the
protagonist finds himself
as though 'in an ocean'
of voices in which he is
however not drowning, but
immersing himself in
complete relaxation. The
phenomenon of letting go
is described even more
simply and tersely in
Psalm 90, verse 12: 'So
teach us to number our
days, that we may apply
our hearts unto wisdom'.
This cannot be expressed
more plainly.I have begun
the requiem with a solo
boy's voice singing the
beginning of this psalm
on a single note, the
note A. This in effect
says it all. The work
comes full circle at the
culmination with a repeat
of the psalm which
subsequently leads into a
resplendent 'lux
aeterna'. The
intermediate texts of the
Requiem which highlight
the phenomenon of letting
go in the widest spectrum
of colours originate on
the one hand from the
Latin liturgy of the
Messa da Requiem (In
Paradisum, Libera me,
Requiem aeternam, Mors
stupebit) and on the
other hand from poems by
Joseph von Eichendorff,
Hermann Hesse,
Rabindranath Tagore and
Rainer Maria Rilke.All
texts have a distinctive
positive element in
common and view death as
being an organic process
within the great system
of the universe, for
example when Hermann
Hesse writes: 'Entreiss
dich, Seele, nun der
Zeit, entreiss dich
deinen Sorgen und mache
dich zum Flug bereit in
den ersehnten Morgen'
['Tear yourself way , o
soul, from time, tear
yourself away from your
sorrows and prepare
yourself to fly away into
the long-awaited
morning'] and later: 'Und
die Seele unbewacht will
in freien Flugen
schweben, um im
Zauberkreis der Nacht
tief und tausendfach zu
leben' ['And the
unfettered soul strives
to soar in free flight to
live in the magic sphere
of the night, deep and
thousandfold']. Or Joseph
von Eichendorff whose
text evokes a distant
song in his lines: 'Und
meine Seele spannte weit
ihre Flugel aus. Flog
durch die stillen Lande,
als floge sie nach Haus'
['And my soul spread its
wings wide. Flew through
the still country as if
homeward bound.']Here a
strong romantically
tinged occidental
resonance can be detected
which is however also
accompanied by a
universal spirit going
far beyond all cultures
and religions. In the
beginning was the sound
Long before any sort of
word or meaningful phrase
was uttered by vocal
chords, sounds,
vibrations and tones
already existed. This
brings us back to the
music. Both during my
years of study and at
subsequent periods, I had
been an active
participant in the world
of contemporary music,
both as percussionist and
also as conductor and
composer. My early scores
had a somewhat
adventurous appearance,
filled with an abundance
of small black dots: no
rhythm could be too
complicated, no register
too extreme and no
harmony too dissonant. I
devoted myself intensely
to the handling of
different parameters
which in serial music
coexist in total
equality: I also studied
aleatory principles and
so-called minimal music.I
subsequently emigrated
and took up residence in
Spain from where I
embarked on numerous
travels over the years to
India, Africa and South
America. I spent repeated
periods during this time
as a resident in
non-European countries.
This meant that the
currents of contemporary
music swept past me
vaguely and at a great
distance. What I instead
absorbed during this
period were other
completely new cultures
in which I attempted to
immerse myself as
intensively as possible.I
learned foreign languages
and came into contact
with musicians of all
classes and styles who
had a different cultural
heritage than my own: I
was intoxicated with the
diversity of artistic
potential.Nevertheless,
the further I distanced
myself from my own
Western musical heritage,
the more this returned
insistently in my
consciousness.The scene
can be imagined of
sitting somewhere in the
middle of the Brazilian
jungle surrounded by the
wailing of Indians and
out of the blue being
provided with the
opportunity to hear
Beethoven's late string
quartets: this can be a
heart-wrenching
experience, akin to an
identity crisis. This
type of experience can
also be described as
cathartic. Whatever the
circumstances, my
'renewed' occupation with
the 'old' country would
not permit me to return
to the point at which I
as an audacious young
student had maltreated
the musical parameters of
so-called contemporary
music. A completely
different approach would
be necessary: an
extremely careful
approach, inching my way
gradually back into the
Western world: an
approach which would
welcome tradition back
into the fold, attempt to
unfurl the petals and
gently infuse this
tradition with a breath
of contemporary
life.Although I am aware
that I will not unleash a
revolution or scandal
with this approach, I am
nevertheless confident
as, with the musical
vocabulary of this
Requiem, I am travelling
in an orbit in which no
ballast or complex
structures will be
transported or intimated:
on the contrary, I have
attempted to form the
message of the texts in
music with the naivety of
a 'homecomer'. Harald
WeissColonia de San
PedroMarch 2009. $93.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Voice for Life: Guide to Choir Training GIA Publications
SKU: GI.G-6390B A practical resource for choir directors, trainers, an...(+)
SKU: GI.G-6390B
A practical resource
for choir directors,
trainers, and
teachers. Royal
School of Church Music.
Sacred. Choir part. 224
pages. GIA Publications
#6390B. Published by GIA
Publications
(GI.G-6390B).
English. Every
choir needs a leader to
inspire, train and direct
it. That person needs all
kinds of musical, social,
and administrative
skills, and these are all
explored in depth in The
Voice for Life Guide to
Choir Training. Here is a
comprehensive manual
dedicated to the theory
and practice of choir
training, drawn from the
collective knowledge and
wisdom of seasoned
practitioners in the
field. Conceived for
experienced leaders and
novices alike, it
systematically addresses
the many different
aspects of choir training
from conducting and
rehearsal management to
legal, financial, worship
and pastoral issues. It
offers countless
practical strategies that
will be of enormous
assistance to all choir
trainers and directors,
whether or not they are
running a Voice for Life
scheme. Choir training is
a challenge and it
demands commitment, but
it is hugely rewarding.
The Voice for Life Guide
to Choir Training will
equip musicians in this
role with all the skills
they need to develop
their talents –
and those of the singers
in their care – so
that everyone can grow in
confidence and skill,
give pleasure and
enrichment to those who
hear them, and help to
inspire the worship of
the gathered community.
From the Table of
Contents: Part 1: Face to
face with the
choir, Introduction,
Rehearsal management,
Planning, Warm-ups,
Developing technique,
Developing musicianship,
Working on repertoire
Part 2: Behind the
scenes, Introduction, The
purpose of the choir,
Setting up a choir,
Recruiting and retaining
singers, Jobs within the
choir, Choir in context,
Legal and administrative
matters, Financial
matters, Health and
safety, SafeguardingÂ
Part 3: The choir in
public, Introduction, The
choir in worship, The
content of church
services, Different types
of church music,
Preparing worship music
with the choir, Hymns,
Worship songs, Anthems,
Settings of the Mass,
Singing the psalms, Chant
from the Taizé
tradition, World music,
Improving congregational
singing, The choir in
performance, Repertoire
selection, Copyright and
licensing, Arranging and
composing for choirÂ
Part 4: You as a choir
trainer, Introduction,
Managing your time,
Understanding people,
Leadership
skills, Communication
skills Part 5: The
choir trainer’s
toolkit, Introduction,
Some thoughts about music
literacy, Conducting
skills, Positioning the
choir, Keeping it all
together, Focus the
choir!, Energize the
choir!, Working with
young singers, Changing
and developing voices,
Voice change in older
singers, Falsetto,
Vibrato, The individual
voice and its registers,
Getting a good sound:
intonation, Getting a
good sound: blending,
Troubleshooting, Music
reference, Photocopiable
resources, Voice for Life
publications and
resources, Other RSCM
publications and
resources, Index. $47.50 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Piano, Vol. 2 Piano seul Editorial de Musica Boileau
Piano SKU: BO.BC0006 Composed by Pau Casals. Published by Editorial de Mu...(+)
Piano SKU:
BO.BC0006 Composed by
Pau Casals. Published by
Editorial de Musica
Boileau (BO.BC0006).
Despite a
strong vocation for the
cello, which he studied
and began to play with a
distinctive character,
Pau Casals, like most
ambitious, creative
musicians, wrote at the
piano and for the piano,
as it is the ultimate
teaching instrument,
summarising the full
vision of the creative
process. Any creative
musician habitually
worked at the piano,
whether for this
instrument alone or for
piano accompanied by
other solo instruments.
To date, it has not been
possible to document
whether Casals had
systematic training on
this instrument, although
at that time it was more
common than it is today
because, considering its
qualities of timbre and
combination, it was
particularly attractive
for creating test pieces
and different kinds of
compositions.
Th
e piano works contained
in this second volume
include part of the salon
repertoire, a
continuation of the first
volume, and four sardanas
for piano of diverse
origin: some are
reductions of more
complex forms and others
sketches for instrumental
groups. In the first
group, some works
intended for children are
published, a
demonstration of the
tenderness the
‘cellist felt for
the children of his
closest friends. In the
second case, the sardanas
are works from his first
exile in Prada and show
the nostalgia of the
composer, away from his
country against his
will.
In
general, the works are
not especially complex;
their purpose and nature
are diverse. They come in
the context of salon
music, with the
appearance of creative
entertainments
characterised by a
basically tonal,
transparent language with
a widespread tendency to
modulate to nearby keys
more as a momentary
expressive resource than
as a structural
evolutionary procedure.
They show a lack of
systematic work on the
instrument as well as the
commonplaces of piano
composition of their
time. In some of these
works, the piano thread
breaks, the works do not
have the thrust of
finished products; the
occasional appearance of
chords that are difficult
or impossible to finger
leads us to think of
intentions closer to test
pieces than to products
intended for normal
performance. But not all
these piano works are
circumstantial. There is
also a prelude and a
minuet of a certain piano
writing complexity. $27.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Bongo Grooves for Beginners Volume 2 DVD Bongos [DVD] - Facile Mel Bay
(PATTERNS FOR ROCK, POP, FUNK AND FOLK). Composed by Alan Dworsky. For Bongo. ...(+)
(PATTERNS FOR ROCK, POP,
FUNK AND FOLK). Composed
by
Alan Dworsky. For Bongo.
Boxed. Beginning-
Intermediate. DVD.
Published
by Mel Bay Publications,
Inc
$14.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| DM-40D-BT 4″ Destop Monitor System with Bluetooth Hal Leonard
SKU: HL.1459386 Pioneer DJ. General Merchandise. Hal Leonard #DM-40D-BT. ...(+)
SKU: HL.1459386
Pioneer DJ. General
Merchandise. Hal Leonard
#DM-40D-BT. Published by
Hal Leonard (HL.1459386).
UPC: 841300102243.
11.0x15.25x13.75
inches. The DM
series speakers deliver
balanced, punchy bass
sound and they can pump
out extra power thanks to
the new Class D amplifier
and 4-inch woofer in each
unit. Flick the switch to
change from DJ mode to
Production mode and the
DSP settings will
automatically create the
best sound for each
application. There's no
need to decide whether
you want a set of
monitors that are best
for DJing or making
music, because the DM
series speakers are
perfect for both. Just
flip the switch to choose
either DJ mode or
Production mode and the
DSP settings will be
optimized for the task,
leaving you free to
concentrate on your mix.
With RCA and mini jack
terminals you can connect
different kinds of gear
such as DJ controllers
and mixers, or the laptop
or soundcard you use.
Connecting your
headphones is simple via
the socket on the front
panel and the level knob
is right in front of you,
too. The Bluetooth®
technology included in
the DM-40D-BT enables you
to easily pair your
smartphone, mobile
device, or PC/Mac and
play high-quality tracks
wirelessly. $199.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Sprechchore Chorale SATB Schott
German Choral (Mixed Choir) SKU: HL.49046860 14 Laut- Und Sprechkompos...(+)
German Choral (Mixed
Choir) SKU:
HL.49046860 14
Laut- Und
Sprechkompositionen
German. Choral
Collection. Choral
Collections, Educational,
German Edition.
Softcover. 48 pages.
Schott Music #ED23416.
Published by Schott Music
(HL.49046860). ISBN
9781705162330. UPC:
196288062318. Wheth
er choir, ensemble, class
or group - this band
enriches the choral and
school work with a fund
of new speech and warm-up
compositions of very
different kinds. Classic
rhymes and quotes,
embarrassment phrases,
beatbox and rap
components are filled
with wit and irony
Recycled varied
arrangements - musical
fun that sharpens the
awareness of language and
enriches performances
with an exciting
repertoire - especially
after the long period of
linguistic isolation in
lockdown. Edition in
German. $19.99 - Voir plus => Acheter | | |
Plus de résultats boutique >> |