PARTITIONS GRATUITES :
- Tap Music Sales

By Craig Anderton. Book. Published by Music Sales. (AM931370) The revised edition of the home-studio owner's bible. Up-to-date information on how to make good, clean, professional-sounding demos using affordable equipment. Covers tape decks, microphones, and midi recording; noise reduction; computers in the studio; how to mix; mastering and assembling; and more.

Recorder

SKU: HL.14027034

Composed by Peter Dickinson. Music Sales America. Classical. Score. 12 pages. Music Sales #NOV120487. Published by Music Sales (HL.14027034).

8.0x11.75x0.102 inches.

Work for Recorder and Tape, commissioned and premiered by the late David Munrow.

For Flute. Music Sales America. Softcover with CD. 76 pages. Music Sales #DH10168. Published by Music Sales

(Guitar)

SKU: HL.14061585

Composed by Joe Bennett. Guitar. General Merchandise. Duration 240 seconds. Music Sales #AM962214. Published by Music Sales (HL.14061585).

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).

SKU: HL.14011558

Music Sales America. Irish. Music Sales #OSSCD3. Published by Music Sales (HL.14011558).

Traditional Irish songs and dances performed by some of Ireland's most eminent musicians. Traditional songs from Sean Ac Donncha and John Reilly and dance music from John Kelly, Michael Tubridy, Paddy O'Brien, Sean Keane and Pat Mitchell. All the singers and musicians on this CD represent different strands in the tapestry of traditional in Ireland. They come different backgrounds and different areas but they are united here by the spirit of the music that is captured on this CD, music that is alive and thriving in a true folk tradition.

By Music Sales. Jazz. Advanced. DVD, Instrumental Tutor. Text language: English. 20 pages. Published by Music Sales

SSA Choir and Piano - intermediate

SKU: HL.14015025

Composed by John Hind. Music Sales America. Classical. Choral Score. Music Sales #NOV510617. Published by Music Sales (HL.14015025).

Lyrics by William Shakespeare.

Settin gs of two Shakespeare texts by John Hind, for the upper voices (SSA) with a full Piano accompaniment. The first, Come Away, Death is a sombre moment from Twelfth Night, with the second, Will You Buy Any Tape? taken from A Winter's Tale. The simple tonalities of the first song, coupled with the joyful dance-like rhythms of the second, suggest a courtly early-Renaissance sound characteristic of Shakespeare's time.