Improvisation and Ostinato

SKU: NR.99478

Ostinato, Fughetta.

SKU: M7.AHW-3003

English.

A comprehensive approach to keyboard improvisation.

SKU: GI.WJMS1180

UPC: 785147011668. English. Text source: Traditional spiritual. Traditional Spiritual.

This beautiful arrangement marries the traditional African-American Spiritual melody of Steal Away with a quasi-improvisational ostinato accompaniment. Suitable for both church and concert, this will be a wonderful addition to your choral library. Jo-Michael Scheibe Choral Series. Listen to the music and follow the score in this preview video.

SKU: BR.EB-8819

Traveling all over the world. Whoever wants to join needs a basic knowledge of music theory and harmony, and should love experimenting; after all, each of the 15 pieces contains instructions for stylistically authentic, imaginative improvisations.

ISBN 9790004183847. 9 x 12 inches. German.

Trinidad & Tobago, Hungary, Argentina, the U.S., Japan, Spain Andreas Hirche takes us all over the world with his traveling piano. Whoever wants to come on board must have at least a basic knowledge of music theory and harmony, and, above all, should love experimenting; after all, each of the 15 pieces contains instructions for stylistically authentic, imaginative improvisations which chiefly orient themselves on ostinato forms.Technically, the palette ranges from short, simple pieces to lengthier, more demanding works that can be played with or without the improvised sections. Broadly speaking, the Piano World Music School truly has a style and a sound for everyone. Hirche has recorded all the pieces on CD with exemplary improvisations. The disc also offers play-alongs in mp3 format, which should help players achieve their first successes with pieces of their own design, and in no time at all.

Traveling all over the world. Whoever wants to join needs a basic knowledge of music theory and harmony, and should love experimenting; after all, each of the 15 pieces contains instructions for stylistically authentic, imaginative improvisations.

SKU: BR.MN-701

ISBN 9783765198991. 6.5 x 9 inches. German.

Meditatives Klavierspiel wendet sich an alle, die Klavierspielen als eigenschopferisches und entspanntes Tun erfahren wollen. Es enthalt eine Reihe von Anregungen zum Spiel ohne Noten, zu elementarer Improvisation und zur Ostinato-Improvisation. Anhand einfacher Ubungen und gefuhrten In-Sich-Hineinhorchens lernt man spielerisch, die eigenen Klangvorstellungen aufs Instrument zu ubertragen und zu gestalten.

SKU: HL.49019315

ISBN 9790001188029. UPC: 196288174783. 9.0x12.0x0.05 inches.

The guitarist Sigi Schwab from Munich has not only made a name for himself as a performer of classical guitar music and guitar chamber music but he has also become known as a jazz and studio musician, as a brilliant improviser and as a partner of Peter Horton in their legendary duo 'Guitarrissimo'. He has rather rarely presented written compositions. His 'Chaconne' for guitar continues the great chaconne tradition in the Renaissance and Baroque eras and varies a four-bar harmonic ostinato pattern as did the guitar compositions in the 16th and 17th centuries. In his work, Schwab still leaves enough room for improvisation. A rewarding original piece for concert and competition performances.

SKU: CA.1808600

ISBN 9790007166656. Language: all languages.

The Great Wall developed out of an improvisation, a homage to the Great Wall of China. Two motifs dominate in the work, which requires a three-manual organ: a two-measure ostinato in the pedal, and an oriental-sounding melody found on the manuals, in the basic shape and in the variations. The music leads seamlessly from an atmospheric picture into a rhythmically-driven crescendo, is interrupted by a storm fantasy before ending, after a second upsurge, in a radiant fortissimo. The dynamics and articulation are given very precisely in the score. The registration markings relate to the four-manual Muhleisen organ in the Stiftskirche Stuttgart, and are intended as a guide for performance. This thrilling work, which recalls Ravel's Bolero at certain moments, communicates directly with a wide range of audiences.

SKU: DZ.DZ-4308

ISBN 9782898522253.

Following a recent experience on the jury of a guitar competition, I noted with great pleasure that Giorgio Mirto, with whom I had shared the role of juror, wanted to celebrate the experience of the competition - during from which we discovered that we had had a great affinity of thought - with something which could endure over time and not evaporate as often happens in short and occasional meetings between musicians. He did it as a true composer, which he is, and dedicated to me a very beautifully crafted Suite to which I allowed myself to collaborate at least formally, by suggesting titles for the four movements. This is how Suite n.1 was born, a piece that does not strictly respect the formal rules of the Baroque era, but reinterprets and reuses them in a new key. The work's obvious late Baroque inspiration led me to find titles that invited the performer to delve deeper into the work's aesthetic inspiration. So I suggested to Giorgio that he title the four movements with something that linked their content to four greats of the 18th century. German masters. The prelude has thus become from Eisenach because of its sometimes improvised Bach-like atmosphere, the second movement, vaguely toccata, speaks an organ language in the manner of Buxtehude (who lived in Lübeck), the slow movement has a Handelian quality - and Handel was born in Halle - and the last movement, far from being a true Chaconne, undoubtedly has the latter's taste for variation and ostinato, typical traits of Telemann who lived in Magdeburg. The cities that appear in the titles are therefore indelible to the authors cited. Furthermore, one should not think that the style of the work is in any way German, given that Giorgio Mirto expresses himself in a very joyful language that synthesizes modality with minimalism, all seasoned with a a nod to Pink's progressive rock Floyd. or a Mike Oldfield... The result of this mixture of ideas, inspirations and styles is a work that personally I never tire of reading and rereading, for the freshness that emanates from it and for the climate expressive which rises, nourishing itself with full efficiency. We ultimately cannot ignore that the note B, the one which marks in a minor way some of the most expressive works of the guitar repertoire, from the study of Sor which made generations of students fall in love with the guitar, until to that of Frank Martin's Four Pieces via La Catedral di Barrios, is the modal fulcrum of the entire Suite: it is true that the Prelude begins with a clear chord in E minor and lingers on an open ending in A minor , but it almost seems that the initial E serves as a launching pad for a continuation of the work in which the dominant, that is to say the B, is the true musical North, the pole star which guides us in the other three movements until the end of the Chaconne de Magdebourg. I wish Giorgio and our Suite great longevity and a favorable destiny in the complex and complex world of contemporary guitar composition. And I thank him again, flattered by his very kind dedication.

FRANCESCO BIRAGHI

Au lendemain d'une récente expérience au sein du jury d'un concours de guitare, j'ai constaté avec grand plaisir que Giorgio Mirto, avec qui j'avais partagé le rôle de juré, souhaitait célébrer l'expérience du concours - au cours de laquelle nous avons découvert que nous avions eu un grand affinité de pensée - avec quelque chose qui pourrait perdurer dans le temps et ne pas s'évaporer comme cela arrive souvent lors de rencontres courtes et occasionnelles entre musiciens. Il l'a fait en véritable compositeur, ce qu'il est, et m'a dédié une Suite d'une très belle facture à laquelle je me suis permis de collaborer au moins formellement, en suggérant des titres pour les quatre mouvements. C'est ainsi qu'est née la Suite n.1, une pièce qui ne respecte pas strictement les règles formelles de l'époque baroque, mais les réinterprète et les réutilise dans une nouvelle tonalité. L'inspiration évidente du baroque tardif de l'œuvre m'a amené à trouver des titres qui invitaient l'interprète à approfondir l'inspiration esthétique de l'œuvre. J'ai donc suggéré à Giorgio de titrer les quatre mouvements avec quelque chose qui reliait leur contenu à quatre grands du XVIIIe siècle. Maîtres allemands. Le prélude est ainsi devenu d'Eisenach en raison de son atmosphère parfois improvisée à la Bach, le deuxième mouvement, vaguement toccata, parle un langage d'orgue à la manière de Buxtehude (qui vivait à Lübeck), le mouvement lent a un Qualité haendélienne - et Haendel est né à Halle - et le dernier mouvement, loin d'être une véritable Chaconne, a sans doute le goût de cette dernière pour la variation et l'ostinato, traits typiques de Telemann qui vivait à Magdebourg. Les villes qui apparaissent dans les titres sont donc indélébiles aux auteurs cités. De plus, il ne faut pas penser que le style de l'œuvre soit en aucune façon allemand, étant donné que Giorgio Mirto s'exprime dans un langage très joyeux qui synthétise la modalité avec le minimalisme, le tout assaisonné d'un clin d'œil au rock progressif Floyd de Pink. ou un Mike Oldfield... Le résultat de ce mélange d'idées, d'inspirations et de styles est un ouvrage que personnellement je ne me lasse pas de lire et de relire, pour la fraîcheur qui s'en dégage et pour le climat expressif qui monte, se nourrissant de plein efficacité. On ne peut finalement pas ignorer que la note B, celle qui marque de manière mineure certaines des œuvres les plus expressives du répertoire de guitare, depuis l'étude de Sor qui a fait tomber amoureux de la guitare des générations d'étudiants, jusqu'à celle de Frank Martin Quatre Pièces via La Catedral di Barrios, est le point d'appui modal de toute la Suite : il est vrai que le Prélude commence par un accord clair en mi mineur et s'attarde sur une fin ouverte en la mineur, mais il semble presque que le mi initial sert de une rampe de lancement pour une suite de l'œuvre dans laquelle la dominante, c'est-à-dire le B, est le véritable Nord musical, l'étoile polaire qui nous guide dans les trois autres mouvements jusqu'à la fin de la Chaconne de Magdebourg. Je souhaite à Giorgio et à « notre » Suite une grande longévité et un destin favorable dans le monde complexe et complexe de la composition contemporaine pour guitare. Et je le remercie encore, flatté de son très aimable dévouement.

FRANCESCO BIRAGHI.

SKU: HL.14006096

8.5x11.75x0.42 inches.

Includes notes on the Cathedral Organ.

SKU: GH.SK-890

ISBN 9790070018876. 185 x 262 mm inches.

Nio sanger for ungdomskor.

Ur forordet:
* Materialet ar tankt for ungdomar i tonaren, som nyligen lart sig sjunga i stammor, eller andra korsangare i behov av enklare material. * Sangerna ar ett bra satt att presentera olika genrer. Sjung garna sangens ovning som en introduktion till genren. * Jobba med olika rostkvaliteter, huvudklang, brostrost och blandrost. Ovningarna kan provas i olika tonarter for att fa fram dessa skillnader. * Ostinaton och rundgangar kan utnyttjas till improvisation och stamsang. * Vid textinlarning kan rorelse ses som ett komplement eller for att forhoja den eget skrivna texten. * Lat dessa sanger vara en kalla till inspriration. Anvand hela eller delar av materialet, som ovningar eller hela sanger, enstammig eller flerstammigt.
Lat nyfikenheten ta form bade i ord och ton!