SKU: PE.EP14722
ISBN 9790014140434.
Commissioned by Internationale Hugo-Wolf-Akademie'A grand piano. At its keys, a pianist. Under its body, a professional singer, lying down. Both performers hold their own spiral hose, winding from mouth to piano. The soundboard forms the membrane between the performers. Membran was written for a festival of lieder songs for voice and piano. They asked me if it was possible for me to write a lied, says Carola. She began experimenting, singing through a tube into the body of the piano. She found the resonance haunting. During the piece, the two performers sing a German children's folksong to each other. In the song, a brother repeatedly asks his sister when they will go home. Each time, the sister says they will go home in time. In the end, it becomes clear that both have died. Carola's music is all about communication. She is particularly interested in the intensive interaction of elements that don't normally belong together.Tim Munro'This product is Printed on Demand and may take several weeks to fulfill. Please order from your favorite retailer.
SKU: HL.49032974
ISBN 9783795723842. German.
Musikinstrumente compact mochte Schulern, Studierenden und interessierten Laien einen Uberblick uber die traditionell gebrauchlichen bzw. klassischen Musikinstrumente geben. Im Vordergrund steht - wie fur die compact-Reihe typisch - Ubersichtlichkeit und konzentrierte Information. Der Autor orientiert sich an der Einteilung der Musikinstrumente nach der Art der Klangerzeugung und gliedert in die Bereiche Aerophone, Chordophone, Idiophone und Membranophone. Erwahnung finden auch historische Instrumente sowie Instrumente aus dem Bereich der Ethnologie. Vier Exkurse befassen sich mit der Klassifikation von Musikinstrumenten, mit wichtigen Begriffen aus der Akustik, mit Fragen der Transposition und mit dem Aufbau von Partituren. Der Band wird erganzt durch zahlreiche Fotos, Abbildungen und Notenbeispiele sowie ein Ubungsangebot, das sich auf Probleme der Ubertragung der instrumentalen Klangerzeugung in das traditionelle Notenbild bezieht.
SKU: HL.48183570
Daniele Zanettovich: Rimembranza (Flute solo).
SKU: HL.1117959
UPC: 847986001733. 7.5x14.5x3.5 inches.
Please note: although we don't keep stock on hand, this item will drop ship direct from the manufacturer at the time of your order. Sturdy and resilient casing This extremely sturdy dynamic microphone features an omnidirectional polar pattern. Its capsule is fully rubber mounted. In combination with the INTERVIEWERs new coating technology all handling noise is reduced to a minimum while offering safe and comfortable grip. Best speech intelligibility Tailored for voice reproduction the INTERVIEWER provides you with crystal clear results in almost any situation. This hassle-free tool makes it easy to concentrate on what is essential. Camera connection cable The INTERVIEWER comes with a connection cable for your camera. This way you are fully equipped, and you can record even more comfortable on-the-go. The perfect companion With the purpose-built Dust Protection Membrane and its heavily rugged, most resilient housing, the INTERVIEWER will be the perfect companion even under the roughest conditions. Designed and engineered in Vienna, Austria Like all LEWITT microphones, the INTERVIEWER is designed and engineered in Vienna, Austria.
SKU: AP.43083
ISBN 9781470638634. UPC: 038081529165. English.
A fun and innovative way to learn about percussion instruments, these are real playing cards divided into four suits. Each suit represents a different instrument family: Pitched/Non-Pitched Membrane, Pitched/Non-Pitched Metallic, Pitched/Non-Pitched Wood, and Sound Effects. Four jokers are included as well, each containing a brief description of the percussion family, and suggestions regarding percussion notation. Deal me in!
SKU: PR.114405050
UPC: 680160008377. 11 x 14 inches.
Although structurally it subdivides into five movements, the entire quartet emerges as one vast continuum. There are no formal breaks between movements. However, certain musical signposts can be discerned, associated with each of the movements' terminations and new beginnings. The opening movement, The Nostalgia of Clanging Bell Sonorities, begins floating on recurrent Bbs whose soft rhythmic flow slowly puts into motion strong undercurrents suggestive of the latent power of water... After several suggestions of tolling bells, the movement gradually fades into hushed tones of veiled and very distant sonorities. It uses a unique efffect, for the first time in a musical context, conveyed through the use of extra heavy practice mutes. The second movement, The Spill of Water , disengages itself from the first through its distinct contrast in tempo. Water moves fast, and when it splashes, it tends to run wildly. In this case, it happens to be bubbly water that gushes forth bodly... smashing across rocky shorlines. So, too, the music attempts to conjure such moods. At the end of this movement, a cello cadenza emerges, introducing an introspective type of melodicism. The third movement, The Poignancy of Memory, contains many silences as it tries to convey memory through fragmented remembrances much like often occur in our dream state. Progressing through several slowly building images, it gradually works itself into juxtaposition of musical images. Towards the movement's end, high harmonics are sounding in all four instruments while left hand pizzicato notes in the cello pluch the last remembrances of this central core. Almost imperceptibly, the viola assumes leadership as it dissolves into: The fourth movement, The Fluidity of Motion, which has mostly the viola, but also the cello, articulating lyrical statements against the sheets of sound conjured up by the two violins playing a flood of swirling figures, evokes a kind of static motion in spae. Here, the virtually imperceptible manner in which this hushed whisper continues incessantly, can suggest the potential fluidity with which movement may inch forward... Later into the fourth movement , two fairly extended solos by the second and then the first violins, lead to a kind of spontaneous dialogue among the four instrumentalists. Eventually, this musical conversation gets caught up in: The fifth movement's The Rush of Time, which opens with a hushed flurry of speed, precipitates the Finale. It generates, at first slowly, but then very swiftly, whole shifts of rhythmic fields that initially seem to conflict with one another. Ultimately, this use of 'psycho-rhythmics contributes to an on-rush of motion and time. Rhythmic changes are, at times, abruptly precipitated with but little or no preparation creating a kind of inevitability in forward thrust, while the movement rushes forward with a feeling of gradual and continuous acceleration. It gathers density as more and more notes are piled progressively upon successive beats. The attempt is to spark tension and ignite excitement by means of frenetic confrontations of dissimilitudes. Ultimately - with the help of time - these polarities centrifically spin out their own destinies with their accompanying fall-out and own inevitable resolutions.
SKU: PR.11440505S
UPC: 680160008391. 11 x 14 inches.
Although structurally it subdivides into five movements, the entire quartet emerges as one vast continuum. There are no formal breaks between movements. However, certain musical signposts can be discerned, associated with each of the movements' terminations and new beginnings. The opening movement, The Nostalgia of Clanging Bell Sonorities, begins floating on recurrent Bbs whose soft rhythmic flow slowly puts into motion strong undercurrents suggestive of the latent power of water... After several suggestions of tolling bells, the movement gradually fades into hushed tones of veiled and very distant sonorities. It uses a unique effect, for the first time in a musical context, conveyed through the use of extra heavy practice mutes. The second movement, The Spill of Water, disengages itself from the first through its distinct contrast in tempo. Water moves fast, and when it splashes, it tends to run wildly. In this case, it happens to be bubbly water that gushes forth bodly... smashing across rocky shorelines. So, too, the music attempts to conjure such moods. At the end of this movement, a cello cadenza emerges, introducing an introspective type of melodicism. The third movement, The Poignancy of Memory, contains many silences as it tries to convey memory through fragmented remembrances much like often occur in our dream state. Progressing through several slowly building images, it gradually works itself into juxtaposition of musical images. Towards the movement's end, high harmonics are sounding in all four instruments while left hand pizzicato notes in the cello pluck the last remembrances of this central core. Almost imperceptibly, the viola assumes leadership as it dissolves into: The fourth movement, The Fluidity of Motion, which has mostly the viola, but also the cello, articulating lyrical statements against sheets of sound conjured up by the two violins playing a flood of swirling figures, evokes a kind of static motion in space. Here , the virtually imperceptible manner in which this hushed whisper continues incessantly, can suggest the potential fluidity with which movement may inch forward... Later into the fourth movement, two fairly extended solos by the second and then the first violins, lead to a kind of spontaneous dialogue amont the four instrumentalists. Eventually, this musical conversation gets caught up in: The fifth movement's The Rush of Time, which opens with a hushed flurry of speed, precipitates the Finale. It generates, at first slowly, but then very swiftly, whole shifts of rhythmic fields that initially seem to conflict with one another. Ultimately, this use of psycho-rhythmics contributes to an on-rush seem of motion and time. Rhythmic changes are, at times, abruptly precipitated with but little or no preparation creating a kind of inevitability in forward thrust, while the movement rushes forward with a feeling of gradual and continuous acceleration. It gathers density as more and more notes are piled progressively upon successive beats. The attempt is to spark tension and ignite excitement by means of frenetic confrontations of dissimilitudes. Ultimately - with the help of time - these polarities centrifically spin out their own destinies with their accompanying fall-out and own inevitable resolutions.
SKU: HL.48018227
UPC: 073999491579.
Piano Solo.
SKU: JK.00116
Luke 2.
Christmas arrangement for mixed chorus (SAB) and piano--remembrances of Christmas put to music. Soprano high note: D.Composer: Greg and Beverly Hansen Lyricist: Greg and Beverly Hansen Difficulty: Medium / medium acc.Reference: Luke 2.
SKU: UT.HS-212
ISBN 9790215322974. 9 x 12 inches.
Mandatory piece at V International Harp Competition Suoni d’Arpa 2015, Saluzzo (CN).
SKU: PR.510036880
UPC: 680160144891.
SKU: PR.ZM12690
UPC: 680160647774.
SKU: UT.MAG-286
ISBN 9790215328273. 9 x 12 inches.
