SKU: PR.574005000
UPC: 680160398362.
SKU: BT.MUSWMR102014
ISBN 9781787600348. French.
A comprehensive step-by-step course specifically designed to suit the needs of all children beginning the piano. Features a fun family of characters to illustrate each lesson. Worksheets are included to encourage the revision and reinforcement of new information and concepts. Clear and simple layouts and accompaniments make learning fun and encourage parent participation.Une méthode complète soigneusement créée pour accompagner pas à pas tous les enfants approchant le piano pour la première fois. Enrichi d'une famille de personnages et d'illustrations qui vous aideront à apprendre efficacement tout ce qui est enseigné. Des pages d'exercices sont insérées, un outil d'évaluation efficace et le renforcement de tous les concepts appris dans les leçons. La structure linéaire rend la participation des parents simple et également amusante grâce à la présence de nombreux accompagnements des exemples présents dans le livre.
SKU: AP.6-428532
ISBN 9780486428536. English.
A comprehensive view of the violin and viola, detailing their historical development and changing structure; contributions of the legendary Cremona school of makers and of Stradivarius; techniques and improvements advocated by legendary teachers; the great schools of players, from Corelli to Paganini; and the demands imposed by the growth of the nineteenth-century orchestra. Also included: teaching and acoustics, covering scientific properties of the vibrating string, the harmonic series, tone color, intonation, and much more. Includes music examples, diagrams, and 24 plates. Introduction to the Dover edition by the author. Unabridged republication of The Violin and Viola, originally published in 1972 by Ernest Benn, London, and W. W. Norton, New York.
SKU: HL.49007913
ISBN 9790001084659. German.
Musical interpretation is first and foremost a question of shaping a melody or the melodic line of a setting. Music, like any language, follows its own set of rules and a sufficient knowledge and familiarity with musical 'grammar' is therefore an essential prerequisite of any convincing interpretation. The internationally renowned performer and teacher Peter-Lukas Graf explains in great detail the parameters that have to be taken into account for a successful interpretation: rhythm, metre, agogics, articulation, phrasing, ornamentation and implied polyphony, etc. Numerous examples from the flute repertoire of the 17th-20th century serve as models from which he derives the 'rules' appropriate for an interpretation in keeping with each period. * These rules are not intended to be dogmatic but instead should stimulate the players to form their own opinion. About 'rules' * Preface * Golden rules for the interpreter * The structure and analysis of melody * Notes on the execution of ornamentation in the 17th and 18th centuries * Ornamentation in the 19th and 20th centuries * Phrasing * Rhythm * Accents * Dynamics * Tempo * Metre * Flexibility of rhythm/rubato * Shaping the musical phrase * Conclusion * Bibliography * Index * Musical examples.
SKU: AP.35372
UPC: 038081411057. English.
Structures is inspired by the legendary Standing Stone structures located near the village of Callanish on the Western Isles of Scotland. Roland Barrett captures the majesty of these monolithic structures with this stirring contemporary new addition to the developing band repertoire. Bravo! This title is available in MakeMusic Cloud.
SKU: BT.EMBZ14394
The piece was written in honour of Pierre Boulez's 75th birthday. Besides the title, put together like a mosaic from three Pierre Boulez pieces entitled Dialogue de l'ombre double, Structures, and Pli selon pli, the homage-character of the piece is also indicated by the Reihe used as a base, originating from the composition entitled Structures. The passage-titles of the form made up of seven sections and the character of the musical material of the individual sections all point to pieces by Boulez though they do not contain a single actual quotation from them. The piece is a one-movement chamber concert in which two emphatically polyphonous clarinet parts play aleading role alongside a string quintet. During concert performances, it is an essential element of the piece that the musicians playing the clarinet parts constantly change their position. While the strings remain at the centre of the stage throughout, the two clarinet players, starting out from the left and right side of the stage, finally meet behind them (in the fourth section), then slowly begin to move off stage, one to the left, one to the right. (Tünde Szitha) The performance material can be hired under the catalogue number S-99BMC CD 073Klenyán Csaba, Szabó Bálint, Componensemble, cond. Serei Zsolt.
SKU: HL.50485776
ISBN 9780634091674. UPC: 073999457360. Bach (23 x 30,2 cm) inches. Zsolt Serei.
The piece was written in honour of Pierre Boulez's 75th birthday. Besides the title, put together like a mosaic from three Pierre Boulez pieces entitled Dialogue de l'ombre double, Structures, and Pli selon pli, the homage-character of the piece is also indicated by the Reihe used as a base, originating from the composition entitled Structures. The passage-titles of the form made up of seven sections and the character of the musical material of the individual sections all point to pieces by Boulez though they do not contain a single actual quotation from them. The piece is a one-movement chamber concert in which two emphatically polyphonous clarinet parts play a leading role alongside a string quintet. During concert performances, it is an essential element of the piece that the musicians playing the clarinet parts constantly change their position. While the strings remain at the centre of the stage throughout, the two clarinet players, starting out from the left and right side of the stage, finally meet behind them (in the fourth section), then slowly begin to move off stage, one to the left, one to the right. (Tunde Szitha) The performance material can be hired under the catalogue number S-99BMC CD 073Klenyan Csaba, Szabo Balint, Componensemble, cond. Serei Zsolt.
SKU: BT.DHP-1155627-030
English-German-French-Dutch.
Or genes (Origins) was commissioned by the European Brass Band Association as a test piece for the challenge section of the 38th European Brass Band Championship in Freiburg, Germany 2015. It is a spectacular piece from the pen of CarlosCárdenas, who belongs to a new generation of composing talent. The clave, a rhythmic pattern, which originally comes from African music, was the inspiration for this innovative piece, all motifs and structures being derived from it. The six parts feature a wide spectrum of percussion instruments, reveal animpressive range of new sound combinations and yet are very accessible for the audience.Or genes wurde im im Auftrag der Europäischen Brass Band Association als Teststück der Challenge-Section für den 38. Europäischen Brass Band Wettbewerb 2015 in Freiburg, Deutschland, geschrieben. Es handelt sich dabei um ein spektakuläres Werkaus der Feder von Carlos Cárdenas, der eine junge Generation an Kompositionstalenten vertritt. Der Clave“, ein rhythmisches Muster, das ursprünglich aus der afrikanischen Musik kommt, diente als Inspirationsquelle für dieses innovative Stück: Allseine Motive und Strukturen leiten sich aus ihm ab. Die sechs Teile von Or genes zeigen ein großes Spektrum an Schlaginstrumenten, weisen überraschende neue Klangkombinationen auf und sind doch einem breiten Publikum zugänglich.L’œuvre Or genes (Origines) a été commandée par l’European Brass Band Association pour servir de morceau imposé en catégorie Challenge, l’occasion de la 38e édition du Championnat européen de Brass Band qui se tiendra Freibourg (Allemagne)en 2015. La pièce est basée sur un motif rythmique clave, qui est originaire de la musique africaine. Cette cellule rythmique a grandement influencé la musique latino-américaine et est encore de nos jours un élément important dans la structurede la musique afro-cubaine. Source intarissable d’inspiration, tous les motifs et les structures rythmiques de ce morceau en sont des dérivés. Or genes se compose de six parties : une introduction, quatre parties principales et une conclusionqui résume brillement les divers éléments de la pièce.
SKU: HL.49030432
ISBN 9781902455013. English. John Minnion.
In this sixth book of the series, the authors builld upon the lower junior stage, and use a similar modular format. Designed to extend skill acquisition in performance, improvising and composing, listening and appraising, and notating music, pupils are challenged by incresingly demanding musical materials. At the same time there is an emphasis on pupils acquiring knowledge and expertise of the deep structures of a range of music, and a greater acknowledgement of musical purpose and context. Attuned to the National Curriculum experiences, particular features of this book are: a consolidation and deepening of vocal and instrumental techniques and performance * an integrated approach to improvising and composing, combing skills in listening and appraising, knowledge and understanding * a module focusing on aural observation, representation, recording and notation of sound * an active, analytical and frequently physical approach to listening and appraising * a focus on music in its social and historical context in relation to dance.
SKU: AP.1-ADV14220
ISBN 9783892210382. UPC: 805095142204. English.
This is the first in a series of books and audio/video recordings which describe a simple and pragmatic approach to improvisation. While focusing on the jazz idiom, the techniques discussed are applicable to many styles of music and all instruments, be it rock guitar, jazz saxophone, or the solos of the fusion keyboardist. The system presented in this volume offers a tangible pathway to inside the creative imagination by getting inside harmony, inside the changes. Chord changes are included for C Concert, B flat and E flat instruments. In addition the book includes transposed examples for all instruments (C treble clef, B flat, E flat and bass clef). The accompanying recording has been designed for use in conjunction with each of the chapter assignments. There are nine tunes for you to play along with, each played at a slow and then medium tempo featuring Garry Dial on piano, Dave Santoro on bass and Alan Dawson on drums, plus 12 demonstration tracks performed by the author on piano and/or tenor saxophone.
SKU: BT.AMP-448-130
9x12 inches. English-German-French-Dutch.
WINNING PERFORMANCE EBBC LILLE 2016Raveling, Unraveling In Search of ‘La Valse’ was written for the Cory Band as their own-choice test piece for the 2016 European Brass Band Championships in Lille. The piece found its genesis in Sparke’s The Unknown Journey (2014) forconcert band, and the use of Ravel’s La Valse as a structural undercurrent to the original piece is an act of reverence. Sparke’s aim was to produce a work that is organic rather than episodic in nature. The composer’s view is that little inmusic does this better than La Valse and for this reason he uses various sections of this masterpiece, both manipulated and quoted verbatim (including much of its stunningclosing passages) to provide the overall geography of his new work. Asthe music progresses, more of the Ravel appears, surfacing completely as the piece reaches its climax - a gesture of homage to the French master. WINNAAR EBBC LILLE 2016Raveling, Unraveling In Search of ‘La Valse’ is geschreven voor de Britse Cory Band als keuzewerk voor de Europese Brassband Kampioenschappen van 2016 in Lille. De oorsprong ligt in Sparkes The Unknown Journey (2014) voorharmonieorkest. Het is een diepe buiging naar Ravels La Valse, die wordt gebruikt als een soort structurele onderstroom van een origineel stuk muziek, met als doel een werk te maken dat organisch van karakter is. De componist heeftverschillende gedeelten uit het meesterwerk ingebracht, zowel bewerkt als letterlijk geciteerd met veel van de prachtige slotpassages om de algehele opbouw van zijn nieuwe werk te scheppen. Naarmate demuziek voortgaat, verschijnt er meer vanRavel, waarna de wals volledig opduikt in de apotheose: een fraai eerbetoon aan de Franse meester. SIEGER EBBC LILLE 2016Raveling, Unraveling In Search of La Valse wurde für die Cory Band als selbst ausgewähltes Prüfungsstück bei den European Brass Band Championships 2016 in Lille komponiert. Die Komposition hat ihren Ursprung in Sparkes 2014 entstandenemStück The Unknown Journey für Blasorchester. Es handelt sich um eine Art Hommage, denn Ravels La Valse wird hier als formale Grundlage für ein eher in sich geschlossenes und nicht nur episodenhaftes Originalwerk verwendet. DemKomponisten zufolge gibt es kaum eine Musik, die dies besser vermag als La Valse. Er verwendet verschiedene Abschnitte aus diesem Meisterwerk, sowohl bearbeitet als auch direkt übernommen inklusive zahlreicher fantastischer Schlusspassagen ,um die Gesamtstruktur seines neuen Werkes darzustellen. Je mehr die Musik voranschreitet, umso mehr wird Ravels Einfluss erkennbar, vor allem beim Erreichen des musikalischen Höhepunktes des gesamten Stückes eine Hommage an den französischenMeister. VAINQUEUR EBBC LILlE 2016Raveling, Unraveling In Search of La Valse a été composé pour le Cory Band comme pièce de choix pour le Championnat Européen de Brass Band 2016 Lille. L’œuvre tire son origine de la pièce de concert pour orchestre d’harmonie de Sparke,The Unknown Journey (2014). Une marque de respect La Valse, ce nouveau morceau utilise l’œuvre de Ravel comme sous-courant structurel et a comme objectif un genre organique plutôt qu’épisodique. D’après le compositeur, La Valseest l’un des seuls morceaux qui réussit accomplir ceci. Il se sert de plusieurs sections de ce chef d’œuvre, aussi bien modifiées que citées telles quelles y inclus laplupart de ses magnifiques passages finaux pour établir la structure généralede ce nouveau morceau. Plus la musique progresse, plus la musique de Ravel apparaît, et domine alors que l’apogée est atteinte un hommage au maestro français.
SKU: BT.AMP-448-030
SKU: HL.49046544
ISBN 9781705122655. UPC: 842819108726. 9.0x12.0x0.224 inches.
I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. The markings of the movements are the following: 1. Vivace molto ritmico e preciso 2. Lento e deserto 3. Vivace cantabile 4. Allegro risoluto 5. Presto luminoso.The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale; my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. In the Piano Concerto I realized new concepts of harmony and rhythm. The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time 'rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form; later in the fourth movement it will be considerably developed. The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement; however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly; they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales; in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting; illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated; the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus; indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. (Gyorgy Ligeti).
SKU: HL.44002245
UPC: 073999730715. 8.5x11.75x0.94 inches.
Sonority - zu deutsch 'Klangfulle' - halt, was sein Titel verspricht: Peter Riedemanns Komposition ist ein prachtvoller Konzertmarsch im 6/8-Takt mit einem besonders melodischen Trio. Ein absoluter Glanzpunkt in Ihrem nachsten Konzertprogramm!Cette marche fluide et joyeuse, ecrite en 6/8, s'interprete avec legerete et souplesse. Structuree selon la forme traditionnelle de la marche, Sonority developpe un theme melodieux qui chemine a travers le tissu thematique du trio. Apres un passage contrastant joue avec panache, le theme du trio est repris une derniere fois.Sonority est une marche simple qui se prete parfaitement a une interpretation en salle de concert ou en plein air.
SKU: HL.44011235
9.0x12.0x0.232 inches. French.
Doubles cordes pour Violon est une methode moderne et enrichissante, destinee a apprendre aux violonistes qui maitrisent assez bien la 1re position a s'initier au jeu en doubles cordes. Cet ouvrage contient 38 exercices et 37 morceaux ecrits dans di_x001D_fferents styles musicaux. Presentees de maniere coherente et structuree, les doubles cordes sont indiquees en differentes couleurs. Les morceaux de concert peuvent etre interpretes soit en solo, soit avec l'accompagnement du CD, soit encore en duo, les parties du second violon etant fournies sous forme de fichiers PDF a imprimer.
SKU: CF.CAS7
ISBN 9780825847578. UPC: 798408047573. 8.5 X 11 inches. Key: D major.
When you have the good fortune to visit Red Rock country in the southwestern United States, you will all at once feel that majesty and beauty in the towering red landscape. You can trek, bike, paddle, ride horseback or drive through the canyons, past the strangely shaped rocks and over the enormous boulders. Each time you turn a corner you will be dazzled by yet another magnificent vista. The Red Rock areas in Utah, Nevada, Arizona and New Mexico formed millions of years ago when that part of North America was primarily under water. The water left behind the shells and skeletons of sea creatures that gradually turned into limestone and similar rocks. Beginning 225 million years ago, the earth's crust began to move and the seabed slowly rose. Streams entering the shallow water deposited mud and sand that turned into shale and marine sandstone. As the land continued to rise and dry out, some of the rocks oxidized (combined with oxygen) and turned red in color. Subsequently the area was covered with sands that eventually compressed into what is called Aztec sandstone. Sometimes, when iron was concentrated in the rock, the sandstone turned a bright red color. Following the introduction, the music in Red Rock Rag takes on a typical ragtime melody and rhythm. It then transitions by changing key, time signature and the structure into a swing waltz. At m. 60, it moves into a combined time signature of one measure of 3/4 time and two measures of 2/4 time with an occasional lick in the bass line. Finally, it moves back into the swing-waltz style and finishes with the original ragtime melody. Red Rock Rag is challenging stylistically and rhythmically. It would be appropriate to study both the ragtime and swing styles while working on it.When you have the good fortune to visit Red Rock country in the southwestern United States, you will all at once feel that majesty and beauty in the towering red landscape. You can trek, bike, paddle, ride horseback or drive through the canyons, past the strangely shaped rocks and over the enormous boulders. Each time you turn a corner you will be dazzled by yet another magnificent vista. The Red Rock areas in Utah, Nevada, Arizona and New Mexico formed millions of years ago when that part of North America was primarily under water. The water left behind the shells and skeletons of sea creatures that gradually turned into limestone and similar rocks. Beginning 225 million years ago, the earth's crust began to move and the seabed slowly rose. Streams entering the shallow water deposited mud and sand that turned into shale and marine sandstone. As the land continued to rise and dry out, some of the rocks oxidized (combined with oxygen) and turned red in color. Subsequently the area was covered with sands that eventually compressed into what is called Aztec sandstone. Sometimes, when iron was concentrated in the rock, the sandstone turned a bright red color. Following the introduction, the music in Red Rock Rag takes on a typical ragtime melody and rhythm. It then transitions by changing key, time signature and the structure into a swing waltz. At m. 60, it moves into a combined time signature of one measure of 3/4 time and two measures of 2/4 time with an occasional lick in the bass line. Finally, it moves back into the swing-waltz style and finishes with the original ragtime melody.A Red Rock RagA is challenging stylistically and rhythmically. It would be appropriate to study both the ragtime and swing styles while working on it.When you have the good fortune to visit Red Rock country in the southwestern United States, you will all at once feel that majesty and beauty in the towering red landscape. You can trek, bike, paddle, ride horseback or drive through the canyons, past the strangely shaped rocks and over the enormous boulders. Each time you turn a corner you will be dazzled by yet another magnificent vista. The Red Rock areas in Utah, Nevada, Arizona and New Mexico formed millions of years ago when that part of North America was primarily under water. The water left behind the shells and skeletons of sea creatures that gradually turned into limestone and similar rocks. Beginning 225 million years ago, the earth's crust began to move and the seabed slowly rose. Streams entering the shallow water deposited mud and sand that turned into shale and marine sandstone. As the land continued to rise and dry out, some of the rocks oxidized (combined with oxygen) and turned red in color. Subsequently the area was covered with sands that eventually compressed into what is called Aztec sandstone. Sometimes, when iron was concentrated in the rock, the sandstone turned a bright red color. Following the introduction, the music in Red Rock Rag takes on a typical ragtime melody and rhythm. It then transitions by changing key, time signature and the structure into a swing waltz. At m. 60, it moves into a combined time signature of one measure of 3/4 time and two measures of 2/4 time with an occasional lick in the bass line. Finally, it moves back into the swing-waltz style and finishes with the original ragtime melody.A Red Rock RagA is challenging stylistically and rhythmically. It would be appropriate to study both the ragtime and swing styles while working on it.When you have the good fortune to visit Red Rock country in the southwestern United States, you will all at once feel that majesty and beauty in the towering red landscape. You can trek, bike, paddle, ride horseback or drive through the canyons, past the strangely shaped rocks and over the enormous boulders. Each time you turn a corner you will be dazzled by yet another magnificent vista. The Red Rock areas in Utah, Nevada, Arizona and New Mexico formed millions of years ago when that part of North America was primarily under water. The water left behind the shells and skeletons of sea creatures that gradually turned into limestone and similar rocks. Beginning 225 million years ago, the earth's crust began to move and the seabed slowly rose. Streams entering the shallow water deposited mud and sand that turned into shale and marine sandstone. As the land continued to rise and dry out, some of the rocks oxidized (combined with oxygen) and turned red in color. Subsequently the area was covered with sands that eventually compressed into what is called Aztec sandstone. Sometimes, when iron was concentrated in the rock, the sandstone turned a bright red color. Following the introduction, the music in Red Rock Rag takes on a typical ragtime melody and rhythm. It then transitions by changing key, time signature and the structure into a swing waltz. At m. 60, it moves into a combined time signature of one measure of 3/4 time and two measures of 2/4 time with an occasional lick in the bass line. Finally, it moves back into the swing-waltz style and finishes with the original ragtime melody. Red Rock Rag is challenging stylistically and rhythmically. It would be appropriate to study both the ragtime and swing styles while working on it.When you have the good fortune to visit Red Rock country in the southwestern United States, you will all at once feel that majesty and beauty in the towering red landscape. You can trek, bike, paddle, ride horseback or drive through the canyons, past the strangely shaped rocks and over the enormous boulders. Each time you turn a corner you will be dazzled by yet another magnificent vista. The Red Rock areas in Utah, Nevada, Arizona and New Mexico formed millions of years ago when that part of North America was primarily under water. The water left behind the shells and skeletons of sea creatures that gradually turned into limestone and similar rocks. Beginning 225 million years ago, the earth's crust began to move and the seabed slowly rose. Streams entering the shallow water deposited mud and sand that turned into shale and marine sandstone. As the land continued to rise and dry out, some of the rocks oxidized (combined with oxygen) and turned red in color. Subsequently the area was covered with sands that eventually compressed into what is called Aztec sandstone. Sometimes, when iron was concentrated in the rock, the sandstone turned a bright red color. Following the introduction, the music in Red Rock Rag takes on a typical ragtime melody and rhythm. It then transitions by changing key, time signature and the structure into a swing waltz. At m. 60, it moves into a combined time signature of one measure of 3/4 time and two measures of 2/4 time with an occasional lick in the bass line. Finally, it moves back into the swing-waltz style and finishes with the original ragtime melody. Red Rock Rag is challenging stylistically and rhythmically. It would be appropriate to study both the ragtime and swing styles while working on it.When you have the good fortune to visit Red Rock country in the southwestern United States, you will all at once feel that majesty and beauty in the towering red landscape. You can trek, bike, paddle, ride horseback or drive through the canyons, past the strangely shaped rocks and over the enormous boulders. Each time you turn a corner you will be dazzled by yet another magnificent vista.The Red Rock areas in Utah, Nevada, Arizona and New Mexico formed millions of years ago when that part of North America was primarily under water. The water left behind the shells and skeletons of sea creatures that gradually turned into limestone and similar rocks. Beginning 225 million years ago, the earth's crust began to move and the seabed slowly rose. Streams entering the shallow water deposited mud and sand that turned into shale and marine sandstone. As the land continued to rise and dry out, some of the rocks oxidized (combined with oxygen) and turned red in color. Subsequently the area was covered with sands that eventually compressed into what is called Aztec sandstone. Sometimes, when iron was concentrated in the rock, the sandstone turned a bright red color.Following the introduction, the music in Red Rock Rag takes on a typical ragtime melody and rhythm. It then transitions by changing key, time signature and the structure into a swing waltz. At m. 60, it moves into a combined time signature of one measure of 3/4 time and two measures of 2/4 time with an occasional lick in the bass line. Finally, it moves back into the swing-waltz style and finishes with the original ragtime melody. Red Rock Rag is challenging stylistically and rhythmically. It would be appropriate to study both the ragtime and swing styles while working on it.
SKU: HL.14042212
For Flute (doubling Piccolo), Clarinet in B flat*, Very large Tam-Tam (sounding from a high gallery), and Choir (SSATTBB).* Notated in C in the score.'According to Hindu Cosmology, welive at the end of a cycle, the Kali Yuga - the Dark Age. There are two important sayings of Christ that should accompany his disciples always during these challenging times.The first is The Gates of Hell shall not prevail against my Church (Matthew 16, v. 18); and the second I am with you always unto the end of the world (Matthew 28, v. 20).These sayings form the basis of this work, which falls into two main sections, each with the same structure and with linked material. Each section begins with Kali Yuga, which I havetried to represent in a chaotic, unstructured way, in contrast to the cosmic Cries of Humanity to Christ (Kyrie eleison - Lord, have mercy), and Christ's responses from Saint Matthew's Gospel.The work ends with a serene'Coda' of the sacred monosyllable OM, representing the peace and beatitude of God's presence. The intermingling of Christianity and Hinduism is an important simile for our times; in the same way, early Christianity did nothesitate to incorporate Jewish and Greek thought.'- John Tavener