SKU: HL.383303
ISBN 9781705154137. UPC: 196288021421. 9.0x12.0x0.666 inches.
Do you need a perfect contemporary song for a vocal audition or performance? The Singer's Anthology of Pop/Rock Ballads gives you over 30 pop/rock classics to choose fromââall transposed into appropriate keys and based on the original recorded hits. These songs fall into the new wave of standards that you are hearing more often at cabaret, concerts, and special occasions. These songs are most often identified with singer-songwriters, so this collection features the work of Billy Joel, Carole King, Adele, and others. These arrangements were custom made for this collection as authentic performing editions, friendly to both the singer and accompanist. Keys were carefully chosen, either preserving the original recorded key or transposing as near the original as possible to increase accessibility. This volume is presented in separate editions for Soprano/Alto and Tenor/Baritone, with some songs shared between the two, and others specific to the voice type. The Soprano/Alto edition features 31 songs, including: All by Myself ⢠At Last ⢠Don't Know Why ⢠Hallelujah ⢠Hello ⢠I Can't Make You Love Me ⢠I Will Always Love You ⢠Killing Me Softly with His Song ⢠Landslide ⢠Million Reasons ⢠(You Make Me Feel Like) A Natural Woman ⢠New York State of Mind ⢠She Used to Be Mine ⢠Someone like You ⢠A Thousand Years ⢠Time After Time ⢠When We Were Young ⢠Will You Love Me Tomorrow (Will You Still Love Me Tomorrow) ⢠and more.
SKU: GI.G-10049
ISBN 9781622774333.
Music teachers know their students don’t just learn to play music, they are also exposed to universal life skills along the way. But that’s just part of the story. Currently, most students are largely left to learn these universal skills—like problem-solving, patience, focus, collaboration, critical thinking, creativity, and communication—on their own and often not very effectively. The Transposed Musician is a practical guide to teaching these universal skills within the context of a traditional music lesson. The results not only empower students to better confront the challenges of the twenty-first century, they significantly improve musicianship—a double benefit. Author Dylan Savage spent two decades refining his approach to teaching universal skills through music, and he shares them in this book. Each of the eight chapters of The Transposed Musician focuses on a specific universal skill (problem-solving, focus, patience, critical thinking, communication, collaboration, improvisation, and creativity) and shows how students can apply that skill to music. He then shows how teachers can guide those students to “transpose†that skill to life and back again to music with far deeper understanding and musicianship. With practical examples and clear writing, this book is for music educators wishing to help their students become both better musicians and also better-equipped citizens of the world. Students truly become “transposed musicians†for life and for music. Dylan Savage is Associate Professor of Piano at the University of North Carolina–Charlotte. He is also a Bösendorfer Concert Artist, a Capstone Records Recording Artist, and a winner of the Rome Festival Orchestra Competition. https://thetransposedmusician.com/ This book is priceless and contains a wealth of music teaching information that every teacher should apply to their studio. Dylan Savage’s use of universal skills transforms music teaching into a viable and essential part of education in the twenty-first-century. This teaching approach of using universal skills can revolutionize teaching music in both the private studio and college level and will give teachers a greater sense of purpose and satisfaction in their work. This book challenges many preconceived ideas about teaching music and mastering performance. Bravo for shaking up the status quo. —Randall Hartsell   Composer, Clinician, Teacher This book asks and explores fascinating questions about what it means to study music in a changing world. Are there skills we can learn in our music lessons which can enrich our lives in other non-musical areas, and then can we bring those expanded skills back into our study of music itself? Too often our conservatories are dead-ends, stuck with outdated, one-dimensional approaches which can lead to stunted personal development. This book suggests ways in which we can break down doors, for students and teachers alike, and celebrate music as something life-affirming, in and out of the studio. —Stephen Hough   Pianist, Composer, Writer Dylan Savage has given us a fresh and creative pedagogy to guide our music students toward life as twenty-first-century musicians. His career as pianist and teacher, and his firsthand experience in the marketplace of business and industry, allow him to forge a systematic approach to teaching universal skills in the music lesson. In each of the eight chapters, skills such as problem-solving, focus, critical thinking, collaboration, and improvisation are defined and applied to musical skills. These in turn are “transposed†to non-musical applications. We observe the music lessons and the active “transposition†or transfer of universal skills exemplified through descriptions of particular lessons. The anxieties, confusions, and ultimate comfort and understanding of students are guided by the questions of the teacher. The book is beautifully organized and is enriched by quotations of artists, musicians and philosophers, and suggested readings and references. I really think this is an important and helpful book with a point of view that is much needed. The empathy and knowledge of the author steer the reader toward the realities of today’s musical world, a world that requires skilled musicians to have universal skills that benefit their lives, regardless of their ultimate career paths. —Phyllis Alpert Lehrer   Professor Emerita, Westminster Choir College of Rider University   Artist Faculty, Westminster Conservatory In The Transposed Musician, Dylan Savage combines a visionary’s deep understanding of the challenges music students and teachers face with an eminently practical way to meet those challenges. Using a master teacher’s insight, Savage “transposes†eight potential stumbling blocks into eight universal skills that can be acquired through a beautifully organized, step-by-step approach. In turn, he shows how these skills can be applied to other areas in our rapidly changing world, helping us lead more satisfying, meaningful, and fulfilling lives, not only as musicians, but as human beings. For students and teachers alike, an inspired and inspiring book. —Barbara Lister-Sink, Ed.D.   Producer, Freeing the Caged Bird The Transposed Musician is an important contribution to our literature on teaching essential life skills including problem-solving, patience, focus, critical thinking, and creativity within the traditional music lesson. Teachers and students both can benefit from the study and application of these skills. Applications are made both to the traditional lesson as well as to non-music applications. —Jane Magrath   Pianist, Author, Teacher   University of Oklahoma Twenty-five hundred years ago Plato recommended music first in his ideal curriculum for potential leaders of Athens—before sport, mathematics, and moral philosophy. None of his candidates, one may assume, aspired to become a professional musician. Nevertheless, throughout centuries, otherwise people have acknowledged that the study and practice of music generates collateral benefits essential to human fulfillment. In his new book The Transposed Musician, Professor Dylan Savage of the University of North Carolina at Charlotte identifies eight of these benefits—Problem Solving, Focus, Patience, Critical Thinking, Communication, Collaboration, Improvisation, and Creativity—and calls them “universal skills†which may be developed consciously and systematically within the context of traditional music lessons. Doing so takes what has been implicit all along and makes it explicit. Music is good for us! Music teachers, even at the highest conservatory level, learn from Professor Savage that they are not so much professional trainers as guides to a happier, more successful life. —Dr. Joseph Robinson   Principal Oboe, New York Philharmonic (1978–2005)   Successful author, teacher, producer, and arts advocate Savage's excellent book couldn't be more timely, unique, clear, full of wisdom, and exactly what we need. As he points out, music teachers have known for generations—in a rather generalized way—that musical skills can strengthen life skills in many ways. Dylan Savage is the first to address this 'transposition' intentionally, with specific exercises in the transferrable skills. What better gift could there be for music students facing an ever-changing world? —William Westney   Award-winning concert pianist (Geneva Competition) and teacher   Author of The Perfect Wrong Note: Learning to Trust Your Musical Self.
SKU: CF.H84
ISBN 9781491165539. UPC: 680160924530.
Marcel Tournier (1879–1951) was one of the most important harpist/composers in the history of the harp. Over his long career, he added a significant catalogue of very beautiful works to the harp repertoire. Many of his solo works, almost one hundred, have been consistently in print since they were first published. But in recent years harpist Carl Swanson has discovered a treasure trove of pieces by Tournier heretofore unknown and unpublished. These include the Déchiffrages in this edition, as well as songs set for voice, harp, and string quartet, and ensemble arrangements of some of his most beloved works.All of the works that Carl Swanson found were in manuscript only. With the help of the great harpist Catherine Michel, he has put these pieces into playable form, and they are being published for the very first time. He and Catherine often had to re-notate passages to show clearly how they could be played, adding fingerings and musical nuances, tempos, pedals, and pedal diagrams.Tournier wrote these pieces when he was in his 20s, and before he became the impressionistic composer those familiar with his work know so well. They are written in the late nineteenth-century romantic style that was being taught at that time at the Paris Conservatory. They are beautiful short, intermediate level pieces by a first rate composer, and add much needed repertoire to that level of playing.Marcel Tournier (1879–1951) was one of the most important harpist/composers in the history of the harp. He graduated from the Paris Conservatory with a first prize in harp in 1899. He also studied composition there and won a second prize in the prestigious Prix de Rome competition, as well as a first prize in the Rossini competition, another major composition competition of the day. From 1912 to 1948 he taught the harp class at the Paris Conservatory. But composition, and almost entirely, composition for the harp, was the main focus of his life. His published works, including many works for solo harp, a few for harp and other instruments, and several songs, number around one hundred pieces.In 2019, while researching Tournier for my edition MARCEL TOURNIER: 10 Pieces for Solo Harp, I discovered that there was a significant list of pieces by this composer that had never been published and were not included on any inventory of his music. Principal on this list were his déchiffrages (pronounced day-she-frahge, like the second syllable in the word garage).The word déchiffrage means sight-reading exercise, and that was their original purpose. Tournier numbered and dated these pieces, with dates ranging from 1900 to 1910, indicating that they were in all likelihood written for Alphonse Hasselmans’ class at the Paris Conservatory. Tournier was probably told how long to make each one, and how difficult. They range in length from two to four pages, with only one in the whole series extending to five, and from thirty to fifty-five measures, with only one extending to eight-five. The level of difficulty for the whole series is intermediate, with some at the easier end, and others at the middle or upper end.We don’t know if they were intended to test students trying to enter the harp class, or if they were used to test students in the class as they played their exams. The fact that they were never published means that students had to not only sight read them, but sight read them in manuscript form!I worked from digital images of the original manuscripts, which are in the private music library of a harpist in France. She had twenty-seven of these pieces, and this edition is the second in a series of three that will publish, for the first time, all of the ones that I have found thus far. The manuscripts themselves consist of little more than notes on the page: no pedals written in, no fingerings, few if any musical nuances and tempo markings, and no clear indication as to which hand plays which notes. These would have been difficult to sight read indeed! My collaborator Catherine Michel and I added musical nuances, fingerings, pedals and pedal diagrams, and tempo indications to put them into their current condition.At the time these were written, Tournier would have been in his twenties, having just graduated from the harp class himself (1899), and might still have been in the composition class. These are the earliest known pieces that he wrote, and they were written at the very beginning of a cultural revolution and upheaval in Paris that was to completely and profoundly alter musical composition. Tournier himself would eventually be caught up in this new way of composing. But not yet.All of the déchiffrages are written in the late romantic style that was being taught at that time at the Paris Conservatory. Each one is built on a clear musical idea, and the variety over the whole series makes them wonderful to listen to as well as to learn. They are also great technical lessons for intermediate level players.The obvious question is: Why didn’t Tournier publish these pieces, and why didn’t he list them on his own inventory of his music? Actually, four of them were published, with small changes, as his collection Four Preludes, Op. 16. These came from the ones that will be in volume three of this series from Carl Fischer. His first large piece, Theme and Variations, was published in 1908, and his two best known and frequently played pieces, Féerie and Au Matin, followed in 1912 and 1913 respectively. We can only speculate because there is so much still unknown about Tournier and about these unpublished pieces. He may have looked at them, fresh out of school as he was, as simply a way to make some quick money. The first several pieces that he did publish are much longer than any of the déchiffrages. So it could be that, because of their shorter length, as well as the earlier musical style that he was moving away from, he chose not to publish any more of them. We may never know the full story. But all these years later, more than a century after they were composed, we can listen to them for their own merits, and not measured against whatever else was going on at the time. The numbers on these pieces are the ones that Tournier assigned to them, and the gaps between some of the numbers suggest that there are perhaps thirty or more of these pieces still to be found, if they still exist. They will, in all likelihood, be found, as these were, in private collections of harp music, not in institutional libraries. We can only hope that more of them will be located in years to come.—Carl SwansonGlossary of French Musical TermsTournier was very precise about how he wanted his pieces played, and carefully communicated this with many musical indications. He used standard Italian words, but also used French words and phrases, and occasionally mixed both together. It is extremely important to observe and understand everything that he put on the page.Here is a list of the French words and phrases found in the pieces in this edition, with their translation.bien chanté well sung, melodiousdécidé firm, resolutediminu peu à peu becoming softer little by littleen diminuant becoming softeren riten. slowing downen se perdant dying awayGaiement gayly, lightlygracieusement gracefully, elegantlyLéger light, quickLent slowmarquez le chant emphasize the melodyModéré at a moderate tempopeu à peu animé more lively, little by littleplus lent slowerRetenu held backsans lenteur without slownesssans retinir without slowing downsec drily, abruptlysoutenu sustained, heldtrès arpegé very arpeggiatedTrès Modéré Very moderate tempoTrès peu retenu slightly held backTrès soutenu very sustainedun peu retenu slightly held back.
SKU: BT.DHP-1084536-401
ISBN 9789043130912. 9x12 inches. English-German-French-Dutch.
In this book, you will find a series of rhythmic patterns (motifs), each of which is followed by eight lines of musical exercises in which that rhythmic motif is incorporated. Lines 9 and 10 have been left blank: it is up to you to think of two exercises using the motif concerned to complete the missing staves. With the exercises in the book, together with those you have made up yourself, you have a total of 320 exercises. They are all intended to improve your drumming technique by means of ââ¬Ëdrum gymnasticsââ¬â¢. It is better and more effective to play one or two exercises often and thoroughly, than to rush through a number of exercises. Only an intensive and carefully built-uptraining programme will lead to the improvement and perfection of your technique - donââ¬â¢t give up too easily, keep practising, and keep going. In dit boek vind je boven aan elke bladzijde een ritmische bouwsteen, gevolgd door acht notenbalken met oefeningen waarin deze bouwsteen is verwerkt. De balken 9 en 10 zijn nergens ingevuld: aan jou de uitdaging om zelf twee oefeningenmet de betreffende bouwsteen te bedenken en die in te vullen.De oefeningen die al in het boek staan komen dan, samen met de oefeningen die je zelf hebt bedacht, op een aantal van maar liefst 320. Ze hebben als doel door middelvan ââ¬Ëdrumgymnastiekââ¬â¢ de techniek van het trommelen te verbeteren.Het is beter en effectiever om elke dag een of twee oefeningen vaak en grondig door te nemen dan om meerdere oefeningen even snel door te spelen. Alleen een intensieveen zorgvuldig opgebouwde training zal leiden tot de gewenste verbetering en perfectionering van je techniek - geef daarbij niet te snel op, blijf oefenen en houd vol.Drumnastics ist das ultimative Gymnastikprogrammââ¬Å für Anfänger am Schlagzeug vom Schlagzeugspezialisten Gert Bomhof. Ziel der zahlreichen ÃÅbungen ist, mit verschiedenen rhythmischen Mustern als Leitfaden die Schlagzeugtechnik zu verbessern. Selbst zu gestaltende ÃÅbungen fördern außerdem die musikalische Kreativität. Lehrreich und spaßbringend! Drumnastics présente une série de schémas rythmiques travailler. Chaque motif est intégré dans huitlignes dââ¬â¢exercices musicaux. Les lignes 9 et 10 ont été volontairement laissées vides pour vous permettre de créer deux exercices personnels en utilisant le motif donné pour compléter les portées.En combinant les exercices présentés dans le recueil avec les exercices que vous aurez créés vous-même, vous obtiendrez un total de 320 exercices. Tous ces exercices sont destinés améliorer votre technique de caisse en effectuant de véritables exercices de gymnastique.Il est préférable et plus efficace de travailler un ou deux exercices fréquemment et consciencieusement que dese précipiter et survoler un grand nombre dââ¬â¢exercices. Un programme dââ¬â¢entraînement intensif et bien structuré permettra dââ¬â¢améliorer et de perfectionner votre technique. Ne baissez pas les bras au moindre problème, mais continuez de persévérer et dââ¬â¢aller de lââ¬â¢avant. Drumnastics è il libro di ginnastica che tutti i percussionisti dovrebbero avere. I numerosi esercizi di questa pubblicazione hanno come obiettivo di migliorare la tecnica del rullante attraverso lo studio di motivi ritmici.
SKU: HL.238676
ISBN 9781495098437. UPC: 888680700409. 9.0x12.0x0.425 inches.
Some of the most famous and enduring songs from “the great American songbook†have been selected and edited especially for singers in this landmark series, with songs from George & Ira Gershwin, Richard Rodgers & Lorenz Hart, Jerome Kern, Cole Porter, Irving Berlin and many others. The music all dates from the 1920s to the early 1960s, in a musical style that pre-dates the rock era. The majority of the songs appear in all four volumes, though some songs are uniquely in the women's volumes or men's volumes. Unlike standard piano/vocal sheet music, the edition does not have the melody in the piano accompaniment, which gives the singer more vocal freedom. Keys have been carefully chosen for each voice type. Each volume also includes a historical note about each song, often citing recording artists who became associated with a song.
SKU: HL.238675
ISBN 9781495098420. UPC: 888680700393. 9.0x12.0x0.424 inches.
SKU: HL.1158247
UPC: 749350578400. 6.25x4.0x3.0 inches.
VERTEX BUFFERS NOW AVAILABLE TO THE MASSES! For over a decade, every buffer that's come out of Vertex Effects has been custom made, bespoke, for the pedalboard it was designed for or the customer that ordered it. Needless to say, our buffers were very limited, with only a few hundred made over the last ten years. Over that time, and through hundreds of custom buffer interfaces being made, several common applications for buffer combinations and routing emerged as the most common uses as it comes to placing buffers on a pedalboard for the most optimal results. Routing schemes such as mono, stereo, audition loops (inserts), four-cable method, five-cable method, and wet/dry/wet were all common requests from our customers, but there was never an all-in-one solution that provided all of these options for buffering and routing your pedalboard in a pedalboard-friendly enclosure – until now. Introducing the Vertex Buffer Interfaces and Buffer Modules. The first all-in-one solution that covers 99% of all pedalboard routing options, whether you have multiple amps, amps with effects loop, a wet/dry/wet rig, an impedence sensitive fuzz, or want to side-chain pedals off the board in the middle of your signal path with an insert loop, these boxes have a solution for you that won't compromise on tone. WHY ARE OUR BUFFERS BETTER? Firstly, our buffers are designed to have no sound of their own – totally transparent, no color, no EQ, no distortion – just your tone as though you plugged your guitar directly into your amp with a 10ft cable (even if you're running a dozen or more pedals between the guitar and amp with over 100 ft. of cable). So often buffers in our industry will be described by the manufacturers with words like “warm†or “fat†when really the buffer should NOT be imparting anything to the sound other than 1) loading the guitar pickups properly with the same loading as your guitar would see if plugged into a tube amp and 2) converting the signle to low impedence, driving the line so it is the least susceptible to environmental factors that might alter the tone. Unfortunately, 99% of the buffers available on the market don't do this – they add a color to the signal and lack the proper specifications to dive even 20 feet of cable without introducing artifacts into the sound.
SKU: BA.BA06861
ISBN 9790260104211. 34.3 x 27 cm inches.
LeoÅ¡ Janácek’s symphonic fragment Dunaj (The Danube) dates from the period of the composition of “Katya Kabanovaâ€. The composer was not concerned with a musical-picturesque description of a river landscape, but with the mythical link between women’s destinies and water.“Pale green waves of the Danube! There are so many of you, and one followed by another. You remain interlocked in a continuous flow. You surprise yourselves where you ended up – on the Czech shores! Look back downstream and you will have an impression of what you have left behind in your haste. It pleases you here. Here I will rest with my symphony.†Thus LeoÅ¡ Janácek described the idea behind the composition project which occupied him in 1923/24. However, after further work, it remained incomplete in 1926. His “symphony†entitled Dunaj has survived as a continuously-notated, four-movement bundle of sketches in score form. It is one of the works which occupied him until his death. The scholarly reconstruction by the two Brno composers MiloÅ¡ Å tedron and LeoÅ¡ Faltus closely follows the original manuscript.A whole conglomeration of motifs stands behind the incomplete work. What at first seems like a counterpart to Smetana’s Vltava, in fact doesn’t turn out to be a musical depiction of the Danube. On the contrary, the fateful link between the destiny of women, water and death permeates the range of motifs found in the work. It seems to be no coincidence that Janácek, whilst working on the opera Katya Kabanova, in which the Volga, as the river bringing death plays an almost mythical role, planned a Danube symphony, and that its content was linked with the destiny of women: in the sketches, two poems were found which may have provided the stimulus for several movements of the symphony. He copied a poem by Pavla Kriciková into the second movement, in which a girl remarks that whilst bathing in a pond, she was observed by a man. Filled with shame, the young naked woman jumps into the water and drowns. The outer movements likewise draw on the poem “Lola†by the Czech writer Sonja Å pálová, published under the pseudonym Alexander Insarov. This is about a prostitute who asks for her heart’s desire: she is given a palace, but then goes on a long search for it and is finally no longer wanted by anyone. She suffers, feels cold and just wants a warm fire. Janácek adds his remark “she jumps into the Danube†to the inconclusive ending.To these tangible literary models is added Adolf Veselý’s verbal account which reports that the composer wanted to portray “in the Danube, the female sex with all its passions and driving forcesâ€. The third movement is said to characterise the city of Vienna in the form of a woman.It is evident that in his composition, Janácek was not striving for a simple, natural lyricism. The River Danube is masculine in the Slavic language – “ten Dunaj†– and assumes an almost mythical significance in the national character, indeed often also a role bringing death. The four movements are motivically conceived. Elements of sound painting, small wave-like figures in the first movement, motoric, driving movements in the third are obvious evocations of water. And the content and the literary level are easy to discover. The “tremolo of the four timpaniâ€, which was amongst Janácek’s first inspirations, appears in the second movement. It is not difficult to retrace in it the fate of the drowning bather. The oboe enters lamentoso towards the end of the movement over timpani playing tremolo, its descending figure is taken over by the flute, then upper strings and intensified considerably. The motif of drowning – Lola’s despair – returns again in the fourth movement in the clarinet, before the work ends abruptly and dramatically.One special effect is the use of a soprano voice in the motor-driven third movement. The singer vocalises mainly in parallel with the solo oboe, but also in dialogue with other parts such as the viola d’amore, which Janácek used in several late works as a sort of “voice of loveâ€.
About Barenreiter Urtext
What can I expect from a Barenreiter Urtext edition?
MUSICOLOGICALLY SOUND - A reliable musical text based on all available sources - A description of the sources - Information on the genesis and history of the work - Valuable notes on performance practice - Includes an introduction with critical commentary explaining source discrepancies and editorial decisions ... AND PRACTICAL - Page-turns, fold-out pages, and cues where you need them - A well-presented layout and a user-friendly format - Excellent print quality - Superior paper and binding
SKU: AP.1-ADV14116
ISBN 9783954810758. UPC: 805095141160. English.
The Essence of Bebop is by critically acclaimed New York saxophonist Jim Snidero and reveals the heart and soul of this groundbreaking jazz style and is the first real manual for mastering bebop. The 10 fun-to-play studies are inspired by Miles Davis, Charlie Parker, Dizzy Gillespie, Sonny Rollins, John Coltrane, and many more, offering a unique basis for in-depth study and analysis. Historical insights as well as recommended listening and reading make this edition an indispensable part of jazz education. Each etude includes a study guide that covers jazz theory, but also goes well beyond the math, providing insight into how bebop masters mold solos into profound musical statements. Concepts of shape, timing, balance and pacing provide the framework in which ideas unfold and flow. Additional examples, practice suggestions, historical perspectives, listening and reading suggestions (60-plus pages total) result in an instant classic that's perfect for individual or classroom study. The downloadable play-along recording has versions with and without the soloist, and features Michael Dease (trombone), Mike LeDonne (piano), Peter Washington (bass), and Joe Farnsworth (drums). But what if you aren't a student or a professional? The Essence of Bebop still has immense value to those interested in bebop and hard bop. By encouraging readers to understand the music's intent, slow down their listening, and focus on the swinging, the series can help a jazz newcomer dig this cerebral, often pulse-pounding music. - Morgan Enos, Discogs.
SKU: BT.DHP-1002207-140
Sinfonia Hungarica is a three-movement symphony that depicts the history of Hungary. All three movements were inspired by historical key figures, wars, and other important events from this country. This symphony is a celebration of Hungary’s millennium in 2001.ATTILA, King of the Huns, often named “The scourge of God,†is the central figure of the first movement, mainly characterized by fear, threat, aggression, and cruelty. Attila’s brother, Buda, however, has a more heroic theme, while his beloved wife, Rika, has a lyrical melody. The exciting ending of this opening movement illustrates the dreaded speed of Attila’s troops: they pursued their victims and killed them all!Dit stuk werd gecomponeerd in opdracht van het symfonisch blaasorkest Kiskunfélegyhaza uit Hongarije en opgedragen aan dirigent Ferenc Jankovski, burgemeester Jozsef Ficsor en Gabriella Kiss. De wereldpremière vond plaats op 31 maart2001 in Budapest (Hongarije) door het eerdergenoemde orkest onder leiding van de componist.Deze driedelige symfonie beschrijft de geschiedenis van Hongarije. De drie delen zijn ge nspireerd op historische sleutelfiguren, oorlogenen andere belangrijke gebeurtenissen in dit land. De symfonie werd geschreven ter gelegenheid van de millenniumviering van Hongarije in 2001.ATTILA, koning van de Hunnen, vaak ‘de gesel Gods’ genoemd, is de centrale figuurin het eerste deel, dat voornamelijk wordt gekenmerkt door angst, dreiging, agressie en wreedheid. Attila’s broer, Buda, heeft echter een hero scher thema, terwijl zijn geliefde vrouw, Rika, een lyrische melodie heeft. Het spannendeeinde van dit openingsdeel illustreert de gevreesde snelheid van Attila’s troepen: ze achtervolgden hun slachtoffers en vermoordden ze allemaal! Het tweede deel gaat over ARPAD, de stichter van de Hongaarse staat. Hetbegint met een sfeerpassage, die het beeld oproept van zijn grootmoeder, Emese, dromend over zijn bestemming. Een van Arpad’s tegenstanders, de Bulgaarse prins Zalan, werd verdreven na een gevecht. Hierna noemde Arpad het gebiedofficieel ‘Magyarorszag’.Het laatste deel is genoemd naar ISTVAN, de koning die het christendom in Hongarije introduceerde en die werd gekroond door paus Silvester II op 1 januari 1001. Een vrij plechtige start leidt tot nogeen martiale passage, die eindigt met een aantal luide slagen. Deze symboliseren het voorval waarbij het lichaam van de heiden Koppany in vier stukken werd gesneden, die naar de vier kastelen van het land werden gezonden als schrikwekkendDie Sinfonie in drei Sätzen ist eine musikalische Schilderung der Geschichte Ungarns. Alle drei Sätze haben bedeutende historische Persönlichkeiten und Schlüsselereignisse aus der Landesgeschichte - wie etwa Kriege - zum Inhalt. Das Werk wurde zuUngarns Tausendjahrfeier im Jahr 2001 geschrieben.Attila, König der Hunnen, oftmals auch die Geißel Gottes genannt, ist die zentrale Gestalt des ersten Satzes; in seiner musikalischen Beschreibung sind Aggressivität und Grausamkeit, die vonihm ausgehende Bedrohung und ihm entgegengebrachte Furcht spürbar. Daneben erscheinen das heroischer klingende Thema von Buda, Attilas Bruder, und das lyrische von Rika, seiner zärtlich geliebten Frau. Der aufpeitschende Schluss desSatzes ist Sinnbild für die gefürchtete Schnelligkeit von Attilas Truppen, mit der sie ihre Opfer eingeholt und ohne Ausnahme getötet haben.Im Mittelpunkt des zweiten Satzes steht Arpad, der eigentliche Begründer des ungarischen Staates. Eineatmosphärisch klingende Einleitung beschwört Emese, die Großmutter Arpads, herauf, die im Traum seine Bestimmung vorhergesehen hatte. Er schlug seinen Gegner, den Prinzen Zalan von Bulgarien, im Kampf in die Flucht und gab dem Land denNamen Magyarorszag.Das Finale ist nach Istvan benannt, dem König, der in Ungarn das Christentum einführte und am ersten Januar 1001 durch Papst Sylvester II. gekrönt wurde. Ein feierlicher Anfang leitet über in einen an Kriegsgetümmelerinnernden Abschnitt, der in lärmendem Getöse endet. Es steht für das Ende des Heiden Koppany, dessen Körper gevierteilt und als abschreckendes Beispiel an die vier Burgen des Landes gesandt wurde. Ein ruhiges, beinahe religiös wirkendesZwischenspiel mündet in die ungarische Nationalhymne. Dieser prachtvolle, mit grandioso überschriebene Schluss hat auch eine symbolische Bedeutung: Nach zehn Jahrhunderten hat Ungarn guten Grund, mit Stolz zurückzublicken und der Zukunft mitZuversicht und Optimismus entgegenzusehen.Die wunderbare Melodie der Nationalhymne erscheint in der Sinfonie auch vorher schon immer wieder, wird meist aber ganz oder teilweise überdeckt. Sie durchläuft das Werk wie ein roter Faden, der anfangs kaumwahrzunehmen ist und erst im Verlauf der Sinfonie immer deutlicher wird. Am Ende krönt sie das Werk in einer letzten prachtvollen Steigerung, in der das Orchester den majestätischen Klang einer Orgel annimmt.Sinfonia Hungarica est une œuvre de commande pour l’Orchestre d’Harmonie de Kiskunfelegyhaze en Hongrie. Elle est dédiée Ferenc Jankovski (Directeur de l’Orchestre d’Harmonie), Jozsef Ficsor (Maire de la ville de Kiskunfelegyhaze) et Gabriella Kiss.Cette symphonie en trois mouvements retrace l’histoire de la Hongrie. L’ensemble des trois mouvements s’inspire de la vie de personnages historiques clés, de guerres et d’autres événements de grande importance qui ont marqué l’histoire de ce pays. Sinfonia Hungarica célèbre le millénaire de la fondation de l’État hongrois (1001-2001). L’œuvre a été donnée en création mondiale, le 31 mars 2001 Budapest,par l’Orchestre d’Harmonie de Kiskunfelegyhaze placé sous la direction du compositeur.ATTILA, roi des Huns, surnommé “le Fléau de Dieuâ€, est le personnage central du premier mouvement où règne une atmosphère de peur, de menace, d’agression et de cruauté. Bléda, le frère d’Attila, est associé un thème aux accents plus héro ques, tandis que Kerka, l’épouse bien-aimée du roi des Huns, est représentée par une mélodie lyrique. La fin trépidante de ce mouvement d’ouverture illustre l’effroyable rapidité avec laquelle les troupes d’Attila poursuivaient et tuaient toutes leurs victimes.Le deuxième mouvement est centré sur ARPAD, le fondateur de l’État hongrois. Un passage limpide et aérien ouvre ce mouvement évoquant Émèse, la grand-mère d’Arpad, qui vit en rêve sa destinée future. Après avoir livré bataille contre l’un de ses opposants, le prince bulgare Zalan, et l’avoir chassé des terres magyares, Arpad donne officiellement au territoire le nom de Magyarorszag.Le troisième et dernier mouvement de la symphonie porte le nom de celui qui convertit le pays au christianisme : Étienne Ier (ISTVAN), sacré roi de Hongrie le 1er janvier 1001 par le Pape Sylvestre II. Les mesures d’ouverture, solennelles et majestueuses, mènent un passage dont l’atmosphère belliqueuse s’intensifie pour s’achever en de violents fracas symbolisant la mort Sinfonia Hungarica, commissionata dalla banda ungherese di Kiskunfelegyahaza, è dedicata al maestro Ferenc Jankovski, al sindaco della citt Jozsef Ficsor e a Gabriella Kiss. La prima mondiale, eseguita dalla banda Kiskunfelegyhaza si è tenutaa Budapest il 31 marzo 2001 sotto la direzione del compositore.Gli eventi salienti della storia dell’Ungheria, come le guerre ed altri avvenimenti importanti, sono tradotti in musica in questa sinfonia strutturata in tre movimenti. Sinfonia Hungaricavuole anche essere un omaggio allo stato ungherese che festeggia il suo millennio nel 2001.ATTILA, re degli Unni, spesso chiamato “il flagello di Dio“ è la figura centrale del primo movimento, caratterizzato dalla paura, dalla minaccia,dall’aggressione e dalla crudelt . Buda, fratello di Attila è associato ad un tema più eroico, mentre Rika, l’amata moglie, è rappresentata da una melodia lirica. L’eccitante finale di questo movimento di apertura illustra la tanto temuta velocit delle truppe di Attila che seminavano paura e morte.Il secondo movimento pone l’accento su ARPAD, il fondatore dello Stato ungherese. Inizia con un passaggio in stile atmosferico che evoca la nonna di Arpad, Emese che aveva sognato e predettoil futuro del nipote. Uno degli oppositori di Arpad, il principe bulgaro Zalan, fu cacciato dopo una battaglia. In seguito, Arpad chiamò ufficialmente il territorio “Magyarorszagâ€.Il movimento finale prende il nome da ISTVAN, il re che portòil cristianesimo in Ungheria e che fu incoronato da Papa Silvestro II il 1 gennaio, 1001. Un inizio solenne prelude ad un passaggio bellico accentuato da rumori imponenti; questo a simboleggiare l’atroce fine del pagano Koppany il cui corpo futagliato in quattro pezzi e inviato ai quattro castelli del paese come monito. Dopo un intermezzo quieto, quasi religioso, viene presentato l’Inno nazionale ungherese. In questo ampio e grandioso finale riecheggia l’orgoglio dell’Ungheria nelricordare il suo passato e la fiducia con la quale si proietta al futuro.Lo stupendo tema dell’Inno nazionale ungherese è proposto nell’arco dell’intera sinfonia. E’ però spesso parzialmente nascosto e usato come filo conduttore, appena riconoscibileall’inizio ma sempre più ovvio quando la sinfonia si avvicina al suo finale. A conclusione della sinfonia, il sublime inno conduce la banda in un’apoteosi finale, facendo apparire l’organico strumentale come un maestoso organo.
SKU: CF.CPS265
ISBN 9781491161289. UPC: 680160919871.
Remembrance was written in November 2018. In remembrance of what it took for us to be here... was the only original program note. The piece can mean different things to different people; however, it brings unity to all under the theme of remembrance. We fight for many things: love, patriotism, freedom, ideology, possession...all of which have cost tremendous sacrifice. It was the battles, the blood and sweat, and the sacrifice of those that came before us that created the world as we know it. Remembrance is a tender, melancholic reflection that silently gives thanks to every step and every sacrifice that was made to bring us what we have today. Yes, what we have may not be perfect--nor is it anywhere near complete--but with each generation's responsibility to carry the torch and never forget, hopefully we can make everything worth it. Performance Notes This tender piece is an excellent opportunity to explore nuanced phrasing. While many sections may play similar parts, often the phrasing and dynamics are marked differently across the band. Each of these discrepancies should be brought out and add to the perpetual motion of the piece. Encourage confident, yet subtle entrances and furthermore, think about the ends of notes as important as the beginning. Really bring out the hairpins in sections such as m. 29, m. 67, and m. 81 as expressive devices. Despite the piece's major key, through the various levels of dissonance and tension, both the ensemble and the audience should feel the sacrifices and tragedy that this piece celebrates. The tempo should not be much slower than the marked tempos and with the careful observation of the various tempo changes, there should be a constant momentum pushing throughout the piece, all the way past the end that leaves the audience in thought with an uplifting, pensive, and gentle clarinet chord.Remembrance was written in November 2018. “In remembrance of what it took for us to be here...†was the only original program note. The piece can mean different things to different people; however, it brings unity to all under the theme of remembrance.We fight for many things: love, patriotism, freedom, ideology, possession...all of which have cost tremendous sacrifice. It was the battles, the blood and sweat, and the sacrifice of those that came before us that created the world as we know it. Remembrance is a tender, melancholic reflection that silently gives thanks to every step and every sacrifice that was made to bring us what we have today. Yes, what we have may not be perfect—nor is it anywhere near complete—but with each generation’s responsibility to carry the torch and never forget, hopefully we can make everything worth it.Performance NotesThis tender piece is an excellent opportunity to explore nuanced phrasing. While many sections may play similar parts, often the phrasing and dynamics are marked differently across the band. Each of these discrepancies should be brought out and add to the perpetual motion of the piece. Encourage confident, yet subtle entrances and furthermore, think about the ends of notes as important as the beginning. Really bring out the hairpins in sections such as m. 29, m. 67, and m. 81 as expressive devices. Despite the piece’s major key, through the various levels of dissonance and tension, both the ensemble and the audience should feel the sacrifices and tragedy that this piece celebrates.The tempo should not be much slower than the marked tempos and with the careful observation of the various tempo changes, there should be a constant momentum pushing throughout the piece, all the way past the end that leaves the audience in thought with an uplifting, pensive, and gentle clarinet chord.
SKU: CF.CPS265F
ISBN 9781491161753. UPC: 680160920440.
SKU: CF.CPS271F
ISBN 9781491164105. UPC: 680160922895.
Music is what feelings sound like is perhaps my favorite maxim about music. And I occasionally like to take a title—often a single word—and attempt to portray the purest expression of the feelings evoked by that word that I can.Heartfelt is probably my most successful attempt in this area. The quintuplet rhythms in this piece lend themselves surprisingly well to the emotional intent. Following the lead set by the trumpet soloist in the timing of these rhythms; the flutes and clarinets soon echo the sentiment. By the end of the piece, the entire wind ensemble has the opportunity to lock in the rhythm together (in rehearsals, m. 50 might be a good place to start this process).My recommendation is to just try to feel it, as opposed to attempting to rush four eighth notes or drag six sextuplet notes. And if there are some tears on some faces in the audience by the end of the piece, the ensemble has definitely done its job!Chris Campbell.Music is what feelings sound like is perhaps my favorite maxim about music. And I occasionally like to take a title—often a single word—and attempt to portray the purest expression of the feelings evoked by that word that I can.Heartfelt is probably my most successful attempt in this area. The quintuplet rhythms in this piece lend themselves surprisingly well to the emotional intent. Following the lead set by the trumpet soloist in the timing of these rhythms; the flutes and clarinets soon echo the sentiment. By the end of the piece, the entire wind ensemble has the opportunity to lock in the rhythm together (in rehearsals, m. 50 might be a good place to start this process).My recommendation is to just try to feel it, as opposed to attempting to rush four eighth notes or drag six sextuplet notes. And if there are some tears on some faces in the audience by the end of the piece, the ensemble has definitely done its job!Chris Campbell.
SKU: CF.CPS271
ISBN 9781491163702. UPC: 680160922499.
SKU: GI.G-10678
ISBN 9781622776436.
Drawing from his five decades of success as a conductor and educator in the choral field, Will Kesling has compiled a comprehensive choral methods resource that addresses every necessary fundamental for achieving artistry in the choral art. Written in clear and conversational language, this resource covers: Building a healthy and beautiful choral sound Dealing with vocal issues Selecting repertoire and programming concerts Developing score study skills and interpretive insights Understanding the characteristics of musical periods and composers Planning, preparing for, and running rehearsals The Voices I Hear also explores important but often overlooked topics, including a discussion of performing sacred music in secular education settings, techniques for performing choral-orchestral works, choral versus orchestral conducting, and how to become a true “maestro.†Individual chapters also function as standalone topics of study. A valuable read for emerging and seasoned conductors alike, The Voices I Hear is an expert study of the aesthetic, intellectual, and practical aspects of the choral art. Dr. Will Kesling is Professor of Choral and Orchestral Conducting at the University of Florida, where he has taught for two decades. He has conducted hundreds of choral ensembles and nearly fifty of the world’s finest symphony orchestras. His ensembles have received international attention for their excellence and musical expression.  Thank you, Dr. Kesling, for the decade you gave of yourself to write the most complete and comprehensive writing on the topics of choral techniques, methods, and conducting I have seen. It is in-depth yet practical, to the point of being a valuable resource for both the young conductors entering the choral field to the well-established professionals. You have given us a solid foundation in all significant areas of the choral art, including, among many others, the production of beautiful vocal tone, detailed physical vocal production, textual and physical components of English diction, repertoire programming, appropriate style, interpretation and phrasing, and a pathway to successful conducting of combined choral and orchestral forces. Your enormous and highly successful career, with worldwide performances and numerous awards and honors, has enabled you to bring validity and integrity to the entire writing. —Donald Neuen   Distinguished Professor Emeritus, UCLA   Former member of the Robert Shaw Chorale   Mr. Shaw’s Assistant Conductor with the Atlanta Symphony Orchestra and Choruses For more than 50 years, Dr. Will Kesling has been and continues to be a prominent figure and voice in the International and American choral profession. His new book, The Voices I Hear, is the distillation of his long and distinguished career as a conductor and choral music educator. The driving and consuming passion throughout Kesling’s life is the preparation and performance of the world’s rich and diverse choral and orchestral repertoire and the education, development, and growth of those who perform and conduct it. This book is a summation of a lifetime immersed in the choral art and all its many aspects. It overflows with insights into the choral art that will not only instruct the beginning conductor but also will enlighten and entertain the seasoned professional conductor and educator. It is filled with wit, wisdom, and practical advice to all practitioners of the choral arts. I enthusiastically recommend Kesling’s enlightening new book as an important addition to the choral pedagogy bibliography and for use as an invaluable new text for choral practicum classes for both graduate and undergraduate students. Dr. Kesling has brought to the choral profession significant new insights to all lovers of the choral art. —Craig Jessop   Professor of Music, University of Utah   Former Music Director of the Tabernacle Choir and Orchestra at Temple Square   and the United States Air Force Singing Sergeants Will Kesling’s book, The Voices I Hear, is practical and philosophical, useful and inspirational, focused and comprehensive. The observations and advice are based on his vast personal experiences on the podium with choirs and orchestras, and the book is a monumental resource for both the young conductor and the veteran. Containing a broad spectrum of musical styles, composers, and topics, Kesling’s direct and practical writing connects immediately with today’s choral musician. Keep The Voices I Hear nearby as there will be many times down the road where the information and opinions in Dr. Kesling’s book will answer the questions you have, as well as the ones you didn’t even know to ask! —Jerry Blackstone   Professor Emeritus of Music (conducting) and Director of Choirs (retired)   School of Music, Theatre & Dance, University of Michigan This is the textbook I wish had been available when I was beginning my studies. It is comprehensive in scope, practical and helpful in its suggestions, and, perhaps most surprising in a book from an academic, superbly written in clear and powerful English. Kesling speaks with conviction, clarity, and polish, and he finds colorful and memorable ways of making his points and presents the material from the perspective of one who has done all these things for decades at a highly professional level. I give this volume the highest possible recommendation. —Daniel Gawthrop   Composer & Conductor.
