Matériel : Octavo
SKU: HL.14003425
ISBN 9780711922778. 12.0x9.0x0.125 inches.
Arrangement s of 26 favourite nursery rhymes with full colour illustrations and fascinating information on the pieces' origins. Specially designed for young children to be able to play themselves rather than just be played to. Suitable for pre-Grade 1 to Grade 1 pianists. Contents: Baa, Baa, Black Sheep * Girls and Boys Come Out to Play * Hey Diddle Diddle * Hot Cross Buns * I Love Little Pussy * Jack and Jill * Little Bo-Peep * London Bridge * London's Burning * One, Two, Three, Four, Five * Pop Goes the Weasel * Rock-a-Bye, Baby * Sing a Song of Sixpence * This Old Man * Three Blind Mice * Twinkle, Twinkle, Little Star * Yankee Doodle * Lavenders Blue * Little Jack Horner * Pat a Cake * Polly Put the Kettle On * Pussy-Cat, Pussy-Cat * Hickory, Dickory Dock * Here We Go Round the Mulberry Bush * Ring-a-Ring o Roses * Humpty Dumpty.
SKU: HL.14060485
UPC: 196288099512. 4.75x7.5x0.872 inches.
SKU: BT.MUSAM993839
ISBN 9781847725806.
A charming collection of children's poems, stories and nursery rhymes that capture the essence of childhood. Also features many beautiful colour illustrations. The included CD contains performances of every song byachildren's choir. The CD also contains stories and poems featured in the book.
SKU: HL.48182068
UPC: 888680850975. 9.0x12.0x0.27 inches.
“The Bird Catalogue by Olivier Messiaenis a set of 7 books with 13 pieces for Piano composed between 1956 and 1958. Each volume refers to a special bird and to the French region where the bird is typically from. The piece does not only describe the bird, it also depicts its surroundings, such as other birds, the landscape of its area, the colours and the temperature. Book 1 - Le Chocard des Alpes (Alpine Chough) - Le Loriot (Golden Oriole) IH Le Merle Bleu (Blue Rock Thrush) Book 2 - Le Traquet Stapazin (Black-Eared Wheatear) Book 3 - La Chouette Hulotte (Tawny Owl) - L'Alouette Lulu (Wood Lark) Book 4 - La Rousserolle Effarvatte (Reed Warbler) Book 5 - L'Alouette Calandrelle (Short-Toed Lark) - La Bouscarle (Cetti's Warbler) Book 6 - Le Merle de Roche (Rock Thrush) Book 7 - La Buse Variable (Buzzard) - Le Traquet Rieur (Black Wheatear) - Le Courlis Cendré (Curlew) As mentioned above, this 7th Volume focuses on the buzzard, the black wheatear and the curlew. The first one, the Buzzard represents ?La matheysine? in the Dauphiny area, the Black Wheatear, the area of Roussillion and the Curlew, the west coast of Brittany. The interpretation of these pieces requires a strong level of ability on Piano (upper advanced), due to some complex techniques required. Olivier Messiaen (1908-1992) was a French organist and composer passionate about Ornithology and one of the most important composers of his century. Inspired by Japanese music, he had a very special way of composing and his work can be identified by its complexity, its diatonic aspect, its harmony with limited transposition, its colour and its additive rhythms. He composed many works related to ornithology and birdsong, including the 'Treatise on rhythm, colour and ornithology' in 7 volumes.â€.
SKU: FG.55011-071-7
ISBN 9790550110717.
Comp leted in Karstula, Finland during late July 2010, this carefully structured, but also free-ranging work is drawn from ideas for a much earlier work in four movements, Fantasy dating from the 1980s. Kai Nieminen has been for a long time an admirer of the work of artist Paul Klee (1879-1940), and the solo presented in its final form here is influenced by the painting Dances caused by Fear or as it is often refered to Dancing from Fear painted towards the end of Klee's life in Bern, 1938. Having left Germany for Switzerland in December 1933, Klee's later works were often full of signs and lines, very often represented in black, depicting human figures or various objects against a variety of coloured backgrounds, in the case of this painting of a brownish hue. This development in his painting style and technique is felt by some to be an effect perhaps of his long-term illness, systemic sclerosis, but in the case of Dances caused by Fear there is suggested an atmosphere of panic and terror, an attempt to escape from horrors to come (World War II), represented in the violent movement of the arms and legs of the figures, and the dark, indeed brooding nature of the colours. In Kai Nieminen's guitar work Images of Fear, there is only a very brief passage of calm at the very beginning, after which come three main connected sections in which a wide range of musically unsettling ideas emerge one by one, making use of the tritone, minor seconds, glissandos, tamboura, campanella, etc. The third and final section incorporates the grouping of 5 sixteenth-notes, to give an uneasy feeling to the music, with a short haunting and pleading five-note phrase (Cantando) heard immediately following this passage, before the work ends with further glissandos, and distant and diminishing harmonics. As with Kai Nieminen's other guitar works, the use of 'orchestral colour' is vital to the performance, and passages suggestive of for example brass, strings, woodwind, etc., should be taken into account and played with suitably considered contrast of tone. John Mills.
SKU: HL.48182066
UPC: 888680850869. 9.0x12.0x0.155 inches.
“The Bird Catalogue by Olivier Messiaenis a set of 7 books with 13 pieces for Piano composed between 1956 and 1958. Each volume refers to a special bird and to the region where the bird is typically from in France. The piece not only describes the bird, it also depicts its surroundings, such as other birds, the landscape of its area, the colours and the temperature. Book 1 - Le Chocard des Alpes (Alpine Chough) - Le Loriot (Golden Oriole) IH Le Merle Bleu (Blue Rock Thrush) Book 2 - Le Traquet Stapazin (Black-Eared Wheatear) Book 3 - La Chouette Hulotte (Tawny Owl) - L'Alouette Lulu (Wood Lark) Book 4 - La Rousserolle Effarvatte (Reed Warbler) Book 5 - L'Alouette Calandrelle (Short-Toed Lark) - La Bouscarle (Cetti's Warbler) Book 6 - Le Merle de Roche (Rock Thrush) Book 7 - La Buse Variable (Buzzard) - Le Traquet Rieur (Black Wheatear) - Le Courlis Cendré (Curlew) As mentioned above, this 5th volume focuses on the Short-toed Lark and the Cetti's Warbler. The first one, the Short-toed Lark represents the wilderness of Provence and the Cetti's Warbler, the Charente area. The interpretation of these pieces requires a strong level in Piano (upper advanced), due to some complex technique requirement. Olivier Messiaen (1908-1992) was a French organist and composer who was passionate about Ornithology and one of the most important composers of his century. Inspired by Japanese music, he had a very special way of composing and his work can be identified by its complexity, its diatonic aspect, its harmony with limited transposition, its colour and its additive rhythms. He composed many works related to ornithology and birdsong, including the 'Treatise on rhythm, colour and ornithology' in 7 volumes.â€.
SKU: HL.49045340
ISBN 9790001202558. UPC: 841886030787. 9.0x12.0x0.094 inches.
This work by 17-year-old Fazil Say is from the early creative period of the Turkish composer. Supported by Aribert Reimann and David Levine, he composed the four pieces for the 750th anniversary of the founding of Berlin, and they were premiered during the celebrations in 1987. The first monodic piece already shows the oriental melody that became more pronounced later, whereas the other pieces surprise with novel tone colours, inside-piano effects and specific rhythmic features.
SKU: BT.MUSAM993817
ISBN 9781847725783.
A beautifully presented and colourful collection of songs, poems and stories that celebrate the natural world, and all creatures great and small. Read about the adventures of the Ugly Duckling, or the tales of TheTownMouse And The Country Mouse. Inside you will find lyrics to more than twenty-five songs that explore the worlds of our furry, feathered or slimy friends. The included CD contains performances of every song byachildren's choir and also contains stories and poems featured in the book.
SKU: BT.YK21368
ISBN 9780711907164.
A second colourful repertory of popular piano pieces, includes Smoky On The Rocks, The Boll Weevil Boogie and Club Sayonara . Suitable for intermediate standard pianists.
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.49045437
ISBN 9790001162715. UPC: 841886029088. 9.0x12.0x0.168 inches.
On the occasion of the quincentenary of Reformation Day in 2017, the composer Enjott Schneider thoroughly studied Martin Luther the individual and all his contradictions. The result is a brilliant, demanding organ symphony which is perfect for concerts on the subject of Reformation and Martin Luther.The composer describes the five movements of the symphony as follows:'1st movement:Wir glauben all an einen Gott with its quintuplet-like beginning is very Gregorian in style, outlining the range of Lutheran emotionalism between the Middle Ages and the modern era. The irrationality of faith ultimately has priority over any thought and evidence. At the beginning of the movement, sounds of knocking on wood remind of the nailing of the Ninety-Five Theses to the doors of churches in Wittenberg. The chorale melody sometimes hides with an almost rough medieval saltarello, referring to Luther's robustness and vitality with which he knew to carry away even common people.2nd movement:In 1530, the electoral prince of Saxony presented to Luther at Coburg Castle the golden signet ring with the Luther rose which became the symbol of his theology of grace. A white heart with black cross is fixed on a five-petalled rose. To him, white is the colour of angels and ghosts, black stands for the pain of crucification: The just shall live by faith, but by faith in the Crucified. But the fact that the rose and the heart are the dominating symbols shows how Catholic Marian piety remained an ingredient of Luther's spirituality throughout his life. In line with the dominant five-petal structure of the rose, this movement was composed, to a large extent, in accordance with the floating, lyrical rhythm in 5/8 time.3rd movement:The omnipresence of death and dying - from the plague and war to the never-ending dangers of daily life - was an essential part of the world view of that time. Fears ensued that might heighten into the grotesque, e.g. in the pictures of Hieronymus Bosch. The Danse macabre was a popular motif in those years. Luther's chorale Mitten wir im Leben sind / mit dem Tod umfangen from 1524 (Enchiridion from Erfurt) is based on the Gregorian chant Media vita in morte sumus created in France around 750 and, with its idea of transience, inspired a simplistic air.4th movement:The famous confession delivered at the Diet of Worms in 1521, I stand here and can say no more. God help me. Amen, are not Luther's words but the version later used as text for a pamphlet. However, it represents quite plainly the straightforwardness and inevitability of his mission. Musically, it was made into a perpetuum mobile, i.e. a dogged, ostinato and never-ending musical air.5th movement:The Mighty Fortress, on the other hand, is one of the great symbols of Martin Luther which, with its shining C major key, embodies the Protestant ideology and willful nature of the Reformation unlike any other song. Heinrich Heine called it the Marseille anthem of the Reformation, Friedrich Engels the Marseillaise of the Peasants' Wars. This disputability is not thought through to the end but rather interrupted: With a jubilant birdcall version of the melody, the finale shows a rather chamber-music-like side of the ideals of freedom of Christians.'.
SKU: HL.48188955
French.
Created by Dominique Bigi-dis, The C-E songs is a set of twenty nine songs for really young children from two to six years old. Ideal for school use, they refer to important periods happening during the year such as autumn, school, winter, Christmas, summer and they are very easy to sing (with a small range and easy intervals). The book is also really attractive for children as the tunes are enjoyable and all the pictures are in black and white, to be coloured-in. The C-E songs can be used in a really fun way or more professionally, to help the children discover music and music theory (range, nuances, ternary and binary rhythms?).
SKU: HL.438862
UPC: 852940000653. 3.25x5.25x2.75 inches.
We all know that sometimes, less is more, so here we present the new Carl Martin Plexitone Lo Gain pedal. Whether you want to push your amp's natural overdrive into the sweet spot, or give a little extra colour to your tone which is definitely the British Black and Gold, the new Carl Martin Plexitone Lo Gain Pedal hits the mark. The Carl Martin Plexitone Lo Gain will make single coils sing, and give humbuckers extra punch . Stack it with your other pedals to give you extra boost and smooth out your overdrive, the Carl Martin Plexitone Lo Gain gives your sound that Plexi character!