SKU: AP.49095
ISBN 9781470646004. UPC: 038081564364. English.
Camelot refers to an idyllic time and place, lost to lore and legend, but which continues on in the hearts, minds, and stories of so many. When our imagination and sense of adventure allow it, we return to Camelot, with its gallant knights of the Round Table, acts of chivalry, and even moments of magic! This exciting piece by Scott Watson---with its driving tempo, insistent rhythms, modal harmonies, and glimpses of beauty---musically transports the listener back to King Arthur's Camelot. (3:25) This title is available in MakeMusic Cloud.
SKU: AP.46655
UPC: 038081532899. English.
This piece was written for young band by world-renowned film score composer Bruce Broughton. Open the Door! is a descriptive piece with an insistent percussion part that imitates a knock on a door that gets louder and louder as the piece progresses.
SKU: HL.14041798
ISBN 9788759818077. 12.5x16.5x1.13 inches.
Set of parts for Per Nørgård's En Lys Time / A Light Hour (2008-09) for a variable Percussion Ensemble (min. 10 players).
In A Light Hour everything - rhythms and motifs – is based on Nørgård´s special infinity series.
Score: WH30964
Programme note
A Light Hour is for ‘any number of percussion musicians’ (but a minimum of ten). The duration is about 60 minutes. The instrumentation is in principle open, as long as percussion is used within the three types specified in the score: skin, metal and wood. Each musicianuses two sound sources with two different sounds, one of which is bright (or light) and the other dark. Certain passages also include tuned percussion instruments – vibraphone, xylophone, marimba, gamelan, glockenspiel, steel drums, crotales and the like. The work integrates and combines a number of rhythms that Nørgård has used in percussion works since the 1970s, for example in Early Spring Dance (for choir and percussion), and percussion works like I Ching, Easy Beats, Whirls, Zigzag, Nemo Dynamo and Echo Zone I-II-III. Special “tone-feasts” (the composer’s term) – followed by a rest – are an recognizable melodic feature of the work.: the first minute end with a short tone-feast (and a rest), the first four minutes end with a tone-feast lasting a minute (and a rest), the first quarter of an hour ends with a tone-feast of four minutes (and a rest) – and the work ends with a tone-feast lasting quarter of an hour (and a rest, when the work is over ...). The first 15 minutes have a bright, light character throughout, and alternate between rhythms and melodic play. The following 15 minutes are more insistent and decidedly percussion-based, Afro-Cuban, whereas the third quarter of A Light Hour moves in the.
SKU: AP.36-A134701
ISBN 9798888529843. UPC: 659359537080. English.
Johannes Brahms (1833-1897) wrote his Violin Concerto in D major, Op. 77, in 1878. He composed the work for his longtime friend, famed violinist Joseph Joachim, who premiered it in Leipzig with the Gewandhaussaal on January 1, 1879, Brahms himself conducting. The program also included, at Joachim's insistence, Beethoven's Violin Concerto in D major, Op. 61, on which Brahms modeled his own concerto. While the critical reception of the time was mixed, the audiences at the various early performances received the work well. Most complaints directed at the concerto addressed the role of the solo violin, noting that the soloist does not offer much of the melodic material or include much in the way virtuosic passages, a consequence of looking more towards Beethoven's serious aesthetic rather than Paganini's flashy one. Joachim himself, before a falling out with the composer over personal reasons, included Brahms' concerto among the best German offered, saying: The Germans have four violin concertos. The greatest, most uncompromising is Beethoven's. The one by Brahms vies with it in seriousness. The richest, the most seductive, was written by Max Bruch. But the most inward, the heart's jewel, is Mendelssohn's. Instrumentation: 2.2.2.2: 4.2.0.0: Timp: Str (9-8-7-6-5 in set): Solo Violin in set.
These products are currently being prepared by a new publisher. While many items are ready and will ship on time, some others may see delays of several months.
SKU: PR.11441345S
UPC: 680160608829. 8.5 x 11 inches.
BACH-SHARDS was commissioned by the Brentano String Quartet as part of their Art of the Fugue companion-piece project. Ran deliberately stays within the realm of Bach-like vocabulary, altering syntax in ways that add up to something slightly different from the anticipated sum of the parts. The work builds up to a climax that makes the entry point into Bach’s Contrapunctus X seem thoroughly natural.While composing Bach-Shards I found myself gravitating, intuitively and gradually, toward a dual goal. First, though the tension and dissonance inherent in certain moments of Bach’s own maze-like contrapuntal structures could quite easily and naturally lead one into a pungent contemporary terrain, I opted not to stray outside the realm of Bach-like materials and harmonic language. Instead, it was my hope to alter their relationships and context in ways that add up to a something that’s slightly different than the anticipated sum of the parts. A mildly deconstructed Bach, if you will. The other important challenge I set for myself was building up the latter, toccata-like portion of Bach-Shards in a way that would make the entry point of the fugue which it precedes, Contrapunctus X, seem thoroughly natural. It was my intent to have the first fugal entrance feel like a huge and much welcome release of the energy created by my Prelude’s penultimate stretch, with its bravura figurations elaborating on an insistent dominant pedal point.
SKU: AP.36-60440001
ISBN 9798888521748. UPC: 676737684600. English.
Alban Berg's (1885-1935) Vier Stücke für Klarinette und Klavier (Four Pieces for Clarinet and Piano), Op. 5, was composed in 1913. They are his only true miniatures as, shortly after he wrote them, a fateful and somewhat traumatic lesson with his tutor Arnold Schoenberg drove the young Berg to abandon small-scale works altogether, turning towards large extended orchestral works at his teacher's heavily critical insistence. Each of the four movements (1. Mäßig; 2. Sehr langsam; 3. Sehr rasch; 4. Langsam) constantly changes in tempo, articulation, timbral effects, and dynamics throughout. Despite Schoenberg's criticism in 1913, the work did finally premiere on October 17, 1919, ironically at Schoenberg's own Society for Private Musical Performances in Vienna. Reprint edition.
SKU: MN.50-8822
UPC: 688670588228.
New musictraditional text portraying turmoil and restlessness and urgency of Christ's insistent appeal. Mildly syncopated.
SKU: HL.141551
UPC: 888680045074. 6.75x10.5 inches.
Ariana Grande's awesome chart-topper has an insistent beat, electropop instrumentals and powerful vocals that your pop and show choir will love to sing!
SKU: BR.EB-9170
ISBN 9790004182260. 12.5 x 10 inches.
Schon Beethoven klopfte auf die Gegenstande seiner Wohnungen und Oskar Fischinger erzahlte Cage, dass alle Gegenstande eine Seele besassen, die man durch ihren Klang befreien konne. Die Stimme eines Menschen ist in dieser Hinsicht von ganz besonderer Art. Sie ist, unabhangig von der Musik, die sie singt und flustert, besonders komplex aus allgemein menschlicher und spezieller Ich-Struktur zusammengesetzt und eine Welt eigenstandiger Vermogen und Erfahrungen. Ich habe dabei immer die Vorstellung einer innersten Zentrierung, die kegelformig nach Aussen abstrahlt und sich verstromt. Diese (tonale?) Zentrierung bestimmt die Tone und Klange sehr fremd, behalt aber doch insistierend den Ich-Focus des Klingens. Nicht umsonst ist in den asiatischen Gesangskulturen - etwa in Korea oder in Japan - die Stimme mit Perkussion verbunden. Das ist ja nicht nur ,,Rhythmus zum Gesang, sondern vor allem Klang-Punkt (im An-Schlag) und dezentrierende Offnung zu den Klangseelen anderer Gegenstande und Materialien. Ich wurde wahrend der Komposition an meinem Stuck immer mehr dazu getrieben, die Musik zu anderen Materialien hinzutreiben, zu anderen Resonanzen (auch des Denkens) bis hin zur globalisierten, ziemlich rein schwingenden Frequenz des Tones einer Stimmgabel. Jetzt kann ich nur noch hoffen, dass Ihnen die Musik und die zugrunde liegende Empfindungsstruktur gefallt. Die verwendeten Texte sind: Aber ein Mund, ein Mund -, , der singt und spricht ..., durft ich nur horen, ((Rainer Maria Rilke, aus: SPATE GEDICHTE, Leipzig: Insel 1935, S. 103)) rohes Gehor ((vgl. Karl Marx, MEW / Erganzungsband I, S. 541)) , wie Regen Sorge tragend ((Rainer Maria Rilke, aus: NEUE GEDICHTE, Leipzig: Insel 1950, S. 41)) Aus Blick und Traum Menschenduft ((Nicolaus A. Huber)) Platz da!! ((vgl. Heinz Dieter Kittsteiner,: Mit Marx fur Heidegger - Mit Heidegger fur Marx, Munchen: Fink 2004, S. 83)) Die ubrigen Artikulationen stammen aus den Holderlinzeilen: Das Erdenrund ist so geschmuckt, , und hoher ((aus: Friedrich Holderlin: Turmgedichte, Munchen 1991, S. 53 bzw. 55, Der Herbst bzw. Der Winter)) Nicolaus A. Huber (2004)World premiere: Berlin (Festival Ultraschall), January 15, 2005.
SKU: SU.33000280
Guitar Composed: 1990 Published by: Beteca Music.
SKU: BT.DHP-0910267-015
Een lyrische en dynamisch contrastrijke introductie wordt gevolgd door een flitsend samenspel van solist en orkest - de snelle beat staat hier garant voor spektakel. Dit tweedelige werk is perfect geschikt voor een trompet- of altsaxofoonsolistdie zich eens heerlijk wil uitleven - maar ook de begeleidingspartijen zijn interessant om te spelen.Ein unterhaltsames Werk vom U-Musik-Spezialisten Dizzy Stratford, mit dem Sie wahlweise Ihren Trompeten- oder Altsaxophonsolisten ins Rampenlicht rücken können. Der Titel Introduction and Modern Beat verspricht schon ein abwechslungsreiches Hörvergnügen. Introduction & Modern Beat de Dizzy Stratford permet au soliste de présenter diverses facettes de son instrument et de son talent. Cette œuvre brillante et pétillante se compose de deux parties de caractère distinct. La première partie lyrique et dynamique insiste sur le phrasé, le travail de la couleur sonore. Le second mouvement, plus vif, met l’accent sur la dynamique rythmique.
SKU: HL.1157659
ISBN 9781705187234. UPC: 196288120933. 6.75x10.5x0.045 inches.
The line between time's reality and its invention is blurry. In this new piece, the lyrics disappear and phrases take on new meaning. We lose time when we try to keep it; we spend time as we try to save it. Time insists upon eluding us; we can only notice the fact that time has been winking at us all along. This music is a way of winking back.
SKU: MB.95107
ISBN 9781562229863. UPC: 796279018647. 8.75 x 11.75 inches.
Standard notation and a simple alpha-numerical tablature system are used to present this unusual collection of pre-18th Century tunes for the standard 12/11-course hammered dulcimer. Creating a hybrid of folk and classical elements, Carol Koenig has expanded the repertoire of the hammered dulcimer with melodies from France, Spain, England, and Scotland. The tunes are first presented in a simple melodic statement, then in a more complex harmonized version. The author insists that it is not necessary to be an outstanding sight reader to make beautiful music on the hammered dulcimer, or with this book.
