SKU: HL.14015555

9.25x12.0x0.055 inches.

SKU: HL.14015554

9.25x12.0x0.056 inches.

SKU: HL.14013824

UPC: 888680912918. 8.25x11.75x0.165 inches.

Superb work scored for Baritone, Violin, Cello and Organ.

SKU: HL.14015559

ISBN 9798350121186. 8.0x12.0x0.088 inches.

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: AD.ADG244

ISBN 9781958017333. UPC: 663389124424. 9 x 12 inches.

The Blues Scale for Organ is one of a series by Andrew D. Gordon is a comprehensive collection of educational books that explores the intricacies, techniques, and applications of the blues scale in contemporary music. Designed for musicians of all levels, this series serves as an indispensable resource for guitarists, pianists, saxophonists, and other instrumentalists looking to delve into the expressive and soulful world of blues music. Andrew D. Gordon, an accomplished musician and renowned educator, combines his vast knowledge and experience to provide a step-by-step guide for mastering the blues scale. Each book in the series offers a well-structured curriculum, progressing from fundamental concepts to advanced improvisation techniques, ensuring a thorough understanding of the blues scale's potential. Through detailed explanations, musical examples, exercises, and play-along tracks, readers will embark on a transformative journey, gaining fluency and confidence in playing the blues. The books cover various styles showing how the blues scale can be used, including , jazz, funk , new age, Latin, pop, gospel, acid jazz and rock enabling musicians to expand their repertoire and adapt their skills to different musical contexts. The Blues Scale series not only equips musicians with the technical aspects of playing the blues but also emphasizes the importance of creativity and personal expression. Gordon encourages readers to develop their improvisational skills, providing tools and strategies to create unique solos and express their musical personality within the framework of the blues scale. Whether you are a beginner seeking to explore the foundations of the blues scale or an advanced player looking to refine your improvisational abilities, The Blues Scale series by Andrew D. Gordon offers a comprehensive and accessible approach to learning and mastering the blues. With its clear instruction, engaging exercises, and practical examples, this series is an invaluable resource for musicians passionate about incorporating the soulful and timeless sounds of the blues into their playing.

SKU: HL.49017043

ISBN 9790001151290. UPC: 841886010529. 9.0x12.0x0.209 inches.

This collection of eighteen choral arrangements of melodies from the Protestant hymnbook is meant to be used in services and little concerts. Rather varied with regard to the compositional approach of the individual arrangements, the collection, like a kind of informative selection, shows the different possibilities of how to deal delightfully with a tonal melody in post-modern pluralism. The stylistic patterns presented can be easily abstracted and transferred to other chorales for the purpose of improvisation.