SKU: KN.52945S

Written during Thad's later years in Denmark after he and Mel Lewis parted ways, this bright, double-time tune designates piano as the main soloist, but includes an optional repeat of the solo chorus for trumpet and/or soprano (or alto) sax. A rubato intro and ending, both featuring solo piano, give the chart a strong sense of form and symmetry. Duration 4:00.

SKU: FG.042-08860-9

ISBN 979-0-042-08860-9.

The renowned symphonist Kalevi Aho, inspired by the modern poetry of Mirkka Rekola, here turns to an instrument rare for him, the mixed choir, in a song cycle premiered by the Radio Chamber Choir in May 1998.

SKU: HL.1416717

18.0x30.0x8.5 inches.

Taiga Keyboard is an evolution of the award-winning Taiga synthesizer. Taiga gave users a boundary-smashing suite of unique modern Pittsburgh Modular analog synthesizer innovations. Now in Taiga Keyboard, that same powerful suite of tools acts as a foundation in this expression keyboard instrument. Exploring the larger keyboard format, spreading controls out, and adding larger knobs make sound sculpting while performing easier than ever. We've also added additional modulation sources, additional controls, a full-size 37 key premium aftertouch-enabled keybed, and a first-of-its-kind, modular expansion bay. Taiga Keyboard oscillators Waveforms generated by the three Taiga Keyboard oscillators stretch beyond the basic geometric shapes and sounds associated with analog snythesis. Taiga Keyboard waveforms pass through up to three proprietary, cascading waveshapers designed to precisely manipulate their symmetry and harmonic content. In addition, each oscillator includes a robust six-stage wave folder to add even more complexity and depth to the diverse sonic palate of Taiga Keyboard. Dedicated coarse and fine controls deliver maximum flexibility & control over the full range of each oscillator. The “Pittsburgh Filter” The Pittsburgh filter has defined the sound of Pittsburgh Modular from the moment it was introduced. A signature gummy and relaxed sound with no dead spots that has been tweaked to perfection. It offers a warm, smooth sweep through the full frequency range and a sweet resonance that does not roll off the low end. This generation of the Pittsburgh filter is specifically designed to ensure a remarkable interplay with Taiga Keyboard's oscillators. Pittsburgh Dynamics Controller Pittsburgh's new Dynamics technology imparts Taiga Keyboard with a uniquely organic depth and presence. By simultaneously managing both amplitude and harmonic content, the Pittsburgh Dynamics Controller expands beyond the one-dimensional VCA found in other synthesizers. It does this by utilizing new advancements from traditional low pass gates to add additional definition and dimension to the voice of Taiga Keyboard. When used in low pass gate mode, sounds shed harmonic content and become warmer as they decrease in volume. This mimics how sound waves react to their environment. Because of this connection, the Taiga Keyboard sounds more natural or complex compared to other instruments. Analog Echos Echos is a beautifully dark analog delay tuned to enhance the source material by repeating it over and over. Echos utilizes a pair of bucket brigade delay chips to produce a classic voltage-controllable analog delay effect that helps to place the sounds of Taiga Keyboard in a simulated environment. Open Architecture Taiga Keyboard has an internally defined signal path. Patch cables are not necessary to begin exploring. Attach a MIDI keyboard and plug the o.

SKU: IG.PMS121

9 x 12 in inches.

Innocence is available for either piano solo or piano and chamber accompaniment (flute, clarinet, first and second violins, viola and cello). It is a good learning tool for aspiring musicians at or above a beginner's level.

Technically, the piece contains several tertian harmonies and simple flares of credenza-like complexities. The form is a through composed inspiration that later becomes more refined in terms of symmetry and balance. Less technically described, Innocence was written to demonstrate the differences and the compatibility between traditional and untraditional harmonic development. Students will or should recognize the two different approaches.

In the most traditional approach, the listener is typically able to predict how the melody will unfold. It is like a journey down a road where the passengers can see all the straight-aways and turns ahead. Innocence , however, while never discarding or disrespecting musical grammar, is occasionally innocently twisted to hijack the listener into gently surprising and unanticipated turns. It is a good learning tool to point out the different approaches to composition. It is also simply a fun and entertaining piece in and of itself.

SKU: UT.MAG-274

ISBN 9790215326859. 9 x 12 inches.

Rediscovering, studying and analyzing the musical art of Philipp Joseph Hinner means enhancing a piece of the eighteenth-century harp music mosaic. Hinner's work intrigues for its extraordinary simplicity, for its regularity and harmony; the ordered balance of the parts, symmetry and sense of proportion are essential elements for the author, and give character and unity to his work. The harp repertoire has long been overshadowed by the keyboard one, which boasts extensive solo and chamber literature, and consolidated for over two centuries. The rediscovery of the history of our instrument, however, is still recent and the research work in the field of harp music is still long.
Hinner, with the apparent simplicity of his opus 10, can thus regain his role in the harp repertoire of the eighteenth century, as well as covering a considerable didactic value today. The part of the first harp undoubtedly presents characteristics of greater rhythmic and virtuosic complexity than that of the second, which consists of a continuous accompaniment interspersed with simple thematic imitated episodes. Furthermore in the composition are included arias such as O ma tendre Musette, a French popular melody of the 18th century (previously set to music by Pierre-Alexandre Monsigny), and <>, taken from the opera-comique L'erreur d'un moment ou la Suite de Julie by Nicolas Dezede, as well as themes from Gluck's Iphigenie en Aulide, which had been all used also by Hinner's first harp master, Francesco Petrini (1744-1819).
Hinner's opus 10, originally written in separate parts for two harps, or harp and fortepiano, is presented here updated and completed with its score, for a thorough perception of the work.

SKU: FJ.JE4152S

English.

Sporting a diverse set of styles, this incredibly unique chart features a flugelhorn solo and the trumpet section with angular themes that invoke images of light, color and symmetry. The swing section features your best alto sax player with simple chord changes and an optional written-out solo.

About FJH Intermediate Jazz Ensemble

Appropriate for high school jazz ensembles. Lead trumpet ranges are modest and occasionally include optional notes for more accomplished players. Written solos are provided along with suggested parts for rhythm section and drum set. Guitar chord guide included. Grades 3 - 3.5

SKU: FG.55011-542-2

ISBN 9790550115422.

In his work Palindrome for piano (2000), Kirmo Lintinen has chosen a predetermined form: perfectly mirrored symmetry, and he makes it work wonderfully! Lintinen is not interested in hidden structures and working with minutiae, but rather lets the palindromic qualities of the palindrome be clearly visible and audible. Rather than using abstract tonerows, Lintinen mirrors a three-tiered musical characteristics, adding and then letting go suspension: Cantabile semplice/Giocoso/Fuocoso e flessibile - Fuocoso e flessibile/Giocoso/Cantabile semplice. The duration of the work, 180 seconds, is divided into six segments: 45sec:30sec:15sec:15sec:30sec:45sec (3:2:1:1:2:3). The shorter the segment, the more raucuous the material.

SKU: OU.9780193360051

ISBN 9780193360051. 10 x 7 inches.

For three-part upper-voice choir. This is a witty and ingenious work, scored for three-part upper voices (either unaccompanied or with instruments doubling the voices). The three riddles each explore ideas of balance and symmetry, whether through the use of canon, inversion, or palindrome, and the result is an intriguing and unusual concert piece.

SKU: HL.49045639

ISBN 9781540004796. UPC: 888680710774. 9.5x12.0x0.37 inches.

Chaconne (2016), for string quartet, was commissioned by the Daedalus Quartet to celebrate its 15th anniversary. The commission was supported by New Music USA, made possible by annual program support and/or endowment gifts from Pennsylvania Council on the Arts, Helen F. Whitaker Fund, and Aaron Copland Fund for Music.My music has a substantial history with Daedalus. I composed the Third String Quartet (2008) for them, and subsequently they performed my three string quartets on several occasions and recorded them brilliantly on Bridge Records (Bridge 9352: Music of Fred Lerdahl, vol. 3). Chaconne is in one movement lasting 19 minutes. It is effectively my fourth string quartet. Quartets 1-3 form a unified cycle lasting 70 minutes. When I finished the cycle, I thought I would never write again for the medium; yet I could not resist the opportunity of working again with Daedalus. The issue was how to compose another string quartet unrelated to the earlier cycle. The solution came from my solo cello piece There and Back Again (2010), which was based on a four-bar variation pattern from a 17th-century chaconne. Unlike the asymmetrical phrases and expanding variations of much of my music, the chaconne form requires symmetrical phrases and strictly periodic variations. I wished to work again with these symmetries but on a larger scale. Chaconne also differs in character and expression from the three-quartet cycle. The cycle is inward and intense, a kind of psychological excavation. Chaconne is, for the most part, transparent and playful. Many of its textures emerge from little canons, not completely unlike the rounds that children sing. Any composer who writes in chaconne form (one thinks above all of the last movement of Bach's D minor violin partita and the finale of Brahms's Fourth Symphony) is confronted with the challenge of how to create a larger form out of a constantly repeating pattern.My Chaconne grows from paired antecedent-consequent phrases, each variation lasting eight bars. The 50 variations group into three large rotations, forming three arcs of tension and relaxation, with subtle parallel connections across the rotations. Notwithstanding my attraction to chaconne form, I purposefully disguised its symmetries and periodicities in order to build an overall dramatic shape. Fred Lerdahl.