SKU: HL.347321
ISBN 9781705153505. UPC: 840126926927. 6.75x10.5x0.268 inches. Timothy Michael Powell/Tim Sharp.
This work grew out of the co-creator's love for the tunes and texts coming out of the Appalachian Mountains and the shape-note and early Moravian singing tradition. In the words of Tim Sharp, ââ¬ÅWe took the image of bands of angels singing and playing at the Nativity as reported in the second chapter of Luke's gospel, transported that image to Appalachia, and Angel Band is the result.ââ¬Â Containing 8 carols (mostly familiar), a processional and recessional, Angel Band is a fusion of ideas ranging from medieval tunes to contemporary bluegrass.
SKU: HL.347323
UPC: 840126926941. 8.5x11.0x0.039 inches. Timothy Michael Powell/Tim Sharp.
This work grew out of the co-creator's love for the tunes and texts coming out of the Appalachian Mountains and the shape-note and early Moravian singing tradition. In the words of Tim Sharp, We took the image of bands of angels singing and playing at the Nativity as reported in the second chapter of Luke's gospel, transported that image to Appalachia, and Angel Band is the result. Containing 8 carols (mostly familiar), a processional and recessional, Angel Band is a fusion of ideas ranging from medieval tunes to contemporary bluegrass.
SKU: BT.AMP-022-140
Norfolk is one of the most beautiful counties in England, famous for its charming villages and boundless broads, a popular centre for sailing holidays. It is also the home of one of the best known of all British composers, Sir Malcolm Arnold. The date of the premiere of this piece was to fall close to his 80th birthday, so Philip Sparke decided to write something of a birthday tribute. Some of Arnoldâ??s best-loved orchestral works are his sets of dances: there are two sets of English Dances, Four Scottish Dances, Four Cornish Dances etc., most of which have been arranged for concert band at one time or another. Philip Sparke thought it would be appropriate for the concert band tohave its own set of dances and wrote Four Norfolk Dances very much in the style of Arnoldâ??s suites. Norfolk, berühmt für seine prächtigen Dörfer und die ausgedehnte Seenplatte, ist eine der schönsten Landschaften Englands. Und es ist die Heimat von Sir Malcolm Arnold, einem sehr bekannten britischen Komponisten. Philip Sparke wollte diesem anlässlich seines Geburtstags eine Ehre erweisen. Zu den beliebtesten Orchesterwerken Arnolds zählen seine (englischen, schottischen und kornischen) Tänze, die gröÃ?tenteils für Harmonieorchester arrangiert wurden. Philip Sparke schrieb nun eine eigene Auswahl von Tänzen, die Four Norfolk Dances für Blasorchester im Stil von Arnolds Suiten.
SKU: IS.CM6033EM
ISBN 9790365060337.
Charles Camilleri (1931 - 2009) was a Maltese composer. As a teenager, he composed a number of works based on folk music and legends of his native Malta. He moved from his early influences by Maltese folk music to a musical form in which nothing is fixed and his compositions evolve from themselves with a sense of fluency and inevitability. He composed over 100 works for orchestra, chamber ensemble, voice and solo instruments. Camilleri's work has been performed throughout the world and his research of folk music and improvisation, the influences of the sounds of Africa and Asia, together with the academic study of European music, helped him create a universal style. Camilleri is recognized in Malta as one of the major composers of his generation. He died on 3 January 2009 at the age of 77. His funeral took place two days later at Naxxar, his long-time town of residence. Flags across Malta were flown at half-mast in tribute to him.
SKU: BT.MUSMI0313
Italian.
Questo metodo racchiude 50 grooves o linee di basso nello stile Pop/Folk, alla maniera dei più grandi gruppi di ieri e di oggi: The Beatles, Tim Buckley, David Bowie, Tracy Chapman, Oasis, Nick Drake, The Eagles, BobDylan, Neil Young, Coldplay, Keane, ecc. Queste linee - oltre al piacere di suonarle - vi permetteranno di scoprire e di lavorare su tutte le tecniche proprie del basso Pop/Folk: l’utilizzazione delle notedell’accordo, ma anche delle note di passaggio e dei rivolti; le tecniche della mano sinistra quali lo slide, l’hammer-on, il pull-off, ecc. Inoltre ogni linea di basso è preceduta da qualche spiegazioneperaiutarvi a superare le relative difficoltà di ordine tecnico, ritmico e teorico. Il DVD Video permette di ascoltare e soprattutto visualizzare le 50 linee di basso a velocità normale, poi ridotta, dandovi inquesto modo la possibilità di effettuare i gesti giusti, scegliere le diteggiature adatte nonché suonare a tempo! Il CD mp3 da parte sua è composto da tante basi musicali quante linee di basso, ossia 50playalongs suonati a due velocità diverse: la prima è quella normale cioè la velocità da raggiungere, mentre la seconda è ridotta per aiutarvi nello studio. Sappiate che, sulla base musicale avelocità normale, il basso è presente all'inizio per poi sparire e darvi il cambio! Inoltre questi playalongs hanno una durata volontariamente lunga (circa 5 minuti ognuno, ossia più di 8 ore di musica intutto!) per darvi il tempo di esercitarvi nelle migliori condizioni possibili.
SKU: BA.BA06670
ISBN 9790006499274. 29 x 21 cm inches. Illustrations: Gerlinde Keller.
In terms of technical difficulty the “Flötenmaus †playbooks relate to the corresponding volumes of the wellknown “Flötenmaus†method for begirmer flautists. They offer young pupils a rich collection of solo pieces (some familiar, some unknown), folk songs, duos, trios and special exercises to acquire technical and rhythmic skills.
SKU: BT.MUSM570202836
English.
For Clarinet (E flat Clarinet, Bass Clarinet), Bassoon, French Horn, 2 Violins, and Viola. Published in 1982-3. Commissioned by the Koenig Ensemble with funds made available by the Arts Council of Great Britain. First performed by the Koenig Ensemble and conducted by Jan Latham-Koenig, New Metropole Arts Centre, Folkestone, 11th March 1983. Study Score.
SKU: BT.MUSM570202843
For Clarinet (E flat Clarinet, Bass Clarinet), Bassoon, French Horn, 2 Violins, and Viola. Published in 1982-3. Commissioned by the Koenig Ensemble with funds made available by the Arts Council of Great Britain. First performed by the Koenig Ensemble and conducted by Jan Latham-Koenig, New Metropole Arts Centre, Folkestone, 11th March 1983. Parts.
SKU: NR.96546
Text: Thomas Moore.
Oh breathe not his name, What the bee is to the flowret, At the mid hour of night, The sword of Erin, It is not the tear, Oh the sight entrancing.
SKU: CF.CM9576
ISBN 9781491153987. UPC: 680160912483. 6.875 x 10.5 inches. Key: G minor. English. Emily Dickinson (1830-1886) , Walt Whitman (1819-1892).
The two pieces, Who Robbed the Woods? and O Cool is the Valley Now, combine to create a set that both explores the subtle beauty, serenity, fragility, and resiliency of nature and examines our relationship to the natural world around us. The first song combines a short poem by Emily Dickinson with a journal entry excerpt by Walt Whitman entitled The Lesson of the Tree. Only two stanzas in length, Dickinsons poem considers the ways in which people use and exploit trees for their own purposes and asks, on the trees behalf, who would do such a thing? Whitman ponders a trees silent majesty and power and its ability to be yet say nothing at all. The musical setting begins and ends in the mode of G-Dorian while moving briefly in the middle section to Bb major. The Dorian mode, similar to the natural minor but with a raised sixth scale degree, possesses a mysterious and whimsical sound, fitting for a poem that considers the possibility of talking trees. The accents and syncopation of the piano accompaniment should be carefully observed, with particular attention paid to the syncopation found in gestures occurring in mm. 712. The beginning a cappella section should be hushed yet intense; a richer, fuller sound may be brought out in the middle section where the key shifts to Bb major and the choir sings of the many noble qualities of trees (mm. 3953). O Cool is the Valley Now also makes use of a modal scale. Set primarily in D Mixolydian, similar to D major but with a lowered seventh scale degree, this modes lack of a leading tone gives the melody a folk-tune quality. The piano should at all times remain legato and flowing, its ascending and descending gestures, found in mm. 910, imitating the rolling hills and valleys evoked in the text. The phrases of the vocal lines should also be flowing and carefully shaped. Additional rubato and dynamic subtleties may be added to accentuate any number of the suspensions and dissonances that occur, especially on p. 14.The two pieces, aWho Robbed the Woods?a and aO Cool is the Valley Now,a combine to create a set that both explores the subtle beauty, serenity, fragility, and resiliency of nature and examines our relationship to the natural world around us. The first song combines a short poem by Emily Dickinson with a journal entry excerpt by Walt Whitman entitled The Lesson of the Tree. Only two stanzas in length, Dickinsonas poem considers the ways in which people use and exploit trees for their own purposes and asks, on the treesa behalf, who would do such a thing? Whitman ponders a treeas silent majesty and power and its ability to be ayet say nothing at all.a The musical setting begins and ends in the mode of G-Dorian while moving briefly in the middle section to Bb major. The Dorian mode, similar to the natural minor but with a raised sixth scale degree, possesses a mysterious and whimsical sound, fitting for a poem that considers the possibility of talking trees. The accents and syncopation of the piano accompaniment should be carefully observed, with particular attention paid to the syncopation found in gestures occurring in mm. 7a12. The beginning a cappella section should be hushed yet intense; a richer, fuller sound may be brought out in the middle section where the key shifts to Bb major and the choir sings of the many noble qualities of trees (mm. 39a53). O Cool is the Valley NowA also makes use of a modal scale. Set primarily in D Mixolydian, similar to D major but with a lowered seventh scale degree, this modeas lack of a leading tone gives the melody a folk-tune quality. The piano should at all times remain legato and flowing, its ascending and descending gestures, found in mm. 9a10, imitating the rolling hills and valleys evoked in the text. The phrases of the vocal lines should also be flowing and carefully shaped. Additional rubato and dynamic subtleties may be added to accentuate any number of the suspensions and dissonances that occur, especially on p. 14.The two pieces, aWho Robbed the Woods?a and aO Cool is the Valley Now,a combine to create a set that both explores the subtle beauty, serenity, fragility, and resiliency of nature and examines our relationship to the natural world around us. The first song combines a short poem by Emily Dickinson with a journal entry excerpt by Walt Whitman entitled The Lesson of the Tree. Only two stanzas in length, Dickinsonas poem considers the ways in which people use and exploit trees for their own purposes and asks, on the treesa behalf, who would do such a thing? Whitman ponders a treeas silent majesty and power and its ability to be ayet say nothing at all.a The musical setting begins and ends in the mode of G-Dorian while moving briefly in the middle section to Bb major. The Dorian mode, similar to the natural minor but with a raised sixth scale degree, possesses a mysterious and whimsical sound, fitting for a poem that considers the possibility of talking trees. The accents and syncopation of the piano accompaniment should be carefully observed, with particular attention paid to the syncopation found in gestures occurring in mm. 7a12. The beginning a cappella section should be hushed yet intense; a richer, fuller sound may be brought out in the middle section where the key shifts to Bb major and the choir sings of the many noble qualities of trees (mm. 39a53). O Cool is the Valley NowA also makes use of a modal scale. Set primarily in D Mixolydian, similar to D major but with a lowered seventh scale degree, this modeas lack of a leading tone gives the melody a folk-tune quality. The piano should at all times remain legato and flowing, its ascending and descending gestures, found in mm. 9a10, imitating the rolling hills and valleys evoked in the text. The phrases of the vocal lines should also be flowing and carefully shaped. Additional rubato and dynamic subtleties may be added to accentuate any number of the suspensions and dissonances that occur, especially on p. 14.The two pieces, Who Robbed the Woods? and O Cool is the Valley Now, combine to create a set that both explores the subtle beauty, serenity, fragility, and resiliency of nature and examines our relationship to the natural world around us. The first song combines a short poem by Emily Dickinson with a journal entry excerpt by Walt Whitman entitled The Lesson of the Tree. Only two stanzas in length, Dickinson's poem considers the ways in which people use and exploit trees for their own purposes and asks, on the trees' behalf, who would do such a thing? Whitman ponders a tree's silent majesty and power and its ability to be yet say nothing at all. The musical setting begins and ends in the mode of G-Dorian while moving briefly in the middle section to Bb major. The Dorian mode, similar to the natural minor but with a raised sixth scale degree, possesses a mysterious and whimsical sound, fitting for a poem that considers the possibility of talking trees. The accents and syncopation of the piano accompaniment should be carefully observed, with particular attention paid to the syncopation found in gestures occurring in mm. 7-12. The beginning a cappella section should be hushed yet intense; a richer, fuller sound may be brought out in the middle section where the key shifts to Bb major and the choir sings of the many noble qualities of trees (mm. 39-53). O Cool is the Valley Now also makes use of a modal scale. Set primarily in D Mixolydian, similar to D major but with a lowered seventh scale degree, this mode's lack of a leading tone gives the melody a folk-tune quality. The piano should at all times remain legato and flowing, its ascending and descending gestures, found in mm. 9-10, imitating the rolling hills and valleys evoked in the text. The phrases of the vocal lines should also be flowing and carefully shaped. Additional rubato and dynamic subtleties may be added to accentuate any number of the suspensions and dissonances that occur, especially on p. 14.The two pieces, Who Robbed the Woods? and O Cool is the Valley Now, combine to create a set that both explores the subtle beauty, serenity, fragility, and resiliency of nature and examines our relationship to the natural world around us. The first song combines a short poem by Emily Dickinson with a journal entry excerpt by Walt Whitman entitled The Lesson of the Tree. Only two stanzas in length, Dickinson's poem considers the ways in which people use and exploit trees for their own purposes and asks, on the trees' behalf, who would do such a thing? Whitman ponders a tree's silent majesty and power and its ability to be yet say nothing at all. The musical setting begins and ends in the mode of G-Dorian while moving briefly in the middle section to Bb major. The Dorian mode, similar to the natural minor but with a raised sixth scale degree, possesses a mysterious and whimsical sound, fitting for a poem that considers the possibility of talking trees. The accents and syncopation of the piano accompaniment should be carefully observed, with particular attention paid to the syncopation found in gestures occurring in mm. 7-12. The beginning a cappella section should be hushed yet intense; a richer, fuller sound may be brought out in the middle section where the key shifts to Bb major and the choir sings of the many noble qualities of trees (mm. 39-53). O Cool is the Valley Now also makes use of a modal scale. Set primarily in D Mixolydian, similar to D major but with a lowered seventh scale degree, this mode's lack of a leading tone gives the melody a folk-tune quality. The piano should at all times remain legato and flowing, its ascending and descending gestures, found in mm. 9-10, imitating the rolling hills and valleys evoked in the text. The phrases of the vocal lines should also be flowing and carefully shaped. Additional rubato and dynamic subtleties may be added to accentuate any number of the suspensions and dissonances that occur, especially on p. 14.The two pieces, “Who Robbed the Woods?†and “O Cool is the Valley Now,†combine to create a set that both explores the subtle beauty, serenity, fragility, and resiliency of nature and examines our relationship to the natural world around us.The first song combines a short poem by Emily Dickinson with a journal entry excerpt by Walt Whitman entitled The Lesson of the Tree. Only two stanzas in length, Dickinson’s poem considers the ways in which people use and exploit trees for their own purposes and asks, on the trees’ behalf, who would do such a thing? Whitman ponders a tree’s silent majesty and power and its ability to be “yet say nothing at all.â€The musical setting begins and ends in the mode of G-Dorian while moving briefly in the middle section to Bb major. The Dorian mode, similar to the natural minor but with a raised sixth scale degree, possesses a mysterious and whimsical sound, fitting for a poem that considers the possibility of talking trees. The accents and syncopation of the piano accompaniment should be carefully observed, with particular attention paid to the syncopation found in gestures occurring in mm. 7–12. The beginning a cappella section should be hushed yet intense; a richer, fuller sound may be brought out in the middle section where the key shifts to Bb major and the choir sings of the many noble qualities of trees (mm. 39–53).O Cool is the Valley Now also makes use of a modal scale. Set primarily in D Mixolydian, similar to D major but with a lowered seventh scale degree, this mode’s lack of a leading tone gives the melody a folk-tune quality. The piano should at all times remain legato and flowing, its ascending and descending gestures, found in mm. 9–10, imitating the rolling hills and valleys evoked in the text. The phrases of the vocal lines should also be flowing and carefully shaped. Additional rubato and dynamic subtleties may be added to accentuate any number of the suspensions and dissonances that occur, especially on p. 14.
SKU: BT.1597-08-070-MS
ISBN 9789043131094. 9x12 inches. English-German-French-Dutch.
Just five studio albums between 1964 and 1970 were sufficient for Simon and Garfunkel to become the most popular folk duet of the sixties. Their songs are poetic and sometime melancholic but The Sound of Silence remains on of their greatest successes. De Amerikaanse zanger Paul Simon maakt van 1966 tot en met 1970 deel uit van het folkpopduo Simon & Garfunkel. Het duo heeft veel succes met albums als Sounds of Silence (1966), Parsley, Sage, Rosemary and Thyme(1966), Bookends (1968) en vooral Bridge over Troubled Water (1970). Het levert hen ook grote hits op, waarvan enkele nummers uitgroeien tot klassiekers, zoals ook The Sound of Silence. Mia Schmidt bewerktedit prachtige nummer voor blokfluitkwartet.The Sound of Silence ist eine der früheren Kompositionen von Paul Simon, erstmals erschienen auf dem noch mäßig erfolgreichen Album Wednesday Morning, 3 a.m. von 1964. Später sollte es in einer überarbeiteten Fassung zu einem der größten Hits des Folk-Rock-Duos Simon and Garfunkel werden. Mia Schmidt passte den Klassiker geschickt für Blockflötenquartett an. Cinq albums studios entre 1964 et 1970 suffirent Simon & Garfunkel pour devenir le duo folk le plus célèbre des années 60. Leurs chansons sont tantôt poétiques et mélancoliques, tantôt douces-amères. The Sound Of Silence est un des plus grands succès du duo. Cinque album tra il 1964 e il 1970 bastarono a Simon & Garfunkel per diventare il duo folk più celebre degli anni '60. Le loro canzoni sono poetiche e malinconiche, dolci e amare. The Sound of Silence è uno dei più grandi successi del duo.
SKU: BT.DHP-1175813-010
English-German-French-Dutch.
This work was composed as ceremonial music, as part of a march medley for the participants’ entry for the 71st National Sports Festival and the 16th National Disabled Personnel Sports Festival, held in Iwate Prefecture in 2016. The European premiere of this piece took place in December of that year, the composer guest conducting the Young Musicians from Fribourg, Switzerland. This work, fusing Japanese folk song with march music, will have wide appeal, like the sister work March-Bou-Shu, also published by de Haske Publications.Dit werk is gecomponeerd als ceremoniële muziek: het maakte deel uit van een marsenmedley voor de binnenkomst van deelnemers aan het 71e Nationale Sportfestival en het 16e Nationale Sportfestival voor Gehandicapten, gehouden in de prefectuur Iwate, in 2016. Deze combinatie van Japanse volksmuziek met marsmuziek zal veel muzikanten en luisteraars aanspreken, net als het zusterwerk March-Bou-Shu, dat ook door de Haske Publications bv werd uitgegeven. Dieses Werk wurde 2016 anlässlich eines großen Sportfestes in Japan komponiert und war Teil eines Marsch-Medleys für den Einmarsch der Teilnehmer. Die europäische Premiere fand 2016 mit den Young Musicians aus Fribourg (Schweiz) und dem Komponisten als Gastdirigent statt. Im March-Chagu-Chagu vermischen sich japanische Volksmusik und Marschmusik zu einem exotischen Hörvergnügen. Cette oeuvre fut composée comme musique cérémonielle, faisant partie d’un medley de marches l’arrivée des participants du 71e National Sports Festival et du 16e National Disabled Personnel Sports Festival en 2016. La première européenne s’est tenue en décembre de la même année l’initiative de l’Association Fribourgeoise des Jeunes Musiciens en Suisse. Cette œuvre qui fusionne une chanson folklorique japonaise avec la musique de marche aura une large résonance, comme sa composition soeur March-Bou-Shu, aussi publiée par De Haske Publications.Questo brano è stato composto nello stile di una musica cerimoniale, come parte di un medley di marce per accompagnare l’entrata dei partecipanti al 71° National Sports Festival e al 16° National Disabled Personnel Sports Festival nella Prefettura di Iwate in Giappone nel 2016. La prima europea della composizione si è tenuta nel dicembre dello stesso anno a Friburgo (Svizzera), sotto la direzione del compositore stesso. Come per March-Bou-Shu successo garantito per questa delizioso mix di canzone popolare giapponese e marcia.
SKU: BT.DHP-1175813-140