SKU: M7.AHW-203

English.

In Part I of this book we have analyzed some of Alex Sipiagins preferred practice routines as well as transcriptions of some of his exceptional improvisations and outlined a method to achieve this high level of playing step by step. Part II outlines some practice examples in all 12 Keys. The book is structured as follows: Part I: In Chapter I the fundamentals of scales, arpeggios, triads and other intervals are selectively outlined, along a short description of the materials. Chapter II contains transcribed motifs and alicks' from some of the greatest trumpet masters from the 20cl, century, Clifford Brown and Freddie Hubbard. Chapter III is following up to the transcribed materials with developments and modifications by Alex Sipiagin, which provides insights into the creative process he employs. Chapter IV contains an analysis of some powerful improvisations by Alex, displaying the materials from previous chapters in action. Part II: Contains all the exercises in all 12 keys.

SKU: LM.28603L

SKU: BT.GOB-000920-020

Illusion d'Optique is gecomponeerd voor muziekvereniging 'Melodia' te Luttelgeest t.g.v. haar 50-jarig bestaan.

Illusion d'Optique (gezichtsbedrog) is op een aantal manieren van toepassing op deze compositie.
Als eerstede naam Luttelgeest. De meeste mensen kennen het woord 'luttel', dit betekent klein. Het woord 'geest' kent vele betekenissen. Waarschijnlijk verwijst geest in Luttelgeest naar een zandrug (geestgrond) nabij de duinen vande vroegere Zuiderzee.
Dat de bewoners van Luttelgeest klein van geest zouden zijn is dus pertinent onwaar. Zie hier het eerste gezichtsbedrog.
Luttelgeest is een dorp in de (relatief) jonge Noordoostpolder. Archeologischonderzoek heeft aangetoond dat in een ver verleden dit nieuwe land reeds bewoond is geweest.
Het wassende water heeft de toenmalige bevolking verdreven.
Nieuw land, of illusie? Voor nieuwe polderbewoners en mensen dieop doorreis zijn, lijken de lange rechte wegen van het polderlandschap in het begin oneindig. Bovendien lijkt de polder saai. Na enkele keren blijkt dat dit gezichtsbedrog is, het polderlandschap is een afwisselend geheel, metbos, water, agrarische bedrijven en bovendien een veelzijdige flora en fauna. Bepaald niet saai.

De inleiding van 'Illusion d'Optique' bestaat uit het wroeten in de bodem van het ‘nieuwe’ land.
Dan volgt een ritdoor de polder op de lange, schijnbaar eindeloze wegen.
Het lijkt allemaal op elkaar, er komt geen einde aan. Er ontstaat een toestand van ontreddering.
Vissers haalden zo nu en dan stenen op in hun netten voor de kustvan Kuinre. Zij beweerden dat deze stenen van een verdwenen kasteel kwamen.
Na het droogleggen van de Zuiderzee stuitten arbeiders hier op restanten van een 'mottekasteel' (15e eeuw). Het blijkt te gaan om een oude burcht van.

SKU: BT.MUSM570368679

Isthmus denotes a narrow strip of land with sea on either side, forming a link between two larger ars of land. The title is a metaphor for an effort to bond artistically my experiences of living in Cyprus, my birthplace, and in the USA, my recently adopted homeland. Having lived in a small, partitioned island for my formative years and in England for eleven years, water has always had a double meaning: it has at once served as a gateway to other cultures but also as a border, a violent and absolute interruption of a continuum. While in the USA, or indeed in a now connected Europe, it is possible to travel on land for days without having to encounter a border, in the countries where I lived for most of my life, that was not possible. As an artist, this notion of establishing boundaries and consciously trying to break them is very close to me, as my music deals both with modernity but also with tradition and, similarly, with metaphor and reality. As a Cypriot, the sea, the world of antiquity, the mysteries of the oracles, the notion of borders and the pastoral are all very central to my way of thinking. In Cyprus, different layers of history are frequently superimposed on a single building that might still preserve its Roman, Byzantine, Venetian and Ottoman features in its layers of stone and architecture. Similarly, ancient ruins or the barbed wire of modern conflict often interrupt placid fields. An isthmus, therefore, can be seen to symbolize my artistic struggle to join strikingly different experiences and notions in a cohesive way. Similar to an isthmus, in this short piece, I connect these experiences with the purpose of creating a distinct and unique sonic context, connecting technology and tradition, the pastoral with the urban, the musical with the extra-musical and the abstract with the concrete. For example, the choir does not always sing in the traditional sense, but the singers imitate various natural sounds, such as water, air, crickets or birds, to create a vivid visual impression for the work. Scandinavian herding calls blend with field recordings from the seas of Cyprus and the lakes of Upstate New York, communicated within clearly defined, singular acoustic sources and spaces through wireless speakers. The text used is both onomatopoeic, articulating an imaginary language, but also literal, with a setting of the poem, “To make a prairie” by the iconic American poet Emily Dickinson and a tiny fragment from Callimachus’ “Hymn to Demeter.” Technology is used sparsely and very intentionally to articulate the expressive qualities of pastoral imagery, creating one unified synthetic timbre with the choristers’ sounds. This piece is dedicated to the wonderful singers of the Georgia Institute of Technology Chamber Choir with special thanks to Professors Hsu and Ulrich, without whose support this composition would not have been possible. Practical notes: A choir of no less than 24 singers is sought with 4 additional soloists (2 Sopranos and 2 Altos). Each singer must have their own wireless speaker, secured either in the music folder or as a strap inside their shirts. All sounds must match in volume the sound from the speakers, creating one unified timbre. The speakers should not be noticeable to the public. The four soloists are placed offstage at the beginning of the work. From 1:35’ onwards they enter the hall and take their positions, ideally at the four corners of the hall. If the hall is too large, the singers can find alternate positions, but these should always be antiphonal. The four soloists sing predominantly in the “kulning” style and the antiphonal aspect is very important to the work. There are two sound files for each section (SATB) that are triggered by each singer’s mobile device. The first occurs at the start of the piece, and the second, about a minute before the end. The sound files are able to be purchased separately, on CD, or are available directly from UYMP.

SKU: HL.50579721

SKU: BT.DHP-1185920-404

ISBN 9789043155007. English.

Nowadays Look, Listen & Learn sets the bar for brass and woodwind teaching. These exciting method book/CD packs for beginners contain songs, music puzzles and games to increase the pupils’ understanding of music, information about their instrument, and lots of fun pieces to play. The three volumes of the method that form the basis of this series are enhanced by several books with supplementary material designed to correspond with the progress of the method.

In Meet the Masters, the melodies are arranged in increasing order of difficulty and can be used in conjunction with all three volumes of the Look, Listen & Learn method series. Pupils takea journey through music history and meet the most important composers of classical music, from Tielman Susato to Anton n Dvo ák, together with pertinent historical commentary. The present edition includes printed music for piano accompaniments, expertly arranged at a moderate level of difficulty, which are also available in recorded versions online to stream or download.

SKU: BT.GOB-000827-120

Christopher Columbus was born in Genoa in 1451. His father was a wool merchant. Originally he seemed destined to follow in his father’s footsteps, and thus sailed the oceans to countries as far apart as Iceland and Guinea.
In 1476 his ship was sunk during a battle off the coast of Portugal. Columbus saved his own life by swimming to shore.
In 1484 he conceived the idea of sailing to the Indies via a westward sea route, but it was only in 1492 that he was able to realize this plan.
On this first voyage he was in command of three ships: the flag-ship, called the Santa Maria, the Pinta, and the Ni?a. From Spain Columbus sailed via the Canary Islands to the Bahamas, whichhe sighted on October 12th 1492.
Without being aware of it Columbus discovered the ‘New World’ he thought he had landed in the eastern part of Asia. The motif from Dvoøák’s 9th Symphony ‘Aus der neuen Welt’ forms a little counterfeit history at this point in the composition.
After this first voyage Columbus was to undertake another three long voyages to America. These voyages were certainly not entirely devoid of misfortune.
More than once he was faced with shipwreck, mutiny and the destruction of settlements he had founded.
After Columbus had left for Spain from Rio Belen in 1503, he beached his ships on the coast of Jamaica. The crew were marooned there and it was only after a year that Columbus succeeded in saving his men and sailing back to Spain with them.
In the music the misunderstanding about which continent Columbus discovered in his lifetime resounds, for does this part in the composition not contain Asiatic motifs?
Poor Columbus! In 1506 the famous explorer died in Valladolid.

Christopher Columbus wordt in 1451 geboren in Genua als zoon van een wolhandelaar. Aanvankelijk lijkt hij voorbestemd om als koopman door het leven te gaan. Zo bevaart hij al een groot deel van de wereldzeeën tot landen als IJslanden Guinea.
In 1476 zinkt zijn schip in een veldslag voor de kust van Portugal. Columbus kan zich zwemmend naar de kust redden.
In 1484 vat hij het plan op om langs de “andere” kant van de wereld naar India te varen. Pasin 1492 kan hij zijn plan verwezenlijken.
Het vlaggeschip op deze reis is de Santa Maria. Het schip wordt gesecondeerd door de Pinta en de Ni?a.
Vanuit Spanje vaart Columbus via de Canarische eilanden naar de Bahamas,die hij op 12 oktober 1492 in zicht krijgt. Zonder het te weten ontdekt Columbus de “Nieuwe wereld”.
Hij verkeert in de veronderstelling in het oosten van Azië te zijn aangeland. Een stukje geschiedvervalsing vormt hier eenmotiefje uit Dvoøák’s 9de symfonie, ‘Aus der neuen Welt’.
Na deze eerste reis maakt Columbus nog drie grote reizen naar Amerika. De reizen verlopen zeker niet alle voorspoedig. Zo is er bijv. meermaals sprake van schipbreuk,muiterij en verwoesting van de door Columbus gestichte nederzettingen.
Als hij in 1503 uit Rio Belen weer richting Spanje vertrekt, stranden zijn schepen op de kust van Jamaica. De bemanning wordt daar achtergelaten.
Paseen jaar later weet Columbus zijn bemanning te redden en met hen terug te varen naar Spanje.
In de muziek klinkt het misverstand over welk werelddeel Columbus in zijn leven bevaren had door. Roept dit deeltje geen associatiesop met Aziatische klanken? Arme Columbus!
Christopher Columbus overlijdt in 1506 in Valladolid.