SKU: BT.GOB-000956-140
Scottish Dances is based on three Scottish traditionals: Cock of the North, The Bonnie Bank's O'Loch Lomond and Marie's Wedding. I. Cock of the North's name is used for multiple things or events. For example for a locomotive to a famous, it seems, delicious liqueur, and rallies to snowboard competitions. Furthermore is Cock O' the North a nickname of a famous Duke. (The 4th Duke of Gordon). In this composition Cock of the North (a Jig) is a traditional Scottish bagpipe tune, regularly played on tattoos by Pipe Bands. Not infrequently the drummers sing the text. Auntie Mary, had a canary, Up the leg of her trousers While she was sleeping Iwas peeping Up the leg of her trousers. II. The Bonnie Bank's O'Loch Lomond is about a sad story that took place during an revolt against the British. In 1745 Bonnie Prince Charlie had to retreat. Two of his men were captured. One was convicted and executed, while the other was released. The spirit of the executed soldier would arrive in Scotland via the 'low road' (underworld) before his companion, who had still a long way to go. You'll take the high road And I'll take the low road And I'll be in Scotland afore ye But me and my true love will never meet again On the Bonnie Bonnie Banks of Loch Lomond III. In a Scottish wedding, after the official ceremonies, there is often danced. This is called a ceilidh. For this we use traditional Scottish music such as Marie's Wedding '. Mid dance we go back to the church, where a lovely song in honor of the couple sounds. Marie's Wedding has been recorded by Van Morrison (among many others). Step we gaely, on we go, heel for heel and toe for toe Arm and arm and on we go, all for Marie's wedding Scottish Dances is gebaseerd op drie Schotse traditionals: Cock of the North, The Bonnie Bank's O'Loch Lomond en Marie's Wedding. I. De naam Cock of the North wordt voor meerdere dingen of evenementen gebruikt. Van een beroemdelocomotief tot een, naar het schijnt, een heerlijke likeur, en van rally's tot snowboard wedstrijden. Bovendien was 'Cock O' the North' een bijnaam van een bekende hertog. (the 4th Duke of Gordon) Het in deze compositiegebruikte Cock of the North (een Jig) is een traditioneel Schotse bagpipe tune (doedelzak liedje) wat regelmatig gespeeld wordt op taptoes door Pipebands. Niet zelden zingen de slagwerkers de tekst mee. Auntie Mary, had acanary, Up the leg of her trousers While she was sleeping I was peeping Up the leg of her trousers. II. 'The Bonnie Bank's O'Loch Lomond', gaat over een triest verhaal dat zich afspeelde tijdens een opstand tegende Engelsen. In 1745 moest Bonnie Prince Charlie zich terugtrekken. Twee van zijn mannen werden gevangen genomen. Eén van hen werd veroordeeld en geexecuteerd, terwijl de ander vrijgelaten werd. De geest van de geexecuteerde soldaatzou via de 'low road' (onderwereld) eerder in Schotland aankomen dan zijn kameraad, die nog een lange ruige weg te gaan had. You'll take the high road And I'll take the low road And I'll be in Scotland aforeye But me and my true love will never meet again On the Bonnie Bonnie Banks of Loch Lomond III. Bij een Schotse bruiloft wordt na de officiele plechtigheden vaak gedanst. Dit noemt men een ceilidh. Hiervoor gebruiktmen traditionele Schotse muziek zoals bijv. 'Marie's Wedding'. Halverwege de dans gaan we nog even terug naar de kerk, waar een lieflijk lied ter ere van het bruidspaar klinkt. Marie's Wedding is o.a. door Van Morrison opgenomen.
SKU: LM.29366
ISBN 9790230993661.
Couranta Val Chisone - Balet della Val Varaita - Corenta dar Cucu - Balet Vermagnana - Courenta et balet - Courenta piemontaise - Valzer di Cogne - Valse piemontaise - Giga e balet de Sampeyre - Polka da Piffero - Mazurka dau Pien d'Alas - Sbrando - Scottish del Monge - Courenta pi bela et scottish - Joli coeur - Chansoun dei Novis.
SKU: LM.29367
ISBN 9790230993678.
SKU: GI.G-8068
UPC: 785147806806. English. Text Source: Trad. Scottish.
SKU: BT.DHP-0910314-010
After Israel (Rikudim), Hungary (Puszta) and France (Suite Provencale) it was Scotland, with its famous highlands, that was to be a source of inspiration for Jan Van der Roost. In a musically impressive way the composer combines the caracteristics of Scottish folk-music with his own creativity. As may be expected from Jan Van der Roost ‘A Highland Rhapsody’ developed into a gripping concert piece, which will be appreciated by both players and audiences. In diesem Werk widmet sich Jan Van der Roost Schottland und dessen berühmten Hochland. In musikalisch gekonnter Weise verbindet er die charakteristischen Eigenarten der schottischen Volksmusik mit seiner eigenen kompositorischen Kreativität. Mit der Highland Rhapsody gelang es Jan Van der Roost, die Atmosphäre dieser rauen, aber wunderschönen Landschaft einzufangen und damit ein einzigartiges Konzertwerk zu schaffen, das Musiker und Publikum begeistern wird.C’est de l’imagination de Jan Van der Roost, compositeur connu travers le monde entier, qu’est née cette pièce dansante, expressive et facile jouer. En associant les caractéristiques de la musique traditionnelle écossaise son talent de compositeur, Jan Van der Roost nous dépeint avec finesse et légèreté la beauté subtile des paysages de cette région montagneuse du Nord de l’Écosse, les Highlands. Dall’immaginazione di Jan Van der Roost, compositore estremamente versatile, è nato questo brano danzante, espressivo e facile da eseguire. Associando le caratteristiche della musica tradizionale scozzese al suo talento, Jan Van der Roost ci dipinge con delicatezza la sottile bellezza dei paesaggi delle Highlands, regione montagnosa del nord della Scozia.
SKU: BT.DHP-1094746-400
ISBN 9789043132848. 9x12 inches. English-German-French-Dutch.
Take a trip around Europe with this exciting play-along book: Enjoy visits to Scotland, Ireland, Hungary, Spain, Bohemia and many more exciting places! Die Tänze in diesem Buch enthalten alle charakteristische Rhythmusmerkmale der musikalischen Tradition des Landes oder der Region, aus der sie stammen. So ist zum Beispiel Irish Dance von der traditionellen Jig mit ihrem trällernden 6/8-Takt inspiriert. In der Violinstimme von Spanish Dance ist der der Flamencorhythmus in einem schnellen 3/4-Takt herauszuhören, während die Klavierstimme den Klang der Gitarre nachahmt. Scottish Dance weist Strathspey-Rhythmen auf und imitiert außerdem den Klang eines Dudelsacks.Douze danses traditionnelles en provenance dââ¬ËEspagne, dââ¬ËÃâ°cosse, de Roumanie, dââ¬ËItalie, de Suède, des Baltiques, des Landes, dââ¬ËIrlande, de Provence, dââ¬ËHongrie, de Bulgarie et de Pologne ; douze pièces idéales interpréter lors dââ¬Ëune audition. Sur le compact disc vous trouverez trois pistes pour chacune des danses : la version intégrale, lââ¬Ëaccompagnement dans le tempo normal et enfin lââ¬Ëaccompagnement dans une version dââ¬Ëétude au tempo lent. Inizia un viaggio attraverso lââ¬ËEuropa. Questa pubblicazione di porter in Scozia, Irlanda, Ungheria, Spagna, Boemia e tanti altri posti affascinanti!
SKU: MB.30606
ISBN 9781513460529. 8.75 x 11.75 inches.
While one of a kind is a hard rating to achieve at Mel Bay Publications, Kevin Allison has done it with The Ceilidh Dance Book. A ceilidh is a traditional Scottish gathering where people share songs, stories, music, and dancing that is very much alive today. In Scotland, there are hundreds of ceilidh bands, each of which has their own trademark tune sets, making it possible for a man in a kilt to make a living as a performing musician.
This book not only provides 85 Scottish tunes in sets as they might be used in a ceilidh eventâ??it also offers detailed, beat-by-beat descriptions of the dance steps for twenty-four dances! From The Highland Scottish to The Mooncoin Jig, with this book in hand, youâ??ll be able to both play in the band and step to the music with the locals. The kilt is optional.
Arranged for mandolin or fiddle with suggested chord backup, in standard notation only.
SKU: CF.CM9488
ISBN 9781491145920. UPC: 680160903429. 6.875 x 10.5 inches. Key: G major. English translation by Sir Hugh S. Robertson (1874-1952).
This delightful reel, traditionally sung and played at Scottish weddings, is toe-tappin' fun! From the opening unison statement until the final chord, men's ensembles can explore drama and healthy singing.
SKU: PE.EP14445
ISBN 9790014135041. 297 x 420 mm inches. German.
ARKA stammt aus dem Sanskrit und bedeutet so viel wie Strahl, Blitz, Sonne, Licht, aber auch Lied, Feuer und Hymnus, und entwickelt in meiner Vorstellung sehr viele unterschiedliche Assoziationsfelder. In ARKA stecken auch die Worter arc (beten) und ka (Wasser), und es kann auch ubersetzt werden mit: ,,Das Wasser stromt aus dem heraus, der mehr weiss.
Mein neues Werk fur Pipa, Oboe, Pauke, Schlagzeug und Orchester entstand im Auftrag der Kammerakademie Neuss und auf Anregung des Oboisten Christian Wetzel. Es entstanden drei Rituale mit zum Teil szenischen Elementen fur die Solisten und das Orchester.
Inspirationsquelle in der Vorbeschaftigung waren zwei Quellen und Bucher. Das Daodejing von Laozi in der hervorragenden Neuubersetzung von Viktor Kalinke, eine der wichtigsten Quellen chinesischen Denkens und der Philosophie dieser grossen Kulturtradition und die chinesische Tradition der 5-Elementelehre und der Wandlungsphasen. Als zweites Buch hat mich ,,Die Glut von Roberto Calasso inspiriert, ein Buch uber die indischen Veden in Verbindung mit den Ursprungen des Buddhismus und den damit verbunden Ritualen.
In den letzten 20 Jahren habe ich mich intensiv mit ostasiatischer Musik, Kunst und Philosophie beschaftigt und habe das auch durch langere Studienreisen und kompositorische Projekte vertiefen konnen. U.a. wurde 2012 mein Chorwerk PRAN in Kolkata in Indien uraufgefuhrt (Goethe-Institut), ebenfalls 2012 ,,in between VI fur Sho und Sheng in Tokyo und 2013 ,,Mirror and Circle fur Pipa, Cello und chinesisches Orchester in Taipeh/Taiwan (Auftragswerk der taiwanesischen Regierung). Mit der chinesischen Pipa-Virtuosin Ya Dong arbeite ich seit 2000 zusammen und habe fur sie mehrfach komponiert (Urauffuhrungen u.a. in Hannover/EXPO 2000, Rottweil 2001, Taipeh 2013, Magdeburg 2016). Auch mit Christian Wetzel arbeite ich seit uber 20 Jahren zusammen und habe ebenfalls haufig fur ihn komponiert (UA u.a. in Bonn 1999, Hannover/EXPO 2000, Rottweil 2001, Darmstadt 2004 und etliche weitere Projekte).
Jedes dieser drei Rituale hat eine Lange von ca. 6-7 Minuten und stellt unterschiedliche Qualitaten und Besonderheiten der beiden Soloinstrumente heraus, immer in Verbindung mit der Interaktion zwischen Soli und Orchester. Die Besetzung war fur mich ausserst reizvoll, da beide Instrumente in dieser Kombination noch nie so erklungen sind. Die Pipa ist ein ungemein modernes und ungewohnliches Instrument, reich an Farben und vor allem an perkussiven Effekten. Das Tonmaterial wurde zum grossten Teil aus den Namen der beiden Solisten gewonnen und ergibt interessanter zwei gespiegelte Viertonmotive. In der asiatischen Kultur spielen der Spiegel und der Kreis eine wichtige Rolle, und so werden die Tone, Rhythmen und Formen eingewoben in diese drei Rituale, welche am Ende des dritten Satzes wieder kreisformig an den Anfang des ersten Rituals anknupfen. Ein von den Streichern und der Pauke erzeugtes Gerausch, verbunden mit dem Rhythmus der grossen Trommel, welcher einen Herzschlag symbolisieren soll. Die drei Untertitel der Rituale Himmel, Erde und (atmospharischer) Raum spielen im vedischen und chinesischen Denken eine grosse Rolle und war fur mich beim Komponieren ebenfalls eine sehr starke Inspirationsquelle. In vielen meiner Kompositionen gibt es Raumeffekte, Annaherungen an das Publikum, das Verschieben von Perspektiven, die Dekonstruktion und das Hinterfragen der ublichen Konzertsituation, so u.a in meinem Beuys-Zyklus oder in den Zyklen ,,CUT und ,,in between.
In ARKA geht es mir besonders um die Interaktion zwischen westlichem und ostlichem Denken, um das gegenseitige Durchdringen dieser auf den ersten Blick so unterschiedlichen Denk- und Lebensweisen, um eine Verschmelzung scheinbarer Gegensatze - um Annaherung!
Bernd Franke. Leipzig, 11.10.2019
for low voice and piano This beautiful collection of 14 songs for low voice offers Christmas settings by some of Oxford's best-loved composers. Suitable for solo singers and unison choirs alike, each song is presented with piano accompaniment, and high-quality, downloadable backing tracks are included on a companion website. With a wonderful selection of pieces, including favourites such as Bob Chilcott's 'The Shepherd's Carol' and John Rutter's 'Candlelight Carol', this is the perfect collection for use in carol services and Christmas concerts or for enjoying at home. Also available in a volume for high voice and piano.
AGNI is the Hindu god of fire; the elemental and transformative force inherent in everything:
Every flame, every fire, every light, every warmth is AGNI.
AGNI is omnipresent, establishing everything and ending everything.
AGNI is often depicted with seven tongues which represent different aspects of his being.
These include: creating, sustaining, cleansing, purifying, priestly, martial, devastating, destructive, and consuming.
Derived from Franke's concerto of the same name, this solo work for bass clarinet compositionally traces the transformative processes initiated by the divine fire. The solo takes seven pieces from the concerto, presenting vivid character pieces exploring the creative possibilities and wide tonal range offered by the bass clarinet.
This version of AGNI for bass clarinet solo was premiered on 4 December 2020 in Leipzig by Volker Hemken, the principal bass clarinetist of the Gewandhausorchester Leipzig. EP14437a convinces with its excellent and clear notation, making the piece a new standard for bass clarinet.
Ikons, commissioned by the Vancouver Cultural Olympiad 2010, exists in two forms. This 14-minute acoustic version, premiered by the Turning Point Ensemble, calls for an octet of live musicians to execute complex rhythms and quarter-tone harmonies.
The interactive, electronic version, created with visual artist Eric Metcalfe and designed to be presented separately, incorporates samples from this acoustic version into a sculptural environment of seven pyramidal structures that respond sonically to the viewer.
Roxanna Panufnik's Sonnets without Words is a contemporary piece for Horn in F and piano. Written for horn player Ben Goldscheider, Panufnik has reimagined the lyrical vocal lines from three of her previous settings of Shakespeare's sonnets (Mine eye, Music to hear and Sweet Love Remember'd for voice and piano) into a purely instrumental work.
Score and horn part.
Stephen McNeff's Trig is a short 7-minute contemporary work for solo cello, written to celebrate the bicentennial of the Royal Academy of Music in 2022 and in memorium cellist Mike Edwards 1948-2010.
Trig was premiered by Henry Hargreaves on 19 March 2021, livestreamed from the Royal Academy of Music.
to an utterance - study was commissioned by Klangforum Wien for the premiere commercial audio recording on a portrait CD in 2020 and first performed by Joonas Ahonen at the Berlin Philharmonie on 4th September 2020 at the Musikfest Berlin.
Roxanna Panufnik's Spirit Moves, for brass quintet, was commissioned by the Fine Arts Brass Ensemble. This 15-minute piece is scored for two trumpets in Bb (one doubling piccolo trumpet and the other doubling flugel horn), horn in F, trombone and tuba. This brass quintet is so called because the outer movements are highly spirited and the central one is spiritual.
This product consists of score and parts.
A gently flowing 3-minute arrangement by Roderick Williams for SATB (with divisi) with piano accompaniment that captures the beauty of this famous traditional Hebridean love song. The song text uses both old dialect and English, each verse ending with the words, 'Sad am I without thee'.
for high voice and piano This beautiful collection of 14 songs for high voice offers Christmas settings by some of Oxford's best-loved composers. Suitable for solo singers and unison choirs alike, each song is presented with piano accompaniment, and high-quality, downloadable backing tracks are included on a companion website. With a wonderful selection of pieces, including favourites such as Bob Chilcott's 'The Shepherd's Carol' and John Rutter's 'Candlelight Carol', this is the perfect collection for use in carol services and Christmas concerts or for enjoying at home. Also available in a volume for low voice and piano.
for SATB and organ This energetic setting of words by St Ambrose of Milan is a real showstopper. With pop-influences and a sparkling organ part, Young effortlessly fuses modern and traditional sound worlds, while changes in key and metre build up to an invigorating finish. Perfect for accomplished choirs looking for something different.
for SA unaccompanied This simple, charming two-part motet features long melismatic phrases that reflect the text (1 Corinthians 2: 9), such as the rising melodic line over three bars on the word 'ascended' (ascendit).
for SAATB unaccompanied. This glorious musical depiction of the honour, strength, power and authority of the Holy Trinity by Thomas Tallis is the third issue in the CMS's series of great English Responds from the 16th century, edited by Sally Dunkley. Scored for SAATB, it can be performed either as a motet or as a full Responsory with plainsong alternating with polyphony.
Based on a traditional Scottish/Irish 'farewell' song, this short piece is one of six works written to express my love of Scotland. After living there for nearly half my life, and raising a family, I moved back to England in 2018, and remarried in 2019.
Of course, there were many different emotions attached to the move south: especially the joy and excitement of new beginnings, and reconnection with friends from my youth.
But this piece expresses the wrench I experienced after a last family meal in Glasgow, and the realisation of all I was about to leave behind.
I have taken the melody of the original song, and expanded it, exploring the detail of its patterns, so that it becomes a timeless meditation.
The six pieces in the 'farewell' series are for 6 violas, string quintet, string quartet, trio, violin and clarinet duo, and solo clarinet.
The Parting Glass was composed in 2020 during the coronavirus lockdown, which intensified the feeling of separation from my Scottish family, as well as from other musicians.
It was commissioned by Vittorio Ceccanti for the ContempoArtEnsemble.
Maple arose from a commission to write a work for solo cello, to be performed alongside readings from artist John Newling's collection of letters entitled 'Dear Nature'; a poetic manifestation of our relationship with the natural world.
The piece is in eight short sections, to be interspersed with readings of groups of the poems. It may also be performed as a single movement. It begins with a seed - the seed of a maple tree, as it hangs on the mature tree, ready to drop. The seeds are like propellers, sometimes travelling more than a mile before landing on the ground. Maple follows the growth of the tree to maturity - which in reality would take at least a hundred years. 'Roots, shoots' grows downwards and upwards from a pedal note, and the dance-like 'Flowers' is followed by the stately 'Tree', and then the warm, cascading 'Autumn'. Maple is very often the wood of choice for the back of a stringed instrument, and the last section uses open strings to explore the full resonance of the cello.
The piece starts with a 'seed' of only five notes, which grows into different configurations. It is intended to be played in an improvisatory style.
Maple was co-commissioned by Brighton Festival, Ars et Terra Festival with SACEM and Ditchling Arts and Crafts Museum, to be performed by Margarita Balanas as part of the Brighton Festival's 'Dear Nature' project.
First performed by Noriko Kawai for Huddersfield Contemporary Music Festival, in a broadcast from the Radio Theatre, BBC Broadcasting House, November 2020.
Full of beautifully crafted, delicate tintinnabulations - Richard Morrison, The Times
SKU: BT.MS0306
Spanish.
¿Cómo tocar acompañamientos y solos de piano en los estilos Jazz y Swing? Con nuestro libro por supuesto... Con unas técnicas que recogen las principales técnicas y armon as propias de los estándares de Jazz. Walking bass, “pompeâ€, rearmonización, modulación, sustitución tritónica, inversiones... todas esas nociones están abordadas en unas secuencias de tipo Blues/Jazz, Anatole, Jazz/Bossa Nova... Y con unos solos t picos, en los que los principales gimmicks propios del jazz, que sean melódicos o r tmicos están abundantemente ilustrados y desarrollados. Y todo eso siguiendo el esp ritu musical de Thelonius Monk o Erroll Garner pasando por el de Oscar Peterson, de Nat KingCole... y otros adeptas del estilo. Para cada acompañamiento y cada solo le brindamos cinco grabaciones diferentes en el CD MP3 adjunto, repartidos de la manera siguiente: el piano solo, en aire normal y luego más lento, la misma parte de piano tocada ahora en su playback y, por último, el playback solo en aire normal y luego más lento... as cada uno podrá aprender y tocar a su ritmo, según su nivel y sus capacidades. ¡Y son más de 4 horas de musical en total!
