SKU: PR.16400222S
UPC: 680160037841.
This work follows my Quartet No. 1 by five years. In terms of style and aesthetic aim, however, it seems light years away. Where the first work, a 28-minute, four-movement piece, took aim at cosmic conflicts and heroic resolutions, the present work is intended as a kind of divertissment. Harbor Music lasts a mere eleven minutes, is cast in a single movement with six sections, and should leave both performers and listeners with a feeling of good humor and affection. The title comes from my experience as a guest in the magnificent city of Sydney, Australia. One of its most attractive features is its unique system of ferry boats: the city is laid out around a large, multi-channeled harbor, with destinations more easily approached by water than by land. Consequently, inhabitants of Sydney get around on small, people-friendly boats that come and go from the central docks at Circular Quay. During a week's visit in 1991, I must have boarded these boats at least a dozen times, always bound for a new location - the resort town of Manley, or the Zoo at Taronga Park, or the shopping district at Darling Harbour. In casting about for a form for my second string quartet, a kind of loose rondo came to mind. Each new destination would be approached from the same starting-out point (although there are subtle variations in the repeating theme; it's always in a new key, and the texture is never the same). The result, I hope, is a sense of constant new information presented with introductory frames of a more familiar nature. The embarkation theme, which begins the piece, is a sort of bi-tonal fanfare in which the violins are in G major and the viola and cello are in B-flat major. It is bold, eager, and forward-looking. The first voyage maintains this bi-tonality, beginning as a 9/8 due for second violin and viola in a kind of rocking motion -much as a boat produces when reaching the deeper water in the harbor. A sweet, nostalgic theme emerges over this rocking accompaniment. This music is developed somewhat, then transforms quickly into a much faster and lighter episode, filled with rising and falling scales (again, in differing keys). A scherzando interlude in short notes and changing meters provides contrast, and the episode ends with a reprise of the scales. The second embarkation follows, this time in A major/C major. It leads quickly into a very warm and slow theme, in wide-leaping intervals for the viola. This section is interrupted twice by solo cadenzas for the cello, suggesting distant boat-horns in major thirds. The end of the episode becomes a transition, with boat-horns leading into the final appearance of the embarkation music, this time in trills and tremolos instead of sharply accented chords. The nostalgic theme of the first episode makes a final appearance, serving now as a coda. The rocking motion continues, in a lullaby fashion, leaving us drowsy and satisfied on our homeward journey. Harbor Music was written for the Cavani Quartet, and is dedicated to Richard J. Bogomolny. Commissioned by his employees at First National Supermarkets as a gift, it represents a thank you from many of the people (including this composer) who have benefitted from his vision and generosity. An ardent advocate of chamber music (and a cellist himself), Mr. Bogomolny has for many years been Chairman of the Board of Chamber Music America. -- Dan Welcher.
SKU: KJ.SO130C
Depicts a shuttle lift-off utilizing tremolos & other fun techniques. Special program notes included.
SKU: GH.GE-11464
ISBN 979-0-070-11464-6. A4 inches.
Work note by the composer: When I received the news of this commission, I had no idea what it would lead to. Writing for guitar solo is not the same as composing for orchestra where you have forty voices where you can easily mask an entire section. Here you are very naked to the bone. The starting point for this work was from J.S. Bach's Chaconne in D-minor that Johannes had performed in concert, originally written for violin but there is a version transcribed for guitar and piano made by Ferruccio Busoni. When I went to Cortona (in Tuscany, Italy) completed the southern mentality of this work. Arpalineais actually a merged word in Italian language. Arpa means harp, however in a musical context it's more or less resembled with the word arpeggio, which means broken chords. Lineameans line. The work is divided in three parts. I. Arpeggio: It starts with an opening chaconne-like sequence and is marked with a certain depth in which the chords starts to separate from the organum note in the bass and it culminates into a section called with rhythmical focus. These sections alternates, variates which each other. The middle section has a playful and childish atmosphere where the guitarist knocks on the body of the guitar resembling a Spanish folk instrument cajon. This is leading to a section which tends more to a very aggressive fusion-like riff that loses control and reaches its climax at the end. II. Linea: The static rhytmical pulse is now disintegrated and it forms more or less sort of a free, improvisational state in a rubatolike tempo. The character is described as a very hot day with temperatures rising above 37! C (or 100! F) where you can hardly do anything just sitting dozed off and pespiring because of the extreme heat watching a huge fog coming up in the evening that spreads around the Tuscan atmosphere. III. Finale: It starts off with fast one-note ostinati then more and more notes pop up like a gradual rain storm with thunder strikes! And eventually it leads to that is a large flood through the streets of an medieval Southern town. The work ends with a short circuit slapped strings along with extremely fast tremolos that reaches higher and louder as possible! Benjamin Staern
SKU: FG.55009-633-2
ISBN 979-0-55009-633-2.
The concerto has five movements played without pause. The beginning Tempestoso is dramatic and powerful, but there is also a beautiful, slow middle section. The second movement consists of a virtuosic solo cadenza, which is dominated by mysterious tremolos on the clarinet.The cadenza leads to Vivace, con brio, which is the central climax of the concerto and the most virtuosic movement both for the orchestra and the soloist. Then follows the slow, melancholic and lyrical fourth movement Adagio, mesto. The Epilogue is slow, too; the atmosphere of the last movement is unreal, mysterious. The solo part at the end consists largely of broken, multiphonic clarinet sounds before the concerto fades out into a silence.
SKU: KN.35675
UPC: 822795356755.
Based on the mythical Forest of Mirkwood from the Lord Of The Rings series. Gandolf the wizard instructed the elves to take the pathway through Mirkwood Forest for safe passage through the forest. This piece includes opportunities to work on dynamic contrasts, tremolos, and C naturals. Duration 3:15.
SKU: FG.55011-573-6
ISBN 9790550115736.
Kale vi Aho's (b. 1949) Clarinet concerto (2005) has five movements played without pause. The beginning Tempestoso is dramatic and powerful, but there is also a beautiful, slow middle section. The second movement consists of a virtuosic solo cadenza, which is dominated by mysterious tremolos on the clarinet.The cadenza leads to Vivace, con brio, which is the central climax of the concerto and the most virtuosic movement both for the orchestra and the soloist. Then follows the slow, melancholic and lyrical fourth movement Adagio molto. The Epilogue is slow, too; the atmosphere of the last movement is unreal, mysterious. The solo part at the end consists largely of broken, multiphonic clarinet sounds before the concerto fades out into a silence. The orchestral study score (ISMN 9790550096332) is available for sale and the orchestral material for hire.
SKU: AP.47456
ISBN 9781470658069. UPC: 038081547893. English.
Perfect for young orchestras, this Halloween bass-tacular features the entire bass section playing walking bass lines. The piece is in 1st position for violins, violas, and cellos, and everyone gets to play exciting tremolos. (Correlates with Sound Innovations for String Orchestra, Book 1, level 5). This title is available in MakeMusic Cloud.
SKU: AP.47456S
ISBN 9781470658076. UPC: 038081547909. English.
SKU: FJ.ST6401S
English.
The hand truly is quicker than the eye in this whimsical piece for developing strings! Using mostly stepwise motion, it is a wonderful study in legato and staccato styles. Written tremolos can be played at the director's discretion while optional, carefully scored percussion parts will certainly add to the intrigue. Pure magic!
SKU: BA.BA10988
ISBN 9790006574933. 31 x 24.3 cm inches. Key: E minor.
Associating the term “Sturm und Drang†with Haydn’s creative period from ca. 1765 to ca. 1772 is considered controversial among scholars, but it does describe a unique group of works within his symphonies: works characterised by an impetuous, colourful tonal language, featuring minor keys prominently, with rapid tempo sequences and effects taken from contemporary opera such as tremolos and recitatives.The Symphony in E minor Hob. I:44 was composed towards the end of this creative period and certainly showcases the “Sturm und Drang†dramatic style with its resolute unison main theme in the opening movement, a sustained dance and sensitive slow movement as well as a Presto finale. The work received the nickname “Mourning†Symphony in recent reception history because of its melancholic character and the anecdote that Haydn chose the third movement (Adagio) as his funeral music.Continuing the cooperation between Bärenreiter and the G. Henle publisher regarding Haydn’s large-scale choral works, operas and symphonies, this edition is based on the G. Henle Complete Edition of the “Works of Joseph Haydnâ€.
About Barenreiter Urtext
What can I expect from a Barenreiter Urtext edition?< /p> MUSICOLOGICA LLY SOUND - A reliable musical text based on all available sources - A description of the sources - Information on the genesis and history of the work - Valuable notes on performance practice - Includes an introduction with critical commentary explaining source discrepancies and editorial decisions ... AND PRACTICAL - Page-turns, fold-out pages, and cues where you need them - A well-presented layout and a user-friendly format - Excellent print quality - Superior paper and binding
What can I expect from a Barenreiter Urtext edition?< /p>
MUSICOLOGICA LLY SOUND - A reliable musical text based on all available sources - A description of the sources - Information on the genesis and history of the work - Valuable notes on performance practice - Includes an introduction with critical commentary explaining source discrepancies and editorial decisions ... AND PRACTICAL - Page-turns, fold-out pages, and cues where you need them - A well-presented layout and a user-friendly format - Excellent print quality - Superior paper and binding
SKU: UT.CH-321
ISBN 9790215326293. 9 x 12 inches.
Dediche< /i> is a series of short miniature pieces for solo guitar written in 1991 by Chiara Benati, an authoritative exponent of what can be called the School of Bologna, and who has devoted many pages of her catalogue to the guitar (Chiara won a first prize in 1986 at the Competition for Guitar Composition organized by the historic magazine Il Fronimo).From the point of view of the guitar idiom, it is striking how the compositional research of Chiara Benati (who does not play the guitar) has penetrated deeply into the nature of the instrument. In my job of adding the fingering to the pieces, I started from the precise indications concerning the strings already provided by the Composer, who meticulously imagined the instrumental result created by the play of resonances and the consequent precise distribution of the parts on different strings (let us think of the tremolos superimposed on different strings in the second Dedica and the counterpoint in three parts each written on its own musical stave), with a skilful use of glissandos and other instrumental effects.From the musical point of view, a similar meticulousness in writing is evident, shown, for example, by indicating the temporal separation between the figures by means of their spatial distance indicated in the score.The result is an instrumentally and musically rigorous writing which also helps the performer by appealing to his ability to empathize, following the indications written in the score and in the key, with the expressive atmosphere of the work, and through that specific aspect of controlled performance flexibility and sound sensitivity necessary to render it properly.These delicate miniatures, suffused with mystery and melancholy, and so masterfully written for the guitar, are in my opinion an important addition to the contemporary repertoire of the instrument. (Piero Bonaguri).
SKU: MB.30640M
ISBN 9780786699940. 8.75 x 11.75 inches.
Designed to introduce the young intermediate-level pianist to playing the blues, Jazzin the Blues presents fifteen original blues compositions in various keys, styles and grooves together with downloadable recordings of 40 of the 50 examples in the book. The audio tracks are presented both with and without the lead piano part, so the student can play along with a professional rhythm section which includes piano, vibraphone, alto flute, drums, and bass.Historical and performance notes are provided with each blues composition. The author enlisted the skills of jazz pianist Charlie Freeman in editing the book and providing fingering for both the treble and bass piano parts, making these pieces more accessible to novice players. If your knowledge of blues theory or terminology is lacking, this is the book for you. Author Vince Corozine thoroughly explores and demonstrates: blues and pentatonic scale theory, blue notes, grace notes, pedal-points, tremolos, trills, syncopation, anticipation, delayed beats, slash chords, boogie-woogie left-hand patterns, walking bass, stride piano style, straight eighths, swing eighths, passing tones, rolled chords, riffs, filler chords, substitutions, and comping styles. This book also includes essential blues chord theory as well as tips on tasteful chord voicing presented in the context of accompanying a soloist comping ; in addition, the chord progressions represented by the written notation are carefully annotated in every example in the book. The Appendix includes helpful tips on comping, practice, and jazz soloing, plus a list of noteworthy jazz pianists, a key to chord symbols, and a glossary of jazz terms used in the book.If you are not a competent blues pianist when you first pick up this book, you will be by the time you complete it. Includes access to online audio.
SKU: HL.123825
ISBN 9781480366107. UPC: 884088962371. 9x12 inches.
200 stompbox reviews from the pages of Guitar World magazine! The ultimate buyer's guide for fans of distortion pedals, wah pedals, tuners, overdrive pedals, switching systems, flangers, fuzz pedals, tremolos and more! This awesome collection features the Electro-Harmonix English Muffin • Dunlop Cry Baby SW-95 Slash wah • DigiTech Scott Ian Black-13 Artist Series pedal • Coffin Case Bat Fuzz Pedal • Way Huge Aqua Puss MkII analog delay pedal • MXR Super Badass Distortion • and many more!
SKU: HL.49033265
ISBN 9790001136778.
With the title of this composition, Fever Fantasy, Jorg Widmann refers to its musical air: 'I often feel Robert Schumann's melodic shape to be like the amplitude of a temperature curve: nervous, flickering, feverish, an infinite number of small and large wave crests and troughs within the principal line.'The composer approaches this sound phenomenon with a setting for acoustic instruments. Nevertheless, he succeeds in conjuring up very unusual sound spectrums. Over long sections, the notation of this score mirrors the musical progressions, containing no concrete pitches but detailed performance instructions instead. Slowly, individual tones emergefrom ascending pizzicato lines, colourless sound surfaces, sounds of harmonics roughened by tremolos, and virtuoso clarinet scales, tones that do not reveal their origin until the work ends: C - F - E - D sharp, the beginning of Schumann's first violin sonata.
SKU: KN.35675S
