Parts for String Quartet No.3 'Angel's Music' by Bent Sørensen (1988) Premiered by the Arditti String Quartet at the Danish Radio Concert Hall 16 November 1988. Score available: KP00250The composer writes:'Even when I was writing 'Adieu' I knew that I wished to write 'Angel’s Music'. The title existed in an incomplete form in my mind and gradually more and more ideas and a few outlines became clear. The actual work on 'Angel’s Music' was started in Rome where I spent the autumn of 1987 staying at 'The Danish Academy'. Whether this stay has influenced the quartet or not is impossible to say. however it is true to say that inthe Roman churches I visited I saw countless angels playing in the top of frescoes and altars. Without these angels together with the many crackled-gold paintings in this city and my general fascination with the Italian renaissance painter Fra Angelico (in fact there are only a few paintings by him in Rome but even his name..!) I am not sure my quartet would have been what it is. Anyway I do feel that there is a bit of Italy in the piece. The angels apart there are in the short rhythmic agitating part of the quartet reminiscences of the Italian medieval Trotto dance and in the most expressive part of the piece there are flashes of Puccini-like music. From the very beginning of my work on the quartet the distant extremely muted sound in the high register which opens the piece was on my mind. A sound satiated with a dense heterophonic and polyphonic texture of elegiac melody and vibrating trills. I imagined that 'little songs' (maybe angel songs) could be created in this density these songs constantly echoing themselves. Gradually as this sound got a more and more concrete musical and instrumental form I felt that not only should the 'little songs' be created played and die out in an echo but also that the general pattern of the quartet should give the feeling of music which from the distance is getting closer and closer

Music from the church always featured in the repertoires of Country Blues Guitarists. In this lesson we explore several styles of fingerpicking gospel tunes. We start with playing in the key of C and two well known songs played in the style of Mississippi John Hurt and Elizabeth Cotten. We then tackle I'll Fly Away which introduces a new right hand technique that combines fingerstyle with strumming. This technique will add a different texture to your playing. We then begin to explore playing in open tunings and Just a Closer Walk with Thee played in an Open G Tuning. We then go to an Open D tuning to learn Death Come Creeping and Will the Circle BeUnbroken.Two bonus sections are included. The first demonstrates how to change your Guitar strings so that they will not slip. The second is an audio section that features recordings showing variations and other approaches to the tunes taught.A detailed tab/music booklet is included as a PDF file on the DVD. Each tune is taught phrase by phrase and played slowly on a split-screen.Titles include: I Am A Pilgrim What a Friend We Have In Jesus I'll Fly Away Just A Closer Walk With Thee Death Come Creeping and Will The Circle Be Unbroken.

Whether it opens your concert or serves as a closer this rhythmic and exciting spiritual arrangement will be just the perfect fit. Beginning in a lighter manner the piece develops with solo opportunities and builds to a powerful closing. Whether it opens your concert or serves as a closer this rhythmic and exciting spiritual arrangement will be just the perfect fit. Beginning in a lighter manner the piece develops with solo opportunities and builds to a powerful closing.

Evis Sammoutis' Particles (2015) for Flute (doubling Piccolo and Alto Flute) Violin and Cello. Particles was commissioned by the 2015 Milano EXPO for the musicians of the Divertimento Ensemble. The composer was one of 50 finalists selected after an International Competition by Expo 2015?s Italian Pavilion. The competition was organised by Divertimento Ensemble in collaboration with the City of Milano theRegion of Lombardia MITO SettembreMusica and Sentieri selvaggi and all composers had to create compositions inspired by the theme 'Feeding the Planet Energy for Life'.The composer decided toconcentrate on exploring the notion of ?Particles? (the smallest basic units of matter and energy) as the means of creating the main formalprofile of this composition. This notion extends to all formal devises (texture figure and gesture).To use an analogy listening to this composition should feel like looking at a mosaic from an extremely short distance one?s eyes almost touching the intrinsic small tiles that create the larger picture. From this alternative perspective one begins to observe completely different patterns which went unperceived as part of the greater picture just as a closer look at a mosaic might reveal intricate bands of colour that would have been unnoticed from a greater distance. When this happens one can really appreciate the tiny details and nuances of the composition.Seen from afar these ?particles? create different textures than they do from a closer distance or through a microscope exploration different matters and different qualitiesof energy. This composition brings into foreground microscopic ?pictures? of the particles that constitute the totality of the work while simultaneously andunavoidably giving in its totality a larger formal picture over the course of time.Whilst the music is constructed into noticeably different blocks of sound each segment nevertheless

ACTIONS INTERPOLATIONS AND ANALYSES symphonies for bass-clarinet and large ensemble (1987-90) is what is commonly termed a work in progress. So far Schaathun has completed three of five parts. The is the composer's first large-scale attempt to investigate possible connections between ostensibly unrelated material. Explained in simple terms it involves taking two of Schaathun's 'own' type of texture (composed by means of different techniques) and letting them 'rotate' around a familiar musical object (in this case a short excerpt from Stravinskij's Symphonies of Wind instruments in which he employs the famous 'frozen' chords). In the course of thepiece the elements takes over various characteristics from one another and the form progresses from fairly clear-cut textures to a situation where the various textures are superimposed creating a dramatic flow. On a more advanced level the piece is about trying to mediate between different musical textures as metaphors for the different levels of the sound itself. One of the main questions in this context is; What is size in music? Is it possible to take a small chord(i.e. narrow register few instruments simple tone colours) and then blow it up (wide register many instruments advanced mixtures) in such a way that the listener still perceives it as the same chord? You have simply moved closer to the sound. At any rate when Schaathun composed the piece he himself travellig into the sound as if were viewing a texture from a distance. He then recomposed the same situation and drew closer and then recompose it a third time and simply get close enough to discover the world of sounds that thus emerged. A world of sounds capable of travelling at a tremendous speed... However like all concertos the piece is of course about the individual and his relationship to his surroundings (society). Schaathun has often pondered on the reason for this preoccupation wih solo concertos. The answer derives from his firm conviction that

Lively percussion captures the attention followed by a stacking of voices singing this popular South African folk song. Attention is given to vocal writing that creates rhythm patterns around the melody use of repetition and the use of both English and Swahili. A perfect beginning a cappella work for young singers and developing choirs. Percussion parts are available for download on the Closer Look page. Lively percussion captures the attention followed by a stacking of voices singing this popular South African folk song. Attention is given to vocal writing that creates rhythm patterns around the melody use of repetition and the use of both English and Swahili. A perfect beginning a cappella work for young singers and developing choirs. Percussion parts are available for download on the Closer Look page.

This is such a creative concept using the tune The Water is Wide with original words to create a thoughtful and musical choral for the holidays. The supportive piano is accompanied with optional flute and glockenspiel under vocals filled with lovely unison harmonic and echo-singing writing. Instrumental parts available for download on the Closer Look page. This is such a creative concept using the tune The Water is Wide with original words to create a thoughtful and musical choral for the holidays. The supportive piano is accompanied with optional flute and glockenspiel under vocals filled with lovely unison harmonic and echo-singing writing. Instrumental parts available for download on the Closer Look page.

Lively percussion captures the attention followed by a stacking of voices singing this popular South African folk song. Attention is given to vocal writing that creates rhythm patterns around the melody use of repetition and the use of both English and Swahili. A perfect beginning a cappella work for young singers and developing choirs. Percussion parts are available for download on the Closer Look page. Lively percussion captures the attention followed by a stacking of voices singing this popular South African folk song. Attention is given to vocal writing that creates rhythm patterns around the melody use of repetition and the use of both English and Swahili. A perfect beginning a cappella work for young singers and developing choirs. Percussion parts are available for download on the Closer Look page.

What fun to sing this new arrangement of the popular Irish folk song accompanied with a sprightly piano optional flute and hand drum. Your singers will feel as if they are on the Emerald Isle as they perform the happy melody crafted with harmonies and rhythmic vocal lines. Flute and Hand Drum parts are available for download on the Closer Look page. What fun to sing this new arrangement of the popular Irish folk song accompanied with a sprightly piano optional flute and hand drum. Your singers will feel as if they are on the Emerald Isle as they perform the happy melody crafted with harmonies and rhythmic vocal lines. Flute and Hand Drum parts are available for download on the Closer Look page.

Par STARSAILOR. The 2005 album by Starsailor is a life-affirming return to form, packed with anthemic songs that recall the momentous hits Alcoholic and Good Souls , and is presented here in Guitar tab transcriptions. The songs on this the band's third full studio album are of epic proportions, mixing gospel influences with their trademark heart-breaking sound. The closer Jeremiah is inspired by the death of the British student, Jeremiah Duggan, who died fleeing a far-right conference in Germany that he'd unwittingly become caught up in. / Niveau : Elémentaire / Date parution : 2005-11-18/ Tablatures / Guitare Tablatures

Take a rock and roll hajj back to the psychedelic '60s on Steppenwolf's Magic Carpet. Packed with energy this arrangement makes for a great show opener closer or encore.

Par OASIS. The Oasis For Easy Guitar Tab book enables you to learn the guitar licks and chords by one of Britain's biggest bands! These simplified tab arrangements of melodies from 18 classic Oasis hits are closer to the original recordings than chord songbooks, yet allow developing guitarist to play their favourite songs. This revised edition has been updated to include The Hindu Times and Little By Little as well as classic like Cigarettes and Alcohol, Don't Look Back In Anger and Stand By Me . All the songs are arranged here as easy-to-read guitar tablature and standard notation, complete with guitar chord boxes and lyrics. / Niveau : Assez Facile / Rép International / Tablatures / Guitare Tablatures