The Polyphonic Vocal Style of the Sixteenth Century. Par JEPPESEN KNUD. This classic introductory text focuses on the polyphonic vocal style perfected by Palestrina. Unlike many other texts, it maintains a careful balance between theoretical and practical problems, between historical and systematic methodology. The result is an exceptionally useful resource, ideal for classroom use in teaching modal counterpoint. Unabridged Dover (1992) republication of the edition published by Prentice Hall, Inc. New York, 1939. Translated by Glen Haydon. New foreword by Alfred Mann. Knud Jeppesen. The Polyphonic vocal style of the Sixteenth Century./ Livre / Livre Musical

Fiery sounds of the Spanish Fandango for young bands! Mysterious modal harmonies and stirring Percussion transport us to the mythical kingdom of gold. Intense and rhythmic your band will be happy to dig in and refine their performance skills as they uncover the hoard of musical enrichment that James Curnow has carefully included in the arrangement. Relentless energy ensures that this will captivate and invigorate your audience.

Fiery sounds of the Spanish Fandango for young bands! Mysterious modal harmonies and stirring Percussion transport us to the mythical kingdom of gold. Intense and rhythmic your band will be happy to dig in and refine their performance skills as they uncover the hoard of musical enrichment that James Curnow has carefully included in the arrangement. Relentless energy ensures that this will captivate and invigorate your audience.

Par DATESMAN KYLE. Perhaps the first 5-string banjo book of its kind, Renaissance and Elizabethan Music for Banjo consists entirely of music from these early periods and provides banjo players with \'growing material\''that is, the opportunity to play in a number of different keys besides G major. This detail alone will expand your banjo horizon by requiring the use of unusual chord shapes. Written for classical banjo enthusiasts who want to further enhance their musicianship, some selections reveal one of the earliest aspects of music theory, that of modal scales. Various compositional forms and unfamiliar tempos are also introduced in arrangements that will help you become less dependent on the open fifth string. This type of music would be extremely difficult to learn by ear, so a book of tablatures should prove to be invaluable. Every piece is presented first in a vertical chord arrangement, which was the way it was originally intended' and then arranged in a linear horizontal style more familiar to modern players. Every tune is accompanied by performance notes supported by a helpful glossary. Written in tablature only with access to online audio, these pieces also make great finger-limbering exercises! Includes access to online audio. / Date parution : 2022-01-18/ Recueil / Banjo

Ed Hughes' Secret Sky for Piano Quartet.Secret Sky was commissioned by the Schubert Ensemble's Chamber Music 2000 project and has been performed by school children in the south west of England and in the Purcell Room by music college students. The piece lasts 4 minutes and aims to create an evocative sound scape through pools of modal harmony created by a mix of piano repeating patterns and melodies in the 3 strings. As in all my work the ebb and flow of line is important to the development tensions and resolutions of the piece. The piece is probably suitable for players of the standard of at least Grade 6. It can be performed either by violin viola cello andpiano or by 2 violins cello and piano. - Ed HughesCommission made possible by Michael McLaren for his daughter Iona McLaren.

by Tony Dagradi. Tony's second book of Jazz Solos concentrates on the chord changes to well-known modal 'Standards.' Soloing over one chord for an extended period of time presents a unique set of challenges. These solos utilize both common and 'secret' techniques employed by the masters to help you improvise musical and exciting solos. The book includes parts transposed for both alto and tenor sax and the CD includes both full performance tracks and 'rhythm section only' play-a-long tracks.

Ashoob (Calligraphy No. 14) was written for Dariush Saghafi and the Carpe Diem String Quartet. Reza Valis ?Calligraphies? series isa set of an ongoing cycle of works based on the Persian modal system the ?Dastgâh? which he has been composing since2000. The basic compositional material of the work is derived from a fast tempo genre called the ?Reng ? which is usually performed at the end of a traditional Persian music concert. Versions for Persian Santoor with string quartet (original) andfor string quartet only are available from the publisher. The original version was premiered on March 18-20 2016 at the McConnell Arts Center in Columbus Ohio by Dariush Saghafi Santoor and the Carpe Diem String Quartet.

A collection of 32 pieces for the solo classical Guitar that capture the stately spirit and elegance of the Renaissance. The music has been carefully selected from authentic sources and the book includes plenty of historical detail and performance notes.Pieces include many ancient melodies from Ireland and Scotland ideal for the repertoire of the intermediate guitarist with their simple rhythms and modal tonalities. A CD of demonstrations is included performed by Allan Alexander to help you achieve and accurate and authentic performance.

for Concert Band-In three movements: 1. Coronation March 2. Kingsfold and 3. Variations on a Green Theme. Coronation March is in ABA form with just a tip of the hat to William Walton's famous coronation marches written for British monarchs of the 20th century. Kingsfold is a lovely setting of the modal English traditional tune set to the text O Sing a Song of Bethlehem featuring solos for flute and trumpet with chamber music textures. Variations on a 'Green' Theme begins with a jig in the percussion and reeds before slowly revealing the identity of the theme being varied - Greensleeves. A tour de force for advanced middle school bands or small high school bands.

Early Elementary Level-Description: Six Silly Geese is written in the C position with accidentals in the B section giving it a modal sound. This happy little melody uses eighth quarter and half notes. The text will help the students with the rhythm. Purpose: This piece tells a story through music. Hands play together in the A section only on repeated notes. In the B section the harmony changes to Phrygian mode with the flatting of D and E. Staccatos accents and hand crossings add interest. Students will be playing in several different octaves. Suggestions for Instruction: Tap the rhythm on knees or fallboard before playing saying or singing the words. Have the student find all the groups oftwo black notes that they will be playing. Play m. 24 in the air several times before trying to play it hands together. Other Information: There are several geese living at the pond in my neighborhood. More than once motorists have encountered them crossing the street in a single line moving very slowly. They are never in a hurry although we often are! Even a honking horn cannot make them move faster! Key: C Major

Ed Hughes' Sky Blue for solo Clarinet and Orchestra. A3 Conductor's score.'This concerto for Clarinet and Orchestra is approximately eight minutes long.It was composed especially for Alison Hughes (clarinettist) and the University of Sussex Symphony Orchestra.Sky Blue is inspired by a painting of the same name made in 1940 by Wassily Kandinsky in which figures appear to float free across a clear blue sky. The painting has been described (by Mona Molarsky 2009) as 'an ethereal Miró-like confection with biomorphic squiggles that buzz like glimmering insects in the afternoon sun'.The music is a continuous single movementwith moments of harmonic transparency contrasting with sections of greater modal complexity. There are some sections which also feature soloists in the Orchestra perhaps like the free-floating figures in Kandinsky's painting.' - Ed Hughes (June 2014)

Commissioned by the Carpe Diem String Quartet. Reza Vali?s ?Calligraphies? series is a set of an ongoing cycle of works based on thePersian modal system the ?Dastgâh? which he has been composing since 2000. The basic compositional material of thework is derivedfrom a fast tempo genre called the ?Reng? which is usually performed at the end of a traditional Persian music concert. ?Raak? includes meter changes on almost every measure and will phase quickly between entirely homophonicsections and sections with entirely independent parts writing.