Langue : Français
Compositeur(S): Graham Gouldman. Par SHEILA. Auteur: C. CARRERE, J. PLANTE and G. GOULDMAN/ Feuillet / Chant et Piano
SKU: LO.9780787775803
ISBN 9780787775803.
The Lorenz Corporation is pleased to present this new book from arranger Pamela Robertson! Pamela's writing is characterized by unique piano textures as well as her unfailing ear for beautiful harmonies. Adjectives such as “elegant,†“refined,†and “imaginative†accurately describe each piece in this stunning collection. Featuring 12 artistic pairings of beloved hymns, pianists will find ample material in this volume for the entire year.
SKU: MB.95696
ISBN 9780786616572. UPC: 796279028691. 8.75 x 11.75 inches. By David Grisman and Tony Rice, transcribed by John Carlini.
In 1994, Acoustic Disc issued a landmark CD by David Grisman and Tony Rice. The central idea behind the album called for the artists to play a different vintage mandolin or guitar on each cut. On this remarkable recording, David and Tony perform 17 original compositions on a wide range of vintage instruments. Mel Bay Publications, Inc., is proud to present this guitar edition and a separate mandolin edition of Tone Poems, both transcribed by noted guitarist/arranger John Carlini. All 17 solos in each book are written in notation and tablature.
SKU: HL.35008933
UPC: 884088498207. 5x5 inches. Words and Music by Joseph M. Martin Narration by Pamela Martin Orchestration by Brant Adams.
From the creators of Song of the Shadows comes a work of great depth and power. Through music and symbols, worshippers are invited to a season of contemplation as the mystery and power of Christ's passion are presented. Using new music and beloved hymnody, Joseph Martin provides a work of greatly expressive beauty. Pamela Martin and Brant Adams reprise their respective roles as librettist and orchestrator in this creative and moving offering for Holy Week. Highly recommended!Inclu des: Testament of Tears; Winds Through the Olive Trees; In Love Christ Came Amongst Us; and more.
SKU: HL.35008931
UPC: 884088421953. 5x5 inches. Words and Music by Joseph M. Martin Narration by Pamela Martin Orchestration by Brant Adams.
SKU: PR.11641373S
UPC: 680160680344.
The concerto has always seemed an especially attractive medium to me, not necessarily because of its expectations of virtuosity (although flaunting it when you've got it certainly has its place), and emphatically not because of the perception of a concerto as a contest, but because so much of what I write feels song-like; I'm very much at home with the age-old texture of melody and accompaniment. I hope, before I move on, to have the opportunity to write concertos for all the major instruments, and perhaps some of the rarer ones as well. The oboe is not only one of the major instruments, it is one of my favorite instruments. I've always loved its sound, but since moving to New York I have gotten to hear and, in some cases, know some extremely fine oboists who broadened my appreciation of the instrument's possibilities. I especially remember a concert, probably in the late 1960's, in which Humbert Lucarelli played a Handel concerto, filling out large melodic leaps with cascading scale passages in a way that raised the hair on the back of your neck, somewhat in the way that John Coltrane's sheets of sound did. The sweeping scales in the second movement of my concerto were definitely inspired by Bert Lucarelli's performance. The first, third and fifth movements of the Concerto for Oboe and Orchestra are song-like, whereas the second and fourth have strong scherzo and dance qualities, including a couple of sections that sound like out-and-out pirate dances to me. The hymn-like tune at the beginning of the middle movement was originally begun as a vocal piece to be sung by my wife, son and daughter at my brother's wedding, but I couldn't come up with good works for it, so it ended up as an instrumental chant. The opening and closing of the concerto make use of the oboe's uniquely soulful singing. I had not heard Pamela Woods Pecha's solo playing in person when she approached me about writing a concerto, but I had heard her fine recording of chamber music for oboe and strings by the three B's (English, that is: Bliss, Bax and Britten) with the Audubon Quartet. I actually already had some oboe concerto ideas in my sketchbooks; although I didn't end up using any of those earlier ideas, it's interesting that most of them tended to share the general feeling and tonality of the eventual opening of the concerto. The work was completed on October 13, 1994. I hate the compromises involved in making piano reductions -- perhaps I would feel differently if I were a more accomplished pianist -- so I often decide to make piano reductions for four hands rather than two. My good friend Jon Kimura Parker is a terrific sight-reader, and I roped him into coming over to my place on February 17, 1995, to help me accompany Pamela on the first read-through of the piece. The first performance of the work took place on July 21, 1995, at the American Music Festival in Duncan, Oklahoma, with Mark Parker conducting the Festival Orchestra.
