Pattern Preludes

SKU: HL.50605345

ISBN 9781705180235. UPC: 196288106135.

Simil arly to Bach's cycle The Well-Tempered Clavier or to Chopin's 24 Preludes, and similarly to his own collection published in 2019, the Wolf-temperiertes Klavier, Péter Wolf penned 24 piano pieces again. His Jazz Preludes set examples for improvisation and make use of the entire stylistic spectrum of jazz, ranging from the gospel (“Anthem, No. 7”) to blues (“Windlass, No. 1”), bebop (“Crime, No. 11”), Latin jazz (“Tropical Night, No. 6”), and, of course, the world of ballads (“Nostalgia, No. 4” and “Question Without Answer, No. 16”). The individual movements are no mere style exercises or piano technique exercises but, like Debussy's preludes, they are expressive character pieces: musical images of a phenomenon, an emotion, a behavior pattern, a personal experience reflected by their titles.

SKU: AP.36-60710009

ISBN 9798888521786. UPC: 676737764432. English.

Unlike Bach and Chopin, Claude Debussy (1862-1918) wrote his twenty-four Préludes for solo piano without a clearly organized pattern of key relationships. They were written from December 1909 to April 1913, in two sets, with twelve preludes to each volume. Jane Mortier delivered the premiere of the first volume on May 3, 1911, at the Salle Pleyel in Paris. Walter Morse Rummel gave the first complete performance of the second volume on June 12, 1913, at the Aeolian Hall in London. Prelude No. 5 from Book 2, subtitled Bruyéres, bears similarity to another of his works for piano, La Fille aux cheveux de lin (The Girl with the Flaxen Hair). The pianist Marguerite Long, a friend of the composer, suggested that it sounded reminiscent of the mingling scent of sea mist and pines. French composer and arranger Lucien Garban completed this transcription of No. 5 from Book 2 (Bruyères) for violin and piano in 1926. Reprint edition.

These products are currently being prepared by a new publisher. While many items are ready and will ship on time, some others may see delays of several months.

SKU: IS.F4883EM

ISBN 9790365048830.

Augu st Verbesselt's Three Monologues for flute alone, like much of his music, lies somewhere in between Bartók and Muczynski. His experimentations with dodecaphony and atonality, like Bartók, were directed towards making strange and different types of music appealing - and Verbesselt was intent on making music that was comprehensible to audiences. The deeper influences of Bartók can be heard clearly in the recitativ and night music of the second Monologue, written in near-free time. The first and third Monologues, however, hold more resemblance to Muczynski's Three Preludes - more aggressive, more Flemish, but with a rhythmic vitality that transforms less traditional ideas into intriguing, appealing patterns and dances. The high level of playing required also matches Muczynski's Preludes, and allows the Monologues to easily hold their own in recital or competition.

SKU: GI.G-9538INST

UPC: 785147953890.

  Revival is a long overdue resource that provides fresh accessible arrangements of classic hymns for contemporary ensembles. Each arrangement is scored for SAB choir, piano, guitar, and optional instrumental parts. For added texture, the final stanza of each hymn includes an alternate harmonization of the accompaniment with a soprano descant. These fourteen arrangements will open a whole new set of treasured hymns to piano and guitar based ensembles. Compatible with the versions founds in GIA’s most recent hymnals, each of these arrangements is intended to support and inspire the sung prayer of the assembly. Every one will find a comfortable home in your repertoire throughout the liturgical year! A special spiral bound edition of Revival is also available. This edition is perfect for accompanists who would also like to use these hymn arrangements as preludes, interludes, or postludes.   Collections like Revival are not simply a way for contemporary ensembles to plant deeper roots and tap into more traditional repertoires. It is a way for all of us to hear old hymns with new ears, in a new way. --Fr. Anthony Ruff, OSB, Associate Professor of Theology at St. John's Abbey Quote from Pray Tell Blog. Click here to read full article Tony Alonso’s Revival offers us fourteen wonderfully arranged familiar hymns—musically accessible and a delight to sing. Flexibly crafted for voices, piano and guitar with lovely optional descants, this is an ecumenical gift and bridge-builder between classical and contemporary approaches to hymns in the liturgy. It should be in every parish’s working library. --Don Saliers, Professor of Theology and Worship at the Candler School of Theology In his new collection, Revival, Tony Alonso marks the 500th anniversary of a great divide in the church by bridging the chasm between Catholic and Protestant, contemporary and traditional, Appalachian and European. His arrangements for voices, piano, and guitar—with options for using other instruments as well—allow for improvisation and adaptation while remaining accessible for a wide range of musicians. Although these hymns are designed to be used by contemporary ensembles, they lend themselves to use in a variety of worshiping contexts. Alonso's arrangements will entice you to sing along--Revival is a great gift to the whole church! --Kimberly Bracken Long, Editor of Call to Worship: Liturgy, Music, Preaching, & the Arts Tony Alonso’s, Revival, is an invaluable resource to help find common ground among “contemporary� � and “traditional” choirs and ensembles by making hymnody approachable to those who may have shied away from it for stylistic reasons. It is also a great educational tool for organists and pianists who are seeking ways to improve their improvisatory keyboard skills by modeling accompaniment styles and improvisatory patterns that support and enhance the singing of traditional hymns. ​--​Dominic Trumfio, Associate Director of Worship Music at Old St. Patrick's Church, Chicago.

SKU: M7.GHE-701

ISBN 9783890447018. English.

We proudly present this new modern critical edition of Antoine de Lhoyer's Six Exercices Op. 27, originally published in Paris around 1812. These exercises, originally written for 5-string guitar, are remarkably advanced for their time and well worth playing; the rapid arpeggio patterns and daring harmonic shifts in some of them may bring even Villa-Lobos to mind. The Six Exercices Op. 27 were arranged by Giuliani and published some 7 years later under his name as Six Preludes Op. 83. The exercises were originally written for 5-string guitar. We have added alternative readings for using the 6th string, an often employed publishing practice of the period. The music is edited and fingered by Erik Stenstadvold, an authority on the guitar repertoire of the early 19th century. There is also an informative preface, with full biographical details and critical notes.