Matériel : Octavo
SKU: PR.114420410
UPC: 680160687015.
In one of the dedicatory poems to his verse play The Shadowy Waters (1906), William Butler Yeats asks: Is Eden far away...? Do our woods and winds and verponds cover more quiet woods, More shining winds, more star-glimmering ponds? Is Eden out of time and out of space? How do you answer such questions? We have only the vague elusive promptings of our own mysterious, troubled hearts to tell us that the Eden we long for is there, somewhere beyond the physical world which frames our existence, in another realm of different dimensions. And - what is most painful to admit - that it is closed to us in the form in which we live and breathe, even if at times we do have intimations..., Yeats is telling us that this paradise, this Eden we yearn for is here - present even if invisible, palpable even if intangible. In his Second Symphony, Mahler meets an angel who tells him he can't get into heaven, he's locked out. The news is shattering. What follows is an inconsolable sorrowing, the same sorrowing that comes when we wake to the realization that we too are locked out of Eden. Eden is the heaven of our longing and desire for release from pain and suffering. Eden is the image in our restive minds that reflects the reconciled, resolved, quiescent state of soul we hunger for. But Eden eludes -because it is not a place. It is a state of soul which answers none of the illusory, hampering conditions that shape and bind us to the real world of our bodies, our appetites, our passions, and our beliefs. I have turned Yeats' question Is Eden out of time and out of space? into its own answering. However near we may sense its presence at times, Eden remains unreachable, ungraspable, unknowable, unthinkable. It forever eludes us. I wrote this music the way I did to shut out -with quietness and otherworldliness - the clamor and clang of the raucous Garish Day, to turn away its tumult and noise, to negate its stridency and chaos. Perhaps in the cleansing stillness and blessing of this emptied-out state of soul, Eden, through still hidden, may not be so far way; though still unreachable, may be close enough almost to touch.In one of the dedicatory poems to his verse play “The Shadowy Waters†(1906), William Butler Yeats asks:“Is Eden far away…?Do our woods and windsand verponds cover morequiet woods,More shining winds,more star-glimmeringponds?Is Eden out of timeand out of space?â€How do you answer such questions? We have only the vague elusive promptings of our own mysterious, troubled hearts to tell us that the Eden we long for is there, somewhere beyond the physical world which frames our existence, in another realm of different dimensions. And – what is most painful to admit – that it is closed to us in the form in which we live and breathe, even if at times we do have intimations…, Yeats is telling us that this paradise, this Eden we yearn for is here – present even if invisible, palpable even if intangible.In his Second Symphony, Mahler meets an angel who tells him he can’t get into heaven, he’s locked out. The news is shattering. What follows is an inconsolable sorrowing, the same sorrowing that comes when we wake to the realization that we too are locked out of Eden.Eden is the heaven of our longing and desire for release from pain and suffering. Eden is the image in our restive minds that reflects the reconciled, resolved, quiescent state of soul we hunger for. But Eden eludes –because it is not a place. It is a state of soul which answers none of the illusory, hampering conditions that shape and bind us to the real world of our bodies, our appetites, our passions, and our beliefs.I have turned Yeats’ question “Is Eden out of time and out of space?†into its own answering. However near we may sense its presence at times, Eden remains unreachable, ungraspable, unknowable, unthinkable. It forever eludes us.I wrote this music the way I did to shut out –with quietness and otherworldliness – the clamor and clang of the raucous “Garish Day,†to turn away its tumult and noise, to negate its stridency and chaos. Perhaps in the cleansing stillness and blessing of this emptied-out state of soul, Eden, through still hidden, may not be so far way; though still unreachable, may be close enough almost to touch.
SKU: PR.11442041L
UPC: 680160687039.
SKU: PR.11442041S
UPC: 680160687022.
SKU: HL.50576367
ISBN 9783795705725. German.
The Sudoku fever has finally reached the world of music. 'Musik-Sudoku' is the first musical variant of the popular number-placement puzzle. Instead of numbers, the seven solfege syllables Do Re Mi Fa Sol La Si have to be entered in a certain order. The really special thing about it is that the notes in the marked boxes match the beginning of a famous melody - from 'Let it be' by the Beatles to Mozart's 'Kleine Nachtmusik' -, thus providing a musical clue to the solution.The puzzles of varying difficulty, from 'elementary' to 'virtuoso', can also be resolved by players without a special knowledge of music. What is most required is brains, power of deduction and a bit of patience. And for the experts among the puzzle freaks, there are also dodecaphonic sudokus and sudokus based on musical symbols.Coming from a family of musicians, the brothers David and Bernat Puertas jointly invented the musical sudokus. The appropriate software was developed by Bernat, the computer scientist, who currently works in a games company. The idea for the musical solutions was conceived by his brother David, who is both a musician and an author of books on music by composers such as Mozart and Stravinsky.
SKU: MB.22115M
ISBN 9780786696840. 8.75 x 11.75 inches.
Arpeggios are chord notes played one at a time rather than strummed or plucked all together. They are an essential part of great improvising and melody writing because playing chord notes in the right places creates solid melody lines. Chord notes sound more resolved than notes that are chromatic out of the key . Practicing arpeggios will improve your ability to learn melodies, make reading music easier, and develop your tone and picking accuracy. The first part of this book focuses on the basic fingerings of the following six arpeggios: major 7th, major 7th #5 , dominant 7th, minor 7th, minor 7th b5 , and diminished 7th. This book along with its accompanying audio represents a comprehensive guide to all things arpeggio. It delves into traditional applications of arpeggios, as well as how they relate to slash chords, modal music and more. The student will learn about how arpeggios fall over standard chord progressions, as well as how to embellish arpeggios to make them more musical in performance situations. In standard notation and tab. Includes access to online audio.
SKU: BR.EB-5582
ISBN 9790004164495. 9 x 12 inches.
Despite the many flute pieces that he composed, Quantz deemed worthy of publication only his six Sonatas for flute and basso continuo op. 1, and the present Six Duets op. 2, which was issued in 1759. What makes them particularly impressive is, above all, the melodic substance of these works. Advanced students will find a musically and technically rewarding collection which is ideal for ensemble playing and harmonic ear training through the interplay of the two flutes. The present edition is based on the original print. The many suspensions and grace notes were resolved exactly as Quantz himself described in his flute method Versuch einer Anweisung die Flote traversiere zu spielen.
SKU: ST.W231
ISBN 9790220224133.
Ofte n sung congregationally to BERKSHIRE, CHURCH TRIUMPHANT, DEVONSHIRE or DUNELM, Charles Wesley's much-loved Christmas hymn receives a new setting from Nigel Ogden. His skills as an outstanding performer, best known perhaps as host of the evergreen Radio 2 series The Organist Entertains, guarantee both a light touch and a serious musical content. Eminently practical, To us a Child of Royal Birth may be performed by single voices or SATB choir without divisions. The music artfully distributes the four verses between full chorus, upper voices, lower voices, and then tutti again. Ogden's winning command of a popular musical idiom is everywhere in evidence, in the beautifully resolved seventh and ninth chords, and in the assured movement of the anthem from its opening key of E flat to its conclusion in a bright and warm resolution of C major.
SKU: CF.CPS225
ISBN 9781491152515. UPC: 680160910014.
Tarta n Tapestries is an original piece that sets out to emulate Scottish folk music. Composer Larry Clark has created a concert overture in triple meter to capture the essence of music from Scotland. After a lilting first section, lush and beautiful moments weave a tapestry of sounds with the lyrical, middle section of the piece. There is an optional part for bagpipes, and an optional ending should you chose to use this instrument as part of the piece. Alert your contest music committee about this strong new piece for advancing groups.Tartan Tapestries was commissioned by Friends of the Arts for the Saint Andrew's School Band in Boca Raton, Florida. The band program at Saint Andrew’s School is under the direction of Andrea Wolgin. The premiere took place on November 29, 2017.When I was asked by their conductor Ms. Wolgin to write a piece for the Saint Andrew’s School, I asked her what kind of involvement she wanted the students to have in the process. We discussed several options for having the students involved in the process of creating with the type of piece they wanted. We set up a “Skype†meeting with members of the band to discuss the piece. During this discussion, the consensus of the students was that they wanted a piece depicting the Scottish influence to the school. They also wanted a piece that would challenge all sections of the band and to include bagpipes if possible. I asked that the students be involved in helping to name the piece once it was completed, for which they agreed and were very helpful. Armed with this information, I set out to compose a piece for them, and Tartan Tapestries is the result.The piece begins with a fanfare gesture based upon rhythms and harmonies that appear throughout the piece. I chose the lilting triple feel to the piece, to bring about the Scottish flavor. I wanted the fanfare to be bardic sounding, to depict the strength of the Scottish people and for the piece to have a dynamic opening. The fanfare contains material that alludes to the main theme and with a bit of dissonance and tension that is resolved in the main body of the piece.The main theme is a lilting original melody, but one that I hope with have the essence of Scottish folk songs. The main idea is followed by a more modal and dark sounding secondary theme, first stated in the horns. This material is later used in the development section of the piece. The main theme returns several times, with different and varied orchestrations and harmonic treatments. This is followed by a short transition leading to the more lyrical and slower second section of the piece. A transparent presentation of the lyrical theme, which is based on aspects of the main theme, is presented first by a solo flute. This section is a nod to famous composer Malcom Arnold’s wonderful works for orchestra in its style and orchestration. After a transition or bridge section with a solo euphonium, the piece builds to a dramatic climax of the lyrical theme by the full band. This subsides to a return of the solo flute to end this second section of the piece, followed by a transition back the main theme.The solo bagpipes play a central role in the return of the main theme and take center stage after being heard in the distance earlier in the work. The piece brings back a shortened version of the darker secondary theme, followed by a hint of the fanfare material that builds to one last statement of the main theme by the full band, before leading to a dramatic coda to complete the work.It has been my pleasure to have been given the opportunity to compose this piece for the Saint Andrew’s School Band! I thank Andrea Wolgin for making it happen, and I hope that you enjoy it as much as I have enjoyed bringing the piece to life.–Larry ClarkLakeland, Florida 2017.
SKU: CF.W2682
ISBN 9781491144954. UPC: 680160902453. 9 x 12 inches. Key: E major.
Edited by Elisa Koehler, Associate Professor and Chair of the Music Department at Goucher College, this new edition of Johann Nepomuk Hummel's Concerto in E Major for trumpet in E and piano presented in its original key.The concerto by Johann Nepomuk Hummel (1778–1837)holds a unique place in the trumpet repertoire. Like theconcerto by Joseph Haydn (1732–1809) it was written forthe Austrian trumpeter Anton Weidinger (1766–1852) andhis newly invented keyed trumpet, performed a few timesby Weidinger, and then forgotten for more than 150 yearsuntil it was revived in the twentieth century. But unlikeHaydn’s concerto in Eb major, Hummel’s Concerto a Trombaprincipale (1803) was written in the key of E major for atrumpet pitched in E, not E≤. This difference of key proved tobe quite a conundrum for trumpeters and music publishersin the twentieth century. The first modern edition, publishedby Fritz Stein in 1957, transposed the concerto down onehalf step into the key of E≤ to make it more playable on atrumpet in Bb, which had become the standard instrumentfor trumpeters by the middle of the twentieth century.Armando Ghitalla made the first recording of the Hummel in1964 in the original key of E (on a C-trumpet) after editinga performing edition in 1959 in the transposed key of E≤ (forBb trumpet) published by Robert King Music. Needless tosay, the trumpet had changed dramatically in terms of design,manufacture, and cultural status between 1803 and 1957, andthe notion of classical solo repertoire for the modern trumpetwas still in its formative stages when the Hummel concertowas reborn.These factors conspired to create confusion regarding thenumerous interpretative challenges involved in performingthe Hummel concerto according to the composer’s originalintentions on modern trumpets. For those seeking the bestscholarly information, a facsimile of Hummel’s originalmanuscript score was published in 2011 with a separatevolume of analytical commentary by Edward H. Tarr,1 whoalso published the first modern edition of the concertoin the original key of E major (Universal Edition, 1972).This present edition—available in both keys: Eb and Emajor—strives to build a bridge between scholarship andperformance traditions in order to provide viable options forboth the purist and the practitioner.Following the revival of the Haydn trumpet concerto, acase could be made that some musicians were influencedby a type of normalcy bias that resulted in performancetraditions that attempted to make the Hummel morelike the Haydn by putting it in the same key, insertingunnecessary cadenzas, and adding trills where they mightnot belong.2 Issues concerning tempo and ornamentationposed additional challenges. As scholarship and performancepractice surrounding the concerto have become betterknown, trumpeters have increasingly sought to performthe concerto in the original key of E major—sometimes onkeyed trumpets—and to reconsider more recent performancetraditions in the transposed key of Eb.Regardless of the key, several factors need to be addressedwhen performing the Hummel concerto. The most notoriousof these is the interpretation of the wavy line (devoid of a “tr†indication), which appears in the second movement(mm. 4–5 and 47–49) and in the finale (mm. 218–221). InHummel’s manuscript score, the wavy line resembles a sinewave with wide, gentle curves, rather than the tight, buzzingappearance of a traditional trill line. Some have argued that itmay indicate intense vibrato or a fluttering tremolo betweenopen and closed fingerings on a keyed trumpet.3 In Hummel’s1828 piano treatise, he wrote that a wavy line without a “trâ€sign indicates uneigentlichen Triller oder den getrillertenNoten [“improper†trills or the notes that are trilled], andrecommends that they be played as main note trills that arenot resolved [ohne Nachschlag].4 Hummel’s piano treatisewas published twenty-five years after he wrote the trumpetconcerto, and his advocacy for main note trills (rather thanupper note trills) was controversial at the time, so trumpetersshould consider all of the available options when formingtheir own interpretation of the wavy line.Unlike Haydn, Hummel did not include any fermatas wherecadenzas could be inserted in his trumpet concerto. The endof the first movement, in particular, includes something likean accompanied cadenza passage (mm. 273–298), a featureHummel also included at the end of the first movement ofhis Piano Concerto No. 5 in Ab Major, Op. 113 (1827). Thethird movement includes a quote (starting at m. 168) fromCherubini’s opera, Les Deux Journées (1802), that diverts therondo form into a coda replete with idiomatic fanfares andvirtuosic figuration.5 Again, no fermata appears to signal acadenza, but the obbligato gymnastics in the solo trumpetpart function like an accompanied cadenza.Other necessary considerations include tempo choicesand ornamentation. Hummel did not include metronomemarkings to quantify his desired tempi for the movements,but clues may be gleaned through the surface evidence(metric pulse, beat values, figuration) and from the stratifiedtempo table that Hummel included in his 1828 piano treatise,where the first movement’s “Allegro con spirito†is interpretedas faster than the “Allegro†(without a modifier) of the finale.6In the realm of ornamentation, Hummel includes severalturns and figures that are open to interpretation. This editionincludes Hummel’s original symbols (turns and figuration)along with suggested realizations to provide musicians withoptions for forming their own interpretation.Finally, trumpeters are encouraged to listen to Mozart pianoconcerti as an interpretive context for Hummel’s trumpetconcerto. Hummel was a noted piano virtuoso at the end ofthe Classical era, and he studied with Mozart in Vienna asa young boy. Hummel also composed his own cadenzas forsome of Mozart’s piano concerti, and the twenty-five-year-oldcompo ser imitated Mozart’s orchestral gestures and melodicfiguration in the trumpet concerto (most notably in the secondmovement, which resembles the famous slow movement ofMozart’s Piano Concerto No. 21 in C Major, K. 467).
SKU: HL.14019200
UPC: 884088435592. 2.75x4.25 inches. English.
It was Christmas Eve, and the frost air was cold and still. The house where the kittens lived was snug and warm. In a twinkling of an eye everything changed. One little kitten dashed out into the night through the unexpectedly opened front door. The search for the lost kitten takes us outside, where we encounter sneaky jumping mice, howling alley cats, snuffling hedgehogs and quacking ducks. In the end, all is happily resolved! Opportunities for mime, movement and dance. If you need to license a school/youth theatre performance of this product, please use the online application form.
SKU: HL.14031816
8.5x11.75x0.3 inches.
Though conceived as four separate movements, my second string quartet has a single motif which is common to them all. This is the three-note Muss es sein? from Beethoven's last quartet, Op. 135. But whereas Beethoven's theme is notated G E A flat, thus giving it an F minor connotation, I have sued an alternative spelling - G E G sharp - which suggests an ambiguous E minor-major. This ambiguity, in fact, becomes the tonal basis of the whole work, only to be resolved at the end of the final movement. Each movement begins with a variant of the basic motif on the cello. The first has the original form of the theme, while the second has a majorised version which is also expressed as a chord. The third movement, with its scherzoid middle section, reverts to the major-minor ambiguity of the first, and the finale begins with the majorised version as an ostinato accompaniment on pizzicato cello. The slow movement is sub-titled In memoriam DSCH and concludes with a quotation of Shostakovich's motto - D E flat C B - which is basically the same as Beethoven's with the addition of one note. This is not to imply that the work contains no other thematic material. One important theme, a rising fifth and a second, is also common to three of the movements, and is ultimately derived from my first quartet, Op. 1 of 27 years earlier, to which this second contribution to the form is in many ways like a sequel. Like the earlier work, too, this quartet is dedicated to my wife.
SKU: HL.14019201
ISBN 9780711941625. UPC: 884088434991. 9x12 inches. English.
It was Christmas Eve, and the frost air was cold and still. The house where the kittens lived was snug and warm. In a twinkling of an eye everything changed. One little kitten dashed out into the night through the unexpectedly opened front door. The search for the lost kitten takes us outside, where we encounter sneaky jumping mice, howling alley cats, snuffling hedgehogs and quacking ducks. In the end, all is happily resolved! Opportunities for mime, movement and dance. Duration: 25 mins. Script available in student book. If you need to license a school/youth theatre performance of this product, please use the online application form.
