Matrix

The titles in Winning Matrix have been arranged as unaccompanied solos but combined with an easy Piano accompaniment they offer an even greater opportunity to explore the wide variety of styles found in the collection. These simple Piano accompaniments have been specially arranged.

For Horn in F-Arranged by Peter Lawrance Winning Matrix contains 26 favourites for Horn in F.Piano accompaniment book available separately (BRA0146PA).

Steps What Was Matrix Now He Sings, Now He Sobs Now He Beats the Drum, Now He Stops

Aus Der Kunst Der Fuge. Par BACH JOHANN SEBASTIAN. In 1991 an astonishing discovery was published by Zoltán Göncz answering the question with fairly great certainty how Bach planned the appearance of the fourth subject, the main subject of the cycle: One of the striking features of Contrapunctus 14 is that in this movement Bach applied the stretto of whole expositions. In the exposition of the first three subjects he “programmed” the later permutational stretti, then applied the expositions as “programs”, “algorithms”. However paradoxical, it follows from the logic of composing a quadruple fugue that the combinations joining all four subjects and rendered the latest when performing the work were already completed in the very firststage of composition because the possibility of overlapping the four subjects [1+2+3+4] is the sine qua non of writing a quadruple fugue. The discovery of the permutational matrix was one of the most essential conditions to achieve that the reconstruction of Contrapunctus XIV could come near to the original form planned by Bach./ Répertoire / Orgue

15 classic pieces as played by jazz superstars. Includes note-for-note transcriptions of: At Long Last Love (Oscar Peterson) · (They Long to Be) Close to You (Erroll Garner) · First Trip (Herbie Hancock) · Freeway (Vince Guaraldi)· Get Happy (Art Tatum) · Lonely Woman (Horace Silver) · Matrix (Chick Corea) · My Foolish Heart (Bill Evans) · Satin Doll (Monty Alexander) · The Way You Look Tonight (Dave Brubeck) · and more.

The Secret Language of Film Music-Today musical composition for films is more popular than ever. In professional and academic spheres media music study and practice are growing; undergraduate and postgraduate programs in media scoring are offered by dozens of major colleges and universities. And increasingly pop and contemporary classical composers are expanding their reach into cinema and other forms of screen entertainment. Yet a search on Amazon reveals at least 50 titles under the category of film music and remarkably only a meager few actually allow readers to see the music itself while none of them examine landmark scores like Vertigo  To Kill aMockingbird  Patton  The Untouchables or The Matrix in the detail provided by Scoring the Screen: The Secret Language of Film Music.This is the first book since Roy M. Prendergast's 1977 benchmark  Film Music: A Neglected Art to treat music for motion pictures as a compositional style worthy of serious study. Through extensive and unprecedented analyses of the original concert scores it is the first to offer both aspiring composers and music educators with a view from the inside of the actual process of scoring-to-picture.The core thesis of Scoring the Screen is that music for motion pictures is indeed a language developed by the masters of the craft out of a dramatic and commercial necessity to communicate ideas and emotions instantaneously to an audience. Like all languages it exists primarily to convey meaning. To quote renowned orchestrator Conrad Pope (who has worked with John Williams Howard Shore and Alexandre Desplat among others): “If you have any interest in what music 'means' in film get this book. Andy Hill is among the handful of penetrating minds and ears engaged in film music today.”