Early Light

Judith Clurman Choral Series-In 1814 Francis Scott Key (1779-1843) wrote new words for a well-known drinking song by John Stafford Smith (1750-1836) 'To Anacreon in Heaven' to celebrate America's recent victory over the British. In 1931 Congress passeda law proclaiming 'The Star Spangled Banner' to be the national anthem of the United States.This arrangement by Doug Katsaros was first performed at the Macy's 4th July Fireworks Spectacular onNBC television July 4th 2014. The performers were soloist Idina Menzel Judith Clurman's Essential Voices USA and Sherrie Maricle's Dive Jazz Orchestra. The recording of that performance has been added to the permanent archivesat F. McHenry in Balitmore MD.Text (Defence of Fort M'Henry by Francis Scott Key):O! say can you see by the dawn's early light What so proudly we hail'd at the twilight's last gleaming?Whose broadstripes and bright stars through the perilous fight O'er the ramparts we watch'd were so gallantly streaming And the rockets' red glare the bombs bursting in air Gave proof through the night that our flag was stillthere-O! say does that star-spangled banner yet waveO'er the land of the free and the home of the brave?

For Fingerstyle Guitar. Par GROSSMAN STEFAN. As aspiring fingerpicking guitarists started expanding their horizons from folk, blues, and ragtime in the 1970s, it was only logical to look towards early jazz tunes as a vast source for new possibilities. For one thing, they could follow the same evolutionary path from ragtime to jazz that had been taken by pianists such as Jelly Roll Morton and Harlem stride players like James P. Johnson and Fats Waller. These musicians all composed in a variety of styles, but their most ambitious piano solos expanded on the classic ragtime format developed by the likes of Scott Joplin, James Scott, and Joseph Lamb, using several strains that usually changed keys at least once. Morton, the self-proclaimed inventor of jazz, would record versions of tunes like King Porter Stomp and The Original Jelly Roll Blues that are similar to straight ragtime performances, and others where there is lots of room left for embellishment and jazz improvisation. The present collection is a bonanza for guitarists who want to tackle advanced arrangements along the lines of ragtime but featuring jazz age harmonies from the playing of Jelly Roll Morton, Louis Armstrong, Bix Beiderbecke, WC Handy, the Original Dixieland Jazz Band and other early jazz legends. The 32 arrangements included are by a wide assortment of guitarists including Ernie Hawkins, Pat Donohue, Lasse Johansson, Duck Baker, Ton Van Bergeyk, Sandy Shalk, Steve McWilliam, and Dorian Henry. / Date parution : 2022-01-14/ Recueil / Guitare

Par DELISE LOUIS ANTHONY. Natural Light, by composer Louis Anthony deLise is a diverse collection of pieces for piano solo, including: American Darkness, Autumn Twilight, But Not Forgotten, Early January, In the Edge of the Water, Mosaic, Natural Light, And Then She Was Gone, Spring Rain, Three Little Dancers, Winter's Chill, and Variations on Moonlight. Natural Light, by composer Louis Anthony deLise is a diverse collection of pieces for piano solo, including: American Darkness, Autumn Twilight, But Not Forgotten, Early January, In the Edge of the Water, Mosaic, Natural Light, And Then She Was Gone, Spring Rain, Three Little Dancers, Winter's Chill, and Variations on Moonlight./ Répertoire / Piano

The title First Light refers to the arrival of dawn – specifically the composer's experience of dawn in the mountains surrounding Lake Garda in northern Italy. There the light of the sun arrives in distinct stages:the night sky begins to brighten quite early though the sun remains hidden behind the mountains for several hours. Abruptly the first direct ray of sunlight crests the mountaintop bringing with it intense palpable heat. Thetown below nestled in the narrow space between the water's edge and the steep mountain slope remains in darkness for a while longer until the sun ultimately sends light cascading down the mountainside illuminating everything.(Grade 5) Dur: 8:30

A Light Hour 2008-Set of parts for Per Nørgård's En Lys Time / A Light Hour (2008-09) for a variable Percussion Ensemble (min. 10 players). In A Light Hour everything - rhythms and motifs – is based on Nørgård´s special infinity series. Score: WH30964 Programme note A Light Hour is for ‘any number of percussion musicians’ (but a minimum of ten). The duration is about 60 minutes. The instrumentation is in principle open as long as percussion is used within the three types specified in the score: skin metal and wood. Each musicianuses two sound sources with two different sounds one of which is bright (or light) and the other dark. Certain passages also include tuned percussion instruments – vibraphone xylophone marimba gamelan glockenspiel steel drums crotales and the like. The work integrates and combines a number of rhythms that Nørgård has used in percussion works since the 1970s for example in Early Spring Dance (for choir and percussion) and percussion works like I Ching Easy Beats Whirls Zigzag Nemo Dynamo and Echo Zone I-II-III. Special “tone-feasts” (the composer’s term) – followed by a rest – are an recognizable melodic feature of the work.: the first minute end with a short tone-feast (and a rest) the first four minutes end with a tone-feast lasting a minute (and a rest) the first quarter of an hour ends with a tone-feast of four minutes (and a rest) – and the work ends with a tone-feast lasting quarter of an hour (and a rest when the work is over ...). The first 15 minutes have a bright light character throughout and alternate between rhythms and melodic play. The following 15 minutes are more insistent and decidedly percussion-based Afro-Cuban whereas the third quarter of A Light Hour moves in the

Paperback-Gabriel Jackson's Three Prayers With A Vision Of Light for SATB unaccompanied (with divisions). Three Prayers With A Vision Of Light sets early Christian texts by St Augustine of Hippo Baldwin of Forde and St Mary Magdalene de Pazzi alongside words by Estonian poet Doris Kareva. Each movement offers a change of mood from the reflective 'Conversi ad Dominum' to the more urgent and pleading 'Aufer a me Domine' and serene 'Veni Sancte Spiritus' with 'He who lives in light' offering an expressive and contrasting central movement.

The Early Blues Of Lightnin' Hopkins-In this second DVD lesson devoted to the guitar playing of Lightnin??? Hopkins Ernie Hawkins dives into Lightnin's early catalogue from the Aladdin and Gold Star record labels. There was an amazing variety to Lightnin's early work. Listening to his early recordings we hear an artist at his prime. He effortlessly employing widely different rhythms keys and tunings. The deeper we listen to these songs the deeper our insight into what a master of Texas blues Lightnin' Hopkins really was.Lightnin's style itself came along at the perfect time: the advent of the electric guitar. His style strong rhythms punctuated by his flowing but compact lead linescreated a stinging and heart-tearing evocative sound. Lightnin's guitar style and technique worked great for both the acoustic or electrical guitars. The blues of Freddy King Albert Collins the Vaughn brothers Billy Gibbons testify to the power of this style. Lightnin' connects the generations of players starting with Blind Lemon Jefferson for whom he was lead-boy in the early 1920s. Standing tall at the center of the Texas Blues story is Lightnin??? Hopkins.In this double DVD set Ernie Hawkins covers songs in unusual keys such as: drop D(Sugar Mama) in drop D but played in the key of A (Santa Fe Blues) in G (Bad Luck and Trouble) as well as in the usual blues in A Come Back Baby and the country gospel Needed Time in the key of E. As a bonus Ernie teaches his version of Lightnin's Hideway the Freddy King tune coming back home to Lightnin'.Ernie teaches phrase by phrase and then uses the split-screen so you can carefully study what each hand is doing. Detailed tab/music booklets are included as PDF files on both DVDs. 186 minutes ??? Level 2/3 ??? Detailed tab/music PDF files on the DVDs

Available early 2016 Here's the arrangement that will thrill your string players and delight any audience. James Kazik's impressive montage spotlights the newest John Williams themes from the film soundtrack plus the monumental Star Wars main theme. Includes March of the Resistance Rey's Theme Kylo Ren's Theme The Jedi Steps and Finale.

Low Voice Compiled by Joan Frey Boytim-Joan Boytim compiler of The First Book of Solos series is the most respected name in widely-used publications for the developing singer. She brings her expertise and vast knowledge of literature into the sacred genre with thiscollection which presents traditional sacred solos for classical voice and piano. The songs span from the easy to the more challenging but all are within the realm of a reasonable ?classical? solo for a churchservice. Some of the songs included have long been out of print. The 43 selections range from classics by Bach and Mozart to early 20th century favorites and rarities.

Transcriptions from Buckley's Banjo Guide of 1868. Par TWISS TIM. Early American Banjo by Tim Twiss provides complete banjo tablature transcriptions of the instrumental solos that first appeared in standard notation in Buckley's Banjo Guide of 1868. This modern tablature edition of over 100 mid-19th century jigs, waltzes, polkas, hornpipes and reels provides insight to the transition between the African down-stroke technique, which preceded claw-hammer style and the newer, more refined plucking technique. James Buckley (1803 â' 1872), sometimes referred to as the 'Father of the Classical Banjo,â? was one of the most prolific transcribers of early banjo music. His compositions and arrangements were performed on the minstrel stage, andhis scholarly discipline produced a lasting record of banjo music of his era. This repertoire collection includes easy tunes as well as more complex pieces suited for the concert stage. The player will delight in discovering how fresh and unusual some of this music sounds, even todayâ'all in modern banjo tab. While best experienced on a period reproduction, gut-string fretless banjo in a lower tuning, any 5-string banjo in C tuning (gCGBD) may be used to interpret this collection. Includes access to online audio. Early American Banjo by Tim Twiss provides complete banjo tablature transcriptions of the instrumental solos that first appeared in standard notation in Buckley's Banjo Guide of 1868. Thismodern tablature edition of over 100 mid-19th century jigs, waltzes, polkas, hornpipes and reels provides insight to the transition between the African down-stroke technique, which preceded claw-hammer style and the newer, morerefined plucking technique. James Buckley (1803 and ndash - 1872), sometimes referred to as the and ldquo - Father of the Classical Banjo, and rdquo - was one of the most prolific transcribers of early banjo music. His compositions andarrangements were performed on the minstrel stage, and his scholarly discipline produced a lasting record of banjo music of his era. This repertoire collection includes easy tunes as well as more complex pieces suited for theconcert stage. The player will delight in discovering how fresh and unusual some of this music sounds, even today and ndash - all in modern banjo tab. While best experienced on a period reproduction, gut-string fretless banjo ina lower tuning, any 5-string banjo in C tuning (gCGBD) may be used to interpret this collection. Includes access to online audio. / Niveau : Intermédiaire à Avancé / Musique traditionnelle d'Amérique du Nord / Date parution : 2018-05-04/ Recueil / 5-String Banjo

Ray of light was composed for the 75th anniversary of the Royal Wind Band (De Heidegalm Berkenbos). The mining environment of Berkenbos (Heusden-Zolder B) is a proof of what used to be one of the most flourishing industries inLimburg viz. the Mining Industry. Going down the shaft in the elevator for the first time was a sensational experience for every miner: the noise of the closing doors the shock experienced when the lift cage started moving tofall down whizzingly into the deep at a speed of 30 km an hour. The opening theme of Ray of Light doesn’t only reflect the bravery of the descending miners but also their anxiety their doubt and insecurity. In the solo passage the anxiety during the long walk in the dark through the mine corridors with only headlamps and mine lamps is clearly audible. Working in the mines wasn’t without any danger. The very flammable and at times explosive mine gasesalways posed a hidden threat. Apart from that there was always the continuous danger of collapse. The beautiful choral movements are therefore an ode to the miners that left their lives in the mine. The eastern scale refers tothe multicultural character of the mining environment of Berkenbos with its many commercial shops and different types of housing inherent in mining architecture. The mining profession is still a very dangerous job but at the endof the dark corridor the miners still see a beam of light as a sign of hope.

Five Early Piano Pieces. Par EOTVOS PETER. Peter Eötvös completed his early neo-classical Hungarian piano pieces at the age of 17. Now published in one volume, they were created when he studied composition at the Budapest Music Academy between 1959 and 1961, shortly before taking up a scholarship to study conducting in Cologne. A highlight is the witty three-movement Hommage à Haydn in which he humorously satirizes the famous Sonata in D major, nightmare of many a piano student, among others./ Répertoire / Piano

A work for Soprano Woodwind 2 Horns and Strings.Duration: circa 15 minutesProgramme Note: 'This work was commissioned as a possible companion piece to Mozart?s Exsultate Jubilate and the decision was quickly made to write something as a complete contrast. The poems chosen one anonymous from the early 16th century the other two by the famous Scottish poet William Dunbar [1460? 1513?] describe the promise of salvation after life?s dark passage. Each of the three poems echo this thought: ?In celum ther is joy with Thee? ?A short torment for infinite gladness? and ?Since erdly joy abides never Work for the joy thatlastès ever?. Thus in each poem the poet can overcome the fear of his inevitable death with the certainty of salvation: this work also has its ?dark? moments but the overall mood is one of calmness and peace. As with the words there are several musical motives that link the three songs. The musical motive for the refrain ?Terribilis mors conturbat me? in the first macaronic poem [also a salute to Mozart since the Exsultate is in Latin] returns a little higher and more despairingly in each verse until the last verse where it is played a whole octave higher. This motive reappears [played mostly by the oboes] in the last song but now the pitch of each repeat goes in reverse that is from high to low. The famous motive of the Gregorian chant Dies Irae [representing death] is used to accompany the prayer of the second song. A musical motive for the joy of Paradise appears in the second song ?A free choice given to Paradise or Hell?. There is also a ubiquitous 3-note chordal cluster which is used to illustrate the words: sometimes as a colour and