Extra Elements

Produced in close collaboration with the composer this exclusive Piano folio presents four tracks from the special edition of Ludovico Einaudi's Elements along with imagery and exclusiveillustrations. Suitable for intermediate pianists this collection comprises pieces from the deluxe album — ‘Drop Solo’ and ‘Twice Solo’ — plus two versions of‘Elegy For The Arctic’ specially written for Greenpeace. Also included are photos from Einaudi’s incredible floating performance on the Arctic Ocean and unique text and illustrations.Einaudi’s 2015 album Elements broke records not only in the classical realm but also the pop charts overtaking Taylor Swift and James Bay and pushing into further genres with remixes byelectronic artists including Mogwai and Starkey. The solo Piano versions of the two tracks ‘Drop’ and ‘Twice’ return the music to a purer form offering a more intimate experiencefor fans enthusiasts and students. Four new transcriptions for Piano solo Notes from the composer Unique illustrations and imagery from Einaudi’s performance on the Arctic OceanIncludes… Elegy For The Arctic Drop Solo Twice Solo and the extended studio version of Elegy For The Arctic Learn the official 'Elegy for the Arctic' Sheet Music for Piano included in the new SpecialEdition 'Extra Elements' in this exclusive video brought to you by Musicroom.  

Songs from the Zarzuela for Tenor with piano accompaniment including notes on the dramatic context of each song and English literal translations by Christopher Webber. This unique collection presents celebrated songs from Zarzula the popular Spanish tradition of music theatre which draws on elements of opera popular song dance and spoken drama. As well as providing an excellent selection of high quality vocal music the ever-increasing popularity of Zarzuela means that this collection of songs will be welcomed by a wide range of experienced singers students amateur musicians and audiences everywhere.

Make the silence talk'La Muette knew how to make the silence talk like no one', writes Djavann in his book (La Muette, © Flammarion 2008). Those words deeply touched me for they express one of the most beautiful metaphors in music. Through the lines of discourse, beyond words, I was listening to the silence of 'La Muette'. A rare and intense listening which joins the same internal listening I use when I'm writing my score. I was listening to La Muette, I decided to write a new piece to make the silent voice of La Muette told by Chahdortt Djavann sound through music. Choosing the extracts The text put in music is composed of short extracts from Djavann's story. I focused on this woman's portrait, who conquers her freedom through silence in which she forms a strong love relationship with her niece Fatemeh on the one hand, and the Uncle on the other hand. 'She had made her silence become her art of living, her freedom' writes Djavann. The extremely dramatic tension, the flow of the singing in Persian language, and the oppression in relation to the Iranian context are trying to underline the independent beauty of that woman who resists and exists without a voice. Story A young 15 years old Iranian girl named Fatemeh is in jail. Waiting for her death sentence, she writes the story of her aunt on a small notebook, 'so that someone remembers La Muette and myself'. The young teenager was raised by her aunt who becomes mute because she decided to stop talking on a dark day of her own childhood when she was interrogated, never to tell THE truth. An aunt whose silence makes even more fascinating, haughty, with an insolent look, cigarette at her lips, bare-footed and without any scarf on her head. 'La Muette' had made her silence become her art of living, her freedom. Around her, women start to talk, even considering her mad, for only a mad person could act this way. Fatemeh loves her mute aunt unconditionally, that is how she wants to become a woman, by being like her, fascinated by her silence and her excesses. La Muette embodies a figure of Freedom and makes us remember that in some countries, the woman who won't be submissive risks capital punishment. She will be hung. Following this beautiful text by Chahdortt Djavann, 'La Muette', a powerful text, stiff, tensed, without any lyricism nor compromises, which takes place in Iran under the Mollahs' regime. Persian: Phonological material / Compositional material Djavann's story is written in French. I asked Baharé Khadjé-Nouri to translate the text into Persian, and worked with her on pronunciation, accentuation, metric and the structure of the language, and I thank her again for that. I spent a long time having some people reading me the text in Persian and through listening I immersed myself in that sound universe. From this linguistic material, the beginning of the piece starts with the constitution of a tank of sound objects which will constitute parts of the compositional material. To compose the phonological tank, I worked on writing the pronunciation that lies at the origin of every possible vocal composition, writing the tone as well as the 'percussive - resounding' aspects of phonemes, multiple uses of fricative consonants or sibilants. Finally I used the vocal treatment of the phoneme through modes of play in relation to sprechsang: sing -inspire, or -expire, -blow, -chanting, -whispering, -spitting, -speaking. But a purely phonetic analysis of the vocal structures composing the sung part would reduce the word to its mere phonetic entity. The phonological material then constituted a compositional material by giving to the sung word its semantic entity. Form of the piece To strip the drama off every narrative element, at least of the discursive and linear character of the story, I first re-organized parts of the text extracted from the whole book in an order fitting the form I wanted to give to the piece (except for the beginning and ending which are kept in their linear forms). I imagined Fatemeh in jail, whose memories bounced between the four walls of her cell: recurring musical material, re-injected in an obsessive way, disjointed and contrasted, continuously modified each time, bouncing from one sequence to the next in another state. The piece is divided into 5 sequences, between each of them is an instrumental interlude with a voice-off, the voice of the present in the cell that contrasts with the singing voice of the sequence, evocation of memories of La Muette (sequence 1: preamble, sequence 2: portrait of La Muette, sequence 3: La Muette and Fatemeh, sequence 4: La Muette and the Uncle, sequence 5: epilogue). Electroacoustic setupFor this piece, I wrote the electroacoustic parts myself at the same time I was writing the instrumental parts. The electroacoustic setup is here considered as a whole instrument, an instrument added to the 12 others electroacoustic instruments and to Donatienne's voice. The electroacoustic sounds are divided into three types: - Samples from the singer's voice and instruments of the TM+ ensemble transformed - The narrator's voice Baharé Khadjé-Nouri in Persian, original version or transformed - Extra-musical sounds As for the synchronization between the acoustic and the electroacoustic scores, we will use for the first time an innovative application developed by Frédéric Bevilacqua and Bruno Zamborlin, not to follow the moves as we did it in StreicherKreis (my string quartet created in November 2008), but to follow the voice and orchestra. Thus, we will be using an 'audio-following', which constituted a first. This setup of recognition and following will allow the synchronization between instrumental and electroacoustic scores in a musical and precise way. Concerning the interactivity between performers and device, it will all be in real-time. Characteristics of the musicians' sound will 'interpret' what comes out of the speakers. The musicians will define the settings of the sound transformations, in terms of space, transposition, tone or length. This new piece expresses a message through the choice of subject that goes beyond strictly music. For me, it is important that both the composer and writer can invest their work into problematics which they're confronted to because they are immediate witnesses. / Soprano Et Percussions

In view of the enormous upswing in popularity that the accordion has experienced as an avantgarde instrument in the last decades of the twentieth century, a systematic elaboration of the latest instrumental techniques and forms of expression, as well as detailed instructions on how to employ the accordion have been sorely lacking.
This book explains all the playing techniques, registers as well as tonal potentials and expressive possibilities of the accordion. It demonstrates the distinctive elements of these techniques and in addition, gives composers valuable information concerning notation.
A CD with examples of sound techniques and excerpts from the repertoire is included. An extra fold-out chart presents a full-sized layout of the treble and bass sides, helping composers to check fingering possibilities. This long-awaited book will be an essential tool for composers, performers and teachers.

- Comprehensive description of all relevant playing techniques on the button accordion
- Practical notation suggestions for composers
- Music examples from important contemporary works
- CD containing examples of all registration and playing techniques and excerpts from the repertoire
- Full size, fold-out chart giving the arrangement of the buttons on the instrument
- Text in two languages (Ger/Eng)

?This book by Bettina Buchmann is a real boon; it gives not only a representative overview of the latest instrumental techniques and forms of expression on the accordion today, but paves the way for composers and accordionists to compose and perform idiomatically on the instrument. The author and publisher deserve the highest recognition for this.? (Teodoro Anzellotti)

?The accordion has enjoyed a revival in popularity in recent times ? numerous composers have discovered it as a solo instrument, in chamber music and also for its orchestral sound. I?m really happy to have this exceptionally clearly laid out book by Bettina Buchmann by my side as a guide and incentive for my further explorations into the instrument.?
(Beat Furrer)
/ [Les Techniques du jeu d'accordéon] / Méthodes

The Complete Wedding Music Planner is a comprehensive guide to selecting and performing the music and choosing readings that will make your wedding day extra special.Planning your wedding is an enjoyable butchallenging task. Just as important as the practical elements is choosing the music and readings that will be at the emotional heart of your big day. Selecting the perfect music in the best arrangements and choosing texts thatcreate exactly the right atmosphere are personal and important decisions where good advice and practical help are absolutely crucial.With sheet music for over 40 pieces of suitable music spanning the classical pop and jazzgenres The Complete Wedding Music Planner offers more than mere advice - it is a complete practical resource for the bride groom musicians and readers. With popular processional music music for signing theregisters as well as popular songs without that religious tinge for couples marrying in a secular ceremony. Coming complete with 3 audio CDs that contain backing and demo tracks as well as sample readings TheComplete Wedding Music Planner has absolutely everything you need to plan and organise the all-important words and music for your wedding. It is perfect for a singer who is looking to perform at weddings as well as thebride- and groom-to-be who need to plan the musical background to each and every section of the ceremony. With space at the back to write which musical choices you ended up making The Complete Wedding Music Plannerwould make a perfect memento for the bride and groom to remind them of the best day of their lives.Containing over 280 pages of music photographs illustrations Bible readings poems sample vows and practicaladvice this is no ordinary collection of wedding-themed sheet music. The Complete Wedding Music Planner is the ideal guide for putting together your wedding your way.

Rhythm And Blues is Book 3 in the series of tried and tested Piano pedagogy from Wesley Schaum's 1971 course. Featuring 15 short and easy but fun pieces with an emphasis on rhythm and syncopation this book will prove invaluable for those students who want to inject a little extra into their playing. Each of these pieces is incredibly fun to play incorporating elements from those most rhythmic of genres such as jazz blues ragtime and boogie-woogie. It's ideal for young students who are looking to expand their repertoire to other musical styles as well as classical developing their sense of rhythm and othercrucial fundamentals of Piano technique. The Rhythm And Blues series has been successfully used for years allowing students to enter the rudiments of rhythm. Besides this these 15 compositions provide additional experience with a variety of key signatures time signatures phrase groups and differing fingerings. This book has been designed for teenagers and those younger who are getting started with playing Piano and want to jazz up their playing. With tempo markings chord symbols and game instructions in German and English Book 3 also comes with drawings and a foam-chord dictionary. If you've used the previous two books in the series or you want to get started playing a new and exciting style check out Wesley Schaum's Rhythm And Blues.

The very thought of aural especially in examinations strikes fear into the heart of many young pianists and instrumentalists. But aural should not be an occasional optional extra it’s something to be developing all the time because having a good ear will help you to improve as a musician more than any other single musical skill.Improve your Aural! Is designed to take the fear out of aural. Through fun listening activities boxes to fill in and practice exercises this workbook with CD focuses on all the elements of the aural test. And because all aspects of musical training are of course connected a range of interconnected activities are includedto help develop the ear including singing clapping playing your instrument writing music down improvising and composing.This new edition of this popular series supports new ABRSM syllabus requirements from 2010 ensuring success in the aural test of graded exams.

Horovitz composed this work during February and March 1969 as a tribute to E. H. Gombrich on his 60th birthday.In this one-movement quartet the opening thematic material is deliberately based on the decadent chromatic gestures prevalent in early twentieth century Viennese music. Healthier diatonic discords tear into these themes during a long development section and in a way finally cleanse them.The melodies of the first section are entirely based on the intervals of the third and sixth but with garish appendages of extra chromaticism (produced by means of bi-tonality between the upper and lower instruments). After the conflict these intervals emerge in their trueand elemental role as essential pillars of a major key.