SKU: BT.DHP-1053805-040
9x12 inches. English-German-French-Dut ch.
This piece attempts to portray atmospheric pictures through music. The opening section evokes the somewhat misty and hazy early morning atmosphere surrounding the ancient monument. When the band reaches its first dynamic climax it is as if the massive boulders are audible, even touchable through the use of minor 3rd chords. The main theme - constructed on the notes CAFBG symbolises the arrangement of the central boulders in the shape of a horseshoe, which forms the focal point of this huge collection of stones. Towards the end of the work you will experience a fantastic effect when five soloists play a five part hymn whilst other members of the band create a specialatmosphere by imitating a choir of monks and druids. A fantastic major new concert work for advanced bands. Een enorme cirkel van gigantische rechtopstaande stenen staat al zo’n 3500 jaar lang in het zuidwesten van Engeland. In dit werk zijn sfeerbeelden omgezet in muziek. Hoewel er geen concreet verhaal aan ten grondslag ligt en er geenduidelijk scenario is gebruikt, verklankt deze compositie het mysterie en de grootsheid van het eeuwenoude geheimzinnige monument Stonehenge op voortreffelijke wijze.Im Südwesten Englands steht seit fast 3500 Jahren ein Ring riesiger Steine: Stonehenge. Das gleichnamige Werk von Jan Van der Roost bringt mystische Stimmungen und Bilder rund um die alte Stätte auf musikalische Weise zum Klingen. Das Hauptmotiv aus fünf Tönen zieht sich durch das gesamte Werk und symbolisiert den hufeisenförmigen inneren Ring des riesigen Steinkreises. Später gemahnen fünf Vokalsolisten sowie ein gesungener Druiden- und Mönchs-Chor an Stimmen aus einer fremden Welt. Stonehenges ungelüftetes Geheimnis schlug den Komponisten in seinen Bann und inspirierte ihn zu diesem ebenso unwiderstehlichen Werk, das Tohru Takahashi nun für Blasorchester transkribierte.Da ns le sud-ouest de l’Angleterre, se dresse, depuis plus de 3 500 ans, un impressionnant cercle de blocs de grès. En dépit de multiples recherches et calculs scientifiques, on ne connaît toujours pas la signification exacte de ce site. Au fil des siècles, de nombreuses suppositions et spéculations ont été avancées quant la fonction de Stonehenge, lieu de cérémonies religieuses, lieu de rituels et d’adoration, mais aucune de ces hypothèses n’a pu être démontrée de façon probante ce jour. Actuellement, on s’accorde penser que Stonehenge est un calendrier géant. La disposition particulière des blocs permet d’observer le lever du soleil ou le coucher de la lune, de prédire lessolstices d’été et d’hiver, de déterminer les positions de la lune travers les diagonales, etc. En résumé, ce mystérieux monument de pierre permet d’observer les changements de saison.Stonehenge est une mise en musique d’images et d’impressions atmosphériques ; un paysage sonore dont la trame ne suit aucun scénario précis, mais dont les images sont réelles.
SKU: BT.DHP-1053805-140
340 X 250 inches. English-German-French-Dut ch.
This piece attempts to portray atmospheric pictures through music. The opening section evokes the somewhat misty and hazy early morning atmosphere surrounding the ancient monument. When the band reaches its first dynamic climax itis as if the massive boulders are audible, even touchable through the use of minor 3rd chords. The main theme, constructed on the notes CAFBG, symbolises the arrangement of the central boulders in the shape of a horseshoe, whichforms the focal point of this huge collection of stones. Towards the end of the work you will experience a fantastic effect when five soloists play a five part hymn whilst other members of the band create a special atmosphere byimitating a choir of monks and druids. A fantastic major new concert work for advanced bands.Een enorme cirkel van gigantische rechtopstaande stenen staat al zo’n 3500 jaar lang in het zuidwesten van Engeland. In dit werk zijn sfeerbeelden omgezet in muziek. Hoewel er geen concreet verhaal aan ten grondslag ligt en er geenduidelijk scenario is gebruikt, verklankt deze compositie het mysterie en de grootsheid van het eeuwenoude geheimzinnige monument Stonehenge op voortreffelijke wijze.Im Südwesten Englands steht seit fast 3500 Jahren ein Ring riesiger Steine: Stonehenge. Das gleichnamige Werk von Jan Van der Roost bringt mystische Stimmungen und Bilder rund um die alte Stätte auf musikalische Weise zum Klingen. Das Hauptmotiv aus fünf Tönen zieht sich durch das gesamte Werk und symbolisiert den hufeisenförmigen inneren Ring des riesigen Steinkreises. Später gemahnen fünf Vokalsolisten sowie ein gesungener Druiden- und Mönchs-Chor an Stimmen aus einer fremden Welt. Stonehenges ungelüftetes Geheimnis schlug den Komponisten in seinen Bann und inspirierte ihn zu diesem ebenso unwiderstehlichen Werk, das Tohru Takahashi nun für Blasorchester transkribierte.Da ns le sud-ouest de l’Angleterre, se dresse, depuis plus de 3 500 ans, un impressionnant cercle de blocs de grès. En dépit de multiples recherches et calculs scientifiques, on ne connaît toujours pas la signification exacte de ce site. Au fil des siècles, de nombreuses suppositions et spéculations ont été avancées quant la fonction de Stonehenge, lieu de cérémonies religieuses, lieu de rituels et d’adoration, mais aucune de ces hypothèses n’a pu être démontrée de façon probante ce jour. Actuellement, on s’accorde penser que Stonehenge est un calendrier géant. La disposition particulière des blocs permet d’observer le lever du soleil ou le coucher de la lune, de prédire lessolstices d’été et d’hiver, de déterminer les positions de la lune travers les diagonales, etc. En résumé, ce mystérieux monument de pierre permet d’observer les changements de saison.Stonehenge est une mise en musique d’images et d’impressions atmosphériques ; un paysage sonore dont la trame ne suit aucun scénario précis, mais dont les images sont réelles.
SKU: BT.DHP-1053805-010
SKU: BT.DHP-1115114-015
Stand By Me, perhaps Ben E. Kingâ??s greatest hit ever, was first released in 1961 as the b-side of a single, but as it soon went to number one on the RandB charts and to number one of the pop charts, the single was released again with Stand By Me as the a-side. In 1986 it was rereleased again, on the release of the movie by the same name, and it is also well-known through countless cover versions by famous singers. Now, Stand By Me is available for a flexible five part instrumentation.S tand by Me, is waarschijnlijk wel de grootste hit van Ben E. King. In 1961 werd het nummer als B-kant van een single uitgebracht. Maar binnen de kortste keren stond Stand by Me op nummer 1 in de RandBhitlijsten en verwierf het eenvierde plaats in de pop charts. Niet in de laatste plaats door de gelijknamige film uit 1986 en de talrijke coverversies is dit nummer nog steeds bij jong en oud bekend én geliefd. Zet hem op uw programma en succes is gegarandeer!St and By Me, Ben E. Kings vielleicht gröÃ?ter Hit, erschien erstmals im Jahr 1961 auf Schallplatte. Zunächst nur als B-Seite einer Single verkauft, wendete sich das Blatt schnell, als Stand By Me binnen kurzem auf Platz 1 der RandB-Charts und Platz 4 der Popcharts schoss. Nicht zuletzt durch den gleichnamigen Film von 1986 und unzählige Coverversionen ist das Lied heute bei Jung und Alt bekannt und beliebt. Dieser Titel ist in der Reihe Flexible Band 5 Seriesâ?? erschienen und somit fu?nfstimmig variabel besetzbar.Stan d By Meest probablement lâ??un des plus grands succès composé et interprété en 1961 par Ben E. Kings. En 1986, le succès planétaire du film basé sur un roman de Stephen King propulse la chanson pour la seconde fois en tête des hit-parades internationaux. Roland Kernen nous propose un magnifique arrangement pour instrumentation variable 5 voix de ce standard indémodable. Stand By Me, del 1961, è probabilmente il più grande successo di Ben E. King. Il brano è basato su un gospel del 1955, riadattato a ritmi più moderni. Stand By Me ha raggiunto la top ten dei singoli più venduti negli Stati Uniti per due volte, nel 1961 e nel 1986, in occasione dellâ??uscita del film. Un evergreen ora disponibile nella serie â??Flexible Band 5 Seriesâ? per strumentazione variabile a cinque voci.
SKU: BT.1536-08-120-MS
In 1973 Juan Carlo Calderón wrote Eres Tu for the Spanish Basque pop group Mocedades. The song was placed second in that years Eurovision Song Contest and is one of only five Spanish language songs to get into the US top ten. Subsequently the song was translated into 15 different languages including an English version entitled Touch the Wind. This romantic ballad is a great inspirational item that will be well received by your audience. In 1973 schreef Juan Carlos Calderón het nummer Eres tú voor de Baskische groep Mocedades, die er de tweede plaats mee bereikte op het Eurovisiesongfestival. Daarna werd het een wereldwijde hit. Het arrangement van Roland Kernendoet niet onder voor het origineel. Geef met deze song een romantisch en herkenbaar tintje aan uw volgende concert.Mocedades est un groupe basque originaire de Bilbao. En 1973, il se classe deuxième au Concours Eurovision avec la chanson Eres tu (C’est pour toi) souvent citée comme une des plus belles chansons de l'Eurovision. On la doit un célèbre musicien espagnol, Juan Carlos Calderon. Eres Tu connaîtra un succès immense travers l'Europe, en Amérique latine et deviendra même un standard dans sa version anglaise Touch the Wind aux États-Unis et au Canada. Le thème est universel : l'amour inconditionnel.
SKU: CF.CM9588
ISBN 9781491154106. UPC: 680160912605. 6.875 x 10.5 inches. Key: Eb major. Latin. Traditional Latin.
Tomas Luis de Victoria (15481611) is widely considered the greatest Spanish Renaissance composer and one of the most influential musicians of his time. Included in his oeuvre are two settings of the Pange lingua, both produced in 1581. This motet is excerpted from the first of those and incorporates the original Roman melody, or cantus firmus. (He composed his second Pange lingua based on a Spanish melody.) The baritones anchor the motet by singing the tune in augmentation. This line should be intoned with a flowing, legato articulation that incorporates subtle phrasing and text stresses. The more rhythmic tenor and bass lines complement the melody and illustrate the hopeful nature of its text. Singing this piece with two pulses per measure will encourage a steady and vital performance. Composers provided minimal performance details in their scores during this period in music history, so I added a time signature, bar lines, dynamics, and metronome markings in order to facilitate performances that musicologists believe mimic those of Victorias time. It should be noted that dynamics are largely subjective, so performers may make alternative choices. Each tenuto indicates word stress; the most musical performances will incorporate gentle crescendos and decrescendos before and after each of them. Lastly, using minimal vibrato, especially at cadences, will imbue this wonderful motet with style and clarity. PRONUNCIATION GUIDE Victoria received much of his training in Italy, therefore making Italianate Latin most appropriate. Pure vowels are critical to correct pronunciation, and those phonemes remain constant without exceptions. The most problematic of the vowels is o, which sounds similar to the English words bought and got. The letter t should be produced dentally: lift the tongue to the top of the mouth as in English, but aspirate less on the release. All occurrences of s should be soft and never hardened to [z], such as in praise. Verbum caro, panem verum, [v??bum k??? p?n?m v?rum] verbo carnem efficit: fitque sanguis Christi merum. [v??b? k??n?m ??fit?it fitkw? s??gwis k?isti m??um] Et si sensus deficit, ad firmandum cor sin cerum. [?t si s?nsus ?d?fit?it, ?d fi??m?ndum k?? sin t???um] Jeb Mueller.TomA!s Luis de Victoria (1548a1611) is widely considered the greatest Spanish Renaissance composer and one of the most influential musicians of his time. Included in his oeuvre are two settings of the Pange lingua, both produced in 1581. This motet is excerpted from the first of those and incorporates the original Roman melody, or cantus firmus. (He composed his second Pange lingua based on a Spanish melody.) The baritones anchor the motet by singing the tune in augmentation. This line should be intoned with a flowing, legato articulation that incorporates subtle phrasing and text stresses. The more rhythmic tenor and bass lines complement the melody and illustrate the hopeful nature of its text. Singing this piece with two pulses per measure will encourage a steady and vital performance. Composers provided minimal performance details in their scores during this period in music history, so I added a time signature, bar lines, dynamics, and metronome markings in order to facilitate performances that musicologists believe mimic those of Victoriaas time. It should be noted that dynamics are largely subjective, so performers may make alternative choices. Each tenuto indicates word stress; the most musical performances will incorporate gentle crescendos and decrescendos before and after each of them. Lastly, using minimal vibrato, especially at cadences, will imbue this wonderful motet with style and clarity. PRONUNCIATION GUIDE Victoria received much of his training in Italy, therefore making Italianate Latin most appropriate. Pure vowels are critical to correct pronunciation, and those phonemes remain constant without exceptions. The most problematic of the vowels is ao,a which sounds similar to the English words bought and got. The letter ata should be produced dentally: lift the tongue to the top of the mouth as in English, but aspirate less on the release. All occurrences of asa should be soft and never hardened to [z], such as in praise. Verbum caro, panem verum, [vEE 3/4 bum kEE 3/4 E pEnEm vErum] verbo carnem efficit: fitque sanguis Christi merum. [vEE 3/4 bE kEE 3/4 nEm EEfitEit fitkwE sEAgwis kE 3/4 isti mEE 3/4 um] Et si sensus deficit, ad firmandum cor sin cerum. [Et si sEnsus EdEfitEit, Ed fiE 3/4 EmEndum kEE 3/4 sin tEEE 3/4 um] Jeb Mueller.Tomas Luis de Victoria (1548-1611) is widely considered the greatest Spanish Renaissance composer and one of the most influential musicians of his time. Included in his oeuvre are two settings of the Pange lingua, both produced in 1581. This motet is excerpted from the first of those and incorporates the original Roman melody, or cantus firmus. (He composed his second Pange lingua based on a Spanish melody.) The baritones anchor the motet by singing the tune in augmentation. This line should be intoned with a flowing, legato articulation that incorporates subtle phrasing and text stresses. The more rhythmic tenor and bass lines complement the melody and illustrate the hopeful nature of its text. Singing this piece with two pulses per measure will encourage a steady and vital performance. Composers provided minimal performance details in their scores during this period in music history, so I added a time signature, bar lines, dynamics, and metronome markings in order to facilitate performances that musicologists believe mimic those of Victoria's time. It should be noted that dynamics are largely subjective, so performers may make alternative choices. Each tenuto indicates word stress; the most musical performances will incorporate gentle crescendos and decrescendos before and after each of them. Lastly, using minimal vibrato, especially at cadences, will imbue this wonderful motet with style and clarity. PRONUNCIATION GUIDE Victoria received much of his training in Italy, therefore making Italianate Latin most appropriate. Pure vowels are critical to correct pronunciation, and those phonemes remain constant without exceptions. The most problematic of the vowels is o, which sounds similar to the English words bought and got. The letter t should be produced dentally: lift the tongue to the top of the mouth as in English, but aspirate less on the release. All occurrences of s should be soft and never hardened to [z], such as in praise. Verbum caro, panem verum, [verbum karo panem verum] verbo carnem efficit: fitque sanguis Christi merum. [verbo karnem 'efitSit fitkwe saNGgwis kristi merum] Et si sensus deficit, ad firmandum cor sin cerum. [et si sensus 'defitSit, ad fir'mandum kor sin tSerum] Jeb Mueller.Tomas Luis de Victoria (1548-1611) is widely considered the greatest Spanish Renaissance composer and one of the most influential musicians of his time. Included in his oeuvre are two settings of the Pange lingua, both produced in 1581. This motet is excerpted from the first of those and incorporates the original Roman melody, or cantus firmus. (He composed his second Pange lingua based on a Spanish melody.) The baritones anchor the motet by singing the tune in augmentation. This line should be intoned with a flowing, legato articulation that incorporates subtle phrasing and text stresses. The more rhythmic tenor and bass lines complement the melody and illustrate the hopeful nature of its text. Singing this piece with two pulses per measure will encourage a steady and vital performance. Composers provided minimal performance details in their scores during this period in music history, so I added a time signature, bar lines, dynamics, and metronome markings in order to facilitate performances that musicologists believe mimic those of Victoria's time. It should be noted that dynamics are largely subjective, so performers may make alternative choices. Each tenuto indicates word stress; the most musical performances will incorporate gentle crescendos and decrescendos before and after each of them. Lastly, using minimal vibrato, especially at cadences, will imbue this wonderful motet with style and clarity. PRONUNCIATION GUIDE Victoria received much of his training in Italy, therefore making Italianate Latin most appropriate. Pure vowels are critical to correct pronunciation, and those phonemes remain constant without exceptions. The most problematic of the vowels is o, which sounds similar to the English words bought and got. The letter t should be produced dentally: lift the tongue to the top of the mouth as in English, but aspirate less on the release. All occurrences of s should be soft and never hardened to [z], such as in praise. Verbum caro, panem verum, [verbum karo panem verum] verbo carnem efficit: fitque sanguis Christi merum. [verbo karnem 'efitSit fitkwe saNGgwis kristi merum] Et si sensus deficit, ad firmandum cor sin cerum. [et si sensus 'defitSit, ad fir'mandum kor sin tSerum] Jeb Mueller.Tomas Luis de Victoria (1548-1611) is widely considered the greatest Spanish Renaissance composer and one of the most influential musicians of his time. Included in his oeuvre are two settings of the Pange lingua, both produced in 1581. This motet is excerpted from Pange lingua more hisapano. The baritones anchor the motet by singing the tune in augmentation. This line should be intoned with a flowing, legato articulation that incorporates subtle phrasing and text stresses. The more rhythmic tenor and bass lines complement the melody and illustrate the hopeful nature of its text. Singing this piece with two pulses per measure will encourage a steady and vital performance. Composers provided minimal performance details in their scores during this period in music history, so I added a time signature, bar lines, dynamics, and metronome markings in order to facilitate performances that musicologists believe mimic those of Victoria's time. It should be noted that dynamics are largely subjective, so performers may make alternative choices. Each tenuto indicates word stress; the most musical performances will incorporate gentle crescendos and decrescendos before and after each of them. Lastly, using minimal vibrato, especially at cadences, will imbue this wonderful motet with style and clarity. PRONUNCIATION GUIDE Victoria received much of his training in Italy, therefore making Italianate Latin most appropriate. Pure vowels are critical to correct pronunciation, and those phonemes remain constant without exceptions. The most problematic of the vowels is o, which sounds similar to the English words bought and got. The letter t should be produced dentally: lift the tongue to the top of the mouth as in English, but aspirate less on the release. All occurrences of s should be soft and never hardened to [z], such as in praise. Verbum caro, panem verum, [verbum karo panem verum] verbo carnem efficit: fitque sanguis Christi merum. [verbo karnem 'efitSit fitkwe saNGgwis kristi merum] Et si sensus deficit, ad firmandum cor sin cerum. [et si sensus 'defitSit, ad fir'mandum kor sin tSerum] Jeb Mueller.Tomás Luis de Victoria (1548–1611) is widely considered the greatest Spanish Renaissance composer and one of the most influential musicians of his time. Included in his oeuvre are two settings of the Pange lingua, both produced in 1581. This motet is excerpted from Pange lingua more hisapano.The baritones anchor the motet by singing the tune in augmentation. This line should be intoned with a flowing, legato articulation that incorporates subtle phrasing and text stresses. The more rhythmic tenor and bass lines complement the melody and illustrate the hopeful nature of its text. Singing this piece with two pulses per measure will encourage a steady and vital performance.Composers provided minimal performance details in their scores during this period in music history, so I added a time signature, bar lines, dynamics, and metronome markings in order to facilitate performances that musicologists believe mimic those of Victoria’s time. It should be noted that dynamics are largely subjective, so performers may make alternative choices. Each tenuto indicates word stress; the most musical performances will incorporate gentle crescendos and decrescendos before and after each of them. Lastly, using minimal vibrato, especially at cadences, will imbue this wonderful motet with style and clarity.PRONUNCIATION GUIDEVictoria received much of his training in Italy, therefore making Italianate Latin most appropriate. Pure vowels are critical to correct pronunciation, and those phonemes remain constant without exceptions. The most problematic of the vowels is “o,†which sounds similar to the English words bought and got. The letter “t†should be produced dentally: lift the tongue to the top of the mouth as in English, but aspirate less on the release. All occurrences of “s†should be soft and never hardened to [z], such as in praise.Verbum caro, panem verum,[vɛɾbum kɑɾɔ pɑnɛm vɛrum]verbo carnem efficit: fitque sanguis Christi merum.[vɛɾbɔ kɑɾnɛm ˈɛfitʃit fitkwɛ sɑŋgwis kɾisti mɛɾum]Et si sensus deficit, ad firmandum cor sin cerum.[ɛt si sɛnsus ˈdɛfitʃit, ɑd fiɾˈmɑndum kɔɾ sin tʃɛɾum]Jeb Mueller.
SKU: BT.DHP-0920462-030
This piece attempts to portray atmospheric pictures through music. The opening section evokes the somewhat misty and hazy early morning atmosphere surrounding the ancient monument. When the band reaches its first dynamic climax it is as if the massive boulders are audible, even touchable through the use of minor 3rd chords. The main theme - constructed on the notes CAFBG symbolises the arrangement of the central boulders in the shape of a horseshoe, which forms the focal point of this huge collection of stones. Towards the end of the work you will experience a fantastic effect when five soloists play a five part hymn whilst other members of the band create a specialatmosphere by imitating a choir of monks and druids. A fantastic major new concert work for advanced bands. Een enorme cirkel van gigantische rechtopstaande stenen staat al zo’n 3500 jaar lang in het zuidwesten van Engeland. In dit werk zijn sfeerbeelden omgezet in muziek. Hoewel er geen concreet verhaal aan ten grondslag ligt en er geenduidelijk scenario is gebruikt, verklankt deze compositie het mysterie en de grootsheid van het eeuwenoude geheimzinnige monument Stonehenge op voortreffelijke wijze.Dans le sud-ouest de l’Angleterre, se dresse, depuis plus de 3 500 ans, un impressionnant cercle de blocs de grès. En dépit de multiples recherches et calculs scientifiques, on ne connaît toujours pas la signification exacte de ce site. Au fil des siècles, de nombreuses suppositions et spéculations ont été avancées quant la fonction de Stonehenge, lieu de cérémonies religieuses, lieu de rituels et d’adoration, mais aucune de ces hypothèses n’a pu être démontrée de façon probante ce jour. Actuellement, on s’accorde penser que Stonehenge est un calendrier géant. La disposition particulière des blocs permet d’observer le lever du soleil ou le coucher de la lune, de prédire lessolstices d’été et d’hiver, de déterminer les positions de la lune travers les diagonales, etc. En résumé, ce mystérieux monument de pierre permet d’observer les changements de saison.Stonehenge est une mise en musique d’images et d’impressions atmosphériques ; un paysage sonore dont la trame ne suit aucun scénario précis, mais dont les images sont réelles.
SKU: BT.DHP-0920462-130
Een enorme cirkel van gigantische rechtopstaande stenen staat al zo’n 3500 jaar lang in het zuidwesten van Engeland. In dit werk zijn sfeerbeelden omgezet in muziek. Hoewel er geen concreet verhaal aan ten grondslag ligt en er geenduidelijk scenario is gebruikt, verklankt deze compositie het mysterie en de grootsheid van het eeuwenoude geheimzinnige monument Stonehenge op voortreffelijke wijze.Dans le sud-ouest de l’Angleterre, se dresse, depuis plus de 3 500 ans, un impressionnant cercle de blocs de grès. En dépit de multiples recherches et calculs scientifiques, on ne connaît toujours pas la signification exacte de ce site. Au fil des siècles, de nombreuses suppositions et spéculations ont été avancées quant la fonction de Stonehenge, lieu de cérémonies religieuses, lieu de rituels et d’adoration, mais aucune de ces hypothèses n’a pu être démontrée de façon probante ce jour. Actuellement, on s’accorde penser que Stonehenge est un calendrier géant. La disposition particulière des blocs permet d’observer le lever du soleil ou le coucher de la lune, de prédire lessolstices d’été et d’hiver, de déterminer les positions de la lune travers les diagonales, etc. En résumé, ce mystérieux monument de pierre permet d’observer les changements de saison.Stonehenge est une mise en musique d’images et d’impressions atmosphériques ; un paysage sonore dont la trame ne suit aucun scénario précis, mais dont les images sont réelles.
SKU: HL.360275
ISBN 9781789361407. UPC: 840126990973. 9.0x12.0x0.225 inches.
Learn to play rock and pop with Rockschool. These specially written arrangements develop the skills and techniques you need to help you achieve your musical goals. For Rockschool's 2018-2024 Guitar series, Rockschool have commissioned arrangements of titles reflecting popular music's rich heritage in all its forms and have tailored each piece to make it exactly right for the grade. You can also use titles from Rockschool's Classics series as part of the syllabus. The arrangements have been written and performed by top session musicians who have worked with some of the biggest names in rock, metal and pop. The tracks were recorded at Real World's acclaimed recording studios and feature live instruments and first rate performances for an unrivalled level of feel, authenticity and musicianship. Featuring: Cissy Strut (The Meters) ââ¬Â¢ Domino ââ¬Â¢ Helter Skelter (The Beatles) ââ¬Â¢ Jessie J (Domino) ââ¬Â¢ Runaway Train (Rock 'N' Roll Train) (AC/DC) ââ¬Â¢ Sweet Soul Music (Arthur Conley) ââ¬Â¢ What Makes You Beautiful (One Direction) ââ¬Â¢ and six Rockschool originals. Plus: ââ¬Â¢ Band and artist fact files with recommended listening ââ¬Â¢ In-depth walkthroughs of every track ââ¬Â¢ Easy-access downloadable audio ââ¬Â¢ Example tests and exercises ââ¬Â¢ Amp settings and tone advice for each track.
SKU: CF.CM9735
ISBN 9781491161159. UPC: 680160919741. Key: A minor. Latin, English. Christopher Smart and ZRS.
Origins of the Tarantella The tarantella is a popular southern Italian dance with origins in the 11th century. (There is even some mention of the tarantella in ancient Greek mythology.) Of the possible sources of the dance, the most popular comes from the villages of Tanto and Tarentum (little spider), Italy. During harvest, workers in the field were sometimes bitten by the tarantula spider. To combat the poison, the afflicted workers went into a frenetic, almost musical exorcism to sweat the venom out of their pores. In the millennium since, the very energetic nature of the dance has remained, although the curative focus of the dance has given way to more enjoyable endeavors, even stately courtship. Origins of the Text Christopher Smart (1722-1771), also known as Kit Smart or Jack Smart, was born in Kent, England and suffered from what is now believed to be acute asthma and other health issues as a child. As such, he did not work in the fields, but spent much time reading and writing, a passion that he nurtured for a lifetime. Well known in London literary circles, his career as a writer floundered due to mounting debts and his falling out of favor with the literary establishment: Sadly, he was forced to confinement at St. Luke's Hospital for Lunatics, though this was based on his mounting debt, and not on insanity. (Confinement, or debtor's prison, was common during this period if one's debts could not be paid.) During his confinement, he worked on two of his most famous works, Jubilate Agno and A Song of David. (Part of Jubilate Agno [Rejoice in the Lamb] was set to music by English composer, Benjamin Britten.) Smart's writing style (which, at times, bordered on the absurd), along with his many obsessions, lead to frequent misperceptions of his work and his lucidity. In this present work, portions of Smart's Jubilate Agno were used in mm. 24-31, 103-110 and 149-156. The remaining text was gathered by the composer, including the rapid, almost patter-like, delivery of words from A-Z in the alphabet. (Christopher Smart had a preoccupation with the alphabet.) These words both rhyme and accentuate the frenetic nature of the spider dance: theraphosa [teh-rah-fo-sa] a genus of tarantula spiders bellicose [beh-lee-ko-sah] hostile; aggressive odiosa [o-dee-o-sa] hateful; vexation tenebrosa [teh-neh-bro-sa] creeping; dark nemorosa [neh-mo-ro-sa] wooded; shady lapidosa [lah-pee-do-sa] stony area; gritty The convergence, then, of the medieval tarantella (spider dance), the writings of a brilliant poet who bordered on the absurd, and the infusion of strong, descriptive and otherwise random, rhyming words, synthesizes to make dramatic lyrics for this work. About the Composer Z. Randall Stroope is an American composer and conductor. He has served as Professor of Music at three universities (an Endowed Professor at two), conducted 47 all-state choirs, and directed over 40 times at Carnegie Hall, among other American venues. Randall guest conducts full-time, and composes from his home studios on Merritt Island, Florida and in Sandia Park, New Mexico. Performance Notes Text: In Latin, the r is flipped; use s instead of z on endings such as phosa, cosa, and so on; the Latin o is a cross between oh and aw; in the transliteration above, I chose to simply use an o for consistency. The director will blend the oh and aw in the rehearsals to his/her own preference. Lastly, tarantula is pronounced tah-rah-n-too-lah (avoid teh-ran-choo-luh) within the confines of this text. Stomp: This can be done by the entire chorus, or just the first row. It is as much visual as it is auditory. The string quartet is preferred over piano when that option affords itself. I created a piano score that is a viable option and included it in the piano/vocal score if a performance uses chorus/piano.The tarantella is a popular southern Italian dance with origins in the 11th century. (There is even some mention of the tarantella in ancient Greek mythology.) Of the possible sources of the dance, the most popular comes from the villages of Tanto and Tarentum (“little spiderâ€), Italy. During harvest, workers in the field were sometimes bitten by the tarantula spider. To combat the “poison,†the afflicted workers went into a frenetic, almost musical exorcism to sweat the venom out of their pores. In the millennium since, the very energetic nature of the dance has remained, although the curative focus of the dance has given way to more enjoyable endeavors, even stately courtship.Christopher Smart (1722-1771), also known as “Kit Smart†or “Jack Smart,†was born in Kent, England and suffered from what is now believed to be acute asthma and other health issues as a child. As such, he did not work in the fields, but spent much time reading and writing, a passion that he nurtured for a lifetime. Well known in London literary circles, his career as a writer floundered due to mounting debts and his falling out of favor with the literary establishment: Sadly, he was forced to confinement at St. Luke’s Hospital for Lunatics, though this was based on his mounting debt, and not on insanity. (Confinement, or debtor’s prison, was common during this period if one’s debts could not be paid.) During his confinement, he worked on two of his most famous works, Jubilate Agno and A Song of David. (Part of Jubilate Agno [“Rejoice in the Lambâ€] was set to music by English composer, Benjamin Britten.) Smart’s writing style (which, at times, bordered on the absurd), along with his many obsessions, lead to frequent misperceptions of his work and his lucidity. In this present work, portions of Smart’s Jubilate Agno were used in mm. 24-31, 103-110 and 149-156. The remaining text was gathered by the composer, including the rapid, almost patter-like, delivery of words from A-Z in the alphabet. (Christopher Smart had a preoccupation with the alphabet.) These words both rhyme and accentuate the frenetic nature of the spider dance:The convergence, then, of the medieval tarantella (spider dance), the writings of a brilliant poet who bordered on the absurd, and the infusion of strong, descriptive and otherwise random, rhyming words, synthesizes to make dramatic lyrics for this work.Z. Randall Stroope is an American composer and conductor. He has served as Professor of Music at three universities (an Endowed Professor at two), conducted 47 all-state choirs, and directed over 40 times at Carnegie Hall, among other American venues. Randall guest conducts full-time, and composes from his home studios on Merritt Island, Florida and in Sandia Park, New Mexico. In Latin, the “r†is flipped; use “s†instead of “z†on endings such as “phosa,†“cosa,†and so on; the Latin “o†is a cross between “oh†and “awâ€; in the transliteration above, I chose to simply use an “o†for consistency. The director will blend the “oh†and “aw†in the rehearsals to his/her own preference. Lastly, “tarantula†is pronounced “tah-rah-n-too-lah € (avoid “teh-ran-choo-luhâ €) within the confines of this text.Stomp: This can be done by the entire chorus, or just the first row. It is as much visual as it is auditory. The string quartet is preferred over piano when that option affords itself. I created a piano score that is a viable option and included it in the piano/vocal score if a performance uses chorus/piano.The tarantella is a popular southern Italian dance with origins in the 11th century. (There is even some mention of the tarantella in ancient Greek mythology.) Of the possible sources of the dance, the most popular comes from the villages of Tanto and Tarentum (“little spiderâ€), Italy. During harvest, workers in the field were sometimes bitten by the tarantula spider. To combat the “poison,†the afflicted workers went into a frenetic, almost musical exorcism to sweat the venom out of their pores. In the millennium since, the very energetic nature of the dance has remained, although the curative focus of the dance has given way to more enjoyable endeavors, even stately courtship.Christopher Smart (1722-1771), also known as “Kit Smart†or “Jack Smart,†was born in Kent, England and suffered from what is now believed to be acute asthma and other health issues as a child. As such, he did not work in the fields, but spent much time reading and writing, a passion that he nurtured for a lifetime. Well known in London literary circles, his career as a writer floundered due to mounting debts and his falling out of favor with the literary establishment: Sadly, he was forced to confinement at St. Luke’s Hospital for Lunatics, though this was based on his mounting debt, and not on insanity. (Confinement, or debtor’s prison, was common during this period if one’s debts could not be paid.) During his confinement, he worked on two of his most famous works, Jubilate Agno and A Song of David. (Part of Jubilate Agno [“Rejoice in the Lambâ€] was set to music by English composer, Benjamin Britten.) Smart’s writing style (which, at times, bordered on the absurd), along with his many obsessions, lead to frequent misperceptions of his work and his lucidity. In this present work, portions of Smart’s Jubilate Agno were used in mm. 24-31, 103-110 and 149-156. The remaining text was gathered by the composer, including the rapid, almost patter-like, delivery of words from A-Z in the alphabet. (Christopher Smart had a preoccupation with the alphabet.) These words both rhyme and accentuate the frenetic nature of the spider dance:The convergence, then, of the medieval tarantella (spider dance), the writings of a brilliant poet who bordered on the absurd, and the infusion of strong, descriptive and otherwise random, rhyming words, synthesizes to make dramatic lyrics for this work.Z. Randall Stroope is an American composer and conductor. He has served as Professor of Music at three universities (an Endowed Professor at two), conducted 47 all-state choirs, and directed over 40 times at Carnegie Hall, among other American venues. Randall guest conducts full-time, and composes from his home studios on Merritt Island, Florida and in Sandia Park, New Mexico.In Latin, the “r†is flipped; use “s†instead of “z†on endings such as “phosa,†“cosa,†and so on; the Latin “o†is a cross between “oh†and “awâ€; in the transliteration above, I chose to simply use an “o†for consistency. The director will blend the “oh†and “aw†in the rehearsals to his/her own preference. Lastly, “tarantula†is pronounced “tah-rah-n-too-lah € (avoid “teh-ran-choo-luhâ €) within the confines of this text.Stomp: This can be done by the entire chorus, or just the first row. It is as much visual as it is auditory. The string quartet is preferred over piano when that option affords itself. I created a piano score that is a viable option and included it in the piano/vocal score if a performance uses chorus/piano.
SKU: HL.49006500
ISBN 9790001070584. 9.0x12.0x0.38 inches.
Ausgabe mit Akkordsymbolen, Tastensymbolen fur akkordprogrammierte Orgeln (Easychord, Chordomatic etc.), Fingersatzen, Registrieranweisungen, Registrierschema, Akkordgrifftabelle.
SKU: HL.49033068
ISBN 9783795756000. 9.0x12.0x0.664 inches. German.
Whoever pursues piano playing as a hobby mostly focusses on two things: playing from music, with as wide a range of works from classical, pop and jazz music as possible, and playing without the book, i.e. the ability to accompany melodies with chords, play songs by ear and improvise freely. In this volume, both topics are dealt with thoroughly and systematically. Whereas most piano methods prefer either classical or popular music, both kinds of music are well-balanced herein.Clearly structured chapters cover a variety of interesting topics: the Baroque, Classical and Romantic eras, popular piano styles (e.g. ragtime, boogie, rock 'n' roll, pop ballad), the blues and the genres of opera, operetta and ballet.
SKU: M7.GHE-915
ISBN 9783890449159. English.
Miguel Llobet's famous Catalan plucked string orchestra called the 'Lira Orfeo' was active in Barcelona from 1899-1906. Here we present a new engraving of all the surviving original scores, set in the same performing score format in which they were originally used 120 years ago. The Lira Orfeo quickly became an important part of Barcelona's cultural scene; with Tárrega as its honorary president the Lira Orfeo society was founded in 1898 and an official inaugural concert, shared between Manuel Burgés (pno) and Miguel Llobet (gtr) took place in Barcelona in 1898. The aim of the society was to offer a full musical education, both theoretical and instrumental, for guitarists and players of other plucked instrument family, with eventually with a place in its Catalan plucked instrument orchestra of the same name. The teachers for guitar were Miguel Llobet, Pedro Lloret and Domingo Prat. Prominent musicians such as Manuel Burgés and Baldomera Cateura were also on the teaching staff. Classes were given three times a week, and as the players were mainly amateurs with day jobs, these took place in the evening and often went on until 2 o'clock in the morning. The debut of the orchestra took place in 1903 and it gave regular concerts at top venues right up to the society's dissolution in 1907, mainly due to lack of funding. For the instruments used see the list of works below. The repertoire is varied, selected, arranged by Miguel Llobet it was mainly drawn from traditional and impressionist Iberian music, as well as the German classics, it includes a specially commissioned work Triomphe d'Orphée' by the famous Catalán pianist Manuel Burgés. We at Guitar Heritage are proud to present the first publication of this huge cultural contribution to music in its original form and prepared from the source manuscripts which were the work of Miguel Llobet. The edition has many illustrations, rare documents and photographs as well as a comprehensive critical commentary by Stefano Grondona - whose knowledge of Miguel Llobet, as well as of Catalonian culture, has made an edition of this scope possible. These arrangements are superb and presented as they originally were in the same score form. The now relatively rare instruments called for can be replaced by suitable alternatives - this is ideal and interesting material for adapting to guitar orchestra/ensemble or mandolin orchestra, or similar.
SKU: HL.49007187
ISBN 9783795750213.
Kein e Frage! Zu einem modernen, komfortabel ausgestatteten Keyboard gehoren auch zeitgemasse, ansprechende Notenausgaben. Diese Serie ist fur die Keyboards der neuen Generation massgeschneidert, die die leicht spielbaren Arrangements im Supersound erklingen lassen. Die Ausstattung der Hefte durfte alle Erwartungen eines Keyboarders erfullen. Sie finden: Vorschlage zur Registrierung, zum Tempo, zur Begleitautomatik, zum Einsatz von Effekten, leicht spielbare Fingersatze, Hinweise zur Ausfuhrung jedes Stuckes und je eine Tabelle, in die Sie Ihre personlichen Gestaltungsideen eintragen konnen. Die doppelseitige Einlage: zeigt Ihnen alle Griffe fur den Einsatz der Einfinger-Akkord-Automati k, gibt Ihnen grundlegende Informationen uber die Moglichkeiten Ihres Instruments, enthalt speziell auf das Keyboard zugeschnittene Tipps zum Uben, mit deren Hilfe Sie jedes dieser Stucke vorfuhrreif spielen lernen und erklart und ubersetzt im Mini-Lexikon mehr als 60 Begriffe aus der Fachsprache des Keyboarders.