Matériel : Partition + CD
SKU: HL.360471
ISBN 9781789361896. UPC: 840126990850. 9.0x12.0x0.268 inches.
Rockschool Acoustic is for candidates who have been learning a short time and have learnt the basic skills. The 2019 Acoustic syllabus is a refreshed approach to acoustic guitar. The syllabus features six tracks for each grade that have been meticulously benchmarked to support students as they learn the instrument. At each grade two of the pieces ask the students to perform without backing track, exploring the sound and resonance of their instrument. The remaining tracks are session style backing tracks that include vocal accompaniment. We've also included the vocal melody lines in the grade books for students who sing and play at the same time. • 6 new arrangements of iconic rock, pop, and contemporary music tracks from classic and contemporary artists including Sting, Seal, José González, Nick Drake, Extreme, and Fats Waller • A diverse selection of contemporary music ever seen in a syllabus making the Grades accessible to everyone without precluding any musical tastes • Fact Files: band and artist background information with recommended listening • Walkthroughs: in-depth guidance on every track • Downloadable audio: easily access audio content online • All the essential music theory and technique you need to pass your exams.
SKU: CF.CM9700
ISBN 9781491160008. UPC: 680160918607. Key: A minor. Hungarian. Hungarian Folk.
In 2014, Chanticleer commissioned me to make a new arrangement of the Hungarian-Romani folk song Jarba, Mare Jarba for their 2014 touring program. Passed down orally through the Romani communities, this beautiful folk song, with text in a language called Beas (beh-osh), speaks of a deep longing to visit one's homeland, a place where the singer can never return. Chanticleer consists of twelve men whose vocal ranges span from low bass to high soprano, equivalent to the range of a mixed choir of women and men. I composed slow sections of original material to represent the singers' longing to return home; these are interspersed with the folk song's traditional fast sections. The incorporated shouts and calls in the score are typically found in the performance of Central European folk songs. I hope you enjoy singing this new version of Jarba, Mare Jarba that contains all of the vigor and excitement of the Chanticleer version. PERFORMANCE NOTES All spoken sounds (indicated by x noteheads) should be performed by individuals. Feel free to elaborate with more sounds of your own in the tradition of Eastern European folk music. If the piece is memorized, feel free to experiment with clapping on the off-beats of m. 93 to the end. TEXT Transliteration Jarba, mare jarba mas duce a casa, da nu pot ca am jurat, Jarba, mare jarba mas duce a casa, da nu pot ca am jurat. Mare jarba, verde jarba nu me pot duce a casa. Jarba, mare jarba mas duce a casa, da nu pot ca am jurat. O mers mama de pe sat, O lasat coliba goala, Infrunzitu, ingurzitu da plina de saracie, da plina de saracie. Mare jarba, verde jarba nu me pot duce a casa. Jarba, mare jarba mas duce a casa, da nu pot ca am jurat. Translation Green grass, tall grass, I would like to go home, but I cannot, because I have sworn not to. Tall grass, green grass - oh, that I cannot go home! My mother has left the village; she left the hut empty, Adorned with leaves but full of poverty. Tall grass, green grass - oh, that I cannot go home! Tall grass, green grass - I would like to go home. but I cannot, because I have sworn not to. Stacy Garrop's music is centered on dramatic and lyrical storytelling. The sharing of stories is a defining element of our humanity; we strive to share with others the experiences and concepts that we find compelling. She shares stories by taking audiences on sonic journeys - some simple and beautiful, while others are complicated and dark - depending on the needs and dramatic shape of the story. Garrop served as the first Emerging Opera Composer of Chicago Opera Theater's Vanguard Program. She also held a 3-year composer-in-residence position with the Champaign-Urbana Symphony Orchestra, funded by New Music USA and the League of American Orchestras. She has received numerous awards and grants including an Arts and Letters Award in Music from the American Academy of Arts and Letters, Fromm Music Foundation Grant, Barlow Prize, and three Barlow Endowment commissions, along with prizes from competitions sponsored by the Detroit Symphony Orchestra, Civic Orchestra of Chicago, Omaha Symphony, New England Philharmonic, Boston Choral Ensemble, Utah Arts Festival, and Pittsburgh New Music Ensemble. She is a Cedille Records artist; her works are commercially available on more than ten additional labels. Her catalog covers a wide range, with works for orchestra, opera, oratorio, wind ensemble, choir, art song, various sized chamber ensembles, and works for solo instruments. Notable commissions include My Dearest Ruth for soprano and piano with text by Martin Ginsburg, the husband of the late Supreme Court Justice Ruth Bader Ginsburg, The Transformation of Jane Doe for Chicago Opera Theater, The Battle for the Ballot for the Cabrillo Festival Orchestra, Goddess Triptych for the St. Louis Symphony Orchestra, Glorious Mahalia for the Kronos Quartet, Give Me Hunger for Chanticleer, Rites for the Afterlife for the Akropolis and Calefax Reed Quintets, and Terra Nostra: an oratorio about our planet, commissioned by the San Francisco Choral Society and Piedmont East Bay Children's Chorus. Garrop previously served as composer-in-residence with the Albany Symphony and Skaneateles Festival, and as well as on faculty of the Fresh Inc Festival (2012-2017). She taught composition and orchestration full-time at Roosevelt University 2000-2016) before leaving to launch her freelance career. She earned degrees in music composition at the University of Michigan-Ann Arbor (B.M.), University of Chicago (M.A.), and Indiana University-Bloomington (D.M.).In 2014, Chanticleer commissioned me to make a new arrangement of the Hungarian-Romani folk song Jarba, Mare Jarba for their 2014 touring program. Passed down orally through the Romani communities, this beautiful folk song, with text in a language called Beas (beh-osh), speaks of a deep longing to visit one’s homeland, a place where the singer can never return. Chanticleer consists of twelve men whose vocal ranges span from low bass to high soprano, equivalent to the range of a mixed choir of women and men. I composed slow sections of original material to represent the singers’ longing to return home; these are interspersed with the folk song’s traditional fast sections. The incorporated shouts and calls in the score are typically found in the performance of Central European folk songs. I hope you enjoy singing this new version of Jarba, Mare Jarba that contains all of the vigor and excitement of the Chanticleer version.PERFORMANCE NOTESAll spoken sounds (indicated by x noteheads) should be performed by individuals. Feel free to elaborate with more sounds of your own in the tradition of Eastern European folk music.If the piece is memorized, feel free to experiment with clapping on the off-beats of m. 93 to the end.TEXTTransliterationJa rba, mare jarba mas duce a casa, da nu pot ca am jurat, Jarba, mare jarba mas duce a casa, da nu pot ca am jurat. Mare jarba, verde jarba nu me pot duce a casa.Jarba, mare jarba mas duce a casa, da nu pot ca am jurat.O mers mama de pe sat, O lasat coliba goala,Infrunzitu, ingurzitu da plina de saracie, da plina de saracie. Mare jarba, verde jarba nu me pot duce a casa.Jarba, mare jarba mas duce a casa, da nu pot ca am jurat.TranslationGreen grass, tall grass, I would like to go home, but I cannot, because I have sworn not to.Tall grass, green grass – oh, that I cannot go home!My mother has left the village; she left the hut empty, Adorned with leaves but full of poverty.Tall grass, green grass – oh, that I cannot go home! Tall grass, green grass – I would like to go home.but I cannot, because I have sworn not to.Stacy Garrop’s music is centered on dramatic and lyrical storytelling. The sharing of stories is a defining element of our humanity; we strive to share with others the experiences and concepts that we find compelling. She shares stories by taking audiences on sonic journeys – some simple and beautiful, while others are complicated and dark – depending on the needs and dramatic shape of the story.Garrop served as the first Emerging Opera Composer of Chicago Opera Theater’s Vanguard Program. She also held a 3-year composer-in-residence position with the Champaign-Urbana Symphony Orchestra, funded by New Music USA and the League of American Orchestras. She has received numerous awards and grants including an Arts and Letters Award in Music from the American Academy of Arts and Letters, Fromm Music Foundation Grant, Barlow Prize, and three Barlow Endowment commissions, along with prizes from competitions sponsored by the Detroit Symphony Orchestra, Civic Orchestra of Chicago, Omaha Symphony, New England Philharmonic, Boston Choral Ensemble, Utah Arts Festival, and Pittsburgh New Music Ensemble. She is a Cedille Records artist; her works are commercially available on more than ten additional labels.Her catalog covers a wide range, with works for orchestra, opera, oratorio, wind ensemble, choir, art song, various sized chamber ensembles, and works for solo instruments. Notable commissions include My Dearest Ruth for soprano and piano with text by Martin Ginsburg, the husband of the late Supreme Court Justice Ruth Bader Ginsburg, The Transformation of Jane Doe for Chicago Opera Theater, The Battle for the Ballot for the Cabrillo Festival Orchestra, Goddess Triptych for the St. Louis Symphony Orchestra, Glorious Mahalia for the Kronos Quartet, Give Me Hunger for Chanticleer, Rites for the Afterlife for the Akropolis and Calefax Reed Quintets, and Terra Nostra: an oratorio about our planet, commissioned by the San Francisco Choral Society and Piedmont East Bay Children’s Chorus.Garrop previously served as composer-in-residence with the Albany Symphony and Skaneateles Festival, and as well as on faculty of the Fresh Inc Festival (2012-2017). She taught composition and orchestration full-time at Roosevelt University 2000-2016) before leaving to launch her freelance career. She earned degrees in music composition at the University of Michigan-Ann Arbor (B.M.), University of Chicago (M.A.), and Indiana University-Bloomington (D.M.)..
SKU: CF.CAS116F
ISBN 9781491151723. UPC: 680160909223. 9 x 12 inches.
As the title suggests, Waves of Three is built upon successive layers of three - three beats in a measure with a triple meter on each beat and three measure phrases. This is meant to depict the ebb and flow of waves on the beach.? Mark Revell's composition is a fresh and exciting piece for concert string orchestra.This piece, as the title suggests, is built upon successive layers of three. Three lots of three beats in each measure, and three-measure phrases throughout almost the entire piece. The flowing patterns of these phrases brought to mind the endless ebb and flow of waves on a beach.
About Carl Fischer Concert String Orchestra Series
Thi s series of pieces (Grade 3 and higher) is designed for advancing ensembles. The pieces in this series are characterized by:
SKU: CF.CAS116
ISBN 9781491151358. UPC: 680160908851. 9 x 12 inches. Key: E minor.
SKU: HL.4493032
UPC: 196288155713.
??Ri ck Roll? your audience and dive into the playful nostalgia of ??Never Gonna Give You Up!? Larry Moore's masterful arrangement gives this classic hit by Rick Astley a fresh twist, perfect for adding fun and energy to your performance. Elevate your string orchestra's repertoire with this crowd-pleaser's catchy beats and infectious spirit that will have everyone singing along!
SKU: PR.UE036672
ISBN 9783702473945. UPC: 803452071051.
Klaus Dickbauer believes that scales can be fun. His modern approach to elementary technique can be a highly effective training tool for developing improvisation skills. In the first volume, Dickbauer covered major scales, triads, and interval exercises, combined with groovy beats, in a fresh and contemporary way. He now continues his well-thought-out approach to scales with a concentration on Dorian, Mixolydian, pentatonic, and blues scales, the perfect tools for building first improvisation skills. Methodically sound exercises train students in patterns and motifs to equip them with a sense of confidence and an appetite for learning the art of improvisation.
SKU: BR.BV-374
ISBN 9783765103742. 6.5 x 9.5 inches.
Besetzung, Bearbeitung und Auffuehrungspraxis bei Johann Sebastian Bach - Klaus Hofmann zum 65. Geburtstag Die vorliegende Ausgabe stutzt sich auf die bei Breitkopf & Hartel erschienene Gesamtausgabe Johannes Brahms Samtliche Werke der Gesellschaft der Musikfreunde Wien.
,,Wieder ist das Neuerscheinen der Studienpartitur einer Brahms-Sinfonie zu melden diesmal der Nr. 2 in D-Dur op. 73. Und wieder muss der klare Druck und die geschickte Seitenaufteilung geruhmt werden. (Das Liebhaberorchester)
Cover design by Doris Jausly, illustrations by Dorothea Lindenberg
SKU: PR.UE036668
ISBN 9783702473907. UPC: 803452071013.
SKU: PR.UE036671
ISBN 9783702473938. UPC: 803452071044.
SKU: GI.G-7595
UPC: 785147759508. English. Text by Darrell Crawford.
Reminisce nt of the beloved rocking carols that have come down through the ages, this piece has a freshness that endears it to all who hear it. The keyboard accompaniment is interesting in its use of a sixteenth-note figure that precedes beats 2 and 4 of each measure. The last verse features a beautiful descant that floats above the melody. .
