Under The Iron Sea

SKU: CF.CAS7

ISBN 9780825847578. UPC: 798408047573. 8.5 X 11 inches. Key: D major.

When you have the good fortune to visit Red Rock country in the southwestern United States, you will all at once feel that majesty and beauty in the towering red landscape. You can trek, bike, paddle, ride horseback or drive through the canyons, past the strangely shaped rocks and over the enormous boulders. Each time you turn a corner you will be dazzled by yet another magnificent vista. The Red Rock areas in Utah, Nevada, Arizona and New Mexico formed millions of years ago when that part of North America was primarily under water. The water left behind the shells and skeletons of sea creatures that gradually turned into limestone and similar rocks. Beginning 225 million years ago, the earth's crust began to move and the seabed slowly rose. Streams entering the shallow water deposited mud and sand that turned into shale and marine sandstone. As the land continued to rise and dry out, some of the rocks oxidized (combined with oxygen) and turned red in color. Subsequently the area was covered with sands that eventually compressed into what is called Aztec sandstone. Sometimes, when iron was concentrated in the rock, the sandstone turned a bright red color. Following the introduction, the music in Red Rock Rag takes on a typical ragtime melody and rhythm. It then transitions by changing key, time signature and the structure into a swing waltz. At m. 60, it moves into a combined time signature of one measure of 3/4 time and two measures of 2/4 time with an occasional lick in the bass line. Finally, it moves back into the swing-waltz style and finishes with the original ragtime melody. Red Rock Rag is challenging stylistically and rhythmically. It would be appropriate to study both the ragtime and swing styles while working on it.
When you have the good fortune to visit Red Rock country in the southwestern United States, you will all at once feel that majesty and beauty in the towering red landscape. You can trek, bike, paddle, ride horseback or drive through the canyons, past the strangely shaped rocks and over the enormous boulders. Each time you turn a corner you will be dazzled by yet another magnificent vista. The Red Rock areas in Utah, Nevada, Arizona and New Mexico formed millions of years ago when that part of North America was primarily under water. The water left behind the shells and skeletons of sea creatures that gradually turned into limestone and similar rocks. Beginning 225 million years ago, the earth's crust began to move and the seabed slowly rose. Streams entering the shallow water deposited mud and sand that turned into shale and marine sandstone. As the land continued to rise and dry out, some of the rocks oxidized (combined with oxygen) and turned red in color. Subsequently the area was covered with sands that eventually compressed into what is called Aztec sandstone. Sometimes, when iron was concentrated in the rock, the sandstone turned a bright red color. Following the introduction, the music in Red Rock Rag takes on a typical ragtime melody and rhythm. It then transitions by changing key, time signature and the structure into a swing waltz. At m. 60, it moves into a combined time signature of one measure of 3/4 time and two measures of 2/4 time with an occasional lick in the bass line. Finally, it moves back into the swing-waltz style and finishes with the original ragtime melody.A Red Rock RagA is challenging stylistically and rhythmically. It would be appropriate to study both the ragtime and swing styles while working on it.
When you have the good fortune to visit Red Rock country in the southwestern United States, you will all at once feel that majesty and beauty in the towering red landscape. You can trek, bike, paddle, ride horseback or drive through the canyons, past the strangely shaped rocks and over the enormous boulders. Each time you turn a corner you will be dazzled by yet another magnificent vista. The Red Rock areas in Utah, Nevada, Arizona and New Mexico formed millions of years ago when that part of North America was primarily under water. The water left behind the shells and skeletons of sea creatures that gradually turned into limestone and similar rocks. Beginning 225 million years ago, the earth's crust began to move and the seabed slowly rose. Streams entering the shallow water deposited mud and sand that turned into shale and marine sandstone. As the land continued to rise and dry out, some of the rocks oxidized (combined with oxygen) and turned red in color. Subsequently the area was covered with sands that eventually compressed into what is called Aztec sandstone. Sometimes, when iron was concentrated in the rock, the sandstone turned a bright red color. Following the introduction, the music in Red Rock Rag takes on a typical ragtime melody and rhythm. It then transitions by changing key, time signature and the structure into a swing waltz. At m. 60, it moves into a combined time signature of one measure of 3/4 time and two measures of 2/4 time with an occasional lick in the bass line. Finally, it moves back into the swing-waltz style and finishes with the original ragtime melody.A Red Rock RagA is challenging stylistically and rhythmically. It would be appropriate to study both the ragtime and swing styles while working on it.
When you have the good fortune to visit Red Rock country in the southwestern United States, you will all at once feel that majesty and beauty in the towering red landscape. You can trek, bike, paddle, ride horseback or drive through the canyons, past the strangely shaped rocks and over the enormous boulders. Each time you turn a corner you will be dazzled by yet another magnificent vista. The Red Rock areas in Utah, Nevada, Arizona and New Mexico formed millions of years ago when that part of North America was primarily under water. The water left behind the shells and skeletons of sea creatures that gradually turned into limestone and similar rocks. Beginning 225 million years ago, the earth's crust began to move and the seabed slowly rose. Streams entering the shallow water deposited mud and sand that turned into shale and marine sandstone. As the land continued to rise and dry out, some of the rocks oxidized (combined with oxygen) and turned red in color. Subsequently the area was covered with sands that eventually compressed into what is called Aztec sandstone. Sometimes, when iron was concentrated in the rock, the sandstone turned a bright red color. Following the introduction, the music in Red Rock Rag takes on a typical ragtime melody and rhythm. It then transitions by changing key, time signature and the structure into a swing waltz. At m. 60, it moves into a combined time signature of one measure of 3/4 time and two measures of 2/4 time with an occasional lick in the bass line. Finally, it moves back into the swing-waltz style and finishes with the original ragtime melody. Red Rock Rag is challenging stylistically and rhythmically. It would be appropriate to study both the ragtime and swing styles while working on it.
When you have the good fortune to visit Red Rock country in the southwestern United States, you will all at once feel that majesty and beauty in the towering red landscape. You can trek, bike, paddle, ride horseback or drive through the canyons, past the strangely shaped rocks and over the enormous boulders. Each time you turn a corner you will be dazzled by yet another magnificent vista. The Red Rock areas in Utah, Nevada, Arizona and New Mexico formed millions of years ago when that part of North America was primarily under water. The water left behind the shells and skeletons of sea creatures that gradually turned into limestone and similar rocks. Beginning 225 million years ago, the earth's crust began to move and the seabed slowly rose. Streams entering the shallow water deposited mud and sand that turned into shale and marine sandstone. As the land continued to rise and dry out, some of the rocks oxidized (combined with oxygen) and turned red in color. Subsequently the area was covered with sands that eventually compressed into what is called Aztec sandstone. Sometimes, when iron was concentrated in the rock, the sandstone turned a bright red color. Following the introduction, the music in Red Rock Rag takes on a typical ragtime melody and rhythm. It then transitions by changing key, time signature and the structure into a swing waltz. At m. 60, it moves into a combined time signature of one measure of 3/4 time and two measures of 2/4 time with an occasional lick in the bass line. Finally, it moves back into the swing-waltz style and finishes with the original ragtime melody. Red Rock Rag is challenging stylistically and rhythmically. It would be appropriate to study both the ragtime and swing styles while working on it.
When you have the good fortune to visit Red Rock country in the southwestern United States, you will all at once feel that majesty and beauty in the towering red landscape. You can trek, bike, paddle, ride horseback or drive through the canyons, past the strangely shaped rocks and over the enormous boulders. Each time you turn a corner you will be dazzled by yet another magnificent vista.The Red Rock areas in Utah, Nevada, Arizona and New Mexico formed millions of years ago when that part of North America was primarily under water. The water left behind the shells and skeletons of sea creatures that gradually turned into limestone and similar rocks. Beginning 225 million years ago, the earth's crust began to move and the seabed slowly rose. Streams entering the shallow water deposited mud and sand that turned into shale and marine sandstone. As the land continued to rise and dry out, some of the rocks oxidized (combined with oxygen) and turned red in color. Subsequently the area was covered with sands that eventually compressed into what is called Aztec sandstone. Sometimes, when iron was concentrated in the rock, the sandstone turned a bright red color.Following the introduction, the music in Red Rock Rag takes on a typical ragtime melody and rhythm. It then transitions by changing key, time signature and the structure into a swing waltz. At m. 60, it moves into a combined time signature of one measure of 3/4 time and two measures of 2/4 time with an occasional lick in the bass line. Finally, it moves back into the swing-waltz style and finishes with the original ragtime melody. Red Rock Rag is challenging stylistically and rhythmically. It would be appropriate to study both the ragtime and swing styles while working on it.

SKU: HL.282481

ISBN 9781540034380. UPC: 888680789251. 9.0x12.0x0.965 inches.

The 1990s saw the rise of R&B, boy bands and alternative rock as the 20th century came to a close. This collection features 80 songs from the decade arranged for easy piano with lyrics: Always Be My Baby * As Long As You Love Me * ...Baby One More Time * Black Velvet * Can You Feel the Love Tonight * Dreams * Fields of Gold * Friends in Low Places * Good Riddance (Time of Your Life) * How Am I Supposed to Live Without You * I Need to Know * I'm the Only One * Ironic * Livin' La Vida Loca * Losing My Religion * More Than Words * Only Wanna Be with You * Smells like Teen Spirit * Smooth * Tears in Heaven * Under the Bridge * You Must Love Me * You're Still the One * and more.

SKU: CA.5008900

ISBN 9790007092351.

Rhei nberger's string quartets combine rich sonority and the art of variation, following in the footsteps of Schumann and Mendelssohn, with Rheinberger's feeling for form, melodic beauty and contrapuntal mastery; his attitude to the musical movements of his time is suggested in his first String Quartet, now published in a scholarly edition, through such things as the quotation, probably to be understood ironically, from the Prelude to Wagner's Tristan in the last movement.

SKU: BT.DHP-1053830-010

English-German-French- Dutch.

Jacques Offenbach was born in 1819 in Cologne, Germany, but as a child he moved to Paris where he received a thorough musical education. In his operetta Orpheus in the Underworld, Offenbach parodies the famous Greek legend of Orpheus and Euridice. Indirectly, however, he criticises the complacency of many of his contemporaries. The overture was not written entirely by Offenbach, Carl Binder added various pieces to it for a Viennese production of this operetta in 1860 and since then, these pieces have remained part of the composition. This appealing transcription includes the famous Can Can which is sure to get your audience high kicking in the aisles!

In de operette Orphée aux Enfers (Orpheus in de onderwereld) parodieert Offenbach het beroemde verhaal van Orpheus en Euridice uit de oude Griekse sagenwereld - indirect stelt hij echter de zelfgenoegzaamheid van veelvan zijn tijdgenoten aan de kaak. De ouverture is niet geheel van Offenbachs hand. Carl Binder heeft er diverse stukken aan toegevoegd voor een Weense productie in 1860, en die zijn er sindsdien in gebleven. Wil van der Beek maakteeen transcriptie voor harmonieorkest van de aanstekelijke ouverture - waarin natuurlijk de beroemde cancan is verwerkt.

In seiner Operette Orpheus in der Unterwelt (Orphée aux Enfers) parodiert Offenbach die berühmte Erzählung von Orpheus und Eurydike aus der klassischen griechischen Sagenwelt. Indirekt kritisiert er darin jedoch die Selbstgefälligkeit vieler seiner Zeitgenossen. Die Ouvertüre schrieb Offenbach nicht ganz alleine; Carl Binder fügte einige Stücke für eine Wiener Produktion dieser Operette im Jahr 1860 hinzu. Diese Stücke blieben seither Teil der Ouvertüre. Wil van der Beek schuf eine Transkription für Blasorchester dieser reizvollen Ouvertüre, die auch den berühmten Cancan enthält.

Jacque s Offenbach (1819-1880) cultivait l’art d’ironiser sur la frivolité des moeurs parisiennes, sur l’amour, la vie politique et la vie militaire. Son opérette Orphée aux Enfers (1858) est une parodie du mythe grec d’Orphée et Eurydice, mais sous le masque de l’antiquité, il se livre une critique sévère de l’attitude suffisante de nombreux de ses contemporains. L’Ouverture telle que nous la connaissons aujourd’hui n’est pas la version originale d’Offenbach, mais une version complétée par Carl Binder pour une production Vienne en 1860. Wil van der Beek en a réalisé une transcription irrésistible qui contient le pétillant Cancan, l’une des pages les plus célèbres de lapartition.

Jacques Offenbach (1819-1880) coltivava l’arte di ironizzare sulla frivolezza delle abitudini parigine, sull’amore, sulla vita politica e la vita militare. La sua operetta Orfeo agli Inferni (1858) è una parodia del mito greco di Orfeo ed Euridice, ma dietro la facciata dell’antichit , si abbandona ad una critica severa del comportamento di sufficienza di numerosi suoi contemporanei. L’Ouverture come noi la conosciamo oggi, non è la versione originale di Offenbach, ma una versione completata da Carl Binder per una produzione a Vienna nel 1860. Wil van der Beek ne ha realizzato una trascrizione irresistibile che contiene il brillante Cancan, una delle pagine più celebri dellospartito.

SKU: BT.DHP-1053830-140

English-German-French- Dutch.

Jacques Offenbach was born in 1819 in Cologne, Germany, but as a child he moved to Paris where he received a thorough musical education. In his operetta Orpheus in the Underworld, Offenbach parodies the famous Greek legend of Orpheus and Euridice. Indirectly, however, he criticises the complacency of many of his contemporaries. The overture was not written entirely by Offenbach, Carl Binder added various pieces to it for a Viennese production of this operetta in 1860 and since then, these pieces have remained part of the composition. This appealing transcription includes the famous Can Can which is sure to get your audience high kicking in the aisles!

In de operette Orphée aux Enfers (Orpheus in de onderwereld) parodieert Offenbach het beroemde verhaal van Orpheus en Euridice uit de oude Griekse sagenwereld - indirect stelt hij echter de zelfgenoegzaamheid van veelvan zijn tijdgenoten aan de kaak. De ouverture is niet geheel van Offenbachs hand. Carl Binder heeft er diverse stukken aan toegevoegd voor een Weense productie in 1860, en die zijn er sindsdien in gebleven. Wil van der Beek maakteeen transcriptie voor harmonieorkest van de aanstekelijke ouverture - waarin natuurlijk de beroemde cancan is verwerkt.

In seiner Operette Orpheus in der Unterwelt (Orphée aux Enfers) parodiert Offenbach die berühmte Erzählung von Orpheus und Eurydike aus der klassischen griechischen Sagenwelt. Indirekt kritisiert er darin jedoch die Selbstgefälligkeit vieler seiner Zeitgenossen. Die Ouvertüre schrieb Offenbach nicht ganz alleine; Carl Binder fügte einige Stücke für eine Wiener Produktion dieser Operette im Jahr 1860 hinzu. Diese Stücke blieben seither Teil der Ouvertüre. Wil van der Beek schuf eine Transkription für Blasorchester dieser reizvollen Ouvertüre, die auch den berühmten Cancan enthält.

Jacque s Offenbach (1819-1880) cultivait l’art d’ironiser sur la frivolité des moeurs parisiennes, sur l’amour, la vie politique et la vie militaire. Son opérette Orphée aux Enfers (1858) est une parodie du mythe grec d’Orphée et Eurydice, mais sous le masque de l’antiquité, il se livre une critique sévère de l’attitude suffisante de nombreux de ses contemporains. L’Ouverture telle que nous la connaissons aujourd’hui n’est pas la version originale d’Offenbach, mais une version complétée par Carl Binder pour une production Vienne en 1860. Wil van der Beek en a réalisé une transcription irrésistible qui contient le pétillant Cancan, l’une des pages les plus célèbres de lapartition.

Jacques Offenbach (1819-1880) coltivava l’arte di ironizzare sulla frivolezza delle abitudini parigine, sull’amore, sulla vita politica e la vita militare. La sua operetta Orfeo agli Inferni (1858) è una parodia del mito greco di Orfeo ed Euridice, ma dietro la facciata dell’antichit , si abbandona ad una critica severa del comportamento di sufficienza di numerosi suoi contemporanei. L’Ouverture come noi la conosciamo oggi, non è la versione originale di Offenbach, ma una versione completata da Carl Binder per una produzione a Vienna nel 1860. Wil van der Beek ne ha realizzato una trascrizione irresistibile che contiene il brillante Cancan, una delle pagine più celebri dellospartito.

SKU: HL.49008215

ISBN 9783795703424. UPC: 073999472899. 7.0x9.5x0.817 inches. German.

Theodor W. Adornos Urteile uber Paul Hindemith haben die offentliche Diskussion um einen der bekanntesten deutschen Komponisten des 20. Jahrhunderts entscheidend gepragt. Ende der siebziger Jahre gab es so gut wie keine massgebliche Stimme, die der in der Textsammlung Ad vocem Hindemith formulierten Diagnose einer geduckt spiessigen, latent autoritatshorigen Musikantenmusik Triftiges entgegenzusetzen gehabt hatte. Die bereits wenige Jahre spater zogernd einsetzenden Bemuhungen um eine Rehabilitation des Hindemithschen Werkes klammerten Adornos Fundamentalkritik zumeist aus und versaumten - von wenigen Ausnahmen abgesehen - jene direkte Auseinandersetzung mit seinen Texten, die (mit einer Verspatung von fast 30 Jahren) im Mittelpunkt der vorliegenden Untersuchung steht.