SKU: FL.FX072641
A small trip in calm waters... for young instrumentalists of the first cycle of conservatories. - Pascal PROUST ; A Piece for students from 3 years of instrument practice ; Instruments: 1 Oboe 1 Piano; Difficuly Level: Grade 2; Duration: 2 mn 10 s; Musical Style: Classical, Educational; Category: Original Composition; Composer: Pascal PROUST;.
SKU: OU.9780193380042
ISBN 9780193380042. 12 x 8 inches.
For unaccompanied mixed chorus This five-movement suite takes a light-hearted journey through different themes of love: Rejection, Parting, Falsehood, Contentment, Fulfilment. With contrasting vocal textures and a range of texts, the result is a varied and exuberant work.
SKU: HL.399603
ISBN 9781705159637. UPC: 196288056188. 9.0x12.0x0.13 inches.
Yes, even if you're a beginner, you CAN play your favorite songs by AC/DC, KISS, Black Sabbath, Poison, and Rush! Hal Leonard's Really Easy Guitar series presents ??paint-by-number,? easy-to-follow chord charts, tablature, and lyrics will get you playing right away. Songs include: Ain't Talkin' 'Bout Love ? Back in Black ? Barracuda ? Crazy Train ? Detroit Rock City ? Dr. Feelgood ? 18 and Life ? Hells Bells ? Helter Skelter ? Living After Midnight ? Livin' on a Prayer ? Paranoid ? Photograph ? Rebel Yell ? Rock You like a Hurricane ? School's Out ? Smoke on the Water ? Sweet Child O' Mine ? Talk Dirty to Me ? Walk This Way ? Working Man ? You Give Love a Bad Name.
SKU: FL.FX072608
A small trip in calm waters... for young instrumentalists of the first cycle of conservatories. - Pascal PROUST ; A Piece for students from 2 years of instrument practice ; Instruments: 1 Recorder 1 Piano; Difficuly Level: Grade 2; Duration: 2 mn 10 s; Musical Style: Classical, Educational; Category: Original Composition; Composer: Pascal PROUST;.
SKU: FL.FX072642
A small trip in calm waters... for young instrumentalists of the first cycle of conservatories. - Pascal PROUST ; A Piece for students from 2 or 3 years of instrument practice ; Instruments: 1 Bb Clarinet 1 Piano; Difficuly Level: Grade 2; Duration: 2 mn 10 s; Musical Style: Classical, Educational; Category: Original Composition; Composer: Pascal PROUST;.
SKU: FL.FX072650
A small trip in calm waters... for young instrumentalists of the first cycle of conservatories. - Pascal PROUST ; A Piece for students from 2 or 3 years of instrument practice ; Instruments: 1 Cello 1 Piano; Difficuly Level: Grade 2; Duration: 2 mn 10 s; Musical Style: Classical, Educational; Category: Original Composition; Composer: Pascal PROUST;.
SKU: FL.FX072649
A small trip in calm waters... for young instrumentalists of the first cycle of conservatories. - Pascal PROUST ; A Piece for students from 2 or 3 years of instrument practice ; Instruments: 1 Violin 1 Piano; Difficuly Level: Grade 2; Duration: 2 mn 10 s; Musical Style: Classical, Educational; Category: Original Composition; Composer: Pascal PROUST;.
SKU: CF.CAS142
ISBN 9781491160596. UPC: 680160919185.
This fiery piece for String Orchestra depicts the ferocity of an out-of-control blaze. Constantly alternating between 4/4 and 3/4, the melody is passed throughout the orchestra like a fire jumping across an asphalt road. An unrestrained staccato ostinato continues relentlessly under the wildly fluctuating melody, building intensity with crescendos and accented rhythms. Students and audiences alike will be left breathless in the wake of this explosive tour de force.This fiery piece for string orchestra depicts the ferocity of an out-of-control blaze. Constantly alternating between 4/4 and 3/4, the melody is passed throughout the orchestra like a fire jumping across an asphalt road. An unrestrained staccato ostinato continues relentlessly under the wildly fluctuating melody, building intensity with crescendos and accented rhythms. Students and audiences alike will be left breathless in the wake of this explosive tour de force.
About Carl Fischer Concert String Orchestra Series
This series of pieces (Grade 3 and higher) is designed for advancing ensembles. The pieces in this series are characterized by:
SKU: HL.49007757
ISBN 9783795702625. 7.0x9.75x0.9 inches. German.
Dieses Buch ist Ergebnis eines Projektes, das der Autor in einem Zeitraum von 15 Jahren an der Staatlichen Jugendmusikschule Hamburg mit Kindern im Vor- und Einschulalter entwickelt und durchgefuhrt hat. Es gelingt ihm, durch anschauliche Fallstudien und den Nachweis der Anwendbarkeit seines Konzeptes aufzuzeigen, dass entgegen der vielfach geausserten Ansicht, Kinder dieser Altersstufe seien zu jung fur instrumentales Lernen, gerade dieser Lebensabschnitt die entwicklungspsychologisch gunstigsten Voraussetzungen schafft - solche musizierenden Kinder erweisen sich als besonders kreativ. Das Buch geht intensiv auf diese Thematik ein. Ein unverzichtbares Handbuch fur den Klavierpadagogen.
SKU: HL.268918
Bells Wrung is characterised primarily through its recurring 'A' pedal, imitative of a tolling belling. Similar to other pedal-orientated pieces in the Piano repetoire - Ravel's Le Gibet, or Chopin's Raindrop Prelude for example - this pervasive tone serves to mediate and unify the often dense, chromatic harmonic language, all the while providing an obvious audible continuity. The pun in the title refers to how the constantly fluctuating rhythms and metre seem to compress, stretch, or wring the musical material. Bells Wrung was awarded the Henfrey Prize for Composition and was workshopped and performed on the 19th June 2017 at St Catherine's College, Oxford, by Dominic Saunders. Duration: c. 4.
SKU: PR.114409830
UPC: 680160014613.
The first movement has two basic tempos with various fluctuations. The second movement begins with a violin solo, joined by the cello to form a double cadenza. The clarinet and piano gradually make their presence known: the clarinet taking the soloistic role of the violin and cello as they recede into the background, and the piano playing slow music, but eventually becoming quite an active participant. All instruments take the active music of the piano and throw it around in hocket fashion. The violin introduces material rhythmically reminiscent of the second movement's opening material and has a playful duet with the cello, while the clarinet and piano have slow music, all of which leads to the final brief section which offers fragments from the various parts of the movements.
SKU: CL.111-0075-00
This quartet begins briskly before heading into the Moderato section. Plenty of opportunities to work on tempo fluctuations. 4 Bb Clarinets or 3 Bb Clarinets, Bb Bass Clarinet or 2 Bb Clarinets, Eb Alto Clarinet, Bb Bass Clarinet.
SKU: PR.416416140
UPC: 680160642441.
Time is one of the main factors impacting the world and our lives. Einstein saw time as the relationship of the motion of one object relative to the position of another object, as measured through observation. But can we really measure time objectively? Music, the art which moves through time, can affect our perception of time, and can affect each person's perception of time differently. Depending on the emotion it stimulates, music can make time seem to pass quickly or slowly. A composer can use music to convey time to an audience and different musical ideas can create different sensations of time. Absence of Time is a concerto for woodwind quartet and orchestra. It has three main sections (fast, slow, fast), recalling traditional concerto form, but it does not use the solo instruments in the traditional way, i.e., as soloists in contest with the orchestra. Inspired by the idea of juxtaposing different experiences of time, I divided the instruments into two groups: the four soloists and the orchestra. The orchestra functions mostly as the keeper of time (real time) while the quartet of soloists fluctuates (in imaginary time or in the absence of time) around the orchestra's time. While the quartet's instruments do play solos, they also play in ensemble with the orchestra. You could say that they play in both imaginary time (as soloists) and in real time (with the orchestra). In addition to this, the woodwind section of the orchestra plays in conversation with the solo quartet, calling it back to real time. Fusion is achieved at the end of the piece through the use of strong, driving rhythm. Absence of Time was commissioned by the Pacific Symphony and was first performed by the Pacific Symphony and the Pacific Symphony Woodwind Quartet with Carl St. Clair as conductor on October 20, 2016.
SKU: OU.9780193554917
ISBN 9780193554917. 12 x 8 inches.
Worry Beads is an atmospheric and flowing piece for solo guitar. After a slow introductory passage it launches into virtuosic semiquavers which continue throughout much of the piece, with fluctuating time signatures bringing rhythmic flavour.
SKU: CF.CAS142F
ISBN 9781491160909. UPC: 680160919505.
This fiery piece for string orchestra depicts the ferocity of an out of control blaze. Constantly alternating between 4/4 and 3/4 each bar, the melody is passed throughout the orchestra like a fire jumping across an asphalt road. Unrestrained staccato ostinato continues relentlessly under the wildly fluctuating melody, building intensity with crescendos and accented rhythms. Students and audiences alike will be left breathless in the wake of this explosive tour de force.
SKU: BR.EB-8424
You will need a copy of BG 1002 for each player to perform the version for variable instrumentation (BG 1004).
ISBN 9790004185254. 9 x 12 inches.
World premieres:I version for flute: Wiesbaden, 1972II version for piano: Nyon, 1972III version for var. insts.: Cologne, May 29, 1976VI version for accordeon: Fribourg, June 25, 1987VIII version for violoncello Tokyo: October 14, 1989X version for organ: Stuttgart, March 28, 2018This work (A Breath of the Untimely) was first written for solo Flute and dedicated to Aurele Nicolet. Its bears the subtitle Lament on the Loss of Musical Thought - some Madrigals for Solo Flute or Flute with any other Instruments. This serves as a playing instruction but doubles at the same time as an outmoded programme: it refers back to the musical origin of the opening lamenting motif, a tradition which was once of its time but is not of our time - namely the Lamento genre which gave the title to the Chaconne in Purcell's opera Dido and Aeneas. Almost simultaneously I wrote a second version for Piano (for Piano one-and-a-half hands), which already formulates possible approaches for the performer, in some detail, to the indicated, quasi-canonic version of the piece in the programme. The multiple version Ein Hauch von Unzeit III realizes a concrete version of a formal state which floats between strict canon and aleatoric principles: each of the musicians who are spread throughout the hall introduces their own idiomatic translation of the flute part. And so the music exists, omnipresent, not only spatially throughout the hall, but also formally in a sort of fluctuating simultaneity. For that reason, it was my express wish to any potential interpreter that they should construct entirely their own version of the piece. A healthy number of musicians have responded to my suggestion - versions of the piece have now been made for guitar (Cornelius Schwehr, Gunther Schneider), accordion (Hugo Noth), double bass (Fernando Grillo), violin (Hansheinz Schneeberger), viola, violoncello, and double bass (trio basso, Koln), violoncello (Michael Bach), trombone (Andrew Digby) and, created by myself, a sung version for voice (to words by Georg Wilhelm Friedrich Hegel und Max Bense), and for viola.The most important requirement for the whole piece is absolute stillness, which should as far as possible emanate from the performer. The pauses are occasionally in this respect the most important element. These may, if one can find the necessary stillness, become very long.Ein Hauch von Unzeit (A Breath of the Untimely) - time almost dissolves!(Klaus Huber, 1989/2014 - translation: David Alberman)CD:Jean-Luc Menet (Bass flute)CD Traversieres 120.270Jean-Luc Menet (fl)CD STR 37039Bibliography:Zimmermann, Heidy: Zeitgestaltung im Kompositionsprozess bei Klaus Huber - dargestellt anhand von Skizzen, in: Mnemosyne. Zeit und Gedachtnis in der europaischen Musik des ausgehenden 20. Jahrhunderts, hrsg. von Dorothea Redepenning und Joachim Steinheuer, Saarbrucken: Pfau 2006, S. 90-109.
SKU: BR.EB-9074
ISBN 9790004179499. 9 x 12 inches.
World premieres:I version for flute: Wiesbaden, 1972II version for piano: Nyon, 1972III version for var. insts.: Cologne, May 29, 1976VI version for accordeon: Fribourg, June 25, 1987VIII version for violoncello Tokyo: October 14, 1989X version for organ: Stuttgart, March 28, 2018This work (A Breath of the Untimely) was first written for solo Flute and dedicated to Aurele Nicolet. Its bears the subtitle Lament on the Loss of Musical Thought - some Madrigals for Solo Flute or Flute with any other Instruments. This serves as a playing instruction but doubles at the same time as an outmoded programme: it refers back to the musical origin of the opening lamenting motif, a tradition which was once of its time but is not of our time - namely the Lamento genre which gave the title to the Chaconne in Purcell's opera Dido and Aeneas. Almost simultaneously I wrote a second version for Piano (for Piano one-and-a-half hands), which already formulates possible approaches for the performer, in some detail, to the indicated, quasi-canonic version of the piece in the programme. The multiple version Ein Hauch von Unzeit III realizes a concrete version of a formal state which floats between strict canon and aleatoric principles: each of the musicians who are spread throughout the hall introduces their own idiomatic translation of the flute part. And so the music exists, omnipresent, not only spatially throughout the hall, but also formally in a sort of fluctuating simultaneity. For that reason, it was my express wish to any potential interpreter that they should construct entirely their own version of the piece. A healthy number of musicians have responded to my suggestion - versions of the piece have now been made for guitar (Cornelius Schwehr, Gunther Schneider), accordion (Hugo Noth), double bass (Fernando Grillo), violin (Hansheinz Schneeberger), viola, violoncello, and double bass (trio basso, Koln), violoncello (Michael Bach), trombone (Andrew Digby) and, created by myself, a sung version for voice (to words by Georg Wilhelm Friedrich Hegel und Max Bense), and for viola.The most important requirement for the whole piece is absolute stillness, which should as far as possible emanate from the performer. The pauses are occasionally in this respect the most important element. These may, if one can find the necessary stillness, become very long.Ein Hauch von Unzeit (A Breath of the Untimely) - time almost dissolves!(Klaus Huber, 1989/2014 - translation: David Alberman)CD:Jean-Luc Menet (Bass flute)CD Traversieres 120.270Jean-Luc Menet (fl)CD STR 37039Bibliography:Zimmermann, Heidy: Zeitgestaltung im Kompositionsprozess bei Klaus Huber - dargestellt anhand von Skizzen, in: Mnemosyne. Zeit und Gedachtnis in der europaischen Musik des ausgehenden 20. Jahrhunderts, hrsg. von Dorothea Redepenning und Joachim Steinheuer, Saarbrucken: Pfau 2006, S. 90-109World premiere: VIII version for violoncello Tokyo: October 14, 1989.
SKU: BT.DHP-0970796-020
This traditional melody is known worldwide as a song of farewell. Jan Van der Roost treated it as an anthem in this splendid arrangement. The melody is brought to us in whole or in part by various instruments and is surrounded by logical yet original - sometimes surprising - chords that dare to fluctuate. After a broad tutti, the ensemble begins to die out. The piece ends with an impressive diminuendo of the final chord, almost as if the orchestra itself were saying goodbye.
SKU: HL.49018856
ISBN 9790220133244. UPC: 884088675028. 9.0x12.0x0.204 inches.
Although this is technically Cowie's seventh string quartet, it replaces his earlier fourth quartet, which he came to feel no longer fit with his compositional voice. The quartet fluctuates between a slow, luminous sound and fast, agitated music. Unlike much of Cowie's work, this music is abstracted from his usual preoccupation with the natural world, turning instead to look at an inner landscape. The composer describes the emotional force behind his quartet: The year 2009 was a terrible year in which I lost three close friends to cancer and an elder brother to Alzheimer's disease. It was also a year in which my wife was diagnosed with breast cancer; something from which she has thankfully made a great recovery. At times like these, emotions are sorely tested and highlighted. Four people I loved have gone, so this music must remain as testament not to death, but to the magnificent fragility and loveliness of life. It closes with a gentle and almost vaporising 'benediction' a kind of 'amen' if you like.
SKU: RM.SL10087
ISBN 9790231090871.
SKU: OU.9780193514270
ISBN 9780193514270. 10 x 7 inches.
For SATB unaccompanied Like as the Hart sets reflective yet fervent words from Psalm 42. The vocal writing is emotive and expressive, and the fluctuating metres perfectly complement the rhythm adopted by the psalmist when penning this devotion.
About Oxford New Horizons
New Horizons showcases the wealth of exciting, innovative, and occasionally challenging choral music being written today. It encompasses the whole gamut of small-scale choral genres, both secular and sacred, and includes pieces for upper-voice and mixed choirs. With titles by some of the most accomplished choral composers active in Great Britain and abroad, the series introduces new repertoire and fresh talent to a broad spectrum of choirs. New Horizons features composers with growing reputations for quality composition reflecting a strong individual voice. The series is continually expanding and should be the first place to look for attractive and performable contemporary choral music.
SKU: HL.364389
UPC: 840126958829. 9.0x12.0x0.072 inches.
Chris Anderson crafts a powerful lyric, full of thought-provoking imagery on the humanity of Christ's earthly life. His prose is matched with Richard Nichols' original tune which fluctuates between minor and major tonalities to reflect the mixed emotion of the text.
