More Music Theory Sample Papers Grade 4: Theory

SKU: HL.276208

ISBN 9781540026927. UPC: 888680745981. 7.5x9.25x0.242 inches. Craig Anderton The Musician's Guide to Home Recording Series.

Everything in the studio starts and ends with audio – both analog and digital – yet many musicians know a lot more about the principles of music than the principles behind audio. The Musician's Guide to Audio will include: • Audio theory – sound waves in the real world • Bit resolution • Sample rates • Distortion • The different types of decibels • The meaning of audio specifications • Frequency response • The different types of distortion • Signal-to-noise ratio • Dynamic range • How the human ear hears sound, and more The book then segues into specifications regarding levels, connection standards (both analog and digital), and resolving potential incompatibilities among different pieces of gear. Additional topics include information on the practical ramifications of audio, such as the basics of room acoustics, why speaker placement matters, audio distribution methods including data-compressed formats like MP3, the unique constraints of vinyl, and more. Filled with illustrations and featuring selected “tech talk” sidebars to give details on specific topics for those who want to know “why” as well as “how,” The Musician's Guide to Audio fills a unique need by avoiding overly-technical details, and instead emphasizing the practical implications involved in working with audio in the studio.

SKU: BR.OB-5562-15

The Missa in c was so dear to Mozart that he cited it as evidence of the reality of my vow to marry his beloved Constanze and to complete the only half-finished mass. Nevertheless, one of Mozart's greatest masterpieces remained a torso.

Have. Mass; Classical. Part. 20 pages. Duration 52'. Breitkopf and Haertel #OB 5562-15. Published by Breitkopf and Haertel (BR.OB-5562-15).

ISBN 9790004342282. 10 x 12.5 inches.

The Missa in c was so dear to Mozart that he cited it as evidence of the reality of my vow to marry his beloved Constanze and to complete the only half-finished mass. Nevertheless, one of Mozart's greatest masterpieces remained a torso. The Dutch music theorist, arranger, and musicologist Clemens Kemme closes the gap in this work by creating a new supplement, creatively and profoundly grounded and giving due respect to the composition, hence fulfilling that part of Mozart's vow after more than 200 years. This version is published by Breitkopf, complete with performance material, piano reduction, and study score. The edition is based on a meticulous re-examination of the sources for the completed sections and offersAddenda validated by authentic materialNew orchestration of the two Credo movements modeled on Handel and Bach as well as on Mozart's own music, e.g., the aria Se il padre perdei (Idomeneo)Reconstruction of the Sanctus for double chorus from secondary sources and models by Caldara and J. Chr. BachSections added in the score clear at first glance from their gray resolutionPreparation of the edition in close collaboration with Frans BruggenFirst performance of the version in 2006 by Bruggen with many subsequent performances, such as by the chorus of the Bavarian Radio under Peter Dijkstra (together with CD production) Kemme applies the same level of care and diligence shown in his 'Et incarnates est' and 'Osanna' reconstructions throughout the score, though these two movements truly set this edition apart from its predecessors. Careful awareness of eighteenth-century music theory and practices facilitate skillful and insightful interventions at every stage. The outcome is a highly refined and elegant take on the C-minor mass as Mozart left it. (Peter Keenan, Eighteenth-Century Music)Audio samples:10. Et incarnatus est: Claron McFadden (Soprano), Orchestra of the 18th Century, cond. Frans Bruggen (NOS Radio, 2006) 11. Sanctus: Chor des Bayerischen Rundfunks, Munchener Kammerorchester, cond. Peter Dijkstra (Sony, 2013)

This edition represents the culmination of some eleven or so years of extensive research. It brings an exhaustive understanding of eighteenth-century practices and Mozart's stylistic habits to bear on the unfathomable task of replicating Mozart's style without impinging upon the tone of the work. The rigour with which Clemens Kemme has produced this edition of Mozart's abandoned mass is nothing but exceptional. (Peter Keenan, Eighteenth-Century Music).