Format : Score and Parts
SKU: HL.4005362
UPC: 888680716332. 9.0x12.0x0.062 inches.
Composed using a single, yet driving tempo, Shadow Dancer incorporates a repeating syncopated rhythmic figure as its foundation. Every section is provided a melodic opportunity as the various instrument groups are introduced. By combining a couple of unexpected interjections with the repetitive and infectious rhythm pattern, this is a dynamic and enjoyable piece for both audience members and performers. Dur: 2:10.
SKU: SU.29150050
This trio was composed in the summer and fall of 2018 and is dedicated to the Janacek Trio. Premiered in March 2019 in Prague, the work, subtitled The Shadow Dancer is in six movements that tell a story of love and of loss. Violin, Violoncello & Piano Duration: 38’ Composed: 2018 Published by: Elliott Miles McKinley Shadow Dancer (Youtube):.
SKU: HL.14008248
ISBN 9788759860687. Danish.
Per Norgard DANCERS AROUND JUPITER I: 'Shadow Dancer', dedicated to Axel Borup-Jorgensen, as my birthday greeting on the composer's 70th birthday 22.11.94 II: 'Jupiter Waves', dedicated to Dr. Jeffrey D. Thompson III: 'Day Dancer', dedicated to the dancer and choreographer Marie Lalander, as a homage: Marie wrote the line which inspired me for the title: 'Woman, oh you day dancer'. The title of the whole work is immediately intelligible if one compares the individual titles of the outer movements with the title of the middle movement. Axel Borup-Jorgensen and Marie Lalander could be said to be in rotation around Jupiter in the following sense: Axel's music has a 'shadowdancing' side, which can most clearly be heard in his works for harpsichord and double-bass - or in his work for organ. But his music has also a light side, which can be heard in 'Marin' or in 'Nordic Summer Pastorale'. Marie's dance and choreography contain both ecstatic forces of light and expressions of the suppressed and dark. The music of the middle movement on the other hand is in all ways inspired by the actual acoustic ion waves, that constantly arise through the collision of the sun wind with Jupiter's magnet field (registered by Voyager II, 1989). This movement is dedicated to Dr Jeffrey D. Thompson who made these NASA registrations publicly available in the CD-series 'NASA Voyager Space Sounds'. Per Norgard.
SKU: HL.14014711
ISBN 9781844494842.
A sourcebook for teachers, full of ideas for Primary music lessons. Contains songs, dances, action poems and more. Includes standard notation and chord symbols, with lyrics where appropriate.
SKU: HL.14008247
ISBN 9788759860694. Danish.
Per Norgard DANCERS AROUND JUPITERI: 'Shadow Dancer', dedicated to Axel Borup-Jorgensen, as my birthday greeting on the composer's 70th birthday 22.11.94II: 'Jupiter Waves', dedicated to Dr. Jeffrey D. ThompsonIII: 'Day Dancer', dedicated to the dancer and choreographer Marie Lalander, as a homage: Marie wrote the line which inspired me for the title: 'Woman, oh you day dancer'.The title of the whole work is immediately intelligible if one compares the individual titles of the outer movements with the title of the middle movement.Axel Borup-Jorgensen and Marie Lalander could be said to be in rotation around Jupiter in the following sense:Axel's music has a 'shadow dancing' side, which can most clearly be heard in his works for harpsichord and double-bass - or in his work for organ. But his music has also a light side, which can be heard in 'Marin' or in 'Nordic Summer Pastorale'.Marie's dance and choreography contain both ecstatic forces of light and expressions of the suppressed and dark. The music of the middle movement on the other hand is in all ways inspired by the actual acoustic ion waves, that constantly arise through the collision of the sun wind with Jupiter's magnet field (registered by Voyager II, 1989). This movement is dedicated to Dr Jeffrey D. Thompson who made these NASA registrations publicly available in the CD-series'NASA Voyager Space Sounds'.Per Norgard.
SKU: HL.49002680
ISBN 9780901938039. English.
Ballet an its Music traces the influence of the outstanding personalities in the world of ballet from the seventeenth century to the present day. The development of dance-technique and ballet music is followed from the courtly and peasant dances of the High Renaissance through to contemporary productions. The author deals in detail not only with the great choreographers, past and present, but also with the composers whose names are especially linked with ballet and who have made a significant contribution to music for the dance. She combines a historical narrative with a perceptive treatment of world-famous Schools and Companies. Ballet and its Music is copiously illustrated with photographs and engravings. A special feature of the book is the collection of music extracts from many famous ballets, arranged for piano solo, which will make it particularly attractive to the student an amateur musician. Althrough primarily intended for young people embarking on a study of ballet, the wealth of information contained in this book will make it a stimulating and invaluable guide for readers of all ages.
SKU: MB.30670
ISBN 9781513465296. 8.75 x 11.75 inches.
This unique collection celebrates the contemporary fiddle music of northeast Ireland, much of it for the first time in print. Not surprisingly, given its location and long history of traditional music, the fiddle music of this region shares some characteristics with Scottish music, yet it has its own distinct style. For those who are not familiar with this ruggedly attractive part of Ireland, this book will introduce you to some of its music and musicians. The tunes presented here, collected by County Antrim fiddler, Rowan Leslie, have all been written relatively recently by local musicians. Each tune is offered in two versions?one with the barebones melody and suggested accompaniment chords, and a second with ornamentation, articulation and bowing details. All tune types from northeast Ireland are represented, including jigs and reels, polkas and hornpipes, marches, barn dances and waltzes, plus set dances and slow airs. Moreover, the biographical sketches and backstories provided for each composer and tune demonstrate how the land itself, along with personal experiences and relationships, influence the fiddle music of northeast Ireland.
SKU: CF.BPS148
ISBN 9781491163443. UPC: 680160922239.
Dance of the Crows was composed with the image of Renaissance-style dances in mind. In addition, some Danse Macabre concept started to form in my mind. I could see this melody as a part of some larger narrative in which a character attends a dance, and everything is beautiful and in sync. But when the character starts to look closer, things aren't what they seem. The dancers are actually animalistic hybrids, and the decorations are mockeries of life rather than celebrations of life. The food is inedible, and the shadows seem to have eyes. And that's why, though the melody is simple and largely on the beat, it elicits an uncomfortable and offbeat feeling.Performance Notes:The melody should have a calm almost restrained feeling until m. 17 when things should take a slightly more aggressive turn. Be sure to bring out the dynamics during the percussion break at m. 29 and the outro at m. 41. Feel free to use as many shaker-like instruments as desired in the Percussion 2 part. Use the largest possible tom-tom for the Percussion 3 part. Be sure to have the bass drum player mute all staccato notes with the hand.
SKU: CF.BPS148F
ISBN 9781491163849. UPC: 680160922635.
SKU: HL.14030975
ISBN 9788759860199.
Work for Chamber Ensemble dating from 1989. The composer writes: The Title SHADOWLAND refers on the one hand to a blurred 'Landscape' of shadows, where small shadows are formed behind other shadows, and where the outlines are constantly disintegrating. On the other hand, the title refers to the fanciful and unreal landscapes I felt in the music while I was writing it. SHADOWLAND has four movements, with proportions 4-7-4-3. These proportions can be found on various levels, from the smallest cell to the largest form. The first movement is divided into four parts which have exactly the same proportions as the whole pjece, and behind the fastrunning melodies and trills that dominate the whole movement one can hear, in the second, third, and fourth parts, anticipations of the second, third and fourth movements respectively. The second movement begins at the edge of silence with almost unperceptible glissandi and indistinct chorales. Gradually the hushed landscape is drowned out by sudden expressive melodic outbursts and ends with violent dance rhythms. The third movement is built up of clouds of staccato tones and is a further development of the pointillistic ideas from CLAIROBSCUR. In th last movement the horn plays a long soloistic melody line which the other instruments imitate and echo. These echoes swamp the horn line from time to time. SHADOWLAND was commissioned by and dedicated to The London Sinfonietta.
SKU: HL.120772
ISBN 9781480350519. UPC: 884088917463. 9.0x12.0x0.687 inches.
55 song highlights from the history of ASCAP, celebrating their representation of some of the best songwriters of all time. Songs include: Ah! Sweet Mystery of Life * Ain't No Mountain High Enough * As Time Goes By * At Last * Before He Cheats * Bleeding Love * Blue Skies * Defying Gravity * Gonna Make You Sweat (Everybody Dance Now) * I Will Survive * Just the Way You Are * Livin' on a Prayer * Moon River * My Funny Valentine * Over the Rainbow * Raindrops Keep Fallin' on My Head * Single Ladies (Put a Ring on It) * Someone to Watch over Me * Tenderly * The Way We Were * We've Only Just Begun * You Are the Sunshine of My Life * and more. Includes an introduction by ASCAP, a foreword by Paul Williams, song notes by decade, plus photos!
SKU: PR.114417130
ISBN 9781491110409. UPC: 680160626687. 9x12 inches.
A recipient of the New Music USA 2013 Live Music For Dance Award commissioning grant, Not Alone is inspired by the ancient Chinese poet Li Bai's poem Drinking Alone under the Moon with the Shadow. The premiere was given on April 26, 2014 by the PRISM Quartet with the Nai-Ni Chen Dance Company, which commissioned the work to celebrate its 25th Anniversary NYC Season. From the Program Note by Matthew Levy (The PRISM Quartet), Not Alone (2014) is an interdisciplinary work...but it stands alone in a chamber music setting. The work spans a stunning range of textures, from introspective solos for each of the four saxophones to majestic hyper-active gestures. The PRISM Quartet recorded Not Alone for a 2017 release on XAS Records titled Paradigm Lost. But we're excited for a wider community of saxophonists to embrace the work, and share it with their own audiences. Not Alone is published together with Happy Birthday to PRISM, a brief miniature that Chen Yi wrote for the quartet's 20th anniversary celebration in 2004. For advanced performers._________________________Text from the scanned back cover:NOT ALONE for Saxophone QuartetHAPPY BIRTHDAY TO PRISM for Saxophone QuartetNot Alone is a 14-minute saxophone quartet and dance score inspired by the ancient Chinese poet Li Bai’s “Drinking Alone under the Moon with the Shadow.†The expansively-textured sax quartet matches the exploratory and dramatic movements and gestures in the dance. NOT ALONE was commissioned by the Nai-Ni Chen Dance Company which premiered the work in collaboration with the PRISM Quartet. Also included in this publication is Chen Yi’s fascinating take on “Happy Birthday to You,†composed in celebration of Prism’s 25th anniversary season.A recipient of the New Music USA 2013 Live Music For Dance Award commissioning grant, Not Alone is inspiredby the ancient Chinese poet Li Bai’s poem “Drinking Alone under the Moon with the Shadow.†The premierewas given on April 26, 2014 by the PRISM Quartet with the Nai-Ni Chen Dance Company, which commissioned thework to celebrate its 25th Anniversary NYC Season. Program Note by composer Chen YiThe original inspiration for this work for both the choreographer and the composer came from the Tang Dynasty poem - Alone Under the Moon by Li Bai. The poem describes the poet being alone in a garden. The moon and his shadow became his companions that night. The choreographer brings this idea to modern life in an urban setting. She created a series of “mindscapes†which are the result of the exploration of the different mental and physical states of being alone.Through self-examination, the choreographer raises the question: are we ever really alone? Our physical being may be standing by itself, but what about our introspective self? When we are still, we let our thoughts pass by like flowing water. If we could engage with our shadows, what would it be like?Program Note by Matthew Levy, The PRISM QuartetThe PRISM Quartet has commissioned a great many composers since our founding days in 1984. Chen Yi is among ahandful of our very favorites, and one to whom we’ve returned time and time again. Her music is powerful, expansive,intimate, and draws connections between Eastern and Western, ancient and modern traditions in a voice all her own.Chen Yi has written or adapted four works for the PRISM Quartet. She penned a wonderful miniature called HappyBirth day to PRISM to celebrate the ensemble’s 20th anniversary back in 2004 (Dedication, Innova Recordings).We subsequently commissioned her to compose Septet (2008) for Erhu, Pipa, Percussion, and Saxophone Quartet(2008), premiered and recorded with the New York ensemble Music From China (Antiphony, Innova Recordings 2010).In 2015, the PRISM Quartet performed and recorded (XAS Records) a new version of her saxophone quartet concerto,BA YIN, with the University of Missouri-Kansas City Wind Ensemble under the baton of Steven Davis (originally writtenfor the Rascher Quartet and scored for saxophones and string orchestra.).Finally, Not Alone (2014) is an interdisciplinary work written for the Nai-Ni Chen Dance Company with the PRISMQuartet, but it stands alone in a chamber music setting. The work spans a stunning range of textures, from introspectivesolos for each of the four saxophones to majestic hyper-active gestures. The PRISM Quartet recorded Not Alonefor a 2017 release on XAS Records titled Paradigm Lost. But we’re excited for a wider community of saxophonists toembrace the work, and share it with their own audiences.In his liner notes for the recording, WNYC’s John Schaefer writes: “As with much of her music, Chen employs percussiveeffects and glissandi; in Chinese music these are not considered “extended techniques†or special effects, but animportant part of the performer’s arsenal. Here, they help create the twilit mood of the opening moments. The piecesoon becomes more dramatic, suggesting the arrival of the drinker’s companions (real or imagined) and his or herincreasingly garrulous outbursts. Passages of consonance and discord can easily be heard as companionable singingand bouts of drunken argument. The piece bustles along on a kind of restless energy, until, finally, that restlessnesssubsides, giving way to a gently humorous ending where a short falling phrase signals the drinker falling asleep.â€.
SKU: HL.48025171
ISBN 9781784545680. UPC: 196288110767. 8.25x11.75x0.245 inches.
This 25 minute work was jointly commissioned by Borusan Istanbul Philharmonic Orchestra, Philharmonie Essen and the Trans-Siberian Art Festival. It was first performed on 19 October 2017 at the Lutfi Kirdar International Convention and Exhibition Centre, Istanbul, by Daniel Hope and Vadim Repin (violins) with the Borusan Istanbul Philharmonic Orchestra, conducted by Sascha Goetzel. It is comprised of four movements, fast-slow-fast-slow and moves through dramatic dialogue between the violins and orchestra. The lyrical dance elements develop in intensity as the piece progresses and explores a wide range of textures. Suitable for advanced standard performers.