Arrangements for worship groups-Now here's something no other worship collection provides - arrangements for worship groups - each book containing 100 hymn and song arrangements (110 in Book Six) from the source. Available in the following editions: CInstruments for flute violin recorder and oboe B b Instruments for clarinet trumpet and tenor sax E b Instruments for alto sax clarinet and horn
SKU: BT.EMBZ7545
English-Hungarian.
This music may be performed with any sound source (instruments, human voice, any kind of object, generators, etc.) suitable for producing the pitch of one of the four voices with a differentiation required by the piece.The four pitches are to be read in the treble clef, and only in the given register.Ali the sound sources may be modulated electronically. ln case of any kind of modulation the proportion of the modulated/ direct tone has to be selected in such a way that the constancy of the four tones should obvious at every moment of the performance.The sound sources used by the individual performers may also be completely homogeneous (eg. string ensemble), as far aspossible, however, the fewer the number of performers the more they should differ from each other. One performer should use no more than two to three sound sources, and at least one of these should be suitable for performing all four tones Instructions for the performance can be red in the preface of the score.
SKU: BA.BA11242-49
ISBN 9790006563630. 15 x 21 cm inches.
The acclaimed percussionist Christian Dierstein has joined forces with a research group at the Basel Academy of Music to examine the techniques of percussion playing from an innovative perspective. The main focus falls less on the instruments than on their sound producers: beaters, mallets, sticks, bows, specific manual techniques up to and including electronic pulse generators. This book describes all of them in detail and illustrates their range of application in carefully selected and annotated examples from the repertoire. Many essays by guest authors such as Nicolaus A. Huber, Steven Schick, Fritz Hauser and Bernhard Wulff relate the performance descriptions to ongoing aesthetic debates. They reveal that sound production and interaction with sound-generating objects have moved centre stage in contemporary composition and its expanded concepts of material and performance. The result is a comprehensive reference book for composers and performers that will also serve as a source of inspiration for future innovative approaches in percussion playing.The authorsChristian Dierstein completed his musical studies with Bernhard Wulff (Freiburg), Gaston Sylvestre (Paris) and Wassilios Papadopulus (Mannheim). A multiple prize-winner at music competitions, he has played percussion withEnsemble Recherchesince 1988 andTrio Accantosince 1994 together with Nic Hodges and Marcus Weiss. In addition he has been professor of percussion and contemporary chamber music at the Basel Academy of Music since 2001. Michel Roth is professor of composition and music theatre at the Basel Academy of Music and a member of its research department. As a composer he is a regular guest at music festivals, recently with a focus on music theatre. In 2017 Barenreiter published hisTechniques of Trombone Playingco-written with Mike Svoboda. This was awarded theBest Editionprize by the German Music Publishers Association in 2018.Jens Ruland studied percussion with Carlos Tarcha at the Cologne University of Music (2007-12) where he completed his performance and teaching degree with distinction. Since 2012 he has consolidated his studies with Christian Dierstein in Basel. He is a founding member ofhand werk(Cologne),232 percussion(Cologne),Ensemble New4Art(Switzerland) and the music theatre duoAkt-tkA(Spain and Switzerland).
