To Think Like a Composer

As a composer he recognises no boundaries musical commercial geographical or cultural. His is a way of thinking and composing that is perfectly in tune with the spirit of the times Classic FM MagazineReleased ten years after the original Adiemus albums that helped to make Karl Jenkins' name Adiemus Colores draws inspiration from the sights sounds colours and rhythms of Latin American music.As with the original Adiemus Jenkins combines classical principles with the flavours of world and ethnic music supported by lively Percussion. His Choral writing adopts an invented language with nomeaning like scat singing in jazz. Each movement is named in Spanish after a colour and explores the mood that each evokes for the composer embracing Brazilian samba Argentinian tango and Spanish bolero.Adiemus Colores is scored for Choir and Ensemble with Soloists with a total duration of 75 minutes.

Pratiquement toutes les chansons composées et jouées par les Beatles avec en plus les photos originales et des illustrations couleur. Inclus Let it Be, Give Peace A Chance, Penny Lane, All You Need is Love et Yesterday. Arrangements en ligne mélodique avec accords de guitare. A Day In The Life A Hard Days Night Across The Universe All I've Got To Do All My Loving All Together Now All You Need Is Love And I Love Her And Your Bird Can Sing Another Day Another Girl Anytime At All Baby You're A Rich Man Baby's In Black Back In The Ussr Ballad Of John And Yoko Because Being For The Benefit Of Mr Kite Birthday Blackbird Blue Jay Way Can't Buy Me Love Carry That Weight Come Together Continuing Story Of Bungalow Bill Cry Baby Cry Day Tripper Dear Prudence Dig A Pony Don't Let Me Down Dr Robert Drive My Car Eight Days A Week Eleanor Rigby End Every Little Thing Everybodys Got Something To Hide Except Me Fixing A Hole Flying For No One From A Window From Me To You Get Back Getting Better Girl Give Peace A Chance Glass Onion Golden Slumbers Good Day Sunshine Good Morning Good Morning Goodbye Goodnight Got To Get You Into My Life Happiness Is A Warm Gun Hello Goodbye Hello Little Girl Help Helter Skelter Her Majesty Here There And Everywhere Hey Bulldog Hey Jude Hold Me Tight Honey Pie I Am The Walrus I Call Your Name I Don't Want To See You Again I Don't Want To Spoil The Party I Feel Fine I Need You I Saw Her Standing There I Should Have Known Better I Wanna Be Your Man I Want To Hold Your Hand I Want To Tell You I Want You (She's So Heavy) I Will If I Fell If I Needed Someone I'll Be Back I'll Cry Instead I'll Follow The Sun I'll Get You I'm A Loser I'm Down I'm Happy Just To Dance With You I'm Just In Love I'm Looking Through You I'm Only Sleeping I'm So Tired In My Life Inner Light It Won't Be Long It's All Too Much It's For You It's Only Love I've Got A Feeling I've Just Seen A Face Julia Lady Madonna Let It Be Like Dreamers Do Little Child Love Of The Loved Love You To Lovely Rita Lucy In The Sky With Diamonds Magical Mystery Tour Martha My Dear Maxwells Silver Hammer Mean Mr Mustard Michelle Misery Mother Natures Son Night Before No Reply Nobody I Know Norwegian Wood Not A Second Time Nowhere Man Ob-La-Di Ob-La-Da Oh! Darling One After 909 Only A Northern Song Paperback Writer Penny Lane Polythene Pam Power To The People Rain Revolution Rocky Raccoon Run For Your Life Sexy Sady Sgt. Pepper's Lonely Hearts Club Band She Came In Through The Bathroom Window She Loves You She Said She Said She's A Woman She's Leaving Home Step Inside Love Strawberry Fields For Ever Sun King Taxman Tell Me What You See Tell Me Why Thank You Girl The Fool On The Hill There's A Place Things We Said Today Think For Yourself This Boy (Ringo's Theme) Ticket To Ride Tip Of My Tongue Tomorrow Never Knows Two Of Us Wait We Can Work It Out What Goes On What You're Doing When I Get Home When I'm Sixty Four With A Little Help From My Friends Within You Without You Word World Without Love Yellow Submarine Yer Blues Yes It Is Yesterday You Can't Do That You Like Me Too Much You Never Give Me Your Money You Won't See Me Your Mother Should Know You're Going To Lose That Girl You've Got To Hide Your Love Away

By Women Composers. This Anthology is a result of the #CallToWomenComposers worldwide search for talented but not yet published women composers and includes piano works by twenty-two women composers inspired by Chopin?s Nocturnes.

pour piano. Par LENS NICHOLAS. The Belgian composer Nicholas Lens presents extremely varied etudes, exercises and simple phrases with wonderfully telling titles from poetry and everyday world for children and adults. For the most part the studies are tonal and simple and have no constructed line. They are not based on any educational concept but leave the musical dramatization to the pupils and teachers: 'Notes and rhythms are just notes and rhythms, they do not have that many rules, they do not have any pretension, they are just tools for you to use to express what you want to share'. / Date parution : 2016-11-20/ Etude / Piano

Composer's Note: Quilting co-commissioned by the BBC Symphony Orchestra and the Los Angeles Philharmonic is my first stand alone work fororchestra and is loosely inspired by the American tradition of quilt making. I composed Quilting while living most of last year in Paris. During my time there I thought a lot about what it means to compose symphonic music as ayoung American in the 21st century when so many of the many masterworks which are programmed year in and out by orchestras across the country are European. I considered which artistic traditions defined the American 19th-century.I began to think of the American crafts-tradition of quilting as a foil to the high-art tradition of European orchestral composition. As the score for my new work began to take shape I started thinking about themanuscript itself as an object its vertical and horizontal planes create a kind of patterned geometry of their own. Visually the way a musical score is woven together like patchwork brought to mind quilts and the great Americantradition of quilting. I imagined about how conducting an orchestra can feel like stitching a piece together or sewing together a large number of musical ideas and musicians into a coherent and transcendent whole. Quilting was an integral part of American vernacular in the 18th and 19th centuries the African-American quilting tradition is especially fascinating and the quilts tell the stories of the women and communities who made them.The names of the quilt patterns themselves can have their own sense of narrative: 'jacobs ladder' 'drunkards path' 'solomon's puzzle' and (my favorite for its relevance to this piece) 'the road to California.' -Bryce Dessner

Kevin Volans' String Quartet No. 9: Shiva Dances was commissioned by BBC Radio 3 and first performed by the Smith Quartet at the 2004 Huddersfield Contemporary Music Festival.Kevin Volans (the composer) notes on the piece:In the past I have been interested in trying to go beyond historicism (1970s) beyond style(1980s) and beyond form (1990s) in my work. Looking back over the music of the twentiethcentury I was struck by the fact the nearlyall of it is extremely 'busy' almost cluttered. Italmost seemed that composers felt compelled to look industrious. In the new millennium Ithought it would be interesting to try and eliminate content. I also aspired to movingfrommusic (sound as art) to art (art as sound). This of course has already been done by a numberof composers (many from New York Phil Niblock and La Monte Young to name but two) butit was something I had never tried.AlthoughI found it annoying that the label 'minimalist' was given to my African-based work and fearing this would make the label stick I set out to write a piece which reflected my loveof minimal painting and architecture. The Japanesehave a term 'wabi' meaning 'voluntarypoverty' or 'emptiness' to describe their restrained minimal aesthetic an aesthetic which however pays greatest attention to the quality of material and fine detail. I like to think thatthelack of excessive pitch material in this piece reflects a kind of voluntary poverty.When Shiva is portrayed dancing (as Nataraj) He is depicted in a circle of flames crushing asmall figure the ego underfoot.You get theimpression He dances on the spot not movingaround at all. I like that.The piece is dedicated to Pablo Pascual Cilleruelo.

This new series targets the Quick Study head-on: all freshly composed pieces with the exam kept firmly in mind. Quick Studies can be the bête noir of DipABRSM examination candidates. This need not be the case but confidence in this area will not come overnight. Nor should the Quick Study be seen as merely a longer version of the sight-reading tests encountered in the graded exam syllabus. One key difference is that a Quick Study needs to sound reasonably robust – more like a 'learned' piece and less like a sketch or outline. Too many hesitations or passages bogged down by note-searching will cost you dearly while uncertain tonality coupled with woollyrhythms will undoubtedly nosedive your attempt. Misjudged tempi inobservance of critical expression markings or significant shortcomings in musical or stylistic awareness are also more than likely to jeopardise success. If it doesn't resemble a performance to you it won't to the examiners!Bearing in mind that a typical Quick Study will approximate to Grade 6 in the musical and technical demands it makes of you it should hardly be an undue cause for concern irrespective of whether you are taking a diploma in performing or teaching. After all by this point in your musical life you will have doubtless come across a sizeable number of pieces at this relatively modest level and being able to get to grips with such a piece in a short time frame is surely a reasonable expectation for a prospective diploma candidate living in the 'real world'. Diplomas are after all the first rungs on the professional ladder for a Classical musician emphatically not a grade 9 and as such they demand a significant gearing-up in mental attitude. You'll need to think more analytically not just instinctively. This new series of books targets the Quick Study head-on: all freshly composed pieces with the exam kept firmly in mind. It is not a solution in itself nor a means of short-circuiting the skills you will need to develop but a practice

A diploma candidate's guide to exam success: Trumpet DipABRSM.Foreword Quick Studies can be the bête noir of DipABRSM examination candidates. This need not be the case but confidence in this area will not come overnight. Nor should the Quick Study be seen as merely a longer version of the sight-reading tests encountered in the graded exam syllabus. One key difference is that a Quick Study needs to sound reasonably robust more like a 'learned' piece and less like a sketch or outline. Too many hesitations or passages bogged down by note-searching will cost you dearly while uncertain tonality coupled with woolly rhythms will undoubtedly nosedive your attempt.Misjudged tempi inobservance of critical expression markings or significant shortcomings in musical or stylistic awareness are also more than likely to jeopardise success. If it doesn't resemble a performance to you it won't to the examiners!Bearing in mind that a typical Quick Study will approximate to Grade 6 in the musical and technical demands it makes of you it should hardly be an undue cause for concern irrespective of whether you are taking a diploma in performing or teaching. After all by this point in your musical life you will have doubtless come across a sizeable number of pieces at this relatively modest level and being able to get to grips with such a piece in a short time frame is surely a reasonable expectation for a prospective diploma candidate living in the 'real world'. Diplomas are after all the first rungs on the professional ladder for a Classical musician emphatically not a grade 9 and as such they demand a significant gearing-up in mental attitude. You'll need to think more analytically not just instinctively. This new series of books targets the Quick Study head-on: all freshly composed pieces with the exam kept firmly in mind. It is not a solution in itself nor a means of short-circuiting the skills you will need to develop but a practice tool to steer you in the right direction. The

Commissioned by the Norwegian Band Federation and Tom Brevik. Composed in 1991. The composer:Elegy and March was one of my first original compositions (no quotations no folk-tunes) and it was one of my earliest attempts to experiment with form. The elegy-part is quite obvious but the march is not quite a march. If the elegy-part tells a sad story then the march should tell a happy story. My problem is that I don¬?t think life is like that. Result: the march collapses! De liefhebbers van de muziek van de Scandinaviër Aagaard-Nilsen kunnen hun hart ophalen bij dit bijzondere werk. In de tweedelige compositie zijn de delen thematisch aan elkaarverwant. De Elegy is een verstild werkje met prachtige klankvelden. Alle instrumenten komen aan bod maar nooit tegelijk. Hoe anders is dat in de mars waarbij ragfijn orkestspel wordt gevraagd. De componist: Elegy and March was een van mijn eerste originele werken (geen citaten geen volksliedjes) en het was een van mijn eerste pogingen om te experimenteren met vorm. De elegie deel is vrij duidelijk maar de mars is niet helemaal een mars. Als het elegie-deel een triest verhaal vertelt dan zou de mars een gelukkig verhaal moeten vertellen. Mijn idee is dat dat in het echte leven ook niet zo is. Resultaat: de mars stort totaal in!Weer iets totaal anders van de Noorse meester!

by Walt Weiskopf. From the popular performer and composer, here are 16 solos based on well-known standards designed to improve your time, melodic sense, and harmonic awareness. They sound like ?real? solos because they were designed the way real soloists think and play. Chord changes are written above each measure, allowing instant analysis of how and why a particular lick or pattern sounds great. Tempos are moderate to moderate-fast, so they are very approachable for intermediate level players. The CD includes both play-along/practice tracks and demonstration tracks with Walt playing the etudes on either tenor or alto sax (depending on the book). Playing these solos with solid time, tone, and conviction will have you sounding professional, mature, and polished.

Composer's Notes:Dove Star-Folded was written at Christmas 2000 in memory of the recently deceased Sir Steven Runciman who had been a friend for more than thirty years. It was he who owned the small automaticorgan which had belonged to King George III with which the King in his madness had tried to teach caged finches to sing: this was central to the inspiration and conception of my Eight Songs for a Mad King in 1969.Thenew string trio is as far from the frenzied world of that composition as it is possible to travel - it is a contemplative work based on a Greek Byzantine hymn in recognition of Sir Steven's researches into Byzantine history. Itis a short series of transformations of the opening phrase with a tangential flow of thought which I would like to think catches the essence of Steven's luminous thought processes and conversation. The end is calm and wrapt reflecting the title's inwardness; I borrowed this title from the Orcadian poet George Mackay Brown. Peter Maxwell Davies