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Elaine Gould: Behind Bars - The Definitive Guide To Music Notation

Elaine Gould: Behind Bars - The Definitive Guide To Music Notation

Behind Bars is the indispensable reference book for composers, arrangers, teachers and students of composition, editors, and music processors. In the most thorough and painstakingly researched book to be published since the 1980s, specialist music editor Elaine Gould provides a comprehensive grounding in notational principles. Behind Bars covers everything from basic rules, conventions and themes to complex instrumental techniques, empowering the reader to prepare music with total clarity and precision. With the advent of computer technology, it has never been more important for musicians to have ready access to principles of best practice in this dynamic field, and this book will support the endeavours of software users and devotees of hand-copying alike. The author's understanding of, and passion for, her subject has resulted in a book that is not only practical but also compellingly readable. This seminal and all-encompassing guide encourages new standards of excellence and accuracy and, at a weighty 704 pages, it is supported by 1,500 music examples of published scores from Bach to Xenakis.

DKK 889.00
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Destino Re-Immaginare : (A Fantasy on Motifs of G. Verdi)

Destino Re-Immaginare : (A Fantasy on Motifs of G. Verdi)

The overture to Giuseppe Verdi's 1862 opera La Forza del Destino (The Power of Fate) has remained standard repertoire for orchestras around the world. In this imaginative work for winds, Jay Bocook pays homage to the mastery of Verdi and begins with the ominous 3-note fate theme from the overture. Throughout the piece melodies are recast and harmonies are embellished, culminating in an exhilarating conclusion where the final seven bars quote Verdi's original almost identically. A brilliant addition to the wind band repertoire.

DKK 1262.00
1

Humanos

Humanos

Jan Van der Roost was commissioned to write this hymn by the “International Association for Human Rights” in Frankfurt. The commission specified that the instrumentation of this simple hymn should be so, that it can be performed by a variety of combinations of players. The piece starts with an “intrada” for brass ensemble based on the first bars of the hymn, but is “ad libitum” and can therefore be omitted. The coda can also be left out, depending on the available instrumentation. The piece should be played “legato” to accentuate its hymn-like character.

DKK 905.00
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Jacques Brel Toujours!

Jacques Brel Toujours!

The French-speaking Flemish singer, composer and lyricist Jacques Brel was born in Brussels in 1929. In the 1950s, he broke away from his bourgeois social background of his family and started an artist’s life in Paris, where he initially wrote chansons and earned a living by performing in small cabarets and bars. Over the following years he achieved worldwide fame with his chansons, which were alternately harsh and melancholic Roland Kernen has selected a number of the wonderful chansons written by this most creative artist to produce this unforgettable chanson medley.

DKK 1262.00
1

Three-Eight Charlie : The Incredible Adventure of Jerrie Mocke

Three-Eight Charlie : The Incredible Adventure of Jerrie Mocke

In 1964, the American aviator Jerrie Mock was the first woman to fly solo around the world, in spite of her critics and the bad weather forecasted. She completed this journey in 29 days on board the “Spirit of Columbus”, a singleengine Cessna. This story inspired Marc Jeanbourquin. The aviator’s determined nature appears from the very first bars, reflecting her mood before take-off. The hymn that follows illustrates the beginning of the flight, when allis going well. This leads to a calmer section, as if the aviator was letting herself be carried by the air currents above the clouds, lost in her thoughts. Then a more energetic passage brings her back inside the cockpit toconfront the bad weather she encounters. She overcomes these difficulties to appear out of the clouds before a cheerful finale, as if nearing the finishing line. Welcome aboard for a flight around the world! First prize in thecomposition competition of the Swiss Music Association (Contest music 4th category 2020).

DKK 905.00
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Juliana Hodkinson: Angel View

Juliana Hodkinson: Angel View

Angel View by Juliana Hodkinson , scored for seven or more performers and electronics. 'Angel View is an assemblage of urban and musical debris, somewhere between a wordless live radio play, enacted film soundtrack and instrumental theatre. Chiseling cement, falling debris, scraping cutlery, breaking glass, criss-crossing cables, squealing tram-wheels, an upturned bicycle, a grid of cables, a travel souvenir, a shop window, a revolving carousel, a brace of monkeys, a wall under siege, a dining table laid for an ancestral dinner ? it is a sonic bazaar. Made up of over 20 parts, each designed to overlap, the work?s architecture is full of of non-sequiturs and arbitrary cross-relations between imagined streets intersecting and running parallel, reflecting the surrealism of everyday life described in Walter Benjamin?s Einbahnstrasse and still present in the contemporary dilemmas and opportunities of Berlin today. All this is heard as if from an aerial perspective, perhaps the Victory Column where angels sit in Wings of Desire, from where Berlin below is observed as a series of tragedies.' Juliana Hodkinson

DKK 1056.00
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Poul Ruders: Paganini Variations- Guitar Concerto No.2

Poul Ruders: Paganini Variations- Guitar Concerto No.2

Ruders writes: There's a solid tradition in the history of Western music of turning the theme of Nicolo Paganini's "24th Caprice" for soloviolin into a set of variations endemic to the time and style of each individual composer; Liszt, Brahms, Rachmaninov and Lutoslawsky being the most prominent names. When asked by David Starobin to write a concerto for him, I though "well, why not have a go at it?" - bearing in mind, that not only is Paganini the most celebrated violin-wizard of all times, but he was also a more than accomplished guitarist. There are 22 variations in all, numbers 1 to 16 all adhering strictly to the 16-bar pattern, laid down by Paganini himself. From variation 17 though, the writing becomes more symphonic and the rigid 16-bar regime is being lossendes up a bit. However, the last variation 'Finale Prestisimo' is a 6 x 16 bars "white-knuckle ride", in which the hitherto soloistic role of the guitar gives way to that of 'primus interpares', i.e. 'first among equals'. As with another set of variations of mine 'Concerto on Pieces' (based on a tune by Purcell), the nature and shape of the 'Pagannini-Variations' may be compared to a stroll through a hall of mirrors: the "portrait" - the theme is gradually being distorted out of all recognition - but it's still the same "original" walking by.

DKK 826.00
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Poul Ruders: Paganini Variations - Piano Concerto No.3 (Score)

Poul Ruders: Paganini Variations - Piano Concerto No.3 (Score)

Paganini Variations - Piano Concerto No.3 (The original guitar-part arranged for piano and pianist Anne-Marie McDermott by the composer, 2014). Programme note: In 1999 my friend, American guitar virtuoso David Starobin, wanted me to write a concerto for guitar and orchestra. It quickly dawned on me, that this commission presented a golden opportunity to contribute to the time-honoured tradition of composing a series of variations on Nicolo Paganini´s famous 24th Caprice for violin solo, a work which itself is a set of variations. The 16 bar (with the first 4 bars repeated) theme is not particularly sophisticated or intricate, but its inherent simplicity and logic just grow on you, almost to the point of distraction - and the secret behind it being hauled through "the wringer" by composers as disparate as Liszt, Brahms, Rachmaninoff and Lutoslawski is perhaps found in its - what I´ll call, with a quick nervous look over my shoulder: brilliant banality. You can do anything with that tune, it´ll always be recognizable and just there, however much you maul it. The piece (subtitled Guitar Concerto no 2) was written pretty quickly, premiered and subsequently recorded for Bridge Records with David and the Odense Symphony Orchestra conducted by Jan Wagner, and everybody was happy. But the story didn´t end there, and it must be the ultimate proof of the durability of the theme, not to mention the flexibility and far-sightedness of David Starobin , when he 14 years later suggested "why not transcribe the solo part for piano?". The idea appealed to me immediately. One thing was clear from the beginning: the new version could in no way sound like a transcription. My aim was to end up with a solo-part sounding like were it "the one-and-only", the "real thing", if you like. The orchestral score remains exactly the same in both cases. Both versions, the two Paganini Variations, are comparable to a set of twins, not quite identical, but almost. And both each others´s equal. Poul Ruders  

DKK 787.00
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Poul Ruders: Final Nightshade - An Adagio Of The Night (Score)

Poul Ruders: Final Nightshade - An Adagio Of The Night (Score)

Premiered by The New York Philharmonic, conducted by Lorin Maazel, at Avery Fisher Hall, Lincoln Center, New York City, 10th June 2004.Orchestration3 Flutes, 3rd dbl. Piccolo2 Oboes1 English Horn in F3 Clarinets in Bb, 3rd dbl. Bas Clarinet in Bb2 Bassoons1 Contra Bassoon4 Horns in F3 Trumpets in Bb3 Trombones1 Tuba1 (set of) Timpani2 Percussion (two players)1: Bass Drum (large), Chinese Cymbal, Mark Tree2: TamTam (large), Vibraphone, Antique Cymbal1 Harp1 Piano dbl. CelestaStringsAll non-octave transposing instruments are notated in their relevant transpositions.Horns notated in bass clef sound a fourth above the notated pitch.All accidentals apply to each single note only, except tied notes. Naturals for 'safety'.Programme NoteThis piece marks the conclusion of what could now be called 'The Nightshade Trilogy', three pieces which explore the contrasting worlds of Light and Darkness. As opposed to the earlier chamber work Nightshade, which dealt with extremes of high and low pitches, and the chamber orchestra composition Second Nightshade, a two-fold piece contrasting darkness/anxiety and light/calm, Final Nightshade, for full symphony orchestra, takes us on a journey in which the forces of dark and light struggle - and co-exist - in a predominantly polyphonic web, with brooding undertones. The melodic point-of-departure is not, surprisingly, to be found in either of the two preceding pieces of the Trilogy, but in an older piece, Corpus Cum Figuris from 1985. Over the ensuing years I've dreamt, on and off, of 'doing something' with the opening measures of this older work, perhaps even building a new composition on that very simple, inward-looking time was ripe, and there's a nice nostalgia angle to the idea: Corpus Cum Figuris was the first piece of mine to be performed by the New YOrk Philharmonic, at the Horizons Festival, conducted by Oliver Knussen, in 1986. Final Nightshade based on the few opening bars of Corpus Cum Figuris offers a new world of intertwining melodies played mostly in Violins and Flutes - along with the darker, at times even menacing forces of the rest of the Orchestra. The world itself, nightshade, is wonderfully evocative: pale moonlight, elusive shadows, dark, silent forests in the dead of night. Which is why I've given the new work of sub-title, 'An Adagio of the Night' - it's a slow-paced Nocturne, with 'Lightness and Hope' prevailing towards the end. Or do they? Poul Ruders, September 2003

DKK 780.00
1

NUX B-5RC Wireless Guitar System

NUX B-5RC Wireless Guitar System

B-5RC trådløst system passer perfekt til alle typer elektrisk guitar, akustisk-elektrisk guitar, basguitar, elektro ukulele m.m. Forbedret af den seneste trådløse teknologiske innovation og opgraderet algoritme, kan B-5/B-5RC nu fungere godt med instrumenter, der er udstyret med aktive pickupper. Desuden kommer den med det banebrydende auto-matching-system, som giver dig mulighed for at nyde fuldstændig frihed uden nogen opsætning. Nyd, hav det sjovt og rock på! Ingen summen/brummende med de aktive pickups Produkttekst fra producenten: B-5RC wireless system fits in perfectly with all types of electric guitar, acoustic-electric guitar, bass guitar, Ukulele. Enhanced by the latest wireless technology innovation and upgraded algorithm, B-5/B-5RC can now work well with instruments that equipped with active pickups. Moreover, it comes with the ground-breaking auto-matching system which allows you to enjoy complete freedom without any setup. Enjoy, have fun & rock on ! No Buzzing/Humming With The Active Pickups NUX B-5 RC works perfectly with active/passive electric guitar and bass, and acoustic-electric guitars with piezo or magnetic pickup. The signal is crystal clear. High Quality Audio B-5 Wireless delivers the signal on 2.4 GHZ frequency range. That's a global interference-free broadcasting range you can use everywhere without a signal break. With the 24-bit 44.1 kHz audio quality you will never experience unwanted sound degradation. Quick-Play, No Setup Required Each pair of B-5 wireless transmitter and receiver has a unique and fast-matching system. Just hold the power button to turn ON both wireless devices, plug the transmitter to your guitar, and the receiver to your amp (or any gear you want to send your guitar signal to like a pedal, audio interface etc). It's ready to play! And it has a useful MUTE function; just short click the transmitter's POWER button when you want to stop playing for a short time. Stay Charged, Stay Tuned! The B-5 wireless has a built-in long-lasting battery, you can play for up to 4 hours non-stop. And if you leave it ON for 10 minutes without playing, it shuts OFF automatically to save the battery life. And we created a useful solution for the gigging musician; B-5 RC Power Case is a charge station for B-5 wireless, it provides up to 15 hours battery life and charges the wireless system approximately 3 times. Wireless Freedom B-5 has a 50-foot (15 meters) line-in-sight wireless streaming distance, and it delivers the signal between the transmitter and the receiver in less than 5 milliseconds. There's also an optional Cable Tone simulation to get your tone with the cable capacitive effect without using a cord. Cable Tone simulation makes your sound as natural as using a high-quality cable.  Press the receiver's power button (short click) to activate the Cable Tone, the LED indicator will change to ORANGE color. Ultimate Compatibility Our goal has always been making it with unbeatable compatibility. We designed the B-5 wireless to interface on a  variety of guitar and bass guitar body types, so there are no issues regarding tremolo bars or angled input jacks. Slim and light design allows you to play comfortably on any guitar and bass guitar type, including acoustic guitars and ukulele. Color: Black Electronics: Built-in Battery Capacity: 3.7V/500mA (Transmitter and Receiver) Application for: Guitar, ukulele Frequency Response: 20Hz – 20kHz Operating range: 2.4GHz Specifications: Transmission Range: 50 feet / 15m line-of-sight Specifications II: Audio Quality: 24-bit 44.1 KHz, Up to 15 hours of playing time Accessories: B-5RC Power Case-Battery Capacity 4000mAh (included) Length: 107 mm Width: 25 mm Height: 26 mm Weight: 6 8g    

DKK 1170.00
1