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Kevin Volans: 1000 Bars (Long Version)

For Violin, Cello and Piano Duet.In the past composers wrote 'pieces' of music. More important pieces were called'works'. Nowadays, however, most composers write minutes. Phone up any professional composer and ask how'r'ya doing? and nine out of ten will say something like: "Terrible/ awful ? I've only written 4 (or ?..) minutes and I have to write ? minutes!"We're all commissioned to write minutes - like so many feet of wallpaper. Imagine this:" We loved your Jupiter Symphony Mr. Mozart, but it's 3 minutes less than we commissioned."Fortunately most composers cheat a bit, and most commissioners don't sit with stopwatches in their hands.1000 bars is not 1000 bars long. I stopped when the piece was finished. However it did turn out to be exactly 4'33" in duration.What the piece itself is about has nothing to do with its title or length. - Kevin Volans

Kevin Volans: 1000 Bars (Short Version)

For Violin, Cello and Piano Duet.In the past composers wrote 'pieces' of music. More important pieces were called'works'. Nowadays, however, most composers write minutes. Phone up any professional composer and ask how'r'ya doing? and nine out of ten will say something like: "Terrible/ awful ? I've only written 4 (or ?..) minutes and I have to write ? minutes!"We're all commissioned to write minutes - like so many feet of wallpaper. Imagine this:" We loved your Jupiter Symphony Mr. Mozart, but it's 3 minutes less than we commissioned."Fortunately most composers cheat a bit, and most commissioners don't sit with stopwatches in their hands.1000 bars is not 1000 bars long. I stopped when the piece was finished. However it did turn out to be exactly 4'33" in duration.What the piece itself is about has nothing to do with its title or length. - Kevin Volans

Parallel Universes

Land of the Roaring Lion

A fun, well-crafted ensemble piece for beginning level players that features imitation between sections, simple harmony in parallel lines, and bold, modal sonorities. As always, Kenneth Baird creates interesting parts for allplayers.

Pure Spirit

Here is a strikingly different composition for jazz ensemble from the pen of acclaimed jazz pianist and writer Steve Allee. Featuring a floating texture of parallel harmonics and melodic lines, Pure Spirit is a fresh-sounding andrewarding piece for the entire ensemble.

Montana

From the first bars the stately character of this solemn, yet celebratory, march is clearly heard. The introduction of the main theme takes place in the medium register, immediately resulting in a noble tone. A lyrical trio melody provides contrast, but the march closes in a festive and imposing mood. A march worthy of any concert program.

Jazzimut

In 2009, one year after its formation, the Swiss brass ensemble Azimuts Brass commissioned its conductor, Marc Jeanbourquin, to write them a signature tune. He composed Jazzimut, which features a festive introduction followed by a lyrical theme. After a few bars of rock rhythm, Jazzimut goes disco and finishes with a recapitulation of the introduction as a fanfare. Now available for concert band this is an entertaining piece from start to finish!

Sketches from Nowhere

Sketches from Nowhere is the second composition that Thomas Doss has written for brass band. The title was inspired by various images the composer saw in his mind’s eye while working on this piece: pictures of foreign places; pictures of the creation of our world. The main motif that weaves its way from the beginning to the end of the work is meant to parallel humanity’s great evolution: from its humble beginnings as mere stardust to the present day.

Pétrouchka : Original version 1911

The two versions of Stravinsky's Pétrouchka constitute separate and parallel incarnations of one of the cardinal masterworks of 20th-century music. Arguably the 1911 original version is the work of a greater showman: it remains a supreme work of the theatre, while the 1947 score is essentially aimed at concert performance.This corrected edition allows informed comparison for the first time. The original engraving has been checked against the manuscript, modern orthography has been applied to the Russian stage directions, and complete English and German reference translations of the stage directions are provided.

The Miracle : The Passion of Saint Margaret

This work was inspired by the 3rd/4th century legend of Margaret of Antioch. Margaret was very devout, and lived as a shepherdess in the countryside. When the city prefect Olybrius proposed to her, on the condition that she would give up her faith, she refused and was eventually put to death. To evoke the archaic early-medieval atmosphere, Bert Appermont has used two Gregorian Kyries. In addition, influences from old music (such as old modes and parallel fifths) and Carl Orff’s work are present. This four movement piece is an epic symphonic poem-like work with an incredible expressiveness and is ideal for a thematic concert or a contest.This work was inspired by the 3rd/4th century legend of Margaret of Antioch. Margaret was very devout, and lived as a shepherdess in the countryside. When the city prefect Olybrius proposed to her, on the condition that she would give up her faith, she refused and was eventually put to death. To evoke the archaic early-medieval atmosphere, Bert Appermont has used two Gregorian Kyries. In addition, influences from old music (such as old modes and parallel fifths) and Carl Orff’s work are present. This four movement piece is an epic symphonic poem-like work with an incredible expressiveness and is ideal for a thematic concert or a contest.

Band Time Christmas

BAND TIME Christmas is intended for the first year of band playing and contains four-part arrangements of well-known international Christmas songs. The level of difficulty of these pieces is parallel to the material covered in the first volume of the Look, Listen & Learn method.The first five arrangements increase in difficulty in line with lessons 6 to 9. These are therefore suitable to perform in the Christmas term of the first year of study. This collection can, of course, also be used along with any method. BAND TIME Christmas is suitable for many combinations of instruments, from four players upwards, and you only need to buy the books you actually require.

Brian Elias: Concerto For Cello And Orchestra (Score)

The Cello Concerto is in four main sections that are played without a break. As with most of my work, the music throughout is generated from the ideas presented in the fi rst few bars, and these ideas and their variants appear freely in the different sections. Recurring material and references to earlier sections are used deliberately to create not only a sense of unity but also an impression of familiarity that aspires to induce a dream-like perception of the passing music, a kind of spiral. The piece opens with a slow introduction that gradually quickens into the first main section, an allegro. The form of the second section, which is in a lighter mood, is based on an early 13th century verse form, the Sestina, which consists of six stanzas of six lines each, followed by an envoi. The words that end each line in the first stanza are rotated in a strictly prescribed pattern* to give the line-endings of the remaining stanzas; in this adaptation, each “line” consists of four bars, and the repetitions ensue according to the plan. The intricate repetition inherent in this form can also be seen as a form of spiral. The third section is an extended slow movement interrupted by a quicker episode that refers to the fi rst section. Generally lighter and in a similar vein to the second section, the final section includes a reference to the slow movement before returning to the lighter music that ends the piece. This work is dedicated to Natalie Clein.

Band Time Starter ( Full Score )

The series Band Time is based on the successful method Look, Listen & Learn. Composer and publisher Jan de Haan has developed the series especially with the intention of introducing children to playing together in a wind band at an early stage. Band Time Starter makes this possible after just a few lessons! Band Time is a collection of fourteen original three and four-part pieces which can be played in practically every small or large wind band strength - with a minimum of three players. The difficulty of the pieces increases in parallel with the material covered in the Look, Listen & Learn method, but the use of this method is not required to be able to play from Band TimeStarter. The score explains how the series can be optimally used, and how the instrumentation that you have works best.

John McCabe: Nocturnal Op.42 For Piano Quintet (Score and Parts)

John McCabe's Nocturnal For Piano Quintet was composed in 1966, commissioned by the Park Lane Group, London, and first performed by the Lancaster University Ensemble. Duration: Approximately 13 minutes. Composers Note:  The title of this work is a reference to John Donne's poem A Nocturnal upon St Lucie's Day, the mood of which is reflected in the quintet. It falls into several movements, played without a break: Introduction (Andante), setting forth the main thematic ideas of the music; Nocturne 1 (Allegro vivo), an agitated, virtuoso, scherzo-like section; a tripartite central part of the work consisting of two Cadenzas framing a brief Interlude, the first Cadenza being largely for strings, the second mainly for piano, and the Interlude harking back to the feeling of the Introduction; Nocturne 2 (Andante molto), a slow piece gradually building to a unison theme on strings accompanied by a tolling piano background. This dies down to lead to an Epilogue, ending with a final reference to the work's opening bars. 

Atlas Symphony

The Atlas Symphony for symphonic wind band is an impressive and subtle work, thematically complex, with a rich orchestration, but also great beauty. The composer was keen to draw a parallel between an atlas, where all the geographical maps of the world are collected in one book, and his score, which brings together all the facets of his musical style. Despite being written without any breaks, the symphony is structured around three main ideas. It is based upon a series of notes that will become the very essence of the piece, its building blocks. Like the works of composers of serial music, the series appears in different forms - melodic and harmonic, thematic or simply asan accompaniment. With its wealth of rhythms and contrapuntal power, this piece is a compelling concerto for orchestra. The Orchestre de la Police Nationale was the first to be attracted to this work and premiered it with excellence under the baton of composer Thierry Deleruyelle.

Weitere intime Briefe : for string quartet

Leoš Janá ek's passionate and inspiring emotions towards the 38-years-younger, also married Kamila Stösslová produced more than 700 letters and his 2nd string quartet Intimate Letters. In the last two years of the composer's life beyond the ordinary letters they used an 'album', a little hand-written book into which he entered his impressions of meetings with Kamila. The album contains not only text entries but some short musical sketches between the lines. Sometimes few bars of a melody, sometimes just a chord. These fragments did not become parts of any terminated work by him, and had the role of actual, ephemeral messages more than compositional drafts. ''In Weitere intimeBriefe I used some fragments of fragments found in Janá ek's album and put them in a musical context which is quite different from the original one or from Janá ek's own string quartet (which is otherwise one of my favourites of the genre). (Péter Tornyai) The work has been commissioned by the Kunststiftung Nordrhein-Westfalen: it was premiered on December 16, 2019 by the Asasello Quartet in Neuss.

Magnus-Hymnen : Hymn of St. Magnus

Hymn of St. Magnus is the oldest written example of Nordic polyphony. It is dated around year 1200. It’s origin is the Orkney Islands and it’s characterized by moving, parallel thirds. The hymn is dedicated to Magnus Erlendsson (Magnus the Martyr), who was an earl at Orkney Islands at the end of the Viking age. This was obviously tough and bloody times for people in power, and Magnus was eventually cut down during a battle with a rival, which led to him being declared a saint. This arrangement describes the battle Magnus was involved in. The melody is here somewhat simplified from the original version, but with a slightly modern twist. Parts of the song is ideal to be learnt bymemory and performed with some sort of stage show. The drums in the song is supposed to be fierce war drums - the deeper, the better! The indicated drum rhythm is just suggested and may well be decorated with stylish details. It is also important that the melody is played as it would be sung in a choir, with long, beautiful phrases. The bass riff should be played like it would have been played on a rock guitar!

Bent Sørensen: Schattenlinie (Score & parts)

About the whispering in movement No. IV(The movement ?Kirschgarten?)The word ?stemmer? is whispered by the musicians in movement IV, as marked in the parts (marked whisper inthe music). The word ?stemmer? is Danish for ?voices?. The Danish letter ?e? is here pronounced approximatelylike the ?e? in the English word ?stem?.The whisper should be ?airy? and barely audible, not as loud as to be mistaken for talking/singing.If you prefer the German word ?Stimmen? (same meaning and approximate same ?sound?) you may substitutethat word for ?stemmer? - at your discretion. If you make the substitution then all occurences must be changed.In bar 7 the clarinet player whispers ?stemmer? after the last forte note of the piano has died away enough tomake the whispering audible.In bar 12 the pianist initiates the whispering, and is immediately followed by the viola player, creating an ?echo?effect.In bar 19 follow the same procedure as in bars 7 and 12.Further whispering, two possibilities/options:1)) AUDIENCE PARTICIPATION(this option is preferred by the composer and was used at the premiere performance of this movement at RisørFestival 8 July 2008). The special circumstances surrounding this particular performance (see last paragraph)allowed a number of people (approx. 10) from the attending audience to be instructed in advance to participatein the whispering from their position amongst the audience in the hall.It is not necessary for the audience ?whisperers? to have a score at hand, they will whisper on cue from themusicians on stage.The first occurrence of this feature appears in bar 21-22 where the especially prepared members of the audiencebecome part of the whispering echo.When the clarinet player has whispered ?stemmer? the audience follows immediately, creating a multi-voicedecho effect. It is very important that the audience does not coordinate their whispers in rhythmic unison, theeffect should be one of random echos from various directions. In bar 27, 36 and 38 the audience should follow thesame procedure, on cue from the musician(s) on stage.2)) WITHOUT AUDIENCE PARTICIPATIONThis option leaves out audience participation, which might prove difficult to organize in advance in ordinaryperformance. The echo effect should then be created solely by the musicians on stage, also in bars 21+22, 27, 36and 38. The whispers among the musicians can ?bounce? back and forth, ?echo-like? between the musicians, attheir discretion.The movement ?Kirschgarten? is dedicated to the Risør Festival of Chamber Music, just like the other movementsof SCHATTENLINIE. However, this movement is in particular dedicated to the many enthusiastic volunteers, onwhom the Festival rely. Hopefully the volunteers have enjoyed the opportunity to be involved as ?musicians?,although only for a single night, a brief moment, where they can relax ? by whispering ?stemmer?.Bent Sørensen, april 2008 (rev. 2012)

Romane/Derek Sebastian: L'Esprit Manouche (Book/Online Audio)

This book offers a comprehensive study of the Gypsy jazz or Manouche Guitar style as perceived by French guitarists Derek Sebastian and Romane , two of the finest modern day practitioners of the Django Reinhardt style. Each of the book's thirty-six progressive chapters consists of four parts: A.) Technique developed through exercises, chord progressions/diagrams, and illustrations of fingerboard positions; B.) A harmony lesson with leads in the Manouche style; C.) Soloing techniques based on the harmonic structure of a given theme; and D.) Self-testing materials with answers provided at the close of the book. The companion audio for L'Espirit Manouche is unique in that it provides 98 play-along MIDI files that exactly parallel the order of the exercises, examples and pieces in the book as well as audio tracks of excerpts from eighteen Romane favourites from the Gypsy jazz repertoire. The MIDI tracks, which can be accessed via most audio players on PC or Macintosh computers, allow the student to play along with both short phrases and extensive rhythm tracks- at any desired tempo. The audio tracks are available to download online. L'Espirit Manouche not only makes Gypsy jazz accessible; it offers an opportunity to master the Manouche style. While many exercises and tunes appear in both standard notation and tab, not to mention chord or fretboard diagrams, standard notation is predominant.

Michael Nyman: MGV (Musique A Grande Vitesse) - Study Score

? Musique A Grande Vitesse ? ( MGV ) translates as ?high speed music? and was commissioned by the Festival de Lille for the inauguration of the TGV North European Paris-Lille line in 1993. The piece runs continuously, but was conceived as an abstract, imaginary journey; or rather five inter-connected journeys, each ending with a slow, mainly stepwise melody which is only heard in its 'genuine' form when the piece reaches its destination. Thematic 'transformation' is a key to MGV as a whole. Throughout the piece ideas - rhythmic, melodic, harmonic, motivic, textural - constantly change their identity as they pass through different musical 'environments'. The opening bars establish both a recurrent rhythmic principle - 9, 11, or 13-beat rhythmic cycles heard against a regular 8 - and a harmonic process - chord sequences (mainly over C and E) which have the note E in common. (Coincidentally, MGV begins in C and ends in E). A later scalic, syncopated figure (again first heard over C, E and A) begins the second section, featuring Brass, in D flat. The topography of MGV should be experienced without reference to planning, description or timetables. The piece?s tempo changes and unpredictable slowings down bear no logical relation to the high speed of the Paris-Lille journey, while the temptation to treat MGV as a concerto grosso, with the Michael Nyman band as the ripeno, was resisted: more suitably the band (amplified in live performance) lays down the tracks on which MGV runs.

Romane/Derek Sebastian: L'Esprit Manouche

This massive book offers a comprehensive study of the Gypsy jazz or Manouche guitar style as perceived by French guitarists Derek Sebastian and Romane, two of the finest modern day practitioners of the Django Reinhardt style.Each of the book?s thirty-six progressive chapters consists of four parts: A.) Technique developed through exercises, chord progressions/diagrams, and illustrations of fingerboard positions; B.) A harmony lesson with leads in the Manouche style; C.) Soloing techniques based on the harmonic structure of a given theme; and D.) Self-testing materials with answers provided at the close of the book.The companion CD for L?Espirit Manouche is unique in that it provides 98 play-along MIDI files that exactly parallel the order of the exercises, examples and pieces in the book as well as audio tracks of excerpts from eighteen Romane favorites from the Gypsy jazz repertoire. The MIDI tracks, which can be accessed via most audio players on PC or Macintosh computers, allow the student to play along with both short phrases and extensive rhythm tracks- at any desired tempo; The audio tracks on the companion disc can be played on any CD player.L?Espirit Manouche not only makes Gypsy jazz accessible; it offers an opportunity to master the Manouche style. While many exercises and tunes appear in both standard notation and tab, not to mention chord or fretboard diagrams, standard notation is predominant.

Five Open-ended Pieces : for Low Brass Ensemble

Five Open-ended Pieces was commissioned in 2010 by the Luxembourg Tuba Consortium and received its world première with this ensemble as well. The work consists of five relatively short movements that, although they each sound very different, do have one thing in common: they each contain a great deal of subtle irony that seems to match very well with the low range of these rather large instruments. The first movement (Warm up) contains many odd effects, such as kissing, humming, or hissing into the mouthpiece, hitting the mouthpiece with the hand, making clicking sounds with the tongue, clapping… even though the piece itself is written in a rather traditionalform. As the title indicates, the second movement (Tango) is, a rousing tango. Short 7/8 bursts interrupt the Tango from time to time, giving it a rather unsettled feel. Not only that, but the musicians seem to be out of breath by the end of the movement…The third movement (Meditation) lets the first euphonium sparkle and shine while the other instruments provide a smooth accompaniment. The fourth movement (Waltz) utilizes all of the ensemble’s distinct timbres and ends on a rather non-committal chord that just doesn’t quite want to fall into place. The finale is a majestic march. Several interspersed 3/8 bars help keep the movement marching along. Ample virtuosity and the sudden appearance of a dominating bass theme make for an exciting sound that leaves only one question unanswered: was this really the end?Five Open-ended Pieces is dedicated to all the members of the Luxembourg Tuba Consortium in the spirit of music and friendship.News: Selected as a FINALIST in the 2012 ITEA Composition Contest (USA)

Larghetto for Orchestra : and Other Works

This publication presents under one cover various short works for sundry orchestral scorings. Larghetto for Orchestra is MacMillan's orchestration (2017) of his celebrated Miserere for a cappella mixed choir (2009), a setting inLatin of Psalm 51, 'Have mercy upon me, O God, according to thy great mercy', the penitential text famously set in the 17th century by Gregorio Allegri. The Larghetto orchestration was commissioned by the Pittsburgh SymphonyOrchestra in celebration of Manfred Honeck's 10th Anniversary as Music Director. Mémoire impériale is one of a number of variations on General John Reid_x001A_s march tune Old Gaul commissioned from Scottish composers to mark thecentenary in 1994 of the Faculty of Music at Edinburgh University. The Faculty was established following a bequest by General Reid (1721-1807), a former law student at the University and a renowned flute player and composer ofmarches for the BritishArmy, and he asked that an annual concert be organised at which one or more of his compositions be played. Composed in 2012 for the Britten Sinfonia, One is a monody in which a single line is passed aroundthe instruments, painting it with different colours as it emerges and develops. Lasting only a few minutes, its singularity is maintained until blossoming in the lastfew bars. For Sonny (2011, orch 2013) and Ein Lämplein verlosch(2018, orch 2019) are short, private memorial tributes originally for string quartet and here rescored for string orchestra. Hirta was composed in 2016 as part of Decca_x001A_s The Lost Songs of St Kilda project. Nearly a century ago,the last 36 residents were evacuated from the most remote part of the British Isles, St Kilda, an isolated archipelago off the beautiful and rugged western coast of Scotland. After 86 years, the music of St Kilda was rediscovered,recorded in a Scottish care home by Trevor Morrison, an elderly man who had been taught piano by an inhabitant of St Kilda. The songs were 'reimagined' for the Decca album by various

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

Piano solo part for Paganini Variations - Piano Concerto No.3 by Poul Ruders (2014). Score available: WH32201 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  

Logic: Audio Workshop

If you want to know how to get the most out of Logic's features for working with audio, this is the book you've been waiting for. Written in an entertaining and easy-to-read style, Logic Audio Workshop is the perfect companion to Emagic's reference manual, explaining everything you need to know, in a musical context.The enclosed CD-ROM includes support material to accompany the tutorials, enabling you to try out the examples for yourself, along with a selection plug-ins, application demos, and other indispendable utilities. And since you'll want to spend most of your time making music with Logic, rather than struggling with computer jargon, this book also explains the relevant computer and audio hardware you'll need, and provides an extensive collection of Internet links to assist you when purchasing and setting up your computer system for Logic. Topics include: BasicsRecommended Audio and Midi harware for use with logic, understanding audio and MIDI in OS X, optimizing your audio drivers, making full use of dual-processor Macintosh computers Audio Handling and EditingWorking in the Arrange window, creating tracks automatically, audio track and region handling, audio window tips and tricks, recording audio and MIDI simultaneously, using external audio editors, loop handling Digital FactoryTime and Pitch Machine, Audio energizer, silencer, groove machine, audio to MIDI groove and back Mixer and FX RoutingAudio mixer objects, effects routing, send and insert effects, series and parallel effects set up, the Track Mixer EqualizersVersion 5.X audio track EQs, version 6.X channel EQs, parametric EQs explained, tips and tricks for creative EQs Effects and Software InstrumentsDelays, distortion effects, dynamic processors, EQs, filters, modulation effects, reverbs, special effects processors; using side-chains, optimizing effects levels, recording with effects, using Audio Instruments, Rewriting Logic to Rebirth and Reason, using Emagic and third-party software instrumentsAutomationTrack automation, online/offline automation, automating plug-in parameters, automation events hadling, editing automation data. Track BouncingArranging, Mixing, and Mastering TipsUsing External Controllers with Logic