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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.

The Cantatas of J. S. Bach : With their librettos in German-English parallel text

Hanseatic Suite

Dreaming of love. This is the theme of the folksong on which the composition was based. Its characteristic melody inspired Jacob de Haan to this instrumental romance with a transparent structure consisting of an introduction, the folk-melody, a development of the theme, the folk-melody accompanied by ornamental triplets followed by the final bars.

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.

Paso Bella

Paso Bella is full of the typical fiery and melodic characteristics of the paso doble. The hot Spanish temperament can be heard from the opening themes in the minor key, as is usual in a paso doble, to the last bars of the trio. The trio is followed by an exuberant closing which will reverberate in the ears of both musicians and audience for a long time.

Paso Bella

Paso Bella is full of the typical fiery and melodic characteristics of the paso doble. The hot Spanish temperament can be heard from the opening themes in the minor key, as is usual in a paso doble, to the last bars of the trio. The trio is followed by an exuberant closing which will reverberate in the ears of both musicians and audience for a long time.

Adagio

The Adagio is based on a manuscript that was discovered in the Dresden State Library after the Second World War by Remo Giazotto, a Milanese musicologist who was working on Albinoni’s biography at the time. Only the bass line and six bars of melody were found and they probably belonged to the slow movement of a Trio Sonata. In 1945 Giazotti reconstructed the now famous Adagio which has made Albinoni known to a worldwide audience.

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!

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!

Domus

When composing this work the brief from the commissioning band wasfor the composer to base the work on a chorale-like subject matter andthis he has done with aplomb. In the very first bars a chorale melody ispresented and gradually the same thematic material is more extensivelyorchestrated with the melodic themes becoming more varied. With afew surprising harmonic turns the piece comes to a majestic end. Thisis a well-structured work of extreme elegance.

Domus

When composing this work the brief from the commissioning band was for the composer to base the work on a chorale-like subject matter and this he has done with aplomb. In the very first bars a chorale melody is presented and gradually the samethematic material is more extensively orchestrated with the melodic themes becoming more varied. With afew surprising harmonic turns the piece comes to a majestic end. This is a well-structured work of extreme elegance.

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.

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.

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.

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.

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.

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.

Jacob De Haan: Sea Of Hope (Score/Parts)

Sea of Hope is an optimistic work about new land arisen from the former Zuiderzee (the Netherlands). In the introduction, the sea is conveyed in all its glory and ferocity, through a melody that keeps you wondering whether it makes you happy or sad. Then, finally, there is a glimmer of hope, when the water is dammed up and the land partly reclaimed (by conversion into polder land). The town of Dronten, for instance, develops into a place where one day two people meet up and fall in love. This love is reflected in the slow, passionate middle movement. New life in the town is celebrated joyfully: the zest for life clearly shines through this part of the work, followed by optimism and celebration in the closing bars.

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).

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

Poul Ruders: Gong (Score)

The word GONG is saturated with associations: the splendour of the Orient, mysticism, drama, loud metallic clangour, violent impact, etc. The present piece draws upon all those connotations, but it is primarily a symphonic drama about the life and behaviour of the sun, our closest star and prime source of life on Earth. Describing the sun in music is not a new idea, of course; during a visit to Greece, Carl Nielsen was inspired by the orbit of the sun and its very un-Danish ferocity and thus wrote the "Helios Overture". GONG is a "Helios Overture" too, of sorts, albeit more abstract. Recent astronomical research shows, that the surface of the sun reverberates like a gong, in four different, simultaneous tempi (not directly depicted in the score, though); the sun looks like a GONG, - the O in the written work looks like the sun; there is even a solar research group called GONG (Global Oscillation Network Group). Formally the composition follows the life and fate of the sun, from the initial explotional birth through the hyper-activity as energy source as we know it today to the final, predicted flaring up and collapse into a so-called "white dwarf". But - being a musical composition, not an astrophysical thesis - GONG is brought to its compositional conclusion by a "real concert-ending", a chord taken from the middle of the piece and sustained over several bars, from virtual nothingness to full force.

Aquarium

The Suite "Aquarium" is Johan de Meij's third composition for symphonic band and features six tropical fishes, each of them represented by a motif, and surfacing as such in several guises. The composition consists of three movements of which the second and third merge uninterruptedly into each other. I) Allegretto grazioso (Neon Tetra, Electric Eel and Angelfish) II) Andante / Adagio (Sea Horse and Zebrafish) III) Finale: Allegro giocoso (Guppy & Co.) The Neon Tetra motif functions as a kind of 'Leitmotiv' and descibes the beautifully coloured, frisky fish: A number of variants have been derived from this theme and will also appear in the other movements. The Electric Eelin fact is not represented by a motif, but by a rhythm based on the restless electric pulses made audible in some aquaria. The Angel fish is represented by elegant cluster chords. In the second movement the Sea Horse emerges out of the water vegetation and starts a dialogue with the Zebrafish, which is represented by one melodic phrase in unison, getting more and more threatening by added parallel fifths and octaves. Simultaneously with the Sea Horse motif the Neon Tetra theme emerges, this time in 3/4 time and in Eb minor. The third movement starts with only two instruments (trumpet and xylophone), but as it is often the case with Guppies their number rapidly increases. Piccolo and Alto Saxophone introduce the Guppy Theme followed by several instrumental combinations. Every theme from the first movement 'swims by' once more, after which the principal motif leads us to a brilliant ending.

NUX B-5RC Wireless Guitar System

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