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The Blitz! Key Signature Table

The Blitz! Key Signature Table

The Blitz! Key Signature Table is the absolutely foolproof way to memorise key signatures. There are many different key signature tables out there but The Blitz! Key Signature Table prides itself on being both simple to write down and easy to understand. Alongside the table itself, this book is filled with exercises that have been specially developed to help you memorise the table. An introductory note and quick quiz are also included. The Blitz! Key Signature Table works in conjunction with the blitzbooks.com website, where you can download all sorts of free resources to help you with your study, including games, manuscript, test papers and materials to help with practical exam preparation. Written by renowned educator and author Samantha Coates, the BlitzBooks series has brought fun and laughter to the areas of music theory, instrumental technique and sight reading. Coates' engaging approach to theory and sight reading has already made BlitzBooks the most popular range of theory and sight reading books in Australia and they are now finally available in the UK.

SEK 107.00
1

Simon Holt: A Table Of Noises (Full Score)

Simon Holt: A Table Of Noises (Full Score)

Commissioned jointly for Colin Currie by the City of Birmingham Symphony Orchestra and the Borletti-Buitoni Trust. First performance on 14th May 2008, at Symphony Hall, Birmingham, by Colin Currie (percussion) and the City of Birmingham Symphony Orchestra conducted by Martyn Brabbins.NOTE FOR PERFORMANCEIn table top, the unpitched solo percussion part in the 9th movement, the scoring was initially left open. The present full score shows a suggested instrumentation  which was devised by Colin Currie in conjunction with the composer. Soloists  should attempt to match the timbres used, but should not feel constrained by the  exact choice of instruments.COMPOSER?S NOTEThe percussion instruments used in a table of noises in some ways represent the odd things that were on my great uncle Ash?s parlour table that fascinated me as a child. There is even a bottle; there was always a milk bottle with the silver top pushed in surrounded by other essentials for his life. From birth he was quite severely handicapped in one of his legs and couldn?t walk too far without his trusty crutch. He kept everything he needed within arm?s length. In the list of instruments for the solo part there?s everything from deep log drum sounds to very high metallic chime sounds. Wood, glass, metal and a whistle. Mostly small-scale things with a large gong behind, used sparingly. I think that we managed to keep below 30 instruments in all, which I was keen to do. I didn?t want scores of things that are only played once, they have to earn their keep. I didn?t want to use a marimba but thought that trying to make the xylophone sound in a more expressive way would be more of a challenge. The percussionist sits for much of the time on a Cajon, a flamenco instrument which is essentially a wooden box. The player hits the front of the box in various ways, rather as you play a conga. There are guitar strings inside and bells to add to the overall colour. I would like to thank Colin Currie for the extraordinary 3 hours or so that we spent in his percussion studio trying to find potential instruments for table top. I had fully notated the rhythms for the movement, which functions as a cadenza, and knew the kinds of sounds that I wanted, but as I don?t know all the instruments available we were able to collaborate in a very constructive way and make the cadenza what it is now. I see the chosen instruments as being the yardstick for all future performances.

SEK 751.00
1

Esa-Pekka Salonen: YTA III

Esa-Pekka Salonen: YTA III

Esa-Pekka Salonen 's YTA III for solo Cello. This work was written for Anssi Karttunen, who gave the first performance at the Musiikin aika Festival, Viitasaari, Finland, on 23rd July 1987. ' I began to work on the YTA series in 1982. The first piece was for solo alto flute, the second for pianoand the third for cello. The title, ‘Yta’, is a Swedish word meaning ‘surface’. I wanted to write verydemanding virtuoso music, where the surface is extremely busy, but the formal process, partly hiddenbehind the frenetic stream of fast gestures, is considerably slower.I tried to imagine what happens to the famous moth that circles around a lamp in Skryabin’s Versla flamme, after the wings have finally touched the flame. A series of gestures is introduced in thebeginning. Each gesture undergoes an individual development, culminating in spasms before dyingaway. YTA III is a study of the death of an organism; the music is violent and ugly. ' - Esa-Pekka Salonen

SEK 236.00
1

Francis Poulenc: L?Histoire De Babar (For Narrator & Piano Duet ? One Piano, 4 Hands)

Francis Poulenc: L?Histoire De Babar (For Narrator & Piano Duet ? One Piano, 4 Hands)

During the visit to Brive-la-Gaillarde in 1940, Poulenc sketched a little piece for the children of his cousins: Sophie, Sylvie, Benoit, Florence and Delphine Périer, Yvan, Alain, Marie-Christine and Marguerite-Marie Villotte, and their two friends Marthe Bosredon and André Lecoeur. This took the form of a musical background to Jean de Brunhoff's popular illustrated children's story about Babar, a baby elephant whose mother is killed by a huntsman. Fortunately Babar meets a kind elderly lady who dresses him in a fine suit and gives him an impressive motor-car. However, Babar feels homesick for his forests, and is pleased when his cousins, Arthur and Celeste, find him and needs no persuasion to go home with them. Back in the forest, where the King of the Elephants has eaten a poisonous mushroom, Babar is elected to succeed as King. He marries Celeste, and the last we hear of him is thinking of a rosy future as he dreamily looks up at a marvellously star-filled sky. Poulenc 's score, to which he returned and completed in 1945, is for a narrator and a Piano, so written that the individual sections offer the pianist a number of self-contained descriptive pieces, such as a LULLABY, a RÊVERIE, a GALOP, a NOCTURNE and so on. Indeed, some of Poulenc's finest Piano music is found in these charmimg pages. In 1962, Jean Françaix made an orchestral version, and BABAR has been enjoyed by children of all ages all over the world. An English translation of the text was made by Nelly Rieu. A separate insert with English translation is included.

SEK 236.00
1

Harmonica Playing Guide

Harmonica Playing Guide

This Harmonica Playing Guide contains a wealth of essential information for playing the Harmonica, packed into a convenient and practical folding chart format. With note names for blowing and drawing at each hole, a short note on bending and selected scales and modes for the Diatonic Harmonica. The main section of the Harmonica Playing Guide  features a large table showing which notes correspond to which hole for Harmonicas in all keys, as well as a guide to which notes will play when you blow and draw on a Harmonica tuned to C. A diagram of the same nature is shown that can be used to figure out the notes that can be achieved by bending, an important technique that is used in all styles of music with great effect. The rest of the Harmonica Playing Guide  shows the standard positions for C Harmonica, including the Ionian, Mixolydian, Dorian and Aeolian modes, as well as three pentatonic scales and two blues scales. All of these sections are essential references for playing the Harmonica in any style or genre. Keeping this either on your wall or with you at all times will mean if you're ever stuck and you need some quick and convenient guidance, just take a look at the Guide. The Harmonica Playing Guide gives you all the stripped back and fundamental information in a clear and concise manner. It's easy to read from and accurate, ensuring you'll never be stuck for a certain note again.

SEK 117.00
1