Sing To The Lord, Pew Edition (Lillenas Publications) Review

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(More customer reviews)This hymnal included virtually every hymn I've ever sung, and a lot more besides.It is well organized so that seasonal and thematic songs are near one another.Many excellent responsive readings are also included.The music includes the four-part harmonies.

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This hymnal offers 611 of the greatest hymns of all time. Millions of believers have sung and memorized its hymns, finding their expressions true to scripture and experience. As each generation discarded some and embraced others, these hymns were chosen and treasured, century after century. Every aspect of the hymnal was designed for practical usefulness. It is a working resource for both the worshipper and the worship planner. The hymnal is divided into three major sections: God, Salvation, and The Body of Christ. Topical subsections are indicated at the top of the hymnal page. Also provided are 29 worship sequences, drawing together two or more hymns on a similar theme. Opening Scripture readings and musical introductions and interludes are often included. These sequences are designed to bring flow and focus to the worship time, while maximizing congregational participation. Contents: Abide with Me * Be Still and Know * Beneath the Cross of Jesus * Blessed Assurance * Come, Thou Long-Expected Jesus * Count Your Blessings * Day by Day * Eternal Father, Strong to Save * Fairest Lord Jesus * For All the Saints * Glory Be to the Father * God of Grace and God of Glory * God Will Take Care of You * Great Is Thy Faithfulness * He Has Surely Borne Our Sorrow * He Leadeth Me * His Eye Is on the Sparrow * How Great Our Joy! * Immortal, Invisible, God Only Wise * In the Garden * Jesus Loves Me * Joyful, Joyful, We Adore Thee * Just a Closer Walk with Thee * Lead On, O King Eternal * Let All Things Now Living * Let Us Break Bread Together * Lift High the Cross * My Faith Looks up to Thee * Nearer, My God, To Thee * Now Thank We All Our God * O Sacred Head, Now Wounded * Of the Father's Love Begotten * Precious Lord, Take My Hand * Rejoice, Ye Pure in Heart * Rock of Ages * Stand Up, Stand Up for Jesus * Sweet By-and-by * This Is the Day * 'Til the Storm Passes By * Under His Wings * Were You There? * What a Friend We Have in Jesus * When the Roll Is Called Up Yonder * and hundreds more.

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Collected Song Cycles: Medium/Low Voice (BH Voice) Review

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(More customer reviews)The music in this collection is different than songs in the high voice version, so don't rely on this book to find music in lower keys. That's a good thing though, since the songs presented are actually intended for lower voices to sing. The engraving looks good and there are a lot of cycles included, making this a great value.

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This lyric American master is celebrated in comprehensive collections of some of the greatest achievements in setting words to music in the 20th century. Fascinating, extensive essays by the composer give fresh insights into these masterworks. The Medium/Low Voice edition includes the first published transpositions of Songs about Spring and Six Elizabethan Songs.

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The Rite of Spring in Full Score Review

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(More customer reviews)For anyone who loves music in general as much as I do, Stravinsky's Rite Of Spring can be, to say the least, a shockingly intense listening experience, full of strangely dissonant polytonal simultaneities, overwhelming rhythmic dephasing, and colorful details and timbristiceffects that take maximum advantage of what a great symphony orchestra hasto offer. This edition of the translated original score allows you a betterunderstanding of this revolutionary musical monsterpiece, with visualcomplement to what your ears couldn't even consider figuring out. Sometimesit's simpler than you would imagine; sometimes it's much, much morecomplex. This work taught me a great deal about music composition &arranging, and the book also allowed me to write a reduction of the"Spring Rounds" for a 7-piece band.

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Composed for Diaghilev's Ballets Russes, The Rite of Spring premiered in 1913 to a near-riot. The most famous musical work of the 20th century, this brilliant and uncompromising masterpiece changed the course of modern music. Nearly a century later, it remains in the repertoire of every large symphony orchestra.

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Five Orchestral Pieces and Pelleas und Melisande in Full Score Review

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(More customer reviews)Of the two pieces reprinted from Universal and Peters respectively in this volume, it's the former - the tone poem "Pelléas und Mélisande" (Op.5), using the same subject matter as Debussy's opera - that's the more accessible.It follows logically upon "Verklärte Nacht" (Op.4) and "Gurrelieder" (no opus number) both in terms of Schönberg's evolution as a composer from his home-base of Late-Romanticism to Expressionism (a sort of intensified Romanticism) and also in terms of his gradual departure from tonality.This departure didn't happen overnight (though it still was quick! - from "Verklärte Nacht", which is still quite tonal although it modulates a lot, to the "Songs of the Book of the Hanging-Gardens", where complete atonality is achieved, it took only 7 years!).However, once it happened, he never (with one exception - that of a piece commissioned by a school orchestra in the USA) returned to any true sort of tonality.

This earlier piece is still tonal, but it already is more dissonant and less key-anchored compared to the other two works mentioned already, notably Part 1 of "Gurrelieder" (excluding the Song of the Wood-Dove) as well as "Verklärte Nacht".There are fewer traditional cadential-type passages - even at the ending one has no true "V-I" progression of any sort to establish the final d-minor key.Those that remain are ever-more overlaid with (chromatically-linked) dissonance and less pre-cadential preparation so as to make key-establishment less and less definitive (let alone secure!).[Even in the first two pages of the score one can't say that the tonality of d-minor is truly established at all!]

Apparently it was this element that excited Schönberg just as much as inverting the whole idea of music to emphasise dissonance over consonance:whereas the traditional idea is to resolve dissonances into consonances, atonality utterly reverses that flow (with Schönberg, even minor dissonances eventually resolve into stronger discords)!It is this very idea of in essence turning the entire concept of music upside-down that is the essence of such works as virtually everything after Opus 14.So it is with the Three Piano-Pieces of Opus 11, the "Songs of the Book of the Hanging-Gardens" (Opus 15), and - in our case - the Five Orchestral Pieces of Opus 16.Here not only any sort of consonance and tonality is utterly abrogated:the music becomes virtually athematic to boot...

[As a curiosity (if I recall correctly):when Opus 16 was published initially, it was suggested to Schönberg that the individual movements have titles bestowed on them (not given in this publication).The result are the following "non-titles":1) Vorgefuhle (Premonition);2) Vergangenes (What's Past);3) Sommerfarben (Summer-Colours);4) Peripetie (Perpetual-Motion?);5) das Obligate Rezitative (The Obligato Recitative).]

In all events, there's positively no better bargain in getting to know these pieces than to have this score, which reproduces the definitive editions of both pieces, in hand!!Most unreservedly recommended!!!

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Two works richly displaying use of the whole-tone scale and a continuously evolving melodic line without thematic reference.

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Bela Bartok - Concerto for Orchestra: The Masterworks Library (Boosey & Hawkes Masterworks Library) Review

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(More customer reviews)This is THE edition to buy. Good print, adequate size, everything you need is there.

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Bartk's Concerto for Orchestra was the biggest public success of his career. He had previously been considered a minority interest, an uncompromising modernist. But the concerto was approachable and brilliantly effective; typical of the relatively straightforward style of his last works. It remains today his most performed work.
The use of the term concerto was intended to signify something similarto the Baroque concerto grosso, with different sections of theorchestra being displayed in turn. The five-part form is unusual, butrelates to the symmetrical or "arch" forms that Bartk had used inmany earlier works.

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Arranging for the Concert Band Review

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(More customer reviews)Frank Erickson has a rich history of writing music for concert band at all ability levels. Any one in the music education field knows of the wonderful pieces he composed. The book uses ilistrations of his own work to explainbasic scoring concepts. The book is well arranged and easy to understand.If you combine this book with the CD of his music from Walking FrogRecords, you have a good combination of resources for arranging for band.

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Arranging for the Concert Band and the accompanyingworkbook are intended to introduce students to basic techniques ofarranging for the concert band. Arranging can be divided into twoseperate processes.The first deals with scoring andtranscribing. Scoring is concerned with such things as voicing,doubling, balance and color. The term scoring also means the actualwriting of notes on the score paper. Transcribing is scoring musicwritten for one kind of musical instrument or group - say a piano ororchestra - for a different kind of group. This text deals with thosematters. The second part of arranging is the more creative process ofwriting introductions, modulations, endings, background figures and soon.

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The Craft of Musical Composition: Book 2 (Stap/067) Review

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(More customer reviews)This book is the practical application of the principles Hindemith discusses in his theoretical volume of the "Craft of Musical Composition".There fifty-six exercises, two hundred and fifty-one musical examples and sixty-two rules for composition in this small volume.It is meant to be used by students with a skilled teacher who is also an able composer.The approach is intensely practical and is meant to build skill in actually writing music rather than empty exercises to demonstrate this or that rule.

Again, the methodology here is based on Hindemith's ideas of composition and theory.Do not expect to be writing exercises in the style of Palestrina, Bach, or Mozart.There are charts and explanations here that will be opaque without having a grounding in the theoretical volume of his "Craft of Musical Composition".You could do much worse than studying these two volumes, but you do have to make a judgment about whether the juice is worth the squeeze.

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Originally published in the 1940s, Paul Hindemith's remakable textbooks are still the outstanding works of their kind. In contrast to many musical textbooks written by academic musicians, these were produced by a man who could play every instrument of the orchestra, could compose a satisfying piece for almost every kind of ensemble, and who was one of the most stimulating teachers of his day. It is therefore not surprising that nearly forty years later these books should remain essential reading for the student and the professional musician. Preface * Construction of the Simplest One-Voice Melodic Patterns * Beginning of Two-Voice Setting * Elaborated Melody (Auxiliary or Teturning Tones, Passing Tones) * Elaborated Melody (Continuation) * Principles of Melodic Construction * Elaborated Melody (Conclusion) * Tonal Higher-Units * Tonality of the Melodies * Elaboration of the Melody Model * Free Two-Voice Setting I and II

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Benjamin Britten & Samuel Barber: Their Lives and Their Music (Amadeus) Review

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(More customer reviews)Anyone interested in Barber's life and/or music should seek out the amazing bio by Barbara Heyman, Samuel Barber - The Composer and his Music (Oxford U. Press). As a lifelong student of the career & music of Barber, I was upset to read this recent book. It contains numerous inaccuracies, half-truths, ambiguities, and similarly misleading statements. And was there ANY attempt at editing the ms? The text is likewise marred byerrors in usage, punctuation, even vocabulary. The Britten section has the same problems. And while the recorded music samples on the attached cd are most welcome, they do not fairly represent the composers, either - it's all from the "middle period" of each man and don't properly represent either composer's stylistic breadth. The concept of a brief book introducing these composers to the lay listener, with listening excerpts provided in the package, is a fine one, which makes me doubly sad that this project is such a disappointment. P.S. Having heard from the author, I now understand why some of the above-mentioned faults exist - and must say I'm shocked that a publisher I once respected, Amadeus, would let something like this happen.It's a disservice to the author as well as the public and the subjects of the book.

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The second title in the Amadeus Press Parallel Lives series, this volume examines the lives and work of two giants of 20th century music. Both composers influenced countless others, and their works are performed often in today's concert and opera houses.

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