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Olivier Messiaen: Traité de Rythme, de Couleur, et d'Ornithologie Vol.2 (Book)

Rythmes non rétrogradables; Technique des Rythmes; Augmentations et Diminutions; Pédales et Canons; Personages rythmiques; Analyse de 'Rite of Spring'; Analyse de 'Turangalîla'; Valeurs irrationelles; Rythmes contemporains; Essai d'Interpolations et Metaboles

Pelle Gudmundsen-Holmgreen: Sol Går Op, Sol Går Ned (Vocal Score)

Vocal score for Sol Går Op, Sol Går Ned by Pelle Gudmundsen-Holmgreen . A 'non-opera' for singers, musicians, actors and dancers. Text by Ursula Andkjær Olsen & Ecclesiastes / The Song of Solomon.

Symphony No. 1 - The Archangels

The Swiss composer Franco Cesarini has waited a long time to write his first symphony and after years of considering and drafting, this Archangels Symphony, Symphony nr. 1 is a vast composition consisting of highly dramatic language, intense thematic developments and frequent polyphonic elaborations. The thematic material is taken from old Gregorian melodies that form the basis for the entire work, which is, despite the title, a non-programmatic work. It consists out of 4 movements: Gabriel, the gentle archangel; the supreme healer Raphael; the energetic archangel Michael, the Prince of the heavenly host; and surprisingly the archangel Urile, the ‘forgotten’ archangel. Atrue masterpiece and a fantastic musical challenge!

Sinfonietta no. 1 : for Brass Band

Sinfonietta No. 1, written for brass band, was commissioned by the Dutch National Championships 2011 in Groningen. It also served as the test piece for the Swiss National Championships 2011 in Montreux, Switzerland. Unlike most of Johan de Meij's compositions, Sinfonietta No. 1 is an abstract, non-programmatic work. It consists of three movements, in which the thematic material of the opening measures - an upward fifth jump - returns in various shapes and forms throughout the piece. The slow middle section features solo passages by cello, English horn and bassoon, all starting with the same fifth jump. The final movement presents an Elgar-like march theme,interspersed with quotes from the second movement, and ending with the opening theme of movement I.

Free Running

Free Running is an exciting, high velocity tour-de-force that will keep both musicians and the audience on the edge of their seats. Inspiration for the work came from the pointillistic paintings of Seurat (who createdimages by using tiny spots of primary colors on his canvas) and from Parkour, a form of urban acrobatics in which participants, known as free runners, use the structures of the rural landscape to perform catlike leaps and sprints.The resulting creation is a non-stop piece of music made up of only staccato notes in a constant rhythm moving through different sections of the ensemble. Free Running was commissioned by the Troy University Symphony Bandfor the 2011 Alabama Music Educators Association Convention. Ideal for concert or festival use, it is guaranteed to leave the audience breathless! Dur: 5:10Recorded by the Troy University Symphony Band - Ralph Ford,conductor

Kaija Saariaho: Io (Score)

The harmonic basis for this composition is found from analysing sounds of individual instruments, with the non-harmonic sounds produced on double bass and bass flute, these provide a model for the chord structure of the piece.The harmonic energy of the piece is provided through the treatment of timbre as a system, which is formed from the categorisation of instruments and the sounds they produce. The instruments are divided into different categories according to how and where they place themselves along an axis whose end points are either clear or noise like sounds. In this approach clear, clean sounds are considered consonances with noises as dissonances.Work for Chamber Ensemble, Tape and Live Electronics. Premiered in the Pompidou Centre, Paris in in July 1987, and commissioned by IRCAM for the Ensemble Intercontemporain to celebrate the 10th anniversary of Centre Georges-Pompidou. Winner of the 1998 Ars Electronica Prize.

Tre Canzone : for Orchestra Full Score

The term canzona refers to a genre of Italian insturmental music first made popular in the sixteenth century where the composers either merely arranged or completely transformed French chansons, a form of song. In a similar fashion, Claude Baker's Tre Canzoneprovides reimaginings of three vocal compositions from the late Middle Ages, Renaissance, and early Baroque. The preexisting pieces form both the structural and programmatic bases of the composition and serve as points of departure for new musical ideas. Elements of the older music emerge quite clearly at times, while in others they are presented more subtly. But the texts are the driving force of the work,capturing the essence of the poetry through non-vocal commentary with allusions to the original composers' settings. Movements: I. after Baude Cordier, II. after Claudio Monteverdi, III. after Clement Janequin Instrumentation: 3 (2/3 dbl Picc).3 (3 dbl EH).3 (3 dbl BsCl).3: 4.3.3.0: Timp.Perc(3).Pno: Str

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: glOrIA (Score)

Ruders writes: "gl0rIA" is subtitled: "a relique for large chorus and 12 brass-instruments. At the same time it is an exercise for chorus because only vowels do occur, or virtually no consonants are heard. The second part of the Missa Ordinarium, the Gloria in Exelcis Deo makes the literary basis of "g10rIA", but I employ only the vowels, which in their full context form a "non-language", - fragments of a tradition. A less dim vision of the "severed body" appears in the center of the piece, where the Domini Fili-section surfaces in its original shape. "gl0rIA" is a 20th century composer?s hommage to the innocent faith of bygone days and a fanfare in honour of Claudio Monteverdi; thus the ever present elaborations of the introduction to the Vespro Della Beate Vergine. Superimposed on the "torso" of Latin, I wedge in a quotation from the Spanish renaissance poet Gonzalo de Berceo?s "Duelo de la Virgen", a surrealistic Lamento, in which the Jews, sent by Pilate to stand guard at the tomb of Christ, mock and ridicule Maria, Jesu mother. Thus a shadow has been cast over the jubilant religious appraisal of the past, which today?s knowledge of atrocities and enormities engineered by Mankind, has - alas - made so hard to repeat.

Roger Boutry: Divertimento (Saxophone and Orchestra)

Divertimento is an outstanding composition by Roger Boutry for Alto Saxophone and Harmony Orchestra. This great work is really nice to play and will enlighten the audience. The Orchestra composition required is: 2 Flutes, 2 Oboes, 2 Bassoons, 2 small Clarinets, Clarinet I, Clarinet II, 1 Bass Clarinet, 2 Alto Saxophones, 2 Tenor Saxophones, 1 Baritone Saxophone, 4 Horns, 4 Bb or C Trumpets, 4 Trombone or 3 Trombone and an Euphonium, 1 Bb or C Bass, 1 Double Bass, 1 Harp, Timpani, Drum and a Celesta. It is divided into three parts: I. “Allegro ma non troppo”, is strongly rhythmic and syncopated. It includes a Cadenza by the Solo Saxophone and is written as a tribute to Jazz music. II. “Andante”, also includes a Cadenza by the Solo Saxophone but at the end of the section. It is reminiscent of slower blues ballads. III. This part features few sections by the Solo Saxophone but is specially highlighted its ending, in a bright and fast finale. This volume features the score and parts for all the instruments. Born in France in 1932, Roger Boutry received numerous prizes, including those for Piano, Composition and Conducting. He received the Grand Prix de Rome in 1954. His career was quite successful, alternating between Harmony professor, composer and conductor. He also received numerous prizes for his incredible compositions.

Scalin' and Wailin'

Scalin' and Wailin' is a flexible, fun piece written with a differentiated instruction model. Three different difficulty levels meet students where they're at in their development and allows space for each to grow. This piece is also ideal for educators and conductors looking for side by side programming - younger ensembles can all play within the easiest group and more advanced ensembles can play within the more difficult groups, all fitting together in one energetic piece. Celebrate BandQuest's 20th anniversary with this special release, and find what works for your ensemble! BandQuest®, an exciting series of new music and accompanying curricula for band, is a program publishedby the American Composers Forum. The series was started as a response to feedback from music educators that there is a pressing need for new, fresh band music. The heart of this program is new works written by a diverse group of leading American composers who have created challenging pieces that are a true departure from standard middle school repertoire. Every BandQuest project includes a residency component in which the composer works collaboratively with a middle school as they create their new piece. Many BandQuest pieces are accompanied by an interdisciplinary curriculum designed to assist students as they learn the music and to integrate each piece with non-music studies. Visit www.bandquest.org to learn more about this innovative series, and email bandquest@composersforum.org to request a free downloadable audio catalog.

Le opere attestate in antologie compilate in vita : Vol. 10/I - Edizione critica a cura di Alessandro Borin - David Bryant (testi in italiano e

Vol. 10 of the Complete Works, articulated in two parts, contains the music found exclusively in manuscript and printed anthologies compiled prior to the great sixteenth-century Venetian composer’s death in 1585. Broadly speaking, Gabrieli’s contributions to collective anthologies fall into the following categories: 1) celebratory compositions, in several cases conceived as individual contributions to madrigal cycles by various composers in honour of more or less prominent Venetian or other personalities; 2) compositions originating in social and cultural circles close to Gabrieli; products of the composer’s habitual interaction with patrons, poets and musicians in midsixteenth-century Venice, these compositions are published in anthologies containing similar works by other composers in Gabrieli’s milieu; 3) individual madrigals inserted in generic multi-author anthologies. Vol. 10/I features eight compositions on texts in Latin, Italian and ‘stradioto’ dialect (a linguistic concoction in which words of Greek origin appear against a background of simulated Venetian dialect). These include Gabrieli’s contribution to a Corona of nine sonnets by various composers on the death of Annibale Caro, the celebrated man-of-letters whose production comprises a highly successful Italian translation of Virgil’s Aeneid. The entire Corona is edited in the Complete Works. Gabrieli’s presence in multi-author anthologies follows a predictable pattern. The young composer’s earliest madrigals appear in editions of music by well-established authors (Vincenzo Ruffo, Cipriano de Rore) or collective anthologies edited by enterprising local musicians or other cultural figures (Giulio Bonagiunta, a singer at St Mark’s; the Venetian poet, actor and musician Antonio Molino). These give way to anthologies of music by highly celebrated composers, to which Gabrieli, his reputation now secure, accedes by invitation; and, beginning in 1583, non-Italian publications (increasingly common in the years following the composer’s death).

Quad 500 Foot Controller - Airturn

Now with Bluetooth 5, you can get more power, speed, and range from your setup. Enjoy 200+ hours of use with each battery charge, along with an even faster and more responsive experience. Silent and professional wireless foot switch with four custom programmable pedals. • Turn pages, read music, scroll lyrics and tabs • Control multimedia and teleprompter apps • Cue audio and effects Capture dynamic video, photos, and more! Complete with silent-tactile switches and a high-quality molded exterior, the AirTurn QUAD 500 is a premium four-switch controller for professionals and hobbyists. Using reed switch technology, and created from a virtually indestructible polymer blend, each pedal is made to outlast any mechanical switch. • Endless Apps: Hundreds of compatible apps for turning pages, teleprompting, reading music, scrolling lyrics and tabs, triggering backing tracks and effects, sending MIDI commands, cueing audio and lighting, capturing photo and video, live streaming, plus so much more! • App Control: Seven built-in modes store switch commands that work with hundreds of apps including those supported with AirDirect. • Customize: Create commands for almost any app that responds to keystrokes, macros, mouse clicks, or MIDI with the free AirTurn Manager. Adjust features such as Auto-Repeat, Idle Time, Low Power or Fast Response Mode, and Debounce. Select switch types such as Momentary, Latching, Pulse, or Command. • Updates: AirTurn Manager supports Over-the-Air updates to firmware for the latest features. • Silent-Tactile: Completely silent, gentle switch action, felt under foot. • Durable: Fully-enclosed, high-quality molded exterior with non-mechanical switches. • Max Range: At 200+ feet, AirTurn leads the industry’s operating range. • Max Battery Life: Rechargeable battery provides 200+ hours of play time with a single charge, displays status indicators, and automatically turns off when the host device is turned off. • Status Indicators: Bluetooth status LED. Low battery status LED. • Flexible Use: Pedal board compatible with optional 9v supply. • Pairing Options: Choose open pairing for instant connections or choose closed pairing to store a single connection and prevent unintended connection to other devices. • Multiple Devices: Connect up to eight AirTurn devices for more switch options. • Compatibility: Works with devices that have Bluetooth 4 or higher. • Warranty: Best-in-class 2-year warranty with product registration (includes battery).

Duo 500 Bluetooth Pedal - Airturn

Nu med Bluetooth 5 kan du få mer kraft, hastighet och räckvidd från din installation. Njut av 200+ timmars användning med varje batteriladdning, tillsammans med en ännu snabbare och mer lyhörd upplevelse. Snygg, tyst och professionell trådlös fotkontakt. • Vänd blad, läs musik, bläddra i texter och flikar • Styr presentations- och teleprompterappar • Cue ljud och effekter Fånga video, foton och mer! AirTurn DUO 500 har tysta-taktila brytare och är praktiskt taget oförstörbar och designad för att hålla längre än alla mekaniska brytare. Den mångsidiga, eleganta och enkla designen är ett utmärkt val för alla typer av användare. Den har blivit konsumentens val av Bluetooth-pedal tack vare sin högkvalitativa och långvariga design. Specifikationer: • Endless Apps: Hundreds of compatible apps for turning pages, teleprompting, reading music, scrolling lyrics and tabs, triggering backing tracks and effects, sending MIDI commands, cueing audio and lighting, capturing photo and video, plus so much more! • App Control: Seven built-in modes store switch commands that work with hundreds of apps including those supported with AirDirect. • Customize: Create commands for almost any app that responds to keystrokes, macros, mouse clicks, or MIDI with the free AirTurn Manager. Adjust features such as Auto-Repeat, Idle Time, Low Power or Fast Response Mode, and Debounce. Select switch types such as Momentary, Latching, Pulse, or Command. • Updates: AirTurn Manager supports Over-the-Air updates to firmware for the latest features. • Silent-Tactile: Completely silent, gentle switch action, felt under foot. • Durable: Created from a virtually indestructible polymer blend with non-mechanical switches. • Max Range: At 200+ feet, AirTurn leads the industry’s operating range. • Max Battery Life: Rechargeable battery provides 200+ hours of play time with a single charge, displays status indicators, and automatically turns off when the host device is turned off. • Status Indicators: Bluetooth status LED. Low battery status LED. • Pairing Options: Choose open pairing for instant connections when switching between devices. Choose closed pairing to store a single connection and prevent unintended connection to other devices. • Multiple Devices: Connect up to eight AirTurn devices to use at the same time for more switch options. • Flexible Use: Removable receiver to use as a handheld or for use with your favorite hand, bite, or foot switch. • Compatibility: Works with phones, tablets, and computers that have Bluetooth 4 or higher, and accepts nearly any momentary switch. • Warranty: Best-in-class 2-year warranty with product registration (includes battery).    

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