Loft Din Hat..& Alene Med En..

Violin Sonata

Composer David Diamond recalls playing the Sonata for violin and piano with the composer in Copland's New York loft at the time of the work's composition. Diamond said, I advised him to use harmonies in the last movement. The Sonata is in the usual three movements, the last two to be played without pause. Following the premiere in 1944 for which Copland was the pianist, Virgil Thomson called the Sonata one of its author's most satisfying pieces. It has a quality at once of calm elevation and of buoyancy that is characteristic of Copland and irresistibly touching. - Vivian Perlis

Petite Piece Pour Un Inconnu

Recueil Collector (limité 1000 exemplaires) avec Illustrations et textes en français et en anglais.Réalisé pour et autour de l'album 'Lift' interprété par le compositeur Koki Nakano (piano) et Vincent Ségal(violoncelle), le livre propose la partition du premier titre de l'album 'petite pièce pour un inconnu', et de nombreux textes explicatifs sur la démarche du compositeur.Dans le minuscule studio des Buttes-Chaumont où Kokirésidait, je pouvais avec mon archet toucher le piano droit et de la main gauche faire chauffer de l’eau, mais en sortant j’avais l’impression d’avoir été sur Mars, au bord d’un lac, dans un loft berlinois, avec des fées.Lamusique ne signifie rien et pourtant c’est une question de vie et de mort pour Koki Nakano.

Jonathan Feist: Berklee Contemporary Music

Learn the nuances of music notation, and create professional looking scores. This reference presents a comprehensive look at contemporary music notation. You will learn the meaning and stylistic practices for many types of notation that are currently in common use, from traditional staffs to lead sheets to guitar tablature. It discusses hundreds of notation symbols, as well as general guidelines for writing music. Berklee College of Music brings together teachers and students from all over the world, and we use notation in a great variety of ways. This book presents our perspectives on notation: what we have found to be the most commonly used practices in today's music industry, and what seems to be serving our community best. It includes a foreword by Matthew Nicholl, who was a long-time chair of Berklee's Contemporary Writing and Production Department. Whether you find yourself in a Nashville recording studio, Hollywood sound stage, grand concert hall, worship choir loft, or elementary school auditorium, this book will help you to create readable, professional, publication-quality notation. Beyond understanding the standard rules and definitions, you will learn to make appropriate choices for your own work, and generally how to achieve clarity and consistency in your notation so that it best serves your music.