Sliding Around : 10 Easy Pop Pieces for Guitar

Band-Workshop : Rock & Heavy Metal

Heavy Metal Rhythmus Band 1 : for Rhythm Guitar

A tiny key often unlocks a heavy gate op. 64

15 Petites Études Op. 91

Moszkowski's 20 small Etudes op. 91 belong to the standard works in the medium-heavy range. They address a wide range of advanced piano students due to their wide range of assignments. All etudes are characterized by a good pianoset and manageable length, which allow a concentrated practice. New edition in the famous series Essential Exercises with practical instructions for the lesson.

Colloque No. 2, op. 11 op. 11

A musical instrument has its own personality, with a voice that can provoke reactions, give rise to dramatic impulses and awaken colours and moods; it is capable of articulating and responding to all life's questions and those of the spirit. When the composer had the idea of bringing together two instruments with the richest range of sounds in the Western musical world, he therefore imagined them answering one another in a passionate and eventfull "colloquy", like two legendary mythological heroes. They are indeed opposed in character, with contrasting voices that cannot match one another in timbre. Their personalities do not blend; they are opposed or superimposed in such a way that their respective frequencies and the release of their energy leads to the creation of a poem, as a story emerges and develops. This "Colloque No. 2" opens with a kind of sigh emitted by the piano and organ in unison: there is a modest and calm regularity to the sound, as though they had decided to walk a little way together. Soon, though, the peace is troubled by a command from the piano. This is followed by a kind of heavy march on the organ, introducing a musical phrase that is to provide the motif for numerous developments and variations. Some of these are rhetorical, some of them dramatic, as the organ and the piano take turns at displaying features that may be menacing, seductive, tender or furious. The culminating moment in this drama is when immense chords are head from the organ over a furious declamation from the piano, with all the brillance of these two instruments combined in a fortissimo. The conclusion takes the form of that same timid and languorous sigh, in the course of which the two protagonists unfurl their lyrical and tender replies.

Argoru IV : for viola

A work from early in his career and during an extremely left-brained-heavy period in contemporary music history, Argoru IV on the page is dense with rhythmic and notational difficulties. Ironically enough, a young Singleton during this same period was also experimenting with improvisation in his scores. A fiendishly difficult work on the written page, to the ear Argoru IV is dramatic and expressively gratifying, especially for the performer.One is moreover convinced that the bee hive of written difficulties in this work for solo viola is not about showing off its math, but really shows precisely what was heard in the composer's head. Here notation controls everything, rates ofvibrato, even slight tempo changes. A section of notes approached via multiple grace notes is a choice over simply writing the grace notes out as regular rhythms....a subtle aid to the player's expression.One of the many factors in this early work which will appear in other of his works throughout Singleton's career. The tantalizing querulous first lick followed by silence is one. The playing with both audience expectations but also those of the musicians are there... for example the first two 8th notes of the piece are to be executed after an 8th note breath rest, not as a down beated first 2 notes. Long tones (some very long) are typically contrasted with quick short ones. Contrast is the key. It is very deep into the work before pizzicato is called for yet one solitary forte pizz at 7 minutes n the midst of so much arco playing has a powerful effect... much like a single contrasting movement in the midst of Kabuki acting. This evening's performance marks ARGORU IV's US premiere performance.