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TRI ET FILTRES
TRI ET FILTRES
Tri et filtres :
--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
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Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
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Dia Tonic Clarinet
Partitions à imprimer
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1
The Big Book of Pentatonics & Fourths
Large Ensemble Alto Saxophone,Baritone Saxophone,Bassoon,Clarinet,Flute,Guitar,Horn,Oboe,P…
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Large Ensemble Alto Saxophone,Baritone Saxophone,Bassoon,Clarinet,Flute,Guitar,Horn,Oboe,Piano,Soprano Saxophone,Tenor Saxophone,Trombone,Trumpet,Violin - Level 4 - Digital Download SKU: A0.829078 Composed by Eric Bolvin. Blues,Instructional,Jazz. Score and parts. 92 pages. ERIC V BOLVIN #3580507. Published by ERIC V BOLVIN (A0.829078). The Big Book of Pentatonics & Fourths is a series of four and six note groups that are developed into chromatic and diatonic lines. The concept of note groups was presented to me by the great pianist Hal Galper at the Jamey Aebersold clinic in 1980. I was young at the time but was hip to pentatonics so his ideas stayed with me and I’ve expanded on them in my own fashion.DescriptionA pentatonic scale is any group of five notes that cover the span of an octave. There are literally hundreds of pentatonic scales in Western music, and hundreds more that use alternate tunings.The Big Book of Pentatonics & Fourths will focus on the most common pentatonic scale, the major pentatonic and its relative minor. In the key of C the notes of the major pentatonic are: C D E G A. If you start on C and go up in perfect 5ths, you will get all the notes of the major pentatonic. The relative minor scale in A minor is A C D E G. If you start on E and go up in perfect 4ths, you will get the minor pentatonic in A.This book is a series of four and six note groups that are developed into chromatic and diatonic lines. The concept of note groups was presented to me by the great pianist Hal Galper at the Jamey Aebersold clinic in 1980. I was young at the time but was hip to pentatonics so his ideas stayed with me and I’ve expanded on them in my own fashion. You should watch the video that goes with this book for more detailed instruction on how to properly practice the exercises.
$19.95
18.09 €
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Eric Bolvin
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The Big Book of Pentatonics & Fourths
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ERIC V BOLVIN
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SheetMusicPlus
Carson Cooman: Two Wakefield Songs (2004) for mezzo-soprano, Bb or A clarinet, and piano
Small Ensemble Clarinet,High Voice,Medium Voice,Piano Accompaniment - Level 4 - Digital Do…
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Small Ensemble Clarinet,High Voice,Medium Voice,Piano Accompaniment - Level 4 - Digital Download SKU: A0.533609 Composed by Carson Cooman. Concert,Contemporary,Standards. Score and parts. 18 pages. Musik Fabrik Music Publishing #3030919. Published by Musik Fabrik Music Publishing (A0.533609). Two Wakefield Songs (2004) for mezzo-soprano, clarinet, and piano were written for mezzo-soprano Helen Karloski and clarinetist Angela Occhionero. The clarinet plays an integral role in the settings.Both songs are settings of poems by American poet Kathleen Wakefield. The settings attempt to capture an aspect of the natural ecstasy of the texts. The musical language throughout is mostly pan-diatonic, exploring the subtle radiance those sounds project. The set includes parts for both Bb and A cliarinet
$25.95
23.53 €
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Carson Cooman
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Carson Cooman: Two Wakefield Songs
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Musik Fabrik Music Publishing
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SheetMusicPlus
All Glory, Laud and Honor Trio for Bb Clarinet, Harp and Piano
Clarinet,Lever Harp,Pedal Harp,Piano,Pipe Organ - Level 4 - Digital Download SKU: A0.80…
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Clarinet,Lever Harp,Pedal Harp,Piano,Pipe Organ - Level 4 - Digital Download SKU: A0.804233 Composed by Theodulph of Orléans, Melchoir Teschner and harmonized by J. S. Bach. Arranged by Serena O’Meara. Baroque,Easter,Multicultural,Sacred,Spiritual,World. 20 pages. O'Meara Music #6864867. Published by O'Meara Music (A0.804233). In 820 Louis the Pious, Emperor of the Holy Roman Empire heard Theodulph of Orleans singing his hymn while under house arrest. Louis was so inspired by the hymn that he released Theodulph. In 1603 Melchoir Teschner set the hymn tune to new lyrics. J. S. Bach created the harmonization that is commonly used. John Mason Neale translated it into English. You will receive the Score plus separate parts. The piano part is also playable on organ or pedal harp. The harp part is clearly marked for lever and pedal changes. Lever harpists will play the glissando in the fourth verse diatonically.
$12.00
10.88 €
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Theodulph of Orléans, Melchoir Teschner and harmonized by J
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Serena O’Meara
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All Glory, Laud and Honor Trio for Bb Clarinet, Harp and Piano
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O'Meara Music
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SheetMusicPlus
Come, Holy Ghost, Trio for Bb Clarinet, Harp, Piano
B-Flat Clarinet,Lever Harp,Pedal Harp,Piano,Pipe Organ - Level 3 - Digital Download SKU…
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B-Flat Clarinet,Lever Harp,Pedal Harp,Piano,Pipe Organ - Level 3 - Digital Download SKU: A0.1088191 Composed by Louis Lambillotte, SJ. Arranged by Serena O'Meara. Easter,Multicultural,Sacred,Spiritual,Traditional,World. 16 pages. O'Meara Music #692443. Published by O'Meara Music (A0.1088191). Rabanus Maurus, 776-856, penned the words of Veni, Creator Spiritus. Louis Lambillotte, SJ, 1796-1855, set the four verses to music. The hymn tune is named Lambillotte. You will receive the Score plus separate parts. The piano part may be played on organ or pedal harp. The lever harp will play the opening glissando diatonically.
$10.00
9.07 €
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Louis Lambillotte, SJ
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Serena O'Meara
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Come, Holy Ghost, Trio for Bb Clarinet, Harp, Piano
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O'Meara Music
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SheetMusicPlus
Trio for Flute, Clarinet, and Horn
Small Ensemble Flute,Horn,Oboe - Level 2 - Digital Download SKU: A0.676767 By Essex…
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Small Ensemble Flute,Horn,Oboe - Level 2 - Digital Download SKU: A0.676767 By Essex Winds. By Ronald Beckett. 20th Century,Classical,Contest,Festival,Instructional. Score and parts. 15 pages. Ronald Beckett #285686. Published by Ronald Beckett (A0.676767). The Trio appears on the Arcady CD “A Beckett Miscellany†from 2002. Originally written for a high school trio, the work is simple to assemble and has been a favourite of amateurs and professionals alike. A version is also available for violin, oboe, and cello. Listening to these charming suites, epilogues, fantasias, dances, toccatas, and trios by Canadian composer Ronald Beckett makes one realize just how far the neo-tonal counter-revolution has come. Written over a 23-year period, these are cheery, player-friendly 'works to be shared' (in the composer's words) employing baroque counterpoint, occasional minirealist rhythms, and lots of diatonic tunes. Arcady, a chamber group founded by Beckett himself, plays with bubbly energy. -American Record Guide If Ron Beckett's music is half as much fun to write as it is to hear, he must go around smiling all the time -Richard Todd, Ottawa Citizen.
$38.00
34.45 €
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Essex Winds
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Trio for Flute, Clarinet, and Horn
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Ronald Beckett
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SheetMusicPlus
Pitch and Rhythm - Treble Clef, Diatonic (Sight Reading Exercise Book)
Large Ensemble Alto Saxophone,Banjo,Baritone Saxophone,Clarinet,English Horn,Flute,Guitar,…
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Large Ensemble Alto Saxophone,Banjo,Baritone Saxophone,Clarinet,English Horn,Flute,Guitar,Harpsichord,Marimba,Oboe,Organ,Piano,Soprano Saxophone,Tenor Saxophone,Treble Clef Instrument,Trumpet,Ukulele,Vibraphone,Violin,Xylophone - Level 4 - Digital Download SKU: A0.931832 Composed by Nathan Petitpas - Dots and Beams. Instructional. Score and parts. 124 pages. Dots and Beams #4269045. Published by Dots and Beams (A0.931832). Dots and Beams creates a wide variety of reading materials for musicians at all skill levels and for all instruments. The goal of Dots and Beams is to break music down into its elements and provide reading material focused on systematically developing each element in isolation. These books can be used in any number of ways and are an invaluable tool for creative musicians who enjoy inventing new exercises. In addition, these books make excellent, thoughtfully graduated sight-reading material for a wide range of ability levels from student to professional. This collection presents its user with a series of notes on a treble staff in the context of increasingly complex rhythmic material. The pitch material in this book is entirely diatonic with a space left at the beginning of each system in which one can write a key signature. Early chapters use only notes on the staff while subsequent chapters begin to add notes on ledger lines above and below the staff. Each chapter contains two exercises in each of the following time signatures: 2/4, 3/4, 4/4, 6/8, 9/8, and 12/8. This gives exercises in 2, 3, and 4 beats per bar in both simple and compound meters. From chapter to chapter the conceptual difficulty of the rhythmic material increases. The exercises in this collection are intentionally aimless, wandering, and difficult to internalize. They resemble standard melodies on the surface but don’t emphasize any particular tonal centre or harmonic movement. They are designed this way for several reasons. In keeping the melodic material as non-specific as possible the door is left open for the materials to be used in conjunction with any number of exercises, something that would be much more difficult with a composition that dictates the harmonic, melodic, and rhythmic phrasing. It also allows the user to read the exercises in any key signature, making this a great tool to help students learn to think in different keys. The unpredictability of these exercises also forces the user to process every note and rhythm as its own event without relying on pattern recognition or melodic and harmonic tendencies to help in figuring out the notes and rhythms. While I absolutely agree that the skill of predicting music’s direction from harmonic and melodic cues is an essential skill for any musician to develop, I think we will all agree that resources for this type of reading practice are already abundant. This collection, on the other hand, is designed to develop the user’s ability to process raw musical data. Once this skill is strengthened and internalized it is my belief that the act of reading more predictable and typically melodic music will be made much easier as the processing of notes and rhythms will be second nature, allowing the musician to focus on musicality. This book is a supplement to practising sight-reading using real music, not a replacement; I encourage you to use both. If this material is being used to practice sight-reading, it is encouraged to cycle through the exercises quickly rather than dwelling on a particular exercise for a long period of time. The goal in practising sight-reading is not to learn the material but to develop the skill of reading new material. Some suggestions for how to use this book include: Read each exercise in all 15 key signatures from 7 flats to 7 sharps. Practice key changes by writing in a different key signature for each system. Increase the challenge of the previous exercise by using a metronome on weak beats. For example, instead of putting the metronome click on each quarter-note in 4/4, play the exercise with the metronome giving the second eighth note of each beat, or the last sixteenth note, or beats 2 and 4. Be creative with this one, the possib.
$10.00
9.07 €
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Nathan Petitpas - Dots and Beams
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I encourage you to use both
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Pitch and Rhythm - Treble Clef, Diatonic
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Dots and Beams
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SheetMusicPlus
Oscillation
Small Ensemble B-Flat Clarinet,Cello,Viola,Violin - Level 5 - Digital Download SKU: A0.…
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Small Ensemble B-Flat Clarinet,Cello,Viola,Violin - Level 5 - Digital Download SKU: A0.1028192 Composed by Jeremy Hart. 20th Century,Contemporary. Score and parts. 37 pages. Jeremy Graham Hart #6590413. Published by Jeremy Graham Hart (A0.1028192). Oscillation began as an experiment in coordination of a melody and harmony which are based on different means of organization. To this end, the clarinet is treated separately from the string quartet. The clarinet melody is constructed by means of limited interval usage. In mm.1–3 it can be observed that the melodic intervals are strictly limited to the use of a major 2nd/minor 7th or a major 6th/minor 3rd. By contrast, the string quartet has no limitation on its intervallic usage but always strives towards triadic harmonies in its accompanimental capacity and tends to converge on harmonies diatonic to the key. In addition, despite the proliferation of non-chord tones and transitionary passages in the string quartets’ music, the stable harmonies are written to have fairly parsimonious motion between them (if one were to reduce out the NCTs etc.) The coordination of these two separate logics is done by the selection of anchor-pitches for the melodic phrases. For example, the melodic phrase in mm.4–7 oscillates around the pitch of G natural (transposed in the score), which it shares with the F major/minor 7th chord that is heard as the harmonic goal of the strings in m.7. The teleology of the work can largely be traced in its melodic construction. Its opening phrase of mm.1–3 is anchored on G natural and ends on a C sharp, a tritone above the anchor, to simulate a half-cadence effect. The second phrase of mm.4–7 is still written on G natural but it ends on G as well, forming the authentic cadence and establishing a basic period as well as the work’s first theme. This is followed by second period which represents a dominant relationship to the first. The phrase at mm.10–13.2 is a rather extended utterance in comparison to the first two and is anchored on D natural. This is followed by 4-stage call and response across the ensemble (excluding the second violin) that leads the first section to a close at m.16 on a C diminished triad. Melodically, the first section is characterised by its limited used of a major 2nd/minor 7th or a major 6th/minor 3rd interval. At m.17, the second section follows much the same process as the first, using anchor pitches as a means of coordination and formal definition, and alternating soloistic clarinet playing with activated harmonies in the strings. The primary difference is in the character of the second section’s theme with regards to its rhythmic profile as well as its intervallic content. Namely, these are limited to the use of a minor 3rd or minor 2nd and their inversions. The second section draws to a close at m.32, returning to the tonic harmony of the key. With the first and second sections complete, the work now proceeds into a developmental section. Mm.33–84 largely consists of development of the two themes by manipulation of intervallic content as well as adjusting the placement of the thematic material withing the accompanimental context. This does include juxtaposition of the two themes (though one typicall becomes integrated into to accompaniment) as can be seen between the violin and viola at m.39. Variety is heightened by the introduction of episodic material such as the secondary melody performed by the clarinet at mm.40–41. The Lento section starting at m.53 introduces further rhythmic and metric adjustment of the thematic content. A varied recapitulation occurs at mm.85–113 and is followed by a coda at mm.114–131.
$19.95
18.09 €
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contrast, the string quartet has no limitation on its intervallic usage but always strives towards triadic harmonies in its accompanimental capacity and tends to converge on harmonies diatonic to the key
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Jeremy Hart
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Oscillation
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Jeremy Graham Hart
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SheetMusicPlus
6-Song Frank M. Davis Polka Collection - for “Hungry Five” Polka Band
Clarinet,Trombone,Trumpet,Tuba - Level 2 - Digital Download SKU: A0.1371643 Compose…
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Clarinet,Trombone,Trumpet,Tuba - Level 2 - Digital Download SKU: A0.1371643 Composed by Frank M. Davis. Arranged by Aaron Hettinga. 19th Century,Chamber,Classical,Folk,Multicultural,World. 29 pages. Aaron Hettinga #955893. Published by Aaron Hettinga (A0.1371643). Professor Frank Marion Davis (1839-1896) was an American educator, singer, and composer of both hymns and secular works. Among his secular works were a number of collections of polkas and waltzes written for solo piano. This series of works presents arrangements of a number of Davis’ compositions prepared for the instrumentation of Alford’s “Hungry Five†polka band books and serve as a fine addendum to those familiar pieces. While the clarinet parts tend to be the most active, they often feature diatonic scalar patterns. All parts should remain accessible to most intermediate-level players. The “Blue Bird’s Call†Polka (originally published in 1876) contains onomatopoeic chirps in the clarinet parts that make for a light and fun addition to any program. “Good Enough†Polka (originally published in 1874) is an example of Davis’ standard composition form used throughout most of this collection. “Harvest Home†Waltz (originally published in 1873) adds a pleasant waltz to the collection. Its melody is first presented simply,then embellishments are added as the piece continues. Davis’ aptly-titled “Jolly Friend†Polka (originally published in 1874) is a jovial tune with a bouncy melody that moves the clarinetists nimbly around a bit! “Lake-Side†Polka (originally published in 1874) has more participation in the Trumpet and Trombone parts than are found in much of the rest of this collection. “Nimble Toe†Polka (originally published in 1874) passes the melodic and accompaniment elements around the ensemble for a bit of variety for the players. This downloadable PDF package contains a set of full scores and a set of folio-sized parts (2 songs per page) that are ready to go for your German band's Oktoberfest OomPah gig!Also available individually as linked above.
$34.99
31.73 €
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Frank M
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Aaron Hettinga
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6-Song Frank M. Davis Polka Collection - for “Hungry Five” Polka Band
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Aaron Hettinga
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SheetMusicPlus
Fantasy-Suite for Mixed Quintet No. 3
B-Flat Clarinet,Cello,Oboe,Piano,Violin - Level 3 - Digital Download SKU: A0.1194405
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B-Flat Clarinet,Cello,Oboe,Piano,Violin - Level 3 - Digital Download SKU: A0.1194405 Composed by Steven Kudlo. Chamber,Classical,Contemporary. 96 pages. Steven Mark Kudlo #793779. Published by Steven Mark Kudlo (A0.1194405). In functional polystylistic format, this en-lightening composition is a peaceful journey of about twenty minutes. While containing some passage of neo-expressionist content, most of the composition is pandiatonic and common-practice tonality. In fact, each movement ends tonally. So enjoy yourselves in this refreshing dive into contemporary waters. Not really difficult, in six movements.
$8.99
8.15 €
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Steven Kudlo
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Fantasy-Suite for Mixed Quintet No. 3
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Steven Mark Kudlo
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SheetMusicPlus
L'appel du vide (English Horn Edition)
Woodwind Ensemble,Woodwind Quintet Bass Clarinet,Bassoon,English Horn,Oboe - Level 5 - Dig…
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Woodwind Ensemble,Woodwind Quintet Bass Clarinet,Bassoon,English Horn,Oboe - Level 5 - Digital Download SKU: A0.1076646 Composed by Helder Oliveria. Classical,Contemporary,Contest,Festival,Instructional. 18 pages. T.U.X. People's Music #680776. Published by T.U.X. People's Music (A0.1076646). Translated as The Call of the Void, L'appel du vide contemplates the human tendency to ponder the macabre What ifs in life. Utilizing nondiatonic scales and half-step dissonance, this work is hauntingly reflective and sure to inspire introspection in all who hear it!
$25.00
22.67 €
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Helder Oliveria
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L'appel du vide
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T.U.X. People's Music
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SheetMusicPlus
L'appel du vide (Alto Sax Edition)
Woodwind Ensemble,Woodwind Quintet Alto Saxophone,Bass Clarinet,Bassoon,Oboe - Level 5 - D…
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Woodwind Ensemble,Woodwind Quintet Alto Saxophone,Bass Clarinet,Bassoon,Oboe - Level 5 - Digital Download SKU: A0.1076644 Composed by Helder Oliveira. Classical,Contemporary,Contest,Festival,Instructional. 18 pages. T.U.X. People's Music #680774. Published by T.U.X. People's Music (A0.1076644). Translated as The Call of the Void, L'appel du vide contemplates the human tendency to ponder the macabre What ifs in life. Utilizing nondiatonic scales and half-step dissonance, this work is hauntingly reflective and sure to inspire introspection in all who hear it!
$25.00
22.67 €
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Helder Oliveira
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L'appel du vide
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T.U.X. People's Music
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SheetMusicPlus
Hungry Five Two-Pack - Two E.T. Paull pieces for "Hungry Five" Band
Small Ensemble Clarinet,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.7821…
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Small Ensemble Clarinet,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.782102 Composed by Lincoln/Paull. Arranged by Aaron Hettinga. 20th Century,Folk,Patriotic,Traditional. Score and parts. 35 pages. Aaron Hettinga #6713295. Published by Aaron Hettinga (A0.782102). Edward Taylor Paull (1858-1924) was an American composer of marches and rags who was successful in producing a large number of circus marches in the late 1800’s/early 1900’s.. The Ben Hur Chariot Race March was the first publication he released in 1894. He also arranged Harry J. Lincoln's hit, Midnight Fire Alarm.These arrangements have been prepared for the instrumentation of Alford’s Hungry Five polka band books and serve as a fine addendum to those familiar pieces. While the clarinet parts tend to be the most active, they often feature diatonic scalar patterns that remain accessible to most intermediate-level players. The trombone part here is more active than many other arrangements for this kind of ensemble and could also be handled by Euphonium if desired. Again, it’s mostly short diatonic 16th note bursts. At the risk of sounding sloppy, it may be better to take the tempo a little lesser than a circus march tempo to accommodate. Besides, if playing this piece for Polka dancing, it would be best to take this at a more danceable tempo anyway.This downloadable PDF package contains 2 complete packages of full scores and a sets of parts for Midnight Fire Alarm and Ben Hur Chariot Race March that are ready to go for adding some extra variety to your German Band’s Oktoberfest gig!
$24.99
22.66 €
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Lincoln/Paull
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Aaron Hettinga
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Hungry Five Two-Pack - Two E.T. Paull pieces for "Hungry Five" Band
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Aaron Hettinga
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SheetMusicPlus
Dawn of the Century March - Polka for “Hungry Five” Band
Clarinet,Trombone,Trumpet,Tuba - Level 4 - Digital Download SKU: A0.1371301 Compose…
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Clarinet,Trombone,Trumpet,Tuba - Level 4 - Digital Download SKU: A0.1371301 Composed by E. T. Paull. Arranged by Aaron Hettinga. 20th Century,Chamber,Folk,March,Multicultural,World. 16 pages. Aaron Hettinga #955511. Published by Aaron Hettinga (A0.1371301). Edward Taylor Paull (1858-1924) was an American composer of marches and rags who was successful in producing a large number of circus marches in the late 1800’s/early 1900’s. His “Dawn of the Century March†welcomed in the then-brand new Twentieth Century.This arrangement has been prepared for the instrumentation of Alford’s “Hungry Five†polka band books and serves as a fine addendum to those familiar pieces.  While the clarinet parts tend to be the most active, they often feature diatonic scalar patterns that remain accessible to most intermediate-level players. Though the trumpet part does sneak up to some written high A’s and B-flats during the first strain, the remainder of the piece doesn’t surpass the G on top of the staff. At the risk of sounding sloppy, it may be better to take the tempo a little lesser than a circus march tempo to accommodate. Besides, if playing this piece to accompany Polka dancing, it would be best to take this at a more danceable tempo anyway.This downloadable PDF package contains a full score and a set of parts that are ready to go for adding some extra variety to your German Band’s Oktoberfest OomPah gig!
$19.99
18.12 €
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E
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Aaron Hettinga
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Dawn of the Century March - Polka for “Hungry Five” Band
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Aaron Hettinga
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SheetMusicPlus
Lake-Side Polka - for "Hungry Five" Polka Band
Small Ensemble Clarinet,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.7820…
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Small Ensemble Clarinet,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.782012 Composed by Frank M. Davis. Arranged by Aaron Hettinga. Folk,Multicultural,Traditional,World. Score and parts. 9 pages. Aaron Hettinga #6056789. Published by Aaron Hettinga (A0.782012). Professor Frank Marion Davis (1839-1896) was an American educator, singer, and composer of both hymns and secular works. Among his secular works were a number of collections of polkas and waltzes written for solo piano. This series of works presents arrangements of a number of Davis’ compositions prepared for the instrumentation of Alford’s Hungry Five polka band books and serve as a fine addendum to those familiar pieces. While the clarinet parts tend to be the most active, they often feature diatonic scalar patterns. All parts should remain accessible to most intermediate-level players.Lake-Side Polka (originally published in 1874) has more participation in the Trumpet and Trombone parts than are found in much of the rest of this collection.This downloadable PDF package contains a full score and a set of folio-sized parts that are ready to go for your German Band's Oktoberfest gig!
$9.99
9.06 €
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Frank M
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Aaron Hettinga
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Lake-Side Polka - for "Hungry Five" Polka Band
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Aaron Hettinga
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SheetMusicPlus
Nimble Toe - Polka - for "Hungry Five" Polka Band
Small Ensemble Clarinet,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.7820…
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Small Ensemble Clarinet,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.782013 Composed by Frank M. Davis. Arranged by Aaron Hettinga. Folk,Multicultural,Traditional,World. Score and parts. 9 pages. Aaron Hettinga #6056791. Published by Aaron Hettinga (A0.782013). Professor Frank Marion Davis (1839-1896) was an American educator, singer, and composer of both hymns and secular works. Among his secular works were a number of collections of polkas and waltzes written for solo piano. This series of works presents arrangements of a number of Davis’ compositions prepared for the instrumentation of Alford’s Hungry Five polka band books and serve as a fine addendum to those familiar pieces. While the clarinet parts tend to be the most active, they often feature diatonic scalar patterns. All parts should remain accessible to most intermediate-level players.
$9.99
9.06 €
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Frank M
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Aaron Hettinga
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Nimble Toe - Polka - for "Hungry Five" Polka Band
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Aaron Hettinga
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SheetMusicPlus
Harvest Home - Waltz - for "Hungry Five" Polka Band
Small Ensemble Clarinet,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.7820…
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Small Ensemble Clarinet,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.782010 Composed by Frank M. Davis. Arranged by Aaron Hettinga. Folk,Multicultural,Traditional,World. Score and parts. 9 pages. Aaron Hettinga #6056783. Published by Aaron Hettinga (A0.782010). Professor Frank Marion Davis (1839-1896) was an American educator, singer, and composer of both hymns and secular works. Among his secular works were a number of collections of polkas and waltzes written for solo piano. This series of works presents arrangements of a number of Davis’ compositions prepared for the instrumentation of Alford’s Hungry Five polka band books and serve as a fine addendum to those familiar pieces. While the clarinet parts tend to be the most active, they often feature diatonic scalar patterns. All parts should remain accessible to most intermediate-level players.
$9.99
9.06 €
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Frank M
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Aaron Hettinga
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Harvest Home - Waltz - for "Hungry Five" Polka Band
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Aaron Hettinga
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SheetMusicPlus
Jolly Friend - Polka - for "Hungry Five" Polka Band
Small Ensemble Clarinet,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.7820…
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Small Ensemble Clarinet,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.782011 Composed by Frank M. Davis. Arranged by Aaron Hettinga. Folk,Multicultural,Traditional,World. Score and parts. 9 pages. Aaron Hettinga #6056787. Published by Aaron Hettinga (A0.782011). Professor Frank Marion Davis (1839-1896) was an American educator, singer, and composer of both hymns and secular works. Among his secular works were a number of collections of polkas and waltzes written for solo piano. This series of works presents arrangements of a number of Davis’ compositions prepared for the instrumentation of Alford’s Hungry Five polka band books and serve as a fine addendum to those familiar pieces. While the clarinet parts tend to be the most active, they often feature diatonic scalar patterns. All parts should remain accessible to most intermediate-level players.
$9.99
9.06 €
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Frank M
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Aaron Hettinga
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Jolly Friend - Polka - for "Hungry Five" Polka Band
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Aaron Hettinga
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SheetMusicPlus
The Blue Bird's Call - Polka - for "Hungry Five" Polka Band
Small Ensemble Clarinet,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.7820…
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Small Ensemble Clarinet,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.782008 Composed by Frank M. Davis. Arranged by Aaron Hettinga. Folk,Multicultural,Traditional,World. Score and parts. 9 pages. Aaron Hettinga #6056777. Published by Aaron Hettinga (A0.782008). Professor Frank Marion Davis (1839-1896) was an American educator, singer, and composer of both hymns and secular works. Among his secular works were a number of collections of polkas and waltzes written for solo piano. This series of works presents arrangements of a number of Davis’ compositions prepared for the instrumentation of Alford’s Hungry Five polka band books and serve as a fine addendum to those familiar pieces. While the clarinet parts tend to be the most active, they often feature diatonic scalar patterns. All parts should remain accessible to most intermediate-level players.
$9.99
9.06 €
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Frank M
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Aaron Hettinga
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The Blue Bird's Call - Polka - for "Hungry Five" Polka Band
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Aaron Hettinga
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SheetMusicPlus
Debussy: Piano Preludes Bk.2 No.5 "Bruyères" - symphonic wind dectet
Bassoon,Clarinet,Double Bass,Flute,Horn,Oboe - Level 3 - Digital Download SKU: A0.13666…
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Bassoon,Clarinet,Double Bass,Flute,Horn,Oboe - Level 3 - Digital Download SKU: A0.1366668 Composed by Claude Debussy. Arranged by Ray Thompson. 20th Century. 17 pages. RayThompsonMusic #950991. Published by RayThompsonMusic (A0.1366668). Debussy: Piano Preludes Bk.2 No.5 Bruyères (Heather) - symphonic wind dectetArranged double wind quintet/bassDebussy's Préludes are 24 pieces for solo piano, divided into two books of 12 preludes each. Unlike some notable collections of preludes from prior times, such as Chopin's Op. 28 preludes, or the preludes from Johann Sebastian Bach's The Well-Tempered Clavier, Debussy's do not follow a strict pattern of tonal centres.This is from the 2nd Book.I have arranged all of these preludes from both books:Book 1Danseuses de DelphesVoilesLes sons et le parfums…..Des pas sur le neige La fille aux cheveux de linLa Cathédral engloutieMinstrelsBk.2BruyèresGeneral LevineHommage à S.Pickwick EsqCanopeAs if by magic, we are transported to heather covered V it shows that this shepherd is a distant cousin of ‘la fille heathland with a piece much reminiscent of la Fille aux cheveux de lin’. The same calm, the same purityaux Cheveux de Lin from book one. Nature and innocence demand a spontaneous and laidback approach to those delicate and poetic riffs to match the colour and aroma of fragrant purple shrubs. Birds may be heard calling, accompanied by the distant refrain of a shepherd’s flute in this harmonious and homogeneous prelude — an admirable contrast to numbers IV and VI.In direct connection with this prelude, Marguerite Long mentions a Debussy souvenir pairing the scent of sea mist and coastal pines, and if she is correct this would take us to Arcachon in south west France. It is possible that the young composer first went there in 1880 with the baroness Nadejda Von Meck and later in 1904 when he stayed with the uncle of Emma Bardac (neÌe Moyse), his future bride.The pastoral and familiar poetry of a woodland scene where the earth’s pervasive scent mingles with the subdued display of patches in purple.— CortotA peaceful melody on a shepherd's pipe, resonating on the silent moorland. With its Celtic pentatonic structureand the same diatonic transparency, time-signature and tempo provide a clear link.— Harry Halbreich
$14.95
13.56 €
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Claude Debussy
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Ray Thompson
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Debussy: Piano Preludes Bk.2 No.5 "Bruyères" - symphonic wind dectet
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RayThompsonMusic
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SheetMusicPlus
Ahi che quest' occhi miei
Small Ensemble B-Flat Clarinet,B-Flat Trumpet,Flute - Level 2 - Digital Download SKU: A…
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Small Ensemble B-Flat Clarinet,B-Flat Trumpet,Flute - Level 2 - Digital Download SKU: A0.847960 Composed by Giovanni Pierluigi da Palestrina. Arranged by Avigayil Bismuth. Folk,Instructional,Renaissance,Wedding. Score and parts. 4 pages. Bismuth #454661. Published by Bismuth (A0.847960). A more mellow Ren-Baroque thing, this time from Palestrina -- one of the few non-religious things he did. Another unrequited love thing. Good for Renfest or wedding. Easy enough for amateurs, but useful for pros. Instructional for the harmonic rhythm and non-diatonic chords.
$2.00
1.81 €
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Giovanni Pierluigi da Palestrina
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Avigayil Bismuth
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Ahi che quest' occhi miei
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Bismuth
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SheetMusicPlus
Pitch Only - Treble Clef (Sight Reading Exercise Book)
Large Ensemble Alto Recorder,Alto Saxophone,Banjo,Baritone Saxophone,Cello,Clarinet,Englis…
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Large Ensemble Alto Recorder,Alto Saxophone,Banjo,Baritone Saxophone,Cello,Clarinet,English Horn,Euphonium,Flute,Guitar,Handbell,Harmonica,Harpsichord,Marimba,Oboe,Orff Instrument,Piano,Soprano Recorder,Soprano Saxophone,Tenor Recorder,Tenor Saxophone,Trumpet,Ukulele,Vibraphone,Viola,Violin,Voice,Xylophone - Level 3 - Digital Download SKU: A0.931837 Composed by Nathan Petitpas - Dots and Beams. Instructional. Score and parts. 129 pages. Dots and Beams #5313613. Published by Dots and Beams (A0.931837). This book provides its user with a series of notes on a treble staff with no rhythm values and no meter. Chapters are organized by the placement of the notes relative to the staff; on the staff, above the staff, below the staff, on and above the staff, and on and below the staff. For each pitch range there is one chapter with no accidentals and one chapter with accidentals. All exercises have a space at the beginning of each staff to write in a key signature, allowing each exercise to be read in all keys and used in many ways. The aim with this book is to allow the user to focus specifically on exercises centred around pitch without the distraction of rhythmic values or time signatures. This can begin with the practice of sight-reading but can expand to include many other learning goals. The diatonic sets contain notes with no accidentals or key signature. These collections can be read as written, using only natural notes, or in any of the 15 key signatures from 7 flats to 7 sharps. Chromatic collections include sharp and flat notes as well as natural ones. The later exercises in these chapters increase the difficulty by including B#, Cb, E#, and Fb. Ledger line chapters start with the first ledger line and gradually expand away from the staff. Exercises above the staff reach up to the space above the fifth ledger line while exercises below reach down to the space below the third. The random nature of the notes in these exercises is intentional; it forces the user to pay attention to each note and makes the exercises very difficult to memorize, ensuring that they will still present a challenge even after multiple readings. It’s important when sight-reading to cycle through the exercises quickly rather than dwelling on a single exercise for a long time. This will ensure that you’re strengthening your ability to read the notes rather than just memorizing the exercises. Some suggestions for how to use this book include: Gain comfort reading the notes and finding them on your instrument in no particular rhythm or tempo. A greater challenge can be achieved by playing them at a steady tempo or by playing them in a simple rhythmic pattern. Beginner students can begin by writing in the note names. Play each exercise in all 15 key signatures. Advanced theory students and improvising musicians can also use these exercises to practice identifying scale degrees in various keys or playing chords built on every scale degree in the chosen key. Develop comfort with chords by playing a chord built on each note in the exercise. For example: for each note in the exercise, play the major chord with that root. Increase the difficulty with different chord qualities or different chord tones, for example: for every note, play the minor 7th chord in which the given note is the 3rd. Practice transposing into different keys. This is an especially useful challenge for people who play transposing instruments such as brass and woodwind instruments. Chapters with wide ranges can present a great exercise for musicians who play instruments where large leaps are a challenge. People who play strings, mallet percussion, piano, woodwinds, and brass would be among those who would benefit from practising these awkward leaps and falls. As with any of the Dots and Beams books, the uses for this particular collection are limited only by the imagination of the musician using it. I highly encourage anybody using this book to find as many uses for it as possible. My hope is that as you grow as a musician you will find ever more creative and challenging ways to use these materials so that you can return to these books for years.
$10.00
9.07 €
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Nathan Petitpas - Dots and Beams
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Pitch Only - Treble Clef
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Dots and Beams
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SheetMusicPlus
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