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6 partitions trouvées
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Horn Sonata No. 3 (Complete)
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Cor
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AVANCÉ
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Mike Lyons
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Horn Sonata No. 3
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Lyons Music Services
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SheetMusicPlus
French Horn Solo - Level 5 - SKU: A0.767350 Composed by Mike Lyons. Concert,Contemporary. Individual part. 7 pages. Lyons Music Services #3520235. Publi...
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French Horn Solo - Level 5 - SKU: A0.767350 Composed by Mike Lyons. Concert,Contemporary. Individual part. 7 pages. Lyons Music Services #3520235. Published by Lyons Music Services (A0.767350). This is my third new sonata for unaccompanied French horn. it has three movements as follows: Movement 1: Dance It begins with a crotchet theme which forms the basis of the rest of the movement. The opening should be stately and measured, but not slow. The echoes should be as quiet as possible for each statement of the opening motif. I have made a lot of use of rhythmic features in this movement. After the Maestoso, the 12/8 section is in the nature of a jig, with lots of repeated pitches and very rhythmical There's much use of syncopation. After I have played around with these ideas (intervals based on the opening) there is a more legato tune, also based on the opening music, but in a grander style and marked nobilmente. This is almost a processional, and leads to a reprise of the jig motifs in a new mode and with modifications to the rhythm. The second movement of this sonata is a set of 3 variations on an original tune. The melody is quite hymn-like and needs to be played as such. Very legato, with very slight tongue. Variation 1 is an 8th note variation, with a slight increase in tempo to help it to flow. The player will need to pay close attention to the written phrasing so as not to lose the theme. This variation is p throughout. Variation 2 is a triplet/sextuplet variation, again with a slight increase in tempo. This variation has turns, which I have written out in ossias above to be clear how I would like it to be played. Variation 3 is a semiquaver and glissando variation, requiring good tongue technique and clear phrasing. Breathing should be easy as I have made provision for breaths to mark the ends of phrases. Please don't change these! Finally, there is a restatement of the original theme with slight adaptations to bring the movement to a quiet finish. The third and final movement of the sonata is a rondo. The opening music keeps returning throughout the length of the movement. It comprises a stuttering rhythmic phrase with alternating upwards and downwards scales which gradually build up throughout the opening of the movement. Each time the ritornello idea returns it has been altered in some way. Between the ritornelli are slightly less frenetic sections of cantabile melodic ideas which hark back to both the first and second movements as well as referencing the scalic ideas from the third movement. Although the music is fast, it should be playable without resorting to triple tonguing.
$18.00
Unaccompanied Suites for Horn
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Cor
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AVANCÉ
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Classique
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Johann Sebastian Bach
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Ralph Sauer
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Unaccompanied Suites for Horn
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Gordon Cherry
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SheetMusicPlus
French Horn Solo - Level 5 - SKU: A0.792112 Composed by Johann Sebastian Bach. Arranged by Ralph Sauer. Baroque. Individual part. 49 pages. Gordon Cherr...
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French Horn Solo - Level 5 - SKU: A0.792112 Composed by Johann Sebastian Bach. Arranged by Ralph Sauer. Baroque. Individual part. 49 pages. Gordon Cherry #3464523. Published by Gordon Cherry (A0.792112). Bach's Unaccompanied Suites beautifully and meticulously edited for Horn by Ralph Sauer, 48 page textbook. Mr. Sauer's thoughtful version of the Six Suites gives the performer room to breathe musically. To quote Mr. Sauer and Pablo Casals,I refrained from using fanciful descriptive terms such as con brio, or quasi una fantasia because they may suggest a particular style...This transcription is not intended to be a blueprint to be followed exactly, but rather, it is the raw material from which a personal interpretation can be built.To quote Pablo Casals, Where interpreting Bach's music is concerned, there are no hard and fast rules...The best thing to do is to discard all preconceived ideas and try to approach in our performances whatever the music conveys to us...
$20.00
Fugue: "Wear Pearls and Smile" (A Pairing with Beethoven's Symphony #2) - Horn in F 1
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Cor
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AVANCÉ
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Benjamin Harry Sajo
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Fugue: "Wear Pearls and S
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Benjamin Sajo
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SheetMusicPlus
French Horn Solo - Level 5 - SKU: A0.1018931 Composed by Benjamin Harry Sajo. 20th Century,Contemporary. Individual part. 4 pages. Benjamin Sajo #607296...
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French Horn Solo - Level 5 - SKU: A0.1018931 Composed by Benjamin Harry Sajo. 20th Century,Contemporary. Individual part. 4 pages. Benjamin Sajo #6072965. Published by Benjamin Sajo (A0.1018931). Fugue: Wear Pearls and Smile is, on the outset, a fast, rambunctious adventure for many voices playing at the same time. It was conceived as a pairing for the equally vivacious second symphony of Ludwig van Beethoven–his 250th birthday is this year–but can stand on its own as one of my hardest, most challenging works to cook up.This piece is dedicated to those forced to appear positive when internally they’re falling apart. The title is inspired by a quote that’s been with me for a while, Why is it that men can be bastards and women must wear pearls and smile? by Lynn Hecht Schafren, the celebrated American jurist famous for campaigning for gender equity in courts. I’m taking the quote out of its initial context, but the power of that quote, for me, exemplifies how hard it is to maintain a sense of emotional decorum and dignity when you’re authentically a hot mess. And what’s more of a musical hot mess than a fugue?There are two realities to this piece. I’ll quote Dmitri Shostakovich, from his autobiography: The rejoicing is forced, created under threat, […] It’s as if someone were beating you with a stick and saying, ‘Your business is rejoicing, your business is rejoicing,’ and you rise, shaky, and go marching off, muttering ‘Our business is rejoicing, our business is rejoicing.’ On the one hand, it is insincere happiness, cloying perhaps. But the other truth, I’ll quote Oscar Hammerstein II, from The King and I: While shivering in my shoes / I strike a careless pose / And whistle a happy tune / And no one ever knows, / I'm afraid. I forced myself, against all impulses of my current being, to forge happiness. This piece, with its origin being a mental puzzle (fugues are puzzles), it became a construct where I could lift myself up and regain a sense of purpose. Therefore, it is invented–out of a literal need to survive–pure, genuine happiness.Future Performances: If you are interested in performing this work, please e-mail me.ABOUT THE COMPOSER: Benjamin Sajo (b. 1988) is a Canadian composer of contemporary classical music, as well as an educator. Since developing a fiercely independent creative voice upon the completion of his studies at Western (2010) and McGill Universities (2013), he continues to find inspiration from the intersection of mythology, art, and nature upon the contemporary human experience. In 2019, he released his premiere album of original music, The Great War Sextet: Canadian War Poetry with Trombone & Strings , with support from the Ontario Arts Council. He is a member of SOCAN and the League of Canadian Composers.
$3.50
Horn Sonata - No. 1 - 3rd Movement - Allegro
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Cor
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AVANCÉ
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Lyons Music Services
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Horn Sonata - No. 1 - 3rd Move
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Lyons Music Services
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SheetMusicPlus
French Horn Solo - Level 5 - SKU: A0.767342 Composed by Lyons Music Services. Concert,Contemporary. Individual part. 4 pages. Lyons Music Services #3512...
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French Horn Solo - Level 5 - SKU: A0.767342 Composed by Lyons Music Services. Concert,Contemporary. Individual part. 4 pages. Lyons Music Services #3512417. Published by Lyons Music Services (A0.767342). This movement opens with a similar idea to the previous two, but at a fairly quick Allegro (quarter = 132) and using arpeggios in triplets to drive the music through. The dotted half noes with crescs at the end of the phrase should really be pushed into brassiness at the end of the cresc.I ask the player to do rip glisses, some of them difficult to achieve, and also gestopft and 'half stopped'. Although these are 'hand horn' techniques that survive from before the invention of valves, they are still usefull to create a different effect than from standard mutes. Where these techniques are asked for, a silvery, ethereal tone is required as a contrast to the brash 'hunting hoirn' style of the outer sections of the movement. The middle part of this movement is quasi a cadenza. The stopping instructions are intended to have an effect on the tuning as well as the timbre of the notes. The first pair of each group of three should be slurred smoothly.The final section reprises the beginning of the movement, but at breakneck speed. quarter = 144 is advisory only. The faster the better.This movement again makes use of the extremes of the horn's range and makes high demands on stamina and tonguing.
$9.00
Horn Sonata No. 1 (Complete)
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Cor
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AVANCÉ
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Mike Lyons
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Horn Sonata No. 1
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Lyons Music Services
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SheetMusicPlus
French Horn Solo - Level 5 - SKU: A0.767341 Composed by Mike Lyons. Concert,Contemporary. Individual part. 8 pages. Lyons Music Services #3514991. Publi...
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French Horn Solo - Level 5 - SKU: A0.767341 Composed by Mike Lyons. Concert,Contemporary. Individual part. 8 pages. Lyons Music Services #3514991. Published by Lyons Music Services (A0.767341). This is a brand new piece composed for French Horn without accompaniment. It has three movements all connected by the opening material of the first movement. I am publishing this piece as separate movements as well as a complete edition. 1st. Movement: The opening movement is marked andante. It opens with a repeated tonic followed by an arpeggiated 1/16th figure with a closing descending scale. These three ideas form the basic musical material for the whole sonata. Throughout the first movement these three ideas are transformed and manipulated, expanded and contracted while maintaining a clear musical structure (basically Ternary form). As with sonata form, the final reprise of the original ideas is transformed by their 'journey'. The style of the music is rather like a Bach partita for solo instrument. The movement takes the player through most of the horn's range, but does not require any extended techniques, so should be handleable by moderately skilled players. 2nd. Movement: This slow movement requires excellent breath control. It uses the repeated not idea from the 1st movement to open, expanding the rhythm to create a rather melancholy pattern. Later, the scalic 1/16th are utilised to link to the Più mosso section where the arpeggio idea (this time descending) helps to create a feeling of wide open space and emptiness. The player is in an empty universe, drifting slowly away as the dynamics become ever quieter until the ending at ppp. 3rd. Movement: This movement opens with a similar idea to the previous two, but at a fairly quick Allegro (quarter = 132) and using arpeggios in triplets to drive the music through. The dotted half noes with crescs at the end of the phrase should really be pushed into brassiness at the end of the cresc. I ask the player to do rip glisses, some of them difficult to achieve, and also gestopft and 'half stopped'. Although these are 'hand horn' techniques that survive from before the invention of valves, they are still useful to create a different effect than from standard mutes. Where these techniques are asked for, a silvery, ethereal tone is required as a contrast to the brash 'hunting horn' style of the outer sections of the movement. The middle part of this movement is quasi a cadenza. The stopping instructions are intended to have an effect on the tuning as well as the timbre of the notes. The first pair of each group of three should be slurred smoothly. The final section reprises the beginning of the movement, but at breakneck speed. quarter = 144 is advisory only. The faster the better. This movement again makes use of the extremes of the horn's range and makes high demands on stamina and tonguing.
$18.00
Epic Etudes
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Cor
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AVANCÉ
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Methodes Etudes
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Adrian Hallam
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Epic Etudes
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Adrian Hallam
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SheetMusicPlus
Horn in F - Advanced - Composed by Adrian Hallam. Method, Etudes and Exercises, Repertoire, Technique Training, Recital. Solo Part. 22 pages. Publis...
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Horn in F - Advanced - Composed by Adrian Hallam. Method, Etudes and Exercises, Repertoire, Technique Training, Recital. Solo Part. 22 pages. Published by Adrian Hallam
20 of the most Epic high, Epic low, Epic fast, Epic slow Etudes ever! Covering four octaves and an Epic array of techniques, Epic Etudes will give you an Epic workout! You will be asking yourself "Where have these been all my Epic life?" These Epic Etudes can also be performed as solo items. Epic Etudes are composed for students of 8th Grade and above, standard. (AMEB/ Trinity UK).
$20.00
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