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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
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Crescendo Communications
Partitions à imprimer
6 partitions trouvées
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Little Brown Jug
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Ensemble de Clarinettes
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INTERMÉDIAIRE/AVANCÉ
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Jazz
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Glenn Miller
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Phillip Pollard
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Little Brown Jug
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Crescendo Communications
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SheetMusicPlus
Woodwind Ensemble Clarinet - Level 4 - SKU: A0.894075 By Glenn Miller. By J. Winner and R. Eastburn. Arranged by Phillip Pollard. Jazz. 41 pages. Cresce...
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Woodwind Ensemble Clarinet - Level 4 - SKU: A0.894075 By Glenn Miller. By J. Winner and R. Eastburn. Arranged by Phillip Pollard. Jazz. 41 pages. Crescendo Communications #6072629. Published by Crescendo Communications (A0.894075). A clarinet choir arrangement of the famous Glenn Miller tune. This is a fun piece and a real crowd-pleaser to program in a clarinet choir concert.This was arranged for the San Francisco Bay area clarinet choir Clarinet Fusion. It is intended for 10 players: 6 soprano, E-flat, Alto, Bass and Contralto. With the exception of the Bass Clarinet starting the piece, the Bass and Contra are in unison. This creates a very nice swing-style walking bass. If you do not have a contra, you could double the bass part in place of it.The 1st and 2nd clarinet parts both get a solo passage. Chords and the basic melody are noted in those sections, but solos are not written out.
$17.95
Moonlight Serenade
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Ensemble de Clarinettes
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Contemporain
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Glenn Miller
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Phillip Pollard
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Moonlight Serenade
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Crescendo Communications
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SheetMusicPlus
Woodwind Ensemble Clarinet - SKU: A0.894076 Composed by Glenn Miller. Arranged by Phillip Pollard. Contemporary. 27 pages. Crescendo Communications #607...
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Woodwind Ensemble Clarinet - SKU: A0.894076 Composed by Glenn Miller. Arranged by Phillip Pollard. Contemporary. 27 pages. Crescendo Communications #6072695. Published by Crescendo Communications (A0.894076). A clarinet choir arrangement of the famous Glenn Miller tune. This is a fun piece and a real crowd-pleaser to program in a clarinet choir concert.This was arranged for the San Francisco Bay area clarinet choir Clarinet Fusion. It is intended for 10 players: 7 soprano clarinets, Alto, Bass and Contralto. The Bass and Contra are in unison. This creates a very nice swing-style walking bass. If you do not have a contra, you could double the bass part in place of it.This piece maintains the tight and warm harmonies that made the original so famous. The 1st clarinet part contains the exposed/solo passages.
$17.95
Canon in D (for mixed clarinet quartet)
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Quatuor de Clarinettes: 4 clarinettes
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Johann Pachelbel
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Phillip Pollard
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Canon in D
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Crescendo Communications
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SheetMusicPlus
By Johann Pachelbel (1653-1706). Arranged by Phillip Pollard. For Clarinet. Sacred, Movies/TV, Classical Period, Wedding. Advanced Intermediate. Set of Parts, S...
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By Johann Pachelbel (1653-1706). Arranged by Phillip Pollard. For Clarinet. Sacred, Movies/TV, Classical Period, Wedding. Advanced Intermediate. Set of Parts, Score. Crescendo Communications #q25. Published by Crescendo Communications
$9.99
The "Little" Fugue (BWV 578) for mixed clarinet quartet
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Quatuor de Clarinettes: 4 clarinettes
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Johann Sebastian Bach
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Phillip Pollard
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The "Little" Fugue
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Crescendo Communications
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SheetMusicPlus
By Johann Sebastian Bach (1685-1750). Arranged by Phillip Pollard. For Clarinet. Sacred, Classical Period. Advanced Intermediate. Set of Parts, Score. Crescendo...
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By Johann Sebastian Bach (1685-1750). Arranged by Phillip Pollard. For Clarinet. Sacred, Classical Period. Advanced Intermediate. Set of Parts, Score. Crescendo Communications #q24. Published by Crescendo Communications
$9.99
Cat & Mouse Rag - Ragtime - Piano Duet For 4 Hands
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1 Piano, 4 mains
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INTERMÉDIAIRE
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Olly Wedgwood
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Mouse Rag
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Cat & Mouse Rag - Ragtime
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OllysPianoSheets
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SheetMusicPlus
Instrumental Duet Instrumental Duet,Piano - Level 3 - SKU: A0.961564 Composed by Olly Wedgwood. Concert,Ragtime,Standards. Score and parts. 5 pages. Oll...
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Instrumental Duet Instrumental Duet,Piano - Level 3 - SKU: A0.961564 Composed by Olly Wedgwood. Concert,Ragtime,Standards. Score and parts. 5 pages. OllysPianoSheets #5712083. Published by OllysPianoSheets (A0.961564). Cat & Mouse Rag is a playful ragtime duet for primo players at about the Grade 3 standard. With classic ragtime syncopation in the primo part against a 'stride' style in the secondo, this duet is sure to be a popular addition to any recital programme.For the introduction, the primo (perhaps the mouse?) starts things off with a bright opening statement that is answered by the secondo player (the cat?), and then the chase begins!During the opening theme, the primo has an opportunity to tease the cat with a cheeky staccato 'interjection'. Just before this high note is an acciaccatura grace note, which should be played as quickly as possible beforehand.The middle section then modulates to G minor for a variation on the theme, after which a rallentando culminates to a brief pause in the game. There is a break (a caesura) after the pause, so try to leave a good couple of seconds of suspense before launching back into the original theme a tempo.Keep and eye out for staccato and tenuto notes, which will help to communicate the playful feel of the piece.The duet ends with a call-and-response between the primo and secondo, then a crescendo to the ending hits - with a cheeky acciaccatura grace note from the mouse, of course :).
$4.95
Bach Fuga BWV 539 For Woodwind Quintet
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Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
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AVANCÉ
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Classique
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Johann Sebastian Bach
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Luis Anjos Teixeira
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Bach Fuga BWV 539 For Woodwind
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Luis Anjos Teixeira
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SheetMusicPlus
Woodwind Ensemble,Woodwind Quintet - Level 5 - SKU: A0.889416 Composed by Johann Sebastian Bach. Arranged by Luis Anjos Teixeira. Baroque,Concert,Standa...
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Woodwind Ensemble,Woodwind Quintet - Level 5 - SKU: A0.889416 Composed by Johann Sebastian Bach. Arranged by Luis Anjos Teixeira. Baroque,Concert,Standards. 31 pages. Luis Anjos Teixeira #3485727. Published by Luis Anjos Teixeira (A0.889416). 2018 Chamber Music Contest EntryAs a violin player this was always one of my beloved pieces and it has accompanied all my Life. The G minor Fuga is the most compact of the three fugues in the volume for violin solo (and note that in this versions they are not in fact fugues in the proper sense of the word, but rather a kind of fugue/Baroque-concerto hybrid form). It was also transcribed for lute by Bach at some later time (BWV 1000). My arrangement is based on a version of this piece for the organ made by Bach himself - BWV 539. I follow very intimately the organ version, not adding or letting out any of the original notes. As an arrangement I transposed it to H-Minor and some of the notes where made through the interpretation symbols more or less shorter in order to accentuate the polyphonic, rhythmic and natural dynamic of the piece. I also added some legatos. Crescendos, or fortes and similar indications are left out like in the original, waiting for your own interpretation. In the musical consciousness of Bach the polyphony and dialog between the voices were a projection of an ideal world for the Human Society and this should be in the first line of focus and in the mind of all the members in the group. The power of this piece comes from within its structure and relays in its polyphonic dimension. Allow yourself to focus on the Art of enhancing the beauty of this dialog, the bless of communicating with each other. Bach is Love - Love each another I really advise all performers to have a very humble and sensitive approach in the interpretation of this piece towards loudness because you will have to be listening to each other very carefully while performing. Linear time, sound and silence are the basic of dynamic expression. Dynamic will than happen naturally and without much effort when bringing the „Art of playing the silence and the Art of the „duration of the notes to a state of consciousness within the whole piece itself. Often in the old music notation the duration of the notes is longer written in the score then it should be played. Understandable because It takes a lot more time for a composer to write in detail the sound and the silence than to write only the raw length of the notes! Back in those times the performing artists were trained very well to read their raw parts and became very skilled in making their own thing out of the scores so the composers did not have to worry with so much detail like nowadays. In some scores we even find words like:-„please play this note simply as written and without embellishments! On the original score of the Fuga a sixth voice joins the group between bars sixty and sixty one and this voice can be heard very well in the sound file. This „Ghost voice is noted on the clarinet part as an extended possibility. To play it with just one clarinet is absolutely possible as well as arbitrary. Do at will some experiments and let than the group decide. In case of doubt play simply the bottom voice or let yourself get inspired with the sound file. One of my suggestions would be also to play the bottom line as long as the other one is silent, than jump to the upper voice as it comes in and go back again to your usual voice while the other voice „takes a break. This work brought me a new insight into the consciousness and the universal nature of Bach`s music. It requires high skilled and experienced artists to execute. The score was written on Finale. The sound file For the 2018 Chamber Music Contest Entry, was performed with samplers from Garritan and conceived as an audio support for the presentation of the score. Thank you very much f.
$25.00
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