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Trombone (partie séparée)
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Vous avez sélectionné:
Give It One: 3rd Trombone
SheetMusicPlus
Partitions à imprimer
35 partitions trouvées
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Give It One: 3rd Trombone
Trombone (partie séparée)
Jazz Ensemble - Digital Download SKU: AX.00-PC-0017572_TN3 3rd Trombone. Com…
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Jazz Ensemble - Digital Download SKU: AX.00-PC-0017572_TN3 3rd Trombone. Composed by Alan Downey and Maynard Ferguson. Arranged by Alan Baylock. Jazz. Part. 3 pages. Alfred Music - Digital Sheet Music #00-PC-0017572_TN3. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0017572_TN3). UPC: 038081459486.You gotta have this spectacular chart! Alan arranged this one reminiscent of Maynard's version but in a lower key---the lead trumpet only goes to written D above the staff. Tempo is brisk at 220 BPM but you could play is a little slower. Solo space is provided for all four trumpets for flexibility. Truly outstanding! This title is available in SmartMusic.
$3.00
2.74 €
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Trombone (partie séparée)
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Alan Downey and Maynard Ferguson
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Alan Baylock
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Give It One: 3rd Trombone
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Give It All You Got: 3rd Trombone
Trombone (partie séparée)
By Chuck Mangione. Arranged by Victor Lopez. For Jazz Ensemble. Instructional. Part. 2 pag…
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By Chuck Mangione. Arranged by Victor Lopez. For Jazz Ensemble. Instructional. Part. 2 pages. Published by Alfred Music - Digital Sheet Music
$3.00
2.74 €
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Trombone (partie séparée)
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Chuck Mangione
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Victor Lopez
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Give It All You Got: 3rd Trombone
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
St. James Infirmary: 3rd Trombone
Trombone (partie séparée)
Jazz Ensemble - Digital Download SKU: AX.00-PC-0017152_TN3 3rd Trombone. Arr…
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Jazz Ensemble - Digital Download SKU: AX.00-PC-0017152_TN3 3rd Trombone. Arranged by Mike Kamuf. Funk; Jazz. Part. 2 pages. Alfred Music - Digital Sheet Music #00-PC-0017152_TN3. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0017152_TN3). UPC: 038081349756.A contemporary treatment of this traditional jazz tune, arranger and band director Mike Kamuf combines multiple generations in one chart. With a shuffle groove, the opening melody is stated by alto, tenor, trumpet and optional guitar in fourths. Some countermelody development, solo space (written) for tenor and trumpet, then an interlude that builds big time into a powerful shout chorus to bring it home. It's a happening chart. (4:04) This chart gives the New Orleans classic a funk treatment. The piece starts with a great introduction, and a vamp based on the melody follows each chorus. Written solos for the tenor sax and trumpet are in D minor and use some nice stylistic elements. -The Instrumentalist.
$3.00
2.74 €
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Trombone (partie séparée)
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Mike Kamuf
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Jazz
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St. James Infirmary: 3rd Trombone
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Again and Again: 3rd Trombone
Trombone (partie séparée)
Jazz Ensemble - Digital Download SKU: AX.00-PC-0016189_TN3 3rd Trombone. Com…
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Jazz Ensemble - Digital Download SKU: AX.00-PC-0016189_TN3 3rd Trombone. Composed by Benny Carter. Instructional. Part. 2 pages. Alfred Music - Digital Sheet Music #00-PC-0016189_TN3. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0016189_TN3). UPC: 038081331959.Even when Benny Carter wasn't writing for Count Basie, many of his charts from the 1950's onward sound like they could have been written for Basie. Maybe this is because so many of Basie's arrangers (Sammy Nestico, Quincy Jones, Billy Byers and Neal Hefti) were influenced by Carter. The writing is straightforward, with simple harmonies, swinging rhythms and very clear counterpoint. Again And Again has much of the style of an alto feature that Quincy Jones might have written for Marshall Royal. Although Carter gives the pianist two little solo spots, the focus is on the lead alto. The backgrounds are spare and dry, so it is incumbent upon the soloist to supply the warmth and personality to tell this gentle story. Vibrato, scoops, bends, turns, and other devices can be used to bring this simple line to life.
$3.00
2.74 €
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Trombone (partie séparée)
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Benny Carter
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Again and Again: 3rd Trombone
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Tower of Power Greatest Hits: 3rd Trombone
Trombone (partie séparée)
Full Orchestra - Digital Download SKU: AX.00-PC-0016471_TN3 3rd Trombone. By…
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Full Orchestra - Digital Download SKU: AX.00-PC-0016471_TN3 3rd Trombone. By Tower Of Power. By David Garibaldi, Emilio Castillo, and Stephen Kupka. Arranged by Victor López. Instructional. Part. 4 pages. Alfred Music - Digital Sheet Music #00-PC-0016471_TN3. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0016471_TN3). UPC: 038081480930.Want to know what's hip? Well, this is it! Give your students and audiences a taste of some real funky music and don't be surprised if you see grandma getting down during the performance. Includes What Is Hip?, You're Still a Young Man, and Down to the Nightclub. (5:30) This title is available in SmartMusic.
$3.00
2.74 €
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Trombone (partie séparée)
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Tower Of Power
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Victor López
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Tower of Power Greatest Hits: 3rd Trombone
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Take Five: 3rd Trombone
Trombone (partie séparée)
Jazz Ensemble - Digital Download SKU: AX.00-PC-0002392_TN3 3rd Trombone. Com…
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Jazz Ensemble - Digital Download SKU: AX.00-PC-0002392_TN3 3rd Trombone. Composed by Paul Desmond. Arranged by Mike Lewis. Instructional. Part. 2 pages. Alfred Music - Digital Sheet Music #00-PC-0002392_TN3. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0002392_TN3). ISBN 9780757934483. UPC: 029156269925.Give Mike Lewis the most famous 5/4 tune ever written and tell him to arrange it for young jazz ensemble, and you have an instant hit. Mike has created a great opportunity for developing young jazz musicians to enjoy this Dave Brubeck standard. Great teaching material! (duration 3:15).
$3.00
2.74 €
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Trombone (partie séparée)
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Paul Desmond
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Mike Lewis
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Take Five: 3rd Trombone
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
James Bond Medley: 3rd Trombone
Trombone (partie séparée)
Full Orchestra - Digital Download SKU: AX.00-PC-0015659_TN3 3rd Trombone. Co…
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Full Orchestra - Digital Download SKU: AX.00-PC-0015659_TN3 3rd Trombone. Composed by Monty Norman. Arranged by Victor Lopez. Instructional. Part. 3 pages. Alfred Music - Digital Sheet Music #00-PC-0015659_TN3. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0015659_TN3). UPC: 038081280899.In his James Bond Medley arrangement, Victor LA3pez shows that the 007 agent is alive and well. The medley features five classic hits, the James Bond Theme, For Your Eyes Only, Goldfinger, Live and Let Die, and No Body Does It Better. Although this arrangement is written for intermediate full orchestra, it has been scored in such a way that it will also sound as effective with strings only. Careful considerations have been given to tonality and rhythmical issues as related to the strings. Bowings have also been included to facilitate playability. For more additional flexibility, solo parts have been cued throughout. With solid scoring, adequate ranges and classic selections, this James Bond Medley is a sure winner! (9:23).
$3.00
2.74 €
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Trombone (partie séparée)
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Monty Norman
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Victor Lopez
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James Bond Medley: 3rd Trombone
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Duke Ellington: 3rd Trombone
Trombone (partie séparée)
Full Orchestra - Digital Download SKU: AX.00-PC-0017084_TN3 3rd Trombone. Ar…
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Full Orchestra - Digital Download SKU: AX.00-PC-0017084_TN3 3rd Trombone. Arranged by Calvin Custer. Jazz. Part. 3 pages. Alfred Music - Digital Sheet Music #00-PC-0017084_TN3. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0017084_TN3). ISBN 9780757936326. UPC: 029156181012.Four Ellington hits - Don't Get Around Much Anymore, Do Nothin' 'Till You Hear from Me, Sophisticated Lady, and It Don't Mean a Thing (If It Ain't Got That Swing) - are given special treatment in this monster medley. Full instrumentation is required, and the arrangement is moderately advanced, but the result is great music!
$3.00
2.74 €
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Trombone (partie séparée)
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Calvin Custer
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Duke Ellington: 3rd Trombone
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Summertime (from the musical Porgy and Bess): 3rd Trombone
Trombone (partie séparée)
3rd Trombone - Digital Download SKU: AX.00-PC-0001359_TN3 3rd Trombone. Comp…
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3rd Trombone - Digital Download SKU: AX.00-PC-0001359_TN3 3rd Trombone. Composed by Dorothy Heyward, Du Bose Heyward, George Gershwin, and Ira Gershwin. Arranged by Mark Hayes. Classical. Part. 1 pages. Alfred Music - Digital Sheet Music #00-PC-0001359_TN3. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0001359_TN3). UPC: 038081313269.This classic American song from Porgy and Bess® deserves only the finest choral treatment, and Mark Hayes has certainly given it that, with a rich, lush setting. The piano accompaniment carries the voices on a dramatic journey appropriate to the nature of the piece. A song that every singer should know and will love.
$3.00
2.74 €
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Trombone (partie séparée)
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Dorothy Heyward, Du Bose Heyward, George Gershwin, and Ira Gershwin
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Mark Hayes
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Summertime
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Tower of Power Greatest Hits: 3rd Trombone
Orchestre d'harmonie
Concert Band - Digital Download SKU: AX.00-PC-0016571_TN3 3rd Trombone. By T…
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Concert Band - Digital Download SKU: AX.00-PC-0016571_TN3 3rd Trombone. By Tower Of Power. Arranged by Victor López. Instructional. Part. 4 pages. Alfred Music - Digital Sheet Music #00-PC-0016571_TN3. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0016571_TN3). UPC: 038081479965.Want to know what's hip? Well, this three-tune medley is it! Give your students and audiences a taste of some real funky music and don't be surprised if your audience gets up to dance. Including What Is Hip?, You're Still a Young Man, and Down to the Nightclub, this is nostalgia at its best! (5:30) This title is available in SmartMusic.
$3.00
2.74 €
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Orchestre d'harmonie
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Tower Of Power
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Victor López
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Tower of Power Greatest Hits: 3rd Trombone
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Handel in the Strand: 3rd Trombone
Orchestre d'harmonie
Concert Band - Digital Download SKU: AX.00-PC-0017051_TN3 3rd Trombone. Comp…
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Concert Band - Digital Download SKU: AX.00-PC-0017051_TN3 3rd Trombone. Composed by Percy Aldridge Grainger. Arranged by Thomas P. Rohrer. Instructional. Part. 1 pages. Alfred Music - Digital Sheet Music #00-PC-0017051_TN3. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0017051_TN3). UPC: 038081498232.This delightful Grainger classic was written to depict a jolly old George Friedrich Handel careening down the Strand (the theatre district of London) accompanied by the English popular music of the day. Given the original instrumentation and label as a chamber piece in Grainger's original publication, this transcription is taken directly from Grainger's four-some edition of 1912, transposed down a step from G to F major. It is scored to best depict the light (and sometimes percussive) quality of the piano along with the lyrical flow of the strings and the general character of chamber music. Ultimately, the room music quality of the original shines through in this skillful transcription while depicting the spirit of the piece in a way that Grainger might have chosen. (3:35)Concert/Contest.
$3.00
2.74 €
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Orchestre d'harmonie
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Percy Aldridge Grainger
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Thomas P
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Handel in the Strand: 3rd Trombone
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Mozart: Requiem in D minor K626 III.Sequenz No.2 Tuba Mirum - brass quintet
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
Horn,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.1111962 Composed by…
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Horn,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.1111962 Composed by Wolfgang Amadeus Mozart. Arranged by Ray Thompson. Christian,Classical,Religious,Sacred. 10 pages. RayThompsonMusic #714140. Published by RayThompsonMusic (A0.1111962). Arranged standard brass quintet Mozart's textual inspiration is apparent in the Tuba mirum (Hark, the trumpet) movement, which is introduced with a sequence of three notes in arpeggio, played in B♠major by a solo tenor trombone, unaccompanied, in accordance with the usual German translation of the Latin tuba, Posaune (trombone). Two measures later, the bass soloist enters, imitating the same theme. At m. 7, there is a fermata, the only point in all the work at which a solo cadence occurs. The final quarter notes of the bass soloist herald the arrival of the tenor, followed by the alto and soprano in dramatic fashion. On the text Cum vix justus sit securus (When only barely may the just one be secure), there is a switch to a homophonic segment sung by the quartet at the same time, articulating, without accompaniment, the cum and vix on the strong (1st and 3rd), then on the weak (2nd and 4th) beats, with the violins and continuo responding each time; this interruption (which one may interpret as the interruption preceding the Last Judgment) is heard sotto voce, forte and then piano to bring the movement finally into a crescendo into a perfect cadence. My arrangement gives the trombone part to the horn, and the vocal entries are given to the trombone, horn and two trumpets. . Section III of the requiem is titled “Sequenz†(sequentia or sequence). It is made up of the following pieces I have arrangements of all of them, for varying types of ensemble * Dies irae * Tuba mirum * Rex tremendae * Recordare * Confutatis * Lacrymosa. I have also arranged Mozarts Motet “Ave Verum Corpus†K618.
$4.95
4.53 €
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Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
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Wolfgang Amadeus Mozart
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Ray Thompson
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Mozart: Requiem in D minor K626 III.Sequenz No.2 Tuba Mirum - brass quintet
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RayThompsonMusic
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SheetMusicPlus
Got To Give It Up (22-Piece Digital Pack)
Fanfare
Marching band Aux Percussion - Level 2-3 - Digital Download SKU: HX.233440 By Marvi…
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Marching band Aux Percussion - Level 2-3 - Digital Download SKU: HX.233440 By Marvin Gaye. Arranged by Tim Waters. Pop,Soul. Individual instrument part. 1 pages. Hal Leonard - Digital #0. Published by Hal Leonard - Digital (HX.233440).
Digital Pack includes:Got To Give It Up - Full ScoreGot To Give It Up - Flute/PiccoloGot To Give It Up - Bb ClarinetGot To Give It Up - Eb Alto SaxGot To Give It Up - Bb Tenor SaxGot To Give It Up - Eb Baritone SaxGot To Give It Up - 1st Bb TrumpetGot To Give It Up - 2nd Bb TrumpetGot To Give It Up - 3rd Bb TrumpetGot To Give It Up - F HornGot To Give It Up - Bb Horn/FlugelhornGot To Give It Up - TromboneGot To Give It Up - Baritone B.C. (Opt. Tbn. 2)Got To Give It Up - Baritone T.C.Got To Give It Up - TubaGot To Give It Up - Electric BassGot To Give It Up - Bells/XylophoneGot To Give It Up - Snare DrumGot To Give It Up - CymbalsGot To Give It Up - Quad TomsGot To Give It Up - Multiple Bass DrumsGot To Give It Up - Aux Percussion
Digital Pack includes
:
Got To Give It Up - Full Score
Got To Give It Up - Flute/Piccolo
Got To Give It Up - Bb Clarinet
Got To Give It Up - Eb Alto Sax
Got To Give It Up - Bb Tenor Sax
Got To Give It Up - Eb Baritone Sax
Got To Give It Up - 1st Bb Trumpet
Got To Give It Up - 2nd Bb Trumpet
Got To Give It Up - 3rd Bb Trumpet
Got To Give It Up - F Horn
Got To Give It Up - Bb Horn/Flugelhorn
Got To Give It Up - Trombone
Got To Give It Up - Baritone B.C. (Opt. Tbn. 2)
Got To Give It Up - Baritone T.C.
Got To Give It Up - Tuba
Got To Give It Up - Electric Bass
Got To Give It Up - Bells/Xylophone
Got To Give It Up - Snare Drum
Got To Give It Up - Cymbals
Got To Give It Up - Quad Toms
Got To Give It Up - Multiple Bass Drums
Got To Give It Up - Aux Percussion
$50.00
45.71 €
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Fanfare
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Marvin Gaye
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Tim Waters
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Got To Give It Up
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Hal Leonard - Digital
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SheetMusicPlus
Prelude from "Suite Bergamasque" for Brass Quartet
Quatuor de Cuivres : 2 trompettes, trombone, tuba
Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.1086218
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Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.1086218 Composed by Claude Debussy. Arranged by Diego Marani. 20th Century,Classical,Instructional,Romantic Period,Standards. Score and parts. 19 pages. Diego Marani #690409. Published by Diego Marani (A0.1086218). Suite bergamasque (L. 75) is a piano suite by Claude Debussy. He began composing it around 1890, at the age of 28, but significantly revised it just before its 1905 publication. The popularity of the 3rd movement, Clair de lune, has made it one of the composer's most famous works for piano, as well as one of the most famous piano compositions of all-time. This arrangement for brass quartet (Bb Trumpet 1, Bb Trumpet 2, Trombone or F Horn, Tuba) of the 1st movement, Prelude, is in the key of F major and marked moderato tempo rubato. Its legato phrases give it a smooth, flowing feel. It is suitable for classroom, repertoire, recital and also wedding.
$9.99
9.13 €
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Quatuor de Cuivres : 2 trompettes, trombone, tuba
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Claude Debussy
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Diego Marani
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Prelude from "Suite Bergamasque" for Brass Quartet
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Diego Marani
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SheetMusicPlus
Prelude from "Suite Bergamasque" for Brass Quintet
Quatuor de Cuivres : 2 trompettes, trombone, tuba
Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.1087333
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Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.1087333 Composed by Claude Debussy. Arranged by Diego Marani. 20th Century,Classical,Instructional,Romantic Period,Standards. Score and parts. 21 pages. Diego Marani #691545. Published by Diego Marani (A0.1087333). Suite bergamasque (L. 75) is a piano suite by Claude Debussy. He began composing it around 1890, at the age of 28, but significantly revised it just before its 1905 publication. The popularity of the 3rd movement, Clair de lune, has made it one of the composer's most famous works for piano, as well as one of the most famous piano compositions of all-time. This arrangement for brass quintet (Bb Trumpet 1, Bb Trumpet 2, F Horn, Trombone, Tuba) of the 1st movement, Prelude, is in the key of F major and marked moderato tempo rubato. Its legato phrases give it a smooth, flowing feel. It is suitable for classroom, repertoire, recital and also wedding.
$12.99
11.88 €
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Quatuor de Cuivres : 2 trompettes, trombone, tuba
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Claude Debussy
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Diego Marani
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Prelude from "Suite Bergamasque" for Brass Quintet
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Diego Marani
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SheetMusicPlus
Three Concert Openers: (wp) 3rd B-flat Trombone B.C.
Orchestre d'harmonie
Concert Band - Digital Download SKU: AX.00-PC-0001484_WPTN3BC (wp) 3rd B-flat Tr…
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Concert Band - Digital Download SKU: AX.00-PC-0001484_WPTN3BC (wp) 3rd B-flat Trombone B.C.. Composed by Jack Bullock. Instructional. World Part. 2 pages. Alfred Music - Digital Sheet Music #00-PC-0001484_wpTN3BC. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0001484_WPTN3BC). UPC: 038081323107.Give your concert program an exciting beginning with dramatic effects by performing one of these audience-captivating openers. It's a touch of professional programming that has been used by outstanding musical groups such as the United States military bands. (2:23) This title is available in SmartMusic.
$3.00
2.74 €
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Orchestre d'harmonie
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Jack Bullock
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Three Concert Openers:
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Three Concert Openers: (wp) 3rd B-flat Trombone T.C.
Orchestre d'harmonie
Concert Band - Digital Download SKU: AX.00-PC-0001484_WPTN3TC (wp) 3rd B-flat Tr…
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Concert Band - Digital Download SKU: AX.00-PC-0001484_WPTN3TC (wp) 3rd B-flat Trombone T.C.. Composed by Jack Bullock. Instructional. World Part. 2 pages. Alfred Music - Digital Sheet Music #00-PC-0001484_wpTN3TC. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0001484_WPTN3TC). UPC: 038081323107.Give your concert program an exciting beginning with dramatic effects by performing one of these audience-captivating openers. It's a touch of professional programming that has been used by outstanding musical groups such as the United States military bands. (2:23) This title is available in SmartMusic.
$3.00
2.74 €
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Orchestre d'harmonie
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Jack Bullock
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Three Concert Openers:
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Block M: (wp) 3rd B-flat Trombone T.C.
Orchestre d'harmonie
Concert Band - Digital Download SKU: AX.00-PC-0001936_WPTN3TC (wp) 3rd B-flat Tr…
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Concert Band - Digital Download SKU: AX.00-PC-0001936_WPTN3TC (wp) 3rd B-flat Trombone T.C.. Composed by Jerry H. Bilik. Instructional. World Part. 1 pages. Alfred Music - Digital Sheet Music #00-PC-0001936_wpTN3TC. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0001936_WPTN3TC). ISBN 9780757933851. UPC: 029156011807.Here, for another generation of band directors, is a classic that has been part of the basic band library for years. With its interesting harmonic structuring, it gives a pleasingly different sound within the march format. Highly recommended! This title is available in SmartMusic.
$3.00
2.74 €
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Orchestre d'harmonie
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Jerry H
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Block M:
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Block M: (wp) 3rd B-flat Trombone B.C.
Orchestre d'harmonie
Concert Band - Digital Download SKU: AX.00-PC-0001936_WPTN3BC (wp) 3rd B-flat Tr…
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Concert Band - Digital Download SKU: AX.00-PC-0001936_WPTN3BC (wp) 3rd B-flat Trombone B.C.. Composed by Jerry H. Bilik. Instructional. World Part. 1 pages. Alfred Music - Digital Sheet Music #00-PC-0001936_wpTN3BC. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0001936_WPTN3BC). ISBN 9780757933851. UPC: 029156011807.Here, for another generation of band directors, is a classic that has been part of the basic band library for years. With its interesting harmonic structuring, it gives a pleasingly different sound within the march format. Highly recommended! This title is available in SmartMusic.
$3.00
2.74 €
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Orchestre d'harmonie
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Jerry H
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Block M:
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Petite Suite for Brass Quintet
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
Brass Ensemble - Level 3 - Digital Download SKU: A0.917402 Composed by Gregory Frit…
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Brass Ensemble - Level 3 - Digital Download SKU: A0.917402 Composed by Gregory Fritze. 20th Century,Concert,Contemporary,Standards. Score and parts. 96 pages. Musica Nova USA #4895219. Published by Musica Nova USA (A0.917402). Petite Suite for Brass Quintet is a light-hearted piece for brass quintet in four movements with a duration of fourteen minutes. The four movements follow the basic Classical symphonic form - Allegro, Adagio, Scherzo (Presto) and Finale (Presto). The first movement Strombor has a fanfare at the beginning with a melodic 2nd theme in the French Horn. The second movement is based on a slow cantabile theme. The 3rd movement Attack of the Killer Bees includes a bit of theatre. Throughout the movement there is a buzzing of bees, which are killed at the end when all the players stomp on them. The 4th movement Finale has a feeling of cartoon music, ending with a big finish. Throughout the Suite each of the five instrumentalists is featured. The grade of this piece is level 5 (intermediate) for all instruments.Petite Suite for Brass Quintet was composed in 2000 on a commission by the Strombor Brass Quintet of Valencia, Spain. It was recorded by that group on Allegro Records V-3076-2002. It was also recorded by the Hoodlebug Brass Quintet on Albany Records Troy 1175. It can be heard on youtube at: http://youtu.be/RZFf3W_yZLo. Several ensembles around the world have played it, receiving over 100 performances in recent years. Petite Suite for Brass Quintet was submitted to the American Prize Composition Competition in the chamber music division in 2016. It was the highest awarded brass quintet composition that year, awarded Finalist. Gregory Fritze is a prize-winning composer and Fulbright Scholar, as well as an active performer and conductor. He recently retired from Berklee College of Music where he was Professor and Chair of Composition, serving on the faculty from 1979 to 2016. He has written over ninety compositions for orchestra, band, chamber ensembles and soloists. He has won over fifty composition awards both nationally and internationally, including First Prize in the 1st WASBE (World Association of Symphonic Bands and Ensembles) International Composition Contest 2017, First Prize Winner of Reneé Fisher Composition Prize, First Prize Winner in Concurso Bienal de Composición de Musica para Banda, Ciudad de Santa Cruz de Tenerife (Spain), Menzione d’Onore (highest award given) of the Mario Bernardo Angelo-Comneno International Music Competition by the Accademia Angelica Costantiniana Arti E Scienze (Italy), First Prize in 1991 TUBA International Etude Composition Competition, the IBLA Grand Prize (Italy), several awards from The American Prize, Composition Awards from Standard Awards Panel of American Society of Composers, Authors, and Publishers and many others. His compositions include works published by several publishers in the United States, South America and Europe and have been performed extensively throughout the world. He has been a frequent traveler to Spain since 1993 and has promoted compositions by Spanish composers around the world. He is the only composer who has been commissioned six times by Spanish bands for Certamen competitions, with each band winning first prize. He has thirty-three compositions commercially recorded on Albany Records, MSR Classics, Crystal Records, Mark Records and others. He has been a guest lecturer, conductor and performer at many colleges, universities and music festivals in the United States, Canada, Japan, South America and Europe. He was born in Allentown, Pennsylvania in 1954 and has Composition degrees from the Boston Conservatory and Indiana University. He now resides in Daytona Beach Shores, Florida.
$40.00
36.57 €
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Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
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Gregory Fritze
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Petite Suite for Brass Quintet
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Musica Nova USA
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SheetMusicPlus
Mozart: Requiem in D minor K626 III.Sequenz No.2 Tuba Mirum - symphonic wind
Bassoon,Clarinet,Double Bass,Flute,Horn,Oboe - Level 3 - Digital Download SKU: A0.11111…
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Bassoon,Clarinet,Double Bass,Flute,Horn,Oboe - Level 3 - Digital Download SKU: A0.1111159 Composed by Wolfgang Amadeus Mozart. Arranged by Ray Thompson. Classical,Religious,Sacred. 16 pages. RayThompsonMusic #713434. Published by RayThompsonMusic (A0.1111159). Arranged standard wind decet/dectet/bass Mozart's textual inspiration is apparent in the Tuba mirum (Hark, the trumpet) movement, which is introduced with a sequence of three notes in arpeggio, played in B♠major by a solo tenor trombone, unaccompanied, in accordance with the usual German translation of the Latin tuba, Posaune (trombone). Two measures later, the bass soloist enters, imitating the same theme. At m. 7, there is a fermata, the only point in all the work at which a solo cadence occurs. The final quarter notes of the bass soloist herald the arrival of the tenor, followed by the alto and soprano in dramatic fashion. On the text Cum vix justus sit securus (When only barely may the just one be secure), there is a switch to a homophonic segment sung by the quartet at the same time, articulating, without accompaniment, the cum and vix on the strong (1st and 3rd), then on the weak (2nd and 4th) beats, with the violins and continuo responding each time; this interruption (which one may interpret as the interruption preceding the Last Judgment) is heard sotto voce, forte and then piano to bring the movement finally into a crescendo into a perfect cadence. My arrangement gives the trombone part to the first horn, and the vocal entries are given to the 4 wind instruments (All Player 1) I have added some additional sustaining notes on the horns, under the syncorpated section. Section III of the requiem is titled “Sequenz†(sequentia or sequence). It is made up of the following pieces I have arrangements of all of them, for varying types of ensemble * Dies irae * Tuba mirum * Rex tremendae * Recordare * Confutatis * Lacrymosa I have also arranged Mozarts Motet “Ave Verum Corpus†K618.
$9.95
9.1 €
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Wolfgang Amadeus Mozart
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Ray Thompson
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Mozart: Requiem in D minor K626 III.Sequenz No.2 Tuba Mirum - symphonic wind
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RayThompsonMusic
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SheetMusicPlus
Pitch Only - Bass Clef (Sight Reading Exercise Book)
Large Ensemble Baritone Recorder,Baritone Saxophone,Bass Guitar,Bassoon,Cello,Double Bass,…
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Large Ensemble Baritone Recorder,Baritone Saxophone,Bass Guitar,Bassoon,Cello,Double Bass,Euphonium,Handbell,Harpsichord,Horn,Marimba,Orff Instrument,Organ,Piano,Timpani,Trombone,Tuba,Voice - Level 2 - Digital Download SKU: A0.931838 Composed by Nathan Petitpas - Dots and Beams. Instructional. Score and parts. 129 pages. Dots and Beams #5313621. Published by Dots and Beams (A0.931838). This book provides its user with a series of notes on a bass 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 and below the staff extend to the space just beyond the fourth ledger line. 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 and still find a valuable way to use them.
$10.00
9.14 €
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Nathan Petitpas - Dots and Beams
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Pitch Only - Bass Clef
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Dots and Beams
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SheetMusicPlus
Concerto
Piano et Orchestre
Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by …
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Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minutes. Schott Music - Digital #Q53630. Published by Schott Music - Digital
I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. . The markings of the movements are the following: . 1. Vivace molto ritmico e preciso . 2. Lento e deserto . 3. Vivace cantabile . 4. Allegro risoluto . 5. Presto luminoso. The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. . The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. . In the Piano Concerto I realized new concepts of harmony and rhythm. . The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. . In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. . The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. . In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. . Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). . The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). . Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. . These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. . The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). . The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. . Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. . Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. . This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. . The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. . I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. . (Gyorgy Ligeti)I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. .
The markings of the movements are the following: .
1. Vivace molto ritmico e preciso .
2. Lento e deserto .
3. Vivace cantabile .
4. Allegro risoluto .
5. Presto luminoso.
The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. .
The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. .
In the Piano Concerto I realized new concepts of harmony and rhythm. .
The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. .
In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. .
The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. .
In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. .
Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). .
The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). .
Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. .
These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. .
The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). .
The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. .
Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. .
Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. .
This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. .
The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. .
I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. .
(Gyorgy Ligeti)
$23.99
21.93 €
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Piano et Orchestre
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Gyorgy Ligeti (1923-2006)
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Concerto
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Schott Music - Digital
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SheetMusicPlus
The Marines' Hymn: Apotheosis
Mixed Percussion B-Flat Tuba,B-Flat trombone,Baritone Horn TC/Euphonium,Bass Trombone,E-Fl…
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Mixed Percussion B-Flat Tuba,B-Flat trombone,Baritone Horn TC/Euphonium,Bass Trombone,E-Flat Cornet,E-Flat Tenor Horn,E-Flat Tuba TC,Flugelhorn,Percussion 1,Percussion 2,Tenor Trombone - Level 2 - Digital Download SKU: A0.1241960 Composed by Sammy Nestico. Arranged by Adrian Horn. 20th Century. Brass Band. 35 pages. AJH Brass #837317. Published by AJH Brass (A0.1241960). The Marines’ Hymn is the official hymn of the United States Marine Corps and the oldest official song in the US Armed Forces, authorised for use by the Commandant of the Marine Corps in 1929. The lyrics for the hymn were written by an anonymous author prior to this and includes lines referencing famous battles such as “To the shores of Tripoli†referring to the First Barbary War and “The Halls of Montezuma†referencing the Battle of Chapultepec. The music, however, originates from the “Gendarmes’ Duet†from Offenbach's 1859 opera Genevieve de Brabant. Sammy Nestico, whilst best known as a composer, arranger, and conductor for the Count Basie Orchestra and as a prolific composer of television themes including shows such as M*A*S*H*, and Charlie’s Angels, was also the director of the U.S. Marine Band under both John F. Kennedy and Lyndon B. Johnson. In 1968, Nestico took the original version of the hymn and revamped it in his own inimitable style giving us Apotheosis - Marines' Hymn. I give it my heart… a Marine's heart – Sammy Nestico. Instrumentation - British Brass Band,  Full Score,  Soprano Cornet, Solo Cornets, Repiano Cornet, 2nd Cornets, 3rd Cornets,  Flugel Horn, Solo Tenor Horn, 1st Tenor Horn, 2nd Tenor Horn,  1st Baritone, 2nd Baritone,  1st Trombone, 2nd Trombone, Bass Trombone,  Euphoniums,  Eb Basses, BBb Basses,  Timpani, Tubular Bells.
$24.99
22.85 €
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Sammy Nestico
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Adrian Horn
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The Marines' Hymn: Apotheosis
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AJH Brass
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SheetMusicPlus
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