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TRI ET FILTRES
TRI ET FILTRES
Tri et filtres :
--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
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CLARINETTE
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FANFARE - BAND…
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FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
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PIANO & CLAVIERS
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1
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Vous avez sélectionné:
Inspiration Fanfare: Part 1 - Flute
Partitions à imprimer
15 partitions trouvées
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Inspiration Fanfare: Part 1 - B-flat Clarinet
Orchestre d'harmonie
Concert Band - Digital Download SKU: AX.00-PC-0019104_PART1_CL Instructional. 2 pag…
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Concert Band - Digital Download SKU: AX.00-PC-0019104_PART1_CL Instructional. 2 pages. Alfred Music - Digital Sheet Music #00-PC-0019104_PART1_CL. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0019104_PART1_CL). UPC: 038081583754.
$3.00
2.72 €
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Orchestre d'harmonie
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Inspiration Fanfare: Part 1 - B-flat Clarinet
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Inspiration Fanfare: Part 1 - Oboe
Orchestre d'harmonie
Concert Band - Digital Download SKU: AX.00-PC-0019104_PART1_OB Instructional. 2 pag…
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Concert Band - Digital Download SKU: AX.00-PC-0019104_PART1_OB Instructional. 2 pages. Alfred Music - Digital Sheet Music #00-PC-0019104_PART1_OB. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0019104_PART1_OB). UPC: 038081583754.
$3.00
2.72 €
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Orchestre d'harmonie
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Inspiration Fanfare: Part 1 - Oboe
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Olympic Fanfare (Bugler's Dream) (6-Piece Digital Pack)
Orchestra Piano - Level 1 - Digital Download SKU: HX.287889 Composed by Leo Arnaud.…
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Orchestra Piano - Level 1 - Digital Download SKU: HX.287889 Composed by Leo Arnaud. Arranged by Paul Lavender. Inspirational,Olympics. Individual instrument part. 2 pages. Hal Leonard - Digital #0. Published by Hal Leonard - Digital (HX.287889).
Digital Pack includes:Olympic Fanfare (Bugler's Dream) - Conductor Score (Full Score)Olympic Fanfare (Bugler's Dream) - ViolinOlympic Fanfare (Bugler's Dream) - ViolaOlympic Fanfare (Bugler's Dream) - CelloOlympic Fanfare (Bugler's Dream) - BassOlympic Fanfare (Bugler's Dream) - Piano
$30.00
27.2 €
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Leo Arnaud
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Paul Lavender
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Olympic Fanfare
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Hal Leonard - Digital
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SheetMusicPlus
Olympic Fanfare (Bugler's Dream) - Violin
Orchestra Violin - Level 1 - Digital Download SKU: HX.287885 Composed by Leo Arnaud…
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Orchestra Violin - Level 1 - Digital Download SKU: HX.287885 Composed by Leo Arnaud. Arranged by Paul Lavender. Inspirational,Olympics. Individual instrument part. 1 pages. Hal Leonard - Digital #0. Published by Hal Leonard - Digital (HX.287885).
$7.00
6.35 €
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Leo Arnaud
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Paul Lavender
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Olympic Fanfare
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Hal Leonard - Digital
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SheetMusicPlus
Olympic Fanfare (Bugler's Dream) - Cello
Violoncelle (partie séparée)
Inspirational; Olympics. Individual instrument part. 1 pages. Published by Hal Leonard - D…
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Inspirational; Olympics. Individual instrument part. 1 pages. Published by Hal Leonard - Digital Sheet Music (HX.287887). - individual instrument part - Inspirational; Olympics - Hal Leonard - Digital Sheet Music
$7.00
6.35 €
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Violoncelle (partie séparée)
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Olympics
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Olympic Fanfare
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Hal Leonard - Digital Sheet Music
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SheetMusicPlus
The Flying Hat (piano 4 hands version)
1 Piano, 4 mains
Instrumental Duet Instrumental Duet,Piano - Level 4 - Digital Download SKU: A0.886720
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Instrumental Duet Instrumental Duet,Piano - Level 4 - Digital Download SKU: A0.886720 Composed by Panagiotis Theodossiou. 20th Century,Children,Concert,Contemporary,Standards. Score and parts. 83 pages. Panagiotis Theodossiou #4790233. Published by Panagiotis Theodossiou (A0.886720). The Flying Hat Scenes of a Fairy Tail, for orchestra op.34 (2006)a. A Little Fanfareb. The Hatlandc. Dad, the Giant Hatd. Dance of the Little Hatse. The Windf. The Flightg. FarewellA fairy tale full of inspiration written by a child was the stimulus for the creation of this polytonal work for orchestra. With humor and innocence, piquant orchestration and cinematic use of the sound, the work is dedicated to the child, Michalis Tillianakis and to Eleftherios Geitonas, director of Geitonas School who gave the idea for this project. The work has been transcribed for piano, 4 hands op.34b, for the Duo Pianismo recital in Benetatou Cultural Center of Psihiko in 2010 and for wind quintet op.34c for the Q innegal Wind Quintet Concerts in Athens in 2011 (Attikon OdeionConservatory, Art Gallery Café, Athens, Perigiali Theater, Korinthos). Excerpts of the work has been transcribed for Chamber Orchestra op.34d and performed by Psychiko Youth Orchestra conducted by the composer at Arssakeion Educational Institute Theater in 2016.
$15.00
13.6 €
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1 Piano, 4 mains
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Panagiotis Theodossiou
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The Flying Hat
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Panagiotis Theodossiou
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SheetMusicPlus
Olympic Fanfare (Bugler's Dream) - Viola
Alto seul
Composed by Leo Arnaud. Arranged by Paul Lavender. Inspirational; Olympics. Individual ins…
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Composed by Leo Arnaud. Arranged by Paul Lavender. Inspirational; Olympics. Individual instrument part. 1 pages. Published by Hal Leonard - Digital Sheet Music (HX.287886). - individual instrument part - Inspirational; Olympics - Hal Leonard - Digital Sheet Music
$7.00
6.35 €
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Alto seul
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Leo Arnaud
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Paul Lavender
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Olympics
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Olympic Fanfare
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Hal Leonard - Digital Sheet Music
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SheetMusicPlus
Olympic Fanfare (Bugler's Dream) - Bass
Composed by Leo Arnaud. Arranged by Paul Lavender. Inspirational; Olympics. Individual ins…
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Composed by Leo Arnaud. Arranged by Paul Lavender. Inspirational; Olympics. Individual instrument part. 1 pages. Published by Hal Leonard - Digital Sheet Music (HX.287888). - individual instrument part - Inspirational; Olympics - Hal Leonard - Digital Sheet Music
$7.00
6.35 €
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Leo Arnaud
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Paul Lavender
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Olympics
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Olympic Fanfare
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Hal Leonard - Digital Sheet Music
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SheetMusicPlus
Duet in D-Flat Major (Alternate Version)
Instrumental Duet - Level 5 - Digital Download SKU: A0.1365910 Composed by Ian Dete…
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Instrumental Duet - Level 5 - Digital Download SKU: A0.1365910 Composed by Ian Deterling. Classical. 172 pages. Ian Deterling #950261. Published by Ian Deterling (A0.1365910). Note: The original version of Duet in D-Flat Major made use of relatively uncommon time signatures (6/16; 9/16; 12/16). This 'Alternate Version' has rewritten the piece into more familiar time signatures (6/8; 9/8; 12/8). Duet in D-Flat Major was written in what could perhaps be best described as a burst of inspiration. After a couple of days of casually juggling some motifs around in my mind, clicked and I woke up with a musical idea that I scrambled to write down as quickly as possible. I spent the majority of that day developing these ideas, and this became what is now the third movement. Some of the ‘leftover ideas’ that didn’t make it into the finale were used as seeds for the second movement - in particular, the motifs at measure 9 and from 70-80. The opening movement ended up being the last one written and begins with a noble and/or heroic fanfare in 6/16. The second movement cautiously meanders through unexpected harmonies, much like someone nervously exploring unfamiliar places. The finale is another fanfare, but has some mischievous fun after turning a few harmonic corners in minor. My goal with this duet was to create a musical universe that has the grandeur of an orchestra with just two voices.  I’ve adapted this duet for a variety of instruments. The score reads as a small flex-band ensemble, but this piece is intended to be performed by just two musicians.Instruments:Part 1 - Clarinet in Bb - Alto Clarinet - Bass Clarinet - Alto Saxophone - Tenor Saxophone in Bb - Baritone Saxophone - Trumpet in Bb - Horn in F - Alto TrombonePart 2 - Bass Clarinet - Bassoon - Baritone Saxophone - Trombone - Bass Trombone - Euphonium (BC and TC) - Tuba.
$20.00
18.13 €
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Ian Deterling
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9/16
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Duet in D-Flat Major
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Ian Deterling
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SheetMusicPlus
Duet in D-Flat Major (flexible instrumentation)
Instrumental Duet - Level 5 - Digital Download SKU: A0.742998 Composed by Ian Deter…
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Instrumental Duet - Level 5 - Digital Download SKU: A0.742998 Composed by Ian Deterling. Contemporary. 226 pages. Ian Deterling #6255511. Published by Ian Deterling (A0.742998). Duet in D-Flat Major was written in what could perhaps be best described as a burst of inspiration. After a couple of days of casually juggling some motifs around in my mind, clicked and I woke up with a musical idea that I scrambled to write down as quickly as possible. I spent the majority of that day developing these ideas, and this became what is now the third movement. Some of the ‘leftover ideas’ that didn’t make it into the finale were used as seeds for the second movement - in particular, the motifs at measure 9 and from 70-80. The opening movement ended up being the last one written and begins with a noble and/or heroic fanfare in 6/16. The second movement cautiously meanders through unexpected harmonies, much like someone nervously exploring unfamiliar places. The finale is another fanfare, but has some mischievous fun after turning a few harmonic corners in minor. My goal with this duet was to create a musical universe that has the grandeur of an orchestra with just two voices.  I’ve adapted this duet for a variety of instruments. The score reads as a small flex-band ensemble, but this piece is intended to be performed by just two musicians. Instruments:Part 1 - Clarinet in Bb - Alto Clarinet - Bass Clarinet - Alto Saxophone - Tenor Saxophone in Bb - Baritone Saxophone - Trumpet in Bb - Horn in F - Alto TrombonePart 2 - Bassoon - Baritone Saxophone - Trombone - Bass Trombone - Euphonium (BC and TC) - Tuba
$20.00
18.13 €
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Ian Deterling
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Duet in D-Flat Major
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Ian Deterling
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SheetMusicPlus
Almost May for Piano Solo
Piano seul
Piano Solo - Level 2 - Digital Download SKU: A0.1376326 By Heidi Savoie. By Heidi S…
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Piano Solo - Level 2 - Digital Download SKU: A0.1376326 By Heidi Savoie. By Heidi Savoie. Arranged by Heidi Savoie. Classical,Contemporary,Instructional,Jazz,Singer/Songwriter. Score. 1 pages. Heidi Savoie #960870. Published by Heidi Savoie (A0.1376326). This is a solo piano arrangement of Almost May, best suited for an early intermediate player. Almost May - Theme and VariationsBackstory: Years ago I wrote a simple piano piece for my students. As instrumental music can fully exist outside the confines of words, it can be difficult to find the right title for something that is pure sound and possibility. I took inspiration from the time of year in which I had composed it and stamped it, “Almost Mayâ€. Like springtime in the Northern Hemisphere, “Almost May†unfolds slowly and majestically, with ever-evolving layers for the senses to discover. What to listen for: ThemeThe main theme is first presented by the piano with minimal fanfare. This part was written to be easy enough for a child, which despite being sparing of notes, delivers rich harmonic content. Every note has been carefully curated for the optimal combination of accessibility and depth. Weaving chromatically into distantly-related keys, the melody takes small steps into contrasting musical spaces. In a wordless procession, the storyline plays out, as if the theme discovers that someone very different lives next door, and they slowly become inseparable. The piano is accompanied by an airy touch of brushes against a snare drum, like the pitter patter of soft feline steps. In the low frequency range, the upright bass supports and deepens the tonal palette with its earthy underpinnings. What to listen for: Variation I The unmistakable string section arrives like a breath of warm air. Lush, warm and reassuring like sunshine on your cheeks, the string parts begin with long tones. This broadness and stability will evolve into more layers of complexity throughout the section. While the role of the string section is background accompaniment, it undergoes textural changes which allow for some layers to briefly rise to the forefront as melody. Careful listening to the string parts will reveal an oceanic churning, a motion from background to foreground with expansions and contractions along the way. Floating overtop this density is the improvised piano solo, with ascending gestures that progress in detail and density. Each instrument enters a general unfolding and growth period in the first variation. The bass and drums include more fills than before, as the ensemble tends gradually toward more grandeur. What to listen for: Variation II The final variation opens with a decadent treatment of the melody. What was initially expressed by a soloist as a childlike plea is reimagined as a two-part conversation between the piano and lead viola. The obbligato voiced in the viola is a derivation of the melody that holds the space between phrases so the listener's attention is passed seamlessly between the piano and viola part. This dialogue features commentary on the original melody in the form of ornamentation and taking surprising pathways to expected destinations. The rhythm section (bass and drums) takes more liberties in creating a verdant soundscape as the ensemble rises to a final climax.
$3.99
3.62 €
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Piano seul
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Heidi Savoie
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Heidi Savoie
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Almost May for Piano Solo
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Heidi Savoie
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SheetMusicPlus
Almost May Lead Sheet
Instruments en Do
C Instrument - Level 2 - Digital Download SKU: A0.1376331 By Heidi Savoie. By Heidi…
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C Instrument - Level 2 - Digital Download SKU: A0.1376331 By Heidi Savoie. By Heidi Savoie. Arranged by Heidi Savoie. Classical,Contemporary,Instructional,Jazz,Singer/Songwriter. Lead Sheet / Fake Book. 1 pages. Heidi Savoie #960874. Published by Heidi Savoie (A0.1376331). This is a lead sheet for any instrument for the song Almost May. Almost May - Theme and VariationsBackstory: Years ago I wrote a simple piano piece for my students. As instrumental music can fully exist outside the confines of words, it can be difficult to find the right title for something that is pure sound and possibility. I took inspiration from the time of year in which I had composed it and stamped it, “Almost Mayâ€. Like springtime in the Northern Hemisphere, “Almost May†unfolds slowly and majestically, with ever-evolving layers for the senses to discover. What to listen for: ThemeThe main theme is first presented by the piano with minimal fanfare. This part was written to be easy enough for a child, which despite being sparing of notes, delivers rich harmonic content. Every note has been carefully curated for the optimal combination of accessibility and depth. Weaving chromatically into distantly-related keys, the melody takes small steps into contrasting musical spaces. In a wordless procession, the storyline plays out, as if the theme discovers that someone very different lives next door, and they slowly become inseparable. The piano is accompanied by an airy touch of brushes against a snare drum, like the pitter patter of soft feline steps. In the low frequency range, the upright bass supports and deepens the tonal palette with its earthy underpinnings. What to listen for: Variation I The unmistakable string section arrives like a breath of warm air. Lush, warm and reassuring like sunshine on your cheeks, the string parts begin with long tones. This broadness and stability will evolve into more layers of complexity throughout the section. While the role of the string section is background accompaniment, it undergoes textural changes which allow for some layers to briefly rise to the forefront as melody. Careful listening to the string parts will reveal an oceanic churning, a motion from background to foreground with expansions and contractions along the way. Floating overtop this density is the improvised piano solo, with ascending gestures that progress in detail and density. Each instrument enters a general unfolding and growth period in the first variation. The bass and drums include more fills than before, as the ensemble tends gradually toward more grandeur. What to listen for: Variation II The final variation opens with a decadent treatment of the melody. What was initially expressed by a soloist as a childlike plea is reimagined as a two-part conversation between the piano and lead viola. The obbligato voiced in the viola is a derivation of the melody that holds the space between phrases so the listener's attention is passed seamlessly between the piano and viola part. This dialogue features commentary on the original melody in the form of ornamentation and taking surprising pathways to expected destinations. The rhythm section (bass and drums) takes more liberties in creating a verdant soundscape as the ensemble rises to a final climax. Credits: I would like to thank Cole Canaday for the nuance, imagination and depth of understanding with which he brought this piece to life. I would also like to thank Blake Hamilton and Anastace for providing invaluable audio engineering feedback.
$2.99
2.71 €
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Instruments en Do
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Heidi Savoie
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Heidi Savoie
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Almost May Lead Sheet
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Heidi Savoie
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SheetMusicPlus
Symphonic Suite
Orchestre d'harmonie
Concert Band - Level 5 - Digital Download SKU: A0.814728 Composed by Richard E Brow…
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Concert Band - Level 5 - Digital Download SKU: A0.814728 Composed by Richard E Brown. Contemporary,Standards. Score and parts. 305 pages. Dacker Music #2968175. Published by Dacker Music (A0.814728). Symphonic Suite is a six-movement composition with a motto theme (actually a short motif) that appears in each movement and provides the basis for much of the thematic content that is developed later one.While the 2nd movement conjures up some Bartókian night music (hence the title Nocturne), its primary inspiration was the Symphony for Band of Vincent Persichetti, and the title Symphonic Suite pays homage to that work, in addition to referencing a great deal of symphonic development of the short motto motif that begins the composition. The keystone center movement is named Elegy in honor of Persichetti, who passed away in 1986, as is the dedication of the entire composition. Although this piece is cast in a different form, and does not try to imitate Persichetti's style, a couple very obvious nods to his symphony can be noticed in this suite.The six movements are: 1. Fanfare 2. Nocturne 3. Humoresque 4. Elegy 5. Intermezzo 6. FinaleThe price includes license to make as many copies of each part as necessary.Grade 5 - Duration 14:00A complete recording, and recordings of each movement individually, as well as all the rest of my grade 4-5 band music, can be found at: http://dackermusic.com/concert-band-grade-4-5.html
$80.00
72.54 €
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Orchestre d'harmonie
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Richard E Brown
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2
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Symphonic Suite
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Dacker Music
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SheetMusicPlus
String Quartet No. 3
Quatuor à cordes: 2 violons, alto, violoncelle
String quartet - difficult - Digital Download SKU: S9.Q771471 ‘hana no hanatab…
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String quartet - difficult - Digital Download SKU: S9.Q771471 ‘hana no hanataba’. Composed by Julian Anderson. Downloadable. Duration 23 minutes. Schott Music - Digital #Q771471. Published by Schott Music - Digital (S9.Q771471). My 3rd String Quartet is in six contrasted movements. Certain musical figures recur across the work, but there are few themes as such. The main emphasis is on contrast of mood, texture, harmony, pacing and timing. Unlike many of my works this quartet had no extra-musical inspiration, and in principle should have no subtitle. Certain features already present in my music became more prominent in this new work: modes (limited collections of pitches) have always helped me to focus musical character, but here a sense of key note for each mode became much more pronounced, as did the difference between modes for each section of the work. A sort of hybrid key-system emerged (even with equivalents of major and minor) which is not normal tonality, nor does it aim to imitate it. Unlike tonality this key-system includes noises, extended performance techniques and intervals outside Western tuning as available resources. What I hope it does is to focus the listening experience onto different musical areas, to encourage a sense of both modulation from one area to another and to give the music a sense of goal. No conscious knowledge of this is needed when listening: the music should communicate directly on its own.Here, then, is this collection of six musical colours, related and unrelated, different yet belonging together, variable yet in a set order. Hence the subtitle, chosen both for both its sound and its sense: ‘hana no hanataba’ meaning, in Japanese, ‘bouquet of flowers’.A brief description:1)Moderately fast. Short droplets of sounds gather increasing momentum. 2)Very fast. Canons and bells at different speeds.3)Very slow – fast – very slow – very fast – very slow. The main slow movement and its main scherzo. An emphasis on non-tempered tunings and on inhaling and exhaling waves of sound. The slow sections feature florid melodic writing. In the exuberant scherzo competing duos and trios create imaginary folk music.4)Extremely fast/extremely slow. Open strings and harmonics fuse into a single string instrument – like a sort of large resonating Medieval tromba marina.5)Very fast. A variation on movement 2). Variation, Schoenberg told Cage, is just a sort of repetition ‘with some things changed and others not.’6)Slow - Very Fast - Fast – Slow. The opening calm harmonies and florid melodies evoke movement 3) in different music. The fast part features one overt theme: a fanfare-like call to attention which is subject to extensive development. There is much use of non-Western tuning. At its climax the music freezes into a frieze – a wall of sound standing in front of the audience with increasing obstinacy and certainty as the work grinds towards its cadence.
$24.99
22.66 €
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Quatuor à cordes: 2 violons, alto, violoncelle
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Julian Anderson
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String Quartet No. 3
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Schott Music - Digital
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SheetMusicPlus
Fifteen Safari Duets for Tubas
2 Tubas (duo)
Composed by Gregory Fritze. Classical Period, Contemporary Classical, Jazz, Method, …
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Composed by Gregory Fritze. Classical Period, Contemporary Classical, Jazz, Method, Etudes and Exercises. Score. 38 pages. Published by Musica Nova USA
Fifteen Safari Duets for Tubas was composed for playing duets with my tuba students. The fifteen duets are at different levels of difficulty and various styles so that we always had duets to play no matter what ability of student. There is something in each duet for students to learn from the basics of tone production, rhythms, melodic phrasing, jazz, graphic notation, etc. Most are sight readable and some have been performed in concerts. They are all fun to play. Although for tubas, they may be played on any instrument.<br> <br> In 1988 I spent a month in Kenya on safari and experiencing the African wildlife and culture, thus the inspiration for these duets that were composed soon after the trip in 1989 and 1990 and have been a regular part of my teaching ever since. Four of these duets are recorded on the compact disc “Tuba Safari” (Troy 1173) on Albany Records.<br> <br> 1. Elephants at Stave<br> <br> This duet presents the cantabile style studied for playing the tuba. I find that this duet helps the student much like the melodies of Borgodni etudes. There are more elephants in Tsavo than anywhere else in Kenya. It was not uncommon to see large families of thirty elephants at a time.<br> <br> 2. Gallop – Thompson Gazelle at Amboseli<br> <br> This duet provides an opportunity to read in a sharp key, D major, as well as basic rhythms and articulations. I find that the more advanced students can read in a faster tempo and other students can work in a slower tempo – a common choice in all of the duets. Large herds of playful Thompson Gazelle were a usual occurrence in most of the game parks in Kenya. <br> <br> 3. Rhinos at Nairobi Game Park<br> <br> This waltz helps the student match phrasing in a cantabile setting. There are a few instances where the teacher (playing the first part) plays a phrase then the student plays a similar phrase. The rhinoceros is a very noble animal that can grow to more that 1,000 pounds and is known for its horn. The Nairobi game park is located just outside the city, giving a sense of surrealism to the panorama.<br> <br> 4. Giraffes at Nairobi Twiga Park<br> <br> This is in a “rock” style with syncopated rhythms and cantabile melodies. The Nairobi Twiga park is just outside the city and is the only place where one can feed the giraffes. Along with their long necks they have very long tongues.<br> <br> 5. Warthogs at Ngulia<br> <br> Legato scales and syncopated rhythms are the features of this duet. Warthogs have tails that are held upright when they run.<br> <br> 6. Baboons at Kiliguni<br> <br> This duets alternates in rock style and swing. Baboons are sometimes a problem because they will try to steal food from the tourists’ tables. They will work together where one causes a diversion while the others steal. <br> <br> 7. Pastoral – Cape Buffalo at Samburu<br> <br> The key of A for this duet gives variation for the students. Cape Buffalo are in large herds on the savanna. The Samburu Lodge dining area was built next to a watering hole. At the beginning of breakfast there were no animals, but in fifteen minutes more than 500 cape buffalo were at the water hole.<br> <br> 8. Song - Hippos at Mzima Springs<br> <br> This is the easiest of rhythms and range of the duets, especially for the 2nd(student) part. Hippopotamuses can grow up to 4,000 pounds and spend most of their time sleeping in the water during the day. At night they go on land to hunt.<br> <br> 9. Leopards at Kimana Lodge<br> <br> This duet is non-metric and uses graphic notation. This was a favorite duet of my students as many have never experienced this notation before. The leopard is a large predatory cat that usually hunts at night. <br> <br> 10. Colobus Monkeys at the Ark<br> <br> This is an Invention in the Bach style. The Ark is a building that was built in 1969 at a watering hole for tourists to watch wildlife. The colobus monkey is black with white on its forearms and chest. <br> <br> 11. Zebra Migration at Masai Mara<br> <br> This duet is in a “Medium Swing” jazz style. The great migration between the Masai Mara and Serengeti involves about two million wildebeest, zebras and other animals every year. It is considered one of the most impressive natural events worldwide.<br> <br> 12. Ostrich at Samburu<br> <br> This duet works on double time and half time. The ostrich is the largest bird in the world. In Samburu there was an ostrich that hung around the lodge, her name was Margaret. She was very friendly with everybody but she would steal your hat.<br> <br> 13. Cheetah at Voi<br> <br> This is another duet that includes graphic notation. The cheetah can run up to 80 miles an hour when chasing after prey. When not hunting prey it often walks very slowly.<br> <br> 14. Gallop – Gerenuk at Buffalo Springs<br> <br> This gallop displays different types of articulation. The gerenuk is an antelope with a slightly extended neck so it can eat higher leaves from trees.<br> <br> 15. Lions at Mara Sopa<br> <br> This duet is in the style of a fanfare. The lion is considered the king of the savanna. <br> <br> Gregory Fritze is a prize-winning composer and Fulbright Scholar, as well as an active performer. He recently retired from Berklee College of Music where he was Tuba Professor and Chair of Composition, serving on the faculty from 1979 to 2016. He has written over one hundred compositions for orchestra, band, chamber ensembles and soloists. He has won over sixty composition awards both nationally and internationally including First Prize in the 1991 TUBA Etude Contest. His compositions include works published by several publishers in the United States, South America and Europe that have been performed extensively throughout the world. Many of his compositions are available on ITunes, Youtube and Soundcloud. <br> <br> His compositions are 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.
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2 Tubas (duo)
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Fifteen Safari Duets for Tubas
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Musica Nova USA
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