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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIOLON
VIOLONCELLE
XYLOPHONE
The Beginning Clarinet Soloist
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Quintette de Clarinettes: 5 clarinettes
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Tri et filtres :
--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIOLON
VIOLONCELLE
XYLOPHONE
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The Beginning Clarinet Soloist
Partitions à imprimer
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1
Beloved, Test the Spirits (sacred piece for clarinet and piano)
Clarinette et Piano
Clarinet,Piano - Level 5 - Digital Download SKU: A0.907129 Composed by Emily Wood. …
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Clarinet,Piano - Level 5 - Digital Download SKU: A0.907129 Composed by Emily Wood. Christian,Concert,Contemporary,Sacred,Standards. Score and part. 16 pages. Emily Sue Wood #4323489. Published by Emily Sue Wood (A0.907129). This is a programmatic piece for clarinet and piano based on 1 John 4:1-6, in which the apostle John warns the early church to discern the true spirit of God from false spirits of the antichrist. In the beginning, the soloist introduces the God melody, a pure and simple line. The next section, depicting the false spirits, takes this melody and turns it into what starts as cutesy and endearing, but ends up into an awkward and chaotic mess. God asserts Himself in the next section, bringing the chaos to a halt. Then, the false spirits try to steal the spotlight again, but they fail, of course. The Lord always triumphs, and His sheep know their Shepherd when they hear His voice. About 6 minutes long, written in fall 2018. .
$4.99
4.59 €
#
Clarinette et Piano
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Emily Wood
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Beloved, Test the Spirits
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Emily Sue Wood
#
SheetMusicPlus
12 Variations on ’Twinkle Twinkle Little Star’ "Ah, vous dirai-je maman" - clarinet quintet
Quintette de Clarinettes: 5 clarinettes
Clarinet Quintet,Woodwind Ensemble Clarinet - Level 5 - Digital Download SKU: A0.564104…
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Clarinet Quintet,Woodwind Ensemble Clarinet - Level 5 - Digital Download SKU: A0.564104 Composed by Wolfgang Amadeus Mozart. Arranged by Austin Ralphson. Classical,Wedding. 44 pages. Austin Ralphson #6226797. Published by Austin Ralphson (A0.564104). Mozart composed 12 variations for piano (based on the french melody) when he was 25. I have arranged them carefully here to ensure that they work successfully for this group. Note: The players in the ensemble can choose to perform as few or as many of the variations as they wish. Some are more demanding to play than others, and some feature soloists. The THEME should always be played at the beginning, however.This arrangement is for 1 E flat, 3 B flat and 1 bass clarinet.
$13.99
12.88 €
#
Quintette de Clarinettes: 5 clarinettes
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Wolfgang Amadeus Mozart
#
Austin Ralphson
#
12 Variations on ’Twinkle Twinkle Little Star’ "Ah, vous dirai-je maman" - clarinet quintet
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Austin Ralphson
#
SheetMusicPlus
Adagio from Serenade No.10 for Winds K361 for Clarinet Choir
Ensemble de Clarinettes
Clarinet Choir - Intermediate - Digital Download Composed by Wolfgang Amadeus Mozart (17…
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Clarinet Choir - Intermediate - Digital Download Composed by Wolfgang Amadeus Mozart (1756-1791). Arranged by Lisa Ochoco. Classical Period, Recital. Score, Set of Parts. 26 pages. Published by Lisa Ochoco
Mozart wrote this Serenade for wind ensemble. Adagio is the 3rd movement, which features the oboe, clarinet, and basset horn as alternating soloists throughout the movement. The beginning of this movement was played in the movie, Amadeus, which is where I heard it for the first time. After years of having this on my "to arrange" list, I can finally tick it off. This arrangement for clarinet choir has the melody parts in Clarinets 1, 2 and 3. These can be played as solos, or not. The contrabass part is optional. This would be a great piece for any occasion.Mozart wrote this Serenade for wind ensemble. Adagio is the 3rd movement, which features the oboe, clarinet, and basset horn as alternating soloists throughout the movement.
The beginning of this movement was played in the movie, Amadeus, which is where I heard it for the first time. After years of having this on my "to arrange" list, I can finally tick it off.
This arrangement for clarinet choir has the melody parts in Clarinets 1, 2 and 3. These can be played as solos, or not. The contrabass part is optional.
This would be a great piece for any occasion.
$17.00
15.65 €
#
Ensemble de Clarinettes
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Wolfgang Amadeus Mozart
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Adagio from Serenade No.10 for Winds K361 for Clarinet Choir
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SheetMusicPlus
O Come All Ye Faithful (for clarinet in Bb and piano accompaniment)
Clarinette et Piano
B-Flat Clarinet,Piano - Level 1 - Digital Download SKU: A0.1336172 Composed by Anon…
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B-Flat Clarinet,Piano - Level 1 - Digital Download SKU: A0.1336172 Composed by Anonymous. Arranged by Rodrigo Faleiros. Children,Christmas,Holiday,Traditional. Score and part. 3 pages. Rodrigo Faleiros #922002. Published by Rodrigo Faleiros (A0.1336172). Celebrate the joy of the season with our heartwarming clarinet and piano arrangement of the timeless Christmas carol, O Come All Ye Faithful. This enchanting rendition is expertly crafted for beginners, making it perfect for students making their way into the magical world of music.Key Features: Beginner-Friendly clarinet Part: Dive into the beauty of O Come All Ye Faithful with a clarinet arrangement designed specifically for those beginning their musical journey. Piano Accompaniment: The piano part provides a delightful backdrop for the soloist to play along with ease and joy. Instant Digital Download: Access your clarinet and piano sheet music effortlessly with our convenient PDF download. Ideal for holiday performances, family gatherings, or personal enjoyment, this arrangement captures the spirit of Christmas with its accessible clarinet melodies and harmonically rich piano accompaniment.And don't forget to check out my other christmas and holiday music arrangements by clicking here!
$2.99
2.75 €
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Clarinette et Piano
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Anonymous
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Rodrigo Faleiros
#
O Come All Ye Faithful
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Rodrigo Faleiros
#
SheetMusicPlus
March of the Martian Caterpillars
Orchestre d'harmonie
Concert Band - Level 2 - Digital Download SKU: A0.872438 Composed by James K. Taylo…
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Concert Band - Level 2 - Digital Download SKU: A0.872438 Composed by James K. Taylor. Folk,Instructional,Standards,World. Score and parts. 48 pages. James K. Taylor #238411. Published by James K. Taylor (A0.872438). This is a unique young band march. You may perform it at quarter = 120 OR in cut time -half=96. It works either way. The score instrumentation is for beginning band--flute, clarinet, alto sax, tenor sax, trumpet, horn, trombone, baritone, tuba, xylophone, snare/bass drum and cymbals. For bands playing it in cut time, there are parts (but not on score) in the PDF file for oboe (flute double) and bassoon-bass clarinet--bari sax (all trombone double). You will have to listen to the MP3 recording to believe your ears. NOTICE: THE SAMPLE STARTS WITH THE 4/4 VERSION AND WHEN IT IS OVER, THE 2/2 VERSION WILL BE PLAYED. Very few parts exceed one octave in the key of Bb. The flute/oboe part has one C above the high Bb. The rhythms are fairly easy, but in cut time, they sound challenging. There is lots of dynamic contrast, and your students will learn about lip slurs and march style. The clarinet and bass clarinet parts do not go across the break. The biggest challenge will be endurance for your brass players, but since there are no first and second parts, the lead players might can get a little rest time in the big tutti sections. The horn is kept in the middle range with tenor sax doubling.There are a few solos towards the beginning, but the soloists are getting to play the fun melody of this little two in one young band composition. I hope you enjoy this two marches for the price of one.
$30.00
27.61 €
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Orchestre d'harmonie
#
James K
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March of the Martian Caterpillars
#
James K. Taylor
#
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
22.08 €
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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
Festive Tribute: (wp) E-flat Alto Clarinet
Orchestre d'harmonie
Concert Band - Digital Download SKU: AX.00-PC-0014941_WPAC1 (wp) E-flat Alto Cla…
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Concert Band - Digital Download SKU: AX.00-PC-0014941_WPAC1 (wp) E-flat Alto Clarinet. Composed by Carl Strommen. Instructional. World Part. 1 pages. Alfred Music - Digital Sheet Music #00-PC-0014941_wpAC1. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0014941_WPAC1). UPC: 038081414508.Featuring a variety of textures and styles, this original overture by Carl Strommen has several, carefully-cued opportunities for your horn soloist. Following a grandiose introduction, the dance-like theme is energetically presented. A broad chorale section is the beginning of development toward the emotional musical conclusion. Energetic and endearing! This title is available in SmartMusic.Concert/Contest; Festival.
$3.00
2.76 €
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Orchestre d'harmonie
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Carl Strommen
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Festival.
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Festive Tribute:
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
The Beginning Clarinet Soloist
Solo & Small Ensemble Solo & Small Ensemble - Digital Download SKU: AX.00-PS-0016133
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Solo & Small Ensemble Solo & Small Ensemble - Digital Download SKU: AX.00-PS-0016133 Traditional. 43 pages. Alfred Music - Digital Sheet Music #00-PS-0016133. Published by Alfred Music - Digital Sheet Music (AX.00-PS-0016133).
$6.99
6.43 €
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The Beginning Clarinet Soloist
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Introduction, Theme and Variations
Instrumental Duet,Piano Baritone Horn TC,Euphonium,Instrumental Duet,Piano - Level 5 - Dig…
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Instrumental Duet,Piano Baritone Horn TC,Euphonium,Instrumental Duet,Piano - Level 5 - Digital Download SKU: A0.842571 Composed by Gioachino Rossini. Arranged by Sean Brennan. Classical,Concert,Graduation,Romantic Period. Score and parts. 19 pages. Bl_music #6643225. Published by bl_music (A0.842571). Theme and Variations by G. Rossini, arr. Brennan for Solo Euphonium/Baritone with Piano accompaniment This edition is the theme and variations from Rossini's Introduction, Theme and Variations originally for clarinet and orchestra. This version has been performed and recorded by a number of internationally renowned Euphonium soloists. We first published the complete Introduction, Theme and Variations for Euphonium in 1991 and performed it on a 1830s ophicleide and a 1840s square piano in 1993. This edition comes with a shortened introduction,theme and variations. Duration around 8 ½ min. Solo part in treble and bass clef.Message from Sean Brennan:This arrangement, or more correctly transcription, was first published by us in 1991, although its origins go back much further than that. I do remember being transfixed in the 1970s by Richard Stoltzman’s recording of the original form of the work for clarinet and orchestra. I was convinced it would work for Euphonium and that one day there would be players with the technique, and above all musicality, to bring it off. For me, this vision came true in 1994 when we first performed the piece in Birmingham in 2004, and then again 10 years later when David Thornton and the Black Dyke Band recorded the Theme and Variations. Rossini composed the Introduction, Theme and Variations for clarinet and orchestra in 1810 at the request of a fellow student at the Conservatorio di Bologna. Although the autograph score has been lost, and some musicologists have questioned the authenticity of the work, I find no reason for doubt since Rossini recycled some of the material in later works, and apart from that his evervascent musical personality is abundant from beginning to end.
$18.99
17.48 €
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Gioachino Rossini
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Sean Brennan
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Introduction, Theme and Variations
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bl_music
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SheetMusicPlus
O Come All Ye Faithful (for bass clarinet and piano accompaniment)
Accompagnement Piano
B-Flat Bass Clarinet,Piano - Level 1 - Digital Download SKU: A0.1336262 Composed by…
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B-Flat Bass Clarinet,Piano - Level 1 - Digital Download SKU: A0.1336262 Composed by Anonymous. Arranged by Rodrigo Faleiros. Children,Christmas,Holiday,Traditional. Score and part. 3 pages. Rodrigo Faleiros #922005. Published by Rodrigo Faleiros (A0.1336262). Celebrate the joy of the season with our heartwarming bass clarinet and piano arrangement of the timeless Christmas carol, O Come All Ye Faithful. This enchanting rendition is expertly crafted for beginners, making it perfect for students making their way into the magical world of music.Key Features: Beginner-Friendly bass clarinet Part: Dive into the beauty of O Come All Ye Faithful with a bass clarinet arrangement designed specifically for those beginning their musical journey. Piano Accompaniment: The piano part provides a delightful backdrop for the soloist to play along with ease and joy. Instant Digital Download: Access your bass clarinet and piano sheet music effortlessly with our convenient PDF download. Ideal for holiday performances, family gatherings, or personal enjoyment, this arrangement captures the spirit of Christmas with its accessible bass clarinet melodies and harmonically rich piano accompaniment.And don't forget to check out my other christmas and holiday music arrangements by clicking here!
$2.99
2.75 €
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Accompagnement Piano
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Anonymous
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Rodrigo Faleiros
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O Come All Ye Faithful
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Rodrigo Faleiros
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SheetMusicPlus
Jack's Journey - A new Musical by David Catherwood, inspired by the boyhood adventures of CS Lewis (
Choral Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.739502 Composed by Da…
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Choral Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.739502 Composed by David Catherwood. Broadway,Children,Musical/Show. Score. 60 pages. Opus 3 Music #6052583. Published by Opus 3 Music (A0.739502). 'Jack's Journey'(A new Musical by Adeline Dinsmore and David Catherwood)Piano and vocal score (contains 7 songs plus overture and incidental music) plus Script - $9.50Duration c.40 minutesIdeal for schools, youth groups or adult dramatic/musical companies.Requirements - Narrator, Chorus, (unison/2part) Soloists, Actors, Piano accompanimentOptional - Dancers, orchestral parts for Flute, Clarinet. Trumpet, Horn, Strings, Percussion and Bass/guitar About the Musical A great story about one of the 20th century’s greatest storytellers. Carefully researched, yet full of fun, this entertaining musical tells the story of the early part of CS Lewis' life from the time of his mother's death in 1908 until his arrival as a student at Oxford in 1916. (Throughout his life CS Lewis was always known as Jack) This new work was premiered at the end of 2019 at the annual CS Lewis Festival held in Ireland. (CS Lewis’ birthplace) It proved to be a great success and was very enthusiastically received. Synopsis Jack’s Journey is a whimsical re-imagining of the childhood journeys of CS Lewis - each of the seven songs representing a stop along the way to his eventual career as the writer of the Narnia Chronicles. The story is told through music relating his memories and significant episodes from his schooldays up to his entry into Oxford. Living almost entirely in his imagination as a small boy, the seeds of the world of Narnia are already beginning to grow in his writing and drawings. Little Lea, his childhood home, provides the setting for the early scenes. Following the death of his mother the young Jack has his first experience of school and England. He endures with fortitude the harsh regime of boarding school and begins to recognise the value of friendship, mutual support and the courage that children can show in adversity. He returns to Ireland and to Campbell College – a much more positive experience. Illness brings his attendance at Campbell to an end. Returning to Little Lea, Jack imagines the world of fairies and dwarves, a world beyond our own. He returns to school in England and comes under the influence of a variety of teachers. Expelled from Malvern, Jack next falls under the influence of his great mentor, Professor Kirkpatrick – the model for the Professor of The Lion, the Witch and the Wardrobe. Jack’s Journey concludes with the anticipated arrival of a great hero, the hero of the first of the Narnian Chronicles, Aslan, the lion. ‘Jack’s Journey’ gives opportunity for young actors, (supported if desired by adults, taking the parts of the grown-ups.) There are short dramatic scenes, plenty of chorus work, opportunity for choreography and many solo spots for vocalists in the songs which are milestones in the story. List of Songs (the sample pages and mp3 file gives a chance to see and hear the first page of most of the songs) 1 Soft through the window 2 Kingdom of Mourne 3 Little Lea 4 Campbell Days - Boy to the left, Boy to the right 5 The Dandy's song 6 The Scholar's song 7 Strength and honour As will be evident from the above, there is plenty of flexibility regarding the scale of the performance. ‘Jack’s Journey’ may be staged using relatively modest outlay – for example, the premiere did not have a set because the venue for the performance was an actual railway station! The piece certainly allows for imaginative approaches to design and staging. In terms of the additional challenges presented by 2020 the length of the musical at 40 minutes helps in delivering a shorter theatrical experience. Also, the fully digital download of all performing materials allows for distribution via email Indeed the whole show could be effectively recorded and presented online as well as in person.
$9.50
8.74 €
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David Catherwood
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Jack's Journey - A new Musical by David Catherwood, inspired by the boyhood adventures of CS Lewis
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Opus 3 Music
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SheetMusicPlus
Selections from 'Album for the Young' Op. 68
Clarinette et Piano
B-Flat Clarinet,Piano - Level 1 - Digital Download SKU: A0.1426815 By R. Schumann. …
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B-Flat Clarinet,Piano - Level 1 - Digital Download SKU: A0.1426815 By R. Schumann. By R. Schumann. Arranged by Ian Fitze. 19th Century,Contest,Festival,Instructional,Romantic Period. Score and part. 8 pages. Ian Fitze #1007521. Published by Ian Fitze (A0.1426815). Visit my website at IAN FITZE MUSICAL ARRANGEMENTS for a complete catalogue of my works including FREE DOWNLOADS.A selection of 4 of the best-known pieces from Schumann's 'Album for the Young'.Very easy-to-play settings for the beginning soloist. Perfect for lessons or in a concert/recital.
$2.99
2.75 €
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Clarinette et Piano
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R
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Ian Fitze
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Selections from 'Album for the Young' Op. 68
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Ian Fitze
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SheetMusicPlus
An Adagio Suite, in Three Movements for Small Orchestra, Solo Voices, SATB Chorus(or Various Combina
Chorale SATB
Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.730393 Composed by James N…
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Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.730393 Composed by James Nathaniel Holland. Contemporary,Sacred,Wedding. Octavo. 92 pages. James Nathaniel Holland #3075871. Published by James Nathaniel Holland (A0.730393). New and original music by 21st century, American Costa Rican composer James Nathaniel Holland. This extremely versatile publication of a score and set of parts is a great addition to any orchestral or choral music library: either school, church, or community orchestra. Excellent for young musicians or intermediate-level volunteers, for the beginning conductor, but full of meaning for the professional orchestra as well.YouTube video presentation:https://youtu.be/WonTmPLYP1gThese three beautiful Adagios are adapted from JN Holland's ballet, The Wind in the Willows Perform together for concert or as stand alone pieces. They are perfect for weddings, funerals, graduations, or any solemn occasions. Texts are non-religious, but express universal sentiments of one's helping others, healing, and impermanence. Complete, intended orchestration for: fl, ob, cl Bb, bsn, hrn, hrp, SATB choir, strings Use as optional accompaniment for solos, or SATB choir. (Vocal parts included.) Adagio No. 1 My Salvation (or if If I've done one bit of good, that is my salvation) text by JN HollandAdagio No. 2 The Healing Power (aka Forget) Text by Kenneth GrahameAdagio No. 3 All Are PassersbyMix, omit and match combinations of available instruments of your group. Such as:Strings, woodwind quintet, harp (or piano), soloists and/or chorus. (omissions and combinations thereof, except the essential string section) String orchestra onlyTripled Strings players with woodwind quintetStrings, woodwind quintetIncluded are substitution parts in key of C for the parts of Clarinet in Bb and Horn in F (if those instruments are not available).Add one trumpet, or trombone, etc. etc.(Complete duration: 20 minutes)Composer website: http://lacoronadelossantos.net/jamesnathanielholland.html
$20.95
19.28 €
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Chorale SATB
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James Nathaniel Holland
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An Adagio Suite, in Three Movements for Small Orchestra, Solo Voices, SATB Chorus(or Various Combina
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James Nathaniel Holland
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SheetMusicPlus
Anonymous: The Beginning Clarinet Soloist - chamber ensemble
Clarinette
Instantly printable sheet music by Anonymous for chamber ensemble of EASY/MEDIUM skill lev…
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Instantly printable sheet music by Anonymous for chamber ensemble of EASY/MEDIUM skill level. / traditional
$8.97
8.26 €
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Clarinette
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Anonymous
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Virtualsheetmusic
The Beginning Bass Clarinet Soloist
Solo & Small Ensemble Solo & Small Ensemble - Digital Download SKU: AX.00-PS-0016130
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Solo & Small Ensemble Solo & Small Ensemble - Digital Download SKU: AX.00-PS-0016130 Traditional. 43 pages. Alfred Music - Digital Sheet Music #00-PS-0016130. Published by Alfred Music - Digital Sheet Music (AX.00-PS-0016130).
$6.99
6.43 €
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The Beginning Bass Clarinet Soloist
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
'Adagio' from 'Gran Partita'
Woodwind Ensemble Alto Saxophone,Bass Clarinet,Bassoon,Flute,Oboe - Level 3 - Digital Down…
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Woodwind Ensemble Alto Saxophone,Bass Clarinet,Bassoon,Flute,Oboe - Level 3 - Digital Download SKU: A0.1339643 Composed by Wolfgang Amadeus Mozart. Arranged by Conrad Ho. 19th Century,Chamber,Classical. 42 pages. Conrad Ho #925343. Published by Conrad Ho (A0.1339643). On the page it looked nothing. The beginning simple, almost comic. Just a pulse, bassoons and basset horns, like a rusty squeezebox. Then suddenly; high above it, an oboe, a single note, hanging there unwavering, till a clarinet took over and sweetened it into a phrase of such delight! This was no composition by a performing monkey! This was a music I’d never heard. Filled with such longing, such unfulfillable longing. It seemed to me that I was hearing the very voice of God.--- 'Amadeus' (1984)This is one of the most gorgeous woodwind ensemble composition written during in the Classical period, by W.A. Mozart. It is now a common knowledge that Mozart was not fond of flute as an instrument, therefore we see the instrumention in the original version was without flute. In this arrangement, the melodies and accompaniment are separated with all the main melodies played by soloists which corresponds to the original principal parts. Horn is also arranged into Alto Saxophones which is more common in a woodwind ensemble.
$19.99
18.4 €
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Wolfgang Amadeus Mozart
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Conrad Ho
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'Adagio' from 'Gran Partita'
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Conrad Ho
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SheetMusicPlus
Campfire Ballad
Clarinette et Piano
Clarinet,Piano - Level 1 - Digital Download SKU: A0.765013 Composed by Lori Archer …
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Clarinet,Piano - Level 1 - Digital Download SKU: A0.765013 Composed by Lori Archer Sutherland. Contemporary,Standards. Score and part. 4 pages. Lori Archer Sutherland #4833129. Published by Lori Archer Sutherland (A0.765013). It’s dusk, the air is crisp, and you can see fireflies off in the distance. There’s a crackling fire, and someone starts singing a tune. Campfire Ballad gives beginning instrumentalists a chance to work on performing as a soloist. The piano provides a steady accompaniment to help the soloist feel the pulse of the piece. Suitable for solo and ensemble contest.
$4.99
4.59 €
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Clarinette et Piano
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Lori Archer Sutherland
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Campfire Ballad
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Lori Archer Sutherland
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SheetMusicPlus
Las Estrellas En Tus Ojos Orchestra/Concert Band
Orchestre d'harmonie
Full Orchestra - Level 4 - Digital Download SKU: A0.1350614 By Michael Drake. By Mi…
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Full Orchestra - Level 4 - Digital Download SKU: A0.1350614 By Michael Drake. By Michael Drake. Arranged by Kevin Carberry. Broadway,Classical,Film/TV,Jazz,Latin,Musical/Show. 230 pages. Michael Gene Drake #935435. Published by Michael Gene Drake (A0.1350614). Las Estrellas En Tus Ojos - from the CD SAZZUNK, is a 3 movement composition beginning with a Fugue. The 5 bar phrase Orchestra version begins with Bassoon and Viola playing a haunting melody that is joined by Tuba and Double Bass for 5 bars then Alto Sax and Viola join followed by Bass Clarinet and Trombone and eventually builds to include 26 Wind, String and Brass instruments as they make their individual entrances symbolizing many evening stars. As each new star appears every 5th bar until the eyes of the skies drench the night with light.  Wrapping up the Fugue is a 4 Octave trumpet solo line that explodes onto the scene and pulls you uncontrollably into the Bolero. This wonderfully melodic dance is rich in authentic character and attitude augmented by the entire orchestra with lines and elements that support the simple, yearning, lifting lines for the soloist. El Festiva is the reward for being a great listener! This tropical up-tempo 3rd movement lives up to its title. Rhythms and lines that push and pull your creative ear to a fun, party place… a Festival!
$35.00
32.21 €
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Orchestre d'harmonie
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Michael Drake
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Kevin Carberry
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Las Estrellas En Tus Ojos Orchestra/Concert Band
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Michael Gene Drake
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SheetMusicPlus
Flash Mob "Ode to Joy" by Beethoven
Orchestre de chambre
Chamber Orchestra - Level 3 - Digital Download SKU: A0.1407770 Composed by Ludwig v…
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Chamber Orchestra - Level 3 - Digital Download SKU: A0.1407770 Composed by Ludwig van Beethoven. Arranged by Douglas Meyer. 19th Century,Chamber,Romantic Period,Traditional. 48 pages. Douglas Meyer #989830. Published by Douglas Meyer (A0.1407770). A beautiful and engaging surprise based on the internationally famous melody from Beethoven's 9th Symphony, for small chorus, [optional baritone soloist], oboe (or flute), clarinet, bassoon and string quartet + string bass [or string orchestra].Imagine the surprise from your audience when a small group of instrumentalists enters the room or comes onstage and begins to play the famous music from the finale of Beethoven's 9th Symphony. The beginning is enticing and the finale is triumphant in this 3:30 minute work, a testament to the beauty of life and the brotherhood of mankind.
$35.99
33.12 €
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Orchestre de chambre
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Ludwig van Beethoven
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Douglas Meyer
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Flash Mob "Ode to Joy" by Beethoven
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Douglas Meyer
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SheetMusicPlus
Anonymous: The Beginning Bass Clarinet Soloist - chamber ensemble
Clarinette
Instantly printable sheet music by Anonymous for chamber ensemble of EASY/MEDIUM skill lev…
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Instantly printable sheet music by Anonymous for chamber ensemble of EASY/MEDIUM skill level. / traditional
$8.97
8.26 €
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Clarinette
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Anonymous
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Virtualsheetmusic
Ecstasy Of Gold
Saxophone Tenor et Piano
B-Flat Bass Clarinet,Drum Set,E-Flat Alto Saxophone,Electric Bass Guitar,Electric Guitar,F…
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B-Flat Bass Clarinet,Drum Set,E-Flat Alto Saxophone,Electric Bass Guitar,Electric Guitar,Flute,Oboe,Piano,Tenor Saxophone - Level 2 - Digital Download SKU: A0.1214062 Composed by Ennio Morricone. Arranged by Samuel Sequeira. Classical,Film/TV,Rock,Singer/Songwriter. 24 pages. Samuel Sequeira #811258. Published by Samuel Sequeira (A0.1214062). The Ecstasy of Gold - Ennio Morricone - EnsemblePlay it at home, with friends, on class, for your teacher or studentPlay it on a public presentation.This arrangement of Ecstasy of Gold by Ennio Morricone captures the iconic sound of the original piece, while providing flexible options for different types of ensembles. With sheet music available for various instruments, including piano, winds, and rhythm section, this arrangement allows musicians of all levels to experience the power and drama of this classic composition.Beginning with a beautiful oboe solo, the music gradually builds in intensity, incorporating rich harmonies and soaring melodies that are sure to captivate any audience. Whether you're playing as a soloist or as part of a larger ensemble, this arrangement is designed to showcase the beauty and drama of Ecstasy of Gold, making it a perfect addition to any concert.With its timeless beauty and cinematic flair, Ecstasy of Gold is a true masterpiece, and this arrangement provides a fresh and engaging interpretation that will delight both performers and audiences alike.You can find me on:Instagram: @SamuelseqYouTube: @SamuelSeqMore arrangements on: Sam'S arrangementsThanks for listening, and happy playing!
$12.99
11.95 €
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Saxophone Tenor et Piano
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Ennio Morricone
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Samuel Sequeira
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Ecstasy Of Gold
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Samuel Sequeira
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SheetMusicPlus
Do You Hear What I Hear
Large Ensemble Voice - Level 4 - Digital Download SKU: A0.932824 By Carrie Underwoo…
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Large Ensemble Voice - Level 4 - Digital Download SKU: A0.932824 By Carrie Underwood. By Gloria Shayne and Noel Regney. Arranged by Keith Michael Davis. Contemporary. Score and parts. 53 pages. Komodo Music #6511329. Published by Komodo Music (A0.932824). A colorful new arrangement of a holiday favorite! Showcase your vocal soloist (range F4 to A-flat5 for treble voice) with the backdrop of a full symphony orchestra, beginning quietly and building to a stirring finale. Suitable for high school, community or professional musicians, this piece is sure to be a crowd-pleaser and a high point in any holiday program! Duration: ca. 4 minutes. Scored for Piccolo, 2 Flutes, 2 Oboes (2nd Oboe dbl. English horn, 2 B-flat Clarinets, Bass Clarinet, 2 Bassoons, 4 Horns in F, 3 Trumpets in B-flat, 2 Tenor Trombones, Bass Trombone, Tuba, Timpani, Orchestra Bells, Percussion, Harp and Strings.
$80.00
73.62 €
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Carrie Underwood
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Keith Michael Davis
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Do You Hear What I Hear
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Komodo Music
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SheetMusicPlus
Con-Tse-To
Saxophone Alto et Piano
Composed by Gregory Fritze. 21st Century, Contemporary Classical, Post-Modern, Jazz, …
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Composed by Gregory Fritze. 21st Century, Contemporary Classical, Post-Modern, Jazz, Bebop. Piano Reduction, Solo Part. 44 pages. Published by Musica Nova USA
Con-Tse-To – a Concerto for Alto Saxophone and Concert Band was composed in 2013 at the request of Kenneth Tse. It is in three movements – 1. Pasodoble Melanie, 2. Lamento and 3. Danza Jubiloso. First performance was July 14, 2013 for the Hong Kong International Saxophone Symposium at the Hong Kong Academy for Performing Arts. Hong Kong Chamber Wind Philharmonic; Victor Tam, Conductor; Kenneth Tse, Saxophone Soloist.<br> <br> The first movement – Pasodoble Melanie, is in the traditional form of the march in Spain knownas the Pasodoble. It has a beginning theme in traditional march style using Spanish flavor harmoniesand melodies. As the Spanish pasodoble is in the same form as American marches, the second theme isthe “Trio” section. In the Spanish pasodoble, it is customary to have the first presentation of this secondtheme played extremely softly in the clarinets. It is also common during the repeat of the Trio to have a soloist such as a piccolo displaying an obligato of great virtuosic melodies in counterpoint to the clarinets. I felt this would be a very appropriate place for an alto saxophone obligato. In this pasodoble the thirdpresentation of the Trio is shortened to allow for the first cadenza. Since I met Kenneth Tse for the first time in Buñol (Valencia), Spain, I thought it would be very appropriate to use this traditional form for the firstmovement for his concerto. It is a Spanish custom for a composer to give a pasodoble composition as a gift such as to a musician or politician and the title of the piece often references the name of recipient’s wife. Kenneth Tse’s wife’s name is Melanie so this movement is dedicated to her.<br> <br> The second movement – Lamento was adapted from a melody of mine “El año del Trumpetista” originally composed in 2010. I thought the beautiful sound of Dr. Tse’s saxophone playing would be very complimentary for this melody.<br> <br> The third movement – Danza Jubiloso is in allegro tempo with the first theme based on leaps of afourth and an octave in duple meter. The second theme is mostly in 7/8 meter. There is also a bit of a jazz element of harmonies and the added instruments of a drum set and jazz double bass in pizzicato.<br> <br> Con-Tse-To was awarded Finalist category in the Band Composition Competition of the American Prize in 2017. One of only two Concertos with Band awarded that year. The full band instrumentation is available on Musica Nova USA.<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 Professor and Chair of Composition, serving on the faculty from 1979 to 2016. He has written over ninety compositions for orchestra, band, chamberensembles and soloists. He has won over fifty composition awards both nationally and internationally. His compositions include works published by several publishers in the United States, South America and Europe that have been performed extensively throughout the world.<br> <br> 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 Spanishbands for Certamen competitions, with each band winning first prize.<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.<br> <br> The piano transcription was done by Derek Remeš.Con-Tse-To – a Concerto for Alto Saxophone and Concert Band was composed in 2013 at the request of Kenneth Tse. It is in three movements – 1. Pasodoble Melanie, 2. Lamento and 3. Danza Jubiloso. First performance was July 14, 2013 for the Hong Kong International Saxophone Symposium at the Hong Kong Academy for Performing Arts. Hong Kong Chamber Wind Philharmonic; Victor Tam, Conductor; Kenneth Tse, Saxophone Soloist.<br> <br> The first movement – Pasodoble Melanie, is in the traditional form of the march in Spain knownas the Pasodoble. It has a beginning theme in traditional march style using Spanish flavor harmoniesand melodies. As the Spanish pasodoble is in the same form as American marches, the second theme isthe “Trio” section. In the Spanish pasodoble, it is customary to have the first presentation of this secondtheme played extremely softly in the clarinets. It is also common during the repeat of the Trio to have a soloist such as a piccolo displaying an obligato of great virtuosic melodies in counterpoint to the clarinets. I felt this would be a very appropriate place for an alto saxophone obligato. In this pasodoble the thirdpresentation of the Trio is shortened to allow for the first cadenza. Since I met Kenneth Tse for the first time in Buñol (Valencia), Spain, I thought it would be very appropriate to use this traditional form for the firstmovement for his concerto. It is a Spanish custom for a composer to give a pasodoble composition as a gift such as to a musician or politician and the title of the piece often references the name of recipient’s wife. Kenneth Tse’s wife’s name is Melanie so this movement is dedicated to her.<br> <br> The second movement – Lamento was adapted from a melody of mine “El año del Trumpetista” originally composed in 2010. I thought the beautiful sound of Dr. Tse’s saxophone playing would be very complimentary for this melody.<br> <br> The third movement – Danza Jubiloso is in allegro tempo with the first theme based on leaps of afourth and an octave in duple meter. The second theme is mostly in 7/8 meter. There is also a bit of a jazz element of harmonies and the added instruments of a drum set and jazz double bass in pizzicato.<br> <br> Con-Tse-To was awarded Finalist category in the Band Composition Competition of the American Prize in 2017. One of only two Concertos with Band awarded that year. The full band instrumentation is available on Musica Nova USA.<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 Professor and Chair of Composition, serving on the faculty from 1979 to 2016. He has written over ninety compositions for orchestra, band, chamberensembles and soloists. He has won over fifty composition awards both nationally and internationally. His compositions include works published by several publishers in the United States, South America and Europe that have been performed extensively throughout the world.<br> <br> 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 Spanishbands for Certamen competitions, with each band winning first prize.<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.<br> <br> The piano transcription was done by Derek Remeš.
$20.00
18.41 €
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Saxophone Alto et Piano
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Gregory Fritze
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Con-Tse-To
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Musica Nova USA
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