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Tones for Two
Partitions à imprimer
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Tones for Two
2 Clarinettes (duo)
2BbCl. - Intermediate - Digital Download SKU: F2.FM523 Composed by Tony Lamb. Clari…
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2BbCl. - Intermediate - Digital Download SKU: F2.FM523 Composed by Tony Lamb. Clarinet Duet. Score and Parts. 15 pages. Forton Music - Digital #FM523. Published by Forton Music - Digital (F2.FM523). ISBN 9790570484225.This piece was written many years ago while I was a student at the Royal College of Music, but it received its first professional performance in 2014, in a concert at St. John's Smith Square. It falls into two strongly contrasted sections, each with its own character. The opening Andante should be played as smoothly as possible, and requires careful control of dynamics and intonation, as well as a perfect blend of tone; the Allegro is full of exuberant energy, and needs clear articulation and rhythmic precision. The 1st and 2nd clarinet parts are quite equal with the material divided evenly between them, so that the piece is suitable for two players of similar standard, and should appeal to a wide range of clarinettists. I hope you enjoy playing 'Tones for Two'!
$7.95
7.37 €
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2 Clarinettes (duo)
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Tony Lamb
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Tones for Two
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Forton Music - Digital
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SheetMusicPlus
Mozart effect - Sonata in D for 2 Harpsichords K.448 1st mov, tuned 421.6 hz, Kirnberger III
Clavecin
Harpsichord - Digital Download SKU: A0.1108689 By Arturo Escorza. By Wolfgang Amade…
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Harpsichord - Digital Download SKU: A0.1108689 By Arturo Escorza. By Wolfgang Amadeus Mozart. Arranged by Arturo Escorza. Classical. Full Performance. Duration 506. Arturo Escorza #711337. Published by Arturo Escorza (A0.1108689). In 1993, Frances Rauscher, et al, published a study in which they attributed a temporary improvement (of around 15 minutes) in mental tasks such as those found in IQ tests... Now, my criticism goes further: the piece in question is the Allegro con spirito from Sonata for two pianos in D minor KV. 448 by Mozart, so far so good. If we look at the original score, Mozart does not mention pianos, nor their ancestor, the fortepiano, but clavicembalos, i.e. harpsichords. In modern music, the A4 is tuned to 440 Hz and the scale is divided into 12 semitones of identical distance between each of them, causing that the only pure interval between them is the octave and that the others are impure and cause unpleasant interferences. In past centuries, other temperaments were used to tune the scales, with more pure, harmonic intervals, without interferences, although the intervals between semitones were some larger than others, which is why there are compositions in different tones, because according to the temperament it provoked different sensations, but with the modern equal temperament that's part of the past... the equal temperament killed the harmony and the colors of the music as its composers imagined it, as they heard it. What's this all about? to which I have recorded the piece of the supposed Mozart Effect approaching what Mozart had in mind: with two harpsichords, both with the A4 tuned to 421.6 hz, according to the Steiner tuning fork, used at the time of composition of the piece in Vienna, (note: it's not enough to tune the A4 but also to tune the intervals), and tuned in the Kirnberger III temperament. Some intervals may seem out of tune to modern ears, but it is one of so many historical temperaments used in those times.
$4.00
3.71 €
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Clavecin
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Arturo Escorza
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Arturo Escorza
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Mozart effect - Sonata in D for 2 Harpsichords K.448 1st mov, tuned 421.6 hz, Kirnberger III
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Arturo Escorza
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SheetMusicPlus
Three Chromicons for piano solo
Piano seul
Piano Solo - Advanced Intermediate - Digital Download Composed by Joseph Dillon For…
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Piano Solo - Advanced Intermediate - Digital Download Composed by Joseph Dillon Ford. 21st Century, Contemporary Classical, Impressionistic. Score. 22 pages. Published by David Warin Solomons
The pdf file contains the original score (in letter format) followed by the somewhat larger copy with dedication by the composer and fingerings by Valentin Bogolubov who premiered the 3 Chromicons.<br> <br> The sound sample is the live performance.<br> <br> The Three Chromicons were premiered by pianist Valentin Bogolubov at the Société de concerts de St-Bruno, Saint-Bruno, Quebec, Canada, on 27 January 2007. Bogolubov's adventurous, technically demanding program, which also featured the works of Alexander Scriabin and Jean Chatillon, was accompanied by video animation of numerous works of art, four of which were created by the composer (among them, the Chromicon No. 3).<br> <br> Ford explains the significance of these unique scores:<br> <br> "In both my earliest chromicons, which I had begun to create by the 1980s, and in those I continue to make today, color is the element that links what is seen to what is heard. Unlike composer Alexander Scriabin, who may have been a true synaesthete as the result of a rare neurological condition enabling him actually to hear colors, my approach to color music has been by way of analogy. Although the tones in a musical scale and the colors of a prism both result from specific vibratory frequencies, scales can be replicated in various octaves while there is no comparable transposition observable in the case of the spectrum. However, the analogy between pitch and hue is implicit in the term "chromatic scale" (the Greek chrôma signifies "color"), and on that basis it is possible to equate the twelve tones of Western music with the hues on a twelvefold color wheel: red, red-orange, orange, yellow-orange, yellow, yellow-green, green, blue-green, blue, blue-violet, violet, and red-violet."<br> <br> "By placing the pitch names of the chromatic scale in a separate band around the periphery of a such color wheel, much like the numbers on the face of a clock, and by rotating the central color wheel, it is possible for any given pitch to be aligned and associated with any hue. Such an easily constructed device, which I have dubbed the "chromonomicon," is the key necessary to decipher the musical meaning of my chromicons. The chromicon can be thought of as a calligraphic text in which each discrete area of color is a separate letter."<br> <br> "Although there are literally millions of possible colors, all of them can be categorized as one of the twelve hues shown on the chromonomicon. Instead of being written from left to right or from right to left, the color-letters in a chromicon are arranged concentrically. The shapes of the individual letters, usually painted in watercolor and "illuminated" with metallic paints, colored pencils, and other media, are the result of each artist's creative meditation. The personal meaning of the chromiconic text as a whole emerges during and after this meditation, and may be expressed by a conventional title or accompanying commentary."<br> <br> "Now, anyone wishing to realize a chromicon is at liberty to follow any path—straight or curvilinear—from the centermost letter to the periphery, constructing a cantus (melody) by notating the musical pitches associated with each contiguous color-letter encountered along the way. The cantus thereafter serves as the structural basis of a new, freely composed work. The individual pitches in the cantus may be moved to any octave, and may be repeated any number of times before proceeding to the next pitch in the sequence. Customarily, once the final tone of the cantus is reached, the entire melody is heard in reverse (retrograde), resulting in a palindrome. That palindrome is itself subject to varied repetition, so that in formal terms, each realization of a chromicon amounts to a 'mirror' theme with variations."<br> <br> "Chromicon No. 3 travels even further back in collective human memory to the eighteenth century. For all its contemporary melodic and harmonic inflections, the style is pervasively contrapuntal, summoning to mind the polyphonic keyboard textures of Bach and Handel. It eschews the worldly strife and diversions mirrored in the first two chromicons, maintaining a dignified, highly stylized manner throughout, but with its unexpected final cadence on D, there seems to be a fleeting intimation of transcendence."<br> <br> Video of Chromicon III<br> https://www.youtube.com/watch?v=VHMw-vzZlGE
$12.00
11.12 €
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Piano seul
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Joseph Dillon Ford
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Three Chromicons for piano solo
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David Warin Solomons
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SheetMusicPlus
Concerto
Piano et Orchestre
Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by …
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Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minutes. Schott Music - Digital #Q53630. Published by Schott Music - Digital
I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. . The markings of the movements are the following: . 1. Vivace molto ritmico e preciso . 2. Lento e deserto . 3. Vivace cantabile . 4. Allegro risoluto . 5. Presto luminoso. The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. . The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. . In the Piano Concerto I realized new concepts of harmony and rhythm. . The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. . In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. . The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. . In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. . Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). . The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). . Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. . These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. . The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). . The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. . Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. . Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. . This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. . The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. . I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. . (Gyorgy Ligeti)
$23.99
22.24 €
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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
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
3.7 €
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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
Carson Cooman: Ancient Airs (2004) for solo flute
Flûte traversière
Flute Solo - Level 5 - Digital Download SKU: A0.533595 Composed by Carson Cooman. C…
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Flute Solo - Level 5 - Digital Download SKU: A0.533595 Composed by Carson Cooman. Concert,Contemporary,Folk,Standards. Individual part. 7 pages. Musik Fabrik Music Publishing #3030249. Published by Musik Fabrik Music Publishing (A0.533595). Ancient Airs (2004) for solo flute was written for and is dedicated to flutist Sandra Ragusa.It is in two movements, each with a spirit of ancient airs re-imagined in a modern context.The ancestry of the modern flute as a folk instrument is the inspiration for the work's concept.They should always be played with a lyrical, singing approach.Beyond the Mountain uses as its basic musical material a simple transformation of a modalmelody in D minor. Gradually tones are added borrowed from other modalities. The openingsection is slow and lyrical. The middle section is more active -- contrasting the D minorchord tones with the added diminished tones of the first section. The final section recalls thematerial of the opening with a wider transformation.Forgotten Incantation uses a wider modal language than the first movement. Although stillgenerally slow and song-like, it is more energetic. Energetic gestures interrupt and drive thesong narrative forwards.
$11.95
11.08 €
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Flûte traversière
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Carson Cooman
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Carson Cooman: Ancient Airs
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Musik Fabrik Music Publishing
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SheetMusicPlus
Carson Cooman: Ancient Airs (2004) for solo soprano saxophone
Saxophone (partie séparée)
Soprano Saxophone Solo - Level 5 - Digital Download SKU: A0.533596 Composed by Cars…
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Soprano Saxophone Solo - Level 5 - Digital Download SKU: A0.533596 Composed by Carson Cooman. Concert,Contemporary,Folk,Standards. Individual part. 7 pages. Musik Fabrik Music Publishing #3030251. Published by Musik Fabrik Music Publishing (A0.533596). Ancient Airs (2004) for solo soprano saxophone was written for and is dedicated tosaxophonist Paul Wehage. It is in two movements, each with a spirit of ancient airsre-imagined in a modern context. The ancestry of most woodwind instruments as folkinstruments is the inspiration for the work's concept. The piece should always beplayed with a lyrical, singing approach.Beyond the Mountain uses as its basic musical material a simple transformation of amodal melody in D minor. Gradually tones are added borrowed from othermodalities. The opening section is slow and lyrical. The middle section is moreactive -- contrasting the D minor chord tones with the added diminished tones of thefirst section. The final section recalls the material of the opening with a widertransformation.Forgotten Incantation uses a wider modal language than the first movement.Although still generally slow and song-like, it is more energetic. Energetic gesturesinterrupt and drive the song narrative forwards.
$11.95
11.08 €
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Saxophone (partie séparée)
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Carson Cooman
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Carson Cooman: Ancient Airs
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Musik Fabrik Music Publishing
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SheetMusicPlus
Concerto for Two Trumpets with Brass Ensemble and Timpani
Ensemble de cuivres
Brass Ensemble - Level 5 - Digital Download SKU: A0.792812 Composed by Antonio Viva…
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Brass Ensemble - Level 5 - Digital Download SKU: A0.792812 Composed by Antonio Vivaldi. Arranged by Niels-Bo Ole Johansen. Baroque,Classical,Renaissance. Score and parts. 95 pages. Gordon Cherry #6638557. Published by Gordon Cherry (A0.792812). Antonio Vivaldi's Concerto for Two Trumpets in C with Brass Ensemble and Timpani is a rarity for the Baroque era when solos for brass instruments were almost non-existent. The valveless nascent Trumpets were very difficult to play. But as with Bach, there must have been a few brave souls who mastered the instrument and inspired the composer to write his inspired work.As with most of Vivaldi's concertos, this one begins with a quick and sparkling movement to catch the attention of the audience and to showcase the bright tones of the solo trumpets. This is followed by a contrasting brief and languid second movement. The final movement is back to brilliant mode with quick energy and intricate passages for the soloists. (Encylopedia Britannica).Niels-Ole Bo Johansen has created a very unique arrangement for the two solo Trumpets with Brass Ensemble and Timpani...unique in that the accompaniment instruments are almost all conical (except for the trombones who can blend nicely into that pool of round sounds). This gives the listener a sharp contrast between the brilliance of the soloists and the plush sound of the accompaniment.The 6 1/2 minute work is appropriate for advanced performers. The instrumentation is for: 2 solo Trumpets in A, 2 Cornets in B-flat, Flugelhorn, 2 Horns in F, 3 Trombones, Euphonium, 2 Tubas, and Timpani.
$25.00
23.17 €
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Ensemble de cuivres
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Antonio Vivaldi
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Niels-Bo Ole Johansen
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Concerto for Two Trumpets with Brass Ensemble and Timpani
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Gordon Cherry
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SheetMusicPlus
Watermelon Man for Clarinet Quintet & Opt. Drumset
Quintette de Clarinettes: 5 clarinettes
By Herbie Hancock. Arranged by Keith Terrett. Score, Set of Parts. 22 pages. Published…
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By Herbie Hancock. Arranged by Keith Terrett. Score, Set of Parts. 22 pages. Published by Music for all Occasions
Arranged for Clarinet Quintet & optional drumset, "Watermelon Man" is a jazz standard written by Herbie Hancock, first released on his debut album, Takin' Off (1962), in a grooving hard bop version that featured improvisations by Freddie Hubbard and Dexter Gordon.<br> <br> A single of the tune reached the Top 100 of the pop charts. Cuban percussionist Mongo Santamaría released the tune as a latin pop single the next year on Battle Records, where it became a surprise hit, reaching #10 on the pop charts. Santamaría's recording was inducted into the Grammy Hall of Fame in 1998. Hancock radically re-worked the tune, combining elements of funk, for the album Head Hunters (1973).<br> <br> Hancock's first version was released as a grooving hard bop record, and featured improvisations by Freddie Hubbard and Dexter Gordon. A single reached the Top 100 of the pop chart. Cuban percussionist Mongo Santamaría released the tune as a Latin pop single and it became a surprise hit, reaching No. 10 on the pop chart.[2] Santamaría's recording was inducted into the Grammy Hall of Fame in 1998. Hancock radically re-worked the tune, combining elements of funk, for the album Head Hunters (1973).<br> <br> Hancock wrote the piece to help sell his debut album as a leader, Takin' Off (1962), on Blue Note Records; it was the first piece of music he had ever composed with a commercial goal in mind. The popularity of the piece, due primarily to Mongo Santamaría, paid Hancock's bills for five or six years. Hancock did not feel the composition was a sellout however, describing that structurally, it was one of his strongest pieces due to its almost mathematical balance.<br> <br> The form is a sixteen bar blues. Recalling the piece, Hancock said, "I remember the cry of the watermelon man making the rounds through the back streets and alleys of Chicago. The wheels of his wagon beat out the rhythm on the cobblestones." The tune, based on a bluesy piano riff, drew on elements of R&B, soul jazz and bebop, all combined into a pop hook. Hancock joined bassist Butch Warren and drummer Billy Higgins in the rhythm section, with Freddie Hubbard on trumpet and Dexter Gordon on tenor saxophone. Hancock's chordal work draws from the gospel tradition, while he builds his solo on repeated riffs and trilled figures.<br> <br> Hancock filled in for pianist Chick Corea in Mongo Santamaría's band one weekend at a nightclub in The Bronx when Corea gave notice that he was leaving. Hancock played the tune for Santamaría at friend Donald Byrd's urging. Santamaría started accompanying him on his congas, then his band joined in, and the small audience slowly got up from their tables and started dancing, laughing and having a great time. Santamaría later asked Hancock if he could record the tune. On December 17, 1962, Mongo Santamaría recorded a three-minute version, suitable for radio, where he joined timbalero Francisco "Kako" Baster in a cha-cha beat, while drummer Ray Lucas performed a backbeat. Santamaría included the track on his album Watermelon Man (1962). Santamaría's recording is sometimes considered the beginning of Latin boogaloo, a fusion of Afro-Cuban rhythms with those of R&B<br> <br> Hancock re-recorded the tune for Head Hunters (1973), combining synthesizers with a Sly Stone and James Brown funk influence, adding an eight-bar section. Hancock described his composition "Chameleon", also from Head Hunters, to Down Beat magazine in 1979: "In the popular forms of funk, which I've been trying to get into, the attention is on the rhythmic interplay between different instruments. The part the Clavinet plays has to fit with the part the drums play and the line the bass plays and the line that the guitar plays. It's almost like African drummers where seven drummers play different parts"; "Watermelon Man" shares a similar construction. A live version was released on the double LP Flood (1975), recorded in Japan.<br> <br> On the intro and outro of the tune, percussionist Bill Summers blows into beer bottles imitating hindewhu, a style of singing/whistle-playing found in Pygmy music of Central Africa. Hancock and Summers were struck by the sound, which they heard on the ethnomusicology LP, The Music of the Ba-Benzélé Pygmies (1966), by Simha Arom and Geneviève Taurelle.<br> <br> This version was often featured on The Weather Channel's Local on the 8s segments.<br> <br> The tune is a jazz standard and has been recorded over two hundred times. Hancock's recording has been sampled in "1-900-LL-Cool-J" from Walking with a Panther (1989) by LL Cool J, "Open Your Eyes" from Organized Konfusion (1991) by Organized Konfusion, "Smoke Some Kill" from Smoke Some Kill (1988) by Schoolly D, and "Pocket Full of Furl" from Uptown 4 Life (1996) by U.N.L.V. In 2003, pianist David Benoit covered the song from his album Right Here, Right Now.<br> <br> A live and funky performance at the 1999 Montreux Jazz Festival Casino Lights '99 featured Fourplay, George Duke, Boney James and Kirk Whalum trading choruses, and Rick Braun.
$14.99
13.89 €
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Quintette de Clarinettes: 5 clarinettes
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Herbie Hancock
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Keith Terrett
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Watermelon Man for Clarinet Quintet & Opt. Drumset
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Music for all Occasions
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SheetMusicPlus
Two Duets for Two Violins
Two Violins - Digital Download SKU: IZ.PDP296 Composed by Marga Richter. Score. 7 p…
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Two Violins - Digital Download SKU: IZ.PDP296 Composed by Marga Richter. Score. 7 pages. Imagine Music - Digital #PDP296. Published by Imagine Music - Digital (IZ.PDP296). 9 x 12 inches.Richter wrote Two Duets for Two Violins in 2008 on commission from the Long Island Arts Council for the 2009 Long Island Composer Alliance's annual Music for Students concert. The Pavanne is stately and spare, with a reiterated opening theme. It develops contrapuntally, employing gentle dissonances which lend an edge to the slightly medieval sound of the duet. Tag for Two is a rambunctious dialogue in which the two players rarely wait for the other to finish before joining in. The clever interplay is occasionally interrupted by chromatic passages in rhythmic unison, usually in thirds, but once at the tritone. The title stems from the delightfully twisted use of the classic song Tea for Two in the second half of the duet. The two duets are playable in 1st through 3rd position. The Pavanne is an excellent piece for tone color and control. Tag for Two features meter changes and shifting rhythmic patterns as well as the melodic and harmonic use of tritones. These are contemporary duets that are enjoyable to play and hear!
$8.00
7.41 €
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Marga Richter
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Two Duets for Two Violins
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Imagine Music - Digital
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SheetMusicPlus
Minuet (Introductory Voluntary) (by Samuel Ould, arr. for Brass Quintet)
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.1250792
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Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.1250792 Composed by Samuel Ould (1864-1939). Arranged by Andrew Lamb. 19th Century,Chamber,Praise & Worship,Romantic Period. 31 pages. Andrew Lamb #845057. Published by Andrew Lamb (A0.1250792). This arrangement of Minuet by Samuel Ould (1864-1939) is a delightful addition to any Brass Quintet's repertoire. Expertly crafted for two trumpets, French horn, trombone, and tuba, this arrangement showcases the beauty and elegance of the original composition while highlighting the unique timbres and harmonies of a brass ensemble.Perfect for various occasions, this arrangement shines particularly as an Introductory Voluntary in a church service. Its graceful melodies and refined counterpoint create a serene and uplifting atmosphere, setting a reverent tone as the congregation gathers. The resonant brass tones blend seamlessly with the acoustics of the sacred space, filling it with a warm and majestic sound.Musicians will appreciate the thoughtful scoring that allows each instrument to shine individually and collectively. The arrangement maintains the integrity of the original composition while adding subtle embellishments and variations to enhance the overall performance.Whether you're a brass quintet looking to expand your repertoire or a church musician seeking an elegant piece for a worship service, this arrangement of Minuet by Samuel Ould is a must-have. Its timeless beauty and versatility make it a cherished addition to any brass ensemble's library, ensuring memorable and uplifting performances for years to come.
$7.00
6.49 €
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Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
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Samuel Ould
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Andrew Lamb
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Minuet
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Andrew Lamb
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SheetMusicPlus
Duo in C major for Clarinets, Op.19-4
2 Clarinettes (duo)
Clarinet Duet Clarinet - Level 4 - Digital Download SKU: A0.1260283 Composed by Fra…
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Clarinet Duet Clarinet - Level 4 - Digital Download SKU: A0.1260283 Composed by Franz Anton Hoffmeister. Arranged by Kamada, Mikio. Classical. 2 scores. 15 pages. ACORDO Sheet Music #853513. Published by ACORDO Sheet Music (A0.1260283). Hoffmeister composed a total of 21 duets for Violin and Viola.  Among them, Op.19-4 (often referred to as No.1) stands out as a particularly remarkable piece, with its beautiful second movement in C minor.The sheet music we are presenting is based on Offenbach: Johann André, n.d.(ca.1805). Plate 2157, with necessary corrections made to resolve inconsistencies and suspected errors. It is a user-friendly sheet music note that is easier to perform.Furthermore, we have also arranged versions of this composition for Violin and Cello, as well as for two Clarinets. The Clarinet adaptation was chosen because its sound range closely resembles the original instrumentation, and the vibrant tones of the Clarinet align beautifully with the musical ideas of this piece. This composition showcases some large melodic leaps, a characteristic often found in string instruments. While these may not be as familiar to Clarinet players, we believe you will find great joy in performing this piece.
$9.00
8.34 €
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2 Clarinettes (duo)
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Franz Anton Hoffmeister
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Kamada, Mikio
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Duo in C major for Clarinets, Op.19-4
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ACORDO Sheet Music
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SheetMusicPlus
Overtones (for four clarinets in B flat)
Quatuor de Clarinettes: 4 clarinettes
Clarinet Quartet,Woodwind Ensemble - Level 5 - Digital Download SKU: A0.1184712 Com…
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Clarinet Quartet,Woodwind Ensemble - Level 5 - Digital Download SKU: A0.1184712 Composed by Alan Bullard. 20th Century,Chamber,Contemporary. 48 pages. Colne Edition / BullardMusic #784397. Published by Colne Edition / BullardMusic (A0.1184712). Overtones is a single-movement virtuoso work that exploits the contrast between the different registers of the clarinet and their associated timbres.The basic material uses a scale derived from the clarinet’s characteristic overtones (or harmonic series), and is displayed at the opening of the work in the form of a toccata-like passage followed by a more relaxed section in which a solo line is echoed by the other clarinets.  These two groups of ideas are then subjected to a variety of developments and juxtapositions, culminating in a dissonant climax of note-clusters, followed by a shortened and varied repetition of the opening sections (but without the toccata-like characteristics) climbing up the overtone series and disintegrating into nothingness.The pdf contains the score and the four instrumental parts.www.alanbullard.co.uk.
$25.00
23.17 €
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Quatuor de Clarinettes: 4 clarinettes
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Alan Bullard
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Overtones
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Colne Edition / BullardMusic
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SheetMusicPlus
Tones & I's Garden - Early Intermediate Piano
Piano Facile
Easy Piano - Level 2 - Digital Download SKU: A0.1030110 Composed by Amy Beddoe. Ins…
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Easy Piano - Level 2 - Digital Download SKU: A0.1030110 Composed by Amy Beddoe. Instructional,Jazz. Score. 1 pages. Amy Beddoe #6364755. Published by Amy Beddoe (A0.1030110). This is an early intermediate piano song for two hands in C minor. The piece is a single page with minimal dynamic and expression markings, repetitive phrases and simple harmonic progression. It is in a swing style and contains a grace note in the main repeating phrase.Learn to play fun and easy piano songs by watching my Rock Star Piano videos. https://www.youtube.com/watch?v=Qx5hd2Fir4EI compose short one-page songs that are easy to learn. Visit my Rock Star Piano YouTube channel for more songs. All available for purchase on Sheet Music Plus. .
$5.99
5.55 €
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Piano Facile
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Amy Beddoe
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Tones & I's Garden - Early Intermediate Piano
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Amy Beddoe
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SheetMusicPlus
Blues for Mike (Saxophone Trio - Grade 2)
3 Saxophones (trio)
Woodwind Ensemble,Woodwind Trio Alto Saxophone,Tenor Saxophone - Level 2 - Digital Downloa…
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Woodwind Ensemble,Woodwind Trio Alto Saxophone,Tenor Saxophone - Level 2 - Digital Download SKU: A0.928387 Composed by Thomas J. West. Blues,Jazz. 6 pages. Thomas J. West #6427391. Published by Thomas J. West (A0.928387). Named for my oldest son, Blues for Mike is a saxophone trio written for two middle school alto saxophonist and one tenor saxophonist. It follows the simplest 12-bar blues chord progression in Bb major, giving all three players a chance to take the lead primarily playing Bb blues scale figures. Great piece for teaching swing feel, 12-bar blues, and chromatic approach tones. www.thomasjwestmusic.com .
$4.99
4.63 €
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3 Saxophones (trio)
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Thomas J
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Blues for Mike
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Thomas J. West
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SheetMusicPlus
Suite for Two Baritones (Low Brass)
Instrumental Duet Euphonium,Instrumental Duet - Level 2 - Digital Download SKU: A0.8781…
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Instrumental Duet Euphonium,Instrumental Duet - Level 2 - Digital Download SKU: A0.878143 Composed by Roy Hoobler. Contemporary,Sacred,Standards. Score and parts. 10 pages. Roy Hoobler Music #3554471. Published by Roy Hoobler Music (A0.878143). Composed for two students. A three movement work of contrary pieces for any occasion.
$3.99
3.7 €
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Roy Hoobler
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Suite for Two Baritones
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Roy Hoobler Music
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SheetMusicPlus
Messe à deux chœurs et deux orgues (choir of baritones, SATB, two organs)
Chorale SATB
Choral Choir (SATB) - Level 4 - Digital Download SKU: A0.850863 Composed by Charles…
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Choral Choir (SATB) - Level 4 - Digital Download SKU: A0.850863 Composed by Charles Marie Widor. Arranged by Andrew Henderson. Christian,Romantic Period,Sacred. Octavo. 50 pages. Andrew Henderson #3877407. Published by Andrew Henderson (A0.850863). Widor's imposing mass for two choirs, presented in a new and user-friendly edition. .
$12.99
12.04 €
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Chorale SATB
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Charles Marie Widor
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Andrew Henderson
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Messe à deux chœurs et deux orgues
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Andrew Henderson
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SheetMusicPlus
Laude Cortonese
Male choir - intermediate to advanced - Digital Download SKU: S9.Q19070 For male…
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Male choir - intermediate to advanced - Digital Download SKU: S9.Q19070 For male choir. Composed by Gavin Bryars. This edition: choral score. Choral Music of Our Time. Downloadable, Choral score. Op. 5. Duration 8 minutes. Schott Music - Digital #Q19070. Published by Schott Music - Digital (S9.Q19070). Italian.My collection of laude has its origins in the world of early music, being based in spirit and feeling on the unaccompanied vocal “laude†found in a collection from 13th century Cortona. The people who originally sang such things - the ‘laudesi’ - banded together in confraternities but were not usually associated with any particular church and this music was not part of any liturgy. The first laude that I wrote were, like the mediaeval originals, for unaccompanied voice - for the soprano Anna Maria Friman. I then wrote some for two voices, adding the tenor John Potter, and some for three sopranos, the Trio Mediaeval. Gradually I added more for other vocal combinations as well as some with instrumental accompaniment. But I do return from time to time to the ‘purer’ solo or duo lauda. In 2006 I wrote a number of pieces for the Estonian National Men’s Choir (RAM) chiefly through my friendship and collaborations with its conductor Kaspars Putnins who, as well as conducting the Latvian Radio Choir, was director of RAM. I wrote two laude for them. Lauda 31 was completely new, while Lauda 32 is a new version of Lauda 19 “Omne homoâ€. Both make full use of the special quality of the Estonian choir and Lauda 32 in particular deliberately aims to have the sound of singers in a Russian Orthodox tradition.Whatever vocal approach I use for setting lauda texts, I treat them with great respect in relation to the original lauda. I adhere as far as possible to the same number of notes to a syllable that are in the mediaeval versions, frequently following the melodic contours and sometimes quoting individual phrases. I still relish the challenge of writing vocal music which is quite exposed, and which retains something of the austerity of the original. Gavin Bryars (2012).
$6.99
6.48 €
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Gavin Bryars
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Laude Cortonese
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Schott Music - Digital
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SheetMusicPlus
Saturnalia Song for voices, wind, brass and percussion
Chorale SATB
Choral Choir (Mixed) - Level 4 - Digital Download SKU: A0.576366 Composed by David …
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Choral Choir (Mixed) - Level 4 - Digital Download SKU: A0.576366 Composed by David Warin Solomons. 20th Century,Christmas,Classical,Contemporary,World. Octavo. 27 pages. David Warin Solomons #18013. Published by David Warin Solomons (A0.576366). A vivid and at times raucous celebration of Saturnalia, in Latin, for an ensemble of voices and instruments (including various percussion, woodwind and brass instruments). The sound sample is a sung performance by the composer with an electronic preview of the instruments. Further explanations: Song for Saturnalia - a raucous and fun romp - in whole tones (since there is scant evidence of the types of scales used in those days - whole tones just seem to work in this context). The Latin words make references to relatively modern times but the spirit of Saturnalia is timeless, after all. The pileum (also written pilleum) is the little cap that slave wore during Saturnalia to show they were free men and women on that day - they would point to their cap and say libertus sum (I am a free person) and omnes aequales sumus (we are all equal). The words (and translation - both by me) are as follows: Saturnalia Song Io Saturnalia! Hodie igitur dominus noster non es. [Hooray, it’s Saturnalia, so today you’re not our boss] Hodie omnes aequales sumus. Io! [Today we are all equal, hooray!] [spoof of USA Anthem] Salve O Frutici [Hi there, Bush] Ecce meum pileum: [Look, see my little cap of freedom] libertus sum [I’m a free man] [spoof of UK Anthem] Salve O Campestri [Hi there, Blair] Ecce meum pileum: [Look, see my little cap of freedom] libertus sum [I’m a free man] [spoof of German Anthem] Salve O Candelari [Hi there Brandt] Ecce meum pileum: [Look, see my little cap of freedom] libertus sum [I’m a free man] Io Saturnalia, Io! [Hooray, it’s Saturnalia, hooray!] [Note on the invented names (used in the vocative in the song of course): Fruticius is based on the word frutex a bush - it’s also used to mean blockhead in Roman comedies, but I can’t help that!. Campestrius is based on campester - a plain or place of clear ground (Blair is the Celtic equivalent word - a forest clearing!) Candelarius is based on candela - a taper or candle - ie something burning hence Brandt (yes, I know he’s earlier than the other two politicians, but, hey, it’s all a bit of anachronistic fun!)].
$10.00
9.27 €
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Chorale SATB
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David Warin Solomons
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Saturnalia Song for voices, wind, brass and percussion
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David Warin Solomons
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SheetMusicPlus
Chaconne (for Guitar Solo)
Small Ensemble - Level 5 - Digital Download SKU: A0.1003610 Composed by Adrian Borz…
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Small Ensemble - Level 5 - Digital Download SKU: A0.1003610 Composed by Adrian Borza. 20th Century,Concert,Contemporary,Standards. Score and parts. 31 pages. Adrian Borza #2945709. Published by Adrian Borza (A0.1003610). Chaconne gives you a one-of-a-kind music experience, requiring not only to retune a classical guitar, but also to adjust the way you think about microtones. A standard guitar with no extra frets allows a completely different intonation than the twelve-tone equal temperament by producing quarter-tones. Chords will sound in tune on some strings, but this piece would have more out-of-tune notes on other strings.ISBN 978-606-645-037-9Format: Full score with two staffs, and an introductory text explaining the musical notation. Retuning procedure is also described.Level: This music is best suited for advanced musicians.Audio preview: First section, from letter D (bar 74) to E (bar 109).
$13.95
12.93 €
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Adrian Borza
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Chaconne
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Adrian Borza
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SheetMusicPlus
Essential Jazz Lines: In the Style of Clifford Brown-E Flat
Saxophone (alto) - Intermediate - Digital Download SKU: M0.20020BCDEB Composed by C…
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Saxophone (alto) - Intermediate - Digital Download SKU: M0.20020BCDEB Composed by Corey Christiansen. Technique, Theory and Reference. Essential Jazz Lines. Jazz. E-book and online audio. Mel Bay Publications - Digital Sheet Music #20020BCDEB. Published by Mel Bay Publications - Digital Sheet Music (M0.20020BCDEB). ISBN 9781610651042. 8.75x11.75 inches.Clifford Brown was one of the most influential jazz trumpeters and was a true master of jazz. His fantastic tone, time, feel and command of the jazz language have been inspiring jazz musicians on all instruments for decades. This book breaks down many of the one and two-bar phrases played by Clifford and helps students apply them to their own playing. Lines played over minor, dominant, and major chords as well as short, long and minor ii-V material can be mastered by practicing with the accompanying play-along audio. Chapters on Guide Tones, Bebop Scales, Targeting, and Playing the Upper-Structure will help students analyze and memorize the lines presented in the book. There is also a chapter with further insight in Clifford's style which discusses his phrasing as well as other musical devices he used to get his sound. A must have for aspiring students wanting the master the jazz language.
$14.99
13.89 €
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Corey Christiansen
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Essential Jazz Lines: In the Style of Clifford Brown-E Flat
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Mel Bay Publications - Digital Sheet Music
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SheetMusicPlus
Ragtime Miniatures for Two Flutes - Set 2
2 Flûtes traversières (duo)
Flute - Intermediate - Digital Download Composed by Pat Holmberg. 21st Century, Ragti…
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Flute - Intermediate - Digital Download Composed by Pat Holmberg. 21st Century, Ragtime, Repertoire. Score. 24 pages. Published by Patricia Tanttila Holmberg
Here are fourteen ragtime style flute duets - very contrapuntal - equally challenging and fun in both parts - sure to help teenage flute students keep on with their lessons! Below, find some reviews by flute teachers:Here are some reviews for these duets from flute teachers: ByDr. Mom on November 19, 2013 As a flute teacher, I watch for new and interesting music for my students. These Rags are terrific! They are harmonically and musically interesting, introduce a style to the students with which they may be unfamiliar yet has a "jazzy" feel, and are simple enough in range, rhythm and length (they're relatively brief) to be approachable to the intermediate student - a level at which one often needs interesting music to keep them going! - and above. I had one student who is versed in jazz (plays jazz trumpet) who tried to swing these, so I had the opportunity to work with him on how Rags differ from "swung" jazz, which was kind of fun. I feel these duets fill a need in the modern flute studio, and recommend them highly. Something to Rag about - for students & performers a-like! By Em on November 16, 2013 This 12-piece book is a delightful introduction to ragtime for flutists, who usually don't get the chance to play much jazz or "rag" music. What I perhaps enjoy most about the book is, the 2nd flute part has many chances for nice melodic interplay or fun walking bass lines to accompany the 1st flute. (Unlike many duet books that have a rather stagnant bass line for the 2nd flute/accompaniment.) If you are playing with students who are new to the territory, it is a great book to have them develop an ear for jazz chords. You'll need to review how to swing eighths, since that isn't covered here --it's for Intermediate players after all :). The lines should not be incredibly challenging though, and it is presented in such a way that whether up or down tempo, it's still fun to play. I did like playing most of the pieces up-tempo, though! My top favorite pieces are #5- "Forget-Me-Not", #6 - "Cotton Candy Rag", #11 - "High Country Stomp" (it's nice got a nice lilting feel) and #12- "Green Mountain Saunter." There is a great variety, and each piece has a memorable melody. Grab a flutist friend and play these! If you like to have up-beat and playful tunes (especially during these cold winter months) these will warm you up real fast. Hi Patricia,The Ragtime Miniatures for Two Flutes – Set 1 Intermediate by Patricia Holmberg lends itself to development in rhythmic and reading skills. It offers studies of syncopated rhythms in 4/4 and 12/8. The 12/8 duets support improvement in the student’s triple feel. Also, the changes in meter challenge and support the enhanced reading skills of the student. Furthermore, the chromatic tones offer stylistic colors to the student’s assortment of fingering patterns. Students using the book had a positive response to the melodic content: it was fun to play—a breath of fresh air.Thank you for bringing your book to my attention. We await set two. Phyllis G. Ragtime Miniatures- Intermediate By Jean A. E. on November 7, 2013 This is Intermediate level music, it can satisfy several levels of players, and altho rags come over stylistically the same , these are varied enough . Except for mostly using flat key signatures, and having some confusion in finding your way around repeats and da capos, these are pleasant little works, some of which would make nice concert encores. The only feature I as a performer corrected when my friend and I played them thru was to 8 va some of the too low 2nd parts. Doing this seemed to improve the voicing.So In general, nice work,Pat!!Professional Flutist/ performer Jean A. "Back to School 2015".
$9.99
9.26 €
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2 Flûtes traversières (duo)
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Pat Holmberg
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Ragtime Miniatures for Two Flutes - Set 2
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Patricia Tanttila Holmberg
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SheetMusicPlus
Amazon Explorers - for beginning band
Orchestre d'harmonie
Concert Band - Level 1 - Digital Download SKU: A0.1288190 Composed by John McAllist…
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Concert Band - Level 1 - Digital Download SKU: A0.1288190 Composed by John McAllister. 21st Century,Folk,Instructional,Multicultural,Video Game,World. Score and Parts. 25 pages. John McAllister #879195. Published by John McAllister (A0.1288190). Amazon Explorers is a captivating and evocative composition designed for young bands, taking young musicians and audiences on a thrilling journey deep into the heart of the Amazon rainforest. With a lightly programmatic approach, the piece artfully incorporates a rich array of wooden percussion instruments, including maracas, claves, and hand drums, to emulate the soundscape of the jungle. Mallet parts should be played on available wooden instruments like xylophone or marimba.The piece utilizes modal melodies and harmonies to create a unique texture for the beginning band. Examples include non-scalar patterns and open fifths at times. This can be beneficial to change things up for the young performer when learning various note patterns. There are no written dynamics, but add them in if the group is ready! This piece directly correlates with the Foundation Warm-Up Series, specifically set two. The series is designed to follow most beginning band methods. The early sets focus primarily on airflow, common patterns, and reinforcing concepts presented in the method books. As the series develops, the sets become more like a traditional band warm-up, including long tones, flexibility exercises, articulation, scale patterns, and a chorale.
$30.00
27.81 €
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Orchestre d'harmonie
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John McAllister
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Amazon Explorers - for beginning band
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John McAllister
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SheetMusicPlus
ode to joy for trumpet and cello sheet music in c arrangement
Trompette, Violoncelle (duo)
B-Flat Trumpet,Cello,Instrumental Duet - Level 1 - Digital Download SKU: A0.1255657…
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B-Flat Trumpet,Cello,Instrumental Duet - Level 1 - Digital Download SKU: A0.1255657 By L. v. Beethoven. By Ludwig van Beethoven. Arranged by Arezzo Music. Chamber,Children,Classical,Romantic Period,Traditional. 3 pages. Arezzo Music #849169. Published by Arezzo Music (A0.1255657). Ode to joy for trumpet and cello sheet music in c arrangement   Immerse yourself in the captivating harmonies of Beethoven's Ode to Joy with our sheet music arrangement for Trumpet and Cello in C. Designed by the skilled artisans at Arezzo Sheet Music Engraver, this arrangement showcases the seamless blend of the trumpet's bright and expressive tones with the cello's rich and resonant sound. Whether you're a seasoned trumpet player or an accomplished cellist, our sheet music provides clear and precise notation, guiding you through the enchanting journey of Ode to Joy in the key of C. Explore the uplifting melodies and triumphant harmonies as they intertwine between the trumpet and cello, creating a mesmerizing and awe-inspiring musical experience. This arrangement allows for a beautiful dialogue between the two instruments, highlighting their distinct voices while harmonizing effortlessly. Elevate your musical performances and captivate your audience with our exceptional sheet music, meticulously crafted to honor Beethoven's vision. Order your copy today and embark on a musical adventure filled with the resounding beauty of Ode to Joy for Trumpet and Cello in C, courtesy of Arezzo Sheet Music Engraver. Let the harmonies soar and the melodies resonate, creating an unforgettable and inspiring musical experience.ode to joy for trumpet and cello sheet music in c arrangement.
$3.99
3.7 €
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Trompette, Violoncelle (duo)
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L
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Arezzo Music
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ode to joy for trumpet and cello sheet music in c arrangement
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Arezzo Music
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SheetMusicPlus
Tips For Creating an 8 Bar Melody
Level 1 - Interactive Download SKU: A0.1033920 Composed by David Ivinson. This edit…
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Level 1 - Interactive Download SKU: A0.1033920 Composed by David Ivinson. This edition: Interactive Download. Blues,Children,Christmas,Classical,Contest,Country,Film/TV,Folk,Hip-Hop,Holiday,Jazz,Latin,Musical/Show,Opera,Pop,Praise & Worship,Rock,Standards,Video Game,Wedding,World. Worksheet. 1 pages. Duration 58. Ivinson Music #7L57LlbvRPchVyPOMczGft. Published by Ivinson Music (A0.1033920). Key: C major.This is a worksheet demonstrating some helpful tips for writing an 8 bar melody. This is a guide looking more at macro formatting issues rather than passing and neighbouring tones. This worksheet begins with the assumption that has already been learnt. The large slur lines (arcs0 represent two bar phrases and can be applied differently to suit smaller phrases in your final composition.
$3.00
2.78 €
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David Ivinson
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Tips For Creating an 8 Bar Melody
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Ivinson Music
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SheetMusicPlus
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