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Vous avez sélectionné:
We Three Kings, for Clarinet, Bass Clarinet and Piano
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We Three Kings, for Clarinet, Bass Clarinet and Piano
Clarinette Basse, Piano
Small Ensemble Bass Clarinet,Piano - Level 3 - Digital Download SKU: A0.1494832 Com…
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Small Ensemble Bass Clarinet,Piano - Level 3 - Digital Download SKU: A0.1494832 Composed by John Henry Hopkins Jr. Arranged by Cindy Blevins. Christmas. 9 pages. Cindy Blevins #1071398. Published by Cindy Blevins (A0.1494832). This is a beautiful arrangement for clarinet, bass clarinet and piano. You receive the score and the separate parts.
$5.99
5.43 €
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Clarinette Basse, Piano
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John Henry Hopkins Jr
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Cindy Blevins
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We Three Kings, for Clarinet, Bass Clarinet and Piano
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Cindy Blevins
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SheetMusicPlus
We Three Kings for Solo Bass Clarinet
Clarinette Basse, Piano
Composed by John Henry Hopkins Jr. (1820-1891). Arranged by Lawrence H. Underwood. C…
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Composed by John Henry Hopkins Jr. (1820-1891). Arranged by Lawrence H. Underwood. Christian, Christmas, Contemporary, Sacred. Score and individual part. 9 pages. Lawrence H Underwood #6189197. Published by Lawrence H Underwood
$5.99
5.43 €
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Clarinette Basse, Piano
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John Henry Hopkins Jr
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Lawrence H
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We Three Kings for Solo Bass Clarinet
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Lawrence H Underwood
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SheetMusicPlus
8 Swinging Xmas Carols for Bb Bass Clarinet & Piano
Clarinette et Piano
Clarinet,Piano - Level 3 - Digital Download SKU: A0.1315075 By Keith Terrett. By Va…
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Clarinet,Piano - Level 3 - Digital Download SKU: A0.1315075 By Keith Terrett. By Various. Arranged by Keith Terrett. Christian,Christmas,Holiday,Praise & Worship. Score and part. 31 pages. Keith Terrett #903819. Published by Keith Terrett (A0.1315075). An exciting arrangement of eight popular swinging xmas carols arranged for Bb Bass Clarinet & Piano; in an up-beat and somewhat jazzy manner. This challenging set of carols, offers players in general, something very different for those Christmas concerts and recitals, give them a go, and I am sure that you won’t be disappointed!The set includes: Ding Dong Merrily On High, Silent Night,We Three Kings,Away in a Manger, Joy to the World, God Rest Ye Merry Gentlemen, Deck the Halls & Good King Wenceslas.The part is all written out with jazz inflections and articulation included. The Piano part is all written out, but also includes the jazz chords for players who wish to comp. These Carols are playable by moderately advanced performers and are perfect for parties, church services, busking & recitals. Range is very moderate, nothing high at all.Need an anthem fast? They are ALL in my store! All my anthem arrangements are also available for Orchestra, Recorders, Saxophones, Wind, Brass and Flexible band. If you need an anthem urgently for an instrumentation not in my store, let me know via e-mail, and I will arrange it for you FOC if possible!Reviewer Chet Heflin Date 29th Sep 2006Bluesy Xmas! Keith Terrett has done an outstanding job of injecting jazz and blues into these holiday favorites. The writing beginning in measure 13 of Ding Dong Merrily On High is outstanding. Check out the wonderful contrast in movement between the flute and bass. This arrangement of Xmas carols would be a wonderful addition to any future holiday program. Well done Keith! Have fun! Caroling (singing carols in the street) is one of the oldest customs in Great Britain, going back to the Middle Ages when beggars, seeking food, money, or drink, would wander the streets singing holiday songs.For more music for Bb & Bass Clarinet check out my publisher in the USA:http://bassclarinet.org.
$15.99
14.5 €
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Clarinette et Piano
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Keith Terrett
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Keith Terrett
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Piano
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8 Swinging Xmas Carols for Bb Bass Clarinet & Piano
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Keith Terrett
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SheetMusicPlus
Clarinet, Bass Clarinet and Harp for Christmas, Vol. II (12 Arrangements)
Clarinette Basse, Piano
Small Ensemble Bass Clarinet,Piano - Level 3 - Digital Download SKU: A0.1494838 Com…
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Small Ensemble Bass Clarinet,Piano - Level 3 - Digital Download SKU: A0.1494838 Composed by Various. Arranged by Cindy Blevins. Christmas. 100 pages. Cindy Blevins #1071404. Published by Cindy Blevins (A0.1494838). Clarinet, Bass Clarinet and Piano for Christmas, Vol. II contains 12 beautiful arrangements. You receive the scores and the separate parts. The audio sample is We Three Kings. The songs included in this book are: Angels We Have Heard On High, Bring a Torch, Jeannette, Isabella, Deck the Halls, God Rest Ye Merry, Gentlemen, Greensleeves, In the Bleak Midwinter, Jesu, Joy of Man's Desiring, Joy to the World, Silent Night, Sussex Carol, The Son of Mary and We Three Kings.
$24.95
22.62 €
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Clarinette Basse, Piano
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Various
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Cindy Blevins
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Clarinet, Bass Clarinet and Harp for Christmas, Vol. II
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Cindy Blevins
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SheetMusicPlus
We Three Kings of Orient Are--clarinet solo
Clarinette et Piano
Clarinet,Piano - Level 3 - Digital Download SKU: A0.786766 Composed by John Henry H…
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Clarinet,Piano - Level 3 - Digital Download SKU: A0.786766 Composed by John Henry Hopkins Jr. Arranged by Beka Wilson. Christian,Christmas,Sacred. Score and part. 9 pages. Beka Wilson #6434655. Published by Beka Wilson (A0.786766). This is a new arrangement of the popular minor-key Christmas song We Three Kings. The mysterious flair and style will make this piece an excellent addition to a holiday concert, recital, or church service.Length: around 3 minutesLevel: intermediate for most instruments9 pages (includes score and separate solo part)This arrangement is available as a solo for flute, oboe, clarinet, bassoon, alto sax, tenor sax, F horn, trumpet, trombone, violin, viola, and cello. Want this piece for a different instrument or in a different key? Email me at bekmars10@gmail.com and I'll post a custom arrangement here on Sheet Music Plus.
$6.99
6.34 €
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Clarinette et Piano
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John Henry Hopkins Jr
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Beka Wilson
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We Three Kings of Orient Are--clarinet solo
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Beka Wilson
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SheetMusicPlus
We Three Kings of Orient Are--bassoon solo
Basson, Piano (duo)
Bassoon,Piano - Level 3 - Digital Download SKU: A0.786763 Composed by John Henry Ho…
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Bassoon,Piano - Level 3 - Digital Download SKU: A0.786763 Composed by John Henry Hopkins Jr. Arranged by Beka Wilson. Christian,Christmas,Sacred. Score and part. 9 pages. Beka Wilson #6434639. Published by Beka Wilson (A0.786763). This is a new arrangement of the popular minor-key Christmas song We Three Kings. The mysterious flair and style will make this piece an excellent addition to a holiday concert, recital, or church service.Length: around 3 minutesLevel: intermediate for most instruments9 pages (includes score and separate solo part)This arrangement is available as a solo for flute, oboe, clarinet, bassoon, alto sax, tenor sax, F horn, trumpet, trombone, violin, viola, and cello. Want this piece for a different instrument or in a different key? Email me at bekmars10@gmail.com and I'll post a custom arrangement here on Sheet Music Plus.
$6.99
6.34 €
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Basson, Piano (duo)
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John Henry Hopkins Jr
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Beka Wilson
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We Three Kings of Orient Are--bassoon solo
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Beka Wilson
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SheetMusicPlus
What Child Is This (with "We Three Kings") (Woodwind Quartet and Piano)
Flûte, Hautbois, Clarinette, Basson
Woodwind Ensemble,Woodwind Quartet - Level 2 - Digital Download SKU: A0.620369 By S…
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Woodwind Ensemble,Woodwind Quartet - Level 2 - Digital Download SKU: A0.620369 By Stephen DeCesare. By Traditional, John H. Hopkins Jr. Arranged by Stephen DeCesare. Christian,Christmas,Praise & Worship,Sacred,Standards. 26 pages. Exultet Music #3249517. Published by Exultet Music (A0.620369). Two of the most played Christmas carols have now been freshly arranged and joined together for Woodwind Quartet (Flute, Oboe, Bb-Clarinet, Bassoon) with Piano accompaniment. Accessible and appropriate for any church or concert setting. Â An accompaniment track is also available.
$12.99
11.78 €
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Flûte, Hautbois, Clarinette, Basson
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Stephen DeCesare
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Stephen DeCesare
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What Child Is This
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Exultet Music
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SheetMusicPlus
Concerto
Piano et Orchestre
Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by …
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Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minutes. Schott Music - Digital #Q53630. Published by Schott Music - Digital
I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. . The markings of the movements are the following: . 1. Vivace molto ritmico e preciso . 2. Lento e deserto . 3. Vivace cantabile . 4. Allegro risoluto . 5. Presto luminoso. The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. . The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. . In the Piano Concerto I realized new concepts of harmony and rhythm. . The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. . In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. . The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. . In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. . Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). . The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). . Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. . These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. . The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). . The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. . Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. . Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. . This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. . The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. . I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. . (Gyorgy Ligeti)I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. .
The markings of the movements are the following: .
1. Vivace molto ritmico e preciso .
2. Lento e deserto .
3. Vivace cantabile .
4. Allegro risoluto .
5. Presto luminoso.
The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. .
The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. .
In the Piano Concerto I realized new concepts of harmony and rhythm. .
The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. .
In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. .
The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. .
In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. .
Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). .
The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). .
Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. .
These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. .
The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). .
The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. .
Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. .
Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. .
This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. .
The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. .
I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. .
(Gyorgy Ligeti)
$23.99
21.75 €
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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
We Three Kings of Orient Are--trombone solo
Trombone et Piano
Piano,Trombone - Level 3 - Digital Download SKU: A0.786770 Composed by John Henry H…
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Piano,Trombone - Level 3 - Digital Download SKU: A0.786770 Composed by John Henry Hopkins Jr. Arranged by Beka Wilson. Christian,Christmas,Sacred. Score and part. 9 pages. Beka Wilson #6434673. Published by Beka Wilson (A0.786770). This is a new arrangement of the popular minor-key Christmas song We Three Kings. The mysterious flair and style will make this piece an excellent addition to a holiday concert, recital, or church service.Length: around 3 minutesLevel: intermediate for most instruments9 pages (includes score and separate solo part)This arrangement is available as a solo for flute, oboe, clarinet, bassoon, alto sax, tenor sax, F horn, trumpet, trombone, violin, viola, and cello. Want this piece for a different instrument or in a different key? Email me at bekmars10@gmail.com and I'll post a custom arrangement here on Sheet Music Plus.
$6.99
6.34 €
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Trombone et Piano
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John Henry Hopkins Jr
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Beka Wilson
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We Three Kings of Orient Are--trombone solo
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Beka Wilson
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SheetMusicPlus
We Three Kings of Orient Are--horn solo
Cor et Piano
French Horn,Piano - Level 3 - Digital Download SKU: A0.786767 Composed by John Henr…
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French Horn,Piano - Level 3 - Digital Download SKU: A0.786767 Composed by John Henry Hopkins Jr. Arranged by Beka Wilson. Christian,Christmas,Sacred. Score and part. 9 pages. Beka Wilson #6434667. Published by Beka Wilson (A0.786767). This is a new arrangement of the popular minor-key Christmas song We Three Kings. The mysterious flair and style will make this piece an excellent addition to a holiday concert, recital, or church service.Length: around 3 minutesLevel: intermediate for most instruments9 pages (includes score and separate solo part)This arrangement is available as a solo for flute, oboe, clarinet, bassoon, alto sax, tenor sax, F horn, trumpet, trombone, violin, viola, and cello. Want this piece for a different instrument or in a different key? Email me at bekmars10@gmail.com and I'll post a custom arrangement here on Sheet Music Plus.
$6.99
6.34 €
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Cor et Piano
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John Henry Hopkins Jr
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Beka Wilson
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We Three Kings of Orient Are--horn solo
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Beka Wilson
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SheetMusicPlus
We Three Kings of Orient Are--flute solo
Flûte traversière et Piano
Flute,Piano - Level 3 - Digital Download SKU: A0.786765 Composed by John Henry Hopk…
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Flute,Piano - Level 3 - Digital Download SKU: A0.786765 Composed by John Henry Hopkins Jr. Arranged by Beka Wilson. Christian,Christmas,Sacred. Score and part. 9 pages. Beka Wilson #6434665. Published by Beka Wilson (A0.786765). This is a new arrangement of the popular minor-key Christmas song We Three Kings. The mysterious flair and style will make this piece an excellent addition to a holiday concert, recital, or church service.Length: around 3 minutesLevel: intermediate for most instruments9 pages (includes score and separate solo part)This arrangement is available as a solo for flute, oboe, clarinet, bassoon, alto sax, tenor sax, F horn, trumpet, trombone, violin, viola, and cello. Want this piece for a different instrument or in a different key? Email me at bekmars10@gmail.com and I'll post a custom arrangement here on Sheet Music Plus.
$6.99
6.34 €
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Flûte traversière et Piano
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John Henry Hopkins Jr
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Beka Wilson
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We Three Kings of Orient Are--flute solo
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Beka Wilson
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SheetMusicPlus
We Three Kings of Orient Are--alto sax solo
Saxophone Alto et Piano
Alto Saxophone,Piano - Level 3 - Digital Download SKU: A0.786760 Composed by John H…
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Alto Saxophone,Piano - Level 3 - Digital Download SKU: A0.786760 Composed by John Henry Hopkins Jr. Arranged by Beka Wilson. Christian,Christmas,Sacred. Score and part. 9 pages. Beka Wilson #6434637. Published by Beka Wilson (A0.786760). This is a new arrangement of the popular minor-key Christmas song We Three Kings. The mysterious flair and style will make this piece an excellent addition to a holiday concert, recital, or church service.Length: around 3 minutesLevel: intermediate for most instruments9 pages (includes score and separate solo part)This arrangement is available as a solo for flute, oboe, clarinet, bassoon, alto sax, tenor sax, F horn, trumpet, trombone, violin, viola, and cello. Want this piece for a different instrument or in a different key? Email me at bekmars10@gmail.com and I'll post a custom arrangement here on Sheet Music Plus.
$6.99
6.34 €
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Saxophone Alto et Piano
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John Henry Hopkins Jr
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Beka Wilson
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We Three Kings of Orient Are--alto sax solo
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Beka Wilson
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SheetMusicPlus
We Three Kings of Orient Are--tenor sax solo
Saxophone Tenor et Piano
Piano,Tenor Saxophone - Level 3 - Digital Download SKU: A0.786768 Composed by John …
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Piano,Tenor Saxophone - Level 3 - Digital Download SKU: A0.786768 Composed by John Henry Hopkins Jr. Arranged by Beka Wilson. Christian,Christmas,Sacred. Score and part. 9 pages. Beka Wilson #6434671. Published by Beka Wilson (A0.786768). This is a new arrangement of the popular minor-key Christmas song We Three Kings. The mysterious flair and style will make this piece an excellent addition to a holiday concert, recital, or church service.Length: around 3 minutesLevel: intermediate for most instruments9 pages (includes score and separate solo part)This arrangement is available as a solo for flute, oboe, clarinet, bassoon, alto sax, tenor sax, F horn, trumpet, trombone, violin, viola, and cello. Want this piece for a different instrument or in a different key? Email me at bekmars10@gmail.com and I'll post a custom arrangement here on Sheet Music Plus.
$6.99
6.34 €
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Saxophone Tenor et Piano
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John Henry Hopkins Jr
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Beka Wilson
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We Three Kings of Orient Are--tenor sax solo
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Beka Wilson
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SheetMusicPlus
We Three Kings of Orient Are--viola solo
Alto, Piano
Piano,Viola - Level 3 - Digital Download SKU: A0.786771 Composed by John Henry Hopk…
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Piano,Viola - Level 3 - Digital Download SKU: A0.786771 Composed by John Henry Hopkins Jr. Arranged by Beka Wilson. Christian,Christmas,Sacred. Score and part. 9 pages. Beka Wilson #6434679. Published by Beka Wilson (A0.786771). This is a new arrangement of the popular minor-key Christmas song We Three Kings. The mysterious flair and style will make this piece an excellent addition to a holiday concert, recital, or church service.Length: around 3 minutesLevel: intermediate for most instruments9 pages (includes score and separate solo part)This arrangement is available as a solo for flute, oboe, clarinet, bassoon, alto sax, tenor sax, F horn, trumpet, trombone, violin, viola, and cello. Want this piece for a different instrument or in a different key? Email me at bekmars10@gmail.com and I'll post a custom arrangement here on Sheet Music Plus.
$6.99
6.34 €
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Alto, Piano
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John Henry Hopkins Jr
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Beka Wilson
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We Three Kings of Orient Are--viola solo
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Beka Wilson
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SheetMusicPlus
We Three Kings of Orient Are--cello solo
Violoncelle, Piano
Cello,Piano - Level 3 - Digital Download SKU: A0.786764 Composed by John Henry Hopk…
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Cello,Piano - Level 3 - Digital Download SKU: A0.786764 Composed by John Henry Hopkins Jr. Arranged by Beka Wilson. Christian,Christmas,Sacred. Score and part. 9 pages. Beka Wilson #6434649. Published by Beka Wilson (A0.786764). This is a new arrangement of the popular minor-key Christmas song We Three Kings. The mysterious flair and style will make this piece an excellent addition to a holiday concert, recital, or church service.Length: around 3 minutesLevel: intermediate for most instruments9 pages (includes score and separate solo part)This arrangement is available as a solo for flute, oboe, clarinet, bassoon, alto sax, tenor sax, F horn, trumpet, trombone, violin, viola, and cello. Want this piece for a different instrument or in a different key? Email me at bekmars10@gmail.com and I'll post a custom arrangement here on Sheet Music Plus.
$6.99
6.34 €
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Violoncelle, Piano
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John Henry Hopkins Jr
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Beka Wilson
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We Three Kings of Orient Are--cello solo
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Beka Wilson
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SheetMusicPlus
We Three Kings of Orient Are--oboe solo
Hautbois, Piano (duo)
Oboe,Piano - Level 3 - Digital Download SKU: A0.786769 Composed by John Henry Hopki…
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Oboe,Piano - Level 3 - Digital Download SKU: A0.786769 Composed by John Henry Hopkins Jr. Arranged by Beka Wilson. Christian,Christmas,Sacred. Score and part. 9 pages. Beka Wilson #6434669. Published by Beka Wilson (A0.786769). This is a new arrangement of the popular minor-key Christmas song We Three Kings. The mysterious flair and style will make this piece an excellent addition to a holiday concert, recital, or church service.Length: around 3 minutesLevel: intermediate for most instruments9 pages (includes score and separate solo part)This arrangement is available as a solo for flute, oboe, clarinet, bassoon, alto sax, tenor sax, F horn, trumpet, trombone, violin, viola, and cello. Want this piece for a different instrument or in a different key? Email me at bekmars10@gmail.com and I'll post a custom arrangement here on Sheet Music Plus.
$6.99
6.34 €
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Hautbois, Piano (duo)
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John Henry Hopkins Jr
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Beka Wilson
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We Three Kings of Orient Are--oboe solo
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Beka Wilson
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SheetMusicPlus
We Three Kings of Orient Are--violin solo
Violon et Piano
Piano,Violin - Level 3 - Digital Download SKU: A0.786773 Composed by John Henry Hop…
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Piano,Violin - Level 3 - Digital Download SKU: A0.786773 Composed by John Henry Hopkins Jr. Arranged by Beka Wilson. Christian,Christmas,Sacred. 9 pages. Beka Wilson #6434681. Published by Beka Wilson (A0.786773). This is a new arrangement of the popular minor-key Christmas song We Three Kings. The mysterious flair and style will make this piece an excellent addition to a holiday concert, recital, or church service.Length: around 3 minutesLevel: intermediate for most instruments9 pages (includes score and separate solo part)This arrangement is available as a solo for flute, oboe, clarinet, bassoon, alto sax, tenor sax, F horn, trumpet, trombone, violin, viola, and cello. Want this piece for a different instrument or in a different key? Email me at bekmars10@gmail.com and I'll post a custom arrangement here on Sheet Music Plus.
$6.99
6.34 €
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Violon et Piano
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John Henry Hopkins Jr
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Beka Wilson
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We Three Kings of Orient Are--violin solo
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Beka Wilson
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SheetMusicPlus
We Three Kings Woodwind ensemble
Flûte, Hautbois, Clarinette, Basson
Woodwind Ensemble,Woodwind Quartet - Level 2 - Digital Download SKU: A0.801113 Arra…
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Woodwind Ensemble,Woodwind Quartet - Level 2 - Digital Download SKU: A0.801113 Arranged by Connie Boss. Christian,Christmas,Sacred. 6 pages. Connie Boss #4623161. Published by Connie Boss (A0.801113). This arrangement is for a woodwind quartet. flute, Bb clarinet, alto sax and tenor sax.. It has a lot of moving parts and harmonies with added parts mixed in. It has piano accompaniment and guitar chords.
$4.99
4.52 €
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Flûte, Hautbois, Clarinette, Basson
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Connie Boss
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We Three Kings Woodwind ensemble
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Connie Boss
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SheetMusicPlus
20 Favourite Christmas Carols for solo Double Bass and Piano
Contrebasse, Piano (duo)
Double Bass,Piano,String Bass - Level 2 - Digital Download SKU: A0.587266 Composed …
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Double Bass,Piano,String Bass - Level 2 - Digital Download SKU: A0.587266 Composed by Various. Arranged by David McKeown. Christmas,Praise & Worship,Sacred. Score and part. 28 pages. David McKeown #3123357. Published by David McKeown (A0.587266). 20 Favourite Carols for Solo Double Bass and Piano is a collection of the best-known Christmas carols arranged simply in bass clef for solo Double Bass and Piano. The file contains the Double Bass part plus the separate Piano score with added chord symbols. 20 Favourite Carols for Solo Double Bass and Piano is fully compatible with the other Brass, Woodwind and String volumes in the series. Both the short sample audio and the linked youtube performance are from the Clarinet version of these arrangements. · There are also Duet and Quartet versions available of the same carols, in the same keys, so that no matter what instrument you play they will fit together. · This makes them ideal for building a full and flexible band or ensemble for school, community or church. · The keys chosen are the standard singing keys · These arrangements will provide colourful accompaniment to carol singing anywhere throughout the Christmas period. The carols are in alphabetical order and are as follows · Away in a Manger · Deck the Halls · Ding Dong Merrily on High · The First Nowell · God Rest ye Merry Gentleman · Good Christian Men Rejoice · Good King Wenceslas · Hark, the Herald Angels Sing · The Holly and the Ivy · I Saw Three Ships · In the Bleak Midwinter · It Came upon a Midnight Clear · O Cone All Ye Faithful · O Come, O Come Emmanuel · O Little Town of Bethlehem · Once in Royal David’s City · Silent Night · We Three Kings · While Shepherds Watched · We Wish you a Merry Christmas There are many more top quality arrangements and compositions by David McKeown for you to browse at http://www.sheetmusicplus.com/publishers/david-mckeown/6203
$7.60
6.89 €
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Contrebasse, Piano (duo)
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Various
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David McKeown
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20 Favourite Christmas Carols for solo Double Bass and Piano
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David McKeown
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SheetMusicPlus
Christmas Carol Selections - Bass Clarinet
Clarinette Basse, Piano
B-Flat Bass Clarinet,Instrumental Solo,Piano - Level 2 - Digital Download SKU: A0.11432…
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B-Flat Bass Clarinet,Instrumental Solo,Piano - Level 2 - Digital Download SKU: A0.1143214 Composed by Traditional. Arranged by Andrew Will. Christmas,Instructional,Religious,Traditional. Score and individual part. 16 pages. Willscore Publishing #743576. Published by Willscore Publishing (A0.1143214). Christmas Carol Selections for Bass Clarinet with Piano Accompaniment. Available for all Concert Band Instruments. Selections include Away in a Manger, Deck the Halls, Ding Dong Merrily on High, Hark! The Herald Angels Sing, The First Noel, God Rest Ye Merry Gentlemen, Good King Wenceslas, I Saw Three Ships, Jingle Bells, Joy to the World, O Christmas Tree, O Come all Ye Faithful, O Little Town of Bethlehem, Once in Royal David’s City, Silent Night, We Three Kings of Orient Are and While Shepherds Watched. A great collection of 17 well know Christmas classics. Enjoy! The Willscore Publishing Team.
$12.00
10.88 €
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Clarinette Basse, Piano
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Traditional
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Andrew Will
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Christmas Carol Selections - Bass Clarinet
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Willscore Publishing
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SheetMusicPlus
8 Swinging Xmas Carols for Bb Clarinet & Piano
Clarinette et Piano
Clarinet,Piano - Level 3 - Digital Download SKU: A0.1314626 Composed by Various. Ar…
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Clarinet,Piano - Level 3 - Digital Download SKU: A0.1314626 Composed by Various. Arranged by Keith Terrett. 20th Century,Christmas,Patriotic,Praise & Worship. Score and part. 16 pages. Keith Terrett #903380. Published by Keith Terrett (A0.1314626). An exciting arrangement of eight popular swinging xmas carols arranged for Bb Clarinet & Piano; in an up-beat and somewhat jazzy manner. This challenging set of carols, offers players in general, something very different for those Christmas concerts and recitals, give them a go, and I am sure that you won’t be disappointed!The set includes: Ding Dong Merrily On High, Silent Night,We Three Kings,Away in a Manger, Joy to the World, God Rest Ye Merry Gentlemen, Deck the Halls & Good King Wenceslas.The part is all written out with jazz inflections and articulation included. The Piano part is all written out, but also includes the jazz chords for players who wish to comp. These Carols are playable by moderately advanced performers and are perfect for parties, church services, busking & recitals. Range is very moderate, nothing high at all.Need an anthem fast? They are ALL in my store! All my anthem arrangements are also available for Orchestra, Recorders, Saxophones, Wind, Brass and Flexible band. If you need an anthem urgently for an instrumentation not in my store, let me know via e-mail, and I will arrange it for you FOC if possible!Reviewer Chet Heflin Date 29th Sep 2006Bluesy Xmas! Keith Terrett has done an outstanding job of injecting jazz and blues into these holiday favorites. The writing beginning in measure 13 of Ding Dong Merrily On High is outstanding. Check out the wonderful contrast in movement between the flute and bass. This arrangement of Xmas carols would be a wonderful addition to any future holiday program. Well done Keith! Have fun! Caroling (singing carols in the street) is one of the oldest customs in Great Britain, going back to the Middle Ages when beggars, seeking food, money, or drink, would wander the streets singing holiday songs.
$15.99
14.5 €
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Clarinette et Piano
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Various
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Keith Terrett
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Piano
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8 Swinging Xmas Carols for Bb Clarinet & Piano
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Keith Terrett
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SheetMusicPlus
20 Favourite Christmas Carols for solo Trombone and Piano
Trombone et Piano
Piano,Trombone - Level 2 - Digital Download SKU: A0.587273 Composed by Various. Arr…
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Piano,Trombone - Level 2 - Digital Download SKU: A0.587273 Composed by Various. Arranged by David McKeown. Christian,Christmas,Praise & Worship,Sacred. Score and part. 28 pages. David McKeown #3123379. Published by David McKeown (A0.587273). 20 Favourite Carols for Solo Trombone and Piano is a collection of the best-known Christmas carols arranged simply for solo Trombone in concert pitch bass clef and Piano. The file contains the Trombone part plus the separate Piano score with added chord symbols. If you prefer reading treble clef in Bb then search for the Euphonium version of the music item no. S0.245523 20 Favourite Carols for Solo Trombone and Piano is fully compatible with the other Brass, Woodwind and String volumes in the series. Both the short sample audio and the linked youtube performance are from the Clarinet version of these arrangements.· There are also Duet and Quartet versions available of the same carols, in the same keys, so that no matter what instrument you play they will fit together. · This makes them ideal for building a full and flexible band or ensemble for school, community or church.· The keys chosen are the standard singing keys · These arrangements will provide colourful accompaniment to carol singing anywhere throughout the Christmas period.The carols are in alphabetical order and are as follows· Away in a Manger· Deck the Halls· Ding Dong Merrily on High· The First Nowell· God Rest ye Merry Gentleman· Good Christian Men Rejoice· Good King Wenceslas· Hark, the Herald Angels Sing· The Holly and the Ivy· I Saw Three Ships· In the Bleak Midwinter· It Came upon a Midnight Clear· O Cone All Ye Faithful· O Come, O Come Emmanuel· O Little Town of Bethlehem· Once in Royal David’s City· Silent Night· We Three Kings· While Shepherds Watched· We Wish you a Merry Christmas There are many more top quality arrangements and compositions by David McKeown for you to browse at http://www.sheetmusicplus.com/publishers/david-mckeown/6203
$7.60
6.89 €
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Trombone et Piano
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Various
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David McKeown
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20 Favourite Christmas Carols for solo Trombone and Piano
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David McKeown
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SheetMusicPlus
Christmas Carols for All, Volume 1 (for Woodwind Quartet)
Flûte, Hautbois, Clarinette, Basson
Woodwind Ensemble,Woodwind Quartet Bassoon,Clarinet,Flute,Oboe - Level 3 - Digital Downloa…
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Woodwind Ensemble,Woodwind Quartet Bassoon,Clarinet,Flute,Oboe - Level 3 - Digital Download SKU: A0.722547 Composed by Various. Arranged by Randy Calistri-Yeh. Christian,Christmas,Classical. 66 pages. Custom Chamber Music #3368693. Published by Custom Chamber Music (A0.722547). Volume 1 of our Christmas collection (the Green Book) contains ten classic Christmas carols that both you and your audience are sure to love.Be sure to also check out Volumes 2 and 3, each with 10 different carols!This arrangement is for woodwind quartet (flute, oboe, Bb clarinet, bassoon).Other arrangements of these carols, as well as two other volumes of Christmas carols, are available at the publisher link above or at www.customchambermusic.com.The carols included in Volume 1 are: I Heard the Bells on Christmas Day Angels from the Realms of Glory We Three Kings Away in a Manger (Mueller) O Christmas Tree (O Tannenbaum) Joy to the World While Shepherds Watched Their Flocks God Rest You Merry, Gentlemen O Come, O Come, Emmanuel Silent NightEach carol is in its original key, so it is easy to combine these with your own choir or piano/organ parts. Each carol also includes a new original descant counter-melody to feature your soloists and add a unique sound to your performance. The descant and melody are provided on each part to allow flexible solos. You will receive a full score and all individual parts in a single PDF file.
$12.95
11.74 €
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Flûte, Hautbois, Clarinette, Basson
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Various
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Randy Calistri-Yeh
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Christmas Carols for All, Volume 1
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Custom Chamber Music
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SheetMusicPlus
We Three Kings Tuba Jam (or Euphonium, Trumpet, Flugelhorn, Clarinet)
Baritone Horn TC/Euphonium,Bass Clef Instrument,Cornet,Flugelhorn,Instrumental Solo,Piano …
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Baritone Horn TC/Euphonium,Bass Clef Instrument,Cornet,Flugelhorn,Instrumental Solo,Piano - Level 3 - Digital Download SKU: A0.1455080 By Randy Adams. By Randy Adams. Arranged by Randy Adams. Christian,Christmas,Holiday,Jazz,Religious. Score and individual part. 20 pages. Randy Adams #1033819. Published by Randy Adams (A0.1455080). We Three Kings Tuba Jam is a fun arrangement originally written for solo tuba and piano with optional rhythm section. The piece begins in a traditional setting with solo tuba and piano and then adds a few lyrical descant lines in the solo part before breaking into a cool 5/8 Jazz feel with solo tuba riffs. Includes score and parts for Solo Tuba, Euphonium, T.C. Baritone, Piano, and optional Drums, Bass, and Guitar. The T.C. Baritone part also works nicely for Trumpet, Flugelhorn, or Clarinet. Intermediate to advanced difficulty (Jazz rhythms and a few tricky fingerings). 20 page pdf download.
$15.00
13.6 €
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Randy Adams
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Randy Adams
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We Three Kings Tuba Jam
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Randy Adams
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SheetMusicPlus
2 Christmas Favourites for Wind Quartet (volume two)
Flûte, Hautbois, Clarinette, Basson
Woodwind Ensemble,Woodwind Quartet Bassoon,Clarinet,Flute,Oboe - Level 2 - Digital Downloa…
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Woodwind Ensemble,Woodwind Quartet Bassoon,Clarinet,Flute,Oboe - Level 2 - Digital Download SKU: A0.1314866 Composed by John H. Hopkins, Traditional. Arranged by David Burndrett. Christmas. 23 pages. David Burndrett #903635. Published by David Burndrett (A0.1314866). No.1 We Three KingsNo.2 The Angel GabrielI have arranged these pieces so that they can be played by grade three standard players upwards!I have added an optional piano part for added support.Download includes the score and all of the parts.
$9.95
9.02 €
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Flûte, Hautbois, Clarinette, Basson
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John H
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David Burndrett
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2 Christmas Favourites for Wind Quartet
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David Burndrett
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SheetMusicPlus
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