| Double Bass Solo Techniques Double Bass [Sheet music] Oxford University Press
(A book of orchestral excerpts). By Keith Hartley. For Double bass technique boo...(+)
(A book of orchestral excerpts). By Keith Hartley. For Double bass technique book. Double Bass. Double Bass Solo. Double bass solos. Method book. 32 pages
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| Symphony in G Major, Opus 88, No. 8 Double Bass Barenreiter
Double bass SKU: BA.BA10418-85 Composed by Antonin Dvorak. Edited by Jona...(+)
Double bass SKU: BA.BA10418-85 Composed by Antonin Dvorak. Edited by Jonathan Del Mar. This edition: urtext edition. Stapled. Barenreiter Urtext. Single part. Opus 88. 12 pages. Baerenreiter Verlag #BA10418_85. Published by Baerenreiter Verlag (BA.BA10418-85). ISBN 9790006564699. 32.5 x 25.5 cm inches. Key: G major. Mendelssohn's Violin Concerto op. 64, is a key work of the 19th century, adhering to the classical style of Beethoven while pointing the way to the romantic ethos of Brahms. It has long been known that Mendelssohn performed the work with three soloists in succession: Ferdinand David, who worked closely with the composer during its composition and played it at the premiere; the 'child prodigy' Joseph Joachim; and Hubert Leonard, a young Belgian virtuoso about whom little is known.
As proof sheets for the Violin Concerto in E minor were long considered lost, it could be described as somewhat of a sensation when proofs for the solo violin part resurfaced together with a letter from Mendelssohn to Leonard.
The letter informs us that the composer invited Leonard to his home in Frankfurt in order to make his acquaintance. It was already known that Mendelssohn had given proof sheets to David; now we know that he also gave some to Leonard.
The recently discovered proofs reveal how Leonard played the concerto with Mendelssohn on that memorable evening in February 1845. Besides containing bowing marks and fingering, they also show how Leonard executed shifts of position and where he employed open strings. Furthermore modifications made to dynamic markings and additional legato bowing are shown.
It is safe to assume that all of this was done with Mendelssohn's approval. That the young violinist made a positive impression on the composer is confirmed in the latter's correspondence following their joint performance. Mendelssohn is full of praise for Leonard's playing and offers to lend his support in finding employment in Germany.
This revised edition of the Mendelssohn Violin Concerto (only the orchestral parts remain unchanged) includes a separate booklet on performance practice.
The editor, Clive Brown, is an acknowledged expert on Romantic performance practice.
About Barenreiter Urtext Orchestral Parts Why musicians love to play from Bärenreiter Urtext Orchestral Parts - Urtext editions as close as possible to the composer’s intentions - With alternate versions in full score and parts - Orchestral parts in an enlarged format of 25.5cm x 32.5cm - With cues, rehearsal letters, and page turns where players need them - Clearly presented divisi passages so that players know exactly what they have to play - High-quality paper with a slight yellow tinge which does not glare under lights and is thick enough that reverse pages do not shine through
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| Double Bass Solo Double bass, Piano (duet) Oxford University Press
By Hartley. For Piano Accomps for Bks 1 & 2. Published by Oxford University Pres...(+)
By Hartley. For Piano Accomps for Bks 1 & 2. Published by Oxford University Press.
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| Sonatina String Orchestra [Score] - Easy Carl Fischer
Orchestra String Orchestra - Grade 2-2.5 SKU: CF.YAS13F Composed by Muzio...(+)
Orchestra String Orchestra - Grade 2-2.5 SKU: CF.YAS13F Composed by Muzio Clementi. Arranged by Douglas Townsend. Carl Fischer Young String Orchestra Series. Classical. Full score. With Standard notation. 12 pages. Carl Fischer Music #YAS13F. Published by Carl Fischer Music (CF.YAS13F). ISBN 9780825848339. UPC: 798408048334. 8.5 X 11 inches. Key: G major. IApart from some of his Sonatinas, Opus 36, Clementi's life and music are hardly known to the piano teachers and students of today. For example, in addition to the above mentioned Sonatinas, Clementi wrote sixty sonatas for the piano, many of them unjustly neglected, although his friend Beethoven regarded some of them very highly. Clementi also wrote symphonies (some of which he arranged as piano sonatas), a substantial number of waltzes and other dances for the piano as well as sonatas and sonatinas for piano four-hands.In addition to composing, Clementi was a much sought after piano teacher, and included among his students John Field (Father of the 'Nocturne'), and Meyerbeer.In his later years, Clementi became a very successful music publisher, publishing among other works the first English edition of Beethoven's Violin Concerto, in the great composer's own arrangement for the piano, as well as some of his string quartets. Clementi was also one of the first English piano manufacturers to make pianos with a metal frame and string them with wire.The Sonatina in C, Opus 36, No. 1 was one of six such works Clementi wrote in 1797. He must have been partial to these little pieces (for which he also provided the fingerings), since they were reissued (without the fingering) by the composer shortly after 1801. About 1820, he issued ''the sixth edition, with considerable improvements by the author;· with fingerings added and several minor changes, among which were that many of them were written an octave higher.IIIt has often been said, generally by those unhampered by the facts, that composers of the past (and, dare we add, the present?), usually handled their financial affairs with their public and publishers with a poor sense of business acumen or common sense. As a result they frequently found themselves in financial straits.Contrary to popular opinion, this was the exception rather than the rule. With the exception of Mozart and perhaps a few other composers, the majority of composers then, as now, were quite successful in their dealings with the public and their publishers, as the following examples will show.It was not unusual for 18th- and 19th-century composers to arrange some of their more popular compositions for different combinations of instruments in order to increase their availability to a larger music-playing public. Telemann, in the introduction to his seventy-two cantatas for solo voice and one melody instrument (flute, oboe or violin, with the usual continua) Der Harmonische Gottesdienst, tor example, suggests that if a singer is not available to perform a cantata the voice part could be played by another instrument. And in the introduction to his Six Concertos and Six Suites for flute, violin and continua, he named four different instrumental combinations that could perform these pieces, and actually wrote out the notes for the different possibilities. Bach arranged his violin concertos for keyboard, and Beethoven not only arranged his Piano Sonata in E Major, Opus 14, No. 1 for string quartet, he also transposed it to the key of F. Brahm's well-known Quintet in F Minor for piano and strings was his own arrangement of his earlier sonata for two pianos, also in F Minor.IIIWe come now to Clementi. It is well known that some of his sixty piano sonatas were his own arrangements of some of his lost symphonies, and that some of his rondos for piano four-hands were originally the last movements of his solo sonatas or piano trios.In order to make the first movement of his delightful Sonatina in C, Opus 36, No. 1 accessible to young string players, I have followed the example established by the composer himself by arranging and transposing one of his piano compositions from one medium (the piano) to another. (string instruments). In order to simplify the work for young string players, in the process of adapting it to the new medium it was necessary to transpose it from the original key of C to G, thereby doing away with some of the difficulties they would have encountered in the original key. The first violin and cello parts are similar to the right- and left-hand parts of the original piano version. The few changes I have made in these parts have been for the convenience of the string players, but in no way do they change the nature of the music.Since the original implied a harmonic framework in many places, I have added a second violin and viola part in such a way that they not only have interesting music to play, but also fill in some of the implied harmony without in any way detracting from the composition's musical value. Occasionally, it has been necessary to raise or lower a few passages an octave or to modify others slightly to make them more accessible for young players.It is hoped that the musical value of the composition has not been too compromised, and that students and teachers will come to enjoy this little piece in its new setting as much as pianists have in the original one. This arrangement may also be performed by a solo string quartet. When performed by a string orchestra, the double bass part may be omitted.- Douglas TownsendString editing by Amy Rosen. About Carl Fischer Young String Orchestra Series This series of Grade 2/Grade 2.5 pieces is designed for second and third year ensembles. The pieces in this series are characterized by: --Occasionally extending to third position --Keys carefully considered for appropriate difficulty --Addition of separate 2nd violin and viola parts --Viola T.C. part included --Increase in independence of parts over beginning levels $8.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| An Italian Elegy, from Symphony No. 4 Italian String Orchestra [Score] - Intermediate Alfred Publishing
By Felix Mendelssohn. Arranged by Harry Alshin. Music by Felix Mendelssohn / arr...(+)
By Felix Mendelssohn. Arranged by Harry Alshin. Music by Felix Mendelssohn / arr. Harry Alshin. For String Orchestra. String Orchestra. String Orchestra. Level: 4 (grade 4). Conductor Score. 12 pages. Published by Alfred Publishing.
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| An Italian Elegy, from Symphony No. 4 Italian String Orchestra - Intermediate Alfred Publishing
By Felix Mendelssohn. Arranged by Harry Alshin. Music by Felix Mendelssohn / arr...(+)
By Felix Mendelssohn. Arranged by Harry Alshin. Music by Felix Mendelssohn / arr. Harry Alshin. For String Orchestra. String Orchestra. String Orchestra. Level: 4 (grade 4). Conductor Score and Parts. 1 pages. Published by Alfred Publishing.
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| Concerto for Trombone with Piano reduction Trombone and Piano [Score and Parts] - Advanced Cherry Classics
Trombone and Piano - Advanced SKU: CY.CC3136 Composed by John W. Ware. Cl...(+)
Trombone and Piano - Advanced SKU: CY.CC3136 Composed by John W. Ware. Classical. Score and Parts. Cherry Classics #CC3136. Published by Cherry Classics (CY.CC3136). ISBN 9790530111055. 8.5 x 11 in inches. This fine work has sat dormant for many years and has now come to light thanks to the efforts of Charlie Vernon, Bass Trombonist of the Chicago Symphony, who performed this virtuoso work as a young performer. The concerto is in the standard three movement form: Fast, slow, fast. This publication is a reduction from the original orchestral version (to be released at some point in the future). Here is a description of the Concerto by the composer, John W. Ware. I started on the trombone concerto in my junior year studying composition at Indiana University. While working on it, I learned of an opportunity to make it sort of a thesis piece (though students didn't write a thesis in composition while an undergrad). The original version was for trombone with string orchestra, and it was performed by the IU String Orchestra, conducted by Dr. Arthur Corra, with Robert Priez, trombone, as part of my senior composition recital. I thought the performance was quite good (Priez played extraordinarily well), and the piece received a newspaper review in the Indiana Daily Student, in which the reviewer wrote that the work was almost too exciting. I thought at the time that he had given me and my music a fine compliment. I made a piano version of the accompaniment, shortening and tightening the first movement, for performances in 1966; I made a second revision in 1967 for a performance by E. J. Eaton, trombonist at the University of Tennessee at Martin, arriving at the form in which the work exists now. The first movement is in fairly normal sonata-allegro form, in the key of A minor. It alternates between assertive and more thoughtful moods. There is no introduction; the soloist enters immediately and dominates much of the movement. The main theme is--by some manipulation--a source for most of the other themes, and all of the themes are used in close proximity to each other, including contrapuntal combinations, especially near the end. Originally the movement included a lengthy fugato, now much shortened and including a stretto that builds and subsides before a cadenza leading to a coda based on both the principal and secondary themes. Key relations in this movement, as in the other two, are quite free and often chromatic, with frequent third-relations; but returns to the tonic at the end are emphatic. The writing is challenging for both soloist and accompanist; the piece is substantial, requiring technique and stamina. The second movement is in F minor and is also built on both contrast and close relationships between the main and secondary themes. The main theme is heard in the piano part before the soloist enters. The mood is more lyric than in the first movement, but with dramatic episodes also. In this movement are some definite derivations from themes in the first movement. The ending is a sort of lengthened shadow of the opening. The finale returns to A minor, with themes slightly related to polonaise rhythms, but with strong echoes of first-movement themes. Here, too, dramatic and lyric episodes alternate, with dotted rhythms frequently propelling the music forward. The introduction is a brief and simple preparation for the solo entry. Later in the movement, a very brief, slightly slower section is soon overtaken by the original tempo. Toward the end, there is a second cadenza, again leading to a swift and energetic coda. The work is about 20 minutes in length and is appropriate for advanced performers. $40.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Intermediate Music for Three, Christmas, Part 3 - Bass Clarinet [Part] Last Resort Music Publishing
(Mix and Match Trios for Strings, Woodwinds, Saxophones and Keyboard). By Variou...(+)
(Mix and Match Trios for Strings, Woodwinds, Saxophones and Keyboard). By Various. Arranged by Daniel Kelley. String Trio, Wind Trio, Mixed Trio, Clarinet Trio, Saxophone Trio, Piano Trio, Piano Quartet. For Bass Clarinet in Bb. Trios. Intermediate Music for Three. Christmas. Intermediate. Partbook - Part 3. Published by Last Resort Music Publishing
$20.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| 20 Traditional Wedding Solos for Cello or Bassoon
Cello, Piano [Reduction] - Intermediate/advanced Last Resort Music Publishing
Edited by Jan Kelley. Arranged by Daniel Kelley. For Cello and Piano. Solos. Rec...(+)
Edited by Jan Kelley. Arranged by Daniel Kelley. For Cello and Piano. Solos. Recital, Wedding. Level: Intermediate/Advanced. Piano Score and Solo Part. Published by Last Resort Music Publishing.
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| Major Works For Orchestra Orchestra [Score] Theodore Presser Co.
Orchestra - all SKU: PR.816600040 Composed by Wolfgang Amadeus Mozart. CD...(+)
Orchestra - all SKU: PR.816600040 Composed by Wolfgang Amadeus Mozart. CD Sheet Music (Version 1). Full Scores to all of the major works for orchestra by Mozart - parts not included. Classical Period. CD Sheet Music. 2000 printable pages. Published by Theodore Presser Company (PR.816600040). UPC: 680160600045. 5.5x5 inches. This disk contains study scores of all 41 of Mozart's Symphonies, as well as Concertos for Winds and Strings (Piano Concertos are on a companion CD-ROM), Serenades, Opera Overtures, Divertimentos, and other works. About CD Sheet Music (Version 1) CD Sheet Music (Version 1) was the initial CD Sheet Music series distributed by Theodore Presser. The CDs include thousands of pages of music that are viewable and printable on Mac or PC. Version 1 titles are a great value at 40% off, as we make room in our warehouse for the newly enhanced CD Sheet Music (Version 2.0) series. $18.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Symphony No. 7, Op. 71 "The Dreams of Gandalf" Wilhelm Hansen
Score Orchestra SKU: HL.14028658 Composed by Aulis Sallinen. Music Sales ...(+)
Score Orchestra SKU: HL.14028658 Composed by Aulis Sallinen. Music Sales America. 20th Century. Book [Softcover]. 112 pages. Edition Wilhelm Hansen #NOV890195. Published by Edition Wilhelm Hansen (HL.14028658). ISBN 9780853609292. 8.25x11.75x0.333 inches. Aulis Sallinen's Symphony No.7 is related to J.R.R. Tolkien's great novel The Lord of the Rings. The symphony does not actually depict the events in the novel; rather it is a musical expression of the literary atmosphere and poetry. The symphony was commissioned by the Gothenburg Symphony Orchestra and composed in 1995-6. Orchestration: 3 Flutes, 3 Oboes, 3 Clarinets in B flat, 3 Bassoons, 4 Horns in F, 4 Trumpets in B flat, 3 Trombones, Tuba, Timpani, Percussion, Celesta, Harp, Strings. The duration of the work is 25 minutes, full score and orchestral material is available for hire. $53.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Fox, You've Stolen the Goose String Quartet: 2 violins, viola, cello - Intermediate Schott
String quartet (double bass ad libitum) - intermediate SKU: HL.49018965 <...(+)
String quartet (double bass ad libitum) - intermediate SKU: HL.49018965 Double Bass Part. Composed by Ludwig van Beethoven and Wolfgang Birtel. This edition: Saddle stitching. Sheet music. Edition Schott. Classical. Softcover. 8 pages. Duration 13'. Schott Music #ED20713-15. Published by Schott Music (HL.49018965). ISBN 9790001175791. What do Beethoven and the children's song Fuchs Du hast die Gans gestohlen have in common? Nothing, strictly speaking. Although the song was written as early as 1824 (and theoretically, Beethoven could have known it), it has not left deep marks on his oeuvre. But what if he had known it? Wolfgang Birtel pursued this question and, in reply to it, conceived a symphony for string quartet: behind each movement is an original symphony by Beethoven (spiced with quotes from other works). The children's song appears as the main theme in the final movement of Symphony No. 1, in the famous funeral march of Eroica, fate knocks at the door (of the goose house) in remembrance of Symphony No. 5, and the work ends with Ode to the Roast Goose (Symphony No. 9). A funny and cleverly arranged collage, a performing and listening pleasure in the footsteps of Beethoven. $7.99 - See more - Buy online | | |
| Symphony No. 8 - Le Soir Symphonic Band [Score] Barenreiter
Urtext der Haydn-Gesamtausgabe. In der Streichergruppe auch 2 Violino comcertato...(+)
Urtext der Haydn-Gesamtausgabe. In der Streichergruppe auch 2 Violino comcertato. By Franz Joseph Haydn. Edited by Braun, Jurgen; Gerlach, Sonja. For Flute, Oboe (2), Bassoon, Horn (2), Strings. Score; Urtext Edition. Hob.I:8. Published by Baerenreiter-Ausgaben (German import).
$39.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| The Orchestra Musician's CD-ROM Library, Volume 8 Double Bass CD Sheet Music
SKU: SU.00220207 Composed by Igor Stravinsky. Strings, Contrabass. CD (PD...(+)
SKU: SU.00220207 Composed by Igor Stravinsky. Strings, Contrabass. CD (PDF Scores). CD Sheet Music #00220207. Published by CD Sheet Music (SU.00220207). AVAILABLE FOR SALE TO U.S. CUSTOMERS ONLY The complete Double Bass parts [CD-ROM] for the 48 orchestral works included in The Orchestra Musician's CD-ROM Libraryâ„¢, Volume 8: Stravinsky, Bartók and more. If these parts were purchased separately, this collection could cost several hundred dollars. Parts are easily viewable and printable on either PC or Mac using embedded Adobe® Reader technology. Contents: BARTÓK Rhapsody for Piano and Orchestra, Suite No. 1, Suite No. 2, 2 Portraits, 2 Images, 4 Pieces, Romanian Folk Dances; CARPENTER Adventures in a Perambulator (Fantastic Suite); DOHNÃNYI Variations on a Nursery Song; ENESCO Romanian Rhapsody No. 1, Romanian Rhapsody No. 2; FALLA Nights in the Gardens of Spain, La Vida Breve Dance, The Three-Cornered Hat Dances; GLAZUNOV Violin Concerto; JANÃCEK Lachian Dances 1-6; MILHAUDSuite No. 2 Symphonique, Saudades do Brasil; PROKOFIEV Piano Concerto No. 1, Piano Concerto No. 3, Violin Concerto No. 1, Symphony No. 1 (Classical); RACHMANINOFF Symphony No. 1, Symphony No. 2, Isle of the Dead, Piano Concerto No. 1, Piano Concerto No. 2, Piano Concerto No. 3; RESPIGHI Ancient Airs and Dances Suite No. 1, Fountains of Rome, Concerto Gregoriano; STRAVINSKY Petrushka Suite, The Rite of Spring (1911 version), Chant du Rossignol (original version), Pulcinella Suite, Suite No. 1 for Small Orchestra, Fireworks, L'Histoire du Soldat, Scherzo Fantastique, Four Studies for Orchestra, Symphony No. 1; VAUGHAN WILLIAMS Symphony No. 1 (Sea), Symphony No. 2 (London), Symphony No. 3 (Pastoral), Wasps Overture (Suite), Fantasia on a Theme of Thomas Tallis, Fantasia on Christmas Carols, Five Mystical Songs Visit for more information Please note, customers using Macintosh computers running macOS Catalina (version 10.5) have reported hardware compatibility issues with this product. If you encounter these issues, we recommend copying the entire contents of the disk to a contained folder on a thumb drive or other storage device for use on your Mac. $20.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Royal Coronation Dances Concert band [Score and Parts] - Easy Manhattan Beach Music
Concert band - Grade 3 SKU: MH.1-59913-054-8 Composed by Bob Margolis. Su...(+)
Concert band - Grade 3 SKU: MH.1-59913-054-8 Composed by Bob Margolis. Suitable for advanced middle school, high school, community and college bands. Conductor score and set of parts. Duration 4:45. Published by Manhattan Beach Music (MH.1-59913-054-8). ISBN 9781599130545. Royal Coronation Dances is the first sequel to the Fanfare Ode & Festival, both being settings of dance music originally arranged by Gervaise in the mid 16th-century (the next sequel is The Renaissance Fair, which uses music of Susato and Praetorius). Fanfare Ode & Festival has been performed by many tens of thousands of students, both in high school and junior high school. I have heard that some of them are amazed that the music they are playing was first played and danced to over 400 years ago. Some students tend to think that music started with Handel and his Messiah to be followed by Beethoven and his Fifth Symphony, with naught in between or before of consequence. Although Royal Coronation Dances is derived from the same source as Fanfare Ode & Festival, they are treated in different ways. I envisioned this new suite programmatically -- hence the descriptive movement titles, which I imagined to be various dances actually used at some long-ago coronation. The first movement depicts the guests, both noble and common, flanked by flag and banner bearers, arriving at the palace to view the majestic event. They are festive, their flags swirling the air, their cloaks brightly colored. In the second movement, the queen in stately measure moves to take her place on the throne as leader and protector of the realm. In the third movement, the jesters of the court entertain the guests with wild games of sport. Musically, there are interesting sonorities to recreate. Very special attention should be given to the tambourine/tenor drum part in the first movement. Their lively rhythms give the movement its power. Therefore they should be played as distinctly and brilliantly as possible. The xylophone and glockenspiel add clarity, but must not be allowed to dominate. Observe especially the differing dynamics; the intent is to allow much buzzing bass to penetrate. The small drum (starting at meas. 29) should be played expressively, with attention to the notated articulations, with the brass light and detached, especially in a lively auditorium. It is of some further interest that the first dance is extremely modal. The original is clearly in G mixolydian mode (scale: G-A-B-C-D-E-F-G). However, other editors might put in F-sharps in many places (changing the piece almost to G major), in the belief that such ficta would have been automatically put in by the 16th-century performers as they played. I doubt it. I have not only eschewed these within the work, but even at the cadences. So this arrangement is most distinctly modal (listen to the F-naturals in meas. 22 and 23, for instance), with all the part-writing as Gervaise wrote it. In the second movement, be careful that things do not become too glued together. In the 16th century this music might have been played by a consort of recorders, instruments very light of touch and sensitive to articulation. Concert band can easily sound heavy, and although this movement has been scored for tutti band, it must not sound it. It is essential, therefore, that you hear all the instruments, with none predominating. Only when each timbre can be heard separately and simultaneously will the best blend occur, and consequently the greatest transparency. So aim for a transparent, spacious tutti sound in this movement. Especially have the flutes, who do this so well, articulate rather sharply, so as to produce a chiffing sound, and do not allow the quarter-notes to become too tied together in the entire band. The entrance of the drums (first tenor, then bass) are events and as such should be audible. Incidentally, this movement begins in F Major and ends in D Minor: They really didn't care so much about those things then. The third movement (one friend has remarked that it is the most Margolisian of the bunch, but actually I am just getting subtler, I hope) again relies upon the percussion (and the scoring) to make its points. Xylophone in this movement is meant to be distinctly audible. Therefore, be especially sure that the xylophone player is secure in the part, and also that the tambourine and toms sound good. This movement must fly or it will sink, so rev up the band and conduct it in 1 for this mixolydian jesting. I suppose the wildly unrelated keys (clarinets and then brass at the end) would be a good 16th-century joke, but to us, our put-up-the-chorus-a-half-step ears readily accept such shenanigans. Ensemble instrumentation: 1 Full Score, 1 Piccolo, 4 Flute 1, 4 Flute 2 & 3, 2 Oboe 1 & 2, 2 Bassoon 1 & 2, 1 Eb Clarinet, 4 Bb Clarinet 1, 4 Bb Clarinet 2, 4 Bb Clarinet 3, 2 Eb Alto Clarinet, 1 Eb Contra Alto Clarinet, 3 Bb Bass & Bb Contrabass Clarinet, 2 Eb Alto Saxophone 1, 2 Eb Alto Saxophone 2, 2 Bb Tenor Saxophone, 2 Eb Baritone Saxophone, 3 Bb Trumpet 1, 3 Bb Trumpet 2, 3 Bb Trumpet 3, 4 Horn in F 1 & 2, 2 Trombone 1, 4 Trombone 2 & 3, 3 Euphonium (B.C.), 2 Euphonium (T.C.), 4 Tuba, 1 String Bass, 1 Timpani (optional), 2 Xylophone & Glockenspiel, 5 Percussion. $95.00 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Intermediate Music for Three, Christmas, Part 3 - Cello/Bassoon [Part] Last Resort Music Publishing
(Mix and Match Trios for Strings, Woodwinds, Saxophones and Keyboard). By Variou...(+)
(Mix and Match Trios for Strings, Woodwinds, Saxophones and Keyboard). By Various. Arranged by Daniel Kelley. String Trio, Wind Trio, Mixed Trio, Clarinet Trio, Saxophone Trio, Piano Trio, Piano Quartet. For Cello or Bassoon in C. Trios. Intermediate Music for Three. Christmas. Intermediate. Partbook - Part 3. Published by Last Resort Music Publishing
$20.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Music for Four, Volume 2, Part 4 - Cello/Bassoon Cello, Bassoon [Part] Last Resort Music Publishing
By Various. Arranged by Daniel Kelley. For Cello or Bassoon. Quartets. Music for...(+)
By Various. Arranged by Daniel Kelley. For Cello or Bassoon. Quartets. Music for Four. Baroque / Classical. Intermediate/Advanced. Part 4
$20.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Symphony No. 8 Orchestra [Score] Oxford University Press
Full orchestra (2 flutes, 2 oboes, 2 clarinets, 2 bassoons (opt 3rd), 2 horns, 2...(+)
Full orchestra (2 flutes, 2 oboes, 2 clarinets, 2 bassoons (opt 3rd), 2 horns, 2 trumpets, 3 trombones, timpani, 4 percussion [opt 5th], 2 harp, celeste, strings) - Difficult SKU: OU.9780193413290 Composed by Ralph Vaughan Williams. Edited by David Lloyd-Jones. Orchestral parts for sale. Full score. 120 pages. Duration 28'. Oxford University Press #9780193413290. Published by Oxford University Press (OU.9780193413290). ISBN 9780193413290. 12 x 9 inches. For this newly engraved edition, editor David Lloyd-Jones has consulted all extant sources and materials to create a score matching the composer's intentions. The full score is completed with Textual Notes and Preface, and accompanying orchestral parts are available on hire from the publisher. $144.99 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| London Symphony No. 8 - The Clock Cello, String Bass (duet) [Part] Barenreiter
By Franz Joseph Haydn. Edited by Horst Walter. For Violoncello/Contrabass. Singl...(+)
By Franz Joseph Haydn. Edited by Horst Walter. For Violoncello/Contrabass. Single Part. Hob.I:101. Published by Baerenreiter-Ausgaben (German import). (BA4671 82)
$9.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| The Orchestra Musician's CD-ROM Library, Volume 1 Double Bass CD Sheet Music
SKU: SU.00220081 Composed by Ludwig van Beethoven. Strings, Contrabass. C...(+)
SKU: SU.00220081 Composed by Ludwig van Beethoven. Strings, Contrabass. CD (PDF Scores). CD Sheet Music #00220081. Published by CD Sheet Music (SU.00220081). The complete Double Bass parts [CD-ROM] for the 90 orchestral works included in The Orchestra Musician's CD-ROM Library™, Volume 1: Beethoven, Schubert and more. If these parts were purchased separately, this collection could cost several hundred dollars. Parts are easily viewable and printable on either PC or Mac using embedded Adobe® Reader technology. Contents: AUBER Fra Diavolo Overture; BEETHOVEN Symphonies 1-9, Piano Concertos 1-5, Violin Concerto, Overtures (36 works); BELLINI Norma Overture; BERLIOZ Symphonie Fantastique, Benvenuto Cellini Overture, Roman Carnival Overture; CHERUBINI Medea Overture, Anacréon Overtures; DONIZETTI Daughter of the Regiment Overture, Don Pasquale Overture; MENDELSSOHN Symphonies 1-5, Piano Concertos 1-2, Violin Concerto, Elijah, Hebrides Overture, Midsummer Night's Dream Overture and Incidental Music, Ruy Blas Overture; SCHUBERT Symphonies 1-6, 8, 9, Fierrabras Overture, Rosamunde Overture; WEBER Symphony No. 1, Clarinet Concerto, Euryanthe Overture, Der Freischütz Overture, Oberon Overture Visit for more information Please note, customers using Macintosh computers running macOS Catalina (version 10.5) have reported hardware compatibility issues with this product. If you encounter these issues, we recommend copying the entire contents of the disk to a contained folder on a thumb drive or other storage device for use on your Mac. $20.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| London Symphony No. 8 - The Clock Symphonic Band [Score] Barenreiter
By Franz Joseph Haydn. Edited by Horst Walter. For Flute (2), Oboe (2), Clarinet...(+)
By Franz Joseph Haydn. Edited by Horst Walter. For Flute (2), Oboe (2), Clarinet (b flat) (2), Bassoon (2), Horn (2), Trumpet (2), Kettledrum, Strings. Score; Urtext Edition. Hob.I:101. Published by Baerenreiter-Ausgaben (German import).
(1)$53.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Symphony No. 8 Symphonic Band [Score] Barenreiter
By Ludwig van Beethoven. Edited by Jonathan Del Mar. For Flute (2), Oboe (2), Cl...(+)
By Ludwig van Beethoven. Edited by Jonathan Del Mar. For Flute (2), Oboe (2), Clarinet (b flat) (2), Bassoon (2), Horn (2), Trumpet (2), Kettledrum, Strings. Score; Urtext Edition (paperbound). Op. 93. Duration 26'. Published by Baerenreiter-Ausgaben (German import).
$66.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Symphony No. 8 Symphonic Band [Critical Reports] Barenreiter
By Ludwig van Beethoven. Edited by Jonathan Del Mar. For Flute (2), Oboe (2), Cl...(+)
By Ludwig van Beethoven. Edited by Jonathan Del Mar. For Flute (2), Oboe (2), Clarinet (b flat) (2), Bassoon (2), Horn (2), Trumpet (2), Kettledrum, Strings. Critical Commentary (paperbound). Op. 93. Published by Baerenreiter-Ausgaben (German import). (BA9008 40)
$49.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Symphony [No. 38] in D major K. 504 Breitkopf & Härtel
Viola (2.2.0.2 - 2.2.0.0 - timp - str) SKU: BR.OB-5254-19 Prague Symph...(+)
Viola (2.2.0.2 - 2.2.0.0 - timp - str) SKU: BR.OB-5254-19 Prague Symphony - Urtext. Composed by Wolfgang Amadeus Mozart. Edited by Cliff Eisen. Orchestra; stapled. Orchester-Bibliothek (Orchestral Library). The Prague Symphony will sound different with the new Breitkopf Urtext material. Symphony; Classical. Part. 8 pages. Duration 30'. Breitkopf and Haertel #OB 5254-19. Published by Breitkopf and Haertel (BR.OB-5254-19). ISBN 9790004335246. 10 x 12.5 inches. The present edition is the first since 1932 to be based on Mozarts autograph score. It reflects the conviction that his autograph scores represent not only the substance of his works, but also actual performances. A Fassung letzter Hand is scarcely possible.Cliff Eisen, one of the leading Mozart specialists of his generation, takes particular care in bringing his expert knowledge of contemporary performance practice into play when evaluating authentic part material. In the Prague Symphony, Eisen comes to surprising conclusions in a number of cases, such as the delicate matter of the division of the bassoons led col basso. Which of the low strings are they intended to play along with? When read properly, the sources provided a clear-cut answer.
The Prague Symphony will sound different with the new Breitkopf Urtext material. $9.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
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