| Giuseppe Verdi : La Forza del Destino Percussion Ensemble [Score] - Intermediate/advanced Tapspace Publications
By Giuseppe Verdi. Arranged by Luke Aylsworth. Percussion Ensemble. For glockens...(+)
By Giuseppe Verdi. Arranged by Luke Aylsworth. Percussion Ensemble. For glockenspiel, xylophone, vibraphone, 3 marimbas (low A), chimes, 3 timpani, snare drum finger cymbals, bass drum, china cymbal suspended cymbal, gong, crash cymbals (pair), wind chimes, crash cymbal, tambourine, sleigh bells, triangle, gong, synthesizer (optional), crotales (optional). (13 or 14 players). Level: Intermediate/Advanced. Full score and CD-Rom (containing printable parts). Duration 4:00. Published by Tapspace Publications.
$45.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Entrance of the Queen of Sheba Percussion Ensemble [Sheet music + CD-ROM] - Intermediate Tapspace Publications
(For mallet ensemble and two flutes). By George Frideric Handel (1685-1759). Arr...(+)
(For mallet ensemble and two flutes). By George Frideric Handel (1685-1759). Arranged by Brian Slawson. For Two flutes, two glockenspiels, two small marimbas (4-octave), one 4.3 octave marimba (low-A), one 5-octave marimba (low C) (8 or 9 players). This edition: Percussion ensemble. Concert Percussion Ensembles. NOTE: If four marimbas aren't available these parts can be performed by sharing two marimbas (one low-A, and one low-C). Medium. Folio parts on CD-Rom. 12 pages. Duration 2:30
$35.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Rain Percussion Ensemble [Sheet music + CD-ROM] - Easy Tapspace Publications
(for percussion ensemble and solo flute). Composed by Stuart P. O'Neil. Percussi...(+)
(for percussion ensemble and solo flute). Composed by Stuart P. O'Neil. Percussion Ensembles. For Flute (soloist), 4 tuned crystal glasses (C, D, Eb, and F), glockenspiel, xylophone, vibraphone (or marimba), chimes, rainstick, 4 timpani, windchimes, cabasa, suspended cymbal, sizzle cymbal, bass drum, tam tam, and triangle (11 players). Difficulty: Medium-Easy. Folio and CD-ROM. 16 pages. Duration 3:20. Published by Tapspace Publications
$36.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| UFO Tofu Percussion Ensemble [Sheet music + CD-ROM] - Advanced Tapspace Publications
(for percussion ensemble and rhythm section). By Bela Fleck. Arranged by Tom Gie...(+)
(for percussion ensemble and rhythm section). By Bela Fleck. Arranged by Tom Gierke. Percussion Ensemble. For 2 low A marimbas (adaptable for 3), 1 low E marimba, 2 vibraphones, 1 xylophone, 1 glockenspiel, 5 timpani, 1 drumset with optional electronic trigger pads, bongos, djembe, windchimes, triangle, finger cymbal (9 players). This edition: Percussion ensemble. Concert Percussion Ensembles. For percussion ensemble and rhythm section. Advanced. Folio parts on CD-Rom. 22 pages. Duration 3:10
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| Anitra's Dance Percussion Ensemble [Sheet music + CD-ROM] Tapspace Publications
(from Peer Gynt Suite No. 1 arranged for percussion ensemble). Composed by Edvar...(+)
(from Peer Gynt Suite No. 1 arranged for percussion ensemble). Composed by Edvard Grieg (1843-1907). Arranged by Brian Blume. Percussion Ensembles. For Glockenspiel, xylophone, bell tree, chimes, 2 vibraphones, 2 low-A marimbas, 1 low-C marimba, 4 timpani, double bass (optional), triangle, 3 suspended cymbals, windchimes, bass drum, ride cymbal, and finger cymbals (12-13 players). Difficulty: Medium-Advanced. Folio and CD-ROM. 10 pages. Duration 3:15. Published by Tapspace Publications
$40.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Accent on Performance Concert Favorites Collection Concert band Alfred Publishing
Concert Band Alto Clarinet SKU: AP.41373 22 Full Band Arrangements Cor...(+)
Concert Band Alto Clarinet SKU: AP.41373 22 Full Band Arrangements Correlated to Accent on Achievement (Alto Clarinet). Composed by John O'Reilly and Mark Williams. Band Supplement; Collections; Performance Music Ensemble. Accent on Performance. Book. 24 pages. Alfred Music #00-41373. Published by Alfred Music (AP.41373). ISBN 9780739098165. UPC: 038081462660. English. Over the course of ten years, legendary young-band composers John O'Reilly and Mark Williams composed and arranged over 100 creative works that correlate with specific pages in their highly successful band method, Accent on Achievement. Alfred Music is now proud to make these arrangements available in a book format that includes 22 full arrangements in each collection.
The Concert Favorites Collection features all original compositions composed in a variety of contemporary styles. Titles: Centurian * The Lost Kingdom * Cardiff Castle * Windstar Overture * Attack of the Cyclops * Knights Kingdom * and 16 others. $6.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Concerto for Alto Saxophone and Wind Ensemble Alto Saxophone [Reduction] Carl Fischer
(Piano Reduction). By David Maslanka. For Solo Alto Saxophone, Piano reduction. ...(+)
(Piano Reduction). By David Maslanka. For Solo Alto Saxophone, Piano reduction. Piano reduction. 68 pages. Duration 42 minutes. Published by Carl Fischer
$32.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Air Force One Orchestra - Beginner Alfred Publishing
Concert Band; Orchestra - Grade 1 SKU: AP.49214 Composed by Chris M. Bern...(+)
Concert Band; Orchestra - Grade 1 SKU: AP.49214 Composed by Chris M. Bernotas. 5 or More; Mixed Instruments - Flexible Instrumentation; Performance Music Ensemble; Single Titles; Solo Small Ensembles. Alfred Debut Series. Score and Part(s). Duration 2:20. Alfred Music #00-49214. Published by Alfred Music (AP.49214). ISBN 9781470648565. UPC: 038081569369. English. This version of Air Force One by Chris M. Bernotas is part of our Alfred FLEX offerings and is designed with maximum flexibility for use by any mix of instruments---wind, strings, and percussion, including like- or mixed-ensembles with as few as 5 players. The suggested instrumentation and a customizable Teacher Map will help you plan out how to best assign parts to suit your ensemble's needs. The 5-part instrumentation will support balanced instrumentation of the lower voices. It also comes with supplemental parts for maximum flexibility. With the purchase of this piece, permission is granted to photocopy the parts as needed for your ensemble. A percussion accompaniment track is also available as a free download. String parts have been carefully edited with extra fingerings and appropriate bowings to support students in mixed ensembles playing in less familiar keys.
Air Force One evokes the proud spirit that is symbolized by the Presidential aircraft. With its rhythmic drive and uplifting melody, this will quickly become a favorite of your students and audience alike. Now scored in a 5-part FLEX format, this piece has engaging rhythms, memorable melodies, and exciting percussion parts!
Percussion Accompaniment Track Downloads: with click without click. (2:20). $55.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Air Force One Orchestra [Score] - Beginner Alfred Publishing
Concert Band; Orchestra - Grade 1 SKU: AP.49214S Composed by Chris M. Ber...(+)
Concert Band; Orchestra - Grade 1 SKU: AP.49214S Composed by Chris M. Bernotas. 5 or More; Mixed Instruments - Flexible Instrumentation; Performance Music Ensemble; Single Titles; Solo Small Ensembles. Alfred Debut Series. Score. Duration 2:20. Alfred Music #00-49214S. Published by Alfred Music (AP.49214S). ISBN 9781470648572. UPC: 038081569376. English. This version of Air Force One by Chris M. Bernotas is part of our Alfred FLEX offerings and is designed with maximum flexibility for use by any mix of instruments---wind, strings, and percussion, including like- or mixed-ensembles with as few as 5 players. The suggested instrumentation and a customizable Teacher Map will help you plan out how to best assign parts to suit your ensemble's needs. The 5-part instrumentation will support balanced instrumentation of the lower voices. It also comes with supplemental parts for maximum flexibility. With the purchase of this piece, permission is granted to photocopy the parts as needed for your ensemble. A percussion accompaniment track is also available as a free download. String parts have been carefully edited with extra fingerings and appropriate bowings to support students in mixed ensembles playing in less familiar keys.
Air Force One evokes the proud spirit that is symbolized by the Presidential aircraft. With its rhythmic drive and uplifting melody, this will quickly become a favorite of your students and audience alike. Now scored in a 5-part FLEX format, this piece has engaging rhythms, memorable melodies, and exciting percussion parts!
Percussion Accompaniment Track Downloads: with click without click. (2:20). $8.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Three Appalachian Songs Concert band [Score and Parts] - Intermediate Boosey and Hawkes
For Band and Optional Chorus. Arranged by Dwight Bigler. Windependence Master ...(+)
For Band and Optional
Chorus. Arranged by Dwight
Bigler. Windependence Master
Level (Grade 4). Concert.
Softcover. Published by
Boosey and Hawkes
$95.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Four Chants about Saint Stephen the King Concert band [Score and Parts] - Easy EMB (Editio Musica Budapest)
Concert Band - Grade 3 SKU: BT.EMBZ14724SET EMB Concert Band Series. Conc...(+)
Concert Band - Grade 3 SKU: BT.EMBZ14724SET EMB Concert Band Series. Concert Piece. Set (Score & Parts). Composed 2011. 182 pages. Editio Musica Budapest #EMBZ14724SET. Published by Editio Musica Budapest (BT.EMBZ14724SET). 9x12 inches. János Galli (1921-2006) was a conductor, composer, music teacher, a well-known and highly respected personality in Hungarian wind music life. As a music teacher he directed numerous string and wind ensembles and choirs, made hundreds of transcriptions for wind orchestras, and instrumented works for ensembles of all sizes and formations. The most important of his works are his series of volumes of marches, folksong arrangements and church music. He was excellent at instrumentation. For its fine sound and easy playability we recommend to youth wind bands and their conductors this work of his composed in memory of the king who founded the Hungarian state.
János Galli (1921-2006) Chorleiter, Komponist und Musiklehrer, war in den ungarischen Bläserkreisen eine bekannte und anerkannte Persönlichkeit. Als Musiklehrer leitete er zahlreiche Streich- und Bläserensembles und Chöre, fertigte mehrere hundert Transkriptionen für Bläserorchester an und instrumentierte Werke für verschieden große Orchester unterschiedlicher Besetzung. Von seinen eigenen Kompositionen sind die Märsche, Volksliedbearbeitungen und die kirchenmusikalische Heftreihe am bedeutendsten. Er war eine exzellente Arrangeur. Sein Gedenkstück an den Staatsgründerkönig, Hl. Stephan empfehlen wir den Jugendblasorchestern und ihren Leitern wegen seines guten Klangs undwegen seiner einfacher Spielbarkeit. $84.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Fantasy on an Australian Song Concert band [Score and Parts] - Intermediate FJH
By Cowan / Paterson. Arranged by Barry E. Kopetz. Concert Band/Wind Ensemble. FJ...(+)
By Cowan / Paterson. Arranged by Barry E. Kopetz. Concert Band/Wind Ensemble. FJH Concert Band. Full set (score and parts). Score only also available: S. Concert Band. Score and Set of Parts. Composed 2001. Published by The FJH Music Company Inc. Level: Grade 3.
$50.00 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| SchArfe. Schatten For Wind Quintet And Piano Score And Parts [Score and Parts] Schott
Flute (Piccolo), oboe, clarinet in Bb, A and Eb, horn, bassoon and piano - diffi...(+)
Flute (Piccolo), oboe, clarinet in Bb, A and Eb, horn, bassoon and piano - difficult SKU: HL.49018092 For wind quintet and piano. Composed by Benjamin Schweitzer. This edition: Saddle stitching. Sheet music. Woodwind Ensemble. Benjamin Schweitzer prasentiert sein erstes Werk fur diese Formation. Experimentierfreudig erweitert er den typischen Charakter der Blaser um den Klang des Klaviers. Das Werk gliedert sich in zwei Satze, jeder Satz in mehrere Teile. Komplex-verflochtene P. Score and parts. Composed 2001-2002/2008. 132 pages. Duration 8'. Schott Music #ED20623. Published by Schott Music (HL.49018092). ISBN 9790001158459. UPC: 884088679071. 9.25x12.0x0.365 inches. Benjamin Schweitzer presents his first work for this combination. Willing to try out something new, he adds to the typical character of the wind instruments the sound of the piano. The work is made up of two movements, each movement of several parts. Complex interwoven passages are set against stringently composed sections.The composer says of his piece: 'the combination of shortness and an ease of attitude with the complexity of a major chamber music work relates, in a certain way, the piece to the late works of Elliott Carter.'. $43.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Score and Rehearsal Preparation GIA Publications
A Realistic Approach for Instrumental Conductors. Composed by Gary Stith. Mu...(+)
A Realistic Approach for
Instrumental Conductors.
Composed by Gary Stith. Music
Education. 96 pages. GIA
Publications #317211.
Published by GIA Publications
$19.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Cloud Metamorphosis Clarinet Ensemble [Score and Parts]
Clarinet Sextet SKU: SU.28090100 For Clarinet Sextet. Composed by ...(+)
Clarinet Sextet SKU: SU.28090100 For Clarinet Sextet. Composed by James Marshall. Woodwinds, Clarinet, Woodwinds, Woodwind Ensemble. Score and Parts. James Marshall Music #28090100. Published by James Marshall Music (SU.28090100). Cloud Metamorphosis is a textural piece in a sequence of four continuous sections drawn from separate cloud formation types. Unique motifs establish each section of the piece which is scored for Clarinet Sextet: Eb, 3 Bb, Bass, and Contra Alto Clarinets (alternate version with two Bass). Each musical texture is developed in a musical, rather than, programmatic way.Set includes alternate Bass Clarinet part for Contra Alto ClarinetClarinet Sextet (Eb, 3 Bb, Bcl, Contra-alto) Duration: 9' Composed: 2018 Published by: James Marshall. $65.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Concerto - Piano And Orchestra - Solo Part Schott
Piano and orchestra - difficult SKU: HL.49046544 For piano and orchest...(+)
Piano and orchestra - difficult SKU: HL.49046544 For piano and orchestra. Composed by Gyorgy Ligeti. This edition: Saddle stitching. Sheet music. Edition Schott. Softcover. Composed 1985-1988. Duration 24'. Schott Music #ED23178. Published by Schott Music (HL.49046544). ISBN 9781705122655. UPC: 842819108726. 9.0x12.0x0.224 inches. 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). $34.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Little Suite Concert band [Score and Parts] - Intermediate EMB (Editio Musica Budapest)
Concert Band - Grade 4 SKU: BT.EMBZ14493SET Score and parts for Sympho...(+)
Concert Band - Grade 4 SKU: BT.EMBZ14493SET Score and parts for Symphonic Band. Composed by László Dubrovay. EMB Concert Band Series. Concert Piece. Set (Score & Parts). Composed 2010. 304 pages. Editio Musica Budapest #EMBZ14493SET. Published by Editio Musica Budapest (BT.EMBZ14493SET). 9x12 inches. This work was written in 2005, prompted by the composer's determination that young members of junior, music school and conservatoire wind ensembles should not be limited to transcriptions for lack of original compositions, especially contemporary ones. The new devices used in the Little Suite are suitable for student players to try out. Indeed, they enjoy them - for instance, purring or whistling into the instrument. Each of the three-or-four-minute movements of this four-movement work can also be performed separately. The titles of the movements are the following: 1. In cheerful mood, 2. Song, 3. Joke, 4. March. This music in modern idiom, full ofinteresting new effects, offers young players an opportunity for enjoyable music-making together, and at the same time prepares them for playing more difficult contemporary works.
Little Suite eignet sich für junge fortgeschrittene Blasorchester sowie alle experimentierfreudigen Ensembles, denen noch ein modernes originales Blasorchesterwerk mit überraschenden Effekten im Repertoire fehlt. In Little Suite können die Musiker viel ausprobieren, beispielsweise auf ihren Instrumenten zu schnurren oder zu pfeifen. Jeder der drei- bis vierminütigen Sätze dieses Werkes kann separat aufgeführt werden: In Cheerful Mood, Song, Joke, March.
Little Suite (In Cheerful Mood, Song, Joke, March) pour musiciens décomplexés s’adresse aux Orchestres Juniors de niveau avancé, ainsi qu’aux formations la recherche de nouvelles expériences musicales. Il va falloir, siffl er, souffl er, ronronner, etc. Chacun des quatre mouvements (durée individuelle : 3-4 min.) peut être interprété séparément.
Little Suite si presta per essere eseguito da banda di livello avanzato come anche per tutte le formazioni desiderose di suonare un brano originale moderno con effetti sorprendenti. I quattro movimenti di questa piccola suite, In Cheerful Mood, Song, Joke e March, possono essere eseguiti separatamente. $132.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Little Suite Concert band [Score] - Intermediate EMB (Editio Musica Budapest)
Concert Band - Grade 4 SKU: BT.EMBZ14493 Score for Symphonic Band....(+)
Concert Band - Grade 4 SKU: BT.EMBZ14493 Score for Symphonic Band. Composed by László Dubrovay. EMB Concert Band Series. Concert Piece. Score Only. Composed 2010. 56 pages. Editio Musica Budapest #EMBZ14493. Published by Editio Musica Budapest (BT.EMBZ14493). 9x12 inches. English-Hungarian. This work was written in 2005, prompted by the composer's determination that young members of junior, music school and conservatoire wind ensembles should not be limited to transcriptions for lack of original compositions, especially contemporary ones. The new devices used in the Little Suite are suitable for student players to try out. Indeed, they enjoy them - for instance, purring or whistling into the instrument. Each of the three-or-four-minute movements of this four-movement work can also be performed separately. The titles of the movements are the following: 1. In cheerful mood, 2. Song, 3. Joke, 4. March. This music in modern idiom, full ofinteresting new effects, offers young players an opportunity for enjoyable music-making together, and at the same time prepares them for playing more difficult contemporary works.
Dieses Werk schrieb der Komponist 2005, für Jugendblasorchester. Jeder der vier Sätze dieser Komposition lässt sich auch einzeln vortragen. Die Titel der Sätze sind: 1. Gutgelaunt, 2. Lied, 3. Spass, 4. Marsch. Die in moderner Sprache gehaltene, mit vielen interessanten neuen Effekten bereicherte Musik bietet den jungen Instrumentalisten Möglichkeiten zum heiteren, gutgelaunten Musizieren in der Gemeinschaft und bereitet sie auch auf das Spielen schwierigerer zeitgenössischer Musik vor.
Little Suite (In Cheerful Mood, Song, Joke, March) pour musiciens décomplexés s’adresse aux Orchestres Juniors de niveau avancé, ainsi qu’aux formations la recherche de nouvelles expériences musicales. Il va falloir, siffl er, souffl er, ronronner, etc. Chacun des quatre mouvements (durée individuelle : 3-4 min.) peut être interprété séparément.
Little Suite si presta per essere eseguito da banda di livello avanzato come anche per tutte le formazioni desiderose di suonare un brano originale moderno con effetti sorprendenti. I quattro movimenti di questa piccola suite, In Cheerful Mood, Song, Joke e March, possono essere eseguiti separatamente. $21.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
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