SKU: HL.48185476
UPC: 888680837587. 9.0x12.0x0.069 inches.
Small modal suite is a piece written for Flute and Piano accompaniment by Henri Bert. Perfect for upper-beginner flautists, this nice work in five parts can be executed in its totality in 6?10 minutes. Each part can also be played separately. It includes: 1. Sonnerie 2. Legende 3. Tambourin 4. Cantilene 5. Saltarelle Henri Bert (1926-2007) was a French musician who received Harmony anc Conductor Prizes. He also studied the Organ and Choral songs..
SKU: HH.HH003-STR
Here presented as a colourful orchestral suite, these preludes dating from Scriabin's European tours of 1894 95 lend themselves delightfully to the small orchestra. The original piano part is published at the bottom of the score.
SKU: KN.52612
UPC: 822795526127.
Commissioned by the Kentucky Music Educators' Association for its 2002 All-State Jazz Ensemble, the inspiration for this medium-advanced, up-swing release comes from the music of Art Blakey's Jazz Messengers and Birdland, NYC's legendary jazz club. Though improvised solos are assigned to trumpet and trombone, chord sheets are included so anyone can serve as soloist. Mike's score calls for five trumpets, and the chart takes about six minutes from start to finish.
SKU: HH.HH003-FSC
ISBN 9790708024200.
SKU: FG.55011-105-9
ISBN 979-0-55011-105-9.
This Heinio work commissioned by the Key Ensemble looks at the Virgin Mary from fascinatingly different perspectives. The first two of the five songs are about the Black Madonna. The third alludes to Luther and has the hymn Vom Himmel hoch embedded in it. The fourth is based on a 13th century Stabat mater hymn, and the last draws on Orthodox motifs.
SKU: HH.HH003-MIN
ISBN 9790708024194.
SKU: HH.HH003-IPT
ISBN 9790708024682.
SKU: HL.48022799
8.5x11.75x0.42 inches.
This Heinio work commissioned by the Key Ensemble looks at the Virgin Mary from fascinatingly different perspectives. The first two of the five songs are about the Black Madonna. The third alludes to Luther and has the hymn Vom Himmel hoch embedded in it. The fourth is based on a 13th century Stabat mater hymn, and the last draws on Orthodox motifs. Duration ca 15 minutes. Voicing: SSSAAATTTBBB a cappella.
SKU: KN.52612S
SKU: ST.C463
ISBN 9790570814633.
This volume contains contrasting works by Federico Ruiz spanning quite a large and rich period of his compositional output that goes from his early Micro-Suite (1971), to lilting, sweet and rhythmic Venezuelan waltzes passing by the mysterious, intimate, and intense Nocturno (1994) plus pieces originally composed for film, and theatre. Real eclecticism in styles, moods and atmospheres that show Ruizâ??s talents and scope.The Nocturno is a deep, intriguing, substantial piece presenting a satisfying length which moves from different paths of the mind and the heart written in an abstract, chromatic idiom, that does not dissociate itself from the Venezuelan waltz and the joropo. One could perhaps say that there is a deconstruction of the latter. For the interpretation, the composer has suggested to me that it is allowed to have some flexibility in the tempo. Ruiz kindly dedicated it to me, and I have had the pleasure of performing it in many concerts.Although all highly expressive, the Three Venezuelan Waltzes present in this collection as well as the piece titled Aliseo, are works that are close to the colourful Venezuelan folk tradition. Federico Ruiz had given me two of them when we first met: â??Tu Presenciaâ?? (1981) and â??EloÃsaâ?? (1989) and then I attended a performance of the play â??Office Number Oneâ?? by Miguel Otero Silva with a fantastic actor, Elba Escobar in the role of Carmen Rosa and, I just fell in love and was very moved by the incidental music that I later discovered, by reading the programme, had been written by Federico Ruiz. Later that evening, I called him and asked to please make a piano score of the composition, so I could have the desired piece in my hands. That is how â??Carmen Rosaâ? waltz (1987) came to exist in a piano version.â??Eloisaâ?? is another Venezuelan waltz with more jazzy harmonies where precision in the rhythm and elegant playing is also essential, as it is in most of his pieces.â??Tu Presenciaâ?? was dedicated to his mother, Margarita. It is written with the structure of the Venezuelan waltz, which consists of a nostalgic subject that leads to a faster, happier middle section where the typical graceful rhythm is given by the left-hand accompaniment figure of a dotted crotchet followed by a quaver and a crotchet.The craft and magic found in the five movements of the Micro-Suite is based on a dodecaphonic row by Ernst Krenek. They remind us of the idiom of the Second Viennese School. These real miniatures seem to tell short stories. The â??Preludioâ?? is full of humour. I imagine dancing figures given by the jumps all over the keyboard and extreme dynamics; the phrases give the impression of a conversation with many questions and answers. The â??Invenciónâ?? is a kaleidoscopic piece where the hands mirror each other. The â??Passacagliaâ?? is the longest movement, at just over a minute where the prime motif is repeated three times on the bass line. For its construction Federico Ruiz uses as well the retrograde and the retrograde inversion of the twelve-tone series. It must be played expressively with dynamic contrasts between pianissimo and louder events. The â??Scherzoâ?? has repetitive motifs of a minor third in both hands and the â??Finalâ?? displays virtuosic passages for the pianist.Aliseo was originally written for the film â??Aire libreâ? (1995), by Luis Armando Roche. It contains elements of diverse types of Venezuelan joropo. In the film, the character of Aliseo Carvallo is played by the composer himself who performs this piece on a harpsichord to welcome scientists Alexander von Humboldt and Aimé Bonpland one day at the turn of the 1800â??s, as a sample of the new music from the South American land. It presents the refinement of the late European classical era in fusion with Venezuelan folk music.
SKU: CL.026-4536-01
Gustav Holst’s First Suite in Eb For Military Band is universally considered a band masterwork. This Build-A-Band edition places it within reach of those bands with severely limited or awkward instrumentation, making it the perfect selection for your small band with good players to sound great! This fast middle movement from the suite teaches young musicians to articulate contrasting staccato and legato passages. Optional parts for guitar, piano, bass and percussion can fill some missing holes in the band. (Also available in the Build-A-Band series: the first and third movements of this suite.).
About Build-A-Band Series
The Build-A-Band Series provides educational and enjoyable music for bands with incomplete or unbalanced instrumentation. Written using just four or five parts (plus percussion), these effective arrangements will work with any combination of brass, woodwind, string and percussion instruments as long as you distribute the parts so that each of the five parts is covered. All of the publications in the Build-A-Band Series have been arranged to be playable with any instrumentation as long as each part is used: 1st Part, 2nd Part, 3rd Part, 4th Part, and Bass Part. (Please note: In some of these arrangements the 4th Part, and the Bass Part are the same, making it possible to play those arrangements with only 4 parts.)
SKU: PR.114407260
UPC: 680160011209.
Ports of Call, a suite of five movements for two violins and guitar was written for the Trio Triento for their New York debut. Composed in the Summer of 1992, it was premiered in April 1993. 1992 was the 500th anniversary of the 1492 expulsion of the Jews from Spain and, of course, Columbus' trip to America. To commemorate these important events, I was commissioned by organizations in 20 major cities to write an oratorio. The result was Ever Since Babylon. The musical material was greatly influenced by tunes from around the Mediterranean region. These Sephardic melodies took on treat meaning for me, and I took five of them and expanded them into these five pieces which are actually dances. I felt that the combination of two violins and guitar lent itself well as a vehicle for this music. The names of the cities are used because the tunes originated in these particular locations. Marseille, a typical provencale dance with naturally changing meters and a light, airy, touch. Alexandria, much more mysterious and languid, reflecting the heat and inertia of that glorious city in slow though sometimes steady movement. Salonika, a wild dance in typical Greek fashion celebrating a holiday with abandon. The whirling movement goes relentlessly from beginning to end. Haifa is represented by two beautiful chant-like pastoral tunes which introduce the beauty and luminous quality of this, one of the most beautiful parts in the Eastern Mediterranean. Valencia, the last, a tribute to medieval Spain. The music is a culmination of the influences of the three great cultures, Moslem, Christian, and Jewish, which flourished there for hundreds of years. It is an uplifting dance with just a tinge of sadness in the center, since the Golden Age of which the tune was a part, had come to a tragic end in 1492. --Samuel Adler.
SKU: SU.32020060
Called music of terrific romantic gesture by the Buffalo News, Forward Looking Back is a fourteen-minute intermediate suite for piano in five movements that can be performed as a set or as individual works.Piano Duration: 14' Composed: 1992 Published by: Distributed Composer.
SKU: CL.012-1948-00
Five very short segments titled, ``Discovery,’’ ``Adventure,’’ ``Love,’’ ``Recreation,’’ and ``The Future’’ are combined in this minisuite. Highly descriptive with lots of dynamic contrast and carefully scored for high school groups.
SKU: CL.012-1948-01
SKU: CL.026-4457-01
The opening movement from the Holst First Suite is now available in the Build-A-Band format. This work is contrapuntal in nature and teaches the importance of independent playing. The flashy 16th note runs are scored for the mallets and snare drum, bringing the technical challenges within your students’ abilities. A perfect selection to make your small band with limited instrumentation sound great! Optional parts for guitar, piano, bass and percussion fill out the band. Choose the best classic contest literature for your students!
SKU: CL.026-4895-00
The famous march Seventeen Come Sunday from Ralph Vaughan Williams’ iconic Folk Song Suite has been masterfully arranged by Ed Huckeby for the Build-A-Band series, allowing bands with limited instrumentation to enjoy the uniqueness of this classic work. Every original melodic line, chord and nuance is included so it can be performed in its original style, even by ensembles with very limited instrumentation. This is a MUST HAVE for any band library. A true band standard!
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