| Time Pieces for Bassoon, Volume 1 Bassoon, Piano (duet) ABRSM Publishing
By Various. Edited by I. Denley. For Bassoon, Piano. Time Pieces for Bassoon Vol...(+)
By Various. Edited by I. Denley. For Bassoon, Piano. Time Pieces for Bassoon Volume 1 (Music through the Ages in 2 Volumes). Grades 1-3
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| Hugo Alfven : Bourree - Spelpartitur 3 Bassoons Gehrmans Musikforlag
(for tre fagotter ur sviten Gustav II Adolf). By Hugo Alfven (1872-1960). For 3 ...(+)
(for tre fagotter ur sviten Gustav II Adolf). By Hugo Alfven (1872-1960). For 3 bassoons (2 bassoons, cello). Bouree for Three Bassoons from the suite Gustav II Adolf. Playing score. Op. 49:5. 4 pages. Duration 2 minutes. Published by Gehrmans Musikforlag
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| Christmas Hymn-Alongs - Bassoon Bassoon [Score] Jackman Music Corporation
Arranged by Brent Jorgensen. Christian, Christmas, Christmas Carols, Contempo...(+)
Arranged by Brent Jorgensen.
Christian, Christmas,
Christmas Carols,
Contemporary Christian,
Gospel, Holiday,
Inspirational. Score. Jackman
Music Corporation #01994.
Published by Jackman Music
Corporation
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| College Songs for School Bands - Bassoon (Marching Band) Individual Part Hal Leonard | | |
| Symphony No. 4 for Band (West Point Symphony) Concert band [Score and Parts] - Intermediate Schirmer
Score and Parts. By Morton Gould. Score and full set of parts. Hal Leonard Conce...(+)
Score and Parts. By Morton Gould. Score and full set of parts. Hal Leonard Concert Band Series. Grade 4. Size 9x12 inches. Published by G. Schirmer, Inc.
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| Scherzo Op. 13e Bassoon, Piano (duet) Schott
Bassoon; Piano Accompaniment (1 (auch Picc.) * 1 * 3 (3. auch Bassklar.) * 0 - 1...(+)
Bassoon; Piano Accompaniment (1 (auch Picc.) * 1 * 3 (3. auch Bassklar.) * 0 - 1 * 1 * 0 * 0 - P. S. (Xyl. * Trgl. * Beck. * Gong * kl. Tr. * gr. Tr. m. Beck.) (2 Spieler) - Hfe. * Cel. - Str. (4 * 4 * 3 * 2 * 1)) - difficult SKU: HL.49019614 Bassoon with Piano Reduction. Composed by Bertold Hummel. This edition: Saddle stitching. Sheet music. Woodwind. Ein Stuck fur Fagott und Kammerorchester. Classical. Softcover. Composed 1957. Op. 13e. 16 pages. Duration 4'. Schott Music #FAG35. Published by Schott Music (HL.49019614). ISBN 9790001192286. UPC: 888680014087. 9.0x12.0x0.071 inches. Although Bertold Hummel composed this Scherzo for bassoon and chamber orchestra more than fifty years ago, the piece still captivates every listener with its youthful, carefree liveliness. Virtuoso and witty, it does justice to its title in every respect. It was created in 1957 upon commission of the Kleines Unterhaltungsorchester Sudwestfunk Baden-Baden. The solo part of the four-minute concert piece with the tempo indication 'allegro molto' was tailor-made by Hummel for the orchestra's principal bassoonist Helmut Boker.In addition to the hire material, a piano score with solo part is now available on sale. $17.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Dances for Three 2 Clarinets, Bassoon [Score and Parts] Theodore Presser Co.
For 2 B-Flat Clarinets and Bassoon. By Peter Schickele. Wind trio. For Clarinet ...(+)
For 2 B-Flat Clarinets and Bassoon. By Peter Schickele. Wind trio. For Clarinet I, Clarinet II, Bassoon. Premiered February 6, 1982 at a concert that was part of a composer-in-residence that was part of a composer-in-residence weekend at the University of Western Ontario. Score and parts. 16 pages. Duration 14:00. Published by Theodore Presser Company.
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| Songs of the West Concert band [Score and Parts] G and M Brand Music Publishers
Concert band (Piccolo, 1st Flute, 2nd Flute, 1st/2nd Oboes*, Eb Clarinet*, 1st B...(+)
Concert band (Piccolo, 1st Flute, 2nd Flute, 1st/2nd Oboes*, Eb Clarinet*, 1st Bb Clarinet, 2nd Bb Clarinet, 3rd Bb Clarinet, Eb Alto Clarinet*, Bb Bass Clarinet, 1st/2nd Bassoon, 1st Eb Alto Saxophone, 2nd Eb Alto Saxophone, Bb Tenor Saxophone, Eb Baritone Saxophone*,) - grade 5 SKU: CN.R10018 Composed by J. Curnow. Arranged by James Curnow. Band Music. Score and parts. Duration 11:15. Published by G & M Brand Music Publishers (CN.R10018). The melodies in Songs of the West differ in styles, keys, and tempos. The nautical nature of the coastal region is evident in many of the melodies.
Gustav Holst did not have much success in getting his early compositions published. In 1905, he began a career as a gifted teacher when he was appointed Director of Music at St. Paul's Girls School in Hammersmith. It was also a time when he developed the friendship of Ralph Vaughan Williams and the two developed an interest in English folk music. This became a turning point in Holst's style as he left behind the heaviness of the Wagnerian style for the simplicity of folk melodies. Vaughan Williams wrote 'we were dazzled, we wanted to preach a new gospel, we wanted to rhapsodise on these tunes just as Liszt and Grieg had done on theirs - we simply were fascinated by the tunes.' Enthusiastic archivist Cecil Sharp, of the Folk Song Society, encouraged Holst to write 'Two Selections of Folk Songs' based on material Sharp had collected in the West of England. Songs of the West was the first of the pair noted as Opus 22 was written in 1906; A Somerset Rhapsody was completed the following year. The melodies in Songs of the West differ in styles, keys, and tempos. The nautical nature of the coastal region is evident in many of the melodies. Originally written for orchestra, noted composer James Curnow was commissioned in 1986 to arrange the work for concert band. $130.00 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Movie Trios for All Flexible Instrumentation [Sheet music] Alfred Publishing
(Trombone, Baritone B.C., Bassoon, Tuba). Arranged by Michael Story and Michael ...(+)
(Trombone, Baritone B.C., Bassoon, Tuba). Arranged by Michael Story and Michael Story. For Trombone, Baritone B.C., Bassoon, Tuba. Mixed Instruments - Flexible Instrumentation; Trio. Instrumental Ensembles for All. Movie. Book. 24 pages
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| The Beginning Band Collection Concert band Curnow Music
Trombone/Euphonium B.C./Bassoon Part. Arranged by James Curnow. Curnow Concert B...(+)
Trombone/Euphonium B.C./Bassoon Part. Arranged by James Curnow. Curnow Concert Band Full Set. 16 pages. Published by Curnow Music.
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| Great Smoky Mountains [Score] Theodore Presser Co.
Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clar...(+)
Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clarinet 3, Contrabass Clarinet, Contrabassoon, Double Bass, English Horn, Euphonium, Flute 1, Flute 2, Horn 1, Horn 2, Horn 3, Horn 4, Oboe 1, Oboe 2, Percussion 1 and more. SKU: PR.16500102F Mvt. 2 from Symphony No. 6 (Three Places in the East). Composed by Dan Welcher. Full score. 52 pages. Theodore Presser Company #165-00102F. Published by Theodore Presser Company (PR.16500102F). ISBN 9781491131749. UPC: 680160680276. Ever since the success of my series of wind ensemble works Places in the West, I've been wanting to write a companion piece for national parks on the other side of the north American continent. The earlier work, consisting of GLACIER, THE YELLOWSTONE FIRES, ARCHES, and ZION, spanned some twenty years of my composing life, and since the pieces called for differing groups of instruments, and were in slightly different styles from each other, I never considered them to be connected except in their subject matter. In their depiction of both the scenery and the human history within these wondrous places, they had a common goal: awaking the listener to the fragile beauty that is in them; and calling attention to the ever more crucial need for preservation and protection of these wild places, unique in all the world. With this new work, commissioned by a consortium of college and conservatory wind ensembles led by the University of Georgia, I decided to build upon that same model---but to solidify the process. The result, consisting of three movements (each named for a different national park in the eastern US), is a bona-fide symphony. While the three pieces could be performed separately, they share a musical theme---and also a common style and instrumentation. It is a true symphony, in that the first movement is long and expository, the second is a rather tightly structured scherzo-with-trio, and the finale is a true culmination of the whole. The first movement, Everglades, was the original inspiration for the entire symphony. Conceived over the course of two trips to that astonishing place (which the native Americans called River of Grass, the subtitle of this movement), this movement not only conveys a sense of the humid, lush, and even frightening scenery there---but also an overview of the entire settling-of- Florida experience. It contains not one, but two native American chants, and also presents a view of the staggering influence of modern man on this fragile part of the world. Beginning with a slow unfolding marked Heavy, humid, the music soon presents a gentle, lyrical theme in the solo alto saxophone. This theme, which goes through three expansive phrases with breaks in between, will appear in all three movements of the symphony. After the mood has been established, the music opens up to a rich, warm setting of a Cherokee morning song, with the simple happiness that this part of Florida must have had prior to the nineteenth century. This music, enveloping and comforting, gradually gives way to a more frenetic, driven section representative of the intrusion of the white man. Since Florida was populated and developed largely due to the introduction of a train system, there's a suggestion of the mechanized iron horse driving straight into the heartland. At that point, the native Americans become considerably less gentle, and a second chant seems to stand in the way of the intruder; a kind of warning song. The second part of this movement shows us the great swampy center of the peninsula, with its wildlife both in and out of the water. A new theme appears, sad but noble, suggesting that this land is precious and must be protected by all the people who inhabit it. At length, the morning song reappears in all its splendor, until the sunset---with one last iteration of the warning song in the solo piccolo. Functioning as a scherzo, the second movement, Great Smoky Mountains, describes not just that huge park itself, but one brave soul's attempt to climb a mountain there. It begins with three iterations of the UR-theme (which began the first movement as well), but this time as up-tempo brass fanfares in octaves. Each time it begins again, the theme is a little slower and less confident than the previous time---almost as though the hiker were becoming aware of the daunting mountain before him. But then, a steady, quick-pulsed ostinato appears, in a constantly shifting meter system of 2/4- 3/4 in alteration, and the hike has begun. Over this, a slower new melody appears, as the trek up the mountain progresses. It's a big mountain, and the ascent seems to take quite awhile, with little breaks in the hiker's stride, until at length he simply must stop and rest. An oboe solo, over several free cadenza-like measures, allows us (and our friend the hiker) to catch our breath, and also to view in the distance the rocky peak before us. The goal is somehow even more daunting than at first, being closer and thus more frighteningly steep. When we do push off again, it's at a slower pace, and with more careful attention to our footholds as we trek over broken rocks. Tantalizing little views of the valley at every switchback make our determination even stronger. Finally, we burst through a stand of pines and----we're at the summit! The immensity of the view is overwhelming, and ultimately humbling. A brief coda, while we sit dazed on the rocks, ends the movement in a feeling of triumph. The final movement, Acadia, is also about a trip. In the summer of 2014, I took a sailing trip with a dear friend from North Haven, Maine, to the southern coast of Mt. Desert Island in Acadia National Park. The experience left me both exuberant and exhausted, with an appreciation for the ocean that I hadn't had previously. The approach to Acadia National Park by water, too, was thrilling: like the difference between climbing a mountain on foot with riding up on a ski-lift, I felt I'd earned the right to be there. The music for this movement is entirely based on the opening UR-theme. There's a sense of the water and the mysterious, quiet deep from the very beginning, with seagulls and bell buoys setting the scene. As we leave the harbor, the theme (in a canon between solo euphonium and tuba) almost seems as if large subaquatic animals are observing our departure. There are three themes (call them A, B and C) in this seafaring journey---but they are all based on the UR theme, in its original form with octaves displaced, in an upside-down form, and in a backwards version as well. (The ocean, while appearing to be unchanging, is always changing.) We move out into the main channel (A), passing several islands (B), until we reach the long draw that parallels the coastline called Eggemoggin Reach, and a sudden burst of new speed (C). Things suddenly stop, as if the wind had died, and we have a vision: is that really Mt. Desert Island we can see off the port bow, vaguely in the distance? A chorale of saxophones seems to suggest that. We push off anew as the chorale ends, and go through all three themes again---but in different instrumentations, and different keys. At the final tack-turn, there it is, for real: Mt. Desert Island, big as life. We've made it. As we pull into the harbor, where we'll secure the boat for the night, there's a feeling of achievement. Our whale and dolphin friends return, and we end our journey with gratitude and celebration. I am profoundly grateful to Jaclyn Hartenberger, Professor of Conducting at the University of Georgia, for leading the consortium which provided the commissioning of this work. $36.99 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Woodland Serenade and Rondo Saxophone and Orchestra [Score and Parts] - Intermediate C. Alan Publications
(Alto Saxophone Feature). Composed by Catherine McMichael. For Soloist(s) with C...(+)
(Alto Saxophone Feature). Composed by Catherine McMichael. For Soloist(s) with Concert Band (Piccolo, Flute 1/2, Oboe 1/2, Bb Clarinet 1, Bb Clarinet 2/3, Bb Bass Clarinet, Bassoon 1/2, Alto Saxophone 1/2, Tenor Saxophone, Baritone Saxophone, Bb Trumpet 1, Bb Trumpet 2/3, Horn in F 1/2, Horn in F 3/4, Trombone 1/2, Bass Trombone, Euphonium, Tuba,). Grade 4. Score and parts. Duration 6:00. Published by C. Alan Publications
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| Double Play Violin [Score] Theodore Presser Co.
Orchestra Bass Clarinet, Bassoon 1, Bassoon 2, Bongos, Cello, Clarinet, Contraba...(+)
Orchestra Bass Clarinet, Bassoon 1, Bassoon 2, Bongos, Cello, Clarinet, Contrabass, Crotales, Cymbals, English Horn, Field Drum, Flute, Glockenspiel, Horn 1, Horn 2, Oboe 1, Oboe 2, Percussion, Piano, Snare Drum, Triangle, Trumpet, Vibraphone, Viola and more. SKU: PR.416411770 For Violin, Piano, and Chamber Orchestra. Composed by William Kraft. Full score. With Standard notation. Duration 17 minutes. Theodore Presser Company #416-41177. Published by Theodore Presser Company (PR.416411770). UPC: 680160091508. I was tempted to call the piece Throw Back because it consciously employs rhythmic and harmonic approaches characteristic of the earlier part of the twentieth century, much of which plays a part in forging my musical personality. Going along with the impetus, I have paid homage by subtly interpolating stylistic or actual references to such unexpected bedfellows as Scriabin, Ravel, Debussy, Piston, Roussel, and Ysaye. I hope I will be musically forgiven. In one continuous movement, there are three definite internal sections: Presto-Largo-Allegro. The first section opens with a very soft percussion cadenza. If the acoustics allow it, the player will use sponge pottery mallets (sponge-headed mallets employed to smooth the interior of a pot as it is being spin-dried). No matter how hard the percussionist strikes the drums, the dynamic cannot go above pp (pianissimo). This cadenza serves as a basis for the first movement. The elements of the cadenza are taken by the orchestra to make the first major statement, similar to the classical concerto; but rather than making a restatement, the soloists, when they come in, begin with variational ideas. The second section is given over to the soloists, and is lyrical. The third section begins with an alternation between strict rhythmic pulsation and free-sounding timbres, as if reluctant to leave the second section behind. The rhythmic aspect takes over more and more as the piece progresses toward its conclusion. Double Play was commissioned by the Saint Paul Chamber Orchestra with financial assistance from the Northwest Area Foundation. It received its premiere on January 7, 1983, in St. Paul, with the St. Paul Chamber Orchestra; Pinchas Zukerman, violinist; Marc Neikrug, piano; and the composer conducting. $26.99 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Zion Concert band Theodore Presser Co.
Concert Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet...(+)
Concert Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clarinet 3, Contrabassoon, English Horn, Euphonium, Flute 1, Flute 2, Flute 3, Horn 1, Horn 2, Horn 3, Horn 4, Oboe 1, Oboe 2, Percussion 1, Percussion 2, Percussion 3 and more. SKU: PR.16500092L For Concert Band. Composed by Dan Welcher. Spiral. Contemporary. Large Full Score. With Standard notation. Composed 1994. 76 pages. Duration 10 minutes. Theodore Presser Company #165-00092L. Published by Theodore Presser Company (PR.16500092L). UPC: 680160039531. 11 x 17 inches. Zion is the third and final installment of a series of works for Wind Ensemble inspired by national parks in the western United States, collectively called Three Places in the West. As in the other two works (The Yellowstone Fires and Arches), it is my intention to convey more an impression of the feelings I've had in Zion National Park in Utah than an attempt at pictorial description. Zion is a place with unrivalled natural grandeur, being a sort of huge box canyon in which the traveler is constantly overwhelmed by towering rock walls on every side of him -- but it is also a place with a human history, having been inhabited by several tribes of native Americans before the arrival of the Mormon settlers in the mid-19th century. By the time the Mormons reached Utah, they had been driven all the way from New York State through Ohio and, with tragic losses, through Missouri. They saw Utah in general as a place nobody wanted, but they were nonetheless determined to keep it to themselves. Although Zion Canyon was never a Mormon Stronghold, the people who reached it and claimed it (and gave it its present name) had been through extreme trials. It is the religious fervor of these persecuted people that I was able to draw upon in creating Zion as a piece of music. There are two quoted hymns in the work: Zion's Walls (which Aaron Copland adapted to his own purposes in both is Old American Songs and the opera The Tender Land) and Zion's Security, which I found in the same volume in which Copland found Zion's Walls -- that inexhaustible storehouse of 19th-century hymnody called The Sacred Harp. My work opens with a three-verse setting of Zion's Security, a stern tune in F-sharp minor which is full of resolve. (The words of this hymn are resolute and strong, rallying the faithful to be firm, and describing the city of our God they hope to establish). This melody alternates with a fanfare tune, whose origins will be revealed in later music, until the second half of the piece begins: a driving rhythmic ostinato based on a 3/4-4/4 alternating meter scheme. This pauses at its height to restate Zion's Security one more time, in a rather obscure setting surrounded by freely shifting patterns in the flutes, clarinets, and percussion -- until the sun warms the ground sufficiently for the second hymn to appear. Zion's Walls is set in 7/8, unlike Copland's 9/8-6/8 meters (the original is quite strange, and doesn't really fit any constant meter), and is introduced by a warm horn solo. The two hymns vie for attention from here to the end of the piece, with the glowingly optimistic Zion's Walls finally achieving prominence. The work ends with a sense of triumph and unbreakable spirit. Zion was commissioned in 1994 by the wind ensembles of the University of Texas at Arlington, the University of Texas at Austin, and the University of Oklahoma. It is dedicated to the memory of Aaron Copland. $105.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Rituals Theodore Presser Co.
Orchestra Bass Clarinet, Bass Trombone, Bassoon, Clarinet, Contrabass, Contrabas...(+)
Orchestra Bass Clarinet, Bass Trombone, Bassoon, Clarinet, Contrabass, Contrabassoon, English Horn, Flute 1, Flute 2, Horn 1, Horn 2, Horn 3, Horn 4, Oboe, Percussion, Trombone 1, Trombone 2, Trumpet 1, Trumpet 2, Tuba, Viola, Violin 1, Violin 2, Violoncello SKU: PR.44641192L For 5 Percussionists and Orchestra. Composed by Ellen Taaffe Zwilich. Contemporary. Large Score. With Standard notation. Composed 2003. 72 pages. Duration 30 minutes. Theodore Presser Company #446-41192L. Published by Theodore Presser Company (PR.44641192L). UPC: 680160610860. 11 x 14 inches. One of my greatest pleasures in writing a concerto is exploring the new world that opens for me each time I enter the sometimes alien, but always fascinating, world of a solo instrument or instruments. For me, the challenge is to discover the deepest nature of the solo instrument (its karma, if you will) and to allow that essential character to guide the shape and form of the work and the nature of the interaction between soloists and orchestra. In recent years, many of us have become more aware of the musical world outside the Western tradition of musics that follow different procedures and spring from other aesthetics. And contemporary percussionists have opened many of these worlds to us, as they have ventured around the globe, participating in Brazilian Samba schools, studying Gamelan and African drumming with local experts, collecting instruments from Asia and Africa and South America and the South Pacific, widening our horizons in the process. I will never forget our first meeting in Toronto when Nexus invited me into their world of hundreds of exciting percussion instruments. The vast array of instruments in the collection of the Nexus ensemble is truly global in scope as well as offering a thrilling sound-universe. I was inspired by the incredible range of sound and moved by the fact that so many of these instruments were musical reflections of a spiritual dimension. After long consideration, I decided that it would not only be impossible, but even undesirable for this Western-tradition-steeped composer to attempt to use these instruments in a culturally authentic way. My goal was an existential kind of authenticity: searching instead for universal ideas that would be true to both myself and the performers while acknowledging the traditional uses of the instruments. Since many percussion instruments are associated with various kinds of ritual, I decided that I would allow that concept to shape my piece. Rituals is in four movements, each issuing from a ritual associated with percussion, but with the orchestral interaction providing an essential element in the musical form. I. Invocation alludes to the traditions of invoking the spirit of the instruments, or the gods, or the ancestors before performing. II. Ambulation moves from a processional, through march and dance to fantasy based on all three. III. Remembrances alludes to traditions of memorializing. IV. Contests progresses from friendly competition games, contests to a suggestion of a battle of big band drummers, to warlike exchanges. In the 2nd and 4th movements, another percussion tradition, improvisation, is employed. Written into these movements are a number of seeds for improvisation. Indications in the score call for the soloists to improvise in three different ways, marked A for percussion alone; marked B for percussion with and in response to the orchestra; and C where the percussionists are free to add and embellish the written parts. These improvisations should grow out of and embellish previous motives and gestures in the movement. $95.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Heritage Concert band [Score] Peters
Concert Band SKU: PE.EP68748 Score. Composed by Shawn E. Okpebholo...(+)
Concert Band SKU: PE.EP68748 Score. Composed by Shawn E. Okpebholo. Edition Peters. Contemporary. Score. 36 pages. Edition Peters #98-EP68748. Published by Edition Peters (PE.EP68748). ISBN 9790300762289. Shawn Okpebholo's Heritage, in the Edition Peters Concert Band Series, evokes moods, events and sounds (including West African drumming and indigenous melodies) from an ethnomusicological research visit the composer undertook to Nigeria. One of the primary musical themes of the work is an adaptation of a song that comes from the Esan people, a small ethnic group in the southern part of Nigeria and the tribe to which the composer has deep historical and family ties. The Esan language is poetic in nature and, at various moments in the work, the musicians chant the text from an Esan song: Ekine leleyea do obhimen la doeki nalo.
(My investment in you is paid off. Because of your hard work, your future is bright) Heritage is a revised version of a work previously entitled This is Africa, which was commissioned by Professor Marcellus Brown and the Boise State University Symphonic Winds for the 2011 National CBDNA Convention and is dedicated to the memory of Dr Harry Begian. Orchestration: 1 Piccolo, 2 Flute 1, 2 Flute 2, 1 Oboe 1, 1 Oboe 2, 1 Clarinet in E-flat, 3 Clarinet 1 in B-flat, 3 Clarinet 2 in B-flat, 3 Clarinet 3 in B-flat, 2 Bass Clarinet 1 and 2, 1 Bassoon 1, 1 Bassoon 2, 1 Alto Saxophone 1, 1 Alto Saxophone 2, 1 Tenor Saxophone, 1 Baritone Saxophone, 1 Trumpet 1 in B-flat, 1 Trumpet 2 in B-flat, 1 Trumpet 3 in B-flat, 1 Trumpet 4 in B-flat, 1 Horn 1 in F, 1 Horn 2 in F, 1 Horn 3 in F, 1 Horn 4 in F, 1 Trombone 1, 1 Trombone 2, 1 Bass Trombone, 1 Euphonium 1, 1 Euphonium 2, 2 Tuba 1 and 2, 1 String Bass, 1 Percussion 1, 1 Percussion 2, 1 Drum Kit, 1 Bongos, 1 Congas, 1 Horn 1 in E-flat, 1 Horn 2 in E-flat, 1 Horn 3 in E-flat, 1 Horn 4 in E-flat, 1 Trombone 1 (B-flat treble clef), 1 Trombone 2 (B-flat treble clef), 1 Bass Trombone (B-flat treble clef), 1 Euphonium 1 (B-flat treble clef), 1 Euphonium 2 (B-flat treble clef), 2 Tuba 1 and 2 (B-flat treble clef), 2 Tuba 1 and 2 (E-flat treb. $29.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Adventure Express Concert band - Easy Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Clarinet 3, Cras...(+)
Band Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Clarinet 3, Crash Cymbals, Euphonium, Euphonium T.C., Flute 1, Flute 2, Horn 1, Horn 2, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Snare Drum, Tambourine, Timpani, Trombone 1 and more. - Grade 3 SKU: CF.CPS214 Composed by John Pasternak. Concert Band (CPS). Set of Score and Parts. With Standard notation. 8+8+4+8+16+16+4+4+4+4+4+4+8+8+8+4+4+6+6+6+8+4+2+4+4+24+4 pages. Duration 4 minutes, 4 seconds. Carl Fischer Music #CPS214. Published by Carl Fischer Music (CF.CPS214). ISBN 9781491152409. UPC: 680160909902. Adventure Express is about a train heading out to the old west, seeking new adventures and new opportunities. The piece focuses on the beautiful country sides, breathtaking vistas and the hard work of building a new land. It is a contest style piece by budding composer John Pasternak. It is tuneful and well-scored. Perfect for your next contest/festival performance. Adventure Express is about a train heading out to the old west, seeking new adventures and new opportunities. The piece focuses on the beautiful countrysides, breathtaking vistas and the hard work of building a new land.The beginning of the piece should have a very marcato feel. Measure 18 should have a lighter feel than the beginning, with the snare drum playing the part of the rail cars going over the tracks. Be sure to pay attention to the accents in the trumpet, xylophone and snare drum lining up with the accents played by the rest of the ensemble. At m. 55, the xylophone should ring out and should be played with intention. At m. 71, the piece returns to a marcato style, and remains until the end of the piece. There are a few sudden dynamic changes that are crucial for effect, so pay close attention to those changes. $95.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Adventure Express Concert band [Score] - Easy Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Clarinet 3, Cras...(+)
Band Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Clarinet 3, Crash Cymbals, Euphonium, Euphonium T.C., Flute 1, Flute 2, Horn 1, Horn 2, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Snare Drum, Tambourine, Timpani, Trombone 1 and more. - Grade 3 SKU: CF.CPS214F Composed by John Pasternak. Concert Band (CPS). Full score. With Standard notation. 24 pages. Carl Fischer Music #CPS214F. Published by Carl Fischer Music (CF.CPS214F). ISBN 9781491153086. UPC: 680160910588. Adventure Express is about a train heading out to the old west, seeking new adventures and new opportunities. The piece focuses on the beautiful country sides, breathtaking vistas and the hard work of building a new land. It is a contest style piece by budding composer John Pasternak. It is tuneful and well-scored. Perfect for your next contest/festival performance. Adventure Express is about a train heading out to the old west, seeking new adventures and new opportunities. The piece focuses on the beautiful countrysides, breathtaking vistas and the hard work of building a new land.The beginning of the piece should have a very marcato feel. Measure 18 should have a lighter feel than the beginning, with the snare drum playing the part of the rail cars going over the tracks. Be sure to pay attention to the accents in the trumpet, xylophone and snare drum lining up with the accents played by the rest of the ensemble. At m. 55, the xylophone should ring out and should be played with intention. At m. 71, the piece returns to a marcato style, and remains until the end of the piece. There are a few sudden dynamic changes that are crucial for effect, so pay close attention to those changes. $14.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
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