| Chimes Of Freedom Concert band [Score and Parts] - Easy C.L. Barnhouse
Concert band - Grade 2 SKU: CL.024-4595-00 Young Concert Band. Rising Ban...(+)
Concert band - Grade 2 SKU: CL.024-4595-00 Young Concert Band. Rising Band Series for Developing Bands! Audio recording available separately (item CL.WFR393). Score and set of parts. Composed 2017. Duration 2 minutes, 37 seconds. C.L. Barnhouse #024-4595-00. Published by C.L. Barnhouse (CL.024-4595-00). A march written in a tradition form and style, Chimes Of Freedom is suitable for concert and festival performance, as well as patriotic and ceremonial events throughout the year. The chimes are featured throughout as they interact with the melodic lines presented in the wind sections. Accessible to most developing bands in their second and third year of instruction, Chimes Of Freedom is an instant classic and standard in the band repertoire! $49.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Chimes Of Freedom Concert band [Score] - Easy C.L. Barnhouse
Concert band - Grade 2 SKU: CL.024-4595-01 Young Concert Band. Rising Ban...(+)
Concert band - Grade 2 SKU: CL.024-4595-01 Young Concert Band. Rising Band Series for Developing Bands! Audio recording available separately (item CL.WFR393). Extra full score. Composed 2017. Duration 2 minutes, 37 seconds. C.L. Barnhouse #024-4595-01. Published by C.L. Barnhouse (CL.024-4595-01). A march written in a tradition form and style, Chimes Of Freedom is suitable for concert and festival performance, as well as patriotic and ceremonial events throughout the year. The chimes are featured throughout as they interact with the melodic lines presented in the wind sections. Accessible to most developing bands in their second and third year of instruction, Chimes Of Freedom is an instant classic and standard in the band repertoire! $6.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Mr. Tambourine Man: Seven Poems of Bob Dylan Piano, Voice Schirmer
For Voice and Piano. Performed by Bob Dylan. By John Corigliano. Vocal. Size 9x1...(+)
For Voice and Piano. Performed by Bob Dylan. By John Corigliano. Vocal. Size 9x12 inches. 58 pages. Published by G. Schirmer, Inc.
$22.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Definitive Bob Dylan Songbook (Small Format) Lyrics and Chords [Sheet music] Music Sales
By Bob Dylan. By Bob Dylan. Arranged by Don Giller and Ed Lozano. Music Sales Am...(+)
By Bob Dylan. By Bob Dylan. Arranged by Don Giller and Ed Lozano. Music Sales America. Folk, Pop, Rock. Softcover. Composed 2016. 788 pages. Music Sales #AM978923. Published by Music Sale
$35.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Great Acoustic Guitar Chord Songbook Music Sales | | |
| The Big Guitar Chord Songbook: The Sixties Music Sales | | |
| No Direction Home - A Martin Scorsese Picture Melody line, Lyrics and Chords [Sheet music] Music Sales
By Bob Dylan. Folk, Pop, Rock. Sheet Music. Melody line, lyrics, and chords (wit...(+)
By Bob Dylan. Folk, Pop, Rock. Sheet Music. Melody line, lyrics, and chords (with guitar chord boxes). 64 pages. Published by Music Sales
$17.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Legend of Flathead Lake Concert band [Score and Parts] - Intermediate Gobelin Music Publications
Concert Band/Harmonie - Grade 5 SKU: BT.GOB-000447-010 Composed by Carl W...(+)
Concert Band/Harmonie - Grade 5 SKU: BT.GOB-000447-010 Composed by Carl Wittrock. Set (Score & Parts). 174 pages. Gobelin Music Publications #GOB 000447-010. Published by Gobelin Music Publications (BT.GOB-000447-010). In Scotland, the monster of Loch Ness is a hot issue, but the American state of Montana enjoys a comparable phenomenon going by the name of Montana Nessie. In the western part of this remote state lies Flathead Lake: a lake of 45 kilometres /38miles in lenght and 24 kilometres /15 miles breath. At several places, its depth exeeds 100 metres. Nessies discovery takes us back to the year 1889, when captain James Kerr aboard the passengership U.S.Grant was startled by a ship unknown to himsuddenly approaching his vessel across Flathead Lake. However, it turned out not to be a ship but an undefinable animal of immense size.From that moment onwards, life would never be the same again in and around Flathead Lake. The composer wasinspired by the story, and summarized the events into a symphonic poem, but from a surprising angle:that of the monster.
The exiting opening allows us to follow the monster in its natural surroundings. The fast follow-up movement depictsMontana Nessie trotting and frolicking about the Montana woods and prairies.From its abode, it thorougly enjoys everything around it. This period abruptly ends in a short climax (Chimes). The solo for cor anglais marks a new period in themonsters life.The presence of people has a paralizing effect and the apprehensive atmosphere of the slow movement may be felt profoundly. The monster observes and mildly teases the ship. Abhor sounds force the ship to a withdrawal. The movingmusical continuation depicts the triumphant monster dancing an ironic waltz. The monsters fear and anger at the intrusion of his freedom run through the piece like continuous threads, and develop into the works final theme.
Ook Amerika kent, in navolging van Loch Ness, haar monster met alle sterke verhalen eromheen. Dit Amerikaanse monster werd in 1889 voor het eerst gezien door de kapitein van een toeristenboot, varende op Flathead Lake in de staat Montana. Wittrock schildert niet enkel de gebeurtenissen maar kruipt in de huid van het monster.
Het programmatische werk beschrijft op vaak ontroerende en soms angstaanjagende wijze het leven van Montana Nessie. Aanknopingspunten in dit werk zijnde geboorte (het begin), de eerste levensfase met oerkreten (allegro) en de verwondering en bewondering van de natuur (hobosolo). Het tweede gedeelte symboliseert de spanning tussen mens en monster tijdens de spannende boottocht op FlatheadLake. Het derde deel brengt het monster aan het dansen in een aandoenlijke wals vol ironie en zelfspot. Rode draad en afsluitend thema is de angst en boosheid van Montana Nessie op de vrijheidsinbreuk. Een meesterwerk!
Dit werk isopgenomen in het Klein repertorium, harmonie - 2e divisie
Gobelin Music Publications. $229.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| The Legend of Flathead Lake Concert band [Score] - Intermediate Gobelin Music Publications
Concert Band/Harmonie - Grade 5 SKU: BT.GOB-000447-140 Composed by Carl W...(+)
Concert Band/Harmonie - Grade 5 SKU: BT.GOB-000447-140 Composed by Carl Wittrock. Score Only. 30 pages. Gobelin Music Publications #GOB 000447-140. Published by Gobelin Music Publications (BT.GOB-000447-140). In Scotland, the monster of Loch Ness is a hot issue, but the American state of Montana enjoys a comparable phenomenon going by the name of Montana Nessie. In the western part of this remote state lies Flathead Lake: a lake of 45 kilometres /38miles in lenght and 24 kilometres /15 miles breath. At several places, its depth exeeds 100 metres. Nessies discovery takes us back to the year 1889, when captain James Kerr aboard the passengership U.S.Grant was startled by a ship unknown to himsuddenly approaching his vessel across Flathead Lake. However, it turned out not to be a ship but an undefinable animal of immense size.From that moment onwards, life would never be the same again in and around Flathead Lake. The composer wasinspired by the story, and summarized the events into a symphonic poem, but from a surprising angle:that of the monster.
The exiting opening allows us to follow the monster in its natural surroundings. The fast follow-up movement depictsMontana Nessie trotting and frolicking about the Montana woods and prairies.From its abode, it thorougly enjoys everything around it. This period abruptly ends in a short climax (Chimes). The solo for cor anglais marks a new period in themonsters life.The presence of people has a paralizing effect and the apprehensive atmosphere of the slow movement may be felt profoundly. The monster observes and mildly teases the ship. Abhor sounds force the ship to a withdrawal. The movingmusical continuation depicts the triumphant monster dancing an ironic waltz. The monsters fear and anger at the intrusion of his freedom run through the piece like continuous threads, and develop into the works final theme.
Ook Amerika kent, in navolging van Loch Ness, haar monster met alle sterke verhalen eromheen. Dit Amerikaanse monster werd in 1889 voor het eerst gezien door de kapitein van een toeristenboot, varende op Flathead Lake in de staat Montana. Wittrock schildert niet enkel de gebeurtenissen maar kruipt in de huid van het monster.
Het programmatische werk beschrijft op vaak ontroerende en soms angstaanjagende wijze het leven van Montana Nessie. Aanknopingspunten in dit werk zijnde geboorte (het begin), de eerste levensfase met oerkreten (allegro) en de verwondering en bewondering van de natuur (hobosolo). Het tweede gedeelte symboliseert de spanning tussen mens en monster tijdens de spannende boottocht op FlatheadLake. Het derde deel brengt het monster aan het dansen in een aandoenlijke wals vol ironie en zelfspot. Rode draad en afsluitend thema is de angst en boosheid van Montana Nessie op de vrijheidsinbreuk. Een meesterwerk!
Dit werk isopgenomen in het Klein repertorium, harmonie - 2e divisie
Gobelin Music Publications. $42.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Concerto Piano solo Theodore Presser Co.
Orchestra Piano SKU: PR.11641861SP Composed by William Kraft. Part. 35 pa...(+)
Orchestra Piano SKU: PR.11641861SP Composed by William Kraft. Part. 35 pages. Duration 21 minutes. Theodore Presser Company #116-41861SP. Published by Theodore Presser Company (PR.11641861SP). UPC: 680160685202. What?! - my composer colleagues said - A concerto for the piano? It's a 19th century instrument! Admittedly we are in an age when originally created timbres and/or musico-technological formulations are often the modus operandi of a piece. Actually, this Concerto began about two years ago when, during one of my creative jogs, the sound of the uppermost register of the piano mingled with wind chimes penetrated my inner ear. The challenge and fascination of exploring and developing this idea into an orchestral situation determined that some day soon I would be writing a work for piano and orchestra. So it was a very happy coincidence when Mona Golabek phoned to tell me she would like discuss the Ford Foundation commission. After covering areas of aesthetics and compositional styles, we found that we had a good working rapport, and she asked if I would accept the commission. The answer was obvious. Then began the intensive thought process on the stylistic essence and organization of the work. Along with this went a renewed study of idiomatic writing for the piano, of the kind Stravinsky undertook with the violin when he began his Violin Concerto. By a stroke of great fortune, the day in February 1972 that I received official notice from the Ford Foundation of the commission, I also received a letter from the Guggenheim Foundation informing me I had been awarded my second fellowship. With the good graces of Zubin Mehta and Ernest Fleischmann, masters of my destiny as a member of the Los Angeles Philharmonic, I was relieved of my orchestral duties during the Hollywood Bowl season. Thus I was able to go to Europe to work and to view the latest trends in music concentrating in London (the current musical melting pot and showcase par excellence), Oslo, Norway, for the Festival of Scandinavian Music called Nordic Days, and Warsaw, Poland, for its prestigious Autumn Festival. Over half the Concerto was completed in that summer and most of the rest during the 72-73 season with the final touches put on during a month as Resident Scholar at the Rockefeller Foundation's Villa Serbelloni in Bellagio, Italy. So much for the external and environmental influences, except perhaps to mention the birds of Sussex in the first movement, the bells of Arhus (Denmark) in the second movement and the bells of Bellagio at the end of the Concerto. Primary in the conception was the personality of Miss Golabek: she is a wonderfully vital and dynamic person and a real virtuoso. Therefore, the soloist in the Concerto is truly the protagonist; it is she (for once we can do away with the generic he) who unfolds the character and intent of the piece. The first section is constructed in the manner of a recitative - completely unmeasured - with letters and numbers by which the conductor signals the orchestra for its participation. This allows the soloist the freedom to interpret the patterns and control the flow and development of the music. The Concerto is actually in one continuous movement but with three large divisions of sufficiently contrasting character to be called movements in themselves. The first 'movement' is based on a few timbral elements: 1) a cluster of very low pitches which at the beginning are practically inaudibly depressed, and sustained silently by the sostenuto pedal, which causes sympathetic vibrating pitches to ring when strong notes are struck; 2) a single powerful note indicated by a black note-head with a line through it indicating the strongest possible sforzando; 3) short figures of various colors sometimes ominous, sometimes as splashes of light or as elements of transition; 4) trills and tremolos which are the actual controlling organic thread starting as single axial tremolos and gradually expanding to trills of increasingly larger and more powerful scope. The 'movement' begins in quiescent repose but unceasingly grows in energy and tension as the stretching of a string or rubber band. When it can no longer be restrained, it bursts into the next section. The second 'movement,' propelled by the released tension, is a brilliant virtuosic display, which begins with a long solo of wispy percussion, later joined in duet with the piano. Not to be ignored, the orchestra takes over shooting the material throughout all its sections like a small agile bird deftly maneuvering through nothing but air, while the piano counterposes moments of lyricism. The orchestra reaches a climax, thrusting us into the third 'movement' which begins with a cadenza-like section for the piano. This moves gently into an expressive section (expressive is not a negative term to me) in which duets are formed with various instruments. There are fleeting glimpses of remembrances past, as a fragmented recapitulation. One glimpse is hazily expressed by strings and percussion in a moment of simultaneous contrasting levels of activity, a technique of which I have been fond and have utilized in various fixed-free relationships, particularly in my Percussion Concerto, Contextures and Games: Collage No. 1. The second half of the third 'movement; is a large coda - akin to those in Beethoven - which brings about another display of virtuosity, this time gutsy and driving, raising the Concerto to a final climax, the soloist completing the fragmented recapitulation concept as well as the work with the single-note sforzando and low cluster from the very opening of the first movement. $47.99 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Konzert Nr. 1 dugud For Cello And Orchestra (cello And Piano Reduction) Cello, Orchestra - Advanced Schott
Cello and orchestra (3 (3. auch Picc.) * 0 * 2 * Bassklar. * 2 - 3 * 0 * 0 * 0 -...(+)
Cello and orchestra (3 (3. auch Picc.) * 0 * 2 * Bassklar. * 2 - 3 * 0 * 0 * 0 - P. S. (Crot. * Marimba * kl. Trgl. * m. u. gr. Hangebeck. * Tamt. * Tomt. * gr. Tr. * Chimes * Clav. * Woodbl.) (2 Spieler) - Str. (gross besetzt)) - advanced SKU: HL.49019901 For Violoncello and Orchestra. Composed by Enjott Schneider. This edition: Saddle stitching. Sheet music. String. Softcover. Composed 2011. 68 pages. Duration 25'. Schott Music #ED21667. Published by Schott Music (HL.49019901). ISBN 9790001196611. 9.25x12.0x0.186 inches. Enjott Schneider's Concerto for violoncello takes up the Sumerian legend of the bird deity 'Dugud' in archaic scenes. Legend has it that Princess Emeshe was impregnated by the hermaphrodite - half eagle, half falcon - in a dream and founded with her son Almos, who had thus been conceived, the royal Hungarian dynasty.In expressive musical pictures, Schneider describes the dark-erotic struggle of impregnation as well as the chant of the unborn. Hovering above everything is the vision of life in complete freedom like a bird.The work was premiered by the Hungarian cellist Laszlo Fenyo in 2011. Thanks to the piano score written by the composer, the work can now also be studied and performed by a duo. $48.00 - See more - Buy online | | |
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