| The Garden of My Father's House Clarinet, Violin (duet) Subito Music
Violin & Clarinet SKU: SU.80111202 For Violin & Clarinet. Composed...(+)
Violin & Clarinet SKU: SU.80111202 For Violin & Clarinet. Composed by Meyer Kupferman. Strings, Violin, Woodwinds, Clarinet. Performance Score. Subito Music Corporation #80111202. Published by Subito Music Corporation (SU.80111202). Violin & Clarinet Duration: ' Composed: 1972 Published by: Soundspells Productions Includes set of 2 scores The Garden of My Father's House (1973) is a dramatic rhapsody for violin and clarinet duo. The composer wrote the following: I composed THE GARDEN OF MY FATHER'S HOUSE in 1972 in memory of my father, who was my first music teacher. Although he played many instruments and loved to sing, he could not read a note of music. When I was very young he would sing Gypsy songs, Yiddish folk-songs and Rumanian tunes to me and I would play them back on my clarinet, often with ornaments and variations. Sometimes he would accompany me on the piano; he had a few favorite chords which always seemed to pop up no matter what the tune. The piece is a musical ritual, based on a C-sharp drone, or pedal note, that is heard without interruption, across several ranges, throughout the piece. The violin's drone tremolos, often combined with perfect fifths and quarter-tone tunings, imply the key of Csharp minor. The violin part is always rubato — lyrical, expressive and frequently very passionate. But, most importantly, the violin is always tonal. The clarinet, on the other hand, is atonal, its pitches drawn from the twelve-tone row that I used to write my Cycles of Infinities. The style of the clarinet is contemporary, using wide-range intervals, biting accents and unusual instrumental effects, including fluttertonguing and quarter-tone trills. In combining the 'contrasting' roles of the two instruments, I sought to create a musical ritual-game that would draw energy and bits of information from the polarized instruments. The language of the piece calls the listener's attention to the cogent features of both instrumental personalities in a manner that is somewhat similar to the way in which Yiddish combines German and Hebrew. The drone becomes more and more magnetic and begins to join the parts together until they become one in the final C-sharp unison. $22.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Quartet Sant Petersburg String Quartet: 2 violins, viola, cello Editorial de Musica Boileau
String quartet SKU: BO.B.3664 Composed by Jordi Cervello. Published by Ed...(+)
String quartet SKU: BO.B.3664 Composed by Jordi Cervello. Published by Editorial de Musica Boileau (BO.B.3664). Cuarteto San Petersburgo (The Saint Petersburg Quartet) was written between January and March 2011. It owes its name to the fact that Saint Petersburg has been a very significant city for me. I was invited there in 1988 to take part in a big contemporary music festival, but my uninterrupted bond with the city started on 2002, thanks to the negotiations of my friend and pupil Albert Barbeta. Since then, I have constantly travelled there in order to record a considerable part of my repertoire: seventeen pieces. In addition to the concerts we went to, I took the opportunity during my trips to visit the well-known conservatoire where so many great personalities from the world of music composition once taught, and the place that launched the most important violin school in the whole of Russia: the school of Leopoldo Auer. Spending a long time in Auer's classroom writing my concert for violin and orchestra was an unforgettable experience for me. His large portrait motivated me even further.
Cuarteto San Petersburgo evokes many of the most cherished and moving moments that I have had in this city. It is structured in four movements. The first one, Allegretto-Allegro, opens with an introduction that sets forth the two main themes, amid a soft and elastic atmosphere. The Allegro starts vigorously and in it we find changes in the tempo and moments of mystery, as well as certain seclusion, returning then to the emphatic theme where the counterpoint finds its place. The movement ends placidly.
The Scherzo-marcato that follows is marked by a persistent rhythm of triplets that carries on from beginning to end. The tempo does not change, but brief and decided themes are introduced, as well as passages of counterpoint. Brief and dissonant chords are heard throughout the movement, which ends vigorously.
The third movement, Ut, is a very special one. For a while already I had been playing with the idea of writing a movement that was to have the tonality C as a leitmotiv. This one is made up by two slow and static parts. In the first one, the first violin plays pizzicatti-glissandi. In the second, the first violin and particularly the violoncello settle on C while the other two instruments produce descending chromatic harmonies.
Finally, the Introduccion-Presto (the Introduction-Presto). It starts with some bucolic passages which remind us of the introduction to the first movement. A fast and energetic Presto suddenly erupts. A kind of moto perpetuo which alternates with two expressive passages and, towards the end, a viola and violoncello tremolo, all of great mystery and expectation, make way for a resounding finale marcato. $38.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Piano Concerto in A minor Op. 16 Breitkopf & Härtel
Piano duets (solo: pno - 2(picc).2.2.2 - 4.2.3.0 - timp - str) SKU: BR.EB-107...(+)
Piano duets (solo: pno - 2(picc).2.2.2 - 4.2.3.0 - timp - str) SKU: BR.EB-10719 Urtext. Composed by Edvard Grieg. Edited by E.-G. Heinemann and Einar Steen-Nokleberg. Solo instruments; Softbound. Edition Breitkopf. In Cooperation with G. Henle Verlag Solo concerto; Romantic. Piano reduction. 72 pages. Duration 30'. Breitkopf and Haertel #EB 10719. Published by Breitkopf and Haertel (BR.EB-10719). ISBN 9790201807195. 9.5 x 12 inches. The piano concerto in a minor stands out in Edvard Grieg's oeuvre. Besides this famous concerto, he composed only a few other large orchestral works. Because of its popularity even in Grieg's lifetime, it was often performed, not least by the composer himself. So it is not surprising that Grieg made many changes to the score up to 1907. But at the same time, the concerto's size, form and substance remained completely unaltered. Interventions in the piano part basically involved subtleties of nuance, and only a very few places in the music text were altered. The situation was different with the orchestration. Here Grieg was keen to experiment and kept filing away at the orchestra sound right up to the last. Melodies were moved to other instruments, accompanying string chords were reconstructed, and above all the list of scored instruments was changed. The main source of the Urtext edition by Ernst-Gunter Heinemann is the new edition of the score originally published in 1907 by C. F. Peters, thus several years after the first edition of 1872. Taken into account in the present edition are the changes that Grieg made up to the time of his death. Piano reduction and fingering by Einar Steen-Nokleberg. $36.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Harmonica Tunes - Beautiful American Airs and Ballads Harmonica [Sheet music + Audio access] - Intermediate Mel Bay
Harmonica - Intermediate SKU: MB.30952M Saddle-stitched, Solo. American M...(+)
Harmonica - Intermediate SKU: MB.30952M Saddle-stitched, Solo. American Music. Book and online audio. Mel Bay Publications, Inc #30952M. Published by Mel Bay Publications, Inc (MB.30952M). ISBN 9781513474434. 8.75X11.75 inches. Among the various instruments for which the Beautiful American Airs and Ballads series was conceived, the diatonic harmonica is a standout. With or without the ôbendsö played by the author on the companion online recording, the 19 plaintive, single-note melodies in this book are guaranteed to engage the player and move the listener.áThe music herein is written in standard notation and blow/draw harmonica tablature for the diatonic harmonica in C. Suggested accompaniment chords are also provided. Using the tablature alone, this music can be played on any diatonic harmonica in a different harmonica key; for example, using a G or A diatonic harmonica, the instrument itself will make the mechanical transposition. The chords, however, would have to be transposed by the accompanist.Phil Duncan has written more than 40 harmonica books for Mel Bay Publications. He believes that participation is key to the enjoyment of music, and that the harmonica and tunes in this collection are the perfect vehicles for that participation.ôTunes like these may have been overlooked or forgotten in this stressful worldùbut playing them will help you regain and renew the sense of calm essential to our identity as Americansà Pick out a fewà pick up your harmonica and enjoy.öùPhil Duncan. $17.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Piano Concerto in A minor Op. 16 Breitkopf & Härtel
Woodwinds (solo: pno - 2(picc).2.2.2 - 4.2.3.0 - timp - str) SKU: BR.OB-15152...(+)
Woodwinds (solo: pno - 2(picc).2.2.2 - 4.2.3.0 - timp - str) SKU: BR.OB-15152-30 Urtext. Composed by Edvard Grieg. Edited by Emil-Gunter Heinemann. Orchestra; Folder. Orchester-Bibliothek (Orchestral Library). In Cooperation with G. Henle Verlag Solo concerto; Romantic. Set of parts. 144 pages. Duration 30'. Breitkopf and Haertel #OB 15152-30. Published by Breitkopf and Haertel (BR.OB-15152-30). ISBN 9790004344101. 10 x 12.5 inches. The piano concerto in a minor stands out in Edvard Grieg's oeuvre. Besides this famous concerto, he composed only a few other large orchestral works. Because of its popularity even in Grieg's lifetime, it was often performed, not least by the composer himself. So it is not surprising that Grieg made many changes to the score up to 1907. But at the same time, the concerto's size, form and substance remained completely unaltered. Interventions in the piano part basically involved subtleties of nuance, and only a very few places in the music text were altered. The situation was different with the orchestration. Here Grieg was keen to experiment and kept filing away at the orchestra sound right up to the last. Melodies were moved to other instruments, accompanying string chords were reconstructed, and above all the list of scored instruments was changed. The main source of the Urtext edition by Ernst-Gunter Heinemann is the new edition of the score originally published in 1907 by C. F. Peters, thus several years after the first edition of 1872. Taken into account in the present edition are the changes that Grieg made up to the time of his death. Piano reduction and fingering by Einar Steen-Nokleberg. $114.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Piano Concerto in A minor Op. 16 Breitkopf & Härtel
Violoncello (solo: pno - 2(picc).2.2.2 - 4.2.3.0 - timp - str) SKU: BR.OB-151...(+)
Violoncello (solo: pno - 2(picc).2.2.2 - 4.2.3.0 - timp - str) SKU: BR.OB-15152-23 Urtext. Composed by Edvard Grieg. Edited by Emil-Gunter Heinemann. Orchestra; stapled. Orchester-Bibliothek (Orchestral Library). In Cooperation with G. Henle Verlag Solo concerto; Romantic. Part. 12 pages. Duration 30'. Breitkopf and Haertel #OB 15152-23. Published by Breitkopf and Haertel (BR.OB-15152-23). ISBN 9790004344088. 10 x 12.5 inches. The piano concerto in a minor stands out in Edvard Grieg's oeuvre. Besides this famous concerto, he composed only a few other large orchestral works. Because of its popularity even in Grieg's lifetime, it was often performed, not least by the composer himself. So it is not surprising that Grieg made many changes to the score up to 1907. But at the same time, the concerto's size, form and substance remained completely unaltered. Interventions in the piano part basically involved subtleties of nuance, and only a very few places in the music text were altered. The situation was different with the orchestration. Here Grieg was keen to experiment and kept filing away at the orchestra sound right up to the last. Melodies were moved to other instruments, accompanying string chords were reconstructed, and above all the list of scored instruments was changed. The main source of the Urtext edition by Ernst-Gunter Heinemann is the new edition of the score originally published in 1907 by C. F. Peters, thus several years after the first edition of 1872. Taken into account in the present edition are the changes that Grieg made up to the time of his death. Piano reduction and fingering by Einar Steen-Nokleberg. $11.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Piano Concerto in A minor Op. 16 Breitkopf & Härtel
Violin 2 (solo: pno - 2(picc).2.2.2 - 4.2.3.0 - timp - str) SKU: BR.OB-15152-...(+)
Violin 2 (solo: pno - 2(picc).2.2.2 - 4.2.3.0 - timp - str) SKU: BR.OB-15152-16 Urtext. Composed by Edvard Grieg. Edited by Emil-Gunter Heinemann. Orchestra; stapled. Orchester-Bibliothek (Orchestral Library). In Cooperation with G. Henle Verlag Solo concerto; Romantic. Part. 12 pages. Duration 30'. Breitkopf and Haertel #OB 15152-16. Published by Breitkopf and Haertel (BR.OB-15152-16). ISBN 9790004344064. 10 x 12.5 inches. The piano concerto in a minor stands out in Edvard Grieg's oeuvre. Besides this famous concerto, he composed only a few other large orchestral works. Because of its popularity even in Grieg's lifetime, it was often performed, not least by the composer himself. So it is not surprising that Grieg made many changes to the score up to 1907. But at the same time, the concerto's size, form and substance remained completely unaltered. Interventions in the piano part basically involved subtleties of nuance, and only a very few places in the music text were altered. The situation was different with the orchestration. Here Grieg was keen to experiment and kept filing away at the orchestra sound right up to the last. Melodies were moved to other instruments, accompanying string chords were reconstructed, and above all the list of scored instruments was changed. The main source of the Urtext edition by Ernst-Gunter Heinemann is the new edition of the score originally published in 1907 by C. F. Peters, thus several years after the first edition of 1872. Taken into account in the present edition are the changes that Grieg made up to the time of his death. Piano reduction and fingering by Einar Steen-Nokleberg. $11.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Piano Concerto in A minor Op. 16 Breitkopf & Härtel
Violin 1 (solo: pno - 2(picc).2.2.2 - 4.2.3.0 - timp - str) SKU: BR.OB-15152-...(+)
Violin 1 (solo: pno - 2(picc).2.2.2 - 4.2.3.0 - timp - str) SKU: BR.OB-15152-15 Urtext. Composed by Edvard Grieg. Edited by Emil-Gunter Heinemann. Orchestra; stapled. Orchester-Bibliothek (Orchestral Library). In Cooperation with G. Henle Verlag Solo concerto; Romantic. Part. 12 pages. Duration 30'. Breitkopf and Haertel #OB 15152-15. Published by Breitkopf and Haertel (BR.OB-15152-15). ISBN 9790004344057. 10 x 12.5 inches. The piano concerto in a minor stands out in Edvard Grieg's oeuvre. Besides this famous concerto, he composed only a few other large orchestral works. Because of its popularity even in Grieg's lifetime, it was often performed, not least by the composer himself. So it is not surprising that Grieg made many changes to the score up to 1907. But at the same time, the concerto's size, form and substance remained completely unaltered. Interventions in the piano part basically involved subtleties of nuance, and only a very few places in the music text were altered. The situation was different with the orchestration. Here Grieg was keen to experiment and kept filing away at the orchestra sound right up to the last. Melodies were moved to other instruments, accompanying string chords were reconstructed, and above all the list of scored instruments was changed. The main source of the Urtext edition by Ernst-Gunter Heinemann is the new edition of the score originally published in 1907 by C. F. Peters, thus several years after the first edition of 1872. Taken into account in the present edition are the changes that Grieg made up to the time of his death. Piano reduction and fingering by Einar Steen-Nokleberg. $11.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Piano Concerto in A minor Op. 16 Piano and Orchestra [Score] Breitkopf & Härtel
Piano/harpsichord and orchestra (solo: pno - 2(picc).2.2.2 - 4.2.3.0 - timp - st...(+)
Piano/harpsichord and orchestra (solo: pno - 2(picc).2.2.2 - 4.2.3.0 - timp - str) SKU: BR.PB-15152 Urtext. Composed by Edvard Grieg. Edited by Ernst-Gunter Heinemann. Orchestra; Softcover. Partitur-Bibliothek (Score Library). In Cooperation with G. Henle Verlag Solo concerto; Romantic. Full score. 108 pages. Duration 30'. Breitkopf and Haertel #PB 15152. Published by Breitkopf and Haertel (BR.PB-15152). ISBN 9790004215579. 10 x 12.5 inches. The piano concerto in a minor stands out in Edvard Grieg's oeuvre. Besides this famous concerto, he composed only a few other large orchestral works. Because of its popularity even in Grieg's lifetime, it was often performed, not least by the composer himself. So it is not surprising that Grieg made many changes to the score up to 1907. But at the same time, the concerto's size, form and substance remained completely unaltered. Interventions in the piano part basically involved subtleties of nuance, and only a very few places in the music text were altered. The situation was different with the orchestration. Here Grieg was keen to experiment and kept filing away at the orchestra sound right up to the last. Melodies were moved to other instruments, accompanying string chords were reconstructed, and above all the list of scored instruments was changed. The main source of the Urtext edition by Ernst-Gunter Heinemann is the new edition of the score originally published in 1907 by C. F. Peters, thus several years after the first edition of 1872. Taken into account in the present edition are the changes that Grieg made up to the time of his death. Piano reduction and fingering by Einar Steen-Nokleberg. $66.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Piano Concerto in A minor Op. 16 Breitkopf & Härtel
Double bass (solo: pno - 2(picc).2.2.2 - 4.2.3.0 - timp - str) SKU: BR.OB-151...(+)
Double bass (solo: pno - 2(picc).2.2.2 - 4.2.3.0 - timp - str) SKU: BR.OB-15152-27 Urtext. Composed by Edvard Grieg. Edited by Emil-Gunter Heinemann. Orchestra; stapled. Orchester-Bibliothek (Orchestral Library). In Cooperation with G. Henle Verlag Solo concerto; Romantic. Part. 8 pages. Duration 30'. Breitkopf and Haertel #OB 15152-27. Published by Breitkopf and Haertel (BR.OB-15152-27). ISBN 9790004344095. 10 x 12.5 inches. The piano concerto in a minor stands out in Edvard Grieg's oeuvre. Besides this famous concerto, he composed only a few other large orchestral works. Because of its popularity even in Grieg's lifetime, it was often performed, not least by the composer himself. So it is not surprising that Grieg made many changes to the score up to 1907. But at the same time, the concerto's size, form and substance remained completely unaltered. Interventions in the piano part basically involved subtleties of nuance, and only a very few places in the music text were altered. The situation was different with the orchestration. Here Grieg was keen to experiment and kept filing away at the orchestra sound right up to the last. Melodies were moved to other instruments, accompanying string chords were reconstructed, and above all the list of scored instruments was changed. The main source of the Urtext edition by Ernst-Gunter Heinemann is the new edition of the score originally published in 1907 by C. F. Peters, thus several years after the first edition of 1872. Taken into account in the present edition are the changes that Grieg made up to the time of his death. Piano reduction and fingering by Einar Steen-Nokleberg. $11.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Piano Concerto in A minor Op. 16 Breitkopf & Härtel
Viola (solo: pno - 2(picc).2.2.2 - 4.2.3.0 - timp - str) SKU: BR.OB-15152-19<...(+)
Viola (solo: pno - 2(picc).2.2.2 - 4.2.3.0 - timp - str) SKU: BR.OB-15152-19 Urtext. Composed by Edvard Grieg. Edited by Emil-Gunter Heinemann. Orchestra; stapled. Orchester-Bibliothek (Orchestral Library). In Cooperation with G. Henle Verlag Solo concerto; Romantic. Part. 12 pages. Duration 30'. Breitkopf and Haertel #OB 15152-19. Published by Breitkopf and Haertel (BR.OB-15152-19). ISBN 9790004344071. 10 x 12.5 inches. The piano concerto in a minor stands out in Edvard Grieg's oeuvre. Besides this famous concerto, he composed only a few other large orchestral works. Because of its popularity even in Grieg's lifetime, it was often performed, not least by the composer himself. So it is not surprising that Grieg made many changes to the score up to 1907. But at the same time, the concerto's size, form and substance remained completely unaltered. Interventions in the piano part basically involved subtleties of nuance, and only a very few places in the music text were altered. The situation was different with the orchestration. Here Grieg was keen to experiment and kept filing away at the orchestra sound right up to the last. Melodies were moved to other instruments, accompanying string chords were reconstructed, and above all the list of scored instruments was changed. The main source of the Urtext edition by Ernst-Gunter Heinemann is the new edition of the score originally published in 1907 by C. F. Peters, thus several years after the first edition of 1872. Taken into account in the present edition are the changes that Grieg made up to the time of his death. Piano reduction and fingering by Einar Steen-Nokleberg. $11.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Piano Concerto in A minor Op. 16 Piano and Orchestra Breitkopf & Härtel
Piano/harpsichord and orchestra (solo: pno - 2(picc).2.2.2 - 4.2.3.0 - timp - st...(+)
Piano/harpsichord and orchestra (solo: pno - 2(picc).2.2.2 - 4.2.3.0 - timp - str) SKU: BR.PB-15164-07 Urtext. Composed by Edvard Grieg. Edited by E.-G. Heinemann. Orchestra; Softbound. Partitur-Bibliothek (Score Library). Solo concerto; Romantic. Study Score. 108 pages. Duration 30'. Breitkopf and Haertel #PB 15164-07. Published by Breitkopf and Haertel (BR.PB-15164-07). ISBN 9790004215906. 6.5 x 9 inches. The piano concerto in a minor stands out in Edvard Grieg's oeuvre. Besides this famous concerto, he composed only a few other large orchestral works. Because of its popularity even in Grieg's lifetime, it was often performed, not least by the composer himself. So it is not surprising that Grieg made many changes to the score up to 1907. But at the same time, the concerto's size, form and substance remained completely unaltered. Interventions in the piano part basically involved subtleties of nuance, and only a very few places in the music text were altered. The situation was different with the orchestration. Here Grieg was keen to experiment and kept filing away at the orchestra sound right up to the last. Melodies were moved to other instruments, accompanying string chords were reconstructed, and above all the list of scored instruments was changed. The main source of the Urtext edition by Ernst-Gunter Heinemann is the new edition of the score originally published in 1907 by C. F. Peters, thus several years after the first edition of 1872. Taken into account in the present edition are the changes that Grieg made up to the time of his death. Piano reduction and fingering by Einar Steen-Nokleberg. $24.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Piano Concerto in A minor Op. 16 Breitkopf & Härtel
Piano/harpsichord and orchestra (solo: pno - 2(picc).2.2.2 - 4.2.3.0 - timp - st...(+)
Piano/harpsichord and orchestra (solo: pno - 2(picc).2.2.2 - 4.2.3.0 - timp - str) SKU: BR.PB-15164 Urtext. Composed by Edvard Grieg. Edited by E.-G. Heinemann. Orchestra; Softbound. Partitur-Bibliothek (Score Library). Solo concerto; Romantic. Study Score. Duration 30'. Breitkopf and Haertel #PB 15164. Published by Breitkopf and Haertel (BR.PB-15164). ISBN 9790004215906. 6.5 x 9 inches. The piano concerto in a minor stands out in Edvard Grieg's oeuvre. Besides this famous concerto, he composed only a few other large orchestral works. Because of its popularity even in Grieg's lifetime, it was often performed, not least by the composer himself. So it is not surprising that Grieg made many changes to the score up to 1907. But at the same time, the concerto's size, form and substance remained completely unaltered. Interventions in the piano part basically involved subtleties of nuance, and only a very few places in the music text were altered. The situation was different with the orchestration. Here Grieg was keen to experiment and kept filing away at the orchestra sound right up to the last. Melodies were moved to other instruments, accompanying string chords were reconstructed, and above all the list of scored instruments was changed. The main source of the Urtext edition by Ernst-Gunter Heinemann is the new edition of the score originally published in 1907 by C. F. Peters, thus several years after the first edition of 1872. Taken into account in the present edition are the changes that Grieg made up to the time of his death. Piano reduction and fingering by Einar Steen-Nokleberg. $24.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Missa romana (Latin Mass in Jazz) Choral SATB [Score] - Easy Carus Verlag
SATB choir, [organ or Band] - Level 2 SKU: CA.739100 Latin Mass in Jaz...(+)
SATB choir, [organ or Band] - Level 2 SKU: CA.739100 Latin Mass in Jazz. Composed by Thomas Schafer. Contemporary Choir Music. Missa Romana (Latin Mass In Jazz). Sacred vocal music, Sacred vocal music - Jazz, Masses, Latin. Full score. 16 pages. Duration 11 minutes. Carus Verlag #CV 07.391/00. Published by Carus Verlag (CA.739100). ISBN 9790007170769. Text language: Latin. The Missa romana is a mass setting in Latin. With a duration of c. 10 minutes, and a moderate level of difficulty, it is intended for performance in Catholic services. It combines jazzy chords and Latin American rhythms with quotations from the Gregorian Missa de Angelis, which is currently used in many parishes and is popular to sing. The aim is to portray the Latin American dance rhythms authentically and with infectious energy for the listening congregation. This can certainly be achieved through a performance with at leaset a percussion group which is able to exploit the variety of Latin American percussion instruments. The band could also include a double bass and, as harmony instrument, guitar and/or keyboard. The dance rhythms given serve as a guide to rhythm and tempo, and the chordal accompaniment should be improvised using the chord symbols. As performance with band won't always be possible, the Missa romana is written so that it can also be performed a cappella or with organ accompaniment. $8.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Harpsicle Harp Method, Book 1 Harp Mel Bay
Composed by Darlene Walton. Folk and Pedal, Method, Solos. Book and Digital ...(+)
Composed by Darlene Walton.
Folk and Pedal, Method,
Solos. Book and Digital
Video. 28 pages. Published by
Mel Bay Publications, Inc
$14.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| The Snake Pit Concert band - Beginner Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Cabasa, China Cymbal, Clarinet 1, Clarin...(+)
Band Bass Clarinet, Bass Drum, Bassoon, Cabasa, China Cymbal, Clarinet 1, Clarinet 2, Congas, Cowbell, Euphonium, Euphonium T.C., Flute, Flute 2, Glockenspiel, Gong, Horn, Mallet Percussion, Maracas, Oboe, Percussion 1, Percussion 2, Snare Drum and more. - Grade 1.5 SKU: CF.FPS151 Composed by Tyler Arcari. First Plus Band (FPS). Set of Score and Parts. With Standard notation. 8+2+4+4+2+5+2+2+4+4+4+6+3+1+1+3+6+12+2 pages. Duration 1 minute, 36 seconds. Carl Fischer Music #FPS151. Published by Carl Fischer Music (CF.FPS151). ISBN 9781491152119. UPC: 680160909612. Everyone remembers the first time that they saw a snake. Though fascinating to some and terrifying to others, few animals are as universally mesmerizing. Composer Tyler Arcari has crafted a very fun piece making use of auxiliary percussion instruments to emulate a snake's hiss or ominous rattle. With very strong and interesting melodic material, and scored to make a developing band sound great, this piece is sure to be a favorite among students. Everyone remembers the first time that they saw a snake. The majority of people have a base fear of them, while others have a “heebie-jeebies†experience. We all know how the great explorer Dr. Indiana Jones felt about snakes, especially when he famously fell into a snake pit during Raiders of the Lost Ark. However you feel about snakes, a pit of them certainly sounds like an adventure.About the work:Snake Pit uses a lot of auxiliary percussion instruments. Some of these sounds are intended to subtly mimic the sounds that snakes make. The maraca in m. 4, of course, is a rattler’s call! The Chinese cymbal is intended to sound like the “hiss†of a not-so-friendly serpent. The eighth-note pattern at m. 9 is used throughout as a “creepy†effect using dynamic contrast so take care to emphasize this when present.I enjoy the gong as a “color†instrument in the band. I try to balance it with the low brass. Take care that at m. 42 the gong is not “front-and center†but more of a support for the nice accented chords in the low brass. Also, the trumpets can become spaced too much here. The accents are more for emphasis and less space. $60.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| The Snake Pit Concert band [Score] - Beginner Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Cabasa, China Cymbal, Clarinet 1, Clarin...(+)
Band Bass Clarinet, Bass Drum, Bassoon, Cabasa, China Cymbal, Clarinet 1, Clarinet 2, Congas, Cowbell, Euphonium, Euphonium T.C., Flute, Flute 2, Glockenspiel, Gong, Horn, Mallet Percussion, Maracas, Oboe, Percussion 1, Percussion 2, Snare Drum and more. - Grade 1.5 SKU: CF.FPS151F Composed by Tyler Arcari. First Plus Band (FPS). Full score. With Standard notation. 12 pages. Carl Fischer Music #FPS151F. Published by Carl Fischer Music (CF.FPS151F). ISBN 9781491152799. UPC: 680160910298. Everyone remembers the first time that they saw a snake. Though fascinating to some and terrifying to others, few animals are as universally mesmerizing. Composer Tyler Arcari has crafted a very fun piece making use of auxiliary percussion instruments to emulate a snake's hiss or ominous rattle. With very strong and interesting melodic material, and scored to make a developing band sound great, this piece is sure to be a favorite among students. Everyone remembers the first time that they saw a snake. The majority of people have a base fear of them, while others have a “heebie-jeebies†experience. We all know how the great explorer Dr. Indiana Jones felt about snakes, especially when he famously fell into a snake pit during Raiders of the Lost Ark. However you feel about snakes, a pit of them certainly sounds like an adventure.About the work:Snake Pit uses a lot of auxiliary percussion instruments. Some of these sounds are intended to subtly mimic the sounds that snakes make. The maraca in m. 4, of course, is a rattler’s call! The Chinese cymbal is intended to sound like the “hiss†of a not-so-friendly serpent. The eighth-note pattern at m. 9 is used throughout as a “creepy†effect using dynamic contrast so take care to emphasize this when present.I enjoy the gong as a “color†instrument in the band. I try to balance it with the low brass. Take care that at m. 42 the gong is not “front-and center†but more of a support for the nice accented chords in the low brass. Also, the trumpets can become spaced too much here. The accents are more for emphasis and less space. $9.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| To Create a Voice Concert band - Easy Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Clarinet 3, Euph...(+)
Band Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Clarinet 3, Euphonium, Euphonium T.C., Flute 1, Flute 2, Horn 1, Horn 2, Mallet Percussion 1, Mallet Percussion 2, Marimba, Oboe, Percussion 1, Percussion 2, Shaker, Snare Drum and more. - Grade 3 SKU: CF.CPS226 Composed by Carol Brittin Chambers. Concert Band (CPS). Set of Score and Parts. With Standard notation. 16+4+8+16+16+4+4+4+4+4+4+8+8+8+4+4+6+6+6+8+2+2+2+6+12+24+4 pages. Duration 3 minutes, 55 seconds. Carl Fischer Music #CPS226. Published by Carl Fischer Music (CF.CPS226). ISBN 9781491152522. UPC: 680160910021. Inspired by the memory of an influential music educator, Carol Brittin Chambers has woven a multitude of grooves, colors, and uplifting themes into To Create a Voice. Chambers has attempted to convey distinct moods and emotions that this educator tried to instill in his students. In honor of this dynamic teacher, you will hear Hot Cross Buns cleverly placed throughout the composition. To Create a Voice was commissioned by the Valley Concert Band in Stockton, California. The piece premiered in October 2017, in memory and celebration of Chris Anderson, a local musician and educator.When writing this piece, I tried to convey certain moods and emotions throughout: soulful at the beginning with calm woodwind chords and solo trombone; increased energy throughout the various sections of the piece; exploration of different grooves and colors; an uplifting, emotional ending that leaves the listener with a sense of how positive and loving Chris was.This piece is largely inspired by a specific quote from Chris:Most people would consider the sounds students first make on their instruments to be cringe-worthy, but to me that’s music to my ears, because that’s the first time students put a voice to their instrument. Over time those voices become stronger; they become clear, more confident, and get to a point where they use those voices to communicate with each other, and to their audiences.To relate to the first notes on the instrument idea, I used motifs based on the first notes most beginners ever play, do-re-mi, which are introduced at the beginning of the piece with the trombone solo, Chris’ instrument. During the section at m. 15, the brass introduce a chorale that I named Chris’ Theme while the woodwinds keep reminding us of do-re-mi. Later in the piece (mm. 71 and 79), I use these notes again, but in reverse, which becomes a reference to the first song most beginners learn, Hot Cross Buns. This section is also meant to portray Chris’ quirky and joking side. In mm. 75 and 83, Chris’ Theme presents itself again a couple of times in response to Hot Cross Buns.Toward the end, at the uplifting moment (m. 97), do-re-mi is heard again, but this time in harmony with mi-fa-sol. This represents the ultimate satisfaction we all feel as musicians when we have finally progressed enough to play in harmony with others. The half-time feeling in 3 at that moment also has significance, relating (rhythmically) to those important three notes again.I really hope you enjoy performing and listening to this piece as much as I have enjoyed creating it! $95.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| To Create a Voice Concert band [Score] - Easy Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Clarinet 3, Euph...(+)
Band Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Clarinet 3, Euphonium, Euphonium T.C., Flute 1, Flute 2, Horn 1, Horn 2, Mallet Percussion 1, Mallet Percussion 2, Marimba, Oboe, Percussion 1, Percussion 2, Shaker, Snare Drum and more. - Grade 3 SKU: CF.CPS226F Composed by Carol Brittin Chambers. Concert Band (CPS). Full score. With Standard notation. 24 pages. Carl Fischer Music #CPS226F. Published by Carl Fischer Music (CF.CPS226F). ISBN 9781491153208. UPC: 680160910700. Inspired by the memory of an influential music educator, Carol Brittin Chambers has woven a multitude of grooves, colors, and uplifting themes into To Create a Voice. Chambers has attempted to convey distinct moods and emotions that this educator tried to instill in his students. In honor of this dynamic teacher, you will hear Hot Cross Buns cleverly placed throughout the composition. To Create a Voice was commissioned by the Valley Concert Band in Stockton, California. The piece premiered in October 2017, in memory and celebration of Chris Anderson, a local musician and educator.When writing this piece, I tried to convey certain moods and emotions throughout: soulful at the beginning with calm woodwind chords and solo trombone; increased energy throughout the various sections of the piece; exploration of different grooves and colors; an uplifting, emotional ending that leaves the listener with a sense of how positive and loving Chris was.This piece is largely inspired by a specific quote from Chris:Most people would consider the sounds students first make on their instruments to be cringe-worthy, but to me that’s music to my ears, because that’s the first time students put a voice to their instrument. Over time those voices become stronger; they become clear, more confident, and get to a point where they use those voices to communicate with each other, and to their audiences.To relate to the first notes on the instrument idea, I used motifs based on the first notes most beginners ever play, do-re-mi, which are introduced at the beginning of the piece with the trombone solo, Chris’ instrument. During the section at m. 15, the brass introduce a chorale that I named Chris’ Theme while the woodwinds keep reminding us of do-re-mi. Later in the piece (mm. 71 and 79), I use these notes again, but in reverse, which becomes a reference to the first song most beginners learn, Hot Cross Buns. This section is also meant to portray Chris’ quirky and joking side. In mm. 75 and 83, Chris’ Theme presents itself again a couple of times in response to Hot Cross Buns.Toward the end, at the uplifting moment (m. 97), do-re-mi is heard again, but this time in harmony with mi-fa-sol. This represents the ultimate satisfaction we all feel as musicians when we have finally progressed enough to play in harmony with others. The half-time feeling in 3 at that moment also has significance, relating (rhythmically) to those important three notes again.I really hope you enjoy performing and listening to this piece as much as I have enjoyed creating it! $14.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Silent Night Choral SSAA SSAA A Cappella Treble Clef Music Press
SSSAA, a cappella SKU: SU.80300155 For SSSAA, a cappella. Arranged...(+)
SSSAA, a cappella SKU: SU.80300155 For SSSAA, a cappella. Arranged by Katherine Dienes. Vocal/Choral, Sacred Choral. A cappella. Choral Octavo. Treble Clef Music Press #80300155. Published by Treble Clef Music Press (SU.80300155). This full, yet gentle setting of the beloved Christmas hymn is perfect for a candlelight service or quiet concert closer. The low, rocking chords of the background choral parts are the same for all three stanzas. Interest is built by the addition of a second-stanza solo and third-stanza descants. Experiment with assigning the descants to instruments, or with supporting or replacing the lower voices with organ. SSSAA, soprano solo, and three descants a cappella; English; 4 pages; duration: 2:45 min.; range: f to f(top descant to c'''); difficulty: easy-medium. SSSAA, a cappella Published by: Treble Clef Music Minimum order quantity: 8 copies. $1.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Ligtura-message To Frances EMB (Editio Musica Budapest)
Chamber Music for Mixed Ensemble (vlc, vl, celesta, org.) SKU: HL.50511147(+)
Chamber Music for Mixed Ensemble (vlc, vl, celesta, org.) SKU: HL.50511147 (The answered-unanswered question). Composed by Gyorgy Kurtag. EMB. Contemporary Hungarian Works. Playing score. Op. 31b. 8 pages. Editio Musica Budapest #Z13957. Published by Editio Musica Budapest (HL.50511147). ISBN 9790080139578. UPC: 073999111477. 9.0x12.0x0.059 inches. Gyorgy Kurtag. The original version of the piece, Message to Frances Marie, op. 31a was composed for cello solo with two bows for the American cellist Frances Marie Uitti. The subtitle refers to the title of a composition by Charles Ives. The condensed piece of Webernian density which is built upon a homogeneous sequence of chords can be played by three different groups of instruments: A: one cello with two bows, two violins and celesta B: two cellos, two violins and celesta C: two organs and celesta (or upright piano). Written in 1989 the premiere of the work was given at the ISCM Festival in Oslo by F.-M. Uitti, Kjell Arne Jorgensen and Eileen Siegtel in September 25, 1990. $18.45 - See more - Buy online | | |
| White Light Oboe, Piano (duet) - Intermediate Anglo Music
Oboe and Piano - intermediate SKU: BT.AMP-343-401 For Oboe and Piano(+)
Oboe and Piano - intermediate SKU: BT.AMP-343-401 For Oboe and Piano. Composed by Philip Sparke. Anglo Instrumental series. Book Only. Composed 2012. 16 pages. Anglo Music Press #AMP 343-401. Published by Anglo Music Press (BT.AMP-343-401). ISBN 9789043138628. 9x12 inches. English-German-French-Dutch. White Light was commissioned by Fumiko Teramoto, oboist with the Musashino Grand Concert Band from Tokyo, Japan. The request was for a moderately slow piece, of intermediate difficulty, which included White in the title, as this is her lucky colour. Composer Philip Sparke decided to use this suggestion to write a piece that was bright and light in terms of harmony and colour, with much use of simple major and minor chords and an emphasis on pure and transparent timbres. He was also keen to capture the essence and history of the oboe as a solo instrument - the piece is pastoral in character and often almost baroque in style. Also available for oboe and concert band (AMP317-010/140).
Wit is de gelukskleur van het opdrachtgevende orkest van dit uitdagende solowerk voor hobo en piano. Philip Sparke schreef daarom een opgewekte compositie. Het zwaartepunt ligt op de heldere klanken van het hoge hout en de harmonie,klankkleur en instrumentatie is helder en doorzichtig.Ook verkrijgbaar voor hobo en harmonieorkest (AMP 317-010/140).
Weiß ist die Glücksfarbe des auftraggebenden Blasorchesters und daher im Titel dieses Solowerks für Oboe und Klavier. Passend dazu schuf Philip Sparke ein Stück, das sowohl heiter als auch hell in seiner Harmonik, seinen Farben und seiner Orchestrierung ist, viele einfache Dur- und Mollakkorde enthält und den Schwerpunkt auf die klaren Klänge der hohen Holzbläser im Orchester legt. Ebenfalls erhältlich für Oboe und Blasorchester (AMP 317-010/140).
Les indications données étaient les suivantes : une pièce modérément lente et de difficulté moyenne ; enfin, le mot ‘blanc ‘ devait figurer dans le titre, faisant ainsi allusion la couleur fétiche de l'orchestre dédicataire. C'est en s'inspirant de ces quelques éléments que Philip Sparke composa White Light, une pièce lumineuse et harmonieusement légère. De caractère pastoral et de style plutôt baroque, White Light expose avec passion la quintessence du hautbois. Disponible en version Hautbois et piano, elle existe également pour Hautbois solo et orchestre d'harmonie.
In questo lavoro per oboe solista e pianoforte, Philip Sparke crea un pezzo che è allo stesso tempo allegro e luminoso nella sua armonia e nei colori, e che nell'orchestrazione contiene molti semplici accordi maggiori e minori. Disponibile anche per oboe e banda (AMP 317-010/140). $28.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Harvest Hymn Concert band [Score] - Easy Opus III Wind Orchestra Publications
Grade 3 SKU: CL.012-1709-75 Composed by Percy Aldridge Grainger. Arranged...(+)
Grade 3 SKU: CL.012-1709-75 Composed by Percy Aldridge Grainger. Arranged by Kreines. Concert Band. Command Series. Audio recording available separately (item CL.WFR329). Oversized, spiral-bound score. Composed 1983. Duration 3 minutes. Opus III Wind Orchestra Publications #012-1709-75. Published by Opus III Wind Orchestra Publications (CL.012-1709-75). We are pleased to be able to make this wonderful Grainger music available to the bands of the world. This short work features a simple tune, richly harmonized with stately chords and decorated counter-melodies. VERY NICE! About C.L. Barnhouse Command Series The Barnhouse Command Series includes works at grade levels 2, 2.5, and 3. This series is designed for middle school and junior high school bands, as well as high school bands of smaller instrumentation or limited experience. Command Series publications have a slightly larger instrumentation than the Rising Band Series, and are typically of larger scope, duration, and musical content. $25.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
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