(1.2+1.2.2/2.0+2.1.0,perc,pf,str)

SKU: TM.06686SET

Composed by John Philip Sousa. Set Type: D. Set of parts. Lucks Music Library #A4326. Published by Lucks Music Library (TM.06686SET).

Transposed: Cl 1+2, Cor 1+2. Score and Parts Typeset 2019.

(1.2+1.2.2/2.0+2.1.0,perc,pf,str)

SKU: TM.06686SC

Composed by John Philip Sousa. Score. Lucks Music Library #A4326. Published by Lucks Music Library (TM.06686SC).

Transposed: Cl 1+2, Cor 1+2. Score and Parts Typeset 2019.

(March from the Operetta for Band). Composed by John Philip Sousa (1854-1932). Edited by Frederick Fennell. Arranged by Frederick Fennell. Concert Band. For Flute I, Flute II, Oboe I, Oboe II, Clarinet I, Clarinet II, Clarinet III, Alto Clarinet, Bass Clarinet, Contrabass Clarinet, Bassoon I, Bassoon II, Alto Saxophone I, Alto Saxophone II, Tenor Saxophone, Baritone Saxophone, Bass Saxophone, Horn I, Horn II,. Score and Set of Parts. Standard notation. 12 pages. Duration 2 minutes, 15 seconds. Theodore Presser Company #125-40046. Published by Theodore Presser Company

Saxophone. By Philip Sparke. Anglo Music Press Play-Along. Play Along. Size 9x12 inches. 48 pages. Published by Anglo Music.

(15 Easy Solos for Contest and Performance). Arranged by Philip Sparke. For Tuba (Tuba). Instrumental Folio. Grade 1. Book with CD. 16 pages. Published by Anglo Music Press

By John Philip Sousa (1854-1932). Arranged by H.M. Lewis. For Trumpet and Keyboard. New York Festival List. Eighth Note Publications: Heritage of the Cornet. 20th Century. Part(s). Duration 00:03:00. Published by Eighth Note Publications

(15 Easy Solos for Contest and Performance). Arranged by Philip Sparke. For Tuba. Instrumental Folio. Grade 2. Book with CD. 16 pages. Published by Hal Leonard

(Serie II - France 1800-1860). Edited by Philippe Muller. For Cello. Facsimiles. Methodes and Traites. Grade 0. 1792 pages

Double bass

SKU: BR.OB-5509-27

Urtext. Composed by Carl Philipp Emanuel Bach. Edited by Ulrich Leisinger. This edition: double bass part. Stapled. Orchester-Bibliothek (Orchestral Library).

The concertos in A minor and B flat major were first written as violoncello concertos between 1750 and 1753. They thus rank among the very first concertos for solo cello in Germany.

Solo concerto; Early classical. Part. 8 pages. Duration 27'. Breitkopf and Haertel #OB 5509-27. Published by Breitkopf and Haertel (BR.OB-5509-27).

ISBN 9790004338506. 9 x 12 inches.

The concertos in A minor, B flat major and A major were first written as violoncello concertos between 1750 and 1753. They thus rank among the very first concertos for solo cello in Germany. The A minor Concerto, composed in 1750, is performed quite frequently today. C. P. E. Bach most likely wrote the Concerto in B flat major Wq. 171 as the last of the little work group in 1753 in Potsdam, at the court of King Frederick the Great. He reworked the composition for flute and harpsichord shortly thereafter. Various sources prove that copies of the work had made it known quite extensively in the second half of the 18th century. In his new Urtext edition, Ulrich Leisinger bases himself on two reliable manuscripts.

Violoncello

SKU: BR.OB-5509-23

Urtext. Composed by Carl Philipp Emanuel Bach. Edited by Ulrich Leisinger. This edition: cello part. Stapled. Orchester-Bibliothek (Orchestral Library).

The concertos in A minor and B flat major were first written as violoncello concertos between 1750 and 1753. They thus rank among the very first concertos for solo cello in Germany.

Solo concerto; Early classical. Part. 12 pages. Duration 27'. Breitkopf and Haertel #OB 5509-23. Published by Breitkopf and Haertel (BR.OB-5509-23).

ISBN 9790004338490. 9 x 12 inches.

The concertos in A minor, B flat major and A major were first written as violoncello concertos between 1750 and 1753. They thus rank among the very first concertos for solo cello in Germany. The A minor Concerto, composed in 1750, is performed quite frequently today. C. P. E. Bach most likely wrote the Concerto in B flat major Wq. 171 as the last of the little work group in 1753 in Potsdam, at the court of King Frederick the Great. He reworked the composition for flute and harpsichord shortly thereafter. Various sources prove that copies of the work had made it known quite extensively in the second half of the 18th century. In his new Urtext edition, Ulrich Leisinger bases himself on two reliable manuscripts.