| Happy Times - Bassoon Bassoon - Easy Editions Marc Reift (Swiss import)
By Various. Concert Band. For Bassoon. Swiss import. Light Music; Pop. Level: Gr...(+)
By Various. Concert Band. For Bassoon. Swiss import. Light Music; Pop. Level: Grade 2 . Part. Published by Editions Marc Reift. (EMR 1250-05)
$8.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Happy Times - Bassoon Bassoon - Easy Editions Marc Reift (Swiss import)
By Various. Concert Band. For Bassoon. Swiss import. Light Music; Pop. Level: Gr...(+)
By Various. Concert Band. For Bassoon. Swiss import. Light Music; Pop. Level: Grade 2 . Part. Published by Editions Marc Reift. (EMR 1250-05)
$8.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Essential Elements Pop Songs for Bassoon Bassoon Hal Leonard
Bassoon SKU: HL.870068 Composed by Various. Essential Elements Band Folio...(+)
Bassoon SKU: HL.870068 Composed by Various. Essential Elements Band Folios. Pop. Softcover. 16 pages. Published by Hal Leonard (HL.870068). ISBN 9781705150061. UPC: 196288016779. 9.0x12.0x0.07 inches. 30 popular melodies at an easy level in solo books for all the instruments in the Essential Elements Band Method. Perfect motivational music for students to play and practice featuring songs by Billie Eilish, Queen, Shawn Mendes, Taylor Swift, Star Wars, The Avengers, and more! Titles include: Believer � Blinding Lights � Don't Stop Believin' � Dynamite � Hallelujah � The Imperial March (Darth Vader's Theme) � Let It Go � Señorita � Seven Nation Army � Sucker � This Is Me � We Are the Champions � Wildest Dreams � You Will Be Found � and more. $14.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| 15 Easy Christmas Carols Bassoon, Piano (duet) [Sheet music + CD] - Easy Anglo Music
Bassoon and Piano - easy SKU: BT.AMP-407-400 Arranged by Philip Sparke. A...(+)
Bassoon and Piano - easy SKU: BT.AMP-407-400 Arranged by Philip Sparke. Anglo Music Play-Along Series. Book with CD. Composed 2015. 40 pages. Anglo Music Press #AMP 407-400. Published by Anglo Music Press (BT.AMP-407-400). ISBN 9789043148498. English-German-French-Dutch. Part of the Anglo Music Play-Along Series, Philip Sparke’s 15 Easy Christmas Carols is aimed at the young instrumentalist who can play just over an octave. Specifically tailored to suit the individual instrument, this book introducesthe beginning player to the world’s most popular Christmas tunes by selecting simple yet attractive melodies that fit their limited range. This book will provide invaluable additional material to complement any teaching method and includes both pianoaccompaniment and a demo/play-along CD.
Philip Sparkes 15 Easy Christmas Carols sind Teil der Anglo Music Play-Along Reihe und richten sich an junge Instrumentalisten, die den Tonumfang von einer Oktave beherrschen. Auf jedes Instrument zugeschnitten, führen diese Ausgaben,für die einfache und zugleich ansprechende Melodien ausgewählt wurden die sich für diesen begrenzten Tonumfang eignen, den Anfänger an die weltweit beliebtesten Weihnachtslieder heran. Dieser Band bietet wertvolles Ergänzungsmaterial, das zu jederInstrumentalschule passt und sowohl eine Klavierbegleitung als auch eine Play-Along-CD enthält.
Faisant partie de l’Anglo Music Play-Along Series, les 15 Easy Christmas Carols(15 chants de Noël faciles) de Philip Sparke visent les jeunes instrumentistes qui arrivent jouer un peu plus d’une octave. Adapté pourconvenir chaque instrument spécifique, ce recueil introduit le joueur débutant aux chants de Noël les plus populaires en sélectionnant des mélodies simples les plus intéressantes qui correspondent leur registre limité. Ce recueil fournit dumatériel supplémentaire indispensable qui complète n’importe quelle méthode pédagogique et inclut un accompagnement pour piano ainsi qu’une version sur CD avec démos. $22.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| 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
$6.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Three(3) Ragtimes For Basson And Piano Bassoon, Piano (duet) [Sheet music] Schott
For Bassoon and Piano. By Scott Joplin. Arranged by Wolfgang Birtel. This editio...(+)
For Bassoon and Piano. By Scott Joplin. Arranged by Wolfgang Birtel. This edition: ED20464. Woodwind. Book only. 18 pages. Published by Schott.
$15.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Nice 'n' Easy and Jazz Dances Bassoon, Piano (duet) - Intermediate/advanced Forton Music | | |
| 15 Intermediate Christmas Carols Bassoon, Piano (duet) [Sheet music + CD] - Intermediate Anglo Music
Bassoon and Piano - intermediate SKU: BT.AMP-430-400 Arranged by Philip S...(+)
Bassoon and Piano - intermediate SKU: BT.AMP-430-400 Arranged by Philip Sparke. Anglo Music Play-Along Series. Book with CD. Composed 2015. 40 pages. Anglo Music Press #AMP 430-400. Published by Anglo Music Press (BT.AMP-430-400). ISBN 9789043148610. English-German-French-Dutch. Part of the Anglo Music Play-Along Series, Philip Sparke’s 15 Intermediate Christmas Carols is aimed at the young instrumentalist who can play about an octave and a half and follows on from Sparke’s 15 Easy ChristmasCarols. Specifically tailored to suit the individual instrument, this book introduces the developing player to the world’s most popular Christmas tunes by selecting simple yet attractive melodies that fit their limited range. The book willprovide invaluable additional material to complement any teaching method and includes both piano accompaniment and a demo/play-along CD.
Philip Sparkes 15 Intermediate Christmas Carols sind Teil der Reihe Anglo Music Play-Along und richten sich an junge Instrumentalisten, die einen Tonumfang von ungefähr eineinhalb Oktaven beherrschen. Die Ausgabe schließt sich anSparkes 15 Easy Christmas Carols an. Für diesen Band wurden einfache und zugleich ansprechende Melodien ausgewählt, die genau auf das jeweilige Instrument zugeschnitten sind, sich für dessen begrenzten Tonumfang eignen, und den soSchüler an die weltweit beliebtesten Weihnachtslieder heranführen. 15 Intermediate Christmas Carols bietet damit wertvolles Ergänzungsmaterial, das zu jeder Instrumentalschulepasst und sowohl eine Klavierbegleitung als auch einePlay-Along-CD enthält.
Faisant partie de l’Anglo Music Play-Along Series, les 15 Intermediate Christmas Carols(15 chants de Noël de niveau intermédiaire) de Philip Sparke visent les instrumentistes qui arrivent jouer environ une octave etdemi. Adapté pour convenir chaque instrument spécifique, ce recueil introduit le musicien de niveau moyen aux chants de Noël les plus populaires en sélectionnant les mélodies simples les plus intéressantes qui correspondent leur registre limité.Ce livre fournit du matériel supplémentaire indispensable qui complète n’importe quelle méthode pédagogique et inclut un accompagnement pour piano ainsi qu’une version sur CD avec démos. $22.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Stormbreak Percussion Ensemble - Easy Tapspace Publications
(For Percussion Octet (and optional wind ensemble)). By Jim Casella. For Glocken...(+)
(For Percussion Octet (and optional wind ensemble)). By Jim Casella. For Glockenspiel, xylophone, chimes, 4 timpani, bongos, congas, rainstick, vibra slap, suspended cymbal, woodblock, finger cymbal, snare drum, brake drum, hihat, ocean drum, 4 concert toms, cowbell, shaker, splash cymbal, china cymbal, tambourine, triangle, b (8 percussion players). This edition: Percussion ensemble and optional wind ensemble. Concert Percussion Ensembles. Optional Wind Ensemble Parts Included (divisi if applicable): Flute, oboe, clarinet, bass clarinet, contrabass clarinet (E-flat), bassoon, alto saxophone, tenor saxophone, baritone saxophone, trumpet, french horn, trombone, baritone, tuba. Medium-Easy. Folio parts on CD-Rom. 32 pages. Duration 3:30. Published by Tapspace Publications
$55.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Dance and sing (Il est ne) Choral SATB SATB, Piano [Vocal Score] Oxford University Press
Arranged by Ryan Murphy. For SATB choir and piano/orchestra (piccolo, flute, obo...(+)
Arranged by Ryan Murphy. For SATB choir and piano/orchestra (piccolo, flute, oboe, english horn, clarinet, 2 bassoons, 2 horns, 2 trumpets, 2 trombones, tuba, 2 percussion [triangle, tambourine, suspended cymbal, snare drum, glockenspiel], harp(opt), strings). Mixed Voices. Christmas, Choral Leaflet. Level B (easy). Vocal score. 12 pages. Duration 3'. Published by Oxford University Press
$3.65 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Guide me, O thou great Jehovah Choral SATB SATB, Organ [Octavo] - Easy Oxford University Press
Composed by Mack Wilberg (1955-). For SATB choir and organ or large orchestra (3...(+)
Composed by Mack Wilberg (1955-). For SATB choir and organ or large orchestra (3 flutes ( piccolo), 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, 2 percussion (suspended cymbal, chimes), organ, strings). Mixed Voices. Sacred. Level B (easy). Octavo. 12 pages. Duration 4 minutes. Published by Oxford University Press
$3.65 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Avalon Concert band [Score] - Easy Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, China Cymbal, Clarinet 1, Clarinet 2, Cr...(+)
Band Bass Clarinet, Bass Drum, Bassoon, China Cymbal, Clarinet 1, Clarinet 2, Crash Cymbals, Euphonium, Euphonium T.C., Flute, Flute 2, Horn, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Snare Drum, Suspended Cymbal, Tambourine, Timpani and more. - Grade 2 SKU: CF.YPS204F Long Live the King. Composed by Tyler Arcari. Young Band (YPS). Full score. With Standard notation. 16 pages. Carl Fischer Music #YPS204F. Published by Carl Fischer Music (CF.YPS204F). ISBN 9781491152928. UPC: 680160910427. Avalon–Long Live the King is a medieval fantasy piece depicting the Isle of Avalon where the mystical sword Excalibur of King Arthur was forged. Composer Tyler Arcari unearths a solid piece for young bands that is both bold and dramatic. This piece is sure to spark the imagination of students and give them strong musical content with which they can develop their musicianship. Program Notes:Avalon–Long live the King began its journey as a commission in honor of a dear friend and mentor. David Riggs is one of those band directors that just seems timeless. He is a powerhouse with such a stacked resume that it is easy to forget that at the end of the day he enjoys taking long bike rides with his lovely wife and whittling a piece of wood just as much as being a band director. He has touched so many lives and inspired so many people in our field and beyond. I was humbled, and honored, when I was contacted for the commission. To David, I hope that you one day know how much you mean to so many people, including myself.About the piece:The piece is written with a little homage to David’s long tenure at Avalon Middle school in Pace, Florida. He was certainly treated like a king as the band director and rightly so. It seemed only fitting to add a little medieval fantasy. Avalon is a mystical island in the world of King Arthur where the great sword Excalibur was forged.The piece begins lyrically with a slow introduction with melodic material. This melodic motive is used throughout with slight variations depending on the instrument voicing etc. Care should be taken at m. 10 that the Timpani roll helps to bridge our transition from an exposed section to full tutti. Care should be taken so that the tempo change at m. 19 is brisk and avoids the low brass turning into stomping. Accessories like the China cymbal and tambourine can become overpowering. I recommend having students think of these effects as background in order to make sure they don’t POP out. The dynamic changes at mm. 27-35 should be subito similar to orchestral dynamic changes. Avoid unwritten crescendos in this section. Measures 60–64 are a great opportunity to teach those unwritten dynamics that make music so enjoyable as we lead up to the finale. It was originally left blank for some theatrics in the premiere at David’s retirement concert so I know he would enjoy adding some Cholesterol as David would say.Long Live the King! $11.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Avalon Concert band - Easy Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, China Cymbal, Clarinet 1, Clarinet 2, Cr...(+)
Band Bass Clarinet, Bass Drum, Bassoon, China Cymbal, Clarinet 1, Clarinet 2, Crash Cymbals, Euphonium, Euphonium T.C., Flute, Flute 2, Horn, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Snare Drum, Suspended Cymbal, Tambourine, Timpani and more. - Grade 2 SKU: CF.YPS204 Long Live the King. Composed by Tyler Arcari. Young Band (YPS). Set of Score and Parts. With Standard notation. 8+2+4+4+2+2+5+2+2+4+4+4+6+3+3+1+1+4+16+2+4 pages. Duration 2 minutes, 24 seconds. Carl Fischer Music #YPS204. Published by Carl Fischer Music (CF.YPS204). ISBN 9781491152249. UPC: 680160909742. Key: D minor. Avalon–Long Live the King is a medieval fantasy piece depicting the Isle of Avalon where the mystical sword Excalibur of King Arthur was forged. Composer Tyler Arcari unearths a solid piece for young bands that is both bold and dramatic. This piece is sure to spark the imagination of students and give them strong musical content with which they can develop their musicianship. Program Notes:Avalon–Long live the King began its journey as a commission in honor of a dear friend and mentor. David Riggs is one of those band directors that just seems timeless. He is a powerhouse with such a stacked resume that it is easy to forget that at the end of the day he enjoys taking long bike rides with his lovely wife and whittling a piece of wood just as much as being a band director. He has touched so many lives and inspired so many people in our field and beyond. I was humbled, and honored, when I was contacted for the commission. To David, I hope that you one day know how much you mean to so many people, including myself.About the piece:The piece is written with a little homage to David’s long tenure at Avalon Middle school in Pace, Florida. He was certainly treated like a king as the band director and rightly so. It seemed only fitting to add a little medieval fantasy. Avalon is a mystical island in the world of King Arthur where the great sword Excalibur was forged.The piece begins lyrically with a slow introduction with melodic material. This melodic motive is used throughout with slight variations depending on the instrument voicing etc. Care should be taken at m. 10 that the Timpani roll helps to bridge our transition from an exposed section to full tutti. Care should be taken so that the tempo change at m. 19 is brisk and avoids the low brass turning into stomping. Accessories like the China cymbal and tambourine can become overpowering. I recommend having students think of these effects as background in order to make sure they don’t POP out. The dynamic changes at mm. 27-35 should be subito similar to orchestral dynamic changes. Avoid unwritten crescendos in this section. Measures 60–64 are a great opportunity to teach those unwritten dynamics that make music so enjoyable as we lead up to the finale. It was originally left blank for some theatrics in the premiere at David’s retirement concert so I know he would enjoy adding some Cholesterol as David would say.Long Live the King! $70.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Concerto - Piano And Orchestra - Solo Part Schott
Piano and orchestra - difficult SKU: HL.49046544 For piano and orchest...(+)
Piano and orchestra - difficult SKU: HL.49046544 For piano and orchestra. Composed by Gyorgy Ligeti. This edition: Saddle stitching. Sheet music. Edition Schott. Softcover. Composed 1985-1988. Duration 24'. Schott Music #ED23178. Published by Schott Music (HL.49046544). ISBN 9781705122655. UPC: 842819108726. 9.0x12.0x0.224 inches. I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. The markings of the movements are the following: 1. Vivace molto ritmico e preciso 2. Lento e deserto 3. Vivace cantabile 4. Allegro risoluto 5. Presto luminoso.The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale; my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. In the Piano Concerto I realized new concepts of harmony and rhythm. The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time 'rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form; later in the fourth movement it will be considerably developed. The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement; however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly; they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales; in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting; illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated; the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus; indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. (Gyorgy Ligeti). $34.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Welcome to Our World Choral CD Hope Publishing Company
Choir SKU: HP.C6103C Composed by Chris Rice. Arranged by Lloyd Larson. Pi...(+)
Choir SKU: HP.C6103C Composed by Chris Rice. Arranged by Lloyd Larson. Piano Accompaniment with Optional Orchestra. Christmas, Sacred. Performance/Accompaniment CD. Hope Publishing Company #C6103C. Published by Hope Publishing Company (HP.C6103C). UPC: 763628961039. By Chris Rice. Popular contemporary Christmas song by Chris Rice This arrangement of Chris Rice's popular contemporary Christmas song comes from Lloyd's best-selling cantata, Were You There on That Christmas Night? (Code No. 8611). The SAB setting is also included in Lloyd's collection Easy Settings III and may be sung as either SAB or as a 2-part mixed setting by simply omitting the alto. Orchestration: Conductor's Score, Flute, Oboe (Soprano Sax or Clarinet), Clarinet, Bassoon (Bass Clarinet), Horn (Clarinet), 2 Trumpets, 2 Trombones (Baritone T. C. ), Percussion I & II, Piano, Harp, 2 Violins, Viola, Cello and String Reduction. $29.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 business days | | |
| Welcome to Our World Choral SATB [Octavo] Hope Publishing Company
Composed by Chris Rice. Arranged by Lloyd Larson. Christmas, Sacred. Octavo. Pu...(+)
Composed by Chris Rice. Arranged by Lloyd Larson. Christmas, Sacred. Octavo. Published by Hope Publishing Company (HP.C6103).
$3.25 - See more - Buy onlinePre-shipment lead time: 4 to 6 business days | | |
| Follow The Leader Concert band - Beginner Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Chimes, Clarinet, Crash Cymbals, ...(+)
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Chimes, Clarinet, Crash Cymbals, Euphonium, Euphonium T.C., Flute, Flute 2, Horn, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Snare Drum, Temple Blocks, Timpani, Trombone, Trumpet, Tuba and more. - Grade 1 SKU: CF.BPS55 March. Composed by Joseph Compello. Carl Fischer Beginning Performance Series. Set of Score and Parts. With Standard notation. 8+2+8+2+5+2+2+8+3+6+2+3+3+1+2+2+16 pages. Carl Fischer Music #BPS55. Published by Carl Fischer Music (CF.BPS55). ISBN 9780825869884. UPC: 798408069889. 9 x 12 inches. Key: G minor. A very easy original march from popular composer Joseph Compello. A perfect opportunity to teach the march style to the youngest of band students. $53.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Here We Come A-Wassailing Concert band [Score] - Easy Carl Fischer
Concert Band Alto Saxophone, Baritone (Bass Clef), Baritone Saxophone, Bass Clar...(+)
Concert Band Alto Saxophone, Baritone (Bass Clef), Baritone Saxophone, Bass Clarinet, Bassoon, Clarinet I, Clarinet II, Flute, Horn, Mallet Percussion, Oboe, Percussion I, Percussion II, Tenor, Tenor Saxophone, Timpani, Trumpet I, Trumpet II - Grade 2-2.5 SKU: CF.YPS62F Composed by Anonymous. Arranged by Robert Thurston. Carl Fischer Young Performance Series. Classical. Full score. With Standard notation. Carl Fischer Music #YPS62F. Published by Carl Fischer Music (CF.YPS62F). ISBN 9780825864582. UPC: 798408064587. 9 X 12 inches. An easy and straightforward arrangement of a popular Christmas Carol that features clever rhythmic variations on the tune. Mildly dissonant harmonies and imaginative scoring, including a brief, but effective, solo for the percussion section, add spice to the traditional Christmas brew. $11.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Emmanuel (Hallowed Manger Ground) (Orchestration) Choral SATB Lillenas Publishing Co.
SATB choir - Moderate SKU: LP.765762174207 Composed by Chris Tomlin & Ed ...(+)
SATB choir - Moderate SKU: LP.765762174207 Composed by Chris Tomlin & Ed Cash. Arranged by Gary Rhodes & Tim Cates. Anthems. Praise & Worship and Sacred. CD-ROM orchestration. Published by Lillenas Publishing Company (LP.765762174207). UPC: 765762174207. Easy-to-learn melody and accessible choral writing make this new offering from popular solo artist Chris Tomlin and arranger Gary Rhodes a perfect addition to the Christmas choral repertoire of any church. Gentle and reverent with a sensitive artistic touch this new classic is sure to carry listeners to a place of worship at that hallowed manger ground. Instrumentation: Flute 1 & 2 Oboe Clarinet Horn 1 & 2 Trumpet 1 Trumpet 2 & 3 Trombone 1 & 2 Trombone 3/Tuba Percussion Rhythm Harp Violin 1 & 2 Viola Cello String Bass Substitute Instrumentation: Keyboard String Reduction; Soprano Sax (sub for Oboe); Alto Sax 1 & 2 (sub for Horn 1 & 2); Baritone T.C./Tenor Sax (sub for Trombone 1 & 2); Baritone Sax (sub for Trombone 3/Tuba); Bassoon/Bass Clarinet (sub for Cello). $74.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Woodwind Quartet No. 7 [Score] Theodore Presser Co.
Woodwind quartet Bassoon, Clarinet, Flute, Oboe SKU: PR.14440570S Thos...(+)
Woodwind quartet Bassoon, Clarinet, Flute, Oboe SKU: PR.14440570S Those Times. Composed by Robert Martin. Premiere: Adelphi University, Long Island, NY; Linda Wetherill, flute, Adelphi University faculty. Contemporary. Full score. With Standard notation. Composed 2-Dec. Duration 9 minutes, 15 seconds. Theodore Presser Company #144-40570S. Published by Theodore Presser Company (PR.14440570S). UPC: 680160609901. The seventh wind quartet was completed in 2002 and is fashioned after a childhood memory of a chaotic and impromptu music experience. I remembered a children’s birthday party where several sisters, who had taken music lessons, were pushing each other off a piano bench in order to have a brief turn playing easy tunes. This artless ruckus turned out to be an exciting 'performance' despite being unplanned. The girls were laughing, pushing, shoving, struggling, even banging and pounding, while managing to render chopped-up tune fragments from pieces that were popular at the time. The result is a single-movement quartet, where surrealism is based on non-surrealistic reality. For advanced performers. Duration: 9'15. $19.99 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
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