| Music for Two, Volume 1 - Flute/Oboe/Violin and Viola Violin, Viola (duet) [Score and Parts] - Intermediate/advanced Last Resort Music Publishing
Edited by Briana Ackerman. Arranged by Daniel Kelley. For Flute (or Oboe or Viol...(+)
Edited by Briana Ackerman. Arranged by Daniel Kelley. For Flute (or Oboe or Violin) and Viola. Duets. Music for Two. Wedding, Classical. Level: Intermediate/Advanced. Score with 2 parts. Published by Last Resort Music Publishing.
$22.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Music for Two, Volume 1 - Flute/Oboe/Violin and Cello/Bassoon Flute, Violoncello [Score and Parts] - Intermediate/advanced Last Resort Music Publishing
Arranged by Daniel Kelley. For Flute (or Oboe or Violin) and Cello (or Bassoon)....(+)
Arranged by Daniel Kelley. For Flute (or Oboe or Violin) and Cello (or Bassoon). Duets. Music for Two. Wedding, Classical. Level: Intermediate/Advanced. Score with 2 parts. Published by Last Resort Music Publishing.
(4)$22.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Music for Two, Volume 1 - Flute/Oboe and Clarinet Flute, Clarinet (duet) [Score and Parts] - Intermediate/advanced Last Resort Music Publishing
Arranged by Daniel Kelley. For Flute (or Oboe) and Clarinet. Duets. Music for Tw...(+)
Arranged by Daniel Kelley. For Flute (or Oboe) and Clarinet. Duets. Music for Two. Wedding, Classical. Level: Intermediate/Advanced. Score with 2 parts. Published by Last Resort Music Publishing.
(1)$22.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Grand Serenade for an Awful Lot of Winds and Percussion [Score] Theodore Presser Co.
By PDQ Bach. Arranged by Peter Schickele. For 2 Piccolo, 8 Flute, 2 Oboe, 18 Cla...(+)
By PDQ Bach. Arranged by Peter Schickele. For 2 Piccolo, 8 Flute, 2 Oboe, 18 Clarinet, 4 A Saxophone, 2 Tenor Saxophone, 2 Baritone Saxophone, 2 Bassoon, 4 Horn, 9 Trumpet, 6 Trombone, 4 Baritone, 6 Tuba, Contrabass, 8 Percussion, Timpani. Full Score - Large. S. 1000. Duration 13:0. Published by Theodore Presser Company.
$20.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Classical Repertoire for Violin Volume One Violin and Piano [Sheet music] - Easy Mel Bay
by Costel Puscoiu. For violin. solos. Non-Series. Classic. Level: Beginning-Inte...(+)
by Costel Puscoiu. For violin. solos. Non-Series. Classic. Level: Beginning-Intermediate. Book. Size 8.75x11.75. 136 pages. Published by Mel Bay Publications, Inc
$19.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Gustav Holst : St. Paul's Suite for Brass Ensemble Brass ensemble [Score] Cherry Classics
By Gustav Holst (1874-1934). Arranged by James Haynor. For Brass Ensemble. Briti...(+)
By Gustav Holst (1874-1934). Arranged by James Haynor. For Brass Ensemble. British early 20th cent. Advanced. Full Score and parts. Published by Cherry Classics
$47.50 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Sonata I, Op. 3 Brass Quintet: 2 trumpets, horn, trombone, tuba - Intermediate Cimarron Music Press
By Arcangelo Corelli (1653-1713). Arranged by Robert Madeson. For brass quintet....(+)
By Arcangelo Corelli (1653-1713). Arranged by Robert Madeson. For brass quintet. Quintet music. Grade 4. Published by Cimarron Music Press
$18.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Serengeti Brass Quintet: 2 trumpets, horn, trombone, tuba [Audio CD] Mark Custom Music
By Brass Arts Quintet and Friends. By Various. For brass quintet. Mark Masters. ...(+)
By Brass Arts Quintet and Friends. By Various. For brass quintet. Mark Masters. Classical. Audio CD. Published by Mark Custom Music
$14.99 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| 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 | | |
| Blow the Trumpets Concert band [Score and Parts] - Easy De Haske Publications
Concert Band/Harmonie/Fanfare and Trumpet Trio - Grade 2 SKU: BT.DHP-0870070-...(+)
Concert Band/Harmonie/Fanfare and Trumpet Trio - Grade 2 SKU: BT.DHP-0870070-015 Composed by Harm Evers. Solo Spectrum. Original Light Music. Set (Score & Parts). Composed 1987. De Haske Publications #DHP 0870070-015. Published by De Haske Publications (BT.DHP-0870070-015). In this sparkling composition, Harm Evers lets the trumpet section show off their style and versatility. Blow The Trumpets opens with an exciting passage that gives the trumpeters’ tonguing free rein. This is then contrasted with the melodic and somewhat bluesy character of the interlude
Gun uw trompettisten een plaats in de schijnwerpers! Met deze flitsende compositie van Harm Evers kan het. Want met Blow the Trumpets laat u uw publiek de stilistische veelzijdigheid van uw trompettisten zien. Terwijl ze erin het eerste deel in een razend tempo ‘vandoor gaan’, vergt het tweede deel met zijn blueskarakter een lieflijker en melodieuzer aanpak. Boeiend en vol afwisseling!
Mit dieser spritzigen Komposition gibt Harm Evers Ihren Trompetern die Möglichkeit, stilistische Vielseitigkeit unter Beweis zu stellen. Während sie im ersten Teil mit spitzen Zungen davon galoppieren, erfordert der Zwischenteil mit seinem Bluescharakter umso mehr melodische Ausdruckskraft.
Avec cette pétillante composition, Harm Evers donnera vos trompettistes la possibilité d’exposer les nombreuses facettes de cet extraordinaire instrument. Lors de la première partie, galopante et vivifiante, un détaché bien franc s’impose. La deuxième partie affiche quant elle toute l’expressivité de la trompette sur un thème aux essences bluesy.
Con questa vivace composizione, Harm Evers offre alle trombe la possibilit di mostrare le molteplici sfaccettature dello strumento. La parte centrale, di carattere blues, richiede un’esecuzione melodiosa. $110.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Blow the Trumpets Concert band [Score] - Easy De Haske Publications
Concert Band/Harmonie/Fanfare and Trumpet Trio - Grade 2 SKU: BT.DHP-0870070-...(+)
Concert Band/Harmonie/Fanfare and Trumpet Trio - Grade 2 SKU: BT.DHP-0870070-215 Composed by Harm Evers. Solo Spectrum. Original Light Music. Score Only. Composed 1987. De Haske Publications #DHP 0870070-215. Published by De Haske Publications (BT.DHP-0870070-215). In this sparkling composition, Harm Evers lets the trumpet section show off their style and versatility. Blow The Trumpets opens with an exciting passage that gives the trumpeters’ tonguing free rein. This is then contrasted with the melodic and somewhat bluesy character of the interlude
Gun uw trompettisten een plaats in de schijnwerpers! Met deze flitsende compositie van Harm Evers kan het. Want met Blow the Trumpets laat u uw publiek de stilistische veelzijdigheid van uw trompettisten zien. Terwijl ze erin het eerste deel in een razend tempo ‘vandoor gaan’, vergt het tweede deel met zijn blueskarakter een lieflijker en melodieuzer aanpak. Boeiend en vol afwisseling!
Mit dieser spritzigen Komposition gibt Harm Evers Ihren Trompetern die Möglichkeit, stilistische Vielseitigkeit unter Beweis zu stellen. Während sie im ersten Teil mit spitzen Zungen davon galoppieren, erfordert der Zwischenteil mit seinem Bluescharakter umso mehr melodische Ausdruckskraft.
Avec cette pétillante composition, Harm Evers donnera vos trompettistes la possibilité d’exposer les nombreuses facettes de cet extraordinaire instrument. Lors de la première partie, galopante et vivifiante, un détaché bien franc s’impose. La deuxième partie affiche quant elle toute l’expressivité de la trompette sur un thème aux essences bluesy.
Con questa vivace composizione, Harm Evers offre alle trombe la possibilit di mostrare le molteplici sfaccettature dello strumento. La parte centrale, di carattere blues, richiede un’esecuzione melodiosa. $19.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Teachers' Choice Piano Repertory Piano solo - Easy XYZ
Piano - Grade 3 SKU: BT.WMP2215 2015-2016 Grades 1-3. Composed by ...(+)
Piano - Grade 3 SKU: BT.WMP2215 2015-2016 Grades 1-3. Composed by Josephine Koh. Teachers' Choice. Method. Book Only. 38 pages. Wells Music Publishers #WMP2215. Published by Wells Music Publishers (BT.WMP2215). ISBN 9789810924089. English. Teachers’ Choice, Selected Piano Repertory & Studies for grades 1, 2 and 3 is compiled to provide teachers and students with good options for the 2015 & 2016 ABRSM Piano examinations. - This collection ofinteresting and appealing Piano pieces contains editorial suggestions for pedagogical purposes. Most teachers will find the performance points helpful in developing stylistic awareness in the students. -Examinationrequirements aside, details on articulation, dynamics, fingering, pedal marks and tempo serve to provide a directed approach for students to strive towards achieving musical excellence and perfection. -Effectivetechnicalstudies suited to each level have been carefully selected, forming in themselves, supplementary materials to enhance technical competence. -Most important of all, enjoy the high standards of music typography suchclear, professionally laid scores supported by modern publishing technology and musical semiotics. The digital print on quality cream-coloured paper ensures comfort in the reading of musical scores. $13.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Overture for a Special Occasion Concert band [Score and Parts] - Intermediate Anglo Music
Concert Band/Harmonie - Grade 5 SKU: BT.AMP-319-010 Composed by Philip Sp...(+)
Concert Band/Harmonie - Grade 5 SKU: BT.AMP-319-010 Composed by Philip Sparke. Elite Series. Opening Pieces. Set (Score & Parts). Composed 2012. Anglo Music Press #AMP 319-010. Published by Anglo Music Press (BT.AMP-319-010). 9x12 inches. English-German-French-Dutch. The special occasion that Philip Sparke was honoured to write this piece for was the 200th anniversary of the Stadtmusik Bad Säckingen. Since Bad Säckingen is known as the ’Trompeterstadt’, or trumpeter city, Sparke’s creative process was influenced by Joseph Victor Scheffel’s poem, Der Trompeter von Säckingen (The Trumpeter from Säckingen), which is based on a true story. The overture starts with a majestic fanfare, followed by a lively molto vivace. It is joined by a brilliant trumpet call in honour of the city’s famous resident.
Overture for a Special Occasion is geschreven in opdracht van Stadtmusik Bad Säckingen ter gelegenheid van het tweehonderdjarig bestaan van het orkest, in 2011. De première van het werk vond plaats in januari van dat jaar,onder leiding van Johannes Brenke, de dirigent van het orkest. Stadtmusik Bad Säckingen, uit de gelijknamige plaats in het zuidwesten van Duitsland, werd opgericht in 1811 en is daarmee een van de oudste blaasorkesten in de regio.Het stadje Bad Säckingen (Bad betekent badplaats) staat bekend als ‘Trompeterstadt’ en kan bogen op een trompetmuseum, dat in 1985 de deuren opende. Voormalig directeur van het museum was de bekende Amerikaanse trompettist en musicoloogEdward H. Tarr. De huidige directeur is Johannes Brenke, tevens de dirigent van het orkest. De nauwe band die het stadje heeft met de trompet dateert van halverwege de 19e eeuw, toen de schilder en schrijver Joseph Victorvon Scheffel het populaire epische gedicht Der Trompeter von Säckingen schreef. Het was gebaseerd op een waar verhaal en het gaf de naam van de plaats bekendheid over de hele wereld. Op het plein voor de kloosterkerk staateen standbeeld van Scheffel en zijn trompetspeler. Overture for a Special Occasion is feestelijk van sfeer. Het werk opent met een plechtige fanfare, die de luisteraar meevoert naar een vreugdevol molto vivace. Als verbindingtussen beide gedeelten dient een enigmatisch trompetgeschal: een eerbetoon aan de beroemdste inwoner van het stadje.
Der spezielle Anlass“, zu dem Philip Sparke die Ehre hatte, dieses Stück zu schreiben, war das 200-jährige Jubiläum der Stadtmusik Bad Säckingen. Da Bad Säckingen weithin als die Trompeterstadt“ bekannt ist, knüpfte Sparke an das berühmte Gedicht Der Trompeter von Säckingen von Joseph Victor Scheffel an, das auf eine wahre Geschichte zurückgeht. Die Ouvertüre beginnt mit einer majestätischen Fanfare, welche zu einem festlichen Molto vivace führt. Dazu gesellt sich dann ein strahlendes Trompetensignal zu Ehren des berühmtesten Sohnes der Stadt.
Overture for a Special Occasion est une commande de l’Orchestre d’Harmonie Stadtmusik Bad Säckingen pour la commémoration de son bicentenaire, en 2011. De caractère festif, Overture for a Special Occasion débute avec une fanfare grandiose. Puis se développe un énigmatique appel de trompette, qui rend hommage au plus célèbre habitant de la ville. Un molto vivace d’une texture joyeuse et colorée apporte un pétillant finale cette ouverture écrite pour une occasion spéciale !
Overture for a Special Occasion wè un brano commissionato dal Corpo Bandistico della Citt di Bad Säckingen in Germania nel 2011 in occasione del suo bicentenario. Nota per le sue terme, questa ridente cittadina tedesca ha anche un secondo nome: “Trompeterstadt†(citt del “trombettistaâ€). La stretta associazione della citt alla tromba risale al XIX secolo quando uno dei suoi illustri abitanti, Joseph Victor von Scheffel, scrittore e romanziere, scrisse un poema divenuto molto popolare, Il trombettista di Säckingen. Di carattere festivo, questo brano inizia con una grandiosa fanfara, seguita da un brillante richiamo di tromba. Un molto vivace gioioso e coloritoregala a questa ouverture uno spumeggiante finale, tutto nel segno di una ricorrenza molto speciale! $216.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Overture for a Special Occasion Concert band [Score] - Intermediate Anglo Music
Concert Band/Harmonie - Grade 5 SKU: BT.AMP-319-140 Composed by Philip Sp...(+)
Concert Band/Harmonie - Grade 5 SKU: BT.AMP-319-140 Composed by Philip Sparke. Elite Series. Opening Pieces. Score Only. Composed 2012. 44 pages. Anglo Music Press #AMP 319-140. Published by Anglo Music Press (BT.AMP-319-140). 9x12 inches. English-German-French-Dutch. The special occasion that Philip Sparke was honoured to write this piece for was the 200th anniversary of the Stadtmusik Bad Säckingen. Since Bad Säckingen is known as the ’Trompeterstadt’, or trumpeter city, Sparke’s creative process was influenced by Joseph Victor Scheffel’s poem, Der Trompeter von Säckingen (The Trumpeter from Säckingen), which is based on a true story. The overture starts with a majestic fanfare, followed by a lively molto vivace. It is joined by a brilliant trumpet call in honour of the city’s famous resident.
Overture for a Special Occasion is geschreven in opdracht van Stadtmusik Bad Säckingen ter gelegenheid van het tweehonderdjarig bestaan van het orkest, in 2011. De première van het werk vond plaats in januari van dat jaar,onder leiding van Johannes Brenke, de dirigent van het orkest. Stadtmusik Bad Säckingen, uit de gelijknamige plaats in het zuidwesten van Duitsland, werd opgericht in 1811 en is daarmee een van de oudste blaasorkesten in de regio.Het stadje Bad Säckingen (Bad betekent badplaats) staat bekend als ‘Trompeterstadt’ en kan bogen op een trompetmuseum, dat in 1985 de deuren opende. Voormalig directeur van het museum was de bekende Amerikaanse trompettist en musicoloogEdward H. Tarr. De huidige directeur is Johannes Brenke, tevens de dirigent van het orkest. De nauwe band die het stadje heeft met de trompet dateert van halverwege de 19e eeuw, toen de schilder en schrijver Joseph Victorvon Scheffel het populaire epische gedicht Der Trompeter von Säckingen schreef. Het was gebaseerd op een waar verhaal en het gaf de naam van de plaats bekendheid over de hele wereld. Op het plein voor de kloosterkerk staateen standbeeld van Scheffel en zijn trompetspeler. Overture for a Special Occasion is feestelijk van sfeer. Het werk opent met een plechtige fanfare, die de luisteraar meevoert naar een vreugdevol molto vivace. Als verbindingtussen beide gedeelten dient een enigmatisch trompetgeschal: een eerbetoon aan de beroemdste inwoner van het stadje.
Der spezielle Anlass“, zu dem Philip Sparke die Ehre hatte, dieses Stück zu schreiben, war das 200-jährige Jubiläum der Stadtmusik Bad Säckingen. Da Bad Säckingen weithin als die Trompeterstadt“ bekannt ist, knüpfte Sparke an das berühmte Gedicht Der Trompeter von Säckingen von Joseph Victor Scheffel an, das auf eine wahre Geschichte zurückgeht. Die Ouvertüre beginnt mit einer majestätischen Fanfare, welche zu einem festlichen Molto vivace führt. Dazu gesellt sich dann ein strahlendes Trompetensignal zu Ehren des berühmtesten Sohnes der Stadt.
Overture for a Special Occasion est une commande de l’Orchestre d’Harmonie Stadtmusik Bad Säckingen pour la commémoration de son bicentenaire, en 2011. De caractère festif, Overture for a Special Occasion débute avec une fanfare grandiose. Puis se développe un énigmatique appel de trompette, qui rend hommage au plus célèbre habitant de la ville. Un molto vivace d’une texture joyeuse et colorée apporte un pétillant finale cette ouverture écrite pour une occasion spéciale !
Overture for a Special Occasion wè un brano commissionato dal Corpo Bandistico della Citt di Bad Säckingen in Germania nel 2011 in occasione del suo bicentenario. Nota per le sue terme, questa ridente cittadina tedesca ha anche un secondo nome: “Trompeterstadt†(citt del “trombettistaâ€). La stretta associazione della citt alla tromba risale al XIX secolo quando uno dei suoi illustri abitanti, Joseph Victor von Scheffel, scrittore e romanziere, scrisse un poema divenuto molto popolare, Il trombettista di Säckingen. Di carattere festivo, questo brano inizia con una grandiosa fanfara, seguita da un brillante richiamo di tromba. Un molto vivace gioioso e coloritoregala a questa ouverture uno spumeggiante finale, tutto nel segno di una ricorrenza molto speciale! $52.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Blow The Trumpets Score And Parts Concert band [Score] - Easy De Haske Publications
3 Trumpets and Concert Band/Harmonie/Fanfare - Grade 2 SKU: HL.44001258 C...(+)
3 Trumpets and Concert Band/Harmonie/Fanfare - Grade 2 SKU: HL.44001258 Composed by Harm Evers. De Haske Concert Band. Original Light Music. Score Only. Composed 1987. De Haske Publications #870070. Published by De Haske Publications (HL.44001258). UPC: 073999450965. 6.75x10.5 inches. In this sparkling composition, Harm Evers lets the trumpet section show off their style and versatility. Blow The Trumpets opens with an exciting passage that gives the trumpeters' tonguing free rein. This is then contrasted with the melodic and somewhat bluesy character of the interlude
Gun uw trompettisten een plaats in de schijnwerpers! Met deze flitsende compositie van Harm Evers kan het. Want met Blow the Trumpets laat u uw publiek de stilistische veelzijdigheid van uw trompettisten zien. Terwijl ze erin het eerste deel in een razend tempo 'vandoor gaan', vergt het tweede deel met zijn blueskarakter een lieflijker en melodieuzer aanpak. Boeiend en vol afwisseling!
Mit dieser spritzigen Komposition gibt Harm Evers Ihren Trompetern die Moglichkeit, stilistische Vielseitigkeit unter Beweis zu stellen. Wahrend sie im ersten Teil mit spitzen Zungen davon galoppieren, erfordert der Zwischenteil mit seinem Bluescharakter umso mehr melodische Ausdruckskraft.
Avec cette petillante composition, Harm Evers donnera a vos trompettistes la possibilite d'exposer les nombreuses facettes de cet extraordinaire instrument. Lors de la premiere partie, galopante et vivifiante, un detache bien franc s'impose. La deuxieme partie affiche quant a elle toute l'expressivite de la trompette sur un theme aux essences bluesy.
Con questa vivace composizione, Harm Evers offre alle trombe la possibilita di mostrare le molteplici sfaccettature dello strumento. La parte centrale, di carattere blues, richiede un'esecuzione melodiosa. $92.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Easy Organ Library, Vol. 51 Organ [Sheet music] - Easy Lorenz Publishing Company
Easy Organ Library, Vol. 51. For organ: 2-staff. Sacred, Eastertide, General, Ho...(+)
Easy Organ Library, Vol. 51. For organ: 2-staff. Sacred, Eastertide, General, Holy Communion, Holy Week, Lent, Pentecost. Moderately easy. Published by Lorenz Publishing Company
$34.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| William Tell Overture Concert band [Score and Parts] - Intermediate Alfred Publishing
By Gioacchino Rossini. Arranged by Mark Williams. Music by Gioacchino Rossini / ...(+)
By Gioacchino Rossini. Arranged by Mark Williams. Music by Gioacchino Rossini / arr. Mark Williams. For Concert Band. Concert Band. Growing Band Series. Level: Level 3 (grade 3). Conductor Score and Parts. 3 pages. Published by Alfred Publishing.
$75.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Standard Wedding Music for Organ Organ [Sheet music] Lorenz Publishing Company
By David Sarandon. Organ. Level: 3-staff. Sacred organ. Published by Lorenz Publ...(+)
By David Sarandon. Organ. Level: 3-staff. Sacred organ. Published by Lorenz Publishing Company.
(1)$42.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
1 Next page 31 61 |