SKU: ST.C183
ISBN 9790570811830.
Drunken Sailor — the sequelThis needs a plaintive tone especially in the upper register where the dynamics are particularly important. To capture the mood of the piece those slurs in bars 35 and 36, for example, might even be close to a glissando. Use your imagination to recreate the sailor’s state of health!The Vulgar BoatmanNot only more hidden melodies but more appalling puns! (Volga Boatman for those not versed in Russian folksongs). This is like a waltz: it is written in 3/4 time but played so as to give the impression of one beat in bar. The melodies need to be well sustained so that we hear four, eight or even more bars as a single phrase. Clues for the musical detective:- in addition to the Volga Boatman, you might spot just a hint of Sailing down the River on a Sunday Afternoon, We Sail the Ocean Blue (H.M.S. Pinafore), The Eton Boating Song and even Wagner’s Flying Dutchman.Last Tango in HarrisEveryone must surely know these thinly disguised Scottish tunes, but can you make them sound like a tango? Bear in mind that tangos are not jazz: the rhythm is quite strict, but the tango character is in the tone and the phrasing. Notice how expressive the occasional shorter note value can be, as in bars 4 and 5 in the bassoon part.Rheumanian StretchesOr was that Rumanian Sketches? This is a chance to play the main melody in two registers of the bassoon. Try to make a good even sound in both octaves. This piece requires careful counting since the phrases in the bassoon part don’t always begin where you might expect. Think of this piece as a song.Four Pieces for Bassoon and PianoGrade 3Former Spartan Press Cat. No.: SP1163.
SKU: ST.C184
ISBN 9790570811847.
March of the DayThe subtitle says it all, I think. The piece has three main ideas each in the contrasting keys of Bb, Eb and F majors. Can you find a different character for each one? The danger for bassoonists in this sort of piece is that everything can sound accented, so be careful to follow the articulation marks as closely as you can.RondolettinettoThis is all about building phrases through repetition. It relies largely, therefore, on control of the sound. Try to achieve a really obvious contrast of character between the opening phrases and the less refined con spirito episode. This might be played just a touch faster than the opening and closing sections, if you wish. There is a hint of gentle parody in this piece if you can find a way of expressing that too.Sand-dance KidThis piece stretches the compass and range of expression even further. There are very obvious contrasts of staccato and legato and the phrase lengths of the middle section are far from regular. Try to scale down the dynamics at the end so that you end as softly as you can play.Three Pieces for Bassoon and PianoGrade 4Former Spartan Press Cat. No.: SP1164.
SKU: FG.55011-524-8
ISBN 9790550115248.
In Kirmo Lintinen's Rondo burlesque (2007-2008) for bassoon and piano , the qualitative elements of the bar, with their upbeats, accents and GPs, create a refined musical rhetoric and are very much to the fore. At the premiere, Lintinen's manner of playing, with its sparing use of the pedal obscuring the first beat but not the sense of time, underlined the inherent character of the piece. The roguish poetic metres gambolled jerkily along, and although at surface level the music may appear guileless, Lintinen knows his polyphony, judging by the capital roving of his voices even in the homophonic textures. Kirmo Lintinen (b. 1967) is a man of many musical talents: composer, pianist and conductor. His catalogue encompasses almost all gen-res and categories of composition, from solo work to opera, and he operates with ease from one to another without being a crossover artist; in his case, the versatility is both internalised and innate. He often finds inspiration in French music of the 1920s and its intrinsic musicality. Humour and playfulness are characteristic elements of his music, as are a natural, musicianly approach and an enchantingly effervescent, even tongue-in-cheek texture.
SKU: HL.49045318
ISBN 9781495082535. UPC: 888680656669. 9.5x12.0x0.515 inches.
The title refers to three instruments, three movements, and three ways of treating musical time. The tone of the work is serious yet as playful as the title suggests.The first movement, Ratios, opens with a series of seemingly unrelated ideas in tempo ratios of 3:2 and 4:3. As the movement proceeds, the ideas develop, transform, and superimpose in increasingly wide spirals. The slower second movement, Cycles, is a fantasy built on the strict scaffolding of an omnipresent, diatonic cantus firmus set in symmetrically expanding and contracting cycles. The quick finale, Phases, is a moto perpetuo tarantella in which the instruments move in and out of phase as they chase one another. The flowing eighth notes merge and finally unify ideas from the previous movements.
SKU: ST.C130
ISBN 9790570811304.
As I sit myself down to write this brief foreword, I ask myself can there be music more stirring than these old Cornish folk melodies? Though not Cornish myself (I confess to being born a little further up the road, in Bristol), I feel I have spent sufficient time in these 'ere parts to resonate with the sturdy brass band tradition that continues to permeate this incomparably beautiful, rugged county. One can almost detect a French 'accent' when listening to the piano music of Debussy, and likewise, speaking as a lapsed brass player, there is undoubtedly something of the Cornish twang about Trelawny when played on a cornet or euphonium. Then again, one gets a different, yet entirely convincing effect upon hearing these melodies rendered on woodwind instruments; hence, with a little gamesmanship on my part, I am pleased to see my collection of these fifteen delectable ditties come to fruition in the form of arrangements for treble clef brass instruments (in B flat and E flat), trombone and tuba (bass clef), horn in F, flute, clarinet and bassoon. While many will find themselves humming the likes of Going up Camborne Hill, Lamorna or The Helston Furry Dance even before they have turned to the first page - for these are indelibly intertwined with Cornish culture – I wonder if I might draw your attention to The Cornish Squire, The Pool of Pilate and Cold Blows the Wind Today Sweetheart, which are quite simply sublime melodies, perhaps needing that extra bit of help in bringing them to mind nowadays. In the best tradition of musical hand-me-downs, Cornish folk music works equally ideally sung and played, and only by doing so on a regular basis can such traditions hope to continue forward with vigour and authority. A legitimate way of achieving this is to revitalise the harmonic scheme of these ancient tunes and bring them up to date for a modern audience; after all, it was such an approach that fuelled the imagination of Benjamin Britten and Ralph Vaughan Williams in decades past, while skilfully paying homage to the underlying charm and, for want of a better word, simplicity, of the original music. But this is only a start – for without an energetic response from younger generations, Cornish folk music is destined to wither on the vine in much the same way as is happening with the Cornish dialect. So, put your instrument to your lips and proceed, not with caution, but with enthusiasm and a smile, for your great grandparents (and perhaps even their grandparents) would surely raise a glass if they could hear you doing your bit to ensure the survival of this splendid heritage.Timeless Cornish melodies, cooked up for hungry clarinet playersGrades 1–4Former Spartan Press Cat. No.: SP1219.
SKU: ST.C181
ISBN 9790570811816.
Polka-dotsThere are three contrasting types of expression for the bassoonist here. The opening phrase is staccato which is followed (at bar 11) by a sustained counter melody. Finally (at bar 19) both these effects are combined in a second melody which needs very clear dynamic playing.Monkey PuzzleSustaining the sound while rearticulating the notes is important in this piece. In other words, the opening should be played almost slurred. Be aware of the changing harmonies underneath the held notes in the bassoon part.Serious SongLong but separate notes contrast with real legato. The main theme is marked tenuto, so full value for each note, especially ending notes. Even the quavers aren’t very short at this speed. Try to make the richest sound you can like, for example, a fine Russian baritone.Three Pieces for Bassoon and PianoGrade 1Former Spartan Press Cat. No.: SP1161.
SKU: CL.CTS-7960-17
Impromptu for Bassoon and Piano is an energetic, lyrical solo, written for Smith's daughter, Pam, and easily accessible for a high school or college bassoonist. Based on a lighthearted melody, the solo has some technical passages based on arpeggios, challenging rhythmic passages in Smith's signature 7/8 and 9/8 bars and a complementary piano accompaniment. Bassoonists will enjoy performing this work which explores the entire range of the instrument, challenging the bassoonist to portray both expressive and spirited styles.
SKU: HL.48181243
UPC: 888680868277. 9.0x12.0x0.06 inches.
“Born in Toulouse, Marcel Bitsch (1921-2011) went on to study at the Paris Conservatoire before becoming a professor of counterpoint at the institution. As an exceptionally versatile composer, Bitsch has composed orchestral works, chamber works and numerous pieces and studies for wind instruments. Concertino is a sublime addition to the Bassoon repertoire. Suited to advanced level bassoonists, Bitsch's Concertino contains a range of exciting musical aspects, including varied articulation, complex rhythms, irregular phrasing, exploited tonality and much variation in dynamics, tempo and performance directions. The diversity of musical elements included in this Marcel Bitsch Concertino for Bassoon and Piano is outstanding, creating a necessary addition to the advanced bassoonist's repertoire.â€.
SKU: BT.DHP-1185973-401
ISBN 9789043157513. International.
This short work is partly based on the well-known bassoon solo from Peter and the Wolf, the musical fairy tale by Sergei Prokofiev. However, the original melody is presented in â??inversionâ??: ascending intervals become descending ones, and vice versa. The middle cantabile section is mainly situated in the higher bassoon register, thus forming a lovely contrast with the other parts. The piano accompaniment is modest and transparent, so that the bassoon is not drowned out.Dit korte werkje is deels geënt op de bekende fagotsolo uit Peter en de Wolf, het muzikale sprookje van Sergei Prokofjev. De oorspronkelijke melodie wordt echter in â??omkeringâ?? gepresenteerd: stijgende toonafstanden worden dus dalende en vice versa. Het middendeel is zangeriger en ligt vooral in het hogere register van de fagot, wat een fraai contrast vormt met de hoekdelen. De pianobegeleiding is bescheiden en transparant, zodat de fagot niet overstemd wordt.Dieses kurze Werk basiert zum Teil auf dem bekannten Fagott-Solo aus Sergei Prokofjews musikalischem Märchen Peter und der Wolf. Die ursprüngliche Melodie wird jedoch als Umkehrungâ?? vorgestellt: aufsteigende Intervalle werden zu absteigenden und umgekehrt. Der Mittelteil ist kantabler und liegt hauptsächlich in der höheren Stimmlage des Fagotts, womit er einen schönen Kontrast zu den Eckteilen bildet. Die Klavierbegleitung ist zurückhaltend und transparent, sodass das Fagott nicht übertönt wird.Cette Å?uvre courte est basée en partie sur le célèbre solo pour basson de Pierre et le Loup, le conte musical de Sergue Prokofiev. Toutefois, la mélodie originale est présentée en « inversion » : les intervalles ascendants deviennent ainsi descendants, et vice-versa. La partie du milieu est plus cantabile et profite surtout du registre aigu du basson, ce qui crée un magnifique contraste avec les parties qui lâ??entourent. Lâ??accompagnement pour piano est modeste et simple : ainsi il ne couvre pas le basson.
SKU: ST.C182
ISBN 9790570811823.
BodhánThe melody here is very broken up, so breathe and be ready for the next entry in good time. Don’t drag behind the drum in the piano part. Notice that only some of the notes are marked staccato.À la ModalModes are scales based on the white notes of the piano, say, so you won’t find a single accidental in this piece. It shows that expression in music depends on more than just the dynamics, that is, how loudly and softly you play. We also need to observe the articulation markings such as staccato, tenuto and the accents on both long and short notes.Schubert’s GhostSchubert is one of my favourite composers. I hope you enjoy the swing of the dotted rhythms and accents in this little Viennese impression. There are three musical quotations: one from Schubert himself, one from a later Viennese composer, Gustav Mahler and, near the end, the Dies Irae tune which has been used by many composers.Three Pieces for Bassoon and PianoGrade 2Former Spartan Press Cat. No.: SP1162.
SKU: FL.FX073949
As its title indicates, this piece, built on a martial style from A to Z, is based on a succession of notes with quarter intervals. - Jerome NAULAIS ; A piece to be played from 4 years of practice. ; Instruments: 1 Bassoon 1 Piano; Difficuly Level: Grade 3.
SKU: HL.14010245
ISBN 9780853603986. English.
Vernon Elliott. A Suite for Bassoon and Piano based on themes from the television series. Also includes solo parts for treble clef C and B flat instruments.
SKU: PE.EP68440
ISBN 9790300766799.
This product is Printed on Demand and may take several weeks to fulfill. Please order from your favorite retailer.
SKU: PE.EP67712
ISBN 9790300744018. English.
Weather Jazz - (Eng)This product is Printed on Demand and may take several weeks to fulfill. Please order from your favorite retailer.
© 2000 - 2024 Home - New realises - Composers Legal notice - Full version