SKU: PE.EP68778A
ISBN 9790300762470.
Stars is one of the most popular of all contemporary choral works by Latvian composer Eriks EÂenvalds. The music begins with water-tuned glasses playing a sequence of chord clusters, which are heard throughout the whole piece. It creates an evocative effect, which is both imaginative and inventive prodcing an ethereal shimmering beauty. Phillip Littlemore's expert arrangement for brass band will bring a moment of enthralling stillness to any concert programme.
1 Eb Soprano Cornet, 3 Bb Solo Cornet, 1 Bb Repiano Cornet, 2 2nd Bb Cornet, 2 3rd Bb Cornet, 1 Bb Flugel Horn, 1 Solo Eb Horn, 1 1st Eb Horn, 1 2nd Eb Horn, 1 1st Bb Baritone, 1 2nd Bb Baritone, 1 1st Bb Trombone, 1 2nd Bb Trombone, 1 Bass Trombone, 2 Bb Euphoniums, 2 Eb Basses, 2 B Basses, Timpani, 1 Percussion (suspended cymbal), 1 Glasses 1and2, 1 Glasses 3and4, 1 Glasses 5and6
SKU: PE.EP68786
ISBN 9790300762326. English.
Save the Boys by Tyshawn Sorey transforms a 19th-century temperance poem by Black abolitionist, suffragist, and writer Frances E. W. Harper into a lament on the precarity of Black lives in 21st-century America. Commissioned by Opera Philadelphia, the 20-minute song was composed for countertenor John Holiday and pianist Grant Loehnig, whose world premiere performance was released as an online video in February 2021 as part of the company's digital-only 2020-2021 season.
This vocal score includes piano accompaniment and a brief program note from the composer.
SKU: BA.BA10991
ISBN 9790006577453. 31 x 24.3 cm inches. Key: E-flat major.
About Barenreiter Urtext
What can I expect from a Barenreiter Urtext edition?
MUSICOLOGICALLY SOUND - A reliable musical text based on all available sources - A description of the sources - Information on the genesis and history of the work - Valuable notes on performance practice - Includes an introduction with critical commentary explaining source discrepancies and editorial decisions ... AND PRACTICAL - Page-turns, fold-out pages, and cues where you need them - A well-presented layout and a user-friendly format - Excellent print quality - Superior paper and binding
SKU: BA.BA05576-82
ISBN 9790006576012. 32.5 x 25.5 cm inches. Key: E-flat major. Text Language: Latin.
SKU: BA.BA05259-20
ISBN 9790006568451. 32.5 x 25.5 cm inches. Key: A minor.
About Barenreiter Urtext Orchestral Parts
Why musicians love to play from Bärenreiter Urtext Orchestral Parts
- Urtext editions as close as possible to the composerââ¬â¢s intentions - With alternate versions in full score and parts - Orchestral parts in an enlarged format of 25.5cm x 32.5cm - With cues, rehearsal letters, and page turns where players need them - Clearly presented divisi passages so that players know exactly what they have to play - High-quality paper with a slight yellow tinge which does not glare under lights and is thick enough that reverse pages do not shine through
SKU: BA.BA05259-79
ISBN 9790006568499. 32.5 x 25.5 cm inches. Key: A minor.
SKU: BA.BA05259-74
ISBN 9790006568475. 32.5 x 25.5 cm inches. Key: A minor.
SKU: BA.BA05259-75
ISBN 9790006568482. 32.5 x 25.5 cm inches. Key: A minor.
SKU: BA.BA05259
ISBN 9790006568437. 31 x 24.3 cm inches. Key: A minor. Preface: Signer, Emanuel.
The Concerto in A minor (BWV 1044) is often referred to as the “Triple Concerto” and may have been written by Bach for a public concert at Zimmermann’s coffee house in Leipzig. The “Triple Concerto” has been composed for orchestra and three soloists (harpsichord, flute and violin), the precise solo instrumentation of the Brandenburg Concerto No. 5.This critical Urtext edition is based on the second printing of the “New Bach Edition” (NBA) volume edited by Dietrich Kilian. He examines the complex genesis of the work from Bach’s earlier compositions – e.g. from the Prelude and Fugue for Harpsichord (BWV 894) or the Trio Sonata for Organ (BWV 527). Bach’s autograph is lost, but copies by Johann Friedrich Agricola and Johann Gottfried Müthel have been handed down and it is these sources to which the editor refers.
SKU: BA.BA10991-65
ISBN 9790006577507. 32.5 x 25.5 cm inches. Key: E-flat major.
SKU: BA.BVK04035
ISBN 9783761826232. 21 x 15 cm inches. Text Language: German, English. Preface: Annette Landgraf.
SKU: BA.BA10991-82
ISBN 9790006577491. 32.5 x 25.5 cm inches. Key: E-flat major.
SKU: PE.EP67793
ISBN 9790300745206.
This product is Printed on Demand and may take several weeks to fulfill. Please order from your favorite retailer.
SKU: PE.EP68799
ISBN 9790300762807.
Although Zoom! by Shawn Okpebholo was commissioned by the US Air Force Band, its title refers less to the speed of supersonic fighter jets than to the brand of telecommunications software that allowed digital reunions between isolated loved ones during the 2020 pandemic, and to the race for a life-saving vaccine. The seven-minute piece for strings and percussion evokes the glimmers of hope and joy that manage to survive in times of darkness.
Zoom! received a streaming premiere, performed in December 2021 by the strings and percussion of the US Air Force Band under the baton of Col. Don Schofield. This score is published as part of the Peters Contemporary Library, with parts available on hire.
SKU: PE.HX102EB
ISBN 9781530840816.
A collection of six charts for small jazz groups at grade 2 - 2.5. All charts are scored in three-part writing, with flexible instrumentation provided by all three parts in each wind book. Solo sections are provided with changes, and also a mini-clinic for each tune with a break down of the spelled-out chord progression and suggested scales to use throughout each solo. Twelve transcribed solos match the recordings note-for-note, and twelve suggested solos give younger players a starting point with themes taken from the recorded solos. 49 downloadable play-along tracks provide every instrument a chance to sit in with the recorded band. Contents Include: Porto Alegre; Time Will Tell; Leap Day; Bohemian Groove; Avalon; Steam Punk Funk.
SKU: PE.HX101EB
ISBN 9781517383398.
Features six original charts for small jazz groups. All charts are scored for flexible instrumentation, with downloadable play-along tracks provided for every instrument and part. Demonstration solos are provided by some amazing guest musicians and transcribed in both note-for-note versions and easier versions, too. Additional instructional content is provided in each book. Contents include: Blues & Other Hues; Java; Cold Canyon; Rhythm Bee; Slow Burn; Prog Pacific.
SKU: PE.HX9002
It's holiday mash-up time! This is a clever combination of the traditional carol with sultry Brazilian jazz a la Stan Getz. Two transcribed solos are provided for tenor sax and trumpet (or flugelhorn) that mirror the recorded solos, or they can be improvised as desired. The rhythm section parts are fully realized along with suggested piano voicings and bass lines. This is a relaxed and laid-back chart that features sectional solis and the full ensemble for a fresh and modern addition to holiday concert repertoire. Optional parts are included for flute/violin, clarinet and F horn, and the lead trumpet range is to written E top of staff. Highly recommended!
SKU: PE.EP68801
ISBN 9790300762821. Words by Dudley Randall; Marcus Amaker.
With his diptych for voice and piano, Two Black Churches, Shawn Okpebholo commemorates the Black lives lost to two racist attacks in the recent history of the United States: the girls murdered in the 16th Street Baptist Church bombing in Birmingham, Alabama, in 1963, and those massacred during the shooting at the Mother Emanuel AME Church in Charleston, South Carolina in 2015. The first movement sets the poem Ballad of Birmingham by Dudley Randall, written from the points of view of one of the Birmingham bombing's young victims and of her mother; the second sets a new text, The Rain, written for this piece by South Carolina's first poet laureate, Marcus Amaker, in memory of the victims of the Charleston massacre.
Two Black Churches was composed for baritone Will Liverman, who commissioned the piece, and pianist Paul Sanchez, who gave the work its streaming premiere together in June 2020. This vocal score includes a full program note from the composer and reprints the text as well as a dedication to each of the thirteen whose lives were taken in these attacks. The duration of the piece is approximately 17 minutes.
SKU: PE.EP73727
ISBN 9790577024004.
Ombra (2022) is a 40' dramatic vocalise for mezzo-soprano and viola in three parts, first performed as part of The Wernicke's Area, a mixed media installation led by ANU Productions at the Irish Museum of Modern Art. The work can be performed in its acoustic version or accompanied by sound design, created by Bofan Ma, based on the original immersive sound design from The Wernicke's Area. The work responds to the story and medical condition of Debbie Boss, wife of ANU's co-artistic director and visual artist Owen Boss. In 2014 Debbie was admitted to hospital for surgery to remove a previously undiagnosed meningioma tumour from a part of the brain known as the Wernicke's Area. Since the surgery her everyday life has been affected by epilepsy. When Debbie suffers a seizure the symptoms manifest as audio hallucinations and aphasia: a loss of comprehension of both heard and spoken words.Ombra takes inspiration from a series of diaries kept by Debbie, a trained soprano who can no longer remember the lyrics to even the simplest of songs. Responding to George F. Handel's 'Ombra mai fu', which was Debbie's favourite aria to perform, as well as to the mirage-like sounds of an AI-inflected Dublin cityscape, Ombra is a mental theatre, embodying an inward, ever circling wonder about meaning and comprehension.In Ombra I, mezzo-soprano and viola unite in an intense unison exploration of a brief melodic fragment from 'Ombra mai fu'. A set of 8 short dramatic vignettes form Ombra II. In Ombra III, Handel's original melody is foregrounded with an instruction in the score 'Repeat ad infinitum'. As mezzo-soprano alternates between singing, humming and silence, viola is instructed to play at times with gradual or sudden transitions between p e dolce sempre and sounding 'like concete being grated', a final reference to the diaries.Ombra is dedicated to Debbie.Commissioned by ANU Productions as part of The Wernicke's Area, funded by the Arts Council.
SKU: PR.41641614L
UPC: 680160642458. 11 x 17 inches.
Time is one of the main factors impacting the world and our lives. Einstein saw time as the relationship of the motion of one object relative to the position of another object, as measured through observation. But can we really measure time objectively? Music, the art which moves through time, can affect our perception of time, and can affect each person's perception of time differently. Depending on the emotion it stimulates, music can make time seem to pass quickly or slowly. A composer can use music to convey time to an audience and different musical ideas can create different sensations of time. Absence of Time is a concerto for woodwind quartet and orchestra. It has three main sections (fast, slow, fast), recalling traditional concerto form, but it does not use the solo instruments in the traditional way, i.e., as soloists in contest with the orchestra. Inspired by the idea of juxtaposing different experiences of time, I divided the instruments into two groups: the four soloists and the orchestra. The orchestra functions mostly as the keeper of time (real time) while the quartet of soloists fluctuates (in imaginary time or in the absence of time) around the orchestra's time. While the quartet's instruments do play solos, they also play in ensemble with the orchestra. You could say that they play in both imaginary time (as soloists) and in real time (with the orchestra). In addition to this, the woodwind section of the orchestra plays in conversation with the solo quartet, calling it back to real time. Fusion is achieved at the end of the piece through the use of strong, driving rhythm. Absence of Time was commissioned by the Pacific Symphony and was first performed by the Pacific Symphony and the Pacific Symphony Woodwind Quartet with Carl St. Clair as conductor on October 20, 2016.
SKU: PR.11642143S
UPC: 680160693313. 11 x 17 inches.
For most of my life, I never knew where my father’s family came from, beyond a few broad strokes: they had emigrated in the early 1900s from Eastern Europe and altered the family name along the way. This radically changed in the summer of 2021 when my mother and sister came across a folder in our family filing cabinet and made an astounding discovery of documents that revealed when, where, and how my great-grandfather came to America. The information I had been seeking was at home all along, waiting over forty years to be discovered.Berko Gorobzoff, my great-grandfather, left Ekaterinoslav in 1904. At that time, this city was in the southern Russian area of modern-day Ukraine; as his family was Jewish, he and his siblings were attempting to escape the ongoing religious persecution and pogroms instigated by Tzar Nicholas II to root out Jewish people from Russia. Berko’s older brother Jakob had already emigrated to Illinois, and Berko was traveling with Chaje, Jakob’s wife, to join him. Their timing was fortuitous, as the following year saw a series of massive, brutal pogroms in the region. After arriving in Illinois, Berko went on to Omaha, Nebraska, where he married my great-grandmother Anna about eighteen months later. They remained in Omaha for the rest of their lives.There is one more intriguing part to this historical account: I have a great-aunt in Texas who, as it turns out, is the youngest daughter of Berko and Anna. Through a series of phone calls, my great-aunt and I discussed what she could remember: her parents spoke Yiddish at home, her mother didn’t learn to read or write in English so my great-aunt was tasked with writing letters to family members, Berko ran a grocery store followed by a small hotel, and her parents enjoyed playing poker with friends. Above all else, neither of her parents ever spoke a word about their past or how they got to America. This was a common trait among Eastern European Jewish immigrants whose goal was to “blend in” within their new communities and country.To craft Berko’s Journey, I melded the facts I uncovered about Berko with my own research into methods of transportation in the early 1900s. Also, to represent his heritage, I wove two Yiddish songs and one Klezmer tune into the work. In movement 1, Leaving Ekaterinoslav, we hear Berko packing his belongings, saying his goodbyes to family and friends, and walking to the train station. Included in this movement is a snippet of the Yiddish song “The Miller’s Tears” which references how the Jews were driven out of their villages by the Russian army. In movement 2, In Transit, we follow Berko as he boards a train and then a steamship, sails across the Atlantic Ocean, arrives at Ellis Island and anxiously waits in line for immigration, jubilantly steps foot into New York City, and finally boards a train that will take him to Chicago. While he’s on the steamship, we hear a group of fellow steerage musicians play a klezmer tune (“Freylachs in d minor”). In movement 3, At Home in Omaha, we hear Berko court and marry Anna. Their courtship is represented by “Tumbalalaika,” a Yiddish puzzle folksong in which a man asks a woman a series of riddles in order to get better acquainted with each other and to test her intellect.On a final note, I crafted a musical motive to represent Berko throughout the piece. This motive is heard at the beginning of the first movement; its first pitches are B and E, which represent the first two letters of Berko’s name. I scatter this theme throughout the piece as Berko travels towards a new world and life. As the piece concludes, we hear Berko’s theme repeatedly and in close succession, representing the descendants of the Garrop line that came from Berko and Anna.For most of my life, I never knew where my father’s family came from, beyond a few broad strokes: they had emigrated in the early 1900s from Eastern Europe and altered the family name along the way. This radically changed in the summer of 2021 when my mother and sister came across a folder in our family filing cabinet and made an astounding discovery of documents that revealed when, where, and how my great-grandfather came to America. The information I had been seeking was at home all along, waiting over forty years to be discovered.Berko Gorobzoff, my great-grandfather, left Ekaterinoslav in 1904. At that time, this city was in the southern Russian area of modern-day Ukraine; as his family was Jewish, he and his siblings were attempting to escape the ongoing religious persecution and pogroms instigated by Tzar Nicholas II to root out Jewish people from Russia. Berko’s older brother Jakob had already emigrated to Illinois, and Berko was traveling with Chaje, Jakob’s wife, to join him. Their timing was fortuitous, as the following year saw a series of massive, brutal pogroms in the region. After arriving in Illinois, Berko went on to Omaha, Nebraska, where he married my great-grandmother Anna about eighteen months later. They remained in Omaha for the rest of their lives.There is one more intriguing part to this historical account: I have a great-aunt in Texas who, as it turns out, is the youngest daughter of Berko and Anna. Through a series of phone calls, my great-aunt and I discussed what she could remember: her parents spoke Yiddish at home, her mother didn’t learn to read or write in English so my great-aunt was tasked with writing letters to family members, Berko ran a grocery store followed by a small hotel, and her parents enjoyed playing poker with friends. Above all else, neither of her parents ever spoke a word about their past or how they got to America. This was a common trait among Eastern European Jewish immigrants whose goal was to “blend in” within their new communities and country.To craftxa0Berko’s Journey,xa0I melded the facts I uncovered about Berko with my own research into methods of transportation in the early 1900s. Also, to represent his heritage, I wove two Yiddish songs and one Klezmer tune into the work. In movement 1,xa0Leaving Ekaterinoslav,xa0we hear Berko packing his belongings, saying his goodbyes to family and friends, and walking to the train station. Included in this movement is a snippet of the Yiddish song “The Miller’s Tears” which references how the Jews were driven out of their villages by the Russian army. In movement 2,xa0In Transit,xa0we follow Berko as he boards a train and then a steamship, sails across the Atlantic Ocean, arrives at Ellis Island and anxiously waits in line for immigration, jubilantly steps foot into New York City, and finally boards a train that will take him to Chicago. While he’s on the steamship, we hear a group of fellow steerage musicians play a klezmer tune (“Freylachs in d minor”). In movement 3,xa0At Home in Omaha,xa0we hear Berko court and marry Anna. Their courtship is represented by “Tumbalalaika,” a Yiddish puzzle folksong in which a man asks a woman a series of riddles in order to get better acquainted with each other and to test her intellect.On a final note, I crafted a musical motive to represent Berko throughout the piece. This motive is heard at the beginning of the first movement; its first pitches are B and E, which represent the first two letters of Berko’s name. I scatter this theme throughout the piece as Berko travels towards a new world and life. As the piece concludes, we hear Berko’s theme repeatedly and in close succession, representing the descendants of the Garrop line that came from Berko and Anna.
SKU: PR.11642143L
UPC: 680160693320. 11 x 17 inches.
SKU: PR.46600019L
UPC: 680160693306. 11 x 17 inches.
SKU: M7.ART-42220
ISBN 9783866422209. German.
'Meine Klavierschule mit bunten Noten' - die neue Klavierschule, die einen erfolgreichen, spielerisch-leichten Einstieg in die Welt des Klavierspiels ermöglicht. Das methodische Konzept mit seinem logisch strukturierten Aufbau, den bunten Noten samt zugehörigen (wiederablösbaren) Tastenaufklebern sowie den sorgfältig aufeinander abgestimmten Lektionen, führt bereits bei kleinem Übeaufwand schnell zu hörbaren und motivierenden Erfolgserlebnissen am Klavier. 'Meine Klavierschule mit bunten Noten' beschränkt sich auf die Tonart C-Dur und zunächst auf die Töne der C-Dur-Grundposition. Im Violinschlüssel (rechte Hand) sind dies die Töne C', D', E', F', G' und im Bassschlüssel (linke Hand) die Töne C, D, E, F, G. Der Tonumfang im Violinschlüssel (rechte Hand) wird gegen Ende der Schule um die Töne A', H' und C'' erweitert, während im Bassschlüssel (linke Hand) keine weiteren Töne hinzukommen. Die Töne werden ausführlich vorgestellt und im Anschluss mit einfachen, schönen Liedern geübt und gespielt. Das beidhändige Spiel wird sehr behutsam, leicht verständlich und gründlich vermittelt. Ein spielerischer und gleichzeitig wertvoller Lernerfolg ist garantiert. Das ideale Geschenk für alle Klavieranfänger! Nutze den Aufkleberbogen zum Bekleben der Tasten deines Klaviers, Keyboards, deiner Orgel oder Melodica und Du kannst sofort loslegen! Scanne die im Buch enthaltenen QR-Codes mit dem Smartphone oder Tablet und gelange direkt zu den Hörbeispielen. Unter www.artist-ahead-download.de stehen alle Kinder- und Weihnachtslieder als Audio- und MP3-Dateien zum Download zur Verfügung.
SKU: M7.ART-42219
ISBN 9783866422193. German.
'Mein Kinderliederbüchlein für Blockflöte!' - eine schöne Sammlung der beliebtesten Kinder- & Volkslieder für kleine & große Blockflötenspieler*innen. Die vorliegenden Stücke eignen sich für das erste Musizieren und stellen eine ideale Ergänzung zur Anfängerschule 'Blockflöte lernen mit Lotti & Ben!' dar. Gemeinsames Musizieren macht am meisten Spaß, daher sind die Lieder für zwei Sopranblockflöten als Duette gesetzt und auch für den Gruppenunterricht geeignet. Zusätzlich gibt es eine passende Klavierbegleitung. Die Stücke haben maximal ein Vorzeichen (C-Dur, F-Dur und G-Dur) und können bereits von Anfänger*innen gespielt werden. Die 2. Stimme ist jeweils leichter spielbar und kommt mit wenigen Tönen aus. Im Download-Bereich können sowohl die Einzelstimmen als auch die Klavierstimme als Noten-PDF ausgedruckt werden. Zum Anhören, Üben und Mitspielen können alle Stimmen als Audio- und MP3-Dateien heruntergeladen werden. Die Lieder sind ebenfalls mit anderen Instrumenten spielbar und eignen sich, dank der zugehörigen Texte, auch prima zum Mitsingen. 'Mein Kinderliederbüchlein für Blockflöte!' - die liebevoll ausgewählte Kinderlieder-Sammlung im handlichen A5-Format und das passende Geschenk für kleine & große Blockflötenspieler*innen!
SKU: GO.157
SKU: BT.GOB-000121-120
Eén van de mooiste melodieën ooit geschreven. Inmiddels al in vele bewerkingen bekend, maar voor fanfare was er nog geen enkel arrangement. Uw publiek zal smullen bij dit feest der herkenning. Eén van de mooiste melodieën ooit geschreven. Inmiddels al in vele bewerkingen bekend, maar voor fanfare was er nog geen enkel arrangement. Uw publiek zal smullen bij dit feest der herkenning. Gobelin Music Publications.
SKU: BT.GOB-001204-010
9x12 inches. English.
The _x001F_first movements of Andrew Watkin’s A Sherwood Fantasy is presented in a stately 6/8 meter. The lovely melody of the second movement is sumptuously harmonised. The third movement of this very varied work is peppered with changing rhythms and modulations, which give the music a fresh and lively character. A hymn completes this beautiful musical creation. Deze fantasie steekt van wal met een statige maar zangerige opening in 6/8-maatsoort. Een dromerig middendeel met thema’s in verschillende groepen leidt ons naar een grandioze _x001F_finale. Dit werk is erg geschikt om uw orkest op een hoger niveau te tillen omdat verschillende belangrijke elementen aan bod komen: ritmiek, frasering, muzikaliteit en contrast. Der erste Satz von Andrew Watkins Blasorchesterfantasie präsentiert sich festlich im 6/8-Takt. Die gefällige Melodie des zweiten Satzes wird von generösen Harmonien unterstützt. Der dritte Satz dieses abwechslungsreichen Werkes besticht mit wechselnden Rhythmen und Modulationen, die der Musik einen frischen, spritzigen Charakter verleihen. Eine Hymne“ beendet dieses schöne musikalische Gesamtbild. Plusieurs caractéristiques musicales sont mises en exergue dans l’oeuvre A Sherwood Fantasy. La mesure 6/8, présente dès le début de la composition, donne un aspect festif ce premier mouvement. Une mélodie accueillante soutenue par une harmonisation ample qualifi_x001C_e idéalement le mouvement suivant. Des alternances rythmiques et des modulations amènent une transition intéressante et confèrent progressivement ce passage un caractère pétillant de fraîcheur. Un hymne généreux apporte une conclusion bienveillante cette fresque musicale.Un brano che evidenzia numerose caratteristiche musicali; il tempo in 6/8, presentato all’inizio della composizione, conferisce un aspetto festivo al primo movimento. Una melodia accogliente sostenuta da un’ampia armonizzazione caratterizza il movimento seguente. Un’alternanza di passaggi ritmici e di modulazioni accompagnano un’interessante transizione e con_x001D_fluiscono progressivamente in un passaggio dal carattere spumeggiante e fresco. Un generoso inno conclude questo riuscito a_x001B_ffresco musicale.
SKU: BT.GOB-000855-120
The Samba is a Latin American dance, which is mostly associated with parties, as a result of the fast tempo in which it is usually played. ‘Sumba Samba’ forms an exception to this rule. In order to get this samba to swing it is important to stick to the tempo prescribed. ‘Sumba Samba’ starts with a motif which will play an important role throughout the piece. This motif can be heard in the first notes of the ‘refrain’ and, as said before, has been used in the introduction, as well as in the transition after the middle part (letter G). Furthermore, it plays an important role in the middle part itself (letter E), in which the samba has momentarily disappeared and acompletely different atmosphere has been created. At letter H we pick up where we left off with the samba and swing to the end of this composition. De Samba is een Latijns-Amerikaanse dans. De dans wordt meestal geassocieerd met feest, door het vaak snelle tempo waarin het gespeeld wordt. ‘Sumba Samba’ vormt hier een uitzondering op. Om deze samba te laten swingen is hetbelangrijk het voorgeschreven tempo te handhaven. ‘Sumba Samba’ begint met een motief dat in de hele compositie een belangrijke rol speelt. Het zijn de eerste noten van het thema van het ‘refrein’ en wordt zoals gezegd gebruikttijdens de inleiding en bij de overgang na het tussendeel. (letter G). Bovendien speelt het een belangrijke rol in het tussendeel (letter E) waar de samba even weg is en een heel andere sfeer ontstaat. Bij letter H pakken wede samba weer op en swingen we naar het slot.
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