| Basic Fingering Chart for Piccolo Piccolo Santorella Publications
Paperback. Reference, Educational. Chart. 4 pages. Published by Santorella Publ...(+)
Paperback. Reference, Educational. Chart. 4 pages. Published by Santorella Publications (SP.TS545).
$4.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| The High and the Mighty Piccolo, Piano Peermusic Classical
(for Piccolo and Piano). By Michael Daugherty (1954-). Peermusic Classical. 24 p...(+)
(for Piccolo and Piano). By Michael Daugherty (1954-). Peermusic Classical. 24 pages. Peermusic #62020-308. Published by Peermusic
$19.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Concert Fantasy on The Stars and Stripes Forever Flute [Reduction] Carl Fischer
For Flute, Alt. Piccolo (Flute Only, Opt.) and Piano (Opt. Piano, 4 Hand Version...(+)
For Flute, Alt. Piccolo (Flute Only, Opt.) and Piano (Opt. Piano, 4 Hand Version Included). By John Philip Sousa; Mark Starr. For Piccolo, Flute, Piano. Solo part with piano reduction. 24 pages. Published by Carl Fischer. (O5438)
(1)$18.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Three Dances for Orchestra Pocket, Study conductor [Score] Theodore Presser Co.
(Study Score). By Walter Aschaffenburg. Orchestra. For Piccolo, Flute I, Flute I...(+)
(Study Score). By Walter Aschaffenburg. Orchestra. For Piccolo, Flute I, Flute II, Oboe I, Oboe II, Oboe III, Clarinet (in Eb), Clarinet I, Clarinet II, Bass Clarinet, Bassoon I, Bassoon II, Contra Bassoon, Horn I, Horn II, Horn III, Horn IV, Trumpet (in C) I, Trumpet (in C) II, Trumpet (in C) III, Tenor I, T. First performance: Cleveland Orchestra, James Levine conducting, April 13, 1967, Cleveland, Ohio. Full Score - Miniature. Standard notation. Opus 15. 60 pages. Duration 12:00
$10.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Canto For Orchestra Pocket, Study conductor [Score] Carl Fischer
For Orchestra - No. 22 - Study Score. By Peter Mennin. Orchestra. For Piccolo, F...(+)
For Orchestra - No. 22 - Study Score. By Peter Mennin. Orchestra. For Piccolo, Flute I, Flute II, Oboe I, Oboe II, English Horn, Clarinet I, Clarinet II, Bass Clarinet, Bassoon I, Bassoon II, Horn I, Horn II, Horn III, Horn IV, Trumpet I, Trumpet II, Trumpet III, Tenor I, Tenor II, Tenor III, Tuba, Timpani, Percussion, Violin I, Violin II, Viola, Cello, Contrabass. Carl Fischer Study Score Series: Orchestra Works - Chamber Music. Full Score - Study. 26 pages. Published by Carl Fischer.
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| Concerto For Flute (Piccolo) - Flute/Piano Flute and Piano [Set of Parts] Associated
Set of performance parts. By Gunther Schuller. (Flute). Woodwind. Size 9x12 inc...(+)
Set of performance parts. By Gunther Schuller. (Flute). Woodwind. Size 9x12 inches. 40 pages. Published by Associated.
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| New Sousas Favorite March Bk-Fl1 2 Flutes (duet) Carl Fischer
The New Sousa's Favorite Marches. (Flute 1 and Piccolo). By John Philip Sousa (1...(+)
The New Sousa's Favorite Marches. (Flute 1 and Piccolo). By John Philip Sousa (1854-1932). Concert Band. For Piccolo, Flute I. Carl Fischer Band Books Series. Concert Band Method. Standard notation. 16 pages. Published by Carl Fischer
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| Showcase Pocket, Study conductor [Score] Theodore Presser Co.
(A Short Display for Orchestra - Full Score). By William Schuman (1910-1992). Or...(+)
(A Short Display for Orchestra - Full Score). By William Schuman (1910-1992). Orchestra. For Piccolo I, Piccolo II, Piccolo III, Flute I, Flute II, Flute III, Oboe I, Oboe II, English Horn, Clarinet I, Clarinet II, Bass Clarinet, Bassoon I, Bassoon II, Contra Bassoon, Horn I, Horn II, Horn III, Horn IV, Trumpet in C I, Trumpet in C II, Trumpet in. Full Score - Study. Standard notation. 28 pages. Duration 4:00
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| Microsymph Pocket, Study conductor [Score] Carl Fischer
For Orchestra - Full Score. By Sebastian Currier. Orchestra. For Piccolo I, Picc...(+)
For Orchestra - Full Score. By Sebastian Currier. Orchestra. For Piccolo I, Piccolo II, Piccolo III, Flute I, Flute II, Flute III, Oboe I, Oboe II, Oboe III, English Horn, Clarinet I, Clarinet II, Clarinet III, Bass Clarinet, Bassoon I, Bassoon II, Bassoon III, Horn I, Horn II, Horn III, Horn IV, Trumpet in C I, Trumpet in C II, Trumpet in C III, Tenor I, Tenor II, Tenor III, Percussion I, Percussion II, Percussion III, Percussion IV, Piano I, Piano II, Celesta, Harp, Violin I, Violin II, Viola, Cello, Contrabass. Full Score - Study. 87 pages. Published by Carl Fischer.
$55.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Basic Fingering Chart for Bassoon Bassoon [Key & Note References] Santorella Publications
For Bassoon. Paperback. Reference, Educational. Chart. 4 pages. Published by San...(+)
For Bassoon. Paperback. Reference, Educational. Chart. 4 pages. Published by Santorella Publications
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| Three Japanese Dances Pocket, Study conductor [Score] Theodore Presser Co.
(For Orchestra). By Bernard Rogers. Orchestra. For Piccolo, Flute (Bass in C), F...(+)
(For Orchestra). By Bernard Rogers. Orchestra. For Piccolo, Flute (Bass in C), Flute (Alto in G), Oboe, English Horn, Clarinet (in A), Clarinet (in Bb), Bass Clarinet (in Bb), Bassoon, Contra Bassoon, Horn, Trumpet, Tenor, Tuba, Harp, Piano, Celesta, Mezzo-Soprano, Timpani, Percussion, Snare Drum, Tenor D. This edition: study score. Classical. Full Score - Study. Standard notation. Composed 1933. 65 pages
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| Dances Pocket, Study conductor [Score] Theodore Presser Co.
(Divertimento for Wind Quintet and Percussion (Study Score)). By William Schuman...(+)
(Divertimento for Wind Quintet and Percussion (Study Score)). By William Schuman (1910-1992). Chamber ensemble. For Piccolo, Flute, Oboe, Clarinet, Bassoon, Horn, Glockenspiel, Tambourine, Snare Drum, Pedal Bass Drum, Tom-Tom, Cymbals, Hi-Hat, Wood Block. Full Score - Study. Standard notation. 39 pages. Duration 10:00
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| Song Of Songs Pocket, Study conductor [Score] Carl Fischer
Biblical Solo Cantata for Soprano (or Mezzo) and Orcestra - Study Score. By Luka...(+)
Biblical Solo Cantata for Soprano (or Mezzo) and Orcestra - Study Score. By Lukas Foss. Text: Anonymous. Orchestra. For Piccolo, Flute I, Flute II, Oboe I, Oboe II, English Horn, Clarinet I, Clarinet II, Bass Clarinet, Bassoon I, Bassoon II, Contra Bassoon, Horn I, Horn II, Horn III, Horn IV, Trumpet in C I, Trumpet in C II, Trumpet in C III, Tenor I, Tenor II, Timpani, Percussion, Harp, Violin I, Violin II, Viola, Cello, Contrabass. Carl Fiscer Study Score Series: Orchestra Works - Chamber Music. Premiered March 7, 1947 - The Boston Symphony Orchestra, Serge Koussevitzky conducting, Ellabelle Davis, soloist. Full Score - Study. 98 pages. Published by Carl Fischer.
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| il faut continuer (1989/90) Pocket, Study conductor [Study Score / Miniature] Barenreiter
(Requiem fur Samuel Beckett (Kammerensemble)). By Claus-Steffen Mahnkopf. For Pi...(+)
(Requiem fur Samuel Beckett (Kammerensemble)). By Claus-Steffen Mahnkopf. For Piccolo, Flute, Alto Transverse Flute, Oboe, English Horn, Soprano Clarinet, Clarinet (B Flat), Bass Clarinet, Drums (2), Piano, Violin, Viola, Violoncello, Contrabass. Study Score. Duration 11'
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| Five Maskers Brass Quintet: 2 trumpets, horn, trombone, tuba [Score and Parts] Oxford University Press
Composed by Zhou Long. Score and parts. 60 pages. Duration 9'. Published by Oxfo...(+)
Composed by Zhou Long. Score and parts. 60 pages. Duration 9'. Published by Oxford University Press (OU.9780193864450).
$39.50 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Piano Piccolo Piano solo [Sheet music] Schott
111 Little and Very Easy Original Classical Piano Pieces for Piano. Compo...(+)
111 Little and Very Easy Original Classical Piano Pieces for Piano. Composed by Various. Edited by Hans Gunter Heumann. Piano. Softcover. 112 pages. Schott Music #ED22601. Published by Schott Music (HL.49045292).
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| Etudes (Concerto Rec/Orch) Sc. Piccolo, Recorder, Percussion, Piano Theodore Presser Co.
(Concerto for Recorder and Chamber Orchestra). By Steven Stucky (1949-). For Sol...(+)
(Concerto for Recorder and Chamber Orchestra). By Steven Stucky (1949-). For Solo Recorder, 1(Piccolo) 1 1 1, 1 1 1 0, Percussion, Piano(Celesta), Strings. Standard notation. Composed 2000. Duration 12:00
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| Piccolo Studio Dantalian
By Donald Martino. For Eb Alto Saxophone. This edition: Part. Contemporary Class...(+)
By Donald Martino. For Eb Alto Saxophone. This edition: Part. Contemporary Classical. Level: Grade 6. Sheet music. Published by Dantalian, Inc.
$5.00 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Blue Horizons - Intermediate Carl Fischer
Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clar...(+)
Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clarinet 3, Contrabass Clarinet, English Horn, Flute 1, Flute 2, Horn 1, Horn 2, Horn 3, Horn 4, Oboe 1, Oboe 2, Piccolo, Trumpet 1, Trumpet 2, Trumpet 3, alto Saxophone 1 and more. - Grade 5 SKU: CF.SPS85 Composed by Jeremy Martin. Folio. Sps. Set of Score and Parts. 4+28+28+14+14+4+14+14+7+24+28+28+8+4+8+8+14+8+9+12+12+8+8+8+8+12+12+9+12+8+16+4+3+2+6+6+6+7+44 pages. Duration 7 minutes, 8 seconds. Carl Fischer Music #SPS85. Published by Carl Fischer Music (CF.SPS85). ISBN 9781491156421. UPC: 680160914968. 9 x 12 inches. Blue Horizons is a spirited tribute to the musical heritage of the United States Air Force. The main theme is a variation of the U.S. Air Force Song (Off We Go), with a secondary theme based on A Toast to the Host (the bridge of The Air Force Song). Throughout the work, fragments of other Air Force-related songs appear: Lord, Guard and Guide (the Air Force Hymn), Air Force Blue, and Those Magnificent Men in Their Flying Machines. The original request for this work was a daunting task: I was asked to create an Air Force companion piece to Robert Jager's Esprit de Corps that would mirror the style and spirit of that landmark work. The goal was to use elements of our various Air Force tunes in the same way that Jager incorporated The Marine's Hymn into his work - that is, to weave a musical tapestry of the Air Force's musical heritage without ever becoming a mere arrangement of the original material. As a former student of Robert Jager at Tennessee Technological University, I discussed my plans for the piece with him, shared my progress along the way, and sought his guidance as I had done so many times in the past. He was delighted that I managed to incorporate a few Jager-isms into the music, including one direct quote from Esprit de Corps. Although Blue Horizons was conceived as a dedication to the Air Force's musical legacy, it is also a personal homage to my teacher and friend, Robert Jager. Performance Notes * If only two flutists are available, omit the piccolo part and have them play Flute 1 and 2; in this case, Flute 1 should switch over to piccolo (still playing from the Flute 1 part) at m. 81 and back to regular flute at m. 114. If only covering the Flute 1 and 2 parts, Flute 2 should ignore indications to switch to piccolo and just play the entire work on regular flute. * Oboe 1 and 2 parts should be covered before adding the English Horn part. * The clarinet in Eb part should not be covered unless there are a sufficient number of players on the clarinet in Bb parts. * The trumpet cues in mm. 77-80 are only necessary if the horns need assistance finishing their soli phrase with enough strength to be heard. If you can hear them without extra support, leave the trumpets out. * From mm. 89-95, be sure the wind players with static eighth notes do not cover up the players with moving lines. * There is a strong tendency to rush m. 121. * During the oboe solo from mm. 157-168, ensure that the suspension/resolution lines in the bassoon and clarinet parts are heard; emphasize the importance of growing into the suspension with a slight crescendo. * In the scherzo section that begins at m. 217, be sure that each player knows how his/her part fits into the overall sound. I recommend isolating different textural items so the players can hear those parts on their own. (The bass line from mm. 243-260, for example, or the moving inner-voice line from mm. 251-260.) * In this same scherzo section, care should be taken to not play too loud and save a little strength for the climax fanfare at m. 279. * If you have an abundance of tubas, I would recommend having one or two of them play up an octave from mm. 243-271 if the lower part seems too heavy. Blue Horizons is a spirited tribute to the musical heritage of the United States Air Force. The main theme is a variation of the U.S. Air Force Song (Off We Go), with a secondary theme based on A Toast to the Host (the bridge of The Air Force Song). Throughout the work, fragments of other Air Force-related songs appear: Lord, Guard and Guide (the Air Force Hymn), Air Force Blue, and Those Magnificent Men in Their Flying Machines.The original request for this work was a daunting task: I was asked to create an Air Force “companion piece†to Robert Jager’s Esprit de Corps that would mirror the style and spirit of that landmark work. The goal was to use elements of our various Air Force tunes in the same way that Jager incorporated The Marine’s Hymn into his work – that is, to weave amusical tapestry of the Air Force’s musical heritage without ever becoming a mere arrangement of the original material. As a former student of Robert Jager at Tennessee Technological University, I discussed my plans for the piece with him, shared my progress along the way, and sought his guidance as I had done so many times in the past. He was delighted that I managed to incorporate a few “Jager-isms†into the music, including one direct quote from Esprit de Corps. Although Blue Horizons was conceived asa dedication to the Air Force’s musical legacy, it is also a personal homage to my teacher and friend, Robert Jager.Performance Notes• If only two flutists are available, omit the piccolo part and have them play Flute 1 and 2; in this case, Flute 1 should switch over to piccolo (still playing from the Flute 1 part) at m. 81 and back to regular flute at m. 114. If only covering the Flute 1 and 2 parts, Flute 2 should ignore indications to switch to piccolo and just play the entire work on regular flute.• Oboe 1 and 2 parts should be covered before adding the English Horn part.• The clarinet in Eb part should not be covered unless there are a sufficient number of players on the clarinet in Bb parts.• The trumpet cues in mm. 77-80 are only necessary if the horns need assistance finishing their soli phrase with enough strength to be heard. If you can hear them without extra support, leave the trumpets out.• From mm. 89-95, be sure the wind players with static eighth notes do not cover up the players with moving lines.• There is a strong tendency to rush m. 121.• During the oboe solo from mm. 157-168, ensure that the suspension/resolution lines in the bassoon and clarinet parts are heard; emphasize the importance of growing into the suspension with a slight crescendo.• In the scherzo section that begins at m. 217, be sure that each player knows how his/her part fits into the overall sound. I recommend isolating different textural items so the players can hear those parts on their own. (The bass line from mm. 243-260, for example, or the moving inner-voice linefrom mm. 251-260.)• In this same scherzo section, care should be taken to not play too loud and save a little strength for the climax fanfare at m. 279.• If you have an abundance of tubas, I would recommend having one or two of them play up an octave from mm. 243-271 if the lower part seems too heavy. $150.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Blue Horizons [Score] - Intermediate Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon 1, Bassoon 2, Chimes, Clarinet, Clarinet ...(+)
Band Bass Clarinet, Bass Drum, Bassoon 1, Bassoon 2, Chimes, Clarinet, Clarinet 1, Clarinet 2, Clarinet 3, Contrabass Clarinet, Crash Cymbals, English Horn, Euphonium, Euphonium T.C., Flute 1, Flute 2, Glockenspiel, Harp, Horn 1, Horn 2, Horn 3 and more. - Grade 5 SKU: CF.SPS85F Composed by Jeremy Martin. Sws. Sps. Full score. 44 pages. Duration 7 minutes, 8 seconds. Carl Fischer Music #SPS85F. Published by Carl Fischer Music (CF.SPS85F). ISBN 9781491156438. UPC: 680160914975. 9 x 12 inches. Blue Horizons is a spirited tribute to the musical heritage of the United States Air Force. The main theme is a variation of the U.S. Air Force Song (Off We Go), with a secondary theme based on A Toast to the Host (the bridge of The Air Force Song). Throughout the work, fragments of other Air Force-related songs appear: Lord, Guard and Guide (the Air Force Hymn), Air Force Blue, and Those Magnificent Men in Their Flying Machines. The original request for this work was a daunting task: I was asked to create an Air Force companion piece to Robert Jager's Esprit de Corps that would mirror the style and spirit of that landmark work. The goal was to use elements of our various Air Force tunes in the same way that Jager incorporated The Marine's Hymn into his work - that is, to weave a musical tapestry of the Air Force's musical heritage without ever becoming a mere arrangement of the original material. As a former student of Robert Jager at Tennessee Technological University, I discussed my plans for the piece with him, shared my progress along the way, and sought his guidance as I had done so many times in the past. He was delighted that I managed to incorporate a few Jager-isms into the music, including one direct quote from Esprit de Corps. Although Blue Horizons was conceived as a dedication to the Air Force's musical legacy, it is also a personal homage to my teacher and friend, Robert Jager. Performance Notes * If only two flutists are available, omit the piccolo part and have them play Flute 1 and 2; in this case, Flute 1 should switch over to piccolo (still playing from the Flute 1 part) at m. 81 and back to regular flute at m. 114. If only covering the Flute 1 and 2 parts, Flute 2 should ignore indications to switch to piccolo and just play the entire work on regular flute. * Oboe 1 and 2 parts should be covered before adding the English Horn part. * The clarinet in Eb part should not be covered unless there are a sufficient number of players on the clarinet in Bb parts. * The trumpet cues in mm. 77-80 are only necessary if the horns need assistance finishing their soli phrase with enough strength to be heard. If you can hear them without extra support, leave the trumpets out. * From mm. 89-95, be sure the wind players with static eighth notes do not cover up the players with moving lines. * There is a strong tendency to rush m. 121. * During the oboe solo from mm. 157-168, ensure that the suspension/resolution lines in the bassoon and clarinet parts are heard; emphasize the importance of growing into the suspension with a slight crescendo. * In the scherzo section that begins at m. 217, be sure that each player knows how his/her part fits into the overall sound. I recommend isolating different textural items so the players can hear those parts on their own. (The bass line from mm. 243-260, for example, or the moving inner-voice line from mm. 251-260.) * In this same scherzo section, care should be taken to not play too loud and save a little strength for the climax fanfare at m. 279. * If you have an abundance of tubas, I would recommend having one or two of them play up an octave from mm. 243-271 if the lower part seems too heavy. Blue Horizons is a spirited tribute to the musical heritage of the United States Air Force. The main theme is a variation of the U.S. Air Force Song (Off We Go), with a secondary theme based on A Toast to the Host (the bridge of The Air Force Song). Throughout the work, fragments of other Air Force-related songs appear: Lord, Guard and Guide (the Air Force Hymn), Air Force Blue, and Those Magnificent Men in Their Flying Machines.The original request for this work was a daunting task: I was asked to create an Air Force “companion piece†to Robert Jager’s Esprit de Corps that would mirror the style and spirit of that landmark work. The goal was to use elements of our various Air Force tunes in the same way that Jager incorporated The Marine’s Hymn into his work – that is, to weave amusical tapestry of the Air Force’s musical heritage without ever becoming a mere arrangement of the original material. As a former student of Robert Jager at Tennessee Technological University, I discussed my plans for the piece with him, shared my progress along the way, and sought his guidance as I had done so many times in the past. He was delighted that I managed to incorporate a few “Jager-isms†into the music, including one direct quote from Esprit de Corps. Although Blue Horizons was conceived asa dedication to the Air Force’s musical legacy, it is also a personal homage to my teacher and friend, Robert Jager.Performance Notes• If only two flutists are available, omit the piccolo part and have them play Flute 1 and 2; in this case, Flute 1 should switch over to piccolo (still playing from the Flute 1 part) at m. 81 and back to regular flute at m. 114. If only covering the Flute 1 and 2 parts, Flute 2 should ignore indications to switch to piccolo and just play the entire work on regular flute.• Oboe 1 and 2 parts should be covered before adding the English Horn part.• The clarinet in Eb part should not be covered unless there are a sufficient number of players on the clarinet in Bb parts.• The trumpet cues in mm. 77-80 are only necessary if the horns need assistance finishing their soli phrase with enough strength to be heard. If you can hear them without extra support, leave the trumpets out.• From mm. 89-95, be sure the wind players with static eighth notes do not cover up the players with moving lines.• There is a strong tendency to rush m. 121.• During the oboe solo from mm. 157-168, ensure that the suspension/resolution lines in the bassoon and clarinet parts are heard; emphasize the importance of growing into the suspension with a slight crescendo.• In the scherzo section that begins at m. 217, be sure that each player knows how his/her part fits into the overall sound. I recommend isolating different textural items so the players can hear those parts on their own. (The bass line from mm. 243-260, for example, or the moving inner-voice linefrom mm. 251-260.)• In this same scherzo section, care should be taken to not play too loud and save a little strength for the climax fanfare at m. 279.• If you have an abundance of tubas, I would recommend having one or two of them play up an octave from mm. 243-271 if the lower part seems too heavy. $18.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| 70 Rheinsberger Solfeggien Flute Hofmeister Musikverlag
Flute - Level 3-4 SKU: HF.FH-3381 Ein Flotenbuch fur Friedrich II....(+)
Flute - Level 3-4 SKU: HF.FH-3381 Ein Flotenbuch fur Friedrich II.. Edited by Liedtke. Sheet music. Friedrich Hofmeister Musikverlag #FH 3381. Published by Friedrich Hofmeister Musikverlag (HF.FH-3381). ISBN 9790203433811. 9 x 12 inches. 1. Solfeggio fur Flote (Agnesens, Udo); 2. Solfeggio fur Altflote in G (Baader-Nobs, Heidi); 3. Joshua, fur Grosse Flote (Brandt, Christopher); 4. Solfege Sous-si, sans-fa fur Piccoloflote (Brandmuller, Theo); 5. Solfeggio fur Altblockflote (Buchholz, Thomas); 6. 5-7-9, Solfeggio fur Flote (Burkholz, Thomas); 7. Solfeggio, fur Flote (Eun-Hwa, Cho); 8. Etude fur Friedrich den Grossen fur Piccolo-Flote oder Flote (Dinescu, Violeta); 9. Solfeggio fur Flote solo (Eggert, Moritz); 10. geradlinig, fur Flote (Elikowski-Winkler, Sebastian); 11. Solfeggio uber sol, fa und la fur jede Stimme (Emeliantseva, Irina); 12. Solfeggio fur Sopranblockflote (Gatzmaga, Johann Lukas); 13. Miniatur 9/61 fur Querflote solo (Gerwin, Thomas); 14. kattethym fur Flote (Glandien, Lutz); Solfeggio fur Traversflote und Sprechstimme (Gubler, Rico); 15. Solfeggien fur F. von seiner ghostwriterin fur Flote (Heller, Barbara); 16. Sol-fedch-o fur Flote (Hildebrandt, Johannes K.); 17. 3 Farben fur Piccoloflote (Hirsch, Michael); 18. Ming II, Solfeggio fur Flote (Hoche, Hubert); 19. Solfeggion fur Flote solo (Hoyer, Ralf); 20. Solfeggio fur Friedrich II fur Alt- oder Bassflote solo (Iranyi, Gabriel); 21. approche II fur Flote (Jann, Matthias); 22. Petit hommage a Frederic II fur Flote (Katzer, Georg); 23. Solfeggio fur Flote (Keller, Hermann); 24. Solfeggio du roi et pour le roi fur Flote (Keller, Max E.); 25. Solfeggio fur Flote oder Oboe in G-Dur (Kirchner, Danny); 26. Solfeggio in F fur Flote (Kobjela, Detlef); 27. Solfeggio Rosettafur Friedrich II fur Flote (Kram, Christian FP); 28. Solfeggio fur Friedrich fur Grosse Flote, Piccoloflote, Altflote und Kuckucksflote (Kratzschmar, Wilfried); 29. Solfeggion (to his brain) fur Querflote (Krimitza, Vasiliki); 30. Solfeggio fur Flote (Levitskiy, Benjamin); 31. Je m' en fifre fur Flote (Lienenkamper, Stefan); 32. Solfeggio fur Flote solo (Ludwig, Marcus Botho); 33. Hochtief - Tiefhoch / a Solfeggio for Piccolo (Mack, Dieter); 34. Solfeggio nach einem Cornet-Thema fur Piccolo (Matthus, Siegfried); 35. Solfeggion No. X fur Altflote in G (Merkel, Marcus); 36. Solfeggio per flauto alto (Meyer, Krzysztof); 37. ...und Friedrich der Grosse, fur Flote (MOller, Mathias Monrad); 38. Die bunten Vogel des Konigs fur Floteninstrumente (Muller, Alfred Thomas); 39. Solfeggio fur Flote (Muller-Goldboom, Gerhardt); 40. Flotenspiel fur Floten (Munch, Christian); 41. Solfeggio 1, 2 fur Flote (Nather, Gisbert); 42. Solfeggio per Flauto (Natschinski, Gerd); 43. SOL fur Flote (oder Bassflote) solo (Nemtsov, Sarah); 44. 3 Solfeggien Hommage a F. R. (Fridericus Rex) fur Flote (Neubert, Gunter); 45. Solfeggio fur Flote (Oehring, Helmut); 46. Solfeggio 1 fur F-r-i-E-D-r-i-C-H & Solfeggio 2 fur Friedrich fur Flote (Pfundt, Reinhard); 47. Solfeggio ... no words ... fur Flote (Pinnock, Naomi); 48. Solfeggio fur Flote (Pomorin, Sibylle); 49. Divertimento (mit kaputter Klappe) fur Flote (Querfurth, Kaspar); 50. Solfeggio fur grosse Flote (Reinhold, Gregor und Steffen); 51. Abschied fur Flote (Riehm, Rolf); 52. contrapunctum fur Flote (Romero, Lula); 53. Solfeggio fur grosse Flote solo (Sanders, Arne); 54. Solfeggio fur Bassflote (Schafer, Patrick); 55. Solfeggio fur Flote solo (Schellhase, Steffen); 56. Solfeggien fur Flote, in Erinnerung an den flotenden Friedrich II, Konig von Preussen (Schenker, Friedrich); 57. Solfeggio fur und mit F. fur Flote (Schleiermacher, Steffen); 58. Seul avec des ombres fur Altflote in G oder grosse Flote (Seither, Charlotte); 59. Ithaka. Exzerpt fur grosse Flote oder Bassflote solo (Stabler, Gerhard); 60. Ri - Ri, Solfeggio fur Friedrich II, fur Flote solo (Stier, Sebastian); 61. Solfeggio En bateau fur Flote (Ternes, Tina); 62. Solfeggio (Burleske) fur Flote solo (Thiel, Wolfgang); 63. Piccolino solfeggio per Federico per Flauto traverso (Thiele, Siegfried); 64. Solfeggio f. F. fur Flote (Treibmann, Karl Ottomar); 65. Solfeggio fur Flote solo (Waschk, Arno); 66. Solfeggio fur Flote (Wiegand, Mario); 67. VI. for Carin Levine (Williamson, Gordon); 68. Solfeggio fur Flote (Witte, Michael); 69. articolazione e tempo fur Flote (Zapf, Helmut). $40.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Symphony No. 2 Concert band [Score] - Intermediate/advanced Manhattan Beach Music
By Frank Ticheli. Concert band. Suitable for the most advanced high school bands...(+)
By Frank Ticheli. Concert band. Suitable for the most advanced high school bands, community, college, university, and professional bands. Level: Grade 6. Conductor Full Score. Duration 21:00. Published by Manhattan Beach Music.
$95.00 - 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 | | |
| Dritte Sinfonie Grodek (1987/88) fur grosses Orchester, Sing- und Sprechstimme nach Texten von Georg Trakl Pocket, Study conductor [Study Score / Miniature] Barenreiter
By Heinz Winbeck. For Alto Solo, Speaker, Flute 1/Alto Transverse Flute 1/Piccol...(+)
By Heinz Winbeck. For Alto Solo, Speaker, Flute 1/Alto Transverse Flute 1/Piccolo, Flute 2/Alto Transverse Flute 2/Piccolo, Flute 3/Piccolo, Flute 4/Piccolo, Oboe (4), Clarinet (B Flat) (3), Clarinet (B Flat) 4/Soprano Clarinet, Bass Clarinet, Alto Saxophone, Bassoon (3), Kfag, Horn (6), Trumpet (4), Trombone (2), Trombone 3/Bass Trombone, Trombone 4/Contrabass Trombone, Tub, Tub-Kb, Harp, Organ-E/Celesta/Piano, Kettledrum (2), Drums (6), Strings ( (14 ) 4, (14 ) 4. Study Score (paperbound). Duration 60'. Published by Baerenreiter-Ausgaben (German import).
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