| Christ is Born S. 32/3 [Score and Parts] - Easy FLEX Editions
Chamber Music, Trio Trumpet Trio: 3 Bb Trumpets - Grade 2 SKU: FL.FX074382(+)
Chamber Music, Trio Trumpet Trio: 3 Bb Trumpets - Grade 2 SKU: FL.FX074382 Composed by Franz Liszt. Arranged by Eric Vireton. Arrangement. Classical. Score and Set of Parts. FLEX Editions #FX074382. Published by FLEX Editions (FL.FX074382). Instruments:Trumpet Trio: 3 Bb Trumpets; Difficuly Level: Grade 2; Duration: 0 mn 35 s; Musical Style: Classical; Category: Arrangement; Composer: Franz LISZT; Arranger: Eric VIRETON. $9.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Petit Papa Noel [Score and Parts] - Easy FLEX Editions
Chamber Music, Trio Brass Trio: 1 Bb Trumpet 1 F Horn 1 Tuba - Grade 3 SKU: F...(+)
Chamber Music, Trio Brass Trio: 1 Bb Trumpet 1 F Horn 1 Tuba - Grade 3 SKU: FL.FX073392 Composed by Traditionnel. Arranged by Pascal Saint-Leger. Arrangement. Classical. Score and Set of Parts. FLEX Editions #FX073392. Published by FLEX Editions (FL.FX073392). Instruments:Brass Trio: 1 Bb Trumpet 1 F Horn 1 Tuba; Difficuly Level: Grade 3; Duration: 3 mn 05; Musical Style: Classical; Category: Arrangement; Composer: TRADITIONNEL; Arranger: Pascal SAINT-LEGER. $8.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| A Small Cloud [Score and Parts] - Easy FLEX Editions
Chamber Music, Trio Clarinet Trio: 3 Bb Clarinets - Grade 2 SKU: FL.FX074340<...(+)
Chamber Music, Trio Clarinet Trio: 3 Bb Clarinets - Grade 2 SKU: FL.FX074340 Composed by Nikolay Andreyevich Rimsky-Korsakov. Arranged by Eric Vireton. Arrangement. Classical. Score and Set of Parts. FLEX Editions #FX074340. Published by FLEX Editions (FL.FX074340). Instruments:Clarinet Trio: 3 Bb Clarinets; Difficuly Level: Grade 2; Duration: 1 mn 30 s; Musical Style: Classical; Category: Arrangement; Composer: Nikolai RIMSKI-KORSAKOV; Arranger: Eric VIRETON. $8.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Da Pacem Domine [Score and Parts] - Easy FLEX Editions
Chamber Music, Trio Clarinet Trio: 3 Bb Clarinets - Grade 2 SKU: FL.FX074392<...(+)
Chamber Music, Trio Clarinet Trio: 3 Bb Clarinets - Grade 2 SKU: FL.FX074392 Composed by Charles Francois Gounod. Arranged by Eric Vireton. Arrangement. Classical. Score and Set of Parts. FLEX Editions #FX074392. Published by FLEX Editions (FL.FX074392). Instruments:Clarinet Trio: 3 Bb Clarinets; Difficuly Level: Grade 2; Duration: 1 mn 25 s; Musical Style: Classical; Category: Arrangement; Composer: Charles GOUNOD; Arranger: Eric VIRETON. $9.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Christ is Born S. 32/3 [Score and Parts] - Easy FLEX Editions
Chamber Music, Trio Clarinet Trio: 3 Bb Clarinets - Grade 2 SKU: FL.FX074379<...(+)
Chamber Music, Trio Clarinet Trio: 3 Bb Clarinets - Grade 2 SKU: FL.FX074379 Composed by Franz Liszt. Arranged by Eric Vireton. Arrangement. Classical. Score and Set of Parts. FLEX Editions #FX074379. Published by FLEX Editions (FL.FX074379). Instruments:Clarinet Trio: 3 Bb Clarinets; Difficuly Level: Grade 2; Duration: 0 mn 35 s; Musical Style: Classical; Category: Arrangement; Composer: Franz LISZT; Arranger: Eric VIRETON. $9.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Vive Le Vent [Score and Parts] - Easy FLEX Editions
Chamber Music, Trio Wind Trio: 1 Oboe 1 Bb Clarinet 1 Bassoon - Grade 2 SKU: ...(+)
Chamber Music, Trio Wind Trio: 1 Oboe 1 Bb Clarinet 1 Bassoon - Grade 2 SKU: FL.FX073224 Composed by James Pierpont. Arranged by Michel Hanon. Arrangement. Classical. Score and Set of Parts. FLEX Editions #FX073224. Published by FLEX Editions (FL.FX073224). Instruments:Wind Trio: 1 Oboe 1 Bb Clarinet 1 Bassoon; Difficuly Level: Grade 2; Duration: 1 mn 00 s; Musical Style: Classical; Category: Arrangement; Composer: James PIERPONT; Arranger: Michel HANON. $7.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Les Anges De Nos Campagnes [Score and Parts] - Easy FLEX Editions
Chamber Music, Trio Wind Trio: 1 Oboe 1 Bb Clarinet 1 Bassoon - Grade 2 SKU: ...(+)
Chamber Music, Trio Wind Trio: 1 Oboe 1 Bb Clarinet 1 Bassoon - Grade 2 SKU: FL.FX073225 Composed by Traditionnel. Arranged by Michel Hanon. Arrangement. Classical. Score and Set of Parts. FLEX Editions #FX073225. Published by FLEX Editions (FL.FX073225). Instruments:Wind Trio: 1 Oboe 1 Bb Clarinet 1 Bassoon; Difficuly Level: Grade 2; Duration: 1 mn 25 s; Musical Style: Classical; Category: Arrangement; Composer: TRADITIONNEL; Arranger: Michel HANON. $7.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Saltus Hungaricus Concert Band Score Concert band - Easy EMB (Editio Musica Budapest)
Concert Band - Grade 2 SKU: HL.50499274 Using melodies from the Linus ...(+)
Concert Band - Grade 2 SKU: HL.50499274 Using melodies from the Linus 18th-century dance collection for concert band. Composed by Laszlo Zempleni. EMB. Band Music. Softcover. 20 pages. Duration 3:00. Editio Musica Budapest #Z14839. Published by Editio Musica Budapest (HL.50499274). ISBN 9790080148396. UPC: 884088949143. 8.0x11.0x0.078 inches. Laszlo Zempleni. The second half of the 18th century, for the people of East Central Europe, was the time of the awakening of national consciousness. The leading force in the Hungarian enlightenment, the lesser nobility, also regarded as important the national character of the country's culture. A valuable kind of national music was the Hungarian dance music that flourished in the 18th century. The greater part of the repertoire naturally perpetuates the 'Hungarian-style' pieces from the previous centuries (appearing in foreign collections too described as hungaricus, ungaresca, saltus hungaricus or Ungarischer Tanz), but beside these we can encounter contemporary European dances and entertaining instrumental pieces in almost every style. The majority of the sources are collections compiled by non-professional musicians and intendedfor private music-making. In this work the composer uses melodies from the 18th-century Linus dance collection, in trioform, with harmonies and bass appropriate to that period. The musical fabric is rich in counterparts, the sound is mademore colourful with many kinds of percussion instruments. The register and rhythmic simplicity of the parts make thepieces easily playable even by music school pupils.
picc, 8 fl, 2 ob, 2 fg, 4 cl1 Bb, 4 cl2 Bb, 4 cl3 Bb, 2 cl b Bb, sax a1 Eb, sax a2 Eb, 2 sax t Bb, sax bar Eb - 4 tr1 Bb, 4 tr2 Bb, 4 cor, 4 trb, 2 flic t Bb/C, 4 tb - timp, 4 perc (glsp, xyl, 5 t bl, 2 bongos, cast, ptto sosp, cow bell, trgl, gr c, tamb b). $9.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Irish Song And Dance [Score and Parts] - Intermediate FLEX Editions
Chamber Music, Trio 1 Bb Trumpet 1 Bb Euphonium T.C. 1 Piano - Grade 4 SKU: F...(+)
Chamber Music, Trio 1 Bb Trumpet 1 Bb Euphonium T.C. 1 Piano - Grade 4 SKU: FL.FX073566 Composed by Alexandre Carlin. Original Composition. Classical, Educational. Score and Set of Parts. 8 (score); 8 (parts) pages. Duration 2 minutes, 50 seconds. FLEX Editions #FX073566. Published by FLEX Editions (FL.FX073566). Instruments: 1 Bb Trumpet 1 Bb Euphonium T.C. 1 Piano Additional Parts: 1 Bb Euphonium B.C. 1 C Euphonium B.C.; Difficuly Level: Grade 4. $13.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Tango Pour Trois [Score and Parts] - Intermediate FLEX Editions
Chamber Music, Trio 1 Bb Trumpet 1 Bb Euphonium T.C. 1 Piano - Grade 4 SKU: F...(+)
Chamber Music, Trio 1 Bb Trumpet 1 Bb Euphonium T.C. 1 Piano - Grade 4 SKU: FL.FX073567 Composed by Alexandre Carlin. Original Composition. Classical, Educational. Score and Set of Parts. 7 (score); 8 (parts) pages. Duration 3 minutes, 5 seconds. FLEX Editions #FX073567. Published by FLEX Editions (FL.FX073567). Instruments: 1 Bb Trumpet 1 Bb Euphonium T.C. 1 Piano Additional Parts: 1 Bb Euphonium B.C. 1 C Euphonium B.C.; Difficuly Level: Grade 4. $13.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| O'neill J Jazz Methode F Floete (d) - Intermediate Schott
Flute (NOTEN+CD) - intermediate SKU: HL.49032841 Composed by O'neill. Thi...(+)
Flute (NOTEN+CD) - intermediate SKU: HL.49032841 Composed by O'neill. This edition: Paperback/Soft Cover. Sheet music with CD. Edition Schott. Die Jazzmethode fur Flote zeigt Anfangern aller Altersstufen den Weg vom ersten Ton bis hin zu klassischen Monk-, Parker- und Rollins-Themen. Edition with CD. 96 pages. Schott Music #ED 8890. Published by Schott Music (HL.49032841). ISBN 9783795753887. German. Die Jazzmethode fur Flote zeigt Anfangern aller Altersstufen den Weg vom ersten Ton bis hin zu klassischen Monk-, Parker- und Rollins-Themen. Mit einer schrittweisen Einfuhrung und speziell fur diese Schule geschriebenen Stucken werden die grundlegenden Elemente einer soliden Floten-Technik zusammen mit den rhythmischen Finessen der Jazzmusik erklart. Durch das systematische Studium von Tonleitern, Arpeggien, Akkordfolgen und Tipps zur Gehorbildung wird der Schuler von Anfang an zum Improvisieren ermuntert. Die Begleit-CD liefert den musikalischen Hintergrund fur alle Stucke, so dass der Schuler von Anfang an durch das Spielen mit einer erstklassigen Rhythmusgruppe in den Genuss eines authentischen Jazz-Sounds kommt. Eine Bibliographie und eine Diskographie machen die Jazzmethode fur Flote zu einem idealen Begleiter, sowohl fur Schuler, die im Selbstunterricht lernen wollen, als auch fur diejenigen, die zusatzlich Unterricht bei einem Lehrer nehmen. $38.00 - See more - Buy online | | |
| Sfavillante [Score and Parts] Forton Music
Flute trio - Advanced SKU: FT.FM462 Composed by Vincenzo Sorrentino. Flut...(+)
Flute trio - Advanced SKU: FT.FM462 Composed by Vincenzo Sorrentino. Flute Trio. Score and parts. Forton Music #FM462. Published by Forton Music (FT.FM462). ISBN 9790570483617. This flute trio is one of the last works by Vincenzo Sorrentino before his untimely death in 2013. The English translation of the title is ‘Sparkling’, and this piece certainly lives up to that name. All three flutes bubble along at a lively pace, with triplets giving the piece the feeling of a tarantella. With much use of chromatic runs, and using the full range of the instrument, this is a piece for the more advanced players, but will well reward any time spent on it. A fantastic encore piece. $22.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Gianni Schicchi (reduced orchestration) [Score and Parts] LudwigMasters Publications
Orchestra 2(2nd dPicc).1.2.1: 2.2.1.0: Timp.Perc(3): Harp.Clst: Str (4-4-3-3-3 i...(+)
Orchestra 2(2nd dPicc).1.2.1: 2.2.1.0: Timp.Perc(3): Harp.Clst: Str (4-4-3-3-3 in set): Vocal soli (15 roles, SSSAATTBBBBBBBB) SKU: AP.36-A538402 Arranged by Giacomo Puccini and ed./arr. by Ettore Panizza/ Libretto by Giovacchino Forzano after a story mentioned in Dante Alighieri's Divine Comedy. Light Opera, Orchestra Accompaniment, Conductor Score & Parts. Kalmus Opera Library. Score and Part(s). LudwigMasters Publications #36-A538402. Published by LudwigMasters Publications (AP.36-A538402). UPC: 659359569043. English. Gianni Schicchi is a one-act comic opera by Giacomo Puccini (1858-1924). The final and most popular opera in a trio known as Il trittico (The Triptych), each one dealing with the concealment of a death, the work premiered at the Metropolitan Opera on December 14, 1918. It tells the story of four family members anxiously discussing the contents of their very recently deceased family member, Buoso Donati, only to discover to their horror that he had left everything to a monastery. Gianni Schicchi, not related to the family, arrives and concocts a scheme to have a new will written as nobody but the family knows Buoso is dead. But when the notary arrives Schicchi, pretending to be a Buoso on the mend, dictates that his house, mule, and mills should be left to Gianni Schicchi, which allows him to offer marriage between his daughter Lauretta and Donati family member Rinuccio. Lauretta's soprano aria, O mio babbino caro (Oh, my dear papa), is among the most well known in opera and is frequently sung as an encore in recitals or concerts. Instrumentation: 2(2nd dPicc).1.2.1: 2.2.1.0: Timp.Perc(3): Harp.Clst: Str (4-4-3-3-3 in set): Vocal soli (15 roles, SSSAATTBBBBBBBB). This orchestra reduction is completed by Ettore Panizza. Reprint edition. These products are currently being prepared by a new publisher. While many items are ready and will ship on time, some others may see delays of several months. $300.00 - See more - Buy online | | |
| Gianni Schicchi (reduced orchestration) [Score] LudwigMasters Publications
Orchestra 2(2nd dPicc).1.2.1: 2.2.1.0: Timp.Perc(3): Harp.Clst: Str (4-4-3-3-3 i...(+)
Orchestra 2(2nd dPicc).1.2.1: 2.2.1.0: Timp.Perc(3): Harp.Clst: Str (4-4-3-3-3 in set): Vocal soli (15 roles, SSSAATTBBBBBBBB) SKU: AP.36-A538401 Arranged by Giacomo Puccini and ed./arr. by Ettore Panizza/ Libretto by Giovacchino Forzano after a story mentioned in Dante Alighieri's Divine Comedy. Light Opera, Orchestra Accompaniment, Conductor Score. Kalmus Opera Library. Score. LudwigMasters Publications #36-A538401. Published by LudwigMasters Publications (AP.36-A538401). ISBN 9798892700825. UPC: 659359931277. English. Gianni Schicchi is a one-act comic opera by Giacomo Puccini (1858-1924). The final and most popular opera in a trio known as Il trittico (The Triptych), each one dealing with the concealment of a death, the work premiered at the Metropolitan Opera on December 14, 1918. It tells the story of four family members anxiously discussing the contents of their very recently deceased family member, Buoso Donati, only to discover to their horror that he had left everything to a monastery. Gianni Schicchi, not related to the family, arrives and concocts a scheme to have a new will written as nobody but the family knows Buoso is dead. But when the notary arrives Schicchi, pretending to be a Buoso on the mend, dictates that his house, mule, and mills should be left to Gianni Schicchi, which allows him to offer marriage between his daughter Lauretta and Donati family member Rinuccio. Lauretta's soprano aria, O mio babbino caro (Oh, my dear papa), is among the most well known in opera and is frequently sung as an encore in recitals or concerts. Instrumentation: 2(2nd dPicc).1.2.1: 2.2.1.0: Timp.Perc(3): Harp.Clst: Str (4-4-3-3-3 in set): Vocal soli (15 roles, SSSAATTBBBBBBBB). This orchestra reduction is completed by Ettore Panizza. Reprint edition. These products are currently being prepared by a new publisher. While many items are ready and will ship on time, some others may see delays of several months. $100.00 - See more - Buy online | | |
| Wind Dances - Advanced Schott
Score and Parts flute (also Piccolo), oboe, clarinet in Bb, horn, bassoon and pi...(+)
Score and Parts flute (also Piccolo), oboe, clarinet in Bb, horn, bassoon and piano - advanced SKU: HL.49045997 For Woodwind Quintet and Piano Score and Parts. Composed by Pierre Jalbert. Sheet music. Edition Schott. Softcover. Composed 2018. 92 pages. Duration 21'. Schott Music #ED30173. Published by Schott Music (HL.49045997). ISBN 9781540033918. UPC: 888680787004. 9.5x12.0x0.681 inches. Wind Dances is in seven short contrasting movements, each containing dance-like rhythms, both slow and fast. Having two sons who both play the clarinet, I've heard many a woodwind quintet, so I've been wanting to write for the medium for quite a while. In this instance, I also added my own instrument, the piano.The work opens with a fast movement containing driving rhythms in the winds, which are then answered by the piano. The second movement features colorful effects in the winds and piano (slap tongue, air sounds, muted tones) leading to a long extended lyrical line, gradually orchestrated to involve all the winds. The third movement is a dynamic scherzo, with a separate middle section similar to a traditional Trio section. The slowly unfolding fourth movement is the longest of the piece and anchors the middle of the work. The fifth movement is a kind of echo of the third movement, though this time the dynamic scherzo is high and light, rather than low and dark. The sixth movement is related to the second movement, and is basically a solo cadenza for the clarinet, with a few accompanimental gestures in the piano. The seventh and final movement reprises material from the first movement, this time with new and driving dance-like gestures added.- Pierre Jalbert. $190.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Music for Flexible Wind 5 (3-Part Flex) - Easy Molenaar Edition
C/Bb Bass Instrument. By Henk Van Lijnschooten. For Flexible Trio/Ensemble (Saxo...(+)
C/Bb Bass Instrument. By Henk Van Lijnschooten. For Flexible Trio/Ensemble (Saxophone / Brass). Educational. Level: Grade 2. Published by Molenaar Edition (Dutch import).
$19.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Rock Philharmonic Alfred Publishing
Orchestra Violin SKU: AP.40737 Classic Rock for the String Orchestra (...(+)
Orchestra Violin SKU: AP.40737 Classic Rock for the String Orchestra (Violin). Arranged by Bob Phillips and Daryl Silberman. Collections; Performance Music Ensemble; Play-Along; String Orchestra Collection. Philharmonic Series. Rock. Book. 40 pages. Alfred Music #00-40737. Published by Alfred Music (AP.40737). ISBN 9781470634032. UPC: 038081520582. English. This collection of nine classic Rock tunes spans five decades of rock history. The arrangements in Rock Philharmonic contain complete versions and lead sheets of original hit songs by top groups and artists: Jerry Lee Lewis, Bobby Day, Sonny and Cher, The Rolling Stones, The Eagles, Journey, and Green Day. Each piece includes a flexible arrangement that allows the melody, harmony, and bass parts to be played by all sections in the string orchestra, like or mixed instrument groups, quartets, or trios---allowing players to learn the component parts of rock and roll, play the classic arrangement, create their own arrangements, or perform the tunes solo. In addition to string orchestra, the arrangements are also set for electric strings with optional guitar/electric guitar, piano, and drumset.
The student book contains a full-length, two-page play thru version of the melody, which follows closely the original recording and includes clearly labeled Intro, Verse, Chorus, Bridge, and Outro sections. The bass and harmony component parts are then presented in a lead sheet format, along with a flow chart that matches the order of the Melody Line Play Thru. The teacher's book contains a full score and reproducible piano and percussion parts. Guitar chords appear in all parts. For easy practice, the accompanying CD has two tracks for each piece---a complete track and a backing track---and TNT 2 software to mix the level of each instrument, change pitch, change tempo, and create loops. The CD can also serve as an aid to learning by ear.
Titles: Great Balls of Fire * Rockin' Robin * I Got You Babe * (I Can't Get No) Satisfaction * Hotel California * Any Way You Want It * Don't Stop Believin' * Boulevard of Broken Dreams * You Can't Always Get What You Want. $9.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Rock Philharmonic Orchestra [Sheet music + CD] Alfred Publishing
Classic Rock for the String Orchestra (Teacher's Score). Arranged by Bob ...(+)
Classic Rock for the String Orchestra (Teacher's Score). Arranged by Bob Phillips and Daryl Silberman. Book; CD; Play-Along; String Orchestra Collection. Rock. 48 pages. Published by Alfred Music (AP.40742).
$24.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Rock Philharmonic Violin [Sheet music + CD] Alfred Publishing
Classic Rock for the String Orchestra (Violin). Arranged by Bob Phillips ...(+)
Classic Rock for the String Orchestra (Violin). Arranged by Bob Phillips and Daryl Silberman. Book; CD; Play-Along; String Orchestra Collection. Rock. 40 pages. Published by Alfred Music (AP.40736).
$16.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Rock Philharmonic Viola [Sheet music + CD] Alfred Publishing
Classic Rock for the String Orchestra (Viola). Arranged by Bob Phillips a...(+)
Classic Rock for the String Orchestra (Viola). Arranged by Bob Phillips and Daryl Silberman. Book; CD; Play-Along; String Orchestra Collection. Rock. 40 pages. Published by Alfred Music (AP.40738).
$16.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Rock Philharmonic Alfred Publishing
Orchestra Cello & Bass SKU: AP.40740 Classic Rock for the String Orche...(+)
Orchestra Cello & Bass SKU: AP.40740 Classic Rock for the String Orchestra (Cello & Bass). Arranged by Bob Phillips and Daryl Silberman. Collections; Performance Music Ensemble; Play-Along; String Orchestra Collection. Philharmonic Series. Rock. Book and CD. 40 pages. Alfred Music #00-40740. Published by Alfred Music (AP.40740). ISBN 9781470634063. UPC: 038081520612. English. This collection of nine classic Rock tunes spans five decades of rock history. The arrangements in Rock Philharmonic contain complete versions and lead sheets of original hit songs by top groups and artists: Jerry Lee Lewis, Bobby Day, Sonny and Cher, The Rolling Stones, The Eagles, Journey, and Green Day. Each piece includes a flexible arrangement that allows the melody, harmony, and bass parts to be played by all sections in the string orchestra, like or mixed instrument groups, quartets, or trios---allowing players to learn the component parts of rock and roll, play the classic arrangement, create their own arrangements, or perform the tunes solo. In addition to string orchestra, the arrangements are also set for electric strings with optional guitar/electric guitar, piano, and drumset.
The student book contains a full-length, two-page play thru version of the melody, which follows closely the original recording and includes clearly labeled Intro, Verse, Chorus, Bridge, and Outro sections. The bass and harmony component parts are then presented in a lead sheet format, along with a flow chart that matches the order of the Melody Line Play Thru. The teacher's book contains a full score and reproducible piano and percussion parts. Guitar chords appear in all parts. For easy practice, the accompanying CD has two tracks for each piece---a complete track and a backing track---and TNT 2 software to mix the level of each instrument, change pitch, change tempo, and create loops. The CD can also serve as an aid to learning by ear.
Titles: Great Balls of Fire * Rockin' Robin * I Got You Babe * (I Can't Get No) Satisfaction * Hotel California * Any Way You Want It * Don't Stop Believin' * Boulevard of Broken Dreams * You Can't Always Get What You Want. $16.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Refining The March Style Concert band - Easy Carl Fischer
Band Concert Band - Grade 2 SKU: CF.YPS105 Warm-Ups and Fundamentals(+)
Band Concert Band - Grade 2 SKU: CF.YPS105 Warm-Ups and Fundamentals. Composed by Larry Clark. Collate - FS SWS - spine: 3/4 or .75. Young Performance Series. Set of Score and Parts. With Standard notation. 16+4+8+8+4+10+4+4+8+8+8+12+4+6+2+2+4+2+20 pages. Duration 2 minutes, 53 seconds. Carl Fischer Music #YPS105. Published by Carl Fischer Music (CF.YPS105). ISBN 9780825884870. UPC: 798408084875. 9 x 12 inches. Key: Bb major. Based on our popular New Bennett Band Book series, we have compiled march-style warm-ups in a separate publication so they may be used by all bands wishing to learn from them. These innovative warm-ups and fundamental drills are the ultimate method of teaching and reinforcing the March style. How To Use the March Warm-upsPlaying in a march style can present difficulties for young students. The most prevalent problem is that students have a tendency to play every note too short. Conversely, accented notes are usually played incorrectly with too much tongue. Do marches contain short notes? Absolutely, but these shortest of notes should be reserved for notes that precede an accent or notes that are specifically marked with a staccato. Think of unmarked notes as being separated, but not short and certainly not clipped or stopped with the tongue. Accented notes should be played with more weight using air and more length, and not just a harder tongue. Accents are given to show emphasis to a note and should be thought of in this manner.The warm-up exercises provided in this collection should give you many opportunities to stress the above-mentioned comments on march performance style. The following gives an explanation on the purpose and use of each of these exercises.No. 1 – Basic Chords and ModulationsOne of the challenges of playing marches with young students is successfully performing the key change at the Trio. This exercise presents the three basic chords (tonic, subdominant and dominant) in each of the three keys in this collection of marches. You can also use this exercise to teach and reinforce the style of accented notes. You may want to have your band play major scales in succession by fourths to reinforce the concept of modulation to the subdominant that occurs at the Trio (i.e. the B≤-major scale, then the E≤-major scale, then the A≤-major scale). I might suggest getting the students to try continuing the pattern all the way around the circle of fourths.No. 2 – March Style in B≤ MajorThis exercise contains many opportunities to teach and reinforce the difference between staccato and accented notes. The melody voices move up and down the B≤-major scale, while other instruments play chords commonly found in the marches in this collection. These include diminished chords, secondary dominant chords (i.e. the V of the V) and other common chromatic chords that Fillmore often used.No. 3 – Cakewalk Rhythm in B≤ MajorThe simple syncopated rhythm in this exercise is common to many marches. This drill gives you the opportunity to teach/ reinforce the standard ar-ticulation and natural accent of this rhythmic pattern. Again, this exercise uses an ascending and descending major-scale pattern as the melodic basis, accompanied by chords commonly found in American- style marches.No. 4 – The March Scale in B≤ MajorI call this exercise “The March Scale,†because often in marches (and especially in these marches) the descending half-step is part of the melodic material. These chromatic figures give the melodies of many marches their charm and flow. Thus, I devised this exercise and others like it in E≤ major and A≤ major to familiarize students with these patterns. I would suggest playing the pattern in a variety of ways different from what is written. Here are some other possibilities:• Tongue one, slur three• Slur two, tongue two• Tongue two, slur two• Tongue one, slur two, tongue oneGradually increase the tempo to the march tempo and the articulation style will fall right into place.Another important consideration is the performance of the bass line and the bass-drum part. Too often, the bass drum and bass instruments play their parts with equal emphasis on both beats in the measure. This is incorrect, and frequently makes the marchNo. 5 – March Style in E≤ MajorThis is a similar to exercise No. 2, but with a different rhythmic pattern. Emphasize the difference between accented and unaccented notes. Also, play the exercise with line direction moving the musical line forward. Experiment and play the exercise with different dynamic choices and with hairpins up and down in different ways.No. 6 – More March Style in E≤ MajorExercise No. 6 comprises more rhythmic patterns and harmonic materials in E≤ major to teach and reinforce the march style. This exercise em-phasizes the sixteenth-note rhythm, as notated in the third measure of the exercise. Young stu- dents have a tendency to “crush†the sixteenths; consequently, they lack clarity. It would be a good idea to work this rhythmic figure on a scale pattern with all of the instruments in the band as an additional warm-up exercise.No. 7 – The March Scale in E≤ MajorSee the information for No. 4 and apply it to this exercise. Use all of the various articulations described above as well.No. 8 – March Style in A≤ MajorSee the information for No. 2 and apply it to this exercise.No. 9 – Cakewalk Rhythm in A≤ MajorSee the information for No. 3 and apply it to this exercise.No. 10 – The March Scale in A≤ MajorSee the information for No. 4 and apply it to this exercise.Other Ideas for March PerformanceA rehearsal practice that has worked very well for me is to start out by having the band play the march very slowly at about Œ = 60 in a chorale/legato style. The slow tempo is a fine opportunity to work on clarity of harmonic move- ment and to work on the balance and blend of the tutti band sound. This will pay great dividends toward improving the sound of your band. Gradually increase the tempo to the march tempo and the articulation style will fall right into place.Another important consideration is the performance of the bass line and the bass-drum part. Too often, the bass drum and bass instruments play their parts with equal emphasis on both beats in the measure. This is incorrect, and frequently makes the march. $70.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 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 | | |
| Au Survol des Prairies de Galway [Score and Parts] - Intermediate FLEX Editions
Chamber Music, Trio, Duo or 2 Bb Trumpets 1 Piano - Grade 4 SKU: FL.FX074450<...(+)
Chamber Music, Trio, Duo or 2 Bb Trumpets 1 Piano - Grade 4 SKU: FL.FX074450 Composed by Andre Telman. Original Composition. Classical, Educational. Score and Set of Parts. FLEX Editions #FX074450. Published by FLEX Editions (FL.FX074450). For 2 trumpets and piano, this piece is intended for 3rd cycle artists. This long descriptive musical fresco of 7'20'' takes us on a journey to Celtic lands, first on a slow and delirious theme, to move on to tonic sequences in asymmetrical measures. - Andre TELMAN ; Instruments:or 2 Bb Trumpets 1 Piano; Difficuly Level: Grade 4; Duration: 7 mn 20 s; Musical Style: Classical, Educational; Category: Original Composition; Composer: Andre TELMAN. $17.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| La Boite a Musique [Score and Parts] - Intermediate FLEX Editions
Chamber Music, Trio, Duet 1 Bb Clarinet 1 Bass Clarinet 1 Toy Piano - Grade 4 (+)
Chamber Music, Trio, Duet 1 Bb Clarinet 1 Bass Clarinet 1 Toy Piano - Grade 4 SKU: FL.FX073510 Composed by Jean-Michel Maury. Original Composition. Classical, Educational. Score and Set of Parts. Duration 1 minute, 45 seconds. FLEX Editions #FX073510. Published by FLEX Editions (FL.FX073510). An intimate piece that reminds us of our carefree childhood in a sweet nostalgia. ; Instruments: 1 Bb Clarinet 1 Bass Clarinet 1 Toy Piano; Difficuly Level: Grade 4. $11.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| La Valse a Renaud [Score and Parts] - Intermediate FLEX Editions
Chamber Music, Trio 1 Bb Clarinet 1 Accordion 1 Double Bass - Grade 4 SKU: FL...(+)
Chamber Music, Trio 1 Bb Clarinet 1 Accordion 1 Double Bass - Grade 4 SKU: FL.FX071614 Composed by Jean-Michel Maury. Original Composition. Classical, Educational, Traditional. Score and Set of Parts. Duration 2 minutes, 45 seconds. FLEX Editions #FX071614. Published by FLEX Editions (FL.FX071614). A piece that one could believe as originated from traditional folklore, why not dancing a mazurka on it. ; Instruments: 1 Bb Clarinet 1 Accordion 1 Double Bass; Difficuly Level: Grade 4. $11.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Time Out 3 [Score and Parts] - Intermediate FLEX Editions
Chamber Music, Trio, Duet 2 Bb Clarinets 1 Piano (optional) - Grade 5 SKU: FL...(+)
Chamber Music, Trio, Duet 2 Bb Clarinets 1 Piano (optional) - Grade 5 SKU: FL.FX073511 Composed by Jean-Michel Maury. Original Composition. Classical, Educational. Score and Set of Parts. Duration 1 minute, 10 seconds. FLEX Editions #FX073511. Published by FLEX Editions (FL.FX073511). The third opus of our Time Out, and this one is still quite virtuoso... Please note that this piece can be played without piano (2 clarinets only). ; Instruments: 2 Bb Clarinets 1 Piano (optional); Difficuly Level: Grade 5. $11.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| En Mai [Score and Parts] - Easy FLEX Editions
Musique de Chambre, Trio, Duo 2 Bb Clarinets 1 Piano - Grade 2 SKU: FL.FX0740...(+)
Musique de Chambre, Trio, Duo 2 Bb Clarinets 1 Piano - Grade 2 SKU: FL.FX074050 Composed by Jean-Michel Maury. Original Composition. Classical, Educational. Score and Set of Parts. FLEX Editions #FX074050. Published by FLEX Editions (FL.FX074050). A nice piece to be played by 2 young clarinetists with piano accompaniment, from 2 years of clarinet practice. ; Instruments: 2 Bb Clarinets 1 Piano; Difficuly Level: Grade 2. $12.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Intermediate Level Quartets / Mittelschwere Quarte [Score and Parts] EMB (Editio Musica Budapest)
Flexible Ensemble SKU: BT.EMBZ14850 Kammermusikserie mit variabler Bes...(+)
Flexible Ensemble SKU: BT.EMBZ14850 Kammermusikserie mit variabler Besetzung. EMB Ad Libitum. Educational Tool. Set (Score & Parts). Composed 2013. 76 pages. Editio Musica Budapest #EMBZ14850. Published by Editio Musica Budapest (BT.EMBZ14850). The volumes in this new series contain duos, trios and quartets, their degree of difficulty ranging from easy through intermediate to advanced. Every piece is a transcription or an arrangement, since in editing the volumes our primary concern was to provide a collection of valuable and interesting compositions, as freely variable as possible as regards instrumentation, for music school students and also for adults who make music for their own pleasure. The range and pitch of the parts enable the works to be performed on any required or possible combination of the given instruments. Like the Easy quartets volume, this one too contains dance sequences consisting of severalmovements. Apart from such popular dance movements (two renaissance dances, three waltzes), this publication also provides users with more extensive character pieces at an intermediate level. In movements like, for example, Evening chimes, Hobgoblin, The shepherdess and the cuckoo and March, the original content provided by the editors together with the music helps players to find the appropriate character for the musical performance, and thus to bring the music closer to both the players and the audience.
Die Bände der neuen Serie beinhalten leichte, mittelschwere oder fortgeschrittene Duos, Trios und Quartette. Bei der Zusammenstellung lag das Hauptaugenmerk auf der höchstmöglichen Freiheit in der Kombinierbarkeit der Instrumente sowie darauf, dass die Kompositionen für Musikschüler und Hobbymusiker musikalisch interessant und wertvoll sind. Aus diesem Grund handelt es sich bei allen Stücken um Transkriptionen. Lage und Tonumfang der Stimmen sind so gesetzt, dass sich die Werke allen denkbaren Umständen und Ansprüchen anpassen und entsprechend in jeder Kombination der angegebenen Musikinstrumente vorgetragen werden können. $26.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Statements [Score and Parts] Peters
Piano, flute, Bb clarinet SKU: PE.EP68391 Composed by Joseph Turrin. Cham...(+)
Piano, flute, Bb clarinet SKU: PE.EP68391 Composed by Joseph Turrin. Chamber Trio Full Score. Edition Peters. Living Composer. Score and parts. 68 pages. Edition Peters #98-EP68391. Published by Edition Peters (PE.EP68391). ISBN 9790300758763. Statements consist of five individual movements. Each of the three inner movements features one of the three instruments in the ensemble. The two outer movements combine the trio as a whole and are related in musical material. $75.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
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