| The Real Book - Volume I Eb Instruments Hal Leonard
(E-Flat Instruments, Mini Edition). Composed by Various. For E-flat Instruments....(+)
(E-Flat Instruments, Mini Edition). Composed by Various. For E-flat Instruments. Fake Book. Softcover. 464 pages. Published by Hal Leonard
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| The Real Book - Volume 1: Sixth Edition (C Instruments Play-Along Edition) C Instruments [Sheet music + Audio access] Hal Leonard
C Instruments Play-Along Edition. Composed by Various. Real Book Play- Along. ...(+)
C Instruments Play-Along
Edition. Composed by
Various. Real Book Play-
Along. Softcover Audio
Online. 464 pages. Published
by Hal Leonard
$79.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Rejoice in a Glorious Song Choral SATB SATB, Keyboard Hinshaw Music Inc.
Composed by Carl Nygard, Jr. Hinshaw Sacred. Sacred. Octavo. 16 pages. Hinshaw...(+)
Composed by Carl Nygard, Jr.
Hinshaw Sacred. Sacred.
Octavo. 16 pages. Hinshaw
Music Inc. #HMC1868.
Published by Hinshaw Music
Inc.
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| The Reharmonized Real Book - Volume 1: C Instruments C Instruments [Fake Book] Hal Leonard
Arranged by Jack Grassel. Composed by Various. Arranged by Jack Grassel. Fake ...(+)
Arranged by Jack Grassel.
Composed by Various. Arranged
by Jack Grassel. Fake Book.
Jazz. Softcover. 456 pages.
Published by Hal Leonard
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| 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 | | |
| Three Dances From China South Theodore Presser Co.
Chamber Music Dizi, Erhu, Piccolo, Zheng SKU: PR.11441684S For Dizi, E...(+)
Chamber Music Dizi, Erhu, Piccolo, Zheng SKU: PR.11441684S For Dizi, Erhu, Pipa, And Zheng. Composed by Chen Yi. Premiered at Weill Recital Hall in Carnegie Hall in New York City. Traditional. Full score. With Standard notation. Composed 2014. 36 pages. Theodore Presser Company #114-41684S. Published by Theodore Presser Company (PR.11441684S). UPC: 680160625253. 9 x 12 inches. On the occasion of its 30th anniversary, the ensemble Music From China commissioned Chen Yi for a new work, which became Three Dances from China South, scored for Chinese instruments. Its three descriptive movements (Lions Playing Ball, Bamboo Dance, Lusheng Dance) are each inspired by folk dances from the southeastern provinces of China. My chamber ensemble work Three Dances From China South is commissioned by Music From China tocelebrate its 30th anniversary, and scored for Chinese traditional instruments dizi, erhu, pipa, and zheng. The commission has been made possible by the Chamber Music America Classical CommissioningProgram, with generous funding provided by The Andrew W. Mellon Foundation, and the Chamber Music America Endowment Fund.  The world premiere is given at Weill Recital Hall in Carnegie Hall in New York City, on November 21, 2014.  My Three Dances From China South is dedicated to Susan Cheng, the founder and Executive Director of Music From China, to celebrate the 30th anniversary of MFC. There are three movements in my Three Dances From China South for dizi, erhu, pipa, and zheng.  Thematerial in the first movement Lions Playing Ball is drawn from a folk tune played in the accompanyingensemble for the folk dance under the same title in Chaozhou region in Guangdong province.  The image of the folk dance is vivid and entertaining.  The movement includes several variations on the theme.  The variation methods are inspired by the various rhythmic patterns used in the traditional ensemble playing. The melodic material features a special mode with a tritone interval taken from the folk tune.  There are also lyrical sections with polyphonic layers in the variations.The music in the second movement is inspired by the folk Bamboo Dance, which is popular in Li minoritypeople from Hainan Island in the south.  The aged old folk dance is for ritual ceremony and harvest celebration in the history, in which there are pairs of people holding the ends of the long bamboo rods and clapping them loudly in stable pulse, for groups of dancers to dance between the bamboo shapes on the floor, in musical rhythms and ensemble patterns.  A musical motive with a jumping interval and articulation is used throughout the movement.The third movement is called Lusheng Dance.  I have witnessed the folk dance performance of the Dong minority people in Guangxi province in the 1980’s.  The exciting scene inspired me to imitate the large lusheng ensemble playing style in my ensemble of four Chinese instrumental musicians without using the sheng (a wind instrument with metal pipes that is popular in concert music, and similar to the folk lusheng).  On top of the rhythmic patterns, I imitated a two--voice folk song of Zhuang minority people in the same province.  The melody is played by the leading erhu and dizi.—Chen Yi. $31.99 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Sonata for Solo Violin Violin Merion Music
Chamber Music Violin SKU: PR.144407530 Composed by Lauren Bernofsky. 12 p...(+)
Chamber Music Violin SKU: PR.144407530 Composed by Lauren Bernofsky. 12 pages. Duration 10 minutes, 30 seconds. Merion Music #144-40753. Published by Merion Music (PR.144407530). ISBN 9781491136614. UPC: 680160687992. A violinist herself, Lauren Bernofsky has described SONATA FOR SOLO VIOLIN as drawn from autobiographical inspiration, including gestures from Bachâ??s beloved Partita in E Major. Bernofsky opens with a Preludio movement whose references to Bach may be disguised, but they are surely lurking. The second movement is lusciously contrapuntal with the idiomatic finesse of a violinist composing for her own instrument, while musically journaling the emotional pain of living through 2020. The third and final movement is aptly marked â??white-hot,â? and the music certainly is. My SONATA FOR SOLO VIOLIN was commissioned by violinist Megan Healy as part of The Maud Powell Project, which celebrated the 100th anniversary of the ratification of the 19th Amendment. The project included the creation of five new works for solo violin inspired by and dedicated to the memory of pioneering American violinist Maud Powell (1867-1920). Healy premiered the sonata on May 8, 2021 at PianoForte Studios in Chicago.Among the works Powell most frequently performed in her recitals was the â??Preludioâ? movement from Bachâ??s E major Partita, and I decided to refer to that music in my own first movement, also titled â??Preludio.â? The beginning subtly reflects Bachâ??s opening three-note motive, wherein the music dips down a semitone and then comes back up. This melodic material returns throughout the movement in various forms. I also refer to Bachâ??s sixteenth-note dominated texture, and the gesture in the third measure, which outlines a perfect fifth and then fills it in with notes that alternate between a scale and a pedal tone. The corresponding passage in my piece occurs in the same place, measure 3. Apart from these references to Bach, my sonata is much more modern sounding, especially in its chromatic character.I was still thinking of Bachâ??s solo violin writing while composing the second movement, particularly the polyphonic nature of the slow movements, where the melodic interest moves around between the voices. Emotionally, I wanted my movement to reflect the acute sadness I had been experiencing over the political and social situation in the United States as I wrote the piece. I realized that this is a historically noteworthy time in U.S. history, marked not only by political unrest, but also by a challenge to the very values that I consider essential to what makes a person fundamentally human. I wanted to create a record of that pain in my music.The final movement is marked â??White-hot.â? It is imbued with a relentless, passionate intensity. Wanting again to reflect aspects of our own time, I included glissandi that refer to rock music, specifically the â??fall-offsâ? I frequently hear played by electric guitarists. I borrowed from another (completely different) musical tradition as well, one that is near-and-dear to my heart: Klezmer. Klezmer (Eastern European Jewish folk music) is characterized in part by scales colored by augmented seconds, and is often performed by solo instrumentalists who improvise embellishments like quick grace notes. The second, more lyrical theme in this movement is my nod to Klezmer style.While this piece is an homage to Maud Powell, I also think of it as my own musical autobiography, as it combines some of my favorite aspects of music, and is played on my own instrument. $12.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Scenes from the Peconic Concert band - Intermediate Carl Fischer
Concert Band Concert Band - Grade 3-3.5 SKU: CF.CPS67 Composed by Carl St...(+)
Concert Band Concert Band - Grade 3-3.5 SKU: CF.CPS67 Composed by Carl Strommen. FS-SWS. Carl Fischer Concert Performance Series. Dedicated to the Riverhead Ny High School Concert Band Lee Hanwick Director. Classical. Score and Set of Parts. With Standard notation. Carl Fischer Music #CPS67. Published by Carl Fischer Music (CF.CPS67). ISBN 9780825864759. UPC: 798408064754. 9 X 12 inches. The natural beauty and historical significance of the Peconic River, a tranquil and majestic waterway originating in the pine barrens of eastern Long Island, are depicted in this colorful, flowing and tuneful new piece by Long Island resident Carl Strommen. The luminous scoring is designed to show the band to its best advantage. The 6/8 meter of most of the piece is ideal for representing the flow of the river's steady progress to the sea. $80.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| John McCabe: Pilgrim Sextet For Strings (Parts) Music Sales
Chamber Group, String Ensemble, String Instruments SKU: HL.14021104 Music...(+)
Chamber Group, String Ensemble, String Instruments SKU: HL.14021104 Music Sales America. 20th Century. Music Sales #NOV12109901. Published by Music Sales (HL.14021104). UPC: 884088433321. 9.75x13.75 inches. The composer writes: Pilgrim was inspired, it will be no surprise to learn, by reading Bunyan's Pilgrim's Progress - Vaughan Williams's great opera on the subject had fascinated me from its first performance, yet it was a long time before I caught up with this essential item in any well-stocked library of English classics. It made a great impression, not least because of its theme of a journey of self-discovery, and a rediscovery or renewal of faith. These are ideas which have a strong interest for me, not in religious terms but in their application to every aspect of human life (including great journeys), and this piece reflects my response in musical terms to this concern. The tempo of the whole piece, which lasts about 18 minutes, is basically slow. There are two quick episodes, but these act somewhat like the trio sections of a classical scherzo, save that the tempo relationships are inverted (the classical trios would have been slower, not quicker) and the canvas is much larger, being that of a single, substantial, slow movement. The form of the whole is perhaps fantasia-like rather than having any relationship to classical forms such as sonata or rondo - some motifs and themes are varied as the work develops, and the opening chords are of primary importance throughout the work. There has been no attempt to convey any pictorial elements deriving from Bunyan's great book. There is, however, one feature which, upon completion of the score, struck me with some force, which is that almost all the thematic material is essentially striving upwards - there is a constant upward movement (sometimes over a lengthy period) throughout the work. Pilgrim was commissioned by the Luton Music Club for the Raphael Ensemble with funds provided by the Eastern Arts Board and Bedfordshire County Council, and is dedicated to the Luton Music Club. The first performance was given in Luton on February 10th 1997 and followed, as part of a joint scheme, by performances in the same week at the Music Clubs of Bedford and Leighton Buzzard. $39.95 - See more - Buy onlinePre-shipment lead time: 3 to 5 business days | | |
| Ancient Desert Drone Concert band - Advanced Schirmer
Concert Band (Score & Parts) - Grade 5 SKU: HL.50499651 Composed by Henry...(+)
Concert Band (Score & Parts) - Grade 5 SKU: HL.50499651 Composed by Henry Cowell. Arranged by James Worman. G. Schirmer Band/Orchestra. Concert. Softcover. Published by G. Schirmer (HL.50499651). ISBN 9781480392922. UPC: 888680012229. 10.5x14 inches. Ancient Desert Drone was composed for orchestra in 1940 at the request of Percy Grainger, who encouraged the idea of using a single pitch “drone” throughout the work (similar to Grainger's own The Immovable Do) and to whom the piece is dedicated. While the work suggests an Eastern charm with its distinctive mode and primitive rhythms, Cowell himself stated there was no particular programmatic intent. This transcription for band is an exotic and welcome addition to the repertoire for winds. Duration: 5:00
Recorded by the Trinity University Symphonic Wind Ensemble – James Worman, conductor
$85.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Weaving It All Together GIA Publications
SKU: GI.G-10575 A Practical Guide to Applying Gordon's Music Learning ...(+)
SKU: GI.G-10575 A Practical Guide to Applying Gordon's Music Learning Theory in the Elementary General Music Program. Composed by Heather Shouldice. Music Learning Theory (MLT). Music Education. 472 pages. GIA Publications #10575. Published by GIA Publications (GI.G-10575). ISBN 9781622776023. In many ways, teaching with Music Learning Theory (MLT) is like weaving a tapestry. There are a multitude of threads that must be thoughtfully and strategically woven together to create the intended piece. —from the Introduction Children are capable of remarkably sophisticated musical skills and understandings, and for decades music teachers have been using Edwin E. Gordon’s groundbreaking method to successfully develop independent music makers and thinkers in their classrooms. In Weaving It All Together, author Heather Shouldice draws from her two decades of experience with Music Learning Theory (MLT) to present practical activities, ideas, and strategies to help elementary general music teachers thoughtfully and purposefully weave together the many instructional threads of MLT. The book is divided into three parts. Part I (“The Big Pictureâ€) presents the core concepts and tenets of MLT, including a summary of Gordon’s foundational Skill Learning Sequence. In Part II (“Navigating Skill Learning Sequenceâ€), Shouldice dedicates a chapter to each of the eight levels in the Skill Learning Sequence, with suggestions for learning activities and teaching strategies for each. Part III (“Weaving the Threadsâ€) takes a broad view of how students’ audiation and musical skill development can be guided throughout the elementary years, with chapters devoted to informal music guidance, harmonic skill development, instrumental applications, facilitating and documenting individual student growth, implementing Learning Sequence Activities (LSAs), and planning and sequencing instruction. Equally suited for veteran and novice teachers alike, Weaving It All Together provides a detailed yet flexible roadmap for music instruction and bridges the gap between Gordon’s theoretical ideas and their practical implementation in the general music classroom. Heather Nelson Shouldice is Associate Professor of Music Education at Eastern Michigan University, where she coordinates the music education program, teaches graduate and undergraduate courses, supervises student teachers, and directs the early childhood music program. Prior to entering higher education, Dr. Shouldice taught elementary general music for ten years in the public schools of Michigan. $44.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Petite Suite for Trombone and Piano Trombone and Piano - Advanced Cherry Classics
Trombone and Piano - advanced SKU: CY.CC2518 Composed by Alexander Borodi...(+)
Trombone and Piano - advanced SKU: CY.CC2518 Composed by Alexander Borodin. Arranged by Ralph Sauer. Romantic Russian. Solo part and piano score. Published by Cherry Classics (CY.CC2518). The Petite Suite, published in 1885, is Borodin's major work for the Piano and originally comprised of seven movements. Mr. Sauer's arrangement incorporates three of them: Intermezzo, Reverie and Serenade. The Petite Suite was dedicated to the Belgian Countess Louise de Mercy-Argenteau, who was a supporter of Borodin and his music. After Borodin's death in 1887, Glazunov orchestrated the Suite. The music has that Eastern flavor so indicative of Borodin's melodies, mysterious, lyrical and subtle. Advanced performers will enjoy this work which has been so beautifully arranged by Mr. Sauer. $22.50 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Ancient Desert Drone Concert band - Advanced Schirmer
Concert Band (Score) - Grade 5 SKU: HL.50499652 Composed by Henry Cowell....(+)
Concert Band (Score) - Grade 5 SKU: HL.50499652 Composed by Henry Cowell. Edited by James Worman. G. Schirmer Band/Orchestra. Concert. 16 pages. Published by G. Schirmer (HL.50499652). ISBN 9781480392939. UPC: 888680012236. 10.5x14 inches. Ancient Desert Drone was composed for orchestra in 1940, at the request of Percy Grainger, who encouraged the idea of using a single pitch “drone” throughout the work (similar to Grainger's own The Immovable Do) and to whom the piece is dedicated. While the work suggests an Eastern charm with its distinctive mode and primitive rhythms, Cowell himself stated there was no particular programmatic intent. This transcription for band is an exotic and welcome addition to the repertoire for winds. Duration: 5:00
Recorded by the Trinity University Symphonic Wind Ensemble – James Worman, conductor $10.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Danzón No. 2 Piano solo Peermusic Classical
Piano SKU: PR.701175060 Arranged by Edison Quintana. Peermusic Classical ...(+)
Piano SKU: PR.701175060 Arranged by Edison Quintana. Peermusic Classical #70117-506. Published by Peermusic Classical (PR.701175060). UPC: 888680101268. “The idea of writing the Danzón No.2 originated in 1993 during a trip to Malinalco with the painter Andrés Fonseca and the dancer Irene Martínez, both of whom are experts in salon dances with a special passion for the danzón, which they were able to transmit to me from the beginning, and also during later trips to Veracruz and visits to the Colonia Salon in Mexico City. From these experiences onward, I started to learn the danzón’s rhythms, its form, its melodic outline, and to listen to the old recordings by Acerina and his Danzonera Orchestra. I was fascinated and I started to understand that the apparent lightness of the danzón is only like a visiting card for a type of music full of sensuality and qualitative seriousness, a genre which old Mexican people continue to dance with a touch of nostalgia and a jubilant escape towards their own emotional world; we can fortunately still see this in the embrace between music and dance that occurs in the State of Veracruz and in the dance parlors of Mexico City. The Danzón No.2 is a tribute to the environment that nourishes the genre. It endeavors to get as close as possible to the dance, to its nostalgic melodies, to its wild rhythms, and although it violates its intimacy, its form and its harmonic language, it is a very personal way of paying my respects and expressing my emotions towards truly popular music. Danzón No.2 was written on a commission by the Department of Musical Activities at Mexico’s National Autonomous University and is dedicated to my daughter Lily.” -- Arturo Marquez About the danzon genre, Lidice Valenzuela writes in Cubanow: The history of the danzon goes back to the arrival in Cuba of the European contradance. It came in three different ways: directly from Spain, the colonial metropolis; with the British, who occupied Havana in 1762; and the French colonizers and their slaves who landed in Cuba's Eastern shores after fleeing from the Haitian Revolution. From all of that trans-cultural process the Danzon was born. This new Cuban dance, naturalized by the Creoles, had much more expressive freedom: the couple danced in each other's arms, and the dancing time was extended. People began calling it Danzon and it was in Matanzas, in the 1870s that figure dancing also began to be called Danzon. Thus, Failde, an outstanding musician, named his composition with the generic name of Danzon.. $24.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Petite Suite for Tuba or Bass Trombone and Piano Bass Trombone and Piano Cherry Classics
Composed by Alexander Borodin (1833-1887). Arranged by Ralph Sauer. Romantic Rus...(+)
Composed by Alexander Borodin (1833-1887). Arranged by Ralph Sauer. Romantic Russian. Solo part and piano score. Published by Cherry Classics (CY.CC2519).
$22.50 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Danzón No. 2 Piano solo Peermusic Classical
Piano SKU: PR.701185010 Arranged by Leticia Gómez-Tagle. Peermusic Class...(+)
Piano SKU: PR.701185010 Arranged by Leticia Gómez-Tagle. Peermusic Classical #70118-501. Published by Peermusic Classical (PR.701185010). UPC: 888680101275. “The idea of writing the Danzón No.2 originated in 1993 during a trip to Malinalco with the painter Andrés Fonseca and the dancer Irene Martínez, both of whom are experts in salon dances with a special passion for the danzón, which they were able to transmit to me from the beginning, and also during later trips to Veracruz and visits to the Colonia Salon in Mexico City. From these experiences onward, I started to learn the danzón’s rhythms, its form, its melodic outline, and to listen to the old recordings by Acerina and his Danzonera Orchestra. I was fascinated and I started to understand that the apparent lightness of the danzón is only like a visiting card for a type of music full of sensuality and qualitative seriousness, a genre which old Mexican people continue to dance with a touch of nostalgia and a jubilant escape towards their own emotional world; we can fortunately still see this in the embrace between music and dance that occurs in the State of Veracruz and in the dance parlors of Mexico City. The Danzón No.2 is a tribute to the environment that nourishes the genre. It endeavors to get as close as possible to the dance, to its nostalgic melodies, to its wild rhythms, and although it violates its intimacy, its form and its harmonic language, it is a very personal way of paying my respects and expressing my emotions towards truly popular music. Danzón No.2 was written on a commission by the Department of Musical Activities at Mexico’s National Autonomous University and is dedicated to my daughter Lily.” -- Arturo Marquez About the danzon genre, Lidice Valenzuela writes in Cubanow: The history of the danzon goes back to the arrival in Cuba of the European contradance. It came in three different ways: directly from Spain, the colonial metropolis; with the British, who occupied Havana in 1762; and the French colonizers and their slaves who landed in Cuba's Eastern shores after fleeing from the Haitian Revolution. From all of that trans-cultural process the Danzon was born. This new Cuban dance, naturalized by the Creoles, had much more expressive freedom: the couple danced in each other's arms, and the dancing time was extended. People began calling it Danzon and it was in Matanzas, in the 1870s that figure dancing also began to be called Danzon. Thus, Failde, an outstanding musician, named his composition with the generic name of Danzon.. $14.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Dmitri Kabalevsky: Concerto No. 1 in G minor, Opus 49
Cello, Piano - Advanced IMC (International Music Co.)
Composed by Dmitri Kabalevsky (1904-1987). Instrumental solo book for cello and ...(+)
Composed by Dmitri Kabalevsky (1904-1987). Instrumental solo book for cello and piano accompaniment. With introductory text. G Minor. Composed 1948. 39 pages. Published by International Music Co.
(2)$24.75 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Zephyrus Theodore Presser Co.
Chamber Music SKU: PR.164002120 Composed by Dan Welcher. Set of Score and...(+)
Chamber Music SKU: PR.164002120 Composed by Dan Welcher. Set of Score and Parts. With Standard notation. 32+16+12+12+12 pages. Duration 16 minutes. Theodore Presser Company #164-00212. Published by Theodore Presser Company (PR.164002120). UPC: 680160037582. Works of chamber music including flute and strings are not nearly as numerous as those for clarinet, or even the oboe. Probably the reason for this is the less assertive, more pure tone the flute possesses - it can't compete for volume or range with the clarinet, except in its top octave, and the oboe's tone is more penetrating and easily discerned from within a string texture. Consequently, composers who have written for flute and strings have done so in lightweight divertimento works: compare, for instance, the delicate flute quartets of Mozart with his monumental quintet for clarinet and strings. When Karl and Joan Karber approached me with the ideas of writing a work for flute and string trio, I originally thought it would be best to write a humorous, rather offhand piece - but a look at their repertoire (mostly comprised of smaller works of the Rococo period) convinced me that it was the last thing they needed. In spite of the challenge (or maybe because of it?), I determined to write a large work, and a serious work. Zephyrus (named for the God of the West Wind, in deference to the flute) is a three-movement work, with each movement cast in a very different form, but all three being built of the same twelve-note series. There is also a rhythmic motive and a pair of themes that appear in all three movements. The first movement plays with the idea of contrast and persuasion. The flute, at the outset, is the hell-for-leather protagonist, charging and swooping around the strings - who seem oddly unconcerned by his passion. Indeed, they have a more somber song to sing - and as the movement unfolds, the flute becomes less and less active, while the strings become increasingly enlivened. By the midpoint, when all four instruments are finally in the same meter and the same tempo, the flute's energy has finally infected the other three players, and this energy does not let up until the movement's abrupt final cadence. The second movement begins with a tag from the first - as if the energy left over was too great to simply stop. At length, though, a very poignant flute melody appears over an almost bluesy harmony in the strings. After this has been fully exposed, a slight increase in motion, marked gently rocking in triplets, features a theme-fragment from Leonard Bernstein's Symphony No. 2 (Kaddish). Bernstein died as I was writing this work, and it seemed quite natural to encourage what was already implicit in the music, and create an Elegy for L.B. The music rises and peaks, then in the recapitulation of the opening the Kaddish theme reappears, as the ensemble suggests a gentle song of sleep. The final movement is a Rondo-Variations form, with the slight alteration of adding the main theme of the second movement in what would be the trio of the form. The ritornello theme is a kind of ethnic dance music, almost an allusion to the Klezmer ensembles of Eastern Europe. The successive episodes between the ritornelli are loosely organized variations on the basic theme, but always beginning with a metric modulation, a rhythmic changing of gears. The movement reaches and apex of speed and furious pulsing, then abruptly pirouttes, and finishes. Zephyrus was written between April and November of 1990 in Austin, Aspen, and Honolulu, and is dedicated to Karl Kraber and The Chamber Soloists of Austin. --Dan Welcher. $85.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Petite Suite for Euphonium and Piano Euphonium, Piano (duet) - Advanced Cherry Classics
Composed by Alexander Borodin (1833-1887). Arranged by Ralph Sauer. Romantic Rus...(+)
Composed by Alexander Borodin (1833-1887). Arranged by Ralph Sauer. Romantic Russian. Solo part and piano score. Published by Cherry Classics (CY.CC2520).
$22.50 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Songs and Haiku Faber Music Limited
Voice (Female) SKU: AP.12-0571541151 For Female Voice and Piano. C...(+)
Voice (Female) SKU: AP.12-0571541151 For Female Voice and Piano. Composed by Jonathan Harvey. Series; Vocal Collection. Faber Edition. Secular. Book. Faber Music #12-0571541151. Published by Faber Music (AP.12-0571541151). ISBN 9780571541157. English. Two haiku (the first for piano alone---the only piece here to have been published before---the latter by Basho) bookend three love songs dedicated to Harvey's wife, Rosa. The grouping of the pieces into an eight-minute cycle was the composer's own idea, and it mixes Eastern and Western poets in a totally characteristic manner. Both Tagore and e. e. cummings are represented, poets who are featured in some of Harvey's finest works (Song Offerings and Forms of Emptiness, respectively), and a third song sets Tennyson's Now Sleeps the Crimson Petal. $22.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| John McCabe: Pilgrim String Sextet (Score) Music Sales
String Ensemble SKU: HL.14021105 Composed by John McCabe. Music Sales Ame...(+)
String Ensemble SKU: HL.14021105 Composed by John McCabe. Music Sales America. Classical. Score. 30 pages. Music Sales #NOV121099. Published by Music Sales (HL.14021105). ISBN 9780711997950. UPC: 884088433307. 8.25x11.75x0.088 inches. The composer writes: Pilgrim was inspired, it will be no surprise to learn, by reading Bunyan's Pilgrim's Progress - Vaughan Williams's great opera on the subject had fascinated me from its first performance, yet it was a long time before I caught up with this essential item in any well-stocked library of English classics. It made a great impression, not least because of its theme of a journey of self-discovery, and a rediscovery or renewal of faith. These are ideas which have a strong interest for me, not in religious terms but in their application to every aspect of human life (including great journeys), and this piece reflects my response in musical terms to this concern. The tempo of the whole piece, which lasts about 18 minutes, is basically slow. There are two quick episodes, but these act somewhat like the trio sections of a classical scherzo, save that the tempo relationships are inverted (the classical trios would have been slower, not quicker) and the canvas is much larger, being that of a single, substantial, slow movement. The form of the whole is perhaps fantasia-like rather than having any relationship to classical forms such as sonata or rondo - some motifs and themes are varied as the work develops, and the opening chords are of primary importance throughout the work. There has been no attempt to convey any pictorial elements deriving from Bunyan's great book. There is, however, one feature which, upon completion of the score, struck me with some force, which is that almost all the thematic material is essentially striving upwards - there is a constant upward movement (sometimes over a lengthy period) throughout the work. Pilgrim was commissioned by the Luton Music Club for the Raphael Ensemble with funds provided by the Eastern Arts Board and Bedfordshire County Council, and is dedicated to the Luton Music Club. The first performance was given in Luton on February 10th 1997 and followed, as part of a joint scheme, by performances in the same week at the Music Clubs of Bedford and Leighton Buzzard. $29.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Zephyrus Theodore Presser Co.
SKU: PR.16400212S Composed by Dan Welcher. With Standard notation. Durati...(+)
SKU: PR.16400212S Composed by Dan Welcher. With Standard notation. Duration 16 minutes. Theodore Presser Company #164-00212S. Published by Theodore Presser Company (PR.16400212S). UPC: 680160037605. Works of chamber music including flute and strings are not nearly as numerous as those for clarinet, or even the oboe. Probably the reason for this is the less assertive, more pure tone the flute possesses - it can't compete for volume or range with the clarinet, except in its top octave, and the oboe's tone is more penetrating and easily discerned from within a string texture. Consequently, composers who have written for flute and strings have done so in lightweight divertimento works: compare, for instance, the delicate flute quartets of Mozart with his monumental quintet for clarinet and strings. When Karl and Joan Karber approached me with the ideas of writing a work for flute and string trio, I originally thought it would be best to write a humorous, rather offhand piece - but a look at their repertoire (mostly comprised of smaller works of the Rococo period) convinced me that it was the last thing they needed. In spite of the challenge (or maybe because of it?), I determined to write a large work, and a serious work. Zephyrus (named for the God of the West Wind, in deference to the flute) is a three-movement work, with each movement cast in a very different form, but all three being built of the same twelve-note series. There is also a rhythmic motive and a pair of themes that appear in all three movements. The first movement plays with the idea of contrast and persuasion. The flute, at the outset, is the hell-for-leather protagonist, charging and swooping around the strings - who seem oddly unconcerned by his passion. Indeed, they have a more somber song to sing - and as the movement unfolds, the flute becomes less and less active, while the strings become increasingly enlivened. By the midpoint, when all four instruments are finally in the same meter and the same tempo, the flute's energy has finally infected the other three players, and this energy does not let up until the movement's abrupt final cadence. The second movement begins with a tag from the first - as if the energy left over was too great to simply stop. At length, though, a very poignant flute melody appears over an almost bluesy harmony in the strings. After this has been fully exposed, a slight increase in motion, marked gently rocking in triplets, features a theme-fragment from Leonard Bernstein's Symphony No. 2 (Kaddish). Bernstein died as I was writing this work, and it seemed quite natural to encourage what was already implicit in the music, and create an Elegy for L.B. The music rises and peaks, then in the recapitulation of the opening the Kaddish theme reappears, as the ensemble suggests a gentle song of sleep. The final movement is a Rondo-Variations form, with the slight alteration of adding the main theme of the second movement in what would be the trio of the form. The ritornello theme is a kind of ethnic dance music, almost an allusion to the Klezmer ensembles of Eastern Europe. The successive episodes between the ritornelli are loosely organized variations on the basic theme, but always beginning with a metric modulation, a rhythmic changing of gears. The movement reaches and apex of speed and furious pulsing, then abruptly pirouttes, and finishes. Zephyrus was written between April and November of 1990 in Austin, Aspen, and Honolulu, and is dedicated to Karl Kraber and The Chamber Soloists of Austin. --Dan Welcher. $38.99 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
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