| A Klezmer Karnival Marching band - Easy Anglo Music
Fanfare Band - Grade 2.5 SKU: BT.AMP-124-020 Composed by Philip Sparke. D...(+)
Fanfare Band - Grade 2.5 SKU: BT.AMP-124-020 Composed by Philip Sparke. Debut Series. Folk Klezmer. Set (Score & Parts). Composed 2004. Anglo Music Press #AMP 124-020. Published by Anglo Music Press (BT.AMP-124-020). 9x12 inches. English-German-French-Dutch. Klezmer music originated in the ‘shtetl’ (villages) and the ghettos of Eastern Europe, where itinerant Jewish troubadours, known as ‘klezmorim’, had performed at celebrations, particularly weddings, since the early Middle Ages. Since the 16th century, lyrics had been added to klezmer music, due to the ‘badkhn’ (the master of ceremony at weddings), to the ‘Purimshpil’ (the play of Esther at Purim) and to traditions of the Yiddish theatre, but the term gradually became synonymous with instrumental music, particularly featuring the violin and clarinet. In recent years it has again become very popular and in A Klezmer Karnival Philip Sparke has used three contrasting traditionaltunes to form a suite that will bring a true karnival atmosphere to any concert.
De wortels van de klezmerstijl liggen in wereldlijke melodieën, populaire dansen, het joodse ‘hazanut’ (cantorijmuziek) en de ‘nigunim’, de melodieën die worden gereciteerd door de ‘hasidim’ (orthodoxe joden). De term werd in de loopder tijden synoniem aan instrumentale muziek, waarin met name de viool en klarinet de hoofdrol spelen. Voor A Klezmer Karnival zijn drie traditionele melodieën gebruikt: Choson kale mazel tov, een bruiloftsdans,Freylekh, een joodse kringdans, en Sherele, een Duitse herdersdans.
Philip Sparke verarbeitete in seinem Werk drei unterschiedliche traditionelle Klezmermelodien: einen Hochzeitstanz mit Glückwünschen für Braut und Bräutigam, einen Rundtanz und einen so genannten Scherentanz. Daraus entstand A Klezmer Karnival, das die dem Klezmer eigene Mischung aus Fröhlichkeit und Melancholie ausgezeichnet wiedergibt. Ein ebenso abwechslungsreiches wie stimmungsvolles Konzertwerk, mit dem Ihr Blasorchester überzeugen wird!
Jouée depuis le Moyen ge par des musiciens juifs itinérants (klezmorim), la musique klezmer est une musique joyeuse colportée de fête en mariage, qui trouve ses origines dans les “shtetl†(villages) et les ghettos d’Europe de l’Est. A Klezmer Karnival (“Festival klezmerâ€) de Philip Sparke rassemble trois airs traditionnels : Choson Kale Mazel Tov - une danse nuptiale, Freylekh - une danse juive en cercle et Sherele - littéralement « petits ciseaux » - une danse de bergers, d’origine allemande.
Suonata a partire dal Medioevo da giovani musicisti ebrei (klezmorim), la musica klezmer è una musica gioiosa che ha origine nei villaggi (“shtetlâ€) e nei ghetti dell’Europa dell’est. A Klezmer Karnival di Philip Sparke raccoglie tre arie tradizionali: Choson Kale Mazel Tov, una danza nuziale, Freylekh, una tipica danza ebraica in cerchio e Sherele (letteralmente piccole forbici), una danza di pastori di origine tedesca. $140.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| A Klezmer Karnival Marching band - Easy Anglo Music
Fanfare Band - Grade 2.5 SKU: BT.AMP-124-120 Composed by Philip Sparke. D...(+)
Fanfare Band - Grade 2.5 SKU: BT.AMP-124-120 Composed by Philip Sparke. Debut Series. Folk Klezmer. Score Only. Composed 2004. 32 pages. Anglo Music Press #AMP 124-120. Published by Anglo Music Press (BT.AMP-124-120). 9x12 inches. English-German-French-Dutch. Klezmer music originated in the ‘shtetl’ (villages) and the ghettos of Eastern Europe, where itinerant Jewish troubadours, known as ‘klezmorim’, had performed at celebrations, particularly weddings, since the early Middle Ages. Since the 16th century, lyrics had been added to klezmer music, due to the ‘badkhn’ (the master of ceremony at weddings), to the ‘Purimshpil’ (the play of Esther at Purim) and to traditions of the Yiddish theatre, but the term gradually became synonymous with instrumental music, particularly featuring the violin and clarinet. In recent years it has again become very popular and in A Klezmer Karnival Philip Sparke has used three contrasting traditionaltunes to form a suite that will bring a true karnival atmosphere to any concert.
De wortels van de klezmerstijl liggen in wereldlijke melodieën, populaire dansen, het joodse ‘hazanut’ (cantorijmuziek) en de ‘nigunim’, de melodieën die worden gereciteerd door de ‘hasidim’ (orthodoxe joden). De term werd in de loopder tijden synoniem aan instrumentale muziek, waarin met name de viool en klarinet de hoofdrol spelen. Voor A Klezmer Karnival zijn drie traditionele melodieën gebruikt: Choson kale mazel tov, een bruiloftsdans,Freylekh, een joodse kringdans, en Sherele, een Duitse herdersdans.
Philip Sparke verarbeitete in seinem Werk drei unterschiedliche traditionelle Klezmermelodien: einen Hochzeitstanz mit Glückwünschen für Braut und Bräutigam, einen Rundtanz und einen so genannten Scherentanz. Daraus entstand A Klezmer Karnival, das die dem Klezmer eigene Mischung aus Fröhlichkeit und Melancholie ausgezeichnet wiedergibt. Ein ebenso abwechslungsreiches wie stimmungsvolles Konzertwerk, mit dem Ihr Blasorchester überzeugen wird!
Jouée depuis le Moyen ge par des musiciens juifs itinérants (klezmorim), la musique klezmer est une musique joyeuse colportée de fête en mariage, qui trouve ses origines dans les “shtetl†(villages) et les ghettos d’Europe de l’Est. A Klezmer Karnival (“Festival klezmerâ€) de Philip Sparke rassemble trois airs traditionnels : Choson Kale Mazel Tov - une danse nuptiale, Freylekh - une danse juive en cercle et Sherele - littéralement « petits ciseaux » - une danse de bergers, d’origine allemande.
Suonata a partire dal Medioevo da giovani musicisti ebrei (klezmorim), la musica klezmer è una musica gioiosa che ha origine nei villaggi (“shtetlâ€) e nei ghetti dell’Europa dell’est. A Klezmer Karnival di Philip Sparke raccoglie tre arie tradizionali: Choson Kale Mazel Tov, una danza nuziale, Freylekh, una tipica danza ebraica in cerchio e Sherele (letteralmente piccole forbici), una danza di pastori di origine tedesca. $27.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| A Klezmer Karnival Concert band - Easy Anglo Music
Concert Band/Harmonie - Grade 2.5 SKU: BT.AMP-124-140 Composed by Philip ...(+)
Concert Band/Harmonie - Grade 2.5 SKU: BT.AMP-124-140 Composed by Philip Sparke. Debut Series. Folk Klezmer. Score Only. Composed 2004. Anglo Music Press #AMP 124-140. Published by Anglo Music Press (BT.AMP-124-140). English-German-French-Dutch. Klezmer music originated in the ‘shtetl’ (villages) and the ghettos of Eastern Europe, where itinerant Jewish troubadours, known as ‘klezmorim’, had performed at celebrations, particularly weddings, since the early Middle Ages. Since the 16th century, lyrics had been added to klezmer music, due to the ‘badkhn’ (the master of ceremony at weddings), to the ‘Purimshpil’ (the play of Esther at Purim) and to traditions of the Yiddish theatre, but the term gradually became synonymous with instrumental music, particularly featuring the violin and clarinet. In recent years it has again become very popular and in A Klezmer Karnival Philip Sparke has used three contrasting traditionaltunes to form a suite that will bring a true karnival atmosphere to any concert.
De wortels van de klezmerstijl liggen in wereldlijke melodieën, populaire dansen, het joodse ‘hazanut’ (cantorijmuziek) en de ‘nigunim’, de melodieën die worden gereciteerd door de ‘hasidim’ (orthodoxe joden). De term werd in de loopder tijden synoniem aan instrumentale muziek, waarin met name de viool en klarinet de hoofdrol spelen. Voor A Klezmer Karnival zijn drie traditionele melodieën gebruikt: Choson kale mazel tov, een bruiloftsdans,Freylekh, een joodse kringdans, en Sherele, een Duitse herdersdans.
Philip Sparke verarbeitete in seinem Werk drei unterschiedliche traditionelle Klezmermelodien: einen Hochzeitstanz mit Glückwünschen für Braut und Bräutigam, einen Rundtanz und einen so genannten Scherentanz. Daraus entstand A Klezmer Karnival, das die dem Klezmer eigene Mischung aus Fröhlichkeit und Melancholie ausgezeichnet wiedergibt. Ein ebenso abwechslungsreiches wie stimmungsvolles Konzertwerk, mit dem Ihr Blasorchester überzeugen wird!
Jouée depuis le Moyen ge par des musiciens juifs itinérants (klezmorim), la musique klezmer est une musique joyeuse colportée de fête en mariage, qui trouve ses origines dans les “shtetl†(villages) et les ghettos d’Europe de l’Est. A Klezmer Karnival (“Festival klezmerâ€) de Philip Sparke rassemble trois airs traditionnels : Choson Kale Mazel Tov - une danse nuptiale, Freylekh - une danse juive en cercle et Sherele - littéralement « petits ciseaux » - une danse de bergers, d’origine allemande.
Suonata a partire dal Medioevo da giovani musicisti ebrei (klezmorim), la musica klezmer è una musica gioiosa che ha origine nei villaggi (“shtetlâ€) e nei ghetti dell’Europa dell’est. A Klezmer Karnival di Philip Sparke raccoglie tre arie tradizionali: Choson Kale Mazel Tov, una danza nuziale, Freylekh, una tipica danza ebraica in cerchio e Sherele (letteralmente piccole forbici), una danza di pastori di origine tedesca. $27.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| A Klezmer Karnival Concert band - Easy Anglo Music
Concert Band/Harmonie - Grade 2.5 SKU: BT.AMP-124-010 Composed by Philip ...(+)
Concert Band/Harmonie - Grade 2.5 SKU: BT.AMP-124-010 Composed by Philip Sparke. Debut Series. Classical. Set (Score and Parts). Composed 2004. Anglo Music Press #AMP 124-010. Published by Anglo Music Press (BT.AMP-124-010). English-German-French-Dutch. Klezmer music originated in the â??shtetlâ?? (villages) and the ghettos of Eastern Europe, where itinerant Jewish troubadours, known as â??klezmorimâ??, had performed at celebrations, particularly weddings, since the early Middle Ages. Since the 16th century, lyrics had been added to klezmer music, due to the â??badkhnâ?? (the master of ceremony at weddings), to the â??Purimshpilâ?? (the play of Esther at Purim) and to traditions of the Yiddish theatre, but the term gradually became synonymous with instrumental music, particularly featuring the violin and clarinet. In recent years it has again become very popular and in A Klezmer Karnival Philip Sparke has used three contrasting traditionaltunes to form a suite that will bring a true karnival atmosphere to any concert.
De wortels van de klezmerstijl liggen in wereldlijke melodieën, populaire dansen, het joodse â??hazanutâ?? (cantorijmuziek) en de â??nigunimâ??, de melodieën die worden gereciteerd door de â??hasidimâ?? (orthodoxe joden). De term werd in de loopder tijden synoniem aan instrumentale muziek, waarin met name de viool en klarinet de hoofdrol spelen. Voor A Klezmer Karnival zijn drie traditionele melodieën gebruikt: Choson kale mazel tov, een bruiloftsdans,Freylekh, een joodse kringdans, en Sherele, een Duitse herdersdans.
Philip Sparke verarbeitete in seinem Werk drei unterschiedliche traditionelle Klezmermelodien: einen Hochzeitstanz mit Glückwünschen für Braut und Bräutigam, einen Rundtanz und einen so genannten Scherentanz. Daraus entstand A Klezmer Karnival, das die dem Klezmer eigene Mischung aus Fröhlichkeit und Melancholie ausgezeichnet wiedergibt. Ein ebenso abwechslungsreiches wie stimmungsvolles Konzertwerk, mit dem Ihr Blasorchester überzeugen wird!
Jouée depuis le Moyen ge par des musiciens juifs itinérants (klezmorim), la musique klezmer est une musique joyeuse colportée de fête en mariage, qui trouve ses origines dans les â??shtetlâ? (villages) et les ghettos dâ??Europe de lâ??Est. A Klezmer Karnival (â??Festival klezmerâ?) de Philip Sparke rassemble trois airs traditionnels : Choson Kale Mazel Tov - une danse nuptiale, Freylekh - une danse juive en cercle et Sherele - littéralement « petits ciseaux » - une danse de bergers, dâ??origine allemande.
Suonata a partire dal Medioevo da giovani musicisti ebrei (klezmorim), la musica klezmer è una musica gioiosa che ha origine nei villaggi (â??shtetlâ?) e nei ghetti dellâ??Europa dellâ??est. A Klezmer Karnival di Philip Sparke raccoglie tre arie tradizionali: Choson Kale Mazel Tov, una danza nuziale, Freylekh, una tipica danza ebraica in cerchio e Sherele (letteralmente piccole forbici), una danza di pastori di origine tedesca. $140.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Double Concerto Concert band - Intermediate C.L. Barnhouse
Grade 3 SKU: CL.012-3551-01 Composed by Antonio Vivaldi. Arranged by Glov...(+)
Grade 3 SKU: CL.012-3551-01 Composed by Antonio Vivaldi. Arranged by Glover. Concert Band. Spotlight Series. Audio recording available separately (items CL.WFR340 & CL.WFR354). Extra full score. Composed 2006. Duration 3 minutes, 6 seconds. Opus III Wind Orchestra Publications #012-3551-01. Published by Opus III Wind Orchestra Publications (CL.012-3551-01). This famous Allegro movement from a Vivaldi concerto for two trumpets is presented here in an arrangement loaded with flexibility as to choice of soloists and even the accompanying ensemble. May be performed as a solo or as a duet, and it includes solo/duet parts for Bb instruments: Trumpets or Clarinets; C Instruments: Flutes, Oboes, or Violins; Eb Instruments: Alto Saxophones; F Instruments: Horns; and Bass Clef instruments: Bassoons or Trombones. The accompaniment is cleverly scored so that it is playable by a full, traditional concert band; or by a chamber wind ensemble of woodwinds, horns, and timpani (ideal for accompanying upper woodwind soloists.) A great way to feature outstanding soloists from your band! About C.L. Barnhouse Spotlight Series The Barnhouse Spotlight series includes publications for solo instruments with concert band accompaniment. These publications are designed to feature outstanding members of your band as soloist, and to provide unique and entertaining programming options. Solo parts are graded more difficult than the band accompaniments $7.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Shalom Chaverim: A Collection of Hebrew Canons Choral Unison - Beginner MorningStar Music Publishers
Unison voices, optional piano, handbells, Orff instruments - Beginning SKU: M...(+)
Unison voices, optional piano, handbells, Orff instruments - Beginning SKU: MN.50-9951 Composed by Michael Burkhardt. Canon. 21st Century. Octavo. MorningStar Music Publishers #50-9951. Published by MorningStar Music Publishers (MN.50-9951). UPC: 688670599514. Delightful settings of eight traditional Hebrew canons with both Hebrew and English texts. Each canon has optional accompaniments, with a variety of vocal ostinati, Orff instrument suggestions, and optional handbell parts. Good for church or classroom use. Unison Choirs, with opt. Piano, Handbells, Orff Instrument Parts. $2.85 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Shenandoah Concert band [Score and Parts] - Intermediate Manhattan Beach Music
By Frank Ticheli. Concert band. Suitable for advanced middle school, high school...(+)
By Frank Ticheli. Concert band. Suitable for advanced middle school, high school, community and college bands. Level: Grade 3. Conductor score and set of parts. Duration 6:30. Published by Manhattan Beach Music.
(2)$150.00 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Shenandoah Concert band [Score] - Intermediate Manhattan Beach Music
By Frank Ticheli. Concert band. Suitable for advanced middle school, high school...(+)
By Frank Ticheli. Concert band. Suitable for advanced middle school, high school, community and college bands. Level: Grade 3. Conductor Full Score. Duration 6:30. Published by Manhattan Beach Music.
$20.00 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Ich bete an die Macht der Liebe Concert band - Easy De Haske Publications
Concert Band/Harmonie - Grade 2 SKU: BT.DHP-1063969-010 Prayer to the ...(+)
Concert Band/Harmonie - Grade 2 SKU: BT.DHP-1063969-010 Prayer to the Power of Love. Composed by Dmitry Stepanovych Bortniansky. Arranged by Michael Bilkes. Your Favorite Classics. Hymns & Chorals. Set (Score & Parts). Composed 2006. De Haske Publications #DHP 1063969-010. Published by De Haske Publications (BT.DHP-1063969-010). 9x12 inches. English-German-French-Dutch. The Ukrainian Dmitri Bortniansky (1751-1825) received lessons at the local singing school in his hometown of Hlukhiv, and soon his extraordinary talent was recognised. He was somewhat of a child prodigy, writing his first opera at a young age. Following his studies Bortniansky was appointed court composer and Kapellmeister of the Imperial Chapel Choir. In the period that followed, he wrote - in addition to a number of operas, instrumental works, and a cycle of songs - more than a hundred religious works for a cappella choir, in which he combined Russian-orthodox and Ukrainian traditions with late 18th century European music. The appealing melody of Ich bete an die Macht derLiebe (Prayer to the Power of Love) became well-known, especially in Germany, in combination with German text by Gerhard Tersteegen. This arrangement by Michael Bilkes reflects the atmosphere of the original work very well.
Die Chormusik des russischen Komponisten Dmitri Bortniansky zeugt von großem technischen Können und reflektiert zugleich ein tiefes spirituelles Verständnis. Die Melodie zu Ich bete an die Macht der Liebe erlangte mit dem Text von Gerhard Tersteegen besonders im deutschsprachigen Raum einen großen Bekanntheitsgrad. Die vorliegende Blasorchesterbearbeitung von Michael Bilkes gibt die Stimmung des Originals sehr gut wieder. $98.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Before the Paling of the Stars Choral 3-part SSA, Piano [Octavo] - Easy Santa Barbara Music Publishing
By J. Edmund Hughes. For SSA Choir, piano or handbells. Choral octavo only. Inst...(+)
By J. Edmund Hughes. For SSA Choir, piano or handbells. Choral octavo only. Instrumental accompaniment sold separately (SBMP 670.1). Choral. Level: Easy. Choral octavo. Published by Santa Barbara Music Publishing. (SBMP 670)
$2.15 $2.0425 (5% off) See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Sonata Bass Clarinet, Piano Alea Publishing
Composed by Arthur Gottschalk. For bass clarinet and piano. Classical; 21st cent...(+)
Composed by Arthur Gottschalk. For bass clarinet and piano. Classical; 21st century. Piano score and part. Composed 2009. 30 pages (score); 12 pages (part). Published by Alea Publishing
$20.00 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Klezmer Classics Concert band [Score and Parts + CD] Amstel Music
For Wind Orchestra - Score and Parts. By Johan De Meij. (Score and Parts). Amst...(+)
For Wind Orchestra - Score and Parts. By Johan De Meij. (Score and Parts). Amstel Concert Bands. Published by Amstel Music.
$165.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Real Conga Book Conga [Sheet music + CD] - Intermediate Mel Bay
Composed by Herwig Stieger. Music Styles and Regions, Latin American, Percussion...(+)
Composed by Herwig Stieger. Music Styles and Regions, Latin American, Percussion: Hand Percussion and Bodhran, Method. Book/CD Set. 143 pages. Published by Mel Bay Publications, Inc (MB.610477).
$22.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Preparatory Saxophone Repertoire Saxophone The Frederick Harris Music Company
Saxophone - Preparatory SKU: FH.WS0 Saxophone Series, 2013 Edition...(+)
Saxophone - Preparatory SKU: FH.WS0 Saxophone Series, 2013 Edition. Composed by The Royal Conservatory. Saxophone Series, 2013 Edition. Book/CD. 40/24 pages. The Frederick Harris Music Company #WS0. Published by The Frederick Harris Music Company (FH.WS0). ISBN 978-1-55440-549-7. Unparalleled in scope, this groundbreaking series for E_Alto and B_Tenor offers a single collection of Repertoire and supporting materials written or arranged specifically for saxophone. With Repertoire spanning from the Baroque to contemporary eras, Recordings, Etudes, Technique, and Orchestral Excerpts, this comprehensive series serves as a balanced and organized pedagogical resource from the beginner to advanced levels of study. Nine progressive volumes of Repertoire expose students to original works and arrangements of diverse styles from W.A. Mozart to Violet Archer, with selected works by notable jazz artist Paul Desmon (Take Five), and living composer Phil Woods. Each level provides opportunities to explore Baroque, Classical, Romantic, and contemporary works, with original, unaccompanied selections from Levels 5 through 8 that use extended techniques such as multiphonics, key clicks, and bisbigliando. Earlier works pre-dating the origin of the saxophone have been carefully arranged with consideration of the unique quality of the instrument. Exposure to these works help to develop musicianship and an understanding of tonality, creating well-rounded and versatile performers. Selections written for both E_Alto and B_Tenor include piano accompaniments that function with both instruments. Eb Saxophone:
Rhythmic Repertoire: The Birch Tree - Traditional Russian, arr. Akiko and Forrest Kinney The Carman's Whistle - William Byrd, arr. Christine Donkin Alto Affirmation - Eugene Rousseau Menuet (Rondeau) - Francois Philidor, arr. Kathleen Wood What Is a Day? - Philip Rosseter, arr. Akiko and Forrest Kinney Polly Wolly Doodle - Traditional American, arr. Akiko and Forrest Kinney The Cuckoo - Traditional Dance Time - Paul Harris Lyrical Repertoire: Evening Song - Edwin Franko Goldman Syrian Love Song (Al Ya Zane) - Traditional Syrian, arr. Judith Pearce and Christopher Gunning Huron Carol - 16th-century French, arr. Akiko and Forrest Kinney At the Clear Fountain (a la claire fontaine) - Traditional French Canadian, arr. Akiko and Forrest Kinney Trembling Aspen - Christiaan Venter The Moon over the Ruined Castle (Kojo no Tsuki) - Rentaro Taki, arr. Mark Mrozinski Lullaby (Wiegenlied), op. 49, no. 4 - Johannes Brahms, arr. Forrest Kinney Beautiful Brown Eyes - Alton Delmore and Arthur Smith, arr. Andrew Balent
Bb Saxophone:
Rhythmic Repertoire: The Birch Tree - Traditional Russian, arr. Akiko and Forrest Kinney The Carman's Whistle - William Byrd, arr. Christine Donkin Menuet (Rondeau) - Francois Philidor, arr. Kathleen Wood Allemande - Franz Joseph Haydn, arr. Jason Noble Lyrical Repertoire: Syrian Love Song (Al Ya Zane) - Traditional Syrian, arr. Judith Pearce and Christopher Gunning Huron Carol - 16th-century French, arr. Akiko and Forrest Kinney Beautiful Brown Eyes - Alton Delmore and Arthur Smith, arr. Andrew Balent Amazing Grace - Traditional American, arr. Forrest Kinney The Moon over the Ruined Castle (Kojo no Tsuki) - Rentaro Taki, arr. Mark Mrozinski Calm Breezes - Richard Johnston To a Wild Rose - Edward MacDowell, arr. Jason Gray. $26.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| The Piano Styles of Dr. John - 2-DVD Set
Piano solo [DVD] - Intermediate/advanced Homespun
An Intimate Session with Mac Rebennack. By Dr. John Rebennack. Homespun Tapes (I...(+)
An Intimate Session with Mac Rebennack. By Dr. John Rebennack. Homespun Tapes (Instructional). DVD (Digital Video Disk). Size 5.5x7.5 inches. Published by Homespun.
$49.95 - See more - Buy onlinePre-shipment lead time: 3 to 5 business days | | |
| Siyahamba Choral Unison Unison/2-part, Piano Harold Flammer Music
Arranged by Brad Nix. Harold Flammer WorshipSongs Jr. African, Children, Child...(+)
Arranged by Brad Nix. Harold
Flammer WorshipSongs Jr.
African, Children, Children's
Choir, Concert, Festival,
General Worship, Sacred.
Octavo. 20 pages. Published
by Harold Flammer Music
$2.25 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| 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 | | |
| Season of Joy - A Celtic Celebration (choral book) Choral SATB Word Music
By Daniel Semsen. For SATB choir with optional children's voices. Moderate. Chor...(+)
By Daniel Semsen. For SATB choir with optional children's voices. Moderate. Choral score. Duration 50 minutes. Published by Word Music
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| Season of Joy - A Celtic Celebration (DVD preview pak) Choral SATB [DVD] - Intermediate Word Music
By Daniel Semsen. For SATB choir with optional children's voices. Moderate. DVD ...(+)
By Daniel Semsen. For SATB choir with optional children's voices. Moderate. DVD preview pack. Duration 50 minutes. Published by Word Music
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| An Irish Stew Concert band [Score and Parts] Fentone Music
Flex-It Series for Variable Instrumentation Concert Band. Arranged by Colin Cowl...(+)
Flex-It Series for Variable Instrumentation Concert Band. Arranged by Colin Cowles. (Score and Parts). Fentone Play Along Books. Published by Fentone Music.
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| God Rest Ye Merry, Gentlemen String Orchestra [Score and Parts] - Beginner Alfred Publishing
By Deborah Baker Monday. Orchestra. String Orchestra. String Orchestra. Christma...(+)
By Deborah Baker Monday. Orchestra. String Orchestra. String Orchestra. Christmas; Winter. Grade 1. Conductor Score and Parts. 74 pages. Published by Alfred Music Publishing
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| Mahler-interpretation Aspekte Schott
SKU: HL.49007092 Aspekte zum Werk und Wirken von Gustav Mahler. Co...(+)
SKU: HL.49007092 Aspekte zum Werk und Wirken von Gustav Mahler. Composed by Rudi Stephan. Edited by Rudolf Stephan. This edition: Paperback/Soft Cover. Book. Edition Schott. Classical. 196 pages. Schott Music #ED 7260. Published by Schott Music (HL.49007092). ISBN 9783795717889. German. Dieser Band enthalt die (zum Teil erheblich erweiterten) Referate, die aus Anlass des Internationalen Gustav-Mahler-Symposiums in Dusseldorf gehalten wurden. Neben die Ergrundung der musikalischen Werke Mahlers (und ihrer oft verschlungenen Entstehunsgeschichte) tritt hier reprasentativ die der Arbeit des Dirigenten Mahler, seine Tatigkeit als Bearbeiter klassischer Werke. Diese Bearbeitungen - Retouchen sagte man damals - dienten stets der Interpretation: der Verdeutlichung des musikalischen Inhalts, wie Mahler ihn erkannte. Dem selben Ziel galten auch die standigen Anderungen der Instrumentation eigener Werke.Ein wesentlicher Aspekt der Mahlerforschung ist die Aufarbeitung der Geschichte der Rezeption der Werke, ihrer Wirkung und ihr sich wandelndes Verstandnis. Besonders gewichtig erscheinen die Bemuhungen um die Begrundung einer verlasslichen Interpretationsanalyse als der Voraussetzung einer angemessenen Erkenntnis der wahren Mahler-Tradition. $45.95 - See more - Buy online | | |
| Nyasa of Tanzania Percussion Ensemble Eighth Note Publications
By Ryan Meeboer. For Multi Percussion Ensemble. Percussion - Ensemble. Eighth No...(+)
By Ryan Meeboer. For Multi Percussion Ensemble. Percussion - Ensemble. Eighth Note Publications. Multicultural. 20 pages. Published by Eighth Note Publications
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| 40 O'Carolan Tunes for All Harps Harp Hal Leonard
Harp Harp, Folk Harp - Difficulty: medium SKU: HL.720640 Composed by Turl...(+)
Harp Harp, Folk Harp - Difficulty: medium SKU: HL.720640 Composed by Turlough O'carolan. Edited by Sylvia Woods. Arranged by S Woods. Harp. Traditional Folk. Harp solo book (spiral bound). With standard notation and introductory text. 112 pages. Published by Hal Leonard (HL.720640). ISBN 9780960299089. UPC: 073999206401. 8.75x11 inches. Arranged for beginning and advanced harpers, this book contains 40 of the best tunes by O'Carolan, the most famous of the Irish harpers and composers who lived from 1670-1738. Each of the 40 tunes has two arrangements: an easy play version and a more difficult version. Each tune includes chord indications that can be used by harpers or other instrumentalists. (1)$22.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Orchestral Violinist's Companion, Volumes 1 2 Violin Barenreiter
By Martin Wulfhorst. This edition: 1st printing 2012 edition. Paperback. A compr...(+)
By Martin Wulfhorst. This edition: 1st printing 2012 edition. Paperback. A comprehensive guidebook with hundreds of excerpts. Book. Language: English. 483 pages. Published by Baerenreiter Verlag
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| Anonymus: Baccanali Veneziani Choral Unison Carus Verlag
Choir SKU: CA.410100 Composed by Anonymous. Edited by Reinhard Wiesend. T...(+)
Choir SKU: CA.410100 Composed by Anonymous. Edited by Reinhard Wiesend. This edition: Paperbound. Choral collections, Choral collections for men's choir. German title: Baccanali Veneziani. Sacred, Motets, Secular Choral Music; Choral Collections, Mixed Choir, Choral Collections, Men's Choir. Choir Book. Carus Verlag #CV 04.101/00. Published by Carus Verlag (CA.410100). ISBN 9790007097998. The Baccanale is a genre of traditional Italian choral song without instrumental accompaniment. In most cases it is sung by two tenors and a bass. Most of the anonymous song are in a straightforward, homophonic-syllabic style. These songs are often at carnival time and are jocular in content, with a playful, ironic touch and they contain many erotic allusions. In addition to the Italian text of the 12 settings, sometimes in dialect, German singing texts are also included. $50.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Teaching Rhythm Musical course - Solfege Kjos Music Company
New Strategies and Techniques for Success. By David Newell. Instructional. Textb...(+)
New Strategies and Techniques for Success. By David Newell. Instructional. Textbook. 215 pages. Published by Neil A. Kjos Music Company.
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