SKU: BR.OB-5326-15
One already finds echoes of the 'Magic Flute' in this fragment, which Mozart wrote in 1785.
ISBN 9790004334225. 9 x 12 inches.
Thanks to the Mozart specialist Franz Beyer, the cantata Dir, Seele des Weltalls has been completed in its original scoring and with an unerring feeling for stylistic accuracy. One already finds echoes of the Magic Flute in this fragment, which Mozart wrote in 1785. The two introductory and two closing bars added by Beyer along with the full orchestration of the piece allow musicians to discover a Mozart cantata that will ring familiar with many modern-day listeners. - The traditional version by Maximilian Stadler (for soprano solo, mixed chorus and orchestra without organ) continues to remain available.One already finds echoes of the 'Magic Flute' in this fragment, which Mozart wrote in 1785.
SKU: AP.1-ADV86101
UPC: 805095861013. English. Transcribed by Bill Dobbins.
The notated transcriptions in The Duo Live must be a landmark of sorts. These solos give a real sense of how David Liebman and Richie Beirach approach music individually, and as a duet. Titles include: Preface * Notes of Compositions * Gargoyles * Tender Mercies * Elm * Third Visit.
SKU: KN.KEN60045S
UPC: 822795600452.
This driving shuffle with cool lines, surprising harmonies, great rhythm section hooks, and much more makes for a great opener for developing groups. The open solo section (written or ad lib) features any soloist, with solo sheets provided for all. Duration 3:45.
SKU: BR.EB-10768
ISBN 9790201807683. 9.5 x 12 inches.
Mozart excitedly reported to his father that the Comte de Guines played the flute incomparably, while his daughter was magnifique at the harp. He apparently had no reservations about writing a double concerto for this unusual scoring in Paris in 1778 and even though he had just admitted to his father that he couldnt stand the flute. It is surprising, then, that Mozart produced a singular, fairly easily performable work. Could it be that he exaggerated their technical abilities for some reason or other when he described his patrons to his father?The source situation is clear: An autograph has survived which is definitive in every respect, and can be incontestably included in a modern Urtext edition, down to the distinction between staccato dots and dashes.Cadenzas in the piano reduction by Robert D. Levin.
SKU: KN.41829
UPC: 822795418293.
The minor blues is an essential song form in the jazz language. This swing chart written at the very easy level provides the perfect vehicle to introduce this important form to developing players. Featuring a strong melody, solid ensemble work and an open solo section for players to gain improvisation experience over a minor blues. Scored for 4 horns with rhythm section and expandable to full big band, written or ad lib solos for all are included, along with optional parts for flute, clarinet and horn in F. Duration 3:36.
SKU: KN.63750
UPC: 822795637502.
Based on the chord changes to Satin Doll by Duke Ellington and Billy Strayhorn, this swing chart is perfect for beginning groups. The solo section is playable by any instrument and solo sheets are provided in all keys. This is a great chart to introduce the ii-V-I progression. Featuring Kendor Konvertible scoring for 9-17 players, each set includes a guitar chord chart by Jim Greeson and optional flute, clarinet, horn in f, tuba and vibes parts. Duration 3:25.
SKU: KN.41847S
UPC: 822795418477.
This driving funk chart exposes young musicians to the harmonies of the jazz classic Killer Joe combined with the groove of the Herbie Hancock classic Chameleon. Plenty of full ensemble work guarantees that everyone gets in on the action. This very easy level chart contains an open solo section that can be played as written or ad lib. Scored for 4 horns with rhythm section and expandable to full big band, written or ad lib solos for all are included, along with optional parts for flute, clarinet and horn in F. Duration 3:08.
SKU: LO.9780834178120
ISBN 9780834178120.
Looking for an innovative way to incorporate your instrumentalists into your Christmas worship services? Our new Creative Carols Series is just for you! We've arranged ten of your favorite Christmas carols for eight different soloists (Flute, Clarinet, Alto Sax, Trumpet, French Horn, Trombone, Violin and Cello) and five carols for three different small ensembles (Woodwind Trio, Brass Quartet, and String Quartet.) These traditional carols are arranged in fresh popular styles, with rhythm section or piano accompaniment. You'll find quiet introspective treatments, energetic pop, swing tunes and Cuban grooves. All of these pieces can be accompanied by piano, rhythm section, or recorded rhythm tracks. Everything you need is provided in the Downloadable Resources! Make Creative Carols part of your Christmas repertoire this year, and for years to come.The printed book includes the solo parts. Access to the Downloadable Resources is included with the book and has printable PDF files with Solo / Piano scores.
SKU: KN.41829S
SKU: CF.CM9734
ISBN 9781491161142. UPC: 680160919734. Key: A minor. English. Basque Carol.
A Basque Carol (also known as Gabriel's Message) holds a special place in Western music. The carol originates from Basque country around the 13th century, based on the Latin hymn, Angelus ad Virginem (likely of Franciscan origin). The tune quickly spread throughout Europe, finding popularity in Britain where it was even referenced in Chaucer's Canterbury Tales: Playing so sweetly that the chamber rang; / and Angelus ad virginem he sang. . .. Interestingly, the melody we know and love today is derived from the original Basque version. In my view, this tune is a perfect example of melody-crafting. It is at once hauntingly beautiful, yet warm and joyous. Its contours are complex, dramatic, yet singable. I believe this melodic accessibility is the key to the song's lasting popularity. I would also attribute A Basque Carol's continued popularity to its elegant translation into English (by Sabine Baring-Gould, who rediscovered the original Basque tune). Translations often risk sounding unimaginative, coarse, and blunt. This translation is strikingly different. It was graced with an especially poetic translation including lines such as his wings as drifted snow, his eyes as flame. I am very excited to offer a new perspective on this classic carol, joining the tradition of composers preserving and reimagining a priceless medieval melody. My first goal was to create a flowing, richly-textured, even cinematic string accompaniment for the choir. This approach was very much inspired by the dense, string-writing style of English composer Ralph Vaughan Williams. My second goal was to make the arrangement flexible enough to be performed with only choir, only strings, or (best of all) both ensembles combined. To further complement this approach, I've added an obligato line for a solo recorder (solo flute or violin work just as well). If you listen carefully, you will hear a quote from my other favorite holiday carol, Jesu Bambino. I hope you enjoy performing A Basque Carol. I especially hope that you sense the ancient magic cast into this tune, hearing the ineffable qualities that have compelled us to sustain it for nearly a millennium. Whether you're a choir, a string orchestra, or a combined ensemble, this arrangement of A Basque Carol will surely be a haunting and lovely addition to your next holiday program!.A Basque Carol (also known as Gabriel’s Message) holds a special place in Western music. The carol originates from Basque country around the 13th century, based on the Latin hymn, Angelus ad Virginem (likely of Franciscan origin). The tune quickly spread throughout Europe, finding popularity in Britain where it was even referenced in Chaucer’s Canterbury Tales: “Playing so sweetly that the chamber rang; / and Angelus ad virginem he sang. . .”.Interestingly, the melody we know and love today is derived from the original Basque version. In my view, this tune is a perfect example of melody-crafting. It is at once hauntingly beautiful, yet warm and joyous. Its contours are complex, dramatic, yet singable. I believe this melodic accessibility is the key to the song’s lasting popularity. I would also attribute A Basque Carol’s continued popularity to its elegant translation into English (by Sabine Baring-Gould, who rediscovered the original Basque tune). Translations often risk sounding unimaginative, coarse, and blunt. This translation is strikingly different. It was graced with an especially poetic translation including lines such as “his wings as drifted snow, his eyes as flame.”I am very excited to offer a new perspective on this classic carol, joining the tradition of composers preserving and reimagining a priceless medieval melody. My first goal was to create a flowing, richly-textured, even cinematic string accompaniment for the choir. This approach was very much inspired by the dense, string-writing style of English composer Ralph Vaughan Williams. My second goal was to make the arrangement flexible enough to be performed with only choir, only strings, or (best of all) both ensembles combined. To further complement this approach, I’ve added an obligato line for a solo recorder (solo flute or violin work just as well). If you listen carefully, you will hear a quote from my other favorite holiday carol, Jesu Bambino.I hope you enjoy performing A Basque Carol. I especially hope that you sense the ancient magic cast into this tune, hearing the ineffable qualities that have compelled us to sustain it for nearly a millennium. Whether you’re a choir, a string orchestra, or a combined ensemble, this arrangement of A Basque Carol will surely be a haunting and lovely addition to your next holiday program!
SKU: KN.60107S
UPC: 822795601077.
Translated to How's it going?, this bright, energetic Latin chart for developing groups includes an open solo section (written or ad lib) for any soloist, with solo sheets provided in all keys along with scales to assist students in improvising. Duration ca. 2:40.
SKU: SU.50006750
Parts available on rental.Copyright 1976. Published by: Seesaw Music.
SKU: CL.SCM-1077-00
A full bore hard driving rock tune with very funky melody. Written as a 16 bar Blues in F major with plenty of solo space available for any of your soloists. Features a powerful shout chorus and an open drum solo near the end. Includes an optional flute part. Sure to be a favorite with players and audiences! Written ranges: Trp. 1 ( A) , Trb.1 (F) , Alto 1 (D).
SKU: KN.52705S
Recorded in 1971 by Buddy Rich on the album A Different Drummer, this beautiful, even-8ths ballad features cameo written solos for trumpet, alto sax, and trombonelead alto takes the only improvised solo in the chart. When the main solo work ends, the ensemble builds into a strong, dramatic climax before quieting down for a soft solo trumpet flourish and gentle finish. Duration 3:50.
SKU: HP.2251
UPC: 763628122515.
Medley of hymn tunes A tender and passionate handbell piece with solo moments for flute. A tender and passionate handbell piece with solo moments for flute.
SKU: BR.OB-5326-26
ISBN 9790004334256. 9 x 12 inches.
SKU: HL.14028558
ISBN 9788759854495. 11.75x16.5x0.525 inches. English.
The full score for ...A La Fumee for Solo Alto Flute, Cello and Orchestra, which was commissioned by the Finnish Broadcasting Company in 1990. This edition contains a section on performance notes.
SKU: KN.42205S
UPC: 822795422054.
With a haunting melody and lush voicings, this beautiful rock ballad is the perfect showcase for solo alto sax, trumpet or trombone. Solo sheets for less experienced soloists are provided. Duration 3:00. Available in SmartMusic.
SKU: HP.C5351O
UPC: 763628353513. By Michael W. Smith & Wayne Kirkpatrick. Luke 2:14, Matthew 1:22, Matthew 1:23.
Contemporary classic by Michael W. Smith & Wayne Kirkpatrick This Lloyd Larson setting of Michael W. Smith's contemporary classic captures the tender and simple melodic interpretation found in the artist's own rendition, while at the same time creating a lush choral version to enhance the Christmas worship experience. It spans the spectrum dynamically while underscoring the overall theme that Emmanuel has been born and now, All is well. The addition of the optional instrument parts for flute, oboe, horn and cello can heighten the impact of the performance. Orchestrations: Conductor's Score, Flute, Oboe (or Soprano Sax or Clarinet), Clarinet in B-flat, Bassoon (or Bass Clarinet), Horn in F (or Clarinet), 2 Trumpets in B-flat, 2 Trombones (or Baritone T. C. ), Percussion 1 & 2, Piano, Harp, 2 Violins, Viola, Cello, String Reduction.
SKU: CF.BPS120
ISBN 9781491152065. UPC: 680160909568.
An exceptionally clever idea, to combine the standard bugle calls into an easy march for beginning students. It is something they already know, and can be successful on right away. We are delighted to welcome composer/educator Chris Ferguson to the Carl Fischer catalog. He brings a wealth of experience working with beginners that has translated into this wonderful new march for young students.Reveille March is inspired by the bugle calls found throughout military history.The “Reveille” call is the signal used to awaken the troops for morning roll call and accompanies the raising of the flag. At the conductor’s discretion, the soli sections (measures 29 and 37) may also be performed as solos in reference to the traditional solo bugle call.“To the Color” (measure 49) is used to signal the end of a soldier’s day. It is also used when a full band is not available to render honors and commands all the same courtesies as our National Anthem.
SKU: KN.60746S
UPC: 822795607468.
Written for developing groups, this is a fun, Latin tune with a catchy, stop-time melodic presentation, written or ad-lib solos for 2nd Trumpet and 1st Alto (with solo sheets provided for all), and an exciting ensemble chorus. Featuring Kendor Konvertible scoring for 9-17 players, each set includes a guitar chord chart by Jim Greeson and optional flute, clarinet, horn in F, tuba and vibes parts. Duration 3:25.
SKU: BR.OB-5326-16
ISBN 9790004334232. 9 x 12 inches.
SKU: CL.SCM-1101-00
From jazz saxophonist Eric Alexander’s most recent album, BE COOL, Steve Briody’s Footsteps features a contemporary jazz Latin groove written at a moderate level to provide a welcome addition to your jazz ensemble repertoire. Includes a drum solo section that could be easily augmented by adding an array of Latin percussion instruments. Lots of great ensemble writing and plenty of solo space for the soloists of your choice make this a superlative choice for any festival or contest performance. Includes an optional flute part. A real winner!
SKU: CL.SCM-1077-01
SKU: CF.YPS208F
ISBN 9781491152966. UPC: 680160910465.
A stunning and heart-wrenching composition based on the Jewish folk son Shlof, Mayn Kind. You can hear the emotional content pour out of this piece written in memory of an outstanding orchestra director. The piece beginnings with original material to set the tone, followed by a clarinet solo on the song. It then develops through a variety of different harmonic presentation before building to a nice key change and climatic moment. The piece ends as it began, but with a more hopeful tone. An amazing piece.Sleep, My Child was commissioned by the Madison Middle School Band and Orchestra in Tampa, Florida, and is dedicated to the memory of their Director of Orchestras Kevin Frye. Director of Bands Chris Shultz championed the commissioning of this piece to honor Kevin after he passed away in December 2016. Mr. Frye was a beloved member of the staff at Madison Middle as well as the music community of Tampa and the state of Florida. I was a personal friend of Kevin’s. We were in several musical groups together when we were young that were formative to both of our musical careers. I also guest conducted his Madison Middle School Orchestra several times over the past four years. His musicianship, teaching skills and love for his students were exemplary.When taking on the challenge of writing a piece to honor Kevin’s legacy, Mr. Shultz and I decided to try and include several important aspects of Kevin’s life into the piece. Kevin was proudly Jewish, a fantastic trumpet player and loved Jazz. With that in mind, and after a lot of research, a Jewish folk song Shlof, Mayn Kind was selected as the basis for the piece, not to be religious, but to honor his faith and heritage. Plus it is a beautiful song, and I felt the title reflected the sentiment I was looking to express, which is of someone taking rest after a long battle with illness. Thus, a lullaby seemed appropriate.I also wanted to incorporate Jazz into the piece, but in a concert setting, so you will hear as the piece develops, the harmonies of the folk song expand into ones found more commonly in Jazz compositions. Not in a far out way, but in a subtle way to again honor this part of his life. For example the climactic moment of the piece at the fermata in m. 57 is a Dbmaj9#11 chord. It appropriately give the piece the angst that I was looking for at this moment in the piece, while honoring the importance of Jazz in Kevin’s musical life.The piece was also conceived to include both the Madison band and orchestra in the performance at the premiere. I wanted the pieces to work separately by the band and separately by the orchestra, but I also wanted them to be able to play the piece together to honor Kevin.The piece begins with original material designed to set the mood of the piece with a tempo/style marking of pensive, but also as material that I used as connective musical tissue between statements of the folk song. After this introduction, the folk song is presented by a solo violin (or clarinet) with orchestral accompaniment in a simple straight forward presentation of the song. This is followed by a woodwind section statement of the folk song accompanied by muted trumpets. During this presentation the harmony starts to expand with more color notes in the chords. The low brass are added half way through this statement to add depth and lushness.The introductory material returns, but with some angry hits in the lower voices. This leads to a full ensemble state of new material that is used to transition to the climax of the piece, and to build tension. After the build, the piece modulates to a shortened statement of the folk song with more advanced harmonies and an active counter line in the violas, horns, saxes and first clarinets to further build the tension. This tension is released at the fermata in m. 57, as mentioned above. After a thoughtful pause, the piece concludes with a completion of the folk song again with a solo violin (or clarinet) followed by a return of the introductory material to tie the piece together. The piece ends hopeful, with a solo trumpet (Kevin’s instrument) that is dissonant at first, but then resolves as if to say - everything will be OK! It has been my distinct honor to have been asked to write this piece in Kevin’s memory! I hope that in some small way the piece helps to bring comfort to his family, students, colleagues and to all those that knew him!–Larry ClarkLakeland, FL 2017.
SKU: KN.52945
Written during Thad's later years in Denmark after he and Mel Lewis parted ways, this bright, double-time tune designates piano as the main soloist, but includes an optional repeat of the solo chorus for trumpet and/or soprano (or alto) sax. A rubato intro and ending, both featuring solo piano, give the chart a strong sense of form and symmetry. Duration 4:00.
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