| Mozart New-look Bass/winds Score Schott
Double bass, 2 flutes, 2 oboes, 2 clarinets, bassoon, contrabassoon and 2 horns ...(+)
Double bass, 2 flutes, 2 oboes, 2 clarinets, bassoon, contrabassoon and 2 horns - difficult SKU: HL.49007047 Little fantasy for double bass and wind instruments of the serenade from Don Giovanni. Composed by Jean Franç and aix. This edition: Saddle stitching. Sheet music. Edition Schott. Classical. Score. Composed 1981. 16 pages. Duration 3'. Schott Music #ED7205. Published by Schott Music (HL.49007047). ISBN 9790001075503. UPC: 884088096922. 9.0x12.0x0.072 inches. Ein musikalisches Kleinod, das mit jeder Note den ebenso sensiblen wie schalkhaften Tonkunstler verrat. Jean Francaix' Mozart New Look ist ein typisches Beispiel seiner heiteren Spielmusik, die Spass macht und gefallt. In seinem dreiminutigen Stuck ist der Geist Mozarts allgegenwartig: Wahrend der Kontrabass eine Arie aus Don Giovanni spielt, lasst Francaix mit einem Augenzwinkern gleichzeitig eine Arie aus Carmen erklingen. Eine wahre Musique pour faire plaisir! $23.99 - See more - Buy online | | |
| Mozart New-look Bass/winds Parts Schott
Double bass, 2 flutes, 2 oboes, 2 clarinets, bassoon, contrabassoon and 2 horns ...(+)
Double bass, 2 flutes, 2 oboes, 2 clarinets, bassoon, contrabassoon and 2 horns (PARTS) - difficult SKU: HL.49007048 Little fantasy for double bass and wind instruments of the serenade from Don Giovanni. Composed by Jean Francaix. Sheet music. Edition Schott. Classical. Set of Parts. Composed 1981. 23 pages. Duration 3'. Schott Music #ED7206. Published by Schott Music (HL.49007048). ISBN 9790001075510. UPC: 884088096915. 9.0x12.0x0.117 inches. Ein musikalisches Kleinod, das mit jeder Note den ebenso sensiblen wie schalkhaften Tonkunstler verrat. Jean Francaix' 'Mozart New Look' ist ein typisches Beispiel seiner heiteren Spielmusik, die Spass macht und gefallt. In seinem dreiminutigen Stuck ist der Geist Mozarts allgegenwartig: Wahrend der Kontrabass eine Arie aus 'Don Giovanni' spielt, lasst Francaix mit einem Augenzwinkern gleichzeitig eine Arie aus 'Carmen' erklingen. Eine wahre 'Musique pour faire plaisir'! $48.00 - See more - Buy online | | |
| Mozart : Piano Sonata in F Major K533/494 Piano solo G. Henle
By Wolfgang Amadeus Mozart (1756-1791). Edited by Ernst Herttrich. Henle Music F...(+)
By Wolfgang Amadeus Mozart (1756-1791). Edited by Ernst Herttrich. Henle Music Folios. Book only. 28 pages. G. Henle #HN1041. Published by G. Henle
$15.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Mozart New-look Schott
Double Bass; Piano/Keyboard - difficult SKU: HL.49007049 Little fantas...(+)
Double Bass; Piano/Keyboard - difficult SKU: HL.49007049 Little fantasy for double bass and wind instruments of the serenade from Don Giovanni. Composed by Jean Franç and aix. This edition: Saddle stitching. Sheet music. Edition Schott. Classical. Piano Reduction with Solo Part. Composed 1981. 16 pages. Duration 3'. Schott Music #ED7207. Published by Schott Music (HL.49007049). ISBN 9790001075527. UPC: 884088017538. 9.0x12.0x0.059 inches. Little fantasy of the Standchen from Don Giovanni for double bass, 2 flutes, 2 oboes, 2 clarinets, bassoon, contrabassoon and 2 horns. Piano reduction with solo part. $24.99 - See more - Buy online | | |
| Music For Little Mozarts - Music Lesson Book 4
Piano solo - Easy Alfred Publishing
Written by Christine H. Braden, E. L. Lancaster, Gayle Kowalchyk. Instructional ...(+)
Written by Christine H. Braden, E. L. Lancaster, Gayle Kowalchyk. Instructional book for easy piano. 48 pages. Published by Alfred Publishing.
(1)$9.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| My Favorite Classics - Level One Piano solo Santorella Publications
Composed by John Brimhall and Jonathon Robbins. Collection; Classical. Book. S...(+)
Composed by John Brimhall and
Jonathon Robbins. Collection;
Classical. Book. Santorella
Publications #O114. Published
by Santorella Publications
$19.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Marche fatale Piano solo Breitkopf & Härtel
Piano SKU: BR.EB-9253 Composed by Helmut Lachenmann. Solo instruments; st...(+)
Piano SKU: BR.EB-9253 Composed by Helmut Lachenmann. Solo instruments; stapled. Edition Breitkopf. World premiere of the orchestral version: Stuttgart, January 1, 2018World premiere of the piano version: Mito, June 17, 2017 Have a look into EB 9283. New music (post-2000). Score. Composed 2016/17/20. 12 pages. Duration 8'. Breitkopf and Haertel #EB 9253. Published by Breitkopf and Haertel (BR.EB-9253). ISBN 9790004185537. 9 x 12 inches. Marche fatale is an incautiously daring escapade that may annoy the fans of my compositions more than my earlier works, many of which have prevailed only after scandals at their world premieres. My Marche fatale has, though, little stylistically to do with my previous compositional path; it presents itself without restraint, if not as a regression, then still as a recourse to those empty phrases to which modern civilization still clings in its daily utility music, whereas music in the 20th and 21st centuries has long since advanced to new, unfamiliar soundscapes and expressive possibilities. The key term is banality. As creators we despise it, we try to avoid it - though we are not safe from the cheap banal even within new aesthetic achievements.Many composers have incidentally accepted the banal. Mozart wrote Ein musikalischer Spass [A Musical Jape], a deliberately amateurishly miscarried sextet. Beethoven's Bagatellen op. 119 were rejected by the publisher on the grounds that few will believe that this minor work is by the famous Beethoven. Mauricio Kagel wrote, tongue in cheek, so to speak, Marsche, um den Sieg zu verfehlen [Marches for being Unvictorious], Ligeti wrote Hungarian Rock; in his Circus Polka Stravinsky quoted and distorted the famous, all too popular Schubert military march, composed at the time for piano duet. I myself do not know, though, whether I ought to rank my Marche fatale alongside these examples: I accept the humor in daily life, the more so as this daily life for some of us is not otherwise to be borne. In music, I mistrust it, considering myself all the closer to the profounder idea of cheerfulness having little to do with humor. However: Isn't a march with its compelling claim to a collectively martial or festive mood absurd, a priori? Is it even music at all? Can one march and at the same time listen? Eventually, I resolved to take the absurd seriously - perhaps bitterly seriously - as a debunking emblem of our civilization that is standing on the brink. The way - seemingly unstoppable - into the black hole of all debilitating demons: that can become serene. My old request of myself and my music-creating surroundings is to write a non-music, whence the familiar concept of music is repeatedly re-defined anew and differently, so that derailed here - perhaps? - in a treacherous way, the concert hall becomes the place of mind-opening adventures instead of a refuge in illusory security. How could that happen? The rest is - thinking.(Helmut Lachenmann, 2017)CD (Version for Piano):Nicolas Hodges CD Wergo WER 7393 2 Bibliography:Ich bin nicht ,,pietistisch verformt. Ein Gesprach [von Jan Brachmann] mit dem Komponisten Helmut Lachenmann, in: FAZ vom 7. Juni 2018, p. 15.
World premiere of the piano version: Mito/Japan, June 17, 2017, World premiere of the orchestral version: Stuttgart, January 1, 2018, World premiere of the ensemble version: Frankfurt, December 9, 2020. $30.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Marche fatale Orchestra Breitkopf & Härtel
Orchestra SKU: BR.PB-5432 Composed by Helmut Lachenmann. Orchestra; stapl...(+)
Orchestra SKU: BR.PB-5432 Composed by Helmut Lachenmann. Orchestra; stapled. Partitur-Bibliothek (Score Library). World premiere of the orchestral version: Stuttgart, January 1, 2018World premiere of the piano version: Mito, June 17, 2017 Have a look into EB 9283. New music (post-2000). Full score. Composed 2016/17/20. 48 pages. Duration 8'. Breitkopf and Haertel #PB 5432. Published by Breitkopf and Haertel (BR.PB-5432). ISBN 9790004212790. 10 x 12.5 inches. Marche fatale is an incautiously daring escapade that may annoy the fans of my compositions more than my earlier works, many of which have prevailed only after scandals at their world premieres. My Marche fatale has, though, little stylistically to do with my previous compositional path; it presents itself without restraint, if not as a regression, then still as a recourse to those empty phrases to which modern civilization still clings in its daily utility music, whereas music in the 20th and 21st centuries has long since advanced to new, unfamiliar soundscapes and expressive possibilities. The key term is banality. As creators we despise it, we try to avoid it - though we are not safe from the cheap banal even within new aesthetic achievements.Many composers have incidentally accepted the banal. Mozart wrote Ein musikalischer Spass [A Musical Jape], a deliberately amateurishly miscarried sextet. Beethoven's Bagatellen op. 119 were rejected by the publisher on the grounds that few will believe that this minor work is by the famous Beethoven. Mauricio Kagel wrote, tongue in cheek, so to speak, Marsche, um den Sieg zu verfehlen [Marches for being Unvictorious], Ligeti wrote Hungarian Rock; in his Circus Polka Stravinsky quoted and distorted the famous, all too popular Schubert military march, composed at the time for piano duet. I myself do not know, though, whether I ought to rank my Marche fatale alongside these examples: I accept the humor in daily life, the more so as this daily life for some of us is not otherwise to be borne. In music, I mistrust it, considering myself all the closer to the profounder idea of cheerfulness having little to do with humor. However: Isn't a march with its compelling claim to a collectively martial or festive mood absurd, a priori? Is it even music at all? Can one march and at the same time listen? Eventually, I resolved to take the absurd seriously - perhaps bitterly seriously - as a debunking emblem of our civilization that is standing on the brink. The way - seemingly unstoppable - into the black hole of all debilitating demons: that can become serene. My old request of myself and my music-creating surroundings is to write a non-music, whence the familiar concept of music is repeatedly re-defined anew and differently, so that derailed here - perhaps? - in a treacherous way, the concert hall becomes the place of mind-opening adventures instead of a refuge in illusory security. How could that happen? The rest is - thinking.(Helmut Lachenmann, 2017)CD (Version for Piano):Nicolas Hodges CD Wergo WER 7393 2 Bibliography:Ich bin nicht ,,pietistisch verformt. Ein Gesprach [von Jan Brachmann] mit dem Komponisten Helmut Lachenmann, in: FAZ vom 7. Juni 2018, p. 15.
World premiere of the piano version: Mito/Japan, June 17, 2017, World premiere of the orchestral version: Stuttgart, January 1, 2018, World premiere of the ensemble version: Frankfurt, December 9, 2020. $63.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Buoso's Ghost (Piano/Vocal Score) Piano, Voice Schirmer
Composed by Michael Ching. One Act/Chamber Opera. 20th Century. Score. Publi...(+)
Composed by Michael Ching.
One Act/Chamber Opera. 20th
Century. Score. Published by
E.C. Schirmer Publishing
$27.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Library Of Easy Piano Favorites Piano solo [Sheet music] - Easy Music Sales
By Amy Appleby. For Piano. Classical. Sheet Music. 240 pages. Published by Music...(+)
By Amy Appleby. For Piano. Classical. Sheet Music. 240 pages. Published by Music Sales.
$32.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Without Form and Void Choral SATB SATB, Piano Theodore Presser Co.
Choral SATB choir, piano SKU: PR.362034230 A Prologue to THE CREATION ...(+)
Choral SATB choir, piano SKU: PR.362034230 A Prologue to THE CREATION by Franz Joseph Haydn. Composed by Dan Welcher. Sws. Premiered at the Northwest Hills United Methodist Church, Austin, TX. Choral. Performance Score. With Standard notation. Composed July 5 2014. 16 pages. Duration 5:15. Theodore Presser Company #362-03423. Published by Theodore Presser Company (PR.362034230). ISBN 9781598069556. UPC: 680160624225. Letter inches. English. When the Texas Choral Consort asked Welcher to write a short prologue to Haydn's The Creation, his first reaction was that Haydn already presents Chaos in his introductory movement. As he thought about it, Welcher began envisioning a truer void to precede Haydn's depiction of Chaos within the scope of 18th-century classical style - quoting some of Haydn's themes and showing human voices and inhuman sounds in a kind of pre-creation melange of color, mood, and atmosphere. Welcher accepted this challenge with the proviso that his prologue would lead directly into Haydn's masterpiece without stopping, and certainly without applause in between. Scored for mixed chorus and Haydn's instrumentation, Without Form and Void is a dramatically fresh yet pragmatic enhancement to deepen any performance of Haydn's The Creation. Orchestral score and parts are available on rental. When Brent Baldwin asked me to consider writing a short prologue to THE CREATION, my first response was “Why?â€Â THE CREATION already contains a prologue; it’s called “Representation of Chaosâ€, and it’s Haydn’s way of showing the formless universe. How could a new piece do anything but get in the way? But the more I thought about it, the more it made sense. The Age of Enlightenment’s idea of “Chaos†was just extended chromaticism, no more than Bach used (in fact, Bach went further).Perhaps there might be a way to use the full resources of the modern orchestra (or at least, a Haydn-sized orchestra) and the modern chorus to really present a cosmic soup of unborn musical atoms, just waiting for Haydn’s sure touch to animate them. Perhaps it could even quote some of Haydn’s themes before he knew them himself, and also show human voices and inhuman sounds in a kind of pre-creation mélange of color, mood, and atmosphere. So I accepted the challenge, with the proviso that my new piece not be treated as some kind of “overtureâ€, but would instead be allowed to lead directly into Haydn’s masterpiece without stopping, and certainly without applause. I crafted this five minute piece to begin with a kind of “music of the spheres†universe-hum, created by tuned wine glasses and violin harmonics. The chorus enters very soon after, with the opening words of Genesis whispered simultaneously in as many languages as can be found in a chorus. The first two minutes of my work are all about unborn human voices and unfocused planetary sounds, gradually becoming more and more “coherent†until we finally hear actual pitches, melodies, and words. Three of Haydn’s melodies will be heard, to be specific, but not in the way he will present them an hour from now. It’s almost as if we are listening inside the womb of the universe, looking for a faint heartbeat of worlds, animals, and people to come. At the end of the piece, the chorus finally finds its voice with a single word: “God!â€, and the orchestra finally finds its own pulse as well. The unstoppable desire for birth must now be answered, and it is----by Haydn’s marvelous oratorio. I am not a religious man in any traditional sense. Neither was Haydn, nor Mozart, nor Beethoven. But all of them, as well as I, share in what is now called a humanistic view of how things came to be, how life in its many forms developed on this planet, and how Man became the recorder of history. The gospel according to John begins with a parody of Genesis: “In the beginning was the Word, and the Word was with God, and the Word was God.â€Â  I love that phrase, and it’s in that spirit that I offer my humble “opener†to the finest work of one of the greatest composers Western music has ever known. My piece is not supposed to sound like Haydn. It’s supposed to sound like a giant palette, on which a composer in 1798 might find more outrageous colors than his era would permit…but which, I hope, he would have been delighted to hear. $3.50 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Piano Pieces For Adult Beginners Piano solo [Sheet music] Music Sales
By Amy Appleby. For Piano. Classical, Folk. Sheet Music. 194 pages. Published by...(+)
By Amy Appleby. For Piano. Classical, Folk. Sheet Music. 194 pages. Published by Wise Publications.
(1)$17.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Three string quartets String Quartet: 2 violins, viola, cello Edition HH
String quartet SKU: HH.HH188-FSP Composed by Wolfgang Amadeus Mozart. Edi...(+)
String quartet SKU: HH.HH188-FSP Composed by Wolfgang Amadeus Mozart. Edited by Christopher Hogwood. String Quartet. Full score and parts. Edition HH Music Publishers #HH188-FSP. Published by Edition HH Music Publishers (HH.HH188-FSP). ISBN 9790708059639. The present set of three string quartets, published in Vienna in 1799 by André, are arranged from two violin sonatas and a piano trio; a certain independence is noticeable in the anonymous arranger, but the result is three strikingly effective new quartets to add to the Mozart oeuvre which will delight all players familiar with the originals and prove a gracious alternative to quartets who look for some escape from the familiar and over exposed repertoire. $69.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Basic Chromatic Harmonica Harmonica [Sheet music + CD] - Easy Mel Bay
by Phil Duncan. For chromatic harmonica. Qwik Guide Series. All styles, method. ...(+)
by Phil Duncan. For chromatic harmonica. Qwik Guide Series. All styles, method. Level: Beginning. Book/CD Set. Method. Size 5.5x8. 32 pages. Published by Mel Bay Pub., Inc.
$9.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Operatica Concert band - Intermediate Curnow Music
Concert Band/Harmonie - Grade 3 SKU: BT.CMP-0905-05-140 Composed by James...(+)
Concert Band/Harmonie - Grade 3 SKU: BT.CMP-0905-05-140 Composed by James Hosay. Concert Band. Concert Piece. Score Only. Composed 2005. 40 pages. Curnow Music #CMP 0905-05-140. Published by Curnow Music (BT.CMP-0905-05-140). English. If you seek truly dramatic music, look to opera. Opera has been enormously influential on Classical, Popular, and Film and Television music over the years. James L. Hosay’s new intermediate level piece, Operatica, incorporates the important elements of Opera and Classical music to bring exhilarating drama to the concert band stage. Style and technical considerations make this a rich learning experience for the band. Add in the dimension of music history by studying Opera and Classical music, and you have a wonderful teaching tool! The grand theme explores a multitude of colours as it twists and turns its way through opera-style development and variation. Whether for formal,festival, or just concert use, you will find this to be a thrilling addition to your library.
Opera heeft in de loop der jaren enorm veel invloed gehad op klassieke, populaire, film- en televisiemuziek. In Operatica zijn belangrijke elementen (drama, spanning en passie) uit de operamuziek van de achttiende en negentiendeeeuw verwerkt. Deze ouverture, voornamelijk in de stijlen van Wagner en Mozart geschreven, is meeslepend en geeft uw muzikanten tevens de mogelijkheid om belangrijke aspecten uit de klassieke muziek te leren kennen. Het hoofdthemaomvat een veelvoud van kleuren terwijl het zijn weg vindt in opera-achtige variaties. Operatica: een aanwinst voor uw repertoire!
Sind Sie auf der Suche nach wahrhaft dramatischer Musik? Denken Sie an die Oper. James L. Hosays Komposition verbindet wichtige Elemente von Oper und klassischer Musik miteinander und bringt somit ganz große Dramatik auf Ihre Konzertbühne. Das großartige Thema von Operatica entwickelt eine Fülle an Klangfarben, während es sich durch zahlreiche Variationen im Stil der Oper schlängelt. Eine wunderbare neue Erfahrung für die Musiker und ein Erlebnis für das Publikum! $23.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| The Classical Piano Method - Method Book 1 Piano solo [Sheet music + CD] - Easy Schott
(With CD of Performances and Play-Along Backing Tracks). For Piano/Keyboard. S...(+)
(With CD of Performances and
Play-Along Backing Tracks).
For Piano/Keyboard. Schott.
Piano method. Method book with
CD. 96 pages. Schott Music
#ED13352. Published by Schott
Music
$16.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Comp Duets for Winds Volume II Carl Fischer
Chamber Music Bassoon, Euphonium, Trombone SKU: CF.WF218 29 Duets That...(+)
Chamber Music Bassoon, Euphonium, Trombone SKU: CF.WF218 29 Duets That can Be Played by Any Combination of Wind Instruments. Composed by Adolphe-Charles Adam, Chauncey Olcott, George Frideric Handel, Giuseppe Concone, Giuseppe Gariboldi, Henri Kling, Henry Purcell, Hughie Cannon, Larry Clark, Richard Shuebruk, Scottish Folk Song, Traditional, Wilhelm Wurm, Wolfgang Amadeus Mozart, and etc. Arranged by Larry Clark. SWS. Collection. With Standard notation. 48 pages. Carl Fischer Music #WF218. Published by Carl Fischer Music (CF.WF218). ISBN 9781491149188. UPC: 680160906680. 9 x 12 inches. Continuing with the success of the popular Compatible series, Compatible Duets for Winds Volume 2 contains 29 duets in a variety of styles that can be played with any combination of two wind instruments. Students can develop their chamber-ensemble skills while playing with their friends, no matter what wind instruments they play. Ranging from grade levels 2-3, Compatible Duets for Winds Volume 2 is perfect for band directors looking for new tools for the classroom, and its flexibility makes it a must-have for any wind player. Having students play in small chamber music groups is a very beneficial exercise to improvethe student’s overall musicianship. The simplest form of chamber music is the duet. It is anopportunity for the student to play with a teacher or to play with another student of similarabilities. Aspects of playing such as tone quality, intonation, technique and ensemble skillscan be developed during the process of studying duets.These duets are different in that they have many different performance options, since all ofthe books in this series are compatible. As a former middle-school band director I alwayshad students that wanted to come to the band room during lunch or after school; studentswho just wanted to play with their friends. That was not possible since there was very littleduet material available that was compatible with all of the wind instruments. This bookand the first volume in the series take care of that. A student can now grab their friend,no matter what instrument they play, and have hours of fun playing duets together. Mostimportantly, they will learn something in the process.The duets have been generally placed in the book in order of difficulty and cover a rangeof keys that are appropriate for this ability level. Special care was given to making surethat both of the duet parts were on a similar ability level and that each line was givenan opportunity to play a lead role at some point during the arrangement. Also, most ofthe musical markings are attached to both systems, and the point size of the music wasconsidered for ease of reading.It is my hope that this collection will help to stimulate and enhance the musicianship of theperformers. It was a pleasure for me to have the opportunity to put together this collection.I hope it is a useful tool for you for years to come. $12.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Joy of Music - Discoveries from the Schott Archives Cello, Piano - Intermediate/advanced Schott
Virtuoso and Entertaining Pieces for Cello and Piano. Composed by Various. Edi...(+)
Virtuoso and Entertaining
Pieces for Cello and Piano.
Composed by Various. Edited
by Beverley Ellis and Rainer
Mohrs. String. Softcover.
Schott Music #ED23310.
Published by Schott Music
$27.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Comp Duets for Winds Volume II Carl Fischer
Chamber Music Tuba SKU: CF.WF219 29 Duets That can Be Played by Any Co...(+)
Chamber Music Tuba SKU: CF.WF219 29 Duets That can Be Played by Any Combination of Wind Instruments. Composed by Adolphe-Charles Adam, Chauncey Olcott, George Frideric Handel, Giuseppe Concone, Giuseppe Gariboldi, Henri Kling, Henry Purcell, Hughie Cannon, Larry Clark, Richard Shuebruk, Scottish Folk Song, Traditional, Wilhelm Wurm, Wolfgang Amadeus Mozart, and etc. Arranged by Larry Clark. SWS. Collection. With Standard notation. 48 pages. Carl Fischer Music #WF219. Published by Carl Fischer Music (CF.WF219). ISBN 9781491149195. UPC: 680160906697. 9 x 12 inches. Continuing with the success of the popular Compatible series, Compatible Duets for Winds Volume 2 contains 29 duets in a variety of styles that can be played with any combination of two wind instruments. Students can develop their chamber-ensemble skills while playing with their friends, no matter what wind instruments they play. Ranging from grade levels 2-3, Compatible Duets for Winds Volume 2 is perfect for band directors looking for new tools for the classroom, and its flexibility makes it a must-have for any wind player. Having students play in small chamber music groups is a very beneficial exercise to improvethe student’s overall musicianship. The simplest form of chamber music is the duet. It is anopportunity for the student to play with a teacher or to play with another student of similarabilities. Aspects of playing such as tone quality, intonation, technique and ensemble skillscan be developed during the process of studying duets.These duets are different in that they have many different performance options, since all ofthe books in this series are compatible. As a former middle-school band director I alwayshad students that wanted to come to the band room during lunch or after school; studentswho just wanted to play with their friends. That was not possible since there was very littleduet material available that was compatible with all of the wind instruments. This bookand the first volume in the series take care of that. A student can now grab their friend,no matter what instrument they play, and have hours of fun playing duets together. Mostimportantly, they will learn something in the process.The duets have been generally placed in the book in order of difficulty and cover a rangeof keys that are appropriate for this ability level. Special care was given to making surethat both of the duet parts were on a similar ability level and that each line was givenan opportunity to play a lead role at some point during the arrangement. Also, most ofthe musical markings are attached to both systems, and the point size of the music wasconsidered for ease of reading.It is my hope that this collection will help to stimulate and enhance the musicianship of theperformers. It was a pleasure for me to have the opportunity to put together this collection.I hope it is a useful tool for you for years to come. $12.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Compatible Duets for Winds Volume II Carl Fischer
Chamber Music alto Saxophone, baritone Saxophone SKU: CF.WF216 29 Duet...(+)
Chamber Music alto Saxophone, baritone Saxophone SKU: CF.WF216 29 Duets That Can Be Played by Any Combination of Wind Instruments. Composed by Adolphe-Charles Adam, Chauncey Olcott, George Frideric Handel, Giuseppe Concone, Giuseppe Gariboldi, Henri Kling, Henry Purcell, Hughie Cannon, Larry Clark, Richard Shuebruk, Scottish Folk Song, Traditional, Wilhelm Wurm, Wolfgang Amadeus Mozart, and etc. Arranged by Larry Clark. SWS. Collection. With Standard notation. 48 pages. Carl Fischer Music #WF216. Published by Carl Fischer Music (CF.WF216). ISBN 9781491149164. UPC: 680160906666. 9 x 12 inches. Continuing with the success of the popular Compatible series, Compatible Duets for Winds Volume 2 contains 29 duets in a variety of styles that can be played with any combination of two wind instruments. Students can develop their chamber-ensemble skills while playing with their friends, no matter what wind instruments they play. Ranging from grade levels 2-3, Compatible Duets for Winds Volume 2 is perfect for band directors looking for new tools for the classroom, and its flexibility makes it a must-have for any wind player. Having students play in small chamber music groups is a very beneficial exercise to improvethe student’s overall musicianship. The simplest form of chamber music is the duet. It is anopportunity for the student to play with a teacher or to play with another student of similarabilities. Aspects of playing such as tone quality, intonation, technique and ensemble skillscan be developed during the process of studying duets.These duets are different in that they have many different performance options, since all ofthe books in this series are compatible. As a former middle-school band director I alwayshad students that wanted to come to the band room during lunch or after school; studentswho just wanted to play with their friends. That was not possible since there was very littleduet material available that was compatible with all of the wind instruments. This bookand the first volume in the series take care of that. A student can now grab their friend,no matter what instrument they play, and have hours of fun playing duets together. Mostimportantly, they will learn something in the process.The duets have been generally placed in the book in order of difficulty and cover a rangeof keys that are appropriate for this ability level. Special care was given to making surethat both of the duet parts were on a similar ability level and that each line was givenan opportunity to play a lead role at some point during the arrangement. Also, most ofthe musical markings are attached to both systems, and the point size of the music wasconsidered for ease of reading.It is my hope that this collection will help to stimulate and enhance the musicianship of theperformers. It was a pleasure for me to have the opportunity to put together this collection.I hope it is a useful tool for you for years to come. $12.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
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