| Discovery Band Book #2 - Conductor Concert band [Score and Parts] - Beginner Hal Leonard
Music by Johann Sebastian Bach (1685-1750), John Edmondson. Conductor's score fo...(+)
Music by Johann Sebastian Bach (1685-1750), John Edmondson. Conductor's score for concert band. Grade 1.5. Series: Hal Leonard Discovery Concert Band. 112 pages. Published by Hal Leonard.
$16.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Il Canone alla cartella e alla mente without Tenor. Systematic study of canonic imitation from sources by L. Zacconi, O. Tigrini and G. B. Martini Ut Orpheus
Early Music; Music Education SKU: UT.DM-14 Composed by Giorgio Pacchioni....(+)
Early Music; Music Education SKU: UT.DM-14 Composed by Giorgio Pacchioni. Saddle stitching. Classical. Ut Orpheus #DM 14. Published by Ut Orpheus (UT.DM-14). ISBN 9790215301481. 9 x 12 inches. Mi sono deciso a porre ordine ai miei appunti e studi sui canoni senza tenor nella speranza di essere utile a coloro i quali, attraverso il mio modesto sforzo, potranno abbreviare il lungo lavoro di addestramento in quella materia che ritengo sia l'unica ad affrontare sistematicamente e compiutamente la problematica compositiva dell'imitazione, cioe lo studio delle tecniche di imitazione canonica dei secoli XVI e XVIII. Questo mio studio propone allo studente una serie di documenti storici di grandi didatti musicali del passato, quali Ludovico Zacconi, Giovanni Battista Martini e Orazio Tigrini nonche un mio personale e modesto contributo. Le fonti antiche sono state tradotte in italiano corrente, pur lasciando intatti alcuni termini specifici, del resto ben comprensibili. Il presente volume e da impiegare come manuale di lavoro e di studio per chi voglia imparare la difficile arte dell'imitazione. Vengono qui affrontati, in modo sistematico e scientifico, la pratica del canone <>, molto lodata da Zacconi quale strumento per stimolare l'ingegno dello studente, i canoni <> - piu interessanti e utilizzabili musicalmente - e la prassi di rivoltare un canone o brano qualsiasi al fine di ottenerne 'onestamente' una nuova composizione. Sono stati ignorati volutamente tutti quei canoni enigmatici o oscuri che non contengono nessun interesse musicale o didattico. Si e inoltre affrontato sistematicamente il criterio di 'fugare' un tenor, pratica molto in voga nei secoli dal XV al XVII e attinente al nostro argomento. (G. Pacchioni). $16.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Musiche parole drammatizzazione [Sheet music + CD] Progetti Sonori
SKU: BT.PS1805 Risposte est/etiche per la crescita dei valori civili e...(+)
SKU: BT.PS1805 Risposte est/etiche per la crescita dei valori civili e morali delle nuove generazioni. Composed by Maurizio Spaccazocchi. Book with CD. Composed 2018. 160 pages. Progetti Sonori #PS1805. Published by Progetti Sonori (BT.PS1805). ISBN 9788899849139. Italian. Come contribuire a risolvere la crisi di valori e ideali presente nella societ moderna? Cosa possono fare la scuola o i vari centri socio-educativi per incentivare, riattivare o potenziare nei giovani un atteggiamento e una mentalit più umanitaria? A questi ed altri interrogativi vuole rispondere il nuovo preziosissimo lavoro multidisciplinare di Maurizio Spaccazocchi, che si rivolge ai docenti e agli animatori sociali, ma soprattutto alle ragazze e ai ragazzi, per dar loro la possibilit di risvegliare o acquisire condotte più civili ed etiche. Le attivit prendono spunto dalla lettura e dall’analisi di un testo (poesie, citazioni, discorsi di personaggi esemplari, protagonisti delle battaglie per i diritti umani, paladini della giustizia, ecc.), allo scopo di sensibilizzare i giovani verso tematiche o problematiche di interesse collettivo, storico, sociale, morale, culturale, e per giungere a un dibattito in classe libero e democraticamente gestito dai docenti. I risultati delle letture, dei dibattiti, uniti alle proposte e ai consigli dell’Autore, si materializzeranno in drammatizzazioni pubbliche fatte di recitazioni e di azioni sceniche sulla base di coinvolgenti sottofondi musicali presenti nel CD allegato. L’intera messa in scena è pertanto il momento fondamentale del lavoro, lo strumento più efficace per far sì che il gruppo-classe, a sua volta, si faccia portatore di un più alto messaggio morale e di una rinnovata umanit al di fuori dell’ambito scolastico. Le risposte est/etiche qui presenti sono proposte educativo-drammaturgiche (30 in totale) in cui la musica in tutte le sue forme, la parola narrata o poetica, l’azione espressiva gesto-motoria, da comuni mezzi estetici si elevano a mezzi etici, per rendere i ragazzi cittadini carichi di un reale senso civile, e dunque più responsabili, sensibili, altruisti, rispettosi, maturi e tolleranti sul piano umano: insomma, con questa pubblicazione si desidera incentivare una più ampia coscienza morale nelle nuove generazioni, compito questo che dovrebbe essere la vera priorit della scuola italiana. $25.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| De Pedro Dionisio Teoria Completa De La Musica Volume 1 Revised Bk Piano solo Real Musical
Piano SKU: HL.14046102 CARISCH - MUSIC SALES. Tuition. General Merchandis...(+)
Piano SKU: HL.14046102 CARISCH - MUSIC SALES. Tuition. General Merchandise. Composed 2014. Real Musical #MK19124. Published by Real Musical (HL.14046102). ISBN 9788438712580. 7.0x9.0x0.516 inches. La Teoria Completa De La Musica en esta nueva edicion revisada, ha mantenido intactas todas aquellas cuestiones teorico-practicas que son inamovibles, al tiempo que conserva por su probada eficacia, su estructura tematica, lo que la convierte tantoen una obra de consulta como en una obra capaz de ser estructurada y adaptada tanto al curriculo de Conservatorios como al de las Escuelas de musica, sean estas regladas o no. Tampoco se ha olvidado al aficionado autodidacta, por lo que el lenguajeempleado procura ser directo, sin ambiguedades ni retoricas que dificulten su entendimiento. Como toda obra viva y en constante evolucion tambien se ha procurado revisar aquellosconceptos, definiciones, ejemplos, etc., susceptibles de modificacion,al tiempo que se han ampliado, incorporado y en algun caso modificado materias y apartados que asi lo requerian. Este libro aspira a cumplir el proposito que lo inspiro, es decir, facilitar los medios teoricos suficientes (dentro del limitado espaciode una obra de estas caracteristicas), que justifican y corroboran el fenomeno musical. $20.99 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| De Pedro Dionisio Teoria Completa De La Musica Volume 1 Revised Bk Piano solo Real Musical
Piano SKU: HL.14046101 CARISCH - MUSIC SALES. Tuition. General Merchandis...(+)
Piano SKU: HL.14046101 CARISCH - MUSIC SALES. Tuition. General Merchandise. Composed 2014. Real Musical #MK19123. Published by Real Musical (HL.14046101). ISBN 9788438712573. 9.0x0.645 inches. La Teoria Completa De La Musica en esta nueva edicion revisada, ha mantenido intactas todas aquellas cuestiones teorico-practicas que son inamovibles, al tiempo que conserva por su probada eficacia, su estructura tematica, lo que la convierte tantoen una obra de consulta como en una obra capaz de ser estructurada y adaptada tanto al curriculo de Conservatorios como al de las Escuelas de musica, sean estas regladas o no. Tampoco se ha olvidado al aficionado autodidacta, por lo que el lenguajeempleado procura ser directo, sin ambiguedades ni retoricas que dificulten su entendimiento. Como toda obra viva y en constante evolucion tambien se ha procurado revisar aquellosconceptos, definiciones, ejemplos, etc., susceptibles de modificacion,al tiempo que se han ampliado, incorporado y en algun caso modificado materias y apartados que asi lo requerian. Este libro aspira a cumplir el proposito que lo inspiro, es decir, facilitar los medios teoricos suficientes (dentro del limitado espaciode una obra de estas caracteristicas), que justifican y corroboran el fenomeno musical. $20.99 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Larrocha Granados : Integral para piano (Collecion Completa) Piano solo [Biographies] Editorial de Musica Boileau
By De Larrocha Granados. For Piano. Keyboard/Piano. Published by Editorial de Mu...(+)
By De Larrocha Granados. For Piano. Keyboard/Piano. Published by Editorial de Musica Boileau
$505.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Verbum Caro Carl Fischer
Choral TBB chorus SKU: CF.CM9588 Composed by Tomas Luis de Victoria. Arra...(+)
Choral TBB chorus SKU: CF.CM9588 Composed by Tomas Luis de Victoria. Arranged by Jeb Mueller. Fold. Performance Score. 8 pages. Duration 1 minute, 59 seconds. Carl Fischer Music #CM9588. Published by Carl Fischer Music (CF.CM9588). ISBN 9781491154106. UPC: 680160912605. 6.875 x 10.5 inches. Key: Eb major. Latin. Traditional Latin. Tomas Luis de Victoria (15481611) is widely considered the greatest Spanish Renaissance composer and one of the most influential musicians of his time. Included in his oeuvre are two settings of the Pange lingua, both produced in 1581. This motet is excerpted from the first of those and incorporates the original Roman melody, or cantus firmus. (He composed his second Pange lingua based on a Spanish melody.) The baritones anchor the motet by singing the tune in augmentation. This line should be intoned with a flowing, legato articulation that incorporates subtle phrasing and text stresses. The more rhythmic tenor and bass lines complement the melody and illustrate the hopeful nature of its text. Singing this piece with two pulses per measure will encourage a steady and vital performance. Composers provided minimal performance details in their scores during this period in music history, so I added a time signature, bar lines, dynamics, and metronome markings in order to facilitate performances that musicologists believe mimic those of Victorias time. It should be noted that dynamics are largely subjective, so performers may make alternative choices. Each tenuto indicates word stress; the most musical performances will incorporate gentle crescendos and decrescendos before and after each of them. Lastly, using minimal vibrato, especially at cadences, will imbue this wonderful motet with style and clarity. PRONUNCIATION GUIDE Victoria received much of his training in Italy, therefore making Italianate Latin most appropriate. Pure vowels are critical to correct pronunciation, and those phonemes remain constant without exceptions. The most problematic of the vowels is o, which sounds similar to the English words bought and got. The letter t should be produced dentally: lift the tongue to the top of the mouth as in English, but aspirate less on the release. All occurrences of s should be soft and never hardened to [z], such as in praise. Verbum caro, panem verum, [v??bum k??? p?n?m v?rum] verbo carnem efficit: fitque sanguis Christi merum. [v??b? k??n?m ??fit?it fitkw? s??gwis k?isti m??um] Et si sensus deficit, ad firmandum cor sin cerum. [?t si s?nsus ?d?fit?it, ?d fi??m?ndum k?? sin t???um] Jeb Mueller. TomA!s Luis de Victoria (1548a1611) is widely considered the greatest Spanish Renaissance composer and one of the most influential musicians of his time. Included in his oeuvre are two settings of the Pange lingua, both produced in 1581. This motet is excerpted from the first of those and incorporates the original Roman melody, or cantus firmus. (He composed his second Pange lingua based on a Spanish melody.) The baritones anchor the motet by singing the tune in augmentation. This line should be intoned with a flowing, legato articulation that incorporates subtle phrasing and text stresses. The more rhythmic tenor and bass lines complement the melody and illustrate the hopeful nature of its text. Singing this piece with two pulses per measure will encourage a steady and vital performance. Composers provided minimal performance details in their scores during this period in music history, so I added a time signature, bar lines, dynamics, and metronome markings in order to facilitate performances that musicologists believe mimic those of Victoriaas time. It should be noted that dynamics are largely subjective, so performers may make alternative choices. Each tenuto indicates word stress; the most musical performances will incorporate gentle crescendos and decrescendos before and after each of them. Lastly, using minimal vibrato, especially at cadences, will imbue this wonderful motet with style and clarity. PRONUNCIATION GUIDE Victoria received much of his training in Italy, therefore making Italianate Latin most appropriate. Pure vowels are critical to correct pronunciation, and those phonemes remain constant without exceptions. The most problematic of the vowels is ao,a which sounds similar to the English words bought and got. The letter ata should be produced dentally: lift the tongue to the top of the mouth as in English, but aspirate less on the release. All occurrences of asa should be soft and never hardened to [z], such as in praise. Verbum caro, panem verum, [vEE 3/4 bum kEE 3/4 E pEnEm vErum] verbo carnem efficit: fitque sanguis Christi merum. [vEE 3/4 bE kEE 3/4 nEm EEfitEit fitkwE sEAgwis kE 3/4 isti mEE 3/4 um] Et si sensus deficit, ad firmandum cor sin cerum. [Et si sEnsus EdEfitEit, Ed fiE 3/4 EmEndum kEE 3/4 sin tEEE 3/4 um] Jeb Mueller. Tomas Luis de Victoria (1548-1611) is widely considered the greatest Spanish Renaissance composer and one of the most influential musicians of his time. Included in his oeuvre are two settings of the Pange lingua, both produced in 1581. This motet is excerpted from the first of those and incorporates the original Roman melody, or cantus firmus. (He composed his second Pange lingua based on a Spanish melody.) The baritones anchor the motet by singing the tune in augmentation. This line should be intoned with a flowing, legato articulation that incorporates subtle phrasing and text stresses. The more rhythmic tenor and bass lines complement the melody and illustrate the hopeful nature of its text. Singing this piece with two pulses per measure will encourage a steady and vital performance. Composers provided minimal performance details in their scores during this period in music history, so I added a time signature, bar lines, dynamics, and metronome markings in order to facilitate performances that musicologists believe mimic those of Victoria's time. It should be noted that dynamics are largely subjective, so performers may make alternative choices. Each tenuto indicates word stress; the most musical performances will incorporate gentle crescendos and decrescendos before and after each of them. Lastly, using minimal vibrato, especially at cadences, will imbue this wonderful motet with style and clarity. PRONUNCIATION GUIDE Victoria received much of his training in Italy, therefore making Italianate Latin most appropriate. Pure vowels are critical to correct pronunciation, and those phonemes remain constant without exceptions. The most problematic of the vowels is o, which sounds similar to the English words bought and got. The letter t should be produced dentally: lift the tongue to the top of the mouth as in English, but aspirate less on the release. All occurrences of s should be soft and never hardened to [z], such as in praise. Verbum caro, panem verum, [verbum karo panem verum] verbo carnem efficit: fitque sanguis Christi merum. [verbo karnem 'efitSit fitkwe saNGgwis kristi merum] Et si sensus deficit, ad firmandum cor sin cerum. [et si sensus 'defitSit, ad fir'mandum kor sin tSerum] Jeb Mueller. Tomas Luis de Victoria (1548-1611) is widely considered the greatest Spanish Renaissance composer and one of the most influential musicians of his time. Included in his oeuvre are two settings of the Pange lingua, both produced in 1581. This motet is excerpted from the first of those and incorporates the original Roman melody, or cantus firmus. (He composed his second Pange lingua based on a Spanish melody.) The baritones anchor the motet by singing the tune in augmentation. This line should be intoned with a flowing, legato articulation that incorporates subtle phrasing and text stresses. The more rhythmic tenor and bass lines complement the melody and illustrate the hopeful nature of its text. Singing this piece with two pulses per measure will encourage a steady and vital performance. Composers provided minimal performance details in their scores during this period in music history, so I added a time signature, bar lines, dynamics, and metronome markings in order to facilitate performances that musicologists believe mimic those of Victoria's time. It should be noted that dynamics are largely subjective, so performers may make alternative choices. Each tenuto indicates word stress; the most musical performances will incorporate gentle crescendos and decrescendos before and after each of them. Lastly, using minimal vibrato, especially at cadences, will imbue this wonderful motet with style and clarity. PRONUNCIATION GUIDE Victoria received much of his training in Italy, therefore making Italianate Latin most appropriate. Pure vowels are critical to correct pronunciation, and those phonemes remain constant without exceptions. The most problematic of the vowels is o, which sounds similar to the English words bought and got. The letter t should be produced dentally: lift the tongue to the top of the mouth as in English, but aspirate less on the release. All occurrences of s should be soft and never hardened to [z], such as in praise. Verbum caro, panem verum, [verbum karo panem verum] verbo carnem efficit: fitque sanguis Christi merum. [verbo karnem 'efitSit fitkwe saNGgwis kristi merum] Et si sensus deficit, ad firmandum cor sin cerum. [et si sensus 'defitSit, ad fir'mandum kor sin tSerum] Jeb Mueller. Tomas Luis de Victoria (1548-1611) is widely considered the greatest Spanish Renaissance composer and one of the most influential musicians of his time. Included in his oeuvre are two settings of the Pange lingua, both produced in 1581. This motet is excerpted from Pange lingua more hisapano. The baritones anchor the motet by singing the tune in augmentation. This line should be intoned with a flowing, legato articulation that incorporates subtle phrasing and text stresses. The more rhythmic tenor and bass lines complement the melody and illustrate the hopeful nature of its text. Singing this piece with two pulses per measure will encourage a steady and vital performance. Composers provided minimal performance details in their scores during this period in music history, so I added a time signature, bar lines, dynamics, and metronome markings in order to facilitate performances that musicologists believe mimic those of Victoria's time. It should be noted that dynamics are largely subjective, so performers may make alternative choices. Each tenuto indicates word stress; the most musical performances will incorporate gentle crescendos and decrescendos before and after each of them. Lastly, using minimal vibrato, especially at cadences, will imbue this wonderful motet with style and clarity. PRONUNCIATION GUIDE Victoria received much of his training in Italy, therefore making Italianate Latin most appropriate. Pure vowels are critical to correct pronunciation, and those phonemes remain constant without exceptions. The most problematic of the vowels is o, which sounds similar to the English words bought and got. The letter t should be produced dentally: lift the tongue to the top of the mouth as in English, but aspirate less on the release. All occurrences of s should be soft and never hardened to [z], such as in praise. Verbum caro, panem verum, [verbum karo panem verum] verbo carnem efficit: fitque sanguis Christi merum. [verbo karnem 'efitSit fitkwe saNGgwis kristi merum] Et si sensus deficit, ad firmandum cor sin cerum. [et si sensus 'defitSit, ad fir'mandum kor sin tSerum] Jeb Mueller. Tomás Luis de Victoria (1548–1611) is widely considered the greatest Spanish Renaissance composer and one of the most influential musicians of his time. Included in his oeuvre are two settings of the Pange lingua, both produced in 1581. This motet is excerpted from Pange lingua more hisapano.The baritones anchor the motet by singing the tune in augmentation. This line should be intoned with a flowing, legato articulation that incorporates subtle phrasing and text stresses. The more rhythmic tenor and bass lines complement the melody and illustrate the hopeful nature of its text. Singing this piece with two pulses per measure will encourage a steady and vital performance.Composers provided minimal performance details in their scores during this period in music history, so I added a time signature, bar lines, dynamics, and metronome markings in order to facilitate performances that musicologists believe mimic those of Victoria’s time. It should be noted that dynamics are largely subjective, so performers may make alternative choices. Each tenuto indicates word stress; the most musical performances will incorporate gentle crescendos and decrescendos before and after each of them. Lastly, using minimal vibrato, especially at cadences, will imbue this wonderful motet with style and clarity.PRONUNCIATION GUIDEVictoria received much of his training in Italy, therefore making Italianate Latin most appropriate. Pure vowels are critical to correct pronunciation, and those phonemes remain constant without exceptions. The most problematic of the vowels is “o,†which sounds similar to the English words bought and got. The letter “t†should be produced dentally: lift the tongue to the top of the mouth as in English, but aspirate less on the release. All occurrences of “s†should be soft and never hardened to [z], such as in praise.Verbum caro, panem verum,[vɛɾbum kɑɾɔ pɑnɛm vɛrum]verbo carnem efficit: fitque sanguis Christi merum.[vɛɾbɔ kɑɾnɛm ˈɛfitʃit fitkwɛ sɑŋgwis kɾisti mɛɾum]Et si sensus deficit, ad firmandum cor sin cerum.[ɛt si sɛnsus ˈdɛfitʃit, ɑd fiɾˈmɑndum kɔɾ sin tʃɛɾum]Jeb Mueller. $2.25 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Music of the Spheres Concert band [Score] - Intermediate/advanced Anglo Music
Concert Band/Harmonie - Grade 6 SKU: BT.AMP-028-140 Composed by Philip Sp...(+)
Concert Band/Harmonie - Grade 6 SKU: BT.AMP-028-140 Composed by Philip Sparke. Elite Series. Concert Piece. Score Only. Composed 2005. 68 pages. Anglo Music Press #AMP 028-140. Published by Anglo Music Press (BT.AMP-028-140). English-German-French-Dutch. The piece reflects the composer's fascination with the origins of the universe and deep space in general. The title comes from a theory, formulated by Pythagoras, that the cosmos was ruled by the same laws he had discovered that govern the ratios of note frequencies of the musical scale. (‘Harmonia’ in Ancient Greek, which means scale or tuning rather than harmony - Greek music was monophonic). He also believed that these ratios corresponded to the distances of the six known planets from the sun and that the planets each produced a musical note which combined to weave a continuous heavenly melody (which, unfortunately, we humans cannot hear). In this work, these six notesform the basis of the sections MUSIC OF THE SPHERES and HARMONIA. The pieces opens with a horn solo called t = 0, a name given by some scientists to the moment of the Big Bang when time and space were created, and this is followed by a depiction of the BIG BANG itself, as the entire universe bursts out from a single point. A slower section follows called THE LONELY PLANET which is a meditation on the incredible and unlikely set of circumstances which led to the creation of the Earth as a planet that can support life, and the constant search for other civilisations elsewhere in the universe. ASTEROIDS AND SHOOTING STARS depicts both the benign and dangerous objects that are flying through space and which constantly threaten our planet, and the piece ends with THE UNKNOWN, leaving in question whether our continually expanding exploration of the universe will eventually lead to enlightenment or destruction.
Dit werk weerspiegelt de fascinatie van de componist voor het heelal. Het begint met een hoornsolo met de naam t = 0, waarmee sommige wetenschappers de oerknal aanduiden. Dan volgt een weergave van de oerknal zelf. Het volgendegedeelte, The Lonely Planet, is een meditatie over het ongelooflijke samenspel van omstandigheden dat leidde tot het ontstaan van de Aarde. Asteroids and Shooting Stars beschrijft objecten in de ruimte. Het werkeindigt met The Unknown, waarmee we in het ongewisse blijven over de gevolgen van onze verdere verkenning van het universum. In 2005 won Philip Sparke met Music of the Spheres de National Band Association/William D.Revelli Memorial Band Composition Contest.
Dieses Werk handelt vom Weltall und unserem Platz im Universum, auf dem Weltbild von Pythagoras basierend. Am einfachsten lässt sich diese außergewöhnliche Komposition wohl als Filmmusik ähnliches Stück beschreiben ? Musik zu einem Science-Fiction-Film eines Ripley Scott oder Steven Spielberg oder auch Musik, wie sie ein John Williams oder Danny Elfman schreiben würde: absolut stimmungsvoll, brillant instrumentiert mit Klangfarben, Strukturen, Effekten und Timbres, gemischt mit fließenden musikalischen Linien, die die Substanz des Themas auf den Punkt treffen. Dieses atemberaubende neue Stück hebt Ihr Blasorchester auf ein höheres Niveau, sowohl im technischen als auchmusikalischen Sinn.
La fresque Music of the Spheres (“La musique des sphèresâ€) souligne la fascination qu’éprouve le compositeur pour les origines de l’univers. L’orchestration est proche de la musique de film. Le climat musical est ample, sonore et contrasté.
Music of the Spheres evidenza il fascino che le origini dell’universo esercitano su Philip Sparke. Il titolo proviene da una teoria del matematico greco Pitagora, secondo la quale il cosmo è retto dalle stesse leggi che governano i rapporti di frequenza tra le note della scala musicale. Questa composizione inizia con un assolo di corno chiamato t = 0, nozione che definisce il momento del big-bang. The Lonely Planet (Il pianeta solitario) è una meditazione sulle circostanze che hanno portato alla creazione della terra. Asteroids and Shooting Stars (Asteroidi e Stelle cadenti) descrive i molteplici oggetti che si muovono nello spazio e che rappresentano unrischio per il nostro pianeta. Le battute finali portano verso l’ignoto (The Unknown) sollevando una domanda la cui risposta resta in sospeso: la nostra continua avanzata nell’esplorazione dell’Universo porter un giorno alla scoperta o alla distruzione? $45.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Music of the Spheres Brass ensemble [Score] - Intermediate/advanced Anglo Music
Brass Band - Grade 6 SKU: BT.AMP-028-130 Composed by Philip Sparke. Elite...(+)
Brass Band - Grade 6 SKU: BT.AMP-028-130 Composed by Philip Sparke. Elite Series. Concert Piece. Score Only. Composed 2003. Anglo Music Press #AMP 028-130. Published by Anglo Music Press (BT.AMP-028-130). The piece reflects the composer's fascination with the origins of the universe and deep space in general. The title comes from a theory, formulated by Pythagoras, that the cosmos was ruled by the same laws he had discovered that govern the ratios of note frequencies of the musical scale. (‘Harmonia’ in Ancient Greek, which means scale or tuning rather than harmony - Greek music was monophonic). He also believed that these ratios corresponded to the distances of the six known planets from the sun and that the planets each produced a musical note which combined to weave a continuous heavenly melody (which, unfortunately, we humans cannot hear). In this work, these six notesform the basis of the sections MUSIC OF THE SPHERES and HARMONIA. The pieces opens with a horn solo called t = 0, a name given by some scientists to the moment of the Big Bang when time and space were created, and this is followed by a depiction of the BIG BANG itself, as the entire universe bursts out from a single point. A slower section follows called THE LONELY PLANET which is a meditation on the incredible and unlikely set of circumstances which led to the creation of the Earth as a planet that can support life, and the constant search for other civilisations elsewhere in the universe. ASTEROIDS AND SHOOTING STARS depicts both the benign and dangerous objects that are flying through space and which constantly threaten our planet, and the piece ends with THE UNKNOWN, leaving in question whether our continually expanding exploration of the universe will eventually lead to enlightenment or destruction.
Dit werk weerspiegelt de fascinatie van de componist voor het heelal. Het begint met een hoornsolo met de naam t = 0, waarmee sommige wetenschappers de oerknal aanduiden. Dan volgt een weergave van de oerknal zelf. Het volgendegedeelte, The Lonely Planet, is een meditatie over het ongelooflijke samenspel van omstandigheden dat leidde tot het ontstaan van de Aarde. Asteroids and Shooting Stars beschrijft objecten in de ruimte. Het werkeindigt met The Unknown, waarmee we in het ongewisse blijven over de gevolgen van onze verdere verkenning van het universum. In 2005 won Philip Sparke met Music of the Spheres de National Band Association/William D.Revelli Memorial Band Composition Contest.
Mit diesem großartigen Werk, das dem Auftraggeber der Yorkshire Building Society Band am Europäischen Brass Band Wettbewerb 2004 in Glasgow als Selbstwahlstück zu einem weiteren Titel verhalf, beweist Philip Sparke einmal mehr seine außergewöhnlichen kompositorischen Fähigkeiten. Dieses Werk über die Ursprünge des Universums führt uns vom Urknall, vorbei an einsamen Planeten, Asteroiden und Sternschnuppen schließlich ins Unbekannte - die ungewisse Zukunft. Ein Glanzstück und eine echte Herausforderung für jeden Spitzen-Brass Band!
La fresque Music of the Spheres (“La musique des sphèresâ€) souligne la fascination qu’éprouve le compositeur pour les origines de l’univers. L’orchestration est proche de la musique de film. Le climat musical est ample, sonore et contrasté.
Music of the Spheres evidenza il fascino che le origini dell’universo esercitano su Philip Sparke. Il titolo proviene da una teoria del matematico greco Pitagora, secondo la quale il cosmo è retto dalle stesse leggi che governano i rapporti di frequenza tra le note della scala musicale. Questa composizione inizia con un assolo di corno chiamato t = 0, nozione che definisce il momento del big-bang. The Lonely Planet (Il pianeta solitario) è una meditazione sulle circostanze che hanno portato alla creazione della terra. Asteroids and Shooting Stars (Asteroidi e Stelle cadenti) descrive i molteplici oggetti che si muovono nello spazio e che rappresentano unrischio per il nostro pianeta. Le battute finali portano verso l’ignoto (The Unknown) sollevando una domanda la cui risposta resta in sospeso: la nostra continua avanzata nell’esplorazione dell’Universo porter un giorno alla scoperta o alla distruzione? $55.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| O God whose nature and property Choral SATB SATB, Organ [Vocal Score] Oxford University Press
By Samuel Sebastian Wesley (1810-1876). Arranged by Richard Lyne. For SATB choir...(+)
By Samuel Sebastian Wesley (1810-1876). Arranged by Richard Lyne. For SATB choir and organ. Mixed Voices. Church Music Society publications. Sacred, Choral Leaflet. Vocal score. 8 pages. Duration 3'. Published by Oxford University Press
$3.25 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Scottish Folk Tunes Violoncello Bk/cd Cello [Sheet music + CD] - Intermediate/advanced Schott
69 Traditional Pieces. Edited by Kevin McCrae and Neil Johnstone. Arranged by Ke...(+)
69 Traditional Pieces. Edited by Kevin McCrae and Neil Johnstone. Arranged by Kevin McCrae and Neil Johnstone. This edition: Saddle stitching. Sheet music with CD. String. Scottish. Edition with CD. 60 pages. Schott Music #ED 12830. Published by Schott Music
$23.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Selva di Vari Precetti. La pratica musicale tra i secoli XVI e XVIII nelle fonti dell’epoca Ut Orpheus
Early Music; Music Education SKU: UT.DM-8 Single volume. Composed ...(+)
Early Music; Music Education SKU: UT.DM-8 Single volume. Composed by Giorgio Pacchioni. Paperback (Soft Cover). Classical. Ut Orpheus #DM 8. Published by Ut Orpheus (UT.DM-8). ISBN 9790215300477. 9 x 12 inches. Musicologo e musicista hanno rappresentato, in questi ultimi decenni, due entita distinte. Il musicologo e quasi sempre uno studioso di preparazione o di inclinazione piu teorica che pratica e che possiede conoscenze scientifiche e letterarie di gran lunga superiori a quelle musicali pratiche. Il musicologo e stato ed e tuttora di grande aiuto al musicista pratico nel suo rendere nota una grande mole di documenti riguardanti la prassi esecutiva delle epoche passate, in particolare del Rinascimento e del Barocco. Cio nonostante, sembra quasi che il musicologo e il musicista pratico lavorino su due piani paralleli destinati a non incontrarsi mai: da un lato la musicologia spesso dimostra di essere fine a se stessa o comunque non destinata a scopi immediatamente pratici, dall'altro il musicista e di solito abbastanza recalcitrante nell'apprendere tecniche esecutive diverse da quelle imparate in conservatorio. Come risolvere questo problema? Qualcuno lo ha gia fatto fondendo nella stessa persona le due specialita: questo sembra difficile - e forse lo e - ma probabilmente e l'unica soluzione pos- sibile per lo sviluppo futuro della prassi esecutiva della musica antica. Qualcuno potrebbe obiettare che anche nell'antichita convivevano 'musici teorici' e 'musici pratici', ma questi ultimi era- no certamente preparati sia negli aspetti che oggi consideriamo attinenti la musicologia sia in quelli puramente pratici, cioe riguardanti la tecnica vocale e strumentale. Inoltre, gli antichi musici teorici avevano ben poco in comune con i moderni musicologi: essi appartenevano ad una speciale categoria di scienziati-filosofi, indagatori di speculazioni teoriche e matematiche nonche astrologiche e cabalistiche, tesi a investigare i segreti piu occulti in relazione con la musica. E quindi auspicabile che il musicista moderno approfondisca la sua conoscenza della prassi esecutiva della musica antica per poterla eseguire rispettandone la vera natura. Il presente studio, gia in uso nella classe di Flauto Dolce del Conservatorio <> di Bologna, rappresenta un utile supporto per giungere a questo scopo. Il contenuto delle varie sezioni e sintetico, ma, crediamo, esauriente e comprensibile a tutti coloro che desiderano elevare il proprio livello di conoscenza nel campo della musica antica o che, piu semplicemente, necessitano di un'agevole guida che permetta di risolvere rapidamente eventuali dubbi di carattere storico e pratico. (G. Pacchioni). $43.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Psalm 27 - Trust In God Choral SATB SATB [Octavo] Kjos Music Company
By Arletta O'Hearn. For SATB choir (SATB). Music for the Church Year. Sacred, Ch...(+)
By Arletta O'Hearn. For SATB choir (SATB). Music for the Church Year. Sacred, Christ The King Sunday, Christmas and Christmastide, General Worship, Holy Week. Choral octavo
$1.30 $1.235 (5% off) See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Discovery Band Book #2 - 1st Bb Cornet/Trumpet - Beginner Hal Leonard
By John Edmondson, Anne Mcginty. Discovery Concert Band. Grade 1.5. Size 9x12 in...(+)
By John Edmondson, Anne Mcginty. Discovery Concert Band. Grade 1.5. Size 9x12 inches. 16 pages. Published by Hal Leonard.
$2.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Discovery Band Book #2 - Tuba - Beginner Hal Leonard
By John Edmondson, Anne Mcginty. Discovery Concert Band. Grade 1.5. Size 9x12 in...(+)
By John Edmondson, Anne Mcginty. Discovery Concert Band. Grade 1.5. Size 9x12 inches. 16 pages. Published by Hal Leonard.
$2.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Discovery Band Book #2 - Trombone/Baritone B.C./ Bassoon - Beginner Hal Leonard
By John Edmondson, Anne Mcginty. Discovery Concert Band. Grade 1.5. Size 9x12 in...(+)
By John Edmondson, Anne Mcginty. Discovery Concert Band. Grade 1.5. Size 9x12 inches. 16 pages. Published by Hal Leonard.
$2.95 - See more - Buy onlinePre-shipment lead time: 3 to 5 business days | | |
| Discovery Band Book #2 - Bb Bass Clarinet - Beginner Hal Leonard
By John Edmondson, Anne Mcginty. Discovery Concert Band. Grade 1.5. Size 9x12 in...(+)
By John Edmondson, Anne Mcginty. Discovery Concert Band. Grade 1.5. Size 9x12 inches. 16 pages. Published by Hal Leonard.
$2.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Discovery Band Book #2 - Oboe - Beginner Hal Leonard
By John Edmondson, Anne Mcginty. Discovery Concert Band. Grade 1.5. 16 pages. Pu...(+)
By John Edmondson, Anne Mcginty. Discovery Concert Band. Grade 1.5. 16 pages. Published by Hal Leonard.
$2.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Discovery Band Book #2 - 2nd Bb Cornet/Trumpet - Beginner Hal Leonard
By John Edmondson, Anne Mcginty. Discovery Concert Band. Grade 1.5. Size 9x12 in...(+)
By John Edmondson, Anne Mcginty. Discovery Concert Band. Grade 1.5. Size 9x12 inches. 16 pages. Published by Hal Leonard.
$2.95 - See more - Buy onlinePre-shipment lead time: 3 to 5 business days | | |
| Discovery Band Book #2 - Eb Alto Saxophone - Beginner Hal Leonard
By John Edmondson, Anne Mcginty. Discovery Concert Band. Grade 1.5. Size 9x12 in...(+)
By John Edmondson, Anne Mcginty. Discovery Concert Band. Grade 1.5. Size 9x12 inches. 16 pages. Published by Hal Leonard.
$2.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Discovery Band Book #2 - Auxiliary Percussion - Beginner Hal Leonard
By John Edmondson, Anne Mcginty. Discovery Concert Band. Grade 1.5. Size 9x12 in...(+)
By John Edmondson, Anne Mcginty. Discovery Concert Band. Grade 1.5. Size 9x12 inches. 16 pages. Published by Hal Leonard.
$2.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Discovery Band Book #2 - Flute - Beginner Hal Leonard
By John Edmondson, Anne Mcginty. Discovery Concert Band. Grade 1.5. Size 9x12 in...(+)
By John Edmondson, Anne Mcginty. Discovery Concert Band. Grade 1.5. Size 9x12 inches. 16 pages. Published by Hal Leonard.
$2.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Discovery Band Book #2 - Percussion - Beginner Hal Leonard
By John Edmondson, Anne Mcginty. Discovery Concert Band. Grade 1.5. Size 9x12 in...(+)
By John Edmondson, Anne Mcginty. Discovery Concert Band. Grade 1.5. Size 9x12 inches. 16 pages. Published by Hal Leonard.
$2.95 - See more - Buy onlinePre-shipment lead time: 3 to 5 business days | | |
| Discovery Band Book #2 - Eb Baritone Saxophone - Beginner Hal Leonard
By John Edmondson, Anne Mcginty. Discovery Concert Band. Grade 1.5. Size 9x12 in...(+)
By John Edmondson, Anne Mcginty. Discovery Concert Band. Grade 1.5. Size 9x12 inches. 16 pages. Published by Hal Leonard.
$2.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Discovery Band Book #2 - F Horn - Beginner Hal Leonard
By John Edmondson, Anne Mcginty. Discovery Concert Band. Grade 1.5. Size 9x12 in...(+)
By John Edmondson, Anne Mcginty. Discovery Concert Band. Grade 1.5. Size 9x12 inches. 16 pages. Published by Hal Leonard.
$2.95 - See more - Buy onlinePre-shipment lead time: 3 to 5 business days | | |
| Discovery Band Book #2 - Bb Tenor Saxophone - Beginner Hal Leonard
By John Edmondson, Anne Mcginty. Discovery Concert Band. Grade 1.5. Size 9x12 in...(+)
By John Edmondson, Anne Mcginty. Discovery Concert Band. Grade 1.5. Size 9x12 inches. 16 pages. Published by Hal Leonard.
$2.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Discovery Band Book #2 - 1st Bb Clarinet - Beginner Hal Leonard
By John Edmondson, Anne Mcginty. Discovery Concert Band. Grade 1.5. Size 9x12 in...(+)
By John Edmondson, Anne Mcginty. Discovery Concert Band. Grade 1.5. Size 9x12 inches. 16 pages. Published by Hal Leonard.
$2.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Discovery Band Book #2 - 2nd Bb Clarinet - Beginner Hal Leonard
By John Edmondson, Anne Mcginty. Discovery Concert Band. Grade 1.5. Size 9x12 in...(+)
By John Edmondson, Anne Mcginty. Discovery Concert Band. Grade 1.5. Size 9x12 inches. 16 pages. Published by Hal Leonard.
$2.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| 12 Renaissance Dances Brass Quartet [Score and Parts] - Easy Kendor Music Inc.
By Various. Arranged by Frank Halferty. For brass quartet (trumpet, trumpet (hor...(+)
By Various. Arranged by Frank Halferty. For brass quartet (trumpet, trumpet (horn in F), trombone (baritone horn), and trombone (baritone horn, tuba)). Grade 2-3. Score and set of parts. Published by Kendor Music Inc
$20.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
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