| Rondeau No. 3 - Easy Carl Fischer
Orchestra violin 1, violin 2, violin 3, viola, cello, bass - Grade 2.5 SKU: C...(+)
Orchestra violin 1, violin 2, violin 3, viola, cello, bass - Grade 2.5 SKU: CF.YAS222F Composed by Joseph Bologne. Arranged by Robert Debbaut. Full score. 8 pages. Duration 2 minutes. Carl Fischer Music #YAS222F. Published by Carl Fischer Music (CF.YAS222F). ISBN 9781491163047. UPC: 680160921799. Key: G major. As a composer, Joseph Bologne was quite prolific, composing six operas, fourteen violin concertos, four symphonies concertantes, and numerous chamber works and songs. His Six String Quartets, Op. 1, Nos. 1-6 date from 1770-1771 and are dedicated to Anne Louis Alexandre de Montmorency (1724-1812), 7th Prince of Robeck and Grand Duke of Spain. All of his quartets feature a prominent first violin part and the Opus 1 quartets all display a similarity to the Italian opera overtures from earlier in the century in A-B-A form with the ‘A’ sections being robust allegros and all ‘B’ sections marked rondo.This lively Rondeau from Bologne's Six String Quartets, Op. 1 is a classic seven-part rondo with an ABACAB’A formula. The ‘A’ sections are set in G Major, ‘B’ in D Major, and ‘C’ in G Minor. As was typical of the Classical style, the primary melody is heard mainly in first violin, while other sections provide supporting harmonic and rhythmic roles. The essence of the string quartet scoring is retained by having the bass double the cello part. This makes more of this significant composer’s music accessible to school ensembles, resulting in a charming concert selection appropriate for concert or festival. About Carl Fischer Young String Orchestra Series This series of Grade 2/Grade 2.5 pieces is designed for second and third year ensembles. The pieces in this series are characterized by: --Occasionally extending to third position --Keys carefully considered for appropriate difficulty --Addition of separate 2nd violin and viola parts --Viola T.C. part included --Increase in independence of parts over beginning levels $8.50 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Rondeau No. 3 - Easy Carl Fischer
Orchestra violin 1, violin 2, violin 3, viola, cello, bass - Grade 2.5 SKU: C...(+)
Orchestra violin 1, violin 2, violin 3, viola, cello, bass - Grade 2.5 SKU: CF.YAS222 Composed by Joseph Bologne. Arranged by Robert Debbaut. Set of Score and Parts. Duration 2 minutes. Carl Fischer Music #YAS222. Published by Carl Fischer Music (CF.YAS222). ISBN 9781491162705. UPC: 680160921454. Key: G major. As a composer, Joseph Bologne was quite prolific, composing six operas, fourteen violin concertos, four symphonies concertantes, and numerous chamber works and songs. His Six String Quartets, Op. 1, Nos. 1-6 date from 1770-1771 and are dedicated to Anne Louis Alexandre de Montmorency (1724-1812), 7th Prince of Robeck and Grand Duke of Spain. All of his quartets feature a prominent first violin part and the Opus 1 quartets all display a similarity to the Italian opera overtures from earlier in the century in A-B-A form with the ‘A’ sections being robust allegros and all ‘B’ sections marked rondo.This lively Rondeau from Bologne's Six String Quartets, Op. 1 is a classic seven-part rondo with an ABACAB’A formula. The ‘A’ sections are set in G Major, ‘B’ in D Major, and ‘C’ in G Minor. As was typical of the Classical style, the primary melody is heard mainly in first violin, while other sections provide supporting harmonic and rhythmic roles. The essence of the string quartet scoring is retained by having the bass double the cello part. This makes more of this significant composer’s music accessible to school ensembles, resulting in a charming concert selection appropriate for concert or festival. About Carl Fischer Young String Orchestra Series This series of Grade 2/Grade 2.5 pieces is designed for second and third year ensembles. The pieces in this series are characterized by: --Occasionally extending to third position --Keys carefully considered for appropriate difficulty --Addition of separate 2nd violin and viola parts --Viola T.C. part included --Increase in independence of parts over beginning levels $55.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Children, Go Where I Send Thee Carl Fischer
Choral Bass Guitar, Percussion, Piano, alto voice, soprano 1, soprano 2 SKU: ...(+)
Choral Bass Guitar, Percussion, Piano, alto voice, soprano 1, soprano 2 SKU: CF.CM9742 Composed by Traditional African American Spiritual. Arranged by Kevin Phillip Johnson. 16 pages. Duration 4 minutes, 5 seconds. Carl Fischer Music #CM9742. Published by Carl Fischer Music (CF.CM9742). ISBN 9781491161555. UPC: 680160920204. Key: E minor. English. Iyana Davis. This Negro Spiritual was made popular by the Golden Gate Quartet in the 1930s. Willie T. Johnson, the lead singer of the group, is the father of Kevin P. Johnson the arranger of this version. The composer, like his father, uses rhythm in exciting new ways to deliver Negro Spirituals to contemporary audiences. The text of this spiritual has been interpreted in many different ways over the years. Here's a popular interpretation of the text. One for the little bitty baby born, born, born in Bethlehem: This refers to the infant Jesus. Two for Paul and Silas: This verse honors Paul and Silas who went on many missionary journeys to spread the teachings of Christ. Three for the Hebrew children: The three Hebrew children could be Shadrach, Meshach and Abednego. Four for the four that stood at the door: Many people interpret the four to be the four writers of the Gospel books - Matthew, Mark, Luke and John, though this does not explain the part about standing at the door. Five for the gospel preachers: The five are Matthew, Mark, Luke, John and Peter. Paul is already mentioned above, in line two. Six for the six that never got fixed: Could this mean the sinners who never change their ways? Seven for the seven that went up to heaven: The seven in heaven could be the seven stars in Ursa Major or the sevenfold spirit of God or the seven early Christian churches or the seven stars in the right hand of Christ mentioned in the Revelation. Eight for the eight that stood at the gate: This could refer to the eight people who entered Noah's ark (Noah, his wife, their three sons and their wives). Nine for the nine that dressed so fine: This could refer to the nine orders of Angels in heaven. Ten for the ten commandments: This refers to the ten commandments given to Moses. Performance notes: Swing the 8th notes Djembe drums should be played freely with flexible precision The rap can be optional The ending solo can be sung down an octave and can be changed to match the ability of the soloist. Do not clap louder than you sing If doing choral movement on the piece, pay attention to detail synchronizing movements as much as possible. While the rap is words in rhythm, if adding one is not possible for your performance, consider a spoken word of your own choosing Have fun!. This Negro Spiritual was made popular by the Golden Gate Quartet in the 1930s. Willie T. Johnson, the lead singer of the group, is the father of Kevin P. Johnson the arranger of this version. The composer, like his father, uses rhythm in exciting new ways to deliver Negro Spirituals to contemporary audiences.The text of this spiritual has been interpreted in many different ways over the  years. Here's a popular interpretation of the text. One for the little bitty baby born, born, born in Bethlehem: This refers to the infant Jesus. Two for Paul and Silas: This verse honors Paul and Silas who went on many missionary journeys to spread the teachings of Christ. Three for the Hebrew children: The three Hebrew children could be Shadrach, Meshach and Abednego. Four for the four that stood at the door: Many people interpret the four to be the four writers of the Gospel books – Matthew, Mark, Luke and John, though this does not explain the part about standing at the door. Five for the gospel preachers: The five are Matthew, Mark, Luke, John and Peter. Paul is already mentioned above, in line two. Six for the six that never got fixed: Could this mean the sinners who never change their ways? Seven for the seven that went up to heaven: The seven in heaven could be the seven stars in Ursa Major or the sevenfold spirit of God or the seven early Christian churches or the seven stars in the right hand of Christ mentioned in the Revelation. Eight for the eight that stood at the gate: This could refer to the eight people who entered Noah’s ark (Noah, his wife, their three sons and their wives). Nine for the nine that dressed so fine: This could refer to the nine orders of Angels in heaven. Ten for the ten commandments: This refers to the ten commandments given to Moses.Performance notes: Swing the 8th notes Djembe drums should be played freely with flexible precision The rap can be optional The ending solo can be sung down an octave and can be changed to match the ability of the soloist. Do not clap louder than you sing If doing choral movement on the piece, pay attention to detail synchronizing movements as much as possible. While the rap is words in rhythm, if adding one is not possible for your performance, consider a spoken word of your own choosing Have fun! $2.75 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Beethoven: Complete Works for Solo Piano (Version 2.0)
Piano solo [CD Sheet Music] Subito Music
By Ludwig van Beethoven. For Piano. (Piano Solo). CD Sheet Music (Version 2.0). ...(+)
By Ludwig van Beethoven. For Piano. (Piano Solo). CD Sheet Music (Version 2.0). PDF file on CD. 1500 pages. Published by Subito Music.
(6)$19.95 - See more - Buy onlinePre-shipment lead time: 3 to 5 business days | | |
| Children, Go Where I Send Thee Carl Fischer
Choral Percussion, Piano, alto voice, bass Guitar, bass voice, soprano voice, te...(+)
Choral Percussion, Piano, alto voice, bass Guitar, bass voice, soprano voice, tenor voice SKU: CF.CM9743IN Composed by Traditional African-American Spiritual. Arranged by Kevin Phillip Johnson. Set of Score and Parts. 44+32+2 pages. Duration 4 minutes, 5 seconds. Carl Fischer Music #CM9743IN. Published by Carl Fischer Music (CF.CM9743IN). ISBN 9781491162231. UPC: 680160920990. Key: E minor. English. Iyana Davis. Negro Spiritual with Rap crafter by Ayana Davis. This Negro Spiritual was made popular by the Golden Gate Quartet in the 1930s. Willie T. Johnson, the lead singer of the group, is the father of Kevin P. Johnson the arranger of this version. The composer, like his father, uses rhythm in exciting new ways to deliver Negro Spirituals to contemporary audiences. The text of this spiritual has been interpreted in many different ways over the years. Here's a popular interpretation of the text. One for the little bitty baby born, born, born in Bethlehem: This refers to the infant Jesus. Two for Paul and Silas: This verse honors Paul and Silas who went on many missionary journeys to spread the teachings of Christ. Three for the Hebrew children: The three Hebrew children could be Shadrach, Meshach and Abednego. Four for the four that stood at the door: Many people interpret the four to be the four writers of the Gospel books - Matthew, Mark, Luke and John, though this does not explain the part about standing at the door. Five for the gospel preachers: The five are Matthew, Mark, Luke, John and Peter. Paul is already mentioned above, in line two. Six for the six that never got fixed: Could this mean the sinners who never change their ways? Seven for the seven that went up to heaven: The seven in heaven could be the seven stars in Ursa Major or the sevenfold spirit of God or the seven early Christian churches or the seven stars in the right hand of Christ mentioned in the Revelation. Eight for the eight that stood at the gate: This could refer to the eight people who entered Noah's ark (Noah, his wife, their three sons and their wives). Nine for the nine that dressed so fine: This could refer to the nine orders of Angels in heaven. Ten for the ten commandments: This refers to the ten commandments given to Moses. Performance notes: Swing the 8th notes Djembe drums should be played freely with flexible precision The rap can be optional The ending solo can be sung down an octave and can be changed to match the ability of the soloist. Do not clap louder than you sing If doing choral movement on the piece, pay attention to detail synchronizing movements as much as possible. While the rap is words in rhythm, if adding one is not possible for your performance, consider a spoken word of your own choosing Have fun!. This Negro Spiritual was made popular by the Golden Gate Quartet in the 1930s. Willie T. Johnson, the lead singer of the group, is the father of Kevin P. Johnson the arranger of this version. The composer, like his father, uses rhythm in exciting new ways to deliver Negro Spirituals to contemporary audiences.The text of this spiritual has been interpreted in many different ways over the  years. Here's a popular interpretation of the text. One for the little bitty baby born, born, born in Bethlehem: This refers to the infant Jesus. Two for Paul and Silas: This verse honors Paul and Silas who went on many missionary journeys to spread the teachings of Christ. Three for the Hebrew children: The three Hebrew children could be Shadrach, Meshach and Abednego. Four for the four that stood at the door: Many people interpret the four to be the four writers of the Gospel books – Matthew, Mark, Luke and John, though this does not explain the part about standing at the door. Five for the gospel preachers: The five are Matthew, Mark, Luke, John and Peter. Paul is already mentioned above, in line two. Six for the six that never got fixed: Could this mean the sinners who never change their ways? Seven for the seven that went up to heaven: The seven in heaven could be the seven stars in Ursa Major or the sevenfold spirit of God or the seven early Christian churches or the seven stars in the right hand of Christ mentioned in the Revelation. Eight for the eight that stood at the gate: This could refer to the eight people who entered Noah’s ark (Noah, his wife, their three sons and their wives). Nine for the nine that dressed so fine: This could refer to the nine orders of Angels in heaven. Ten for the ten commandments: This refers to the ten commandments given to Moses.Performance notes: Swing the 8th notes Djembe drums should be played freely with flexible precision The rap can be optional The ending solo can be sung down an octave and can be changed to match the ability of the soloist. Do not clap louder than you sing If doing choral movement on the piece, pay attention to detail synchronizing movements as much as possible. While the rap is words in rhythm, if adding one is not possible for your performance, consider a spoken word of your own choosing Have fun! $50.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Piano Time Classics (More) Piano solo [Sheet music] Oxford University Press | | |
| Faust - Suite for Clarinet Quartet Metropolis Music Publishers
Clarinet Quartet SKU: IS.CQ7692EM Composed by Karel Van Marcke. Woodwinds...(+)
Clarinet Quartet SKU: IS.CQ7692EM Composed by Karel Van Marcke. Woodwinds - Clarinet. Metropolis Music Publishers #CQ7692EM. Published by Metropolis Music Publishers (IS.CQ7692EM). ISBN 9790365076925. The suite Faust was commissioned by puppet theatre Tejooter Aabazjoer (Aalst, Belgium) in 2015. The eight pieces reflect four moods: happy, dance, open and introverted. Play the works in any order. Each time, the titles will combine to form a different poem. Do you play Faust live? Please publish your chosen order of the pieces and thus your self-formed poem in your programme booklet. $30.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Children, Go Where I Send Thee Carl Fischer
Choral SATB Choir, Bass Guitar, Percussion, Piano SKU: CF.CM9743 Composed...(+)
Choral SATB Choir, Bass Guitar, Percussion, Piano SKU: CF.CM9743 Composed by Traditional African-American Spiritual. Arranged by Kevin Phillip Johnson. 20 pages. Duration 4 minutes, 5 seconds. Carl Fischer Music #CM9743. Published by Carl Fischer Music (CF.CM9743). ISBN 9781491161562. UPC: 680160920211. Key: E minor. English. Iyana Davis. Negro Spiritual with Rap crafter by Ayana Davis. This Negro Spiritual was made popular by the Golden Gate Quartet in the 1930s. Willie T. Johnson, the lead singer of the group, is the father of Kevin P. Johnson the arranger of this version. The composer, like his father, uses rhythm in exciting new ways to deliver Negro Spirituals to contemporary audiences. The text of this spiritual has been interpreted in many different ways over the years. Here's a popular interpretation of the text. One for the little bitty baby born, born, born in Bethlehem: This refers to the infant Jesus. Two for Paul and Silas: This verse honors Paul and Silas who went on many missionary journeys to spread the teachings of Christ. Three for the Hebrew children: The three Hebrew children could be Shadrach, Meshach and Abednego. Four for the four that stood at the door: Many people interpret the four to be the four writers of the Gospel books - Matthew, Mark, Luke and John, though this does not explain the part about standing at the door. Five for the gospel preachers: The five are Matthew, Mark, Luke, John and Peter. Paul is already mentioned above, in line two. Six for the six that never got fixed: Could this mean the sinners who never change their ways? Seven for the seven that went up to heaven: The seven in heaven could be the seven stars in Ursa Major or the sevenfold spirit of God or the seven early Christian churches or the seven stars in the right hand of Christ mentioned in the Revelation. Eight for the eight that stood at the gate: This could refer to the eight people who entered Noah's ark (Noah, his wife, their three sons and their wives). Nine for the nine that dressed so fine: This could refer to the nine orders of Angels in heaven. Ten for the ten commandments: This refers to the ten commandments given to Moses. Performance notes: Swing the 8th notes Djembe drums should be played freely with flexible precision The rap can be optional The ending solo can be sung down an octave and can be changed to match the ability of the soloist. Do not clap louder than you sing If doing choral movement on the piece, pay attention to detail synchronizing movements as much as possible. While the rap is words in rhythm, if adding one is not possible for your performance, consider a spoken word of your own choosing Have fun!. This Negro Spiritual was made popular by the Golden Gate Quartet in the 1930s. Willie T. Johnson, the lead singer of the group, is the father of Kevin P. Johnson the arranger of this version. The composer, like his father, uses rhythm in exciting new ways to deliver Negro Spirituals to contemporary audiences.The text of this spiritual has been interpreted in many different ways over the  years. Here's a popular interpretation of the text. One for the little bitty baby born, born, born in Bethlehem: This refers to the infant Jesus. Two for Paul and Silas: This verse honors Paul and Silas who went on many missionary journeys to spread the teachings of Christ. Three for the Hebrew children: The three Hebrew children could be Shadrach, Meshach and Abednego. Four for the four that stood at the door: Many people interpret the four to be the four writers of the Gospel books – Matthew, Mark, Luke and John, though this does not explain the part about standing at the door. Five for the gospel preachers: The five are Matthew, Mark, Luke, John and Peter. Paul is already mentioned above, in line two. Six for the six that never got fixed: Could this mean the sinners who never change their ways? Seven for the seven that went up to heaven: The seven in heaven could be the seven stars in Ursa Major or the sevenfold spirit of God or the seven early Christian churches or the seven stars in the right hand of Christ mentioned in the Revelation. Eight for the eight that stood at the gate: This could refer to the eight people who entered Noah’s ark (Noah, his wife, their three sons and their wives). Nine for the nine that dressed so fine: This could refer to the nine orders of Angels in heaven. Ten for the ten commandments: This refers to the ten commandments given to Moses.Performance notes: Swing the 8th notes Djembe drums should be played freely with flexible precision The rap can be optional The ending solo can be sung down an octave and can be changed to match the ability of the soloist. Do not clap louder than you sing If doing choral movement on the piece, pay attention to detail synchronizing movements as much as possible. While the rap is words in rhythm, if adding one is not possible for your performance, consider a spoken word of your own choosing Have fun! $3.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Pacem Noel Piano Quartet: piano, violin, viola, cello [Score and Parts] Carl Fischer
Arranged by Larry Clark, Rae Moses. For full score, violin I, violin II, violin ...(+)
Arranged by Larry Clark, Rae Moses. For full score, violin I, violin II, violin III (viola T.C.), cello, bass, piano. Score and parts. 78 pages. Published by Carl Fischer
$50.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Sinfonia Piccola Score And Parts - Advanced Schott
8 double basses - advanced SKU: HL.49017708 Composed by Bertold Hummel. T...(+)
8 double basses - advanced SKU: HL.49017708 Composed by Bertold Hummel. This edition: Saddle stitching. Sheet music. String. Score and parts. Composed 1978. Op. 66. 152 pages. Duration 23'. Schott Music #KBB12. Published by Schott Music (HL.49017708). ISBN 9790001156981. UPC: 884088452476. 9.5x12.0x0.4 inches. This four-movement piece was designed as a double quartet and, as the title implies, is like a little symphony. The varied sound is the result of harmonics, glissandos, pizzicatos, fingerboard and instrument body tapping, solo and ensemble playing. The musical palette ranges from lyrical to jazz, from pathos to absurdity.'Sinfonia piccola' was premiered by students of the Wurzburg Music Academy at the First International Double Bass Competition and Workshop in 1978 on the Isle of Man.* This work is part of the Hummel Bass Ensemble Project. $81.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Psalm 23 D 706 [Op. posth. 132] Breitkopf & Härtel
Female voices with/without accomp. SKU: BR.CHB-5362-02 Gott ist mein H...(+)
Female voices with/without accomp. SKU: BR.CHB-5362-02 Gott ist mein Hirt. Composed by Franz Schubert. Choir; stapled. Chor-Bibliothek (Choral Library). Psalm; Romantic. Choral score. 8 pages. Duration 5'. Breitkopf and Haertel #ChB 5362-02. Published by Breitkopf and Haertel (BR.CHB-5362-02). ISBN 9790004412923. 7.5 x 10.5 inches. German. Schubert's setting of Psalm 23 Gott ist mein Hirt (The Lord Is My Shepherd) D 706 was originally intended for a quartet of female voices, but already performed by women's choirs regularly in the 19th century. It was composed by Schubert in December 1820 for the pupils of the singing class of Anna Frohlich at the Vienna Conservatory, who performed it regularly from 1821 onwards in the concerts for conservatory exams. The first public performance took place in 1828 at the Vienna Musikverein, again four years later it was published posthumously by Diabelli. With this piece, Schubert ended a personally unsuccessful year 1820 in which he was plagued by a compositional crisis and even received a warning for slandering the authorities. The lyrical and multi-layered piano accompaniment of Schubert's original is interpreted in a colorful way in the arrangement by Hans Zender for an orchestra with instruments such as marimba, glockenspiel, mandolin and celesta, thereby giving the piece a special appeal. The choral score with piano part can also be used for this arrangement. $7.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Psalm 23 D 706 [Op. posth. 132] Breitkopf & Härtel
Female voices with/without accomp. SKU: BR.CHB-5362 Gott ist mein Hirt...(+)
Female voices with/without accomp. SKU: BR.CHB-5362 Gott ist mein Hirt. Composed by Franz Schubert. Choir; stapled. Chor-Bibliothek (Choral Library). Psalm; Romantic. Sheet Music. Duration 5'. Breitkopf and Haertel #CHB 5362. Published by Breitkopf and Haertel (BR.CHB-5362). ISBN 9790004412923. 7.5 x 10.5 inches. German. Schubert's setting of Psalm 23 Gott ist mein Hirt (The Lord Is My Shepherd) D 706 was originally intended for a quartet of female voices, but already performed by women's choirs regularly in the 19th century. It was composed by Schubert in December 1820 for the pupils of the singing class of Anna Frohlich at the Vienna Conservatory, who performed it regularly from 1821 onwards in the concerts for conservatory exams. The first public performance took place in 1828 at the Vienna Musikverein, again four years later it was published posthumously by Diabelli. With this piece, Schubert ended a personally unsuccessful year 1820 in which he was plagued by a compositional crisis and even received a warning for slandering the authorities. The lyrical and multi-layered piano accompaniment of Schubert's original is interpreted in a colorful way in the arrangement by Hans Zender for an orchestra with instruments such as marimba, glockenspiel, mandolin and celesta, thereby giving the piece a special appeal. The choral score with piano part can also be used for this arrangement. $7.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Celebrate The Resurrection Story Choral SATB SATB, Piano Carl Fischer
(For Four-Part Chorus of Mixed Voices and Keyboard with Optional Brass Quartet)....(+)
(For Four-Part Chorus of Mixed Voices and Keyboard with Optional Brass Quartet). By Patrick M. Liebergen. For SATB, Keyboard, Brass Quartet. Patrick M. Liebergen Masterworks Series. Classical. Piano/Vocal Score. Standard notation. 12 pages
$2.50 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| The Sunday Soloist - Volume 4 Piano, Voice [Sheet music] Hal Leonard
(12 Hymn Arrangements for Medium Voice and Keyboard). Arranged by Benjamin Harla...(+)
(12 Hymn Arrangements for Medium Voice and Keyboard). Arranged by Benjamin Harlan, Lee Dengler, Lloyd Larson, and Phillip Keveren. Sacred Folio. 64 pages. Word Music #080689549281. Published by Word Music
$19.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Encounters VI Theodore Presser Co.
Chamber Music Percussion, Percussion 1, Percussion 2, Percussion 3, Percussion 4...(+)
Chamber Music Percussion, Percussion 1, Percussion 2, Percussion 3, Percussion 4 SKU: PR.114409860 Concertino for Roto Toms and Percussion Quartet. Composed by William Kraft. Encounters. Contemporary. Set of Score and Parts. With Standard notation. Composed 1976. 27+12+10+10+10+10 pages. Duration 10 minutes. Theodore Presser Company #114-40986. Published by Theodore Presser Company (PR.114409860). UPC: 680160014644. Here I have adapted a standard musical form to a contemporary medium. The concertino is a small concerto: a one-movement work that draws upon the basic principles of the concerto form - two bodies of sound which at times compete, contrast, or act together. The piece explores the musical possibilities of Roto-toms. The sound of these drums is a cross between a tom-tom and a timpani, and their pitch is changed by rotating the drum. During the course of the work, the various effects used include pitch and fingernail glissandi; playing on the rims; and playing on the heads with fingers, brushes, timpani sticks, wood mallets or rattan. Harmonics on the octave and the fourth above the fundamental pitch are produced by the drums when weights (in this case, small pitched cymbales called crotales) are placed in the center of the drum heads. In return the drum itself acts a resonator for the crotales, which also have a fundamental pitch when played on the face and a partial a fifth above when played on the center dome. The opening section of the concertino introduces a motive, played by the soloist, while the ensemble sustains a bowed chord on the vibraphone. Following this cadenza-like introduction, the piece gradually moves into a bright 6/8 tempo that is characterized by constant sixteenth notes in all parts. After a brief period of interaction, the ensemble continues its sixteenth notes patterns and the soloist plays and improvised solo. Next, an interlude is presented by the ensemble which leads to a dramatic recapitulation by the soloist of the motivic material. A thematically-derived coda concludes the work. Encounters VI, commissioned by Remo Belli, is dedicated to Jennifer Kraft, the composer's daughter. The premiere performance took place in 1976 at the MENC National Convention in Atlantic City, New Jersey, and was performed by the Temple University Percussion Ensemble conducted by Glenn Steele. --William Kraft. $46.99 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Melange Theodore Presser Co.
Chamber Music Bass Clarinet, Celesta, Cello, Clarinet, Flute, Percussion, Piano,...(+)
Chamber Music Bass Clarinet, Celesta, Cello, Clarinet, Flute, Percussion, Piano, Violin, alto Flute SKU: PR.11441006S Composed by William Kraft. World Premiere: Dallas. Contemporary. Full score. With Standard notation. Composed 1985. 29 pages. Theodore Presser Company #114-41006S. Published by Theodore Presser Company (PR.11441006S). UPC: 680160592838. 8.5 x 11 inches. The solo of the opening movement is a cadenza for four suspended cymbals played in a wide variety of ways - on the dome, the face, the edge; with the tip, the shank, or the ball of the stick; with a metal rod; ect. The metric stucture of this movement is utilized as framework in the third and fourth movements, creating a partial isometric relationshiop. Flute and clarinet form the Duet of the movement, with light accompaniment from the rest of the ensemble. The Quartet of Movement Three is made up of violin, cello, piano and percussion. Towards the center of this movement, two duets are formed between the violin/cello and the percussion/piano, wherein they function at different, though related, speeds. The isometric relationship is more fully developed in the fourth movement where the actual metric structure of the cymbal cadenza is duplicated while the clarinet and percussion perform the rhythmic structure of the first two large segments of the cymbal cadenza and there is also a suggested augmented version in the piano part. All this leads to a rich interplay of varied and specific material from the cymbal cadenza, concluding with a large section of bell-like sounds. $29.99 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Listen To Scandinavia [Sheet music + CD] Wilhelm Hansen
SKU: BT.WH30994 Composed by Brita Bremberg and Gro Shetelig. Book with CD...(+)
SKU: BT.WH30994 Composed by Brita Bremberg and Gro Shetelig. Book with CD. Composed 2014. Edition Wilhelm Hansen #WH30994. Published by Edition Wilhelm Hansen (BT.WH30994). ISBN 9788759818466. English. Listen To Scandinavia features 14 different listening exercises in Nordic music, from Edvard Grieg to Per Nørgård. English version. $34.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Marcel Tournier: Intermediate Pieces for Solo Harp, Volume II Carl Fischer
Chamber Music harp SKU: CF.H84 Composed by Marcel Tournier. Edited by Car...(+)
Chamber Music harp SKU: CF.H84 Composed by Marcel Tournier. Edited by Carl Swanson. Collection - Score. Carl Fischer Music #H84. Published by Carl Fischer Music (CF.H84). ISBN 9781491165539. UPC: 680160924530. Marcel Tournier (1879–1951) was one of the most important harpist/composers in the history of the harp. Over his long career, he added a significant catalogue of very beautiful works to the harp repertoire. Many of his solo works, almost one hundred, have been consistently in print since they were first published. But in recent years harpist Carl Swanson has discovered a treasure trove of pieces by Tournier heretofore unknown and unpublished. These include the Déchiffrages in this edition, as well as songs set for voice, harp, and string quartet, and ensemble arrangements of some of his most beloved works.All of the works that Carl Swanson found were in manuscript only. With the help of the great harpist Catherine Michel, he has put these pieces into playable form, and they are being published for the very first time. He and Catherine often had to re-notate passages to show clearly how they could be played, adding fingerings and musical nuances, tempos, pedals, and pedal diagrams.Tournier wrote these pieces when he was in his 20s, and before he became the impressionistic composer those familiar with his work know so well. They are written in the late nineteenth-century romantic style that was being taught at that time at the Paris Conservatory. They are beautiful short, intermediate level pieces by a first rate composer, and add much needed repertoire to that level of playing. Marcel Tournier (1879–1951) was one of the most important harpist/composers in the history of the harp. He graduated from the Paris Conservatory with a first prize in harp in 1899. He also studied composition there and won a second prize in the prestigious Prix de Rome competition, as well as a first prize in the Rossini competition, another major composition competition of the day. From 1912 to 1948 he taught the harp class at the Paris Conservatory. But composition, and almost entirely, composition for the harp, was the main focus of his life. His published works, including many works for solo harp, a few for harp and other instruments, and several songs, number around one hundred pieces.In 2019, while researching Tournier for my edition MARCEL TOURNIER: 10 Pieces for Solo Harp, I discovered that there was a significant list of pieces by this composer that had never been published and were not included on any inventory of his music. Principal on this list were his déchiffrages (pronounced day-she-frahge, like the second syllable in the word garage).The word déchiffrage means sight-reading exercise, and that was their original purpose. Tournier numbered and dated these pieces, with dates ranging from 1900 to 1910, indicating that they were in all likelihood written for Alphonse Hasselmans’ class at the Paris Conservatory. Tournier was probably told how long to make each one, and how difficult. They range in length from two to four pages, with only one in the whole series extending to five, and from thirty to fifty-five measures, with only one extending to eight-five. The level of difficulty for the whole series is intermediate, with some at the easier end, and others at the middle or upper end.We don’t know if they were intended to test students trying to enter the harp class, or if they were used to test students in the class as they played their exams. The fact that they were never published means that students had to not only sight read them, but sight read them in manuscript form!I worked from digital images of the original manuscripts, which are in the private music library of a harpist in France. She had twenty-seven of these pieces, and this edition is the second in a series of three that will publish, for the first time, all of the ones that I have found thus far. The manuscripts themselves consist of little more than notes on the page: no pedals written in, no fingerings, few if any musical nuances and tempo markings, and no clear indication as to which hand plays which notes. These would have been difficult to sight read indeed! My collaborator Catherine Michel and I added musical nuances, fingerings, pedals and pedal diagrams, and tempo indications to put them into their current condition.At the time these were written, Tournier would have been in his twenties, having just graduated from the harp class himself (1899), and might still have been in the composition class. These are the earliest known pieces that he wrote, and they were written at the very beginning of a cultural revolution and upheaval in Paris that was to completely and profoundly alter musical composition. Tournier himself would eventually be caught up in this new way of composing. But not yet.All of the déchiffrages are written in the late romantic style that was being taught at that time at the Paris Conservatory. Each one is built on a clear musical idea, and the variety over the whole series makes them wonderful to listen to as well as to learn. They are also great technical lessons for intermediate level players.The obvious question is: Why didn’t Tournier publish these pieces, and why didn’t he list them on his own inventory of his music? Actually, four of them were published, with small changes, as his collection Four Preludes, Op. 16. These came from the ones that will be in volume three of this series from Carl Fischer. His first large piece, Theme and Variations, was published in 1908, and his two best known and frequently played pieces, Féerie and Au Matin, followed in 1912 and 1913 respectively. We can only speculate because there is so much still unknown about Tournier and about these unpublished pieces. He may have looked at them, fresh out of school as he was, as simply a way to make some quick money. The first several pieces that he did publish are much longer than any of the déchiffrages. So it could be that, because of their shorter length, as well as the earlier musical style that he was moving away from, he chose not to publish any more of them. We may never know the full story. But all these years later, more than a century after they were composed, we can listen to them for their own merits, and not measured against whatever else was going on at the time. The numbers on these pieces are the ones that Tournier assigned to them, and the gaps between some of the numbers suggest that there are perhaps thirty or more of these pieces still to be found, if they still exist. They will, in all likelihood, be found, as these were, in private collections of harp music, not in institutional libraries. We can only hope that more of them will be located in years to come.—Carl SwansonGlossary of French Musical TermsTournier was very precise about how he wanted his pieces played, and carefully communicated this with many musical indications. He used standard Italian words, but also used French words and phrases, and occasionally mixed both together. It is extremely important to observe and understand everything that he put on the page.Here is a list of the French words and phrases found in the pieces in this edition, with their translation.bien chanté well sung, melodiousdécidé firm, resolutediminu peu à peu becoming softer little by littleen diminuant becoming softeren riten. slowing downen se perdant dying awayGaiement gayly, lightlygracieusement gracefully, elegantlyLéger light, quickLent slowmarquez le chant emphasize the melodyModéré at a moderate tempopeu à peu animé more lively, little by littleplus lent slowerRetenu held backsans lenteur without slownesssans retinir without slowing downsec drily, abruptlysoutenu sustained, heldtrès arpegé very arpeggiatedTrès Modéré Very moderate tempoTrès peu retenu slightly held backTrès soutenu very sustainedun peu retenu slightly held back. $19.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Yo! Advance Music
4-5 Saxophones (A(S)ATTBar) SKU: AP.1-ADV7554 For 4-5 Saxophones A(S)A...(+)
4-5 Saxophones (A(S)ATTBar) SKU: AP.1-ADV7554 For 4-5 Saxophones A(S)ATTBar. Composed by André Cimiotti. Quartet; Solo Small Ensembles; Woodwind - Saxophone Quartet. Advance Music. Funk; Jazz. Score and Part(s). Advance Music #01-ADV7554. Published by Advance Music (AP.1-ADV7554). ISBN 9783892216582. UPC: 805095075540. English. This piece about joy, funk, and groove is fun to play. It was written in 1994, inspired by the music of Bob Mintzer and it features the tenor saxophone (improvised solo and written counterpoint lines). The original version for five saxophones is actually a piece for quartet and soloist. In the four saxophone version, the tenor solo part is integrated in the quartet and the soloist plays in the ensemble. The whole piece is based on clear rhythmic and melodic motives, which develop and flow from one part into the other, thus creating a funky groove. $26.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Claude Debussy: Nocturne Violin and Piano Schott
Violin & Orchestra Reduction (Piano). Composed by Claude Debussy (1862-1...(+)
Violin & Orchestra Reduction
(Piano). Composed by Claude
Debussy (1862-1918) and
Robert Orledge. Arranged by
Robert Orledge. String.
Softcover. 34 pages. Schott
Music #VLB214. Published by
Schott Music
$26.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Piano Ensembles - Level 4 Piano ensembles [Sheet music] Hal Leonard
Hal Leonard Student Piano Library. Arranged by Phillip Keveren. Educational Pian...(+)
Hal Leonard Student Piano Library. Arranged by Phillip Keveren. Educational Piano Library. Book only. Size 9x12 inches. 32 pages. Published by Hal Leonard.
$14.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Music of Dogon A.D. Subito Music
Critical Edition SKU: SU.90920170 Critical Edition. Composed by Ju...(+)
Critical Edition SKU: SU.90920170 Critical Edition. Composed by Julius Hemphill. Score & Parts. Subito Music Corporation #90920170. Published by Subito Music Corporation (SU.90920170). Critical Edition edited by Marty EhrlichDogon A.D. Rites The Painter The Hard Blues In 1972, Julius Hemphill brought a quartet into a studio in St. Louis, Mo, to record four compositions for release on his own Mbari label. This recording, Dogon A.D. introduces Hemphill's brilliant composing and dynamic alto saxophone playing to a wider world, facilitated by its release in 1976 on Arista Freedom records. Dogon A.D. is one of the most critically acclaimed recordings of its decade.. (The composition The Hard Blues is recorded the same day, and finds its release on Hemphill’s first Arista/Freedom recording, Coon Bid’Ness(1975). Hemphill returns to these compositions throughout his career, expanding them with new parts and new orchestrations. This edition presents the range of compositional work Hemphill did with them in the small jazz ensemble context. Each piece is playable with the original sax/trumpet/cello/drums instrumentation, with guitars, bass, and other instruments added depending on the work. asx, tpt, vibr, 2gtr, vc, cb, drs Composed: 1970 Published by: Subito Music Publishing. $49.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Angel Songs Carus Verlag
SKU: CA.744400 Composed by Peter Schindler. Contemporary Choir Music. Sec...(+)
SKU: CA.744400 Composed by Peter Schindler. Contemporary Choir Music. Secular choral music. Full Score. Carus Verlag #CV 07.444/00. Published by Carus Verlag (CA.744400). ISBN M-007-24692-1. Text: Peter Schindler; Eduard Morike; Maik Brandenburg; Hugo Ball; Friedrich Ruckert; Adelheid Wette. Poets and composers have regularly been inspired by angels for texts, images or melodies. Peter Schindler has set to music an angel song cycle based on the wonderful lyrics of Hugo Ball, Martin Luther, Eduard Morike, Friedrich Ruckert, from Des Knaben Wunderhorn, as well as Psalm 91, which can be performed at any time of the year, as a whole or partially, as a concert interlude or an encore, and of course during Christmastime. The six angel songs can be performed with different vocal settings (1- to 4-part S, SA, SSA or SATB) and piano accompaniment. All four vocal versions can be combined as desired and sung simultaneously, as well as - additionally or alternatively - with string quartet/quintet. For each song there is a descant notated in C or B flat ad lib. In this way, the songs can be compiled individually for singers of all ages and easily rehearsed and performed. All possibilities are open for the joint concert experience of adult and children's choirs. $28.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| The Complete Consort Music Edition HH
Violins; viols; consort SKU: HH.HH251-FSP Composed by Maurice Webster. Ed...(+)
Violins; viols; consort SKU: HH.HH251-FSP Composed by Maurice Webster. Edited by John Cunningham and Peter Holman. Violins; Viols; Consort. Full score and parts. Edition HH Music Publishers #HH251-FSP. Published by Edition HH Music Publishers (HH.HH251-FSP). ISBN 9790708092032. The five three part (SSB) and nine four part (SSTB) dances in this edition represent the complete surviving consort music of Maurice Webster. Webster, a skilled composer with a distinctive style, appears to have been the main catalyst for introducing the 'string quartet' scoring in dance music to England in the 1620s. The development of this idiom had a significant impact on the music of his contemporaries such as Simon Ives, Charles Coleman and William Lawes, who fully embraced it by the 1630s. $51.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
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