| Renaissance Dances and Fantasias [Sheet music + CD] Music Minus One
Renaissance Dances and Fantasias. For flute, oboe, recorder (soprano), or violin...(+)
Renaissance Dances and Fantasias. For flute, oboe, recorder (soprano), or violin. Renaissance and Play Along. Sheet music and accompaniment CD. Solo part and four-part score. Published by Music Minus One
(10)$14.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Accent on Performance Classical Collection Concert band Alfred Publishing
(22 Full Band Arrangements Correlated to Accent on Achievement (Oboe)). Arranged...(+)
(22 Full Band Arrangements Correlated to Accent on Achievement (Oboe)). Arranged by John O'Reilly and Mark Williams. Concert Band. For Oboe. Band Supplement; Book; Masterworks. Accent on Performance. Masterwork Arrangement. 24 pages. Published by Alfred Music
$6.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Renaissance Dances [Score and Parts] - Intermediate Forton Music
Double Reed Quartet - Intermediate SKU: FT.FM162 Composed by Tylman Susat...(+)
Double Reed Quartet - Intermediate SKU: FT.FM162 Composed by Tylman Susato. Arranged by Robert Rainford. Score and parts. Forton Music #FM162. Published by Forton Music (FT.FM162). ISBN 9790570480616. Flexible 4 part double reed ensemble In four movements - Ronde, Saltarello, Pavane and Ronde. Ideal for less experienced players - technically straightforward and still rewarding to play. Part one is quite high for both oboe and bassoon, the other parts are easier at about grade 2/3 standard. $29.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Swiss renaissance dances [Score] Amadeus Verlag
10 wind instruments and percussion (2 piccolos, 2 oboes (2nd also English horn),...(+)
10 wind instruments and percussion (2 piccolos, 2 oboes (2nd also English horn), 2 bassoons, trumpet in C, 2 horns, trombone, 2 percussion players (3 kettle-drums, side drum, Basle drum, tambourine)) SKU: M7.BP-2069 Composed by Raymond Meylan. Sheet music. Score. Amadeus Verlag #BP 2069. Published by Amadeus Verlag (M7.BP-2069). ISBN 9790015206900. $19.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| 50 Renaissance and Baroque Standards - English version [CD] - Beginner Anne Fuzeau Productions
With Variants, Examples and Advice for Playing and Improvising on any instrument...(+)
With Variants, Examples and Advice for Playing and Improvising on any instrument. Edited by Pascale Boquet, Gerard Rebours. Music Books/CDs. Teaching Works. Level: Grade 0. 144 pages. Published by Editions Fuzeau Classique - France (French import).
$26.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Royal Coronation Dances Concert band [Score and Parts] - Easy Manhattan Beach Music
Concert band - Grade 3 SKU: MH.1-59913-054-8 Composed by Bob Margolis. Su...(+)
Concert band - Grade 3 SKU: MH.1-59913-054-8 Composed by Bob Margolis. Suitable for advanced middle school, high school, community and college bands. Conductor score and set of parts. Duration 4:45. Published by Manhattan Beach Music (MH.1-59913-054-8). ISBN 9781599130545. Royal Coronation Dances is the first sequel to the Fanfare Ode & Festival, both being settings of dance music originally arranged by Gervaise in the mid 16th-century (the next sequel is The Renaissance Fair, which uses music of Susato and Praetorius). Fanfare Ode & Festival has been performed by many tens of thousands of students, both in high school and junior high school. I have heard that some of them are amazed that the music they are playing was first played and danced to over 400 years ago. Some students tend to think that music started with Handel and his Messiah to be followed by Beethoven and his Fifth Symphony, with naught in between or before of consequence. Although Royal Coronation Dances is derived from the same source as Fanfare Ode & Festival, they are treated in different ways. I envisioned this new suite programmatically -- hence the descriptive movement titles, which I imagined to be various dances actually used at some long-ago coronation. The first movement depicts the guests, both noble and common, flanked by flag and banner bearers, arriving at the palace to view the majestic event. They are festive, their flags swirling the air, their cloaks brightly colored. In the second movement, the queen in stately measure moves to take her place on the throne as leader and protector of the realm. In the third movement, the jesters of the court entertain the guests with wild games of sport. Musically, there are interesting sonorities to recreate. Very special attention should be given to the tambourine/tenor drum part in the first movement. Their lively rhythms give the movement its power. Therefore they should be played as distinctly and brilliantly as possible. The xylophone and glockenspiel add clarity, but must not be allowed to dominate. Observe especially the differing dynamics; the intent is to allow much buzzing bass to penetrate. The small drum (starting at meas. 29) should be played expressively, with attention to the notated articulations, with the brass light and detached, especially in a lively auditorium. It is of some further interest that the first dance is extremely modal. The original is clearly in G mixolydian mode (scale: G-A-B-C-D-E-F-G). However, other editors might put in F-sharps in many places (changing the piece almost to G major), in the belief that such ficta would have been automatically put in by the 16th-century performers as they played. I doubt it. I have not only eschewed these within the work, but even at the cadences. So this arrangement is most distinctly modal (listen to the F-naturals in meas. 22 and 23, for instance), with all the part-writing as Gervaise wrote it. In the second movement, be careful that things do not become too glued together. In the 16th century this music might have been played by a consort of recorders, instruments very light of touch and sensitive to articulation. Concert band can easily sound heavy, and although this movement has been scored for tutti band, it must not sound it. It is essential, therefore, that you hear all the instruments, with none predominating. Only when each timbre can be heard separately and simultaneously will the best blend occur, and consequently the greatest transparency. So aim for a transparent, spacious tutti sound in this movement. Especially have the flutes, who do this so well, articulate rather sharply, so as to produce a chiffing sound, and do not allow the quarter-notes to become too tied together in the entire band. The entrance of the drums (first tenor, then bass) are events and as such should be audible. Incidentally, this movement begins in F Major and ends in D Minor: They really didn't care so much about those things then. The third movement (one friend has remarked that it is the most Margolisian of the bunch, but actually I am just getting subtler, I hope) again relies upon the percussion (and the scoring) to make its points. Xylophone in this movement is meant to be distinctly audible. Therefore, be especially sure that the xylophone player is secure in the part, and also that the tambourine and toms sound good. This movement must fly or it will sink, so rev up the band and conduct it in 1 for this mixolydian jesting. I suppose the wildly unrelated keys (clarinets and then brass at the end) would be a good 16th-century joke, but to us, our put-up-the-chorus-a-half-step ears readily accept such shenanigans. Ensemble instrumentation: 1 Full Score, 1 Piccolo, 4 Flute 1, 4 Flute 2 & 3, 2 Oboe 1 & 2, 2 Bassoon 1 & 2, 1 Eb Clarinet, 4 Bb Clarinet 1, 4 Bb Clarinet 2, 4 Bb Clarinet 3, 2 Eb Alto Clarinet, 1 Eb Contra Alto Clarinet, 3 Bb Bass & Bb Contrabass Clarinet, 2 Eb Alto Saxophone 1, 2 Eb Alto Saxophone 2, 2 Bb Tenor Saxophone, 2 Eb Baritone Saxophone, 3 Bb Trumpet 1, 3 Bb Trumpet 2, 3 Bb Trumpet 3, 4 Horn in F 1 & 2, 2 Trombone 1, 4 Trombone 2 & 3, 3 Euphonium (B.C.), 2 Euphonium (T.C.), 4 Tuba, 1 String Bass, 1 Timpani (optional), 2 Xylophone & Glockenspiel, 5 Percussion. $95.00 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Tapestries Concert band [Score] - Intermediate Carl Fischer
Concert Band Alto Saxophone I, Alto Saxophone II, Baritone Saxophone, Bass, Bass...(+)
Concert Band Alto Saxophone I, Alto Saxophone II, Baritone Saxophone, Bass, Bass Clarinet, Bassoon I, Bassoon II, Clarinet I, Clarinet II, Flute I, Flute II, Horn I, Horn II, Horn III, Horn IV, Oboe I, Oboe II, Tenor I, Tenor II, Tenor Saxophone, Trumpet I, Trumpet II - Grade 4 and up SKU: CF.SPS30F Composed by Mike Forbes. SWS. Carl Fischer Symphonic Performance Series. Full score. With Standard notation. Carl Fischer Music #SPS30F. Published by Carl Fischer Music (CF.SPS30F). ISBN 9780825864889. UPC: 798408064884. 9 X 12 inches. Using the musical styles and forms of the Medieval and Renaissance periods, Mike Forbes has written a striking and powerful three movement suite that is a major addition to serious band literature. The music is entirely original, but the style and approach is similar to such pieces as the Courtly Dances from Gloriana by Benjamin Britten, and makes effective use of the coloristic possibilities of the modern concert band. $25.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Selected Dances from Terpsichore Volume 1 [Score and Parts] - Intermediate Forton Music
Double Reed Quartet (2 oboes, english horn/bassoon, bassoon) - Intermediate S...(+)
Double Reed Quartet (2 oboes, english horn/bassoon, bassoon) - Intermediate SKU: FT.FM105 Composed by Michael Praetorius. Arranged by Robert Rainford. Score and parts. Forton Music #FM105. Published by Forton Music (FT.FM105). ISBN 9790570480043. Double Reed Quartet - 2 oboes, cor anglais or bassoon, Bassoon. A selection of dances from Michael Praetorius' famous Terpsichore collection. These nine short pieces present the music of the Renaissance for the wind player. Not difficult, although some of the more unusual time signatures (6/4, 3/2) may be unfamiliar to younger players. About grade 3/4 upwards. $22.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Tapestries Concert band [Score and Parts] - Intermediate Carl Fischer
Concert Band Bass Clarinet, Bass Drum, Bass Trombone, Bassoon 1, Bassoon 2, Clar...(+)
Concert Band Bass Clarinet, Bass Drum, Bass Trombone, Bassoon 1, Bassoon 2, Clarinet 1, Clarinet 2, Euphonium, Euphonium T.C., Finger Cymbals, Flute 1, Flute 2, Horn 1, Horn 2, Horn 3, Horn 4, Mark Tree, Oboe 1, Oboe 2, Percussion 1, Percussion 2 and more. - Grade 4 and up SKU: CF.SPS30 Composed by Mike Forbes. FS-SWS. Carl Fischer Symphonic Performance Series. Classical. Score and Set of Parts. With Standard notation. Carl Fischer Music #SPS30. Published by Carl Fischer Music (CF.SPS30). ISBN 9780825864872. UPC: 798408064877. 9 X 12 inches. Key: Eb major. Using the musical styles and forms of the Medieval and Renaissance periods, Mike Forbes has written a striking and powerful three movement suite that is a major addition to serious band literature. The music is entirely original, but the style and approach is similar to such pieces as the Courtly Dances from Gloriana by Benjamin Britten, and makes effective use of the coloristic possibilities of the modern concert band. $135.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Dance of the Crows - Beginner Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet, Euphonium, Euphonium T....(+)
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet, Euphonium, Euphonium T.C., Flute, Horn, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Percussion 3, Shaker, Snare Drum, Tom-tom, Trombone, Trumpet, Tuba, alto Saxophone and more. - Grade 1 SKU: CF.BPS148 Composed by Kevin Hilbun. Set of Score and Parts. Carl Fischer Music #BPS148. Published by Carl Fischer Music (CF.BPS148). ISBN 9781491163443. UPC: 680160922239. Dance of the Crows was composed with the image of Renaissance-style dances in mind. In addition, some Danse Macabre concept started to form in my mind. I could see this melody as a part of some larger narrative in which a character attends a dance, and everything is beautiful and in sync. But when the character starts to look closer, things aren't what they seem. The dancers are actually animalistic hybrids, and the decorations are mockeries of life rather than celebrations of life. The food is inedible, and the shadows seem to have eyes. And that's why, though the melody is simple and largely on the beat, it elicits an uncomfortable and offbeat feeling.Performance Notes:The melody should have a calm almost restrained feeling until m. 17 when things should take a slightly more aggressive turn. Be sure to bring out the dynamics during the percussion break at m. 29 and the outro at m. 41. Feel free to use as many shaker-like instruments as desired in the Percussion 2 part. Use the largest possible tom-tom for the Percussion 3 part. Be sure to have the bass drum player mute all staccato notes with the hand. $53.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Dance of the Crows [Score] Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet, Euphonium, Euphonium T....(+)
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet, Euphonium, Euphonium T.C., Flute, Horn, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Percussion 3, Shaker, Snare Drum, Tom-tom, Trombone, Trumpet, Tuba, alto Saxophone and more. SKU: CF.BPS148F Composed by Kevin Hilbun. Full score. 12 pages. Carl Fischer Music #BPS148F. Published by Carl Fischer Music (CF.BPS148F). ISBN 9781491163849. UPC: 680160922635. Dance of the Crows was composed with the image of Renaissance-style dances in mind. In addition, some Danse Macabre concept started to form in my mind. I could see this melody as a part of some larger narrative in which a character attends a dance, and everything is beautiful and in sync. But when the character starts to look closer, things aren't what they seem. The dancers are actually animalistic hybrids, and the decorations are mockeries of life rather than celebrations of life. The food is inedible, and the shadows seem to have eyes. And that's why, though the melody is simple and largely on the beat, it elicits an uncomfortable and offbeat feeling.Performance Notes:The melody should have a calm almost restrained feeling until m. 17 when things should take a slightly more aggressive turn. Be sure to bring out the dynamics during the percussion break at m. 29 and the outro at m. 41. Feel free to use as many shaker-like instruments as desired in the Percussion 2 part. Use the largest possible tom-tom for the Percussion 3 part. Be sure to have the bass drum player mute all staccato notes with the hand. $7.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
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