SKU: HL.14004113
ISBN 9788759860328. 10.25x14.5x0.085 inches. English.
Niels Viggo Bentzon's Sonatina arranged for Alto Saxophone and Piano accompaniment from Opus 498. In this score the Saxophone part is written in the key of G.
SKU: HL.14014638
8.25x11.75x0.075 inches.
Mixed Bag. This highly acclaimed series provides a real opportunity for woodwind players of mixed ability to play together. It will work with as few or as many players as you like! Each arrangement will work with just three or four main parts. Part 1 is quite demanding but Parts 2 & 3 are easier. These parts can be played by just one or several players - it's up to you! Optional 'filler' parts are also included for beginners. These have very simple rhythms and notes (clarinet parts are all below the break) allowing young players to gain experience in ensemble playing. Mixed Bag gives you a score and double set of parts. Titles include arrangements of classical, romantic, modern and folk tunes. Mixed Bag - the answer for woodwind groups of mixed instrumentation, mixed ability and mixed tastes.
SKU: KN.17235
UPC: 822795172355.
Finally, a grade 3-4 trumpet quartet collection that has interesting and fun parts for all players! All works are suitable for recitals, concerts, and contest. Ten works spanning the Renaissance through ragtime are included.Contents:March Pontificale (Gounod); Sing We And Chant It (Morley); The Fiddler (Brahms); Fantasy On Scarborough Fair (traditional); Spinning Song (Ellmenreich); Now Is The Month Of Maying (Morley); Sonatina (Clementi); Te Deum (Charpentier); Can Can (Offenbach); Rag (Jarvis).
SKU: BT.EMBZ14967
Hungarian-English-German-French.
Sonatinas form a vital part of the teaching material for beginner and intermediate piano students. Compared to the great classical piano sonatas, they are technically and musically simpler and typically shorter. However, they still convey the basic elements of Classical style: the relation of melody to accompaniment, articulation, stylistically authentic playing, and correct interpretation. For the two volumes of Giraffe Piano, the most favoured and instructive of the sonatinas have been chosen. Volume 1 contains simpler pieces and Volume 2 is compromised of moderately difficult ones. Correct interpretation of the pieces is facilitated by added performance and fingeringmarks. Learning is helped along by clear presentation of the score, carefully placed page turns, and by inspiration from colour images showing the keyboard instruments of the 1720-1820 period for which the pieces were written. The most notable of them is the giraffe piano, after which the collection is named. Im Lehrstoff für Anfänger und fortgeschrittene Klavierschüler auf Mittelstufenniveau sind Sonatinen unverzichtbar. Sie sind technisch und musikalisch einfacher und vor allem kürzer als die großen klassischen Klaviersonaten, zugleich kann man an ihnengut die Grundelemente des klassischen Stils, das Verhältnis von Melodie und Begleitung, eine klare, stilgetreue Vortragsweise und die richtige Formgebung üben.
In den zwei Bänden des Giraffenklaviers haben wir die beliebtesten und auch für den Unterricht am meisten geeigneten Sonatinen zusammengestellt. Im 1. Band befinden sich leichte, im 2. mittelschwere Stücke. Den richtigen Vortrag der Stücke unterstützt der Herausgeber mit HIlfe von Artikulations- und Vortragszeichen sowie Fingersätzen. Über das klare Notenbild und die sorgsam gewählten Stellen zum Umblättern hinaus machen farbige Bilder von zeitgenössischen, zwischen 1720 und1820 gebauten Tasteninstrumenten, für die auch Stücke des Bandes geschrieben wurden, ihre Aneignung zu einem besonderen Erlebnis. Das eigentümlichste unter ihnen war das auf dem Umschlag abgebildete Giraffenklavier, das dem Album auch seinen Namen gab.
SKU: TL.TCL015976
ISBN 9780857365507.
Selected pieces for Trinity College London clarinet exams for 2017-2020, expertly graded and edited by leading music educators. This item contains both the full score and clarinet part.
SKU: HL.49013371
ISBN 9790001141451.
1. Stimme in B (1. Klarinette, 1. Flugelhorn, 1. Trompete), 2. Stimme in B (2. Klarinette, 2. Flugelhorn, 2. Trompete), 3. Stimme in Es (Alt-Saxophon, Waldhorn, Alt-Horn), 3. Stimme in B (1. Tenor-Saxophon, Bass-Trompete, 1. Tenor-Horn, 1. Posaune), 3. Stimme in C (1. Fagott, 1. Posaune), 4. Stimme in B (2. Tenor-Soxophon, 2. Tenor-Horn, Baryton, 2. Posaune), 4. Stimme in C (2. Fagott, Baryton, 2. Posaune), 5. Stimme in B (Baryton, Posaune - Violinschlussel), 5. Stimme in C (Tuba), 5. Stimme in Es (Bariton-Saxophon, Tuba - Violinschlussel), 5. Stimme in B (Tuba - Violinschlussel), 5. Stimme in C (3. Fagott, Baryton, 3. Posaune).
SKU: HL.44001055
UPC: 073999168402. 6.75x10.5 inches.
SKU: BT.1240-05-070-MS
ISBN 9789043140782. 9x12 inches. English-German-French-Dutch.
In the sixties Frank and Nancy Sinatra had a huge hit with thisdelightfully titled song. More recently it has been in the chartsagain with a version by Robbie Williams and Nicole Kidman.This arrangement for clarinet quartet will prove a most popularconcert item. Het duet Somethin’ Stupid, een nummer in cha-cha-chastijl, was al in de jaren zestig een hit voor Frank en Nancy Sinatra. Decennia later werd het opnieuw populair in de vertolking van Robbie Williams en Nicole Kidman. PeterKleine Schaars schreef voor vierstemmig klarinetensemble en optioneel slagwerk een fraai arrangement.Bereits in den 60er-Jahren des letzten Jahrhunderts landeten Frank und Nancy Sinatra einen Hit mit diesem Titel. Somethin’ Stupid ist einer der wenigen Songs, die das schnelllebige Pop-Business überleben werden. Viele Jahre später hatten Robbie Williams und Nicole Kidman Erfolg mit diesem Titel, den Roland Kernen für Klarinettenquartett mit optionalem Schlagzeug arrangierte. Dans les années 1960, Frank et Nancy Sinatra connaissent un immense succès avec la chanson Somethin’ Stupid, un duo aux délicats accents du cha-cha. Plus récemment, l’interprétation de Robbie Williams et de l’actrice Nicole Kidman a conquis les hit-parades du monde entier. Nel 1960, Frank e Nancy Sinatra conoscono un immenso successo con la canzone Somethin’ Stupid, un duo con delicati accenti cha-cha. Recentemente, l’interpretazione di Robbie Williams e Nicole Kidman conquista le hit-parades di tutto il mondo.
SKU: CF.YAS13F
ISBN 9780825848339. UPC: 798408048334. 8.5 X 11 inches. Key: G major.
IApart from some of his Sonatinas, Opus 36, Clementi's life and music are hardly known to the piano teachers and students of today. For example, in addition to the above mentioned Sonatinas, Clementi wrote sixty sonatas for the piano, many of them unjustly neglected, although his friend Beethoven regarded some of them very highly. Clementi also wrote symphonies (some of which he arranged as piano sonatas), a substantial number of waltzes and other dances for the piano as well as sonatas and sonatinas for piano four-hands.In addition to composing, Clementi was a much sought after piano teacher, and included among his students John Field (Father of the 'Nocturne'), and Meyerbeer.In his later years, Clementi became a very successful music publisher, publishing among other works the first English edition of Beethoven's Violin Concerto, in the great composer's own arrangement for the piano, as well as some of his string quartets. Clementi was also one of the first English piano manufacturers to make pianos with a metal frame and string them with wire.The Sonatina in C, Opus 36, No. 1 was one of six such works Clementi wrote in 1797. He must have been partial to these little pieces (for which he also provided the fingerings), since they were reissued (without the fingering) by the composer shortly after 1801. About 1820, he issued ''the sixth edition, with considerable improvements by the author;· with fingerings added and several minor changes, among which were that many of them were written an octave higher.IIIt has often been said, generally by those unhampered by the facts, that composers of the past (and, dare we add, the present?), usually handled their financial affairs with their public and publishers with a poor sense of business acumen or common sense. As a result they frequently found themselves in financial straits.Contrary to popular opinion, this was the exception rather than the rule. With the exception of Mozart and perhaps a few other composers, the majority of composers then, as now, were quite successful in their dealings with the public and their publishers, as the following examples will show.It was not unusual for 18th- and 19th-century composers to arrange some of their more popular compositions for different combinations of instruments in order to increase their availability to a larger music-playing public. Telemann, in the introduction to his seventy-two cantatas for solo voice and one melody instrument (flute, oboe or violin, with the usual continua) Der Harmonische Gottesdienst, tor example, suggests that if a singer is not available to perform a cantata the voice part could be played by another instrument. And in the introduction to his Six Concertos and Six Suites for flute, violin and continua, he named four different instrumental combinations that could perform these pieces, and actually wrote out the notes for the different possibilities. Bach arranged his violin concertos for keyboard, and Beethoven not only arranged his Piano Sonata in E Major, Opus 14, No. 1 for string quartet, he also transposed it to the key of F. Brahm's well-known Quintet in F Minor for piano and strings was his own arrangement of his earlier sonata for two pianos, also in F Minor.IIIWe come now to Clementi. It is well known that some of his sixty piano sonatas were his own arrangements of some of his lost symphonies, and that some of his rondos for piano four-hands were originally the last movements of his solo sonatas or piano trios.In order to make the first movement of his delightful Sonatina in C, Opus 36, No. 1 accessible to young string players, I have followed the example established by the composer himself by arranging and transposing one of his piano compositions from one medium (the piano) to another. (string instruments). In order to simplify the work for young string players, in the process of adapting it to the new medium it was necessary to transpose it from the original key of C to G, thereby doing away with some of the difficulties they would have encountered in the original key. The first violin and cello parts are similar to the right- and left-hand parts of the original piano version. The few changes I have made in these parts have been for the convenience of the string players, but in no way do they change the nature of the music.Since the original implied a harmonic framework in many places, I have added a second violin and viola part in such a way that they not only have interesting music to play, but also fill in some of the implied harmony without in any way detracting from the composition's musical value. Occasionally, it has been necessary to raise or lower a few passages an octave or to modify others slightly to make them more accessible for young players.It is hoped that the musical value of the composition has not been too compromised, and that students and teachers will come to enjoy this little piece in its new setting as much as pianists have in the original one. This arrangement may also be performed by a solo string quartet. When performed by a string orchestra, the double bass part may be omitted.- Douglas TownsendString editing by Amy Rosen.
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
SKU: PO.PEL12
ISBN 9781776605521.
This volume contains Lilburn's two piano sonatinas. Sonatina No.1 (1946) combines geometric patterning of classical forms with the distinctive simplicity of colour and line that the composer so admired in the work of the regionalist painters. The first movement hymns a fundamental vitality ‚Äì a fresh start in the morning land that is New Zealand; an almost geological majesty pervades the second movement and a three-note motive sets the finale in motion. Composed in the Autumn of 1962, Sonatina No.2, together with Symphony No.3, provides the fullest expression of Lilburn's last notated music before he turned to the electroacoustic medium. Spare, elegant and eloquent, both the sonatina and the symphony are rich and distinctive works that maintain a tension that keeps them taut as cords in our collective memory. Although the pianists who know the sonatina so well from the inside talk of its subtleties, beauty, delicacy and meaning, it will always be a work of immediate appeal, a work that is as much a delight to listen to as to play, a work that can be enjoyed as pure music.
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