| Horn Sonatas French Horn and Piano Breitkopf & Härtel
Horn and piano SKU: BR.EB-32113 Urtext. Composed by Camillo Schuma...(+)
Horn and piano SKU: BR.EB-32113 Urtext. Composed by Camillo Schumann. Solo instruments; stapled. Edition Breitkopf. The first edition of a forgotten treasure Sonata; Late-romantic. Score. 48 pages. Breitkopf and Haertel #EB 32113. Published by Breitkopf and Haertel (BR.EB-32113). ISBN 9790004186787. 9 x 12 inches. Schumann's horn sonatas were composed in 1936/37. Considering the slim repertoire offered horn players from this period, it is more than surprising that these two masterpieces could have slumbered for so long. Both sonatas are similar in structure, with op. 118 being one Schumann's few three-movement sonatas. The first movements of the pieces sparkle with melancholically lyrical melodies, whereas passages strongly marked rhythmically, variously shape the two outer movements. Virtuoso moments can be found, respectively, in the final movements, bringing the works to a brilliant close. The horn parts predominantly range within the full, sonorous middle register, where occasional outbursts up to the notated a flat'' are also not lacking. The clever handling of the balance of sounds, the possibilities on the early valve horn as well as the inner interweaving of themes differentiating horn and piano make the sonatas an exceedingly vivid testimony to Schumann's mature compositional art.
Schumann's horn sonatas are a crucial enhancement to each horn player's repertoire. The first edition of a forgotten treasure. $34.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Concerto for Horn and Orchestra KV 412/514 (386b) in D-Major French horn [Book + CD] - Intermediate Dowani
By W. A. Mozart (1756-1791). For Horn. DOWANI 3 Tempi Play Along - Horn. Artist:...(+)
By W. A. Mozart (1756-1791). For Horn. DOWANI 3 Tempi Play Along - Horn. Artist: Gleb Karpushkin - Horn; Konstantin Krimets - Conductor; Russian Philharmonic Orchestra - Orchestra accompaniment; Vitaly Junitsky - Piano. Level: Intermediate. Sheet Music with CD (3 Tempi Play Along). Published by Dowani International
$19.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| 101 Broadway Songs for Horn French horn Hal Leonard
Composed by Various. Instrumental Solo. Softcover. 112 pages. Published by Ha...(+)
Composed by Various.
Instrumental Solo.
Softcover. 112 pages.
Published by Hal Leonard
$16.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Sound Off Concert band - Intermediate Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Clarinet ...(+)
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Clarinet 3, Cymbals, Euphonium, Euphonium T.C., Flute 1, Flute 2, Horn 1, Horn 2, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Snare Drum, Timpani, Trombone 1, Trombone 2 and more. - Grade 3 SKU: CF.CPS212F March. Composed by John Philip Sousa. Arranged by Andrew Balent. Concert Band (CPS). This early Sousa march demonstrates his melodic gift and his use of counter melodies. Good ensemble balance, dynamic contrast, and proper articulation are vital for a good performance.Performance Time: 2:00. Full score. With Standard notation. 20 pages. Carl Fischer Music #CPS212F. Published by Carl Fischer Music (CF.CPS212F). ISBN 9781491153062. UPC: 680160910564. This early Sousa march demonstrates his melodic gift and his use of counter melodies. It contains his signature style, but in a different an unique was from him more well-know marches. $14.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Sound Off Concert band - Intermediate Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Clarinet ...(+)
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Clarinet 3, Cymbals, Euphonium, Euphonium T.C., Flute 1, Flute 2, Horn 1, Horn 2, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Snare Drum, Timpani, Trombone 1, Trombone 2 and more. - Grade 3 SKU: CF.CPS212 March. Composed by John Philip Sousa. Arranged by Andrew Balent. Concert Band (CPS). This early Sousa march demonstrates his melodic gift and his use of counter melodies. Good ensemble balance, dynamic contrast, and proper articulation are vital for a good performance.Performance Time: 2:00. Set of Score and Parts. With Standard notation. 8+8+4+8+16+16+4+4+4+4+4+4+8+8+8+4+4+6+6+6+8+1+1+4+2+4+20 pages. Duration 3 minutes, 8 seconds. Carl Fischer Music #CPS212. Published by Carl Fischer Music (CF.CPS212). ISBN 9781491152386. UPC: 680160909889. This early Sousa march demonstrates his melodic gift and his use of counter melodies. It contains his signature style, but in a different an unique was from him more well-know marches. $95.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Horn Trio in E-flat Major, Op. 40 Piano Trio: piano, violin, cello G. Henle
Piano, Violin, and Horn (with viola or cello instead of horn). Composed b...(+)
Piano, Violin, and Horn (with viola or cello instead of horn). Composed by Johannes Brahms (1833-1897). Edited by Katharina Loose-Einfalt. Henle Music Folios. Classical. Softcover. G. Henle #HN811. Published by G. Henle (HL.51480811).
$39.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Sound Off Brass Quintet: 2 trumpets, horn, trombone, tuba - Intermediate Cimarron Music Press
By John Philip Sousa. Arranged by Don Patterson. For Brass Quintet. Level: Grade...(+)
By John Philip Sousa. Arranged by Don Patterson. For Brass Quintet. Level: Grade 3. Published by Cimarron Music Press.
$18.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Premier Performance - French Horn Book 2 w/CD French horn [Sheet music + CD] Ed Sueta Music Publications
French Horn - 2 SKU: EB.1-930292-35-X Premier Performance. Instructional ...(+)
French Horn - 2 SKU: EB.1-930292-35-X Premier Performance. Instructional Method Book. Ed Sueta Music Publications #1-930292-35-X. Published by Ed Sueta Music Publications (EB.1-930292-35-X). ISBN 9781930292352. Premier Performance(r)is an innovative and comprehensive band method written with one primary goal:providing band directors with the most effective and logically sequenced instructional materials for young instrumentalists.Premier Performance(r) is carefully structured to develop the three cornerstones of outstanding musicianship: superior tone quality, accurate rhythm reading skills and technical facility.Strong emphasis is placed on rhythmic development since this may be the greatest challenge facing first and second year students.
Premier Performance(r) Book One and Book Two each offer instrument specific downloadable accompaniments.
The first accompaniment track features a professional musician playing the melody line so students can hear and emulate the sound of their own instrument. The second track eliminates the melody line and provides the background accompaniment so students may play independently. The accompaniments include solo and solo accompaniment for each student method book. $9.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Essential Elements for Band - Baritone T.C. Book 1 with EEi Tuba or Saxhorn [Sheet music + Audio access] Hal Leonard
Essential Elements. Play Along. Softcover Media Online. 48 pages. Published by H...(+)
Essential Elements. Play Along. Softcover Media Online. 48 pages. Published by Hal Leonard
$12.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Essential Technique 2000 Saxhorn or Euphonium [Sheet music + Audio access] Hal Leonard
Baritone B.C.. Essential Elements. Play Along. Softcover Media Online. 48 pages....(+)
Baritone B.C.. Essential Elements. Play Along. Softcover Media Online. 48 pages. Published by Hal Leonard
$12.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Essential Elements for Band - Baritone T.C. Book 2 with EEi Tuba or Saxhorn [Sheet music + Audio access] Hal Leonard
Baritone T.C.. Concert Band Method. Essential Elements. Play Along. Softcover Me...(+)
Baritone T.C.. Concert Band Method. Essential Elements. Play Along. Softcover Media Online. 48 pages. Published by Hal Leonard
$12.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Essential Elements 2000, Book 2 Tuba or Saxhorn [Sheet music + Audio access] Hal Leonard
Concert Band Method. Essential Elements 2000. Play Along. Softcover Media Online...(+)
Concert Band Method. Essential Elements 2000. Play Along. Softcover Media Online. 48 pages. Published by Hal Leonard
$12.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Foundations For Superior Performance, French Horn French horn [Sheet music] Kjos Music Company
By Jeff King. Edited by Richard Williams. Band Methods. Program-Technic Books. L...(+)
By Jeff King. Edited by Richard Williams. Band Methods. Program-Technic Books. Level: Book A,1. Music Book. Published by Neil A. Kjos Music Company.
$7.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Blast Off! Theodore Presser Co.
Orchestra Bass Trombone, Bassoon, Cello, Clarinet, Clarinet 1, Clarinet 2, Contr...(+)
Orchestra Bass Trombone, Bassoon, Cello, Clarinet, Clarinet 1, Clarinet 2, Contrabass, Contrabassoon, English Horn, Flute, Harp, Horn 1, Horn 2, Horn 3, Horn 4, Narrator, Oboe, Percussion, Piccolo, Timpani, Trombone 1, Trombone 2, Trumpet, Tuba, Viola and more. SKU: PR.416412370 For Narrator and Orchestra - Small Study Score. Composed by Daniel Dorff. Premiered March 31, 2000. Daniel Hege conducting the Haddonfield Symphony, narrated by Astronaut Kenneth Reightler, Jr. Study Score. With Standard notation. Composed 1999. 40 pages. Duration 9:30. Theodore Presser Company #416-41237. Published by Theodore Presser Company (PR.416412370). UPC: 680160092178. 9 x 12 inches. Ideal for family concerts about space travel and adventure, Dorff’s BLAST OFF! was commissioned by Lockheed Martin for narration by astronaut Kenneth Reightler; the score itself was a traveler on NASA’s mission STS 1000. The travelogue about a trip to space is also designed to teach about the sounds of each family of instruments; CD available on Bridge Records. $35.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Summit March Concert band Carl Fischer
By Harold Bennett. Arranged by Larry Clark. Concert Band. For Flute, Oboe, Flute...(+)
By Harold Bennett. Arranged by Larry Clark. Concert Band. For Flute, Oboe, Flute II, Clarinet I, Clarinet II, Bass Clarinet, Alto Saxophone, Tenor Saxophone, Baritone Saxophone, Trumpet I, Trumpet II, Horn, Tenor, Baritone (Bass Clef), Bassoon, Baritone ( Full Score
$10.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Nicholas McKaig : The Hunt Is Up! Choral SATB SATB A Cappella [Octavo] Santa Barbara Music Publishing
By Nicholas McKaig. For SATB choir (a cappella). Jo-Michael Scheibe Choral Serie...(+)
By Nicholas McKaig. For SATB choir (a cappella). Jo-Michael Scheibe Choral Series. Concert, General. Octavo. Published by Santa Barbara Music Publishing
$2.50 $2.375 (5% off) See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Blue Horizons - Advanced Carl Fischer
Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clar...(+)
Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clarinet 3, Contrabass Clarinet, English Horn, Flute 1, Flute 2, Horn 1, Horn 2, Horn 3, Horn 4, Oboe 1, Oboe 2, Piccolo, Trumpet 1, Trumpet 2, Trumpet 3, alto Saxophone 1 and more. - Grade 5 SKU: CF.SPS85 Composed by Jeremy Martin. Folio. Sps. Set of Score and Parts. 4+28+28+14+14+4+14+14+7+24+28+28+8+4+8+8+14+8+9+12+12+8+8+8+8+12+12+9+12+8+16+4+3+2+6+6+6+7+44 pages. Duration 7 minutes, 8 seconds. Carl Fischer Music #SPS85. Published by Carl Fischer Music (CF.SPS85). ISBN 9781491156421. UPC: 680160914968. 9 x 12 inches. Blue Horizons is a spirited tribute to the musical heritage of the United States Air Force. The main theme is a variation of the U.S. Air Force Song (Off We Go), with a secondary theme based on A Toast to the Host (the bridge of The Air Force Song). Throughout the work, fragments of other Air Force-related songs appear: Lord, Guard and Guide (the Air Force Hymn), Air Force Blue, and Those Magnificent Men in Their Flying Machines. The original request for this work was a daunting task: I was asked to create an Air Force companion piece to Robert Jager's Esprit de Corps that would mirror the style and spirit of that landmark work. The goal was to use elements of our various Air Force tunes in the same way that Jager incorporated The Marine's Hymn into his work - that is, to weave a musical tapestry of the Air Force's musical heritage without ever becoming a mere arrangement of the original material. As a former student of Robert Jager at Tennessee Technological University, I discussed my plans for the piece with him, shared my progress along the way, and sought his guidance as I had done so many times in the past. He was delighted that I managed to incorporate a few Jager-isms into the music, including one direct quote from Esprit de Corps. Although Blue Horizons was conceived as a dedication to the Air Force's musical legacy, it is also a personal homage to my teacher and friend, Robert Jager. Performance Notes * If only two flutists are available, omit the piccolo part and have them play Flute 1 and 2; in this case, Flute 1 should switch over to piccolo (still playing from the Flute 1 part) at m. 81 and back to regular flute at m. 114. If only covering the Flute 1 and 2 parts, Flute 2 should ignore indications to switch to piccolo and just play the entire work on regular flute. * Oboe 1 and 2 parts should be covered before adding the English Horn part. * The clarinet in Eb part should not be covered unless there are a sufficient number of players on the clarinet in Bb parts. * The trumpet cues in mm. 77-80 are only necessary if the horns need assistance finishing their soli phrase with enough strength to be heard. If you can hear them without extra support, leave the trumpets out. * From mm. 89-95, be sure the wind players with static eighth notes do not cover up the players with moving lines. * There is a strong tendency to rush m. 121. * During the oboe solo from mm. 157-168, ensure that the suspension/resolution lines in the bassoon and clarinet parts are heard; emphasize the importance of growing into the suspension with a slight crescendo. * In the scherzo section that begins at m. 217, be sure that each player knows how his/her part fits into the overall sound. I recommend isolating different textural items so the players can hear those parts on their own. (The bass line from mm. 243-260, for example, or the moving inner-voice line from mm. 251-260.) * In this same scherzo section, care should be taken to not play too loud and save a little strength for the climax fanfare at m. 279. * If you have an abundance of tubas, I would recommend having one or two of them play up an octave from mm. 243-271 if the lower part seems too heavy. Blue Horizons is a spirited tribute to the musical heritage of the United States Air Force. The main theme is a variation of the U.S. Air Force Song (Off We Go), with a secondary theme based on A Toast to the Host (the bridge of The Air Force Song). Throughout the work, fragments of other Air Force-related songs appear: Lord, Guard and Guide (the Air Force Hymn), Air Force Blue, and Those Magnificent Men in Their Flying Machines.The original request for this work was a daunting task: I was asked to create an Air Force “companion piece†to Robert Jager’s Esprit de Corps that would mirror the style and spirit of that landmark work. The goal was to use elements of our various Air Force tunes in the same way that Jager incorporated The Marine’s Hymn into his work – that is, to weave amusical tapestry of the Air Force’s musical heritage without ever becoming a mere arrangement of the original material. As a former student of Robert Jager at Tennessee Technological University, I discussed my plans for the piece with him, shared my progress along the way, and sought his guidance as I had done so many times in the past. He was delighted that I managed to incorporate a few “Jager-isms†into the music, including one direct quote from Esprit de Corps. Although Blue Horizons was conceived asa dedication to the Air Force’s musical legacy, it is also a personal homage to my teacher and friend, Robert Jager.Performance Notes• If only two flutists are available, omit the piccolo part and have them play Flute 1 and 2; in this case, Flute 1 should switch over to piccolo (still playing from the Flute 1 part) at m. 81 and back to regular flute at m. 114. If only covering the Flute 1 and 2 parts, Flute 2 should ignore indications to switch to piccolo and just play the entire work on regular flute.• Oboe 1 and 2 parts should be covered before adding the English Horn part.• The clarinet in Eb part should not be covered unless there are a sufficient number of players on the clarinet in Bb parts.• The trumpet cues in mm. 77-80 are only necessary if the horns need assistance finishing their soli phrase with enough strength to be heard. If you can hear them without extra support, leave the trumpets out.• From mm. 89-95, be sure the wind players with static eighth notes do not cover up the players with moving lines.• There is a strong tendency to rush m. 121.• During the oboe solo from mm. 157-168, ensure that the suspension/resolution lines in the bassoon and clarinet parts are heard; emphasize the importance of growing into the suspension with a slight crescendo.• In the scherzo section that begins at m. 217, be sure that each player knows how his/her part fits into the overall sound. I recommend isolating different textural items so the players can hear those parts on their own. (The bass line from mm. 243-260, for example, or the moving inner-voice linefrom mm. 251-260.)• In this same scherzo section, care should be taken to not play too loud and save a little strength for the climax fanfare at m. 279.• If you have an abundance of tubas, I would recommend having one or two of them play up an octave from mm. 243-271 if the lower part seems too heavy. $150.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Blue Horizons - Advanced Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon 1, Bassoon 2, Chimes, Clarinet, Clarinet ...(+)
Band Bass Clarinet, Bass Drum, Bassoon 1, Bassoon 2, Chimes, Clarinet, Clarinet 1, Clarinet 2, Clarinet 3, Contrabass Clarinet, Crash Cymbals, English Horn, Euphonium, Euphonium T.C., Flute 1, Flute 2, Glockenspiel, Harp, Horn 1, Horn 2, Horn 3 and more. - Grade 5 SKU: CF.SPS85F Composed by Jeremy Martin. Sws. Sps. Full score. 44 pages. Duration 7 minutes, 8 seconds. Carl Fischer Music #SPS85F. Published by Carl Fischer Music (CF.SPS85F). ISBN 9781491156438. UPC: 680160914975. 9 x 12 inches. Blue Horizons is a spirited tribute to the musical heritage of the United States Air Force. The main theme is a variation of the U.S. Air Force Song (Off We Go), with a secondary theme based on A Toast to the Host (the bridge of The Air Force Song). Throughout the work, fragments of other Air Force-related songs appear: Lord, Guard and Guide (the Air Force Hymn), Air Force Blue, and Those Magnificent Men in Their Flying Machines. The original request for this work was a daunting task: I was asked to create an Air Force companion piece to Robert Jager's Esprit de Corps that would mirror the style and spirit of that landmark work. The goal was to use elements of our various Air Force tunes in the same way that Jager incorporated The Marine's Hymn into his work - that is, to weave a musical tapestry of the Air Force's musical heritage without ever becoming a mere arrangement of the original material. As a former student of Robert Jager at Tennessee Technological University, I discussed my plans for the piece with him, shared my progress along the way, and sought his guidance as I had done so many times in the past. He was delighted that I managed to incorporate a few Jager-isms into the music, including one direct quote from Esprit de Corps. Although Blue Horizons was conceived as a dedication to the Air Force's musical legacy, it is also a personal homage to my teacher and friend, Robert Jager. Performance Notes * If only two flutists are available, omit the piccolo part and have them play Flute 1 and 2; in this case, Flute 1 should switch over to piccolo (still playing from the Flute 1 part) at m. 81 and back to regular flute at m. 114. If only covering the Flute 1 and 2 parts, Flute 2 should ignore indications to switch to piccolo and just play the entire work on regular flute. * Oboe 1 and 2 parts should be covered before adding the English Horn part. * The clarinet in Eb part should not be covered unless there are a sufficient number of players on the clarinet in Bb parts. * The trumpet cues in mm. 77-80 are only necessary if the horns need assistance finishing their soli phrase with enough strength to be heard. If you can hear them without extra support, leave the trumpets out. * From mm. 89-95, be sure the wind players with static eighth notes do not cover up the players with moving lines. * There is a strong tendency to rush m. 121. * During the oboe solo from mm. 157-168, ensure that the suspension/resolution lines in the bassoon and clarinet parts are heard; emphasize the importance of growing into the suspension with a slight crescendo. * In the scherzo section that begins at m. 217, be sure that each player knows how his/her part fits into the overall sound. I recommend isolating different textural items so the players can hear those parts on their own. (The bass line from mm. 243-260, for example, or the moving inner-voice line from mm. 251-260.) * In this same scherzo section, care should be taken to not play too loud and save a little strength for the climax fanfare at m. 279. * If you have an abundance of tubas, I would recommend having one or two of them play up an octave from mm. 243-271 if the lower part seems too heavy. Blue Horizons is a spirited tribute to the musical heritage of the United States Air Force. The main theme is a variation of the U.S. Air Force Song (Off We Go), with a secondary theme based on A Toast to the Host (the bridge of The Air Force Song). Throughout the work, fragments of other Air Force-related songs appear: Lord, Guard and Guide (the Air Force Hymn), Air Force Blue, and Those Magnificent Men in Their Flying Machines.The original request for this work was a daunting task: I was asked to create an Air Force “companion piece†to Robert Jager’s Esprit de Corps that would mirror the style and spirit of that landmark work. The goal was to use elements of our various Air Force tunes in the same way that Jager incorporated The Marine’s Hymn into his work – that is, to weave amusical tapestry of the Air Force’s musical heritage without ever becoming a mere arrangement of the original material. As a former student of Robert Jager at Tennessee Technological University, I discussed my plans for the piece with him, shared my progress along the way, and sought his guidance as I had done so many times in the past. He was delighted that I managed to incorporate a few “Jager-isms†into the music, including one direct quote from Esprit de Corps. Although Blue Horizons was conceived asa dedication to the Air Force’s musical legacy, it is also a personal homage to my teacher and friend, Robert Jager.Performance Notes• If only two flutists are available, omit the piccolo part and have them play Flute 1 and 2; in this case, Flute 1 should switch over to piccolo (still playing from the Flute 1 part) at m. 81 and back to regular flute at m. 114. If only covering the Flute 1 and 2 parts, Flute 2 should ignore indications to switch to piccolo and just play the entire work on regular flute.• Oboe 1 and 2 parts should be covered before adding the English Horn part.• The clarinet in Eb part should not be covered unless there are a sufficient number of players on the clarinet in Bb parts.• The trumpet cues in mm. 77-80 are only necessary if the horns need assistance finishing their soli phrase with enough strength to be heard. If you can hear them without extra support, leave the trumpets out.• From mm. 89-95, be sure the wind players with static eighth notes do not cover up the players with moving lines.• There is a strong tendency to rush m. 121.• During the oboe solo from mm. 157-168, ensure that the suspension/resolution lines in the bassoon and clarinet parts are heard; emphasize the importance of growing into the suspension with a slight crescendo.• In the scherzo section that begins at m. 217, be sure that each player knows how his/her part fits into the overall sound. I recommend isolating different textural items so the players can hear those parts on their own. (The bass line from mm. 243-260, for example, or the moving inner-voice linefrom mm. 251-260.)• In this same scherzo section, care should be taken to not play too loud and save a little strength for the climax fanfare at m. 279.• If you have an abundance of tubas, I would recommend having one or two of them play up an octave from mm. 243-271 if the lower part seems too heavy. $18.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Hark! A Thrilling Voice Is Sounding Choral SATB H.T. FitzSimons Company
Composed by Mark Shepperd. H.T. Fitzsimons Co. Sacred. Octavo. 12 pages. H.T. ...(+)
Composed by Mark Shepperd.
H.T. Fitzsimons Co. Sacred.
Octavo. 12 pages. H.T.
FitzSimons Company #F2401.
Published by H.T. FitzSimons
Company
$2.45 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Audio Recording Boot Camp Alfred Publishing
(Hands-On Basic Training for Musicians). Composed by Bobby Owsinski. Book; Books...(+)
(Hands-On Basic Training for Musicians). Composed by Bobby Owsinski. Book; Books and DVDs; DVD; Method/Instruction; Pro Audio; Pro Audio Textbook; Reference Textbooks. Boot Camp. 160 pages. Published by Alfred Music
$29.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Essential Elements 2000, Book 2 French horn [Sheet music + Audio access] Hal Leonard
Concert Band Method. Essential Elements 2000. Play Along. Softcover Media Online...(+)
Concert Band Method. Essential Elements 2000. Play Along. Softcover Media Online. 48 pages. Published by Hal Leonard
(2)$12.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Patterns in Jazz C.L. Barnhouse
Conductor SKU: CL.071-6017-01 Composed by Davis and Miller. Pep Band Book...(+)
Conductor SKU: CL.071-6017-01 Composed by Davis and Miller. Pep Band Books. Conductor book. Composed 1965. C.L. Barnhouse #071-6017-01. Published by C.L. Barnhouse (CL.071-6017-01). Jazz tunes for the stands/pep band. CONTENTS: Dixieland Showcase * Show Time * Accent on Drums * Sounding Off! * Free N' Easy * Marching The Mambo * Top Brass * One For Run * Horns Aplenty * Big Band Bossa Nova * Trombones All Out! * Swing Lightly *. $20.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Fuga Libre For Viola Solo Viola, French horn Piano - Advanced Schott
For Viola Solo. Composed by Garth Knox. This edition: Saddle stitching. Sheet mu...(+)
For Viola Solo. Composed by Garth Knox. This edition: Saddle stitching. Sheet music. String Solo. Special Import. Composed 2008. 16 pages. Duration 7'. Schott Music #VAB71. Published by Schott Music
$17.99 - See more - Buy online | | |
| Son et lumière Merion Music
Orchestra Bass Clarinet, Bass Drum, Bassoon 1, Bassoon 2, Celesta, Chimes, Clari...(+)
Orchestra Bass Clarinet, Bass Drum, Bassoon 1, Bassoon 2, Celesta, Chimes, Clarinet, Clarinet 1, Clarinet 2, Claves, Contrabass, Contrabassoon, Cowbell, Crotales, English Horn, Glockenspiel, Harp, Horn 1, Horn 2, Horn 3, Horn 4, Maracas, Marimba, Oboe 1 and more. SKU: PR.11641737S Composed by Steven Stucky. Study Score. 68 pages. Duration 9 minutes. Merion Music #116-41737S. Published by Merion Music (PR.11641737S). ISBN 9781491136133. UPC: 680160688432. Son et lumière (“sound and light,†a kind of show staged for tourists at historic sites or famous buildings) is an orchestral entertainment whose subject is the play of colors, bright surfaces, and shimmery textures. I have tried in this music to recapture the élan and immediacy that regular meters and repetitive rhythms make possible—something forbidden during the modernist regime but recently restored in the post-modern work of composers like John Adams, Steve Reich, and others. Throughout its brief nine-minute span, then, the piece is built almost exclusively of short, busy ostinato figures—my attempt, I suppose, to achieve the rhythmic vitality of minimalism, but without giving in to the over-simple harmonic language that usually comes with it.Surprisingly, the musical materials seemed determined to shape themselves into an approximation of nineteenth-century sonata form. We hear an introduction, a first theme (based on triadic broken chords), a second theme (beginning with the flute solo), and a closing theme (led by two piccolos). In a sort of development section, these materials are recombined in new ways; in a recapitulation, both the first and second themes are recalled more or less intact (part of the second is actually repeated quite literally).Then, in the coda, a second surprise: as if another, different music has been lurking all the while behind the shiny surface, the strings now unexpectedly split off from the rest of the orchestra to assert a new, more passionate, more “serious†voice, transcending the external show of sound and light.Son et lumière, commissioned by the Baltimore Symphony Orchestra, was composed between June and December 1988 in Ithaca (N.Y.), in Los Angeles, and at the artists’ colony Yaddo, in Saratoga Springs (N.Y.). David Zinman conducted the first performance in Baltimore on 18 May 1989; André Previn gave the West Coast premiere with the Los Angeles Philharmonic on 18 January, 1990. Son et lumière (“sound and light,†a kind of show staged for tourists at historic sites or famous buildings) is an orchestral entertainment whose subject is the play of colors, bright surfaces, and shimmery textures. I have tried in this music to recapture the élan and immediacy that regular meters and repetitive rhythms make possible—something forbidden during the modernist regime but recently restored in the post-modern work of composers like John Adams, Steve Reich, and others. Throughout its brief nine-minute span, then, the piece is built almost exclusively of short, busy ostinato figures—my attempt, I suppose, to achieve the rhythmic vitality of minimalism, but without giving in to the over-simple harmonic language that usually comes with it.Surprisingly, the musical materials seemed determined to shape themselves into an approximation of nineteenth-century sonata form. We hear an introduction, a first theme (based on triadic broken chords), a second theme (beginning with the flute solo), and a closing theme (led by two piccolos). In a sort of development section, these materials are recombined in new ways; in a recapitulation, both the first and second themes are recalled more or less intact (part of the second is actually repeated quite literally).Then, in the coda, a second surprise: as if another, different music has been lurking all the while behind the shiny surface, the strings now unexpectedly split off from the rest of the orchestra to assert a new, more passionate, more “serious†voice, transcending the external show of sound and light.Son et lumière, commissioned by the Baltimore Symphony Orchestra, was composed between June and December 1988 in Ithaca (N.Y.), in Los Angeles, and at the artists’ colony Yaddo, in Saratoga Springs (N.Y.). David Zinman conducted the first performance in Baltimore on 18 May 1989; André Previn gave the West Coast premiere with the Los Angeles Philharmonic on 18 January, 1990. $45.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Concerto - Piano And Orchestra - Solo Part Schott
Piano and orchestra - difficult SKU: HL.49046544 For piano and orchest...(+)
Piano and orchestra - difficult SKU: HL.49046544 For piano and orchestra. Composed by Gyorgy Ligeti. This edition: Saddle stitching. Sheet music. Edition Schott. Softcover. Composed 1985-1988. Duration 24'. Schott Music #ED23178. Published by Schott Music (HL.49046544). ISBN 9781705122655. UPC: 842819108726. 9.0x12.0x0.224 inches. I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. The markings of the movements are the following: 1. Vivace molto ritmico e preciso 2. Lento e deserto 3. Vivace cantabile 4. Allegro risoluto 5. Presto luminoso.The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale; my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. In the Piano Concerto I realized new concepts of harmony and rhythm. The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time 'rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form; later in the fourth movement it will be considerably developed. The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement; however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly; they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales; in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting; illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated; the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus; indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. (Gyorgy Ligeti). $34.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Elephant Concert band - Beginner Carl Fischer
Band concert band - Grade 1 SKU: CF.BPS127 Composed by Peter Sciaino. Fol...(+)
Band concert band - Grade 1 SKU: CF.BPS127 Composed by Peter Sciaino. Folio. Bps. Set of Score and Parts. 8+2+8+2+5+2+2+8+3+6+2+3+1+1+2+2+12 pages. Duration 2 minutes, 39 seconds. Carl Fischer Music #BPS127. Published by Carl Fischer Music (CF.BPS127). ISBN 9781491156209. UPC: 680160914746. 9 x 12 inches. Program Notes Elephant is, of course, inspired by the incredible mammals of the same name. Their column-like legs, long trunks, and massive presence will never cease to amaze; however, it's their trumpeting that makes them stand out as the instrumentalists of the animal kingdom! In this selection, an elephant's slow gate and general demeanor are represented by a methodical tempo and lumbering texture. Woodwinds will enjoy the opportunity to perform grace notes while Elephant also offers exposure to flams for young percussionists. At m. 33 the trumpets and horns recreate an elephant call after slipping brown paper bags, or lunch-bag mutes, over their bells (in their bells for horn players). For the trumpet players, the mutes can be enhanced with an additional balled-up piece of paper placed at the bottom of the bag prior to slipping it over the bell. Horns should ball up the bag itself and experiment with placement to create the most realistic tones without stopping the instrument. While specific pitches are noted, making the best elephant sounds should prioritized. Young students always look forward to experimenting with mutes, and this selection offers an inexpensive and creative way to do so at a young age. Note to the Conductor This piece can be used to introduce or reinforce the finer points of staccato playing. While many students know to play these notes short in length, they may need reminding that they should also be played lightly. This also may allow for opportunities in emphasizing contrasting articulation styles that are in this piece. Younger students will likely need a reasonable amount of practice in successfully using the lunch-bag mutes. Allowing additional rehearsal time for this is recommended. Program Notes Elephant is, of course, inspired by the incredible mammals of the same name. Their column-like legs, long trunks, and massive presence will never cease to amaze; however, it's their trumpeting that makes them stand out as the instrumentalists of the animal kingdom! In this selection, an elephant's slow gait and general demeanor are represented by a methodical tempo and lumbering texture. Woodwinds will enjoy the opportunity to perform grace notes while Elephant also offers exposure to flams for young percussionists. At m. 33 the trumpets and horns recreate an elephant call after slipping brown paper bags, or lunch-bag mutes, over their bells (in their bells for horn players). For the trumpet players, the mutes can be enhanced with an additional balled-up piece of paper placed at the bottom of the bag prior to slipping it over the bell. Horns should ball up the bag itself and experiment with placement to create the most realistic tones without stopping the instrument. While specific pitches are noted, making the best elephant sounds should prioritized. Young students always look forward to experimenting with mutes, and this selection offers an inexpensive and creative way to do so at a young age. Note to the Conductor This piece can be used to introduce or reinforce the finer points of staccato playing. While many students know to play these notes short in length, they may need reminding that they should also be played lightly. This also may allow for opportunities in emphasizing contrasting articulation styles that are in this piece. Younger students will likely need a reasonable amount of practice in successfully using the lunch-bag mutes. Allowing additional rehearsal time for this is recommended. Program NotesElephant is, of course, inspired by the incredible mammals of the same name. Their column-like legs, long trunks, and massive presence will never cease to amaze; however, it’s their trumpeting that makes them stand out as the instrumentalists of the animal kingdom! In this selection, an elephant’s slow gait and general demeanor are represented by a methodical tempo and lumbering texture. Woodwinds will enjoy the opportunity to perform grace notes while Elephant also offers exposure to flams for young percussionists. At m. 33 the trumpets and horns recreate an elephant call after slipping brown paper bags, or “lunch-bag mutes,†over their bells (in their bells for horn players). For the trumpet players, the mutes can be enhanced with an additional balled-up piece of paper placed at the bottom of the bag prior to slipping it over the bell. Horns should ball up the bag itself and experiment with placement to create the most realistic tones without stopping the instrument. While specific pitches are noted, making the best elephant sounds should prioritized. Young students always look forward to experimenting with mutes, and this selection offers an inexpensive and creative way to do so at a young age.Note to the ConductorThis piece can be used to introduce or reinforce the finer points of staccato playing. While many students know to play these notes short in length, they may need reminding that they should also be played lightly. This also may allow for opportunities in emphasizing contrasting articulation styles that are in this piece.Younger students will likely need a reasonable amount of practice in successfully using the “lunch-bag mutes.†Allowing additional rehearsal time for this is recommended. $53.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
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