| Rejoice, Dolce, and Dance - Easy Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Crash Cym...(+)
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Crash Cymbals, Euphonium, Euphonium T.C., Flute, Horn, Mallet Percussion 1, Mallet Percussion 2, Oboe, Percussion 1, Percussion 2, Percussion 3, Snare Drum, Suspended Cymbal and more. - Grade 2.5 SKU: CF.YPS237F Composed by Quincy C. Hilliard. Full score. 21 pages. Carl Fischer Music #YPS237F. Published by Carl Fischer Music (CF.YPS237F). ISBN 9781491159545. UPC: 680160918133. Rejoice, Dolce, and Dance is written in three different and distinct styles. Rejoice is fanfare-like in quality and should be played in a bold majestic manner; balance is important in this section. Care should be taken to not let the battery percussion overpower the ensemble The forzandos are very important to the character of the fanfare and should be carefully observed. Dolce is slow and more lyrical in manner. This section should be played in a legato style. The director is encouraged to add his own interpretative elements in this section. The Dance is fast and light in character. Keep the tempo moving and pay special attention to the articulations and dynamics. Phi Beta Mu International Bandmasters Fraternity is an honorary fraternity for band directors. There are currently 35 active chapters in the United States, Canada, and Brazil. Phi Beta Mu is a non-political, non-profit fraternity promoting fellowship among its members, encouraging the building of better bands, developing better musicians throughout the world, fostering a deeper appreciation for quality wind literature, and encouraging widespread interest in band performance. Consortium Members: Commissioned by the International Bandmasters Fraternity, Phi Beta Mu Alpha Chapter (Texas) Theta Chapter (South Carolina) Delta Chapter (Mississippi) Omicron Chapter (Arkansas) Alpha Theta Chapter (Nebraska) Alpha Gamma Chapter (North Dakota) Gamma Chapter (Indiana) Nu Chapter (Pennsylvania) Psi Chapter (Kentucky) Mu Alpha Chapter (Alberta, Canada) Lambda Iota (Ontario, Canada) Iota Chapter (Kansas) Kappa Chapter (Colorado) Eta Chapter (Tennessee) Zeta Chapter (Georgia) Keith and June Bearden (Alpha Chapter) Steven Moss (Alpha Chapter) Jay Watkins (Omega Chapter) Anonymous, David Lambert for his service to Phi Beta Mu International Anonymous, Scott Coulson, for his service to Alpha Chapter Jacqueline Gilley (Beta Chapter), In Memoriam, Francis McBeth Dennis Beck, (Lambda Iota Chapter) In Memoriam, Donald McKeller Brek Hufnus (Xi Chapter), In Memory of David Wuersig, Roosevelt Middle School, River Forest, IL, 1974-2014 David and Sheryl Gary Lambert (Alpha Chapter), In Memory of James D Gary, John Foster Dulles High School, Sugar Land, TX 1959-1968 Phil Min (Rho Chapter), In Honor of William T. Robinson Julia Reynolds (Omicron Chapter), In Honor of Wendell O. Evanson Julia Reynolds (Omicron Chapter), In Honor of Hal D. Cooper, Senior Steve Shoop (Alpha Chapter) In Honor of Patsy Dickerson Nelson David L. Wenerd (Nu Chapter), In Honor of the Chambersburg Area Senior High School Band  . Rejoice, Dolce, and Dance is written in three different and distinct styles. Rejoice is fanfare-like in quality and should be played in a bold majestic manner; balance is important in this section. Care should be taken to not let the battery percussion overpower the ensemble The forzandos are very important to the character of the fanfare and should be carefully observed. Dolce is slow and more lyrical in manner. This section should be played in a legato style. The director is encouraged to add his own interpretative elements in this section. The Dance is fast and light in character. Keep the tempo moving and pay special attention to the articulations and dynamics.Phi Beta Mu International Bandmasters Fraternity is an honorary fraternity for band directors. There are currently 35 active chapters in the United States, Canada, and Brazil. Phi Beta Mu is a non-political, non-profit fraternity promoting fellowship among its members, encouraging the building of better bands, developing better musicians throughout the world, fostering a deeper appreciation for quality wind literature, and encouraging widespread interest in band performance.  Consortium Members:Commissioned by the International Bandmasters Fraternity, Phi Beta Mu  Alpha Chapter (Texas) Theta Chapter (South Carolina) Delta Chapter (Mississippi) Omicron Chapter (Arkansas) Alpha Theta Chapter (Nebraska) Alpha Gamma Chapter (North Dakota) Gamma Chapter (Indiana) Nu Chapter (Pennsylvania) Psi Chapter (Kentucky) Mu Alpha Chapter (Alberta, Canada) Lambda Iota (Ontario, Canada) Iota Chapter (Kansas) Kappa Chapter (Colorado) Eta Chapter (Tennessee) Zeta Chapter (Georgia) Keith and June Bearden (Alpha Chapter) Steven Moss (Alpha Chapter) Jay Watkins (Omega Chapter) Anonymous, David Lambert for his service to Phi Beta Mu International Anonymous, Scott Coulson, for his service to Alpha Chapter Jacqueline Gilley (Beta Chapter), In Memoriam, Francis McBeth Dennis Beck, (Lambda Iota Chapter) In Memoriam, Donald McKeller Brek Hufnus (Xi Chapter), In Memory of David Wuersig, Roosevelt Middle School, River Forest, IL, 1974-2014 David and Sheryl Gary Lambert (Alpha Chapter), In Memory of James D Gary, John Foster Dulles High School, Sugar Land, TX 1959-1968 Phil Min (Rho Chapter), In Honor of William T. Robinson Julia Reynolds (Omicron Chapter), In Honor of Wendell O. Evanson Julia Reynolds (Omicron Chapter), In Honor of Hal D. Cooper, Senior Steve Shoop (Alpha Chapter) In Honor of Patsy Dickerson Nelson David L. Wenerd (Nu Chapter), In Honor of the Chambersburg Area Senior High School Band  . $11.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Première Rhapsodie for Orchestra with Solo Clarinet in B-flat Clarinet - Intermediate Barenreiter
Second violin (2. Violin) - Level 3 SKU: BA.BA07897-75 Composed by Claude...(+)
Second violin (2. Violin) - Level 3 SKU: BA.BA07897-75 Composed by Claude Debussy. Edited by Douglas Woodfull-Harris. This edition: urtext edition. Stapled. Barenreiter Urtext. Single part. 8 pages. Baerenreiter Verlag #BA07897_75. Published by Baerenreiter Verlag (BA.BA07897-75). ISBN 9790006564392. 32.5 x 25.5 cm inches. Debussy's Premiere Rhapsodie is one of two concertante works completed, premiered and published during his lifetime. He was commissioned to write it in 1909 for the final examination at the Paris Conservatoire in 1910. Debussy orchestrated it in the summer of 1911. While transferring the clarinet part from the already published version for clarinet and piano, he made a few subtle changes, particularly in m. 201, which has been a bone of contention among clarinettists for over a century. The present scholarly-critical publication is the first Urtext edition of the orchestral version. It draws on every known source and takes into account a previously ignored source that sheds new light on the piece. About Barenreiter Urtext Orchestral Parts Why musicians love to play from Bärenreiter Urtext Orchestral Parts - Urtext editions as close as possible to the composer’s intentions - With alternate versions in full score and parts - Orchestral parts in an enlarged format of 25.5cm x 32.5cm - With cues, rehearsal letters, and page turns where players need them - Clearly presented divisi passages so that players know exactly what they have to play - High-quality paper with a slight yellow tinge which does not glare under lights and is thick enough that reverse pages do not shine through
$5.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Première Rhapsodie for Orchestra with Solo Clarinet in B-flat Clarinet - Intermediate Barenreiter
Double bass (double bass part) - Level 3 SKU: BA.BA07897-85 Composed by C...(+)
Double bass (double bass part) - Level 3 SKU: BA.BA07897-85 Composed by Claude Debussy. Edited by Douglas Woodfull-Harris. This edition: urtext edition. Folded. Barenreiter Urtext. Single part. 3 pages. Baerenreiter Verlag #BA07897_85. Published by Baerenreiter Verlag (BA.BA07897-85). ISBN 9790006564422. 32.5 x 25.5 cm inches. Debussy's Premiere Rhapsodie is one of only two concertante works completed, premiered and published during his lifetime. He was commissioned to write it in 1909 for the final examination at the Paris Conservatoire in 1910. Debussy orchestrated it in the summer of 1911. While transferring the clarinet part from the already published version for clarinet and piano, he made a few subtle changes, particularly in m. 201, which has been a bone of contention among clarinettists for over a century.
The present scholarly-critical publication is the first Urtext edition of the orchestral version. It draws on every known source and takes into account a previously ignored source that sheds new light on the piece.
About Barenreiter Urtext Orchestral Parts Why musicians love to play from Bärenreiter Urtext Orchestral Parts - Urtext editions as close as possible to the composer’s intentions - With alternate versions in full score and parts - Orchestral parts in an enlarged format of 25.5cm x 32.5cm - With cues, rehearsal letters, and page turns where players need them - Clearly presented divisi passages so that players know exactly what they have to play - High-quality paper with a slight yellow tinge which does not glare under lights and is thick enough that reverse pages do not shine through
$5.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Sa Musica Concert band - Intermediate De Haske Publications
Concert Band/Harmonie - Grade 3 SKU: BT.DHP-1125313-010 Composed by Jacob...(+)
Concert Band/Harmonie - Grade 3 SKU: BT.DHP-1125313-010 Composed by Jacob De Haan. Concert and Contest Collection CBHA. Original Light Music. Set (Score & Parts). Composed 2012. De Haske Publications #DHP 1125313-010. Published by De Haske Publications (BT.DHP-1125313-010). 9x12 inches. English-German-French-Dutch. Sa Música - ‘Our Music’ - is the music from Mallorca, an island with a long and difficult past. The work tells of the Greeks, who once erected a temple on the island; of the Romans who occupied the island; and of traditional processions that continue to take place. A Spanish fiesta and a lyrical section, which is inspired by a famous pirate poem, bring this work to a close with Spanish flair.This theme can also be sung in the original Spanish with one or more singers or choir (available separately: DHP 1125313-050).
Sa Música, ‘Haar’ muziek, de muziek van Mallorca, een eiland met een bewogen geschiedenis. Het werk verhaalt van de Grieken die een tempel oprichtten op het eiland. En van de Romeinen die het eiland bezetten. Maar ook van de traditionele rooms-katholieke processies die daar nog steeds in ere worden gehouden. Een Spaanse fiesta en een lyrisch deel, gebaseerd op een beroemd piratengedicht, besluit dit werk met Spaanse flair. Dit thema kan worden gewzongen in het Spaans, met een of meer zangers/zangeressen of een koor (koorpartijen zijn separaat verkrijgbaar: DHP 1125313-050).
Sa Música - ‘Ihre Musik’ - ist die Musik der Insel Mallorca, die auf eine bewegte Geschichte zurückblicken kann. Das Werk erzählt von den Griechen, die einst einen Tempel auf der Insel errichteten, von den Römern, die die Insel besetzten und von den traditionellen Prozessionen, die heute noch in Ehren gehalten werden. Eine spanische Fiesta und ein lyrischer Teil, der von einem berühmten Piratengedicht inspiriert ist, runden dieses Werk mit spanischem Flair ab. Dieses Thema kann auch von einem oder mehreren Sängern oder einem Chor zum originalen spanischen Text gesungen werden. Chorstimmen erhältlich: DHP 1125313-050.
Sa Música évoque l’histoire et l’ambiance de l’île espagnole de Majorque, l’une des îles Baléares. L’oeuvre débute avec une introduction majestueuse s’inspirant de motifs grecs. Peu peu, les influences espagnoles se distinguent clairement dans le thème rapide qui vient ensuite, une véritable fiesta. A cette ambiance festive succède le calme, avec un lent passage lyrique que Jacob de Haan a composé sur le texte du célèbre poème sur les pirates, Canción del pirata. Une pièce pétillante ! Ce thème peut être interprété dans sa version espagnole d'origine ou chanté par un ou plusieurs chanteurs ou un choeur (voix disponibles séparément: DHP 1125313-050).
Sa Música si ispira alla storia e alle atmosfere dell’isola di Mallorca nell’arcipelago delle Baleari. Il brano apre con una maestosa introduzione che vuole ricordare le gesta dei colonizzatori greci; segue un tema che riprende le tradizionali processioni che si tengono sull’isola e che anticipa un tema tipicamente spagnolo. A questa atmosfera festiva segue la calma con un passaggio lirico che Jacob de Haan ha composto sul testo del celebre poema Cancion del pirata. (This theme can also be sung in the original Spanish with one or more singers or choir (available separately: DHP 1125313-050). $137.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Secret Mission - Beginner Carl Fischer
Band Bass Clarinet, Bass Drum, Bells, Clarinet, Cowbell, Crash Cymbals, Euphoniu...(+)
Band Bass Clarinet, Bass Drum, Bells, Clarinet, Cowbell, Crash Cymbals, Euphonium, Euphonium T.C., Flute, Horn, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Snare Drum, Suspended Cymbal, Timpani, Trombone, Trumpet, Tuba, Wood Block and more. - Grade 1 SKU: CF.BPS132 Composed by Jason Taurins. Folio. Bps. Set of Score and Parts. 8+2+8+2+5+2+2+8+3+3+3+2+3+1+1+2+4+12 pages. Duration 1 minute, 41 seconds. Carl Fischer Music #BPS132. Published by Carl Fischer Music (CF.BPS132). ISBN 9781491158463. UPC: 680160917068. 9 x 12 inches. Secret Mission is a cinematic depiction of a spy on a mission to defeat a nefarious villain. This was inspired by my love for several spies and superheroes from movies and television series, both serious and humorous. With exciting parts for all players, I hope your imagination is sparked by this accessible and melodic piece. In the opening, the spy receives his mission in grand fashion, as the title sequence rolls across the screen. After a dramatic pause (m. 10), the spy is on the chase! The melody at m. 11 depicts the spy doing reconnaissance on his enemy. The villain reveals his evil plan, and soon, the hero and the villain face off in an epic battle! Who do you think wins? Is it a serious thriller or a hilarious cartoon? Decide for your own as you see the end credits scroll! Itas an epic journey sure to spark your imagination. For smaller ensembles, the power chords in the low brass can be divided such that trombones take the top note, and euphonium the bottom, or divide it as is appropriate for your ensemble. At m. 9, and as it recurs, the students should choose a note that is comfortably in their playing range that they can play beautifully. They should, however, strive to choose a different note than their neighbor, and can change the note as this technique recurs. The melody at measure 11 should sound soft, light, and sneaky! Do not let the students get too loud at m. 17. If anything, this section should be slightly softer. The woodblock and cowbell add a touch of urgency (like the ticking of a clock) and humor (I got a fevah!). Make sure the countermelody at m. 25 can be heard clearly. At m. 33, dynamic contrast is very important. If needed, a crash cymbal from a drum set can be used, and both cymbals can be struck by a drumstick. In either case, suspended cymbal should be played with a drumstick (unless rolling: then, use a pair of yarn mallets). I sincerely hope you and your students enjoy the cinematic journey, and thank you for choosing my music!. Secret Mission is a cinematic depiction of a spy on a mission to defeat a nefarious villain. This was inspired by my love for several spies and superheroes from movies and television series, both serious and humorous. With exciting parts for all players, I hope your imagination is sparked by this accessible and melodic piece. In the opening, the spy receives his mission in grand fashion, as the title sequence rolls across the screen. After a dramatic pause (m. 10), the spy is on the chase! The melody at m. 11 depicts the spy doing reconnaissance on his enemy. The villain reveals his evil plan, and soon, the hero and the villain face off in an epic battle! Who do you think wins? Is it a serious thriller or a hilarious cartoon? Decide for your own as you see the end credits scroll! It's an epic journey sure to spark your imagination. For smaller ensembles, the power chords in the low brass can be divided such that trombones take the top note, and euphonium the bottom, or divide it as is appropriate for your ensemble. At m. 9, and as it recurs, the students should choose a note that is comfortably in their playing range that they can play beautifully. They should, however, strive to choose a different note than their neighbor, and can change the note as this technique recurs. The melody at measure 11 should sound soft, light, and sneaky! Do not let the students get too loud at m. 17. If anything, this section should be slightly softer. The woodblock and cowbell add a touch of urgency (like the ticking of a clock) and humor (I got a fevah!). Make sure the countermelody at m. 25 can be heard clearly. At m. 33, dynamic contrast is very important. If needed, a crash cymbal from a drum set can be used, and both cymbals can be struck by a drumstick. In either case, suspended cymbal should be played with a drumstick (unless rolling: then, use a pair of yarn mallets). I sincerely hope you and your students enjoy the cinematic journey, and thank you for choosing my music!. Secret Mission is a cinematic depiction of a spy on a mission to defeat a nefarious villain. This was inspired by my love for several spies and superheroes from movies and television series, both serious and humorous. With exciting parts for all players, I hope your imagination is sparked by this accessible and melodic piece. In the opening, the spy receives his mission in grand fashion, as the title sequence rolls across the screen. After a dramatic pause (m. 10), the spy is on the chase! The melody at m. 11 depicts the spy doing reconnaissance on his enemy. The villain reveals his evil plan, and soon, the hero and the villain face off in an epic battle! Who do you think wins? Is it a serious thriller or a hilarious cartoon? Decide for your own as you see the end credits scroll! It’s an epic journey sure to spark your imagination.For smaller ensembles, the power chords in the low brass can be divided such that trombones take the top note, and euphonium the bottom, or divide it as is appropriate for your ensemble. At m. 9, and as it recurs, the students should choose a note that is comfortably in their playing range that they can play beautifully. They should, however, strive to choose a different note than their neighbor, and can change the note as this technique recurs. The melody at measure 11 should sound soft, light, and sneaky! Do not let the students get too loud at m. 17. If anything, this section should be slightly softer. The woodblock and cowbell add a touch of urgency (like the ticking of a clock) and humor (I got a fevah!). Make sure the countermelody at m. 25 can be heard clearly. At m. 33, dynamic contrast is very important. If needed, a crash cymbal from a drum set can be used, and both cymbals can be struck by a drumstick. In either case, suspended cymbal should be played with a drumstick (unless rolling: then, use a pair of yarn mallets). I sincerely hope you and your students enjoy the cinematic journey, and thank you for choosing my music! $53.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Elegy for a Firefighter - Intermediate/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, Euphonium, Euphonium T.C., Flute 1, Flute 2, Horn 1, Horn 2, Horn 3, Horn 4, Oboe 1, Oboe 2, Piccolo, String Bass, Trombone 1, Trombone 2, Trombone 3, Trumpet 1 and more. - Grade 4 SKU: CF.SPS87 Composed by Jeremy Martin. Folio. Sps. Set of Score and Parts. 4+4+2+2+2+8+8+4+2+4+4+2+2+2+2+3+3+3+4+4+4+4+3+3+3+6+4+4+2+2+1+1+1+1+4+24 pages. Duration 6 minutes, 28 seconds. Carl Fischer Music #SPS87. Published by Carl Fischer Music (CF.SPS87). ISBN 9781491156445. UPC: 680160914982. 9 x 12 inches. About the Work In the spring of 2008 a large number of wildfires plagued the west coast, including the area where my wife and I lived in northern California. Firefighters all along the West Coast worked overtime in what seemed like an endless battle to protect residents and their homes. After hearing of a number of firefighters who had lost their lives in the struggle, I composed this work as a dedication to them, in honor of their sacrifice. It is not dedicated to any one person or group, or even just to the west-coast firefighters who battled those horrible wildfires; instead, to all firefighters who have given their lives in the line of duty. Although designed as a standalone work, I highly recommend following this composition with one of the many fine band settings of Amazing Grace, as it is commonly performed at firefighter memorials. The one by Frank Ticheli is superb, and if you have access to a good piper there is an excellent version by Jay Dawson which features a solo verse for bagpipe; both are quite stirring. Performance Notes The sustained slower tempo may prove a challenge for some groups; as always, emphasize subdivision. Cues should be used only if necessary due to limited instrumentation. The clarinet and cup-muted trumpets at m. 39 should be very sostenuto (almost organ-like); be careful to stagger breathe. The tempo change at m. 55 should not be much of a challenge, but many groups may tend to slow back down to the original tempo by m. 59; the timpani player can greatly assist in avoiding this problem. The coda at m. 82 may be taken more slowly than the indicated tempo if your solo flutist can manage the lengthy sustained notes. About the WorkIn the spring of 2008 a large number of wildfires plagued the west coast, including the area where my wife and I lived in northern California. Firefighters all along the West Coast worked overtime in what seemed like an endless battle to protect residents and their homes. After hearing of a number of firefighters who had lost their lives in the struggle, I composed this work as a dedication to them, in honor of their sacrifice. It is not dedicated to any one person or group, or even just to the west-coast firefighters who battled those horrible wildfires; instead, to all firefighters who have given their lives in the line of duty.Although designed as a standalone work, I highly recommend following this composition with one of the many fine band settings of Amazing Grace, as it is commonly performed at firefighter memorials. The one by Frank Ticheli is superb, and if you have access to a good piper there is an excellent version by Jay Dawson which features a solo verse for bagpipe; both are quite stirring.Performance Notes The sustained slower tempo may prove a challenge for some groups; as always, emphasize subdivision. Cues should be used only if necessary due to limited instrumentation. The clarinet and cup-muted trumpets at m. 39 should be very sostenuto (almost “organ-likeâ€); be careful to stagger breathe. The tempo change at m. 55 should not be much of a challenge, but many groups may tend to slow back down to the original tempo by m. 59; the timpani player can greatly assist in avoiding this problem. The coda at m. 82 may be taken more slowly than the indicated tempo if your solo flutist can manage the lengthy sustained notes. $100.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Black Light Concert band - Intermediate Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Chimes, Clarinet 1, Clarinet 2, C...(+)
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Chimes, Clarinet 1, Clarinet 2, Clarinet 3, Crash Cymbals, Euphonium, Euphonium T.C., Flute 1, Flute 2, Gong, Horn 1, Horn 2, Mallet Percussion 1, Mallet Percussion 2, Mallet Percussion 3 and more. - Grade 3.5 SKU: CF.CPS228 Composed by George Sweet. Concert Band (CPS). 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+2+2+2+2+4+8+2+28+4 pages. Duration 4 minutes, 35 seconds. Carl Fischer Music #CPS228. Published by Carl Fischer Music (CF.CPS228). ISBN 9781491152546. UPC: 680160910045. Black light is defined as infrared or ultraviolet light which is invisible to the naked eye. The idea of an entire spectra existing out of the range of human perception was a large influencing factor for George Sweet in the composition of this piece. Richly scored for the modern concert band, Black Light is written in a post-minimalist style and is also heavily influenced by the work of American composers Steve Reich, John Adams, and Philip Glass. Black light is defined as infrared or ultraviolet light which is invisible to the naked eye. The idea of an entire spectra existing out of the range of human perception was an influencing factor on the composition of the piece. Black Light is written in a post-minimalist style and is also heavily influenced by the work of American composers Steve Reich, John Adams, and Philip Glass.This begins with strict motor accompaniment. Take care to maintain equal balance among the different “moving parts†so that they blend to create a solid whole both here and throughout the piece. The primary thematic material is stated by the trumpets and horns at m. 12. This material is the basis for much of the harmonic and thematic material that follows. A slightly varied statement of the main theme is presented again at m. 26 with a different type of motor accompaniment. This leads to a B-section at m. 44, which is a bold fanfare-like presentation of the main material. Another series of variations on the main theme begins at m. 50 and incorporates many different textural and harmonic ideas in the accompaniment. Once again, be careful to not let any one “moving part†overwhelm another and keep the texture evenly balanced.  A second, broader presentation of the B-section occurs at m. 90 and leads to a subdued C-section at m. 100 with new melodic material presented in the trumpet. A whimsical march-like section pushes to the return of the introductory motor material at m. 131. A final heroic presentation of the main thematic material results in a somewhat ambiguous coda, which brings the piece to a dramatic conclusion. $95.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| I Got Gershwin! Choral 3-part SAB Alfred Publishing
I Got Rhythm * 'S Wonderful * They Can't Take That Away from Me * ...(+)
I Got Rhythm * 'S Wonderful *
They Can't Take That Away
from Me * I'll Build a
Stairway to Paradise * Love
Is Here to Stay * Embraceable
You * Fascinating Rhythm.
Composed by George Gershwin
(1898-1937) and Ira Gershwin.
Arranged by Adam Podd and
Matt Podd. Performance Music
Ensemble; Single Titles.
Alfred Pop Choral Series.
Form: Medley. Broadway; Great
American Songbook; Secular.
Choral Octavo. Alfred Music
#00-47666. Published by
Alfred Music
$2.50 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Première Rhapsodie for Orchestra with Solo Clarinet in B-flat Clarinet - Intermediate Barenreiter
Cello (Violoncello) - Level 3 SKU: BA.BA07897-82 Composed by Claude Debus...(+)
Cello (Violoncello) - Level 3 SKU: BA.BA07897-82 Composed by Claude Debussy. Edited by Douglas Woodfull-Harris. This edition: urtext edition. Stapled. Barenreiter Urtext. Single part. 7 pages. Baerenreiter Verlag #BA07897_82. Published by Baerenreiter Verlag (BA.BA07897-82). ISBN 9790006564415. 32.5 x 25.5 cm inches. Debussy's Premiere Rhapsodie is one of two concertante works completed, premiered and published during his lifetime. He was commissioned to write it in 1909 for the final examination at the Paris Conservatoire in 1910. Debussy orchestrated it in the summer of 1911. While transferring the clarinet part from the already published version for clarinet and piano, he made a few subtle changes, particularly in m. 201, which has been a bone of contention among clarinettists for over a century. The present scholarly-critical publication is the first Urtext edition of the orchestral version. It draws on every known source and takes into account a previously ignored source that sheds new light on the piece. About Barenreiter Urtext Orchestral Parts Why musicians love to play from Bärenreiter Urtext Orchestral Parts - Urtext editions as close as possible to the composer’s intentions - With alternate versions in full score and parts - Orchestral parts in an enlarged format of 25.5cm x 32.5cm - With cues, rehearsal letters, and page turns where players need them - Clearly presented divisi passages so that players know exactly what they have to play - High-quality paper with a slight yellow tinge which does not glare under lights and is thick enough that reverse pages do not shine through
$5.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Première Rhapsodie for Orchestra with Solo Clarinet in B-flat Clarinet - Intermediate Barenreiter
First violin (1. Violin) - Level 3 SKU: BA.BA07897-74 Composed by Claude ...(+)
First violin (1. Violin) - Level 3 SKU: BA.BA07897-74 Composed by Claude Debussy. Edited by Douglas Woodfull-Harris. This edition: urtext edition. Stapled. Barenreiter Urtext. Single part. 9 pages. Baerenreiter Verlag #BA07897_74. Published by Baerenreiter Verlag (BA.BA07897-74). ISBN 9790006564385. 32.5 x 25.5 cm inches. Debussy's Premiere Rhapsodie is one of two concertante works completed, premiered and published during his lifetime. He was commissioned to write it in 1909 for the final examination at the Paris Conservatoire in 1910. Debussy orchestrated it in the summer of 1911. While transferring the clarinet part from the already published version for clarinet and piano, he made a few subtle changes, particularly in m. 201, which has been a bone of contention among clarinettists for over a century. The present scholarly-critical publication is the first Urtext edition of the orchestral version. It draws on every known source and takes into account a previously ignored source that sheds new light on the piece. About Barenreiter Urtext Orchestral Parts Why musicians love to play from Bärenreiter Urtext Orchestral Parts - Urtext editions as close as possible to the composer’s intentions - With alternate versions in full score and parts - Orchestral parts in an enlarged format of 25.5cm x 32.5cm - With cues, rehearsal letters, and page turns where players need them - Clearly presented divisi passages so that players know exactly what they have to play - High-quality paper with a slight yellow tinge which does not glare under lights and is thick enough that reverse pages do not shine through
$5.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Première Rhapsodie for Orchestra with Solo Clarinet in B-flat Clarinet - Intermediate Barenreiter
Viola (viola part) - Level 3 SKU: BA.BA07897-79 Composed by Claude Debuss...(+)
Viola (viola part) - Level 3 SKU: BA.BA07897-79 Composed by Claude Debussy. Edited by Douglas Woodfull-Harris. This edition: urtext edition. Stapled. Barenreiter Urtext. Single part. 7 pages. Baerenreiter Verlag #BA07897_79. Published by Baerenreiter Verlag (BA.BA07897-79). ISBN 9790006564408. 32.5 x 25.5 cm inches. Debussy's Premiere Rhapsodie is one of two concertante works completed, premiered and published during his lifetime. He was commissioned to write it in 1909 for the final examination at the Paris Conservatoire in 1910. Debussy orchestrated it in the summer of 1911. While transferring the clarinet part from the already published version for clarinet and piano, he made a few subtle changes, particularly in m. 201, which has been a bone of contention among clarinettists for over a century. The present scholarly-critical publication is the first Urtext edition of the orchestral version. It draws on every known source and takes into account a previously ignored source that sheds new light on the piece. About Barenreiter Urtext Orchestral Parts Why musicians love to play from Bärenreiter Urtext Orchestral Parts - Urtext editions as close as possible to the composer’s intentions - With alternate versions in full score and parts - Orchestral parts in an enlarged format of 25.5cm x 32.5cm - With cues, rehearsal letters, and page turns where players need them - Clearly presented divisi passages so that players know exactly what they have to play - High-quality paper with a slight yellow tinge which does not glare under lights and is thick enough that reverse pages do not shine through
$5.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Play With Your Band Volume 4 3 Clarinets (trio) [Sheet music + CD] - Intermediate Editions Marc Reift (Swiss import)
3 Clarinets & Rhythm Section & Strings + CD Play Back / Play Along - Grade 3, Gr...(+)
3 Clarinets & Rhythm Section & Strings + CD Play Back / Play Along - Grade 3, Grade 4 SKU: MA.EMR-24773 Composed by Jerome Naulais. 3 Clarinets & Rhythm Section & Strings (+ CD Playback / Play Along CD optional). Score and parts. Duration 17'52. Editions Marc Reift #EMR 24773. Published by Editions Marc Reift (MA.EMR-24773). Love Train / Marche Turque / Sentimental Bossa / Take 3 / Westside. $45.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Play With Your Band Volume 4 3 Clarinets (trio) [Sheet music + CD] - Intermediate Editions Marc Reift (Swiss import)
3 Clarinets & Rhythm Section (Piano, Bass, Drums) + CD Play Back / Play Along - ...(+)
3 Clarinets & Rhythm Section (Piano, Bass, Drums) + CD Play Back / Play Along - Grade 3, Grade 4 SKU: MA.EMR-24769 Composed by Jerome Naulais. 3 Clarinets & Rhythm Section (Piano, Bass, Drums) (+ CD Playback / Play Along CD optional). Score and parts. Duration 17'52. Editions Marc Reift #EMR 24769. Published by Editions Marc Reift (MA.EMR-24769). Love Train / Marche Turque / Sentimental Bossa / Take 3 / Westside. $36.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Black Light Concert band - Intermediate Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Chimes, Clarinet 1, Clarinet 2, C...(+)
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Chimes, Clarinet 1, Clarinet 2, Clarinet 3, Crash Cymbals, Euphonium, Euphonium T.C., Flute 1, Flute 2, Gong, Horn 1, Horn 2, Mallet Percussion 1, Mallet Percussion 2, Mallet Percussion 3 and more. - Grade 3.5 SKU: CF.CPS228F Composed by George Sweet. Concert Band (CPS). Full score. With Standard notation. 28 pages. Carl Fischer Music #CPS228F. Published by Carl Fischer Music (CF.CPS228F). ISBN 9781491153222. UPC: 680160910724. Black light is defined as infrared or ultraviolet light which is invisible to the naked eye. The idea of an entire spectra existing out of the range of human perception was a large influencing factor for George Sweet in the composition of this piece. Richly scored for the modern concert band, Black Light is written in a post-minimalist style and is also heavily influenced by the work of American composers Steve Reich, John Adams, and Philip Glass. Black light is defined as infrared or ultraviolet light which is invisible to the naked eye. The idea of an entire spectra existing out of the range of human perception was an influencing factor on the composition of the piece. Black Light is written in a post-minimalist style and is also heavily influenced by the work of American composers Steve Reich, John Adams, and Philip Glass.This begins with strict motor accompaniment. Take care to maintain equal balance among the different “moving parts†so that they blend to create a solid whole both here and throughout the piece. The primary thematic material is stated by the trumpets and horns at m. 12. This material is the basis for much of the harmonic and thematic material that follows. A slightly varied statement of the main theme is presented again at m. 26 with a different type of motor accompaniment. This leads to a B-section at m. 44, which is a bold fanfare-like presentation of the main material. Another series of variations on the main theme begins at m. 50 and incorporates many different textural and harmonic ideas in the accompaniment. Once again, be careful to not let any one “moving part†overwhelm another and keep the texture evenly balanced.  A second, broader presentation of the B-section occurs at m. 90 and leads to a subdued C-section at m. 100 with new melodic material presented in the trumpet. A whimsical march-like section pushes to the return of the introductory motor material at m. 131. A final heroic presentation of the main thematic material results in a somewhat ambiguous coda, which brings the piece to a dramatic conclusion. $14.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Boundless Hope - Easy Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Crash Cym...(+)
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Crash Cymbals, Euphonium, Euphonium T.C., Flute, Horn, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Snare Drum, Suspended Cymbal, Timpani, Triangle, Trombone 1, Trombone 2 and more. - Grade 2 SKU: CF.YPS245 Composed by Mark Lortz. Set of Score and Parts. 16+8+2+4+4+2+2+5+2+2+4+4+4+3+3+3+2+3+1+1+1+4+2 pages. Duration 3 minutes, 10 seconds. Carl Fischer Music #YPS245. Published by Carl Fischer Music (CF.YPS245). ISBN 9781491159910. UPC: 680160918508. In December of 2020, after almost a year of living socially distanced, isolated, and not knowing when we would return to life as we knew it, I began to think about what life used to look like. I realized that I sometimes might have taken all the beautiful things in my life for granted. Personally, the year 2020 was a time of loss where someone close to me left, and at the same time, I was also able to have other successes. This dichotomy inspired me to realize that there is hope in all that we do; it is how we perceive life. Boundless Hope represents my thoughts, feelings, and emotions during this time. The piece is roughly based on the Lydian mode, introducing the raised fourth degree in m. 2 of the mallet percussion and then at m. 15 in the main melody. The Lydian mode naturally gives a sense of positivity, hopefulness, inspiration, and heavenly colors. That was my exact intention with this piece: using the mode to define the mood showing gratitude for all that we have, and yearning to return to normalcy with a new and fresh perspective. Measure 30 should be slightly faster, followed by a rit. into the grandiose recapitulation of the theme in m. 38. At m. 45, the wind chimes should start before the clarinet entrance, with the subsequent measures representing dark and warm colors. This piece is very personal to me, and I appreciate you playing the composition. In December of 2020, after almost a year of living socially distanced, isolated, and not knowing when we would return to life as we knew it, I began to think about what life used to look like. I realized that I sometimes might have taken all the beautiful things in my life for granted. Personally, the year 2020 was a time of loss where someone close to me left, and at the same time, I was also able to have other successes. This dichotomy inspired me to realize that there is hope in all that we do; it is how we perceive life. Boundless Hope represents my thoughts, feelings, and emotions during this time. The piece is roughly based on the Lydian mode, introducing the raised fourth degree in m. 2 of the mallet percussion and then at m. 15 in the main melody. The Lydian mode naturally gives a sense of positivity, hopefulness, inspiration, and heavenly colors. That was my exact intention with this piece: using the mode to define the mood showing gratitude for all that we have, and yearning to return to normalcy with a new and fresh perspective. Measure 30 should be slightly faster, followed by a rit. into the grandiose recapitulation of the theme in m. 38. At m. 45, the wind chimes should start before the clarinet entrance, with the subsequent measures representing dark and warm colors.This piece is very personal to me, and I appreciate you playing the composition. $65.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Popocatepetl - Intermediate/advanced Carl Fischer
Band Agogo Bells, Bass Clarinet, Bass Drum, Bass Trombone, Bassoon 1, Bassoon 2,...(+)
Band Agogo Bells, Bass Clarinet, Bass Drum, Bass Trombone, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clarinet 3, Crash Cymbals, Euphonium, Euphonium T.C., Flute 1, Flute 2, Horn 1, Horn 2, Horn 3, Horn 4, Oboe 1, Oboe 2, Percussion 1 and more. - Grade 4 SKU: CF.SPS96 Composed by Joe Riposo. Set of Score and Parts. Carl Fischer Music #SPS96. Published by Carl Fischer Music (CF.SPS96). ISBN 9781491163795. UPC: 680160922581. Popcatepetl, “Smoke Mountain†in Aztec, is a dormant volcano which the Mexican people affectionately call “POPO.†This dormant volcano in Mexico is on the boundary between the states of Mexico and Pueblo.In 1921 Popocatepetl belched smoke and gas for several months. Since then is has occasionally emitted the smoke and sulfurous vapors that earned its Aztec name.This suite is my musical impression of the Aztec volcano. The piece is divided into three scenes.The first scene, Prologue, is the first impression formed when you first come upon the volcano. The emotions range from fear to excitement to respect for nature. This scene should be played with spirit and every rhythmically.The second scene, Ballad. represents my feelings after the initial emotions have faded. One is quickly relaxed by the beauty of the volcano and its surroundings. This scene is scored in a dance-band style with lush sounding harmonics. This section of the composition should be played very slowly and with a relaxed feeling.The third scene, Introduction and Samba, is the emotion of joy utilizing Latin rhythms. This scene takes advantage of all of the color and rhythms associated with Mexico. Samba opens with a fanfare which is the main theme on which the whole scene is developed. This section should be played very crisply and rhythmically.Particular attention should be paid to all of the dynamic expressions even though the scoring will in most cases achieve dynamic changes. $120.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Transformations (Vocal Score) Opera [Vocal Score] Schirmer
By Conrad Susa. Text: Anne Sexton. For Opera. Opera, Vocal Music. Published by E...(+)
By Conrad Susa. Text: Anne Sexton. For Opera. Opera, Vocal Music. Published by E.C. Schirmer Publishing.
$65.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Snake Pit Concert band - Beginner Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Cabasa, China Cymbal, Clarinet 1, Clarin...(+)
Band Bass Clarinet, Bass Drum, Bassoon, Cabasa, China Cymbal, Clarinet 1, Clarinet 2, Congas, Cowbell, Euphonium, Euphonium T.C., Flute, Flute 2, Glockenspiel, Gong, Horn, Mallet Percussion, Maracas, Oboe, Percussion 1, Percussion 2, Snare Drum and more. - Grade 1.5 SKU: CF.FPS151 Composed by Tyler Arcari. First Plus Band (FPS). Set of Score and Parts. With Standard notation. 8+2+4+4+2+5+2+2+4+4+4+6+3+1+1+3+6+12+2 pages. Duration 1 minute, 36 seconds. Carl Fischer Music #FPS151. Published by Carl Fischer Music (CF.FPS151). ISBN 9781491152119. UPC: 680160909612. Everyone remembers the first time that they saw a snake. Though fascinating to some and terrifying to others, few animals are as universally mesmerizing. Composer Tyler Arcari has crafted a very fun piece making use of auxiliary percussion instruments to emulate a snake's hiss or ominous rattle. With very strong and interesting melodic material, and scored to make a developing band sound great, this piece is sure to be a favorite among students. Everyone remembers the first time that they saw a snake. The majority of people have a base fear of them, while others have a “heebie-jeebies†experience. We all know how the great explorer Dr. Indiana Jones felt about snakes, especially when he famously fell into a snake pit during Raiders of the Lost Ark. However you feel about snakes, a pit of them certainly sounds like an adventure.About the work:Snake Pit uses a lot of auxiliary percussion instruments. Some of these sounds are intended to subtly mimic the sounds that snakes make. The maraca in m. 4, of course, is a rattler’s call! The Chinese cymbal is intended to sound like the “hiss†of a not-so-friendly serpent. The eighth-note pattern at m. 9 is used throughout as a “creepy†effect using dynamic contrast so take care to emphasize this when present.I enjoy the gong as a “color†instrument in the band. I try to balance it with the low brass. Take care that at m. 42 the gong is not “front-and center†but more of a support for the nice accented chords in the low brass. Also, the trumpets can become spaced too much here. The accents are more for emphasis and less space. $60.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Prima la musica e poi le parole - Easy Barenreiter
(Divertimento teatrale in one act). Composed by Antonio Salieri (1750-1825). Edi...(+)
(Divertimento teatrale in one act). Composed by Antonio Salieri (1750-1825). Edited by Thomas Betzwieser. For 2 soprano voice solos/2 bass voice solos/2 oboes/2 clarinets/2 bassoons/2 horns/2 trumpets/2 violins/viola/double bass/basso continuo. This edition: Urtext edition. Paperback. Level 3. Piano reduction. Language: Italian/German, Text Language: German/English. Duration 1 hour, 15 minutes. Published by Baerenreiter Verlag
$55.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Abracadabra Performance Pieces - Clarinet Clarinet [Sheet music + CD] - Beginner
Clarinet - Grade 1-3 SKU: BT.9781472923622 Abracadabra Woodwind. A...(+)
Clarinet - Grade 1-3 SKU: BT.9781472923622 Abracadabra Woodwind. Abracadabra. Studies & Exercises. Book with CD. Composed 2017. 32 pages. Collins Music Publishing #9781472923622. Published by Collins Music Publishing (BT.9781472923622). ISBN 9781472923622. English. A fantastic collection of 14 classical showstoppers arranged for beginner to intermediate players. Bringing together well-known classics in varied styles from the Baroque period to the twentieth century, this versatile repertoire book includes aninspirational CD and duet parts: everything needed to givea great performance.Anyone can take centre stage and stand in the spotlight with Abracadabra Performance Pieces.This brand new book is the latest addition to the best-selling Abracadabra series, offering approachable longer arrangements with fantastic backing tracks ideal for concert performances or simply for more musical fun. The 14 pieces showcase anarray of classical favourites, from Purcell and Handel to Bizet and Bartok, and are suitable for beginner to intermediate players (Grade 1 3).The CD contains specially recorded performances and supportive backing tracks that are guaranteed to bring extra sparkle to any performance. Four pieces also include a duet part for teachers or fellow players. $13.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Belwin 21st Century Band Method Level 3 B-flat Clarinet Clarinet [Sheet music] Belwin
B-flat Clarinet. Composed by Jack Bullock and Anthony Maiello. Concert Band Meth...(+)
B-flat Clarinet. Composed by Jack Bullock and Anthony Maiello. Concert Band Method; Method/Instruction. Book. 32 pages. Belwin Music #00-B21304. Published by Belwin Music
$5.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 business days | | |
| The Passion of our Lord Jesus Christ Choral SATB [Vocal Score] Oxford University Press
Composed by Gabriel Jackson (1962-). For SATB choir divisi, soprano voice solo, ...(+)
Composed by Gabriel Jackson (1962-). For SATB choir divisi, soprano voice solo, tenor voice solo, and 10 players (piccolo/alto flute, bass clarinet, soprano saxophone (B flat) / alto saxophone (E flat), horn, percussion (1 player) (bass drum, vibraphone, tub, wind chimes (metal), tam-tam, brake drum, water gong, suspended cymbal, vibraslap, 3 temple blocks (high, med). Oratorios. New Horizons. Level C (moderately difficult). Vocal score. 152 pages. Duration 60 minutes. Published by Oxford University Press
$20.50 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Amazing Grace Concert band - Intermediate Carl Fischer
Band Bass Clarinet, Bassoon, Chimes, Clarinet 1, Clarinet 2, Clarinet 3, Crash C...(+)
Band Bass Clarinet, Bassoon, Chimes, Clarinet 1, Clarinet 2, Clarinet 3, Crash Cymbals, Euphonium, Euphonium T.C., Flute, Horn 1, Horn 2, Mallet Percussion, Oboe, Percussion, Suspended Cymbal, Tam-tam, Timpani, Trombone 1, Trombone 2, Trumpet 1 and more. - Grade 3 SKU: CF.CPS194 Composed by Tyler Arcari. SWS FS. Carl Fischer Concert Performance Series. Set of Score and Parts. With Standard notation. 8+2+4+8+8+2+2+2+2+2+2+4+4+4+2+2+3+3+3+3+2+4+1+1+3+12 pages. Duration 3 minutes, 27 seconds. Carl Fischer Music #CPS194. Published by Carl Fischer Music (CF.CPS194). ISBN 9781491147504. UPC: 680160905003. 9 x 12 inches. Amazing Grace has become a staple in celebrations of both life and death. This setting is meant to celebrate the life of a fellow musician. Tyler Arcari's new take on this old favorite will make a truly fresh addition to your band's repertoire. $95.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Conquest Concert band [Score and Parts] - Intermediate Brolga Music Publishing Company
By Tim Fisher. For concert band. Brolga Music Concert Band Series. Grade 3. Scor...(+)
By Tim Fisher. For concert band. Brolga Music Concert Band Series. Grade 3. Score and set of parts. Duration 3:55. Published by Brolga Music Publishing Company
$90.95 $86.4025 (5% off) See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Ripples in the Sand -- Inspiration of a Japanese Zen Garden Flexible Instrumentation [Score and Parts] Eighth Note Publications
(For Interchangeable Woodwind Ensemble). By David Marlatt. For Interchangeable W...(+)
(For Interchangeable Woodwind Ensemble). By David Marlatt. For Interchangeable Woodwind Ensemble. Part(s); Score; Woodwind - Mixed Ensemble. Eighth Note Publications. Multicultural. 28 pages. Published by Eighth Note Publications
$25.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| 371 4-part Chorales E Flat Part 3 Concert band [Part] - Intermediate De Haske Publications
Part 3 Eb Alto Clarinet HOrn. By Hans Algra. By Johann Sebastian Bach (1685-1750...(+)
Part 3 Eb Alto Clarinet HOrn. By Hans Algra. By Johann Sebastian Bach (1685-1750). Edited by Hans Algra. De Haske Ensemble. Classical. Individual part. Composed 2000. 76 pages. De Haske Publications #1001947-711. Published by De Haske Publications
$16.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Amazing Grace Concert band - Intermediate Carl Fischer
Band Bass Clarinet, Bassoon, Chimes, Clarinet 1, Clarinet 2, Clarinet 3, Crash C...(+)
Band Bass Clarinet, Bassoon, Chimes, Clarinet 1, Clarinet 2, Clarinet 3, Crash Cymbals, Euphonium, Euphonium T.C., Flute, Horn 1, Horn 2, Mallet Percussion, Oboe, Percussion, Suspended Cymbal, Tam-tam, Timpani, Trombone 1, Trombone 2, Trumpet 1 and more. - Grade 3 SKU: CF.CPS194F Composed by Tyler Arcari. SWS. Carl Fischer Concert Performance Series. Full score. With Standard notation. 12 pages. Duration 3 minutes, 27 seconds. Carl Fischer Music #CPS194F. Published by Carl Fischer Music (CF.CPS194F). ISBN 9781491148204. UPC: 680160905706. 9 x 12 inches. Amazing Grace has become a staple in celebrations of both life and death. This setting is meant to celebrate the life of a fellow musician. Tyler Arcari's new take on this old favorite will make a truly fresh addition to your band's repertoire. $14.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Nutcracker Suite Selections - Intermediate Carl Fischer
Orchestra Cello, Contrabass, Piano, Viola, Violin 1, Violin 2, Violin 3 - Grade ...(+)
Orchestra Cello, Contrabass, Piano, Viola, Violin 1, Violin 2, Violin 3 - Grade 3.5 SKU: CF.CAS110 Composed by Peter Ilyich Tchaikovsky. Arranged by Bud Caputo. Concert String Orchestra (CAS). Set of Score and Parts. With Standard notation. 24+24+6+15+15+15+7+24 pages. Duration 5:57. Carl Fischer Music #CAS110. Published by Carl Fischer Music (CF.CAS110). ISBN 9781491151297. UPC: 680160908790. 9 x 12 inches. Key: E minor. Bud Caputo presents Nutcracker Suite Selections for string orchestra featuring three abridged movements of?Tchaikovsky's Nutcracker Suite:?Dance of the Sugar Plum Fairy, March, and Trepak. These abridged movements are sure to be crowd-pleasers around the?winter holidays or a favorite for?any time of the year. This arrangement will challenge students, while fostering rhythmic independence, execution of bowing and pizzicato, and the ability to balance the melody with the accompaniment throughout the arrangement. However, ranges remain primarily in first position with some optional 8va passages, allowing intermediate groups to perform this in time for the winter holiday concert. Suitable for Grades 3 through 5. To the Director: Dance of the Sugar Plum Fairy: A steady tempo is critical when performing this movement, as students may have a tendency to rush during the pizzicato sections. There is a regularly occurring descending sixteenth-note rhythmic figure that is transcribed form the bass clarinet part in the original. It is important to maintain clarity and balance in performing these passages as seen in mm. 16-19, in the Basses and m. 34 in the Cello and Bass. The balancing of the chords will be a challenge in the execution of the many sforzandos in this movement. March: Measures 2 and 4, and similar melodic patterns that follow, require the performers to carefully balance their forte/pianos on beats 3 and 4, along with the rapid diminuendo. The contrasting rhythmic patterns in mm. 5-8, and later throughout this movement must line up precisely. Strings playing the pizzicato eight note, walking bass line, must not rush, and the upper strings playing the eighth-note/eight-rest figure must follow their section leaders in executing this in a unified manner. While there is no formal tempo change from mm. 40 to 41, directors may need to relax the tempo at the beginning of the movement to accommodate the technical challenge of the double time feel that happens in m. 41. Trepak: Tchaikovsky was careful to notate the p, f and sf, requiring the performers to recognize the difference between all three markings that frame the chief melody. The upper strings must be careful to support the melody in the lower strings that begins in m. 33. Directors will challenge their students to have fun in the last twelve measures with the accelerando passage to the end. Care must be taken to use an accelerando that works for all the players in the particular ensemble.. This arrangement will challenge students, while fostering rhythmic independence, execution of bowing and pizzicato, and the ability to balance the melody with the accompaniment throughout the arrangement. However, ranges remain primarily in first position with some optional 8va passages, allowing intermediate groups to perform this in time for the winter holiday concert.A Suitable for Grades 3 through 5. To the Director: Dance of the Sugar Plum Fairy: A steady tempo is critical when performing this movement, as students may have a tendency to rush during the pizzicato sections. There is a regularly occurring descending sixteenth-note rhythmic figure that is transcribed form the bass clarinet part in the original. It is important to maintain clarity and balance in performing these passages as seen in mm.A 16-19, in the Basses and m.A 34A in the Cello and Bass. The balancing of the chords will be a challenge in the execution of the many sforzandosA in this movement. March: A Measures 2 and 4, and similar melodic patterns that follow, require the performers to carefully balance their forte/pianos on beats 3 and 4, along with the rapid diminuendo. The contrasting rhythmic patterns in mm. 5-8, and later throughout this movement must line up precisely. Strings playing the pizzicato eight note, walking bass line, must not rush, and the upper strings playing the eighth-note/eight-restA figure must follow their section leaders in executing this in a unified manner. While there is no formal tempo change from mm. 40 to 41, directors may need to relax the tempo at the beginning of the movement toA accommodate the technical challenge of the double time feel that happens in m. 41. Trepak: A Tchaikovsky was careful to notate the p, f and sf, requiring the performers to recognize the difference between all three markings that frame the chief melody. The upper strings must be careful to support the melody in the lower strings that begins in m. 33. Directors will challenge their students to have fun in the last twelve measures with the accelerando passage to the end. Care must be taken to use an accelerando that works for all the players in the particular ensemble.. This arrangement will challenge students, while fostering rhythmic independence, execution of bowing and pizzicato, and the ability to balance the melody with the accompaniment throughout the arrangement. However, ranges remain primarily in first position with some optional 8va passages, allowing intermediate groups to perform this in time for the winter holiday concert.A Suitable for Grades 3 through 5. To the Director: Dance of the Sugar Plum Fairy: A steady tempo is critical when performing this movement, as students may have a tendency to rush during the pizzicato sections. There is a regularly occurring descending sixteenth-note rhythmic figure that is transcribed form the bass clarinet part in the original. It is important to maintain clarity and balance in performing these passages as seen in mm.A 16-19, in the Basses and m.A 34A in the Cello and Bass. The balancing of the chords will be a challenge in the execution of the many sforzandosA in this movement. March: A Measures 2 and 4, and similar melodic patterns that follow, require the performers to carefully balance their forte/pianos on beats 3 and 4, along with the rapid diminuendo. The contrasting rhythmic patterns in mm. 5-8, and later throughout this movement must line up precisely. Strings playing the pizzicato eight note, walking bass line, must not rush, and the upper strings playing the eighth-note/eight-restA figure must follow their section leaders in executing this in a unified manner. While there is no formal tempo change from mm. 40 to 41, directors may need to relax the tempo at the beginning of the movement toA accommodate the technical challenge of the double time feel that happens in m. 41. Trepak: A Tchaikovsky was careful to notate the p, f and sf, requiring the performers to recognize the difference between all three markings that frame the chief melody. The upper strings must be careful to support the melody in the lower strings that begins in m. 33. Directors will challenge their students to have fun in the last twelve measures with the accelerando passage to the end. Care must be taken to use an accelerando that works for all the players in the particular ensemble.. This arrangement will challenge students, while fostering rhythmic independence, execution of bowing and pizzicato, and the ability to balance the melody with the accompaniment throughout the arrangement. However, ranges remain primarily in first position with some optional 8va passages, allowing intermediate groups to perform this in time for the winter holiday concert. Suitable for Grades 3 through 5. To the Director: Dance of the Sugar Plum Fairy: A steady tempo is critical when performing this movement, as students may have a tendency to rush during the pizzicato sections. There is a regularly occurring descending sixteenth-note rhythmic figure that is transcribed form the bass clarinet part in the original. It is important to maintain clarity and balance in performing these passages as seen in mm. 16-19, in the Basses and m. 34 in the Cello and Bass. The balancing of the chords will be a challenge in the execution of the many sforzandos in this movement. March: Measures 2 and 4, and similar melodic patterns that follow, require the performers to carefully balance their forte/pianos on beats 3 and 4, along with the rapid diminuendo. The contrasting rhythmic patterns in mm. 5-8, and later throughout this movement must line up precisely. Strings playing the pizzicato eight note, walking bass line, must not rush, and the upper strings playing the eighth-note/eight-rest figure must follow their section leaders in executing this in a unified manner. While there is no formal tempo change from mm. 40 to 41, directors may need to relax the tempo at the beginning of the movement to accommodate the technical challenge of the double time feel that happens in m. 41. Trepak: Tchaikovsky was careful to notate the p, f and sf, requiring the performers to recognize the difference between all three markings that frame the chief melody. The upper strings must be careful to support the melody in the lower strings that begins in m. 33. Directors will challenge their students to have fun in the last twelve measures with the accelerando passage to the end. Care must be taken to use an accelerando that works for all the players in the particular ensemble.. This arrangement will challenge students, while fostering rhythmic independence, execution of bowing and pizzicato, and the ability to balance the melody with the accompaniment throughout the arrangement. However, ranges remain primarily in first position with some optional 8va passages, allowing intermediate groups to perform this in time for the winter holiday concert. Suitable for Grades 3 through 5. To the Director: Dance of the Sugar Plum Fairy: A steady tempo is critical when performing this movement, as students may have a tendency to rush during the pizzicato sections. There is a regularly occurring descending sixteenth-note rhythmic figure that is transcribed form the bass clarinet part in the original. It is important to maintain clarity and balance in performing these passages as seen in mm. 16-19, in the Basses and m. 34 in the Cello and Bass. The balancing of the chords will be a challenge in the execution of the many sforzandos in this movement. March: Measures 2 and 4, and similar melodic patterns that follow, require the performers to carefully balance their forte/pianos on beats 3 and 4, along with the rapid diminuendo. The contrasting rhythmic patterns in mm. 5-8, and later throughout this movement must line up precisely. Strings playing the pizzicato eight note, walking bass line, must not rush, and the upper strings playing the eighth-note/eight-rest figure must follow their section leaders in executing this in a unified manner. While there is no formal tempo change from mm. 40 to 41, directors may need to relax the tempo at the beginning of the movement to accommodate the technical challenge of the double time feel that happens in m. 41. Trepak: Tchaikovsky was careful to notate the p, f and sf, requiring the performers to recognize the difference between all three markings that frame the chief melody. The upper strings must be careful to support the melody in the lower strings that begins in m. 33. Directors will challenge their students to have fun in the last twelve measures with the accelerando passage to the end. Care must be taken to use an accelerando that works for all the players in the particular ensemble. This arrangement will challenge students, while fostering rhythmic independence, execution of bowing and pizzicato, and the ability to balance the melody with the accompaniment throughout the arrangement. However, ranges remain primarily in first position with some optional 8va passages, allowing intermediate groups to perform this in time for the winter holiday concert. Suitable for Grades 3 through 5.To the Director:Dance of the Sugar Plum Fairy: A steady tempo is critical when performing this movement, as students may have a tendency to rush during the pizzicato sections. There is a regularly occurring descending sixteenth-note rhythmic figure that is transcribed form the bass clarinet part in the original. It is important to maintain clarity and balance in performing these passages as seen in mm. 16-19, in the Basses and m. 34 in the Cello and Bass. The balancing of the chords will be a challenge in the execution of the many sforzandos in this movement. March:  Measures 2 and 4, and similar melodic patterns that follow, require the performers to carefully balance their forte/pianos on beats 3 and 4, along with the rapid diminuendo. The contrasting rhythmic patterns in mm. 5-8, and later throughout this movement must line up precisely. Strings playing the pizzicato eight note, walking bass line, must not rush, and the upper strings playing the eighth-note/eight-rest figure must follow their section leaders in executing this in a unified manner. While there is no formal tempo change from mm. 40 to 41, directors may need to relax the tempo at the beginning of the movement to accommodate the technical challenge of the double time feel that happens in m. 41. Trepak:  Tchaikovsky was careful to notate the p, f and sf, requiring the performers to recognize the difference between all three markings that frame the chief melody. The upper strings must be careful to support the melody in the lower strings that begins in m. 33. Directors will challenge their students to have fun in the last twelve measures with the accelerando passage to the end. Care must be taken to use an accelerando that works for all the players in the particular ensemble. About Carl Fischer Concert String Orchestra Series This series of pieces (Grade 3 and higher) is designed for advancing ensembles. The pieces in this series are characterized by: - Expanded use of rhythms, ranges and keys but technical demands are still carefully considered
- More comprehensive bowing techniques
- Viola T.C. included
- Careful selection of keys and degree of difficulty for advancing musicians
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