SKU: BT.DHP-1094836-404

ISBN 9789043164993. English-German-French-Dutch.

Trio Flex is a clever concept that offers you a range of possible options. As well as a demo version played by live instruments, the audio tracks available online contain two play-along tracks for each piece. One trackfeatures the combo only, and the other track features the combo plus the second and third parts of the trio. Peter Kleine Schaars has arranged ten well-known numbers for three wind instruments in various styles and genres. Playthe melody with the combo on the accompaniment track, or play the trio version with the other two recorded parts. That will sound great in itself. But you can also form a trio with two co-players, and have yourselves accompaniedby the combo accompaniment. No matter which variation you choose, get ready for a musical experience that will amaze your audience!

Trio-Flex is een uitgekiend concept dat verschillende mogelijkheden met zich meebrengt. De online beschikbare audiotracks bevatten naast een live ingespeelde demoversie van elk nummer twee begeleidingstracks. Op de enetrack hoor je alleen het combo en op de andere track hoor je het combo met daarbij de tweede en derde stem van het trio.

Peter Kleine Schaars bewerkte tien bekende nummers voor drie spelers in diverse genres en stijlen. Speeldemelodie met het combo op de begeleidingstrack, of speel de trioversie met de tegenstemmen. Dat klinkt al geweldig. Maar je kunt ook met twee medespelers een trio vormen en je door het combo op de begeleidingstrack latenbegeleiden. Welke variant je ook kiest: bereid je voor op een muzikale belevenis die je publiek versteld zal doen staan!

Trio-Flex ist ein cleveres Konzept, das verschiedene Möglichkeiten bietet. Neben einer live eingespielten Demoversion umfassen die online verfügbaren Audiotracks zwei Mitspielversionen jedes Stückes. Eine wird nur von derCombo gespielt, die andere von der Combo zusammen mit der zweiten und dritten Stimme des Trios.

Peter Kleine Schaars arrangierte zehn bekannte Titel für drei Klarinetten in verschiedenen Genres und Musikstilen. Die Melodie zurCombo-Begleitung gespielt oder die Trioversion mit den Gegenstimmen auf der Begleitaufnahme - das alleine klingt schon wunderbar. Am schönsten ist allerdings, wenn sich zwei Mitspieler finden und dann im Trio zur aufgenommenenCombo-Begleitung musiziert werden kann. Ganz egal, für welche Variante man sich entscheidet: Es wird eine musikalische Erfahrung, die jedes Publikum begeistert!

Trio Flex est un concept malin qui offre plusieurs possibilités de jeu. Chaque pièce est enregistrée dans trois versions : une version intégrale, jouée par un vrai combo, suivie de deux versions play-along quicorrespondent une version combo seul et une version combo avec les voix 2 et 3.

Peter Kleine Schaars a arrangé dix morceaux orientés grand public, de styles et de genres variés, pour trois instruments vent. Il y a plusieursoptions de jeu : jouer la ligne mélodique avec l'accompagnement du combo seul, jouer la ligne mélodique avec la version combo voix 2 et 3 ou encore former un trio avec deux amis jouant du même instrument et swinguer avecles musiciens du combo. Quelle que soit l'option choisie, vous ferez sensation auprès du public!

Fun Favorites è una pubblicazione basata sul concetto di TRIO-FLEX: si può quindi fare musica con tre strumentisti, da soli con il combo, o da soli con il combo e le parti del trio.

SKU: CY.CC3180

ISBN 9790530119082. 8.5 x 11 in inches.

James Pugh has written a short work of chamber music in one movement called Short Scherz, Quintet for Saxophone Quartet and Trombone. This music is appropriate for very advanced performers and is about 2 1/2 minutes in length. The work begins with a bouncy melody (A Theme) that works it's way up through the instruments, comes to a climax and continues on into a languid melodic section (B Theme) and works its way by adding speed and dynamics to the conclusion (A Theme repeated). This work was written for and first performed in 1989 by George Marge and the American Saxophone Quartet with Mr. Pugh.

SKU: HL.48181087

UPC: 888680948658. 9.0x12.0x0.135 inches.

Thirty great exercises or studies after Soussmann - Book 2 is the second and final volume of this series, written by Marcel Mule. Inspired by Soussmann's exercise book and adapted to saxophone, these studies for intermediate players are divided with 15 studies in the first book and 15 in the second one. Written in G key with up to 7 sharps per exercise, these studies will develop the technical skills and the sonority of the saxophonist. With breathing indications, it will help the players to gain in endurance too. Marcel Mule (1901-2001) is one of the greatest French saxophonists, renowned worldwide for his work on the classical saxophone repertoire. He was teaching his students how to obtain a good quality of sound and believed it was dependent on embouchure, the emission, the mastery of vibrato and thus, of breathing. He wrote different methods that focus on technique, articulation and tone productions such as Eighteen Exercises or Studies or Daily Exercises Aafter Terschack among others.

SKU: CF.YPS217

ISBN 9781491156544. UPC: 680160915088. 9 x 12 inches.

Hope Remains Within was commissioned by and composed for the Mount Nittany Middle School 7th and 8th Grade Concert Bands. Having heard the students of Mount Nittany perform another work of mine, I was very excited when their director, Johanna Steinbacher, approached me about writing a piece specifically for them. I knew right away that I wanted to write something that would tie in with their non-music curriculum in some way, but I wasn't exactly sure how, or what. Johanna talked to some of her students and learned that, in 7th grade, the students spend a good deal of time studying mythology in their English class. In particular, two clarinet students mentioned how much they enjoyed the story of Pandora. As such, I decided to use that story as the basis of this composition. Hope Remains Within doesn't attempt to re-tell the story, event by event, in musical terms. Instead, my goal was to address what seems to be one of the central issues of the Pandora myth. Though there are some variations, we probably all know the basics as told by the ancient Greek poet Hesiod. Zeus decides to punish Prometheus for stealing fire from heaven and giving it to humans. He and the other gods create Pandora, a beautiful and deceitful woman, and they give her to Prometheus's brother Epimetheus as a bride. Pandora is herself given a jar (according to many sources, jar seems to be a more accurate translation for what we commonly call Pandora's box) which contained numerous evils, diseases, and other pains. Out of curiosity, Pandora opens the jar and releases all of these evils into the world. But one thing remains in the jar: hope. The issue of hope seems to be one of the big interpretive questions of the Pandora myth. Why does hope remain within the jar? Why doesn't it come out of the jar to help humanity? Is hope being held on a pedestal of some sort? Is hope deliberately withheld from humanity? Why was hope in the jar with all those evils in the first place? I'm not enough of a mythological scholar to claim to have definitive answers to those questions, but these are the questions that I've tried to engage from a musical perspective in Hope Remains Within. I encourage the students and listeners to consider their own ideas of what hope is, and where you can find your own hope when needed. Musically, Hope Remains Within draws one of its main themes from the Prometheus Symphony by Alexander Skryabin (Scriabin). The note sequence F-D-Gb -F, heard near Hope's beginning played by alto saxophones and chimes, comes from the opening measures of Skyrabin's work. Given the important role that Prometheus plays in the Pandora myth, this seemed like an appropriate musical gesture to quote. This Prometheus motive is varied throughout the course of the piece, and even provides closure at the end, recast in a major key. Additionally, I have tried to involve a manageable amount of chromaticism in this piece. I have worked from the key of Bb major, no doubt familiar to every student who has ever played an instrument in a band. But I have added three extra notes: Db, Gb, and Ab, which are drawn from the key of Bb minor. During the piece's slow opening, I have allowed these minor key pitches to mingle freely within the Bb major tonality, adding extra color and (I hope!) beauty. As the piece progresses, though, the tempo increases, and we lose sense of the Bb major key entirely, and these extra notes play a more important role. But finally, Bb major returns triumphantly and all the extra notes are gone, except for a brief memory near the very end. (Ok, there are a couple of E-naturals that sneak in there along the way. I couldn't resist.).
Hope Remains Within was commissioned by and composed for the Mount Nittany Middle School 7th and 8th Grade Concert Bands. Having heard the students of Mount Nittany perform another work of mine, I was very excited when their director, Johanna Steinbacher, approached me about writing a piece specifically for them. I knew right away that I wanted to write something that would tie in with their non-music curriculum in some way, but I wasn’t exactly sure how, or what. Johanna talked to some of her students and learned that, in 7th grade, the students spend a good deal of time studying mythology in their English class. In particular, two clarinet students mentioned how much they enjoyed the story of Pandora.As such, I decided to use that story as the basis of this composition. Hope Remains Within doesn’t attempt to re-tell the story, event by event, in musical terms. Instead, my goal was to address what seems to be one of the central issues of the Pandora myth. Though there are some variations, we probably all know the basics as told by the ancient Greek poet Hesiod. Zeus decides to punish Prometheus for stealing fire from heaven and giving it to humans. He and the other gods create Pandora, a beautiful and deceitful woman, and they give her to Prometheus’s brother Epimetheus as a bride. Pandora is herself given a jar (according to many sources, “jar” seems to be a more accurate translation for what we commonly call “Pandora’s box”) which contained numerous evils, diseases, and other pains. Out of curiosity, Pandora opens the jar and releases all of these evils into the world. But one thing remains in the jar: hope.The issue of hope seems to be one of the big interpretive questions of the Pandora myth. Why does hope remain within the jar? Why doesn’t it come out of the jar to help humanity? Is hope being held on a pedestal of some sort? Is hope deliberately withheld from humanity? Why was hope in the jar with all those evils in the first place?I’m not enough of a mythological scholar to claim to have definitive answers to those questions, but these are the questions that I’ve tried to engage from a musical perspective in Hope Remains Within. I encourage the students and listeners to consider their own ideas of what hope is, and where you can find your own hope when needed.Musically, Hope Remains Within draws one of its main themes from the Prometheus Symphony by Alexander Skryabin (Scriabin). The note sequence F-D-Gb -F, heard near Hope’s beginning played by alto saxophones and chimes, comes from the opening measures of Skyrabin’s work. Given the important role that Prometheus plays in the Pandora myth, this seemed like an appropriate musical gesture to quote. This Prometheus motive is varied throughout the course of the piece, and even provides closure at the end, recast in a major key.Additionally, I have tried to involve a manageable amount of chromaticism in this piece. I have worked from the key of Bb major, no doubt familiar to every student who has ever played an instrument in a band. But I have added three extra notes: Db, Gb, and Ab, which are drawn from the key of Bb minor. During the piece’s slow opening, I have allowed these minor key pitches to mingle freely within the Bb major tonality, adding extra color and (I hope!) beauty. As the piece progresses, though, the tempo increases, and we lose sense of the Bb major key entirely, and these extra notes play a more important role. But finally, Bb major returns triumphantly and all the extra notes are gone, except for a brief memory near the very end. (Ok, there are a couple of E-naturals that sneak in there along the way. I couldn’t resist.).