| 44 Duos for Two Flutes 2 Flutes (duet) Boosey and Hawkes
From 44 Duos for Two Violins. Composed by Bela Bartok (1881-1945). Boosey and ...(+)
From 44 Duos for Two Violins.
Composed by Bela Bartok
(1881-1945). Boosey and Hawkes
Chamber Music. Classical.
Softcover. Boosey and Hawkes
#UE38018. Published by Boosey
and Hawkes
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| Concerto fur Pianoforte, Violin, Violoncello and Orchestra C major op. 56 'Triple Concerto' Piano Trio: piano, violin, cello Barenreiter
By Ludwig van Beethoven (1770-1827). Edited by Jonathan Del Mar. Arranged by Mar...(+)
By Ludwig van Beethoven (1770-1827). Edited by Jonathan Del Mar. Arranged by Martin Schelhaas. For Piano/Violin/Violoncello (Solo Piano/Solo Violin/Solo Violoncello/Flute/2 Oboes/2 Clarinets/2 Bassoons/2 Horns/2 Clarions/Timpani/2 Violins/Viola/Violoncello/Contrabass). This edition: Paperback, Urtext edition. Piano reduction, Set of parts. Opus 56. 91/44/19/19 pages. Duration 35'. Published by Baerenreiter Verlag
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| Christmas Music to Sing and Play String Quartet: 2 violins, viola, cello Breitkopf & Härtel
String Quartet (rec,vl,vc,pno) SKU: BR.EB-6705 Pieces in Two to Four P...(+)
String Quartet (rec,vl,vc,pno) SKU: BR.EB-6705 Pieces in Two to Four Parts. Composed by Fritz Scharlach. Chamber music; stapled. Edition Breitkopf. Music pedagogy. Full score. 56 pages. Breitkopf and Haertel #EB 6705. Published by Breitkopf and Haertel (BR.EB-6705). ISBN 9790004169063. 9 x 12 inches. German. Though a piano can always be included, it is not an essential requirement for the performance of these settings: in some of the carols, two violins or two flutes are quite sufficient, especially if voices are used as well. The following combinations are particularly suitable for domestic music-making, whether or not voices are included as well:one violin and piano,two violins and piano,two or three violins,violins and recorders,two concert (C) flutes (and an alto flute) and - as the ideal combination for shepherds' songs - flutes, violins, cello and piano.Performing groups and music schools have the advantage of a wider choice of forces and the possibility of varying the instrumentation within the individual carols and verses. Thus large and small combinations can alternate, strings and flutes can play in turn, and finally the piano can be used by itself or to reinforce other instrumental combinations, in which case the cello can be added, too.The pieces are graded in increasing order of difficulty; the first carols are chosen so that they can be mastered by violinists after as little as 4 to 6 months of learning their instrument. The choise and sequence of the carols in this book, and also their keys, were determined, amongst other factors, by their suitability for the start of violin tuition, both in first and in third position, so that these carols make an especially good supplement of Christmas music to the violin method of Fritz and Gottfried Scharlach (with its principle of starting with the third position). The progressively increasing difficulty of the carols has resulted, for example, in the three Advent carols (nos. 23-25) being placed later in the collection.The editor hopes that these carols will be much played and sung, and thus help to fill the Christmas season with joy and splendour.Fritz Scharlach, Salzburg, December 1972
Our beautiful Christmas carols, old and new, are presented here in settings, ranging from the easy to the more difficult, for various combinations of voices and instruments that may be available in domestic music-making or for a Christmas concert. $29.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Concerto a quadro del Sign: Hendell String Quartet: 2 violins, viola, cello Edition HH
String quartet SKU: HH.HH369-FSP Composed by Anonymous. Edited by Christo...(+)
String quartet SKU: HH.HH369-FSP Composed by Anonymous. Edited by Christopher Hogwood. Two Violins, Viola, Violoncello. Full score and parts. Edition HH Music Publishers #HH369-FSP. Published by Edition HH Music Publishers (HH.HH369-FSP). ISBN 9790708041887. This previously-unpublished Concerto a Quadro presumably started life as a concerto for the standard Baroque forces of flute, strings and continuo, now otherwise unknown; it is preserved in its surviving form for flute, violin, viola and cello in a set of manuscript parts apparently copied by an amateur musician in Sweden. Although unlikely to be the work of Handel, as a rare early example of music for flute quartet it is an attractive extension to a repertoire otherwise dominated by the works of Mozart and his contemporaries. In the present publication, editorial figuring in the cello part allows for the possibility of expanding the texture with additional continuo instruments. $22.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Dances: Volume One Piano solo Subito Music
Piano SKU: SU.96010560 Composed by Wolfgang Amadeus Mozart. Score. Subito...(+)
Piano SKU: SU.96010560 Composed by Wolfgang Amadeus Mozart. Score. Subito Music Corporation #96010560. Published by Subito Music Corporation (SU.96010560). Transcribed and arranged for Piano by Lawrence RosenA new, 3-volume set of Mozart Dances for Piano, 14 of these dance suites are faithfully transcribed for piano at the early to advanced intermediate level. Almost all appear as new Mozart music for piano (except for the Six German Dances, K. 509, which Mozart himself arranged for piano.) Within each volume, they are arranged by increasing difficulty. They are eminently suited for teaching, recital and concert performance, encores, recording, sight-reading practice, and theoretical study. We sincerely hope you enjoy them as much as we did in discovering and creating these little masterpieces. CONTENTS Six Landler, K. 606 (Originally for 2 Violins, Violoncello/Contrabass) Five Country Dances, K. 609 (originally for Flute, 2 Violins, Violoncello/Contrabass Two Minuets, K. 463 (originally for Oboe, Bassoon, 2 Horns, 2 Violins, Violoncello/Contrabass) Six German Dances, K. 567 (originally for 2 Flutes, Piccolo, 2 Oboes, 2 Clarinets, 2 Bassoons, 2 Horns, 2 Trumpets, 2 Violins, Violoncello/Contrabass) Six German Dances, K. 509 (originally for 2 Flutes, Piccolo, 2 Oboes, 2 Clarinets, 2 Bassoons, 2 Horns, 2 Trumpets, 2 Violins, Violoncello/Contrabass)Instrumentation: Piano Published by: Subito Music Publishing. $19.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Forest Scenes, Op.82 Flute Quartet: 4 flutes Falls House Press
For Double Quartet - Flutes and Strings. Composed by Robert Schumann. Arr...(+)
For Double Quartet - Flutes and Strings. Composed by Robert Schumann. Arranged by Ann Cameron Pearce. Score and part(s). With Standard notation. 19 pages. Duration 9 minutes, 30 seconds. Falls House Press #FC-ACP12. Published by Falls House Press (PR.FH0347).
$45.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Two folk-songs for male voices from The Sprig of Thyme Choir, Piano Accompaniment, Voice, Flute, Cello, Harp, Clarinet, Bassoon, Oboe, Violin [Octavo] Oxford University Press
By John Rutter (1945-). For Men's voices and piano/chamber ensemble/chamber orch...(+)
By John Rutter (1945-). For Men's voices and piano/chamber ensemble/chamber orchestra (flute, oboe, clarinet, bassoon, harp, violins 1& 2, cello and bass). This edition: M23. Male Voices. Secular Choral Leaflet. Vocal score. 8 pages. Duration 5'
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| Dances: Volume Two Piano solo Subito Music
Piano SKU: SU.96010570 Composed by Wolfgang Amadeus Mozart. Score. Subito...(+)
Piano SKU: SU.96010570 Composed by Wolfgang Amadeus Mozart. Score. Subito Music Corporation #96010570. Published by Subito Music Corporation (SU.96010570). Transcribed and arranged for Piano by Lawrence RosenA new, 3-volume set of Mozart Dances for Piano, 14 of these dance suites are faithfully transcribed for piano at the early to advanced intermediate level. Almost all appear as new Mozart music for piano (except for the Six German Dances, K. 509, which Mozart himself arranged for piano.) Within each volume, they are arranged by increasing difficulty. They are eminently suited for teaching, recital and concert performance, encores, recording, sight-reading practice, and theoretical study. We sincerely hope you enjoy them as much as we did in discovering and creating these little masterpieces. CONTENTS Four German Dances, K. 602 (originally for 2 Flutes, Piccolo, 2 Oboes, 2 Clarinets, 2 Bassoons, 2 Horns, 2 Trumpets, 2 Violins, Violoncello/Contrabass, Timpani) Twelve German Dances, K. 586 (originally for 2 Flutes, Piccolo, 2 Oboes, 2 Clarinets, 2 Bassoons, 2 Horns, 2 Violins, Violoncello/Contrabass, Tambourine, Timpani) Minuet, K. 409 (originally for 2 Flutes, 2 Oboes, 2 Bassoons, 2 Horns, 2 Trumpets, 2 Violins, Viola, Violoncello/Contrabass) Les Petits Riens (excerpts,) K. 299b (originally for 2 Flutes, 2 Oboes, 2 Clarinets, 2 Bassoons, 2 Horns, 2 Trumpets, 2 Violins, Viola, Violoncello/Contrabass, Timpani) Instrumentation: Piano Published by: Subito Music Publishing. $19.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Concerto for Harpsichord, two Recorders and Strings Nr. 6 F major BWV 1057 [score] Barenreiter
Composed by Johann Sebastian Bach (1685-1750). Edited by Werner Breig. For harps...(+)
Composed by Johann Sebastian Bach (1685-1750). Edited by Werner Breig. For harpsichord, 2 recorders and strings (harpsichord solo/2Bflute/2 violins/viola/basso continuo (cello/violone)). This edition: Urtext edition. Stapled. Score. No. 6, BWV 1057. 60 pages. Duration 17 minutes. Published by Baerenreiter Verlag
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| 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 | | |
| se sont penches dessus 2 Violins (duet) Carus Verlag
2 violins SKU: CA.1632710 Synchroniestudie Nr. 1 fur 2 Violinen. C...(+)
2 violins SKU: CA.1632710 Synchroniestudie Nr. 1 fur 2 Violinen. Composed by Walter Feldmann. This edition: Paperbound. German title: Se Sont Penches Dessus, Duo. Playing score. Composed 2004/05. 10 pages. Duration 5 minutes. Carus Verlag #CV 16.327/10. Published by Carus Verlag (CA.1632710). ISBN 9790007113063. Language: all languages. The study in synchronicity, se sont penches dessus first achieved its final scoring after many changes. It was first composed as music to a choreography by Gabriel Hernandez: Le (!). eh ? Zovotrimaserovmeravmerouvian (dmzn !) ; se sont penches dessus, which is based on the letters of a fragment translated into French that appears in James Joyce's Finnegan's Wake. The short, static piece has existed in three versions: 1. - sspd , electronic music (normal version, a glissando from one chord of four sounds to another, employed in the electronics of No. 3) 2. - sspd sature, electronic music (intentionally distorted version of No. 1) 3. - se sont penches dessus for violin, alto flute and electronics, in which the flutist had to sing one tone of a diad It turns out that a version for two equal string instruments can better render the harmony of the piece (a tone sung simultaneously with a tone that is played on the flute yields a ring-modulated mixture of sound which is too indistinct), and thus the duo version for 2 violins was composed. A collaboration with the Kairos Quartet, Berlin, (le second tour du noye, 3rd String Quartet) led me to smuggle a viola and cello into the piece as background, in order to glue the abrupt harmonic changes discretely together. The Duo and the Quartet are definitive and equally valid versions, both of which are available separately: Duo (Carus 16.327/10), Quartet (Carus 16.327). se sont penches dessus is now literally the transposition of the translated quotation from James Joyce, in which the letters of the text se sont penches dessus establish the basic structure of the piece (the rhythmic standstill denotes the vowels of the 4 words), the letters of Zovotrimaserovmeravmerouvian indicate the fine rhythmic structure and the manner of playing (e.g., sul ponticello). Walter Feldmann. Score available separately - see item CA.1632700. $20.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| He Is Born (Choral Score) Choral SATB SATB, Organ - Beginner MorningStar Music Publishers
SATB choir with optional congregation and (organ) or (brass quartet, percussion,...(+)
SATB choir with optional congregation and (organ) or (brass quartet, percussion, and organ) or (organ and orchestra) - Beginning SKU: MN.50-1953 Composed by Robert A. Hobby. Christmas, 21st Century. Choral score. MorningStar Music Publishers #50-1953. Published by MorningStar Music Publishers (MN.50-1953). UPC: 688670519536. English. The traditional French carol IL EST NÉ is set here in a simple but beautiful way. The beauty of the melody shines throughout this exquisite arrangement. From the larger work Holy Light.
Performance Options:Option 1: SATB Choir, Brass Quartet (Two Trumpets in B-flat, Two Trombones), Glockenspiel, Triangle, Tambourine, and Organ, with opt. CongregationOption 2: SATB Choir, Organ, and Orchestra (Flute, Oboe, Clarinet, Bassoon, Two Trumpets in B-flat, Two Trumpets in C, Two Trombones, Organ, Two Violins, Viola, Cello, Double Bass, Percussion [Glockenspiel, Triangle, Tambourine]), with opt. CongregationOption 3: SATB Choir and Organ. $2.65 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Chamber Symphony No. 3 for Flute and Strings (1982) Carl Fischer
Orchestra flute and strings SKU: CF.SC63 Composed by Yevhen Stankovych. P...(+)
Orchestra flute and strings SKU: CF.SC63 Composed by Yevhen Stankovych. Perfect - Å’ Hinge. Full score. With Standard notation. 92 pages. Carl Fischer Music #SC63. Published by Carl Fischer Music (CF.SC63). ISBN 9780825868238. UPC: 798408068233. 9 X 12 inches. A notable work from renowned Ukrainian composer Stankovych, whose Chamber Symphony No. 3 was lauded in 1985 by the judges of the UNESCO International Rostrum of Composers. Full score edition with instrumentation for: seven violins, two violas, two violoncellos, and one contrabass. Performance material available from the Rental Library. $34.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Go, My Children, with My Blessing Choral SATB Concordia Publishing House
Composed by Kevin Hildebrand. Octavo. Concordia Publishing House #984338. Publ...(+)
Composed by Kevin Hildebrand.
Octavo. Concordia Publishing
House #984338. Published by
Concordia Publishing House
$2.80 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Angels We Have Heard on High Choral SATB SATB [Octavo] - Intermediate MorningStar Music Publishers
By Taylor Davis. For piano or harp, optional orchestra (SATB choir, Children's C...(+)
By Taylor Davis. For piano or harp, optional orchestra (SATB choir, Children's Choir). Choral. Christmas. Moderately Easy. Octavo. 8 pages. Published by MorningStar Music Publishers
$1.70 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Galloping Ghosts Concert band - Intermediate/advanced Manhattan Beach Music
Concert band - Grade 4 SKU: MH.1-59913-064-5 Composed by William Ryden. S...(+)
Concert band - Grade 4 SKU: MH.1-59913-064-5 Composed by William Ryden. Suitable for high school, community, and college bands. Conductor score and set of parts. Duration 2:45. Published by Manhattan Beach Music (MH.1-59913-064-5). ISBN 9781599130644. I wrote Galloping Ghosts (A Ragtime March) to conclude a concert of my chamber music in New York City on October 28, 1986. It is the final part of a work called Rags for Divers Players. This work was written to show the variety possible within the standard rag form. I used all the players available for the finale -- two violins, viola, cello, bass, flute, oboe, clarinet, horn, bassoon, and piano. Since this is a rather unusual instrumental combination and not easy to reassemble, I decided to rescore the work for concert band. Galloping Ghosts is written in a standard march form but incorporates many of the syncopations found in ragtime. The uniquely American music called ragtime traces its history to African rhythms brought over by slaves. Over the years this music became welded to European musical forms such as the quadrille and the march. Drums and banjos and the minstrel tradition lent a special flavor, and from all these elements ragtime slowly evolved within the largely unknown black subculture of the late 19th century. In the late 1890's it emerged as a fully developed form in the classic piano solos of Scott Joplin (1869-1917). Joplin's 1899 hit, Maple Leaf Rag, was an overnight sensation and brought ragtime worldwide fame. Ensemble instrumentation: 1 Piccolo, 8 Flute 1 & 2, 2 Oboe, 1 Eb Clarinet, 4 Bb Clarinet 1, 4 Bb Clarinet 2, 4 Bb Clarinet 3, 2 Eb Alto Clarinet, 3 Bb Bass & Bb Contrabass Clarinet, 2 Bassoon 1 & 2, 2 Eb Alto Saxophone 1, 2 Eb Alto Saxophone 2, 2 Bb Tenor Saxophone, 1 Eb Baritone Saxophone, 3 Bb Cornet 1, 3 Bb Cornet 2, 3 Bb Cornet 3, 2 Horn 1 & 2 in F, 2 Horn 3 & 4 in F, 4 Trombone 1 & 2, 4 Bass Trombone, 2 Baritone (B.C.), 2 Baritone (T.C.), 4 Tuba, 1 String Bass, 1 Timpani, 1 Xylophone, 3 Percussion 1, 3 Percussion 2. $95.00 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
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