For medium voice. Face to face (solos and duets, medium voice, spiral). Vocal Solo / Ensemble. Spiral Bound Book

For Alto and/or Tenor Saxophone. By Matthias Petzold. For Saxophone (Alto & Tenor). Duets. AMA Verlag. All Styles. Level: Intermediate. Book/CD Set. 52 pages. Published by AMA Verlag.

101 Popular Songs for Alto Sax * Solos and Duets * with 3 CDs composed by Various. Arranged by Jonathon Robbins. For alto sax. This edition: Paperback. Collection. Popular, Play Along. Collection and 3 CDs. Text Language: English. 160 pages. Published by Santorella Publications

By Cornelius Boots. For Bass Clarinet Duet. Chamber music, 20th century. Published by Potenza Music

Flute Duo - early intermediate

SKU: BT.DHP-1115109-401

For Flutes. Composed by Coen Wolfgram. De Haske Flute Series. Folk Klezmer. Book Only. Composed 2011. 12 pages. De Haske Publications #DHP 1115109-401. Published by De Haske Publications (BT.DHP-1115109-401).

ISBN 9789043142144. 9x12 inches. International.

Are you looking for a duet book full of surprises? Then 10 Klezmatic Duets is just the right book for you! It is available for flute or saxophone and each book can be combined with the other, making these truly flexible duets. The book contains a selection of well-known traditional melodies which are very different in character. Ideal for practice or concert performances.

Typisch voor klezmer is de zeer expressieve melodie die zowel heel opgewekt kan klinken als tegelijk melancholisch of weemoedig. 10 Klezmatic Duets is dan ook een veelzijdige uitgave: tien bekende en zeer verschillende klezmermelodieënzijn bewerkt voor twee fluiten of twee saxofoons. De verschillende uitgaven zijn onderling te combineren.

10 Klezmatic Duets ist ein vielseitiges Buch: Zehn bekannte, sehr unterschiedliche Klezmermelodien wurden dafür als Duette für zwei Flöten oder zwei Saxophone bearbeitet; aus diesem Buch kann aber auch gemeinsam mit anderen Instrumentalisten gespielt werden, welche die jeweils andere Ausgabe besitzen - so klingt die Musik dann sogar noch schöner!

10 Klezmatic Duets est un recueil aux multiples facettes : dix mélodies klezmer connues et de styles différents ont été arrangées pour être jouées par deux fl tistes ou deux saxophonistes, mais également en duo avec un autre instrumentiste vent possédant le recueil approprié. La musique nâ??en sera que plus belle!

10 Klezmatic Duets è una pubblicazione che contiene dieci note melodie klezmer arrangiate per duetti di flauti o sax. E' anche possibile combinare le due pubblicazioni per duetti misti. Così facendo, far musica è ancora più bello e divertente!

Edited by Vladimir Bodunov. For violin and viola. Stapled. Ready to Play. Book. Text: English and German. 19/15 pages. Published by Baerenreiter Verlag

Violin Duet - intermediate

SKU: BT.DHP-1115171-401

Arranged by Coen Wolfgram and Nico Dezaire. De Haske String Series. Folk Klezmer. Book Only. Composed 2011. 16 pages. De Haske Publications #DHP 1115171-401. Published by De Haske Publications (BT.DHP-1115171-401).

ISBN 9789043142311. 9x12 inches. English-German-French-Dut ch.

Are you looking for a duet book full of surprises? Then Klezmatic Duets (10 pieces) is just the right book for you! It is available for violin, viola and cello and each book can be combined with each other, making these truly flexible duets. The book contains a selection of well-known traditional melodies which are very different in character. These skilful arrangements allow violinists and viola players to play within the first position. Cello players play up to the fourth position.

Typisch voor klezmer is de zeer expressieve melodie die zowel heel opgewekt kan klinken als tegelijk melancholisch of weemoedig. Klezmatic Duets is dan ook een veelzijdige uitgave: tien bekende en zeer verschillende klezmermelodieënzijn bewerkt voor twee violen, twee altviolen of twee cellos's. De verschillende uitgaven zijn onderling te combineren

Klez matic Duets for Violins ist ein vielseitiges Buch: Zehn bekannte, sehr unterschiedliche Klezmermelodien wurden dafu?r als Duette fu?r zwei Violinen bearbeitet; aus diesem Buch kann aber auch gemeinsam mit anderen Streichern gespielt werden, welche die entsprechende Ausgabe fu?r Viola oder Cello besitzen. Geiger mu?ssen fu?r diese Stu?cke nur die erste Lage beherrschen.

Klezmatic Duets for Violins est un recueil aux multiples facettes : dix mélodies klezmer connues et de styles différents ont été arrangées pour être jouées en duo de violons mais également en duo avec un autre instrumentiste cordes, tel quâ??un altiste ou un violoncelliste possédant le recueil approprié. En tant que violoniste, vous devrez cependant maîtriser la première position.

Klezmatic Duets for Violins è una pubblicazione che può essere utilizzata in diverse combinazioni: 10 note melodie klezmer sono state arrangiate per due violini. Si può però suonare assieme ad un altro musicista che ha a disposizione la versione per viola o violoncello. Per lâ??esecuzione di questi brani è richiesta solo la padronanza della prima posizione.

Cello - intermediate

SKU: BT.DHP-1115173-401

Arranged by Coen Wolfgram and Nico Dezaire. De Haske String Series. Folk Klezmer. Book Only. Composed 2011. 16 pages. De Haske Publications #DHP 1115173-401. Published by De Haske Publications (BT.DHP-1115173-401).

ISBN 9789043139298. 9x12 inches. English-German-French-Dut ch.

Are you looking for a duet book full of surprises? Then Klezmatic Duets is just the right book for you! It is available for violin, viola and cello and each book can be combined with each other, making these truly flexible duets. The book contains a selection of well-known traditional melodies which are very different in character. hese skilful arrangements allow violinists and viola players to play within the first position. Cello players play up to the fourth position.

Typisch voor klezmer is de zeer expressieve melodie die zowel heel opgewekt kan klinken als tegelijk melancholisch of weemoedig. Klezmatic Duets is dan ook een veelzijdige uitgave: tien bekende en zeer verschillende klezmermelodieënzijn bewerkt voor twee violen, twee altviolen of twee cellos's. De verschillende uitgaven zijn onderling te combineren.

Kle zmatic Duets for Cellos ist ein vielseitiges Buch: Zehn bekannte, sehr unterschiedliche Klezmermelodien wurden dafu?r als Duette fu?r zwei Celli bearbeitet; aus diesem Buch kann aber auch gemeinsam mit anderen Streichern gespielt werden, welche die entsprechende Ausgabe fu?r Violine oder Viola besitzen. Geiger mu?ssen fu?r diese Stu?cke nur die erste Lage beherrschen; für Celiisten geht es bis zur vierten Lage.

Klezmatic Duets for Cellos est un recueil aux multiples facettes : dix mélodies klezmer connues et de styles différents ont été arrangées pour être jouées par deux violoncellistes, mais également en duo avec un autre instrumentiste cordes, tel quâ??un violoniste ou un altiste possédant le recueil approprié. En tant que violoncelliste, vous devrez cependant maîtriser les quatre premières positions.

Klezmatic Duets for Violins è una pubblicazione che può essere utilizzata in diverse combinazioni: 10 note melodie klezmer sono state arrangiate per due violoncelli. Si può però suonare assieme ad un altro musicista che ha a disposizione la versione per violine o viola. Per lâ??esecuzione di questi brani è richiesta solo la padronanza della prima posizione.

24 pieces in popular styles. By Christopher Norton. (Flute). Boosey and Hawkes Chamber Music. Size 8.25x11.75 inches. 30 pages. Published by Boosey & Hawkes.

Easy Instrumental Duets. Composed by Various. Easy Instrumental Duets. Duet, Pop. Softcover. 48 pages. Published by Hal Leonard

By Nilo W. Hovey. For Flute. Woodwind - Flute Duet. 32 pages. Published by Alfred Publishing.

Arranged by Dan Coates. Tony Bennett. For Piano. This edition: Easy Piano. Piano - Personality Book. Jazz; Pop; Standard. Book. 72 pages. Published by Alfred Publishing.
Level: Easy Piano.

Alto Saxophone and Piano. By Christopher Norton. (Saxophone). Boosey and Hawkes Chamber Music. Size 9x12 inches. 19 pages. Published by Boosey and Hawkes.

Performed by Tony Bennett. Songbook for voice, piano and guitar (chords only). Published by Alfred Publishing.

(Stylized Selections for Clarinet and Piano). Composed by Ed Hogan. Woodwind solo. For clarinet, piano. Worship Suite. Moderate. Lillenas Publishing Company #9780834173583. Published by Lillenas Publishing Company

(Stylized Selections for Clarinet and Piano). By Ed Hogan. Woodwind solo. Worship Suite. Moderate. Split-track CD. Published by Lillenas Publishing Company

Viola - intermediate

SKU: BT.DHP-1115172-401

Arranged by Coen Wolfgram and Nico Dezaire. De Haske String Series. Folk Klezmer. Book Only. Composed 2011. 16 pages. De Haske Publications #DHP 1115172-401. Published by De Haske Publications (BT.DHP-1115172-401).

ISBN 9789043139281. 9x12 inches. English-German-French-Dut ch.

Are you looking for a duet book full of surprises? Then Klezmatic Duets is just the right book for you! It is available for violin, viola and cello and each book can be combined with each other, making these truly flexible duets. The book contains a selection of well-known traditional melodies which are very different in character. These skilful arrangements allow violinists and viola players to play within the first position. Cello players play up to the fourth position.

Typisch voor klezmer is de zeer expressieve melodie die zowel heel opgewekt kan klinken als tegelijk melancholisch of weemoedig. Klezmatic Duets is dan ook een veelzijdige uitgave: tien bekende en zeer verschillende klezmermelodieënzijn bewerkt voor twee violen, twee altviolen of twee cellos's. De verschillende uitgaven zijn onderling te combineren.

Kle zmatic Duets for Violas ist ein vielseitiges Buch: Zehn bekannte, sehr unterschiedliche Klezmermelodien wurden dafür als Duette für zwei Violas bearbeitet; aus diesem Buch kann aber auch gemeinsam mit anderen Streichern gespielt werden, welche die entsprechende Ausgabe für Violine oder Cello besitzen. Geiger müssen für diese Stücke nur die erste Lage beherrschen.

Ten Klezmatic Duets for Violas est un recueil aux multiples facettes : dix mélodies klezmer connues et de styles différents ont été arrangées pour être jouées par deux altistes, mais également en duo avec un autre instrumentiste cordes, tel qu‘un violoniste ou un violoncelliste possédant le recueil approprié. En tant qu‘altiste, vous devrez cependant maîtriser la première position.

Klezmatic Duets for Violas è una pubblicazione che può essere utilizzata in diverse combinazioni: 10 note melodie klezmer sono state arrangiate per due viole. Si può però suonare assieme ad un altro musicista che ha a disposizione la versione per violine o violoncello. Per l‘esecuzione di questi brani è richiesta solo la padronanza della prima posizione.

(Communion Meditations for Organ and Piano). By Gilbert M. Martin (1941-). For organ and Piano. Holy Communion. 3-staff. Sacred organ and piano

String quartet String Quartet

SKU: PR.16400272S

Cassatt. Composed by Dan Welcher. Premiere: Cassatt Quartet, Northeastern Illinois University, Chicago, IL. Contemporary. Full score. With Standard notation. Composed 2007. WRT11142. 52 pages. Duration 24 minutes. Theodore Presser Company #164-00272S. Published by Theodore Presser Company (PR.16400272S).

UPC: 680160588442. 8.5 x 11 inches.

My third quartet is laid out in a three-movement structure, with each movement based on an early, middle, and late work of the great American impressionist painter Mary Cassatt. Although the movements are separate, with full-stop endings, the music is connected by a common scale-form, derived from the name MARY CASSATT, and by a recurring theme that introduces all three movements. I see this theme as Mary's Theme, a personality that stays intact while undergoing gradual change.   I The Bacchante (1876) [Pennsylvania Academy of Fine Arts, Philadelphia, Pennsylvania]   The painting shows a young girl of Italian or Spanish origin, playing a small pair of cymbals. Since Cassatt was trying very hard to fit in at the French Academy at the time, she painted a lot of these subjects, which were considered typical and universal. The style of the painting doesn't yet show Cassatt's originality, except perhaps for certain details in the face. Accordingly the music for this movement is Spanish/Italian, in a similar period-style but using the musical signature described above. The music begins with Mary's Theme, ruminative and slow, then abruptly changes to an alla Spagnola-type fast 3/4 - 6/8 meter. It evokes the Spanish-influenced music of Ravel and Falla.   Midway through, there's an accompanied recitative for the viola, which figures large in this particular movement, then back to a truncated recapitulation of the fast music. The overall feeling is of a well-made, rather conventional movement in a contemporary Spanish/Italian style. Cassatt's painting, too, is rather conventional.   II At the Opera (1880) [Museum of Fine Arts, Boston, Massachusetts]   This painting is one of Cassatt's most well known works, and it hangs in the Museum of Fine Arts in Boston. The painting shows a woman alone in a box at the opera house, completely dressed (including gloves) and looking through opera glasses at someone or something that is NOT on the stage. Across the auditorium from her, but exactly at eye level, is a gentleman with opera glasses intently watching her - though it is not him that she's looking at. It's an intriguing picture.   This movement is far less conventional than the first movement, as the painting is far less conventional. The music begins with a rapid, Shostakovich-type mini-overture lasting less than a minute, based on Mary's Theme. My conjecture is that the woman in the painting has arrived late to the opera, busily stumbling into her box. What happens next is a kind of collage, a kind of surrealistic overlaying of two different elements: the foreground music, at first is a direct quotation of Soldier's Chorus from Gounod's FAUST (an opera Cassatt would certainly have heard in the brand-new Paris Opera House at that time), played by Violin II, Viola, and Cello. This music is played sul ponticello in the melody and col legno in the marching accompaniment. On top of this, the first violin hovers at first on a high harmonic, then descends into a slow melody, completely separate from the Gounod. It's as if the woman in the painting is hearing the opera onstage but is not really interested in it. Then the cello joins the first violin in a kind of love-duet (just the two of them, at first). This music isn't at all Gounod-derived; it's entirely from the same scale patterns as the first movement and derives from Mary's Theme and its scale. The music stays in a kind of dichotomy feeling, usually three-against-one, until the end of the movement, when another Gounod melody, Valentin's aria Avant de quitter ce lieux reappears in a kind of coda for all four players. It ends atmospherically and emotionally disconnected, however. The overall feeling is a kind of schizophrenic, opera-inspired dream.   III Young Woman in Green, Outdoors in the Sun (1909) [Worcester Art Museum, Massachusetts]   The painting, one of Cassatt's last, is very simple: just a figure, looking sideways out of the picture. The colors are pastel and yet bold - and the woman is likewise very self-assured and not in the least demure. It is eight minutes long, and is all about melody - three melodies, to be exact (Young Woman, Green, and Sunlight). No angst, no choppy rhythms, just ever-unfolding melody and lush harmonies. I quote one other French composer here, too: Debussy's song Green, from Ariettes Oubliees. 1909 would have been Debussy's heyday in Paris, and it makes perfect sense musically as well as visually to do this.   Mary Cassatt lived her last several years in near-total blindness, and as she lost visual acuity, her work became less sharply defined - something akin to late water lilies of Monet, who suffered similar vision loss. My idea of making this movement entirely melodic was compounded by having each of the three melodies appear twice, once in a pure form, and the second time in a more diffuse setting. This makes an interesting two ways form: A-B-C-A1-B1-C1.   String Quartet No.3 (Cassatt) is dedicated, with great affection and respect, to the Cassatt String Quartet, whose members have dedicated themselves in large measure to the furthering of the contemporary repertoire for quartet.

Chamber Music String Quartet

SKU: PR.164002720

Cassatt. Composed by Dan Welcher. Spiral and Saddle. Premiere: Cassatt Quartet, Northeastern Illinois University, Chicago, IL. Contemporary. Set of Score and Parts. With Standard notation. Composed 2007. WRT11142. 52+16+16+16+16 pages. Duration 24 minutes. Theodore Presser Company #164-00272. Published by Theodore Presser Company (PR.164002720).

UPC: 680160573042. 8.5 x 11 inches.

My third quartet is laid out in a three-movement structure, with each movement based on an early, middle, and late work of the great American impressionist painter Mary Cassatt. Although the movements are separate, with full-stop endings, the music is connected by a common scale-form, derived from the name MARY CASSATT, and by a recurring theme that introduces all three movements. I see this theme as Mary's Theme, a personality that stays intact while undergoing gradual change.   I The Bacchante (1876) [Pennsylvania Academy of Fine Arts, Philadelphia, Pennsylvania]   The painting shows a young girl of Italian or Spanish origin, playing a small pair of cymbals. Since Cassatt was trying very hard to fit in at the French Academy at the time, she painted a lot of these subjects, which were considered typical and universal. The style of the painting doesn't yet show Cassatt's originality, except perhaps for certain details in the face. Accordingly the music for this movement is Spanish/Italian, in a similar period-style but using the musical signature described above. The music begins with Mary's Theme, ruminative and slow, then abruptly changes to an alla Spagnola-type fast 3/4 - 6/8 meter. It evokes the Spanish-influenced music of Ravel and Falla.   Midway through, there's an accompanied recitative for the viola, which figures large in this particular movement, then back to a truncated recapitulation of the fast music. The overall feeling is of a well-made, rather conventional movement in a contemporary Spanish/Italian style. Cassatt's painting, too, is rather conventional.   II At the Opera (1880) [Museum of Fine Arts, Boston, Massachusetts]   This painting is one of Cassatt's most well known works, and it hangs in the Museum of Fine Arts in Boston. The painting shows a woman alone in a box at the opera house, completely dressed (including gloves) and looking through opera glasses at someone or something that is NOT on the stage. Across the auditorium from her, but exactly at eye level, is a gentleman with opera glasses intently watching her - though it is not him that she's looking at. It's an intriguing picture.   This movement is far less conventional than the first movement, as the painting is far less conventional. The music begins with a rapid, Shostakovich-type mini-overture lasting less than a minute, based on Mary's Theme. My conjecture is that the woman in the painting has arrived late to the opera, busily stumbling into her box. What happens next is a kind of collage, a kind of surrealistic overlaying of two different elements: the foreground music, at first is a direct quotation of Soldier's Chorus from Gounod's FAUST (an opera Cassatt would certainly have heard in the brand-new Paris Opera House at that time), played by Violin II, Viola, and Cello. This music is played sul ponticello in the melody and col legno in the marching accompaniment. On top of this, the first violin hovers at first on a high harmonic, then descends into a slow melody, completely separate from the Gounod. It's as if the woman in the painting is hearing the opera onstage but is not really interested in it. Then the cello joins the first violin in a kind of love-duet (just the two of them, at first). This music isn't at all Gounod-derived; it's entirely from the same scale patterns as the first movement and derives from Mary's Theme and its scale. The music stays in a kind of dichotomy feeling, usually three-against-one, until the end of the movement, when another Gounod melody, Valentin's aria Avant de quitter ce lieux reappears in a kind of coda for all four players. It ends atmospherically and emotionally disconnected, however. The overall feeling is a kind of schizophrenic, opera-inspired dream.   III Young Woman in Green, Outdoors in the Sun (1909) [Worcester Art Museum, Massachusetts]   The painting, one of Cassatt's last, is very simple: just a figure, looking sideways out of the picture. The colors are pastel and yet bold - and the woman is likewise very self-assured and not in the least demure. It is eight minutes long, and is all about melody - three melodies, to be exact (Young Woman, Green, and Sunlight). No angst, no choppy rhythms, just ever-unfolding melody and lush harmonies. I quote one other French composer here, too: Debussy's song Green, from Ariettes Oubliees. 1909 would have been Debussy's heyday in Paris, and it makes perfect sense musically as well as visually to do this.   Mary Cassatt lived her last several years in near-total blindness, and as she lost visual acuity, her work became less sharply defined - something akin to late water lilies of Monet, who suffered similar vision loss. My idea of making this movement entirely melodic was compounded by having each of the three melodies appear twice, once in a pure form, and the second time in a more diffuse setting. This makes an interesting two ways form: A-B-C-A1-B1-C1.   String Quartet No.3 (Cassatt) is dedicated, with great affection and respect, to the Cassatt String Quartet, whose members have dedicated themselves in large measure to the furthering of the contemporary repertoire for quartet.