Beyond the Stars Orchestre d'harmonie - Intermédiaire Hal Leonard
Concert Band (Score) - Grade 4 SKU: HL.4005540 Composed by James Curnow. ...(+)
Concert Band (Score) -
Grade 4
SKU:
HL.4005540
Composed
by James Curnow.
MusicWorks Grade 4.
Concert. Softcover.
Duration 380 seconds.
Published by Hal Leonard
(HL.4005540).
UPC:
888680748173.
9.0x12.0x0.096
inches.
Based on
the traditional American
shaped-note melody The
Promised Land (first
published in the 1800's),
Beyond the Stars captures
the spirit of the early
American church musicians
who voiced their
enthusiasm for life and
the freedom of worship
through both vocal and
instrumental music. The
music features several
mini-variations wrapped
up in four large
variations (Fast, Fast,
Slow,
Fast-recapitulation). The
composer has created new
thematic material for
each variation by
excerpting motifs from
three separate phrases of
the original shaped-note
melody. A stunning and
powerful work for winds.
Dur: c. 6:20.
A collection of short works of varying difficulty by composers of various nation...(+)
A collection of short
works of varying
difficulty by composers
of various nationalities.
Includes works by David
Farquahar, Knut Guettler,
Michael Johnson, Alan
Rea, Stuart Sankey, Jan
Segers and Emil
Tabakov.
Trumpet SKU: HL.48181341 Composed by Marcel Bitsch. Leduc. Classical. Sof...(+)
Trumpet
SKU:
HL.48181341
Composed
by Marcel Bitsch. Leduc.
Classical. Softcover. 14
pages. Alphonse Leduc
#AL20776. Published by
Alphonse Leduc
(HL.48181341).
UPC:
888680867775.
9.0x12.0x0.075
inches.
“Born
in Toulouse, Marcel
Bitsch (1921-2011) went
on to study at the Paris
Conservatoire before
becoming a professor of
counterpoint at the
institution. As an
exceptionally versatile
composer, Bitsch has
composed orchestral
works, chamber works and
numerous pieces and
studies for wind
instruments. Four
Variations on a Theme by
Domenico Scarlatti is a
significant addition to
the Trumpet and Cornet
repertoire. Suited to
advanced level trumpeters
and cornetists, Bitsch's
Four Variations on a
Theme by Domenico
Scarlatti includes a
variety of technical
aspects as well as
sublime musicality. In
his latter years, Bitsch
dedicated himself to the
analysis of music by the
Baroque masters. It is
clear that his
inspiration for Four
Variations on a Theme by
Domenico Scarlatti comes
from his passion for and
interest in the era. The
variety of this exciting
Bitsch piece is
outstanding, creating a
necessary, inspiring
addition to the Trumpet
and Cornet
repertoire.â€.
Composed by Wolfgang Amadeus Mozart (1756-1791). For solo piano. Format: piano s...(+)
Composed by Wolfgang
Amadeus Mozart
(1756-1791). For solo
piano. Format: piano solo
book. Classical period.
Series: The World's Great
Classical Music. 224
pages. 9x12 inches.
Published by Hal Leonard.
Chamber Music Piano SKU: PR.110418370 Composed by Charles Ives. Arranged ...(+)
Chamber Music Piano
SKU: PR.110418370
Composed by Charles Ives.
Arranged by Danny Holt.
Performance Score. 20
pages. Duration 8
minutes. Theodore Presser
Company #110-41837.
Published by Theodore
Presser Company
(PR.110418370).
ISBN
9781491135075. UPC:
680160686247.
Compo
sed as an organ solo by
the 17-year-old Ives for
his own performance
purposes, the beloved
Variations on America is
a treat for any occasion,
whether a holiday
concert, a serious
recital, or other special
event. Danny
Holt’s
transcription for Piano,
Four Hands adds a
dazzling new option to
play at home or on stage,
taking best advantage of
Ives’ tremendous
contrasts in color,
dynamics, and
texture. Composed when
Charles Ives was a
teenager, Variations on
“America†is
both a convenient
introduction to
Ives’ body of
work, and an early
example of his
iconoclastic musical
voice and creative
genius. Just a few years
after composing this
piece, Ives would leave
home to study music at
Yale. But until then he
had been taught by his
father, George (who had
been a bandmaster in the
Civil War). George
subjected the young Ives
to experiments such as
singing a song in one key
while being accompanied
in another, or arranging
for two marching bands to
converge on a town
center, with the
resulting cacophony that
ensued.The Variations
exemplifies an early
period of experimentation
in Ives’ work,
spurred on by the unusual
pedagogy of his father.
The piece is particularly
notable for its use of
bitonality in the two
interludes, subtly
foreshadowing more
well-known examples by
Stravinsky, Bartók,
and others by
approximately two
decades.The bitonal
interludes were so ahead
of their time, in fact,
they were omitted from
the first copy that was
submitted to a publisher
in 1892. (Alas, the piece
was rejected even despite
these
“shockingâ€
elements having been left
out, and it wasn’t
published until more than
five decades later.)
There is some ambiguity
about when exactly Ives
added the interludes into
his manuscript copy,
though ample evidence
suggests he had performed
the piece with the
interludes around the
time he notated the piece
in 1891-92. In any case,
in light of this piece
and his other polytonal
explorations from the
last decade of the 19th
century, it seems fair to
give Ives credit for
being a pioneer in this
area!This arrangement for
Piano, Four Hands,
closely follows
Ives’ original
version for organ,
setting aside William
Schuman’s popular
adaptation for symphony
orchestra and William
Rhoads’ band
transcription of the
Schuman orchestration.
Pianists will find that
the piece translates well
to the instrument.
Ideally, the choreography
and logistics of
elbow-to-elbow four-hands
playing approximates the
wild joy one gets from
watching an organist play
the piece (e.g., the
elaborate pedal part in
the final variation).In
preparing this
publication, attention
was paid to details in
the dual Critical
Editions (Presser
443-41003) of both
Ives’ manuscript
edition and the 1949
publication edited by
organist E. Power Biggs
(who is credited with
discovering what had been
a long-lost, forgotten
work.) But as with much
of Ives’ output,
attempting to create a
true
‘urtext’
score is a futile
endeavor, and especially
with a piece such as this
one – in which
Ives incorporated
improvisation in live
performance –
seems unnecessary anyhow.
True die-hards are of
course encouraged to
consult the critical
editions and even find
inspiration in the
orchestrated version.
Generally, performers are
advised to be wild, have
fun, and not to be too
rigid in their
interpretive
choices.Dynamics in this
arrangement mostly follow
the organ score closely.
Pianists will use good
judgment about pedaling
throughout, which should
be straightforward and
intuitive. Courtesy
accidentals have been
provided frequently
– without
parentheses –
balancing the need for
extra clarity in the
context of Ives’
murky musical language,
and a desire to avoid
unnecessary clutter.A few
notes that might inform
interpretive
decisions:mm. 15-16:
There are inconsistencies
here between Ives’
original manuscript and
the 1949 Biggs edition,
regarding the top voice
in m. 15, beat 3 (C# vs.
Cn) and m. 16 (D Major
vs. D Minor).mm. 76-84 &
143-146: In both
Interludes, Ives
emphatically notates
extreme dynamic contrast,
in order to highlight the
bitonality. Although it
may seem counterintuitive
(or even a misprint, as
has apparently been
misconstrued by some),
performers are urged to
follow the
composer’s
marking!m. 109: Two-note
slurs have been added
here for clarity and
consistency with other
similar passages, though
they do not appear in
either the original
manuscript or Biggs.m.
112: The last two eighth
notes of Primo appear as
16ths in the original
manuscript.mm. 183-186:
The original manuscript
has a slightly different
bass line.mm. 184 & 186:
Primo gestures have been
re-written to be slightly
more idiomatic for Piano,
Four Hands.m. 186: The
breath mark at the end of
this bar does not appear
in either the manuscript
or Biggs, but is an
editorial suggestion
– aside from being
appropriately dramatic,
it will indeed be
necessary in a
reverberant hall!I would
like to thank Steven
Vanhauwaert, the other
half of my piano duo,
4handsLA, for his input
on early drafts of this
arrangement.—
Danny Holt, April
2022.
Critical Edition
Hardcover. Composed
by Karol Szymanowski.
PWM. Classical.
Hardcover. 60 pages.
Polskie Wydawnictwo
Muzyczne #9267030.
Published by Polskie
Wydawnictwo Muzyczne
(HL.370494).
ISBN
9781705147009. UPC:
840126994025.
The
First String Quartet in C
major, Op. 37, was
written in the autumn of
1917 and earned
Szymanowski the first
prize in a competition
organized by the Ministry
of Religious and in a
competition organized by
the Ministry of Religious
and Educational Affairs
in January 1922. The
First String Quartet is
notable for its clar and
simple construction. The
first movement is in the
formof a sonata allegro;
the Andantino semplice
(in modo iuna canzone) in
the middle is a cross
between ternary and
variation form. The final
Scherzando alla burlesca
also keeps to the form of
a sonata allegro. The
combinations and
proportions of formal
factors and the treatment
of thematic material
betray a fairly
conventional adoption of
classical models.
Similarly, the expressive
and structural use of
melodic material shows a
respect for traditional
norms. Szymanowski
created, in other works
from the same period, his
own individual type of
melodic line, which was
strongly expressive and
achieved its effect
chiefly by its tonal
qualieties; nevertheless
in this Quartet he
returns to a fluid,
cantilena-like,
symmetrically shaped
melodic line, which runs
along in broad phrases of
a concentrated,
reflective character.
Melody becomes the chief
factor in the development
of the form, both in
thematic usage and in the
application of a more
polyphonic texture.
Harmonic and tonal means
are considerably
simplified in the Quartet
[]. Most of the writing
is linear, or horizontal,
with individual treatment
of each part, the
parallel continuation of
the four sound planes,
almost a matter of
principle. The functions
of the particular
instruments in realizing
these planes are
constantly changing,which
accounts for the even
greater variedy of
tone-colour. The decision
to forego experiment with
forms and sonorities is
reflectedin the overall
approach to musical
expression. The
predominant atmosphere of
restrained emotion, quiet
lyricism and serenity is
strongly suggestive of
classical aestetic
models. (Based on Zofia
Helman Commentary on
Szymanowski Complete
Edition, Vol. B6) (II)
The ''Second String
Quartet'' represents an
interesting attempt to
revert to classical form
coupled with the new
harmonic and tonal
vocabulary worked out
previously in the
''Slopiewnie'', ''Stabat
Mater'' and ''Mazurkas''.
It was also the first
time the composer had
used folk elements in the
framework of a major
classical form. The
''Second String Quartet''
is in a special category
among Szymanowski's
works. Though it dates
from the composer was
still occupied with folk
music, it nevertheless
shows him returning to
classical models, but at
the same time using an
aesthetic of subjective
expression, which gives
the work its own
individual stamp. The
''Second String Quartet''
synthesis of the various
directions in which
Szymanowski was
attempting to develop.
The sonority and texture
used in the first.
By Various. Arranged by Daniel Kelley. For Baritone Saxophone in Eb. Quartets. I...(+)
By Various. Arranged by
Daniel Kelley. For
Baritone Saxophone in Eb.
Quartets. Intermediate
Music for Four.
Classical. Level:
Intermediate. Part 4.
Published by Last Resort
Music Publishing.
91 Selections from Keyboard Literature, Concertos, Oratorios and Operas. By Vari...(+)
91 Selections from
Keyboard Literature,
Concertos, Oratorios and
Operas. By Various.
World's Greatest
Classical Music. 224
pages. Published by Hal
Leonard.
(14 Jazzy Pieces With a CD of Performances and Accompaniments 1 Piano, 4 Hands)....(+)
(14 Jazzy Pieces With a
CD of Performances and
Accompaniments 1 Piano, 4
Hands). By Anton Diabelli
(1781-1858). Arranged by
Uwe Korn. Piano.
Softcover with CD. 40
pages. Schott Music
#ED20718. Published by
Schott Music
Tribute to a Maestro Orchestre d'harmonie [Conducteur] - Intermédiaire De Haske Publications
Concert Band/Harmonie - Grade 4 SKU: BT.DHP-1195884-140 Variations on ...(+)
Concert Band/Harmonie -
Grade 4
SKU:
BT.DHP-1195884-140
Variations on a theme
by Jean-Philippe
Rameau. Composed by
Jan de Haan. Concert and
Contest Collection CBHA.
Concert Piece. Score
Only. Composed 2019. 40
pages. De Haske
Publications #DHP
1195884-140. Published by
De Haske Publications
(BT.DHP-1195884-140).
English-German-French-
Dutch.
Tribute
to a Maestro is an
homage to Jean-Philippe
Rameau (1683 1764), one
of the most important
French Baroque composers.
Rameau was a hugely
significant composer,
organist, harpsichordist
and music teacher: he
also published several
authoritative books on
music theory. Jan de Haan
based this tribute on a
theme from ‘Les
Sauvages’ (The
Savages), the fourth act
of Rameau’s
ballet-opera, Les
Indes Galantes
(The Amorous
Indies). The work
begins with two
variations, whereupon the
striking theme can be
heard. After a short
intermezzo, four more
variations follow, of
which the last one is
composed in Baroque
style.
Tribute
to a Maestro is een
hommage aan Jean-Philippe
Rameau (1683 1764), een
van de belangrijkste
componisten uit de barok.
Deze Fransman was niet
alleen componist,
organist, klavecinist en
muziekpedagoog, maar ook
muziektheoreticus. Hij
publiceerde verschillende
toonaangevende boeken
over muziektheorie. Jan
de Haan baseerde dit
eerbetoon op een thema
uit het oeuvre van
Rameau, namelijk
‘Les
Sauvages’ (De
wilden) uit de vierde
akte van een van Rameaus
balletopera’s,
Les Indes Galantes
(De hoffelijke
Indiërs). Het werk
begint met twee
variaties, waarna het
markante thema is te
beluisteren. Na een kort
intermezzo volgen dan nog
vier variaties, waarvan
delaatste in barokstijl
is gecomponeerd.
Tribute to a
Maestro ist eine
Hommage an Jean-Philippe
Rameau (1683 1764), einen
der bedeutendsten
Komponisten der
Barockzeit. Der Franzose
war nicht nur Komponist,
Organist, Cembalist und
Musiklehrer, sondern auch
Musiktheoretiker. Er
veröffentlichte einige
grundlegende
musiktheoretische
Bücher. Jan de Haan
stützte seine
Huldigung auf ein Thema
aus Rameaus Werk,
nämlich Les
Sauvages“ (Die
Wilden“) aus dem
vierten Akt von Rameaus
Ballettoper Les Indes
galantes. Das
Stück beginnt mit zwei
Variationen, woraufhin
das bemerkenswerte Thema
erklingt. Nach einem
kurzen Intermezzo folgen
vier weitere Variationen,
von denen die letzte im
Barockstilkomponiert ist.
Composed by Andrew D. Gordon and Frank Villafranca. Saddle stitch. Blues/Saxopho...(+)
Composed by Andrew D.
Gordon and Frank
Villafranca. Saddle
stitch. Blues/Saxophone
Instruction. Book and
Downloadable audio.
Duration 60 minutes.
Published by ADG
Productions
Violin, Piano - Level 3 SKU: BA.BA09428 Composed by Maurice Ravel. Edited...(+)
Violin, Piano - Level 3
SKU: BA.BA09428
Composed by Maurice
Ravel. Edited by Douglas
Woodfull-Harris. This
edition: urtext edition.
Stapled. Barenreiter
Urtext. Performance
score, Part. Baerenreiter
Verlag #BA09428.
Published by Baerenreiter
Verlag (BA.BA09428).
ISBN 9790006541362. 31
x 24.3 cm
inches.
Ravel
worked on his Sonata for
Violin and Piano for four
years (1923â1927)
which was longer than he
took for any other
composition. According to
the composer, the reason
for his difficulties was
the âfundamental
incompatibilityâ of
these two instruments.
However, the interplay
between two quite
different partners is
precisely what makes this
sonata so charming. The
violin and piano are
independent, sometimes
playing alongside each
other and at other times
with each other: here in
a lyrical Allegretto,
there in a jazz-inspired
second movement, finally
in a âperpetuum
mobileâ
finale.
This new
edition edited by Douglas
Woodfull-Harris corrects
numerous inconsistencies
of earlier editions. It
also includes the
âBerceuse sur le nom
de Faurâ which is
available for the first
time in a
scholarly-critical Urtext
edition. This lullaby for
violin and piano consists
of variations on a theme
derived from the letters
of Faurâs
name.
About
Barenreiter
Urtext
What can I
expect from a Barenreiter
Urtext
edition?<
/p>
MUSICOLOGICA
LLY SOUND - A
reliable musical text
based on all available
sources - A
description of the
sources -
Information on the
genesis and history of
the work - Valuable
notes on performance
practice - Includes
an introduction with
critical commentary
explaining source
discrepancies and
editorial decisions
... AND
PRACTICAL -
Page-turns, fold-out
pages, and cues where you
need them - A
well-presented layout and
a user-friendly
format - Excellent
print quality -
Superior paper and
binding
Elementary duets: Dances and other pieces in various keys. By Egon Sassmannshaus...(+)
Elementary duets: Dances
and other pieces in
various keys. By Egon
Sassmannshaus; Kurt
Sassmannshaus. American
English translation: Kurt
Sassmannshaus;
Illustrations: Charlotte
Panowsky. For Violin.
Take advantage of our
exclusive introductory
offer now and save 25%
off the regular price -
this special price is
available for a limited
time only. Baerenreiter's
Sassmannshaus. Original
German title: Fruher
Anfang auf der Geige -
Band 3; Fruhes Duospiel -
Tanze und Spielstucke in
verschiedenen Tonarten.
Instructional Method.
Method book. Text
language: English. 71
pages. Published by
Baerenreiter Verlag
(German import).
Concert Band/Harmonie - Grade 6 SKU: BT.GOB-000590-140 Composed by Rob Go...(+)
Concert Band/Harmonie -
Grade 6
SKU:
BT.GOB-000590-140
Composed by Rob Goorhuis.
Score Only. 82 pages.
Gobelin Music
Publications #GOB
000590-140. Published by
Gobelin Music
Publications
(BT.GOB-000590-140).
Rob Goorhuis
wrote his Variations on a
Pentatonic Theme (1987)
for the Royal Wind band
of Thorn, conductor Jan
Cober. The work
consists of five
character variations on a
pentatonic (five-tone)
theme. The basic elements
of the theme are the
descending minor third
and the descending major
second, which in the
course of the composition
build up to a broad
melody, unfolding itself
in the final variation.
The first variation
resembles minimal music
in its repetitive
rhythmic motives. The
second variation is
explosive in character:
rapid broken chords
provide a background for
soft solo motifs. The
third variation is a
quiet intermezzo on a
slow chorale theme,
creatingtwo contrasting
moods. The fourth
variation is a
light-hearted
scherzo. The final
variation is a brilliant
finale with all the
necessary ingredients,
or, in the composer's
words, the works
Testpiece WMC 2005
Concert Division.
Zijn Variations
on a Pentatonic Theme
componeerde Rob Goorhuis
in 1987 voor de
Koninklijke Harmonie van
Thorn o.l.v. Jan
Cober. Het werk is
opgebouwd uit vijf
karaktervariaties op een
pentatonisch (vijftonig)
thema. Basiselementenvan
het thema zijn de dalende
kleine terts en de dalend
secunde, die in de loop
van de compositie leiden
tot het ontstaan van een
brede melodie, die in de
laatste variatie tot
klinken komt. De
eerste variatie doet
denkeneen minimal music
vanwege haar repeterende
ritmische motieven.
De tweede variatie
heeft een explosief
karakter. snelle
akkoordbrekingen vormen
de achtergrond voor
zachte, solistische
motieven. De derde
variatie is een
rustigmiddendeel met een
langzaam koraalthema. er
worden twee
contrasterende sferen
opgeroepen. De vierde
variatie is een luchtig
scherzo. De
slotvariatie is een
virtuoze finale met,
volgens de componist,
alles erop en
eraan.
Tribute to a Maestro Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire De Haske Publications
Concert Band/Harmonie - Grade 4 SKU: BT.DHP-1195884-010 Variations on ...(+)
Concert Band/Harmonie -
Grade 4
SKU:
BT.DHP-1195884-010
Variations on a theme
by Jean-Philippe
Rameau. Composed by
Jan de Haan. Concert and
Contest Collection CBHA.
Concert Piece. Set (Score
& Parts). Composed 2019.
De Haske Publications
#DHP 1195884-010.
Published by De Haske
Publications
(BT.DHP-1195884-010).
English-German-French-
Dutch.
Tribute
to a Maestro is an
homage to Jean-Philippe
Rameau (1683 1764), one
of the most important
French Baroque composers.
Rameau was a hugely
significant composer,
organist, harpsichordist
and music teacher: he
also published several
authoritative books on
music theory. Jan de Haan
based this tribute on a
theme from ‘Les
Sauvages’ (The
Savages), the fourth act
of Rameau’s
ballet-opera, Les
Indes Galantes
(The Amorous
Indies). The work
begins with two
variations, whereupon the
striking theme can be
heard. After a short
intermezzo, four more
variations follow, of
which the last one is
composed in Baroque
style.
Tribute
to a Maestro is een
hommage aan Jean-Philippe
Rameau (1683 1764), een
van de belangrijkste
componisten uit de barok.
Deze Fransman was niet
alleen componist,
organist, klavecinist en
muziekpedagoog, maar ook
muziektheoreticus. Hij
publiceerde verschillende
toonaangevende boeken
over muziektheorie. Jan
de Haan baseerde dit
eerbetoon op een thema
uit het oeuvre van
Rameau, namelijk
‘Les
Sauvages’ (De
wilden) uit de vierde
akte van een van Rameaus
balletopera’s,
Les Indes Galantes
(De hoffelijke
Indiërs). Het werk
begint met twee
variaties, waarna het
markante thema is te
beluisteren. Na een kort
intermezzo volgen dan nog
vier variaties, waarvan
delaatste in barokstijl
is gecomponeerd.
Tribute to a
Maestro ist eine
Hommage an Jean-Philippe
Rameau (1683 1764), einen
der bedeutendsten
Komponisten der
Barockzeit. Der Franzose
war nicht nur Komponist,
Organist, Cembalist und
Musiklehrer, sondern auch
Musiktheoretiker. Er
veröffentlichte einige
grundlegende
musiktheoretische
Bücher. Jan de Haan
stützte seine
Huldigung auf ein Thema
aus Rameaus Werk,
nämlich Les
Sauvages“ (Die
Wilden“) aus dem
vierten Akt von Rameaus
Ballettoper Les Indes
galantes. Das
Stück beginnt mit zwei
Variationen, woraufhin
das bemerkenswerte Thema
erklingt. Nach einem
kurzen Intermezzo folgen
vier weitere Variationen,
von denen die letzte im
Barockstilkomponiert ist.