Orchestra (Full Score) - Grade 4

SKU: HL.14032192

Full Score. Composed by Per Norgard. Music Sales America. 20Th Century, Classical. Softcover. 188 pages. Edition Wilhelm Hansen #KP00865. Published by Edition Wilhelm Hansen (HL.14032192).

ISBN 9788759858394. 12.0x16.5x0.78 inches. International (more than one language).

Symphony No. 6 for orchestra, 1997-99. Preface / Program Note:... with the Lord a day is like a thousand years, and a thousand years is like a day(New Testament, 2 Peter 3:8)My SYMPHONY NO. 6 was commissioned by the Danish National Radio Symphony Orchestra, the Gteborg Symphony Orchestra and the Oslo Philharmonic Orchestra, to be premiered at the millenium 2000.The subtitle AT THE END OF THE DAY can be understood literally or it can mean when all is added up. However, in my opinion, nothing ever quite adds up, there is always something missing, any ending will be provisional ...This symphony appears to end only a few minutes into the first movement, the first passage, as the music fades away to almost-silence, after a start of flying colours. But then there is still something, a small motive (first heard in the initial sound-waves) which reappears, hesitant, but persistent, and this embryo is what leads on the musical progression. An agitated section of many instrumental voices comes next, until all the voices become obsessed with the same phrase, a see-saw motive based on thirds. This section evolves into almost martial ferocity, when broken off by a tutti descent into an extreme bass-world (a bass-world which actually permeates the whole symphony, emplyoing instruments that I have never used before: double-bass tuba, double-bass trombone, double-bass clarinet, and bass flute).The second movement, the second passage, apparently takes off where the first passage ended, but now the events are more ambiguous, and the same music may be perceived as fast-moving one moment and slow-moving the next. This section is a kind of passacaglia, the characteristic baroque bass-variation.Without a break follows the third and last passage, in a contrasting high register. The music is rhythmically knotty as well as freely flowing. As in the beginning of the symphony, a never-ending descent or fall breaks off the events, and at the very end a delta of new beginnings, of other worlds, is revealed ....The symphony is dedicated to Helle, my wife. - Per Norgard.

Band Bass Clarinet, Bass Drum, Bassoon, Brake Drum, Chimes, Clarinet 1, Clarinet 2, Crash Cymbals, Euphonium, Euphonium T.C., Flute, Flute 2, Horn, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Snare Drum, Suspended Cymbal, Tam-tam, Timpani and more. - Grade 1.5

SKU: CF.FPS81F

Composed by Sean O'Loughlin. SWS. Carl Fischer First Plus Performance Series. Full score. With Standard notation. 16 pages. Duration 2 minutes, 23 seconds. Carl Fischer Music #FPS81F. Published by Carl Fischer Music (CF.FPS81F).

ISBN 9780825873829. UPC: 798408073824. 9x12 inches. Key: C minor.

Promised Land is a serious-sounding, new piece for the developing band that sounds much more difficult than it plays, allowing your students to show off while remaining at their ability level. The title has its roots in the ideals of John Humphrey Noyes, who founded the Oneida community in the late 1840s. He built a thriving agricultural and spiritual community that became his “promised land.” The music depicts the struggles and triumph of those first settlers in the area, who worked the land and fought for their ideals through much persecution. Promised Land contains all of the rhythmic interest and memorable motives that Sean's music is so known for. It is also an excellent choice for contest/festival.

Orchestra Bass Trombone, Bassoon, Cello, Clarinet, Clarinet 1, Clarinet 2, Contrabass, Contrabassoon, English Horn, Flute, Harp, Horn 1, Horn 2, Horn 3, Horn 4, Narrator, Oboe, Percussion, Piccolo, Timpani, Trombone 1, Trombone 2, Trumpet, Tuba, Viola and more.

SKU: PR.416412370

For Narrator and Orchestra - Small Study Score. Composed by Daniel Dorff. Premiered March 31, 2000. Daniel Hege conducting the Haddonfield Symphony, narrated by Astronaut Kenneth Reightler, Jr. Study Score. With Standard notation. Composed 1999. 40 pages. Duration 9:30. Theodore Presser Company #416-41237. Published by Theodore Presser Company (PR.416412370).

UPC: 680160092178. 9 x 12 inches.

Ideal for family concerts about space travel and adventure, Dorff’s BLAST OFF! was commissioned by Lockheed Martin for narration by astronaut Kenneth Reightler; the score itself was a traveler on NASA’s mission STS 1000. The travelogue about a trip to space is also designed to teach about the sounds of each family of instruments; CD available on Bridge Records.

Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Crash Cymbals, Euphonium, Euphonium T.C., Flute, Flute 2, Gong, Horn, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Snare Drum, Suspended Cymbal, Timpani, Triangle and more. - Grade 2

SKU: CF.YPS128F

Composed by George Sweet. Young Performance Series. Full score. With Standard notation. 20 pages. Carl Fischer Music #YPS128F. Published by Carl Fischer Music (CF.YPS128F).

ISBN 9780825892691. UPC: 798408092696. 9 x 12 inches.

This piece takes off right from the start. It contains some very pleasant contemporary sounds not usually found in pieces of this difficulty level, and students will be eager to play it again and again!

Orchestra Bass Clarinet, Bass Trombone, Bassoon, Clarinet, Contrabass, Contrabassoon, English Horn, Flute 1, Flute 2, Horn 1, Horn 2, Horn 3, Horn 4, Oboe, Percussion, Trombone 1, Trombone 2, Trumpet 1, Trumpet 2, Tuba, Viola, Violin 1, Violin 2, Violoncello

SKU: PR.44641192L

For 5 Percussionists and Orchestra. Composed by Ellen Taaffe Zwilich. Contemporary. Large Score. With Standard notation. Composed 2003. 72 pages. Duration 30 minutes. Theodore Presser Company #446-41192L. Published by Theodore Presser Company (PR.44641192L).

UPC: 680160610860. 11 x 14 inches.

One of my greatest pleasures in writing a concerto is exploring the new world that opens for me each time I enter the sometimes alien, but always fascinating, world of a solo instrument or instruments. For me, the challenge is to discover the deepest nature of the solo instrument (its karma, if you will) and to allow that essential character to guide the shape and form of the work and the nature of the interaction between soloists and orchestra. In recent years, many of us have become more aware of the musical world outside the Western tradition of musics that follow different procedures and spring from other aesthetics. And contemporary percussionists have opened many of these worlds to us, as they have ventured around the globe, participating in Brazilian Samba schools, studying Gamelan and African drumming with local experts, collecting instruments from Asia and Africa and South America and the South Pacific, widening our horizons in the process. I will never forget our first meeting in Toronto when Nexus invited me into their world of hundreds of exciting percussion instruments. The vast array of instruments in the collection of the Nexus ensemble is truly global in scope as well as offering a thrilling sound-universe. I was inspired by the incredible range of sound and moved by the fact that so many of these instruments were musical reflections of a spiritual dimension. After long consideration, I decided that it would not only be impossible, but even undesirable for this Western-tradition-steeped composer to attempt to use these instruments in a culturally authentic way. My goal was an existential kind of authenticity: searching instead for universal ideas that would be true to both myself and the performers while acknowledging the traditional uses of the instruments. Since many percussion instruments are associated with various kinds of ritual, I decided that I would allow that concept to shape my piece. Rituals is in four movements, each issuing from a ritual associated with percussion, but with the orchestral interaction providing an essential element in the musical form. I. Invocation alludes to the traditions of invoking the spirit of the instruments, or the gods, or the ancestors before performing. II. Ambulation moves from a processional, through march and dance to fantasy based on all three. III. Remembrances alludes to traditions of memorializing. IV. Contests progresses from friendly competition games, contests to a suggestion of a battle of big band drummers, to warlike exchanges. In the 2nd and 4th movements, another percussion tradition, improvisation, is employed. Written into these movements are a number of seeds for improvisation. Indications in the score call for the soloists to improvise in three different ways, marked A for percussion alone; marked B for percussion with and in response to the orchestra; and C where the percussionists are free to add and embellish the written parts. These improvisations should grow out of and embellish previous motives and gestures in the movement.

Band Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Clarinet 3, Crash Cymbals, Euphonium, Euphonium T.C., Flute 1, Flute 2, Glockenspiel, Horn 1, Horn 2, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Piccolo, Snare Drum, Tambourine and more. - Grade 4

SKU: CF.SPS74F

Composed by Ed Kiefer. SWS. Carl Fischer Symphonic Performance Series. Full score. With Standard notation. 24 pages. Duration 3 minutes, 56 seconds. Carl Fischer Music #SPS74F. Published by Carl Fischer Music (CF.SPS74F).

ISBN 9781491148396. UPC: 680160905898. 9 x 12 inches.

Courage of the Cossacks is a refreshing march in the style of Russian folk music, offering a break from the standard American march style for festival performance. Composer Ed Kiefer has scored this piece to sound sonorous throughout while highlighting all sections of the band. Directors looking for a unique march need look no further.

Chamber Music Bass Clarinet, Bass Trombone, Double Bass, Narrator, Percussion, Piano

SKU: PR.11441803S

For Narrator, Bass Clarinet, Bass Trombone, Double Bass, Percussion, And Piano. Composed by Amanda Harberg. Premiered at the Academy of Music Ballroom, Sound All Around Ensemble. Contemporary. Score. With Standard notation. Composed 2016. 15 pages. Duration 7 minutes. Theodore Presser Company #114-41803S. Published by Theodore Presser Company (PR.11441803S).

UPC: 680160639403.

A delightful musical story about a dog and her day-long celebration of life as told by various instruments, Sadie's Birthday Adventures offers a moment of audience participation and invites discussion about the individual voices (instruments) chosen to tell this tale. Children will enjoy the frog (bass trombone), butterfly (glockenspiel), and a romp in the forest with a chipmunk (full ensemble). Sadie's Birthday Adventures was commissioned by the Philadelphia Orchestra for its Sound All Around series of children's interactive concerts. For advanced performers.

Chamber Music Bass Clarinet, Bass Trombone, Double Bass, Narrator, Percussion, Piano

SKU: PR.114418030

For Narrator, Bass Clarinet, Bass Trombone, Double Bass, Percussion, And Piano. Composed by Amanda Harberg. Premiered at the Academy of Music Ballroom, Sound All Around Ensemble. Contemporary. Set of Score and Parts. With Standard notation. Composed 2016. 15+4+4+4+4 pages. Duration 7 minutes. Theodore Presser Company #114-41803. Published by Theodore Presser Company (PR.114418030).

UPC: 680160639380.

A delightful musical story about a dog and her day-long celebration of life as told by various instruments, Sadie's Birthday Adventures offers a moment of audience participation and invites discussion about the individual voices (instruments) chosen to tell this tale. Children will enjoy the frog (bass trombone), butterfly (glockenspiel), and a romp in the forest with a chipmunk (full ensemble). Sadie's Birthday Adventures was commissioned by the Philadelphia Orchestra for its Sound All Around series of children's interactive concerts. For advanced performers.

Orchestra Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet 1, Clarinet 2, Contrabass, Contrabassoon, English Horn, Flute 1, Flute 2, Harp, Horn 1, Horn 2, Horn 3, Horn 4, Oboe 1, Oboe 2, Percussion 1, Percussion 2, Percussion 3, Percussion 4, Piccolo and more.

SKU: PR.11641139S

Composed by Lowell Liebermann. Full score. Duration 15 minutes. Theodore Presser Company #116-41139S. Published by Theodore Presser Company (PR.11641139S).

UPC: 680160682119.

Barca rolles for a Sinking City was inspired by the city of Venice, a place that has long held the fascination of artists, writers and composers, and which I have been lucky enough to visit on several occasions. Sadly it seems that future generations may not be so lucky: in addition to the city's slow sinking and recently discovered tilting, studies predict that if global warming and the resultant rise of ocean levels is unabated, the entire city (as well as many other coastal cities around the globe) will be under water by 2100.   I. Funeral Gondola The late, cryptic piano works of Franz Liszt made a profound impression on me as a young composer, among them two works he entitled La Lugubre Gondola (usually translated as The Funeral Gondola ) which were said to be a premonition of Wagner's death in Venice, his coffin transported through the canals in a black gondola. These late pieces of Liszt acquired even greater significance to me after I spent two summers in Bayreuth under the patronage of Friedelind Wagner, the granddaughter of Wagner and great-granddaughter of Liszt. This movement is a meditation on Wagner, Liszt, Venice and its own evanescence. II. Barcarolle/Quodlibet The Quodlibet (Latin for what pleases) is a musical form dating back to the 15th century where many disparate melodies are juxtaposed. Popular in the Renaissance, sacred and secular melodies were combined, often to comical effect due to the resultant incongruity of the words. The form was considered the ultimate test of a composer's mastery of counterpoint. The most famous Quodlibet is without doubt the final Variation of Bach's Goldberg Variations. As a form the Quodlibet is less common in more recent music, although examples can be found in the works of Kurt Weill and David Del Tredici.   My own Barcarolle/Quodlibet was inspired by the (perhaps apocryphal) story of the funeral where musicians were asked to play a Bach Choral, but due to miscommunication played instead the Bacarolle from The Tales of Hoffmann. Here, the Bach Choral Allen Menschen mussen sterben (All Men Must Die) is heard in the strings pizzicato, with a tempo indication In slow motion. The alto line of the Bach suggests a phrase from Beethoven's Ninth Symphony (Alle Menchen werden Bruder) heard in the muted trombone. Before long, the famous tune from Offenbach's opera is heard, followed by quotations from iconic Barcarolles by Chopin, Mendelssohn and Faure, as well as two Venetian popular songs and more Beethoven.   III. Barcarola/Ostinato/Carill on An ostinato is a repeated musical figure, and carillon is Italian for music box. This movement references the obsolete genre of salon pieces that imitated music boxes: such works by composers like Liadov and Gretchaninov used to be a mainstay of pianists' encore repertoire. This movement is however much darker in conception than those pleasant trifles. Utilizing the full battery of percussion, the carefully notated temporal slowing of the ostinato becomes overwhelmed by a poignant chorale melody before this box is snapped shut.   IV. Barcarolle Oubliee (Forgotten Barcarolle) Marked limpido (still) the final movement begins with the sound of rain produced by a percussion instrument called (appropriately) a rain stick. Halting phrases in the harp coalesce into the accompaniment for a plangent melody heard in the clarinet. The central Adagio of this movement leads to a shattering climax, before the opening phrases return and dissipate into nothingness.

Orchestra Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet 1, Clarinet 2, Contrabass, Contrabassoon, English Horn, Flute 1, Flute 2, Harp, Horn 1, Horn 2, Horn 3, Horn 4, Oboe 1, Oboe 2, Percussion 1, Percussion 2, Percussion 3, Percussion 4, Piccolo and more.

SKU: PR.11641139L

Composed by Lowell Liebermann. Large Score. Duration 15 minutes. Theodore Presser Company #116-41139L. Published by Theodore Presser Company (PR.11641139L).

UPC: 680160682126.

Barca rolles for a Sinking City was inspired by the city of Venice, a place that has long held the fascination of artists, writers and composers, and which I have been lucky enough to visit on several occasions. Sadly it seems that future generations may not be so lucky: in addition to the city's slow sinking and recently discovered tilting, studies predict that if global warming and the resultant rise of ocean levels is unabated, the entire city (as well as many other coastal cities around the globe) will be under water by 2100.   I. Funeral Gondola The late, cryptic piano works of Franz Liszt made a profound impression on me as a young composer, among them two works he entitled La Lugubre Gondola (usually translated as The Funeral Gondola ) which were said to be a premonition of Wagner's death in Venice, his coffin transported through the canals in a black gondola. These late pieces of Liszt acquired even greater significance to me after I spent two summers in Bayreuth under the patronage of Friedelind Wagner, the granddaughter of Wagner and great-granddaughter of Liszt. This movement is a meditation on Wagner, Liszt, Venice and its own evanescence. II. Barcarolle/Quodlibet The Quodlibet (Latin for what pleases) is a musical form dating back to the 15th century where many disparate melodies are juxtaposed. Popular in the Renaissance, sacred and secular melodies were combined, often to comical effect due to the resultant incongruity of the words. The form was considered the ultimate test of a composer's mastery of counterpoint. The most famous Quodlibet is without doubt the final Variation of Bach's Goldberg Variations. As a form the Quodlibet is less common in more recent music, although examples can be found in the works of Kurt Weill and David Del Tredici.   My own Barcarolle/Quodlibet was inspired by the (perhaps apocryphal) story of the funeral where musicians were asked to play a Bach Choral, but due to miscommunication played instead the Bacarolle from The Tales of Hoffmann. Here, the Bach Choral Allen Menschen mussen sterben (All Men Must Die) is heard in the strings pizzicato, with a tempo indication In slow motion. The alto line of the Bach suggests a phrase from Beethoven's Ninth Symphony (Alle Menchen werden Bruder) heard in the muted trombone. Before long, the famous tune from Offenbach's opera is heard, followed by quotations from iconic Barcarolles by Chopin, Mendelssohn and Faure, as well as two Venetian popular songs and more Beethoven.   III. Barcarola/Ostinato/Carill on An ostinato is a repeated musical figure, and carillon is Italian for music box. This movement references the obsolete genre of salon pieces that imitated music boxes: such works by composers like Liadov and Gretchaninov used to be a mainstay of pianists' encore repertoire. This movement is however much darker in conception than those pleasant trifles. Utilizing the full battery of percussion, the carefully notated temporal slowing of the ostinato becomes overwhelmed by a poignant chorale melody before this box is snapped shut.   IV. Barcarolle Oubliee (Forgotten Barcarolle) Marked limpido (still) the final movement begins with the sound of rain produced by a percussion instrument called (appropriately) a rain stick. Halting phrases in the harp coalesce into the accompaniment for a plangent melody heard in the clarinet. The central Adagio of this movement leads to a shattering climax, before the opening phrases return and dissipate into nothingness.

Book/Online Audio Clarinet (NOTEN+CD) - intermediate

SKU: HL.49032791

Composed by O'neill. This edition: Paperback/Soft Cover. Sheet music with CD. Edition Schott. Die Jazzmethode fur Klarinette zeigt Anfangern aller Altersstufen den Weg vom ersten Ton bis zu klassischen Themen. Mit einer schrittweisen Einfuhrung und speziell fur diese Schule geschriebenen Stucken werden die grundlegenden Elemente einer soliden Klar. German Edition, Method. Edition with CD. 96 pages. Schott Music #ED 8808. Published by Schott Music (HL.49032791).

ISBN 9783795753726. German. John Minnion.

Die Jazzmethode fur Klarinette eroffnet Neueinsteigern das reichhaltige und aufregende Repertoire des Jazz, in welchem die Klarinette eine bedeutende Rolle spielt. Sie zeigt Anfangern aller Altersstufen den Weg vom ersten Ton bis hin zu Stucken von Legenden des Jazz und fuhrenden Jazzmusikern unserer Zeit. Mit einer schrittweisen Einfuhrung und speziell fur diese Schule geschriebenen Stucken werden die grundlegenden Elemente einer soliden Klarinettentechnik -- Atemkontrolle, Tonbildung, Ansatz und Griffe -- zusammen mit den rhythmischen Finessen der Jazzmusik (z. B. synkopierte Rhythmen und Swing-Phrasierung) erklart. Die Audio-Tracks (Download mittels Code) liefern den musikalischen Hintergrund fur alle Stucke, so dass der Klarinettenschuler von Anfang an durch das Spielen mit einer erstklassigen Rhythmusgruppe aus Bass, Gitarre und Schlagzeug in den Genuss eines authentischen Jazz-Sounds kommt. Spater helfen die Playback-Tracks bei den ersten Improvisationsversuchen.< /p>

Concert Band/Harmonie and Clarinet Solo - Grade 4

SKU: BT.AMP-058-140

Composed by Philip Sparke. Anglo Music Midway Series. Concert Piece. Score Only. Composed 2003. 76 pages. Anglo Music Press #AMP 058-140. Published by Anglo Music Press (BT.AMP-058-140).

This is a great opportunity to incorporate a modern concerto into your band's repertoire, which will provide a fresh and appealing concert item for your upcoming season. The work follows the standard 3-movement concerto form witha syncopated, rag-like opening movement contrasting with a slower, beautifully English-sounding second movement. The third movement is based on a bebop style to show off the jazzier qualities of the clarinet. This substantial workis suitable for a Grade 4 standard band.

Mozart schreef zijn bekende klarinetconcert voor de virtuoos Anton Stadler, met wie hij bevriend was. Stadler was verantwoordelijk voor veel technische verbeteringen aan zowel de klarinet als de bassethoorn, hij voegde extra kleppentoe aan beide instrumenten, waardoor het bereik van de klarinet in de laagte werd uitgebreid. Mozart schreef dit concerto voor een klarinet met een lager bereik in vergelijking tot het moderne instrument. Ondanks de beperkingenvan de klarinet van nu komt het origineel in deze bewerking prima tot zijn recht. opname op cd: The Magic of Mozart (DHR 11-011-3)

Ein Konzert in drei Sätzen, das den vielfältigen Facetten des Instrumentes Rechnung trägt. Der Eröffnungssatz ähnelt im Stil fast einem Rag. Der langsamere zweite Satz erforscht zunächst das Chalumeau-Register der Klarinette in einem Thema, das später vom Orchester aufgenommen wird, während der Solist einen filigranen Diskant entwickelt. Dieser leitet direkt zum dritten Satz über, dessen Stil an Be-Bop erinnert und die jazzigere Seite der Klarinette in den Vordergrund treten lässt. Modern und vielseitig!

By Peter Ilyich Tchaikovsky. Arranged by Mark Williams. Music by Peter Ilych Tchaikovsky / arr. Mark Williams. For Concert Band. Concert Band. Growing Band Series. Level: Level 3 (grade 3). Conductor Score and Parts. 3 pages. Published by Alfred Publishing.