| Rituals Theodore Presser Co.
Orchestra Bass Clarinet, Bass Trombone, Bassoon, Clarinet, Contrabass, Contrabas...(+)
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. $95.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Immortals Fanfare [Conducteur et Parties séparées] - Intermédiaire Arrangers' Publishing Company
By Fall Out Boy. Arranged by Tom Wallace. Arrangers' Publ Marching Band. Disne...(+)
By Fall Out Boy. Arranged
by
Tom Wallace. Arrangers'
Publ
Marching Band. Disney,
Movies. Softcover.
Published
by Arrangers' Publishing
Company
$80.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| John Tavener: Akhmatova Requiem Orchestre [Conducteur d'étude / Miniature] Chester
Orchestra (Study Score) SKU: HL.14032844 Composed by John Tavener. Music ...(+)
Orchestra (Study Score)
SKU: HL.14032844
Composed by John Tavener.
Music Sales America.
Classical. Book
[Softcover]. Composed
1999. 96 pages. Chester
Music #CH55636. Published
by Chester Music
(HL.14032844).
7.0x10.0x0.262
inches. A complete
musical setting of the
Russian poetess Anna
Akhmatova's Requiem using
the original Russian
text, to which some
prayers from the Russian
Orthodox funeral service
have been added by the
composer. Duration c.
50mins. Instrumentation:;
SOLO SOPRANO; SOLO BASS;
3 HORNS IN F; 3 TRUMPETS
IN C; 3 BASS TROMBONES;
TIMPANI (2 SETS);
PERCUSSION (5 PLAYERS);
CELESTE; STRINGS. $37.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Lobe den Herren, meine Seele [Conducteur] Breitkopf & Härtel
Chorus (with soloists) and orchestra (solos: SSATB - 0.0.0.1 - 2(corn).0.3.0 - s...(+)
Chorus (with soloists)
and orchestra (solos:
SSATB - 0.0.0.1 -
2(corn).0.3.0 - str - bc)
SKU: BR.PB-32091
Cantata based on Psalm
103 - Urtext.
Composed by Johann
Kuhnau. Edited by David
Erler. Choir; stapled.
Partitur-Bibliothek
(Score Library). Cantata;
Baroque. Full score. 52
pages. Duration 15'.
Breitkopf and Haertel #PB
32091. Published by
Breitkopf and Haertel
(BR.PB-32091). ISBN
9790004215777. 9.5 x 12
inches. The date of
composition of the
cantata Lobe den Herren,
meine Seele can only be
conjectured. However,
several indications
suggest an early
composition, possibly
during Kuhnau's stay in
Zittau. The work is one
of only two known
cantatas by Kuhnau in
which cornetti are scored
- the second work is the
cantata Christ lag in
Todes-Banden (PB 32034)
-, even so in combination
with three trombones as
an early baroque wind
section. In addition, the
musical texture of the
introductory Sonata can
certainly be understood
as a reminiscence of the
polychorality known from
the Renaissance and early
Baroque as well as their
connection with the basso
continuo era, since four
strings and bassoon on
the one side and five
wind instruments on the
other side face each
other over a continuous
continuo part. The text
of the cantata is a
selection of a few verses
from Psalm 103. This is
the larger scored cantata
with this textual basis;
parallel to it exists a
smaller scored one for
alto, bass, violin, oboe
d'amore and continuo. $40.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Opus 4 Big band [Conducteur et Parties séparées] - Intermédiaire Hal Leonard
By Charles Mingus. Arranged by Boris Koslov. Charles Mingus Big Band Jazz. Publi...(+)
By Charles Mingus.
Arranged by Boris Koslov.
Charles Mingus Big Band
Jazz. Published by Hal
Leonard.
$60.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Epic of Gilgamesh H 351 Chorale SATB Barenreiter
Solo voices, choir, orchestra (Soprano Voice Solo, Tenor Voice Solo, BarSolo, Ba...(+)
Solo voices, choir,
orchestra (Soprano Voice
Solo, Tenor Voice Solo,
BarSolo, Bass Voice Solo,
SATB Choir, 2 Fl, 2
clarinet, 3Trp, 2
trombone, timpani,
percussion, harp, piano,
2 Violin, Viola, Cello,
Double Bass) SKU:
BA.BA10571-01
Composed by Bohuslav
Martinu. Edited by
Aleš Brezina. This
edition: complete
edition, urtext edition.
Linen. The Bohuslav
Martinu Complete Edition
VI/2/1. Complete edition,
Score. H 351. Duration 31
minutes, 30 seconds.
Baerenreiter Verlag
#BA10571_01. Published by
Baerenreiter Verlag
(BA.BA10571-01). ISBN
9790260107632. 33.5 x
26.5 cm inches. Text
Language: English.
Preface: Brezina,
Aleš.
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
$598.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| 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 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Summer Variations for viola and piano Alto, Piano Fennica Gehrman
Viola, piano SKU: FG.55011-906-2 Composed by Harri Wessman. Classical, co...(+)
Viola, piano SKU:
FG.55011-906-2
Composed by Harri
Wessman. Classical,
contemporary. Score and
part. Fennica Gehrman
#55011-906-2. Published
by Fennica Gehrman
(FG.55011-906-2). ISBN
9790550119062. Harr
i Wessman's Summer
Variations for viola and
piano (1998) exploites
the rich and romantic
sound of the viola and
enjoys the many shades of
summer days. It is
dedicated to violist Yuri
Gandelsman, who premiered
the suite with Risto
Lauriala 15th June
1998.
Duration: c.
11'
Movements:
1. Summer theme 2.
What is this? 3.
Pizzicato 4. Con
sordino 5. Stile
concitato ostinato 6.
Tango 7.
Finale
Harri
Wessman (b. 1949) is
interested in all aspects
of music that may be
expressive, without in
any way ignoring the
possibilities of melody.
He himself describes his
harmonic method as a kind
of contrapuntally treated
jazz harmony. Wessman is
particularly preoccupied
with the ability of music
to express emotions, an
interest which has led
him to study the
so-called doctrine of the
affections and the
musical rhetoric of the
baroque era. His Eine
kleine Figurenlehre for
wind quartet and piano is
a playful application of
a set of baroque musical
figures.
His
output is dominated by
chamber and vocal music
as well as a number of
concertos for various
instruments such as the
Concerto for Trumpet and
Orchestra and the
Serenade for Piano and
String Orchestra. During
recent years pedagogic
music has become a more
and more central area in
his output with an
emphasis on creating
repertoire for budding
musicians, from beginners
to young professionals.
He has even tailored some
solo and chamber works
for young musicians that
he personally knows: e.g.
Five Trombone Pieces for
Minna Kajander (1992),
Five Horn Pieces for
Jenni Kuronen (1993),
Five Piano Etudes for
Tiina Karakorpi, Five
Trumpet Pieces for
Alevtina Parland and Five
Double Bass Pieces for
Amanda Thieme. Other
chamber and solo pieces
include Pan and the Nymph
Pitys (1979) for flute
and guitar, Three
Caprices for Konstantin
Weitz (1994) for solo
violin and Capriccio for
wind ensemble (1989). $21.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| All The Things You Are Big band [Conducteur et Parties séparées] Handelsware
Big band - difficult SKU: M7.SMP-237 Alto Sax Feature. Composed by...(+)
Big band - difficult
SKU: M7.SMP-237
Alto Sax Feature.
Composed by Jerome Kern.
Arranged by Don Sebesky.
Sheet music. Alto Sax
Feature. Score and parts.
Handelsware #SMP 237.
Published by Handelsware
(M7.SMP-237).
English. This
chart is from the I
REMEMBER BILL - a tribute
to Bill Evans CD arranged
and conducted by Don
Sebesky! All of these
incredible pieces require
a mature band, soloists
and woodwind doublers.
Although these charts are
not for the
faint-of-heart, they are
well worth the time and
effort to perform. There
has never been a more
interesting or musical
arrangement of this
immortal Jerome Kern
standard. From the I
Remember Bill - a tribute
to Bill Evans CD (RCA
Victor). Give it a
listen. A truly amazing
and extensive excursion.
Features alto saxophone.
5-4-4-3 (plus French
horn).
Alto Sax 1
(Flute, Soprano Sax),
Alto Sax 2 (Clarinet,
Soprano Sax), Flute
(Soprano Sax), Tenor Sax
(Soprano Sax), Bass
Clarinet (Soprano Sax),
Flugelhorn (Trumpet) 1-4,
French Horn, Baritone
Horn 1 (Trombone),
Baritone Horn 2
(Trombone), Baritone Horn
3 (Trombone), Baritone
Horn 4 (Tuba), Guitar,
Bass, Drums. $103.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Stranger in Town Big band [Conducteur et Parties séparées] Handelsware
Big band (Alto Sax 1, Alto Sax 2, Tenor Sax 1, Tenor Sax 2, Baritone Sax, Trumpe...(+)
Big band (Alto Sax 1,
Alto Sax 2, Tenor Sax 1,
Tenor Sax 2, Baritone
Sax, Trumpet/Latin
Toys/Flugelhorn 1,
Trumpet 2/Latin Toys,
Trumpet/Latin Toys,
Flugelhorn 3, Trumpet
4/Latin Toys, Trombone
1-3, Bass Trombone 4,
Electric Keyboard,
Guitar, Electric Bass,
Drums) - difficult
SKU: M7.SMP-1170
Rock/Fusion.
Composed by Lyle Mays and
Pat Metheny. Arranged by
Bob Curnow. Sheet music.
Score and parts.
Handelsware #SMP 1170.
Published by Handelsware
(M7.SMP-1170).
English. Another
amazing, exciting chart
has been added to the Pat
Metheny Series! Bob
Curnow's arrangement of
Metheny/Mays' composition
Stranger In Town hits you
in the face right from
the start and ends in the
same manner. With typical
Metheny/Mays flavor,
there is a musical shift
in the middle as solo
space for tenor saxophone
emerges, followed by a
full ensemble interlude
which then takes us to a
peak ending. Originally
recorded by PMG on their
album We Live Here,
Curnow has once again
masterfully arranged this
tune to fit perfectly in
a big band setting!
5-4-4-4. $112.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Symphony no. 4 H 305 Orchestre Barenreiter
Full orchestra (Fl-Picc , 3 Fl-A , 3 Ob , EnglHn , 3 clarinet , 2 bassoon , 4 Hn...(+)
Full orchestra (Fl-Picc ,
3 Fl-A , 3 Ob , EnglHn ,
3 clarinet , 2 bassoon ,
4 Hn-Co , 3 Trp , 3
trombone , Tb , timpani ,
Schlgw , Piano , 2
Violin, Viola, Cello,
Double Bass) SKU:
BA.BA10572-01
Composed by Bohuslav
Martinu. Edited by Sharon
Andrea Choa. This
edition: complete
edition, urtext edition.
Linen. The Bohuslav
Martinu Complete Edition
II/1/4. Complete edition,
Score. No. 4. Duration 31
minutes, 30 seconds.
Baerenreiter Verlag
#BA10572_01. Published by
Baerenreiter Verlag
(BA.BA10572-01). ISBN
9790260107649. 33.5 x
26.5 cm inches. Text
Language: Czech/English.
Preface: Sharon Andrea
Choa.
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
$469.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Running Just to Catch Myself Fanfare [Conducteur et Parties séparées] - Intermédiaire Arrangers' Publishing Company
Composed by Mark Schultz. Arranged by Jay Dawson. Arrangers' Publ Marching Band....(+)
Composed by Mark Schultz.
Arranged by Jay Dawson.
Arrangers' Publ Marching
Band. Christian.
Published by Arrangers'
Publishing Company
(HL.146089).
$80.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Adrast D 137 Soli, choeur mixte et accompagnement Soli, chœur mixte et orchestre Barenreiter
Solo voices, choir, orchestra (Soprano Voice Solo, 2 Tenor Voice Solo, Baritone ...(+)
Solo voices, choir,
orchestra (Soprano Voice
Solo, 2 Tenor Voice Solo,
Baritone Voice Solo, TTBB
choir, 2 Fl, 2 Ob, 2
clarinet, 2 bassoon, 2
Hn, 2 Trp, 2 trombone,
timpani, Str) SKU:
BA.BA05566
Individual numbers and
drafts to a opera.
Composed by Franz
Schubert. Edited by Mario
Aschauer. This edition:
complete edition, urtext
edition. Linen. New
Schubert Edition (Neue
Ausgabe samtlicher Werke)
Series II, Volume 12.
Complete edition, Score.
Composed 1819/1820? D
137. Baerenreiter Verlag
#BA05566_00. Published by
Baerenreiter Verlag
(BA.BA05566). ISBN
9790006497331. 33 x 25.5
cm inches. Language:
German. Preface: Mario
Aschauer. Text: Johann
Mayrhofer.
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
$429.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Bary Me Not Big band [Conducteur et Parties séparées] Handelsware
Big band (Alto/Soprano Sax 1, Alto Sax 2, Tenor Sax 1, Tenor Sax 2, Baritone Sax...(+)
Big band (Alto/Soprano
Sax 1, Alto Sax 2, Tenor
Sax 1, Tenor Sax 2,
Baritone Sax, Trumpet
1-4, Trombone 1-3, Bass
Trombone, Piano, Guitar,
Bass, Drums) - advanced
to difficult SKU:
M7.SMP-930
Baritone Sax
Feature. Composed by
Bill Holman. Sheet music.
Baritone Sax Feature.
Score and parts.
Handelsware #SMP 930.
Published by Handelsware
(M7.SMP-930).
English. As
recorded on the new CD
The Bill Holman Band
Live, Holman has written
a witty, musical,
fun-filled feature for
baritone saxophone. Lots
of space for creative
playing, and the
wonderful contrapuntal
writing that we come to
expect from Holman. It's
time to feature the
foundation of your jazz
band. A moderate tempo
shuffle-feel makes this
one swing like crazy!
5-4-4-4. $97.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Opus III Big band [Conducteur et Parties séparées] Handelsware
Big band (Alto Sax 1 (Solo), Alto Sax 2, Tenor Sax 1, Tenor Sax 2, Baritone Sax,...(+)
Big band (Alto Sax 1
(Solo), Alto Sax 2, Tenor
Sax 1, Tenor Sax 2,
Baritone Sax, Trumpet
1-4, Trombone 1-3, Bass
Trombone, Piano (Solo),
Bass, Drums (Solo)) -
advanced SKU:
M7.SMP-166
Rock/Fusion.
Composed by Les Hooper.
Sheet music. Rock/Fusion.
Score and parts.
Handelsware #SMP 166.
Published by Handelsware
(M7.SMP-166).
English. This is
Hooper at his best ......
musical, clever and
always very interesting.
An exciting and different
piece with a latin feel.
Features alto sax. As
recorded on the Look What
They've Done LP.
5-4-4-3. $87.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Hope Has Come Chorale SATB SATB Integrity Music
Arranged by Geron Davis/Bradley Knight. (SATB). Integrity Choral. 152 pages. Pu...(+)
Arranged by Geron
Davis/Bradley Knight.
(SATB). Integrity Choral.
152 pages. Published by
Integrity Music.
$8.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| A Treeful Of Monkeys Theodore Presser Co.
Bass Drum, Bassoon, Bell Tree, Cello, Clarinet, Contrabass, Cymbal, Glockenspiel...(+)
Bass Drum, Bassoon, Bell
Tree, Cello, Clarinet,
Contrabass, Cymbal,
Glockenspiel, Harp, Horn,
Marimba, Oboe,
Percussion, Piccolo,
Slide Whistle, Tom-tom,
Trombone, Trumpet, Viola,
Violin 1, Violin 2
SKU: PR.416416460
Composed by Daniel Dorff.
With Standard notation.
112 pages. Duration 7:30.
Theodore Presser Company
#416-41646. Published by
Theodore Presser Company
(PR.416416460). UPC:
680160675937. 9 X 12 /
9.5 x 13 inches. Based on
a traditional African
folk
tale. Dorff’
s seventh commission from
the Philadelphia
Orchestra’s
education department, A
TREEFUL OF MONKEYS is a
setting of the folktale
also known as “Caps
For Sale.†Typical
of Dorff’s
narrated works, there is
humor on the surface, and
a musical curriculum in
the background. The
monkeys and hats go up
the tree accompanied by
ascending scales and
melodies, and finally
when all the hats cascade
down the orchestra plays
a beautiful cascade
downward. $38.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Missa solemnis Orchestre d'harmonie, Chorale-Voix satb (soli), SATB (chœur), Orchestre [Conducteur] - Avancé Carus Verlag
Orchestra Soli SATB, Coro SATB, Fl, Ob, Clt, Fg, Cor, Tr, Trb, Timp, 2 Vl, Va, V...(+)
Orchestra Soli SATB, Coro
SATB, Fl, Ob, Clt, Fg,
Cor, Tr, Trb, Timp, 2 Vl,
Va, Vc, Cb, [Org] - Level
5 SKU: CA.4068950
Arrangement for
chamber orchestra
(Linckelmann).
Composed by Ludwig van
Beethoven. Arranged by
Joachim Linckelmann.
Carus sheet music series:
Great choral works in
small scorings. Foreword
in German and English.
Sacred vocal music,
Masses, Latin. Full
Score. Op. 123. Duration
90 minutes. Carus Verlag
#CV 40.689/50. Published
by Carus Verlag
(CA.4068950). ISBN
9790007254445. Key: D
major.
Latin. Beethoven
described his Missa
solemnis several times as
his greatest work. Coming
from the heart, it was
intended to touch and
move audiences. Beethoven
worked long and
intensively on the
composition in order to
give what he felt was
adequate expression to
the text. In its length
and musical demands, the
Missa solemnis goes far
beyond typical liturgical
settings; for good
reason, the premiere took
place in a concert hall.
With this arrangement for
chamber orchestra (flute,
oboe, clarinet, bassoon,
horn, trumpet, trombone,
timpani and strings, plus
organ ad lib), smaller
choirs, as well as choirs
with more limited
resources of space or
finance, can now perform
this work too. However,
the symphonic character
and wide dynamic range of
the work remain. The
scoring of 7 instead of
18 winds offers an
optimal balance between
transparency and
orchestral sound. All the
vocal parts (soloists and
chorus) are identical
with the original
version, so that the
vocal score and chorus
score of that version can
be used. Major mass can
also be performed by
smaller choir Wind and
brass parts of the
original version reduced
to just seven single
instruments Vocal scores
and choral scores from
the original version can
be used. carus plus: the
work (original version)
is available in carus
music, the choir app, and
in the practice CD series
Carus Choir Coach. Score
available separately -
see item CA.4068900. $173.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
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