| Reading Key Jazz Rhythms -- Trombone Trombone Advance Music
Trombone SKU: AP.1-ADV14704 English/French/German Language Edition...(+)
Trombone SKU:
AP.1-ADV14704
English/French/German
Language Edition.
Composed by Fred Lipsius.
Brass - Trombone and
Baritone Method or
Collection;
Improvisation;
Method/Instruction;
Play-Along; Technique
Musicianship. Advance
Music: Reading Key Jazz
Rhythms. Jazz. Book and
CD. Advance Music
#01-ADV14704. Published
by Advance Music
(AP.1-ADV14704). UPC:
805095147049.
English. With
Reading Key Jazz
Rhythms:Trombone Book &
CD set by Fred Lipsius,
you will learn essential
jazz rhythms first hand
from world-class
professionals! Reading
Key Jazz Rhythms is a
collection of 24 easy to
medium level jazz etudes,
and 24 simplified guide
tone versions of the
etudes. They are ideal
for learning the basic
language of jazz, swing
phrasing, and
articulation. A perfect
tool for preparing for
the jazz ensemble or for
any other
ensemble/orchestra which
performs jazz related
music (pops orchestras,
musical, studio, movie
scores, concert and
marching bands, etc.).
Each etude is based on a
specific rhythm or a
combination of rhythmic
figures. Some etudes
sound like very lyrical
improvised jazz solos,
while others are more
like a melody to a
standard. On the
accompanying CD the
soloist demonstrates the
24 melodious etudes
together with a
professional rhythm
section. You can also
improvise along with the
play-along tracks using
the chord symbols. The
guide tones are the
essential or defining
notes for each given
chord type. So if
improvising is new to you
and you find yourself
getting lost, you can
always return to a guide
tone and play
rhythmically around it.
Any etude and its
corresponding simplified
guide tone version can be
played together as a duet
(with or without the CD
accompaniment) with your
teacher or a friend. $24.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| 3e Symphonie en ut mineur, op. 78 - Avancé Barenreiter
Orchestra, Organ (Fl1, Fl2 , Fl3(Fl-picc), 2 Ob, EnglHn, 2 clarinet, clarinet-B,...(+)
Orchestra, Organ (Fl1,
Fl2 , Fl3(Fl-picc), 2 Ob,
EnglHn, 2 clarinet,
clarinet-B, 2 bassoon,
bassoon-Co, Hn1, Hn2 ,
Hn3(chrom.), Hn4(chrom.),
3Trp, 3trombone, timpani,
Tr-Gr, Tri, Be, Org,
piano-4ms, 2 Violin,
Viola, Cello, Double
Bass) - Level 5 SKU:
BA.BA10303-01
Composed by Camille
Saint-Saens. Edited by
Michael Stegemann. This
edition: Edition of
selected works, Urtext
edition. Linen.
Saint-Saens, Camille.
Oevres instrumentales
completes I/3. Edition of
selected works, Score.
Opus 78. Duration 39
minutes. Baerenreiter
Verlag #BA10303_01.
Published by Baerenreiter
Verlag (BA.BA10303-01).
ISBN 9790006559503. 33
x 26 cm inches. Key: C
minor. Preface: Michael
Stegemann. The
third symphony by Camille
Saint-Saens, known as the
Organ Symphony, is the
first publication in a
complete
historical-critical
edition of the French
composer's instrumental
works.
I gave
everything I was able to
give in this work. [...]
What I have done here I
will never be able to do
again.Camille Saint-Saens
was rightly proud of his
third Symphony in C minor
Op.78, dedicated to the
memory of Franz Liszt.
Called theOrgan
Symphonybecause of its
novel scoring, the work
was a commission from the
Philharmonic Society in
London, as was
Beethoven's Ninth, and
was premiered there on 19
May 1886. The first
performance in Paris
followed on 9 January
1887 and confirmed the
composer's reputation
asprobably the most
significant, and
certainly the most
independent French
symphonistof his time, as
Ludwig Finscher wrote in
MGG. In fact the work
remains the only one in
the history of that genre
in France to the present
day, composed a good half
century after the
Symphonie fantastique by
Hector Berlioz and a good
half century before
Olivier Messiaen's
Turangalila
Symphonie.
You
would think that such a
famous, much-performed
and much recorded opus
could not hold any more
secrets, but far from it:
in the first
historical-critical
edition of the Symphony,
numerous inconsistencies
and mistakes in the
Durand edition in general
use until now, have been
uncovered and corrected.
An examination and
evaluation of the sources
ranged from two early
sketches, now preserved
in Paris and Washington
(in which the Symphony
was still in B minor!)
via the autograph
manuscript and a set of
proofs corrected by
Saint-Saens himself, to
the first and subsequent
editions of the full
score and parts. The
versions for piano duet
(by Leon Roques) and for
two pianos (by the
composer himself) were
also consulted. Further
crucial information was
finally found in his
extensive correspondence,
encompassing thousands of
previously unpublished
letters. The discoveries
made in producing this
edition include the fact
that at its London
premiere, the Symphony
probably looked quite
different from its
present appearance
...
No less
exciting than the work
itself is the history of
its composition and
reception, which are
described in an extensive
foreword. With his
Symphony, Saint-Saens
entered right into the
dispute which divided
French musical life into
pro and contra Wagner in
the 1880s and 1890s. At
the same time, the work
succeeded in preserving
the balance between
tradition and modernism
in masterly fashion, as a
contemporary critic
stated:The C minor
Symphony by Saint-Saens
creates a bridge from the
past into the future,
from immortal richness to
progress, from ideas to
their
implementation.
On
19 March 1886 Saint-Saens
wrote to the London
Philharmonic Society,
which commissioned the
work:
Work on the
symphony is in full
swing. But I warn you, it
will be terrible. Here is
the precise
instrumentation: 3 flutes
/ 2 oboes / 1 cor anglais
/ 2 clarinets / 1 bass
clarinet / 2 bassoons / 1
contrabassoon / 2 natural
horns / [3 trumpets /
Saint-Saens had forgotten
these in his listing.] 2
chromatic horns / 3
trombones / 1 tuba / 3
timpani / organ / 1 piano
duet and the strings, of
course. Fortunately,
there are no harps.
Unfortunately it will be
difficult. I am doing
what I can to mitigate
the
difficulties.
As
in my 4th Concerto [for
piano] and my [1st]
Violin Sonata [in D minor
Op.75] at first glance
there appear to be just
two parts: the first
Allegro and the Adagio,
the Scherzo and the
Finale, each attacca.
This fiendish symphony
has crept up by a
semitone; it did not want
to stay in B minor, and
is now in C
minor.
It would be
a pleasure for me to
conduct this symphony.
Whether it would be a
pleasure for others to
hear it? That is the
question. It is you who
wanted it, I wash my
hands of it. I will bring
the orchestral parts
carefully corrected with
me, and if anyone wants
to give me a nice
rehearsal for the
symphony after the full
rehearsal, everything
will be fine.
When
Saint-Saens hit upon the
idea of adding an organ
and a piano to the usual
orchestral scoring is not
known. The idea of adding
an organ part to a
secular orchestral work
intended for the concert
hall was thoroughly novel
- and not without
controversy. On the other
hand, Franz Liszt, whose
music Saint-Saens'
Symphony is so close to,
had already demonstrated
that the organ could
easily be an orchestral
instrument in his
symphonic poem
Hunnenschlacht (1856/57).
There was also a model
for the piano duet part
which Saint-Saens knew
and may possibly have
used quite consciously as
an exemplar: theFantaisie
sur la Tempetefrom the
lyrical monodrama Lelio,
ou le retour a la Vie op.
14bis (1831) by Berlioz.
The name of the organist
at the premiere ist
unknown, as,
incidentally, was also
the case with many of the
later performances; the
organ part is indeed not
soloistic, but should be
understood as part of the
orchestral
texture.
In fact
the subsequent success of
the symphony seems to
have represented a kind
of breakthrough for the
composer, who was then
over 50 years of age.My
dear composer of a famous
symphony, wrote
Saint-Saens' friend and
pupil Gabriel Faure:You
will never be able to
imagine what a pleasure I
had last Sunday [at the
second performance on 16
January 1887]! And I had
the score and did not
miss a single note of
this Symphony, which will
endure much longer than
we two, even if we were
to join together our two
lifespans!
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
$566.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Concerto For Flute And Orchestra Theodore Presser Co.
Orchestra Bassoon 1, Bassoon 2, Celesta, Clarinet 1, Clarinet 2, Contrabass, Flu...(+)
Orchestra Bassoon 1,
Bassoon 2, Celesta,
Clarinet 1, Clarinet 2,
Contrabass, Flute, Flute
1, Flute 2, Harp, Horn 1,
Horn 2, Horn 3, Horn 4,
Oboe 1, Oboe 2,
Percussion, Piccolo,
Timpani, Trombone 1,
Trombone 2, Trombone 3,
Trumpet 1, Trumpet 2,
Trumpet 3 and more.
SKU: PR.41641515L
Composed by Behzad
Ranjbaran. Premiered by
the Philadelphia
Orchestra, Yannick
Nezet-Seguin, Music
Director, Jeffrey Khaner,
flute; Verizon Hall,
Philadelphia.
Contemporary. Large
Score. With Standard
notation. Composed 2013.
Duration 28 minutes.
Theodore Presser Company
#416-41515L. Published by
Theodore Presser Company
(PR.41641515L). UPC:
680160621750. The
melancholic tone of the
Ney (the Persian bamboo
flute) is known for its
alluring sound, emulating
the human voice. In
Persian literature, the
Ney is considered a
mystic instrument capable
of expressing deep human
emotions. In writing my
flute concerto, I aimed
not only to highlight the
modern flautist's ability
to play agile and
brilliant passages but
also to emulate the
delicate sound of the
Ney, particularly in
extended solo flute
passages. Two prominent
characters permeate the
first movement of my
concerto. They are marked
in the score as
lamentoso, and con
spirito, expressing grief
and loss, and joy of
living respectively. The
lament is mostly
expressed in several
extended cadenzas for
solo flute while the con
spirito consists of
robust and energetic fast
sections played by all
forces of the orchestra.
Apart from these two
characters there are
moments of mystery,
comedy and the grotesque,
among others. In the
second movement, the
lyrical and poetic
character of the flute is
prominently presented in
dream-like passages
surrounded by shimmering
and tender orchestral
colors. The solo flute is
left out in an agitated
middle section that
references the first
movement. In the third
section of the movement
the solo flute returns in
meditative fashion
culminating in a duet
with the harp. The third
movement is written as
one continuous quasi
scherzo, challenging the
limits of agility and
brilliance of the flute.
Some of the materials
from the earlier
movements are presented
again with joyous
character. The coda
elevates the concerto
into its brightest and
most festive character,
driving to the end with
relentless energy. The
melancholic tone of the
Ney (the Persian bamboo
flute) is known for its
alluring sound, emulating
the human voice. Â In
Persian literature, the
Ney is considered a
mystic instrument capable
of expressing deep human
emotions.In writing my
flute concerto, I aimed
not only to highlight the
modern flautist’s
ability to play agile and
brilliant passages but
also to emulate the
delicate sound of the
Ney, particularly in
extended solo flute
passages.Two prominent
characters permeate the
first movement of my
concerto. Â They are
marked in the score as
lamentoso, and con
spirito, expressing grief
and loss, and joy of
living respectively.
 The lament is mostly
expressed in several
extended cadenzas for
solo flute while the con
spirito consists of
robust and energetic fast
sections played by all
forces of the orchestra.
 Apart from these two
characters there are
moments of mystery,
comedy and the grotesque,
among others.In the
second movement, the
lyrical and poetic
character of the flute is
prominently presented in
dream-like passages
surrounded by shimmering
and tender orchestral
colors. Â The solo
flute is left out in an
agitated middle section
that references the first
movement. Â In the
third section of the
movement the solo flute
returns in meditative
fashion culminating in a
duet with the harp.The
third movement is written
as one continuous quasi
scherzo, challenging the
limits of agility and
brilliance of the flute.
 Some of the materials
from the earlier
movements are presented
again with joyous
character. Â The coda
elevates the concerto
into its brightest and
most festive character,
driving to the end with
relentless energy. $160.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Concerto For Flute And Orchestra Theodore Presser Co.
Orchestra Bassoon 1, Bassoon 2, Celesta, Clarinet 1, Clarinet 2, Contrabass, Flu...(+)
Orchestra Bassoon 1,
Bassoon 2, Celesta,
Clarinet 1, Clarinet 2,
Contrabass, Flute, Flute
1, Flute 2, Harp, Horn 1,
Horn 2, Horn 3, Horn 4,
Oboe 1, Oboe 2,
Percussion, Piccolo,
Timpani, Trombone 1,
Trombone 2, Trombone 3,
Trumpet 1, Trumpet 2,
Trumpet 3 and more.
SKU: PR.416415150
Composed by Behzad
Ranjbaran. Spiral.
Premiered by the
Philadelphia Orchestra,
Yannick Nezet-Seguin,
Music Director, Jeffrey
Khaner, flute; Verizon
Hall, Philadelphia.
Contemporary. Study
Score. With Standard
notation. Composed 2013.
126+126 pages. Duration
28 minutes. Theodore
Presser Company
#416-41515. Published by
Theodore Presser Company
(PR.416415150). ISBN
9781598069020. UPC:
680160621743. 9 x 12
inches. Inspired by
the alluring, human-like
sound of the Ney (a
Persian bamboo flute),
Ranjbaran aims
not only to highlight
the modern
flutist’s ability
to play agile and
brilliant passages, but
also to emulate the
delicate sound of the
Ney, particularly in
extended solo passages.
The three-movement
27-minute concerto was
commissioned by the
Philadelphia Orchestra
for its principal flutist
Jeffrey Khaner. The
piano reduction
(published separately)
was designed by the
composer to be practical
in
recital performances.
CONCERTO for Flute and
Orchestra has been
recorded for Naxos by
Érik Gratton
with the Nashville
Symphony conducted by
Giancarlo
Guerrero. The
melancholic tone of the
Ney (the Persian bamboo
flute) is known for its
alluring sound, emulating
the human voice. Â In
Persian literature, the
Ney is considered a
mystic instrument capable
of expressing deep human
emotions.In writing my
flute concerto, I aimed
not only to highlight the
modern flautist’s
ability to play agile and
brilliant passages but
also to emulate the
delicate sound of the
Ney, particularly in
extended solo flute
passages.Two prominent
characters permeate the
first movement of my
concerto. Â They are
marked in the score as
lamentoso, and con
spirito, expressing grief
and loss, and joy of
living respectively.
 The lament is mostly
expressed in several
extended cadenzas for
solo flute while the con
spirito consists of
robust and energetic fast
sections played by all
forces of the orchestra.
 Apart from these two
characters there are
moments of mystery,
comedy and the grotesque,
among others.In the
second movement, the
lyrical and poetic
character of the flute is
prominently presented in
dream-like passages
surrounded by shimmering
and tender orchestral
colors. Â The solo
flute is left out in an
agitated middle section
that references the first
movement. Â In the
third section of the
movement the solo flute
returns in meditative
fashion culminating in a
duet with the harp.The
third movement is written
as one continuous quasi
scherzo, challenging the
limits of agility and
brilliance of the flute.
 Some of the materials
from the earlier
movements are presented
again with joyous
character. Â The coda
elevates the concerto
into its brightest and
most festive character,
driving to the end with
relentless energy. $65.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| School for Trombone Inventions and Sinfonias with sound files [Conducteur et Parties séparées] - Avancé Cherry Classics
Trombone Duet and Trio - Advanced SKU: CY.CC3155 Composed by Johann Sebas...(+)
Trombone Duet and Trio -
Advanced SKU:
CY.CC3155 Composed by
Johann Sebastian Bach.
Arranged by Mike Hall.
Classical. Score and
Parts. Cherry Classics
#CC3155. Published by
Cherry Classics
(CY.CC3155). ISBN
9790530111239. 8.5 x 11
in inches. The J.
S. Bach School for
Trombone, expertly
arranged and beautifully
recorded by Mike Hall,
features Bach's 15
two-part Inventions (BWV
772-786) and the 15
three-part Sinfonias (BWV
787-801) as playable
duets and trios AND most
importantly as play-along
chamber music on alto,
tenor and bass trombone.
In short, a performer may
choose any of Mike Hall's
150 superbly recorded
tracks as accompaniments
to play-along with.
Similar to the famous
Music Minus One
recordings from decades
past. What is included in
this fantastic project? *
71 pages of the complete
Two-part Inventions and
Three-part Inventions in
score format. * Mike
Hall's Introduction and
commentary on each of the
above 30 pieces of music,
including detailed
instruction on how to
best perform baroque
ornaments on each
instrument. * 150 tracks
(in high quality lossless
WAV format) of Mike
Hall's great performing
on alto, tenor and bass
trombone of every
possible combination of
each of the 30 pieces to
Play-along with on either
alto, tenor or bass
trombone. Each play-along
track comes with a click
to keep you on track. $40.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Fifteen Moravian Folk Songs for Euphonium and Piano Euphonium, Piano (duo) - Intermédiaire Cherry Classics
Euphonium & piano - intermediate SKU: CY.CC2602 Composed by Leos Janacek....(+)
Euphonium & piano -
intermediate SKU:
CY.CC2602 Composed by
Leos Janacek. Arranged by
Ralph Sauer. 20th Century
Czech. Solo part and
piano accompaniment.
Published by Cherry
Classics (CY.CC2602).
These are
fifteen short, but
intense works by Leos
Janacek. This music is
indeed a great gift to
the Euphonium solo
literature by Mr.
Sauer.
These
pieces can be performed
by intermediate to
advanced performers and
are about 9 minutes total
in length.
Below
are a few notes from the
arrangement by Ralph
Sauer.
Originall
y for solo piano, the
Fifteen Moravian
Folksongs are remarkable
for their musicality as
well as their brevity -
the only notated,
repeated passage in the
entire work is in Number
5. Because Janacek
included the text in his
piano score (with no
indication that it should
be sung), and the fact
that there are, in many
cases, indications that
the text is only a first
verse, I have included
some additional
repeats.
The mp3
sound sample is from a
recital at the 2012 Music
Academy of the West in
Santa Barbara.
Performance by Ralph
Sauer, trombone and
Natasha Kislenko,
piano.
$22.50 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Stabat Mater D 383 Chorale SATB Barenreiter
Solo voices, choir, orchestra (Soprano Voice Solo, Tenor Voice Solo, Bass Voice ...(+)
Solo voices, choir,
orchestra (Soprano Voice
Solo, Tenor Voice Solo,
Bass Voice Solo, SATB
Choir, 2 Fl, 2 Ob, 2
bassoon, bassoon-Co, 2
Hn, 3trombone, Str)
SKU: BA.BA05547
Oratorio: Jesus
Christus schwebt am
Kreuz. Composed by
Franz Schubert. Edited by
Manuela Jahrmärker.
This edition: complete
edition, urtext edition.
Linen. New Schubert
Edition (Neue Ausgabe
samtlicher Werke) Series
I, Volume 7. Complete
edition, Score. D 383.
Baerenreiter Verlag
#BA05547_00. Published by
Baerenreiter Verlag
(BA.BA05547). ISBN
9790006497089. 33.1 x
25.6 cm
inches.
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
$196.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
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