Know Before You Blow - Jazz Modes for Clarinet with CD composed by Chris Tedesco...(+)
Know Before You Blow -
Jazz Modes for Clarinet
with CD composed by Chris
Tedesco. For bb clarinet.
This edition: Paperback.
Instructional. Jazz
Method. Book and CD. Text
Language: English. 32
pages. Published by
Santorella Publications
Know Before You Blow - Jazz Modes for Tenor Sax with CD composed by Chris Tedesc...(+)
Know Before You Blow -
Jazz Modes for Tenor Sax
with CD composed by Chris
Tedesco. For tenor sax.
This edition: Paperback.
Instructional. Jazz
Method. Book and CD. Text
Language: English. 32
pages. Published by
Santorella Publications
Know Before You Blow - Jazz Modes for Flute with CD composed by Chris Tedesco. F...(+)
Know Before You Blow -
Jazz Modes for Flute with
CD composed by Chris
Tedesco. For flute. This
edition: Paperback.
Instructional. Jazz
Method. Book and CD. Text
Language: English. 32
pages. Published by
Santorella Publications
Know Before You Blow - Jazz Modes for Trumpet with CD composed by Chris Tedesco....(+)
Know Before You Blow -
Jazz Modes for Trumpet
with CD composed by Chris
Tedesco. For bb trumpet.
This edition: Paperback.
Instructional. Jazz
Method. Book and CD. Text
Language: English. 32
pages. Published by
Santorella Publications
Know Before You Blow - Jazz Modes for Trombone with CD composed by Chris Tedesco...(+)
Know Before You Blow -
Jazz Modes for Trombone
with CD composed by Chris
Tedesco. For trombone.
This edition: Paperback.
Instructional. Jazz
Method. Book and CD. Text
Language: English. 32
pages. Published by
Santorella Publications
2MixedCh-SATB (Mixed choirs (SATB) (2)) SKU: BA.BA09188-91 Composed by Wo...(+)
2MixedCh-SATB (Mixed
choirs (SATB) (2))
SKU: BA.BA09188-91
Composed by Wolfgang
Amadeus Mozart. Edited by
Ulrich Leisinger.
Arranged by Ulrich
Leisinger. This edition:
urtext edition. Stapled.
Barenreiter Urtext.
Classical. Choral score.
KV 427. 44 pages.
Baerenreiter Verlag
#BA09188_91. Published by
Baerenreiter Verlag
(BA.BA09188-91).
ISBN
9790006565139. 27 x 19 cm
inches. Key: C minor.
Text Language:
Latin.
Mozart's
magnificent
unfinishedGreat Mass in C
minor K. 427is impressive
not only for its
monumentality and musical
beauty but for its
fragmentary state which
has fascinated scholars
and performers for
decades.
Working
together with the
International Mozarteum
Foundation in Salzburg,
Barenreiter now presents
a new edition of this
work, reflecting the
cutting edge of
scholarship while doing
justice to the needs of
performers.
High
scholarly standards, the
completion and
reconstruction of
movements: this
pioneering publication
incorporates all this in
order to come as close as
possible to the work
itself: -
TheKyrieandGloria, both
of which survive complete
in Mozart's hand, are
edited in accordance with
scholarly standards. -
The first two sections of
theCredohave been
meticulously completed by
the editor Ulrich
Leisinger, drawing on
original Mozart
compositions e.g. the
ariaDeh vieni non
tardarfromThe Marriage of
Figaroand paying
attention to a
stylistically appropriate
and transparent
sound. -
TheSanctusandBenedictus(w
ith theHosanna), which
are either incomplete or
survive only in secondary
sources, have been
reconstructed by the
editor.
Sections
without any known sources
are left out in this
edition. Rounding off the
publication is an
extensive Foreword
(Ger/Eng).
The
first performance of
Ulrich Leisinger's new
edition was given in
April 2019 in the
Elbphilharmonie Hamburg
by the Hamburg State
Philharmonic Orchestra
and the ChorWerk Ruhr
under the baton of Kent
Nagano. The first
Austrian premiere took
place in Salzburg on
August 2019 in the Great
Hall of the Mozarteum,
with Andrew Manze
conducting the Salzburg
Camerata to rousing
applause from audience
and critics
alike.
The C-minor
Mass reconstruction by
Helmut Eder on the basis
of the New Mozart Edition
(BA 4846) is still
available: the score and
performance material are
on hire, the vocal score
is on sale.
About
Barenreiter Urtext
Orchestral
Parts
Why musicians
love to play from
Bärenreiter Urtext
Orchestral
Parts
- Urtext
editions as close as
possible to the
composerâ€â„
s intentions - With
alternate versions in
full score and parts
- Orchestral parts in an
enlarged format of 25.5cm
x 32.5cm - With
cues, rehearsal letters,
and page turns where
players need them -
Clearly presented divisi
passages so that players
know exactly what they
have to play -
High-quality paper with a
slight yellow tinge which
does not glare under
lights and is thick
enough that reverse pages
do not shine
through
Violin-solo, piano (Violin solo, Piano) SKU: BA.BA09099-92 First Versi...(+)
Violin-solo, piano
(Violin solo, Piano)
SKU: BA.BA09099-92
First Version
1844. Composed by
Felix Bartholdy
Mendelssohn. Edited by R.
Larry Todd. This edition:
urtext edition. Stapled.
Barenreiter Urtext. Early
version 1844. Piano
reduction, Part. Opus 64.
Duration 12 hours.
Baerenreiter Verlag
#BA09099_92. Published by
Baerenreiter Verlag
(BA.BA09099-92).
ISBN
9790006565733. 31 x 24.3
cm inches. Key: E minor.
Preface: Larry R.
Todd.
Mendelssohn's
Violin Concerto op. 64,
is a key work of the 19th
century, adhering to the
classical style of
Beethoven while pointing
the way to the romantic
ethos of Brahms. It has
long been known that
Mendelssohn performed the
work with three soloists
in succession: Ferdinand
David, who worked closely
with the composer during
its composition and
played it at the
premiere; the 'child
prodigy' Joseph Joachim;
and Hubert Leonard, a
young Belgian virtuoso
about whom little is
known.
As proof
sheets for the Violin
Concerto in E minor were
long considered lost, it
could be described as
somewhat of a sensation
when proofs for the solo
violin part resurfaced
together with a letter
from Mendelssohn to
Leonard.
The
letter informs us that
the composer invited
Leonard to his home in
Frankfurt in order to
make his acquaintance. It
was already known that
Mendelssohn had given
proof sheets to David;
now we know that he also
gave some to
Leonard.
The
recently discovered
proofs reveal how Leonard
played the concerto with
Mendelssohn on that
memorable evening in
February 1845. Besides
containing bowing marks
and fingering, they also
show how Leonard executed
shifts of position and
where he employed open
strings. Furthermore
modifications made to
dynamic markings and
additional legato bowing
are shown.
It is
safe to assume that all
of this was done with
Mendelssohn's approval.
That the young violinist
made a positive
impression on the
composer is confirmed in
the latter's
correspondence following
their joint performance.
Mendelssohn is full of
praise for Leonard's
playing and offers to
lend his support in
finding employment in
Germany.
This
revised edition of the
Mendelssohn Violin
Concerto (only the
orchestral parts remain
unchanged) includes a
separate booklet on
performance practice.
The editor, Clive
Brown, is an acknowledged
expert on Romantic
performance
practice.
- New
source situation owing to
recently rediscovered
proofs - Revised
Urtext edition - With
a separate booklet on
performance practice
(Eng/Ger).
About
Barenreiter Urtext
Orchestral
Parts
Why musicians
love to play from
B�¤renreiter Urtext
Orchestral
Parts
- Urtext
editions as close as
possible to the
composer�s
intentions - With
alternate versions in
full score and parts
- Orchestral parts in an
enlarged format of 25.5cm
x 32.5cm - With
cues, rehearsal letters,
and page turns where
players need them -
Clearly presented divisi
passages so that players
know exactly what they
have to play -
High-quality paper with a
slight yellow tinge which
does not glare under
lights and is thick
enough that reverse pages
do not shine
through
Double bass SKU: BA.BA10418-85 Composed by Antonin Dvorak. Edited by Jona...(+)
Double bass
SKU:
BA.BA10418-85
Composed by Antonin
Dvorak. Edited by
Jonathan Del Mar. This
edition: urtext edition.
Stapled. Barenreiter
Urtext. Single part. Opus
88. 12 pages.
Baerenreiter Verlag
#BA10418_85. Published by
Baerenreiter Verlag
(BA.BA10418-85).
ISBN
9790006564699. 32.5 x
25.5 cm inches. Key: G
major.
Mendelssohn'
s Violin Concerto op. 64,
is a key work of the 19th
century, adhering to the
classical style of
Beethoven while pointing
the way to the romantic
ethos of Brahms. It has
long been known that
Mendelssohn performed the
work with three soloists
in succession: Ferdinand
David, who worked closely
with the composer during
its composition and
played it at the
premiere; the 'child
prodigy' Joseph Joachim;
and Hubert Leonard, a
young Belgian virtuoso
about whom little is
known.
As proof
sheets for the Violin
Concerto in E minor were
long considered lost, it
could be described as
somewhat of a sensation
when proofs for the solo
violin part resurfaced
together with a letter
from Mendelssohn to
Leonard.
The
letter informs us that
the composer invited
Leonard to his home in
Frankfurt in order to
make his acquaintance. It
was already known that
Mendelssohn had given
proof sheets to David;
now we know that he also
gave some to
Leonard.
The
recently discovered
proofs reveal how Leonard
played the concerto with
Mendelssohn on that
memorable evening in
February 1845. Besides
containing bowing marks
and fingering, they also
show how Leonard executed
shifts of position and
where he employed open
strings. Furthermore
modifications made to
dynamic markings and
additional legato bowing
are shown.
It is
safe to assume that all
of this was done with
Mendelssohn's approval.
That the young violinist
made a positive
impression on the
composer is confirmed in
the latter's
correspondence following
their joint performance.
Mendelssohn is full of
praise for Leonard's
playing and offers to
lend his support in
finding employment in
Germany.
This
revised edition of the
Mendelssohn Violin
Concerto (only the
orchestral parts remain
unchanged) includes a
separate booklet on
performance practice.
The editor, Clive
Brown, is an acknowledged
expert on Romantic
performance
practice.
About
Barenreiter Urtext
Orchestral
Parts
Why musicians
love to play from
Bärenreiter Urtext
Orchestral
Parts
- Urtext
editions as close as
possible to the
composerâ€â„
s intentions - With
alternate versions in
full score and parts
- Orchestral parts in an
enlarged format of 25.5cm
x 32.5cm - With
cues, rehearsal letters,
and page turns where
players need them -
Clearly presented divisi
passages so that players
know exactly what they
have to play -
High-quality paper with a
slight yellow tinge which
does not glare under
lights and is thick
enough that reverse pages
do not shine
through
Piano solo (Piano solo) - Henle Level 6-7 SKU: HL.51481307 Piano Solo<...(+)
Piano solo (Piano solo) -
Henle Level 6-7
SKU:
HL.51481307
Piano
Solo. Composed by
Ludwig van Beethoven.
Edited by Otto von Irmer.
Sheet Music. Paperbound.
Henle Music Folios.
Single Edition from HN
12. Classical. Softcover.
12 pages. G. Henle
#HN1307. Published by G.
Henle (HL.51481307).
ISBN 9790201813073.
UPC: 888680662950.
9.25x12.0x0.054
inches.
At first
glance, this spirited
work does not seem to fit
the picture that
Beethoven's
contemporaries have
passed down to us, this
is why the work was long
looked upon deprecatingly
as a “salon
pieceâ€. In fact, it
is an
“occasionalâ€
piece in the best sense
of the word, having been
written in winter 1814/15
for the Russian Czar
Alexander I's wife, a
great admirer of
Beethoven's music. The
Czarina was sojourning in
the Austrian capital at
the time of the Congress
of Vienna. The
superficial impression of
simple, stylized dance
music disguises Beethoven
at his most
“genuineâ€,
waiting to reveal some
subtle motivic and
thematic material.
About Henle
Urtext
What I can expect from
Henle Urtext
editions:
error-free, reliable
musical texts based on
meticulous musicological
research - fingerings and
bowings by famous artists
and pedagogues
preface in 3
languages with
information on the
genesis and history of
the work
Critical Commentary
in 1 – 3 languages
with a description and
evaluation of the sources
and explaining all source
discrepancies and
editorial
decisions
most beautiful music
engraving
page-turns, fold-out
pages, and cues where you
need them
excellent print
quality and
binding
largest Urtext
catalogue
world-wide
longest Urtext
experience (founded 1948
exclusively for Urtext
editions)
Second violin (2. Violin) - Level 3 SKU: BA.BA07897-75 Composed by Claude...(+)
Second violin (2. Violin)
- Level 3
SKU:
BA.BA07897-75
Composed by Claude
Debussy. Edited by
Douglas Woodfull-Harris.
This edition: urtext
edition. Stapled.
Barenreiter Urtext.
Single part. 8 pages.
Baerenreiter Verlag
#BA07897_75. Published by
Baerenreiter Verlag
(BA.BA07897-75).
ISBN
9790006564392. 32.5 x
25.5 cm
inches.
Debussy's
Premiere Rhapsodie is one
of two concertante works
completed, premiered and
published during his
lifetime. He was
commissioned to write it
in 1909 for the final
examination at the Paris
Conservatoire in 1910.
Debussy orchestrated it
in the summer of 1911.
While transferring the
clarinet part from the
already published version
for clarinet and piano,
he made a few subtle
changes, particularly in
m. 201, which has been a
bone of contention among
clarinettists for over a
century. The present
scholarly-critical
publication is the first
Urtext edition of the
orchestral version. It
draws on every known
source and takes into
account a previously
ignored source that sheds
new light on the
piece.
About
Barenreiter Urtext
Orchestral
Parts
Why musicians
love to play from
Bärenreiter Urtext
Orchestral
Parts
- Urtext
editions as close as
possible to the
composerâ€â„
s intentions - With
alternate versions in
full score and parts
- Orchestral parts in an
enlarged format of 25.5cm
x 32.5cm - With
cues, rehearsal letters,
and page turns where
players need them -
Clearly presented divisi
passages so that players
know exactly what they
have to play -
High-quality paper with a
slight yellow tinge which
does not glare under
lights and is thick
enough that reverse pages
do not shine
through
Cello (Violoncello) - Level 3 SKU: BA.BA07897-82 Composed by Claude Debus...(+)
Cello (Violoncello) -
Level 3
SKU:
BA.BA07897-82
Composed by Claude
Debussy. Edited by
Douglas Woodfull-Harris.
This edition: urtext
edition. Stapled.
Barenreiter Urtext.
Single part. 7 pages.
Baerenreiter Verlag
#BA07897_82. Published by
Baerenreiter Verlag
(BA.BA07897-82).
ISBN
9790006564415. 32.5 x
25.5 cm
inches.
Debussy's
Premiere Rhapsodie is one
of two concertante works
completed, premiered and
published during his
lifetime. He was
commissioned to write it
in 1909 for the final
examination at the Paris
Conservatoire in 1910.
Debussy orchestrated it
in the summer of 1911.
While transferring the
clarinet part from the
already published version
for clarinet and piano,
he made a few subtle
changes, particularly in
m. 201, which has been a
bone of contention among
clarinettists for over a
century. The present
scholarly-critical
publication is the first
Urtext edition of the
orchestral version. It
draws on every known
source and takes into
account a previously
ignored source that sheds
new light on the
piece.
About
Barenreiter Urtext
Orchestral
Parts
Why musicians
love to play from
Bärenreiter Urtext
Orchestral
Parts
- Urtext
editions as close as
possible to the
composerâ€â„
s intentions - With
alternate versions in
full score and parts
- Orchestral parts in an
enlarged format of 25.5cm
x 32.5cm - With
cues, rehearsal letters,
and page turns where
players need them -
Clearly presented divisi
passages so that players
know exactly what they
have to play -
High-quality paper with a
slight yellow tinge which
does not glare under
lights and is thick
enough that reverse pages
do not shine
through
First violin (1. Violin) - Level 3 SKU: BA.BA07897-74 Composed by Claude ...(+)
First violin (1. Violin)
- Level 3
SKU:
BA.BA07897-74
Composed by Claude
Debussy. Edited by
Douglas Woodfull-Harris.
This edition: urtext
edition. Stapled.
Barenreiter Urtext.
Single part. 9 pages.
Baerenreiter Verlag
#BA07897_74. Published by
Baerenreiter Verlag
(BA.BA07897-74).
ISBN
9790006564385. 32.5 x
25.5 cm
inches.
Debussy's
Premiere Rhapsodie is one
of two concertante works
completed, premiered and
published during his
lifetime. He was
commissioned to write it
in 1909 for the final
examination at the Paris
Conservatoire in 1910.
Debussy orchestrated it
in the summer of 1911.
While transferring the
clarinet part from the
already published version
for clarinet and piano,
he made a few subtle
changes, particularly in
m. 201, which has been a
bone of contention among
clarinettists for over a
century. The present
scholarly-critical
publication is the first
Urtext edition of the
orchestral version. It
draws on every known
source and takes into
account a previously
ignored source that sheds
new light on the
piece.
About
Barenreiter Urtext
Orchestral
Parts
Why musicians
love to play from
Bärenreiter Urtext
Orchestral
Parts
- Urtext
editions as close as
possible to the
composerâ€â„
s intentions - With
alternate versions in
full score and parts
- Orchestral parts in an
enlarged format of 25.5cm
x 32.5cm - With
cues, rehearsal letters,
and page turns where
players need them -
Clearly presented divisi
passages so that players
know exactly what they
have to play -
High-quality paper with a
slight yellow tinge which
does not glare under
lights and is thick
enough that reverse pages
do not shine
through
Composed by Claude
Debussy. Edited by
Douglas Woodfull-Harris.
This edition: urtext
edition. Folded.
Barenreiter Urtext.
Single part. 3 pages.
Baerenreiter Verlag
#BA07897_85. Published by
Baerenreiter Verlag
(BA.BA07897-85).
ISBN
9790006564422. 32.5 x
25.5 cm
inches.
Debussy's
Premiere Rhapsodie is one
of only two concertante
works completed,
premiered and published
during his lifetime. He
was commissioned to write
it in 1909 for the final
examination at the Paris
Conservatoire in 1910.
Debussy orchestrated it
in the summer of 1911.
While transferring the
clarinet part from the
already published version
for clarinet and piano,
he made a few subtle
changes, particularly in
m. 201, which has been a
bone of contention among
clarinettists for over a
century.
The
present
scholarly-critical
publication is the first
Urtext edition of the
orchestral version. It
draws on every known
source and takes into
account a previously
ignored source that sheds
new light on the piece.
About
Barenreiter Urtext
Orchestral
Parts
Why musicians
love to play from
Bärenreiter Urtext
Orchestral
Parts
- Urtext
editions as close as
possible to the
composerâ€â„
s intentions - With
alternate versions in
full score and parts
- Orchestral parts in an
enlarged format of 25.5cm
x 32.5cm - With
cues, rehearsal letters,
and page turns where
players need them -
Clearly presented divisi
passages so that players
know exactly what they
have to play -
High-quality paper with a
slight yellow tinge which
does not glare under
lights and is thick
enough that reverse pages
do not shine
through
Clarinet (in B-Flat) Solo, Orchestra (wind set of part) - Level 3 SKU: BA.BA0...(+)
Clarinet (in B-Flat)
Solo, Orchestra (wind set
of part) - Level 3
SKU: BA.BA07897-65
Composed by Claude
Debussy. Edited by
Douglas Woodfull-Harris.
This edition: urtext
edition. Folded.
Barenreiter Urtext. Set
of wind parts.
3/3/3/3/3/3/3/3/3/3/3/3/3
/3/3/3/3/3/3/4/3 pages.
Baerenreiter Verlag
#BA07897_65. Published by
Baerenreiter Verlag
(BA.BA07897-65).
ISBN
9790006564378. 32.5 x
25.5 cm
inches.
Debussy's
Premiere Rhapsodie is one
of two concertante works
completed, premiered and
published during his
lifetime. He was
commissioned to write it
in 1909 for the final
examination at the Paris
Conservatoire in 1910.
Debussy orchestrated it
in the summer of 1911.
While transferring the
clarinet part from the
already published version
for clarinet and piano,
he made a few subtle
changes, particularly in
m. 201, which has been a
bone of contention among
clarinettists for over a
century. The present
scholarly-critical
publication is the first
Urtext edition of the
orchestral version. It
draws on every known
source and takes into
account a previously
ignored source that sheds
new light on the
piece.
About
Barenreiter Urtext
Orchestral
Parts
Why musicians
love to play from
Bärenreiter Urtext
Orchestral
Parts
- Urtext
editions as close as
possible to the
composerâ€â„
s intentions - With
alternate versions in
full score and parts
- Orchestral parts in an
enlarged format of 25.5cm
x 32.5cm - With
cues, rehearsal letters,
and page turns where
players need them -
Clearly presented divisi
passages so that players
know exactly what they
have to play -
High-quality paper with a
slight yellow tinge which
does not glare under
lights and is thick
enough that reverse pages
do not shine
through
Viola (viola part) - Level 3 SKU: BA.BA07897-79 Composed by Claude Debuss...(+)
Viola (viola part) -
Level 3
SKU:
BA.BA07897-79
Composed by Claude
Debussy. Edited by
Douglas Woodfull-Harris.
This edition: urtext
edition. Stapled.
Barenreiter Urtext.
Single part. 7 pages.
Baerenreiter Verlag
#BA07897_79. Published by
Baerenreiter Verlag
(BA.BA07897-79).
ISBN
9790006564408. 32.5 x
25.5 cm
inches.
Debussy's
Premiere Rhapsodie is one
of two concertante works
completed, premiered and
published during his
lifetime. He was
commissioned to write it
in 1909 for the final
examination at the Paris
Conservatoire in 1910.
Debussy orchestrated it
in the summer of 1911.
While transferring the
clarinet part from the
already published version
for clarinet and piano,
he made a few subtle
changes, particularly in
m. 201, which has been a
bone of contention among
clarinettists for over a
century. The present
scholarly-critical
publication is the first
Urtext edition of the
orchestral version. It
draws on every known
source and takes into
account a previously
ignored source that sheds
new light on the
piece.
About
Barenreiter Urtext
Orchestral
Parts
Why musicians
love to play from
Bärenreiter Urtext
Orchestral
Parts
- Urtext
editions as close as
possible to the
composerâ€â„
s intentions - With
alternate versions in
full score and parts
- Orchestral parts in an
enlarged format of 25.5cm
x 32.5cm - With
cues, rehearsal letters,
and page turns where
players need them -
Clearly presented divisi
passages so that players
know exactly what they
have to play -
High-quality paper with a
slight yellow tinge which
does not glare under
lights and is thick
enough that reverse pages
do not shine
through
Viola SKU: BA.BA07896-79 Composed by Camille Saint-Saens. Edited by Micha...(+)
Viola
SKU:
BA.BA07896-79
Composed by Camille
Saint-Saens. Edited by
Michael Stegemann. This
edition: urtext edition.
Stapled. Barenreiter
Urtext. Single part. Opus
78. 25 pages.
Baerenreiter Verlag
#BA07896_79. Published by
Baerenreiter Verlag
(BA.BA07896-79).
ISBN
9790006563371. 32.5 x
25.5 cm inches. Key: C
minor.
In this work
I gave everything I had
to give. [...] What I did
here I will never do
again. Camille
Saint-Saens was
justifiably proud of his
Symphony No. 3 in C minor
op. 78, dedicated to the
memory of Franz Liszt.
Like Beethoven's Ninth,
this so-called Organ
Symphony was commissioned
by the Philharmonic
Society in London, where
it received its premiere
on 19 May
1886.
In this
first scholarly-critical
edition of the symphony,
a great many
inconsistencies and
mistakes inherent in the
previously used edition
have been unveiled and
corrected.
The
edition of Symphony No. 3
marks the launch of a
large-scale project: the
publication of Camille
Saint-Saens - Complete
Edition of the
Instrumental Works. This
performing Urtext edition
is based on volume BA
10303 from that
series.
* First
scholarly-critical
edition of this famous
symphony based on Camille
Saint-Saens aEUR Complete
Edition of the
Instrumental Works *
Now with separate parts
for all winds *
Orchestral parts in a
large format (25.5 cm x
32.5 cm).
About
Barenreiter Urtext
Orchestral
Parts
Why musicians
love to play from
Bärenreiter Urtext
Orchestral
Parts
- Urtext
editions as close as
possible to the
composerâ€â„
s intentions - With
alternate versions in
full score and parts
- Orchestral parts in an
enlarged format of 25.5cm
x 32.5cm - With
cues, rehearsal letters,
and page turns where
players need them -
Clearly presented divisi
passages so that players
know exactly what they
have to play -
High-quality paper with a
slight yellow tinge which
does not glare under
lights and is thick
enough that reverse pages
do not shine
through
Achieve Orchestre d'harmonie [Conducteur] - Débutant Carl Fischer
Band concert band - Grade 0.5 SKU: CF.PPS51F March. Composed by La...(+)
Band concert band - Grade
0.5
SKU: CF.PPS51F
March. Composed by
Larry Clark. Primer Band
(PPS). Full score. With
Standard notation. 12
pages. Carl Fischer Music
#PPS51F. Published by
Carl Fischer Music
(CF.PPS51F).
ISBN
9781491152638. UPC:
680160910137.
The
march style is important
to the heritage of the
modern concert band. Why
not get beginners off to
a great start by teaching
them this essential band
style as early as
possible? Achieve u
ses only the first six
notes of the Bb-major
scale and utilizes two
repeated eighth notes as
the most difficult
rhythm. It is written in
traditional march form
and style, but without
modulation in the
trio. The march
style is important
to the heritage of the
modern concert band, and
it is my opinion that
even the youngest of
students should be taught
the march style and form
as early as
possible. This march
sets out to give these
students that
opportunity. It uses only
the first six notes of
the Bb-major scale, and
the most difficult rhythm
is two repeated eighth
notes. Yet it has all of
the traditional march
form and style. The
form of this easy march
is the traditional intro,
first strain, second
strain and trio. The
only difference from more
challenge marches is that
the key does not change
to the subdominant at the
trio. Most everything
else is the same as you
would find in the
American marches of
Sousa, Fillmore or
King.The march begins
forte with a quote from
the end of the second
strain, something that is
common in many
marches. This is
followed by the first
strain at a softer
dynamic
level. Additional
voices are added on the
repeat for
variety. The second
strain has tradition
changes in dynamics,
first starting out loud,
then getting soft with
crescendos to the end of
the strain. The trio
following again in
typical fashion with the
first time being very
soft and legato. There
are some suggestions for
changing the
orchestration, but you
can use your creativity
to tailor the
instrumentation to your
musical taste. The
repeat of the trio should
then be back to a more
marcato march
style. This should
start with the last note
of the first ending in m.
70. The march then
ends with the traditional
stinger.It is my opinion
that in marches with this
form that the repeats
should not be eliminated.
By doing so, it changes
the form and makes the
march lopsided, with the
first half of the
marching being too short
compared to the trio
section.It has been my
pleasure to have the
opportunity to write this
piece. I hope you and
your students enjoy it
and find it useful for
your
program.—Larry
ClarkLakeland, FL
2018.
Achieve Orchestre d'harmonie - Débutant Carl Fischer
Band concert band - Grade 0.5 SKU: CF.PPS51 March. Composed by Lar...(+)
Band concert band - Grade
0.5
SKU: CF.PPS51
March. Composed by
Larry Clark. Primer Band
(PPS). Set of Score and
Parts. With Standard
notation.
8+2+8+2+5+2+2+8+2+3+2+6+3
+1+1+2+2+12+2 pages.
Duration 2 minutes, 8
seconds. Carl Fischer
Music #PPS51. Published
by Carl Fischer Music
(CF.PPS51).
ISBN
9781491151952. UPC:
680160909452.
The
march style is important
to the heritage of the
modern concert band. Why
not get beginners off to
a great start by teaching
them this essential band
style as early as
possible? Achieve u
ses only the first six
notes of the Bb-major
scale and utilizes two
repeated eighth notes as
the most difficult
rhythm. It is written in
traditional march form
and style, but without
modulation in the
trio. The march
style is important
to the heritage of the
modern concert band, and
it is my opinion that
even the youngest of
students should be taught
the march style and form
as early as
possible. This march
sets out to give these
students that
opportunity. It uses only
the first six notes of
the Bb-major scale, and
the most difficult rhythm
is two repeated eighth
notes. Yet it has all of
the traditional march
form and style. The
form of this easy march
is the traditional intro,
first strain, second
strain and trio. The
only difference from more
challenge marches is that
the key does not change
to the subdominant at the
trio. Most everything
else is the same as you
would find in the
American marches of
Sousa, Fillmore or
King.The march begins
forte with a quote from
the end of the second
strain, something that is
common in many
marches. This is
followed by the first
strain at a softer
dynamic
level. Additional
voices are added on the
repeat for
variety. The second
strain has tradition
changes in dynamics,
first starting out loud,
then getting soft with
crescendos to the end of
the strain. The trio
following again in
typical fashion with the
first time being very
soft and legato. There
are some suggestions for
changing the
orchestration, but you
can use your creativity
to tailor the
instrumentation to your
musical taste. The
repeat of the trio should
then be back to a more
marcato march
style. This should
start with the last note
of the first ending in m.
70. The march then
ends with the traditional
stinger.It is my opinion
that in marches with this
form that the repeats
should not be eliminated.
By doing so, it changes
the form and makes the
march lopsided, with the
first half of the
marching being too short
compared to the trio
section.It has been my
pleasure to have the
opportunity to write this
piece. I hope you and
your students enjoy it
and find it useful for
your
program.—Larry
ClarkLakeland, FL
2018.
Composed by Felix
Bartholdy Mendelssohn.
Edited by R. Larry Todd.
This edition: urtext
edition. Stapled.
Barenreiter Urtext. Set
of wind parts. Opus 64.
12/8/10/8/14/12/12/10/8/8
/6/6/6 pages.
Baerenreiter Verlag
#BA09099_65. Published by
Baerenreiter Verlag
(BA.BA09099-65).
ISBN
9790006565672. 32.5 x
25.5 cm inches. Key: E
minor.
WithElversku
d(The Erl-Kings
Daughter), Gade presented
his secondsecular cantata
for soloists, choir and
orchestra, the first
having been his
successfulComalaOp. 12
(1845/46). The genre was
quite popular among his
contemporaries. This
time, Gade planned to
base the work on the text
of a folk song.
Originally, he had
approached Hans Christian
Andersen for a text but a
collaboration did not
materialize. The text
Gade ultimately chose for
his music was that of a
ballad most likely penned
by Emil Erslev and Gade
himself. A German
translation by Edmund
Lobedanz was added at a
later time.
The
composition, started in
1851 and finished in
March of 1854, soon
became an international
success and one of Gade's
most-performed works. In
1864, the composer made a
number of changes to the
instrumentation. While
the new version was
subsequently used for all
performances conducted by
Gade, the changes were
never incorporated into
the printed edition of
the score. This edition
is the first to present
this 1864
version.
About
Barenreiter Urtext
Orchestral
Parts
Why musicians
love to play from
B�¤renreiter Urtext
Orchestral
Parts
- Urtext
editions as close as
possible to the
composer�s
intentions - With
alternate versions in
full score and parts
- Orchestral parts in an
enlarged format of 25.5cm
x 32.5cm - With
cues, rehearsal letters,
and page turns where
players need them -
Clearly presented divisi
passages so that players
know exactly what they
have to play -
High-quality paper with a
slight yellow tinge which
does not glare under
lights and is thick
enough that reverse pages
do not shine
through
Flute, first oboe, second oboe, first bassoon, second bassoon, first horn, secon...(+)
Flute, first oboe, second
oboe, first bassoon,
second bassoon, first
horn, second horn (Flute,
1. Oboe, 2. Oboe, 1.
Bassoon, 2. Bassoon, 1.
Horn, 2. Horn)
SKU:
BA.BA09026-65
Composed by Ludwig van
Beethoven. Edited by
Jonathan Del Mar. This
edition: urtext edition.
Folded. Barenreiter
Urtext. Wind set,
anthology. Opus 50, 40.
3/3/3/4/3/3/3 pages.
Baerenreiter Verlag
#BA09026_65. Published by
Baerenreiter Verlag
(BA.BA09026-65).
ISBN
9790006540860. 32.5 x
25.5 cm inches. Key: F
major, g
major.
Beethoven'sR
omancesare performed all
over the world, yet how
many conductors,
performers and listeners
are aware that op. 50
which was incidentally
composed before op. 40,
comes down to us in an
unfinished form? The
autograph score contains
little to no articulation
or dynamics and to the
present day the work has
existed only in highly
over-edited publications.
The performer has no way
of knowing what was
originally intended by
the composer.
Barenreiter's new
Urtext edition of opp. 50
and 40 offers the score
to op. 50 twice; the
first score reflects the
state of Beethoven's
autograph with editorial
markings clearly
indicated, the second
score has been edited
based on other works by
Beethoven from that
period. This manner of
publishing remains true
to the sources and at the
same time offers
musicians a reliable
transparent score for
performances.
In
addition to the Urtext
solo part, a second solo
part with fingering and
bowing by Detlef Mahn is
also included in the
piano reduction.
-
Piano reduction which
includes an Urtext solo
part as well as an
additional solo part with
fingering and bowing -
The score to op. 50
available in two
versions - Detailed
critical commentary
(Eng).
About
Barenreiter Urtext
Orchestral
Parts
Why musicians
love to play from
Bärenreiter Urtext
Orchestral
Parts
- Urtext
editions as close as
possible to the
composerâ€â„
s intentions - With
alternate versions in
full score and parts
- Orchestral parts in an
enlarged format of 25.5cm
x 32.5cm - With
cues, rehearsal letters,
and page turns where
players need them -
Clearly presented divisi
passages so that players
know exactly what they
have to play -
High-quality paper with a
slight yellow tinge which
does not glare under
lights and is thick
enough that reverse pages
do not shine
through