| Great Smoky Mountains [Conducteur] Theodore Presser Co.
Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clar...(+)
Band Bass Clarinet,
Bassoon 1, Bassoon 2,
Clarinet, Clarinet 1,
Clarinet 2, Clarinet 3,
Contrabass Clarinet,
Contrabassoon, Double
Bass, English Horn,
Euphonium, Flute 1, Flute
2, Horn 1, Horn 2, Horn
3, Horn 4, Oboe 1, Oboe
2, Percussion 1 and more.
SKU: PR.16500102F
Mvt. 2 from Symphony
No. 6 (Three Places in
the East). Composed
by Dan Welcher. Full
score. 52 pages. Theodore
Presser Company
#165-00102F. Published by
Theodore Presser Company
(PR.16500102F). ISBN
9781491131749. UPC:
680160680276. Ever
since the success of my
series of wind ensemble
works Places in the West,
I've been wanting to
write a companion piece
for national parks on the
other side of the north
American continent. The
earlier work, consisting
of GLACIER, THE
YELLOWSTONE FIRES,
ARCHES, and ZION, spanned
some twenty years of my
composing life, and since
the pieces called for
differing groups of
instruments, and were in
slightly different styles
from each other, I never
considered them to be
connected except in their
subject matter. In their
depiction of both the
scenery and the human
history within these
wondrous places, they had
a common goal: awaking
the listener to the
fragile beauty that is in
them; and calling
attention to the ever
more crucial need for
preservation and
protection of these wild
places, unique in all the
world. With this new
work, commissioned by a
consortium of college and
conservatory wind
ensembles led by the
University of Georgia, I
decided to build upon
that same model---but to
solidify the process. The
result, consisting of
three movements (each
named for a different
national park in the
eastern US), is a
bona-fide symphony. While
the three pieces could be
performed separately,
they share a musical
theme---and also a common
style and
instrumentation. It is a
true symphony, in that
the first movement is
long and expository, the
second is a rather
tightly structured
scherzo-with-trio, and
the finale is a true
culmination of the whole.
The first movement,
Everglades, was the
original inspiration for
the entire symphony.
Conceived over the course
of two trips to that
astonishing place (which
the native Americans
called River of Grass,
the subtitle of this
movement), this movement
not only conveys a sense
of the humid, lush, and
even frightening scenery
there---but also an
overview of the entire
settling-of- Florida
experience. It contains
not one, but two native
American chants, and also
presents a view of the
staggering influence of
modern man on this
fragile part of the
world. Beginning with a
slow unfolding marked
Heavy, humid, the music
soon presents a gentle,
lyrical theme in the solo
alto saxophone. This
theme, which goes through
three expansive phrases
with breaks in between,
will appear in all three
movements of the
symphony. After the mood
has been established, the
music opens up to a rich,
warm setting of a
Cherokee morning song,
with the simple happiness
that this part of Florida
must have had prior to
the nineteenth century.
This music, enveloping
and comforting, gradually
gives way to a more
frenetic, driven section
representative of the
intrusion of the white
man. Since Florida was
populated and developed
largely due to the
introduction of a train
system, there's a
suggestion of the
mechanized iron horse
driving straight into the
heartland. At that point,
the native Americans
become considerably less
gentle, and a second
chant seems to stand in
the way of the intruder;
a kind of warning song.
The second part of this
movement shows us the
great swampy center of
the peninsula, with its
wildlife both in and out
of the water. A new theme
appears, sad but noble,
suggesting that this land
is precious and must be
protected by all the
people who inhabit it. At
length, the morning song
reappears in all its
splendor, until the
sunset---with one last
iteration of the warning
song in the solo piccolo.
Functioning as a scherzo,
the second movement,
Great Smoky Mountains,
describes not just that
huge park itself, but one
brave soul's attempt to
climb a mountain there.
It begins with three
iterations of the
UR-theme (which began the
first movement as well),
but this time as up-tempo
brass fanfares in
octaves. Each time it
begins again, the theme
is a little slower and
less confident than the
previous time---almost as
though the hiker were
becoming aware of the
daunting mountain before
him. But then, a steady,
quick-pulsed ostinato
appears, in a constantly
shifting meter system of
2/4- 3/4 in alteration,
and the hike has begun.
Over this, a slower new
melody appears, as the
trek up the mountain
progresses. It's a big
mountain, and the ascent
seems to take quite
awhile, with little
breaks in the hiker's
stride, until at length
he simply must stop and
rest. An oboe solo, over
several free cadenza-like
measures, allows us (and
our friend the hiker) to
catch our breath, and
also to view in the
distance the rocky peak
before us. The goal is
somehow even more
daunting than at first,
being closer and thus
more frighteningly steep.
When we do push off
again, it's at a slower
pace, and with more
careful attention to our
footholds as we trek over
broken rocks. Tantalizing
little views of the
valley at every
switchback make our
determination even
stronger. Finally, we
burst through a stand of
pines and----we're at the
summit! The immensity of
the view is overwhelming,
and ultimately humbling.
A brief coda, while we
sit dazed on the rocks,
ends the movement in a
feeling of triumph. The
final movement, Acadia,
is also about a trip. In
the summer of 2014, I
took a sailing trip with
a dear friend from North
Haven, Maine, to the
southern coast of Mt.
Desert Island in Acadia
National Park. The
experience left me both
exuberant and exhausted,
with an appreciation for
the ocean that I hadn't
had previously. The
approach to Acadia
National Park by water,
too, was thrilling: like
the difference between
climbing a mountain on
foot with riding up on a
ski-lift, I felt I'd
earned the right to be
there. The music for this
movement is entirely
based on the opening
UR-theme. There's a sense
of the water and the
mysterious, quiet deep
from the very beginning,
with seagulls and bell
buoys setting the scene.
As we leave the harbor,
the theme (in a canon
between solo euphonium
and tuba) almost seems as
if large subaquatic
animals are observing our
departure. There are
three themes (call them
A, B and C) in this
seafaring journey---but
they are all based on the
UR theme, in its original
form with octaves
displaced, in an
upside-down form, and in
a backwards version as
well. (The ocean, while
appearing to be
unchanging, is always
changing.) We move out
into the main channel
(A), passing several
islands (B), until we
reach the long draw that
parallels the coastline
called Eggemoggin Reach,
and a sudden burst of new
speed (C). Things
suddenly stop, as if the
wind had died, and we
have a vision: is that
really Mt. Desert Island
we can see off the port
bow, vaguely in the
distance? A chorale of
saxophones seems to
suggest that. We push off
anew as the chorale ends,
and go through all three
themes again---but in
different
instrumentations, and
different keys. At the
final tack-turn, there it
is, for real: Mt. Desert
Island, big as life.
We've made it. As we pull
into the harbor, where
we'll secure the boat for
the night, there's a
feeling of achievement.
Our whale and dolphin
friends return, and we
end our journey with
gratitude and
celebration. I am
profoundly grateful to
Jaclyn Hartenberger,
Professor of Conducting
at the University of
Georgia, for leading the
consortium which provided
the commissioning of this
work. $36.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Karsten Fundal: Woven Lines Clarinette Wilhelm Hansen
Clarinet SKU: HL.14011933 Composed by Karsten Fundal. Music Sales America...(+)
Clarinet SKU:
HL.14011933 Composed
by Karsten Fundal. Music
Sales America. Classical.
Book [Softcover]. Edition
Wilhelm Hansen #WH30248.
Published by Edition
Wilhelm Hansen
(HL.14011933). ISBN
9788759859902. Work
for Clarinet solo. The
composer writes 'The
title refers to several
levels in the piece.
Partly a method I have
used, where three lines
are weaved, so they
become one line, here the
clarinet which can
(nearly) only play one
tone at the time. Either
the three parts disappear
and become one waving
melodic line as in the
beginning of the piece.
Or they are put in
different registers of
the clarinet, so they are
heard as separate lines
weaving into one another.
On a different level
there is three different
sequences, which are also
weaved into one another;
one which rises (for
instance in the
beginning), and one which
falls, and one which
falls in parallels in
several registers. These
three sequences become
faster and faster every
time they reappear. The
idea of weaving melodic
lines was inspired by
Bach's pieces for solo
strings, where he in a
marvellous way
established several
simultaneous melodic
lines, without
simultaneous sounding
notes. This happened by
weaving parts, which in
other works would sound
simultaneously, into one
another, so that only one
note was heard at the
time. This meant that in
that long line, which was
heard as the instrument's
development of the piece,
other melodies were
weaving around each other
with different focuses.
Woven Lines was
commissioned by DUT with
support from the Danish
Arts' Council.'. $19.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Elburg Fantasy Fanfare [Conducteur et Parties séparées] - Intermédiaire De Haske Publications
Fanfare Band - Grade 4 SKU: BT.DHP-1135396-020 Composed by Jacob De Haan....(+)
Fanfare Band - Grade 4
SKU:
BT.DHP-1135396-020
Composed by Jacob De
Haan. Concert and Contest
Collection Brass Band en
Fanfare. Concert Piece.
Set (Score & Parts).
Composed 2013. De Haske
Publications #DHP
1135396-020. Published by
De Haske Publications
(BT.DHP-1135396-020).
9x12 inches.
English-Dutch. This
musical fantasy depicts
the history of the Dutch
fortified town of Elburg.
The work begins with an
atmospheric medieval
picture of the Convent of
St Agnes, the nunnery
that was built in the
first half of the 15th
century. We hear the
sound of the convent
bells together with an
upward motif, which will
reappear later in the
work. Next, the rest of
Elburg is featured,
including the fortress -
from which the bells of
the Sint-Nicolaaskerk
(Saint Nicholas Church)
are ringing. Then,
cheerful sounds can be
heard at the Vischpoort
(Fish Gate), where a
dancing group is
performing a 16th century
French folk dance (a
branle des chevaux). We
also hear old wagons
rumbling over the
town’scobble
stones. Trade made this
Hanseatic town a lively
place. The repetitive
upward motif first heard
in the introduction now
develops into a more
distinct feature,
reflecting the mercantile
spirit of the town
residents.Then follows
the slow middle movement,
in which the clock has
been turned back to the
time when Elburg was
still lying on the
Zuiderzee (which was a
bay of the North Sea),
and was struggling with
floods. After the second
St. Marcellus Flood
(1362) and the water
flood of 1367 it was
decided that the town
would be relocated. We
now hear the theme of
branle des chevaux in a
minor key, followed by a
death bell sounding in
remembrance of the
drowned citizens of the
former town. Back in our
own time, a slow,
expressive theme in
Baroque style mirrors
Elburg’s tranquil
places, such as the
Feithenhof (Feithen
Court) and the
Weduwenhofje (Widow
Court). Then the bustle
returns with motifs from
the introduction,
followed by an attractive
theme in which
present-day Elburg is
portrayed with its many
tourists. Now, suddenly,
there is an echo from the
past, depicting the
dramatic floods and wars
that once plagued the
town. This leads to the
grand closing theme:
branle des chevaux
is heard for a final time
from the perspective of
the historic town centre.
Deze muzikale
fantasie vertelt de
geschiedenis van de
Nederlandse vestingstad
Elburg. Het werk begint
met een middeleeuws
sfeerbeeld vanuit het
Agnietenklooster, het
nonnenklooster dat in de
eerste helft van de 15e
eeuw werd gebouwd. We
horen de kloosterklok
samen met een opwaarts
motief, dat ook later in
het werk terugkomt.
Vervolgens komt de rest
van Elburg aan bod,
inclusief de vesting -
van waaruit de klokken
van de Grote of
Sint-Nicolaaskerk
weergalmen. Dan klinken
bij de Vischpoort de
vrolijke geluiden van een
dansgroep die daar een
16e-eeuwse Franse
volksdans (branle des
chevaux) uitvoert.
Ook horen we oude karren
over de kinderkopjes van
de stad denderen.
Dehandel maakt deze
Hanzestad tot een
levendige plaats. Het
zich steeds herhalende
opwaartse motief uit de
inleiding krijgt hier een
nadrukkelijker karakter
en verbeeldt de
handelsgeest van de
stedelingen.Dan volgt het
langzame middendeel,
waarin de klok wordt
teruggedraaid naar de
tijd dat Elburg nog
direct aan de Zuiderzee
lag en te kampen had met
overstromingen. Na de
tweede
Sint-Marcellusvloed
(1362) en de watervloed
van 1367 werd besloten
dat de stad verplaatst
zou worden. We horen het
thema van de branle des
chevaux in mineur,
gevolgd door een
doodsklok, die de
verdronken inwoners van
de voormalige stad
herdenkt. Terug in onze
eigen tijd verklankt een
langzaam, expressief
thema in barokke stijl de
verstilde plekken in de
stad, zoals het
Feithenhof en het
Weduwenhofje. Dan keert
de levendigheid terug met
motieven uit de
inleiding, gevolgd door
een aansprekend thema
waarin het Elburg van nu
met zijn vele toeristen
doorklinkt. Plotseling is
er dan nog even een echo
uit het verleden: de
dramatiek van de
overstromingen en
oorlogen die de stad ooit
teisterden. Hieruit
vloeit het grootse
slotthema voort: de
branle des chevaux is
voor de laatste keer te
horen vanuit het
perspectief van de
historische
binnenstad. $203.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Elburg Fantasy Fanfare [Conducteur] - Intermédiaire De Haske Publications
Fanfare Band - Grade 4 SKU: BT.DHP-1135396-120 Composed by Jacob De Haan....(+)
Fanfare Band - Grade 4
SKU:
BT.DHP-1135396-120
Composed by Jacob De
Haan. Concert and Contest
Collection Brass Band en
Fanfare. Concert Piece.
Score Only. Composed
2013. 52 pages. De Haske
Publications #DHP
1135396-120. Published by
De Haske Publications
(BT.DHP-1135396-120).
9x12 inches.
English-Dutch. This
musical fantasy depicts
the history of the Dutch
fortified town of Elburg.
The work begins with an
atmospheric medieval
picture of the Convent of
St Agnes, the nunnery
that was built in the
first half of the 15th
century. We hear the
sound of the convent
bells together with an
upward motif, which will
reappear later in the
work. Next, the rest of
Elburg is featured,
including the fortress -
from which the bells of
the Sint-Nicolaaskerk
(Saint Nicholas Church)
are ringing. Then,
cheerful sounds can be
heard at the Vischpoort
(Fish Gate), where a
dancing group is
performing a 16th century
French folk dance (a
branle des chevaux). We
also hear old wagons
rumbling over the
town’scobble
stones. Trade made this
Hanseatic town a lively
place. The repetitive
upward motif first heard
in the introduction now
develops into a more
distinct feature,
reflecting the mercantile
spirit of the town
residents.Then follows
the slow middle movement,
in which the clock has
been turned back to the
time when Elburg was
still lying on the
Zuiderzee (which was a
bay of the North Sea),
and was struggling with
floods. After the second
St. Marcellus Flood
(1362) and the water
flood of 1367 it was
decided that the town
would be relocated. We
now hear the theme of
branle des chevaux in a
minor key, followed by a
death bell sounding in
remembrance of the
drowned citizens of the
former town. Back in our
own time, a slow,
expressive theme in
Baroque style mirrors
Elburg’s tranquil
places, such as the
Feithenhof (Feithen
Court) and the
Weduwenhofje (Widow
Court). Then the bustle
returns with motifs from
the introduction,
followed by an attractive
theme in which
present-day Elburg is
portrayed with its many
tourists. Now, suddenly,
there is an echo from the
past, depicting the
dramatic floods and wars
that once plagued the
town. This leads to the
grand closing theme:
branle des chevaux
is heard for a final time
from the perspective of
the historic town centre.
Deze muzikale
fantasie vertelt de
geschiedenis van de
Nederlandse vestingstad
Elburg. Het werk begint
met een middeleeuws
sfeerbeeld vanuit het
Agnietenklooster, het
nonnenklooster dat in de
eerste helft van de 15e
eeuw werd gebouwd. We
horen de kloosterklok
samen met een opwaarts
motief, dat ook later in
het werk terugkomt.
Vervolgens komt de rest
van Elburg aan bod,
inclusief de vesting -
van waaruit de klokken
van de Grote of
Sint-Nicolaaskerk
weergalmen. Dan klinken
bij de Vischpoort de
vrolijke geluiden van een
dansgroep die daar een
16e-eeuwse Franse
volksdans (branle des
chevaux) uitvoert.
Ook horen we oude karren
over de kinderkopjes van
de stad denderen.
Dehandel maakt deze
Hanzestad tot een
levendige plaats. Het
zich steeds herhalende
opwaartse motief uit de
inleiding krijgt hier een
nadrukkelijker karakter
en verbeeldt de
handelsgeest van de
stedelingen.Dan volgt het
langzame middendeel,
waarin de klok wordt
teruggedraaid naar de
tijd dat Elburg nog
direct aan de Zuiderzee
lag en te kampen had met
overstromingen. Na de
tweede
Sint-Marcellusvloed
(1362) en de watervloed
van 1367 werd besloten
dat de stad verplaatst
zou worden. We horen het
thema van de branle des
chevaux in mineur,
gevolgd door een
doodsklok, die de
verdronken inwoners van
de voormalige stad
herdenkt. Terug in onze
eigen tijd verklankt een
langzaam, expressief
thema in barokke stijl de
verstilde plekken in de
stad, zoals het
Feithenhof en het
Weduwenhofje. Dan keert
de levendigheid terug met
motieven uit de
inleiding, gevolgd door
een aansprekend thema
waarin het Elburg van nu
met zijn vele toeristen
doorklinkt. Plotseling is
er dan nog even een echo
uit het verleden: de
dramatiek van de
overstromingen en
oorlogen die de stad ooit
teisterden. Hieruit
vloeit het grootse
slotthema voort: de
branle des chevaux is
voor de laatste keer te
horen vanuit het
perspectief van de
historische
binnenstad. $52.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Consolations, Grand solo de concert and Other Work Piano seul EMB (Editio Musica Budapest)
Piano SKU: BT.EMBZ14505A Suppl. 10. By Adrienne Kaczmarczyk_Ãgn...(+)
Piano SKU:
BT.EMBZ14505A
Suppl. 10. By
Adrienne
Kaczmarczyk_Ãgnes Sas.
By Franz Liszt. EMB New
Listz Edition. Book
Hardcover. Composed 2014.
224 pages. Editio Musica
Budapest #EMBZ14505A.
Published by Editio
Musica Budapest
(BT.EMBZ14505A).
English-German-Hungari
an. Of the early
versions of works
included in this volume
the first versions of the
notably popular
Consolations cycle and
Grand solo de concert
(published in 1850) are
of particular interest.
In the first version of
Consolations the third
movement was a style
hongrois piece whose
thematic material was
later used by Liszt in
his Hungarian Rhapsody
No. 1 (published in
1851). The first version
of Grand solo de concert
shows that the work did
not originally include a
slow middle section to be
recapitulated towards the
end as seen in the final
version. This is a
characteristically
Lisztian feature that
would reappear a few
years later in his Sonata
in B minor. A detailed
preface inHungarian,
English, and German,
including new research
results, numerous
manuscript facsimiles,
and critical notes, makes
this volume of the New
Liszt Edition an
important publication of
immense scholarly value.
Along with the
cloth-bound Complete
Edition, a paperback
version for practical use
has also been published.
This edition's contents
are identical to those of
the hardcover edition
with the exception that
the critical notes are
not included.
Of
the early versions of
works included in
Supplementary Volume 10,
particular interest is
expected in the first
versions of the notably
popular Consolations
cycle and the monumental
Grand solo de concert of
1850. In the first
version of
Consolationsthe third
movement was a style
hongrois piece whose
thematic material Liszt
used again later in the
first piece of the
Hungarian Rhapsodies
published in 1851. The
first version of the
Grand solo de concert
shows that the original
concept did notinclude
the slow
“movementâ€
that would be placed in
the middle of the work
and recapitulated towards
the end in the final
version - a
characteristically
Lisztian feature that
would reappear a few
years later in the Sonata
in B flat minor.A
detailed preface in
Hungarian, English and
German, including new
research results,
numerous manuscript
facsimiles and critical
notes make this volume of
the New Liszt Edition a
specially important
publication of scholarly
value. Simultaneously
withthe Complete Edition
volume in colth-bound,
its paperback for
practical purposes is
also published, the
contents of which, except
for the critical notes,
is identical with the
Complete Edition
volume.
Von den im
vorliegenden Band
veröffentlichten
Werkversionen dürften
der außerordentlich
populäre
Consolations-Zyklus sowie
die Erstfassung des 1850
entstandenen Grand solo
de concert (Großes
Konzertsolo) auf
besonderes Interesse
stoßen. In der ersten
Fassung der Consolations
stand an dritter Stelle
noch ein Stück im
ungarischen Stil, dessen
Thematik Liszt später
im 1851 herausgegebenen
1. Stück der
Ungarischen Rhapsodien
verwendete. Die erste
Version des Großen
Konzertsolos belegt, dass
der in der Mitte der
Komposition angelegte und
kurz vor Ende
rekapitulierte langsame
Teil, welcher zum typisch
Lisztschen Element der
endgültigen Fassung
des Konzertsolos - und
einige Jahre
späterauch der
H-Moll-Sonate - wird,
noch kein Bestandteil der
ursprünglichen
Konzeption war. $118.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Scent of Spring Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire De Haske Publications
Concert Band/Harmonie - Grade 3.5 SKU: BT.DHP-1175712-010 Composed by Sat...(+)
Concert Band/Harmonie -
Grade 3.5 SKU:
BT.DHP-1175712-010
Composed by Satoshi
Yagisawa. Brilliant
Marches. Concert March.
Set (Score & Parts).
Composed 2017. De Haske
Publications #DHP
1175712-010. Published by
De Haske Publications
(BT.DHP-1175712-010).
English-German-French-
Dutch. This work
was composed as a
commission by the Keika
Gakuen Symphonic Band, to
commemorate their 40th
annual concert. The
composition is a
march-style work that
begins with a chorale
based on a theme from the
school song—a
distinctive motif that
reappears in the middle
section. Tetsuya Kashino,
a graduate of the high
school, is a band coach
and has a deep friendship
with the composer.
Kashino named the work
Scent of Spring,
which reflects two
distinct
meanings—firstly,
in Japanese, a part of
the band’s own
name, and also “a
premiere in
Springâ€. Scent
of Spring is a bright
and optimistic piece of
music, suitable to
perform on various
occasions.
Dit
werk is geschreven in
opdracht van de Keika
Gakuen Symphonic Band,
een schoolorkest uit
Tokio, ter gelegenheid
van hun veertigste
jaarconcert. Deze in
marsstijl geschreven
compositie begint met een
op een thema uit het
schoollied gebaseerd
koraal: een motief dat
nog eens opduikt in het
middengedeelte. Tetsuya
Kashino, een orkestleider
die zelf ook op de
betreffende school heeft
gezeten, is nauw bevriend
met de componist: hij
heeft het werk Scent
of Spring gedoopt,
met in zijn achterhoofd
twee betekenissen: ten
eerste komt deze titel in
het Japans deels overeen
met de orkestnaam, ook
verwijst de titel naar
‘een première in
de lente’.
Scent of Spring
iseen opgewekt,
optimistisch werk dat
geschikt is voor diverse
gelegenheden.
Dieses Werk wurde
von der Keika Gakuen
Symphonic Band
anlässlich des
40-jährigen
Konzertjubiläums in
Auftrag gegeben. Das Werk
wurde im Marschstil
komponiert und beginnt
mit einem Choral, der auf
einem Thema des
Schulliedes basiert ein
charakteristisches Motiv,
das im Mittelteil wieder
aufgenommen wird. Tetsuya
Kashino, ein Absolvent
der Highschool, ist
Orchesterleiter und eng
mit dem Komponisten
befreundet. Kashino gab
dem Werk den Titel Scent
of Spring“, was
zwei verschiedene
Bedeutungen zum Ausdruck
bringt: einerseits ist es
ein Teil des
Orchesternamens auf
Japanisch, andererseits
bedeutet es eine Premiere
im Frühling“.
Scent of Spring
ist ein fröhliches
undoptimistisches
Musikstück, das sich
für alle möglichen
Gelegenheiten eignet.
Cette Å“uvre a
été composée en
commande du Keika Gakuen
Symphonic Band pour
célébrer son 40e
concert annuel. Cette
composition dans un style
de marche commence par un
choral basé sur un
thème de
l’hymne de
l’école, qui
est un motif distinctif
et réapparaît dans
la section du milieu.
Tetsuya Kashino,
diplômé de
l’école
secondaire, et
répétiteur de la
formation et très bon
ami du compositeur. Il a
donné le titre de
Scent of Spring
(« parfum de printemps
») l’œuvre,
ce qui a deux sens
différents :
d’abord, une
partie du nom de la
formation en japonais,
mais aussi une allusion
sa première qui eut
lieu au printemps.
Scent of Spring
est une pièce de
musique vive etoptimiste
qui convient chaque
occasion.
Questo
lavoro è stato
commissionato dalla Keika
Gakuen Symphonic Band,
per commemorare con un
concerto il loro 40esimo
anniversario. La
composizione ha lo stile
di una marcia che
comincia con una corale
basata su un tema della
canzone della scuola - un
tema distintivo che
riappare anche nella
sezione di mezzo. Tetsuya
Kashino, insegnante della
Banda e legato da
profonda amicizia col
compositore, ha voluto
intitolare la
composizione Scent of
Spring, nome che
riflette due significati
distinti - in primo
luogo, in giapponese, una
parte del nome proprio
della banda, ma anche col
significato di una prima
in primavera. Scent of
Spring è un brano
musicale brillante
eottimista, adatto per
essere eseguito in
diverse occasioni. $110.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Scent of Spring Orchestre d'harmonie [Conducteur] - Intermédiaire De Haske Publications
Concert Band/Harmonie - Grade 3.5 SKU: BT.DHP-1175712-140 Composed by Sat...(+)
Concert Band/Harmonie -
Grade 3.5 SKU:
BT.DHP-1175712-140
Composed by Satoshi
Yagisawa. Brilliant
Marches. Concert March.
Score Only. Composed
2017. 19 pages. De Haske
Publications #DHP
1175712-140. Published by
De Haske Publications
(BT.DHP-1175712-140).
English-German-French-
Dutch. This work
was composed as a
commission by the Keika
Gakuen Symphonic Band, to
commemorate their 40th
annual concert. The
composition is a
march-style work that
begins with a chorale
based on a theme from the
school song—a
distinctive motif that
reappears in the middle
section. Tetsuya Kashino,
a graduate of the high
school, is a band coach
and has a deep friendship
with the composer.
Kashino named the work
Scent of Spring,
which reflects two
distinct
meanings—firstly,
in Japanese, a part of
the band’s own
name, and also “a
premiere in
Springâ€. Scent
of Spring is a bright
and optimistic piece of
music, suitable to
perform on various
occasions.
Dit
werk is geschreven in
opdracht van de Keika
Gakuen Symphonic Band,
een schoolorkest uit
Tokio, ter gelegenheid
van hun veertigste
jaarconcert. Deze in
marsstijl geschreven
compositie begint met een
op een thema uit het
schoollied gebaseerd
koraal: een motief dat
nog eens opduikt in het
middengedeelte. Tetsuya
Kashino, een orkestleider
die zelf ook op de
betreffende school heeft
gezeten, is nauw bevriend
met de componist: hij
heeft het werk Scent
of Spring gedoopt,
met in zijn achterhoofd
twee betekenissen: ten
eerste komt deze titel in
het Japans deels overeen
met de orkestnaam, ook
verwijst de titel naar
‘een première in
de lente’.
Scent of Spring
iseen opgewekt,
optimistisch werk dat
geschikt is voor diverse
gelegenheden.
Dieses Werk wurde
von der Keika Gakuen
Symphonic Band
anlässlich des
40-jährigen
Konzertjubiläums in
Auftrag gegeben. Das Werk
wurde im Marschstil
komponiert und beginnt
mit einem Choral, der auf
einem Thema des
Schulliedes basiert ein
charakteristisches Motiv,
das im Mittelteil wieder
aufgenommen wird. Tetsuya
Kashino, ein Absolvent
der Highschool, ist
Orchesterleiter und eng
mit dem Komponisten
befreundet. Kashino gab
dem Werk den Titel Scent
of Spring“, was
zwei verschiedene
Bedeutungen zum Ausdruck
bringt: einerseits ist es
ein Teil des
Orchesternamens auf
Japanisch, andererseits
bedeutet es eine Premiere
im Frühling“.
Scent of Spring
ist ein fröhliches
undoptimistisches
Musikstück, das sich
für alle möglichen
Gelegenheiten eignet.
Cette Å“uvre a
été composée en
commande du Keika Gakuen
Symphonic Band pour
célébrer son 40e
concert annuel. Cette
composition dans un style
de marche commence par un
choral basé sur un
thème de
l’hymne de
l’école, qui
est un motif distinctif
et réapparaît dans
la section du milieu.
Tetsuya Kashino,
diplômé de
l’école
secondaire, et
répétiteur de la
formation et très bon
ami du compositeur. Il a
donné le titre de
Scent of Spring
(« parfum de printemps
») l’œuvre,
ce qui a deux sens
différents :
d’abord, une
partie du nom de la
formation en japonais,
mais aussi une allusion
sa première qui eut
lieu au printemps.
Scent of Spring
est une pièce de
musique vive etoptimiste
qui convient chaque
occasion.
Questo
lavoro è stato
commissionato dalla Keika
Gakuen Symphonic Band,
per commemorare con un
concerto il loro 40esimo
anniversario. La
composizione ha lo stile
di una marcia che
comincia con una corale
basata su un tema della
canzone della scuola - un
tema distintivo che
riappare anche nella
sezione di mezzo. Tetsuya
Kashino, insegnante della
Banda e legato da
profonda amicizia col
compositore, ha voluto
intitolare la
composizione Scent of
Spring, nome che
riflette due significati
distinti - in primo
luogo, in giapponese, una
parte del nome proprio
della banda, ma anche col
significato di una prima
in primavera. Scent of
Spring è un brano
musicale brillante
eottimista, adatto per
essere eseguito in
diverse occasioni. $22.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Hermann und Dorothea Op. 136 Orchestre Breitkopf & Härtel
Orchestra (picc.2.2.2.2 - 2.2.0.0 - small dr - str) SKU: BR.PB-5548-07 (+)
Orchestra (picc.2.2.2.2 -
2.2.0.0 - small dr - str)
SKU: BR.PB-5548-07
Overture to Goethe's
Hermann und Dorothea -
Urtext. Composed by
Robert Schumann. Edited
by Christian Rudolf
Riedel. Orchestra;
stapled.
Partitur-Bibliothek
(Score Library). Urtext
of the Revolutionary.
Overture; Romantic. Study
Score. 40 pages. Duration
10'. Breitkopf and
Haertel #PB 5548-07.
Published by Breitkopf
and Haertel
(BR.PB-5548-07). ISBN
9790004213582. 6.5 x 9
inches. The
Overture to Hermann and
Dorothea is the only
compositional result that
Schumann reaped from
Goethes epic poem. He had
originally planned an
entire opera, then a
Singspiel, and finally an
oratorio. In the end
(1851), he quickly
produced an orchestral
score that remained
unprinted during his
lifetime. The striking
thematic use of the
Marseillaise is multiply
motivated: Goethes poem
unfolds in 1796, when the
two eponymous lovers are
fleeing from the French
revolutionary troops;
Schumann had directly
experienced the
revolutionary uprisings
of 1848 in Dresden;
finally, Louis Napoleons
coup detat of 2 December
1851 must also have made
an impact on the
composer. The primary
source of the Urtext
edition of Schumanns
Revolutionary Overture is
the carefully written
autograph.
Urtext
of the Revolutionary. $17.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Hermann und Dorothea Op. 136 Breitkopf & Härtel
Double bass (picc.2.2.2.2 - 2.2.0.0 - small dr - str) SKU: BR.OB-5320-27 ...(+)
Double bass (picc.2.2.2.2
- 2.2.0.0 - small dr -
str) SKU:
BR.OB-5320-27
Overture to Goethe's
Hermann und Dorothea -
Urtext. Composed by
Robert Schumann. Edited
by Christian Rudolf
Riedel. Stapled.
Orchester-Bibliothek
(Orchestral Library).
Urtext of
Revolutionary
Overture Overture;
Romantic. Part. 4 pages.
Duration 10'. Breitkopf
and Haertel #OB 5320-27.
Published by Breitkopf
and Haertel
(BR.OB-5320-27). ISBN
9790004341391. 10 x 12.5
inches. The
Overture to Hermann and
Dorothea is the only
compositional result that
Schumann reaped from
Goethes epic poem. He had
originally planned an
entire opera, then a
Singspiel, and finally an
oratorio. In the end
(1851), he quickly
produced an orchestral
score that remained
unprinted during his
lifetime. The striking
thematic use of the
Marseillaise is multiply
motivated: Goethes poem
unfolds in 1796, when the
two eponymous lovers are
fleeing from the French
revolutionary troops;
Schumann had directly
experienced the
revolutionary uprisings
of 1848 in Dresden;
finally, Louis Napoleons
coup detat of 2 December
1851 must also have made
an impact on the
composer. The primary
source of the Urtext
edition of Schumanns
Revolutionary Overture is
the carefully written
autograph.
Urtext
of the Revolutionary. $7.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Hermann und Dorothea Op. 136 Breitkopf & Härtel
Violin 2 (picc.2.2.2.2 - 2.2.0.0 - small dr - str) SKU: BR.OB-5320-16 ...(+)
Violin 2 (picc.2.2.2.2 -
2.2.0.0 - small dr - str)
SKU: BR.OB-5320-16
Overture to Goethe's
Hermann und Dorothea -
Urtext. Composed by
Robert Schumann. Edited
by Christian Rudolf
Riedel. Stapled.
Orchester-Bibliothek
(Orchestral Library).
Urtext of
Revolutionary
Overture Overture;
Romantic. Part. 8 pages.
Duration 10'. Breitkopf
and Haertel #OB 5320-16.
Published by Breitkopf
and Haertel
(BR.OB-5320-16). ISBN
9790004341360. 10 x 12.5
inches. The
Overture to Hermann and
Dorothea is the only
compositional result that
Schumann reaped from
Goethes epic poem. He had
originally planned an
entire opera, then a
Singspiel, and finally an
oratorio. In the end
(1851), he quickly
produced an orchestral
score that remained
unprinted during his
lifetime. The striking
thematic use of the
Marseillaise is multiply
motivated: Goethes poem
unfolds in 1796, when the
two eponymous lovers are
fleeing from the French
revolutionary troops;
Schumann had directly
experienced the
revolutionary uprisings
of 1848 in Dresden;
finally, Louis Napoleons
coup detat of 2 December
1851 must also have made
an impact on the
composer. The primary
source of the Urtext
edition of Schumanns
Revolutionary Overture is
the carefully written
autograph.
Urtext
of the Revolutionary. $8.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Hermann und Dorothea Op. 136 Orchestre [Conducteur] Breitkopf & Härtel
Orchestra (picc.2.2.2.2 - 2.2.0.0 - small dr - str) SKU: BR.PB-5320 Ov...(+)
Orchestra (picc.2.2.2.2 -
2.2.0.0 - small dr - str)
SKU: BR.PB-5320
Overture to Goethe's
Hermann und Dorothea -
Urtext. Composed by
Robert Schumann. Edited
by Christian Rudolf
Riedel. Orchestra;
stapled.
Partitur-Bibliothek
(Score Library).
Urtext of
Revolutionary
Overture Overture;
Romantic. Full score. 44
pages. Duration 10'.
Breitkopf and Haertel #PB
5320. Published by
Breitkopf and Haertel
(BR.PB-5320). ISBN
9790004212363. 10 x 12.5
inches. The
Overture to Hermann and
Dorothea is the only
compositional result that
Schumann reaped from
Goethes epic poem. He had
originally planned an
entire opera, then a
Singspiel, and finally an
oratorio. In the end
(1851), he quickly
produced an orchestral
score that remained
unprinted during his
lifetime. The striking
thematic use of the
Marseillaise is multiply
motivated: Goethes poem
unfolds in 1796, when the
two eponymous lovers are
fleeing from the French
revolutionary troops;
Schumann had directly
experienced the
revolutionary uprisings
of 1848 in Dresden;
finally, Louis Napoleons
coup detat of 2 December
1851 must also have made
an impact on the
composer. The primary
source of the Urtext
edition of Schumanns
Revolutionary Overture is
the carefully written
autograph.
Urtext
of the Revolutionary. $44.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Hermann und Dorothea Op. 136 Breitkopf & Härtel
Viola (picc.2.2.2.2 - 2.2.0.0 - small dr - str) SKU: BR.OB-5320-19 Ove...(+)
Viola (picc.2.2.2.2 -
2.2.0.0 - small dr - str)
SKU: BR.OB-5320-19
Overture to Goethe's
Hermann und Dorothea -
Urtext. Composed by
Robert Schumann. Edited
by Christian Rudolf
Riedel. Stapled.
Orchester-Bibliothek
(Orchestral Library).
Urtext of
Revolutionary
Overture Overture;
Romantic. Part. 8 pages.
Duration 10'. Breitkopf
and Haertel #OB 5320-19.
Published by Breitkopf
and Haertel
(BR.OB-5320-19). ISBN
9790004341377. 10 x 12.5
inches. The
Overture to Hermann and
Dorothea is the only
compositional result that
Schumann reaped from
Goethes epic poem. He had
originally planned an
entire opera, then a
Singspiel, and finally an
oratorio. In the end
(1851), he quickly
produced an orchestral
score that remained
unprinted during his
lifetime. The striking
thematic use of the
Marseillaise is multiply
motivated: Goethes poem
unfolds in 1796, when the
two eponymous lovers are
fleeing from the French
revolutionary troops;
Schumann had directly
experienced the
revolutionary uprisings
of 1848 in Dresden;
finally, Louis Napoleons
coup detat of 2 December
1851 must also have made
an impact on the
composer. The primary
source of the Urtext
edition of Schumanns
Revolutionary Overture is
the carefully written
autograph.
Urtext
of the Revolutionary. $8.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Hermann und Dorothea Op. 136 Breitkopf & Härtel
Violoncello (picc.2.2.2.2 - 2.2.0.0 - small dr - str) SKU: BR.OB-5320-23 ...(+)
Violoncello (picc.2.2.2.2
- 2.2.0.0 - small dr -
str) SKU:
BR.OB-5320-23
Overture to Goethe's
Hermann und Dorothea -
Urtext. Composed by
Robert Schumann. Edited
by Christian Rudolf
Riedel. Stapled.
Orchester-Bibliothek
(Orchestral Library).
Urtext of
Revolutionary
Overture Overture;
Romantic. Part. 10 pages.
Duration 10'. Breitkopf
and Haertel #OB 5320-23.
Published by Breitkopf
and Haertel
(BR.OB-5320-23). ISBN
9790004341384. 10 x 12.5
inches. The
Overture to Hermann and
Dorothea is the only
compositional result that
Schumann reaped from
Goethes epic poem. He had
originally planned an
entire opera, then a
Singspiel, and finally an
oratorio. In the end
(1851), he quickly
produced an orchestral
score that remained
unprinted during his
lifetime. The striking
thematic use of the
Marseillaise is multiply
motivated: Goethes poem
unfolds in 1796, when the
two eponymous lovers are
fleeing from the French
revolutionary troops;
Schumann had directly
experienced the
revolutionary uprisings
of 1848 in Dresden;
finally, Louis Napoleons
coup detat of 2 December
1851 must also have made
an impact on the
composer. The primary
source of the Urtext
edition of Schumanns
Revolutionary Overture is
the carefully written
autograph.
Urtext
of the Revolutionary. $8.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Hermann und Dorothea Op. 136 Breitkopf & Härtel
Woodwinds (picc.2.2.2.2 - 2.2.0.0 - small dr - str) SKU: BR.OB-5320-30 (+)
Woodwinds (picc.2.2.2.2 -
2.2.0.0 - small dr - str)
SKU: BR.OB-5320-30
Overture to Goethe's
Hermann und Dorothea -
Urtext. Composed by
Robert Schumann. Edited
by Christian Rudolf
Riedel. Folder.
Orchester-Bibliothek
(Orchestral Library).
Urtext of
Revolutionary
Overture Overture;
Romantic. Set of parts.
52 pages. Duration 10'.
Breitkopf and Haertel #OB
5320-30. Published by
Breitkopf and Haertel
(BR.OB-5320-30). ISBN
9790004341407. 10 x 12.5
inches. The
Overture to Hermann and
Dorothea is the only
compositional result that
Schumann reaped from
Goethes epic poem. He had
originally planned an
entire opera, then a
Singspiel, and finally an
oratorio. In the end
(1851), he quickly
produced an orchestral
score that remained
unprinted during his
lifetime. The striking
thematic use of the
Marseillaise is multiply
motivated: Goethes poem
unfolds in 1796, when the
two eponymous lovers are
fleeing from the French
revolutionary troops;
Schumann had directly
experienced the
revolutionary uprisings
of 1848 in Dresden;
finally, Louis Napoleons
coup detat of 2 December
1851 must also have made
an impact on the
composer. The primary
source of the Urtext
edition of Schumanns
Revolutionary Overture is
the carefully written
autograph.
Urtext
of the Revolutionary. $73.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Hermann und Dorothea Op. 136 Breitkopf & Härtel
Violin 1 (picc.2.2.2.2 - 2.2.0.0 - small dr - str) SKU: BR.OB-5320-15 ...(+)
Violin 1 (picc.2.2.2.2 -
2.2.0.0 - small dr - str)
SKU: BR.OB-5320-15
Overture to Goethe's
Hermann und Dorothea -
Urtext. Composed by
Robert Schumann. Edited
by Christian Rudolf
Riedel. Stapled.
Orchester-Bibliothek
(Orchestral Library).
Urtext of
Revolutionary
Overture Overture;
Romantic. Part. 8 pages.
Duration 10'. Breitkopf
and Haertel #OB 5320-15.
Published by Breitkopf
and Haertel
(BR.OB-5320-15). ISBN
9790004341353. 10 x 12.5
inches. The
Overture to Hermann and
Dorothea is the only
compositional result that
Schumann reaped from
Goethes epic poem. He had
originally planned an
entire opera, then a
Singspiel, and finally an
oratorio. In the end
(1851), he quickly
produced an orchestral
score that remained
unprinted during his
lifetime. The striking
thematic use of the
Marseillaise is multiply
motivated: Goethes poem
unfolds in 1796, when the
two eponymous lovers are
fleeing from the French
revolutionary troops;
Schumann had directly
experienced the
revolutionary uprisings
of 1848 in Dresden;
finally, Louis Napoleons
coup detat of 2 December
1851 must also have made
an impact on the
composer. The primary
source of the Urtext
edition of Schumanns
Revolutionary Overture is
the carefully written
autograph.
Urtext
of the Revolutionary. $8.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Coordinate Movement for Pianists GIA Publications
SKU: GI.G-9987 Anatomy, Technique, and Wellness Principles. Compos...(+)
SKU: GI.G-9987
Anatomy, Technique,
and Wellness
Principles. Composed
by Lisa Marsh. Body
Mapping. Music Education.
168 pages. GIA
Publications #9987.
Published by GIA
Publications (GI.G-9987).
ISBN
9781622773985. Coor
dinate Movement for
Pianists explores the
art and science of
playing piano from a
fundamental yet often
overlooked perspective:
sound is the result of
movement. What movements,
then, produce the most
desirable sounds at the
piano? Drawing from
experience in the fields
of piano instruction,
medicine, and Body
Mapping, author Lisa
Marsh presents a detailed
discussion—complet
e with anatomical
drawings and music
examples—about the
types of movement that
contribute to a healthy,
fluid, and versatile
piano technique. This
resource is divided into
three parts. In the
first, Marsh establishes
several foundational
concepts, including the
relationship between
sound and movement,
sensory awareness, and
the practice of inclusive
awareness. This section
also introduces the key
anatomical structures
involved in playing
piano. Part II focuses on
the development of a
piano technique based on
relaxed, efficient, and
anatomically accurate
movements. Technical
skills addressed include:
tremolos, trills, leaps,
scales, navigating black
and white keys, octaves,
chords, voicing,
articulation, pedaling,
fingerings, repeated
notes, and tone
production, among others.
The dozens of music
examples included in Part
II, excerpted from the
standard piano
literature, offer an
opportunity for pianists
to practice healthy
movements in context.
This section also
includes several chapters
that offer practical tips
for practicing, learning,
and memorizing music.
Part III rounds out this
resource with a
thoughtful discussion
about musicians’
physical, mental, and
emotional wellness.
Topics covered include
finding community and
employment, combating
performance anxiety,
preventing injury, and
rehabilitating after
injury. Coordinate
Movement for
Pianists is a
brilliant reminder that
healthy movement is the
basis for a fulfilling
and lifelong enjoyment of
piano. Regardless of
experience or level,
students and teachers
alike are certain to gain
new inspiration and reap
the benefits from
applying these ideas to
their own craft. Lisa
Marsh is Director of
the Coordinate Movement
Program at Portland State
University, where she
specializes in wellness
for musicians. Her work
as an educator,
performer, and composer
is informed by years of
experience in the fields
of medicine, piano study,
Body Mapping, and
Alexander Technique. $34.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Artza Alinu Chorale SATB SATB, Piano Carl Fischer
Choral SATB Choir and Piano SKU: CF.CM9652 Israeli Dance Song. Com...(+)
Choral SATB Choir and
Piano SKU:
CF.CM9652 Israeli
Dance Song. Composed
by Israeli Dance Song.
Arranged by Earlene
Rentz. Fold. Performance
Score. 12 pages. Duration
2 minutes, 57 seconds.
Carl Fischer Music
#CM9652. Published by
Carl Fischer Music
(CF.CM9652). ISBN
9781491157244. UPC:
680160915804. 6.875 x
10.5 inches. Key: D
minor. Hebrew, Hebrew.
Israeli Folk
song. Earlene Rentz
has arranged this
traditional Israeli dance
song quoting the Round
Toembai. Sure to be the
piece the audience will
find themselves humming
for days to come! Also
available for Two-Part
Treble Voices (CM9192),
SSA Voices (CM9477),
Three-Part Mixed Voices
(CM9210) and Tenor-Bass
Voices (CM9639). ARTZA
ALINU This song was a
favorite of the Israeli
pioneers who returned to
live in the land of
Israel. As they planted
crops and brought the
land back to cultivation,
they sang and danced in
the hope that the land of
Israel would be rebuilt.
Pronunciation Guide and
general translation:
Artza alinu We have gone
up to our land, AHR-tzah
ah-LEE-noo K'var
*charashnu v'gam zaranu
There we have plowed and
sown, Kih-VAHR
*hah-RAHSH-noo vih-GAHM
zah-RAH-noo Aval **od
**lo katzarnu but we
still have not reaped.
Ah-VAHL ohd loh
kaht-ZAHR-noo *The ch is
pronounced using a
guttural sound (not a
hard k), and uses air to
begin the sound.
Actually, the sound is
somewhere in between an h
and a k. **These words
use the long o sound (i.
e., like the English ode
and low). TOEMBAI Toembai
- There is no translation
for toembai. This is a
dance tune, sung in a
round at celebrations.
Pronounced: TOOM-bah ee
(bai is actually the long
I sound). ARTZA
ALINUThis song was a
favorite of the Israeli
pioneers who returned to
live in the land of
Israel. As they planted
crops and brought the
land back to cultivation,
they sang and danced in
the hope that the land of
Israel would be
rebuilt.Pronunciation
Guide and general
translation:Artza alinu
We have gone up to our
land,AHR-tzah
ah-LEE-nooK’var
*charashnu v’gam
zaranu There we have
plowed and sown,Kih-VAHR
*hah-RAHSH-noo vih-GAHM
zah-RAH-nooAval **od **lo
katzarnu but we still
have not reaped. Ah-VAHL
ohd loh kaht-ZAHR-noo*The
“ch†is
pronounced using a
guttural sound (not a
hard “kâ€),and
uses air to begin the
sound. Actually, the
sound is somewhere in
between an
“h†and a
“k.â€**These
words use the long
“o†sound (i.
e., like the English
“ode†and
“lowâ€).TOEMBA
IToembai – There
is no translation for
“toembai.â€
This is a dance tune,
sung in a round at
celebrations. Pronounced:
TOOM-bah ee
(“bai†is
actually the long
“Iâ€
sound). $2.50 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Schumann: Album For The Young, Op. 68 - Book and Cd Piano seul [Livre + CD] - Intermédiaire Alfred Publishing
By Robert Schumann. Keyboard. Published by Alfred Publishing. Numerous selection...(+)
By Robert Schumann.
Keyboard. Published by
Alfred Publishing.
Numerous selections from
Schumann's Album for the
Young have long been
favorites of intermediate
students, and few
collections fail to
include the "Soldier's
March," the "Happy
Farmer" or the "Wild
Horseman." This
historically informed
edition of the entire
collection clearly
differentiates the
markings of the first
edition from Clara
Schumann's later-edited
version. Discussions of
ornamentation and the
collection's origin are
also included. The Alfred
Masterwork Library CD
Editions conveniently
combine each exceptional
volume with a
professionally recorded
CD that is sure to
inspire artistic
performances.
(1)$12.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Improve Your Teaching -- Teaching Beginners Formation musicale - Solfège [Livre] Faber Music Limited
Improve Your Teaching -- Teaching Beginners. (A new approach for instrumental an...(+)
Improve Your Teaching --
Teaching Beginners. (A
new approach for
instrumental and singing
teachers). By Paul
Harris. Book; Reference
Textbooks; Textbook -
General. Faber Edition:
Improve Your Teaching.
Published by Faber Music
$16.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Artza Alinu Carl Fischer
Choral TBB choir, piano SKU: CF.CM9639 Israeli Dance Song. Compose...(+)
Choral TBB choir, piano
SKU: CF.CM9639
Israeli Dance
Song. Composed by
Israeli Dance Song.
Arranged by Earlene
Rentz. Fold. Performance
Score. 12 pages. Duration
2 minutes, 57 seconds.
Carl Fischer Music
#CM9639. Published by
Carl Fischer Music
(CF.CM9639). ISBN
9781491157114. UPC:
680160915675. 6.875 x
10.5 inches. Key: D
minor. Israeli Dance
Song. Your choir
will have a hard time
trying to keep from
dancing as they sing this
joyful traditional
Israeli dance song
arranged by Earlene
Rentz. Quoting the round
Toembei, this arrangement
will definitely be one
the audience will find
themselves humming for
days to come! Also
available for Two-part
Treble Voices (CM9192),
Three-part Mixed Voices
(CM9210), SSA Voices
(CM9477), TBB Voices
(CM9639) and SATB Voices
(CM9652).
 . ARTZA ALINU
This song was a favorite
of the Israeli pioneers
who returned to live in
the land of Israel. As
they planted crops and
brought the land back to
cultivation, they sang
and danced in the hope
that the land of Israel
would be rebuilt.
Pronunciation Guide and
general translation:
Artza alinu We have gone
up to our land, AHR-tzah
ah-LEE-noo K'var
*charashnu v'gam zaranu
There we have plowed and
sown, Kih-VAHR
*hah-RAHSH-noo vih-GAHM
zah-RAH-noo Aval **od
**lo katzarnu but we
still have not reaped.
Ah-VAHL ohd loh
kaht-ZAHR-noo *The ch is
pronounced using a
guttural sound (not a
hard k), and uses air to
begin the sound.
Actually, the sound is
somewhere in between an h
and a k. **These words
use the long o sound (i.
e., like the English ode
and low). TOEMBAI Toembai
- There is no translation
for toembai. This is a
dance tune, sung in a
round at celebrations.
Pronounced: TOOM-bah ee
(bai is actually the long
I sound). ARTZA
ALINUThis song was a
favorite of the Israeli
pioneers who returned to
live in the land of
Israel. As they planted
crops and brought the
land back to cultivation,
they sang and danced in
the hope that the land of
Israel would be
rebuilt.Pronunciation
Guide and general
translation:Artza alinu
We have gone up to our
land,AHR-tzah
ah-LEE-nooK’var
*charashnu v’gam
zaranu There we have
plowed and sown,Kih-VAHR
*hah-RAHSH-noo vih-GAHM
zah-RAH-nooAval **od **lo
katzarnu but we still
have not reaped. Ah-VAHL
ohd loh kaht-ZAHR-noo*The
“ch†is
pronounced using a
guttural sound (not a
hard “kâ€),and
uses air to begin the
sound. Actually, the
sound is somewhere in
between an
“h†and a
“k.â€**These
words use the long
“o†sound (i.
e., like the English
“ode†and
“lowâ€).TOEMBA
IToembai – There
is no translation for
“toembai.â€
This is a dance tune,
sung in a round at
celebrations. Pronounced:
TOOM-bah ee
(“bai†is
actually the long
“Iâ€
sound). $2.50 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Polaris Marimba [Partition] Innovative Percussion
Polaris by Mark Ford. Marimba Solo - Unaccompanied. For marimba solo (marimba lo...(+)
Polaris by Mark Ford.
Marimba Solo -
Unaccompanied. For
marimba solo (marimba low
F). Level 5. Book.
Duration 9 minutes, 30
seconds. Published by
Innovative Percussion
$16.00 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Screapadal for Solo Bass Clarinet Clarinette Basse Metropolis Music Publishers
Bass Clarinet Solo SKU: IS.BC6932EM Composed by Sarah Watts. Woodwinds - ...(+)
Bass Clarinet Solo
SKU: IS.BC6932EM
Composed by Sarah Watts.
Woodwinds - Bass Clarinet
/ Basset Horn. Metropolis
Music Publishers
#BC6932EM. Published by
Metropolis Music
Publishers (IS.BC6932EM).
ISBN
9790365069323. Sara
h Watts is an award
winning British
Clarinettist who has
gained an international
reputation for her work
as a solo bass
clarinettist. Her work
both as a soloist and
with her various chamber
ensembles has led to
numerous CD releases and
invitations to perform
all over the world. Sarah
is passionate about
teaching and in addition
being the visiting
teacher of solo bass
clarinet at the Royal
Northern College of
Music, she hosts and
tutors several courses
for adult amateur
musicians in the UK and
France. Sarah has
recently completed a PhD
in bass clarinet
multiphonics. She has
created new multiphonics
charts for the bass
clarinet and commissioned
new works for bass
clarinet that use her
results. Spectral
Immersions: A
Comprehensive Guide To
The Theory And Practice
Of Bass Clarinet
Multiphonics is published
by Metropolis. The book
contains history,
analysis, new charts and
new compositions together
with audio and data CDs.
A separate series of
works written for the
project was also
published alongside.
Screapadal is Sarah's own
composition, illustrating
the use of multiphonics
in contemporary
music. $20.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
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