Tableau Orchestre d'harmonie [Conducteur et Parties séparées] - Facile Kjos Music Company
Band concert band - Grade 2.5 SKU: KJ.WB354 Composed by Bruce Pearson. Sc...(+)
Band concert band - Grade
2.5
SKU: KJ.WB354
Composed by Bruce
Pearson. Score and set of
parts. Neil A. Kjos Music
Company #WB354. Published
by Neil A. Kjos Music
Company (KJ.WB354).
UPC:
8402701910.
Bruce
Pearson is best known as
the author of the
Standard of Excellence
Comprehensive Band
Method. But quietly and
consistently he has
become one of the
foremost composers of
quality and challenging
music for young bands.
Now Tableau joins such
grade two titles as
Tapestry, Renaissance
Triptych, Proclamation,
and Canticle as
outstanding compositions
for both contest/festival
and concert programming.
A tableau is a graphic
description or
representation of ancient
days and Tableau, the
composition, is its
musical counterpart,
written in the ancient F
Aeolian mode. Sparked by
a tranquil Andante
trumpet solo, and
followed shortly by an
exciting Allegro flute
solo, the selection ends
with dramatic ascending
scale passages for all
instruments in the band.
A performance must!
Concert Band - Grade 0.5 SKU: PE.TSGB034S Composed by Tyler S. Grant. Con...(+)
Concert Band - Grade 0.5
SKU: PE.TSGB034S
Composed by Tyler S.
Grant. Concert Band;
Performance Music
Ensemble; Single Titles.
Form: Suite. Christmas;
Winter. Score. Edition
Peters #98-TSGB034S.
Published by Edition
Peters (PE.TSGB034S).
UPC:
038081593395.
First
Winter Suite is a
must-have for your
beginning band library!
Tyler S. Grant has
crafted a miniature suite
of four pieces that are
engaging, fun, and
practical for their first
winter concert! Using
only a few-notes and
playable with as few as
four instruments (flute,
clarinet, trumpet, and
trombone), the suite
includes: Season's
Sounding Fanfare * Roof
Riffs (based on Up on the
Housetop) * Escaping the
Snowman (Percussion
Feature) * and A New
Year's Finale (Auld Lang
Syne). Each movement is
only 20--25 measures. You
can supplement the suite
with other band
selections, chamber
groups, or lines from
their method book to
craft a well-rounded
program for all to enjoy!
Also
included---supplemental
percussion parts, play
along tracks, and so much
more!
Flute - easy SKU: BT.DHP-1023306-401 By Jaap Kastelein, Michiel Oldenkamp...(+)
Flute - easy
SKU:
BT.DHP-1023306-401
By
Jaap Kastelein, Michiel
Oldenkamp, and Philip
Sparke. Look, Listen and
Learn. Pop & Rock. Book
Only. Composed 2002. 24
pages. De Haske
Publications #DHP
1023306-401. Published by
De Haske Publications
(BT.DHP-1023306-401).
ISBN 9789043116664.
English.
This
volume of easy duets
offer a vast array of
practice and performance
material. The duets have
been carefully composed
and arranged to tie in
with the Look Listen and
Learn method books,
although they can equally
well be used separately.
Titles in Book 1 include:
The Echo Well,
Loudspeaker, Software,
Beret Boogie, Taxi Rag,
Space Rock and many more.
Secondo la
filosofia dellla serie
Ascolta, leggi & suona,
l‘allievo può
fin da subito imparare
l‘importanza di
suonare insieme agli
altri utilizzando i due
volumi supplementari Buo
Book. Avr così a
disposizione duetti che
vanno dal grado iniziale
fino alle difficolt
proposte nel secondo
volume del metodo.
Suite
After Three Paintings By
Helen Frankenthaler (for
Chamber Orchestra Or
Chamber Ensemble).
Composed by Kenneth
Fuchs. This edition:
version for chamber
orchestra. Premiere:
Denver Chamber Orchestra,
JoAnn Falletta
conducting, Trinity
United Methodist Church,
Denver, CO. Contemporary.
Full score. With Standard
notation. Composed 1986.
28 pages. Duration 15
minutes. Theodore Presser
Company #416-41409.
Published by Theodore
Presser Company
(PR.416414090).
Suite
After Three Paintings By
Helen Frankenthaler (for
Chamber Orchestra Or
Chamber Ensemble).
Composed by Kenneth
Fuchs. This edition:
version for chamber
orchestra. Premiere:
Denver Chamber Orchestra,
JoAnn Falletta
conducting, Trinity
United Methodist Church,
Denver, CO. Contemporary.
Large Score. With
Standard notation.
Composed 1986. 28 pages.
Duration 15 minutes.
Theodore Presser Company
#416-41409L. Published by
Theodore Presser Company
(PR.41641409L).
Flute - very easy, easy SKU: BT.DHP-0991756-401 By Jaap Kastelein and Mic...(+)
Flute - very easy, easy
SKU:
BT.DHP-0991756-401
By
Jaap Kastelein and
Michiel Oldenkamp. By
Traditional. Hören,
Lesen und Spielen.
Educational Tool. Book
Only. Composed 1999. 24
pages. De Haske
Publications #DHP
0991756-401. Published by
De Haske Publications
(BT.DHP-0991756-401).
ISBN 9789043105927.
German.
Hören
, lesen & spielen
ist die individuelle
Bläserschule für
dreizehn verschiedene
Instrumente, die im
Einzel- oder
Gruppenunterricht
eingesetzt werden kann.
Die bewährte Methode
ist nach den
gegenwärtigen Regeln
und Ansprüchen der
Musikerziehung
zusammengestellt. Sie
enthält viele Spiele,
Puzzles,
Hörübungen, Lieder
und
Originalkompositionen.
Mit der Begleit-CD macht
das Üben natürlich
doppelt Spaß!
Sololiteratur Zu
jedem Band von
Hören, lesen &
spielen gibt es
Spielliteratur, die den
Unterricht perfekt
ergänzt. Diese
Spielbücher mit Soli,
Duos und Trios können
auch unabhängig von
der Schule eingesetzt
werden. Ãœber 60
bekannte und neue
Liederversammeln sich in
diesem Spielbuch. Die
Lieder sind in
ansteigendem
Schwierigkeitsgrad
geordnet und können ab
Lektion 5 von
Hören, lesen &
spielen Band 1
gespielt werden.
Spielliteratur für den
Unterricht oder einfach
nur für den
Spielspaß zu
Hause!
Flute - intermediate SKU: BT.DHP-1002016-401 By Jaap Kastelein and Michie...(+)
Flute - intermediate
SKU:
BT.DHP-1002016-401
By
Jaap Kastelein and
Michiel Oldenkamp. Horen,
Lezen en Spelen.
Educational Tool. Book
Only. Composed 2000. 24
pages. De Haske
Publications #DHP
1002016-401. Published by
De Haske Publications
(BT.DHP-1002016-401).
Guitar SKU: AP.1-ADV14853 Guitar. Composed by Ed Harlow. Improvisa...(+)
Guitar
SKU:
AP.1-ADV14853
Guitar. Composed
by Ed Harlow.
Improvisation;
Instrumental Series;
Method/Instruction;
Play-Along; Technique
Musicianship. Advance
Music: Easy Funk
Play-Along. Funk; Jazz.
Part(s). Advance Music
#01-ADV14853. Published
by Advance Music
(AP.1-ADV14853).
UPC:
805095014853.
English.
The Easy
Funk Play-Along series
for wind and brass
instruments now also
contains parts for the
rhythm section. Now it is
possible to provide live
accompaniment to a varied
wind ensemble consisting
of flutes, clarinets,
saxophones, trumpets,
and/or trombones (4 parts
in each book) on
piano/keyboards, guitar,
electric bass, and
percussion---ideal for
school and music school
ensembles.
Piano SKU: AP.1-ADV14852 Piano. Composed by Ed Harlow. Improvisati...(+)
Piano
SKU:
AP.1-ADV14852
Piano. Composed by
Ed Harlow. Improvisation;
Instrumental Series;
Method/Instruction;
Play-Along; Technique
Musicianship. Advance
Music: Easy Funk
Play-Along. Funk; Jazz.
Part(s). Advance Music
#01-ADV14852. Published
by Advance Music
(AP.1-ADV14852).
UPC:
805095148527.
English.
The Easy
Funk Play-Along series
for wind and brass
instruments now also
contains parts for the
rhythm section. Now it is
possible to provide live
accompaniment to a varied
wind ensemble consisting
of flutes, clarinets,
saxophones, trumpets,
and/or trombones (4 parts
in each book) on
piano/keyboards, guitar,
electric bass, and
percussion---ideal for
school and music school
ensembles.
1-4 Melody Instruments SKU: AP.1-ADV14850 For 1-4 Melody Instruments a...(+)
1-4 Melody Instruments
SKU: AP.1-ADV14850
For 1-4 Melody
Instruments and Rhythm
Section. Composed by
Ed Harlow. Improvisation;
Instrumental Series;
Method/Instruction;
Play-Along; Technique
Musicianship. Advance
Music: Easy Funk
Play-Along. Funk; Jazz.
Part(s). Advance Music
#01-ADV14850. Published
by Advance Music
(AP.1-ADV14850).
UPC:
805095148503.
English.
The Easy
Funk Play-Along series
for wind and brass
instruments now also
contains parts for the
rhythm section. Now it is
possible to provide live
accompaniment to a varied
wind ensemble consisting
of flutes, clarinets,
saxophones, trumpets,
and/or trombones (4 parts
in each book) on
piano/keyboards, guitar,
electric bass, and
percussion---ideal for
school and music school
ensembles.
Arranged by Sandy Feldstein, John O'reilly. Arr. Sandy Feldstein and John O'Reil...(+)
Arranged by Sandy
Feldstein, John O'reilly.
Arr. Sandy Feldstein and
John O'Reilly. For
Concert Band. Concert
Band. Basic Band Series.
Level: 1 (Very Easy)
(grade 1). Conductor
Score and Parts. 1 pages.
Published by Alfred
Publishing.
Trombone SKU: HL.48181927 Composed by Carlos Leon Salzedo. Leduc. Classic...(+)
Trombone
SKU:
HL.48181927
Composed
by Carlos Leon Salzedo.
Leduc. Classical.
Softcover. 8 pages.
Alphonse Leduc #AL21988.
Published by Alphonse
Leduc (HL.48181927).
UPC: 888680848798.
9x12
inches.
”Pi&e
grave;ce Concertante,
Op.27 for Trombone and
Piano is a piece by
Carlos Salzédo
written for the Paris
Conservatoire contest.
Great to demonstrate all
the skills acquired by
the player, this piece is
difficult (7) and
requires an advanced
level to be played
perfectly. Quite slow
during the first section,
the second part of the
piece features some
faster sections that are
more syncopated. It
requires a good mastering
of breathing due to long
phrases and liaisons
Carlos Salzédo
(1885-1961) was one of
the greatest French
harpists and a pianists,
composers and conductors.
He wrote numerous pieces
for Harp, some theory
books and methods and
some pieces for other
instruments such as
Piano, Cello, Trombone,
Flute or
Voice.&ldquo.
Saxophone Classics No.
92 Alto Saxophone and
Piano. Composed by
Johann Sebastian Bach.
Arranged by Marcel Mule.
Leduc. Baroque,
Classical. Softcover. 8
pages. Alphonse Leduc
#AL20832. Published by
Alphonse Leduc
(HL.48181367).
UPC:
888680788445. 9.25x12.25
inches.
Composed by
J.S. Bach originally for
flute and piano, this
edition of 6th
Sonata was arranged
for alto saxophone in E
flat and piano by Marcel
Mule. Its difficulty
would fit the skills and
abilities of intermediate
players. In terms of
composition, this piece
was created in four
different sections:
Adagio ma non tanto,
Allegro, Siciliano and
Allegro.
Marcel
Mule (1901-2001) is one
of the greatest French
saxophonists, renowned
worldwide for his work on
the classical saxophone
repertoire. He was
teaching his students how
to obtain a good quality
of sound and believed it
was dependent on the
embouchure, the emission,
the mastery of vibrato
and thus of breathing. He
wrote different methods
that focus on technique,
articulation and tone
productions such as
Scale and
Arpeggios (in three
books), Daily
Exercises After
Terschack or 30
Great Exercises or
Studies After
Soussmann (in two
books), among others.
Harp (Harp) SKU: HL.48181026 Composed by R. Nicholas-Charles Bochsa. Ledu...(+)
Harp (Harp)
SKU:
HL.48181026
Composed
by R. Nicholas-Charles
Bochsa. Leduc. Classical.
Softcover. Alphonse Leduc
#AL20022. Published by
Alphonse Leduc
(HL.48181026).
UPC:
888680878597.
This
book, the first volume of
Famous Studies for the
Harp - Fifty Studies, Op.
34 by Nicolas-Charles
Bochsa, was dedicated to
J.B. Cramer. Edited and
arranged according to
Hasselmans's methods by
R. Martenot, it features
the studies 1 to 25 for
intermediate harp players
and above. This volume is
followed by a second book
including the studies 26
to 50. Nicolas-Charles
Bochsa (1789-1856) was a
musician and composer
able to play the flute,
the piano and the harp.
He became the harpist of
the Imperial Orchestra
but had to move to London
where he was one of the
founders of the Royal
Academy of Music.
Piano and orchestra - difficult SKU: HL.49046544 For piano and orchest...(+)
Piano and orchestra -
difficult
SKU:
HL.49046544
For
piano and orchestra.
Composed by Gyorgy
Ligeti. This edition:
Saddle stitching. Sheet
music. Edition Schott.
Softcover. Composed
1985-1988. Duration 24'.
Schott Music #ED23178.
Published by Schott Music
(HL.49046544).
ISBN
9781705122655. UPC:
842819108726.
9.0x12.0x0.224
inches.
I composed
the Piano Concerto in two
stages: the first three
movements during the
years 1985-86, the next
two in 1987, the final
autograph of the last
movement was ready by
January, 1988. The
concerto is dedicated to
the American conductor
Mario di Bonaventura. The
markings of the movements
are the following: 1.
Vivace molto ritmico e
preciso 2. Lento e
deserto 3. Vivace
cantabile 4. Allegro
risoluto 5. Presto
luminoso.The first
performance of the
three-movement Concerto
was on October 23rd, 1986
in Graz. Mario di
Bonaventura conducted
while his brother,
Anthony di Bonaventura,
was the soloist. Two days
later the performance was
repeated in the Vienna
Konzerthaus. After
hearing the work twice, I
came to the conclusion
that the third movement
is not an adequate
finale; my feeling of
form demanded
continuation, a
supplement. That led to
the composing of the next
two movements. The
premiere of the whole
cycle took place on
February 29th, 1988, in
the Vienna Konzerthaus
with the same conductor
and the same pianist. The
orchestra consisted of
the following: flute,
oboe, clarinet, bassoon,
horn, trumpet, tenor
trombone, percussion and
strings. The flautist
also plays the piccoIo,
the clarinetist, the alto
ocarina. The percussion
is made up of diverse
instruments, which one
musician-virtuoso can
play. It is more
practical, however, if
two or three musicians
share the instruments.
Besides traditional
instruments the
percussion part calls
also for two simple wind
instruments: the swanee
whistle and the
harmonica. The string
instrument parts (two
violins, viola, cello and
doubles bass) can be
performed soloistic since
they do not contain
divisi. For balance,
however, the ensemble
playing is recommended,
for example 6-8 first
violins, 6-8 second, 4-6
violas, 4-6 cellos, 3-4
double basses. In the
Piano Concerto I realized
new concepts of harmony
and rhythm. The first
movement is entirely
written in bimetry:
simultaneously 12/8 and
4/4 (8/8). This relates
to the known triplet on a
doule relation and in
itself is nothing new.
Because, however, I
articulate 12 triola and
8 duola pulses, an
entangled, up till now
unheard kind of polymetry
is created. The rhythm is
additionally complicated
because of asymmetric
groupings inside two
speed layers, which means
accents are
asymmetrically
distributed. These
groups, as in the talea
technique, have a fixed,
continuously repeating
rhythmic structures of
varying lengths in speed
layers of 12/8 and 4/4.
This means that the
repeating pattern in the
12/8 level and the
pattern in the 4/4 level
do not coincide and
continuously give a
kaleidoscope of renewing
combinations. In our
perception we quickly
resign from following
particular rhythmical
successions and that what
is going on in time
appears for us as
something static,
resting. This music, if
it is played properly, in
the right tempo and with
the right accents inside
particular layers, after
a certain time 'rises, as
it were, as a plane after
taking off: the rhythmic
action, too complex to be
able to follow in detail,
begins flying. This
diffusion of individual
structures into a
different global
structure is one of my
basic compositional
concepts: from the end of
the fifties, from the
orchestral works
Apparitions and
Atmospheres I
continuously have been
looking for new ways of
resolving this basic
question. The harmony of
the first movement is
based on mixtures, hence
on the parallel leading
of voices. This technique
is used here in a rather
simple form; later in the
fourth movement it will
be considerably
developed. The second
movement (the only slow
one amongst five
movements) also has a
talea type of structure,
it is however much
simpler rhythmically,
because it contains only
one speed layer. The
melody is consisted in
the development of a
rigorous interval mode in
which two minor seconds
and one major second
alternate therefore nine
notes inside an octave.
This mode is transposed
into different degrees
and it also determines
the harmony of the
movement; however, in
closing episode in the
piano part there is a
combination of diatonics
(white keys) and
pentatonics (black keys)
led in brilliant,
sparkling quasimixtures,
while the orchestra
continues to play in the
nine tone mode. In this
movement I used isolated
sounds and extreme
registers (piccolo in a
very low register,
bassoon in a very high
register, canons played
by the swanee whistle,
the alto ocarina and
brass with a harmon-mute'
damper, cutting sound
combinations of the
piccolo, clarinet and
oboe in an extremely high
register, also
alternating of a
whistle-siren and
xylophone). The third
movement also has one
speed layer and because
of this it appears as
simpler than the first,
but actually the rhythm
is very complicated in a
different way here. Above
the uninterrupted, fast
and regular basic pulse,
thanks to the asymmetric
distribution of accents,
different types of
hemiolas and inherent
melodical patterns appear
(the term was coined by
Gerhard Kubik in relation
to central African
music). If this movement
is played with the
adequate speed and with
very clear accentuation,
illusory
rhythmic-melodical
figures appear. These
figures are not played
directly; they do not
appear in the score, but
exist only in our
perception as a result of
co-operation of different
voices. Already earlier I
had experimented with
illusory rhythmics,
namely in Poeme
symphonique for 100
metronomes (1962), in
Continuum for harpsichord
(1968), in Monument for
two pianos (1976), and
especially in the first
and sixth piano etude
Desordre and Automne a
Varsovie (1985). The
third movement of the
Piano Concerto is up to
now the clearest example
of illusory rhythmics and
illusory melody. In
intervallic and chordal
structure this movement
is based on alternation,
and also inter-relation
of various modal and
quasi-equidistant harmony
spaces. The tempered
twelve-part division of
the octave allows for
diatonical and other
modal interval
successions, which are
not equidistant, but are
based on the alternation
of major and minor
seconds in different
groups. The tempered
system also allows for
the use of the
anhemitonic pentatonic
scale (the black keys of
the piano). From
equidistant scales,
therefore interval
formations which are
based on the division of
an octave in equal
distances, the
twelve-tone tempered
system allows only
chromatics (only minor
seconds) and the six-tone
scale (the whole-tone:
only major seconds).
Moreover, the division of
the octave into four
parts only minor thirds)
and three parts (three
major thirds) is
possible. In several
music cultures different
equidistant divisions of
an octave are accepted,
for example, in the
Javanese slendro into
five parts, in Melanesia
into seven parts, popular
also in southeastern
Asia, and apart from
this, in southern Africa.
This does not mean an
exact equidistance: there
is a certain tolerance
for the inaccurateness of
the interval tuning.
These exotic for us,
Europeans, harmony and
melody have attracted me
for several years.
However I did not want to
re-tune the piano
(microtone deviations
appear in the concerto
only in a few places in
the horn and trombone
parts led in natural
tones). After the period
of experimenting, I got
to pseudo- or
quasiequidistant
intervals, which is
neither whole-tone nor
chromatic: in the
twelve-tone system, two
whole-tone scales are
possible, shifted a minor
second apart from each
other. Therefore, I
connect these two scales
(or sound resources), and
for example, places occur
where the melodies and
figurations in the piano
part are created from
both whole tone scales;
in one band one six-tone
sound resource is
utilized, and in the
other hand, the
complementary. In this
way whole-tonality and
chromaticism mutually
reduce themselves: a type
of deformed
equidistancism is formed,
strangely brilliant and
at the same time
slanting; illusory
harmony, indeed being
created inside the
tempered twelve-tone
system, but in sound
quality not belonging to
it anymore. The
appearance of such
slantedequidistant
harmony fields
alternating with modal
fields and based on
chords built on fifths
(mainly in the piano
part), complemented with
mixtures built on fifths
in the orchestra, gives
this movement an
individual, soft-metallic
colour (a metallic sound
resulting from
harmonics). The fourth
movement was meant to be
the central movement of
the Concerto. Its
melodc-rhythmic elements
(embryos or fragments of
motives) in themselves
are simple. The movement
also begins simply, with
a succession of
overlapping of these
elements in the mixture
type structures. Also
here a kaleidoscope is
created, due to a limited
number of these elements
- of these pebbles in the
kaleidoscope - which
continuously return in
augmentations and
diminutions. Step by
step, however, so that in
the beginning we cannot
hear it, a compiled
rhythmic organization of
the talea type gradually
comes into daylight,
based on the simultaneity
of two mutually shifted
to each other speed
layers (also triplet and
duoles, however, with
different asymmetric
structures than in the
first movement). While
longer rests are
gradually filled in with
motive fragments, we
slowly come to the
conclusion that we have
found ourselves inside a
rhythmic-melodical whirl:
without change in tempo,
only through increasing
the density of the
musical events, a
rotation is created in
the stream of successive
and compiled, augmented
and diminished motive
fragments, and increasing
the density suggests
acceleration. Thanks to
the periodical structure
of the composition,
always new but however of
the same (all the motivic
cells are similar to
earlier ones but none of
them are exactly
repeated; the general
structure is therefore
self-similar), an
impression is created of
a gigantic, indissoluble
network. Also, rhythmic
structures at first
hidden gradually begin to
emerge, two independent
speed layers with their
various internal
accentuations. This
great, self-similar whirl
in a very indirect way
relates to musical
associations, which came
to my mind while watching
the graphic projection of
the mathematical sets of
Julia and of Mandelbrot
made with the help of a
computer. I saw these
wonderful pictures of
fractal creations, made
by scientists from Brema,
Peitgen and Richter, for
the first time in 1984.
From that time they have
played a great role in my
musical concepts. This
does not mean, however,
that composing the fourth
movement I used
mathematical methods or
iterative calculus;
indeed, I did use
constructions which,
however, are not based on
mathematical thinking,
but are rather craftman's
constructions (in this
respect, my attitude
towards mathematics is
similar to that of the
graphic artist Maurits
Escher). I am concerned
rather with intuitional,
poetic, synesthetic
correspondence, not on
the scientific, but on
the poetic level of
thinking. The fifth, very
short Presto movement is
harmonically very simple,
but all the more
complicated in its
rhythmic structure: it is
based on the further
development of ''inherent
patterns of the third
movement. The
quasi-equidistance system
dominates harmonically
and melodically in this
movement, as in the
third, alternating with
harmonic fields, which
are based on the division
of the chromatic whole
into diatonics and
anhemitonic pentatonics.
Polyrhythms and harmonic
mixtures reach their
greatest density, and at
the same time this
movement is strikingly
light, enlightened with
very bright colours: at
first it seems chaotic,
but after listening to it
for a few times it is
easy to grasp its
content: many autonomous
but self-similar figures
which crossing
themselves. I present my
artistic credo in the
Piano Concerto: I
demonstrate my
independence from
criteria of the
traditional avantgarde,
as well as the
fashionable
postmodernism. Musical
illusions which I
consider to be also so
important are not a goal
in itself for me, but a
foundation for my
aesthetical attitude. I
prefer musical forms
which have a more
object-like than
processual character.
Music as frozen time, as
an object in imaginary
space evoked by music in
our imagination, as a
creation which really
develops in time, but in
imagination it exists
simultaneously in all its
moments. The spell of
time, the enduring its
passing by, closing it in
a moment of the present
is my main intention as a
composer. (Gyorgy
Ligeti).