| The Cat Is in the Kitchen - Facile Carl Fischer
Orchestra Cello, Contrabass, Piano, Viola, Violin 1, Violin 2, Violin 3 - Grade ...(+)
Orchestra Cello,
Contrabass, Piano, Viola,
Violin 1, Violin 2,
Violin 3 - Grade 2
SKU: CF.YAS179F
Composed by Bud Woodruff.
Young String Orchestra
(YAS). Full score. With
Standard notation. 12
pages. Carl Fischer Music
#YAS179F. Published by
Carl Fischer Music
(CF.YAS179F). ISBN
9781491151815. UPC:
680160909315. 9 x 12
inches. Key: F
major. Bud Woodruff
presents The Cat Is in
the Kitchen, a
tongue-in-cheek style
piece with jazz
influences that students
enjoy playing. This
quirky piece is designed
to help students
successfully navigate
playing F-naturals and
B-flats. Bud Woodruff
draws on his lengthy
career as a string
educator to help students
overcome the challenges
in this piece.
I wrote The
Cat Is in the
Kitchen for a group
of very talented young
players who, for some
reason, did not like
Bb's, and particularly
Bb's on the G string ...
especially the cellos
(who always faithfully
played them as B
naturals). They bore no
great love for F
naturals, either. So this
piece is full of both.
Since the students liked
the sound of the piece,
they overcame their
dislikes, and all was
just fine in the end ...
mission accomplished!
One will
find that changing the
bowings will change the
accents, too, and the
flavor of the piece will
be lost. Without a doubt,
there is a jazz
influence, and the piece
will be easier to teach
if you approach it from
that angle. Have the
class work on m. 18 until
everyone can play it
ease. Then add m. 19 for
the upper strings, and
90% of any issues the
bowings may present will
be solved. My kids loved
playing this piece, and
the audience enjoyed
hearing it. I trust you
will have the same
results. . I wrote The
Cat Is in the
KitchenA for a group
of very talented young
players who, for some
reason, did not like
Bb's, and particularly
Bb's on the G string ...
especially the cellos
(who always faithfully
played them as B
naturals). They bore no
great love for F
naturals, either. So this
piece is full of both.
Since the students liked
the sound of the piece,
they overcame their
dislikes, and all was
just fine in the end ...
mission accomplished!
A One will
find that changing the
bowings will change the
accents, too, and the
flavor of the piece will
be lost. Without a doubt,
there is a jazz
influence, and the piece
will be easier to teach
if you approach it from
that angle. Have the
class work on m. 18 until
everyone can play it
ease. Then add m. 19 for
the upper strings, and
90% of any issues the
bowings may present will
be solved. A My kids loved
playing this piece, and
the audience enjoyed
hearing it. I trust you
will have the same
results. . I wrote The
Cat Is in the
KitchenA for a group
of very talented young
players who, for some
reason, did not like
Bb's, and particularly
Bb's on the G string ...
especially the cellos
(who always faithfully
played them as B
naturals). They bore no
great love for F
naturals, either. So this
piece is full of both.
Since the students liked
the sound of the piece,
they overcame their
dislikes, and all was
just fine in the end ...
mission accomplished!
A One will
find that changing the
bowings will change the
accents, too, and the
flavor of the piece will
be lost. Without a doubt,
there is a jazz
influence, and the piece
will be easier to teach
if you approach it from
that angle. Have the
class work on m. 18 until
everyone can play it
ease. Then add m. 19 for
the upper strings, and
90% of any issues the
bowings may present will
be solved. A My kids loved
playing this piece, and
the audience enjoyed
hearing it. I trust you
will have the same
results. . I wrote The
Cat Is in the
Kitchen for a group
of very talented young
players who, for some
reason, did not like
Bb's, and particularly
Bb's on the G string ...
especially the cellos
(who always faithfully
played them as B
naturals). They bore no
great love for F
naturals, either. So this
piece is full of both.
Since the students liked
the sound of the piece,
they overcame their
dislikes, and all was
just fine in the end ...
mission accomplished!
One will
find that changing the
bowings will change the
accents, too, and the
flavor of the piece will
be lost. Without a doubt,
there is a jazz
influence, and the piece
will be easier to teach
if you approach it from
that angle. Have the
class work on m. 18 until
everyone can play it
ease. Then add m. 19 for
the upper strings, and
90% of any issues the
bowings may present will
be solved. My kids loved
playing this piece, and
the audience enjoyed
hearing it. I trust you
will have the same
results. . I wrote
The Cat Is in the Kitchen
for a group of very
talented young players
who, for some reason, did
not like Bb's, and
particularly Bb's on the
G string ... especially
the cellos (who always
faithfully played them as
B naturals). They bore no
great love for F
naturals, either. So this
piece is full of both.
Since the students liked
the sound of the piece,
they overcame their
dislikes, and all was
just fine in the end ...
mission accomplished! One
will find that changing
the bowings will change
the accents, too, and the
flavor of the piece will
be lost. Without a doubt,
there is a jazz
influence, and the piece
will be easier to teach
if you approach it from
that angle. Have the
class work on m. 18 until
everyone can play it
ease. Then add m. 19 for
the upper strings, and
90% of any issues the
bowings may present will
be solved. My kids loved
playing this piece, and
the audience enjoyed
hearing it. I trust you
will have the same
results. I wrote The
Cat Is in the
Kitchen for a group of
very talented young
players who, for some
reason, did not like
Bb's, and particularly
Bb's on the G string ...
especially the cellos
(who always faithfully
played them as B
naturals). They bore no
great love for F
naturals, either. So this
piece is full of both.
Since the students liked
the sound of the piece,
they overcame their
dislikes, and all was
just fine in the end ...
mission
accomplished! One will
find that changing the
bowings will change the
accents, too, and the
flavor of the piece will
be lost. Without a doubt,
there is a jazz
influence, and the piece
will be easier to teach
if you approach it from
that angle. Have the
class work on m. 18 until
everyone can play it
ease. Then add m. 19 for
the upper strings, and
90% of any issues the
bowings may present will
be solved. My kids
loved playing this piece,
and the audience enjoyed
hearing it. I trust you
will have the same
results.
About Carl
Fischer Young String
Orchestra
Series Thi
s series of Grade 2/Grade
2.5 pieces is designed
for second and third year
ensembles. The pieces in
this series are
characterized
by: --Occasionally
extending to third
position --Keys
carefully considered for
appropriate
difficulty --Addition
of separate 2nd violin
and viola
parts --Viola T.C.
part
included --Increase
in independence of parts
over beginning levels $8.50 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Compatible Duets for Winds 2 Tubas (duo) Carl Fischer
(31 Duets That Can Be Played by Any Combination of Wind Instruments). By Larry C...(+)
(31 Duets That Can Be
Played by Any Combination
of Wind Instruments). By
Larry Clark. For Tuba. 48
pages. Published by Carl
Fischer
$12.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Compatible Duets for Winds 2 Flûtes traversières (duo) Carl Fischer
(31 Duets That Can Be Played by Any Combination of Wind Instruments). By Larry C...(+)
(31 Duets That Can Be
Played by Any Combination
of Wind Instruments). By
Larry Clark. For Flute,
Oboe. 48 pages. Published
by Carl Fischer
$12.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| In Dublin's Fair City Chorale 2 parties SA [Octavo] - Intermédiaire Santa Barbara Music Publishing
By James Yorkston. Arranged by D. Shawn Berry. For SA. Choral music. Level: Medi...(+)
By James Yorkston.
Arranged by D. Shawn
Berry. For SA. Choral
music. Level: Medium.
Published by Santa
Barbara Music Publishing.
(SBMP 515)
$2.15 $2.0425 (- 5%) Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Nordanvind Orchestre d'harmonie - Intermédiaire/avancé Carl Fischer
Band concert band - Grade 4.5 SKU: CF.SPS71 Composed by Carl Strommen. Se...(+)
Band concert band - Grade
4.5 SKU: CF.SPS71
Composed by Carl
Strommen. Set of Score
and Parts. With Standard
notation.
2+16+4+8+8+8+4+4+2+4+4+4+
4+6+6+6+4+4+4+4+6+6+6+6+4
+8+3+2+12+2+4+28 pages.
Duration 6 minutes, 26
seconds. Carl Fischer
Music #SPS71. Published
by Carl Fischer Music
(CF.SPS71). ISBN
9781491143544. UPC:
680160901043. Key: G
minor. Nordanvind
is a tour de force
symphonic rhapsody that
is built on three
Scandinavian folk songs.
Composer Carl Strommen
has composed these
Viking-influenced
melodies into a concert
setting that brings out
all of the history of the
Scandinavian people. The
piece is at times bold
and aggressive, at other
times beautiful. Carl
employs all of the
instrumental colors of
the concert band to
create a new work for
more advanced
ensembles. Modern
Scandinavians are
descendants of the
Vikings, an adventuresome
people who were known for
their love of the sea,
their naval prowess, and
as fierce fighters . The
Scandinavian Vikings were
warriors from Denmark,
Norway, and Sweden who
traded, raided and
settled in various parts
of Europe, Russia, the
North Atlantic islands,
and the northeastern
coast of North America
.Starting around 1850,
over one million Swedes
left their homeland for
the United States in
search of religious
freedom and open farm
land . Augustana College
was founded in 1860 by
graduates of Swedish
universities and is
located on the
Mississippi River in Rock
Island, Illinois . Home
of the
“Vikings,â€
Augustana College is the
oldest Swedish- American
institution of higher
learning in the United
States . This powerful
and lively piece takes
inspiration from Swedish
history and from Swedish
folk songs and hymns
.Havsdrake (Dragon of the
Sea)The Nordanvind or
“North Windâ€
blows a cold wind during
a journey of a group of
courageous Viking rowers
. The
“Dragon-shipâ€
or long ships designed
for raiding and war was a
sophisticated, fast ship
able to navigate in very
shallow water . To
musically portray these
magnificent seafaring
vessels, the director is
encouraged to use an
Ocean Drum (or a rain
stick) during the
introduction . Wind
players may consider
blowing air through their
instruments to suggest
the North wind . Adding
men’s voices to
accompany the haunting
low brass and percussive
“rowerâ€
sounds can be helpful in
creating the dark and
ominous portrayal of
Viking adventurers
.Slangpolska efter Byss -
KalleIn Sweden, a
“polska†is a
partner dance where the
dancers spin each other
(släng in Swedish
“to sling or
tossâ€) .
Slangpolska efter Byss -
Kalle is attributed to
Byss-Kalle, who was a
notable Swedish folk
musician, specifically a
nyckelharpa player .
Slangpolska efter Byss -
Kalle is a traditional
“polskaâ€
dance song most often
played on the Nyckelharpa
or keyed fiddle and is
commonly heard in pubs
and at festive events
throughout Sweden .
Approximately 10,000
nyckelharpa players live
in Sweden today, and the
Swedish and the American
Nyckelharpa Associations
are dedicated to this
Swedish National
instrument . The director
is encouraged to share
video and audio examples
of the nyckelharpa
playing the original
Slangpolska efter Byss -
Kalle .Tryggare Kan Ingen
Vara (Children of the
Heavenly Father)Tryggare
Kan Ingen Vara Is a
traditional Swedish
melody, possibly of
German roots, and was
believed to be arranged
as a hymn by the Swedish
hymn writer, Karolina
Wilhelmina Sandell-Berg
(1832–1903) . As a
daughter of a Swedish
Lutheran minister, she
began writing poems as a
teenager and is said to
have written over 1,700
different texts . There
are two different
accounts as to the
inspiration for this hymn
. The first story is that
Lina (as she was called)
wrote the hymn to honor
her father and to say
thank you to him for
raising her and
protecting her . A second
belief is of her
witnessing the tragic
death of her father . She
and her father were on a
boat, when a wave threw
her father overboard . It
was said that the
profound effect of
watching her father drown
is what caused Lina to
write the text to this
hymn . Although this is a
treasured song to people
of Swedish descent
everywhere, it speaks to
all people about a father
tending and nourishing
his children, and
protecting them from evil
.SPS71FThe Augustana
College Concert
BandFounded in 1874, the
Augustana Band program is
one of the oldest
continuously active
collegiate band programs
in the country . The
Concert Band is one of
two bands on campus and
was formed more than
thirty years ago . The
Concert Band attracts
students of every skill
level and from a wide
variety of majors .
Students in the ensemble
play a large part in
choosing their music for
performance, which
include works from the
standard repertoire,
orchestral
transcriptions, and the
latest compositions from
leading composers .Rick
Jaeschke began his
musical career as a
clarinet player in the
1st US Army Band . He
received a Bachelor of
Music degree from
Susquehanna University, a
Masters of Music from
James Madison University,
and a doctorate from
Columbia University in
New York . He was also
fortunate to study
conducting with Donald
Hunsburger and with
Frederick Fennell .Dr .
Jaeschke taught band and
choir at Great Mills High
School in Southern
Maryland, and for fifteen
years, he was the
district Music Supervisor
in Armonk, New York,
where he taught high
school concert and jazz
bands, beginning band,
and music technology .
During that time, the
music program flourished,
and the high school band
consistently received
Gold Medals in the New
York State Festivals, as
well as in national, and
international festivals .
As a clarinet and
saxophone player, Dr .
Jaeschke performed in the
New York metropolitan
area with the Rockland
Symphony Orchestra, the
Putnam Symphony
Orchestra, Fine Arts
Symphony Orchestra, and
served as the concert
master for the Hudson
Valley Wind Symphony .For
several years, Dr .
Jaeschke served as the
Fine Arts Coordinator for
the District 204 schools
in Naperville, IL, a
district selected as One
of the Best 100 Schools
in America for Music .
Currently, Dr . Jaeschke
is an Associate Professor
at Augustana College
where he teaches music
and music education
courses, and directs the
Concert Band . He has
served on various
educational boards, is a
National edTPA scorer,
and has presented at
state, national and
international music
conferences . He lives
with his family in
Bettendorf Iowa, and
enjoys any opportunity to
explore the open water in
his sea kayak . $125.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Teaching Music through Performance in Choir, Vol. 3 Chorale GIA Publications
| | |
| Drying Their Wings (2-part choir) Chorale 2 parties [Octavo] Choristers Guild
Composed by Greg Gilpin. For 2-part choir. Sing!. Octavo. Published by Chorister...(+)
Composed by Greg Gilpin.
For 2-part choir. Sing!.
Octavo. Published by
Chorister's Guild
$2.10 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Squeezin Down the Chimney Chorale 2 parties [Octavo] - Facile Alfred Publishing
By Jay Althouse. For Choir. (2-Part). Choral Octavo. Choral Designs. Novelty; S...(+)
By Jay Althouse. For
Choir. (2-Part). Choral
Octavo. Choral Designs.
Novelty; Secular,
Christmas. Choral Octavo.
8 pages. Published by
Alfred Publishing.
Level: Level 2 (grade
L2).
$2.25 $2.1375 (- 5%) Voir plus => AcheterDélais: 1 to 2 weeks | | |
| 2 Flutes in 3 Scenes 2 Flûtes traversières, Piano Theodore Presser Co.
(For 2 Flutes and Piano). By Gary Schocker. For 2 Flutes, Piano. Standard notati...(+)
(For 2 Flutes and Piano).
By Gary Schocker. For 2
Flutes, Piano. Standard
notation
$21.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| 12 Jazz Duets 2 Trompettes (duo) [Partition + Accès audio] - Avancé De Haske Publications
Trumpet Duet - advanced SKU: BT.DHP-1125302-404 For the advanced trump...(+)
Trumpet Duet - advanced
SKU:
BT.DHP-1125302-404
For the advanced
trumpet player.
Composed by Erik
Veldkamp. Jazz. Book with
Online Audio. Composed
2021. 36 pages. De Haske
Publications #DHP
1125302-404. Published by
De Haske Publications
(BT.DHP-1125302-404).
ISBN 9789043163460.
English-German-French-Dut
ch. 12 Jazz
Duets is a volume of
wonderful pieces for two
players nice and jazzy,
just like the title
suggests. The pieces have
been written for the
advanced trumpet player
and are essentially
intended to be played
togetherwith a fellow
musician at the same
level. But you can also
use them on your own, as
the recordings available
online include demo
tracks, play-along tracks
and tracks with the added
first or second part.
Each duet is based on
thechord scheme of a jazz
standard, so you can also
improvise to the backing.
In short: a wealth of
possibilities for the
jazz lover!
12
Jazz Duets is een
boek met schitterende
stukken voor twee spelers
- lekker jazzy, zoals de
titel al zegt. Ze zijn
geschreven voor de
gevorderde trompettist.
In essentie zijn ze
bedoeld voor samenspel
met eenmedespelervan
hetzelfde niveau, maar je
kunt er ook in je eentje
mee uit de voeten. De
uitgave bevat namelijk
audiotracks die online
beschikbaar zijn,
waaronder demotracks,
begeleidingstracks én
tracks met toegevoegde
eerste stemof tweede
stem. Aan elk duet ligt
het akkoordenschema van
een jazzstandard ten
grondslag, dus je kunt
ook op de begeleiding
improviseren. Kortom: een
scala van mogelijkheden
voor de
jazzliefhebber!
12 Jazz Duets ist
ein Buch voller
wunderbarer Stücke
für zwei
fortgeschrittene
Trompeter reizvoll und
natürlich jazzig, wie
der Titel verspricht. Die
Stücke sind für das
Zusammenspiel mit einem
Trompeter gleichen
Niveausgedacht, können
aber auch alleine zu den
online verfügbaren
Audiotracks gespielt
werden. Diese umfassen
Demo- und
Mitspielversionen und
dazu noch Aufnahmen von
jeweils der ersten oder
zweiten Stimme mit
Begleitung. Jedes
Duettbasiert auf dem
Akkordschema eines
Jazzstandards, daher kann
auch zu den
Begleitakkorden
improvisiert werden. Kurz
gesagt: Eine Fülle von
Möglichkeiten für
den
Jazzliebhaber!
12 Jazz Duets propose
douze splendides duos
dans un style
agréablement jazzy,
comme le titre
lâ??indique. Ces
morceaux sont destinés
aux trompettistes
confirmés. Ils sont
essentiellement écrits
pour deux musiciens de
mêmeniveau. Mais vous
pouvez également les
interpréter seul, car
les enregistrements
disponibles en ligne
contiennent, pour chacun
des morceaux, la version
intégrale,
lâ??accompagnement avec
la deuxième voix,
lâ??accompagnement avec
lapremière voix, et
enfin lâ??accompagnement
seul. Les duos étant
fondés sur les grilles
dâ??accords de standards
du jazz, il est possible
dâ??improviser
lâ??accompagnement.
Voici une mine de
possibilités pour les
adeptes du
jazz !
12 Jazz
Duets propone una
raccolta di piacevoli
brani in stile jazz per
due trombettisti di
livello avanzato. Le due
parti sono dello stesso
livello di difficolt ,
quindi interscambiabili o
eseguibili separatamente
conl'ausilio degli
registrazioni disponibili
online che, oltre ad
incisioni complete di
tutti i brani e tracce di
accompagnamento,
contengono anche
un'incisione di una sola
tromba. $25.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Music of the Masters, Volume II -- Marimba Duets 2 Marimbas [Partition] - Intermédiaire Alfred Publishing
Marimba Duets. Composed by Jacques Mazas and Ignaz Pleyel. Edited by trans. and ...(+)
Marimba Duets. Composed
by Jacques Mazas and
Ignaz Pleyel. Edited by
trans. and ed. Anthony J.
Cirone.
Artist/Personality; Duet
or Duo; Masterworks;
Percussion - Mallet
Instrument Duet; Solo
Small Ensembles. Music of
the Masters. Classical;
Masterwork Arrangement;
Romantic. Book. 48 pages.
Alfred Music
#00-PERC9502. Published
by Alfred Music
$13.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Music of the Masters, Volume I -- Marimba Duets 2 Marimbas [Partition] - Débutant Alfred Publishing
Marimba Duets. Composed by Jacques Mazas and Ignaz Pleyel. Edited by trans. and ...(+)
Marimba Duets. Composed
by Jacques Mazas and
Ignaz Pleyel. Edited by
trans. and ed. Anthony J.
Cirone.
Artist/Personality; Duet
or Duo; Masterworks;
Percussion - Mallet
Instrument Duet; Solo
Small Ensembles. Music of
the Masters. Classical;
Masterwork Arrangement;
Romantic. Book. 48 pages.
Alfred Music
#00-PERC9501. Published
by Alfred Music
$13.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| String Quartet No. 3 Quatuor à cordes: 2 violons, alto, violoncelle Theodore Presser Co.
Chamber Music String Quartet SKU: PR.164002720 Cassatt. Composed b...(+)
Chamber Music String
Quartet SKU:
PR.164002720
Cassatt. Composed
by Dan Welcher. Spiral
and Saddle. Premiere:
Cassatt Quartet,
Northeastern Illinois
University, Chicago, IL.
Contemporary. Set of
Score and Parts. With
Standard notation.
Composed 2007. WRT11142.
52+16+16+16+16 pages.
Duration 24 minutes.
Theodore Presser Company
#164-00272. Published by
Theodore Presser Company
(PR.164002720). UPC:
680160573042. 8.5 x 11
inches. My third
quartet is laid out in a
three-movement structure,
with each movement based
on an early, middle, and
late work of the great
American impressionist
painter Mary Cassatt.
Although the movements
are separate, with
full-stop endings, the
music is connected by a
common scale-form,
derived from the name
MARY CASSATT, and by a
recurring theme that
introduces all three
movements. I see this
theme as Mary's Theme, a
personality that stays
intact while undergoing
gradual change. I
The Bacchante (1876)
[Pennsylvania Academy of
Fine Arts, Philadelphia,
Pennsylvania] The
painting shows a young
girl of Italian or
Spanish origin, playing a
small pair of cymbals.
Since Cassatt was trying
very hard to fit in at
the French Academy at the
time, she painted a lot
of these subjects, which
were considered typical
and universal. The style
of the painting doesn't
yet show Cassatt's
originality, except
perhaps for certain
details in the face.
Accordingly the music for
this movement is
Spanish/Italian, in a
similar period-style but
using the musical
signature described
above. The music begins
with Mary's Theme,
ruminative and slow, then
abruptly changes to an
alla Spagnola-type fast
3/4 - 6/8 meter. It
evokes the
Spanish-influenced music
of Ravel and Falla.
Midway through,
there's an accompanied
recitative for the viola,
which figures large in
this particular movement,
then back to a truncated
recapitulation of the
fast music. The overall
feeling is of a
well-made, rather
conventional movement in
a contemporary
Spanish/Italian style.
Cassatt's painting, too,
is rather conventional.
II At the Opera
(1880) [Museum of Fine
Arts, Boston,
Massachusetts]
This painting is one of
Cassatt's most well known
works, and it hangs in
the Museum of Fine Arts
in Boston. The painting
shows a woman alone in a
box at the opera house,
completely dressed
(including gloves) and
looking through opera
glasses at someone or
something that is NOT on
the stage. Across the
auditorium from her, but
exactly at eye level, is
a gentleman with opera
glasses intently watching
her - though it is not
him that she's looking
at. It's an intriguing
picture. This
movement is far less
conventional than the
first movement, as the
painting is far less
conventional. The music
begins with a rapid,
Shostakovich-type
mini-overture lasting
less than a minute, based
on Mary's Theme. My
conjecture is that the
woman in the painting has
arrived late to the
opera, busily stumbling
into her box. What
happens next is a kind of
collage, a kind of
surrealistic overlaying
of two different
elements: the foreground
music, at first is a
direct quotation of
Soldier's Chorus from
Gounod's FAUST (an opera
Cassatt would certainly
have heard in the
brand-new Paris Opera
House at that time),
played by Violin II,
Viola, and Cello. This
music is played sul
ponticello in the melody
and col legno in the
marching accompaniment.
On top of this, the first
violin hovers at first on
a high harmonic, then
descends into a slow
melody, completely
separate from the Gounod.
It's as if the woman in
the painting is hearing
the opera onstage but is
not really interested in
it. Then the cello joins
the first violin in a
kind of love-duet (just
the two of them, at
first). This music isn't
at all Gounod-derived;
it's entirely from the
same scale patterns as
the first movement and
derives from Mary's Theme
and its scale. The music
stays in a kind of
dichotomy feeling,
usually
three-against-one, until
the end of the movement,
when another Gounod
melody, Valentin's aria
Avant de quitter ce lieux
reappears in a kind of
coda for all four
players. It ends
atmospherically and
emotionally disconnected,
however. The overall
feeling is a kind of
schizophrenic,
opera-inspired dream.
III Young Woman in
Green, Outdoors in the
Sun (1909) [Worcester Art
Museum, Massachusetts]
The painting, one
of Cassatt's last, is
very simple: just a
figure, looking sideways
out of the picture. The
colors are pastel and yet
bold - and the woman is
likewise very
self-assured and not in
the least demure. It is
eight minutes long, and
is all about melody -
three melodies, to be
exact (Young Woman,
Green, and Sunlight). No
angst, no choppy rhythms,
just ever-unfolding
melody and lush
harmonies. I quote one
other French composer
here, too: Debussy's song
Green, from Ariettes
Oubliees. 1909 would have
been Debussy's heyday in
Paris, and it makes
perfect sense musically
as well as visually to do
this. Mary Cassatt
lived her last several
years in near-total
blindness, and as she
lost visual acuity, her
work became less sharply
defined - something akin
to late water lilies of
Monet, who suffered
similar vision loss. My
idea of making this
movement entirely melodic
was compounded by having
each of the three
melodies appear twice,
once in a pure form, and
the second time in a more
diffuse setting. This
makes an interesting two
ways form:
A-B-C-A1-B1-C1.
String Quartet No.3
(Cassatt) is dedicated,
with great affection and
respect, to the Cassatt
String Quartet, whose
members have dedicated
themselves in large
measure to the furthering
of the contemporary
repertoire for
quartet. $53.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Let Beauty Awake - Ssaa, A Cappella Chorale SSAA SSAA A Cappella - Intermédiaire Kjos Music Company
By Theron W. Kirk. (SSA/2 Part/Unison). Choral Octavos. Secular. Level: Grade 3...(+)
By Theron W. Kirk.
(SSA/2 Part/Unison).
Choral Octavos. Secular.
Level: Grade 3. Choral
Octavo. Published by Neil
A. Kjos Music Company.
$1.30 $1.235 (- 5%) Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Partners n' Sidekicks 2 Trombones (duo) Eighth Note Publications
By Kevin Kaisershot. For 2 Trombones. Duet or Duo; Mixed Instruments - Flexible ...(+)
By Kevin Kaisershot. For
2 Trombones. Duet or Duo;
Mixed Instruments -
Flexible Instrumentation;
Part(s). Eighth Note
Publications. 8 pages.
Published by Eighth Note
Publications
$10.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| PopShowcase for Solo or Band Clarinette (partie séparée) [Partition] Belwin
Concert Band B-flat Bass Clarinet SKU: AP.B21M0005 B-flat Bass Clarine...(+)
Concert Band B-flat Bass
Clarinet SKU:
AP.B21M0005 B-flat
Bass Clarinet.
Arranged by Jack Bullock.
Concert Band Method; Band
Supplement. Belwin 21st
Century Band Method. Pop.
Book. 20 pages. Belwin
Music #00-B21M0005.
Published by Belwin Music
(AP.B21M0005). ISBN
9780769292809. UPC:
654979008224.
English. This
collection of 12 popular
songs for the beginning
band is correlated to the
Belwin 21st Century Band
Method, Levels 1 and 2,
but it can also be used
with any other recognized
beginning band method.
Each selection is
presented in two ways:
The solo arrangement is
written so that it can be
played as a solo, unison
(octaves) ensemble, or
full unison band with
piano accompaniment or CD
accompaniment. The snare
and bass drummers play a
rhythmical accompaniment
part. The band
arrangement uses the same
rhythms and melodic lines
included in the solo
arrangement, and, in most
cases, even the dynamic
levels for the melody
lines are the same. The
piano accompaniment in
this arrangement is not
essential, as the
selections can be
performed without it.
Titles are: Augie's Great
Municipal Band * Linus
and Lucy * Eye of the
Tiger * All I Want for
Christmas Is My Two Front
Teeth * Tequila * Fun,
Fun, Fun * The Rose * I'm
Walkin' * Helena Polka *
Sing, Sing, Sing * Star
Wars (Main Theme) * Theme
from Superman. $4.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Sonatina Orchestre à Cordes - Facile Carl Fischer
Orchestra String Orchestra - Grade 2-2.5 SKU: CF.YAS13F Composed by Muzio...(+)
Orchestra String
Orchestra - Grade 2-2.5
SKU: CF.YAS13F
Composed by Muzio
Clementi. Arranged by
Douglas Townsend. Carl
Fischer Young String
Orchestra Series.
Classical. Full score.
With Standard notation.
12 pages. Carl Fischer
Music #YAS13F. Published
by Carl Fischer Music
(CF.YAS13F). ISBN
9780825848339. UPC:
798408048334. 8.5 X 11
inches. Key: G
major. IApart from
some of his Sonatinas,
Opus 36, Clementi's life
and music are hardly
known to the piano
teachers and students of
today. For example, in
addition to the above
mentioned Sonatinas,
Clementi wrote sixty
sonatas for the piano,
many of them unjustly
neglected, although his
friend Beethoven regarded
some of them very highly.
Clementi also wrote
symphonies (some of which
he arranged as piano
sonatas), a substantial
number of waltzes and
other dances for the
piano as well as sonatas
and sonatinas for piano
four-hands.In addition to
composing, Clementi was a
much sought after piano
teacher, and included
among his students John
Field (Father of the
'Nocturne'), and
Meyerbeer.In his later
years, Clementi became a
very successful music
publisher, publishing
among other works the
first English edition of
Beethoven's Violin
Concerto, in the great
composer's own
arrangement for the
piano, as well as some of
his string quartets.
Clementi was also one of
the first English piano
manufacturers to make
pianos with a metal frame
and string them with
wire.The Sonatina in C,
Opus 36, No. 1 was one of
six such works Clementi
wrote in 1797. He must
have been partial to
these little pieces (for
which he also provided
the fingerings), since
they were reissued
(without the fingering)
by the composer shortly
after 1801. About 1820,
he issued ''the sixth
edition, with
considerable improvements
by the author;· with
fingerings added and
several minor changes,
among which were that
many of them were written
an octave higher.IIIt has
often been said,
generally by those
unhampered by the facts,
that composers of the
past (and, dare we add,
the present?), usually
handled their financial
affairs with their public
and publishers with a
poor sense of business
acumen or common sense.
As a result they
frequently found
themselves in financial
straits.Contrary to
popular opinion, this was
the exception rather than
the rule. With the
exception of Mozart and
perhaps a few other
composers, the majority
of composers then, as
now, were quite
successful in their
dealings with the public
and their publishers, as
the following examples
will show.It was not
unusual for 18th- and
19th-century composers to
arrange some of their
more popular compositions
for different
combinations of
instruments in order to
increase their
availability to a larger
music-playing public.
Telemann, in the
introduction to his
seventy-two cantatas for
solo voice and one melody
instrument (flute, oboe
or violin, with the usual
continua) Der Harmonische
Gottesdienst, tor
example, suggests that if
a singer is not available
to perform a cantata the
voice part could be
played by another
instrument. And in the
introduction to his Six
Concertos and Six Suites
for flute, violin and
continua, he named four
different instrumental
combinations that could
perform these pieces, and
actually wrote out the
notes for the different
possibilities. Bach
arranged his violin
concertos for keyboard,
and Beethoven not only
arranged his Piano Sonata
in E Major, Opus 14, No.
1 for string quartet, he
also transposed it to the
key of F. Brahm's
well-known Quintet in F
Minor for piano and
strings was his own
arrangement of his
earlier sonata for two
pianos, also in F
Minor.IIIWe come now to
Clementi. It is well
known that some of his
sixty piano sonatas were
his own arrangements of
some of his lost
symphonies, and that some
of his rondos for piano
four-hands were
originally the last
movements of his solo
sonatas or piano trios.In
order to make the first
movement of his
delightful Sonatina in C,
Opus 36, No. 1 accessible
to young string players,
I have followed the
example established by
the composer himself by
arranging and transposing
one of his piano
compositions from one
medium (the piano) to
another. (string
instruments). In order to
simplify the work for
young string players, in
the process of adapting
it to the new medium it
was necessary to
transpose it from the
original key of C to G,
thereby doing away with
some of the difficulties
they would have
encountered in the
original key. The first
violin and cello parts
are similar to the right-
and left-hand parts of
the original piano
version. The few changes
I have made in these
parts have been for the
convenience of the string
players, but in no way do
they change the nature of
the music.Since the
original implied a
harmonic framework in
many places, I have added
a second violin and viola
part in such a way that
they not only have
interesting music to
play, but also fill in
some of the implied
harmony without in any
way detracting from the
composition's musical
value. Occasionally, it
has been necessary to
raise or lower a few
passages an octave or to
modify others slightly to
make them more accessible
for young players.It is
hoped that the musical
value of the composition
has not been too
compromised, and that
students and teachers
will come to enjoy this
little piece in its new
setting as much as
pianists have in the
original one. This
arrangement may also be
performed by a solo
string quartet. When
performed by a string
orchestra, the double
bass part may be
omitted.- Douglas
TownsendString editing by
Amy Rosen.
About Carl
Fischer Young String
Orchestra
Series Thi
s series of Grade 2/Grade
2.5 pieces is designed
for second and third year
ensembles. The pieces in
this series are
characterized
by: --Occasionally
extending to third
position --Keys
carefully considered for
appropriate
difficulty --Addition
of separate 2nd violin
and viola
parts --Viola T.C.
part
included --Increase
in independence of parts
over beginning levels $8.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| 50 Renaissance and Baroque Standards - English version [CD] - Débutant Anne Fuzeau Productions
With Variants, Examples and Advice for Playing and Improvising on any instrument...(+)
With Variants, Examples
and Advice for Playing
and Improvising on any
instrument. Edited by
Pascale Boquet, Gerard
Rebours. Music Books/CDs.
Teaching Works. Level:
Grade 0. 144 pages.
Published by Editions
Fuzeau Classique - France
(French import).
$26.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| At This Table Chorale 3 parties SSA Hal Leonard
Choral (SSA Choir) SKU: HL.371612 Discovery Level 2. Composed by I...(+)
Choral (SSA Choir)
SKU: HL.371612
Discovery Level 2.
Composed by Idina Menzel
and Jonas Myrin. Arranged
by Audrey Snyder.
Discovery Choral. Ballad,
Christmas, Holiday, Pop.
Octavo. 12 pages.
Duration 220 seconds.
Published by Hal Leonard
(HL.371612). ISBN
9781705148341. UPC:
196288000051.
6.75x10.5x0.029
inches. This lovely
ballad, originally sung
at holiday time, may be
sung at any time of year.
It communicates a
heartfelt message of
kindness, inclusion, and
acceptance toward
reaching the goal of
making the world a better
place for everyone. $2.30 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Reflections Piano seul Theodore Presser Co.
Scott Joplin Reconsidered. Composed by Scott Joplin (1868-1917). Edited by L...(+)
Scott Joplin
Reconsidered.
Composed by Scott Joplin
(1868-1917). Edited by
Lara
Downes. Collection.
Theodore
Presser Company
#440-40028.
Published by Theodore
Presser
Company
$21.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Music Expressions[TM] Grade 6 (Middle School 1): Teacher Edition Formation musicale - Solfège [Edition pour professeur] Alfred Publishing
Textbook - Classroom. Expressions Music Curriculum[TM]. Curriculum Package. Publ...(+)
Textbook - Classroom.
Expressions Music
Curriculum[TM].
Curriculum Package.
Published by Alfred
Publishing.
$240.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
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