Choir and various instruments - Early Intermediate SKU: MN.50-2008B Compo...(+)
Choir and various
instruments - Early
Intermediate
SKU:
MN.50-2008B
Composed
by Robert A. Hobby.
Instrument parts.
MorningStar Music
Publishers #50-2008B.
Published by MorningStar
Music Publishers
(MN.50-2008B).
UPC:
688670004742.
Inclu
des: 2 Flute 1 Oboe 1
English Horn 3 B-flat
Clarinet 1 Horn in F I 1
Horn in F II 2 Trombone 1
Timpani 1 Organ 5 Violin
I 5 Violin II 3 Viola 3
Cello 3 Double Bass.
Piano 4 Hands SKU: BR.EB-6735 Piano Lessons by Anton Diabelli. Com...(+)
Piano 4 Hands
SKU:
BR.EB-6735
Piano
Lessons by Anton
Diabelli. Composed by
Anton Diabelli. Edited by
Heinz Walter. Solo
instruments; Softcover.
Edition Breitkopf.
Classical period. Score.
20 pages. Breitkopf and
Haertel #EB 6735.
Published by Breitkopf
and Haertel (BR.EB-6735).
ISBN 9790004169377. 9
x 12 inches.
This
series of easy piano
pieces for teaching
purposes presents pupils
in the early and
early-middle stages with
a careful selection from
well-known and less-known
compositions by important
masters. The individual
volumes are deliberately
kept small in compass,
since it is more
stimulating for children
if the literature used
for instruction is
changed frequently.
Amongst the numerous
piano works of the
composer, pianist and
music publisher Anton
Diabelli there are some
instructional works for
piano duet (four hands at
one piano) that have
retained their freshness
and value to this day as
the Melodie Studies, op.
149. These attractive
short pieces will still
appeal to today's
piano-playing young
people. In the original
version, the secondo part
is designed for the
teacher. In the present
edition, this part has
been rearranged in such a
manner that it, too, lies
within the capacities of
the student. Heinz
Walter, Salzburg, Fall
1974.
By Various. For Voices: various. Instruments: Flute, oboe, 1 and 2 woodwinds in ...(+)
By Various. For Voices:
various. Instruments:
Flute, oboe, 1 and 2
woodwinds in C
(instruments optional).
Keyboard accompaniment.
Collection Sacred. Level:
easy. 48 pages. Published
by GIA Publications.
Choir (SMezABar) and Instruments (CHP) - very easy SKU: HL.49021069 Vo...(+)
Choir (SMezABar) and
Instruments (CHP) - very
easy
SKU:
HL.49021069
Von
Tieren - Von kuriosen
Dingen - Tanz- und
Liebeslieder.
Composed by Cesar
Bresgen. Sheet music.
Bausteine fur
Musikerziehung und
Musikpflege. Choral
Score. 32 pages. Schott
Music #B 177-01.
Published by Schott Music
(HL.49021069).
Composed by Giuseppe Cambini (1746-1825). Edited by Michael Elphinstone. For Flu...(+)
Composed by Giuseppe
Cambini (1746-1825).
Edited by Michael
Elphinstone. For Flute,
Oboe, Bassoon. Full score
and parts. 34 3x16(xiii)
pages. Published by
Edition HH Music
Publishers
Choir (SMezABar) and Instruments (SOLOST) - very easy SKU: HL.49021071 (+)
Choir (SMezABar) and
Instruments (SOLOST) -
very easy
SKU:
HL.49021071
Von
Tieren - Von kuriosen
Dingen - Tanz- und
Liebeslieder.
Composed by Cesar
Bresgen. Sheet music.
Bausteine fur
Musikerziehung und
Musikpflege. Individual
part. 7 pages. Schott
Music #B 177-12.
Published by Schott Music
(HL.49021071).
Royal Coronation Dances Orchestre d'harmonie [Conducteur et Parties séparées] - Facile Manhattan Beach Music
Concert band - Grade 3 SKU: MH.1-59913-054-8 Composed by Bob Margolis. Su...(+)
Concert band - Grade 3
SKU:
MH.1-59913-054-8
Composed by Bob Margolis.
Suitable for advanced
middle school, high
school, community and
college bands. Conductor
score and set of parts.
Duration 4:45. Published
by Manhattan Beach Music
(MH.1-59913-054-8).
ISBN
9781599130545.
Roya
l Coronation Dances is
the first sequel to the
Fanfare Ode & Festival,
both being settings of
dance music originally
arranged by Gervaise in
the mid 16th-century (the
next sequel is The
Renaissance Fair, which
uses music of Susato and
Praetorius). Fanfare Ode
& Festival has been
performed by many tens of
thousands of students,
both in high school and
junior high school. I
have heard that some of
them are amazed that the
music they are playing
was first played and
danced to over 400 years
ago. Some students tend
to think that music
started with Handel and
his Messiah to be
followed by Beethoven and
his Fifth Symphony, with
naught in between or
before of consequence.
Although Royal Coronation
Dances is derived from
the same source as
Fanfare Ode & Festival,
they are treated in
different ways. I
envisioned this new suite
programmatically -- hence
the descriptive movement
titles, which I imagined
to be various dances
actually used at some
long-ago coronation. The
first movement depicts
the guests, both noble
and common, flanked by
flag and banner bearers,
arriving at the palace to
view the majestic event.
They are festive, their
flags swirling the air,
their cloaks brightly
colored. In the second
movement, the queen in
stately measure moves to
take her place on the
throne as leader and
protector of the realm.
In the third movement,
the jesters of the court
entertain the guests with
wild games of sport.
Musically, there are
interesting sonorities to
recreate. Very special
attention should be given
to the tambourine/tenor
drum part in the first
movement. Their lively
rhythms give the movement
its power. Therefore they
should be played as
distinctly and
brilliantly as possible.
The xylophone and
glockenspiel add clarity,
but must not be allowed
to dominate. Observe
especially the differing
dynamics; the intent is
to allow much buzzing
bass to penetrate. The
small drum (starting at
meas. 29) should be
played expressively, with
attention to the notated
articulations, with the
brass light and detached,
especially in a lively
auditorium. It is of some
further interest that the
first dance is extremely
modal. The original is
clearly in G mixolydian
mode (scale:
G-A-B-C-D-E-F-G).
However, other editors
might put in F-sharps in
many places (changing the
piece almost to G major),
in the belief that such
ficta would have been
automatically put in by
the 16th-century
performers as they
played. I doubt it. I
have not only eschewed
these within the work,
but even at the cadences.
So this arrangement is
most distinctly modal
(listen to the F-naturals
in meas. 22 and 23, for
instance), with all the
part-writing as Gervaise
wrote it. In the second
movement, be careful that
things do not become too
glued together. In the
16th century this music
might have been played by
a consort of recorders,
instruments very light of
touch and sensitive to
articulation. Concert
band can easily sound
heavy, and although this
movement has been scored
for tutti band, it must
not sound it. It is
essential, therefore,
that you hear all the
instruments, with none
predominating. Only when
each timbre can be heard
separately and
simultaneously will the
best blend occur, and
consequently the greatest
transparency. So aim for
a transparent, spacious
tutti sound in this
movement. Especially have
the flutes, who do this
so well, articulate
rather sharply, so as to
produce a chiffing sound,
and do not allow the
quarter-notes to become
too tied together in the
entire band. The entrance
of the drums (first
tenor, then bass) are
events and as such should
be audible. Incidentally,
this movement begins in F
Major and ends in D
Minor: They really didn't
care so much about those
things then. The third
movement (one friend has
remarked that it is the
most Margolisian of the
bunch, but actually I am
just getting subtler, I
hope) again relies upon
the percussion (and the
scoring) to make its
points. Xylophone in this
movement is meant to be
distinctly audible.
Therefore, be especially
sure that the xylophone
player is secure in the
part, and also that the
tambourine and toms sound
good. This movement must
fly or it will sink, so
rev up the band and
conduct it in 1 for this
mixolydian jesting. I
suppose the wildly
unrelated keys (clarinets
and then brass at the
end) would be a good
16th-century joke, but to
us, our
put-up-the-chorus-a-half-
step ears readily accept
such shenanigans.
Ensemble instrumentation:
1 Full Score, 1 Piccolo,
4 Flute 1, 4 Flute 2 & 3,
2 Oboe 1 & 2, 2 Bassoon 1
& 2, 1 Eb Clarinet, 4 Bb
Clarinet 1, 4 Bb Clarinet
2, 4 Bb Clarinet 3, 2 Eb
Alto Clarinet, 1 Eb
Contra Alto Clarinet, 3
Bb Bass & Bb Contrabass
Clarinet, 2 Eb Alto
Saxophone 1, 2 Eb Alto
Saxophone 2, 2 Bb Tenor
Saxophone, 2 Eb Baritone
Saxophone, 3 Bb Trumpet
1, 3 Bb Trumpet 2, 3 Bb
Trumpet 3, 4 Horn in F 1
& 2, 2 Trombone 1, 4
Trombone 2 & 3, 3
Euphonium (B.C.), 2
Euphonium (T.C.), 4 Tuba,
1 String Bass, 1 Timpani
(optional), 2 Xylophone &
Glockenspiel, 5
Percussion.
Chamber Music violin, piano SKU: PR.114419280 Composed by Chen Yi. Arrang...(+)
Chamber Music violin,
piano
SKU:
PR.114419280
Composed
by Chen Yi. Arranged by
Wong Tak Chiu.
Performance Score. 32+12
pages. Duration 20
minutes. Theodore Presser
Company #114-41928.
Published by Theodore
Presser Company
(PR.114419280).
ISBN
9781491132357. UPC:
680160676125.
Inspi
red by Chinese tradition,
this concerto-like dance
suite includes: 1. Lion
Dance, 2. YangKo, and 3.
Muqam. Each movement
draws from melodies and
rhythms characteristic of
various regions of China
many centuries ago.
CHINESE FOLK DANCE SUITE
is available for violin
with full orchestra, or
as a recital work with
piano. Supported by a
major commissioning award
from the Serge
Koussevitzky Music
Foundation in the Library
of Congress, Chinese Folk
Dance Suite is written
for solo violin and
orchestra; it was
premiered by The
Women’s
Philharmonic with violin
soloist Terrie Baune,
conducted by Apo Hsu, on
March 10, 2001, at Yerba
Buena Center For the Arts
Theater in San
Francisco.Inspired by
various Chinese
traditional folk dances,
the suite has three
movements:I. Lion Dance.
Traditionally, people
dance with richly
decorated hand-made
lions, accompanied by
percussion ensemble, to
celebrate happy occasions
and major festivals
throughout the country.
In this composition, I
use Chinese drum and
other percussion
instruments in the
background, to form a
dynamic and rhythmic
texture responding to the
solo part, which imitates
the tunes played on the
suona (traditional
Chinese trumpet). The
pitch materials came from
the traditional Guangdong
tune “Dragon Boat
Racing,†and the
Chaozhou tune “Lion
Playing Ball.â€II.
YangKo. Originating in
northern China, this is a
major folk dance form in
mass performance
popularized in the
country. In YangKo
performance, people play
rhythmic patterns on the
drums hung around their
waists while singing and
dancing. In the second
movement, I imagined a
warm scene of YangKo
dancing in distance. The
solo violin plays a sweet
and gracious melodic line
while all members of the
orchestra sing
non-pitched syllables in
different layers as the
soft background, to
imitate the percussion
sound which produces the
ever-going pulse.III.
Muqam. This large-scale
music and dance form,
from the Uygur
nationality in Xinjiang
province, originated in
the 15th century. My
third movement use a 7/8
meter and the melodic
style of Muqam music. The
fiery dancing gesture
culminates in the
sustained climax section
at the end of the work,
after a colorful violin
cadenza in both
improvisational singing
style and polyphonic
writing with woven
lines.
Chinese Folk Dance Suite Saxophone Soprano et Piano [Conducteur et Parties séparées] Theodore Presser Co.
Chamber Music Piano, soprano Saxophone SKU: PR.114419290 Composed by Chen...(+)
Chamber Music Piano,
soprano Saxophone
SKU:
PR.114419290
Composed
by Chen Yi. Edited by
Chen Yi. Arranged by Wong
Tak Chiu. Sws. Score and
parts. 44 pages. Duration
20 minutes. Theodore
Presser Company
#114-41929. Published by
Theodore Presser Company
(PR.114419290).
ISBN
9781491135235. UPC:
680160676118. 9 x 12
inches.
Supported
by a major commissioning
award from the Serge
Koussevitzky Music
Foundation in the Library
of Congress, my Chinese
Folk Dance Suite is
written for violin solo
and orchestra, and
premiered by The Women's
Philharmonic with violin
soloist Terrie Baune,
conducted by Apo Hsu, on
March 10, 2001, at Yerba
Buena Center For the Arts
Theater in San Francisco.
Inspired by various
Chinese traditional folk
dances, I've composed
three movements in the
suite: 1) Lion Dance.
Traditionally, people
dance with richly
decorated hand made
lions, accompanied by
percussion ensemble, to
celebrate happy occasions
and major festivals
throughout the country.
In the composition, I use
Chinese drum and other
percussion instruments in
the background, to form a
dynamic and rhythmic
texture responding to the
solo part, which imitates
the tunes played on the
suona (traditional
Chinese trumpet). The
pitch materials came from
traditional Guangdong
Music tune and Chaozhou
Music tune ; 2) YangKo.
Originated in northern
China, it's a major folk
dance form in mass
performance popularized
in the country. In YangKo
performance, people
always play rhythmic
patterns on the drums
hung around their waists
while singing and
dancing. In my second
movement, I have imagined
a warm scene of YangKo
dancing in distance. The
solo violin plays a sweet
and gracious melodic line
while all members in the
orchestra sing the
non-pitch syllables in
different layers as the
soft background, to
imitate the percussion
sound which produces the
ever going pulse. 3)
Muqam. It is a large
scale traditional music
and dance form from Uygur
nationality in Xinjiang
province, originated in
the 15th century. In my
third movement, I keep
the meter of seven eight
and the melodic style of
Muqam music. The fiery
dancing gesture cumulates
the sustained climax
section at the end of the
work, after a colorful
violin cadenza in both
improvisational singing
style and polyphonic
writing with woven lines.
Scored for 2 flutes (2nd
doubling piccolo), 2
oboes, 2 clarinets in Bb,
2 bassoons, 4 French
horns in F, 2 trumpets in
Bb, 3 trombones,
percussion 1 (3 congas,
low tom-tom, temple
block, paddle castanets),
percussion 2 (snare drum,
6 small Beijing opera
gong, 12 big Beijing
opera gong, crotales,
tambourine), percussion 3
(suspended cymbal, a pair
of 6 Chinese cymbals,
bass drum), solo violin,
violins I, violins II,
violas, cellos and double
basses. Duration is about
16 minutes. The work is
recorded on Bis [CD-1352]
and released in 2003,
performed by Cho-Liang
Lin and the Singapore
Symphony Orchestra, cond.
by Lan Shui. Reduction
for B-flat soprano
saxophone and piano by
Wong Tak Chiu (2017) and
edited by Chen Yi (2018)
The second movement
YangKo is premiered by
Dr. Wong and Korak
Lerpibulchai at the
Singapore Saxophone
Symposium on 8/13/2017.
The American premiere of
the saxophone and piano
reduction version of
Chinese Folk Dance Suite
is given by Chi Him Chik
and Hao Yin at the
Society for American
Music National Conference
in Kansas City, MO on
3/2/2018.