| Czardas Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire C.L. Barnhouse
Composed by Vittorio Monti (1868-1922). Arranged by Andrew Glover. For concert b...(+)
Composed by Vittorio
Monti (1868-1922).
Arranged by Andrew
Glover. For concert band.
Spotlight Series. Grade
3. Score and parts.
Duration 4 minutes, 19
seconds. Published by
C.L. Barnhouse
$68.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Gotta 'Bone To Pick With You Ensemble Jazz [Conducteur] - Facile C.L. Barnhouse
Jazz ensemble - Grade 3 SKU: CL.032-4215-01 Composed by Sherburne. Jazz E...(+)
Jazz ensemble - Grade 3
SKU:
CL.032-4215-01
Composed by Sherburne.
Jazz Ensemble. Audio
recording available
separately (item
CL.991-2013-01). Extra
full score. Composed
2013. Duration 4 minutes,
4 seconds. C.L. Barnhouse
#032-4215-01. Published
by C.L. Barnhouse
(CL.032-4215-01).
The name says
it all in this swingin'
piece featuring the
trombone section with a
brassy attitude. It's a
twelve bar, B-flat blues
tune that gives the
trombones a chance to
shine with both unison
and harmonized lines. The
trumpets and saxes add in
with complimentary hits
and counter melodies. The
piece works great as an
easy laid back swing or
with an up tempo groove.
The ranges are modest but
everyone in audience will
know if some have a 'bone
to pick with them! $7.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| 2 Hip 2 B Blues Ensemble Jazz [Conducteur] - Intermédiaire C.L. Barnhouse
Jazz ensemble - Grade 4 SKU: CL.SCM-1018-01 Composed by Iacona. Jazz Ense...(+)
Jazz ensemble - Grade 4
SKU:
CL.SCM-1018-01
Composed by Iacona. Jazz
Ensemble. Extra full
score. Composed 2004.
Duration 3 minutes, 4
seconds. C.L. Barnhouse
#SCM-1018-01. Published
by C.L. Barnhouse
(CL.SCM-1018-01).
Extended blues
form shifts from a Swing
Shuffle to a Funk bridge
then back again. Optional
lead trumpet notes save
chops but won't take the
energy away from this
chart. $6.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| 2 Hip 2 B Blues Ensemble Jazz [Conducteur et Parties séparées] - Intermédiaire C.L. Barnhouse
Jazz ensemble - Grade 4 SKU: CL.SCM-1018-00 Composed by Iacona. Jazz Ense...(+)
Jazz ensemble - Grade 4
SKU:
CL.SCM-1018-00
Composed by Iacona. Jazz
Ensemble. Smart Chart
Music - Jazz Arrangements
Series. Score and set of
parts. Composed 2004.
Duration 3 minutes, 4
seconds. C.L. Barnhouse
#SCM-1018-00. Published
by C.L. Barnhouse
(CL.SCM-1018-00).
Extended blues
form shifts from a Swing
Shuffle to a Funk bridge
then back again. Optional
lead trumpet notes save
chops but won't take the
energy away from this
chart. $47.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Forever Sky Ensemble de Trompettes - Intermédiaire/avancé Triplo Press
Composed by Josh Hobbs. Trumpet Ensemble. For 6 trumpets. Small Ensemble. Ke...(+)
Composed by Josh Hobbs.
Trumpet Ensemble. For 6
trumpets. Small Ensemble.
Key:
C Major. Modern. Grade 7.
Score and parts. Standard
notation. Composed 2013.
28
pages. Duration 4
minutes, 9
seconds. Published by
Triplo
Press
$24.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Mysterious Barricades Quatuor de Clarinettes: 4 clarinettes [Conducteur et Parties séparées] Alea Publishing
Composed by Francois Couperin (1668-1733). Score and parts. Published by Alea Pu...(+)
Composed by Francois
Couperin (1668-1733).
Score and parts.
Published by Alea
Publishing (A7.ALEA1113).
$10.00 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Opener, Act III Scene III from Lohengrin Ensemble de Trompettes [Conducteur et Parties séparées] Triplo Press
Composed by Richard Wagner (1813-1883). Arranged by James Olcott. Small Ensemble...(+)
Composed by Richard
Wagner (1813-1883).
Arranged by James Olcott.
Small Ensemble. Key: C
Major. Romantic. Score
and parts. With Standard
notation. 59 pages.
Duration 4 minutes.
Published by Triplo Press
(T3.TRP-097).
$31.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Regina C!li ClarNan Editions
By Maria Xaveria Peruchona (1652-1709). Edited by Barbara Jackson. SAT choir and...(+)
By Maria Xaveria
Peruchona (1652-1709).
Edited by Barbara
Jackson. SAT choir and
basso continuo. For SAT
voices and continuo (SAT
and continuo (choral or
soli)). Trio. Trio.
Baroque. Adult. Sheet
music. 20 pages. Duration
4 minutes, 3 seconds.
Published b. Baroque.
$12.00 - Voir plus => Acheter | | |
| Prelude on the name B-A-C-H Orgue [Conducteur]
By R. K. Biggs. For organ solo. Dramatic and dynamic set of continuous variation...(+)
By R. K. Biggs. For organ
solo. Dramatic and
dynamic set of continuous
variations. Neo Romantic.
Advanced. Score. Duration
4 minutes. Published by
Consort Press
$10.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Wind Won't Listen Theodore Presser Co.
Bassoon, Viola, Violin 1, Violin 2, Violoncello SKU: PR.16400261S Compose...(+)
Bassoon, Viola, Violin 1,
Violin 2, Violoncello
SKU: PR.16400261S
Composed by Dan Welcher.
With Standard notation.
Duration 15 minutes.
Theodore Presser Company
#164-00261S. Published by
Theodore Presser Company
(PR.16400261S). UPC:
680160038411. Since
the bassoon is my own
instrument, many people
have asked me why I've
written so little for the
instrument. Beyond my
early Concerto Da Camera
for bassoon and small
orchestra, written for
Leonard Sharrow in 1975,
I've not written a single
piece that features the
bassoon as a solo vehicle
(though I have written
three woodwind quintets).
When I first began
composing seriously,
critics were quick to
point out that my
orchestral writing
revealed nothing of my
roots as a woodwind
player--and bassoonists
asked why my pieces
didn't have more bassoon
solos. Perhaps I was so
aware that people were
looking at me as a
bassoonist/composer that
I was determined to
remove that stigma. Now
that my transformation
from performer to
composer is complete,
however, it's time to
re-address my instrument.
I wanted this new piece
to be serious rather than
whimsical. The Wind Won't
Listen represents my
return to the bassoon as
the highly expressive,
poetic soul that it is.
As such, it
shouldn't come as a
surprise that the piece
is based on a poem, and
that the title of the
piece as well as both its
movement titles come from
lines in that poem. I
first read Beth Gylys'
poem Split at the
MacDowell Colony in the
summer of 2001, and it
made a big impression on
me. My personal life had
been ruptured by divorce
in the preceding year.
This poem, with its dry
insistence on observation
rather than feeling,
expressed the wrung-out
state of my emotions at
the time better than any
I had seen. I set it to
music, as a song,
immediately. In this
format, for voice and
piano, I was able to put
a musical note to every
word of the poem. The
first lines of the poem,
Everyone I know is
crying, or should be
crying, became a melody
that haunted me even
without the words.
The work for bassoon and
string quartet is an
outgrowth of the song.
The first movement is
labeled Romanza, and has
a loose formal arch
structure of A-B-C-B-A,
with B and C being fast
sections framed by the
lamenting A music. In
addition to hearing the
bassoon's first notes
attached to the lines
Everyone I know is
crying, there's a sense
of agitation, of loss, of
longing, and at times of
desperation in the music.
At one point, the opening
theme from Tristan even
appears in the strings.
The second
movement follows, without
a real pause--the
pizzicato final chords of
the first movement
becoming the increasingly
aggressive opening chords
of the second. The
recitative is actually a
foreshadowing of the
basic theme that will be
varied, again to the
words of the song: Life
makes itself without us.
Don't let me tell you how
it is. Go out. Look. The
recitative begins in an
anguished state, but
subsides into more gentle
singing by the end, when
it simply falls into an
ostinato 5/8-3/4 pattern
to begin the variations.
Marked Very steady tempo;
Dancing, this set of
variations consists of
three dances, each faster
than the previous. The
first, in the
aforementioned 5/8-3/4
meter, gives way to a 3/8
scherzo, which in turn
takes on a furious 2/4
scurrying motion. The
music becomes breathless,
almost pulse-less, and an
ethereal theme appears in
the violins while the
rushing music continues,
sotto voce in the
bassoon. This new theme
is also from the song:
Why do I do this? The
wind won't listen. The
bassoon re-states its
Everyone I know is crying
melody from the first
movement, and at length
the 5/8-3/4 music
returns, more subdued
this time. The piece ends
on a major-minor chord,
suspended. The
Wind Won't Listen is
dedicated to the man who
commissioned it,
bassoonist Steven
Dibner--who shares my
passion for poetry and
language. --Dan
Welcher. $41.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Black Light Orchestre d'harmonie - Intermédiaire Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Chimes, Clarinet 1, Clarinet 2, C...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Bells,
Chimes, Clarinet 1,
Clarinet 2, Clarinet 3,
Crash Cymbals, Euphonium,
Euphonium T.C., Flute 1,
Flute 2, Gong, Horn 1,
Horn 2, Mallet Percussion
1, Mallet Percussion 2,
Mallet Percussion 3 and
more. - Grade 3.5 SKU:
CF.CPS228 Composed by
George Sweet. Concert
Band (CPS). Set of Score
and Parts. With Standard
notation.
8+8+4+8+16+16+4+4+4+4+4+4
+8+8+8+4+4+6+6+6+8+1+2+2+
2+2+4+8+2+28+4 pages.
Duration 4 minutes, 35
seconds. Carl Fischer
Music #CPS228. Published
by Carl Fischer Music
(CF.CPS228). ISBN
9781491152546. UPC:
680160910045. Black
light is defined as
infrared or ultraviolet
light which is invisible
to the naked eye. The
idea of an entire spectra
existing out of the range
of human perception was a
large influencing factor
for George Sweet in the
composition of this
piece. Richly scored
for the modern concert
band, Black Light is
written in a
post-minimalist style and
is also heavily
influenced by the work of
American composers Steve
Reich, John Adams, and
Philip Glass. Black
light is defined as
infrared or ultraviolet
light which is invisible
to the naked eye. The
idea of an entire spectra
existing out of the range
of human perception was
an influencing factor on
the composition of the
piece. Black Light is
written in a
post-minimalist style and
is also heavily
influenced by the work of
American composers Steve
Reich, John Adams, and
Philip Glass.This begins
with strict motor
accompaniment. Take care
to maintain equal balance
among the different
“moving
parts†so that they
blend to create a solid
whole both here and
throughout the piece. The
primary thematic material
is stated by the trumpets
and horns at m. 12. This
material is the basis for
much of the harmonic and
thematic material that
follows. A slightly
varied statement of the
main theme is presented
again at m. 26 with a
different type of motor
accompaniment. This leads
to a B-section at m. 44,
which is a bold
fanfare-like presentation
of the main material.
Another series of
variations on the main
theme begins at m. 50 and
incorporates many
different textural and
harmonic ideas in the
accompaniment. Once
again, be careful to not
let any one “moving
part†overwhelm
another and keep the
texture evenly balanced.
 A second, broader
presentation of the
B-section occurs at m. 90
and leads to a subdued
C-section at m. 100 with
new melodic material
presented in the trumpet.
A whimsical march-like
section pushes to the
return of the
introductory motor
material at m. 131. A
final heroic presentation
of the main thematic
material results in a
somewhat ambiguous coda,
which brings the piece to
a dramatic
conclusion. $95.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Shades of Red Ensemble de Trompettes - Intermédiaire/avancé Triplo Press
Composed by Austin Jaquith. Trumpet Ensemble. For 8 trumpets (4 C trumpets a...(+)
Composed by Austin
Jaquith.
Trumpet Ensemble. For 8
trumpets (4 C trumpets
and 4
Bb trumpets). Small
Ensemble.
Key: A minor. Modern.
Grade 7.
Score and parts. Standard
notation. Composed 2011.
64
pages. Duration 8
minutes, 10
seconds. Published by
Triplo
Press
$26.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
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