| Messiah at Easter (Flute / Oboe / Mallets) Flûte traversière [Partition + CD] - Intermédiaire/avancé Curnow Music
Flute/Oboe/Mallet Percussion. By George Frideric Handel. Arranged by James Curno...(+)
Flute/Oboe/Mallet
Percussion. By George
Frideric Handel. Arranged
by James Curnow. Curnow
Play-Along Book.
Softcover with CD.
Published by Curnow
Music.
(1)$12.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Spring in Dresden [Conducteur] Theodore Presser Co.
Orchestra Bass Drum, Bassoon 1, Bassoon 2, Clarinet 1, Clarinet 2, Contrabass, F...(+)
Orchestra Bass Drum,
Bassoon 1, Bassoon 2,
Clarinet 1, Clarinet 2,
Contrabass, Flute 1,
Flute 2, Harp, Horn 1,
Horn 2, Horn 3, Horn 4,
Marimba, Oboe 1, Oboe 2,
Percussion 1, Percussion
2, Percussion 3, Snare
Drum, Suspended Cymbal,
Tam-tam, Trombone 1 and
more. SKU:
PR.11641963S Composed
by Chen Yi. Full score.
58 pages. Duration 20
minutes. Theodore Presser
Company #116-41963S.
Published by Theodore
Presser Company
(PR.11641963S). UPC:
680160684472. The
violin concerto is
commissioned by Friends
of Dresden Music
Foundation for American
soloist Mira Wang and the
New York Philharmonic and
Staatskapelle Dresden as
an American commemoration
of the reconstruction of
the Dresden Frauenkirche,
60 years after its
destruction in World War
II by American and
British Forces. The world
premiere is given at the
Semperoper in Dresden,
Germany, on October 9, 10
& 11, 2005, conducted
by Ivan Fischer. Full of
excitement and inner
power, the musical image
is vivid, energetic,
sometimes lyrical and
sometimes dramatic. The
major angular thematic
material (a three note
motive) consists of big
leaps in interval (a
perfect fourth downward
and then a minor seventh
upward, first introduced
by the violin solo in
measures 27-29). Except
for the cadenzas which
stand at the middle
(Rehearsal E, measure
127) and the two ends of
the piece as a frame, the
virtuosic violin solo
line is always
accompanied by the ever
moving and growing
textures in the
background. The rests
between long and short
phrases symbolize the
space in Chinese
paintings. The Beijing
Opera reciting tune, and
the fingerings to produce
sliding tones in the
performance of the
Chinese fiddle erhu are
also borrowed in the
writing and the
performing of the western
instruments. The musical
imagination of the violin
concerto came from an
ancient Chinese poem with
the same title, written
by Du Fu (712-770) in
Tang Dynasty. Happy Rain
on a Spring Night by Du
Fu (712-770 in Tang
Dynasty) Happy rain comes
in time, When spring is
in its prime. With night
breeze it will fall, And
quietly moisten all.
Clouds darken wild roads,
Light brightens a little
boat. Saturated at dawn,
With flowers blooming the
town. (English
translation by Chen Yi
from the original poem in
Chinese) The following is
the poem in its original
Chinese form, and the
detailed introduction on
the structural plan of
the violin concerto
Spring in Dresden. It's
like the welcome rain on
a quiet spring night that
nurtures the budding
seeds, our new society is
pushing us forward to the
new future. The music
reflects the scenes and
the expression according
to the meaning of the
poem when it's being
unfolded line by line.
Although the tempo is set
63 quarter notes per
minute throughout (played
vividly, never slow
down), the tension is
being built up from the
quiet background in the
beginning, to the
sustained climax towards
the end. The musical
image in Rehearsal A and
B (measures 39-80)
represents the first four
lines of the poem. The
wind instruments response
to the rustling of fast
moving notes on muted
string triplets,
decorated by occasional
strokes produced by
metallic string sound and
high woodwind gestures.
The music in Rehearsal C
and D (measures 81-126)
represents the next two
lines of the poem. It's
so dark, a little light
in the boat is shimmering
on the lake... The
breathy sound and key
slaps on the flutes
create a mysterious
atmosphere, in a dialogue
with other instruments.
The cello glissandi
recite the poem in the
tone of Mandarin, echoed
by the string harmonics.
The music in Rehearsal F,
G and H (m 129-202) is a
toccata, starting in the
orchestra (led by the
marimba), which builds up
a big shape, to reach the
climax in m. 157
(Rehearsal G, the
location of the Golden
Section, according to the
length of the music
without cadenzas), and
keeps the vivid scene
towards the coda (from
Rehearsal I, m. 203),
which stands on the
energetic peak until the
clear cutoff on measure
239, followed by the
short, yet powerful solo
conclusion with the
lingering echo produced
by the high string
harmonics. On the top,
there is a recall of the
three note motive in the
sound of wonderland,
touched by the motor-on
vibraphone meaningfully.
The music is written for
2 flutes, 2 oboes, 2
clarinets (in Bb), 2
bassoons, 4 French horns
(in F), 2 trumpets (in
Bb), 3 trombones, tuba,
harp, 3 percussion
players (Perc. 1:
xylophone; Perc. 2:
suspended cymbal,
Japanese high woodblock,
snare drum, bass drum and
vibraphone; Perc. 3:
marimba and tam-tam),
solo violin, and strings.
Duration is about 20
minutes. The violin
concerto is commissioned
by Friends of Dresden
Music Foundation for
American soloist Mira
Wang and the New York
Philharmonic and
Staatskapelle Dresden as
an American commemoration
of the reconstruction of
the Dresden Frauenkirche,
60 years after its
destruction in World War
II by American and
British Forces. The world
premiere is given at the
Semperoper in Dresden,
Germany, on October 9, 10
& 11, 2005, conducted by
Ivan Fischer.Full of
excitement and inner
power, the musical image
is vivid, energetic,
sometimeslyrical and
sometimes dramatic. The
major angular thematic
material (a three
notemotive) consists of
big leaps in interval (a
perfect fourth downward
and then a minorseventh
upward, first introduced
by the violin solo in
measures 27-29). Except
for thecadenzas which
stand at the middle
(Rehearsal E, measure
127) and the two ends of
the piece as a frame, the
virtuosic violin solo
line is always
accompanied by the ever
moving and growing
textures in the
background. The rests
between long and short
phrases symbolize the
space in Chinese
paintings. The Beijing
Opera reciting tune, and
the fingerings to produce
sliding tones in the
performance of the
Chinese fiddle erhu are
also borrowed in the
writing and the
performing of the western
instruments.The musical
imagination of the violin
concerto came from an
ancient Chinese poem with
the same title, written
by Du Fu (712-770) in
Tang Dynasty.Happy Rain
on a Spring Nightby Du Fu
(712-770 in Tang
Dynasty)Happy rain comes
in time,When spring is in
its prime.With night
breeze it will fall,And
quietly moisten
all.Clouds darken wild
roads,Light brightens a
little boat.Saturated at
dawn,With flowers
blooming the
town.(English translation
by Chen Yi from the
original poem in
Chinese)The following is
the poem in its original
Chinese form, and the
detailed introduction
onthe structural plan of
the violin concerto
Spring in
Dresden.It’s like
the welcome rain on a
quiet spring night that
nurtures the budding
seeds, our newsociety is
pushing us forward to the
new future. The music
reflects the scenes and
theexpression according
to the meaning of the
poem when it’s
being unfolded line by
line.Although the tempo
is set 63 quarter notes
per minute throughout
(played vividly,
neverslow down), the
tension is being built up
from the quiet background
in the beginning, tothe
sustained climax towards
the end. The musical
image in Rehearsal A and
B (measures39-80)
represents the first four
lines of the poem. The
wind instruments response
to therustling of fast
moving notes on muted
string triplets,
decorated by occasional
strokesproduced by
metallic string sound and
high woodwind gestures.
The music in RehearsalC
and D (measures 81-126)
represents the next two
lines of the poem. It's
so dark, a littlelight in
the boat is shimmering on
the lake... The breathy
sound and key slaps on
theflutes create a
mysterious atmosphere, in
a dialogue with other
instruments. The
celloglissandi recite the
poem in the tone of
Mandarin, echoed by the
string harmonics.
Themusic in Rehearsal F,
G and H (m 129-202) is a
toccata, starting in the
orchestra (led bythe
marimba), which builds up
a big shape, to reach the
climax in m. 157
(Rehearsal G,the location
of the Golden Section,
according to the length
of the music
withoutcadenzas), and
keeps the vivid scene
towards the coda (from
Rehearsal I, m. 203),
whichstands on the
energetic peak until the
clear cutoff on measure
239, followed by the
short,yet powerful solo
conclusion with the
lingering echo produced
by the high
stringharmonics. On the
top, there is a recall of
the three note motive in
the sound ofwonderland,
touched by the motor-on
vibraphone
meaningfully.The music is
written for 2 flutes, 2
oboes, 2 clarinets (in
Bb), 2 bassoons, 4 French
horns (in F), 2 trumpets
(in Bb), 3 trombones,
tuba, harp, 3 percussion
players (Perc.
1:xylophone; Perc. 2:
suspended cymbal,
Japanese high woodblock,
snare drum, bass drum and
vibraphone; Perc. 3:
marimba and tam-tam),
solo violin, and
strings.Duration is about
20 minutes. $35.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Spring in Dresden Theodore Presser Co.
Orchestra Bass Drum, Bassoon 1, Bassoon 2, Clarinet 1, Clarinet 2, Contrabass, F...(+)
Orchestra Bass Drum,
Bassoon 1, Bassoon 2,
Clarinet 1, Clarinet 2,
Contrabass, Flute 1,
Flute 2, Harp, Horn 1,
Horn 2, Horn 3, Horn 4,
Marimba, Oboe 1, Oboe 2,
Percussion 1, Percussion
2, Percussion 3, Snare
Drum, Suspended Cymbal,
Tam-tam, Trombone 1 and
more. SKU:
PR.11641963SP
Composed by Chen Yi.
Part. 11 pages. Duration
20 minutes. Theodore
Presser Company
#116-41963SP. Published
by Theodore Presser
Company (PR.11641963SP).
UPC:
680160684496. The
violin concerto is
commissioned by Friends
of Dresden Music
Foundation for American
soloist Mira Wang and the
New York Philharmonic and
Staatskapelle Dresden as
an American commemoration
of the reconstruction of
the Dresden Frauenkirche,
60 years after its
destruction in World War
II by American and
British Forces. The world
premiere is given at the
Semperoper in Dresden,
Germany, on October 9, 10
& 11, 2005, conducted
by Ivan Fischer. Full of
excitement and inner
power, the musical image
is vivid, energetic,
sometimes lyrical and
sometimes dramatic. The
major angular thematic
material (a three note
motive) consists of big
leaps in interval (a
perfect fourth downward
and then a minor seventh
upward, first introduced
by the violin solo in
measures 27-29). Except
for the cadenzas which
stand at the middle
(Rehearsal E, measure
127) and the two ends of
the piece as a frame, the
virtuosic violin solo
line is always
accompanied by the ever
moving and growing
textures in the
background. The rests
between long and short
phrases symbolize the
space in Chinese
paintings. The Beijing
Opera reciting tune, and
the fingerings to produce
sliding tones in the
performance of the
Chinese fiddle erhu are
also borrowed in the
writing and the
performing of the western
instruments. The musical
imagination of the violin
concerto came from an
ancient Chinese poem with
the same title, written
by Du Fu (712-770) in
Tang Dynasty. Happy Rain
on a Spring Night by Du
Fu (712-770 in Tang
Dynasty) Happy rain comes
in time, When spring is
in its prime. With night
breeze it will fall, And
quietly moisten all.
Clouds darken wild roads,
Light brightens a little
boat. Saturated at dawn,
With flowers blooming the
town. (English
translation by Chen Yi
from the original poem in
Chinese) The following is
the poem in its original
Chinese form, and the
detailed introduction on
the structural plan of
the violin concerto
Spring in Dresden. It's
like the welcome rain on
a quiet spring night that
nurtures the budding
seeds, our new society is
pushing us forward to the
new future. The music
reflects the scenes and
the expression according
to the meaning of the
poem when it's being
unfolded line by line.
Although the tempo is set
63 quarter notes per
minute throughout (played
vividly, never slow
down), the tension is
being built up from the
quiet background in the
beginning, to the
sustained climax towards
the end. The musical
image in Rehearsal A and
B (measures 39-80)
represents the first four
lines of the poem. The
wind instruments response
to the rustling of fast
moving notes on muted
string triplets,
decorated by occasional
strokes produced by
metallic string sound and
high woodwind gestures.
The music in Rehearsal C
and D (measures 81-126)
represents the next two
lines of the poem. It's
so dark, a little light
in the boat is shimmering
on the lake... The
breathy sound and key
slaps on the flutes
create a mysterious
atmosphere, in a dialogue
with other instruments.
The cello glissandi
recite the poem in the
tone of Mandarin, echoed
by the string harmonics.
The music in Rehearsal F,
G and H (m 129-202) is a
toccata, starting in the
orchestra (led by the
marimba), which builds up
a big shape, to reach the
climax in m. 157
(Rehearsal G, the
location of the Golden
Section, according to the
length of the music
without cadenzas), and
keeps the vivid scene
towards the coda (from
Rehearsal I, m. 203),
which stands on the
energetic peak until the
clear cutoff on measure
239, followed by the
short, yet powerful solo
conclusion with the
lingering echo produced
by the high string
harmonics. On the top,
there is a recall of the
three note motive in the
sound of wonderland,
touched by the motor-on
vibraphone meaningfully.
The music is written for
2 flutes, 2 oboes, 2
clarinets (in Bb), 2
bassoons, 4 French horns
(in F), 2 trumpets (in
Bb), 3 trombones, tuba,
harp, 3 percussion
players (Perc. 1:
xylophone; Perc. 2:
suspended cymbal,
Japanese high woodblock,
snare drum, bass drum and
vibraphone; Perc. 3:
marimba and tam-tam),
solo violin, and strings.
Duration is about 20
minutes. The violin
concerto is commissioned
by Friends of Dresden
Music Foundation for
American soloist Mira
Wang and the New York
Philharmonic and
Staatskapelle Dresden as
an American commemoration
of the reconstruction of
the Dresden Frauenkirche,
60 years after its
destruction in World War
II by American and
British Forces. The world
premiere is given at the
Semperoper in Dresden,
Germany, on October 9, 10
& 11, 2005, conducted by
Ivan Fischer.Full of
excitement and inner
power, the musical image
is vivid, energetic,
sometimeslyrical and
sometimes dramatic. The
major angular thematic
material (a three
notemotive) consists of
big leaps in interval (a
perfect fourth downward
and then a minorseventh
upward, first introduced
by the violin solo in
measures 27-29). Except
for thecadenzas which
stand at the middle
(Rehearsal E, measure
127) and the two ends of
the piece as a frame, the
virtuosic violin solo
line is always
accompanied by the ever
moving and growing
textures in the
background. The rests
between long and short
phrases symbolize the
space in Chinese
paintings. The Beijing
Opera reciting tune, and
the fingerings to produce
sliding tones in the
performance of the
Chinese fiddle erhu are
also borrowed in the
writing and the
performing of the western
instruments.The musical
imagination of the violin
concerto came from an
ancient Chinese poem with
the same title, written
by Du Fu (712-770) in
Tang Dynasty.Happy Rain
on a Spring Nightby Du Fu
(712-770 in Tang
Dynasty)Happy rain comes
in time,When spring is in
its prime.With night
breeze it will fall,And
quietly moisten
all.Clouds darken wild
roads,Light brightens a
little boat.Saturated at
dawn,With flowers
blooming the
town.(English translation
by Chen Yi from the
original poem in
Chinese)The following is
the poem in its original
Chinese form, and the
detailed introduction
onthe structural plan of
the violin concerto
Spring in
Dresden.It’s like
the welcome rain on a
quiet spring night that
nurtures the budding
seeds, our newsociety is
pushing us forward to the
new future. The music
reflects the scenes and
theexpression according
to the meaning of the
poem when it’s
being unfolded line by
line.Although the tempo
is set 63 quarter notes
per minute throughout
(played vividly,
neverslow down), the
tension is being built up
from the quiet background
in the beginning, tothe
sustained climax towards
the end. The musical
image in Rehearsal A and
B (measures39-80)
represents the first four
lines of the poem. The
wind instruments response
to therustling of fast
moving notes on muted
string triplets,
decorated by occasional
strokesproduced by
metallic string sound and
high woodwind gestures.
The music in RehearsalC
and D (measures 81-126)
represents the next two
lines of the poem. It's
so dark, a littlelight in
the boat is shimmering on
the lake... The breathy
sound and key slaps on
theflutes create a
mysterious atmosphere, in
a dialogue with other
instruments. The
celloglissandi recite the
poem in the tone of
Mandarin, echoed by the
string harmonics.
Themusic in Rehearsal F,
G and H (m 129-202) is a
toccata, starting in the
orchestra (led bythe
marimba), which builds up
a big shape, to reach the
climax in m. 157
(Rehearsal G,the location
of the Golden Section,
according to the length
of the music
withoutcadenzas), and
keeps the vivid scene
towards the coda (from
Rehearsal I, m. 203),
whichstands on the
energetic peak until the
clear cutoff on measure
239, followed by the
short,yet powerful solo
conclusion with the
lingering echo produced
by the high
stringharmonics. On the
top, there is a recall of
the three note motive in
the sound ofwonderland,
touched by the motor-on
vibraphone
meaningfully.The music is
written for 2 flutes, 2
oboes, 2 clarinets (in
Bb), 2 bassoons, 4 French
horns (in F), 2 trumpets
(in Bb), 3 trombones,
tuba, harp, 3 percussion
players (Perc.
1:xylophone; Perc. 2:
suspended cymbal,
Japanese high woodblock,
snare drum, bass drum and
vibraphone; Perc. 3:
marimba and tam-tam),
solo violin, and
strings.Duration is about
20 minutes. $25.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Spring in Dresden Theodore Presser Co.
Orchestra Bass Drum, Bassoon 1, Bassoon 2, Clarinet 1, Clarinet 2, Contrabass, F...(+)
Orchestra Bass Drum,
Bassoon 1, Bassoon 2,
Clarinet 1, Clarinet 2,
Contrabass, Flute 1,
Flute 2, Harp, Horn 1,
Horn 2, Horn 3, Horn 4,
Marimba, Oboe 1, Oboe 2,
Percussion 1, Percussion
2, Percussion 3, Snare
Drum, Suspended Cymbal,
Tam-tam, Trombone 1 and
more. SKU:
PR.11641963L Composed
by Chen Yi. Large Score.
58 pages. Duration 20
minutes. Theodore Presser
Company #116-41963L.
Published by Theodore
Presser Company
(PR.11641963L). UPC:
680160684489. The
violin concerto is
commissioned by Friends
of Dresden Music
Foundation for American
soloist Mira Wang and the
New York Philharmonic and
Staatskapelle Dresden as
an American commemoration
of the reconstruction of
the Dresden Frauenkirche,
60 years after its
destruction in World War
II by American and
British Forces. The world
premiere is given at the
Semperoper in Dresden,
Germany, on October 9, 10
& 11, 2005, conducted
by Ivan Fischer. Full of
excitement and inner
power, the musical image
is vivid, energetic,
sometimes lyrical and
sometimes dramatic. The
major angular thematic
material (a three note
motive) consists of big
leaps in interval (a
perfect fourth downward
and then a minor seventh
upward, first introduced
by the violin solo in
measures 27-29). Except
for the cadenzas which
stand at the middle
(Rehearsal E, measure
127) and the two ends of
the piece as a frame, the
virtuosic violin solo
line is always
accompanied by the ever
moving and growing
textures in the
background. The rests
between long and short
phrases symbolize the
space in Chinese
paintings. The Beijing
Opera reciting tune, and
the fingerings to produce
sliding tones in the
performance of the
Chinese fiddle erhu are
also borrowed in the
writing and the
performing of the western
instruments. The musical
imagination of the violin
concerto came from an
ancient Chinese poem with
the same title, written
by Du Fu (712-770) in
Tang Dynasty. Happy Rain
on a Spring Night by Du
Fu (712-770 in Tang
Dynasty) Happy rain comes
in time, When spring is
in its prime. With night
breeze it will fall, And
quietly moisten all.
Clouds darken wild roads,
Light brightens a little
boat. Saturated at dawn,
With flowers blooming the
town. (English
translation by Chen Yi
from the original poem in
Chinese) The following is
the poem in its original
Chinese form, and the
detailed introduction on
the structural plan of
the violin concerto
Spring in Dresden. It's
like the welcome rain on
a quiet spring night that
nurtures the budding
seeds, our new society is
pushing us forward to the
new future. The music
reflects the scenes and
the expression according
to the meaning of the
poem when it's being
unfolded line by line.
Although the tempo is set
63 quarter notes per
minute throughout (played
vividly, never slow
down), the tension is
being built up from the
quiet background in the
beginning, to the
sustained climax towards
the end. The musical
image in Rehearsal A and
B (measures 39-80)
represents the first four
lines of the poem. The
wind instruments response
to the rustling of fast
moving notes on muted
string triplets,
decorated by occasional
strokes produced by
metallic string sound and
high woodwind gestures.
The music in Rehearsal C
and D (measures 81-126)
represents the next two
lines of the poem. It's
so dark, a little light
in the boat is shimmering
on the lake... The
breathy sound and key
slaps on the flutes
create a mysterious
atmosphere, in a dialogue
with other instruments.
The cello glissandi
recite the poem in the
tone of Mandarin, echoed
by the string harmonics.
The music in Rehearsal F,
G and H (m 129-202) is a
toccata, starting in the
orchestra (led by the
marimba), which builds up
a big shape, to reach the
climax in m. 157
(Rehearsal G, the
location of the Golden
Section, according to the
length of the music
without cadenzas), and
keeps the vivid scene
towards the coda (from
Rehearsal I, m. 203),
which stands on the
energetic peak until the
clear cutoff on measure
239, followed by the
short, yet powerful solo
conclusion with the
lingering echo produced
by the high string
harmonics. On the top,
there is a recall of the
three note motive in the
sound of wonderland,
touched by the motor-on
vibraphone meaningfully.
The music is written for
2 flutes, 2 oboes, 2
clarinets (in Bb), 2
bassoons, 4 French horns
(in F), 2 trumpets (in
Bb), 3 trombones, tuba,
harp, 3 percussion
players (Perc. 1:
xylophone; Perc. 2:
suspended cymbal,
Japanese high woodblock,
snare drum, bass drum and
vibraphone; Perc. 3:
marimba and tam-tam),
solo violin, and strings.
Duration is about 20
minutes. The violin
concerto is commissioned
by Friends of Dresden
Music Foundation for
American soloist Mira
Wang and the New York
Philharmonic and
Staatskapelle Dresden as
an American commemoration
of the reconstruction of
the Dresden Frauenkirche,
60 years after its
destruction in World War
II by American and
British Forces. The world
premiere is given at the
Semperoper in Dresden,
Germany, on October 9, 10
& 11, 2005, conducted by
Ivan Fischer.Full of
excitement and inner
power, the musical image
is vivid, energetic,
sometimeslyrical and
sometimes dramatic. The
major angular thematic
material (a three
notemotive) consists of
big leaps in interval (a
perfect fourth downward
and then a minorseventh
upward, first introduced
by the violin solo in
measures 27-29). Except
for thecadenzas which
stand at the middle
(Rehearsal E, measure
127) and the two ends of
the piece as a frame, the
virtuosic violin solo
line is always
accompanied by the ever
moving and growing
textures in the
background. The rests
between long and short
phrases symbolize the
space in Chinese
paintings. The Beijing
Opera reciting tune, and
the fingerings to produce
sliding tones in the
performance of the
Chinese fiddle erhu are
also borrowed in the
writing and the
performing of the western
instruments.The musical
imagination of the violin
concerto came from an
ancient Chinese poem with
the same title, written
by Du Fu (712-770) in
Tang Dynasty.Happy Rain
on a Spring Nightby Du Fu
(712-770 in Tang
Dynasty)Happy rain comes
in time,When spring is in
its prime.With night
breeze it will fall,And
quietly moisten
all.Clouds darken wild
roads,Light brightens a
little boat.Saturated at
dawn,With flowers
blooming the
town.(English translation
by Chen Yi from the
original poem in
Chinese)The following is
the poem in its original
Chinese form, and the
detailed introduction
onthe structural plan of
the violin concerto
Spring in
Dresden.It’s like
the welcome rain on a
quiet spring night that
nurtures the budding
seeds, our newsociety is
pushing us forward to the
new future. The music
reflects the scenes and
theexpression according
to the meaning of the
poem when it’s
being unfolded line by
line.Although the tempo
is set 63 quarter notes
per minute throughout
(played vividly,
neverslow down), the
tension is being built up
from the quiet background
in the beginning, tothe
sustained climax towards
the end. The musical
image in Rehearsal A and
B (measures39-80)
represents the first four
lines of the poem. The
wind instruments response
to therustling of fast
moving notes on muted
string triplets,
decorated by occasional
strokesproduced by
metallic string sound and
high woodwind gestures.
The music in RehearsalC
and D (measures 81-126)
represents the next two
lines of the poem. It's
so dark, a littlelight in
the boat is shimmering on
the lake... The breathy
sound and key slaps on
theflutes create a
mysterious atmosphere, in
a dialogue with other
instruments. The
celloglissandi recite the
poem in the tone of
Mandarin, echoed by the
string harmonics.
Themusic in Rehearsal F,
G and H (m 129-202) is a
toccata, starting in the
orchestra (led bythe
marimba), which builds up
a big shape, to reach the
climax in m. 157
(Rehearsal G,the location
of the Golden Section,
according to the length
of the music
withoutcadenzas), and
keeps the vivid scene
towards the coda (from
Rehearsal I, m. 203),
whichstands on the
energetic peak until the
clear cutoff on measure
239, followed by the
short,yet powerful solo
conclusion with the
lingering echo produced
by the high
stringharmonics. On the
top, there is a recall of
the three note motive in
the sound ofwonderland,
touched by the motor-on
vibraphone
meaningfully.The music is
written for 2 flutes, 2
oboes, 2 clarinets (in
Bb), 2 bassoons, 4 French
horns (in F), 2 trumpets
(in Bb), 3 trombones,
tuba, harp, 3 percussion
players (Perc.
1:xylophone; Perc. 2:
suspended cymbal,
Japanese high woodblock,
snare drum, bass drum and
vibraphone; Perc. 3:
marimba and tam-tam),
solo violin, and
strings.Duration is about
20 minutes. $55.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Solos for the Percussion Player (Percussion / Piano) Batterie et Piano Schirmer
By Various. Arranged by John O'Reilly. Percussion Collection. Size 9x12 inches. ...(+)
By Various. Arranged by
John O'Reilly. Percussion
Collection. Size 9x12
inches. 48 pages.
Published by G. Schirmer.
$22.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| James Galway's Christmas Album Flûte traversière et Piano [Reduction] Theodore Presser Co.
By Various. Arranged by James Galway. For Up to 4 Flutes and Piano. Published by...(+)
By Various. Arranged by
James Galway. For Up to 4
Flutes and Piano.
Published by Theodore
Presser Company.
(2)$21.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Cosmopolydian for Flute and Piano Flûte traversière et Piano Metropolis Music Publishers
Flute and Piano SKU: IS.FP7396EM Composed by Nico Schoeters. Woodwinds - ...(+)
Flute and Piano SKU:
IS.FP7396EM Composed
by Nico Schoeters.
Woodwinds - Flute.
Metropolis Music
Publishers #FP7396EM.
Published by Metropolis
Music Publishers
(IS.FP7396EM). ISBN
9790365073962. Nico
Schoeters took his first
percussion lessons with
Eric Buyle in the Academy
for Music and Word in
Boom, near Antwerp, after
getting the hang of it
through private lessons
by Jozef Vervliet.
Afterwards he continued
his music studies at the
Royal Conservatory of
Antwerp, where he was
taught by Leo Ouderits,
Carlo Willems and Koen
Wilmaers. In 1998 he
graduated there with
great distinction as
Master in percussion.
After cooperating on
various projects in
Belgium and abroad as a
freelance percussionist,
Nico took up a position
as a percussionist in the
National Orchestra of
Belgium. However, despite
of all his achievements
as a percussionist, Nico
Schoeters didn’t
take his first musical
steps by playing
percussion, but by
playing the piano. His
love for the piano
remained a common thread
in his musical career.
For example, he played
numerous gigs as a
pianist with his jazz
quartet ‘Just
Friends, consisting of a
number of top musicians
who are his friends. In
addition he started
composing piano works in
2012. Cosmopolydian is my
first composition for
symphonic windband. It's
a solo piece for flute
and vibraphone which is
dedicated to Inge Smedts,
principal piccolo at the
Royal Wind Band of the
Belgian Guides. It is
written in the context of
a musical project
‘Cocktail Maison'.
This project includes a
concert on May 25th, 2017
in De Singel in Antwerp
where this work will be
premiered, a CD recording
and a concert tour. All
the pieces for this
project are new
compositions by Piet
Swerts, Jef Neve, Klaas
Coulembier, Etienne
Houben, Bart Watté,
Jan Huylebroeck, Francois
Glorieux and myself. All
the compositions are
inspired by a cocktail.
My choice is the
Cosmopolitan, but the
non-alcoholic version,
the mocktail actually.
The title Cosmopolydian
is a nod to the lydian
scale which I used as a
base for the majority of
the piece. The idea
behind the music is an
image of children
enjoying themselves,
worry-free, during the
holidays. Tired but
satisfied, they go to
sleep and have wonderful
dreams. The next day they
wake up to start a
beautiful new day. The
work is constructed in a
typical ABA form. A quick
first part:
‘sparkling
allegro', which of course
should sound very light
and playful. A slow
middle part warm adagio,
in which the beautiful
dreams become audible.
The last part is a
re-exposition of the
first part in which
eventually all the themes
merge into the final. $22.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Flute Passion 2 Flûte traversière et Piano [CD d'accompagnement] - Intermédiaire Billaudot
(Pour Flute Et Piano Et Accompagnement Sur CD De Piano Et Percussions - (for Flu...(+)
(Pour Flute Et Piano Et
Accompagnement Sur CD De
Piano Et Percussions -
(for Flute and Piano and
CD Accompaniment (Piano
and Percussions))). By
Gilles Martin. Solo
instrument with
accompaniment. For Flute,
Piano, CD. INTERMEDIATE.
Standard notation
$65.00 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Ballade , Pastorale and Dance
Flûte, Cor et Piano Southern Music Ltd
(Mixed Instruments/Woodwind And Brass). By Eric Ewazen. Flute. Mixed Instruments...(+)
(Mixed
Instruments/Woodwind And
Brass). By Eric Ewazen.
Flute. Mixed Instruments
- Woodwind And Brass
Ensemble. Southern Music.
20th Century. Grade 5.
Set of performance parts.
91 pages. Southern Music
Company #SU446. Published
by Southern Music Company
$50.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Swing Quartets Flûte traversière [Partition + CD] - Facile De Haske Publications
Flute - early intermediate SKU: BT.DHP-1053535-400 Four Swinging Flute...(+)
Flute - early
intermediate SKU:
BT.DHP-1053535-400
Four Swinging Flute
Quartets. Composed by
Bert Lochs. Book with CD.
Composed 2005. 28 pages.
De Haske Publications
#DHP 1053535-400.
Published by De Haske
Publications
(BT.DHP-1053535-400).
ISBN 9789043121767.
9x12 inches.
English-German-French-Dut
ch. This unique
series allows you to form
a jazz quartet with three
players, playing either
the same instrument or
playing any combination
of flute, clarinet, alto
saxophone or trumpet. The
CD contains
accompaniments from a
tight jazz backing band,
which makes playing in a
swing style easy.
Een swingende
uitgave met vier stukken
- fantastisch om samen
uit te spelen. Je kunt
met een van de Swing
Quartets-boeken voor
andere instrumenten erbij
ook combinaties maken. Zo
krijg je snel een mooie
jazzklank. Elk stukstaat
zes keer op de cd. Eerst
hoor je een combo met
alle vier de stemmen
erbij. Dan volgen vier
versies waarin
respectievelijk de
eerste, de tweede, de
derde en vierde stem zijn
weggelaten. En tot slot
hoor je een versie met
alleenhet combo.De
bladmuziek van de
combobegeleiding (Inhoud:
score (plus de lead),
piano, elektrische
basgitaar, gitaar en
slagwerk) is via de
volgende link
verkrijgbaar:Swing
Quartets-
Combobegeleiding <
br>Mit den Büchern der
Reihe Swing, Jazz
oder Groove
Quartets kann ein
flottes Quartett aus
gleichen oder
verschiedenen
Instrumenten gebildet
werden. Es kann jede
Stimme zur CD geübt
werden, die sechs
Aufnahmen pro Stück
enthält: zuerst die
Combo und die vier
Stimmen zusammen; dann
folgen vier Versionen, in
welchen jeweils die
erste, zweite, dritte und
vierte Stimme weggelassen
wurde; zuletzt erklingt
eine nur von der Combo
gespielte Version.Die
Noten der
Combo-Begleitung (Inhalt:
Partitur inkl.
Leadstimme, Klavier,
E-Bass, Gitarre,
Schlagzeug) sind separat
unter folgendem Link
erhältlich:Swing
Quartets
-Combo-Begleitung
Quatre quatuors
swing interpréter seul
avec lâ??accompagnement
sur compact disc ou avec
un, deux ou trois
musiciens.Les parties
d'accompagnement (Combo
Jazz : Conducteur
Partie Lead, Piano,
Guitare, Guitare Basse et
Percussion) sont
disponibles
séparément :Swing
Quartets - Parties
d'Accompagnement
(Combo)
Una
serie di quartetti per
esplorare tre generi
musicali: lo swing, il
jazz e il groove. Con una
vera band live registrata
su CD, potrete suonare
usufruendo di una serie
di registrazioni combo
come solisti tre voci e
una versione col solo
accompagnamento. $27.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Do It! Play Flute - Book 2 and CD Flûte traversière [CD] GIA Publications
By James Froseth. Band Method. Instructional Sacred. Text language: English. 48 ...(+)
By James Froseth. Band
Method. Instructional
Sacred. Text language:
English. 48 pages.
Published by GIA
Publications.
$7.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Messa da Requiem Soli, choeur mixte et accompagnement Soli, chœur mixte et orchestre [Conducteur d'étude / Miniature] Carus Verlag
Composed by Giuseppe Verdi (1813-1901). Edited by Norbert Bolin. For SMTB vocal ...(+)
Composed by Giuseppe
Verdi (1813-1901). Edited
by Norbert Bolin. For
SMTB vocal soli, SATB
choir, piccolo, 2 flutes,
2 oboes, 2 clarinets, 4
bassoon, 4 horns, 4
trumpets, 4 offstage
trumpets, 3 trombones,
ophicleide, timpani,
percussion, 2 violins,
viola, cello, contrabass.
This edition: Paperbound.
Requiem, Mourning, death.
Study score. Language:
Latin. 320 pages.
Duration 90 minutes.
Published by Carus Verlag
$70.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Hessenberg K Weihnachtsgeschichte Op54 2 Flûtes traversières (duo) - Avancé Schott
2 flutes - advanced SKU: HL.49032454 20 Duets. Composed by Kurt He...(+)
2 flutes - advanced
SKU: HL.49032454
20 Duets. Composed
by Kurt Hessenberg. This
edition: Saddle
stitching. Sheet music
with CD. Edition Schott.
Individual part. 12
pages. Schott Music #ED
7715. Published by Schott
Music (HL.49032454).
ISBN
9790001080323. In
this collection, the
British jazz musician
Leslie Searle presents
his own compositions in a
variety of the most
common musical styles of
modern jazz and dance
music. With the
accompanying CD
containing an audio and
play-along version of
each piece, you will
enjoy listening to the
different styles and
playing along with the
backing tracks recorded
live with piano, bass and
percussion. Those who
want to perform the
pieces without CD can use
the available
accompanying book for the
rhythm section which
contains accompanying
parts for piano, bass and
percussion. $5.95 - Voir plus => Acheter | | |
| Flute Sound Effects Flûte traversière [Partition + Accès audio] Berklee
(Beatboxing, Circular Breathing, Fourth-Octave Playing, and much more). For Flut...(+)
(Beatboxing, Circular
Breathing, Fourth-Octave
Playing, and much more).
For Flute. Berklee Guide.
Softcover Audio Online.
Published by Berklee
Press
$16.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Latin Nights Flûte traversière et Piano [Partition + CD] - Intermédiaire De Haske Publications
12 flute pieces in Latin music styles. Composed by Joachim Johow. Book with CD...(+)
12 flute pieces in Latin
music styles. Composed by
Joachim Johow. Book with
CD.
Composed 2012. 32 pages.
De
Haske Publications #DHP
1125246-400. Published by
De
Haske Publications
$25.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| A Waltz for Lisa for Flute and Piano Flûte traversière et Piano Metropolis Music Publishers
Flute and Piano SKU: IS.FP7398EM Composed by Nico Schoeters. Woodwinds - ...(+)
Flute and Piano SKU:
IS.FP7398EM Composed
by Nico Schoeters.
Woodwinds - Flute.
Metropolis Music
Publishers #FP7398EM.
Published by Metropolis
Music Publishers
(IS.FP7398EM). ISBN
9790365073986. Nico
Schoeters took his first
percussion lessons with
Eric Buyle in the Academy
for Music and Word in
Boom, near Antwerp, after
getting the hang of it
through private lessons
by Jozef Vervliet.
Afterwards he continued
his music studies at the
Royal Conservatory of
Antwerp, where he was
taught by Leo Ouderits,
Carlo Willems and Koen
Wilmaers. In 1998 he
graduated there with
great distinction as
Master in percussion.
After cooperating on
various projects in
Belgium and abroad as a
freelance percussionist,
Nico took up a position
as a percussionist in the
National Orchestra of
Belgium. However, despite
of all his achievements
as a percussionist, Nico
Schoeters didn’t
take his first musical
steps by playing
percussion, but by
playing the piano. His
love for the piano
remained a common thread
in his musical career.
For example, he played
numerous gigs as a
pianist with his jazz
quartet ‘Just
Friends, consisting of a
number of top musicians
who are his friends. In
addition he started
composing piano works in
2012. $17.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Symphonic Rhythms and Scales (Two-Part Etudes for Band and Orchestra Conductor) [Conducteur d'étude / Miniature] - Facile Hal Leonard
(Two-Part Etudes for Band and Orchestra Conductor). Symphonic Techniques. Grade ...(+)
(Two-Part Etudes for Band
and Orchestra Conductor).
Symphonic Techniques.
Grade 2-4. Softcover. 48
pages. Published by Hal
Leonard
$12.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Future of Tomorrow - Facile Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Cornet, Cornet 2...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Clarinet
1, Clarinet 2, Cornet,
Cornet 2, Crash Cymbals,
Euphonium, Euphonium
T.C., Flute,
Glockenspiel, Horn 1,
Horn 2, Mallet
Percussion, Oboe,
Percussion 1, Percussion
2, Percussion 3, Snare
Drum and more. - Grade 3
SKU: CF.CPS245
Composed by Benjamin Yeo.
Folio. Cps. Set of Score
and Parts.
8+2+8+8+2+4+4+4+4+2+4+4+4
+4+6+6+4+4+8+2+2+1+4+1+2+
24 pages. Duration 2
minutes, 42 seconds. Carl
Fischer Music #CPS245.
Published by Carl Fischer
Music (CF.CPS245).
ISBN 9781491158128.
UPC: 680160916726. 9 x 12
inches. ABOUT THE
MUSIC Future of Tomorrow
(Concert March) was
commissioned by the Arts
Education Branch,
Ministry of Education as
the set piece for the
Singapore Youth Festival
2016 Arts Presentation
for Concert and Brass
Bands (Primary Level).
This march uses brief
excerpts from the
well-known Malay folk
songs Katak Lompat and
Rasa Sayang. Our youths
are indeed our future of
tomorrow. This
joyful-themed march aims
to bring out the best in
each of your young
players. I hope that
students, band directors
and audiences will enjoy
preparing, performing and
listening to this work.
EDUCATIONAL NOTES Key: Eb
Major SECTION BARS EVENT
/ SCORING / SUGGESTIONS
Introduction 1-4 Opens in
Eb major with dotted
rhythm motif. 1st Strain
5-20 Take note of melodic
phrasing above the
(light) oom-pah ostinato;
melody repeats at m. 13
with the addition of
countermelody in the
inner lines; although
written at mf dynamic,
this anew ideaa needs to
be heard clearly for
contrast with the
previous statement. 2nd
Strain 21-36 C minor
(relative minor); excerpt
from Katak Lompat; melody
in the lower brass/wind
from m. 21 with a
contrasting
attitude/style from 1st
strain; back to a more
lyrical treatment from m.
29. Trio 37-56 Stays
unmodulated in the same
key; opens with a
percussion solo feature
before the start of the
softer Trio theme; keep
this section controlled
and be sensitive to the
balance; the metallic
timbre of the muted
trumpet/cornet needs to
be heard clearly (might
suggest to bring the
dynamic level up to mf
when muted); if
cued-notes are played,
make sure they are played
throughout the melodic
phrase as written to
avoid awkward leaps.
Break Strain 57-62
Excerpt from Rasa Sayang
with some play in
tonality and instrumental
dialogue; quasi
grandioso-style before
the final strain. Final
Strain 63-82 Back to Eb
major with the reprise of
the Trio theme;
festive-like style with
fuller orchestration and
new countermelodies;
dotted rhythm motif from
the introduction
concludes the march in a
codetta-like section from
m. 79. NOTE TO THE
CONDUCTOR This march has
been carefully written
with reasonable
technicalities and range
in mind for younger
players. Generally,
optional cued notes in
parenthesis are given for
less experienced players
who have yet to develop
their range on the
instrument. However, they
should never be taken as
an easy alternative for
all players in the
section; otherwise, this
may result in a less than
ideal flow of the musical
lines. Marches are good
tools to train tempo
consistency, articulation
and rhythmic precision as
well as musical phrasing.
I hope that there will be
great learning
opportunities for your
students as they learn
this piece. This march is
separately orchestrated
for both wind and brass
bands to maximize the
instrumental colors
within each ensemble. The
parts are therefore not
exchangeable between the
wind band and brass band
sets. I wish you the best
in the performance of
this work. - Benjamin
Yeo. ABOUT THE MUSIC
Future of Tomorrow
(Concert March) was
commissioned by the Arts
Education Branch,
Ministry of Education as
the set piece for the
Singapore Youth Festival
2016 Arts Presentation
for Concert and Brass
Bands (Primary Level).
This march uses brief
excerpts from the
well-known Malay folk
songs Katak Lompat and
Rasa Sayang. Our youths
are indeed our future of
tomorrow. This
joyful-themed march aims
to bring out the best in
each of your young
players. I hope that
students, band directors
and audiences will enjoy
preparing, performing and
listening to this work.
EDUCATIONAL NOTES Key: Eb
Major SECTION BARS EVENT
/ SCORING / SUGGESTIONS
Introduction 1-4 Opens in
Eb major with dotted
rhythm motif. 1st Strain
5-20 Take note of melodic
phrasing above the
(light) oom-pah ostinato;
melody repeats at m. 13
with the addition of
countermelody in the
inner lines; although
written at mf dynamic,
this 'new idea' needs to
be heard clearly for
contrast with the
previous statement. 2nd
Strain 21-36 C minor
(relative minor); excerpt
from Katak Lompat; melody
in the lower brass/wind
from m. 21 with a
contrasting
attitude/style from 1st
strain; back to a more
lyrical treatment from m.
29. Trio 37-56 Stays
unmodulated in the same
key; opens with a
percussion solo feature
before the start of the
softer Trio theme; keep
this section controlled
and be sensitive to the
balance; the metallic
timbre of the muted
trumpet/cornet needs to
be heard clearly (might
suggest to bring the
dynamic level up to mf
when muted); if
cued-notes are played,
make sure they are played
throughout the melodic
phrase as written to
avoid awkward leaps.
Break Strain 57-62
Excerpt from Rasa Sayang
with some play in
tonality and instrumental
dialogue; quasi
grandioso-style before
the final strain. Final
Strain 63-82 Back to Eb
major with the reprise of
the Trio theme;
festive-like style with
fuller orchestration and
new countermelodies;
dotted rhythm motif from
the introduction
concludes the march in a
codetta-like section from
m. 79. NOTE TO THE
CONDUCTOR This march has
been carefully written
with reasonable
technicalities and range
in mind for younger
players. Generally,
optional cued notes in
parenthesis are given for
less experienced players
who have yet to develop
their range on the
instrument. However, they
should never be taken as
an easy alternative for
all players in the
section; otherwise, this
may result in a less than
ideal flow of the musical
lines. Marches are good
tools to train tempo
consistency, articulation
and rhythmic precision as
well as musical phrasing.
I hope that there will be
great learning
opportunities for your
students as they learn
this piece. This march is
separately orchestrated
for both wind and brass
bands to maximize the
instrumental colors
within each ensemble. The
parts are therefore not
exchangeable between the
wind band and brass band
sets. I wish you the best
in the performance of
this work. - Benjamin
Yeo. ABOUT THE
MUSICFuture of Tomorrow
(Concert March) was
commissioned by the Arts
Education Branch,
Ministry of Education as
the set piece for the
Singapore Youth Festival
2016 Arts Presentation
for Concert and Brass
Bands (Primary Level).
This march uses brief
excerpts from the
well-known Malay folk
songs Katak Lompat and
Rasa Sayang.Our youths
are indeed our future of
tomorrow. This
joyful-themed march aims
to bring out the best in
each of your young
players. I hope that
students, band directors
and audiences will enjoy
preparing, performing and
listening to this
work.EDUCATIONAL
NOTESKey: Eb
MajorSECTIONBARSEVENT /
SCORING /
SUGGESTIONSIntroduction1-
4Opens in Eb major with
dotted rhythm motif.1st
Strain5-20Take note of
melodic phrasing above
the (light) oom-pah
ostinato;melody repeats
at m. 13 with the
addition of countermelody
in the inner lines;
although written at mf
dynamic, this ‘new
idea’ needs to be
heard clearly for
contrast with the
previous statement.2nd
Strain21-36C minor
(relative minor); excerpt
from Katak Lompat; melody
in the lower brass/wind
from m. 21 with a
contrasting
attitude/style from 1st
strain; back to a more
lyrical treatment from m.
29.Trio37-56Stays
unmodulated in the same
key; opens with a
percussion solo feature
before the start of the
softer Trio theme; keep
this section controlled
and be sensitive to the
balance; the metallic
timbre of the muted
trumpet/cornet needs to
be heard clearly (might
suggest to bring the
dynamic level up to mf
when muted); if
cued-notes are played,
make sure they are played
throughout the melodic
phrase as written to
avoid awkward leaps.Break
Strain57-62Excerpt from
Rasa Sayang with some
play in tonality and
instrumental dialogue;
quasi grandioso-style
before the final
strain.Final
Strain63-82Back to Eb
major with the reprise of
the Trio theme;
festive-like style with
fuller orchestration and
new countermelodies;
dotted rhythm motif from
the introduction
concludes the march in a
codetta-like section from
m. 79.NOTE TO THE
CONDUCTORThis march has
been carefully written
with reasonable
technicalities and range
in mind for younger
players. Generally,
optional cued notes in
parenthesis are given for
less experienced players
who have yet to develop
their range on the
instrument. However, they
should never be taken as
an easy alternative for
all players in the
section; otherwise, this
may result in a less than
ideal flow of the musical
lines. Marches are good
tools to train tempo
consistency, articulation
and rhythmic precision as
well as musical phrasing.
I hope that there will be
great learning
opportunities for your
students as they learn
this piece.This march is
separately orchestrated
for both wind and brass
bands to maximize the
instrumental colors
within each ensemble. The
parts are therefore not
exchangeable between the
wind band and brass band
sets.I wish you the best
in the performance of
this work.- Benjamin
Yeo. $85.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Standard Of Excellence Book 2, Flute
Flûte traversière [Partition] Kjos Music Company
By Bruce Pearson. Band Methods. Standard of Excellence. Level: Book B,2. Music B...(+)
By Bruce Pearson. Band
Methods. Standard of
Excellence. Level: Book
B,2. Music Book.
Published by Neil A. Kjos
Music Company.
(5)$8.50 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Romeo et Juliette, Op. 17 Hol. 73 Soli, choeur mixte et accompagnement Soli, chœur mixte et orchestre [Conducteur] Barenreiter
(Symphonie dramatique). Composed by Hector Berlioz (1803-1869). Edited by D. Ker...(+)
(Symphonie dramatique).
Composed by Hector
Berlioz (1803-1869).
Edited by D. Kern
Holoman. For alto voice
solo, tenor voice solo,
bass voice solo, double
ATB choir, double STB
choir, piccolo, 2 flutes,
piccolo, 2 oboes, english
horn, 2 clarinets, 4
bassoons, 4 horns, 2
trumpets, 2 cornets, 3
trombones, ophicleide, 2
timpani, percussion, 2
harps, st. This edition:
Complete edition, Urtext
edition. Linen. New
Berlioz Edition, Volume
18. Score. Opus 17, Hol.
73. Published by
Baerenreiter Verlag
$559.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Habits of a Successful Middle School Musician - Flute Flûte traversière GIA Publications
A Comprehensive Method Book for Years Two, Three, and Beyond. Edited by M...(+)
A Comprehensive Method
Book for Years Two,
Three, and Beyond.
Edited by Marguerite
Wilder. Habits of a
Successful Musician.
Music Education. Method
book. 72 pages. Published
by GIA Publications
(GI.G-9142).
$9.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Stormbreak Ensemble de Percussions - Facile Tapspace Publications
(For Percussion Octet (and optional wind ensemble)). By Jim Casella. For Glocken...(+)
(For Percussion Octet
(and optional wind
ensemble)). By Jim
Casella. For
Glockenspiel, xylophone,
chimes, 4 timpani,
bongos, congas,
rainstick, vibra slap,
suspended cymbal,
woodblock, finger cymbal,
snare drum, brake drum,
hihat, ocean drum, 4
concert toms, cowbell,
shaker, splash cymbal,
china cymbal, tambourine,
triangle, b (8 percussion
players). This edition:
Percussion ensemble and
optional wind ensemble.
Concert Percussion
Ensembles. Optional Wind
Ensemble Parts Included
(divisi if applicable):
Flute, oboe, clarinet,
bass clarinet, contrabass
clarinet (E-flat),
bassoon, alto saxophone,
tenor saxophone, baritone
saxophone, trumpet,
french horn, trombone,
baritone, tuba.
Medium-Easy. Folio
parts on CD-Rom. 32
pages. Duration 3:30.
Published by Tapspace
Publications
$55.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Symphony No. 9 in D minor Soli, choeur mixte et accompagnement Soli, chœur mixte et orchestre [Conducteur d'étude / Miniature] Barenreiter
By Ludwig van Beethoven. Edited by Jonathan Del Mar. For Soprano Solo, Alto Solo...(+)
By Ludwig van Beethoven.
Edited by Jonathan Del
Mar. For Soprano Solo,
Alto Solo, Tenor Solo,
Bass Solo, Mixed
Choir-SATB, Piccolo,
Flute (2), Oboe (2),
Clarinet (B Flat) (2),
Bassoon (2),
Contrabassoon, Horn (4),
Trumpet (2), Trombone
(3), Kettledrum, Drums,
Strings. B0renreiter
Studienpartituren - Study
scores. Study Score;
Urtext Edition
(paperbound). Op. 125.
Duration 65'. Published
by
Baerenreiter-Taschenparti
turen (German import).
$28.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Beatrice et Benedict Hol. 138 Soli, choeur mixte et accompagnement [Conducteur] Barenreiter
(Opera comique en deux actes). Composed by Hector Berlioz (1803-1869). Edited by...(+)
(Opera comique en deux
actes). Composed by
Hector Berlioz
(1803-1869). Edited by
Hugh MacDonald. For 2
soprano voice solos,
mezzo-soprano voice solo,
tenor voice solo,
baritone voice solo, 2
bass voice solos, 5
speakers, SSTTBB choir, 2
flutes, 2 oboes, 2
clarinets, 2 bassoons, 4
horns, 2 trumpets,
cornet, 3 trombones,
timpani, percussion,
strings. This edition:
Complete edition, Urtext
edition. Linen. New
Berlioz Edition, Volume
3. Score. Language:
French. Hol. 138.
Duration 2 hours, 30
seconds. Published by
Baerenreiter Verlag
$409.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Albert W. Ketelby: Auf Einem Persischen Markt (Recorders, Percussion) Music Sales
Wind Ensemble, Recorder and Percussion SKU: HL.14002312 Composed by Ketel...(+)
Wind Ensemble, Recorder
and Percussion SKU:
HL.14002312 Composed
by Ketelby. Music Sales
America. 20th Century.
Book [Softcover]. Music
Sales #BOE4068. Published
by Music Sales
(HL.14002312). ISBN
9783865430878. Inte
rmezzo-Szene bearbeitet
fur Flotengruppe,
Metallophon und
Schlagwerk von A.
Rosenstengel. Diese
Komposition gehoret zu
seinen bekannt testen
Orchesterwerken. Eine
echt orientalische
Atmosphare beherrscht
dieses Werk. Die
Kameltreiber kommen
allmahlich naher, die
Rufe der Bettler nach
Gaben werden erhort. Die
schone Prinzessin tritt
auf, von ihren
Dienerinnen begleitet.
Die Prinzessin bleibt
stehen um sich an den
Gauklern und
Schlangenbeschworen zu
ergotzen. Der Kalif
schreitet jetzt uber die
Markt und unterbricht die
Unterhaltung. Die
Prinzessin macht sich zum
Aufbruch bereit und die
Karawane setzt ihre Reise
fort. Die Motive der
Prinzessin und der
Kameltreiber hort man
noch in der Ferne und der
Marktplatz wird wieder
einsam. Scene d'intermede
pour groupe des Flutes a
bec, Vibraphone et
Percussion arrangee par
A. Rosenstengel du
morceau Orchestral
original par Albert W.
Ketelbey. Une atmosphere
orientale se repand de ce
morceau. Les chameliers
approchant lentement du
marche, on entend dans le
tumulte les mendiants
reclamer leur
'Backchiche'. La belle
princesse entouree de ses
servantes fait son
apparition et s'arrete a
regarder les jongleurs et
charmeurs des serpents.
L'arrive du Calife
interrompt l'entrain du
marche, la princesse
prepare son depart et les
chameliers continuent
leur chemin. Les themes
de la princesse et des
chameliers s'eteignent
dans la lointain et la
marche devient desert.
Intermezzo scene for
Recorder/Flute group,
Vibraphone and Percussion
arranged by A.
Rosenstengel from the
original Orchestral piece
by Albert W. Ketelbey. An
oriental atmosphere
pervades this work. The
cattle-drivers slowly
approach the market; the
cries of beggars are
heard across the bustle.
The beautiful princess
enters carried by her
servants - she stays to
watch the jugglers and
snake-charmer. The Caliph
now passes through the
market and interrupts the
entertainment, the
princess prepares to
depart and the caravan
resumes its journey as
the sounds of the Persian
Market fade into the
distance. $29.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
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