4.
Swanee Ribber Weit, weit
von hier am Swanee
Ribber. Composed by
Paul Zoll. Sheet music.
Schott Chorverlag (Choral
Music). Choral Score. 2
pages. Duration 3' 30''.
Schott Music #C 40112.
Published by Schott Music
(HL.49025144).
Easy Western Piano seul [Conducteur] Lemoine, Henry
Piano - Level 1 SKU: LM.27141 Composed by Hans Gunter Heumann. Pop, jazz....(+)
Piano - Level 1
SKU:
LM.27141
Composed by
Hans Gunter Heumann. Pop,
jazz. Score. Editions
Henry Lemoine #27141.
Published by Editions
Henry Lemoine (LM.27141).
ISBN
9790230971416.
Bill
y the Kid - Oh, Susanna -
Home on the Range - Red
River Valley - Banks of
the Ohio - I'm Goin' to
Leave Old Texas - Yankee
Doodle - Clementine -
Sweet Betsy - The Streets
of Laredo - A Cowboy's
life - Down in the Valley
- Swanee River - Yellow
Rose of Texas - Buffalo
Gals.
Swanee for Brass Quintet Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba [Conducteur et Parties séparées] - Avancé Cherry Classics
Brass quintet - advanced SKU: CY.CC2862 Composed by George Gershwin. Arra...(+)
Brass quintet - advanced
SKU: CY.CC2862
Composed by George
Gershwin. Arranged by
Dave Machell. Early jazz
song. Score and parts.
Published by Cherry
Classics (CY.CC2862).
Swanee is a
popular song written by
George Gershwin in 1919,
most often associated
with the singer Al
Jolson. Supposedly
written in 10 minutes, it
is partly a parody of
Stephen Foster's Old
Folks at Home. Once
Jolson added it to his
show Sinbad the song took
off and became a hit, the
biggest of Gershwin's
career. Dave Machell,
a top UK arranger and
composer has cleverly
arranged this 4-minute
brass quintet work for
advanced performers.
Arranged by Carol Matz. For Piano. In Tune With&series. Featuring carefully craf...(+)
Arranged by Carol Matz.
For Piano. In Tune
With&series. Featuring
carefully crafted
pianistic arrangements,
this essential collection
includes dozens of
well-known melodies and
favorite folk songs.
Contents include: All
Through the Night;
America (My Country, 'Tis
of Thee); Auld Lang Syne;
The Erie Canal;
Greensleeves; Hava
Nagila; Irish
Washerwoman; Kum Ba Yah;
La Cinquantaine; The
Londonderry Air; The
Lorelei; The Merry Widow
Waltz; Morning Has
Broken; Raisins and
Almonds; Scarborough
Fair; Simple Gifts; The
Skaters Waltz; The Sloop
John B.; The Stars and
Stripes Forever; Swanee;
Take Me Out to the Ball
Game; Tum-Balalaika; Two
Guitars; The Washington
Post March; You're A
Grand Old Flag. Level:
Early
Intermediate/Intermediate
. Book. Published by The
FJH Music Company Inc.
(Piano Solo). By Stephen Foster (1826-1864). Edited by Eugene List. This edition...(+)
(Piano Solo). By Stephen
Foster (1826-1864).
Edited by Eugene List.
This edition: ED3455.
Piano Collection. SMP
Level 8 (Early Advanced).
40 pages. Published by G.
Schirmer (HL.50336710).
Contents: Cane Brake Jig
* Farewell My Lilly Dear
* The Holiday Schottisch
* Nelly Bly * Oh Boys
Carry Me Long * Old Folks
at Home (Swanee River) *
Santa Anna's Retreat *
Soiree Polka * The Tioga
Waltz * The Village
Bells.
Recorder Trio (Recorder) - very easy to easy SKU: HL.49008326 Easy Rec...(+)
Recorder Trio (Recorder)
- very easy to easy
SKU: HL.49008326
Easy Recorder Trios
Volume 2. Arranged by
Rainer Butz. This
edition: Saddle
stitching. Sheet music.
Edition Schott.
Classical. Playing score.
24 pages. Schott Music
#ED9177. Published by
Schott Music
(HL.49008326).
ISBN
9790001126830. UPC:
073999340464.
9.0x12.0x0.1
inches.
This
selection of well-known
and loved folk melodies
is aimed particularly at
teaching ensemble playing
to beginners, either in
class or in smaller
groups. Morning has
broken * Alas my love
(Greensleeves) * A
Londonderry air * The
last rose of summer *
Scarborough Fair *
Amazing grace * My Bonny
is over the ocean *
Should auld acquaintance
be forgot (Auld lang
syne) * I come from
Alabama * Swanee River *
Buffalo Gals * Banks of
the Ohio * Red River
Valley * In a cavern *
She'll be coming round
the mountain * Polly
Wolly Doodle * John
Brown's body * Turkey in
the straw * Garryowen *
Yankee Doodle. For three
soprano recorders.
Trumpet Solo with Piano Accompaniment - 1-2 SKU: KN.10308 Composed by Var...(+)
Trumpet Solo with Piano
Accompaniment - 1-2
SKU: KN.10308
Composed by Various.
Edited by Carl Strommen.
Arranged by Jason
Chapman. Solo Collection.
Trumpet Solo. Kendor
Music Inc #10308.
Published by Kendor Music
Inc (KN.10308).
UPC:
822795103083.
Desig
ned for a first contest
or recital performance,
this grade 1-2
collections contain 14
pieces that have been
carefully edited by
trumpet specialist Jason
Chapman, and edited by
Carl Strommen. The free
downloadable piano
accompaniment MP3s will
be an invaluable tool for
students. Piano
accompaniment book sold
separately (#10309).
Available in
SmartMusic.
Conten
ts: Hunter's Chorus
(Weber); Country Gardens
(traditional); Simple
Gifts (traditional);
Drink To Me Only With
Thine Eyes (Mellish);
Believe Me, If All Those
Endearing Young Charms
(traditional); Jasmine
Flower (traditional);
Tenting On The Old
Campground (Kittredge);
The Sandman
(traditional); Musette
(Bach); If With All Your
Hearts (Mendelsohn); Ave
Verum Corpus (Mozart);
'Tis The Last Rose Of
Summer (traditional);
Fireproof Polka
(Strauss); Swanee River
(Foster).
A Tribute to Gershwin Orchestre d'harmonie [Conducteur] - Intermédiaire De Haske Publications
Concert Band/Harmonie - Grade 4 SKU: BT.DHP-1094651-140 Composed by Georg...(+)
Concert Band/Harmonie -
Grade 4
SKU:
BT.DHP-1094651-140
Composed by George
Gershwin. Arranged by
Naohiro Iwai. New Sounds
for Concert Band.
Original Light Music.
Score Only. Composed
2009. 36 pages. De Haske
Publications #DHP
1094651-140. Published by
De Haske Publications
(BT.DHP-1094651-140).
9x12 inches.
English-German-French-Dut
ch.
Naohiro Iwai,
the master of
entertaining concert band
arrangements, has
selected four songs from
the wide repertoire of
George Gershwin for this
wonderful medley. A
fitting tribute to one of
the all time jazz
masters.
De
componist Naohiro Iwai
gebruikte vier hitsongs
van Georg Gershwinvoor
deze prachtige medley:
Swanee, Gershwins
eerste grote hit uit
1924, Oh, Lady Be
Good - onvergetelijk
in de uitvoering van Ella
Fitzgerald -
evenalsSomeone to
Watch Over Me en
S’
Wonderful.
Nao
hiro Iwai, der Meister
der unterhaltsamen
Blasorchesterarrangements
wählte vier Songs von
George Gershwin für
dieses wundervolle
Medley: Swanee,
Gershwins ersten
großen Hit von 1924,
Oh, Lady Be Good -
unvergessen in Ella
Fitzgeralds
Interpretation - sowie
Someone to Watch Over
Me und S’
Wonderful, die beide
ins Great American
Songbook aufgenommen
wurden.
George Gerswhin
(1898-1937) iniziò la
sua carriera di musicista
nelle music-hall prima di
essere ammesso nella
sfera
“classicaâ€
grazie al successo di
Rhapsody in Blue
del 1924. Naohiro Iwai
raccoglie quattro canzoni
di questo indimenticabile
pianista jazz in un
medley che incanter il
pubblico.
by Phil Duncan. For Harmonica (Diatonic). method. All Styles. Level: Multiple Le...(+)
by Phil Duncan. For
Harmonica (Diatonic).
method. All Styles.
Level: Multiple Levels.
Book. Size 8.75x11.75.
112 pages. Published by
Mel Bay Publications,
Inc.
A Tribute to Gershwin Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire De Haske Publications
Concert Band/Harmonie - Grade 4 SKU: BT.DHP-1094651-010 Composed by Georg...(+)
Concert Band/Harmonie -
Grade 4
SKU:
BT.DHP-1094651-010
Composed by George
Gershwin. Arranged by
Naohiro Iwai. New Sounds
for Concert Band.
Original Light Music. Set
(Score & Parts). Composed
2009. De Haske
Publications #DHP
1094651-010. Published by
De Haske Publications
(BT.DHP-1094651-010).
9x12 inches.
English-German-French-Dut
ch.
Naohiro Iwai,
the master of
entertaining concert band
arrangements, has
selected four songs from
the wide repertoire of
George Gershwin for this
wonderful medley. A
fitting tribute to one of
the all time jazz
masters.
De
componist Naohiro Iwai
gebruikte vier hitsongs
van Georg Gershwinvoor
deze prachtige medley:
Swanee, Gershwins
eerste grote hit uit
1924, Oh, Lady Be
Good - onvergetelijk
in de uitvoering van Ella
Fitzgerald -
evenalsSomeone to
Watch Over Me en
S’
Wonderful.
Nao
hiro Iwai, der Meister
der unterhaltsamen
Blasorchesterarrangements
wählte vier Songs von
George Gershwin für
dieses wundervolle
Medley: Swanee,
Gershwins ersten
großen Hit von 1924,
Oh, Lady Be Good -
unvergessen in Ella
Fitzgeralds
Interpretation - sowie
Someone to Watch Over
Me und S’
Wonderful, die beide
ins Great American
Songbook aufgenommen
wurden.
George Gerswhin
(1898-1937) iniziò la
sua carriera di musicista
nelle music-hall prima di
essere ammesso nella
sfera
“classicaâ€
grazie al successo di
Rhapsody in Blue
del 1924. Naohiro Iwai
raccoglie quattro canzoni
di questo indimenticabile
pianista jazz in un
medley che incanter il
pubblico.
Jumbo Easy Guitar Songbook Guitare notes et tablatures Guitare classique [Partition] - Facile Hal Leonard
Performed by Various. Easy Guitar (Simplified arrangements for guitar). With not...(+)
Performed by Various.
Easy Guitar (Simplified
arrangements for guitar).
With notes and tablature.
Size 9x12 inches. 400
pages. Published by Hal
Leonard.
Piano and orchestra - difficult SKU: HL.49046544 For piano and orchest...(+)
Piano and orchestra -
difficult
SKU:
HL.49046544
For
piano and orchestra.
Composed by Gyorgy
Ligeti. This edition:
Saddle stitching. Sheet
music. Edition Schott.
Softcover. Composed
1985-1988. Duration 24'.
Schott Music #ED23178.
Published by Schott Music
(HL.49046544).
ISBN
9781705122655. UPC:
842819108726.
9.0x12.0x0.224
inches.
I composed
the Piano Concerto in two
stages: the first three
movements during the
years 1985-86, the next
two in 1987, the final
autograph of the last
movement was ready by
January, 1988. The
concerto is dedicated to
the American conductor
Mario di Bonaventura. The
markings of the movements
are the following: 1.
Vivace molto ritmico e
preciso 2. Lento e
deserto 3. Vivace
cantabile 4. Allegro
risoluto 5. Presto
luminoso.The first
performance of the
three-movement Concerto
was on October 23rd, 1986
in Graz. Mario di
Bonaventura conducted
while his brother,
Anthony di Bonaventura,
was the soloist. Two days
later the performance was
repeated in the Vienna
Konzerthaus. After
hearing the work twice, I
came to the conclusion
that the third movement
is not an adequate
finale; my feeling of
form demanded
continuation, a
supplement. That led to
the composing of the next
two movements. The
premiere of the whole
cycle took place on
February 29th, 1988, in
the Vienna Konzerthaus
with the same conductor
and the same pianist. The
orchestra consisted of
the following: flute,
oboe, clarinet, bassoon,
horn, trumpet, tenor
trombone, percussion and
strings. The flautist
also plays the piccoIo,
the clarinetist, the alto
ocarina. The percussion
is made up of diverse
instruments, which one
musician-virtuoso can
play. It is more
practical, however, if
two or three musicians
share the instruments.
Besides traditional
instruments the
percussion part calls
also for two simple wind
instruments: the swanee
whistle and the
harmonica. The string
instrument parts (two
violins, viola, cello and
doubles bass) can be
performed soloistic since
they do not contain
divisi. For balance,
however, the ensemble
playing is recommended,
for example 6-8 first
violins, 6-8 second, 4-6
violas, 4-6 cellos, 3-4
double basses. In the
Piano Concerto I realized
new concepts of harmony
and rhythm. The first
movement is entirely
written in bimetry:
simultaneously 12/8 and
4/4 (8/8). This relates
to the known triplet on a
doule relation and in
itself is nothing new.
Because, however, I
articulate 12 triola and
8 duola pulses, an
entangled, up till now
unheard kind of polymetry
is created. The rhythm is
additionally complicated
because of asymmetric
groupings inside two
speed layers, which means
accents are
asymmetrically
distributed. These
groups, as in the talea
technique, have a fixed,
continuously repeating
rhythmic structures of
varying lengths in speed
layers of 12/8 and 4/4.
This means that the
repeating pattern in the
12/8 level and the
pattern in the 4/4 level
do not coincide and
continuously give a
kaleidoscope of renewing
combinations. In our
perception we quickly
resign from following
particular rhythmical
successions and that what
is going on in time
appears for us as
something static,
resting. This music, if
it is played properly, in
the right tempo and with
the right accents inside
particular layers, after
a certain time 'rises, as
it were, as a plane after
taking off: the rhythmic
action, too complex to be
able to follow in detail,
begins flying. This
diffusion of individual
structures into a
different global
structure is one of my
basic compositional
concepts: from the end of
the fifties, from the
orchestral works
Apparitions and
Atmospheres I
continuously have been
looking for new ways of
resolving this basic
question. The harmony of
the first movement is
based on mixtures, hence
on the parallel leading
of voices. This technique
is used here in a rather
simple form; later in the
fourth movement it will
be considerably
developed. The second
movement (the only slow
one amongst five
movements) also has a
talea type of structure,
it is however much
simpler rhythmically,
because it contains only
one speed layer. The
melody is consisted in
the development of a
rigorous interval mode in
which two minor seconds
and one major second
alternate therefore nine
notes inside an octave.
This mode is transposed
into different degrees
and it also determines
the harmony of the
movement; however, in
closing episode in the
piano part there is a
combination of diatonics
(white keys) and
pentatonics (black keys)
led in brilliant,
sparkling quasimixtures,
while the orchestra
continues to play in the
nine tone mode. In this
movement I used isolated
sounds and extreme
registers (piccolo in a
very low register,
bassoon in a very high
register, canons played
by the swanee whistle,
the alto ocarina and
brass with a harmon-mute'
damper, cutting sound
combinations of the
piccolo, clarinet and
oboe in an extremely high
register, also
alternating of a
whistle-siren and
xylophone). The third
movement also has one
speed layer and because
of this it appears as
simpler than the first,
but actually the rhythm
is very complicated in a
different way here. Above
the uninterrupted, fast
and regular basic pulse,
thanks to the asymmetric
distribution of accents,
different types of
hemiolas and inherent
melodical patterns appear
(the term was coined by
Gerhard Kubik in relation
to central African
music). If this movement
is played with the
adequate speed and with
very clear accentuation,
illusory
rhythmic-melodical
figures appear. These
figures are not played
directly; they do not
appear in the score, but
exist only in our
perception as a result of
co-operation of different
voices. Already earlier I
had experimented with
illusory rhythmics,
namely in Poeme
symphonique for 100
metronomes (1962), in
Continuum for harpsichord
(1968), in Monument for
two pianos (1976), and
especially in the first
and sixth piano etude
Desordre and Automne a
Varsovie (1985). The
third movement of the
Piano Concerto is up to
now the clearest example
of illusory rhythmics and
illusory melody. In
intervallic and chordal
structure this movement
is based on alternation,
and also inter-relation
of various modal and
quasi-equidistant harmony
spaces. The tempered
twelve-part division of
the octave allows for
diatonical and other
modal interval
successions, which are
not equidistant, but are
based on the alternation
of major and minor
seconds in different
groups. The tempered
system also allows for
the use of the
anhemitonic pentatonic
scale (the black keys of
the piano). From
equidistant scales,
therefore interval
formations which are
based on the division of
an octave in equal
distances, the
twelve-tone tempered
system allows only
chromatics (only minor
seconds) and the six-tone
scale (the whole-tone:
only major seconds).
Moreover, the division of
the octave into four
parts only minor thirds)
and three parts (three
major thirds) is
possible. In several
music cultures different
equidistant divisions of
an octave are accepted,
for example, in the
Javanese slendro into
five parts, in Melanesia
into seven parts, popular
also in southeastern
Asia, and apart from
this, in southern Africa.
This does not mean an
exact equidistance: there
is a certain tolerance
for the inaccurateness of
the interval tuning.
These exotic for us,
Europeans, harmony and
melody have attracted me
for several years.
However I did not want to
re-tune the piano
(microtone deviations
appear in the concerto
only in a few places in
the horn and trombone
parts led in natural
tones). After the period
of experimenting, I got
to pseudo- or
quasiequidistant
intervals, which is
neither whole-tone nor
chromatic: in the
twelve-tone system, two
whole-tone scales are
possible, shifted a minor
second apart from each
other. Therefore, I
connect these two scales
(or sound resources), and
for example, places occur
where the melodies and
figurations in the piano
part are created from
both whole tone scales;
in one band one six-tone
sound resource is
utilized, and in the
other hand, the
complementary. In this
way whole-tonality and
chromaticism mutually
reduce themselves: a type
of deformed
equidistancism is formed,
strangely brilliant and
at the same time
slanting; illusory
harmony, indeed being
created inside the
tempered twelve-tone
system, but in sound
quality not belonging to
it anymore. The
appearance of such
slantedequidistant
harmony fields
alternating with modal
fields and based on
chords built on fifths
(mainly in the piano
part), complemented with
mixtures built on fifths
in the orchestra, gives
this movement an
individual, soft-metallic
colour (a metallic sound
resulting from
harmonics). The fourth
movement was meant to be
the central movement of
the Concerto. Its
melodc-rhythmic elements
(embryos or fragments of
motives) in themselves
are simple. The movement
also begins simply, with
a succession of
overlapping of these
elements in the mixture
type structures. Also
here a kaleidoscope is
created, due to a limited
number of these elements
- of these pebbles in the
kaleidoscope - which
continuously return in
augmentations and
diminutions. Step by
step, however, so that in
the beginning we cannot
hear it, a compiled
rhythmic organization of
the talea type gradually
comes into daylight,
based on the simultaneity
of two mutually shifted
to each other speed
layers (also triplet and
duoles, however, with
different asymmetric
structures than in the
first movement). While
longer rests are
gradually filled in with
motive fragments, we
slowly come to the
conclusion that we have
found ourselves inside a
rhythmic-melodical whirl:
without change in tempo,
only through increasing
the density of the
musical events, a
rotation is created in
the stream of successive
and compiled, augmented
and diminished motive
fragments, and increasing
the density suggests
acceleration. Thanks to
the periodical structure
of the composition,
always new but however of
the same (all the motivic
cells are similar to
earlier ones but none of
them are exactly
repeated; the general
structure is therefore
self-similar), an
impression is created of
a gigantic, indissoluble
network. Also, rhythmic
structures at first
hidden gradually begin to
emerge, two independent
speed layers with their
various internal
accentuations. This
great, self-similar whirl
in a very indirect way
relates to musical
associations, which came
to my mind while watching
the graphic projection of
the mathematical sets of
Julia and of Mandelbrot
made with the help of a
computer. I saw these
wonderful pictures of
fractal creations, made
by scientists from Brema,
Peitgen and Richter, for
the first time in 1984.
From that time they have
played a great role in my
musical concepts. This
does not mean, however,
that composing the fourth
movement I used
mathematical methods or
iterative calculus;
indeed, I did use
constructions which,
however, are not based on
mathematical thinking,
but are rather craftman's
constructions (in this
respect, my attitude
towards mathematics is
similar to that of the
graphic artist Maurits
Escher). I am concerned
rather with intuitional,
poetic, synesthetic
correspondence, not on
the scientific, but on
the poetic level of
thinking. The fifth, very
short Presto movement is
harmonically very simple,
but all the more
complicated in its
rhythmic structure: it is
based on the further
development of ''inherent
patterns of the third
movement. The
quasi-equidistance system
dominates harmonically
and melodically in this
movement, as in the
third, alternating with
harmonic fields, which
are based on the division
of the chromatic whole
into diatonics and
anhemitonic pentatonics.
Polyrhythms and harmonic
mixtures reach their
greatest density, and at
the same time this
movement is strikingly
light, enlightened with
very bright colours: at
first it seems chaotic,
but after listening to it
for a few times it is
easy to grasp its
content: many autonomous
but self-similar figures
which crossing
themselves. I present my
artistic credo in the
Piano Concerto: I
demonstrate my
independence from
criteria of the
traditional avantgarde,
as well as the
fashionable
postmodernism. Musical
illusions which I
consider to be also so
important are not a goal
in itself for me, but a
foundation for my
aesthetical attitude. I
prefer musical forms
which have a more
object-like than
processual character.
Music as frozen time, as
an object in imaginary
space evoked by music in
our imagination, as a
creation which really
develops in time, but in
imagination it exists
simultaneously in all its
moments. The spell of
time, the enduring its
passing by, closing it in
a moment of the present
is my main intention as a
composer. (Gyorgy
Ligeti).
Duos Vol. 2 Flûte traversière et Piano [Partition + CD] Editions Marc Reift (Swiss import)
By John G. Mortimer. For 2 flutes and piano (organ). Swiss import. Play Along. L...(+)
By John G. Mortimer. For
2 flutes and piano
(organ). Swiss import.
Play Along. Level: 2+-3.
Sheet music and
accompaniment CD.
Published by Editions
Marc Reift. (EMR 2232)
Melodies for Beginners Volume 2 Violoncelle, Piano [Conducteur et Parties séparées] - Débutant Editions Marc Reift (Swiss import)
Violoncello & Piano or CD Play Back / Play Along - Grade 1 SKU: MA.EMR-44985<...(+)
Violoncello & Piano or CD
Play Back / Play Along -
Grade 1
SKU:
MA.EMR-44985
Melodies pour
Debutants / Melodien fur
Anfanger. Composed by
Bertrand Moren.
Violoncello & CD Playback
(Play Along). Score and
parts. Duration 18'03.
Editions Marc Reift #EMR
44985. Published by
Editions Marc Reift
(MA.EMR-44985).
Scotland /
Fleas Jumping / There Is
A Green Hill Far Away /
Cadet Rousselle /
Dangerous Liaisons /
Sadness / Toys'
Procession / Home On The
Range / The Blue Danube /
Can-Can / Farther and
Farther / Going Up / The
King of Sliding / Swanee
River...
(121 Easy Arrangements ) Arranged by Claire Gordon, Melvin Stecher, Norman Horow...(+)
(121 Easy Arrangements )
Arranged by Claire
Gordon, Melvin Stecher,
Norman Horowitz. Songbook
for voice and piano. 315
pages. Published by G.
Schirmer, Inc.
by William Bay. For diatonic harmonica. Fun With. All styles, solos. Level: Begi...(+)
by William Bay. For
diatonic harmonica. Fun
With. All styles, solos.
Level: Beginning. Book.
Method. Size 8.75x11.75.
32 pages. Published by
Mel Bay Pub., Inc.