(For mallet ensemble and two flutes). By George Frideric Handel (1685-1759). Arr...(+)
(For mallet ensemble and
two flutes). By George
Frideric Handel
(1685-1759). Arranged by
Brian Slawson. For Two
flutes, two
glockenspiels, two small
marimbas (4-octave), one
4.3 octave marimba
(low-A), one 5-octave
marimba (low C) (8 or 9
players). This edition:
Percussion ensemble.
Concert Percussion
Ensembles. NOTE: If four
marimbas aren't available
these parts can be
performed by sharing two
marimbas (one low-A, and
one low-C). Medium. Folio
parts on CD-Rom. 12
pages. Duration 2:30
Rain Ensemble de Percussions [Partition + CD-ROM] - Facile Tapspace Publications
(for percussion ensemble and solo flute). Composed by Stuart P. O'Neil. Percussi...(+)
(for percussion ensemble
and solo flute). Composed
by Stuart P. O'Neil.
Percussion Ensembles. For
Flute (soloist), 4 tuned
crystal glasses (C, D,
Eb, and F), glockenspiel,
xylophone, vibraphone (or
marimba), chimes,
rainstick, 4 timpani,
windchimes, cabasa,
suspended cymbal, sizzle
cymbal, bass drum, tam
tam, and triangle (11
players). Difficulty:
Medium-Easy. Folio and
CD-ROM. 16 pages.
Duration 3:20. Published
by Tapspace Publications
(for percussion ensemble and rhythm section). By Bela Fleck. Arranged by Tom Gie...(+)
(for percussion ensemble
and rhythm section). By
Bela Fleck. Arranged by
Tom Gierke. Percussion
Ensemble. For 2 low A
marimbas (adaptable for
3), 1 low E marimba, 2
vibraphones, 1 xylophone,
1 glockenspiel, 5
timpani, 1 drumset with
optional electronic
trigger pads, bongos,
djembe, windchimes,
triangle, finger cymbal
(9 players). This
edition: Percussion
ensemble. Concert
Percussion Ensembles. For
percussion ensemble and
rhythm section. Advanced.
Folio parts on CD-Rom.
22 pages. Duration 3:10
Concert Band Alto Clarinet SKU: AP.41373 22 Full Band Arrangements Cor...(+)
Concert Band Alto
Clarinet
SKU:
AP.41373
22 Full
Band Arrangements
Correlated to Accent on
Achievement (Alto
Clarinet). Composed
by John O'Reilly and Mark
Williams. Band
Supplement; Collections;
Performance Music
Ensemble. Accent on
Performance. Book. 24
pages. Alfred Music
#00-41373. Published by
Alfred Music (AP.41373).
ISBN 9780739098165.
UPC: 038081462660.
English.
Over the
course of ten years,
legendary young-band
composers John O'Reilly
and Mark Williams
composed and arranged
over 100 creative works
that correlate with
specific pages in their
highly successful band
method, Accent on
Achievement. Alfred Music
is now proud to make
these arrangements
available in a book
format that includes 22
full arrangements in each
collection.
The
Concert Favorites
Collection features all
original compositions
composed in a variety of
contemporary styles.
Titles: Centurian * The
Lost Kingdom * Cardiff
Castle * Windstar
Overture * Attack of the
Cyclops * Knights Kingdom
* and 16 others.
(Piano Reduction). By David Maslanka. For Solo Alto Saxophone, Piano reduction. ...(+)
(Piano Reduction). By
David Maslanka. For Solo
Alto Saxophone, Piano
reduction. Piano
reduction. 68 pages.
Duration 42 minutes.
Published by Carl Fischer
Air Force One Orchestre - Débutant Alfred Publishing
Concert Band; Orchestra - Grade 1 SKU: AP.49214 Composed by Chris M. Bern...(+)
Concert Band; Orchestra -
Grade 1
SKU:
AP.49214
Composed by
Chris M. Bernotas. 5 or
More; Mixed Instruments -
Flexible Instrumentation;
Performance Music
Ensemble; Single Titles;
Solo Small Ensembles.
Alfred Debut Series.
Score and Part(s).
Duration 2:20. Alfred
Music #00-49214.
Published by Alfred Music
(AP.49214).
ISBN
9781470648565. UPC:
038081569369.
English.
This
version of Air Force One
by Chris M. Bernotas is
part of our Alfred FLEX
offerings and is designed
with maximum flexibility
for use by any mix of
instruments---wind,
strings, and percussion,
including like- or
mixed-ensembles with as
few as 5 players. The
suggested instrumentation
and a customizable
Teacher Map will help you
plan out how to best
assign parts to suit your
ensemble's needs. The
5-part instrumentation
will support balanced
instrumentation of the
lower voices. It also
comes with supplemental
parts for maximum
flexibility. With the
purchase of this piece,
permission is granted to
photocopy the parts as
needed for your ensemble.
A percussion
accompaniment track is
also available as a free
download. String parts
have been carefully
edited with extra
fingerings and
appropriate bowings to
support students in mixed
ensembles playing in less
familiar keys.
Air Force One
evokes the proud spirit
that is symbolized by the
Presidential aircraft.
With its rhythmic drive
and uplifting melody,
this will quickly become
a favorite of your
students and audience
alike. Now scored in a
5-part FLEX format, this
piece has engaging
rhythms, memorable
melodies, and exciting
percussion parts!
Air Force One Orchestre [Conducteur] - Débutant Alfred Publishing
Concert Band; Orchestra - Grade 1 SKU: AP.49214S Composed by Chris M. Ber...(+)
Concert Band; Orchestra -
Grade 1
SKU:
AP.49214S
Composed by
Chris M. Bernotas. 5 or
More; Mixed Instruments -
Flexible Instrumentation;
Performance Music
Ensemble; Single Titles;
Solo Small Ensembles.
Alfred Debut Series.
Score. Duration 2:20.
Alfred Music #00-49214S.
Published by Alfred Music
(AP.49214S).
ISBN
9781470648572. UPC:
038081569376.
English.
This
version of Air Force One
by Chris M. Bernotas is
part of our Alfred FLEX
offerings and is designed
with maximum flexibility
for use by any mix of
instruments---wind,
strings, and percussion,
including like- or
mixed-ensembles with as
few as 5 players. The
suggested instrumentation
and a customizable
Teacher Map will help you
plan out how to best
assign parts to suit your
ensemble's needs. The
5-part instrumentation
will support balanced
instrumentation of the
lower voices. It also
comes with supplemental
parts for maximum
flexibility. With the
purchase of this piece,
permission is granted to
photocopy the parts as
needed for your ensemble.
A percussion
accompaniment track is
also available as a free
download. String parts
have been carefully
edited with extra
fingerings and
appropriate bowings to
support students in mixed
ensembles playing in less
familiar keys.
Air Force One
evokes the proud spirit
that is symbolized by the
Presidential aircraft.
With its rhythmic drive
and uplifting melody,
this will quickly become
a favorite of your
students and audience
alike. Now scored in a
5-part FLEX format, this
piece has engaging
rhythms, memorable
melodies, and exciting
percussion parts!
Concert Band - Grade 3 SKU: BT.EMBZ14724SET EMB Concert Band Series. Conc...(+)
Concert Band - Grade 3
SKU:
BT.EMBZ14724SET
EMB
Concert Band Series.
Concert Piece. Set (Score
& Parts). Composed 2011.
182 pages. Editio Musica
Budapest #EMBZ14724SET.
Published by Editio
Musica Budapest
(BT.EMBZ14724SET).
9x12
inches.
János
Galli (1921-2006) was a
conductor, composer,
music teacher, a
well-known and highly
respected personality in
Hungarian wind music
life. As a music teacher
he directed numerous
string and wind ensembles
and choirs, made hundreds
of transcriptions for
wind orchestras, and
instrumented works for
ensembles of all sizes
and formations. The most
important of his works
are his series of volumes
of marches, folksong
arrangements and church
music. He was excellent
at instrumentation. For
its fine sound and easy
playability we recommend
to youth wind bands and
their conductors this
work of his composed in
memory of the king who
founded the Hungarian
state.
János
Galli (1921-2006)
Chorleiter, Komponist und
Musiklehrer, war in den
ungarischen
Bläserkreisen eine
bekannte und anerkannte
Persönlichkeit. Als
Musiklehrer leitete er
zahlreiche Streich- und
Bläserensembles und
Chöre, fertigte
mehrere hundert
Transkriptionen für
Bläserorchester an und
instrumentierte Werke
für verschieden
große Orchester
unterschiedlicher
Besetzung. Von seinen
eigenen Kompositionen
sind die Märsche,
Volksliedbearbeitungen
und die
kirchenmusikalische
Heftreihe am
bedeutendsten. Er war
eine exzellente
Arrangeur. Sein
Gedenkstück an den
Staatsgründerkönig,
Hl. Stephan empfehlen wir
den Jugendblasorchestern
und ihren Leitern wegen
seines guten Klangs
undwegen seiner einfacher
Spielbarkeit.
By Cowan / Paterson. Arranged by Barry E. Kopetz. Concert Band/Wind Ensemble. FJ...(+)
By Cowan / Paterson.
Arranged by Barry E.
Kopetz. Concert Band/Wind
Ensemble. FJH Concert
Band. Full set (score and
parts). Score only also
available: S. Concert
Band. Score and Set of
Parts. Composed 2001.
Published by The FJH
Music Company Inc.
Level: Grade 3.
Flute (Piccolo), oboe, clarinet in Bb, A and Eb, horn, bassoon and piano - diffi...(+)
Flute (Piccolo), oboe,
clarinet in Bb, A and Eb,
horn, bassoon and piano -
difficult
SKU:
HL.49018092
For
wind quintet and
piano. Composed by
Benjamin Schweitzer. This
edition: Saddle
stitching. Sheet music.
Woodwind Ensemble.
Benjamin Schweitzer
prasentiert sein erstes
Werk fur diese Formation.
Experimentierfreudig
erweitert er den
typischen Charakter der
Blaser um den Klang des
Klaviers. Das Werk
gliedert sich in zwei
Satze, jeder Satz in
mehrere Teile.
Komplex-verflochtene P.
Score and parts. Composed
2001-2002/2008. 132
pages. Duration 8'.
Schott Music #ED20623.
Published by Schott Music
(HL.49018092).
ISBN
9790001158459. UPC:
884088679071.
9.25x12.0x0.365
inches.
Benjamin
Schweitzer presents his
first work for this
combination. Willing to
try out something new, he
adds to the typical
character of the wind
instruments the sound of
the piano. The work is
made up of two movements,
each movement of several
parts. Complex interwoven
passages are set against
stringently composed
sections.The composer
says of his piece: 'the
combination of shortness
and an ease of attitude
with the complexity of a
major chamber music work
relates, in a certain
way, the piece to the
late works of Elliott
Carter.'.
A Realistic Approach for Instrumental Conductors. Composed by Gary Stith. Mu...(+)
A Realistic Approach for
Instrumental Conductors.
Composed by Gary Stith.
Music
Education. 96 pages. GIA
Publications #317211.
Published by GIA
Publications
Cloud Metamorphosis Ensemble de Clarinettes [Conducteur et Parties séparées]
Clarinet Sextet SKU: SU.28090100 For Clarinet Sextet. Composed by ...(+)
Clarinet Sextet
SKU:
SU.28090100
For
Clarinet Sextet.
Composed by James
Marshall. Woodwinds,
Clarinet, Woodwinds,
Woodwind Ensemble. Score
and Parts. James Marshall
Music #28090100.
Published by James
Marshall Music
(SU.28090100).
Cloud
Metamorphosis is a
textural piece in a
sequence of four
continuous sections drawn
from separate cloud
formation types. Unique
motifs establish each
section of the piece
which is scored for
Clarinet Sextet: Eb, 3
Bb, Bass, and Contra Alto
Clarinets (alternate
version with two Bass).
Each musical texture is
developed in a musical,
rather than, programmatic
way.Set includes
alternate Bass Clarinet
part for Contra Alto
ClarinetClarinet Sextet
(Eb, 3 Bb, Bcl,
Contra-alto) Duration: 9'
Composed: 2018 Published
by: James Marshall.
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).
Little Suite Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire EMB (Editio Musica Budapest)
Concert Band - Grade 4 SKU: BT.EMBZ14493SET Score and parts for Sympho...(+)
Concert Band - Grade 4
SKU:
BT.EMBZ14493SET
Score and parts for
Symphonic Band.
Composed by László
Dubrovay. EMB Concert
Band Series. Concert
Piece. Set (Score &
Parts). Composed 2010.
304 pages. Editio Musica
Budapest #EMBZ14493SET.
Published by Editio
Musica Budapest
(BT.EMBZ14493SET).
9x12
inches.
This work
was written in 2005,
prompted by the
composer's determination
that young members of
junior, music school and
conservatoire wind
ensembles should not be
limited to transcriptions
for lack of original
compositions, especially
contemporary ones. The
new devices used in the
Little Suite are suitable
for student players to
try out. Indeed, they
enjoy them - for
instance, purring or
whistling into the
instrument. Each of the
three-or-four-minute
movements of this
four-movement work can
also be performed
separately. The titles of
the movements are the
following: 1. In cheerful
mood, 2. Song, 3. Joke,
4. March. This music in
modern idiom, full
ofinteresting new
effects, offers young
players an opportunity
for enjoyable
music-making together,
and at the same time
prepares them for playing
more difficult
contemporary works.
Little Suite
eignet sich für
junge fortgeschrittene
Blasorchester sowie alle
experimentierfreudigen
Ensembles, denen noch ein
modernes originales
Blasorchesterwerk mit
überraschenden
Effekten im Repertoire
fehlt. In Little Suite
können die Musiker
viel ausprobieren,
beispielsweise auf ihren
Instrumenten zu schnurren
oder zu pfeifen. Jeder
der drei- bis
vierminütigen
Sätze dieses Werkes
kann separat
aufgeführt werden:
In Cheerful Mood, Song,
Joke,
March.
Little Suite si
presta per essere
eseguito da banda di
livello avanzato come
anche per tutte le
formazioni desiderose di
suonare un brano
originale moderno con
effetti sorprendenti. I
quattro movimenti di
questa piccola suite, In
Cheerful Mood, Song, Joke
e March, possono essere
eseguiti
separatamente.
Little Suite Orchestre d'harmonie [Conducteur] - Intermédiaire EMB (Editio Musica Budapest)
Concert Band - Grade 4 SKU: BT.EMBZ14493 Score for Symphonic Band....(+)
Concert Band - Grade 4
SKU: BT.EMBZ14493
Score for Symphonic
Band. Composed by
László Dubrovay.
EMB Concert Band Series.
Concert Piece. Score
Only. Composed 2010. 56
pages. Editio Musica
Budapest #EMBZ14493.
Published by Editio
Musica Budapest
(BT.EMBZ14493).
9x12
inches.
English-Hungarian.
This work was written in
2005, prompted by the
composer's determination
that young members of
junior, music school and
conservatoire wind
ensembles should not be
limited to transcriptions
for lack of original
compositions, especially
contemporary ones. The
new devices used in the
Little Suite are suitable
for student players to
try out. Indeed, they
enjoy them - for
instance, purring or
whistling into the
instrument. Each of the
three-or-four-minute
movements of this
four-movement work can
also be performed
separately. The titles of
the movements are the
following: 1. In cheerful
mood, 2. Song, 3. Joke,
4. March. This music in
modern idiom, full
ofinteresting new
effects, offers young
players an opportunity
for enjoyable
music-making together,
and at the same time
prepares them for playing
more difficult
contemporary works.
Dieses Werk
schrieb der Komponist
2005, für
Jugendblasorchester.
Jeder der vier Sätze
dieser Komposition
lässt sich auch
einzeln vortragen. Die
Titel der Sätze sind:
1. Gutgelaunt, 2. Lied,
3. Spass, 4. Marsch. Die
in moderner Sprache
gehaltene, mit vielen
interessanten neuen
Effekten bereicherte
Musik bietet den jungen
Instrumentalisten
Möglichkeiten zum
heiteren, gutgelaunten
Musizieren in der
Gemeinschaft und bereitet
sie auch auf das Spielen
schwierigerer
zeitgenössischer Musik
vor.
Little Suite si
presta per essere
eseguito da banda di
livello avanzato come
anche per tutte le
formazioni desiderose di
suonare un brano
originale moderno con
effetti sorprendenti. I
quattro movimenti di
questa piccola suite, In
Cheerful Mood, Song, Joke
e March, possono essere
eseguiti
separatamente.