Englishman in New York Orchestre d'harmonie [Conducteur et Parties séparées] - Facile De Haske Publications
Concert Band/Harmonie - Grade 3 SKU: BT.DHP-1145615-010 As performed b...(+)
Concert Band/Harmonie -
Grade 3
SKU:
BT.DHP-1145615-010
As performed by
Sting. Composed by
Sting. Arranged by Roland
Kernen. DHP Pop, Film and
Show. Set (Score &
Parts). Composed 2014. De
Haske Publications #DHP
1145615-010. Published by
De Haske Publications
(BT.DHP-1145615-010).
Sting’s
song about an Englishman
who lives in New York but
still sees himself as an
outsider became a huge
hit for the
singer-songwriter and has
gone on to be a true
classic. The central
message ‘Be
yourself, no matter what
they say’ is as
timeless and universal as
the melody of the song,
which in Roland
Kernen’s wind band
arrangement is sure to
delight your audience.
De Britse
singer-songwriter Sting
scoorde met dit lied over
een Engelsman die in New
York steeds een
vreemdeling is gebleven,
een grote hit, die
inmiddels een evergreen
is geworden. De boodschap
erachter ‘Blijf
jezelf, wat ze ook
zeggen’ is net zo
tijdloos en universeel
als de melodie, die in
deze blaasorkestversie
van Roland Kernen
uitstekend tot haar recht
komt.
Dem
britischen Sänger und
Songwriter Sting gelang
mit Lied über einen
Engländer, der in New
York stets ein Fremdling
belieben wird, ein
großer Hit, der
mittlerweile zum
Evergreen geworden ist.
Die zentrale Botschaft:
Bleib du selbst, egal,
was sie sagen“ ist
jedoch so zeitlos und
universal wie auch die
Melodie des Liedes, das
in Roland Kernens
Blasorchesterversion bei
jedem Publikum gut
ankommen wird.
In
questa canzone il
cantante e compositore
inglese Sting racconta la
storia di un inglese
eccentrico che arriva a
New York. Il messaggio
centrale « siate voi
stessi, non importa
ciò che gli altri
dicono », resta
attuale e universale,
così come
l’indimenticabile
melodia di questa
splendida canzone.
Featuring 43 Fiddlers
and 188 of Their
Tunes. Perfect
binding. Folk. Book. 212
pages. Mel Bay
Publications, Inc #30091.
Published by Mel Bay
Publications, Inc
(MB.30091).
ISBN
9781513466378. 8.75 x
11.75
inches.
Appalachian
fiddle music, based on
the musical traditions of
the people who settled in
the mountainous regions
of the southeastern
United States, is
widely-known and played
throughout North America
and parts of Europe
because of its complex
rhythms, its catchy
melodies, and its
often-ancient-sounding
stylistic qualities. The
authors explore the lives
and music of 43 of the
classic Appalachian
fiddlers who were active
during the first half of
the 20th century. Some of
them were recorded
commercially in the
1920s, such as Gid
Tanner, Fiddlin? John
Carson, and Charlie
Bowman. Some were
recorded by folklorists
from the Library of
Congress, such as William
Stepp, Emmett Lundy, and
Marion Reece. Others were
recorded informally by
family members and
visitors, such as John
Salyer, Emma Lee
Dickerson, and Manco
Sneed. All of them played
throughout most of their
lives and influenced the
growth and stylistic
elements of fiddle music
in their regions. Each
fiddler has been given a
chapter with a biography,
several tune
transcriptions, and tune
histories. To show the
richness of the music,
the authors make a
special effort to show
the musical elements in
detail, but also
acknowledge that nothing
can take the place of
listening. Many of the
classic recordings used
in this book can be found
on the web, allowing you
to hear and read the
music together.
Composed by William Averitt. Christmas, Sacred, 21st Century. Duration 3 minut...(+)
Composed by William
Averitt.
Christmas, Sacred, 21st
Century. Duration 3
minutes,
40 seconds. Galaxy Music
Corporation #1.3481.
Published by Galaxy Music
Corporation
Revised Order of Mass 2010. Composed by Carroll Thomas Andrews. Arranged ...(+)
Revised Order of Mass
2010. Composed by
Carroll Thomas Andrews.
Arranged by Ronald
Krisman. Ritual Prayer.
Sacred. Octavo. 8 pages.
Published by GIA
Publications (GI.G-7998).
(Based on GLORIA). Arranged by Tony Alonso S.J.. For unison voices, 2-part mixed...(+)
(Based on GLORIA).
Arranged by Tony Alonso
S.J.. For unison voices,
2-part mixed choir,
cantor, piano
accompaniment. Ritual
Prayer. Includes guitar
chord names. Sacred.
Easy. Octavo. Language:
English. 20 pages.
Published by GIA
Publications
Choral (Study Score) SKU: HL.49009669 (Motet and Mass) for Choir. ...(+)
Choral (Study Score)
SKU: HL.49009669
(Motet and Mass) for
Choir. Composed by
Tomas Luis de Victoria.
Edited by Thomas Rive.
This edition: Saddle
stitching. Sheet music.
Edition Schott. Sacred.
Study Score. 32 pages.
Eulenburg Edition
#ETP1706. Published by
Eulenburg Edition
(HL.49009669).
ISBN
9790200211443. UPC:
073999354454.
5.25x7.5x0.118 inches.
Latin.
With more
than 1,200 titles from
the orchestral and choral
repertoire, from chamber
music and musical
theatre, Edition
Eulenburg is the world's
largest series of scores,
covering large part of
music history from the
Baroque to the Classical
era and looking back on a
long tradition.
Voice and piano SKU: BR.EB-8873 Repertoire Collection. Composed by...(+)
Voice and piano
SKU:
BR.EB-8873
Repertoire
Collection. Composed
by Marina (Hrsg.) Peter
Anton und Sandel Ling.
Edited by Peter Anton
Ling. Voice; Softbound.
Edition Breitkopf. Aria;
Opera; Classical;
Late-romantic.
Piano/Vocal Score. 144
pages. Breitkopf and
Haertel #EB 8873.
Published by Breitkopf
and Haertel (BR.EB-8873).
ISBN 9790004184639. 9
x 12 inches. German /
English.
,,Una voce
poco profonda: Curtain up
for Trouser Roles and
Heroines Whether the
voice is lyric light or
heavy, whether it can
master coloratura,
perhaps even has dramatic
potential - in the
OperAria mezzo-soprano
and alto volumes, singers
with a deeper voice and a
special talent for the
trouser role through to
the heroine find
everything they need for
their performance.
Throbbing of the heart?
Yes, that's simply part
of the game! Feeling
nervous? No, because
actually nothing can go
wrong with OperAria. The
best vocal coach for
auditions and current
theatre practice. Only
the voice needs to do its
bit. Toi, toi, toi! Our
goal is to give the user
a modern-day,
systematically structured
vocal coach who satisfies
the demands of
present-day theater
practice. At long last a
consistent repertoire and
a well-ordered conflation
of respective audition
arias for all vocal
genres. (Peter Anton Ling
and Marina Sandel,
editors) OperAria -
repertoire anthology of
opera arias according to
vocal criteria (range,
tessitura, specifics,
type of aria) with due
regard to practical
aspects of musical and
theatrical nature (style,
era, role type, national
provenance) with comments
on the arias information
on the composer, the
librettist, the work, the
range and of versions or
casting a short synopsis
of the contents
illuminating the basic
dramatic constellation in
the context of the
opera's plot an
evaluation from the
singer's point of view
with phonetic assistant
and text assistant aria
texts in the original
language spoken by native
speakers as an audio file
(mp3)aria texts in German
and English translations
as a text file
(pdf)available for
download
One of
the most difficult
decisions for singers
(and their teachers!) is
finding the right
repertoire for the
present state of vocal
development. These three
volumes for mezzo-soprano
and alto provide a
magnificent orientation,
and are a great gift!
(Marilyn Schmiege, Patron
mezzosoprano, alto).
By Erik Satie (1866-1925). Edited by Jens Rosteck. For piano. This edition: Stap...(+)
By Erik Satie
(1866-1925). Edited by
Jens Rosteck. For piano.
This edition: Stapled,
Urtext edition.
Performance score. Text
Language: German/English.
15 pages. Published by
Baerenreiter Verlag
Voice and piano SKU: BR.EB-8872 Repertoire Collection. Composed by...(+)
Voice and piano
SKU:
BR.EB-8872
Repertoire
Collection. Composed
by Marina Sandel and
Peter Anton Ling. Edited
by Peter Anton Ling.
Voice; Softbound. Edition
Breitkopf. Aria; Opera;
Classical; Late-romantic.
Piano/Vocal Score. 152
pages. Breitkopf and
Haertel #EB 8872.
Published by Breitkopf
and Haertel (BR.EB-8872).
ISBN 9790004184622. 9
x 12 inches. German /
English.
Una voce
poco profonda: Curtain up
for Trouser Roles and
HeroinesWhether the voice
is lyric light or heavy,
whether it can master
coloratura, perhaps even
has dramatic potential -
in the OperAria
mezzo-soprano and alto
volumes, singers with a
deeper voice and a
special talent for the
trouser role through to
the heroine find
everything they need for
their performance.
Throbbing of the heart?
Yes, that's simply part
of the game! Feeling
nervous? No, because
actually nothing can go
wrong with OperAria. The
best vocal coach for
auditions and current
theatre practice. Only
the voice needs to do its
bit. Toi, toi, toi!Our
goal is to give the user
a modern-day,
systematically structured
vocal coach who satisfies
the demands of
present-day theater
practice. At long last a
consistent repertoire and
a well-ordered conflation
of respective audition
arias for all vocal
genres. (Peter Anton Ling
and Marina Sandel,
editors)OperAria -
repertoire anthology of
opera arias according to
vocal criteria (range,
tessitura, specifics,
type of aria) with due
regard to practical
aspects of musical and
theatrical nature (style,
era, role type, national
provenance)with comments
on the ariasinformation
on the composer, the
librettist, the work, the
range and of versions or
casting a short synopsis
of the contents
illuminating the basic
dramatic constellation in
the context of the
opera's plot an
evaluation from the
singer's point of
viewwith phonetic
assistant and text
assistantaria texts in
the original language
spoken by native speakers
as an audio file
(mp3)aria texts in German
and English translations
as a text file
(pdf)available for
download
One of
the most difficult
decisions for singers
(and their teachers!) is
finding the right
repertoire for the
present state of vocal
development. These three
volumes for mezzo-soprano
and alto provide a
magnificent orientation,
and are a great gift!
(Marilyn Schmiege, Patron
mezzosoprano, alto).
Voice and piano SKU: BR.EB-8871 Repertoire Collection. Composed by...(+)
Voice and piano
SKU:
BR.EB-8871
Repertoire
Collection. Composed
by Marina Sandel and
Peter Anton Ling. Edited
by Peter Anton Ling.
Voice; Softbound. Edition
Breitkopf.
Publication of
Vol. 1 is scheduled for
the first half of 2020,
Vol. 2 for the first half
of 2021.
Aria; Opera; Classical;
Late-romantic.
Piano/Vocal Score. 132
pages. Breitkopf and
Haertel #EB 8871.
Published by Breitkopf
and Haertel (BR.EB-8871).
ISBN 9790004184615. 9
x 12 inches. German /
English.
Una voce
poco profonda: Curtain up
for Trouser Roles and
HeroinesWhether the voice
is lyric light or heavy,
whether it can master
coloratura, perhaps even
has dramatic potential -
in the OperAria
mezzo-soprano and alto
volumes, singers with a
deeper voice and a
special talent for the
trouser role through to
the heroine find
everything they need for
their performance.
Throbbing of the heart?
Yes, that's simply part
of the game! Feeling
nervous? No, because
actually nothing can go
wrong with OperAria. The
best vocal coach for
auditions and current
theatre practice. Only
the voice needs to do its
bit. Toi, toi, toi!Our
goal is to give the user
a modern-day,
systematically structured
vocal coach who satisfies
the demands of
present-day theater
practice. At long last a
consistent repertoire and
a well-ordered conflation
of respective audition
arias for all vocal
genres. (Peter Anton Ling
and Marina Sandel,
editors)OperAria -
repertoire anthology of
opera arias according to
vocal criteria (range,
tessitura, specifics,
type of aria) with due
regard to practical
aspects of musical and
theatrical nature (style,
era, role type, national
provenance)with comments
on the ariasinformation
on the composer, the
librettist, the work, the
range and of versions or
casting a short synopsis
of the contents
illuminating the basic
dramatic constellation in
the context of the
opera's plot an
evaluation from the
singer's point of
viewwith phonetic
assistant and text
assistantaria texts in
the original language
spoken by native speakers
as an audio file
(mp3)aria texts in German
and English translations
as a text file
(pdf)available for
download
One of
the most difficult
decisions for singers
(and their teachers!) is
finding the right
repertoire for the
present state of vocal
development. These three
volumes for mezzo-soprano
and alto provide a
magnificent orientation,
and are a great gift!
(Marilyn Schmiege, Patron
mezzosoprano, alto).
Gloria Fanfare Cloches - Facile Lorenz Publishing Company
Handbells (2 octaves) - Level 2+ SKU: LO.20-1276L Composed by Michael E. ...(+)
Handbells (2 octaves) -
Level 2+
SKU:
LO.20-1276L
Composed
by Michael E. Akers.
Advent, Christmas,
Sacred. Handbell score.
Lorenz Publishing Company
#20/1276L. Published by
Lorenz Publishing Company
(LO.20-1276L).
UPC:
000308070651.
This
bright and joyous prelude
for worship, concert or
festival is based on
Angels We Have Heard on
High. Effective even with
diminished holiday
forces, its brevity
provides additional uses
as a bell introit,
introduction for ringing,
or a bell punctuation for
a Christmas service or
concert.
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).
(A Mass in the Revised Roman Ritual). By Dave Brubeck. For Piano Acc., and Opt. ...(+)
(A Mass in the Revised
Roman Ritual). By Dave
Brubeck. For Piano Acc.,
and Opt. Handbells and
Celeste. (SATB with SATB
Soli). Choral Extended
Work. 92 pages. Published
by Alfred Publishing.
Kaleidoscope Orchestre d'harmonie [Conducteur] - Intermédiaire Anglo Music
Concert Band/Harmonie - Grade 4 SKU: BT.AMP-035-140 Five Variations on...(+)
Concert Band/Harmonie -
Grade 4
SKU:
BT.AMP-035-140
Five Variations on the
'Brugg Song'.
Composed by Philip
Sparke. Anglo Music
Midway Series. Concert
Piece. Score Only.
Composed 2003. 52 pages.
Anglo Music Press #AMP
035-140. Published by
Anglo Music Press
(BT.AMP-035-140).
Kaleidoscope is
a set of five variations
of on the ‘Brugger
Lied’ (Brugg Song)
which is the traditional
song of the town of
Brugg. The lyrics tell of
the geography, people and
traditions of this
charming and historic
town, which is situated
in the north of
Switzerland, near to the
German border, about
halfway between Basel and
Zurich.Each variation is
based on tiny extracts of
the theme, the whole
piece therefore
resembling the effect of
a kaleidoscope, which
juxtaposes small
fragments of colour in a
constantly changing
pattern.
Kaleid
oscope is een set van
vijf variaties op Das
Brugger Lied, het
traditionele lied van de
plaats Brugg. De tekst
gaat over de omgeving,
inwoners en tradities van
deze historische stad,
die is gelegen in het
noordenvan Zwitserland,
dicht bij de Duitse
grens, tussen Basel en
Zürich. De variaties
zijn gebaseerd op
minuscule samenvattingen
van de thema’s. Zo
doet het hele stuk denken
aan een caleidoscoop, die
bij de kleinste
bewegingen steedsweer
afwisselende figuren
toont.
Kaleidos
cope ist ein Set von
fünf Variationen zum
Brugger Lied, dem
traditionellen Lied der
Stadt Brugg. Der Text
erzählt von der
Landschaft, den Menschen
und den Traditionen
dieser bezaubernden
historischen, im Norden
der Schweiz gelegenen
Stadt. Die Variationen
beruhen auf winzigen
Auszügen des Themas.
So erinnert das ganze
Stück an ein
Kaleidoskop, das sich aus
kleinen Farbelementen in
wandelnden Mustern immer
wieder neu zusammensetzt.
Kalediscope è un insieme di
cinque variazioni sul
Brugger Lied, la
canzone tradizionale
della citt di Brugg. Le
parole evocano la
posizione geografica, gli
abitanti e le tradizioni
di questa ridente citt
storica situata nel nord
della svizzera, vicino
alla frontiera con la
Germania, tra Basilea e
Zurigo. Le variazioni
sono basate su brevi
estratti del tema, a
mo’ di un
caleidoscopio che
giustappone piccoli
frammenti di colori in un
motivo in costante
cambiamento.
Kaleidoscope Fanfare [Conducteur] - Intermédiaire Anglo Music
Fanfare Band - Grade 4 SKU: BT.AMP-035-120 Five Variations on the 'Bru...(+)
Fanfare Band - Grade 4
SKU:
BT.AMP-035-120
Five Variations on the
'Brugg Song'.
Composed by Philip
Sparke. Anglo Music
Midway Series. Concert
Piece. Score Only.
Composed 2003. Anglo
Music Press #AMP 035-120.
Published by Anglo Music
Press (BT.AMP-035-120).
Kaleidoscope is
a set of five variations
of on the ‘Brugger
Lied’ (Brugg Song)
which is the traditional
song of the town of
Brugg. The lyrics tell of
the geography, people and
traditions of this
charming and historic
town, which is situated
in the north of
Switzerland, near to the
German border, about
halfway between Basel and
Zurich.Each variation is
based on tiny extracts of
the theme, the whole
piece therefore
resembling the effect of
a kaleidoscope, which
juxtaposes small
fragments of colour in a
constantly changing
pattern.
Kaleid
oscope is een set van
vijf variaties op Das
Brugger Lied, het
traditionele lied van de
plaats Brugg. De tekst
gaat over de omgeving,
inwoners en tradities van
deze historische stad,
die is gelegen in het
noordenvan Zwitserland,
dicht bij de Duitse
grens, tussen Basel en
Zürich. De variaties
zijn gebaseerd op
minuscule samenvattingen
van de thema’s. Zo
doet het hele stuk denken
aan een caleidoscoop, die
bij de kleinste
bewegingen steedsweer
afwisselende figuren
toont.
Kaleidos
cope ist ein Set von
fünf Variationen zum
Brugger Lied, dem
traditionellen Lied der
Stadt Brugg. Der Text
erzählt von der
Landschaft, den Menschen
und den Traditionen
dieser bezaubernden
historischen, im Norden
der Schweiz gelegenen
Stadt. Die Variationen
beruhen auf winzigen
Auszügen des Themas.
So erinnert das ganze
Stück an ein
Kaleidoskop, das sich aus
kleinen Farbelementen in
wandelnden Mustern immer
wieder neu zusammensetzt.
Kalediscope è un insieme di
cinque variazioni sul
Brugger Lied, la
canzone tradizionale
della citt di Brugg. Le
parole evocano la
posizione geografica, gli
abitanti e le tradizioni
di questa ridente citt
storica situata nel nord
della svizzera, vicino
alla frontiera con la
Germania, tra Basilea e
Zurigo. Le variazioni
sono basate su brevi
estratti del tema, a
mo’ di un
caleidoscopio che
giustappone piccoli
frammenti di colori in un
motivo in costante
cambiamento.
Kaleidoscope Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire Anglo Music
Concert Band/Harmonie - Grade 4 SKU: BT.AMP-035-010 Five Variations on...(+)
Concert Band/Harmonie -
Grade 4
SKU:
BT.AMP-035-010
Five Variations on the
'Brugg Song'.
Composed by Philip
Sparke. Anglo Music
Midway Series. Concert
Piece. Set (Score &
Parts). Composed 2003.
Anglo Music Press #AMP
035-010. Published by
Anglo Music Press
(BT.AMP-035-010).
Kaleidoscope is
a set of five variations
of on the ‘Brugger
Lied’ (Brugg Song)
which is the traditional
song of the town of
Brugg. The lyrics tell of
the geography, people and
traditions of this
charming and historic
town, which is situated
in the north of
Switzerland, near to the
German border, about
halfway between Basel and
Zurich.Each variation is
based on tiny extracts of
the theme, the whole
piece therefore
resembling the effect of
a kaleidoscope, which
juxtaposes small
fragments of colour in a
constantly changing
pattern.
Kaleid
oscope is een set van
vijf variaties op Das
Brugger Lied, het
traditionele lied van de
plaats Brugg. De tekst
gaat over de omgeving,
inwoners en tradities van
deze historische stad,
die is gelegen in het
noordenvan Zwitserland,
dicht bij de Duitse
grens, tussen Basel en
Zürich. De variaties
zijn gebaseerd op
minuscule samenvattingen
van de thema’s. Zo
doet het hele stuk denken
aan een caleidoscoop, die
bij de kleinste
bewegingen steedsweer
afwisselende figuren
toont.
Kaleidos
cope ist ein Set von
fünf Variationen zum
Brugger Lied, dem
traditionellen Lied der
Stadt Brugg. Der Text
erzählt von der
Landschaft, den Menschen
und den Traditionen
dieser bezaubernden
historischen, im Norden
der Schweiz gelegenen
Stadt. Die Variationen
beruhen auf winzigen
Auszügen des Themas.
So erinnert das ganze
Stück an ein
Kaleidoskop, das sich aus
kleinen Farbelementen in
wandelnden Mustern immer
wieder neu zusammensetzt.
Kalediscope è un insieme di
cinque variazioni sul
Brugger Lied, la
canzone tradizionale
della citt di Brugg. Le
parole evocano la
posizione geografica, gli
abitanti e le tradizioni
di questa ridente citt
storica situata nel nord
della svizzera, vicino
alla frontiera con la
Germania, tra Basilea e
Zurigo. Le variazioni
sono basate su brevi
estratti del tema, a
mo’ di un
caleidoscopio che
giustappone piccoli
frammenti di colori in un
motivo in costante
cambiamento.
Kaleidoscope Fanfare [Conducteur et Parties séparées] - Intermédiaire Anglo Music
Fanfare Band - Grade 4 SKU: BT.AMP-035-020 Five Variations on the 'Bru...(+)
Fanfare Band - Grade 4
SKU:
BT.AMP-035-020
Five Variations on the
'Brugg Song'.
Composed by Philip
Sparke. Anglo Music
Midway Series. Concert
Piece. Set (Score &
Parts). Composed 2003.
Anglo Music Press #AMP
035-020. Published by
Anglo Music Press
(BT.AMP-035-020).
Kaleidoscope is
a set of five variations
of on the ‘Brugger
Lied’ (Brugg Song)
which is the traditional
song of the town of
Brugg. The lyrics tell of
the geography, people and
traditions of this
charming and historic
town, which is situated
in the north of
Switzerland, near to the
German border, about
halfway between Basel and
Zurich.Each variation is
based on tiny extracts of
the theme, the whole
piece therefore
resembling the effect of
a kaleidoscope, which
juxtaposes small
fragments of colour in a
constantly changing
pattern.
Kaleid
oscope is een set van
vijf variaties op Das
Brugger Lied, het
traditionele lied van de
plaats Brugg. De tekst
gaat over de omgeving,
inwoners en tradities van
deze historische stad,
die is gelegen in het
noordenvan Zwitserland,
dicht bij de Duitse
grens, tussen Basel en
Zürich. De variaties
zijn gebaseerd op
minuscule samenvattingen
van de thema’s. Zo
doet het hele stuk denken
aan een caleidoscoop, die
bij de kleinste
bewegingen steedsweer
afwisselende figuren
toont.
Kaleidos
cope ist ein Set von
fünf Variationen zum
Brugger Lied, dem
traditionellen Lied der
Stadt Brugg. Der Text
erzählt von der
Landschaft, den Menschen
und den Traditionen
dieser bezaubernden
historischen, im Norden
der Schweiz gelegenen
Stadt. Die Variationen
beruhen auf winzigen
Auszügen des Themas.
So erinnert das ganze
Stück an ein
Kaleidoskop, das sich aus
kleinen Farbelementen in
wandelnden Mustern immer
wieder neu zusammensetzt.
Kalediscope è un insieme di
cinque variazioni sul
Brugger Lied, la
canzone tradizionale
della citt di Brugg. Le
parole evocano la
posizione geografica, gli
abitanti e le tradizioni
di questa ridente citt
storica situata nel nord
della svizzera, vicino
alla frontiera con la
Germania, tra Basilea e
Zurigo. Le variazioni
sono basate su brevi
estratti del tema, a
mo’ di un
caleidoscopio che
giustappone piccoli
frammenti di colori in un
motivo in costante
cambiamento.