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| Refining The March Style Orchestre d'harmonie - Facile Carl Fischer
Band Concert Band - Grade 2 SKU: CF.YPS105 Warm-Ups and Fundamentals(+)
Band Concert Band - Grade
2 SKU: CF.YPS105
Warm-Ups and
Fundamentals.
Composed by Larry Clark.
Collate - FS SWS - spine:
3/4 or .75. Young
Performance Series. Set
of Score and Parts. With
Standard notation.
16+4+8+8+4+10+4+4+8+8+8+1
2+4+6+2+2+4+2+20 pages.
Duration 2 minutes, 53
seconds. Carl Fischer
Music #YPS105. Published
by Carl Fischer Music
(CF.YPS105). ISBN
9780825884870. UPC:
798408084875. 9 x 12
inches. Key: Bb
major. Based on our
popular New Bennett Band
Book series, we have
compiled march-style
warm-ups in a separate
publication so they may
be used by all bands
wishing to learn from
them. These innovative
warm-ups and fundamental
drills are the ultimate
method of teaching and
reinforcing the March
style. How To Use the
March Warm-upsPlaying in
a march style can present
difficulties for young
students. The most
prevalent problem is that
students have a tendency
to play every note too
short. Conversely,
accented notes are
usually played
incorrectly with too much
tongue. Do marches
contain short notes?
Absolutely, but these
shortest of notes should
be reserved for notes
that precede an accent or
notes that are
specifically marked with
a staccato. Think of
unmarked notes as being
separated, but not short
and certainly not clipped
or stopped with the
tongue. Accented notes
should be played with
more weight using air and
more length, and not just
a harder tongue. Accents
are given to show
emphasis to a note and
should be thought of in
this manner.The warm-up
exercises provided in
this collection should
give you many
opportunities to stress
the above-mentioned
comments on march
performance style. The
following gives an
explanation on the
purpose and use of each
of these exercises.No. 1
– Basic Chords and
ModulationsOne of the
challenges of playing
marches with young
students is successfully
performing the key change
at the Trio. This
exercise presents the
three basic chords
(tonic, subdominant and
dominant) in each of the
three keys in this
collection of marches.
You can also use this
exercise to teach and
reinforce the style of
accented notes. You may
want to have your band
play major scales in
succession by fourths to
reinforce the concept of
modulation to the
subdominant that occurs
at the Trio (i.e. the
B≤-major scale,
then the E≤-major
scale, then the
A≤-major scale). I
might suggest getting the
students to try
continuing the pattern
all the way around the
circle of fourths.No. 2
– March Style in
B≤ MajorThis
exercise contains many
opportunities to teach
and reinforce the
difference between
staccato and accented
notes. The melody voices
move up and down the
B≤-major scale,
while other instruments
play chords commonly
found in the marches in
this collection. These
include diminished
chords, secondary
dominant chords (i.e. the
V of the V) and other
common chromatic chords
that Fillmore often
used.No. 3 –
Cakewalk Rhythm in
B≤ MajorThe simple
syncopated rhythm in this
exercise is common to
many marches. This drill
gives you the opportunity
to teach/ reinforce the
standard ar-ticulation
and natural accent of
this rhythmic pattern.
Again, this exercise uses
an ascending and
descending major-scale
pattern as the melodic
basis, accompanied by
chords commonly found in
American- style
marches.No. 4 –
The March Scale in
B≤ MajorI call this
exercise “The March
Scale,†because
often in marches (and
especially in these
marches) the descending
half-step is part of the
melodic material. These
chromatic figures give
the melodies of many
marches their charm and
flow. Thus, I devised
this exercise and others
like it in E≤ major
and A≤ major to
familiarize students with
these patterns. I would
suggest playing the
pattern in a variety of
ways different from what
is written. Here are some
other
possibilities:•
Tongue one, slur
three• Slur two,
tongue two• Tongue
two, slur two•
Tongue one, slur two,
tongue oneGradually
increase the tempo to the
march tempo and the
articulation style will
fall right into
place.Another important
consideration is the
performance of the bass
line and the bass-drum
part. Too often, the bass
drum and bass instruments
play their parts with
equal emphasis on both
beats in the measure.
This is incorrect, and
frequently makes the
marchNo. 5 – March
Style in E≤
MajorThis is a similar to
exercise No. 2, but with
a different rhythmic
pattern. Emphasize the
difference between
accented and unaccented
notes. Also, play the
exercise with line
direction moving the
musical line forward.
Experiment and play the
exercise with different
dynamic choices and with
hairpins up and down in
different ways.No. 6
– More March Style
in E≤ MajorExercise
No. 6 comprises more
rhythmic patterns and
harmonic materials in
E≤ major to teach
and reinforce the march
style. This exercise
em-phasizes the
sixteenth-note rhythm, as
notated in the third
measure of the exercise.
Young stu- dents have a
tendency to
“crush†the
sixteenths; consequently,
they lack clarity. It
would be a good idea to
work this rhythmic figure
on a scale pattern with
all of the instruments in
the band as an additional
warm-up exercise.No. 7
– The March Scale
in E≤ MajorSee the
information for No. 4 and
apply it to this
exercise. Use all of the
various articulations
described above as
well.No. 8 – March
Style in A≤
MajorSee the information
for No. 2 and apply it to
this exercise.No. 9
– Cakewalk Rhythm
in A≤ MajorSee the
information for No. 3 and
apply it to this
exercise.No. 10 –
The March Scale in
A≤ MajorSee the
information for No. 4 and
apply it to this
exercise.Other Ideas for
March PerformanceA
rehearsal practice that
has worked very well for
me is to start out by
having the band play the
march very slowly at
about Å’ = 60 in a
chorale/legato style. The
slow tempo is a fine
opportunity to work on
clarity of harmonic move-
ment and to work on the
balance and blend of the
tutti band sound. This
will pay great dividends
toward improving the
sound of your band.
Gradually increase the
tempo to the march tempo
and the articulation
style will fall right
into place.Another
important consideration
is the performance of the
bass line and the
bass-drum part. Too
often, the bass drum and
bass instruments play
their parts with equal
emphasis on both beats in
the measure. This is
incorrect, and frequently
makes the march. $70.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Universal Rhythms for Drummers Batterie [Partition + CD] Alfred Publishing
(The Keys to Unlock a World of Creativity). By Dave DiCenso. For Drumset. Method...(+)
(The Keys to Unlock a
World of Creativity). By
Dave DiCenso. For
Drumset.
Method/Instruction;
Percussion - Drum Set
Method or Collection.
Book and CD. 100 pages
$27.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Hope Remains Within [Conducteur] - Facile Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bongos, Brake Drum, Chimes, Clarinet 1, ...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Bongos,
Brake Drum, Chimes,
Clarinet 1, Clarinet 2,
Euphonium, Euphonium
T.C., Flute 1, Flute 2,
Horn, Mallet Percussion
1, Mallet Percussion 2,
Oboe, Percussion 1,
Percussion 2, Percussion
3, Snare Drum and more. -
Grade 2.5 SKU:
CF.YPS217F Composed
by Zachary Cairns. Sws.
Yps. Full score. 24
pages. Duration 4
minutes, 48 seconds. Carl
Fischer Music #YPS217F.
Published by Carl Fischer
Music (CF.YPS217F).
ISBN 9781491156551.
UPC: 680160915095. 9 x 12
inches. Hope
Remains Within was
commissioned by and
composed for the Mount
Nittany Middle School 7th
and 8th Grade Concert
Bands. Having heard the
students of Mount Nittany
perform another work of
mine, I was very excited
when their director,
Johanna Steinbacher,
approached me about
writing a piece
specifically for them. I
knew right away that I
wanted to write something
that would tie in with
their non-music
curriculum in some way,
but I wasn't exactly sure
how, or what. Johanna
talked to some of her
students and learned
that, in 7th grade, the
students spend a good
deal of time studying
mythology in their
English class. In
particular, two clarinet
students mentioned how
much they enjoyed the
story of Pandora. As
such, I decided to use
that story as the basis
of this composition. Hope
Remains Within doesn't
attempt to re-tell the
story, event by event, in
musical terms. Instead,
my goal was to address
what seems to be one of
the central issues of the
Pandora myth. Though
there are some
variations, we probably
all know the basics as
told by the ancient Greek
poet Hesiod. Zeus decides
to punish Prometheus for
stealing fire from heaven
and giving it to humans.
He and the other gods
create Pandora, a
beautiful and deceitful
woman, and they give her
to Prometheus's brother
Epimetheus as a bride.
Pandora is herself given
a jar (according to many
sources, jar seems to be
a more accurate
translation for what we
commonly call Pandora's
box) which contained
numerous evils, diseases,
and other pains. Out of
curiosity, Pandora opens
the jar and releases all
of these evils into the
world. But one thing
remains in the jar: hope.
The issue of hope seems
to be one of the big
interpretive questions of
the Pandora myth. Why
does hope remain within
the jar? Why doesn't it
come out of the jar to
help humanity? Is hope
being held on a pedestal
of some sort? Is hope
deliberately withheld
from humanity? Why was
hope in the jar with all
those evils in the first
place? I'm not enough of
a mythological scholar to
claim to have definitive
answers to those
questions, but these are
the questions that I've
tried to engage from a
musical perspective in
Hope Remains Within. I
encourage the students
and listeners to consider
their own ideas of what
hope is, and where you
can find your own hope
when needed. Musically,
Hope Remains Within draws
one of its main themes
from the Prometheus
Symphony by Alexander
Skryabin (Scriabin). The
note sequence F-D-Gb -F,
heard near Hope's
beginning played by alto
saxophones and chimes,
comes from the opening
measures of Skyrabin's
work. Given the important
role that Prometheus
plays in the Pandora
myth, this seemed like an
appropriate musical
gesture to quote. This
Prometheus motive is
varied throughout the
course of the piece, and
even provides closure at
the end, recast in a
major key. Additionally,
I have tried to involve a
manageable amount of
chromaticism in this
piece. I have worked from
the key of Bb major, no
doubt familiar to every
student who has ever
played an instrument in a
band. But I have added
three extra notes: Db,
Gb, and Ab, which are
drawn from the key of Bb
minor. During the piece's
slow opening, I have
allowed these minor key
pitches to mingle freely
within the Bb major
tonality, adding extra
color and (I hope!)
beauty. As the piece
progresses, though, the
tempo increases, and we
lose sense of the Bb
major key entirely, and
these extra notes play a
more important role. But
finally, Bb major returns
triumphantly and all the
extra notes are gone,
except for a brief memory
near the very end. (Ok,
there are a couple of
E-naturals that sneak in
there along the way. I
couldn't
resist.). Hope Remains
Within was commissioned
by and composed for the
Mount Nittany Middle
School 7th and 8th Grade
Concert Bands. Having
heard the students of
Mount Nittany perform
another work of mine, I
was very excited when
their director, Johanna
Steinbacher, approached
me about writing a piece
specifically for them. I
knew right away that I
wanted to write something
that would tie in with
their non-music
curriculum in some way,
but I wasn’t
exactly sure how, or
what. Johanna talked to
some of her students and
learned that, in 7th
grade, the students spend
a good deal of time
studying mythology in
their English class. In
particular, two clarinet
students mentioned how
much they enjoyed the
story of Pandora.As such,
I decided to use that
story as the basis of
this composition. Hope
Remains Within
doesn’t attempt to
re-tell the story, event
by event, in musical
terms. Instead, my goal
was to address what seems
to be one of the central
issues of the Pandora
myth. Though there are
some variations, we
probably all know the
basics as told by the
ancient Greek poet
Hesiod. Zeus decides to
punish Prometheus for
stealing fire from heaven
and giving it to humans.
He and the other gods
create Pandora, a
beautiful and deceitful
woman, and they give her
to Prometheus’s
brother Epimetheus as a
bride. Pandora is herself
given a jar (according to
many sources,
“jar†seems
to be a more accurate
translation for what we
commonly call
“Pandora’s
boxâ€) which
contained numerous evils,
diseases, and other
pains. Out of curiosity,
Pandora opens the jar and
releases all of these
evils into the world. But
one thing remains in the
jar: hope.The issue of
hope seems to be one of
the big interpretive
questions of the Pandora
myth. Why does hope
remain within the jar?
Why doesn’t it
come out of the jar to
help humanity? Is hope
being held on a pedestal
of some sort? Is hope
deliberately withheld
from humanity? Why was
hope in the jar with all
those evils in the first
place?I’m not
enough of a mythological
scholar to claim to have
definitive answers to
those questions, but
these are the questions
that I’ve tried to
engage from a musical
perspective in Hope
Remains Within. I
encourage the students
and listeners to consider
their own ideas of what
hope is, and where you
can find your own hope
when needed.Musically,
Hope Remains Within draws
one of its main themes
from the Prometheus
Symphony by Alexander
Skryabin (Scriabin). The
note sequence F-D-Gb -F,
heard near Hope’s
beginning played by alto
saxophones and chimes,
comes from the opening
measures of
Skyrabin’s work.
Given the important role
that Prometheus plays in
the Pandora myth, this
seemed like an
appropriate musical
gesture to quote. This
Prometheus motive is
varied throughout the
course of the piece, and
even provides closure at
the end, recast in a
major key.Additionally, I
have tried to involve a
manageable amount of
chromaticism in this
piece. I have worked from
the key of Bb major, no
doubt familiar to every
student who has ever
played an instrument in a
band. But I have added
three extra notes: Db,
Gb, and Ab, which are
drawn from the key of Bb
minor. During the
piece’s slow
opening, I have allowed
these minor key pitches
to mingle freely within
the Bb major tonality,
adding extra color and (I
hope!) beauty. As the
piece progresses, though,
the tempo increases, and
we lose sense of the Bb
major key entirely, and
these extra notes play a
more important role. But
finally, Bb major returns
triumphantly and all the
extra notes are gone,
except for a brief memory
near the very end. (Ok,
there are a couple of
E-naturals that sneak in
there along the way. I
couldn’t
resist.). $11.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Fusion: A Study in Contemporary Music for the Drums Batterie [Partition + CD] Hal Leonard
(The Collective: Contemporary Styles Series). Percussion. Softcover with CD. 56 ...(+)
(The Collective:
Contemporary Styles
Series). Percussion.
Softcover with CD. 56
pages. Hal Leonard #CO3.
Published by Hal Leonard
$17.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Drum Set Technique - History of the U.S. Beat - DVD Batterie [DVD] Hudson Music
2-Disc DVD Set. Performed by Steve Smith. Dvd. DVD (Digital Video Disc). Size 5....(+)
2-Disc DVD Set. Performed
by Steve Smith. Dvd. DVD
(Digital Video Disc).
Size 5.4x7.5 inches.
Published by Hudson
Music.
(1)$49.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Gaddiments Batterie [Partition + Accès audio] Hudson Music
With Online Video. Percussion. Instruction. Softcover Video Online. Duration ...(+)
With Online Video.
Percussion. Instruction.
Softcover Video Online.
Duration 140 seconds.
Hudson
Music #HDBK58. Published
by
Hudson Music
$24.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Drum Circle Spirit - Facilitating Human Potential Through Rhythm Batterie [Partition + CD] - Facile White Cliffs Media
by Arthur Hull. For percussion. White Cliffs Media. All styles, world music. Lev...(+)
by Arthur Hull. For
percussion. White Cliffs
Media. All styles, world
music. Level: Beginning.
Book/CD Set. Non-fiction.
Size 7x9.5. 208 pages.
Published by White Cliffs
Media.
$29.95 - Voir plus => AcheterDélais: 4 to 6 business days | | |
| Royal Coronation Dances Orchestre d'harmonie [Conducteur et Parties séparées] - Facile Manhattan Beach Music
Concert band - Grade 3 SKU: MH.1-59913-054-8 Composed by Bob Margolis. Su...(+)
Concert band - Grade 3
SKU:
MH.1-59913-054-8
Composed by Bob Margolis.
Suitable for advanced
middle school, high
school, community and
college bands. Conductor
score and set of parts.
Duration 4:45. Published
by Manhattan Beach Music
(MH.1-59913-054-8).
ISBN
9781599130545. Roya
l Coronation Dances is
the first sequel to the
Fanfare Ode & Festival,
both being settings of
dance music originally
arranged by Gervaise in
the mid 16th-century (the
next sequel is The
Renaissance Fair, which
uses music of Susato and
Praetorius). Fanfare Ode
& Festival has been
performed by many tens of
thousands of students,
both in high school and
junior high school. I
have heard that some of
them are amazed that the
music they are playing
was first played and
danced to over 400 years
ago. Some students tend
to think that music
started with Handel and
his Messiah to be
followed by Beethoven and
his Fifth Symphony, with
naught in between or
before of consequence.
Although Royal Coronation
Dances is derived from
the same source as
Fanfare Ode & Festival,
they are treated in
different ways. I
envisioned this new suite
programmatically -- hence
the descriptive movement
titles, which I imagined
to be various dances
actually used at some
long-ago coronation. The
first movement depicts
the guests, both noble
and common, flanked by
flag and banner bearers,
arriving at the palace to
view the majestic event.
They are festive, their
flags swirling the air,
their cloaks brightly
colored. In the second
movement, the queen in
stately measure moves to
take her place on the
throne as leader and
protector of the realm.
In the third movement,
the jesters of the court
entertain the guests with
wild games of sport.
Musically, there are
interesting sonorities to
recreate. Very special
attention should be given
to the tambourine/tenor
drum part in the first
movement. Their lively
rhythms give the movement
its power. Therefore they
should be played as
distinctly and
brilliantly as possible.
The xylophone and
glockenspiel add clarity,
but must not be allowed
to dominate. Observe
especially the differing
dynamics; the intent is
to allow much buzzing
bass to penetrate. The
small drum (starting at
meas. 29) should be
played expressively, with
attention to the notated
articulations, with the
brass light and detached,
especially in a lively
auditorium. It is of some
further interest that the
first dance is extremely
modal. The original is
clearly in G mixolydian
mode (scale:
G-A-B-C-D-E-F-G).
However, other editors
might put in F-sharps in
many places (changing the
piece almost to G major),
in the belief that such
ficta would have been
automatically put in by
the 16th-century
performers as they
played. I doubt it. I
have not only eschewed
these within the work,
but even at the cadences.
So this arrangement is
most distinctly modal
(listen to the F-naturals
in meas. 22 and 23, for
instance), with all the
part-writing as Gervaise
wrote it. In the second
movement, be careful that
things do not become too
glued together. In the
16th century this music
might have been played by
a consort of recorders,
instruments very light of
touch and sensitive to
articulation. Concert
band can easily sound
heavy, and although this
movement has been scored
for tutti band, it must
not sound it. It is
essential, therefore,
that you hear all the
instruments, with none
predominating. Only when
each timbre can be heard
separately and
simultaneously will the
best blend occur, and
consequently the greatest
transparency. So aim for
a transparent, spacious
tutti sound in this
movement. Especially have
the flutes, who do this
so well, articulate
rather sharply, so as to
produce a chiffing sound,
and do not allow the
quarter-notes to become
too tied together in the
entire band. The entrance
of the drums (first
tenor, then bass) are
events and as such should
be audible. Incidentally,
this movement begins in F
Major and ends in D
Minor: They really didn't
care so much about those
things then. The third
movement (one friend has
remarked that it is the
most Margolisian of the
bunch, but actually I am
just getting subtler, I
hope) again relies upon
the percussion (and the
scoring) to make its
points. Xylophone in this
movement is meant to be
distinctly audible.
Therefore, be especially
sure that the xylophone
player is secure in the
part, and also that the
tambourine and toms sound
good. This movement must
fly or it will sink, so
rev up the band and
conduct it in 1 for this
mixolydian jesting. I
suppose the wildly
unrelated keys (clarinets
and then brass at the
end) would be a good
16th-century joke, but to
us, our
put-up-the-chorus-a-half-
step ears readily accept
such shenanigans.
Ensemble instrumentation:
1 Full Score, 1 Piccolo,
4 Flute 1, 4 Flute 2 & 3,
2 Oboe 1 & 2, 2 Bassoon 1
& 2, 1 Eb Clarinet, 4 Bb
Clarinet 1, 4 Bb Clarinet
2, 4 Bb Clarinet 3, 2 Eb
Alto Clarinet, 1 Eb
Contra Alto Clarinet, 3
Bb Bass & Bb Contrabass
Clarinet, 2 Eb Alto
Saxophone 1, 2 Eb Alto
Saxophone 2, 2 Bb Tenor
Saxophone, 2 Eb Baritone
Saxophone, 3 Bb Trumpet
1, 3 Bb Trumpet 2, 3 Bb
Trumpet 3, 4 Horn in F 1
& 2, 2 Trombone 1, 4
Trombone 2 & 3, 3
Euphonium (B.C.), 2
Euphonium (T.C.), 4 Tuba,
1 String Bass, 1 Timpani
(optional), 2 Xylophone &
Glockenspiel, 5
Percussion. $95.00 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Iron Horse, The Caisse Claire - Avancé Tapspace Publications
For solo snare drum. Composed by John Mark Reilly. Solos: Snare Drum. Printed ...(+)
For solo snare drum.
Composed
by John Mark Reilly.
Solos:
Snare Drum. Printed
Folio.
Tapspace Publications
#TSPCS20-015. Published
by
Tapspace Publications
$12.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Warm Ups and Cadence for Developing Drumline Batterie-Fanfare Jalen Publishing
Arranged by Carl Major. For percussion. Warm Ups. Medium easy. Published by Jale...(+)
Arranged by Carl Major.
For percussion. Warm Ups.
Medium easy. Published by
Jalen Publishing
$50.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Chinese Folk Dance Suite Saxophone Soprano et Piano [Conducteur et Parties séparées] Theodore Presser Co.
Chamber Music Piano, soprano Saxophone SKU: PR.114419290 Composed by Chen...(+)
Chamber Music Piano,
soprano Saxophone SKU:
PR.114419290 Composed
by Chen Yi. Edited by
Chen Yi. Arranged by Wong
Tak Chiu. Sws. Score and
parts. 44 pages. Duration
20 minutes. Theodore
Presser Company
#114-41929. Published by
Theodore Presser Company
(PR.114419290). ISBN
9781491135235. UPC:
680160676118. 9 x 12
inches. Supported
by a major commissioning
award from the Serge
Koussevitzky Music
Foundation in the Library
of Congress, my Chinese
Folk Dance Suite is
written for violin solo
and orchestra, and
premiered by The Women's
Philharmonic with violin
soloist Terrie Baune,
conducted by Apo Hsu, on
March 10, 2001, at Yerba
Buena Center For the Arts
Theater in San Francisco.
Inspired by various
Chinese traditional folk
dances, I've composed
three movements in the
suite: 1) Lion Dance.
Traditionally, people
dance with richly
decorated hand made
lions, accompanied by
percussion ensemble, to
celebrate happy occasions
and major festivals
throughout the country.
In the composition, I use
Chinese drum and other
percussion instruments in
the background, to form a
dynamic and rhythmic
texture responding to the
solo part, which imitates
the tunes played on the
suona (traditional
Chinese trumpet). The
pitch materials came from
traditional Guangdong
Music tune and Chaozhou
Music tune ; 2) YangKo.
Originated in northern
China, it's a major folk
dance form in mass
performance popularized
in the country. In YangKo
performance, people
always play rhythmic
patterns on the drums
hung around their waists
while singing and
dancing. In my second
movement, I have imagined
a warm scene of YangKo
dancing in distance. The
solo violin plays a sweet
and gracious melodic line
while all members in the
orchestra sing the
non-pitch syllables in
different layers as the
soft background, to
imitate the percussion
sound which produces the
ever going pulse. 3)
Muqam. It is a large
scale traditional music
and dance form from Uygur
nationality in Xinjiang
province, originated in
the 15th century. In my
third movement, I keep
the meter of seven eight
and the melodic style of
Muqam music. The fiery
dancing gesture cumulates
the sustained climax
section at the end of the
work, after a colorful
violin cadenza in both
improvisational singing
style and polyphonic
writing with woven lines.
Scored for 2 flutes (2nd
doubling piccolo), 2
oboes, 2 clarinets in Bb,
2 bassoons, 4 French
horns in F, 2 trumpets in
Bb, 3 trombones,
percussion 1 (3 congas,
low tom-tom, temple
block, paddle castanets),
percussion 2 (snare drum,
6 small Beijing opera
gong, 12 big Beijing
opera gong, crotales,
tambourine), percussion 3
(suspended cymbal, a pair
of 6 Chinese cymbals,
bass drum), solo violin,
violins I, violins II,
violas, cellos and double
basses. Duration is about
16 minutes. The work is
recorded on Bis [CD-1352]
and released in 2003,
performed by Cho-Liang
Lin and the Singapore
Symphony Orchestra, cond.
by Lan Shui. Reduction
for B-flat soprano
saxophone and piano by
Wong Tak Chiu (2017) and
edited by Chen Yi (2018)
The second movement
YangKo is premiered by
Dr. Wong and Korak
Lerpibulchai at the
Singapore Saxophone
Symposium on 8/13/2017.
The American premiere of
the saxophone and piano
reduction version of
Chinese Folk Dance Suite
is given by Chi Him Chik
and Hao Yin at the
Society for American
Music National Conference
in Kansas City, MO on
3/2/2018. $26.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Jazz Basics - Drums Batterie [Partition] - Débutant Heritage Music Press
By Peter Blair. For Drum Set. Jazz Basics. Level: Grade 1. Jazz. Published by He...(+)
By Peter Blair. For Drum
Set. Jazz Basics. Level:
Grade 1. Jazz. Published
by Heritage Music Press.
(60/1234H)
$10.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Best of Red Hot Chili Peppers for Drums Batterie [Partition] Hal Leonard
Performed by The Red Hot Chili Peppers. Drum Recorded Versions (Authentic note-f...(+)
Performed by The Red Hot
Chili Peppers. Drum
Recorded Versions
(Authentic note-for-note
drum transcriptions).
Size 9x12 inches.
Published by Hal Leonard.
$26.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| 100 Legendary Modern Rock Drum Beats Batterie [Partition + Accès audio] - Intermédiaire Mel Bay
Composed by Jason Prushko. Saddle-stitched. 100 Legendary. Book and online au...(+)
Composed by Jason
Prushko.
Saddle-stitched. 100
Legendary. Book and
online
audio. 24 pages.
Published
by Mel Bay Publications,
In
$14.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Concerto in E Major Trompette Carl Fischer
Chamber Music Piano, Trumpet SKU: CF.W2682 For Trumpet in E and Piano,...(+)
Chamber Music Piano,
Trumpet SKU:
CF.W2682 For
Trumpet in E and Piano,
S.49. Composed by
Johann Hummel. Edited by
Elisa Koehler. Set of
Score and Parts. With
Standard notation. 36+8
pages. Carl Fischer Music
#W2682. Published by Carl
Fischer Music (CF.W2682).
ISBN 9781491144954.
UPC: 680160902453. 9 x 12
inches. Key: E
major. Edited by
Elisa Koehler, Associate
Professor and Chair of
the Music Department at
Goucher College, this new
edition of Johann Nepomuk
Hummel's Concerto in E
Major for trumpet in E
and piano presented in
its original key. The
concerto by Johann
Nepomuk Hummel
(1778–1837)holds a
unique place in the
trumpet repertoire. Like
theconcerto by Joseph
Haydn (1732–1809)
it was written forthe
Austrian trumpeter Anton
Weidinger
(1766–1852) andhis
newly invented keyed
trumpet, performed a few
timesby Weidinger, and
then forgotten for more
than 150 yearsuntil it
was revived in the
twentieth century. But
unlikeHaydn’s
concerto in Eb major,
Hummel’s Concerto
a Trombaprincipale (1803)
was written in the key of
E major for atrumpet
pitched in E, not
E≤. This difference
of key proved tobe quite
a conundrum for
trumpeters and music
publishersin the
twentieth century. The
first modern edition,
publishedby Fritz Stein
in 1957, transposed the
concerto down onehalf
step into the key of
E≤ to make it more
playable on atrumpet in
Bb, which had become the
standard instrumentfor
trumpeters by the middle
of the twentieth
century.Armando Ghitalla
made the first recording
of the Hummel in1964 in
the original key of E (on
a C-trumpet) after
editinga performing
edition in 1959 in the
transposed key of
E≤ (forBb trumpet)
published by Robert King
Music. Needless tosay,
the trumpet had changed
dramatically in terms of
design,manufacture, and
cultural status between
1803 and 1957, andthe
notion of classical solo
repertoire for the modern
trumpetwas still in its
formative stages when the
Hummel concertowas
reborn.These factors
conspired to create
confusion regarding
thenumerous
interpretative challenges
involved in performingthe
Hummel concerto according
to the composer’s
originalintentions on
modern trumpets. For
those seeking the
bestscholarly
information, a facsimile
of Hummel’s
originalmanuscript score
was published in 2011
with a separatevolume of
analytical commentary by
Edward H. Tarr,1 whoalso
published the first
modern edition of the
concertoin the original
key of E major (Universal
Edition, 1972).This
present
edition—available
in both keys: Eb and
Emajor—strives to
build a bridge between
scholarship
andperformance traditions
in order to provide
viable options forboth
the purist and the
practitioner.Following
the revival of the Haydn
trumpet concerto, acase
could be made that some
musicians were
influencedby a type of
normalcy bias that
resulted in
performancetraditions
that attempted to make
the Hummel morelike the
Haydn by putting it in
the same key,
insertingunnecessary
cadenzas, and adding
trills where they
mightnot belong.2 Issues
concerning tempo and
ornamentationposed
additional challenges. As
scholarship and
performancepractice
surrounding the concerto
have become betterknown,
trumpeters have
increasingly sought to
performthe concerto in
the original key of E
major—sometimes
onkeyed
trumpets—and to
reconsider more recent
performancetraditions in
the transposed key of
Eb.Regardless of the key,
several factors need to
be addressedwhen
performing the Hummel
concerto. The most
notoriousof these is the
interpretation of the
wavy line (devoid of
a “trâ€
indication), which
appears in the second
movement(mm. 4–5
and 47–49) and in
the finale (mm.
218–221).
InHummel’s
manuscript score, the
wavy line resembles a
sinewave with wide,
gentle curves, rather
than the tight,
buzzingappearance of a
traditional trill line.
Some have argued that
itmay indicate intense
vibrato or a fluttering
tremolo betweenopen and
closed fingerings on a
keyed trumpet.3 In
Hummel’s1828 piano
treatise, he wrote that a
wavy line without a
“trâ€sign
indicates uneigentlichen
Triller oder den
getrillertenNoten
[“improperâ€
trills or the notes that
are trilled],
andrecommends that they
be played as main note
trills that arenot
resolved [ohne
Nachschlag].4
Hummel’s piano
treatisewas published
twenty-five years after
he wrote the
trumpetconcerto, and his
advocacy for main note
trills (rather thanupper
note trills) was
controversial at the
time, so trumpetersshould
consider all of the
available options when
formingtheir own
interpretation of the
wavy line.Unlike Haydn,
Hummel did not include
any fermatas
wherecadenzas could be
inserted in his trumpet
concerto. The endof the
first movement, in
particular, includes
something likean
accompanied cadenza
passage (mm.
273–298), a
featureHummel also
included at the end of
the first movement ofhis
Piano Concerto No. 5 in
Ab Major, Op. 113 (1827).
Thethird movement
includes a quote
(starting at m. 168)
fromCherubini’s
opera, Les Deux
Journées (1802), that
diverts therondo form
into a coda replete with
idiomatic fanfares
andvirtuosic figuration.5
Again, no fermata appears
to signal acadenza, but
the obbligato gymnastics
in the solo trumpetpart
function like an
accompanied cadenza.Other
necessary considerations
include tempo choicesand
ornamentation. Hummel did
not include
metronomemarkings to
quantify his desired
tempi for the
movements,but clues may
be gleaned through the
surface evidence(metric
pulse, beat values,
figuration) and from the
stratifiedtempo table
that Hummel included in
his 1828 piano
treatise,where the first
movement’s
“Allegro con
spirito†is
interpretedas faster than
the “Allegroâ€
(without a modifier) of
the finale.6In the realm
of ornamentation, Hummel
includes severalturns and
figures that are open to
interpretation. This
editionincludes
Hummel’s original
symbols (turns and
figuration)along with
suggested realizations to
provide musicians
withoptions for forming
their own
interpretation.Finally,
trumpeters are encouraged
to listen to Mozart
pianoconcerti as an
interpretive context for
Hummel’s
trumpetconcerto. Hummel
was a noted piano
virtuoso at the end ofthe
Classical era, and he
studied with Mozart in
Vienna asa young boy.
Hummel also composed his
own cadenzas forsome of
Mozart’s piano
concerti, and the
twenty-five-year-oldcompo
ser imitated
Mozart’s
orchestral gestures and
melodicfiguration in the
trumpet concerto (most
notably in the
secondmovement, which
resembles the famous slow
movement
ofMozart’s Piano
Concerto No. 21 in C
Major, K. 467). $34.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Chinese Folk Dance Suite Violon et Piano Theodore Presser Co.
Chamber Music violin, piano SKU: PR.114419280 Composed by Chen Yi. Arrang...(+)
Chamber Music violin,
piano SKU:
PR.114419280 Composed
by Chen Yi. Arranged by
Wong Tak Chiu.
Performance Score. 32+12
pages. Duration 20
minutes. Theodore Presser
Company #114-41928.
Published by Theodore
Presser Company
(PR.114419280). ISBN
9781491132357. UPC:
680160676125. Inspi
red by Chinese tradition,
this concerto-like dance
suite includes: 1. Lion
Dance, 2. YangKo, and 3.
Muqam. Each movement
draws from melodies and
rhythms characteristic of
various regions of China
many centuries ago.
CHINESE FOLK DANCE SUITE
is available for violin
with full orchestra, or
as a recital work with
piano. Supported by a
major commissioning award
from the Serge
Koussevitzky Music
Foundation in the Library
of Congress, Chinese Folk
Dance Suite is written
for solo violin and
orchestra; it was
premiered by The
Women’s
Philharmonic with violin
soloist Terrie Baune,
conducted by Apo Hsu, on
March 10, 2001, at Yerba
Buena Center For the Arts
Theater in San
Francisco.Inspired by
various Chinese
traditional folk dances,
the suite has three
movements:I. Lion Dance.
Traditionally, people
dance with richly
decorated hand-made
lions, accompanied by
percussion ensemble, to
celebrate happy occasions
and major festivals
throughout the country.
In this composition, I
use Chinese drum and
other percussion
instruments in the
background, to form a
dynamic and rhythmic
texture responding to the
solo part, which imitates
the tunes played on the
suona (traditional
Chinese trumpet). The
pitch materials came from
the traditional Guangdong
tune “Dragon Boat
Racing,†and the
Chaozhou tune “Lion
Playing Ball.â€II.
YangKo. Originating in
northern China, this is a
major folk dance form in
mass performance
popularized in the
country. In YangKo
performance, people play
rhythmic patterns on the
drums hung around their
waists while singing and
dancing. In the second
movement, I imagined a
warm scene of YangKo
dancing in distance. The
solo violin plays a sweet
and gracious melodic line
while all members of the
orchestra sing
non-pitched syllables in
different layers as the
soft background, to
imitate the percussion
sound which produces the
ever-going pulse.III.
Muqam. This large-scale
music and dance form,
from the Uygur
nationality in Xinjiang
province, originated in
the 15th century. My
third movement use a 7/8
meter and the melodic
style of Muqam music. The
fiery dancing gesture
culminates in the
sustained climax section
at the end of the work,
after a colorful violin
cadenza in both
improvisational singing
style and polyphonic
writing with woven
lines. $26.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Double Play Violon [Conducteur] Theodore Presser Co.
Orchestra Bass Clarinet, Bassoon 1, Bassoon 2, Bongos, Cello, Clarinet, Contraba...(+)
Orchestra Bass Clarinet,
Bassoon 1, Bassoon 2,
Bongos, Cello, Clarinet,
Contrabass, Crotales,
Cymbals, English Horn,
Field Drum, Flute,
Glockenspiel, Horn 1,
Horn 2, Oboe 1, Oboe 2,
Percussion, Piano, Snare
Drum, Triangle, Trumpet,
Vibraphone, Viola and
more. SKU:
PR.416411770 For
Violin, Piano, and
Chamber Orchestra.
Composed by William
Kraft. Full score. With
Standard notation.
Duration 17 minutes.
Theodore Presser Company
#416-41177. Published by
Theodore Presser Company
(PR.416411770). UPC:
680160091508. I was
tempted to call the piece
Throw Back because it
consciously employs
rhythmic and harmonic
approaches characteristic
of the earlier part of
the twentieth century,
much of which plays a
part in forging my
musical personality.
Going along with the
impetus, I have paid
homage by subtly
interpolating stylistic
or actual references to
such unexpected
bedfellows as Scriabin,
Ravel, Debussy, Piston,
Roussel, and Ysaye. I
hope I will be musically
forgiven. In one
continuous movement,
there are three definite
internal sections:
Presto-Largo-Allegro. The
first section opens with
a very soft percussion
cadenza. If the acoustics
allow it, the player will
use sponge pottery
mallets (sponge-headed
mallets employed to
smooth the interior of a
pot as it is being
spin-dried). No matter
how hard the
percussionist strikes the
drums, the dynamic cannot
go above pp (pianissimo).
This cadenza serves as a
basis for the first
movement. The elements of
the cadenza are taken by
the orchestra to make the
first major statement,
similar to the classical
concerto; but rather than
making a restatement, the
soloists, when they come
in, begin with
variational ideas. The
second section is given
over to the soloists, and
is lyrical. The third
section begins with an
alternation between
strict rhythmic pulsation
and free-sounding
timbres, as if reluctant
to leave the second
section behind. The
rhythmic aspect takes
over more and more as the
piece progresses toward
its conclusion. Double
Play was commissioned by
the Saint Paul Chamber
Orchestra with financial
assistance from the
Northwest Area
Foundation. It received
its premiere on January
7, 1983, in St. Paul,
with the St. Paul Chamber
Orchestra; Pinchas
Zukerman, violinist; Marc
Neikrug, piano; and the
composer conducting. $26.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Concerto in Eb Major Trompette, Piano Carl Fischer
For Trumpet in Bb and Piano, S. 49. Composed by Johann Nepomuk Hummel (17...(+)
For Trumpet in Bb and
Piano, S. 49.
Composed by Johann
Nepomuk Hummel
(1778-1837). Edited by
Elisa Koehler. Arranged
by Elisa Koehler.
Romantic. Score and
part(s). With Standard
notation. 36 8 pages.
Carl Fischer #W002681.
Published by Carl Fischer
(CF.W2681).
$14.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Sex, Drums, Rock 'n' Roll! Livre - Pas de partitions [Livre] Backbeat Books
The Hardest Hitting Man in Show Business. Book. Hardcover. 340 pages. Pub...(+)
The Hardest Hitting
Man in Show Business.
Book. Hardcover. 340
pages. Published by
Backbeat Books
(HL.140763).
$29.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Performance Jams, Book 2 with CD Piano seul [Partition + CD] - Facile FJH
By Kevin Olson. For Piano. The FJH Piano Teaching Library. Level: Late Elementar...(+)
By Kevin Olson. For
Piano. The FJH Piano
Teaching Library. Level:
Late Elementary. Book.
Published by The FJH
Music Company Inc.
$7.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Symphony in G Major, Hob. I:94 (Surprise Symphony) Orchestre G. Henle
Orchestra SKU: HL.51489062 Study Score. Composed by Franz Joseph H...(+)
Orchestra SKU:
HL.51489062 Study
Score. Composed by
Franz Joseph Haydn.
Edited by Robert v. Zahn.
Henle Music Folios.
Classical. Softcover. 66
pages. G. Henle #HN9062.
Published by G. Henle
(HL.51489062). UPC:
840126951950.
6.75x9.5x0.263
inches. The twelve
“London
Symphoniesâ€
comprise the sublime
final statement of
Haydn's symphonic oeuvre.
They were written for the
London impresario Johann
Peter Salomon, and Haydn
himself conducted their
premieres during his
lengthy stays in the
English metropolis in
1791/92 and 1794/95. To
this day, the G-major
symphony, first performed
in March 1792, numbers
among Haydn's most
popular works. It owes
its English nickname
“Surprise†to
the striking tutti chords
in the Andante, which
apparently caught the
audience off guard. Haydn
had consciously
incorporated this effect
at a later stage - and
was thus subsequently
also perfectly willing to
authorize this nickname
that had been dreamt up
by a London musician.
This popular work also
spread rapidly through
German-speaking
countries, where it is
still firmly established
in the repertoire as the
“symphony with the
drumbeat.†This
study edition adopts the
musical text of the Haydn
Complete Edition, thereby
guaranteeing the highest
scholarly quality. An
informative preface and a
brief Critical Report
make the handy score an
ideal companion for all
current and soon-to-be
Haydn fans.
About Henle
Urtext
What I can expect from
Henle Urtext
editions:
- error-free, reliable
musical texts based on
meticulous musicological
research - fingerings and
bowings by famous artists
and pedagogues
- preface in 3
languages with
information on the
genesis and history of
the work
- Critical Commentary
in 1 – 3 languages
with a description and
evaluation of the sources
and explaining all source
discrepancies and
editorial
decisions
- most beautiful music
engraving
- page-turns, fold-out
pages, and cues where you
need them
- excellent print
quality and
binding
- largest Urtext
catalogue
world-wide
- longest Urtext
experience (founded 1948
exclusively for Urtext
editions)
$16.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| I Hear the Drum Chorale SATB Gentry Publications
Choral (SATB) SKU: HL.1311466 Composed by Cedric Dent/Cedric Dent, Jr. Ge...(+)
Choral (SATB) SKU:
HL.1311466 Composed
by Cedric Dent/Cedric
Dent, Jr. Gentry
Publications. Spiritual.
Octavo. Gentry
Publications #JG2696.
Published by Gentry
Publications
(HL.1311466). UPC:
196288177401.
6.75x10.5x0.041
inches. “I
Hear the Drum†was
inspired by Dr. Martin
Luther King, Jr.'s 1968
“Drum Major
Instinct†speech,
sometimes called the
“Drum Major for
Justice.†This
powerful choral setting
includes a rap that can
be led by a soloist or
performed by a select
group. It was
commissioned for the
annual “Let Freedom
Sing Concert†in
Nashville, TN, which
honors the legacy of Dr.
Martin Luther King, Jr.
With a message that
addresses social justice,
it is a timely anthem for
the 21st century. $3.95 - 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 | | |
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