C Instruments. Composed by Various. Fake Book. Softcover. Published by Hal Leonard

(Over 850 Classical Themes and Melodies in the Original Keys) For C instrument. Format: fakebook (spiral bound). With vocal melody (excerpts) and chord names. Lassical. Series: Hal Leonard Fake Books. 646 pages. 9x12 inches. Published by Hal Leonard.

Bb Instruments. Composed by Various. Fake Book. Jazz. Softcover. 488 pages. Published by Hal Leonard (HL.223637).

Fanfare Band - Grade 6

SKU: BT.DHP-1115084-020

Composed by Jan Van der Roost. Concert and Contest Collection CBHA. Set (Score & Parts). De Haske Publications #DHP 1115084-020. Published by De Haske Publications (BT.DHP-1115084-020).

9x12 inches. English-German-French-Dut ch.

It may be surprising to see a fanfare piece commissioned by a Japanese ensemble, since fanfare orchestras are typically found in Belgium, Holland and Luxembourg, and also France and Switzerland. Senzoku Gakuen is one of the largest and mostprestigious music universities in Japan, and home to a wide variety of ensembles and orchestras. Since 2006 they have had a fanfare orchestra, which was started by Sotaru Fukaishi, a euphonium teacher who felt further performance opportunity wasneeded for saxhorn instruments. Fukaishi had loved the sound of fanfare orchestras ever since visiting the World Music Contest in Kerkrade (Holland) several years earlier. Jan Van der Roost was involved with this new initiative from the beginning,and they were also joined by Manu Mellaerts for certain projects. The Dean of the music department, Professor Kazuo Tomioka, fully supports the ensemble and commissioned Ostinati. The première took place on June 11th at Maeda Hall inMizonokuchi (Kawasaki) where Senzoku Gakuen is based. The piece opens with an impressive timpani solo, followed by brass and saxophone. The rhythmical pulse remains constant and the music is fiery and assertive in character. A pentatonic melodygradually emerges and the music loses its vehemency and softens. The initial percussion ostinati subsequently recurs and the first section of the piece concludes in a similar mood to the opening. The second movement is sweet and melodic, opening witha long passage for the saxophone family in a minor key. The same theme then appears in the major and is developed upon; the music builds to a majestic orchestral forte, reminiscent of a pipe organ in its sonority. The theme returns in the originalminor key with a change in instrumentation leading the movement to a quiet and peaceful end on a soft E minor chord. The finale starts with percussion: a four-bar pattern is repeated several times over which the movement’s melodic themes areintroduced. These melodic elements are varied and used in different versions and the ostinato idea, which characterizes the entire piece, is highlighted. The theme travels through the orchestra, appearing on various instruments and in variousregisters. It captures the listener’s attention and displays the full range of sound and colour within the fanfare orchestra.

Het is misschien verrassend dat dit fanfarewerk is geschreven in opdracht van een Japans ensemble, aangezien fanfareorkesten vooral te vinden zijn in België, Nederland en Luxemburg, en ook wel in Frankrijk en Zwitserland. SenzokuGakuen is een van de grootste en meest prestigieuze muziekopleidingen van Japan, en de thuisbasis van een grote verscheidenheid van ensembles en orkesten. In 2006 is er een fanfareorkest opgericht, en wel door Sotaru Fukaishi, eeneuphoniumdocent die vond dat er meer mogelijkheden moesten komen voor optredens met saxhoorninstrumenten. Fukaishi had enkele jaren daarvoor genoten van de fanfareklank toen hij het Wereld Muziek Concours in Kerkrade bezocht. DeBelgische componist Jan Van der Roost was van het begin af aan betrokken bij dit nieuwe initiatief, en ook Manu Mellaerts werd voor een aantal projecten aangetrokken. Het hoofd van de muziekfaculteit, professor Kazuo Tomioka, staatgeheel achter het ensemble en gaf de opdracht tot het schrijven van Ostinati. De première vond plaats op 11 juni in de Maeda Hall in Mizonokuchi (Kawasaki), waar Senzoku Gakuen is gevestigd. Het werk begint met een indrukwekkendepaukensolo, gevolgd door koper en saxofoon. De ritmische puls blijft constant, en de aard van de muziek is vurig en krachtig. Geleidelijk komt er een pentatonische melodie naar voren en wordt de muziek minder heftig, ze wordtzachter van karakter. De aanvankelijke ostinati in het slagwerk verschijnen dan opnieuw, waarna het eerste deel van het werk eindigt in dezelfde sfeer als waarmee het begon. Het tweede deel is lieflijk en melodisch. Het opentmet een lange passage voor de saxofoons in een mineurtoonsoort. Dan klinkt hetzelfde thema in majeur en daar wordt op voortgeborduurd: de muziek ontwikkelt zich tot een majestueus orkestraal forte, dat qua sonoriteit doet denken

Es mag überraschen, dass dieses Fanfareorchesterwerk ausgerechnet von einem japanischen Ensemble in Auftrag gegeben wurde, da Fanfareorchester doch eher in Belgien, den Niederlanden oder Luxemburg oder auch in Frankreich oder Schweiz zu finden sind. Senzoku Gakuen ist eine der größten und renommiertesten Musikschulen Japans und Heimstätte einer Vielfalt an Ensembles und Orchestern. Im Jahr 2006 wurde ein Fanfareorchester gegründet. Den Anstoß gab Sotaru Fukaishi, ein Euphoniumlehrer, der den Instrumenten der Saxhorn-Familie mehr Spielmöglichkeiten bieten wollte. Fukaishi hatte sich einige Jahre zuvor bei der Weltmeisterschaft in Kerkrade (Holland) in den Klang vonFanfareorchestern verliebt. Jan Van der Roost war von Beginn an in die Entwicklung dieser Idee involviert und, einige Projekte betreffend, ebenso Manu Mellaerts. Der Dekan des Musik-Colleges, Professor Kazuo Tomioka, steht voll und ganz hinter dem Ensemble und gab Ostinati in Auftrag. Die Premiere fand am 11. Juni 2011 in der Maeda Hall in Mizonokuchi statt, dem Heimatort der Schule Senzoku Gakuen. Das Stück beginnt mit einem eindrucksvollen Paukensolo, bevor Blechbläser und Saxophon einsetzen. Der rhythmische Puls bleibt konstant unter einer feurigen, nachdrücklichen Musik. Eine pentatonische Melodie bildet sich nach und nach heraus, während die Musik an Heftigkeit verliert und sanfter wird. Die anfänglichen Ostinati im Schlagwerk kehren zurück und so endet der erste Satz des Werkes in einer der Eröffnung ähnlichen Stimmung. Der zweite Satz ist lieblich und melodiös. Er beginnt mit einem langen Abschnitt für die Saxophone in Moll. Dann erscheint das gleiche Thema in Dur und durchläuft eine Entwicklung; die Musik baut sich zu einem majestätischen orchestralen Forte auf, das in seiner Klangfülle an eine Orgel erinnert. Dann kehrt das Thema in seiner ursprünglichen Moll-Tonart und in veränderter Instrumentierung zurück, um den Satz ruhig und friedvoll in einem e-Moll-Akkord enden zu lassen.

Il pourrait paraître surprenant qu’un ensemble japonais puisse commander une pièce pour orchestre de fanfare, puisque l’on rencontre surtout ce type de formation en Belgique, aux Pays-Bas et au Luxembourg, ainsi qu’en France et en Suisse. Senzoku Gakuen, l’une des plus grandes et plus prestigieuses académies de musique du Japon, compte une grande variété d’ensembles et d’orchestres. En 2006 s’y est ajouté un orchestre de fanfare fondé par Sotaru Fukaishi, un professeur d’euphonium qui pensait qu’il était nécessaire d’offrir de plus larges possibilités aux cuivres de la région. Depuis qu’il avait assisté au World Music Contest de Kerkrade (Pays-Bas), plusieurs années auparavant,Fukaishi se prit de passion pour le son chaud et généreux de l’orchestre de fanfare, une formation atypique au Japon. Jan Van der Roost a favorablement adhéré cette nouvelle initiative, tandis que Manu Mellaerts collabora avec les deux hommes afin de concrétiser certains projets. Le professeur Kazuo Tomioka, doyen du collège de musique, soutint vigoureusement l’orchestre et commanda Ostinati. La création de l’oeuvre fut donnée le 11 juin 2011 au Maeda Hall de Mizonokuchi (Kawasaki), où se trouve Senzoku Gakuen. La pièce débute avec un impressionnant solo de timbales précédant l’entrée des cuivres et des saxophones. La pulsion rythmique est constante, la musique est énergique et de caractère affirmé. Une mélodie pentatonique émerge graduellement, alors que la trame musicale diminue d’intensité et s’adoucit. L’ostinato la percussion revient fréquemment et la première partie de l’oeuvre se termine dans un climat semblable celui du début. Le deuxième mouvement, doux et romancé, débute avec un long passage en mode mineur joué par les saxophones. Le même thème apparaît alors en mode majeur et se développe peu peu ; la musique s’intensifie pour arriver un majestueux et orchestral forte dont les sonorités rappellent celles d’un orgue d’église. Puis le thème revient sa tonalité mineure d’origine avec un changement d’instrumentation qui mène.

Fanfare Band - Grade 6

SKU: BT.DHP-1115084-120

Composed by Jan Van der Roost. Concert and Contest Collection CBHA. Score Only. Composed 2012. 99 pages. De Haske Publications #DHP 1115084-120. Published by De Haske Publications (BT.DHP-1115084-120).

9x12 inches. English-German-French-Dut ch.

It may be surprising to see a fanfare piece commissioned by a Japanese ensemble, since fanfare orchestras are typically found in Belgium, Holland and Luxembourg, and also France and Switzerland. Senzoku Gakuen is one of the largest and mostprestigious music universities in Japan, and home to a wide variety of ensembles and orchestras. Since 2006 they have had a fanfare orchestra, which was started by Sotaru Fukaishi, a euphonium teacher who felt further performance opportunity wasneeded for saxhorn instruments. Fukaishi had loved the sound of fanfare orchestras ever since visiting the World Music Contest in Kerkrade (Holland) several years earlier. Jan Van der Roost was involved with this new initiative from the beginning,and they were also joined by Manu Mellaerts for certain projects. The Dean of the music department, Professor Kazuo Tomioka, fully supports the ensemble and commissioned Ostinati. The première took place on June 11th at Maeda Hall inMizonokuchi (Kawasaki) where Senzoku Gakuen is based. The piece opens with an impressive timpani solo, followed by brass and saxophone. The rhythmical pulse remains constant and the music is fiery and assertive in character. A pentatonic melodygradually emerges and the music loses its vehemency and softens. The initial percussion ostinati subsequently recurs and the first section of the piece concludes in a similar mood to the opening. The second movement is sweet and melodic, opening witha long passage for the saxophone family in a minor key. The same theme then appears in the major and is developed upon; the music builds to a majestic orchestral forte, reminiscent of a pipe organ in its sonority. The theme returns in the originalminor key with a change in instrumentation leading the movement to a quiet and peaceful end on a soft E minor chord. The finale starts with percussion: a four-bar pattern is repeated several times over which the movement’s melodic themes areintroduced. These melodic elements are varied and used in different versions and the ostinato idea, which characterizes the entire piece, is highlighted. The theme travels through the orchestra, appearing on various instruments and in variousregisters. It captures the listener’s attention and displays the full range of sound and colour within the fanfare orchestra.

Het is misschien verrassend dat dit fanfarewerk is geschreven in opdracht van een Japans ensemble, aangezien fanfareorkesten vooral te vinden zijn in België, Nederland en Luxemburg, en ook wel in Frankrijk en Zwitserland. SenzokuGakuen is een van de grootste en meest prestigieuze muziekopleidingen van Japan, en de thuisbasis van een grote verscheidenheid van ensembles en orkesten. In 2006 is er een fanfareorkest opgericht, en wel door Sotaru Fukaishi, eeneuphoniumdocent die vond dat er meer mogelijkheden moesten komen voor optredens met saxhoorninstrumenten. Fukaishi had enkele jaren daarvoor genoten van de fanfareklank toen hij het Wereld Muziek Concours in Kerkrade bezocht. DeBelgische componist Jan Van der Roost was van het begin af aan betrokken bij dit nieuwe initiatief, en ook Manu Mellaerts werd voor een aantal projecten aangetrokken. Het hoofd van de muziekfaculteit, professor Kazuo Tomioka, staatgeheel achter het ensemble en gaf de opdracht tot het schrijven van Ostinati. De première vond plaats op 11 juni in de Maeda Hall in Mizonokuchi (Kawasaki), waar Senzoku Gakuen is gevestigd. Het werk begint met een indrukwekkendepaukensolo, gevolgd door koper en saxofoon. De ritmische puls blijft constant, en de aard van de muziek is vurig en krachtig. Geleidelijk komt er een pentatonische melodie naar voren en wordt de muziek minder heftig, ze wordtzachter van karakter. De aanvankelijke ostinati in het slagwerk verschijnen dan opnieuw, waarna het eerste deel van het werk eindigt in dezelfde sfeer als waarmee het begon. Het tweede deel is lieflijk en melodisch. Het opentmet een lange passage voor de saxofoons in een mineurtoonsoort. Dan klinkt hetzelfde thema in majeur en daar wordt op voortgeborduurd: de muziek ontwikkelt zich tot een majestueus orkestraal forte, dat qua sonoriteit doet denken

Es mag überraschen, dass dieses Fanfareorchesterwerk ausgerechnet von einem japanischen Ensemble in Auftrag gegeben wurde, da Fanfareorchester doch eher in Belgien, den Niederlanden oder Luxemburg oder auch in Frankreich oder Schweiz zu finden sind. Senzoku Gakuen ist eine der größten und renommiertesten Musikschulen Japans und Heimstätte einer Vielfalt an Ensembles und Orchestern. Im Jahr 2006 wurde ein Fanfareorchester gegründet. Den Anstoß gab Sotaru Fukaishi, ein Euphoniumlehrer, der den Instrumenten der Saxhorn-Familie mehr Spielmöglichkeiten bieten wollte. Fukaishi hatte sich einige Jahre zuvor bei der Weltmeisterschaft in Kerkrade (Holland) in den Klang vonFanfareorchestern verliebt. Jan Van der Roost war von Beginn an in die Entwicklung dieser Idee involviert und, einige Projekte betreffend, ebenso Manu Mellaerts. Der Dekan des Musik-Colleges, Professor Kazuo Tomioka, steht voll und ganz hinter dem Ensemble und gab Ostinati in Auftrag. Die Premiere fand am 11. Juni 2011 in der Maeda Hall in Mizonokuchi statt, dem Heimatort der Schule Senzoku Gakuen. Das Stück beginnt mit einem eindrucksvollen Paukensolo, bevor Blechbläser und Saxophon einsetzen. Der rhythmische Puls bleibt konstant unter einer feurigen, nachdrücklichen Musik. Eine pentatonische Melodie bildet sich nach und nach heraus, während die Musik an Heftigkeit verliert und sanfter wird. Die anfänglichen Ostinati im Schlagwerk kehren zurück und so endet der erste Satz des Werkes in einer der Eröffnung ähnlichen Stimmung. Der zweite Satz ist lieblich und melodiös. Er beginnt mit einem langen Abschnitt für die Saxophone in Moll. Dann erscheint das gleiche Thema in Dur und durchläuft eine Entwicklung; die Musik baut sich zu einem majestätischen orchestralen Forte auf, das in seiner Klangfülle an eine Orgel erinnert. Dann kehrt das Thema in seiner ursprünglichen Moll-Tonart und in veränderter Instrumentierung zurück, um den Satz ruhig und friedvoll in einem e-Moll-Akkord enden zu lassen.

Il pourrait paraître surprenant qu’un ensemble japonais puisse commander une pièce pour orchestre de fanfare, puisque l’on rencontre surtout ce type de formation en Belgique, aux Pays-Bas et au Luxembourg, ainsi qu’en France et en Suisse. Senzoku Gakuen, l’une des plus grandes et plus prestigieuses académies de musique du Japon, compte une grande variété d’ensembles et d’orchestres. En 2006 s’y est ajouté un orchestre de fanfare fondé par Sotaru Fukaishi, un professeur d’euphonium qui pensait qu’il était nécessaire d’offrir de plus larges possibilités aux cuivres de la région. Depuis qu’il avait assisté au World Music Contest de Kerkrade (Pays-Bas), plusieurs années auparavant,Fukaishi se prit de passion pour le son chaud et généreux de l’orchestre de fanfare, une formation atypique au Japon. Jan Van der Roost a favorablement adhéré cette nouvelle initiative, tandis que Manu Mellaerts collabora avec les deux hommes afin de concrétiser certains projets. Le professeur Kazuo Tomioka, doyen du collège de musique, soutint vigoureusement l’orchestre et commanda Ostinati. La création de l’oeuvre fut donnée le 11 juin 2011 au Maeda Hall de Mizonokuchi (Kawasaki), où se trouve Senzoku Gakuen. La pièce débute avec un impressionnant solo de timbales précédant l’entrée des cuivres et des saxophones. La pulsion rythmique est constante, la musique est énergique et de caractère affirmé. Une mélodie pentatonique émerge graduellement, alors que la trame musicale diminue d’intensité et s’adoucit. L’ostinato la percussion revient fréquemment et la première partie de l’oeuvre se termine dans un climat semblable celui du début. Le deuxième mouvement, doux et romancé, débute avec un long passage en mode mineur joué par les saxophones. Le même thème apparaît alors en mode majeur et se développe peu peu ; la musique s’intensifie pour arriver un majestueux et orchestral forte dont les sonorités rappellent celles d’un orgue d’église. Puis le thème revient sa tonalité mineure d’origine avec un changement d’instrumentation qui mène.

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.

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.

Orchestra Bass Drum, Bassoon 1, Bassoon 2, Clarinet 1, Clarinet 2, Contrabass, Flute 1, Flute 2, Harp, Horn 1, Horn 2, Horn 3, Horn 4, Marimba, Oboe 1, Oboe 2, Percussion 1, Percussion 2, Percussion 3, Snare Drum, Suspended Cymbal, Tam-tam, Trombone 1 and more.

SKU: PR.11641963L

Composed by Chen Yi. Large Score. 58 pages. Duration 20 minutes. Theodore Presser Company #116-41963L. Published by Theodore Presser Company (PR.11641963L).

UPC: 680160684489.

The violin concerto is commissioned by Friends of Dresden Music Foundation for American soloist Mira Wang and the New York Philharmonic and Staatskapelle Dresden as an American commemoration of the reconstruction of the Dresden Frauenkirche, 60 years after its destruction in World War II by American and British Forces. The world premiere is given at the Semperoper in Dresden, Germany, on October 9, 10 & 11, 2005, conducted by Ivan Fischer. Full of excitement and inner power, the musical image is vivid, energetic, sometimes lyrical and sometimes dramatic. The major angular thematic material (a three note motive) consists of big leaps in interval (a perfect fourth downward and then a minor seventh upward, first introduced by the violin solo in measures 27-29). Except for the cadenzas which stand at the middle (Rehearsal E, measure 127) and the two ends of the piece as a frame, the virtuosic violin solo line is always accompanied by the ever moving and growing textures in the background. The rests between long and short phrases symbolize the space in Chinese paintings. The Beijing Opera reciting tune, and the fingerings to produce sliding tones in the performance of the Chinese fiddle erhu are also borrowed in the writing and the performing of the western instruments. The musical imagination of the violin concerto came from an ancient Chinese poem with the same title, written by Du Fu (712-770) in Tang Dynasty. Happy Rain on a Spring Night by Du Fu (712-770 in Tang Dynasty) Happy rain comes in time, When spring is in its prime. With night breeze it will fall, And quietly moisten all. Clouds darken wild roads, Light brightens a little boat. Saturated at dawn, With flowers blooming the town. (English translation by Chen Yi from the original poem in Chinese) The following is the poem in its original Chinese form, and the detailed introduction on the structural plan of the violin concerto Spring in Dresden. It's like the welcome rain on a quiet spring night that nurtures the budding seeds, our new society is pushing us forward to the new future. The music reflects the scenes and the expression according to the meaning of the poem when it's being unfolded line by line. Although the tempo is set 63 quarter notes per minute throughout (played vividly, never slow down), the tension is being built up from the quiet background in the beginning, to the sustained climax towards the end. The musical image in Rehearsal A and B (measures 39-80) represents the first four lines of the poem. The wind instruments response to the rustling of fast moving notes on muted string triplets, decorated by occasional strokes produced by metallic string sound and high woodwind gestures. The music in Rehearsal C and D (measures 81-126) represents the next two lines of the poem. It's so dark, a little light in the boat is shimmering on the lake... The breathy sound and key slaps on the flutes create a mysterious atmosphere, in a dialogue with other instruments. The cello glissandi recite the poem in the tone of Mandarin, echoed by the string harmonics. The music in Rehearsal F, G and H (m 129-202) is a toccata, starting in the orchestra (led by the marimba), which builds up a big shape, to reach the climax in m. 157 (Rehearsal G, the location of the Golden Section, according to the length of the music without cadenzas), and keeps the vivid scene towards the coda (from Rehearsal I, m. 203), which stands on the energetic peak until the clear cutoff on measure 239, followed by the short, yet powerful solo conclusion with the lingering echo produced by the high string harmonics. On the top, there is a recall of the three note motive in the sound of wonderland, touched by the motor-on vibraphone meaningfully. The music is written for 2 flutes, 2 oboes, 2 clarinets (in Bb), 2 bassoons, 4 French horns (in F), 2 trumpets (in Bb), 3 trombones, tuba, harp, 3 percussion players (Perc. 1: xylophone; Perc. 2: suspended cymbal, Japanese high woodblock, snare drum, bass drum and vibraphone; Perc. 3: marimba and tam-tam), solo violin, and strings. Duration is about 20 minutes.
The violin concerto is commissioned by Friends of Dresden Music Foundation for American soloist Mira Wang and the New York Philharmonic and Staatskapelle Dresden as an American commemoration of the reconstruction of the Dresden Frauenkirche, 60 years after its destruction in World War II by American and British Forces. The world premiere is given at the Semperoper in Dresden, Germany, on October 9, 10 & 11, 2005, conducted by Ivan Fischer.Full of excitement and inner power, the musical image is vivid, energetic, sometimeslyrical and sometimes dramatic. The major angular thematic material (a three notemotive) consists of big leaps in interval (a perfect fourth downward and then a minorseventh upward, first introduced by the violin solo in measures 27-29). Except for thecadenzas which stand at the middle (Rehearsal E, measure 127) and the two ends of the piece as a frame, the virtuosic violin solo line is always accompanied by the ever moving and growing textures in the background. The rests between long and short phrases symbolize the space in Chinese paintings. The Beijing Opera reciting tune, and the fingerings to produce sliding tones in the performance of the Chinese fiddle erhu are also borrowed in the writing and the performing of the western instruments.The musical imagination of the violin concerto came from an ancient Chinese poem with the same title, written by Du Fu (712-770) in Tang Dynasty.Happy Rain on a Spring Nightby Du Fu (712-770 in Tang Dynasty)Happy rain comes in time,When spring is in its prime.With night breeze it will fall,And quietly moisten all.Clouds darken wild roads,Light brightens a little boat.Saturated at dawn,With flowers blooming the town.(English translation by Chen Yi from the original poem in Chinese)The following is the poem in its original Chinese form, and the detailed introduction onthe structural plan of the violin concerto Spring in Dresden.It’s like the welcome rain on a quiet spring night that nurtures the budding seeds, our newsociety is pushing us forward to the new future. The music reflects the scenes and theexpression according to the meaning of the poem when it’s being unfolded line by line.Although the tempo is set 63 quarter notes per minute throughout (played vividly, neverslow down), the tension is being built up from the quiet background in the beginning, tothe sustained climax towards the end. The musical image in Rehearsal A and B (measures39-80) represents the first four lines of the poem. The wind instruments response to therustling of fast moving notes on muted string triplets, decorated by occasional strokesproduced by metallic string sound and high woodwind gestures. The music in RehearsalC and D (measures 81-126) represents the next two lines of the poem. It's so dark, a littlelight in the boat is shimmering on the lake... The breathy sound and key slaps on theflutes create a mysterious atmosphere, in a dialogue with other instruments. The celloglissandi recite the poem in the tone of Mandarin, echoed by the string harmonics. Themusic in Rehearsal F, G and H (m 129-202) is a toccata, starting in the orchestra (led bythe marimba), which builds up a big shape, to reach the climax in m. 157 (Rehearsal G,the location of the Golden Section, according to the length of the music withoutcadenzas), and keeps the vivid scene towards the coda (from Rehearsal I, m. 203), whichstands on the energetic peak until the clear cutoff on measure 239, followed by the short,yet powerful solo conclusion with the lingering echo produced by the high stringharmonics. On the top, there is a recall of the three note motive in the sound ofwonderland, touched by the motor-on vibraphone meaningfully.The music is written for 2 flutes, 2 oboes, 2 clarinets (in Bb), 2 bassoons, 4 French horns (in F), 2 trumpets (in Bb), 3 trombones, tuba, harp, 3 percussion players (Perc. 1:xylophone; Perc. 2: suspended cymbal, Japanese high woodblock, snare drum, bass drum and vibraphone; Perc. 3: marimba and tam-tam), solo violin, and strings.Duration is about 20 minutes.

Guitar solo - Advanced

SKU: DZ.DZ-4308

Composed by Giorgio Mirto. Score. Les Productions d'OZ #DZ 4308. Published by Les Productions d'OZ (DZ.DZ-4308).

ISBN 9782898522253.

Foll owing a recent experience on the jury of a guitar competition, I noted with great pleasure that Giorgio Mirto, with whom I had shared the role of juror, wanted to celebrate the experience of the competition - during from which we discovered that we had had a great affinity of thought - with something which could endure over time and not evaporate as often happens in short and occasional meetings between musicians. He did it as a true composer, which he is, and dedicated to me a very beautifully crafted Suite to which I allowed myself to collaborate at least formally, by suggesting titles for the four movements. This is how Suite n.1 was born, a piece that does not strictly respect the formal rules of the Baroque era, but reinterprets and reuses them in a new key. The work's obvious late Baroque inspiration led me to find titles that invited the performer to delve deeper into the work's aesthetic inspiration. So I suggested to Giorgio that he title the four movements with something that linked their content to four greats of the 18th century. German masters. The prelude has thus become from Eisenach because of its sometimes improvised Bach-like atmosphere, the second movement, vaguely toccata, speaks an organ language in the manner of Buxtehude (who lived in Lübeck), the slow movement has a Handelian quality - and Handel was born in Halle - and the last movement, far from being a true Chaconne, undoubtedly has the latter's taste for variation and ostinato, typical traits of Telemann who lived in Magdeburg. The cities that appear in the titles are therefore indelible to the authors cited. Furthermore, one should not think that the style of the work is in any way German, given that Giorgio Mirto expresses himself in a very joyful language that synthesizes modality with minimalism, all seasoned with a a nod to Pink's progressive rock Floyd. or a Mike Oldfield... The result of this mixture of ideas, inspirations and styles is a work that personally I never tire of reading and rereading, for the freshness that emanates from it and for the climate expressive which rises, nourishing itself with full efficiency. We ultimately cannot ignore that the note B, the one which marks in a minor way some of the most expressive works of the guitar repertoire, from the study of Sor which made generations of students fall in love with the guitar, until to that of Frank Martin's Four Pieces via La Catedral di Barrios, is the modal fulcrum of the entire Suite: it is true that the Prelude begins with a clear chord in E minor and lingers on an open ending in A minor , but it almost seems that the initial E serves as a launching pad for a continuation of the work in which the dominant, that is to say the B, is the true musical North, the pole star which guides us in the other three movements until the end of the Chaconne de Magdebourg. I wish Giorgio and our Suite great longevity and a favorable destiny in the complex and complex world of contemporary guitar composition. And I thank him again, flattered by his very kind dedication.

FRANCE SCO BIRAGHI

Au lendemain d'une récente expérience au sein du jury d'un concours de guitare, j'ai constaté avec grand plaisir que Giorgio Mirto, avec qui j'avais partagé le rôle de juré, souhaitait célébrer l'expérience du concours - au cours de laquelle nous avons découvert que nous avions eu un grand affinité de pensée - avec quelque chose qui pourrait perdurer dans le temps et ne pas s'évaporer comme cela arrive souvent lors de rencontres courtes et occasionnelles entre musiciens. Il l'a fait en véritable compositeur, ce qu'il est, et m'a dédié une Suite d'une très belle facture à laquelle je me suis permis de collaborer au moins formellement, en suggérant des titres pour les quatre mouvements. C'est ainsi qu'est née la Suite n.1, une pièce qui ne respecte pas strictement les règles formelles de l'époque baroque, mais les réinterprèt e et les réutilise dans une nouvelle tonalité. L'inspiration évidente du baroque tardif de l'œuvre m'a amené à trouver des titres qui invitaient l'interprète à approfondir l'inspiration esthétique de l'œuvre. J'ai donc suggéré à Giorgio de titrer les quatre mouvements avec quelque chose qui reliait leur contenu à quatre grands du XVIIIe siècle. Maîtres allemands. Le prélude est ainsi devenu d'Eisenach en raison de son atmosphère parfois improvisée à la Bach, le deuxième mouvement, vaguement toccata, parle un langage d'orgue à la manière de Buxtehude (qui vivait à Lübeck), le mouvement lent a un Qualité haendélienne - et Haendel est né à Halle - et le dernier mouvement, loin d'être une véritable Chaconne, a sans doute le goût de cette dernière pour la variation et l'ostinato, traits typiques de Telemann qui vivait à Magdebourg. Les villes qui apparaissent dans les titres sont donc indélébiles aux auteurs cités. De plus, il ne faut pas penser que le style de l'œuvre soit en aucune façon allemand, étant donné que Giorgio Mirto s'exprime dans un langage très joyeux qui synthétise la modalité avec le minimalisme, le tout assaisonné d'un clin d'œil au rock progressif Floyd de Pink. ou un Mike Oldfield... Le résultat de ce mélange d'idées, d'inspirations et de styles est un ouvrage que personnellement je ne me lasse pas de lire et de relire, pour la fraîcheur qui s'en dégage et pour le climat expressif qui monte, se nourrissant de plein efficacité. On ne peut finalement pas ignorer que la note B, celle qui marque de manière mineure certaines des œuvres les plus expressives du répertoire de guitare, depuis l'étude de Sor qui a fait tomber amoureux de la guitare des générations d'étudiants, jusqu'à celle de Frank Martin Quatre Pièces via La Catedral di Barrios, est le point d'appui modal de toute la Suite : il est vrai que le Prélude commence par un accord clair en mi mineur et s'attarde sur une fin ouverte en la mineur, mais il semble presque que le mi initial sert de une rampe de lancement pour une suite de l'œuvre dans laquelle la dominante, c'est-à-dire le B, est le véritable Nord musical, l'étoile polaire qui nous guide dans les trois autres mouvements jusqu'à la fin de la Chaconne de Magdebourg. Je souhaite à Giorgio et à « notre » Suite une grande longévité et un destin favorable dans le monde complexe et complexe de la composition contemporaine pour guitare. Et je le remercie encore, flatté de son très aimable dévouement.

FRANCESCO BIRAGHI.

By Carol Barratt. For Piano. Folk, Blues, Classical. 64 pages. Published by Music Sales

Violin Part. By Shinichi Suzuki, violin performed by William Preucil, Jr., piano accompaniment performed by Linda Perry. This edition: International. Method/Instruction; SmartMusic; String - Violin (Suzuki); Suzuki. Suzuki Violin School. Book; CD. 48 pages. Alfred Music #00- 46910. Published by Alfred Music

Orchestra Cello, Contrabass, Piano, Viola, Violin 1, Violin 2, Violin 3 - Grade 3.5

SKU: CF.CAS107

Composed by Alan Lee Silva. SWS FS. Carl Fischer Concert String Orchestra Series. Set of Score and Parts. With Standard notation. 24+24+6+15+15+15+6+20 pages. Duration 4 minutes, 17 seconds. Carl Fischer Music #CAS107. Published by Carl Fischer Music (CF.CAS107).

ISBN 9781491146675. UPC: 680160904174. 9 x 12 inches. Key: E minor.

Triangle of the Tempest is a fast-moving composition with interesting rhythmic challenges and dynamic color shifts. Starting with syncopated figures over a repeated eight-measure progression, the piece builds in intensity as more sections and layers are added. The second part changes tone and is led by a heroic violin melody with a soaring cello obligato. The themes intertwine and the material develops into a dramatic conclusion with a final explosive ensemble hit. Action-packed and full of rhythmic drive, this piece is a good choice for contest or festival performance.
An up-tempo 3⁄4 piece in E minor, Triangle of the Tempest features inviting rhythmic challenges, provocative melodic variations and dynamic color shifts .The A-section is based on a repeating eight-measure harmonic progression with punctuated open voicings and syncopated figures . Each section builds in intensity as new elements are added in subsequent eight-measure increments . Rhythmically, the pattern in the A-section (mm . 1–36) follows a two-measure form: the first of the two measures has a dotted quarter-eighth syncopated figure, and the rhythms in the second measure fall primarily on the beats . After the main eight-measure pattern is established, the A-melody and its variations are introduced on top of it .A two-measure build (mm . 35–36), highlighted by fast moving ensemble triplet figures, propels the piece as it crescendos into the jubilant B-section (mm . 37–52), changing tone and moving to the relative G major . The violins carry the soaring melody atop sonorous major chords in the mid and low strings . Rhythmically, the alternating syncopated measure/non-syncopated measure form continues through this section .Returning to the dramatic E minor A-section phrases in mm . 53–86, the piece shifts to the original eight-measure harmonic progression with melodic variations in the violins over the top . After reprising the B-section (mm . 87–102), intertwining motifs at m . 103 offer a variation on the A-theme where the melodic entrances happen at one-measure intervals .The tempo slows slightly and the tone changes again in the flowing and magical C-section at m . 123 as the piece moves again to the relative G major . Repeating lyrical legato violin lines create the musical background for a majestic viola melody, featured in mm . 126–146 . A brief fanfare statement with motifs spread throughout the orchestra at m . 153, prepares the return to E minor and the A-theme in mm . 160–193 .Measure 194 introduces an E-pedal point and tension builds, ramping up emotionally to the ending . The ensemble thunders at m . 202 as the violins and violas begin a four-measure syncopated question/answer section with the cellos and basses . The phrases crescendo and build for another four measures at m . 206, setting up the driving unison, tutti figures at m . 211 and a final explosive hit on the downbeat of m . 212 .

About Carl Fischer Concert String Orchestra Series

Thi s series of pieces (Grade 3 and higher) is designed for advancing ensembles. The pieces in this series are characterized by:

• Expanded use of rhythms, ranges and keys but technical demands are still carefully considered
• More comprehensive bowing techniques
• Viola T.C. included
• Careful selection of keys and degree of difficulty for advancing musicians

Composed by Bedrich Smetana (1824-1884). Edited by Milan Pospisil. Sheet Music. Paperbound. Henle Music Folios. Classical. Score and Parts. 88 pages. G. Henle #HN1249. Published by G. Henle

21 pieces plus exercises for Trinity College London exams 2021-2023. Composed by Various. Classical. Textbook. Trinity College London #TCL020581. Published by Trinity College London

Violin Part. Composed by accomp. perf. Natalie Zhu, violin perf. Hilary Hahn, and Dr. Shinichi Suzuki. Method/Instruction; SmartMusic; String - Violin (Suzuki); Suzuki. Suzuki Violin School. Book and CD. 28 pages. Alfred Music #00- 48728. Published by Alfred Music

Edited by Jamey Aebersold. For any C, Eb, Bb, bass instrument or voice. Play-Along series with accompaniment CD. Jazz Play-A-Long For All Musicians. Book with CD. Published by Jamey Aebersold Jazz.

Orchestra String Orchestra - Grade 1.5-2

SKU: CF.FAS11

Composed by Larry Clark. FS SWS. Carl Fischer First Plus String Orchestra Series. Classical. Score and Parts. With Standard notation. 8+8+5+5+5+2+8 pages. Carl Fischer Music #FAS11. Published by Carl Fischer Music (CF.FAS11).

ISBN 9780825845048. UPC: 798408045043. 8.5 X 11 inches. Key: G major.

This outstanding original from Larry Clark can be played any time of year! A vigorous theme moves through all the sections and violas combine with second violins for prominent solo passages. A section in minor adds to the drama as strong rhythmic chords give way to a subdued tremolo in the first violins, reminiscent of Vivaldi's Winter This music reaches a level of intensity your players and audience will love.
Out of the Winter is a musical depiction of the many moods of winter from its harsh storms to its simple beauty. The composition is based on a central main theme that is musically developed throughout the composition presented in and out of major and minor keys.The main theme begins right away without introduction and is set to depict the simple delicate beauty of a light falling snow. The theme is then developed in the minor key using simple contrapuntal techniques that give the composition a fresh sound for pieces at this grade level. The aggressive development of the piece is a musical description of a powerful winter storm. The tension of this section is built to a climax using simple divisi in the strongs and some poly-chordal harmonic techniques that give way to a final return of the main theme to complete the piece.Special care should be given to exaggerating the contrast between the two diverse sections of the piece. The main theme should be light and uplifting. The second section with the theme in minor should have an ominous presence, but still be reminiscent of the original light main theme. As with all of my compositions at this grade level, adjust the tempo to fit the ability level of your students. It is hope that this piece helps to reinforce the concepts of good musicianship which you are trying to instill in your students. Bowings should be used as a guide and should be adjusted to your needs.It has been my pleasure to have had the opportunity to write this piece. I hope that you and your students find it useful for your program.

A violin method for children. By Egon Sassmannshaus; Kurt Sassmannshaus. American English translation: Kurt Sassmannshaus; Illustrations: Charlotte Panowsky. For Violin. Take advantage of our exclusive introductory offer now and save 25% off the regular price - this special price is available for a limited time only. Baerenreiter's Sassmannshaus. Original German title: Fruher Anfang auf der Geige - Band 2; Eine Violinschule fur Kinder. Instructional Method. Method book. Text language: English. 64 pages. Published by Baerenreiter Verlag (German import).

By Johann Sobeck. For flute, oboe, clarinet, horn and bassoon (wind quintet). Facsimile Editions - Winds. Interesting companion piece to Reicha and Danzi, at an extremely reasonable price. Romantic