Three Pieces Quatuor de cuivres: 4 trompettes - Facile Triplo Press
Composed by Everett Gates. Trumpet Ensemble. For 4 trumpets. Small Ensemble....(+)
Composed by Everett
Gates.
Trumpet Ensemble. For 4
trumpets. Small Ensemble.
Modern. Grade 2. Score
and
parts. Standard notation.
15
pages. Published by
Triplo
Pres
Forever Sky Ensemble de Trompettes - Intermédiaire/avancé Triplo Press
Composed by Josh Hobbs. Trumpet Ensemble. For 6 trumpets. Small Ensemble. Ke...(+)
Composed by Josh Hobbs.
Trumpet Ensemble. For 6
trumpets. Small Ensemble.
Key:
C Major. Modern. Grade 7.
Score and parts. Standard
notation. Composed 2013.
28
pages. Duration 4
minutes, 9
seconds. Published by
Triplo
Press
Composed by David Uber. Trumpet Ensemble. For 6 trumpets. Small Ensemble. Ke...(+)
Composed by David Uber.
Trumpet Ensemble. For 6
trumpets. Small Ensemble.
Key:
A-flat Major. Fanfare.
Grade
5. Score and parts.
Standard
notation. Composed 2001.
17
pages. Duration 4
minutes.
Published by Triplo Press
Concert Fanfare Ensemble de Trompettes - Intermédiaire/avancé Triplo Press
Composed by Eric Ewazen. Trumpet Ensemble. For 6 trumpets. Small Ensemble. K...(+)
Composed by Eric Ewazen.
Trumpet Ensemble. For 6
trumpets. Small Ensemble.
Key:
B-flat Major. 20th
Century.
Grade 4. Score and parts.
Standard notation.
Composed
2000. 18 pages. Duration
2
minutes, 30 seconds.
Published
by Triplo Press
Intrada Dramatica Ensemble de Trompettes - Intermédiaire Triplo Press
Composed by Joseph Price. Trumpet Ensemble. For 8 trumpets. Small Ensemble. ...(+)
Composed by Joseph Price.
Trumpet Ensemble. For 8
trumpets. Small Ensemble.
Key:
B-flat Major. Modern.
Grade 5.
Score and parts. Standard
notation. Composed 2006.
26
pages. Duration 3
minutes, 11
seconds. Published by
Triplo
Press
Intrada Dramatica Ensemble de Trompettes - Intermédiaire Triplo Press
Composed by Joseph Price. Trumpet Ensemble. For 5 trumpets. Small Ensemble. ...(+)
Composed by Joseph Price.
Trumpet Ensemble. For 5
trumpets. Small Ensemble.
Key:
B-flat Major. Modern.
Grade 5.
Score and parts. Standard
notation. Composed 2006.
22
pages. Duration 3
minutes, 11
seconds. Published by
Triplo
Press
Tripartita Violon, Clarinette, Piano (trio) Subito Music
Clarinet, Violin & Piano SKU: SU.46200090 For Clarinet, Violin & Piano...(+)
Clarinet, Violin & Piano
SKU: SU.46200090
For Clarinet, Violin &
Piano. Composed by
William Averitt. Chamber
Music, Piano Trio. Score
& Parts. Subito Music
Corporation #46200090.
Published by Subito Music
Corporation
(SU.46200090).
Clarinet,
Violin & Piano Duration:
22' Composed: 1988
Published by: Verdehr
Trio Tripartita is a
title invented for this
score, a piece in three
movements for three
players. The first
movement Elaborations is
a sonata-like structure
whose ideas evolve out of
the harmonic succession
heard as the background
material of the opening
passage. The second and
third movements are based
on essentially the same
scalar and harmonic
materials as the first;
however, they are
somewhat different in
their moods and
expression, in part
because they both
incorporate elements
derived from popular
music idioms of the early
part of the twentieth
century. The form of the
second movement,
Dances,is related to the
nineteenth century
scherzo with two trios;
here, the scherzo
sections are fast and
jazzy,while the more
relaxed digressions are,
respectively, a
ragtime-waltz and a
tango. The third movement
Blues with Variations
follows without pause,
and furthermore is linked
structurally to the
previous movements, since
the chord sequence for
the blues (and subsequent
variations) is the same
one employed from the
very opening of the work.
—William
Averitt.
Keyboard - intermediate SKU: HL.49032452 Playing Keyboards The New Way...(+)
Keyboard - intermediate
SKU: HL.49032452
Playing Keyboards The
New Way. Composed by
Kurt Hessenberg. This
edition: Saddle
stitching. Sheet music.
Edition Schott. The
Keyboard method for all
one manual models with
automatic accompaniment
and rhythm facility an
introduction to playing
Keyboards for teaching
and private study.
Individual part. 12
pages. Schott Music #ED
7713. Published by Schott
Music (HL.49032452).
ISBN 9790001126663.
English.
Keyboard
Essentials is aimed at
all who want to learn to
play keyboards
successfully in
methodically thought-out
teaching units with the
aid of popular songs and
useful tips, though
tutoring or private
study. It is aimed at
beginners of all ages but
also, for example, wind
players, singers or
guitarists who want to
become musical 'insiders'
and who though playing
the keyboard see an
introduction to
improvidation,
composition, harmony,
etc. On the keyboard in
particular, with its
clearly arranged, regular
structure of keys,
scales, chords, and
harmonic relations are
presented more clearly
and systematically than
on any other instrument.
Musicians with previous
knowledge may join in at
volume 2 or 3.
For
Flute, Clarinet and
Piano. Composed by
Pierre Jalbert. This
edition: Saddle
stitching. Sheet music.
Edition Schott.
Classical. Softcover.
Composed 2015. 36 pages.
Duration 12'. Schott
Music #ED30171. Published
by Schott Music
(HL.49045390).
ISBN
9781495085864. UPC:
888680662868.
9.25x12.0x0.21
inches.
Triple Set
was commissioned by the
Flute/Clarinet Duos
Consortium, an
organization of 17 groups
which will give the
premiere performances of
the work. I've always
been fascinated by the
flute and clarinet, and
when I was approached by
my colleagues at Rice
(Leone Buyse and Michael
Webster) to write a piece
for flute, clarinet and
piano (I'm a pianist
myself), for the
Flute/Clarinet Duos
Consortium, I was happy
to oblige. Both of my
sons also play the
clarinet, so many of
these sounds are around
me all the time.The piece
is in three contrasting
movements. The first
movement, Driving, marked
'With great energy', is
rhythmically propelled
forward by the piano's
muted strings and the
flute and clarinet
playing at first in
rhythmic unison, then
each taking a turn at
solos while the other
participates in the
accompanimental
syncopations. The second
movement, Still, is
marked 'Timeless' and
slowly unfolds its
melodic and harmonic
ideas. The third
movement, Relentless, is
a kind of 6/8 scherzo,
which vigorously and
relentlessly propels
itself forward to the
end, with just two minor
interruptions of
quasi-cadenza like
passages for flute and
clarinet duo.- Pierre
Jalbert.
(The Grown-Up Approach to Music Theory). By Nathaniel Gunod. Book; CD; Reference...(+)
(The Grown-Up Approach to
Music Theory). By
Nathaniel Gunod. Book;
CD; Reference Textbooks;
Textbook - General;
Theory. For Adults. 96
pages. Published by
Alfred Music Publishing
For Flute. Includes a high-quality printed music book with both parts; and a CD ...(+)
For Flute. Includes a
high-quality printed
music book with both
parts; and a CD
containing accompaniments
to both the minus 1st and
minus 2nd duet parts.
Published by Music Minus
One.
By Tommy Flint. For Guitar (Fingerpicking). Method. Complete. Bluegrass and Coun...(+)
By Tommy Flint. For
Guitar (Fingerpicking).
Method. Complete.
Bluegrass and Country.
Level: Multiple Levels.
Book/CD Set. Size
8.75x11.75. 200 pages.
Published by Mel Bay
Publications, Inc.
Textbook - General. Essentials of Music Theory. General Theory. Instructional bo...(+)
Textbook - General.
Essentials of Music
Theory. General Theory.
Instructional book.
Introductory text,
instructional text,
musical examples and
glossary. 120 pages.
Published by Alfred Music
Publishing
Formation musicale - Solfège [Partition + CD] Alfred Publishing
Alfred's Essentials of Music Theory - Complete (Book/CDs). (Complete). Reference...(+)
Alfred's Essentials of
Music Theory - Complete
(Book/CDs). (Complete).
Reference Textbooks;
Textbook - General;
Theory. Essentials of
Music Theory. General
Theory. Instructional
book (spiral bound) and 2
example CDs. Introductory
text, instructional text,
musical examples and
glossary. 120 pages.
Published by Alfred Music
Publishing
By Andrew Surmani, Karen Farnum Surmani, And Morton Manus. For Alto Clef (Viola)...(+)
By Andrew Surmani, Karen
Farnum Surmani, And
Morton Manus. For Alto
Clef (Viola). Textbook -
General. Essentials of
Music Theory. Book and 2
CDs. 124 pages. Published
by Alfred Publishing.
Complete Self-Study Course. Composed by Andrew Surmani and Morton Manus. Referen...(+)
Complete Self-Study
Course. Composed by
Andrew Surmani and Morton
Manus. Reference
Textbooks; Textbook -
General; Theory.
Essentials of Music
Theory. Book and 2 CDs.
152 pages. Published by
Alfred Music
Alfred's Essentials of Music Theory. (Complete Book Alto Clef (Viola) Edition). ...(+)
Alfred's Essentials of
Music Theory. (Complete
Book Alto Clef (Viola)
Edition). By Andrew
Surmani and Morton Manus.
For Alto Clef (Viola).
Reference Textbooks;
Textbook - General;
Theory. Essentials of
Music Theory. Book. 124
pages. Published by
Alfred Music Publishing
(The Conceptual Core). Composed by Walter Noona. For piano. Piano Method. Level ...(+)
(The Conceptual Core).
Composed by Walter Noona.
For piano. Piano Method.
Level 3. Piano method.
Roger Dean Publishing
#KM107. Published by
Roger Dean Publishing
Piano and orchestra - difficult SKU: HL.49046544 For piano and orchest...(+)
Piano and orchestra -
difficult
SKU:
HL.49046544
For
piano and orchestra.
Composed by Gyorgy
Ligeti. This edition:
Saddle stitching. Sheet
music. Edition Schott.
Softcover. Composed
1985-1988. Duration 24'.
Schott Music #ED23178.
Published by Schott Music
(HL.49046544).
ISBN
9781705122655. UPC:
842819108726.
9.0x12.0x0.224
inches.
I composed
the Piano Concerto in two
stages: the first three
movements during the
years 1985-86, the next
two in 1987, the final
autograph of the last
movement was ready by
January, 1988. The
concerto is dedicated to
the American conductor
Mario di Bonaventura. The
markings of the movements
are the following: 1.
Vivace molto ritmico e
preciso 2. Lento e
deserto 3. Vivace
cantabile 4. Allegro
risoluto 5. Presto
luminoso.The first
performance of the
three-movement Concerto
was on October 23rd, 1986
in Graz. Mario di
Bonaventura conducted
while his brother,
Anthony di Bonaventura,
was the soloist. Two days
later the performance was
repeated in the Vienna
Konzerthaus. After
hearing the work twice, I
came to the conclusion
that the third movement
is not an adequate
finale; my feeling of
form demanded
continuation, a
supplement. That led to
the composing of the next
two movements. The
premiere of the whole
cycle took place on
February 29th, 1988, in
the Vienna Konzerthaus
with the same conductor
and the same pianist. The
orchestra consisted of
the following: flute,
oboe, clarinet, bassoon,
horn, trumpet, tenor
trombone, percussion and
strings. The flautist
also plays the piccoIo,
the clarinetist, the alto
ocarina. The percussion
is made up of diverse
instruments, which one
musician-virtuoso can
play. It is more
practical, however, if
two or three musicians
share the instruments.
Besides traditional
instruments the
percussion part calls
also for two simple wind
instruments: the swanee
whistle and the
harmonica. The string
instrument parts (two
violins, viola, cello and
doubles bass) can be
performed soloistic since
they do not contain
divisi. For balance,
however, the ensemble
playing is recommended,
for example 6-8 first
violins, 6-8 second, 4-6
violas, 4-6 cellos, 3-4
double basses. In the
Piano Concerto I realized
new concepts of harmony
and rhythm. The first
movement is entirely
written in bimetry:
simultaneously 12/8 and
4/4 (8/8). This relates
to the known triplet on a
doule relation and in
itself is nothing new.
Because, however, I
articulate 12 triola and
8 duola pulses, an
entangled, up till now
unheard kind of polymetry
is created. The rhythm is
additionally complicated
because of asymmetric
groupings inside two
speed layers, which means
accents are
asymmetrically
distributed. These
groups, as in the talea
technique, have a fixed,
continuously repeating
rhythmic structures of
varying lengths in speed
layers of 12/8 and 4/4.
This means that the
repeating pattern in the
12/8 level and the
pattern in the 4/4 level
do not coincide and
continuously give a
kaleidoscope of renewing
combinations. In our
perception we quickly
resign from following
particular rhythmical
successions and that what
is going on in time
appears for us as
something static,
resting. This music, if
it is played properly, in
the right tempo and with
the right accents inside
particular layers, after
a certain time 'rises, as
it were, as a plane after
taking off: the rhythmic
action, too complex to be
able to follow in detail,
begins flying. This
diffusion of individual
structures into a
different global
structure is one of my
basic compositional
concepts: from the end of
the fifties, from the
orchestral works
Apparitions and
Atmospheres I
continuously have been
looking for new ways of
resolving this basic
question. The harmony of
the first movement is
based on mixtures, hence
on the parallel leading
of voices. This technique
is used here in a rather
simple form; later in the
fourth movement it will
be considerably
developed. The second
movement (the only slow
one amongst five
movements) also has a
talea type of structure,
it is however much
simpler rhythmically,
because it contains only
one speed layer. The
melody is consisted in
the development of a
rigorous interval mode in
which two minor seconds
and one major second
alternate therefore nine
notes inside an octave.
This mode is transposed
into different degrees
and it also determines
the harmony of the
movement; however, in
closing episode in the
piano part there is a
combination of diatonics
(white keys) and
pentatonics (black keys)
led in brilliant,
sparkling quasimixtures,
while the orchestra
continues to play in the
nine tone mode. In this
movement I used isolated
sounds and extreme
registers (piccolo in a
very low register,
bassoon in a very high
register, canons played
by the swanee whistle,
the alto ocarina and
brass with a harmon-mute'
damper, cutting sound
combinations of the
piccolo, clarinet and
oboe in an extremely high
register, also
alternating of a
whistle-siren and
xylophone). The third
movement also has one
speed layer and because
of this it appears as
simpler than the first,
but actually the rhythm
is very complicated in a
different way here. Above
the uninterrupted, fast
and regular basic pulse,
thanks to the asymmetric
distribution of accents,
different types of
hemiolas and inherent
melodical patterns appear
(the term was coined by
Gerhard Kubik in relation
to central African
music). If this movement
is played with the
adequate speed and with
very clear accentuation,
illusory
rhythmic-melodical
figures appear. These
figures are not played
directly; they do not
appear in the score, but
exist only in our
perception as a result of
co-operation of different
voices. Already earlier I
had experimented with
illusory rhythmics,
namely in Poeme
symphonique for 100
metronomes (1962), in
Continuum for harpsichord
(1968), in Monument for
two pianos (1976), and
especially in the first
and sixth piano etude
Desordre and Automne a
Varsovie (1985). The
third movement of the
Piano Concerto is up to
now the clearest example
of illusory rhythmics and
illusory melody. In
intervallic and chordal
structure this movement
is based on alternation,
and also inter-relation
of various modal and
quasi-equidistant harmony
spaces. The tempered
twelve-part division of
the octave allows for
diatonical and other
modal interval
successions, which are
not equidistant, but are
based on the alternation
of major and minor
seconds in different
groups. The tempered
system also allows for
the use of the
anhemitonic pentatonic
scale (the black keys of
the piano). From
equidistant scales,
therefore interval
formations which are
based on the division of
an octave in equal
distances, the
twelve-tone tempered
system allows only
chromatics (only minor
seconds) and the six-tone
scale (the whole-tone:
only major seconds).
Moreover, the division of
the octave into four
parts only minor thirds)
and three parts (three
major thirds) is
possible. In several
music cultures different
equidistant divisions of
an octave are accepted,
for example, in the
Javanese slendro into
five parts, in Melanesia
into seven parts, popular
also in southeastern
Asia, and apart from
this, in southern Africa.
This does not mean an
exact equidistance: there
is a certain tolerance
for the inaccurateness of
the interval tuning.
These exotic for us,
Europeans, harmony and
melody have attracted me
for several years.
However I did not want to
re-tune the piano
(microtone deviations
appear in the concerto
only in a few places in
the horn and trombone
parts led in natural
tones). After the period
of experimenting, I got
to pseudo- or
quasiequidistant
intervals, which is
neither whole-tone nor
chromatic: in the
twelve-tone system, two
whole-tone scales are
possible, shifted a minor
second apart from each
other. Therefore, I
connect these two scales
(or sound resources), and
for example, places occur
where the melodies and
figurations in the piano
part are created from
both whole tone scales;
in one band one six-tone
sound resource is
utilized, and in the
other hand, the
complementary. In this
way whole-tonality and
chromaticism mutually
reduce themselves: a type
of deformed
equidistancism is formed,
strangely brilliant and
at the same time
slanting; illusory
harmony, indeed being
created inside the
tempered twelve-tone
system, but in sound
quality not belonging to
it anymore. The
appearance of such
slantedequidistant
harmony fields
alternating with modal
fields and based on
chords built on fifths
(mainly in the piano
part), complemented with
mixtures built on fifths
in the orchestra, gives
this movement an
individual, soft-metallic
colour (a metallic sound
resulting from
harmonics). The fourth
movement was meant to be
the central movement of
the Concerto. Its
melodc-rhythmic elements
(embryos or fragments of
motives) in themselves
are simple. The movement
also begins simply, with
a succession of
overlapping of these
elements in the mixture
type structures. Also
here a kaleidoscope is
created, due to a limited
number of these elements
- of these pebbles in the
kaleidoscope - which
continuously return in
augmentations and
diminutions. Step by
step, however, so that in
the beginning we cannot
hear it, a compiled
rhythmic organization of
the talea type gradually
comes into daylight,
based on the simultaneity
of two mutually shifted
to each other speed
layers (also triplet and
duoles, however, with
different asymmetric
structures than in the
first movement). While
longer rests are
gradually filled in with
motive fragments, we
slowly come to the
conclusion that we have
found ourselves inside a
rhythmic-melodical whirl:
without change in tempo,
only through increasing
the density of the
musical events, a
rotation is created in
the stream of successive
and compiled, augmented
and diminished motive
fragments, and increasing
the density suggests
acceleration. Thanks to
the periodical structure
of the composition,
always new but however of
the same (all the motivic
cells are similar to
earlier ones but none of
them are exactly
repeated; the general
structure is therefore
self-similar), an
impression is created of
a gigantic, indissoluble
network. Also, rhythmic
structures at first
hidden gradually begin to
emerge, two independent
speed layers with their
various internal
accentuations. This
great, self-similar whirl
in a very indirect way
relates to musical
associations, which came
to my mind while watching
the graphic projection of
the mathematical sets of
Julia and of Mandelbrot
made with the help of a
computer. I saw these
wonderful pictures of
fractal creations, made
by scientists from Brema,
Peitgen and Richter, for
the first time in 1984.
From that time they have
played a great role in my
musical concepts. This
does not mean, however,
that composing the fourth
movement I used
mathematical methods or
iterative calculus;
indeed, I did use
constructions which,
however, are not based on
mathematical thinking,
but are rather craftman's
constructions (in this
respect, my attitude
towards mathematics is
similar to that of the
graphic artist Maurits
Escher). I am concerned
rather with intuitional,
poetic, synesthetic
correspondence, not on
the scientific, but on
the poetic level of
thinking. The fifth, very
short Presto movement is
harmonically very simple,
but all the more
complicated in its
rhythmic structure: it is
based on the further
development of ''inherent
patterns of the third
movement. The
quasi-equidistance system
dominates harmonically
and melodically in this
movement, as in the
third, alternating with
harmonic fields, which
are based on the division
of the chromatic whole
into diatonics and
anhemitonic pentatonics.
Polyrhythms and harmonic
mixtures reach their
greatest density, and at
the same time this
movement is strikingly
light, enlightened with
very bright colours: at
first it seems chaotic,
but after listening to it
for a few times it is
easy to grasp its
content: many autonomous
but self-similar figures
which crossing
themselves. I present my
artistic credo in the
Piano Concerto: I
demonstrate my
independence from
criteria of the
traditional avantgarde,
as well as the
fashionable
postmodernism. Musical
illusions which I
consider to be also so
important are not a goal
in itself for me, but a
foundation for my
aesthetical attitude. I
prefer musical forms
which have a more
object-like than
processual character.
Music as frozen time, as
an object in imaginary
space evoked by music in
our imagination, as a
creation which really
develops in time, but in
imagination it exists
simultaneously in all its
moments. The spell of
time, the enduring its
passing by, closing it in
a moment of the present
is my main intention as a
composer. (Gyorgy
Ligeti).
Guitar SKU: FG.55011-326-8 Composed by Kai Nieminen. Fennica Gehrman #550...(+)
Guitar
SKU:
FG.55011-326-8
Composed by Kai Nieminen.
Fennica Gehrman
#55011-326-8. Published
by Fennica Gehrman
(FG.55011-326-8).
ISBN
9790550113268.
I
met for the first time
the refined Finnish
composer Kai Nieminen in
Milan (Italy), although
we had been in touch for
a while before. It was
that very trip which
provided the inspiration
for this composition
dedicated to Bruno
Munari, one of the most
renowned XXI century
Italian artists, who
lived and worked in
Milan. In particular, the
work that inspired this
composition, displayed at
Museo del Novecento in
Milan and characterised
by swirling lines
enveloping torn-out music
scores, suggested the
mysterious atmosphere of
this piece and the
subheading Un telegramma
dal paese dei sogni (A
telegram from
dreamland). The
composition can be
divided into four
sections and displays a
wide variety of
harmonics, cleverly
enhancing the polyphonic
resources of the
guitar. The very
first bars introduce the
main themes of the
composition:
particularly, at bar 7 it
is possible to recognize
a Bach quote from Das
wohltemperierte Clavier
(II book, ndeg24)
recurring frequently in
the piece and appearing
also in the painting.
Meno mosso (bar 51) opens
with a ghostly song
accompanied by drum-like
effects that recall the
primitive sound of the
shamanic Finnish
drum. Fast sixteenth
cascades dotted by
harmonic sounds open the
fourth and last section
at bar 66 (Capriccioso,
movendo), alluding to a
mysterious telegram sent
from another
dimension.