By David M. Pierce, bassoon and Naki Sung Kripfgans, piano. For bassoon and pi...(+)
By David M. Pierce,
bassoon
and Naki Sung Kripfgans,
piano. For bassoon and
piano.
Solo part and 2
performace/accompaniment
CDs.
Published by Music Minus
One
(Basso ad libitum). By Wolfgang Amadeus Mozart (1756-1791). Edited by Albrecht H...(+)
(Basso ad libitum). By
Wolfgang Amadeus Mozart
(1756-1791). Edited by
Albrecht Holder and James
Massol. For Bassoon,
Cello, Basso Continuo.
Schott. Softcover. 36
pages. Schott Music
#ED21137. Published by
Schott Music
Bassoon, Piano Accompaniment - Difficulty: medium SKU: HL.841055 Basso...(+)
Bassoon, Piano
Accompaniment -
Difficulty: medium
SKU: HL.841055
Bassoon with Piano
Reduction. Composed
by John Williams. John
Williams Signature
Edition - Woodwinds.
Movies and 20th Century.
Instrumental solo/piano
accompaniment set. With
solo part and piano
accompaniment (orchestral
reduction). 40 pages.
Published by Hal Leonard
(HL.841055).
ISBN
9780793557943. UPC:
073999773705. 9x12
inches.
Book/Online Audio Bassoon SKU: HL.400103 Music Minus One Bassoon. ...(+)
Book/Online Audio Bassoon
SKU: HL.400103
Music Minus One
Bassoon. Composed by
Various. Sheet music.
Music Minus One.
Classical, Contest.
Softcover Audio Online.
24 pages. Music Minus One
#MMO4601. Published by
Music Minus One
(HL.400103).
ISBN
9781596156463. UPC:
884088161101.
9.0x12.0x0.098
inches.
Tuba SKU: HL.841331 Book/Online Audio. Edited by Linda Rutherford....(+)
Tuba
SKU:
HL.841331
Book/Online Audio.
Edited by Linda
Rutherford. Master Solos.
Technique, Classical and
Play Along. Softcover
Audio Online. With
introductory text,
instructional text,
illustrations, fingering
chart, musical examples,
solo parts, piano
accompaniment and
accompaniment CD. 32
pages. Published by Hal
Leonard (HL.841331).
ISBN 9780793595556.
UPC: 073999593716. 9x12
inches. Book/Online
Audio.
Master Solos
book/online audio packs
are a fresh source of
solo literature in a
comprehensive package for
developing
instrumentalists. The
collections for the
various instruments were
personally selected and
performed by world-famous
performing artists and
educators (see below),
and each features a
specially prepared
lesson. Every Master
Solos pack includes 8
selections by renowned
composers â?? different
for each instrument â??
and a piano accompaniment
book. The accompanying
audio is uniquely
designed to serve in
practice and performance
situations, and offer
immeasurable benefits for
the intermediate soloist
and for the instrumental
instructor. The first
track features the solo
performance with piano
accompaniment providing
tempo and musical style,
and the second track is
the piano accompaniment
only, designed for
rehearsal. The recorded
accompaniment can also be
used in performances.
Flute by Gary Sigurdson,
Oboe by Don Jaeger,
Bassoon by Leonard
Sharrow, Bb Clarinet by
Ramon Kireilis, Eb Alto
Saxophone by Larry Teal,
Bb Trumpet/Cornet by
Robert Getchell, Horn by
Louis Stout, Trombone by
Buddy Baker, Baritone
Horn by Larry Campbell,
Tuba by Daniel Perantoni,
Percussion by Peter
Magadini. All books
edited by Linda
Rutherford. Audio is
accessed online using the
unique code inside the
book and can be streamed
or downloaded. The audio
files include PLAYBACK ,
a multi-functional audio
player that allows you to
slow down audio without
changing pitch, set loop
points, change keys, and
pan left or right.
(For Bassoon and String quartet). By Carl Maria von Weber (1786-1826) and Carl M...(+)
(For Bassoon and String
quartet). By Carl Maria
von Weber (1786-1826) and
Carl Maria von Weber
(1786-1826). Arranged by
Michael Rot. For bassoon,
2 violins, viola, cello.
Chamber music. Score and
set of parts. Op. 35.
Published by Doblinger
Music Publishers
Arranged by Daniel Kelley. For Cello (or Bassoon) and Piano. Solos. Recital, Chu...(+)
Arranged by Daniel
Kelley. For Cello (or
Bassoon) and Piano.
Solos. Recital, Church.
Level:
Intermediate/Advanced.
Piano Score and Solo
Part. Published by Last
Resort Music Publishing.
Bassonnerie Basson, Piano (duo) - Avancé De Haske Publications
Bassoon and Piano - advanced SKU: BT.DHP-1185973-401 For Bassoon and P...(+)
Bassoon and Piano -
advanced
SKU:
BT.DHP-1185973-401
For Bassoon and
Piano. Composed by
Jan Van der Roost. De
Haske Instrumental
Series. Exam Material.
Book and Part(s).
Composed 2019. 8 pages.
De Haske Publications
#DHP 1185973-401.
Published by De Haske
Publications
(BT.DHP-1185973-401).
ISBN 9789043157513.
International.
This
short work is partly
based on the well-known
bassoon solo from
Peter and the
Wolf, the musical
fairy tale by Sergei
Prokofiev. However, the
original melody is
presented in
â??inversionâ??:
ascending intervals
become descending ones,
and vice versa. The
middle cantabile
section is mainly
situated in the higher
bassoon register, thus
forming a lovely contrast
with the other parts. The
piano accompaniment is
modest and transparent,
so that the bassoon is
not drowned
out.
Dit korte
werkje is deels geënt
op de bekende fagotsolo
uit Peter en de
Wolf, het muzikale
sprookje van Sergei
Prokofjev. De
oorspronkelijke melodie
wordt echter in
â??omkeringâ??
gepresenteerd: stijgende
toonafstanden worden dus
dalende en vice versa.
Het middendeel is
zangeriger en ligt vooral
in het hogere register
van de fagot, wat een
fraai contrast vormt met
de hoekdelen. De
pianobegeleiding is
bescheiden en
transparant, zodat de
fagot niet overstemd
wordt.
Dieses
kurze Werk basiert zum
Teil auf dem bekannten
Fagott-Solo aus Sergei
Prokofjews musikalischem
Märchen Peter und
der Wolf. Die
ursprüngliche Melodie
wird jedoch als
Umkehrungâ??
vorgestellt: aufsteigende
Intervalle werden zu
absteigenden und
umgekehrt. Der Mittelteil
ist kantabler und liegt
hauptsächlich in der
höheren Stimmlage des
Fagotts, womit er einen
schönen Kontrast zu
den Eckteilen bildet. Die
Klavierbegleitung ist
zurückhaltend und
transparent, sodass das
Fagott nicht
übertönt
wird.
Violoncelle, Piano [Reduction] - Intermédiaire/avancé Last Resort Music Publishing
Edited by Jan Kelley. Arranged by Daniel Kelley. For Cello and Piano. Solos. Rec...(+)
Edited by Jan Kelley.
Arranged by Daniel
Kelley. For Cello and
Piano. Solos. Recital,
Wedding. Level:
Intermediate/Advanced.
Piano Score and Solo
Part. Published by Last
Resort Music Publishing.
Six Cameos Basson [Partie séparée] - Intermédiaire/avancé Howard J. Buss Publications
Composed by Roger Vogel (1947-). Edited by Howard J. Buss. These musical cameos ...(+)
Composed by Roger Vogel
(1947-). Edited by Howard
J. Buss. These musical
cameos reflect the
characters of 6 people:
the movements are
entitled Sailor, Dreamer,
Dancer, Curmudgeon, Blues
Bassoonist, and Runner.
21st Century. Solo part.
Composed 2011. Duration
15'. Published by Howard
J. Buss Publications
(B7.B931).
Composed by Wolfgang Amadeus Mozart (1756-1791). Arranged by Marc Koninkx. For B...(+)
Composed by Wolfgang
Amadeus Mozart
(1756-1791). Arranged by
Marc Koninkx. For Bassoon
and Wind Ensemble. Grade
4. Full score and set of
parts. Duration 18:00.
Published by Baton Music
Bassoon and Piano Bassoon, Piano - Difficulty: medium to medium-difficult SKU...(+)
Bassoon and Piano
Bassoon, Piano -
Difficulty: medium to
medium-difficult
SKU:
HL.50330390
Book
only. Arranged by Sol
Schoenbach. Woodwind
Solo. Classical. Book
only. With solo part,
standard notation and
piano accompaniment. 92
pages. G. Schirmer
#ED2553. Published by G.
Schirmer (HL.50330390).
ISBN 9780793599431.
UPC: 073999606102. 9x12
inches. Edited by Sol
Schoenbach.
This
book will help the
bassoon student who
frequently studies
orchestra excerpts
without an understanding
of the harmonic and
rhythmic accompaniment of
the orchestra. By playing
these excerpts with piano
accompaniment he will
develop a true
perspective.
Composed by Wolfgang Amadeus Mozart (1756-1791). Arranged by Dalton Ringey. For ...(+)
Composed by Wolfgang
Amadeus Mozart
(1756-1791). Arranged by
Dalton Ringey. For bass
clarinet and piano.
Classical; classical
period. Solo part and
piano reduction. 25 pages
(score); 6 pages (part).
Published by Alea
Publishing
Mixed Trios. By Various. Arranged by Daniel Kelley. For Cello or Bassoon. Trios....(+)
Mixed Trios. By Various.
Arranged by Daniel
Kelley. For Cello or
Bassoon. Trios. Music for
Three. Classical /
Baroque. Level:
Intermediate/Advanced.
Part 3. Published by Last
Resort Music 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).
By Wolfgang Amadeus Mozart. For flute (A, S or timpani recorder) (violin), piano...(+)
By Wolfgang Amadeus
Mozart. For flute (A, S
or timpani recorder)
(violin), piano. Print
music available
separately (PE.P04555).
(after
K.439b,orig.2Cl,Bsn).Pian
o accompaniment to the
Solo part recorded on CD.
Play Along. Published by
Music Partner.