Big band - easy to intermediate SKU: M7.AHW-601140 Composed by Jamey Aebe...(+)
Big band - easy to
intermediate
SKU:
M7.AHW-601140
Composed by Jamey
Aebersold. Arranged by
Peter Blair. Sheet music.
Individual part, trumpet
3. Handelsware #AHW
601140. Published by
Handelsware
(M7.AHW-601140).
UPC:
000308065572.
English.
The Jamey
Aebersold Jazz Ensemble
Collection (Volume 1) is
a set of eight full
arrangements that
correlate with selected
tracks from Jamey's play
along Volumes #1
(Learning to Play Jazz),
#2 (Nothin' But Blues)
and #88 (Millennium
Blues). Peter Blair had
done all the arrangements
and retained the exact
form and solo structure
as Jamey's recordings, so
your students will be
able to practice all the
solos from these charts
using Jamey's play along
tracks! The eight pieces
in the collection are in
contrasting styles,
including modal blues,
Latin grooves, 3/4 minor
blues and more! The
Conductor's Score
includes a CD with full
recordings of all the
charts and the rhythm
section parts are fully
notated.
Big band - easy to intermediate SKU: M7.AHW-601133 Composed by Jamey Aebe...(+)
Big band - easy to
intermediate
SKU:
M7.AHW-601133
Composed by Jamey
Aebersold. Arranged by
Peter Blair. Sheet music.
Individual part, alto
saxophone 1. Handelsware
#AHW 601133. Published by
Handelsware
(M7.AHW-601133).
UPC:
000308065473.
English.
The Jamey
Aebersold Jazz Ensemble
Collection (Volume 1) is
a set of eight full
arrangements that
correlate with selected
tracks from Jamey's play
along Volumes #1
(Learning to Play Jazz),
#2 (Nothin' But Blues)
and #88 (Millennium
Blues). Peter Blair had
done all the arrangements
and retained the exact
form and solo structure
as Jamey's recordings, so
your students will be
able to practice all the
solos from these charts
using Jamey's play along
tracks! The eight pieces
in the collection are in
contrasting styles,
including modal blues,
Latin grooves, 3/4 minor
blues and more! The
Conductor's Score
includes a CD with full
recordings of all the
charts and the rhythm
section parts are fully
notated.
Big band - easy to intermediate SKU: M7.AHW-601139 Composed by Jamey Aebe...(+)
Big band - easy to
intermediate
SKU:
M7.AHW-601139
Composed by Jamey
Aebersold. Arranged by
Peter Blair. Sheet music.
Individual part, trumpet
2. Handelsware #AHW
601139. Published by
Handelsware
(M7.AHW-601139).
English.
The
Jamey Aebersold Jazz
Ensemble Collection
(Volume 1) is a set of
eight full arrangements
that correlate with
selected tracks from
Jamey's play along
Volumes #1 (Learning to
Play Jazz), #2 (Nothin'
But Blues) and #88
(Millennium Blues). Peter
Blair had done all the
arrangements and retained
the exact form and solo
structure as Jamey's
recordings, so your
students will be able to
practice all the solos
from these charts using
Jamey's play along
tracks! The eight pieces
in the collection are in
contrasting styles,
including modal blues,
Latin grooves, 3/4 minor
blues and more! The
Conductor's Score
includes a CD with full
recordings of all the
charts and the rhythm
section parts are fully
notated.
Big band - easy to intermediate SKU: M7.AHW-601136 Composed by Jamey Aebe...(+)
Big band - easy to
intermediate
SKU:
M7.AHW-601136
Composed by Jamey
Aebersold. Arranged by
Peter Blair. Sheet music.
Individual part, tenor
saxophone 2. Handelsware
#AHW 601136. Published by
Handelsware
(M7.AHW-601136).
UPC:
000308065503.
English.
The Jamey
Aebersold Jazz Ensemble
Collection (Volume 1) is
a set of eight full
arrangements that
correlate with selected
tracks from Jamey's play
along Volumes #1
(Learning to Play Jazz),
#2 (Nothin' But Blues)
and #88 (Millennium
Blues). Peter Blair had
done all the arrangements
and retained the exact
form and solo structure
as Jamey's recordings, so
your students will be
able to practice all the
solos from these charts
using Jamey's play along
tracks! The eight pieces
in the collection are in
contrasting styles,
including modal blues,
Latin grooves, 3/4 minor
blues and more! The
Conductor's Score
includes a CD with full
recordings of all the
charts and the rhythm
section parts are fully
notated.
Orchestra and Cobla SKU: BO.B.3260 Composed by Josep Ma Ruera. Instrument...(+)
Orchestra and Cobla
SKU: BO.B.3260
Composed by Josep Ma
Ruera. Instrumental Sets.
Duration 40:52. Published
by Editorial de Musica
Boileau (BO.B.3260).
ISBN
9788480207584.
Engl
ish comments:
Empuries is the result of
the interest Ruera showed
throughout his life for
the culture and music of
ancient Greece. As he
himself writes in the
introduction to the
composition: The motives
behind this work were
inspired by contemplating
and analysing the melos
of ancient Greece. The
few melodies that have
been discovered from
those far-off times
inspired the composer of
Empuries to create this
work, conceived with the
Greek modal system in
mind, and adapted to
modern instruments and
tastes. The tetrachord
and pentachords of these
forms are the very bases
of this work. The
descending drift of the
cadence, the harmonic
priority of the upper and
lower notes of the
tetrachords and the
displacement of these
chords to different
acoustic levels, make it
impossible to specify the
classic concept of a set
tonality which, within
the improvised musical
working of the piece,
leads to a naturally
intertonal or atonal
piece of music. Empuries
came to light in 1971,
when it won group A of
the Ciutat de Barcelona
prize. But one must, in
fact, go back to the
1930s to find its true
origins. Ruera made his
first foray into the
theme of ancient Greece
with the sardana,
Empuries, la grega, with
which he won first prize
in the Jocs Florals in
Girona, in 1931. Shortly
afterwards, he wrote a
piece of organ music
entitled Bucolics, in the
Greek modal style, which
was destroyed during the
Spanish civil war. Ruera
continued to work on the
theme and in 1936 he
presented his work Tres
moviments simfonics, for
a big band, inspired by
the ancient Greek modes,
at the XIV International
Festival of the ISCM held
in Barcelona. The work
was chosen to debut in
the festival's opening
concert on 19 April 1936
at Palacio de Bellas
Artes in Barcelona. In
1959, Ruera won the Pau
Casals Prize at the Jocs
Florals de la Llengua
Catalana, held at the
Sorbonne in Paris, for
his work, Empuries: poema
per a cobla i orquestra,
which would later become
the fourth movement of
Empuries. Nine years
later, in 1968, Barcelona
City Orchestra, conducted
by Antoni Ros Marba, gave
the first ever
performance of the
symphonic poem Pastoral,
written to be the first
movement of Empuries, in
Granollers. The final
step was when he finally
completed the work, won
the Ciutat de Barcelona
prize, opened in
Granollers on 2 May 1976
and recorded it for the
Columbia de Barcelona
label in 1977. Anna Maria
Piera
Comentario
s del Espanol: La
obra Empuries es fruto
del interes que el
maestro Ruera demostro a
lo largo de su vida por
la cultura y la musica de
la antigua Grecia. Como
el mismo escribe en la
cabecera de la
composicion: Los motivos
generadores de esta obra
estan inspirados en la
contemplacion y en el
analisis del melos de la
antigua Grecia. Las pocas
melodias que hasta el
momento se han podido
descubrir de aquellos
tiempos remotos sugieren
al autor de Empuries la
realizacion de esta obra,
concebida pensando en el
sistema modal griego,
adaptado a los
instrumentos y gustos
modernos. Los tetracordes
y pentacordes de dichas
modalidades son las
celulas en las que se
basa la obra. El sentido
descendiente de la
cadencia, la prioridad
armonica de la notas
extremas de los
tetracordes y el
desplazamiento de estos
acordes a varias alturas
acusticas, hacen que no
sea posible precisar el
clasico concepto de una
tonalidad determinada y
que lleven, dentro del
funcionamiento
contrapuntistico, a una
musica naturalmente
intertonal o atonal.
Empuries vio la luz en el
ano 1971, ganando el
Premio Ciutat de
Barcelona, grupo A, pero
en realidad tenemos que
retroceder hasta los anos
30 para encontrar sus
verdaderos origenes. La
primera incursion en el
tema de la antigua Gracia
la hizo con la sardana
Empuries, la grega, con
la que gano el primer
premio en los Jocs
Florals de Gerona del ano
1931. Poco despues
escribio una pieza para
organo titulada Bucolics,
en el estilo modal
griego, que fue destruida
durante la Guerra Civil
espanola. Ruera continuo
trabajando en el tema y
en el ano 1936 presento
su obra Tres moviments
simfonics, en version
para gran banda,
inspirada en las antiguas
modalidades griegas, en
el XIV Festival
Internacional de la SIMC
que se celebro en
Barcelona. La obra fue
escogida para ser
estrenada en el concierto
inaugural de dicho
festival, el 19 de abril
de 1936, en el Palacio de
Bellas Artes de
Barcelona. En el 1959,
Ruera gano el Premio Pau
Casals en los Jocs
Florals de la Llengua
Catalana celebrados en la
Sorbona de Paris con la
obra Empuries: poema per
a cobla i orquestra, que
sera con el paso del
tiempo el cuarto
movimiento de Empuries.
Nueve anos mas tarde, en
1968, la Orquestra Ciutat
de Barcelona, bajo la
direccion de Antoni Ros
Marba, interpreto en
Granollers la primera
audicion del poema
sinfonico Pastoral,
pensado como primer
movimiento de Empuries.
El ultimo eslabon fue
terminar definitivamente
la obra, ganar el Premio
Ciutat de Barcelona,
estrenarla en Granollers
el 2 de mayo de 1976 y
grabarla para la casa
discografica Columbia de
Barcelona, en 1977.
Scales - Improvisation
- Articulation.
Composed by Klaus
Ignatzek. This edition:
Paperback/Soft Cover.
Sheet music with CD.
Edition Schott. Edition
with CD. 192 pages.
Schott Music #ED 8258.
Published by Schott Music
(HL.49032563).
ISBN
9783795750879.
9.0x12.0x0.57 inches.
German.
Die
Jazzmethode wendet sich
an Anfanger, aber auch an
fortgeschrittenere
Pianisten, die die
verschiedenen Elemente
der Jazzimprovisation in
kleinen Schritten
erlernen oder vertiefen
mochten. Das Buch gibt
einen systematischen
Uberblick uber die
vielfaltigen
Moglichkeiten der
Jazzimprovisation.Es
werden die allgemeinen
Grundlagen vorgestellt,
die fur
Jazz-Improvisation
erforderlich sind. Die
Schuler lernen das
Tonmaterial immer an nur
einer Tonleiter kennen
und uben daran das
spontane Erfinden und
Entwickeln von Melodien.
Schliesslich wird das
Improvisieren uber modale
Akkordstrukturen und
Kadenz-bezogenes
Improvisieren
vorgestellt.Die CD bietet
die Moglichkeit, die
Ubungen und Aufgaben,
Kadenzen und Akkordfolgen
von bekannten Standards
praktisch umzusetzen und
gezielt zu uben.
Suite No. 1 Guitare Guitare classique [Conducteur] - Avancé Productions OZ
Guitar solo - Advanced SKU: DZ.DZ-4308 Composed by Giorgio Mirto. Score. ...(+)
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.
Choral SKU: BT.MUSM570367917 Composed by Thomas Simaku. Classical. Vocal ...(+)
Choral
SKU:
BT.MUSM570367917
Composed by Thomas
Simaku. Classical. Vocal
Score. University of York
Music Press
#MUSM570367917. Published
by University of York
Music Press
(BT.MUSM570367917).
Thomas
Simaku's La
Leggiadra Luna
arranged for choir a
capella. The music begins
with a song-like
expression introduced at
a slow pace, as if
emerging from the
remoteness of time
itself. It is clearly
based on the musical
utterance of the 'white
modality', but these
modal segments are
constantly surrounded by
chromatic inflections
throughout the work. Each
section of the choir
pursues its own path, but
during a compositional
process of ‘zooming
in and out’, as it
were, their individual
qualities are
highlighted. It is as if
the initial sound object
- which to begin with was
far away- is brought
nearer to us, in time and
space. A variety of
shortsegments,
predominantly modal, but
stemming from different
chromatic
‘locations’,
are often superimposed.
The task of filtering out
this 'amourphous' texture
and giving its
constituent elements - be
they melodic or harmonic,
or a combination of both
- a renewed identity,
becomes an essential
compositional aim,
through which the process
of crystallization
occurs. The main strategy
of the piece is thus
exploring the
interrelationship between
these two sound-worlds
(modal and chromatic) and
their temporal qualities
(ancient and modern),
musical or otherwise.
Baritone/Euphonium and Brass Band (Score & Parts) - Grade 5 SKU: HL.44012399<...(+)
Baritone/Euphonium and
Brass Band (Score &
Parts) - Grade 5
SKU:
HL.44012399
Composed
by Philip Sparke. Anglo
Music Concert Band.
Concert Piece. Softcover.
Composed 2006. Anglo
Music Press #AMP133-030.
Published by Anglo Music
Press (HL.44012399).
Harlequin was
commissioned by, and is
dedicated to, euphonium
virtuoso David Childs.The
piece takes its
inspiration from the
happy and sad masks that
symbolise the Commedia
dell'Arte (which features
Harlequin as one of its
main characters) and
comprises of two
movements, a slow modal
ballad followed by a
frenetic faster movement.
A fantastic showpiece for
the euphonium and brass
band. Harlequin
was commissioned by, and
is dedicated to,
Euphonium virtuoso David
Childs. The piece takes
its inspiration from the
happy and sad masks that
symbolise the Commedia
dell'Arte (which features
Harlequin as one of its
main characters) and
comprises of two
movements, a slow modal
ballad followed by a
frenetic faster movement.
A fantastic showpiece for
the Euphonium and Brass
Band.
Harlequin
was commissioned by, and
is dedicated to,
euphonium virtuoso David
Childs.The piece takes
its inspiration from the
happy and sad masks that
symbolise the Commedia
dell'Arte (which features
Harlequin as one of its
main characters) and
comprises of two
movements, a slow modal
ballad followed by a
frenetic faster movement.
A fantastic showpiece for
the euphonium and brass
band.
Harlequin
wurde im Auftrag des
Euphonium-Virtuosen David
Childs geschrieben.
Inspirationsquelle der
Komposition waren die
frohlichen und traurigen
Masken, die so typisch
fur die Commedia
dell'Arte - mit dem
Harlekin als einen der
Hauptcharaktere - sind.
Philip Sparkes
Komposition besteht aus
einer langsamen modalen
Ballade, gefolgt von
einem fieberhaft
schnellen Satz. Ein
grossartiges Solowerk fur
Euphonium und Brass
Band!
Baritone/Euphonium and Brass Band (Full Score) - Grade 5 SKU: HL.44012400 ...(+)
Baritone/Euphonium and
Brass Band (Full Score) -
Grade 5
SKU:
HL.44012400
Composed
by Philip Sparke. Anglo
Music Concert Band. Solo
& Concerto. Softcover.
Composed 2006. Anglo
Music Press #AMP133-130.
Published by Anglo Music
Press (HL.44012400).
9x12 inches.
English-German-French-Dut
ch.
Harlequin was
commissioned by, and is
dedicated to, euphonium
virtuoso David Childs.The
piece takes its
inspiration from the
happy and sad masks that
symbolise the Commedia
dell?Arte (which features
Harlequin as one of its
main characters) and
comprises of two
movements, a slow modal
ballad followed by a
frenetic faster movement.
A fantastic showpiece for
the euphonium and brass
band.
Harlequin
wurde im Auftrag des
Euphonium-Virtuosen David
Childs geschrieben.
Inspirationsquelle der
Komposition waren die
frohlichen und traurigen
Masken, die so typisch
fur die Commedia
dell'Arte - mit dem
Harlekin als einen der
Hauptcharaktere - sind.
Philip Sparkes
Komposition besteht aus
einer langsamen modalen
Ballade, gefolgt von
einem fieberhaft
schnellen Satz. Ein
grossartiges Solowerk fur
Euphonium und Brass Band!
Harlequin was
commissioned by, and is
dedicated to, euphonium
virtuoso David Childs.The
piece takes its
inspiration from the
happy and sad masks that
symbolise the Commedia
dell'Arte (which features
Harlequin as one of its
main characters) and
comprises of two
movements, a slow modal
ballad followed by a
frenetic faster movement.
A fantastic showpiece for
the euphonium and brass
band.
Sparkling Brass Ensemble de cuivres [Conducteur] - Intermédiaire Anglo Music
Brass Band - Grade 5 SKU: BT.AMP-482-130 Composed by Philip Sparke. Elite...(+)
Brass Band - Grade 5
SKU:
BT.AMP-482-130
Composed by Philip
Sparke. Elite Series.
Concert Piece. Score
Only. Composed 2019. 21
pages. Anglo Music Press
#AMP 482-130. Published
by Anglo Music Press
(BT.AMP-482-130).
English-German-French-
Dutch.
Sparkling
Brass was
commissioned by Osaka
Concert Brass, one of
Japan’s top brass
bands, and premiered by
them on 27th December
2018 during a concert
which celebrated their
10th Anniversary. The
work opens in lively mood
with fanfare-style
figures from the lower
band which are answered
by the cornets. This
interplay intensifies
until the mood calms
suddenly to introduce a
chorale which leads to a
duet-cadenza for cornet
and euphonium. The
rhythmic mood of the
opening soon returns and
leads to the main theme
of the work, a modal
caccia which
features various section
of the band. A short
bridge passage leads to a
change of key and a new
cantabile theme
which isintroduced by
euphoniums and baritone.
This is taken up by the
full band after another
change of key and leads
back to the caccia
theme. A transformed
version of the opening
fanfare returns to close
the work.
Sparkling
Brass werd geschreven
in opdracht van Osaka
Concert Brass voor een
concert ter gelegenheid
van het tienjarig bestaan
van die band. Het werk
opent in een levendige
sfeer, met fanfareachtige
motieven in het lage
koper, beantwoord door de
kornetten. Dit samenspel
wordt intenser tot de
sfeer plotseling rustiger
wordt en er een koraal
naar voren komt dat leidt
naar een duet-cadens voor
kornet en eufonium. De
ritmische sfeer van het
begin keert snel terug en
mondt uit in het
hoofdthema, een modale
caccia met diverse
secties uit de band. Een
korte bridgepassage
brengt een verandering in
toonsoort en een nieuw
cantabile thema, ge
ntroduceerd door de
eufoniumsen bariton. Dit
wordt overgenomen door de
hele band na nog een
toonsoortverandering,
waarna het
caccia-thema
terugkeert. Het werk
besluit met een
getransformeerde versie
van de openingsfanfare.
Sparkling
Brass wurde von Osaka
Concert Brass, einer der
führenden japanischen
Brass Bands, in Auftrag
gegeben und bei einem
Konzert zum
10-jährigen
Jubiläum
uraufgeführt. Das Werk
beginnt lebhaft mit
Fanfarenfiguren in den
tieferen Stimmen, die von
den Kornetten beantwortet
werden. Dieses
Wechselspiel wird
intensiver, bis sich die
Stimmung plötzlich
beruhigt und ein Choral
erklingt, der in eine
Duo-Kadenz für Kornett
und Euphonium mündet.
Der rhythmische Charakter
des Anfangs kehrt bald
zurück und führt
zum Hauptthema des
Werkes, einer modalen
Caccia, in der
verschiedene
Instrumentengruppen der
Brass Band hervorgehoben
werden. Eine kurze
Überleitung führt
zu einemTonartwechsel und
einem neuen
Cantabile-Thema, das von
den Euphonien und
Baritonen eingeleitet
wird. Nach einem weiteren
Tonartwechsel wird es von
der gesamten Brass Band
übernommen und
führt wieder zum
Caccia-Thema zurück.
Zum Schluss des Werkes
erklingt noch einmal eine
veränderte Version der
Eröffnungsfanfare.
Sparkling Brass Ensemble de cuivres [Conducteur et Parties séparées] - Intermédiaire Anglo Music
Brass Band - Grade 5 SKU: BT.AMP-482-030 Composed by Philip Sparke. Elite...(+)
Brass Band - Grade 5
SKU:
BT.AMP-482-030
Composed by Philip
Sparke. Elite Series.
Concert Piece. Set (Score
& Parts). Composed 2019.
Anglo Music Press #AMP
482-030. Published by
Anglo Music Press
(BT.AMP-482-030).
English-German-French-
Dutch.
Sparkling
Brass was
commissioned by Osaka
Concert Brass, one of
Japan’s top brass
bands, and premiered by
them on 27th December
2018 during a concert
which celebrated their
10th Anniversary. The
work opens in lively mood
with fanfare-style
figures from the lower
band which are answered
by the cornets. This
interplay intensifies
until the mood calms
suddenly to introduce a
chorale which leads to a
duet-cadenza for cornet
and euphonium. The
rhythmic mood of the
opening soon returns and
leads to the main theme
of the work, a modal
caccia which
features various section
of the band. A short
bridge passage leads to a
change of key and a new
cantabile theme
which isintroduced by
euphoniums and baritone.
This is taken up by the
full band after another
change of key and leads
back to the caccia
theme. A transformed
version of the opening
fanfare returns to close
the work.
Sparkling
Brass werd geschreven
in opdracht van Osaka
Concert Brass voor een
concert ter gelegenheid
van het tienjarig bestaan
van die band. Het werk
opent in een levendige
sfeer, met fanfareachtige
motieven in het lage
koper, beantwoord door de
kornetten. Dit samenspel
wordt intenser tot de
sfeer plotseling rustiger
wordt en er een koraal
naar voren komt dat leidt
naar een duet-cadens voor
kornet en eufonium. De
ritmische sfeer van het
begin keert snel terug en
mondt uit in het
hoofdthema, een modale
caccia met diverse
secties uit de band. Een
korte bridgepassage
brengt een verandering in
toonsoort en een nieuw
cantabile thema, ge
ntroduceerd door de
eufoniumsen bariton. Dit
wordt overgenomen door de
hele band na nog een
toonsoortverandering,
waarna het
caccia-thema
terugkeert. Het werk
besluit met een
getransformeerde versie
van de openingsfanfare.
Sparkling
Brass wurde von Osaka
Concert Brass, einer der
führenden japanischen
Brass Bands, in Auftrag
gegeben und bei einem
Konzert zum
10-jährigen
Jubiläum
uraufgeführt. Das Werk
beginnt lebhaft mit
Fanfarenfiguren in den
tieferen Stimmen, die von
den Kornetten beantwortet
werden. Dieses
Wechselspiel wird
intensiver, bis sich die
Stimmung plötzlich
beruhigt und ein Choral
erklingt, der in eine
Duo-Kadenz für Kornett
und Euphonium mündet.
Der rhythmische Charakter
des Anfangs kehrt bald
zurück und führt
zum Hauptthema des
Werkes, einer modalen
Caccia, in der
verschiedene
Instrumentengruppen der
Brass Band hervorgehoben
werden. Eine kurze
Überleitung führt
zu einemTonartwechsel und
einem neuen
Cantabile-Thema, das von
den Euphonien und
Baritonen eingeleitet
wird. Nach einem weiteren
Tonartwechsel wird es von
der gesamten Brass Band
übernommen und
führt wieder zum
Caccia-Thema zurück.
Zum Schluss des Werkes
erklingt noch einmal eine
veränderte Version der
Eröffnungsfanfare.
Madrigalum Fanfare [Conducteur et Parties séparées] - Intermédiaire Anglo Music
Fanfare Band - Grade 4 SKU: BT.AMP-143-020 Composed by Philip Sparke. Ang...(+)
Fanfare Band - Grade 4
SKU:
BT.AMP-143-020
Composed by Philip
Sparke. Anglo Music
Midway Series. Concert
Piece. Set (Score &
Parts). Composed 2006.
Anglo Music Press #AMP
143-020. Published by
Anglo Music Press
(BT.AMP-143-020).
9x12
inches.
English-German.
The
idea behind this work was
to create an opening
piece, something to start
a concert in an unusual
way. The title is a
portmanteau word derived
from madrigal. The work
indeed begins in
Renaissance mood however
gradually tries to shake
of its modal start and,
by contrasting different
instrumental families,the
work changes into modern
clothes.Why not add a
little Renaissance
splendor to any concert
with this unique new
work?
De titel
Madrigalum is
afgeleid van de term
madrigaal - en dit
openingswerk begint
inderdaad in een
renaissancistische sfeer,
aanvankelijk met
slagwerk. Een
fanfareachtig motief,
ingezet door een
solotrompet, is gebaseerd
ophet ritmische motief
dat de aanvang van veel
zestiende-eeuwse
madrigalen kenmerkt (een
lange toon en twee korte
tonen). Maar het werk
schudt zijn modale start
van zich af: met
contrasten tussen
verschillende
instrumentgroepen
veranderthet van richting
en hult zich in een
modern jasje. Een legato
gedeelte vestigt de
aandacht op de zachter
klinkende instrumenten in
afwisseling met het
madrigaalritme - tot een
complete omschakeling
naar een sneller coda
leidt,waarmee het werk
besluit.
Dem Titel
entsprechend, beginnt
dieses Eröffnungswerk
im Renaissance-Stil in
den Schlaginstrumenten
mit einer fanfareartigen
Figur in einer
Solotrompete. Dann
entwickelt sich die Musik
jedoch hin zu moderneren
Klängen. Dann wechselt
sich ein Legato mit dem
schnelleren
Madrigalrhythmus ab,
bevor das Stück noch
einmal die Richtung
ändert und in einer
schnellen Coda endet. Ein
ungewöhnlicher, viel
versprechender Auftakt
für Ihr Konzert!
Questo brano di
apertura è insolito e
originale. Il titolo è
un acronimo derivato dal
termine madrigale, una
forma musicale apparsa
nel XVI secolo.
Madrigalum apre al
suono delle percussioni,
in uno stile
rinascimentale. La tromba
espone un motivo di
fanfara ispirato da una
figura ritmica
caratteristica di
numerosi madrigali
dell’epoca. La
struttura abbandona
progressivamente la sua
forma modale per
sviluppare un dialogo
strumentale contrastante
e contrastato che d al
brano una forma più
moderna. Un passaggio
legato evidenzia gli
strumenti dalle sonorit
più calde e si alterna
con motivi ritmici del
madrigale, prima di
imporre un cambiamento
assoluto del carattere
cheaccompagna il brano ad
un finale eclatante.
Choral SA choir, piano SKU: CF.CM9576 1. Who Robbed the Woods 2. Cool ...(+)
Choral SA choir, piano
SKU: CF.CM9576
1. Who Robbed the
Woods 2. Cool is the
Valley Now. Composed
by Paul David Thomas.
Sws. Performance Score.
16 pages. Carl Fischer
Music #CM9576. Published
by Carl Fischer Music
(CF.CM9576).
ISBN
9781491153987. UPC:
680160912483. 6.875 x
10.5 inches. Key: G
minor. English. Emily
Dickinson (1830-1886) ,
Walt Whitman
(1819-1892).
The
two pieces, Who Robbed
the Woods? and O Cool is
the Valley Now, combine
to create a set that both
explores the subtle
beauty, serenity,
fragility, and resiliency
of nature and examines
our relationship to the
natural world around us.
The first song combines a
short poem by Emily
Dickinson with a journal
entry excerpt by Walt
Whitman entitled The
Lesson of the Tree.
Only two stanzas in
length, Dickinsons poem
considers the ways in
which people use and
exploit trees for their
own purposes and asks, on
the trees behalf, who
would do such a thing?
Whitman ponders a trees
silent majesty and power
and its ability to be yet
say nothing at all. The
musical setting begins
and ends in the mode of
G-Dorian while moving
briefly in the middle
section to Bb major. The
Dorian mode, similar to
the natural minor but
with a raised sixth scale
degree, possesses a
mysterious and whimsical
sound, fitting for a poem
that considers the
possibility of talking
trees. The accents and
syncopation of the piano
accompaniment should be
carefully observed, with
particular attention paid
to the syncopation found
in gestures occurring in
mm. 712. The beginning
a cappella
section should be hushed
yet intense; a richer,
fuller sound may be
brought out in the middle
section where the key
shifts to Bb major and
the choir sings of the
many noble qualities of
trees (mm. 3953). O Cool
is the Valley Now also
makes use of a modal
scale. Set primarily in D
Mixolydian, similar to D
major but with a lowered
seventh scale degree,
this modes lack of a
leading tone gives the
melody a folk-tune
quality. The piano should
at all times remain
legato and flowing, its
ascending and descending
gestures, found in mm.
910, imitating the
rolling hills and valleys
evoked in the text. The
phrases of the vocal
lines should also be
flowing and carefully
shaped. Additional rubato
and dynamic subtleties
may be added to
accentuate any number of
the suspensions and
dissonances that occur,
especially on p.
14. The two pieces,
aWho Robbed the Woods?a
and aO Cool is the Valley
Now,a combine to create a
set that both explores
the subtle beauty,
serenity, fragility, and
resiliency of nature and
examines our relationship
to the natural world
around us. The first song
combines a short poem by
Emily Dickinson with a
journal entry excerpt by
Walt Whitman entitled
The Lesson of the
Tree. Only two
stanzas in length,
Dickinsonas poem
considers the ways in
which people use and
exploit trees for their
own purposes and asks, on
the treesa behalf, who
would do such a thing?
Whitman ponders a treeas
silent majesty and power
and its ability to be
ayet say nothing at all.a
The musical setting
begins and ends in the
mode of G-Dorian while
moving briefly in the
middle section to Bb
major. The Dorian mode,
similar to the natural
minor but with a raised
sixth scale degree,
possesses a mysterious
and whimsical sound,
fitting for a poem that
considers the possibility
of talking trees. The
accents and syncopation
of the piano
accompaniment should be
carefully observed, with
particular attention paid
to the syncopation found
in gestures occurring in
mm. 7a12. The beginning
a cappella
section should be hushed
yet intense; a richer,
fuller sound may be
brought out in the middle
section where the key
shifts to Bb major and
the choir sings of the
many noble qualities of
trees (mm. 39a53). O Cool
is the Valley NowA also
makes use of a modal
scale. Set primarily in D
Mixolydian, similar to D
major but with a lowered
seventh scale degree,
this modeas lack of a
leading tone gives the
melody a folk-tune
quality. The piano should
at all times remain
legato and flowing, its
ascending and descending
gestures, found in mm.
9a10, imitating the
rolling hills and valleys
evoked in the text. The
phrases of the vocal
lines should also be
flowing and carefully
shaped. Additional rubato
and dynamic subtleties
may be added to
accentuate any number of
the suspensions and
dissonances that occur,
especially on p.
14. The two pieces,
aWho Robbed the Woods?a
and aO Cool is the Valley
Now,a combine to create a
set that both explores
the subtle beauty,
serenity, fragility, and
resiliency of nature and
examines our relationship
to the natural world
around us. The first song
combines a short poem by
Emily Dickinson with a
journal entry excerpt by
Walt Whitman entitled
The Lesson of the
Tree. Only two
stanzas in length,
Dickinsonas poem
considers the ways in
which people use and
exploit trees for their
own purposes and asks, on
the treesa behalf, who
would do such a thing?
Whitman ponders a treeas
silent majesty and power
and its ability to be
ayet say nothing at all.a
The musical setting
begins and ends in the
mode of G-Dorian while
moving briefly in the
middle section to Bb
major. The Dorian mode,
similar to the natural
minor but with a raised
sixth scale degree,
possesses a mysterious
and whimsical sound,
fitting for a poem that
considers the possibility
of talking trees. The
accents and syncopation
of the piano
accompaniment should be
carefully observed, with
particular attention paid
to the syncopation found
in gestures occurring in
mm. 7a12. The beginning
a cappella
section should be hushed
yet intense; a richer,
fuller sound may be
brought out in the middle
section where the key
shifts to Bb major and
the choir sings of the
many noble qualities of
trees (mm. 39a53). O Cool
is the Valley NowA also
makes use of a modal
scale. Set primarily in D
Mixolydian, similar to D
major but with a lowered
seventh scale degree,
this modeas lack of a
leading tone gives the
melody a folk-tune
quality. The piano should
at all times remain
legato and flowing, its
ascending and descending
gestures, found in mm.
9a10, imitating the
rolling hills and valleys
evoked in the text. The
phrases of the vocal
lines should also be
flowing and carefully
shaped. Additional rubato
and dynamic subtleties
may be added to
accentuate any number of
the suspensions and
dissonances that occur,
especially on p.
14. The two pieces,
Who Robbed the Woods? and
O Cool is the Valley Now,
combine to create a set
that both explores the
subtle beauty, serenity,
fragility, and resiliency
of nature and examines
our relationship to the
natural world around us.
The first song combines a
short poem by Emily
Dickinson with a journal
entry excerpt by Walt
Whitman entitled The
Lesson of the Tree.
Only two stanzas in
length, Dickinson's poem
considers the ways in
which people use and
exploit trees for their
own purposes and asks, on
the trees' behalf, who
would do such a thing?
Whitman ponders a tree's
silent majesty and power
and its ability to be yet
say nothing at all. The
musical setting begins
and ends in the mode of
G-Dorian while moving
briefly in the middle
section to Bb major. The
Dorian mode, similar to
the natural minor but
with a raised sixth scale
degree, possesses a
mysterious and whimsical
sound, fitting for a poem
that considers the
possibility of talking
trees. The accents and
syncopation of the piano
accompaniment should be
carefully observed, with
particular attention paid
to the syncopation found
in gestures occurring in
mm. 7-12. The beginning
a cappella
section should be hushed
yet intense; a richer,
fuller sound may be
brought out in the middle
section where the key
shifts to Bb major and
the choir sings of the
many noble qualities of
trees (mm. 39-53). O Cool
is the Valley Now also
makes use of a modal
scale. Set primarily in D
Mixolydian, similar to D
major but with a lowered
seventh scale degree,
this mode's lack of a
leading tone gives the
melody a folk-tune
quality. The piano should
at all times remain
legato and flowing, its
ascending and descending
gestures, found in mm.
9-10, imitating the
rolling hills and valleys
evoked in the text. The
phrases of the vocal
lines should also be
flowing and carefully
shaped. Additional rubato
and dynamic subtleties
may be added to
accentuate any number of
the suspensions and
dissonances that occur,
especially on p.
14. The two pieces,
Who Robbed the Woods? and
O Cool is the Valley Now,
combine to create a set
that both explores the
subtle beauty, serenity,
fragility, and resiliency
of nature and examines
our relationship to the
natural world around us.
The first song combines a
short poem by Emily
Dickinson with a journal
entry excerpt by Walt
Whitman entitled The
Lesson of the Tree. Only
two stanzas in length,
Dickinson's poem
considers the ways in
which people use and
exploit trees for their
own purposes and asks, on
the trees' behalf, who
would do such a thing?
Whitman ponders a tree's
silent majesty and power
and its ability to be yet
say nothing at all. The
musical setting begins
and ends in the mode of
G-Dorian while moving
briefly in the middle
section to Bb major. The
Dorian mode, similar to
the natural minor but
with a raised sixth scale
degree, possesses a
mysterious and whimsical
sound, fitting for a poem
that considers the
possibility of talking
trees. The accents and
syncopation of the piano
accompaniment should be
carefully observed, with
particular attention paid
to the syncopation found
in gestures occurring in
mm. 7-12. The beginning a
cappella section should
be hushed yet intense; a
richer, fuller sound may
be brought out in the
middle section where the
key shifts to Bb major
and the choir sings of
the many noble qualities
of trees (mm. 39-53). O
Cool is the Valley Now
also makes use of a modal
scale. Set primarily in D
Mixolydian, similar to D
major but with a lowered
seventh scale degree,
this mode's lack of a
leading tone gives the
melody a folk-tune
quality. The piano should
at all times remain
legato and flowing, its
ascending and descending
gestures, found in mm.
9-10, imitating the
rolling hills and valleys
evoked in the text. The
phrases of the vocal
lines should also be
flowing and carefully
shaped. Additional rubato
and dynamic subtleties
may be added to
accentuate any number of
the suspensions and
dissonances that occur,
especially on p.
14. The two pieces,
“Who Robbed the
Woods?†and
“O Cool is the
Valley Now,â€
combine to create a set
that both explores the
subtle beauty, serenity,
fragility, and resiliency
of nature and examines
our relationship to the
natural world around
us.The first song
combines a short poem by
Emily Dickinson with a
journal entry excerpt by
Walt Whitman entitled The
Lesson of the Tree. Only
two stanzas in length,
Dickinson’s poem
considers the ways in
which people use and
exploit trees for their
own purposes and asks, on
the trees’ behalf,
who would do such a
thing? Whitman ponders a
tree’s silent
majesty and power and its
ability to be “yet
say nothing at
all.â€The musical
setting begins and ends
in the mode of G-Dorian
while moving briefly in
the middle section to Bb
major. The Dorian mode,
similar to the natural
minor but with a raised
sixth scale degree,
possesses a mysterious
and whimsical sound,
fitting for a poem that
considers the possibility
of talking trees. The
accents and syncopation
of the piano
accompaniment should be
carefully observed, with
particular attention paid
to the syncopation found
in gestures occurring in
mm. 7–12. The
beginning a cappella
section should be hushed
yet intense; a richer,
fuller sound may be
brought out in the middle
section where the key
shifts to Bb major and
the choir sings of the
many noble qualities of
trees (mm.
39–53).O Cool is
the Valley Now also
makes use of a modal
scale. Set primarily in D
Mixolydian, similar to D
major but with a lowered
seventh scale degree,
this mode’s lack
of a leading tone gives
the melody a folk-tune
quality. The piano should
at all times remain
legato and flowing, its
ascending and descending
gestures, found in mm.
9–10, imitating
the rolling hills and
valleys evoked in the
text. The phrases of the
vocal lines should also
be flowing and carefully
shaped. Additional rubato
and dynamic subtleties
may be added to
accentuate any number of
the suspensions and
dissonances that occur,
especially on p. 14.
Piano solo SKU: IG.PFS141 Composed by Daniel Burwasser. Score. Imagine Mu...(+)
Piano solo
SKU:
IG.PFS141
Composed by
Daniel Burwasser. Score.
Imagine Music Publishing
#PFS141. Published by
Imagine Music Publishing
(IG.PFS141).
9 x 12 in
inches.
Composed in
2012, these short piano
compositions are intended
for beginner through
intermediate beginner
levels. They are written
using a variety of
harmonic flavors such as
modality, diatonicism,
and free dissonance.
These pieces can be
played individually or
preferably, as a set.
Each work contains a
descriptive title
depicting a different
mood or scene. From the
first modal piece,
Strolling Along to the
wrapping notes of
Raindrops, to the intense
dissonances of Summer
Storm and The Man at The
Gate, there is something
for everyone in this fun
collection of short
pieces. The composer
would like to thank
JungEun Hong for her
editorial assistance in
preparing these pieces
for publication.
(A Comprehensive Guide to Exploring New Techniques and Styles from Heavy Metal t...(+)
(A Comprehensive Guide to
Exploring New Techniques
and Styles from Heavy
Metal to Jazz). Composed
by Raleigh Green. For
Guitar. Book; CD; Guitar
Method or Supplement;
Method/Instruction. Style
Resource Series. Funk;
Jazz; Metal; Rock. 96
pages. Published by
Alfred Music
Written by Noah Baerman. Instructional book and examples/accompaniment CD for ke...(+)
Written by Noah Baerman.
Instructional book and
examples/accompaniment CD
for keyboard. Series:
National Keyboard
Workshop Book - Approved
Curriculum. 96 pages.
Published by Alfred
Publishing.
Tuba and Piano - intermediate SKU: BT.AMP-211-401 Composed by Philip Spar...(+)
Tuba and Piano -
intermediate
SKU:
BT.AMP-211-401
Composed by Philip
Sparke. Anglo
Instrumental series. Book
Only. Composed 2009. 12
pages. Anglo Music Press
#AMP 211-401. Published
by Anglo Music Press
(BT.AMP-211-401).
ISBN
9789043137942. 9x12
inches.
Harlequin
was commissioned by, and
is dedicated to,
euphonium virtuoso David
Childs. The piece takes
as its inspiration the
happy and sad masks which
symbolise the Commedia
dell'Arte (which features
Harlequin as one of its
main characters) and
comprises two movements,
a slow modal ballad
followed by a frenetic
faster movement. A
fantastic showpiece for
any euphonium player.
De componist vond
inspiratie voor dit werk
in de vrolijke en
droevige maskers van de
Commedia dellâ??Arte,
waarvan Arlecchino
(Harlequin) een van de
belangrijkste karakters
is, en bestaat uit twee
delen: een langzame,
modale ballad,gevolgd
door een jachtig, sneller
deel. Tevens verkrijgbaar
voor euphonium en
harmonieorkest (AMP
133-010) en euphonium en
brassband (AMP
133-030).
A
Song for Susie
beginnt mit einer
schlichten walzerartigen
Melodie und führt dann
den Solisten durch
verschiedene Stimmungen
von ruhiger Sicherheit
bis zu aufgewühlter
Unsicherheit. Nach einem
zentralen Abschnitt
für den Pianisten
kehrt die Tuba mit der
ursprünglichen Melodie
zurück, die nun mit
Verzierungen ausgestaltet
ist.