| Them Basses Orchestre d'harmonie [Conducteur] - Facile C.L. Barnhouse
Grade 3 SKU: CL.026-4919-75 Composed by Huffine. Arranged by Glover. Conc...(+)
Grade 3 SKU:
CL.026-4919-75
Composed by Huffine.
Arranged by Glover.
Concert Band. Oversized,
spiral-bound score. C.L.
Barnhouse #026-4919-75.
Published by C.L.
Barnhouse
(CL.026-4919-75).
$25.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Them Basses Cloches - Intermédiaire Beckenhorst Press
Handbell - Grade 5 SKU: BP.HB633 Composed by William H. Griffin. Arranged...(+)
Handbell - Grade 5
SKU: BP.HB633
Composed by William H.
Griffin. Arranged by
William Griffin. Handbell
choir music. Octavo.
Beckenhorst Press #HB633.
Published by Beckenhorst
Press (BP.HB633).
Arranged for 5
- 7 octave handbell
choir. Level 5. Written
by Getty H. Huffine. This
tour de force is a
perfect choice for the
advanced ensemble looking
to highlight their bass
section in a challenging,
acrobatic escapade.
Constant scales and
moving lines; repeated,
fanfare-like treble
chords; and a
blisteringly-fast tempo
make this a piece not to
be undertaken lightly.
The overall effect is
well worth the effort,
however, and is sure to
delight and amaze your
audiences! $4.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Them Basses (March) [Conducteur] Carl Fischer
By G. F. Huffine. Arranged by Andrew Balent. Full Score. Published by Carl Fisch...(+)
By G. F. Huffine.
Arranged by Andrew
Balent. Full Score.
Published by Carl
Fischer.
$13.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Them Basses Fanfare [Conducteur et Parties séparées] Carl Fischer
A March for Band. By Getty Herschel Huffine. Marching band. A Fillmore Band Edit...(+)
A March for Band. By
Getty Herschel Huffine.
Marching band. A Fillmore
Band Edition. Classical.
Score and parts. 4 pages.
Published by Carl
Fischer.
$50.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Them Basses Orchestre d'harmonie [Conducteur] Carl Fischer
(March). Composed by Getty Herschel Huffine (1889-1947). Arranged by Van B. Rags...(+)
(March). Composed by
Getty Herschel Huffine
(1889-1947). Arranged by
Van B. Ragsdale. For
concert band. Symphonic
Band. Full score - large.
20 pages. Duration 2
minutes, 3 seconds.
Published by Carl Fischer
$18.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| March of the Mathemagicians Orchestre [Conducteur] - Débutant Belwin
Orchestra - Grade 1 SKU: AP.24992S Composed by Bob Phillips. Performance ...(+)
Orchestra - Grade 1
SKU: AP.24992S
Composed by Bob Phillips.
Performance Music
Ensemble; Single Titles;
String Orchestra. Belwin
Very Beginning String
Orchestra. Score. 8
pages. Belwin Music
#00-24992S. Published by
Belwin Music (AP.24992S).
UPC: 038081278834.
English. Cast a
spell up and down the
fingerboard as fingers
add and subtract. A
strong string march
rhythm provides structure
and drive as young
players practice
beginning finger
patterns! March of the
Mathemagicians can be
played by first year
players who have mastered
the D Major scale and all
notes are in first
position with no high 3s
or forward extensions.
With the exception of a
few notes on the G in the
basses, all sections use
only the D and A strings.
Each section has the
opportunity to play the
very easy melody. This
catchy, toe-tapping tune
is readily accessible for
first year players and
will be a highlight of
any concert. $6.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| March Celebration Orchestre d'harmonie [Conducteur] - Facile Anglo Music
Concert Band (Score) - Grade 3 SKU: HL.44010956 Composed by Philip Sparke...(+)
Concert Band (Score) -
Grade 3 SKU:
HL.44010956 Composed
by Philip Sparke. Anglo
Music Concert Band.
Concert. Score Only.
Composed 2010. Anglo
Music Press #AMP296.
Published by Anglo Music
Press (HL.44010956).
UPC: 884088613129.
9x12 inches.
English-German-French-Dut
ch. Philip Sparke
selected two well-known
marches from the region
around Southern Belgium
and Luxembourg as the
basis for his March
Celebration: after we
hear an original march
theme and second theme in
the bass, extracts from
the Hammelsmarsh
(Hammelmarsch) and the
spirited Marsch der
Ardennen-Jager, which
has become a kind of
unofficial national
anthem in these parts.
This festive march is
rounded off with another
appearance of Philip
Sparke's original
theme.
In March
Celebration verwerkte
de componist twee marsen
uit het Zuiden van Belgie
en Luxemburg. Na het
eerste, originele
marsthema en een tweede
‚bas'-thema, volgen
fragmenten uit de
Hammerlsmarsch en de
meeslepende Mars van de
Ardense Jagers, een mars
die bijna kan beschouwd
worden als een soort
nationaal volkslied. Deze
feestelijke mars van
Philip Sparke eindigt met
het beginthema.
Zwei
berühmte Marsche
aus dem
südbelgischen und
luxemburgischen Raum
wurden in March
Celebration
verarbeitet: Nach dem
ersten, originalen
Marschthema und einem
zweiten Bass-Thema folgen
nacheinander
Auszüge aus dem
Hammelsmarsch
(Hammelmarsch) und dem
mitreissenden Marsch
der Ardennen-Jager,
der dort schon fast eine
Art zweite Nationalhymne
ist. Mit der
Wiederaufnahme seines
originalen Themas rundet
Philip Sparke diesen
festlichen Marsch
ab.
March
Celebration reunit
deux celebres marches du
Luxembourg et du sud de
la Belgique, combinees a
un theme original signe
Philip Sparke. Apres
l'exposition du theme
original suivi d'une
ligne melodique jouee par
les basses, on percoit
des fragments de la
Hammelsmarsch
(Marche des moutons). Cet
air populaire fait partie
integrante de toutes les
fetes de village du sud
de la Belgique et du
Luxembourg. Puis vient
l'exaltante Marche du
Regiment des
Chasseurs ardennais,
devenue une sorte d'hymne
pour toute la region.
L'oeuvre se conclut sur
la reprise brillante du
theme
original.
Philip
Sparke arrangia due
celebri marce provenienti
rispettivamente della
parte meridionale del
Belgio e dal Lussemburgo.
L'apertura vede
l'esposizione di un tema
originale che anticipa
una linea melodica
eseguita dai bassi.
Seguono gli estratti
della Hammelsmarch
e della coinvolgente
Marsch der
Ardennen-Jaeger,
divenuta una sorta di
inno per l'intera
regione. Philip Sparke
conclude il brano con la
riesposizione del tema
originale. $20.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Der beleidigte Papagei Piano seul [Partition + CD] Breitkopf & Härtel
11 Miniaturen. Composed by Claus Kuhnl. Edition Breitkopf. In these eleven s...(+)
11 Miniaturen. Composed
by
Claus Kuhnl. Edition
Breitkopf.
In these eleven short
piano
pieces, the composer
follows
the cue of such
modern-day
masters as Olivier
Messiaen,
Karlheinz Stockhausen,
Helmut
Lachenmann and Nicolaus
A.
Huber.
Pedagogical. Breitkopf
and
Haertel #EB-9175.
Published
by Breitkopf and Haertel
$28.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Pop Warm-Ups and Work-Outs for Tenor/Bass [Partition + Accès audio] Hal Leonard
Book/Online Audio Choral SKU: HL.1148481 Arranged by Roger Emerson. Metho...(+)
Book/Online Audio Choral
SKU: HL.1148481
Arranged by Roger
Emerson. Methodology
Chorals. Choral
Resources, Vocal
Reference, Warm-Up.
Softcover Audio Online.
Published by Hal Leonard
(HL.1148481). ISBN
9781705185889. UPC:
196288118282.
8.5x11.0x0.203
inches. Unchanged,
changing, or changed
tenor/bass singers in
middle school and high
school may need a little
extra help in finding
their singing voices.
Roger Emerson has
developed a series of
warm-ups that uses
excerpts from classic
rock and roll tunes that
will provide the
motivation and repetition
they need to do just
that. Each song features
limited ranges, starting
moderately and gradually
ascending into the tenor
range and descending
through the bass range as
needed. The
professionally-produced
audio tracks present each
exercise with vocals so
your Tenors and Basses
have a model to emulate.
Exercies are based on the
following songs: Addams
Family Theme * Theme from
Jaws * Jump, Jive An'
Wail * Land of a Thousand
Dances * Mission:
Impossible Theme * Na Na
Hey Hey Kiss Him Goodbye
* Shake, Rattle and Roll
* Smoke on the Water * We
Will Rock You. $29.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Ode To Joy, theme from 'Symphony No. 9' Orchestre [Conducteur et Parties séparées] - Débutant Kendor Music Inc.
String Orchestra string orchestra (88555) with optional 3rd violin/viola TC (3) ...(+)
String Orchestra string
orchestra (88555) with
optional 3rd violin/viola
TC (3) and piano - Grade
1 SKU: KN.8490
Composed by Ludwig van
Beethoven. Arranged by
John Caponegro. Accent
String Orchestra. Score
and set of parts.
Duration 2 minutes.
Kendor Music Inc #8490.
Published by Kendor Music
Inc (KN.8490). UPC:
822795084900. Score
d in G and D, this
simplified version of
Beethoven's 9th Symphony
theme features dramatic
crescendos, clear bowing
indications, and some
pizzicato work for cellos
and basses. It also
assigns some lead
material to 2nd/3rd
Violins and violas, and
finishes strong with a
short ritard. A classic
frequently included in
Christmas performances.
Duration 2:00. $48.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Hal Leonard Pop Classics - Basses Partie séparée [Partie séparée] Hal Leonard
| | |
| Casting Our Crowns Down Chorale SATB SATB A Cappella [Octavo] Lorenz Publishing Company
By Larry Shackley. For SATB choir and soloist (a cappella). Ascension, Christ th...(+)
By Larry Shackley. For
SATB choir and soloist (a
cappella). Ascension,
Christ the King, General,
Lent, Transfiguration,
Sacred. Sacred Anthem.
Published by Lorenz
Publishing Company.
(10/3748L)
$2.75 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Claude Debussy: Nocturne Violon et Piano Schott
Violin & Orchestra Reduction (Piano). Composed by Claude Debussy (1862-1...(+)
Violin & Orchestra
Reduction
(Piano). Composed by
Claude
Debussy (1862-1918) and
Robert Orledge. Arranged
by
Robert Orledge. String.
Softcover. 34 pages.
Schott
Music #VLB214. Published
by
Schott Music
$26.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Concerto - Piano And Orchestra - Solo Part Schott
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). $34.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Marcho Brioso Ensemble de cuivres [Conducteur et Parties séparées] - Intermédiaire Anglo Music
Brass Band - Grade 4 SKU: BT.AMP-335-030 Composed by Philip Sparke. Cerem...(+)
Brass Band - Grade 4
SKU:
BT.AMP-335-030
Composed by Philip
Sparke. Ceremonial
Series. March. Set (Score
& Parts). Composed 2012.
Anglo Music Press #AMP
335-030. Published by
Anglo Music Press
(BT.AMP-335-030). 9x12
inches.
English-German-French-Dut
ch. Marcho
Brioso was
commissioned by The
Brioso Brass, a
British-style brass band
from Hokkaido, Japan.
They gave the first
performance in January
2012.The commission was
for a bright and breezy
march that the band could
use as their theme tune,
so Marcho Brioso
falls into the
composer’s series
of Broadway-style
marches, which includes
Slipstream, The
Bandwagon and
Jubiloso. After a
short introduction a solo
cornet plays the main
theme, accompanied by a
euphonium counter-melody.
A secondary phrase from
the horns and baritones
leads to a tutti version
of the main theme which
is followed by the
traditional
‘bass’
strain. A change of key
heralds thetrio section,
which features a
cantabile melody on
euphonium; this is then
taken up by the full band
after a short bridge
passage and further
change of key.This takes
us back to the home key
which sees a quiet
staccato version of the
main theme lead to a
recapitulation and a
short coda which brings
the march to a close.
Marcho
Brioso is geschreven
in opdracht van The
Brioso Brass, een
brassband in Britse stijl
uit Hokkaido in Japan. De
première vond plaats
in januari 2012.De
componist kreeg het
verzoek een vrolijke,
luchtige mars te
schrijven die de band als
herkenningstune zou
kunnen gebruiken.
Marcho Brioso past
daarom uitstekend in
Philip Sparke’s
serie van marsen in
Broadwaystijl - waarin
ook Slipstream,
The Bandwagon en
Jubiloso
thuishoren.
Mar
cho Brioso wurde von
The Brioso Brass,
einer britisch
geprägten Brass Band
aus Hokkaido in Japan, in
Auftrag gegeben. Das
Stück wurde von der
Band im Januar 2012
uraufgeführt.Gewüns
cht war ein heiterer,
flotter Marsch, welcher
sich als
Erkennungsmelodie der
Brass Band eignen sollte.
So fällt Marcho
Brioso in die Reihe
der Märsche des
Komponisten im
Broadway-Stil, zu denen
auch Slipstream, The
Bandwagon und
Jubiloso
zählen.Nach einer
kurzen Einleitung spielt
ein Solo-Cornet das
Hauptthema, begleitet von
einer Gegenmelodie im
Euphonium. Die
Nebenphrase in den
Hörnern und Baritonen
führen zu einer
Tutti-Version des
Hauptthemas, die
vomtraditionellen
Bass“-Solo
abgelöst wird. Ein
Tonartwechsel kündigt
den Trio-Teil an, der
eine cantabile gespielte
Melodie auf dem Euphonium
enthält; diese
wiederum wird nach einer
kurzen Ãœberleitung und
einem weiteren
Tonartwechsel von der
gesamten Band
aufgegriffen.Der letzte
Wechsel führt
zurück zur
ursprünglichen Tonart,
in welcher dann eine
Staccato-Version des
Hauptthemas eine
Rekapitulation
hervorbringt sowie eine
Coda, die den Marsch zu
seinem Ende führt.
Marcho
Brioso est une
œuvre de commande
pour le Brioso Brass, un
Brass Band de style
britannique basé
Hokkaido, au Japon. La
création mondiale de
cette pièce eut lieu
en janvier
2012.L’orchestre
souhaitant une marche
enjouée qui pourrait
lui servir
d’indicatif
musical, Marcho
Brioso
s’inscrit dans la
lignée des marches du
compositeur :
Jubiloso,
Slipstream et The
Bandwagon. Un style
« broadwayien »,
des motifs fortement
syncopés et quelques
surprenantes et
capricieuses mesures
viennent troubler le
rythme
régulièrement
cadencé de ces
marches.Après une
courte introduction, le
cornet solo joue le
thème principal,
accompagné d’un
contre-chant
l’euphonium. Un
second motif de huit
mesures exécuté par
les cors et les barytons
mène une version tutti
du thème principal.
Puis une brève section
intermédiaire est
déléguée aux
basses. Le changement de
tonalité qui
s’ensuit annonce
le trio qui contient une
mélodie cantabile
confiée
l’euphonium ; ce
trio est ensuite repris
par l’orchestre
entier après un bref
passage de transition et
un autre changement de
tonalité.Nous revenons
ensuite la tonalité de
départ pour un rappel
du thème principal en
une paisible version
staccato et une courte
coda, pour conclure cette
marche brillante et
sémillante. $75.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Marcho Brioso Ensemble de cuivres [Conducteur] - Intermédiaire Anglo Music
Brass Band - Grade 4 SKU: BT.AMP-335-130 Composed by Philip Sparke. Cerem...(+)
Brass Band - Grade 4
SKU:
BT.AMP-335-130
Composed by Philip
Sparke. Ceremonial
Series. March. Score
Only. Composed 2012. 44
pages. Anglo Music Press
#AMP 335-130. Published
by Anglo Music Press
(BT.AMP-335-130). 9x12
inches.
English-German-French-Dut
ch. Marcho
Brioso was
commissioned by The
Brioso Brass, a
British-style brass band
from Hokkaido, Japan.
They gave the first
performance in January
2012.The commission was
for a bright and breezy
march that the band could
use as their theme tune,
so Marcho Brioso
falls into the
composer’s series
of Broadway-style
marches, which includes
Slipstream, The
Bandwagon and
Jubiloso. After a
short introduction a solo
cornet plays the main
theme, accompanied by a
euphonium counter-melody.
A secondary phrase from
the horns and baritones
leads to a tutti version
of the main theme which
is followed by the
traditional
‘bass’
strain. A change of key
heralds the triosection,
which features a
cantabile melody on
euphonium; this is then
taken up by the full band
after a short bridge
passage and further
change of key.This takes
us back to the home key
which sees a quiet
staccato version of the
main theme lead to a
recapitulation and a
short coda which brings
the march to a close.
Marcho
Brioso is geschreven
in opdracht van The
Brioso Brass, een
brassband in Britse stijl
uit Hokkaido in Japan. De
première vond plaats
in januari 2012.De
componist kreeg het
verzoek een vrolijke,
luchtige mars te
schrijven die de band als
herkenningstune zou
kunnen gebruiken.
Marcho Brioso past
daarom uitstekend in
Philip Sparke’s
serie van marsen in
Broadwaystijl - waarin
ook Slipstream,
The Bandwagon en
Jubiloso
thuishoren.
Mar
cho Brioso wurde von
The Brioso Brass,
einer britisch
geprägten Brass Band
aus Hokkaido in Japan, in
Auftrag gegeben. Das
Stück wurde von der
Band im Januar 2012
uraufgeführt.Gewüns
cht war ein heiterer,
flotter Marsch, welcher
sich als
Erkennungsmelodie der
Brass Band eignen sollte.
So fällt Marcho
Brioso in die Reihe
der Märsche des
Komponisten im
Broadway-Stil, zu denen
auch Slipstream, The
Bandwagon und
Jubiloso
zählen.Nach einer
kurzen Einleitung spielt
ein Solo-Cornet das
Hauptthema, begleitet von
einer Gegenmelodie im
Euphonium. Die
Nebenphrase in den
Hörnern und Baritonen
führen zu einer
Tutti-Version des
Hauptthemas, die
vomtraditionellen
Bass“-Solo
abgelöst wird. Ein
Tonartwechsel kündigt
den Trio-Teil an, der
eine cantabile gespielte
Melodie auf dem Euphonium
enthält; diese
wiederum wird nach einer
kurzen Ãœberleitung und
einem weiteren
Tonartwechsel von der
gesamten Band
aufgegriffen.Der letzte
Wechsel führt
zurück zur
ursprünglichen Tonart,
in welcher dann eine
Staccato-Version des
Hauptthemas eine
Rekapitulation
hervorbringt sowie eine
Coda, die den Marsch zu
seinem Ende führt.
Marcho
Brioso est une
œuvre de commande
pour le Brioso Brass, un
Brass Band de style
britannique basé
Hokkaido, au Japon. La
création mondiale de
cette pièce eut lieu
en janvier
2012.L’orchestre
souhaitant une marche
enjouée qui pourrait
lui servir
d’indicatif
musical, Marcho
Brioso
s’inscrit dans la
lignée des marches du
compositeur :
Jubiloso,
Slipstream et The
Bandwagon. Un style
« broadwayien »,
des motifs fortement
syncopés et quelques
surprenantes et
capricieuses mesures
viennent troubler le
rythme
régulièrement
cadencé de ces
marches.Après une
courte introduction, le
cornet solo joue le
thème principal,
accompagné d’un
contre-chant
l’euphonium. Un
second motif de huit
mesures exécuté par
les cors et les barytons
mène une version tutti
du thème principal.
Puis une brève section
intermédiaire est
déléguée aux
basses. Le changement de
tonalité qui
s’ensuit annonce
le trio qui contient une
mélodie cantabile
confiée
l’euphonium ; ce
trio est ensuite repris
par l’orchestre
entier après un bref
passage de transition et
un autre changement de
tonalité.Nous revenons
ensuite la tonalité de
départ pour un rappel
du thème principal en
une paisible version
staccato et une courte
coda, pour conclure cette
marche brillante et
sémillante. $22.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Dotonbori Dash Orchestre à Cordes [Conducteur et Parties séparées] - Facile Carl Fischer
By Alan Lee Silva. For string orchestra. Carl Fischer Concert String Orchestra S...(+)
By Alan Lee Silva. For
string orchestra. Carl
Fischer Concert String
Orchestra Series. Grade 3
and up. Score and parts.
Published by Carl Fischer
$60.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Where The Boys Are Chorale [DVD] Hal Leonard
| | |
| Symphony in G major Hob. I:88 Orchestre [Conducteur] Barenreiter
Orchestra (Fl, 2 Ob, 2 bassoon, 2 Hn, 2 Trp, timpani, 2 V, Va, double bass, Vc) ...(+)
Orchestra (Fl, 2 Ob, 2
bassoon, 2 Hn, 2 Trp,
timpani, 2 V, Va, double
bass, Vc) SKU:
BA.BA10980 Composed
by Franz Joseph Haydn.
Edited by Andreas
Friesenhagen. This
edition: urtext edition.
Stapled. Score. Hob.
I:88. Duration 23
minutes. Baerenreiter
Verlag #BA10980_00.
Published by Baerenreiter
Verlag (BA.BA10980).
ISBN 9790006562831. 31
x 24.3 cm inches. Key: G
major. Text Language:
German, English. Preface:
Andreas
Friesenhagen. This
edition clarifies a
performance aspect of
Haydn’s Symphony
in G major that has long
been misunderstood: in m.
1 of the second movement
(Largo) the viola,
violoncello and several
wind instrument parts are
marked
“soloâ€,
indicating that they play
important motifs or
themes and ought to stand
out. Contrary to
other editions, the
“soloâ€
marking in the
violoncello should not be
construed as indicating a
solo instrument with the
remaining cellos doubling
the basses. Rather, the
cellos should play as a
section so as to stand
out all the more
clearly.
Continuin
g the collaboration
between Bärenreiter
and the Henle publishing
company in large-scale
choral works, operas and
symphonies, this edition
is based on the Henle
Complete Edition of the
“Works of Joseph
Haydnâ€. The
complete performance
material for several
“Sturm und
Drang†symphonies
and all of the London and
Paris symphonies is now
available from
Bärenreiter.
About
Barenreiter
Urtext
What can I
expect from a Barenreiter
Urtext
edition?<
/p> MUSICOLOGICA
LLY SOUND - A
reliable musical text
based on all available
sources - A
description of the
sources -
Information on the
genesis and history of
the work - Valuable
notes on performance
practice - Includes
an introduction with
critical commentary
explaining source
discrepancies and
editorial decisions
... AND
PRACTICAL -
Page-turns, fold-out
pages, and cues where you
need them - A
well-presented layout and
a user-friendly
format - Excellent
print quality -
Superior paper and
binding
$53.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Silva Caledonia Schott
Double Bass Ensemble (Score) SKU: HL.49044638 Arranged for Double Bass...(+)
Double Bass Ensemble
(Score) SKU:
HL.49044638
Arranged for Double
Bass Choir. Composed
by Gavin Bryars. This
edition: Saddle
stitching. Sheet music.
String Ensemble.
Classical, Contemporary.
Softcover. Composed 2006.
8 pages. Duration 6'.
Schott Music #ED 13789.
Published by Schott Music
(HL.49044638). ISBN
9790220135835. UPC:
841886025554.
9.25x12.0x0.069
inches. This is a
special arrangement for
double bass choir of the
choral piece Silva
Caledonia, written for
the Estonian National
Male Choir, which sets a
text by the Scottish poet
Edwin Morgan. It was
first performed by them
in April 2006. The double
bass version was written
for the large group of
basses, 22 for the first
performance, at Basses
Loaded, the annual
concert from Gary Karr's
summer school in Victoria
BC. Gavin BryarsBoth solo
and orchestral tuning are
included with each
individual instrumental
part. $12.99 - Voir plus => Acheter | | |
| Silva Caledonia Arr. Double Bass Choir Double Bass 7-8 Part, Two Copies Needed Schott
Double bass ensemble (minimum 8 players) SKU: HL.49044645 Arranged for...(+)
Double bass ensemble
(minimum 8 players)
SKU: HL.49044645
Arranged for double
bass choir. Composed
by Gavin Bryars. This
edition: Saddle
stitching. Sheet music.
String Ensemble.
Softcover. Composed 2006.
4 pages. Duration 6'.
Schott Music #ED13789-07.
Published by Schott Music
(HL.49044645). ISBN
9790220135903. UPC:
841886025622. This
is a special arrangement
for double bass choir of
the choral piece Silva
Caledonia, written for
the Estonian National
Male Choir, which sets a
text by the Scottish poet
Edwin Morgan. It was
first performed by them
in April 2006. The double
bass version was written
for the large group of
basses, 22 for the first
performance, at Basses
Loaded, the annual
concert from Gary Karr's
summer school in Victoria
BC. Gavin BryarsBoth solo
and orchestral tuning are
included with each
individual instrumental
part. $4.99 - Voir plus => Acheter | | |
| Silva Caledonia Arr. Double Bass Choir (min. 8 Players), Double Bass 3 Part Schott
Double bass ensemble (minimum 8 players) SKU: HL.49044641 Arranged for...(+)
Double bass ensemble
(minimum 8 players)
SKU: HL.49044641
Arranged for double
bass choir. Composed
by Gavin Bryars. This
edition: Saddle
stitching. Sheet music.
String Ensemble.
Softcover. Composed 2006.
4 pages. Duration 6'.
Schott Music #ED13789-03.
Published by Schott Music
(HL.49044641). ISBN
9790220135866. UPC:
841886025585. This
is a special arrangement
for double bass choir of
the choral piece Silva
Caledonia, written for
the Estonian National
Male Choir, which sets a
text by the Scottish poet
Edwin Morgan. It was
first performed by them
in April 2006. The double
bass version was written
for the large group of
basses, 22 for the first
performance, at Basses
Loaded, the annual
concert from Gary Karr's
summer school in Victoria
BC. Gavin BryarsBoth solo
and orchestral tuning are
included with each
individual instrumental
part. $4.99 - Voir plus => Acheter | | |
| Silva Caledonia Arr. Double Bass Choir (min. 8 Players) Double Bass 5 Part Schott
Double bass ensemble (minimum 8 players) SKU: HL.49044643 Arranged for...(+)
Double bass ensemble
(minimum 8 players)
SKU: HL.49044643
Arranged for double
bass choir. Composed
by Gavin Bryars. This
edition: Saddle
stitching. Sheet music.
String Ensemble.
Softcover. Composed 2006.
4 pages. Duration 6'.
Schott Music #ED13789-05.
Published by Schott Music
(HL.49044643). ISBN
9790220135880. UPC:
841886025608. This
is a special arrangement
for double bass choir of
the choral piece Silva
Caledonia, written for
the Estonian National
Male Choir, which sets a
text by the Scottish poet
Edwin Morgan. It was
first performed by them
in April 2006. The double
bass version was written
for the large group of
basses, 22 for the first
performance, at Basses
Loaded, the annual
concert from Gary Karr's
summer school in Victoria
BC. Gavin BryarsBoth solo
and orchestral tuning are
included with each
individual instrumental
part. $4.99 - Voir plus => Acheter | | |
| Legacy Orchestre à Cordes [Conducteur et Parties séparées] - Débutant Carl Fischer
By Sean O'Loughlin. For string orchestra. Carl Fischer First Plus String Orchest...(+)
By Sean O'Loughlin. For
string orchestra. Carl
Fischer First Plus String
Orchestra Series. Grade
1.5-2. Score and parts.
Published by Carl Fischer
$53.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Silva Caledonia Arr. Double Bass Choir (min. 8 Players) Double Bass 6 Part Schott
Double bass ensemble (minimum 8 players) SKU: HL.49044644 Arranged for...(+)
Double bass ensemble
(minimum 8 players)
SKU: HL.49044644
Arranged for double
bass choir. Composed
by Gavin Bryars. This
edition: Saddle
stitching. Sheet music.
String Ensemble.
Softcover. Composed 2006.
4 pages. Duration 6'.
Schott Music #ED13789-06.
Published by Schott Music
(HL.49044644). ISBN
9790220135897. UPC:
841886025615. This
is a special arrangement
for double bass choir of
the choral piece Silva
Caledonia, written for
the Estonian National
Male Choir, which sets a
text by the Scottish poet
Edwin Morgan. It was
first performed by them
in April 2006. The double
bass version was written
for the large group of
basses, 22 for the first
performance, at Basses
Loaded, the annual
concert from Gary Karr's
summer school in Victoria
BC. Gavin BryarsBoth solo
and orchestral tuning are
included with each
individual instrumental
part. $4.99 - Voir plus => Acheter | | |
| Silva Caledonia Arr. For Double Bass Choir (min. 8 Players), Double Bass 1 Part Schott
Double bass ensemble (minimum 8 players) SKU: HL.49044639 Arranged for...(+)
Double bass ensemble
(minimum 8 players)
SKU: HL.49044639
Arranged for double
bass choir. Composed
by Gavin Bryars. This
edition: Saddle
stitching. Sheet music.
String Ensemble.
Softcover. Composed 2006.
4 pages. Duration 6'.
Schott Music #ED13789-01.
Published by Schott Music
(HL.49044639). ISBN
9790220135842. UPC:
841886025561. This
is a special arrangement
for double bass choir of
the choral piece Silva
Caledonia, written for
the Estonian National
Male Choir, which sets a
text by the Scottish poet
Edwin Morgan. It was
first performed by them
in April 2006. The double
bass version was written
for the large group of
basses, 22 for the first
performance, at Basses
Loaded, the annual
concert from Gary Karr's
summer school in Victoria
BC. Gavin BryarsBoth solo
and orchestral tuning are
included with each
individual instrumental
part. $4.99 - Voir plus => Acheter | | |
| Silva Caledonia Arr. Double Bass Choir (min. 8 Players), Double Bass 2 Part Schott
Double bass ensemble (minimum 8 players) SKU: HL.49044640 Arranged for...(+)
Double bass ensemble
(minimum 8 players)
SKU: HL.49044640
Arranged for double
bass choir. Composed
by Gavin Bryars. This
edition: Saddle
stitching. Sheet music.
String Ensemble.
Softcover. Composed 2006.
4 pages. Duration 6'.
Schott Music #ED13789-02.
Published by Schott Music
(HL.49044640). ISBN
9790220135859. UPC:
841886025578. This
is a special arrangement
for double bass choir of
the choral piece Silva
Caledonia, written for
the Estonian National
Male Choir, which sets a
text by the Scottish poet
Edwin Morgan. It was
first performed by them
in April 2006. The double
bass version was written
for the large group of
basses, 22 for the first
performance, at Basses
Loaded, the annual
concert from Gary Karr's
summer school in Victoria
BC. Gavin BryarsBoth solo
and orchestral tuning are
included with each
individual instrumental
part. $4.99 - Voir plus => Acheter | | |
1 31 Page suivante 61 91 ... 151 |