(Over 850 Classical Themes and Melodies in the Original Keys) For C instrument. ...(+)
(Over 850 Classical
Themes and Melodies in
the Original Keys) For C
instrument. Format:
fakebook (spiral bound).
With vocal melody
(excerpts) and chord
names. Lassical. Series:
Hal Leonard Fake Books.
646 pages. 9x12 inches.
Published by Hal Leonard.
Orchestra - Piano Reduction. By Wolfgang Amadeus Mozart. Edited by Henrik Wiese....(+)
Orchestra - Piano
Reduction. By Wolfgang
Amadeus Mozart. Edited by
Henrik Wiese. Piano
reduction by Jan Philip
Schulze. Cadenza by
Robert Levin. Flute.
Pages: Score: III and 6 *
Fl Part: 4. Piano
Reduction-paper bound.
Published by G. Henle.
Flûte traversière et Piano [Partie séparée] - Intermédiaire Boosey and Hawkes
Composed by Aaron Copland (1900-1990). For flute and keyboard. Format: piano/flu...(+)
Composed by Aaron Copland
(1900-1990). For flute
and keyboard. Format:
piano/flute book
(includes seperate pull
out performance part for
flute). With introductory
text. 20th century. 29
pages. 9x12 inches.
Published by Boosey and
Hawkes.
Orchestra - all SKU: PR.816600040 Composed by Wolfgang Amadeus Mozart. CD...(+)
Orchestra - all
SKU:
PR.816600040
Composed
by Wolfgang Amadeus
Mozart. CD Sheet Music
(Version 1). Full Scores
to all of the major works
for orchestra by Mozart -
parts not included.
Classical Period. CD
Sheet Music. 2000
printable pages.
Published by Theodore
Presser Company
(PR.816600040).
UPC:
680160600045. 5.5x5
inches.
This disk
contains study scores of
all 41 of Mozart's
Symphonies, as well as
Concertos for Winds and
Strings (Piano Concertos
are on a companion
CD-ROM), Serenades, Opera
Overtures, Divertimentos,
and other works.
About CD Sheet
Music (Version
1)
CD
Sheet Music (Version 1)
was the initial CD Sheet
Music series distributed
by Theodore Presser. The
CDs include thousands of
pages of music that are
viewable and printable on
Mac or PC. Version 1
titles are a great value
at 40% off, as we make
room in our warehouse for
the newly enhanced CD
Sheet Music (Version 2.0)
series.
For Flute and Orchestra - Piano Reduction. By Wolfgang Amadeus Mozart. Edited by...(+)
For Flute and Orchestra -
Piano Reduction. By
Wolfgang Amadeus Mozart.
Edited by Andras Adorjan.
Piano reduction by
Siegfried Petrenz.
Cadenza by Robert Levin.
Flute. Pages: Score = IV
and 34 * Fl Part =16.
Piano Reduction-paper
bound. Published by G.
Henle.
For Flute and Orchestra - Piano Reduction. By Wolfgang Amadeus Mozart. Edited by...(+)
For Flute and Orchestra -
Piano Reduction. By
Wolfgang Amadeus Mozart.
Edited by Andras Adorjan.
Piano reduction by
Siegfried Petrenz.
Cadenza by Robert Levin.
Flute. Pages: Score = IV
and 28 * Fl Part =17.
Piano Reduction-paper
bound. Published by G.
Henle.
Composed by John Ireland.
Band Music. Score and
parts. Duration 10:30.
Published by G & M Brand
Music Publishers
(CN.R10004).
A
slow introduction gives
way to the chirpy theme
which is developed,
inverted, and accents
displaced across the bar
line to give a 3/2 feel
against the written
meter. Restlessness leads
to a tranquillo presented
by the flute and
clarinet, weaving a
flowing counterpoint
around the melody until
the original slow
introduction returns. A
triumphant recapitulation
of the main theme brings
this wonderful piece to
an end.
Originally
composed for Brass Band
in 1934 Comedy Overture
is, despite its name, a
serious piece of writing.
The term Overture does
not imply that there is
anything else to follow;
it is used in the 19th
century sense of Concert
Overture (like
Mendelssohn's Fingal's
Cave - in other words, a
miniature Tone Poem). The
1930's was a period of
Ireland's mature writing
- yielding the Piano
Concerto (1930), the
Legend for piano and
orchestra (1933), and the
choral work These Things
Shall Be (1936-1937). We
are fortunate therefore
to have both Comedy
Overture and A Downland
Suite (1932) written for
band medium at this time.
As with Maritime Overture
(written in 1944 for
military band) Ireland
approaches his material
symphonically. The
opening three notes state
immediately the two
seminal intervals of a
semitone and a third.
These are brooding and
dark in Bb minor. It is
these intervals which
make up much of the
thematic content of
Comedy, sometimes
appearing in inverted
form, and sometimes in
major forms as well. The
concept that some musical
intervals are consonant ,
some dissonant, and some
perfect is perhaps useful
in understanding the
nature of the tension and
resolution of this work.
The third is inherently
unstable, and by bar 4,
the interval is expanded
to a fourth - with an
ascending sem-quaver
triplet - and then
expanded to a fifth. The
instability of the third
pushes it towards a
perfect resolution in the
fourth or the fifth. The
slow introduction is
built entirely around
these intervals in Bb
minor and leads through
an oboe cadenza, to an
Allegro moderato
brillante in Bb major.
Once again, the semi-tone
(inverted) and a third
(major) comprise the
main, chirpy,
theme-inspired by a
London bus-conductor's
cry of Piccadilly. (Much
of the material in Comedy
was re-conceived by
Ireland for orchestra and
published two years later
under the title A London
Overture.) The expansion
of the interval of a
third through a fourth,
fifth, sixth, and seventh
now takes place quickly
before our very ears at
the outset of this
quicker section.
Immediately the theme is
developed, inverted, and
accents displaced across
the bar line to give a
3/2 feel against the
written meter. But this
restlessness leads to a
tranquillo built around
an arpeggio figure and
presented by flute and
clarinet. Ireland weaves
his flowing counterpoint
around this melody until
the original slow
introduction returns
leading to a stretto
effect as the rising bass
motifs become more
urgent, requesting a
resolution of the tension
of that original semitone
and minor third. Yet
resolution is withheld at
this point as the music
becomes almost becalmed
in a further, unrelated
tranquillo section marked
pianissimo. It is almost
as if another side of
Ireland's nature is
briefly allowed to shine
through the stern
counterpoint and
disciplined structure.
This leads to virtually a
full recapitulation of
the chirpy brilliante,
with small additional
touches of counterpoint,
followed by the first
tranquillo section-this
time in the tonic of Bb
major. But the
instability of the third
re-asserts itself, this
time demanding a
resolution. And a
triumphant resolution it
receives, for it finally
becomes fully fledged and
reiterates the octave in
a closing vivace. The
opening tension has at
last resolved itself into
the most perfect interval
of all.
Concerto for Flute Flûte traversière et Piano [Reduction] Lauren Keiser Music Publishing
Flute/Piano Reduction. Composed by Igor Shcherbakov. LKM Music. Classical. So...(+)
Flute/Piano Reduction.
Composed by Igor
Shcherbakov.
LKM Music. Classical.
Softcover. Lauren Keiser
Music Publishing
#X111022.
Published by Lauren
Keiser
Music Publishing
Flute, Piano SKU: HU.HN674 Composed by Wolfgang Amadeus Mozart. Edited by Andra...(+)
Flute, Piano
SKU: HU.HN674
Composed by Wolfgang
Amadeus Mozart. Edited by
Andras Adorjan. Woodwind,
Repertoire, Solos.
Concerto for Flute and
Orchestra D major K. 314.
Classical. Softcover
Book. 49 pages. G. Henle
#HN674. Published by G.
Henle (HU.HN674).
12.2 x 9.3 x 0.2 inches.
Composed by
Philip Sparke. Arranged
by Geoffrey Brand. Band
Music. Score only.
Duration 14:00. Published
by G & M Brand Music
Publishers (CN.S11175).
From majestic
to pastoral to
dance-like, Land of the
Long White Cloud is
Philip Sparke's
representation of New
Zealand. This piece is a
wonderful addition to the
concert band
repetoire.
Long
before Europeans ventured
out of sight of land, the
bold and restless
ancestors of the Maori
people were making
voyages of thousands of
miles across the world's
greatest oceans. It was
around 1000 AD that they
landed in New Zealand.
The discovery of New
Zealand is attributed in
Maori tradition to Kupe
and the circumstances of
the landfall gave the
country its Maori name.
As land was approached, a
long, flat volcanic cloud
could be seen. Kupe's
wife Hine-te-aparangi,
looked to the horizon and
cried out, He ao! He ao!
A cloud! A cloud! The
name of Aotearoa was
given to the islands -
The Land of the Long
White Cloud. Land of the
Long White Cloud was
originally conceived as a
brass band work as a
result of a commission by
the New Zealand Brass
Band Association for
their National
Championships held in
1980 in Christchurch.
This transcription by the
composer was commissioned
by Keith Allen and
Birmingham Schools' Wind
Orchestra who gave the
first performance in the
Adrian Boult Hall,
Birmingham, England on
Sunday 15 May 1988.
Flute and Piano. By Wolfgang Amadeus Mozart. Arranged by Max Wolff. (Flute). Bo...(+)
Flute and Piano. By
Wolfgang Amadeus Mozart.
Arranged by Max Wolff.
(Flute). Boosey and
Hawkes Chamber Music.
Size 9x12 inches. 12
pages. Published by
Boosey & Hawkes.
This item will ship directly from our Australia warehouse! Flute, Piano SKU: HU....(+)
This item will ship
directly from our
Australia warehouse!
Flute, Piano
SKU: HU.HN673
Composed by Wolfgang
Amadeus Mozart. Edited by
Andras Adorjan. Woodwind,
Repertoire, Solos.
Concerto for Flute and
Orchestra G major K. 313.
Softcover Book. 54 pages.
G. Henle #HN673.
Published by G. Henle
(HU.HN673).
Flute and Orchestra SKU: HL.14021039 Composed by Sir Peter Maxwell Davies...(+)
Flute and Orchestra
SKU: HL.14021039
Composed by Sir Peter
Maxwell Davies. Music
Sales America. Classical.
Book [Softcover].
Composed 2005. 52 pages.
Chester Music #CH61596.
Published by Chester
Music (HL.14021039).
ISBN 9781844493425.
5.5x7.5x0.214
inches.
A dreamlike
and evocative work from
Peter Maxwell Davies for
flute and orchestra. The
piece captures the wonder
and sanctuary of the
composer's home,
surrounded by seabirds
and seals that fire the
imagination in childlike
ways, evoking images of
mermaids and angels.
Descriptive and inventive
orchestral colours
support and illuminate
the flute solo material
that is both tranquil and
highly virtuosic. The
piece was first performed
in May 1999 at the Royal
Concert Hall, Dublin.
Flute and Piano (Flute) SKU: HL.14004155 Composed by Lennox Berkeley. Mus...(+)
Flute and Piano (Flute)
SKU: HL.14004155
Composed by Lennox
Berkeley. Music Sales
America. Classical. Book
[Softcover]. Composed
2002. 48 pages. Chester
Music #CH01591. Published
by Chester Music
(HL.14004155).
Op. 44, No. 11 RV 443 - for Flautino (Recorder, Flute) and Orchestr - Piano Redu...(+)
Op. 44, No. 11 RV 443 -
for Flautino (Recorder,
Flute) and Orchestr -
Piano Reducton. By
Antonio Vivaldi. Edited
by H, Wiese. Flute.
Pages: Score = IV and 14
* Flautino Part = 6.
Piano Reduction-paper
bound. Published by G.
Henle.
Music Minus One Flute. Composed by Carl Reinecke (1824-1910). Music Minus One. C...(+)
Music Minus One Flute.
Composed by Carl Reinecke
(1824-1910). Music Minus
One. Classical. Softcover
Audio Online. 24 pages.
Music Minus One #MMO3368.
Published by Music Minus
One
Flute Concerto Flûte traversière et Piano Boosey and Hawkes
(Flute and Orchestra Flute and Piano Reduction Archive Edition). Composed by Ned...(+)
(Flute and Orchestra
Flute and Piano Reduction
Archive Edition).
Composed by Ned Rorem
(1923-). For Flute, Piano
Accompaniment. Boosey and
Hawkes Chamber Music. 60
pages. Boosey and Hawkes
#M051107117. Published by
Boosey and Hawkes
Music Minus One Flute. Composed by Antonio Vivaldi (1678-1741). Music Minus One....(+)
Music Minus One Flute.
Composed by Antonio
Vivaldi (1678-1741).
Music Minus One.
Classical. Softcover
Audio Online. 20 pages.
Music Minus One #MMO3314.
Published by Music Minus
One
Ollie and Me Flûte traversière et Piano [Reduction] Theodore Presser Co.
For Flute and Piano. Composed by Gary Schocker. Solo part with piano redu...(+)
For Flute and
Piano. Composed by
Gary Schocker. Solo part
with piano reduction.
With Standard notation.
10 pages. Duration 4
minutes. Theodore Presser
Company #114-41363.
Published by Theodore
Presser Company
(PR.114413630).
11 Duets for Flute 2 Flûtes traversières (duo) [Partition + CD] - Intermédiaire Mel Bay
For 2 Flutes or Clarinet and Flute. Composed by Matthias Petzold. Clarinet, ...(+)
For 2 Flutes or Clarinet
and
Flute. Composed by
Matthias
Petzold. Clarinet, Flute,
Fife and Oboe, Music
Styles and
Regions, Classical, Jazz,
Solos and Duets. Book and
Insert with CD. 52 pages.
Published by Mel Bay
Publications, Inc
Composed by
Stuart Johnson. Band
Music. Score and parts.
Duration 6:00. Published
by G & M Brand Music
Publishers (CN.R10103).
Before the days
of photography, the great
state occasions were
captured in paintings and
tapestries. In this
Suite, the composer has
imagined the pomp and
splendor of the English
court at work and play,
capturing each mood in a
short
movement.
Stuart
Johnson has the fine
ability to capture moods
and scenes in music. He
was born in
Staffordshire, the county
for which he was Director
of Music until his
retirement in 1997. After
experience as a player in
brass bands, he served in
the band of the King's
Dragoon Guards before
training as a teacher and
working in schools.
Following a period as a
lecturer at
Northumberland College of
Education he became Music
Adviser to the
Metropolitan District of
Sandwell prior to his
appointment to
Staffordshire. He has
long experience as a
conductor, particularly
in the choral and band
fields and also wide
experience as an
adjudicator and examiner.
He has written
prolifically for bands
and orchestras and his
didactic publications are
used in many countries.
He has over eighty
published compositions
and arrangements, many of
which have been broadcast
on radio or television.
His commissioned works
include the cantata David
and Goliath which was
first performed at the
Royal Festival Hall,
Oregon Overture for wind
orchestra, Landscapes,
Sinfonietta No 2, Wessex
Dances and A Castle
Suite. Stuart Johnson has
recently completed
several commissions,
funded by National
Lottery grants, for bands
in Cumbria, the Isle of
Wight, and Staffordshire.
Requiem for Soprano,
Chorus and Orchestra, was
premiered successfully in
front of a capacity
audience in Lichfield
Cathedral in March 1997,
and received its first
London performance at St.
John's Smith Square in
March 1998. This
prestigious venue also
saw the first performance
of Songs and Sonnets for
unaccompanied mixed choir
in 2001. Stuart Johnson
has written extensively
for the theatre, his
music for the production
of Anna of the Five Towns
was used for both the
radio and television
adaptations His music
ranges in style from the
evocative and demanding
Sinfonietta for Wind
Orchestra, which has
received many
performances since its
premiere in the Royal
Festival Hall, including
a broadcast by the Band
of the Scots Guards, to
his ubiquitous Bandstand
Boogie which has set feet
tapping all over the
world. Apart from the
latter his most performed
work is probably Circus
Suite which was the
British Youth Band
Championship test piece
in 1980. Northumbrian
Suite and Landscapes have
also been used as
National Brass Band
Championship test pieces.
The Flint Knappers
commissioned as a test
piece for the 1998 East
Anglian Band Festival was
selected as a test piece
for the 1999 Australian
Championships. Before the
days of photography, the
great state occasions
were captured in
paintings and tapestries.
In this Suite, the
composer has imagined the
pomp and splendor of the
English court at work and
play, capturing each mood
in a short movement.
Composed by
Stuart Johnson. Band
Music. Score only.
Duration 6:00. Published
by G & M Brand Music
Publishers (CN.S11103).
Before the days
of photography, the great
state occasions were
captured in paintings and
tapestries. In this
Suite, the composer has
imagined the pomp and
splendor of the English
court at work and play,
capturing each mood in a
short
movement.
Stuart
Johnson has the fine
ability to capture moods
and scenes in music. He
was born in
Staffordshire, the county
for which he was Director
of Music until his
retirement in 1997. After
experience as a player in
brass bands, he served in
the band of the King's
Dragoon Guards before
training as a teacher and
working in schools.
Following a period as a
lecturer at
Northumberland College of
Education he became Music
Adviser to the
Metropolitan District of
Sandwell prior to his
appointment to
Staffordshire. He has
long experience as a
conductor, particularly
in the choral and band
fields and also wide
experience as an
adjudicator and examiner.
He has written
prolifically for bands
and orchestras and his
didactic publications are
used in many countries.
He has over eighty
published compositions
and arrangements, many of
which have been broadcast
on radio or television.
His commissioned works
include the cantata David
and Goliath which was
first performed at the
Royal Festival Hall,
Oregon Overture for wind
orchestra, Landscapes,
Sinfonietta No 2, Wessex
Dances and A Castle
Suite. Stuart Johnson has
recently completed
several commissions,
funded by National
Lottery grants, for bands
in Cumbria, the Isle of
Wight, and Staffordshire.
Requiem for Soprano,
Chorus and Orchestra, was
premiered successfully in
front of a capacity
audience in Lichfield
Cathedral in March 1997,
and received its first
London performance at St.
John's Smith Square in
March 1998. This
prestigious venue also
saw the first performance
of Songs and Sonnets for
unaccompanied mixed choir
in 2001. Stuart Johnson
has written extensively
for the theatre, his
music for the production
of Anna of the Five Towns
was used for both the
radio and television
adaptations His music
ranges in style from the
evocative and demanding
Sinfonietta for Wind
Orchestra, which has
received many
performances since its
premiere in the Royal
Festival Hall, including
a broadcast by the Band
of the Scots Guards, to
his ubiquitous Bandstand
Boogie which has set feet
tapping all over the
world. Apart from the
latter his most performed
work is probably Circus
Suite which was the
British Youth Band
Championship test piece
in 1980. Northumbrian
Suite and Landscapes have
also been used as
National Brass Band
Championship test pieces.
The Flint Knappers
commissioned as a test
piece for the 1998 East
Anglian Band Festival was
selected as a test piece
for the 1999 Australian
Championships. Before the
days of photography, the
great state occasions
were captured in
paintings and tapestries.
In this Suite, the
composer has imagined the
pomp and splendor of the
English court at work and
play, capturing each mood
in a short movement.