Composed
by O'neill. This edition:
Paperback/Soft Cover.
Sheet music with CD.
Edition Schott. Die
Jazzmethode fur
Klarinette zeigt
Anfangern aller
Altersstufen den Weg vom
ersten Ton bis zu
klassischen Themen. Mit
einer schrittweisen
Einfuhrung und speziell
fur diese Schule
geschriebenen Stucken
werden die grundlegenden
Elemente einer soliden
Klar. German Edition,
Method. Edition with CD.
96 pages. Schott Music
#ED 8808. Published by
Schott Music
(HL.49032791).
ISBN
9783795753726. German.
John Minnion.
Die
Jazzmethode fur
Klarinette eroffnet
Neueinsteigern das
reichhaltige und
aufregende Repertoire des
Jazz, in welchem die
Klarinette eine
bedeutende Rolle spielt.
Sie zeigt Anfangern aller
Altersstufen den Weg vom
ersten Ton bis hin zu
Stucken von Legenden des
Jazz und fuhrenden
Jazzmusikern unserer
Zeit. Mit einer
schrittweisen Einfuhrung
und speziell fur diese
Schule geschriebenen
Stucken werden die
grundlegenden Elemente
einer soliden
Klarinettentechnik --
Atemkontrolle,
Tonbildung, Ansatz und
Griffe -- zusammen mit
den rhythmischen Finessen
der Jazzmusik (z. B.
synkopierte Rhythmen und
Swing-Phrasierung)
erklart. Die Audio-Tracks
(Download mittels Code)
liefern den musikalischen
Hintergrund fur alle
Stucke, so dass der
Klarinettenschuler von
Anfang an durch das
Spielen mit einer
erstklassigen
Rhythmusgruppe aus Bass,
Gitarre und Schlagzeug in
den Genuss eines
authentischen Jazz-Sounds
kommt. Spater helfen die
Playback-Tracks bei den
ersten
Improvisationsversuchen.<
/p>
Fanfare Band - Grade 3 SKU: BT.GOB-000652-020 Composed by Rieks van der V...(+)
Fanfare Band - Grade 3
SKU:
BT.GOB-000652-020
Composed by Rieks van der
Velde. Set (Score &
Parts). 144 pages.
Gobelin Music
Publications #GOB
000652-020. Published by
Gobelin Music
Publications
(BT.GOB-000652-020).
In a four-part
composition Rieks van der
Velde takes us to the
richly varied area
surrounding the
university city of
Cambridge. The Dutch
composer was especially
inspired by the
atmosphere of
Cambridgeshire, the
county which lies north
of London.
1.
The Journey. Although
on arrival the area looks
peaceful and friendly,
the ruggedness of its
inhabitants and landscape
have an unmistakable
influence on the
music. In the course
of the tour, which starts
with an Allegro movement,
we are shown the
vitality, energy and
freshness of the
Cambridgeshire
countryside. Short
themes, swift and sudden
motifs and rhythmical
patterns supported by the
drive ofpercussion
instruments give
expression to this
image. The first part
is concluded by two
'Calmo' movements in
which the music expresses
how the cathedral in the
city of Ely comes into
sight and is gradually
approached.
2.
Visit to Ely
Cathedral. The famous
Norman cathedral church
of Ely, which was built
in 1109, has attracted
tourists from all over
the world apart from
being a place of worship
and heritage site. A
cornet solo introduces
the contemplative mood of
the composition at this
point. The mystical
atmosphere of the
cathedral runs through
this lyrical part like a
continuous thread.
3. The Pub.
The thirst caused by this
intensive journey makes a
visit to the local pub a
definite must. These
“public houses”,
which may be open until
the early hours of the
morning, offer all kinds
of entertainment.
Drinks are served
liberally and the
atmosphere is
lively.
4. The
Journey Back. Time
has flown: In other
words, the moment of
departure has come sooner
than one would have
wished. In a
flashback which
recaptures elements of
the first part of the
composition we say
goodbye to Cambridgeshire
in a fitting manner.
Two scintillating final
measures bring us
abruptly back to the
present.
In een
viertal delen neemt Rieks
van der Velde ons mee
door de zeer gevarieerde
streek rond de
universiteitsstad
Cambridge. De
Nederlandse componist
liet zich inspireren door
vooral de sfeer in het
graafschap Cambridgeshire
tennoorden van
Londen.
1. The
Journey. De aankomst
in de streek is
vriendelijk te noemen
doch de grilligheid van
de mensen en het
landschap heeft een
onmiskenbare invloed op
de muziek. De
rondreis welke start op
hetAllegro laat
Cambridgeshire zien als
een streek van
vitaliteit, energie en
frisheid. Korte
thema's, flitsende
motiefjes en ritmische
patroontjes gesteund door
stuwend slagwerk
bevestigen dit beeld.
Het eerste gedeelte
besluitmet twee 'Calmo'
gedeelten waarbij het
zicht op de kathedraal
van de stad Ely en het
naderen ervan wordt
aangegeven.
2.
Visit to Ely
Cathedral. In 1109
werd de beroemde
kathedraal van Ely
gebouwd die tot op de
dagvan vandaag een grote
aantrekkingskracht geniet
van niet alleen
toeristen. Het
rustpunt van de
compositie wordt ingeleid
door een cornetsolo.
De mystieke sfeer van de
kathedraal is de rode
draad in dit lyrische
gedeelte.
3. The
Pub. Een intensieve
rondreis maakt dorstig en
een bezoek aan de pub is
uiteraard een must.
Tot 11 uur 's avonds
kan men er terecht voor
alle vormen van vertier.
De drank vloeit rijkelijk
en de sfeer is
feestelijk.
4. The
Journey Back. Er is
een tijd van komen en
gaan, en dat moment komt
eerder dan je zou willen
met andere woorden de
tijd is omgevlogen.
Met een flash back naar
het eerste deel wordt op
passende wijze
afscheidgenomen van
Cambridgeshire. Twee
flitsende slotmaten
zetten ons in één klap
weer in het hier en
nu.
Fanfare Band - Grade 3 SKU: BT.GOB-000652-120 Composed by Rieks van der V...(+)
Fanfare Band - Grade 3
SKU:
BT.GOB-000652-120
Composed by Rieks van der
Velde. Score Only. 22
pages. Gobelin Music
Publications #GOB
000652-120. Published by
Gobelin Music
Publications
(BT.GOB-000652-120).
In a four-part
composition Rieks van der
Velde takes us to the
richly varied area
surrounding the
university city of
Cambridge. The Dutch
composer was especially
inspired by the
atmosphere of
Cambridgeshire, the
county which lies north
of London.
1.
The Journey. Although
on arrival the area looks
peaceful and friendly,
the ruggedness of its
inhabitants and landscape
have an unmistakable
influence on the
music. In the course
of the tour, which starts
with an Allegro movement,
we are shown the
vitality, energy and
freshness of the
Cambridgeshire
countryside. Short
themes, swift and sudden
motifs and rhythmical
patterns supported by the
drive ofpercussion
instruments give
expression to this
image. The first part
is concluded by two
'Calmo' movements in
which the music expresses
how the cathedral in the
city of Ely comes into
sight and is gradually
approached.
2.
Visit to Ely
Cathedral. The famous
Norman cathedral church
of Ely, which was built
in 1109, has attracted
tourists from all over
the world apart from
being a place of worship
and heritage site. A
cornet solo introduces
the contemplative mood of
the composition at this
point. The mystical
atmosphere of the
cathedral runs through
this lyrical part like a
continuous thread.
3. The Pub.
The thirst caused by this
intensive journey makes a
visit to the local pub a
definite must. These
“public houses”,
which may be open until
the early hours of the
morning, offer all kinds
of entertainment.
Drinks are served
liberally and the
atmosphere is
lively.
4. The
Journey Back. Time
has flown: In other
words, the moment of
departure has come sooner
than one would have
wished. In a
flashback which
recaptures elements of
the first part of the
composition we say
goodbye to Cambridgeshire
in a fitting manner.
Two scintillating final
measures bring us
abruptly back to the
present.
In een
viertal delen neemt Rieks
van der Velde ons mee
door de zeer gevarieerde
streek rond de
universiteitsstad
Cambridge. De
Nederlandse componist
liet zich inspireren door
vooral de sfeer in het
graafschap Cambridgeshire
tennoorden van
Londen.
1. The
Journey. De aankomst
in de streek is
vriendelijk te noemen
doch de grilligheid van
de mensen en het
landschap heeft een
onmiskenbare invloed op
de muziek. De
rondreis welke start op
hetAllegro laat
Cambridgeshire zien als
een streek van
vitaliteit, energie en
frisheid. Korte
thema's, flitsende
motiefjes en ritmische
patroontjes gesteund door
stuwend slagwerk
bevestigen dit beeld.
Het eerste gedeelte
besluitmet twee 'Calmo'
gedeelten waarbij het
zicht op de kathedraal
van de stad Ely en het
naderen ervan wordt
aangegeven.
2.
Visit to Ely
Cathedral. In 1109
werd de beroemde
kathedraal van Ely
gebouwd die tot op de
dagvan vandaag een grote
aantrekkingskracht geniet
van niet alleen
toeristen. Het
rustpunt van de
compositie wordt ingeleid
door een cornetsolo.
De mystieke sfeer van de
kathedraal is de rode
draad in dit lyrische
gedeelte.
3. The
Pub. Een intensieve
rondreis maakt dorstig en
een bezoek aan de pub is
uiteraard een must.
Tot 11 uur 's avonds
kan men er terecht voor
alle vormen van vertier.
De drank vloeit rijkelijk
en de sfeer is
feestelijk.
4. The
Journey Back. Er is
een tijd van komen en
gaan, en dat moment komt
eerder dan je zou willen
met andere woorden de
tijd is omgevlogen.
Met een flash back naar
het eerste deel wordt op
passende wijze
afscheidgenomen van
Cambridgeshire. Twee
flitsende slotmaten
zetten ons in één klap
weer in het hier en
nu.
Vocal, Mixed Choir and Orchestra SKU: BT.PWM5447 For Soprano, Alto, Ba...(+)
Vocal, Mixed Choir and
Orchestra
SKU:
BT.PWM5447
For
Soprano, Alto, Baritone,
Mixed Choir and
Orchestra. Composed
by Karol Szymanowski.
Classical. Book Only.
Composed 2000. 68 pages.
Polskie Wydawnictwo
Muzyczne #PWM5447.
Published by Polskie
Wydawnictwo Muzyczne
(BT.PWM5447).
E Flat TC Part 4 Concert Band; Saxophone - Level 1.5 SKU: HL.44003539 ...(+)
E Flat TC Part 4 Concert
Band; Saxophone - Level
1.5
SKU:
HL.44003539
Beginning Band - Grade
1.5 - E Flat Baritone Sax
- E Flat Tc Part 4.
Composed by Jacob De
Haan. De Haske Concert
Band. Concert. Part.
Composed 2000. De Haske
Publications #1002043.
Published by De Haske
Publications
(HL.44003539).
ISBN
9789043109499. UPC:
073999035391.
As
the name suggests, the
series First Class
contains compositions for
the first group lessons
which, despite their easy
grade, are first class
pieces! First Class
offers numerous
possibilities for
ensemble playing. Special
attention is given to the
range of each part, so
that as many different
instruments as possible
can play the pieces
together. This means
almost any combination of
instruments is possible,
from a quartet to a full
concert band. All pieces
also contain optional
percussion parts. In
Concert is a collection
of small pieces composed
by Jacob de Haan. As the
title indicates, this
part of the First Class
series can be used to
make up a concert
program. With melodious
titles such as March
Along, Beetle Blues, and
House Party, success is
something you can count
on! Contents: March Along
* Beetle Blues * House
Party * Quick Time * Slow
Motion * Czardas *
Farmhouse Rock * Soul
Ballad * English Waltz *
Sunny Samba * Rhythm
& Blues * Close
Finish.
Let's Play Jazz and More * Book 2 composed by Jay Latulippe and Sonny Doss. For ...(+)
Let's Play Jazz and More
* Book 2 composed by Jay
Latulippe and Sonny Doss.
For easy piano. This
edition: Paperback.
Instructional. Jazz
Method. Book and CD. Text
Language: English. 48
pages. Published by
Santorella Publications
C Part 1a Concert Band - Level 1.5 SKU: HL.44003521 Beginning Band - G...(+)
C Part 1a Concert Band -
Level 1.5
SKU:
HL.44003521
Beginning Band - Grade
1.5 - Flute - C Part
1a. Composed by Jacob
De Haan. De Haske Concert
Band. Concert. Part.
Composed 2000. 16 pages.
De Haske Publications
#DHP1002023. Published by
De Haske Publications
(HL.44003521).
ISBN
9789043109307. UPC:
073999035216.
9.0x12.0x0.083
inches.
As the name
suggests, the series
First Class contains
compositions for the
first group lessons
which, despite their easy
grade, are first class
pieces! First Class
offers numerous
possibilities for
ensemble playing. Special
attention is given to the
range of each part, so
that as many different
instruments as possible
can play the pieces
together. This means
almost any combination of
instruments is possible,
from a quartet to a full
concert band. All pieces
also contain optional
percussion parts. In
Concert is a collection
of small pieces composed
by Jacob de Haan. As the
title indicates, this
part of the First Class
series can be used to
make up a concert
program. With melodious
titles such as March
Along, Beetle Blues, and
House Party, success is
something you can count
on! Contents: March Along
* Beetle Blues * House
Party * Quick Time * Slow
Motion * Czardas *
Farmhouse Rock * Soul
Ballad * English Waltz *
Sunny Samba * Rhythm
& Blues * Close
Finish.
C Part 1b Concert Band - Level 1.5 SKU: HL.44003522 Beginning Band - G...(+)
C Part 1b Concert Band -
Level 1.5
SKU:
HL.44003522
Beginning Band - Grade
1.5 - Oboe, Bells - C
Part 1b. Composed by
Jacob De Haan. De Haske
Concert Band. Concert.
Part. Composed 2000. De
Haske Publications
#1002024. Published by De
Haske Publications
(HL.44003522).
ISBN
9789043109314. UPC:
073999035223.
As
the name suggests, the
series First Class
contains compositions for
the first group lessons
which, despite their easy
grade, are first class
pieces! First Class
offers numerous
possibilities for
ensemble playing. Special
attention is given to the
range of each part, so
that as many different
instruments as possible
can play the pieces
together. This means
almost any combination of
instruments is possible,
from a quartet to a full
concert band. All pieces
also contain optional
percussion parts. In
Concert is a collection
of small pieces composed
by Jacob de Haan. As the
title indicates, this
part of the First Class
series can be used to
make up a concert
program. With melodious
titles such as March
Along, Beetle Blues, and
House Party, success is
something you can count
on! Contents: March Along
* Beetle Blues * House
Party * Quick Time * Slow
Motion * Czardas *
Farmhouse Rock * Soul
Ballad * English Waltz *
Sunny Samba * Rhythm
& Blues * Close
Finish.
Cassatt. Composed
by Dan Welcher. Premiere:
Cassatt Quartet,
Northeastern Illinois
University, Chicago, IL.
Contemporary. Full score.
With Standard notation.
Composed 2007. WRT11142.
52 pages. Duration 24
minutes. Theodore Presser
Company #164-00272S.
Published by Theodore
Presser Company
(PR.16400272S).
UPC:
680160588442. 8.5 x 11
inches.
My third
quartet is laid out in a
three-movement structure,
with each movement based
on an early, middle, and
late work of the great
American impressionist
painter Mary Cassatt.
Although the movements
are separate, with
full-stop endings, the
music is connected by a
common scale-form,
derived from the name
MARY CASSATT, and by a
recurring theme that
introduces all three
movements. I see this
theme as Mary's Theme, a
personality that stays
intact while undergoing
gradual change. I
The Bacchante (1876)
[Pennsylvania Academy of
Fine Arts, Philadelphia,
Pennsylvania] The
painting shows a young
girl of Italian or
Spanish origin, playing a
small pair of cymbals.
Since Cassatt was trying
very hard to fit in at
the French Academy at the
time, she painted a lot
of these subjects, which
were considered typical
and universal. The style
of the painting doesn't
yet show Cassatt's
originality, except
perhaps for certain
details in the face.
Accordingly the music for
this movement is
Spanish/Italian, in a
similar period-style but
using the musical
signature described
above. The music begins
with Mary's Theme,
ruminative and slow, then
abruptly changes to an
alla Spagnola-type fast
3/4 - 6/8 meter. It
evokes the
Spanish-influenced music
of Ravel and Falla.
Midway through,
there's an accompanied
recitative for the viola,
which figures large in
this particular movement,
then back to a truncated
recapitulation of the
fast music. The overall
feeling is of a
well-made, rather
conventional movement in
a contemporary
Spanish/Italian style.
Cassatt's painting, too,
is rather conventional.
II At the Opera
(1880) [Museum of Fine
Arts, Boston,
Massachusetts]
This painting is one of
Cassatt's most well known
works, and it hangs in
the Museum of Fine Arts
in Boston. The painting
shows a woman alone in a
box at the opera house,
completely dressed
(including gloves) and
looking through opera
glasses at someone or
something that is NOT on
the stage. Across the
auditorium from her, but
exactly at eye level, is
a gentleman with opera
glasses intently watching
her - though it is not
him that she's looking
at. It's an intriguing
picture. This
movement is far less
conventional than the
first movement, as the
painting is far less
conventional. The music
begins with a rapid,
Shostakovich-type
mini-overture lasting
less than a minute, based
on Mary's Theme. My
conjecture is that the
woman in the painting has
arrived late to the
opera, busily stumbling
into her box. What
happens next is a kind of
collage, a kind of
surrealistic overlaying
of two different
elements: the foreground
music, at first is a
direct quotation of
Soldier's Chorus from
Gounod's FAUST (an opera
Cassatt would certainly
have heard in the
brand-new Paris Opera
House at that time),
played by Violin II,
Viola, and Cello. This
music is played sul
ponticello in the melody
and col legno in the
marching accompaniment.
On top of this, the first
violin hovers at first on
a high harmonic, then
descends into a slow
melody, completely
separate from the Gounod.
It's as if the woman in
the painting is hearing
the opera onstage but is
not really interested in
it. Then the cello joins
the first violin in a
kind of love-duet (just
the two of them, at
first). This music isn't
at all Gounod-derived;
it's entirely from the
same scale patterns as
the first movement and
derives from Mary's Theme
and its scale. The music
stays in a kind of
dichotomy feeling,
usually
three-against-one, until
the end of the movement,
when another Gounod
melody, Valentin's aria
Avant de quitter ce lieux
reappears in a kind of
coda for all four
players. It ends
atmospherically and
emotionally disconnected,
however. The overall
feeling is a kind of
schizophrenic,
opera-inspired dream.
III Young Woman in
Green, Outdoors in the
Sun (1909) [Worcester Art
Museum, Massachusetts]
The painting, one
of Cassatt's last, is
very simple: just a
figure, looking sideways
out of the picture. The
colors are pastel and yet
bold - and the woman is
likewise very
self-assured and not in
the least demure. It is
eight minutes long, and
is all about melody -
three melodies, to be
exact (Young Woman,
Green, and Sunlight). No
angst, no choppy rhythms,
just ever-unfolding
melody and lush
harmonies. I quote one
other French composer
here, too: Debussy's song
Green, from Ariettes
Oubliees. 1909 would have
been Debussy's heyday in
Paris, and it makes
perfect sense musically
as well as visually to do
this. Mary Cassatt
lived her last several
years in near-total
blindness, and as she
lost visual acuity, her
work became less sharply
defined - something akin
to late water lilies of
Monet, who suffered
similar vision loss. My
idea of making this
movement entirely melodic
was compounded by having
each of the three
melodies appear twice,
once in a pure form, and
the second time in a more
diffuse setting. This
makes an interesting two
ways form:
A-B-C-A1-B1-C1.
String Quartet No.3
(Cassatt) is dedicated,
with great affection and
respect, to the Cassatt
String Quartet, whose
members have dedicated
themselves in large
measure to the furthering
of the contemporary
repertoire for
quartet.
Chamber Music String Quartet SKU: PR.164002720 Cassatt. Composed b...(+)
Chamber Music String
Quartet
SKU:
PR.164002720
Cassatt. Composed
by Dan Welcher. Spiral
and Saddle. Premiere:
Cassatt Quartet,
Northeastern Illinois
University, Chicago, IL.
Contemporary. Set of
Score and Parts. With
Standard notation.
Composed 2007. WRT11142.
52+16+16+16+16 pages.
Duration 24 minutes.
Theodore Presser Company
#164-00272. Published by
Theodore Presser Company
(PR.164002720).
UPC:
680160573042. 8.5 x 11
inches.
My third
quartet is laid out in a
three-movement structure,
with each movement based
on an early, middle, and
late work of the great
American impressionist
painter Mary Cassatt.
Although the movements
are separate, with
full-stop endings, the
music is connected by a
common scale-form,
derived from the name
MARY CASSATT, and by a
recurring theme that
introduces all three
movements. I see this
theme as Mary's Theme, a
personality that stays
intact while undergoing
gradual change. I
The Bacchante (1876)
[Pennsylvania Academy of
Fine Arts, Philadelphia,
Pennsylvania] The
painting shows a young
girl of Italian or
Spanish origin, playing a
small pair of cymbals.
Since Cassatt was trying
very hard to fit in at
the French Academy at the
time, she painted a lot
of these subjects, which
were considered typical
and universal. The style
of the painting doesn't
yet show Cassatt's
originality, except
perhaps for certain
details in the face.
Accordingly the music for
this movement is
Spanish/Italian, in a
similar period-style but
using the musical
signature described
above. The music begins
with Mary's Theme,
ruminative and slow, then
abruptly changes to an
alla Spagnola-type fast
3/4 - 6/8 meter. It
evokes the
Spanish-influenced music
of Ravel and Falla.
Midway through,
there's an accompanied
recitative for the viola,
which figures large in
this particular movement,
then back to a truncated
recapitulation of the
fast music. The overall
feeling is of a
well-made, rather
conventional movement in
a contemporary
Spanish/Italian style.
Cassatt's painting, too,
is rather conventional.
II At the Opera
(1880) [Museum of Fine
Arts, Boston,
Massachusetts]
This painting is one of
Cassatt's most well known
works, and it hangs in
the Museum of Fine Arts
in Boston. The painting
shows a woman alone in a
box at the opera house,
completely dressed
(including gloves) and
looking through opera
glasses at someone or
something that is NOT on
the stage. Across the
auditorium from her, but
exactly at eye level, is
a gentleman with opera
glasses intently watching
her - though it is not
him that she's looking
at. It's an intriguing
picture. This
movement is far less
conventional than the
first movement, as the
painting is far less
conventional. The music
begins with a rapid,
Shostakovich-type
mini-overture lasting
less than a minute, based
on Mary's Theme. My
conjecture is that the
woman in the painting has
arrived late to the
opera, busily stumbling
into her box. What
happens next is a kind of
collage, a kind of
surrealistic overlaying
of two different
elements: the foreground
music, at first is a
direct quotation of
Soldier's Chorus from
Gounod's FAUST (an opera
Cassatt would certainly
have heard in the
brand-new Paris Opera
House at that time),
played by Violin II,
Viola, and Cello. This
music is played sul
ponticello in the melody
and col legno in the
marching accompaniment.
On top of this, the first
violin hovers at first on
a high harmonic, then
descends into a slow
melody, completely
separate from the Gounod.
It's as if the woman in
the painting is hearing
the opera onstage but is
not really interested in
it. Then the cello joins
the first violin in a
kind of love-duet (just
the two of them, at
first). This music isn't
at all Gounod-derived;
it's entirely from the
same scale patterns as
the first movement and
derives from Mary's Theme
and its scale. The music
stays in a kind of
dichotomy feeling,
usually
three-against-one, until
the end of the movement,
when another Gounod
melody, Valentin's aria
Avant de quitter ce lieux
reappears in a kind of
coda for all four
players. It ends
atmospherically and
emotionally disconnected,
however. The overall
feeling is a kind of
schizophrenic,
opera-inspired dream.
III Young Woman in
Green, Outdoors in the
Sun (1909) [Worcester Art
Museum, Massachusetts]
The painting, one
of Cassatt's last, is
very simple: just a
figure, looking sideways
out of the picture. The
colors are pastel and yet
bold - and the woman is
likewise very
self-assured and not in
the least demure. It is
eight minutes long, and
is all about melody -
three melodies, to be
exact (Young Woman,
Green, and Sunlight). No
angst, no choppy rhythms,
just ever-unfolding
melody and lush
harmonies. I quote one
other French composer
here, too: Debussy's song
Green, from Ariettes
Oubliees. 1909 would have
been Debussy's heyday in
Paris, and it makes
perfect sense musically
as well as visually to do
this. Mary Cassatt
lived her last several
years in near-total
blindness, and as she
lost visual acuity, her
work became less sharply
defined - something akin
to late water lilies of
Monet, who suffered
similar vision loss. My
idea of making this
movement entirely melodic
was compounded by having
each of the three
melodies appear twice,
once in a pure form, and
the second time in a more
diffuse setting. This
makes an interesting two
ways form:
A-B-C-A1-B1-C1.
String Quartet No.3
(Cassatt) is dedicated,
with great affection and
respect, to the Cassatt
String Quartet, whose
members have dedicated
themselves in large
measure to the furthering
of the contemporary
repertoire for
quartet.
As Spirits Take Flight Orchestre d'harmonie [Conducteur] - Intermédiaire Opus III Wind Orchestra Publications
Grade 4 SKU: CL.012-3589-01 Composed by Earl. Concert Band. Heritage of t...(+)
Grade 4
SKU:
CL.012-3589-01
Composed by Earl. Concert
Band. Heritage of the
March Series. Audio
recording available
separately (item
CL.WFR349). Extra full
score. Composed 2007.
Duration 7 minutes, 33
seconds. Opus III Wind
Orchestra Publications
#012-3589-01. Published
by Opus III Wind
Orchestra Publications
(CL.012-3589-01).
Uplifting and
bright, this fine
overture was written for
the Salt Lake Symphonic
Winds. Images of flight
are suggested through the
composer's use of rhythm
and tempo. The middle
section has solo lines
for trumpet and clarinet
and is beautifully scored
utilizing the many
different colors
available to the wind
medium. Various cross
cueings allow the
conductor/director
freedom to tailor the
piece to fit a particular
ensemble. An excellent
choice for high school
and community bands
alike.
About Heritage
of the
March
Full
-sized concert band
editions of the greatest
marches of all time. Each
has been faithfully
re-scored to accommodate
modern instrumentation
and incorporate
performance practices of
classic march style
Double Bass and Piano - Intermediate-Advanced SKU: FP.FDW03 Composed by C...(+)
Double Bass and Piano -
Intermediate-Advanced
SKU: FP.FDW03
Composed by Charles
Francois Gounod. Arranged
by Andrew Wilson-Dickson.
Sheet Music and Books.
AÂ striking arrangement
of the Gounod favourite,
arranged for Double Bass
and Piano by A.
Wilson-Dickson. Suggested
grade 5. Classical.
Collection. Forsyths
Publications #FDW03.
Published by Forsyths
Publications (FP.FDW03).
ISBN
9790570500789.
Goun
od's classic piece,
arranged for double bass,
with piano
accompaniment.
The
music in the beginning
tells the listener that
two of the members of the
Marionette troupe have
had a duel and one of
them has been killed. A
party of pallbearers is
organised and the
procession sets out for
the cemetery in march
time.
The piece
soon takes on a more
cheerful spirit, for some
of the troupe, wearied
with the march, seek
consolation at a wayside
inn, where they refresh
themselves and also
descant upon the many
virtues of their late
companion. At last they
get into place again and
the procession enters the
cemetery to the march
rhythm -- the whole
closing with the bars
intended to reflect upon
the briefness and
weariness of life, even
for marionettes.
String Quartet SKU: HL.14031851 Composed by Vagn Holmboe. Music Sales Ame...(+)
String Quartet
SKU:
HL.14031851
Composed
by Vagn Holmboe. Music
Sales America. Classical.
Book [Softcover]. 24
pages. Music Sales
#KP00797. Published by
Music Sales
(HL.14031851).
ISBN
9788759880661.
Danish.
Holmboe'
s last quartet work,
which is
unofficially also
String Quartet No.
21, was the last
work he ever composed,
and was unfinished on his
death in 1996. His pupil
Per
Nørgård
has finished the quartet,
and himself characterizes
his contribution by
saying that the score
existed “in an only
partly completed form,
which could however be
written out with only a
few cases of
doubt”. With only
two movements and a
playing time of
about nine minutes it is
at its existing
length the shortest of
Holmboe's string
quartets. The first
movement takes the form
of one long arch in a
rocking triple time which
constantly shiftsamong
different tempo and pulse
sensations. At the same
time the rhythmic
energy increases
until the movement, in a
faster Con moto
tempo accelerates to
a more flowing 12/8 time,
coloured both
rhythmically by
cross-rhythms in
duple time and timbrally
by harmonics in the
viola. In its middle
section, Con fuoco,
the movement
culminates in both tempo
and expression until it
falls calm in brief
recapitulations in
reverse order of the
first two sections. The
rocking feeling continues
in the second movement,
but now at a more
extroverted level from
the outset, Allegro
and pizzicato. The
energy builds up
further as the mood
intensifies to Con
fuoco, while all
instruments go over to
bowed playing, but like
the first movement, this
movement ends Adagio
here however not as
a gradual attenuation but
through a sudden shift in
tempo to a calm,
imitative passage before
the movement slowly thins
out to the almost
inaudible through a last,
dense, open sounding
chord with a brief violin
solo above it.
The
quartet is dedicated to
Holmboe's wife MeLa May
Holmboe, and was given
its first performance by
the Kontra Quartet on
22nd March 1997 at the
Carl Nielsen Academy of
Music in Odense,
Denmark.
Holmboe's last quartet
work, which is
unofficially also
String Quartet No. 21,
was the last work he ever
composed, and was
unfinished on his death
in 1996. His pupil
Per
Nørgård
has finished the quartet,
and himself characterizes
his contribution by
saying that the score
existed “in an only
partly completed form,
which could however be
written out with only a
few cases of
doubt”. With only
two movements and a
playing time of
about nine minutes it is
at its existing
length the shortest of
Holmboe's
stringquartets. The
first movement takes the
form of one long arch in
a rocking triple time
which constantly shifts
among different tempo and
pulse sensations. At the
same time the rhythmic
energy increases
until the movement, in a
faster Con moto
tempo accelerates to
a more flowing 12/8 time,
coloured both
rhythmically by
cross-rhythms in
duple time and timbrally
by harmonics in the
viola. In its middle
section, Con fuoco,
the movement
culminates in both tempo
and expression until it
falls calm in brief
recapitulations in
reverse order of the
first two sections. The
rocking feeling continues
in the second movement,
but now at a more
extroverted level from
the outset, Allegro
and pizzicato. The
energy builds up
further as the mood
intensifies to Con
fuoco, while all
instruments go over to
bowed playing, but like
the first movement, this
movement ends Adagio
here however not as
a gradual attenuation but
through a sudden shift in
tempo to a calm,
imitative passage before
the movement slowly thins
out to the almost
inaudible through a last,
dense, open sounding
chord with a brief violin
solo above it.
The
quartet is dedicated to
Holmboe's wife MeLa May
Holmboe, and was given
its first performance by
the Kontra Quartet on
22nd March 1997 at the
Carl Nielsen Academy
of.