| Royal Coronation Dances Orchestre d'harmonie [Conducteur et Parties séparées] - Facile Manhattan Beach Music
Concert band - Grade 3 SKU: MH.1-59913-054-8 Composed by Bob Margolis. Su...(+)
Concert band - Grade 3
SKU:
MH.1-59913-054-8
Composed by Bob Margolis.
Suitable for advanced
middle school, high
school, community and
college bands. Conductor
score and set of parts.
Duration 4:45. Published
by Manhattan Beach Music
(MH.1-59913-054-8).
ISBN
9781599130545. Roya
l Coronation Dances is
the first sequel to the
Fanfare Ode & Festival,
both being settings of
dance music originally
arranged by Gervaise in
the mid 16th-century (the
next sequel is The
Renaissance Fair, which
uses music of Susato and
Praetorius). Fanfare Ode
& Festival has been
performed by many tens of
thousands of students,
both in high school and
junior high school. I
have heard that some of
them are amazed that the
music they are playing
was first played and
danced to over 400 years
ago. Some students tend
to think that music
started with Handel and
his Messiah to be
followed by Beethoven and
his Fifth Symphony, with
naught in between or
before of consequence.
Although Royal Coronation
Dances is derived from
the same source as
Fanfare Ode & Festival,
they are treated in
different ways. I
envisioned this new suite
programmatically -- hence
the descriptive movement
titles, which I imagined
to be various dances
actually used at some
long-ago coronation. The
first movement depicts
the guests, both noble
and common, flanked by
flag and banner bearers,
arriving at the palace to
view the majestic event.
They are festive, their
flags swirling the air,
their cloaks brightly
colored. In the second
movement, the queen in
stately measure moves to
take her place on the
throne as leader and
protector of the realm.
In the third movement,
the jesters of the court
entertain the guests with
wild games of sport.
Musically, there are
interesting sonorities to
recreate. Very special
attention should be given
to the tambourine/tenor
drum part in the first
movement. Their lively
rhythms give the movement
its power. Therefore they
should be played as
distinctly and
brilliantly as possible.
The xylophone and
glockenspiel add clarity,
but must not be allowed
to dominate. Observe
especially the differing
dynamics; the intent is
to allow much buzzing
bass to penetrate. The
small drum (starting at
meas. 29) should be
played expressively, with
attention to the notated
articulations, with the
brass light and detached,
especially in a lively
auditorium. It is of some
further interest that the
first dance is extremely
modal. The original is
clearly in G mixolydian
mode (scale:
G-A-B-C-D-E-F-G).
However, other editors
might put in F-sharps in
many places (changing the
piece almost to G major),
in the belief that such
ficta would have been
automatically put in by
the 16th-century
performers as they
played. I doubt it. I
have not only eschewed
these within the work,
but even at the cadences.
So this arrangement is
most distinctly modal
(listen to the F-naturals
in meas. 22 and 23, for
instance), with all the
part-writing as Gervaise
wrote it. In the second
movement, be careful that
things do not become too
glued together. In the
16th century this music
might have been played by
a consort of recorders,
instruments very light of
touch and sensitive to
articulation. Concert
band can easily sound
heavy, and although this
movement has been scored
for tutti band, it must
not sound it. It is
essential, therefore,
that you hear all the
instruments, with none
predominating. Only when
each timbre can be heard
separately and
simultaneously will the
best blend occur, and
consequently the greatest
transparency. So aim for
a transparent, spacious
tutti sound in this
movement. Especially have
the flutes, who do this
so well, articulate
rather sharply, so as to
produce a chiffing sound,
and do not allow the
quarter-notes to become
too tied together in the
entire band. The entrance
of the drums (first
tenor, then bass) are
events and as such should
be audible. Incidentally,
this movement begins in F
Major and ends in D
Minor: They really didn't
care so much about those
things then. The third
movement (one friend has
remarked that it is the
most Margolisian of the
bunch, but actually I am
just getting subtler, I
hope) again relies upon
the percussion (and the
scoring) to make its
points. Xylophone in this
movement is meant to be
distinctly audible.
Therefore, be especially
sure that the xylophone
player is secure in the
part, and also that the
tambourine and toms sound
good. This movement must
fly or it will sink, so
rev up the band and
conduct it in 1 for this
mixolydian jesting. I
suppose the wildly
unrelated keys (clarinets
and then brass at the
end) would be a good
16th-century joke, but to
us, our
put-up-the-chorus-a-half-
step ears readily accept
such shenanigans.
Ensemble instrumentation:
1 Full Score, 1 Piccolo,
4 Flute 1, 4 Flute 2 & 3,
2 Oboe 1 & 2, 2 Bassoon 1
& 2, 1 Eb Clarinet, 4 Bb
Clarinet 1, 4 Bb Clarinet
2, 4 Bb Clarinet 3, 2 Eb
Alto Clarinet, 1 Eb
Contra Alto Clarinet, 3
Bb Bass & Bb Contrabass
Clarinet, 2 Eb Alto
Saxophone 1, 2 Eb Alto
Saxophone 2, 2 Bb Tenor
Saxophone, 2 Eb Baritone
Saxophone, 3 Bb Trumpet
1, 3 Bb Trumpet 2, 3 Bb
Trumpet 3, 4 Horn in F 1
& 2, 2 Trombone 1, 4
Trombone 2 & 3, 3
Euphonium (B.C.), 2
Euphonium (T.C.), 4 Tuba,
1 String Bass, 1 Timpani
(optional), 2 Xylophone &
Glockenspiel, 5
Percussion. $95.00 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Movie Duets for All Instrumentation Flexible [Partition] Alfred Publishing
(Trombone, Baritone B.C., Bassoon, Tuba). Arranged by Michael Story and Michael ...(+)
(Trombone, Baritone B.C.,
Bassoon, Tuba). Arranged
by Michael Story and
Michael Story. For
Trombone, Baritone B.C.,
Bassoon, Tuba. Duet or
Duo; Mixed Instruments -
Flexible Instrumentation.
Instrumental Ensembles
for All. Movie. Book. 24
pages
(1)$7.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Olosabut (1885) Carl Fischer
Chamber Music Tuba, Piano SKU: CF.W2693 The World's Oldest Tuba Solo(+)
Chamber Music Tuba, Piano
SKU: CF.W2693
The World's Oldest
Tuba Solo. Composed
by William Pettee. Edited
by Curtis Peacock. Sws.
Set of Score and Parts.
8+2 pages. Carl Fischer
Music #W2693. Published
by Carl Fischer Music
(CF.W2693). ISBN
9781491158586. UPC:
680160917198. 9 x 12
inches. While
unknown today, composer
William Pettee
(1839a1891) was clearly a
remarkable musician and
composer evidenced by the
fact that he wrote
funeral music for Abraham
Lincoln and General
Ulysses S. Grant. This
funeral music survives to
this day in a piano
reduction format and is
the basis of some of my
most current arranging
projects. This new
edition of Olosabut was
the culmination of years
of research into the era
commonly called The
Golden Age of Bands, a
period spanning
1880a1920. This project
initially began when I
played the solo part for
Olosabut with a reading
band when I was a guest
artist at the Northwest
Brass Festival in Seattle
in 2010. For this new
edition, I created a
score with modern
transpositions. Prior to
this, there has been no
score for this music.
There is often no score
for American band music
from this era. I also
adjusted the dynamics and
articulations to allow
the soloist to be heard
and composed a handful of
new musical lines to
correct the problems
stemming from
inconsistent number of
measures in the original
edition. Finally, I
created a reduction for
tuba and piano as well as
a new edition for solo
tuba and orchestra.
Olosabut (atuba soloa
spelled backwards) from
1885 is possibly the
oldest American tuba solo
to survive to the
twenty-first century. I
have done extensive
research in this area,
and while there may be
some earlier pieces with
small obbligato solos for
tuba, and perhaps even
earlier full-fledged tuba
solos, I believe this is
the earliest music with a
serious solo tuba part
throughout that survives
to this day. In the Tuba
Source Book, several
early solos are listed
from the 1880s. In my
research, I have
attempted to obtain all
of the music listed in
the Tuba Source Book from
the 1880s or earlier
though the Library of
Congress and various
historic libraries in
America. Most of this
music for solo tuba and
band is incomplete or
entirely unavailable
today though. The
earliest of these is
Southwellas Quickstep
(Fun for Basses) from
1881. This is described
as a novelty march for
tuba section, however. A
notable omission from the
Tuba Source Book, though,
is William Petteeas
Olosabut, which is
clearly marked 1885 on
the original published
sheet music. This piece
is not listed in the Tuba
Source Book. However, a
different piece by Pettee
called Osceola is listed
from 1889. While
unknown today, composer
William Pettee
(1839-1891) was clearly a
remarkable musician and
composer evidenced by the
fact that he wrote
funeral music for Abraham
Lincoln and General
Ulysses S. Grant. This
funeral music survives to
this day in a piano
reduction format and is
the basis of some of my
most current arranging
projects. This new
edition of Olosabut was
the culmination of years
of research into the era
commonly called The
Golden Age of Bands, a
period spanning
1880-1920. This project
initially began when I
played the solo part for
Olosabut with a reading
band when I was a guest
artist at the Northwest
Brass Festival in Seattle
in 2010. For this new
edition, I created a
score with modern
transpositions. Prior to
this, there has been no
score for this music.
There is often no score
for American band music
from this era. I also
adjusted the dynamics and
articulations to allow
the soloist to be heard
and composed a handful of
new musical lines to
correct the problems
stemming from
inconsistent number of
measures in the original
edition. Finally, I
created a reduction for
tuba and piano as well as
a new edition for solo
tuba and orchestra.
Olosabut (tuba solo
spelled backwards) from
1885 is possibly the
oldest American tuba solo
to survive to the
twenty-first century. I
have done extensive
research in this area,
and while there may be
some earlier pieces with
small obbligato solos for
tuba, and perhaps even
earlier full-fledged tuba
solos, I believe this is
the earliest music with a
serious solo tuba part
throughout that survives
to this day. In the Tuba
Source Book, several
early solos are listed
from the 1880s. In my
research, I have
attempted to obtain all
of the music listed in
the Tuba Source Book from
the 1880s or earlier
though the Library of
Congress and various
historic libraries in
America. Most of this
music for solo tuba and
band is incomplete or
entirely unavailable
today though. The
earliest of these is
Southwell's Quickstep
(Fun for Basses) from
1881. This is described
as a novelty march for
tuba section, however. A
notable omission from the
Tuba Source Book, though,
is William Pettee's
Olosabut, which is
clearly marked 1885 on
the original published
sheet music. This piece
is not listed in the Tuba
Source Book. However, a
different piece by Pettee
called Osceola is listed
from 1889. While
unknown today, composer
William Pettee
(1839–1891) was
clearly a remarkable
musician and composer
evidenced by the fact
that he wrote funeral
music for Abraham Lincoln
and General Ulysses S.
Grant. This funeral music
survives to this day in a
piano reduction format
and is the basis of some
of my most current
arranging projects. This
new edition of Olosabut
was the culmination of
years of research into
the era commonly called
The Golden Age of Bands,
a period spanning
1880–1920. This
project initially began
when I played the solo
part for Olosabut with a
reading band when I was a
guest artist at the
Northwest Brass Festival
in Seattle in 2010. For
this new edition, I
created a score with
modern transpositions.
Prior to this, there has
been no score for this
music. There is often no
score for American band
music from this era. I
also adjusted the
dynamics and
articulations to allow
the soloist to be heard
and composed a handful of
new musical lines to
correct the problems
stemming from
inconsistent number of
measures in the original
edition. Finally, I
created a reduction for
tuba and piano as well as
a new edition for solo
tuba and
orchestra.Olosabut
(“tuba soloâ€
spelled backwards) from
1885 is possibly the
oldest American tuba solo
to survive to the
twenty-first century. I
have done extensive
research in this area,
and while there may be
some earlier pieces with
small obbligato solos for
tuba, and perhaps even
earlier full-fledged tuba
solos, I believe this is
the earliest music with a
serious solo tuba part
throughout that survives
to this day. In the Tuba
Source Book, several
early solos are listed
from the 1880s. In my
research, I have
attempted to obtain all
of the music listed in
the Tuba Source Book from
the 1880s or earlier
though the Library of
Congress and various
historic libraries in
America. Most of this
music for solo tuba and
band is incomplete or
entirely unavailable
today though. The
earliest of these is
Southwell’s
Quickstep (Fun for
Basses) from 1881. This
is described as a novelty
march for tuba section,
however. A notable
omission from the Tuba
Source Book, though, is
William Pettee’s
Olosabut, which is
clearly marked 1885 on
the original published
sheet music. This piece
is not listed in the Tuba
Source Book. However, a
different piece by Pettee
called Osceola is listed
from 1889. $14.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Sleep, My Child Orchestre d'harmonie - Facile Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Euphonium...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Bells,
Clarinet 1, Clarinet 2,
Euphonium, Euphonium
T.C., Flute, Flute 2,
Horn, Mallet Percussion,
Oboe, Percussion 1,
Percussion 2, Snare Drum,
Timpani, Trombone,
Trumpet 1, Trumpet 2,
Tuba, alto Saxophone and
more. - Grade 2 SKU:
CF.YPS208 Shlof,
Mayn Kind. Composed
by Larry Clark. Young
Band (YPS). Set of Score
and Parts. With Standard
notation.
8+2+4+4+2+2+5+2+2+4+4+4+6
+3+2+3+1+1+2+6+12 pages.
Duration 4 minutes, 31
seconds. Carl Fischer
Music #YPS208. Published
by Carl Fischer Music
(CF.YPS208). ISBN
9781491152287. UPC:
680160909780. Key: D
minor. A stunning
and heart-wrenching
composition based on the
Jewish folk son Shlof,
Mayn Kind. You can
hear the emotional
content pour out of this
piece written in memory
of an outstanding
orchestra director. The
piece beginnings with
original material to set
the tone, followed by
a clarinet solo on the
song. It then develops
through a variety of
different harmonic
presentation before
building to a nice key
change and climatic
moment. The piece ends as
it began, but with a more
hopeful tone. An amazing
piece. Sleep, My Child
was commissioned by the
Madison Middle School
Band and Orchestra in
Tampa, Florida, and is
dedicated to the memory
of their Director of
Orchestras Kevin Frye.
Director of Bands Chris
Shultz championed the
commissioning of this
piece to honor Kevin
after he passed away in
December 2016. Mr. Frye
was a beloved member of
the staff at Madison
Middle as well as the
music community of Tampa
and the state of
Florida. I was a
personal friend of
Kevin’s. We were
in several musical groups
together when we were
young that were formative
to both of our musical
careers. I also guest
conducted his Madison
Middle School Orchestra
several times over the
past four years. His
musicianship, teaching
skills and love for his
students were
exemplary.When taking on
the challenge of writing
a piece to honor
Kevin’s legacy,
Mr. Shultz and I decided
to try and include
several important aspects
of Kevin’s life
into the piece. Kevin was
proudly Jewish, a
fantastic trumpet player
and loved Jazz. With that
in mind, and after a lot
of research, a Jewish
folk song Shlof, Mayn
Kind was selected as the
basis for the piece, not
to be religious, but to
honor his faith and
heritage. Plus it is a
beautiful song, and I
felt the title reflected
the sentiment I was
looking to express, which
is of someone taking rest
after a long battle with
illness. Thus, a lullaby
seemed appropriate.I also
wanted to incorporate
Jazz into the piece, but
in a concert setting, so
you will hear as the
piece develops, the
harmonies of the folk
song expand into ones
found more commonly in
Jazz compositions. Not
in a far out way, but in
a subtle way to again
honor this part of his
life. For example the
climactic moment of the
piece at the fermata in
m. 57 is a Dbmaj9#11
chord. It appropriately
give the piece the angst
that I was looking for at
this moment in the piece,
while honoring the
importance of Jazz in
Kevin’s musical
life.The piece was also
conceived to include both
the Madison band and
orchestra in the
performance at the
premiere. I wanted the
pieces to work separately
by the band and
separately by the
orchestra, but I also
wanted them to be able to
play the piece together
to honor Kevin.The piece
begins with original
material designed to set
the mood of the piece
with a tempo/style
marking of pensive, but
also as material that I
used as connective
musical tissue between
statements of the folk
song. After this
introduction, the folk
song is presented by a
solo violin (or clarinet)
with orchestral
accompaniment in a simple
straight forward
presentation of the song.
This is followed by a
woodwind section
statement of the folk
song accompanied by muted
trumpets. During this
presentation the harmony
starts to expand with
more color notes in the
chords. The low brass are
added half way through
this statement to add
depth and lushness.The
introductory material
returns, but with some
angry hits in the lower
voices. This leads to a
full ensemble state of
new material that is used
to transition to the
climax of the piece, and
to build tension. After
the build, the piece
modulates to a shortened
statement of the folk
song with more advanced
harmonies and an active
counter line in the
violas, horns, saxes and
first clarinets to
further build the
tension. This tension
is released at the
fermata in m. 57, as
mentioned above. After a
thoughtful pause, the
piece concludes with a
completion of the folk
song again with a solo
violin (or clarinet)
followed by a return of
the introductory material
to tie the piece
together. The piece ends
hopeful, with a solo
trumpet (Kevin’s
instrument) that is
dissonant at first, but
then resolves as if to
say - everything will be
OK! It has been my
distinct honor to have
been asked to write this
piece in Kevin’s
memory! I hope that in
some small way the piece
helps to bring comfort to
his family, students,
colleagues and to all
those that knew
him!–Larry
ClarkLakeland, FLÂ
2017. $70.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Harbour Lights for Tuba Quartet Metropolis Music Publishers
Tuba Quartet SKU: IS.TBQ6637EM Composed by Francois Glorieux. Brass - Tub...(+)
Tuba Quartet SKU:
IS.TBQ6637EM Composed
by Francois Glorieux.
Brass - Tuba - Euphonium.
The Music of Francois
Glorieux. Metropolis
Music Publishers
#TBQ6637EM. Published by
Metropolis Music
Publishers
(IS.TBQ6637EM). ISBN
9790365066377. Fran
çois Glorieux was born
in Belgium in 1932, and
acclaimed throughout
Europe, the USA, Latin
America, Canada, Japan,
China, the Middle East
and Africa. He is one of
the most widely
accomplished and
versatile musicians
traveling the
international circuit
today: pianist composer
conductor, commentator,
entertainer, honorary
professor of chamber
music at the Royal Music
Conservatory of Ghent and
guest professor at Yale
University (USA). His
particular art was the
rare one of improvisation
presented in five
languages. Glorieux
practices all musical
styles and has been
highly considered by
great artists such as
André Cluytens, Arthur
Rubinstein, Yves Nat,
Hiroyuki Iwaki, Enrique
Jorda, Raphael
Frühbeck de Burgos,
but also Michael Jackson,
Stan Kenton, Stéphane
Grappelli, Paul
McCartney, Toots
Thielemans, Jacky
Collins, Annie Girardot,
Dionne Warwick, A.C.
Jobim, and so on. $24.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Pavane pour une infante defunte Potenza Music
Euphonium and brass choir SKU: P2.80026 Composed by Maurice Ravel. Arrang...(+)
Euphonium and brass choir
SKU: P2.80026
Composed by Maurice
Ravel. Arranged by Vanja
Lisjak. Chamber music,
20th century. Published
by Potenza Music
(P2.80026). The
idea of arranging this
piece for large brass
ensemble was a result of
my intention to present
Steven Mead's lyrical
qualities and the huge
potential of his rich and
colorful sound to a
Croatian audience when he
was a guest soloist in
Zagreb. While we spoke
about the program for the
concert, I mentioned
Ravel's Pavane as a nice
addition to my Concerto
and the other Pavane (one
by Faure, for solo
euphonium and harp), and
Steven supported the idea
instantly, as it turned
out that this piece was
his favorite in his early
euphonium soloist days.
As he soon became a world
famous virtuoso, where
listeners constantly
asked for higher and
faster bravuras, I gladly
used my chance to present
the forgotten poetic and
warm side of the
euphonium. I avoided the
fashionable stereotypes
of many of today's
composers--making an
artist break his fingers
or lips by choosing extra
fast pieces originally
for violin or flute and
arranging it for tuba.
The inspiring challenge
was to create the
atmosphere present in
Ravel's own orchestration
of this piece, where no
instrument plays a
typical solo role. It
wasn't easy to achieve so
many colors without
strings and woodwinds.
Yet, here we have the
euphonium as a lead voice
while it is also well
incorporated into
vertical blocks with
french horns, trombones,
and trumpets. Full
symphony sized brass
sections function here
mainly to provide
harmonic body, with the
great percussive and
melodic help of marimba
and vibraphone. The
result is an arrangement
that is demanding in a
sense of creating the
right flow (not too slow
- as Ravel hated it this
way). Pavane is, after
all, a dance. A recording
of this arrangement can
be found on Bocchino's CD
release Croatian Euphonic
Brass, together with a
recording of another
publication by Potenza,
an arrangement of the
Pavane by G. Faure,
presented on this CD in
the best possible way--by
Steven Mead, who inspired
me to try to give these
masterpieces new
shape. $49.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Bläserbuch zum Gotteslob Barenreiter
Voice 4 (Bass)in B (Notviolin)(Tsecond romb,Tthird romb,horn-Bar,Euph,B-Tuba ) (...(+)
Voice 4 (Bass)in B
(Notviolin)(Tsecond
romb,Tthird
romb,horn-Bar,Euph,B-Tuba
) (4. Voice (Bass) in B
(Treble clef) (2.
Trombone, 3. Trombone,
Baritone horn, Euphonium,
B-Tuba)) SKU:
BA.BA11242-49 Edited
by Andreas Dewey,
Bernhard Blitsch, and
Richard Mailänder.
Ring stitching. Eigenteil
des Erzbistums Köln.
Single part. 82 pages.
Baerenreiter Verlag
#BA11242_49. Published by
Baerenreiter Verlag
(BA.BA11242-49). ISBN
9790006563630. 15 x 21 cm
inches. The
acclaimed percussionist
Christian Dierstein has
joined forces with a
research group at the
Basel Academy of Music to
examine the techniques of
percussion playing from
an innovative
perspective. The main
focus falls less on the
instruments than on their
sound producers: beaters,
mallets, sticks, bows,
specific manual
techniques up to and
including electronic
pulse generators. This
book describes all of
them in detail and
illustrates their range
of application in
carefully selected and
annotated examples from
the repertoire.
Many essays by guest
authors such as Nicolaus
A. Huber, Steven Schick,
Fritz Hauser and Bernhard
Wulff relate the
performance descriptions
to ongoing aesthetic
debates. They reveal that
sound production and
interaction with
sound-generating objects
have moved centre stage
in contemporary
composition and its
expanded concepts of
material and performance.
The result is a
comprehensive reference
book for composers and
performers that will also
serve as a source of
inspiration for future
innovative approaches in
percussion
playing.
The
authors Christian
Dierstein completed his
musical studies with
Bernhard Wulff
(Freiburg), Gaston
Sylvestre (Paris) and
Wassilios Papadopulus
(Mannheim). A multiple
prize-winner at music
competitions, he has
played percussion
withEnsemble
Recherchesince 1988
andTrio Accantosince 1994
together with Nic Hodges
and Marcus Weiss. In
addition he has been
professor of percussion
and contemporary chamber
music at the Basel
Academy of Music since
2001.
Michel Roth
is professor of
composition and music
theatre at the Basel
Academy of Music and a
member of its research
department. As a composer
he is a regular guest at
music festivals, recently
with a focus on music
theatre. In 2017
Barenreiter published
hisTechniques of Trombone
Playingco-written with
Mike Svoboda. This was
awarded theBest
Editionprize by the
German Music Publishers
Association in
2018.
Jens Ruland
studied percussion with
Carlos Tarcha at the
Cologne University of
Music (2007-12) where he
completed his performance
and teaching degree with
distinction. Since 2012
he has consolidated his
studies with Christian
Dierstein in Basel. He is
a founding member ofhand
werk(Cologne),232
percussion(Cologne),Ensem
ble New4Art(Switzerland)
and the music theatre
duoAkt-tkA(Spain and
Switzerland).
$15.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Rondo Orchestre d'harmonie [Conducteur] - Facile Opus III Wind Orchestra Publications
Grade 3 SKU: CL.012-4981-01 For Solo Tuba, Bassoon, or Bass Clarinet w...(+)
Grade 3 SKU:
CL.012-4981-01 For
Solo Tuba, Bassoon, or
Bass Clarinet with
Band. Composed by
William Presser. Arranged
by Glover. Concert Band.
Extra full score.
Composed 2022. Opus III
Wind Orchestra
Publications
#012-4981-01. Published
by Opus III Wind
Orchestra Publications
(CL.012-4981-01).
The great
American composer William
Presser was noted for
many chamber and solo
works. His Rondo for tuba
and piano has been a
staple of tuba repertoire
for over half a century,
and this band arrangement
presents this work for
solo tuba and concert
band. The accompaniment
requires a minimum of
preparation. Feature your
outstanding tuba soloist
or guest artist.
Excellent! $8.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Rondo Orchestre d'harmonie [Conducteur et Parties séparées] - Facile Opus III Wind Orchestra Publications
Grade 3 SKU: CL.012-4981-00 For Solo Tuba, Bassoon, or Bass Clarinet w...(+)
Grade 3 SKU:
CL.012-4981-00 For
Solo Tuba, Bassoon, or
Bass Clarinet with
Band. Composed by
William Presser. Arranged
by Glover. Concert Band.
Score and set of parts.
Composed 2022. Opus III
Wind Orchestra
Publications
#012-4981-00. Published
by Opus III Wind
Orchestra Publications
(CL.012-4981-00).
The great
American composer William
Presser was noted for
many chamber and solo
works. His Rondo for tuba
and piano has been a
staple of tuba repertoire
for over half a century,
and this band arrangement
presents this work for
solo tuba and concert
band. The accompaniment
requires a minimum of
preparation. Feature your
outstanding tuba soloist
or guest artist.
Excellent! $72.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Hungarian Rondo Orchestre d'harmonie [Conducteur] - Facile Opus III Wind Orchestra Publications
Concert band - Grade 3 SKU: CL.012-4603-75 Arranged by Glover. Concert Ba...(+)
Concert band - Grade 3
SKU:
CL.012-4603-75
Arranged by Glover.
Concert Band. Spotlight
Series. Audio recording
available separately
(item CL.WFR391).
Oversized, spiral-bound
score. Composed 2017.
Duration 5 minutes, 55
seconds. Opus III Wind
Orchestra Publications
#012-4603-75. Published
by Opus III Wind
Orchestra Publications
(CL.012-4603-75).
Composed by
Carl Maria von Weber for
solo viola with
orchestra, the Hungarian
Rondo has become a
standard repertoire
bassoon solo. This
edition offers a choice
of soloist, including
bassoon, bass clarinet,
euphonium, or tuba. The
band setting is carefully
arranged to require a
minimum of preparation
time, and is playable
with either full concert
band, or if accompanying
a soloist requiring
greater presence, just
woodwinds and horns. The
finale includes an ossia
part as well as the
original. An excellent
piece to feature a guest
artist or outstanding
soloist with your
band!
About C.L.
Barnhouse Spotlight
Series The
Barnhouse Spotlight
series includes
publications for solo
instruments with concert
band accompaniment. These
publications are designed
to feature outstanding
members of your band as
soloist, and to provide
unique and entertaining
programming options. Solo
parts are graded more
difficult than the band
accompaniments $25.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Hungarian Rondo Orchestre d'harmonie [Conducteur et Parties séparées] - Facile Opus III Wind Orchestra Publications
Concert band - Grade 3 SKU: CL.012-4603-00 Arranged by Glover. Concert Ba...(+)
Concert band - Grade 3
SKU:
CL.012-4603-00
Arranged by Glover.
Concert Band. Spotlight
Series. Audio recording
available separately
(item CL.WFR391). Score
and set of parts.
Composed 2017. Duration 5
minutes, 55 seconds. Opus
III Wind Orchestra
Publications
#012-4603-00. Published
by Opus III Wind
Orchestra Publications
(CL.012-4603-00).
Composed by
Carl Maria von Weber for
solo viola with
orchestra, the Hungarian
Rondo has become a
standard repertoire
bassoon solo. This
edition offers a choice
of soloist, including
bassoon, bass clarinet,
euphonium, or tuba. The
band setting is carefully
arranged to require a
minimum of preparation
time, and is playable
with either full concert
band, or if accompanying
a soloist requiring
greater presence, just
woodwinds and horns. The
finale includes an ossia
part as well as the
original. An excellent
piece to feature a guest
artist or outstanding
soloist with your
band!
About C.L.
Barnhouse Spotlight
Series The
Barnhouse Spotlight
series includes
publications for solo
instruments with concert
band accompaniment. These
publications are designed
to feature outstanding
members of your band as
soloist, and to provide
unique and entertaining
programming options. Solo
parts are graded more
difficult than the band
accompaniments $74.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Hungarian Rondo Orchestre d'harmonie [Conducteur] - Facile Opus III Wind Orchestra Publications
Concert band - Grade 3 SKU: CL.012-4603-01 Arranged by Glover. Concert Ba...(+)
Concert band - Grade 3
SKU:
CL.012-4603-01
Arranged by Glover.
Concert Band. Spotlight
Series. Audio recording
available separately
(item CL.WFR391). Extra
full score. Composed
2017. Duration 5 minutes,
55 seconds. Opus III Wind
Orchestra Publications
#012-4603-01. Published
by Opus III Wind
Orchestra Publications
(CL.012-4603-01).
Composed by
Carl Maria von Weber for
solo viola with
orchestra, the Hungarian
Rondo has become a
standard repertoire
bassoon solo. This
edition offers a choice
of soloist, including
bassoon, bass clarinet,
euphonium, or tuba. The
band setting is carefully
arranged to require a
minimum of preparation
time, and is playable
with either full concert
band, or if accompanying
a soloist requiring
greater presence, just
woodwinds and horns. The
finale includes an ossia
part as well as the
original. An excellent
piece to feature a guest
artist or outstanding
soloist with your
band!
About C.L.
Barnhouse Spotlight
Series The
Barnhouse Spotlight
series includes
publications for solo
instruments with concert
band accompaniment. These
publications are designed
to feature outstanding
members of your band as
soloist, and to provide
unique and entertaining
programming options. Solo
parts are graded more
difficult than the band
accompaniments $8.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
1 |