| The Garden of My Father's House Clarinette, Violon (duo) Subito Music
Violin & Clarinet SKU: SU.80111202 For Violin & Clarinet. Composed...(+)
Violin & Clarinet SKU:
SU.80111202 For
Violin & Clarinet.
Composed by Meyer
Kupferman. Strings,
Violin, Woodwinds,
Clarinet. Performance
Score. Subito Music
Corporation #80111202.
Published by Subito Music
Corporation
(SU.80111202).
Violin &
Clarinet Duration: '
Composed: 1972 Published
by: Soundspells
Productions Includes set
of 2 scores The Garden of
My Father's House (1973)
is a dramatic rhapsody
for violin and clarinet
duo. The composer wrote
the following: I composed
THE GARDEN OF MY FATHER'S
HOUSE in 1972 in memory
of my father, who was my
first music teacher.
Although he played many
instruments and loved to
sing, he could not read a
note of music. When I was
very young he would sing
Gypsy songs, Yiddish
folk-songs and Rumanian
tunes to me and I would
play them back on my
clarinet, often with
ornaments and variations.
Sometimes he would
accompany me on the
piano; he had a few
favorite chords which
always seemed to pop up
no matter what the tune.
The piece is a musical
ritual, based on a
C-sharp drone, or pedal
note, that is heard
without interruption,
across several ranges,
throughout the piece. The
violin's drone tremolos,
often combined with
perfect fifths and
quarter-tone tunings,
imply the key of Csharp
minor. The violin part is
always rubato —
lyrical, expressive and
frequently very
passionate. But, most
importantly, the violin
is always tonal. The
clarinet, on the other
hand, is atonal, its
pitches drawn from the
twelve-tone row that I
used to write my Cycles
of Infinities. The style
of the clarinet is
contemporary, using
wide-range intervals,
biting accents and
unusual instrumental
effects, including
fluttertonguing and
quarter-tone trills. In
combining the
'contrasting' roles of
the two instruments, I
sought to create a
musical ritual-game that
would draw energy and
bits of information from
the polarized
instruments. The language
of the piece calls the
listener's attention to
the cogent features of
both instrumental
personalities in a manner
that is somewhat similar
to the way in which
Yiddish combines German
and Hebrew. The drone
becomes more and more
magnetic and begins to
join the parts together
until they become one in
the final C-sharp
unison. $22.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Ritual Clarinette Potenza Music
Clarinet solo SKU: P2.30145 Composed by Grant Jahn. Published by Potenza ...(+)
Clarinet solo SKU:
P2.30145 Composed by
Grant Jahn. Published by
Potenza Music (P2.30145).
Ritual depicts
a type of ancient dance
performed in a desolate,
desert-like place to
bring rain to the Earth.
Using quarter-tone runs
and multiphonics,
primitive sounds are used
to summon a storm, which
starts with light rain
depicted by key clicks,
and becomes more chaotic
as the motive continues
to change. $14.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Tone and Technique Studies for the Novice Clarinetist Clarinette Mel Bay
Composed by James Marshall. Saddle-stitched. Technque. Book. 36 pages. Mel Bay...(+)
Composed by James
Marshall.
Saddle-stitched.
Technque.
Book. 36 pages. Mel Bay
Publications, Inc #30800.
Published by Mel Bay
Publications, Inc
$12.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Nicola LeFanu: Lament (Oboe, Clarinet, Viola and Cello Parts) Music Sales
Lament was composed in 1988. The scoring was chosen for its dark colour: oboe do...(+)
Lament was composed in
1988. The scoring was
chosen for its dark
colour: oboe doubling cor
anglais, clarinet
doubling bass clarinet,
viola and cello. The
melodic lines and harmony
are often inflected with
quarter-tones
$51.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| ARKA - 3 Rituale (Full Score) Voix basse, Piano [Conducteur] Peters
Orchestra solo oboe, solo pipa, timpani 4 Pauken, 1 Spieler, percussion, (Crotal...(+)
Orchestra solo oboe, solo
pipa, timpani 4 Pauken, 1
Spieler, percussion,
(Crotali, Glockenspiel,
gr, Trommel,
vibraphonerafon - 1
Spieler), strings (7, 1)
SKU: PE.EP14445
Composed by Bernd Franke.
Full Scores. Edition
Peters. Score. 52 pages.
Duration 00:20:00.
Edition Peters
#98-EP14445. Published by
Edition Peters
(PE.EP14445). ISBN
9790014135041. 297 x 420
mm inches.
German. ARKA
stammt aus dem
Sanskrit und bedeutet so
viel wie Strahl, Blitz,
Sonne, Licht, aber auch
Lied, Feuer und Hymnus,
und entwickelt in meiner
Vorstellung sehr viele
unterschiedliche
Assoziationsfelder. In
ARKA stecken
auch die Worter arc
(beten) und ka (Wasser),
und es kann auch
ubersetzt werden mit:
,,Das Wasser stromt aus
dem heraus, der mehr
weiss. Mein neues
Werk fur Pipa, Oboe,
Pauke, Schlagzeug und
Orchester entstand im
Auftrag der
Kammerakademie Neuss und
auf Anregung des Oboisten
Christian Wetzel. Es
entstanden drei Rituale
mit zum Teil szenischen
Elementen fur die
Solisten und das
Orchester.
Inspirationsquelle in
der Vorbeschaftigung
waren zwei Quellen und
Bucher. Das Daodejing von
Laozi in der
hervorragenden
Neuubersetzung von Viktor
Kalinke, eine der
wichtigsten Quellen
chinesischen Denkens und
der Philosophie dieser
grossen Kulturtradition
und die chinesische
Tradition der
5-Elementelehre und der
Wandlungsphasen. Als
zweites Buch hat mich
,,Die Glut von Roberto
Calasso inspiriert, ein
Buch uber die indischen
Veden in Verbindung mit
den Ursprungen des
Buddhismus und den damit
verbunden Ritualen.
In den letzten 20
Jahren habe ich mich
intensiv mit
ostasiatischer Musik,
Kunst und Philosophie
beschaftigt und habe das
auch durch langere
Studienreisen und
kompositorische Projekte
vertiefen konnen. U.a.
wurde 2012 mein Chorwerk
PRAN in Kolkata in Indien
uraufgefuhrt
(Goethe-Institut),
ebenfalls 2012 ,,in
between VI fur Sho und
Sheng in Tokyo und 2013
,,Mirror and Circle fur
Pipa, Cello und
chinesisches Orchester in
Taipeh/Taiwan
(Auftragswerk der
taiwanesischen
Regierung). Mit der
chinesischen
Pipa-Virtuosin Ya Dong
arbeite ich seit 2000
zusammen und habe fur sie
mehrfach komponiert
(Urauffuhrungen u.a. in
Hannover/EXPO 2000,
Rottweil 2001, Taipeh
2013, Magdeburg 2016).
Auch mit Christian Wetzel
arbeite ich seit uber 20
Jahren zusammen und habe
ebenfalls haufig fur ihn
komponiert (UA u.a. in
Bonn 1999, Hannover/EXPO
2000, Rottweil 2001,
Darmstadt 2004 und
etliche weitere
Projekte). Jedes
dieser drei Rituale hat
eine Lange von ca. 6-7
Minuten und stellt
unterschiedliche
Qualitaten und
Besonderheiten der beiden
Soloinstrumente heraus,
immer in Verbindung mit
der Interaktion zwischen
Soli und Orchester. Die
Besetzung war fur mich
ausserst reizvoll, da
beide Instrumente in
dieser Kombination noch
nie so erklungen sind.
Die Pipa ist ein ungemein
modernes und
ungewohnliches
Instrument, reich an
Farben und vor allem an
perkussiven Effekten. Das
Tonmaterial wurde zum
grossten Teil aus den
Namen der beiden Solisten
gewonnen und ergibt
interessanter zwei
gespiegelte
Viertonmotive. In der
asiatischen Kultur
spielen der Spiegel und
der Kreis eine wichtige
Rolle, und so werden die
Tone, Rhythmen und Formen
eingewoben in diese drei
Rituale, welche am Ende
des dritten Satzes wieder
kreisformig an den Anfang
des ersten Rituals
anknupfen. Ein von den
Streichern und der Pauke
erzeugtes Gerausch,
verbunden mit dem
Rhythmus der grossen
Trommel, welcher einen
Herzschlag symbolisieren
soll. Die drei Untertitel
der Rituale Himmel, Erde
und (atmospharischer)
Raum spielen im vedischen
und chinesischen Denken
eine grosse Rolle und war
fur mich beim Komponieren
ebenfalls eine sehr
starke
Inspirationsquelle. In
vielen meiner
Kompositionen gibt es
Raumeffekte, Annaherungen
an das Publikum, das
Verschieben von
Perspektiven, die
Dekonstruktion und das
Hinterfragen der ublichen
Konzertsituation, so u.a
in meinem Beuys-Zyklus
oder in den Zyklen ,,CUT
und ,,in between.
In ARKA geht
es mir besonders um die
Interaktion zwischen
westlichem und ostlichem
Denken, um das
gegenseitige Durchdringen
dieser auf den ersten
Blick so
unterschiedlichen Denk-
und Lebensweisen, um eine
Verschmelzung scheinbarer
Gegensatze - um
Annaherung! Bernd
Franke. Leipzig,
11.10.2019 W01476|C|Y
0.0000 Sheet Music
_x000D_ 9780193556799 Y
23.50 X556799 357665
9780193556799 MISC C 1
432 8030 0.00 Oxford Solo
Songs: Christmas 14 songs
with piano PAPER 14
9780193556799 A-B CAROLS
CHRISTMAS MISC
MISCELLANEOUS OXFORD
PIANO SOLO SONGS SONGS:
VOICE WITH AB 00:00:0 Low
voice & piano Low voice
book + downloadable
backing tracks 311x232 72
NEW NONE 29/07/2021 P
355580 9780193556799
- Young: A babe is
born
- Rutter:
Angels' Carol
-
McDowall: Before the
paling of the stars
- Rutter:
Candlelight Carol
- Rutter: I sing
of a maiden
-
Chilcott: Mid-winter
- Todd: My Lord
has Come
-
Bullard: Scots Nativity
- Quartel: Snow
Angel
- Todd:
Softly
-
Chilcott: Sweet was the
song
- Chilcott:
The Shepherd's Carol
- Quartel: This
endris night
-
McGlade: What child is
this?
for
low voice and piano
This beautiful
collection of 14 songs
for low voice offers
Christmas settings by
some of Oxford's
best-loved composers.
Suitable for solo singers
and unison choirs alike,
each song is presented
with piano accompaniment,
and high-quality,
downloadable backing
tracks are included on a
companion website. With a
wonderful selection of
pieces, including
favourites such as Bob
Chilcott's 'The
Shepherd's Carol' and
John Rutter's
'Candlelight Carol', this
is the perfect collection
for use in carol services
and Christmas concerts or
for enjoying at home.
Also available in a
volume for high voice and
piano. - 14
songs for solo
voice
- Well-loved
composers, including John
Rutter and Bob
Chilcott
- Wide
selection of Christmas
texts
- Accessible
accompaniments
-
Includes backing tracks
downloadable from a
Companion
Website
-
Available in volumes for
high and low
voice
MISC|AU|Y
0.0000 Paperback _x000D_
EP73308R Y 0.00 73308R
P73308R 1 ORCHA 8000 0.00
Hover A (LARGE) BEAMISH
EP73308R GP:ORCHESTRAL
HOVER ONLY RENTAL SALLY
WORKS NONE ORCHA P 303000
EP73308R 0.0000 Sheet
Music _x000D_ EP14437A Y
22.95 14437A P14437A
FRANKE, BERND C
9790014137199 52A1 8000
0.00 AGNI A 9790014137199
AGNI BASS BERND CLARINET
EP14437A FRANKE
PHOTOPRINTS W01476
English / German 00:12:0
Instrumental Score 232 x
303 mm Bass clarinet 20
DETNT NEW PR43 23/04/2021
P 303006 AGNI is the
Hindu god of fire; the
elemental and
transformative force
inherent in
everything: Every
flame, every fire, every
light, every warmth is
AGNI. AGNI is
omnipresent, establishing
everything and ending
everything. AGNI is
often depicted with seven
tongues which represent
different aspects of his
being. These
include: creating,
sustaining, cleansing,
purifying, priestly,
martial, devastating,
destructive, and
consuming. Derived
from Franke's concerto of
the same name, this solo
work for bass clarinet
compositionally traces
the transformative
processes initiated by
the divine fire. The solo
takes seven pieces from
the concerto, presenting
vivid character pieces
exploring the creative
possibilities and wide
tonal range offered by
the bass
clarinet. This
version of AGNI
for bass clarinet solo
was premiered on 4
December 2020 in Leipzig
by Volker Hemken, the
principal bass
clarinetist of the
Gewandhausorchester
Leipzig. EP14437a
convinces with its
excellent and clear
notation, making the
piece a new standard for
bass clarinet.
W01476|C|Y 0.0000 Sheet
Music _x000D_ EP68686 Y
165.00 68686 P68686 LEWIS
C 9790300761299 97 8000
0.00 Ikons A
9790300761299
CONTEMPORARY ENSEMBLE
EP68686 GEORGE IKONS
LEWIS PHOTOPRINTS SMALL
W06652 English 00:14:0
Conductor Score & Parts
303 x 232 mm Fl (A-fl in
F).Cl.Bsn
(Cbsn).Tbn.Perc.Vln.Vlc.C
b 132 NEW PR43 USTNT
21/04/2021 P 303006
Ikons,
commissioned by the
Vancouver Cultural
Olympiad 2010, exists in
two forms. This 14-minute
acoustic version,
premiered by the Turning
Point Ensemble, calls for
an octet of live
musicians to execute
complex rhythms and
quarter-tone
harmonies. The
interactive, electronic
version, created with
visual artist Eric
Metcalfe and designed to
be presented separately,
incorporates samples from
this acoustic version
into a sculptural
environment of seven
pyramidal structures that
respond sonically to the
viewer. W06652|C|Y
0.0000 Sheet Music
_x000D_ EP73531 Y 31.95
73531 P73531 PANUFNIK,
ROXANNA C 9790577020976
61 8000 0.00 Sonnets
without Words A
9790577020976 EP73531
HORN PANUFNIK PHOTOPRINTS
PIANO ROXANNA SHAKESPEARE
SONNETS W03578 WILLIAM
WITHOUT WORDS English
Score & Instrumental
Parts 232 x 303 mm Horn
and piano 28 NEW PR43
UKTNT 21/04/2021 P 303006
Roxanna Panufnik's
Sonnets without
Words is a
contemporary piece for
Horn in F and piano.
Written for horn player
Ben Goldscheider,
Panufnik has reimagined
the lyrical vocal lines
from three of her
previous settings of
Shakespeare's sonnets
(Mine eye, Music to
hear and Sweet
Love Remember'd for
voice and piano) into a
purely instrumental
work. Score and
horn
part. - Contempo
rary work for Horn in F
and
piano
- Settings of
Sheakespeare's Sonnets 8,
24 & 29 in instrumental
form
W03578|C|Y
W06737|LY|N 0.0000 Sheet
Music _x000D_ EP73571 Y
15.95 73571 P73571
MCNEFF, STEPHEN C
9790577021317 20 8000
0.00 Trig for Solo Cello
A 9790577021317 (SOLO)
CELLO EP73571 MCNEFF
PHOTOPRINTS SOLO STEPHEN
TRIG W03150 English
00:07:0 Instrumental
Score 232 x 303 mm Solo
Violoncello 8 NEW PR43
UKTNT 21/04/2021 P 303006
Stephen McNeff's
Trig is a short
7-minute contemporary
work for solo cello,
written to celebrate the
bicentennial of the Royal
Academy of Music in 2022
and in memorium cellist
Mike Edwards
1948-2010. Trig
was premiered by
Henry Hargreaves on 19
March 2021, livestreamed
from the Royal Academy of
Music. - Contemp
orary piece for solo
cello
- Written for
the Royal Academy of
Music's
bicentennial
W03150|C|Y 0.0000 Sheet
Music _x000D_ EP14528 Y
34.95 14528 P14528
SAUNDERS, REBECCA C
9790014136796 3 8000 0.00
to an utterance - study A
9790014136796 (SOLO) AN
EP14528 PHOTOPRINTS PIANO
REBECCA SAUNDERS STUDY TO
UTTERANCE W04191 English
Instrumental Score 420 x
297 mm Piano Solo 16
DETNT NEW PR43 21/04/2021
P 303006 to an
utterance - study
was commissioned by
Klangforum Wien for the
premiere commercial audio
recording on a portrait
CD in 2020 and first
performed by Joonas
Ahonen at the Berlin
Philharmonie on 4th
September 2020 at the
Musikfest Berlin.
W04191|C|Y 0.0000 Sheet
Music _x000D_ EP71880 Y
75.00 71880 P71880
PANUFNIK, ROXANNA C
9790577008332 82 8000
0.00 Spirit Moves for
Brass Quintet A
9790577008332 BRASS
ENSEMBLE EP71880 MOVES
PANUFNIK PHOTOPRINTS
QUINTET ROXANNA SPIRIT
W03578 English 00:15:0
Score & Instrumental
Parts 232 x 303 mm
Trumpet 1 in B flat
(doubling Piccolo
Trumpet), Trumpet 2 in B
flat (doubling Flugel
Horn), Horn in F,
Trombone, Tuba 84 NEW
PR43 UKTNT 21/04/2021 P
303006 Roxanna
Panufnik's Spirit
Moves, for brass
quintet, was commissioned
by the Fine Arts Brass
Ensemble. This 15-minute
piece is scored for two
trumpets in Bb (one
doubling piccolo trumpet
and the other doubling
flugel horn), horn in F,
trombone and tuba. This
brass quintet is so
called because the outer
movements are highly
spirited and the
central one is
spiritual. This product consists of
score and parts.
W03578|C|Y 0.0000 Sheet
Music _x000D_ EP73585 Y
4.00 73585 P73585 369282
WILLIAMS, RODERICK C
9790577021591 1 151 8000
0.00 Eriskay Love Lilt A
9790577021591 (SECULAR)
CHORAL EP73585 ERISKAY
HALSTAN-USA LILT LOVE
RODERICK TRADITIONAL
W05152 WILLIAMS WORKS
English 00:03:0 190 x 272
mm SATB (divisi) and
piano 16 NEW PR30 UKTNT
20/05/2021 P 377788 A
gently flowing 3-minute
arrangement by Roderick
Williams for SATB (with
divisi) with piano
accompaniment that
captures the beauty of
this famous traditional
Hebridean love song. The
song text uses both old
dialect and English, each
verse ending with the
words, 'Sad am I without
thee'. - Commiss
ioned by The Sixteen
choir and recorded on
their 2021 album
'Goodnight
Beloved'
- Roderick
Williams is a
composer/arranger and
also a world-renowned
baritone
- The
arrangement is described
by Williams as 'having a
little nod to Ravel and
Grieg'
W05152|C|Y W04819|LY|N
0.0000 Sheet Music
_x000D_ 9780193556782 Y
23.50 X556782 357665
9780193556782 MISC C 1
432 8030 0.00 Oxford Solo
Songs: Christmas 14 songs
with piano PAPER 14
9780193556782 A-B CAROLS
CHRISTMAS MISC
MISCELLANEOUS OXFORD
PIANO SOLO SONGS SONGS:
VOICE WITH AB 00:00:0
High voice & piano High
voice book + downloadable
backing tracks 311x232 72
NEW NONE 29/07/2021 P
355580 9780193556782
- Young: A babe is
born
- Rutter:
Angels' Carol
-
McDowall: Before the
paling of the stars
- Rutter:
Candlelight Carol
- Rutter: I sing
of a maiden
-
Chilcott: Mid-winter
- Todd: My Lord
has Come
-
Bullard: Scots Nativity
- Quartel: Snow
Angel
- Todd:
Softly
-
Chilcott: Sweet was the
song
- Chilcott:
The Shepherd's Carol
- Quartel: This
endris night
-
McGlade: What child is
this?
for
high voice and piano
This beautiful
collection of 14 songs
for high voice offers
Christmas settings by
some of Oxford's
best-loved composers.
Suitable for solo singers
and unison choirs alike,
each song is presented
with piano accompaniment,
and high-quality,
downloadable backing
tracks are included on a
companion website. With a
wonderful selection of
pieces, including
favourites such as Bob
Chilcott's 'The
Shepherd's Carol' and
John Rutter's
'Candlelight Carol', this
is the perfect collection
for use in carol services
and Christmas concerts or
for enjoying at home.
Also available in a
volume for low voice and
piano. - 14
songs for solo high
voice
- Well-loved
composers, including John
Rutter and Bob
Chilcott
- Wide
selection of sacred and
secular Christmas
texts
- Accessible
accompaniments
-
Includes backing tracks
downloadable from a
Companion
Website
-
Available in volumes for
high and low solo
voice
MISC|AU|Y
0.0000 Paperback _x000D_
9780193559066 Y 4.25
X559066 357665
9780193559066 YOUNG C 1
444 8030 0.00 O splendour
of God's glory bright
PAPER 9780193559066
BRIGHT CHORAL GLORY GOD'S
MIXED OF OXFORD SACRED
SPLENDOUR TOBY VOICES
W06576 YOUNG C 00:03:30
SATB & organ Vocal score
254x178 SATB 20 NONE P
355580 9780193559066
for SATB and organ
This energetic
setting of words by St
Ambrose of Milan is a
real showstopper. With
pop-influences and a
sparkling organ part,
Young effortlessly fuses
modern and traditional
sound worlds, while
changes in key and metre
build up to an
invigorating finish.
Perfect for accomplished
choirs looking for
something different.
W06576|C|Y 0.0000
Paperback _x000D_
9780193554399 Y 2.60
X554399 357665
9780193554399 LASSUS,
ORLANDO DE C 1 445 8030
0.00 Oculus non vidit
PAPER 9780193554399
CHORAL DE KEANE LASSUS
MARK NON OCULUS ORLANDO
OXFORD SACRED UPPER VIDIT
VOICES W02750 B 00:01:30
SA unaccompanied Vocal
score 254x178 Upper
Voices - 3 parts or more
4 NONE 10/06/2021 P
355580 9780193554399
for SA unaccompanied
This simple, charming
two-part motet features
long melismatic phrases
that reflect the text (1
Corinthians 2: 9), such
as the rising melodic
line over three bars on
the word 'ascended'
(ascendit).
W02750|C|Y
W06960|E|N 0.0000
Paperback _x000D_
9780193954298 Y 3.35
X954298 357665
9780193954298 TALLIS,
THOMAS C 1 448 8030 0.00
Honor, virtus et potestas
PAPER 9780193954298
CANTICLES DUNKLEY ET
HONOR OXFORD POTESTAS
SALLY SERVICES TALLIS
THOMAS VIRTUS W04705 C
00:06:0 SAATB
unaccompanied Vocal score
MSER00020 SATB 12 NONE
28/05/2021 P 355580
9780193954298 for
SAATB unaccompanied.
This glorious musical
depiction of the honour,
strength, power and
authority of the Holy
Trinity by Thomas Tallis
is the third issue in the
CMS's series of great
English Responds from the
16th century, edited by
Sally Dunkley. Scored for
SAATB, it can be
performed either as a
motet or as a full
Responsory with plainsong
alternating with
polyphony. W04705|C|Y
W01184|E|N 0.0000
Paperback _x000D_ EP73527
Y 6.95 73527 P73527
BEAMISH, SALLY C
9790577020891 50 8000
0.00 The Parting Glass A
9790577020891 (SOLO)
BEAMISH CLARINET EP73527
GLASS PARTING PHOTOPRINTS
SALLY W00306 English
Score 232 x 303 mm
Clarinet 4 NEW PR43 UKTNT
12/12/2020 P 303006
Based on a traditional
Scottish/Irish 'farewell'
song, this short piece is
one of six works written
to express my love of
Scotland. After living
there for nearly half my
life, and raising a
family, I moved back to
England in 2018, and
remarried in 2019.
Of course, there were
many different emotions
attached to the move
south: especially the joy
and excitement of new
beginnings, and
reconnection with friends
from my youth.
But this piece
expresses the wrench I
experienced after a last
family meal in Glasgow,
and the realisation of
all I was about to leave
behind. I have
taken the melody of the
original song, and
expanded it, exploring
the detail of its
patterns, so that it
becomes a timeless
meditation. The
six pieces in the
'farewell' series are for
6 violas, string quintet,
string quartet, trio,
violin and clarinet duo,
and solo clarinet.
The Parting Glass
was composed in 2020
during the coronavirus
lockdown, which
intensified the feeling
of separation from my
Scottish family, as well
as from other musicians.
It was
commissioned by Vittorio
Ceccanti for the
ContempoArtEnsemble.
W00306|C|Y 0.0000 Sheet
Music _x000D_ EP73516 Y
6.95 73516 P73516
BEAMISH, SALLY C
9790577020747 20 8000
0.00 Maple A
9790577020747 (SOLO)
BEAMISH CELLO EP73516
MAPLE PHOTOPRINTS SALLY
W00306 English 00:06:0
Score 232 x 303 mm
Contemporary cello solo 8
NEW PR43 UKTNT 12/12/2020
P 303006 Seed; Spinning
Seed; Roots, shoots;
Leaves ; Flowers; Tree ;
Autumn ; Cello
Maple arose
from a commission to
write a work for solo
cello, to be performed
alongside readings from
artist John Newling's
collection of letters
entitled 'Dear Nature'; a
poetic manifestation of
our relationship with the
natural world. The
piece is in eight short
sections, to be
interspersed with
readings of groups of the
poems. It may also be
performed as a single
movement. It begins with
a seed - the seed of a
maple tree, as it hangs
on the mature tree, ready
to drop. The seeds are
like propellers,
sometimes travelling more
than a mile before
landing on the ground.
Maple follows
the growth of the tree to
maturity - which in
reality would take at
least a hundred years.
'Roots, shoots' grows
downwards and upwards
from a pedal note, and
the dance-like 'Flowers'
is followed by the
stately 'Tree', and then
the warm, cascading
'Autumn'. Maple is very
often the wood of choice
for the back of a
stringed instrument, and
the last section uses
open strings to explore
the full resonance of the
cello. The piece
starts with a 'seed' of
only five notes, which
grows into different
configurations. It is
intended to be played in
an improvisatory
style.
Maple was
co-commissioned by
Brighton Festival, Ars et
Terra Festival with SACEM
and Ditchling Arts and
Crafts Museum, to be
performed by Margarita
Balanas as part of the
Brighton Festival's 'Dear
Nature' project.
W00306|C|Y 0.0000 Sheet
Music _x000D_ EP73508 Y
39.95 73508 P73508
DILLON, JAMES C
9790577020648 3 8000 0.00
echo the angelus A
9790577020648 (SOLO)
ANGELUS DILLON ECHO
EP73508 JAMES PHOTOPRINTS
PIANO W01097 English
00:25:0 Score 232 x 303
mm Piano Solo 44 NEW PR43
UKTNT 12/01/2021 P 303006
First performed by
Noriko Kawai for
Huddersfield Contemporary
Music Festival, in a
broadcast from the Radio
Theatre, BBC Broadcasting
House, November
2020. Full of
beautifully crafted,
delicate
tintinnabulations -
Richard Morrison, The
Times This
product is Printed on
Demand and may take
several weeks to fulfill.
Please order from your
favorite retailer. $90.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Land Way Out Of Place [Conducteur] University Of York Music Press
Chamber Ensemble SKU: BT.MUSM570363834 Ensemble. Composed by Finol...(+)
Chamber Ensemble SKU:
BT.MUSM570363834
Ensemble. Composed
by Finola Merivale. Score
Only. 36 pages.
University of York Music
Press #MUSM570363834.
Published by University
of York Music Press
(BT.MUSM570363834).
English. Commiss
ioned by the European
Composers' Professional
Development Programme,
and dedicated to Karien
Kruger. Instrumentation:
Flutes: Piccolo (sounds
an octave higher than
written); Alto Flute
Clarinets: Clarinet in
Bb, Bass Clarinet in Bb
Percussion: Vibraphone,
Glockenspiel (sounds two
octaves higher than
written), Quarter-tone
Glockenspiel; Timpani;
Cymbals; Kick Drum; Bass
Drum;. Percussionist
requires a bow and hard
and soft mallets Electric
Guitar Bass Guitar Piano:
Score is in C. $19.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Cube 1-2-3... Clarinette [Conducteur et Parties séparées] - Facile FLEX Editions
Clarinet, Piano - Grade 2 SKU: FL.FX071171 Composed by Alain Lopez. Class...(+)
Clarinet, Piano - Grade 2
SKU: FL.FX071171
Composed by Alain Lopez.
Classical, Educational.
Score and Set of Parts.
FLEX Editions #FX071171.
Published by FLEX
Editions (FL.FX071171).
The title of
this Piece is a pun on
Cubans rhythms. The
opposition between the
tone and used homonymous
tone, as well as the
rhythmic formula chosen
on theme B are a typical
feature of South America
music. Concerning the
melody, it is a
stylistics composition on
quarter note
triplets! $9.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Spring in Dresden [Conducteur] Theodore Presser Co.
Orchestra Bass Drum, Bassoon 1, Bassoon 2, Clarinet 1, Clarinet 2, Contrabass, F...(+)
Orchestra Bass Drum,
Bassoon 1, Bassoon 2,
Clarinet 1, Clarinet 2,
Contrabass, Flute 1,
Flute 2, Harp, Horn 1,
Horn 2, Horn 3, Horn 4,
Marimba, Oboe 1, Oboe 2,
Percussion 1, Percussion
2, Percussion 3, Snare
Drum, Suspended Cymbal,
Tam-tam, Trombone 1 and
more. SKU:
PR.11641963S Composed
by Chen Yi. Full score.
58 pages. Duration 20
minutes. Theodore Presser
Company #116-41963S.
Published by Theodore
Presser Company
(PR.11641963S). UPC:
680160684472. The
violin concerto is
commissioned by Friends
of Dresden Music
Foundation for American
soloist Mira Wang and the
New York Philharmonic and
Staatskapelle Dresden as
an American commemoration
of the reconstruction of
the Dresden Frauenkirche,
60 years after its
destruction in World War
II by American and
British Forces. The world
premiere is given at the
Semperoper in Dresden,
Germany, on October 9, 10
& 11, 2005, conducted
by Ivan Fischer. Full of
excitement and inner
power, the musical image
is vivid, energetic,
sometimes lyrical and
sometimes dramatic. The
major angular thematic
material (a three note
motive) consists of big
leaps in interval (a
perfect fourth downward
and then a minor seventh
upward, first introduced
by the violin solo in
measures 27-29). Except
for the cadenzas which
stand at the middle
(Rehearsal E, measure
127) and the two ends of
the piece as a frame, the
virtuosic violin solo
line is always
accompanied by the ever
moving and growing
textures in the
background. The rests
between long and short
phrases symbolize the
space in Chinese
paintings. The Beijing
Opera reciting tune, and
the fingerings to produce
sliding tones in the
performance of the
Chinese fiddle erhu are
also borrowed in the
writing and the
performing of the western
instruments. The musical
imagination of the violin
concerto came from an
ancient Chinese poem with
the same title, written
by Du Fu (712-770) in
Tang Dynasty. Happy Rain
on a Spring Night by Du
Fu (712-770 in Tang
Dynasty) Happy rain comes
in time, When spring is
in its prime. With night
breeze it will fall, And
quietly moisten all.
Clouds darken wild roads,
Light brightens a little
boat. Saturated at dawn,
With flowers blooming the
town. (English
translation by Chen Yi
from the original poem in
Chinese) The following is
the poem in its original
Chinese form, and the
detailed introduction on
the structural plan of
the violin concerto
Spring in Dresden. It's
like the welcome rain on
a quiet spring night that
nurtures the budding
seeds, our new society is
pushing us forward to the
new future. The music
reflects the scenes and
the expression according
to the meaning of the
poem when it's being
unfolded line by line.
Although the tempo is set
63 quarter notes per
minute throughout (played
vividly, never slow
down), the tension is
being built up from the
quiet background in the
beginning, to the
sustained climax towards
the end. The musical
image in Rehearsal A and
B (measures 39-80)
represents the first four
lines of the poem. The
wind instruments response
to the rustling of fast
moving notes on muted
string triplets,
decorated by occasional
strokes produced by
metallic string sound and
high woodwind gestures.
The music in Rehearsal C
and D (measures 81-126)
represents the next two
lines of the poem. It's
so dark, a little light
in the boat is shimmering
on the lake... The
breathy sound and key
slaps on the flutes
create a mysterious
atmosphere, in a dialogue
with other instruments.
The cello glissandi
recite the poem in the
tone of Mandarin, echoed
by the string harmonics.
The music in Rehearsal F,
G and H (m 129-202) is a
toccata, starting in the
orchestra (led by the
marimba), which builds up
a big shape, to reach the
climax in m. 157
(Rehearsal G, the
location of the Golden
Section, according to the
length of the music
without cadenzas), and
keeps the vivid scene
towards the coda (from
Rehearsal I, m. 203),
which stands on the
energetic peak until the
clear cutoff on measure
239, followed by the
short, yet powerful solo
conclusion with the
lingering echo produced
by the high string
harmonics. On the top,
there is a recall of the
three note motive in the
sound of wonderland,
touched by the motor-on
vibraphone meaningfully.
The music is written for
2 flutes, 2 oboes, 2
clarinets (in Bb), 2
bassoons, 4 French horns
(in F), 2 trumpets (in
Bb), 3 trombones, tuba,
harp, 3 percussion
players (Perc. 1:
xylophone; Perc. 2:
suspended cymbal,
Japanese high woodblock,
snare drum, bass drum and
vibraphone; Perc. 3:
marimba and tam-tam),
solo violin, and strings.
Duration is about 20
minutes. The violin
concerto is commissioned
by Friends of Dresden
Music Foundation for
American soloist Mira
Wang and the New York
Philharmonic and
Staatskapelle Dresden as
an American commemoration
of the reconstruction of
the Dresden Frauenkirche,
60 years after its
destruction in World War
II by American and
British Forces. The world
premiere is given at the
Semperoper in Dresden,
Germany, on October 9, 10
& 11, 2005, conducted by
Ivan Fischer.Full of
excitement and inner
power, the musical image
is vivid, energetic,
sometimeslyrical and
sometimes dramatic. The
major angular thematic
material (a three
notemotive) consists of
big leaps in interval (a
perfect fourth downward
and then a minorseventh
upward, first introduced
by the violin solo in
measures 27-29). Except
for thecadenzas which
stand at the middle
(Rehearsal E, measure
127) and the two ends of
the piece as a frame, the
virtuosic violin solo
line is always
accompanied by the ever
moving and growing
textures in the
background. The rests
between long and short
phrases symbolize the
space in Chinese
paintings. The Beijing
Opera reciting tune, and
the fingerings to produce
sliding tones in the
performance of the
Chinese fiddle erhu are
also borrowed in the
writing and the
performing of the western
instruments.The musical
imagination of the violin
concerto came from an
ancient Chinese poem with
the same title, written
by Du Fu (712-770) in
Tang Dynasty.Happy Rain
on a Spring Nightby Du Fu
(712-770 in Tang
Dynasty)Happy rain comes
in time,When spring is in
its prime.With night
breeze it will fall,And
quietly moisten
all.Clouds darken wild
roads,Light brightens a
little boat.Saturated at
dawn,With flowers
blooming the
town.(English translation
by Chen Yi from the
original poem in
Chinese)The following is
the poem in its original
Chinese form, and the
detailed introduction
onthe structural plan of
the violin concerto
Spring in
Dresden.It’s like
the welcome rain on a
quiet spring night that
nurtures the budding
seeds, our newsociety is
pushing us forward to the
new future. The music
reflects the scenes and
theexpression according
to the meaning of the
poem when it’s
being unfolded line by
line.Although the tempo
is set 63 quarter notes
per minute throughout
(played vividly,
neverslow down), the
tension is being built up
from the quiet background
in the beginning, tothe
sustained climax towards
the end. The musical
image in Rehearsal A and
B (measures39-80)
represents the first four
lines of the poem. The
wind instruments response
to therustling of fast
moving notes on muted
string triplets,
decorated by occasional
strokesproduced by
metallic string sound and
high woodwind gestures.
The music in RehearsalC
and D (measures 81-126)
represents the next two
lines of the poem. It's
so dark, a littlelight in
the boat is shimmering on
the lake... The breathy
sound and key slaps on
theflutes create a
mysterious atmosphere, in
a dialogue with other
instruments. The
celloglissandi recite the
poem in the tone of
Mandarin, echoed by the
string harmonics.
Themusic in Rehearsal F,
G and H (m 129-202) is a
toccata, starting in the
orchestra (led bythe
marimba), which builds up
a big shape, to reach the
climax in m. 157
(Rehearsal G,the location
of the Golden Section,
according to the length
of the music
withoutcadenzas), and
keeps the vivid scene
towards the coda (from
Rehearsal I, m. 203),
whichstands on the
energetic peak until the
clear cutoff on measure
239, followed by the
short,yet powerful solo
conclusion with the
lingering echo produced
by the high
stringharmonics. On the
top, there is a recall of
the three note motive in
the sound ofwonderland,
touched by the motor-on
vibraphone
meaningfully.The music is
written for 2 flutes, 2
oboes, 2 clarinets (in
Bb), 2 bassoons, 4 French
horns (in F), 2 trumpets
(in Bb), 3 trombones,
tuba, harp, 3 percussion
players (Perc.
1:xylophone; Perc. 2:
suspended cymbal,
Japanese high woodblock,
snare drum, bass drum and
vibraphone; Perc. 3:
marimba and tam-tam),
solo violin, and
strings.Duration is about
20 minutes. $35.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Spring in Dresden Theodore Presser Co.
Orchestra Bass Drum, Bassoon 1, Bassoon 2, Clarinet 1, Clarinet 2, Contrabass, F...(+)
Orchestra Bass Drum,
Bassoon 1, Bassoon 2,
Clarinet 1, Clarinet 2,
Contrabass, Flute 1,
Flute 2, Harp, Horn 1,
Horn 2, Horn 3, Horn 4,
Marimba, Oboe 1, Oboe 2,
Percussion 1, Percussion
2, Percussion 3, Snare
Drum, Suspended Cymbal,
Tam-tam, Trombone 1 and
more. SKU:
PR.11641963SP
Composed by Chen Yi.
Part. 11 pages. Duration
20 minutes. Theodore
Presser Company
#116-41963SP. Published
by Theodore Presser
Company (PR.11641963SP).
UPC:
680160684496. The
violin concerto is
commissioned by Friends
of Dresden Music
Foundation for American
soloist Mira Wang and the
New York Philharmonic and
Staatskapelle Dresden as
an American commemoration
of the reconstruction of
the Dresden Frauenkirche,
60 years after its
destruction in World War
II by American and
British Forces. The world
premiere is given at the
Semperoper in Dresden,
Germany, on October 9, 10
& 11, 2005, conducted
by Ivan Fischer. Full of
excitement and inner
power, the musical image
is vivid, energetic,
sometimes lyrical and
sometimes dramatic. The
major angular thematic
material (a three note
motive) consists of big
leaps in interval (a
perfect fourth downward
and then a minor seventh
upward, first introduced
by the violin solo in
measures 27-29). Except
for the cadenzas which
stand at the middle
(Rehearsal E, measure
127) and the two ends of
the piece as a frame, the
virtuosic violin solo
line is always
accompanied by the ever
moving and growing
textures in the
background. The rests
between long and short
phrases symbolize the
space in Chinese
paintings. The Beijing
Opera reciting tune, and
the fingerings to produce
sliding tones in the
performance of the
Chinese fiddle erhu are
also borrowed in the
writing and the
performing of the western
instruments. The musical
imagination of the violin
concerto came from an
ancient Chinese poem with
the same title, written
by Du Fu (712-770) in
Tang Dynasty. Happy Rain
on a Spring Night by Du
Fu (712-770 in Tang
Dynasty) Happy rain comes
in time, When spring is
in its prime. With night
breeze it will fall, And
quietly moisten all.
Clouds darken wild roads,
Light brightens a little
boat. Saturated at dawn,
With flowers blooming the
town. (English
translation by Chen Yi
from the original poem in
Chinese) The following is
the poem in its original
Chinese form, and the
detailed introduction on
the structural plan of
the violin concerto
Spring in Dresden. It's
like the welcome rain on
a quiet spring night that
nurtures the budding
seeds, our new society is
pushing us forward to the
new future. The music
reflects the scenes and
the expression according
to the meaning of the
poem when it's being
unfolded line by line.
Although the tempo is set
63 quarter notes per
minute throughout (played
vividly, never slow
down), the tension is
being built up from the
quiet background in the
beginning, to the
sustained climax towards
the end. The musical
image in Rehearsal A and
B (measures 39-80)
represents the first four
lines of the poem. The
wind instruments response
to the rustling of fast
moving notes on muted
string triplets,
decorated by occasional
strokes produced by
metallic string sound and
high woodwind gestures.
The music in Rehearsal C
and D (measures 81-126)
represents the next two
lines of the poem. It's
so dark, a little light
in the boat is shimmering
on the lake... The
breathy sound and key
slaps on the flutes
create a mysterious
atmosphere, in a dialogue
with other instruments.
The cello glissandi
recite the poem in the
tone of Mandarin, echoed
by the string harmonics.
The music in Rehearsal F,
G and H (m 129-202) is a
toccata, starting in the
orchestra (led by the
marimba), which builds up
a big shape, to reach the
climax in m. 157
(Rehearsal G, the
location of the Golden
Section, according to the
length of the music
without cadenzas), and
keeps the vivid scene
towards the coda (from
Rehearsal I, m. 203),
which stands on the
energetic peak until the
clear cutoff on measure
239, followed by the
short, yet powerful solo
conclusion with the
lingering echo produced
by the high string
harmonics. On the top,
there is a recall of the
three note motive in the
sound of wonderland,
touched by the motor-on
vibraphone meaningfully.
The music is written for
2 flutes, 2 oboes, 2
clarinets (in Bb), 2
bassoons, 4 French horns
(in F), 2 trumpets (in
Bb), 3 trombones, tuba,
harp, 3 percussion
players (Perc. 1:
xylophone; Perc. 2:
suspended cymbal,
Japanese high woodblock,
snare drum, bass drum and
vibraphone; Perc. 3:
marimba and tam-tam),
solo violin, and strings.
Duration is about 20
minutes. The violin
concerto is commissioned
by Friends of Dresden
Music Foundation for
American soloist Mira
Wang and the New York
Philharmonic and
Staatskapelle Dresden as
an American commemoration
of the reconstruction of
the Dresden Frauenkirche,
60 years after its
destruction in World War
II by American and
British Forces. The world
premiere is given at the
Semperoper in Dresden,
Germany, on October 9, 10
& 11, 2005, conducted by
Ivan Fischer.Full of
excitement and inner
power, the musical image
is vivid, energetic,
sometimeslyrical and
sometimes dramatic. The
major angular thematic
material (a three
notemotive) consists of
big leaps in interval (a
perfect fourth downward
and then a minorseventh
upward, first introduced
by the violin solo in
measures 27-29). Except
for thecadenzas which
stand at the middle
(Rehearsal E, measure
127) and the two ends of
the piece as a frame, the
virtuosic violin solo
line is always
accompanied by the ever
moving and growing
textures in the
background. The rests
between long and short
phrases symbolize the
space in Chinese
paintings. The Beijing
Opera reciting tune, and
the fingerings to produce
sliding tones in the
performance of the
Chinese fiddle erhu are
also borrowed in the
writing and the
performing of the western
instruments.The musical
imagination of the violin
concerto came from an
ancient Chinese poem with
the same title, written
by Du Fu (712-770) in
Tang Dynasty.Happy Rain
on a Spring Nightby Du Fu
(712-770 in Tang
Dynasty)Happy rain comes
in time,When spring is in
its prime.With night
breeze it will fall,And
quietly moisten
all.Clouds darken wild
roads,Light brightens a
little boat.Saturated at
dawn,With flowers
blooming the
town.(English translation
by Chen Yi from the
original poem in
Chinese)The following is
the poem in its original
Chinese form, and the
detailed introduction
onthe structural plan of
the violin concerto
Spring in
Dresden.It’s like
the welcome rain on a
quiet spring night that
nurtures the budding
seeds, our newsociety is
pushing us forward to the
new future. The music
reflects the scenes and
theexpression according
to the meaning of the
poem when it’s
being unfolded line by
line.Although the tempo
is set 63 quarter notes
per minute throughout
(played vividly,
neverslow down), the
tension is being built up
from the quiet background
in the beginning, tothe
sustained climax towards
the end. The musical
image in Rehearsal A and
B (measures39-80)
represents the first four
lines of the poem. The
wind instruments response
to therustling of fast
moving notes on muted
string triplets,
decorated by occasional
strokesproduced by
metallic string sound and
high woodwind gestures.
The music in RehearsalC
and D (measures 81-126)
represents the next two
lines of the poem. It's
so dark, a littlelight in
the boat is shimmering on
the lake... The breathy
sound and key slaps on
theflutes create a
mysterious atmosphere, in
a dialogue with other
instruments. The
celloglissandi recite the
poem in the tone of
Mandarin, echoed by the
string harmonics.
Themusic in Rehearsal F,
G and H (m 129-202) is a
toccata, starting in the
orchestra (led bythe
marimba), which builds up
a big shape, to reach the
climax in m. 157
(Rehearsal G,the location
of the Golden Section,
according to the length
of the music
withoutcadenzas), and
keeps the vivid scene
towards the coda (from
Rehearsal I, m. 203),
whichstands on the
energetic peak until the
clear cutoff on measure
239, followed by the
short,yet powerful solo
conclusion with the
lingering echo produced
by the high
stringharmonics. On the
top, there is a recall of
the three note motive in
the sound ofwonderland,
touched by the motor-on
vibraphone
meaningfully.The music is
written for 2 flutes, 2
oboes, 2 clarinets (in
Bb), 2 bassoons, 4 French
horns (in F), 2 trumpets
(in Bb), 3 trombones,
tuba, harp, 3 percussion
players (Perc.
1:xylophone; Perc. 2:
suspended cymbal,
Japanese high woodblock,
snare drum, bass drum and
vibraphone; Perc. 3:
marimba and tam-tam),
solo violin, and
strings.Duration is about
20 minutes. $25.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Spring in Dresden Theodore Presser Co.
Orchestra Bass Drum, Bassoon 1, Bassoon 2, Clarinet 1, Clarinet 2, Contrabass, F...(+)
Orchestra Bass Drum,
Bassoon 1, Bassoon 2,
Clarinet 1, Clarinet 2,
Contrabass, Flute 1,
Flute 2, Harp, Horn 1,
Horn 2, Horn 3, Horn 4,
Marimba, Oboe 1, Oboe 2,
Percussion 1, Percussion
2, Percussion 3, Snare
Drum, Suspended Cymbal,
Tam-tam, Trombone 1 and
more. SKU:
PR.11641963L Composed
by Chen Yi. Large Score.
58 pages. Duration 20
minutes. Theodore Presser
Company #116-41963L.
Published by Theodore
Presser Company
(PR.11641963L). UPC:
680160684489. The
violin concerto is
commissioned by Friends
of Dresden Music
Foundation for American
soloist Mira Wang and the
New York Philharmonic and
Staatskapelle Dresden as
an American commemoration
of the reconstruction of
the Dresden Frauenkirche,
60 years after its
destruction in World War
II by American and
British Forces. The world
premiere is given at the
Semperoper in Dresden,
Germany, on October 9, 10
& 11, 2005, conducted
by Ivan Fischer. Full of
excitement and inner
power, the musical image
is vivid, energetic,
sometimes lyrical and
sometimes dramatic. The
major angular thematic
material (a three note
motive) consists of big
leaps in interval (a
perfect fourth downward
and then a minor seventh
upward, first introduced
by the violin solo in
measures 27-29). Except
for the cadenzas which
stand at the middle
(Rehearsal E, measure
127) and the two ends of
the piece as a frame, the
virtuosic violin solo
line is always
accompanied by the ever
moving and growing
textures in the
background. The rests
between long and short
phrases symbolize the
space in Chinese
paintings. The Beijing
Opera reciting tune, and
the fingerings to produce
sliding tones in the
performance of the
Chinese fiddle erhu are
also borrowed in the
writing and the
performing of the western
instruments. The musical
imagination of the violin
concerto came from an
ancient Chinese poem with
the same title, written
by Du Fu (712-770) in
Tang Dynasty. Happy Rain
on a Spring Night by Du
Fu (712-770 in Tang
Dynasty) Happy rain comes
in time, When spring is
in its prime. With night
breeze it will fall, And
quietly moisten all.
Clouds darken wild roads,
Light brightens a little
boat. Saturated at dawn,
With flowers blooming the
town. (English
translation by Chen Yi
from the original poem in
Chinese) The following is
the poem in its original
Chinese form, and the
detailed introduction on
the structural plan of
the violin concerto
Spring in Dresden. It's
like the welcome rain on
a quiet spring night that
nurtures the budding
seeds, our new society is
pushing us forward to the
new future. The music
reflects the scenes and
the expression according
to the meaning of the
poem when it's being
unfolded line by line.
Although the tempo is set
63 quarter notes per
minute throughout (played
vividly, never slow
down), the tension is
being built up from the
quiet background in the
beginning, to the
sustained climax towards
the end. The musical
image in Rehearsal A and
B (measures 39-80)
represents the first four
lines of the poem. The
wind instruments response
to the rustling of fast
moving notes on muted
string triplets,
decorated by occasional
strokes produced by
metallic string sound and
high woodwind gestures.
The music in Rehearsal C
and D (measures 81-126)
represents the next two
lines of the poem. It's
so dark, a little light
in the boat is shimmering
on the lake... The
breathy sound and key
slaps on the flutes
create a mysterious
atmosphere, in a dialogue
with other instruments.
The cello glissandi
recite the poem in the
tone of Mandarin, echoed
by the string harmonics.
The music in Rehearsal F,
G and H (m 129-202) is a
toccata, starting in the
orchestra (led by the
marimba), which builds up
a big shape, to reach the
climax in m. 157
(Rehearsal G, the
location of the Golden
Section, according to the
length of the music
without cadenzas), and
keeps the vivid scene
towards the coda (from
Rehearsal I, m. 203),
which stands on the
energetic peak until the
clear cutoff on measure
239, followed by the
short, yet powerful solo
conclusion with the
lingering echo produced
by the high string
harmonics. On the top,
there is a recall of the
three note motive in the
sound of wonderland,
touched by the motor-on
vibraphone meaningfully.
The music is written for
2 flutes, 2 oboes, 2
clarinets (in Bb), 2
bassoons, 4 French horns
(in F), 2 trumpets (in
Bb), 3 trombones, tuba,
harp, 3 percussion
players (Perc. 1:
xylophone; Perc. 2:
suspended cymbal,
Japanese high woodblock,
snare drum, bass drum and
vibraphone; Perc. 3:
marimba and tam-tam),
solo violin, and strings.
Duration is about 20
minutes. The violin
concerto is commissioned
by Friends of Dresden
Music Foundation for
American soloist Mira
Wang and the New York
Philharmonic and
Staatskapelle Dresden as
an American commemoration
of the reconstruction of
the Dresden Frauenkirche,
60 years after its
destruction in World War
II by American and
British Forces. The world
premiere is given at the
Semperoper in Dresden,
Germany, on October 9, 10
& 11, 2005, conducted by
Ivan Fischer.Full of
excitement and inner
power, the musical image
is vivid, energetic,
sometimeslyrical and
sometimes dramatic. The
major angular thematic
material (a three
notemotive) consists of
big leaps in interval (a
perfect fourth downward
and then a minorseventh
upward, first introduced
by the violin solo in
measures 27-29). Except
for thecadenzas which
stand at the middle
(Rehearsal E, measure
127) and the two ends of
the piece as a frame, the
virtuosic violin solo
line is always
accompanied by the ever
moving and growing
textures in the
background. The rests
between long and short
phrases symbolize the
space in Chinese
paintings. The Beijing
Opera reciting tune, and
the fingerings to produce
sliding tones in the
performance of the
Chinese fiddle erhu are
also borrowed in the
writing and the
performing of the western
instruments.The musical
imagination of the violin
concerto came from an
ancient Chinese poem with
the same title, written
by Du Fu (712-770) in
Tang Dynasty.Happy Rain
on a Spring Nightby Du Fu
(712-770 in Tang
Dynasty)Happy rain comes
in time,When spring is in
its prime.With night
breeze it will fall,And
quietly moisten
all.Clouds darken wild
roads,Light brightens a
little boat.Saturated at
dawn,With flowers
blooming the
town.(English translation
by Chen Yi from the
original poem in
Chinese)The following is
the poem in its original
Chinese form, and the
detailed introduction
onthe structural plan of
the violin concerto
Spring in
Dresden.It’s like
the welcome rain on a
quiet spring night that
nurtures the budding
seeds, our newsociety is
pushing us forward to the
new future. The music
reflects the scenes and
theexpression according
to the meaning of the
poem when it’s
being unfolded line by
line.Although the tempo
is set 63 quarter notes
per minute throughout
(played vividly,
neverslow down), the
tension is being built up
from the quiet background
in the beginning, tothe
sustained climax towards
the end. The musical
image in Rehearsal A and
B (measures39-80)
represents the first four
lines of the poem. The
wind instruments response
to therustling of fast
moving notes on muted
string triplets,
decorated by occasional
strokesproduced by
metallic string sound and
high woodwind gestures.
The music in RehearsalC
and D (measures 81-126)
represents the next two
lines of the poem. It's
so dark, a littlelight in
the boat is shimmering on
the lake... The breathy
sound and key slaps on
theflutes create a
mysterious atmosphere, in
a dialogue with other
instruments. The
celloglissandi recite the
poem in the tone of
Mandarin, echoed by the
string harmonics.
Themusic in Rehearsal F,
G and H (m 129-202) is a
toccata, starting in the
orchestra (led bythe
marimba), which builds up
a big shape, to reach the
climax in m. 157
(Rehearsal G,the location
of the Golden Section,
according to the length
of the music
withoutcadenzas), and
keeps the vivid scene
towards the coda (from
Rehearsal I, m. 203),
whichstands on the
energetic peak until the
clear cutoff on measure
239, followed by the
short,yet powerful solo
conclusion with the
lingering echo produced
by the high
stringharmonics. On the
top, there is a recall of
the three note motive in
the sound ofwonderland,
touched by the motor-on
vibraphone
meaningfully.The music is
written for 2 flutes, 2
oboes, 2 clarinets (in
Bb), 2 bassoons, 4 French
horns (in F), 2 trumpets
(in Bb), 3 trombones,
tuba, harp, 3 percussion
players (Perc.
1:xylophone; Perc. 2:
suspended cymbal,
Japanese high woodblock,
snare drum, bass drum and
vibraphone; Perc. 3:
marimba and tam-tam),
solo violin, and
strings.Duration is about
20 minutes. $55.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Habits of a Successful Beginner Band Musician - Clarinet GIA Publications
SKU: GI.G-10164 A Comprehensive Method Book for Year One and Beyond(+)
SKU: GI.G-10164
A Comprehensive Method
Book for Year One and
Beyond. Composed by
Jeff Scott and Scott
Rush. Habits. Music
Education. 56 pages. GIA
Publications #10164.
Published by GIA
Publications
(GI.G-10164). ISBN
9781622774739. NOW
AVAILABLE! Habits of a
Successful Beginner Band
Musician is a
field-tested, vital,
and—most
important—musical
collection of 225
sequenced exercises for
the beginning band
student. The
book’s
cutting-edge online
component,
Habits Universal,
features a backend
gradebook that allows
students to submit video
recordings of their
performances as a primary
source of assessment.
This gradebook is
compatible with
PowerSchool, Canvas,
Google Classroom,
Brightspace, Edmodo,
Schoology, and many other
platforms! In addition,
Habits Universal features
supplemental rhythm
vocabulary sheets,
accompaniment tracks,
video start-up clinics,
as well as a professional
video coach for each
exercise in the book.
What makes Habits of a
Successful Beginner Band
Musician unique? Features
include:Â Teacher tips
for each exercise in the
book. Diatonic
solfege that begins on
the first day of
instruction. Initial
exercises on the
mouthpiece, mouthpiece
and barrel, reed, bocal
and reed, or headjoint
prior to playing the
first notes in the book.
Sequential rhythm charts
embedded in the book.
These same rhythms are
then presented with
pitches for a seamless
transfer to the music
students are
performing. Technique
and skill-building
exercises embedded within
the method, which helps
to prepare students for
future Habits
exercises. The
introduction of the key
of Concert C, which
results in students
playing the pitches B, E,
and A more often (as
opposed to the typical
emphasis on B-flat,
E-flat, and A-flat). The
introduction of five
keys: Concert B-flat,
E-flat, A-flat, C, and F.
The Concert G scale is
also provided in the back
of the book. Left (L)
and right (R) indicators
for woodwinds along with
appropriate chromatic
alternate fingering
indicators. Shaded
boxes around first-time
challenges in the student
books. A thorough
explanation of (T:1) for
trombones and rules for
when to use it.Â
Rhythm vocabulary that
progresses through
quarters, eighths, dotted
rhythms, sixteenths, and
an eighth and two
sixteenths. The
sequential introduction
of the one-handed
breakdown of a percussion
rudiment before
introducing the rudiment
itself. The use of
the “enharmonic
ladder†and the
“call-and-response
game†to learn
enharmonic notes. A
thorough explanation of
and markings for the
“F dilemmaâ€
on oboe. An explanation
of appropriate flicking
on bassoon. Two pages
of slow “clarinets
only†work that
focuses on going over the
break and throat
tones. . $10.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Habits of a Successful Beginner Band Musician - Bass Clarinet GIA Publications
SKU: GI.G-10165 A Comprehensive Method Book for Year One and Beyond(+)
SKU: GI.G-10165
A Comprehensive Method
Book for Year One and
Beyond. Composed by
Jeff Scott and Scott
Rush. Habits. Music
Education. 56 pages. GIA
Publications #10165.
Published by GIA
Publications
(GI.G-10165). ISBN
9781622774746. NOW
AVAILABLE! Habits of a
Successful Beginner Band
Musician is a
field-tested, vital,
and—most
important—musical
collection of 225
sequenced exercises for
the beginning band
student. The
book’s
cutting-edge online
component,
Habits Universal,
features a backend
gradebook that allows
students to submit video
recordings of their
performances as a primary
source of assessment.
This gradebook is
compatible with
PowerSchool, Canvas,
Google Classroom,
Brightspace, Edmodo,
Schoology, and many other
platforms! In addition,
Habits Universal features
supplemental rhythm
vocabulary sheets,
accompaniment tracks,
video start-up clinics,
as well as a professional
video coach for each
exercise in the book.
What makes Habits of a
Successful Beginner Band
Musician unique? Features
include:Â Teacher tips
for each exercise in the
book. Diatonic
solfege that begins on
the first day of
instruction. Initial
exercises on the
mouthpiece, mouthpiece
and barrel, reed, bocal
and reed, or headjoint
prior to playing the
first notes in the book.
Sequential rhythm charts
embedded in the book.
These same rhythms are
then presented with
pitches for a seamless
transfer to the music
students are
performing. Technique
and skill-building
exercises embedded within
the method, which helps
to prepare students for
future Habits
exercises. The
introduction of the key
of Concert C, which
results in students
playing the pitches B, E,
and A more often (as
opposed to the typical
emphasis on B-flat,
E-flat, and A-flat). The
introduction of five
keys: Concert B-flat,
E-flat, A-flat, C, and F.
The Concert G scale is
also provided in the back
of the book. Left (L)
and right (R) indicators
for woodwinds along with
appropriate chromatic
alternate fingering
indicators. Shaded
boxes around first-time
challenges in the student
books. A thorough
explanation of (T:1) for
trombones and rules for
when to use it.Â
Rhythm vocabulary that
progresses through
quarters, eighths, dotted
rhythms, sixteenths, and
an eighth and two
sixteenths. The
sequential introduction
of the one-handed
breakdown of a percussion
rudiment before
introducing the rudiment
itself. The use of
the “enharmonic
ladder†and the
“call-and-response
game†to learn
enharmonic notes. A
thorough explanation of
and markings for the
“F dilemmaâ€
on oboe. An explanation
of appropriate flicking
on bassoon. Two pages
of slow “clarinets
only†work that
focuses on going over the
break and throat
tones. . $10.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Summer Sounds Carl Fischer
Chamber Music Clarinet, Viola, Violin 1, Violin 2, Violoncello SKU: CF.FE88(+)
Chamber Music Clarinet,
Viola, Violin 1, Violin
2, Violoncello SKU:
CF.FE88 Composed by
Louise Talma. Set of
Score and Parts. With
Standard notation.
20+6+6+6+6+6+6+6+6+6+6+30
+30 pages. Carl Fischer
Music #FE88. Published by
Carl Fischer Music
(CF.FE88). ISBN
9780825878930. UPC:
798408078935. Talma
's clarinet quintet was
composed between 1969 and
1973, while in her mid-
to late-60s. The four
poetic movements (Dawn,
Morning, Noon, Night)
feature quarter-tones,
glissandi, and other
effects to evoke the
passage of a summer
day. $80.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Summer Sounds Carl Fischer
Chamber Music Clarinet, Viola, Violin 1, Violin 2, Violoncello SKU: CF.FE88S<...(+)
Chamber Music Clarinet,
Viola, Violin 1, Violin
2, Violoncello SKU:
CF.FE88S Composed by
Louise Talma. Large
Score. With Standard
notation. 20 pages. Carl
Fischer Music #FE88S.
Published by Carl Fischer
Music (CF.FE88S). ISBN
9780825878947. UPC:
798408078942. 11x14
inches. Talma's
clarinet quintet was
composed between 1969 and
1973, while in her mid-
to late-60s. The four
poetic movements (Dawn,
Morning, Noon, Night)
feature quarter-tones,
glissandi, and other
effects to evoke the
passage of a summer
day. $32.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Fanfare and Jubilation [Conducteur] - Débutant Carl Fischer
Band Bass Clarinet, Bass Drum, Bass Trombone, Bassoon, Bells, Clarinet 1, Clarin...(+)
Band Bass Clarinet, Bass
Drum, Bass Trombone,
Bassoon, Bells, Clarinet
1, Clarinet 2, Crash
Cymbals, Euphonium,
Euphonium T.C., Flute 1,
Flute 2, Horn, Mallet
Percussion, Oboe,
Percussion 1, Percussion
2, Snare Drum, Timpani,
Trombone, Trumpet 1 and
more. - Grade 1 SKU:
CF.BPS137F Composed
by Michael Boo. Sws. Bps.
Full score. 16 pages.
Duration 2:20. Carl
Fischer Music #BPS137F.
Published by Carl Fischer
Music (CF.BPS137F).
ISBN 9781491158494.
UPC: 680160917099. 9 x 12
inches. Fanfare and
Jubilation is a Grade 1
work that is playable by
any beginning band with
any instrumentation due
to extensive doubling.
The mood is regal and
optimistic and is
non-programmatic,
conveying no picturesque
image or storyline. It is
appropriate for any
occasion. Accents are to
be emphasized more than
non-accented notes, but
are not to be hammered
hard. Stress that
accented notes are to be
played with the same good
tone as the other notes
and that pitches should
not suffer from the
additional emphasis.
Think of the accents as
more of an additional
emphasis from the air
column and not the
tongue. Percussion
accents are to played
with more emphasis than
non-accented notes, but
shouldnat be perceived as
being much louder.
Timpani is only two
pitches and is optional.
The piece will not suffer
at all if you donat have
access to Timpani or a
timpanist. Bells cover a
wide rangea|the lower
octave sections should
not be played louder just
because theyare low
pitched, as those notes
will still be
appropriately heard while
supporting the melody. Do
not use brass mallets.
Balter 10 Phenolic
mallets or equivalent
(such as clear Balter
Lexan or white Medium
Hard Poly models) are
most appropriate. Think
of the m. 10 accented
quarter notes tied to the
half notes (and similar
later examples) as being
akin to Horn rips in a
Hollywood movie. They are
to be emphasized slightly
but should not be
blaring. Even though they
are the only things
happening on counts 2 and
3, care must be given
that the young players
donat get carried away
and give them more
emphasis than is
musically desired. At m.
21, be careful that the
bass line isnat plodding
or over-emphasized due to
the accents. Those
players should be aware
of the sudden drop in
volume and lack of
accents at m. 25.
Attention to sudden
dynamic shifts will add
interest to the piece and
present a more musical
performance. Throughout
this entire section, try
to get all winds to
sustain a single breath
through four bars until
the breath marks. If they
are unable to do so,
please explain the
concept of staggered
breathing between members
of their section. There
may be a tendency among
the players to blast out
m. 57 to the end. Notes
should have more power
than the section from mm.
21-56, but are still to
be approached musically.
Explaining such concepts
during their early
musical development will
go far in helping them
develop good traits that
will pay off dividends in
the future. Fanfare
and Jubilation is a Grade
1 work that is playable
by any beginning band
with any instrumentation
due to extensive
doubling. The mood is
regal and optimistic and
is non-programmatic,
conveying no picturesque
image or storyline. It is
appropriate for any
occasion. Accents are to
be emphasized more than
non-accented notes, but
are not to be hammered
hard. Stress that
accented notes are to be
played with the same good
tone as the other notes
and that pitches should
not suffer from the
additional emphasis.
Think of the accents as
more of an additional
emphasis from the air
column and not the
tongue. Percussion
accents are to played
with more emphasis than
non-accented notes, but
shouldn't be perceived as
being much louder.
Timpani is only two
pitches and is optional.
The piece will not suffer
at all if you don't have
access to Timpani or a
timpanist. Bells cover a
wide range...the lower
octave sections should
not be played louder just
because they're low
pitched, as those notes
will still be
appropriately heard while
supporting the melody. Do
not use brass mallets.
Balter 10 Phenolic
mallets or equivalent
(such as clear Balter
Lexan or white Medium
Hard Poly models) are
most appropriate. Think
of the m. 10 accented
quarter notes tied to the
half notes (and similar
later examples) as being
akin to Horn rips in a
Hollywood movie. They are
to be emphasized slightly
but should not be
blaring. Even though they
are the only things
happening on counts 2 and
3, care must be given
that the young players
don't get carried away
and give them more
emphasis than is
musically desired. At m.
21, be careful that the
bass line isn't plodding
or over-emphasized due to
the accents. Those
players should be aware
of the sudden drop in
volume and lack of
accents at m. 25.
Attention to sudden
dynamic shifts will add
interest to the piece and
present a more musical
performance. Throughout
this entire section, try
to get all winds to
sustain a single breath
through four bars until
the breath marks. If they
are unable to do so,
please explain the
concept of staggered
breathing between members
of their section. There
may be a tendency among
the players to blast out
m. 57 to the end. Notes
should have more power
than the section from mm.
21-56, but are still to
be approached musically.
Explaining such concepts
during their early
musical development will
go far in helping them
develop good traits that
will pay off dividends in
the future. Fanfare
and Jubilation is a Grade
1 work that is playable
by any beginning band
with any instrumentation
due to extensive
doubling. The mood is
regal and optimistic and
is non-programmatic,
conveying no picturesque
image or storyline. It is
appropriate for any
occasion.Accents are to
be emphasized more than
non-accented notes, but
are not to be hammered
hard. Stress that
accented notes are to be
played with the same good
tone as the other notes
and that pitches should
not suffer from the
additional emphasis.
Think of the accents as
more of an additional
emphasis from the air
column and not the
tongue.Percussion accents
are to played with more
emphasis than
non-accented notes, but
shouldn’t be
perceived as being much
louder. Timpani is only
two pitches and is
optional. The piece will
not suffer at all if you
don’t have access
to Timpani or a
timpanist. Bells cover a
wide range…the
lower octave sections
should not be played
louder just because
they’re low
pitched, as those notes
will still be
appropriately heard while
supporting the melody. Do
not use brass mallets.
Balter 10 Phenolic
mallets or equivalent
(such as clear Balter
Lexan or white Medium
Hard Poly models) are
most appropriate.Think of
the m. 10 accented
quarter notes tied to the
half notes (and similar
later examples) as being
akin to Horn rips in a
Hollywood movie. They are
to be emphasized slightly
but should not be
blaring. Even though they
are the only things
happening on counts 2 and
3, care must be given
that the young players
don’t get carried
away and give them more
emphasis than is
musically desired.At m.
21, be careful that the
bass line isn’t
plodding or
over-emphasized due to
the accents. Those
players should be aware
of the sudden drop in
volume and lack of
accents at m. 25.
Attention to sudden
dynamic shifts will add
interest to the piece and
present a more musical
performance. Throughout
this entire section, try
to get all winds to
sustain a single breath
through four bars until
the breath marks. If they
are unable to do so,
please explain the
concept of staggered
breathing between members
of their section.There
may be a tendency among
the players to blast out
m. 57 to the end. Notes
should have more power
than the section from mm.
21-56, but are still to
be approached musically.
Explaining such concepts
during their early
musical development will
go far in helping them
develop good traits that
will pay off dividends in
the future. $7.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Fanfare and Jubilation - Débutant Carl Fischer
Band Bass Clarinet, Bass Drum, Bass Trombone, Bassoon, Bells, Clarinet 1, Clarin...(+)
Band Bass Clarinet, Bass
Drum, Bass Trombone,
Bassoon, Bells, Clarinet
1, Clarinet 2, Crash
Cymbals, Euphonium,
Euphonium T.C., Flute 1,
Flute 2, Horn, Mallet
Percussion, Oboe,
Percussion 1, Percussion
2, Snare Drum, Timpani,
Trombone, Trumpet 1 and
more. - Grade 1 SKU:
CF.BPS137 Composed by
Michael Boo. Folio. Bps.
Set of Score and Parts.
4+4+2+4+4+2+2+3+2+2+2+4+4
+3+2+2+2+3+1+1+2+1+16
pages. Duration 2:20.
Carl Fischer Music
#BPS137. Published by
Carl Fischer Music
(CF.BPS137). ISBN
9781491158487. UPC:
680160917082. 9 x 12
inches. Fanfare and
Jubilation is a Grade 1
work that is playable by
any beginning band with
any instrumentation due
to extensive doubling.
The mood is regal and
optimistic and is
non-programmatic,
conveying no picturesque
image or storyline. It is
appropriate for any
occasion. Accents are to
be emphasized more than
non-accented notes, but
are not to be hammered
hard. Stress that
accented notes are to be
played with the same good
tone as the other notes
and that pitches should
not suffer from the
additional emphasis.
Think of the accents as
more of an additional
emphasis from the air
column and not the
tongue. Percussion
accents are to played
with more emphasis than
non-accented notes, but
shouldnat be perceived as
being much louder.
Timpani is only two
pitches and is optional.
The piece will not suffer
at all if you donat have
access to Timpani or a
timpanist. Bells cover a
wide rangea|the lower
octave sections should
not be played louder just
because theyare low
pitched, as those notes
will still be
appropriately heard while
supporting the melody. Do
not use brass mallets.
Balter 10 Phenolic
mallets or equivalent
(such as clear Balter
Lexan or white Medium
Hard Poly models) are
most appropriate. Think
of the m. 10 accented
quarter notes tied to the
half notes (and similar
later examples) as being
akin to Horn rips in a
Hollywood movie. They are
to be emphasized slightly
but should not be
blaring. Even though they
are the only things
happening on counts 2 and
3, care must be given
that the young players
donat get carried away
and give them more
emphasis than is
musically desired. At m.
21, be careful that the
bass line isnat plodding
or over-emphasized due to
the accents. Those
players should be aware
of the sudden drop in
volume and lack of
accents at m. 25.
Attention to sudden
dynamic shifts will add
interest to the piece and
present a more musical
performance. Throughout
this entire section, try
to get all winds to
sustain a single breath
through four bars until
the breath marks. If they
are unable to do so,
please explain the
concept of staggered
breathing between members
of their section. There
may be a tendency among
the players to blast out
m. 57 to the end. Notes
should have more power
than the section from mm.
21-56, but are still to
be approached musically.
Explaining such concepts
during their early
musical development will
go far in helping them
develop good traits that
will pay off dividends in
the future. Fanfare
and Jubilation is a Grade
1 work that is playable
by any beginning band
with any instrumentation
due to extensive
doubling. The mood is
regal and optimistic and
is non-programmatic,
conveying no picturesque
image or storyline. It is
appropriate for any
occasion. Accents are to
be emphasized more than
non-accented notes, but
are not to be hammered
hard. Stress that
accented notes are to be
played with the same good
tone as the other notes
and that pitches should
not suffer from the
additional emphasis.
Think of the accents as
more of an additional
emphasis from the air
column and not the
tongue. Percussion
accents are to played
with more emphasis than
non-accented notes, but
shouldn't be perceived as
being much louder.
Timpani is only two
pitches and is optional.
The piece will not suffer
at all if you don't have
access to Timpani or a
timpanist. Bells cover a
wide range...the lower
octave sections should
not be played louder just
because they're low
pitched, as those notes
will still be
appropriately heard while
supporting the melody. Do
not use brass mallets.
Balter 10 Phenolic
mallets or equivalent
(such as clear Balter
Lexan or white Medium
Hard Poly models) are
most appropriate. Think
of the m. 10 accented
quarter notes tied to the
half notes (and similar
later examples) as being
akin to Horn rips in a
Hollywood movie. They are
to be emphasized slightly
but should not be
blaring. Even though they
are the only things
happening on counts 2 and
3, care must be given
that the young players
don't get carried away
and give them more
emphasis than is
musically desired. At m.
21, be careful that the
bass line isn't plodding
or over-emphasized due to
the accents. Those
players should be aware
of the sudden drop in
volume and lack of
accents at m. 25.
Attention to sudden
dynamic shifts will add
interest to the piece and
present a more musical
performance. Throughout
this entire section, try
to get all winds to
sustain a single breath
through four bars until
the breath marks. If they
are unable to do so,
please explain the
concept of staggered
breathing between members
of their section. There
may be a tendency among
the players to blast out
m. 57 to the end. Notes
should have more power
than the section from mm.
21-56, but are still to
be approached musically.
Explaining such concepts
during their early
musical development will
go far in helping them
develop good traits that
will pay off dividends in
the future. Fanfare
and Jubilation is a Grade
1 work that is playable
by any beginning band
with any instrumentation
due to extensive
doubling. The mood is
regal and optimistic and
is non-programmatic,
conveying no picturesque
image or storyline. It is
appropriate for any
occasion.Accents are to
be emphasized more than
non-accented notes, but
are not to be hammered
hard. Stress that
accented notes are to be
played with the same good
tone as the other notes
and that pitches should
not suffer from the
additional emphasis.
Think of the accents as
more of an additional
emphasis from the air
column and not the
tongue.Percussion accents
are to played with more
emphasis than
non-accented notes, but
shouldn’t be
perceived as being much
louder. Timpani is only
two pitches and is
optional. The piece will
not suffer at all if you
don’t have access
to Timpani or a
timpanist. Bells cover a
wide range…the
lower octave sections
should not be played
louder just because
they’re low
pitched, as those notes
will still be
appropriately heard while
supporting the melody. Do
not use brass mallets.
Balter 10 Phenolic
mallets or equivalent
(such as clear Balter
Lexan or white Medium
Hard Poly models) are
most appropriate.Think of
the m. 10 accented
quarter notes tied to the
half notes (and similar
later examples) as being
akin to Horn rips in a
Hollywood movie. They are
to be emphasized slightly
but should not be
blaring. Even though they
are the only things
happening on counts 2 and
3, care must be given
that the young players
don’t get carried
away and give them more
emphasis than is
musically desired.At m.
21, be careful that the
bass line isn’t
plodding or
over-emphasized due to
the accents. Those
players should be aware
of the sudden drop in
volume and lack of
accents at m. 25.
Attention to sudden
dynamic shifts will add
interest to the piece and
present a more musical
performance. Throughout
this entire section, try
to get all winds to
sustain a single breath
through four bars until
the breath marks. If they
are unable to do so,
please explain the
concept of staggered
breathing between members
of their section.There
may be a tendency among
the players to blast out
m. 57 to the end. Notes
should have more power
than the section from mm.
21-56, but are still to
be approached musically.
Explaining such concepts
during their early
musical development will
go far in helping them
develop good traits that
will pay off dividends in
the future. $53.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Happy Rain on A Spring Night - Score [Conducteur] Theodore Presser Co.
Chamber Music Clarinet, Flute, Piano, Violin, Violoncello SKU: PR.11441271S(+)
Chamber Music Clarinet,
Flute, Piano, Violin,
Violoncello SKU:
PR.11441271S For
Flute, Clarinet, violin,
Cello, and Piano.
Composed by Chen Yi. Poem
by Du Fu (712-770 in Tang
Dynasty). Premiered at
Merkin Hall in New York.
Contemporary. Full score.
With Standard notation.
Composed 2004. 45 pages.
Duration 12 minutes.
Theodore Presser Company
#114-41271S. Published by
Theodore Presser Company
(PR.11441271S). UPC:
680160587094. 8.5 x 11
inches. Poem by Du Fu
(712-770 in Tang
Dynasty). It's like
the welcome rain on a
quiet spring night that
nurtures the budding
seeds, our new society is
pushing us forward to the
new future. This music
reflects the scenes and
the expression according
to the meaning of the
poem when it's being
unfolded line by line.
Although the tempo is set
60-70 quarter notes per
minute throughout (played
vividly, never slow
down), the tension is
being built up from the
quiet background in the
beginning, to the
sustained climax towards
the end. The musical
image in Rehersal A and B
(measures 1 - 41)
represents the first four
lines of the poem. The
woodwind instruments
response to the rustling
of fast moving notes on
muted string triplets,
decorated by occasional
strokes produced by
metallic string sound and
high piano gestures. The
music in Rehersal C and D
(measures 42-87)
represents the next two
lines of the poem. It's
so dark, a little light
in the boat is shimmering
on the lake... The
breathy key slaps on the
flute creates a
mysterious atmosphere, in
a dialogue with other
instruments. The cello
glissandi recite the poem
in the tone of Mandarin,
echoed by the string
harmonics. The music in
Rehersal E, F, G (m 88 -
161) is a toccata,
starting with the piano,
which builds up a big
shape, to reach the
climax in m. 116, and
keeps the vivid scene
towards the coda
(Rehersal H, m. 162 - the
end), which stands on the
energetic peak at the end
of the
piece. Commissioned by
the Music From Copland
House ensemble, supported
by a grant from the
NYSCA’s
Composer’s
Commissions program in
2002, my mixed ensemble
piece Happy Rain on a
Spring Night is written
for all five instruments
in the ensemble: flute,
clarinet, violin, cello
and piano, and premiered
on Oct. 18, 2004, at
Merkin Hall in New York.
 The musical
imagination came from an
ancient Chinese poem with
the same title, written
by Du Fu (712-770) in the
Tang Dynasty. Happy
Rain on a Spring Nightby
Du Fu (712-770 in the
Tang Dynasty)Â Happy
rain comes in time,When
spring is in its
prime.With night breeze
it will fall,And quietly
moisten all.Clouds darken
wild roads,Light
brightens a little
boat.Saturated at
dawn,With flowers
blooming the
town. (English
translation by Chen Yi
from the original poem in
Chinese) It’s
like the welcome rain on
a quiet spring night that
nurtures the budding
seeds; our new society is
pushing us forward to the
new future. Â The music
reflects the scenes and
the expression according
to the meaning of the
poem when it’s
being unfolded line by
line. Â Although the
tempo is set 60-70
quarter notes per minute
throughout (played
vividly, never slowing
down), the tension is
being built up from the
quiet background in the
beginning, to the
sustained climax towards
the end. The musical
image in Rehearsal A and
B (measures 1-41)
represents the first four
lines of the poem.
 The woodwind
instruments respond to
the rustling of fast
moving notes on muted
string triplets,
decorated by occasional
strokes produced by
metallic string sound and
high piano gestures.
 The music in
Rehearsal C and D
(measures 42-87)
represents the next two
lines of the poem.
 It’s so dark,
a little light in the
boat is shimmering on the
lake... Â The breathy
key slaps on the flute
create a mysterious
atmosphere, in a dialogue
with other instruments.
 The cello glissandi
recite the poem in the
tone of Mandarin, echoed
by the string harmonics.
 The music in
Rehearsal E, F and G (m
88-161) is a toccata,
starting with the piano,
which builds up a big
shape, to reach the
climax in m. 116, and
keeps the vivid scene
towards the coda
(Rehearsal H, m.
162-192), which stands on
the energetic peak at the
end of the
piece. According to
the principle of the
Golden Section, I have
constructed the piece
with two large parts (m.
1-115 and m. 116-192).
 The GS falls onto the
beginning of the climax
section of the piece,
which is exciting and
loud. Â All
subdivisions of the
structures coincide with
the numbers of
proportions based on the
GS principle. Â The
music has textures
changed according to the
proportional arrangement
throughout the
piece. First Part (m.
1-115, total 115
measures), including two
sectionsSection I (m.
1-69, total 69 measures),
including two
divisionsFirst Division
(m. 1-41, total 41
measures), including two
subdivisions:Subdivision
I (m. 1-25, total 25
measures)Rehearsal A,
violin triplets + cello
metalic sound in small
intervals, followed by
woodwinds.Subdivision II
(m. 26-41, total 16
measures)Rehearsal B,
cello triplets + violin
metallic sound in small
intervals, overlapped by
woodwinds.Second Division
(m. 42-69, total 28
measures)Rehearsal C,
breathy key slaps on
flute, in dark.Section II
(m. 70-115, total 46
measures), including two
divisionsFirst Division
(m. 70-87, total 18
measures)Rehearsal D,
soft cello reciting,
followed by string
harmonics & woodwind
“echoâ€
passages.Second Division
(m. 88-115, total 28
measures)Rehearsal E,
starts to buildup the
excitement, with piano
toccata in the beginning.
When it reachesthe
patterns on the top of
the keyboard, the lowest
passages on piano and
cello punch in, andreview
the pitch material with
small intervals.Second
Part (m.116-192, total 77
measures), including two
sectionsSection I (m.
116-161, total 46
measures), including two
divisionsFirst Division
(m. 116-133, total 18
measures)Rehearsal F, the
excitement reaches the
climax, GS located. All
instruments join
in.Second Division (m.
134-161, total 28
measures)Rehearsal G,
combination of E and F,
continue to
buildup.Section II (m.
162-192, total 31
measures)Rehearsal H,
coda, keep the excitement
on the peak. $34.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Habits of a Successful Beginner Band Musician - Conductor's Edition GIA Publications
SKU: GI.G-10160 A Comprehensive Method Book for Year One and Beyond(+)
SKU: GI.G-10160
A Comprehensive Method
Book for Year One and
Beyond. This edition:
Conductor's edition.
Habits. Music Education.
448 pages. GIA
Publications #10160.
Published by GIA
Publications
(GI.G-10160). ISBN
9781622774852. NOW
AVAILABLE! Click HERE to
preview the Clarinet
book. Click HERE to
preview the Trumpet book.
Click HERE to preview the
Percussion book. Habits
of a Successful Beginner
Band Musician is a
field-tested, vital,
and—most
important—musical
collection of 225
sequenced exercises for
the beginning band
student. The
book’s
cutting-edge online
component,
Habits Universal,
features a backend
gradebook that allows
students to submit video
recordings of their
performances as a primary
source of assessment.
This gradebook is
compatible with
PowerSchool, Canvas,
Google Classroom,
Brightspace, Edmodo,
Schoology, and many other
platforms! In addition,
Habits Universal features
supplemental rhythm
vocabulary sheets,
accompaniment tracks,
video start-up clinics,
as well as a professional
video coach for each
exercise in the book.
What makes Habits of a
Successful Beginner Band
Musician unique? Features
include:Â Teacher tips
for each exercise in the
book. Diatonic
solfege that begins on
the first day of
instruction. Initial
exercises on the
mouthpiece, mouthpiece
and barrel, reed, bocal
and reed, or headjoint
prior to playing the
first notes in the book.
Sequential rhythm charts
embedded in the book.
These same rhythms are
then presented with
pitches for a seamless
transfer to the music
students are
performing. Technique
and skill-building
exercises embedded within
the method, which helps
to prepare students for
future Habits
exercises. The
introduction of the key
of Concert C, which
results in students
playing the pitches B, E,
and A more often (as
opposed to the typical
emphasis on B-flat,
E-flat, and A-flat). The
introduction of five
keys: Concert B-flat,
E-flat, A-flat, C, and F.
The Concert G scale is
also provided in the back
of the book. Left (L)
and right (R) indicators
for woodwinds along with
appropriate chromatic
alternate fingering
indicators. Shaded
boxes around first-time
challenges in the student
books. A thorough
explanation of (T:1) for
trombones and rules for
when to use it.Â
Rhythm vocabulary that
progresses through
quarters, eighths, dotted
rhythms, sixteenths, and
an eighth and two
sixteenths. The
sequential introduction
of the one-handed
breakdown of a percussion
rudiment before
introducing the rudiment
itself. The use of
the “enharmonic
ladder†and the
“call-and-response
game†to learn
enharmonic notes. A
thorough explanation of
and markings for the
“F dilemmaâ€
on oboe. An explanation
of appropriate flicking
on bassoon. Two pages
of slow “clarinets
only†work that
focuses on going over the
break and throat
tones. . $60.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Nobody Bote and Bock
Clarinet; Piano; Soprano (Parts) SKU: HL.48025252 Soprano, Clarinet, P...(+)
Clarinet; Piano; Soprano
(Parts) SKU:
HL.48025252
Soprano, Clarinet,
Piano Parts. Composed
by Johannes Boris
Borowski. Boosey & Hawkes
Chamber Music. Classical.
Softcover. Duration 960
seconds. Bote & Bock
#M202537688. Published by
Bote & Bock
(HL.48025252). UPC:
196288142966. Nobod
y, premiered at the music
festival Heidelberger
Frühling in 2022, was
written by Johannes Boris
Borowski for Trio Catch.
According to the
composer, the work, which
lasts a good quarter of
an hour, “appears
in playful, dreamy
lightness. The
surrounding atmosphere is
tender and optimistic.
However, a tragic and
existential undertone
becomes perceptible, in
which the foreboding of
theabsurd and horrific of
life flares up time and
again.†The
composition, divided into
six short prologues and
the actual piece, is
based on verses by Emily
Dickinson, in which the
poles of melancholy,
rapture, tenderness and
abysmalness are given
archetypical expression
and which, in their
simple, yet visionary
style of writing,
perfectly correspond to
Borowski's modern musical
language. There are
passages with brief
interjections of other
language levels in the
poetic text, especially
fragments and phrases
from populist rhetoric,
as well as vulgar and
violent language. $50.00 - Voir plus => Acheter | | |
| Nobody Bote and Bock
Clarinet; Piano; Soprano (Score) SKU: HL.48025251 Soprano, Clarinet, P...(+)
Clarinet; Piano; Soprano
(Score) SKU:
HL.48025251
Soprano, Clarinet,
Piano Score. Composed
by Johannes Boris
Borowski. Boosey & Hawkes
Scores/Books. Classical.
Softcover. Duration 960
seconds. Bote & Bock
#M202537664. Published by
Bote & Bock
(HL.48025251). UPC:
196288142959. Nobod
y, premiered at the music
festival Heidelberger
Frühling in 2022, was
written by Johannes Boris
Borowski for Trio Catch.
According to the
composer, the work, which
lasts a good quarter of
an hour, “appears
in playful, dreamy
lightness. The
surrounding atmosphere is
tender and optimistic.
However, a tragic and
existential undertone
becomes perceptible, in
which the foreboding of
theabsurd and horrific of
life flares up time and
again.†The
composition, divided into
six short prologues and
the actual piece, is
based on verses by Emily
Dickinson, in which the
poles of melancholy,
rapture, tenderness and
abysmalness are given
archetypical expression
and which, in their
simple, yet visionary
style of writing,
perfectly correspond to
Borowski's modern musical
language. There are
passages with brief
interjections of other
language levels in the
poetic text, especially
fragments and phrases
from populist rhetoric,
as well as vulgar and
violent language. $38.99 - Voir plus => Acheter | | |
| Habits of a Successful Beginner Band Musician - Percussion GIA Publications
SKU: GI.G-10175 A Comprehensive Method Book for Year One and Beyond(+)
SKU: GI.G-10175
A Comprehensive Method
Book for Year One and
Beyond. Composed by
Jeff Scott, Kevin Boyle,
and Scott Rush. Habits.
Music Education. 104
pages. GIA Publications
#10175. Published by GIA
Publications
(GI.G-10175). ISBN
9781622774845. NOW
AVAILABLE! Habits of a
Successful Beginner Band
Musician is a
field-tested, vital,
and—most
important—musical
collection of 225
sequenced exercises for
the beginning band
student. The
book’s
cutting-edge online
component,
Habits Universal,
features a backend
gradebook that allows
students to submit video
recordings of their
performances as a primary
source of assessment.
This gradebook is
compatible with
PowerSchool, Canvas,
Google Classroom,
Brightspace, Edmodo,
Schoology, and many other
platforms! In addition,
Habits Universal features
supplemental rhythm
vocabulary sheets,
accompaniment tracks,
video start-up clinics,
as well as a professional
video coach for each
exercise in the book.
What makes Habits of a
Successful Beginner Band
Musician unique? Features
include:Â Teacher tips
for each exercise in the
book. Diatonic
solfege that begins on
the first day of
instruction. Initial
exercises on the
mouthpiece, mouthpiece
and barrel, reed, bocal
and reed, or headjoint
prior to playing the
first notes in the book.
Sequential rhythm charts
embedded in the book.
These same rhythms are
then presented with
pitches for a seamless
transfer to the music
students are
performing. Technique
and skill-building
exercises embedded within
the method, which helps
to prepare students for
future Habits
exercises. The
introduction of the key
of Concert C, which
results in students
playing the pitches B, E,
and A more often (as
opposed to the typical
emphasis on B-flat,
E-flat, and A-flat). The
introduction of five
keys: Concert B-flat,
E-flat, A-flat, C, and F.
The Concert G scale is
also provided in the back
of the book. Left (L)
and right (R) indicators
for woodwinds along with
appropriate chromatic
alternate fingering
indicators. Shaded
boxes around first-time
challenges in the student
books. A thorough
explanation of (T:1) for
trombones and rules for
when to use it.Â
Rhythm vocabulary that
progresses through
quarters, eighths, dotted
rhythms, sixteenths, and
an eighth and two
sixteenths. The
sequential introduction
of the one-handed
breakdown of a percussion
rudiment before
introducing the rudiment
itself. The use of
the “enharmonic
ladder†and the
“call-and-response
game†to learn
enharmonic notes. A
thorough explanation of
and markings for the
“F dilemmaâ€
on oboe. An explanation
of appropriate flicking
on bassoon. Two pages
of slow “clarinets
only†work that
focuses on going over the
break and throat
tones. . $17.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Habits of a Successful Beginner Band Musician - String Bass GIA Publications
SKU: GI.G-10159 A Comprehensive Method Book for Year One and Beyond(+)
SKU: GI.G-10159
A Comprehensive Method
Book for Year One and
Beyond. Composed by
Scott Rush & Brian
Gencarelli. Habits. Music
Education. 56 pages. GIA
Publications #10159.
Published by GIA
Publications
(GI.G-10159). ISBN
9781622777099. NOW
AVAILABLE! Habits of a
Successful Beginner Band
Musician is a
field-tested, vital,
and—most
important—musical
collection of 225
sequenced exercises for
the beginning band
student. The
book’s
cutting-edge online
component,
Habits Universal,
features a backend
gradebook that allows
students to submit video
recordings of their
performances as a primary
source of assessment.
This gradebook is
compatible with
PowerSchool, Canvas,
Google Classroom,
Brightspace, Edmodo,
Schoology, and many other
platforms! In addition,
Habits Universal features
supplemental rhythm
vocabulary sheets,
accompaniment tracks,
video start-up clinics,
as well as a professional
video coach for each
exercise in the book.
What makes Habits of a
Successful Beginner Band
Musician unique? Features
include:Â Teacher tips
for each exercise in the
book. Diatonic
solfege that begins on
the first day of
instruction. Initial
exercises on the
mouthpiece, mouthpiece
and barrel, reed, bocal
and reed, or headjoint
prior to playing the
first notes in the book.
Sequential rhythm charts
embedded in the book.
These same rhythms are
then presented with
pitches for a seamless
transfer to the music
students are
performing. Technique
and skill-building
exercises embedded within
the method, which helps
to prepare students for
future Habits
exercises. The
introduction of the key
of Concert C, which
results in students
playing the pitches B, E,
and A more often (as
opposed to the typical
emphasis on B-flat,
E-flat, and A-flat). The
introduction of five
keys: Concert B-flat,
E-flat, A-flat, C, and F.
The Concert G scale is
also provided in the back
of the book. Left (L)
and right (R) indicators
for woodwinds along with
appropriate chromatic
alternate fingering
indicators. Shaded
boxes around first-time
challenges in the student
books. A thorough
explanation of (T:1) for
trombones and rules for
when to use it.Â
Rhythm vocabulary that
progresses through
quarters, eighths, dotted
rhythms, sixteenths, and
an eighth and two
sixteenths. The
sequential introduction
of the one-handed
breakdown of a percussion
rudiment before
introducing the rudiment
itself. The use of
the “enharmonic
ladder†and the
“call-and-response
game†to learn
enharmonic notes. A
thorough explanation of
and markings for the
“F dilemmaâ€
on oboe. An explanation
of appropriate flicking
on bassoon. Two pages
of slow “clarinets
only†work that
focuses on going over the
break and throat
tones. . $10.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Habits of a Successful Beginner Band Musician - Euphonium Euphonium GIA Publications
SKU: GI.G-10172 A Comprehensive Method Book for Year One and Beyond(+)
SKU: GI.G-10172
A Comprehensive Method
Book for Year One and
Beyond. Composed by
Jeff Scott and Scott
Rush. Habits. Music
Education. 56 pages. GIA
Publications #10172.
Published by GIA
Publications
(GI.G-10172). ISBN
9781622774814. NOW
AVAILABLE! Habits of a
Successful Beginner Band
Musician is a
field-tested, vital,
andââ¬âmost
importantââ¬â
musical collection of 225
sequenced exercises for
the beginning band
student. The
bookââ¬â¢s
cutting-edge online
component,
HabitsÃÂ Universal,
features a backend
gradebook that allows
students to submit video
recordings of their
performances as a primary
source of assessment.
This gradebook is
compatible with
PowerSchool, Canvas,
Google Classroom,
Brightspace, Edmodo,
Schoology, and many other
platforms! In addition,
Habits Universal features
supplemental rhythm
vocabulary sheets,
accompaniment tracks,
video start-up clinics,
as well as a professional
video coach for each
exercise in the book.
What makes Habits of a
Successful Beginner Band
Musician unique? Features
include:ÃÂ Teacher
tips for each exercise in
the book.ÃÂ
Diatonic solfege that
begins on the first day
of instruction.ÃÂ
Initial exercises on the
mouthpiece, mouthpiece
and barrel, reed, bocal
and reed, or headjoint
prior to playing the
first notes in the book.
Sequential rhythm charts
embedded in the book.
These same rhythms are
then presented with
pitches for a seamless
transfer to the music
students are
performing.ÃÂ
Technique and
skill-building exercises
embedded within the
method, which helps to
prepare students for
future Habits
exercises.ÃÂ The
introduction of the key
of Concert C, which
results in students
playing the pitches B, E,
and A more often (as
opposed to the typical
emphasis on B-flat,
E-flat, and A-flat). The
introduction of five
keys: Concert B-flat,
E-flat, A-flat, C, and F.
The Concert G scale is
also provided in the back
of the book.ÃÂ Left
(L) and right (R)
indicators for woodwinds
along with appropriate
chromatic alternate
fingering
indicators.ÃÂ
Shaded boxes around
first-time challenges in
the student
books.ÃÂ A thorough
explanation of (T:1) for
trombones and rules for
when to use it.ÃÂ
Rhythm vocabulary that
progresses through
quarters, eighths, dotted
rhythms, sixteenths, and
an eighth and two
sixteenths.ÃÂ The
sequential introduction
of the one-handed
breakdown of a percussion
rudiment before
introducing the rudiment
itself.ÃÂ The use
of the
ââ¬Åenharmonic
ladderââ¬Â and
the
ââ¬Åcall-and-re
sponse gameââ¬Â
to learn enharmonic
notes. A thorough
explanation of and
markings for the
ââ¬ÅF
dilemmaââ¬Â on
oboe. An explanation of
appropriate flicking on
bassoon.ÃÂ Two
pages of slow
ââ¬Åclarinets
onlyââ¬Â work
that focuses on going
over the break and throat
tones.ÃÂ . $10.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Habits of a Successful Beginner Band Musician - Trombone GIA Publications
SKU: GI.G-10171 A Comprehensive Method Book for Year One and Beyond(+)
SKU: GI.G-10171
A Comprehensive Method
Book for Year One and
Beyond. Composed by
Jeff Scott and Scott
Rush. Habits. Music
Education. 56 pages. GIA
Publications #10171.
Published by GIA
Publications
(GI.G-10171). ISBN
9781622774807. NOW
AVAILABLE! Habits of a
Successful Beginner Band
Musician is a
field-tested, vital,
and—most
important—musical
collection of 225
sequenced exercises for
the beginning band
student. The
book’s
cutting-edge online
component,
Habits Universal,
features a backend
gradebook that allows
students to submit video
recordings of their
performances as a primary
source of assessment.
This gradebook is
compatible with
PowerSchool, Canvas,
Google Classroom,
Brightspace, Edmodo,
Schoology, and many other
platforms! In addition,
Habits Universal features
supplemental rhythm
vocabulary sheets,
accompaniment tracks,
video start-up clinics,
as well as a professional
video coach for each
exercise in the book.
What makes Habits of a
Successful Beginner Band
Musician unique? Features
include:Â Teacher tips
for each exercise in the
book. Diatonic
solfege that begins on
the first day of
instruction. Initial
exercises on the
mouthpiece, mouthpiece
and barrel, reed, bocal
and reed, or headjoint
prior to playing the
first notes in the book.
Sequential rhythm charts
embedded in the book.
These same rhythms are
then presented with
pitches for a seamless
transfer to the music
students are
performing. Technique
and skill-building
exercises embedded within
the method, which helps
to prepare students for
future Habits
exercises. The
introduction of the key
of Concert C, which
results in students
playing the pitches B, E,
and A more often (as
opposed to the typical
emphasis on B-flat,
E-flat, and A-flat). The
introduction of five
keys: Concert B-flat,
E-flat, A-flat, C, and F.
The Concert G scale is
also provided in the back
of the book. Left (L)
and right (R) indicators
for woodwinds along with
appropriate chromatic
alternate fingering
indicators. Shaded
boxes around first-time
challenges in the student
books. A thorough
explanation of (T:1) for
trombones and rules for
when to use it.Â
Rhythm vocabulary that
progresses through
quarters, eighths, dotted
rhythms, sixteenths, and
an eighth and two
sixteenths. The
sequential introduction
of the one-handed
breakdown of a percussion
rudiment before
introducing the rudiment
itself. The use of
the “enharmonic
ladder†and the
“call-and-response
game†to learn
enharmonic notes. A
thorough explanation of
and markings for the
“F dilemmaâ€
on oboe. An explanation
of appropriate flicking
on bassoon. Two pages
of slow “clarinets
only†work that
focuses on going over the
break and throat
tones. . $10.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Habits of a Successful Beginner Band Musician - Oboe GIA Publications
SKU: GI.G-10162 A Comprehensive Method Book for Year One and Beyond(+)
SKU: GI.G-10162
A Comprehensive Method
Book for Year One and
Beyond. Composed by
Jeff Scott and Scott
Rush. Habits. Music
Education. 56 pages. GIA
Publications #10162.
Published by GIA
Publications
(GI.G-10162). ISBN
9781622774715. NOW
AVAILABLE! Habits of a
Successful Beginner Band
Musician is a
field-tested, vital,
and—most
important—musical
collection of 225
sequenced exercises for
the beginning band
student. The
book’s
cutting-edge online
component,
Habits Universal,
features a backend
gradebook that allows
students to submit video
recordings of their
performances as a primary
source of assessment.
This gradebook is
compatible with
PowerSchool, Canvas,
Google Classroom,
Brightspace, Edmodo,
Schoology, and many other
platforms! In addition,
Habits Universal features
supplemental rhythm
vocabulary sheets,
accompaniment tracks,
video start-up clinics,
as well as a professional
video coach for each
exercise in the book.
What makes Habits of a
Successful Beginner Band
Musician unique? Features
include:Â Teacher tips
for each exercise in the
book. Diatonic
solfege that begins on
the first day of
instruction. Initial
exercises on the
mouthpiece, mouthpiece
and barrel, reed, bocal
and reed, or headjoint
prior to playing the
first notes in the book.
Sequential rhythm charts
embedded in the book.
These same rhythms are
then presented with
pitches for a seamless
transfer to the music
students are
performing. Technique
and skill-building
exercises embedded within
the method, which helps
to prepare students for
future Habits
exercises. The
introduction of the key
of Concert C, which
results in students
playing the pitches B, E,
and A more often (as
opposed to the typical
emphasis on B-flat,
E-flat, and A-flat). The
introduction of five
keys: Concert B-flat,
E-flat, A-flat, C, and F.
The Concert G scale is
also provided in the back
of the book. Left (L)
and right (R) indicators
for woodwinds along with
appropriate chromatic
alternate fingering
indicators. Shaded
boxes around first-time
challenges in the student
books. A thorough
explanation of (T:1) for
trombones and rules for
when to use it.Â
Rhythm vocabulary that
progresses through
quarters, eighths, dotted
rhythms, sixteenths, and
an eighth and two
sixteenths. The
sequential introduction
of the one-handed
breakdown of a percussion
rudiment before
introducing the rudiment
itself. The use of
the “enharmonic
ladder†and the
“call-and-response
game†to learn
enharmonic notes. A
thorough explanation of
and markings for the
“F dilemmaâ€
on oboe. An explanation
of appropriate flicking
on bassoon. Two pages
of slow “clarinets
only†work that
focuses on going over the
break and throat
tones. . $10.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Habits of a Successful Beginner Band Musician - Baritone Saxophone Saxophone Baryton GIA Publications
SKU: GI.G-10168 A Comprehensive Method Book for Year One and Beyond(+)
SKU: GI.G-10168
A Comprehensive Method
Book for Year One and
Beyond. Composed by
Jeff Scott and Scott
Rush. Habits. Music
Education. 56 pages. GIA
Publications #10168.
Published by GIA
Publications
(GI.G-10168). ISBN
9781622774777. NOW
AVAILABLE! Habits of a
Successful Beginner Band
Musician is a
field-tested, vital,
andââ¬âmost
importantââ¬â
musical collection of 225
sequenced exercises for
the beginning band
student. The
bookââ¬â¢s
cutting-edge online
component,
HabitsÃÂ Universal,
features a backend
gradebook that allows
students to submit video
recordings of their
performances as a primary
source of assessment.
This gradebook is
compatible with
PowerSchool, Canvas,
Google Classroom,
Brightspace, Edmodo,
Schoology, and many other
platforms! In addition,
Habits Universal features
supplemental rhythm
vocabulary sheets,
accompaniment tracks,
video start-up clinics,
as well as a professional
video coach for each
exercise in the book.
What makes Habits of a
Successful Beginner Band
Musician unique? Features
include:ÃÂ Teacher
tips for each exercise in
the book.ÃÂ
Diatonic solfege that
begins on the first day
of instruction.ÃÂ
Initial exercises on the
mouthpiece, mouthpiece
and barrel, reed, bocal
and reed, or headjoint
prior to playing the
first notes in the book.
Sequential rhythm charts
embedded in the book.
These same rhythms are
then presented with
pitches for a seamless
transfer to the music
students are
performing.ÃÂ
Technique and
skill-building exercises
embedded within the
method, which helps to
prepare students for
future Habits
exercises.ÃÂ The
introduction of the key
of Concert C, which
results in students
playing the pitches B, E,
and A more often (as
opposed to the typical
emphasis on B-flat,
E-flat, and A-flat). The
introduction of five
keys: Concert B-flat,
E-flat, A-flat, C, and F.
The Concert G scale is
also provided in the back
of the book.ÃÂ Left
(L) and right (R)
indicators for woodwinds
along with appropriate
chromatic alternate
fingering
indicators.ÃÂ
Shaded boxes around
first-time challenges in
the student
books.ÃÂ A thorough
explanation of (T:1) for
trombones and rules for
when to use it.ÃÂ
Rhythm vocabulary that
progresses through
quarters, eighths, dotted
rhythms, sixteenths, and
an eighth and two
sixteenths.ÃÂ The
sequential introduction
of the one-handed
breakdown of a percussion
rudiment before
introducing the rudiment
itself.ÃÂ The use
of the
ââ¬Åenharmonic
ladderââ¬Â and
the
ââ¬Åcall-and-re
sponse gameââ¬Â
to learn enharmonic
notes. A thorough
explanation of and
markings for the
ââ¬ÅF
dilemmaââ¬Â on
oboe. An explanation of
appropriate flicking on
bassoon.ÃÂ Two
pages of slow
ââ¬Åclarinets
onlyââ¬Â work
that focuses on going
over the break and throat
tones.ÃÂ . $10.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Habits of a Successful Beginner Band Musician - Trumpet GIA Publications
SKU: GI.G-10169 A Comprehensive Method Book for Year One and Beyond(+)
SKU: GI.G-10169
A Comprehensive Method
Book for Year One and
Beyond. Composed by
Jeff Scott and Scott
Rush. Habits. Music
Education. 56 pages. GIA
Publications #10169.
Published by GIA
Publications
(GI.G-10169). ISBN
9781622774784. NOW
AVAILABLE! Habits of a
Successful Beginner Band
Musician is a
field-tested, vital,
and—most
important—musical
collection of 225
sequenced exercises for
the beginning band
student. The
book’s
cutting-edge online
component,
Habits Universal,
features a backend
gradebook that allows
students to submit video
recordings of their
performances as a primary
source of assessment.
This gradebook is
compatible with
PowerSchool, Canvas,
Google Classroom,
Brightspace, Edmodo,
Schoology, and many other
platforms! In addition,
Habits Universal features
supplemental rhythm
vocabulary sheets,
accompaniment tracks,
video start-up clinics,
as well as a professional
video coach for each
exercise in the book.
What makes Habits of a
Successful Beginner Band
Musician unique? Features
include:Â Teacher tips
for each exercise in the
book. Diatonic
solfege that begins on
the first day of
instruction. Initial
exercises on the
mouthpiece, mouthpiece
and barrel, reed, bocal
and reed, or headjoint
prior to playing the
first notes in the book.
Sequential rhythm charts
embedded in the book.
These same rhythms are
then presented with
pitches for a seamless
transfer to the music
students are
performing. Technique
and skill-building
exercises embedded within
the method, which helps
to prepare students for
future Habits
exercises. The
introduction of the key
of Concert C, which
results in students
playing the pitches B, E,
and A more often (as
opposed to the typical
emphasis on B-flat,
E-flat, and A-flat). The
introduction of five
keys: Concert B-flat,
E-flat, A-flat, C, and F.
The Concert G scale is
also provided in the back
of the book. Left (L)
and right (R) indicators
for woodwinds along with
appropriate chromatic
alternate fingering
indicators. Shaded
boxes around first-time
challenges in the student
books. A thorough
explanation of (T:1) for
trombones and rules for
when to use it.Â
Rhythm vocabulary that
progresses through
quarters, eighths, dotted
rhythms, sixteenths, and
an eighth and two
sixteenths. The
sequential introduction
of the one-handed
breakdown of a percussion
rudiment before
introducing the rudiment
itself. The use of
the “enharmonic
ladder†and the
“call-and-response
game†to learn
enharmonic notes. A
thorough explanation of
and markings for the
“F dilemmaâ€
on oboe. An explanation
of appropriate flicking
on bassoon. Two pages
of slow “clarinets
only†work that
focuses on going over the
break and throat
tones. . $10.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
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