| Folk Tune and Fiddle Dance Orchestre à Cordes Boosey and Hawkes
Suite for Strings. By Percy Fletcher. Boosey and Hawkes Orchestra. Size 9x12 inc...(+)
Suite for Strings. By
Percy Fletcher. Boosey
and Hawkes Orchestra.
Size 9x12 inches.
Published by Boosey &
Hawkes.
$65.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Nutcracker Suite Selections - Intermédiaire Carl Fischer
Orchestra Cello, Contrabass, Piano, Viola, Violin 1, Violin 2, Violin 3 - Grade ...(+)
Orchestra Cello,
Contrabass, Piano, Viola,
Violin 1, Violin 2,
Violin 3 - Grade 3.5
SKU: CF.CAS110
Composed by Peter Ilyich
Tchaikovsky. Arranged by
Bud Caputo. Concert
String Orchestra (CAS).
Set of Score and Parts.
With Standard notation.
24+24+6+15+15+15+7+24
pages. Duration 5:57.
Carl Fischer Music
#CAS110. Published by
Carl Fischer Music
(CF.CAS110). ISBN
9781491151297. UPC:
680160908790. 9 x 12
inches. Key: E
minor. Bud Caputo
presents Nutcracker Suite
Selections for string
orchestra featuring three
abridged movements
of?Tchaikovsky's
Nutcracker Suite:?Dance
of the Sugar Plum Fairy,
March, and Trepak. These
abridged movements are
sure to be crowd-pleasers
around the?winter
holidays or a favorite
for?any time of the
year. This arrangement
will challenge students,
while fostering rhythmic
independence, execution
of bowing and pizzicato,
and the ability to
balance the melody with
the accompaniment
throughout the
arrangement. However,
ranges remain primarily
in first position with
some optional
8va<
span class=s4> passages,
allowing intermediate
groups to perform this in
time for the winter
holiday concert. Suitable
for Grades 3 through
5. To the
Director:
Dance
of the Sugar Plum
Fairy: A steady tempo
is critical when
performing this movement,
as students may have a
tendency to rush during
the pizzicato sections.
There is a
regularly occurring
descending sixteenth-note
rhythmic figure that is
transcribed form the bass
clarinet part in the
original.
It
is important to maintain
clarity and
balance in performing
these passages as seen
in
mm. 16-19, in the Basses
and m. 34 in the
Cello and Bass.
The
balancing of the chords
will be a challenge
in
the execution of the many
sforzandos
em> in this
movement.
March: Measures 2 and
4, and similar melodic
patterns that follow,
require the performers to
carefully balance their
forte/pianos
on beats 3 and 4,
along with the rapid
diminuendo. The contrasting
rhythmic patterns in mm.
5-8, and later throughout
this movement must line
up precisely. Strings
playing the pizzicato
eight note, walking bass
line, must not rush,
and the upper strings
playing the
eighth-note/eight-rest
figure must
follow their section
leaders in executing this
in a unified manner.
While there is
no formal tempo change
from mm. 40 to 41,
directors may need to
relax the tempo at the
beginning of the
movement to
accommodate the
technical challenge of
the double time feel that
happens in m. 41.
Trepak:
Tchaikovsky was careful
to notate the
p,
f
and
sf,
requiring the performers
to recognize the
difference between all
three markings that frame
the chief melody. The
upper strings must be
careful to support the
melody in the lower
strings that begins in m.
33. Directors will
challenge their students
to have fun in the last
twelve measures with the
accelerando
passage to the
end. Care must
be taken to use
an
accelerando
that works for
all
the players in the
particular
ensemble.. This
arrangement will
challenge students, while
fostering rhythmic
independence, execution
of bowing and pizzicato,
and the ability to
balance the melody with
the accompaniment
throughout the
arrangement. However,
ranges remain primarily
in first position with
some optional
8va<
span class=s4> passages,
allowing intermediate
groups to perform this in
time for the winter
holiday concert.A
Suitable for Grades 3
through 5. To the
Director:
Dance
of the Sugar Plum
Fairy: A steady tempo
is critical when
performing this movement,
as students may have a
tendency to rush during
the pizzicato sections.
There is a
regularly occurring
descending sixteenth-note
rhythmic figure that is
transcribed form the bass
clarinet part in the
original.
It
is important to maintain
clarity and
balance in performing
these passages as seen
in
mm.A 16-19, in the Basses
and m.A 34A in the
Cello and Bass.
The
balancing of the chords
will be a challenge
in
the execution of the many
sforzandos
em>A in this
movement.
March: A Measures 2 and
4, and similar melodic
patterns that follow,
require the performers to
carefully balance their
forte/pianos
on beats 3 and 4,
along with the rapid
diminuendo. The contrasting
rhythmic patterns in mm.
5-8, and later throughout
this movement must line
up precisely. Strings
playing the pizzicato
eight note, walking bass
line, must not rush,
and the upper strings
playing the
eighth-note/eight-restA
figure must
follow their section
leaders in executing this
in a unified manner.
While there is
no formal tempo change
from mm. 40 to 41,
directors may need to
relax the tempo at the
beginning of the
movement toA
accommodate the
technical challenge of
the double time feel that
happens in m. 41.
Trepak:
A
Tchaikovsky was careful
to notate the
p,
f
and
sf,
requiring the performers
to recognize the
difference between all
three markings that frame
the chief melody. The
upper strings must be
careful to support the
melody in the lower
strings that begins in m.
33. Directors will
challenge their students
to have fun in the last
twelve measures with the
accelerando
passage to the
end. Care must
be taken to use
an
accelerando
that works for
all
the players in the
particular
ensemble.. This
arrangement will
challenge students, while
fostering rhythmic
independence, execution
of bowing and pizzicato,
and the ability to
balance the melody with
the accompaniment
throughout the
arrangement. However,
ranges remain primarily
in first position with
some optional
8va<
span class=s4> passages,
allowing intermediate
groups to perform this in
time for the winter
holiday concert.A
Suitable for Grades 3
through 5. To the
Director:
Dance
of the Sugar Plum
Fairy: A steady tempo
is critical when
performing this movement,
as students may have a
tendency to rush during
the pizzicato sections.
There is a
regularly occurring
descending sixteenth-note
rhythmic figure that is
transcribed form the bass
clarinet part in the
original.
It
is important to maintain
clarity and
balance in performing
these passages as seen
in
mm.A 16-19, in the Basses
and m.A 34A in the
Cello and Bass.
The
balancing of the chords
will be a challenge
in
the execution of the many
sforzandos
em>A in this
movement.
March: A Measures 2 and
4, and similar melodic
patterns that follow,
require the performers to
carefully balance their
forte/pianos
on beats 3 and 4,
along with the rapid
diminuendo. The contrasting
rhythmic patterns in mm.
5-8, and later throughout
this movement must line
up precisely. Strings
playing the pizzicato
eight note, walking bass
line, must not rush,
and the upper strings
playing the
eighth-note/eight-restA
figure must
follow their section
leaders in executing this
in a unified manner.
While there is
no formal tempo change
from mm. 40 to 41,
directors may need to
relax the tempo at the
beginning of the
movement toA
accommodate the
technical challenge of
the double time feel that
happens in m. 41.
Trepak:
A
Tchaikovsky was careful
to notate the
p,
f
and
sf,
requiring the performers
to recognize the
difference between all
three markings that frame
the chief melody. The
upper strings must be
careful to support the
melody in the lower
strings that begins in m.
33. Directors will
challenge their students
to have fun in the last
twelve measures with the
accelerando
passage to the
end. Care must
be taken to use
an
accelerando
that works for
all
the players in the
particular
ensemble.. This
arrangement will
challenge students, while
fostering rhythmic
independence, execution
of bowing and pizzicato,
and the ability to
balance the melody with
the accompaniment
throughout the
arrangement. However,
ranges remain primarily
in first position with
some optional
8va<
span class=s4> passages,
allowing intermediate
groups to perform this in
time for the winter
holiday concert. Suitable
for Grades 3 through
5. To the
Director:
Dance
of the Sugar Plum
Fairy: A steady tempo
is critical when
performing this movement,
as students may have a
tendency to rush during
the pizzicato sections.
There is a
regularly occurring
descending sixteenth-note
rhythmic figure that is
transcribed form the bass
clarinet part in the
original.
It
is important to maintain
clarity and
balance in performing
these passages as seen
in
mm. 16-19, in the Basses
and m. 34 in the
Cello and Bass.
The
balancing of the chords
will be a challenge
in
the execution of the many
sforzandos
em> in this
movement.
March: Measures 2 and
4, and similar melodic
patterns that follow,
require the performers to
carefully balance their
forte/pianos
on beats 3 and 4,
along with the rapid
diminuendo. The contrasting
rhythmic patterns in mm.
5-8, and later throughout
this movement must line
up precisely. Strings
playing the pizzicato
eight note, walking bass
line, must not rush,
and the upper strings
playing the
eighth-note/eight-rest
figure must
follow their section
leaders in executing this
in a unified manner.
While there is
no formal tempo change
from mm. 40 to 41,
directors may need to
relax the tempo at the
beginning of the
movement to
accommodate the
technical challenge of
the double time feel that
happens in m. 41.
Trepak:
Tchaikovsky was careful
to notate the
p,
f
and
sf,
requiring the performers
to recognize the
difference between all
three markings that frame
the chief melody. The
upper strings must be
careful to support the
melody in the lower
strings that begins in m.
33. Directors will
challenge their students
to have fun in the last
twelve measures with the
accelerando
passage to the
end. Care must
be taken to use
an
accelerando
that works for
all
the players in the
particular
ensemble.. This
arrangement will
challenge students, while
fostering rhythmic
independence, execution
of bowing and pizzicato,
and the ability to
balance the melody with
the accompaniment
throughout the
arrangement. However,
ranges remain primarily
in first position with
some optional 8va
passages, allowing
intermediate groups to
perform this in time for
the winter holiday
concert. Suitable for
Grades 3 through 5. To
the Director: Dance of
the Sugar Plum Fairy: A
steady tempo is critical
when performing this
movement, as students may
have a tendency to rush
during the pizzicato
sections. There is a
regularly occurring
descending sixteenth-note
rhythmic figure that is
transcribed form the bass
clarinet part in the
original. It is important
to maintain clarity and
balance in performing
these passages as seen in
mm. 16-19, in the Basses
and m. 34 in the Cello
and Bass. The balancing
of the chords will be a
challenge in the
execution of the many
sforzandos in this
movement. March: Measures
2 and 4, and similar
melodic patterns that
follow, require the
performers to carefully
balance their
forte/pianos on beats 3
and 4, along with the
rapid diminuendo. The
contrasting rhythmic
patterns in mm. 5-8, and
later throughout this
movement must line up
precisely. Strings
playing the pizzicato
eight note, walking bass
line, must not rush, and
the upper strings playing
the
eighth-note/eight-rest
figure must follow their
section leaders in
executing this in a
unified manner. While
there is no formal tempo
change from mm. 40 to 41,
directors may need to
relax the tempo at the
beginning of the movement
to accommodate the
technical challenge of
the double time feel that
happens in m. 41. Trepak:
Tchaikovsky was careful
to notate the p, f and
sf, requiring the
performers to recognize
the difference between
all three markings that
frame the chief melody.
The upper strings must be
careful to support the
melody in the lower
strings that begins in m.
33. Directors will
challenge their students
to have fun in the last
twelve measures with the
accelerando passage to
the end. Care must be
taken to use an
accelerando that works
for all the players in
the particular
ensemble. This
arrangement will
challenge students, while
fostering rhythmic
independence, execution
of bowing and pizzicato,
and the ability to
balance the melody with
the accompaniment
throughout the
arrangement. However,
ranges remain primarily
in first position with
some optional 8va
passages, allowing
intermediate groups to
perform this in time for
the winter holiday
concert. Suitable for
Grades 3 through 5.To the
Director:Dance of the
Sugar Plum Fairy: A
steady tempo is critical
when performing this
movement, as students may
have a tendency to rush
during the pizzicato
sections. There is a
regularly occurring
descending sixteenth-note
rhythmic figure that is
transcribed form the bass
clarinet part in the
original. It is important
to maintain clarity and
balance in performing
these passages as seen in
mm. 16-19, in the
Basses and m. 34 in
the Cello and Bass. The
balancing of the chords
will be a challenge in
the execution of the many
sforzandos in this
movement. March:
 Measures 2 and 4, and
similar melodic patterns
that follow, require the
performers to carefully
balance their
forte/pianos on beats 3
and 4, along with the
rapid diminuendo. The
contrasting rhythmic
patterns in mm. 5-8, and
later throughout this
movement must line up
precisely. Strings
playing the pizzicato
eight note, walking bass
line, must not rush, and
the upper strings playing
the
eighth-note/eight-restÂÂ
figure must follow their
section leaders in
executing this in a
unified manner. While
there is no formal tempo
change from mm. 40 to 41,
directors may need to
relax the tempo at the
beginning of the movement
to accommodate the
technical challenge of
the double time feel that
happens in m. 41. Trepak:
 Tchaikovsky was
careful to notate the p,
f and sf, requiring the
performers to recognize
the difference between
all three markings that
frame the chief melody.
The upper strings must be
careful to support the
melody in the lower
strings that begins in m.
33. Directors will
challenge their students
to have fun in the last
twelve measures with the
accelerando passage to
the end. Care must be
taken to use an
accelerando that works
for all the players in
the particular
ensemble.
About Carl
Fischer Concert String
Orchestra
Series Thi
s series of pieces (Grade
3 and higher) is designed
for advancing ensembles.
The pieces in this series
are characterized
by: - Expanded use
of rhythms, ranges and
keys but technical
demands are still
carefully
considered
- More
comprehensive bowing
techniques
- Viola
T.C.
included
- Careful
selection of keys and
degree of difficulty for
advancing
musicians
$60.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Nutcracker Suite Selections - Intermédiaire Carl Fischer
Orchestra Cello, Contrabass, Piano, Viola, Violin 1, Violin 2, Violin 3 - Grade ...(+)
Orchestra Cello,
Contrabass, Piano, Viola,
Violin 1, Violin 2,
Violin 3 - Grade 3.5
SKU: CF.CAS110F
Composed by Peter Ilyich
Tchaikovsky. Arranged by
Bud Caputo. Concert
String Orchestra (CAS).
Full score. With Standard
notation. 24 pages. Carl
Fischer Music #CAS110F.
Published by Carl Fischer
Music (CF.CAS110F).
ISBN 9781491151662.
UPC: 680160909162. 9 x 12
inches. Bud Caputo
presents Nutcracker Suite
Selections for string
orchestra featuring three
abridged movements
of?Tchaikovsky's
Nutcracker Suite:?Dance
of the Sugar Plum Fairy,
March, and Trepak. These
abridged movements are
sure to be crowd-pleasers
around the?winter
holidays or a favorite
for?any time of the
year. This arrangement
will challenge students,
while fostering rhythmic
independence, execution
of bowing and pizzicato,
and the ability to
balance the melody with
the accompaniment
throughout the
arrangement. However,
ranges remain primarily
in first position with
some optional
8va<
span class=s4> passages,
allowing intermediate
groups to perform this in
time for the winter
holiday concert. Suitable
for Grades 3 through
5. To the
Director:
Dance
of the Sugar Plum
Fairy: A steady tempo
is critical when
performing this movement,
as students may have a
tendency to rush during
the pizzicato sections.
There is a
regularly occurring
descending sixteenth-note
rhythmic figure that is
transcribed form the bass
clarinet part in the
original.
It
is important to maintain
clarity and
balance in performing
these passages as seen
in
mm. 16-19, in the Basses
and m. 34 in the
Cello and Bass.
The
balancing of the chords
will be a challenge
in
the execution of the many
sforzandos
em> in this
movement.
March: Measures 2 and
4, and similar melodic
patterns that follow,
require the performers to
carefully balance their
forte/pianos
on beats 3 and 4,
along with the rapid
diminuendo. The contrasting
rhythmic patterns in mm.
5-8, and later throughout
this movement must line
up precisely. Strings
playing the pizzicato
eight note, walking bass
line, must not rush,
and the upper strings
playing the
eighth-note/eight-rest
figure must
follow their section
leaders in executing this
in a unified manner.
While there is
no formal tempo change
from mm. 40 to 41,
directors may need to
relax the tempo at the
beginning of the
movement to
accommodate the
technical challenge of
the double time feel that
happens in m. 41.
Trepak:
Tchaikovsky was careful
to notate the
p,
f
and
sf,
requiring the performers
to recognize the
difference between all
three markings that frame
the chief melody. The
upper strings must be
careful to support the
melody in the lower
strings that begins in m.
33. Directors will
challenge their students
to have fun in the last
twelve measures with the
accelerando
passage to the
end. Care must
be taken to use
an
accelerando
that works for
all
the players in the
particular
ensemble.. This
arrangement will
challenge students, while
fostering rhythmic
independence, execution
of bowing and pizzicato,
and the ability to
balance the melody with
the accompaniment
throughout the
arrangement. However,
ranges remain primarily
in first position with
some optional
8va<
span class=s4> passages,
allowing intermediate
groups to perform this in
time for the winter
holiday concert.A
Suitable for Grades 3
through 5. To the
Director:
Dance
of the Sugar Plum
Fairy: A steady tempo
is critical when
performing this movement,
as students may have a
tendency to rush during
the pizzicato sections.
There is a
regularly occurring
descending sixteenth-note
rhythmic figure that is
transcribed form the bass
clarinet part in the
original.
It
is important to maintain
clarity and
balance in performing
these passages as seen
in
mm.A 16-19, in the Basses
and m.A 34A in the
Cello and Bass.
The
balancing of the chords
will be a challenge
in
the execution of the many
sforzandos
em>A in this
movement.
March: A Measures 2 and
4, and similar melodic
patterns that follow,
require the performers to
carefully balance their
forte/pianos
on beats 3 and 4,
along with the rapid
diminuendo. The contrasting
rhythmic patterns in mm.
5-8, and later throughout
this movement must line
up precisely. Strings
playing the pizzicato
eight note, walking bass
line, must not rush,
and the upper strings
playing the
eighth-note/eight-restA
figure must
follow their section
leaders in executing this
in a unified manner.
While there is
no formal tempo change
from mm. 40 to 41,
directors may need to
relax the tempo at the
beginning of the
movement toA
accommodate the
technical challenge of
the double time feel that
happens in m. 41.
Trepak:
A
Tchaikovsky was careful
to notate the
p,
f
and
sf,
requiring the performers
to recognize the
difference between all
three markings that frame
the chief melody. The
upper strings must be
careful to support the
melody in the lower
strings that begins in m.
33. Directors will
challenge their students
to have fun in the last
twelve measures with the
accelerando
passage to the
end. Care must
be taken to use
an
accelerando
that works for
all
the players in the
particular
ensemble.. This
arrangement will
challenge students, while
fostering rhythmic
independence, execution
of bowing and pizzicato,
and the ability to
balance the melody with
the accompaniment
throughout the
arrangement. However,
ranges remain primarily
in first position with
some optional
8va<
span class=s4> passages,
allowing intermediate
groups to perform this in
time for the winter
holiday concert.A
Suitable for Grades 3
through 5. To the
Director:
Dance
of the Sugar Plum
Fairy: A steady tempo
is critical when
performing this movement,
as students may have a
tendency to rush during
the pizzicato sections.
There is a
regularly occurring
descending sixteenth-note
rhythmic figure that is
transcribed form the bass
clarinet part in the
original.
It
is important to maintain
clarity and
balance in performing
these passages as seen
in
mm.A 16-19, in the Basses
and m.A 34A in the
Cello and Bass.
The
balancing of the chords
will be a challenge
in
the execution of the many
sforzandos
em>A in this
movement.
March: A Measures 2 and
4, and similar melodic
patterns that follow,
require the performers to
carefully balance their
forte/pianos
on beats 3 and 4,
along with the rapid
diminuendo. The contrasting
rhythmic patterns in mm.
5-8, and later throughout
this movement must line
up precisely. Strings
playing the pizzicato
eight note, walking bass
line, must not rush,
and the upper strings
playing the
eighth-note/eight-restA
figure must
follow their section
leaders in executing this
in a unified manner.
While there is
no formal tempo change
from mm. 40 to 41,
directors may need to
relax the tempo at the
beginning of the
movement toA
accommodate the
technical challenge of
the double time feel that
happens in m. 41.
Trepak:
A
Tchaikovsky was careful
to notate the
p,
f
and
sf,
requiring the performers
to recognize the
difference between all
three markings that frame
the chief melody. The
upper strings must be
careful to support the
melody in the lower
strings that begins in m.
33. Directors will
challenge their students
to have fun in the last
twelve measures with the
accelerando
passage to the
end. Care must
be taken to use
an
accelerando
that works for
all
the players in the
particular
ensemble.. This
arrangement will
challenge students, while
fostering rhythmic
independence, execution
of bowing and pizzicato,
and the ability to
balance the melody with
the accompaniment
throughout the
arrangement. However,
ranges remain primarily
in first position with
some optional
8va<
span class=s4> passages,
allowing intermediate
groups to perform this in
time for the winter
holiday concert. Suitable
for Grades 3 through
5. To the
Director:
Dance
of the Sugar Plum
Fairy: A steady tempo
is critical when
performing this movement,
as students may have a
tendency to rush during
the pizzicato sections.
There is a
regularly occurring
descending sixteenth-note
rhythmic figure that is
transcribed form the bass
clarinet part in the
original.
It
is important to maintain
clarity and
balance in performing
these passages as seen
in
mm. 16-19, in the Basses
and m. 34 in the
Cello and Bass.
The
balancing of the chords
will be a challenge
in
the execution of the many
sforzandos
em> in this
movement.
March: Measures 2 and
4, and similar melodic
patterns that follow,
require the performers to
carefully balance their
forte/pianos
on beats 3 and 4,
along with the rapid
diminuendo. The contrasting
rhythmic patterns in mm.
5-8, and later throughout
this movement must line
up precisely. Strings
playing the pizzicato
eight note, walking bass
line, must not rush,
and the upper strings
playing the
eighth-note/eight-rest
figure must
follow their section
leaders in executing this
in a unified manner.
While there is
no formal tempo change
from mm. 40 to 41,
directors may need to
relax the tempo at the
beginning of the
movement to
accommodate the
technical challenge of
the double time feel that
happens in m. 41.
Trepak:
Tchaikovsky was careful
to notate the
p,
f
and
sf,
requiring the performers
to recognize the
difference between all
three markings that frame
the chief melody. The
upper strings must be
careful to support the
melody in the lower
strings that begins in m.
33. Directors will
challenge their students
to have fun in the last
twelve measures with the
accelerando
passage to the
end. Care must
be taken to use
an
accelerando
that works for
all
the players in the
particular
ensemble.. This
arrangement will
challenge students, while
fostering rhythmic
independence, execution
of bowing and pizzicato,
and the ability to
balance the melody with
the accompaniment
throughout the
arrangement. However,
ranges remain primarily
in first position with
some optional 8va
passages, allowing
intermediate groups to
perform this in time for
the winter holiday
concert. Suitable for
Grades 3 through 5. To
the Director: Dance of
the Sugar Plum Fairy: A
steady tempo is critical
when performing this
movement, as students may
have a tendency to rush
during the pizzicato
sections. There is a
regularly occurring
descending sixteenth-note
rhythmic figure that is
transcribed form the bass
clarinet part in the
original. It is important
to maintain clarity and
balance in performing
these passages as seen in
mm. 16-19, in the Basses
and m. 34 in the Cello
and Bass. The balancing
of the chords will be a
challenge in the
execution of the many
sforzandos in this
movement. March: Measures
2 and 4, and similar
melodic patterns that
follow, require the
performers to carefully
balance their
forte/pianos on beats 3
and 4, along with the
rapid diminuendo. The
contrasting rhythmic
patterns in mm. 5-8, and
later throughout this
movement must line up
precisely. Strings
playing the pizzicato
eight note, walking bass
line, must not rush, and
the upper strings playing
the
eighth-note/eight-rest
figure must follow their
section leaders in
executing this in a
unified manner. While
there is no formal tempo
change from mm. 40 to 41,
directors may need to
relax the tempo at the
beginning of the movement
to accommodate the
technical challenge of
the double time feel that
happens in m. 41. Trepak:
Tchaikovsky was careful
to notate the p, f and
sf, requiring the
performers to recognize
the difference between
all three markings that
frame the chief melody.
The upper strings must be
careful to support the
melody in the lower
strings that begins in m.
33. Directors will
challenge their students
to have fun in the last
twelve measures with the
accelerando passage to
the end. Care must be
taken to use an
accelerando that works
for all the players in
the particular
ensemble. This
arrangement will
challenge students, while
fostering rhythmic
independence, execution
of bowing and pizzicato,
and the ability to
balance the melody with
the accompaniment
throughout the
arrangement. However,
ranges remain primarily
in first position with
some optional 8va
passages, allowing
intermediate groups to
perform this in time for
the winter holiday
concert. Suitable for
Grades 3 through 5.To the
Director:Dance of the
Sugar Plum Fairy: A
steady tempo is critical
when performing this
movement, as students may
have a tendency to rush
during the pizzicato
sections. There is a
regularly occurring
descending sixteenth-note
rhythmic figure that is
transcribed form the bass
clarinet part in the
original. It is important
to maintain clarity and
balance in performing
these passages as seen in
mm. 16-19, in the
Basses and m. 34 in
the Cello and Bass. The
balancing of the chords
will be a challenge in
the execution of the many
sforzandos in this
movement. March:
 Measures 2 and 4, and
similar melodic patterns
that follow, require the
performers to carefully
balance their
forte/pianos on beats 3
and 4, along with the
rapid diminuendo. The
contrasting rhythmic
patterns in mm. 5-8, and
later throughout this
movement must line up
precisely. Strings
playing the pizzicato
eight note, walking bass
line, must not rush, and
the upper strings playing
the
eighth-note/eight-restÂÂ
figure must follow their
section leaders in
executing this in a
unified manner. While
there is no formal tempo
change from mm. 40 to 41,
directors may need to
relax the tempo at the
beginning of the movement
to accommodate the
technical challenge of
the double time feel that
happens in m. 41. Trepak:
 Tchaikovsky was
careful to notate the p,
f and sf, requiring the
performers to recognize
the difference between
all three markings that
frame the chief melody.
The upper strings must be
careful to support the
melody in the lower
strings that begins in m.
33. Directors will
challenge their students
to have fun in the last
twelve measures with the
accelerando passage to
the end. Care must be
taken to use an
accelerando that works
for all the players in
the particular
ensemble.
About Carl
Fischer Concert String
Orchestra
Series Thi
s series of pieces (Grade
3 and higher) is designed
for advancing ensembles.
The pieces in this series
are characterized
by: - Expanded use
of rhythms, ranges and
keys but technical
demands are still
carefully
considered
- More
comprehensive bowing
techniques
- Viola
T.C.
included
- Careful
selection of keys and
degree of difficulty for
advancing
musicians
$9.50 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Dance Suite for Strings (I. Allemande, II. Sarabande, III. Gigue) Orchestre à Cordes - Facile Alfred Publishing
By Maurice C. Whitney. Edited by John Whitney. By Maurice C. Whitney / ed. John ...(+)
By Maurice C. Whitney.
Edited by John Whitney.
By Maurice C. Whitney /
ed. John Whitney. For
String Orchestra. String
Orchestra. Belwin
Intermediate String
Orchestra. Level: 2.5
(grade 2.5). Conductor
Score & Parts. Duration
5:09. Published by Alfred
Publishing.
$55.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Dance Suite for Strings (I. Allemande, II. Sarabande, III. Gigue) Orchestre à Cordes [Conducteur] - Facile Alfred Publishing
By Maurice C. Whitney. Edited by John Whitney. By Maurice C. Whitney / ed. John ...(+)
By Maurice C. Whitney.
Edited by John Whitney.
By Maurice C. Whitney /
ed. John Whitney. For
String Orchestra. String
Orchestra. Belwin
Intermediate String
Orchestra. Level: 2.5
(grade 2.5). Conductor
Score. Published by
Alfred Publishing.
$10.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Classical Fake Book - 2nd Edition
Fake Book [Fake Book] - Facile Hal Leonard
(Over 850 Classical Themes and Melodies in the Original Keys) For C instrument. ...(+)
(Over 850 Classical
Themes and Melodies in
the Original Keys) For C
instrument. Format:
fakebook (spiral bound).
With vocal melody
(excerpts) and chord
names. Lassical. Series:
Hal Leonard Fake Books.
646 pages. 9x12 inches.
Published by Hal Leonard.
(8)$49.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Real Little Classical Fake Book - 2nd Edition Piano seul - Intermédiaire Hal Leonard
Composed by Various. For Piano/Keyboard. Hal Leonard Fake Books. Classical. Diff...(+)
Composed by Various. For
Piano/Keyboard. Hal
Leonard Fake Books.
Classical. Difficulty:
medium to
medium-difficult.
Fakebook. Melody line,
chord names and lyrics
(on some songs). 413
pages. Published by Hal
Leonard
$27.50 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Anitra's Dance Ensemble de Percussions [Partition + CD-ROM] Tapspace Publications
(from Peer Gynt Suite No. 1 arranged for percussion ensemble). Composed by Edvar...(+)
(from Peer Gynt Suite No.
1 arranged for percussion
ensemble). Composed by
Edvard Grieg (1843-1907).
Arranged by Brian Blume.
Percussion Ensembles. For
Glockenspiel, xylophone,
bell tree, chimes, 2
vibraphones, 2 low-A
marimbas, 1 low-C
marimba, 4 timpani,
double bass (optional),
triangle, 3 suspended
cymbals, windchimes, bass
drum, ride cymbal, and
finger cymbals (12-13
players). Difficulty:
Medium-Advanced. Folio
and CD-ROM. 10 pages.
Duration 3:15. Published
by Tapspace Publications
$40.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| The Real Little Ultimate Fake Book - 3rd Edition (C Edition) [Fake Book] Hal Leonard
Fakebook (spiral bound) for voice and C instrument. With vocal melody, lyrics, c...(+)
Fakebook (spiral bound)
for voice and C
instrument. With vocal
melody, lyrics, chord
names, leadsheet notation
and guitar chord chart.
Series: Hal Leonard Fake
Books. 813 pages.
Published by Hal Leonard.
(4)$39.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Suite for Strings - Intermédiaire Carl Fischer
Orchestra Cello, Contrabass, Viola, Violin 1, Violin 2 - Grade 3 SKU: CF.CAS1...(+)
Orchestra Cello,
Contrabass, Viola, Violin
1, Violin 2 - Grade 3
SKU: CF.CAS139F
Composed by Viktor
Kosenko. Arranged by
Robert Debbaut. Carl
Fischer Concert String
Orchestra Series. Full
score. 28 pages. Carl
Fischer Music #CAS139F.
Published by Carl Fischer
Music (CF.CAS139F).
ISBN 9781491160800.
UPC:
680160919406. The
works of Viktor Kosenko
(1896-1938) - highly
regarded in his lifetime
as concertmaster,
pianist, educator, and
composer - became known
to the arranger through
his Russian-American
wife, Alina, a teacher of
young violinists and
pianists. She owned an
old out-of-print
anthology of works by
both Soviet composers and
other world-renowned
composers entitled The
Young Violinist. Inspired
by these lovely melodies,
Debbaut compiled and
arranged a collection of
music exclusively by
Soviet composers entitled
The Young Soviet
Violinist as well as
published collections of
all four of Kosenko's
Four Children's Pieces,
arranged for violin and
piano, flute and piano,
viola and piano, and
cello and piano. Four
Children's Pieces for
piano (1930) were the
first works the
educational pioneer
Kosenko wrote with young
pianists in mind based on
his own personal deep
knowledge of the main
objectives of a teacher.
Arranged here for string
orchestra, this charming
suite features four
delightful movements: I.
Scherzino, II. Melody,
III. Olden Dance, and IV.
March. Each contrasting
theme can be performed
alone or as a full
performance of all four
movements. The works
of Viktor Kosenko
(1896-1938) - highly
regarded in his lifetime
as concertmaster,
pianist, educator, and
composer - became known
to the arranger through
his Russian-American
wife, Alina, a teacher of
young violinists and
pianists. She owned an
old out-of-print
anthology of works by
both Soviet composers and
other world-renowned
composers entitled The
Young Violinist. Inspired
by these lovely melodies,
Debbaut compiled and
arranged a collection of
music exclusively by
Soviet composers entitled
The Young Soviet
Violinist as well as
published collections of
all four of
Kosenko’s Four
Children’s Pieces,
arranged for violin and
piano, flute and piano,
viola and piano, and
cello and piano. Four
Children’s Pieces
for piano (1930) were the
first works the
educational pioneer
Kosenko wrote with young
pianists in mind based on
his own personal deep
knowledge of the main
objectives of a teacher.
Arranged here for string
orchestra, this charming
suite features four
delightful movements: I.
Scherzino, II. Melody,
III. Olden Dance, and IV.
March. Each contrasting
theme can be performed
alone or as a full
performance of all four
movements.
About Carl
Fischer Concert String
Orchestra
Series Thi
s series of pieces (Grade
3 and higher) is designed
for advancing ensembles.
The pieces in this series
are characterized
by: - Expanded use
of rhythms, ranges and
keys but technical
demands are still
carefully
considered
- More
comprehensive bowing
techniques
- Viola
T.C.
included
- Careful
selection of keys and
degree of difficulty for
advancing
musicians
$9.50 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Suite for Strings - Intermédiaire Carl Fischer
Orchestra Cello, Contrabass, Viola, Violin 1, Violin 2 - Grade 3 SKU: CF.CAS1...(+)
Orchestra Cello,
Contrabass, Viola, Violin
1, Violin 2 - Grade 3
SKU: CF.CAS139
Composed by Viktor
Kosenko. Arranged by
Robert Debbaut. Carl
Fischer Concert String
Orchestra Series. Set of
Score and Parts.
32+32+20+20+20+28 pages.
Carl Fischer Music
#CAS139. Published by
Carl Fischer Music
(CF.CAS139). ISBN
9781491160541. UPC:
680160919130. The
works of Ukrainian Viktor
Kosenko (1896-1938) -
highly regarded in his
lifetime as
concertmaster, pianist,
educator, and composer -
became known to the
arranger through his
Russian-American wife,
Alina, a teacher of young
violinists and pianists.
She owned an old
out-of-print anthology of
works by both Soviet
composers and other
world-renowned composers
entitled The Young
Violinist. Inspired by
these lovely melodies,
Debbaut compiled and
arranged collections of
all four of Kosenko's
Four Children's Pieces
for Violin and Piano,
Flute and Piano, Viola
and Piano, and Cello and
Piano. Four Children's
Pieces for piano (1930)
were the first works the
educational pioneer
Kosenko wrote with young
pianists in mind based on
his own personal deep
knowledge of the main
objectives of a teacher.
Arranged here for String
Orchestra, this charming
suite features four
delightful movements: I.
Scherzino, II. Melody,
III. Olden Dance, and IV.
March. Each contrasting
theme can be performed
alone or as a full
performance of all four
movements. The works
of Ukrainian Viktor
Kosenko (1896-1938) -ÂÂ
highly regarded in his
lifetime as
concertmaster, pianist,
educator, and composer -
became known to the
arranger through his
Russian-American wife,
Alina, a teacher of young
violinists and pianists.
She owned an old
out-of-print anthology of
works by both Soviet
composers and other
world-renowned composers
entitled The Young
Violinist. Inspired by
these lovely melodies,
Debbaut compiled and
arranged collections of
all four of
Kosenko’s Four
Children’s
Pieces for Violin and
Piano, Flute and Piano,
Viola and Piano, and
Cello and Piano. Four
Children’s Pieces
for piano (1930) were the
first works the
educational pioneer
Kosenko wrote with young
pianists in mind based on
his own personal deep
knowledge of the main
objectives of a teacher.
Arranged here for String
Orchestra, this charming
suite features four
delightful movements: I.
Scherzino, II. Melody,
III. Olden Dance, and IV.
March. Each contrasting
theme can be performed
alone or as a full
performance of all four
movements.
About Carl
Fischer Concert String
Orchestra
Series Thi
s series of pieces (Grade
3 and higher) is designed
for advancing ensembles.
The pieces in this series
are characterized
by: - Expanded use
of rhythms, ranges and
keys but technical
demands are still
carefully
considered
- More
comprehensive bowing
techniques
- Viola
T.C.
included
- Careful
selection of keys and
degree of difficulty for
advancing
musicians
$60.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Intermediate Music for Three, Volume 2, Part 1 - Flute/Oboe/Violin [Partie séparée] Last Resort Music Publishing
(Mix and Match Trios for Strings, Woodwinds, Saxophones and Keyboard). By Variou...(+)
(Mix and Match Trios for
Strings, Woodwinds,
Saxophones and Keyboard).
By Various. Arranged by
Daniel Kelley. String
Trio, Wind Trio, Mixed
Trio, Clarinet Trio,
Saxophone Trio, Piano
Trio, Piano Quartet. For
Flute or Oboe or Violin
in C. Trios. Intermediate
Music for Three.
Classical. Intermediate.
Partbook - Part 1.
Published by Last Resort
Music Publishing
$20.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Intermediate Music for Three, Volume 2, Part 2 - Clarinet/Trumpet [Partie séparée] Last Resort Music Publishing
(Mix and Match Trios for Strings, Woodwinds, Saxophones and Keyboard). By Variou...(+)
(Mix and Match Trios for
Strings, Woodwinds,
Saxophones and Keyboard).
By Various. Arranged by
Daniel Kelley. String
Trio, Wind Trio, Mixed
Trio, Clarinet Trio,
Saxophone Trio, Piano
Trio, Piano Quartet. For
Clarinet or Trumpet in
Bb. Trios. Intermediate
Music for Three.
Classical. Intermediate.
Partbook - Part 2.
Published by Last Resort
Music Publishing
$20.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Intermediate Music for Three, Volume 2, Part 1 - Clarinet/Soprano Saxophone [Partie séparée] Last Resort Music Publishing
(Mix and Match Trios for Strings, Woodwinds, Saxophones and Keyboard). By Variou...(+)
(Mix and Match Trios for
Strings, Woodwinds,
Saxophones and Keyboard).
By Various. Arranged by
Daniel Kelley. String
Trio, Wind Trio, Mixed
Trio, Clarinet Trio,
Saxophone Trio, Piano
Trio, Piano Quartet. For
Clarinet or Soprano
Saxophone in Bb. Trios.
Intermediate Music for
Three. Classical.
Intermediate. Partbook -
Part 1. Published by Last
Resort Music Publishing
$20.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Intermediate Music for Three, Volume 2, Part 3 - Bass Clarinet [Partie séparée] Last Resort Music Publishing
(Mix and Match Trios for Strings, Woodwinds, Saxophones and Keyboard). By Variou...(+)
(Mix and Match Trios for
Strings, Woodwinds,
Saxophones and Keyboard).
By Various. Arranged by
Daniel Kelley. String
Trio, Wind Trio, Mixed
Trio, Clarinet Trio,
Saxophone Trio, Piano
Trio, Piano Quartet. For
Bass Clarinet in Bb.
Trios. Intermediate Music
for Three. Classical.
Intermediate. Partbook -
Part 3. Published by Last
Resort Music Publishing
$20.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Intermediate Music for Three, Volume 2 - Keyboard/Guitar [Partie séparée] Last Resort Music Publishing
(Mix and Match Trios for Strings, Woodwinds, Saxophones and Keyboard). By Variou...(+)
(Mix and Match Trios for
Strings, Woodwinds,
Saxophones and Keyboard).
By Various. Arranged by
Daniel Kelley. String
Trio, Wind Trio, Mixed
Trio, Clarinet Trio,
Saxophone Trio, Piano
Trio, Piano Quartet. For
Keyboard or Guitar.
Trios. Intermediate Music
for Three. Classical.
Intermediate.
Keyboard/guitar partbook.
Published by Last Resort
Music Publishing
$26.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Intermediate Music for Three, Volume 2, Part 2 - Viola [Partie séparée] Last Resort Music Publishing
(Mix and Match Trios for Strings, Woodwinds, Saxophones and Keyboard). By Variou...(+)
(Mix and Match Trios for
Strings, Woodwinds,
Saxophones and Keyboard).
By Various. Arranged by
Daniel Kelley. String
Trio, Wind Trio, Mixed
Trio, Clarinet Trio,
Saxophone Trio, Piano
Trio, Piano Quartet. For
Viola in alto clef.
Trios. Intermediate Music
for Three. Classical.
Intermediate. Partbook -
Part 2. Published by Last
Resort Music Publishing
$20.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Klezmer Dance Suite OR-TAV Music Publications
Clarinet, Strings, percussion, tuba SKU: OT.37019 Composed by Lev Kogan. ...(+)
Clarinet, Strings,
percussion, tuba SKU:
OT.37019 Composed by
Lev Kogan. Arranged by
Alan Kaufman. For
clarinet, strings,
percussion, and tuba.
Klezmer. Score. OR-TAV
Music Publications
#37019. Published by
OR-TAV Music Publications
(OT.37019). ISBN
9789655050851. 8.27 x
11.69 inches. Lev
Kogan Klezmer Dance
Suite for clarinet,
strings, percussion, and
tuba arranged by Alan
Kaufman, with cadenzas by
Gene Kavadlo Score. A
set of parts may be
ordered
separately. There is
also an edition for small
ensemble including a
score and one copy each
part, SKU 37019set I
have been Principal
Clarinetist with the
Charlotte Symphony
Orchestra, North
Carolina, since 1975. My
interest in klezmer music
began in 1984 when I
realized how unique the
clarinet voice can be in
the klezmer idiom - it is
totally different from
playing in a symphony
orchestra, and I found
that unique voice to be
very appealing. I formed
a quartet called Viva
Klezmer!, and we have
been concertizing and
recording ever
since. I discovered
Lev Kogan's Hassidic
Tunes for Clarinet and
Piano a number of years
ago and was struck by the
lovely melodies and
harmonies that Mr. Kogan
had composed. The tunes
were always enjoyed by
audiences whenever I
performed them, and it
occured to me that
several of them could be
orchestrated and grouped
together to form a very
attractive klezmer suite.
I enlisted the aid of my
talented colleague, Alan
Kaufman, and the result
is this publication.
There is dearth of
klezmer music featuring
clarinet with orchestra
or chamber ensemble, and
this publication helps
fill that void. The
suite can be performed
with orchestra or, if
percussion and tuba are
unavailable, as chamber
music with clarinet and
strings. In the absence
of tuba, the part may be
played by another bass
instrument. Gene
Kavadlo Lev Kogan
(1927-2007) was born in
Baku, Azerbaijan, and
immigrated to Israel in
1972. Kogan attended the
Moscow State Conservatory
from 1946-1952 where he
studied piano and was a
composition of Aram
Khatchturian. He has
devotred much time to the
research, creation and
performance of Jewish
music. In Israel, he has
composed many productions
for the Yiddish theater
and Chassidic, Yiddish
songs and chamber
music. Originally from
New York State, Alan
Kaufman graduated from
Potsdam State University
with a Bachelor's Degree
in Music Education and a
Master's Degree in Music
Performance in
Percussion. Since then,
he has been a performer,
arranger, educator,
producer and composer of
commercial jingles,
recordings and movie and
television soundtracks.
He has produced albums
and/or has arranged for
an array of groups from
The Buddy Rich Band to
performing with artists
as diverse as Luciano
Pavoratti and Bernadette
Peters, to Dave Brubeck
and Johnny Cash. Since
1978, Alan has resided in
Charlotte, NC where he
continues his musical
journey. $24.94 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Klezmer Dance Suite (parts) OR-TAV Music Publications
Clarinet, Strings, percussion, tuba SKU: OT.37019PARTS Composed by Lev Ko...(+)
Clarinet, Strings,
percussion, tuba SKU:
OT.37019PARTS
Composed by Lev Kogan.
Arranged by Alan Kaufman.
For clarinet, strings,
percussion, and tuba.
Klezmer. Set of parts.
OR-TAV Music Publications
#37019PARTS. Published by
OR-TAV Music Publications
(OT.37019PARTS). 8.27
x 11.69 inches. Lev
Kogan Klezmer Dance
Suite for clarinet,
strings, percussion, and
tuba arranged by Alan
Kaufman, with cadenzas by
Gene Kavadlo Set of
parts There is also an
edition for small
ensemble including a
score and one copy each
part, SKU 37019set I
have been Principal
Clarinetist with the
Charlotte Symphony
Orchestra, North
Carolina, since 1975. My
interest in klezmer music
began in 1984 when I
realized how unique the
clarinet voice can be in
the klezmer idiom - it is
totally different from
playing in a symphony
orchestra, and I found
that unique voice to be
very appealing. I formed
a quartet called Viva
Klezmer!, and we have
been concertizing and
recording ever
since. I discovered
Lev Kogan's Hassidic
Tunes for Clarinet and
Piano a number of years
ago and was struck by the
lovely melodies and
harmonies that Mr. Kogan
had composed. The tunes
were always enjoyed by
audiences whenever I
performed them, and it
occured to me that
several of them could be
orchestrated and grouped
together to form a very
attractive klezmer suite.
I enlisted the aid of my
talented colleague, Alan
Kaufman, and the result
is this publication.
There is dearth of
klezmer music featuring
clarinet with orchestra
or chamber ensemble, and
this publication helps
fill that void. The
suite can be performed
with orchestra or, if
percussion and tuba are
unavailable, as chamber
music with clarinet and
strings. In the absence
of tuba, the part may be
played by another bass
instrument. Gene
Kavadlo Lev Kogan
(1927-2007) was born in
Baku, Azerbaijan, and
immigrated to Israel in
1972. Kogan attended the
Moscow State Conservatory
from 1946-1952 where he
studied piano and was a
composition of Aram
Khatchturian. He has
devotred much time to the
research, creation and
performance of Jewish
music. In Israel, he has
composed many productions
for the Yiddish theater
and Chassidic, Yiddish
songs and chamber
music. Originally from
New York State, Alan
Kaufman graduated from
Potsdam State University
with a Bachelor's Degree
in Music Education and a
Master's Degree in Music
Performance in
Percussion. Since then,
he has been a performer,
arranger, educator,
producer and composer of
commercial jingles,
recordings and movie and
television soundtracks.
He has produced albums
and/or has arranged for
an array of groups from
The Buddy Rich Band to
performing with artists
as diverse as Luciano
Pavoratti and Bernadette
Peters, to Dave Brubeck
and Johnny Cash. Since
1978, Alan has resided in
Charlotte, NC where he
continues his musical
journey. $57.44 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Classic Gems for Electric Bass Basse electrique [Partition] Jamey Aebersold Jazz
(Includes seven solos and one duet). Edited by Damon Mazzocco. For electric bass...(+)
(Includes seven solos and
one duet). Edited by
Damon Mazzocco. For
electric bass. Classical
and Instructional.
Collection. Bass
tablature. 20 pages.
Published by Jamey
Aebersold Jazz
(3)$7.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Klezmer Dance Suite OR-TAV Music Publications
Clarinet, String quartet, percussion, tuba SKU: OT.37019SET Composed by L...(+)
Clarinet, String quartet,
percussion, tuba SKU:
OT.37019SET Composed
by Lev Kogan. Arranged by
Alan Kaufman. For
clarinet, strings,
percussion, and tuba.
Klezmer. Score and Parts.
OR-TAV Music Publications
#37019SET. Published by
OR-TAV Music Publications
(OT.37019SET). 8.27 x
11.69 inches. Lev
Kogan Klezmer Dance
Suite for clarinet,
strings, percussion, and
tuba arranged by Alan
Kaufman, with cadenzas by
Gene Kavadlo Score and
one copy each part I
have been Principal
Clarinetist with the
Charlotte Symphony
Orchestra, North
Carolina, since 1975. My
interest in klezmer music
began in 1984 when I
realized how unique the
clarinet voice can be in
the klezmer idiom - it is
totally different from
playing in a symphony
orchestra, and I found
that unique voice to be
very appealing. I formed
a quartet called Viva
Klezmer!, and we have
been concertizing and
recording ever
since. I discovered
Lev Kogan's Hassidic
Tunes for Clarinet and
Piano a number of years
ago and was struck by the
lovely melodies and
harmonies that Mr. Kogan
had composed. The tunes
were always enjoyed by
audiences whenever I
performed them, and it
occured to me that
several of them could be
orchestrated and grouped
together to form a very
attractive klezmer suite.
I enlisted the aid of my
talented colleague, Alan
Kaufman, and the result
is this publication.
There is dearth of
klezmer music featuring
clarinet with orchestra
or chamber ensemble, and
this publication helps
fill that void. The
suite can be performed
with orchestra or, if
percussion and tuba are
unavailable, as chamber
music with clarinet and
strings. In the absence
of tuba, the part may be
played by another bass
instrument. Gene
Kavadlo Lev Kogan
(1927-2007) was born in
Baku, Azerbaijan, and
immigrated to Israel in
1972. Kogan attended the
Moscow State Conservatory
from 1946-1952 where he
studied piano and was a
composition of Aram
Khatchturian. He has
devotred much time to the
research, creation and
performance of Jewish
music. In Israel, he has
composed many productions
for the Yiddish theater
and Chassidic, Yiddish
songs and chamber
music. Originally from
New York State, Alan
Kaufman graduated from
Potsdam State University
with a Bachelor's Degree
in Music Education and a
Master's Degree in Music
Performance in
Percussion. Since then,
he has been a performer,
arranger, educator,
producer and composer of
commercial jingles,
recordings and movie and
television soundtracks.
He has produced albums
and/or has arranged for
an array of groups from
The Buddy Rich Band to
performing with artists
as diverse as Luciano
Pavoratti and Bernadette
Peters, to Dave Brubeck
and Johnny Cash. Since
1978, Alan has resided in
Charlotte, NC where he
continues his musical
journey. $43.75 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Piano Pieces For Adult Beginners Piano seul [Partition] Music Sales
By Amy Appleby. For Piano. Classical, Folk. Sheet Music. 194 pages. Published by...(+)
By Amy Appleby. For
Piano. Classical, Folk.
Sheet Music. 194 pages.
Published by Wise
Publications.
(1)$17.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Intermediate Music for Four, Volume 1, Part 3 - Viola Quatuor de Saxophones: 4 saxophones [Partie séparée] Last Resort Music Publishing
(Mix and Match Quartets for Strings, Woodwind, Brass and Keyboard). By Various. ...(+)
(Mix and Match Quartets
for Strings, Woodwind,
Brass and Keyboard). By
Various. Arranged by
Daniel Kelley. String
quartet, woodwind
quartet, piano quintet,
mixed quartet, clarinet
quartet, saxophone
quartet. For Viola in
alto clef. Quartets.
Intermediate Music for
Four series. Classical.
Intermediate. Partbook -
part 3. Published by Last
Resort Music Publishing
$20.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Intermediate Music for Four, Volume 1 - Keyboard/Guitar Quatuor de Saxophones: 4 saxophones [Partie séparée] Last Resort Music Publishing
(Mix and Match Quartets for Strings, Woodwind, Brass and Keyboard). By Various. ...(+)
(Mix and Match Quartets
for Strings, Woodwind,
Brass and Keyboard). By
Various. Arranged by
Daniel Kelley. String
quartet, woodwind
quartet, piano quintet,
mixed quartet, clarinet
quartet, saxophone
quartet. For Keyboard or
Guitar. Quartets.
Intermediate Music for
Four series. Classical.
Intermediate. Partbook.
Published by Last Resort
Music Publishing
$26.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Elegy And Dance Orchestre à Cordes [Conducteur et Parties séparées] - Débutant Alfred Publishing
By Richard Meyer. Music by Richard Meyer. For string orchestra. String Orchestra...(+)
By Richard Meyer. Music
by Richard Meyer. For
string orchestra. String
Orchestra. Strictly
Strings. 0. Level: 1
(grade 1). Conductor
Score and Parts. 1 pages.
Published by Alfred
Publishing.
(2)$46.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
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