By Michael Davis. Composed by Michael Davis and Shari Feder. For trombone. Playing your instrument with a friend and a really cool CD - nothing could be better. Book and CD. C bass clef edition. 47 pages. Published by Hip-Bone Music. (C41) Level: beginner.

2 clarinets in Bb

SKU: HL.49044553

9 Duets. Composed by Barbara Heller. Edited by Irith Gabriely. This edition: Saddle stitching. Sheet music. Woodwind Ensemble. Softcover. Composed 2013. 44 pages. Schott Music #KLB92. Published by Schott Music (HL.49044553).

ISBN 9790001197731.

The clarinettist Irith Gabriely was inspired by her love of Barbara Heller's Dialogues (for violin and viola) to arrange these duets for two Bb clarinets. The result is a set of varied concertante dialogues that present clarinettists with a few challenges, requiring stamina, breath control, intense and contrasting dynamics, chromatic passages, whole tone passages, sensitive tone production, leaps across wide intervals, fast playing, disciplined rhythmic control and listening to one another closely. In this edition all tempo indications and dynamic markings are intended for guidance: these duets may equally well be interpreted in other ways. This edition therefore also includes a second section where all the pieces are reproduced without such markings, ready for individual interpretation. The Dialogues lend themselves very well to chamber performances; they are also short enough to serve as brief interludesat readings or exhibitions. Their expressive qualities, brevity and range of musical and technical demands make them highly suitable material for youth music competitions. A flute or oboe might well be played with the clarinet as alternative instrumentation for these duets (ED 22017).

By Melody Bober. For Piano. Composers In Focus. Original duets are written for two students or student and teacher. Includes: Let's Beguine; Frontier Frolic; Carillon; Backstreet Boogie; Knock on Wood. Level: Intermediate/Late Intermediate. Book. Published by The FJH Music Company, Inc.

By Michael Davis. Composed by Michael Davis & Shari Feder. For trumpet. Playing your instrument with a friend and a really cool CD - nothing could be better. Book and CD. Bb trumpet edition. 47 pages. Published by Hip-Bone Music. (C40) Level: beginner

By John Innes. O and p. Level: 2-staff. Sacred organ and piano. Published by Laurel Press.

SKU: GI.G-317059

Composed by Garwood Whaley. Music Education. 50 pages. GIA Publications #317059. Published by GIA Publications (GI.G-317059).

UPC: 073999170597.

Both solos (2, 3 and 4 drums) and duets contain a variety of standard and contemporary techniques including: artificial rhythmic groups, metric modulation, glissandi, four-note chords, meter changes, and frequent dynamic changes. Click here for a YouTube video on Solos and Duets for Timpani.

By Michael Proksch. For Piano, 4-hands. This edition: Piano, 4-hands. Edition Breitkopf. Attached. 48 pages. Published by Breitkopf and Haertel (German import).

Two Trumpets

SKU: ST.C488

Composed by Thomas Sr Harper. Wind & brass music. Clifton Edition #C488. Published by Clifton Edition (ST.C488).

ISBN 9790570814886.

These 12 progressive duets were written for the slide trumpet by Thomas Harper Snr (1786-1853) and published in his Instructions for the Trumpet in 1835. Harper suggests the slide trumpet could be effectively pitched in 10 different keys by the addition of crooks (extra lengths of tubing) inserted between the mouthpiece and the main body of the instrument. Consequently, music was often written in C major and the choice of crook(s) changed the key that the listener would hear.

These duets are particularly suitable for use when studying transposition. For example, the first few duets mostly use the notes in the chord of C major and instead of transposing each individual note, it would be more effective to change those notes upwards to the chord of D major, if transposing for trumpet in C from a B flat trumpet; or if transposing to a trumpet in B flat from a trumpet in C change all the notes downwards to the chord of B flat major.

Harper Snr did incorporate some dynamic markings and indications of tempo, but in this edition more have been added to encourage expressive performances of these early Romantic pieces.

Edited by Paul Nevins
Trumpet or Cornet
Grades 7–8+.

Orchestra Piano

SKU: PR.11641861SP

Composed by William Kraft. Part. 35 pages. Duration 21 minutes. Theodore Presser Company #116-41861SP. Published by Theodore Presser Company (PR.11641861SP).

UPC: 680160685202.

What? ! - my composer colleagues said - A concerto for the piano? It's a 19th century instrument! Admittedly we are in an age when originally created timbres and/or musico-technological formulations are often the modus operandi of a piece. Actually, this Concerto began about two years ago when, during one of my creative jogs, the sound of the uppermost register of the piano mingled with wind chimes penetrated my inner ear. The challenge and fascination of exploring and developing this idea into an orchestral situation determined that some day soon I would be writing a work for piano and orchestra. So it was a very happy coincidence when Mona Golabek phoned to tell me she would like discuss the Ford Foundation commission. After covering areas of aesthetics and compositional styles, we found that we had a good working rapport, and she asked if I would accept the commission. The answer was obvious. Then began the intensive thought process on the stylistic essence and organization of the work. Along with this went a renewed study of idiomatic writing for the piano, of the kind Stravinsky undertook with the violin when he began his Violin Concerto. By a stroke of great fortune, the day in February 1972 that I received official notice from the Ford Foundation of the commission, I also received a letter from the Guggenheim Foundation informing me I had been awarded my second fellowship. With the good graces of Zubin Mehta and Ernest Fleischmann, masters of my destiny as a member of the Los Angeles Philharmonic, I was relieved of my orchestral duties during the Hollywood Bowl season. Thus I was able to go to Europe to work and to view the latest trends in music concentrating in London (the current musical melting pot and showcase par excellence), Oslo, Norway, for the Festival of Scandinavian Music called Nordic Days, and Warsaw, Poland, for its prestigious Autumn Festival. Over half the Concerto was completed in that summer and most of the rest during the 72-73 season with the final touches put on during a month as Resident Scholar at the Rockefeller Foundation's Villa Serbelloni in Bellagio, Italy. So much for the external and environmental influences, except perhaps to mention the birds of Sussex in the first movement, the bells of Arhus (Denmark) in the second movement and the bells of Bellagio at the end of the Concerto. Primary in the conception was the personality of Miss Golabek: she is a wonderfully vital and dynamic person and a real virtuoso. Therefore, the soloist in the Concerto is truly the protagonist; it is she (for once we can do away with the generic he) who unfolds the character and intent of the piece. The first section is constructed in the manner of a recitative - completely unmeasured - with letters and numbers by which the conductor signals the orchestra for its participation. This allows the soloist the freedom to interpret the patterns and control the flow and development of the music. The Concerto is actually in one continuous movement but with three large divisions of sufficiently contrasting character to be called movements in themselves. The first 'movement' is based on a few timbral elements: 1) a cluster of very low pitches which at the beginning are practically inaudibly depressed, and sustained silently by the sostenuto pedal, which causes sympathetic vibrating pitches to ring when strong notes are struck; 2) a single powerful note indicated by a black note-head with a line through it indicating the strongest possible sforzando; 3) short figures of various colors sometimes ominous, sometimes as splashes of light or as elements of transition; 4) trills and tremolos which are the actual controlling organic thread starting as single axial tremolos and gradually expanding to trills of increasingly larger and more powerful scope. The 'movement' begins in quiescent repose but unceasingly grows in energy and tension as the stretching of a string or rubber band. When it can no longer be restrained, it bursts into the next section. The second 'movement,' propelled by the released tension, is a brilliant virtuosic display, which begins with a long solo of wispy percussion, later joined in duet with the piano. Not to be ignored, the orchestra takes over shooting the material throughout all its sections like a small agile bird deftly maneuvering through nothing but air, while the piano counterposes moments of lyricism. The orchestra reaches a climax, thrusting us into the third 'movement' which begins with a cadenza-like section for the piano. This moves gently into an expressive section (expressive is not a negative term to me) in which duets are formed with various instruments. There are fleeting glimpses of remembrances past, as a fragmented recapitulation. One glimpse is hazily expressed by strings and percussion in a moment of simultaneous contrasting levels of activity, a technique of which I have been fond and have utilized in various fixed-free relationships, particularly in my Percussion Concerto, Contextures and Games: Collage No. 1. The second half of the third 'movement; is a large coda - akin to those in Beethoven - which brings about another display of virtuosity, this time gutsy and driving, raising the Concerto to a final climax, the soloist completing the fragmented recapitulation concept as well as the work with the single-note sforzando and low cluster from the very opening of the first movement.

Arranged by Joel Raney. For handbells, handchimes (3-5 octaves). Organ and Piano Duets. Raney Piano/Organ Duets Series. General, Introit, Sacred. Grade 2. Handbell part. 8 pages. Published by Hope Publishing Company

Arranged by Joel Raney. For Organ, Piano. Organ and Piano Duets. Raney Piano/Organ Duets Series. General, Introit, Sacred. Piano and Organ Scores. Published by Hope Publishing Company

Composed by Mat Marucci. Squareback saddle stitch, Method, Technique, Theory and Reference. Percussion: Snare Drum. Book and online audio. 116 pages. Mel Bay Publications, Inc #30646M. Published by Mel Bay Publications, Inc

SKU: BR.BV-374

Bach-Festschrift Klaus Hofmann. Composed by Ulrich Bartels and Uwe (Hrsg.) Wolf. Edited by U. Wolf and Ulrich Bartels. Softbound. Buchverlag Breitkopf & Hartel (Music Books). Besetzung, Bearbeitung und Auffuehrungspraxis bei Johann Sebastian Bach - Klaus Hofmann zum 65. Geburtstag. Baroque period. Book. 200 pages. Breitkopf and Haertel #BV 374. Published by Breitkopf and Haertel (BR.BV-374).

ISBN 9783765103742. 6.5 x 9.5 inches.

Besetzung, Bearbeitung und Auffuehrungspraxis bei Johann Sebastian Bach - Klaus Hofmann zum 65. Geburtstag Die vorliegende Ausgabe stutzt sich auf die bei Breitkopf & Hartel erschienene Gesamtausgabe Johannes Brahms Samtliche Werke der Gesellschaft der Musikfreunde Wien.

,,Wieder ist das Neuerscheinen der Studienpartitur einer Brahms-Sinfonie zu melden diesmal der Nr. 2 in D-Dur op. 73. Und wieder muss der klare Druck und die geschickte Seitenaufteilung geruhmt werden. (Das Liebhaberorchester)

The present edition is based on the complete edition Johannes Brahms - Collected Works of the Gesellschaft der Musikfreunde in Vienna which was published by Breitkopf & Hartel. The Urtext edition presented here is based on the Brahms Complete Edition of the 'Gesellschaft der Musikfreunde' in Vienna published by Breitkopf & Hartel. Die vorliegende Ausgabe stutzt sich auf die bei Breitkopf & Hartel erschienene Gesamtausgabe Johannes Brahms - Samtliche Werke der Gesellschaft der Musikfreunde Wien. The present edition is based on the Complete Edition Johannes Brahms - Samtliche Werke of the Gesellschaft der Musikfreunde in Vienna which was published by Breitkopf & Hartel. proficiency.

NE W! Free MP3 files of all pieces. Piano duets, get ready! Here comes Michael Proksch's A Spaniard for Elise, a collection of twelve exquisite pieces that are an irresistible treat for lovers of four-hand playing. The Spaniard offers something for every level of proficiency. You'll feel blissful In Seventh Heaven and full of joie de vivre on Paris's Pont-Neuf in Seine Scene. You can join Erik Satie, Surprised by the Fresh Country Air and engage in a temperamental dialogue of styles in A Spaniard for Elise. Enhancing the pedagogical value of this singular collection are comments on how to play the pieces, as well as a CD which can not only be listened to and enjoyed, but also used as a play-along version, as it carries individual tracks for the primo and secondo parts

To music and notes sample No. 5 High Spirits
Primo : Staccati with a dynamic, forward drive produced with a nimbly reacting wrist and calm arm. Strongly accentuate the first note at legato slurs. The appoggiaturas can be initially left out. mm. 1-8: Right hand plays alone; mm. 9-16 divided between l.h. and r.h.
Secondo: four-measure-long accompaniment pattern (can also be used as a basis for original melodies!). The fourth beats are stressed through slurred eighths.

Cover design by Doris Jausly, illustrations by Dorothea Lindenberg