| Four Elements for Trumpet and Trombone Trompette, Trombone (duo) - Avancé Cherry Classics
Trumpet and Trombone Duet in 4 movements - advanced SKU: CY.CC2778 Compos...(+)
Trumpet and Trombone Duet
in 4 movements - advanced
SKU: CY.CC2778
Composed by Elizabeth
Raum. Contemporary.
Booklet. Published by
Cherry Classics
(CY.CC2778).
Four Elements
was originally composed
for Violin and Bass
Trombone and was written
as a Christmas present
for the composer's
sister, Priscilla, and
her husband, Bass
Trombonist, Gordon
Hallberg who performed
with the Boston Symphony
Orchestra.
Raum
was experimenting with
tone rows at the time and
the row is first stated
in the first six notes in
the Trombone part
followed by the next six
in the Violin
part.
The titles
of the movements, from
the Four Elements, are
descriptive of the moods
of each
movement.
Water
has the lines of the
instruments flowing, as
in a river with swirls
and
eddies.
Earth
has Jazz influences which
are intended to give an
Earthy quality to the
second
movement.
Air,
with mutes, glissandos,
and quasi unmeasured
rhythm, seeks to
float;
The
finale Fire is crackling
with excitement.
Trombonist,
David William Brubeck,
asked Raum if she had
anything written for
trumpet and trombone as
he frequently performs in
a duo so she adapted the
violin part in Four
Elements for
trumpet.
The
work can be performed by
advanced
performers.
Two
scores are provided,
including one for C
Trumpet and the other for
B-flat Trumpet. The
Trombone part can be
performed with an
f-attachment Tenor
Trombone or Bass
Trombone. $27.50 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Concerto - Piano And Orchestra - Solo Part Schott
Piano and orchestra - difficult SKU: HL.49046544 For piano and orchest...(+)
Piano and orchestra -
difficult SKU:
HL.49046544 For
piano and orchestra.
Composed by Gyorgy
Ligeti. This edition:
Saddle stitching. Sheet
music. Edition Schott.
Softcover. Composed
1985-1988. Duration 24'.
Schott Music #ED23178.
Published by Schott Music
(HL.49046544). ISBN
9781705122655. UPC:
842819108726.
9.0x12.0x0.224
inches. I composed
the Piano Concerto in two
stages: the first three
movements during the
years 1985-86, the next
two in 1987, the final
autograph of the last
movement was ready by
January, 1988. The
concerto is dedicated to
the American conductor
Mario di Bonaventura. The
markings of the movements
are the following: 1.
Vivace molto ritmico e
preciso 2. Lento e
deserto 3. Vivace
cantabile 4. Allegro
risoluto 5. Presto
luminoso.The first
performance of the
three-movement Concerto
was on October 23rd, 1986
in Graz. Mario di
Bonaventura conducted
while his brother,
Anthony di Bonaventura,
was the soloist. Two days
later the performance was
repeated in the Vienna
Konzerthaus. After
hearing the work twice, I
came to the conclusion
that the third movement
is not an adequate
finale; my feeling of
form demanded
continuation, a
supplement. That led to
the composing of the next
two movements. The
premiere of the whole
cycle took place on
February 29th, 1988, in
the Vienna Konzerthaus
with the same conductor
and the same pianist. The
orchestra consisted of
the following: flute,
oboe, clarinet, bassoon,
horn, trumpet, tenor
trombone, percussion and
strings. The flautist
also plays the piccoIo,
the clarinetist, the alto
ocarina. The percussion
is made up of diverse
instruments, which one
musician-virtuoso can
play. It is more
practical, however, if
two or three musicians
share the instruments.
Besides traditional
instruments the
percussion part calls
also for two simple wind
instruments: the swanee
whistle and the
harmonica. The string
instrument parts (two
violins, viola, cello and
doubles bass) can be
performed soloistic since
they do not contain
divisi. For balance,
however, the ensemble
playing is recommended,
for example 6-8 first
violins, 6-8 second, 4-6
violas, 4-6 cellos, 3-4
double basses. In the
Piano Concerto I realized
new concepts of harmony
and rhythm. The first
movement is entirely
written in bimetry:
simultaneously 12/8 and
4/4 (8/8). This relates
to the known triplet on a
doule relation and in
itself is nothing new.
Because, however, I
articulate 12 triola and
8 duola pulses, an
entangled, up till now
unheard kind of polymetry
is created. The rhythm is
additionally complicated
because of asymmetric
groupings inside two
speed layers, which means
accents are
asymmetrically
distributed. These
groups, as in the talea
technique, have a fixed,
continuously repeating
rhythmic structures of
varying lengths in speed
layers of 12/8 and 4/4.
This means that the
repeating pattern in the
12/8 level and the
pattern in the 4/4 level
do not coincide and
continuously give a
kaleidoscope of renewing
combinations. In our
perception we quickly
resign from following
particular rhythmical
successions and that what
is going on in time
appears for us as
something static,
resting. This music, if
it is played properly, in
the right tempo and with
the right accents inside
particular layers, after
a certain time 'rises, as
it were, as a plane after
taking off: the rhythmic
action, too complex to be
able to follow in detail,
begins flying. This
diffusion of individual
structures into a
different global
structure is one of my
basic compositional
concepts: from the end of
the fifties, from the
orchestral works
Apparitions and
Atmospheres I
continuously have been
looking for new ways of
resolving this basic
question. The harmony of
the first movement is
based on mixtures, hence
on the parallel leading
of voices. This technique
is used here in a rather
simple form; later in the
fourth movement it will
be considerably
developed. The second
movement (the only slow
one amongst five
movements) also has a
talea type of structure,
it is however much
simpler rhythmically,
because it contains only
one speed layer. The
melody is consisted in
the development of a
rigorous interval mode in
which two minor seconds
and one major second
alternate therefore nine
notes inside an octave.
This mode is transposed
into different degrees
and it also determines
the harmony of the
movement; however, in
closing episode in the
piano part there is a
combination of diatonics
(white keys) and
pentatonics (black keys)
led in brilliant,
sparkling quasimixtures,
while the orchestra
continues to play in the
nine tone mode. In this
movement I used isolated
sounds and extreme
registers (piccolo in a
very low register,
bassoon in a very high
register, canons played
by the swanee whistle,
the alto ocarina and
brass with a harmon-mute'
damper, cutting sound
combinations of the
piccolo, clarinet and
oboe in an extremely high
register, also
alternating of a
whistle-siren and
xylophone). The third
movement also has one
speed layer and because
of this it appears as
simpler than the first,
but actually the rhythm
is very complicated in a
different way here. Above
the uninterrupted, fast
and regular basic pulse,
thanks to the asymmetric
distribution of accents,
different types of
hemiolas and inherent
melodical patterns appear
(the term was coined by
Gerhard Kubik in relation
to central African
music). If this movement
is played with the
adequate speed and with
very clear accentuation,
illusory
rhythmic-melodical
figures appear. These
figures are not played
directly; they do not
appear in the score, but
exist only in our
perception as a result of
co-operation of different
voices. Already earlier I
had experimented with
illusory rhythmics,
namely in Poeme
symphonique for 100
metronomes (1962), in
Continuum for harpsichord
(1968), in Monument for
two pianos (1976), and
especially in the first
and sixth piano etude
Desordre and Automne a
Varsovie (1985). The
third movement of the
Piano Concerto is up to
now the clearest example
of illusory rhythmics and
illusory melody. In
intervallic and chordal
structure this movement
is based on alternation,
and also inter-relation
of various modal and
quasi-equidistant harmony
spaces. The tempered
twelve-part division of
the octave allows for
diatonical and other
modal interval
successions, which are
not equidistant, but are
based on the alternation
of major and minor
seconds in different
groups. The tempered
system also allows for
the use of the
anhemitonic pentatonic
scale (the black keys of
the piano). From
equidistant scales,
therefore interval
formations which are
based on the division of
an octave in equal
distances, the
twelve-tone tempered
system allows only
chromatics (only minor
seconds) and the six-tone
scale (the whole-tone:
only major seconds).
Moreover, the division of
the octave into four
parts only minor thirds)
and three parts (three
major thirds) is
possible. In several
music cultures different
equidistant divisions of
an octave are accepted,
for example, in the
Javanese slendro into
five parts, in Melanesia
into seven parts, popular
also in southeastern
Asia, and apart from
this, in southern Africa.
This does not mean an
exact equidistance: there
is a certain tolerance
for the inaccurateness of
the interval tuning.
These exotic for us,
Europeans, harmony and
melody have attracted me
for several years.
However I did not want to
re-tune the piano
(microtone deviations
appear in the concerto
only in a few places in
the horn and trombone
parts led in natural
tones). After the period
of experimenting, I got
to pseudo- or
quasiequidistant
intervals, which is
neither whole-tone nor
chromatic: in the
twelve-tone system, two
whole-tone scales are
possible, shifted a minor
second apart from each
other. Therefore, I
connect these two scales
(or sound resources), and
for example, places occur
where the melodies and
figurations in the piano
part are created from
both whole tone scales;
in one band one six-tone
sound resource is
utilized, and in the
other hand, the
complementary. In this
way whole-tonality and
chromaticism mutually
reduce themselves: a type
of deformed
equidistancism is formed,
strangely brilliant and
at the same time
slanting; illusory
harmony, indeed being
created inside the
tempered twelve-tone
system, but in sound
quality not belonging to
it anymore. The
appearance of such
slantedequidistant
harmony fields
alternating with modal
fields and based on
chords built on fifths
(mainly in the piano
part), complemented with
mixtures built on fifths
in the orchestra, gives
this movement an
individual, soft-metallic
colour (a metallic sound
resulting from
harmonics). The fourth
movement was meant to be
the central movement of
the Concerto. Its
melodc-rhythmic elements
(embryos or fragments of
motives) in themselves
are simple. The movement
also begins simply, with
a succession of
overlapping of these
elements in the mixture
type structures. Also
here a kaleidoscope is
created, due to a limited
number of these elements
- of these pebbles in the
kaleidoscope - which
continuously return in
augmentations and
diminutions. Step by
step, however, so that in
the beginning we cannot
hear it, a compiled
rhythmic organization of
the talea type gradually
comes into daylight,
based on the simultaneity
of two mutually shifted
to each other speed
layers (also triplet and
duoles, however, with
different asymmetric
structures than in the
first movement). While
longer rests are
gradually filled in with
motive fragments, we
slowly come to the
conclusion that we have
found ourselves inside a
rhythmic-melodical whirl:
without change in tempo,
only through increasing
the density of the
musical events, a
rotation is created in
the stream of successive
and compiled, augmented
and diminished motive
fragments, and increasing
the density suggests
acceleration. Thanks to
the periodical structure
of the composition,
always new but however of
the same (all the motivic
cells are similar to
earlier ones but none of
them are exactly
repeated; the general
structure is therefore
self-similar), an
impression is created of
a gigantic, indissoluble
network. Also, rhythmic
structures at first
hidden gradually begin to
emerge, two independent
speed layers with their
various internal
accentuations. This
great, self-similar whirl
in a very indirect way
relates to musical
associations, which came
to my mind while watching
the graphic projection of
the mathematical sets of
Julia and of Mandelbrot
made with the help of a
computer. I saw these
wonderful pictures of
fractal creations, made
by scientists from Brema,
Peitgen and Richter, for
the first time in 1984.
From that time they have
played a great role in my
musical concepts. This
does not mean, however,
that composing the fourth
movement I used
mathematical methods or
iterative calculus;
indeed, I did use
constructions which,
however, are not based on
mathematical thinking,
but are rather craftman's
constructions (in this
respect, my attitude
towards mathematics is
similar to that of the
graphic artist Maurits
Escher). I am concerned
rather with intuitional,
poetic, synesthetic
correspondence, not on
the scientific, but on
the poetic level of
thinking. The fifth, very
short Presto movement is
harmonically very simple,
but all the more
complicated in its
rhythmic structure: it is
based on the further
development of ''inherent
patterns of the third
movement. The
quasi-equidistance system
dominates harmonically
and melodically in this
movement, as in the
third, alternating with
harmonic fields, which
are based on the division
of the chromatic whole
into diatonics and
anhemitonic pentatonics.
Polyrhythms and harmonic
mixtures reach their
greatest density, and at
the same time this
movement is strikingly
light, enlightened with
very bright colours: at
first it seems chaotic,
but after listening to it
for a few times it is
easy to grasp its
content: many autonomous
but self-similar figures
which crossing
themselves. I present my
artistic credo in the
Piano Concerto: I
demonstrate my
independence from
criteria of the
traditional avantgarde,
as well as the
fashionable
postmodernism. Musical
illusions which I
consider to be also so
important are not a goal
in itself for me, but a
foundation for my
aesthetical attitude. I
prefer musical forms
which have a more
object-like than
processual character.
Music as frozen time, as
an object in imaginary
space evoked by music in
our imagination, as a
creation which really
develops in time, but in
imagination it exists
simultaneously in all its
moments. The spell of
time, the enduring its
passing by, closing it in
a moment of the present
is my main intention as a
composer. (Gyorgy
Ligeti). $34.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Essential Technique - Trombone Trombone - Intermédiaire/avancé Hal Leonard
Intermediate to Advanced Studies (Book 3 level). Essential Elements Band Method....(+)
Intermediate to Advanced
Studies (Book 3 level).
Essential Elements Band
Method. Size 9x12 inches.
48 pages. Published by
Hal Leonard.
$6.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| I Say a Little Prayer Fanfare [Conducteur et Parties séparées] - Intermédiaire Arrangers' Publishing Company
For Queen of Soul Theme Show. By Aretha Franklin. Arranged by Jay Dawson. Arra...(+)
For Queen of Soul Theme
Show.
By Aretha Franklin.
Arranged
by Jay Dawson. Arrangers'
Publ Marching Band.
Motown,
RandB, Soul. Softcover.
Published by Arrangers'
Publishing Company
$80.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| An American Elegy Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire/avancé Manhattan Beach Music
By Frank Ticheli. Concert band. Suitable for high school, community, and college...(+)
By Frank Ticheli. Concert
band. Suitable for high
school, community, and
college bands. Level:
Grade 4. Conductor score
and set of parts.
Duration 11:10. Published
by Manhattan Beach Music.
$195.00 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| An American Elegy Orchestre d'harmonie [Conducteur] - Intermédiaire/avancé Manhattan Beach Music
By Frank Ticheli. Concert band. Suitable for high school, community, and college...(+)
By Frank Ticheli. Concert
band. Suitable for high
school, community, and
college bands. Level:
Grade 4. Conductor Full
Score. Duration 11:10.
Published by Manhattan
Beach Music.
(3)$25.00 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Ring of the Nibelung compilation of Excerpts for Low Brass - Avancé Cherry Classics
Bass Trumpet, 2 Tenor Trombones, Bass Trombone, Contrabass Trombone & Tuba - adv...(+)
Bass Trumpet, 2 Tenor
Trombones, Bass Trombone,
Contrabass Trombone &
Tuba - advanced SKU:
CY.CC2484 Composed by
Richard Wagner. Arranged
by Stephen Fissel. German
Romantic opera. Coil
bound score and parts.
Published by Cherry
Classics (CY.CC2484).
This collection
of orchestral excerpts
from Der Ring des
Nibelungen by Stephen
Fissel represents some of
the major portions of
this great music that
Richard Wagner composed
for low brass. The
selection of these
excerpts comes from Mr.
Fissel's own experience
in preparing and
performing the Ring Cycle
with Seattle Opera. In
conjunction with Ring
performances in Seattle,
he and his colleagues
would often rehearse
these sections and
present them in a concert
along with commentary to
explain their importance,
either elucidating a
musical aspect or an
element of plot
narrative, or from the
standpoint of the
development of the low
brass instruments of the
orchestra. For the
serious orchestral low
brass performer, Mr.
Fissel's compilation is a
wonderful way to
experience the highlights
of Wagner's operatic
genius embodied in the
four Ring Cycle operas:
Das Rheingold, Die
Walkyrie, Siegfried and
Gotterdammerung. There
are 22 major excerpts
from the four operas for
Bass Trumpet (part
supplied for original
keys and transposed
version in C or may be
played by a Tenor
Trombone), 2 Tenor
Trombones, Bass Trombone,
Contrabass Trombone (can
be performed on a Bass
Trombone as well), Tuba
and a coil bound full
score. Included in the
22 excerpt Fissel
compilation are the
following famous
excerpts: Ride of the
Walkyrie, Entrance of the
Gods into Valhalla,
Wotan's Farewell, Dragon
Scene from Siegfried,
Siegfried's Rhine
Journey, Siegfried's
Funeral Music and
Walhalla, Spear and
Immolation Scene
(finale). $42.50 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Rituals Theodore Presser Co.
Orchestra Bass Clarinet, Bass Trombone, Bassoon, Clarinet, Contrabass, Contrabas...(+)
Orchestra Bass Clarinet,
Bass Trombone, Bassoon,
Clarinet, Contrabass,
Contrabassoon, English
Horn, Flute 1, Flute 2,
Horn 1, Horn 2, Horn 3,
Horn 4, Oboe, Percussion,
Trombone 1, Trombone 2,
Trumpet 1, Trumpet 2,
Tuba, Viola, Violin 1,
Violin 2, Violoncello
SKU: PR.44641192L
For 5 Percussionists
and Orchestra.
Composed by Ellen Taaffe
Zwilich. Contemporary.
Large Score. With
Standard notation.
Composed 2003. 72 pages.
Duration 30 minutes.
Theodore Presser Company
#446-41192L. Published by
Theodore Presser Company
(PR.44641192L). UPC:
680160610860. 11 x 14
inches. One of my
greatest pleasures in
writing a concerto is
exploring the new world
that opens for me each
time I enter the
sometimes alien, but
always fascinating, world
of a solo instrument or
instruments. For me, the
challenge is to discover
the deepest nature of the
solo instrument (its
karma, if you will) and
to allow that essential
character to guide the
shape and form of the
work and the nature of
the interaction between
soloists and orchestra.
In recent years, many of
us have become more aware
of the musical world
outside the Western
tradition of musics that
follow different
procedures and spring
from other aesthetics.
And contemporary
percussionists have
opened many of these
worlds to us, as they
have ventured around the
globe, participating in
Brazilian Samba schools,
studying Gamelan and
African drumming with
local experts, collecting
instruments from Asia and
Africa and South America
and the South Pacific,
widening our horizons in
the process. I will never
forget our first meeting
in Toronto when Nexus
invited me into their
world of hundreds of
exciting percussion
instruments. The vast
array of instruments in
the collection of the
Nexus ensemble is truly
global in scope as well
as offering a thrilling
sound-universe. I was
inspired by the
incredible range of sound
and moved by the fact
that so many of these
instruments were musical
reflections of a
spiritual dimension.
After long consideration,
I decided that it would
not only be impossible,
but even undesirable for
this
Western-tradition-steeped
composer to attempt to
use these instruments in
a culturally authentic
way. My goal was an
existential kind of
authenticity: searching
instead for universal
ideas that would be true
to both myself and the
performers while
acknowledging the
traditional uses of the
instruments. Since many
percussion instruments
are associated with
various kinds of ritual,
I decided that I would
allow that concept to
shape my piece. Rituals
is in four movements,
each issuing from a
ritual associated with
percussion, but with the
orchestral interaction
providing an essential
element in the musical
form. I. Invocation
alludes to the traditions
of invoking the spirit of
the instruments, or the
gods, or the ancestors
before performing. II.
Ambulation moves from a
processional, through
march and dance to
fantasy based on all
three. III. Remembrances
alludes to traditions of
memorializing. IV.
Contests progresses from
friendly competition
games, contests to a
suggestion of a battle of
big band drummers, to
warlike exchanges. In the
2nd and 4th movements,
another percussion
tradition, improvisation,
is employed. Written into
these movements are a
number of seeds for
improvisation.
Indications in the score
call for the soloists to
improvise in three
different ways, marked A
for percussion alone;
marked B for percussion
with and in response to
the orchestra; and C
where the percussionists
are free to add and
embellish the written
parts. These
improvisations should
grow out of and embellish
previous motives and
gestures in the
movement. $95.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Abstract Mosaics Theodore Presser Co.
Chamber Music Bass Trombone, Horn, Trombone, Trumpet 1, Trumpet 2, Tuba SKU: ...(+)
Chamber Music Bass
Trombone, Horn, Trombone,
Trumpet 1, Trumpet 2,
Tuba SKU:
PR.114413800 Composed
by Clint Needham. Sws
each. Set of Score and
Parts. With Standard
notation.
20+20+8+12+12+8+8+8+12+12
+8+8 pages. Duration 10
minutes, 30 seconds.
Theodore Presser Company
#114-41380. Published by
Theodore Presser Company
(PR.114413800). ISBN
9781491111048. UPC:
680160610204. 9x12
inches. Abstract
Mosaics was inspired by
the mosaic artwork of
Sonia King. By nature,
mosaics are synergistic -
many small pieces
structured together to
make an artistic whole.
Needham's work vividly
captures this
construction from small
elements. Each of the
work's four sections
highlights a particular
sonic quality, and each
of the instruments, or
pieces of the quintet,
works in concert with one
another creating the
musical landscape,
instead of the
traditional model of one
voice carrying the main
melodic content. Abstract
Mosaics was commissioned
by the University of
Wisconsin-Whitewater
Faculty Brass Quintet in
celebration of the
group's 25th
anniversary. Abstract
Mosaics was commissioned
by the University of
Wisconsin-Whitewater
Faculty Brass Quintet in
celebration of the
group’s
25thanniversary.Abstract
Mosaics takes inspiration
from mosaic artwork
created byartist Sonia
King. By their nature,
mosaics are synergistic
– that is to say,
many small pieces make up
the whole of the artwork.
The musical work attempts
to capture this idea of
synergy. Cast in four
main sections, each part
highlights a particular
sonic quality unique to
the brass quintet. Like
mosaic artwork, the
instruments, or
“pieces†of
the quintet, work in
concert with one another
to create the musical
landscape instead of the
more traditional modelof
having one voice carry
the main melodic content
while others accompany.I
felt this was
particularly important to
equally showcase the
talents of all members of
the UW-Whitewater Quintet
as they celebrate 25
years of dedication to
performing as a
group.– Clint
Needham. $40.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| My First Barrett/Niemann Hautbois - Facile Carl Fischer
| | |
1 |