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| San Andreas Suite Orgue [Conducteur] Zimbel Press
Organ SKU: SU.80101406 For Organ. Composed by Carson Cooman. Keybo...(+)
Organ SKU:
SU.80101406 For
Organ. Composed by
Carson Cooman. Keyboard,
Organ. Score. Zimbel
Press #80101406.
Published by Zimbel Press
(SU.80101406).
San Andreas
Suite (2017) consists of
four movements: The first
movement, Carillon (in
festo S. Andreae
apostoli), is a carillon
with an ostinato repeated
pattern and an
ever-changing series of
harmonies. The harmonic
intensity builds in the
coda to hint at the rich
and complex sonorities of
bells. Versets on a
Melody from Perigord
comprises four versets on
an old melody, Quel bru
fai din lou chiel, which
comes from the Perigord
(Dordogne) region of
France. The title of the
third movement, Pastorale
mit einem Orgelpunkt,
means Pastorale with a
pedal point, and the
organ's lowest C sounds
throughout. The low C is
used as a harmonic
generating source; the
music above thus often
explores sounds based on
the harmonic series. The
fourth movement, Toccata
perigourdine, is an
energetic toccata. Quoted
in the slower middle
section is an old melody
also from Perigord.
Instrumentation: Organ
Duration: 19' Composed:
2017 Published by: Zimbel
Press. $16.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Essentials Of Music Theory Software - Cd-Rom Lab Pack Volume 1 For 05 Computers (1 Educator, 4 Students) (6-9 Computers Add $20 For Each) Formation musicale - Solfège [CD-ROM] Alfred Publishing
Essentials of Music Theory Software, Version 2.0, Volume 1. (For 5 computers (1 ...(+)
Essentials of Music
Theory Software, Version
2.0, Volume 1. (For 5
computers (1 Educator, 4
Students)). By Andrew
Surmani and Morton Manus.
Reference Textbooks;
Textbook - General;
Theory. Essentials of
Music Theory. Software.
Published by Alfred Music
Publishing
$179.95 - Voir plus => AcheterDélais: 4 to 6 business days | | |
| Quintet in F Major, K. 497 Carl Fischer
Chamber Music Cello, Flute, Viola 1, Viola 2, Violin SKU: CF.MXE219 Compo...(+)
Chamber Music Cello,
Flute, Viola 1, Viola 2,
Violin SKU:
CF.MXE219 Composed by
Wolfgang Amadeus Mozart.
Arranged by Robert
Stallman. Sws.
56+16+16+16+16+12 pages.
Carl Fischer Music
#MXE219. Published by
Carl Fischer Music
(CF.MXE219). ISBN
9781491157794. UPC:
680160916399. 9 x 12
inches. Preface In
1990, during an intense
rehearsal of a Mozart
Quartet transcription for
flute and strings by
Franz Anton Hoffmeister,
at the Marblehead Summer
Music Festival, a
disgruntled violist
friend complained about
HoffmeisterAs awkward
string writing, suddenly
daring me to create my
own arrangement. I
balked. But the following
winterA3despite scruples
about treading on
hallowed groundA3I grew
curious and began to
experiment. Soon I was
hooked on the challenge
of learning to speak
MozartAs language with
conviction. This
fascination, encouraged
by pianist Richard Goode
and other Mozarteans,
would eventually generate
a total of thirty-nine
recreations of Mozart
piano sonatas as works
for flute and strings.
With zero tolerance for
alteration of melodic or
harmonic
materialA3MozartAs friend
Hoffmeister had
regrettably attempted
such
A!improvementsA(r)A3I
always tried to envision
what Mozart himself would
have desired. Many of the
sonatas can be heard as
if they were MozartAs
A!blueprintsA(r) of
imagined chamber works.
Hence my task was to
A!flesh outA(r) the
keyboard versions as
Mozart might have done,
had a commission or
performance opportunity
arisen. I spent hours
pondering how Mozart
might have set these
sonatas in four- or
five-part form, providing
the needed textural or
contrapuntal
enhancements. With
immersion in the
composerAs dialect,
various apt solutions
presented themselves. The
search for the
A!rightA(r) one then
became a most absorbing
study. On the eve of
releasing my BognerAs
CafA recording of
Mozart-Stallman New
Quintets (2006), I
discovered to my delight
that a prominent scholar
had long before endorsed
such an effort. Eric Blom
(1888A+-1959), author of
Mozart (1935), had taken
note of the four-hand
piano works as A!a kind
of keyboard chamber
music.A(r) Regarding
Sonata, K. 497, Mr. Blom
had observed that Mozart
is often dealing with,
not the expected four
voices (one to a hand),
but five. Blom states:
A!The F major Sonata (K.
497) removes us to
another worldA3the world
of the great chamber
music, especially of the
string quintets. Indeed
an arrangement of some
sort for a combination of
instruments would make a
magnificent concert work
of this almost
uncomfortably great piece
of domestic music.A(r)
That Mozart was in 1786
writing for piano duo
from a quintet
perspective makes sense,
as we find him returning
to the quintet form with
keen interest in his last
years, writing four
String Quintets, the
Clarinet Quintet,
rearranging a wind
serenade for String
Quintet, and leaving
several other quintets
incomplete. My
arrangement presented
here is made for flute
and strings but is also
intended for string
quintet. Quintet in F
Major for Flute and
Strings, K. 497, was
completed in 1999 and
performed with the Martin
Quartet in the Czech
Republic prior to
recording it in 2004.
Mozart had finished the
original Sonata in F
Major for Piano,
Four-Hands, K. 497, on
August 1, 1786. It shows
the unmistakable
influence of Figaro,
completed and premiered
exactly three months
prior. As signaled by the
imposing introductory
Adagio, the conception is
on a grand symphonic
scale, all three
movements being richly
developed with
contrapuntal episodes and
an abundance of
marvelously contrasting
textures and themes
throughout. Called A!the
crowning work of its
kindA(r) by Alfred
Einstein, the Sonata is
laden with examples of
MozartAs mercurial
originality. Here we have
a perfect synthesis of
concertante brilliance,
operatic intensity and
intimate dialogue. The
work opens in unison with
a probing, minor-tinged
Adagio, whose question
comes to a pause on the
dominant, before being
answered with jaunty
certainty by the opening
theme of the Allegro di
moltoA3an F-major tune as
sunny and confident as an
aria from Figaro itself.
This movementAs
declamatory A!opera
chorusA(r) persistently
intones its rhythmic
motto over a swirling
scale figure. The amorous
second theme (initially
presented in the first
viola) also seems to be
plucked from Figaro. The
Andante opens with a
heavenly melody, which
takes as its springboard
the Romanza theme from
the Horn Concerto in E
Major, K. 495, written
only five weeks before.
The A!love duetA(r)
between flute and first
viola seems to anticipate
the impassioned
A!duettingA(r) between
violin and viola in the
Andante of the String
Quintet in C Major, K.
515, written about nine
months later. The
ingenious stretto canon
of the AndanteAs middle
section requires the
precision of a Swiss
clock (which its chiming
thirds recall). Affecting
bucolic codettas close
each of the main sections
of the movement. In the
final Allegro, a rondo in
6/8a time, the puckish,
yet aristocratic
character of the opening
theme contrasts with the
bumptious, popular tune
used for the second theme
(heard first in the
violin and then the
flute, over pizzicato
cello). Lilting hymn-like
episodes in three, four-
and finally five-part
counterpoint are
repeatedly interrupted by
startling scale figures
that rise up in furioso
episodes throughout the
movement. As in the
A!Swiss clockA(r) section
of the Andante, Mozart
uses a stretto imitation
treatment with this
tempest theme, thereby
heightening both
intensity and sense of
instability. I am most
grateful to the
adventuresome Martin
Quartet for their warm
support and collaboration
over the years with
several of my
arrangements, and to my
friend Edwin Swanborn for
the original typesetting
of this score. Gratitude
is also due Weekend
Edition, Performance
Today and innumerable
classical stations across
the United States for
their enthusiastic and
repeated airings of my
A!newA(r) Mozart Quintet
endeavorsA3and most of
all, to violist Katherine
Murdock for that dare in
1990. A3Compiled from the
writings of Robert
Stallman by Hannah Woods
Stallman, February 2,
2020. Preface In 1990,
during an intense
rehearsal of a Mozart
Quartet transcription for
flute and strings by
Franz Anton Hoffmeister,
at the Marblehead Summer
Music Festival, a
disgruntled violist
friend complained about
Hoffmeisteris awkward
string writing, suddenly
daring me to create my
own arrangement. I
balked. But the following
winterodespite scruples
about treading on
hallowed groundoI grew
curious and began to
experiment. Soon I was
hooked on the challenge
of learning to speak
Mozartis language with
conviction. This
fascination, encouraged
by pianist Richard Goode
and other Mozarteans,
would eventually generate
a total of thirty-nine
recreations of Mozart
piano sonatas as works
for flute and strings.
With zero tolerance for
alteration of melodic or
harmonic
materialoMozartis friend
Hoffmeister had
regrettably attempted
such iimprovementsioI
always tried to envision
what Mozart himself would
have desired. Many of the
sonatas can be heard as
if they were Mozartis
iblueprintsi of imagined
chamber works. Hence my
task was to iflesh outi
the keyboard versions as
Mozart might have done,
had a commission or
performance opportunity
arisen. I spent hours
pondering how Mozart
might have set these
sonatas in four- or
five-part form, providing
the needed textural or
contrapuntal
enhancements. With
immersion in the
composeris dialect,
various apt solutions
presented themselves. The
search for the irighti
one then became a most
absorbing study. On the
eve of releasing my
Bogneris CafE recording
of Mozart-Stallman New
Quintets (2006), I
discovered to my delight
that a prominent scholar
had long before endorsed
such an effort. Eric Blom
(1888n1959), author of
Mozart (1935), had taken
note of the four-hand
piano works as ia kind of
keyboard chamber music.i
Regarding Sonata, K. 497,
Mr. Blom had observed
that Mozart is often
dealing with, not the
expected four voices (one
to a hand), but five.
Blom states: iThe F major
Sonata (K. 497) removes
us to another worldothe
world of the great
chamber music, especially
of the string quintets.
Indeed an arrangement of
some sort for a
combination of
instruments would make a
magnificent concert work
of this almost
uncomfortably great piece
of domestic music.i That
Mozart was in 1786
writing for piano duo
from a quintet
perspective makes sense,
as we find him returning
to the quintet form with
keen interest in his last
years, writing four
String Quintets, the
Clarinet Quintet,
rearranging a wind
serenade for String
Quintet, and leaving
several other quintets
incomplete. My
arrangement presented
here is made for flute
and strings but is also
intended for string
quintet. Quintet in F
Major for Flute and
Strings, K. 497, was
completed in 1999 and
performed with the Martin
Quartet in the Czech
Republic prior to
recording it in 2004.
Mozart had finished the
original Sonata in F
Major for Piano,
Four-Hands, K. 497, on
August 1, 1786. It shows
the unmistakable
influence of Figaro,
completed and premiered
exactly three months
prior. As signaled by the
imposing introductory
Adagio, the conception is
on a grand symphonic
scale, all three
movements being richly
developed with
contrapuntal episodes and
an abundance of
marvelously contrasting
textures and themes
throughout. Called ithe
crowning work of its
kindi by Alfred Einstein,
the Sonata is laden with
examples of Mozartis
mercurial originality.
Here we have a perfect
synthesis of concertante
brilliance, operatic
intensity and intimate
dialogue. The work opens
in unison with a probing,
minor-tinged Adagio,
whose question comes to a
pause on the dominant,
before being answered
with jaunty certainty by
the opening theme of the
Allegro di moltooan
F-major tune as sunny and
confident as an aria from
Figaro itself. This
movementis declamatory
iopera chorusi
persistently intones its
rhythmic motto over a
swirling scale figure.
The amorous second theme
(initially presented in
the first viola) also
seems to be plucked from
Figaro. The Andante opens
with a heavenly melody,
which takes as its
springboard the Romanza
theme from the Horn
Concerto in E Major, K.
495, written only five
weeks before. The ilove
dueti between flute and
first viola seems to
anticipate the
impassioned iduettingi
between violin and viola
in the Andante of the
String Quintet in C
Major, K. 515, written
about nine months later.
The ingenious stretto
canon of the Andanteis
middle section requires
the precision of a Swiss
clock (which its chiming
thirds recall). Affecting
bucolic codettas close
each of the main sections
of the movement. In the
final Allegro, a rondo in
6/8+time, the puckish,
yet aristocratic
character of the opening
theme contrasts with the
bumptious, popular tune
used for the second theme
(heard first in the
violin and then the
flute, over pizzicato
cello). Lilting hymn-like
episodes in three, four-
and finally five-part
counterpoint are
repeatedly interrupted by
startling scale figures
that rise up in furioso
episodes throughout the
movement. As in the
iSwiss clocki section of
the Andante, Mozart uses
a stretto imitation
treatment with this
tempest theme, thereby
heightening both
intensity and sense of
instability. I am most
grateful to the
adventuresome Martin
Quartet for their warm
support and collaboration
over the years with
several of my
arrangements, and to my
friend Edwin Swanborn for
the original typesetting
of this score. Gratitude
is also due Weekend
Edition, Performance
Today and innumerable
classical stations across
the United States for
their enthusiastic and
repeated airings of my
inewi Mozart Quintet
endeavorsoand most of
all, to violist Katherine
Murdock for that dare in
1990. oCompiled from the
writings of Robert
Stallman by Hannah Woods
Stallman, February 2,
2020. Preface In 1990,
during an intense
rehearsal of a Mozart
Quartet transcription for
flute and strings by
Franz Anton Hoffmeister,
at the Marblehead Summer
Music Festival, a
disgruntled violist
friend complained about
Hoffmeister's awkward
string writing, suddenly
daring me to create my
own arrangement. I
balked. But the following
winter--despite scruples
about treading on
hallowed ground--I grew
curious and began to
experiment. Soon I was
hooked on the challenge
of learning to speak
Mozart's language with
conviction. This
fascination, encouraged
by pianist Richard Goode
and other Mozarteans,
would eventually generate
a total of thirty-nine
recreations of Mozart
piano sonatas as works
for flute and strings.
With zero tolerance for
alteration of melodic or
harmonic
material--Mozart's friend
Hoffmeister had
regrettably attempted
such improvements--I
always tried to envision
what Mozart himself would
have desired. Many of the
sonatas can be heard as
if they were Mozart's
blueprints of imagined
chamber works. Hence my
task was to flesh out the
keyboard versions as
Mozart might have done,
had a commission or
performance opportunity
arisen. I spent hours
pondering how Mozart
might have set these
sonatas in four- or
five-part form, providing
the needed textural or
contrapuntal
enhancements. With
immersion in the
composer's dialect,
various apt solutions
presented themselves. The
search for the right one
then became a most
absorbing study. On the
eve of releasing my
Bogner's Cafe recording
of Mozart-Stallman New
Quintets (2006), I
discovered to my delight
that a prominent scholar
had long before endorsed
such an effort. Eric Blom
(1888-1959), author of
Mozart (1935), had taken
note of the four-hand
piano works as a kind of
keyboard chamber music.
Regarding Sonata, K. 497,
Mr. Blom had observed
that Mozart is often
dealing with, not the
expected four voices (one
to a hand), but five.
Blom states: The F major
Sonata (K. 497) removes
us to another world--the
world of the great
chamber music, especially
of the string quintets.
Indeed an arrangement of
some sort for a
combination of
instruments would make a
magnificent concert work
of this almost
uncomfortably great piece
of domestic music. That
Mozart was in 1786
writing for piano duo
from a quintet
perspective makes sense,
as we find him returning
to the quintet form with
keen interest in his last
years, writing four
String Quintets, the
Clarinet Quintet,
rearranging a wind
serenade for String
Quintet, and leaving
several other quintets
incomplete. My
arrangement presented
here is made for flute
and strings but is also
intended for string
quintet. Quintet in F
Major for Flute and
Strings, K. 497, was
completed in 1999 and
performed with the
Martinu Quartet in the
Czech Republic prior to
recording it in 2004.
Mozart had finished the
original Sonata in F
Major for Piano,
Four-Hands, K. 497, on
August 1, 1786. It shows
the unmistakable
influence of Figaro,
completed and premiered
exactly three months
prior. As signaled by the
imposing introductory
Adagio, the conception is
on a grand symphonic
scale, all three
movements being richly
developed with
contrapuntal episodes and
an abundance of
marvelously contrasting
textures and themes
throughout. Called the
crowning work of its kind
by Alfred Einstein, the
Sonata is laden with
examples of Mozart's
mercurial originality.
Here we have a perfect
synthesis of concertante
brilliance, operatic
intensity and intimate
dialogue. The work opens
in unison with a probing,
minor-tinged Adagio,
whose question comes to a
pause on the dominant,
before being answered
with jaunty certainty by
the opening theme of the
Allegro di molto--an
F-major tune as sunny and
confident as an aria from
Figaro itself. This
movement's declamatory
opera chorus persistently
intones its rhythmic
motto over a swirling
scale figure. The amorous
second theme (initially
presented in the first
viola) also seems to be
plucked from Figaro. The
Andante opens with a
heavenly melody, which
takes as its springboard
the Romanza theme from
the Horn Concerto in E<=
Major, K. 495, written
only five weeks before.
The love duet between
flute and first viola
seems to anticipate the
impassioned duetting
between violin and viola
in the Andante of the
String Quintet in C
Major, K. 515, written
about nine months later.
The ingenious stretto
canon of the Andante's
middle section requires
the precision of a Swiss
clock (which its chiming
thirds recall). Affecting
bucolic codettas close
each of the main sections
of the movement. In the
final Allegro, a rondo in
6/8 time, the puckish,
yet aristocratic
character of the opening
theme contrasts with the
bumptious, popular tune
used for the second theme
(heard first in the
violin and then the
flute, over pizzicato
cello). Lilting hymn-like
episodes in three, four-
and finally five-part
counterpoint are
repeatedly interrupted by
startling scale figures
that rise up in furioso
episodes throughout the
movement. As in the Swiss
clock section of the
Andante, Mozart uses a
stretto imitation
treatment with this
tempest theme, thereby
heightening both
intensity and sense of
instability. I am most
grateful to the
adventuresome Martinu
Quartet for their warm
support and collaboration
over the years with
several of my
arrangements, and to my
friend Edwin Swanborn for
the original typesetting
of this score. Gratitude
is also due Weekend
Edition, Performance
Today and innumerable
classical stations across
the United States for
their enthusiastic and
repeated airings of my
new Mozart Quintet
endeavors--and most of
all, to violist Katherine
Murdock for that dare in
1990. --Compiled from the
writings of Robert
Stallman by Hannah Woods
Stallman, February 2,
2020. PrefaceIn 1990,
during an intense
rehearsal of a Mozart
Quartet transcription for
flute and strings by
Franz Anton Hoffmeister,
at the Marblehead Summer
Music Festival, a
disgruntled violist
friend complained about
Hoffmeister’s
awkward string writing,
suddenly daring me to
create my own
arrangement. I balked.
But the following
winter—despite
scruples about treading
on hallowed
ground—I grew
curious and began to
experiment. Soon I was
hooked on the challenge
of learning to speak
Mozart’s language
with conviction. This
fascination, encouraged
by pianist Richard Goode
and other Mozarteans,
would eventually generate
a total of thirty-nine
recreations of Mozart
piano sonatas as works
for flute and
strings.With zero
tolerance for alteration
of melodic or harmonic
material—Mozartâ
™s friend Hoffmeister
had regrettably attempted
such
“improvementsâ€
—I always tried
to envision what Mozart
himself would have
desired. Many of the
sonatas can be heard as
if they were
Mozart’s
“blueprintsâ€
of imagined chamber
works. Hence my task was
to “flesh
out†the keyboard
versions as Mozart might
have done, had a
commission or performance
opportunity arisen. I
spent hours pondering how
Mozart might have set
these sonatas in four- or
five-part form, providing
the needed textural or
contrapuntal
enhancements. With
immersion in the
composer’s
dialect, various apt
solutions presented
themselves. The search
for the
“right†one
then became a most
absorbing study.On the
eve of releasing my
Bogner’s Café
recording of
Mozart-Stallman New
Quintets (2006), I
discovered to my delight
that a prominent scholar
had long before endorsed
such an effort. Eric Blom
(1888–1959),
author of Mozart (1935),
had taken note of the
four-hand piano works as
“a kind of keyboard
chamber music.â€
Regarding Sonata, K. 497,
Mr. Blom had observed
that Mozart is often
dealing with, not the
expected four voices (one
to a hand), but five.
Blom states: “The F
major Sonata (K. 497)
removes us to another
world—the world of
the great chamber music,
especially of the string
quintets. Indeed an
arrangement of some sort
for a combination of
instruments would make a
magnificent concert work
of this almost
uncomfortably great piece
of domestic music.â€
That Mozart was in 1786
writing for piano duo
from a quintet
perspective makes sense,
as we find him returning
to the quintet form with
keen interest in his last
years, writing four
String Quintets, the
Clarinet Quintet,
rearranging a wind
serenade for String
Quintet, and leaving
several other quintets
incomplete. My
arrangement presented
here is made for flute
and strings but is also
intended for string
quintet.Quintet in F
Major for Flute and
Strings, K. 497, was
completed in 1999 and
performed with the
Martinů Quartet in the
Czech Republic prior to
recording it in 2004.
Mozart had finished the
original Sonata in F
Major for Piano,
Four-Hands, K. 497, on
August 1, 1786. It shows
the unmistakable
influence of Figaro,
completed and premiered
exactly three months
prior. As signaled by the
imposing introductory
Adagio, the conception is
on a grand symphonic
scale, all three
movements being richly
developed with
contrapuntal episodes and
an abundance of
marvelously contrasting
textures and themes
throughout. Called
“the crowning work
of its kind†by
Alfred Einstein, the
Sonata is laden with
examples of
Mozart’s mercurial
originality. Here we have
a perfect synthesis of
concertante brilliance,
operatic intensity and
intimate dialogue.The
work opens in unison with
a probing, minor-tinged
Adagio, whose question
comes to a pause on the
dominant, before being
answered with jaunty
certainty by the opening
theme of the Allegro di
molto—an F-major
tune as sunny and
confident as an aria from
Figaro itself. This
movement’s
declamatory “opera
chorusâ€
persistently intones its
rhythmic motto over a
swirling scale figure.
The amorous second theme
(initially presented in
the first viola) also
seems to be plucked from
Figaro.The Andante opens
with a heavenly melody,
which takes as its
springboard the Romanza
theme from the Horn
Concerto in E≤
Major, K. 495, written
only five weeks before.
The “love
duet†between flute
and first viola seems to
anticipate the
impassioned
“duettingâ€
between violin and viola
in the Andante of the
String Quintet in C
Major, K. 515, written
about nine months later.
The ingenious stretto
canon of the
Andante’s middle
section requires the
precision of a Swiss
clock (which its chiming
thirds recall). Affecting
bucolic codettas close
each of the main sections
of the movement.In the
final Allegro, a rondo in
6/8Â time, the puckish,
yet aristocratic
character of the opening
theme contrasts with the
bumptious, popular tune
used for the second theme
(heard first in the
violin and then the
flute, over pizzicato
cello). Lilting hymn-like
episodes in three, four-
and finally five-part
counterpoint are
repeatedly interrupted by
startling scale figures
that rise up in furioso
episodes throughout the
movement. As in the
“Swiss clockâ€
section of the Andante,
Mozart uses a stretto
imitation treatment with
this tempest theme,
thereby heightening both
intensity and sense of
instability.I am most
grateful to the
adventuresome Martinů
Quartet for their warm
support and collaboration
over the years with
several of my
arrangements, and to my
friend Edwin Swanborn for
the original typesetting
of this score. Gratitude
is also due Weekend
Edition, Performance
Today and innumerable
classical stations across
the United States for
their enthusiastic and
repeated airings of my
“new†Mozart
Quintet
endeavors—and most
of all, to violist
Katherine Murdock for
that dare in
1990.—Compiled
from the writings of
Robert Stallmanby Hannah
Woods Stallman,February
2, 2020. $42.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Many Moons [Conducteur] - Intermédiaire Carl Fischer
Band Bass Clarinet in Bb, Bass Drum), Bassoon, Clarinet 1 in Bb, Clarinet 2 in B...(+)
Band Bass Clarinet in Bb,
Bass Drum), Bassoon,
Clarinet 1 in Bb,
Clarinet 2 in Bb,
Clarinet 3 in Bb, Crash
Cymbals), Euphonium,
Euphonium T.C. in Bb,
Flute 1, Flute 2, Horn 1
in F, Horn 2 in F, Mallet
Percussion 1, Mallet
Percussion 2, Marimba,
Oboe and more. - Grade
3.5 SKU:
CF.CPS242F Composed
by Peter Sciaino. Sws.
Cps. Full score. 16
pages. Duration 4
minutes, 10 seconds. Carl
Fischer Music #CPS242F.
Published by Carl Fischer
Music (CF.CPS242F).
ISBN 9781491157947.
UPC: 680160916542. 9 x 12
inches. All of us
have experienced unique
moments in our lives that
create unforgettable
mental snapshots. These
images can often provide
comfort, a moment of
humor, or can be a source
of inspiration. Years ago
while traveling with (who
are now) old friends, I
witnessed a New Mexico
night sky for the very
first time. We were so
taken with the view that
we pulled our rental car
to the side of the
highway just to stand and
stare skyward. The
clarity and size of the
stars redefined my
understanding of our
place in this vast
universe. To my eye, I
was staring at hundreds
of little moons. In
writing this piece, I
wanted to capture a sense
of beauty, wonder and
humility. The euphonium
solo presents the theme
as a wistful offering to
things beyond our
understanding. Throughout
the selection this theme
is passed throughout the
ensemble, and thicker
textures evolve. The
mallet percussion plays a
vital role in providing
harmonic stability early
in the selection.
Non-pitched percussion is
essential in building
tension and generating
effective impacts at
louder dynamic levels.
Ideally, the two
triangles found in the
Percussion 2 part should
be mounted and of two
distinctly different
pitches. Both should be
played with light beaters
if possible. I sincerely
hope Many Moons provides
years of inspiration for
you and your ensemble
just as that southwestern
sky did for me amany
moonsa ago. All of us
have experienced unique
moments in our lives that
create unforgettable
mental snapshots. These
images can often provide
comfort, a moment of
humor, or can be a source
of inspiration. Years ago
while traveling with (who
are now) old friends, I
witnessed a New Mexico
night sky for the very
first time. We were so
taken with the view that
we pulled our rental car
to the side of the
highway just to stand and
stare skyward. The
clarity and size of the
stars redefined my
understanding of our
place in this vast
universe. To my eye, I
was staring at hundreds
of little moons. In
writing this piece, I
wanted to capture a sense
of beauty, wonder and
humility. The euphonium
solo presents the theme
as a wistful offering to
things beyond our
understanding. Throughout
the selection this theme
is passed throughout the
ensemble, and thicker
textures evolve. The
mallet percussion plays a
vital role in providing
harmonic stability early
in the selection.
Non-pitched percussion is
essential in building
tension and generating
effective impacts at
louder dynamic levels.
Ideally, the two
triangles found in the
Percussion 2 part should
be mounted and of two
distinctly different
pitches. Both should be
played with light beaters
if possible. I sincerely
hope Many Moons provides
years of inspiration for
you and your ensemble
just as that southwestern
sky did for me many moons
ago. All of us have
experienced unique
moments in our lives that
create unforgettable
mental snapshots. These
images can often provide
comfort, a moment of
humor, or can be a source
of inspiration. Years ago
while traveling with (who
are now) old friends, I
witnessed a New Mexico
night sky for the very
first time. We were so
taken with the view that
we pulled our rental car
to the side of the
highway just to stand and
stare skyward. The
clarity and size of the
stars redefined my
understanding of our
place in this vast
universe. To my eye, I
was staring at hundreds
of little moons. In
writing this piece, I
wanted to capture a sense
of beauty, wonder and
humility.The euphonium
solo presents the theme
as a wistful offering to
things beyond our
understanding. Throughout
the selection this theme
is passed throughout the
ensemble, and thicker
textures evolve. The
mallet percussion plays a
vital role in providing
harmonic stability early
in the selection.
Non-pitched percussion is
essential in building
tension and generating
effective impacts at
louder dynamic levels.
Ideally, the two
triangles found in the
Percussion 2 part should
be mounted and of two
distinctly different
pitches. Both should be
played with light beaters
if possible.I sincerely
hope Many Moons provides
years of inspiration for
you and your ensemble
just as that southwestern
sky did for me
“many moonsâ€
ago. $14.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Many Moons - Intermédiaire Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Clarinet 3, Cras...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Clarinet
1, Clarinet 2, Clarinet
3, Crash Cymbals,
Euphonium, Euphonium
T.C., Flute 1, Flute 2,
Horn 1, Horn 2, Mallet
Percussion 1, Mallet
Percussion 2, Marimba,
Oboe, Percussion 1,
Percussion 2 and more. -
Grade 3.5 SKU:
CF.CPS242 Composed by
Peter Sciaino. Folio.
Cps. Set of Score and
Parts.
4+4+2+4+4+4+2+2+2+2+2+2+4
+4+4+2+2+3+3+3+2+4+1+1+1+
2+1+16 pages. Duration 4
minutes, 10 seconds. Carl
Fischer Music #CPS242.
Published by Carl Fischer
Music (CF.CPS242).
ISBN 9781491157930.
UPC: 680160916535. 9 x 12
inches. All of us
have experienced unique
moments in our lives that
create unforgettable
mental snapshots. These
images can often provide
comfort, a moment of
humor, or can be a source
of inspiration. Years ago
while traveling with (who
are now) old friends, I
witnessed a New Mexico
night sky for the very
first time. We were so
taken with the view that
we pulled our rental car
to the side of the
highway just to stand and
stare skyward. The
clarity and size of the
stars redefined my
understanding of our
place in this vast
universe. To my eye, I
was staring at hundreds
of little moons. In
writing this piece, I
wanted to capture a sense
of beauty, wonder and
humility. The euphonium
solo presents the theme
as a wistful offering to
things beyond our
understanding. Throughout
the selection this theme
is passed throughout the
ensemble, and thicker
textures evolve. The
mallet percussion plays a
vital role in providing
harmonic stability early
in the selection.
Non-pitched percussion is
essential in building
tension and generating
effective impacts at
louder dynamic levels.
Ideally, the two
triangles found in the
Percussion 2 part should
be mounted and of two
distinctly different
pitches. Both should be
played with light beaters
if possible. I sincerely
hope Many Moons provides
years of inspiration for
you and your ensemble
just as that southwestern
sky did for me amany
moonsa ago. All of us
have experienced unique
moments in our lives that
create unforgettable
mental snapshots. These
images can often provide
comfort, a moment of
humor, or can be a source
of inspiration. Years ago
while traveling with (who
are now) old friends, I
witnessed a New Mexico
night sky for the very
first time. We were so
taken with the view that
we pulled our rental car
to the side of the
highway just to stand and
stare skyward. The
clarity and size of the
stars redefined my
understanding of our
place in this vast
universe. To my eye, I
was staring at hundreds
of little moons. In
writing this piece, I
wanted to capture a sense
of beauty, wonder and
humility. The euphonium
solo presents the theme
as a wistful offering to
things beyond our
understanding. Throughout
the selection this theme
is passed throughout the
ensemble, and thicker
textures evolve. The
mallet percussion plays a
vital role in providing
harmonic stability early
in the selection.
Non-pitched percussion is
essential in building
tension and generating
effective impacts at
louder dynamic levels.
Ideally, the two
triangles found in the
Percussion 2 part should
be mounted and of two
distinctly different
pitches. Both should be
played with light beaters
if possible. I sincerely
hope Many Moons provides
years of inspiration for
you and your ensemble
just as that southwestern
sky did for me many moons
ago. All of us have
experienced unique
moments in our lives that
create unforgettable
mental snapshots. These
images can often provide
comfort, a moment of
humor, or can be a source
of inspiration. Years ago
while traveling with (who
are now) old friends, I
witnessed a New Mexico
night sky for the very
first time. We were so
taken with the view that
we pulled our rental car
to the side of the
highway just to stand and
stare skyward. The
clarity and size of the
stars redefined my
understanding of our
place in this vast
universe. To my eye, I
was staring at hundreds
of little moons. In
writing this piece, I
wanted to capture a sense
of beauty, wonder and
humility.The euphonium
solo presents the theme
as a wistful offering to
things beyond our
understanding. Throughout
the selection this theme
is passed throughout the
ensemble, and thicker
textures evolve. The
mallet percussion plays a
vital role in providing
harmonic stability early
in the selection.
Non-pitched percussion is
essential in building
tension and generating
effective impacts at
louder dynamic levels.
Ideally, the two
triangles found in the
Percussion 2 part should
be mounted and of two
distinctly different
pitches. Both should be
played with light beaters
if possible.I sincerely
hope Many Moons provides
years of inspiration for
you and your ensemble
just as that southwestern
sky did for me
“many moonsâ€
ago. $75.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Taiga Keyboard™ iConnectivity
SKU: HL.1416717 Modern Analog Keyboard with Expansion Bay. Cre8Aud...(+)
SKU: HL.1416717
Modern Analog Keyboard
with Expansion Bay.
Cre8Audio. Electric
Keyboards. Duration 140
seconds. IConnectivity
#TAIGAKEYS. Published by
iConnectivity
(HL.1416717).
18.0x30.0x8.5
inches. Taiga
Keyboard is an evolution
of the award-winning
Taiga synthesizer. Taiga
gave users a
boundary-smashing suite
of unique modern
Pittsburgh Modular analog
synthesizer innovations.
Now in Taiga Keyboard,
that same powerful suite
of tools acts as a
foundation in this
expression keyboard
instrument. Exploring the
larger keyboard format,
spreading controls out,
and adding larger knobs
make sound sculpting
while performing easier
than ever. We've also
added additional
modulation sources,
additional controls, a
full-size 37 key premium
aftertouch-enabled
keybed, and a
first-of-its-kind,
modular expansion bay.
Taiga Keyboard
oscillators Waveforms
generated by the three
Taiga Keyboard
oscillators stretch
beyond the basic
geometric shapes and
sounds associated with
analog snythesis. Taiga
Keyboard waveforms pass
through up to three
proprietary, cascading
waveshapers designed to
precisely manipulate
their symmetry and
harmonic content. In
addition, each oscillator
includes a robust
six-stage wave folder to
add even more complexity
and depth to the diverse
sonic palate of Taiga
Keyboard. Dedicated
coarse and fine controls
deliver maximum
flexibility & control
over the full range of
each oscillator. The
“Pittsburgh
Filter†The
Pittsburgh filter has
defined the sound of
Pittsburgh Modular from
the moment it was
introduced. A signature
gummy and relaxed sound
with no dead spots that
has been tweaked to
perfection. It offers a
warm, smooth sweep
through the full
frequency range and a
sweet resonance that does
not roll off the low end.
This generation of the
Pittsburgh filter is
specifically designed to
ensure a remarkable
interplay with Taiga
Keyboard's oscillators.
Pittsburgh Dynamics
Controller Pittsburgh's
new Dynamics technology
imparts Taiga Keyboard
with a uniquely organic
depth and presence. By
simultaneously managing
both amplitude and
harmonic content, the
Pittsburgh Dynamics
Controller expands beyond
the one-dimensional VCA
found in other
synthesizers. It does
this by utilizing new
advancements from
traditional low pass
gates to add additional
definition and dimension
to the voice of Taiga
Keyboard. When used in
low pass gate mode,
sounds shed harmonic
content and become warmer
as they decrease in
volume. This mimics how
sound waves react to
their environment.
Because of this
connection, the Taiga
Keyboard sounds more
natural or complex
compared to other
instruments. Analog Echos
Echos is a beautifully
dark analog delay tuned
to enhance the source
material by repeating it
over and over. Echos
utilizes a pair of bucket
brigade delay chips to
produce a classic
voltage-controllable
analog delay effect that
helps to place the sounds
of Taiga Keyboard in a
simulated environment.
Open Architecture Taiga
Keyboard has an
internally defined signal
path. Patch cables are
not necessary to begin
exploring. Attach a MIDI
keyboard and plug the
o. $1299.99 - Voir plus => Acheter | | |
| Flamenco Improvisation: Volume 1 Guitare notes et tablatures Sher Music Company
Modal Improvisation and Melodic Construction in the Flamenco Environment. Com...(+)
Modal Improvisation and
Melodic Construction in
the
Flamenco Environment.
Composed by Enrique
Vargas.
387 pages. Published by
Sher
Music Company
$46.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Learning Harmony and Improvisation Using Conversational Solfege GIA Publications
SKU: GI.G-10545 Composed by John M. Feierabend. Conversational Solfege. M...(+)
SKU: GI.G-10545
Composed by John M.
Feierabend.
Conversational Solfege.
Music Education. 292
pages. GIA Publications
#10545. Published by GIA
Publications
(GI.G-10545). ISBN
9781622775859. Perf
ectly suited for students
at the middle school,
high school, and
collegiate levels,
Learning Harmony and
Improvisation Using
Conversational Solfege is
the culmination of John
M. Feierabend’s
best-selling curriculum.
As with all books in the
Conversational Solfege
series, this book
continues the 12-step
“ear-before-eyeâ
approach while
exploring the concepts of
harmony and
improvisation. To
facilitate effortless
aural learning, the book
employs solfege
syllables, clever
illustrations, melodic
patterns, and a unique
method for part-singing
called vocal chording.
The first four units in
the book introduce basic
harmonic functions in
major and harmonic minor,
and the following eight
units explore the various
modes—Aeolian,
Dorian, Mixolydian,
Phrygian, and
Lydian—and their
implied harmonies.
Improvisation is the
natural extension of
harmonic understanding,
and this book presents
ten challenge levels that
ask students to perform
increasingly difficult
improvisational skills
while vocal chording.
These range from singing
a single chord tone per
function to adding
passing tones,
suspensions,
retardations, and
anticipations. In keeping
with the Conversational
Solfege tradition, units
conclude with a
representative sampling
of folk repertoire and
classical
music—complete
with bass lines and chord
charts for all
selections. With the
effective step-by-step
process presented in
Learning Harmony and
Improvisation Using
Conversational Solfege,
harmonic and
improvisational
understanding are more
accessible and intuitive
than ever. John M.
Feierabend, PhD, has
spent decades compiling
songs and rhymes from the
memories of the American
people in hopes that
these treasures will be
preserved for future
generations. He is a
leading authority on
child development in
music and movement and
served as Professor and
Chair of the Music
Education Department of
the Hartt School of the
University of
Hartford. $59.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| String Quartet No. 2 Quatuor à cordes: 2 violons, alto, violoncelle Merion Music
Chamber Music String Quartet SKU: PR.14440265S Composed by Sydney F. Hodk...(+)
Chamber Music String
Quartet SKU:
PR.14440265S Composed
by Sydney F. Hodkinson.
Large Score. With
Standard notation.
Duration 25 minutes.
Merion Music #144-40265S.
Published by Merion Music
(PR.14440265S). UPC:
680160027910. The
Second and Third Quartets
were conceived at the
same time; indeed, their
composition intermingled,
over half of No. 3 being
sketched before No. 2 was
completed. Accordingly,
they share similar
material but, like the
intertwining blood of
cousins, their natures
differ: No. 2 being
somewhat acerbic and
declamatory, No. 3 more
lyric and gentler. An
annunicatory 'leaping
motive' (derived from a
motto generated by my
name) opens Quartet No. 2
and inhabits the course
of the piece as a
cyclical binding-force. A
five-note motive, usually
very deliberate, also
keeps recurring like an
insistent caller. All
three movements are based
on tonal centers (I on B
and E, II on D, III on C)
and the harmonic
'grammar' spoken tends to
recall the jazz world of
my youth. To hopefully
achieve a certain
classical ambience was
one of the goals of this
piece, and all three
movements have
traditional forms. The
first movement is a
modified Sonata-Allegro
design, with a
severely-truncated
recapitulation balanced
by a lengthy, and
decaying Coda. The second
movement is a set of
strophic variants and an
epilogue interspersed
with both solo ritornelli
and first-movement
material (the motto and
the five-note motive) in
the nature of a
fantasia-like
'call-and-response.' It
is dedicated to the
memory of the American
mezzo-soprano Jan
DeGaetani. The third
movement is a modified
Rondo (ABACBA) which
evolves out of the
opening motto. All three
movements make much use
of canonic stretti,
similar gestures, and
repetition. For example,
the climax of movement
III's Rondo throws the
first movement back at us
again, as if the players
were reluctant to let it
go, so that the entire
piece could perhaps be
viewed as a single large,
extended, Sonata
movement, with
introduction and
Coda. The Second and
Third Quartets were
conceived at the same
time; indeed, their
composition intermingled,
over half of No. 3 being
sketched before No. 2 was
completed.Â
Accordingly, they share
similar material but,
like the intertwining
blood of cousins, their
natures differ: No. 2
being somewhat acerbic
and declamatory, No. 3
more lyric and gentler.An
annunicatory
‘leaping
motive’ (derived
from a motto generated by
my name) opens Quartet
No. 2 and inhabits the
course of the piece as a
cyclical
binding-force. A
five-note motive, usually
very deliberate, also
keeps recurring like an
insistent caller. All
three movements are based
on tonal centers (I on B
and E, II on D, III on C)
and the harmonic
‘grammar’
spoken tends to recall
the jazz world of my
youth.To hopefully
achieve a certain
classical ambience was
one of the goals of this
piece, and all three
movements have
traditional forms.Â
The first movement is a
modified Sonata-Allegro
design, with a
severely-truncated
recapitulation balanced
by a lengthy, and
decaying Coda. The
second movement is a set
of strophic variants and
an epilogue interspersed
with both solo ritornelli
and first-movement
material (the motto and
the five-note motive) in
the nature of a
fantasia-like
‘call-and-response.
’ It is
dedicated to the memory
of the American
mezzo-soprano Jan
DeGaetani. The third
movement is a modified
Rondo (ABACBA) which
evolves out of the
opening motto.All three
movements make much use
of canonic stretti,
similar gestures, and
repetition. For
example, the climax of
movement III’s
Rondo throws the first
movement back at us
again, as if the players
were reluctant to let it
go, so that the entire
piece could perhaps be
viewed as a single large,
extended, Sonata
movement, with
introduction and
Coda. $85.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Hariu L'Adonai Chorale SATB - Intermédiaire Laurendale Associates
SATB choir, cantor solo, SSAAT soli, organ or piano - Late Intermediate SKU: ...(+)
SATB choir, cantor solo,
SSAAT soli, organ or
piano - Late Intermediate
SKU: MN.CH-1165
Composed by Robert
Strassburg. Sacred Jewish
Choral Music Series.
Praise/Thanksgiving,
Faith. Octavo. Duration 4
minutes, 45 seconds.
Laurendale Associates
#CH-1165. Published by
Laurendale Associates
(MN.CH-1165).
Scripture: Psalms
100. The text of
Psalm 100 - Hariu
L'adonai, Shout unto God
with Joy. is majestic in
language and
God-intoxicated in its
fervent expression of
thanksgiving and faith.
The English translation
adheres closely to the
meaning of the Hebrew
words making this anthem
accessible to both church
and synagogue. Rich organ
and choral textures
provide exciting
rhythmic, melodic and
harmonic features of a
celebratory character,
reaching ecstatic and
mystical heights. The
chorestration provides
solo, duet, and quartet
opportunities midst
richly fervent tuttis,
bringing this exultant
expression of humanity's
trust in God from
generation to generation,
to a dramatic close.
Duration 4:45. $2.50 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Directorate - Facile Carl Fischer
Band Bass Drum, Bassoon 1, Bassoon 2, Clarinet 1, Clarinet 2, Clarinet 3, Crash ...(+)
Band Bass Drum, Bassoon
1, Bassoon 2, Clarinet 1,
Clarinet 2, Clarinet 3,
Crash Cymbals, Euphonium,
Euphonium T.C., Flute 1,
Flute 2, Glockenspiel,
Horn 1, Horn 2, Mallet
Percussion, Oboe,
Percussion 1, Percussion
2, Snare Drum, Trombone 1
and more. - Grade 3
SKU: CF.CPS276
Composed by John Philip
Sousa. Arranged by Lauren
Taylor. Set of Score and
Parts. Carl Fischer Music
#CPS276. Published by
Carl Fischer Music
(CF.CPS276). ISBN
9781491163757. UPC:
680160922543. Writt
en by John Philip Sousa
in appreciation of an
honor given to him by the
Board of Directors of the
1893 St. Louis
Exposition, The
Directorate was one of
the first pieces that he
composed for his newly
formed Sousa Band.
Featuring lively wind
parts, contrasting
dynamics, interesting
harmonic twists in the
trio, and a rousing final
strain, this march is
ideal for teaching the
classic march
style.Re-scored for the
contemporary concert
band's instrumentation
from Sousa's original
Carl Fischer composition,
this march is now ready
to be discovered by a new
generation of
performers. $85.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Innovations for Acoustic guitar - DVD Guitare [DVD] - Débutant Music Sales
(Advanced Techniques, Harmony and Arranging Concepts for Fingerstyle Guitar). By...(+)
(Advanced Techniques,
Harmony and Arranging
Concepts for Fingerstyle
Guitar). By Muriel
Anderson. For acoustic
guitar. Instructional.
Instructional DVD.
Published by Music Sales
$24.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Block M Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire Alfred Publishing
By Jerry H. Bilik. By Jerry H. Bilik. For Concert Band. Concert Band. Symphonic ...(+)
By Jerry H. Bilik. By
Jerry H. Bilik. For
Concert Band. Concert
Band. Symphonic Band.
Level: 4 (Medium) (grade
4). Conductor Score and
Parts. 144 pages.
Duration 3:13. Published
by Alfred Publishing.
$75.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Cornish Pastiche. Trumpet & Piano Clifton Edition
Trumpet & Piano SKU: ST.C133 Composed by Mark Tanner. Wind & brass music....(+)
Trumpet & Piano SKU:
ST.C133 Composed by
Mark Tanner. Wind & brass
music. Clifton Edition
#C133. Published by
Clifton Edition
(ST.C133). ISBN
9790570811335. As I
sit myself down to write
this brief foreword, I
ask myself can there be
music more stirring than
these old Cornish folk
melodies? Though not
Cornish myself (I confess
to being born a little
further up the road, in
Bristol), I feel I have
spent sufficient time in
these 'ere parts to
resonate with the sturdy
brass band tradition that
continues to permeate
this incomparably
beautiful, rugged county.
One can almost detect a
French 'accent' when
listening to the piano
music of Debussy, and
likewise, speaking as a
lapsed brass player,
there is undoubtedly
something of the Cornish
twang about Trelawny when
played on a cornet or
euphonium. Then again,
one gets a different, yet
entirely convincing
effect upon hearing these
melodies rendered on
woodwind instruments;
hence, with a little
gamesmanship on my part,
I am pleased to see my
collection of these
fifteen delectable
ditties come to fruition
in the form of
arrangements for treble
clef brass instruments
(in B flat and E flat),
trombone and tuba (bass
clef), horn in F, flute,
clarinet and bassoon.
While many will find
themselves humming the
likes of Going up
Camborne Hill, Lamorna or
The Helston Furry Dance
even before they have
turned to the first page
- for these are indelibly
intertwined with Cornish
culture – I wonder if I
might draw your attention
to The Cornish Squire,
The Pool of Pilate and
Cold Blows the Wind Today
Sweetheart, which are
quite simply sublime
melodies, perhaps needing
that extra bit of help in
bringing them to mind
nowadays. In the best
tradition of musical
hand-me-downs, Cornish
folk music works equally
ideally sung and played,
and only by doing so on a
regular basis can such
traditions hope to
continue forward with
vigour and authority. A
legitimate way of
achieving this is to
revitalise the harmonic
scheme of these ancient
tunes and bring them up
to date for a modern
audience; after all, it
was such an approach that
fuelled the imagination
of Benjamin Britten and
Ralph Vaughan Williams in
decades past, while
skilfully paying homage
to the underlying charm
and, for want of a better
word, simplicity, of the
original music. But this
is only a start – for
without an energetic
response from younger
generations, Cornish folk
music is destined to
wither on the vine in
much the same way as is
happening with the
Cornish dialect. So, put
your instrument to your
lips and proceed, not
with caution, but with
enthusiasm and a smile,
for your great
grandparents (and perhaps
even their grandparents)
would surely raise a
glass if they could hear
you doing your bit to
ensure the survival of
this splendid
heritage. Timeless
Cornish melodies, cooked
up for hungry brass
players Grades 1–4
(ABRSM Grades 1, 2 &
4 syllabuses) Former
Spartan Press Cat. No.:
SP1213. $24.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Ukranian Suite for Wind Quintet Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor Clifton Edition
Wind Quintet SKU: ST.C525 Composed by Janne Kolodub. Wind & brass music. ...(+)
Wind Quintet SKU:
ST.C525 Composed by
Janne Kolodub. Wind &
brass music. Clifton
Edition #C525. Published
by Clifton Edition
(ST.C525). ISBN
9790570815258.
The Ukrainian
Suite for wind
quintet dates from 1983
and is in three
movements. In the opening
Allegretto, there is a
hint of minimalist
techniques, where the
unusual harmonic shifts
will challenge the
players to forget
conventional cadences.
Several parts share
parallel rhythms in many
places, while one part
carries the melodic
material. Similar
principles can be seen at
work in the Moderato con
moto second movement,
where persistent repeated
notes accompany the
melody. The third
movement, also Moderato
at the start, builds
towards a final section
where all five parts
share very similar note
patterns, and excitement
is generated by the
contrasting dynamics and
the relentless drive of
the rhythms. This quintet
was originally published
by Phylloscopus
Publications in 2001 and
set from the manuscript
by C.M.M. Nex and F.H.
Nex.
Flute, Oboe,
Clarinet in B flat and A,
Horn in F and Bassoon.
Score and 5 Parts
included.
Former
Spartan Press Cat. No.:
PP391.
$16.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Another Look At The Diminished Chord Ensemble Jazz [Conducteur et Parties séparées] - Facile Kendor Music Inc.
Jazz Ensemble standard jazz ensemble - Grade 3 SKU: KN.61029 Composed by ...(+)
Jazz Ensemble standard
jazz ensemble - Grade 3
SKU: KN.61029
Composed by Bill Liston.
Jazz Journey. Swing.
Score and set of parts.
Duration 5 minutes, 10
seconds. Kendor Music Inc
#61029. Published by
Kendor Music Inc
(KN.61029). UPC:
822795610291. Commi
ssioned by John Rush and
the Los Alamitos Jazz
Band #1, this original
for advancing groups is
exactly what you need to
open your next concert or
festival performance.
Several musical
generations work together
as the chart combines
elements of 1930's swing
with a fresh harmonic
approach. Ranges and
technical requirements
are reasonable, and tenor
sax and trumpet are
featured soloists. A
guitar chord chart by Jim
Greeson is included in
each set. Duration 5:10.
Available in
SmartMusic. $55.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Another Look At The Diminished Chord (Full Score) Ensemble Jazz - Facile Kendor Music Inc.
Jazz Ensemble - Grade 3 SKU: KN.61029S Composed by Bill Liston. Jazz Jour...(+)
Jazz Ensemble - Grade 3
SKU: KN.61029S
Composed by Bill Liston.
Jazz Journey. Kendor
Music Inc #61029S.
Published by Kendor Music
Inc (KN.61029S). UPC:
822795610291. Commi
ssioned by John Rush and
the Los Alamitos Jazz
Band #1, this original
for advancing groups is
exactly what you need to
open your next concert or
festival performance.
Several musical
generations work together
as the chart combines
elements of 1930's swing
with a fresh harmonic
approach. Ranges and
technical requirements
are reasonable, and tenor
sax and trumpet are
featured soloists. A
guitar chord chart by Jim
Greeson is included in
each set. Duration 5:10.
Available in
SmartMusic. $7.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Herbie Hancock Transcribed Solos Piano seul Charles Colin Music
Piano SKU: M7.AHW-3028 Composed by Herbie Hancock. Arranged by Oligario D...(+)
Piano SKU:
M7.AHW-3028 Composed
by Herbie Hancock.
Arranged by Oligario
Diaz. Sheet music.
Performance book. Charles
Colin Corp. #AHW 3028.
Published by Charles
Colin Corp.
(M7.AHW-3028).
English. This
theoretical book is meant
to improve contemporary
jazz styles and
techniques for all
players of modern jazz.
This study investigates
jazz pianist and composer
Herbie Hancock's seven
albums recorded as a
bandleader for Blue Note
Records between 1962 and
1969. Recorded during
Hancock's tenures with
Donal Byrd and Miles
Davis, his early works
are highly mature musical
conceptions, with all the
major elements of
Hancock's personal
musical style already
present. A mixed-methods
approach combining sever
forms of qualitative data
analysis is used to
identify the formal
construction, the musical
meanings, and the
cultural significance of
this body of music. The
study surveys the
thirty-six compositions
that comprise these seven
albums, and selects for
in-depth analysis seven
pieces that are
proportionally
representative of the
formal characteristics of
this larger repertoire:
The Maze, The Pleasure Is
Mine, Jack Rabbit, One
Finger Snap, Little One,
Toys, and I Have A Dream.
Hancock's improvisations
on these repretative
compositions are
transcribed, and each
improvisation and
composition is analyzed
for its historical
context and significance
of each recording is
examined through
interviews with persons
involved in the original
recording process, as
well as other jazz
musicians and scholars
with deep knowledge of
Hancock's life, music and
oeuvre. Aesthetic
analyses, informed by the
theories of of Kivy and
Elliot, investigate the
expressive or
representational
qualities of each
composition, and examine
how formal musical
elements contribute to
these expressive or
representational
qualities. Formal
analyses examine elements
of Hancock's
compositional and
improvisational style.
The study concludes the
Hancock's compositions
and improvisations of the
period exhibit a number
of consistent style
elements, such as
sophisticated harmonic
and rhythmic
superimposition, that
were very important
influences on jazz
pianists of the following
generation. $46.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Prayer for Asia Orchestre d'harmonie [Conducteur] - Intermédiaire
Concert band - Grade 4 SKU: CL.012-4030-01 Composed by LaBounty. Concert ...(+)
Concert band - Grade 4
SKU:
CL.012-4030-01
Composed by LaBounty.
Concert Band. Opus III
Series. Audio recording
available separately
(item CL.WFR372). Extra
full score. Composed
2011. Duration 6 minutes,
8 seconds. Opus III Wind
Orchestra Publications
#012-4030-01. Published
by Opus III Wind
Orchestra Publications
(CL.012-4030-01).
Prayer For Asia
is an original work for
wind orchestra whose main
theme was inspired by
prayer. Simple and pure
in its core,
exponentially powerful
harmonic and textural
scoring make this work
both music for the
musician and soul food
for a new generation of
audiences here and
abroad. The imagery of
this musical entreaty
tranquilly unfolds with a
clarinet exposition that
authentically captures
the essence of an
invocation that is
adeptly passed to English
Horn and masterfully
developed via sectional
highlighting, superlative
percussion and a climax
of elysian dimension.
Prayer For Asia conveys
reverence and paramount
reflection that will,
perhaps now more than
ever, touch mature
ensembles and audiences
in a significant
manner. $8.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Cornish Pastiche. Clarinet & Piano Clarinette et Piano Clifton Edition
Clarinet and Piano SKU: ST.C129 Composed by Mark Tanner. Wind & brass mus...(+)
Clarinet and Piano
SKU: ST.C129
Composed by Mark Tanner.
Wind & brass music.
Clifton Edition #C129.
Published by Clifton
Edition (ST.C129).
ISBN
9790570811298. As I
sit myself down to write
this brief foreword, I
ask myself can there be
music more stirring than
these old Cornish folk
melodies? Though not
Cornish myself (I confess
to being born a little
further up the road, in
Bristol), I feel I have
spent sufficient time in
these 'ere parts to
resonate with the sturdy
brass band tradition that
continues to permeate
this incomparably
beautiful, rugged county.
One can almost detect a
French 'accent' when
listening to the piano
music of Debussy, and
likewise, speaking as a
lapsed brass player,
there is undoubtedly
something of the Cornish
twang about Trelawny when
played on a cornet or
euphonium. Then again,
one gets a different, yet
entirely convincing
effect upon hearing these
melodies rendered on
woodwind instruments;
hence, with a little
gamesmanship on my part,
I am pleased to see my
collection of these
fifteen delectable
ditties come to fruition
in the form of
arrangements for treble
clef brass instruments
(in B flat and E flat),
trombone and tuba (bass
clef), horn in F, flute,
clarinet and bassoon.
While many will find
themselves humming the
likes of Going up
Camborne Hill, Lamorna or
The Helston Furry Dance
even before they have
turned to the first page
- for these are indelibly
intertwined with Cornish
culture – I wonder if I
might draw your attention
to The Cornish Squire,
The Pool of Pilate and
Cold Blows the Wind Today
Sweetheart, which are
quite simply sublime
melodies, perhaps needing
that extra bit of help in
bringing them to mind
nowadays. In the best
tradition of musical
hand-me-downs, Cornish
folk music works equally
ideally sung and played,
and only by doing so on a
regular basis can such
traditions hope to
continue forward with
vigour and authority. A
legitimate way of
achieving this is to
revitalise the harmonic
scheme of these ancient
tunes and bring them up
to date for a modern
audience; after all, it
was such an approach that
fuelled the imagination
of Benjamin Britten and
Ralph Vaughan Williams in
decades past, while
skilfully paying homage
to the underlying charm
and, for want of a better
word, simplicity, of the
original music. But this
is only a start – for
without an energetic
response from younger
generations, Cornish folk
music is destined to
wither on the vine in
much the same way as is
happening with the
Cornish dialect. So, put
your instrument to your
lips and proceed, not
with caution, but with
enthusiasm and a smile,
for your great
grandparents (and perhaps
even their grandparents)
would surely raise a
glass if they could hear
you doing your bit to
ensure the survival of
this splendid
heritage. Timeless
Cornish melodies, cooked
up for hungry clarinet
players Grades
1–4 Former Spartan
Press Cat. No.:
SP1218. $24.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Cornish Pastiche. E flat Treble Clef Brass & Piano - Intermédiaire Clifton Edition
E flat Treble Clef Brass & Piano SKU: ST.C132 Composed by Mark Tanner. Wi...(+)
E flat Treble Clef Brass
& Piano SKU:
ST.C132 Composed by
Mark Tanner. Wind & brass
music. Clifton Edition
#C132. Published by
Clifton Edition
(ST.C132). ISBN
9790570811328. As I
sit myself down to write
this brief foreword, I
ask myself can there be
music more stirring than
these old Cornish folk
melodies? Though not
Cornish myself (I confess
to being born a little
further up the road, in
Bristol), I feel I have
spent sufficient time in
these 'ere parts to
resonate with the sturdy
brass band tradition that
continues to permeate
this incomparably
beautiful, rugged county.
One can almost detect a
French 'accent' when
listening to the piano
music of Debussy, and
likewise, speaking as a
lapsed brass player,
there is undoubtedly
something of the Cornish
twang about Trelawny when
played on a cornet or
euphonium. Then again,
one gets a different, yet
entirely convincing
effect upon hearing these
melodies rendered on
woodwind instruments;
hence, with a little
gamesmanship on my part,
I am pleased to see my
collection of these
fifteen delectable
ditties come to fruition
in the form of
arrangements for treble
clef brass instruments
(in B flat and E flat),
trombone and tuba (bass
clef), horn in F, flute,
clarinet and bassoon.
While many will find
themselves humming the
likes of Going up
Camborne Hill, Lamorna or
The Helston Furry Dance
even before they have
turned to the first page
- for these are indelibly
intertwined with Cornish
culture – I wonder if I
might draw your attention
to The Cornish Squire,
The Pool of Pilate and
Cold Blows the Wind Today
Sweetheart, which are
quite simply sublime
melodies, perhaps needing
that extra bit of help in
bringing them to mind
nowadays. In the best
tradition of musical
hand-me-downs, Cornish
folk music works equally
ideally sung and played,
and only by doing so on a
regular basis can such
traditions hope to
continue forward with
vigour and authority. A
legitimate way of
achieving this is to
revitalise the harmonic
scheme of these ancient
tunes and bring them up
to date for a modern
audience; after all, it
was such an approach that
fuelled the imagination
of Benjamin Britten and
Ralph Vaughan Williams in
decades past, while
skilfully paying homage
to the underlying charm
and, for want of a better
word, simplicity, of the
original music. But this
is only a start – for
without an energetic
response from younger
generations, Cornish folk
music is destined to
wither on the vine in
much the same way as is
happening with the
Cornish dialect. So, put
your instrument to your
lips and proceed, not
with caution, but with
enthusiasm and a smile,
for your great
grandparents (and perhaps
even their grandparents)
would surely raise a
glass if they could hear
you doing your bit to
ensure the survival of
this splendid
heritage. Timeless
Cornish melodies, cooked
up for hungry brass
players Grades 1–4
(ABRSM Grade 4
syllabus) Former
Spartan Press Cat. No.:
SP1214. $24.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Vamps, Jams and Improvisation Guitare notes et tablatures [DVD] Hal Leonard
(The Quintessential Rut-Buster 2-DVD Set). Instructional/Guitar/DVD. DVD. Guitar...(+)
(The Quintessential
Rut-Buster 2-DVD Set).
Instructional/Guitar/DVD.
DVD. Guitar tablature
$29.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| String Quartet Quatuor à cordes: 2 violons, alto, violoncelle [Conducteur] Chester
String Quartet (Score) SKU: HL.14043597 Score. Composed by Brian E...(+)
String Quartet (Score)
SKU: HL.14043597
Score. Composed by
Brian Elias. Music Sales
America. Classical,
Contemporary. Score. 46
pages. Chester Music
#CH81103. Published by
Chester Music
(HL.14043597).
8.25x12.0x0.166
inches. String
Quartet Was Composed By
Mumbai-Born Brian Elias
In 2012, And Was
Commissioned By The
Jerusalem String Quartet.
Lasting Around 20
Minutes, This Is The Full
Score Of The Work
Arranged For Violin I,
Violin Ii, Viola And
Cello. The Work Has Been
Laid Out In The
Conventional Four
Movements, Allegro,
Adagio, Presto,
Adagio-Allegro-Adagio,
But It Is Essentially A
Work In A Single Movement
To Be Performed With No
Breaks. A Set Of Double
Variations Generates The
Thematic And Harmonic
Material For The Entire
Piece In Its First Few
Bars, With A Brilliant
Viola Solo Afterwards.
Throughout The Piece,
Changes In Dynamics And
Tempo Characterise The
Different Movements,
Before Finally EndingWith
A Calming Return To The
Slow Music.&Nbsp; You Can
Purchase The Individual
Instrument&Nbsp; Parts
Here. $27.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Theory Notebook Complete Piano seul [Livre] Santorella Publications
Composed by John Brimhall. For Piano. Paperback. Instructional, Method. Book. 11...(+)
Composed by John
Brimhall. For Piano.
Paperback. Instructional,
Method. Book. 112 pages.
Published by Santorella
Publications
$19.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
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