| 101 Popular Songs for Clarinet - Solos and Duets Clarinette [Livre + CD] Santorella Publications
| | |
| Playalong Clarinet Christmas Hits Clarinette [Partition + Accès audio] Amsco Wise Publications
Clarinet SKU: BT.MUSAM1007215 (includes Download code). Book with ...(+)
Clarinet SKU:
BT.MUSAM1007215
(includes Download
code). Book with
Online Audio. Composed
2013. 80 pages. Wise
Publications
#MUSAM1007215. Published
by Wise Publications
(BT.MUSAM1007215).
ISBN
9781783052400. <
strong>Play-Along
Clarinet: Christmas
Hits includes 31
festive favourites in
melody line arrangements
for Clarinet. The
book comes complete with
a download card giving
access to 31 mp3 backing
tracks and 31mp3demo
tracks. $27.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Big Book of Christmas Songs for Clarinet Clarinette Hal Leonard
By Various Composers. Instrumental Folio. Size 9x12 inches. 146 pages. Published...(+)
By Various Composers.
Instrumental Folio. Size
9x12 inches. 146 pages.
Published by Hal Leonard.
(2)$19.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Smash Pop Hits (1999-2000 Special Edition) Clarinette [Partition] Alfred Publishing
Smash Pop Hits (1999-2000 Special Edition). (Clarinet). For Clarinet. Instrument...(+)
Smash Pop Hits (1999-2000
Special Edition).
(Clarinet). For Clarinet.
Instrumental Series.
Book. 76 pages. Published
by Alfred Music
Publishing
$9.95 - Voir plus => AcheterDélais: 4 to 6 business days | | |
| 100 Pop Solos For Clarinet Clarinette Music Sales
| | |
| Great Clarinet Solos Clarinette Music Sales
| | |
| The Beatles - B-flat Clarinet [Partie séparée] - Débutant Hal Leonard
(Essential Elements for Band Correlated Collections Clarinet). By The Beatles. A...(+)
(Essential Elements for
Band Correlated
Collections Clarinet). By
The Beatles. Arranged by
John Moss, Johnnie
Vinson, and Robert
Longfield. For B-flat
Clarinet (Clarinet).
Essential Elements Band
Folios. Grade 1.5.
Softcover. 24 pages.
Published by Hal Le
$6.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Stadium Hit Mix Fanfare [Conducteur et Parties séparées] - Facile Hal Leonard
Value Pak (34 part books). (Kit of score and part books). Easy Contemporary Mar...(+)
Value Pak (34 part
books). (Kit of score
and part books). Easy
Contemporary Marching
Band. Published by Hal
Leonard.
$135.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Beatles - Facile Hal Leonard
Alto Clarinet (E-flat Alto Clarinet) - Level 1.5 SKU: HL.860223 Essent...(+)
Alto Clarinet (E-flat
Alto Clarinet) - Level
1.5 SKU: HL.860223
Essential Elements for
Band Correlated
Collections Alto
Clarinet. By The
Beatles. Arranged by John
Moss, Johnnie Vinson, and
Robert Longfield. Concert
Band Method. Essential
Elements Band Folios.
Pop. Softcover. 24 pages.
Published by Hal Leonard
(HL.860223). ISBN
9781423476221. UPC:
884088484996.
9.0x12.0x0.08
inches. Includes:
And I Love Her * Eleanor
Rigby * Get Back * A Hard
Day's Night * Here, There
and Everywhere * Hey Jude
* I Want to Hold Your
Hand * Lady Madonna *
Ticket to Ride * Twist
and Shout *
Yesterday. $6.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Real Dixieland Book
Fake Book [Fake Book] Hal Leonard
(C Instruments). By Various. Arranged by Robert Rawlins. Fake Book. Softcover. 3...(+)
(C Instruments). By
Various. Arranged by
Robert Rawlins. Fake
Book. Softcover. 380
pages. Published by Hal
Leonard
(1)$39.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Real Dixieland Book Instruments en Mib Hal Leonard
Eb Instruments. Composed by Various. Arranged by Robert Rawlins. Fake Book. D...(+)
Eb Instruments. Composed
by
Various. Arranged by
Robert
Rawlins. Fake Book.
Dixieland, Jazz.
Softcover.
Published by Hal Leonard
$39.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Beatles - Débutant Hal Leonard
(Essential Elements for Band Correlated Collections Bass Clarinet). By The Beatl...(+)
(Essential Elements for
Band Correlated
Collections Bass
Clarinet). By The
Beatles. Arranged by John
Moss, Johnnie Vinson, and
Robert Longfield. For
Bass Clarinet (BASS
CLARINET). Essential
Elements Band Folios.
Grade 1.5. Softcover. 24
pages. Published b
$6.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Top Hits Duo 1 Clarinette - Intermédiaire De Haske Publications
Clarinet - intermediate SKU: BT.DHP-0991738-401 Arranged by Robert van Be...(+)
Clarinet - intermediate
SKU:
BT.DHP-0991738-401
Arranged by Robert van
Beringen. Educational
Tool. Book Only. Composed
1999. 32 pages. De Haske
Publications #DHP
0991738-401. Published by
De Haske Publications
(BT.DHP-0991738-401).
ISBN 9789043105767.
English-German-French-Dut
ch. An album of
easy traditional and pop
tunes arranged for
twoinstruments. Includes:
I Want It That Way
(Backstreet Boys), If
YouBelieve (Sasha), Molly
Malone, Music (John
Miles) and A Groovy
KindOf Love (Phil
Collins).
Vierzehn Top-Hits
aus Pop, Rock, Folk und
Klassik - witzig
arrangiert. $19.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Tartan Tapestries Orchestre d'harmonie - Intermédiaire Carl Fischer
Band Bagpipes, Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2,...(+)
Band Bagpipes, Bass
Clarinet, Bass Drum,
Bassoon, Bells, Clarinet
1, Clarinet 2, Clarinet
3, Crash Cymbals, Double
Bass, Euphonium,
Euphonium T.C., Flute 1,
Flute 2, Horn 1, Horn 2,
Mallet Percussion, Mark
Tree, Oboe, Percussion 1,
Percussion 2 and more. -
Grade 3.5 SKU:
CF.CPS225 Composed by
Larry Clark. Concert Band
(CPS). Set of Score and
Parts. With Standard
notation.
12+12+6+12+24+24+6+4+6+6+
6+6+8+8+8+4+4+6+6+6+8+2+1
+6+2+4+10+32+4 pages.
Duration 6 minutes, 9
seconds. Carl Fischer
Music #CPS225. Published
by Carl Fischer Music
(CF.CPS225). ISBN
9781491152515. UPC:
680160910014. Tarta
n Tapestries is an
original piece that sets
out to emulate Scottish
folk music. Composer
Larry Clark has created a
concert overture in
triple meter to capture
the essence of music from
Scotland. After a lilting
first section, lush
and beautiful moments
weave a tapestry of
sounds with the lyrical,
middle section of the
piece. There is an
optional part for
bagpipes, and an optional
ending should you chose
to use this instrument as
part of the piece. Alert
your contest music
committee about this
strong new piece for
advancing
groups. Tartan
Tapestries was
commissioned by Friends
of the Arts for the Saint
Andrew's School Band in
Boca Raton,
Florida. The band
program at Saint
Andrew’s School is
under the direction of
Andrea Wolgin. The
premiere took place on
November 29, 2017.When I
was asked by their
conductor Ms. Wolgin to
write a piece for the
Saint Andrew’s
School, I asked her what
kind of involvement she
wanted the students to
have in the process. We
discussed several options
for having the students
involved in the process
of creating with the type
of piece they wanted.Â
We set up a
“Skypeâ€
meeting with members of
the band to discuss the
piece. During this
discussion, the consensus
of the students was that
they wanted a piece
depicting the Scottish
influence to the
school. They also
wanted a piece that would
challenge all sections of
the band and to include
bagpipes if possible. I
asked that the students
be involved in helping to
name the piece once it
was completed, for which
they agreed and were very
helpful. Armed with
this information, I set
out to compose a piece
for them, and Tartan
Tapestries is the
result.The piece begins
with a fanfare gesture
based upon rhythms and
harmonies that appear
throughout the piece. I
chose the lilting triple
feel to the piece, to
bring about the Scottish
flavor. I wanted the
fanfare to be bardic
sounding, to depict the
strength of the Scottish
people and for the piece
to have a dynamic
opening. The fanfare
contains material that
alludes to the main theme
and with a bit of
dissonance and tension
that is resolved in the
main body of the
piece.The main theme is a
lilting original melody,
but one that I hope with
have the essence of
Scottish folk songs. The
main idea is followed by
a more modal and dark
sounding secondary theme,
first stated in the
horns. This material
is later used in the
development section of
the piece. The main
theme returns several
times, with different and
varied orchestrations and
harmonic treatments. This
is followed by a short
transition leading to the
more lyrical and slower
second section of the
piece. A transparent
presentation of the
lyrical theme, which is
based on aspects of the
main theme, is presented
first by a solo flute.
This section is a nod to
famous composer Malcom
Arnold’s wonderful
works for orchestra in
its style and
orchestration. After a
transition or bridge
section with a solo
euphonium, the piece
builds to a dramatic
climax of the lyrical
theme by the full band.
This subsides to a return
of the solo flute to end
this second section of
the piece, followed by a
transition back the main
theme.The solo bagpipes
play a central role in
the return of the main
theme and take center
stage after being heard
in the distance earlier
in the work. The piece
brings back a shortened
version of the darker
secondary theme, followed
by a hint of the fanfare
material that builds to
one last statement of the
main theme by the full
band, before leading to a
dramatic coda to complete
the work.It has been my
pleasure to have been
given the opportunity to
compose this piece for
the Saint Andrew’s
School Band! I thank
Andrea Wolgin for making
it happen, and I hope
that you enjoy it as much
as I have enjoyed
bringing the piece to
life.–Larry
ClarkLakeland, Florida
2017. $95.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Tartan Tapestries Orchestre d'harmonie [Conducteur] - Intermédiaire Carl Fischer
Band Bagpipes, Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2,...(+)
Band Bagpipes, Bass
Clarinet, Bass Drum,
Bassoon, Bells, Clarinet
1, Clarinet 2, Clarinet
3, Crash Cymbals, Double
Bass, Euphonium,
Euphonium T.C., Flute 1,
Flute 2, Horn 1, Horn 2,
Mallet Percussion, Mark
Tree, Oboe, Percussion 1,
Percussion 2 and more. -
Grade 3.5 SKU:
CF.CPS225F Composed
by Larry Clark. Concert
Band (CPS). Full score.
With Standard notation.
32 pages. Carl Fischer
Music #CPS225F. Published
by Carl Fischer Music
(CF.CPS225F). ISBN
9781491153192. UPC:
680160910694. Tarta
n Tapestries is an
original piece that sets
out to emulate Scottish
folk music. Composer
Larry Clark has created a
concert overture in
triple meter to capture
the essence of music from
Scotland. After a lilting
first section, lush
and beautiful moments
weave a tapestry of
sounds with the lyrical,
middle section of the
piece. There is an
optional part for
bagpipes, and an optional
ending should you chose
to use this instrument as
part of the piece. Alert
your contest music
committee about this
strong new piece for
advancing
groups. Tartan
Tapestries was
commissioned by Friends
of the Arts for the Saint
Andrew's School Band in
Boca Raton,
Florida. The band
program at Saint
Andrew’s School is
under the direction of
Andrea Wolgin. The
premiere took place on
November 29, 2017.When I
was asked by their
conductor Ms. Wolgin to
write a piece for the
Saint Andrew’s
School, I asked her what
kind of involvement she
wanted the students to
have in the process. We
discussed several options
for having the students
involved in the process
of creating with the type
of piece they wanted.Â
We set up a
“Skypeâ€
meeting with members of
the band to discuss the
piece. During this
discussion, the consensus
of the students was that
they wanted a piece
depicting the Scottish
influence to the
school. They also
wanted a piece that would
challenge all sections of
the band and to include
bagpipes if possible. I
asked that the students
be involved in helping to
name the piece once it
was completed, for which
they agreed and were very
helpful. Armed with
this information, I set
out to compose a piece
for them, and Tartan
Tapestries is the
result.The piece begins
with a fanfare gesture
based upon rhythms and
harmonies that appear
throughout the piece. I
chose the lilting triple
feel to the piece, to
bring about the Scottish
flavor. I wanted the
fanfare to be bardic
sounding, to depict the
strength of the Scottish
people and for the piece
to have a dynamic
opening. The fanfare
contains material that
alludes to the main theme
and with a bit of
dissonance and tension
that is resolved in the
main body of the
piece.The main theme is a
lilting original melody,
but one that I hope with
have the essence of
Scottish folk songs. The
main idea is followed by
a more modal and dark
sounding secondary theme,
first stated in the
horns. This material
is later used in the
development section of
the piece. The main
theme returns several
times, with different and
varied orchestrations and
harmonic treatments. This
is followed by a short
transition leading to the
more lyrical and slower
second section of the
piece. A transparent
presentation of the
lyrical theme, which is
based on aspects of the
main theme, is presented
first by a solo flute.
This section is a nod to
famous composer Malcom
Arnold’s wonderful
works for orchestra in
its style and
orchestration. After a
transition or bridge
section with a solo
euphonium, the piece
builds to a dramatic
climax of the lyrical
theme by the full band.
This subsides to a return
of the solo flute to end
this second section of
the piece, followed by a
transition back the main
theme.The solo bagpipes
play a central role in
the return of the main
theme and take center
stage after being heard
in the distance earlier
in the work. The piece
brings back a shortened
version of the darker
secondary theme, followed
by a hint of the fanfare
material that builds to
one last statement of the
main theme by the full
band, before leading to a
dramatic coda to complete
the work.It has been my
pleasure to have been
given the opportunity to
compose this piece for
the Saint Andrew’s
School Band! I thank
Andrea Wolgin for making
it happen, and I hope
that you enjoy it as much
as I have enjoyed
bringing the piece to
life.–Larry
ClarkLakeland, Florida
2017. $14.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Die Donau Orchestre Barenreiter
Orchestra SKU: BA.BA06861 Sinfonie (1923-1928). Composed by Leos J...(+)
Orchestra SKU:
BA.BA06861
Sinfonie
(1923-1928). Composed
by Leos Janacek. Arranged
by Leoš Faltus and
Miloš Štedron. This
edition: complete
edition, urtext edition.
Linen. Complete Critical
Edition of the Works of
Leos Janacek H/3.
Complete edition, Score,
Set of parts. Duration 40
minutes. Baerenreiter
Verlag #BA06861_00.
Published by Baerenreiter
Verlag (BA.BA06861).
ISBN 9790260104211.
34.3 x 27 cm
inches. Leoš
Janácek’s
symphonic fragment Dunaj
(The Danube) dates from
the period of the
composition of
“Katya
Kabanovaâ€. The
composer was not
concerned with a
musical-picturesque
description of a river
landscape, but with the
mythical link between
women’s destinies
and
water.
“Pale
green waves of the
Danube! There are so many
of you, and one followed
by another. You remain
interlocked in a
continuous flow. You
surprise yourselves where
you ended up – on
the Czech shores! Look
back downstream and you
will have an impression
of what you have left
behind in your haste. It
pleases you here. Here I
will rest with my
symphony.†Thus
Leoš Janácek
described the idea behind
the composition project
which occupied him in
1923/24. However, after
further work, it remained
incomplete in 1926. His
“symphonyâ€
entitled Dunaj has
survived as a
continuously-notated,
four-movement bundle of
sketches in score form.
It is one of the works
which occupied him until
his death. The scholarly
reconstruction by the two
Brno composers Miloš
Štedron and Leoš
Faltus closely follows
the original
manuscript.
A
whole conglomeration of
motifs stands behind the
incomplete work. What at
first seems like a
counterpart to
Smetana’s Vltava,
in fact doesn’t
turn out to be a musical
depiction of the Danube.
On the contrary, the
fateful link between the
destiny of women, water
and death permeates the
range of motifs found in
the work. It seems to be
no coincidence that
Janácek, whilst
working on the opera
Katya Kabanova, in which
the Volga, as the river
bringing death plays an
almost mythical role,
planned a Danube
symphony, and that its
content was linked with
the destiny of women: in
the sketches, two poems
were found which may have
provided the stimulus for
several movements of the
symphony. He copied a
poem by Pavla
Kriciková into the
second movement, in which
a girl remarks that
whilst bathing in a pond,
she was observed by a
man. Filled with shame,
the young naked woman
jumps into the water and
drowns. The outer
movements likewise draw
on the poem
“Lola†by the
Czech writer Sonja
Špálová,
published under the
pseudonym Alexander
Insarov. This is about a
prostitute who asks for
her heart’s
desire: she is given a
palace, but then goes on
a long search for it and
is finally no longer
wanted by anyone. She
suffers, feels cold and
just wants a warm fire.
Janácek adds his
remark “she jumps
into the Danube†to
the inconclusive
ending.
To these
tangible literary models
is added Adolf
Veselý’s verbal
account which reports
that the composer wanted
to portray “in the
Danube, the female sex
with all its passions and
driving forcesâ€.
The third movement is
said to characterise the
city of Vienna in the
form of a
woman.
It is
evident that in his
composition, Janácek
was not striving for a
simple, natural lyricism.
The River Danube is
masculine in the Slavic
language –
“ten Dunajâ€
– and assumes an
almost mythical
significance in the
national character,
indeed often also a role
bringing death. The four
movements are motivically
conceived. Elements of
sound painting, small
wave-like figures in the
first movement, motoric,
driving movements in the
third are obvious
evocations of water. And
the content and the
literary level are easy
to discover. The
“tremolo of the
four timpaniâ€,
which was amongst
Janácek’s first
inspirations, appears in
the second movement. It
is not difficult to
retrace in it the fate of
the drowning bather. The
oboe enters lamentoso
towards the end of the
movement over timpani
playing tremolo, its
descending figure is
taken over by the flute,
then upper strings and
intensified considerably.
The motif of drowning
– Lola’s
despair – returns
again in the fourth
movement in the clarinet,
before the work ends
abruptly and
dramatically.
One
special effect is the use
of a soprano voice in the
motor-driven third
movement. The singer
vocalises mainly in
parallel with the solo
oboe, but also in
dialogue with other parts
such as the viola
d’amore, which
Janácek used in
several late works as a
sort of “voice of
loveâ€.
About
Barenreiter
Urtext
What can I
expect from a Barenreiter
Urtext
edition?<
/p> MUSICOLOGICA
LLY SOUND - A
reliable musical text
based on all available
sources - A
description of the
sources -
Information on the
genesis and history of
the work - Valuable
notes on performance
practice - Includes
an introduction with
critical commentary
explaining source
discrepancies and
editorial decisions
... AND
PRACTICAL -
Page-turns, fold-out
pages, and cues where you
need them - A
well-presented layout and
a user-friendly
format - Excellent
print quality -
Superior paper and
binding
$249.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Non Stop Hits Vol. 2 Clarinette [Partition + CD] - Intermédiaire De Haske Publications
Clarinet - intermediate SKU: BT.DHP-0991641-400 Arranged by Stephen Geuse...(+)
Clarinet - intermediate
SKU:
BT.DHP-0991641-400
Arranged by Stephen
Geusenbroek. Educational
Tool. Book with CD.
Composed 1999. 20 pages.
De Haske Publications
#DHP 0991641-400.
Published by De Haske
Publications
(BT.DHP-0991641-400).
ISBN 9789043111812.
English-German-French-Dut
ch. This volumes of
pop hits with play-along
CD is ideal for all
buddingpop stars!
Contains: (Backstreet
Boys), Together Again
(Janet Jackson), I
Don’t Want To (R
Kelly), I Believe I Can
Fly (R. Kelly) and
American Pie (Don
McLean/Madonna)
As Long as You
Love Me • Together
Again • I
Don’t Want to
• Why • I
Believe I Can Fly •
It’s Like This
• American Pie
• Hard to Say
I’m
Sorry
Große
, unvergessene Pop-Hits
aus mehreren Jahrzehnten,
aber auch einige
originale, der Popmusik
nachempfundene Stücke
sind in diesen Heften
für Holzbläser, die
bekannte Hits spielen
wollen, zusammengefasst.
Ein Hit - nicht nur
für Fans der Popmusik!
Il CD contiene la
versione integrale di
ogni brano, come anche
una versione con il solo
accompagnamento. $26.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Trio [Conducteur et Parties séparées] Theodore Presser Co.
Chamber Music Flute, Horn, Piano SKU: PR.114424380 Composed by Eric Ewaze...(+)
Chamber Music Flute,
Horn, Piano SKU:
PR.114424380 Composed
by Eric Ewazen. Sws.
Score and parts. Theodore
Presser Company
#114-42438. Published by
Theodore Presser Company
(PR.114424380). ISBN
9781491138076. UPC:
680160693467. 18 x 12
inches. If you love
playing Eric Ewazen’s
flute sonatas or horn
chamber music, or if you
are fan of Brahms’s
chamber music, then this
exhilarating work is for
you! Among Ewazen’s
most performed works, the
TRIO, inspired by the
Brahms horn trio and
originally for Violin,
Horn, and Piano, has been
adapted by the composer
for Flute, Horn, and
Piano. With a rollicking
scherzo and beautiful
melodic movements, this
21-minute work is a joy
to play and to listen
to. I’ve always been
fascinated and inspired
by chamber works offering
several instrumental
versions of the same
piece, resulting in a new
feel and color. One
famous example is the
great Franck Sonata,
originally for violin and
piano, and beautifully
arranged for flute and
piano by Jean-PIerre
Rampal. Subsequently
other versions of the
piece were created for an
array of instruments:
cello, oboe, clarinet,
saxophone, and even tuba!
Creating this flute
version of my TRIO (flute
replacing the original
violin part), considered
the range, allowing the
flute to sometimes sing
in a bright, higher
register than the
original violin part;
passages where there were
double stops in the
violin now have
arpeggiated
figurations. The
original scoring for
Horn, Violin, and Piano
was commissioned by and
gratefully dedicated to
Chamberosity,
representing an homage to
one of my favorite
chamber pieces of all
time, the Trio for Horn,
Violin, and Piano by
Brahms. Having both
performed (on piano) and
analyzed that work, I so
loved Brahms’ wonderful
weaving of the colors of
the instruments, creating
an almost orchestral
color palette. For years
I wanted to write a trio
for the same combination,
and when my friends in
Chamberosity were
enthusiastic about me
writing that piece for
them, I was
delighted. The four
movements are modeled
after the Brahms, with a
slow-fast-slow-fast
scheme to the entire
work. A gentle, somewhat
mysterious first movement
accumulates depth and
momentum as it proceeds,
only to return to the
gentle world of the
opening. The second
movement is a rip-roaring
scherzo, a true energetic
dance with melodies
tossed back and forth
from the violin to the
horn, while the piano
provides a resonant
accompaniment, inserting
its own lively melodies
as counterpoint to the
violin and horn. The
third movement is filled
with melancholy, with
long lyric melodies
appearing sometimes as
solos, sometimes as
duets, and sometimes as a
chorale with all three
instruments singing their
soulful songs. The final
movement, following an
austere, dramatic
introduction, turns into
a grand fugue, with a
jumping fugue theme full
of life and excitement,
culminating in the themes
heard in augmentation,
strong and bold. $34.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Remembering Pearl Harbor - Intermédiaire Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Chimes, Clarinet 1, Clarinet 2, C...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Bells,
Chimes, Clarinet 1,
Clarinet 2, Clarinet 3,
Crash Cymbals, Euphonium,
Euphonium T.C., Flute,
Gong, Horn 1, Horn 2,
Horn 3, Horn 4, Mallet
Percussion, Marimba,
Oboe, Percussion 1,
Percussion 2 and more. -
Grade 4 SKU:
CF.SPS95 December
7, 1941. Composed by
Christina Huss R. Alan
Carter. Sps. Set of Score
and Parts.
2+16+4+8+8+8+4+4+4+4+4+4+
6+6+6+4+4+4+4+6+6+6+6+4+6
+6+2+4+8+2+28 pages.
Duration 6 minutes, 45
seconds. Carl Fischer
Music #SPS95. Published
by Carl Fischer Music
(CF.SPS95). ISBN
9781491161302. UPC:
680160919895. Writt
en to commemorate the
80th Anniversary of the
surprise attack on the
American Pacific Fleet,
Remembering Pearl Harbor
is a stirring tribute
honoring the heroes of
the date which will live
in infamy- December 7,
1941. Like flying over
the Pacific, the opening
bars seemingly soar back
in time. The composition
takes the listener on a
moving journey from the
precarious moments before
the fateful attack,
through the air strike
and resulting aftermath.
The musical voyage begins
with chimes, signifying
the hour of the attack
that Sunday morning,
developing into the
heroic main theme
representing the Spirit
of America. A rousing
version of Anchors Aweigh
takes us to the naval
base at Pearl Harbor and
the activities of the
day. By the end of
Anchors Aweigh, the mood
seems to change,
foreshadowing the fate of
the U.S. fleet. Next, the
haunting theme of the
Japanese National Anthem
is heard and the distant
sound of propellers as
they approach. When the
planes arrive, the battle
rages until there is
total destruction.
Countless people lost
their lives on this
tragic day. The playing
of Taps and the Navy
Hymn, Eternal Father,
Strong to Save is
presented as an homage to
those who perished.
Following this solemn
moment, the American
spirit begins to rise as
they come together to
defeat the enemy. As the
U.S. triumphs in the end,
we hear fragments of many
American tunes depicting
the strength and
resilience of the
American People. You may
want to consider using
portions of Franklin
Delano Roosevelt's famous
speech to enhance your
performance. The
following sections are
suggested: Measure 46:
Yesterday, December 7th,
1941 - a date which will
live in infamy - the
United States of America
was suddenly and
deliberately attacked by
the naval and air forces
of the Empire of Japan.
Measure 83: The attack
yesterday on the Hawaiian
Islands has caused severe
damage to American naval
and military forces. I
regret to tell you that
very many American lives
have been lost. Measure
105: No matter how long
it may take us to
overcome this
premeditated invasion,
the American people in
their righteous might
will win through to
absolute
victory.. Written to
commemorate the 80th
Anniversary of the
surprise attack on the
American Pacific Fleet,
Remembering Pearl Harbor
is a stirring tribute
honoring the heroes of
the “date which
will live in
infamyâ€- December
7, 1941. Like flying over
the Pacific, the opening
bars seemingly soar back
in time. The composition
takes the listener on a
moving journey from the
precarious moments before
the fateful attack,
through the air strike
and resulting
aftermath.The musical
voyage begins with
chimes, signifying the
hour of the attack that
Sunday morning,
developing into the
heroic main theme
representing the Spirit
of America. A rousing
version of Anchors
Aweigh takes us to the
naval base at Pearl
Harbor and the activities
of the day. By the end of
Anchors Aweigh, the mood
seems to change,
foreshadowing the fate of
the U.S.
fleet.  Next, the
haunting theme of the
Japanese National Anthem
is heard and the distant
sound of propellers as
they approach. When the
planes arrive, the battle
rages until there is
total destruction.
Countless people lost
their lives on this
tragic day. The playing
of Taps and the Navy
Hymn, Eternal Father,
Strong to Save is
presented as an homage to
those who
perished.Following this
solemn moment, the
American spirit begins to
rise as they come
together to defeat the
enemy. As the U.S.
triumphs in the end, we
hear fragments of many
American tunes depicting
the strength and
resilience of the
American People.You may
want to consider using
portions of Franklin
Delano Roosevelt’s
famous speech to enhance
your performance. The
following sections are
suggested:Measure 46:
“Yesterday,
December 7th, 1941
– a date which
will live in infamy
– the United
States of America was
suddenly and deliberately
attacked by the naval and
air forces of the Empire
of Japan.â€Measure
83: “The attack
yesterday on the Hawaiian
Islands has caused severe
damage to American naval
and military forces. I
regret to tell you that
very many American lives
have been
lost.â€Measure 105:
“No matter how long
it may take us to
overcome this
premeditated invasion,
the American people in
their righteous might
will win through to
absolute
victory.â€. $90.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Remembering Pearl Harbor [Conducteur] - Intermédiaire Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Chimes, Clarinet 1, Clarinet 2, C...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Bells,
Chimes, Clarinet 1,
Clarinet 2, Clarinet 3,
Crash Cymbals, Euphonium,
Euphonium T.C., Flute,
Gong, Horn 1, Horn 2,
Horn 3, Horn 4, Mallet
Percussion, Marimba,
Oboe, Percussion 1,
Percussion 2 and more. -
Grade 4 SKU:
CF.SPS95F December
7, 1941. Composed by
Christina Huss R. Alan
Carter. Sps. Full score.
28 pages. Duration 6
minutes, 45 seconds. Carl
Fischer Music #SPS95F.
Published by Carl Fischer
Music (CF.SPS95F).
ISBN 9781491161845.
UPC:
680160920525. Writt
en to commemorate the
80th Anniversary of the
surprise attack on the
American Pacific Fleet,
Remembering Pearl Harbor
is a stirring tribute
honoring the heroes of
the date which will live
in infamy- December 7,
1941. Like flying over
the Pacific, the opening
bars seemingly soar back
in time. The composition
takes the listener on a
moving journey from the
precarious moments before
the fateful attack,
through the air strike
and resulting aftermath.
The musical voyage begins
with chimes, signifying
the hour of the attack
that Sunday morning,
developing into the
heroic main theme
representing the Spirit
of America. A rousing
version of Anchors Aweigh
takes us to the naval
base at Pearl Harbor and
the activities of the
day. By the end of
Anchors Away, the mood
seems to change,
foreshadowing the fate of
the U.S. fleet. Next, the
haunting theme of the
Japanese National Anthem
is heard and the distant
sound of propellers as
they approach. When the
planes arrive, the battle
rages until there is
total destruction.
Countless people lost
their lives on this
tragic day. The playing
of Taps and the Navy
Hymn, Eternal Father,
Strong to Save is
presented as an homage to
those who perished.
Following this solemn
moment, the American
spirit begins to rise as
they come together to
defeat the enemy. As the
U.S. triumphs in the end,
we hear fragments of many
American tunes depicting
the strength and
resilience of the
American People. You may
want to consider using
portions of Franklin
Delano Roosevelt's famous
speech to enhance your
performance. The
following sections are
suggested: Measure 46:
Yesterday, December 7th,
1941 - a date which will
live in infamy - the
United States of America
was suddenly and
deliberately attacked by
the naval and air forces
of the Empire of Japan.
Measure 83: The attack
yesterday on the Hawaiian
Islands has caused severe
damage to American naval
and military forces. I
regret to tell you that
very many American lives
have been lost. Measure
105: No matter how long
it may take us to
overcome this
premeditated invasion,
the American people in
their righteous might
will win through to
absolute
victory.. Written to
commemorate the 80th
Anniversary of the
surprise attack on the
American Pacific Fleet,
Remembering Pearl Harbor
is a stirring tribute
honoring the heroes of
the “date which
will live in
infamyâ€- December
7, 1941. Like flying over
the Pacific, the opening
bars seemingly soar back
in time. The composition
takes the listener on a
moving journey from the
precarious moments before
the fateful attack,
through the air strike
and resulting
aftermath.The musical
voyage begins with
chimes, signifying the
hour of the attack that
Sunday morning,
developing into the
heroic main theme
representing the Spirit
of America. A rousing
version of Anchors
Aweigh takes us to the
naval base at Pearl
Harbor and the activities
of the day. By the end of
Anchors Away, the mood
seems to change,
foreshadowing the fate of
the U.S.
fleet.  Next, the
haunting theme of the
Japanese National Anthem
is heard and the distant
sound of propellers as
they approach. When the
planes arrive, the battle
rages until there is
total destruction.
Countless people lost
their lives on this
tragic day. The playing
of Taps and the Navy
Hymn, Eternal Father,
Strong to Save is
presented as an homage to
those who
perished.Following this
solemn moment, the
American spirit begins to
rise as they come
together to defeat the
enemy. As the U.S.
triumphs in the end, we
hear fragments of many
American tunes depicting
the strength and
resilience of the
American People.You may
want to consider using
portions of Franklin
Delano Roosevelt’s
famous speech to enhance
your performance. The
following sections are
suggested:Measure 46:
“Yesterday,
December 7th, 1941
– a date which
will live in infamy
– the United
States of America was
suddenly and deliberately
attacked by the naval and
air forces of the Empire
of Japan.â€Measure
83: “The attack
yesterday on the Hawaiian
Islands has caused severe
damage to American naval
and military forces. I
regret to tell you that
very many American lives
have been
lost.â€Measure 105:
“No matter how long
it may take us to
overcome this
premeditated invasion,
the American people in
their righteous might
will win through to
absolute
victory.â€. $13.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Unleashed - Facile Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Cello, Clarinet, Euphonium, Eupho...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Bells,
Cello, Clarinet,
Euphonium, Euphonium
T.C., Flute, Horn,
Keyboard, Mallet
Percussion, Oboe,
Percussion 1, Percussion
2, Snare Drum, String
Bass, Suspended Cymbal,
Timpani, Tom-tom,
Trombone, Trumpet and
more. - Grade 2.5 SKU:
CF.XPS14 Composed by
Peter Terry. Flexible
Band (XPS). Set of Score
and Parts. With Standard
notation.
16+8+4+8+4+6+6+2+4+4+4+4+
6+4+4+4+4+4+8+2+6+4+2+4+4
+4+24 pages. Carl Fischer
Music #XPS14. Published
by Carl Fischer Music
(CF.XPS14). ISBN
9781491152607. UPC:
680160910106. Peter
Terry's
Unleashed makes for an
impressive concert opener
that is the musical
equivalent of unleashing
a caged animal. The piece
is exciting from start to
finish, with energetic
and bold material that
students will love to
play. Directors will also
love the instrumentation
flexibility that this new
version
offers. Everyone wants
to be unleashed, to be
set free of restraints.
This piece captures the
exhilaration of being set
into motion with
unlimited optimism and
energy. The piece is a
rhythmic and propulsive
gallop that spins off
lyrical material as it
drives to a climactic
finish that is both
exciting and fun.The
piece opens with a robust
first theme, then
transitions on a rhythmic
figure spun off from the
opening material. The
opening section repeats
in variation with
different orchestration.
The more lyrical material
that emerges should be
brought out to balance
the opening theme and
rhythmic figures from the
first section. A
development of the
material from the opening
follows, driving to a
brief pause. This pause
feels like it will lead
to a contrasting lyrical
theme, but the energy is
just suspended for a
second before the piece
takes off again. The work
finishes with a
repeated-note transition
back to variations on the
opening material and a
propulsive rush to the
end.I enjoyed writing
this piece and hope your
students will enjoy
playing these contrasting
styles and that you will
find the piece beneficial
in teaching important
musical
concepts.​​
​​​
€‹â€‹â€‹â
€‹Peter Terry,
2018. $95.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Enantiodromia Potenza Music
Flute duo SKU: P2.10021 Composed by Cornelius Boots. Chamber music, 20th ...(+)
Flute duo SKU:
P2.10021 Composed by
Cornelius Boots. Chamber
music, 20th century.
Published by Potenza
Music (P2.10021).
The second part
of the Chthonic Flute
Suite commissioned by
Areon Flutes in 2012.
This suite has two main
inspirations:
ideologically it draws
guidance from the book
The Dream and the
Underworld (1979) by
James Hillman (1926-2011)
and musically it explores
the textural
possibilities of a flute
ensemble within the
context of the heavy
chamber music style I
have developed with
Edmund Welles: the bass
clarinet quartet since
1996. This style draws
virtuosic precision from
the classical realm;
innovation and texture
from jazz; and power,
rhythm and overall
perspective from rock and
metal. The term chthonic
[thon-ik] generally means
underworld. However,
Hillman thoroughly
elaborates that its true
meaning extends below the
earth and beyond it into
invisible, non-physical
and far distant psychic
realms: the deeper
mysteries of the
invisible. The duo is
divided into two
sections: Nekyia and
Hypnoia. Each of these is
a Greek myth-nerd term
for some key aspect of an
archetypal descent into
the underworld. In fact,
nekyia is a term that
specifically means
archetypal descent as one
finds in myths across the
ages from Dante to the
Greeks and beyond.
Hillman sees a lack of
sufficient nekyia myths
in our modern culture,
yet our popular heroes in
films and music are shady
underworld characters.
Dante's underworld was
our culture's last, and
it was imagined even
before the Renaissance
had properly begun. Our
ethnic roots reach back
to great underworld
configurations: the
Celtic Dagda or Cerunos,
the Germanic Hel, and the
Biblical Sheol. All have
faded... (p.64) Hyponoia
is a more subtle term
used by Plato that refers
to an undersense or a
deeper meaning. The
search for undersense is
what we express in common
speech as the desire to
understand. We want to
get below what is going
on and see its basis, its
fundamentals, how and
where it is grounded. (p.
137) This deeper
understanding is one of
the motivations and
constant characteristics
of the underworld
descent: but the
discoveries made and
experiences experienced
are not always as they
seem to be. Hillman
recommends over and over
that we see and see into
each thing for what it
is, and not force a
dayworld perspective onto
dream images and
occurrences. As a duo
movement, the term
enantiodromia (counter
enantio, and running
dromia) is particularly
appropriate as it is a
grounding principle by
which Jung understands
the regulative function
of opposites. As Hillman
tends to turn things on
their metaphorical heads,
he fleshes out dualism
and oppositionalism in
such a way that in the
underworld this actually
becomes a unifying
principle: If you go far
enough with any one
movement, a
countermovement will set
in...The way up and the
way down are one and the
same: the manifestation
of one power by opposite
forces. (p. 76) This
implies a union of the
two opposites, a
conjunction as contrasted
with an opposition. There
are two voices but they
are both flutes; there
are two contrasting
halves to the piece, yet
they balance each other
even in their
differences. $21.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
1 |