Piano Solo

SKU: YM.GTP01100046

Composed by Keichan. Arranged by Keichan. Keichan. Artist Folio. Score. Yamaha Music Media #GTP01100046. Published by Yamaha Music Media (YM.GTP01100046).

ISBN 9784636100303. 8.5 x 12 inches.

Matching piano songbook for Keichan's first CD album KARA RA BAKO. Keichan, a Japanese pianist, is rapidly gaining popularity in Japan, with over 1 million subscribers to his YouTube channel (as of May 2022) and regular appearances on Japanese TV. The book features 11 of his original pieces performed with a free and genre-less style and arranged for intermediate level piano solo. The 5 pieces listed in #12-16 have special three-staff piano scores for both the piano and the melody line, faithfully scored from his original CD performance. An artist interview and special photos included at the beginning of the book.

Pre 1

SKU: CL.023-4620-00

Composed by Wada. Young Concert Band. Sound Foundations Series. Audio recording available separately (item CL.WFR396). Score and set of parts. Composed 2018. Duration 1 minute, 34 seconds. C.L. Barnhouse #023-4620-00. Published by C.L. Barnhouse (CL.023-4620-00).

Your beginning band students will sound mature beyond their years with this marvelous work from the pen of Japanese composer Naoya Wada. Bold and powerful, Impulse Power is the perfect overture for beginning musicians, using just the first six notes learned in band instruction. While the ranges, rhythms and performance demands are limited, there’s no musical compromise with this masterfully scored work. Impulse Power is sure to captivate your students and audiences alike.

Pre 1

SKU: CL.023-4620-01

Composed by Wada. Young Concert Band. Sound Foundations Series. Audio recording available separately (item CL.WFR396). Extra full score. Composed 2018. Duration 1 minute, 34 seconds. C.L. Barnhouse #023-4620-01. Published by C.L. Barnhouse (CL.023-4620-01).

Your beginning band students will sound mature beyond their years with this marvelous work from the pen of Japanese composer Naoya Wada. Bold and powerful, Impulse Power is the perfect overture for beginning musicians, using just the first six notes learned in band instruction. While the ranges, rhythms and performance demands are limited, there’s no musical compromise with this masterfully scored work. Impulse Power is sure to captivate your students and audiences alike.

By Frank Erickson. Concert Band. Concert Band. Frank Erickson Publications. Grade 3. Conductor Score and Parts. 262 pages. Published by Alfred Music . Score and Parts.

Composed by Vince Gassi. Concert Band; Part(s); Score. Challenger Band Series. 184 pages. Published by Alfred Music (AP.45973).

For Symphonic Wind Ensemble. Composed by David Maslanka. Classical. Full score (study). With Standard notation. 138 pages. Duration 27 minutes. Carl Fischer #O005374. Published by Carl Fischer

(study score). By Ludwig van Beethoven (1770-1827). For orchestra. Breitkopf Full Scores. Parts, Urtext. 112 pages

Movement 1 from The Kennedy Dream. Composed by Oliver Nelson. Edited by Dylan Canterbury, Rob DuBoff and Jeffrey Sultanof. Jazz, Ballad. Score and parts. Published by Jazz Lines Publications (JL.JLP-7089).

By Antonio Vivaldi (1678-1741). For SATB Choir, 2 Violins, Viola, Basso continuo. This edition: Paperbound. Stuttgart Urtext editions. Score available separately - see item CA.4000400. Mass sections. Level 3. Vocal score. Language: Latin/English. RV 591. 24 pages. Duration 10 min. Published by Carus Verlag

Composed by Brian Balmages. For string orchestra. FJH Beginning Strings. Level 0.5. Score and parts. Duration 1:15. Published by The FJH Music Company Inc

By Eric Richards. Jazz Ensemble. Barnhouse Advanced Jazz. Grade 3.5. Score and set of parts. Composed 2003. Duration 0:03:36

(small band version). By Oliver Nelson. Arranged by Oliver Nelson. For jazz band (3-2-4). Oliver Nelson Series. Swing. Grade 4. Score and set of parts. Published by Sierra Music

Edited by Rob Duboff and Jeffrey Sultanof. Arranged by Benny Carter. Jazz ensemble. For saxophone quintet (with rhythm section) (2 Alto Saxophones, 2 Tenor Saxophones, Baritone Saxophone, Guitar, Piano, Bass, Drums). Swing. Medium. Score and parts. Published by Jazz Lines Publications

Piano

SKU: BT.SY-4507-01

Piano concerto No. 3. Composed by Dai Fujikura. Score Only. Ricordi #SY 4507-01. Published by Ricordi (BT.SY-4507-01).

German.

Composed by Brian Balmages. For string orchestra. FJH Beginning Strings. Level 0.5. Score only. Duration 1:15. Published by The FJH Music Company Inc

(Text Von Friedrich Ruckert). By Gustav Mahler (1860-1911). Edited by Clytus Gottwald (transcriber). For Ssaattbbb. Vocal Score. 13 pages. Published by Universal Edition

36 voices (12S12Mez12A/12T12Bar12B)

SKU: BR.PB-5411-07

Study score. Composed by Adriana Holszky. Stapled. Partitur-Bibliothek (Score Library).

World premiere: Graz (Steirischer Herbst), October 10, 1991

Music post-1945; New music (post-2000). Study Score. Composed 1989/90. 48 pages. Duration 14'. Breitkopf and Haertel #PB 5411-07. Published by Breitkopf and Haertel (BR.PB-5411-07).

ISBN 9790004209837. 8.5 x 21.5 inches.

Getraumt wurde 1989/90 im Auftrag des Deutschen Musikrates komponiert und kann entweder von 36 Frauenstimmen oder 36 Mannerstimmen aufgefuhrt werden. Die Komposition verwendet isolierte Fragmente, die dem Gedicht ,,Nachtflug von Ingeborg Bachmann entnommen sind.Der Gedanke der kompositorischen Verwendung eines homogenen vokalen Klangapparats von vielen solistischen Stimmen, der ahnlich einem ,,Tausendfussler funktionieren sollte, d.h. trotz maximaler Individualisierung der einzelnen Glieder die Scharfe der zentralen Integration nicht verliert, war grundlegend fur dieses Werk. Nicht die Semantik, sondern die Klanglichkeit der Worter, deren Atomisierung, die assoziativen Verbindungen unterschiedlicher Partikel die Isolation und Hervorhebung einzelner Phoneme, standen bei der Komposition im Vordergrund. Die ,,ecriture der im Kreis um den Horer platzierten 36 Stimmen (in der Partitur auf 9 Gruppen zu je 4 Stimmen verteilt) versucht die auskomponierten Raume und die entsprechenden Klangwanderungen wie in einem ,,pulsierenden Ozean schwebender Klange maximal zu differenzieren. So gibt es z. B. in den Takten 50-53 der Partitur elf verschiedene Farbflachenarten, die sich verzahnen: 1) Farbmischung von: gesungen und geflustert auf ,,R 2) knarrende Stimme 3) Sprechgesang-Impulse in den extremen Lagen, so schnell wie moglich 4) Mischung von: a) Schnalzen in Richtung Gaumen, Mundstellung offen/zu, b) Lippengerausch ahnlich dem Gerausch eines Korkenziehers, c) Schnalzen in Richtung vordere Zahne, Mundstellung offen/zu, und d) knarrende Stimme 5) Pfeifimpulse 6) Pfeifen mit gleichzeitigem Sprechgesang, glissando 7) Pfeifen mit gleichzeitiger Singstimme, glissando 8) rhythmisiertes Alternieren von Schnalzen in Richtung vordere Zahne, Mundstellung offen/zu 9) Flustern mit Handvibrato 10) Singstimme auf ,,a 11) ,,Einatmen-Ausatmen-Impul se Das Schleudern der Gerauschpartikel durch den 36kopfigen Klangapparat beruht auch auf Kategorien visueller Dimension: dem Einbeziehen von Nahe und Weite, Linie und Flache, Oszillation und Stillstand, Richtungsanderung oder Pendeln der Klange. In letzter Konsequenz will die Komposition die Illusion eines expandierenden Klangraumes mit migrierenden Punkten und Figuren schaffen. So wird die Partitur zu einer ,,Landkarte der in Raum beweglichen ,,Klanglandschaft, die aus dem Zusammen- und Wechselspiel vieler filigranartiger, in sich geschlossener Klangfelder entstanden ist. Auch wenn grossere Blocke oder Flachen im Werk sich entfalten, deuten sie immer auf die Fluchtigkeit, die Instabilitat und Zerbrechlichkeit des Moments.CDs:ORF-Chor, cond. Erwin OrtnerCD cpo 999 290-2ORF-Chor, cond. Erwin OrtnerCD ORF MP 30/4 (30 Jahre Musikprotokoll Moderne in Osterreich 1968-1997)Bibliography:Hi nterberger, Julia: Zwischen Sprachzertrummerung und Textkonservierung. Schlaglichter auf Adriana Holszkys Umgang mit literarischen Texten, in: Adriana Holszky, hrsg. von Ulrich Tadday (Musik-Konzepte, Neue Folge Heft 160/161), Munchen: edition text+kritik 2013, pp. 25-42.Kostakeva, Maria: Metamorphose und Eruption. Annaherung an die Klangwelten Adriana Holszkys, Hofheim: wolke 2013 (pp. 101f, 141-143).Petersen, Peter: ... getraumt von Adriana Holszky. Versuch uber ein Vokalstuck nach Ingeborg Bachmann, in: Adriana Holszky, hrsg. von Eva-Maria Houben, Saarbrucken 2000, pp. 44-54.

World premiere: Graz (Steirischer Herbst), October 10, 1991.

(study score). By Ludwig van Beethoven (1770-1827). Edited by Clive Brown. For orchestra. Breitkopf Full Scores. Parts, Urtext. 120 pages

Concert Band - Grade 1.5

SKU: AP.45973S

Composed by Vince Gassi. Concert Band; Performance Music Ensemble; Single Titles. Challenger Band Series. Score. 8 pages. Duration 2:50. Alfred Music #00-45973S. Published by Alfred Music (AP.45973S).

UPC: 038081525617. English.

Energy, impulse, ascension. Motifs (avatars) harbor energy, generate impulse, and ascend. The avatars in this new work do precisely that. Themes and harmonies soar, rhythms propel, energy issues forth---engaging, energizing, and exciting the young musicians in your band. (2:50).

Clarinet, Violin, Cello and Piano

SKU: HL.14027831

Composed by Niels Rosing-schow. Music Sales America. 20th Century. Score. Composed 2002. Edition Wilhelm Hansen #WH30176. Published by Edition Wilhelm Hansen (HL.14027831).

ISBN 9788759806241.

Work for Clarinet, Violin, Cello and Piano. The composer writes: VOIX INTERIEURES (1990-92). The title has a double reference: to the 'inner voices' of the mind, expressing our (hardly conscious) impulses, feelings, dreams and to the 'inner voices' of the music in the sense of internal parts and relations. Thus the title points to the obscure reflections of the ones in the others. During the piece, there is a gradual transformation of the internal parts, such as interval patterns, sonorities and dynamics - running alongside the easily perceptible expansion of register. The music is so to say 'turned inside out'.

Flute/bassflute (or clarinet), oboe and bassoon - difficult

SKU: HL.49018144

Composed by Benjamin Schweitzer. This edition: Saddle stitching. Sheet music. Woodwind Ensemble. Performance score, in C. Composed 2008. 80 pages. Duration 10'. Schott Music #ED20746. Published by Schott Music (HL.49018144).

ISBN 9790001170079. 9.0x12.0x0.21 inches.

The image of a landscape in April, freed from winter's hold, with its mixture of barrenness and still dull colours, characterises the basic tone of this piece. Melodic elements and fast virtuoso figurations cannot be found, instead the piece is dominated by subtle nuances of just a few sounds and textures. The harmony is based almost entirely on a single chord type. Occasionally, short chains of repetitions and oscillating impulses emerge from this string of sounds.Ambitious performers can use this demanding and varied piece to try out modern playing techniques.

Symphonic Band - Grade 5 - Score and Parts. By Jan Van Der Roost. Arranged by Jan Van Der Roost. De Haske Concert Band Full Set. Published by DeHaske Publications.

SATB choir, 2 violins, viola, basso continuo - Level 3

SKU: CA.4000405

Composed by Antonio Vivaldi. This edition: urtext. Stuttgart Urtext Edition: Vivaldi-Archiv. German title: Credo. Innovative practice aids, Sacred vocal music, Mass sections. Choral Score. RV 591. Duration 10 minutes. Carus Verlag #CV 40.004/05. Published by Carus Verlag (CA.4000405).

ISBN 9790007057374. Key: E minor. Language: Latin/English.

The Credo belongs to that large group of church works which Vivaldi composed in Venice between 1713 and 1717 for the Ospedale della Pieta, then his primary place of employment. The composition, conceived solely for choir and strings, is characterized by a two-layered formal design: a continuous, basic motivic idea, i.e., a constant rhythmic impulse with rapid tone repetition builds an instrumental layer, while on the other hand the writing for choir renders the text in a blocklike structure in chordal declamation. This structure will only be abandoned briefly in the concluding section of work, where the text Et vitam venturi saeculi is embedded in a concise fugue. Score available separately - see item CA.4000400.

Woodwinds (solo: pno - 2.2.2.2 - 4.2.0.0 - timp - str)

SKU: BR.OB-3210-30

Urtext based on the Brahms Complete Edition of the Gesellschaft der Musikfreunde in Vienna. Composed by Johannes Brahms. Orchestra; Folder. Orchester-Bibliothek (Orchestral Library). EB 6043 is printed in score form; two copies are needed for performance. Have a look into study score PB 3654. Solo concerto; Romantic. Set of parts. 90 pages. Duration 43'. Breitkopf and Haertel #OB 3210-30. Published by Breitkopf and Haertel (BR.OB-3210-30).

ISBN 9790004300749. 10 x 12.5 inches.

Johannes Brahms' first Piano Concerto was the fruit of a complex, protracted, and extremely trying creative process. Its origin goes back to a sonata in D minor for two pianos conceived in spring 1854. The impulse for the creation of the main subject was however a shocking event: According to Joseqph Joachim, the theme originated after hearing about Schumanns suicide attempt. A few months earlier, Schumann had revealed Brahms to the musical world in his essay New Paths. In this article, Brahms is extolled as the musician who is called to give expression to the feeling of his times in an ideal fashion. The unusually rapid genesis of the D-minor sonata and its prevailingly dark, monumental mood can be interpreted as an impassioned compositional response to Schumann's suicide attempt. However, the year-long struggle to arrive at the final form of the work should perhaps also be seen in the context of the resounding praise of Schumann's prophetic article. Brahms undoubtly felt a growing inner pressure to live up to the expectations aroused therein.Together with Clara Schumann, Brahms played the three so far existing movements of the sonata, but he was very self-critical. He felt that he had not been able to realize the monumentality he had envisioned, and which Clara Schumann felt, by merely doubling the piano sound. He soon decided to transform the sonata into a symphony (his first orchestral project). However, this idea did not seem to fit his vision either. Only in spring 1855 did he strike upon the definitive solution: a piano concerto. With Brahms as soloist, this concerto premiered in 1859, though he initially had little success. He wrote to Joachim about one of the first performances that the concerto was a brilliant and unmistakable - failure. This hardly surprised Brahms, for he was undoubtedly aware of the newness of the work, which surpassed the expectations of the audience. The work's complex structure and symphonic dimensions, the solo part's rejection of showy, elegant brilliance, and the uniquely Brahmsian orchestral density it maintains throughout; all of these qualities inevitably exasperated audiences at first - until they raised this work to the ranks of the most celebrated concertos of all time.

Orchestra

SKU: HL.49000569

Study Score. Composed by Heinz Holliger. This edition: Paperback/Soft Cover. Sheet music. Edition Schott. Classical. Study Score. Composed 1966-1967. 78 pages. Duration 21'. Schott Music #AVV 301. Published by Schott Music (HL.49000569).

ISBN 9790200101324. UPC: 073999292336. 7.5x11.0x0.272 inches.

Bei der Arbeit am 'Siebengesang' setzte ich mir zum Ziele, die vielschichtigen Wechselwirkungen zwischen einem Individuum (dem Solisten) und seiner Umwelt (dem Orchester) aufzuzeigen und daraus formgebende satztechnische Impulse zu gewinnen.Das Werk 'Siebengesang' ist 7teilig: in den drei ersten Teilen treten sich das Soloinstrument und verschiedene selbstandige, nach Register und Klangfarben geordnete Orchestergruppen gegenuber. Im 4. Teil durchdringen sich Solooboe und ein Ensemble von 4 linearen Instrumenten. Der 5. Teil ist ein grossangelegtes Orchester-Crescendo. Uber 23 von Gong-Signalen markierten 5-Sekunden-Abschnitten werden nach und nach die verschiedenen Orchestergruppen (jede mit individuellem Tempo) ubereinander geschichtet. Der 6. Teil konfrontiert mit Hilfe eines im Innern des Instrumentes angebrachten Mikrophons verstarkten und verzerrten Oboenklang mit dem ganzen Orchester, wobei die neuen, ungewohnten Klange der Oboe das Klangspektrum des Orchesters in grossem Masse beeinflussen. Auf knappstem Raum werden hier in hektischem Wechsel die aussersten strukturellen Gegensatze zusammengedrangt. Im sehr ruhigen Schlussteil vervielfacht sich die Oboenpartie in 7 Singstimmen, denen als phonetisches Material die Schlussverse von Georg Trakls Gedicht 'Siebengesang des Todes' zugrunde liegen [.].-Heinz Holliger

2 (auch 1 Altfl., 2 Picc.) * 2 (auch Engl. Hr.) * 2 (auch 1 Es-Klar., auch 2 Bassklar.) * 0 * Kfg. - 2 * 2 * 2 * 1 - S. (3 Beck. * 3 Gongs * 3 Tamt. * 3 Tomt. * 4 Bong. * kl. Tr. * gr. Tr. * 2 Mar. * 13 Plattengl. * 2 Woodbl. * 2 Tempelbl. * Glsp. * Xyl.) (3-5 Spieler) - 2 Hfn. * Cel. u. Klav. (1 Spieler) - Str. (7 * 0 * 5 * 4 * 3 [1 m. 5 Saiten]) - Singstimmen (4 S * 3 A; ad lib. chorisch 12 S * 9 A).

Violin 2 (solo: pno - 2.2.2.2 - 4.2.0.0 - timp - str)

SKU: BR.OB-3210-16

Urtext based on the Brahms Complete Edition of the Gesellschaft der Musikfreunde in Vienna. Composed by Johannes Brahms. Orchestra; stapled. Orchester-Bibliothek (Orchestral Library). EB 6043 is printed in score form; two copies are needed for performance. Have a look into study score PB 3654. Solo concerto; Romantic. Part. 8 pages. Duration 43'. Breitkopf and Haertel #OB 3210-16. Published by Breitkopf and Haertel (BR.OB-3210-16).

ISBN 9790004300701. 10 x 12.5 inches.

Johannes Brahms' first Piano Concerto was the fruit of a complex, protracted, and extremely trying creative process. Its origin goes back to a sonata in D minor for two pianos conceived in spring 1854. The impulse for the creation of the main subject was however a shocking event: According to Joseqph Joachim, the theme originated after hearing about Schumanns suicide attempt. A few months earlier, Schumann had revealed Brahms to the musical world in his essay New Paths. In this article, Brahms is extolled as the musician who is called to give expression to the feeling of his times in an ideal fashion. The unusually rapid genesis of the D-minor sonata and its prevailingly dark, monumental mood can be interpreted as an impassioned compositional response to Schumann's suicide attempt. However, the year-long struggle to arrive at the final form of the work should perhaps also be seen in the context of the resounding praise of Schumann's prophetic article. Brahms undoubtly felt a growing inner pressure to live up to the expectations aroused therein.Together with Clara Schumann, Brahms played the three so far existing movements of the sonata, but he was very self-critical. He felt that he had not been able to realize the monumentality he had envisioned, and which Clara Schumann felt, by merely doubling the piano sound. He soon decided to transform the sonata into a symphony (his first orchestral project). However, this idea did not seem to fit his vision either. Only in spring 1855 did he strike upon the definitive solution: a piano concerto. With Brahms as soloist, this concerto premiered in 1859, though he initially had little success. He wrote to Joachim about one of the first performances that the concerto was a brilliant and unmistakable - failure. This hardly surprised Brahms, for he was undoubtedly aware of the newness of the work, which surpassed the expectations of the audience. The work's complex structure and symphonic dimensions, the solo part's rejection of showy, elegant brilliance, and the uniquely Brahmsian orchestral density it maintains throughout; all of these qualities inevitably exasperated audiences at first - until they raised this work to the ranks of the most celebrated concertos of all time.