| Melodic Suite Orgue - Facile MorningStar Music Publishers
Organ - Early Intermediate SKU: MN.10-052 Composed by Charles E. Callahan...(+)
Organ - Early
Intermediate SKU:
MN.10-052 Composed by
Charles E. Callahan Jr.
Non Hymn-Based, Preludes,
Postludes, Suite. 21st
Century. MorningStar
Music Publishers #10-052.
Published by MorningStar
Music Publishers
(MN.10-052). UPC:
688670100529. This
four movement suite
captures quite a bit of
what makes Charles
Callahan one of our most
popular composers: a
sense of high spirited
fun, melodic lyricism,
and a skillful use of the
resources of the organ.
The movements work quite
well played separately,
as well.
$16.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Suite in D-minor Op. 16 for Cello and Orchestra Violoncelle Schott
Cello - advanced to difficult SKU: HL.49018922 Cello with Piano Reduct...(+)
Cello - advanced to
difficult SKU:
HL.49018922 Cello
with Piano Reduction.
Composed by Camille
Saint-Saens. Edited by
Maria Kliegel. This
edition: Saddle
stitching. Sheet music.
Edition Schott.
Classical. Softcover.
Composed 1862. Op. 16bis.
36 pages. Schott Music
#CB229. Published by
Schott Music
(HL.49018922). ISBN
9790001174527. UPC:
841886015913.
9.25x12.0x0.163
inches. When
writing his Concerto No.
1 in A minor, Op. 33,
Camille Saint-Saens
created a 'classic' of
violoncello literature.
But the French musician
even wrote other solo
works for this
instrument: a second
concerto, two sonatas,
the 'Swan' from 'The
Carnival of the Animals'
as well as a 'Suite with
Piano Accompaniment' Op.
16. Premiered on 27 April
1866 and probably written
shortly before, the work
is based on the
composer's study of
tradition, especially of
the form of the Baroque
suite, integrated in a
Romantic tonal language.
Many years later (1919)
the composer also
presented a version with
orchestral instead of
piano accompaniment, and
for this version he
replaced movements 3 and
5 and changed the ending
of the fourth movement.
The present edition
contains the text of the
orchestral version: The
five-movement suite
begins with a prelude
reminiscent of Bach which
is followed by a pleasant
serenade, a stylized
gavotte and a sentimental
romance before a
passionate tarantella
puts a virtuoso end to
the piece. The
enthusiastic, melodic
'Suite' is a valuable
addition to the cello
repertoire, suitable for
both tuition and concert
purposes. $28.99 - Voir plus => Acheter | | |
| Gayaneh Dance Suite No. 1 Orchestre d'harmonie - Intermédiaire Schirmer
Score Only Concert Band (Full Score) - Grade 4-5 SKU: HL.50486971 Compose...(+)
Score Only Concert Band
(Full Score) - Grade 4-5
SKU: HL.50486971
Composed by Aram Ilyich
Khachaturian. Arranged by
Kenneth Snoeck. G.
Schirmer Band/Orchestra.
Classical. Softcover. 56
pages. Published by G.
Schirmer (HL.50486971).
ISBN 9781423474982.
UPC: 884088393700.
10.5x14.0x0.225
inches. Selected
from the Gayaneh Ballet,
these three colorful
examples of Aram
Khachaturian's writing
for ballet are based on
rhythms and melodic
motives from different
ethnic groups, ranging
from the very Slavic
Ukranian Gopak (Hopak) to
the Armenian Dance of the
Maidens and the Kurdish
Mountaineers' Dance. They
vary in instrumental
color and tension from
festive and party-like,
through sultry and
romantic, to tense and
almost angry. These may
be performed in any
combination - a single
stand-alone dance
movement, a contrasting
pair, or all three in a
complete set. A
culturally rich and
unique experience for
players and audience
alike. Dur: 7:45 (Grade
5). $15.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Suite for Wind Quintet Theodore Presser Co.
Chamber Music Bassoon, Clarinet, Flute, Horn, Oboe SKU: PR.114419490 Comp...(+)
Chamber Music Bassoon,
Clarinet, Flute, Horn,
Oboe SKU:
PR.114419490 Composed
by Amanda Harberg. Folio.
Set of Score and Parts.
40+16+16+16+12+12 pages.
Duration 18 minutes.
Theodore Presser Company
#114-41949. Published by
Theodore Presser Company
(PR.114419490). ISBN
9781491131435. UPC:
680160677320. 9 x 12
inches. The depth
and inventiveness of
Amanda Harberg’s
SUITE FOR WIND QUINTET
can only be described as
remarkable. Harberg
combines the rich
tradition of renaissance
and baroque dance suites
with her own American
voice, stirring up
dramatic, exciting sounds
and stories. Cantus uses
the imitative entries of
renaissance motets as a
jumping off point into a
more contemporary world.
The playfully virtuosic
Furlana refers to the
Italian folk dance rhythm
in 6, punctuated by lots
of unexpected 5’s.
Fantasia hints at being a
lullaby with an animated
and jazz-influenced
middle section, and the
closing Cabaletta is true
to its 19th-century
meaning of a rousing
closing section following
beautiful lyricism. SUITE
FOR WIND QUINTET was
commissioned and
premiered by the Dorian
Wind Quintet. Amanda
Harberg’s Suite
for Wind Quintet was
commissioned by the
Dorian Wind Quintet in
2017. The piece was the
result of a conversation
in a bar between Harberg,
Dorian’s flutist
Gretchen Pusch and
Pusch’s husband
Richard Bayles, on the
occasion of
Dorian’s
clarinetist Ben
Fingland’s 40th
birthday party. A year
and a half later, the
Dorian Wind Quintet gave
the world premiere of
Harberg’s quintet
at Bargemusic, and has
incorporated it into
their repertoire ever
since. Suite for Wind
Quintet is in four
movements- 1. Cantus, 2.
Furlana, 3. Fantasia and
4. Cabaletta. The melodic
material heard in the
very opening of the piece
can be heard recurring
and transforming
throughout the four
movements, until it
unites triumphantly in
the final coda with the
theme of the concluding
movement. The piece was
inspired by the concept
of placing Renaissance
and Baroque-inspired
dance suites into
Harberg’s idiom as
a 21st century
composer. $50.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Nutcracker Suite Selections - Facile Carl Fischer
Orchestra Cello, Contrabass, Piano, Viola, Violin 1, Violin 2, Violin 3 - Grade ...(+)
Orchestra Cello,
Contrabass, Piano, Viola,
Violin 1, Violin 2,
Violin 3 - Grade 3.5
SKU: CF.CAS110
Composed by Peter Ilyich
Tchaikovsky. Arranged by
Bud Caputo. Concert
String Orchestra (CAS).
Set of Score and Parts.
With Standard notation.
24+24+6+15+15+15+7+24
pages. Duration 5:57.
Carl Fischer Music
#CAS110. Published by
Carl Fischer Music
(CF.CAS110). ISBN
9781491151297. UPC:
680160908790. 9 x 12
inches. Key: E
minor. Bud Caputo
presents Nutcracker Suite
Selections for string
orchestra featuring three
abridged movements
of?Tchaikovsky's
Nutcracker Suite:?Dance
of the Sugar Plum Fairy,
March, and Trepak. These
abridged movements are
sure to be crowd-pleasers
around the?winter
holidays or a favorite
for?any time of the
year. This arrangement
will challenge students,
while fostering rhythmic
independence, execution
of bowing and pizzicato,
and the ability to
balance the melody with
the accompaniment
throughout the
arrangement. However,
ranges remain primarily
in first position with
some optional
8va<
span class=s4> passages,
allowing intermediate
groups to perform this in
time for the winter
holiday concert. Suitable
for Grades 3 through
5. To the
Director:
Dance
of the Sugar Plum
Fairy: A steady tempo
is critical when
performing this movement,
as students may have a
tendency to rush during
the pizzicato sections.
There is a
regularly occurring
descending sixteenth-note
rhythmic figure that is
transcribed form the bass
clarinet part in the
original.
It
is important to maintain
clarity and
balance in performing
these passages as seen
in
mm. 16-19, in the Basses
and m. 34 in the
Cello and Bass.
The
balancing of the chords
will be a challenge
in
the execution of the many
sforzandos
em> in this
movement.
March: Measures 2 and
4, and similar melodic
patterns that follow,
require the performers to
carefully balance their
forte/pianos
on beats 3 and 4,
along with the rapid
diminuendo. The contrasting
rhythmic patterns in mm.
5-8, and later throughout
this movement must line
up precisely. Strings
playing the pizzicato
eight note, walking bass
line, must not rush,
and the upper strings
playing the
eighth-note/eight-rest
figure must
follow their section
leaders in executing this
in a unified manner.
While there is
no formal tempo change
from mm. 40 to 41,
directors may need to
relax the tempo at the
beginning of the
movement to
accommodate the
technical challenge of
the double time feel that
happens in m. 41.
Trepak:
Tchaikovsky was careful
to notate the
p,
f
and
sf,
requiring the performers
to recognize the
difference between all
three markings that frame
the chief melody. The
upper strings must be
careful to support the
melody in the lower
strings that begins in m.
33. Directors will
challenge their students
to have fun in the last
twelve measures with the
accelerando
passage to the
end. Care must
be taken to use
an
accelerando
that works for
all
the players in the
particular
ensemble.. This
arrangement will
challenge students, while
fostering rhythmic
independence, execution
of bowing and pizzicato,
and the ability to
balance the melody with
the accompaniment
throughout the
arrangement. However,
ranges remain primarily
in first position with
some optional
8va<
span class=s4> passages,
allowing intermediate
groups to perform this in
time for the winter
holiday concert.A
Suitable for Grades 3
through 5. To the
Director:
Dance
of the Sugar Plum
Fairy: A steady tempo
is critical when
performing this movement,
as students may have a
tendency to rush during
the pizzicato sections.
There is a
regularly occurring
descending sixteenth-note
rhythmic figure that is
transcribed form the bass
clarinet part in the
original.
It
is important to maintain
clarity and
balance in performing
these passages as seen
in
mm.A 16-19, in the Basses
and m.A 34A in the
Cello and Bass.
The
balancing of the chords
will be a challenge
in
the execution of the many
sforzandos
em>A in this
movement.
March: A Measures 2 and
4, and similar melodic
patterns that follow,
require the performers to
carefully balance their
forte/pianos
on beats 3 and 4,
along with the rapid
diminuendo. The contrasting
rhythmic patterns in mm.
5-8, and later throughout
this movement must line
up precisely. Strings
playing the pizzicato
eight note, walking bass
line, must not rush,
and the upper strings
playing the
eighth-note/eight-restA
figure must
follow their section
leaders in executing this
in a unified manner.
While there is
no formal tempo change
from mm. 40 to 41,
directors may need to
relax the tempo at the
beginning of the
movement toA
accommodate the
technical challenge of
the double time feel that
happens in m. 41.
Trepak:
A
Tchaikovsky was careful
to notate the
p,
f
and
sf,
requiring the performers
to recognize the
difference between all
three markings that frame
the chief melody. The
upper strings must be
careful to support the
melody in the lower
strings that begins in m.
33. Directors will
challenge their students
to have fun in the last
twelve measures with the
accelerando
passage to the
end. Care must
be taken to use
an
accelerando
that works for
all
the players in the
particular
ensemble.. This
arrangement will
challenge students, while
fostering rhythmic
independence, execution
of bowing and pizzicato,
and the ability to
balance the melody with
the accompaniment
throughout the
arrangement. However,
ranges remain primarily
in first position with
some optional
8va<
span class=s4> passages,
allowing intermediate
groups to perform this in
time for the winter
holiday concert.A
Suitable for Grades 3
through 5. To the
Director:
Dance
of the Sugar Plum
Fairy: A steady tempo
is critical when
performing this movement,
as students may have a
tendency to rush during
the pizzicato sections.
There is a
regularly occurring
descending sixteenth-note
rhythmic figure that is
transcribed form the bass
clarinet part in the
original.
It
is important to maintain
clarity and
balance in performing
these passages as seen
in
mm.A 16-19, in the Basses
and m.A 34A in the
Cello and Bass.
The
balancing of the chords
will be a challenge
in
the execution of the many
sforzandos
em>A in this
movement.
March: A Measures 2 and
4, and similar melodic
patterns that follow,
require the performers to
carefully balance their
forte/pianos
on beats 3 and 4,
along with the rapid
diminuendo. The contrasting
rhythmic patterns in mm.
5-8, and later throughout
this movement must line
up precisely. Strings
playing the pizzicato
eight note, walking bass
line, must not rush,
and the upper strings
playing the
eighth-note/eight-restA
figure must
follow their section
leaders in executing this
in a unified manner.
While there is
no formal tempo change
from mm. 40 to 41,
directors may need to
relax the tempo at the
beginning of the
movement toA
accommodate the
technical challenge of
the double time feel that
happens in m. 41.
Trepak:
A
Tchaikovsky was careful
to notate the
p,
f
and
sf,
requiring the performers
to recognize the
difference between all
three markings that frame
the chief melody. The
upper strings must be
careful to support the
melody in the lower
strings that begins in m.
33. Directors will
challenge their students
to have fun in the last
twelve measures with the
accelerando
passage to the
end. Care must
be taken to use
an
accelerando
that works for
all
the players in the
particular
ensemble.. This
arrangement will
challenge students, while
fostering rhythmic
independence, execution
of bowing and pizzicato,
and the ability to
balance the melody with
the accompaniment
throughout the
arrangement. However,
ranges remain primarily
in first position with
some optional
8va<
span class=s4> passages,
allowing intermediate
groups to perform this in
time for the winter
holiday concert. Suitable
for Grades 3 through
5. To the
Director:
Dance
of the Sugar Plum
Fairy: A steady tempo
is critical when
performing this movement,
as students may have a
tendency to rush during
the pizzicato sections.
There is a
regularly occurring
descending sixteenth-note
rhythmic figure that is
transcribed form the bass
clarinet part in the
original.
It
is important to maintain
clarity and
balance in performing
these passages as seen
in
mm. 16-19, in the Basses
and m. 34 in the
Cello and Bass.
The
balancing of the chords
will be a challenge
in
the execution of the many
sforzandos
em> in this
movement.
March: Measures 2 and
4, and similar melodic
patterns that follow,
require the performers to
carefully balance their
forte/pianos
on beats 3 and 4,
along with the rapid
diminuendo. The contrasting
rhythmic patterns in mm.
5-8, and later throughout
this movement must line
up precisely. Strings
playing the pizzicato
eight note, walking bass
line, must not rush,
and the upper strings
playing the
eighth-note/eight-rest
figure must
follow their section
leaders in executing this
in a unified manner.
While there is
no formal tempo change
from mm. 40 to 41,
directors may need to
relax the tempo at the
beginning of the
movement to
accommodate the
technical challenge of
the double time feel that
happens in m. 41.
Trepak:
Tchaikovsky was careful
to notate the
p,
f
and
sf,
requiring the performers
to recognize the
difference between all
three markings that frame
the chief melody. The
upper strings must be
careful to support the
melody in the lower
strings that begins in m.
33. Directors will
challenge their students
to have fun in the last
twelve measures with the
accelerando
passage to the
end. Care must
be taken to use
an
accelerando
that works for
all
the players in the
particular
ensemble.. This
arrangement will
challenge students, while
fostering rhythmic
independence, execution
of bowing and pizzicato,
and the ability to
balance the melody with
the accompaniment
throughout the
arrangement. However,
ranges remain primarily
in first position with
some optional 8va
passages, allowing
intermediate groups to
perform this in time for
the winter holiday
concert. Suitable for
Grades 3 through 5. To
the Director: Dance of
the Sugar Plum Fairy: A
steady tempo is critical
when performing this
movement, as students may
have a tendency to rush
during the pizzicato
sections. There is a
regularly occurring
descending sixteenth-note
rhythmic figure that is
transcribed form the bass
clarinet part in the
original. It is important
to maintain clarity and
balance in performing
these passages as seen in
mm. 16-19, in the Basses
and m. 34 in the Cello
and Bass. The balancing
of the chords will be a
challenge in the
execution of the many
sforzandos in this
movement. March: Measures
2 and 4, and similar
melodic patterns that
follow, require the
performers to carefully
balance their
forte/pianos on beats 3
and 4, along with the
rapid diminuendo. The
contrasting rhythmic
patterns in mm. 5-8, and
later throughout this
movement must line up
precisely. Strings
playing the pizzicato
eight note, walking bass
line, must not rush, and
the upper strings playing
the
eighth-note/eight-rest
figure must follow their
section leaders in
executing this in a
unified manner. While
there is no formal tempo
change from mm. 40 to 41,
directors may need to
relax the tempo at the
beginning of the movement
to accommodate the
technical challenge of
the double time feel that
happens in m. 41. Trepak:
Tchaikovsky was careful
to notate the p, f and
sf, requiring the
performers to recognize
the difference between
all three markings that
frame the chief melody.
The upper strings must be
careful to support the
melody in the lower
strings that begins in m.
33. Directors will
challenge their students
to have fun in the last
twelve measures with the
accelerando passage to
the end. Care must be
taken to use an
accelerando that works
for all the players in
the particular
ensemble. This
arrangement will
challenge students, while
fostering rhythmic
independence, execution
of bowing and pizzicato,
and the ability to
balance the melody with
the accompaniment
throughout the
arrangement. However,
ranges remain primarily
in first position with
some optional 8va
passages, allowing
intermediate groups to
perform this in time for
the winter holiday
concert. Suitable for
Grades 3 through 5.To the
Director:Dance of the
Sugar Plum Fairy: A
steady tempo is critical
when performing this
movement, as students may
have a tendency to rush
during the pizzicato
sections. There is a
regularly occurring
descending sixteenth-note
rhythmic figure that is
transcribed form the bass
clarinet part in the
original. It is important
to maintain clarity and
balance in performing
these passages as seen in
mm. 16-19, in the
Basses and m. 34 in
the Cello and Bass. The
balancing of the chords
will be a challenge in
the execution of the many
sforzandos in this
movement. March:
 Measures 2 and 4, and
similar melodic patterns
that follow, require the
performers to carefully
balance their
forte/pianos on beats 3
and 4, along with the
rapid diminuendo. The
contrasting rhythmic
patterns in mm. 5-8, and
later throughout this
movement must line up
precisely. Strings
playing the pizzicato
eight note, walking bass
line, must not rush, and
the upper strings playing
the
eighth-note/eight-restÂ
figure must follow their
section leaders in
executing this in a
unified manner. While
there is no formal tempo
change from mm. 40 to 41,
directors may need to
relax the tempo at the
beginning of the movement
to accommodate the
technical challenge of
the double time feel that
happens in m. 41. Trepak:
 Tchaikovsky was
careful to notate the p,
f and sf, requiring the
performers to recognize
the difference between
all three markings that
frame the chief melody.
The upper strings must be
careful to support the
melody in the lower
strings that begins in m.
33. Directors will
challenge their students
to have fun in the last
twelve measures with the
accelerando passage to
the end. Care must be
taken to use an
accelerando that works
for all the players in
the particular
ensemble.
About Carl
Fischer Concert String
Orchestra
Series Thi
s series of pieces (Grade
3 and higher) is designed
for advancing ensembles.
The pieces in this series
are characterized
by: - Expanded use
of rhythms, ranges and
keys but technical
demands are still
carefully
considered
- More
comprehensive bowing
techniques
- Viola
T.C.
included
- Careful
selection of keys and
degree of difficulty for
advancing
musicians
$60.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Nutcracker Suite Selections [Conducteur] - Facile Carl Fischer
Orchestra Cello, Contrabass, Piano, Viola, Violin 1, Violin 2, Violin 3 - Grade ...(+)
Orchestra Cello,
Contrabass, Piano, Viola,
Violin 1, Violin 2,
Violin 3 - Grade 3.5
SKU: CF.CAS110F
Composed by Peter Ilyich
Tchaikovsky. Arranged by
Bud Caputo. Concert
String Orchestra (CAS).
Full score. With Standard
notation. 24 pages. Carl
Fischer Music #CAS110F.
Published by Carl Fischer
Music (CF.CAS110F).
ISBN 9781491151662.
UPC: 680160909162. 9 x 12
inches. Bud Caputo
presents Nutcracker Suite
Selections for string
orchestra featuring three
abridged movements
of?Tchaikovsky's
Nutcracker Suite:?Dance
of the Sugar Plum Fairy,
March, and Trepak. These
abridged movements are
sure to be crowd-pleasers
around the?winter
holidays or a favorite
for?any time of the
year. This arrangement
will challenge students,
while fostering rhythmic
independence, execution
of bowing and pizzicato,
and the ability to
balance the melody with
the accompaniment
throughout the
arrangement. However,
ranges remain primarily
in first position with
some optional
8va<
span class=s4> passages,
allowing intermediate
groups to perform this in
time for the winter
holiday concert. Suitable
for Grades 3 through
5. To the
Director:
Dance
of the Sugar Plum
Fairy: A steady tempo
is critical when
performing this movement,
as students may have a
tendency to rush during
the pizzicato sections.
There is a
regularly occurring
descending sixteenth-note
rhythmic figure that is
transcribed form the bass
clarinet part in the
original.
It
is important to maintain
clarity and
balance in performing
these passages as seen
in
mm. 16-19, in the Basses
and m. 34 in the
Cello and Bass.
The
balancing of the chords
will be a challenge
in
the execution of the many
sforzandos
em> in this
movement.
March: Measures 2 and
4, and similar melodic
patterns that follow,
require the performers to
carefully balance their
forte/pianos
on beats 3 and 4,
along with the rapid
diminuendo. The contrasting
rhythmic patterns in mm.
5-8, and later throughout
this movement must line
up precisely. Strings
playing the pizzicato
eight note, walking bass
line, must not rush,
and the upper strings
playing the
eighth-note/eight-rest
figure must
follow their section
leaders in executing this
in a unified manner.
While there is
no formal tempo change
from mm. 40 to 41,
directors may need to
relax the tempo at the
beginning of the
movement to
accommodate the
technical challenge of
the double time feel that
happens in m. 41.
Trepak:
Tchaikovsky was careful
to notate the
p,
f
and
sf,
requiring the performers
to recognize the
difference between all
three markings that frame
the chief melody. The
upper strings must be
careful to support the
melody in the lower
strings that begins in m.
33. Directors will
challenge their students
to have fun in the last
twelve measures with the
accelerando
passage to the
end. Care must
be taken to use
an
accelerando
that works for
all
the players in the
particular
ensemble.. This
arrangement will
challenge students, while
fostering rhythmic
independence, execution
of bowing and pizzicato,
and the ability to
balance the melody with
the accompaniment
throughout the
arrangement. However,
ranges remain primarily
in first position with
some optional
8va<
span class=s4> passages,
allowing intermediate
groups to perform this in
time for the winter
holiday concert.A
Suitable for Grades 3
through 5. To the
Director:
Dance
of the Sugar Plum
Fairy: A steady tempo
is critical when
performing this movement,
as students may have a
tendency to rush during
the pizzicato sections.
There is a
regularly occurring
descending sixteenth-note
rhythmic figure that is
transcribed form the bass
clarinet part in the
original.
It
is important to maintain
clarity and
balance in performing
these passages as seen
in
mm.A 16-19, in the Basses
and m.A 34A in the
Cello and Bass.
The
balancing of the chords
will be a challenge
in
the execution of the many
sforzandos
em>A in this
movement.
March: A Measures 2 and
4, and similar melodic
patterns that follow,
require the performers to
carefully balance their
forte/pianos
on beats 3 and 4,
along with the rapid
diminuendo. The contrasting
rhythmic patterns in mm.
5-8, and later throughout
this movement must line
up precisely. Strings
playing the pizzicato
eight note, walking bass
line, must not rush,
and the upper strings
playing the
eighth-note/eight-restA
figure must
follow their section
leaders in executing this
in a unified manner.
While there is
no formal tempo change
from mm. 40 to 41,
directors may need to
relax the tempo at the
beginning of the
movement toA
accommodate the
technical challenge of
the double time feel that
happens in m. 41.
Trepak:
A
Tchaikovsky was careful
to notate the
p,
f
and
sf,
requiring the performers
to recognize the
difference between all
three markings that frame
the chief melody. The
upper strings must be
careful to support the
melody in the lower
strings that begins in m.
33. Directors will
challenge their students
to have fun in the last
twelve measures with the
accelerando
passage to the
end. Care must
be taken to use
an
accelerando
that works for
all
the players in the
particular
ensemble.. This
arrangement will
challenge students, while
fostering rhythmic
independence, execution
of bowing and pizzicato,
and the ability to
balance the melody with
the accompaniment
throughout the
arrangement. However,
ranges remain primarily
in first position with
some optional
8va<
span class=s4> passages,
allowing intermediate
groups to perform this in
time for the winter
holiday concert.A
Suitable for Grades 3
through 5. To the
Director:
Dance
of the Sugar Plum
Fairy: A steady tempo
is critical when
performing this movement,
as students may have a
tendency to rush during
the pizzicato sections.
There is a
regularly occurring
descending sixteenth-note
rhythmic figure that is
transcribed form the bass
clarinet part in the
original.
It
is important to maintain
clarity and
balance in performing
these passages as seen
in
mm.A 16-19, in the Basses
and m.A 34A in the
Cello and Bass.
The
balancing of the chords
will be a challenge
in
the execution of the many
sforzandos
em>A in this
movement.
March: A Measures 2 and
4, and similar melodic
patterns that follow,
require the performers to
carefully balance their
forte/pianos
on beats 3 and 4,
along with the rapid
diminuendo. The contrasting
rhythmic patterns in mm.
5-8, and later throughout
this movement must line
up precisely. Strings
playing the pizzicato
eight note, walking bass
line, must not rush,
and the upper strings
playing the
eighth-note/eight-restA
figure must
follow their section
leaders in executing this
in a unified manner.
While there is
no formal tempo change
from mm. 40 to 41,
directors may need to
relax the tempo at the
beginning of the
movement toA
accommodate the
technical challenge of
the double time feel that
happens in m. 41.
Trepak:
A
Tchaikovsky was careful
to notate the
p,
f
and
sf,
requiring the performers
to recognize the
difference between all
three markings that frame
the chief melody. The
upper strings must be
careful to support the
melody in the lower
strings that begins in m.
33. Directors will
challenge their students
to have fun in the last
twelve measures with the
accelerando
passage to the
end. Care must
be taken to use
an
accelerando
that works for
all
the players in the
particular
ensemble.. This
arrangement will
challenge students, while
fostering rhythmic
independence, execution
of bowing and pizzicato,
and the ability to
balance the melody with
the accompaniment
throughout the
arrangement. However,
ranges remain primarily
in first position with
some optional
8va<
span class=s4> passages,
allowing intermediate
groups to perform this in
time for the winter
holiday concert. Suitable
for Grades 3 through
5. To the
Director:
Dance
of the Sugar Plum
Fairy: A steady tempo
is critical when
performing this movement,
as students may have a
tendency to rush during
the pizzicato sections.
There is a
regularly occurring
descending sixteenth-note
rhythmic figure that is
transcribed form the bass
clarinet part in the
original.
It
is important to maintain
clarity and
balance in performing
these passages as seen
in
mm. 16-19, in the Basses
and m. 34 in the
Cello and Bass.
The
balancing of the chords
will be a challenge
in
the execution of the many
sforzandos
em> in this
movement.
March: Measures 2 and
4, and similar melodic
patterns that follow,
require the performers to
carefully balance their
forte/pianos
on beats 3 and 4,
along with the rapid
diminuendo. The contrasting
rhythmic patterns in mm.
5-8, and later throughout
this movement must line
up precisely. Strings
playing the pizzicato
eight note, walking bass
line, must not rush,
and the upper strings
playing the
eighth-note/eight-rest
figure must
follow their section
leaders in executing this
in a unified manner.
While there is
no formal tempo change
from mm. 40 to 41,
directors may need to
relax the tempo at the
beginning of the
movement to
accommodate the
technical challenge of
the double time feel that
happens in m. 41.
Trepak:
Tchaikovsky was careful
to notate the
p,
f
and
sf,
requiring the performers
to recognize the
difference between all
three markings that frame
the chief melody. The
upper strings must be
careful to support the
melody in the lower
strings that begins in m.
33. Directors will
challenge their students
to have fun in the last
twelve measures with the
accelerando
passage to the
end. Care must
be taken to use
an
accelerando
that works for
all
the players in the
particular
ensemble.. This
arrangement will
challenge students, while
fostering rhythmic
independence, execution
of bowing and pizzicato,
and the ability to
balance the melody with
the accompaniment
throughout the
arrangement. However,
ranges remain primarily
in first position with
some optional 8va
passages, allowing
intermediate groups to
perform this in time for
the winter holiday
concert. Suitable for
Grades 3 through 5. To
the Director: Dance of
the Sugar Plum Fairy: A
steady tempo is critical
when performing this
movement, as students may
have a tendency to rush
during the pizzicato
sections. There is a
regularly occurring
descending sixteenth-note
rhythmic figure that is
transcribed form the bass
clarinet part in the
original. It is important
to maintain clarity and
balance in performing
these passages as seen in
mm. 16-19, in the Basses
and m. 34 in the Cello
and Bass. The balancing
of the chords will be a
challenge in the
execution of the many
sforzandos in this
movement. March: Measures
2 and 4, and similar
melodic patterns that
follow, require the
performers to carefully
balance their
forte/pianos on beats 3
and 4, along with the
rapid diminuendo. The
contrasting rhythmic
patterns in mm. 5-8, and
later throughout this
movement must line up
precisely. Strings
playing the pizzicato
eight note, walking bass
line, must not rush, and
the upper strings playing
the
eighth-note/eight-rest
figure must follow their
section leaders in
executing this in a
unified manner. While
there is no formal tempo
change from mm. 40 to 41,
directors may need to
relax the tempo at the
beginning of the movement
to accommodate the
technical challenge of
the double time feel that
happens in m. 41. Trepak:
Tchaikovsky was careful
to notate the p, f and
sf, requiring the
performers to recognize
the difference between
all three markings that
frame the chief melody.
The upper strings must be
careful to support the
melody in the lower
strings that begins in m.
33. Directors will
challenge their students
to have fun in the last
twelve measures with the
accelerando passage to
the end. Care must be
taken to use an
accelerando that works
for all the players in
the particular
ensemble. This
arrangement will
challenge students, while
fostering rhythmic
independence, execution
of bowing and pizzicato,
and the ability to
balance the melody with
the accompaniment
throughout the
arrangement. However,
ranges remain primarily
in first position with
some optional 8va
passages, allowing
intermediate groups to
perform this in time for
the winter holiday
concert. Suitable for
Grades 3 through 5.To the
Director:Dance of the
Sugar Plum Fairy: A
steady tempo is critical
when performing this
movement, as students may
have a tendency to rush
during the pizzicato
sections. There is a
regularly occurring
descending sixteenth-note
rhythmic figure that is
transcribed form the bass
clarinet part in the
original. It is important
to maintain clarity and
balance in performing
these passages as seen in
mm. 16-19, in the
Basses and m. 34 in
the Cello and Bass. The
balancing of the chords
will be a challenge in
the execution of the many
sforzandos in this
movement. March:
 Measures 2 and 4, and
similar melodic patterns
that follow, require the
performers to carefully
balance their
forte/pianos on beats 3
and 4, along with the
rapid diminuendo. The
contrasting rhythmic
patterns in mm. 5-8, and
later throughout this
movement must line up
precisely. Strings
playing the pizzicato
eight note, walking bass
line, must not rush, and
the upper strings playing
the
eighth-note/eight-restÂ
figure must follow their
section leaders in
executing this in a
unified manner. While
there is no formal tempo
change from mm. 40 to 41,
directors may need to
relax the tempo at the
beginning of the movement
to accommodate the
technical challenge of
the double time feel that
happens in m. 41. Trepak:
 Tchaikovsky was
careful to notate the p,
f and sf, requiring the
performers to recognize
the difference between
all three markings that
frame the chief melody.
The upper strings must be
careful to support the
melody in the lower
strings that begins in m.
33. Directors will
challenge their students
to have fun in the last
twelve measures with the
accelerando passage to
the end. Care must be
taken to use an
accelerando that works
for all the players in
the particular
ensemble.
About Carl
Fischer Concert String
Orchestra
Series Thi
s series of pieces (Grade
3 and higher) is designed
for advancing ensembles.
The pieces in this series
are characterized
by: - Expanded use
of rhythms, ranges and
keys but technical
demands are still
carefully
considered
- More
comprehensive bowing
techniques
- Viola
T.C.
included
- Careful
selection of keys and
degree of difficulty for
advancing
musicians
$9.50 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Amusements En Due (suite 2 Rec) 2 Flûte à bec (duo) - Facile Schott
2 treble recorders (flutes, violins) or other melodic instruments (TREB REC) - e...(+)
2 treble recorders
(flutes, violins) or
other melodic instruments
(TREB REC) - easy SKU:
HL.49008171 Suite
C major. Composed by
Jean Baptiste Dupuits.
Edited by Hugo Ruf. This
edition: Saddle
stitching. Sheet music.
Edition Schott.
Classical. Playing score.
Op. 2/2. 20 pages. Schott
Music #ED 8822. Published
by Schott Music
(HL.49008171). ISBN
9790001123228.
9.0x11.75x0.087
inches. These 15
short pieces form an easy
and musically pleasing
suite. Offering a wide
selection of traditional
dance forms, frequent
changes from major to
minor keys and a variety
of expressive devices
they are particularly
suited for young
students. $22.99 - Voir plus => Acheter | | |
| Chinese Folk Dance Suite Violon et Piano Theodore Presser Co.
Chamber Music violin, piano SKU: PR.114419280 Composed by Chen Yi. Arrang...(+)
Chamber Music violin,
piano SKU:
PR.114419280 Composed
by Chen Yi. Arranged by
Wong Tak Chiu.
Performance Score. 32+12
pages. Duration 20
minutes. Theodore Presser
Company #114-41928.
Published by Theodore
Presser Company
(PR.114419280). ISBN
9781491132357. UPC:
680160676125. Inspi
red by Chinese tradition,
this concerto-like dance
suite includes: 1. Lion
Dance, 2. YangKo, and 3.
Muqam. Each movement
draws from melodies and
rhythms characteristic of
various regions of China
many centuries ago.
CHINESE FOLK DANCE SUITE
is available for violin
with full orchestra, or
as a recital work with
piano. Supported by a
major commissioning award
from the Serge
Koussevitzky Music
Foundation in the Library
of Congress, Chinese Folk
Dance Suite is written
for solo violin and
orchestra; it was
premiered by The
Women’s
Philharmonic with violin
soloist Terrie Baune,
conducted by Apo Hsu, on
March 10, 2001, at Yerba
Buena Center For the Arts
Theater in San
Francisco.Inspired by
various Chinese
traditional folk dances,
the suite has three
movements:I. Lion Dance.
Traditionally, people
dance with richly
decorated hand-made
lions, accompanied by
percussion ensemble, to
celebrate happy occasions
and major festivals
throughout the country.
In this composition, I
use Chinese drum and
other percussion
instruments in the
background, to form a
dynamic and rhythmic
texture responding to the
solo part, which imitates
the tunes played on the
suona (traditional
Chinese trumpet). The
pitch materials came from
the traditional Guangdong
tune “Dragon Boat
Racing,†and the
Chaozhou tune “Lion
Playing Ball.â€II.
YangKo. Originating in
northern China, this is a
major folk dance form in
mass performance
popularized in the
country. In YangKo
performance, people play
rhythmic patterns on the
drums hung around their
waists while singing and
dancing. In the second
movement, I imagined a
warm scene of YangKo
dancing in distance. The
solo violin plays a sweet
and gracious melodic line
while all members of the
orchestra sing
non-pitched syllables in
different layers as the
soft background, to
imitate the percussion
sound which produces the
ever-going pulse.III.
Muqam. This large-scale
music and dance form,
from the Uygur
nationality in Xinjiang
province, originated in
the 15th century. My
third movement use a 7/8
meter and the melodic
style of Muqam music. The
fiery dancing gesture
culminates in the
sustained climax section
at the end of the work,
after a colorful violin
cadenza in both
improvisational singing
style and polyphonic
writing with woven
lines. $26.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Chinese Folk Dance Suite Saxophone Soprano et Piano [Conducteur et Parties séparées] Theodore Presser Co.
Chamber Music Piano, soprano Saxophone SKU: PR.114419290 Composed by Chen...(+)
Chamber Music Piano,
soprano Saxophone SKU:
PR.114419290 Composed
by Chen Yi. Edited by
Chen Yi. Arranged by Wong
Tak Chiu. Sws. Score and
parts. 44 pages. Duration
20 minutes. Theodore
Presser Company
#114-41929. Published by
Theodore Presser Company
(PR.114419290). ISBN
9781491135235. UPC:
680160676118. 9 x 12
inches. Supported
by a major commissioning
award from the Serge
Koussevitzky Music
Foundation in the Library
of Congress, my Chinese
Folk Dance Suite is
written for violin solo
and orchestra, and
premiered by The Women's
Philharmonic with violin
soloist Terrie Baune,
conducted by Apo Hsu, on
March 10, 2001, at Yerba
Buena Center For the Arts
Theater in San Francisco.
Inspired by various
Chinese traditional folk
dances, I've composed
three movements in the
suite: 1) Lion Dance.
Traditionally, people
dance with richly
decorated hand made
lions, accompanied by
percussion ensemble, to
celebrate happy occasions
and major festivals
throughout the country.
In the composition, I use
Chinese drum and other
percussion instruments in
the background, to form a
dynamic and rhythmic
texture responding to the
solo part, which imitates
the tunes played on the
suona (traditional
Chinese trumpet). The
pitch materials came from
traditional Guangdong
Music tune and Chaozhou
Music tune ; 2) YangKo.
Originated in northern
China, it's a major folk
dance form in mass
performance popularized
in the country. In YangKo
performance, people
always play rhythmic
patterns on the drums
hung around their waists
while singing and
dancing. In my second
movement, I have imagined
a warm scene of YangKo
dancing in distance. The
solo violin plays a sweet
and gracious melodic line
while all members in the
orchestra sing the
non-pitch syllables in
different layers as the
soft background, to
imitate the percussion
sound which produces the
ever going pulse. 3)
Muqam. It is a large
scale traditional music
and dance form from Uygur
nationality in Xinjiang
province, originated in
the 15th century. In my
third movement, I keep
the meter of seven eight
and the melodic style of
Muqam music. The fiery
dancing gesture cumulates
the sustained climax
section at the end of the
work, after a colorful
violin cadenza in both
improvisational singing
style and polyphonic
writing with woven lines.
Scored for 2 flutes (2nd
doubling piccolo), 2
oboes, 2 clarinets in Bb,
2 bassoons, 4 French
horns in F, 2 trumpets in
Bb, 3 trombones,
percussion 1 (3 congas,
low tom-tom, temple
block, paddle castanets),
percussion 2 (snare drum,
6 small Beijing opera
gong, 12 big Beijing
opera gong, crotales,
tambourine), percussion 3
(suspended cymbal, a pair
of 6 Chinese cymbals,
bass drum), solo violin,
violins I, violins II,
violas, cellos and double
basses. Duration is about
16 minutes. The work is
recorded on Bis [CD-1352]
and released in 2003,
performed by Cho-Liang
Lin and the Singapore
Symphony Orchestra, cond.
by Lan Shui. Reduction
for B-flat soprano
saxophone and piano by
Wong Tak Chiu (2017) and
edited by Chen Yi (2018)
The second movement
YangKo is premiered by
Dr. Wong and Korak
Lerpibulchai at the
Singapore Saxophone
Symposium on 8/13/2017.
The American premiere of
the saxophone and piano
reduction version of
Chinese Folk Dance Suite
is given by Chi Him Chik
and Hao Yin at the
Society for American
Music National Conference
in Kansas City, MO on
3/2/2018. $26.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Situation Update, Suite for Trombone and Piano Trombone et Piano - Avancé Cherry Classics
Trombone and piano accompaniment - advanced SKU: CY.CC2890 Composed by Da...(+)
Trombone and piano
accompaniment - advanced
SKU: CY.CC2890
Composed by David Fetter.
Contemporary. Solo part
and Piano accompaniment.
Published by Cherry
Classics (CY.CC2890).
David Fetter's
brilliant new work
Situation Update - Suite
for Tenor Trombone and
Piano is written in three
contrasting movements
totalling almost 11
minutes in length: 1.
Swift 2.
Longing 3. Exit
Music Swift is marked
Intense and is very
rhythmic and angular.
Longing is a beautiful
lyrical movement marked
Cantabile and Exit Music
is marked Lively mixing
chromatic, lyrical and
syncopated segments,
ending in a giant
climax. Both the solo
and accompaniment parts
are written for advanced
performers. The
work's premier was
performed in 2015 by
retired Principal
Trombonist of the Boston
Symphony, Ronald Barron
and accompanied at the
Piano by Pianist Larry
Wallach. Here is what
Mr. Ewazen has said about
Situation Update: I
had the pleasure of
hearing Ron Barron play
David Fetter's exciting
and virtuosic new work
for Trombone and Piano,
Situation
Updateâ€Â.
David's music allows the
Trombonist to sing and
soar in 3 contrasting
movements filled with
vivid colors, beautiful
and expressive harmonies,
and a wonderful flowing
rhythmic energy. The
outer movements crackle
with energy,
showcasing the amazing
technique of soloist Ron
Barron, as the melodic
line shifts and changes
with playful abandon,
while the middle movement
is heartfelt and lyrical,
with beautiful melodic
lines, supported by
resonant, gorgeous
harmonies. The work is a
real tour de force
and rightly deserves
to take its place as a
significant addition to
the Trombone
repertoire.. $27.50 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Characteristic Pieces In The Form Of A Suite (to The Russian Woman) Leduc, Alphonse
SKU: HL.48182125 Composed by Pierre Max Dubois. Leduc. Post-1900. Softcov...(+)
SKU: HL.48182125
Composed by Pierre Max
Dubois. Leduc. Post-1900.
Softcover. 3 pages.
Alphonse Leduc #AL23062.
Published by Alphonse
Leduc (HL.48182125).
UPC: 888680851453.
9.0x12.0x0.05
inches. “Fren
ch composer Pierre Max
Dubois (1930-1995)
significantly contributed
to the woodwind
repertoire, particularly
for Saxophone.
Characteristic Pieces in
the Form of a Suite for
Alto Saxophone and Piano
was published in 1962 and
remains popular in the
advanced saxophonist's
repertoire. Dubois' music
is characteristically
light-hearted with
unusual harmonic and
melodic textures. The
second movement of
Characteristic Pieces in
the Form of a Suite for
Alto Saxophone and Piano,
To the Russian Woman
reflects Dubois'
compositional
characteristics as well
as elements of Russian
characteristics, with a
typical performance lasts
about two and a half
minutes. Characteristic
Pieces in the Form of a
Suite is essential to the
advanced saxophonist's
repertoire. Dubois' most
famous work makes for an
exciting and enjoyable
performance for players
and audiences
alike.â€. $14.20 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Pequeña Suite para Cuatro Quatuor de Saxophones: 4 saxophones Advance Music
4 Saxophones SATBar SKU: AP.1-ADV7689 A Little Suite for Four (for SAT...(+)
4 Saxophones SATBar
SKU: AP.1-ADV7689
A Little Suite for
Four (for SATBar
Saxophone Quartet).
Composed by Javier Zalba.
Quartet; Solo Small
Ensembles; Woodwind -
Saxophone Quartet.
Advance Music. Form:
Suite. Latin. Score and
Part(s). Advance Music
#01-ADV7689. Published by
Advance Music
(AP.1-ADV7689). ISBN
9783892218500. UPC:
805095076899.
English. Subtitled
A Little Suite for Four,
the first movement
features a unison melody
written in B minor. In
the second movement, a
leitmotiv with variations
and the use of repeated
jazz phrases is
presented; all four
instruments take turns in
assuming primary and
supporting roles. The
third movement is a
ballad-like theme
featuring soprano and
baritone sax sharing a
pleasant conversation.
The fourth movement goes
on a joyful melodic ride
passing through all the
saxophones parts, one
after the other. $24.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Tom Gerou : An Australian Journal Piano seul - Intermédiaire Alfred Publishing
By Tom Gerou. For Piano. Piano Suite. Recital Suite Series. Level: Intermediate....(+)
By Tom Gerou. For Piano.
Piano Suite. Recital
Suite Series. Level:
Intermediate. Suite. 12
pages. Published by
Alfred Publishing.
$5.50 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Autumn Sketches Piano seul - Intermédiaire Alfred Publishing
Composed by Martha Mier. Graded Standard Repertoire; Piano Suite; Piano Suppl...(+)
Composed by Martha Mier.
Graded Standard
Repertoire;
Piano Suite; Piano
Supplemental; Solo.
Recital
Suite Series. Form:
Suite.
Recital. Sheet. 12 pages.
Alfred Music #00-48032.
Published by Alfred Music
$5.50 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Winter Illuminations Piano seul - Intermédiaire Alfred Publishing
Composed by Wynn-Anne Rossi. Piano Suite; Piano Supplemental. Recital Suite S...(+)
Composed by Wynn-Anne
Rossi.
Piano Suite; Piano
Supplemental. Recital
Suite
Series. Form: Suite.
Recital. Sheet. 12 pages.
Alfred Music #00-47927.
Published by Alfred Music
$5.50 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Bermuda Islands Piano seul - Intermédiaire Alfred Publishing
Composed by Betty Lea Martocchio. Piano Suite; Piano Supplemental; Solo. Reci...(+)
Composed by Betty Lea
Martocchio. Piano Suite;
Piano Supplemental; Solo.
Recital Suite Series.
Form:
Suite. Recital. Sheet. 12
pages. Alfred Music #00-
47928. Published by
Alfred
Music
$5.50 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Fire Suite Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba Potenza Music
Brass quintet SKU: P2.60008 Composed by Noah D. Taylor. Chamber music, 20...(+)
Brass quintet SKU:
P2.60008 Composed by
Noah D. Taylor. Chamber
music, 20th century.
Published by Potenza
Music (P2.60008).
Fire Suite was
composed over the summer
of 2002. The work was
premiered at Capital
University in the winter
of 2003 by the student
brass quintet of which
Noah D. Taylor was a
member. This exciting
work is composed in three
short movements, each
based on a different type
of fire. The first
movement, called
Brimstone, is a harsh
movement. The second
movement, Candlelight,
offers lyrical and
soaring melodic lines.
The last movement of the
Fire Suite is based on
the idea of fire burning
so hot that the flame
turns white. White Flame
is a very fast,
dance-like movement. The
Fire Suite is an exciting
and challenging work for
brass quintet. Like a
roller coaster, the piece
has plenty of twists and
turns that will excite
both the audience and the
performers. $29.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Ghosts, Goblins and Witches Orchestre d'harmonie [Conducteur et Parties séparées] - Débutant C.L. Barnhouse
((A Spook-tacular Suite)). By James Swearingen. For concert band. Young Band. Ri...(+)
((A Spook-tacular
Suite)). By James
Swearingen. For concert
band. Young Band. Rising
Band. Expanding ranges
and rhythms for the
Rising Band!. Grade 1.5.
Score and parts. Composed
2010. Duration 2 minutes,
11 seconds. Published by
C.L. Barnhouse
$46.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Northern Dreams (Reves du Nord) - A Suite in Four Movements Trompette Fennica Gehrman
Trumpet, piano SKU: FG.55011-587-3 Composed by Heikki Sarmanto. Fennica G...(+)
Trumpet, piano SKU:
FG.55011-587-3
Composed by Heikki
Sarmanto. Fennica Gehrman
#55011-587-3. Published
by Fennica Gehrman
(FG.55011-587-3). ISBN
9790550115873. A
pioneer of Finnish modern
jazz, Heikki Sarmanto
(1939-) is renowned for
his renderings of jazz
numbers. No wonder,
therefore, that broken
chords and familiar keys
resonate and sit well
under the hand in the
piano part of this
Northern Dreams suite.
The solo passages for the
piano are like stylised
improvisations. In
addition to jazz idioms,
the suite features
Chopin-style arpeggios.
His music is melodic and
communicative, painting
feelings, situations and
events. Northern Dreams
was originally composed
with the tenor sax of
Juhani Aaltonen in mind,
and the solo part is a
transcription of his
improvisation. The solo
part is also available in
arrangements for alto
sax, flute, clarinet,
bassoon and trumpet. $34.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Mexico: South of the Border Piano seul - Intermédiaire Alfred Publishing
By Mike Springer. For Piano. Piano Suite; Piano Supplemental; Sheet; Solo. Recit...(+)
By Mike Springer. For
Piano. Piano Suite; Piano
Supplemental; Sheet;
Solo. Recital Suite
Series. Form: Suite.
Recital. Late
Intermediate. 12 pages.
Published by Alfred Music
$4.50 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Northern Dreams (Reves du Nord) - A Suite in Four Movements Flûte traversière et Piano Fennica Gehrman
Flute, piano SKU: FG.55011-583-5 Composed by Heikki Sarmanto. Fennica Geh...(+)
Flute, piano SKU:
FG.55011-583-5
Composed by Heikki
Sarmanto. Fennica Gehrman
#55011-583-5. Published
by Fennica Gehrman
(FG.55011-583-5). ISBN
9790550115835. A
pioneer of Finnish modern
jazz, Heikki Sarmanto
(1939-) is renowned for
his renderings of jazz
numbers. No wonder,
therefore, that broken
chords and familiar keys
resonate and sit well
under the hand in the
piano part of this
Northern Dreams suite.
The solo passages for the
piano are like stylised
improvisations. In
addition to jazz idioms,
the suite features
Chopin-style arpeggios.
His music is melodic and
communicative, painting
feelings, situations and
events. Northern Dreams
was originally composed
with the tenor sax of
Juhani Aaltonen in mind,
and the solo part is a
transcription of his
improvisation. The solo
part is also available in
arrangements for alto
sax, flute, clarinet,
bassoon and trumpet. $34.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Suite in B-Flat (transposed Suite in D) Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba Eighth Note Publications
By Jeremiah Clarke (1674-1707). For Brass Quintet. Brass Ensemble - Quintet; Mas...(+)
By Jeremiah Clarke
(1674-1707). For Brass
Quintet. Brass Ensemble -
Quintet; Masterworks.
Eighth Note Publications.
Baroque. Duration
00:07:10. Published by
Eighth Note Publications
$25.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Heitere Suite Score Orchestre à Cordes [Conducteur] - Intermédiaire Schott
String orchestra - intermediate SKU: HL.49001789 Composed by Istvá,...(+)
String orchestra -
intermediate SKU:
HL.49001789 Composed
by Istvá, n
Szelé, and nyi.
This edition: Saddle
stitching. Sheet music.
Concertino (Chamber
Orchestra). Classical.
Score. 30 pages. Duration
15'. Schott Music #CON
146. Published by Schott
Music (HL.49001789).
ISBN 9790001117326.
9.0x12.0x0.108
inches. With this
lively suite, the
Hungarian music -teacher
and pupil of Kodaly
created a very
in-s-tructive piece.
Since all parts have
independ-ent melodic
tasks and are very often
opposed to each other one
by one or in pairs, the
suite is particularly
suitable for the work
with the individual
string parts and for the
training of the ensemble
playing. $23.99 - Voir plus => Acheter | | |
| Northern Dreams (Reves du Nord) - A Suite in Four Movements Clarinette Fennica Gehrman
Clarinet, piano SKU: FG.55011-584-2 Composed by Heikki Sarmanto. Fennica ...(+)
Clarinet, piano SKU:
FG.55011-584-2
Composed by Heikki
Sarmanto. Fennica Gehrman
#55011-584-2. Published
by Fennica Gehrman
(FG.55011-584-2). ISBN
9790550115842. A
pioneer of Finnish modern
jazz, Heikki Sarmanto
(1939-) is renowned for
his renderings of jazz
numbers. No wonder,
therefore, that broken
chords and familiar keys
resonate and sit well
under the hand in the
piano part of this
Northern Dreams suite.
The solo passages for the
piano are like stylised
improvisations. In
addition to jazz idioms,
the suite features
Chopin-style arpeggios.
His music is melodic and
communicative, painting
feelings, situations and
events. Northern Dreams
was originally composed
with the tenor sax of
Juhani Aaltonen in mind,
and the solo part is a
transcription of his
improvisation. The solo
part is also available in
arrangements for alto
sax, flute, clarinet,
bassoon and trumpet. $34.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Northern Dreams (Reves du Nord) - A Suite in Four Movements Fennica Gehrman
Tenor saxophone, piano SKU: FG.55011-550-7 Composed by Heikki Sarmanto. F...(+)
Tenor saxophone, piano
SKU:
FG.55011-550-7
Composed by Heikki
Sarmanto. Fennica Gehrman
#55011-550-7. Published
by Fennica Gehrman
(FG.55011-550-7). ISBN
9790550115507. A
pioneer of Finnish modern
jazz, Heikki Sarmanto
(1939-) is renowned for
his renderings of jazz
numbers. No wonder,
therefore, that broken
chords and familiar keys
resonate and sit well
under the hand in the
piano part of this
Northern Dreams suite.
The solo passages for the
piano are like stylised
improvisations. In
addition to jazz idioms,
the suite features
Chopin-style arpeggios.
His music is melodic and
communicative, painting
feelings, situations and
events. Northern Dreams
was originally composed
with the tenor sax of
Juhani Aaltonen in mind,
and the solo part is a
transcription of his
improvisation. The solo
part is also available in
arrangements for alto
sax, flute, clarinet,
bassoon and trumpet. $34.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Big Sky Montana Piano seul Alfred Publishing
Composed by Dennis Alexander. For Piano. Graded Standard Repertoire; Piano Suite...(+)
Composed by Dennis
Alexander. For Piano.
Graded Standard
Repertoire; Piano Suite;
Piano Supplemental;
Sheet; Solo. Recital
Suite Series. Form:
Suite. Recital. Early
Advanced. 12 pages.
Published by Alfred Music
$5.50 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Northern Dreams (Reves du Nord) - A Suite in Four Movements Saxophone Alto et Piano Fennica Gehrman
Alto saxophone, piano SKU: FG.55011-585-9 Composed by Heikki Sarmanto. Fe...(+)
Alto saxophone, piano
SKU:
FG.55011-585-9
Composed by Heikki
Sarmanto. Fennica Gehrman
#55011-585-9. Published
by Fennica Gehrman
(FG.55011-585-9). ISBN
9790550115859. A
pioneer of Finnish modern
jazz, Heikki Sarmanto
(1939-) is renowned for
his renderings of jazz
numbers. No wonder,
therefore, that broken
chords and familiar keys
resonate and sit well
under the hand in the
piano part of this
Northern Dreams suite.
The solo passages for the
piano are like stylised
improvisations. In
addition to jazz idioms,
the suite features
Chopin-style arpeggios.
His music is melodic and
communicative, painting
feelings, situations and
events. Northern Dreams
was originally composed
with the tenor sax of
Juhani Aaltonen in mind,
and the solo part is a
transcription of his
improvisation. The solo
part is also available in
arrangements for alto
sax, flute, clarinet,
bassoon and trumpet. $34.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Northern Dreams (Reves du Nord) - A Suite in Four Movements Basson, Piano (duo) Fennica Gehrman
Bassoon, piano SKU: FG.55011-586-6 Composed by Heikki Sarmanto. Fennica G...(+)
Bassoon, piano SKU:
FG.55011-586-6
Composed by Heikki
Sarmanto. Fennica Gehrman
#55011-586-6. Published
by Fennica Gehrman
(FG.55011-586-6). ISBN
9790550115866. A
pioneer of Finnish modern
jazz, Heikki Sarmanto
(1939-) is renowned for
his renderings of jazz
numbers. No wonder,
therefore, that broken
chords and familiar keys
resonate and sit well
under the hand in the
piano part of this
Northern Dreams suite.
The solo passages for the
piano are like stylised
improvisations. In
addition to jazz idioms,
the suite features
Chopin-style arpeggios.
His music is melodic and
communicative, painting
feelings, situations and
events. Northern Dreams
was originally composed
with the tenor sax of
Juhani Aaltonen in mind,
and the solo part is a
transcription of his
improvisation. The solo
part is also available in
arrangements for alto
sax, flute, clarinet,
bassoon and trumpet. $34.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Heitere Suite Set - Intermédiaire Schott
String orchestra (ST CHOR) - intermediate SKU: HL.49001790 Composed by Is...(+)
String orchestra (ST
CHOR) - intermediate
SKU: HL.49001790
Composed by Istvá,
n Szelé, and nyi.
Sheet music. Concertino
(Chamber Orchestra).
Classical. Set of Parts.
198 pages. Duration 15'.
Schott Music #CON 146-70.
Published by Schott Music
(HL.49001790). ISBN
9790001117333.
8.25x11.75x0.75
inches. With this
lively suite, the
Hungarian music -teacher
and pupil of Kodaly
created a very
in-s-tructive piece.
Since all parts have
independ-ent melodic
tasks and are very often
opposed to each other one
by one or in pairs, the
suite is particularly
suitable for the work
with the individual
string parts and for the
training of the ensemble
playing. The movements:
Wettlauf * Der kleine
Trotzkopf * Bar und
Mauschen * Abendlied *
Soldatenspiel * Thema mit
Variationen. $94.00 - Voir plus => Acheter | | |
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