La référence MS014 de l'éditeur Misterioso dont l'auteur célèbre est Jeanneau François, qui a pour titre Monodie, a été écrite et composée pour Diverses Formations. Cette partition musicale appartient à la catégorie Classique. / Divers / Partition

The three volumes of The Masterwork in Music present complete English translations of major works by Austrian music theorist Heinrich Schenker, one of the twentieth century's leading figures in the field. First published in German between 1925 and 1930, these essays represent Schenker's greatest writings in analysis prior to the 1935 definitive formulation of his theory of music in Der freie Satz (Free Composition). This new publication of the long-awaited English translation, which first appeared in the distinguished Cambridge University Press edition, provides a valuable resource for scholars. Editorial annotations and elucidations by Dr. William Drabkin and his translators offer additional insights. This volume comprises the eminent Austrian theorist's main writings from the mid-1920s to 1930. In addition to essays on music theory in cultural context, the book is dominated by one of Schenker's most celebrated studies of a single work: the analysis of Beethoven's 'Eroica' Symphony, which discusses all four movements in painstaking detail. Volume One includes analyses of keyboard works by Bach, Scarlatti, Chopin, Beethoven, and Handel and solo violin music by Bach, along with studies of other works. Volume Two contains a major essay on Mozart's Symphony #40 in G minor and shorter studies of works by Bach, Haydn, and Reger.Reprint of The Masterwork in Music, A Yearbook, Volume III, Cambridge University Press, 1997, with a new Introduction by William Drabkin.- See more at: http://store.doverpublications.com/048678004x.html#sthash.eWy8wFW3.dpuf / Divers

The three volumes of The Masterwork in Music present complete English translations of major works by Austrian music theorist Heinrich Schenker, one of the twentieth century's leading figures in the field. First published in German between 1925 and 1930, these essays represent Schenker's greatest writings in analysis prior to the 1935 definitive formulation of his theory of music in Der freie Satz (Free Composition). This new publication of the long-awaited English translation, which first appeared in the distinguished Cambridge University Press edition, provides a valuable resource for scholars. Editorial annotations and elucidations by Dr.William Drabkin and his translators offer additional insights. Volume One includes analyses of keyboard pieces by Bach, Scarlatti, Chopin, and Beethoven, along with studies of solo violin music by Bach. Volume Two contains a major essay on Mozart's Symphony #40 in G minor and shorter studies of works by Bach, Haydn, and Reger. Volume Three's contents include Schenker's celebrated analysis of Beethoven's 'Eroica' Symphony and other works.Reprint of The Masterwork in Music, A Yearbook, Volume I, Cambridge University Press, 1994, with a new Introduction by William Drabkin.- See more at: http://store.doverpublications.com/0486780023.html#sthash.AGGsMRlk.dpuf / Divers

Par VAN DER ROOST JAN. Metalla was commissioned by the 'Kreisverband Altenkirchen' of Germany and dedicated to Ottomar Jung. The composer himself conducted the premiere of the piece, which was performed by the 'Jugendorchester Kreisverband Altenkirchen' on 25 March 1999. The region of Altenkirchen is known for its iron mines, which find musical expression in the dark mood of the introduction (andante misterioso). This effect is accomplished with overlapping seventh intervals, orchestral crescendos, a succession of broad chords and the presentation of most themes in the middle register of the band. The dynamic section (allegro energico) that follows the introduction is characterized by concise figures inthe brass and a second motif, a kind of rippling motion depicting the Sieg River, an important element in the landscape of the Altenkirchen region. The work closes with a final theme that returns a number of times, albeit in different guises. After a brief repeat of the seventh intervals from the beginning, a last radiant chord signals the end of the piece. / Niveau : 4 / Répertoire / Concert Band

Par HIROSE HAYATO. Glory of David ist ein Blasorchesterwerk uüber die biblische Geschichte von David und Goliath. Ein Allegro animato, ein Allegro misterioso und ein Allegro energico stehen fuür drei wichtige Stationen im Leben des Hirtenjungen David, der nach dem Sieg uüber den Riesen Goliath König von Israel wird. Mit seiner starken und dramatischen Orchestrierung ist Glory of David ein ideales Konzert- und Wettbewerbstuück, das Musiker und Zuhörer gleichermaßen beruührt. / Niveau : 5 / Pièce de concert / Répertoire / Concert Band ou Harmonie

Par HIROSE HAYATO. Glory of David ist ein Blasorchesterwerk uüber die biblische Geschichte von David und Goliath. Ein Allegro animato, ein Allegro misterioso und ein Allegro energico stehen fuür drei wichtige Stationen im Leben des Hirtenjungen David, der nach dem Sieg uüber den Riesen Goliath König von Israel wird. Mit seiner starken und dramatischen Orchestrierung ist Glory of David ein ideales Konzert- und Wettbewerbstuück, das Musiker und Zuhörer gleichermaßen beruührt. / Niveau : 5 / Pièce de concert / Répertoire / Fanfare

Par HIROSE HAYATO. Bien que la structure de cette fantaisie s’apparente à celle d’un concerto, le pianiste n’est absolument pas réduit à un rôle d’accompagnateur, mais participe pleinement au développement de l’oeuvre. Fantasy for Marimba est divisé en quatre mouvements qui s’enchaînent sans interruption : Allegro - Andante misterioso - Tempo rubato - Allegro energico. / Niveau : 4 / Pièce de concert / Répertoire / Marimba et Concert Band/Harmonie

Par VAN DER ROOST JAN. Das Werk Metalla wurde vom Kreisverband Altenkirchen aus Deutschland in Auftrag gegeben und Ottomar Jung gewidmet. Der Komponist Jan Van der Roost dirigierte selbst die Erstaufführung des Stückes, die vom Jugendorchester KreisverbandAltenkirchen am 25. März 1999 gespielt wurde. Die Region um Altenkirchen ist für seine Eisenbergwerke bekannt, welche in der tristen Stimmung der Einleitung (Andante misterioso) ihren musikalischen Ausdruck finden. Dieser Effekt wird vervollständigt durch sich überlappende Septim-Intervalle, Orchester-Crescendi, eine Abfolge umfassender Akkorde und die Vorstellung der meisten Themen durch die mittleren Register des Orchesters. Der auf die Einleitung folgende dynamische Teil (Allegro energico) wird durch prägnante Figuren im Blech charakterisiert, und es erscheint ein zweites Motiv, eine Art plätschernde Bewegung, die den Fluss Sieg, ein wichtiges Element in der Landschaftum Altenkirchen, beschreibt. Das Werk schließt mit einem Schlussthema, das einige Male in verschiedenen Aufmachungen wiederkehrt. Nach einer kurzen Wiederholung der Septim-Intervalle des Anfangs signalisiert ein letzter strahlender Akkord das Ende des Werkes. / Niveau : 4 / Pièce de concert / Répertoire / Concert Band ou Harmonie

Par JEANBOURQUIN MARC. Sinfonetta No. 1 a remporté le premier prix au Concours de composition pour la 1re catégorie, organisé par l?Association Suisse de Brass Band, en 2023. Les différents thèmes mélodiques et motifs rythmiques se succèdent tout au long de l??uvre. Ils se combinent aux nombreux effets dynamiques pour apporter une certaine unité, du début à la fin de cette pièce de concours. Les difficultés techniques et mélodiques permettent ainsi aux différents solistes, de montrer toute leur virtuosité et leur musicalité, tout au long de 5 parties ininterrompues. Après une première partie lente et ?misterioso?, le premier contraste avec une séquence ?energico? basée sur un ostinato crée une progression et une tension, pour amener l?ensemble vers la troisième partie ?mesto? (triste), puis ?lento?, où s?égrènent quelques cadences et de nombreuses dissonances. La transition ?energico? annonce la 5e partie: ?con fuoco? ternaire et rapide. Cette dernière partie conduira l?auditoire vers un final en apothéose. / Date parution : 2023-10-31/ Répertoire / Brass Band

Orchestral Excerpts for Flute with Piano Accompaniment has transformed the literature and become the standard excerpt book since its release in 1995. The original collection presents excerpts as you'll see them on auditions and orchestra stands, enhanced with Baxtresser's insightful commentaries on preparing each excerpt. Prefatory essays and piano accompaniments add further resources to best prepare for auditions and life as an orchestra player. Orchestral Excerpts for Flute, Volume 2 with Piano Accompaniment provides all the same features for thorough preparation of another 56 excerpts drawn from 27 works including Tchaikowsky ballets, Strauss tone poems, John Williams film scores, and a wealth of essential repertoire from Bach through Stravinsky. DedicationA Letter to my Dear Flutist FriendsNotes for the PianistTo the PianistsWith My AppreciationWhy This New Book?Learning and Studying Excerpts TodayHow to Use This BookFlute Parts – The Music You Will UseLearning to Take a Successful AuditionPersonal PreparationThe Audition – To Win or to LearnPlaying in an OrchestraPlaying in Opera and Ballet OrchestrasAcknowledgmentsAbout Jeanne BaxtresserAbout the Collaborative EditorsBACHJOHANN SEBASTIANMass in B MinorBWV 232Part IVNo. 24Benedictusbars 1-12BARTOKBELAConcerto for OrchestraMvt. Ibars 1-35Mvt. IVbars 1-25Mvt. IVpickup to bar 136 through 151Mvt. Vbars 26-148BEETHOVENLUDWIG VANSymphony No. 7 in A MajorOp. 92Mvt. Ibars 38-88Mvt. IIbars 131-183BERLIOZHECTORSymphonie FantastiqueOp. 14Mvt. I2 bars before [2] through [3]Mvt. I4th bar of [5] through 3rd bar of [6]Mvt. III1½ bars before [37] through 5th bar of [38]GOUNODCHARLESPetite SymphonieMvt. IIbars 1-29Mvt. IIbars 60-89MAHLERGUSTAVSymphony No. 9Mvt. I2 bars before Misterioso through 3rd bar of Nicht mehr so langsamMvt. Ibeat 4 of Sehr zögernd through 3rd bar after Wieder a tempoSymphony No. 10Mvt. Vbars 27-45MOZARTWOLFGANG AMADEUSThe Magic FluteK. 620Act INo. 8Finalebars 1-24 of “Wie stark ist nicht dein Zauberton!”Act IINo. 21Finalebars 1-10PISTONWALTERThe Incredible Flutist“The Flutist,” Lento after [E] through end of soloRIMSKY-KORSAKOVNICOLAIScheherazadeMvt. II3 before [Q] through 13th of [Q]Mvt. IIIpickups to 8 before [B] to 1 before [B]Mvt. IIIpickups to [M] through [N]Mvt. IV4th bar of [T] through Più strettoSCHUMANNROBERTSymphony No. 1“Spring,” Op. 38Mvt. Ibars 14-23Mvt. Ibars 158-193Mvt. IVbars 174-206SHOSTAKOVITCHDMITRISymphony No. 5Op. 47Mvt. I[13][15]Mvt. I[39] through 3rd bar of [41]Mvt. IIpickup to 6 bars before [59]through 8th bar of [60]Symphony No. 6Op. 54Mvt. I[16] through 3rd bar of [18]Mvt. I4 bars before [23] through [26]Mvt. I3 bars before [27] through 7th bar of [27]Symphony No. 15Op. 141Mvt. Ibar 1 through 4 bars after [4]Mvt. I8th bar of [46] through [50]STRAUSSRICHARDDer RosenkavalierOp. 59Act I4 bars before [230] through [233]Act I[251][253]Don JuanOp. 20Bar 1 through [B][K] through 3rd bar of [L]Ein HeldenlebenOp. 406 bars before [14] through [14]3rd bar of [15] through 8th bar of [15]2nd bar before [41] through 11th bar of [41]Symphonia DomesticaOp. 538 bars before [22] through [24]STRAVINSKYIGORThe FirebirdPas de Deux (Firebird and Ivan Tsarevitch)1945 version1 bar before [25] through 4th bar of [33]“Appearance of the Thirteen Enchanted Princesses,” 1910 version4 bars before[52] through 2nd bar of [53]Jeu de CartesVariation IV: [75][79]Symphonies of Wind Instruments2 bars before [6] through [9]3 bars before [14] through 3rd bar of [26][28] to the 3rd bar of [37]TCHAIKOVSKYPETER ILYITCHThe NutcrackerOp. 71Act IIChinese DancecompleteDance of the Mirlitonsbar 1 to [C]Sleeping BeautyOp. 66Act IIINo.25Pas de QuatreSwan LakeOp. 20Act IIINo. 19Pas de Six [32][33]Act IIINo. 19[35][36]WILLIAMSJOHNHarry Potter and the Prisoner of AzkabanSuite for Orchestra“Hagrid’s Friendly Bird,” bars 127-151Star WarsSuite for OrchestraPrincess Leia’s themepickup to bar 15 through bar 33War HorseDartmoor1912bars 1-15Dartmoor1912pickup to bar 131 through bar 144 / Flûte traversière / Theodore Presser Company

Imagination for Marimba a été commandé par le joueur de marimba japonais exceptionnelle, Fumito Nunoya. Bien qu'il soit écrit dans le style de concerto, le piano, non seulement accompagne le marimba solo, mais joue également un rôle important dans le développement du travail. La pièce est écrite en quatre mouvements, joué sans interruption: Allegro, Andante Misterioso, Tempo rubato et Allegro energico. Aussi disponible pour Marimbaphone et Orchestre d'Harmonie / Marimba Et Piano

Thelonious Monk ? Omnibook for Piano
Transcribed Exactly from His Recorded Solos
All Alone
April In Paris
Ask Me Now
Ba-Lue Bolivar Ba-Lues-Are (Bolivar Blues)
Bemsha Swing
Between The Devil And The Deep Blue Sea
Blue Monk
Body And Soul
Bright Mississippi
Bye-Ya
Darn That Dream
Dinah
Don't Blame Me
Everything Happens To Me
Functional
Hackensack
Honeysuckle Rose
I Mean You
I Surrender, Dear
It Don't Mean A Thing (If It Ain't Got That Swing)
Just A Gigolo
Little Rootie Tootie
Liza (All The Clouds'll Roll Away)
Memories Of You
Misterioso
Monk's Mood
Mood Indigo
My Melancholy Baby
Nice Work If You Can Get It
Nutty
Off Minor
Played Twice
Reflections
'Round Midnight
Ruby, My Dear
Straight No Chaser
Sweet And Lovely
We See
Work
You Are Too Beautiful
/ Partitions jazzandblues / Piano - claviers / Piano / HAL LEONARD