| The Best Fake Book Ever - C Edition - 3rd Edition
Fake Book [Fake Book] Hal Leonard
(C Edition) For voice and C instrument. Format: fakebook. With vocal melody, lyr...(+)
(C Edition) For voice and
C instrument. Format:
fakebook. With vocal
melody, lyrics and chord
names. Series: Hal
Leonard Fake Books. 856
pages. 9x12 inches.
Published by Hal Leonard.
(14)$59.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Alfred's Basic Piano Library Popular Hits Complete, Book 1 Piano seul - Débutant Alfred Publishing
(For the Later Beginner). Arranged by Tom Gerou. For Piano. Book; Graded Standar...(+)
(For the Later Beginner).
Arranged by Tom Gerou.
For Piano. Book; Graded
Standard Repertoire;
Method/Instruction; Piano
- Alfred's Basic Piano
Library. Alfred's Basic
Piano Library. Broadway;
Children; Movie; Pop.
Beginner. 40 pages.
Published by Alfred Music
$11.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Pieces II op. 3, op. 10, op. 16 SR 25, SR 33, SR 40 Vol. 16.2 Piano seul Russian Music Publishing
Piano SKU: M7.RMP-3003 Critical Edition of the Complete Works. Com...(+)
Piano SKU:
M7.RMP-3003
Critical Edition of
the Complete Works.
Composed by Sergej
Wassiljewitsch
Rachmaninow. Edited by
Valentin Antipov. This
edition:
Slipcase/Cassette. Sheet
music. Score and critical
commentary, complete
edition. Op. 3, op. 10,
op. 16. 320 pages.
Russian Music Publishing
#RMP 3003. Published by
Russian Music Publishing
(M7.RMP-3003). ISBN
9783795716615. English
Russian. Sergei
Rachmaninoff (1873-1943)
was a pianist and
composer of international
stature and one of the
towering figures of early
20th century music. He
left behind an ouvre
consisting of some 170
works, many of which
await discovery or are
known only in forms far
removed from the
composer's intentions.
Sergei Rachmaninoff :
Critical Edition of the
Complete Works (RCW), a
project issued by Russian
Music Publishing, is the
first complete edition of
Rachmaninoff 's music
prepared in accordance
with scholarly criteria
while meeting the demands
of performers. It
catalogues, explores, and
annotates every available
musical, literary, and
iconographic source on
Rachmaninoff 's music.
The RCW is published
under the scholarly
auspices of Dr. Valentin
Antipov. The editorial
standards of the RCW
satisfy the most
discerning criteria and
are safeguarded by an
Editorial Board of
internationally
acknowledged authorities
in Rachmaninoff
scholarship. Alexandre
Rachmaninoff (1933-2012),
the composer's grandson,
has been retained as a
special advisor. The RCW
is furthermore realized
in close cooperation with
the Glinka State Central
Museum of Musical
Culture, which houses one
of the most extensive
collections of
Rachmaninoff autographs
worldwide. All sources
are consulted for the
first time and all
compositions are
presented in their
authentic form with all
existing versions from
the composer. $135.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| 50 Piano Classics -- Composers H-Z, Volume 2 Piano seul Alfred Publishing
(100 of the World's Most-Beloved Masterpieces in Two Volumes). Edited by E. L. L...(+)
(100 of the World's
Most-Beloved Masterpieces
in Two Volumes). Edited
by E. L. Lancaster and
Kenon D. Renfrow. For
Piano. Book; Masterworks;
Piano Collection.
Masterwork; Recital. 204
pages. Published by
Alfred Music Publishing
$24.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Franz Schubert : Impromptus, Opp. 90, 142, and Moments Musicaux, Op. 94 Piano seul [Partition] - Intermédiaire/avancé Alfred Publishing
By Franz Schubert (1797-1828). Edited by Murray Baylor. For Piano. Piano Collect...(+)
By Franz Schubert
(1797-1828). Edited by
Murray Baylor. For Piano.
Piano Collection. Alfred
Masterwork Edition.
Masterwork. Late
Intermediate / Early
Advanced (grade 6/6 ).
Book. 112 pages.
Published by Alfred Music
Publishing
(2)$24.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Classical Piano Solos Collection Vol. 10 Piano seul Music Sales
Compiled by Stephen Harding. Book. Published by Music Sales. (AM92422) Fifteen...(+)
Compiled by Stephen
Harding. Book. Published
by Music Sales. (AM92422)
Fifteen classics from the
greatest composers of all
time. Includes Rondo on C
Major, Op. 51, No. 1,
Solfeggio in C Minor,
Intermezzo in B Minor,
Op. 119, No. 1 and more.
$12.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| White Rose (2nd Version 1984/85) Piano, Voix Deutscher Verlag für Musik
Voice and piano (Soli: SBar(T) - 1(picc.A-fl).1(cor ang).1(Ebclar.Bclar).0. - 1....(+)
Voice and piano (Soli:
SBar(T) -
1(picc.A-fl).1(cor
ang).1(Ebclar.Bclar).0. -
1.1.2.0. - perc - hp -
pno - str: 1.1.1.1.1.)
SKU: BR.DV-6140
Scenes for 2 Singers
and 15
Instrumentalists.
Composed by Udo
Zimmermann. Voice;
Softbound. Deutscher
Verlag. World premiere:
Hamburg, February 27,
1986DV 1140 awarded the
German Music Edition
Prize. Opera; Music
theatre; Music post-1945;
New music (post-2000).
Piano/Vocal Score.
Composed 1984/85. 140
pages. Duration 75'.
Deutscher Verlag fur
Musik #DV 6140. Published
by Deutscher Verlag fur
Musik (BR.DV-6140).
ISBN 9790200460230.
13.5 x 10.5
inches. Translation
: Engl. (S. Wadsworth)
(1988) / (Norbert
Rubesaat) (1993); French
(Jean-Pierre Wurtz)
(1997) Place and time:
Jail Munchen-Stadelheim,
in the hour before the
execution on 22nd
February 1943 Characters:
Sophie Scholl (soprano) /
Hans Scholl (baritone or
tenor) >>Weisse Rose<<
(White Rose) was the name
of the resistance group
to which Hans and Sophie
Scholl belonged. Udo
Zimmermann's composition
is characterized by the
varying structure of its
scenes: dramatic,
visionary scenes, e.g.
the remembered wartime
experiences on the front,
Sophie's anxiety about
the removal of the
children and the wish to
see her parents one last
time, contrast with
contemplative monologues
that are intended to
provide insights into the
individual's particular
situation. The composer
interweaves into the
structure of the piece
dream sequences with
sudden bursts of anxiety
that are not triggered by
the execution that is
about to take place but
by the consequences of
one's own actions. The
result is a deliberate
fusion of the various
parts into one another.
More than 100 different
productions prove that
the topic is as important
as ever and that the work
is both artistically
rewarding and
practicable. Udo
Zimmermann About the
piece Two young people,
the siblings Sophie and
Hans Scholl, are in a
prison cell, one hour
before they are to be put
to death by their fascist
executioners. Their
christian convictions and
sense of responsibility
gave them the courage to
put up resistance,
resistance against the
lies, the contempt for
humanity and all human
values. Sophie and Hans
Scholl took their stand
in the full knowledge
that they were taking a
deadly risk. They would
simply not have been able
to live with their
feelings of shame had
they not grasped the
chance of fighting for
what they believed in,
even though it was a
dangerous thing to do.
Memories of past events,
doubts, hopes and fears,
justification of deeds
and an acceptance of
death, all these things
happen and move in, and
between, these two people
during this
representation of the
hour before death. The
orchestra provides a
psycho-physical shorthand
of their inner mental
state. Musical effects
and gestures search for
their identity in human
behaviour. The moments of
stillness and silence
provide moments of
musical tension, which
are just as powerful as
the eruptions of fear and
desperation. CDs:
Gabriele Fontana
(soprano), Lutz-Michael
Harder (tenor),
Instrumentalensemble,
cond. Udo Zimmermann CD
Orfeo C 162 871 Grazyna
Szklarecka (soprano),
Frank Schiller (tenor),
musica viva-ensemble
dresden, cond. Udo
Zimmermann CD Berlin
Classics Eterna BC 0120
060-2 CD (excerpts):
Gabriele Fontana
(soprano), Lutz-Michael
Harder (tenor), Ein
Instrumentalensemble,
cond. Udo Zimmermann CD
BMG 74321 73628 2
Bibliography : Kornel ,
Attila: ,,Tief unter uns
nur Schweigen - Die
Asthetik der Stille in
Udo Zimmermanns
Kammeroper ,,Weisse Rose,
in: Die Tonkunst 11
(2017), pp. 368-377.
Rheinlander , Matthias:
Im Osten nichts Neues?
Ostalgie ohne Kitsch am
Beispiel von Udo
Zimmermanns Oper Die
weisse Rose, in: Musik
und Unterricht, Heft 73
(2003), pp.
34-40.
World
premiere: Hamburg,
February 27, 1986DV 1140
Awarded the German Music
Edition Prize. $165.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| The Giant Book of Classical Piano Sheet Music Piano seul - Avancé Alfred Publishing
Edited by E. L. Lancaster and Kenon D. Renfrow. For Piano. Book; Masterworks; Pi...(+)
Edited by E. L. Lancaster
and Kenon D. Renfrow. For
Piano. Book; Masterworks;
Piano Collection.
Masterwork; Recital.
Advanced. 288 pages.
Published by Alfred Music
Publishing
$27.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Teachers' Choice Grades 6 to 7 2017-2018 Piano seul - Intermédiaire/avancé Wells Music Publishers
Piano - Grade 6, Grade 7 SKU: BT.WMP2317 Selected Piano Repertory & St...(+)
Piano - Grade 6, Grade 7
SKU: BT.WMP2317
Selected Piano
Repertory & Studies.
Teachers' Choice. Exam
Material. Book Only.
Composed 2017. 72 pages.
Wells Music Publishers
#WMP2317. Published by
Wells Music Publishers
(BT.WMP2317). ISBN
9789811105586.
English. The latest
of this series comprises
popular choice pieces and
alternative works from
the ABRSM Piano
Examination syllabi.
These pieces have been
specially selected for
examination purposes and
general repertoire study.
Meticulously fingered and
edited by Josephine Koh ,
the Teachers' Choice
Selected Piano Repertory
& Studies , just like
the past series, offers
teaching points and
performance directions
that help to develop
technical assurance and
stylistic awareness in
the students. All works
in Teachers' Choice are
beautifully scored for
comfort of reading.
Beyond examinations, the
series is enjoyed by
music teachers who use
the studies presented in
eachgrade, for the
development of specific
technical skills in their
students. $21.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Henle Album: Piano Music from Bach to Debussy
Piano seul [Partition] - Intermédiaire G. Henle
Collection for Piano (Harpsichord), 2-hands. With introductory text and fingerin...(+)
Collection for Piano
(Harpsichord), 2-hands.
With introductory text
and fingerings. Urtext
edition (Paper-bound). 79
pages. Published by G.
Henle.
(7)$10.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Piano Adagios Piano seul [Partition] Chester
Edited by Stephen Duro. Music Sales America. Classical Period. Collection. With ...(+)
Edited by Stephen Duro.
Music Sales America.
Classical Period.
Collection. With standard
notation, fingerings and
introductory text (does
not include words to the
songs). 55 pages. Chester
Music #CH61572. Published
by Chester Music
$17.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Schubert : Moments Musicaux Piano seul - Intermédiaire/avancé ABRSM Publishing
By Schubert. For piano. Published by ABRSM (Associated Board of the Royal School...(+)
By Schubert. For piano.
Published by ABRSM
(Associated Board of the
Royal Schools of Music).
$16.99 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Werke fur Klavier zu zwei Handen, Band 5 Piano seul [Conducteur] Barenreiter
(Klavierstucke II). By Franz Schubert (1797-1828). Edited by Christa Landon; Wal...(+)
(Klavierstucke II). By
Franz Schubert
(1797-1828). Edited by
Christa Landon; Walther
Durr. For Piano. Neue
Schubert-Ausgabe. Serie
VII, Abteilung 2/5.
Klaviermusik, Romantik
(Piano Music, Romantic).
Playing Score; Urtext
Edition; Complete Edition
(cloth bound). Published
by Baerenreiter Verlag
$259.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Festival Collection, Book 7 Piano seul [Partition] - Intermédiaire/avancé FJH
By Various. Edited by Helen Marlais. Arranged by Various. For Piano. Succeeding ...(+)
By Various. Edited by
Helen Marlais. Arranged
by Various. For Piano.
Succeeding with the
Masters. Classical.
Level: Early Advanced.
Collection and 2
Listening CDs. Published
by The FJH Music Company
Inc.
$20.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Flute Examination Pieces 2004-2007,Gds 1and2,CD Flûte traversière et Piano [CD] - Débutant ABRSM Publishing
By ABRSM. For flute, piano. Published by ABRSM (Associated Board of the Royal S...(+)
By ABRSM. For flute,
piano. Published by ABRSM
(Associated Board of the
Royal Schools of Music).
$33.75 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Rocky Mountain Morning Piano seul - Intermédiaire Alfred Publishing
By Robert D. Vandall. For Piano. Piano Solo; Sheet; Solo. Signature Series. Inte...(+)
By Robert D. Vandall. For
Piano. Piano Solo; Sheet;
Solo. Signature Series.
Intermediate. 4 pages.
Published by Alfred Music
Publishing
$3.50 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Flying Solo Chorale SATB SATB, Piano Carl Fischer
Composed by Philip E. Silvey. Sws. Octavo. 20 pages. Duration 3 minutes, 38 ...(+)
Composed by Philip E.
Silvey.
Sws. Octavo. 20 pages.
Duration 3 minutes, 38
seconds. Carl Fischer
Music
#CM9651. Published by
Carl
Fischer Music
$3.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Flying Solo Chorale 3 parties SSA, Piano Carl Fischer
Composed by Philip E. Silvey. Sws. Octavo. 20 pages. Duration 3 minutes, 38 ...(+)
Composed by Philip E.
Silvey.
Sws. Octavo. 20 pages.
Duration 3 minutes, 38
seconds. Carl Fischer
Music
#CM9626. Published by
Carl
Fischer Music
$3.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| I Hear Love Chorale Excelcia Music Publishing
Choral SKU: XC.SATB2008 Composed by Connor Warren Smith. Concert and Cont...(+)
Choral SKU:
XC.SATB2008 Composed
by Connor Warren Smith.
Concert and Contest.
Concert and contest.
Octavo. Excelcia Music
Publishing #SATB2008.
Published by Excelcia
Music Publishing
(XC.SATB2008). UPC:
812598034912. 6.8 x 10.5
inches. This new
composition is written as
a beautiful reminder of
how important love is. A
heartfelt message for
today’s youth,
this new work is perfect
for teachable moments
during a key
developmental time in a
young person’s
life. Composer Connor
Warren Smith has hit the
nail on the head, and we
know your young musicians
will agree. $2.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Dominus Vobiscum Chorale SATB Carl Fischer
Composed by Jacob Narverud. Fold. Octavo. 8 pages. Duration 2 minutes. Carl ...(+)
Composed by Jacob
Narverud.
Fold. Octavo. 8 pages.
Duration 2 minutes. Carl
Fischer Music #CM9648.
Published by Carl Fischer
Music
$2.25 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Sunrise Will Come Chorale SATB - Intermédiaire Excelcia Music Publishing
Choral SATB chorus - Intermediate SKU: XC.SATB1903 Composed by Connor War...(+)
Choral SATB chorus -
Intermediate SKU:
XC.SATB1903 Composed
by Connor Warren Smith.
School Secular. Octavo.
Excelcia Music Publishing
#SATB1903. Published by
Excelcia Music Publishing
(XC.SATB1903). UPC:
812598030747. 6.75 x 10.5
inches. With a
hauntingly beautiful
original text, The
Sunrise Will Come is the
perfect piece to showcase
lyrical delivery and
phrasing. The song's
minor key paired with the
hopeful lyric creates a
sense of forward leaning,
satisfied at the close of
the piece with a Picardy
third. Interesting
harmony, satisfying (yet
accessible) divisi, a
gorgeous a cappella
section, and a stunning
soprano highlight in the
final moments of the
piece set it apart,
making it an excellent
choice for an
intermediate-advanced
group's concert or
festival selection. $2.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| String Quartet No. 5 Quatuor à cordes: 2 violons, alto, violoncelle [Conducteur et Parties séparées] Fennica Gehrman
String quartet SKU: FG.55011-689-4 Composed by Seppo Pohjola. Score and p...(+)
String quartet SKU:
FG.55011-689-4
Composed by Seppo
Pohjola. Score and parts.
Fennica Gehrman
#55011-689-4. Published
by Fennica Gehrman
(FG.55011-689-4). ISBN
9790550116894. Sepp
o Pohjola (b. 1965)
composed his fifth string
quartet, lasting about 20
minutes, in
February-March 2018. He
was inspired to write it
by a visit to the Vincent
van Gogh Museum in
Amsterdam the previous
year, where he was
greatly impressed by the
vast, comprehensive
retrospective and
especially the
horrifyingly honest
self-portraits. The soft
opening tones bear an
instruction alluding to
Schonberg's Verklarte
Nacht string sextet: the
quiet music must be
richly shaded. The notes
in the canon-like part
writing almost always
change at different
moments in each
instrument, with a longer
or shorter delay. The
independent lines weave
tightly together. The
only dynamic is forte for
minutes on end in the
powerful closing section.
Duration c. 20 minutes.
Score (A4) and parts
(B4). $48.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Little Critters Orchestre à Cordes - Débutant FJH
Orchestra String Orchestra - Grade 1 SKU: FJ.ST6512 Composed by Brian Bal...(+)
Orchestra String
Orchestra - Grade 1
SKU: FJ.ST6512
Composed by Brian
Balmages. Series; String
Orchestra. FJH Beginning
Strings. Light Concert;
Novelty. Score and
Part(s). The FJH Music
Company Inc #98-ST6512.
Published by The FJH
Music Company Inc
(FJ.ST6512). UPC:
241444420072.
English. The vivid
imagery of little
critters scurrying about
at night inspires the
melodic lines and
creative harmonies used
throughout this
programmatic work.
Beginning soft and
mischievous, the music
builds as new critters
join the fun in a playful
dialogue. The harmonic
language moves between
moments of pleasant
consonance and slight
dissonance (because as we
all know, some people
love little critters and
some people are terrified
of them!). A highly
imaginative, playable
work!
About FJH
Beginning
Strings Ap
propriate for first year
string students. All
instruments stay in first
position, and optional
third violin (viola)
parts and piano are
included to aid in
rehearsal and performance
situations. Grade 1 -
1.5 $45.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| As If [Conducteur] Carl Fischer
Chamber Music Cello, Recording, Viola, Violin SKU: CF.BE10F For String...(+)
Chamber Music Cello,
Recording, Viola, Violin
SKU: CF.BE10F
For String Trio and
Recording. Composed
by Paul Lansky. Full
score. With Standard
notation. 32 pages.
Duration 19:37. Carl
Fischer Music #BE10F.
Published by Carl Fischer
Music (CF.BE10F). ISBN
9780825891175. UPC:
798408091170. 8.5 x 11
inches. Key: G
major. Commissioned
by the Princeton-Columbia
Electronic Music Center
for Speculum Musicae in
1981. The first movement,
In Preparation, is a
study in tuning and
intonation and is based
on the open strings in
perfectly tuned fifths,
with the violins D string
tuned 294 hertz. The
first moments of the
piece provide opportunity
to tune to the tape part.
(This tuning probably
differs imperceptibly
from a tempered tuning
since the E string of the
violin is only 1/33 of a
semitone sharper then in
a tempered system and the
C strings of the viola
and cello 1/33 of a
semitone flatter.) Most
subsequent pitches in the
movement are either the
open strings or major and
minor thirds above and
below the open strings.
The minor thirds will be
slightly sharp with
respect to equal tempered
tuning about 15 cents or
1/6 of a semitone and the
major thirds will be
slightly flat about 14
cents, or one seventh of
a semitone. Listen to the
tape part as a guide. All
harmonics in this
movement are to be played
as natural harmonics and
open strings are to be
used whenever possible.
In the second movement,
At a Distance, the tape
part largely doubles
selected pitches in the
string parts and should
be thought of as a
backdrop rather then
counterpart. In this and
the remaining movements
equal tempered tuning is
used though it will
probably not be necessary
to retune the instruments
for this reason alone.
The third movement, In
Practice, is a study in
modes of performance
particularly with respect
to rhythmic rigidity and
flexibility. While the
tape part may seem to
bend and sway a great
deal, the string parts
are to be played with as
much rhythmic precision
as possible. At many
points it may be
necessary to delay or
anticipate beats in order
to coincide with the
arrival of beats in the
tape part, though in
general the quarter
equals 120 is accurate.
In the fourth movement,
In Distinction, different
kinds of musical
conceptions are
counter-pointed and
counter-posed. Here the
beat is quite accurate
although the notation of
the synthetic saxophone
part is only approximate.
All the tape parts are
based on computer
reprocessed violin except
for parts of the fourth
movement in which
synthetic saxophone is
used. The tape part was
synthesized on the IBM
3033 and 3081 computers
at Princeton University
and converted at the
Winham Laboratory. The
violin source was
performed by Cyrus
Stevens. Commissioned
by the Princeton-Columbia
Electronic Music Center
for Speculum Musicae in
1981. The first movement,
In Preparation, is a
study in tuning and
intonation and is based
on the open strings in
perfectly tuned fifths,
with the violinas D
string tuned 294 hertz.
The first moments of the
piece provide opportunity
to tune to the tape part.
(This tuning probably
differs imperceptibly
from a tempered tuning
since the E string of the
violin is only 1/33 of a
semitone sharper then in
a tempered system and the
C strings of the viola
and acello 1/33 of a
semitone flatter.) Most
subsequent pitches in the
movement are either the
open strings or major and
minor thirds above and
below the open strings.
The minor thirds will be
slightly sharp with
respect to equal tempered
tuning about 15 cents or
1/6 of a semitone and the
major thirds will be
slightly flat about 14
cents, or one seventh of
a semitone. Listen to the
tape part as a guide. All
harmonics in this
movement are to be played
as natural harmonics and
open strings are to be
used whenever possible.
In the second movement,
At a Distance, the tape
part largely doubles
selected pitches in the
string parts and should
be thought of as a
backdrop rather then
counterpart. In this and
the remaining movements
equal tempered tuning is
used though it will
probably not be necessary
to retune the instruments
for this reason alone.
The third movement, In
Practice, is a study in
modes of performance
particularly with respect
to rhythmic rigidity and
flexibility. While the
tape part may seem to
bend and sway a great
deal, the string parts
are to be played with as
much rhythmic precision
as possible. At many
points it may be
necessary to delay or
anticipate beats in order
to coincide with the
arrival of beats in the
tape part, though in
general the quarter
equals 120 is accurate.
In the fourth movement,
In Distinction, different
kinds of musical
conceptions are
counter-pointed and
counter-posed. Here the
beat is quite accurate
although the notation of
the synthetic saxophone
part is only approximate.
All the tape parts are
based on computer
reprocessed violin except
for parts of the fourth
movement in which
synthetic saxophone is
used. The tape part was
synthesized on the IBM
3033 and 3081 computers
at Princeton University
and converted at the
Winham Laboratory. The
violin source was
performed by Cyrus
Stevens. Commissioned
by the Princeton-Columbia
Electronic Music Center
for Speculum Musicae in
1981. The first movement,
In Preparation, is a
study in tuning and
intonation and is based
on the open strings in
perfectly tuned fifths,
with the violin's D
string tuned 294 hertz.
The first moments of the
piece provide opportunity
to tune to the tape part.
(This tuning probably
differs imperceptibly
from a tempered tuning
since the E string of the
violin is only 1/33 of a
semitone sharper then in
a tempered system and the
C strings of the viola
and 'cello 1/33 of a
semitone flatter.) Most
subsequent pitches in the
movement are either the
open strings or major and
minor thirds above and
below the open strings.
The minor thirds will be
slightly sharp with
respect to equal tempered
tuning about 15 cents or
1/6 of a semitone and the
major thirds will be
slightly flat about 14
cents, or one seventh of
a semitone. Listen to the
tape part as a guide. All
harmonics in this
movement are to be played
as natural harmonics and
open strings are to be
used whenever possible.
In the second movement,
At a Distance, the tape
part largely doubles
selected pitches in the
string parts and should
be thought of as a
backdrop rather then
counterpart. In this and
the remaining movements
equal tempered tuning is
used though it will
probably not be necessary
to retune the instruments
for this reason alone.
The third movement, In
Practice, is a study in
modes of performance
particularly with respect
to rhythmic rigidity and
flexibility. While the
tape part may seem to
bend and sway a great
deal, the string parts
are to be played with as
much rhythmic precision
as possible. At many
points it may be
necessary to delay or
anticipate beats in order
to coincide with the
arrival of beats in the
tape part, though in
general the quarter
equals 120 is accurate.
In the fourth movement,
In Distinction, different
kinds of musical
conceptions are
counter-pointed and
counter-posed. Here the
beat is quite accurate
although the notation of
the synthetic saxophone
part is only approximate.
All the tape parts are
based on computer
reprocessed violin except
for parts of the fourth
movement in which
synthetic saxophone is
used. The tape part was
synthesized on the IBM
3033 and 3081 computers
at Princeton University
and converted at the
Winham Laboratory. The
violin source was
performed by Cyrus
Stevens. Commissioned
by the Princeton-Columbia
Electronic Music Center
for SpeculumMusicae in
1981.The first movement,
In Preparation, is a
study in tuning and
intonation and isbased on
the open strings in
perfectly tuned fifths,
with the violin’s
D stringtuned 294 hertz.
The first moments of the
piece provide opportunity
to tuneto the tape part.
(This tuning probably
differs imperceptibly
from a temperedtuning
since the E string of the
violin is only 1/33 of a
semitone sharper then ina
tempered system and the C
strings of the viola and
‘cello 1/33 of a
semitoneflatter.) Most
subsequent pitches in the
movement are either the
open stringsor major and
minor thirds above and
below the open strings.
The minor thirdswill be
slightly sharp with
respect to equal tempered
tuning about 15 cents
or1/6 of a semitone and
the major thirds will be
slightly flat about 14
cents, or oneseventh of a
semitone. Listen to the
tape part as a guide. All
harmonics in thismovement
are to be played as
natural harmonics and
open strings are to be
usedwhenever possible.In
the second movement, At a
Distance, the tape part
largely doubles
selectedpitches in the
string parts and should
be thought of as a
backdrop rather
thencounterpart. In this
and the remaining
movements equal tempered
tuning is usedthough it
will probably not be
necessary to retune the
instruments for this
reasonalone.The third
movement, In Practice, is
a study in modes of
performance
particularlywith respect
to rhythmic rigidity and
flexibility. While the
tape part may seemto bend
and sway a great deal,
the string parts are to
be played with as
muchrhythmic precision as
possible. At many points
it may be necessary to
delay oranticipate beats
in order to coincide with
the arrival of beats in
the tape part,though in
general the quarter
equals 120 is accurate.In
the fourth movement, In
Distinction, different
kinds of musical
conceptions
arecounter-pointed and
counter-posed. Here the
beat is quite accurate
although thenotation of
the synthetic saxophone
part is only
approximate.All the tape
parts are based on
computer reprocessed
violin except for parts
ofthe fourth movement in
which synthetic saxophone
is used. The tape part
wassynthesized on the IBM
3033 and 3081 computers
at Princeton University
andconverted at the
Winham Laboratory. The
violin source was
performed by
CyrusStevens. $29.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Promise on the Horizon - Facile Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Crash Cym...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Bells,
Clarinet 1, Clarinet 2,
Crash Cymbals, Euphonium,
Euphonium T.C., Flute,
Horn, Mallet Percussion,
Oboe, Percussion 1,
Percussion 2, Percussion
3, Snare Drum, Suspended
Cymbal, Tambourine,
Timpani and more. - Grade
2.5 SKU: CF.YPS252
Composed by Travis
Weller. Yps. Set of Score
and Parts.
16+4+8+8+4+4+6+4+4+4+8+8+
6+6+6+4+6+4+2+4+2+4+24
pages. Duration 2
minutes, 18 seconds. Carl
Fischer Music #YPS252.
Published by Carl Fischer
Music (CF.YPS252).
ISBN 9781491161357.
UPC:
680160919949. A new
day. A new event. A new
opportunity. We look
forward to these things
and the potential they
hold. We live our lives
looking forward, but we
understand them looking
backward (a thought of
Danish philosopher Soren
Kierkegaard). We do not
always know what the
future may hold, but we
must remember: first,
there are no guarantees
beyond the time and
opportunity we are given
to do good. Second,
change around us is
inevitable. Finally, and
the most important
aspect, we have choices.
This lesson is fixed to
the composer's office
door: Today is the
greatest day of your
life, if you want it to
be. Why not look forward
to the Promise on the
Horizon and the
possibilities for
greatness that lie within
it? The opening motif of
this concert fanfare is
purposely inquisitive as
the piece seeks to
establish its first
steps. The subtle shift
at measure 37 and again
at measure 69 are
reminders of the
challenges that await us
during the journey. Here
again it is a matter of
choice - do we choose to
let circumstances define
us, or do we define the
circumstances? The
section at 93 is a
resounding answer that we
will move barriers,
overcome obstacles and
keep our vision looking
forward. The piece builds
toward an exciting
conclusion from measure
127 onward. The piece
reinforces several basic
rhythmic patterns in 6/8
time. As a number of
these rhythms are
repeated, it provides an
easy opportunity for the
entire ensemble to grow
more comfortable
performing in this meter.
While it is a
fanfare-type piece,
remind young musicians to
play with lightness and
precision, rather than
intensity in volume.
Maintaining this style of
articulation and accuracy
helps the rhythms in 6/8
time maintain their
buoyancy. It is vital
that each musician
listens for the melody
and balances their part,
especially in moments
where the melody is
passed between sections.
If vibes are not
available, a second bell
set can be employed in
its place. It is hoped
that this piece is an
uplifting way to open
your next concert, and a
meaningful opportunity
for you to discuss the
power of making positive
choices with your
students in the ensemble
(as a reminder, regular
practicing of their
instrument is a positive
choice). Wishing you and
your ensemble well as you
look to the Promise on
the Horizon. A new
day. A new event. A new
opportunity. We look
forward to these things
and the potential they
hold. We live our lives
looking forward, but we
understand them looking
backward (a thought of
Danish philosopher Soren
Kierkegaard). We do not
always know what the
future may hold, but we
must remember: first,Â
there are no guarantees
beyond the time and
opportunity we are given
to do good. Second,
change around us is
inevitable. Finally, and
the most important
aspect, we have choices.
This lesson is fixed
to the composer's office
door: “Today is the
greatest day of your
life, if you want it to
be.†Why not look
forward to the Promise on
the Horizon and the
possibilities for
greatness that lie within
it?The opening motif of
this concert fanfare is
purposely inquisitive as
the piece seeks to
establish its first
steps. The subtle shift
at measure 37 and again
at measure 69 are
reminders of the
challenges that await us
during the journey. Here
again it is a matter of
choice – do we
choose to let
circumstances define us,
or do we define the
circumstances? The
section at 93 is a
resounding answer that we
will move barriers,
overcome obstacles and
keep our vision looking
forward. The piece builds
toward an exciting
conclusion from measure
127 onward. The piece
reinforces several basic
rhythmic patterns in 6/8
time. As a number of
these rhythms are
repeated, it provides an
easy opportunity for the
entire ensemble to grow
more comfortable
performing in this meter.
While it is a
fanfare-type piece,
remind young musicians to
play with lightness and
precision, rather than
intensity in volume.
Maintaining this style of
articulation and accuracy
helps the rhythms in 6/8
time maintain their
buoyancy. It is vital
that each musician
listens for the melody
and balances their part,
especially in moments
where the melody is
passed between sections.
If vibes are not
available, a second bell
set can be employed in
its place. It is hoped
that this piece is an
uplifting way to open
your next concert, and a
meaningful opportunity
for you to discuss the
power of making positive
choices with your
students in the ensemble
(as a reminder, regular
practicing of their
instrument is a positive
choice). Wishing you and
your ensemble well as you
look to the Promise on
the Horizon. . $65.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Promise on the Horizon [Conducteur] - Facile Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Crash Cym...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Bells,
Clarinet 1, Clarinet 2,
Crash Cymbals, Euphonium,
Euphonium T.C., Flute,
Horn, Mallet Percussion,
Oboe, Percussion 1,
Percussion 2, Percussion
3, Snare Drum, Suspended
Cymbal, Tambourine,
Timpani and more. - Grade
2.5 SKU:
CF.YPS252F Composed
by Travis Weller. Yps.
Full score. 24 pages.
Duration 2 minutes, 18
seconds. Carl Fischer
Music #YPS252F. Published
by Carl Fischer Music
(CF.YPS252F). ISBN
9781491161913. UPC:
680160920594. A new
day. A new event. A new
opportunity. We look
forward to these things
and the potential they
hold. We live our lives
looking forward, but we
understand them looking
backward (a thought of
Danish philosopher Soren
Kierkegaard). We do not
always know what the
future may hold, but we
must remember: first,
there are no guarantees
beyond the time and
opportunity we are given
to do good. Second,
change around us is
inevitable. Finally, and
the most important
aspect, we have choices.
This lesson is fixed to
the composer's office
door: Today is the
greatest day of your
life, if you want it to
be. Why not look forward
to the Promise on the
Horizon and the
possibilities for
greatness that lie within
it? The opening motif of
this concert fanfare is
purposely inquisitive as
the piece seeks to
establish its first
steps. The subtle shift
at measure 37 and again
at measure 69 are
reminders of the
challenges that await us
during the journey. Here
again it is a matter of
choice - do we choose to
let circumstances define
us, or do we define the
circumstances? The
section at 93 is a
resounding answer that we
will move barriers,
overcome obstacles and
keep our vision looking
forward. The piece builds
toward an exciting
conclusion from measure
127 onward. The piece
reinforces several basic
rhythmic patterns in 6/8
time. As a number of
these rhythms are
repeated, it provides an
easy opportunity for the
entire ensemble to grow
more comfortable
performing in this meter.
While it is a
fanfare-type piece,
remind young musicians to
play with lightness and
precision, rather than
intensity in volume.
Maintaining this style of
articulation and accuracy
helps the rhythms in 6/8
time maintain their
buoyancy. It is vital
that each musician
listens for the melody
and balances their part,
especially in moments
where the melody is
passed between sections.
If vibes are not
available, a second bell
set can be employed in
its place. It is hoped
that this piece is an
uplifting way to open
your next concert, and a
meaningful opportunity
for you to discuss the
power of making positive
choices with your
students in the ensemble
(as a reminder, regular
practicing of their
instrument is a positive
choice). Wishing you and
your ensemble well as you
look to the Promise on
the Horizon. A new
day. A new event. A new
opportunity. We look
forward to these things
and the potential they
hold. We live our lives
looking forward, but we
understand them looking
backward (a thought of
Danish philosopher Soren
Kierkegaard). We do not
always know what the
future may hold, but we
must remember: first,Â
there are no guarantees
beyond the time and
opportunity we are given
to do good. Second,
change around us is
inevitable. Finally, and
the most important
aspect, we have choices.
This lesson is fixed
to the composer's office
door: “Today is the
greatest day of your
life, if you want it to
be.†Why not look
forward to the Promise on
the Horizon and the
possibilities for
greatness that lie within
it?The opening motif of
this concert fanfare is
purposely inquisitive as
the piece seeks to
establish its first
steps. The subtle shift
at measure 37 and again
at measure 69 are
reminders of the
challenges that await us
during the journey. Here
again it is a matter of
choice – do we
choose to let
circumstances define us,
or do we define the
circumstances? The
section at 93 is a
resounding answer that we
will move barriers,
overcome obstacles and
keep our vision looking
forward. The piece builds
toward an exciting
conclusion from measure
127 onward. The piece
reinforces several basic
rhythmic patterns in 6/8
time. As a number of
these rhythms are
repeated, it provides an
easy opportunity for the
entire ensemble to grow
more comfortable
performing in this meter.
While it is a
fanfare-type piece,
remind young musicians to
play with lightness and
precision, rather than
intensity in volume.
Maintaining this style of
articulation and accuracy
helps the rhythms in 6/8
time maintain their
buoyancy. It is vital
that each musician
listens for the melody
and balances their part,
especially in moments
where the melody is
passed between sections.
If vibes are not
available, a second bell
set can be employed in
its place. It is hoped
that this piece is an
uplifting way to open
your next concert, and a
meaningful opportunity
for you to discuss the
power of making positive
choices with your
students in the ensemble
(as a reminder, regular
practicing of their
instrument is a positive
choice). Wishing you and
your ensemble well as you
look to the Promise on
the Horizon. . $11.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Tartan Tapestries Orchestre d'harmonie [Conducteur] - Intermédiaire Carl Fischer
Band Bagpipes, Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2,...(+)
Band Bagpipes, Bass
Clarinet, Bass Drum,
Bassoon, Bells, Clarinet
1, Clarinet 2, Clarinet
3, Crash Cymbals, Double
Bass, Euphonium,
Euphonium T.C., Flute 1,
Flute 2, Horn 1, Horn 2,
Mallet Percussion, Mark
Tree, Oboe, Percussion 1,
Percussion 2 and more. -
Grade 3.5 SKU:
CF.CPS225F Composed
by Larry Clark. Concert
Band (CPS). Full score.
With Standard notation.
32 pages. Carl Fischer
Music #CPS225F. Published
by Carl Fischer Music
(CF.CPS225F). ISBN
9781491153192. UPC:
680160910694. Tarta
n Tapestries is an
original piece that sets
out to emulate Scottish
folk music. Composer
Larry Clark has created a
concert overture in
triple meter to capture
the essence of music from
Scotland. After a lilting
first section, lush
and beautiful moments
weave a tapestry of
sounds with the lyrical,
middle section of the
piece. There is an
optional part for
bagpipes, and an optional
ending should you chose
to use this instrument as
part of the piece. Alert
your contest music
committee about this
strong new piece for
advancing
groups. Tartan
Tapestries was
commissioned by Friends
of the Arts for the Saint
Andrew's School Band in
Boca Raton,
Florida. The band
program at Saint
Andrew’s School is
under the direction of
Andrea Wolgin. The
premiere took place on
November 29, 2017.When I
was asked by their
conductor Ms. Wolgin to
write a piece for the
Saint Andrew’s
School, I asked her what
kind of involvement she
wanted the students to
have in the process. We
discussed several options
for having the students
involved in the process
of creating with the type
of piece they wanted.Â
We set up a
“Skypeâ€
meeting with members of
the band to discuss the
piece. During this
discussion, the consensus
of the students was that
they wanted a piece
depicting the Scottish
influence to the
school. They also
wanted a piece that would
challenge all sections of
the band and to include
bagpipes if possible. I
asked that the students
be involved in helping to
name the piece once it
was completed, for which
they agreed and were very
helpful. Armed with
this information, I set
out to compose a piece
for them, and Tartan
Tapestries is the
result.The piece begins
with a fanfare gesture
based upon rhythms and
harmonies that appear
throughout the piece. I
chose the lilting triple
feel to the piece, to
bring about the Scottish
flavor. I wanted the
fanfare to be bardic
sounding, to depict the
strength of the Scottish
people and for the piece
to have a dynamic
opening. The fanfare
contains material that
alludes to the main theme
and with a bit of
dissonance and tension
that is resolved in the
main body of the
piece.The main theme is a
lilting original melody,
but one that I hope with
have the essence of
Scottish folk songs. The
main idea is followed by
a more modal and dark
sounding secondary theme,
first stated in the
horns. This material
is later used in the
development section of
the piece. The main
theme returns several
times, with different and
varied orchestrations and
harmonic treatments. This
is followed by a short
transition leading to the
more lyrical and slower
second section of the
piece. A transparent
presentation of the
lyrical theme, which is
based on aspects of the
main theme, is presented
first by a solo flute.
This section is a nod to
famous composer Malcom
Arnold’s wonderful
works for orchestra in
its style and
orchestration. After a
transition or bridge
section with a solo
euphonium, the piece
builds to a dramatic
climax of the lyrical
theme by the full band.
This subsides to a return
of the solo flute to end
this second section of
the piece, followed by a
transition back the main
theme.The solo bagpipes
play a central role in
the return of the main
theme and take center
stage after being heard
in the distance earlier
in the work. The piece
brings back a shortened
version of the darker
secondary theme, followed
by a hint of the fanfare
material that builds to
one last statement of the
main theme by the full
band, before leading to a
dramatic coda to complete
the work.It has been my
pleasure to have been
given the opportunity to
compose this piece for
the Saint Andrew’s
School Band! I thank
Andrea Wolgin for making
it happen, and I hope
that you enjoy it as much
as I have enjoyed
bringing the piece to
life.–Larry
ClarkLakeland, Florida
2017. $14.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
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