| ARKA - 3 Rituale (Full Score) Voix basse, Piano [Conducteur] Peters
Orchestra solo oboe, solo pipa, timpani 4 Pauken, 1 Spieler, percussion, (Crotal...(+)
Orchestra solo oboe, solo
pipa, timpani 4 Pauken, 1
Spieler, percussion,
(Crotali, Glockenspiel,
gr, Trommel,
vibraphonerafon - 1
Spieler), strings (7, 1)
SKU: PE.EP14445
Composed by Bernd Franke.
Full Scores. Edition
Peters. Score. 52 pages.
Duration 00:20:00.
Edition Peters
#98-EP14445. Published by
Edition Peters
(PE.EP14445). ISBN
9790014135041. 297 x 420
mm inches.
German. ARKA
stammt aus dem
Sanskrit und bedeutet so
viel wie Strahl, Blitz,
Sonne, Licht, aber auch
Lied, Feuer und Hymnus,
und entwickelt in meiner
Vorstellung sehr viele
unterschiedliche
Assoziationsfelder. In
ARKA stecken
auch die Worter arc
(beten) und ka (Wasser),
und es kann auch
ubersetzt werden mit:
,,Das Wasser stromt aus
dem heraus, der mehr
weiss. Mein neues
Werk fur Pipa, Oboe,
Pauke, Schlagzeug und
Orchester entstand im
Auftrag der
Kammerakademie Neuss und
auf Anregung des Oboisten
Christian Wetzel. Es
entstanden drei Rituale
mit zum Teil szenischen
Elementen fur die
Solisten und das
Orchester.
Inspirationsquelle in
der Vorbeschaftigung
waren zwei Quellen und
Bucher. Das Daodejing von
Laozi in der
hervorragenden
Neuubersetzung von Viktor
Kalinke, eine der
wichtigsten Quellen
chinesischen Denkens und
der Philosophie dieser
grossen Kulturtradition
und die chinesische
Tradition der
5-Elementelehre und der
Wandlungsphasen. Als
zweites Buch hat mich
,,Die Glut von Roberto
Calasso inspiriert, ein
Buch uber die indischen
Veden in Verbindung mit
den Ursprungen des
Buddhismus und den damit
verbunden Ritualen.
In den letzten 20
Jahren habe ich mich
intensiv mit
ostasiatischer Musik,
Kunst und Philosophie
beschaftigt und habe das
auch durch langere
Studienreisen und
kompositorische Projekte
vertiefen konnen. U.a.
wurde 2012 mein Chorwerk
PRAN in Kolkata in Indien
uraufgefuhrt
(Goethe-Institut),
ebenfalls 2012 ,,in
between VI fur Sho und
Sheng in Tokyo und 2013
,,Mirror and Circle fur
Pipa, Cello und
chinesisches Orchester in
Taipeh/Taiwan
(Auftragswerk der
taiwanesischen
Regierung). Mit der
chinesischen
Pipa-Virtuosin Ya Dong
arbeite ich seit 2000
zusammen und habe fur sie
mehrfach komponiert
(Urauffuhrungen u.a. in
Hannover/EXPO 2000,
Rottweil 2001, Taipeh
2013, Magdeburg 2016).
Auch mit Christian Wetzel
arbeite ich seit uber 20
Jahren zusammen und habe
ebenfalls haufig fur ihn
komponiert (UA u.a. in
Bonn 1999, Hannover/EXPO
2000, Rottweil 2001,
Darmstadt 2004 und
etliche weitere
Projekte). Jedes
dieser drei Rituale hat
eine Lange von ca. 6-7
Minuten und stellt
unterschiedliche
Qualitaten und
Besonderheiten der beiden
Soloinstrumente heraus,
immer in Verbindung mit
der Interaktion zwischen
Soli und Orchester. Die
Besetzung war fur mich
ausserst reizvoll, da
beide Instrumente in
dieser Kombination noch
nie so erklungen sind.
Die Pipa ist ein ungemein
modernes und
ungewohnliches
Instrument, reich an
Farben und vor allem an
perkussiven Effekten. Das
Tonmaterial wurde zum
grossten Teil aus den
Namen der beiden Solisten
gewonnen und ergibt
interessanter zwei
gespiegelte
Viertonmotive. In der
asiatischen Kultur
spielen der Spiegel und
der Kreis eine wichtige
Rolle, und so werden die
Tone, Rhythmen und Formen
eingewoben in diese drei
Rituale, welche am Ende
des dritten Satzes wieder
kreisformig an den Anfang
des ersten Rituals
anknupfen. Ein von den
Streichern und der Pauke
erzeugtes Gerausch,
verbunden mit dem
Rhythmus der grossen
Trommel, welcher einen
Herzschlag symbolisieren
soll. Die drei Untertitel
der Rituale Himmel, Erde
und (atmospharischer)
Raum spielen im vedischen
und chinesischen Denken
eine grosse Rolle und war
fur mich beim Komponieren
ebenfalls eine sehr
starke
Inspirationsquelle. In
vielen meiner
Kompositionen gibt es
Raumeffekte, Annaherungen
an das Publikum, das
Verschieben von
Perspektiven, die
Dekonstruktion und das
Hinterfragen der ublichen
Konzertsituation, so u.a
in meinem Beuys-Zyklus
oder in den Zyklen ,,CUT
und ,,in between.
In ARKA geht
es mir besonders um die
Interaktion zwischen
westlichem und ostlichem
Denken, um das
gegenseitige Durchdringen
dieser auf den ersten
Blick so
unterschiedlichen Denk-
und Lebensweisen, um eine
Verschmelzung scheinbarer
Gegensatze - um
Annaherung! Bernd
Franke. Leipzig,
11.10.2019 W01476|C|Y
0.0000 Sheet Music
_x000D_ 9780193556799 Y
23.50 X556799 357665
9780193556799 MISC C 1
432 8030 0.00 Oxford Solo
Songs: Christmas 14 songs
with piano PAPER 14
9780193556799 A-B CAROLS
CHRISTMAS MISC
MISCELLANEOUS OXFORD
PIANO SOLO SONGS SONGS:
VOICE WITH AB 00:00:0 Low
voice & piano Low voice
book + downloadable
backing tracks 311x232 72
NEW NONE 29/07/2021 P
355580 9780193556799
- Young: A babe is
born
- Rutter:
Angels' Carol
-
McDowall: Before the
paling of the stars
- Rutter:
Candlelight Carol
- Rutter: I sing
of a maiden
-
Chilcott: Mid-winter
- Todd: My Lord
has Come
-
Bullard: Scots Nativity
- Quartel: Snow
Angel
- Todd:
Softly
-
Chilcott: Sweet was the
song
- Chilcott:
The Shepherd's Carol
- Quartel: This
endris night
-
McGlade: What child is
this?
for
low voice and piano
This beautiful
collection of 14 songs
for low voice offers
Christmas settings by
some of Oxford's
best-loved composers.
Suitable for solo singers
and unison choirs alike,
each song is presented
with piano accompaniment,
and high-quality,
downloadable backing
tracks are included on a
companion website. With a
wonderful selection of
pieces, including
favourites such as Bob
Chilcott's 'The
Shepherd's Carol' and
John Rutter's
'Candlelight Carol', this
is the perfect collection
for use in carol services
and Christmas concerts or
for enjoying at home.
Also available in a
volume for high voice and
piano. - 14
songs for solo
voice
- Well-loved
composers, including John
Rutter and Bob
Chilcott
- Wide
selection of Christmas
texts
- Accessible
accompaniments
-
Includes backing tracks
downloadable from a
Companion
Website
-
Available in volumes for
high and low
voice
MISC|AU|Y
0.0000 Paperback _x000D_
EP73308R Y 0.00 73308R
P73308R 1 ORCHA 8000 0.00
Hover A (LARGE) BEAMISH
EP73308R GP:ORCHESTRAL
HOVER ONLY RENTAL SALLY
WORKS NONE ORCHA P 303000
EP73308R 0.0000 Sheet
Music _x000D_ EP14437A Y
22.95 14437A P14437A
FRANKE, BERND C
9790014137199 52A1 8000
0.00 AGNI A 9790014137199
AGNI BASS BERND CLARINET
EP14437A FRANKE
PHOTOPRINTS W01476
English / German 00:12:0
Instrumental Score 232 x
303 mm Bass clarinet 20
DETNT NEW PR43 23/04/2021
P 303006 AGNI is the
Hindu god of fire; the
elemental and
transformative force
inherent in
everything: Every
flame, every fire, every
light, every warmth is
AGNI. AGNI is
omnipresent, establishing
everything and ending
everything. AGNI is
often depicted with seven
tongues which represent
different aspects of his
being. These
include: creating,
sustaining, cleansing,
purifying, priestly,
martial, devastating,
destructive, and
consuming. Derived
from Franke's concerto of
the same name, this solo
work for bass clarinet
compositionally traces
the transformative
processes initiated by
the divine fire. The solo
takes seven pieces from
the concerto, presenting
vivid character pieces
exploring the creative
possibilities and wide
tonal range offered by
the bass
clarinet. This
version of AGNI
for bass clarinet solo
was premiered on 4
December 2020 in Leipzig
by Volker Hemken, the
principal bass
clarinetist of the
Gewandhausorchester
Leipzig. EP14437a
convinces with its
excellent and clear
notation, making the
piece a new standard for
bass clarinet.
W01476|C|Y 0.0000 Sheet
Music _x000D_ EP68686 Y
165.00 68686 P68686 LEWIS
C 9790300761299 97 8000
0.00 Ikons A
9790300761299
CONTEMPORARY ENSEMBLE
EP68686 GEORGE IKONS
LEWIS PHOTOPRINTS SMALL
W06652 English 00:14:0
Conductor Score & Parts
303 x 232 mm Fl (A-fl in
F).Cl.Bsn
(Cbsn).Tbn.Perc.Vln.Vlc.C
b 132 NEW PR43 USTNT
21/04/2021 P 303006
Ikons,
commissioned by the
Vancouver Cultural
Olympiad 2010, exists in
two forms. This 14-minute
acoustic version,
premiered by the Turning
Point Ensemble, calls for
an octet of live
musicians to execute
complex rhythms and
quarter-tone
harmonies. The
interactive, electronic
version, created with
visual artist Eric
Metcalfe and designed to
be presented separately,
incorporates samples from
this acoustic version
into a sculptural
environment of seven
pyramidal structures that
respond sonically to the
viewer. W06652|C|Y
0.0000 Sheet Music
_x000D_ EP73531 Y 31.95
73531 P73531 PANUFNIK,
ROXANNA C 9790577020976
61 8000 0.00 Sonnets
without Words A
9790577020976 EP73531
HORN PANUFNIK PHOTOPRINTS
PIANO ROXANNA SHAKESPEARE
SONNETS W03578 WILLIAM
WITHOUT WORDS English
Score & Instrumental
Parts 232 x 303 mm Horn
and piano 28 NEW PR43
UKTNT 21/04/2021 P 303006
Roxanna Panufnik's
Sonnets without
Words is a
contemporary piece for
Horn in F and piano.
Written for horn player
Ben Goldscheider,
Panufnik has reimagined
the lyrical vocal lines
from three of her
previous settings of
Shakespeare's sonnets
(Mine eye, Music to
hear and Sweet
Love Remember'd for
voice and piano) into a
purely instrumental
work. Score and
horn
part. - Contempo
rary work for Horn in F
and
piano
- Settings of
Sheakespeare's Sonnets 8,
24 & 29 in instrumental
form
W03578|C|Y
W06737|LY|N 0.0000 Sheet
Music _x000D_ EP73571 Y
15.95 73571 P73571
MCNEFF, STEPHEN C
9790577021317 20 8000
0.00 Trig for Solo Cello
A 9790577021317 (SOLO)
CELLO EP73571 MCNEFF
PHOTOPRINTS SOLO STEPHEN
TRIG W03150 English
00:07:0 Instrumental
Score 232 x 303 mm Solo
Violoncello 8 NEW PR43
UKTNT 21/04/2021 P 303006
Stephen McNeff's
Trig is a short
7-minute contemporary
work for solo cello,
written to celebrate the
bicentennial of the Royal
Academy of Music in 2022
and in memorium cellist
Mike Edwards
1948-2010. Trig
was premiered by
Henry Hargreaves on 19
March 2021, livestreamed
from the Royal Academy of
Music. - Contemp
orary piece for solo
cello
- Written for
the Royal Academy of
Music's
bicentennial
W03150|C|Y 0.0000 Sheet
Music _x000D_ EP14528 Y
34.95 14528 P14528
SAUNDERS, REBECCA C
9790014136796 3 8000 0.00
to an utterance - study A
9790014136796 (SOLO) AN
EP14528 PHOTOPRINTS PIANO
REBECCA SAUNDERS STUDY TO
UTTERANCE W04191 English
Instrumental Score 420 x
297 mm Piano Solo 16
DETNT NEW PR43 21/04/2021
P 303006 to an
utterance - study
was commissioned by
Klangforum Wien for the
premiere commercial audio
recording on a portrait
CD in 2020 and first
performed by Joonas
Ahonen at the Berlin
Philharmonie on 4th
September 2020 at the
Musikfest Berlin.
W04191|C|Y 0.0000 Sheet
Music _x000D_ EP71880 Y
75.00 71880 P71880
PANUFNIK, ROXANNA C
9790577008332 82 8000
0.00 Spirit Moves for
Brass Quintet A
9790577008332 BRASS
ENSEMBLE EP71880 MOVES
PANUFNIK PHOTOPRINTS
QUINTET ROXANNA SPIRIT
W03578 English 00:15:0
Score & Instrumental
Parts 232 x 303 mm
Trumpet 1 in B flat
(doubling Piccolo
Trumpet), Trumpet 2 in B
flat (doubling Flugel
Horn), Horn in F,
Trombone, Tuba 84 NEW
PR43 UKTNT 21/04/2021 P
303006 Roxanna
Panufnik's Spirit
Moves, for brass
quintet, was commissioned
by the Fine Arts Brass
Ensemble. This 15-minute
piece is scored for two
trumpets in Bb (one
doubling piccolo trumpet
and the other doubling
flugel horn), horn in F,
trombone and tuba. This
brass quintet is so
called because the outer
movements are highly
spirited and the
central one is
spiritual. This product consists of
score and parts.
W03578|C|Y 0.0000 Sheet
Music _x000D_ EP73585 Y
4.00 73585 P73585 369282
WILLIAMS, RODERICK C
9790577021591 1 151 8000
0.00 Eriskay Love Lilt A
9790577021591 (SECULAR)
CHORAL EP73585 ERISKAY
HALSTAN-USA LILT LOVE
RODERICK TRADITIONAL
W05152 WILLIAMS WORKS
English 00:03:0 190 x 272
mm SATB (divisi) and
piano 16 NEW PR30 UKTNT
20/05/2021 P 377788 A
gently flowing 3-minute
arrangement by Roderick
Williams for SATB (with
divisi) with piano
accompaniment that
captures the beauty of
this famous traditional
Hebridean love song. The
song text uses both old
dialect and English, each
verse ending with the
words, 'Sad am I without
thee'. - Commiss
ioned by The Sixteen
choir and recorded on
their 2021 album
'Goodnight
Beloved'
- Roderick
Williams is a
composer/arranger and
also a world-renowned
baritone
- The
arrangement is described
by Williams as 'having a
little nod to Ravel and
Grieg'
W05152|C|Y W04819|LY|N
0.0000 Sheet Music
_x000D_ 9780193556782 Y
23.50 X556782 357665
9780193556782 MISC C 1
432 8030 0.00 Oxford Solo
Songs: Christmas 14 songs
with piano PAPER 14
9780193556782 A-B CAROLS
CHRISTMAS MISC
MISCELLANEOUS OXFORD
PIANO SOLO SONGS SONGS:
VOICE WITH AB 00:00:0
High voice & piano High
voice book + downloadable
backing tracks 311x232 72
NEW NONE 29/07/2021 P
355580 9780193556782
- Young: A babe is
born
- Rutter:
Angels' Carol
-
McDowall: Before the
paling of the stars
- Rutter:
Candlelight Carol
- Rutter: I sing
of a maiden
-
Chilcott: Mid-winter
- Todd: My Lord
has Come
-
Bullard: Scots Nativity
- Quartel: Snow
Angel
- Todd:
Softly
-
Chilcott: Sweet was the
song
- Chilcott:
The Shepherd's Carol
- Quartel: This
endris night
-
McGlade: What child is
this?
for
high voice and piano
This beautiful
collection of 14 songs
for high voice offers
Christmas settings by
some of Oxford's
best-loved composers.
Suitable for solo singers
and unison choirs alike,
each song is presented
with piano accompaniment,
and high-quality,
downloadable backing
tracks are included on a
companion website. With a
wonderful selection of
pieces, including
favourites such as Bob
Chilcott's 'The
Shepherd's Carol' and
John Rutter's
'Candlelight Carol', this
is the perfect collection
for use in carol services
and Christmas concerts or
for enjoying at home.
Also available in a
volume for low voice and
piano. - 14
songs for solo high
voice
- Well-loved
composers, including John
Rutter and Bob
Chilcott
- Wide
selection of sacred and
secular Christmas
texts
- Accessible
accompaniments
-
Includes backing tracks
downloadable from a
Companion
Website
-
Available in volumes for
high and low solo
voice
MISC|AU|Y
0.0000 Paperback _x000D_
9780193559066 Y 4.25
X559066 357665
9780193559066 YOUNG C 1
444 8030 0.00 O splendour
of God's glory bright
PAPER 9780193559066
BRIGHT CHORAL GLORY GOD'S
MIXED OF OXFORD SACRED
SPLENDOUR TOBY VOICES
W06576 YOUNG C 00:03:30
SATB & organ Vocal score
254x178 SATB 20 NONE P
355580 9780193559066
for SATB and organ
This energetic
setting of words by St
Ambrose of Milan is a
real showstopper. With
pop-influences and a
sparkling organ part,
Young effortlessly fuses
modern and traditional
sound worlds, while
changes in key and metre
build up to an
invigorating finish.
Perfect for accomplished
choirs looking for
something different.
W06576|C|Y 0.0000
Paperback _x000D_
9780193554399 Y 2.60
X554399 357665
9780193554399 LASSUS,
ORLANDO DE C 1 445 8030
0.00 Oculus non vidit
PAPER 9780193554399
CHORAL DE KEANE LASSUS
MARK NON OCULUS ORLANDO
OXFORD SACRED UPPER VIDIT
VOICES W02750 B 00:01:30
SA unaccompanied Vocal
score 254x178 Upper
Voices - 3 parts or more
4 NONE 10/06/2021 P
355580 9780193554399
for SA unaccompanied
This simple, charming
two-part motet features
long melismatic phrases
that reflect the text (1
Corinthians 2: 9), such
as the rising melodic
line over three bars on
the word 'ascended'
(ascendit).
W02750|C|Y
W06960|E|N 0.0000
Paperback _x000D_
9780193954298 Y 3.35
X954298 357665
9780193954298 TALLIS,
THOMAS C 1 448 8030 0.00
Honor, virtus et potestas
PAPER 9780193954298
CANTICLES DUNKLEY ET
HONOR OXFORD POTESTAS
SALLY SERVICES TALLIS
THOMAS VIRTUS W04705 C
00:06:0 SAATB
unaccompanied Vocal score
MSER00020 SATB 12 NONE
28/05/2021 P 355580
9780193954298 for
SAATB unaccompanied.
This glorious musical
depiction of the honour,
strength, power and
authority of the Holy
Trinity by Thomas Tallis
is the third issue in the
CMS's series of great
English Responds from the
16th century, edited by
Sally Dunkley. Scored for
SAATB, it can be
performed either as a
motet or as a full
Responsory with plainsong
alternating with
polyphony. W04705|C|Y
W01184|E|N 0.0000
Paperback _x000D_ EP73527
Y 6.95 73527 P73527
BEAMISH, SALLY C
9790577020891 50 8000
0.00 The Parting Glass A
9790577020891 (SOLO)
BEAMISH CLARINET EP73527
GLASS PARTING PHOTOPRINTS
SALLY W00306 English
Score 232 x 303 mm
Clarinet 4 NEW PR43 UKTNT
12/12/2020 P 303006
Based on a traditional
Scottish/Irish 'farewell'
song, this short piece is
one of six works written
to express my love of
Scotland. After living
there for nearly half my
life, and raising a
family, I moved back to
England in 2018, and
remarried in 2019.
Of course, there were
many different emotions
attached to the move
south: especially the joy
and excitement of new
beginnings, and
reconnection with friends
from my youth.
But this piece
expresses the wrench I
experienced after a last
family meal in Glasgow,
and the realisation of
all I was about to leave
behind. I have
taken the melody of the
original song, and
expanded it, exploring
the detail of its
patterns, so that it
becomes a timeless
meditation. The
six pieces in the
'farewell' series are for
6 violas, string quintet,
string quartet, trio,
violin and clarinet duo,
and solo clarinet.
The Parting Glass
was composed in 2020
during the coronavirus
lockdown, which
intensified the feeling
of separation from my
Scottish family, as well
as from other musicians.
It was
commissioned by Vittorio
Ceccanti for the
ContempoArtEnsemble.
W00306|C|Y 0.0000 Sheet
Music _x000D_ EP73516 Y
6.95 73516 P73516
BEAMISH, SALLY C
9790577020747 20 8000
0.00 Maple A
9790577020747 (SOLO)
BEAMISH CELLO EP73516
MAPLE PHOTOPRINTS SALLY
W00306 English 00:06:0
Score 232 x 303 mm
Contemporary cello solo 8
NEW PR43 UKTNT 12/12/2020
P 303006 Seed; Spinning
Seed; Roots, shoots;
Leaves ; Flowers; Tree ;
Autumn ; Cello
Maple arose
from a commission to
write a work for solo
cello, to be performed
alongside readings from
artist John Newling's
collection of letters
entitled 'Dear Nature'; a
poetic manifestation of
our relationship with the
natural world. The
piece is in eight short
sections, to be
interspersed with
readings of groups of the
poems. It may also be
performed as a single
movement. It begins with
a seed - the seed of a
maple tree, as it hangs
on the mature tree, ready
to drop. The seeds are
like propellers,
sometimes travelling more
than a mile before
landing on the ground.
Maple follows
the growth of the tree to
maturity - which in
reality would take at
least a hundred years.
'Roots, shoots' grows
downwards and upwards
from a pedal note, and
the dance-like 'Flowers'
is followed by the
stately 'Tree', and then
the warm, cascading
'Autumn'. Maple is very
often the wood of choice
for the back of a
stringed instrument, and
the last section uses
open strings to explore
the full resonance of the
cello. The piece
starts with a 'seed' of
only five notes, which
grows into different
configurations. It is
intended to be played in
an improvisatory
style.
Maple was
co-commissioned by
Brighton Festival, Ars et
Terra Festival with SACEM
and Ditchling Arts and
Crafts Museum, to be
performed by Margarita
Balanas as part of the
Brighton Festival's 'Dear
Nature' project.
W00306|C|Y 0.0000 Sheet
Music _x000D_ EP73508 Y
39.95 73508 P73508
DILLON, JAMES C
9790577020648 3 8000 0.00
echo the angelus A
9790577020648 (SOLO)
ANGELUS DILLON ECHO
EP73508 JAMES PHOTOPRINTS
PIANO W01097 English
00:25:0 Score 232 x 303
mm Piano Solo 44 NEW PR43
UKTNT 12/01/2021 P 303006
First performed by
Noriko Kawai for
Huddersfield Contemporary
Music Festival, in a
broadcast from the Radio
Theatre, BBC Broadcasting
House, November
2020. Full of
beautifully crafted,
delicate
tintinnabulations -
Richard Morrison, The
Times This
product is Printed on
Demand and may take
several weeks to fulfill.
Please order from your
favorite retailer. $90.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Stubernic Ensemble de Percussions [Conducteur et Parties séparées] Innovative Percussion
| | |
| Concerto - Piano And Orchestra - Solo Part Schott
Piano and orchestra - difficult SKU: HL.49046544 For piano and orchest...(+)
Piano and orchestra -
difficult SKU:
HL.49046544 For
piano and orchestra.
Composed by Gyorgy
Ligeti. This edition:
Saddle stitching. Sheet
music. Edition Schott.
Softcover. Composed
1985-1988. Duration 24'.
Schott Music #ED23178.
Published by Schott Music
(HL.49046544). ISBN
9781705122655. UPC:
842819108726.
9.0x12.0x0.224
inches. I composed
the Piano Concerto in two
stages: the first three
movements during the
years 1985-86, the next
two in 1987, the final
autograph of the last
movement was ready by
January, 1988. The
concerto is dedicated to
the American conductor
Mario di Bonaventura. The
markings of the movements
are the following: 1.
Vivace molto ritmico e
preciso 2. Lento e
deserto 3. Vivace
cantabile 4. Allegro
risoluto 5. Presto
luminoso.The first
performance of the
three-movement Concerto
was on October 23rd, 1986
in Graz. Mario di
Bonaventura conducted
while his brother,
Anthony di Bonaventura,
was the soloist. Two days
later the performance was
repeated in the Vienna
Konzerthaus. After
hearing the work twice, I
came to the conclusion
that the third movement
is not an adequate
finale; my feeling of
form demanded
continuation, a
supplement. That led to
the composing of the next
two movements. The
premiere of the whole
cycle took place on
February 29th, 1988, in
the Vienna Konzerthaus
with the same conductor
and the same pianist. The
orchestra consisted of
the following: flute,
oboe, clarinet, bassoon,
horn, trumpet, tenor
trombone, percussion and
strings. The flautist
also plays the piccoIo,
the clarinetist, the alto
ocarina. The percussion
is made up of diverse
instruments, which one
musician-virtuoso can
play. It is more
practical, however, if
two or three musicians
share the instruments.
Besides traditional
instruments the
percussion part calls
also for two simple wind
instruments: the swanee
whistle and the
harmonica. The string
instrument parts (two
violins, viola, cello and
doubles bass) can be
performed soloistic since
they do not contain
divisi. For balance,
however, the ensemble
playing is recommended,
for example 6-8 first
violins, 6-8 second, 4-6
violas, 4-6 cellos, 3-4
double basses. In the
Piano Concerto I realized
new concepts of harmony
and rhythm. The first
movement is entirely
written in bimetry:
simultaneously 12/8 and
4/4 (8/8). This relates
to the known triplet on a
doule relation and in
itself is nothing new.
Because, however, I
articulate 12 triola and
8 duola pulses, an
entangled, up till now
unheard kind of polymetry
is created. The rhythm is
additionally complicated
because of asymmetric
groupings inside two
speed layers, which means
accents are
asymmetrically
distributed. These
groups, as in the talea
technique, have a fixed,
continuously repeating
rhythmic structures of
varying lengths in speed
layers of 12/8 and 4/4.
This means that the
repeating pattern in the
12/8 level and the
pattern in the 4/4 level
do not coincide and
continuously give a
kaleidoscope of renewing
combinations. In our
perception we quickly
resign from following
particular rhythmical
successions and that what
is going on in time
appears for us as
something static,
resting. This music, if
it is played properly, in
the right tempo and with
the right accents inside
particular layers, after
a certain time 'rises, as
it were, as a plane after
taking off: the rhythmic
action, too complex to be
able to follow in detail,
begins flying. This
diffusion of individual
structures into a
different global
structure is one of my
basic compositional
concepts: from the end of
the fifties, from the
orchestral works
Apparitions and
Atmospheres I
continuously have been
looking for new ways of
resolving this basic
question. The harmony of
the first movement is
based on mixtures, hence
on the parallel leading
of voices. This technique
is used here in a rather
simple form; later in the
fourth movement it will
be considerably
developed. The second
movement (the only slow
one amongst five
movements) also has a
talea type of structure,
it is however much
simpler rhythmically,
because it contains only
one speed layer. The
melody is consisted in
the development of a
rigorous interval mode in
which two minor seconds
and one major second
alternate therefore nine
notes inside an octave.
This mode is transposed
into different degrees
and it also determines
the harmony of the
movement; however, in
closing episode in the
piano part there is a
combination of diatonics
(white keys) and
pentatonics (black keys)
led in brilliant,
sparkling quasimixtures,
while the orchestra
continues to play in the
nine tone mode. In this
movement I used isolated
sounds and extreme
registers (piccolo in a
very low register,
bassoon in a very high
register, canons played
by the swanee whistle,
the alto ocarina and
brass with a harmon-mute'
damper, cutting sound
combinations of the
piccolo, clarinet and
oboe in an extremely high
register, also
alternating of a
whistle-siren and
xylophone). The third
movement also has one
speed layer and because
of this it appears as
simpler than the first,
but actually the rhythm
is very complicated in a
different way here. Above
the uninterrupted, fast
and regular basic pulse,
thanks to the asymmetric
distribution of accents,
different types of
hemiolas and inherent
melodical patterns appear
(the term was coined by
Gerhard Kubik in relation
to central African
music). If this movement
is played with the
adequate speed and with
very clear accentuation,
illusory
rhythmic-melodical
figures appear. These
figures are not played
directly; they do not
appear in the score, but
exist only in our
perception as a result of
co-operation of different
voices. Already earlier I
had experimented with
illusory rhythmics,
namely in Poeme
symphonique for 100
metronomes (1962), in
Continuum for harpsichord
(1968), in Monument for
two pianos (1976), and
especially in the first
and sixth piano etude
Desordre and Automne a
Varsovie (1985). The
third movement of the
Piano Concerto is up to
now the clearest example
of illusory rhythmics and
illusory melody. In
intervallic and chordal
structure this movement
is based on alternation,
and also inter-relation
of various modal and
quasi-equidistant harmony
spaces. The tempered
twelve-part division of
the octave allows for
diatonical and other
modal interval
successions, which are
not equidistant, but are
based on the alternation
of major and minor
seconds in different
groups. The tempered
system also allows for
the use of the
anhemitonic pentatonic
scale (the black keys of
the piano). From
equidistant scales,
therefore interval
formations which are
based on the division of
an octave in equal
distances, the
twelve-tone tempered
system allows only
chromatics (only minor
seconds) and the six-tone
scale (the whole-tone:
only major seconds).
Moreover, the division of
the octave into four
parts only minor thirds)
and three parts (three
major thirds) is
possible. In several
music cultures different
equidistant divisions of
an octave are accepted,
for example, in the
Javanese slendro into
five parts, in Melanesia
into seven parts, popular
also in southeastern
Asia, and apart from
this, in southern Africa.
This does not mean an
exact equidistance: there
is a certain tolerance
for the inaccurateness of
the interval tuning.
These exotic for us,
Europeans, harmony and
melody have attracted me
for several years.
However I did not want to
re-tune the piano
(microtone deviations
appear in the concerto
only in a few places in
the horn and trombone
parts led in natural
tones). After the period
of experimenting, I got
to pseudo- or
quasiequidistant
intervals, which is
neither whole-tone nor
chromatic: in the
twelve-tone system, two
whole-tone scales are
possible, shifted a minor
second apart from each
other. Therefore, I
connect these two scales
(or sound resources), and
for example, places occur
where the melodies and
figurations in the piano
part are created from
both whole tone scales;
in one band one six-tone
sound resource is
utilized, and in the
other hand, the
complementary. In this
way whole-tonality and
chromaticism mutually
reduce themselves: a type
of deformed
equidistancism is formed,
strangely brilliant and
at the same time
slanting; illusory
harmony, indeed being
created inside the
tempered twelve-tone
system, but in sound
quality not belonging to
it anymore. The
appearance of such
slantedequidistant
harmony fields
alternating with modal
fields and based on
chords built on fifths
(mainly in the piano
part), complemented with
mixtures built on fifths
in the orchestra, gives
this movement an
individual, soft-metallic
colour (a metallic sound
resulting from
harmonics). The fourth
movement was meant to be
the central movement of
the Concerto. Its
melodc-rhythmic elements
(embryos or fragments of
motives) in themselves
are simple. The movement
also begins simply, with
a succession of
overlapping of these
elements in the mixture
type structures. Also
here a kaleidoscope is
created, due to a limited
number of these elements
- of these pebbles in the
kaleidoscope - which
continuously return in
augmentations and
diminutions. Step by
step, however, so that in
the beginning we cannot
hear it, a compiled
rhythmic organization of
the talea type gradually
comes into daylight,
based on the simultaneity
of two mutually shifted
to each other speed
layers (also triplet and
duoles, however, with
different asymmetric
structures than in the
first movement). While
longer rests are
gradually filled in with
motive fragments, we
slowly come to the
conclusion that we have
found ourselves inside a
rhythmic-melodical whirl:
without change in tempo,
only through increasing
the density of the
musical events, a
rotation is created in
the stream of successive
and compiled, augmented
and diminished motive
fragments, and increasing
the density suggests
acceleration. Thanks to
the periodical structure
of the composition,
always new but however of
the same (all the motivic
cells are similar to
earlier ones but none of
them are exactly
repeated; the general
structure is therefore
self-similar), an
impression is created of
a gigantic, indissoluble
network. Also, rhythmic
structures at first
hidden gradually begin to
emerge, two independent
speed layers with their
various internal
accentuations. This
great, self-similar whirl
in a very indirect way
relates to musical
associations, which came
to my mind while watching
the graphic projection of
the mathematical sets of
Julia and of Mandelbrot
made with the help of a
computer. I saw these
wonderful pictures of
fractal creations, made
by scientists from Brema,
Peitgen and Richter, for
the first time in 1984.
From that time they have
played a great role in my
musical concepts. This
does not mean, however,
that composing the fourth
movement I used
mathematical methods or
iterative calculus;
indeed, I did use
constructions which,
however, are not based on
mathematical thinking,
but are rather craftman's
constructions (in this
respect, my attitude
towards mathematics is
similar to that of the
graphic artist Maurits
Escher). I am concerned
rather with intuitional,
poetic, synesthetic
correspondence, not on
the scientific, but on
the poetic level of
thinking. The fifth, very
short Presto movement is
harmonically very simple,
but all the more
complicated in its
rhythmic structure: it is
based on the further
development of ''inherent
patterns of the third
movement. The
quasi-equidistance system
dominates harmonically
and melodically in this
movement, as in the
third, alternating with
harmonic fields, which
are based on the division
of the chromatic whole
into diatonics and
anhemitonic pentatonics.
Polyrhythms and harmonic
mixtures reach their
greatest density, and at
the same time this
movement is strikingly
light, enlightened with
very bright colours: at
first it seems chaotic,
but after listening to it
for a few times it is
easy to grasp its
content: many autonomous
but self-similar figures
which crossing
themselves. I present my
artistic credo in the
Piano Concerto: I
demonstrate my
independence from
criteria of the
traditional avantgarde,
as well as the
fashionable
postmodernism. Musical
illusions which I
consider to be also so
important are not a goal
in itself for me, but a
foundation for my
aesthetical attitude. I
prefer musical forms
which have a more
object-like than
processual character.
Music as frozen time, as
an object in imaginary
space evoked by music in
our imagination, as a
creation which really
develops in time, but in
imagination it exists
simultaneously in all its
moments. The spell of
time, the enduring its
passing by, closing it in
a moment of the present
is my main intention as a
composer. (Gyorgy
Ligeti). $34.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Precision Percussion - Débutant Kendor Music Inc.
By Gary Bolinger. For mixed ensemble. Percussion Trio. Grade 1.5. Published by K...(+)
By Gary Bolinger. For
mixed ensemble.
Percussion Trio. Grade
1.5. Published by Kendor
Music Inc
$7.50 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Cuico Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire C. Alan Publications
(Percussion Trio Feature). Composed by Gregory Danner. For Soloist(s) with Conce...(+)
(Percussion Trio
Feature). Composed by
Gregory Danner. For
Soloist(s) with Concert
Band (Piccolo, Flute 1,
Flute 2, Oboe 1, Bb
Clarinet 1, Bb Clarinet
2, Bb Clarinet 3, Bb Bass
Clarinet, Bassoon, Eb
Alto Saxophone 1, Eb Alto
Saxophone 2, Bb Tenor
Saxophone, Eb Baritone
Saxophone, Bb Trumpet 1,
Bb Trumpet 2, Bb Trumpet
3, F Horn 1/2, F Horn
3/). Band Music. Grade 4.
Score and parts. Duration
14:50. Published by C.
Alan Publications
$150.00 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Classics for Marimba Trio (score & parts) Ensemble de Percussions [Conducteur et Parties séparées] C. Alan Publications
Composed by Ritsuko Nasu. Percussion Ensemble. For Percussion Ensemble (Fugue in...(+)
Composed by Ritsuko Nasu.
Percussion Ensemble. For
Percussion Ensemble
(Fugue in G Minor: 1
4-oct marimba, 1 5-oct
marimba Tritsch-Tractsch
Polka: 2 4-oct marimbas,
1 5-oct marimba Pizzicato
Polka: 1 5-oct marimba
Ballet of the Unhatched
Chicks: 2 4-oct marimbas
Humoreske: 1 4-oct
marimba, 1 4.3-oct
marimba, 1 5-oct marimba
D). Medium-Medium
Difficult. Score & parts.
Duration 18:00. Published
by C. Alan Publications
$28.00 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| 2 French Tunes 3 Flûtes à bec (trio) Schott
1. Il est ne (Christmas Carol) - Score and Parts. By Brian Bonsor. Schott. 18 pa...(+)
1. Il est ne (Christmas
Carol) - Score and Parts.
By Brian Bonsor. Schott.
18 pages. Published by
Schott.
$12.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Adaptable Trios for Christmas Saxophone Tenor - Débutant Excelcia Music Publishing
Tenor Saxophone - Grade 1.5-3 SKU: XC.WB2105 27 Trios for any Wind and...(+)
Tenor Saxophone - Grade
1.5-3 SKU:
XC.WB2105 27 Trios
for any Wind and
Percussion
Instruments. Composed
by Various. Arranged by
Matthew R. Putnam and
Tyler Arcari. Adaptable
Ensemble Series.
Christmas. Ensemble,
Collection, Book.
Excelcia Music Publishing
#WB2105. Published by
Excelcia Music Publishing
(XC.WB2105). ISBN
9781644020746. UPC:
812598038477. 9 x 12
inches. Adaptable
Trios for Christmas
contains 27 newly
arranged trios written at
grades 1.5 to 3. Since
it’s creation in
2019, Tyler Arcari and
Matthew R.
Putnam’s Adaptable
Ensemble series has
emerged as a leading
resource in flexible
instrumentation and this
new addition to the
series for Christmastime
is no exception. Designed
to be used with any
combination of three wind
instruments and/or
percussion, the possible
combinations are endless!
Play these trios as
traditional three
instrument chamber works,
or expand your
instrumentation to
include the entire
ensemble, including
percussion. Tyler and
Matthew use their
experience as music
educators to craft trios
that are fun to play, and
musically
stimulating. $14.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Adaptable Trios Saxophone Tenor - Débutant Excelcia Music Publishing
Tenor Saxophone - Grade 1.5-3 SKU: XC.WB2005 25 Trios for Any Wind and...(+)
Tenor Saxophone - Grade
1.5-3 SKU:
XC.WB2005 25 Trios
for Any Wind and
Percussion
Instruments. Composed
by Matthew R. Putnam and
Tyler Arcari. Solo &
Ensemble. Adaptable
Trios. Ensemble,
Collection, Book.
Excelcia Music Publishing
#WB2005. Published by
Excelcia Music Publishing
(XC.WB2005). ISBN
9781644020326. UPC:
812598032826. 9 x 12
inches. Adaptable
Trios contains 25
newly-composed or
arranged trios that can
be flexibly used with any
combination of wind
instruments, making them
an invaluable resource in
the modern band room!
Written at an accessible
1.5-3 grade level,
Adaptable Trios follow
the popular Adaptable
Duets books by the same
composers. Tyler Arcari
and Matthew R. Putnam
bring with them a wealth
of educational experience
as music educators to
craft trios that are fun
to play and musically
stimulating. Adaptable
Trios are sure to become
an instant
favorite.
Table of
Contents: Alla
Hornpipe ContredanseDanza de
Hercules Fanfare Fl
amingos German
Dance German
Dance March Minuet<
br>Musette My Country,
'Tis of
Thee Pastorale Path
etique Rondo Sailor
's Song Saint Anthony
Chorale Shenandoah
Sunayama The Ash
Grove The Imp Valse
Noble Volte Wait
just a
Minuet Waltz. $14.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Adaptable Quartets for Tenor Saxophone Saxophone Tenor - Facile Excelcia Music Publishing
Tenor Saxophone - early intermediate SKU: XC.WB2018 21 Quartets for An...(+)
Tenor Saxophone - early
intermediate SKU:
XC.WB2018 21
Quartets for Any Wind &
Percussion
Instruments. Composed
by Various. Arranged by
Matthew R. Putnam and
Tyler Arcari. Concert and
Contest. Adaptable
Ensemble Series. Solo and
Ensemble. Ensemble,
Collection, Book.
Excelcia Music Publishing
#WB2018. Published by
Excelcia Music Publishing
(XC.WB2018). ISBN
9781644020517. 9 x 12
inches. Adaptable
Quartets contains 21
newly-composed or
arranged quartets that
can be flexibly used with
any combination of wind
and percussion
instruments, making them
an invaluable resource in
the modern band room!
Written at an accessible
1.5-3 grade level,
Adaptable Adaptable
Quartets contains 21
newly-composed or
arranged quartets that
can be flexibly used with
any combination of wind
and percussion
instruments, making them
an invaluable resource in
the modern band room!
Written at an accessible
1.5-3 grade level,
Adaptable Quartets follow
the popular Adaptable
Duets and Adaptable Trios
books by the same
composers. Tyler Arcari
and Matthew R. Putnam
bring with them a wealth
of educational experience
as music educators to
craft quartets that are
fun to play and musically
stimulating. Adaptable
Quartets are sure to
become an instant
favorite.
Table of
Contents Biographies,
Abide with me, Agincourt
Carol, The Barber of
Seville, Be Thou My
Vision, Capstone March,
Chorale - From Jupiter,
Country Gardens, Curse of
Tortuga, Dawn of the
Century March, Fortune
Favors the Bold, Gesu
Bambino, Go Tell it on
the Mountain,
Greensleeves, Home on the
Range, In the Hall of the
Mountain King, Les
Toreadors, Scimitar!, Sea
Shanty, Song Without
Words, The Emperor Waltz,
When Johnny Comes
Marching Home. $14.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Funk Masters the Great James Brown Rhythm Section 1960-1973 Book/2 CD Guitare, Basse, Batterie (trio) [Partition + CD] Alfred Publishing
Performed by Allan 'Dr. Licks' Slutsky. Edited by Aaron Stang. CPP books (Percus...(+)
Performed by Allan 'Dr.
Licks' Slutsky. Edited by
Aaron Stang. CPP books
(Percussion). 148 pages.
Published by Alfred
Publishing.
$29.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| On the Run for 3 Players on 1 Marimba Ensemble de Percussions Metropolis Music Publishers
Percussion Ensemble SKU: IS.PCE7049EM Composed by Sam Gevers. Percussion....(+)
Percussion Ensemble
SKU: IS.PCE7049EM
Composed by Sam Gevers.
Percussion. Metropolis
Music Publishers
#PCE7049EM. Published by
Metropolis Music
Publishers
(IS.PCE7049EM). ISBN
9790365070497. Sinc
e 2010 Sam is full time
drummer in the Royal Band
of the Belgian Navy. As a
freelance musician he
played with the Royal
Flemish Philharmonic, the
National Orchestra of
Belgium, Symphonic
Factory and many more. In
these orchestras some
famous conductors crossed
his path: f.i. Takuo
Yuasa (Jap), Jaap Van
Zweden (Ned) and Pincchas
Steinberg (Ger). In many
performances at the Night
of the Proms with Il
Novecento, he accompanied
world famous artists like
Donna Summer, Mike
Oldfield, Ike Turner and
Macy Gray. As freelance
drummer/percussion player
he worked on several
musical shows as Evita,
Elisabeth, Joseph and the
amazing tecnicolour
dreamcoat, Oliver!,
Fiddler on the roof,
Cinderella, Wizard of
Oz,... Performing all
these plays and concerts,
he came across the whole
wide world. Sam teaches
percussion and ensemble
at the Conservatory of
Mechelen, Belgium. He is
founder of the trio
Percussive, which is now
one the leading
percussion groups,
touring in the Belgian
theatres. Sam made a
serie of short percussion
videos which were
broadcasted many times on
national television, and
which are still popular
on social media. For one
of these movies he was
granted with 2 awards at
the Corporate Video
Festival. As a composer
Sam wrote many
educational pieces, a lot
of songs for Percussive,
some large compositions
for percussion ensemble
and 6 musicals/mass
productions as King
Albert 1,
Marie-Antoinette,
Gheelamania 2010 & 2015
and Mol-in-scene. These
mass productions were
visited by more then
90000 people. Sam's piece
Frozen planet was the
mandatory work voor the
ONSK percussion ensemble
contest 2016, in the
highest level. $22.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Metamorphonic for Percussion Ensemble Ensemble de Percussions Metropolis Music Publishers
Percussion Ensemble SKU: IS.PCE6858EM Composed by Sam Gevers. Percussion....(+)
Percussion Ensemble
SKU: IS.PCE6858EM
Composed by Sam Gevers.
Percussion. Sam Gevers
Percussion Collection.
Metropolis Music
Publishers #PCE6858EM.
Published by Metropolis
Music Publishers
(IS.PCE6858EM). ISBN
9790365068586. Sinc
e 2010 Sam is full time
drummer in the Royal Band
of the Belgian Navy. As a
freelance musician he
played with the Royal
Flemish Philharmonic, the
National Orchestra of
Belgium, Symphonic
Factory and many more. In
these orchestras some
famous conductors crossed
his path: f.i. Takuo
Yuasa (Jap), Jaap Van
Zweden (Ned) and Pincchas
Steinberg (Ger). In many
performances at the Night
of the Proms with Il
Novecento, he accompanied
world famous artists like
Donna Summer, Mike
Oldfield, Ike Turner and
Macy Gray. As freelance
drummer/percussion player
he worked on several
musical shows as Evita,
Elisabeth, Joseph and the
amazing tecnicolour
dreamcoat, Oliver!,
Fiddler on the roof,
Cinderella, Wizard of
Oz,... Performing all
these plays and concerts,
he came across the whole
wide world. Sam teaches
percussion and ensemble
at the Conservatory of
Mechelen, Belgium. He is
founder of the trio
Percussive, which is now
one the leading
percussion groups,
touring in the Belgian
theatres. Sam made a
serie of short percussion
videos which were
broadcasted many times on
national television, and
which are still popular
on social media. For one
of these movies he was
granted with 2 awards at
the Corporate Video
Festival. As a composer
Sam wrote many
educational pieces, a lot
of songs for Percussive,
some large compositions
for percussion ensemble
and 6 musicals/mass
productions as King
Albert 1,
Marie-Antoinette,
Gheelamania 2010 and 2015
and Mol-in-scene. These
mass productions were
visited by more then
90000 people. Sam's piece
Frozen planet was the
mandatory work voor the
ONSK percussion ensemble
contest 2016, in the
highest level. $90.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Frozen Planet for Percussion Ensemble Ensemble de Percussions Metropolis Music Publishers
Percussion Ensemble SKU: IS.PCE6938EM Composed by Sam Gevers. Percussion....(+)
Percussion Ensemble
SKU: IS.PCE6938EM
Composed by Sam Gevers.
Percussion. Sam Gevers
Percussion Collection.
Metropolis Music
Publishers #PCE6938EM.
Published by Metropolis
Music Publishers
(IS.PCE6938EM). ISBN
9790365069385. Sinc
e 2010 Sam is full time
drummer in the Royal Band
of the Belgian Navy. As a
freelance musician he
played with the Royal
Flemish Philharmonic, the
National Orchestra of
Belgium, Symphonic
Factory and many more. In
these orchestras some
famous conductors crossed
his path: f.i. Takuo
Yuasa (Jap), Jaap Van
Zweden (Ned) and Pincchas
Steinberg (Ger). In many
performances at the Night
of the Proms with Il
Novecento, he accompanied
world famous artists like
Donna Summer, Mike
Oldfield, Ike Turner and
Macy Gray. As freelance
drummer/percussion player
he worked on several
musical shows as Evita,
Elisabeth, Joseph and the
amazing tecnicolour
dreamcoat, Oliver!,
Fiddler on the roof,
Cinderella, Wizard of
Oz,... Performing all
these plays and concerts,
he came across the whole
wide world. Sam teaches
percussion and ensemble
at the Conservatory of
Mechelen, Belgium. He is
founder of the trio
Percussive, which is now
one the leading
percussion groups,
touring in the Belgian
theatres. Sam made a
serie of short percussion
videos which were
broadcasted many times on
national television, and
which are still popular
on social media. For one
of these movies he was
granted with 2 awards at
the Corporate Video
Festival. As a composer
Sam wrote many
educational pieces, a lot
of songs for Percussive,
some large compositions
for percussion ensemble
and 6 musicals/mass
productions as King
Albert 1,
Marie-Antoinette,
Gheelamania 2010 & 2015
and Mol-in-scene. These
mass productions were
visited by more then
90000 people. Sam's piece
Frozen planet was the
mandatory work voor the
ONSK percussion ensemble
contest 2016, in the
highest level. $124.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Flex-Ability Classics -- Solo-Duet-Trio-Quartet with Optional Accompaniment Instrumentation Flexible [Partition] Alfred Publishing
(Percussion). Arranged by Victor López. For Percussion. Mixed Instruments - F...(+)
(Percussion). Arranged by
Victor López. For
Percussion. Mixed
Instruments - Flexible
Instrumentation.
Flex-Ability Series.
Book. 24 pages
$6.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Valse No. 10, Opus 69 No. 2 Dhalmann
By Frederic Chopin (1810-1849). Arranged by Daniel Sauvage. For Keyboard Percuss...(+)
By Frederic Chopin
(1810-1849). Arranged by
Daniel Sauvage. For
Keyboard Percussion Trio.
Intermediate - Difficult.
Duration 1-3 minutes
$26.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Sound Matters [Conducteur] Schott
(Score) SKU: HL.49003135 An Anthology of Listening Material for GCSE M...(+)
(Score) SKU:
HL.49003135 An
Anthology of Listening
Material for GCSE
Music. Composed by
Bruce Cole and David
Bowman. This edition:
Paperback/Soft Cover.
Sheet music. Edition
Schott. Classical,
Collection. Score. 200
pages. Schott Music
#ED12351. Published by
Schott Music
(HL.49003135). ISBN
9780946535132. UPC:
884088991623.
8.25x11.75x0.436 inches.
English. This
anthology of 72 music
examples, consisting of
the Teacher's Manual,
Pupil's Questions, Music
Book and two recordings
on CD or cassettes, is
intended to provide
comprehensive resource
materials for the
listening component of
the GCSE music
syllabuses. The extracts
have been selected
especially to illustrate
the periods, styles and
rudiments of music
encompassed within the
syllabuses, and the four
components of the
publication produced to
ensure maximum assistance
to the teacher in the
classroom. Selected
contents: MUSIC IN THE
LATE RENAISSANCE O quam
gloriosum est regnum * T.
Morley: MUSIC IN THE
BAROQUE ERA: H. Purcell:
Hark, each tree (from Ode
for St Cecilia's Day) *
A. Vivaldi: Second
Allegro (from Op. 3 No.
11) * G.F. Handel: Lascia
ch'io * J.S. Bach:
Erschienen ist der
herrliche Tag (BWV 629) *
F. Couperin: Le
Petit-Rein MUSIC IN THE
ROMANTIC PERIOD: F.
Schubert: Am Meer (from
Schwanengesang) * H.
Berlioz: Un Bal (from
Symphonie fantastique) *
F. Chopin: Mazurka (Op. 7
No. 5) * R. Schumann:
Fantasiestuck (Op. 73 No.
1) * R. Wagner: Prelude
(to Tristan and Isolde) *
R. Strauss: Epilog (from
Till Eulenspiegels
lustige Streiche) * MUSIC
IN THE TWENTIETH CENTURY:
B. Bartok: Third movement
(from Sonata for two
Pianos and Percussion) *
K. Stockhausen: Zyklus *
C. Berberian: Stripsody *
JAZZ AND POP: F. Molton:
Peace in the Valley * Bix
Beiderbecke and his Gang:
Jazz Me Blues * The
Platters: Only You * E.
Fitzgerald: Mack the
Knife * S. Getz and A.
Gilberto: The Girl From
Ipanema and more. $20.95 - Voir plus => Acheter | | |
| Trio No. 1 [Conducteur et Parties séparées] Warner/Chappell Music
(for Clarinet, Violin and Marimba). Composed by Jakob Vejslev. For clarinet, vio...(+)
(for Clarinet, Violin and
Marimba). Composed by
Jakob Vejslev. For
clarinet, violin,
percussion. Score and
parts. Op. 51. Published
by Warner/Chappell Music
$40.38 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Future of Tomorrow - Facile Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Cornet, Cornet 2...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Clarinet
1, Clarinet 2, Cornet,
Cornet 2, Crash Cymbals,
Euphonium, Euphonium
T.C., Flute,
Glockenspiel, Horn 1,
Horn 2, Mallet
Percussion, Oboe,
Percussion 1, Percussion
2, Percussion 3, Snare
Drum and more. - Grade 3
SKU: CF.CPS245
Composed by Benjamin Yeo.
Folio. Cps. Set of Score
and Parts.
8+2+8+8+2+4+4+4+4+2+4+4+4
+4+6+6+4+4+8+2+2+1+4+1+2+
24 pages. Duration 2
minutes, 42 seconds. Carl
Fischer Music #CPS245.
Published by Carl Fischer
Music (CF.CPS245).
ISBN 9781491158128.
UPC: 680160916726. 9 x 12
inches. ABOUT THE
MUSIC Future of Tomorrow
(Concert March) was
commissioned by the Arts
Education Branch,
Ministry of Education as
the set piece for the
Singapore Youth Festival
2016 Arts Presentation
for Concert and Brass
Bands (Primary Level).
This march uses brief
excerpts from the
well-known Malay folk
songs Katak Lompat and
Rasa Sayang. Our youths
are indeed our future of
tomorrow. This
joyful-themed march aims
to bring out the best in
each of your young
players. I hope that
students, band directors
and audiences will enjoy
preparing, performing and
listening to this work.
EDUCATIONAL NOTES Key: Eb
Major SECTION BARS EVENT
/ SCORING / SUGGESTIONS
Introduction 1-4 Opens in
Eb major with dotted
rhythm motif. 1st Strain
5-20 Take note of melodic
phrasing above the
(light) oom-pah ostinato;
melody repeats at m. 13
with the addition of
countermelody in the
inner lines; although
written at mf dynamic,
this anew ideaa needs to
be heard clearly for
contrast with the
previous statement. 2nd
Strain 21-36 C minor
(relative minor); excerpt
from Katak Lompat; melody
in the lower brass/wind
from m. 21 with a
contrasting
attitude/style from 1st
strain; back to a more
lyrical treatment from m.
29. Trio 37-56 Stays
unmodulated in the same
key; opens with a
percussion solo feature
before the start of the
softer Trio theme; keep
this section controlled
and be sensitive to the
balance; the metallic
timbre of the muted
trumpet/cornet needs to
be heard clearly (might
suggest to bring the
dynamic level up to mf
when muted); if
cued-notes are played,
make sure they are played
throughout the melodic
phrase as written to
avoid awkward leaps.
Break Strain 57-62
Excerpt from Rasa Sayang
with some play in
tonality and instrumental
dialogue; quasi
grandioso-style before
the final strain. Final
Strain 63-82 Back to Eb
major with the reprise of
the Trio theme;
festive-like style with
fuller orchestration and
new countermelodies;
dotted rhythm motif from
the introduction
concludes the march in a
codetta-like section from
m. 79. NOTE TO THE
CONDUCTOR This march has
been carefully written
with reasonable
technicalities and range
in mind for younger
players. Generally,
optional cued notes in
parenthesis are given for
less experienced players
who have yet to develop
their range on the
instrument. However, they
should never be taken as
an easy alternative for
all players in the
section; otherwise, this
may result in a less than
ideal flow of the musical
lines. Marches are good
tools to train tempo
consistency, articulation
and rhythmic precision as
well as musical phrasing.
I hope that there will be
great learning
opportunities for your
students as they learn
this piece. This march is
separately orchestrated
for both wind and brass
bands to maximize the
instrumental colors
within each ensemble. The
parts are therefore not
exchangeable between the
wind band and brass band
sets. I wish you the best
in the performance of
this work. - Benjamin
Yeo. ABOUT THE MUSIC
Future of Tomorrow
(Concert March) was
commissioned by the Arts
Education Branch,
Ministry of Education as
the set piece for the
Singapore Youth Festival
2016 Arts Presentation
for Concert and Brass
Bands (Primary Level).
This march uses brief
excerpts from the
well-known Malay folk
songs Katak Lompat and
Rasa Sayang. Our youths
are indeed our future of
tomorrow. This
joyful-themed march aims
to bring out the best in
each of your young
players. I hope that
students, band directors
and audiences will enjoy
preparing, performing and
listening to this work.
EDUCATIONAL NOTES Key: Eb
Major SECTION BARS EVENT
/ SCORING / SUGGESTIONS
Introduction 1-4 Opens in
Eb major with dotted
rhythm motif. 1st Strain
5-20 Take note of melodic
phrasing above the
(light) oom-pah ostinato;
melody repeats at m. 13
with the addition of
countermelody in the
inner lines; although
written at mf dynamic,
this 'new idea' needs to
be heard clearly for
contrast with the
previous statement. 2nd
Strain 21-36 C minor
(relative minor); excerpt
from Katak Lompat; melody
in the lower brass/wind
from m. 21 with a
contrasting
attitude/style from 1st
strain; back to a more
lyrical treatment from m.
29. Trio 37-56 Stays
unmodulated in the same
key; opens with a
percussion solo feature
before the start of the
softer Trio theme; keep
this section controlled
and be sensitive to the
balance; the metallic
timbre of the muted
trumpet/cornet needs to
be heard clearly (might
suggest to bring the
dynamic level up to mf
when muted); if
cued-notes are played,
make sure they are played
throughout the melodic
phrase as written to
avoid awkward leaps.
Break Strain 57-62
Excerpt from Rasa Sayang
with some play in
tonality and instrumental
dialogue; quasi
grandioso-style before
the final strain. Final
Strain 63-82 Back to Eb
major with the reprise of
the Trio theme;
festive-like style with
fuller orchestration and
new countermelodies;
dotted rhythm motif from
the introduction
concludes the march in a
codetta-like section from
m. 79. NOTE TO THE
CONDUCTOR This march has
been carefully written
with reasonable
technicalities and range
in mind for younger
players. Generally,
optional cued notes in
parenthesis are given for
less experienced players
who have yet to develop
their range on the
instrument. However, they
should never be taken as
an easy alternative for
all players in the
section; otherwise, this
may result in a less than
ideal flow of the musical
lines. Marches are good
tools to train tempo
consistency, articulation
and rhythmic precision as
well as musical phrasing.
I hope that there will be
great learning
opportunities for your
students as they learn
this piece. This march is
separately orchestrated
for both wind and brass
bands to maximize the
instrumental colors
within each ensemble. The
parts are therefore not
exchangeable between the
wind band and brass band
sets. I wish you the best
in the performance of
this work. - Benjamin
Yeo. ABOUT THE
MUSICFuture of Tomorrow
(Concert March) was
commissioned by the Arts
Education Branch,
Ministry of Education as
the set piece for the
Singapore Youth Festival
2016 Arts Presentation
for Concert and Brass
Bands (Primary Level).
This march uses brief
excerpts from the
well-known Malay folk
songs Katak Lompat and
Rasa Sayang.Our youths
are indeed our future of
tomorrow. This
joyful-themed march aims
to bring out the best in
each of your young
players. I hope that
students, band directors
and audiences will enjoy
preparing, performing and
listening to this
work.EDUCATIONAL
NOTESKey: Eb
MajorSECTIONBARSEVENT /
SCORING /
SUGGESTIONSIntroduction1-
4Opens in Eb major with
dotted rhythm motif.1st
Strain5-20Take note of
melodic phrasing above
the (light) oom-pah
ostinato;melody repeats
at m. 13 with the
addition of countermelody
in the inner lines;
although written at mf
dynamic, this ‘new
idea’ needs to be
heard clearly for
contrast with the
previous statement.2nd
Strain21-36C minor
(relative minor); excerpt
from Katak Lompat; melody
in the lower brass/wind
from m. 21 with a
contrasting
attitude/style from 1st
strain; back to a more
lyrical treatment from m.
29.Trio37-56Stays
unmodulated in the same
key; opens with a
percussion solo feature
before the start of the
softer Trio theme; keep
this section controlled
and be sensitive to the
balance; the metallic
timbre of the muted
trumpet/cornet needs to
be heard clearly (might
suggest to bring the
dynamic level up to mf
when muted); if
cued-notes are played,
make sure they are played
throughout the melodic
phrase as written to
avoid awkward leaps.Break
Strain57-62Excerpt from
Rasa Sayang with some
play in tonality and
instrumental dialogue;
quasi grandioso-style
before the final
strain.Final
Strain63-82Back to Eb
major with the reprise of
the Trio theme;
festive-like style with
fuller orchestration and
new countermelodies;
dotted rhythm motif from
the introduction
concludes the march in a
codetta-like section from
m. 79.NOTE TO THE
CONDUCTORThis march has
been carefully written
with reasonable
technicalities and range
in mind for younger
players. Generally,
optional cued notes in
parenthesis are given for
less experienced players
who have yet to develop
their range on the
instrument. However, they
should never be taken as
an easy alternative for
all players in the
section; otherwise, this
may result in a less than
ideal flow of the musical
lines. Marches are good
tools to train tempo
consistency, articulation
and rhythmic precision as
well as musical phrasing.
I hope that there will be
great learning
opportunities for your
students as they learn
this piece.This march is
separately orchestrated
for both wind and brass
bands to maximize the
instrumental colors
within each ensemble. The
parts are therefore not
exchangeable between the
wind band and brass band
sets.I wish you the best
in the performance of
this work.- Benjamin
Yeo. $85.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Future of Tomorrow [Conducteur] - Facile Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Cornet, Cornet 2...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Clarinet
1, Clarinet 2, Cornet,
Cornet 2, Crash Cymbals,
Euphonium, Euphonium
T.C., Flute,
Glockenspiel, Horn 1,
Horn 2, Mallet
Percussion, Oboe,
Percussion 1, Percussion
2, Percussion 3, Snare
Drum and more. - Grade 3
SKU: CF.CPS245F
Composed by Benjamin Yeo.
Sws. Cps. Full score. 24
pages. Carl Fischer Music
#CPS245F. Published by
Carl Fischer Music
(CF.CPS245F). ISBN
9781491158135. UPC:
680160916733. 9 x 12
inches. ABOUT THE
MUSIC Future of Tomorrow
(Concert March) was
commissioned by the Arts
Education Branch,
Ministry of Education as
the set piece for the
Singapore Youth Festival
2016 Arts Presentation
for Concert and Brass
Bands (Primary Level).
This march uses brief
excerpts from the
well-known Malay folk
songs Katak Lompat and
Rasa Sayang. Our youths
are indeed our future of
tomorrow. This
joyful-themed march aims
to bring out the best in
each of your young
players. I hope that
students, band directors
and audiences will enjoy
preparing, performing and
listening to this work.
EDUCATIONAL NOTES Key: Eb
Major SECTION BARS EVENT
/ SCORING / SUGGESTIONS
Introduction 1-4 Opens in
Eb major with dotted
rhythm motif. 1st Strain
5-20 Take note of melodic
phrasing above the
(light) oom-pah ostinato;
melody repeats at m. 13
with the addition of
countermelody in the
inner lines; although
written at mf dynamic,
this anew ideaa needs to
be heard clearly for
contrast with the
previous statement. 2nd
Strain 21-36 C minor
(relative minor); excerpt
from Katak Lompat; melody
in the lower brass/wind
from m. 21 with a
contrasting
attitude/style from 1st
strain; back to a more
lyrical treatment from m.
29. Trio 37-56 Stays
unmodulated in the same
key; opens with a
percussion solo feature
before the start of the
softer Trio theme; keep
this section controlled
and be sensitive to the
balance; the metallic
timbre of the muted
trumpet/cornet needs to
be heard clearly (might
suggest to bring the
dynamic level up to mf
when muted); if
cued-notes are played,
make sure they are played
throughout the melodic
phrase as written to
avoid awkward leaps.
Break Strain 57-62
Excerpt from Rasa Sayang
with some play in
tonality and instrumental
dialogue; quasi
grandioso-style before
the final strain. Final
Strain 63-82 Back to Eb
major with the reprise of
the Trio theme;
festive-like style with
fuller orchestration and
new countermelodies;
dotted rhythm motif from
the introduction
concludes the march in a
codetta-like section from
m. 79. NOTE TO THE
CONDUCTOR This march has
been carefully written
with reasonable
technicalities and range
in mind for younger
players. Generally,
optional cued notes in
parenthesis are given for
less experienced players
who have yet to develop
their range on the
instrument. However, they
should never be taken as
an easy alternative for
all players in the
section; otherwise, this
may result in a less than
ideal flow of the musical
lines. Marches are good
tools to train tempo
consistency, articulation
and rhythmic precision as
well as musical phrasing.
I hope that there will be
great learning
opportunities for your
students as they learn
this piece. This march is
separately orchestrated
for both wind and brass
bands to maximize the
instrumental colors
within each ensemble. The
parts are therefore not
exchangeable between the
wind band and brass band
sets. I wish you the best
in the performance of
this work. - Benjamin
Yeo. ABOUT THE MUSIC
Future of Tomorrow
(Concert March) was
commissioned by the Arts
Education Branch,
Ministry of Education as
the set piece for the
Singapore Youth Festival
2016 Arts Presentation
for Concert and Brass
Bands (Primary Level).
This march uses brief
excerpts from the
well-known Malay folk
songs Katak Lompat and
Rasa Sayang. Our youths
are indeed our future of
tomorrow. This
joyful-themed march aims
to bring out the best in
each of your young
players. I hope that
students, band directors
and audiences will enjoy
preparing, performing and
listening to this work.
EDUCATIONAL NOTES Key: Eb
Major SECTION BARS EVENT
/ SCORING / SUGGESTIONS
Introduction 1-4 Opens in
Eb major with dotted
rhythm motif. 1st Strain
5-20 Take note of melodic
phrasing above the
(light) oom-pah ostinato;
melody repeats at m. 13
with the addition of
countermelody in the
inner lines; although
written at mf dynamic,
this 'new idea' needs to
be heard clearly for
contrast with the
previous statement. 2nd
Strain 21-36 C minor
(relative minor); excerpt
from Katak Lompat; melody
in the lower brass/wind
from m. 21 with a
contrasting
attitude/style from 1st
strain; back to a more
lyrical treatment from m.
29. Trio 37-56 Stays
unmodulated in the same
key; opens with a
percussion solo feature
before the start of the
softer Trio theme; keep
this section controlled
and be sensitive to the
balance; the metallic
timbre of the muted
trumpet/cornet needs to
be heard clearly (might
suggest to bring the
dynamic level up to mf
when muted); if
cued-notes are played,
make sure they are played
throughout the melodic
phrase as written to
avoid awkward leaps.
Break Strain 57-62
Excerpt from Rasa Sayang
with some play in
tonality and instrumental
dialogue; quasi
grandioso-style before
the final strain. Final
Strain 63-82 Back to Eb
major with the reprise of
the Trio theme;
festive-like style with
fuller orchestration and
new countermelodies;
dotted rhythm motif from
the introduction
concludes the march in a
codetta-like section from
m. 79. NOTE TO THE
CONDUCTOR This march has
been carefully written
with reasonable
technicalities and range
in mind for younger
players. Generally,
optional cued notes in
parenthesis are given for
less experienced players
who have yet to develop
their range on the
instrument. However, they
should never be taken as
an easy alternative for
all players in the
section; otherwise, this
may result in a less than
ideal flow of the musical
lines. Marches are good
tools to train tempo
consistency, articulation
and rhythmic precision as
well as musical phrasing.
I hope that there will be
great learning
opportunities for your
students as they learn
this piece. This march is
separately orchestrated
for both wind and brass
bands to maximize the
instrumental colors
within each ensemble. The
parts are therefore not
exchangeable between the
wind band and brass band
sets. I wish you the best
in the performance of
this work. - Benjamin
Yeo. ABOUT THE
MUSICFuture of Tomorrow
(Concert March) was
commissioned by the Arts
Education Branch,
Ministry of Education as
the set piece for the
Singapore Youth Festival
2016 Arts Presentation
for Concert and Brass
Bands (Primary Level).
This march uses brief
excerpts from the
well-known Malay folk
songs Katak Lompat and
Rasa Sayang.Our youths
are indeed our future of
tomorrow. This
joyful-themed march aims
to bring out the best in
each of your young
players. I hope that
students, band directors
and audiences will enjoy
preparing, performing and
listening to this
work.EDUCATIONAL
NOTESKey: Eb
MajorSECTIONBARSEVENT /
SCORING /
SUGGESTIONSIntroduction1-
4Opens in Eb major with
dotted rhythm motif.1st
Strain5-20Take note of
melodic phrasing above
the (light) oom-pah
ostinato;melody repeats
at m. 13 with the
addition of countermelody
in the inner lines;
although written at mf
dynamic, this ‘new
idea’ needs to be
heard clearly for
contrast with the
previous statement.2nd
Strain21-36C minor
(relative minor); excerpt
from Katak Lompat; melody
in the lower brass/wind
from m. 21 with a
contrasting
attitude/style from 1st
strain; back to a more
lyrical treatment from m.
29.Trio37-56Stays
unmodulated in the same
key; opens with a
percussion solo feature
before the start of the
softer Trio theme; keep
this section controlled
and be sensitive to the
balance; the metallic
timbre of the muted
trumpet/cornet needs to
be heard clearly (might
suggest to bring the
dynamic level up to mf
when muted); if
cued-notes are played,
make sure they are played
throughout the melodic
phrase as written to
avoid awkward leaps.Break
Strain57-62Excerpt from
Rasa Sayang with some
play in tonality and
instrumental dialogue;
quasi grandioso-style
before the final
strain.Final
Strain63-82Back to Eb
major with the reprise of
the Trio theme;
festive-like style with
fuller orchestration and
new countermelodies;
dotted rhythm motif from
the introduction
concludes the march in a
codetta-like section from
m. 79.NOTE TO THE
CONDUCTORThis march has
been carefully written
with reasonable
technicalities and range
in mind for younger
players. Generally,
optional cued notes in
parenthesis are given for
less experienced players
who have yet to develop
their range on the
instrument. However, they
should never be taken as
an easy alternative for
all players in the
section; otherwise, this
may result in a less than
ideal flow of the musical
lines. Marches are good
tools to train tempo
consistency, articulation
and rhythmic precision as
well as musical phrasing.
I hope that there will be
great learning
opportunities for your
students as they learn
this piece.This march is
separately orchestrated
for both wind and brass
bands to maximize the
instrumental colors
within each ensemble. The
parts are therefore not
exchangeable between the
wind band and brass band
sets.I wish you the best
in the performance of
this work.- Benjamin
Yeo. $14.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Uns Ist Kommen Violin 1 - Facile Schott
Children's choir (SMezA), mixed choir ad libitum, soprano or tenor solo, soprano...(+)
Children's choir (SMezA),
mixed choir ad libitum,
soprano or tenor solo,
soprano recorder, treble
recorder and string trio,
double bass ad libitum,
mallet percussion and
percussion - easy SKU:
HL.49013268
Kantate nach
Tanzweisen des Neithardt
von Reuenthal zum Singen,
Spielen und Tanzen.
Composed by Cesar
Bresgen. Sheet music.
Bausteine fur
Musikerziehung und
Musikpflege. Classical.
Individual part. 4 pages.
Duration 20'. Schott
Music #B 127-12.
Published by Schott Music
(HL.49013268). ISBN
9790001103978. Vor
dem Hintergrund der in
den letzten Jahren immer
starker wachsenden
Hinwendung zu
mittelalterlicher
Literatur und Musik
eroffnet diese szenische
Kantate vielfaltige
Moglichkeiten, das
literarische Werk eines
der bedeutendsten
mittelhochdeutschen
Dichter in seiner
Fremdheit wie
Vertrautheit Kindern und
Jugendlichen
naherzubringen. $5.95 - Voir plus => Acheter | | |
| Carcharodon Carcharias for Snare Drum and Piano Metropolis Music Publishers
Percussion and Piano SKU: IS.PC6799EM Composed by Sam Gevers. Percussion....(+)
Percussion and Piano
SKU: IS.PC6799EM
Composed by Sam Gevers.
Percussion. Metropolis
Music Publishers
#PC6799EM. Published by
Metropolis Music
Publishers (IS.PC6799EM).
ISBN
9790365067992. Sinc
e 2010 Sam is full time
drummer in the Royal Band
of the Belgian Navy. As a
freelance musician he
played with the Royal
Flemish Philharmonic, the
National Orchestra of
Belgium, Symphonic
Factory and many more. In
these orchestras some
famous conductors crossed
his path: f.i. Takuo
Yuasa (Jap), Jaap Van
Zweden (Ned) and Pincchas
Steinberg (Ger). In many
performances at the Night
of the Proms with Il
Novecento, he accompanied
world famous artists like
Donna Summer, Mike
Oldfield, Ike Turner and
Macy Gray. As freelance
drummer/percussion player
he worked on several
musical shows as Evita,
Elisabeth, Joseph and the
amazing tecnicolour
dreamcoat, Oliver!,
Fiddler on the roof,
Cinderella, Wizard of
Oz,... Performing all
these plays and concerts,
he came across the whole
wide world. Sam teaches
percussion and ensemble
at the Conservatory of
Mechelen, Belgium. He is
founder of the trio
Percussive, which is now
one the leading
percussion groups,
touring in the Belgian
theatres. Sam made a
serie of short percussion
videos which were
broadcasted many times on
national television, and
which are still popular
on social media. For one
of these movies he was
granted with 2 awards at
the Corporate Video
Festival. As a composer
Sam wrote many
educational pieces, a lot
of songs for Percussive,
some large compositions
for percussion ensemble
and 6 musicals/mass
productions as King
Albert 1,
Marie-Antoinette,
Gheelamania 2010 & 2015
and Mol-in-scene. These
mass productions were
visited by more then
90000 people. Sam's piece
Frozen planet was the
mandatory work voor the
ONSK percussion ensemble
contest 2016, in the
highest level. $17.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| 7th Street Beat [Conducteur] - Facile Carl Fischer
Orchestra Cello, Contrabass, Viola, Violin 1, Violin 2, Voice - Grade 3.5 SKU...(+)
Orchestra Cello,
Contrabass, Viola, Violin
1, Violin 2, Voice -
Grade 3.5 SKU:
CF.CAS123F Composed
by Lauren Bernofsky. Sws.
Carl Fischer Concert
String Orchestra Series.
Full score. 16 pages.
Duration 3:30. Carl
Fischer Music #CAS123F.
Published by Carl Fischer
Music (CF.CAS123F).
ISBN 9781491154762.
UPC: 680160913312. 9 x 12
inches. Key: D
minor. It was at a
flute convention, of all
places, where the
composer learned how to
beatbox. Greg Pattillo,
the flutist of the
ensemble Project Trio,
taught a roomful of
(mostly) flute players
how to make a few sounds,
and she couldn't believe
how easy, and effective,
it was! She figured, if a
random bunch of adult
flute players can do
this, it should be a
piece of cake for
students. Inspired by
this new-found knowledge,
she composed 7th Street
Beat, writing beatbox
percussion into the parts
of all the instruments.
The sounds imitate
percussive effects
normally made by a drum
set. The beatbox vocal
lines are optional - they
are reinforcements for
the beatbox sounds in the
string parts. Also
optional (but highly
recommended!) is the
improvisation section
starting at m. 49. Don't
tell the students any
rules about what notes to
play or not play - simply
offer them the
opportunity to make up
whatever they like, to
show off their abilities
and musical
personalities!. It was
at a flute convention, of
all places, where the
composer learned how to
beatbox. Greg Pattillo,
the flutist of the
ensemble Project Trio,
taught a roomful of
(mostly) flute players
how to make a few sounds,
and she couldn’t
believe how easy, and
effective, it was! She
figured, if a random
bunch of adult flute
players can do this, it
should be a piece of cake
for students.Inspired by
this new-found knowledge,
she composed 7th Street
Beat, writing beatbox
percussion into the parts
of all the instruments.
The sounds imitate
percussive effects
normally made by a drum
set.The beatbox vocal
lines are optional
– they are
reinforcements for the
beatbox sounds in the
string parts. Also
optional (but highly
recommended!) is the
improvisation section
starting at m. 49.
Don’t tell the
students any rules about
what notes to play or not
play – simply
offer them the
opportunity to make up
whatever they like, to
show off their abilities
and musical
personalities!
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 | | |
| Adaptable Sea Shanties Saxophone Tenor - Débutant Excelcia Music Publishing
Tenor Saxophone - Grade 1.5-3.5 SKU: XC.WB2205 16 Trios for Any Wind &...(+)
Tenor Saxophone - Grade
1.5-3.5 SKU:
XC.WB2205 16 Trios
for Any Wind & Percussion
Instruments. Composed
by Tyler Arcari.
Solo/Ensemble. Ensemble,
Collection, Book.
Excelcia Music Publishing
#WB2205. Published by
Excelcia Music Publishing
(XC.WB2205). ISBN
9781644021040. 12 x 9
inches. The
resurgence of the Sea
Shanty as a cultural
phenomenon in 2020 was a
perfect flashpoint for
this collection of 16
well-known and
re-discovered shanties.
Arranger Tyler Arcari
uses his experience at
writing flexible music
that works to bring this
new addition to your
adaptable library.
Playable with as little
as three musicians or
expandable to an entire
concert ensemble; these
Shanties bring a whole
new meaning to the phrase
All Hands on Deck. The
Adaptable Ensemble Series
has become a
well-established resource
for chamber music and
this new edition is in
top shipshape order. $14.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Honor Roll March Orchestre d'harmonie [Conducteur et Parties séparées] - Débutant Alfred Publishing
By Mark Williams. Music by Mark Williams. For Concert Band. Concert Band. Accent...(+)
By Mark Williams. Music
by Mark Williams. For
Concert Band. Concert
Band. Accent on
Achievement. Level: Grade
1. Conductor Score &
Parts. Published by
Alfred Publishing.
$48.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
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