| VoiceDance III SATB, unaccompanied Chorale SATB SATB A Cappella Shawnee Press
VoiceDance III by Greg Jasperse. For Choral (SATB). Shawnee Press. Choral. 20 pa...(+)
VoiceDance III by Greg
Jasperse. For Choral
(SATB). Shawnee Press.
Choral. 20 pages. Shawnee
Press #A2264. Published
by Shawnee
(6)$2.50 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Symphonic Celebration and Dance Orchestre d'harmonie - Intermédiaire Opus III Wind Orchestra Publications
Grade 3 SKU: CL.012-1748-00 Composed by R. Foster. Concert Band. Heritage...(+)
Grade 3 SKU:
CL.012-1748-00
Composed by R. Foster.
Concert Band. Heritage of
the March Series. Audio
recording available
separately (item
CL.WFR101). Score and set
of parts. Composed 1984.
Duration 5 minutes, 49
seconds. Opus III Wind
Orchestra Publications
#012-1748-00. Published
by Opus III Wind
Orchestra Publications
(CL.012-1748-00).
A composition
student of the late J.
Clifton Williams, Robert
Foster composed this work
for symphonic band as a
tribute to Mr. Williams.
The work begins with a
statement of the primary
theme as a fanfare. The
theme recurs later in the
work in the form of a
chorale, and returns even
later in the energetic
and rhythmic dance
section. A recapitulation
of the chorale follows,
and the work concludes
with a brilliant fanfare.
This is a unique musical
work and an ideal contest
selection.
About Heritage
of the
March Full
-sized concert band
editions of the greatest
marches of all time. Each
has been faithfully
re-scored to accommodate
modern instrumentation
and incorporate
performance practices of
classic march style $68.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Circle Dance Orchestre à Cordes [Conducteur et Parties séparées] - Facile Carl Fischer
By Bill Calhoun. For Full Score, Violin I, Violin II, Violin III, Viola, Cello, ...(+)
By Bill Calhoun. For Full
Score, Violin I, Violin
II, Violin III, Viola,
Cello, Bass, Piano. Carl
Fischer Young String
Orchestra Series. Grade
2-2.5. Score and parts.
Published by Carl Fischer
$55.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Symphonic Celebration and Dance Orchestre d'harmonie - Intermédiaire C.L. Barnhouse
Grade 3 SKU: CL.012-1748-01 Composed by R. Foster. Concert Band. Extra fu...(+)
Grade 3 SKU:
CL.012-1748-01
Composed by R. Foster.
Concert Band. Extra full
score. Composed 1984.
Duration 5 minutes, 49
seconds. Opus III Wind
Orchestra Publications
#012-1748-01. Published
by Opus III Wind
Orchestra Publications
(CL.012-1748-01).
A composition
student of the late J.
Clifton Williams, Robert
Foster composed this work
for symphonic band as a
tribute to Mr. Williams.
The work begins with a
statement of the primary
theme as a fanfare. The
theme recurs later in the
work in the form of a
chorale, and returns even
later in the energetic
and rhythmic dance
section. A recapitulation
of the chorale follows,
and the work concludes
with a brilliant fanfare.
This is a unique musical
work and an ideal contest
selection. $9.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Chinese Folk Dance Suite Violon et Piano Theodore Presser Co.
Chamber Music violin, piano SKU: PR.114419280 Composed by Chen Yi. Arrang...(+)
Chamber Music violin,
piano SKU:
PR.114419280 Composed
by Chen Yi. Arranged by
Wong Tak Chiu.
Performance Score. 32+12
pages. Duration 20
minutes. Theodore Presser
Company #114-41928.
Published by Theodore
Presser Company
(PR.114419280). ISBN
9781491132357. UPC:
680160676125. Inspi
red by Chinese tradition,
this concerto-like dance
suite includes: 1. Lion
Dance, 2. YangKo, and 3.
Muqam. Each movement
draws from melodies and
rhythms characteristic of
various regions of China
many centuries ago.
CHINESE FOLK DANCE SUITE
is available for violin
with full orchestra, or
as a recital work with
piano. Supported by a
major commissioning award
from the Serge
Koussevitzky Music
Foundation in the Library
of Congress, Chinese Folk
Dance Suite is written
for solo violin and
orchestra; it was
premiered by The
Women’s
Philharmonic with violin
soloist Terrie Baune,
conducted by Apo Hsu, on
March 10, 2001, at Yerba
Buena Center For the Arts
Theater in San
Francisco.Inspired by
various Chinese
traditional folk dances,
the suite has three
movements:I. Lion Dance.
Traditionally, people
dance with richly
decorated hand-made
lions, accompanied by
percussion ensemble, to
celebrate happy occasions
and major festivals
throughout the country.
In this composition, I
use Chinese drum and
other percussion
instruments in the
background, to form a
dynamic and rhythmic
texture responding to the
solo part, which imitates
the tunes played on the
suona (traditional
Chinese trumpet). The
pitch materials came from
the traditional Guangdong
tune “Dragon Boat
Racing,†and the
Chaozhou tune “Lion
Playing Ball.â€II.
YangKo. Originating in
northern China, this is a
major folk dance form in
mass performance
popularized in the
country. In YangKo
performance, people play
rhythmic patterns on the
drums hung around their
waists while singing and
dancing. In the second
movement, I imagined a
warm scene of YangKo
dancing in distance. The
solo violin plays a sweet
and gracious melodic line
while all members of the
orchestra sing
non-pitched syllables in
different layers as the
soft background, to
imitate the percussion
sound which produces the
ever-going pulse.III.
Muqam. This large-scale
music and dance form,
from the Uygur
nationality in Xinjiang
province, originated in
the 15th century. My
third movement use a 7/8
meter and the melodic
style of Muqam music. The
fiery dancing gesture
culminates in the
sustained climax section
at the end of the work,
after a colorful violin
cadenza in both
improvisational singing
style and polyphonic
writing with woven
lines. $26.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Minimalist Dances Orchestre d'harmonie - Intermédiaire/avancé Opus III Wind Orchestra Publications
Concert band - Grade 4 SKU: CL.012-4297-01 Composed by Conaway. Concert B...(+)
Concert band - Grade 4
SKU:
CL.012-4297-01
Composed by Conaway.
Concert Band. Concert
Band Series. Audio
recording available
separately (item
CL.WFR381). Extra full
score. Composed 2014.
Duration 5 minutes, 48
seconds. Opus III Wind
Orchestra Publications
#012-4297-01. Published
by Opus III Wind
Orchestra Publications
(CL.012-4297-01).
This unique
work for advanced
ensembles explores three
fundamental minimalist
approaches, but through
the lens of very atypical
styles to the minimalist
genre. Influenced by the
masterworks of Glass,
Riley, and Adams, the
composer uses a limited
melodic/rhythmic palette
to maximum effect, even
including a rock-inspired
shout section leading to
a furious conclusion. $15.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Masterwork Classics, Level 4
Piano seul [Partition + CD] - Intermédiaire Alfred Publishing
Edited by Jane Magrath. For solo piano. Piano Collection. Alfred Masterwork Edit...(+)
Edited by Jane Magrath.
For solo piano. Piano
Collection. Alfred
Masterwork Edition.
Instructional. SMP Level
4 (Intermediate).
Collection and examples
CD. Standard notation,
fingerings and
introductory text (does
not include words to the
songs). 48 pages.
Published by Alfred Music
Publishing
(2)$12.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| World Wind [CD d'écoute]
By Carroll University Wind Symphony; Wisconsin Wind Orchestra. By Various. For b...(+)
By Carroll University
Wind Symphony; Wisconsin
Wind Orchestra. By
Various. For band. Mark
Masters. Audio CD.
Published by Mark Custom
Music
$14.99 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Masterpieces With Flair!, Book 1
Piano seul [Partition] - Intermédiaire Alfred Publishing
Keyboard (Masterworks Book). Level: Early Intermediate/Intermediate (3/4/5). Pub...(+)
Keyboard (Masterworks
Book). Level: Early
Intermediate/Intermediate
(3/4/5). Published by
Alfred Publishing.
(2)$12.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Hauch II Alto seul Peters
Viola SKU: PE.EP14588 For Viola. Composed by Rebecca Saunders. Sol...(+)
Viola SKU:
PE.EP14588 For
Viola. Composed by
Rebecca Saunders. Solo;
Solo Small Ensembles;
Viola Solo Book. Edition
Peters. Score. 8 pages.
Edition Peters
#98-EP14588. Published by
Edition Peters
(PE.EP14588). ISBN
9790014138042. R
ebecca Saunders'
Hauch II is an
11-minute work for viola
solo---an expressive
composition with a strong
rhythmic component. It
was premiered by Megumi
Kasakawa as part of the
Ensemble Modern dance
project on 4 November
2021 at the Now! Festival
in Essen. This
product is Printed on
Demand and may take
several weeks to fulfill.
Please order from your
favorite
retailer. $39.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| A Tedious Brief Scene: Bottom's Dance Piano seul Promethean Editions
Chamber Music Piano SKU: PO.UME05P Composed by Leonie Holmes. Parts. Prom...(+)
Chamber Music Piano
SKU: PO.UME05P
Composed by Leonie
Holmes. Parts. Promethean
Editions #UME05P.
Published by Promethean
Editions (PO.UME05P).
ISBN
9781877564956. A
Tedious Brief Scene:
Bottom's Dance (2011) is
a fine example of Holmes
work from her career as a
composer and educator in
New Zealand for over 25
years. Holmes was
inspired to depict the
character Bottom from
Shakespeare's A Midsummer
Night's Dream in writing
this lighthearted work.
It is highly engaging and
energetic with elements
of minimalist techniques
of layered melodic
ostinati, and
jazz-influenced and
non-tonal harmony. Like
the character and scene
from Shakespeare's play,
the music oscillates
between moments of
poignancy and boisterous
self-confidence. It
incorporates a variety of
accented rhythmic
patterns, changing metres
and delicate melodic
material, which gives
pianists an opportunity
to demonstrate their
individual and combined
talents as a chamber
ensembles. It is suitable
for performance by
secondary students of
approximately Grade VIII
and above (ABRSM /
Trinity).It is now
available for purchase as
a study score and/or
performance set (parts
only). This listing is
the performance set of
parts only. $46.25 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Music from Afar 2 Flûte à bec (duo) Schott
Bass Recorder duet SKU: HL.49011291 For 2 Bass Recorders. Composed...(+)
Bass Recorder duet
SKU: HL.49011291
For 2 Bass
Recorders. Composed
by Rodion Shchedrin. This
edition: Saddle
stitching. Sheet music.
Originalmusik fur
Blockflote (Recorder
Library). Classical.
Playing score. Composed
1996. 11 pages. Duration
6'. Schott Music #OFB183.
Published by Schott Music
(HL.49011291). ISBN
9790001121071. UPC:
073999799064.
9.25x12.0x0.046
inches. Both
movements explore the
specific sonorities of
the bass recorder. The
first movement is
predominantly lyrical,
whereas the second is
very rhythmic and
dominated by percussive
effects. $11.99 - Voir plus => Acheter | | |
| Reindeer Rhumba Orchestre d'harmonie - Intermédiaire Opus III Wind Orchestra Publications
Concert band - Grade 3 SKU: CL.012-4311-01 Composed by Shaffer. Concert B...(+)
Concert band - Grade 3
SKU:
CL.012-4311-01
Composed by Shaffer.
Concert Band. Concert
Band Series. Audio
recording available
separately (item
CL.WFR382). Extra full
score. Composed 2014.
Duration 2 minutes, 1
second. Opus III Wind
Orchestra Publications
#012-4311-01. Published
by Opus III Wind
Orchestra Publications
(CL.012-4311-01).
What do you get
when you combine Up on
the Housetop with a
rhythmic Cuban dance
rhythm? Reindeer Rhumba,
of course! The Latin
rhythms that are
generated in the
percussion section work
in perfection with the
bright and articulate
melodies throughout the
piece. And for just a bit
of change, we add a
little swing in the
middle. A perfect novelty
setting for any holiday
concert. $8.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Pyramids Orchestre d'harmonie - Intermédiaire Opus III Wind Orchestra Publications
Grade 3 SKU: CL.012-1958-01 Composed by Tatgenhorst. Concert Band. Bach S...(+)
Grade 3 SKU:
CL.012-1958-01
Composed by Tatgenhorst.
Concert Band. Bach Series
arranged by Alfred Reed.
Audio recording available
separately (items
CL.WFR194 & CL.WFR343).
Extra full score.
Composed 1981. Duration 5
minutes, 33 seconds. Opus
III Wind Orchestra
Publications
#012-1958-01. Published
by Opus III Wind
Orchestra Publications
(CL.012-1958-01).
Highly
descriptive contest music
in two movements.
Entrance of the
Gods’’ is a
study in contrasts with
bold, powerful tutti
phrases followed by soft,
lyrical woodwinds and low
brass passages. Tribal
Dance’’
features many rhythmic
woodwind lines accented
by sharp brass accents
and a variety of
percussion sounds.
About Bach
Series arranged by Alfred
Reed Maste
rful settings for concert
band by the venerable
Alfred Reed, these works
have been scored to
achieve richness and
beauty without detracting
from the textural
construction created by
Bach himself. Marvelous
educational and program
material! $8.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Three Jazz Settings -- III. Trance Dance Quatuor de Saxophones: 4 saxophones Advance Music
4 Saxophones SATBar SKU: AP.1-ADV7676 For SATBar Saxophone Quartet...(+)
4 Saxophones SATBar
SKU: AP.1-ADV7676
For SATBar Saxophone
Quartet. Composed by
Ramon Ricker. Quartet;
Solo Small Ensembles;
Woodwind - Saxophone
Quartet. Advance Music.
Jazz. Score and Part(s).
Advance Music
#01-ADV7676. Published by
Advance Music
(AP.1-ADV7676). ISBN
9783892217374. UPC:
805095076769.
English. This suite
was inspired most notably
by the saxophone quartets
of Phil Woods and was
written in a conscious
attempt to wed certain
stylistic elements of
classical and jazz music.
The players are not asked
to improvise, but the
piece does feature
sections that sound
spontaneous and freely
created. The piece is
difficult, but no more so
than other quartets, like
Glazunov and Desenclos,
that are standard
repertoire for this
instrumentation. Talented
high school and all
college groups will find
success working on this
piece. Trance Dance, is a
rhythmically grooving
12/8 feel that features
the tenor and baritone
saxophones. $23.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Clarinet Chamber & Solo Classics: Volume I Mark Custom Music
By Paul Drew Drushler, clarinet and Friends. By Various. Mark Records. Classical...(+)
By Paul Drew Drushler,
clarinet and Friends. By
Various. Mark Records.
Classical. Audio CD.
Duration 64:34. Published
by Mark Custom Music
(MK.4869-MCD).
$15.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Conversational Solfege, Level 3 CD GIA Publications
SKU: GI.G-1050 Composed by John M. Feierabend. Conversational Solfege. Mu...(+)
SKU: GI.G-1050
Composed by John M.
Feierabend.
Conversational Solfege.
Music Education. GIA
Publications #1050.
Published by GIA
Publications (GI.G-1050).
UPC:
785147005025. Conve
rsational Solfege is a
curriculum for developing
music literacy skills. It
is organized around
increasingly complex
rhythmic and melodic
content. Each new
rhythmic or melodic
element is discovered
first in patterns and
then reinforced with folk
songs, rhymes, and
classical examples. This
CD provides 29 classical
selections referenced in
Conversational Solfege
Level 3. These examples
provide reinforcement for
emerging literacy skills,
and they also enable
students to listen to
wonderful classical
examples with greater
attention. Listening to
classical music can be
challenging for
elementary students. With
nothing to hang onto, the
many notes can be too
much to comprehend and
attention soon wanes. But
with minimal literacy
skills, students will
have enough musical
information to discover
that classical music can
be accessible and
appealing. In the
booklet, timings are
given for each selection.
The portions of the music
that are readable by the
students are reproduced.
Whether using this CD
with Conversational
Solfege instructional
materials or simply as a
resource of classical
music with simple-to-read
rhythmic and melodic
material, both teachers
and students will delight
in discovering this
wonderful music through
literacy. Â CONTENTS
Conversational Solfege
Unit 14:Â 1. March of
the Toreadors •
Georges Bizet, 2.
Slavonic Dance •
AntonÃn
Dvorák, 3. Russian
Dance • Igor
Stravinsky, 4. Dance
of the Reed Pipes •
Peter Tchaikovsky
Conversational Solfege
Unit 15:Â 5. Morning
• Edvard
Grieg, 6. Minuet
• George Frideric
Handel, 7. Waltz
• Johann Strauss
II, 8. Minuet in G
• J. S. Bach
Conversational Solfege
Unit 18:Â 9.
Westminster
Chimes, 10. Ode to Joy
• Ludwig van
Beethoven Conversational
Solfege Unit 20:Â 11.
The Moldau •
Bedrich Smetana, 12.
The Wild Horseman •
Robert Schumann, 13.
Anitra’s Dance
• Edvard Grieg
Conversational Solfege
Unit 22:Â 14. Violin
Concerto in D •
Ludwig van
Beethoven, 15.
Symphony No. 6 •
Ludwig van
Beethoven, 16. Roses
from the South •
Johann Strauss II, 17.
Symphony No. 1 •
Johannes Brahms, 18.
Polovtsian Dance •
Alexander Borodin, 19.
Eine Kleine Nachtmusik
• Wolfgang Amadeus
Mozart, 20. Etude for
Piano •
Frédéric Chopin
Conversational Solfege
Unit 23:Â 21.
Natoma’s Dagger
Dance • Victor
Herbert Conversational
Solfege Unit 24:Â 22.
Ground in D Major •
Henry Purcell
Conversational Solfege
Unit 25:Â 23. Violin
Concerto in D •
Ludwig van
Beethoven, 24. Sumer
Is Icumen In, 25.
Symphony No. 9,
“From the New
World†•
Antonin Dvorak
Conversational Solfege
Unit 26:Â 26. Pachelbel
Canon • Johann
Pachelbel, 27. Kaiser
Waltz • Johann
Strauss II, 28.
Marmotte • Ludwig
van Beethoven, 29.
Autumn — Four
Seasons • Antonio
Vivaldi John M.
Feierabend, PhD, has
spent decades compiling
songs and rhymes from the
memories of the American
people, in hopes that
those treasures would be
preserved for future
generations. Those
resources have served as
the basis of his two
music education
curricula: First Steps in
Music and Conversational
Solfege. John Feierabend
is Professor Emeritus and
former Director of Music
Education at The Hartt
School of the University
of Hartford. $15.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Tanzsuite mit Deutschlandlied Breitkopf & Härtel
(solos: 2vl.va.vc - 4(4picc.A-fl).3.3.B-clar. 3.dble bsn - 4.3.3.1 - perc(4) - h...(+)
(solos: 2vl.va.vc -
4(4picc.A-fl).3.3.B-clar.
3.dble bsn - 4.3.3.1 -
perc(4) - hp - pno - str:
10.10.8.8.6) SKU:
BR.PB-5714 Music
for Orchestra with String
Quartet. Composed by
Helmut Lachenmann.
Softcover.
Partitur-Bibliothek
(Score Library). Solo
concerto; Dances/marches;
Music post-1945. Sheet
Music. Composed 1979/80.
176 pages. Duration 36'.
Breitkopf and Haertel #PB
5714. Published by
Breitkopf and Haertel
(BR.PB-5714). ISBN
9790004216514. 10.5 x 14
inches. More than
my earlier works, this
one is interspersed with
metrically bound rhythms
and musicianly characters
that constantly
recrystallize and drift
towards or away from
familiar situations.The
familiar: These are
dance-like figures and
music-making formulas,
but also songs and, in
two cases fragments of
Bach's music - playfully
collected memories of
impressions in which -
consciously and
unconsciously - I am
embodied with that
collective comfort in
whose protection
bourgeois thinking and
feeling, magically
protected, grow up and
emerge apart.(It is well
known that such security
has its fetishes from the
childlike to the adult
stage: Home, religious
bond, holidays,
tradition, longing for
childhood - the
superficiality may have
little idea of the depth
that opens up underneath.
There is also no question
that we are still marked
by such security even
when the contradictions
and alienation of
existence force us to
step out of their
protection, to recognize
and act upon reality, and
to oppose the domination
of such inner bonds where
their original truth has
become the fatal untruth
of comfortable illusion,
stubbornly and fearfully
conjured idyll and
reactionary
narrow-mindedness.My
music feeds on figures in
which such memories are
encapsulated. It deals
with them not much
differently than in other
pieces with the elements
of the traditional
musical concept of
material, having already
always reflected
compositionally as a
product of sociality and
anticipation of musical
expression, i.e. it moved
into a structurally
expanded context and
expressively redefined
from there.Such an
approach aims at
overcoming lack of
freedom: grasping as part
of conceiving, i.e. not
philosophical reflection,
but rather an
artistically gripping
reflex by intervening in
the physical immediacy of
such predetermined
elements. These penetrate
and infect the structural
events, inducing a
musicianship that cannot
be relied upon; the music
jumps onto rhythms like
onto moving vehicles,
allows for being carried
by them until they deform
or disintegrate. This
creates an incline of
rhythmically shaped
situations: sequence and
interweaving of dances
and structures.The role
of the solo string
quartet is versatile,
obbligato and
concertante, leading and
accompanying in a
changing sense. Set as a
chamber music apparatus
in an orchestral
landscape, it repeatedly
forces its own sound
dimensions onto the
orchestra, it must accept
being drowned out at
times, it nests in the
holes of tutti fields, it
acts as a louse in the
fur, forcing one to
listen in and out.The
Tanzsuite with
Deutschlandlied is
structured as follows:I.
Section. 1. Introduction
- 2. Waltz - 3. March -
4. Bridge -II. Section.
5. Siciliano - 6.
Capriccio - 7. Valse
lente -III. Section. 8.
Bridge - 9. Gigue - 10.
Tarantelle - 11. Bridge
-IV. Section. 12 Aria I -
13 Polka - 14 Aria IIV.
Section. 15. Introduction
- 16 Gallop - 17 Coda
(Aria III)All 17 parts
merge into one
another.(Helmut
Lachenmann,
1980)CDs/LP/DVD:Arditti-Q
uartett, Deutsches
Symphonie-Orchester
Berlin, cond. Olaf
HenzoldCD Montaigne
Auvidis MO 782019Berner
Streichquartett,
Sinfonieorchester des
SWF, cond. Sylvain
Cambreling (Excerpt)CD
BMG/RCA 74321 73510 2
(Musik in Deutschland
1950-2000)Berner
Streichquartett,
Sinfonieorchester des
SWF, cond. Sylvain
CambrelingLP DMR
1028-30Arditti Quartet,
SWR Sinfonieorchester
Baden-Baden und Freiburg,
cond. Hans Zender Excerpt
on CD ,,Auswahl von zehn
Urauffuhrungen aus 70
Jahren, SWR
Sinfonieorchester
Baden-Baden und Freiburg
Arditti Quartet,
Staatsorchester
Stuttgart, cond. Sylvain
Cambreling DVD
,,Lachenmann-Perspektiven
6 (Breitkopf & Hartel,
BHM 7816)
Bibliography:Cavalotti,
Pietro: Differenzen.
Poststrukturalistische
Aspekte in der Musik der
1980er Jahre am Beispiel
von Helmut Lachenmann,
Brian Ferneyhough und
Gerard Grisey (= Sonus.
Schriften zur Musik,
hrsg. von Andreas
Ballsteadt, Band 8),
Schliengen: Argus 2006,
pp. 79-128.Das sind doch
alles Deutschlandlieder!
Helmut Lachenmann im
Gesprach mit Michael
Rebhahn, in: Der
Taktgeber. Das Magazin
der Jungen Deutschen
Philharmonie, Heft 40
(Sommer 2019), S.
6f.Stawowy, Milena:
Fluchtversuche in die
Hohle des Lowen. Helmut
Lachenmanns Tanzsuite mit
Deutschlandlied, in:
MusikTexte 67/68 (1997),
pp. 77-90.Toop, Richard:
Concept and Context: A
Historiographic
Consideration of
Lachenmanns Orchestral
Works, in: Helmut
Lachenmann Inward Beauty,
hrsg. von Dan Albertson,
Contemporary Music Review
23 (2004), Heft 3/4, pp.
125-144.
World
premiere: Donaueschingen
(Donaueschinger
Musiktage), October 18,
1980. $160.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Pimavera: Music for Bassoon and Piano by Bassoonists Basson, Piano (duo) Mark Custom Music
By Michael Burns, bassoon; InA!ra Zandmane, piano. By Various. For bassoon solo....(+)
By Michael Burns,
bassoon; InA!ra Zandmane,
piano. By Various. For
bassoon solo. Mark
Masters. Audio CD.
Duration 65:52. Published
by Mark Custom Music
$14.99 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Quintet in F Major, K. 497 Carl Fischer
Chamber Music Cello, Flute, Viola 1, Viola 2, Violin SKU: CF.MXE219 Compo...(+)
Chamber Music Cello,
Flute, Viola 1, Viola 2,
Violin SKU:
CF.MXE219 Composed by
Wolfgang Amadeus Mozart.
Arranged by Robert
Stallman. Sws.
56+16+16+16+16+12 pages.
Carl Fischer Music
#MXE219. Published by
Carl Fischer Music
(CF.MXE219). ISBN
9781491157794. UPC:
680160916399. 9 x 12
inches. Preface In
1990, during an intense
rehearsal of a Mozart
Quartet transcription for
flute and strings by
Franz Anton Hoffmeister,
at the Marblehead Summer
Music Festival, a
disgruntled violist
friend complained about
HoffmeisterAs awkward
string writing, suddenly
daring me to create my
own arrangement. I
balked. But the following
winterA3despite scruples
about treading on
hallowed groundA3I grew
curious and began to
experiment. Soon I was
hooked on the challenge
of learning to speak
MozartAs language with
conviction. This
fascination, encouraged
by pianist Richard Goode
and other Mozarteans,
would eventually generate
a total of thirty-nine
recreations of Mozart
piano sonatas as works
for flute and strings.
With zero tolerance for
alteration of melodic or
harmonic
materialA3MozartAs friend
Hoffmeister had
regrettably attempted
such
A!improvementsA(r)A3I
always tried to envision
what Mozart himself would
have desired. Many of the
sonatas can be heard as
if they were MozartAs
A!blueprintsA(r) of
imagined chamber works.
Hence my task was to
A!flesh outA(r) the
keyboard versions as
Mozart might have done,
had a commission or
performance opportunity
arisen. I spent hours
pondering how Mozart
might have set these
sonatas in four- or
five-part form, providing
the needed textural or
contrapuntal
enhancements. With
immersion in the
composerAs dialect,
various apt solutions
presented themselves. The
search for the
A!rightA(r) one then
became a most absorbing
study. On the eve of
releasing my BognerAs
CafA recording of
Mozart-Stallman New
Quintets (2006), I
discovered to my delight
that a prominent scholar
had long before endorsed
such an effort. Eric Blom
(1888A+-1959), author of
Mozart (1935), had taken
note of the four-hand
piano works as A!a kind
of keyboard chamber
music.A(r) Regarding
Sonata, K. 497, Mr. Blom
had observed that Mozart
is often dealing with,
not the expected four
voices (one to a hand),
but five. Blom states:
A!The F major Sonata (K.
497) removes us to
another worldA3the world
of the great chamber
music, especially of the
string quintets. Indeed
an arrangement of some
sort for a combination of
instruments would make a
magnificent concert work
of this almost
uncomfortably great piece
of domestic music.A(r)
That Mozart was in 1786
writing for piano duo
from a quintet
perspective makes sense,
as we find him returning
to the quintet form with
keen interest in his last
years, writing four
String Quintets, the
Clarinet Quintet,
rearranging a wind
serenade for String
Quintet, and leaving
several other quintets
incomplete. My
arrangement presented
here is made for flute
and strings but is also
intended for string
quintet. Quintet in F
Major for Flute and
Strings, K. 497, was
completed in 1999 and
performed with the Martin
Quartet in the Czech
Republic prior to
recording it in 2004.
Mozart had finished the
original Sonata in F
Major for Piano,
Four-Hands, K. 497, on
August 1, 1786. It shows
the unmistakable
influence of Figaro,
completed and premiered
exactly three months
prior. As signaled by the
imposing introductory
Adagio, the conception is
on a grand symphonic
scale, all three
movements being richly
developed with
contrapuntal episodes and
an abundance of
marvelously contrasting
textures and themes
throughout. Called A!the
crowning work of its
kindA(r) by Alfred
Einstein, the Sonata is
laden with examples of
MozartAs mercurial
originality. Here we have
a perfect synthesis of
concertante brilliance,
operatic intensity and
intimate dialogue. The
work opens in unison with
a probing, minor-tinged
Adagio, whose question
comes to a pause on the
dominant, before being
answered with jaunty
certainty by the opening
theme of the Allegro di
moltoA3an F-major tune as
sunny and confident as an
aria from Figaro itself.
This movementAs
declamatory A!opera
chorusA(r) persistently
intones its rhythmic
motto over a swirling
scale figure. The amorous
second theme (initially
presented in the first
viola) also seems to be
plucked from Figaro. The
Andante opens with a
heavenly melody, which
takes as its springboard
the Romanza theme from
the Horn Concerto in E
Major, K. 495, written
only five weeks before.
The A!love duetA(r)
between flute and first
viola seems to anticipate
the impassioned
A!duettingA(r) between
violin and viola in the
Andante of the String
Quintet in C Major, K.
515, written about nine
months later. The
ingenious stretto canon
of the AndanteAs middle
section requires the
precision of a Swiss
clock (which its chiming
thirds recall). Affecting
bucolic codettas close
each of the main sections
of the movement. In the
final Allegro, a rondo in
6/8a time, the puckish,
yet aristocratic
character of the opening
theme contrasts with the
bumptious, popular tune
used for the second theme
(heard first in the
violin and then the
flute, over pizzicato
cello). Lilting hymn-like
episodes in three, four-
and finally five-part
counterpoint are
repeatedly interrupted by
startling scale figures
that rise up in furioso
episodes throughout the
movement. As in the
A!Swiss clockA(r) section
of the Andante, Mozart
uses a stretto imitation
treatment with this
tempest theme, thereby
heightening both
intensity and sense of
instability. I am most
grateful to the
adventuresome Martin
Quartet for their warm
support and collaboration
over the years with
several of my
arrangements, and to my
friend Edwin Swanborn for
the original typesetting
of this score. Gratitude
is also due Weekend
Edition, Performance
Today and innumerable
classical stations across
the United States for
their enthusiastic and
repeated airings of my
A!newA(r) Mozart Quintet
endeavorsA3and most of
all, to violist Katherine
Murdock for that dare in
1990. A3Compiled from the
writings of Robert
Stallman by Hannah Woods
Stallman, February 2,
2020. Preface In 1990,
during an intense
rehearsal of a Mozart
Quartet transcription for
flute and strings by
Franz Anton Hoffmeister,
at the Marblehead Summer
Music Festival, a
disgruntled violist
friend complained about
Hoffmeisteris awkward
string writing, suddenly
daring me to create my
own arrangement. I
balked. But the following
winterodespite scruples
about treading on
hallowed groundoI grew
curious and began to
experiment. Soon I was
hooked on the challenge
of learning to speak
Mozartis language with
conviction. This
fascination, encouraged
by pianist Richard Goode
and other Mozarteans,
would eventually generate
a total of thirty-nine
recreations of Mozart
piano sonatas as works
for flute and strings.
With zero tolerance for
alteration of melodic or
harmonic
materialoMozartis friend
Hoffmeister had
regrettably attempted
such iimprovementsioI
always tried to envision
what Mozart himself would
have desired. Many of the
sonatas can be heard as
if they were Mozartis
iblueprintsi of imagined
chamber works. Hence my
task was to iflesh outi
the keyboard versions as
Mozart might have done,
had a commission or
performance opportunity
arisen. I spent hours
pondering how Mozart
might have set these
sonatas in four- or
five-part form, providing
the needed textural or
contrapuntal
enhancements. With
immersion in the
composeris dialect,
various apt solutions
presented themselves. The
search for the irighti
one then became a most
absorbing study. On the
eve of releasing my
Bogneris CafE recording
of Mozart-Stallman New
Quintets (2006), I
discovered to my delight
that a prominent scholar
had long before endorsed
such an effort. Eric Blom
(1888n1959), author of
Mozart (1935), had taken
note of the four-hand
piano works as ia kind of
keyboard chamber music.i
Regarding Sonata, K. 497,
Mr. Blom had observed
that Mozart is often
dealing with, not the
expected four voices (one
to a hand), but five.
Blom states: iThe F major
Sonata (K. 497) removes
us to another worldothe
world of the great
chamber music, especially
of the string quintets.
Indeed an arrangement of
some sort for a
combination of
instruments would make a
magnificent concert work
of this almost
uncomfortably great piece
of domestic music.i That
Mozart was in 1786
writing for piano duo
from a quintet
perspective makes sense,
as we find him returning
to the quintet form with
keen interest in his last
years, writing four
String Quintets, the
Clarinet Quintet,
rearranging a wind
serenade for String
Quintet, and leaving
several other quintets
incomplete. My
arrangement presented
here is made for flute
and strings but is also
intended for string
quintet. Quintet in F
Major for Flute and
Strings, K. 497, was
completed in 1999 and
performed with the Martin
Quartet in the Czech
Republic prior to
recording it in 2004.
Mozart had finished the
original Sonata in F
Major for Piano,
Four-Hands, K. 497, on
August 1, 1786. It shows
the unmistakable
influence of Figaro,
completed and premiered
exactly three months
prior. As signaled by the
imposing introductory
Adagio, the conception is
on a grand symphonic
scale, all three
movements being richly
developed with
contrapuntal episodes and
an abundance of
marvelously contrasting
textures and themes
throughout. Called ithe
crowning work of its
kindi by Alfred Einstein,
the Sonata is laden with
examples of Mozartis
mercurial originality.
Here we have a perfect
synthesis of concertante
brilliance, operatic
intensity and intimate
dialogue. The work opens
in unison with a probing,
minor-tinged Adagio,
whose question comes to a
pause on the dominant,
before being answered
with jaunty certainty by
the opening theme of the
Allegro di moltooan
F-major tune as sunny and
confident as an aria from
Figaro itself. This
movementis declamatory
iopera chorusi
persistently intones its
rhythmic motto over a
swirling scale figure.
The amorous second theme
(initially presented in
the first viola) also
seems to be plucked from
Figaro. The Andante opens
with a heavenly melody,
which takes as its
springboard the Romanza
theme from the Horn
Concerto in E Major, K.
495, written only five
weeks before. The ilove
dueti between flute and
first viola seems to
anticipate the
impassioned iduettingi
between violin and viola
in the Andante of the
String Quintet in C
Major, K. 515, written
about nine months later.
The ingenious stretto
canon of the Andanteis
middle section requires
the precision of a Swiss
clock (which its chiming
thirds recall). Affecting
bucolic codettas close
each of the main sections
of the movement. In the
final Allegro, a rondo in
6/8+time, the puckish,
yet aristocratic
character of the opening
theme contrasts with the
bumptious, popular tune
used for the second theme
(heard first in the
violin and then the
flute, over pizzicato
cello). Lilting hymn-like
episodes in three, four-
and finally five-part
counterpoint are
repeatedly interrupted by
startling scale figures
that rise up in furioso
episodes throughout the
movement. As in the
iSwiss clocki section of
the Andante, Mozart uses
a stretto imitation
treatment with this
tempest theme, thereby
heightening both
intensity and sense of
instability. I am most
grateful to the
adventuresome Martin
Quartet for their warm
support and collaboration
over the years with
several of my
arrangements, and to my
friend Edwin Swanborn for
the original typesetting
of this score. Gratitude
is also due Weekend
Edition, Performance
Today and innumerable
classical stations across
the United States for
their enthusiastic and
repeated airings of my
inewi Mozart Quintet
endeavorsoand most of
all, to violist Katherine
Murdock for that dare in
1990. oCompiled from the
writings of Robert
Stallman by Hannah Woods
Stallman, February 2,
2020. Preface In 1990,
during an intense
rehearsal of a Mozart
Quartet transcription for
flute and strings by
Franz Anton Hoffmeister,
at the Marblehead Summer
Music Festival, a
disgruntled violist
friend complained about
Hoffmeister's awkward
string writing, suddenly
daring me to create my
own arrangement. I
balked. But the following
winter--despite scruples
about treading on
hallowed ground--I grew
curious and began to
experiment. Soon I was
hooked on the challenge
of learning to speak
Mozart's language with
conviction. This
fascination, encouraged
by pianist Richard Goode
and other Mozarteans,
would eventually generate
a total of thirty-nine
recreations of Mozart
piano sonatas as works
for flute and strings.
With zero tolerance for
alteration of melodic or
harmonic
material--Mozart's friend
Hoffmeister had
regrettably attempted
such improvements--I
always tried to envision
what Mozart himself would
have desired. Many of the
sonatas can be heard as
if they were Mozart's
blueprints of imagined
chamber works. Hence my
task was to flesh out the
keyboard versions as
Mozart might have done,
had a commission or
performance opportunity
arisen. I spent hours
pondering how Mozart
might have set these
sonatas in four- or
five-part form, providing
the needed textural or
contrapuntal
enhancements. With
immersion in the
composer's dialect,
various apt solutions
presented themselves. The
search for the right one
then became a most
absorbing study. On the
eve of releasing my
Bogner's Cafe recording
of Mozart-Stallman New
Quintets (2006), I
discovered to my delight
that a prominent scholar
had long before endorsed
such an effort. Eric Blom
(1888-1959), author of
Mozart (1935), had taken
note of the four-hand
piano works as a kind of
keyboard chamber music.
Regarding Sonata, K. 497,
Mr. Blom had observed
that Mozart is often
dealing with, not the
expected four voices (one
to a hand), but five.
Blom states: The F major
Sonata (K. 497) removes
us to another world--the
world of the great
chamber music, especially
of the string quintets.
Indeed an arrangement of
some sort for a
combination of
instruments would make a
magnificent concert work
of this almost
uncomfortably great piece
of domestic music. That
Mozart was in 1786
writing for piano duo
from a quintet
perspective makes sense,
as we find him returning
to the quintet form with
keen interest in his last
years, writing four
String Quintets, the
Clarinet Quintet,
rearranging a wind
serenade for String
Quintet, and leaving
several other quintets
incomplete. My
arrangement presented
here is made for flute
and strings but is also
intended for string
quintet. Quintet in F
Major for Flute and
Strings, K. 497, was
completed in 1999 and
performed with the
Martinu Quartet in the
Czech Republic prior to
recording it in 2004.
Mozart had finished the
original Sonata in F
Major for Piano,
Four-Hands, K. 497, on
August 1, 1786. It shows
the unmistakable
influence of Figaro,
completed and premiered
exactly three months
prior. As signaled by the
imposing introductory
Adagio, the conception is
on a grand symphonic
scale, all three
movements being richly
developed with
contrapuntal episodes and
an abundance of
marvelously contrasting
textures and themes
throughout. Called the
crowning work of its kind
by Alfred Einstein, the
Sonata is laden with
examples of Mozart's
mercurial originality.
Here we have a perfect
synthesis of concertante
brilliance, operatic
intensity and intimate
dialogue. The work opens
in unison with a probing,
minor-tinged Adagio,
whose question comes to a
pause on the dominant,
before being answered
with jaunty certainty by
the opening theme of the
Allegro di molto--an
F-major tune as sunny and
confident as an aria from
Figaro itself. This
movement's declamatory
opera chorus persistently
intones its rhythmic
motto over a swirling
scale figure. The amorous
second theme (initially
presented in the first
viola) also seems to be
plucked from Figaro. The
Andante opens with a
heavenly melody, which
takes as its springboard
the Romanza theme from
the Horn Concerto in E<=
Major, K. 495, written
only five weeks before.
The love duet between
flute and first viola
seems to anticipate the
impassioned duetting
between violin and viola
in the Andante of the
String Quintet in C
Major, K. 515, written
about nine months later.
The ingenious stretto
canon of the Andante's
middle section requires
the precision of a Swiss
clock (which its chiming
thirds recall). Affecting
bucolic codettas close
each of the main sections
of the movement. In the
final Allegro, a rondo in
6/8 time, the puckish,
yet aristocratic
character of the opening
theme contrasts with the
bumptious, popular tune
used for the second theme
(heard first in the
violin and then the
flute, over pizzicato
cello). Lilting hymn-like
episodes in three, four-
and finally five-part
counterpoint are
repeatedly interrupted by
startling scale figures
that rise up in furioso
episodes throughout the
movement. As in the Swiss
clock section of the
Andante, Mozart uses a
stretto imitation
treatment with this
tempest theme, thereby
heightening both
intensity and sense of
instability. I am most
grateful to the
adventuresome Martinu
Quartet for their warm
support and collaboration
over the years with
several of my
arrangements, and to my
friend Edwin Swanborn for
the original typesetting
of this score. Gratitude
is also due Weekend
Edition, Performance
Today and innumerable
classical stations across
the United States for
their enthusiastic and
repeated airings of my
new Mozart Quintet
endeavors--and most of
all, to violist Katherine
Murdock for that dare in
1990. --Compiled from the
writings of Robert
Stallman by Hannah Woods
Stallman, February 2,
2020. PrefaceIn 1990,
during an intense
rehearsal of a Mozart
Quartet transcription for
flute and strings by
Franz Anton Hoffmeister,
at the Marblehead Summer
Music Festival, a
disgruntled violist
friend complained about
Hoffmeister’s
awkward string writing,
suddenly daring me to
create my own
arrangement. I balked.
But the following
winter—despite
scruples about treading
on hallowed
ground—I grew
curious and began to
experiment. Soon I was
hooked on the challenge
of learning to speak
Mozart’s language
with conviction. This
fascination, encouraged
by pianist Richard Goode
and other Mozarteans,
would eventually generate
a total of thirty-nine
recreations of Mozart
piano sonatas as works
for flute and
strings.With zero
tolerance for alteration
of melodic or harmonic
material—Mozartâ
™s friend Hoffmeister
had regrettably attempted
such
“improvementsâ€
—I always tried
to envision what Mozart
himself would have
desired. Many of the
sonatas can be heard as
if they were
Mozart’s
“blueprintsâ€
of imagined chamber
works. Hence my task was
to “flesh
out†the keyboard
versions as Mozart might
have done, had a
commission or performance
opportunity arisen. I
spent hours pondering how
Mozart might have set
these sonatas in four- or
five-part form, providing
the needed textural or
contrapuntal
enhancements. With
immersion in the
composer’s
dialect, various apt
solutions presented
themselves. The search
for the
“right†one
then became a most
absorbing study.On the
eve of releasing my
Bogner’s Café
recording of
Mozart-Stallman New
Quintets (2006), I
discovered to my delight
that a prominent scholar
had long before endorsed
such an effort. Eric Blom
(1888–1959),
author of Mozart (1935),
had taken note of the
four-hand piano works as
“a kind of keyboard
chamber music.â€
Regarding Sonata, K. 497,
Mr. Blom had observed
that Mozart is often
dealing with, not the
expected four voices (one
to a hand), but five.
Blom states: “The F
major Sonata (K. 497)
removes us to another
world—the world of
the great chamber music,
especially of the string
quintets. Indeed an
arrangement of some sort
for a combination of
instruments would make a
magnificent concert work
of this almost
uncomfortably great piece
of domestic music.â€
That Mozart was in 1786
writing for piano duo
from a quintet
perspective makes sense,
as we find him returning
to the quintet form with
keen interest in his last
years, writing four
String Quintets, the
Clarinet Quintet,
rearranging a wind
serenade for String
Quintet, and leaving
several other quintets
incomplete. My
arrangement presented
here is made for flute
and strings but is also
intended for string
quintet.Quintet in F
Major for Flute and
Strings, K. 497, was
completed in 1999 and
performed with the
Martinů Quartet in the
Czech Republic prior to
recording it in 2004.
Mozart had finished the
original Sonata in F
Major for Piano,
Four-Hands, K. 497, on
August 1, 1786. It shows
the unmistakable
influence of Figaro,
completed and premiered
exactly three months
prior. As signaled by the
imposing introductory
Adagio, the conception is
on a grand symphonic
scale, all three
movements being richly
developed with
contrapuntal episodes and
an abundance of
marvelously contrasting
textures and themes
throughout. Called
“the crowning work
of its kind†by
Alfred Einstein, the
Sonata is laden with
examples of
Mozart’s mercurial
originality. Here we have
a perfect synthesis of
concertante brilliance,
operatic intensity and
intimate dialogue.The
work opens in unison with
a probing, minor-tinged
Adagio, whose question
comes to a pause on the
dominant, before being
answered with jaunty
certainty by the opening
theme of the Allegro di
molto—an F-major
tune as sunny and
confident as an aria from
Figaro itself. This
movement’s
declamatory “opera
chorusâ€
persistently intones its
rhythmic motto over a
swirling scale figure.
The amorous second theme
(initially presented in
the first viola) also
seems to be plucked from
Figaro.The Andante opens
with a heavenly melody,
which takes as its
springboard the Romanza
theme from the Horn
Concerto in E≤
Major, K. 495, written
only five weeks before.
The “love
duet†between flute
and first viola seems to
anticipate the
impassioned
“duettingâ€
between violin and viola
in the Andante of the
String Quintet in C
Major, K. 515, written
about nine months later.
The ingenious stretto
canon of the
Andante’s middle
section requires the
precision of a Swiss
clock (which its chiming
thirds recall). Affecting
bucolic codettas close
each of the main sections
of the movement.In the
final Allegro, a rondo in
6/8Â time, the puckish,
yet aristocratic
character of the opening
theme contrasts with the
bumptious, popular tune
used for the second theme
(heard first in the
violin and then the
flute, over pizzicato
cello). Lilting hymn-like
episodes in three, four-
and finally five-part
counterpoint are
repeatedly interrupted by
startling scale figures
that rise up in furioso
episodes throughout the
movement. As in the
“Swiss clockâ€
section of the Andante,
Mozart uses a stretto
imitation treatment with
this tempest theme,
thereby heightening both
intensity and sense of
instability.I am most
grateful to the
adventuresome Martinů
Quartet for their warm
support and collaboration
over the years with
several of my
arrangements, and to my
friend Edwin Swanborn for
the original typesetting
of this score. Gratitude
is also due Weekend
Edition, Performance
Today and innumerable
classical stations across
the United States for
their enthusiastic and
repeated airings of my
“new†Mozart
Quintet
endeavors—and most
of all, to violist
Katherine Murdock for
that dare in
1990.—Compiled
from the writings of
Robert Stallmanby Hannah
Woods Stallman,February
2, 2020. $42.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| A New Orleans Nutcracker Suite Orchestre d'harmonie - Intermédiaire Belwin
Concert Band - Grade 3.5 SKU: AP.50023S I. Overture II. Dirge for a Su...(+)
Concert Band - Grade 3.5
SKU: AP.50023S
I. Overture II. Dirge
for a Sugar Plum Fairy
III. Tremé Trepak.
Composed by Peter Ilyich
Tchaikovsky. Arranged by
Michael Kamuf. Concert
Band; MakeMusic Cloud;
Performance Music
Ensemble; Single Titles.
Belwin Concert Band.
Form: Fanfare. Christmas;
Multicultural. Score.
Duration 6:00. Belwin
Music #00-50023S.
Published by Belwin Music
(AP.50023S). ISBN
9781470659172. UPC:
038081576435.
English. Tchaikovsk
y strolls the streets of
the French Quarter!
Arranger Michael Kamuf
reimagines the Overture,
Dance of the Sugar Plum
Fairies, and Trepak
themes by using different
New Orleans-based
grooves, rich jazz
harmony, and plenty of
syncopation and rhythmic
twists. Students will
love playing these
themes, and your audience
will dance in the aisles!
A New Orleans Nutcracker
Suite is the perfect
addition to your holiday
program. Though written
as a suite, each movement
can stand alone.
(6:00). $15.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| A New Orleans Nutcracker Suite Orchestre d'harmonie - Intermédiaire Belwin
Concert Band - Grade 3.5 SKU: AP.50023 I. Overture II. Dirge for a Sug...(+)
Concert Band - Grade 3.5
SKU: AP.50023
I. Overture II. Dirge
for a Sugar Plum Fairy
III. Tremé Trepak.
Composed by Peter Ilyich
Tchaikovsky. Arranged by
Michael Kamuf. Concert
Band; MakeMusic Cloud;
Performance Music
Ensemble; Single Titles.
Belwin Concert Band.
Form: Fanfare. Christmas;
Multicultural. Score and
Part(s). Duration 6:00.
Belwin Music #00-50023.
Published by Belwin Music
(AP.50023). ISBN
9781470659165. UPC:
038081576428.
English. Tchaikovsk
y strolls the streets of
the French Quarter!
Arranger Michael Kamuf
reimagines the Overture,
Dance of the Sugar Plum
Fairies, and Trepak
themes by using different
New Orleans-based
grooves, rich jazz
harmony, and plenty of
syncopation and rhythmic
twists. Students will
love playing these
themes, and your audience
will dance in the aisles!
A New Orleans Nutcracker
Suite is the perfect
addition to your holiday
program. Though written
as a suite, each movement
can stand alone.
(6:00). $85.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Mel Bay's Complete Jazz Flute Book
Flûte traversière [Partition] - Intermédiaire Mel Bay
by William Bay. For flute. Complete. Jazz. Level: Intermediate. Book. Method. Si...(+)
by William Bay. For
flute. Complete. Jazz.
Level: Intermediate.
Book. Method. Size
8.75x11.75. 144 pages.
Published by Mel Bay
Pub., Inc.
(3)$24.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Mastering the Violin A Comprehensive Study for the Adult Learner Violon [Partition + Accès audio] Mel Bay
Celtic / Irish, Perfect binding, World. Sacred. Book and online audio. 108 pag...(+)
Celtic / Irish, Perfect
binding, World. Sacred.
Book
and online audio. 108
pages.
Mel Bay Publications, Inc
#31036M. Published by Mel
Bay
Publications, Inc
$22.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Highland Celebration Orchestre à Cordes - Facile Carl Fischer
Orchestra String Orchestra - Grade 2-2.5 SKU: CF.YAS57 Composed by Alan L...(+)
Orchestra String
Orchestra - Grade 2-2.5
SKU: CF.YAS57
Composed by Alan Lee
Silva. Carl Fischer Young
String Orchestra Series.
Score and Parts. With
Standard notation.
16+4+16+10+10+10+4+12
pages. Carl Fischer Music
#YAS57. Published by Carl
Fischer Music (CF.YAS57).
ISBN 9780825866890.
UPC: 798408066895. 8.5 X
11 inches. Key: G
major. This is a
sweeping new original
composition in a subto
Scottish style from
popular composer Alan Lee
Silva. Just another one
of the pieces that always
seem to flow effortlessly
from his talented pen.
This is an excellent
piece for any contest or
festival. This
Scottish-flavored,
uptempo piece in has a
lilting, jubilant-feel
throughout. Highland
Celebration is built
around two rhythmic
subdivisions: two groups
of three eighth notes per
measure and three groups
of two eighth notes per
measure. Have the
ensemble distinguish
between the two
subdivisions by tapping
each one separately. Make
an exercise of the rhythm
in mm. 1–2 in
Violin 1 to facilitate
playing the different
rhythms precisely: (1 2 3
- 4 5 6) and (1 2 - 3 4 -
5 6). Rehearsing four- to
eightmeasure sections
under tempo will aid in
tightening these rhythms
and solidifying pitch.The
sections to concentrate
on are: mm. 17–24
and mm. 33–40 to
make sure that Violins I
and II and Cello are
playing together; mm.
33–40, to focus on
the Violin 1 and Violin 2
unisons and couplings;
and mm. 57–62,
where the quarter-note
subdivisions are
emphasized. The piece is
book-ended with the
introduction material
which always begins
quietly and builds. The
ensemble at m. 79 starts
with tutti scalar figures
and increases in
intensity to the final
accented measures at m.
83. Written in AABA form
with a double bridge at
m. 45, the overall
feeling is dance-like and
festive.
About Carl
Fischer Young String
Orchestra
Series Thi
s series of Grade 2/Grade
2.5 pieces is designed
for second and third year
ensembles. The pieces in
this series are
characterized
by: --Occasionally
extending to third
position --Keys
carefully considered for
appropriate
difficulty --Addition
of separate 2nd violin
and viola
parts --Viola T.C.
part
included --Increase
in independence of parts
over beginning levels $55.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| 50 Essential Bebop Licks You Must Know DVD Guitare [DVD] EMedia
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