| 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 | | |
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Guitar.
Book; Guitar Mixed Folio;
Guitar TAB. The New
Guitar TAB
Big Book. Rock. 272
pages.
Published by Alfred Music
$24.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Snow Way Out! A Vacation in Winter's Wonderland Chorale Unison Unison/2-parties, Piano [Partition + CD] Alfred Publishing
(A Mini-Musical for Unison and 2-Part Voices). By Sally K. Albrecht and Jay Alt...(+)
(A Mini-Musical for
Unison and 2-Part
Voices). By Sally K.
Albrecht and Jay
Althouse, orch. Tim
Hayden. This edition: CD
Kit.
Classroom/Pre-School;
Musicals; Musicals and
Programs; Reproducible.
Christmas; Winter. Book &
CD. Published by Alfred
Music Publishing
$69.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| 12 Jazz Duets 2 Trompettes (duo) [Partition + Accès audio] - Avancé De Haske Publications
Trumpet Duet - advanced SKU: BT.DHP-1125302-404 For the advanced trump...(+)
Trumpet Duet - advanced
SKU:
BT.DHP-1125302-404
For the advanced
trumpet player.
Composed by Erik
Veldkamp. Jazz. Book with
Online Audio. Composed
2021. 36 pages. De Haske
Publications #DHP
1125302-404. Published by
De Haske Publications
(BT.DHP-1125302-404).
ISBN 9789043163460.
English-German-French-Dut
ch. 12 Jazz
Duets is a volume of
wonderful pieces for two
players nice and jazzy,
just like the title
suggests. The pieces have
been written for the
advanced trumpet player
and are essentially
intended to be played
togetherwith a fellow
musician at the same
level. But you can also
use them on your own, as
the recordings available
online include demo
tracks, play-along tracks
and tracks with the added
first or second part.
Each duet is based on
thechord scheme of a jazz
standard, so you can also
improvise to the backing.
In short: a wealth of
possibilities for the
jazz lover!
12
Jazz Duets is een
boek met schitterende
stukken voor twee spelers
- lekker jazzy, zoals de
titel al zegt. Ze zijn
geschreven voor de
gevorderde trompettist.
In essentie zijn ze
bedoeld voor samenspel
met eenmedespelervan
hetzelfde niveau, maar je
kunt er ook in je eentje
mee uit de voeten. De
uitgave bevat namelijk
audiotracks die online
beschikbaar zijn,
waaronder demotracks,
begeleidingstracks én
tracks met toegevoegde
eerste stemof tweede
stem. Aan elk duet ligt
het akkoordenschema van
een jazzstandard ten
grondslag, dus je kunt
ook op de begeleiding
improviseren. Kortom: een
scala van mogelijkheden
voor de
jazzliefhebber!
12 Jazz Duets ist
ein Buch voller
wunderbarer Stücke
für zwei
fortgeschrittene
Trompeter reizvoll und
natürlich jazzig, wie
der Titel verspricht. Die
Stücke sind für das
Zusammenspiel mit einem
Trompeter gleichen
Niveausgedacht, können
aber auch alleine zu den
online verfügbaren
Audiotracks gespielt
werden. Diese umfassen
Demo- und
Mitspielversionen und
dazu noch Aufnahmen von
jeweils der ersten oder
zweiten Stimme mit
Begleitung. Jedes
Duettbasiert auf dem
Akkordschema eines
Jazzstandards, daher kann
auch zu den
Begleitakkorden
improvisiert werden. Kurz
gesagt: Eine Fülle von
Möglichkeiten für
den
Jazzliebhaber!
12 Jazz Duets propose
douze splendides duos
dans un style
agréablement jazzy,
comme le titre
lâ??indique. Ces
morceaux sont destinés
aux trompettistes
confirmés. Ils sont
essentiellement écrits
pour deux musiciens de
mêmeniveau. Mais vous
pouvez également les
interpréter seul, car
les enregistrements
disponibles en ligne
contiennent, pour chacun
des morceaux, la version
intégrale,
lâ??accompagnement avec
la deuxième voix,
lâ??accompagnement avec
lapremière voix, et
enfin lâ??accompagnement
seul. Les duos étant
fondés sur les grilles
dâ??accords de standards
du jazz, il est possible
dâ??improviser
lâ??accompagnement.
Voici une mine de
possibilités pour les
adeptes du
jazz !
12 Jazz
Duets propone una
raccolta di piacevoli
brani in stile jazz per
due trombettisti di
livello avanzato. Le due
parti sono dello stesso
livello di difficolt ,
quindi interscambiabili o
eseguibili separatamente
conl'ausilio degli
registrazioni disponibili
online che, oltre ad
incisioni complete di
tutti i brani e tracce di
accompagnamento,
contengono anche
un'incisione di una sola
tromba. $25.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Buskers Fake Book All Time Hit Piano seul Music Sales
| | |
| Three Little Pop Tunes - Intermédiaire De Haske Publications
4-Part Flexible Ensemble and Percussion - intermediate SKU: BT.DHP-0991692-07...(+)
4-Part Flexible Ensemble
and Percussion -
intermediate SKU:
BT.DHP-0991692-070
Composed by Dizzy
Stratford. Music Box.
Concert Piece. Set (Score
& Parts). Composed 1999.
De Haske Publications
#DHP 0991692-070.
Published by De Haske
Publications
(BT.DHP-0991692-070).
ISBN
9789043135153. Thre
e Little Pop Tunes
consists of three
contrasting movements
withthe appealing titles
Sunny Day, Tragic Story
and Dalton Ska. It
hasbeen written for
flexible woodwind and/or
brass quartet with
optionalpercussion by the
leading Dutch composer
Jacob de Haan.
Three Little
Pop Tunes bestaat uit
drie constrasterende
delen met de
aanlokkelijke titels
Sunny Day,
Tragic Story en
Dalton Ska. Dit
werk van componist Dizzy
Stratford is geschreven
voor variabele
instrumentatie, waardoor
het speelbaar is voor
elke combinatie van
houtblazers en
koperblazers.
Dizzy Stratford
komponierte in seiner
locker flockigen Art drei
kleine Pop-Melodien
für variables
Bläserquartett und
Schlagzeug. Natürlich
können dabei auch mehr
Musiker mitspielen, wenn
man die Stimmen
verdoppelt. Je mehr
Spieler, desto besser!
Trois petits airs
pop pour une suite
divertissante, riche en
couleurs sonores et
variée dans les
styles. Sunny Day
(pop) • Tragic
Story (ballade) •
Dalton Ska (ska)
Tre piccole arie
pop per una suite
divertente, ricca di
sonorit e di diversi
climi musicali. $38.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| In Concert ( timpani ) Orchestre d'harmonie - Débutant De Haske Publications
Concert Band - Grade 1 SKU: BT.DHP-1002045-721 Composed by Jacob De Haan....(+)
Concert Band - Grade 1
SKU:
BT.DHP-1002045-721
Composed by Jacob De
Haan. First Class. Part.
Composed 2000. 16 pages.
De Haske Publications
#DHP 1002045-721.
Published by De Haske
Publications
(BT.DHP-1002045-721).
ISBN
9789043109512. As
the name suggests, the
series First Class
contains compositions for
the first group lessons
which, despite their easy
grade, are first class
pieces! First Class
offers numerous
possibilities for
ensemble playing.
Specialattention is given
to the range of each
part, so that as many
different instruments as
possible can play the
pieces together. This
means almost any
combination of
instruments is possible,
from a quartet to a full
concert band. Allpieces
also contain optional
percussion parts. In
Concert is a collection
of small pieces composed
by Jacob de Haan. As the
title indicates, this
part of the First Class
series can be used to
make up a concert
program. Withmelodious
titles such as March
Along, Beetle Blues, and
House Party, success is
something you can count
on! Contents: March Along
· Beetle Blues ·
House Party · Quick
Time · Slow Motion
· Czardas ·
Farmhouse Rock · Soul
Ballad ·English Waltz
· Sunny Samba ·
Rhythm & Blues · Close
Finish
In
Concert is de eerste
verzameling in de serie
First Class. De
twaalf zeer verschillende
composities zijn in de
lichste
moeilijkheidsgraad
geschreven. Al na een
paar maanden kunnen de
jongste muzikanten zo al
primamet elkaar
musiceren.
Inhoud:March Along,
Beetle Blues, House
Party, Quick Time, Slow
Motion, Czardas,
Farmhouse Rock, Soul
Ballad, English Waltz,
Sunny Samba, Rythem &
Blues en Close
Finish.
Der
Serienname First
Class spricht für
sich: Einerseits sind die
Werke in dieser Serie
für das erste
Zusammenspiel
geschrieben, andererseits
sind sie bei aller
Einfachkeit doch sehr gut
komponiert, also einfach
'Klasse'! Die Serie
First Class bietet
durch ihr spezielles
Konzept unendlich
Möglichkeiten des
Zusammenspiels. Die Art
und Weise der
Instrumentierung
ermöglicht, mit zwei
oder mehreren gleichen,
aber auch mit
unterschiedlichen
Instrumenten
zusammenzuspielen. Nach
Belieben kann das
Ensemble durch
Schlaginstrumente
ergänzt werden. Das
Prinzip ist sehr einfach:
Man schaut, welche
Instrumente zur
Verfügung stehen und
sucht danach die
Stimmenhefte aus
derdazugehörigen Liste
aus.First Class in
Concert - Jacob de
HaanIn Concert
ist die erste Sammlung
der Serie First
Class. Die zwölf
ganz unterschiedlichen
Stücke sind in
leichtestem
Schwierigkeitsgrad
geschrieben. Bereits nach
ein paar Monaten
Spielerfahrung können
damit die jüngsten
Musiker miteinander
klangvoll musizieren.
La serie First
Class propone
pubblicazioni per
principianti
particolarmente adatte
alle lezioni di gruppo.
In First Class
viene data grande
importanza
all’estensione
delle parti, rendendo
possibile
l’esecuzione da
parte di molti strumenti
diversi. In questo modo,
si può utilizzare
qualsiasi combinazione di
strumenti: dal quartetto
fino alla orchestra di
fiati. Tutti i brani
contengono le parti
opzionali per percussioni
e dato che sono pensati
per musicisti
principianti, non
contengono ritmi o
tecniche complesse. $10.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| The Ultimate Fake Book - Third Edition (Bb version)
Instruments en Sib [Fake Book] Hal Leonard
Bb Edition. Fake Book (Includes melody line and chords). Size 9x12 inches. 816 p...(+)
Bb Edition. Fake Book
(Includes melody line and
chords). Size 9x12
inches. 816 pages.
Published by Hal Leonard.
(8)$49.95 - Voir plus => AcheterDélais: 3 to 5 business days | | |
| The Ultimate Fake Book - 3rd Edition Fake Book [Fake Book] Hal Leonard
Eb Edition. By Various. Fake Book (Includes melody line and chords). Size 9x12 i...(+)
Eb Edition. By Various.
Fake Book (Includes
melody line and chords).
Size 9x12 inches. 816
pages. Published by Hal
Leonard.
(2)$49.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Fingerstyle Guitar Gig Book Guitare notes et tablatures [Partition] - Intermédiaire Mel Bay
By Bill Piburn. For Guitar (Fingerpicking). Solos. Bluegrass and Country. Level:...(+)
By Bill Piburn. For
Guitar (Fingerpicking).
Solos. Bluegrass and
Country. Level:
Intermediate. Book. Size
9.5x11.75. 384 pages.
Published by Mel Bay
Publications, Inc.
(2)$39.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| All American Song Book
Piano, Voix [Partition] Alfred Publishing
Songbook (spiral bound) for voice and piano. 143 pages. Published by Alfred Publ...(+)
Songbook (spiral bound)
for voice and piano. 143
pages. Published by
Alfred Publishing.
(2)$9.95 - Voir plus => AcheterDélais: 4 to 6 business days | | |
| The Real Little Ultimate Fake Book - 3rd Edition (C Edition) [Fake Book] Hal Leonard
Fakebook (spiral bound) for voice and C instrument. With vocal melody, lyrics, c...(+)
Fakebook (spiral bound)
for voice and C
instrument. With vocal
melody, lyrics, chord
names, leadsheet notation
and guitar chord chart.
Series: Hal Leonard Fake
Books. 813 pages.
Published by Hal Leonard.
(4)$39.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Pleasant Hill Orchestre d'harmonie - Facile De Haske Publications
Concert Band/Harmonie/Fanfare Band - Grade 2 SKU: BT.DHP-1002134-215 Comp...(+)
Concert
Band/Harmonie/Fanfare
Band - Grade 2 SKU:
BT.DHP-1002134-215
Composed by Harm Evers.
March. Score Only.
Composed 2000. De Haske
Publications #DHP
1002134-215. Published by
De Haske Publications
(BT.DHP-1002134-215).
Pleasant Hill
takes its inspiration
from pleasant relaxing
moments snatched on top
of a sunny hill. It takes
the form of a traditional
march with the composer
leading us over the hill
with a bass solo and a
melodious trio. The march
comes to a close leaving
everybody reeling with a
fascinating sense of
majesty.
In der
kurzen aber bezaubernden
Einleitung diese
Straßenmarsches ist
der Charakter des
Stückes bereits
vollständig getroffen.
Die Eingebung dazu
entstand aus dem Gedanken
an einen wohltuend
entspannten Aufenthalt
auf einem sonnigen
Hügel. Harm Evers
verwendete eine
traditionelle Marschform,
um uns über den
Hügel zu führen, in
der ein wohlklingendes
Basssolo und ein
melodisches Trio
natürlich nicht fehlen
durften. Der Faszination
durch den feierlichen
Schluss wird sich kaum
jemand entziehen
können. $19.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| The Hal Leonard Real Jazz Fake Book - C Edition Fake book [Fake Book] - Intermédiaire Hal Leonard
Fake Book (Includes melody line and chords). Size 9x12 inches. 384 pages. Publis...(+)
Fake Book (Includes
melody line and chords).
Size 9x12 inches. 384
pages. Published by Hal
Leonard.
(2)$45.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Real Rock Book Instruments en Do [Fake Book] Hal Leonard
| | |
| The Best Fake Book Ever - C Edition - 3rd Edition
Fake Book [Fake Book] Hal Leonard
(C Edition) For voice and C instrument. Format: fakebook. With vocal melody, lyr...(+)
(C Edition) For voice and
C instrument. Format:
fakebook. With vocal
melody, lyrics and chord
names. Series: Hal
Leonard Fake Books. 856
pages. 9x12 inches.
Published by Hal Leonard.
(14)$59.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Essential Songs for Viola Alto seul [Partition] Hal Leonard
| | |
| Pleasant Hill Orchestre d'harmonie - Facile De Haske Publications
Concert Band/Harmonie/Fanfare Band - Grade 2 SKU: BT.DHP-1002134-015 Comp...(+)
Concert
Band/Harmonie/Fanfare
Band - Grade 2 SKU:
BT.DHP-1002134-015
Composed by Harm Evers.
Set (Score & Parts).
Composed 2000. De Haske
Publications #DHP
1002134-015. Published by
De Haske Publications
(BT.DHP-1002134-015).
Pleasant Hill
takes its inspiration
from pleasant relaxing
moments snatched on top
of a sunny hill. It takes
the form of a traditional
march with the composer
leading us over the hill
with a bass solo and a
melodious trio. The march
comes to a close leaving
everybody reeling with a
fascinating sense of
majesty.
In der
kurzen aber bezaubernden
Einleitung diese
Straßenmarsches ist
der Charakter des
Stückes bereits
vollständig getroffen.
Die Eingebung dazu
entstand aus dem Gedanken
an einen wohltuend
entspannten Aufenthalt
auf einem sonnigen
Hügel. Harm Evers
verwendete eine
traditionelle Marschform,
um uns über den
Hügel zu führen, in
der ein wohlklingendes
Basssolo und ein
melodisches Trio
natürlich nicht fehlen
durften. Der Faszination
durch den feierlichen
Schluss wird sich kaum
jemand entziehen
können. $78.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| The Real Little Best Fake Book Ever - 3rd Edition Fake Book [Fake Book] Hal Leonard
C Edition. Fake Book (Includes melody line and chords). Size 6x9 inches. 864 pag...(+)
C Edition. Fake Book
(Includes melody line and
chords). Size 6x9 inches.
864 pages. Published by
Hal Leonard.
(7)$39.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Essential Songs for Trumpet Trompette [Partition] Hal Leonard
| | |
| Essential Songs for Flute Flûte traversière [Partition] Hal Leonard
| | |
| Essential Songs for Violin Violon [Partition] Hal Leonard
| | |
| Essential Songs for Cello Violoncelle [Partition] Hal Leonard
| | |
| Essential Songs for Alto Sax
Saxophone Alto [Partition] Hal Leonard
Essential Songs for Alto Sax by Various. Instrumental Folio. Softcover. 144 page...(+)
Essential Songs for Alto
Sax by Various.
Instrumental Folio.
Softcover. 144 pages.
Published by Hal Leonard
(2)$19.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
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