| Music for Three, Volume 5, Part 2 - Clarinet [Partie séparée] Last Resort Music Publishing
Mixed Trios. By Various. Arranged by Daniel Kelley. For Clarinet in Bb. Trios. M...(+)
Mixed Trios. By Various.
Arranged by Daniel
Kelley. For Clarinet in
Bb. Trios. Music for
Three. Late 19th/Early
20th Century Favorites.
Level:
Intermediate/Advanced.
Part 2. Published by Last
Resort Music Publishing.
$20.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Music for Three, Volume 5, Part 1 - Clarinet [Partie séparée] Last Resort Music Publishing
Mixed Trios. By Various. Arranged by Daniel Kelley. For Clarinet in Bb. Trios. M...(+)
Mixed Trios. By Various.
Arranged by Daniel
Kelley. For Clarinet in
Bb. Trios. Music for
Three. Late 19th/Early
20th Century Favorites.
Level:
Intermediate/Advanced.
Part 1. Published by Last
Resort Music Publishing.
$20.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Three Sketches for Clarinet Choir (15 Clarinets) EMB (Editio Musica Budapest)
Chamber Music for Woodwind Ensemble (Score) SKU: HL.50510372 For clari...(+)
Chamber Music for
Woodwind Ensemble (Score)
SKU: HL.50510372
For clarinet
choir. Composed by
Frigyes Hidas. 20th
Century. EMB. Score. 28
pages. Editio Musica
Budapest #Z12882.
Published by Editio
Musica Budapest
(HL.50510372). ISBN
9790080128824. UPC:
073999603774.
9.0x12.0x0.106 inches.
English. Frigyes
Hidas. Score. $12.95 - Voir plus => Acheter | | |
| Three contrasting sketches for clarinet choir Ensemble de Clarinettes Golden River Music
By Raymond Decancq. For Clarinet ensemble. Level 6. Published by Golden River Mu...(+)
By Raymond Decancq. For
Clarinet ensemble. Level
6. Published by Golden
River Music
$32.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Accent on Performance Classical Collection Orchestre d'harmonie Alfred Publishing
(22 Full Band Arrangements Correlated to Accent on Achievement (Clarinet 2)). Ar...(+)
(22 Full Band
Arrangements Correlated
to Accent on Achievement
(Clarinet 2)). Arranged
by John O'Reilly and Mark
Williams. Concert Band.
For Clarinet 2. Band
Supplement; Book;
Masterworks. Accent on
Performance. Masterwork
Arrangement. 24 pages.
Published
$6.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| For the Mystic Harmony Theodore Presser Co.
Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clar...(+)
Band Bass Clarinet,
Bassoon 1, Bassoon 2,
Clarinet, Clarinet 1,
Clarinet 2, Clarinet 3,
Contrabass Clarinet,
Contrabassoon, English
Horn, Flute 1, Flute 2,
Oboe 1, Oboe 2, Piccolo,
alto Saxophone, soprano
Saxophone, tenor
Saxophone SKU:
PR.165001000 Hymns
for Wind Ensemble.
Composed by Dan Welcher.
Folio. Set of Score and
Parts.
4+24+24+16+8+4+4+24+12+12
+8+4+4+4+4+8+8+8+8+4+4+4+
4+8+8+8+8+8+8+8+8+4+16+4+
8+4+8+8+4+4+4+48 pages.
Duration 10 minutes, 41
seconds. Theodore Presser
Company #165-00100.
Published by Theodore
Presser Company
(PR.165001000). ISBN
9781491129241. UPC:
680160669776. 9 x 12
inches. Commissione
d for a consortium of
high school and college
bands in the north Dallas
region, FOR THEMYSTIC
HARMONY is a 10-minute
inspirational work in
homage to Norwood and
Elizabeth Dixon,patrons
of the Fort Worth
Symphony and the Van
Cliburn Competition.
Welcher draws melodic
flavorfrom five American
hymns, spirituals, and
folk tunes of the 19th
century. The last of
these sources toappear is
the hymn tune For the
Beauty of the Earth,
whose third stanza is the
quatrain: “For the
joy of earand eye, For
the heart and
mind’s delight,
For the mystic harmony,
Linking sense to sound
and sight,â€giving
rise to the work’s
title. This work,
commissioned for a
consortium of high school
bands in the north Dallas
area, is my fifteenth
maturework for wind
ensemble (not counting
transcriptions). When I
asked Todd Dixon, the
band director
whospearheaded this
project, what kind of a
work he most wanted, he
first said
“something
that’s basically
slow,†butwanted to
leave the details to me.
During a long subsequent
conversation, he
mentioned that his
grandparents,Norwood and
Elizabeth Dixon, were
prime supporters of the
Fort Worth Symphony,
going so far as to
purchase anumber of high
quality instruments for
that orchestra. This
intrigued me, so I asked
more about his
grandparentsand was
provided an 80-page
biographical sketch.
Reading that article,
including a long section
about theirdevotion to
supporting a young man
through the rigors of the
Van Cliburn International
Piano Competition fora
number of years, moved me
very much. Norwood and
Elizabeth Dixon
weren’t just
supporters of the arts;
theywere passionate
lovers of music and
musicians. I determined
to make this work a
testament to that love,
and tothe religious faith
that sustained them both.
The idea of using extant
hymns was also suggested
by Todd Dixon,and this
10-minute work is the
result.I have employed
existing melodies in
several works, delving
into certain kinds of
religious music more than
a fewtimes. In seeking
new sounds, new ways of
harmonizing old tunes,
and the contrapuntal
overlaying of one
tunewith another, I was
able to make works like
ZION (using 19th-century
Revivalist hymns) and
LABORING SONGS(using
Shaker melodies) reflect
the spirit of the
composers who created
these melodies, without
sounding likepastiches or
medleys. I determined to
do the same with this new
work, with the added
problem of
employingmelodies that
were more familiar. I
chose five tunes from the
19th century: hymns,
spirituals, and
folk-tunes.Some of these
are known by differing
titles, but they all
appear in hymnals of
various Christian
denominations(with
various titles and
texts). My idea was to
employ the tunes without
altering their notes,
instead using aconstantly
modulating sense of
harmony —
sometimes leading to
polytonal harmonizations
of what are
normallysimple four-chord
hymns.The work begins and
ends with a repeated
chime on the note C: a
reminder of steeples,
white clapboard
churchesin the country,
and small church organs.
Beginning with a
Mixolydian folk tune of
Caribbean origin
presentedtwice with
layered entrances, the
work starts with a
feeling of mystery and
gentle sorrow. It
proceeds, after along
transition, into a second
hymn that is sometimes
connected to the sea
(hence the sensation of
water andwaves throughout
it). This tune, by John
B. Dykes (1823-1876), is
a bit more chromatic and
“shifty†than
mosthymn-tunes, so I
chose to play with the
constant sensation of
modulation even more than
the original does. Atthe
climax, the familiar
spiritual “Were you
there?†takes over,
with a double-time
polytonal feeling
propelling itforward at
“Sometimes it
causes me to
tremble.â€Trumpets
in counterpoint raise the
temperature, and the
tempo as well, leading
the music into a third
tune (ofunknown
provenance, though it
appears with different
texts in various hymnals)
that is presented in a
sprightlymanner. Bassoons
introduce the melody, but
it is quickly taken up by
other instruments over
three
“verses,â€cons
tantly growing in
orchestration and volume.
A mysterious second tune,
unrelated to this one,
interrupts it inall three
verses, sending the
melody into unknown
regions.The final melody
is “For the Beauty
of the Earth.†This
tune by Conrad Kocher
(1786-1872) is commonly
sung atThanksgiving
— the perfect
choice to end this work
celebrating two people
known for their
generosity.Keeping the
sense of constant
modulation that has been
present throughout, I
chose to present this
hymn in threegrowing
verses, but with a twist:
every four bars, the
“key†of the
hymn seems to shift
— until the
“Lord of all,
toThee we praiseâ€
melody bursts out in a
surprising compound
meter. This, as it turns
out, was the
“mystery
tuneâ€heard earlier
in the piece. After an
Ivesian, almost polytonal
climax, the Coda begins
over a long B( pedal. At
first,it seems to be a
restatement of the first
two phrases of “For
the Beauty†with
long spaces between them,
but it soonchanges to a
series of
“Amenâ€
cadences, widely
separated by range and
color. These, too, do not
conform to anykey, but
instead overlay each
other in ways that are
unpredictable but
strangely comforting.The
third verse of “For
the Beauty of the
Earth†contains
this quatrain:“For
the joy of ear and eye,
–For the heart and
mind’s delightFor
the mystic harmonyLinking
sense to sound and
sightâ€and it was
from this poetry that I
drew the title for the
present work. It is my
hope that audiences and
performerswill find
within it a sense of
grace: more than a little
familiar, but also quite
new and unexpected. $150.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| For the Mystic Harmony Theodore Presser Co.
Band Bass Clarinet, Bass Drum, Bassoon 1, Bassoon 2, Bongos, Castanets, Celesta,...(+)
Band Bass Clarinet, Bass
Drum, Bassoon 1, Bassoon
2, Bongos, Castanets,
Celesta, Clarinet,
Clarinet 1, Clarinet 2,
Clarinet 3, Contrabass
Clarinet, Contrabassoon,
English Horn, Euphonium,
Euphonium T.C., Flute 1,
Flute 2, Horn 1, Horn 2,
Horn 3 and more. SKU:
PR.16500100F Hymns
for Wind Ensemble.
Composed by Dan Welcher.
Sws. Full score. 48
pages. Duration 10
minutes, 41 seconds.
Theodore Presser Company
#165-00100F. Published by
Theodore Presser Company
(PR.16500100F). ISBN
9781491114421. UPC:
680160669783. 9 x 12
inches. Commissione
d for a consortium of
high school and college
bands in the north Dallas
region, FOR THEMYSTIC
HARMONY is a 10-minute
inspirational work in
homage to Norwood and
Elizabeth Dixon,patrons
of the Fort Worth
Symphony and the Van
Cliburn Competition.
Welcher draws melodic
flavorfrom five American
hymns, spirituals, and
folk tunes of the 19th
century. The last of
these sources toappear is
the hymn tune For the
Beauty of the Earth,
whose third stanza is the
quatrain: “For the
joy of earand eye, For
the heart and
mind’s delight,
For the mystic harmony,
Linking sense to sound
and sight,â€giving
rise to the work’s
title. This work,
commissioned for a
consortium of high school
bands in the north Dallas
area, is my fifteenth
maturework for wind
ensemble (not counting
transcriptions). When I
asked Todd Dixon, the
band director
whospearheaded this
project, what kind of a
work he most wanted, he
first said
“something
that’s basically
slow,†butwanted to
leave the details to me.
During a long subsequent
conversation, he
mentioned that his
grandparents,Norwood and
Elizabeth Dixon, were
prime supporters of the
Fort Worth Symphony,
going so far as to
purchase anumber of high
quality instruments for
that orchestra. This
intrigued me, so I asked
more about his
grandparentsand was
provided an 80-page
biographical sketch.
Reading that article,
including a long section
about theirdevotion to
supporting a young man
through the rigors of the
Van Cliburn International
Piano Competition fora
number of years, moved me
very much. Norwood and
Elizabeth Dixon
weren’t just
supporters of the arts;
theywere passionate
lovers of music and
musicians. I determined
to make this work a
testament to that love,
and tothe religious faith
that sustained them both.
The idea of using extant
hymns was also suggested
by Todd Dixon,and this
10-minute work is the
result.I have employed
existing melodies in
several works, delving
into certain kinds of
religious music more than
a fewtimes. In seeking
new sounds, new ways of
harmonizing old tunes,
and the contrapuntal
overlaying of one
tunewith another, I was
able to make works like
ZION (using 19th-century
Revivalist hymns) and
LABORING SONGS(using
Shaker melodies) reflect
the spirit of the
composers who created
these melodies, without
sounding likepastiches or
medleys. I determined to
do the same with this new
work, with the added
problem of
employingmelodies that
were more familiar. I
chose five tunes from the
19th century: hymns,
spirituals, and
folk-tunes.Some of these
are known by differing
titles, but they all
appear in hymnals of
various Christian
denominations(with
various titles and
texts). My idea was to
employ the tunes without
altering their notes,
instead using aconstantly
modulating sense of
harmony —
sometimes leading to
polytonal harmonizations
of what are
normallysimple four-chord
hymns.The work begins and
ends with a repeated
chime on the note C: a
reminder of steeples,
white clapboard
churchesin the country,
and small church organs.
Beginning with a
Mixolydian folk tune of
Caribbean origin
presentedtwice with
layered entrances, the
work starts with a
feeling of mystery and
gentle sorrow. It
proceeds, after along
transition, into a second
hymn that is sometimes
connected to the sea
(hence the sensation of
water andwaves throughout
it). This tune, by John
B. Dykes (1823-1876), is
a bit more chromatic and
“shifty†than
mosthymn-tunes, so I
chose to play with the
constant sensation of
modulation even more than
the original does. Atthe
climax, the familiar
spiritual “Were you
there?†takes over,
with a double-time
polytonal feeling
propelling itforward at
“Sometimes it
causes me to
tremble.â€Trumpets
in counterpoint raise the
temperature, and the
tempo as well, leading
the music into a third
tune (ofunknown
provenance, though it
appears with different
texts in various hymnals)
that is presented in a
sprightlymanner. Bassoons
introduce the melody, but
it is quickly taken up by
other instruments over
three
“verses,â€cons
tantly growing in
orchestration and volume.
A mysterious second tune,
unrelated to this one,
interrupts it inall three
verses, sending the
melody into unknown
regions.The final melody
is “For the Beauty
of the Earth.†This
tune by Conrad Kocher
(1786-1872) is commonly
sung atThanksgiving
— the perfect
choice to end this work
celebrating two people
known for their
generosity.Keeping the
sense of constant
modulation that has been
present throughout, I
chose to present this
hymn in threegrowing
verses, but with a twist:
every four bars, the
“key†of the
hymn seems to shift
— until the
“Lord of all,
toThee we praiseâ€
melody bursts out in a
surprising compound
meter. This, as it turns
out, was the
“mystery
tuneâ€heard earlier
in the piece. After an
Ivesian, almost polytonal
climax, the Coda begins
over a long B( pedal. At
first,it seems to be a
restatement of the first
two phrases of “For
the Beauty†with
long spaces between them,
but it soonchanges to a
series of
“Amenâ€
cadences, widely
separated by range and
color. These, too, do not
conform to anykey, but
instead overlay each
other in ways that are
unpredictable but
strangely comforting.The
third verse of “For
the Beauty of the
Earth†contains
this quatrain:“For
the joy of ear and eye,
–For the heart and
mind’s delightFor
the mystic harmonyLinking
sense to sound and
sightâ€and it was
from this poetry that I
drew the title for the
present work. It is my
hope that audiences and
performerswill find
within it a sense of
grace: more than a little
familiar, but also quite
new and unexpected. $25.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Accent on Performance Classical Collection Orchestre d'harmonie Alfred Publishing
Concert Band Alto Clarinet SKU: AP.41293 22 Full Band Arrangements Cor...(+)
Concert Band Alto
Clarinet SKU:
AP.41293 22 Full
Band Arrangements
Correlated to Accent on
Achievement (Alto
Clarinet). Arranged
by John O'Reilly and Mark
Williams. Band
Supplement; Collections;
Masterworks; Performance
Music Ensemble. Accent on
Performance. Masterwork
Arrangement. Book. 24
pages. Alfred Music
#00-41293. Published by
Alfred Music (AP.41293).
ISBN 9780739097366.
UPC: 038081461861.
English. Over the
course of ten years,
legendary young-band
composers John O'Reilly
and Mark Williams
composed and arranged
over 100 creative works
that correlate with
specific pages in their
highly successful band
method, Accent on
Achievement. Alfred Music
is now proud to make
these arrangements
available in a book
format that includes 22
full arrangements in each
collection.
The
Classical Collection
includes authentic,
carefully arranged music
of the master composers
from the Renaissance
through the Romantic
Period. Titles:
Elizabethan Dances *
Mozart Serenade and Dance
* St. Anthony Chorale *
Best of Beethoven * Ave
Verum Corpus * Saturday
at the Symphony * and 16
others. $6.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Music for Three Treble Instruments, Collection No. 5 Wedding & Classical Favorites [Set de Parties séparées] Last Resort Music Publishing
(Mix and Match Trios for Three Treble Instruments including Violins, Violas, Flu...(+)
(Mix and Match Trios for
Three Treble Instruments
including Violins,
Violas, Flutes, Oboes and
Clarinet). Arranged by
Daniel Kelley. For
flexible trio (flute,
oboe, clarinet, violin,
viola, alto flute,
English horn, French
horn). A wonderful
collection of trios
arranged for three treble
instruments with mixed or
flexible
instrumentation..
Classical.
Intermediate/Advanced.
Set of parts. Published
by Last Resort Music
Publishing
$22.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Accent on Performance Classical Collection Orchestre d'harmonie Alfred Publishing
(22 Full Band Arrangements Correlated to Accent on Achievement (Bass Clarinet))....(+)
(22 Full Band
Arrangements Correlated
to Accent on Achievement
(Bass Clarinet)).
Arranged by John O'Reilly
and Mark Williams.
Concert Band. For Bass
Clarinet. Band
Supplement; Book;
Masterworks. Accent on
Performance. Masterwork
Arrangement. 24 pages.
Pub
$6.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Three Sketches EMB (Editio Musica Budapest)
Chamber Music for Woodwind Ensemble (Parts) SKU: HL.50487342 For clari...(+)
Chamber Music for
Woodwind Ensemble (Parts)
SKU: HL.50487342
For clarinet
choir. Composed by
Frigyes Hidas. 20th
Century. EMB. Parts.
Editio Musica Budapest
#Z12883. Published by
Editio Musica Budapest
(HL.50487342). ISBN
9790080128831. A/4
inches. English. Frigyes
Hidas. $41.45 - Voir plus => Acheter | | |
| Light, Line, Shadow - Avancé Schott
Score and Parts flute (pic), clarinet, violin, viola, cello, double bass, and pe...(+)
Score and Parts flute
(pic), clarinet, violin,
viola, cello, double
bass, and percussion (1
player: vibraphone,
crotales) - advanced
SKU: HL.49045996
For Flute, Clarinet,
Violin, Viola, Cello,
Double Bass & Percussion
Score and Parts.
Composed by Pierre
Jalbert. Sheet music.
Edition Schott.
Softcover. Composed 2018.
37 pages. Duration 15'.
Schott Music #ED30283.
Published by Schott Music
(HL.49045996). ISBN
9781540033901. UPC:
888680786991.
9.25x12.0x0.314
inches. Light,
Line, Shadow is a
response to Edward
Hopper's iconic painting
Road and Trees, a
painting donated to the
Philadelphia Museum of
Art by Daniel Dietrich
II, and the first Hopper
painting acquired by the
museum. My piece is in
three contrasting
movements, each referring
to and inspired by an
aspect of Hopper's
painting.The first
movement, Landscape in
Motion, refers to the
dynamic movement of the
landscape when traveling
in a car and looking at
the landscape passing by
in the window. Hopper
loved to take road trips,
experiencing America by
car, and in one of his
initial sketches for Road
and Trees, there was a
car in the painting. The
first movement tries to
capture that moving
landscape as experienced
in a car in motion. The
second movement, Brush
Strokes, focuses on the
darker forest in the
painting, as the trees
become denser and the
technique of brush
strokes creates deep
layers. There is a
spiritual aspect to
Hopper's paintings, a
kind of isolation and
emptied out space, and
the third movement, Open
Road, dwells on that
aspect of the painting
before reprising material
from the dynamic first
movement.- Pierre
Jalbert. $175.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Three Mood Sketches Theodore Presser Co.
Woodwind quintet Bassoon, Clarinet, Flute, Horn, Oboe SKU: PR.14440211S <...(+)
Woodwind quintet Bassoon,
Clarinet, Flute, Horn,
Oboe SKU:
PR.14440211S For
woodwind quintet.
Composed by George
Tsontakis. Contemporary.
Full score. With Standard
notation. 44 pages.
Duration 15 minutes.
Theodore Presser Company
#144-40211S. Published by
Theodore Presser Company
(PR.14440211S). UPC:
680160027033. $63.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Septet Wilhelm Hansen
Score SKU: HL.50603836 For Flute, Oboe, 2 Clarinets, 2 Horns and Basso...(+)
Score SKU:
HL.50603836 For
Flute, Oboe, 2 Clarinets,
2 Horns and Bassoon
Score. Composed by
Rued Langgaard. Score.
Softcover. 32 pages.
Duration 780 seconds.
Edition Wilhelm Hansen
#WH32275. Published by
Edition Wilhelm Hansen
(HL.50603836). ISBN
9781705149003. UPC:
196288015772. Langg
aard sketched out the
work at the Tyringe
Badesanatorium in Scania
(Sweden) in the course of
just three summer days in
1915 - 28-30 June. $30.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
1 |