| Fake Book Of The World's Favorite Songs - C Instruments - 4th Edition
Instruments en Do [Fake Book] Hal Leonard
For voice and C instrument. Format: fakebook. With vocal melody, lyrics and chor...(+)
For voice and C
instrument. Format:
fakebook. With vocal
melody, lyrics and chord
names. Traditional pop
and vocal standards.
Series: Hal Leonard Fake
Books. 424 pages. 9x12
inches. Published by Hal
Leonard.
(14)$34.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Ryan's Mammoth Collection of Fiddle Tunes Violon [Partition] Mel Bay
Edited by Patrick Sky. For fiddle. All styles. Level: Multiple Levels. Book. Son...(+)
Edited by Patrick Sky.
For fiddle. All styles.
Level: Multiple Levels.
Book. Songbook. Size
8.75x11.75. 176 pages.
Published by Mel Bay
Pub., Inc.
$29.99 - Voir plus => AcheterDélais: 1 to 2 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 | | |
| The Garden of My Father's House Clarinette, Violon (duo) Subito Music
Violin & Clarinet SKU: SU.80111202 For Violin & Clarinet. Composed...(+)
Violin & Clarinet SKU:
SU.80111202 For
Violin & Clarinet.
Composed by Meyer
Kupferman. Strings,
Violin, Woodwinds,
Clarinet. Performance
Score. Subito Music
Corporation #80111202.
Published by Subito Music
Corporation
(SU.80111202).
Violin &
Clarinet Duration: '
Composed: 1972 Published
by: Soundspells
Productions Includes set
of 2 scores The Garden of
My Father's House (1973)
is a dramatic rhapsody
for violin and clarinet
duo. The composer wrote
the following: I composed
THE GARDEN OF MY FATHER'S
HOUSE in 1972 in memory
of my father, who was my
first music teacher.
Although he played many
instruments and loved to
sing, he could not read a
note of music. When I was
very young he would sing
Gypsy songs, Yiddish
folk-songs and Rumanian
tunes to me and I would
play them back on my
clarinet, often with
ornaments and variations.
Sometimes he would
accompany me on the
piano; he had a few
favorite chords which
always seemed to pop up
no matter what the tune.
The piece is a musical
ritual, based on a
C-sharp drone, or pedal
note, that is heard
without interruption,
across several ranges,
throughout the piece. The
violin's drone tremolos,
often combined with
perfect fifths and
quarter-tone tunings,
imply the key of Csharp
minor. The violin part is
always rubato —
lyrical, expressive and
frequently very
passionate. But, most
importantly, the violin
is always tonal. The
clarinet, on the other
hand, is atonal, its
pitches drawn from the
twelve-tone row that I
used to write my Cycles
of Infinities. The style
of the clarinet is
contemporary, using
wide-range intervals,
biting accents and
unusual instrumental
effects, including
fluttertonguing and
quarter-tone trills. In
combining the
'contrasting' roles of
the two instruments, I
sought to create a
musical ritual-game that
would draw energy and
bits of information from
the polarized
instruments. The language
of the piece calls the
listener's attention to
the cogent features of
both instrumental
personalities in a manner
that is somewhat similar
to the way in which
Yiddish combines German
and Hebrew. The drone
becomes more and more
magnetic and begins to
join the parts together
until they become one in
the final C-sharp
unison. $22.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| 52 Selected Hymns for the Solo Performer Clarinette Kenneth D. Friedrich
Composed by Various. Arranged by Kenneth D. Friedrich. For clarinet solo. Level ...(+)
Composed by Various.
Arranged by Kenneth D.
Friedrich. For clarinet
solo. Level 2 to 4.
Published by Kenneth D.
Friedrich
$25.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Break Clarinette - Facile Southern Music Ltd
Mastering the Middle Register of the Clarinet. Southern Music. Instruction. S...(+)
Mastering the Middle
Register of the Clarinet.
Southern Music.
Instruction.
Softcover. 28 pages.
Southern Music Company
#B588. Published by
Southern
Music Company
$10.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Movie Instrumental Solos Clarinet Book And Cd Clarinette [Livre + CD] - Facile Warner Brothers
Edited by Zoby Perez, Bill Galliford. Instrumental collection (Clarinet). 20 pag...(+)
Edited by Zoby Perez,
Bill Galliford.
Instrumental collection
(Clarinet). 20 pages.
Published by Warner
Brothers.
(1)$12.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Ultimate Movie Instrumental Solos Clarinette [Partition + CD] - Intermédiaire Alfred Publishing
(Clarinet). For Clarinet. Book; CD; Instrumental Series; Play-Along. Ultimate Po...(+)
(Clarinet). For Clarinet.
Book; CD; Instrumental
Series; Play-Along.
Ultimate Pop Instrumental
Solos Series. Movie.
Grade 2; Grade 3. 84
pages. Published by
Alfred Music Publishing
$19.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Worship Favorites - Clarinet Clarinette [Partition + CD] Hal Leonard
(Instrumental Play-Along for Clarinet). Instrumental Folio. Softcover with CD. 1...(+)
(Instrumental Play-Along
for Clarinet).
Instrumental Folio.
Softcover with CD. 16
pages. Published by Hal
Leonard
$12.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Big Book of Christmas Songs for Clarinet Clarinette Hal Leonard
By Various Composers. Instrumental Folio. Size 9x12 inches. 146 pages. Published...(+)
By Various Composers.
Instrumental Folio. Size
9x12 inches. 146 pages.
Published by Hal Leonard.
(2)$19.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Sounds of Celebration - Bb Clarinet
2 Clarinettes (duo) [Partition] - Intermédiaire Daybreak Music
(Solos with Ensemble Arrangements for Two or More Players) Arranged by Stan Peth...(+)
(Solos with Ensemble
Arrangements for Two or
More Players) Arranged by
Stan Pethel. For Bb
clarinet. Format:
clarinet songbook. With
standard notation, solo
part and harmony part.
Contemporary Christian.
23 pages. 9x12 inches.
Published by Daybreak
Music.
(8)$12.99 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Norgard Gennem Torne Sc Hp/st/4tel Cham Book Quatuor à cordes: 2 violons, alto, violoncelle [Conducteur] Music Sales
Harp, Flute, Clarinet, String Quartet SKU: HL.14023298 Composed by Per No...(+)
Harp, Flute, Clarinet,
String Quartet SKU:
HL.14023298 Composed
by Per Norgard. Music
Sales America. Score.
Music Sales #KP01431.
Published by Music Sales
(HL.14023298). ISBN
9788759871591.
English. Per
Norgard 's Gennem Torne /
Through Thorns (2003)
Harp Concerto No. 2 -
Passage for Harp Solo
with Flute, Clarinet and
String Quartet. Premiered
by Tine Rehling (Harp)
and the Esbjerg Ensemble,
conducted by Kaisa Roose
at the Concert Hall of
the Western Jutland
Academy of Music,
Esbjerg, 28th January
2004. Programme Note
THROUGH THORNS has a
duration of about 20
minutes, in one
continuous movement, thus
the subtitle passage. The
work is scored for harp
solo, flute, clarinet and
string quartet. The title
is borrowed from the
lines from an old Virgin
Mary Hymn: Mary wanders
through thorns, a hymn
which ends with the
following line: then
roses grew forth amongst
thethorns. I only came
across the poem after
finishing the
composition, the passage
of which is a journey of
sometimes dramatic
events, concluding with a
rose-blooming, as does
the hymn. For
THROUGH THORNS to borrow
its title from a Virgin
Mary Hymn has to do with
the musical material and
current of the piece,
which brings motives from
an earlier choral piece
of mine, FLOS UT ROSA
(Latin for a flower like
a rose), and the rose in
question is of course the
one which grew forth when
the Virgin Mary gave
birth to the Infant Jesus
in a hitherto unheard-of
fashion, a NOVA GENITURA
(new birth), which is the
title of another work of
mine that also derives
its material from my
original rose-melody from
1975. THROUGH
THORNS is dedicated to
Tine Rehling, and
together with her I have
tried to expand the
sonorities of the harp,
by exploring existing
techniques and their more
remote regions, in order
to gain access to new
territory and new
soundscaoes, as realised
by the constantly
experimentally-minded and
virtuoso player.
Per Norgard, 2004.
 . $55.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Hymns For The Master (Clarinet) Clarinette [Partition + CD] - Facile Hal Leonard
Arranged by Stan Pethel. Instrumental Folio. Book and CD package. Size 9x12 inch...(+)
Arranged by Stan Pethel.
Instrumental Folio. Book
and CD package. Size 9x12
inches. 16 pages.
Published by Hal Leonard.
(2)$14.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| 101 Worship Songs for Clarinet Clarinette Hal Leonard
Composed by Various. Instrumental Folio. Christian, General Worship, Worship. ...(+)
Composed by Various.
Instrumental Folio.
Christian,
General Worship, Worship.
Softcover. 120 pages.
Published by Hal Leonard
$17.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Six Pieces (Clarinet) Clarinette et Piano - Intermédiaire Fentone Music
Clarinet and Piano. By Cesar Auguste Franck. Arranged by Philip Lane. Fentone Pl...(+)
Clarinet and Piano. By
Cesar Auguste Franck.
Arranged by Philip Lane.
Fentone Play Along Books.
Play Along. 28 pages.
Published by Fentone
Music.
$20.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Solitude of Stars Piano seul Theodore Presser Co.
For Piano. Composed by Stacy Garrop. Sws. Duration 5 minutes. Theodore Presser...(+)
For Piano. Composed by
Stacy
Garrop. Sws. Duration 5
minutes. Theodore Presser
Company #110-41832.
Published by Theodore
Presser Company
$9.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| On Track: 13 Ensemble Works For Key Stage 4 [Conducteur et Parties séparées] University Of York Music Press
Chamber Ensemble SKU: BT.MUSM570209088 On Track. By Sadie Harrison...(+)
Chamber Ensemble SKU:
BT.MUSM570209088
On Track. By Sadie
Harrison. Set (Score &
Parts). 15 pages.
University of York Music
Press #MUSM570209088.
Published by University
of York Music Press
(BT.MUSM570209088).
English. 13
specially commissioned
pieces which aim to
breathe new life into a
largely neglected
component of the GCSE/Key
Stage 4 Music syllabus,
Ensemble Performance. On
Track comes complete with
a CD-Rom containing all
the parts for all the
pieces and transpositions
for any instrument, and
these parts come with a
licence for printing as
many copies as needed,
directly from the CD-Rom.
A separate 'audio' CD
also contains recordings
of every piece. The book
contains scores for each
piece and extended notes
by the composers to aid
in the preparation of the
music: there are 5 pieces
for fixed ensembles and 8
pieces for flexible
ensembles. The editor of
the compilation, Sadie
Harrison, comments:
Playing in an ensemble
with one's peers is
perhaps the most
rewarding and satisfying
thing to do as a young
performer, and it is
crucial to nurture this
element of GCSE courses
to reflect this. On Track
is a fantastic collection
of many different styles,
approaches and sounds.
There is something in
here for everybody, at
whatever level, and on
whatever instrument. This
is what GCSE Music
teachers are crying out
for, and finally here is
something that really
hits the mark. Harrison's
comments are echoed by
recent examiners' reports
from EdExcel, one of the
largest examiners of GCSE
music. They describe how
the music they heard in
examinations demonstrated
'an extreme range of
standards and revealed
evidence of the very wide
range of instruments in
use'. The AQA (Assessment
and Qualification
Alliance) Examiners'
report in 2004 warns
schools against allowing
their students to present
solo music with a piano
accompaniment played by a
teacher or with a CD
accompaniment for the
ensemble performance
component. It continues,
saying that it is of
utmost importance that
the chosen ensemble
allows the candidate to
show rapport with the
other player(s). This is
a significant requirement
with which many
[examination] centres did
NOT comply. Fixed
Ensembles Sadie Harrison
— On the run!for
clarinet in Bb, violin,
'cello, piano Ed Hughes
— Matthew's Mazurkafor
piano duet Jeremy Dale
Roberts — 'Takes
three...' for trumpet,
'cello, piano Matthew
Roddie — Gone Clubbin'
for violin, 'cello Thomas
Simaku — From Across
the Sea for 2 flutes,
clarinet in Bb Flexible
Ensembles David Blake —
Piece for Luis and Justin
for four instruments
Anthony Gilbert — U-GO
for Arirang for four
instruments Jo Kondo —
A Birthday Toast for any
number of instruments
David Lumsdaine — A
tree dances for Orpheus
for three instruments
Paul Mealor — Swing
Slow for two instruments
Robert Saxton — There
and Back for three
instruments John Stringer
— Duo for two
instruments Lu s Tinoco
— Diversion for four
instruments. $28.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| The Solitude of Stars Cor et Piano Theodore Presser Co.
Chamber Music English Horn, Piano SKU: PR.114422630 Composed by Stacy Gar...(+)
Chamber Music English
Horn, Piano SKU:
PR.114422630 Composed
by Stacy Garrop. Sws. Set
of Score and Parts. 8+2
pages. Duration 5
minutes. Theodore Presser
Company #114-42263.
Published by Theodore
Presser Company
(PR.114422630). UPC:
680160684793. 9 x 12
inches. In 2014, I
enjoyed a wonderful
residence at the Ucross
Foundation in
Clearmont, Wyoming.
Ucross is an artist
colony that gives
writers, composers, and
visual artists
the gift of time,
space, and support to
follow their artistic
pursuits; we are provided
with studio space,
housing, and meals so
that we can work
continuously on our
projects. I have been
in residence at numerous
artist colonies; however,
nothing in my
previous experiences
prepared me for living in
such isolated, wild
country. Ucross is
situated on
a 20,000-acre cattle
ranch at nearly 4,000
feet in elevation with
fewer than 150
people living within
the town. But what
Clearmont lacks in
population, it makes up
for abundantly and
spectacularly in
wilderness and wildlife.
I composed the sextet
Postcards from Wyoming
to offer three glimpses
of what I found to be the
most striking aspects
of my residence. The
Solitude of Stars, the
third and final movement
of the original
sextet, was inspired
by the stunning nightly
display of the heavens
above. Without city
lights dimming the
night sky, countless
stars shone brightly over
the vast expanse of the
prairie. This edition
is part of The Solitude
of Stars Project that I
undertook during the
2020 COVID-19
pandemic, which consists
of a series of
arrangements that I made
for colleagues and
friends. In 2014, I
enjoyed a wonderful
residence at the Ucross
Foundation in Clearmont,
Wyoming. Ucross is an
artist colony that gives
writers, composers, and
visual artists the gift
of time, space, and
support to follow their
artistic pursuits; we are
provided with studio
space, housing, and meals
so that we can work
continuously on our
projects. I have been in
residence at numerous
artist colonies; however,
nothing in my previous
experiences prepared me
for living in such
isolated, wild country.
Ucross is situated on a
20,000-acre cattle ranch
at nearly 4,000 feet in
elevation with fewer than
150 people living within
the town. But what
Clearmont lacks in
population, it makes up
for abundantly and
spectacularly in
wilderness and wildlife.
I composed the sextet
Postcards from Wyoming to
offer three glimpses of
what I found to be the
most striking aspects of
my residence. The
Solitude of Stars, the
third and final movement
of the original sextet,
was inspired by the
stunning nightly display
of the heavens above.
Without city lights
dimming the night sky,
countless stars shone
brightly over the vast
expanse of the prairie.
This edition is part of
The Solitude of Stars
Project that I undertook
during the 2020 COVID-19
pandemic, which consists
of a series of
arrangements that I made
for colleagues and
friends. In 2014, I
enjoyed a wonderful
residence at the Ucross
Foundation in
Clearmont,Wyoming. Ucross
is an artist colony that
gives writers, composers,
and visual artists
thegift of time, space,
and support to follow
their artistic pursuits;
we are provided
withstudio space,
housing, and meals so
that we can work
continuously on our
projects. I havebeen in
residence at numerous
artist colonies; however,
nothing in my
previousexperiences
prepared me for living in
such isolated, wild
country. Ucross is
situated on a20,000-acre
cattle ranch at nearly
4,000 feet in elevation
with fewer than 150
peopleliving within the
town. But what Clearmont
lacks in population, it
makes up forabundantly
and spectacularly in
wilderness and wildlife.
I composed the sextet
Postcardsfrom Wyoming to
offer three glimpses of
what I found to be the
most striking aspects
ofmy residence. The
Solitude of Stars, the
third and final movement
of the original
sextet,was inspired by
the stunning nightly
display of the heavens
above. Without city
lightsdimming the night
sky, countless stars
shone brightly over the
vast expanse of the
prairie.This edition is
part of The Solitude of
Stars Project that I
undertook during the
2020COVID-19 pandemic,
which consists of a
series of arrangements
that I made forcolleagues
and friends. $19.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| The Solitude of Stars Violon et Piano Theodore Presser Co.
Chamber Music Cello, Piano, Violin SKU: PR.114422690 Composed by Stacy Ga...(+)
Chamber Music Cello,
Piano, Violin SKU:
PR.114422690 Composed
by Stacy Garrop. Sws. Set
of Score and Parts. 8+2+2
pages. Duration 5
minutes. Theodore Presser
Company #114-42269.
Published by Theodore
Presser Company
(PR.114422690). UPC:
680160684809. 9 x 12
inches. In 2014, I
enjoyed a wonderful
residence at the Ucross
Foundation in
Clearmont, Wyoming.
Ucross is an artist
colony that gives
writers, composers, and
visual artists
the gift of time,
space, and support to
follow their artistic
pursuits; we are provided
with studio space,
housing, and meals so
that we can work
continuously on our
projects. I have been
in residence at numerous
artist colonies; however,
nothing in my
previous experiences
prepared me for living in
such isolated, wild
country. Ucross is
situated on
a 20,000-acre cattle
ranch at nearly 4,000
feet in elevation with
fewer than 150
people living within
the town. But what
Clearmont lacks in
population, it makes up
for abundantly and
spectacularly in
wilderness and wildlife.
I composed the sextet
Postcards from Wyoming
to offer three glimpses
of what I found to be the
most striking aspects
of my residence. The
Solitude of Stars, the
third and final movement
of the original
sextet, was inspired
by the stunning nightly
display of the heavens
above. Without city
lights dimming the
night sky, countless
stars shone brightly over
the vast expanse of the
prairie. This edition
is part of The Solitude
of Stars Project that I
undertook during the
2020 COVID-19
pandemic, which consists
of a series of
arrangements that I made
for colleagues and
friends. In 2014, I
enjoyed a wonderful
residence at the Ucross
Foundation in Clearmont,
Wyoming. Ucross is an
artist colony that gives
writers, composers, and
visual artists the gift
of time, space, and
support to follow their
artistic pursuits; we are
provided with studio
space, housing, and meals
so that we can work
continuously on our
projects. I have been in
residence at numerous
artist colonies; however,
nothing in my previous
experiences prepared me
for living in such
isolated, wild country.
Ucross is situated on a
20,000-acre cattle ranch
at nearly 4,000 feet in
elevation with fewer than
150 people living within
the town. But what
Clearmont lacks in
population, it makes up
for abundantly and
spectacularly in
wilderness and wildlife.
I composed the sextet
Postcards from Wyoming to
offer three glimpses of
what I found to be the
most striking aspects of
my residence. The
Solitude of Stars, the
third and final movement
of the original sextet,
was inspired by the
stunning nightly display
of the heavens above.
Without city lights
dimming the night sky,
countless stars shone
brightly over the vast
expanse of the prairie.
This edition is part of
The Solitude of Stars
Project that I undertook
during the 2020 COVID-19
pandemic, which consists
of a series of
arrangements that I made
for colleagues and
friends. In 2014, I
enjoyed a wonderful
residence at the Ucross
Foundation in
Clearmont,Wyoming. Ucross
is an artist colony that
gives writers, composers,
and visual artists
thegift of time, space,
and support to follow
their artistic pursuits;
we are provided
withstudio space,
housing, and meals so
that we can work
continuously on our
projects. I havebeen in
residence at numerous
artist colonies; however,
nothing in my
previousexperiences
prepared me for living in
such isolated, wild
country. Ucross is
situated on a20,000-acre
cattle ranch at nearly
4,000 feet in elevation
with fewer than 150
peopleliving within the
town. But what Clearmont
lacks in population, it
makes up forabundantly
and spectacularly in
wilderness and wildlife.
I composed the sextet
Postcardsfrom Wyoming to
offer three glimpses of
what I found to be the
most striking aspects
ofmy residence. The
Solitude of Stars, the
third and final movement
of the original
sextet,was inspired by
the stunning nightly
display of the heavens
above. Without city
lightsdimming the night
sky, countless stars
shone brightly over the
vast expanse of the
prairie.This edition is
part of The Solitude of
Stars Project that I
undertook during the
2020COVID-19 pandemic,
which consists of a
series of arrangements
that I made forcolleagues
and friends. $25.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Easy Collection of Clarinet Quartets Quatuor de Clarinettes: 4 clarinettes [Partition] - Facile Eighth Note Publications
By Various. Arranged by David Marlatt. Various. For 4 Clarinets. Mixed Instrumen...(+)
By Various. Arranged by
David Marlatt. Various.
For 4 Clarinets. Mixed
Instruments - Flexible
Instrumentation.
Renaissance. Level: Easy.
Published by Eighth Note
Publications.
$20.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Bells of Aberdovey [Conducteur et Parties séparées] - Intermédiaire Forton Music
Clarinet ensemble - Intermediate SKU: FT.FM417 By Marina van E Kummer. By...(+)
Clarinet ensemble -
Intermediate SKU:
FT.FM417 By Marina
van E Kummer. By
Traditional. Arranged by
Marina van E Kummer.
Clarinet Ensemble. Score
and parts. Forton Music
#FM417. Published by
Forton Music (FT.FM417).
ISBN
9790570483167. This
was first performed in
the beautiful
surroundings and stunning
acoustics of The Chapter
House at Exeter Cathedral
by The Exeter University
Clarinet Choir (started
by one of my students,
which makes me a clarinet
choir grandmother!) and
The Peninsula Clarinet
Choir. We played facing
each other across the
audience as this Bb decet
splits musically into two
quintets which
intermingle and oppose
each other to mimic
resounding bells. Be
careful of the tuning on
the high notes, and don't
let the dotted rhythms
become too jerky as this
would disrupt the smooth
flow of the
arrangement. $29.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Across the Horizons Violon Theodore Presser Co.
Chamber Music Clarinet, Piano, Violin, Violoncello SKU: PR.144404800 F...(+)
Chamber Music Clarinet,
Piano, Violin,
Violoncello SKU:
PR.144404800 For
Violin, Clarinet, Cello
and Piano. Composed
by Jay Reise.
Contemporary. Set of
Score and Parts. With
Standard notation.
Composed 2004.
52+16+16+16 pages.
Duration 21 minutes.
Theodore Presser Company
#144-40480. Published by
Theodore Presser Company
(PR.144404800). UPC:
680160031153. Reise
brings his signature
rhythmic impulses to his
2004 quartet, the
intricate Across the
Horizons. Although many
point to the
instrumentation as a
Messiaen quartet (Quatuor
pour le fin du temps),
let there be no further
comparison. Reise, who
was earlier introduced to
Carnatic rhythms of South
India music and who finds
ways of incorporating
them into his own, has
taken us on a significant
journey in three
movements. As always,
Reise's music attracts
the finest performers -
Across the Horizons has
been recorded by Charles
Abramovic (piano),
Allison Herz (clarinet),
Karen Bentley Pollick
(violin), and Michal
Schmidt (cello). For
advanced performers. $50.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Across the Horizons Violon [Conducteur] Theodore Presser Co.
Chamber Music Clarinet, Piano, Violin, Violoncello SKU: PR.14440480S F...(+)
Chamber Music Clarinet,
Piano, Violin,
Violoncello SKU:
PR.14440480S For
Violin, Clarinet, Cello
and Piano. Composed
by Jay Reise.
Contemporary. Score. With
Standard notation.
Composed 2004. 52 pages.
Duration 21 minutes.
Theodore Presser Company
#144-40480S. Published by
Theodore Presser Company
(PR.14440480S). UPC:
680160608188. Reise
brings his signature
rhythmic impulses to his
2004 quartet, the
intricate Across the
Horizons. Although many
point to the
instrumentation as a
Messiaen quartet (Quatuor
pour le fin du temps),
let there be no further
comparison. Reise, who
was earlier introduced to
Carnatic rhythms of South
India music and who finds
ways of incorporating
them into his own, has
taken us on a significant
journey in three
movements. As always,
Reise's music attracts
the finest performers -
Across the Horizons has
been recorded by Charles
Abramovic (piano),
Allison Herz (clarinet),
Karen Bentley Pollick
(violin), and Michal
Schmidt (cello). For
advanced performers. $38.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Dip In 50 Film Tunes For Clarinet Clarinette Music Sales
| | |
| Dialogues: 9 Duets For Two Clarinets In B Flat Performance Score 2 Clarinettes (duo) Schott
2 clarinets in Bb SKU: HL.49044553 9 Duets. Composed by Barbara He...(+)
2 clarinets in Bb SKU:
HL.49044553 9
Duets. Composed by
Barbara Heller. Edited by
Irith Gabriely. This
edition: Saddle
stitching. Sheet music.
Woodwind Ensemble.
Softcover. Composed 2013.
44 pages. Schott Music
#KLB92. Published by
Schott Music
(HL.49044553). ISBN
9790001197731. The
clarinettist Irith
Gabriely was inspired by
her love of Barbara
Heller's Dialogues (for
violin and viola) to
arrange these duets for
two Bb clarinets. The
result is a set of varied
concertante dialogues
that present
clarinettists with a few
challenges, requiring
stamina, breath control,
intense and contrasting
dynamics, chromatic
passages, whole tone
passages, sensitive tone
production, leaps across
wide intervals, fast
playing, disciplined
rhythmic control and
listening to one another
closely. In this edition
all tempo indications and
dynamic markings are
intended for guidance:
these duets may equally
well be interpreted in
other ways. This edition
therefore also includes a
second section where all
the pieces are reproduced
without such markings,
ready for individual
interpretation. The
Dialogues lend themselves
very well to chamber
performances; they are
also short enough to
serve as brief
interludesat readings or
exhibitions. Their
expressive qualities,
brevity and range of
musical and technical
demands make them highly
suitable material for
youth music competitions.
A flute or oboe might
well be played with the
clarinet as alternative
instrumentation for these
duets (ED 22017). $22.99 - Voir plus => Acheter | | |
| Clarinet Fingering & Scale Chart Clarinette [Diagrammes] - Débutant Mel Bay
By Eric Nelson. For Clarinet. Fingering Chart. All. Level: Beginning. Chart. Siz...(+)
By Eric Nelson. For
Clarinet. Fingering
Chart. All. Level:
Beginning. Chart. Size
8.75x11.75. 4 pages.
Published by Mel Bay
Publications,
$6.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
Page suivante 1 31 61 ... 151 |