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.
Composed by Bernd Franke.
Full Scores. Edition
Peters. Score. 52 pages.
Duration 00:20:00.
Edition Peters
#98-EP14445. Published by
Edition Peters
(PE.EP14445).
ISBN
9790014135041. 297 x 420
mm inches.
German.
ARKA
stammt aus dem
Sanskrit und bedeutet so
viel wie Strahl, Blitz,
Sonne, Licht, aber auch
Lied, Feuer und Hymnus,
und entwickelt in meiner
Vorstellung sehr viele
unterschiedliche
Assoziationsfelder. In
ARKA stecken
auch die Worter arc
(beten) und ka (Wasser),
und es kann auch
ubersetzt werden mit:
,,Das Wasser stromt aus
dem heraus, der mehr
weiss.
Mein neues
Werk fur Pipa, Oboe,
Pauke, Schlagzeug und
Orchester entstand im
Auftrag der
Kammerakademie Neuss und
auf Anregung des Oboisten
Christian Wetzel. Es
entstanden drei Rituale
mit zum Teil szenischen
Elementen fur die
Solisten und das
Orchester.
Inspirationsquelle in
der Vorbeschaftigung
waren zwei Quellen und
Bucher. Das Daodejing von
Laozi in der
hervorragenden
Neuubersetzung von Viktor
Kalinke, eine der
wichtigsten Quellen
chinesischen Denkens und
der Philosophie dieser
grossen Kulturtradition
und die chinesische
Tradition der
5-Elementelehre und der
Wandlungsphasen. Als
zweites Buch hat mich
,,Die Glut von Roberto
Calasso inspiriert, ein
Buch uber die indischen
Veden in Verbindung mit
den Ursprungen des
Buddhismus und den damit
verbunden Ritualen.
In den letzten 20
Jahren habe ich mich
intensiv mit
ostasiatischer Musik,
Kunst und Philosophie
beschaftigt und habe das
auch durch langere
Studienreisen und
kompositorische Projekte
vertiefen konnen. U.a.
wurde 2012 mein Chorwerk
PRAN in Kolkata in Indien
uraufgefuhrt
(Goethe-Institut),
ebenfalls 2012 ,,in
between VI fur Sho und
Sheng in Tokyo und 2013
,,Mirror and Circle fur
Pipa, Cello und
chinesisches Orchester in
Taipeh/Taiwan
(Auftragswerk der
taiwanesischen
Regierung). Mit der
chinesischen
Pipa-Virtuosin Ya Dong
arbeite ich seit 2000
zusammen und habe fur sie
mehrfach komponiert
(Urauffuhrungen u.a. in
Hannover/EXPO 2000,
Rottweil 2001, Taipeh
2013, Magdeburg 2016).
Auch mit Christian Wetzel
arbeite ich seit uber 20
Jahren zusammen und habe
ebenfalls haufig fur ihn
komponiert (UA u.a. in
Bonn 1999, Hannover/EXPO
2000, Rottweil 2001,
Darmstadt 2004 und
etliche weitere
Projekte).
Jedes
dieser drei Rituale hat
eine Lange von ca. 6-7
Minuten und stellt
unterschiedliche
Qualitaten und
Besonderheiten der beiden
Soloinstrumente heraus,
immer in Verbindung mit
der Interaktion zwischen
Soli und Orchester. Die
Besetzung war fur mich
ausserst reizvoll, da
beide Instrumente in
dieser Kombination noch
nie so erklungen sind.
Die Pipa ist ein ungemein
modernes und
ungewohnliches
Instrument, reich an
Farben und vor allem an
perkussiven Effekten. Das
Tonmaterial wurde zum
grossten Teil aus den
Namen der beiden Solisten
gewonnen und ergibt
interessanter zwei
gespiegelte
Viertonmotive. In der
asiatischen Kultur
spielen der Spiegel und
der Kreis eine wichtige
Rolle, und so werden die
Tone, Rhythmen und Formen
eingewoben in diese drei
Rituale, welche am Ende
des dritten Satzes wieder
kreisformig an den Anfang
des ersten Rituals
anknupfen. Ein von den
Streichern und der Pauke
erzeugtes Gerausch,
verbunden mit dem
Rhythmus der grossen
Trommel, welcher einen
Herzschlag symbolisieren
soll. Die drei Untertitel
der Rituale Himmel, Erde
und (atmospharischer)
Raum spielen im vedischen
und chinesischen Denken
eine grosse Rolle und war
fur mich beim Komponieren
ebenfalls eine sehr
starke
Inspirationsquelle. In
vielen meiner
Kompositionen gibt es
Raumeffekte, Annaherungen
an das Publikum, das
Verschieben von
Perspektiven, die
Dekonstruktion und das
Hinterfragen der ublichen
Konzertsituation, so u.a
in meinem Beuys-Zyklus
oder in den Zyklen ,,CUT
und ,,in between.
In ARKA geht
es mir besonders um die
Interaktion zwischen
westlichem und ostlichem
Denken, um das
gegenseitige Durchdringen
dieser auf den ersten
Blick so
unterschiedlichen Denk-
und Lebensweisen, um eine
Verschmelzung scheinbarer
Gegensatze - um
Annaherung!
Bernd
Franke. Leipzig,
11.10.2019
W01476|C|Y
0.0000 Sheet Music
_x000D_ 9780193556799 Y
23.50 X556799 357665
9780193556799 MISC C 1
432 8030 0.00 Oxford Solo
Songs: Christmas 14 songs
with piano PAPER 14
9780193556799 A-B CAROLS
CHRISTMAS MISC
MISCELLANEOUS OXFORD
PIANO SOLO SONGS SONGS:
VOICE WITH AB 00:00:0 Low
voice & piano Low voice
book + downloadable
backing tracks 311x232 72
NEW NONE 29/07/2021 P
355580 9780193556799
Young: A babe is
born
Rutter:
Angels' Carol
McDowall: Before the
paling of the stars
Rutter:
Candlelight Carol
Rutter: I sing
of a maiden
Chilcott: Mid-winter
Todd: My Lord
has Come
Bullard: Scots Nativity
Quartel: Snow
Angel
Todd:
Softly
Chilcott: Sweet was the
song
Chilcott:
The Shepherd's Carol
Quartel: This
endris night
McGlade: What child is
this?
for
low voice and piano
This beautiful
collection of 14 songs
for low voice offers
Christmas settings by
some of Oxford's
best-loved composers.
Suitable for solo singers
and unison choirs alike,
each song is presented
with piano accompaniment,
and high-quality,
downloadable backing
tracks are included on a
companion website. With a
wonderful selection of
pieces, including
favourites such as Bob
Chilcott's 'The
Shepherd's Carol' and
John Rutter's
'Candlelight Carol', this
is the perfect collection
for use in carol services
and Christmas concerts or
for enjoying at home.
Also available in a
volume for high voice and
piano.
14
songs for solo
voice
Well-loved
composers, including John
Rutter and Bob
Chilcott
Wide
selection of Christmas
texts
Accessible
accompaniments
Includes backing tracks
downloadable from a
Companion
Website
Available in volumes for
high and low
voice
MISC|AU|Y
0.0000 Paperback _x000D_
EP73308R Y 0.00 73308R
P73308R 1 ORCHA 8000 0.00
Hover A (LARGE) BEAMISH
EP73308R GP:ORCHESTRAL
HOVER ONLY RENTAL SALLY
WORKS NONE ORCHA P 303000
EP73308R 0.0000 Sheet
Music _x000D_ EP14437A Y
22.95 14437A P14437A
FRANKE, BERND C
9790014137199 52A1 8000
0.00 AGNI A 9790014137199
AGNI BASS BERND CLARINET
EP14437A FRANKE
PHOTOPRINTS W01476
English / German 00:12:0
Instrumental Score 232 x
303 mm Bass clarinet 20
DETNT NEW PR43 23/04/2021
P 303006
AGNI is the
Hindu god of fire; the
elemental and
transformative force
inherent in
everything:
Every
flame, every fire, every
light, every warmth is
AGNI.
AGNI is
omnipresent, establishing
everything and ending
everything.
AGNI is
often depicted with seven
tongues which represent
different aspects of his
being.
These
include: creating,
sustaining, cleansing,
purifying, priestly,
martial, devastating,
destructive, and
consuming.
Derived
from Franke's concerto of
the same name, this solo
work for bass clarinet
compositionally traces
the transformative
processes initiated by
the divine fire. The solo
takes seven pieces from
the concerto, presenting
vivid character pieces
exploring the creative
possibilities and wide
tonal range offered by
the bass
clarinet.
This
version of AGNI
for bass clarinet solo
was premiered on 4
December 2020 in Leipzig
by Volker Hemken, the
principal bass
clarinetist of the
Gewandhausorchester
Leipzig. EP14437a
convinces with its
excellent and clear
notation, making the
piece a new standard for
bass clarinet.
W01476|C|Y 0.0000 Sheet
Music _x000D_ EP68686 Y
165.00 68686 P68686 LEWIS
C 9790300761299 97 8000
0.00 Ikons A
9790300761299
CONTEMPORARY ENSEMBLE
EP68686 GEORGE IKONS
LEWIS PHOTOPRINTS SMALL
W06652 English 00:14:0
Conductor Score & Parts
303 x 232 mm Fl (A-fl in
F).Cl.Bsn
(Cbsn).Tbn.Perc.Vln.Vlc.C
b 132 NEW PR43 USTNT
21/04/2021 P 303006
Ikons,
commissioned by the
Vancouver Cultural
Olympiad 2010, exists in
two forms. This 14-minute
acoustic version,
premiered by the Turning
Point Ensemble, calls for
an octet of live
musicians to execute
complex rhythms and
quarter-tone
harmonies.
The
interactive, electronic
version, created with
visual artist Eric
Metcalfe and designed to
be presented separately,
incorporates samples from
this acoustic version
into a sculptural
environment of seven
pyramidal structures that
respond sonically to the
viewer.
W06652|C|Y
0.0000 Sheet Music
_x000D_ EP73531 Y 31.95
73531 P73531 PANUFNIK,
ROXANNA C 9790577020976
61 8000 0.00 Sonnets
without Words A
9790577020976 EP73531
HORN PANUFNIK PHOTOPRINTS
PIANO ROXANNA SHAKESPEARE
SONNETS W03578 WILLIAM
WITHOUT WORDS English
Score & Instrumental
Parts 232 x 303 mm Horn
and piano 28 NEW PR43
UKTNT 21/04/2021 P 303006
Roxanna Panufnik's
Sonnets without
Words is a
contemporary piece for
Horn in F and piano.
Written for horn player
Ben Goldscheider,
Panufnik has reimagined
the lyrical vocal lines
from three of her
previous settings of
Shakespeare's sonnets
(Mine eye, Music to
hear and Sweet
Love Remember'd for
voice and piano) into a
purely instrumental
work.
Score and
horn
part.
Contempo
rary work for Horn in F
and
piano
Settings of
Sheakespeare's Sonnets 8,
24 & 29 in instrumental
form
W03578|C|Y
W06737|LY|N 0.0000 Sheet
Music _x000D_ EP73571 Y
15.95 73571 P73571
MCNEFF, STEPHEN C
9790577021317 20 8000
0.00 Trig for Solo Cello
A 9790577021317 (SOLO)
CELLO EP73571 MCNEFF
PHOTOPRINTS SOLO STEPHEN
TRIG W03150 English
00:07:0 Instrumental
Score 232 x 303 mm Solo
Violoncello 8 NEW PR43
UKTNT 21/04/2021 P 303006
Stephen McNeff's
Trig is a short
7-minute contemporary
work for solo cello,
written to celebrate the
bicentennial of the Royal
Academy of Music in 2022
and in memorium cellist
Mike Edwards
1948-2010.
Trig
was premiered by
Henry Hargreaves on 19
March 2021, livestreamed
from the Royal Academy of
Music.
Contemp
orary piece for solo
cello
Written for
the Royal Academy of
Music's
bicentennial
W03150|C|Y 0.0000 Sheet
Music _x000D_ EP14528 Y
34.95 14528 P14528
SAUNDERS, REBECCA C
9790014136796 3 8000 0.00
to an utterance - study A
9790014136796 (SOLO) AN
EP14528 PHOTOPRINTS PIANO
REBECCA SAUNDERS STUDY TO
UTTERANCE W04191 English
Instrumental Score 420 x
297 mm Piano Solo 16
DETNT NEW PR43 21/04/2021
P 303006
to an
utterance - study
was commissioned by
Klangforum Wien for the
premiere commercial audio
recording on a portrait
CD in 2020 and first
performed by Joonas
Ahonen at the Berlin
Philharmonie on 4th
September 2020 at the
Musikfest Berlin.
W04191|C|Y 0.0000 Sheet
Music _x000D_ EP71880 Y
75.00 71880 P71880
PANUFNIK, ROXANNA C
9790577008332 82 8000
0.00 Spirit Moves for
Brass Quintet A
9790577008332 BRASS
ENSEMBLE EP71880 MOVES
PANUFNIK PHOTOPRINTS
QUINTET ROXANNA SPIRIT
W03578 English 00:15:0
Score & Instrumental
Parts 232 x 303 mm
Trumpet 1 in B flat
(doubling Piccolo
Trumpet), Trumpet 2 in B
flat (doubling Flugel
Horn), Horn in F,
Trombone, Tuba 84 NEW
PR43 UKTNT 21/04/2021 P
303006
Roxanna
Panufnik's Spirit
Moves, for brass
quintet, was commissioned
by the Fine Arts Brass
Ensemble. This 15-minute
piece is scored for two
trumpets in Bb (one
doubling piccolo trumpet
and the other doubling
flugel horn), horn in F,
trombone and tuba. This
brass quintet is so
called because the outer
movements are highly
spirited and the
central one is
spiritual.
This product consists of
score and parts.
W03578|C|Y 0.0000 Sheet
Music _x000D_ EP73585 Y
4.00 73585 P73585 369282
WILLIAMS, RODERICK C
9790577021591 1 151 8000
0.00 Eriskay Love Lilt A
9790577021591 (SECULAR)
CHORAL EP73585 ERISKAY
HALSTAN-USA LILT LOVE
RODERICK TRADITIONAL
W05152 WILLIAMS WORKS
English 00:03:0 190 x 272
mm SATB (divisi) and
piano 16 NEW PR30 UKTNT
20/05/2021 P 377788
A
gently flowing 3-minute
arrangement by Roderick
Williams for SATB (with
divisi) with piano
accompaniment that
captures the beauty of
this famous traditional
Hebridean love song. The
song text uses both old
dialect and English, each
verse ending with the
words, 'Sad am I without
thee'.
Commiss
ioned by The Sixteen
choir and recorded on
their 2021 album
'Goodnight
Beloved'
Roderick
Williams is a
composer/arranger and
also a world-renowned
baritone
The
arrangement is described
by Williams as 'having a
little nod to Ravel and
Grieg'
W05152|C|Y W04819|LY|N
0.0000 Sheet Music
_x000D_ 9780193556782 Y
23.50 X556782 357665
9780193556782 MISC C 1
432 8030 0.00 Oxford Solo
Songs: Christmas 14 songs
with piano PAPER 14
9780193556782 A-B CAROLS
CHRISTMAS MISC
MISCELLANEOUS OXFORD
PIANO SOLO SONGS SONGS:
VOICE WITH AB 00:00:0
High voice & piano High
voice book + downloadable
backing tracks 311x232 72
NEW NONE 29/07/2021 P
355580 9780193556782
Young: A babe is
born
Rutter:
Angels' Carol
McDowall: Before the
paling of the stars
Rutter:
Candlelight Carol
Rutter: I sing
of a maiden
Chilcott: Mid-winter
Todd: My Lord
has Come
Bullard: Scots Nativity
Quartel: Snow
Angel
Todd:
Softly
Chilcott: Sweet was the
song
Chilcott:
The Shepherd's Carol
Quartel: This
endris night
McGlade: What child is
this?
for
high voice and piano
This beautiful
collection of 14 songs
for high voice offers
Christmas settings by
some of Oxford's
best-loved composers.
Suitable for solo singers
and unison choirs alike,
each song is presented
with piano accompaniment,
and high-quality,
downloadable backing
tracks are included on a
companion website. With a
wonderful selection of
pieces, including
favourites such as Bob
Chilcott's 'The
Shepherd's Carol' and
John Rutter's
'Candlelight Carol', this
is the perfect collection
for use in carol services
and Christmas concerts or
for enjoying at home.
Also available in a
volume for low voice and
piano.
14
songs for solo high
voice
Well-loved
composers, including John
Rutter and Bob
Chilcott
Wide
selection of sacred and
secular Christmas
texts
Accessible
accompaniments
Includes backing tracks
downloadable from a
Companion
Website
Available in volumes for
high and low solo
voice
MISC|AU|Y
0.0000 Paperback _x000D_
9780193559066 Y 4.25
X559066 357665
9780193559066 YOUNG C 1
444 8030 0.00 O splendour
of God's glory bright
PAPER 9780193559066
BRIGHT CHORAL GLORY GOD'S
MIXED OF OXFORD SACRED
SPLENDOUR TOBY VOICES
W06576 YOUNG C 00:03:30
SATB & organ Vocal score
254x178 SATB 20 NONE P
355580 9780193559066
for SATB and organ
This energetic
setting of words by St
Ambrose of Milan is a
real showstopper. With
pop-influences and a
sparkling organ part,
Young effortlessly fuses
modern and traditional
sound worlds, while
changes in key and metre
build up to an
invigorating finish.
Perfect for accomplished
choirs looking for
something different.
W06576|C|Y 0.0000
Paperback _x000D_
9780193554399 Y 2.60
X554399 357665
9780193554399 LASSUS,
ORLANDO DE C 1 445 8030
0.00 Oculus non vidit
PAPER 9780193554399
CHORAL DE KEANE LASSUS
MARK NON OCULUS ORLANDO
OXFORD SACRED UPPER VIDIT
VOICES W02750 B 00:01:30
SA unaccompanied Vocal
score 254x178 Upper
Voices - 3 parts or more
4 NONE 10/06/2021 P
355580 9780193554399
for SA unaccompanied
This simple, charming
two-part motet features
long melismatic phrases
that reflect the text (1
Corinthians 2: 9), such
as the rising melodic
line over three bars on
the word 'ascended'
(ascendit).
W02750|C|Y
W06960|E|N 0.0000
Paperback _x000D_
9780193954298 Y 3.35
X954298 357665
9780193954298 TALLIS,
THOMAS C 1 448 8030 0.00
Honor, virtus et potestas
PAPER 9780193954298
CANTICLES DUNKLEY ET
HONOR OXFORD POTESTAS
SALLY SERVICES TALLIS
THOMAS VIRTUS W04705 C
00:06:0 SAATB
unaccompanied Vocal score
MSER00020 SATB 12 NONE
28/05/2021 P 355580
9780193954298
for
SAATB unaccompanied.
This glorious musical
depiction of the honour,
strength, power and
authority of the Holy
Trinity by Thomas Tallis
is the third issue in the
CMS's series of great
English Responds from the
16th century, edited by
Sally Dunkley. Scored for
SAATB, it can be
performed either as a
motet or as a full
Responsory with plainsong
alternating with
polyphony.
W04705|C|Y
W01184|E|N 0.0000
Paperback _x000D_ EP73527
Y 6.95 73527 P73527
BEAMISH, SALLY C
9790577020891 50 8000
0.00 The Parting Glass A
9790577020891 (SOLO)
BEAMISH CLARINET EP73527
GLASS PARTING PHOTOPRINTS
SALLY W00306 English
Score 232 x 303 mm
Clarinet 4 NEW PR43 UKTNT
12/12/2020 P 303006
Based on a traditional
Scottish/Irish 'farewell'
song, this short piece is
one of six works written
to express my love of
Scotland. After living
there for nearly half my
life, and raising a
family, I moved back to
England in 2018, and
remarried in 2019.
Of course, there were
many different emotions
attached to the move
south: especially the joy
and excitement of new
beginnings, and
reconnection with friends
from my youth.
But this piece
expresses the wrench I
experienced after a last
family meal in Glasgow,
and the realisation of
all I was about to leave
behind.
I have
taken the melody of the
original song, and
expanded it, exploring
the detail of its
patterns, so that it
becomes a timeless
meditation.
The
six pieces in the
'farewell' series are for
6 violas, string quintet,
string quartet, trio,
violin and clarinet duo,
and solo clarinet.
The Parting Glass
was composed in 2020
during the coronavirus
lockdown, which
intensified the feeling
of separation from my
Scottish family, as well
as from other musicians.
It was
commissioned by Vittorio
Ceccanti for the
ContempoArtEnsemble.
W00306|C|Y 0.0000 Sheet
Music _x000D_ EP73516 Y
6.95 73516 P73516
BEAMISH, SALLY C
9790577020747 20 8000
0.00 Maple A
9790577020747 (SOLO)
BEAMISH CELLO EP73516
MAPLE PHOTOPRINTS SALLY
W00306 English 00:06:0
Score 232 x 303 mm
Contemporary cello solo 8
NEW PR43 UKTNT 12/12/2020
P 303006 Seed; Spinning
Seed; Roots, shoots;
Leaves ; Flowers; Tree ;
Autumn ; Cello
Maple arose
from a commission to
write a work for solo
cello, to be performed
alongside readings from
artist John Newling's
collection of letters
entitled 'Dear Nature'; a
poetic manifestation of
our relationship with the
natural world.
The
piece is in eight short
sections, to be
interspersed with
readings of groups of the
poems. It may also be
performed as a single
movement. It begins with
a seed - the seed of a
maple tree, as it hangs
on the mature tree, ready
to drop. The seeds are
like propellers,
sometimes travelling more
than a mile before
landing on the ground.
Maple follows
the growth of the tree to
maturity - which in
reality would take at
least a hundred years.
'Roots, shoots' grows
downwards and upwards
from a pedal note, and
the dance-like 'Flowers'
is followed by the
stately 'Tree', and then
the warm, cascading
'Autumn'. Maple is very
often the wood of choice
for the back of a
stringed instrument, and
the last section uses
open strings to explore
the full resonance of the
cello.
The piece
starts with a 'seed' of
only five notes, which
grows into different
configurations. It is
intended to be played in
an improvisatory
style.
Maple was
co-commissioned by
Brighton Festival, Ars et
Terra Festival with SACEM
and Ditchling Arts and
Crafts Museum, to be
performed by Margarita
Balanas as part of the
Brighton Festival's 'Dear
Nature' project.
W00306|C|Y 0.0000 Sheet
Music _x000D_ EP73508 Y
39.95 73508 P73508
DILLON, JAMES C
9790577020648 3 8000 0.00
echo the angelus A
9790577020648 (SOLO)
ANGELUS DILLON ECHO
EP73508 JAMES PHOTOPRINTS
PIANO W01097 English
00:25:0 Score 232 x 303
mm Piano Solo 44 NEW PR43
UKTNT 12/01/2021 P 303006
First performed by
Noriko Kawai for
Huddersfield Contemporary
Music Festival, in a
broadcast from the Radio
Theatre, BBC Broadcasting
House, November
2020.
Full of
beautifully crafted,
delicate
tintinnabulations -
Richard Morrison, The
Times
This
product is Printed on
Demand and may take
several weeks to fulfill.
Please order from your
favorite retailer.
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.
Composed
by Chen Yi. Full score.
58 pages. Duration 20
minutes. Theodore Presser
Company #116-41963S.
Published by Theodore
Presser Company
(PR.11641963S).
UPC:
680160684472.
The
violin concerto is
commissioned by Friends
of Dresden Music
Foundation for American
soloist Mira Wang and the
New York Philharmonic and
Staatskapelle Dresden as
an American commemoration
of the reconstruction of
the Dresden Frauenkirche,
60 years after its
destruction in World War
II by American and
British Forces. The world
premiere is given at the
Semperoper in Dresden,
Germany, on October 9, 10
& 11, 2005, conducted
by Ivan Fischer. Full of
excitement and inner
power, the musical image
is vivid, energetic,
sometimes lyrical and
sometimes dramatic. The
major angular thematic
material (a three note
motive) consists of big
leaps in interval (a
perfect fourth downward
and then a minor seventh
upward, first introduced
by the violin solo in
measures 27-29). Except
for the cadenzas which
stand at the middle
(Rehearsal E, measure
127) and the two ends of
the piece as a frame, the
virtuosic violin solo
line is always
accompanied by the ever
moving and growing
textures in the
background. The rests
between long and short
phrases symbolize the
space in Chinese
paintings. The Beijing
Opera reciting tune, and
the fingerings to produce
sliding tones in the
performance of the
Chinese fiddle erhu are
also borrowed in the
writing and the
performing of the western
instruments. The musical
imagination of the violin
concerto came from an
ancient Chinese poem with
the same title, written
by Du Fu (712-770) in
Tang Dynasty. Happy Rain
on a Spring Night by Du
Fu (712-770 in Tang
Dynasty) Happy rain comes
in time, When spring is
in its prime. With night
breeze it will fall, And
quietly moisten all.
Clouds darken wild roads,
Light brightens a little
boat. Saturated at dawn,
With flowers blooming the
town. (English
translation by Chen Yi
from the original poem in
Chinese) The following is
the poem in its original
Chinese form, and the
detailed introduction on
the structural plan of
the violin concerto
Spring in Dresden. It's
like the welcome rain on
a quiet spring night that
nurtures the budding
seeds, our new society is
pushing us forward to the
new future. The music
reflects the scenes and
the expression according
to the meaning of the
poem when it's being
unfolded line by line.
Although the tempo is set
63 quarter notes per
minute throughout (played
vividly, never slow
down), the tension is
being built up from the
quiet background in the
beginning, to the
sustained climax towards
the end. The musical
image in Rehearsal A and
B (measures 39-80)
represents the first four
lines of the poem. The
wind instruments response
to the rustling of fast
moving notes on muted
string triplets,
decorated by occasional
strokes produced by
metallic string sound and
high woodwind gestures.
The music in Rehearsal C
and D (measures 81-126)
represents the next two
lines of the poem. It's
so dark, a little light
in the boat is shimmering
on the lake... The
breathy sound and key
slaps on the flutes
create a mysterious
atmosphere, in a dialogue
with other instruments.
The cello glissandi
recite the poem in the
tone of Mandarin, echoed
by the string harmonics.
The music in Rehearsal F,
G and H (m 129-202) is a
toccata, starting in the
orchestra (led by the
marimba), which builds up
a big shape, to reach the
climax in m. 157
(Rehearsal G, the
location of the Golden
Section, according to the
length of the music
without cadenzas), and
keeps the vivid scene
towards the coda (from
Rehearsal I, m. 203),
which stands on the
energetic peak until the
clear cutoff on measure
239, followed by the
short, yet powerful solo
conclusion with the
lingering echo produced
by the high string
harmonics. On the top,
there is a recall of the
three note motive in the
sound of wonderland,
touched by the motor-on
vibraphone meaningfully.
The music is written for
2 flutes, 2 oboes, 2
clarinets (in Bb), 2
bassoons, 4 French horns
(in F), 2 trumpets (in
Bb), 3 trombones, tuba,
harp, 3 percussion
players (Perc. 1:
xylophone; Perc. 2:
suspended cymbal,
Japanese high woodblock,
snare drum, bass drum and
vibraphone; Perc. 3:
marimba and tam-tam),
solo violin, and strings.
Duration is about 20
minutes. The violin
concerto is commissioned
by Friends of Dresden
Music Foundation for
American soloist Mira
Wang and the New York
Philharmonic and
Staatskapelle Dresden as
an American commemoration
of the reconstruction of
the Dresden Frauenkirche,
60 years after its
destruction in World War
II by American and
British Forces. The world
premiere is given at the
Semperoper in Dresden,
Germany, on October 9, 10
& 11, 2005, conducted by
Ivan Fischer.Full of
excitement and inner
power, the musical image
is vivid, energetic,
sometimeslyrical and
sometimes dramatic. The
major angular thematic
material (a three
notemotive) consists of
big leaps in interval (a
perfect fourth downward
and then a minorseventh
upward, first introduced
by the violin solo in
measures 27-29). Except
for thecadenzas which
stand at the middle
(Rehearsal E, measure
127) and the two ends of
the piece as a frame, the
virtuosic violin solo
line is always
accompanied by the ever
moving and growing
textures in the
background. The rests
between long and short
phrases symbolize the
space in Chinese
paintings. The Beijing
Opera reciting tune, and
the fingerings to produce
sliding tones in the
performance of the
Chinese fiddle erhu are
also borrowed in the
writing and the
performing of the western
instruments.The musical
imagination of the violin
concerto came from an
ancient Chinese poem with
the same title, written
by Du Fu (712-770) in
Tang Dynasty.Happy Rain
on a Spring Nightby Du Fu
(712-770 in Tang
Dynasty)Happy rain comes
in time,When spring is in
its prime.With night
breeze it will fall,And
quietly moisten
all.Clouds darken wild
roads,Light brightens a
little boat.Saturated at
dawn,With flowers
blooming the
town.(English translation
by Chen Yi from the
original poem in
Chinese)The following is
the poem in its original
Chinese form, and the
detailed introduction
onthe structural plan of
the violin concerto
Spring in
Dresden.It’s like
the welcome rain on a
quiet spring night that
nurtures the budding
seeds, our newsociety is
pushing us forward to the
new future. The music
reflects the scenes and
theexpression according
to the meaning of the
poem when it’s
being unfolded line by
line.Although the tempo
is set 63 quarter notes
per minute throughout
(played vividly,
neverslow down), the
tension is being built up
from the quiet background
in the beginning, tothe
sustained climax towards
the end. The musical
image in Rehearsal A and
B (measures39-80)
represents the first four
lines of the poem. The
wind instruments response
to therustling of fast
moving notes on muted
string triplets,
decorated by occasional
strokesproduced by
metallic string sound and
high woodwind gestures.
The music in RehearsalC
and D (measures 81-126)
represents the next two
lines of the poem. It's
so dark, a littlelight in
the boat is shimmering on
the lake... The breathy
sound and key slaps on
theflutes create a
mysterious atmosphere, in
a dialogue with other
instruments. The
celloglissandi recite the
poem in the tone of
Mandarin, echoed by the
string harmonics.
Themusic in Rehearsal F,
G and H (m 129-202) is a
toccata, starting in the
orchestra (led bythe
marimba), which builds up
a big shape, to reach the
climax in m. 157
(Rehearsal G,the location
of the Golden Section,
according to the length
of the music
withoutcadenzas), and
keeps the vivid scene
towards the coda (from
Rehearsal I, m. 203),
whichstands on the
energetic peak until the
clear cutoff on measure
239, followed by the
short,yet powerful solo
conclusion with the
lingering echo produced
by the high
stringharmonics. On the
top, there is a recall of
the three note motive in
the sound ofwonderland,
touched by the motor-on
vibraphone
meaningfully.The music is
written for 2 flutes, 2
oboes, 2 clarinets (in
Bb), 2 bassoons, 4 French
horns (in F), 2 trumpets
(in Bb), 3 trombones,
tuba, harp, 3 percussion
players (Perc.
1:xylophone; Perc. 2:
suspended cymbal,
Japanese high woodblock,
snare drum, bass drum and
vibraphone; Perc. 3:
marimba and tam-tam),
solo violin, and
strings.Duration is about
20 minutes.
Composed by Chen Yi.
Part. 11 pages. Duration
20 minutes. Theodore
Presser Company
#116-41963SP. Published
by Theodore Presser
Company (PR.11641963SP).
UPC:
680160684496.
The
violin concerto is
commissioned by Friends
of Dresden Music
Foundation for American
soloist Mira Wang and the
New York Philharmonic and
Staatskapelle Dresden as
an American commemoration
of the reconstruction of
the Dresden Frauenkirche,
60 years after its
destruction in World War
II by American and
British Forces. The world
premiere is given at the
Semperoper in Dresden,
Germany, on October 9, 10
& 11, 2005, conducted
by Ivan Fischer. Full of
excitement and inner
power, the musical image
is vivid, energetic,
sometimes lyrical and
sometimes dramatic. The
major angular thematic
material (a three note
motive) consists of big
leaps in interval (a
perfect fourth downward
and then a minor seventh
upward, first introduced
by the violin solo in
measures 27-29). Except
for the cadenzas which
stand at the middle
(Rehearsal E, measure
127) and the two ends of
the piece as a frame, the
virtuosic violin solo
line is always
accompanied by the ever
moving and growing
textures in the
background. The rests
between long and short
phrases symbolize the
space in Chinese
paintings. The Beijing
Opera reciting tune, and
the fingerings to produce
sliding tones in the
performance of the
Chinese fiddle erhu are
also borrowed in the
writing and the
performing of the western
instruments. The musical
imagination of the violin
concerto came from an
ancient Chinese poem with
the same title, written
by Du Fu (712-770) in
Tang Dynasty. Happy Rain
on a Spring Night by Du
Fu (712-770 in Tang
Dynasty) Happy rain comes
in time, When spring is
in its prime. With night
breeze it will fall, And
quietly moisten all.
Clouds darken wild roads,
Light brightens a little
boat. Saturated at dawn,
With flowers blooming the
town. (English
translation by Chen Yi
from the original poem in
Chinese) The following is
the poem in its original
Chinese form, and the
detailed introduction on
the structural plan of
the violin concerto
Spring in Dresden. It's
like the welcome rain on
a quiet spring night that
nurtures the budding
seeds, our new society is
pushing us forward to the
new future. The music
reflects the scenes and
the expression according
to the meaning of the
poem when it's being
unfolded line by line.
Although the tempo is set
63 quarter notes per
minute throughout (played
vividly, never slow
down), the tension is
being built up from the
quiet background in the
beginning, to the
sustained climax towards
the end. The musical
image in Rehearsal A and
B (measures 39-80)
represents the first four
lines of the poem. The
wind instruments response
to the rustling of fast
moving notes on muted
string triplets,
decorated by occasional
strokes produced by
metallic string sound and
high woodwind gestures.
The music in Rehearsal C
and D (measures 81-126)
represents the next two
lines of the poem. It's
so dark, a little light
in the boat is shimmering
on the lake... The
breathy sound and key
slaps on the flutes
create a mysterious
atmosphere, in a dialogue
with other instruments.
The cello glissandi
recite the poem in the
tone of Mandarin, echoed
by the string harmonics.
The music in Rehearsal F,
G and H (m 129-202) is a
toccata, starting in the
orchestra (led by the
marimba), which builds up
a big shape, to reach the
climax in m. 157
(Rehearsal G, the
location of the Golden
Section, according to the
length of the music
without cadenzas), and
keeps the vivid scene
towards the coda (from
Rehearsal I, m. 203),
which stands on the
energetic peak until the
clear cutoff on measure
239, followed by the
short, yet powerful solo
conclusion with the
lingering echo produced
by the high string
harmonics. On the top,
there is a recall of the
three note motive in the
sound of wonderland,
touched by the motor-on
vibraphone meaningfully.
The music is written for
2 flutes, 2 oboes, 2
clarinets (in Bb), 2
bassoons, 4 French horns
(in F), 2 trumpets (in
Bb), 3 trombones, tuba,
harp, 3 percussion
players (Perc. 1:
xylophone; Perc. 2:
suspended cymbal,
Japanese high woodblock,
snare drum, bass drum and
vibraphone; Perc. 3:
marimba and tam-tam),
solo violin, and strings.
Duration is about 20
minutes. The violin
concerto is commissioned
by Friends of Dresden
Music Foundation for
American soloist Mira
Wang and the New York
Philharmonic and
Staatskapelle Dresden as
an American commemoration
of the reconstruction of
the Dresden Frauenkirche,
60 years after its
destruction in World War
II by American and
British Forces. The world
premiere is given at the
Semperoper in Dresden,
Germany, on October 9, 10
& 11, 2005, conducted by
Ivan Fischer.Full of
excitement and inner
power, the musical image
is vivid, energetic,
sometimeslyrical and
sometimes dramatic. The
major angular thematic
material (a three
notemotive) consists of
big leaps in interval (a
perfect fourth downward
and then a minorseventh
upward, first introduced
by the violin solo in
measures 27-29). Except
for thecadenzas which
stand at the middle
(Rehearsal E, measure
127) and the two ends of
the piece as a frame, the
virtuosic violin solo
line is always
accompanied by the ever
moving and growing
textures in the
background. The rests
between long and short
phrases symbolize the
space in Chinese
paintings. The Beijing
Opera reciting tune, and
the fingerings to produce
sliding tones in the
performance of the
Chinese fiddle erhu are
also borrowed in the
writing and the
performing of the western
instruments.The musical
imagination of the violin
concerto came from an
ancient Chinese poem with
the same title, written
by Du Fu (712-770) in
Tang Dynasty.Happy Rain
on a Spring Nightby Du Fu
(712-770 in Tang
Dynasty)Happy rain comes
in time,When spring is in
its prime.With night
breeze it will fall,And
quietly moisten
all.Clouds darken wild
roads,Light brightens a
little boat.Saturated at
dawn,With flowers
blooming the
town.(English translation
by Chen Yi from the
original poem in
Chinese)The following is
the poem in its original
Chinese form, and the
detailed introduction
onthe structural plan of
the violin concerto
Spring in
Dresden.It’s like
the welcome rain on a
quiet spring night that
nurtures the budding
seeds, our newsociety is
pushing us forward to the
new future. The music
reflects the scenes and
theexpression according
to the meaning of the
poem when it’s
being unfolded line by
line.Although the tempo
is set 63 quarter notes
per minute throughout
(played vividly,
neverslow down), the
tension is being built up
from the quiet background
in the beginning, tothe
sustained climax towards
the end. The musical
image in Rehearsal A and
B (measures39-80)
represents the first four
lines of the poem. The
wind instruments response
to therustling of fast
moving notes on muted
string triplets,
decorated by occasional
strokesproduced by
metallic string sound and
high woodwind gestures.
The music in RehearsalC
and D (measures 81-126)
represents the next two
lines of the poem. It's
so dark, a littlelight in
the boat is shimmering on
the lake... The breathy
sound and key slaps on
theflutes create a
mysterious atmosphere, in
a dialogue with other
instruments. The
celloglissandi recite the
poem in the tone of
Mandarin, echoed by the
string harmonics.
Themusic in Rehearsal F,
G and H (m 129-202) is a
toccata, starting in the
orchestra (led bythe
marimba), which builds up
a big shape, to reach the
climax in m. 157
(Rehearsal G,the location
of the Golden Section,
according to the length
of the music
withoutcadenzas), and
keeps the vivid scene
towards the coda (from
Rehearsal I, m. 203),
whichstands on the
energetic peak until the
clear cutoff on measure
239, followed by the
short,yet powerful solo
conclusion with the
lingering echo produced
by the high
stringharmonics. On the
top, there is a recall of
the three note motive in
the sound ofwonderland,
touched by the motor-on
vibraphone
meaningfully.The music is
written for 2 flutes, 2
oboes, 2 clarinets (in
Bb), 2 bassoons, 4 French
horns (in F), 2 trumpets
(in Bb), 3 trombones,
tuba, harp, 3 percussion
players (Perc.
1:xylophone; Perc. 2:
suspended cymbal,
Japanese high woodblock,
snare drum, bass drum and
vibraphone; Perc. 3:
marimba and tam-tam),
solo violin, and
strings.Duration is about
20 minutes.
Composed
by Chen Yi. Large Score.
58 pages. Duration 20
minutes. Theodore Presser
Company #116-41963L.
Published by Theodore
Presser Company
(PR.11641963L).
UPC:
680160684489.
The
violin concerto is
commissioned by Friends
of Dresden Music
Foundation for American
soloist Mira Wang and the
New York Philharmonic and
Staatskapelle Dresden as
an American commemoration
of the reconstruction of
the Dresden Frauenkirche,
60 years after its
destruction in World War
II by American and
British Forces. The world
premiere is given at the
Semperoper in Dresden,
Germany, on October 9, 10
& 11, 2005, conducted
by Ivan Fischer. Full of
excitement and inner
power, the musical image
is vivid, energetic,
sometimes lyrical and
sometimes dramatic. The
major angular thematic
material (a three note
motive) consists of big
leaps in interval (a
perfect fourth downward
and then a minor seventh
upward, first introduced
by the violin solo in
measures 27-29). Except
for the cadenzas which
stand at the middle
(Rehearsal E, measure
127) and the two ends of
the piece as a frame, the
virtuosic violin solo
line is always
accompanied by the ever
moving and growing
textures in the
background. The rests
between long and short
phrases symbolize the
space in Chinese
paintings. The Beijing
Opera reciting tune, and
the fingerings to produce
sliding tones in the
performance of the
Chinese fiddle erhu are
also borrowed in the
writing and the
performing of the western
instruments. The musical
imagination of the violin
concerto came from an
ancient Chinese poem with
the same title, written
by Du Fu (712-770) in
Tang Dynasty. Happy Rain
on a Spring Night by Du
Fu (712-770 in Tang
Dynasty) Happy rain comes
in time, When spring is
in its prime. With night
breeze it will fall, And
quietly moisten all.
Clouds darken wild roads,
Light brightens a little
boat. Saturated at dawn,
With flowers blooming the
town. (English
translation by Chen Yi
from the original poem in
Chinese) The following is
the poem in its original
Chinese form, and the
detailed introduction on
the structural plan of
the violin concerto
Spring in Dresden. It's
like the welcome rain on
a quiet spring night that
nurtures the budding
seeds, our new society is
pushing us forward to the
new future. The music
reflects the scenes and
the expression according
to the meaning of the
poem when it's being
unfolded line by line.
Although the tempo is set
63 quarter notes per
minute throughout (played
vividly, never slow
down), the tension is
being built up from the
quiet background in the
beginning, to the
sustained climax towards
the end. The musical
image in Rehearsal A and
B (measures 39-80)
represents the first four
lines of the poem. The
wind instruments response
to the rustling of fast
moving notes on muted
string triplets,
decorated by occasional
strokes produced by
metallic string sound and
high woodwind gestures.
The music in Rehearsal C
and D (measures 81-126)
represents the next two
lines of the poem. It's
so dark, a little light
in the boat is shimmering
on the lake... The
breathy sound and key
slaps on the flutes
create a mysterious
atmosphere, in a dialogue
with other instruments.
The cello glissandi
recite the poem in the
tone of Mandarin, echoed
by the string harmonics.
The music in Rehearsal F,
G and H (m 129-202) is a
toccata, starting in the
orchestra (led by the
marimba), which builds up
a big shape, to reach the
climax in m. 157
(Rehearsal G, the
location of the Golden
Section, according to the
length of the music
without cadenzas), and
keeps the vivid scene
towards the coda (from
Rehearsal I, m. 203),
which stands on the
energetic peak until the
clear cutoff on measure
239, followed by the
short, yet powerful solo
conclusion with the
lingering echo produced
by the high string
harmonics. On the top,
there is a recall of the
three note motive in the
sound of wonderland,
touched by the motor-on
vibraphone meaningfully.
The music is written for
2 flutes, 2 oboes, 2
clarinets (in Bb), 2
bassoons, 4 French horns
(in F), 2 trumpets (in
Bb), 3 trombones, tuba,
harp, 3 percussion
players (Perc. 1:
xylophone; Perc. 2:
suspended cymbal,
Japanese high woodblock,
snare drum, bass drum and
vibraphone; Perc. 3:
marimba and tam-tam),
solo violin, and strings.
Duration is about 20
minutes. The violin
concerto is commissioned
by Friends of Dresden
Music Foundation for
American soloist Mira
Wang and the New York
Philharmonic and
Staatskapelle Dresden as
an American commemoration
of the reconstruction of
the Dresden Frauenkirche,
60 years after its
destruction in World War
II by American and
British Forces. The world
premiere is given at the
Semperoper in Dresden,
Germany, on October 9, 10
& 11, 2005, conducted by
Ivan Fischer.Full of
excitement and inner
power, the musical image
is vivid, energetic,
sometimeslyrical and
sometimes dramatic. The
major angular thematic
material (a three
notemotive) consists of
big leaps in interval (a
perfect fourth downward
and then a minorseventh
upward, first introduced
by the violin solo in
measures 27-29). Except
for thecadenzas which
stand at the middle
(Rehearsal E, measure
127) and the two ends of
the piece as a frame, the
virtuosic violin solo
line is always
accompanied by the ever
moving and growing
textures in the
background. The rests
between long and short
phrases symbolize the
space in Chinese
paintings. The Beijing
Opera reciting tune, and
the fingerings to produce
sliding tones in the
performance of the
Chinese fiddle erhu are
also borrowed in the
writing and the
performing of the western
instruments.The musical
imagination of the violin
concerto came from an
ancient Chinese poem with
the same title, written
by Du Fu (712-770) in
Tang Dynasty.Happy Rain
on a Spring Nightby Du Fu
(712-770 in Tang
Dynasty)Happy rain comes
in time,When spring is in
its prime.With night
breeze it will fall,And
quietly moisten
all.Clouds darken wild
roads,Light brightens a
little boat.Saturated at
dawn,With flowers
blooming the
town.(English translation
by Chen Yi from the
original poem in
Chinese)The following is
the poem in its original
Chinese form, and the
detailed introduction
onthe structural plan of
the violin concerto
Spring in
Dresden.It’s like
the welcome rain on a
quiet spring night that
nurtures the budding
seeds, our newsociety is
pushing us forward to the
new future. The music
reflects the scenes and
theexpression according
to the meaning of the
poem when it’s
being unfolded line by
line.Although the tempo
is set 63 quarter notes
per minute throughout
(played vividly,
neverslow down), the
tension is being built up
from the quiet background
in the beginning, tothe
sustained climax towards
the end. The musical
image in Rehearsal A and
B (measures39-80)
represents the first four
lines of the poem. The
wind instruments response
to therustling of fast
moving notes on muted
string triplets,
decorated by occasional
strokesproduced by
metallic string sound and
high woodwind gestures.
The music in RehearsalC
and D (measures 81-126)
represents the next two
lines of the poem. It's
so dark, a littlelight in
the boat is shimmering on
the lake... The breathy
sound and key slaps on
theflutes create a
mysterious atmosphere, in
a dialogue with other
instruments. The
celloglissandi recite the
poem in the tone of
Mandarin, echoed by the
string harmonics.
Themusic in Rehearsal F,
G and H (m 129-202) is a
toccata, starting in the
orchestra (led bythe
marimba), which builds up
a big shape, to reach the
climax in m. 157
(Rehearsal G,the location
of the Golden Section,
according to the length
of the music
withoutcadenzas), and
keeps the vivid scene
towards the coda (from
Rehearsal I, m. 203),
whichstands on the
energetic peak until the
clear cutoff on measure
239, followed by the
short,yet powerful solo
conclusion with the
lingering echo produced
by the high
stringharmonics. On the
top, there is a recall of
the three note motive in
the sound ofwonderland,
touched by the motor-on
vibraphone
meaningfully.The music is
written for 2 flutes, 2
oboes, 2 clarinets (in
Bb), 2 bassoons, 4 French
horns (in F), 2 trumpets
(in Bb), 3 trombones,
tuba, harp, 3 percussion
players (Perc.
1:xylophone; Perc. 2:
suspended cymbal,
Japanese high woodblock,
snare drum, bass drum and
vibraphone; Perc. 3:
marimba and tam-tam),
solo violin, and
strings.Duration is about
20 minutes.
Fanfare Band - Grade 6 SKU: BT.DHP-1115084-020 Composed by Jan Van der Ro...(+)
Fanfare Band - Grade 6
SKU:
BT.DHP-1115084-020
Composed by Jan Van der
Roost. Concert and
Contest Collection CBHA.
Set (Score & Parts). De
Haske Publications #DHP
1115084-020. Published by
De Haske Publications
(BT.DHP-1115084-020).
9x12 inches.
English-German-French-Dut
ch.
It may be
surprising to see a
fanfare piece
commissioned by a
Japanese ensemble, since
fanfare orchestras are
typically found in
Belgium, Holland and
Luxembourg, and also
France and Switzerland.
Senzoku Gakuen is one of
the largest and
mostprestigious music
universities in Japan,
and home to a wide
variety of ensembles and
orchestras. Since 2006
they have had a fanfare
orchestra, which was
started by Sotaru
Fukaishi, a euphonium
teacher who felt further
performance opportunity
wasneeded for saxhorn
instruments. Fukaishi had
loved the sound of
fanfare orchestras ever
since visiting the World
Music Contest in Kerkrade
(Holland) several years
earlier. Jan Van der
Roost was involved with
this new initiative from
the beginning,and they
were also joined by Manu
Mellaerts for certain
projects. The Dean of the
music department,
Professor Kazuo Tomioka,
fully supports the
ensemble and commissioned
Ostinati. The
première took place on
June 11th at Maeda Hall
inMizonokuchi (Kawasaki)
where Senzoku Gakuen is
based. The piece opens
with an impressive
timpani solo, followed by
brass and saxophone. The
rhythmical pulse remains
constant and the music is
fiery and assertive in
character. A pentatonic
melodygradually emerges
and the music loses its
vehemency and softens.
The initial percussion
ostinati subsequently
recurs and the first
section of the piece
concludes in a similar
mood to the opening. The
second movement is sweet
and melodic, opening
witha long passage for
the saxophone family in a
minor key. The same theme
then appears in the major
and is developed upon;
the music builds to a
majestic orchestral
forte, reminiscent of a
pipe organ in its
sonority. The theme
returns in the
originalminor key with a
change in instrumentation
leading the movement to a
quiet and peaceful end on
a soft E minor chord. The
finale starts with
percussion: a four-bar
pattern is repeated
several times over which
the movement’s
melodic themes
areintroduced. These
melodic elements are
varied and used in
different versions and
the ostinato idea, which
characterizes the entire
piece, is highlighted.
The theme travels through
the orchestra, appearing
on various instruments
and in variousregisters.
It captures the
listener’s
attention and displays
the full range of sound
and colour within the
fanfare
orchestra.
Het is
misschien verrassend dat
dit fanfarewerk is
geschreven in opdracht
van een Japans ensemble,
aangezien fanfareorkesten
vooral te vinden zijn in
België, Nederland en
Luxemburg, en ook wel in
Frankrijk en Zwitserland.
SenzokuGakuen is een van
de grootste en meest
prestigieuze
muziekopleidingen van
Japan, en de thuisbasis
van een grote
verscheidenheid van
ensembles en orkesten. In
2006 is er een
fanfareorkest opgericht,
en wel door Sotaru
Fukaishi,
eeneuphoniumdocent die
vond dat er meer
mogelijkheden moesten
komen voor optredens met
saxhoorninstrumenten.
Fukaishi had enkele jaren
daarvoor genoten van de
fanfareklank toen hij het
Wereld Muziek Concours in
Kerkrade bezocht.
DeBelgische componist Jan
Van der Roost was van het
begin af aan betrokken
bij dit nieuwe
initiatief, en ook Manu
Mellaerts werd voor een
aantal projecten
aangetrokken. Het hoofd
van de muziekfaculteit,
professor Kazuo Tomioka,
staatgeheel achter het
ensemble en gaf de
opdracht tot het
schrijven van
Ostinati. De
première vond plaats
op 11 juni in de Maeda
Hall in Mizonokuchi
(Kawasaki), waar Senzoku
Gakuen is gevestigd. Het
werk begint met een
indrukwekkendepaukensolo,
gevolgd door koper en
saxofoon. De ritmische
puls blijft constant, en
de aard van de muziek is
vurig en krachtig.
Geleidelijk komt er een
pentatonische melodie
naar voren en wordt de
muziek minder heftig, ze
wordtzachter van
karakter. De
aanvankelijke ostinati in
het slagwerk verschijnen
dan opnieuw, waarna het
eerste deel van het werk
eindigt in dezelfde sfeer
als waarmee het begon.
Het tweede deel is
lieflijk en melodisch.
Het opentmet een lange
passage voor de saxofoons
in een mineurtoonsoort.
Dan klinkt hetzelfde
thema in majeur en daar
wordt op voortgeborduurd:
de muziek ontwikkelt zich
tot een majestueus
orkestraal forte, dat qua
sonoriteit doet
denken
Es mag
überraschen, dass
dieses
Fanfareorchesterwerk
ausgerechnet von einem
japanischen Ensemble in
Auftrag gegeben wurde, da
Fanfareorchester doch
eher in Belgien, den
Niederlanden oder
Luxemburg oder auch in
Frankreich oder Schweiz
zu finden sind. Senzoku
Gakuen ist eine der
größten und
renommiertesten
Musikschulen Japans und
Heimstätte einer
Vielfalt an Ensembles und
Orchestern. Im Jahr 2006
wurde ein
Fanfareorchester
gegründet. Den
Anstoß gab Sotaru
Fukaishi, ein
Euphoniumlehrer, der den
Instrumenten der
Saxhorn-Familie mehr
Spielmöglichkeiten
bieten wollte. Fukaishi
hatte sich einige Jahre
zuvor bei der
Weltmeisterschaft in
Kerkrade (Holland) in den
Klang
vonFanfareorchestern
verliebt. Jan Van der
Roost war von Beginn an
in die Entwicklung dieser
Idee involviert und,
einige Projekte
betreffend, ebenso Manu
Mellaerts. Der Dekan des
Musik-Colleges, Professor
Kazuo Tomioka, steht voll
und ganz hinter dem
Ensemble und gab
Ostinati in
Auftrag. Die Premiere
fand am 11. Juni 2011 in
der Maeda Hall in
Mizonokuchi statt, dem
Heimatort der Schule
Senzoku Gakuen. Das
Stück beginnt mit
einem eindrucksvollen
Paukensolo, bevor
Blechbläser und
Saxophon einsetzen. Der
rhythmische Puls bleibt
konstant unter einer
feurigen,
nachdrücklichen Musik.
Eine pentatonische
Melodie bildet sich nach
und nach heraus,
während die Musik an
Heftigkeit verliert und
sanfter wird. Die
anfänglichen Ostinati
im Schlagwerk kehren
zurück und so endet
der erste Satz des Werkes
in einer der Eröffnung
ähnlichen Stimmung.
Der zweite Satz ist
lieblich und melodiös.
Er beginnt mit einem
langen Abschnitt für
die Saxophone in Moll.
Dann erscheint das
gleiche Thema in Dur und
durchläuft eine
Entwicklung; die Musik
baut sich zu einem
majestätischen
orchestralen Forte auf,
das in seiner
Klangfülle an eine
Orgel erinnert. Dann
kehrt das Thema in seiner
ursprünglichen
Moll-Tonart und in
veränderter
Instrumentierung
zurück, um den Satz
ruhig und friedvoll in
einem e-Moll-Akkord enden
zu lassen.
Fanfare Band - Grade 6 SKU: BT.DHP-1115084-120 Composed by Jan Van der Ro...(+)
Fanfare Band - Grade 6
SKU:
BT.DHP-1115084-120
Composed by Jan Van der
Roost. Concert and
Contest Collection CBHA.
Score Only. Composed
2012. 99 pages. De Haske
Publications #DHP
1115084-120. Published by
De Haske Publications
(BT.DHP-1115084-120).
9x12 inches.
English-German-French-Dut
ch.
It may be
surprising to see a
fanfare piece
commissioned by a
Japanese ensemble, since
fanfare orchestras are
typically found in
Belgium, Holland and
Luxembourg, and also
France and Switzerland.
Senzoku Gakuen is one of
the largest and
mostprestigious music
universities in Japan,
and home to a wide
variety of ensembles and
orchestras. Since 2006
they have had a fanfare
orchestra, which was
started by Sotaru
Fukaishi, a euphonium
teacher who felt further
performance opportunity
wasneeded for saxhorn
instruments. Fukaishi had
loved the sound of
fanfare orchestras ever
since visiting the World
Music Contest in Kerkrade
(Holland) several years
earlier. Jan Van der
Roost was involved with
this new initiative from
the beginning,and they
were also joined by Manu
Mellaerts for certain
projects. The Dean of the
music department,
Professor Kazuo Tomioka,
fully supports the
ensemble and commissioned
Ostinati. The
première took place on
June 11th at Maeda Hall
inMizonokuchi (Kawasaki)
where Senzoku Gakuen is
based. The piece opens
with an impressive
timpani solo, followed by
brass and saxophone. The
rhythmical pulse remains
constant and the music is
fiery and assertive in
character. A pentatonic
melodygradually emerges
and the music loses its
vehemency and softens.
The initial percussion
ostinati subsequently
recurs and the first
section of the piece
concludes in a similar
mood to the opening. The
second movement is sweet
and melodic, opening
witha long passage for
the saxophone family in a
minor key. The same theme
then appears in the major
and is developed upon;
the music builds to a
majestic orchestral
forte, reminiscent of a
pipe organ in its
sonority. The theme
returns in the
originalminor key with a
change in instrumentation
leading the movement to a
quiet and peaceful end on
a soft E minor chord. The
finale starts with
percussion: a four-bar
pattern is repeated
several times over which
the movement’s
melodic themes
areintroduced. These
melodic elements are
varied and used in
different versions and
the ostinato idea, which
characterizes the entire
piece, is highlighted.
The theme travels through
the orchestra, appearing
on various instruments
and in variousregisters.
It captures the
listener’s
attention and displays
the full range of sound
and colour within the
fanfare
orchestra.
Het is
misschien verrassend dat
dit fanfarewerk is
geschreven in opdracht
van een Japans ensemble,
aangezien fanfareorkesten
vooral te vinden zijn in
België, Nederland en
Luxemburg, en ook wel in
Frankrijk en Zwitserland.
SenzokuGakuen is een van
de grootste en meest
prestigieuze
muziekopleidingen van
Japan, en de thuisbasis
van een grote
verscheidenheid van
ensembles en orkesten. In
2006 is er een
fanfareorkest opgericht,
en wel door Sotaru
Fukaishi,
eeneuphoniumdocent die
vond dat er meer
mogelijkheden moesten
komen voor optredens met
saxhoorninstrumenten.
Fukaishi had enkele jaren
daarvoor genoten van de
fanfareklank toen hij het
Wereld Muziek Concours in
Kerkrade bezocht.
DeBelgische componist Jan
Van der Roost was van het
begin af aan betrokken
bij dit nieuwe
initiatief, en ook Manu
Mellaerts werd voor een
aantal projecten
aangetrokken. Het hoofd
van de muziekfaculteit,
professor Kazuo Tomioka,
staatgeheel achter het
ensemble en gaf de
opdracht tot het
schrijven van
Ostinati. De
première vond plaats
op 11 juni in de Maeda
Hall in Mizonokuchi
(Kawasaki), waar Senzoku
Gakuen is gevestigd. Het
werk begint met een
indrukwekkendepaukensolo,
gevolgd door koper en
saxofoon. De ritmische
puls blijft constant, en
de aard van de muziek is
vurig en krachtig.
Geleidelijk komt er een
pentatonische melodie
naar voren en wordt de
muziek minder heftig, ze
wordtzachter van
karakter. De
aanvankelijke ostinati in
het slagwerk verschijnen
dan opnieuw, waarna het
eerste deel van het werk
eindigt in dezelfde sfeer
als waarmee het begon.
Het tweede deel is
lieflijk en melodisch.
Het opentmet een lange
passage voor de saxofoons
in een mineurtoonsoort.
Dan klinkt hetzelfde
thema in majeur en daar
wordt op voortgeborduurd:
de muziek ontwikkelt zich
tot een majestueus
orkestraal forte, dat qua
sonoriteit doet
denken
Es mag
überraschen, dass
dieses
Fanfareorchesterwerk
ausgerechnet von einem
japanischen Ensemble in
Auftrag gegeben wurde, da
Fanfareorchester doch
eher in Belgien, den
Niederlanden oder
Luxemburg oder auch in
Frankreich oder Schweiz
zu finden sind. Senzoku
Gakuen ist eine der
größten und
renommiertesten
Musikschulen Japans und
Heimstätte einer
Vielfalt an Ensembles und
Orchestern. Im Jahr 2006
wurde ein
Fanfareorchester
gegründet. Den
Anstoß gab Sotaru
Fukaishi, ein
Euphoniumlehrer, der den
Instrumenten der
Saxhorn-Familie mehr
Spielmöglichkeiten
bieten wollte. Fukaishi
hatte sich einige Jahre
zuvor bei der
Weltmeisterschaft in
Kerkrade (Holland) in den
Klang
vonFanfareorchestern
verliebt. Jan Van der
Roost war von Beginn an
in die Entwicklung dieser
Idee involviert und,
einige Projekte
betreffend, ebenso Manu
Mellaerts. Der Dekan des
Musik-Colleges, Professor
Kazuo Tomioka, steht voll
und ganz hinter dem
Ensemble und gab
Ostinati in
Auftrag. Die Premiere
fand am 11. Juni 2011 in
der Maeda Hall in
Mizonokuchi statt, dem
Heimatort der Schule
Senzoku Gakuen. Das
Stück beginnt mit
einem eindrucksvollen
Paukensolo, bevor
Blechbläser und
Saxophon einsetzen. Der
rhythmische Puls bleibt
konstant unter einer
feurigen,
nachdrücklichen Musik.
Eine pentatonische
Melodie bildet sich nach
und nach heraus,
während die Musik an
Heftigkeit verliert und
sanfter wird. Die
anfänglichen Ostinati
im Schlagwerk kehren
zurück und so endet
der erste Satz des Werkes
in einer der Eröffnung
ähnlichen Stimmung.
Der zweite Satz ist
lieblich und melodiös.
Er beginnt mit einem
langen Abschnitt für
die Saxophone in Moll.
Dann erscheint das
gleiche Thema in Dur und
durchläuft eine
Entwicklung; die Musik
baut sich zu einem
majestätischen
orchestralen Forte auf,
das in seiner
Klangfülle an eine
Orgel erinnert. Dann
kehrt das Thema in seiner
ursprünglichen
Moll-Tonart und in
veränderter
Instrumentierung
zurück, um den Satz
ruhig und friedvoll in
einem e-Moll-Akkord enden
zu lassen.
SKU: CA.1952000 Composed by Various. This edition: Paperbound. German tit...(+)
SKU: CA.1952000
Composed by Various. This
edition: Paperbound.
German title:
Blaser-Begleitheft.
Instrumental music based
on hymns, Hymn settings,
Praise and thanks,
Psalms, Our Father.
Collection. 128 pages.
Carus Verlag #CV
19.520/00. Published by
Carus Verlag
(CA.1952000).
Violin, viola and cello SKU: M7.VHR-3902 (Violine, Viola, Cello). ...(+)
Violin, viola and cello
SKU: M7.VHR-3902
(Violine, Viola,
Cello). Composed by
Simone Drebenstedt. Sheet
music. Student's edition.
172 pages. Holzschuh
Musikverlag #VHR 3902.
Published by Holzschuh
Musikverlag
(M7.VHR-3902).
ISBN
9783940069801.
Das
neue Schulwerk verbindet
Lieder und Aufgaben in
sehr übersichtlicher
Form. Viele Liedbeispiele
und Liedbegleitungen mit
Texten zum Singen
erleichtern den
Schülern den Zugang
zur Musik. Alle Seiten
dieses Unterrichtswerkes
sind gleich aufgebaut.
Das übersichtliche
Layout erleichtert
Lehrern und Schülern
die Orientierung. Der
Umfang des Materials ist
auf zwei Unterrichtsjahre
ausgerichtet.
Composed by Jacob De
Haan. Musica Sacra. Hymns
& Chorals. Set (Score &
Parts). Composed 2003. De
Haske Publications #DHP
1033337-015. Published by
De Haske Publications
(BT.DHP-1033337-015).
In een
uitvoering voor brassband
en koor is het in de
meeste gevallen aan te
bevelen de optie voor
scherp koper weg te
laten. Het koor zingt
zelfstandig, begeleid
door een volledige
brassband. In een
instrumentale uitvoering
kunt u denken aan
eencombinatiekwartet
(twee cornetten en twee
trombones) +
brassband.Koorpartijen
apart
verkrijgbaar.
5.
Doppelrohrblattinstrument
e (wahlweise + Flöte,
wahlweise +
Kontrabass)
6.
Tutti
7. Alle
Holzbläser
8.
Alle Blechbläser
In einer Aufführung
mit Brass Band und Chor
ist es gewöhnlich
ratsam, nicht die erste
Option (Chor + Blech +
Blasorchester) zu
wählen. Der Chor singt
unabhängig, begleitet
von einer
vollständigen Brass
Band. In einer
Instrumentalaufführung
könnenSie sich für
ein kombiniertes Quartett
(zwei Kornette und zwei
Posaunen) + Brass Band
entscheiden. Chorstimmen
separat
erhältlich.
Violin, viola, cello and double bass SKU: M7.VHR-3901 Composed by Simone ...(+)
Violin, viola, cello and
double bass
SKU:
M7.VHR-3901
Composed
by Simone Drebenstedt.
Sheet music. Teacher's
edition. 176 pages.
Holzschuh Musikverlag
#VHR 3901. Published by
Holzschuh Musikverlag
(M7.VHR-3901).
ISBN
9783940069795.
Das
neue Schulwerk verbindet
Lieder und Aufgaben in
sehr übersichtlicher
Form. Viele Liedbeispiele
und Liedbegleitungen mit
Texten zum Singen
erleichtern den
Schülern den Zugang
zur Musik. Alle Seiten
dieses Unterrichtswerkes
sind gleich aufgebaut.
Das übersichtliche
Layout erleichtert
Lehrern und Schülern
die Orientierung. Der
Umfang des Materials ist
auf zwei Unterrichtsjahre
ausgerichtet.
2 saxophones (ST) (SAX(T)CD) - easy SKU: HL.49032473 Die Einsteigersch...(+)
2 saxophones (ST)
(SAX(T)CD) - easy
SKU:
HL.49032473
Die
Einsteigerschule fur
Anfanger ohne
Vorkenntnisse.
Composed by Tripp. This
edition: Paperback/Soft
Cover. Sheet music with
CD. Edition Schott. Das
Saxophon erfreut sich
heute einer
ausserordentlichen und
zunehmenden Beliebtheit.
Deshalb entschloss sich
Hartmut Tripp, sein
bewahrtes und speziell
mit jungeren Schulern
sehr erfolgreiches
Unterrichtskonzept in
Form dieser
Einsteigerschule zu
veroffe. Edition with CD.
108 pages. Schott Music
#ED 7795-01. Published by
Schott Music
(HL.49032473).
ISBN
9783795751517.
German.
Als 1846
Adolphe Sax in Paris
seinen Patentantrag fur
das von ihm erfundene
Musikinstrument stellte,
konnte er nicht ahnen,
dass sein Saxophon einmal
zu den wichtigsten und
beliebtesten Instrumenten
der Jazz- und Popmusik
werden sollte. Das
Saxofon erfreut sich
heute - gerade bei jungen
Menschen - einer
ausserordentlichen und
zunehmenden Beliebtheit.
Deshalb entschloss sich
Hartmut Tripp, ein
erfahrener Padagoge und
Saxofonlehrer, sein
bewahrtes und speziell
mit jungeren Schulern
sehr erfolgreiches
Unterrichtskonzept in
Form dieser
Einsteigerschule zu
veroffentlichen. Wer
dieses Material
systematisch und
sorgfaltig durcharbeitet,
wird rasche und gute
Fortschritte auf seinem
Instrument machen, ohne
das Wichtigste dabei zu
vernachlassigen: Die
Freude am Musizieren.
Chamber Music Clarinet, Flute, Piano, Violin, Violoncello SKU: PR.11441271S(+)
Chamber Music Clarinet,
Flute, Piano, Violin,
Violoncello
SKU:
PR.11441271S
For
Flute, Clarinet, violin,
Cello, and Piano.
Composed by Chen Yi. Poem
by Du Fu (712-770 in Tang
Dynasty). Premiered at
Merkin Hall in New York.
Contemporary. Full score.
With Standard notation.
Composed 2004. 45 pages.
Duration 12 minutes.
Theodore Presser Company
#114-41271S. Published by
Theodore Presser Company
(PR.11441271S).
UPC:
680160587094. 8.5 x 11
inches. Poem by Du Fu
(712-770 in Tang
Dynasty).
It's like
the welcome rain on a
quiet spring night that
nurtures the budding
seeds, our new society is
pushing us forward to the
new future. This music
reflects the scenes and
the expression according
to the meaning of the
poem when it's being
unfolded line by line.
Although the tempo is set
60-70 quarter notes per
minute throughout (played
vividly, never slow
down), the tension is
being built up from the
quiet background in the
beginning, to the
sustained climax towards
the end. The musical
image in Rehersal A and B
(measures 1 - 41)
represents the first four
lines of the poem. The
woodwind instruments
response to the rustling
of fast moving notes on
muted string triplets,
decorated by occasional
strokes produced by
metallic string sound and
high piano gestures. The
music in Rehersal C and D
(measures 42-87)
represents the next two
lines of the poem. It's
so dark, a little light
in the boat is shimmering
on the lake... The
breathy key slaps on the
flute creates a
mysterious atmosphere, in
a dialogue with other
instruments. The cello
glissandi recite the poem
in the tone of Mandarin,
echoed by the string
harmonics. The music in
Rehersal E, F, G (m 88 -
161) is a toccata,
starting with the piano,
which builds up a big
shape, to reach the
climax in m. 116, and
keeps the vivid scene
towards the coda
(Rehersal H, m. 162 - the
end), which stands on the
energetic peak at the end
of the
piece. Commissioned by
the Music From Copland
House ensemble, supported
by a grant from the
NYSCA’s
Composer’s
Commissions program in
2002, my mixed ensemble
piece Happy Rain on a
Spring Night is written
for all five instruments
in the ensemble: flute,
clarinet, violin, cello
and piano, and premiered
on Oct. 18, 2004, at
Merkin Hall in New York.
 The musical
imagination came from an
ancient Chinese poem with
the same title, written
by Du Fu (712-770) in the
Tang Dynasty. Happy
Rain on a Spring Nightby
Du Fu (712-770 in the
Tang Dynasty)Â Happy
rain comes in time,When
spring is in its
prime.With night breeze
it will fall,And quietly
moisten all.Clouds darken
wild roads,Light
brightens a little
boat.Saturated at
dawn,With flowers
blooming the
town. (English
translation by Chen Yi
from the original poem in
Chinese) It’s
like the welcome rain on
a quiet spring night that
nurtures the budding
seeds; our new society is
pushing us forward to the
new future. Â The music
reflects the scenes and
the expression according
to the meaning of the
poem when it’s
being unfolded line by
line. Â Although the
tempo is set 60-70
quarter notes per minute
throughout (played
vividly, never slowing
down), the tension is
being built up from the
quiet background in the
beginning, to the
sustained climax towards
the end. The musical
image in Rehearsal A and
B (measures 1-41)
represents the first four
lines of the poem.
 The woodwind
instruments respond to
the rustling of fast
moving notes on muted
string triplets,
decorated by occasional
strokes produced by
metallic string sound and
high piano gestures.
 The music in
Rehearsal C and D
(measures 42-87)
represents the next two
lines of the poem.
 It’s so dark,
a little light in the
boat is shimmering on the
lake... Â The breathy
key slaps on the flute
create a mysterious
atmosphere, in a dialogue
with other instruments.
 The cello glissandi
recite the poem in the
tone of Mandarin, echoed
by the string harmonics.
 The music in
Rehearsal E, F and G (m
88-161) is a toccata,
starting with the piano,
which builds up a big
shape, to reach the
climax in m. 116, and
keeps the vivid scene
towards the coda
(Rehearsal H, m.
162-192), which stands on
the energetic peak at the
end of the
piece. According to
the principle of the
Golden Section, I have
constructed the piece
with two large parts (m.
1-115 and m. 116-192).
 The GS falls onto the
beginning of the climax
section of the piece,
which is exciting and
loud. Â All
subdivisions of the
structures coincide with
the numbers of
proportions based on the
GS principle. Â The
music has textures
changed according to the
proportional arrangement
throughout the
piece. First Part (m.
1-115, total 115
measures), including two
sectionsSection I (m.
1-69, total 69 measures),
including two
divisionsFirst Division
(m. 1-41, total 41
measures), including two
subdivisions:Subdivision
I (m. 1-25, total 25
measures)Rehearsal A,
violin triplets + cello
metalic sound in small
intervals, followed by
woodwinds.Subdivision II
(m. 26-41, total 16
measures)Rehearsal B,
cello triplets + violin
metallic sound in small
intervals, overlapped by
woodwinds.Second Division
(m. 42-69, total 28
measures)Rehearsal C,
breathy key slaps on
flute, in dark.Section II
(m. 70-115, total 46
measures), including two
divisionsFirst Division
(m. 70-87, total 18
measures)Rehearsal D,
soft cello reciting,
followed by string
harmonics & woodwind
“echoâ€
passages.Second Division
(m. 88-115, total 28
measures)Rehearsal E,
starts to buildup the
excitement, with piano
toccata in the beginning.
When it reachesthe
patterns on the top of
the keyboard, the lowest
passages on piano and
cello punch in, andreview
the pitch material with
small intervals.Second
Part (m.116-192, total 77
measures), including two
sectionsSection I (m.
116-161, total 46
measures), including two
divisionsFirst Division
(m. 116-133, total 18
measures)Rehearsal F, the
excitement reaches the
climax, GS located. All
instruments join
in.Second Division (m.
134-161, total 28
measures)Rehearsal G,
combination of E and F,
continue to
buildup.Section II (m.
162-192, total 31
measures)Rehearsal H,
coda, keep the excitement
on the peak.
Double bass SKU: M7.VHR-3903 Composed by Simone Drebenstedt. Sheet music....(+)
Double bass
SKU:
M7.VHR-3903
Composed
by Simone Drebenstedt.
Sheet music. Student's
edition. 172 pages.
Holzschuh Musikverlag
#VHR 3903. Published by
Holzschuh Musikverlag
(M7.VHR-3903).
ISBN
9783940069818.
Das
neue Schulwerk verbindet
Lieder und Aufgaben in
sehr übersichtlicher
Form. Viele Liedbeispiele
und Liedbegleitungen mit
Texten zum Singen
erleichtern den
Schülern den Zugang
zur Musik. Alle Seiten
dieses Unterrichtswerkes
sind gleich aufgebaut.
Das übersichtliche
Layout erleichtert
Lehrern und Schülern
die Orientierung. Der
Umfang des Materials ist
auf zwei Unterrichtsjahre
ausgerichtet.
Combo - early intermediate SKU: BT.1237-06-070-MS Music for starting P...(+)
Combo - early
intermediate
SKU:
BT.1237-06-070-MS
Music for starting Pop
Bands. Begin the
Band. Set (Score &
Parts). Composed 2005. 36
pages. Music Sales
#1237-06-070 MS.
Published by Music Sales
(BT.1237-06-070-MS).
ISBN 9789043123259.
9x12 inches.
English-German-French-Dut
ch.
Starting a band
is always an adventure.
Once like-minded,
music-loving people have
gathered to form a group,
it can start. But, wait -
there’s still
something missing: the
music!New music groups
whose members do not have
much experience on their
instruments have special
demands. They need
not-too-difficult pieces
which focus on playing
together, and lead
quickly to that most
motivating of
achievements: the
band’s first
performance.Begin the
Band is perfectly
designed with these
demands in mind. Each
book in the series
contains four
entertaining,
great-sounding
arrangements and original
compositions in pop and
jazz styles, with added
scope to improvise. Each
piece consists ofa vocal
part, three accompaniment
parts and an easy part
for wind players, all in
four different keys: C, B
flat, E flat and C bass.
In addition, there are
parts for
piano/keyboard/bass and
guitar (with chords) as
well as drum kit and
percussion. All the parts
can be combined in any
way you like, to form a
pop band, jazz combo and
so on. The minimal
ensemble consists of a
vocal part (sung or
played by a wind
instrument) and one
accompanying instrument.
Let the adventure
begin!Includes songs by:
Joss Stone, Christina
Aguilera and many more
Een ideale
uitgave voor
gelijkgezinde
muziekliefhebbers die pas
een band hebben opgericht
- of van plan zijn een
band te beginnen. Nieuwe
muziekgroepen waarvan de
leden nog niet veel
ervaring met hun
instrument hebben,
stellen specialeeisen. Ze
hebben eenvoudige stukken
nodig die zijn gericht op
samenspel en leiden tot
de zo motiverende
beleving van het eerste
optreden. Begin the
Band is toegesneden
op deze eisen. Elk boek
van deze serie bevat
vieronderhoudende, goed
klinkende arrangementen
en originele composities
in de muziekstijlen pop
en jazz, met de
mogelijkheid tot
improvisatie. Elk stuk
bestaat uit een
zangpartij, drie
begeleidingspartijen en
een ‘easy
part’, steedsin C,
Bes, Es en C-bassleutel.
Er zijn aanvullende
partijen voor
piano/keyboard/basgitaar
en gitaar (met
akkoorden), evenals voor
slagwerk en percussie.
Alle partijen zijn te
combineren voor elke
denkbare bezetting, van
popgroeptot jazzcombo,
enz. De minimale
bezetting omvat de
zangpartij (gezongen of
gespeeld door een
blaasinstrument) en een
begeleidingsinstrument.
Laat het avontuur maar
beginnen!
Die
Gründung einer Band
ist immer ein Abenteuer.
Haben sich erst
genügend
musizierfreudige
Gleichgesinnte zusammen
gefunden, kann es
losgehen. Aber halt -
etwas fehlt noch: die
Musik! Neue Bands, deren
Mitglieder nicht allzu
viel Erfahrung auf ihren
Instrumenten mitbringen,
haben besondere
Bedürfnisse. Leichte
Stücke sind gefragt,
die den Schwerpunkt auf
das Zusammenspiel legen
und schnell zum
motivierenden
Erfolgserlebnis der
Gruppe führen: dem
ersten gemeinsamen
Auftritt! Begin the
Band ist genau
auf diese Bedürfnisse
zugeschnitten. Jedes Buch
dieser Reihe enthält
vier unterhaltsame, gut
klingende Bearbeitungen
und Originalkompositionen
in den Stilen Pop
undJazz, die auch
Gelegenheit zur
Improvisation bieten. Zu
jedem Stück gibt es
eine Gesangsstimme, drei
Begleitstimmen und einen
Easy Part, das Ganze
jeweils im C-, B-, Es-
und im
C-Bassschlüssel. Dazu
kommen Stimmen für
Gitarre und Bassgitarre
(mit Akkorden), sowie
für Schlagzeug und
Percussion. Alle Stimmen
sind beliebig für
zahlreiche verschiedene
Besetzungen ergänzbar
- von einer
Minimalbesetzung aus
Gesangsstimme (auch von
einem Blasinstrument
spielbar) mit einer
Begleitung, über eine
Popband bis hin zur
Jazzcombo und vielem
mehr. Mit Liedern und
Stücken von Christina
Aguilera, Joss Stone,
Gary Barone und Hans
Kerkhoff kann das
Abenteuer beginnen!
Formare un gruppo
è sempre una sfida
accattivante. E’
sufficiente trovare e
riunire alcuni musicisti
appassionati e con gli
stessi gusti e
l’avventura può
iniziare.
D’accordo, ma cosa
si suona? I gruppi
formati da musicisti con
una limitataesperienza
strumentale, hanno
bisogno di un repertorio
adatto: brani semplici
concentrati
sull’esecuzione in
gruppo e che permettano
di raggiungere
rapidamente
l’obiettivo:
esibirsi in pubblico.
Begin the Band è stato
concepito per soddisfare
questeesigenze. Ogni
raccolta di questa
collezione contiene
quattro superbi
arrangiamenti e
composizioni originali
adatti
all’improvvisazion
e. Ogni brano comporta
una parte vocale, tre
parti di accompagnamento
e una versione
strumentale della
lineamelodica (versione
semplificata della parte
vocale), il tutto nelle
tonalit Do, Sib, Mib e Do
�. Sono incluse
anche le parti per
tastiera/chitarra basso,
chitarra (con accordi),
batteria e percussioni.
Combinando le varie parti
a scelta,otterrete un
gruppo rock, un combo
jazz o altre formazioni.
La strumentazione minima
è costituita dalla
parte vocale (o versione
strumentale della linea
melodica) e di una parte
d’accompagnamento.
L’avventura può
iniziare! VFormare un
gruppo è sempreuna
sfida accattivante.
E’ sufficiente
trovare e riunire alcuni
musicisti appassionati e
con gli stessi gusti e
l’avventura può
iniziare.
D’accordo, ma cosa
si suona? I gruppi
formati da musicisti con
una limitata esperienza
strumentale, hannobisogno
di un repertorio adatto:
brani semplici
concentrati
sull’esecuzione in
gruppo e che permettano
di raggiungere
rapidamente
l’obiettivo:
esibirsi in pubblico.
Begin the Band è stato
concepito per soddisfare
queste esigenze. Ogni
raccolta diquesta
collezione contiene
quattro superbi
arrangiamenti e
composizioni originali
adatti
all’improvvisazion
e. Ogni brano comporta
una parte vocale, tre
parti di accompagnamento
e una versione
strumentale della linea
melodica (versione
semplificatadella parte
vocale), il tutto nelle
tonalit Do, Sib, Mib e Do
�. Sono incluse
anche le parti per
tastiera/chitarra basso,
chitarra (con accordi),
batteria e percussioni.
Combinando le varie parti
a scelta, otterrete un
gruppo rock, un combojazz
o altre formazioni. La
strumentazione minima
è costituita dalla
parte vocale (o versione
strumentale della linea
melodica) e di una parte
d’accompagnamento.
L’avventura può
iniziare! Formare un
gruppo è sempre una
sfida accattivante.
E’sufficiente
trovare e riunire alcuni
musicisti appassionati e
con gli stessi gusti e
l’avventura può
iniziare.
D’accordo, ma cosa
si suona? I gruppi
formati da musicisti con
una limitata esperienza
strumentale, hanno
bisogno di un repertorio
adatto:brani semplici
concentrati
sull’esecuzione in
gruppo e che permettano
di raggiungere
rapidamente
l’obiettivo:
esibirsi in pubblico.
Begin the Band è stato
concepito per soddisfare
queste esigenze. Ogni
raccolta di questa
collezione contiene
quattrosuperbi
arrangiamenti e
composizioni originali
adatti
all’improvvisazion
e. Ogni brano comporta
una parte vocale, tre
parti di accompagnamento
e una versione
strumentale della linea
melodica (versione
semplificata della parte
vocale), il tutto
nelletonalit Do, Sib, Mib
e Do �. Sono
incluse anche le parti
per tastiera/chitarra
basso, chitarra (con
accordi), batteria e
percussioni. Combinando
le varie parti a scelta,
otterrete un gruppo rock,
un combo jazz o altre
formazioni.
Lastrumentazione minima
è costituita dalla
parte vocale (o versione
strumentale della linea
melodica) e di una parte
d’accompagnamento.
L’avventura può
iniziare! VFormare un
gruppo è sempre una
sfida accattivante.
E’ sufficiente
trovare e riunirealcuni
musicisti appassionati e
con gli stessi gusti e
l’avventura può
iniziare.
D’accordo, ma cosa
si suona? I gruppi
formati da musicisti con
una limitata esperienza
strumentale, hanno
bisogno di un repertorio
adatto: brani semplici
concentratisull’es
ecuzione in gruppo e che
permettano di raggiungere
rapidamente
l’obiettivo:
esibirsi in pubblico.
Begin the Band è stato
concepito per soddisfare
queste esigenze. Ogni
raccolta di questa
collezione contiene
quattro superbi
arrangiamenti
ecomposizioni originali
adatti
all’improvvisazion
e. Ogni brano comporta
una parte vocale, tre
parti di accompagnamento
e una versione
strumentale della linea
melodica (versione
semplificata della parte
vocale), il tutto nelle
tonalit Do, Sib, Mib eDo
�. Sono incluse
anche le parti per
tastiera/chitarra basso,
chitarra (con accordi),
batteria e percussioni.
Combinando le varie parti
a scelta, otterrete un
gruppo rock, un combo
jazz o altre formazioni.
La strumentazione minima
ècostituita dalla
parte vocale (o versione
strumentale della linea
melodica) e di una parte
d’accompagnamento.
L’avventura può
iniziare!
(Violin). Arranged by Various. For Violin. Book; CD; Play-Along; String Series. ...(+)
(Violin). Arranged by
Various. For Violin.
Book; CD; Play-Along;
String Series. Top Hits
Instrumental Solos.
Broadway; Movie; TV.
Grade 2; Grade 3. 76
pages. Published by
Alfred Music
We Three Kings Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba Kendor Music Inc.
Composed by Hopkins. Arranged by Charles Evans. Brass Quintet. Score and set of ...(+)
Composed by Hopkins.
Arranged by Charles
Evans. Brass Quintet.
Score and set of parts.
Duration 3 minutes, 15
seconds. Kendor Music Inc
#19118. Published by
Kendor Music Inc
(KN.19118).
0.48
SKU: M7.MH-15012-15 Composed by Evemarie Mueller and Lorna Lutz Heyge. Th...(+)
SKU:
M7.MH-15012-15
Composed by Evemarie
Mueller and Lorna Lutz
Heyge. This edition:
Saddle-wire stitching.
Sheet music with CD.
Songbook, for parents. 48
pages. Matthias Hohner
#MH 15012-15. Published
by Matthias Hohner
(M7.MH-15012-15).
German.
This
'Musical Garden for
Babies' extends an
invitation to babies of
up to 18 months and their
parents to join in a
musical game. Making
music together at this
early stage provides the
child with nourishment in
three respects: for body,
soul and brain. Through
songs, rhymes and
movement games children
and those closest to them
can enjoy discovering
their own voices and
bodies. Simple
instruments such as wood
blocks, rattles and drums
lead the child into the
world of sounds. Research
has confirmed the
positive influence of
musical activity on the
overall development of
the child - in its
musical ability, its
social relationships and
its intelligence. A
lesson in the 'Musical
Garden for Babies' is
structured around the
following activities:
greeting and farewell
songs - rhymes and games
for bouncing baby on your
knee - finger games and
songs to develop
awareness of the body -
rocking songs and
lullabies - songs for
dancing and moving about
to - echo games -
introducing simple
instruments - playing
with pieces of cloth -
listening to music. The
teacher's book contains
information on infant
development, explanations
of the principles behind
teaching and plenty of
ideas for lessons. The
song books with CD make
it possible to take the
'sound environment' of
the music lesson home
with you and to keep
singing and enjoying the
songs with the
family.
SKU: M7.MH-15011-15 Composed by Evemarie Mueller and Lorna Lutz Heyge. Th...(+)
SKU:
M7.MH-15011-15
Composed by Evemarie
Mueller and Lorna Lutz
Heyge. This edition:
Saddle-wire stitching.
Sheet music with CD.
Songbook, for parents. 40
pages. Matthias Hohner
#MH 15011-15. Published
by Matthias Hohner
(M7.MH-15011-15).
German.
This
'Musical Garden for
Babies' extends an
invitation to babies of
up to 18 months and their
parents to join in a
musical game. Making
music together at this
early stage provides the
child with nourishment in
three respects: for body,
soul and brain. Through
songs, rhymes and
movement games children
and those closest to them
can enjoy discovering
their own voices and
bodies. Simple
instruments such as wood
blocks, rattles and drums
lead the child into the
world of sounds. Research
has confirmed the
positive influence of
musical activity on the
overall development of
the child - in its
musical ability, its
social relationships and
its intelligence. A
lesson in the 'Musical
Garden for Babies' is
structured around the
following activities:
greeting and farewell
songs - rhymes and games
for bouncing baby on your
knee - finger games and
songs to develop
awareness of the body -
rocking songs and
lullabies - songs for
dancing and moving about
to - echo games -
introducing simple
instruments - playing
with pieces of cloth -
listening to music. The
teacher's book contains
information on infant
development, explanations
of the principles behind
teaching and plenty of
ideas for lessons. The
song books with CD make
it possible to take the
'sound environment' of
the music lesson home
with you and to keep
singing and enjoying the
songs with the
family.
Composed by Various. Arranged by Peter Lavender. Music Sales America. Baroque an...(+)
Composed by Various.
Arranged by Peter
Lavender. Music Sales
America. Baroque and
Classical Period. Fake
book (softcover). With
melody line (no
accompaniment included)
and chord names. 128
pages. Music Sales
#AM92350. Published by
Music Sales