| Südwind Overture Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire Ibermusica
Overture for Symphonic Band. Composed by Ferrer Ferran (1966-). IberMusica Conce...(+)
Overture for Symphonic
Band. Composed by Ferrer
Ferran (1966-).
IberMusica Concert Band.
Symphonic. Score Only.
Composed 2007. 36 pages.
Ibermusica #IB020.
Published by Ibermusica
$117.00 $111.15 (- 5%) Voir plus => AcheterDélais: 24 hours - In Stock | | |
| First Trombonanza Suite for 4-part Trombone Ensemble Quatuor de cuivres: 4 trombones - Intermédiaire Cherry Classics
4-part Trombone Ensemble - intermediate SKU: CY.CC2997 Composed by John F...(+)
4-part Trombone Ensemble
- intermediate SKU:
CY.CC2997 Composed by
John Frith. Contemporary
Rock. Score and Parts. 20
pages. Cherry Classics
#2997. Published by
Cherry Classics
(CY.CC2997). ISBN
9790530058169. Thes
e TWO SUITES were
composed in response to a
request form Heini
Schneebeli, the musical
director of 'TROMBONANZA
2017'. Santa Fe in
Argentina is the backdrop
for this exciting annual
event involving many
hundreds of student and
professional players.
The FIRST SUITE has
three movements and is
intended for a trio of
younger tenor trombonists
working with a teacher on
bass trombone who will
add richness and depth to
the ensemble
sound. It is my hope
that this piece will
encourage, entertain and
challenge student players
and provide useful
concert material for use
in the promotion of this
unique and versatile
instrument. John
Frith - 2017 This
work is appropriate for
younger performers at an
intermediate level all in
bass clef. The three
movements total about 5
1/2 minutes in length and
have the following
titles: 1. Totem
Tango 2. Full Steam
Ahead 3. Clowning
Around
$27.50 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Macarella Trombone et Piano - Intermédiaire FLEX Editions
Chamber Music & Piano Accompaniment 1 Trombone 1 Piano - Grade 3 SKU: FL.FX07...(+)
Chamber Music & Piano
Accompaniment 1 Trombone
1 Piano - Grade 3 SKU:
FL.FX074328 Composed
by Jean-Michel Maury.
Original Composition.
Classical, Educational.
Score and Set of Parts.
FLEX Editions #FX074328.
Published by FLEX
Editions (FL.FX074328).
A catchy piece
that can be played for an
exam (from 5 years of
practice), audition or
concert. With an
accompaniment by
percussions (optional)
for the Latin touch! ;
Instruments: 1 Trombone 1
Piano; Difficuly Level:
Grade 3; Duration: 3 mn
10 s; Musical Style:
Classical, Educational;
Category: Original
Composition; Composer:
Jean-Michel MAURY. $12.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Magallanes Orchestre d'harmonie [Conducteur et Parties séparées] De Haske Publications
Score and Parts. By Ferrer Ferran. IberMusica Concert Band. Published by Ibermus...(+)
Score and Parts. By
Ferrer Ferran. IberMusica
Concert Band. Published
by Ibermusica.
$294.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| El Quijote Orchestre d'harmonie [Conducteur et Parties séparées] Hal Leonard
Score and Parts. By Ferrer Ferran. De Haske Concert Band Full Set. Published by ...(+)
Score and Parts. By
Ferrer Ferran. De Haske
Concert Band Full Set.
Published by Ibermusica.
$233.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| 5 Airs from Carmen - Intermédiaire/avancé FLEX Editions
Chamber Music, Quatuor 3 Trombones 1 Bass Trombone - Grade 4 SKU: FL.FX074335...(+)
Chamber Music, Quatuor 3
Trombones 1 Bass Trombone
- Grade 4 SKU:
FL.FX074335 Composed
by Georges Bizet.
Arranged by Olivier
Lachurie. Arrangement.
Classical. Score and Set
of Parts. FLEX Editions
#FX074335. Published by
FLEX Editions
(FL.FX074335).
A very nice
arrangement of 5 airs by
Carmen : 1. Entr'acte
3eme acte - 2. Habanera -
3. Seguidilla - 4. La
Garde Montante - 5. Air
du Toreador ;
Instruments: 3 Trombones
1 Bass Trombone;
Difficuly Level: Grade 4;
Duration: 7 mn 00 s;
Musical Style: Classical;
Category: Arrangement;
Composer: Georges BIZET;
Arranger: Olivier
LACHURIE. $22.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Blue Shades Orchestre d'harmonie [Conducteur] Manhattan Beach Music
By Frank Ticheli. Concert band. Suitable for the most advanced high school bands...(+)
By Frank Ticheli. Concert
band. Suitable for the
most advanced high school
bands, community,
college, university, and
professional bands.
Conductor Full Score.
Duration 10:00. Published
by Manhattan Beach Music.
Level: Grade 5.
(2)$95.00 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Blue Shades Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire/avancé Manhattan Beach Music
By Frank Ticheli. Concert band. Suitable for the most advanced high school bands...(+)
By Frank Ticheli. Concert
band. Suitable for the
most advanced high school
bands, community,
college, university, and
professional bands.
Level: Grade 5. Conductor
score and set of parts.
Duration 10:00. Published
by Manhattan Beach Music.
$365.00 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Abracadabra Orchestre d'harmonie [Conducteur] - Intermédiaire Manhattan Beach Music
By Frank Ticheli. Concert band. Suitable for advanced middle school, high school...(+)
By Frank Ticheli. Concert
band. Suitable for
advanced middle school,
high school, community
and college bands. Level:
Grade 3. Conductor Full
Score. Duration 4:30.
Published by Manhattan
Beach Music.
(5)$25.00 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Abracadabra Ensemble d'École [Conducteur et Parties séparées] - Intermédiaire Manhattan Beach Music
By Frank Ticheli. Concert band. Suitable for advanced middle school, high school...(+)
By Frank Ticheli. Concert
band. Suitable for
advanced middle school,
high school, community
and college bands. Level:
Grade 3. Conductor score
and set of parts.
Duration 4:30. Published
by Manhattan Beach Music.
(2)$165.00 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Hymn for Band Orchestre Symphonique [Conducteur et Parties séparées] - Intermédiaire Hal Leonard
A Hymn for Band by Hugh Stuart. For Concert Band (Score and Parts). MusicWorks G...(+)
A Hymn for Band by Hugh
Stuart. For Concert Band
(Score and Parts).
MusicWorks Grade 3. Grade
2.5. Score and parts. Hal
Leonard #K0481. Published
by Hal Leonard
$70.00 $66.5 (- 5%) Voir plus => AcheterDélais: 24 hours - In Stock | | |
| One Small Child Chorale 3 parties SSA [Octavo] Hope Publishing Company
Composed by David Meece. Arranged by Lloyd Larson. Ring and Sing Series / Vocal ...(+)
Composed by David Meece.
Arranged by Lloyd Larson.
Ring and Sing Series /
Vocal Solo Sheet Music
Series. Christmas,
Sacred, Contemporary.
Octavo. 12 pages.
Published by Hope
Publishing Company
(HP.C6044).
$3.25 - Voir plus => AcheterDélais: 4 to 6 business days | | |
| Tone Builders For Developing Bands Score And Parts Orchestre d'harmonie [Conducteur et Parties séparées] - Débutant Hal Leonard
Tone Builders for Developing Bands (Grade 1 to 2.5 - Score and Parts). By James ...(+)
Tone Builders for
Developing Bands (Grade 1
to 2.5 - Score and
Parts). By James Curnow.
For Concert Band. Curnow
Music Concert Band. Grade
1-2. Curnow Music
#009496. Published by
Curnow Music
$69.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Hope Op. 11 No. 3 - Intermédiaire FLEX Editions
Chamber Music, Quintette 5 Trombones - Grade 3 SKU: FL.FX074432 Composed ...(+)
Chamber Music, Quintette
5 Trombones - Grade 3
SKU: FL.FX074432
Composed by Niels W.
Gade. Arranged by Eric
Vireton. Arrangement.
Classical. Score and Set
of Parts. FLEX Editions
#FX074432. Published by
FLEX Editions
(FL.FX074432).
Instruments:5
Trombones; Difficuly
Level: Grade 3; Duration:
1 mn 20 s; Musical Style:
Classical; Category:
Arrangement; Composer:
Niels W. GADE; Arranger:
Eric VIRETON. $11.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Second Trombonanza Suite for 5-part Trombone Ensemble - Intermédiaire Cherry Classics
5-part Trombone Ensemble - intermediate SKU: CY.CC3015 Composed by John F...(+)
5-part Trombone Ensemble
- intermediate SKU:
CY.CC3015 Composed by
John Frith. Contemporary
Latin Rock. Score and
Parts. Cherry Classics
#3015. Published by
Cherry Classics
(CY.CC3015).
These TWO
SUITES were composed in
response to a request
form Heini Schneebeli,
the musical director of
'TROMBONANZA 2017'. Santa
Fe in Argentina is the
backdrop for this
exciting annual event
involving many hundreds
of student and
professional players.
The SECOND
SUITE has five movements
and is intended for a
quartet of younger tenor
trombonists working with
a teacher on the fifth
part on bass trombone who
will add richness and
depth to the ensemble
sound.
It is my
hope that this piece will
encourage, entertain and
challenge student players
and provide useful
concert material for use
in the promotion of this
unique and versatile
instrument. John
Frith - 2017 This
work is appropriate for
younger performers at an
intermediate level all in
bass clef. The five
movements total about 9
minutes in length and
have the following
titles: 1. Latin
Dance 2.
Ballad 3. Give Me a
Break! 4. Bass
Waltz 5. Cruisin'
Along (swing)
$37.50 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Quartet No. 5, For 2 Cornets, Horn Or Trombone, And Baritone Leduc, Alphonse
SKU: HL.48185075 Composed by Luis de Victoria. Robert King. Classical. Al...(+)
SKU: HL.48185075
Composed by Luis de
Victoria. Robert King.
Classical. Alphonse Leduc
#AL28417. Published by
Alphonse Leduc
(HL.48185075). UPC:
888680879228.
9.0x12.0x0.251
inches. “Germ
an composer, Wilhelm
Ramsöe (1837-1895) is
best remembered for his
compositions for brass.
His Quartet No. 5 for 2
Cornets, Horn or
Trombone, and Baritone is
no exception. As the
final of five brass
quartets by the composer,
Quartet No. 5 remains
prominent in the brass
ensemble repertoire. Made
of of four movements,
each part contains a
variety of exciting
musical features. The
movements are 1) Allegro
Moderato, 2) Andante,
Quasi Allegretto, 3)
Scherzo, and 4) Finale,
all of which contain
edits by Robert King. For
all advanced brass
ensembles, Ramsöe's
Quartet No. 5 is a
sublime addition to the
repertoire.â€. $59.60 - Voir plus => Acheter | | |
| One Small Child Cloches [Conducteur] - Intermédiaire Hope Publishing Company
By Meece, David. Arranged by Lloyd Larson. For Handbells. Ring and Sing, Contemp...(+)
By Meece, David. Arranged
by Lloyd Larson. For
Handbells. Ring and Sing,
Contemporary and Sacred.
Print Music Single (3-5
oct. L3-). 8 pages.
Published by Hope
Publishing Company.
Level: L3-.
$7.00 - Voir plus => AcheterDélais: 4 to 6 business days | | |
| 3e Symphonie en ut mineur, op. 78 - Avancé Barenreiter
Orchestra, Organ (Fl1, Fl2 , Fl3(Fl-picc), 2 Ob, EnglHn, 2 clarinet, clarinet-B,...(+)
Orchestra, Organ (Fl1,
Fl2 , Fl3(Fl-picc), 2 Ob,
EnglHn, 2 clarinet,
clarinet-B, 2 bassoon,
bassoon-Co, Hn1, Hn2 ,
Hn3(chrom.), Hn4(chrom.),
3Trp, 3trombone, timpani,
Tr-Gr, Tri, Be, Org,
piano-4ms, 2 Violin,
Viola, Cello, Double
Bass) - Level 5 SKU:
BA.BA10303-01
Composed by Camille
Saint-Saens. Edited by
Michael Stegemann. This
edition: Edition of
selected works, Urtext
edition. Linen.
Saint-Saens, Camille.
Oevres instrumentales
completes I/3. Edition of
selected works, Score.
Opus 78. Duration 39
minutes. Baerenreiter
Verlag #BA10303_01.
Published by Baerenreiter
Verlag (BA.BA10303-01).
ISBN 9790006559503. 33
x 26 cm inches. Key: C
minor. Preface: Michael
Stegemann. The
third symphony by Camille
Saint-Saens, known as the
Organ Symphony, is the
first publication in a
complete
historical-critical
edition of the French
composer's instrumental
works.
I gave
everything I was able to
give in this work. [...]
What I have done here I
will never be able to do
again.Camille Saint-Saens
was rightly proud of his
third Symphony in C minor
Op.78, dedicated to the
memory of Franz Liszt.
Called theOrgan
Symphonybecause of its
novel scoring, the work
was a commission from the
Philharmonic Society in
London, as was
Beethoven's Ninth, and
was premiered there on 19
May 1886. The first
performance in Paris
followed on 9 January
1887 and confirmed the
composer's reputation
asprobably the most
significant, and
certainly the most
independent French
symphonistof his time, as
Ludwig Finscher wrote in
MGG. In fact the work
remains the only one in
the history of that genre
in France to the present
day, composed a good half
century after the
Symphonie fantastique by
Hector Berlioz and a good
half century before
Olivier Messiaen's
Turangalila
Symphonie.
You
would think that such a
famous, much-performed
and much recorded opus
could not hold any more
secrets, but far from it:
in the first
historical-critical
edition of the Symphony,
numerous inconsistencies
and mistakes in the
Durand edition in general
use until now, have been
uncovered and corrected.
An examination and
evaluation of the sources
ranged from two early
sketches, now preserved
in Paris and Washington
(in which the Symphony
was still in B minor!)
via the autograph
manuscript and a set of
proofs corrected by
Saint-Saens himself, to
the first and subsequent
editions of the full
score and parts. The
versions for piano duet
(by Leon Roques) and for
two pianos (by the
composer himself) were
also consulted. Further
crucial information was
finally found in his
extensive correspondence,
encompassing thousands of
previously unpublished
letters. The discoveries
made in producing this
edition include the fact
that at its London
premiere, the Symphony
probably looked quite
different from its
present appearance
...
No less
exciting than the work
itself is the history of
its composition and
reception, which are
described in an extensive
foreword. With his
Symphony, Saint-Saens
entered right into the
dispute which divided
French musical life into
pro and contra Wagner in
the 1880s and 1890s. At
the same time, the work
succeeded in preserving
the balance between
tradition and modernism
in masterly fashion, as a
contemporary critic
stated:The C minor
Symphony by Saint-Saens
creates a bridge from the
past into the future,
from immortal richness to
progress, from ideas to
their
implementation.
On
19 March 1886 Saint-Saens
wrote to the London
Philharmonic Society,
which commissioned the
work:
Work on the
symphony is in full
swing. But I warn you, it
will be terrible. Here is
the precise
instrumentation: 3 flutes
/ 2 oboes / 1 cor anglais
/ 2 clarinets / 1 bass
clarinet / 2 bassoons / 1
contrabassoon / 2 natural
horns / [3 trumpets /
Saint-Saens had forgotten
these in his listing.] 2
chromatic horns / 3
trombones / 1 tuba / 3
timpani / organ / 1 piano
duet and the strings, of
course. Fortunately,
there are no harps.
Unfortunately it will be
difficult. I am doing
what I can to mitigate
the
difficulties.
As
in my 4th Concerto [for
piano] and my [1st]
Violin Sonata [in D minor
Op.75] at first glance
there appear to be just
two parts: the first
Allegro and the Adagio,
the Scherzo and the
Finale, each attacca.
This fiendish symphony
has crept up by a
semitone; it did not want
to stay in B minor, and
is now in C
minor.
It would be
a pleasure for me to
conduct this symphony.
Whether it would be a
pleasure for others to
hear it? That is the
question. It is you who
wanted it, I wash my
hands of it. I will bring
the orchestral parts
carefully corrected with
me, and if anyone wants
to give me a nice
rehearsal for the
symphony after the full
rehearsal, everything
will be fine.
When
Saint-Saens hit upon the
idea of adding an organ
and a piano to the usual
orchestral scoring is not
known. The idea of adding
an organ part to a
secular orchestral work
intended for the concert
hall was thoroughly novel
- and not without
controversy. On the other
hand, Franz Liszt, whose
music Saint-Saens'
Symphony is so close to,
had already demonstrated
that the organ could
easily be an orchestral
instrument in his
symphonic poem
Hunnenschlacht (1856/57).
There was also a model
for the piano duet part
which Saint-Saens knew
and may possibly have
used quite consciously as
an exemplar: theFantaisie
sur la Tempetefrom the
lyrical monodrama Lelio,
ou le retour a la Vie op.
14bis (1831) by Berlioz.
The name of the organist
at the premiere ist
unknown, as,
incidentally, was also
the case with many of the
later performances; the
organ part is indeed not
soloistic, but should be
understood as part of the
orchestral
texture.
In fact
the subsequent success of
the symphony seems to
have represented a kind
of breakthrough for the
composer, who was then
over 50 years of age.My
dear composer of a famous
symphony, wrote
Saint-Saens' friend and
pupil Gabriel Faure:You
will never be able to
imagine what a pleasure I
had last Sunday [at the
second performance on 16
January 1887]! And I had
the score and did not
miss a single note of
this Symphony, which will
endure much longer than
we two, even if we were
to join together our two
lifespans!
About
Barenreiter
Urtext
What can I
expect from a Barenreiter
Urtext
edition?<
/p> MUSICOLOGICA
LLY SOUND - A
reliable musical text
based on all available
sources - A
description of the
sources -
Information on the
genesis and history of
the work - Valuable
notes on performance
practice - Includes
an introduction with
critical commentary
explaining source
discrepancies and
editorial decisions
... AND
PRACTICAL -
Page-turns, fold-out
pages, and cues where you
need them - A
well-presented layout and
a user-friendly
format - Excellent
print quality -
Superior paper and
binding
$566.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| From the Depths, in D (De profundis in D) - Intermédiaire Carus Verlag
Orchestra AT vocal soli (ATBBB), SATB choir (SATBBB), 2 oboes, 3 trombones, 2 vi...(+)
Orchestra AT vocal soli
(ATBBB), SATB choir
(SATBBB), 2 oboes, 3
trombones, 2 violins,
viola, basso continuo -
Grade 3 SKU:
CA.4006409 Composed
by Jan Dismas Zelenka.
Edited by Wolfgang Horn.
1x 40.064/21 oboe 1, 1x
40.064/22 oboe 2, 1x
40.064/31 trombone 1, 1x
40.064/32 trombone 2, 1x
40.064/33 trombone 3.
German title: De
profundis 5. Sacred vocal
music, Psalms. Set of
Orchestra Parts. Composed
1724. ZWV 50. 28 pages.
Duration 13 minutes.
Carus Verlag #CV
40.064/09. Published by
Carus Verlag
(CA.4006409). ISBN
9790007060114. Key: D
minor. Language:
Latin/English. The
Bohemian composer Jan
Dismas Zelenka was a
double bass player and
church music composer at
the Saxon court of the
Elector August the Strong
and his son Friedrich
August II. In the years
after 1721 he composed an
extensive repertoire of
Catholic church music
together with the
Kapellmeister Johann
David Heinichen. These
works, together with the
Dresden operas composed
by Johann Adolf Hasse in
quick succession from
1731 onwards, established
the reputation of the
Saxon court as one of the
most important musical
centers of the late
Baroque period. Zelenka
composed this psalm
setting De profundis in D
minor ZWV 97 in 1724 on
the death of his father,
including a concluding
Requiem verse. This was
later replaced by the
lesser doxology so that
the work can be performed
in the office of
Christmas week. Both
endings are included in
this new edition. Three
trombones, used as an
independent instrumental
group, give the work a
special tonal color.
Score and parts available
separately - see item
CA.4006400. $16.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| The Renaissance Fair Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire/avancé Manhattan Beach Music
By Bob Margolis (After Claude Gervaise). Concert band. Suitable for high school,...(+)
By Bob Margolis (After
Claude Gervaise). Concert
band. Suitable for high
school, community, and
college bands. Level:
Grade 4. Conductor score
and set of parts.
Duration 4:30. Published
by Manhattan Beach Music.
$135.00 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Galloping Ghosts Orchestre d'harmonie - Intermédiaire/avancé Manhattan Beach Music
Concert band - Grade 4 SKU: MH.1-59913-064-5 Composed by William Ryden. S...(+)
Concert band - Grade 4
SKU:
MH.1-59913-064-5
Composed by William
Ryden. Suitable for high
school, community, and
college bands. Conductor
score and set of parts.
Duration 2:45. Published
by Manhattan Beach Music
(MH.1-59913-064-5).
ISBN
9781599130644. I
wrote Galloping Ghosts (A
Ragtime March) to
conclude a concert of my
chamber music in New York
City on October 28, 1986.
It is the final part of a
work called Rags for
Divers Players. This work
was written to show the
variety possible within
the standard rag form. I
used all the players
available for the finale
-- two violins, viola,
cello, bass, flute, oboe,
clarinet, horn, bassoon,
and piano. Since this is
a rather unusual
instrumental combination
and not easy to
reassemble, I decided to
rescore the work for
concert band. Galloping
Ghosts is written in a
standard march form but
incorporates many of the
syncopations found in
ragtime. The uniquely
American music called
ragtime traces its
history to African
rhythms brought over by
slaves. Over the years
this music became welded
to European musical forms
such as the quadrille and
the march. Drums and
banjos and the minstrel
tradition lent a special
flavor, and from all
these elements ragtime
slowly evolved within the
largely unknown black
subculture of the late
19th century. In the late
1890's it emerged as a
fully developed form in
the classic piano solos
of Scott Joplin
(1869-1917). Joplin's
1899 hit, Maple Leaf Rag,
was an overnight
sensation and brought
ragtime worldwide fame.
Ensemble instrumentation:
1 Piccolo, 8 Flute 1 and
2, 2 Oboe, 1 Eb Clarinet,
4 Bb Clarinet 1, 4 Bb
Clarinet 2, 4 Bb Clarinet
3, 2 Eb Alto Clarinet, 3
Bb Bass and Bb Contrabass
Clarinet, 2 Bassoon 1 and
2, 2 Eb Alto Saxophone 1,
2 Eb Alto Saxophone 2, 2
Bb Tenor Saxophone, 1 Eb
Baritone Saxophone, 3 Bb
Cornet 1, 3 Bb Cornet 2,
3 Bb Cornet 3, 2 Horn 1
and 2 in F, 2 Horn 3 and
4 in F, 4 Trombone 1 and
2, 4 Bass Trombone, 2
Baritone (B.C.), 2
Baritone (T.C.), 4 Tuba,
1 String Bass, 1 Timpani,
1 Xylophone, 3 Percussion
1, 3 Percussion 2. $95.00 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Clash of the Warriors - Intermédiaire Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Clarinet ...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Bells,
Clarinet 1, Clarinet 2,
Clarinet 3, Euphonium,
Euphonium T.C., Flute 1,
Flute 2, Gong, Horn 1,
Horn 2, Mallet Percussion
1, Mallet Percussion 2,
Marimba, Oboe, Percussion
1, Percussion 2, Snare
Drum and more. - Grade
3.5 SKU:
CF.CPS266F Composed
by Mark Lortz. Cps. Full
score. 28 pages. Carl
Fischer Music #CPS266F.
Published by Carl Fischer
Music (CF.CPS266F).
ISBN 9781491161760.
UPC:
680160920457. Clash
of the Warriors is
lightly based upon the
Bulgarian folk song Kaval
Sviri. The composer's
vision was to create a
musical depiction of two
warriors getting ready
and ultimately battling
each other. The
introduction should be
mysterious and ominous.
To create the open fifth
interval slide effect,
the trombone glissandi in
measures 2-3 should be
emphasized, and the
suggested slide positions
followed. At Rehearsal
10, the timpani, marimba,
and tambourine will
control the pulse and
diminuendo to Rehearsal
18, where the woodwinds
have the melody.
Rehearsal 38 should be
bold and energetic,
whereas Rehearsal 57
should be light with a
driving pulse. The
Rehearsal 92 9/8 section
should be conducted in
four (2+2+2+3) and set up
the warrior's battle
clash. Rehearsal 109
represents the 'clash' of
the warriors where they
will ultimately battle
against one another,
represented by the three
measure motivic
tradeoffs. Finally,
rehearsal 129 to the end
is the soundtrack for the
final conflict for the
warriors. I hope you and
your ensemble enjoy
performing Clash of the
Warriors.. Clash of
the Warriors is lightly
based upon the Bulgarian
folk song Kaval Sviri.
The composer's vision was
to create a musical
depiction of two warriors
getting ready and
ultimately battling each
other. The introduction
should be mysterious and
ominous. To create the
open fifth interval slide
effect, the trombone
glissandi in measures 2-3
should be emphasized, and
the suggested slide
positions followed. At
Rehearsal 10, the
timpani, marimba, and
tambourine will control
the pulse and diminuendo
to Rehearsal 18, where
the woodwinds have the
melody. Rehearsal 38
should be bold and
energetic, whereas
Rehearsal 57 should be
light with a driving
pulse. The Rehearsal 92
9/8 section should be
conducted in four
(2+2+2+3) and set up the
warrior's battle clash.
Rehearsal 109 represents
the 'clash' of the
warriors where they will
ultimately battle against
one another, represented
by the three measure
motivic tradeoffs.
Finally, rehearsal 129 to
the end is the soundtrack
for the final conflict
for the warriors.I hope
you and your ensemble
enjoy performing
“Clash of the
Warriors.â€. $13.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Clash of the Warriors - Intermédiaire Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Clarinet ...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Bells,
Clarinet 1, Clarinet 2,
Clarinet 3, Euphonium,
Euphonium T.C., Flute 1,
Flute 2, Gong, Horn 1,
Horn 2, Mallet Percussion
1, Mallet Percussion 2,
Marimba, Oboe, Percussion
1, Percussion 2, Snare
Drum and more. - Grade
3.5 SKU: CF.CPS266
Composed by Mark Lortz.
Cps. Set of Score and
Parts.
8+8+4+8+8+8+4+4+4+4+4+4+8
+8+8+4+4+6+6+6+6+4+8+2+6+
2+4+10+28 pages. Carl
Fischer Music #CPS266.
Published by Carl Fischer
Music (CF.CPS266).
ISBN 9781491161296.
UPC:
680160919888. Clash
of the Warriors is
loosely based upon the
Bulgarian folk song Kaval
Sviri. The composer's
vision was to create a
musical depiction of two
warriors getting ready
and ultimately battling
each other. The
introduction should be
mysterious and ominous.
To create the open fifth
interval slide effect,
the trombone glissandi in
measures 2-3 should be
emphasized, and the
suggested slide positions
followed. At Rehearsal
10, the timpani, marimba,
and tambourine will
control the pulse and
diminuendo to Rehearsal
18, where the woodwinds
have the melody.
Rehearsal 38 should be
bold and energetic,
whereas Rehearsal 57
should be light with a
driving pulse. The
Rehearsal 92 9/8 section
should be conducted in
four (2+2+2+3) and set up
the warrior's battle
clash. Rehearsal 109
represents the 'clash' of
the warriors where they
will ultimately battle
against one another,
represented by the three
measure motivic
tradeoffs. Finally,
rehearsal 129 to the end
is the soundtrack for the
final conflict for the
warriors. I hope you and
your ensemble enjoy
performing Clash of the
Warriors.. Clash of
the Warriors is loosely
based upon the Bulgarian
folk song Kaval Sviri.
The composer's vision was
to create a musical
depiction of two warriors
getting ready and
ultimately battling each
other. The introduction
should be mysterious and
ominous. To create the
open fifth interval slide
effect, the trombone
glissandi in measures 2-3
should be emphasized, and
the suggested slide
positions followed. At
Rehearsal 10, the
timpani, marimba, and
tambourine will control
the pulse and diminuendo
to Rehearsal 18, where
the woodwinds have the
melody. Rehearsal 38
should be bold and
energetic, whereas
Rehearsal 57 should be
light with a driving
pulse. The Rehearsal 92
9/8 section should be
conducted in four
(2+2+2+3) and set up the
warrior's battle clash.
Rehearsal 109 represents
the 'clash' of the
warriors where they will
ultimately battle against
one another, represented
by the three measure
motivic tradeoffs.
Finally, rehearsal 129 to
the end is the soundtrack
for the final conflict
for the warriors.I hope
you and your ensemble
enjoy performing
“Clash of the
Warriors.â€. $75.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Rituals Theodore Presser Co.
Orchestra Bass Clarinet, Bass Trombone, Bassoon, Clarinet, Contrabass, Contrabas...(+)
Orchestra Bass Clarinet,
Bass Trombone, Bassoon,
Clarinet, Contrabass,
Contrabassoon, English
Horn, Flute 1, Flute 2,
Horn 1, Horn 2, Horn 3,
Horn 4, Oboe, Percussion,
Trombone 1, Trombone 2,
Trumpet 1, Trumpet 2,
Tuba, Viola, Violin 1,
Violin 2, Violoncello
SKU: PR.44641192L
For 5 Percussionists
and Orchestra.
Composed by Ellen Taaffe
Zwilich. Contemporary.
Large Score. With
Standard notation.
Composed 2003. 72 pages.
Duration 30 minutes.
Theodore Presser Company
#446-41192L. Published by
Theodore Presser Company
(PR.44641192L). UPC:
680160610860. 11 x 14
inches. One of my
greatest pleasures in
writing a concerto is
exploring the new world
that opens for me each
time I enter the
sometimes alien, but
always fascinating, world
of a solo instrument or
instruments. For me, the
challenge is to discover
the deepest nature of the
solo instrument (its
karma, if you will) and
to allow that essential
character to guide the
shape and form of the
work and the nature of
the interaction between
soloists and orchestra.
In recent years, many of
us have become more aware
of the musical world
outside the Western
tradition of musics that
follow different
procedures and spring
from other aesthetics.
And contemporary
percussionists have
opened many of these
worlds to us, as they
have ventured around the
globe, participating in
Brazilian Samba schools,
studying Gamelan and
African drumming with
local experts, collecting
instruments from Asia and
Africa and South America
and the South Pacific,
widening our horizons in
the process. I will never
forget our first meeting
in Toronto when Nexus
invited me into their
world of hundreds of
exciting percussion
instruments. The vast
array of instruments in
the collection of the
Nexus ensemble is truly
global in scope as well
as offering a thrilling
sound-universe. I was
inspired by the
incredible range of sound
and moved by the fact
that so many of these
instruments were musical
reflections of a
spiritual dimension.
After long consideration,
I decided that it would
not only be impossible,
but even undesirable for
this
Western-tradition-steeped
composer to attempt to
use these instruments in
a culturally authentic
way. My goal was an
existential kind of
authenticity: searching
instead for universal
ideas that would be true
to both myself and the
performers while
acknowledging the
traditional uses of the
instruments. Since many
percussion instruments
are associated with
various kinds of ritual,
I decided that I would
allow that concept to
shape my piece. Rituals
is in four movements,
each issuing from a
ritual associated with
percussion, but with the
orchestral interaction
providing an essential
element in the musical
form. I. Invocation
alludes to the traditions
of invoking the spirit of
the instruments, or the
gods, or the ancestors
before performing. II.
Ambulation moves from a
processional, through
march and dance to
fantasy based on all
three. III. Remembrances
alludes to traditions of
memorializing. IV.
Contests progresses from
friendly competition
games, contests to a
suggestion of a battle of
big band drummers, to
warlike exchanges. In the
2nd and 4th movements,
another percussion
tradition, improvisation,
is employed. Written into
these movements are a
number of seeds for
improvisation.
Indications in the score
call for the soloists to
improvise in three
different ways, marked A
for percussion alone;
marked B for percussion
with and in response to
the orchestra; and C
where the percussionists
are free to add and
embellish the written
parts. These
improvisations should
grow out of and embellish
previous motives and
gestures in the
movement. $95.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Reflections on the Mississippi Orchestre d'harmonie [Conducteur] - Intermédiaire/avancé Hal Leonard
(for Tuba and Symphonic Band). Composed by Michael Daugherty (1954-). For Concer...(+)
(for Tuba and Symphonic
Band). Composed by
Michael Daugherty
(1954-). For Concert Band
(Full Score). Michael
Daugherty Music. Grade
5-6. Softcover. Published
by Hal Leonard
$65.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Immortals Fanfare [Conducteur et Parties séparées] - Intermédiaire Arrangers' Publishing Company
By Fall Out Boy. Arranged by Tom Wallace. Arrangers' Publ Marching Band. Disne...(+)
By Fall Out Boy. Arranged
by
Tom Wallace. Arrangers'
Publ
Marching Band. Disney,
Movies. Softcover.
Published
by Arrangers' Publishing
Company
$80.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Opus 4 Big band [Conducteur et Parties séparées] - Intermédiaire Hal Leonard
By Charles Mingus. Arranged by Boris Koslov. Charles Mingus Big Band Jazz. Publi...(+)
By Charles Mingus.
Arranged by Boris Koslov.
Charles Mingus Big Band
Jazz. Published by Hal
Leonard.
$60.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Trust in the Lord with All Your Heart Shawnee Press
(Studiotrax CD) SKU: HL.35028944 Composed by Joseph M. Martin. Arranged b...(+)
(Studiotrax CD) SKU:
HL.35028944 Composed
by Joseph M. Martin.
Arranged by Brad Nix and
Joseph M. Martin. Shawnee
Sacred. Baccalaureate,
General Worship,
Graduation, Lent,
Ordination, Youth Choir.
CD only. Published by
Shawnee Press
(HL.35028944). UPC:
884088900106. 4.75x4.75
inches. Arr. Joseph M.
Martin /Brad
Nix. Uses:
General, Lent,
Ordination,
Baccalaureate,
Graduation, Youth
Choir
Scripture
: Proverbs
3:5-6
Inspired by
a beloved Scripture
passage, this powerful
admonition in song
provides musical beauty
and spiritual depth. A
sweeping theme takes this
Biblical mandate and
gives it artful wings
while a lushly produced
orchestration and
StudioTrax CD provide
several options for
performance. Unison
singing mixes with
expressive four-part
writing, adding depth and
power. Available
separately: SATB,
StudioTrax CD (Accomp.,
SplitTrax, Perf.),
Orchestration (Score &
Parts for Flute 1 & 2,
Oboe, Clarinet 1 & 2,
Bassoon, Horn 1 & 2,
Trumpet 1-3, Trombone 1 &
2, Bass Trombone/Tuba,
Timpani, Percussion,
Harp, Piano, Violin 1 &
2, Viola, Cello, Double
Bass). Duration: ca.
3:41. $26.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Sleep, My Child Orchestre d'harmonie - Facile Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Euphonium...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Bells,
Clarinet 1, Clarinet 2,
Euphonium, Euphonium
T.C., Flute, Flute 2,
Horn, Mallet Percussion,
Oboe, Percussion 1,
Percussion 2, Snare Drum,
Timpani, Trombone,
Trumpet 1, Trumpet 2,
Tuba, alto Saxophone and
more. - Grade 2 SKU:
CF.YPS208 Shlof,
Mayn Kind. Composed
by Larry Clark. Young
Band (YPS). Set of Score
and Parts. With Standard
notation.
8+2+4+4+2+2+5+2+2+4+4+4+6
+3+2+3+1+1+2+6+12 pages.
Duration 4 minutes, 31
seconds. Carl Fischer
Music #YPS208. Published
by Carl Fischer Music
(CF.YPS208). ISBN
9781491152287. UPC:
680160909780. Key: D
minor. A stunning
and heart-wrenching
composition based on the
Jewish folk son Shlof,
Mayn Kind. You can
hear the emotional
content pour out of this
piece written in memory
of an outstanding
orchestra director. The
piece beginnings with
original material to set
the tone, followed by
a clarinet solo on the
song. It then develops
through a variety of
different harmonic
presentation before
building to a nice key
change and climatic
moment. The piece ends as
it began, but with a more
hopeful tone. An amazing
piece. Sleep, My Child
was commissioned by the
Madison Middle School
Band and Orchestra in
Tampa, Florida, and is
dedicated to the memory
of their Director of
Orchestras Kevin Frye.
Director of Bands Chris
Shultz championed the
commissioning of this
piece to honor Kevin
after he passed away in
December 2016. Mr. Frye
was a beloved member of
the staff at Madison
Middle as well as the
music community of Tampa
and the state of
Florida. I was a
personal friend of
Kevin’s. We were
in several musical groups
together when we were
young that were formative
to both of our musical
careers. I also guest
conducted his Madison
Middle School Orchestra
several times over the
past four years. His
musicianship, teaching
skills and love for his
students were
exemplary.When taking on
the challenge of writing
a piece to honor
Kevin’s legacy,
Mr. Shultz and I decided
to try and include
several important aspects
of Kevin’s life
into the piece. Kevin was
proudly Jewish, a
fantastic trumpet player
and loved Jazz. With that
in mind, and after a lot
of research, a Jewish
folk song Shlof, Mayn
Kind was selected as the
basis for the piece, not
to be religious, but to
honor his faith and
heritage. Plus it is a
beautiful song, and I
felt the title reflected
the sentiment I was
looking to express, which
is of someone taking rest
after a long battle with
illness. Thus, a lullaby
seemed appropriate.I also
wanted to incorporate
Jazz into the piece, but
in a concert setting, so
you will hear as the
piece develops, the
harmonies of the folk
song expand into ones
found more commonly in
Jazz compositions. Not
in a far out way, but in
a subtle way to again
honor this part of his
life. For example the
climactic moment of the
piece at the fermata in
m. 57 is a Dbmaj9#11
chord. It appropriately
give the piece the angst
that I was looking for at
this moment in the piece,
while honoring the
importance of Jazz in
Kevin’s musical
life.The piece was also
conceived to include both
the Madison band and
orchestra in the
performance at the
premiere. I wanted the
pieces to work separately
by the band and
separately by the
orchestra, but I also
wanted them to be able to
play the piece together
to honor Kevin.The piece
begins with original
material designed to set
the mood of the piece
with a tempo/style
marking of pensive, but
also as material that I
used as connective
musical tissue between
statements of the folk
song. After this
introduction, the folk
song is presented by a
solo violin (or clarinet)
with orchestral
accompaniment in a simple
straight forward
presentation of the song.
This is followed by a
woodwind section
statement of the folk
song accompanied by muted
trumpets. During this
presentation the harmony
starts to expand with
more color notes in the
chords. The low brass are
added half way through
this statement to add
depth and lushness.The
introductory material
returns, but with some
angry hits in the lower
voices. This leads to a
full ensemble state of
new material that is used
to transition to the
climax of the piece, and
to build tension. After
the build, the piece
modulates to a shortened
statement of the folk
song with more advanced
harmonies and an active
counter line in the
violas, horns, saxes and
first clarinets to
further build the
tension. This tension
is released at the
fermata in m. 57, as
mentioned above. After a
thoughtful pause, the
piece concludes with a
completion of the folk
song again with a solo
violin (or clarinet)
followed by a return of
the introductory material
to tie the piece
together. The piece ends
hopeful, with a solo
trumpet (Kevin’s
instrument) that is
dissonant at first, but
then resolves as if to
say - everything will be
OK! It has been my
distinct honor to have
been asked to write this
piece in Kevin’s
memory! I hope that in
some small way the piece
helps to bring comfort to
his family, students,
colleagues and to all
those that knew
him!–Larry
ClarkLakeland, FLÂ
2017. $70.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
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