Fakebook for Eb instrument. With vocal melody, lyrics and chord names. Series: Hal Leonard Fake Books. 864 pages. Published by Hal Leonard.

In All Major and Minor Keys. Composed by J. B. Albert. Edited by Julie DeRoche. Book. With Standard notation. 32 pages. Carl Fischer Music #O99X. Published by Carl Fischer Music

Chorus (with soloists) and piano (solos: SMezMez(A)ATTBarBBB - choir: SSAATTBB - picc.2.2.2.2. - 4.2.3.0. - timp - hp - str)

SKU: BR.DV-6081

Lyrical Opera in 3 Acts. Composed by Pjotr Iljitsch Tschaikowsky. Edited by Manfred Koerth / Wo Ebermann. Arranged by M. Koerth and W. Ebermann. Choir; Softbound. Deutscher Verlag. Opera; Music theatre; Romantic. Piano/Vocal Score. 300 pages. Deutscher Verlag fur Musik #DV 6081. Published by Deutscher Verlag fur Musik (BR.DV-6081).

ISBN 9790200460032. 9.5 x 12 inches.

Duration: full evening

Translation : German (W. Ebermann/M. Koerth), Engl. (D. Llyod-Jones), French (M. Delines)
Place and time: Partly on the estate, partly in Petersburg, in 20ies of the 19th Century

Characters : Larina, Owner of the Estate (mezzo-soprano) - Tatiana (soprano) and Olga (alto), her Daughters - Filipjewna, Wet Nurse (mezzo-soprano/alto) - Eugen Onegin (baritone) - Lenskij (tenor) - Prince Gremin (bass) - A Commander (bass) - Saretzkij (bass) - Triquet, a French Man (tenor) - Guillot, a Valet (silent part) - Country Folk, Ball Guests, Squire, Officers (chorus) - Waltz, mazurka, polonaise and Russian dance (Ballet )

There is an interesting parallel between the subject of the opera and Tchaikovsky's life during the year he wrote the work (1877): in each case, a letter provokes fateful developments in the lives of the protagonists. In the opera, Tatyana's love letter to Eugene sets off the tragedy, whereas in real life, the love letter of a pupil led the composer into a marriage, which lasted all of ... three months. Tchaikovsky took this doomed decision without love, solely because the circumstances want it and because I cannot act differently. Certain allusions made, for example, in a letter of January 1878 to Taneyev suggest that the composer's personal situation also flowed into the work: I did not want anything to do with the so-called 'grand opera.' I am looking for an intimate but powerful drama which is built on the conflict of circumstances which I myself have seen and experienced, a conflict which truly moves me. Partly for this reason the composer decided to call the work not an opera but lyrical scenes.Eugene Onegin, conceived by Tchaikovsky for limited resources and a small stage, is the most frequently performed Russian opera today along with Mussorgsky's Boris Godunov, which represents a completely contrary aesthetic stance.

Tschaikowskys letzte Oper - auf ein Libretto seines Bruders Modest nach der Dramenvorlage des danischen Schriftstellers Henrik Hertz - lebt von den poetischen Momenten und den symbolbeladenen Charakterportrats der Hauptfiguren: Die junge blinde Jolanthe wird von ihrem Vater aus Sorge um ihren Makel und zum Schutz ihrer Jungfraulichkeit und vor den Widrigkeiten der Welt in einen paradiesischen Garten gesperrt. Er befielt zu ihrem Schutz sie um ihre Blindheit unwissend zu lassen. Ein Arzt warnt sehen werde sie nur konnen wenn sie es selbst wolle gleich welche Angste aus der vollstandigen Erkenntnis der Welt erwachsen. Als der junge Vaudemont in ihre Abgeschiedenheit einbricht und sich beide ineinander verlieben befreit er sie von ihrer Unwissenheit erklart was Farbe und Licht bedeuten. Erst die Liebe zu ihm macht sie sehend.

Die dunkle Welt der Jolanthe zeichnet Tschaikowsky zu Beginn musikalisch durch eine Introduktion ausschliesslich fur Blaser. Erst mit dem Eintritt in die unbekannte Welt der Liebe und des Sehens verwendet Tschaikowsky einen warmen Streicherklang. Gerade dadurch stiess die Oper wohl bei Zeitgenossen auf Verstorung. Tschaikowskys ,,Jolanthe nimmt in seinem Opernschaffen eine Sonderstellung ein: neben dem glucklichen Ende einer Apotheose des Lichts und der Liebe mit einem religios gepragten Schlusschoral ist es eines der wenigen Buhnenwerke Tschaikowskys ohne Bezug zur russischen Geschichte. Der ausgepragte Lyrismus des Werks verweist stattdessen auf Tschaikowskys Nahe zur franzosischen Kultur die im 19. Jahrhundert einen starken Einfluss auf Russland hatte. Die Oper wurde 1892 am Mariinsky-Theater in Sankt Petersburg als Auftragswerk zusammen mit seinem Ballett ,,Der Nussknacker uraufgefuhrt.

Nebe n der Produktion des Munchner Rundfunkorchesters wurde ,,Jolanthe szenisch erfolgreich bei den Festspielen Baden-Baden mit Anna Netrebko und Piotr Beczala als Liebespaar rehabilitiert. Ausserhalb Deutschlands lief die Opernraritat in Toulouse Tokyo San Sebastian und Monte Carlo. Zuletzt erneut die ,,Suddeutsche Zeitung: ,,Jolanthe ist eine Opernausgrabung die ,,wirklich zu Unrecht vergessen ist. Tchaikovsky's last opera - on a libretto by the composer's brother Modest based on the drama by the Danish author Henrik Hertz - derives its life-blood from its poetic moments and the symbol-laden portraits of the leading characters: the blind young Yolanta is kept prisoner in a paradisiacal garden by her father who fears for her purity and her virginity and seeks to protect her from the adversities of the world. To do so he orders everyone to keep her ignorant of the fact that she is blind. A doctor warns that she will only be able to see when she is ready to do so herself no matter what fears might result from a complete experience of the world. When the young Vaudemont breaks into her secluded world and the two fall in love he frees her from her ignorance and explains the significance of color and light. It is through her love for him that she is finally able to see. At the beginning of the work Tchaikovsky depicts Yolanta's dark world with an introduction scored exclusively for winds. It is not until her discovery of the unknown world of love and sight that Tchaikovsky uses a warm string sound. This is what many of the composer's contemporaries found disturbing about the opera.

Tchaikovsky 's Yolanta occupies a special place in the composer's operatic oeuvre: for one it has a happy ending an apotheosis of light and love with a religiously stamped closing chorale; for another it is one of Tchaikovsky's few stage works without any reference to Russian history. Instead the work's pronounced lyricism points to the composer's closeness to French culture. which exerted a strong influence on Russia in the 19th century.

The opera was given its world premiere at the Mariinsky Theater in St. Petersburg in 1892. It had been commissioned along with the ballet The Nutcracker. Next to the production by the Munchner Rundfunkorchester Yolanta was also successfully rehabilitated in a recent staged production at the Baden-Baden Festival with Anna Netrebko and Piotr Beczala as the lovers. Outside of Germany the operatic rarity was performed in Toulouse Tokyo San Sebastian and Monte Carlo.

In closing another quote from the Suddeutsche Zeitung: 'Yolanta' is an operatic rediscovery of a work that was truly 'wrongly forgotten'.

Brass Band - Grade 3

SKU: BT.DHP-0991451-030

Composed by Jacob De Haan. Inspiration Series. Original Light Music. Set (Score & Parts). Composed 1999. De Haske Publications #DHP 0991451-030. Published by De Haske Publications (BT.DHP-0991451-030).

Pacific Dreams describes the experience of Miguel, a traveling composer from Spain who, feeling somewhat alienated from his homeland, is wandering through an area of Sydney known as The Rocks. At a small outdoor market in a typical street of this oldcolonial neighbourhood, he discovers a print of William DeShazos painting Pacific Dreams Portrayed in the painting is the surf of one of the exotic islands in the Pacific. Next, with the impressive Sydney Harbour Bridge looming over the narrowstreets of The Rocks, he envisions sultry Pacific beaches. Suddenly a theme he once composed about the lakes in Japan comes to him. Is it the Asian influences present in cosmopolitan Sydney that bring this theme to mind? Or perhaps the waters aroundSydney, over which he could sail to Tahiti? He is uncertain. Could this same theme be used to create a new composition about his feelings for the metropolis Sydney? How then to work his Pacific Dreams into the mix? Miguel is certainly no fan ofHawaiian music. Mayby he could use the vocabularies of islands like Hawaii and Tahiti, their beautiful vowel combinations being sung ad libitum by a mixed choir.With these ideas and his newly purchased print of Pacific Dreams, he boards the Metroat Circular Quay. He has a final glimpse of the harbour and the Sydney Opera House as the train races into the ground. On to the hotel! To work! He must compose!Maestoso : Miguel is impressed as he gazes upon the Sydney Harbour Bridge. And yet, hewants to go away from this city. Away, to an exotic island in the Pacific.Steady Rock : In the Rocks, musicians are playing at a square. Miguel basks in the atmosphere but at the same time he is fantasizing about Hawaii and Tahiti.Andante Lamentoso :In his hotel room, Miguel is feeling sad and lonely in this big city. He takes comfort in his Pacific Dreams.Allegro : Miguel boards the boat that takes him from Darling Harbour to Circular Quay. In his mind he is traveling on to Hawaii. Or is ithome, where the bolero is playing? He is pulled back to reality by the skyline of Sydney.

Wir schlüpfen in die Haut von Miguel und reisen mit ihm nach Australien. Einigermaßen entfremdet von seiner spanischen Heimat schlendert er durch das Viertel The Rocks in Sydney. Auf einem kleinen Markt entdeckt er einen Druck des Gemäldes Pacific Dreams von William DeShazo. Das Bild stellt die Meeresbrandung auf einer exotischen Insel im Pazifik dar. Während die eindrucksvolle Harbour Bridge von Sidney vor ihm auftaucht, ist er in Gedanken bei den heißen Stränden im Stillen Ozean. Auf einmal kommt ihm das Thema in den Sinn, das er einst über die Gewässer Japans komponiert hatte. Liegt es an den asiatischen Einflüssen, die im kosmopolitischen Sydney so vielfältig vertretensind? Oder sind es die Wasser rund um Sydney, über die er nach Tahiti segeln könnte? Er ist sich unsicher. Könnte er genau dieses Thema für eine neue Komposition über die Metropole Sydney verwenden? Wie sollte er seine Träume vom Pazifik, seine Pacific Dreams, in diese Mixtur einbringen? Vielleicht könnte er den Wortschatz von Inseln wie Hawaii und Tahiti für seine Komposition verwenden. Und einen gemischten Chor die schönen Vokalverbindungen ad libitum singen lassen. Mit diesen Ideen im Kopf steigt er in die Metro am Circular Quay. Auf ins Hotel und frisch ans Werk! Jetzt muss er einfach komponieren....

SATB Choir - Grade 3

SKU: BT.DHP-0991451-050

Composed by Jacob De Haan. Inspiration Series. Set (Score & Parts). Composed 1999. De Haske Publications #DHP 0991451-050. Published by De Haske Publications (BT.DHP-0991451-050).

English.

Pacific Dreams describes the experience of Miguel, a traveling composer from Spain who, feeling somewhat alienated from his homeland, is wandering through an area of Sydney known as The Rocks. At a small outdoor market in a typical street of this oldcolonial neighbourhood, he discovers a print of William DeShazos painting Pacific Dreams Portrayed in the painting is the surf of one of the exotic islands in the Pacific. Next, with the impressive Sydney Harbour Bridge looming over the narrowstreets of The Rocks, he envisions sultry Pacific beaches. Suddenly a theme he once composed about the lakes in Japan comes to him. Is it the Asian influences present in cosmopolitan Sydney that bring this theme to mind? Or perhaps the waters aroundSydney, over which he could sail to Tahiti? He is uncertain. Could this same theme be used to create a new composition about his feelings for the metropolis Sydney? How then to work his Pacific Dreams into the mix? Miguel is certainly no fan ofHawaiian music. Mayby he could use the vocabularies of islands like Hawaii and Tahiti, their beautiful vowel combinations being sung ad libitum by a mixed choir.With these ideas and his newly purchased print of Pacific Dreams, he boards the Metroat Circular Quay. He has a final glimpse of the harbour and the Sydney Opera House as the train races into the ground. On to the hotel! To work! He must compose!Maestoso : Miguel is impressed as he gazes upon the Sydney Harbour Bridge. And yet, hewants to go away from this city. Away, to an exotic island in the Pacific.Steady Rock : In the Rocks, musicians are playing at a square. Miguel basks in the atmosphere but at the same time he is fantasizing about Hawaii and Tahiti.Andante Lamentoso :In his hotel room, Miguel is feeling sad and lonely in this big city. He takes comfort in his Pacific Dreams.Allegro : Miguel boards the boat that takes him from Darling Harbour to Circular Quay. In his mind he is traveling on to Hawaii. Or is ithome, where the bolero is playing? He is pulled back to reality by the skyline of Sydney.

Wir schlüpfen in die Haut von Miguel und reisen mit ihm nach Australien. Einigermaßen entfremdet von seiner spanischen Heimat schlendert er durch das Viertel The Rocks in Sydney. Auf einem kleinen Markt entdeckt er einen Druck des Gemäldes Pacific Dreams von William DeShazo. Das Bild stellt die Meeresbrandung auf einer exotischen Insel im Pazifik dar. Während die eindrucksvolle Harbour Bridge von Sidney vor ihm auftaucht, ist er in Gedanken bei den heißen Stränden im Stillen Ozean. Auf einmal kommt ihm das Thema in den Sinn, das er einst über die Gewässer Japans komponiert hatte. Liegt es an den asiatischen Einflüssen, die im kosmopolitischen Sydney so vielfältig vertretensind? Oder sind es die Wasser rund um Sydney, über die er nach Tahiti segeln könnte? Er ist sich unsicher. Könnte er genau dieses Thema für eine neue Komposition über die Metropole Sydney verwenden? Wie sollte er seine Träume vom Pazifik, seine Pacific Dreams, in diese Mixtur einbringen? Vielleicht könnte er den Wortschatz von Inseln wie Hawaii und Tahiti für seine Komposition verwenden. Und einen gemischten Chor die schönen Vokalverbindungen ad libitum singen lassen. Mit diesen Ideen im Kopf steigt er in die Metro am Circular Quay. Auf ins Hotel und frisch ans Werk! Jetzt muss er einfach komponieren....

Concert Band/Harmonie - Grade 6

SKU: BT.AMP-422-140

Composed by Philip Sparke. Elite Series. Score Only. Composed 2015. Anglo Music Press #AMP 422-140. Published by Anglo Music Press (BT.AMP-422-140).

English-German-French- Dutch.

Three Washington Statues was commissioned by the United States Army Band â??Pershings Ownâ?, led by Colonel Thomas H. Palmatier. Washington D.C. contains some of the worldâ??s most iconic monuments, memorials and statues. Philip Sparke has chosenthree of these as the inspiration for this piece: â??The Lincoln Memorialâ?? in the form of a Greek Doric temple in which the composer depicts the grandeur of this monument; â??The Martin Luther King, Jr. Memorialâ?? on which steps the iconic speech â??I havea dreamâ?? was given - the music is both reverential as well as powerful referring to Martin Luther Kingsâ?? speech; and the â??Encoreâ?? statue in memory of the world famousAfrican-American composer, pianist and bandleader Duke Ellington. In this finalmovement, Philip Sparke catches the virtuosic, energetic and unique dynamism of Ellingtonsâ?? music.

Three Washington Statues is geschreven in opdracht van de United States Army Band â??Pershingâ??s Ownâ?? en de leider van dit orkest, kolonel Thomas H. Palmatier. Washington D.C. is het decor van een aantal van de meest iconische monumenten,gedenktekens en standbeelden van de VS. Componist Philip Sparke heeft er drie uitgekozen als inspiratie voor dit werk: The Lincoln Memorial, in de vorm van een Griekse Dorische tempel, waarin de grandeur van het monument wordt verklankt; het MartinLuther King Jr. Memorial, het gebouw waar de iconische toespraak â??I have a dreamâ?? ooit weerklonk de sfeer is respectvol en eerbiedig, maar de muziek weerspiegelt tevens de karakteristiekekracht die ervan uitgaat; en het beeld â??Encoreâ?? vancomponist, pianist en bandleider Duke Ellington in dit laatste deel geeft Philip Sparke de virtuoze, energieke, unieke en dynamische stijl van Ellingtons muziek weer.

Three Washington Statues wurde von der United States Army Band Pershings Ownâ??, die von Oberst Thomas H. Palmatier geleitet wird, in Auftrag gegeben. Washington D.C. besitzt einige der weltberühmtesten Bauwerke, Denkmäler und Statuen. PhilipSparke hat drei von diesen als Inspiration für dieses Stück genommen. So beschreibt er die Erhabenheit des Lincoln Memorialâ??, das mit seinen dorischen Säulen in Form eines griechischen Tempels erbaut wurde. Das Martin Luther King, Jr. Memorialâ??erinnert an die legendäre Rede Martin Luther Kings I have a dreamâ?? (Ich habe einen Traumâ??). Die ehrfurchtsvolle und zugleich kraftvolle Musik ist ein Tribut an diese Rede. Die StatueEncoreâ?? erinnert an den weltbekannten afroamerikanischenKomponi sten, Pianisten und Bandleader Duke Ellington. In diesem letzten Satz fängt Philip Sparke die virtuose, energiegeladene und einzigartige Dynamik von Duke Ellingtons Musik ein.

Three Washington Statues fut commandé par la United States Army Band « Pershingâ??s Own », dirigée par le Colonel Thomas H. Palmatier. Certains des monuments, mémoriaux et statues les plus emblématiques du monde se trouvent Washington D.C.Philip Sparke en a choisi trois comme inspiration pour ce morceau : « The Lincoln Memorial » où le compositeur dépeint la grandeur de ce temple grec de style dorique ; « The Martin Luther King, Jr. Memorial » sur les marches duquel le discourscélèbre « I have a dream » fut prononcé la musique est révérencieuse ainsi que puissante en référence ce discours de Martin Luther King ; et la statue « Encore » en mémoire du célèbrecompositeur, pianiste et chef dâ??orchestre de jazzafro-américain Duke Ellington. Dans le mouvement final, Philip Sparke a réussi saisir le dynamisme virtuose, énergétique et unique de la musique dâ??Ellington.

Co mmissionato dalla banda dellâ??esercito statunitense, condotta dal colonnello Thomas H. Palmatier, Three Washington Statues è un brano dedicato ad alcuni dei più noti e iconici monumenti americani mai realizzati. Philip Sparke ha scelto,difatti, di musicare la stentoreit del Lincoln Memorial, della statua di Martin Luther King di West Potomac Park e di quella dedicata al gigante della musica afro-americana Duke Ellington.

Violin Duet

SKU: BT.EMBZ14623

By András Soós. Educational Tool. Book Only. Composed 2008. 64 pages. Editio Musica Budapest #EMBZ14623. Published by Editio Musica Budapest (BT.EMBZ14623).

One of EMB s most successful composers and publishers, And-rás Soós, has devoted his latest volume to a special instrumental ensemble: three violins. No original works appear in it, in this collection, which aims at variety, we find transcriptions of choral works and piano and guitar pieces, etc. from the 14th to the 19th century. The main consideration in selecting the works was that the score should offer young violinists real chamber music, that is, if possible three equally important parts should share in the music-making.

F� �r ein spezielles Instrumentalensemble, drei Violinen, stellte einer unserer erfolgreichsten Komponisten-Herausgeber, András Soós, seinen neuesten Band zusammen. Originalwerke kommen in ihm gar nicht vor, in der Sammlung, die eine Farbenvielfalt anstrebt, finden wir Transkriptionen von Chorwerken, Klavier- und Gitarrenstücken usw. aus den 14-19. Jahrhundert. Der Schwerpunkt der Sammlung war, dass das Notenmaterial den jungen Violinisten eine echte Kammermusik anbietet, beziehungsweise, dass am Musizieren möglichst drei gleichrangige Stimmen teilnehmen.

Concert Band/Harmonie/Fanfare Band - Grade 4

SKU: BT.DHP-1216336-215

Composed by Peter Kleine Schaars. Peter's Compact Collection. Original Light Music. Score Only. Composed 2021. 30 pages. De Haske Publications #DHP 1216336-215. Published by De Haske Publications (BT.DHP-1216336-215).

English-German-French- Dutch.

From the beginning of the Middle Ages, we have known performance practices in which the duration of the notes can differ from the actual notation. In some cases, binary written melodies were performed in a ternary way. This isalso the case in the present-day shuffle: the written quavers are performed in a long-short system in which the ratio is 2:1. In other words, the performance practice is based on a triplet feel. In this composition, allingredients of the shuffle are featured: a vigorous swing rhythm, a walking bass, the successions of thirds in the accompaniment and the frequent use of triplets. To make sure that the binary written rhythms in the accompanimentsare performed in the correct ternary manner, Peter Kleine Schaars has notated the melody themes in triplets as much as possible. Thus, this composition is a very useful exercise for the swing development of your ensemble.Additionally, the work is a treat to listen to, so your audience will really appreciate this up-tempo big band like composition. All ternary rhythmic cells 17 till 24 pass in revue, furthermore much attention had been paid to acorrect performance of cell 4 in swing feel.

Al vanaf het begin van de middeleeuwen kennen we uitvoeringspraktijken waarbij de lengte van de noten anders kan zijn dan de daadwerkelijke notatie. Zo werden in sommige gevallen binair uitgeschreven melodieën ternair uitgevoerd.Dat is ook het geval bij de hedendaagse shuffle: de geschreven achtsten worden uitgevoerd in een lang-kortsysteem waarbij de verhouding 2:1 geldt. Oftewel de uitvoeringspraktijk is gebaseerd op een triolenfeel. In deze compositiekomen alle ingrediënten van de shuffle aan bod: een stevig swingritme, een walking bass, oplopende tertsenreeksen in de begeleiding en veelvuldig gebruik van triolen. Om ervoor te zorgen dat de binair genoteerde ritmieken in debegeleidingen op de juiste ternaire wijze worden uitgevoerd, heeft Peter Kleine Schaars de melodiethema’s zoveel mogelijk uitgeschreven in triolen. Hierdoor is deze compositie een zeer bruikbare oefening voor de swingontwikkelingvan uw ensemble. Daarnaast is het werk een feest om naar te luisteren en zal het publiek deze uptempo bigbandachtige compositie zeker waarderen. Alle ternaire ritmische cellen 17 tot 24 passeren de revue, daarnaast is er veelaandacht voor een juiste uitvoering van cel 4 in swingfeel.

Seit Beginn des Mittelalters sind uns Aufführungspraktiken bekannt, bei denen die Dauer der Noten von der tatsächlichen Notation abweichen kann. In einigen Fällen wurden binär geschriebene Melodien ternär gespielt. Dies ist auchbeim modernen Shuffle der Fall: Die notierten Achtelnoten werden in einem Lang-Kurz-System“ im Verhältnis 2:1 ausgeführt. Mit anderen Worten, die Aufführungspraxis basiert auf einem Triolengefühl. In dieser Komposition sind alleZutaten des Shuffle enthalten: ein kräftiger Swing-Rhythmus, ein Walking Bass, eine Abfolge von Terzen in der Begleitung und die häufige Verwendung von Triolen. Um sicherzustellen, dass die binär geschriebenen Rhythmen in denBegleitungen ternär ausgeführt werden, hat Peter Kleine Schaars die Melodiethemen so weit wie möglich als Triolen notiert. Daher eignet sich diese Komposition zum Üben des Swings. Darüber hinaus hört sich das Stück so schön an,dass Ihr Publikum von dieser schnellen Big-Band-ähnlichen Komposition begeistert sein wird. Die ternären Rhythmus-Einheiten 17 bis 24 kommen alle vor, außerdem wurde ein Schwerpunkt auf die korrekte Umsetzung der Rhythmus-Einheit4 im Swing-Stil gelegt.

Si nous remontons au début du Moyen ge, nous savons que, selon certaines coutumes d’interprétatio n, la durée des notes pouvait différer de la notation. Parfois, des mélodies écrites en binaire étaient même interprétées enternaire. C’est le cas de ce shuffle contemporain : les croches écrites sont jouées selon un système long-court où le rapport est de 2:1. Autrement dit, en pratique, l’interprétatio n est fondée sur un ressenti ternaire. Tous lesingrédients du shuffle sont présents dans cette composition : un rythme de swing vigoureux, une basse walking, les successions de tierces dans l’accompagnement et l’emploi fréquent de triolets. Pour s’assurer que les rythmesécrits en binaire dans l’accompagnement soient interprétés en ternaire, Peter Kleine Schaars a, dans la mesure du possible, noté les thèmes de la mélodie en triolets. Cette pièce forme donc un exercice très utile pour permettre votre ensemble d’apprendre le swing. En outre, son écoute est un vrai plaisir, et votre public appréciera pleinement cette pièce de style big band au rythme enlevé. Toutes les cellules rythmiques ternaires 17 24 sont passées enrevue et une grande attention a été portée l’interprétatio n correcte de la cellule 4, donc avec un ressenti swing.

Chamber Music String Quartet

SKU: PR.144407270

Composed by Sydney F. Hodkinson. Sws. Set of Score and Parts. 44+16+16+16+16 pages. Duration 22 minutes. Merion Music #144-40727. Published by Merion Music (PR.144407270).

UPC: 680160681891. 9 x 12 inches.

My Eighth and Ninth String Quartets, begun in late 2017, are sonic cousins. Akin to real cousins, each piece exhibits differing natures. They were requested by two ensembles that have become asecond familiesa to me: The Jupiter Quartet of Urbana, Illinois and the Amernet Quartet based in Miami, Florida. Their collective dedication to, and care for, our art remains a personal and constant are-fuelinga for me. The quartets were commissioned by, and dedicated to, Margaret and Philip Verleger of Denver, Colorado. Additional financial support was provided by the School of Music at Stetson University, Timothy Peter, Dean. Quartet No.8 is laid out in a classical four-movement design. The work does break somewhat from conventional tradition by often placing quartet members into soloistic roles as the movement titles note. individual The opening piece presents at the outset a three-note motto which is turned over, tumbled, and energetically discussed, primarily by a violin duet. It is a duel. The two players part company only infrequently during the movement's progress, pausing briefly for other commentary by their alower cohortsa, the Viola and Cello do not argue, but abet their friends' aeffortsa. The piece's overall character is fairly bright and dancelike, closing in an unresolvedastandoffa. not Two principal asound-objectsa stitch the second movement scherzo together: sliding hands (glissandos) and a plucked ashufflea (pizzicato) - both instigated by the (solo) cellist. The others are influenced - or are not - by their aleadera, and follow - or interrupt - the cello throughout their four-voiced conversation. The third movement (longest of the set) is an elegy dedicated to the memory of a close personal friend, the American composer David Maslanka (1943 - 2017). Its' genesis is a simple 5-note melody derived from my own name (SaC/DaC/EaC/H). This line commences in the (solo) viola and is obsessively uttered without relief during the movement's lamentations. The closing movement revisits much of that opening three-note material, but now dressed up for the full quartet to view. It is a slowly accelerating romp which - twice - cannot avoid a nod to the Amernet and Jupiter performers by offering a humble bow to the 4th movement of Gustav Holst's PLANETS - Jupiter: The Bringer of Jollity. My quartet serves as an honouring salute of thanks for the talent, respect, and friendship of these two young quartets. STRING QUARTET No. 8 is roughly 22 minutes in duration. It was written as an homage to Franz Joseph Haydn, my adesert-island-composera, and completed in Holly Hill, Florida in early April of 2019. S.H.

Chamber Music String Quartet

SKU: PR.14440727S

Composed by Sydney F. Hodkinson. Sws. Full score. 44 pages. Duration 22 minutes. Merion Music #144-40727S. Published by Merion Music (PR.14440727S).

UPC: 680160681907. 9 x 12 inches.

My Eighth and Ninth String Quartets, begun in late 2017, are sonic cousins. Akin to real cousins, each piece exhibits differing natures. They were requested by two ensembles that have become asecond familiesa to me: The Jupiter Quartet of Urbana, Illinois and the Amernet Quartet based in Miami, Florida. Their collective dedication to, and care for, our art remains a personal and constant are-fuelinga for me. The quartets were commissioned by, and dedicated to, Margaret and Philip Verleger of Denver, Colorado. Additional financial support was provided by the School of Music at Stetson University, Timothy Peter, Dean. Quartet No.8 is laid out in a classical four-movement design. The work does break somewhat from conventional tradition by often placing quartet members into soloistic roles as the movement titles note. individual The opening piece presents at the outset a three-note motto which is turned over, tumbled, and energetically discussed, primarily by a violin duet. It is a duel. The two players part company only infrequently during the movement's progress, pausing briefly for other commentary by their alower cohortsa, the Viola and Cello do not argue, but abet their friends' aeffortsa. The piece's overall character is fairly bright and dancelike, closing in an unresolvedastandoffa. not Two principal asound-objectsa stitch the second movement scherzo together: sliding hands (glissandos) and a plucked ashufflea (pizzicato) - both instigated by the (solo) cellist. The others are influenced - or are not - by their aleadera, and follow - or interrupt - the cello throughout their four-voiced conversation. The third movement (longest of the set) is an elegy dedicated to the memory of a close personal friend, the American composer David Maslanka (1943 - 2017). Its' genesis is a simple 5-note melody derived from my own name (SaC/DaC/EaC/H). This line commences in the (solo) viola and is obsessively uttered without relief during the movement's lamentations. The closing movement revisits much of that opening three-note material, but now dressed up for the full quartet to view. It is a slowly accelerating romp which - twice - cannot avoid a nod to the Amernet and Jupiter performers by offering a humble bow to the 4th movement of Gustav Holst's PLANETS - Jupiter: The Bringer of Jollity. My quartet serves as an honouring salute of thanks for the talent, respect, and friendship of these two young quartets. STRING QUARTET No. 8 is roughly 22 minutes in duration. It was written as an homage to Franz Joseph Haydn, my adesert-island-composera, and completed in Holly Hill, Florida in early April of 2019. S.H.

Perfect binding, Solos. Studies. Book. 32 pages. Mel Bay Publications, Inc #31016. Published by Mel Bay Publications, Inc

SATB and Organ. By Benjamin Britten. (SATB). Boosey and Hawkes Sacred Choral. Size 7x10.5 inches. 14 pages. Published by Boosey and Hawkes.

Concert Band/Harmonie/Fanfare Band - Grade 2

SKU: BT.DHP-1053774-015

Composed by Kees Vlak. Flexible 4 Series. Original Light Music. Set (Score & Parts). Composed 2005. De Haske Publications #DHP 1053774-015. Published by De Haske Publications (BT.DHP-1053774-015).

English-German-French- Dutch.

Real-Pop< /I> bestaat uit vijf verschillende delen, die diverse aspecten van Japan weergeven. Yokohama City Rock is een moderne ouverture en Wintertime is een kleine ballad. Super Ski verklankt daarna de Japansewintersport en Lovely China Girl beschrijft een verlegen meisje uit China dat toekijkt bij het Japanse wintervertier. Dan volgt nog Techno Party, een modern dansfeest. Een sfeervol werk vol afwisseling!

In Real-Pop führt uns Kees Vlak in fünf Sätzen durch das moderne Japan. Der Großstadt Yokohama ist die moderne Ouvertüre gewidmet. Einen reizvollen Kontrast dazu bildet der zweite Satz, eine Ballade über den stillen Winter im Norden des Archipels. Satz drei handelt vom in Japan sehr beliebten Wintersport Skifahren; an der Skipiste begegnet uns auch das schüchterne chinesische Mädchen aus dem vierten Satz. Computer ähnliche Techno-Klänge im fünften Satz stehen für das technisch fortschrittliche Japan. Eine spannende Reise für Musiker und Publikum!

Real- Pop est une œuvre en cinq mouvements dont chacun dépeint un aspect particulier du Japon : Yokohama City Rock reflète l’effervescence du port de Yokohama ; Wintertime se fait l’écho de la sérénité des gens du Nord ; Super Ski nous emmène sur les pistes de ski ; Lovely China Girl raconte l’histoire d’une jeune fille d’origine chinoise. Dans le dernier mouvement nous assistons une soirée branchée sur fond de musique techno. Et l , ça déménage !

Real-Pop è un brano in cinque movimenti ciascuno dei quali dipinge un aspetto particolare del Giappone: Yokohama City descrive il fermento del porto di Yokohama, Wintertime è l’eco della serenit delle genti del nord, Super Ski ci accompagna sulle piste da sci, Lovely China Girl racconta la storia di una ragazza di origine cinese. Nell’ultimo movimento assistiamo ad una serata alla moda con il sottofondo di musica techno.

(The Complete Illustrated Lyrics). Book. Softcover. 390 pages. Published by Backbeat Books

Recorder (NOTEN+CD) - easy

SKU: HL.49033176

Composed by Hans Magolt and Rainer Butz. Edited by Hans Magolt and Rainer Butz. This edition: Saddle stitching. Sheet music with CD. Edition Schott. Classical. Edition with CD. 24 pages. Schott Music #ED 9576-50. Published by Schott Music (HL.49033176).

ISBN 9783795756321. 7.5x11.0x0.138 inches. German. Karin Schliehe.

Hasn't every recorder player dreamed of playing the most celebrated classical melodies as a soloist? Here you will find the finest pieces in arrangements for one or two descant recorders, with a CD to play along with. On a musical journey of discovery you will encounter many famous compositions, from Eine kleine Nachtmusik and Beethoven's Ode to Joy to the Birdcatcher's song from the Magic Flute and La donna e mobile from Verdi's Rigoletto. So that you can really enjoy making music the arrangements have been recorded in two versions on the CD: with and without recorders.

Arranged by Hal H. Hopson. Church-Worship, Funeral, Funeral & Memorial, Wedding and Sacred. Print Music Collection (Book). 407 pages. Published by Hope Publishing Company.
Level: (Moderate).

4-Part Flexible Band - Grade 2

SKU: BT.DHP-1053774-170

Composed by Kees Vlak. Flexible 4 Series. Original Light Music. Score Only. Composed 2005. 24 pages. De Haske Publications #DHP 1053774-170. Published by De Haske Publications (BT.DHP-1053774-170).

English-German-French- Dutch.

In Real-Pop führt uns Kees Vlak in fünf Sätzen durch das moderne Japan. Der Großstadt Yokohama ist die moderne Ouvertüre gewidmet. Einen reizvollen Kontrast dazu bildet der zweite Satz, eine Ballade über den stillen Winter im Norden des Archipels. Satz drei handelt vom in Japan sehr beliebten Wintersport Skifahren; an der Skipiste begegnet uns auch das schüchterne chinesische Mädchen aus dem vierten Satz. Computer ähnliche Techno-Klänge im fünften Satz stehen für das technisch fortschrittliche Japan. Eine spannende Reise für Musiker und Publikum!

Real- Pop est une œuvre en cinq mouvements dont chacun dépeint un aspect particulier du Japon : Yokohama City Rock reflète l’effervescence du port de Yokohama ; Wintertime se fait l’écho de la sérénité des gens du Nord ; Super Ski nous emmène sur les pistes de ski ; Lovely China Girl raconte l’histoire d’une jeune fille d’origine chinoise. Dans le dernier mouvement nous assistons une soirée branchée sur fond de musique techno. Et l , ça déménage !

Real-Pop è un brano in cinque movimenti ciascuno dei quali dipinge un aspetto particolare del Giappone: Yokohama City descrive il fermento del porto di Yokohama, Wintertime è l’eco della serenit delle genti del nord, Super Ski ci accompagna sulle piste da sci, Lovely China Girl racconta la storia di una ragazza di origine cinese. Nell’ultimo movimento assistiamo ad una serata alla moda con il sottofondo di musica techno.