| Classical Fake Book - 2nd Edition
Fake Book [Fake Book] - Facile Hal Leonard
(Over 850 Classical Themes and Melodies in the Original Keys) For C instrument. ...(+)
(Over 850 Classical
Themes and Melodies in
the Original Keys) For C
instrument. Format:
fakebook (spiral bound).
With vocal melody
(excerpts) and chord
names. Lassical. Series:
Hal Leonard Fake Books.
646 pages. 9x12 inches.
Published by Hal Leonard.
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| Fake Book Of The World's Favorite Songs - C Instruments - 4th Edition
Instruments en Do [Fake Book] Hal Leonard
For voice and C instrument. Format: fakebook. With vocal melody, lyrics and chor...(+)
For voice and C
instrument. Format:
fakebook. With vocal
melody, lyrics and chord
names. Traditional pop
and vocal standards.
Series: Hal Leonard Fake
Books. 424 pages. 9x12
inches. Published by Hal
Leonard.
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| The Rite of Spring Clarinette et Piano Carl Fischer
(Movements I and II Arranged for Clarinet in Bb and Piano). Composed by Igor Fyo...(+)
(Movements I and II
Arranged for Clarinet in
Bb and Piano). Composed
by Igor Fyodorovich
Stravinsky. Arranged by
David Dutkanicz. For Bb
clarinet, piano. 8 2
pages. Duration 7
minutes. Published by
Carl Fischer
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| The Rite of Spring Violon et Piano Carl Fischer
(Movements I and II Arranged for Violin and Piano). By Igor Fyodorovich Stravins...(+)
(Movements I and II
Arranged for Violin and
Piano). By Igor
Fyodorovich Stravinsky.
Arranged by David
Dutkanicz. For violin
piano. 8 2 pages.
Duration 7 minutes.
Published by Carl Fischer
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| The Rite of Spring Violoncelle, Piano Carl Fischer
(Movements I and II Arranged for Cello and Piano). Composed by Igor Fyodorovich ...(+)
(Movements I and II
Arranged for Cello and
Piano). Composed by Igor
Fyodorovich Stravinsky.
Arranged by David
Dutkanicz. For cello,
piano. 8 2 pages.
Published by Carl Fischer
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| Quintet in F Major, K. 497 Carl Fischer
Chamber Music Cello, Flute, Viola 1, Viola 2, Violin SKU: CF.MXE219 Compo...(+)
Chamber Music Cello,
Flute, Viola 1, Viola 2,
Violin SKU:
CF.MXE219 Composed by
Wolfgang Amadeus Mozart.
Arranged by Robert
Stallman. Sws.
56+16+16+16+16+12 pages.
Carl Fischer Music
#MXE219. Published by
Carl Fischer Music
(CF.MXE219). ISBN
9781491157794. UPC:
680160916399. 9 x 12
inches. Preface In
1990, during an intense
rehearsal of a Mozart
Quartet transcription for
flute and strings by
Franz Anton Hoffmeister,
at the Marblehead Summer
Music Festival, a
disgruntled violist
friend complained about
HoffmeisterAs awkward
string writing, suddenly
daring me to create my
own arrangement. I
balked. But the following
winterA3despite scruples
about treading on
hallowed groundA3I grew
curious and began to
experiment. Soon I was
hooked on the challenge
of learning to speak
MozartAs language with
conviction. This
fascination, encouraged
by pianist Richard Goode
and other Mozarteans,
would eventually generate
a total of thirty-nine
recreations of Mozart
piano sonatas as works
for flute and strings.
With zero tolerance for
alteration of melodic or
harmonic
materialA3MozartAs friend
Hoffmeister had
regrettably attempted
such
A!improvementsA(r)A3I
always tried to envision
what Mozart himself would
have desired. Many of the
sonatas can be heard as
if they were MozartAs
A!blueprintsA(r) of
imagined chamber works.
Hence my task was to
A!flesh outA(r) the
keyboard versions as
Mozart might have done,
had a commission or
performance opportunity
arisen. I spent hours
pondering how Mozart
might have set these
sonatas in four- or
five-part form, providing
the needed textural or
contrapuntal
enhancements. With
immersion in the
composerAs dialect,
various apt solutions
presented themselves. The
search for the
A!rightA(r) one then
became a most absorbing
study. On the eve of
releasing my BognerAs
CafA recording of
Mozart-Stallman New
Quintets (2006), I
discovered to my delight
that a prominent scholar
had long before endorsed
such an effort. Eric Blom
(1888A+-1959), author of
Mozart (1935), had taken
note of the four-hand
piano works as A!a kind
of keyboard chamber
music.A(r) Regarding
Sonata, K. 497, Mr. Blom
had observed that Mozart
is often dealing with,
not the expected four
voices (one to a hand),
but five. Blom states:
A!The F major Sonata (K.
497) removes us to
another worldA3the world
of the great chamber
music, especially of the
string quintets. Indeed
an arrangement of some
sort for a combination of
instruments would make a
magnificent concert work
of this almost
uncomfortably great piece
of domestic music.A(r)
That Mozart was in 1786
writing for piano duo
from a quintet
perspective makes sense,
as we find him returning
to the quintet form with
keen interest in his last
years, writing four
String Quintets, the
Clarinet Quintet,
rearranging a wind
serenade for String
Quintet, and leaving
several other quintets
incomplete. My
arrangement presented
here is made for flute
and strings but is also
intended for string
quintet. Quintet in F
Major for Flute and
Strings, K. 497, was
completed in 1999 and
performed with the Martin
Quartet in the Czech
Republic prior to
recording it in 2004.
Mozart had finished the
original Sonata in F
Major for Piano,
Four-Hands, K. 497, on
August 1, 1786. It shows
the unmistakable
influence of Figaro,
completed and premiered
exactly three months
prior. As signaled by the
imposing introductory
Adagio, the conception is
on a grand symphonic
scale, all three
movements being richly
developed with
contrapuntal episodes and
an abundance of
marvelously contrasting
textures and themes
throughout. Called A!the
crowning work of its
kindA(r) by Alfred
Einstein, the Sonata is
laden with examples of
MozartAs mercurial
originality. Here we have
a perfect synthesis of
concertante brilliance,
operatic intensity and
intimate dialogue. The
work opens in unison with
a probing, minor-tinged
Adagio, whose question
comes to a pause on the
dominant, before being
answered with jaunty
certainty by the opening
theme of the Allegro di
moltoA3an F-major tune as
sunny and confident as an
aria from Figaro itself.
This movementAs
declamatory A!opera
chorusA(r) persistently
intones its rhythmic
motto over a swirling
scale figure. The amorous
second theme (initially
presented in the first
viola) also seems to be
plucked from Figaro. The
Andante opens with a
heavenly melody, which
takes as its springboard
the Romanza theme from
the Horn Concerto in E
Major, K. 495, written
only five weeks before.
The A!love duetA(r)
between flute and first
viola seems to anticipate
the impassioned
A!duettingA(r) between
violin and viola in the
Andante of the String
Quintet in C Major, K.
515, written about nine
months later. The
ingenious stretto canon
of the AndanteAs middle
section requires the
precision of a Swiss
clock (which its chiming
thirds recall). Affecting
bucolic codettas close
each of the main sections
of the movement. In the
final Allegro, a rondo in
6/8a time, the puckish,
yet aristocratic
character of the opening
theme contrasts with the
bumptious, popular tune
used for the second theme
(heard first in the
violin and then the
flute, over pizzicato
cello). Lilting hymn-like
episodes in three, four-
and finally five-part
counterpoint are
repeatedly interrupted by
startling scale figures
that rise up in furioso
episodes throughout the
movement. As in the
A!Swiss clockA(r) section
of the Andante, Mozart
uses a stretto imitation
treatment with this
tempest theme, thereby
heightening both
intensity and sense of
instability. I am most
grateful to the
adventuresome Martin
Quartet for their warm
support and collaboration
over the years with
several of my
arrangements, and to my
friend Edwin Swanborn for
the original typesetting
of this score. Gratitude
is also due Weekend
Edition, Performance
Today and innumerable
classical stations across
the United States for
their enthusiastic and
repeated airings of my
A!newA(r) Mozart Quintet
endeavorsA3and most of
all, to violist Katherine
Murdock for that dare in
1990. A3Compiled from the
writings of Robert
Stallman by Hannah Woods
Stallman, February 2,
2020. Preface In 1990,
during an intense
rehearsal of a Mozart
Quartet transcription for
flute and strings by
Franz Anton Hoffmeister,
at the Marblehead Summer
Music Festival, a
disgruntled violist
friend complained about
Hoffmeisteris awkward
string writing, suddenly
daring me to create my
own arrangement. I
balked. But the following
winterodespite scruples
about treading on
hallowed groundoI grew
curious and began to
experiment. Soon I was
hooked on the challenge
of learning to speak
Mozartis language with
conviction. This
fascination, encouraged
by pianist Richard Goode
and other Mozarteans,
would eventually generate
a total of thirty-nine
recreations of Mozart
piano sonatas as works
for flute and strings.
With zero tolerance for
alteration of melodic or
harmonic
materialoMozartis friend
Hoffmeister had
regrettably attempted
such iimprovementsioI
always tried to envision
what Mozart himself would
have desired. Many of the
sonatas can be heard as
if they were Mozartis
iblueprintsi of imagined
chamber works. Hence my
task was to iflesh outi
the keyboard versions as
Mozart might have done,
had a commission or
performance opportunity
arisen. I spent hours
pondering how Mozart
might have set these
sonatas in four- or
five-part form, providing
the needed textural or
contrapuntal
enhancements. With
immersion in the
composeris dialect,
various apt solutions
presented themselves. The
search for the irighti
one then became a most
absorbing study. On the
eve of releasing my
Bogneris CafE recording
of Mozart-Stallman New
Quintets (2006), I
discovered to my delight
that a prominent scholar
had long before endorsed
such an effort. Eric Blom
(1888n1959), author of
Mozart (1935), had taken
note of the four-hand
piano works as ia kind of
keyboard chamber music.i
Regarding Sonata, K. 497,
Mr. Blom had observed
that Mozart is often
dealing with, not the
expected four voices (one
to a hand), but five.
Blom states: iThe F major
Sonata (K. 497) removes
us to another worldothe
world of the great
chamber music, especially
of the string quintets.
Indeed an arrangement of
some sort for a
combination of
instruments would make a
magnificent concert work
of this almost
uncomfortably great piece
of domestic music.i That
Mozart was in 1786
writing for piano duo
from a quintet
perspective makes sense,
as we find him returning
to the quintet form with
keen interest in his last
years, writing four
String Quintets, the
Clarinet Quintet,
rearranging a wind
serenade for String
Quintet, and leaving
several other quintets
incomplete. My
arrangement presented
here is made for flute
and strings but is also
intended for string
quintet. Quintet in F
Major for Flute and
Strings, K. 497, was
completed in 1999 and
performed with the Martin
Quartet in the Czech
Republic prior to
recording it in 2004.
Mozart had finished the
original Sonata in F
Major for Piano,
Four-Hands, K. 497, on
August 1, 1786. It shows
the unmistakable
influence of Figaro,
completed and premiered
exactly three months
prior. As signaled by the
imposing introductory
Adagio, the conception is
on a grand symphonic
scale, all three
movements being richly
developed with
contrapuntal episodes and
an abundance of
marvelously contrasting
textures and themes
throughout. Called ithe
crowning work of its
kindi by Alfred Einstein,
the Sonata is laden with
examples of Mozartis
mercurial originality.
Here we have a perfect
synthesis of concertante
brilliance, operatic
intensity and intimate
dialogue. The work opens
in unison with a probing,
minor-tinged Adagio,
whose question comes to a
pause on the dominant,
before being answered
with jaunty certainty by
the opening theme of the
Allegro di moltooan
F-major tune as sunny and
confident as an aria from
Figaro itself. This
movementis declamatory
iopera chorusi
persistently intones its
rhythmic motto over a
swirling scale figure.
The amorous second theme
(initially presented in
the first viola) also
seems to be plucked from
Figaro. The Andante opens
with a heavenly melody,
which takes as its
springboard the Romanza
theme from the Horn
Concerto in E Major, K.
495, written only five
weeks before. The ilove
dueti between flute and
first viola seems to
anticipate the
impassioned iduettingi
between violin and viola
in the Andante of the
String Quintet in C
Major, K. 515, written
about nine months later.
The ingenious stretto
canon of the Andanteis
middle section requires
the precision of a Swiss
clock (which its chiming
thirds recall). Affecting
bucolic codettas close
each of the main sections
of the movement. In the
final Allegro, a rondo in
6/8+time, the puckish,
yet aristocratic
character of the opening
theme contrasts with the
bumptious, popular tune
used for the second theme
(heard first in the
violin and then the
flute, over pizzicato
cello). Lilting hymn-like
episodes in three, four-
and finally five-part
counterpoint are
repeatedly interrupted by
startling scale figures
that rise up in furioso
episodes throughout the
movement. As in the
iSwiss clocki section of
the Andante, Mozart uses
a stretto imitation
treatment with this
tempest theme, thereby
heightening both
intensity and sense of
instability. I am most
grateful to the
adventuresome Martin
Quartet for their warm
support and collaboration
over the years with
several of my
arrangements, and to my
friend Edwin Swanborn for
the original typesetting
of this score. Gratitude
is also due Weekend
Edition, Performance
Today and innumerable
classical stations across
the United States for
their enthusiastic and
repeated airings of my
inewi Mozart Quintet
endeavorsoand most of
all, to violist Katherine
Murdock for that dare in
1990. oCompiled from the
writings of Robert
Stallman by Hannah Woods
Stallman, February 2,
2020. Preface In 1990,
during an intense
rehearsal of a Mozart
Quartet transcription for
flute and strings by
Franz Anton Hoffmeister,
at the Marblehead Summer
Music Festival, a
disgruntled violist
friend complained about
Hoffmeister's awkward
string writing, suddenly
daring me to create my
own arrangement. I
balked. But the following
winter--despite scruples
about treading on
hallowed ground--I grew
curious and began to
experiment. Soon I was
hooked on the challenge
of learning to speak
Mozart's language with
conviction. This
fascination, encouraged
by pianist Richard Goode
and other Mozarteans,
would eventually generate
a total of thirty-nine
recreations of Mozart
piano sonatas as works
for flute and strings.
With zero tolerance for
alteration of melodic or
harmonic
material--Mozart's friend
Hoffmeister had
regrettably attempted
such improvements--I
always tried to envision
what Mozart himself would
have desired. Many of the
sonatas can be heard as
if they were Mozart's
blueprints of imagined
chamber works. Hence my
task was to flesh out the
keyboard versions as
Mozart might have done,
had a commission or
performance opportunity
arisen. I spent hours
pondering how Mozart
might have set these
sonatas in four- or
five-part form, providing
the needed textural or
contrapuntal
enhancements. With
immersion in the
composer's dialect,
various apt solutions
presented themselves. The
search for the right one
then became a most
absorbing study. On the
eve of releasing my
Bogner's Cafe recording
of Mozart-Stallman New
Quintets (2006), I
discovered to my delight
that a prominent scholar
had long before endorsed
such an effort. Eric Blom
(1888-1959), author of
Mozart (1935), had taken
note of the four-hand
piano works as a kind of
keyboard chamber music.
Regarding Sonata, K. 497,
Mr. Blom had observed
that Mozart is often
dealing with, not the
expected four voices (one
to a hand), but five.
Blom states: The F major
Sonata (K. 497) removes
us to another world--the
world of the great
chamber music, especially
of the string quintets.
Indeed an arrangement of
some sort for a
combination of
instruments would make a
magnificent concert work
of this almost
uncomfortably great piece
of domestic music. That
Mozart was in 1786
writing for piano duo
from a quintet
perspective makes sense,
as we find him returning
to the quintet form with
keen interest in his last
years, writing four
String Quintets, the
Clarinet Quintet,
rearranging a wind
serenade for String
Quintet, and leaving
several other quintets
incomplete. My
arrangement presented
here is made for flute
and strings but is also
intended for string
quintet. Quintet in F
Major for Flute and
Strings, K. 497, was
completed in 1999 and
performed with the
Martinu Quartet in the
Czech Republic prior to
recording it in 2004.
Mozart had finished the
original Sonata in F
Major for Piano,
Four-Hands, K. 497, on
August 1, 1786. It shows
the unmistakable
influence of Figaro,
completed and premiered
exactly three months
prior. As signaled by the
imposing introductory
Adagio, the conception is
on a grand symphonic
scale, all three
movements being richly
developed with
contrapuntal episodes and
an abundance of
marvelously contrasting
textures and themes
throughout. Called the
crowning work of its kind
by Alfred Einstein, the
Sonata is laden with
examples of Mozart's
mercurial originality.
Here we have a perfect
synthesis of concertante
brilliance, operatic
intensity and intimate
dialogue. The work opens
in unison with a probing,
minor-tinged Adagio,
whose question comes to a
pause on the dominant,
before being answered
with jaunty certainty by
the opening theme of the
Allegro di molto--an
F-major tune as sunny and
confident as an aria from
Figaro itself. This
movement's declamatory
opera chorus persistently
intones its rhythmic
motto over a swirling
scale figure. The amorous
second theme (initially
presented in the first
viola) also seems to be
plucked from Figaro. The
Andante opens with a
heavenly melody, which
takes as its springboard
the Romanza theme from
the Horn Concerto in E<=
Major, K. 495, written
only five weeks before.
The love duet between
flute and first viola
seems to anticipate the
impassioned duetting
between violin and viola
in the Andante of the
String Quintet in C
Major, K. 515, written
about nine months later.
The ingenious stretto
canon of the Andante's
middle section requires
the precision of a Swiss
clock (which its chiming
thirds recall). Affecting
bucolic codettas close
each of the main sections
of the movement. In the
final Allegro, a rondo in
6/8 time, the puckish,
yet aristocratic
character of the opening
theme contrasts with the
bumptious, popular tune
used for the second theme
(heard first in the
violin and then the
flute, over pizzicato
cello). Lilting hymn-like
episodes in three, four-
and finally five-part
counterpoint are
repeatedly interrupted by
startling scale figures
that rise up in furioso
episodes throughout the
movement. As in the Swiss
clock section of the
Andante, Mozart uses a
stretto imitation
treatment with this
tempest theme, thereby
heightening both
intensity and sense of
instability. I am most
grateful to the
adventuresome Martinu
Quartet for their warm
support and collaboration
over the years with
several of my
arrangements, and to my
friend Edwin Swanborn for
the original typesetting
of this score. Gratitude
is also due Weekend
Edition, Performance
Today and innumerable
classical stations across
the United States for
their enthusiastic and
repeated airings of my
new Mozart Quintet
endeavors--and most of
all, to violist Katherine
Murdock for that dare in
1990. --Compiled from the
writings of Robert
Stallman by Hannah Woods
Stallman, February 2,
2020. PrefaceIn 1990,
during an intense
rehearsal of a Mozart
Quartet transcription for
flute and strings by
Franz Anton Hoffmeister,
at the Marblehead Summer
Music Festival, a
disgruntled violist
friend complained about
Hoffmeister’s
awkward string writing,
suddenly daring me to
create my own
arrangement. I balked.
But the following
winter—despite
scruples about treading
on hallowed
ground—I grew
curious and began to
experiment. Soon I was
hooked on the challenge
of learning to speak
Mozart’s language
with conviction. This
fascination, encouraged
by pianist Richard Goode
and other Mozarteans,
would eventually generate
a total of thirty-nine
recreations of Mozart
piano sonatas as works
for flute and
strings.With zero
tolerance for alteration
of melodic or harmonic
material—Mozartâ
™s friend Hoffmeister
had regrettably attempted
such
“improvementsâ€
—I always tried
to envision what Mozart
himself would have
desired. Many of the
sonatas can be heard as
if they were
Mozart’s
“blueprintsâ€
of imagined chamber
works. Hence my task was
to “flesh
out†the keyboard
versions as Mozart might
have done, had a
commission or performance
opportunity arisen. I
spent hours pondering how
Mozart might have set
these sonatas in four- or
five-part form, providing
the needed textural or
contrapuntal
enhancements. With
immersion in the
composer’s
dialect, various apt
solutions presented
themselves. The search
for the
“right†one
then became a most
absorbing study.On the
eve of releasing my
Bogner’s Café
recording of
Mozart-Stallman New
Quintets (2006), I
discovered to my delight
that a prominent scholar
had long before endorsed
such an effort. Eric Blom
(1888–1959),
author of Mozart (1935),
had taken note of the
four-hand piano works as
“a kind of keyboard
chamber music.â€
Regarding Sonata, K. 497,
Mr. Blom had observed
that Mozart is often
dealing with, not the
expected four voices (one
to a hand), but five.
Blom states: “The F
major Sonata (K. 497)
removes us to another
world—the world of
the great chamber music,
especially of the string
quintets. Indeed an
arrangement of some sort
for a combination of
instruments would make a
magnificent concert work
of this almost
uncomfortably great piece
of domestic music.â€
That Mozart was in 1786
writing for piano duo
from a quintet
perspective makes sense,
as we find him returning
to the quintet form with
keen interest in his last
years, writing four
String Quintets, the
Clarinet Quintet,
rearranging a wind
serenade for String
Quintet, and leaving
several other quintets
incomplete. My
arrangement presented
here is made for flute
and strings but is also
intended for string
quintet.Quintet in F
Major for Flute and
Strings, K. 497, was
completed in 1999 and
performed with the
Martinů Quartet in the
Czech Republic prior to
recording it in 2004.
Mozart had finished the
original Sonata in F
Major for Piano,
Four-Hands, K. 497, on
August 1, 1786. It shows
the unmistakable
influence of Figaro,
completed and premiered
exactly three months
prior. As signaled by the
imposing introductory
Adagio, the conception is
on a grand symphonic
scale, all three
movements being richly
developed with
contrapuntal episodes and
an abundance of
marvelously contrasting
textures and themes
throughout. Called
“the crowning work
of its kind†by
Alfred Einstein, the
Sonata is laden with
examples of
Mozart’s mercurial
originality. Here we have
a perfect synthesis of
concertante brilliance,
operatic intensity and
intimate dialogue.The
work opens in unison with
a probing, minor-tinged
Adagio, whose question
comes to a pause on the
dominant, before being
answered with jaunty
certainty by the opening
theme of the Allegro di
molto—an F-major
tune as sunny and
confident as an aria from
Figaro itself. This
movement’s
declamatory “opera
chorusâ€
persistently intones its
rhythmic motto over a
swirling scale figure.
The amorous second theme
(initially presented in
the first viola) also
seems to be plucked from
Figaro.The Andante opens
with a heavenly melody,
which takes as its
springboard the Romanza
theme from the Horn
Concerto in E≤
Major, K. 495, written
only five weeks before.
The “love
duet†between flute
and first viola seems to
anticipate the
impassioned
“duettingâ€
between violin and viola
in the Andante of the
String Quintet in C
Major, K. 515, written
about nine months later.
The ingenious stretto
canon of the
Andante’s middle
section requires the
precision of a Swiss
clock (which its chiming
thirds recall). Affecting
bucolic codettas close
each of the main sections
of the movement.In the
final Allegro, a rondo in
6/8Â time, the puckish,
yet aristocratic
character of the opening
theme contrasts with the
bumptious, popular tune
used for the second theme
(heard first in the
violin and then the
flute, over pizzicato
cello). Lilting hymn-like
episodes in three, four-
and finally five-part
counterpoint are
repeatedly interrupted by
startling scale figures
that rise up in furioso
episodes throughout the
movement. As in the
“Swiss clockâ€
section of the Andante,
Mozart uses a stretto
imitation treatment with
this tempest theme,
thereby heightening both
intensity and sense of
instability.I am most
grateful to the
adventuresome Martinů
Quartet for their warm
support and collaboration
over the years with
several of my
arrangements, and to my
friend Edwin Swanborn for
the original typesetting
of this score. Gratitude
is also due Weekend
Edition, Performance
Today and innumerable
classical stations across
the United States for
their enthusiastic and
repeated airings of my
“new†Mozart
Quintet
endeavors—and most
of all, to violist
Katherine Murdock for
that dare in
1990.—Compiled
from the writings of
Robert Stallmanby Hannah
Woods Stallman,February
2, 2020. $42.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Rite of Spring Carl Fischer
Chamber Music Piano, alto Saxophone SKU: CF.W2657 100th Anniversary(+)
Chamber Music Piano, alto
Saxophone SKU:
CF.W2657 100th
Anniversary. Composed
by Igor Stravinsky.
Arranged by David
Dutkanicz. SWS. Set of
Score and Parts. With
Standard notation. 20+8
pages. Duration 7
minutes. Carl Fischer
Music #W2657. Published
by Carl Fischer Music
(CF.W2657). ISBN
9780825891120. UPC:
798408091125. 9 x 12
inches. On May 29,
1913, an over-capacity
audience in Paris’
Théâtre
desChamps-Élysées
witnessed an historical
spectacle as they became
a brutecatalyst in the
most (in)famous opening
night of the twentieth
century.The Rite of
Spring premiered that
evening in the midst of a
riot inspiredby the
overwhelming primitivism
both onstage and in the
score.One-hundred plus
years later, the music
still incites the senses.
The balletwas first
published in 1914 in a
reduction for two pianos,
and serves asa basis for
this arrangement. This
edition is presented in
honor of thecentennial of
the ballet’s
premiere, and is intended
to give soloists
andaccompanists a chance
to perform this
monumental work. On
May 29, 1913, an
over-capacity audience in
Paris’
Théâtre des
Champs-Élysées
witnessedan historical
spectacle as they became
a brute catalyst in the
most (in)famous opening
nightof the twentieth
century. The Rite of
Spring premiered that
evening in the midst of a
riotinspired by the
overwhelming primitivism
both onstage and in the
score. Subtitled
“Picturesof Pagan
Russia,†the
ancient scenes were
evoked using contemporary
musical
innovations,shattering
expectations of a more
traditional Ballet Russe
production.How was an
ancient ritual of
sacrifice to the earth to
be scored? The unevolved
pesantecharacter of a
village gathering was
portrayed by odd time
signatures and accents.
Melodieswere
geometrically woven as
dissonant pastorales with
grace-notes mimicking
gutturalbreaks in primal
voices. Instruments were
orchestrated against the
grain, straining
soundsinto unrecognizable
timbres. And just like
the dancers on stage,
musicians were
organizedinto alternating
groups often clashing
with one
another.One-hundred plus
years later, the music
still incites the senses.
The ballet was first
publishedin 1914 in a
reduction for two pianos,
and serves as a basis for
this arrangement. This
editionis presented in
honor of the centennial
of the ballet’s
premiere, and is intended
to give soloistsand
accompanists a chance to
perform this monumental
work. Both movements may
beplayed alone, and the
first movement may also
serve as a solo
piece. $12.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Sun Is Love Voix haute, Piano - Intermédiaire Schirmer
By Gwyneth W. Walker. Text: Jelaluddin Rumi, translated by C. Barks. For High vo...(+)
By Gwyneth W. Walker.
Text: Jelaluddin Rumi,
translated by C. Barks.
For High voice and piano.
Vocal Music. Published by
E.C. Schirmer Publishing.
$15.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Overture to a Small Town - Intermédiaire/avancé Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon 1, Bassoon 2, Chimes, Clarinet 1, Clarine...(+)
Band Bass Clarinet, Bass
Drum, Bassoon 1, Bassoon
2, Chimes, Clarinet 1,
Clarinet 2, Clarinet 3,
Crotales, English Horn,
Euphonium, Euphonium
T.C., Flute 1, Flute 2,
Glockenspiel, Horn 1,
Horn 2, Horn 3, Horn 4,
Mallet Percussion 1 and
more. - Grade 4 SKU:
CF.SPS94 Composed by
Cooper Minnis. Sps. Set
of Score and Parts.
1+8+8+4+1+8+8+8+2+2+2+2+2
+2+2+3+3+3+2+2+2+2+3+3+3+
3+2+3+1+2+2+1+2+2+24
pages. Duration 7:48.
Carl Fischer Music
#SPS94. Published by Carl
Fischer Music (CF.SPS94).
ISBN 9781491161449.
UPC:
680160920037. On
November 5th, 2017, a
mass shooting took place
at the First Baptist
Church in Sutherland
Springs, Texas.
Twenty-six innocent
people lost their lives
that day, including an
unborn child. Overture to
a Small Town is dedicated
to these victims and the
loved ones they left
behind. From the biggest
cities to the smallest
towns, the senseless
bloodshed must end.
Despite the darkness of
this tragedy, it is my
intent through this music
to portray a sense of
hope, dignity, and
innocence deserved by all
America's cities and
towns. The opening
moments of this piece
should be treated
delicately, ensuring that
the brass section moves
together in one unified
voice, and that the
crotales evoke distant
flickers of light.
Similarly, in mm.
120-127, articulations in
the flutes, trumpets and
mallets should be strong
enough to be heard, but
without being aggressive.
The textural layering in
mm. 48-53 should be
executed with
machine-like precision of
both rhythm and
articulation. This
passage should evoke the
sound of many voices
rising together. There
should be a great
contrast between the
opening Piano dynamic and
the final Forte dynamic.
In mm. 65-69, both mallet
percussionists may play
the indicated notes in
any octave they choose.
Both players should move
rapidly between notes in
any order. This passage
should sound fluid and
ethereal. In mm. 69-73:
If there is no English
Horn available to the
ensemble, the Trumpet
should play this passage
solo. If there is an
English Horn, both
instruments should play
the passage together.
This impressionistic
composition about these
vanished structures,
although written for more
advanced ensembles, has
only one flute, clarinet,
trumpet, horn and
trombone part. As a
result, smaller bands can
play this composition
without having to look
for a flex-band
arrangement. Use this to
develop the essential
skills of syncopation and
counting while also
offering the security of
only having one part for
each instrument voice. An
exciting contrasting
selection for bands
looking for a
harmonically interesting
composition, this also
works well as a contest
selection.  . On
November 5th, 2017, a
mass shooting took place
at the First Baptist
Church in Sutherland
Springs, Texas.
Twenty-six innocent
people lost their lives
that day, including an
unborn child. Overture to
a Small Town is dedicated
to these victims and the
loved ones they left
behind. From the biggest
cities to the smallest
towns, the senseless
bloodshed must end.
Despite the darkness of
this tragedy, it is my
intent through this music
to portray a sense of
hope, dignity, and
innocence deserved by all
America’s cities
and towns.  The
opening moments of this
piece should be treated
delicately, ensuring that
the brass section moves
together in one unified
voice, and that the
crotales evoke distant
flickers of light.
Similarly, in mm.
120-127, articulations in
the flutes, trumpets and
mallets should be strong
enough to be heard, but
without being
aggressive.  The
textural layering in mm.
48-53 should be executed
with machine-like
precision of both rhythm
and articulation. This
passage should evoke the
sound of many voices
rising together. There
should be a great
contrast between the
opening Piano dynamic and
the final Forte
dynamic.  In mm.
65-69, both mallet
percussionists may play
the indicated notes in
any octave they choose.
Both players should move
rapidly between notes in
any order. This passage
should sound fluid and
ethereal.  In mm.
69-73: If there is no
English Horn available to
the ensemble, the Trumpet
should play this passage
solo. If there is an
English Horn, both
instruments should play
the passage together.This
impressionistic
composition about these
vanished structures,
although written for more
advanced ensembles, has
only one flute, clarinet,
trumpet, horn and
trombone part. As a
result, smaller bands can
play this composition
without having to look
for a flex-band
arrangement. Use this to
develop the essential
skills of syncopation and
counting while also
offering the security of
only having one part for
each instrument voice. An
exciting contrasting
selection for bands
looking for a
harmonically interesting
composition, this also
works well as a contest
selection. . $90.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Overture for a Small Town - Intermédiaire/avancé Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon 1, Bassoon 2, Chimes, Clarinet 1, Clarine...(+)
Band Bass Clarinet, Bass
Drum, Bassoon 1, Bassoon
2, Chimes, Clarinet 1,
Clarinet 2, Clarinet 3,
Crotales, English Horn,
Euphonium, Euphonium
T.C., Flute 1, Flute 2,
Glockenspiel, Horn 1,
Horn 2, Horn 3, Horn 4,
Mallet Percussion 1 and
more. - Grade 4 SKU:
CF.SPS94F Composed by
Cooper Minnis. Sps. Full
score. 24 pages. Duration
7:48. Carl Fischer Music
#SPS94F. Published by
Carl Fischer Music
(CF.SPS94F). ISBN
9781491161838. UPC:
680160920518. On
November 5th, 2017, a
mass shooting took place
at the First Baptist
Church in Sutherland
Springs, Texas.
Twenty-six innocent
people lost their lives
that day, including an
unborn child. Overture to
a Small Town is dedicated
to these victims and the
loved ones they left
behind. From the biggest
cities to the smallest
towns, the senseless
bloodshed must end.
Despite the darkness of
this tragedy, it is my
intent through this music
to portray a sense of
hope, dignity, and
innocence deserved by all
America's cities and
towns. The opening
moments of this piece
should be treated
delicately, ensuring that
the brass section moves
together in one unified
voice, and that the
crotales evoke distant
flickers of light.
Similarly, in mm.
120-127, articulations in
the flutes, trumpets and
mallets should be strong
enough to be heard, but
without being aggressive.
The textural layering in
mm. 48-53 should be
executed with
machine-like precision of
both rhythm and
articulation. This
passage should evoke the
sound of many voices
rising together. There
should be a great
contrast between the
opening Piano dynamic and
the final Forte dynamic.
In mm. 65-69, both mallet
percussionists may play
the indicated notes in
any octave they choose.
Both players should move
rapidly between notes in
any order. This passage
should sound fluid and
ethereal. In mm. 69-73:
If there is no English
Horn available to the
ensemble, the Trumpet
should play this passage
solo. If there is an
English Horn, both
instruments should play
the passage
together. On November
5th, 2017, a mass
shooting took place at
the First Baptist Church
in Sutherland Springs,
Texas. Twenty-six
innocent people lost
their lives that day,
including an unborn
child. Overture to a
Small Town is dedicated
to these victims and the
loved ones they left
behind. From the biggest
cities to the smallest
towns, the senseless
bloodshed must end.
Despite the darkness of
this tragedy, it is my
intent through this music
to portray a sense of
hope, dignity, and
innocence deserved by all
America’s cities
and towns.  The
opening moments of this
piece should be treated
delicately, ensuring that
the brass section moves
together in one unified
voice, and that the
crotales evoke distant
flickers of light.
Similarly, in mm.
120-127, articulations in
the flutes, trumpets and
mallets should be strong
enough to be heard, but
without being
aggressive.  The
textural layering in mm.
48-53 should be executed
with machine-like
precision of both rhythm
and articulation. This
passage should evoke the
sound of many voices
rising together. There
should be a great
contrast between the
opening Piano dynamic and
the final Forte
dynamic.  In mm.
65-69, both mallet
percussionists may play
the indicated notes in
any octave they choose.
Both players should move
rapidly between notes in
any order. This passage
should sound fluid and
ethereal.  In mm.
69-73: If there is no
English Horn available to
the ensemble, the Trumpet
should play this passage
solo. If there is an
English Horn, both
instruments should play
the passage together. $13.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Easy Classical Fake Book Fake Book [Fake Book] Hal Leonard
Melody, Lyrics & Simplified Chords in the Key of C. By Various. Fake Book (Inclu...(+)
Melody, Lyrics &
Simplified Chords in the
Key of C. By Various.
Fake Book (Includes
melody line and chords).
Softcover. Size 9x12
inches. 200 pages.
Published by Hal Leonard.
(1)$22.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Beati IV: Pro eis sine domo (For the stateless) - Intermédiaire MorningStar Music Publishers
Soprano voice solo, SSAA choir, cello, organ, and synthesizer - Intermediate ...(+)
Soprano voice solo, SSAA
choir, cello, organ, and
synthesizer -
Intermediate SKU:
MN.56-0032 Composed
by Howard Goodall. 21st
Century. Instrumental
part. Duration 7 minutes,
25 seconds. MorningStar
Music Publishers
#56-0032. Published by
MorningStar Music
Publishers (MN.56-0032).
UPC: 688670220371.
Latin. Isaiah 4:6; Psalms
31:7. Written for
the Enchanted Voices CD,
this is one of many
settings of texts either
from the Beatitudes (or
springing from them)
available from this
composer. For soprano
solo and SSAA chorus,
organ, cello,
synthesizer, the music
has a light, ethereal
feeling.
“Beati†can
be taken as a sort of
“Blessed are
they†prefix for
the movements which are
not direct quotes from
the Beatitudes. This
movement begins with the
soloist singing in
English (“Blessed
are the stateless;
blessed are the
homelessâ€). Next
the chorus sings Latin
settings of Isaiah 4:6
(“And there shall
be a tabernacleâ€)
and Psalms 31:7
(“Thou art my
refugeâ€). The Latin
is set in a sort of
mantra-like declamatory
style, moving through
unison into two-part and
finally three. All voice
return to the opening
theme in English
originally sung by the
soloist. Then the two
concepts are overlaid,
the solo motif with the
declamatory Latin. The
choral voices recap the
unison-through-three part
declamatory section, the
soloist briefly returns
to the opening theme.
Duration 7:25
$3.35 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Clarinet Spring Orchestre d'harmonie [Conducteur et Parties séparées] - Facile Scomegna Edizioni Musicali
By Flavio Bar. For Concert band (solo feature for 2 clarinets). Original Work, S...(+)
By Flavio Bar. For
Concert band (solo
feature for 2 clarinets).
Original Work, Solo
piece. Grade 2.5. Score
and set of parts.
Duration 5:40. Published
by Scomegna Edizioni
Musical srl
$126.00 $119.7 (- 5%) Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Great Classical Themes - Lower Intermediate Piano seul [Partition] - Intermédiaire Hal Leonard
Piano Solo Mixed Folio (Intermediate to advanced piano arrangements with no lyri...(+)
Piano Solo Mixed Folio
(Intermediate to advanced
piano arrangements with
no lyrics). Size 9x12
inches. 232 pages.
Published by Hal Leonard.
(4)$16.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Malaguena Orchestre d'harmonie Southern Music Ltd
Full Score. Composed by Ernesto Lecuona (1895-1963). Arranged by James Ba...(+)
Full Score.
Composed by Ernesto
Lecuona (1895-1963).
Arranged by James Barnes.
Southern Music.
Softcover. 36 pages.
Southern Music Company
#S966FS. Published by
Southern Music Company
(HL.236112).
$20.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Handsprings Piano seul - Facile Alfred Publishing
By Catherine Rollin. For Piano. Piano Solo. Level: Late Elementary (grade 2). Sh...(+)
By Catherine Rollin. For
Piano. Piano Solo. Level:
Late Elementary (grade
2). Sheet. 4 pages.
Published by Alfred
Publishing.
$3.50 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Colorado Springs Orchestre d'harmonie - Avancé Anglo Music
Concert Band - Grade 5 SKU: HL.44007324 Grade 5 - Score and Parts....(+)
Concert Band - Grade 5
SKU: HL.44007324
Grade 5 - Score and
Parts. Composed by
Philip Sparke. Anglo
Music Concert Band.
Concert Piece. Score
Only. Composed 2007.
Duration 720 seconds.
Anglo Music Press
#AMP214. Published by
Anglo Music Press
(HL.44007324). UPC:
884088245214.
9.0x12.0x1.232 inches.
English(UK)/Deutsch/Franc
ais/Nederlands. Col
orado Springs was
commissioned by the
United States Air Force
Academy Band, Lieutenant
Steve Grimo,
Commmander/Conductor.
Colorado Springs, home of
the USAF Academy, is set
in spectacular landscape
towards the southern end
of the Rocky Mountains
and is a popular tourist
resort for skiing and
hiking. The Academy plays
an important part in the
life of the area and
serves as a base for the
USAFA Band, one of the
professional bands
forming part of the
musical life of the U.S.
Air Force. The suite is
in three movements: 1.
The Springs (fanfare) -
“The Springsâ€
is the local residents'
name for the town, and
this first movement
starts with a stirring
fanfare for brass and
percussion, opening with
bold unison horns. The
rest of the brass join in
and woodwind add
decorative figures. After
a short change of style,
the opening material
reappears to close the
movement. 2. Seven Falls
- Seven Falls is a
spectacular waterfall
near to the town which
cascades 181 feet in
seven distinct steps down
a solid cliff of pikes
peak granite. In this
movement, high woodwinds
describe the sparkling
water as it descends to a
popular lookout post near
the bottom of the falls.
3. Pikes Peak - To the
north-west of the town
and reaching an altitude
14,110 feet, Pikes Peak
is the farthest east of
the big peaks in the
Rocky Mountain chain,
which contributed to its
early fame among
explorers and pioneers,
and made it the symbol of
the 1859 Gold Rush to
Colorado with the slogan,
“Pikes Peak or
Bust.†It is the
second-most visited
mountain in the world
behind Japan's Mount
Fuji. This atmospheric
movement describes the
majesty of the mountain
and is based around the
fanfare from the first
movement. Opening on a
solitary bassoon, it is
not long before the main
theme appears under
bubbling woodwinds. The
music reaches a
passionate climax at
which point the opening
fanfare reappears to
bring the whole work to a
close. $208.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Colorado Springs Orchestre d'harmonie - Avancé Anglo Music
Concert Band - Grade 5 SKU: HL.44007325 Grade 5 - Score Only. Comp...(+)
Concert Band - Grade 5
SKU: HL.44007325
Grade 5 - Score
Only. Composed by
Philip Sparke. Anglo
Music Concert Band.
Concert Piece. Score
Only. Composed 2007.
Duration 720 seconds.
Anglo Music Press
#AMP214. Published by
Anglo Music Press
(HL.44007325). UPC:
884088245221.
9.0x12.0x0.173 inches.
English-German-French-Dut
ch. Colorado
Springs was commissioned
by the United States Air
Force Academy Band,
Lieutenant Steve Grimo,
Commmander/Conductor.
Colorado Springs, home of
the USAF Academy, is set
in spectacular landscape
towards the southern end
of the Rocky Mountains
and is a popular tourist
resort for skiing and
hiking. The Academy plays
an important part in the
life of the area and
serves as a base for the
USAFA Band, one of the
professional bands
forming part of the
musical life of the U.S.
Air Force. The suite is
in three movements: 1.
The Springs (fanfare) -
The Springs is the local
residents' name for the
town, and this first
movement starts with a
stirring fanfare for
brass and percussion,
opening with bold unison
horns. The rest of the
brass join in and
woodwind add decorative
figures. After a short
change of style, the
opening material
reappears to close the
movement. 2. Seven Falls
- Seven Falls is a
spectacular waterfall
near to the town which
cascades 181 feet in
seven distinct steps down
a solid cliff of pikes
peak granite. In this
movement, high woodwinds
describe the sparkling
water as it descends to a
popular lookout post near
the bottom of the falls.
3. Pikes Peak - To the
north-west of the town
and reaching an altitude
14,110 feet, Pikes Peak
is the farthest east of
the big peaks in the
Rocky Mountain chain,
which contributed to its
early fame among
explorers and pioneers,
and made it the symbol of
the 1859 Gold Rush to
Colorado with the slogan,
Pikes Peak or Bust. It is
the second-most visited
mountain in the world
behind Japan's Mount
Fuji. This atmospheric
movement describes the
majesty of the mountain
and is based around the
fanfare from the first
movement. Opening on a
solitary bassoon, it is
not long before the main
theme appears under
bubbling woodwinds. The
music reaches a
passionate climax at
which point the opening
fanfare reappears to
bring the whole work to a
close. $29.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Spring is Opening Cycle Score and Parts Hal Leonard
(Mixed Ensemble) SKU: HL.49017334 Violin and Men's Choir. Composed...(+)
(Mixed Ensemble) SKU:
HL.49017334 Violin
and Men's Choir.
Composed by Zdenek
Lukás. PANTON. Hal
Leonard #P2385. Published
by Hal Leonard
(HL.49017334).
$18.95 - Voir plus => Acheter | | |
| A Small Part of the World - Performance Pack Voix d'Enfants [Edition pour professeur] Alfred Publishing
(Folk Songs from Here, There and Everywhere - A Presentation for Unison and 2-Pa...(+)
(Folk Songs from Here,
There and Everywhere - A
Presentation for Unison
and 2-Part Voices). By
Sally K. Albrecht. This
edition: Performance Pack
(Director's Score and 10
Singer's Editions).
Children's Musicals and
Programs. Choral.
Director's Score and 10
Singer's Editions.
Published by Alfred Music
Publishing
$69.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Worlds Greatest Orchestral, Opera and Ballet Themes Piano seul [Partition] Alfred Publishing
Edited by Dan Fox. Collection for solo piano. 52 Best-Loved Compositions by the ...(+)
Edited by Dan Fox.
Collection for solo
piano. 52 Best-Loved
Compositions by the
Finest Composers. 128
pages. Published by
Alfred Publishing.
$16.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Piano Student's Choice Piano seul [Partition] - Intermédiaire/avancé Alfred Publishing
Arranged by Allan Small. For Piano. Piano Collection. Masterwork. Level: Interme...(+)
Arranged by Allan Small.
For Piano. Piano
Collection. Masterwork.
Level: Intermediate
(grade 4/5). Book. 112
pages. Published by
Alfred Publishing.
$10.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Spring City Overture Orchestre d'harmonie - Intermédiaire/avancé Hal Leonard
Score Only Concert Band (Score) - Grade 4 SKU: HL.4004104 Composed by Mic...(+)
Score Only Concert Band
(Score) - Grade 4 SKU:
HL.4004104 Composed
by Michael Sweeney.
MusicWorks Grade 4.
Festival. 32 pages.
Duration 300 seconds.
Published by Hal Leonard
(HL.4004104). UPC:
888680034375.
9.0x12.0x0.107
inches. Celebrating
its 130th anniversary,
the Woodstock City Band
of Woodstock, Illinois
(at one time known as
“Spring
Cityâ€) commissioned
this dynamic overture
honoring the
long-standing tradition
of summer concerts in the
historic town square.
Joyous and celebratory in
nature, Spring City
Overture features a
dramatic opening segment
that builds to the
tuneful main theme. A
brief reflective lyric
section provides a moment
of calm before returning
to the energetic opening
theme. Beautifully paced
for maximum emotional
impact and providing
challenging parts for all
sections, this powerful
work is equally suitable
for festivals or casual
concerts. Dur: 5:00. $7.50 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Yosemite Falls - Intermédiaire Carl Fischer
Orchestra String Sextet, Piano - Grade 4 SKU: CF.CAS66F Composed by Sean ...(+)
Orchestra String Sextet,
Piano - Grade 4 SKU:
CF.CAS66F Composed by
Sean O'Loughlin. SWS.
Carl Fischer Concert
String Orchestra Series.
Full score. With Standard
notation. 16 pages. Carl
Fischer Music #CAS66F.
Published by Carl Fischer
Music (CF.CAS66F).
ISBN 9780825889486.
UPC: 798408089481. 8.5 x
11 inches. Yosemite
Falls depicts the wide
open spaces of this
magnificent western
treasure, exploring new
sounds and harmonies in a
fresh approach from Sean
O'Loughlin. However, this
work retains his
signature flourishes,
such as angular rhythm,
drive, and punctuated
harmonies. A very strong
choice for your more
advanced ensembles in
contest or festival
performance. The
grandeur and spectacle of
Yosemite National Park is
the inspiration for the
music of Yosemite Falls.
Located in the northwest
corner of California,
this park continues to be
a natural wonder to all
who visit it each year.
The falls are
particularly beautiful in
the spring when all the
snow from winter is
melting away.The piece
begins with a pulsing
rhythmic figure that will
return periodically
throughout the piece.
Bring out the dynamic
contrast in the section
that follows at m. 9. The
main melody appears at m.
17 and should have a
light and airy feel to
it. The secondary melody
comes in at m. 30 and has
a much more legato and
lyrical quality. This
melody continues to grow
and expand until m. 44
when the opening rhythmic
idea returns. This rhythm
gets developed further
throughout the nextfew
sections until the main
and secondary melodies
collide at m. 67. Bring
out the inner lines to
create a lush
accompaniment. This
culminates in a unison
statement of the melody
at m. 83. The silence on
the downbeat of m. 84
creates space and
anticipation for the
pulsing rhythms that gain
momentum to the exciting
conclusion.
About Carl
Fischer Concert String
Orchestra
Series Thi
s series of pieces (Grade
3 and higher) is designed
for advancing ensembles.
The pieces in this series
are characterized
by: - Expanded use
of rhythms, ranges and
keys but technical
demands are still
carefully
considered
- More
comprehensive bowing
techniques
- Viola
T.C.
included
- Careful
selection of keys and
degree of difficulty for
advancing
musicians
$9.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Spring Unfolding Orchestre d'harmonie - Débutant Carl Fischer
Band Concert Band - Grade 1 SKU: CF.BPS106 Composed by Peter Terry. SWS F...(+)
Band Concert Band - Grade
1 SKU: CF.BPS106
Composed by Peter Terry.
SWS FS. Carl Fischer
Beginning Performance
Series. Set of Score and
Parts. With Standard
notation.
8+2+8+2+5+2+2+8+3+6+3+1+1
+2+3+16+2 pages. Duration
2:10. Carl Fischer Music
#BPS106. Published by
Carl Fischer Music
(CF.BPS106). ISBN
9781491147153. UPC:
680160904655. 9 x 12
inches. Spring
Unfolding celebrates the
possibilities of new
life, as trees and
growing plants follow the
light and green emerges
to cover the remains of
winter. The piece begins
with a contemplative
opening before diving
into a liltingly tuneful
3/4 melody. Delightfully
unique, this piece is
perfect for
beginners. $55.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Spring Unfolding Orchestre d'harmonie - Débutant Carl Fischer
Band Concert Band - Grade 1 SKU: CF.BPS106F Composed by Peter Terry. SWS....(+)
Band Concert Band - Grade
1 SKU: CF.BPS106F
Composed by Peter Terry.
SWS. Carl Fischer
Beginning Performance
Series. Full score. With
Standard notation. 16
pages. Duration 2:10.
Carl Fischer Music
#BPS106F. Published by
Carl Fischer Music
(CF.BPS106F). ISBN
9781491147856. UPC:
680160905355. 9 x 12
inches. Spring
Unfolding celebrates the
possibilities of new
life, as trees and
growing plants follow the
light and green emerges
to cover the remains of
winter. The piece begins
with a contemplative
opening before diving
into a liltingly tuneful
3/4 melody. Delightfully
unique, this piece is
perfect for
beginners. $7.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| A Small Part of the World Voix d'Enfants Alfred Publishing
Sally K. Albrecht. Children's Musicals and Programs. Choral. Published by Alfred...(+)
Sally K. Albrecht.
Children's Musicals and
Programs. Choral.
Published by Alfred
Publishing.
$27.50 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Zephyrus - Intermédiaire Carl Fischer
Orchestra Cello, Contrabass, Viola, Violin 1, Violin 2 - Grade 3 SKU: CF.CAS1...(+)
Orchestra Cello,
Contrabass, Viola, Violin
1, Violin 2 - Grade 3
SKU: CF.CAS138
Composed by Todd Parrish.
Carl Fischer Concert
String Orchestra Series.
Set of Score and Parts.
16+16+10+10+10+12 pages.
Duration 3 minutes, 10
seconds. Carl Fischer
Music #CAS138. Published
by Carl Fischer Music
(CF.CAS138). ISBN
9781491160534. UPC:
680160919123. Named
for the West Wind, this
Grade 3 original work
makes use of quarter and
eighth note triplets to
depict a sense of
swirling motion. A
forward- moving theme is
passed between sections
in the orchestra
accompanied by a steady,
march-like staccato
pulse. The opening B
minor theme rises and
falls, giving way to a
faster, rhythmic section
in D major. Ascending and
descending scale passages
are exchanged between
voices with a light,
springy spiccato. The
music swells with
crescendos and
decrescendos portraying
the sweeping ebb and flow
of the wind. The primary
minor theme returns with
a dramatic unison
statement in the violins,
shifting modally as it
builds to a momentous
finale. An excellent
piece for working on
extended finger patterns,
bowing styles, and
dynamic changes. Named
for the West Wind, this
Grade 3 original work
makes use of quarter and
eighth note triplets to
depict a sense of
swirling motion. A
forward- moving theme is
passed between sections
in the orchestra
accompanied by a steady,
march-like staccato
pulse. The opening B
minor theme rises
andfalls, giving way to a
faster, rhythmic section
in D major. Ascending and
descending scale passages
are exchanged between
voices with a light,
springy spiccato. The
music swells with
crescendos and
decrescendos portraying
the sweeping ebb and flow
of the wind. The primary
minor theme returns with
a dramatic unison
statement in the violins,
shifting modally as it
builds to a momentous
finale. An excellent
piece for working on
extended finger patterns,
bowing styles, and
dynamic changes.
About Carl
Fischer Concert String
Orchestra
Series Thi
s series of pieces (Grade
3 and higher) is designed
for advancing ensembles.
The pieces in this series
are characterized
by: - Expanded use
of rhythms, ranges and
keys but technical
demands are still
carefully
considered
- More
comprehensive bowing
techniques
- Viola
T.C.
included
- Careful
selection of keys and
degree of difficulty for
advancing
musicians
$60.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
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