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176
Andante con moto, second movement of Symphony No. 4 "The Italian"
Instrumental Solo - Level 4 - Digital Download SKU: A0.1089791 By RiverBells Sacram…
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Instrumental Solo - Level 4 - Digital Download SKU: A0.1089791 By RiverBells Sacramento. By Felix Bartholdy Mendelssohn. Arranged by Paul W. Allen and Susan Coddington-Allen. Classical. Individual part. 13 pages. Allen/Myer Musicals #694004. Published by Allen/Myer Musicals (A0.1089791). Andante con moto is a lyrical section of Mendelssohn's bombastic Fourth Symphony. This arrangement contains all the notes of the symphonic work, but is cast to the specific timbre of the English handbell, combining all six octaves of bells with four octaves of selected chimes. The arrangement is particularly delightful due to its charming melody, varied handbell techniques, challenging dynamics, and alternating but related keys. It is a grand concert piece certain to please both ringer and audience. The price below allows you purchase of 10 copies.
$44.99
41.29 €
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RiverBells Sacramento
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Andante con moto, second movement of Symphony No. 4 "The Italian"
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Allen/Myer Musicals
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SheetMusicPlus
Carson Cooman Enchanted Tracings (Piano Concerto No. 2) (2008) for solo piano and wind ensemble, com
Large Ensemble Bassoon,Clarinet,English Horn,Flute,Multi-Percussion,Oboe,Piano,Timpani,Tro…
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Large Ensemble Bassoon,Clarinet,English Horn,Flute,Multi-Percussion,Oboe,Piano,Timpani,Trombone,Trumpet,Tuba - Level 5 - Digital Download SKU: A0.533711 Composed by Carson Cooman. Contemporary. Score and parts. 76 pages. Musik Fabrik Music Publishing #3041107. Published by Musik Fabrik Music Publishing (A0.533711). Enchanted Tracings (Piano Concerto No. 2) (2008) for solo piano and wind ensemble wascommissioned for a consortium of Donna Amato, piano, the Carnegie Mellon Wind Ensemble,Denis Colwell, conductor; Keith Kirchoff, piano, the Harvard Wind Ensemble, Thomas G. Everett,Mark Olson, conductors; and Nora Skuta, piano, the Slovak Radio Symphony Winds, Kirk Trevor,conductor. These three marvelous piano soloists served as the inspiration for the work. Theconcerto bears the dedication “for Walter Simmons, a hero for the cause of American music.â€Musicologist Walter Simmons has been an inspirational and passionate advocate for seriousAmerican concert music for nearly his entire life. Through his tireless efforts as author, critic, recordand concert producer, and lecturer, Walter has brought myriad composers and works to muchdeservedattention.The basic musical material for the entire work is presented near the outset, the pitches Eb – D – G –Ab – E. This cell is used throughout the rest of the concerto both motivically, in transformation, andas a harmonic structural device. Its harmonic identity creates the mix of tonal/modal and atonalconstructs that are a preoccupation of my music. The concerto’s title provided the poetic ideabehind the musical development. Though more or less equal with the ensemble in the firstmovement, the piano clearly takes over as leader in the second and third movements as the goaldirectedformal narrative of the movements becomes more obvious.The first movement, Murky Waters, is a free fantasy in which the piano and ensemble “unpack†themusical potential of the basic material. A number of melodic ideas emerge—some lyrical and somedisjunct. A brief coda prepares for the next movement.The second movement, The Forgotten, is a lament led by the piano. The harmonic colors of thepiano’s sustaining sounds interact with the more linear textures of the winds and brass.The third movement, Casting Infinity, is purposeful and structured as a march with trio. The spikymelodic material is treated in a variety of manners (including very tonally within the trio) before areturn of material from the first movement pushes the concerto towards its conclusion.InstrumentationPiccolo2 Flutes2 OboesEnglish Horn2 Clarinets in BbBass Clarinet in Bb2 BassoonsContrabassoon4 Horns in F3 Trumpets in C2 TrombonesTubaTimpaniPercussion (2 players)I: crotales, bass drum, tenor drumII: vibraphone (motor off), suspended cymbal(Percussion II needs one rosined bow.)Solo Piano(The above scoring is exact—with a single player on each part. Under no circumstances, should thework be performed with any substitutions, doublings, or increase of players on individual parts.)This item contains the complete wind ensemble parts. The score plus solo part are for sale as another item. Individual parts are also for sale.
$77.95
71.53 €
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Carson Cooman
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Carson Cooman Enchanted Tracings
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Musik Fabrik Music Publishing
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SheetMusicPlus
Carson Cooman: Enchanted Tracings (Piano Concerto No. 2) (2008) for solo piano and wind ensemble, sc
Large Ensemble Bassoon,Clarinet,English Horn,Flute,Multi-Percussion,Oboe,Piano,Timpani,Tro…
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Large Ensemble Bassoon,Clarinet,English Horn,Flute,Multi-Percussion,Oboe,Piano,Timpani,Trombone,Trumpet,Tuba - Level 5 - Digital Download SKU: A0.533710 Composed by Carson Cooman. Contemporary. Score and parts. 83 pages. Musik Fabrik Music Publishing #3041105. Published by Musik Fabrik Music Publishing (A0.533710). I. Murky WatersII. The ForgottenIII. Casting InfinityEnchanted Tracings (Piano Concerto No. 2) (2008) for solo piano and wind ensemble was commissioned for a consortium of Donna Amato, piano, the Carnegie Mellon Wind Ensemble, Denis Colwell, conductor; Keith Kirchoff, piano, the Harvard Wind Ensemble, Thomas G. Everett,Mark Olson, conductors; and Nora Skuta, piano, the Slovak Radio Symphony Winds, Kirk Trevor, conductor. These three marvelous piano soloists served as the inspiration for the work. The concerto bears the dedication “for Walter Simmons, a hero for the cause of American music.†Musicologist Walter Simmons has been an inspirational and passionate advocate for seriousAmerican concert music for nearly his entire life. Through his tireless efforts as author, critic, recordand concert producer, and lecturer, Walter has brought myriad composers and works to muchdeserved attention. The basic musical material for the entire work is presented near the outset, the pitches Eb – D – G –Ab – E. This cell is used throughout the rest of the concerto both motivically, in transformation, and as a harmonic structural device. Its harmonic identity creates the mix of tonal/modal and atonal constructs that are a preoccupation of my music. The concerto’s title provided the poetic idea behind the musical development. Though more or less equal with the ensemble in the first movement, the piano clearly takes over as leader in the second and third movements as the goaldirected formal narrative of the movements becomes more obvious. The first movement, Murky Waters, is a free fantasy in which the piano and ensemble “unpack†the musical potential of the basic material. A number of melodic ideas emerge—some lyrical and some disjunct. A brief coda prepares for the next movement. The second movement, The Forgotten, is a lament led by the piano. The harmonic colors of thepiano’s sustaining sounds interact with the more linear textures of the winds and brass. The third movement, Casting Infinity, is purposeful and structured as a march with trio. The spiky melodic material is treated in a variety of manners (including very tonally within the trio) before areturn of material from the first movement pushes the concerto towards its conclusion.InstrumentationPiccolo2 Flutes2 OboesEnglish Horn2 Clarinets in BbBass Clarinet in Bb2 BassoonsContrabassoon4 Horns in F3 Trumpets in C2 TrombonesTubaTimpaniPercussion (2 players)I: crotales, bass drum, tenor drumII: vibraphone (motor off), suspended cymbal(Percussion II needs one rosined bow.)Solo Piano(The above scoring is exact—with a single player on each part. Under no circumstances, should the work be performed with any substitutions, doublings, or increase of players on individual parts.)This is the full score and the solo part. The complete parts and seperate parts are available for sale on this site.
$29.95
27.48 €
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Carson Cooman
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Carson Cooman: Enchanted Tracings
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Musik Fabrik Music Publishing
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SheetMusicPlus
Suite for Baroque Ensemble in 5 Movements
Large Ensemble Cello,Guitar,Harpsichord,Lute,Piano,Viola,Violin - Digital Download SKU:…
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Large Ensemble Cello,Guitar,Harpsichord,Lute,Piano,Viola,Violin - Digital Download SKU: A0.730231 Composed by James Nathaniel Holland. Contemporary,Jazz. Score and parts. 152 pages. James Nathaniel Holland #368313. Published by James Nathaniel Holland (A0.730231). Suite for Baroque Ensemble contains 5 varied movements: I. Tea Time II. Serenade III. Winter Tempests IV. The Spell and the popular V. Casanova. These pieces display grace, elegance and virtuosity. Updated styles for an old group of instruments. Lute can be substituted for guitar and the piano for harpsichord. Great program of 21st century music for concerts or recital in contrast to Baroque music. Full score and parts are included. Duration: 20 min.
$18.95
17.39 €
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James Nathaniel Holland
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Suite for Baroque Ensemble in 5 Movements
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James Nathaniel Holland
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SheetMusicPlus
Concerto in C for Flute and Harp - II Movement
Small Ensemble Cello,Clarinet,Double Bass,Flute,Harp,Oboe,Violin - Level 5 - Digital Downl…
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Small Ensemble Cello,Clarinet,Double Bass,Flute,Harp,Oboe,Violin - Level 5 - Digital Download SKU: A0.511131 By Various. By Wolfgang Amadeus Mozart. Arranged by Dico. Classical,Wedding. Score and parts. 34 pages. Dico Ferreira #122057. Published by Dico Ferreira (A0.511131). WEDDING SERIES - a set of popular songs and wedding standards that I have arranged for years. The formations are varied, from duos to orchestras with choir. The majority are mixed/flexible sextets in which some instruments can be replaced and the ensembles can be totally changed. Some arrangements have shortened versions. These options are provided in my catalogue.CONCERTO IN C FOR FLUTE AND HARP- Flute solo- Part 2: Oboe (Clarinet)- Harp solo- Violin 1, 2- Cello- Double bass
$22.00
20.19 €
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Various
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Concerto in C for Flute and Harp - II Movement
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Dico Ferreira
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SheetMusicPlus
Handel: Seven Pieces from Water Music for Piano Quintet
Piano Quintet,String Ensemble Piano - Level 3 - Digital Download SKU: A0.552018 Com…
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Piano Quintet,String Ensemble Piano - Level 3 - Digital Download SKU: A0.552018 Composed by George Friderick Handel (1685-1756). Arranged by James M. Guthrie. Baroque,Instructional,Standards,Wedding. Score and parts. 43 pages. Jmsgu3 #6053173. Published by jmsgu3 (A0.552018). Seven popular pieces from Handel's Water Music - most often requested for weddings. Score: 16 pages, Duration 12:15. Players may read from the score, or from the included instrumental parts.Contents: 1. Air2. Minuet3. Bourrée4. Hornpipe5. Rigaudon6. Minuet7. AndanteHandel's Water Music is one of his most famous compositions. It was written for King George I's pleasure barge trip along the River Thames in 1717. The Water Music is divided into three suites, each containing a variety of movements. The music features a mix of dance rhythms such as minuets, bourrees, and hornpipes, along with lively fanfares and slower, more stately airs. Its combination of light and playful music with grandeur and pomp has made it one of the most beloved pieces of classical music. Water Music has been performed by many orchestras and is a popular choice for special occasions, such as coronations and weddings. Its enduring popularity has helped to make it one of Handel's most famous and beloved compositions.Weddings during the time of Handel were usually quite extravagant affairs. The ceremony was typically held in a church and was accompanied by a full orchestra. Handel's own compositions were frequently used to provide the music for the ceremony. This was especially true in London, where Handel was based and where his music was extremely popular. Handel wrote a number of pieces specifically for use at weddings, including the popular Wedding Anthem and the Wedding Anthem in D Major. Handel's music provided a sense of grandeur and elegance to the proceedings and was often used to give the wedding an extra special touch.The festivities following the ceremony were also often quite lavish, with a large feast and plenty of dancing. Handel's music was often used to provide the background music for the dancing, and he wrote many dance suites that were specifically designed for this purpose. The bride and groom would often have a special dance to the music of Handel's Water Music, a particularly popular piece for the occasion. Guests at the wedding would be treated to a variety of Handel's works, ranging from his operas to his oratorios, which often had a spiritual or religious theme. Handel's music provided a sense of joy and celebration to the wedding and helped make it an occasion to remember.
$38.95
35.74 €
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George Friderick Handel
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Handel: Seven Pieces from Water Music for Piano Quintet
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jmsgu3
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SheetMusicPlus
CHRISTMAS CONCERTO - WOODWIND QUARTET - Adagio and Allegro Movements, Concerto VIII Op. 6 No. 8, Fa
Woodwind Ensemble,Woodwind Quartet Bassoon,Clarinet,Flute - Level 3 - Digital Download …
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Woodwind Ensemble,Woodwind Quartet Bassoon,Clarinet,Flute - Level 3 - Digital Download SKU: A0.521657 Composed by A. Corellii. Arranged by Sherry Lewis. Baroque,Christmas,Sacred. 38 pages. Sherry Lewis Publishing #6302089. Published by Sherry Lewis Publishing (A0.521657). Christmas Concerto, Corelli, Adagio and Allegro for Woodwind Quartet, Intermediate Level, two flutes, clarinet and bassoon Score: 3 pages parts: 4 pages time: 2'30 Please visit https://www.sheetmusicplus.com/search?Ntt=sherry+lewis+publishing for all of the titles I offer. If you can’t find a title then contact me through stringquartet@hotmail.com and I’ll give you the link back to Sheet Music Plus’s listing. VERSATILE Titles that include four parts are written with the idea that they can be performed with 1, 2, 3 or 4 musicians. Most of the contemporary/popular titles include a chord chart for a bass instrument. PRACTICE needs would vary according to the level of the performers but my goal is to be sight-readable for most performers and groups. AUDIO SAMPLE The 30 second mp3 is frequently shortened and may not start at the introduction to get to the reprise. The actual introduction will be in the sheet music. LISTENABILITY I have performed thousands of weddings and special events. I make it a goal for the music to carry as well as possible through loud and large space situations. ARRANGEMENTS usually follow the original version. There is an mp3 where you can hear 30 seconds and get a feeling of the originality of the work. EXCELLENT for corporate events, weddings, social gatherings and recitals. APPROPRIATE for students and schools. CHURCH REPERTOIRE I’m always adding more titles. Thank you for your purchase!
$6.50
5.96 €
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A
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CHRISTMAS CONCERTO - WOODWIND QUARTET - Adagio and Allegro Movements, Concerto VIII Op. 6 No. 8, Fa
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Sherry Lewis Publishing
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SheetMusicPlus
Concerto in C for Flute and Harp - II Movement
Small Ensemble Cello,Clarinet,Double Bass,Flute,Harp,Oboe,Violin - Level 5 - Digital Downl…
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Small Ensemble Cello,Clarinet,Double Bass,Flute,Harp,Oboe,Violin - Level 5 - Digital Download SKU: A0.842943 Composed by Wolfgang Amadeus Mozart. Arranged by Dico. Classical,Wedding. Score and parts. 34 pages. Dico #6418229. Published by Dico (A0.842943). WEDDING SERIES - a set of popular songs and wedding standards that I have arranged for years. The formations are varied, from duos to orchestras with choir. The majority are mixed/flexible sextets in which some instruments can be replaced and the ensembles can be totally changed. Some arrangements have shortened versions. These options are provided in my catalogue.CONCERTO IN C FOR FLUTE AND HARP- Flute solo- Part 2: Oboe (Clarinet)- Harp solo- Violin 1, 2- Cello- Double bass
$22.00
20.19 €
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Wolfgang Amadeus Mozart
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Concerto in C for Flute and Harp - II Movement
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Dico
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SheetMusicPlus
Suite No. 1
Guitar - Advanced - Digital Download SKU: ZZ.DZ-4308 Composed by Giorgio Mirto. Sco…
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Guitar - Advanced - Digital Download SKU: ZZ.DZ-4308 Composed by Giorgio Mirto. Score. 24 pages. Les Productions d'OZ - Digital #DZ 4308. Published by Les Productions d'OZ - Digital (ZZ.DZ-4308). Following a recent experience on the jury of a guitar competition, I noted with great pleasure that Giorgio Mirto, with whom I had shared the role of juror, wanted to celebrate the experience of the competition - during from which we discovered that we had had a great affinity of thought - with something which could endure over time and not evaporate as often happens in short and occasional meetings between musicians. He did it as a true composer, which he is, and dedicated to me a very beautifully crafted Suite to which I allowed myself to collaborate at least formally, by suggesting titles for the four movements. This is how Suite n.1 was born, a piece that does not strictly respect the formal rules of the Baroque era, but reinterprets and reuses them in a new key. The work's obvious late Baroque inspiration led me to find titles that invited the performer to delve deeper into the work's aesthetic inspiration. So I suggested to Giorgio that he title the four movements with something that linked their content to four greats of the 18th century. German masters. The prelude has thus become from Eisenach because of its sometimes improvised Bach-like atmosphere, the second movement, vaguely toccata, speaks an organ language in the manner of Buxtehude (who lived in Lübeck), the slow movement has a Handelian quality - and Handel was born in Halle - and the last movement, far from being a true Chaconne, undoubtedly has the latter's taste for variation and ostinato, typical traits of Telemann who lived in Magdeburg. The cities that appear in the titles are therefore indelible to the authors cited. Furthermore, one should not think that the style of the work is in any way German, given that Giorgio Mirto expresses himself in a very joyful language that synthesizes modality with minimalism, all seasoned with a a nod to Pink's progressive rock Floyd. or a Mike Oldfield... The result of this mixture of ideas, inspirations and styles is a work that personally I never tire of reading and rereading, for the freshness that emanates from it and for the climate expressive which rises, nourishing itself with full efficiency. We ultimately cannot ignore that the note B, the one which marks in a minor way some of the most expressive works of the guitar repertoire, from the study of Sor which made generations of students fall in love with the guitar, until to that of Frank Martin's Four Pieces via La Catedral di Barrios, is the modal fulcrum of the entire Suite: it is true that the Prelude begins with a clear chord in E minor and lingers on an open ending in A minor , but it almost seems that the initial E serves as a launching pad for a continuation of the work in which the dominant, that is to say the B, is the true musical North, the pole star which guides us in the other three movements until the end of the Chaconne de Magdebourg. I wish Giorgio and our Suite great longevity and a favorable destiny in the complex and complex world of contemporary guitar composition. And I thank him again, flattered by his very kind dedication.FRANCESCO BIRAGHIAu lendemain d'une récente expérience au sein du jury d'un concours de guitare, j'ai constaté avec grand plaisir que Giorgio Mirto, avec qui j'avais partagé le rôle de juré, souhaitait célébrer l'expérience du concours - au cours de laquelle nous avons découvert que nous avions eu un grand affinité de pensée - avec quelque chose qui pourrait perdurer dans le temps et ne pas s'évaporer comme cela arrive souvent lors de rencontres courtes et occasionnelles entre musiciens. Il l'a fait en véritable compositeur, ce qu'il est, et m'a dédié une Suite d'une très belle facture à laquelle je me suis permis de collaborer au moins formellement, en suggérant des titres pour les quatre mouvements. C'est ainsi qu'est née la Suite n.1, une pièce qui ne respecte pas strictement les règles formelles de l'époque baroque, mais les réinterprète et les réutilise dans une nouvelle tonalité. L'inspiration évidente du baroque tardif de l'œuvre m'a amené à trouver des titres qui invitaient l'interprète à approfondir l'inspiration esthétique de l'œuvre. J'ai donc suggéré à Giorgio de titrer les quatre mouvements avec quelque chose qui reliait leur contenu à quatre grands du XVIIIe siècle. Maîtres allemands. Le prélude est ainsi devenu d'Eisenach en raison de son atmosphère parfois improvisée à la Bach, le deuxième mouvement, vaguement toccata, parle un langage d'orgue à la manière de Buxtehude (qui vivait à Lübeck), le mouvement lent a un Qualité haendélienne - et Haendel est né à Halle - et le dernier mouvement, loin d'être une véritable Chaconne, a sans doute le goût de cette dernière pour la variation et l'ostinato, traits typiques de Telemann qui vivait à Magdebourg. Les villes qui apparaissent dans les titres sont donc indélébiles aux auteurs cités. De plus, il ne faut pas penser que le style de l'œuvre soit en aucune façon allemand, étant donné que Giorgio Mirto s'exprime dans un langage très joyeux qui synthétise la modalité avec le minimalisme, le tout assaisonné d'un clin d'œil au rock progressif Floyd de Pink. ou un Mike Oldfield... Le résultat de ce mélange d'idées, d'inspirations et de styles est un ouvrage que personnellement je ne me lasse pas de lire et de relire, pour la fraîcheur qui s'en dégage et pour le climat expressif qui monte, se nourrissant de plein efficacité. On ne peut finalement pas ignorer que la note B, celle qui marque de manière mineure certaines des œuvres les plus expressives du répertoire de guitare, depuis l'étude de Sor qui a fait tomber amoureux de la guitare des générations d'étudiants, jusqu'à celle de Frank Martin Quatre Pièces via La Catedral di Barrios, est le point d'appui modal de toute la Suite : il est vrai que le Prélude commence par un accord clair en mi mineur et s'attarde sur une fin ouverte en la mineur, mais il semble presque que le mi initial sert de une rampe de lancement pour une suite de l'œuvre dans laquelle la dominante, c'est-à-dire le B, est le véritable Nord musical, l'étoile polaire qui nous guide dans les trois autres mouvements jusqu'à la fin de la Chaconne de Magdebourg. Je souhaite à Giorgio et à « notre » Suite une grande longévité et un destin favorable dans le monde complexe et complexe de la composition contemporaine pour guitare. Et je le remercie encore, flatté de son très aimable dévouement.FRANCESCO BIRAGHI.
$10.95
10.05 €
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Giorgio Mirto
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Suite No. 1
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Les Productions d'OZ - Digital
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SheetMusicPlus
An Adagio Suite, in Three Movements for Small Ensembles, (String Quartet or Various Combinations)
Composed by James Nathaniel Holland. 21st Century, Wedding, Funeral, Graduation, Recital. …
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Composed by James Nathaniel Holland. 21st Century, Wedding, Funeral, Graduation, Recital. Score, Set of Parts. 99 pages. Published by James Nathaniel Holland (S0.223991). - Score,Set of Parts - 21st Century,Wedding,Funeral,Graduation,Recital - James Nathaniel Holland
$18.95
17.39 €
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James Nathaniel Holland
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An Adagio Suite, in Three Movements for Small Ensembles,
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James Nathaniel Holland
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SheetMusicPlus
Kör ad lib. Grön
Various - Digital Download SKU: BJ.1104 Composed by Various. Arranged by Gunnar Eri…
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Various - Digital Download SKU: BJ.1104 Composed by Various. Arranged by Gunnar Eriksson. Octavo. 89 pages. Bo Ejeby Forlag - Digital #1104. Published by Bo Ejeby Forlag - Digital (BJ.1104). 8.27 x 11.7 inches.French and Swedish folksongs are the foundation for the models of improvisation and arrangements that are presented in this booklet for choirs on all levels.The idea of this book is to provide the choral conductor and the choir with a way into a somewhat more liberated way of working less tied to sheet music. Or if you wish: let the ears be more important than the eyes, and the body more important than the brain in the first encounter with the music. I present some simple, more or less ancient, ideas on composition and collective improvisation. You can create your own building kits, which in turn can develop into soundscapes. This can also serve as an invitation to the choir to, in a playful manner, approach the contemporary music and its ways of expression. - Gunnar ErikssonNotes in Swedish, French and English.Contents: Cris et chants de bergers Kuleken Voici le joli mois de Mai Majvisa Varvindar friska / Le murmure de vent In vernali tempore Den blomstertid nu kommer / Arrive le temps allegre Tempus adest floridum Voici l'hiver passe / Nu vintern tar adjo Voici le mois de mai Vatnsdaelinga Voila le printemps Tourdion Limu limu lima Rossignol du bois sauvage En gang i bredd med mig / Un jour devant l'autel J'entends dans le bocage La douce pensee Loyaute vueil toujours maintenir Kling, klang, klockan slar / Ding, dong sonne la cloche Rossignolet du bois / Nu ar en ljuvlig tid Jag vet en dejlig rosa / Une rose dans la nature La segaireta Gladjens blomster / Les fleurs de la joie Y'a pas d'amour sans peine Vem kan segla / Qui peut faire de la voile Devinez ce qu'il y a Martolodet, d'in o leret Vinden drar / Vent leve Vinden drar / Martolodet Vi aro musikanter / Nous sommes des musicienes O lo compogno / Vi aro musikanter Vi aro musikanter - quodlibet Ma mer' m'envoie-t-au marche Bon vin Kyrie Gloria Toi qui vient pour tout sauver / Varldens Fralsare kom har.
$20.00
18.35 €
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Various
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Kör ad lib. Grön
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Bo Ejeby Forlag - Digital
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SheetMusicPlus
Concert and Contest Collections - Tenor Saxophone (Tenor Saxophone solo part)
Bb Tenor Saxophone - Solo Part Saxophone; Tenor Saxophone - Grade 3-4 SKU: HL.4471710
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Bb Tenor Saxophone - Solo Part Saxophone; Tenor Saxophone - Grade 3-4 SKU: HL.4471710 Solo Book Only. Edited by H. Voxman. Concert Band Method. Rubank Solo Collection. Classical, Contest, Solos. Softcover. 24 pages. Rubank Publications #RUBL300A. Published by Rubank Publications (HL.4471710). ISBN 9781423445517. UPC: 073999717105. 9.0x12.0x0.07 inches.A top-rated collection of solo literature offering each instrument a variety that is simply superb. A very high percentage of the solos in these books are included on various state contest lists. Piano accompaniments published separately.
Song List
: Air Gai (Berlioz) Andante & Allegro (Clerisse) Morceau De Concours (Alary) Prem.Solo De Concours (Maniet) Adagio & Allegro (Handel) Horn Concerto, 1st Movement Mozart Persiflage Serenade & Scherzo (Ostransky) Two Short Pieces (Handel) Waltz & Galop (Kabalevsky) Andante Cantabile Largo And Allegro Sarabande And Gavotte, Op. 5 Adagio And Finale Andante And Allegro
$8.99
8.25 €
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Concert and Contest Collections - Tenor Saxophone
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Rubank Publications
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SheetMusicPlus
Concert and Contest Collections - Tuba (Tuba Solo Part)
Eb or BBb Bass (Tuba) - Solo Part Tuba - Grade 3-4 SKU: HL.4471810 Solo Book Onl…
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Eb or BBb Bass (Tuba) - Solo Part Tuba - Grade 3-4 SKU: HL.4471810 Solo Book Only. Edited by H. Voxman. Concert Band Method. Rubank Solo Collection. Classical, Contest, Solos. Softcover. 24 pages. Rubank Publications #RUBL311. Published by Rubank Publications (HL.4471810). ISBN 9781423444831. UPC: 073999718102. 9.0x12.0x0.086 inches.A top-rated collection of solo literature offering each instrument a variety that is simply superb. A very high percentage of the solos in these books are included on various state contest lists. Piano accompaniments published separately.
Song List
: Air Gai (Berlioz) Andante & Allegro (Clerisse) Morceau De Concours (Alary) Prem.Solo De Concours (Maniet) Adagio & Allegro (Handel) Horn Concerto, 1st Movement Mozart Persiflage Serenade & Scherzo (Ostransky) Two Short Pieces (Handel) Waltz & Galop (Kabalevsky) Andante Cantabile Largo And Allegro Sarabande And Gavotte, Op. 5 Adagio And Finale Andante And Allegro
$7.99
7.33 €
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Concert and Contest Collections - Tuba
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Rubank Publications
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SheetMusicPlus
Elemental Spiral (2005) for soprano saxophone, violoncello, multi-percussion
Small Ensemble Cello,Multi-Percussion,Soprano Saxophone - Digital Download SKU: A0.9342…
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Small Ensemble Cello,Multi-Percussion,Soprano Saxophone - Digital Download SKU: A0.934204 Composed by Mark Zanter. Contemporary. Score and parts. 24 pages. MJIC Music Publishing (ASCAP) #3130833. Published by MJIC Music Publishing (ASCAP) (A0.934204). Elemental Spiral is the result of some of my recent work linking elemental aspects of esoteric. The work begins with an electronic prelude, and moves to the instrumental portion at about 4:00.healing and vibration (sound). The concept of matter and form being integrally connected and influenced/formed by sound has been studied since ancient times, and myths from various world cultures mention gods or beings that could manifest form from matter through their voice. Recent work by Hans Jenny verifies the connection between sound and form (see Cymatics).Similarly, the power of music to affect response in individuals is a popular subject of ancient and modern writers. My interest in the work stems from observing how people react to my music, in which I believe certain thoughts and feelings are somehow encoded, transmitted and received during performance. My research stems from a desire to increase my own awareness of sound, its affect, and to connect this to my art. The integration of dance with the music creates a visual relationship that marries the sound and its intention.Elemental Spiral maps elemental associations (earth, water, fire, and air) to the musical context in a deliberate fashion. At this stage my associations are fairly literal, and various qualities (i.e. earth=slow, fire=energetic, air=fast frenetic) are mapped directly onto musical material. The associations become richer when one state changes to another or comes into being (water->air, becoming earth etc.) and when various qualities are mixed (air-pitch with earth rhythm etc.).The intended effect is an overall balancing of the musical structure with desirable or pleasing proportions (the age old compositional question). This balancing is well known to all of us, for instance-elementally-much of Beethoven’s music moves between water and fire elements (mapping of speed and pitch), and the tempos of symphonic movements fast-slow-med. fast-fast is an affirmation that a balance of tempi and musical content is found to be pleasing.I express my deepest gratitude to Donald Laney who choreographed the dance for this work. He was somehow able to convert my musings into movement and in the process far exceeded my expectations. Special thanks also to the WV Commission on the Arts and the NEA whose support made the creation of this work possible.Elemental Spiral is suitable for advanced performers.Performance materials available for purchase from the publisher: mjicmusicpublishing@gmail.com
$7.99
7.33 €
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Mark Zanter
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Elemental Spiral
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MJIC Music Publishing
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SheetMusicPlus
Playing with Scales
Guitar - Level 2 - Digital Download SKU: A0.1314698 Composed by Richard Hirsch. Ins…
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Guitar - Level 2 - Digital Download SKU: A0.1314698 Composed by Richard Hirsch. Instructional. Educational Exercises. 8 pages. Richard Hirsch #903442. Published by Richard Hirsch (A0.1314698). Many amateur guitarists and beginning students of guitar are ‘stuck in the first position’. The rest of the fretboard is ‘terra incognita’. They don’t know where the notes are and they don’t know how to get to them and use them in playing melodies. To help remedy this situation, I offer a collection of scales and exercises I have developed over the years that have helped me master the fretboard of the guitar and that I have used to warm up my left and right hands before practicing or playing proper pieces. Guitarists afraid to move up the fretboard miss out on all the tonal nuances that the guitar has to offer. They also often have undeveloped left hand technique with a little finger that flies around helplessly and uselessly. These scales and exercises will, if played regularly, put the little finger to good use and guide the left hand to orient to the fretboard properly, staying close to the fretboard with fingers that move as little and as efficiently as possible. They are also relaxing and fun to play around with. I read somewhere a while back that medical science had found that pianists were less likely to develop brain diseases. The scientists attributed this to the many hours pianists spend playing scales, as this is like a gentle brain massage. So scales are not only good warm up exercises for the fingers but also good warm-ups for the brain.The scale exercises written here in the keys of G and C should be played in different keys in higher positions on the fretboard. Students can try to see just how far up the neck they can go to reach the highest notes. After a while, what seemed challenging and strange will start to feel comfortable and familiar. Don’t hesitate to develop new variants of the scales when you grow tired of playing them as I propose here. Have fun playing and playing with the scales!The exercises often start in one position and move toward other higher or lower positions on the fretboard. When moving from one position to another, follow the suggested fingerings to utilise what is called a lead finger to move the hand to the next position. This will make the movement smooth and not interrupt the flow of the scale. In the end all movement should look and feel seamless and effortless.I have chosen scales in major keys I think are particularly good to play on the guitar. To practice a scale in a minor key, start the exercise in the related major key from the fundamental of the minor key, for example, to play an E minor scale start the G major exercise on an E and play from there. This is one way of creating new variants of these scales. Another way to vary the exercises is to play the scales in different time signatures or rhythms.I believe these exercises are particularly helpful for amateur guitarists who play in ensembles of different kinds, duos, trios, quartets, where the guitarist often only has one melodic line to play. Such melodies often sound much better played in higher positions where the guitar can be made to sing, rather than in the first position where the same tones, especially on open strings, often sound rather dull. From my own experience, I find that when I play a melody in a higher position using all the fingers of the left hand, the melody not only sounds better, the fingers remember the melody better.Â
$4.99
4.58 €
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Richard Hirsch
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Playing with Scales
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Richard Hirsch
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SheetMusicPlus
The Time Machine (Excerpts), an Accompanied Reading
Small Ensemble Cello,Flute,Guitar,Handbell,Multi-Percussion,Piano,Viola,Violin - Level 3 -…
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Small Ensemble Cello,Flute,Guitar,Handbell,Multi-Percussion,Piano,Viola,Violin - Level 3 - Digital Download SKU: A0.835782 Composed by Paul Burnell. Contemporary. Score and parts. 88 pages. Paul Burnell #3222659. Published by Paul Burnell (A0.835782). Composed 2017. One of a series of fourteen accompaniments to texts published between the years 1886 and 1899. Duration 30:00 For narrator and ensemble Text from the novella by H.G. Wells (1866 - 1946) published in 1895 The subtitles for each of the six movements are: Part 1 - the Model Part 2 - the Journey Part 3 - the Eloi Part 4 - the Morlocks Part 5 - the Eclipse Part 6 - the Ghost 'The Time Machine' is a science fiction novel by Herbert George Wells, published in 1895. H. G. Wells is commonly credited with the popularisation of the concept of time travel - using a vehicle that allows an operator to travel intentionally and selectively backwards or forwards in time. Ensemble instrumentation: Keyboard(s) - accordion, organ, glass harmonica, vibraphone, piano, toy piano, etc. Flute or tenor/bass recorder Violin or viola or violincello. Wine glass 1 tuned to Bb Wine glass 2 tuned to C - ideally a minor seventh below wine glass 1 Handbells, three players using bows and beaters: Voice or guitar (acoustic, electric or bass guitar) Percussion - Suspended cymbal, low drum(s), whirly tube(s), ‘found’ resonant instruments, plastic bag(s), singing bowl, guiro(s) There is no overall score. Performers (except percussion) play from a series of graphic scores. The percussion parts are written in more traditional notation. It is not necessary for the ensemble to contain all the instruments. If all instruments are available then the ensemble may vary the instrumentation, or omit instruments, for each of the movements, or within movements. The dynamic balance between players should be sympathetic to the forces available. This may mean, for example, that an accordion is muted or sited away from the other players. Effects such as reverberation or distortion may be applied to the instrumental sounds. Variety of expression is encouraged. The narrator’s text readings must each have a duration of under five minutes.For each of the six movements the ensemble begins playing one minute after the speaker. It is allowed for the movements to be performed as single pieces, and without the narration.
$7.95
7.3 €
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Paul Burnell
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The Time Machine
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Paul Burnell
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SheetMusicPlus
Spirituals
Instrumental Duet B-Flat Clarinet,Instrumental Duet,Piano - Level 4 - Digital Download …
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Instrumental Duet B-Flat Clarinet,Instrumental Duet,Piano - Level 4 - Digital Download SKU: A0.961264 Composed by Various trad. Arranged by James Sclater. Concert,Folk,Sacred,Spiritual. Score and parts. 49 pages. James S Sclater #5990999. Published by James S Sclater (A0.961264). These eight spirituals cover the spectrum from sad to pensive to joyous. These are ideal for use in church services and recitals. Most of the movements are ca. 3' in length; the total time for all eight is ca. 22-23'. These are popular with congregations and recital audiences alike. Two of the movements require basic improvisational skills, but the chord changes are simple in both cases. Difficulty level varies from movement to movement, but there is something here for the good high school player on up to a professional-level player.
$18.00
16.52 €
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Various trad
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Spirituals
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James S Sclater
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SheetMusicPlus
Lithuanian Nonet for winds & strings
A Clarinet,Bassoon,Cello,Double Bass,Flute,Horn,Oboe,Viola,Violin - Level 4 - Digital Down…
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A Clarinet,Bassoon,Cello,Double Bass,Flute,Horn,Oboe,Viola,Violin - Level 4 - Digital Download SKU: A0.1358397 Composed by Juozas ŽileviÄius. Arranged by Kazys DaugÄ—la. 20th Century,Classical. 162 pages. Kazys Daugela #942837. Published by Kazys Daugela (A0.1358397). Juozas ŽileviÄius (1891–1985) was an organist, composer, educator, and researcher in the history of music. In 1919, when graduating from the Petrograd Conservatory, he composed Symphony in F minor, the first Lithuanian composition in this genre. Upon his return to Lithuania in 1920, ŽileviÄius worked in various musical life spheres of the young republic: he took part in the activities of the Society of Lithuanian Art Creators, contributed to the establishment of Kaunas Opera House, worked for several years as the head of the Art Department at the Ministry of Education, prepared the first music curricula for secondary schools and progymnasiums, conducted courses for music teachers, taught at music schools in Kaunas and KlaipÄ—da, published a musical periodical, and initiated the first Lithuanian Song Festival. Musicologist DanutÄ— PetrauskaitÄ— managed to bring copies of three-movement Nonet for strings and wind instruments from Chicago to Lithuania. ŽileviÄius started writing it in December 1924. The composition was apparently inspired by the Czech Nonet members, working at KlaipÄ—da School of Music, who had been invited by its director Stasys Å imkus from Prague. This was a lively and youthful group that gave concerts all over Lithuania. It amazed audiences with its high artistic level and set an example for students, encouraging them to form various ensembles. The repertoire of the Czech Nonet consisted mainly of works from the Classical and Romantic eras. There were few contemporary compositions, and therefore the Czech Nonet performers turned to composers with a request to write new works for them. They might have discussed the matter with ŽileviÄius with whom they maintained a close relationship, as they did later with Lithuanian composer Jeronimas KaÄinskas.ŽileviÄius finished writing Nonet on 15 November 1926. All three movements were based on the intonations of Lithuanian folk melodies. The first movement (Andante. Allegro moderato) imitatively developed the motifs of the song “Autumn will Comeâ€, while the second one (Andante cantabile) featured fragments of the song I Rode through the Woodâ€, and the third one (Allegro) of the song “Oh, you Bird Cherryâ€. The composition was written professionally, it should have been attractive and interesting for the performers, but, unfortunately, it was never performed. The reasons for this could have been various: disagreements between the director of  KlaipÄ—da Music School, Å imkus, and his deputy, ŽileviÄius, as well a the Czech teachers’ falling into disgrace and starting to resign from their teaching positions in the autumn of 1926. A few years later, ŽileviÄius also resigned from the school: in January 1929 he left for the USA and settled in Elizabeth, New Jersey, where he worked as a church organist. He also brought his Nonet from KlaipÄ—da, hoping that this work would be heard in America. To this end, he found transcribers who made instrumental parts from the score. As it turned out, there were few Lithuanian instrumentalists in the USA, and ŽileviÄius did not have close relations with Americans. Thus Nonet, which the composer regarded as one of his most successful compositions after his Symphony in F minor, sank into oblivion. Thanks to Kazys DaugÄ—la, an opportunity appeared to edit and digitise it after the sheet music of Nonet had arrived in Lithuania. This work reveals the origins of the Lithuanian musical culture, enriches the repertoire of chamber-instrumental ensembles, broadens music education curricula, inks the name of ŽileviÄius, the author of both the first Lithuanian symphony and of the first nonet, in the history of music, and contributes to the preservation and fostering of the Lithuanian musical heritage.by Prof. Dr. DanutÄ— PetrauskaitÄ—.
$59.99
55.05 €
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Juozas ŽileviÄius
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Lithuanian Nonet for winds & strings
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Kazys Daugela
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SheetMusicPlus
Grieg: 4 Norwegian Dances Op.35 No.III Allegro moderato alla Marcia - wind dectet/bass
Bassoon,Clarinet,Double Bass,Flute,Horn,Oboe - Level 3 - Digital Download SKU: A0.13106…
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Bassoon,Clarinet,Double Bass,Flute,Horn,Oboe - Level 3 - Digital Download SKU: A0.1310667 Composed by Edvard Grieg. Arranged by Ray Thompson. 20th Century,Chamber,Romantic Period. 18 pages. RayThompsonMusic #899645. Published by RayThompsonMusic (A0.1310667). Arranged wind dectet and bass.Edvard Grieg 4 Norwegian Dances Op.35Arranged wind dectet/bass.This is my arrangement of No 3Thanks to Runyon programm notes for the following extract..... (https://www.runyanprogramnotes.com)Grieg first wrote and published the Norwegian Dances as Piano duets in 1881.There are 4 Dance movements.The four movements are derived from traditional Norwegian folk tunes contained in a collection published in 1853 by Ludvig Mathias Lindemans, entitled, “Mountain Melodies Old and New.â€Â They were not orchestrated by Grieg, but later, in 1888, Hans Sitt, a distinguished Czech violinist, did the honors.  They have become orchestral chestnuts ever since.Almost everyone has heard the demure, sly and winsome second dance - available hereThis my arrangement of the third dance.Extract  from Runyon's programme notes:The third movement is shaped rather like the first, but is a march, rather than a halling, though.  Listen for the rather humorous interruption by the angry brass in frenzied triplets. My arrangement has the triplet figure played by  both clarinets,  1st horn and 1st bassoon.© 2015 William E. Runyan.
$14.95
13.72 €
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Edvard Grieg
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Grieg: 4 Norwegian Dances Op.35 No.III Allegro moderato alla Marcia - wind dectet/bass
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RayThompsonMusic
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SheetMusicPlus
CHINESE RHAPSODY No.3 For Saxophone with Wind Orchestra, Op.46(1988) [All parts]
Woodwind Ensemble - Level 5 - Digital Download SKU: A0.1073232 Composed by An-lun H…
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Woodwind Ensemble - Level 5 - Digital Download SKU: A0.1073232 Composed by An-lun Huang. 20th Century,Classical,Contemporary,Multicultural,Traditional,World. 107 pages. DoReMi Edition #677496. Published by DoReMi Edition (A0.1073232). CHINESE RHAPSODY No.3 For Saxophone with various ensemble An-lun Huang Op.46(1988) Chinese Rhapsody No.3 was composed e in Toronto, Canada , 1988. Huang dedicated the piece to the Canadian Saxophonist Paul Brodie who premiered it in Parry sound of Ontario in the same year. Written in Saibei Folk Style, the music is divided into 5 movements without stop. As usual, Huang didn‘t use any folk song . But the typical taste of Huang’s “Zhang Jia Kou[張家å£] accent†is pretty easy to be identified. With the concert virtuosity, the 1st movement is composed as an emotional Cadenza which expresses the profound affections to the land of Saibei. Using the same Alto Sax., the lyric 2nd movement is followed by a folk dance, the 3rd movement. Chang to a Soprano Saxophone, the 4th movement is sound like a dreamy nocturne which is interrupted by the percussions of the fiery 5th movement. The whole Rhapsody ends on a climax of the Chinese Northern west “wind and percussion “styleâ€. Brodie found more than 300 trills in this piece. Perhaps this is the key to perform the music in real Chinese style. Huang has composed 5 versions of these pieces for different ensembles: saxophone solo with piano, or strings, or winds/brasses, or Chinese traditional orchestra, or symphony orchestra. The attached mp3 was performed by the German saxophonist Jurgen Demmler with pianist Peter Grabinger in 1996. Duration: 20’.
$200.00
183.54 €
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An-lun Huang
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CHINESE RHAPSODY No.3 For Saxophone with Wind Orchestra, Op.46(1988) [All parts]
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DoReMi Edition
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SheetMusicPlus
Acute Suite No. 3
Small Ensemble - Level 3 - Digital Download SKU: A0.835753 Composed by Paul Burnell…
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Small Ensemble - Level 3 - Digital Download SKU: A0.835753 Composed by Paul Burnell. Contemporary. Score and parts. 85 pages. Paul Burnell #3012355. Published by Paul Burnell (A0.835753). Includes score and parts in various transpositions.Like many of Burnell's compositions this piece is suitable for homogeneous ensembles and also for mixed ensembles comprising atypical instrumental combinations or numbers of instruments. The instrumentation is not specified. The score shows clefs for parts 1-3 that suggest a string trio, but other instrument combinations are possible. Parts are available in a variety of transpositions and clefs. Players may change parts between movements or, where a movement or section is out of range, they may be tacet. Non-stringed instruments should interpret technique markings such as the pizzicato indications with appropriate articulation. The keyboard may be a piano, or any other keyboard instrument such as harpsichord, toy piano, electric piano etc. adapting the playing style to interpret dynamics, note durations etc. where these are otherwise not possible to achieve. If there is more than one keyboard player, then the players may alternate or double-up to emphasise the harmonic and dynamic structures. The movement titles may suggest possible instrumentations. Movement I: Engaged. Duration 2:15 approx. Movement II: Tightened. Duration 1:30 approx. Movement III: Feathered. Duration 3:45 approx. Movement III: Tamped. Duration 2:40 approx.Programme Note:The movements that comprise the three Acute Suites were composed between 2010 and 2016 and each may be performed by a range of different instruments. The use of the word 'acute' refers to the relatively high pitch of the instrumental parts. Acute Suite No. 3 is for flexibly scored ensemble in four parts . The movement titles of the third suite – 'Engaged', 'Tightened', 'Feathered' and 'Tamped' - reflect the characters of the movements.
$3.99
3.66 €
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Paul Burnell
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Acute Suite No. 3
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Paul Burnell
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SheetMusicPlus
Acute Suite No. 1
Small Ensemble - Level 3 - Digital Download SKU: A0.835751 Composed by Paul Burnell…
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Small Ensemble - Level 3 - Digital Download SKU: A0.835751 Composed by Paul Burnell. Contemporary. Score and parts. 132 pages. Paul Burnell #3012341. Published by Paul Burnell (A0.835751). Includes score and parts in various transpositions. For ensemble in four parts with optional percussion, optional keyboard and optional bass.Like many of Burnell's compositions this piece is suitable for homogeneous ensembles and also for mixed ensembles comprising atypical instrumental combinations or numbers of instruments.The instrumentation is not specified. The score shows clefs for parts 1-4 as if written for a string ensemble but other instrument combinations are possible. Parts are available in a variety of transpositions and clefs. Players may change parts between movements or, where a movement or section is out of range, they may be tacet. The keyboard may be a piano, or any other keyboard instrument such as harpsichord, toy piano, electric piano etc. adapting the playing style to interpret dynamics or note durations where these are otherwise not possible to achieve. The movement titles may suggest possible instrumentations. Movement I, Highlighting. Duration 3:20 approx Movement II, Swirling. Duration is 3:30 with Dal Segno repeat, 2:00 without the repeat Movement III, Lowering. Duration 5:00 approx. Movement IV, Flickering. Duration 1:30 approx.Programme Note:The movements that comprise the three Acute Suites were composed between 2010 and 2016 and each may be performed by a range of different instruments. The use of the word 'acute' refers to the relatively high pitch of the instrumental parts. Acute Suite No. 1 is for flexibly scored ensemble in four parts with optional percussion, optional keyboard and optional bass. The movement titles of the first suite – ‘Highlighting’, ‘Swirling’, ‘Lowering’ and ‘Flickering’ - reflect the characters of the movements.
$3.99
3.66 €
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Paul Burnell
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Acute Suite No. 1
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Paul Burnell
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SheetMusicPlus
Five Short Variations on Shenandoah, Revised
Instrumental Solo - Level 5 - Digital Download SKU: A0.493772 Composed by American …
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Instrumental Solo - Level 5 - Digital Download SKU: A0.493772 Composed by American Folk Song. Arranged by Tuaimanu Byron Petaia. Classical,Contemporary,Folk. Individual part. 23 pages. Tuaimanu Byron Petaia #108580. Published by Tuaimanu Byron Petaia (A0.493772). As a disclaimer: This piece is best suited to pianists with larger hands. It is common to find the left hand playing a tenth with the perfect fifth above the bass in between (i.e. C-G-E). In general, the fast movements are very technically demanding, and while lyricism dominates the first two movements, the large chords definitely add a couple layers of difficulty! I still hope you enjoy them!I wrote my set of variations as a way to explore a variety of ways by which I could accompany the folk tune, Shenandoah. With the first two variations, I chose to stick to the decidedly lyrical disposition of the original tune, while the last three variations are recast in a more boisterous and upbeat light. In all variations, I did my best to write in a way that evoked the feeling of Americana (I tried not to limit myself to stereotypical depictions of Shenandoah, and yet I wanted to ensure I maintained a respect for the source material). Thus, one variation, I attempted to transplant the melody into the vast openness of the unexplored West (variation three). In another, I tried to utilize harmonies that were reminiscent of Jazz (variation two). The final variation's intended affect is one of general optimism that characterizes America's trajectory from infancy to today.
$6.99
6.41 €
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American Folk Song
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Five Short Variations on Shenandoah, Revised
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Tuaimanu Byron Petaia
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SheetMusicPlus
Conflusion - Suite - Woodwind Ensemble - Score Only
Woodwind Ensemble - Level 4 - Digital Download SKU: A0.1115994 By Thomas Graf. By T…
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Woodwind Ensemble - Level 4 - Digital Download SKU: A0.1115994 By Thomas Graf. By Thomas Graf. Arranged by Thomas Graf. 20th Century,Classical,Jazz. 27 pages. Thomas Graf - the-hit-factory.com #717714. Published by Thomas Graf - the-hit-factory.com (A0.1115994). Fantasy in 3 movements for large wind ensemble, double bass and percussion 1. Deux Caracteres 2. Dialogues 3. Dance de Confusion Confluence is the name of a place in Lyon where 2 rivers flow together: The Saône flows into the - at least in German - female Rhone. In French, however, it flows into DEN Rhone - Le Rhône. This confuses the composer: How do rivers get their gender, are they sometimes male, sometimes female? Is it because of their character, because of the landscape that they flow through? By their water, even by their fish? On the people on their shores? A real confusion ensues. In the subsequent thoughts about music, the composer discovers certain analogies and asks himself the question: does gender-typical music actually exist? Or instruments? Typically male harmonies or rhythms? Or clearly female melodies and the way to interpret? The 3-movement composition is dedicated to this question and meanders like a dance in the bed of the converging streams. Colorful modal harmonies form the bed for wide arcs of melody. A varied, recurring theme sets the direction and creates a bubbling, dancing pull in the direction of the mouth: dancing finale! 1st movement: Deux Characters In the first movement (Andante) the roles are distributed - the Sâone and the Rhône get their performers. A first glance at the ensemble reveals a tendency: woodwinds take on the female lead, the male brass the counterpart. The two drummers each support one of the two poles in solidarity. The assignment may be obvious, but strong doubts remain in the final chord of the first movement. 2. Dialogues: In smaller and larger dialogues, there is a lively exchange and the properties are worked out and further developed. But it is also increasingly being copied and imitated, even maliciously agitated and aped. You try to convince each other, interrupt each other, both sides increasingly flare up, it gets louder and more hectic, louder and louder, too loud, until communication stops: in the end, you just yell at each other! 3. Dance de Confusion The resulting confusion finds a conciliatory end in the third movement of the composition: Let's dance! In the end, the initial confusion turns into a confusion: what belongs together flows and dances together. Composed by: Thomas H. Graf Arranged by: Thomas H. Graf for Woodwind Ensemble Instrumentation: Full Score Piccolo Flute 1 Flute 2 Oboe 1 Oboe 2 English Horn Clarinet 1 in Bb Clarinet 2 in Bb Bass Clarinet in Bb Bassoon 1 Bassoon 2 Contrabassoon Trumpet 1 in Bb Trumpet 2 in Bb Trumpet 3 in Bb Trombone 1 Trombone 2 Trombone 3 Tuba Contrabass Perc 1 (Snare Drum, Chimes) Perc 2 (Triangle, Cymbals) Any individual arrangement and substitute parts are available on request. Call +49 (0) 172 2515987  E-Mail: info@the-hit-factory.com.  www.the-hit-factory.com facebook: https://www.facebook.com/hitfactorymusic
$10.00
9.18 €
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Thomas Graf
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Conflusion - Suite - Woodwind Ensemble - Score Only
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Thomas Graf - the-hit-factory.com
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SheetMusicPlus
Acute Suite No. 2
Small Ensemble - Level 3 - Digital Download SKU: A0.835752 Composed by Paul Burnell…
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Small Ensemble - Level 3 - Digital Download SKU: A0.835752 Composed by Paul Burnell. Contemporary. Score and parts. 71 pages. Paul Burnell #3012349. Published by Paul Burnell (A0.835752). Includes score and parts in various transpositions.For ensemble in three parts with optional bass and percussion.Like many of Burnell's compositions this piece is suitable for homogeneous ensembles and also for mixed ensembles comprising atypical instrumental combinations or numbers of instruments.The instrumentation is not specified. The score shows clefs for parts 1-2 that suggest violin and viola, but other instrument combinations are possible. Parts are available in a variety of transpositions and clefs. Players may change parts between movements or, where a movement or section is out of range, they may be tacet. Keyboard - The keyboard may be a piano, or any other keyboard instrument such as harpsichord, toy piano, electric piano etc. adapting the playing style to interpret dynamics or note durations where these are otherwise not possible to achieve. If there is more than one keyboard player, then the players may alternate or double-up to emphasise the harmonic and dynamic structures. It is also allowed for the keyboard part to be played or doubled by other instruments. The movement titles may suggest possible instrumentations. Movement I: Gazing. Duration 4:10 approx. Movement II: Swaying. Duration 3:40 approx. Movement III: Wavering. Duration 3:40 approx.Programme note:Acute Suite No. 2 is for an ensemble in three parts with optional bass and percussion. The first movement ‘Gazing’ was composed in 2012 for the British ensemble FourSight, and was originally titled 'Girl with Binoculars'. The second movement ‘Swaying’, and the third movement ‘Wavering’, were written in early 2016.
$3.99
3.66 €
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Paul Burnell
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Acute Suite No. 2
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Paul Burnell
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SheetMusicPlus
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