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Concerto
Piano and Orchestra
Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by …
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Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minutes. Schott Music - Digital #Q53630. Published by Schott Music - Digital
I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. .
The markings of the movements are the following: .
1. Vivace molto ritmico e preciso .
2. Lento e deserto .
3. Vivace cantabile .
4. Allegro risoluto .
5. Presto luminoso.
The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. .
The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. .
In the Piano Concerto I realized new concepts of harmony and rhythm. .
The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. .
In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. .
The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. .
In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. .
Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). .
The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). .
Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. .
These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. .
The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). .
The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. .
Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. .
Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. .
This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. .
The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. .
I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. .
(Gyorgy Ligeti)
$23.99
22.53 €
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Piano and Orchestra
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Gyorgy Ligeti (1923-2006)
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Concerto
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Schott Music - Digital
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SheetMusicPlus
When Will I See You Again - 4 Prints by The Three Degrees - SSA Choir + Piano
Choral 3-part
Performed by: The Three Degrees: When Will I See You Again Digital Sheetmusic - instantly …
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Performed by: The Three Degrees: When Will I See You Again Digital Sheetmusic - instantly downloadable sheet music plus an interactive, downloadable digital sheet music file, scoring: SSA Choir + Piano, instruments: SSA Choir;Piano Accompaniment; 9 pages -- Soul~~Pop~~R & B~~Disco
$2.25
2.11 €
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Choral 3-part
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The Three Degrees
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4 Prints by The Three Degrees
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Musicnotes
When Will I See You Again by The Three Degrees - Piano/Vocal/Guitar
Piano, Vocal and Guitar
Performed by: The Three Degrees: When Will I See You Again Digital Sheetmusic - instantly …
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Performed by: The Three Degrees: When Will I See You Again Digital Sheetmusic - instantly downloadable sheet music plus an interactive, downloadable digital sheet music file, scoring: Piano/Vocal/Guitar, instruments: Voice;Guitar;Piano; 5 pages -- Soul~~Pop~~R & B~~Disco
$5.50
5.17 €
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Piano, Vocal and Guitar
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The Three Degrees
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Piano/Vocal/Guitar
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Musicnotes
The First Noel for String Quartet
String Quartet: 2 violins, viola, cello
Composed by Traditional. Arranged by James M. Guthrie, ASCAP. Christian, Repertoire, …
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Composed by Traditional. Arranged by James M. Guthrie, ASCAP. Christian, Repertoire, Christmas. Score, Set of Parts. 7 pages. Published by jmsgu3
Score: 3 pages, String parts 1 page each. The First Noel arranged for Alto Sax & Piano with new harmony for the final verse.
Origins
The First Noel is an English Christmas carol. Even more, it was probably written in the late Cornish Renaissance period. While other versions spell the title as Nowell, this is just a colloquial variation. Furthermore, Noel is an older word meaning ?Christmas.? Therefore ?the First Noel? translates as ?the First Christmas.? First of all, Gilbert and Sandy published the earliest version. As a result, this version appears in the ?Carols Ancient and Modern? songbook of 1823. William Sandy edited and arranged the book. Similarly, his partner Davies Gilbert edited and added the familiar extra verses. The First Noel: String Quartet Version comes with new harmony in final verse for more energy and drive.
Stainer
Organist and composer Sir John Stainer published the most noteworthy customary arrangement in the 1870?s. Stainer is above all famous for his songbook entitled: Christmas Carols New and Old (1871). This volume served as an important catalyst for reviving the English Christmas carol. Other famous Stainer arrangements from this book are such titles as What Child Is This, God Rest Ye Merry Gentlemen, Good King Wenceslas, and I Saw Three Ships.
Diatonic Function
The melodic structure in the First Noel is uncommon among English folk tunes. It simply repeats one phrase twice then follows a variation refrain. All three phrases of the song end on the mediant scale degree. This is unusual because the diatonic function of the mediant is non-final compared to the more usual tonic or even dominant degrees. Consequently, this gives the song as kind of open-ended feeling ? like maybe it never really ends.
Political Context
The Catholic clergy sang carols outside of the church in Latin. After the Protestant Reformation, the reformers thought it would be better for everyone to sing carols. They decided to bring music back to the common folk. So, they translated the lyrics from Latin into common language. Moreover, the Protestants wanted more control over the music in church than what the Vatican allowed. Protestant composers such as William Byrd composed complex polyphonic Christmas music that they called carols. Nonetheless, some famous folk carols were composed in this era. Eminent composers in the nineteenth century began to revise and adapt them. Consequently, they revived the English carol.
$29.95
28.13 €
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String Quartet: 2 violins, viola, cello
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Traditional
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The First Noel for String Quartet
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jmsgu3
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SheetMusicPlus
John Lewis: Two Degrees East, Three Degrees West - voice & other instruments (in C)
Melody line, (Lyrics) and Chords
Instantly printable sheet music by John Lewis for voice & other instruments (in C) of …
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Instantly printable sheet music by John Lewis for voice & other instruments (in C) of MEDIUM skill level. / jazz
$2.97
2.79 €
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Melody line, (Lyrics) and Chords
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John Lewis
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Virtualsheetmusic
When Will I See You Again: Synthesizer
Choral
By The Three Degrees. By Kenneth Gamble and Leon Huff. Arranged by Greg Gilpin. For Choir.…
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By The Three Degrees. By Kenneth Gamble and Leon Huff. Arranged by Greg Gilpin. For Choir. Instructional. Part. 2 pages. Published by Alfred Music - Digital Sheet Music
$4.00
3.76 €
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Choral
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The Three Degrees
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When Will I See You Again: Synthesizer
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
The Year of the Trumpeter (piano reduction)
Trumpet, Piano
Composed by Gregory Fritze. 21st Century, Contemporary Classical, Neo-Classical, Sac…
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Composed by Gregory Fritze. 21st Century, Contemporary Classical, Neo-Classical, Sacred, Funeral. Piano Reduction, Solo Part. 14 pages. Published by Musica Nova USA
Year of the Trumpeter (El Año del Trompetista) is a piece for solo trumpet and band. Duration is 5 minutes, Grade for band and soloist is Grade 3. This is the piano reduction. It was composed in 2010 as an homage to four friends of mine who played trumpet and passed away in 2009.
Fred Mills played trumpet with the Canadian Brass for 24 years. I met him when I performed with Harvey Phillips and his Tuba Consort when we joined the Canadian Brass in a Christmas concert at Carnegie Hall. I arranged a piccolo descant trumpet part for Fred that he played with the tuba group. We also worked together in Cordoba Argentina in 2006.
Linares Rodriguez was a member of the La Armonica Band of Buñol. After he retired from playing, hebecame the manager for the society?s buildings. When I first lived in Buñol in 1996 we became goodfriends and sometimes took walking excursions together.
Bill Maloof was my first boss as he was Chair of Composition during my first ten years as a facultymember at Berklee College of Music in Boston.
Nedo Pandolfi was considered a great musical force in Rhode Island. His last concert with the Rhode Island Philharmonic Orchestra in 1983 was my first performance with the orchestra. At that time heplayed French Horn but his original instrument was trumpet.
Year of the Trumpeter was premiered March 8, 2014 by Antonio Cambres Rodriguez and the CIM La Armonica, David Fiuza, Conductor in Buñol (Valencia), Spain. The version for trumpet and piano was premiered in Magallon, Spain, July 2017 by Antonio Cambres with the composer playing piano. The band version was recorded by Cambres and the CIM La Armonica, David Fiuza, Conductor. It is on the CD Music for Wind Orchestraon La Armonica Records.
Gregory Fritze is a prize-winning composer and Fulbright Scholar, as well as an active performer and conductor. He recently retired from Berklee College of Music where he was Professor and Chair of Composition and tuba instructor, serving on the faculty from 1979 to 2016. He has written over ninety compositions for orchestra, band, chamber ensembles and soloists. He has won over sixty composition awards both nationally and internationally, including First Prize in the 1st WASBE (World Association of Symphonic Bands and Ensembles) International Composition Contest 2017, First Prize Winner of the Reneé Fisher Composition Prize, First Prize Winner in the Concurso Bienal de Composición de Musica para Banda, Ciudad de Santa Cruz de Tenerife (Spain), Menzione d?Onore (highest award given) of the Mario Bernardo Angelo-Comneno International Music Competition by the Accademia Angelica Costantiniana Arti E Scienze (Italy), First Prize in the 1991 TUBA International Etude Composition Competition and several others. His compositions include works published by several publishers in the United States, South America and Europe that have been performed extensively throughout the world.
Gregory Fritze is also a very active tubist. He was Principal Tubist with the Rhode Island Philharmonic for thirty-three years as well as performing with many other ensembles in New England and Florida.
He has been a frequent traveler to Spain since 1993 and has promoted compositions by Spanish composers around the world. He is the only composer who has been commissioned six times by Spanishbands for Certamen competitions, with each band winning first prize.
He has thirty-four compositions commercially recorded on Albany Records, MSR Classics, Crystal Records, Mark Records and others. He has been a guest lecturer, conductor and performer at many colleges, universities and music festivals in the United States, Canada, Japan, South America and Europe. He was born in Allentown, Pennsylvania in 1954 and has Composition degrees from the Boston Conservatory and Indiana University. He now resides in Daytona Beach Shores, Florida.
$15.00
14.09 €
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Trumpet, Piano
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Gregory Fritze
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The Year of the Trumpeter
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Musica Nova USA
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SheetMusicPlus
Nineteen Skeletal Duets for Trombones
2 Trombones (duet)
Composed by Gregory Fritze. Classical Period, Contemporary Classical, Jazz, Method, …
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Composed by Gregory Fritze. Classical Period, Contemporary Classical, Jazz, Method, Etudes and Exercises. Individual Part, Score. 44 pages. Published by Musica Nova USA
Nineteen Skeletal Duets for Trombones is a set of duets of easy to moderately difficult specifically for teachers and students in private lessons. The first 15 duets are arranged from Fifteen Safari Duets for Tubas which was composed in 1989 for playing with my tuba students at Berklee College of Music. They are at different levels of difficulty and in various styles so that we always had duets to play no matter what was the ability of the student. The additional four duets were added in 2020 for trombones for this set. The title of each duet is also a name for a bone in the human body, hence the name Skeletal Duets. There is something in each duet for students to learn: the basics of tone production, rhythms, melodic phrasing, jazz, graphic notation, etc. Most are sight readable and some have been performed in concerts. Nineteen Skeletal Duets for Euphoniums are the same duets but in treble clef. Twenty-two Skeletal Duets for Hornsuses the first 19 of the trombone set with three additional duets added. Some of the trombone and horn duets are in the same key so they can be played together.
1. Cranium
This duet presents the cantabile ?singing? style as studied for playing the trombone. I find that this duet helps the student much like the melodies of Borgodni (Rochet) etudes.
2. Stirrup
This duet provides an opportunity to read basic rhythms and articulations. I find that the more advanced students can read in a faster tempo while the less skilled students work best in the slower tempos ? a common choice for all of the duets.
3. Humerus
This waltz helps the student match phrasing in a cantabile setting. There are a few instances where the teacher (playing the first part) plays a phrase then the student plays a similar phrase.
4. Vertebra
This is in a ?rock? style with syncopated rhythms with cantabile melodies. Articulations are especially important in this duet.
5. Axis
Legato scales and syncopated rhythms are the features of this duet. This is a good exercise for legato playing on trombone, especially when the legato tongue is needed versus when the trombonist does not need to tongue when moving across partials.
6. Tibia
This duet alternates in rock style and swing. Articulations and manipulation of ?swing? rhythms are important.
7. Clavicle
The key of A for this duet provides variation for the students.
8. Fibula nd
This duet uses the easiest of rhythms and range, especially for the 2
9. Scapula
This duet is non-metric and uses graphic notation. This was a favorite duet of my students as many had never experienced this notation before.
10. Atlas ndThis is an Invention in the Bach style. This is probably the best duet to play when the 2 part is played by bass trombone.
(student) part.
11. Radius
This duet is in a ?Medium Swing? jazz style. Each part has a chance to play a little bit of a ?walking? bass line. Articulations and manipulation of ?swing? rhythms are important in this duet.
12. Femur
This duet works on double time and half time tempo changes.
13. Patella
This is another duet that includes graphic notation. In this duet ?Free rapid legato lines? are used.
14. Anvil
This gallop displays different types of articulation.
15. Hammer
This duet is in the style of a fanfare.
16. Rib
This duet is a melody, ?Magallon Blues?, that I originally composed when I taught at a summer music camp in Magallon, Spain. In that camp each of the students would practice playing a jazz solo. This duet also has jazz chord changes so you can add piano or guitar. The use of drums is also an added option.
17. Sacrum
This duet is a short arrangement of Mozart?s ?Eine Kleine Nachtmusic?.
18. Ulna
This duet is a short arrangement of the traditional Irish folk song ?Londonderry Air?, more commonly known as ?Danny Boy?.
19. Ilium
This duet is a short arrangement of the Beethoven?s song ?Ode to Joy? which represents the triumph of universal brotherhood against war and desperation.
Gregory Fritze is a prize-winning composer and Fulbright Scholar, as well as an active performer. He recently retired from Berklee College of Music where he was Tuba Professor and Chair of Composition, serving on the faculty from 1979 to 2016. He has written over one hundred compositions for orchestra, band, chamber ensembles and soloists. He has won over sixty composition awards both nationally and internationally including First Prize in the 1991 TUBA Etude Contest for Twenty Characteristic Etudes for Tuba, an award from The American Prize for his Petite Suite for Brass Quintet and others. His compositions include works published by several publishers in the United States, South America and Europe that have been performed extensively throughout the world. Many of his compositions are available on ITunes, Youtube and Soundcloud.
His compositions are recorded on Albany Records, MSR Classics, Crystal Records, Mark Records and others. He has been a guest lecturer, conductor and performer at many colleges, universities and music festivals in the United States, Canada, Japan, South America and Europe. He was born in Allentown, Pennsylvania in 1954 and has Composition degrees from the Boston Conservatory and Indiana University. He now resides in Daytona Beach Shores, Florida.
$20.00
18.78 €
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2 Trombones (duet)
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Gregory Fritze
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Nineteen Skeletal Duets for Trombones
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Musica Nova USA
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SheetMusicPlus
Christmas Adventures for Oboe and Piano
Oboe, Piano (duet)
Composed by Colin Kirkpatrick. Christian, Contemporary Christian, Christmas. 22 page…
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Composed by Colin Kirkpatrick. Christian, Contemporary Christian, Christmas. 22 pages. Published by Colin Kirkpatrick Publications
Here are three refreshing new modern arrangements of three popular traditional carols ?like you ain?t never heard them before?. Intended for the intermediate oboe player and a reasonably competent pianist, they are sure to brighten up your Christmas events whether at home, school, church or recital hall. The pieces could be used during a Christmas service or as stand-alone pieces at an end-of-term presentation. The audio sample includes recordings of all three pieces.
The King Rides Out (based on ?Good King Wenceslas?) starts conventionally enough but turns into a country-style song and then there?s a three-part Bach-like contrapuntal section, concluding with a wistful coda. Waltz with Holly ? or Possibly Ivy (based of course on ?The Holly and the Ivy?) turns into a dreamy waltz with long extended phrases and a good vehicle to show the oboe player?s tone quality. The Merry Gentleman go Latin is a lively rumba version of ?God Rest You Merry, Gentlemen?.
Colin Kirkpatrick studied composition, cello and piano at London?s prestigious Royal College of Music and after graduation followed a career in music education. He was a High School Music Director in London for about fifteen years and later became a Music Education Adviser for local government, with the added responsibility for training teachers and directing the instrumental teaching service.
He has been published by Boosey & Hawkes, Novello, Paxton, Schott, Oxford University Press, Chester and Belwin Mills. He holds MA and PhD degrees and his other interests include reading, photography, travel, cooking and wine tasting.
$7.99
7.5 €
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Oboe, Piano (duet)
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Colin Kirkpatrick
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Christmas Adventures for Oboe and Piano
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Colin Kirkpatrick Publications
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SheetMusicPlus
Christmas Adventures for Cello and Piano
Cello, Piano
Piano Accompaniment, Cello - Intermediate - Digital Download Composed by Traditional.…
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Piano Accompaniment, Cello - Intermediate - Digital Download Composed by Traditional. Arranged by Colin Kirkpatrick. Christian, Sacred, Praise & Worship, Christmas, Recital. Set of Parts. 21 pages. Published by Colin Kirkpatrick Publications
Christmas Adventures for Cello andPiano
A New Look at Three Favorite Carols
Arranged by Colin Kirkpatrick
Here are three refreshing new modernarrangements of three popular traditional carols ?like you ain?t never heardthem before?. Intended for the intermediate cello player and a reasonably competentpianist, they are sure to brighten up your Christmas events whether at home, school,church or recital hall. They could be used during a Christmas service or asstand-alone pieces at an end-of-term presentation. The audio sample includes recordingsof all three pieces.
The King Rides Out(based on ?Good King Wenceslas?) starts conventionally enough but turns into acountry-style song and then there?s a three-part Bach-like contrapuntal section,concluding with a wistful coda before the music returns to the joyful countrystyle. Waltz with Holly ? or Possibly Ivy (based of course on ?The Hollyand the Ivy?) turns into a dreamy waltz with long extended phrases and a goodvehicle to show the cellists tone quality. The Merry Gentleman go Latinis a lively rumba version of ?God Rest You Merry, Gentlemen?.
ColinKirkpatrick studied composition, cello and piano at London?s prestigious RoyalCollege of Music and after graduation followed a career in music education. Hewas a High School Music Director in London for about fifteen years and laterbecame a Music Education Adviser for local government, with the addedresponsibility for training teachers and directing the instrumental teachingservice.
Hehas been published by Boosey & Hawkes, Novello, Paxton, Schott, OxfordUniversity Press, Chester, Belwin Mills and Intrada (Netherlands). He holds MAand PhD degrees in education and his other interests include reading,photography, travel, cooking and wine tasting - though not necessarily all atthe same time.
$7.95
7.47 €
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Cello, Piano
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Traditional
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Worship, Christmas, Recital
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Christmas Adventures for Cello and Piano
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Colin Kirkpatrick Publications
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SheetMusicPlus
When Will I See You Again: Drums
Drum (band part)
By The Three Degrees. By Kenneth Gamble and Leon Huff. Arranged by Greg Gilpin. For Choir.…
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By The Three Degrees. By Kenneth Gamble and Leon Huff. Arranged by Greg Gilpin. For Choir. Instructional. Part. 2 pages. Published by Alfred Music - Digital Sheet Music
$4.00
3.76 €
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Drum (band part)
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The Three Degrees
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When Will I See You Again: Drums
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
When Will I See You Again: String Bass
Doublebass (band part)
By The Three Degrees. By Kenneth Gamble and Leon Huff. Arranged by Greg Gilpin. For Choir.…
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By The Three Degrees. By Kenneth Gamble and Leon Huff. Arranged by Greg Gilpin. For Choir. Instructional. Part. 2 pages. Published by Alfred Music - Digital Sheet Music
$4.00
3.76 €
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Doublebass (band part)
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The Three Degrees
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When Will I See You Again: String Bass
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
When Will I See You Again: Guitar
Guitar (band part)
By The Three Degrees. By Kenneth Gamble and Leon Huff. Arranged by Greg Gilpin. For Choir.…
(+)
By The Three Degrees. By Kenneth Gamble and Leon Huff. Arranged by Greg Gilpin. For Choir. Instructional. Part. 2 pages. Published by Alfred Music - Digital Sheet Music
$4.00
3.76 €
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Guitar (band part)
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The Three Degrees
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When Will I See You Again: Guitar
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
When Will I See You Again: 1st Trombone
Trombone (band part)
By The Three Degrees. By Kenneth Gamble and Leon Huff. Arranged by Greg Gilpin. For Choir.…
(+)
By The Three Degrees. By Kenneth Gamble and Leon Huff. Arranged by Greg Gilpin. For Choir. Instructional. Part. 1 pages. Published by Alfred Music - Digital Sheet Music
$4.00
3.76 €
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Trombone (band part)
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The Three Degrees
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When Will I See You Again: 1st Trombone
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
When Will I See You Again: 2nd B-flat Trumpet
Trumpet (band part)
By The Three Degrees. By Kenneth Gamble and Leon Huff. Arranged by Greg Gilpin. For Choir.…
(+)
By The Three Degrees. By Kenneth Gamble and Leon Huff. Arranged by Greg Gilpin. For Choir. Instructional. Part. 1 pages. Published by Alfred Music - Digital Sheet Music
$4.00
3.76 €
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Trumpet (band part)
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The Three Degrees
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When Will I See You Again: 2nd B-flat Trumpet
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
When Will I See You Again: 1st B-flat Trumpet
Trumpet (band part)
By The Three Degrees. By Kenneth Gamble and Leon Huff. Arranged by Greg Gilpin. For Choir.…
(+)
By The Three Degrees. By Kenneth Gamble and Leon Huff. Arranged by Greg Gilpin. For Choir. Instructional. Part. 1 pages. Published by Alfred Music - Digital Sheet Music
$4.00
3.76 €
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Trumpet (band part)
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The Three Degrees
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When Will I See You Again: 1st B-flat Trumpet
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
When Will I See You Again: B-flat Tenor Saxophone
Saxophone (band part)
By The Three Degrees. By Kenneth Gamble and Leon Huff. Arranged by Greg Gilpin. For Choir.…
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By The Three Degrees. By Kenneth Gamble and Leon Huff. Arranged by Greg Gilpin. For Choir. Instructional. Part. 1 pages. Published by Alfred Music - Digital Sheet Music
$4.00
3.76 €
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Saxophone (band part)
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The Three Degrees
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When Will I See You Again: B-flat Tenor Saxophone
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
When Will I See You Again: Score
Choral
By The Three Degrees. By Kenneth Gamble and Leon Huff. Arranged by Greg Gilpin. For Choir.…
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By The Three Degrees. By Kenneth Gamble and Leon Huff. Arranged by Greg Gilpin. For Choir. Instructional. Score. 16 pages. Published by Alfred Music - Digital Sheet Music
$8.00
7.51 €
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Choral
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The Three Degrees
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When Will I See You Again: Score
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Christmas Adventures for Alto Sax and Piano
Alto Saxophone and Piano
Composed by Traditional. Arranged by Colin Kirkpatrick. Christmas. Set of Parts. 21 …
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Composed by Traditional. Arranged by Colin Kirkpatrick. Christmas. Set of Parts. 21 pages. Published by Colin Kirkpatrick Publications
Here are three refreshing new modernarrangements of three popular traditional carols ?like you ain?t never heardthem before?. Intended for the intermediate alto sax player(s) and a reasonably competentpianist, they are sure to brighten up your Christmas events whether at home,school, church or recital hall. They could be used during a Christmas serviceor as stand-alone pieces at an end-of-term presentation. The audio sampleincludes recordings of all three pieces.
The King Rides Out(based on ?Good King Wenceslas?) starts conventionally enough but turns into acountry-style song and then there?s a three-part Bach-like contrapuntal section,concluding with a wistful coda before the music returns to the joyful countrystyle. Waltz with Holly ? or Possibly Ivy (based of course on ?The Hollyand the Ivy?) turns into a dreamy waltz with long extended phrases and a goodvehicle to show the saxophone player?s tone quality. The Merry Gentleman goLatin is a lively rumba version of ?God Rest You Merry, Gentlemen?.
ColinKirkpatrick studied composition, cello and piano at London?s prestigious RoyalCollege of Music and after graduation followed a career in music education. Hewas a High School Music Director in London for about fifteen years and laterbecame a Music Education Adviser for local government, with the addedresponsibility for training teachers and directing the instrumental teaching service.
Hehas been published by Boosey & Hawkes, Novello, Paxton, Schott, OxfordUniversity Press, Chester, Belwin Mills and Intrada (Netherlands). He holds MAand PhD degrees in education and his other interests include reading,photography, travel, cooking and wine tasting - though not necessarily all atthe same time.
$7.95
7.47 €
#
Alto Saxophone and Piano
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Traditional
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Christmas Adventures for Alto Sax and Piano
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SheetMusicPlus
Christmas Adventures for Flute and Piano
Flute and Piano
Flute - Intermediate - Digital Download Composed by Traditional. Arranged by Colin …
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Flute - Intermediate - Digital Download Composed by Traditional. Arranged by Colin Kirkpatrick. Christmas, Recital. Piano Reduction, Set of Parts. 21 pages. Published by Colin Kirkpatrick Publications
Here are three refreshing new modernarrangements of three popular traditional carols ?like you ain?t never heardthem before?. Intended for the intermediate flute player (or players) and areasonably competent pianist, they are sure to brighten up your Christmasevents whether at home, school, church or recital hall. You can of course use the music with any number of flute players. The pieces could be usedduring a Christmas service or as stand-alone pieces at an end-of-termpresentation. The audio sample includes recordings of all three pieces.
The King Rides Out(based on ?Good King Wenceslas?) starts conventionally enough but turns into acountry-style song and then there?s a three-part Bach-like contrapuntal section,concluding with a wistful coda before the music returns to the joyful countrystyle. Waltz with Holly ? or Possibly Ivy (based of course on ?The Hollyand the Ivy?) turns into a dreamy waltz with long extended phrases and a goodvehicle to show the flute player?s tone quality. The Merry Gentleman goLatin is a lively rumba version of ?God Rest You Merry, Gentlemen?.
ColinKirkpatrick studied composition, cello and piano at London?s prestigious RoyalCollege of Music and after graduation followed a career in music education. Hewas a High School Music Director in London for about fifteen years and laterbecame a Music Education Adviser for local government, with the addedresponsibility for training teachers and directing the instrumental teaching service.
Hehas been published by Boosey & Hawkes, Novello, Paxton, Schott, OxfordUniversity Press, Chester, Belwin Mills and Intrada (Netherlands). He holds MAand PhD degrees in education and his other interests include reading,photography, travel, cooking and wine tasting - though not necessarily all atthe same time.
$7.95
7.47 €
#
Flute and Piano
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Traditional
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Christmas Adventures for Flute and Piano
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SheetMusicPlus
Beethoven Symphony 7 Movement 2 Allegretto for Violin Quartet
String quartet: 4 violins
Violin, String Quartet - Easy/Beginner - Digital Download Composed by Ludwig van Be…
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Violin, String Quartet - Easy/Beginner - Digital Download Composed by Ludwig van Beethoven (1770-1827). Romantic Period, TV, Classroom, European, Recital. Score, Set of Parts. 10 pages. Published by KrahenfuBlieder
This version has been adapted and facilitated for a small instrumental quartet, this arrangement is ideal for beginners in music or children who need to practice together. Music educators or music schools can use this material as a pedagogical tool to teach classes or even use as repertoire for recitals. The theme has been reduced to approximately 3 minutes and 24 seconds, where the first voice does the melody while the remaining three do the rhythmic marking along with the harmony.
Ludwig van Beethoven's Symphony No. 7 in A major Op. 92 was written in mid-1811 while he was in the spa town of Teplice, Bohemia hoping to regain his health. It was completed in 1812, and was dedicated to Count Moritz von Fries. It had its premiere at a charity concert for soldiers wounded at the battle of Hanau, Vienna during the Napoleonic wars, under the conductor of the composer himself.
Its second movement Allegretto, characterized by a rhythmic ostinato almost like a march, is the best known of the symphony and also one of the best known of the composer's works, characterized by the almost continuous repetition of the E note in the harmony among the chord degrees present.
$9.99
9.38 €
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String quartet: 4 violins
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Ludwig van Beethoven
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Beethoven Symphony 7 Movement 2 Allegretto for Violin Quartet
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KrahenfuBlieder
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SheetMusicPlus
Beethoven Symphony 7 Movement 2 Allegretto for Viola Quartet
String Quartet : 4 violas
Viola, String Quartet - Easy/Beginner - Digital Download Composed by Ludwig van Bee…
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Viola, String Quartet - Easy/Beginner - Digital Download Composed by Ludwig van Beethoven (1770-1827). Romantic Period, TV, Classroom, European, Recital. Score, Set of Parts. 10 pages. Published by KrahenfuBlieder
This version has been adapted and facilitated for a small instrumental quartet, this arrangement is ideal for beginners in music or children who need to practice together. Music educators or music schools can use this material as a pedagogical tool to teach classes or even use as repertoire for recitals. The theme has been reduced to approximately 3 minutes and 24 seconds, where the first voice does the melody while the remaining three do the rhythmic marking along with the harmony.
Ludwig van Beethoven's Symphony No. 7 in A major Op. 92 was written in mid-1811 while he was in the spa town of Teplice, Bohemia hoping to regain his health. It was completed in 1812, and was dedicated to Count Moritz von Fries. It had its premiere at a charity concert for soldiers wounded at the battle of Hanau, Vienna during the Napoleonic wars, under the conductor of the composer himself.
Its second movement Allegretto, characterized by a rhythmic ostinato almost like a march, is the best known of the symphony and also one of the best known of the composer's works, characterized by the almost continuous repetition of the E note in the harmony among the chord degrees present.
$9.99
9.38 €
#
String Quartet : 4 violas
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Ludwig van Beethoven
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Beethoven Symphony 7 Movement 2 Allegretto for Viola Quartet
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KrahenfuBlieder
#
SheetMusicPlus
Con-Tse-To
Alto Saxophone and Piano
Composed by Gregory Fritze. 21st Century, Contemporary Classical, Post-Modern, Jazz, …
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Composed by Gregory Fritze. 21st Century, Contemporary Classical, Post-Modern, Jazz, Bebop. Piano Reduction, Solo Part. 44 pages. Published by Musica Nova USA
Con-Tse-To ? a Concerto for Alto Saxophone and Concert Band was composed in 2013 at the request of Kenneth Tse. It is in three movements ? 1. Pasodoble Melanie, 2. Lamento and 3. Danza Jubiloso. First performance was July 14, 2013 for the Hong Kong International Saxophone Symposium at the Hong Kong Academy for Performing Arts. Hong Kong Chamber Wind Philharmonic; Victor Tam, Conductor; Kenneth Tse, Saxophone Soloist.
The first movement ? Pasodoble Melanie, is in the traditional form of the march in Spain knownas the Pasodoble. It has a beginning theme in traditional march style using Spanish flavor harmoniesand melodies. As the Spanish pasodoble is in the same form as American marches, the second theme isthe ?Trio? section. In the Spanish pasodoble, it is customary to have the first presentation of this secondtheme played extremely softly in the clarinets. It is also common during the repeat of the Trio to have a soloist such as a piccolo displaying an obligato of great virtuosic melodies in counterpoint to the clarinets. I felt this would be a very appropriate place for an alto saxophone obligato. In this pasodoble the thirdpresentation of the Trio is shortened to allow for the first cadenza. Since I met Kenneth Tse for the first time in Buñol (Valencia), Spain, I thought it would be very appropriate to use this traditional form for the firstmovement for his concerto. It is a Spanish custom for a composer to give a pasodoble composition as a gift such as to a musician or politician and the title of the piece often references the name of recipient?s wife. Kenneth Tse?s wife?s name is Melanie so this movement is dedicated to her.
The second movement ? Lamento was adapted from a melody of mine ?El año del Trumpetista? originally composed in 2010. I thought the beautiful sound of Dr. Tse?s saxophone playing would be very complimentary for this melody.
The third movement ? Danza Jubiloso is in allegro tempo with the first theme based on leaps of afourth and an octave in duple meter. The second theme is mostly in 7/8 meter. There is also a bit of a jazz element of harmonies and the added instruments of a drum set and jazz double bass in pizzicato.
Con-Tse-To was awarded Finalist category in the Band Composition Competition of the American Prize in 2017. One of only two Concertos with Band awarded that year. The full band instrumentation is available on Musica Nova USA.
Gregory Fritze is a prize-winning composer and Fulbright Scholar, as well as an active performer. He recently retired from Berklee College of Music where he was Professor and Chair of Composition, serving on the faculty from 1979 to 2016. He has written over ninety compositions for orchestra, band, chamberensembles and soloists. He has won over fifty composition awards both nationally and internationally. His compositions include works published by several publishers in the United States, South America and Europe that have been performed extensively throughout the world.
He has been a frequent traveler to Spain since 1993 and has promoted compositions by Spanish composers around the world. He is the only composer who has been commissioned six times by Spanishbands for Certamen competitions, with each band winning first prize.
His compositions are recorded on Albany Records, MSR Classics, Crystal Records, Mark Records and others. He has been a guest lecturer, conductor and performer at many colleges, universities and music festivals in the United States, Canada, Japan, South America and Europe. He was born in Allentown, Pennsylvania in 1954 and has Composition degrees from the Boston Conservatory and Indiana University. He now resides in Daytona Beach Shores, Florida.
The piano transcription was done by Derek Reme?.
$20.00
18.78 €
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Alto Saxophone and Piano
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Gregory Fritze
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Con-Tse-To
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Musica Nova USA
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SheetMusicPlus
An American in Valencia - Trumpet Solo with Band (piano reduction)
Trumpet, Piano
Composed by Gregory Fritze. 21st Century, Contemporary Classical, Neo-Classical, Rep…
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Composed by Gregory Fritze. 21st Century, Contemporary Classical, Neo-Classical, Repertoire, Recital. Piano Reduction, Solo Part. 39 pages. Published by Musica Nova USA
An American in Valencia was commissioned by the United States Army Band ?Pershing?s Own? in Washington, DC in 1999. The Premiere Performance was May 22, 1999 at the Casa de Cultura in L?Alcudia (Valencia), Spain by Rafael Sanz-Espirt conducting La Filharmonica Band. Woodrow English, Principal Trumpet the U. S. Army Band "Pershing's Own" as was the soloist.
The piece is in three movements in a Spanish style suggesting the grand gesture of Bull fighting.The trumpet soloist portrays a toreador with the splendor of the corrida. The first movement represents theentrance of the toreador with all of the fanfare and showmanship as he bows to the audience. The second movement is a love song in a waltz tempo. The third movement starts with the raging bull coming out ofit?s corral, ready for the fight. The trumpet soloist is able to contain the bull with dashing melodic figures and a cadenza leading to the final bow in victory.
An American in Valencia was awarded Finalist in the Band Composition Competition of the American Prize in 2017. One of only two Concertos with Band awarded that year. It is recorded on Mark Records with Rafael Sanz-Espirt conducting La Filharmonica Band. Woodrow English is the soloist.
Gregory Fritze is a prize-winning composer and Fulbright Scholar, as well as an active performer and conductor. He recently retired from Berklee College of Music where he was Professor and Chair of Composition, serving on the faculty from 1979 to 2016. He has written over ninety compositions for orchestra, band, chamber ensembles and soloists. He has won over fifty composition awards both nationally and internationally, including First Prize in the 1st WASBE (World Association of Symphonic Bands and Ensembles) International Composition Contest 2017, First Prize Winner of Reneé Fisher Composition Prize, First Prize Winner in Concurso Bienal de Composición de Musica para Banda, Ciudad de Santa Cruz de Tenerife (Spain), Menzione d?Onore (highest award given) of the Mario Bernardo Angelo-Comneno International Music Competition by the Accademia Angelica Costantiniana Arti E Scienze (Italy), First Prize in 1991 TUBA International Etude Composition Competition, the IBLA Grand Prize (Italy), several awards from The American Prize, Composition Awards from Standard Awards Panel of American Society of Composers, Authors, and Publishers and many others. His compositions include works published by several publishers in the United States, South America and Europe and have been performed extensively throughout the world.
He has been a frequent traveler to Spain since 1993 and has promoted compositions by Spanish composers around the world. He is the only composer who has been commissioned six times by Spanish bands for Certamen competitions, with each band winning first prize.
He has thirty-three compositions commercially recorded on Albany Records, MSR Classics, Crystal Records, Mark Records and others. He has been a guest lecturer, conductor and performer at many colleges, universities and music festivals in the United States, Canada, Japan, South America and Europe. He was born in Allentown, Pennsylvania in 1954 and has Composition degrees from the Boston Conservatory and Indiana University. He now resides in Daytona Beach Shores, Florida.
$20.00
18.78 €
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Trumpet, Piano
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Gregory Fritze
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An American in Valencia - Trumpet Solo with Band
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Musica Nova USA
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SheetMusicPlus
Concertino for Tuba (piano reduction)
Tuba and Piano
Composed by Gregory Fritze. 21st Century, 20th Century, Contemporary Classical, Neo- …
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Composed by Gregory Fritze. 21st Century, 20th Century, Contemporary Classical, Neo- Classical, Recital. Piano Reduction, Solo Part. 31 pages. Published by Musica Nova USA
Concertino for Tuba was written in 2016 as a piano transcription to both the versions for band and orchestra, composed in 2003 and 2005, respectively. The duration is 13 minutes. The band version is grade 4 with the solo tuba grade 5. The solo tuba and band orchestration was adapted from Concertino for Euphonium and Band commissioned by the United States Army Band ?Pershing?s Own? in 1995. In 2002 Gary Bird asked me to compose a piece for him with band that was to be premiered by the Volga Band of Saratov, Russia conducted by Mary Ann Craig in 2004. Gary knew several of my compositions and asked me to compose a piece similar my Concertino for Euphonium and Band that was composed for Bob Powers and the United States Army Band. In 2004 Gary told my that he would be playing a solo with the Johnstown Symphony Orchestra and asked me to do a version for symphony orchestra. It was premiered by the Johnstown Symphony Orchestra; Istvan Jaray, Conductor in 2006. The orchestral version was recorded by Gary Bird and the Oak Grove Symphony Orchestra; Jack Stamp, Conducting. It is on the CD Tuba Safari on Albany Records. The band version was recorded by Gary Bird and the IUP Wind Ensemble; Jack Stamp, Conducting. Concertino for Tuba and Orchestra was a Semi Finalist Winner in the American Prize Composition Competition ? Orchestra Division in 2017, the only concerto awarded a prize in the Orchestra Division that year.
Gregory Fritze is a prize-winning composer and Fulbright Scholar, as well as an active performer and conductor. He recently retired from Berklee College of Music where he was Professor and Chair of Composition and tuba instructor, serving on the faculty from 1979 to 2016. He has written over ninety compositions for orchestra, band, chamber ensembles and soloists. He has won over sixty composition awards both nationally and internationally, including First Prize in the 1st WASBE (World Association of Symphonic Bands and Ensembles) International Composition Contest 2017, First Prize Winner of the Reneé Fisher Composition Prize, First Prize Winner in the Concurso Bienal de Composición de Musica para Banda, Ciudad de Santa Cruz de Tenerife (Spain), Menzione d?Onore (highest award given) of the Mario Bernardo Angelo-Comneno International Music Competition by the Accademia Angelica Costantiniana Arti E Scienze (Italy), First Prize in the 1991 TUBA International Etude Composition Competition and several others. His compositions include works published by several publishers in the United States, South America and Europe that have been performed extensively throughout the world.
Gregory Fritze is also a very active tubist. He was Principal Tubist with the Rhode Island Philharmonic for thirty-three years as well as performing with many other ensembles in New England and Florida.
He has been a frequent traveler to Spain since 1993 and has promoted compositions by Spanish composers around the world. He is the only composer who has been commissioned six times by Spanishbands for Certamen competitions, with each band winning first prize.
He has thirty-four compositions commercially recorded on Albany Records, MSR Classics, Crystal Records, Mark Records and others. He has been a guest lecturer, conductor and performer at many colleges, universities and music festivals in the United States, Canada, Japan, South America and Europe. He was born in Allentown, Pennsylvania in 1954 and has Composition degrees from the Boston Conservatory and Indiana University. He now resides in Daytona Beach Shores, Florida.
$20.00
18.78 €
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Tuba and Piano
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Gregory Fritze
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Concertino for Tuba
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Musica Nova USA
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SheetMusicPlus
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The Three Degrees