PARTITIONS GRATUITES : 2 TROMBONES (DUO)
- Serene

Orchestra String Orchestra - Grade 1

SKU: CF.BAS5

Composed by Joseph Compello. SWS - FS. Carl Fischer Beginning String Orchestra Series. Classical. Score and Parts. With Standard notation. 12+8+8+5+5+5+3+2 pages. Duration 2:30. Carl Fischer Music #BAS5. Published by Carl Fischer Music (CF.BAS5).

ISBN 9780825845086. UPC: 798408045081. 8.5 X 11 inches. Key: D major.

The musical effect of Prarie Lullaby should be graceful and serene, evocative of a peaceful night on the open plains. To that end, players will need to strive for an unlabored rhythmic flow, smooth bowing and a clear, steady tone as close to p as possible. Beginning at m.39, the violin and viola parts are marked pizzicato. If young players are unable to return quickly to argo at m.53, they may make the bow preparation easier by taking a full measure rest at m.52. This option is marked in the parts and score. The divisi notes at m. 69 are provided for ensembles which lack violas. Ensembles with violas may have them play the lower notes while the second violins play the upper notes. Percussion, which is completely optional, should be very subdued. Choose a bell mallet which allows the tones to be heard just above the strings. the woodblock part is intended to imitate the clip-clop sound of a horse's hooves. Two different sizes of woodblocks or temple blocks are needed. Finding two suitable sounds on one woodblock is difficult. Again, the right mallets are very important. The suspended cymbal should be played with brushes if the string ensemble is small. If the suspended cymbal with brushes cannot be heard above a large number of strings, then sticks should be used instead. The percussion part can be performed by one player, provided the instruments and mallets are set up properly and the player has the skill to make the transitions smoothly. Note the optional rest at mm. 53-54. Performance time with the repeat is two and a half minutes.
The musical effect ofA Prarie LullabyA should be graceful and serene, evocative of a peaceful night on the open plains. To that end, players will need to strive for an unlabored rhythmic flow, smooth bowing and a clear, steady tone as close toA p as possible. Beginning at m.39, the violin and viola parts are markedA pizzicato. If young players are unable to return quickly toA argo at m.53, they may make the bow preparation easier by taking a full measure rest at m.52. This option is marked in the parts and score. TheA divisiA notes at m. 69 are provided for ensembles which lack violas. Ensembles with violas may have them play the lower notes while the second violins play the upper notes. Percussion, which is completely optional, should be very subdued. Choose a bell mallet which allows the tones to be heard just above the strings. the woodblock part is intended to imitate the clip-clop sound of a horse's hooves. Two different sizes of woodblocks or temple blocks are needed. Finding two suitable sounds on one woodblock is difficult. Again, the right mallets are very important. The suspended cymbal should be played with brushes if the string ensemble is small. If the suspended cymbal with brushes cannot be heard above a large number of strings, then sticks should be used instead. The percussion part can be performed by one player, provided the instruments and mallets are set up properly and the player has the skill to make the transitions smoothly. Note the optional rest at mm. 53-54. Performance time with the repeat is two and a half minutes.
The musical effect ofA Prarie LullabyA should be graceful and serene, evocative of a peaceful night on the open plains. To that end, players will need to strive for an unlabored rhythmic flow, smooth bowing and a clear, steady tone as close toA p as possible. Beginning at m.39, the violin and viola parts are markedA pizzicato. If young players are unable to return quickly toA argo at m.53, they may make the bow preparation easier by taking a full measure rest at m.52. This option is marked in the parts and score. TheA divisiA notes at m. 69 are provided for ensembles which lack violas. Ensembles with violas may have them play the lower notes while the second violins play the upper notes. Percussion, which is completely optional, should be very subdued. Choose a bell mallet which allows the tones to be heard just above the strings. the woodblock part is intended to imitate the clip-clop sound of a horse's hooves. Two different sizes of woodblocks or temple blocks are needed. Finding two suitable sounds on one woodblock is difficult. Again, the right mallets are very important. The suspended cymbal should be played with brushes if the string ensemble is small. If the suspended cymbal with brushes cannot be heard above a large number of strings, then sticks should be used instead. The percussion part can be performed by one player, provided the instruments and mallets are set up properly and the player has the skill to make the transitions smoothly. Note the optional rest at mm. 53-54. Performance time with the repeat is two and a half minutes.
The musical effect of Prarie Lullaby should be graceful and serene, evocative of a peaceful night on the open plains. To that end, players will need to strive for an unlabored rhythmic flow, smooth bowing and a clear, steady tone as close to p as possible. Beginning at m.39, the violin and viola parts are marked pizzicato. If young players are unable to return quickly to argo at m.53, they may make the bow preparation easier by taking a full measure rest at m.52. This option is marked in the parts and score. The divisi notes at m. 69 are provided for ensembles which lack violas. Ensembles with violas may have them play the lower notes while the second violins play the upper notes. Percussion, which is completely optional, should be very subdued. Choose a bell mallet which allows the tones to be heard just above the strings. the woodblock part is intended to imitate the clip-clop sound of a horse's hooves. Two different sizes of woodblocks or temple blocks are needed. Finding two suitable sounds on one woodblock is difficult. Again, the right mallets are very important. The suspended cymbal should be played with brushes if the string ensemble is small. If the suspended cymbal with brushes cannot be heard above a large number of strings, then sticks should be used instead. The percussion part can be performed by one player, provided the instruments and mallets are set up properly and the player has the skill to make the transitions smoothly. Note the optional rest at mm. 53-54. Performance time with the repeat is two and a half minutes.
The musical effect of Prarie Lullaby should be graceful and serene, evocative of a peaceful night on the open plains. To that end, players will need to strive for an unlabored rhythmic flow, smooth bowing and a clear, steady tone as close to p as possible. Beginning at m.39, the violin and viola parts are marked pizzicato. If young players are unable to return quickly to argo at m.53, they may make the bow preparation easier by taking a full measure rest at m.52. This option is marked in the parts and score. The divisi notes at m. 69 are provided for ensembles which lack violas. Ensembles with violas may have them play the lower notes while the second violins play the upper notes. Percussion, which is completely optional, should be very subdued. Choose a bell mallet which allows the tones to be heard just above the strings. the woodblock part is intended to imitate the clip-clop sound of a horse's hooves. Two different sizes of woodblocks or temple blocks are needed. Finding two suitable sounds on one woodblock is difficult. Again, the right mallets are very important. The suspended cymbal should be played with brushes if the string ensemble is small. If the suspended cymbal with brushes cannot be heard above a large number of strings, then sticks should be used instead. The percussion part can be performed by one player, provided the instruments and mallets are set up properly and the player has the skill to make the transitions smoothly. Note the optional rest at mm. 53-54. Performance time with the repeat is two and a half minutes.
The musical effect of Prarie Lullaby should be graceful and serene, evocative of a peaceful night on the open plains. To that end, players will need to strive for an unlabored rhythmic flow, smooth bowing and a clear, steady tone as close to p as possible.Beginning at m.39, the violin and viola parts are marked pizzicato. If young players are unable to return quickly to argo at m.53, they may make the bow preparation easier by taking a full measure rest at m.52. This option is marked in the parts and score.The divisi no tes at m. 69 are provided for ensembles which lack violas. Ensembles with violas may have them play the lower notes while the second violins play the upper notes.Percussion, which is completely optional, should be very subdued. Choose a bell mallet which allows the tones to be heard just above the strings. the woodblock part is intended to imitate the clip-clop sound of a horse's hooves. Two different sizes of woodblocks or temple blocks are needed. Finding two suitable sounds on one woodblock is difficult. Again, the right mallets are very important. The suspended cymbal should be played with brushes if the string ensemble is small. If the suspended cymbal with brushes cannot be heard above a large number of strings, then sticks should be used instead.The percussion part can be performed by one player, provided the instruments and mallets are set up properly and the player has the skill to make the transitions smoothly. Note the optional rest at mm. 53-54.Performance time with the repeat is two and a half minutes.

About Carl Fischer Beginning String Orchestra Series

Thi s series of Grade 1 pieces is designed for first year string groups. The pieces in this series are characterized by:

• Limited parts (often 2nd violin and viola are the same part, cello and bass are same part)
• Limited keys and rhythms - only simple 8th note patterns
• Limited independence of parts
• Playable after limited study time
• First position and natural bowings
• Piano for rehearsal and reinforcement

Concert Band/Harmonie - Grade 4

SKU: BT.GOB-000454-010

Composed by Marc van Delft. Set (Score & Parts). 16 pages. Gobelin Music Publications #GOB 000454-010. Published by Gobelin Music Publications (BT.GOB-000454-010).

In this work the Dutch composer Marc van Delft attempts to bring together two parties (former friends), after they have grown inexplicably apart. For this reason he calls in the help (Invocation) from the medium of music.
At first, 'Invocation' radiates a sense of serene calme, from which the composer gradually creates an atmosphere resembling a conversation.
Half-way there is an increase of suspense, ending once again in calm.
The listener remains uncertain, however, regarding the finish. In dit werk probeert de Nederlandse componist Marc van Delft twee partijen samen te brengen (vroegere vrienden), nadat ze op onverklaarbare wijze uit elkaar zijn gegroeid. Daaromroept hij de hulp in (Invocation) van het medium muziek.
In het begin straalt 'Invocation' een gevoel van serene rust uit, waaruit de componist geleidelijk een sfeer creëert die lijkt op een gesprek.
Halverwege is er een toename van de spanning, die weer in rust eindigt.
De luisteraar blijft echter onzeker over de afloop.

Gobelin Music Publications.

Fanfare Band - Grade 4

SKU: BT.GOB-000453-020

Composed by Marc van Delft. Set (Score & Parts). 75 pages. Gobelin Music Publications #GOB 000453-020. Published by Gobelin Music Publications (BT.GOB-000453-020).

In this work the Dutch composer Marc van Delft attempts to bring together two parties (former friends), after they have grown inexplicably apart. For this reason he calls in the help (Invocation) from the medium of music.
At first, 'Invocation' radiates a sense of serene calme, from which the composer gradually creates an atmosphere resembling a conversation.
Half-way there is an increase of suspense, ending once again in calm.
The listener remains uncertain, however, regarding the finish. In dit werk probeert de Nederlandse componist Marc van Delft twee partijen samen te brengen (vroegere vrienden), nadat ze op onverklaarbare wijze uit elkaar zijn gegroeid. Daaromroept hij de hulp in (Invocation) van het medium muziek.
In het begin straalt 'Invocation' een gevoel van serene rust uit, waaruit de componist geleidelijk een sfeer creëert die lijkt op een gesprek.
Halverwege is er een toename van de spanning, die weer in rust eindigt.
De luisteraar blijft echter onzeker over de afloop.

Gobelin Music Publications.

Fanfare Band - Grade 4

SKU: BT.GOB-000453-120

Composed by Marc van Delft. Score Only. 16 pages. Gobelin Music Publications #GOB 000453-120. Published by Gobelin Music Publications (BT.GOB-000453-120).

In this work the Dutch composer Marc van Delft attempts to bring together two parties (former friends), after they have grown inexplicably apart. For this reason he calls in the help (Invocation) from the medium of music.
At first, 'Invocation' radiates a sense of serene calme, from which the composer gradually creates an atmosphere resembling a conversation.
Half-way there is an increase of suspense, ending once again in calm.
The listener remains uncertain, however, regarding the finish. In dit werk probeert de Nederlandse componist Marc van Delft twee partijen samen te brengen (vroegere vrienden), nadat ze op onverklaarbare wijze uit elkaar zijn gegroeid. Daaromroept hij de hulp in (Invocation) van het medium muziek.
In het begin straalt 'Invocation' een gevoel van serene rust uit, waaruit de componist geleidelijk een sfeer creëert die lijkt op een gesprek.
Halverwege is er een toename van de spanning, die weer in rust eindigt.
De luisteraar blijft echter onzeker over de afloop.

Gobelin Music Publications.

Concert Band/Harmonie - Grade 4

SKU: BT.GOB-000454-140

Composed by Marc van Delft. Score Only. Gobelin Music Publications #GOB 000454-140. Published by Gobelin Music Publications (BT.GOB-000454-140).

In this work the Dutch composer Marc van Delft attempts to bring together two parties (former friends), after they have grown inexplicably apart. For this reason he calls in the help (Invocation) from the medium of music.
At first, 'Invocation' radiates a sense of serene calme, from which the composer gradually creates an atmosphere resembling a conversation.
Half-way there is an increase of suspense, ending once again in calm.
The listener remains uncertain, however, regarding the finish. In dit werk probeert de Nederlandse componist Marc van Delft twee partijen samen te brengen (vroegere vrienden), nadat ze op onverklaarbare wijze uit elkaar zijn gegroeid. Daaromroept hij de hulp in (Invocation) van het medium muziek.
In het begin straalt 'Invocation' een gevoel van serene rust uit, waaruit de componist geleidelijk een sfeer creëert die lijkt op een gesprek.
Halverwege is er een toename van de spanning, die weer in rust eindigt.
De luisteraar blijft echter onzeker over de afloop.

Gobelin Music Publications.