| Quartet Repertoire For Trombone - 3rd Trombone Or Baritone B.C. Trombone Hal Leonard
| | |
| Program Repertoire For Brass Quartet - 3rd Part 1st Trombone Trombone Hal Leonard
| | |
| Quartet Repertoire For Trombone - 3rd Baritone T.C. Trombone Hal Leonard
| | |
| Concerto Violon Theodore Presser Co.
Orchestra Bass Trombone, Bassoon 1, Bassoon 2, Celesta, Clarinet 1, Clarinet 2, ...(+)
Orchestra Bass Trombone,
Bassoon 1, Bassoon 2,
Celesta, Clarinet 1,
Clarinet 2, Contrabass,
English Horn, Flute 1,
Flute 2, Harp, Horn 1,
Horn 2, Horn 3, Horn 4,
Oboe 1, Oboe 2,
Percussion, Piccolo,
Timpani, Trombone,
Trumpet 1, Trumpet 2,
Viola, Violin 1 and more.
SKU: PR.41641366L
For Violin and
Orchestra. Composed
by Behzad Ranjbaran.
Contemporary. Large
Score. With Standard
notation. Composed 1994.
144 pages. Duration 31
minutes. Theodore Presser
Company #416-41366L.
Published by Theodore
Presser Company
(PR.41641366L). UPC:
680160585755. From
my early years studying
violin at the Tehran
Music Conservatory, I was
captivated by the sound
of the kamancheh, an
ancient Persian bowed
instrument considered one
of the ancestors to the
modern violin. I was
pleased when the National
Endowment for the Arts
awarded me a grant to
write a violin concerto
as it provided me with an
occasion to rekindle my
fascination with the
kamancheh. The notion of
writing a violin concerto
that would incorporate
the power and brilliance
of a modern instrument
with the delicate and
lyrical character of an
ancient one was simply
irresistible. Moreover,
the inspiration from the
kamancheh also informed
my use of Persian modes,
melodic, and rhythmic
figures. The notes of the
violins open strings (G,
D, A, E) also influenced
many of the melodic and
harmonic elements of my
violin concerto. The
opening tutti is mostly
based on intervals of a
perfect 4th and 5th. The
primary material for each
movement incorporates
notes of two of the open
strings of the violin,
creating a three-note
melodic motif as the
basis of themes: 1 st
movement: A-D-A 2nd
movement: D-G-D 3rd
movement: E-A-E The
overall structure of the
concerto is organic and
cyclical, as themes are
shared between the three
movements. For example,
the main musical idea of
the third movement is a
transformation of the
first movements primary
theme. While the
movements share similar
musical materials, each
one is defined by
distinguishing
characters. The first
movement is conflicted;
alternating between
sections of unabashed
lyricism and unforgiving
ferocity. The second
movement is haunting,
mysterious, and
expressive with long
melodic lines that vary
continuously. It moves
through different moods
and characters including
a reimagining of a
traditional Persian
wedding tune played by
the orchestra (m. 98).
The third movement is
festive in character and
features much brilliant
passagework for the solo
violin. At the climax of
this movement, themes
from the previous
movements re-emerge
simultaneously with
greater intensity,
propelling the concerto
to an energetic finale.
The Concerto was composed
in 1994 and is dedicated
to Joshua Bell. From
my early years studying
violin at the Tehran
Music Conservatory, I was
captivated by the sound
of the kamancheh, an
ancient Persian bowed
instrument considered one
of the ancestors to the
modern violin. I was
pleased when the National
Endowment for the Arts
awarded me a grant to
write a violin concerto
as it provided me with an
occasion to rekindle my
fascination with the
kamancheh. The notion of
writing a violin concerto
that would incorporate
the power and brilliance
of a modern instrument
with the delicate and
lyrical character of an
ancient one was simply
irresistible. Moreover,
the inspiration from the
kamancheh also informed
my use of Persian modes,
melodic, and rhythmic
figures. The notes of the
violinas open strings (G,
D, A, E) also influenced
many of the melodic and
harmonic elements of my
violin concerto. The
opening tutti is mostly
based on intervals of a
perfect 4th and 5th. The
primary material for each
movement incorporates
notes of two of the open
strings of the violin,
creating a three-note
melodic motif as the
basis of themes: 1 st
movement: A-D-A 2nd
movement: D-G-D 3rd
movement: E-A-E The
overall structure of the
concerto is organic and
cyclical, as themes are
shared between the three
movements. For example,
the main musical idea of
the third movement is a
transformation of the
first movementas primary
theme. While the
movements share similar
musical materials, each
one is defined by
distinguishing
characters. The first
movement is conflicted;
alternating between
sections of unabashed
lyricism and unforgiving
ferocity. The second
movement is haunting,
mysterious, and
expressive with long
melodic lines that vary
continuously. It moves
through different moods
and characters including
a reimagining of a
traditional Persian
wedding tune played by
the orchestra (m. 98).
The third movement is
festive in character and
features much brilliant
passagework for the solo
violin. At the climax of
this movement, themes
from the previous
movements re-emerge
simultaneously with
greater intensity,
propelling the concerto
to an energetic finale.
The Concerto was composed
in 1994 and is dedicated
to Joshua Bell. From
my early years studying
violin at the Tehran
Music Conservatory, I was
captivated by the sound
of the kamancheh, an
ancient Persian bowed
instrument considered one
of the ancestors to the
modern violin. I was
pleased when the National
Endowment for the Arts
awarded me a grant to
write a violin concerto
as it provided me with an
occasion to rekindle my
fascination with the
kamancheh. The notion of
writing a violin concerto
that would incorporate
the power and brilliance
of a modern instrument
with the delicate and
lyrical character of an
ancient one was simply
irresistible. Moreover,
the inspiration from the
kamancheh also informed
my use of Persian modes,
melodic, and rhythmic
figures. The notes of the
violin's open strings (G,
D, A, E) also influenced
many of the melodic and
harmonic elements of my
violin concerto. The
opening tutti is mostly
based on intervals of a
perfect 4th and 5th. The
primary material for each
movement incorporates
notes of two of the open
strings of the violin,
creating a three-note
melodic motif as the
basis of themes: 1 st
movement: A-D-A 2nd
movement: D-G-D 3rd
movement: E-A-E The
overall structure of the
concerto is organic and
cyclical, as themes are
shared between the three
movements. For example,
the main musical idea of
the third movement is a
transformation of the
first movement's primary
theme. While the
movements share similar
musical materials, each
one is defined by
distinguishing
characters. The first
movement is conflicted;
alternating between
sections of unabashed
lyricism and unforgiving
ferocity. The second
movement is haunting,
mysterious, and
expressive with long
melodic lines that vary
continuously. It moves
through different moods
and characters including
a reimagining of a
traditional Persian
wedding tune played by
the orchestra (m. 98).
The third movement is
festive in character and
features much brilliant
passagework for the solo
violin. At the climax of
this movement, themes
from the previous
movements re-emerge
simultaneously with
greater intensity,
propelling the concerto
to an energetic finale.
The Concerto was composed
in 1994 and is dedicated
to Joshua Bell. From
my early years studying
violin at the Tehran
Music Conservatory, I was
captivated by the sound
of the kamancheh, an
ancient Persian bowed
instrument considered one
of the ancestors to the
modern violin. I was
pleased when the National
Endowment for the Arts
awarded me a grant to
write a violin concerto
as it provided me with an
occasion to rekindle my
fascination with the
kamancheh. The notionof
writing a violin concerto
that would incorporate
the power and brilliance
of a modern instrument
with the delicate and
lyrical character of an
ancient one was simply
irresistible. Moreover,
the inspiration from the
kamancheh also informed
my use of Persian modes,
melodic, and rhythmic
figures.The notes of the
violin’s open
strings (G, D, A, E) also
influenced many of the
melodic and harmonic
elements of my violin
concerto. The opening
tutti is mostly based on
intervals of a perfect
4th and 5th. The primary
material for each
movement incorporates
notes of two of the open
strings of the violin,
creating a three-note
melodic motif as the
basis of themes:1 st
movement: A-D-A2nd
movement: D-G-D3rd
movement: E-A-EThe
overall structure of the
concerto is organic and
cyclical, as themes are
shared between the three
movements. For example,
the main musical idea of
the third movement is a
transformation of the
first movement’s
primary theme. While the
movements share similar
musical materials, each
one is definedby
distinguishing
characters. The first
movement is conflicted;
alternating between
sections of unabashed
lyricism and
unforgivingferocity. The
second movement is
haunting, mysterious, and
expressive with long
melodic lines that vary
continuously. It moves
through different moods
and characters including
a reimagining of a
traditional Persian
wedding tune played by
the orchestra (m. 98).
The third movement is
festive in character and
features much brilliant
passagework for the solo
violin. At the climax of
this movement, themes
fromthe previous
movements re-emerge
simultaneously with
greater intensity,
propelling the concerto
to an energetic finale.
The Concerto was composed
in 1994 and is dedicated
to Joshua Bell. $180.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Christmas is coming Chorale SATB SATB, Piano [Octavo] Oxford University Press
Composed by Mack Wilberg (1955-). For SATB choir and piano, 4-hands (3 flutes (3...(+)
Composed by Mack Wilberg
(1955-). For SATB choir
and piano, 4-hands (3
flutes (3rd doubles
piccolo), 2 oboes, 2
clarinets, 2 bassoons, 4
horns, 3 trumpets, 3
trombones, tuba, timpani,
percussion (suspended
cymbal, sleigh bells,
xylophone, glockenspiel)
harp, piano, organ
(opt.), strings). Mixed
Voices. Christmas Carols.
Level B (easy). Octavo.
20 pages. Duration 3'.
Published by Oxford
University Press
$4.50 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Suite No. 2 in F (revised) - Matthews set Orchestre Symphonique [Conducteur et Parties séparées] Boosey and Hawkes
| | |
| Phenomenon Orchestre d'harmonie Theodore Presser Co.
Orchestra Concert Band SKU: PR.41641488L The Mysterious and Unexplaine...(+)
Orchestra Concert Band
SKU: PR.41641488L
The Mysterious and
Unexplained, for
Orchestra. Composed
by Narong Prangcharoen.
Contemporary. Large
Score. With Standard
notation. Composed 2004.
49 pages. Duration 9
minutes. Theodore Presser
Company #416-41488L.
Published by Theodore
Presser Company
(PR.41641488L). UPC:
680160616312. 3
Flutes (3rd double
Piccolo), 3 Oboes, 2
Clarinets in Bb, Bass
Clarinet, 2 Bassoons,
Contrabassoon, 4 Horns in
F, 3 Trumpets in Bb, 2
Trombones, Bass Trombone,
Tuba, Timpani, 3
Percussion:, I:
Glockenspiel, Xylophone,
Metal Plate, Mark-tree,
Tam-tam, II: Vibraphone,
Sus. Cymbal, Metal Plate,
Snare Drum, Tam-tam, III:
Bass Drum, Tam-tam, 4
Tom-toms, Snare Drum,
Piano, Strings. $70.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Vinterkantate, Kopi Music Sales
Organ, Soprano, Organ Accompaniment, Ensemble, SATB SKU: HL.14035061 Comp...(+)
Organ, Soprano, Organ
Accompaniment, Ensemble,
SATB SKU:
HL.14035061 Composed
by Per Norgard. Music
Sales America. Classical.
Score. 74 pages. Music
Sales #KP00036. Published
by Music Sales
(HL.14035061). ISBN
9788759862353.
English-Danish. Win
ter Cantata /
Vinterkantate (1976) by
Per Norgard for a
variable ensemble of
soloist, mixed choir and
instruments (minimum:
vocalist and organ).
Programme Note: When in
1975 I had finished
composing my 3rd Symphony
(begun in 1973), I wrote
three simple melodies for
two psalm texts by Ole
Sarvig: The Year and
Choral Hymn. These three
tunes were derived from
the same material as the
second movement of the
3rd Symphony and could be
harmonized together in
several different tempo
relationships at the same
time - like fractals -
which inspired me to
write several choral and
instrumental works in the
following decade based on
these melodies: Frost
Psalm, Winter Cantata,
Winter Hymn, Cantica and
others. One of these
'Sarvig melodies' is now
included in the new
Danish Hymnbook, under
the title Aret(The Year).
Ole Sarvig's poem Aret
(The Year) is Danish,
perhaps Scandinavian in
character, but its
symbolic atmosphere is
global (now snow is
covering the whole
earth). The basic
composition of this
cantata - based on
Sarvig's many verses -
was done by letting
soloist, choir and
instruments change in
feelings and moods: from
the almost silent,
inward-looking beginning
(I: Chorale dolorosa) to
a dancelike and happy
optimism (II: A heaven
germ on winged foot
thrust deep into the
earth its root), followed
by nightmarish tone rows
as the year-wheel of
fortune is turning (III:
Sacrifice - The Year) and
the temptations of the
snake (IV: In Paradiso) -
to the allegorical fights
between egoism and
altruism (V:The Cycle -
Autumn. Purgatory) before
the waiting for a
disaster- atmosphere at
the end of this choral
Odysse. Winter Cantata
was from the beginning
(1976) designed as an
open work, to be arranged
by different combinations
of soloists, choir and
(different) instruments.
The printed version by
Per Norgard and Ivan
hansen for soloist, mixed
choir and instruments
(obo, violin, trombone,
vibraphone/percussion and
organ) is from 1990. The
work is available in both
the (original) Danish
version (Vinterkantate)
and an English version
(Winter Cantata),
translated by Helen and
Ole Sarvig. (Per
Norgard). $32.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
Plus de résultats boutique >> |