| Snippets [Conducteur] Theodore Presser Co.
Chamber Music Saxophone Quartet SKU: PR.14440426S Five Bagatelles for ...(+)
Chamber Music Saxophone
Quartet SKU:
PR.14440426S Five
Bagatelles for Saxophone
Quartet. Composed by
Sydney F. Hodkinson. Full
score. With Standard
notation. 33 pages.
Duration 12 minutes.
Theodore Presser Company
#144-40426S. Published by
Theodore Presser Company
(PR.14440426S). UPC:
680160030484. In
1999, while packing up
myriad boxes to move to a
new home (following
academic retirement from
Eastman School of Music),
I stumbled-literally-over
a short string suite of
five vignettes I had
composed during the
1950's as a college
freshman. They had never
been performed. I decided
to transcribe them for
the American Saxophone
Quartet following a
request from that august
ensemble. Other than
slightly lengthening the
first ditty to
accommodate an imperious
alto sax which thinks it
can play ALL of the
4-part fugal entries
itself, I made few
changes from the original
youthful version. The
first four movements each
feature one of the
quartet members as a
leading voice, the others
largely accompanying;
everyone shares the
wealth in the final
dance. The whole piece is
very tonal (with centers
on A, D, E, G and D
respectively) and make
copious use of a jazz/pop
music ambience that was
prevalent in my
first-year-conservatory
world at the time. The
five Snippets are
approximately twelve
minutes in duration and
are affectionately
dedicated to my
long-standing friend, the
saxophone virtuoso Albert
Regni. The work was
complete in 1954 in
Rochester, New York and
transcribed in Ormond,
Florida, during the
summer of 2000. The
American Saxophone
Quartet, founded by Mr.
Regni, gave the premiere
performances in New York
City. --Sydney
Hodkinson. $31.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Snippets Theodore Presser Co.
Chamber Music Saxophone Quartet SKU: PR.144404260 Five Bagatelles for ...(+)
Chamber Music Saxophone
Quartet SKU:
PR.144404260 Five
Bagatelles for Saxophone
Quartet. Composed by
Sydney F. Hodkinson. Set
of Score and Parts. With
Standard notation.
Composed 1954. 33+8+8+8+8
pages. Duration 12
minutes. Theodore Presser
Company #144-40426.
Published by Theodore
Presser Company
(PR.144404260). UPC:
680160030460. In
1999, while packing up
myriad boxes to move to a
new home (following
academic retirement from
Eastman School of Music),
I stumbled-literally-over
a short string suite of
five vignettes I had
composed during the
1950's as a college
freshman. They had never
been performed. I decided
to transcribe them for
the American Saxophone
Quartet following a
request from that august
ensemble. Other than
slightly lengthening the
first ditty to
accommodate an imperious
alto sax which thinks it
can play ALL of the
4-part fugal entries
itself, I made few
changes from the original
youthful version. The
first four movements each
feature one of the
quartet members as a
leading voice, the others
largely accompanying;
everyone shares the
wealth in the final
dance. The whole piece is
very tonal (with centers
on A, D, E, G and D
respectively) and make
copious use of a jazz/pop
music ambience that was
prevalent in my
first-year-conservatory
world at the time. The
five Snippets are
approximately twelve
minutes in duration and
are affectionately
dedicated to my
long-standing friend, the
saxophone virtuoso Albert
Regni. The work was
complete in 1954 in
Rochester, New York and
transcribed in Ormond,
Florida, during the
summer of 2000. The
American Saxophone
Quartet, founded by Mr.
Regni, gave the premiere
performances in New York
City. --Sydney
Hodkinson. $39.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Snazzy Snippets - Book 2 Piano Facile - Débutant Kevin Mayhew
Piano - Beginning SKU: KV.3611601 The Fun Way to Sight Read. Compo...(+)
Piano - Beginning SKU:
KV.3611601 The Fun
Way to Sight Read.
Composed by Sarah Watts.
Easy to play. All Styles.
Book. Published by Kevin
Mayhew Publishers
(KV.3611601).
The aim of
Snazzy Snippets Books 1
and 2 is to encourage
piano students to
sight-read music and see
what they find. Book Two
contains thirty short
untitled compositions in
various styles with a few
fingerings and dynamics
written in. These pieces
have slightly more
difficult fingerings and
rhythms than Book One.
Space is allowed for
students to write in
their own names for the
pieces. $9.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Snazzy Snippets - Book 1 Piano seul Kevin Mayhew
The Fun Way to Sight Read. Composed by Sarah Watts. Easy to play. All Sty...(+)
The Fun Way to Sight
Read. Composed by
Sarah Watts. Easy to
play. All Styles. Book.
Published by Kevin Mayhew
Publishers (KV.3611600).
$9.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Madonna of the Western Trail [Conducteur] - Facile Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Clarinet 3, Cras...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Clarinet
1, Clarinet 2, Clarinet
3, Crash Cymbals,
Euphonium, Euphonium
T.C., Flute, Horn 1, Horn
2, Mallet Percussion,
Oboe, Percussion 1,
Percussion 2, Snare Drum,
Temple Blocks, Timpani,
Trombone 1 and more. -
Grade 3 SKU:
CF.CPS240F Composed
by Richard Summers. Sws.
Cps. Full score. 24
pages. Duration 3
minutes, 55 seconds. Carl
Fischer Music #CPS240F.
Published by Carl Fischer
Music (CF.CPS240F).
ISBN 9781491157879.
UPC: 680160916474. 9 x 12
inches. Composing
this piece was an
interesting process. A
piece of a melody or an
idea takes shape, and
after writing it down,
itas like planting a seed
that starts to grow and
develop. I got a snippet
of a western idea and
then thought of a
monument in my hometown
of Wheeling, West
Virginia. The statue is
called Madonna of the
Trail. The history part
of this piece started to
take shape as I
researched this statue.
There are twelve of them
located in twelve states
where the Old Trail Road,
or National Road, passes
through. As the piece
developed, I started to
think about the travel of
a pioneer woman and her
family passing through
various areas of our
early country. The 3,000
mile coast-to-coast
National road was
realized in the early
1900s but was based on
six trails that date back
to the 1700s. After
developing the
introduction and theme to
this concert band piece,
the story began to take
shape. The slower 3/4
section melody hints at
Greensleeves (What Child
Is This) which
appropriately weaves
itself into the mix.
Finally heading further
west into New Mexico,
Arizona, and California,
the melody takes on a
Spanish flavor and
returns to the main theme
before its conclusion.
Divisi parts that are
optional can be utilized
to add a richer sound.
Feel free to experiment
with octave changes in
the woodwinds in the
fuller sections, if
students are comfortable
playing up an octave.
Always be aware of the
musicality, blend, and
especially legato playing
when
required. Composing
this piece was an
interesting process. A
piece of a melody or an
idea takes shape, and
after writing it down,
it's like planting a seed
that starts to grow and
develop. I got a snippet
of a western idea and
then thought of a
monument in my hometown
of Wheeling, West
Virginia. The statue is
called Madonna of the
Trail. The history part
of this piece started to
take shape as I
researched this statue.
There are twelve of them
located in twelve states
where the Old Trail Road,
or National Road, passes
through. As the piece
developed, I started to
think about the travel of
a pioneer woman and her
family passing through
various areas of our
early country. The 3,000
mile coast-to-coast
National road was
realized in the early
1900s but was based on
six trails that date back
to the 1700s. After
developing the
introduction and theme to
this concert band piece,
the story began to take
shape. The slower 3/4
section melody hints at
Greensleeves (What Child
Is This) which
appropriately weaves
itself into the mix.
Finally heading further
west into New Mexico,
Arizona, and California,
the melody takes on a
Spanish flavor and
returns to the main theme
before its conclusion.
Divisi parts that are
optional can be utilized
to add a richer sound.
Feel free to experiment
with octave changes in
the woodwinds in the
fuller sections, if
students are comfortable
playing up an octave.
Always be aware of the
musicality, blend, and
especially legato playing
when
required. Composing
this piece was an
interesting process. A
piece of a melody or an
idea takes shape, and
after writing it down,
it’s like planting
a seed that starts to
grow and develop. I got a
snippet of a western idea
and then thought of a
monument in my hometown
of Wheeling, West
Virginia. The statue
is called Madonna of the
Trail. The history part
of this piece started to
take shape as I
researched this statue.
There are twelve of them
located in twelve states
where the Old Trail Road,
or National Road, passes
through. As the piece
developed, I started to
think about the travel of
a pioneer woman and her
family passing through
various areas of our
early country. The
3,000 mile coast-to-coast
National road was
realized in the early
1900s but was based on
six trails that date back
to the 1700s. After
developing the
introduction and theme to
this concert band piece,
the story began to take
shape. The slower 3/4
section melody hints at
Greensleeves (What Child
Is This) which
appropriately weaves
itself into the mix.Â
Finally heading further
west into New Mexico,
Arizona, and California,
the melody takes on a
Spanish flavor and
returns to the main theme
before its
conclusion. Divisi
parts that are optional
can be utilized to add a
richer sound. Feel free
to experiment with octave
changes in the woodwinds
in the fuller sections,
if students are
comfortable playing up an
octave. Always be aware
of the musicality, blend,
and especially legato
playing when
required. $14.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Madonna of the Western Trail - Facile Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Clarinet 3, Cras...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Clarinet
1, Clarinet 2, Clarinet
3, Crash Cymbals,
Euphonium, Euphonium
T.C., Flute, Horn 1, Horn
2, Mallet Percussion,
Oboe, Percussion 1,
Percussion 2, Snare Drum,
Temple Blocks, Timpani,
Trombone 1 and more. -
Grade 3 SKU:
CF.CPS240 Composed by
Richard Summers. Folio.
Cps. Set of Score and
Parts.
16+4+8+8+8+4+4+4+4+4+4+8+
8+8+4+4+6+6+6+4+8+2+2+4+2
+24 pages. Duration 3
minutes, 55 seconds. Carl
Fischer Music #CPS240.
Published by Carl Fischer
Music (CF.CPS240).
ISBN 9781491157862.
UPC: 680160916467. 9 x 12
inches. Composing
this piece was an
interesting process. A
piece of a melody or an
idea takes shape, and
after writing it down,
itas like planting a seed
that starts to grow and
develop. I got a snippet
of a western idea and
then thought of a
monument in my hometown
of Wheeling, West
Virginia. The statue is
called Madonna of the
Trail. The history part
of this piece started to
take shape as I
researched this statue.
There are twelve of them
located in twelve states
where the Old Trail Road,
or National Road, passes
through. As the piece
developed, I started to
think about the travel of
a pioneer woman and her
family passing through
various areas of our
early country. The 3,000
mile coast-to-coast
National road was
realized in the early
1900s but was based on
six trails that date back
to the 1700s. After
developing the
introduction and theme to
this concert band piece,
the story began to take
shape. The slower 3/4
section melody hints at
Greensleeves (What Child
Is This) which
appropriately weaves
itself into the mix.
Finally heading further
west into New Mexico,
Arizona, and California,
the melody takes on a
Spanish flavor and
returns to the main theme
before its conclusion.
Divisi parts that are
optional can be utilized
to add a richer sound.
Feel free to experiment
with octave changes in
the woodwinds in the
fuller sections, if
students are comfortable
playing up an octave.
Always be aware of the
musicality, blend, and
especially legato playing
when
required. Composing
this piece was an
interesting process. A
piece of a melody or an
idea takes shape, and
after writing it down,
it's like planting a seed
that starts to grow and
develop. I got a snippet
of a western idea and
then thought of a
monument in my hometown
of Wheeling, West
Virginia. The statue is
called Madonna of the
Trail. The history part
of this piece started to
take shape as I
researched this statue.
There are twelve of them
located in twelve states
where the Old Trail Road,
or National Road, passes
through. As the piece
developed, I started to
think about the travel of
a pioneer woman and her
family passing through
various areas of our
early country. The 3,000
mile coast-to-coast
National road was
realized in the early
1900s but was based on
six trails that date back
to the 1700s. After
developing the
introduction and theme to
this concert band piece,
the story began to take
shape. The slower 3/4
section melody hints at
Greensleeves (What Child
Is This) which
appropriately weaves
itself into the mix.
Finally heading further
west into New Mexico,
Arizona, and California,
the melody takes on a
Spanish flavor and
returns to the main theme
before its conclusion.
Divisi parts that are
optional can be utilized
to add a richer sound.
Feel free to experiment
with octave changes in
the woodwinds in the
fuller sections, if
students are comfortable
playing up an octave.
Always be aware of the
musicality, blend, and
especially legato playing
when
required. Composing
this piece was an
interesting process. A
piece of a melody or an
idea takes shape, and
after writing it down,
it’s like planting
a seed that starts to
grow and develop. I got a
snippet of a western idea
and then thought of a
monument in my hometown
of Wheeling, West
Virginia. The statue
is called Madonna of the
Trail. The history part
of this piece started to
take shape as I
researched this statue.
There are twelve of them
located in twelve states
where the Old Trail Road,
or National Road, passes
through. As the piece
developed, I started to
think about the travel of
a pioneer woman and her
family passing through
various areas of our
early country. The
3,000 mile coast-to-coast
National road was
realized in the early
1900s but was based on
six trails that date back
to the 1700s. After
developing the
introduction and theme to
this concert band piece,
the story began to take
shape. The slower 3/4
section melody hints at
Greensleeves (What Child
Is This) which
appropriately weaves
itself into the mix.Â
Finally heading further
west into New Mexico,
Arizona, and California,
the melody takes on a
Spanish flavor and
returns to the main theme
before its
conclusion. Divisi
parts that are optional
can be utilized to add a
richer sound. Feel free
to experiment with octave
changes in the woodwinds
in the fuller sections,
if students are
comfortable playing up an
octave. Always be aware
of the musicality, blend,
and especially legato
playing when
required. $85.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Circle Grooves Universal Edition
Drums and Percussion SKU: PR.UE036400 The Easy Way to an Active Music ...(+)
Drums and Percussion
SKU: PR.UE036400
The Easy Way to an
Active Music
Classroom. Composed
by Johannes Steiner. This
edition: German text.
Contemporary. Textbook.
With Standard notation.
Universal Edition
#UE036400. Published by
Universal Edition
(PR.UE036400). ISBN
9783702472740. UPC:
803452069867. In a
new textbook for music
classrooms, students
learn a short musical
snippet through
imitation, using vocal
percussion, rhythm
instruments, and body
movements. Another group
learns a second snippet,
another a third, and so
on. Putting these all
together creates a circle
groove, and now you're
making music! This
approach works whether
students have prior music
experience or not, and
injects fun into
learning. $24.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Berko's Journey Theodore Presser Co.
Orchestra Bass Clarinet, Bass Trombone, Bassoon 1, Bassoon 2, Cello, Clarinet in...(+)
Orchestra Bass Clarinet,
Bass Trombone, Bassoon 1,
Bassoon 2, Cello,
Clarinet in Bb 1,
Clarinet in Bb 2,
Clarinet in Bb 3,
Contrabassoon, Double
Bass, English Horn, Flute
1, Flute 2, Flute 3,
Harp, Horn 1, Horn 3,
Horn 4, Oboe 1, Oboe 2,
Percussion 1 and more.
SKU: PR.11642143L
Composed by Stacy Garrop.
Spiral. Large Score. 68
pages. Duration 20
minutes. Theodore Presser
Company #116-42143L.
Published by Theodore
Presser Company
(PR.11642143L). UPC:
680160693320. 11 x 17
inches. For most of
my life, I never knew
where my father’s
family came from, beyond
a few broad strokes: they
had emigrated in the
early 1900s from Eastern
Europe and altered the
family name along the
way. This radically
changed in the summer of
2021 when my mother and
sister came across a
folder in our family
filing cabinet and made
an astounding discovery
of documents that
revealed when, where, and
how my great-grandfather
came to America. The
information I had been
seeking was at home all
along, waiting over forty
years to be
discovered.Berko
Gorobzoff, my
great-grandfather, left
Ekaterinoslav in 1904. At
that time, this city was
in the southern Russian
area of modern-day
Ukraine; as his family
was Jewish, he and his
siblings were attempting
to escape the ongoing
religious persecution and
pogroms instigated by
Tzar Nicholas II to root
out Jewish people from
Russia. Berko’s older
brother Jakob had already
emigrated to Illinois,
and Berko was traveling
with Chaje, Jakob’s
wife, to join him. Their
timing was fortuitous, as
the following year saw a
series of massive, brutal
pogroms in the region.
After arriving in
Illinois, Berko went on
to Omaha, Nebraska, where
he married my
great-grandmother Anna
about eighteen months
later. They remained in
Omaha for the rest of
their lives.There is one
more intriguing part to
this historical account:
I have a great-aunt in
Texas who, as it turns
out, is the youngest
daughter of Berko and
Anna. Through a series of
phone calls, my
great-aunt and I
discussed what she could
remember: her parents
spoke Yiddish at home,
her mother didn’t learn
to read or write in
English so my great-aunt
was tasked with writing
letters to family
members, Berko ran a
grocery store followed by
a small hotel, and her
parents enjoyed playing
poker with friends. Above
all else, neither of her
parents ever spoke a word
about their past or how
they got to America. This
was a common trait among
Eastern European Jewish
immigrants whose goal was
to “blend in” within
their new communities and
country.To
craft Berko’s
Journey, I melded the
facts I uncovered about
Berko with my own
research into methods of
transportation in the
early 1900s. Also, to
represent his heritage, I
wove two Yiddish songs
and one Klezmer tune into
the work. In movement
1, Leaving
Ekaterinoslav, we hear
Berko packing his
belongings, saying his
goodbyes to family and
friends, and walking to
the train station.
Included in this movement
is a snippet of the
Yiddish song “The
Miller’s Tears” which
references how the Jews
were driven out of their
villages by the Russian
army. In movement 2, In
Transit, we follow Berko
as he boards a train and
then a steamship, sails
across the Atlantic
Ocean, arrives at Ellis
Island and anxiously
waits in line for
immigration, jubilantly
steps foot into New York
City, and finally boards
a train that will take
him to Chicago. While
he’s on the steamship,
we hear a group of fellow
steerage musicians play a
klezmer tune
(“Freylachs in d
minor”). In movement
3, At Home in Omaha, we
hear Berko court and
marry Anna. Their
courtship is represented
by “Tumbalalaika,” a
Yiddish puzzle folksong
in which a man asks a
woman a series of riddles
in order to get better
acquainted with each
other and to test her
intellect.On a final
note, I crafted a musical
motive to represent Berko
throughout the piece.
This motive is heard at
the beginning of the
first movement; its first
pitches are B and E,
which represent the first
two letters of Berko’s
name. I scatter this
theme throughout the
piece as Berko travels
towards a new world and
life. As the piece
concludes, we hear
Berko’s theme
repeatedly and in close
succession, representing
the descendants of the
Garrop line that came
from Berko and
Anna. For most of my
life, I never knew where
my father’s family came
from, beyond a few broad
strokes: they had
emigrated in the early
1900s from Eastern Europe
and altered the family
name along the way. This
radically changed in the
summer of 2021 when my
mother and sister came
across a folder in our
family filing cabinet and
made an astounding
discovery of documents
that revealed when,
where, and how my
great-grandfather came to
America. The information
I had been seeking was at
home all along, waiting
over forty years to be
discovered.Berko
Gorobzoff, my
great-grandfather, left
Ekaterinoslav in 1904. At
that time, this city was
in the southern Russian
area of modern-day
Ukraine; as his family
was Jewish, he and his
siblings were attempting
to escape the ongoing
religious persecution and
pogroms instigated by
Tzar Nicholas II to root
out Jewish people from
Russia. Berko’s older
brother Jakob had already
emigrated to Illinois,
and Berko was traveling
with Chaje, Jakob’s
wife, to join him. Their
timing was fortuitous, as
the following year saw a
series of massive, brutal
pogroms in the region.
After arriving in
Illinois, Berko went on
to Omaha, Nebraska, where
he married my
great-grandmother Anna
about eighteen months
later. They remained in
Omaha for the rest of
their lives.There is one
more intriguing part to
this historical account:
I have a great-aunt in
Texas who, as it turns
out, is the youngest
daughter of Berko and
Anna. Through a series of
phone calls, my
great-aunt and I
discussed what she could
remember: her parents
spoke Yiddish at home,
her mother didn’t learn
to read or write in
English so my great-aunt
was tasked with writing
letters to family
members, Berko ran a
grocery store followed by
a small hotel, and her
parents enjoyed playing
poker with friends. Above
all else, neither of her
parents ever spoke a word
about their past or how
they got to America. This
was a common trait among
Eastern European Jewish
immigrants whose goal was
to “blend in” within
their new communities and
country.To
craftxa0Berko’s
Journey,xa0I melded the
facts I uncovered about
Berko with my own
research into methods of
transportation in the
early 1900s. Also, to
represent his heritage, I
wove two Yiddish songs
and one Klezmer tune into
the work. In movement
1,xa0Leaving
Ekaterinoslav,xa0we hear
Berko packing his
belongings, saying his
goodbyes to family and
friends, and walking to
the train station.
Included in this movement
is a snippet of the
Yiddish song “The
Miller’s Tears” which
references how the Jews
were driven out of their
villages by the Russian
army. In movement 2,xa0In
Transit,xa0we follow
Berko as he boards a
train and then a
steamship, sails across
the Atlantic Ocean,
arrives at Ellis Island
and anxiously waits in
line for immigration,
jubilantly steps foot
into New York City, and
finally boards a train
that will take him to
Chicago. While he’s on
the steamship, we hear a
group of fellow steerage
musicians play a klezmer
tune (“Freylachs in d
minor”). In movement
3,xa0At Home in
Omaha,xa0we hear Berko
court and marry Anna.
Their courtship is
represented by
“Tumbalalaika,” a
Yiddish puzzle folksong
in which a man asks a
woman a series of riddles
in order to get better
acquainted with each
other and to test her
intellect.On a final
note, I crafted a musical
motive to represent Berko
throughout the piece.
This motive is heard at
the beginning of the
first movement; its first
pitches are B and E,
which represent the first
two letters of Berko’s
name. I scatter this
theme throughout the
piece as Berko travels
towards a new world and
life. As the piece
concludes, we hear
Berko’s theme
repeatedly and in close
succession, representing
the descendants of the
Garrop line that came
from Berko and Anna. $71.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
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