| Hit Songs for Two Flutes 2 Flûtes traversières (duo) - Facile Hal Leonard
Easy Instrumental Duets. Composed by Various. Easy Instrumental Duets. Duet, ...(+)
Easy Instrumental Duets.
Composed by Various. Easy
Instrumental Duets. Duet,
Pop. Softcover. 48 pages.
Published by Hal Leonard
$10.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Hit Songs for Two Flutes 2 Flûtes traversières (duo) - Facile Hal Leonard
Easy Instrumental Duets. Composed by Various. Instrumental Duet. Softcover. 4...(+)
Easy Instrumental Duets.
Composed by Various.
Instrumental Duet.
Softcover. 48 pages.
Published by Hal Leonard
$10.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Cornish Pastiche. Bassoon & Piano Basson, Piano (duo) Clifton Edition
Bassoon and Piano SKU: ST.C130 Composed by Mark Tanner. Wind & brass musi...(+)
Bassoon and Piano SKU:
ST.C130 Composed by
Mark Tanner. Wind & brass
music. Clifton Edition
#C130. Published by
Clifton Edition
(ST.C130). ISBN
9790570811304. As I
sit myself down to write
this brief foreword, I
ask myself can there be
music more stirring than
these old Cornish folk
melodies? Though not
Cornish myself (I confess
to being born a little
further up the road, in
Bristol), I feel I have
spent sufficient time in
these 'ere parts to
resonate with the sturdy
brass band tradition that
continues to permeate
this incomparably
beautiful, rugged county.
One can almost detect a
French 'accent' when
listening to the piano
music of Debussy, and
likewise, speaking as a
lapsed brass player,
there is undoubtedly
something of the Cornish
twang about Trelawny when
played on a cornet or
euphonium. Then again,
one gets a different, yet
entirely convincing
effect upon hearing these
melodies rendered on
woodwind instruments;
hence, with a little
gamesmanship on my part,
I am pleased to see my
collection of these
fifteen delectable
ditties come to fruition
in the form of
arrangements for treble
clef brass instruments
(in B flat and E flat),
trombone and tuba (bass
clef), horn in F, flute,
clarinet and bassoon.
While many will find
themselves humming the
likes of Going up
Camborne Hill, Lamorna or
The Helston Furry Dance
even before they have
turned to the first page
- for these are indelibly
intertwined with Cornish
culture – I wonder if I
might draw your attention
to The Cornish Squire,
The Pool of Pilate and
Cold Blows the Wind Today
Sweetheart, which are
quite simply sublime
melodies, perhaps needing
that extra bit of help in
bringing them to mind
nowadays. In the best
tradition of musical
hand-me-downs, Cornish
folk music works equally
ideally sung and played,
and only by doing so on a
regular basis can such
traditions hope to
continue forward with
vigour and authority. A
legitimate way of
achieving this is to
revitalise the harmonic
scheme of these ancient
tunes and bring them up
to date for a modern
audience; after all, it
was such an approach that
fuelled the imagination
of Benjamin Britten and
Ralph Vaughan Williams in
decades past, while
skilfully paying homage
to the underlying charm
and, for want of a better
word, simplicity, of the
original music. But this
is only a start – for
without an energetic
response from younger
generations, Cornish folk
music is destined to
wither on the vine in
much the same way as is
happening with the
Cornish dialect. So, put
your instrument to your
lips and proceed, not
with caution, but with
enthusiasm and a smile,
for your great
grandparents (and perhaps
even their grandparents)
would surely raise a
glass if they could hear
you doing your bit to
ensure the survival of
this splendid
heritage. Timeless
Cornish melodies, cooked
up for hungry clarinet
players Grades
1–4 Former Spartan
Press Cat. No.:
SP1219. $24.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| 15 Intermediate Classical Solos Basson, Piano (duo) [Partition + CD] - Intermédiaire Anglo Music
Bassoon and Piano - intermediate SKU: BT.AMP-382-400 Bassoon and Piano...(+)
Bassoon and Piano -
intermediate SKU:
BT.AMP-382-400
Bassoon and Piano.
Arranged by Philip
Sparke. Anglo Music
Play-Along Series.
Classical. Book with CD.
Composed 2014. 16 pages.
Anglo Music Press #AMP
382-400. Published by
Anglo Music Press
(BT.AMP-382-400). ISBN
9789043135801. 9x12
inches.
English-German-French-Dut
ch. Part of the
ANGLO MUSIC PLAY-ALONG
Series, Philip Sparkes 15
INTERMEDIATE CLASSICAL
SOLOS is aimed at the
young instrumentalist who
can play about an octave
and a half and follows on
from Sparkes 15 EASY
CLASSICAL SOLOS.
Specifically tailored to
suitthe individual
instrument, this book
introduces the developing
player to the world of
the classics by using
simple yet attractive
melodies that fit their
limited range. The
carefully selected pieces
include music from the
17th to the 19th century
and cover a wide variety
of styles, from Handel to
Tchaikovsky and from
Clementi to
Brahms. The book
will provide invaluable
additional material to
complement any teaching
method and includes both
piano accompaniment and a
demo/play-along
CD. Philip
Sparkeâ??s 15
Intermediate Classical
Solos, onderdeel van
de Anglo Music
Play-Along Series, is
bedoeld voor de jonge
instrumentalist die
ongeveer anderhalf octaaf
kan spelen. Het boek is
een vervolg op
Sparkeâ??s 15
EasyClassical Solos
en het sluit qua
instrumentaal bereik en
gebruikte toonsoorten aan
bij het Expert Level van
Hal Leonards Essential
Elements ®, maar
het kan ook los daarvan
worden gebruikt.De
zorgvuldig geselecteerde
melodieën,
diespecifiek zijn
toegesneden op elk
instrument, beslaan een
breed scala van klassieke
stijlen: van Handel tot
Tsjaikovski en van
Clementi tot Brahms.Het
boek bevat waardevol
materiaal ter aanvulling
op elke lesmethode en
wordt geleverd
metpianobegeleiding en
een cd met demo- en
meespeeltracks. 15
INTERMEDIATE CLASSICAL
SOLOS ist als
Ergänzung zur
bewährten ANGLO MUSIC
PLAY-ALONG Reihe gedacht
und richtet sich an
Schüler, die
ungefähr einen
Tonumfang von eineinhalb
Oktaven beherrschen. Es
schlieÃ?t an Sparkes 15
EASY CLASSICAL SOLOS an
undentspricht dem Niveau
des Expert Levels der
ESSENTIAL ELEMENTS
Methode von Hal Leonard,
kann aber auch
unabhängig davon
verwendet werden.
Genau auf jedes
Instrument zugeschnitten,
ermöglichen die
sorgfältig
ausgewählten Melodien
noch mehr Spielerfahrung
mit klassischer Musik.
Die Stücke umfassen
verschiedene
Stilrichtungen und
Komponisten wie z.B.
Händel, Tschaikowsky,
Clementi undBrahms.
Jeder Band bietet
wertvolles
Ergänzungsmaterial,
das zu jeder
Instrumentalschule passt
und enthält sowohl
Klavier- als auch
CD-Begleitungen. <
br> 15 Intermediate
Classical Solos, de
Philip Sparke, est un
ouvrage qui sâ??adresse
aux jeunes musiciens,
maîtrisant un peu plus
dâ??une octave et demie.
Il fait suite au recueil
15 Easy Classical
Solos, et a été
conçu pour être
joué en corrélation
avec la série Expert
Level de la collection
Essential Elements
®, publiée par
les éditions Hal
Leonard. Mais il peut
également être
utilisé
indépendamment.Spéc
ifiquement adapté
chaque instrument, ce
volume rassemble quinze
mélodies écrites
par des compositeurs
aussi variés que
Hændel, Tcha kovski,
Clémenti et
Brahms.Comprenant les
parties
dâ??accompagnement de
piano et une version
dâ??accompagnement sur
compactdisc, ces ouvrages
représentent une
source complémentaire
inestimable toute
méthode
pédagogique.
Part of the
Anglo Music Play-along
Series, Philip
Sparkeâ??s 15
Intermediate Classical
Solos is aimed at the
young instrumentalist who
can play about an octave
and a half and follows on
from Sparkeâ??s 15
Easy Classical
Solos.Specifically
tailored to suit the
individual instrument,
this book introduces the
developing player to the
world of the classics by
using simple yet
attractive melodies that
fit their limited range.
The carefully selected
pieces include music
fromthe 17th to the 19th
century and cover a wide
variety of styles, from
Handel to Tchaikovsky and
from Clementi to
Brahms.The book will
provide invaluable
additional material to
complement any teaching
method and includes both
piano accompaniment and
ademo/play-along CD. $22.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| 3e Symphonie en ut mineur, op. 78 - Avancé Barenreiter
Orchestra, Organ (Fl1, Fl2 , Fl3(Fl-picc), 2 Ob, EnglHn, 2 clarinet, clarinet-B,...(+)
Orchestra, Organ (Fl1,
Fl2 , Fl3(Fl-picc), 2 Ob,
EnglHn, 2 clarinet,
clarinet-B, 2 bassoon,
bassoon-Co, Hn1, Hn2 ,
Hn3(chrom.), Hn4(chrom.),
3Trp, 3trombone, timpani,
Tr-Gr, Tri, Be, Org,
piano-4ms, 2 Violin,
Viola, Cello, Double
Bass) - Level 5 SKU:
BA.BA10303-01
Composed by Camille
Saint-Saens. Edited by
Michael Stegemann. This
edition: Edition of
selected works, Urtext
edition. Linen.
Saint-Saens, Camille.
Oevres instrumentales
completes I/3. Edition of
selected works, Score.
Opus 78. Duration 39
minutes. Baerenreiter
Verlag #BA10303_01.
Published by Baerenreiter
Verlag (BA.BA10303-01).
ISBN 9790006559503. 33
x 26 cm inches. Key: C
minor. Preface: Michael
Stegemann. The
third symphony by Camille
Saint-Saens, known as the
Organ Symphony, is the
first publication in a
complete
historical-critical
edition of the French
composer's instrumental
works.
I gave
everything I was able to
give in this work. [...]
What I have done here I
will never be able to do
again.Camille Saint-Saens
was rightly proud of his
third Symphony in C minor
Op.78, dedicated to the
memory of Franz Liszt.
Called theOrgan
Symphonybecause of its
novel scoring, the work
was a commission from the
Philharmonic Society in
London, as was
Beethoven's Ninth, and
was premiered there on 19
May 1886. The first
performance in Paris
followed on 9 January
1887 and confirmed the
composer's reputation
asprobably the most
significant, and
certainly the most
independent French
symphonistof his time, as
Ludwig Finscher wrote in
MGG. In fact the work
remains the only one in
the history of that genre
in France to the present
day, composed a good half
century after the
Symphonie fantastique by
Hector Berlioz and a good
half century before
Olivier Messiaen's
Turangalila
Symphonie.
You
would think that such a
famous, much-performed
and much recorded opus
could not hold any more
secrets, but far from it:
in the first
historical-critical
edition of the Symphony,
numerous inconsistencies
and mistakes in the
Durand edition in general
use until now, have been
uncovered and corrected.
An examination and
evaluation of the sources
ranged from two early
sketches, now preserved
in Paris and Washington
(in which the Symphony
was still in B minor!)
via the autograph
manuscript and a set of
proofs corrected by
Saint-Saens himself, to
the first and subsequent
editions of the full
score and parts. The
versions for piano duet
(by Leon Roques) and for
two pianos (by the
composer himself) were
also consulted. Further
crucial information was
finally found in his
extensive correspondence,
encompassing thousands of
previously unpublished
letters. The discoveries
made in producing this
edition include the fact
that at its London
premiere, the Symphony
probably looked quite
different from its
present appearance
...
No less
exciting than the work
itself is the history of
its composition and
reception, which are
described in an extensive
foreword. With his
Symphony, Saint-Saens
entered right into the
dispute which divided
French musical life into
pro and contra Wagner in
the 1880s and 1890s. At
the same time, the work
succeeded in preserving
the balance between
tradition and modernism
in masterly fashion, as a
contemporary critic
stated:The C minor
Symphony by Saint-Saens
creates a bridge from the
past into the future,
from immortal richness to
progress, from ideas to
their
implementation.
On
19 March 1886 Saint-Saens
wrote to the London
Philharmonic Society,
which commissioned the
work:
Work on the
symphony is in full
swing. But I warn you, it
will be terrible. Here is
the precise
instrumentation: 3 flutes
/ 2 oboes / 1 cor anglais
/ 2 clarinets / 1 bass
clarinet / 2 bassoons / 1
contrabassoon / 2 natural
horns / [3 trumpets /
Saint-Saens had forgotten
these in his listing.] 2
chromatic horns / 3
trombones / 1 tuba / 3
timpani / organ / 1 piano
duet and the strings, of
course. Fortunately,
there are no harps.
Unfortunately it will be
difficult. I am doing
what I can to mitigate
the
difficulties.
As
in my 4th Concerto [for
piano] and my [1st]
Violin Sonata [in D minor
Op.75] at first glance
there appear to be just
two parts: the first
Allegro and the Adagio,
the Scherzo and the
Finale, each attacca.
This fiendish symphony
has crept up by a
semitone; it did not want
to stay in B minor, and
is now in C
minor.
It would be
a pleasure for me to
conduct this symphony.
Whether it would be a
pleasure for others to
hear it? That is the
question. It is you who
wanted it, I wash my
hands of it. I will bring
the orchestral parts
carefully corrected with
me, and if anyone wants
to give me a nice
rehearsal for the
symphony after the full
rehearsal, everything
will be fine.
When
Saint-Saens hit upon the
idea of adding an organ
and a piano to the usual
orchestral scoring is not
known. The idea of adding
an organ part to a
secular orchestral work
intended for the concert
hall was thoroughly novel
- and not without
controversy. On the other
hand, Franz Liszt, whose
music Saint-Saens'
Symphony is so close to,
had already demonstrated
that the organ could
easily be an orchestral
instrument in his
symphonic poem
Hunnenschlacht (1856/57).
There was also a model
for the piano duet part
which Saint-Saens knew
and may possibly have
used quite consciously as
an exemplar: theFantaisie
sur la Tempetefrom the
lyrical monodrama Lelio,
ou le retour a la Vie op.
14bis (1831) by Berlioz.
The name of the organist
at the premiere ist
unknown, as,
incidentally, was also
the case with many of the
later performances; the
organ part is indeed not
soloistic, but should be
understood as part of the
orchestral
texture.
In fact
the subsequent success of
the symphony seems to
have represented a kind
of breakthrough for the
composer, who was then
over 50 years of age.My
dear composer of a famous
symphony, wrote
Saint-Saens' friend and
pupil Gabriel Faure:You
will never be able to
imagine what a pleasure I
had last Sunday [at the
second performance on 16
January 1887]! And I had
the score and did not
miss a single note of
this Symphony, which will
endure much longer than
we two, even if we were
to join together our two
lifespans!
About
Barenreiter
Urtext
What can I
expect from a Barenreiter
Urtext
edition?<
/p> MUSICOLOGICA
LLY SOUND - A
reliable musical text
based on all available
sources - A
description of the
sources -
Information on the
genesis and history of
the work - Valuable
notes on performance
practice - Includes
an introduction with
critical commentary
explaining source
discrepancies and
editorial decisions
... AND
PRACTICAL -
Page-turns, fold-out
pages, and cues where you
need them - A
well-presented layout and
a user-friendly
format - Excellent
print quality -
Superior paper and
binding
$566.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Jam on Top [Conducteur] - Facile Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Euphonium...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Bells,
Clarinet 1, Clarinet 2,
Euphonium, Euphonium
T.C., Flute, Hi-hat
Cymbal, Horn, Mallet
Percussion, Oboe,
Percussion 1, Percussion
2, Ride Cymbal, Snare
Drum, Tambourine,
Timpani, Trombone,
Trumpet 1 and more. -
Grade 2 SKU:
CF.YPS232F Composed
by Mark Lortz. Sws. Yps.
Full score. 16 pages.
Duration 2 minutes, 5
seconds. Carl Fischer
Music #YPS232F. Published
by Carl Fischer Music
(CF.YPS232F). ISBN
9781491158197. UPC:
680160916795. 9 x 12
inches. Jam on Top
was commissioned by
Thomas Wittig for the
Forest Lakes Elementary
School fifth grade band,
under the direction of
Amy Thornsen, in memory
of beloved music teacher,
Mr. Dominic (Nick) Selvi.
Nick had a passion for
jazz and loved playing
the style with his
students. This piece is
written in a standard
blues chord progression
(with courtesy
accidentals written to
introduce the blues
scale) and can be
performed in a straight
rock or a swing-jazz
feel. Special care should
be taken to play all
articulations to ensure
the proper style. Nick
was a saxophonist, and m.
39 could feature a solo,
duet, trio or a saxophone
soli section. In
addition, mm. 39a50 could
be opened up to have
multiple soloists perform
the solo in the style of
an open jazz vamp. The
drum parts are written
for multiple players or
could feature one player
on drum set and the
others improvising on
accessory instruments
such as cowbell, shaker,
tambourine, etc. It is my
hope that the performers
will use this piece learn
about blues chord
progressions, blues
scales in a pop, rock or
jazz style. Jam on Top
was commissioned by
Thomas Wittig for the
Forest Lakes Elementary
School fifth grade band,
under the direction of
Amy Thornsen, in memory
of beloved music teacher,
Mr. Dominic (Nick) Selvi.
Nick had a passion for
jazz and loved playing
the style with his
students. This piece is
written in a standard
blues chord progression
(with courtesy
accidentals written to
introduce the blues
scale) and can be
performed in a straight
rock or a swing-jazz
feel. Special care should
be taken to play all
articulations to ensure
the proper style. Nick
was a saxophonist, and m.
39 could feature a solo,
duet, trio or a saxophone
soli section. In
addition, mm. 39-50 could
be opened up to have
multiple soloists perform
the solo in the style of
an open jazz vamp. The
drum parts are written
for multiple players or
could feature one player
on drum set and the
others improvising on
accessory instruments
such as cowbell, shaker,
tambourine, etc. It is my
hope that the performers
will use this piece learn
about blues chord
progressions, blues
scales in a pop, rock or
jazz style. Jam on Top
was commissioned by
Thomas Wittig for the
Forest Lakes Elementary
School fifth grade band,
under the direction of
Amy Thornsen, in memory
of beloved music teacher,
Mr. Dominic (Nick) Selvi.
Nick had a passion for
jazz and loved playing
the style with his
students. This piece is
written in a standard
blues chord progression
(with courtesy
accidentals written to
introduce the blues
scale) and can be
performed in a straight
rock or a swing-jazz
feel. Special care should
be taken to play all
articulations to ensure
the proper style. Nick
was a saxophonist, and m.
39 could feature a solo,
duet, trio or a saxophone
soli section. In
addition, mm.
39–50 could be
opened up to have
multiple soloists perform
the solo in the style of
an open jazz vamp. The
drum parts are written
for multiple players or
could feature one player
on drum set and the
others improvising on
accessory instruments
such as cowbell, shaker,
tambourine, etc. It is my
hope that the performers
will use this piece learn
about blues chord
progressions, blues
scales in a pop, rock or
jazz style. $11.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Jam on Top - Facile Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Euphonium...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Bells,
Clarinet 1, Clarinet 2,
Euphonium, Euphonium
T.C., Flute, Hi-hat
Cymbal, Horn, Mallet
Percussion, Oboe,
Percussion 1, Percussion
2, Ride Cymbal, Snare
Drum, Tambourine,
Timpani, Trombone,
Trumpet 1 and more. -
Grade 2 SKU:
CF.YPS232 Composed by
Mark Lortz. Folio. Yps.
Set of Score and Parts.
8+2+4+4+2+2+5+2+2+4+4+4+6
+2+3+1+1+2+3+16 pages.
Duration 2 minutes, 5
seconds. Carl Fischer
Music #YPS232. Published
by Carl Fischer Music
(CF.YPS232). ISBN
9781491158180. UPC:
680160916788. 9 x 12
inches. Jam on Top
was commissioned by
Thomas Wittig for the
Forest Lakes Elementary
School fifth grade band,
under the direction of
Amy Thornsen, in memory
of beloved music teacher,
Mr. Dominic (Nick) Selvi.
Nick had a passion for
jazz and loved playing
the style with his
students. This piece is
written in a standard
blues chord progression
(with courtesy
accidentals written to
introduce the blues
scale) and can be
performed in a straight
rock or a swing-jazz
feel. Special care should
be taken to play all
articulations to ensure
the proper style. Nick
was a saxophonist, and m.
39 could feature a solo,
duet, trio or a saxophone
soli section. In
addition, mm. 39a50 could
be opened up to have
multiple soloists perform
the solo in the style of
an open jazz vamp. The
drum parts are written
for multiple players or
could feature one player
on drum set and the
others improvising on
accessory instruments
such as cowbell, shaker,
tambourine, etc. It is my
hope that the performers
will use this piece learn
about blues chord
progressions, blues
scales in a pop, rock or
jazz style. Jam on Top
was commissioned by
Thomas Wittig for the
Forest Lakes Elementary
School fifth grade band,
under the direction of
Amy Thornsen, in memory
of beloved music teacher,
Mr. Dominic (Nick) Selvi.
Nick had a passion for
jazz and loved playing
the style with his
students. This piece is
written in a standard
blues chord progression
(with courtesy
accidentals written to
introduce the blues
scale) and can be
performed in a straight
rock or a swing-jazz
feel. Special care should
be taken to play all
articulations to ensure
the proper style. Nick
was a saxophonist, and m.
39 could feature a solo,
duet, trio or a saxophone
soli section. In
addition, mm. 39-50 could
be opened up to have
multiple soloists perform
the solo in the style of
an open jazz vamp. The
drum parts are written
for multiple players or
could feature one player
on drum set and the
others improvising on
accessory instruments
such as cowbell, shaker,
tambourine, etc. It is my
hope that the performers
will use this piece learn
about blues chord
progressions, blues
scales in a pop, rock or
jazz style. Jam on Top
was commissioned by
Thomas Wittig for the
Forest Lakes Elementary
School fifth grade band,
under the direction of
Amy Thornsen, in memory
of beloved music teacher,
Mr. Dominic (Nick) Selvi.
Nick had a passion for
jazz and loved playing
the style with his
students. This piece is
written in a standard
blues chord progression
(with courtesy
accidentals written to
introduce the blues
scale) and can be
performed in a straight
rock or a swing-jazz
feel. Special care should
be taken to play all
articulations to ensure
the proper style. Nick
was a saxophonist, and m.
39 could feature a solo,
duet, trio or a saxophone
soli section. In
addition, mm.
39–50 could be
opened up to have
multiple soloists perform
the solo in the style of
an open jazz vamp. The
drum parts are written
for multiple players or
could feature one player
on drum set and the
others improvising on
accessory instruments
such as cowbell, shaker,
tambourine, etc. It is my
hope that the performers
will use this piece learn
about blues chord
progressions, blues
scales in a pop, rock or
jazz style. $65.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Double Concerto Orchestre d'harmonie [Conducteur] - Facile Opus III Wind Orchestra Publications
Grade 3 SKU: CL.012-3551-01 Composed by Antonio Vivaldi. Arranged by Glov...(+)
Grade 3 SKU:
CL.012-3551-01
Composed by Antonio
Vivaldi. Arranged by
Glover. Concert Band.
Spotlight Series. Audio
recording available
separately (items
CL.WFR340 & CL.WFR354).
Extra full score.
Composed 2006. Duration 3
minutes, 6 seconds. Opus
III Wind Orchestra
Publications
#012-3551-01. Published
by Opus III Wind
Orchestra Publications
(CL.012-3551-01).
This famous
Allegro movement from a
Vivaldi concerto for two
trumpets is presented
here in an arrangement
loaded with flexibility
as to choice of soloists
and even the accompanying
ensemble. May be
performed as a solo or as
a duet, and it includes
solo/duet parts for Bb
instruments: Trumpets or
Clarinets; C Instruments:
Flutes, Oboes, or
Violins; Eb Instruments:
Alto Saxophones; F
Instruments: Horns; and
Bass Clef instruments:
Bassoons or Trombones.
The accompaniment is
cleverly scored so that
it is playable by a full,
traditional concert band;
or by a chamber wind
ensemble of woodwinds,
horns, and timpani (ideal
for accompanying upper
woodwind soloists.) A
great way to feature
outstanding soloists from
your band!
About C.L.
Barnhouse Spotlight
Series The
Barnhouse Spotlight
series includes
publications for solo
instruments with concert
band accompaniment. These
publications are designed
to feature outstanding
members of your band as
soloist, and to provide
unique and entertaining
programming options. Solo
parts are graded more
difficult than the band
accompaniments $7.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
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