PARTITIONS GRATUITES :
- Canonic Piece

Organ

SKU: SU.80101509

For Organ. Composed by Carson Cooman. Keyboard, Organ. Score. Zimbel Press #80101509. Published by Zimbel Press (SU.80101509).

Three Canonic Pieces (2022) contains Prelude and Canon, Toll and Canon, and Introduction and Canon. Each is based on canonic principles. They were conceived and written as three independent pieces, although they can also be played as group of three or as any subset of two.Organ Duration: 15' Composed: 2022 Published by: Zimbel Press.

Band Bass Clarinet, Bass Drum, Bassoon, Bells, Chimes, Clarinet 1, Clarinet 2, Clarinet 3, Crash Cymbals, Euphonium, Euphonium T.C., Flute 1, Flute 2, Gong, Horn 1, Horn 2, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Snare Drum and more. - Grade 3

SKU: CF.CPS89F

Composed by Bill Calhoun. Carl Fischer Concert Performance Series. Full score. With Standard notation. 28 pages. Carl Fischer Music #CPS89F. Published by Carl Fischer Music (CF.CPS89F).

ISBN 9780825870453. UPC: 798408070458.

As the title implies, Canonic Fantasy is based on a harmonic canon that forms the basis for this excellent new concert band work. It begins slowly and dramatically and then weaves into a bold and dynamic allegro. Alert your contest list committee about this piece - it has all the makings of standard fare for contest/festival performance!

By Bill Calhoun. For Set - Full Score and Parts. Carl Fischer Concert Performance Series. Grade 3-3.5. Score and parts. Published by Carl Fischer . Score and Parts.

Chamber Music Piano

SKU: PR.490011630

Inventions 1-18. Composed by Robert Baksa. Full score. With Standard notation. 48 pages. Composers Library Editions #490-01163. Published by Composers Library Editions (PR.490011630).

UPC: 680160599387. 8.5 x 11 inches.

Inspired by the two and three part inventions of Bach, Baksa's 36 Canonic Inventions were composed in the early 1980s but are now available complete in two volumes. Each two voice invention is followed by a three voice invention in the same key so that the result is somewhat like the Master of Master's Preludes and Fugues. Many of these pieces were premiered by Harpsichordist Elaine Comparone but they are equally suitable for performance on piano or pianoforte. American composer Lee Hoiby once asked me where I learned to write counterpoint. I told him that I learned by writing my Canonic Inventions. (Robert Baksa).

Choral SATB choir; brass & timpani (SATB choir)

SKU: HP.F995

Composed by Lon Beery. Piano Accompaniment with Optional Brass & Timpani. General Worship, Adoration & Praise, Sacred. Octavo. Hope Publishing Company #F995. Published by Hope Publishing Company (HP.F995).

UPC: 763628147693.

Class ic hymn Choral Piece by Samuel Medley, Thomas Tallis, and Lon Beery.

SATB choir; brass & timpani

SKU: HP.F995B

Composed by Lon Beery. Piano Accompaniment with Optional Brass & Timpani. General Worship, Adoration & Praise, Sacred. Brass Parts. Hope Publishing Company #F995B. Published by Hope Publishing Company (HP.F995B).

UPC: 763628247690.

Class ic hymn Choral Piece by Samuel Medley, Thomas Tallis, and Lon Beery.

Chamber Music String Quartet

SKU: PR.14440265S

Composed by Sydney F. Hodkinson. Large Score. With Standard notation. Duration 25 minutes. Merion Music #144-40265S. Published by Merion Music (PR.14440265S).

UPC: 680160027910.

The Second and Third Quartets were conceived at the same time; indeed, their composition intermingled, over half of No. 3 being sketched before No. 2 was completed. Accordingly, they share similar material but, like the intertwining blood of cousins, their natures differ: No. 2 being somewhat acerbic and declamatory, No. 3 more lyric and gentler. An annunicatory 'leaping motive' (derived from a motto generated by my name) opens Quartet No. 2 and inhabits the course of the piece as a cyclical binding-force. A five-note motive, usually very deliberate, also keeps recurring like an insistent caller. All three movements are based on tonal centers (I on B and E, II on D, III on C) and the harmonic 'grammar' spoken tends to recall the jazz world of my youth. To hopefully achieve a certain classical ambience was one of the goals of this piece, and all three movements have traditional forms. The first movement is a modified Sonata-Allegro design, with a severely-truncated recapitulation balanced by a lengthy, and decaying Coda. The second movement is a set of strophic variants and an epilogue interspersed with both solo ritornelli and first-movement material (the motto and the five-note motive) in the nature of a fantasia-like 'call-and-response.' It is dedicated to the memory of the American mezzo-soprano Jan DeGaetani. The third movement is a modified Rondo (ABACBA) which evolves out of the opening motto. All three movements make much use of canonic stretti, similar gestures, and repetition. For example, the climax of movement III's Rondo throws the first movement back at us again, as if the players were reluctant to let it go, so that the entire piece could perhaps be viewed as a single large, extended, Sonata movement, with introduction and Coda.
The Second and Third Quartets were conceived at the same time; indeed, their composition intermingled, over half of No. 3 being sketched before No. 2 was completed.  Accordingly, they share similar material but, like the intertwining blood of cousins, their natures differ: No. 2 being somewhat acerbic and declamatory, No. 3 more lyric and gentler.An annunicatory ‘leaping motive’ (derived from a motto generated by my name) opens Quartet No. 2 and inhabits the course of the piece as a cyclical binding-force.  A five-note motive, usually very deliberate, also keeps recurring like an insistent caller.  All three movements are based on tonal centers (I on B and E, II on D, III on C) and the harmonic ‘grammar’ spoken tends to recall the jazz world of my youth.To hopefully achieve a certain classical ambience was one of the goals of this piece, and all three movements have traditional forms.  The first movement is a modified Sonata-Allegro design, with a severely-truncated recapitulation balanced by a lengthy, and decaying Coda.  The second movement is a set of strophic variants and an epilogue interspersed with both solo ritornelli and first-movement material (the motto and the five-note motive) in the nature of a fantasia-like ‘call-and-response. ’  It is dedicated to the memory of the American mezzo-soprano Jan DeGaetani.  The third movement is a modified Rondo (ABACBA) which evolves out of the opening motto.All three movements make much use of canonic stretti, similar gestures, and repetition.  For example, the climax of movement III’s Rondo throws the first movement back at us again, as if the players were reluctant to let it go, so that the entire piece could perhaps be viewed as a single large, extended, Sonata movement, with introduction and Coda.