| Top 50 Pop Hits Piano seul [Partition] - Facile Alfred Publishing
Arranged by Dan Coates. For Piano. Piano - Easy Piano Collection. Top 50. Pop. E...(+)
Arranged by Dan Coates.
For Piano. Piano - Easy
Piano Collection. Top 50.
Pop. Easy Piano. Book.
204 pages. Published by
Alfred Music
$19.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Simply Rock 90s Piano seul [Partition] Alfred Publishing
(16 Rockin' Hits of the 1990s). Arranged by Dan Coates. For Piano. Piano Collect...(+)
(16 Rockin' Hits of the
1990s). Arranged by Dan
Coates. For Piano. Piano
Collection. Simply
Series. Pop/Rock. Easy
Piano. Book. 80 pages.
Published by Alfred Music
Publishing
$12.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Latin American Dances 2 Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire TRN Music Publisher
(I. Salsa -- II. Bossa Nova -- III. Rumba). By Clifton Jameson Jones. For concer...(+)
(I. Salsa -- II. Bossa
Nova -- III. Rumba). By
Clifton Jameson Jones.
For concert band. Grade
3.5. Score and parts.
Published by TRN Music
Publisher
$60.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Zephyrus Theodore Presser Co.
Chamber Music SKU: PR.164002120 Composed by Dan Welcher. Set of Score and...(+)
Chamber Music SKU:
PR.164002120 Composed
by Dan Welcher. Set of
Score and Parts. With
Standard notation.
32+16+12+12+12 pages.
Duration 16 minutes.
Theodore Presser Company
#164-00212. Published by
Theodore Presser Company
(PR.164002120). UPC:
680160037582. Works
of chamber music
including flute and
strings are not nearly as
numerous as those for
clarinet, or even the
oboe. Probably the reason
for this is the less
assertive, more pure tone
the flute possesses - it
can't compete for volume
or range with the
clarinet, except in its
top octave, and the
oboe's tone is more
penetrating and easily
discerned from within a
string texture.
Consequently, composers
who have written for
flute and strings have
done so in lightweight
divertimento works:
compare, for instance,
the delicate flute
quartets of Mozart with
his monumental quintet
for clarinet and strings.
When Karl and Joan
Karber approached me with
the ideas of writing a
work for flute and string
trio, I originally
thought it would be best
to write a humorous,
rather offhand piece -
but a look at their
repertoire (mostly
comprised of smaller
works of the Rococo
period) convinced me that
it was the last thing
they needed. In spite of
the challenge (or maybe
because of it?), I
determined to write a
large work, and a serious
work. Zephyrus (named for
the God of the West Wind,
in deference to the
flute) is a
three-movement work, with
each movement cast in a
very different form, but
all three being built of
the same twelve-note
series. There is also a
rhythmic motive and a
pair of themes that
appear in all three
movements. The
first movement plays with
the idea of contrast and
persuasion. The flute, at
the outset, is the
hell-for-leather
protagonist, charging and
swooping around the
strings - who seem oddly
unconcerned by his
passion. Indeed, they
have a more somber song
to sing - and as the
movement unfolds, the
flute becomes less and
less active, while the
strings become
increasingly enlivened.
By the midpoint, when all
four instruments are
finally in the same meter
and the same tempo, the
flute's energy has
finally infected the
other three players, and
this energy does not let
up until the movement's
abrupt final cadence.
The second
movement begins with a
tag from the first - as
if the energy left over
was too great to simply
stop. At length, though,
a very poignant flute
melody appears over an
almost bluesy harmony in
the strings. After this
has been fully exposed, a
slight increase in
motion, marked gently
rocking in triplets,
features a theme-fragment
from Leonard Bernstein's
Symphony No. 2 (Kaddish).
Bernstein died as I was
writing this work, and it
seemed quite natural to
encourage what was
already implicit in the
music, and create an
Elegy for L.B. The music
rises and peaks, then in
the recapitulation of the
opening the Kaddish theme
reappears, as the
ensemble suggests a
gentle song of sleep.
The final movement
is a Rondo-Variations
form, with the slight
alteration of adding the
main theme of the second
movement in what would be
the trio of the form. The
ritornello theme is a
kind of ethnic dance
music, almost an allusion
to the Klezmer ensembles
of Eastern Europe. The
successive episodes
between the ritornelli
are loosely organized
variations on the basic
theme, but always
beginning with a metric
modulation, a rhythmic
changing of gears. The
movement reaches and apex
of speed and furious
pulsing, then abruptly
pirouttes, and finishes.
Zephyrus was
written between April and
November of 1990 in
Austin, Aspen, and
Honolulu, and is
dedicated to Karl Kraber
and The Chamber Soloists
of Austin. --Dan
Welcher. $85.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Zephyrus Theodore Presser Co.
SKU: PR.16400212S Composed by Dan Welcher. With Standard notation. Durati...(+)
SKU: PR.16400212S
Composed by Dan Welcher.
With Standard notation.
Duration 16 minutes.
Theodore Presser Company
#164-00212S. Published by
Theodore Presser Company
(PR.16400212S). UPC:
680160037605. Works
of chamber music
including flute and
strings are not nearly as
numerous as those for
clarinet, or even the
oboe. Probably the reason
for this is the less
assertive, more pure tone
the flute possesses - it
can't compete for volume
or range with the
clarinet, except in its
top octave, and the
oboe's tone is more
penetrating and easily
discerned from within a
string texture.
Consequently, composers
who have written for
flute and strings have
done so in lightweight
divertimento works:
compare, for instance,
the delicate flute
quartets of Mozart with
his monumental quintet
for clarinet and strings.
When Karl and Joan
Karber approached me with
the ideas of writing a
work for flute and string
trio, I originally
thought it would be best
to write a humorous,
rather offhand piece -
but a look at their
repertoire (mostly
comprised of smaller
works of the Rococo
period) convinced me that
it was the last thing
they needed. In spite of
the challenge (or maybe
because of it?), I
determined to write a
large work, and a serious
work. Zephyrus (named for
the God of the West Wind,
in deference to the
flute) is a
three-movement work, with
each movement cast in a
very different form, but
all three being built of
the same twelve-note
series. There is also a
rhythmic motive and a
pair of themes that
appear in all three
movements. The
first movement plays with
the idea of contrast and
persuasion. The flute, at
the outset, is the
hell-for-leather
protagonist, charging and
swooping around the
strings - who seem oddly
unconcerned by his
passion. Indeed, they
have a more somber song
to sing - and as the
movement unfolds, the
flute becomes less and
less active, while the
strings become
increasingly enlivened.
By the midpoint, when all
four instruments are
finally in the same meter
and the same tempo, the
flute's energy has
finally infected the
other three players, and
this energy does not let
up until the movement's
abrupt final cadence.
The second
movement begins with a
tag from the first - as
if the energy left over
was too great to simply
stop. At length, though,
a very poignant flute
melody appears over an
almost bluesy harmony in
the strings. After this
has been fully exposed, a
slight increase in
motion, marked gently
rocking in triplets,
features a theme-fragment
from Leonard Bernstein's
Symphony No. 2 (Kaddish).
Bernstein died as I was
writing this work, and it
seemed quite natural to
encourage what was
already implicit in the
music, and create an
Elegy for L.B. The music
rises and peaks, then in
the recapitulation of the
opening the Kaddish theme
reappears, as the
ensemble suggests a
gentle song of sleep.
The final movement
is a Rondo-Variations
form, with the slight
alteration of adding the
main theme of the second
movement in what would be
the trio of the form. The
ritornello theme is a
kind of ethnic dance
music, almost an allusion
to the Klezmer ensembles
of Eastern Europe. The
successive episodes
between the ritornelli
are loosely organized
variations on the basic
theme, but always
beginning with a metric
modulation, a rhythmic
changing of gears. The
movement reaches and apex
of speed and furious
pulsing, then abruptly
pirouttes, and finishes.
Zephyrus was
written between April and
November of 1990 in
Austin, Aspen, and
Honolulu, and is
dedicated to Karl Kraber
and The Chamber Soloists
of Austin. --Dan
Welcher. $38.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Simplified Classics Piano seul - Facile Willis Music
Later Elementary Level. By Various. Arranged by Glenda Austin. Willis. 16 pages....(+)
Later Elementary Level.
By Various. Arranged by
Glenda Austin. Willis. 16
pages. Published by
Willis Music.
$7.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| 3 Dances Editions BIM
2 solo tubas and big band (4 trumpets, horn, 3 tenor trombones, bass trombone, 2...(+)
2 solo tubas and big band
(4 trumpets, horn, 3
tenor trombones, bass
trombone, 2 alto
saxophones, tenor
saxophone, baritone
saxophone, piano,
marimba, vibraphone
(xylophone), bass guitar
and drum set) - Grade 5-6
SKU: ET.TU132D
Composed by Roland
Szentpali. Jazz. Study
score and solo part(s).
Editions BIM #TU132D.
Published by Editions BIM
(ET.TU132D). ISBN
9790207020833. 3
Dances is a Suite in
three movements for 2
solo tubas and big band
(2 alto saxophones, tenor
saxophone, bariton
saxophone, 4 trumpets,
horn in F, 3 trombones,
bass trombone, xylophone,
vibraphone, marimba,
piano, bass guitar, drum
set) written in 3
movements. It is a
typical example of the
versatile composing
talent of Roland
Szentpali. His approach
to jazz is well
structured, with subtle
fast or slow groovy
sequences of the
different instrumental
and rhythm sections,
stimulating (and how !)
the two solo tubas
interacting with each
other. I. Blow On
Fire starts with a free
cadenza that is an
introduction merging into
fast elements which
appear all along this
movement. The two tubas
start to play once the
melodic elements burn,
and from then develop
their own dynamic
shifts. II. Oriental
Flavors is another kind
of groove (as the
movement title suggests),
beginning with a short
opening of the trombone
section falling into
secco rhythm that beats
in contrasts with the
stimulating lyrical
intervention by the two
tubists. III. Cinder
Dance has a specific
introduction that leads
the musicians and the
audience on the path of
various trances over
several uneven time
signatures. At a certain
point, the 2 tubas fly
through cadencial
sequences just over the
rhythm section, before
ending on a long
collective and steamy
final progression.
World premiere and
recording premiere: May
13-14, 2017 in the L.
Austin Weeks Center for
Recording and Performance
at the Frost School of
Music, University of
Miami - Coral Gables,
Florida, USA with the
award winning Frost
Concert Jazz Band
conducted by John
Daversa, and soloists
Aaron Tindall and Roland
Szentpali on tuba. $38.69 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| 3 Dances Editions BIM
2 solo tubas and big band (2 alto saxophones, tenor saxophone, baritone saxophon...(+)
2 solo tubas and big band
(2 alto saxophones, tenor
saxophone, baritone
saxophone, 4 trumpets,
horn, 3 tenor trombones,
bass trombone, xylophone,
vibraphone, marimba,
piano, bass guitar, drum
set) - Grade 5-6 SKU:
ET.TU132C Composed by
Roland Szentpali. Jazz.
Parts. Editions BIM
#TU132C. Published by
Editions BIM (ET.TU132C).
ISBN
9790207020826. 3
Dances is a Suite in
three movements for 2
solo tubas and big band
(2 alto saxophones, tenor
saxophone, bariton
saxophone, 4 trumpets,
horn in F, 3 trombones,
bass trombone, xylophone,
vibraphone, marimba,
piano, bass guitar, drum
set) written in 3
movements. It is a
typical example of the
versatile composing
talent of Roland
Szentpali. His approach
to jazz is well
structured, with subtle
fast or slow groovy
sequences of the
different instrumental
and rhythm sections,
stimulating (and how !)
the two solo tubas
interacting with each
other. I. Blow On
Fire starts with a free
cadenza that is an
introduction merging into
fast elements which
appear all along this
movement. The two tubas
start to play once the
melodic elements burn,
and from then develop
their own dynamic
shifts. II. Oriental
Flavors is another kind
of groove (as the
movement title suggests),
beginning with a short
opening of the trombone
section falling into
secco rhythm that beats
in contrasts with the
stimulating lyrical
intervention by the two
tubists. III. Cinder
Dance has a specific
introduction that leads
the musicians and the
audience on the path of
various trances over
several uneven time
signatures. At a certain
point, the 2 tubas fly
through cadencial
sequences just over the
rhythm section, before
ending on a long
collective and steamy
final progression.
World premiere and
recording premiere: May
13-14, 2017 in the L.
Austin Weeks Center for
Recording and Performance
at the Frost School of
Music, University of
Miami - Coral Gables,
Florida, USA with the
award winning Frost
Concert Jazz Band
conducted by John
Daversa, and soloists
Aaron Tindall and Roland
Szentpali on tuba. $156.19 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
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