| The Beatles: The Beatles - Complete Scores
Partitions De Groupes [Partition] Hal Leonard
Performed by The Beatles. For voice(s), guitar(s), bass guitar, drum set and key...(+)
Performed by The Beatles.
For voice(s), guitar(s),
bass guitar, drum set and
keyboard. Format: full
score. With vocal melody,
lyrics, standard guitar
notation, guitar
tablature, standard bass
notation, bass tablature,
chord names and drum
notation. Classic rock,
pop rock and psychedelic
rock. Popular boxed gift
set. Includes complete
transcriptions of all
instrumental and vocal
parts. Series: Hal
Leonard Transcribed
Scores. 1136 pages.
7.25x10.88 inches.
Published by Hal Leonard.
(67)$99.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| George Gershwin: I Got Rhythm Quatuor de Saxophones: 4 saxophones [Conducteur et Parties séparées] - Intermédiaire Compusic
By George Gershwin. Arranged by Hans Dillo. For Soprano-saxophone, Alto-saxophon...(+)
By George Gershwin.
Arranged by Hans Dillo.
For Soprano-saxophone,
Alto-saxophone,
Tenor-saxophone,
Baritone-saxophone. Score
and parts. Classical.
Level: Intermediate.
Book. Published by
Compusic (German import).
$12.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Encore! The Music of Our Times (Medley) Chorale [Conducteur] Hal Leonard
Arranged by Mac Huff. (2 Part Score). Choral. Size 9x12 inches. 112 pages. Publ...(+)
Arranged by Mac Huff. (2
Part Score). Choral. Size
9x12 inches. 112 pages.
Published by Hal Leonard.
$49.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Encore! The Music of Our Times (Medley) Chorale [Conducteur] Hal Leonard
Arranged by Mac Huff. (SATB score). Choral. Size 9x12 inches. 116 pages. Publis...(+)
Arranged by Mac Huff.
(SATB score). Choral.
Size 9x12 inches. 116
pages. Published by Hal
Leonard.
$49.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Concerto For Oboe And Orchestra [Conducteur] Theodore Presser Co.
Orchestra Orchestra SKU: PR.11641373S Composed by Peter Schickele. Full s...(+)
Orchestra Orchestra
SKU: PR.11641373S
Composed by Peter
Schickele. Full score.
Duration 24 minutes.
Theodore Presser Company
#116-41373S. Published by
Theodore Presser Company
(PR.11641373S). UPC:
680160680344. The
concerto has always
seemed an especially
attractive medium to me,
not necessarily because
of its expectations of
virtuosity (although
flaunting it when you've
got it certainly has its
place), and emphatically
not because of the
perception of a concerto
as a contest, but because
so much of what I write
feels song-like; I'm very
much at home with the
age-old texture of melody
and accompaniment. I
hope, before I move on,
to have the opportunity
to write concertos for
all the major
instruments, and perhaps
some of the rarer ones as
well. The oboe is not
only one of the major
instruments, it is one of
my favorite instruments.
I've always loved its
sound, but since moving
to New York I have gotten
to hear and, in some
cases, know some
extremely fine oboists
who broadened my
appreciation of the
instrument's
possibilities. I
especially remember a
concert, probably in the
late 1960's, in which
Humbert Lucarelli played
a Handel concerto,
filling out large melodic
leaps with cascading
scale passages in a way
that raised the hair on
the back of your neck,
somewhat in the way that
John Coltrane's sheets of
sound did. The sweeping
scales in the second
movement of my concerto
were definitely inspired
by Bert Lucarelli's
performance. The first,
third and fifth movements
of the Concerto for Oboe
and Orchestra are
song-like, whereas the
second and fourth have
strong scherzo and dance
qualities, including a
couple of sections that
sound like out-and-out
pirate dances to me. The
hymn-like tune at the
beginning of the middle
movement was originally
begun as a vocal piece to
be sung by my wife, son
and daughter at my
brother's wedding, but I
couldn't come up with
good works for it, so it
ended up as an
instrumental chant. The
opening and closing of
the concerto make use of
the oboe's uniquely
soulful singing. I had
not heard Pamela Woods
Pecha's solo playing in
person when she
approached me about
writing a concerto, but I
had heard her fine
recording of chamber
music for oboe and
strings by the three B's
(English, that is: Bliss,
Bax and Britten) with the
Audubon Quartet. I
actually already had some
oboe concerto ideas in my
sketchbooks; although I
didn't end up using any
of those earlier ideas,
it's interesting that
most of them tended to
share the general feeling
and tonality of the
eventual opening of the
concerto. The work was
completed on October 13,
1994. I hate the
compromises involved in
making piano reductions
-- perhaps I would feel
differently if I were a
more accomplished pianist
-- so I often decide to
make piano reductions for
four hands rather than
two. My good friend Jon
Kimura Parker is a
terrific sight-reader,
and I roped him into
coming over to my place
on February 17, 1995, to
help me accompany Pamela
on the first read-through
of the piece. The first
performance of the work
took place on July 21,
1995, at the American
Music Festival in Duncan,
Oklahoma, with Mark
Parker conducting the
Festival Orchestra. $80.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
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