| Greetings and Salutations Ensemble Jazz [Conducteur et Parties séparées] - Intermédiaire/avancé Kendor Music Inc.
By Thad Jones. For jazz ensemble plus optional F horns (4), optional tuba and op...(+)
By Thad Jones. For jazz
ensemble plus optional F
horns (4), optional tuba
and optional conga; 1st
soprano or alto sax
doubles on flute, 2nd
alto sax has optional
flute double, 1st tenor
sax has optional flute
double, 2nd tenor sax
doubles on clarinet.
Kendo Score and Parts
Blues Rock
$95.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Concerto Violon Theodore Presser Co.
Orchestra Bass Trombone, Bassoon 1, Bassoon 2, Celesta, Clarinet 1, Clarinet 2, ...(+)
Orchestra Bass Trombone,
Bassoon 1, Bassoon 2,
Celesta, Clarinet 1,
Clarinet 2, Contrabass,
English Horn, Flute 1,
Flute 2, Harp, Horn 1,
Horn 2, Horn 3, Horn 4,
Oboe 1, Oboe 2,
Percussion, Piccolo,
Timpani, Trombone,
Trumpet 1, Trumpet 2,
Viola, Violin 1 and more.
SKU: PR.41641366L
For Violin and
Orchestra. Composed
by Behzad Ranjbaran.
Contemporary. Large
Score. With Standard
notation. Composed 1994.
144 pages. Duration 31
minutes. Theodore Presser
Company #416-41366L.
Published by Theodore
Presser Company
(PR.41641366L). UPC:
680160585755. From
my early years studying
violin at the Tehran
Music Conservatory, I was
captivated by the sound
of the kamancheh, an
ancient Persian bowed
instrument considered one
of the ancestors to the
modern violin. I was
pleased when the National
Endowment for the Arts
awarded me a grant to
write a violin concerto
as it provided me with an
occasion to rekindle my
fascination with the
kamancheh. The notion of
writing a violin concerto
that would incorporate
the power and brilliance
of a modern instrument
with the delicate and
lyrical character of an
ancient one was simply
irresistible. Moreover,
the inspiration from the
kamancheh also informed
my use of Persian modes,
melodic, and rhythmic
figures. The notes of the
violins open strings (G,
D, A, E) also influenced
many of the melodic and
harmonic elements of my
violin concerto. The
opening tutti is mostly
based on intervals of a
perfect 4th and 5th. The
primary material for each
movement incorporates
notes of two of the open
strings of the violin,
creating a three-note
melodic motif as the
basis of themes: 1 st
movement: A-D-A 2nd
movement: D-G-D 3rd
movement: E-A-E The
overall structure of the
concerto is organic and
cyclical, as themes are
shared between the three
movements. For example,
the main musical idea of
the third movement is a
transformation of the
first movements primary
theme. While the
movements share similar
musical materials, each
one is defined by
distinguishing
characters. The first
movement is conflicted;
alternating between
sections of unabashed
lyricism and unforgiving
ferocity. The second
movement is haunting,
mysterious, and
expressive with long
melodic lines that vary
continuously. It moves
through different moods
and characters including
a reimagining of a
traditional Persian
wedding tune played by
the orchestra (m. 98).
The third movement is
festive in character and
features much brilliant
passagework for the solo
violin. At the climax of
this movement, themes
from the previous
movements re-emerge
simultaneously with
greater intensity,
propelling the concerto
to an energetic finale.
The Concerto was composed
in 1994 and is dedicated
to Joshua Bell. From
my early years studying
violin at the Tehran
Music Conservatory, I was
captivated by the sound
of the kamancheh, an
ancient Persian bowed
instrument considered one
of the ancestors to the
modern violin. I was
pleased when the National
Endowment for the Arts
awarded me a grant to
write a violin concerto
as it provided me with an
occasion to rekindle my
fascination with the
kamancheh. The notion of
writing a violin concerto
that would incorporate
the power and brilliance
of a modern instrument
with the delicate and
lyrical character of an
ancient one was simply
irresistible. Moreover,
the inspiration from the
kamancheh also informed
my use of Persian modes,
melodic, and rhythmic
figures. The notes of the
violinas open strings (G,
D, A, E) also influenced
many of the melodic and
harmonic elements of my
violin concerto. The
opening tutti is mostly
based on intervals of a
perfect 4th and 5th. The
primary material for each
movement incorporates
notes of two of the open
strings of the violin,
creating a three-note
melodic motif as the
basis of themes: 1 st
movement: A-D-A 2nd
movement: D-G-D 3rd
movement: E-A-E The
overall structure of the
concerto is organic and
cyclical, as themes are
shared between the three
movements. For example,
the main musical idea of
the third movement is a
transformation of the
first movementas primary
theme. While the
movements share similar
musical materials, each
one is defined by
distinguishing
characters. The first
movement is conflicted;
alternating between
sections of unabashed
lyricism and unforgiving
ferocity. The second
movement is haunting,
mysterious, and
expressive with long
melodic lines that vary
continuously. It moves
through different moods
and characters including
a reimagining of a
traditional Persian
wedding tune played by
the orchestra (m. 98).
The third movement is
festive in character and
features much brilliant
passagework for the solo
violin. At the climax of
this movement, themes
from the previous
movements re-emerge
simultaneously with
greater intensity,
propelling the concerto
to an energetic finale.
The Concerto was composed
in 1994 and is dedicated
to Joshua Bell. From
my early years studying
violin at the Tehran
Music Conservatory, I was
captivated by the sound
of the kamancheh, an
ancient Persian bowed
instrument considered one
of the ancestors to the
modern violin. I was
pleased when the National
Endowment for the Arts
awarded me a grant to
write a violin concerto
as it provided me with an
occasion to rekindle my
fascination with the
kamancheh. The notion of
writing a violin concerto
that would incorporate
the power and brilliance
of a modern instrument
with the delicate and
lyrical character of an
ancient one was simply
irresistible. Moreover,
the inspiration from the
kamancheh also informed
my use of Persian modes,
melodic, and rhythmic
figures. The notes of the
violin's open strings (G,
D, A, E) also influenced
many of the melodic and
harmonic elements of my
violin concerto. The
opening tutti is mostly
based on intervals of a
perfect 4th and 5th. The
primary material for each
movement incorporates
notes of two of the open
strings of the violin,
creating a three-note
melodic motif as the
basis of themes: 1 st
movement: A-D-A 2nd
movement: D-G-D 3rd
movement: E-A-E The
overall structure of the
concerto is organic and
cyclical, as themes are
shared between the three
movements. For example,
the main musical idea of
the third movement is a
transformation of the
first movement's primary
theme. While the
movements share similar
musical materials, each
one is defined by
distinguishing
characters. The first
movement is conflicted;
alternating between
sections of unabashed
lyricism and unforgiving
ferocity. The second
movement is haunting,
mysterious, and
expressive with long
melodic lines that vary
continuously. It moves
through different moods
and characters including
a reimagining of a
traditional Persian
wedding tune played by
the orchestra (m. 98).
The third movement is
festive in character and
features much brilliant
passagework for the solo
violin. At the climax of
this movement, themes
from the previous
movements re-emerge
simultaneously with
greater intensity,
propelling the concerto
to an energetic finale.
The Concerto was composed
in 1994 and is dedicated
to Joshua Bell. From
my early years studying
violin at the Tehran
Music Conservatory, I was
captivated by the sound
of the kamancheh, an
ancient Persian bowed
instrument considered one
of the ancestors to the
modern violin. I was
pleased when the National
Endowment for the Arts
awarded me a grant to
write a violin concerto
as it provided me with an
occasion to rekindle my
fascination with the
kamancheh. The notionof
writing a violin concerto
that would incorporate
the power and brilliance
of a modern instrument
with the delicate and
lyrical character of an
ancient one was simply
irresistible. Moreover,
the inspiration from the
kamancheh also informed
my use of Persian modes,
melodic, and rhythmic
figures.The notes of the
violin’s open
strings (G, D, A, E) also
influenced many of the
melodic and harmonic
elements of my violin
concerto. The opening
tutti is mostly based on
intervals of a perfect
4th and 5th. The primary
material for each
movement incorporates
notes of two of the open
strings of the violin,
creating a three-note
melodic motif as the
basis of themes:1 st
movement: A-D-A2nd
movement: D-G-D3rd
movement: E-A-EThe
overall structure of the
concerto is organic and
cyclical, as themes are
shared between the three
movements. For example,
the main musical idea of
the third movement is a
transformation of the
first movement’s
primary theme. While the
movements share similar
musical materials, each
one is definedby
distinguishing
characters. The first
movement is conflicted;
alternating between
sections of unabashed
lyricism and
unforgivingferocity. The
second movement is
haunting, mysterious, and
expressive with long
melodic lines that vary
continuously. It moves
through different moods
and characters including
a reimagining of a
traditional Persian
wedding tune played by
the orchestra (m. 98).
The third movement is
festive in character and
features much brilliant
passagework for the solo
violin. At the climax of
this movement, themes
fromthe previous
movements re-emerge
simultaneously with
greater intensity,
propelling the concerto
to an energetic finale.
The Concerto was composed
in 1994 and is dedicated
to Joshua Bell. $180.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Mythology Suite Theodore Presser Co.
Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet 1, Clarinet 2, Clarinet 3, Cl...(+)
Band Bass Clarinet,
Bassoon 1, Bassoon 2,
Clarinet 1, Clarinet 2,
Clarinet 3, Clarinet 4,
Clarinet 5, Clarinet 6,
Contrabassoon, English
Horn, Euphonium, Flute 1,
Flute 2, Flute 3, Flute
4, Flute 5, Harp, Horn 1,
Horn 2, Horn 3, Horn 4,
Oboe 1 and more. SKU:
PR.415411560 Composed
by Stacy Garrop. Study
Score. With Standard
notation. 66 pages.
Duration 19 minutes.
Theodore Presser Company
#415-41156. Published by
Theodore Presser Company
(PR.415411560). UPC:
680160642946. 9 x 12
inches. The
Mythology Suite consists
of three movements of my
Mythology Symphony, which
I arranged for large wind
ensemble. The
arrangements of The
Lovely Sirens and
Penelope Waits were
commissioned by James
Ripley and Carthage
College for the Carthage
Wind Orchestra's 2017
Japan tour. I added
Pandora Undone to
complete the set; Stephen
Squires and the Chicago
College of Performing
Arts gave the premiere of
the entire Suite in
February 2017. Movement
1: The Lovely Sirens The
Sirens were sea nymphs,
usually pictured as part
woman and part bird, who
lived on a secluded
island surrounded by
rocks. Their enchanting
song was irresistible to
passing sailors, who were
lured to their deaths as
their ships were
destroyed upon the rocks.
The Lovely Sirens
presents three ideas: the
Sirens' beautiful song,
an unfortunate group of
sailors whose course
takes them near the
island, and the disaster
that befalls the sailors.
The sailors' peril is
represented by the Morse
code S.O.S. signal (three
dots, three dashes, and
three dots--represented
musically by short and
long rhythms). The S.O.S.
signal grows increasingly
more insistent and
distressed as it becomes
obvious that the sailors,
smitten with the voices
of the Sirens, are headed
for their demise.
Movement 2: Penelope
Waits This quiet movement
represents Queen
Penelope, the faithful
wife of Odysseus, as she
patiently waits twenty
years for her husband's
return from fighting the
Trojan Wars. Penelope
herself is represented as
an oboe. She is
accompanied by the
ensemble as she keeps at
bay the suitors who wish
to marry her and inherit
her riches. Movement 3:
Pandora Undone This
movement is, in turns,
both lighthearted and
serious. The music
depicts a young, naive
Pandora who, while
dancing around her house,
spies a mysterious box.
She tries to resist
opening it, but her
curiosity ultimately gets
the best of her. When she
cracks the lid open and
looks inside, all evils
escape into the world.
Dismayed by what she has
done, she looks inside
the box once more. She
discovers hope still in
the box and releases it
to temper the escaped
evils and assuage
mankind's new
burden. The Mytholo
gy Suite consists of
three movements of
my Mythology
Symphony, which I
arranged for large wind
ensemble. The
arrangements of The
Lovely
Sirens and Penelope
Waits were
commissioned by James
Ripley and Carthage
College for the Carthage
Wind Orchestra’s
2017 Japan tour. I
added Pandora
Undone to complete the
set; Stephen Squires and
the Chicago College of
Performing Arts gave the
premiere of the entire
Suite in February
2017.Movement 1:Â The
Lovely
SirensThe Sirens were
sea nymphs, usually
pictured as part woman
and part bird, who lived
on a secluded island
surrounded by rocks.
Their enchanting song was
irresistible to passing
sailors, who were lured
to their deaths as their
ships were destroyed upon
the rocks. The Lovely
Sirens presents three
ideas: the Sirens’
beautiful song, an
unfortunate group of
sailors whose course
takes them near the
island, and the disaster
that befalls the sailors.
The sailors’ peril
is represented by the
Morse code S.O.S. signal
(three dots, three
dashes, and three
dots—represented
musically by short and
long rhythms). The S.O.S.
signal grows increasingly
more insistent and
distressed as it becomes
obvious that the sailors,
smitten with the voices
of the Sirens, are headed
for their demise.Movement
2:Â Penelope WaitsThis
quiet movement represents
Queen Penelope, the
faithful wife of
Odysseus, as she
patiently waits twenty
years for her husband's
return from fighting the
Trojan Wars. Penelope
herself is represented as
an oboe. She is
accompanied by the
ensemble as she keeps at
bay the suitors who wish
to marry her and inherit
her riches.Movement
3:Â Pandora UndoneThis
movement is, in turns,
both lighthearted and
serious. The music
depicts a young, naïve
Pandora who, while
dancing around her house,
spies a mysterious box.
She tries to resist
opening it, but her
curiosity ultimately gets
the best of her. When she
cracks the lid open and
looks inside, all evils
escape into the world.
Dismayed by what she has
done, she looks inside
the box once more. She
discovers hope still in
the box and releases it
to temper the escaped
evils and assuage
mankind's new burden. $47.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Mythology Suite Theodore Presser Co.
Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet 1, Clarinet 2, Clarinet 3, Cl...(+)
Band Bass Clarinet,
Bassoon 1, Bassoon 2,
Clarinet 1, Clarinet 2,
Clarinet 3, Clarinet 4,
Clarinet 5, Clarinet 6,
Contrabassoon, English
Horn, Euphonium, Flute 1,
Flute 2, Flute 3, Flute
4, Flute 5, Harp, Horn 1,
Horn 2, Horn 3, Horn 4,
Oboe 1 and more. SKU:
PR.41541156L Composed
by Stacy Garrop. Large
Score. With Standard
notation. 66 pages.
Duration 19 minutes.
Theodore Presser Company
#415-41156L. Published by
Theodore Presser Company
(PR.41541156L). UPC:
680160642953. 11 x 17
inches. The
Mythology Suite consists
of three movements of my
Mythology Symphony, which
I arranged for large wind
ensemble. The
arrangements of The
Lovely Sirens and
Penelope Waits were
commissioned by James
Ripley and Carthage
College for the Carthage
Wind Orchestra's 2017
Japan tour. I added
Pandora Undone to
complete the set; Stephen
Squires and the Chicago
College of Performing
Arts gave the premiere of
the entire Suite in
February 2017. Movement
1: The Lovely Sirens The
Sirens were sea nymphs,
usually pictured as part
woman and part bird, who
lived on a secluded
island surrounded by
rocks. Their enchanting
song was irresistible to
passing sailors, who were
lured to their deaths as
their ships were
destroyed upon the rocks.
The Lovely Sirens
presents three ideas: the
Sirens' beautiful song,
an unfortunate group of
sailors whose course
takes them near the
island, and the disaster
that befalls the sailors.
The sailors' peril is
represented by the Morse
code S.O.S. signal (three
dots, three dashes, and
three dots--represented
musically by short and
long rhythms). The S.O.S.
signal grows increasingly
more insistent and
distressed as it becomes
obvious that the sailors,
smitten with the voices
of the Sirens, are headed
for their demise.
Movement 2: Penelope
Waits This quiet movement
represents Queen
Penelope, the faithful
wife of Odysseus, as she
patiently waits twenty
years for her husband's
return from fighting the
Trojan Wars. Penelope
herself is represented as
an oboe. She is
accompanied by the
ensemble as she keeps at
bay the suitors who wish
to marry her and inherit
her riches. Movement 3:
Pandora Undone This
movement is, in turns,
both lighthearted and
serious. The music
depicts a young, naive
Pandora who, while
dancing around her house,
spies a mysterious box.
She tries to resist
opening it, but her
curiosity ultimately gets
the best of her. When she
cracks the lid open and
looks inside, all evils
escape into the world.
Dismayed by what she has
done, she looks inside
the box once more. She
discovers hope still in
the box and releases it
to temper the escaped
evils and assuage
mankind's new
burden. The Mytholo
gy Suite consists of
three movements of
my Mythology
Symphony, which I
arranged for large wind
ensemble. The
arrangements of The
Lovely
Sirens and Penelope
Waits were
commissioned by James
Ripley and Carthage
College for the Carthage
Wind Orchestra’s
2017 Japan tour. I
added Pandora
Undone to complete the
set; Stephen Squires and
the Chicago College of
Performing Arts gave the
premiere of the entire
Suite in February
2017.Movement 1:Â The
Lovely
SirensThe Sirens were
sea nymphs, usually
pictured as part woman
and part bird, who lived
on a secluded island
surrounded by rocks.
Their enchanting song was
irresistible to passing
sailors, who were lured
to their deaths as their
ships were destroyed upon
the rocks. The Lovely
Sirens presents three
ideas: the Sirens’
beautiful song, an
unfortunate group of
sailors whose course
takes them near the
island, and the disaster
that befalls the sailors.
The sailors’ peril
is represented by the
Morse code S.O.S. signal
(three dots, three
dashes, and three
dots—represented
musically by short and
long rhythms). The S.O.S.
signal grows increasingly
more insistent and
distressed as it becomes
obvious that the sailors,
smitten with the voices
of the Sirens, are headed
for their demise.Movement
2:Â Penelope WaitsThis
quiet movement represents
Queen Penelope, the
faithful wife of
Odysseus, as she
patiently waits twenty
years for her husband's
return from fighting the
Trojan Wars. Penelope
herself is represented as
an oboe. She is
accompanied by the
ensemble as she keeps at
bay the suitors who wish
to marry her and inherit
her riches.Movement
3:Â Pandora UndoneThis
movement is, in turns,
both lighthearted and
serious. The music
depicts a young, naïve
Pandora who, while
dancing around her house,
spies a mysterious box.
She tries to resist
opening it, but her
curiosity ultimately gets
the best of her. When she
cracks the lid open and
looks inside, all evils
escape into the world.
Dismayed by what she has
done, she looks inside
the box once more. She
discovers hope still in
the box and releases it
to temper the escaped
evils and assuage
mankind's new burden. $95.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Dawn Of The Chili Pepper (Full Score) Ensemble Jazz - Débutant Kendor Music Inc.
Jazz Ensemble standard jazz ensemble with opt. flute, clarinet & F horn - Grade ...(+)
Jazz Ensemble standard
jazz ensemble with opt.
flute, clarinet & F horn
- Grade 1 SKU:
KN.41828S Composed by
George Shutack Doug
Beach. Jazz Foundations
Series. Kendor Music Inc
#41828S. Published by
Kendor Music Inc
(KN.41828S). UPC:
822795418286. At
last the origins of the
elusive Chili Pepper are
revealed in the Pepper's
first foray into the Jazz
Foundations Series! Set
in a driving tempo
(quarter note = 176),
this exciting tune makes
the Chili Pepper spirit
accessible to even the
youngest players. The
strong melody, solid
ensemble writing and
irresistible Latin groove
combine to create a chart
that will be a great
favorite for years to
come. Duration 4:10. $7.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Dawn Of The Chili Pepper Ensemble Jazz - Débutant Kendor Music Inc.
Jazz Ensemble standard jazz ensemble with opt. flute, clarinet & F horn - Grade ...(+)
Jazz Ensemble standard
jazz ensemble with opt.
flute, clarinet & F horn
- Grade 1 SKU:
KN.41828 Composed by
Doug Beach and George
Shutack. Jazz Foundations
Series. Latin. Kendor
Music Inc #41828.
Published by Kendor Music
Inc (KN.41828). UPC:
822795418286. At
last the origins of the
elusive Chili Pepper are
revealed in the Pepper's
first foray into the Jazz
Foundations Series! Set
in a driving tempo
(quarter note = 176),
this exciting tune makes
the Chili Pepper spirit
accessible to even the
youngest players. The
strong melody, solid
ensemble writing and
irresistible Latin groove
combine to create a chart
that will be a great
favorite for years to
come. Duration 4:10. $45.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Little Pumpkin Ensemble Jazz [Conducteur et Parties séparées] - Intermédiaire Kendor Music Inc.
Jazz Ensemble plus 5th Trumpetlead sax plays soprano or alto, all other saxes ha...(+)
Jazz Ensemble plus 5th
Trumpetlead sax plays
soprano or alto, all
other saxes have opt.
flute or clarinet doubles
- Grade 3.5 SKU:
KN.52480 Composed by
Thad Jones. Kendor Jazz
Archive Series. Jazz
Waltz. Score and set of
parts. Duration 4
minutes, 35 seconds.
Kendor Music Inc #52480.
Published by Kendor Music
Inc (KN.52480).
Recorded in
1997 on The Danish Radio
Big Band Plays Thad Jones
album in tribute to the
years he worked with that
group, this irresistible
jazz waltz features great
sax and brass solis, lots
of ensemble writing, and
ample stretching room for
solo soprano (or alto)
sax. Duration 4:35. $95.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Greetings And Salutations (Full Score) - Intermédiaire Kendor Music Inc.
Jazz Ensemble plus opt. F horns 4, opt. tuba & opt. conga1st Soprano or Alto Sax...(+)
Jazz Ensemble plus opt. F
horns 4, opt. tuba & opt.
conga1st Soprano or Alto
Sax doubles on flute, 2nd
Alto Sax has opt. flute
double, 1st Tenor Sax has
opt. flute double, 2nd
Tenor Sax doubles on
clarinet - Grade 3.5
SKU: KN.52360S
Composed by Thad Jones.
Kendor Archive Editions.
Kendor Music Inc #52360S.
Published by Kendor Music
Inc (KN.52360S).
As recorded by
the Thad Jones-Mel Lewis
Orchestra on their album
New Life, a slow rubato
intro sets up the
irresistible funky rock
groove that makes this an
enduring favorite with
better bands. Tenor,
trumpet and drums/congas
are the designated
soloists, but additional
players can be featured
if desired. A drum solo
in the final four bars
provides a dramatic
finish. Duration
8:30. $7.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
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