PARTITIONS GRATUITES :
- Joi Campbell

By Coleman, Campbell. For string instruments(s). Instrumental. Level: Intermediate. Published by SoundForth.

Music Sales America. Musicals. Music Sales #NOV072470. Published by Music Sales

By Kristin Campbell; Ruth Coleman. For violin and piano. General, Eastertide, Christmas. Sacred instrumental. Published by Exaltation Publications.

By Campbell. For violin. Instrumental collection. Intermediate. Published by SoundForth

Band Agogo Bells, Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Crash Cymbals, Euphonium, Euphonium T.C., Flute 1, Flute 2, Horn, Oboe, Percussion 1, Percussion 2, Snare Drum, Suspended Cymbal, Timpani, Triangle, Trombone, Trumpet, Tuba and more. - Grade 3

SKU: CF.CPS256F

Composed by Chris Campbell. Full score. 21 pages. Carl Fischer Music #CPS256F. Published by Carl Fischer Music (CF.CPS256F).

ISBN 9781491159729. UPC: 680160918317.

As the title suggests, there should be a tongue-in-cheek aspect to the performance of this piece with the idea that it doesn't take itself too seriously. Close attention should be paid to staccato notes, making sure not to play them too short and clipped, keeping in mind that a staccato quarter note should have the length of an eighth note and not the length of a sixteenth note. Although the piece is a march, it needn't conform to any strict interpretation of what a march should be. Some of the tongued eighth-note passages may need to be double-tongued, depending on tempo, using the Dig-A-Duck method. For instance at m. 34 the repeated eighth notes might be tongued dig-a-da-duck, dig-a-duck, da dot dot. Slurred eighth-note passages should follow the curve of the line, getting slightly louder as notes ascend and slightly softer as they descend. Measure 39 through m. 51 will have a somewhat chaotic feel, so go with the flow! The sparsely orchestrated passage at m. 68 is understated--perhaps a little spacey in keeping with our theme--and not to be overplayed until the crescendo at m. 88, when we return to business as usual. Trumpets show off again (rarely a problem for trumpet players) on the D. S. back to m. 6. On the Coda, another disjointed-sounding theme, again departing from any strict interpretation of a march--again, making sure that the staccatos are not too clipped--is followed by a repeat of the main theme, this time layered. Care should be taken to balance the entrances of the layered instrument groups as they enter. An exuberant final four measures puts the cherry on top. Percussion can play out for the most part, very little subtlety required. Overall, this piece is meant to be FUN, for both the performers and the audience!.
As the title suggests, there should be a tongue-in-cheek aspect to the performance of this piece with the idea that it doesn't take itself too seriously. Close attention should be paid to staccato notes, making surenot to play them too short and clipped, keeping in mind that a staccato quarter note should have the length of an eighth note and not the length of a sixteenth note. Although the piece is a march, it needn't conform toany strict interpretation of what a march should be. Some of the tongued eighth-note passages may need to be double-tongued, depending on tempo, using the Dig-A-Duck method. For instance at m. 34the repeated eighth notes might be tongued dig-a-da-duck, dig-a-duck, da dot dot. Slurred eighth-note passages should follow the curve of the line, getting slightly louder as notes ascend and slightly softeras they descend. Measure 39 through m. 51 will have a somewhat chaotic feel, so go with the flow!The sparsely orchestrated passage at m. 68 is understated—perhaps a little spacey in keeping with our theme—and not to be overplayed until the crescendo at m. 88, when we return to business as usual. Trumpets show off again (rarely a problem for trumpet players) on the D. S. back to m. 6. On the Coda, another disjointed-sounding theme, again departing from any strict interpretation of a march—again, making sure that the staccatos are not too clipped—is followed by a repeat of the main theme, this time layered. Care should be taken to balance the entrances of the layered instrument groups as they enter.An exuberant final four measures puts the cherry on top. Percussion can play out for the most part, very little subtlety required. Overall, this piece is meant to be FUN, for both the performers and the audience!

Band Agogo Bells, Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Crash Cymbals, Euphonium, Euphonium T.C., Flute 1, Flute 2, Horn, Oboe, Percussion 1, Percussion 2, Snare Drum, Suspended Cymbal, Timpani, Triangle, Trombone, Trumpet, Tuba and more. - Grade 3

SKU: CF.CPS256

Composed by Chris Campbell. Set of Score and Parts. 21+8+8+4+8+8+4+4+10+4+4+1 6+8+12+6+4+8+2+4+14 pages. Duration 2 minutes, 36 seconds. Carl Fischer Music #CPS256. Published by Carl Fischer Music (CF.CPS256).

ISBN 9781491159712. UPC: 680160918300.

As the title suggests, there should be a tongue-in-cheek aspect to the performance of this piece with the idea that it doesn't take itself too seriously. Close attention should be paid to staccato notes, making sure not to play them too short and clipped, keeping in mind that a staccato quarter note should have the length of an eighth note and not the length of a sixteenth note. Although the piece is a march, it needn't conform to any strict interpretation of what a march should be. Some of the tongued eighth-note passages may need to be double-tongued, depending on tempo, using the Dig-A-Duck method. For instance at m. 34 the repeated eighth notes might be tongued dig-a-da-duck, dig-a-duck, da dot dot. Slurred eighth-note passages should follow the curve of the line, getting slightly louder as notes ascend and slightly softer as they descend. Measure 39 through m. 51 will have a somewhat chaotic feel, so go with the flow! The sparsely orchestrated passage at m. 68 is understated--perhaps a little spacey in keeping with our theme--and not to be overplayed until the crescendo at m. 88, when we return to business as usual. Trumpets show off again (rarely a problem for trumpet players) on the D. S. back to m. 6. On the Coda, another disjointed-sounding theme, again departing from any strict interpretation of a march--again, making sure that the staccatos are not too clipped--is followed by a repeat of the main theme, this time layered. Care should be taken to balance the entrances of the layered instrument groups as they enter. An exuberant final four measures puts the cherry on top. Percussion can play out for the most part, very little subtlety required. Overall, this piece is meant to be FUN, for both the performers and the audience!.
As the title suggests, there should be a tongue-in-cheek aspect to the performance of this piece with the idea that it doesn't take itself too seriously. Close attention should be paid to staccato notes, making surenot to play them too short and clipped, keeping in mind that a staccato quarter note should have the length of an eighth note and not the length of a sixteenth note. Although the piece is a march, it needn't conform toany strict interpretation of what a march should be. Some of the tongued eighth-note passages may need to be double-tongued, depending on tempo, using the Dig-A-Duck method. For instance at m. 34the repeated eighth notes might be tongued dig-a-da-duck, dig-a-duck, da dot dot. Slurred eighth-note passages should follow the curve of the line, getting slightly louder as notes ascend and slightly softeras they descend. Measure 39 through m. 51 will have a somewhat chaotic feel, so go with the flow!The sparsely orchestrated passage at m. 68 is understated—perhaps a little spacey in keeping with our theme—and not to be overplayed until the crescendo at m. 88, when we return to business as usual. Trumpets show off again (rarely a problem for trumpet players) on the D. S. back to m. 6. On the Coda, another disjointed-sounding theme, again departing from any strict interpretation of a march—again, making sure that the staccatos are not too clipped—is followed by a repeat of the main theme, this time layered. Care should be taken to balance the entrances of the layered instrument groups as they enter.An exuberant final four measures puts the cherry on top. Percussion can play out for the most part, very little subtlety required. Overall, this piece is meant to be FUN, for both the performers and the audience!

Piano/harpsichord and orchestra (solo: pno - picc.2.2.Eh.2.Bcl.2 - 4.3.3.1 - timp.perc - str)

SKU: BR.PB-15140

Urtext. Composed by George Gershwin. Edited by Norbert Gertsch. Orchestra; Softbound. Partitur-Bibliothek (Score Library). Solo concerto; Early modern; Music post-1945. Full score. 136 pages. Duration 36'. Breitkopf and Haertel #PB 15140. Published by Breitkopf and Haertel (BR.PB-15140).

ISBN 9790004214763. 10 x 12.5 inches.

After achieving sensational success with the musical Lady, be good!, with evergreens such as Fascinating Rhythm and The Man I love, as well as with his Rhapsody in Blue, Gershwin premiered his Concerto in F for piano and orchestra as a soloist at Carnegie Hall in 1925. Now, the new superstar of Broadway had also arrived at the center of New York's classical music scene. In its eventful history, the work went through numerous changes, cuttings, arrangements, many of which doubtful and unauthorized. Even the first and so far only printed orchestral score, edited by Frank Campbell-Watson, published in 1942 five years after Gershwin's death, contains many unauthorized interventions. Through years of research, editor Norbert Gertsch has succeeded in ridding the work of all unauthorized additions and alterations and thus reconstructing an Urtext in its original literal sense from the complex source material - from autograph sketches to early recordings. The first text-critical edition of the work is a joint production of Breitkopf (score/orchestral parts) and G. Henle Verlag (piano reduction).