| Music for a Mechanical Clock for Tuba or Bass Tromobne and Piano Cherry Classics
Tuba or Bass Trombone and Piano - moderately advanced SKU: CY.CC2660 Comp...(+)
Tuba or Bass Trombone and
Piano - moderately
advanced SKU:
CY.CC2660 Composed by
Ludwig van Beethoven.
Arranged by Ralph Sauer.
German Romantic. Solo
part and Piano
accompaniment. Published
by Cherry Classics
(CY.CC2660).
This work is
the third from a
collection of five short
pieces Beethoven wrote
for Flotenuhr or
mechanical clock,
discovered a number of
years after his death.
Their true origin was
discovered by Professor
Albert Kopfermann, a
German
musician/librarian, who
solved the mystery about
their instrumentation.
This delightful Allegro
movement has been
transposed into the key
of F from G and arranged
for moderately advanced
performers by Ralph
Sauer. Your audience will
love this little gem as
the clock slows down and
stops before the final
cadence. It will make a
great encore piece. $20.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Clock Tower - Débutant Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Clarinet, Euphonium, Euphonium T.C., Flu...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Clarinet,
Euphonium, Euphonium
T.C., Flute, Flute 2,
Horn, Mallet Percussion,
Oboe, Percussion 1,
Percussion 2, Snare Drum,
Tambourine, Temple
Blocks, Timpani,
Trombone, Trumpet, Tuba,
Xylophone, alto Saxophone
and more. - Grade 1
SKU: CF.BPS145F
Composed by Richard
Summers. Bps. Full score.
16 pages. Duration 2:15.
Carl Fischer Music
#BPS145F. Published by
Carl Fischer Music
(CF.BPS145F). ISBN
9781491161647. UPC:
680160920327. Datin
g back to the 13th
century, the clock tower
was located in the center
of a town and used by
townspeople to hear the
time through bells and
chimes ringing out. There
are clock towers all over
the world and they are
wonderful landmarks to
towns and communities.
This work begins and ends
with the Westminster
Chimes theme, which is
used by many clocks and
clock towers, including
Big Ben, the famous clock
tower in London. Clock
Tower contains many
essential musical and
technical skills for a
beginning level band
piece. The tick of the
clock mechanism is
imitated by pitched
woodblocks, and the main
theme is based on
ascending and descending
scale patterns,
reinforcing note-reading
ability for the beginning
student. There are layers
of new countermelodies
and contrasting sections
with dynamics and legato
passages, giving the
students an opportunity
to play in different
musical styles. There is
a low brass and woodwind
feature and a section
introducing eighth notes
to the upper winds. The
sound between the
woodwinds and the brass
are also important, but
many woodwind passages
are cued in the brass in
case a beginning band
might need extra players
to help with the balance
and blend. This gives the
director the opportunity
to experiment with these
cues and add a few other
instruments when
needed. Dating back to
the 13th century, the
clock tower was located
in the center of a town
and used by townspeople
to hear the time through
bells and chimes ringing
out. There are clock
towers all over the world
and they are wonderful
landmarks to towns and
communities. This work
begins and ends with the
Westminster Chimes theme,
which is used by many
clocks and clock towers,
including Big Ben, the
famous clock tower in
London.  Clock
Tower contains many
essential musical and
technical skills for a
beginning level band
piece. The tick of the
clock mechanism is
imitated by pitched
woodblocks, and the main
theme is based on
ascending and descending
scale patterns,
reinforcing note-reading
ability for the beginning
student. There are layers
of new countermelodies
and contrasting sections
with dynamics and legato
passages, giving the
students an opportunity
to play in different
musical styles. There is
a low brass and woodwind
feature and a section
introducing eighth notes
to the upper winds. The
sound between the
woodwinds and the brass
are also important, but
many woodwind passages
are cued in the brass in
case a beginning band
might need extra players
to help with the balance
and blend. This gives the
director the opportunity
to experiment with these
cues and add a few other
instruments when
needed. . $7.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Clock Tower - Débutant Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Clarinet, Euphonium, Euphonium T.C., Flu...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Clarinet,
Euphonium, Euphonium
T.C., Flute, Flute 2,
Horn, Mallet Percussion,
Oboe, Percussion 1,
Percussion 2, Snare Drum,
Tambourine, Temple
Blocks, Timpani,
Trombone, Trumpet, Tuba,
Xylophone, alto Saxophone
and more. - Grade 1
SKU: CF.BPS145
Composed by Richard
Summers. Bps. Set of
Score and Parts.
8+2+8+2+5+2+2+8+3+2+2+6+2
+3+1+1+2+2+16 pages.
Duration 2:15. Carl
Fischer Music #BPS145.
Published by Carl Fischer
Music (CF.BPS145).
ISBN 9781491161258.
UPC:
680160919840. Datin
g back to the 13th
century, the clock tower
was located in the center
of a town and used by
townspeople to hear the
time through bells and
chimes ringing out. There
are clock towers all over
the world and they are
wonderful landmarks to
towns and communities.
This work begins and ends
with the Westminster
Chimes theme, which is
used by many clocks and
clock towers, including
Big Ben, the famous clock
tower in London. Clock
Tower contains many
essential musical and
technical skills for a
beginning level band
piece. The tick of the
clock mechanism is
imitated by pitched
woodblocks, and the main
theme is based on
ascending and descending
scale patterns,
reinforcing note-reading
ability for the beginning
student. There are layers
of new countermelodies
and contrasting sections
with dynamics and legato
passages, giving the
students an opportunity
to play in different
musical styles. There is
a low brass and woodwind
feature and a section
introducing eighth notes
to the upper winds. The
sound between the
woodwinds and the brass
are also important, but
many woodwind passages
are cued in the brass in
case a beginning band
might need extra players
to help with the balance
and blend. This gives the
director the opportunity
to experiment with these
cues and add a few other
instruments when
needed. Dating back to
the 13th century, the
clock tower was located
in the center of a town
and used by townspeople
to hear the time through
bells and chimes ringing
out. There are clock
towers all over the world
and they are wonderful
landmarks to towns and
communities. This work
begins and ends with the
Westminster Chimes theme,
which is used by many
clocks and clock towers,
including Big Ben, the
famous clock tower in
London.  Clock
Tower contains many
essential musical and
technical skills for a
beginning level band
piece. The tick of the
clock mechanism is
imitated by pitched
woodblocks, and the main
theme is based on
ascending and descending
scale patterns,
reinforcing note-reading
ability for the beginning
student. There are layers
of new countermelodies
and contrasting sections
with dynamics and legato
passages, giving the
students an opportunity
to play in different
musical styles. There is
a low brass and woodwind
feature and a section
introducing eighth notes
to the upper winds. The
sound between the
woodwinds and the brass
are also important, but
many woodwind passages
are cued in the brass in
case a beginning band
might need extra players
to help with the balance
and blend. This gives the
director the opportunity
to experiment with these
cues and add a few other
instruments when
needed. . $53.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Duets for All [Partition] Alfred Publishing
By Albert Stoutamire and Kenneth Henderson. For Tuba. Mixed Instruments - Flexib...(+)
By Albert Stoutamire and
Kenneth Henderson. For
Tuba. Mixed Instruments -
Flexible Instrumentation.
24 pages. Published by
Alfred Publishing.
$7.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Heroic Poem Theodore Presser Co.
Orchestra 2 Bassoons, 2 Clarinets, 2 Oboes, 3 Flutes (3rd doubles Piccolo), 3 Tr...(+)
Orchestra 2 Bassoons, 2
Clarinets, 2 Oboes, 3
Flutes (3rd doubles
Piccolo), 3 Trombones, 3
Trumpets, 4 Horns, 4
Trumpets ad lib. (in rear
of hall), Bass Clarinet,
Bass Drum, Cele,
Contrabassoon, Cymbals,
English Horn, Gong, Harp,
Snare Drum, Timpani,
Triangle, Tuba SKU:
PR.47600137L Composed
by Radie Britain. This
edition: Large Score.
Contemporary. Large
Score. With Standard
notation. Composed 1946.
Duration 13 minutes.
Theodore Presser Company
#476-00137L. Published by
Theodore Presser Company
(PR.47600137L). UPC:
680160637157. 11x17
inches. This piece,
dedicated to the memory
of a heroic feat, does
not desire to be classed
as a Symphonic Poem in
the generally accepted
sense of this term. It
does not attempt to
picture, or to strictly
follow, the various
mechanical and realistic
phases of this heroic
adventure although, on
the other hand, it does
not entirely avoid
allusion to such
realistic phenomena as
are characteristic of and
inseperable from the
nature of this adventure
and the technical means
of its realization. The
composer's main object,
however, was to try to
express in sound the
emotional phases of an
adventure that might be
called a prototype of
modern romance; to touch
upon its human aspect and
its ethical meaning, not
only in the relation to
the individual, but to
humanity in general. To
the individual, the
venturing Hero, refer the
opening phrases; the
sinister aspect of a bold
inspiration at its first
manifestation. To his
human environments, his
character and conquering
spirit, refer certain
lyrical as well as
martial and ehical
themes. According to the
nature of the venture,
the clash of motoric
forces and that of an
indomitable spirit with
the threatening elements
presented themselves for
musical consideration as
well as the plausible
uncertainty of the
outcome, the increasing
conficence and the final
victory, and triumphant
victory itself. And as
emotion in its purest and
most intense form reverts
to the primitive, the
composer thought it not
amiss to make fragmentary
use of the anthems of two
nations, thus symbolizing
the appeal from soil to
soil; an appeal that
found its joyous echo in
all humanity. And in the
midst of the turbulent
rejoicing stands the lone
figure of the Hero whose
daring had materialized
the dream of aeons. $85.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Acadia Theodore Presser Co.
Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clar...(+)
Band Bass Clarinet,
Bassoon 1, Bassoon 2,
Clarinet, Clarinet 1,
Clarinet 2, Clarinet 3,
Contrabass Clarinet,
Contrabassoon, Double
Bass, English Horn,
Euphonium, Flute 1, Flute
2, Horn 1, Horn 2, Horn
3, Horn 4, Oboe 1, Oboe
2, Percussion 1 and more.
SKU: PR.16500103F
Mvt. 3 from Symphony
No. 6 (Three Places in
the East). Composed
by Dan Welcher. Full
score. 60 pages. Theodore
Presser Company
#165-00103F. Published by
Theodore Presser Company
(PR.16500103F). ISBN
9781491131763. UPC:
680160680290. Ever
since the success of my
series of wind ensemble
works Places in the West,
I've been wanting to
write a companion piece
for national parks on the
other side of the north
American continent. The
earlier work, consisting
of GLACIER, THE
YELLOWSTONE FIRES,
ARCHES, and ZION, spanned
some twenty years of my
composing life, and since
the pieces called for
differing groups of
instruments, and were in
slightly different styles
from each other, I never
considered them to be
connected except in their
subject matter. In their
depiction of both the
scenery and the human
history within these
wondrous places, they had
a common goal: awaking
the listener to the
fragile beauty that is in
them; and calling
attention to the ever
more crucial need for
preservation and
protection of these wild
places, unique in all the
world. With this new
work, commissioned by a
consortium of college and
conservatory wind
ensembles led by the
University of Georgia, I
decided to build upon
that same model---but to
solidify the process. The
result, consisting of
three movements (each
named for a different
national park in the
eastern US), is a
bona-fide symphony. While
the three pieces could be
performed separately,
they share a musical
theme---and also a common
style and
instrumentation. It is a
true symphony, in that
the first movement is
long and expository, the
second is a rather
tightly structured
scherzo-with-trio, and
the finale is a true
culmination of the whole.
The first movement,
Everglades, was the
original inspiration for
the entire symphony.
Conceived over the course
of two trips to that
astonishing place (which
the native Americans
called River of Grass,
the subtitle of this
movement), this movement
not only conveys a sense
of the humid, lush, and
even frightening scenery
there---but also an
overview of the entire
settling-of- Florida
experience. It contains
not one, but two native
American chants, and also
presents a view of the
staggering influence of
modern man on this
fragile part of the
world. Beginning with a
slow unfolding marked
Heavy, humid, the music
soon presents a gentle,
lyrical theme in the solo
alto saxophone. This
theme, which goes through
three expansive phrases
with breaks in between,
will appear in all three
movements of the
symphony. After the mood
has been established, the
music opens up to a rich,
warm setting of a
Cherokee morning song,
with the simple happiness
that this part of Florida
must have had prior to
the nineteenth century.
This music, enveloping
and comforting, gradually
gives way to a more
frenetic, driven section
representative of the
intrusion of the white
man. Since Florida was
populated and developed
largely due to the
introduction of a train
system, there's a
suggestion of the
mechanized iron horse
driving straight into the
heartland. At that point,
the native Americans
become considerably less
gentle, and a second
chant seems to stand in
the way of the intruder;
a kind of warning song.
The second part of this
movement shows us the
great swampy center of
the peninsula, with its
wildlife both in and out
of the water. A new theme
appears, sad but noble,
suggesting that this land
is precious and must be
protected by all the
people who inhabit it. At
length, the morning song
reappears in all its
splendor, until the
sunset---with one last
iteration of the warning
song in the solo piccolo.
Functioning as a scherzo,
the second movement,
Great Smoky Mountains,
describes not just that
huge park itself, but one
brave soul's attempt to
climb a mountain there.
It begins with three
iterations of the
UR-theme (which began the
first movement as well),
but this time as up-tempo
brass fanfares in
octaves. Each time it
begins again, the theme
is a little slower and
less confident than the
previous time---almost as
though the hiker were
becoming aware of the
daunting mountain before
him. But then, a steady,
quick-pulsed ostinato
appears, in a constantly
shifting meter system of
2/4- 3/4 in alteration,
and the hike has begun.
Over this, a slower new
melody appears, as the
trek up the mountain
progresses. It's a big
mountain, and the ascent
seems to take quite
awhile, with little
breaks in the hiker's
stride, until at length
he simply must stop and
rest. An oboe solo, over
several free cadenza-like
measures, allows us (and
our friend the hiker) to
catch our breath, and
also to view in the
distance the rocky peak
before us. The goal is
somehow even more
daunting than at first,
being closer and thus
more frighteningly steep.
When we do push off
again, it's at a slower
pace, and with more
careful attention to our
footholds as we trek over
broken rocks. Tantalizing
little views of the
valley at every
switchback make our
determination even
stronger. Finally, we
burst through a stand of
pines and----we're at the
summit! The immensity of
the view is overwhelming,
and ultimately humbling.
A brief coda, while we
sit dazed on the rocks,
ends the movement in a
feeling of triumph. The
final movement, Acadia,
is also about a trip. In
the summer of 2014, I
took a sailing trip with
a dear friend from North
Haven, Maine, to the
southern coast of Mt.
Desert Island in Acadia
National Park. The
experience left me both
exuberant and exhausted,
with an appreciation for
the ocean that I hadn't
had previously. The
approach to Acadia
National Park by water,
too, was thrilling: like
the difference between
climbing a mountain on
foot with riding up on a
ski-lift, I felt I'd
earned the right to be
there. The music for this
movement is entirely
based on the opening
UR-theme. There's a sense
of the water and the
mysterious, quiet deep
from the very beginning,
with seagulls and bell
buoys setting the scene.
As we leave the harbor,
the theme (in a canon
between solo euphonium
and tuba) almost seems as
if large subaquatic
animals are observing our
departure. There are
three themes (call them
A, B and C) in this
seafaring journey---but
they are all based on the
UR theme, in its original
form with octaves
displaced, in an
upside-down form, and in
a backwards version as
well. (The ocean, while
appearing to be
unchanging, is always
changing.) We move out
into the main channel
(A), passing several
islands (B), until we
reach the long draw that
parallels the coastline
called Eggemoggin Reach,
and a sudden burst of new
speed (C). Things
suddenly stop, as if the
wind had died, and we
have a vision: is that
really Mt. Desert Island
we can see off the port
bow, vaguely in the
distance? A chorale of
saxophones seems to
suggest that. We push off
anew as the chorale ends,
and go through all three
themes again---but in
different
instrumentations, and
different keys. At the
final tack-turn, there it
is, for real: Mt. Desert
Island, big as life.
We've made it. As we pull
into the harbor, where
we'll secure the boat for
the night, there's a
feeling of achievement.
Our whale and dolphin
friends return, and we
end our journey with
gratitude and
celebration. I am
profoundly grateful to
Jaclyn Hartenberger,
Professor of Conducting
at the University of
Georgia, for leading the
consortium which provided
the commissioning of this
work. $39.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Encyclopedia of the Pivot System Charles Colin Music
Trombone (trumpet or tuba) SKU: M7.AHW-1101 Original Unabridged Editio...(+)
Trombone (trumpet or
tuba) SKU:
M7.AHW-1101
Original Unabridged
Edition. Composed by
Donald and Reinhardt.
Sheet music. 270 pages.
Charles Colin Corp. #AHW
1101. Published by
Charles Colin Corp.
(M7.AHW-1101).
English. I
simply can't say it
better than the Doc
himself. Read what he
says about the Pivot
System, then grab some
samples, then a physical
book shipped right to
your home above. From the
Forward During the
initial or formative
years of a player's
career, he acquires the
mechanical habits which
determine the extent of
his development
invariably by pure
chance. If he happens to
be numbered among the few
fortunate ones who
unconsciously utilize
their physical factors to
advantage, eventually
someone will mistakenly
refer to him as being a
'natural' or 'born with
it.' If, as is more
likely the case, he
happens to be one whose
physical factors clash or
function incorrectly, he
inadvertently seals his
own fate. Either he can
give up shortly after
high school as most do,
or he can continue down
the blind alley of his
own circumscribed
potential. Most of these
unfortunates merely
resign themselves to a
career of mediocrity ('I
never had the chops'),
shying away (rom the
'lead book' in favor of
second, third or fourth
parts. A few (even worse)
go on mouthpiece jags or
scavenger hunts for no
pressure systems, etc. ,
always seeking, but never
finding the 'gimmick'
which will 'straighten
out my chops.' Some,
however, after a thorough
analysis, adopt the
scientific principles
which utilize every one
of their playing factors
with maximum efficiency.
These principles are what
is called the PIVOT
SYSTEM. - Doc
Reinhardt. $74.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
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