PARTITIONS GRATUITES :
- Three Shadow Dances

Percussion (Percussion Parts)

SKU: HL.48181738

Composed by Serge Baudo. Leduc. Classical. Softcover. 11 pages. Alphonse Leduc #AL21593. Published by Alphonse Leduc (HL.48181738).

UPC: 888680862237. 9x12.25 inches.

“Thre e pagan dances by Serge Baudo is a piece for Drums and Piano accompaniment written for the Paris Conservatoire contest. Dedicated to Félix Passerone, a professor at the Conservatoire, the pieces requires some advanced skills and technique and a good knowledge of all the instruments involved. The three pieces are: 1. Danse des esprits / Spirits danse ' Allegro: Timpani, Vibraphone/ Marimba/Xylophone and Drums 2. Danse des ombres et du feu / Shadows and fire danse - Andante: Vibraphone/Marimba 3. Bacchanale / Bacchanale ' Allegro Vivace: Timpani and Piccolo Timpani Serge Baudo is a French conductor, who later became the director of the Lyon National Orchestra. He also conducted orchestras in Italy and in Czech Republic.&rdquo.

Unison Voices and Piano

SKU: HL.14014711

Composed by Alison Hedger. Music Sales America. Children. Book and CD. Composed 2004. 32 pages. Chester Music #CH68299. Published by Chester Music (HL.14014711).

ISBN 9781844494842.

A sourcebook for teachers, full of ideas for Primary music lessons. Contains songs, dances, action poems and more. Includes standard notation and chord symbols, with lyrics where appropriate.

Woodwind Solo. Softcover. 22 pages. Hal Leonard #KLB91. Published by Hal Leonard

Bassoon, Viola, Violin 1, Violin 2, Violoncello

SKU: PR.16400261S

Composed by Dan Welcher. With Standard notation. Duration 15 minutes. Theodore Presser Company #164-00261S. Published by Theodore Presser Company (PR.16400261S).

UPC: 680160038411.

Since the bassoon is my own instrument, many people have asked me why I've written so little for the instrument. Beyond my early Concerto Da Camera for bassoon and small orchestra, written for Leonard Sharrow in 1975, I've not written a single piece that features the bassoon as a solo vehicle (though I have written three woodwind quintets). When I first began composing seriously, critics were quick to point out that my orchestral writing revealed nothing of my roots as a woodwind player--and bassoonists asked why my pieces didn't have more bassoon solos. Perhaps I was so aware that people were looking at me as a bassoonist/composer that I was determined to remove that stigma. Now that my transformation from performer to composer is complete, however, it's time to re-address my instrument. I wanted this new piece to be serious rather than whimsical. The Wind Won't Listen represents my return to the bassoon as the highly expressive, poetic soul that it is.   As such, it shouldn't come as a surprise that the piece is based on a poem, and that the title of the piece as well as both its movement titles come from lines in that poem. I first read Beth Gylys' poem Split at the MacDowell Colony in the summer of 2001, and it made a big impression on me. My personal life had been ruptured by divorce in the preceding year. This poem, with its dry insistence on observation rather than feeling, expressed the wrung-out state of my emotions at the time better than any I had seen. I set it to music, as a song, immediately. In this format, for voice and piano, I was able to put a musical note to every word of the poem. The first lines of the poem, Everyone I know is crying, or should be crying, became a melody that haunted me even without the words.   The work for bassoon and string quartet is an outgrowth of the song. The first movement is labeled Romanza, and has a loose formal arch structure of A-B-C-B-A, with B and C being fast sections framed by the lamenting A music. In addition to hearing the bassoon's first notes attached to the lines Everyone I know is crying, there's a sense of agitation, of loss, of longing, and at times of desperation in the music. At one point, the opening theme from Tristan even appears in the strings.   The second movement follows, without a real pause--the pizzicato final chords of the first movement becoming the increasingly aggressive opening chords of the second. The recitative is actually a foreshadowing of the basic theme that will be varied, again to the words of the song: Life makes itself without us. Don't let me tell you how it is. Go out. Look. The recitative begins in an anguished state, but subsides into more gentle singing by the end, when it simply falls into an ostinato 5/8-3/4 pattern to begin the variations. Marked Very steady tempo; Dancing, this set of variations consists of three dances, each faster than the previous. The first, in the aforementioned 5/8-3/4 meter, gives way to a 3/8 scherzo, which in turn takes on a furious 2/4 scurrying motion. The music becomes breathless, almost pulse-less, and an ethereal theme appears in the violins while the rushing music continues, sotto voce in the bassoon. This new theme is also from the song: Why do I do this? The wind won't listen. The bassoon re-states its Everyone I know is crying melody from the first movement, and at length the 5/8-3/4 music returns, more subdued this time. The piece ends on a major-minor chord, suspended.   The Wind Won't Listen is dedicated to the man who commissioned it, bassoonist Steven Dibner--who shares my passion for poetry and language. --Dan Welcher.

For voice and C instrument. Format: fakebook. With vocal melody, lyrics and chord names. Randb and classic soul. Series: Hal Leonard Fake Books. 437 pages. 9x12 inches. Published by Hal Leonard.