| Rise Up! Chorale SATB SATB A Cappella [Octavo] Lorenz Publishing Company
(Rise Up, Shepherd, and Follow). By Mark Hill. For SATB choir (a cappella). Sacr...(+)
(Rise Up, Shepherd, and
Follow). By Mark Hill.
For SATB choir (a
cappella). Sacred Anthem,
Christmas. Octavo.
Published by Lorenz
Publishing Company
$2.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Plectrum Guitar Duets Guitare [Partition + Accès audio] Mel Bay
Guitar - Beginning; Intermediate; Advanced SKU: MB.31007M Saddle-stitched...(+)
Guitar - Beginning;
Intermediate; Advanced
SKU: MB.31007M
Saddle-stitched. Rock.
Book and online audio. 44
pages. Mel Bay
Publications, Inc
#31007M. Published by Mel
Bay Publications, Inc
(MB.31007M). ISBN
9781513472393. 8.75x11.75
inches. In musical
styles ranging from blues
to classical, jazz and
modern Latin, the 32
original duets in this
book are designed to
improve sight reading on
the guitar at all levels,
beginner to advanced.
Canadian guitarist and
music educator, Michel
H?roux suggests playing
these short but complete
pieces at different
tempos, exchanging parts
on repeats, playing
select passages an octave
higher, and analyzing the
harmony?all towards
becoming a better sight
reader.Written in
standard notation only,
various meters and keys
are explored; online
recordings of the author
double-tracking himself
are provided to guarantee
your success. $19.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Chamber concert followed by a dance suite (Book I) [Conducteur] Anne Fuzeau Productions
2 violins and continuo, 2 flutes and continuo, 2 oboes and continuo SKU: FZ.5...(+)
2 violins and continuo, 2
flutes and continuo, 2
oboes and continuo
SKU: FZ.5906
Composed by Jean-Joseph
Mouret. Edited by
Department De Musique
Ancienne Du C.N.S.M De
Paris. This edition:
Facsimile. La Musique
Francaise Classique de
1650 a 1800. Score.
Published by Anne Fuzeau
Productions - France
(FZ.5906). ISBN
9790230659062. 24.00 x
33.00 cm
inches. This
facsimile of an original
by Jean-Joseph Mouret is
part of our French
classical music
collection. Edition :
Paris, l'Auteur, Boivin,
Leclerc, 1737. Preface:
Early music department of
the C. N. S. M. D. de
Paris (class of Irene
Ginger and Jean
Saint-Arroman): links
between danse and music -
choreographic proposals
for certain dances -
Mouret's ornamentation -
Proposed ornamentation
for the repeats of a
saraband. Three separate
instrumental parts:
premier dessus, second
dessus, continuo
(instrumentation ad
libitum , violins, flutes
or oboes). These works
are written as trio and
may be performed by two
dessus (violins, flutes
or oboes) and basso
continuo. They may also
be played with a chamber
orchestra formation. As
the dance suites of
theatrical works are
artificial, 18 th century
suites, written specially
for dance, are rare.
Collection
supervised by the
musicologist Jean
Saint-Arroman, professor
at the Conservatoire
National Superieur de
Musique et de Danse of
Paris and at the CEFEDEM
Ile de France (Training
Centre for Music
Teachers). He is the
author of the majority of
our prefaces and has also
been involved in library
searches. Facsimile
of a copy in the National
Library of Paris
(France). Anne Fuzeau
Classique propose period
copies of classical music
scores. $36.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Smiling Dennis Subito Music
Bass Clarinet & 21 Strings SKU: SU.50600030 For Bass Clarinet & 21 Str...(+)
Bass Clarinet & 21
Strings SKU:
SU.50600030 For
Bass Clarinet & 21
Strings. Composed by
Fred Cohen. Strings,
String Ensemble. Study
Score. Subito Music
Corporation #50600030.
Published by Subito Music
Corporation
(SU.50600030).
Commissioned by
the Colonial Symphony,
Paul Hostetter, Music
Director and Conductor
First performed in 2006
Published by: Dunsinane
Music Composer's Note: My
inspiration for Smiling
Dennis is the great bass
clarinet virtuoso Dennis
Smylie. I have had the
pleasure of getting to
know Dennis over the past
several years owing to
our mutual affiliation at
Montclair State
University. We would meet
unintentionally in the
halls and begin
conversations regarding
all manners of topics:
from the colorful history
of the bass
clarinet—and bass
clarinetists—to
the furious appetite of
the New Jersey groundhog.
Dennis inevitably finds
the humor in
things—he revels
in discovering the comic
story that can often be
found, just underneath
the topic. When Maestro
Hostetter asked me to
compose a new piece
during his initial season
with the Colonial
Symphony, and mentioned
the possibility of a work
related to humor, I
immediately thought of
the Dennis. When I spoke
with Maestro Hostetter
the following day, I had
already conceived of the
title (very unusual for
me—I’m much
more a musical/visual
thinker than a verbal
one) as well as the
overall musical
narrative. Smiling Dennis
is a concerto in one
movement for one bass
clarinetist and twenty
string players. Somewhat
unusually, each performer
has a unique musical
assignment—that
is, the string players
are not aligned into
their typical alliances
of first violins, second
violins and so forth.
This permits a more
complex string texture,
allowing each performer
to assert his or her
individuality. Indeed,
the notion of
individuality is
essential to this
concerto, as it often is
in concerti. For example,
Smiling Dennis begins
with the bass clarinet
not quite obeying the
conventions of tuning to
the orchestra. Rather
than simply take the A
offered by the
Concertmaster, the
soloist playfully
performs a gently
descending series of
notes. Offered another A,
the soloist repeats this
gesture (though with a
different descending
series). This exchange
occurs four times. In the
final one, members of the
string orchestra join the
soloist in the first
significant statement of
one of the central
melodies. The bass
clarinet completes this
introductory section
alone, playing all the
way down to a low A, a
third below the lowest
note in the celli.
Following the
introduction, Smiling
Dennis consists of six
sections, somewhat along
the lines of a dance
suite: an energetic
Allegro, a lyric Arioso,
a forward Piú mosso, a
light-hearted and
syncopated dance, a even
more energetic passage
for strings alone, and
finally a modified return
to the introduction. In
the return, the string
ensemble is no longer at
all oppositional to the
soloist. Rather, in
response to the
soloist’s gentle
cajoling and supportive
commentary, the strings
accompany—with
pleasure, you might
say—the quiet,
individual playfulness of
the bass clarinet. The
work ends with a return
to the soloist’s
substratum A, accompanied
quietly by the
strings. $50.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Smiling Dennis Seesaw Music Corp
Bass Clarinet & 21 Strings SKU: SS.50600030 Composed by Fred Cohen. Study...(+)
Bass Clarinet & 21
Strings SKU:
SS.50600030 Composed
by Fred Cohen. Study
Score. Published by
Seesaw Music Corp
(SS.50600030).
Commissioned by
the Colonial Symphony,
Paul Hostetter, Music
Director and Conductor.
First performed in 2006.
Composer's Note: My
inspiration for Smiling
Dennis is the great bass
clarinet virtuoso Dennis
Smylie. I have had the
pleasure of getting to
know Dennis over the past
several years owing to
our mutual affiliation at
Montclair State
University. We would meet
unintentionally in the
halls and begin
conversations regarding
all manners of topics:
from the colorful history
of the bass clarinet -
and bass clarinetists -
to the furious appetite
of the New Jersey
groundhog. Dennis
inevitably finds the
humor in things - he
revels in discovering the
comic story that can
often be found, just
underneath the topic.
When Maestro Hostetter
asked me to compose a new
piece during his initial
season with the Colonial
Symphony, and mentioned
the possibility of a work
related to humor, I
immediately thought of
the Dennis. When I spoke
with Maestro Hostetter
the following day, I had
already conceived of the
title (very unusual for
me - I'm much more a
musical/visual thinker
than a verbal one) as
well as the overall
musical narrative.
Smiling Dennis is a
concerto in one movement
for one bass clarinetist
and twenty string
players. Somewhat
unusually, each performer
has a unique musical
assignment - that is, the
string players are not
aligned into their
typical alliances of
first violins, second
violins and so forth.
This permits a more
complex string texture,
allowing each performer
to assert his or her
individuality. Indeed,
the notion of
individuality is
essential to this
concerto, as it often is
in concerti. For example,
Smiling Dennis begins
with the bass clarinet
not quite obeying the
conventions of tuning to
the orchestra. Rather
than simply take the A
offered by the
Concertmaster, the
soloist playfully
performs a gently
descending series of
notes. Offered another A,
the soloist repeats this
gesture (though with a
different descending
series). This exchange
occurs four times. In the
final one, members of the
string orchestra join the
soloist in the first
significant statement of
one of the central
melodies. The bass
clarinet completes this
introductory section
alone, playing all the
way down to a low A, a
third below the lowest
note in the celli.
Following the
introduction, Smiling
Dennis consists of six
sections, somewhat along
the lines of a dance
suite: an energetic
Allegro, a lyric Arioso,
a forward Piu mosso, a
light-hearted and
syncopated dance, a even
more energetic passage
for strings alone, and
finally a modified return
to the introduction. In
the return, the string
ensemble is no longer at
all oppositional to the
soloist. Rather, in
response to the soloist's
gentle cajoling and
supportive commentary,
the strings accompany -
with pleasure, you might
say - the quiet,
individual playfulness of
the bass clarinet. The
work ends with a return
to the soloist's
substratum A, accompanied
quietly by the
strings. $50.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Trio [Conducteur et Parties séparées] Subito Music
Flute, Violin & Violoncello SKU: SU.29120060 For Flute, Violin & Violo...(+)
Flute, Violin &
Violoncello SKU:
SU.29120060 For
Flute, Violin &
Violoncello. Composed
by Todd Mason. Chamber
Music, Mixed Ensemble,
Woodwinds, Flute/Piccolo.
Score & Parts. Subito
Music Corporation
#29120060. Published by
Subito Music Corporation
(SU.29120060).
Comments from
the composer: The 1st
movement of my Trio,
Allegro vivo. opens with
a strong tutti rhythmic
figure that repeats often
throughout the movement.
It’s followed by a
syncopated
‘fuguelet’
that also repeats in many
different ways throughout
with lots of chromatic
shifting. After a brief
slow variation, the
opening material returns
with more power to end
the movement. This 2nd
Mov movement, Andante,
opens into a wintery
landscape with just the
cello introducing the
main theme, then the
violin enters followed by
the flute. The feeling of
an arctic landscape gives
way to the joyful warmth
of summer, then the cycle
repeats but with a climax
of a thunderstorm finally
ending with the silence
of winter, once again.
After the solitude and
winter reflections of the
longer slow movement,
comes this energetic and
warm response, Presto,
with reassuring
harmonies, a fast pace
with lots of notes and
perhaps a hint of a Latin
American celebration of
life! Trio (Youtube):
Flute, Violin &
Violoncello Duration: 17'
Composed: 2020 Published
by: Todd Mason. $45.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Achieve Orchestre d'harmonie [Conducteur] - Débutant Carl Fischer
Band concert band - Grade 0.5 SKU: CF.PPS51F March. Composed by La...(+)
Band concert band - Grade
0.5 SKU: CF.PPS51F
March. Composed by
Larry Clark. Primer Band
(PPS). Full score. With
Standard notation. 12
pages. Carl Fischer Music
#PPS51F. Published by
Carl Fischer Music
(CF.PPS51F). ISBN
9781491152638. UPC:
680160910137. The
march style is important
to the heritage of the
modern concert band. Why
not get beginners off to
a great start by teaching
them this essential band
style as early as
possible? Achieve u
ses only the first six
notes of the Bb-major
scale and utilizes two
repeated eighth notes as
the most difficult
rhythm. It is written in
traditional march form
and style, but without
modulation in the
trio. The march
style is important
to the heritage of the
modern concert band, and
it is my opinion that
even the youngest of
students should be taught
the march style and form
as early as
possible. This march
sets out to give these
students that
opportunity. It uses only
the first six notes of
the Bb-major scale, and
the most difficult rhythm
is two repeated eighth
notes. Yet it has all of
the traditional march
form and style. The
form of this easy march
is the traditional intro,
first strain, second
strain and trio. The
only difference from more
challenge marches is that
the key does not change
to the subdominant at the
trio. Most everything
else is the same as you
would find in the
American marches of
Sousa, Fillmore or
King.The march begins
forte with a quote from
the end of the second
strain, something that is
common in many
marches. This is
followed by the first
strain at a softer
dynamic
level. Additional
voices are added on the
repeat for
variety. The second
strain has tradition
changes in dynamics,
first starting out loud,
then getting soft with
crescendos to the end of
the strain. The trio
following again in
typical fashion with the
first time being very
soft and legato. There
are some suggestions for
changing the
orchestration, but you
can use your creativity
to tailor the
instrumentation to your
musical taste. The
repeat of the trio should
then be back to a more
marcato march
style. This should
start with the last note
of the first ending in m.
70. The march then
ends with the traditional
stinger.It is my opinion
that in marches with this
form that the repeats
should not be eliminated.
By doing so, it changes
the form and makes the
march lopsided, with the
first half of the
marching being too short
compared to the trio
section.It has been my
pleasure to have the
opportunity to write this
piece. I hope you and
your students enjoy it
and find it useful for
your
program.—Larry
ClarkLakeland, FL
2018. $7.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Achieve Orchestre d'harmonie - Débutant Carl Fischer
Band concert band - Grade 0.5 SKU: CF.PPS51 March. Composed by Lar...(+)
Band concert band - Grade
0.5 SKU: CF.PPS51
March. Composed by
Larry Clark. Primer Band
(PPS). Set of Score and
Parts. With Standard
notation.
8+2+8+2+5+2+2+8+2+3+2+6+3
+1+1+2+2+12+2 pages.
Duration 2 minutes, 8
seconds. Carl Fischer
Music #PPS51. Published
by Carl Fischer Music
(CF.PPS51). ISBN
9781491151952. UPC:
680160909452. The
march style is important
to the heritage of the
modern concert band. Why
not get beginners off to
a great start by teaching
them this essential band
style as early as
possible? Achieve u
ses only the first six
notes of the Bb-major
scale and utilizes two
repeated eighth notes as
the most difficult
rhythm. It is written in
traditional march form
and style, but without
modulation in the
trio. The march
style is important
to the heritage of the
modern concert band, and
it is my opinion that
even the youngest of
students should be taught
the march style and form
as early as
possible. This march
sets out to give these
students that
opportunity. It uses only
the first six notes of
the Bb-major scale, and
the most difficult rhythm
is two repeated eighth
notes. Yet it has all of
the traditional march
form and style. The
form of this easy march
is the traditional intro,
first strain, second
strain and trio. The
only difference from more
challenge marches is that
the key does not change
to the subdominant at the
trio. Most everything
else is the same as you
would find in the
American marches of
Sousa, Fillmore or
King.The march begins
forte with a quote from
the end of the second
strain, something that is
common in many
marches. This is
followed by the first
strain at a softer
dynamic
level. Additional
voices are added on the
repeat for
variety. The second
strain has tradition
changes in dynamics,
first starting out loud,
then getting soft with
crescendos to the end of
the strain. The trio
following again in
typical fashion with the
first time being very
soft and legato. There
are some suggestions for
changing the
orchestration, but you
can use your creativity
to tailor the
instrumentation to your
musical taste. The
repeat of the trio should
then be back to a more
marcato march
style. This should
start with the last note
of the first ending in m.
70. The march then
ends with the traditional
stinger.It is my opinion
that in marches with this
form that the repeats
should not be eliminated.
By doing so, it changes
the form and makes the
march lopsided, with the
first half of the
marching being too short
compared to the trio
section.It has been my
pleasure to have the
opportunity to write this
piece. I hope you and
your students enjoy it
and find it useful for
your
program.—Larry
ClarkLakeland, FL
2018. $50.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
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