SKU: HL.48188438
Murray Callender Chansons De Notre Temps Pj455 Le Tournesol 4 Part.
SKU: CL.011-3851-01
Tranquil Sky is an expressive and lyrical composition, perfect for developing bands. This is a great piece to focus on teaching your band the concept of legato phrasing and style, while at the same time keeping your percussionists involved as well. The beautiful but simple melodies will please your audience, and provide a nice change of pace for your next concert.
About C.L. Barnhouse Command Series
The Barnhouse Command Series includes works at grade levels 2, 2.5, and 3. This series is designed for middle school and junior high school bands, as well as high school bands of smaller instrumentation or limited experience. Command Series publications have a slightly larger instrumentation than the Rising Band Series, and are typically of larger scope, duration, and musical content.
SKU: LO.15-3196H
ISBN 9780787714406.
Whether performed unaccompanied or with piano, the original music of this piece transports the listener to a place of quiet calm and meditation. Tom Fettke creates a peaceful musical landscape of serene beauty. Tranquil Alleluias is a wonderful ballad for your next contest or contest program.
SKU: VD.ED21741
ISBN 9790202047415. 9 x 12 inches.
SKU: M7.DUX-961
ISBN 9783868493344.
Songs - found and written on the road. World music in the style of the globe-touring band Quadro Nuevo. Their bags full of tunes, picked up here and there, yesterday and today. In addition to original compositions such as 'Mocca Swing', 'Giovanni Tranquillo' and 'Ikarus Dream', there are classics like 'Parole Parole', 'Miserlou', 'Für mich soll's rote Rosen regnen' ('Let it rain red roses for me') and many others. Newly arranged for piano, varying in their level from easy to moderately difficult.
SKU: HL.49005388
ISBN 9790001057981. UPC: 884088048006. 8.0x11.75x0.25 inches.
SKU: HL.50575659
SKU: BA.BA10303-01
ISBN 9790006559503. 33 x 26 cm inches. Key: C minor. Preface: Michael Stegemann.
The third symphony by Camille Saint-Saens, known as the Organ Symphony, is the first publication in a complete historical-critical edition of the French composer's instrumental works.I gave everything I was able to give in this work. [...] What I have done here I will never be able to do again.Camille Saint-Saens was rightly proud of his third Symphony in C minor Op.78, dedicated to the memory of Franz Liszt. Called theOrgan Symphonybecause of its novel scoring, the work was a commission from the Philharmonic Society in London, as was Beethoven's Ninth, and was premiered there on 19 May 1886. The first performance in Paris followed on 9 January 1887 and confirmed the composer's reputation asprobably the most significant, and certainly the most independent French symphonistof his time, as Ludwig Finscher wrote in MGG. In fact the work remains the only one in the history of that genre in France to the present day, composed a good half century after the Symphonie fantastique by Hector Berlioz and a good half century before Olivier Messiaen's Turangalila Symphonie.You would think that such a famous, much-performed and much recorded opus could not hold any more secrets, but far from it: in the first historical-critical edition of the Symphony, numerous inconsistencies and mistakes in the Durand edition in general use until now, have been uncovered and corrected. An examination and evaluation of the sources ranged from two early sketches, now preserved in Paris and Washington (in which the Symphony was still in B minor!) via the autograph manuscript and a set of proofs corrected by Saint-Saens himself, to the first and subsequent editions of the full score and parts. The versions for piano duet (by Leon Roques) and for two pianos (by the composer himself) were also consulted. Further crucial information was finally found in his extensive correspondence, encompassing thousands of previously unpublished letters. The discoveries made in producing this edition include the fact that at its London premiere, the Symphony probably looked quite different from its present appearance ...No less exciting than the work itself is the history of its composition and reception, which are described in an extensive foreword. With his Symphony, Saint-Saens entered right into the dispute which divided French musical life into pro and contra Wagner in the 1880s and 1890s. At the same time, the work succeeded in preserving the balance between tradition and modernism in masterly fashion, as a contemporary critic stated:The C minor Symphony by Saint-Saens creates a bridge from the past into the future, from immortal richness to progress, from ideas to their implementation.On 19 March 1886 Saint-Saens wrote to the London Philharmonic Society, which commissioned the work:Work on the symphony is in full swing. But I warn you, it will be terrible. Here is the precise instrumentation: 3 flutes / 2 oboes / 1 cor anglais / 2 clarinets / 1 bass clarinet / 2 bassoons / 1 contrabassoon / 2 natural horns / [3 trumpets / Saint-Saens had forgotten these in his listing.] 2 chromatic horns / 3 trombones / 1 tuba / 3 timpani / organ / 1 piano duet and the strings, of course. Fortunately, there are no harps. Unfortunately it will be difficult. I am doing what I can to mitigate the difficulties.As in my 4th Concerto [for piano] and my [1st] Violin Sonata [in D minor Op.75] at first glance there appear to be just two parts: the first Allegro and the Adagio, the Scherzo and the Finale, each attacca. This fiendish symphony has crept up by a semitone; it did not want to stay in B minor, and is now in C minor.It would be a pleasure for me to conduct this symphony. Whether it would be a pleasure for others to hear it? That is the question. It is you who wanted it, I wash my hands of it. I will bring the orchestral parts carefully corrected with me, and if anyone wants to give me a nice rehearsal for the symphony after the full rehearsal, everything will be fine.When Saint-Saens hit upon the idea of adding an organ and a piano to the usual orchestral scoring is not known. The idea of adding an organ part to a secular orchestral work intended for the concert hall was thoroughly novel - and not without controversy. On the other hand, Franz Liszt, whose music Saint-Saens' Symphony is so close to, had already demonstrated that the organ could easily be an orchestral instrument in his symphonic poem Hunnenschlacht (1856/57). There was also a model for the piano duet part which Saint-Saens knew and may possibly have used quite consciously as an exemplar: theFantaisie sur la Tempetefrom the lyrical monodrama Lelio, ou le retour a la Vie op. 14bis (1831) by Berlioz. The name of the organist at the premiere ist unknown, as, incidentally, was also the case with many of the later performances; the organ part is indeed not soloistic, but should be understood as part of the orchestral texture.In fact the subsequent success of the symphony seems to have represented a kind of breakthrough for the composer, who was then over 50 years of age.My dear composer of a famous symphony, wrote Saint-Saens' friend and pupil Gabriel Faure:You will never be able to imagine what a pleasure I had last Sunday [at the second performance on 16 January 1887]! And I had the score and did not miss a single note of this Symphony, which will endure much longer than we two, even if we were to join together our two lifespans!
About Barenreiter Urtext
What can I expect from a Barenreiter Urtext edition?
MUSICOLOGICALLY SOUND - A reliable musical text based on all available sources - A description of the sources - Information on the genesis and history of the work - Valuable notes on performance practice - Includes an introduction with critical commentary explaining source discrepancies and editorial decisions ... AND PRACTICAL - Page-turns, fold-out pages, and cues where you need them - A well-presented layout and a user-friendly format - Excellent print quality - Superior paper and binding
SKU: BT.DHP-0991419-070
ISBN 9789043138741. International.
Three easy pieces for five percussionists. The first work ‘Mixed Metrics’ gives players a free choice of ‘non tuned’ instruments, the second ‘Go and Dance’ is scored for Tambourine, Bongos, Cowbell / Triangle, Vibraslap / Temple Blocks and Drum Set, with the final piece ‘More Than Four’ being for Tambourin/Claves, Bongos, cowbell/Triangle, Congas/Temple Blocks and Drumset. Drie eenvoudige kwintetten voor slagwerk. De volgende instrumenten komen aan bod: tamboerijn, claves, bongo’s, cowbell, triangel, conga’s, templeblocks en drumstel.Fünf Schlagzeuger können sich mit diesen drei einfachen Quintetten im Zusammenspiel erproben. Es werden die folgenden Instrumente verwendet: Tamburin, Bongos, Cowbell, Triangel, Vibraslap, Templeblocks, Drumset, Claves und Congas. [Tambourin, Bongos, Triangle, Cloche de Vache, Vibraslap, Batterie] Cinque percussionisti possono suonare assieme grazie a questi tre semplici quintetti composti da Gert Bomhof. Vengono utilizzati il tamburello, i bongos, i campanacci, il triangolo, il vibraslap, i templeblocks, drum set, clave e congas.
SKU: M7.VOGG-262
ISBN 9783802402623. German.
Einführung - Die Akkorde - Sonderformen - AnhangDer erste Kontakt von Kleinkindern mit der Musik findet in der Regel über den Rhythmus statt. Das 'Herumtrommeln' auf irgendwelchen Gegenständen gehört zu den elementarsten Gefühlseindrücken. Auf der Grundlage ihrer Arbeit mit Kindern hat die erfahrene Pädagogin Yasmin Abendroth in diesem Buch einen bunten Reigen von Spielen, Rätseln, Versen, Liedern und Erzählungen zusammengestellt, mit denen Kinder behutsam und mit viel Spaß die aufregende Welt der Musik für sich entdecken können. Die beiliegende CD enthält über 60 Minuten Sing-, Tanz- und Spielspaß!
SKU: HL.48023890
ISBN 9781495077722. UPC: 888680640101. 9.0x12.0x0.223 inches.
Books 1 and 2 have been combined, making this a great value for piano teachers and students. Authorized revised edition.
SKU: M7.VOGG-781
Dieser Triangel mit griffigem Haltegriff aus Holz und Metallstab zum Anschlagen bietet endlose Möglichkeiten, Klänge wie das Hämmern einer Schmiede oder eine Schiffsglocke zu imitieren. Natürlich kann der glockenhelle Triangel auch als Essens-Signal verwendet werden oder einfach die tobende Kinderschar zur Ruhe ermahnen ... Wir bieten Ihnen hier kein Spielzeug an, sondern Musikinstrumente!Ralph & Charles Voggenreiter.
SKU: CY.CC5010
ISBN 9790530111437. 8.5 x 11 in inches.
The mysterious Prelude and Fugue in B-flat minor BWV 867 is special in that its fugue has five voices, has a leap of a minor 9th, and concludes with a hyperstretto (remember the theory class you slept through), the overlapping of ALL five voices offset by only one note. This seven minute work of genius beautifully arranged by Jim Tranquilla of the iTromboni ensemble is appropriate for advanced performers.
SKU: HL.49027716
ISBN 9790001131179.
SKU: HL.49027717
ISBN 9790001131186.
SKU: HL.254191
9.0x12.0 inches.
Andante for oboe and piano was found only after the composers death in 2014. According to his private notes discovered by his family, it was written in 1951, which means that it is one of its earliest compositions. This one-part work, set in neoromantic aesthetics, is based on two themes. The first one - in D Minor - initially appears in the piano part, and then it is captured by the oboe. It puts a listener in a tranquil, sentimental mood. The second one - in D Major - is livelier and jollier (piu mosso), though in terms of melodic motifs some of its fragments come closer to the first theme in a form of its variation-style development. This is capped by a solo cadenza of the oboe that leads to the recapitulation of the first theme and the following tranquil, cantilena-style coda. Jozef Swiders Andante for oboe and piano, despite its charming simplicity, is a work full of reverie, nostalgia and subtle melancholy. This proves the young composer's liking for clarity, lyricism and romantic expression, typical of his late artistic work.
SKU: CF.YAS211
ISBN 9781491160459. UPC: 680160919048.
This Grade 2 original work was inspired by the tender poem of the same name by Sara Teasdale. Gentle phrases capture the wistful hope the poet felt as she contemplated the steadfast stars that burn steadily as long ago even as the world changed below. The lyrical melody provides developing players opportunities to work on tone, slurs, and expressive playing with one easy key change from D major to G major. A shift from major to minor tonality reflects the bittersweet stanzas that lament the loss of youthful dreams amidst the turmoil of life, even while admiring the faithful beauty of the celestial constellations. The dreamy piece evokes images of shimmering stars in the cold December night, with shadows shaken on the snow, offering a tranquil winter concert selection.This Grade 2 original work was inspired by the tender poem of the same name by Sara Teasdale. Gentle phrases capture the wistful hope the poet felt as she contemplated the steadfast stars that “burn steadily as long ago” even as the world changed below. The lyrical melody provides developing players opportunities to work on tone, slurs, and expressive playing with one easy key change from D major to G major. A shift from major to minor tonality reflects the bittersweet stanzas that lament the loss of youthful dreams amidst the turmoil of life, even while admiring the “faithful beauty” of the celestial constellations. The dreamy piece evokes images of shimmering stars in the cold December night, with “shadows shaken on the snow”, offering a tranquil winter concert selection.
About Carl Fischer Young String Orchestra Series
This series of Grade 2/Grade 2.5 pieces is designed for second and third year ensembles. The pieces in this series are characterized by:--Occasionally extending to third position--Keys carefully considered for appropriate difficulty--Addition of separate 2nd violin and viola parts--Viola T.C. part included--Increase in independence of parts over beginning levels
SKU: HL.49001966
ISBN 9790001128483. 9.0x12.0x0.175 inches.
SKU: BT.CMP-1094-07-010
9x12 inches.
This easy-to-prepare beginning band comedy piece will have the audience rolling in the aisles. Feature that popular principal, custodian, secretary or any other staff or community member who has a little bit of comedian in them as the Triangle soloist. One interruption after another prevents the soloist from actually playing the Triangle until the very end of the piece where, with a band member’s assistance, the soloist finally gets to play the Triangle one single time. Everyone will love it! Side-splitting!Dit concert voor triangel en orkest staat garant voor een komische noot. De triangelsolist(e) komt met veel poespas op en mist vervolgens tijdens het concerto - op een zeer opvallende manier - elk moment waarop hij of zij moet spelen.De laatste noot is echter eindelijk raak. Het wordt extra leuk als een bekende persoon deze grappige rol op zich neemt (bijvoorbeeld een oud-lid of een voorzitter): de spelers en het publiek zullen zich kostelijk vermaken!Ein heiteres, komödiantisches Stück, das leicht einzustudieren ist: Präsentieren Sie jemanden - gerne auch einen Nicht-Musiker - dem verdutzten Publikum als den Triangel-Solisten“ vor. Was nun folgt, ist unbezahlbar komisch: Eine Unterbrechung jagt die andere und hält den Solisten“ von seinem kunstvollen Vortrag ab, bis er schließlich, ganz zum Schluss, mit tatkräftiger Unterstützung eines Orchestermusikers, doch noch zu seinem Auftritt kommt. Ein absoluter Brüller!Cette composition humoristique est un hommage « vibrant » au triangle. Une seule note jouer mais avec prestance, précision et sérieux. La carrière en dépend ! Hélas, les empêchements sont nombreux : problème de matériel, de temps, d’espace, sonnerie du portable, etc. Notre brillant soliste réussira-t-il son coup de maître ? vous de le découvrir !
SKU: BT.DHP-1084600-070
ISBN 9789043130455. 9x12 inches. English-German-French-Dutch.
Das Buch enthält drei einfache Quintette, in denen die folgenden Instrumente verwendet werden: Tamburin, Bongos, Drumset, Congas, Claves, Cowbell, Templeblocks, Triangel und Pauken; für ein Quintett ist die Instrumentierung wiederum frei wählbar. La pubblicazione propone tre nuovi brani per quintetto da eseguire con questi strumenti: tamburello, bongos, drum set, congas, clave, campanacci, templeblocks, triangolo e timpani. Un brano prevede strumenti a libera scelta.
SKU: BO.B.3377
Comentarios del Espanol:Divertimento 2002 nace de un encargo que la Orquesta Sinfonica de Barcelona y Nacional de Catalunya realizo a Jordi Cervello en el ano 2002. Su estreno en el Auditori en enero de 2003, bajo la direccion de Hans Graf, fue todo un exito. Se trata de una obra amable y ligera, estructurada en seis breves movimientos; cuatro de caracter alegre y divertido y dos de caracter melancolico. El primero, Allegro burlesco, es festivo y jubiloso, con una percusion animada por el color del triangulo y el xilofon. El segundo, Poco Adagio, es un impasse melodico basado en una prolongada melodia que se mueve dentro de una atmosfera lejana, que nos lleva al Scherzo. Este, con un cierto toque oriental, se desarrolla en tresillos punteados, que establecen un dialogo contrapuntistico y jugueton. Con el cuarto, Misterioso, volvemos al clima lejano, todavia mas sutil y ligero, provocado por la cuerda con sordina. El quinto es un Intermezzo de ritmo ternario sobre un ostinato ritmico; los cuatro instrumentos de madera establecen un juego ironico, que encuentra colorido con el glockenspiel y la flauta de embolo. El clima virtuosistico y despreocupado retorna en el ultimo movimiento, Allegro grazioso: dos temas un poco descarados y de caracter marcado constituyen la base de este movimiento, en el que tienen lugar varias combinaciones ritmicas. Una cadenza entre la flauta y el clarinete nos conduce a una conclusion simple y tranquila. Grabaciones: Catalunya Musica.
SKU: BO.B.3340
ISBN 9788480207591.
English comments: My dedication to the string instruments has been a constant throughout my compositional career and I knew that sooner or later the time would come to compose a concerto for violin and orchestra. That moment came in the autumn of 2002 and after ten months of uninterrupted work I finished it in August of 2003. It is a work structured similarly to the traditional concertos. An important impetus for the elaboration of my concerto was due to the ill-fated violinist Ginette Neveu. Her version of Sibelius' Concerto has always stayed with me. For this reason the first movement, Moderato-Allegro, begins with a contemplative atmosphere similar to that of Sibelius' Concerto in which the principal thematic ideas appear tentatively. These ideas, two rhythmic and two melodic, are reaffirmed through a broad development that culminates in an orchestral fullness. A calm, mysterious passage recalls the introduction and after becoming blurred, three bars burst in leading to the rapid section of the movement. Soloist and orchestra engage in a dialectic struggle of a dramatic nature. The agitation subsides leaving only a tranquil and suggestive clarinet phrase. This will be taken up by the soloist who leads up to the movement's most dramatic moment playing an accelerating triplet figure supported by an orchestral pedal in crescendo. From here the soloist's cadenza emerges beginning with soft double notes. It finishes with an ascending progression and the soloist settles into the high register to elicit the orchestra's intervention in a soft and transfigured atmosphere. Once internalised the second movement, Adagio poco sostenuto e leggero begins. It has a solemn character and opens with two trumpet calls answered by the violoncellos and the contrabasses. The violin soloist introduces and plays two nostalgic themes, the first in the low register and the second, more extensive, in the middle register. The soft and delicate Misterioso e leggero begins with the violin singing on high. The rhythm of the constant quaver figures gradually accelerates until the soloist provokes a dramatic full orchestra as in a cadenza. Once again, the Calmo, in which the soloist with less and less orchestral attire serenely bids farewell. A rising series of double stops by the soloist serves to initiate the Finale-Scherzo. In 6/8 rhythm and with the character of a rondo it carries us along in a carefree, virtuosic ambiance. The principal motives, brief and concise, emerge from the happy, playful theme presented by the soloist. With an intricate progression of rapid sixths in double stops it reaches a tense and somewhat combative moment. However this resolves itself in a diminuendo that the soloist peacefully takes up with the notes re-la to commence the cadenza. This culminates in a series of tied notes to reintroduce the principal theme. A moment of melodic suspension serves as a farewell before the brief and jovial final coda. --The authorComentarios del Espanol:A lo largo de mi carrera compositiva mi dedicacion a los instrumentos de cuerda ha sido constante y sabia que, tarde o temprano, llegaria el momento de componer un concierto para violin y orquesta. Este llego en otono de 2002 y, tras diez meses de trabajo ininterrumpido, lo termine en agosto de 2003. Se trata de una obra estructurada de manera similar a los conciertos tradicionales. Un importante impulso a la elaboracion de mi concierto lo debo al recuerdo de la malograda violinista Ginette Neveu. Su version del concierto de Sibelius ha permanecido siempre dentro de mi. Por ese motivo, el primer movimiento Moderato-Allegro se inicia con una atmosfera contemplativa cercana a la del mencionado Concierto, en la que aparecen cautamente las principales ideas tematicas. Con un amplio desarrollo se llega a un lleno orquestal en el que estas ideas -dos ritmicas y dos melodicas- quedan reafirmadas. Un pasaje calmo y misterioso rememora la introduccion. Tras desdibujarse, irrumpen tres compases que nos llevan a la parte rapida del movimiento. Solista y orquesta establecen un combate dialectico de caracter dramatico. La inquietud desaparece hasta una tranquila e insinuante frase del clarinete. Esta sera recogida por el solista, quien, a base de una figuracion de tresillos cada vez mas rapidos apoyada por un pedal de la orquesta in crescendo, conduce hacia el momento mas dramatico del movimiento. De aqui nace la cadenza del solista, que se incia con suaves notas dobles. Finaliza con una progresion ascendente y el solista se coloca en el registro agudo para llamar la intervencion de la orquesta dentro de una atmosfera suave y transfigurada. Interiorizado es el segundo movimiento Adagio poco sostenuto e leggero. Con dos llamadas de las trompas respondidas por los violonchelos y contrabajos inicia el Adagio de caracter grave. El violin solista introduce y canta dos temas nostalgicos. El primero en el registro grave y el segundo, mas amplio, en el medio. Inicia el Misterioso e leggero, de caracter suave y delicado. Con el violin cantando en agudo. La constante figuracion de corcheas acelerara poco a poco el ritmo hasta que el solista a modo de cadenza provocara un dramatico lleno orquestal. De nuevo el Calmo, donde el solista, cada vez con menos ropaje orquestal, se despide serenamente. Una subida de dobles cuerdas a cargo del solista sirve para iniciar el Finale-Scherzo. Este, en ritmo de 6/8 y con caracter de rondo, nos transporta en un clima virtuosistico y despreocupado. Del tema alegre y jugueton presentado por el solista nacen los principales motivos, breves y concisos. Con una intrincada sucesion de rapidas sextas en doble cuerda se llega a un momento crispado y algo combativo que, sin embargo, se resolvera en un diminuendo que el solista recoge apaciblemente con las notas re-la para inciar la cadenza. Esta culmina con un suave rosario de notas en ligado para introducir de nuevo el tema principal. Un momento de suspension melodica sirve como despido antes de la breve y jovial coda final. La obra fue estrenada el 23 de septiembre de 2005 en el Teatre Monumental de Madrid por la Orquesta Sinfonica de RTVE con Markus Placci de solista y Uwe Mund de director. Gravacion: RNE y Canal Clasico de TVE. --El Autor.
