SKU: HL.4008656
ISBN 9798350115079. UPC: 196288189855.
Folk dances are widespread throughout Greece. In this composition formed by three movements, Franco Cesarini elaborates some typicaldances of the Greek folk tradition by making use of three traditional folk songs, developing them freely. The first movement is a kalamatianos, a festive dance that has roots dating all the way back to antiquity and is considered the national dance of Greece. Its most distinctive feature is the irregular 7/8 rhythm. Depending on the occasion and the dancers’ level of skill, certain steps may be taken as jumps or squats. The second movement represents a zeibekiko. Contrary to most of the traditional Greek dances, the zeibekiko is not a dance performed in a group; it doesn't have any step to follow, only certain figures. The third movement, an hasapiko, is a traditional dance with roots from Constantinople. It serves as the inspiration for the “sirtaki†and progresses from a slow to a faster pace. The hasapiko is performed in a line or open circle formation, with each dancer placing his on the neighbour's shoulders.
SKU: HL.4008657
UPC: 196288189862.
SKU: HL.49002063
ISBN 9790001022170. UPC: 884088097813. 9.0x12.0x0.098 inches.
Harald Genzmer's composition Divertimento di danza for string orchestra clearly continues the baroque form of the divertimento. This light music * in the truest sense of the word * consisted of a sequence of loose movements with free forms and dance movements alternat-ing in varied succession. The divertimento comprised five to six movements. Genzmer kept to all these facts but he brought new life into the old forms. Though he did not compose in the old style, he respected certain rules of the traditional form. Ouverture * Allegro (Fugato) * Adagio * Presto (on an Old French dance) * Finale (on an English dance movement).
SKU: HL.49016231
ISBN 9790001101196. 8.25x11.5x0.105 inches.
This collection consists mainly of unknown dance movements from northern, western and southern Europe, intermingled with original movements by Richard Zettler and written for small groups of players. The music is arranged so that it can be played by woodwind or brass instruments in various keys. Thus many combinations of Instruments can be used as desired.
SKU: HL.49016229
ISBN 9790001101172.
This collection consists mainly of unknown dance movements from northern, western and southern Europe, intermingled with original movements by Richard Zettler and written for small groups of players. The music is arranged so that it can be played by woodwind or brass instruments in various keys. Thus many combinations of instruments can be used as desired.
SKU: HL.49012079
ISBN 9790001101165. 8.25x11.75x0.098 inches.
SKU: HL.49016230
ISBN 9790001101189.
SKU: HL.49012046
ISBN 9790001100793. 8.25x11.75x0.692 inches.
Handel's Oralorio Saul, composed in 1739, contains a series of instrumental movements which provide commentary on the action. Composers have often written works in the form of suites from these movements. Handel's blocks of polyphonic music are also particularly suitable for wind band. His orchestral suites were usually performed in Ihe open air. Many of his themes rank among the great inventions of musical history. They give his music dignity and greatness and at the same time they remain popular in character. The instrumental movements from 'Saul' are suitable for concerts, including those in churches, for serenades and for contests from intermediate to advanced level.(2 Floten, 1 Oboe ad lib., 1 Fagott ad lib., 1 Klarinette in Es ad lib., 3 Klarinetten in B, 2 Alt-Saxophone in Es, 1 Tenor-Saxophon in B, 3 Horner in F, 3 Trompeten in B, 3 Posaunen, 2 Flugelhorner (Kornette) in B, 1 Tenorhorn in B, 1 Bariton, 2 Tuben, Pauken, Schlagzeug: Glockenspiel, kleine Trommel, grosse Trommel, Becken).
SKU: HL.49012045
ISBN 9790001113205. UPC: 073999296280. 8.25x11.75x0.202 inches.
SKU: HL.14008205
ISBN 9781785585890. 8.25x11.75x0.65 inches.
This is an exciting chamber work for Horn, Violin and Piano, composed by John McCabe in 1967. This expressive and adventurous work will provide an enjoyable challenge for your chamber group. The Horn in F and Violin parts are included on separate inserts.
SKU: PR.11441684S
UPC: 680160625253. 9 x 12 inches.
On the occasion of its 30th anniversary, the ensemble Music From China commissioned Chen Yi for a new work, which became Three Dances from China South, scored for Chinese instruments. Its three descriptive movements (Lions Playing Ball, Bamboo Dance, Lusheng Dance) are each inspired by folk dances from the southeastern provinces of China.My chamber ensemble work Three Dances From China South is commissioned by Music From China tocelebrate its 30th anniversary, and scored for Chinese traditional instruments dizi, erhu, pipa, and zheng. The commission has been made possible by the Chamber Music America Classical CommissioningProgram, with generous funding provided by The Andrew W. Mellon Foundation, and the Chamber Music America Endowment Fund.  The world premiere is given at Weill Recital Hall in Carnegie Hall in New York City, on November 21, 2014.  My Three Dances From China South is dedicated to Susan Cheng, the founder and Executive Director of Music From China, to celebrate the 30th anniversary of MFC. There are three movements in my Three Dances From China South for dizi, erhu, pipa, and zheng.  Thematerial in the first movement Lions Playing Ball is drawn from a folk tune played in the accompanyingensemble for the folk dance under the same title in Chaozhou region in Guangdong province.  The image of the folk dance is vivid and entertaining.  The movement includes several variations on the theme.  The variation methods are inspired by the various rhythmic patterns used in the traditional ensemble playing. The melodic material features a special mode with a tritone interval taken from the folk tune.  There are also lyrical sections with polyphonic layers in the variations.The music in the second movement is inspired by the folk Bamboo Dance, which is popular in Li minoritypeople from Hainan Island in the south.  The aged old folk dance is for ritual ceremony and harvest celebration in the history, in which there are pairs of people holding the ends of the long bamboo rods and clapping them loudly in stable pulse, for groups of dancers to dance between the bamboo shapes on the floor, in musical rhythms and ensemble patterns.  A musical motive with a jumping interval and articulation is used throughout the movement.The third movement is called Lusheng Dance.  I have witnessed the folk dance performance of the Dong minority people in Guangxi province in the 1980’s.  The exciting scene inspired me to imitate the large lusheng ensemble playing style in my ensemble of four Chinese instrumental musicians without using the sheng (a wind instrument with metal pipes that is popular in concert music, and similar to the folk lusheng).  On top of the rhythmic patterns, I imitated a two--voice folk song of Zhuang minority people in the same province.  The melody is played by the leading erhu and dizi.—Chen Yi.
SKU: HL.14019651
ISBN 9780711975125. UPC: 888680020163. 7.0x10.25x0.179 inches.
The original version of this work, for Clarinet and Piano, was written in 1954 in response to a commission from the publishers, Polskie Wydawnictwo Muzyczne, for an easy work for student performers. The five movements are based on folk songs from Northern Poland. The first performance of this version was given at the 1963 Aldeburgh Festival by Gervase de Peyer and the English Chamber Orchestra, conducted by Benjamin Britten.
SKU: HL.14011474
ISBN 9780711939264. 9.0x12.0x0.037 inches.
Two pleasant and pastoral movements by Christopher Le Fleming, that may be played with Violin, Flute or Oboe as the soloist, with a full Piano accompaniment. A bass-clef version is available with the Cello as the soloist, item code number CH56275-01.
SKU: AP.12-0571570488
ISBN 9780571570485. English.
This second set of Danceries continues the format established in Danceries (Set I), namely in using material taken from Playford's Dancing Master, a collection of folk and popular tunes published in the seventeenth century, to form the basis of an extended dance suite. In this set, the melodies are more abstract and project only a distant echo of their original forms, but as before, each movement is self-contained, colorful and direct, with its own distinct mood. The outer movements---Jennie's Bawbee and Peascod's Galliarda----share a use of driving percussion writing with a military air. Tom Tinker's Toye and Heart's Ease (movements two and three) are both settings of original melodies. All movements are more extended than in the first set, with a freer use and approach to the material; melodies now occur in various keys and are supported by a greater variety of harmonic coloring. The result is a richer, even more exhilarating set of dances. Danceries has come of age! Arranged for wind band.
SKU: BT.EMBZ14850
The volumes in this new series contain duos, trios and quartets, their degree of difficulty ranging from easy through intermediate to advanced. Every piece is a transcription or an arrangement, since in editing the volumes our primary concern was to provide a collection of valuable and interesting compositions, as freely variable as possible as regards instrumentation, for music school students and also for adults who make music for their own pleasure. The range and pitch of the parts enable the works to be performed on any required or possible combination of the given instruments. Like the Easy quartets volume, this one too contains dance sequences consisting of severalmovements. Apart from such popular dance movements (two renaissance dances, three waltzes), this publication also provides users with more extensive character pieces at an intermediate level. In movements like, for example, Evening chimes, Hobgoblin, The shepherdess and the cuckoo and March, the original content provided by the editors together with the music helps players to find the appropriate character for the musical performance, and thus to bring the music closer to both the players and the audience. Die Bände der neuen Serie beinhalten leichte, mittelschwere oder fortgeschrittene Duos, Trios und Quartette. Bei der Zusammenstellung lag das Hauptaugenmerk auf der höchstmöglichen Freiheit in der Kombinierbarkeit der Instrumente sowie darauf, dass die Kompositionen für Musikschüler und Hobbymusiker musikalisch interessant und wertvoll sind. Aus diesem Grund handelt es sich bei allen Stücken um Transkriptionen. Lage und Tonumfang der Stimmen sind so gesetzt, dass sich die Werke allen denkbaren Umständen und Ansprüchen anpassen und entsprechend in jeder Kombination der angegebenen Musikinstrumente vorgetragen werden können.
SKU: BT.EMBZ14779
The arranger of this work (a well-known Hungarian composer living in Romania) writes: This piece has always excited my imagination, from several points of view. First of all, its name. The German title, the obstinate one, may refer to its ostinato character. This is close to Liszt's programme concept, but the French word 'obstiné' is closer in meaning to stubborn. There is just a shade of difference, but to me it is important, because the latter suggests the description of a type of behaviour, the emotional state of a dancer's inner frame of mind abstracted into movements, expressed in dance movements, and this is a fascinating interpretation. The demonstration ofstubborn resistance and defiance to the point of exhaustion was not a frequently occurring phenomenon with Liszt. Secondly, at the beginning of the seventies Zoltán Kocsis played the piece in Transylvania. At that time, I asked the composer, Is the character of the continuous staccato in the left hand sharp, short, or an accompanying background like a constant shadow? Is it a weighty Brahmsian staccato, an ominous knocking? - and so on. Then there are the Bartókian false relations that keep recurring in the work, the B-E flat-G, etc. That foreshadows Debussy, creating harmonic thrills that, when I hear the work, keep my continuing interest alive for it. Finally, my immediate reason for arranging the work was of a family nature: in connection with Liszt's jubilee year, my daughter, who is a cellist, wanted a 'more energetic' piece to play at a bicentenary concert an addition to the existing slow, lyrical, or sombre works written by Liszt for the cello. The arranger of this work, the well-known Romania-based Hungarian composer Cs ky Boldizsár writes: This piece has always excited my imagination, from several points of view. First of all, its name. The German title, the obstinateone, may refer to its ostinato character, this is close to Liszt's programme concept, but the French word 'obstiné' is closer in meaning to stubborn. There is just a shade of difference, but to me it is important, because the lattersuggests the description of a type of behaviour, the emotional state of a dancer's inner frame of mind abstracted into movements, expressed in dance movements, and this is a fascinating interpretation. The demonstration of stubbornresistance , defiance to the point of exhaustion, was not a frequently occurring phenomenon with Liszt. Secondly, at the beginning of the seventies Zoltán Kocsis played the piece here in Transylvania (Romania).Der Bearbeiter des Werkes, der renommierte ungarische Komponist aus Rumänien, schreibt: Dieses Stück reizte immer schon meine Phantasie, sogar in vielerlei Hinsicht. Als erstes sein Name. Der deutsche Titel ‚Hartnäckiger' kann auf den ihm innewohnenden ostinativen Charakter hinweisen, was der Liszt'schen Programm-Konzeption näher kommt, das französische ,obstiné' steht jedoch eher dem Wort ‚dickköpfig' nah. Das sind nur geringfügige Unterschiede, mir ist das dennoch wichtig, weil aus Letzterem die Darstellung eines Verhaltens, der in Tanzgesten ausgedrückte, zur Bewegung abstrahierte innere emotionale Zustand eines Tänzers durchscheint, und das ist eine überaus beeindruckendeErklärun g. Die Demonstration des bis zur Erschöpfung reichenden Trotzes, der störrischen Kraft erscheint bei Liszt selten. Der zweite Aspekt: Zu Beginn der 70er Jahre spielte bei uns Zoltán Kocsis das Stück. Schon damals (und seitdem) frage ich den Komponisten:.
SKU: AP.36-60710007
ISBN 9798888521687. UPC: 676737816278. English.
In the years preceding World War I, Hungarian composer, pianist, and ethnomusicologist Béla Bartók (1881-1945) took trips to the Transylvanian region to explore the musical traditions of the Romanian population. Following a two-year depression caused by the war, as well as some professional setbacks, he returned to composition. The Romanian Folk Dances, Sz. 56, emerged in 1915, bearing a strong influence from his experiences as an ethnomusicologist. They comprise 6 dances, all based on folk tunes that Bartók had recorded and transcribed. In 1917, he arranged a version for full orchestra. Hungarian violinist and composer Zoltán Székely (1903-2001) transcribed these six short movements for violin and piano in 1926, which are offered here in this reprint edition. Movements: 1. Joc cu bâta (Stick Dance), 2. Brâul (Sash Dance), 3. Topogó / Pê-loc (In One Spot), 4. Bucsumí tánc / Buciumeana (Dance from Bucsum), 5. Poarga româneasca (Romanian Polka), 6. Aprózó / Maruntel (Fast Dance).
These products are currently being prepared by a new publisher. While many items are ready and will ship on time, some others may see delays of several months.
SKU: CY.CC2729
Romanian Folk Dances is a short six-movement suite originally composed for piano in 1915 and later arranged for violin and piano by Zoltan Szekely. The six movements are:1. Stick Dance2. Sash Dance3. Standing Still4. Horn Dance5. Romanian Polka6. Fast DanceThe movements are in the following modes (Dorian, Aeolian, Mixolydian and Lydian), which along with unique harmonies give them a very exotic sound.The Suite takes about 5 minutes to perform and is suitable for advanced performers.
SKU: CY.CC2731
SKU: CY.CC2733
SKU: CF.CAS114F
ISBN 9781491151709. UPC: 680160909209. 9 x 12 inches.
Canarios is a movement taken from the Suite Espanola for guitar by Gaspar Sanz, a leading composer of Spanish Baroque music.? Deborah Baker Monday presents this delightful arrangement in D major which engages all sections of the ensemble in the interplay between 6/8 and 3/4.? The rich and resonant texture makes this piece a great concert or festival selection.
Gaspar Sanz lived from ca.16401710. He was a leading composer of music from the Baroque period in Spain, but it is his guitar music which has given him the most attention. He wrote three collections of pieces as an Instruction for guitar and they include about 90 pieces which are part of the guitar repertory.
The Suite Espanola has become popular as a performance piece in the modern guitar world. It contains numerous movements of which Canarios is one of the most popular. Many guitar concerts include a selection of these wonderful dance movements:
1 Espanoletas
Gaspar Sanz lived from ca.1640a1710. He was a leading composer of music from the Baroque period in Spain, but it is his guitar music which has given him the most attention. He wrote three collections of pieces as an Instruction for guitar and they include about 90 pieces which are part of the guitar repertory.
A A 1 EspaA+-oletas
Gaspar Sanz lived from ca.1640-1710. He was a leading composer of music from the Baroque period in Spain, but it is his guitar music which has given him the most attention. He wrote three collections of pieces as an Instruction for guitar and they include about 90 pieces which are part of the guitar repertory.
About Carl Fischer Concert String Orchestra Series
Thi s series of pieces (Grade 3 and higher) is designed for advancing ensembles. The pieces in this series are characterized by:
SKU: CF.CAS114
ISBN 9781491151334. UPC: 680160908837. 9 x 12 inches. Key: D major.
SKU: CF.CPS264
ISBN 9781491161418. UPC: 680160920006.
Some of the first music I remember hearing as a child was folk dance music from around the world. My parents were avid folk dancers, and they used to host weekly folk dance evenings in our basement. Some nights, when I was supposed to be in bed, I would stand with my ear to the door, listening to this fascinating music that drifted up the stairs. I didn't know what each piece was, but the melodies have stayed with me. Tropanka is one of those tunes. Tropanka (pronounced tro-PAHN-kuh) is a folk dance from Bulgaria, and the title means stomping dance. One can hear two repeated notes at the end of each phrase - this is where the dancers stomp. Patsh Tantz (pronounced PAHTSH tahnts) is a classic example of Klezmer, which is East European Jewish folk music. The title is Yiddish for clapping dance, and all the players get the chance to clap at certain points in their individual part. Klezmer music is often quite exciting, and this arrangement includes the characteristic accelerando, building excitement as the piece drives to the end. Both movements should be played rhythmically, and as it is folk music that would be danced to by untrained dancers, often wearing boots or other flat-soled shoes, adding weight to many of the downbeats will help bring out the earthy character of the music. Since my parents met while folk dancing, I made these arrangements (originally in a version for string quartet) as a gift in celebration of their 50th wedding anniversary.Some of the first music I remember hearing as a child was folk dance music from around the world. My parents were avid folk dancers, and they used to host weekly folk dance evenings in our basement. Some nights, when I was supposed to be in bed, I would stand with my ear to the door, listening to this fascinating music that drifted up the stairs. I didn’t know what each piece was, but the melodies have stayed with me. Tropanka is one of those tunes. Tropanka (pronounced “tro-PAHN-kuh†) is a folk dance from Bulgaria, and the title means “stomping danceâ€. One can hear two repeated notes at the end of each phrase – this is where the dancers stomp. Patsh Tantz (pronounced “PAHTSH tahntsâ€) is a classic example of Klezmer, which is East European Jewish folk music. The title is Yiddish for “clapping danceâ€, and all the players get the chance to clap at certain points in their individual part. Klezmer music is often quite exciting, and this arrangement includes the characteristic accelerando, building excitement as the piece drives to the end.Both movements should be played rhythmically, and as it is folk music that would be danced to by untrained dancers, often wearing boots or other flat-soled shoes, adding weight to many of the downbeats will help bring out the “earthy†character of the music. Since my parents met while folk dancing, I made these arrangements (originally in a version for string quartet) as a gift in celebration of their 50th wedding anniversary.
