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Vous avez sélectionné:
Concerto for Clarinet and Wind Band
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Concerto
Concerto
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Piano et Orchestre
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Gyorgy Ligeti
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Concerto
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Schott Music - Digital
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SheetMusicPlus
Piano and orchestra - difficult - For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minut...
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Piano and orchestra - difficult - For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minutes. Schott Music - Digital #Q53630. Published by Schott Music - Digital
I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. .
The markings of the movements are the following: .
1. Vivace molto ritmico e preciso .
2. Lento e deserto .
3. Vivace cantabile .
4. Allegro risoluto .
5. Presto luminoso.
The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. .
The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. .
In the Piano Concerto I realized new concepts of harmony and rhythm. .
The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. .
In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. .
The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. .
In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. .
Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). .
The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). .
Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. .
These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. .
The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). .
The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. .
Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. .
Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. .
This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. .
The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. .
I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. .
(Gyorgy Ligeti)
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Concerto for Concert Band (2011) full score
Concerto for Concert Band (2011) full score
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Orchestre d'harmonie
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INTERMÉDIAIRE/AVANCÉ
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Thomas Oboe Lee
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Concerto for Concert Band
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Thomas Oboe Lee
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SheetMusicPlus
Concert Band - Level 4 - SKU: A0.869220 Composed by Thomas Oboe Lee. 20th Century,Baroque,Classical,Contemporary,Romantic Period. Score and parts. 74 pa...
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Concert Band - Level 4 - SKU: A0.869220 Composed by Thomas Oboe Lee. 20th Century,Baroque,Classical,Contemporary,Romantic Period. Score and parts. 74 pages. Thomas Oboe Lee #1934325. Published by Thomas Oboe Lee (A0.869220). Program note. Concerto for Concert Band is in four movements, played without pause. The first movement begins with a percussion fanfare that leads into woodwind melodies coupled with the euphonium. Then the percussion takes over again, with a timpani solo feature. The second movement is a dialogue between the clarinet and brass choirs. As the choir masses become more dense, a plaintive solo oboe emerges from the din … molto cantabile!!! The third movement is a scherzo featuring the trumpets and the woodwinds. The percussion section joins in with outbursts and commentaries … The brass choir returns in the last movement with more melodies emanating from the woodwinds. The work ends in quiet tranquility … molto cantabile again!!! The work is dedicated to the effervescent Bill Drury who conducts the wind ensembles at the New England Conservatory of Music. I was very grateful to Bill when he asked me to write something for him and the Jordan Winds at NEC. It is a huge challenge to compose music for large wind groups. I find most concert band pieces too thick and mucky in texture. The trick is to create concert band music that is light and transparent; to orchestrate in such a way that you can see/hear light seeping through. I hope I was able to do that. Enjoy!! Instrumentation: 3 Flutes (Fl. 3 also doubles on piccolo) 2 Oboes 2 Bassoons Clarinet in Eb 3 Clarinets in Bb 2 Bass Clarinets in Bb 4 French Horns 3 Trumpets in Bb (also doubling on Flugelhorns in Bb) 3 Trombones Euphonium Tuba Timpani Marimba Percussion 1: snare drum, 3 tom-toms Percussion 2: triangle, 2 bass drums This is a transposed score.
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Bach: Partita No. 2 BWV 826 for Clarinet Quartet
Bach: Partita No. 2 BWV 826 for Clarinet Quartet
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Quatuor de Clarinettes: 4 clarinettes
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Johann Sebastian Bach
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James M
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Bach: Partita No. 2 BWV 826 fo
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jmsgu3
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SheetMusicPlus
Clarinet Quartet,Woodwind Ensemble Bass Clarinet,E-Flat Clarinet - Level 4 - SKU: A0.1435859 Composed by Johann Sebastian Bach. Arranged by James M. Gut...
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Clarinet Quartet,Woodwind Ensemble Bass Clarinet,E-Flat Clarinet - Level 4 - SKU: A0.1435859 Composed by Johann Sebastian Bach. Arranged by James M. Guthrie. Baroque,Chamber,Contest,Festival,Historic,Standards. 75 pages. Jmsgu3 #1015958. Published by jmsgu3 (A0.1435859). BACH: Partita No. 2 BWV 826 Contents: Sinfonia, Allemande, Courante, Sarabande, Rondeau, Capriccio. Bach's Partita No. 2 in C minor, BWV 826, is an essential work for several reasons: Significance in Bach's Oeuvre It is part of Bach's monumental collection of six partitas (suites) for the keyboard, considered among music history's most famous and challenging suites. The partitas were published as Bach's Opus 1 in 1731, showcasing the diversity of forms and ingenious counterpoint in his keyboard writing. Partita No. 2 was one of the earliest partitas to be published individually in 1727, highlighting its significance. Musical Characteristics It opens with a grand Sinfonia movement akin to a French overture, followed by an expressive Andante aria-like movement. The fugue movement has an intense subject spanning a minor 9th interval. It includes a double (ornamented variation) of the traditional Sarabande dance movement. The final Capriccio movement is a virtuosic and contrapuntal concerto-like piece testing the performer's technical prowess. Overall, the partita exhibits a weighty, substantial, and momentous character compared to the first. Influence and Legacy It expanded keyboard suites' technical and musical boundaries and other partitas. Due to its artistic merit and challenges, it has remained a pinnacle of the keyboard repertoire, studied and performed by generations of musicians. In summary, Bach's Partita No. 2 is a significant work that exemplifies the composer's mastery of counterpoint, variation forms, and virtuosic keyboard writing, solidifying the partitas' enduring importance in the canon of Western classical music.
$42.95 ≈
39.96€
"Clarinet Concert Concertino" for Wind Band based on music by A.E.Williams arranged by S.Davies
"Clarinet Concert Concertino" for Wind Band based on music by A.E.Williams arranged by S.Davies
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Orchestre d'harmonie
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INTERMÉDIAIRE/AVANCÉ
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A
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Stephen Davies
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"Clarinet Concert Concert
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Stephen Davies
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SheetMusicPlus
Concert Band - Level 4 - SKU: A0.891956 Composed by A.E.Williams. Arranged by Stephen Davies. 20th Century,Standards. Score and Parts. 74 pages. Stephen...
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Concert Band - Level 4 - SKU: A0.891956 Composed by A.E.Williams. Arranged by Stephen Davies. 20th Century,Standards. Score and Parts. 74 pages. Stephen Davies #6094485. Published by Stephen Davies (A0.891956).   CLARINET CONCERT CONCERTINO FOR WIND BAND I don’t normally enter long descriptions of my arrangements, nothing worse than seeing that little sign on the bottom right saying ‘see more’, however this piece has a rather interesting story that I’d like to share with you! It was maybe 8 or 9 years ago that I helped in the library of the Band Of The Guards Association, a group of musicians who were all members of the Household Division Bandsin London, that is to say the Grenadier, Coldstream, Scots, Irish, Welsh, Life Guards and Blues & Royals bands, chiefly known the world over for Changing The Guard at Buckingham Palace and many other ceremonial occasions. The Band Of The Guards Association were privileged to rehearse at the Royal Hospital Chelsea, home of the famous Chelsea Pensioners, renowned for their Redcoats and medals as veterans of the British Army. Our library of music for the band at the time was held in an air raid shelter deep in the cellars underneath the labyrinthine corridors of the old building built by Sir Christopher Wren back in the 1680’s. When I say ‘air raid shelter’, that is exactly what it was like! Can’t go into too much detail, but suffice it to say that it was like being transported back in time! But this is where the library was kept, complete with dusty shelves, blackout warnings, obsolete bulb replacements and tunnels to the Thames! The man in charge of the library was Mr.Gordon ‘Joe’ Stafford, former Solo Clarinet with HM Band Of The Welsh Guards (ret’d), a fine player of that instrument in his day, and revered as such even now. About 8 years ago, our ‘underground ‘ library was deemed a fire hazard, and we were ‘invited’ to move it elsewhere. As we had our practice room nearby in the Chelsea Hospital, we decided to relocate the whole library there, shelving being built and constructed by enthusiastic band members. Joe Stafford and myself were not particularly enthusiastic about this, but it had to be done. Having looked at the enormous amount of music to be moved, we thought about ditching some of the scores which would never be played again, for instance selections of musicals long forgotten, scores with multiple missing parts etc. Lots of that music went to local music organisations simply for sight reading purposes, and the more complete versions went to bands and orchestras to bolster their stock of scores. After the laborious sorting out in the air raid shelter, Joe and I had the unenviable task of discarding the scores and parts that were incomplete, defaced, or just basically useless. It was an arbitrary case of ‘keep or throw’, and at the time we were doing this, Joe was desperate for a pint in the bar! I agreed, and was anyway on my last batch of throwaways when I found a piece titled ‘Clarinet Concerto’, by A.E.Williams. Written in pencil, with ancient sellotape, and signed by all the people who played it many years ago, including the Soloist and composer, I thought that that should not be binned, so I kept it! Joe Stafford suggested that I should ‘get it out there’ , so I have. Incidentally it has a cracking Cadenza towards the end, it was a bit smudged in the original score, but I’ve filled in the gaps!! This would be an ideal addition to the band repertoire for Clarinet!
$49.99 ≈
46.51€
Trumpet Concerto in Eb
Trumpet Concerto in Eb
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Orchestre d'harmonie
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FACILE
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Classique
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Guiseppe Tartini
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Alex Wilson
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Trumpet Concerto in Eb
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Alexander Wilson
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SheetMusicPlus
Concert Band - Level 2 - SKU: A0.775244 Composed by Guiseppe Tartini. Arranged by Alex Wilson. Baroque. Score and parts. 120 pages. Alexander Wilson #43...
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Concert Band - Level 2 - SKU: A0.775244 Composed by Guiseppe Tartini. Arranged by Alex Wilson. Baroque. Score and parts. 120 pages. Alexander Wilson #4370282. Published by Alexander Wilson (A0.775244). Originally the Violin Concerto in E major, D.53, Guiseppe Tartini’s concerto was transcribed for the piccolo trumpet by Maurice André and has remained a popular repertoire choice for trumpet players ever since. All three movements of the work are here arranged in the key of Eb (not D!) for piccolo trumpet in Bb and wind band (including 2 flute parts, oboe, bassoon, 3 clarinets, bass clarinet, 2 alto saxes, tenor sax, bari sax, 2 trumpets, 2 horns, 2 trombones, BC and TC euphonium, tuba, and timpani). Performance time is generally around 10 or 11 minutes. Please note that the parts for the accompanying ensemble are at an early intermediate level, as indicated on this page, but the solo part for piccolo trumpet is very challenging.
$20.00 ≈
18.61€
Rimsky-Korsakov-Trombone Concerto(1877),for Trombone and Wind Band
Rimsky-Korsakov-Trombone Concerto(1877),for Trombone and Wind Band
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Orchestre d'harmonie
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INTERMÉDIAIRE
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Classique
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Contemporain
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Nikolay Andreyevich Rimsky-Kor
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OSM Press
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Rimsky-Korsakov-Trombone Conce
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Open Cloud
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SheetMusicPlus
Woodwind Ensemble Bassoon,Clarinet,Flute,Oboe - Level 3 - SKU: A0.1348458 Composed by Nikolay Andreyevich Rimsky-Korsakov. Arranged by OSM Press. Classi...
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Woodwind Ensemble Bassoon,Clarinet,Flute,Oboe - Level 3 - SKU: A0.1348458 Composed by Nikolay Andreyevich Rimsky-Korsakov. Arranged by OSM Press. Classical. 169 pages. Open Cloud #933235. Published by Open Cloud (A0.1348458).
$40.99 ≈
38.13€
Concerto for Trumpet and Wind Ensemble - Complete Parts
Concerto for Trumpet and Wind Ensemble - Complete Parts
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Orchestre d'harmonie
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AVANCÉ
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Bryan Starkweather
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Concerto for Trumpet and Wind
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Bryan Starkweather
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SheetMusicPlus
Concert Band - Level 5 - SKU: A0.914418 Composed by Bryan Starkweather. Contemporary,Standards. Score and parts. 82 pages. Bryan Starkweather #4286975. ...
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Concert Band - Level 5 - SKU: A0.914418 Composed by Bryan Starkweather. Contemporary,Standards. Score and parts. 82 pages. Bryan Starkweather #4286975. Published by Bryan Starkweather (A0.914418). Originally written for trumpet virtuoso Dr. Thomas R. Smith, director of music at Florida Southwestern College. Approximate running time, 10 minutes. Written in four styles: jazz, Latin, bugle corps, and march/fanfare. Range is G3-F6.Parts are: Piccolo, Flute 1/2, Oboe, Clarinet 1/2/3/Bass, Bassoon, Alto/Tenor/Bari Sax, Horn 1/2/3/4, Solo Bb Trumpet, Bb Trumpet 1/2/3, Trombone 1/2/3(Bass), Euphonium, Tuba, Timpani. Percussion 1/2/3. Oboe, Bassoon, and Horn parts are cued if not available.For comments, questions, corrections, or special requests, please email me at bryan32483@gmail.com for any and all info, or visit https://www.facebook.com/Canvas-Music-Productions-134274459972325/ I love hearing from my customers! I'm always happy to help in any way I can, including modifying a piece to suit your needs.
$49.99 ≈
46.51€
ADAGIO From The CLARINET CONCERTO K622 - Solo Clarinet with Concert Band Accompaniment
ADAGIO From The CLARINET CONCERTO K622 - Solo Clarinet with Concert Band Accompaniment
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Orchestre d'harmonie
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Wolfgang Amadeus Mozart
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Peter Jackson
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ADAGIO From The CLARINET CONCE
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EMK Music
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SheetMusicPlus
Concert Band - Level 4 - SKU: A0.834017 Composed by Wolfgang Amadeus Mozart. Arranged by Peter Jackson. Classical,Standards. Score and Parts. 71 pages. ...
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Concert Band - Level 4 - SKU: A0.834017 Composed by Wolfgang Amadeus Mozart. Arranged by Peter Jackson. Classical,Standards. Score and Parts. 71 pages. EMK Music #53313. Published by EMK Music (A0.834017). For Wind Band/Concert Band/Blasorchester/Harmonie. ADAGIO FROM THE CLARINET CONCERTO by Mozart is arguably the most well known work in the clarinet repertoire and is also probably the most studied work in the repertoire. This arrangement gives those clarinettists who have put in the hard work, the opportunity to make use of it in a concert setting with band accompaniment. Full performance time is 7.30 but their are optional cuts to make it 6.30 or 4.40.
$82.50 ≈
76.75€
Rimsky-Korsakov-Trombone Concerto(1877),for Trumpet in B flat and Wind Band
Rimsky-Korsakov-Trombone Concerto(1877),for Trumpet in B flat and Wind Band
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Orchestre d'harmonie
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INTERMÉDIAIRE
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Classique
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Contemporain
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Nikolay Andreyevich Rimsky-Kor
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OSM Press
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Rimsky-Korsakov-Trombone Conce
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Open Cloud
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SheetMusicPlus
Woodwind Ensemble Bassoon,Clarinet,Flute,Oboe - Level 3 - SKU: A0.1348481 Composed by Nikolay Andreyevich Rimsky-Korsakov. Arranged by OSM Press. Classi...
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Woodwind Ensemble Bassoon,Clarinet,Flute,Oboe - Level 3 - SKU: A0.1348481 Composed by Nikolay Andreyevich Rimsky-Korsakov. Arranged by OSM Press. Classical. 169 pages. Open Cloud #933258. Published by Open Cloud (A0.1348481).
$40.99 ≈
38.13€
Rimsky-Korsakov-Trombone Concerto(1877),for Horn in F and Wind Band
Rimsky-Korsakov-Trombone Concerto(1877),for Horn in F and Wind Band
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Orchestre d'harmonie
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INTERMÉDIAIRE
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Classique
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Contemporain
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Nikolay Andreyevich Rimsky-Kor
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OSM Press
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Rimsky-Korsakov-Trombone Conce
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Open Cloud
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SheetMusicPlus
Woodwind Ensemble Bassoon,Clarinet,English Horn,Flute,Oboe,Piccolo - Level 3 - SKU: A0.1348476 Composed by Nikolay Andreyevich Rimsky-Korsakov. Arranged...
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Woodwind Ensemble Bassoon,Clarinet,English Horn,Flute,Oboe,Piccolo - Level 3 - SKU: A0.1348476 Composed by Nikolay Andreyevich Rimsky-Korsakov. Arranged by OSM Press. Classical. 169 pages. Open Cloud #933253. Published by Open Cloud (A0.1348476).
$40.99 ≈
38.13€
Rimsky-Korsakov-Trombone Concerto(1877),for Flute(or Oboe,or Violin) and Wind Band
Rimsky-Korsakov-Trombone Concerto(1877),for Flute(or Oboe,or Violin) and Wind Band
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Orchestre d'harmonie
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INTERMÉDIAIRE
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Classique
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Contemporain
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Nikolay Andreyevich Rimsky-Kor
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OSM Press
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Rimsky-Korsakov-Trombone Conce
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Open Cloud
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SheetMusicPlus
Woodwind Ensemble Bassethorn,Bassoon,Clarinet,Flute,Oboe,Piccolo - Level 3 - SKU: A0.1348462 Composed by Nikolay Andreyevich Rimsky-Korsakov. Arranged b...
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Woodwind Ensemble Bassethorn,Bassoon,Clarinet,Flute,Oboe,Piccolo - Level 3 - SKU: A0.1348462 Composed by Nikolay Andreyevich Rimsky-Korsakov. Arranged by OSM Press. Classical. 169 pages. Open Cloud #933239. Published by Open Cloud (A0.1348462).
$40.99 ≈
38.13€
Bassoon Concerto in B-flat major (A4)
Bassoon Concerto in B-flat major (A4)
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Orchestre d'harmonie
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Wolfgang Amadeus Mozart
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Shinji Kasama
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Bassoon Concerto in B-flat maj
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Kasama Music Corporation
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SheetMusicPlus
Concert Band - Level 4 - SKU: A0.1276082 Composed by Wolfgang Amadeus Mozart. Arranged by Shinji Kasama. Classical,Contest,Festival. Score and Parts. 23...
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Concert Band - Level 4 - SKU: A0.1276082 Composed by Wolfgang Amadeus Mozart. Arranged by Shinji Kasama. Classical,Contest,Festival. Score and Parts. 231 pages. Kasama Music Corporation #867839. Published by Kasama Music Corporation (A0.1276082). [This Publication is in A4 size. Letter size (8/5 x 11) is also available.]Concerto for Bassoon and Orchestra in B-flat major by Wolfgang Amadeus Mozart (1756-1791) was composed in 1774. It is believed that Mozart wrote more than one concerto for bassoon and orchestra; however, this is the only concerto to survive. The original Köchel catalogue number is 191, and the revised catalogue number is 186e.In this transcription for small wind orchestra, only one player per part is recommended, except the B-flat clarinet parts, which may be doubled.This publication comes with full score (pp. 1–65), 1st flute–string bass (pp. 67–158), and transposed parts (pp. 159–231).A printed score and the parts on CD-ROM are available for purchase at www.kasamamusic.com.
$25.00 ≈
23.26€
Bassoon Concerto in B-flat major (8/5 x 11)
Bassoon Concerto in B-flat major (8/5 x 11)
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Orchestre d'harmonie
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Wolfgang Amadeus Mozart
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Shinji Kasama
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Bassoon Concerto in B-flat maj
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Kasama Music Corporation
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SheetMusicPlus
Concert Band - Level 4 - SKU: A0.1276080 Composed by Wolfgang Amadeus Mozart. Arranged by Shinji Kasama. Classical,Contest,Festival. Score and Parts. 23...
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Concert Band - Level 4 - SKU: A0.1276080 Composed by Wolfgang Amadeus Mozart. Arranged by Shinji Kasama. Classical,Contest,Festival. Score and Parts. 231 pages. Kasama Music Corporation #867828. Published by Kasama Music Corporation (A0.1276080). [This Publication is in letter size (8/5 x 11). A4 size is also available.]Concerto for Bassoon and Orchestra in B-flat major by Wolfgang Amadeus Mozart (1756-1791) was composed in 1774. It is believed that Mozart wrote more than one concerto for bassoon and orchestra; however, this is the only concerto to survive. The original Köchel catalogue number is 191, and the revised catalogue number is 186e.In this transcription for small wind orchestra, only one player per part is recommended, except the B-flat clarinet parts, which may be doubled.This publication comes with full score (pp. 1–65), 1st flute–string bass (pp. 67–158), and transposed parts (pp. 159–231).A printed score and the parts on CD-ROM are available for purchase at www.kasamamusic.com.
$25.00 ≈
23.26€
Concerto for Orchestra, opus 111 (2005, rev. 2010)
Concerto for Orchestra, opus 111 (2005, rev. 2010)
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Orchestre
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INTERMÉDIAIRE/AVANCÉ
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Thomas Oboe Lee
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Concerto for Orchestra, opus 1
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Thomas Oboe Lee
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SheetMusicPlus
Full Orchestra - Level 4 - SKU: A0.869351 Composed by Thomas Oboe Lee. 20th Century,Baroque,Classical,Contemporary,Romantic Period. Score and parts. 81 ...
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Full Orchestra - Level 4 - SKU: A0.869351 Composed by Thomas Oboe Lee. 20th Century,Baroque,Classical,Contemporary,Romantic Period. Score and parts. 81 pages. Thomas Oboe Lee #15869. Published by Thomas Oboe Lee (A0.869351). Instrumentation: 3232-4331-timp-2perc-strings. When I received the invitation from Jonathan Cohler to write a Concerto for Orchestra for the Brockton Symphony, I immediately thought of all the composers who wrote works inspired by Bartok’s seminal work of the same title: Roger Sessions, Elliott Carter, Michael Tippett, Witold Lutoslawski, Joan Tower and, most recently, Jennifer Higdon. My Concerto for Orchestra, opus 111, is in five movements. It will be heard without pause between movements. I. Largo … Misterioso! II. Allegro con moto … Evidence!!! III. Adagio … Epistrophy! IV. Andante … In Walked Bud! V. Presto … Rhythm-a-ning!!! My initial idea for the Concerto was contrast - contrast between the timbres and colors that the various sections in an orchestra provide. For example, the woodwinds would provide a sharp contrast against the brass; the percussion section against the strings, etc. I also was interested in writing a work where each movement would flow into the next without pause – thus providing another form of contrast, that of tempi and mood change. A third form of contrast would be the different styles and forms of music that I would come up with. And I had a lot of fun conjuring up the many possible scenarios and orchestral tableaux. I actually started with the second movement: the Allegro con moto. I wanted something that had a nice surging quality that the whole orchestra could jump into. When I finished that, I thought perhaps it would be too intense for the opening of the work. I thought, maybe I should begin with something slower, more brooding in nature before the explosive stuff. I noticed that Carter’s Concerto began with a slow Introduction. It had a title: Misterioso. Being an avid fan of Thelonious Monk, aka Thelonious Sphere Monk, Misterioso brought to mind a Monk composition of the same title. That epiphany gave me the idea of naming each of the five movements after a Monk tune. Monk’s Misterioso is a blues with an insistent theme of 8th note patterns of rising 6ths; which has nothing to do with my first movement. My Misterioso features a solo for the bass clarinet in the midst of a shimmering atmosphere that is punctuated by accents in the bass. They are both mysterious, but divergently opposed in mood and substance. Monk’s Evidence is a tune with jabs and punches, irregularly placed within the measure – not unlike what I did in the second movement. This movement is perhaps the most Monk-ish of all. Monk’s Epistrophy is a tune constructed with a four-note pattern that is angular and twisted. I wrote a solemn brass choir movement that is an epistle in nature, a sermon of sorts. The title of Monk’s In Walked Bud refers, of course, to the amazing pianist Bud Powell. I took the word walk and translated it into an andante. What resulted was a silly, but jolly movement featuring the woodwinds. I wanted to end the work with a fast and furious finale. Inspired by the word rhythm in Monk’s Rhythm-a-ning, I began the last movement with a solo for the percussion section – timpani, tom-toms, bass drum!!! The orchestra eventually joins in the mayhem, breaking into a scherzo-like frenzy. It ends with a big bang!!! Enjoy!!!Audio link: https://thomasoboelee.bandcamp.com/album/concerto-for-orchestra-opus-111-2005
$9.99 ≈
9.29€
Trumpet Concerto in E flat
Trumpet Concerto in E flat
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Orchestre d'harmonie
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Franz Joseph Haydn
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Armin Terzer
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Trumpet Concerto in E flat
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Armin Terzer
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SheetMusicPlus
Concert Band - Level 4 - SKU: A0.942160 Composed by Franz Joseph Haydn. Arranged by Armin Terzer. Classical. Score and parts. 161 pages. Armin Terzer #4...
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Concert Band - Level 4 - SKU: A0.942160 Composed by Franz Joseph Haydn. Arranged by Armin Terzer. Classical. Score and parts. 161 pages. Armin Terzer #4755953. Published by Armin Terzer (A0.942160). This is an arrangement for solo trumpet and symphonic wind band of the complete Haydn trumpet concerto. The band parts are mostly of intermediate difficulty (with some strong players needed in the clarinets) and many alternate options are provided to cover missing instruments (see notes on first page) – the piece can effectively be performed with 4 flutes, 2 horns, 2 trumpets and a full clarinet section (minimum 8 plus 1 bass clarinet). On the other hand, a larger band, if kept within reasonable limits, allows the soloist to play freely and without getting covered. Only the low brass gets a rest to stay within the character of the original work.
$60.00 ≈
55.82€
Klezmer Concerto for Clarinet and Wind Orchestra (parts - piccolo, flute, double reeds and clarinets)
Klezmer Concerto for Clarinet and Wind Orchestra (parts - piccolo, flute, double reeds and clarinets)
Flute, Oboe, Clarinet, Bassoon, Saxophone, Concert Band
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Contemporain
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Brian S
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Klezmer Concerto for Clarinet
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G. Meredith Publications
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SheetMusicPlus
Composed by Brian S. Wilson. For Flute, Oboe, Clarinet, Bassoon, Saxophone, Concert Band. 21st Century. Intermediate. Set of Parts. Published by G. Meredith Pub...
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Composed by Brian S. Wilson. For Flute, Oboe, Clarinet, Bassoon, Saxophone, Concert Band. 21st Century. Intermediate. Set of Parts. Published by G. Meredith Publications
$50.00 ≈
46.52€
Shadow in a harlequin (Concertino for Alto Saxophone and Wind Ensemble) - Score Only
Shadow in a harlequin (Concertino for Alto Saxophone and Wind Ensemble) - Score Only
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Orchestre d'harmonie
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INTERMÉDIAIRE/AVANCÉ
#
Masakazu YAMAMOTO
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Shadow in a harlequin
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Motch Music
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SheetMusicPlus
Concert Band - Level 4 - SKU: A0.1339375 Composed by Masakazu YAMAMOTO. 21st Century,Contemporary,Contest,Festival. 31 pages. Motch Music #925066. Publi...
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Concert Band - Level 4 - SKU: A0.1339375 Composed by Masakazu YAMAMOTO. 21st Century,Contemporary,Contest,Festival. 31 pages. Motch Music #925066. Published by Motch Music (A0.1339375). Original work by Masakazu Yamamoto.Concerto for solo alto saxophone and small wind ensemble. Composed in 2017. It premiered at the annual concert 2017 of the Japan Wind Ensemble (Momotaro Band).This work was commissioned by Keiko Kobayashi (the chief conductor of the orchestra) and Atsushi Nishimoto (chief concertmaster and saxophone player of the orchestra) and Musica Eterna LLC. Harlequin, a popular person who entertains people. Dressed in a quirky costume, what does he think under that makeup? Even if you indulge in thought or shed tears without knowing it, you have to continue playing the clown on the stage for the expectations of the audience. The composition seems to be the relationship between an individual and society, and it also applies to the relationship between solo and the band in this work. Duration: 9', Grade 4 (band only)[Instrumentation] Flutes (2) 1st also piccolo Oboe (1) Bb Clarinets (3) 3rd also Eb Clarinet Bb Bass Clarinet (1) Eb Alto Saxophones (2) Bb Tenor Saxophone (1) Bb Trumpets (2) F Horn (1) Trombone (1) Euphonium (1) Tuba (1) Percussion (1) Claves, Snare Drum, Triangle, Shaker, Suspended Cymbal  Works For Concert Band Original Composition (Sheet Music Plus / Sheet Music Direct)Arrangement (Sheet Music Plus / Sheet Music Direct)----------------------------------------------------- Motch Music All Sheet Music (Sheet Music Plus / Sheet Music Direct)I have a wide selection of sheet music for various instruments such as piano, ensemble, and concert band. From light and enjoyable pieces to concert-level compositions, we cover a wide range of repertoire. I also provide a rich collection of audio preview.In addition to original compositions and unique arrangements, a lot of text on music analysis is well-received. Please take a look below for more information!Motch Music Web Pagehttps://www.masakazuyamamoto.com/english
$50.00 ≈
46.52€
Shadow in a harlequin (Concertino for Alto Saxophone and Wind Ensemble)
Shadow in a harlequin (Concertino for Alto Saxophone and Wind Ensemble)
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Orchestre d'harmonie
#
INTERMÉDIAIRE/AVANCÉ
#
Masakazu YAMAMOTO
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Shadow in a harlequin
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Motch Music
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SheetMusicPlus
Concert Band - Level 4 - SKU: A0.1339368 Composed by Masakazu YAMAMOTO. 21st Century,Contemporary,Contest,Festival. 85 pages. Motch Music #925059. Publi...
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Concert Band - Level 4 - SKU: A0.1339368 Composed by Masakazu YAMAMOTO. 21st Century,Contemporary,Contest,Festival. 85 pages. Motch Music #925059. Published by Motch Music (A0.1339368). Original work by Masakazu Yamamoto.Concerto for solo alto saxophone and small wind ensemble. Composed in 2017. It premiered at the annual concert 2017 of the Japan Wind Ensemble (Momotaro Band).This work was commissioned by Keiko Kobayashi (the chief conductor of the orchestra) and Atsushi Nishimoto (chief concertmaster and saxophone player of the orchestra) and Musica Eterna LLC. Harlequin, a popular person who entertains people. Dressed in a quirky costume, what does he think under that makeup? Even if you indulge in thought or shed tears without knowing it, you have to continue playing the clown on the stage for the expectations of the audience. The composition seems to be the relationship between an individual and society, and it also applies to the relationship between solo and the band in this work. Duration: 9', Grade 4 (band only)[Instrumentation] Flutes (2) 1st also piccolo Oboe (1) Bb Clarinets (3) 3rd also Eb Clarinet Bb Bass Clarinet (1) Eb Alto Saxophones (2) Bb Tenor Saxophone (1) Bb Trumpets (2) F Horn (1) Trombone (1) Euphonium (1) Tuba (1) Percussion (1) Claves, Snare Drum, Triangle, Shaker, Suspended Cymbal  Works For Concert Band Original Composition (Sheet Music Plus / Sheet Music Direct)Arrangement (Sheet Music Plus / Sheet Music Direct)----------------------------------------------------- Motch Music All Sheet Music (Sheet Music Plus / Sheet Music Direct)I have a wide selection of sheet music for various instruments such as piano, ensemble, and concert band. From light and enjoyable pieces to concert-level compositions, we cover a wide range of repertoire. I also provide a rich collection of audio preview.In addition to original compositions and unique arrangements, a lot of text on music analysis is well-received. Please take a look below for more information!Motch Music Web Pagehttps://www.masakazuyamamoto.com/english Â
$200.00 ≈
186.06€
Concerto for Clarinet and Wind Band
Concerto for Clarinet and Wind Band
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Clarinette (partie séparée)
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Classique
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Niccolai Rimsky Korsakov
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Marc Oliver
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Concerto for Clarinet and Wind
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Ayotte Custom Musical Engravings
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SheetMusicPlus
Composed by Niccolai Rimsky Korsakov. Arranged by Marc Oliver. Romantic Period. 109 pages. Published by Ayotte Custom Musical Engravings (S0.140619). - - Roman...
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Composed by Niccolai Rimsky Korsakov. Arranged by Marc Oliver. Romantic Period. 109 pages. Published by Ayotte Custom Musical Engravings (S0.140619). - - Romantic Period - Ayotte Custom Musical Engravings
$69.99 ≈
65.11€
3 by Handel
3 by Handel
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Quatuor de Clarinettes: 4 clarinettes
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INTERMÉDIAIRE
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Classique
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George Frideric Handel
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Ian D
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3 by Handel
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Grumpy Mule Music
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SheetMusicPlus
Woodwind Ensemble,Woodwind Quartet Clarinet - Level 3 - SKU: A0.949175 Composed by George Frideric Handel. Arranged by Ian D. Crew. Baroque,Classical,Co...
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Woodwind Ensemble,Woodwind Quartet Clarinet - Level 3 - SKU: A0.949175 Composed by George Frideric Handel. Arranged by Ian D. Crew. Baroque,Classical,Concert,Standards,World. 23 pages. Grumpy Mule Music #6353549. Published by Grumpy Mule Music (A0.949175). Though German by birth and training, for many folks, the music of George Frideric Handel (1685 – 1759) epitomises the elegance and exuberance of Georgian London. An astute businessman as well as a musical genius, Mr Handel frequently 'recycled' his earlier material in subsequent compositions. (Check out the organ concertos...) So, in that same spirit of recycling, here are three splendid little keyboard pieces served up for Clarinet Quartet: the Air ('The Harmonious Blacksmith'), the Sarabande from the Suite in D minor HWV 437, and the Gavotte HWV 491.
$11.99 ≈
11.15€
Chamber Music For Three Woodwinds - Volume 2 (Easy To Medium)
Chamber Music For Three Woodwinds - Volume 2 (Easy To Medium)
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Chamber Music For Three Woodwi
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Rubank Publications
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SheetMusicPlus
Woodwind Ensemble, Woodwind Trio SKU: HL.4474590 For Flute, Clarinet, and Bassoon or Bass Clarinet. Edited by Himie Voxman. Ensemble Collection. C...
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Woodwind Ensemble, Woodwind Trio SKU: HL.4474590 For Flute, Clarinet, and Bassoon or Bass Clarinet. Edited by Himie Voxman. Ensemble Collection. Classical. 32 pages. Rubank Publications #RUBL276. Published by Rubank Publications (HL.4474590). ISBN 9781495019906. UPC: 073999745900. 9.0x12.0x0.114 inches.Three Woodwinds, Volume II.
Song List
: Adagio (Mozart) Menuetto (Haydn) Country Dance (Beethoven) Air (Couperin) American Folk Suite Andante Andante (Trio In G) Haydn Finale (Trio In C) Haydn German Dance (Von Weber) I Praise Thee, Lord (Bach) Larghetto (Div.B Flat-Kotschau) O Tobias (Beethoven) Passepied (Suite In C Bach) Sarabande & Corrente (Corelli) Brandenburg Concerto No 1 (Bach) German Dances (Mozart) Waltz In D (Beethoven) Menuet (Schubert) Christmas Eve
$7.99 ≈
7.43€
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Concerto for Clarinet and Wind Band
