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Major and Minor Scales for trombone
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Vous avez sélectionné:
Major and Minor Scales for trombone
Partitions à imprimer
63 partitions trouvées
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Major and Minor Scales for trombone
Major and Minor Scales for trombone
#
Trombone
#
INTERMÉDIAIRE
#
Methodes
#
Jwatts
#
Jennifer Watts
#
Major and Minor Scales for tro
#
Jwatts
#
SheetMusicPlus
Trombone - Level 3 - SKU: A0.1373829 By Jwatts. By Jennifer Watts. Arranged by Jennifer Watts. Instructional. Educational Method. 6 pages. Jwatts #95830...
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Trombone - Level 3 - SKU: A0.1373829 By Jwatts. By Jennifer Watts. Arranged by Jennifer Watts. Instructional. Educational Method. 6 pages. Jwatts #958302. Published by Jwatts (A0.1373829). These are your 12 Major and Minor Scales for trombone. These are scales you should know and have memorized.
$5.00 ≈
4.67€
66 Etudes in all Major and Minor Keys for Trombone
66 Etudes in all Major and Minor Keys for Trombone
#
Trombone
#
INTERMÉDIAIRE/AVANCÉ
#
Slama, Anton
#
Sauer, Ralph
#
66 Etudes in all Major and Min
#
Gordon Cherry
#
SheetMusicPlus
Trombone Solo - Level 4 - SKU: A0.792398 Composed by Slama, Anton. Arranged by Sauer, Ralph. 20th Century,Instructional. Individual part. 48 pages. Gord...
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Trombone Solo - Level 4 - SKU: A0.792398 Composed by Slama, Anton. Arranged by Sauer, Ralph. 20th Century,Instructional. Individual part. 48 pages. Gordon Cherry #4820383. Published by Gordon Cherry (A0.792398). The Slama 66 Etudes have been used for over 90 years as a tried and true method for learning all of the major and minor keys on bass clef instruments. It is an excellent book for honing the basics of technique and gaining knowledge of all the scales. This new improved edition has been carefully edited by Ralph Sauer, eliminating many misprints and articulation conflicts. We can recommend this method book for all students of intermediate level and above.
$15.00 ≈
14.00€
RACONTEUR (The Storyteller) - Trombone 2
RACONTEUR (The Storyteller) - Trombone 2
#
Trombone (partie séparée)
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INTERMÉDIAIRE
#
Christopher Burnett
#
RACONTEUR
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BurnettPublishing.COM
#
SheetMusicPlus
Jazz Ensemble Jazz Ensemble - Level 3 - SKU: A0.954012 Composed by Christopher Burnett. Jazz,Rock. Score and parts. 2 pages. BurnettPublishing.COM #3457...
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Jazz Ensemble Jazz Ensemble - Level 3 - SKU: A0.954012 Composed by Christopher Burnett. Jazz,Rock. Score and parts. 2 pages. BurnettPublishing.COM #3457579. Published by BurnettPublishing.COM (A0.954012). RACONTEUR (The Storyteller)A unique jazz-rock ballad for concerts and contests. Includes a flute and tuba player. Suitable for programming by both student and professional ensembles.RACONTEUR (The Storyteller) is a modern jazz-rock ballad composition written and arranged for a modified large jazz ensemble instrumentation. Parts for C Flute and Tuba are scored to add those unique timbres to the ensemble sound.Rather than feature a single instrument, the melody is purposely distributed throughout the ensemble. However, the musical focal point of the piece is intended to be the featured improvisation solo space provided for Bb Tenor Saxophone 1. Since each improvisation is original and unique, the music should retain a newness with each performance. A theory sheet is also provided for less experienced improvisers to enhance soloist creativity within the intended harmonic context.Scored for groups performing at the medium level (grade 2.5 - 3.0), the unique chord progression provides the soloist with myriad possibilities from which to construct improvisational melodies. Improvisation is a key element of jazz music. Thus, this improvised solo will also inherently impact the level and quality of the entire sound of each ensemble performance.Brass ranges are purposely kept very reasonable. Piano part includes through-composed material along with written chord voicings. Bass & Drum Set Guide share the same part in an effort to encourage the two players to interact rhythmically to enhance the jazz-rock groove feel of the piece. Rhythm section parts are annotated with chord symbols. Mockup available.ABOUT THE COMPOSERChristopher Burnett (b. 1955) is a critically acclaimed alto saxophonist, educator, leader, and composer who began his professional career with military jazz bands going pro directly upon graduating high school at 18 years old. Over the course of a forty plus year career, Mr. Burnett has performed professionally around the world, recorded noteworthy albums as a leader, taught at the college-level and co-founded a significant independent recording label, Artists Recording Collective. A writer-affiliate and composer since 1984, Mr. Burnett has over 60 registered works in his Broadcast Music, Inc. (BMI) catalog. He is also the 1995 Parade of American Music 5-Star Award of Merit Winner of the National Federation of Music Clubs as a Composer. Current publications include Major Tetrachords for Band – Mastering Scales – Part 1 (Sheet Music Plus/Hal Leonard), Harmonic Minor Scale and Jazz – Applying jazz theory to the ii-V-i progression in any minor key (Sheet Music Plus/Hal Leonard) and Villages, BMI Work #25869956 – Jazz Ensemble Score and Parts Bundle (Sheet Music Plus/Hal Leonard). See: BurnettPublishing.com
$3.99 ≈
3.72€
RACONTEUR (The Storyteller) - Trombone 1
RACONTEUR (The Storyteller) - Trombone 1
#
Trombone (partie séparée)
#
INTERMÉDIAIRE
#
Christopher Burnett
#
RACONTEUR
#
BurnettPublishing.COM
#
SheetMusicPlus
Jazz Ensemble Jazz Ensemble - Level 3 - SKU: A0.954011 Composed by Christopher Burnett. Jazz,Rock. Score and parts. 2 pages. BurnettPublishing.COM #3457...
(+)
Jazz Ensemble Jazz Ensemble - Level 3 - SKU: A0.954011 Composed by Christopher Burnett. Jazz,Rock. Score and parts. 2 pages. BurnettPublishing.COM #3457577. Published by BurnettPublishing.COM (A0.954011). RACONTEUR (The Storyteller)A unique jazz-rock ballad for concerts and contests. Includes a flute and tuba player. Suitable for programming by both student and professional ensembles.RACONTEUR (The Storyteller) is a modern jazz-rock ballad composition written and arranged for a modified large jazz ensemble instrumentation. Parts for C Flute and Tuba are scored to add those unique timbres to the ensemble sound.Rather than feature a single instrument, the melody is purposely distributed throughout the ensemble. However, the musical focal point of the piece is intended to be the featured improvisation solo space provided for Bb Tenor Saxophone 1. Since each improvisation is original and unique, the music should retain a newness with each performance. A theory sheet is also provided for less experienced improvisers to enhance soloist creativity within the intended harmonic context.Scored for groups performing at the medium level (grade 2.5 - 3.0), the unique chord progression provides the soloist with myriad possibilities from which to construct improvisational melodies. Improvisation is a key element of jazz music. Thus, this improvised solo will also inherently impact the level and quality of the entire sound of each ensemble performance.Brass ranges are purposely kept very reasonable. Piano part includes through-composed material along with written chord voicings. Bass & Drum Set Guide share the same part in an effort to encourage the two players to interact rhythmically to enhance the jazz-rock groove feel of the piece. Rhythm section parts are annotated with chord symbols. Mockup available.ABOUT THE COMPOSERChristopher Burnett (b. 1955) is a critically acclaimed alto saxophonist, educator, leader, and composer who began his professional career with military jazz bands going pro directly upon graduating high school at 18 years old. Over the course of a forty plus year career, Mr. Burnett has performed professionally around the world, recorded noteworthy albums as a leader, taught at the college-level and co-founded a significant independent recording label, Artists Recording Collective. A writer-affiliate and composer since 1984, Mr. Burnett has over 60 registered works in his Broadcast Music, Inc. (BMI) catalog. He is also the 1995 Parade of American Music 5-Star Award of Merit Winner of the National Federation of Music Clubs as a Composer. Current publications include Major Tetrachords for Band – Mastering Scales – Part 1 (Sheet Music Plus/Hal Leonard), Harmonic Minor Scale and Jazz – Applying jazz theory to the ii-V-i progression in any minor key (Sheet Music Plus/Hal Leonard) and Villages, BMI Work #25869956 – Jazz Ensemble Score and Parts Bundle (Sheet Music Plus/Hal Leonard). See: BurnettPublishing.com
$3.99 ≈
3.72€
RACONTEUR (The Storyteller) - Trombone 3
RACONTEUR (The Storyteller) - Trombone 3
#
Trombone (partie séparée)
#
INTERMÉDIAIRE
#
Christopher Burnett
#
RACONTEUR
#
BurnettPublishing.COM
#
SheetMusicPlus
Jazz Ensemble Jazz Ensemble - Level 3 - SKU: A0.954013 Composed by Christopher Burnett. Jazz,Rock. Score and parts. 2 pages. BurnettPublishing.COM #3457...
(+)
Jazz Ensemble Jazz Ensemble - Level 3 - SKU: A0.954013 Composed by Christopher Burnett. Jazz,Rock. Score and parts. 2 pages. BurnettPublishing.COM #3457581. Published by BurnettPublishing.COM (A0.954013). RACONTEUR (The Storyteller)A unique jazz-rock ballad for concerts and contests. Includes a flute and tuba player. Suitable for programming by both student and professional ensembles.RACONTEUR (The Storyteller) is a modern jazz-rock ballad composition written and arranged for a modified large jazz ensemble instrumentation. Parts for C Flute and Tuba are scored to add those unique timbres to the ensemble sound.Rather than feature a single instrument, the melody is purposely distributed throughout the ensemble. However, the musical focal point of the piece is intended to be the featured improvisation solo space provided for Bb Tenor Saxophone 1. Since each improvisation is original and unique, the music should retain a newness with each performance. A theory sheet is also provided for less experienced improvisers to enhance soloist creativity within the intended harmonic context.Scored for groups performing at the medium level (grade 2.5 - 3.0), the unique chord progression provides the soloist with myriad possibilities from which to construct improvisational melodies. Improvisation is a key element of jazz music. Thus, this improvised solo will also inherently impact the level and quality of the entire sound of each ensemble performance.Brass ranges are purposely kept very reasonable. Piano part includes through-composed material along with written chord voicings. Bass & Drum Set Guide share the same part in an effort to encourage the two players to interact rhythmically to enhance the jazz-rock groove feel of the piece. Rhythm section parts are annotated with chord symbols. Mockup available.ABOUT THE COMPOSERChristopher Burnett (b. 1955) is a critically acclaimed alto saxophonist, educator, leader, and composer who began his professional career with military jazz bands going pro directly upon graduating high school at 18 years old. Over the course of a forty plus year career, Mr. Burnett has performed professionally around the world, recorded noteworthy albums as a leader, taught at the college-level and co-founded a significant independent recording label, Artists Recording Collective. A writer-affiliate and composer since 1984, Mr. Burnett has over 60 registered works in his Broadcast Music, Inc. (BMI) catalog. He is also the 1995 Parade of American Music 5-Star Award of Merit Winner of the National Federation of Music Clubs as a Composer. Current publications include Major Tetrachords for Band – Mastering Scales – Part 1 (Sheet Music Plus/Hal Leonard), Harmonic Minor Scale and Jazz – Applying jazz theory to the ii-V-i progression in any minor key (Sheet Music Plus/Hal Leonard) and Villages, BMI Work #25869956 – Jazz Ensemble Score and Parts Bundle (Sheet Music Plus/Hal Leonard). See: BurnettPublishing.com
$3.99 ≈
3.72€
Trombone Scales (bass clef) Grade 5. For the new ABRSM Syllabus from 2023.
Trombone Scales (bass clef) Grade 5. For the new ABRSM Syllabus from 2023.
#
Trombone
#
INTERMÉDIAIRE
#
Classique
#
ABRSM
#
Tim Curd
#
Trombone Scales
#
Tim Curd
#
SheetMusicPlus
Tenor Trombone,Trombone Solo - Level 3 - SKU: A0.1227780 Composed by ABRSM. Arranged by Tim Curd. Classical. Individual part. 3 pages. Tim Curd #823743....
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Tenor Trombone,Trombone Solo - Level 3 - SKU: A0.1227780 Composed by ABRSM. Arranged by Tim Curd. Classical. Individual part. 3 pages. Tim Curd #823743. Published by Tim Curd (A0.1227780). Trombone Scales Grade 5 (Bass Clef). For the new ABRSM Syllabus from 2023.These are the scales for the new 2023 and onwards brass syllabus. Please note that you can't use the old scales with the new syllabus or vice versa.The examiner will request the scales to be performed tongued only. The candidate will only need to learn one type of minor scale: either harmonic or melodic.A Major Scale: a 12thA Major Arpeggio: a 12thC Major Scale: a 12thC Major Arpeggio: a 12thF Major Scale: a 12thF Major Arpeggio: a 12thG Major Scale: 2 OctavesG Major Arpeggio: 2 OctavesA Harmonic Minor Scale: a 12thA Melodic Minor Scale: a 12thA Minor Arpeggio: a 12thC Harmonic Minor Scale: a 12thC Melodic Minor Scale: a 12thC Minor Arpeggio: a 12thEb Harmonic Minor Scale: 1 Octave and down to the dominantEb Melodic Minor Scale: 1 Octave and down to the dominantEb Minor Arpeggio: 1 Octave and down to the dominantG Harmonic Minor Scale: 2 OctavesG Melodic Minor Scale: 2 OctavesG Minor Arpeggio: 2 OctavesF Chromatic: 2 OctavesWhole Tone in F, 2 OctavesDominant 7th in the key of Bb, 2 Octaves resolving on the tonicDominant 7th in the key of C, 2 Octaves resolving on the tonicDiminished 7th in F: 2 Octaves.
$1.99 ≈
1.86€
Trombone Scales (bass clef) Grade 2. For the new ABRSM Syllabus from 2023.
Trombone Scales (bass clef) Grade 2. For the new ABRSM Syllabus from 2023.
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Trombone
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DÉBUTANT
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Classique
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ABRSM
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Tim Curd
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Trombone Scales
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Tim Curd
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SheetMusicPlus
Tenor Trombone,Trombone Solo - Level 1 - SKU: A0.1227769 Composed by ABRSM. Arranged by Tim Curd. Classical. Individual part. 2 pages. Tim Curd #823733....
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Tenor Trombone,Trombone Solo - Level 1 - SKU: A0.1227769 Composed by ABRSM. Arranged by Tim Curd. Classical. Individual part. 2 pages. Tim Curd #823733. Published by Tim Curd (A0.1227769). Trombone Scales Grade 2 (Bass Clef). For the new ABRSM Syllabus from 2023.These are the scales for the new 2023 and onwards brass syllabus. These scales can also be used for: Trombone in C Bass ClefPlease note that you can't use the old scales with the new syllabus or vice versa.The examiner will request the scales to be performed tongued only. The candidate will only need to learn one type of minor scale; either natural, harmonic or melodic.Ab Major Scale: 1 OctaveAb Major Arpeggio: 1 OctaveC Major Scale: 1 OctaveC Major Arpeggio: 1 OctaveG Natural Minor Scale: 1 OctaveG Harmonic Minor Scale: 1 OctaveG Melodic Minor Scale: 1 OctaveG Minor Arpeggio: 1 OctaveC Natural Minor Scale: 1 OctaveC Harmonic Minor Scale: 1 OctaveC Melodic Minor Scale: 1 OctaveC Minor Arpeggio: 1 Octave.
$1.99 ≈
1.86€
Trombone Scales (bass clef) Grade 1. For the new ABRSM Syllabus from 2023.
Trombone Scales (bass clef) Grade 1. For the new ABRSM Syllabus from 2023.
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Trombone
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DÉBUTANT
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Classique
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ABRSM
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Tim Curd
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Trombone Scales
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Tim Curd
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SheetMusicPlus
Tenor Trombone,Trombone Solo - Level 1 - SKU: A0.1227752 Composed by ABRSM. Arranged by Tim Curd. Classical. Individual part. 1 pages. Tim Curd #823715....
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Tenor Trombone,Trombone Solo - Level 1 - SKU: A0.1227752 Composed by ABRSM. Arranged by Tim Curd. Classical. Individual part. 1 pages. Tim Curd #823715. Published by Tim Curd (A0.1227752). Trombone Scales Grade 1 (Bass Clef). For the new ABRSM Syllabus from 2023.These are the scales for the new 2023 and onwards brass syllabus. These scales can also be used for: Trombone in C Bass ClefPlease note that you can't use the old scales with the new syllabus or vice versa.The examiner will request the scales to be performed tongued only. The candidate will only need to learn one type of minor scale; either natural, harmonic or melodic.Bb Major Scale: 1 OctaveBb Major Arpeggio: 1 OctaveG Natural Minor Scale: 1 OctaveG Harmonic Minor Scale: 1 OctaveG Melodic Minor Scale: 1 OctaveG Minor Arpeggio: 1 Octave.
$1.99 ≈
1.86€
Trombone Scales (bass clef) Grade 3. For the new ABRSM Syllabus from 2023.
Trombone Scales (bass clef) Grade 3. For the new ABRSM Syllabus from 2023.
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Trombone
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FACILE
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Classique
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ABRSM
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Tim Curd
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either harmonic or melodic
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Trombone Scales
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Tim Curd
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SheetMusicPlus
Tenor Trombone,Trombone Solo - Level 2 - SKU: A0.1227772 Composed by ABRSM. Arranged by Tim Curd. Classical. Individual part. 2 pages. Tim Curd #823735....
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Tenor Trombone,Trombone Solo - Level 2 - SKU: A0.1227772 Composed by ABRSM. Arranged by Tim Curd. Classical. Individual part. 2 pages. Tim Curd #823735. Published by Tim Curd (A0.1227772). Trombone Scales Grade 3 (Bass Clef). For the new ABRSM Syllabus from 2023.These are the scales for the new 2023 and onwards brass syllabus. These scales can also be used for: Trombone in C Bass ClefPlease note that you can't use the old scales with the new syllabus or vice versa.The examiner will request the scales to be performed tongued only. The candidate will only need to learn one type of minor scale; either harmonic or melodic.Db Major Scale: 1 OctaveDb Major Arpeggio: 1 OctaveD Major Scale: 1 OctaveD Major Arpeggio: 1 OctaveBb Harmonic Minor Scale: 1 OctaveBb Melodic Minor Scale: 1 OctaveBb Minor Arpeggio: 1 OctaveD Harmonic Minor Scale: 1 OctaveD Melodic Minor Scale: 1 OctaveD Minor Arpeggio: 1 OctaveC Chromatic: 1 Octave.
$1.99 ≈
1.86€
66 Etudes in all Major and Minor Keys for Tuba or Bass Trombone
66 Etudes in all Major and Minor Keys for Tuba or Bass Trombone
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Tuba
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INTERMÉDIAIRE
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Anton Slama
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Ralph Sauer
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66 Etudes in all Major and Min
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Gordon Cherry
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SheetMusicPlus
Tuba Solo - Level 3 - SKU: A0.792613 Composed by Anton Slama. Arranged by Ralph Sauer. 20th Century,Instructional,Romantic Period. Individual part. 48 p...
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Tuba Solo - Level 3 - SKU: A0.792613 Composed by Anton Slama. Arranged by Ralph Sauer. 20th Century,Instructional,Romantic Period. Individual part. 48 pages. Gordon Cherry #5040935. Published by Gordon Cherry (A0.792613). The Slama 66 Etudes have been used for over 90 years as a tried and true method for learning all of the major and minor keys on bass clef instruments. It is an excellent book for honing the basics of technique and gaining knowledge of all the scales. This new improved edition has been carefully edited by Ralph Sauer, eliminating many misprints and articulation conflicts. In the transposing of Professor Slama’s music into the appropriate range for Tuba and Bass Trombone, Mr. Sauer has placed the etudes in a different order from the original Trombone method. However the book starts in C major and methodically proceeds through all of the keys in order to give the performer all of the tools necessary for a thorough technique on his or her instrument. We can recommend this method book for all students of intermediate level and above.
$17.50 ≈
16.33€
Concerto
Concerto
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Piano et Orchestre
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AVANCÉ
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Contemporain
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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)
$23.99 ≈
22.39€
Donut Etudes vol. 3: Don’t Step in the Holes! – Band
Donut Etudes vol. 3: Don’t Step in the Holes! – Band
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Orchestre d'harmonie
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INTERMÉDIAIRE
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Methodes
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Joshua Hauser
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Donut Etudes vol. 3: Don&rsquo
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Slide Ride
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SheetMusicPlus
Concert Band - Level 3 - SKU: A0.784346 Composed by Joshua Hauser. Instructional. Score and parts. 507 pages. Slide Ride #5288703. Published by Slide Ri...
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Concert Band - Level 3 - SKU: A0.784346 Composed by Joshua Hauser. Instructional. Score and parts. 507 pages. Slide Ride #5288703. Published by Slide Ride (A0.784346). 1 Octave Scale Studies in 15+ keys for 4-part ensembles of like or mixed instruments If this is your first exposure to these scale studies, you are in for a treat! Donuts, if you make a mistake!The initial incarnation of these studies were written for trombone quartet and we would play them in the Tennessee Tech Trombone Choir with the challenge that whomever made the first mistake had to buy donuts for the rest of the ensemble. Since then I have brought that version to several clinics and warm up sessions. One time before I got to explain the title, a fellow trombone professor said, Oh, I get it! Don’t step in the holes!I only wish I had thought of that myself... Since we have one of the best donut shops in TN here in Cookeville, treating the studio to sugar coated goodies was always my intent.As with those initial exercises, you can vary these as much as you’d like.· Choose a tempo.· Choose a dynamic.· Choose an articulation/style.One way I like to play these is to have one person be the model, playing the entire scale over and over while everyone else plays the fragmented versions. That helps everyone to keep on track and stay in time. Double or triple up the parts for ensemble cohesion with a larger group.Practice one key, gradually speeding it up to improve fluidity, or choose a variation and take it through all keys, playing version A, B, C, or D then skipping to play the same set in a new key.If you want an additional challenge, play them in different octaves or change the key. Play the F Major set in f minor (all forms), different modes, etc. Players really have to be on their toes to remember if they are playing melodic minor in the ascending or descending form! For jazz players, try swinging them in dorian or mixolydian modes.The variations are endless!If you are using these with transposing instruments, 1) is F Major in Concert Pitch, 2) is Bb Major in Concert pitch, and so on. When you reach a scale that is enharmonic for another key (Db/C#, Gb/F#, or Cb/B), they are presented in both keys for each instrument so Trumpets can play in Eb while the Flutes are playing in C# with similar examples for all keys.All Donut Etudes with the same volume number are compatible so you can play them in mixed quartets or large ensembles with one or more instruments/people on part 1 and a different instrument on part 2, etc. Since the quartets are all identical, conductors/coaches can use any of the scores to tell which part should be playing at what time. Once you have played a scale with one set of parts, everyone can rotate to a different part and play the same scales again!Enjoy!
$45.00 ≈
42.00€
C - Every Day Warm-Ups for Full Orchestra
C - Every Day Warm-Ups for Full Orchestra
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Orchestre d'harmonie
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INTERMÉDIAIRE
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Timothy Bandy
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Timothy Bandy
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C - Every Day Warm-Ups for Ful
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Timothy Bandy
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SheetMusicPlus
Concert Band - Level 3 - SKU: A0.944927 Composed by Timothy Bandy. Arranged by Timothy Bandy. Classical,Contemporary,Instructional. Score and parts. 44 ...
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Concert Band - Level 3 - SKU: A0.944927 Composed by Timothy Bandy. Arranged by Timothy Bandy. Classical,Contemporary,Instructional. Score and parts. 44 pages. Timothy Bandy #5209335. Published by Timothy Bandy (A0.944927). One of a set of twelve Warm-Ups, each focused on a single Key Center. These warm-ups will help your ensemble become comfortable with all 12 Keys. Each Key Center has a variety of scales and arpeggios built around that Key Center, so that players are learning to play in other keys diatonically and chromatically around the Key Center.15 Exercises Plus An Harmonic Progression 1/2 Step Long tones: Descending, Ascending 5 Note Major/Minor Scales: Descending, Ascending Whole tone scales: Ascending, Descending Blues Scale 5 Chromatic Scale Exercises 2 Diminished Scale Exercises 3 Note Arpeggios: Ascending-Major/Minor, Descending-Major/Minor Harmonic Progression Parts included in Conductor’s Score Flute, Oboe, Bb Clarinet Trumpet, F Horn, Trombone, Tuba Violin, Viola, Cello (Bassoon), Dbl Bass (Rhythm) Piano, Mallet Percussion Also Includes Parts for… Alto Sax, Tenor Sax (Bass Clarinet), Bari Sax
$10.00 ≈
9.33€
E - Every Day Warm-Ups for Full Orchestra
E - Every Day Warm-Ups for Full Orchestra
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Orchestre d'harmonie
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INTERMÉDIAIRE
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Timothy Bandy
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E - Every Day Warm-Ups for Ful
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Timothy Bandy
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SheetMusicPlus
Concert Band - Level 3 - SKU: A0.944929 Composed by Timothy Bandy. Contemporary,Instructional. Score and parts. 44 pages. Timothy Bandy #5209969. Publis...
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Concert Band - Level 3 - SKU: A0.944929 Composed by Timothy Bandy. Contemporary,Instructional. Score and parts. 44 pages. Timothy Bandy #5209969. Published by Timothy Bandy (A0.944929). One of a set of twelve Warm-Ups, each focused on a single Key Center. These warm-ups will help your ensemble become comfortable with all 12 Keys. Each Key Center has a variety of scales and arpeggios built around that Key Center, so that players are learning to play in other keys diatonically and chromatically around the Key Center. 15 Exercises Plus An Harmonic Progression 1/2 Step Long tones: Descending, Ascending 5 Note Major/Minor Scales: Descending, Ascending Whole tone scales: Ascending, Descending Blues Scale 5 Chromatic Scale Exercises 2 Diminished Scale Exercises 3 Note Arpeggios: Ascending-Major/Minor, Descending-Major/Minor Harmonic Progression Parts included in Conductor’s Score Flute, Oboe, Bb Clarinet Trumpet, F Horn, Trombone, Tuba Violin, Viola, Cello (Bassoon), Dbl Bass (Rhythm) Piano, Mallet Percussion Also Includes Parts for… Alto Sax, Tenor Sax (Bass Clarinet), Bari Sax
$10.00 ≈
9.33€
D - Every Day Warm-Ups for Full Orchestra
D - Every Day Warm-Ups for Full Orchestra
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Orchestre d'harmonie
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INTERMÉDIAIRE
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Timothy Bandy
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Timothy Bandy
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D - Every Day Warm-Ups for Ful
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Timothy Bandy
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SheetMusicPlus
Concert Band - Level 3 - SKU: A0.944926 Composed by Timothy Bandy. Arranged by Timothy Bandy. Contemporary,Instructional. Score and parts. 45 pages. Tim...
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Concert Band - Level 3 - SKU: A0.944926 Composed by Timothy Bandy. Arranged by Timothy Bandy. Contemporary,Instructional. Score and parts. 45 pages. Timothy Bandy #5209345. Published by Timothy Bandy (A0.944926). One of a set of twelve Warm-Ups, each focused on a single Key Center. These warm-ups will help your ensemble become comfortable with all 12 Keys. Each Key Center has a variety of scales and arpeggios built around that Key Center, so that players are learning to play in other keys diatonically and chromatically around the Key Center. 15 Exercises Plus An Harmonic Progression 1/2 Step Long tones: Descending, Ascending 5 Note Major/Minor Scales: Descending, Ascending Whole tone scales: Ascending, Descending Blues Scale 5 Chromatic Scale Exercises 2 Diminished Scale Exercises 3 Note Arpeggios: Ascending-Major/Minor, Descending-Major/Minor Harmonic Progression Parts included in Conductor’s Score Flute, Oboe, Bb Clarinet Trumpet, F Horn, Trombone, Tuba Violin, Viola, Cello (Bassoon), Dbl Bass (Rhythm) Piano, Mallet Percussion Also Includes Parts for… Alto Sax, Tenor Sax (Bass Clarinet), Bari Sax
$10.00 ≈
9.33€
F - Every Day Warm-Ups for Full Orchestra
F - Every Day Warm-Ups for Full Orchestra
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Orchestre d'harmonie
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Methodes
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Timothy Bandy
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F - Every Day Warm-Ups for Ful
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Timothy Bandy
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SheetMusicPlus
Concert Band - SKU: A0.944930 Composed by Timothy Bandy. Instructional. Score and parts. 44 pages. Timothy Bandy #5209971. Published by Timothy Bandy (A...
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Concert Band - SKU: A0.944930 Composed by Timothy Bandy. Instructional. Score and parts. 44 pages. Timothy Bandy #5209971. Published by Timothy Bandy (A0.944930). One of a set of twelve Warm-Ups, each focused on a single Key Center. These warm-ups will help your ensemble become comfortable with all 12 Keys. Each Key Center has a variety of scales and arpeggios built around that Key Center, so that players are learning to play in other keys diatonically and chromatically around the Key Center.15 Exercises Plus An Harmonic Progression 1/2 Step Long tones: Descending, Ascending 5 Note Major/Minor Scales: Descending, Ascending Whole tone scales: Ascending, Descending Blues Scale 5 Chromatic Scale Exercises 2 Diminished Scale Exercises 3 Note Arpeggios: Ascending-Major/Minor, Descending-Major/Minor Harmonic Progression Parts included in Conductor’s Score Flute, Oboe, Bb Clarinet Trumpet, F Horn, Trombone, Tuba Violin, Viola, Cello (Bassoon), Dbl Bass (Rhythm) Piano, Mallet Percussion Also Includes Parts for… Alto Sax, Tenor Sax (Bass Clarinet), Bari Sax
$10.00 ≈
9.33€
Db - Every Day Warm-Ups for Full Orchestra
Db - Every Day Warm-Ups for Full Orchestra
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Orchestre d'harmonie
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FACILE
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Timothy Bandy
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Timothy Bandy
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Db - Every Day Warm-Ups for Fu
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Timothy Bandy
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SheetMusicPlus
Concert Band - Level 2 - SKU: A0.944925 Composed by Timothy Bandy. Arranged by Timothy Bandy. Contemporary,Instructional. Score and parts. 44 pages. Tim...
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Concert Band - Level 2 - SKU: A0.944925 Composed by Timothy Bandy. Arranged by Timothy Bandy. Contemporary,Instructional. Score and parts. 44 pages. Timothy Bandy #5209343. Published by Timothy Bandy (A0.944925). One of a set of twelve Warm-Ups, each focused on a single Key Center. These warm-ups will help your ensemble become comfortable with all 12 Keys. Each Key Center has a variety of scales and arpeggios built around that Key Center, so that players are learning to play in other keys diatonically and chromatically around the Key Center.15 Exercises Plus An Harmonic Progression 1/2 Step Long tones: Descending, Ascending 5 Note Major/Minor Scales: Descending, Ascending Whole tone scales: Ascending, Descending Blues Scale 5 Chromatic Scale Exercises 2 Diminished Scale Exercises 3 Note Arpeggios: Ascending-Major/Minor, Descending-Major/Minor Harmonic Progression Parts included in Conductor’s Score Flute, Oboe, Bb Clarinet Trumpet, F Horn, Trombone, Tuba Violin, Viola, Cello (Bassoon), Dbl Bass (Rhythm) Piano, Mallet Percussion Also Includes Parts for… Alto Sax, Tenor Sax (Bass Clarinet), Bari Sax
$10.00 ≈
9.33€
60 Warm-Ups and Chorales for the Developing Band
60 Warm-Ups and Chorales for the Developing Band
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Orchestre d'harmonie
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INTERMÉDIAIRE
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Various
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Dr
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60 Warm-Ups and Chorales for t
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Sean J. Abel
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SheetMusicPlus
Trombone Solo - Level 3 - SKU: A0.1221503 Composed by Various. Arranged by Dr. Sean J. Abel. Instructional. Individual part. 13 pages. Sean J. Abel #817...
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Trombone Solo - Level 3 - SKU: A0.1221503 Composed by Various. Arranged by Dr. Sean J. Abel. Instructional. Individual part. 13 pages. Sean J. Abel #817805. Published by Sean J. Abel (A0.1221503). Trombone-Contains scales, arpeggios, chord excercises, and chorales in the following concert pitch keys: Major-Bb, Eb, F, Ab, Db, C, G and Minor-G, C, D, F, Bb, A.
$5.00 ≈
4.67€
Violin Finger Map in 1st position for All the keys
Violin Finger Map in 1st position for All the keys
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Violon
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DÉBUTANT
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Methodes
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Anli Huang
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Violin Finger Map in 1st posit
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DoReMi Edition
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SheetMusicPlus
Violin Solo - Level 1 - SKU: A0.948799 Composed by Anli Huang. Instructional. 9 pages. DoReMi Edition #5335337. Published by DoReMi Edition (A0.948799)....
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Violin Solo - Level 1 - SKU: A0.948799 Composed by Anli Huang. Instructional. 9 pages. DoReMi Edition #5335337. Published by DoReMi Edition (A0.948799). The Fingering Map for Major, Minor Harmonic, Minor Melodic Scales Ascending and Descending In 1st Position.
$5.99 ≈
5.59€
Rubank Advanced Method – Trombone or Baritone, Vol. 1
Rubank Advanced Method – Trombone or Baritone, Vol. 1
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Euphonium
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Rubank Advanced Method –
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Rubank Publications
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SheetMusicPlus
Baritone B.C.; Euphonium; Trombone (Trombone) SKU: HL.4470350 Edited by H. Voxman and William Gower. Concert Band Method. Rubank Advanced Method. Instruc...
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Baritone B.C.; Euphonium; Trombone (Trombone) SKU: HL.4470350 Edited by H. Voxman and William Gower. Concert Band Method. Rubank Advanced Method. Instruction. 76 pages. Rubank Publications #RUBL96. Published by Rubank Publications (HL.4470350). ISBN 9781423444305. UPC: 073999703504. 9.0x12.0x0.197 inches. Edited by Wm. Gower and H. Voxman.An outlined course of study designed to follow the elementary and intermediate levels of any instructional method, the Rubank Advanced Methods are considered to be one of the gold standards of advanced instrumental study. The specially designed units provide a a complete pedagogy: • Scales and Arpeggios All of the major and minor keys are covered in the complete two-book course • Melodic Interpretation Including 20+ contest level duets in each book • Solo Preparation Six contest level solos included • Articulation Studies Specialized for each instrument • Exercises in Fingering (woodwinds), Flexibility (brass) and Sticking (percussion) • Ornamentation All types are introduced Generations of musicians have been taught with Rubank methods – join the tradition!
$9.99 ≈
9.32€
Horn Scales Grade 3. For the new ABRSM Syllabus from 2023.
Horn Scales Grade 3. For the new ABRSM Syllabus from 2023.
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Cor
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FACILE
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Classique
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ABRSM
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Tim Curd
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Horn Scales Grade 3. For the n
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Tim Curd
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SheetMusicPlus
French Horn Solo - Level 2 - SKU: A0.1227732 Composed by ABRSM. Arranged by Tim Curd. Classical. Individual part. 2 pages. Tim Curd #823696. Published b...
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French Horn Solo - Level 2 - SKU: A0.1227732 Composed by ABRSM. Arranged by Tim Curd. Classical. Individual part. 2 pages. Tim Curd #823696. Published by Tim Curd (A0.1227732). Horn Scales Grade 3. For the new ABRSM Syllabus from 2023.These are the scales for the new 2023 and onwards brass syllabus. Please note that you can't use the old scales with the new syllabus or vice versa.The examiner will request the scales to be performed either tongued or slurred (only tongued for Trombone)The candidate will only need to learn one type of minor scale; either harmonic or melodic.Eb Major Scale: 1 OctaveEb Major Arpeggio: 1 OctaveG Major Scale: a 12thG Major Arpeggio: a 12thC Harmonic Minor Scale: 1 OctaveC Melodic Minor Scale: 1 OctaveC Minor Arpeggio Scale: 1 OctaveE Harmonic Minor: a 12thE Melodic Minor: a 12thE Minor Arpeggio: a 12thC Chromatic: 1 Octave.
$1.99 ≈
1.86€
From Sprout to Stout: Basic Scale Patterns for All Levels, for Trombone/Euphonium
From Sprout to Stout: Basic Scale Patterns for All Levels, for Trombone/Euphonium
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Methodes
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SeanBrownMusic
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From Sprout to Stout: Basic Sc
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SeanBrownMusic
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SheetMusicPlus
Instrumental Duet Euphonium,Instrumental Duet,Trombone - SKU: A0.878328 Composed by SeanBrownMusic. Instructional. Score and parts. 68 pages. SeanBrownM...
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Instrumental Duet Euphonium,Instrumental Duet,Trombone - SKU: A0.878328 Composed by SeanBrownMusic. Instructional. Score and parts. 68 pages. SeanBrownMusic #3903795. Published by SeanBrownMusic (A0.878328). The From Sprout to Stout series is applicable to all levels of musicians, teaching beginners from the start, as well as challenging the professionals, and everywhere in between. This is a comprehensive book, consisting of 65 pages of scales & patterns of all different kinds, consisting mainly of Major Scales and the 3 forms of Minor Scales. Also included are basic introductions to Church Modes, as well as Blues Scales, Pentatonic Scales, and Chromatic Scales. This is a valuable resource for the brass lesson teacher that teaches many different age levels and their students, as well as the amateur and professional looking to improve and reinforce their scale knowledge.
$10.00 ≈
9.33€
Donut Etudes vol. 3: Don’t Step in the Holes! – Trombone, Euphonium, or Baritone Quartet
Donut Etudes vol. 3: Don’t Step in the Holes! – Trombone, Euphonium, or Baritone Quartet
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Methodes
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Joshua Hauser
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Donut Etudes vol. 3: Don&rsquo
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Slide Ride
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SheetMusicPlus
Small Ensemble Trombone/Baritone B.C. - Level 3 - SKU: A0.784336 Composed by Joshua Hauser. Instructional. Score and parts. 38 pages. Slide Ride #528866...
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Small Ensemble Trombone/Baritone B.C. - Level 3 - SKU: A0.784336 Composed by Joshua Hauser. Instructional. Score and parts. 38 pages. Slide Ride #5288665. Published by Slide Ride (A0.784336). 1 Octave Scale Studies in 15+ keys for 4-part ensembles of like or mixed instruments If this is your first exposure to these scale studies, you are in for a treat! Donuts, if you make a mistake!The initial incarnation of these studies were written for trombone quartet and we would play them in the Tennessee Tech Trombone Choir with the challenge that whomever made the first mistake had to buy donuts for the rest of the ensemble. Since then I have brought that version to several clinics and warm up sessions. One time before I got to explain the title, a fellow trombone professor said, Oh, I get it! Don’t step in the holes!I only wish I had thought of that myself... Since we have one of the best donut shops in TN here in Cookeville, treating the studio to sugar coated goodies was always my intent.As with those initial exercises, you can vary these as much as you’d like.· Choose a tempo.· Choose a dynamic.· Choose an articulation/style.One way I like to play these is to have one person be the model, playing the entire scale over and over while everyone else plays the fragmented versions. That helps everyone to keep on track and stay in time. Double or triple up the parts for ensemble cohesion with a larger group.Practice one key, gradually speeding it up to improve fluidity, or choose a variation and take it through all keys, playing version A, B, C, or D then skipping to play the same set in a new key.If you want an additional challenge, play them in different octaves or change the key. Play the F Major set in f minor (all forms), different modes, etc. Players really have to be on their toes to remember if they are playing melodic minor in the ascending or descending form! For jazz players, try swinging them in dorian or mixolydian modes.The variations are endless!If you are using these with transposing instruments, 1) is F Major in Concert Pitch, 2) is Bb Major in Concert pitch, and so on. When you reach a scale that is enharmonic for another key (Db/C#, Gb/F#, or Cb/B), they are presented in both keys for each instrument so Trumpets can play in Eb while the Flutes are playing in C# with similar examples for all keys.All Donut Etudes with the same volume number are compatible so you can play them in mixed quartets or large ensembles with one or more instruments/people on part 1 and a different instrument on part 2, etc. Since the quartets are all identical, conductors/coaches can use any of the scores to tell which part should be playing at what time. Once you have played a scale with one set of parts, everyone can rotate to a different part and play the same scales again!Enjoy!
$5.00 ≈
4.67€
Eb - Every Day Warm-Ups for Full Orchestra
Eb - Every Day Warm-Ups for Full Orchestra
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Timothy Bandy
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Eb - Every Day Warm-Ups for Fu
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Timothy Bandy
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SheetMusicPlus
Concert Band - Level 3 - SKU: A0.944928 Composed by Timothy Bandy. Contemporary,Instructional. Score and parts. 44 pages. Timothy Bandy #5209963. Publis...
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Concert Band - Level 3 - SKU: A0.944928 Composed by Timothy Bandy. Contemporary,Instructional. Score and parts. 44 pages. Timothy Bandy #5209963. Published by Timothy Bandy (A0.944928). One of a set of twelve Warm-Ups, each focused on a single Key Center. These warm-ups will help your ensemble become comfortable with all 12 Keys. Each Key Center has a variety of scales and arpeggios built around that Key Center, so that players are learning to play in other keys diatonically and chromatically around the Key Center. 15 Exercises Plus An Harmonic Progression 1/2 Step Long tones: Descending, Ascending 5 Note Major/Minor Scales: Descending, Ascending Whole tone scales: Ascending, Descending Blues Scale 5 Chromatic Scale Exercises 2 Diminished Scale Exercises 3 Note Arpeggios: Ascending-Major/Minor, Descending-Major/Minor Harmonic Progression Parts included in Conductor’s Score Flute, Oboe, Bb Clarinet Trumpet, F Horn, Trombone, Tuba Violin, Viola, Cello (Bassoon), Dbl Bass (Rhythm) Piano, Mallet Percussion Also Includes Parts for… Alto Sax, Tenor Sax (Bass Clarinet), Bari Sax
$10.00 ≈
9.33€
G - Every Day Warm-Ups for Full Orchestra
G - Every Day Warm-Ups for Full Orchestra
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Orchestre
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Timothy Bandy
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G - Every Day Warm-Ups for Ful
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Timothy Bandy
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SheetMusicPlus
Full Orchestra - SKU: A0.944932 Composed by Timothy Bandy. Contemporary,Instructional. Score and parts. 44 pages. Timothy Bandy #5209975. Published by T...
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Full Orchestra - SKU: A0.944932 Composed by Timothy Bandy. Contemporary,Instructional. Score and parts. 44 pages. Timothy Bandy #5209975. Published by Timothy Bandy (A0.944932). One of a set of twelve Warm-Ups, each focused on a single Key Center. These warm-ups will help your ensemble become comfortable with all 12 Keys. Each Key Center has a variety of scales and arpeggios built around that Key Center, so that players are learning to play in other keys diatonically and chromatically around the Key Center. 15 Exercises Plus An Harmonic Progression 1/2 Step Long tones: Descending, Ascending 5 Note Major/Minor Scales: Descending, Ascending Whole tone scales: Ascending, Descending Blues Scale 5 Chromatic Scale Exercises 2 Diminished Scale Exercises 3 Note Arpeggios: Ascending-Major/Minor, Descending-Major/Minor Harmonic Progression Parts included in Conductor’s Score Flute, Oboe, Bb Clarinet Trumpet, F Horn, Trombone, Tuba Violin, Viola, Cello (Bassoon), Dbl Bass (Rhythm) Piano, Mallet Percussion Also Includes Parts for… Alto Sax, Tenor Sax (Bass Clarinet), Bari Sax
$10.00 ≈
9.33€
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Major and Minor Scales for trombone
