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Vous avez sélectionné:
Whistle Down The Wind String Bass
Partitions à imprimer
12 partitions trouvées
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1
Whistle Down The Wind - String Bass
Whistle Down The Wind - String Bass
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Contre Basse
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Comédie Musicale
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Jim Steinman and Andrew Lloyd
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John Leavitt
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Musical/Show
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Whistle Down The Wind - String
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Hal Leonard - Digital Sheet Music
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SheetMusicPlus
By Jim Steinman and Andrew Lloyd Webber. Arranged by John Leavitt. Orchestra. For String Bass. Broadway; Musical/Show. Individual instrument part. 1 pages. Dura...
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By Jim Steinman and Andrew Lloyd Webber. Arranged by John Leavitt. Orchestra. For String Bass. Broadway; Musical/Show. Individual instrument part. 1 pages. Duration 3:30. Published by Hal Leonard - Digital Sheet Music
$7.00 ≈
6.53€
Railway Song (Auf de schwäb'sche Eisebahne) for string quartet
Railway Song (Auf de schwäb'sche Eisebahne) for string quartet
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Quatuor à cordes: 2 violons, alto, violoncelle
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INTERMÉDIAIRE/AVANCÉ
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Traditional
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David Warin Solomons
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Railway Song
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David Warin Solomons
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SheetMusicPlus
String Quartet String Quartet - Level 4 - SKU: A0.575774 Composed by Traditional. Arranged by David Warin Solomons. Contemporary,Folk,World. Score and p...
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String Quartet String Quartet - Level 4 - SKU: A0.575774 Composed by Traditional. Arranged by David Warin Solomons. Contemporary,Folk,World. Score and parts. 21 pages. David Warin Solomons #2028009. Published by David Warin Solomons (A0.575774). This arrangement of Railway Song is one of a series of jolly and descriptive quartets (and a septet) all based on the Swabian folksong Auf de schwäb'sche Eisebahne (= on the Swabian railway) from the Tübinger Kommersbuch 1853 The music in this arrangement also mimics the speeding up and slowing down of the train and its whistles. Versions available on this site are: Flute quartet (piccolo, flute, alto flute, bass flute) Flute quartet (2 flutes, alto flute, bass flute) Flute quartet (piccolo, 2 flutes, alto flute) Clarinet quartet (3 B-flat clarinets and 1 Bass clarinet) String quartet (2 violins, viola and cello) Saxophone quartet (soprano, alto, tenor and baritone saxophones) Wind quartet (flute, oboe, clarinet, bassoon) Septet (flute (or oboe), oboe, clarinet, bassoon, viola, cello, piano).
$12.00 ≈
11.20€
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 ≈
22.38€
Railway Song (Auf de schwäb'sche Eisebahne) for 2 flutes, alto flute, bass flute
Railway Song (Auf de schwäb'sche Eisebahne) for 2 flutes, alto flute, bass flute
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2 Flûtes traversières (duo)
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INTERMÉDIAIRE/AVANCÉ
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Traditional
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David Warin Solomons
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Railway Song
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David Warin Solomons
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SheetMusicPlus
Woodwind Ensemble Flute - Level 4 - SKU: A0.575771 Composed by Traditional. Arranged by David Warin Solomons. Contemporary,Folk,World. 21 pages. David W...
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Woodwind Ensemble Flute - Level 4 - SKU: A0.575771 Composed by Traditional. Arranged by David Warin Solomons. Contemporary,Folk,World. 21 pages. David Warin Solomons #2028011. Published by David Warin Solomons (A0.575771). This arrangement of Railway Song is one of a series of jolly and descriptive quartets (and a septet) all based on the Swabian folksong Auf de schwäb'sche Eisebahne (= on the Swabian railway) from the Tübinger Kommersbuch 1853 The music in this arrangement also mimics the speeding up and slowing down of the train and its whistles. The sound sample is performed by Nancy Tyler Versions available on this site are: Flute quartet (piccolo, flute, alto flute, bass flute) Flute quartet (2 flutes, alto flute, bass flute) Flute quartet (piccolo, 2 flutes, alto flute) Clarinet quartet (3 B-flat clarinets and 1 Bass clarinet) String quartet (2 violins, viola and cello) Saxophone quartet (soprano, alto, tenor and baritone saxophones) Wind quartet (flute, oboe, clarinet, bassoon) Septet (flute (or oboe), oboe, clarinet, bassoon, viola, cello, piano).
$12.00 ≈
11.20€
Railway Song (Auf de schwäb'sche Eisebahne) flute, oboe, clarinet, bassoon, viola, cello, piano
Railway Song (Auf de schwäb'sche Eisebahne) flute, oboe, clarinet, bassoon, viola, cello, piano
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Alto, Piano
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INTERMÉDIAIRE/AVANCÉ
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Traditional
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David Warin Solomons
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Railway Song
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David Warin Solomons
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SheetMusicPlus
Large Ensemble Bassoon,Cello,Clarinet,Flute,Oboe,Piano,Viola - Level 4 - SKU: A0.575776 Composed by Traditional. Arranged by David Warin Solomons. Conte...
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Large Ensemble Bassoon,Cello,Clarinet,Flute,Oboe,Piano,Viola - Level 4 - SKU: A0.575776 Composed by Traditional. Arranged by David Warin Solomons. Contemporary,Folk,Multicultural,World. Score and parts. 31 pages. David Warin Solomons #2028015. Published by David Warin Solomons (A0.575776). This arrangement of Railway Song is one of a series of jolly and descriptive quartets (and a septet) all based on the Swabian folksong Auf de schwäb'sche Eisebahne (= on the Swabian railway) from the Tübinger Kommersbuch 1853 The music in this arrangement also mimics the speeding up and slowing down of the train and its whistles. Versions available on this site are: Flute quartet (piccolo, flute, alto flute, bass flute) Flute quartet (2 flutes, alto flute, bass flute) Flute quartet (piccolo, 2 flutes, alto flute) Clarinet quartet (3 B-flat clarinets and 1 Bass clarinet) String quartet (2 violins, viola and cello) Saxophone quartet (soprano, alto, tenor and baritone saxophones) Wind quartet (flute, oboe, clarinet, bassoon) Septet (flute (or oboe), oboe, clarinet, bassoon, viola, cello, piano).
$12.00 ≈
11.20€
From Darkness To Light
From Darkness To Light
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Ensemble de Clarinettes
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INTERMÉDIAIRE
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Simon Franglen
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Lisa Ochoco
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From Darkness To Light
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Lisa L Ochoco
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SheetMusicPlus
Clarinet Choir,Woodwind Ensemble Bass Clarinet,E-Flat Clarinet - Level 3 - SKU: A0.1169298 Composed by Simon Franglen. Arranged by Lisa Ochoco. Contempo...
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Clarinet Choir,Woodwind Ensemble Bass Clarinet,E-Flat Clarinet - Level 3 - SKU: A0.1169298 Composed by Simon Franglen. Arranged by Lisa Ochoco. Contemporary,Film/TV. 18 pages. Lisa L Ochoco #769652. Published by Lisa L Ochoco (A0.1169298). Avatar: The Way of Water, is the long-awaited sequel to the award-winning film from 2009. The soundtrack for the new film was written by Simon Franglen, who originally wrote 5 hours of music to cover any and all situations in the almost 3-hour movie. From Darkness to Light is a beautiful instrumental piece in the movie that shows off the beauty of the water. On paper, the music seems a little too simple, but the chord progressions together with the moving parts make for quite a beautiful and memorable piece. This arrangement is scored for clarinet choir - Eb, 4 Bb, alto, bass and contrabass. One of the most important parts of this piece is what helps create the mood, which is where the part called “Shimmer” comes in. In an interview, Simon Franglen said that an important part of the music is the feeling of light, and he achieved that by including shimmering sounds into his tunes. With that in mind, this is how the “Shimmer” part can be played: Hang a few keys (house keys, car keys, etc.) that have different pitches on short lengths of string. Use a small metal or wooden object to lightly hit the keys to create little “dings”. Be creative with this percussive part! You can use whistle tones, a little xylophone, wind chimes, etc. The idea is to create a magical mood without overpowering the music. Play this part wherever there is a note in the measure. Duration: 3.75 minutes.
$16.00 ≈
14.93€
Marches
Marches
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Orchestre
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AVANCÉ
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Phillip S
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Marches
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Phillip Steven Ledesma
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SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.1009811 Composed by Phillip S. Ledesma. 20th Century,Romantic Period. Score and parts. 11 pages. Phillip Steven Ledes...
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Full Orchestra - Level 5 - SKU: A0.1009811 Composed by Phillip S. Ledesma. 20th Century,Romantic Period. Score and parts. 11 pages. Phillip Steven Ledesma #1919003. Published by Phillip Steven Ledesma (A0.1009811). Full Orchestral Score. Marches is the 2nd movement to the 1st symphony. In contrast to the more sublime Ruhevoll (and the 4th movement Molto Adagio) Marches utilizes many aspects of the march in various settings, from large brass and woodwind circus venues to trios of soloists, while also encompassing the somber funeral procession. Marches opens the brass and low strings in a dogfight; the brass fire short staccato blasts as 'cellos and basses answer with long lyrical lines setting the pace until the cat and mouse game ends with the low strings driving their way to the trio. When the three soloists finish their introductory theme they are answered by the full orchestra taking the theme and surrounding it with all the boisterous bells and whistles of a circus march! But the reality is that marches are - at their core - war music, and the waste that war causes has to be addressed in the funeral march. These themes are all cycled through once again, with a coda that cleverly ties things up.
$9.99 ≈
9.32€
How To Train Your Dragon for Clarinet Quartet
How To Train Your Dragon for Clarinet Quartet
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Quatuor de Clarinettes: 4 clarinettes
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INTERMÉDIAIRE
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Film/TV
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John Powell
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Diego Marani
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How To Train Your Dragon for C
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Diego Marani
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SheetMusicPlus
Clarinet, Woodwind Quartet - Intermediate - Digital Download By John Powell. Arranged by Diego Marani. Score, Set of Parts. 20 pages. Published by Diego Ma...
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Clarinet, Woodwind Quartet - Intermediate - Digital Download By John Powell. Arranged by Diego Marani. Score, Set of Parts. 20 pages. Published by Diego Marani
How to Train Your Dragon is a 2010 American computer-animated action fantasy film produced by DreamWorks Animation and distributed by Paramount Pictures. John Powell composed an orchestral score, combining bombastic brass with loud percussion and soothing strings, while also using exotic Scottish and Irish tones with instruments like the penny whistle and bagpipes.
This arrangement for clarinet quartet includes the following parts: Bb Clarinet 1 or Eb Clarinet, Bb Clarinet 2, Bb Clarinet 3 or Eb Alto Clarinet, Bb Bass Clarinet.
It is suitable for classroom, repertoire and recital.
$19.99 ≈
18.65€
Divertimento For Flute Choir
Divertimento For Flute Choir
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Ensemble de Flûtes
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AVANCÉ
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Tooti Flooti
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Divertimento For Flute Choir
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Geraldine
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SheetMusicPlus
Flute Choir,Woodwind Ensemble Alto Flute,Bass Flute,Piccolo - Level 5 - SKU: A0.1314344 By Tooti Flooti. By Geraldine (Denny) Green. 21st Century,Chambe...
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Flute Choir,Woodwind Ensemble Alto Flute,Bass Flute,Piccolo - Level 5 - SKU: A0.1314344 By Tooti Flooti. By Geraldine (Denny) Green. 21st Century,Chamber,Contemporary. 117 pages. Geraldine (Denny) Green at Oakmountmusic #903088. Published by Geraldine (Denny) Green at Oakmountmusic (A0.1314344). ALL PURCHASES COME WITH SCORE AND PARTSThe Divertimento for Flute Choir was requested by flautist David Greenalgh for the Flute choir Tooti Flooti and was written in June and July 2016. It has 3 short movements and a total duration of about 15 minutes.The outer movements are speedy, light hearted and sunny natured, while the middle movement is slower and rather haunting. The 3rd movement is the only one with a title, “The June Prune Tune”, and there is a funny story behind the name. Many summers ago, my husband, Bob, and I were playing guitar and penny whistle together at home and I just happened to be snacking on dried prunes at the time. Bob joked that I should write a tune called the Prune Tune. I went a step further and said, June prune Tune, but it had to be written in June and I had to be eating prunes while actually writing it. Well, for the two Junes of 2014 and 2015 I tried to do it but no tune came. Nothing. Silence! Then, on the 1st June 2016 I was dashing home from work and I dived into a small corner shop for a sandwich and happened to spot a pack of dried prunes along with other dried fruits. So, in the local park, I stopped to have my butty and prunes while watching the birds and as I was eating the prunes a tune suddenly was there in my mind and I was subconsciously humming it. Like a thunderbolt it hit me! This was it! The June Prune Tune had arrived. Luckily I nearly always have paper on me so at once I scribbled it down, while munching very deliberately on the only two prunes left in the pack! Music doesn’t always have to be filled with sorrow and sadness and turmoil, even though much of mine is. But sometimes it’s just great to let the humour and flippancy flow,too, and simply enjoy having a good joke and a laugh. The Instrumentation is:Flute 1 – doubling Piccolo, Flute 2 – doubling piccolo, Flute 3 – doubling piccolo, Flute 4, Alto flute, Bass flute and string Double Bass.As the work was written for a specific group of players, the parts are single and do not divide within themselves. This, however, should not prevent it also working well with more than one player per part.The double bass part sometimes doubles the bass flute line, but also is an independent part in its own right.
$50.00 ≈
46.65€
From Darkness To Light
From Darkness To Light
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Ensemble de Flûtes
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AVANCÉ
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Simon Franglen
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Lisa Ochoco
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From Darkness To Light
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Lisa L Ochoco
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SheetMusicPlus
Flute Choir,Woodwind Ensemble Alto Flute,Bass Flute,Piccolo - Level 5 - SKU: A0.1165816 Composed by Simon Franglen. Arranged by Lisa Ochoco. Contemporar...
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Flute Choir,Woodwind Ensemble Alto Flute,Bass Flute,Piccolo - Level 5 - SKU: A0.1165816 Composed by Simon Franglen. Arranged by Lisa Ochoco. Contemporary,Film/TV. 19 pages. Lisa L Ochoco #766187. Published by Lisa L Ochoco (A0.1165816). Avatar: The Way of Water, is the long-awaited sequel to the award-winning film from 2009. The soundtrack for the new film was written by Simon Franglen, who originally wrote 5 hours of music to cover any and all situations in the almost 3-hour movie. From Darkness to Light is a beautiful instrumental piece in the movie that shows off the beauty of the water. On paper, the music seems a little too simple, but the chord progressions together with the moving parts make for quite a beautiful and memorable piece. This arrangement is scored for flute choir – piccolo with 4 C, alto, bass, and contrabass flutes. There is an optional cello part that doubles the contrabass that can be played by any bass clef C instrument in a similar range. One of the most important parts of this piece is what helps create the mood, which is where the part called “Shimmer” comes in. In an interview, Simon Franglen said that an important part of the music is the feeling of light, and he achieved that by including shimmering sounds into his tunes. With that in mind, this is how the “Shimmer” part can be played: Hang a few keys (house keys, car keys, etc.) that have different pitches on short lengths of string. Use a small metal or wooden object to lightly hit the keys to create little “dings”. Be creative with this percussive part! You can use whistle tones, a little xylophone, wind chimes, etc. The idea is to create a magical mood without overpowering the music. Play this part wherever there is a note in the measure. Duration: 3.75 minutes.
$16.00 ≈
14.93€
Railway Song (Auf de schwäb'sche Eisebahne) for clarinet quartet
Railway Song (Auf de schwäb'sche Eisebahne) for clarinet quartet
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Quatuor de Clarinettes: 4 clarinettes
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INTERMÉDIAIRE/AVANCÉ
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Budapest Scoring Clarinet Ense
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David Warin Solomons
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Railway Song
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David Warin Solomons
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SheetMusicPlus
Woodwind Ensemble,Woodwind Quartet Clarinet - Level 4 - SKU: A0.575772 By Budapest Scoring Clarinet Ensemble. By Traditional. Arranged by David Warin So...
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Woodwind Ensemble,Woodwind Quartet Clarinet - Level 4 - SKU: A0.575772 By Budapest Scoring Clarinet Ensemble. By Traditional. Arranged by David Warin Solomons. Contemporary,Folk,Multicultural,World. 21 pages. David Warin Solomons #2028003. Published by David Warin Solomons (A0.575772). This arrangement of Railway Song is one of a series of jolly and descriptive quartets (and a septet) all based on the Swabian folksong Auf de schwäb'sche Eisebahne (= on the Swabian railway) from the Tübinger Kommersbuch 1853 The music in this arrangement also mimics the speeding up and slowing down of the train and its whistles. Versions available on this site are: Flute quartet (piccolo, flute, alto flute, bass flute) Flute quartet (2 flutes, alto flute, bass flute) Flute quartet (piccolo, 2 flutes, alto flute) Clarinet quartet (3 B-flat clarinets and 1 Bass clarinet) String quartet (2 violins, viola and cello) Saxophone quartet (soprano, alto, tenor and baritone saxophones) Wind quartet (flute, oboe, clarinet, bassoon) Septet (flute (or oboe), oboe, clarinet, bassoon, viola, cello, piano).
$12.00 ≈
11.20€
Railway Song (Auf de schwäb'sche Eisebahne) for saxophone quartet
Railway Song (Auf de schwäb'sche Eisebahne) for saxophone quartet
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Quatuor de Saxophones: 4 saxophones
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INTERMÉDIAIRE/AVANCÉ
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Traditional
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David Warin Solomons
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Railway Song
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David Warin Solomons
#
SheetMusicPlus
Woodwind Ensemble,Woodwind Quartet - Level 4 - SKU: A0.575773 Composed by Traditional. Arranged by David Warin Solomons. Contemporary,Folk,World. 21 pag...
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Woodwind Ensemble,Woodwind Quartet - Level 4 - SKU: A0.575773 Composed by Traditional. Arranged by David Warin Solomons. Contemporary,Folk,World. 21 pages. David Warin Solomons #2028001. Published by David Warin Solomons (A0.575773). This arrangement of Railway Song is one of a series of jolly and descriptive quartets (and a septet) all based on the Swabian folksong Auf de schwäb'sche Eisebahne (= on the Swabian railway) from the Tübinger Kommersbuch 1853 The music in this arrangement also mimics the speeding up and slowing down of the train and its whistles. Versions available on this site are: Flute quartet (piccolo, flute, alto flute, bass flute) Flute quartet (2 flutes, alto flute, bass flute) Flute quartet (piccolo, 2 flutes, alto flute) Clarinet quartet (3 B-flat clarinets and 1 Bass clarinet) String quartet (2 violins, viola and cello) Saxophone quartet (soprano, alto, tenor and baritone saxophones) Wind quartet (flute, oboe, clarinet, bassoon) Septet (flute (or oboe), oboe, clarinet, bassoon, viola, cello, piano).
$12.00 ≈
11.20€
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Whistle Down The Wind String Bass
