Format : Score
SKU: CF.YAS132
ISBN 9780825894688. UPC: 798408094683. 9 x 12 inches. Key: G minor.
What would happen if Bach had lived in the time of rock and roll? This piece might have been the result! There is plenty of musical depth to this piece and yet it is in both a baroque and rock style at the same time. There is even an opportunity for some improvisation.This hard driving rock piece embraces sounds from the Baroque era offering a fusion that might be defined as Bach Rock. The piece begins with a mini-cadenza lament for solo violin. The soloist may embellish the written part with mordents, trills, or other ornaments. In m. 9, the drums kick in with a hard-rock groove. Exaggerate the dynamic markings throughout to ensure that moving parts will be heard.
About Carl Fischer Young String Orchestra Series
This series of Grade 2/Grade 2.5 pieces is designed for second and third year ensembles. The pieces in this series are characterized by:--Occasionally extending to third position--Keys carefully considered for appropriate difficulty--Addition of separate 2nd violin and viola parts--Viola T.C. part included--Increase in independence of parts over beginning levels
SKU: CF.YAS132F
ISBN 9780825895036. UPC: 798408095031. 9 x 12 inches.
SKU: FJ.ST6466
UPC: 241444397558. English.
This exceptional arrangement may well be the first of its kind to capture the spirit of the Baroque period using just six notes! Beginning and ending with Handel's Hallelujah Chorus, this work also presents Vivaldi's Spring, Clarke's Prince of Denmark's March, and J.S. Bach's Musette. A rare, unsurpassed find in bringing music history to life. Simply outstanding!
About FJH Beginning Strings
Appropriate for first year string students. All instruments stay in first position, and optional third violin (viola) parts and piano are included to aid in rehearsal and performance situations. Grade 1 - 1.5
SKU: FJ.ST6466S
English.
SKU: FJ.B1731S
This exceptional arrangement may well be the first of its kind to capture the spirit of the Baroque period using just six notes! Beginning and ending with Handel's Hallelujah Chorus, this work also presents Vivaldi's Spring, Clarke's Prince of Denmark's March, and J.S. Bach's Musette. A rare, unsurpassed find in bringing music history to life!
About FJH Starter Series
Introduction to Beginning Band - Ideal for the first several months of instruction. These pieces are a comfortable length for students (about a half page of music) and are playable with as few as five instruments. All instruments are limited to a 6-note diatonic range. Several supplemental exercises are included to help teach different elements of each piece. Grade .5
SKU: FJ.B1731
UPC: 241444386422. English.
SKU: HL.49043977
ISBN 9783795754952. German. Bernhard Mark; Karin Schliehe.
These dance melodies for two treble recorders create an insight into life in the Renaissance and Baroque eras and take us on a musical journey to times long past. Very popular and quite common in their day, the allemandes, sarabands, chaconnes, gavottes, and gigues have remained popular throughout the centuries. Staying true to the historical style, the pieces have been arranged according to dance types and not to the level of difficulty.
SKU: HL.49019380
ISBN 9783795744960. UPC: 841886018808. 9.0x12.0x0.285 inches. German.
This volume contains original compositions from the Renaissance, Baroque and modern eras. It is aimed at recorder players who possess profound basic knowledge. As material to be used in lessons, the pieces train the player's sense of style and the interpretation of music from different epochs. In addition, they deal with all aspects of duet playing, such as confidence in leading one's own part, performance for a balanced sound, intonation and improvement of the player's physical condition. These original pieces are also perfect for concerts, auditions, and competitions.
SKU: FV.FUE-15106
ISBN 9790501829064.
Today we encounter the cantata newly published here with wonder and joy! Luise Gottsched (née Kulmus, 1713-1762) is known mainly for her comedies, satires, translations and reviews.
SKU: CF.CAS114F
ISBN 9781491151709. UPC: 680160909209. 9 x 12 inches.
Canarios is a movement taken from the Suite Espanola for guitar by Gaspar Sanz, a leading composer of Spanish Baroque music.? Deborah Baker Monday presents this delightful arrangement in D major which engages all sections of the ensemble in the interplay between 6/8 and 3/4.? The rich and resonant texture makes this piece a great concert or festival selection.
Gaspar Sanz lived from ca.16401710. He was a leading composer of music from the Baroque period in Spain, but it is his guitar music which has given him the most attention. He wrote three collections of pieces as an Instruction for guitar and they include about 90 pieces which are part of the guitar repertory.
The Suite Espanola has become popular as a performance piece in the modern guitar world. It contains numerous movements of which Canarios is one of the most popular. Many guitar concerts include a selection of these wonderful dance movements:
1 Espanoletas
Gaspar Sanz lived from ca.1640a1710. He was a leading composer of music from the Baroque period in Spain, but it is his guitar music which has given him the most attention. He wrote three collections of pieces as an Instruction for guitar and they include about 90 pieces which are part of the guitar repertory.
A A 1 EspaA+-oletas
Gaspar Sanz lived from ca.1640-1710. He was a leading composer of music from the Baroque period in Spain, but it is his guitar music which has given him the most attention. He wrote three collections of pieces as an Instruction for guitar and they include about 90 pieces which are part of the guitar repertory.
About Carl Fischer Concert String Orchestra Series
This series of pieces (Grade 3 and higher) is designed for advancing ensembles. The pieces in this series are characterized by:
SKU: CF.CAS114
ISBN 9781491151334. UPC: 680160908837. 9 x 12 inches. Key: D major.
SKU: CF.FAS116
ISBN 9781491157695. UPC: 680160916276. 9 x 12 inches.
Composed for and dedicated to the students of the Old Trail School Orchestra in Bath, Ohio, Winter Lights is inspired by music of the Italian Baroque period. The colorful and reflective piece merges traditional harmonies with contemporary major seventh chords to create a whimsical and wistful mood. Written using simple rhythms and articulations, the music allows players to stay in first position while developing expressive tone through dynamic contrasts. Players should maintain a steady tempo, especially in pizzicato sections which can be supported by the optional piano accompaniment. A charming addition to any winter concert program.Composed for and dedicated to the students of the Old Trail School Orchestra in Bath, Ohio, Winter Lights is inspired by music of the Italian Baroque period. The colorful and reflective piece merges traditional harmonies with contemporary major seventh chords to create a whimsical and wistful mood. Written using simple rhythms and articulations, the music allows players to stay in first position while developing expressive tone through dynamic contrasts. Players should maintain a steady tempo, especially in pizzicato sections which can be supported by the optional piano accompaniment. A charming addition to any winter concert program.
SKU: CF.FAS116F
ISBN 9781491157541. UPC: 680160916122. 9 x 12 inches.
SKU: CF.CPS239
ISBN 9781491157855. UPC: 680160916450. 9 x 12 inches.
The energy and drive of this piece uses simple time signatures of 4/4 and 3/4 and mixes groups of three notes and syncopation to the rhythm and the melody. There is also a use of a musical term called hemiola, when groups of two beats are replaced by groups of three beats, creating a shift between duple and triple meter. Syncopation adds a modern, jazzy, popular feel to this exciting concert band composition. Along with syncopation and popular influences are countermelodies to the main theme that are as important as the melody for balance and blend. This adds a feeling of baroque or renaissance style to the texture. Yet the melodies, chords, and structure are recognizable and enjoyable to listen to and perform. The middle 3/4 section is slightly slower featuring brass and saxophones and played legato. Then at the key change, it becomes more articulate and contrapuntal. The a tempo at m. 88 returns to the original thematic material, differing slightly from the beginning, and the coda has some added technical and challenging woodwind passages. The cymbal/triangle part has a lot of directions on choking, hi-hat sound, etc., that will add nice color to the piece if performed as indicated.The energy and drive of this piece uses simple time signatures of 4/4 and 3/4 and mixes groups of three notes and syncopation to the rhythm and the melody. There is also a use of a musical term called hemiola, when groups of two beats are replaced by groups of three beats, creating a shift between duple and triple meter. Syncopation adds a modern, jazzy, popular feel to this exciting concert band composition.Along with syncopation and popular influences are countermelodies to the main theme that are as important as the melody for balance and blend. This adds a feeling of baroque or renaissance style to the texture. Yet the melodies, chords, and structure are recognizable and enjoyable to listen to and perform. The middle 3/4 section is slightly slower featuring brass and saxophones and played legato. Then at the key change, it becomes more articulate and contrapuntal. The a tempo at m. 88 returns to the original thematic material, differing slightly from the beginning, and the coda has some added technical and challenging woodwind passages. The cymbal/triangle part has a lot of directions on choking, hi-hat sound, etc., that will add nice color to the piece if performed as indicated.
SKU: BR.DV-32027
ISBN 9790200425192. 9 x 12 inches.
Bicinia - unaccompanied duos - have been known to us from the fifteenth century onwards. So quite early on it was customary tu practise this type of musical exercise, which later, especially during the Romantic period, achieved great popularity as the duo or duett. Equal numbers of this sort of instrumental duo were composed for nearly all wind and string instruments. On the other hand, only a small amount of compositions for two trumpets have come down to us. In order to play any music which progresses beyond pure fanfare on a natural (valueless) trumpet, it is necessary to make use of the clarion register (the top third of the natural harmonic). And if such a melody is to be accompanied by a second part, only the few natural notes lying below it are left, or else this high register itself, which calls for great virtuosity on the part of the trumpeter. As well as this, we must remember the fact that trumpet-playing was only allowed for the trumpeters of a royal court, army, staff, or for the field-trumpeter of a prince, plus a few council, city, and church musicians, who were bound by strict guild and corporation rules. Thus in spite of the preference for its festive sound, the spread and handing down of trumpet music was almost reduced to nothing under these circumstances. As well as this, pride of place and profession rivalry and envy amongst musicians contributed in large part. In England the situation was somewhat freer. Here pretty little trumpet duos originated, including, amongst others, those written by Handel for his master-trumpeter Valentin Snow and the Royal Sergeant-trumpeters of the Shore family. An especially happy exception was the diocese of Olmiitz. Here there was a capable group of musicians of the chapel royal with the brilliantly talented group of trumpeters and the field-trumpeter Pavel Vajvanovsky, who also composed himself. These trumpeters in the service of his prince-bishop played many sacred and secular pieces, all for several instruments. It was for them also that Heinrich Ignaz Franz Biber wrote the 12 double trumpet sonatas we present here. On the other hand, the representatives of the authorities in Germany ensured strict observation of all edicts and regulations. Even the celebrated Bach-trumpeter and towm-piper Gottfried Reiche was never allowed to be portrayed with a proper trumpet due to the priveleges of court and field trumpeters. In order to represent him as one of the greatest masters of his time and art, however, the painter placed an instrument similar to a corno-di-caccia in his hand, together with a sheet with a small piece for virtuoso clarion. When we try in spite of these difficulties and adverse circumstances to gather a collection of musically valuable and characteristic examples of popular pieces for two trumpets from the seventeenth and eighteenth centuries, it is in the first, place in order to acquaint modern trumpeters with something of the wealth of music, which can also be well played on a modern trumpet with valves. The originally used trumpets correspond to modern ones in the keys of C and D, but this does not mean that many of the pieces cannot be transposed to a more comfortable register. On top of this, we have tried to give a picture of the baroque court and field trumpeter, as well as of the mysterious clarion trumpeter, with the help of musically popular material. The origin of most of the pieces used is no longer clearly discernable. In most cases we possess second- or third-hand copies which have been handed down, and show signs of frequent use. A few cases where modernization of the second part obviously did not take place until the invention of stops, have been re-shaped into their supposed original form. A series of further dynamic details were left, and marked as optional suggestions in brackets. Kurt Janetzkyz.T. mit Pauken und B.c.
SKU: HL.49044665
ISBN 9790001200103. UPC: 841886022928. 9.0x12.0x0.213 inches.
This 'Suite' is not one of my 'epic' instrumental concertos such as the concertos for cello, violin or oboe, but a substantially smaller-structured series of dance forms arranged into a suite. Sunken worlds suddenly emerge here, only to reach the surface, hover in dangerously distorted fashion and then sink back to the bottom.Almost every individual movement allots the solo flute a specific tonal colouring and an instrumental group from the orchestra: in the opening Allemande, the flutes of the orchestra (including alto and bass flute and later also piccolo to include the entire flute family); the string section in the Sarabande; in both chorales (extremely muted in the first and brutalist in the second), the brass etc.; and it is only in the concluding Badinerie that all orchestral groups are combined, although they are terraced in the Baroque style, one following another, seldom all playing simultaneously.This permits the flute to remain the provider of all impulses; it attaches itself to the wide variety of instrumental colours, becomes suffused with these colours and thereby shines in different lights - acerbic, pale and radiant. This first performance marks the conclusion of my two-year residence with the Cleveland Orchestra. The immense versatility of this fine body of sound (which is indeed treated as such with the sum of its parts) and the exciting dark timbre of its principal flautist Joshua Smith have to a great extent determined the form and tonal character of my Flute en suite. Jorg WidmannThis 'Suite' is not one of my 'epic' instrumental concertos such as the concertos for cello, violin or oboe, but a substantially smaller-structured series of dance forms arranged into a suite. Sunken worlds suddenly emerge here, only to reach the surface, hover in dangerously distorted fashion and then sink back to the bottom.Every individual movement allots the solo flute an instrumental group from the orchestra: in the opening Allemande, the flutes of the orchestra; the string section in the Sarabande; in both chorales the brass etc.; and it is only in the concluding Badinerie that all orchestral groups are combined, although they are terraced in the Baroque style, one following another, seldom all playing simultaneously.This first performance marks the conclusion of my two-year residence with the Cleveland Orchestra. The immense versatility of this fine body of sound and the exciting dark timbre of its principal flautist Joshua Smith have to a great extent determined the form and tonal character of my Flute en suite. Jorg Widmann3 (2. auch Altfl., 3. auch Bassfl., alle auch Picc.) * 3 (2. auch Ob. d'am., 3. auch Engl. Hr.) * 0 * 3 (3. auch Kfg.) - 4 * 4 * 3 * 1 - S. (Glsp. * Vibr. * 3 hg. Beck. [h./m./t.] * chin. Beck. * 4 Gongs * 4 Buckelgongs * 2 Tamt. [m./t.] * Wassertamt. * gr. Tr. * Metal Chimes * Peitsche) (2 Spieler) - Hfe. * Cel. (auch Cemb.) - Str. (10 * 8 * 6 * 4 * 3).
SKU: CF.CPS239F
ISBN 9781491157848. UPC: 680160916443. 9 x 12 inches.
SKU: UT.NAP-4
ISBN 9790215318373. 9 x 12 inches.
Concerto in Mi bem. magg. per Violino principale, 2 Violini, Viola e Basso; Concerto in Re min. per 2 Violini e Basso (1728); Concerto in La magg. per 3 Violini e Basso (1728)_x0008_; Concerto in La min. per 3 Violini e Basso (1727)_x0008_; Concerto in La min. per 3 Violini e Basso; Sinfonia in Fa min. a 2 Violini e Basso; Sinfonia in Sol magg. a 3 Violini e Basso; Sinfonia fugata in Fa min. a 3 Violini e Basso; Sinfonia in Do min. a 4 Violini e Basso; Trio in Si min. per 2 Violini e CembaloNicola Fiorenza (1700?-1764), composer and virtuoso Neapolitan violinist, lived during the first half of the 1700s. His musical production, whose manuscripts are preserved for the big part in the Library of the Conservatorio di Musica S. Pietro a Majella in Naples, is composed of 15 concerts with different instrumental organics, 9 symphonies whose principal instrument is the violin – that sometimes proposes pieces with a lot of virtuosities typical of the solo concert –, some pieces for one or two instruments with continuo and two cantatas. Skilled virtuoso, Fiorenza had assimilated both the style of the elegant Baroque of French school, and the a terrazze style, the improvised language typical of the Venetian composers. He knew the style of the Concerto Grosso of Corelli very well, to which he joined a dressy counterpoint maybe too much present for the style of that time. Fiorenza elaborated different styles, filtering them through his sensitive predilection towards the Neapolitan party music and the popular melody, developing a personal composite language that doesn’t consider him belonging to one of the schools of his time. From a formal point of view and for the choice of the instrumental organic, his compositions have not a strong stylistic individuality in comparison with the composite canons of the first part of the XVIII century, but the production of Fiorenza seems to reflect the schemes and the composite forms typical of the late Baroque. His choice of the incisive brevity of the thematic figures is typical of the XVII century, that almost never overcomes the breath and the circle of one or few beats. Fiorenza’s solo compositions show his research of virtuosities, but he never lapses into a rash virtuosity, on the contrary he maintains a gallant taste.
SKU: PR.114418820
ISBN 9781491113998. UPC: 680160667697.
Composed by Telemann as a double concerto for recorder and transverse flute, Zart Dombourian-Eby’s new edition is prepared for piccolo, flute, and piano — remaining compatible with available orchestral editions, and respectfully faithful to Telemann’s detailed nuances. Cast in the slow-fast, slow-fast four-movement mold typical of Baroque concert works, the CONCERTO IN E MINOR is at once among the most beautiful and exhilarating works of Telemann’s formidable output.______________________________________Text from the scanned back cover:ZART DOMBOURIAN-EBY is the Principal Piccoloist of the SeattleSymphony and is regularly featured as both a soloist and clinician in Seattle and across the world. Her performances consistently receive highest praise from both critics and audiences. A native of New Orleans, she received B.A. and M.M. degrees from Louisiana State University. After a year of study with Albert Tipton she attended Northwestern University earning a Doctor of Music degree under the tutelage of Walfrid Kujala. She has been a member of the New Orleans Pops, Baton Rouge Symphony, Colorado Philharmonic, and the Civic Orchestra of Chicago. She has performed with the Chicago Symphony and served on the faculties of the University of Washington and Pacific Lutheran University. She was the founding editor of Flute Talk and ison the Editorial Board for The Flutist Quarterly. Zart is the immediate past president of the National Flute Association, and been a featured soloist and presenter at numerous NFA conventions. Zart has commissioned numerous works, including two for piccolo and piano by Martin Amlin, sonatas by Gary Schocker and Levente Gyongyosi, and a chamber work by Ken Benshoof. She can be heard in over 100 recordings by the Seattle Symphony, and her solo CD, in shadow, light, is available on Crystal Records. Her award-winning edition of the three Vivaldi piccolo concertos is published by Theodore Presser.A native of Seattle, VALERIE SHIELDS received her B.M. summa cum laude in organ and violin from St. Olaf College. While completing her M.M. from Northwestern University, she became increasingly interested and skilled in the art of improvisation. She served as Director of Music at St. Luke’s Lutheran Church in Park Ridge, Illinois, where she developed a music program involving over 150 participants in choirs and chamber music groups.Upon her return to Seattle, she served for 12 years as director of adivision of the Northwest Girlchoir. She became organist and developed a vibrant Youth Choir at Phinney Ridge Lutheran Church, where she served for over 30 years, as well as enjoying a 20-year tenure as Music Director and Composer-in-Residence of Temple De Hirsch Sinai. Valerie’s work with children’s choirs,churches, and synagogues has inspired over 100 published compositions.When I was invited to perform a Vivaldi piccolo concerto in Italy a few years ago, my host, Luisa Sello, wrote that Carol Wincenc was going to be on the same concert, and was there any piece that we could play together? I looked and asked around, and my colleague Joanna Bassett recommended the Telemann Concerto in E Minor for Traverso and Recorder. I didn’t know the piece, but as I listened to a recording of it, I immediately loved it and could easily envision how beautifully it could work, with a few “adjustments,” for flute and piccolo. I got to work, and the current publication is the result. I have performed it many times, and enjoy it even more every time. It fits a unique place in our repertoire, and works equally well with piano as with the string orchestra setting.According to Steven D. Zohn, pre-eminent Telemann scholar, and author of Music for a Mixed Taste: Style, Genre, and Meaning in Telemann’s Instrumental Works, much is unknown about the concerto itself; it likely dates from the 1720s, soon after Telemann moved to Hamburg. Only an eighteenth-century copyist’s set of parts is extant, that of Johann Samuel Endler, who was engaged at the Darmstadt court as a singer and violinist, later becoming Vice-Kapellmeister and Kapellmeister, and who had a large collection of Telemann’s works.As in my Vivaldi concertos edition (Presser 414-41190), I have added virtually all of the articulations and dynamics that appear here, and have inserted quite a bit of ornamentation. Unlike the Vivaldi edition, I have not included any indication of the original Telemann in those passages, nor have I included any pedagogical markings, such as fingerings.Finally, I would like to acknowledge, with gratitude, Joanna Bassett, Daniel Dorff, Benton Gordon, Evan Pengra-Sult, Sandra Saathoff, Valerie Shields, Carol Wincenc, and Steven Zohn, for the various roles they played in the making of this publication.— Zart Dombourian-EbyJune 2018.
SKU: CF.CAS156
ISBN 9781491165010. UPC: 680160923922. Key: G major.
This energetic second movement from Bach's famed Brandenburg Concerto No. 3 has been skillfully arranged to be more accessible to the developing string ensemble. Remaining in the key of G major, this piece has been re-scored from the original compound meter of 12/8 to simple 3/4 time, allowing both conductor and players to more easily manage the pulse. All instruments get moving parts with vigorous melodies and countermelodies, while the original solos have been integrated into the sections. An excellent introduction to a classic piece of Baroque repertoire.
