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Der Tanz in der Dorfschenke | Mephisto Waltz No. 1 (Set of Parts)
Der Tanz in der Dorfschenke | Mephisto Waltz No. 1 (Set of Parts)
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Orchestre d'harmonie
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AVANCÉ
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Franz Liszt
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Michael Barrera
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Der Tanz in der Dorfschenke |
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Michael Barrera
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SheetMusicPlus
Concert Band - Level 5 - SKU: A0.1463454 Composed by Franz Liszt. Arranged by Michael Barrera. 19th Century,Classical,Romantic Period. 251 pages. Michae...
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Concert Band - Level 5 - SKU: A0.1463454 Composed by Franz Liszt. Arranged by Michael Barrera. 19th Century,Classical,Romantic Period. 251 pages. Michael Barrera #1042150. Published by Michael Barrera (A0.1463454). Https://www.michaelbarreraflute.com/shop/p/mephisto-waltz1-band-partsTwo Episodes from Lenau’s Faust | Mephisto Waltz No. 1Program NotesFranz Liszt’s first Mephisto Waltz is a programmatic work based on an episode from Nikolaus Lenau’s 1836 verse drama Faust. The program note that appears in the original printed score is noted here:There is a wedding feast in progress in the village inn, with music, dancing, carousing. Mephistopheles and Faust pass by, and Mephistopheles induces Faust to enter and take part in the festivities. Mephistopheles snatches the fiddle from the hands of a lethargic fiddler and draws from it indescribably seductive and intoxicating strains. The amorous Faust whirls about with a full-blooded village beauty in a wild dance; they waltz in mad abandon out of the room, into the open, away into the woods. The sounds of the fiddle grow softer and softer, and the nightingale warbled his love-laden song. Mephisto Waltz No. 1 is paired with a work preceding it, Midnight Procession (Der Nächtliche Zug), however this piece is not as widely performed. Liszt later transcribed the waltz into a piano duet and a virtuosic solo piano work. Each of these versions were written around the same time, roughly 1859-62. The orchestral version also has an alternate ending, which is softer and fades away. This arrangement features both endings. This work was then followed by three more Mephisto Waltzes. No. 2 was also written as both an orchestral and piano work, while Nos. 3 and 4 were for piano only. Of the four, the first is the most popular, although the third is also praised as highly musically. InstrumentationWritten for Wind Ensemble of any size (Number indicates how many parts - some parts include divisi)1 Piccolo (doubles Flute 3) 2 Flutes2 Oboes2 Bassoons1 Clarinet (E flat)3 Clarinets (B flat)1 Bass Clarinet (B flat)1 Contrabass Clarinet (B flat)2 Alto Saxophones1 Tenor Saxophone1 Baritone Saxophone3 Trumpets (B flat)4 Horns (F)2 Trombones1 Bass Trombone1 Euphonium1 Tuba1 String BassTimpaniMarimbaCymbalTriangle.
$79.99 ≈
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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 ≈
21.56€
THE NUTCRACKER (short and) SUITE - for concert band
THE NUTCRACKER (short and) SUITE - for concert band
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Orchestre d'harmonie
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AVANCÉ
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Classique
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Peter Ilyich Tchaikovsky
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Ralph Raymond Hays
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THE NUTCRACKER
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Ralph Raymond Hays
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SheetMusicPlus
Concert Band - Level 5 - SKU: A0.720648 Composed by Peter Ilyich Tchaikovsky. Arranged by Ralph Raymond Hays. Children,Christmas,Holiday,Romantic Period...
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Concert Band - Level 5 - SKU: A0.720648 Composed by Peter Ilyich Tchaikovsky. Arranged by Ralph Raymond Hays. Children,Christmas,Holiday,Romantic Period. 164 pages. Ralph Raymond Hays #4890077. Published by Ralph Raymond Hays (A0.720648). Audiences will be thrilled and enchanted by this clever and expertly crafted synopsis of some of Classical Music's most recognizable and beloved melodies. Ensemble musicians will enjoy the challenge of performing excerpts in their original keys. Flutists will relish the Chinese Dance and Dance of the Reed Flutes. Hornists will revel in their showcase, Waltz of the Flowers, and percussionists will enjoy the enhanced and supplemented parts which provide the work with a fresh energy and grandeur. Other instrumentalists will welcome the opportunity to be featured as never before in the original. This work is certain to highlight a concert performed at the Holidays or any time throughout the year.
$49.99 ≈
44.93€
Music for Music - STUDY SCORE ONLY
Music for Music - STUDY SCORE ONLY
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Orchestre d'harmonie
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AVANCÉ
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Kenneth Amis
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Music for Music - STUDY SCORE
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Amis Musical Circle - Digital
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SheetMusicPlus
Concert Band Concert Band - advanced - SKU: AQ.AMC-WB-019SSC Composed by Kenneth Amis. Music of Black Composers and Artists. This 3-movement work will s...
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Concert Band Concert Band - advanced - SKU: AQ.AMC-WB-019SSC Composed by Kenneth Amis. Music of Black Composers and Artists. This 3-movement work will showcase every member of the ensemble with its many opportunities to display flowing lyricism, cheeky playfulness and majestic power. Study score. 69 pages. Duration 18 minutes. Amis Musical Circle - Digital #AMC-WB-019SSC. Published by Amis Musical Circle - Digital (AQ.AMC-WB-019SSC). 8.5 x 11 inches.
$7.00 ≈
6.29€
Music for Music - CONDUCTOR'S SCORE ONLY
Music for Music - CONDUCTOR'S SCORE ONLY
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Orchestre d'harmonie
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AVANCÉ
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Kenneth Amis
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Music for Music - CONDUCTOR'S
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Amis Musical Circle - Digital
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SheetMusicPlus
Concert Band - advanced - SKU: AQ.AMC-WB-019SCO Composed by Kenneth Amis. Music of Black Composers and Artists. This 3-movement work will showcase every...
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Concert Band - advanced - SKU: AQ.AMC-WB-019SCO Composed by Kenneth Amis. Music of Black Composers and Artists. This 3-movement work will showcase every member of the ensemble with its many opportunities to display flowing lyricism, cheeky playfulness and majestic power. Conductor score. 68 pages. Amis Musical Circle - Digital #AMC-WB-019SCO. Published by Amis Musical Circle - Digital (AQ.AMC-WB-019SCO). 11 x 17 inches.
$12.00 ≈
10.79€
A portrait of ridgeline [Concert Band] - Score Only
A portrait of ridgeline [Concert Band] - Score Only
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Orchestre d'harmonie
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AVANCÉ
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Masakazu YAMAMOTO
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A portrait of ridgeline [Conce
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Motch Music
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SheetMusicPlus
Concert Band - Level 5 - SKU: A0.1093013 By Masakazu YAMAMOTO. By Masakazu YAMAMOTO. 21st Century,Contemporary,Contest,Festival,Holiday. 32 pages. Motch...
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Concert Band - Level 5 - SKU: A0.1093013 By Masakazu YAMAMOTO. By Masakazu YAMAMOTO. 21st Century,Contemporary,Contest,Festival,Holiday. 32 pages. Motch Music #697110. Published by Motch Music (A0.1093013). Original work by Masakazu Yamamoto.The majestic figure of the many layers of mountains shows the heights of art that cannot catch up with humans who are small beings, and we are immediately fascinated by the beautifully drawn ridgeline. This composition has been created with the aim of painting expression, that based on the imagination that the mountain itself or something that lives there protects the mountain and its surroundings. The theme is the Holy-ghost dancing lightly, the vital energy of the animals and plants that live there, and the majesty of the mountains, and they appear colorfully in various ways, such as the free intertwining of each phrase and powerful grooves that combines a wide variety of rhythms. The song shows tranquility and freedom at the beginning. In the first half of main part, the light and rhythmic theme and the calm majestic theme depict the contrast of each scene. In the second half, the tempo changes intermittently and gradually uplifts, and eventually it makes a climax through the return of the subject. It was created as a commissioned work to commemorate the 50th anniversary of the foundation of the Kofu Citizen Concert Band. It premiered by the band in March 2018. Duration : 7 minutes around [Instrumentation]Piccolo Flutes 1, 2 Oboe Bassoon Bb Clarinets 1, 2, 3 Bb Bass Clarinet Eb Alto Saxophones 1, 2 Bb Tenor Saxophone Eb Baritone Saxophone Bb Trumpets 1, 2, 3 F Horns 1, 2 Trombones 1, 2, 3 Euphonium Tuba String Bass Timpani Percussion 1（Glockenspiel, Tubular-Bells, Xylophone） 2（Vibraphone, Marimba, Bass Drum, Wind-Chime） 3（Suspended cymbal, Sleigh-Bells, Triangle, Tambourine, Wind-Chime） 4（Tam-tam, Triangle, Crash Cymbals, Wind-Chime） Works For Concert Band Original Composition (Sheet Music Plus / Sheet Music Direct)Arrangement (Sheet Music Plus / Sheet Music Direct)----------------------------------------------------- Motch Music All Sheet Music (Sheet Music Plus / Sheet Music Direct)I have a wide selection of sheet music for various instruments such as piano, ensemble, and concert band. From light and enjoyable pieces to concert-level compositions, we cover a wide range of repertoire. I also provide a rich collection of audio preview.In addition to original compositions and unique arrangements, a lot of text on music analysis is well-received. Please take a look below for more information!Motch Music Web Pagehttps://www.masakazuyamamoto.com/english
$50.00 ≈
44.94€
A portrait of ridgeline [Concert Band]
A portrait of ridgeline [Concert Band]
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Orchestre d'harmonie
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AVANCÉ
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Masakazu YAMAMOTO
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A portrait of ridgeline [Conce
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Motch Music
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SheetMusicPlus
Concert Band - Level 5 - SKU: A0.1093011 By Masakazu YAMAMOTO. By Masakazu YAMAMOTO. 21st Century,Contemporary,Contest,Festival,Holiday. 127 pages. Motc...
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Concert Band - Level 5 - SKU: A0.1093011 By Masakazu YAMAMOTO. By Masakazu YAMAMOTO. 21st Century,Contemporary,Contest,Festival,Holiday. 127 pages. Motch Music #697108. Published by Motch Music (A0.1093011). Original work by Masakazu Yamamoto.The majestic figure of the many layers of mountains shows the heights of art that cannot catch up with humans who are small beings, and we are immediately fascinated by the beautifully drawn ridgeline. This composition has been created with the aim of painting expression, that based on the imagination that the mountain itself or something that lives there protects the mountain and its surroundings. The theme is the Holy-ghost dancing lightly, the vital energy of the animals and plants that live there, and the majesty of the mountains, and they appear colorfully in various ways, such as the free intertwining of each phrase and powerful grooves that combines a wide variety of rhythms. The song shows tranquility and freedom at the beginning. In the first half of main part, the light and rhythmic theme and the calm majestic theme depict the contrast of each scene. In the second half, the tempo changes intermittently and gradually uplifts, and eventually it makes a climax through the return of the subject. It was created as a commissioned work to commemorate the 50th anniversary of the foundation of the Kofu Citizen Concert Band. It premiered by the band in March 2018. Duration : 7 minutes around [Instrumentation]Piccolo Flutes 1, 2 Oboe Bassoon Bb Clarinets 1, 2, 3 Bb Bass Clarinet Eb Alto Saxophones 1, 2 Bb Tenor Saxophone Eb Baritone Saxophone Bb Trumpets 1, 2, 3 F Horns 1, 2 Trombones 1, 2, 3 Euphonium Tuba String Bass Timpani Percussion 1（Glockenspiel, Tubular-Bells, Xylophone） 2（Vibraphone, Marimba, Bass Drum, Wind-Chime） 3（Suspended cymbal, Sleigh-Bells, Triangle, Tambourine, Wind-Chime） 4（Tam-tam, Triangle, Crash Cymbals, Wind-Chime） Works For Concert Band Original Composition (Sheet Music Plus / Sheet Music Direct)Arrangement (Sheet Music Plus / Sheet Music Direct) ----------------------------------------------------- Motch Music All Sheet Music (Sheet Music Plus / Sheet Music Direct)I have a wide selection of sheet music for various instruments such as piano, ensemble, and concert band. From light and enjoyable pieces to concert-level compositions, we cover a wide range of repertoire. I also provide a rich collection of audio preview.In addition to original compositions and unique arrangements, a lot of text on music analysis is well-received. Please take a look below for more information!Motch Music Web Pagehttps://www.masakazuyamamoto.com/english
$150.00 ≈
134.82€
Voices of the Night - band
Voices of the Night - band
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Orchestre d'harmonie
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AVANCÉ
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Richard E Brown
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2
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Voices of the Night - band
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Dacker Music
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SheetMusicPlus
Concert Band - Level 5 - SKU: A0.814790 Composed by Richard E Brown. Contemporary,Standards. Score and parts. 230 pages. Dacker Music #4327147. Publishe...
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Concert Band - Level 5 - SKU: A0.814790 Composed by Richard E Brown. Contemporary,Standards. Score and parts. 230 pages. Dacker Music #4327147. Published by Dacker Music (A0.814790). Transcribed for symphonic band from the composer's similarly-titled orchestra composition, Voices of the Night - A Nocturnal Fantasy for Band is in 3 parts: 1. a slow, moody introductory section; 2. a lively but somewhat dark rhythmic dance-like section; 3. a quiet epilogue based on the opening music. Grade: 5 - Duration 9:00 Price includes license to make as many copies of parts as required
$75.00 ≈
67.41€
Music for Three, Volume 1 Score 50199
Music for Three, Volume 1 Score 50199
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Various
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Daniel Kelley
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Music for Three, Volume 1 Scor
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Last Resort Music Publishing
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SheetMusicPlus
Small Ensemble - Level 5 - SKU: A0.720843 Composed by Various. Arranged by Daniel Kelley. Baroque,Classical,Instructional,Romantic Period,Wedding. Score...
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Small Ensemble - Level 5 - SKU: A0.720843 Composed by Various. Arranged by Daniel Kelley. Baroque,Classical,Instructional,Romantic Period,Wedding. Score and parts. 83 pages. Last Resort Music Publishing #329230. Published by Last Resort Music Publishing (A0.720843). Music for Three, Volume 1 - Score (Part 1-3 in Score Form in C) Baroque, Classical & Romantic Favorites Includes works by Bach, Beethoven, Handel, Mouret, Pachelbel, Wagner and more! An incredible collection of 35 arrangements for strings, woodwinds and piano – these mix and match trios allow the performer to pick the instrumentation. A versatile must-have for any musician, Music for Three is perfect for weddings, recitals, concerts, and any chamber music gatherings. Parts are available separately or may be purchased for specific instrumentation. The keyboard/guitar part encompasses parts 2 & 3. Therefore, the arrangements could be played as a piano trio, or an entire trio can play with a pianist - as long as Part 1 is being played! Includes 35 arrangements. Table of Contents Air on the G String from Suite #3 in D Major (Bach) Arioso from Cantata #156 (Bach) Ave Maria adapted by Charles Gounod from WTC (Bach) Prelude #1 (Bach) Gigue from Suite #3 in D Major (Bach) Jesu, Joy of Man's Desiring from Cantata #147 (Bach) Sheep May Safely Graze from Cantata #208 (Bach) Minuet in G (Beethoven) Trumpet Voluntary (Clarke) Gavotte (Gossec) Allegro from Sonata in F Major, Op. 1 #11 (Handel) Largo from Xerxes (Handel) Sarabande from Suite #4 in D minor for piano, 2nd set (Handel) Air, Allegro, Andante, Bourree, Finale from Water Music Suite (Handel) Presto from String Quartet in F Major, Op. 74, #2 (Haydn) Waltz from Waves of the Danube, #1 (Ivanovici) Elegie from Incidental Music to Les Erinnyes (Massenet) Rondeau from Sinfonies de Fanfares (Mouret) Allegro, Menuetto, Romanza, Rondo from Eine Kleine Nachtmusik, String Quartet in G Major, K. 525 (Mozart) Canon (Pachelbel) Adagio from Octet in F Major, Op. 166 (Schubert) Andante from String Quartet in A minor, Op. 29 Rosamunde (Schubert) Moment Musical from Op. 94, #3 (Schubert) Traumerei from Kinderscenen, Op. 15, #7 (Schumann) Presto from Sonatina in F Major (Telemann) Allegro, Adagio, Finale from Concerto Grosso in D Minor, Op. 3, #11 (Vivaldi) Bridal Chorus from Act III of Lohengrin (Wagner) Available Parts 50111 Part 1 Flute or Oboe or Violin 50113 Part 1 Clarinet in Bb 50121 Part 2 Flute or Oboe or Violin 50122 Part 2 Viola 50123 Part 2 Clarinet in Bb 50131 Part 3 Cello or Bassoon 50140 Keyboard or Guitar 50199 Score Published by lastresortmusic.com.
$39.95 ≈
35.91€
Anything You Can Do . . . for violin and vibraphone
Anything You Can Do . . . for violin and vibraphone
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Robert M
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Anything You Can Do . . . for
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Robert M. Greenberg
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SheetMusicPlus
Instrumental Duet Instrumental Duet,Vibraphone,Violin - Level 5 - SKU: A0.987848 Composed by Robert M. Greenberg. 20th Century,Contemporary. Score and p...
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Instrumental Duet Instrumental Duet,Vibraphone,Violin - Level 5 - SKU: A0.987848 Composed by Robert M. Greenberg. 20th Century,Contemporary. Score and parts. 54 pages. Robert M. Greenberg #90285. Published by Robert M. Greenberg (A0.987848). Preferred Contact Information: RMonteverdi@comcast.net Performing Rights Organization: BMI Website: robertgreenbergmusic.com Facebook Band Page: facebook.com/RobertGreenbergMusic Duration: ca. 12 minutes Year of composition: 2006 Program Note: The mind searches for the oddest of couples. Felix Unger and Oscar Madison. Julia Roberts and Lyle Lovett. The violin and the vibraphone. Aside from the letter V, the two instruments have almost nothing in common. We consider: the violin is the most aristocratic instrument in the Western musical tradition, the prima donna of the instrumental world, an instrument that has had, lavished upon it, more extraordinary music than any other since its invention roughly 475 years ago. And then there’s the vibraphone, a percussion instrument with pitched metal bars and motor-driven resonators that produce a vibrato. Invented around 1925, it’s an instrument created for dance bands and popular music. Anything You Can Do . . . is a confrontation between these two musical opposites. A sense of contest characterizes the entire piece, as the vibraphone seeks to establish its bona fides side by side with the violin, which in turn attempts to keep the vibraphone in its place by beating it at its own game. The first movement is conceived as a race, in which each instrument acts like the other – the violin explosively and percussively, and the vibraphone with lengthy bowed passages – while seeking to shake off the other. The movement concludes with the violin paying a series of huge, chords and a long, sustained triple-stop that, much to its fury, the vibraphone manages to match with a sustained double-stop of its own. The movement ends in a draw. The second movement begins with the violin doing its best to match the vibrato patterns of the vibraphone’s variable motor. Ultimately, the violin breaks free and plays a broad, arioso-styled melody. The vibraphone tries to match it, but cannot; try as it might, its fixed range cannot reach the stratospheric heights of the violin. Advantage violin. The third movement is constructed in three sections. In the outer sections, rapidly rising and falling lines and counter rhythms pervade as each instrument seeks to gain an advantage over the other. In the middle section, alternating, hocket-like phrases give way to bent notes and glissandi in the vibraphone, which infuriates the violin (how dare this upstart percussion instrument do something ordinarily associated with me?). The movement concludes with the violin once again attempting to lord its greater range over the vibraphone by playing a long sustained F# - the same pitch that conquered the vibraphone at the end of the second movement – only to have the vibraphone top it by playing a harmonic a full seven notes above the F#. Game, set, match: vibraphone. Some respect, please, for the new kid on the block. Anything You Can Do . . . is dedicated, with a thousand-and-one thanks, to Victor Romasevich and Jack van Geem.
$28.00 ≈
25.17€
Suite for Band (on a theme of Chopin)
Suite for Band (on a theme of Chopin)
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Orchestre d'harmonie
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AVANCÉ
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Contemporain
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Matthew Nunes
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Suite for Band
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Matthew Nunes Music
#
SheetMusicPlus
Concert Band - Level 5 - SKU: A0.489528 Composed by Matthew Nunes. Classical,Contemporary. Score and Parts. 230 pages. Matthew Nunes Music #105841. Publ...
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Concert Band - Level 5 - SKU: A0.489528 Composed by Matthew Nunes. Classical,Contemporary. Score and Parts. 230 pages. Matthew Nunes Music #105841. Published by Matthew Nunes Music (A0.489528). Listen to this piece hereSuite for Band took shape from two inspirations: the first, the haunting motifs of Frederic Chopin’s Etude Op. 10, No. 12, often referred to as “Revolutionary†or the “Bombardment of Warsawâ€; the second, the still-invigorating works for band of Holst, Grainger, and Vaughn-Williams. Each movement explores different aspects of Chopin’s Etude – the first in a lively dance, the second in a gentle melody, and the finale in a rush of energy that brings the work to an exciting close. Each instrument is featured at least once which makes the Suite ideal for the developing ensemble. I owe many thanks to Dr. Thomas McCauley and his bands at Montclair State University and Windhaven in 2017 for reading the work through various stages of development and for their helpful feedback.
$99.99 ≈
89.87€
Rather Be - String Quartet - Clean Bandit arr. Cellobat
Rather Be - String Quartet - Clean Bandit arr. Cellobat
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Quatuor à cordes: 2 violons, alto, violoncelle
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AVANCÉ
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Rock
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Clean Bandit Feat
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Sarah Cellobat Chaffee
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Rather Be - String Quartet - C
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SheetMusicPlus
String Quartet - Advanced - By Clean Bandit Feat. Jess Glynne. Arranged by Sarah Cellobat Chaffee. Score, Set of Parts. 19 pages. Published by Sarah...
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String Quartet - Advanced - By Clean Bandit Feat. Jess Glynne. Arranged by Sarah Cellobat Chaffee. Score, Set of Parts. 19 pages. Published by Sarah Chaffee
"Rather Be" was released as a single from Clean Bandit's first studio album in 2014, and it quickly became a huge hit, reaching number one on the Billboard charts in 12 countries and selling enough copies to get certified triple platinum. So you really can't go wrong having this one in your gig books! This Cellobat arrangement for string quartet brings to life the bouncy EDM beat, staccato string figures, soaring melodies, and lush harmonies of the original song for a fun and energetic chart that's just as much fun to play as it is to listen to! Originally commissioned for a wedding recessional, this chart will also be perfect for receptions, cocktail hour, pop concerts, parties, or any other occasion that you need to get your audience dancing. Rated advanced for some complicated rhythms throughout that go by pretty fast -- I definitely recommend running through this one or getting familiar with the original before performing.
$16.99 ≈
15.27€
Hangs and Crashes - for Symphonic Band
Hangs and Crashes - for Symphonic Band
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Orchestre d'harmonie
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AVANCÉ
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Contemporain
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Jason McChristian
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Hangs and Crashes - for Sympho
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Jason Gary McChristian
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SheetMusicPlus
Concert Band - Level 5 - SKU: A0.886130 Composed by Jason McChristian. Contemporary. Score and parts. 310 pages. Jason Gary McChristian #2845743. Publis...
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Concert Band - Level 5 - SKU: A0.886130 Composed by Jason McChristian. Contemporary. Score and parts. 310 pages. Jason Gary McChristian #2845743. Published by Jason Gary McChristian (A0.886130). A hang is a computer term for the failure of a program to continue to respond to signals, causing the operating system to freeze. Hangs occur in different ways, but this work depicts two common symptoms of the hang: thrashing, the exhaustion of memory from rapidly exchanging data and infinite loop, where a sequence of instructions is in no condition to stop. The work ends with the death knell to any operating system, a crash aptly named, Blue Screen of Death. Depicting failing machines, this is music marked by frequent reboots, constant bleeps, bops, clicks, the occasional rude interruption, and makes use of ever-repeating musical figures to help depict an eternal state of stuck.
$120.00 ≈
107.86€
Russian Easter Overture transcribed for Concert Band
Russian Easter Overture transcribed for Concert Band
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Orchestre d'harmonie
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AVANCÉ
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Niccolai Rimsky Korsakov
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Marc Oliver
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Russian Easter Overture transc
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Ayotte Custom Musical Engravings
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SheetMusicPlus
Concert Band - Level 5 - SKU: A0.732976 Composed by Niccolai Rimsky Korsakov. Arranged by Marc Oliver. Christian,Easter,Romantic Period. Score and parts...
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Concert Band - Level 5 - SKU: A0.732976 Composed by Niccolai Rimsky Korsakov. Arranged by Marc Oliver. Christian,Easter,Romantic Period. Score and parts. 343 pages. Ayotte Custom Musical Engravings #2002871. Published by Ayotte Custom Musical Engravings (A0.732976). Faithful and unabridged, this masterful transcription of Rimsky-Korsakov's beloved work for the modern concert band will make a wonderful centerpiece in any program.
$149.99 ≈
134.81€
Red Hot Chili Peppers,ZZ Top,Rage Against the Machine,Tool,Kiss : Le meilleur des groupes rock américains pour basse, Difficile, Vol. 1
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Basse electrique
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AVANCÉ
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Rock
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Blues
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Red Hot Chili Peppers,ZZ Top,R
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Le meilleur des groupes rock a
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Tomplay
Telechargez la tablature et la partition Basse Le meilleur des groupes rock americains pour basse, Difficile, Vol. 1. Partition pour Basse avec band -- Pop/rock...
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Telechargez la tablature et la partition Basse Le meilleur des groupes rock americains pour basse, Difficile, Vol. 1. Partition pour Basse avec band -- Pop/rock
19.99€
Radiohead,The Beatles,Pink Floyd,The Police,The Rolling Stones : Le meilleur des groupes rock anglais pour basse, Difficile, Vol. 1
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Basse electrique
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AVANCÉ
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Rock
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Radiohead,The Beatles,Pink Flo
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Le meilleur des groupes rock a
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Tomplay
Telechargez la tablature et la partition Basse Le meilleur des groupes rock anglais pour basse, Difficile, Vol. 1. Partition pour Basse avec band -- Pop/rock...
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Telechargez la tablature et la partition Basse Le meilleur des groupes rock anglais pour basse, Difficile, Vol. 1. Partition pour Basse avec band -- Pop/rock
19.99€
Santana,Kansas,Plain White T's,Soundgarden,The Doors : Le meilleur des groupes rock américains pour guitare, Difficile, Vol. 1
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Guitare
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AVANCÉ
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Rock
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Santana,Kansas,Plain White T&#
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Le meilleur des groupes rock a
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Tomplay
Telechargez la tablature et la partition Guitare Le meilleur des groupes rock americains pour guitare, Difficile, Vol. 1. Partition pour Guitare melodique avec ...
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Telechargez la tablature et la partition Guitare Le meilleur des groupes rock americains pour guitare, Difficile, Vol. 1. Partition pour Guitare melodique avec band/orchestre -- Pop/rock
19.99€
Led Zeppelin,Muse,Supertramp,Electric Light Orchestra,Yes : Le meilleur des groupes rock anglais pour basse, Difficile, Vol. 2
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Basse electrique
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AVANCÉ
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Rock
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Led Zeppelin,Muse,Supertramp,E
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Le meilleur des groupes rock a
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Tomplay
Telechargez la tablature et la partition Basse Le meilleur des groupes rock anglais pour basse, Difficile, Vol. 2. Partition pour Basse avec band -- Pop/rock...
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Telechargez la tablature et la partition Basse Le meilleur des groupes rock anglais pour basse, Difficile, Vol. 2. Partition pour Basse avec band -- Pop/rock
19.99€
The Beatles,Pink Floyd,The Police,The Rolling Stones,Dire Straits : Le meilleur des groupes rock anglais pour guitare, Difficile, Vol. 1
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Guitare
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AVANCÉ
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Rock
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The Beatles,Pink Floyd,The Pol
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Le meilleur des groupes rock a
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Tomplay
Telechargez la tablature et la partition Guitare Le meilleur des groupes rock anglais pour guitare, Difficile, Vol. 1. Partition pour Guitare melodique avec ban...
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Telechargez la tablature et la partition Guitare Le meilleur des groupes rock anglais pour guitare, Difficile, Vol. 1. Partition pour Guitare melodique avec band/orchestre -- Pop/rock
19.99€
Bon Jovi,The Pretenders,Foreigner,No Doubt,The Doors : Le meilleur des groupes rock américains pour basse, Difficile, Vol. 2
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Basse electrique
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AVANCÉ
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Rock
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Bon Jovi,The Pretenders,Foreig
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Le meilleur des groupes rock a
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Tomplay
Telechargez la tablature et la partition Basse Le meilleur des groupes rock americains pour basse, Difficile, Vol. 2. Partition pour Basse avec band -- Pop/rock...
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Telechargez la tablature et la partition Basse Le meilleur des groupes rock americains pour basse, Difficile, Vol. 2. Partition pour Basse avec band -- Pop/rock
19.99€
Radiohead,Red Hot Chili Peppers,Rage Against the Machine,Tool,Anansie Skunk : Le meilleur du rock des années 90 pour basse, Difficile, Vol. 1
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Basse electrique
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AVANCÉ
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Rock
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Pop musique
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Radiohead,Red Hot Chili Pepper
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Le meilleur du rock des année
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Tomplay
Telechargez la tablature et la partition Basse Le meilleur du rock des annees 90 pour basse, Difficile, Vol. 1. Partition pour Basse avec band -- Pop/rock...
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Telechargez la tablature et la partition Basse Le meilleur du rock des annees 90 pour basse, Difficile, Vol. 1. Partition pour Basse avec band -- Pop/rock
19.99€
Queen,Muse,Procol Harum,The Moody Blues,Free : Le meilleur des groupes rock anglais pour guitare, Difficile, Vol. 2
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Guitare
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AVANCÉ
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Rock
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Pop musique
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Queen,Muse,Procol Harum,The Mo
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Le meilleur des groupes rock a
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Tomplay
Telechargez la tablature et la partition Guitare Le meilleur des groupes rock anglais pour guitare, Difficile, Vol. 2. Partition pour Guitare melodique avec ban...
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Telechargez la tablature et la partition Guitare Le meilleur des groupes rock anglais pour guitare, Difficile, Vol. 2. Partition pour Guitare melodique avec band/orchestre -- Pop/rock
19.99€
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