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Cadenza I for Solo Clarinet
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Vous avez sélectionné:
Cadenza I for Solo Clarinet
Partitions à imprimer
27 partitions trouvées
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26
Cadenza I for Solo Clarinet
Cadenza I for Solo Clarinet
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Clarinette
#
AVANCÉ
#
Contemporain
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Roger Arve Vigulf
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Cadenza I for Solo Clarinet
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Vigulf Musicproduction
#
SheetMusicPlus
Clarinet Solo - Level 5 - SKU: A0.993666 Composed by Roger Arve Vigulf. Contemporary. Individual part. 2 pages. Vigulf Musicproduction #3460445. Publish...
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Clarinet Solo - Level 5 - SKU: A0.993666 Composed by Roger Arve Vigulf. Contemporary. Individual part. 2 pages. Vigulf Musicproduction #3460445. Published by Vigulf Musicproduction (A0.993666). Cadenza I is the first of 18 Cadenzas recorded on the CD Clarinet Ultimatum.
$4.00 ≈
$5.47
"Clarinet Concert Concertino" for Wind Band based on music by A.E.Williams arranged by S.Davies
"Clarinet Concert Concertino" for Wind Band based on music by A.E.Williams arranged by S.Davies
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Orchestre d'harmonie
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INTERMÉDIAIRE/AVANCÉ
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A
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Stephen Davies
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"Clarinet Concert Concert
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Stephen Davies
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SheetMusicPlus
Concert Band - Level 4 - SKU: A0.891956 Composed by A.E.Williams. Arranged by Stephen Davies. 20th Century,Standards. Score and Parts. 74 pages. Stephen...
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Concert Band - Level 4 - SKU: A0.891956 Composed by A.E.Williams. Arranged by Stephen Davies. 20th Century,Standards. Score and Parts. 74 pages. Stephen Davies #6094485. Published by Stephen Davies (A0.891956).   CLARINET CONCERT CONCERTINO FOR WIND BAND I don’t normally enter long descriptions of my arrangements, nothing worse than seeing that little sign on the bottom right saying ‘see more’, however this piece has a rather interesting story that I’d like to share with you! It was maybe 8 or 9 years ago that I helped in the library of the Band Of The Guards Association, a group of musicians who were all members of the Household Division Bandsin London, that is to say the Grenadier, Coldstream, Scots, Irish, Welsh, Life Guards and Blues & Royals bands, chiefly known the world over for Changing The Guard at Buckingham Palace and many other ceremonial occasions. The Band Of The Guards Association were privileged to rehearse at the Royal Hospital Chelsea, home of the famous Chelsea Pensioners, renowned for their Redcoats and medals as veterans of the British Army. Our library of music for the band at the time was held in an air raid shelter deep in the cellars underneath the labyrinthine corridors of the old building built by Sir Christopher Wren back in the 1680’s. When I say ‘air raid shelter’, that is exactly what it was like! Can’t go into too much detail, but suffice it to say that it was like being transported back in time! But this is where the library was kept, complete with dusty shelves, blackout warnings, obsolete bulb replacements and tunnels to the Thames! The man in charge of the library was Mr.Gordon ‘Joe’ Stafford, former Solo Clarinet with HM Band Of The Welsh Guards (ret’d), a fine player of that instrument in his day, and revered as such even now. About 8 years ago, our ‘underground ‘ library was deemed a fire hazard, and we were ‘invited’ to move it elsewhere. As we had our practice room nearby in the Chelsea Hospital, we decided to relocate the whole library there, shelving being built and constructed by enthusiastic band members. Joe Stafford and myself were not particularly enthusiastic about this, but it had to be done. Having looked at the enormous amount of music to be moved, we thought about ditching some of the scores which would never be played again, for instance selections of musicals long forgotten, scores with multiple missing parts etc. Lots of that music went to local music organisations simply for sight reading purposes, and the more complete versions went to bands and orchestras to bolster their stock of scores. After the laborious sorting out in the air raid shelter, Joe and I had the unenviable task of discarding the scores and parts that were incomplete, defaced, or just basically useless. It was an arbitrary case of ‘keep or throw’, and at the time we were doing this, Joe was desperate for a pint in the bar! I agreed, and was anyway on my last batch of throwaways when I found a piece titled ‘Clarinet Concerto’, by A.E.Williams. Written in pencil, with ancient sellotape, and signed by all the people who played it many years ago, including the Soloist and composer, I thought that that should not be binned, so I kept it! Joe Stafford suggested that I should ‘get it out there’ , so I have. Incidentally it has a cracking Cadenza towards the end, it was a bit smudged in the original score, but I’ve filled in the gaps!! This would be an ideal addition to the band repertoire for Clarinet!
$49.99 ≈
$68.37
Four Forces (First movement) I. Strong Forces
Four Forces (First movement) I. Strong Forces
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Ensemble de Percussions
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AVANCÉ
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Salvador Rojo Gamón
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Four Forces
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Salvador Rojo-Gamon
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SheetMusicPlus
Percussion Ensemble - Level 5 - SKU: A0.962406 Composed by Salvador Rojo Gamón. Concert,Contemporary,Instructional,Standards. Score and parts. 173 pa...
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Percussion Ensemble - Level 5 - SKU: A0.962406 Composed by Salvador Rojo Gamón. Concert,Contemporary,Instructional,Standards. Score and parts. 173 pages. Salvador Rojo-Gamon #5801913. Published by Salvador Rojo-Gamon (A0.962406). Four ForcesReviewsScherzohttps://scherzo.es/badajoz-vanguardias-lugarenas/Periodico Extremadurahttps://www.elperiodicoextremadura.com/noticias/badajoz/fuerzas_1214372.html NotesThis work was commissioned by Extremadura Orchestra for Percussion and Chamber orchestra.It has two movements. The first one has been done for mallets and the second one was built on a base of a drums work (GEA).The duration of those movements is 26 minutes, being around 11 minutes the first and 15 minutes the second one.The chamber music is formed by:Woodwind quintet (Flute, Oboe, Clarinet, Horn & Bassoon)Brasswind quintet (Trumpet 1, Trumpet 2, Horn, Trombone & Tuba)Strings orchestraThree firsts violinsThree seconds violinsThree violasTwo cellosFor the second movement is high recommendable to enlarge the strings, a good number of musician could be doubling.I. Strong ForcesThe work is inspired by the four fundamental forces of nature. These forces explain any phenomena which can be produced in the universe.Throughout all composition, it is latent the mathematic construction based in the series Fibonacci. In the first of the movements, Fibonacci's series is present in the notes' sequence that forms the series of 16 sounds and it is going to be present throughout the whole work. This series is taking form along the movement and it is getting melody and harmony.Although it is far away from the sonata form, as we know it in its period of highest glory, it takes elements of it and updates to our days. In this movement, we can find sonata form elements as the exposition, development, transitions or coda.The central part of the first movement becomes in the slow movement, being more intimate and lyrical, free of the serials ties although it uses resources before cited -now called common practice-.The movement finish with a short re-exposition that concludes with the virtuosic of the soloist doubling the series and adding more tension until conforming the series in its full whole.II. Weak ForcesIt is the most tribal of both movements. Its structure is more complex and in it, we also can find clear reminiscences to the sonata form.We can divide the movement into two big blocks. The first one is formed for the introduction and sections one and two.IntroducciónIt is based in one ostinato of three notes where the accent is changing provoking unsymmetric, this ostinato represents the nucleus of our existence. The piccolo and the trombone introduce us to the human element representing the two elements that form the development of the whole movement.The two elements of thematics are taken from the series, the first one is easily recognizable because it appears in his primary form.First section & cadenzaIn this movement, the rhythm, the melody, and the harmony are based on the sequence of Fibonacci. As the theme ostinato of the soloist as the melody is formed under the rhythm of 1, 2, 3 and 5. This section leads us to the second section with a clear mode of cadence. In the cadenza, the elements of the rhythm are varied freely with an accompaniment of the Spring Drum.DevelopmentIt is formed by two Rondo sub-sections in which the solo part has been created through the mirror technique.Both sections have the next form:Intro-A-B-A-B-(B(minor)+A)Intro-A-B-A-B-(B(major)+A)First section & CodaThe movement ends with the repetition of the first section and the final code.
$300.00 ≈
$410.32
Four Forces (Second movement) II. Weak Forces
Four Forces (Second movement) II. Weak Forces
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Ensemble de Percussions
#
AVANCÉ
#
Salvador Rojo Gamón
#
Four Forces
#
Salvador Rojo-Gamon
#
SheetMusicPlus
Percussion Ensemble - Level 5 - SKU: A0.962405 Composed by Salvador Rojo Gamón. Concert,Contemporary,Instructional,Standards. Score and parts. 255 pa...
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Percussion Ensemble - Level 5 - SKU: A0.962405 Composed by Salvador Rojo Gamón. Concert,Contemporary,Instructional,Standards. Score and parts. 255 pages. Salvador Rojo-Gamon #5801921. Published by Salvador Rojo-Gamon (A0.962405). Four ForcesReviewsScherzohttps://scherzo.es/badajoz-vanguardias-lugarenas/Periodico Extremadurahttps://www.elperiodicoextremadura.com/noticias/badajoz/fuerzas_1214372.html NotesThis work was commissioned by Extremadura Orchestra for Percussion and Chamber orchestra.It has two movements. The first one has been done for mallets and the second one was built on a base of a drums work (GEA).The duration of those movements is 26 minutes, being around 11 minutes the first and 15 minutes the second one.The chamber music is formed by:Woodwind quintet (Flute, Oboe, Clarinet, Horn & Bassoon)Brasswind quintet (Trumpet 1, Trumpet 2, Horn, Trombone & Tuba)Strings orchestraThree firsts violinsThree seconds violinsThree violasTwo cellosFor the second movement is high recommendable to enlarge the strings, a good number of musician could be doubling.I. Strong ForcesThe work is inspired by the four fundamental forces of nature. These forces explain any phenomena which can be produced in the universe.Throughout all composition, it is latent the mathematic construction based in the series Fibonacci. In the first of the movements, Fibonacci's series is present in the notes' sequence that forms the series of 16 sounds and it is going to be present throughout the whole work. This series is taking form along the movement and it is getting melody and harmony.Although it is far away from the sonata form, as we know it in its period of highest glory, it takes elements of it and updates to our days. In this movement, we can find sonata form elements as the exposition, development, transitions or coda.The central part of the first movement becomes in the slow movement, being more intimate and lyrical, free of the serials ties although it uses resources before cited -now called common practice-.The movement finish with a short re-exposition that concludes with the virtuosic of the soloist doubling the series and adding more tension until conforming the series in its full whole.II. Weak ForcesIt is the most tribal of both movements. Its structure is more complex and in it, we also can find clear reminiscences to the sonata form.We can divide the movement into two big blocks. The first one is formed for the introduction and sections one and two.IntroducciónIt is based in one ostinato of three notes where the accent is changing provoking unsymmetric, this ostinato represents the nucleus of our existence. The piccolo and the trombone introduce us to the human element representing the two elements that form the development of the whole movement.The two elements of thematics are taken from the series, the first one is easily recognizable because it appears in his primary form.First section & cadenzaIn this movement, the rhythm, the melody, and the harmony are based on the sequence of Fibonacci. As the theme ostinato of the soloist as the melody is formed under the rhythm of 1, 2, 3 and 5. This section leads us to the second section with a clear mode of cadence. In the cadenza, the elements of the rhythm are varied freely with an accompaniment of the Spring Drum.DevelopmentIt is formed by two Rondo sub-sections in which the solo part has been created through the mirror technique.Both sections have the next form:Intro-A-B-A-B-(B(minor)+A)Intro-A-B-A-B-(B(major)+A)First section & CodaThe movement ends with the repetition of the first section and the final code.
$150.00 ≈
$205.16
Ali Ben Sou Alle: Fantaisie sur Don Giovanni de Mozart for alto saxophone and piano
Ali Ben Sou Alle: Fantaisie sur Don Giovanni de Mozart for alto saxophone and piano
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Saxophone Alto et Piano
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INTERMÉDIAIRE
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Ali Ben Sou Alle, Wolfgang Ama
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Paul Wehage
#
Ali Ben Sou Alle: Fantaisie su
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Musik Fabrik Music Publishing
#
SheetMusicPlus
Alto Saxophone,Piano - Level 3 - SKU: A0.533347 Composed by Ali Ben Sou Alle, Wolfgang Amadeus Mozart. Arranged by Paul Wehage. Concert,Opera,Romantic P...
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Alto Saxophone,Piano - Level 3 - SKU: A0.533347 Composed by Ali Ben Sou Alle, Wolfgang Amadeus Mozart. Arranged by Paul Wehage. Concert,Opera,Romantic Period,Standards. Score and part. 22 pages. Musik Fabrik Music Publishing #2348197. Published by Musik Fabrik Music Publishing (A0.533347). One of the most enigmatic figures in the history of the Saxophone, Ali Ben Sou Alle (Charles-Valentin Soualle) was born in 1820 in Arras, France. After receiving his first prize in Clarinet at the Paris Conservatory in 1844. he served as the director ofmusic of The French Marine Band in Senegal, and then was named first clarinet solo at the Opéra-Comique in Paris. However, after the Revolution of 1848, Soualle was forced to flee France to England where he settled in London, playing in the Orchestra of the Queen's Theatre. His songs and piano pieces were published in London. While in London, Soualle met another exiled French musician, Louis Antoine Jullien, who conducted a light music series in London. Jullien encouraged Soualle to take up the saxophone, and after modifying the instrument by adding a single octave mechanism (the modern system used today) and keys for the lower register, Soualle became known as a virtuoso and began touring performing solo recitals (or mono-concerts, as they were called at the time) calling his modified saxophone the «turcophone ». He performed in all the European capitals and then traveled to Australia, New Zealand, Manilla, Java, through China and then to India where he finally settled in Mysore, becoming the director of the Royal Music for the Maharadjah. It was during this period that he converted to Islam and changed his nmae to Ali ben Sou Alle (or Ali, son of Soualle). He subsequently travaled to Ile Maurice, to French Polynesia, the Cap of Natal and the Cap of Good Hope. All of these voyages were subjects of musical works which Soualle entitled Souvenirs de... and may perhaps have been part of a collection known as The Royal Album which was presented to the Prince of Wales after a royal concert. Soualle returned to Mysore in 1858 and was almost killed in the Indian Revolution. Around 1860, Soualle returned to France for health reasons and began publishing his own music. On March 27 1865, he performed a command performance for the Emperor Napoleon III at the Tuileries Palace in the presence of the entire Imperial Family. After 1865, nothing more is known about him. Soualle not only performed on the clarinet, saxophone and piano, but also frequently sang during his concerts. He also wrote songs while he was in London. His opera fantasies are usually written for the Alto saxophone and are generally in the form of an introductory aria with cadenza, a theme with one or more variations and then a final waltz movement in rondo form with a final brillant variation. This specific work opens with motives from the Opera‘s overture, leading to Donna Anna’s 1st act aria Or sai, chi l'onore. The duet Là ci darem la mano is the subject of two variations followed by a brief interlude using Zerlina’s aria Batti, batti, o bel Masetto and then the final section is the duo Andiam’ Andiam ‘ Mio Bene between Don Giovanni and Zerlina which ends the Act I duet. The work ends with a brillant coda
$11.95 ≈
$16.34
Rondo in A minor for Viola and Orchestra
Rondo in A minor for Viola and Orchestra
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Orchestre
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AVANCÉ
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Contemporain
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Joel Jacklich
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Joel Jacklich (ASCAP)
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Rondo in A minor for Viola and
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Joel Jacklich
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SheetMusicPlus
Chamber Orchestra - Level 5 - SKU: A0.723062 Composed by Joel Jacklich (ASCAP). Arranged by Joel Jacklich (ASCAP). Contemporary. Score and parts. 154 pa...
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Chamber Orchestra - Level 5 - SKU: A0.723062 Composed by Joel Jacklich (ASCAP). Arranged by Joel Jacklich (ASCAP). Contemporary. Score and parts. 154 pages. Joel Jacklich #2075161. Published by Joel Jacklich (A0.723062). This is an arrangement by the composer of his Rondo in A minor (originally written for Guitar and Orchestra) for Viola and Orchestra. There is also a version arranged for Cello and Orchestra. In October, 2014, after my most recent commission, the creative juices were still flowing, and I felt the urge to write a work for guitar and orchestra (which I had always wanted to do, partly inspired by the memories Pepe Romero's performances with my orchestra forty years earlier). Amazingly, within two days I had, except for a few minor corrections, a completed work. The result was the Rondo in A minor for Guitar and Orchestra, which I dedicated to my friend, Sir Pepe Romero, with the greatest respect and admiration. In December of 2014, I realized the work was easily accessible for either viola or cello and created versions of the piece for solo cello and orchestra, and also a version for solo viola and orchestra. The work is rondo-like in form, but does not strictly follow all the rules. The form of the work is a kind of a musical palindrome: A B A C A D A C A B A (including a cadenza in the final rondo statement). The presence of castanets gives the work a bit of a Spanish flair. The piece is scored for pairs of flutes, oboes, clarinets in A, bassoons, horns, and trumpets in C; with timpani, castanets, and strings (8,8,5,5,3). Parts for clarinets and trumpets in B-flat are included in the set for those orchestras lacking clarinets in A or trumpets in C.
$65.00 ≈
$88.90
Rondo in A minor for Cello and Orchestra
Rondo in A minor for Cello and Orchestra
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Orchestre de chambre
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AVANCÉ
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Contemporain
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Joel Jacklich
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Joel Jacklich (ASCAP)
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Rondo in A minor for Cello and
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Joel Jacklich
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SheetMusicPlus
Chamber Orchestra - Level 5 - SKU: A0.723064 Composed by Joel Jacklich (ASCAP). Arranged by Joel Jacklich (ASCAP). Contemporary. Score and parts. 157 pa...
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Chamber Orchestra - Level 5 - SKU: A0.723064 Composed by Joel Jacklich (ASCAP). Arranged by Joel Jacklich (ASCAP). Contemporary. Score and parts. 157 pages. Joel Jacklich #2075225. Published by Joel Jacklich (A0.723064). His is an arrangement by the composer of his Rondo in A minor (originally written for Guitar and Orchestra) for Cello and Orchestra. There is also a version arranged for Viola and Orchestra. In October, 2014, after my most recent commission, the creative juices were still flowing, and I felt the urge to write a work for guitar and orchestra (which I had always wanted to do, partly inspired by the memories Pepe Romero's performances with my orchestra forty years earlier). Amazingly, within two days I had, except for a few minor corrections, a completed work. The result was the Rondo in A minor for Guitar and Orchestra, which I dedicated to my friend, Sir Pepe Romero, with the greatest respect and admiration. In December of 2014, I realized the work was easily accessible for either viola or cello and created versions of the piece for solo cello and orchestra, and also a version for solo viola and orchestra. The work is rondo-like in form, but does not strictly follow all the rules. The form of the work is a kind of a musical palindrome: A B A C A D A C A B A (including a cadenza in the final rondo statement). The presence of castanets gives the work a bit of a Spanish flair. The piece is scored for pairs of flutes, oboes, clarinets in A, bassoons, horns, and trumpets in C; with timpani, castanets, and strings (8,8,5,5,3). Parts for clarinets and trumpets in B-flat are included in the set for those orchestras lacking clarinets in A or trumpets in C.
$65.00 ≈
$88.90
Maggiolata-Hubay-clarinet octet
Maggiolata-Hubay-clarinet octet
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Jeno Hubay
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Phil Beaman
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Maggiolata-Hubay-clarinet octe
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Phil Beaman
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SheetMusicPlus
Woodwind Ensemble Bass Clarinet,E-Flat Clarinet - Level 2 - SKU: A0.844681 Composed by Jeno Hubay. Arranged by Phil Beaman. Romantic Period,Standards. 1...
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Woodwind Ensemble Bass Clarinet,E-Flat Clarinet - Level 2 - SKU: A0.844681 Composed by Jeno Hubay. Arranged by Phil Beaman. Romantic Period,Standards. 17 pages. Phil Beaman #5017453. Published by Phil Beaman (A0.844681). Maggiolata is the Italian name of an ancient Spring Festival celebrated on May 1st, hence the subtitle Song of May. Jeno Hubay, Head of the Violin Dept at the Budapest Academy of Music, wrote this piece to be as light and celebratory as a perfect spring day. My arrangement abridges and slightly simplifies this classical standard which was originally written for Viola and Piano. I reduced it from 6 1/2 minutes to 2 1/2 minutes by focusing on the recapitulation of the main theme but also included opening and closing cadenzas. I have scored it for a Clarinet Octet; 1 Bb Clarinet solo, accompanied by 4 Bb Clarinet parts, 2 Eb Alto Clarinet parts, and 1 Bb Bass Clarinet part. The Soloist has the melody throughout. The other Clarinets and Alto Clarinets have occasional countermelody, but mostly pulse ensemble rich chords while the Bass Clarinet sits on pedal tones. Overall, it creates a rich, balanced Clarinet ensemble sound which utilizes the full range of the instrument. Fairly easy, but sounds more advanced with its full chords and the dramatic interpretation markings I have added.9 page score, 1 page parts; 17 pages total5 minutes with repeat
$13.99 ≈
$19.13
Legende-Wieniawski-Bb Clarinet duet
Legende-Wieniawski-Bb Clarinet duet
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2 Clarinettes (duo)
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FACILE
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H Wieniawski
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Phil Beaman
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Legende-Wieniawski-Bb Clarinet
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Phil Beaman
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SheetMusicPlus
Clarinet Duet Clarinet - Level 2 - SKU: A0.844705 Composed by H Wieniawski. Arranged by Phil Beaman. Romantic Period,Standards. 2 scores. 7 pages. Phil ...
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Clarinet Duet Clarinet - Level 2 - SKU: A0.844705 Composed by H Wieniawski. Arranged by Phil Beaman. Romantic Period,Standards. 2 scores. 7 pages. Phil Beaman #5311905. Published by Phil Beaman (A0.844705). Wieniawski's Legende is a repertoire standard that was originally written for Violin solo and Orchestra. I have greatly abridged and simplified the piece into a 2 part instrumental duet without losing any of the character of the Romantic piece. I have arranged themes from each of the three sections, keeping the original structure, but taking liberties such as changing phrasing, dynamics, adding my own markings, and even changing the Time Signature in certain passages. I begin with each instrument taking solo turns on the melody and end with a similar cadenza style set of solos for each instrument. The two parts are of equal importance and much of the character is in the interplay between the two instruments. This is a beautiful concert arrangement of a beloved classic.
$5.99 ≈
$8.19
Feast of Love - Clarinet/Piano
Feast of Love - Clarinet/Piano
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Clarinette
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FACILE
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Robert Franz
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Phil Beaman
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Feast of Love - Clarinet/Piano
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Phil Beaman
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SheetMusicPlus
Clarinet,Piano - Level 2 - SKU: A0.844545 Composed by Robert Franz. Arranged by Phil Beaman. Instructional,Romantic Period,Standards,Wedding. Score and ...
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Clarinet,Piano - Level 2 - SKU: A0.844545 Composed by Robert Franz. Arranged by Phil Beaman. Instructional,Romantic Period,Standards,Wedding. Score and part. 6 pages. Phil Beaman #3516953. Published by Phil Beaman (A0.844545). Robert Franz was a Romantic Era composer of lieder (German Art Song) whose pieces were highly praised by Schumann. When I removed the important lyrics from Feast of Love in order to make an accompanied instrumental solo I needed to convey the passionate drama just in the music. I changed a simple strophic form into an ABA Coda with every verse getting a different treatment. My harmony is much richer and more varied than the original. I added new articulations, dynamics, and other markings as well as a cadenza for one of the bridges. Excellent piece for a student to learn Romantic characteristics of expression, phrase shaping, and sempre rubato. This song is also excellent for Weddings. Alternative translations of the title are Celebration of Love and Love's Fire. You can definitely feel the fire and passion in this beautiful piece!This arrangement is not difficult to play, but is marked Early Intermediate because it requires musicianship to play well.3 minutes4 pages score, 2 page solo partTemporary recording of piano reduction of full score.
$4.99 ≈
$6.82
Feast of Love - Bass Clarinet/Piano
Feast of Love - Bass Clarinet/Piano
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Clarinette Basse, Piano
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FACILE
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Robert Franz
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Phil Beaman
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Feast of Love - Bass Clarinet/
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Phil Beaman
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SheetMusicPlus
Bass Clarinet,Piano - Level 2 - SKU: A0.844548 Composed by Robert Franz. Arranged by Phil Beaman. Instructional,Romantic Period,Standards,Wedding. Score...
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Bass Clarinet,Piano - Level 2 - SKU: A0.844548 Composed by Robert Franz. Arranged by Phil Beaman. Instructional,Romantic Period,Standards,Wedding. Score and part. 6 pages. Phil Beaman #3517805. Published by Phil Beaman (A0.844548). Robert Franz was a Romantic Era composer of lieder (German Art Song) whose pieces were highly praised by Schumann. When I removed the important lyrics from Feast of Love in order to make an accompanied instrumental solo I needed to convey the passionate drama just in the music. I changed a simple strophic form into an ABA Coda with every verse getting a different treatment. My harmony is much richer and more varied than the original. I added new articulations, dynamics, and other markings as well as a cadenza for one of the bridges. Excellent piece for a student to learn Romantic characteristics of expression, phrase shaping, and sempre rubato. This song is also excellent for Weddings. Alternative translations of the title are Celebration of Love and Love's Fire. You can definitely feel the fire and passion in this beautiful piece!This arrangement is not difficult to play, but is marked Early Intermediate because it requires musicianship to play well.3 minutes4 pages score, 2 page solo partTemporary recording of piano reduction of full score.
$4.99 ≈
$6.82
Legende-Wieniawski-Oboe/Clarinet duet
Legende-Wieniawski-Oboe/Clarinet duet
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Hautbois, Clarinette (duo)
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FACILE
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H Wieniawski
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Phil Beaman
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Legende-Wieniawski-Oboe/Clarin
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Phil Beaman
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SheetMusicPlus
Instrumental Duet Clarinet,Instrumental Duet,Oboe - Level 2 - SKU: A0.844712 Composed by H Wieniawski. Arranged by Phil Beaman. Concert,Romantic Period,...
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Instrumental Duet Clarinet,Instrumental Duet,Oboe - Level 2 - SKU: A0.844712 Composed by H Wieniawski. Arranged by Phil Beaman. Concert,Romantic Period,Standards. Score and parts. 7 pages. Phil Beaman #5314663. Published by Phil Beaman (A0.844712). Wieniawski's Legende is a repertoire standard that was originally written for Violin solo and Orchestra. I have greatly abridged and simplified the piece into a 2 part instrumental duet without losing any of the character of the Romantic piece. I have arranged themes from each of the three sections, keeping the original structure, but taking liberties such as changing phrasing, dynamics, adding my own markings, and even changing the Time Signature in certain passages. I begin with each instrument taking solo turns on the melody and end with a similar cadenza style set of solos for each instrument. The two parts are of equal importance and much of the character is in the interplay between the two instruments. This is a beautiful concert arrangement of a beloved classic.
$5.99 ≈
$8.19
What Was I Made For?
What Was I Made For?
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Clarinette
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FACILE
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Film/TV
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Billie Eilish
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Cadenza Editions
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What Was I Made For?
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Cadenza Editions
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SheetMusicPlus
Clarinet Solo - Level 2 - SKU: A0.1341854 By Billie Eilish. By Billie Eilish O'Connell and Finneas O'Connell. Arranged by Cadenza Editions. Film/TV. Ind...
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Clarinet Solo - Level 2 - SKU: A0.1341854 By Billie Eilish. By Billie Eilish O'Connell and Finneas O'Connell. Arranged by Cadenza Editions. Film/TV. Individual part. 3 pages. Cadenza Editions #927364. Published by Cadenza Editions (A0.1341854).
$4.99 ≈
$6.82
What Was I Made For?
What Was I Made For?
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Clarinette
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FACILE
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Film/TV
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Billie Eilish
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Cadenza Editions
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What Was I Made For?
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Cadenza Editions
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SheetMusicPlus
Clarinet Solo - Level 2 - SKU: A0.1341865 By Billie Eilish. By Billie Eilish O'Connell and Finneas O'Connell. Arranged by Cadenza Editions. Film/TV. Ind...
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Clarinet Solo - Level 2 - SKU: A0.1341865 By Billie Eilish. By Billie Eilish O'Connell and Finneas O'Connell. Arranged by Cadenza Editions. Film/TV. Individual part. 3 pages. Cadenza Editions #927376. Published by Cadenza Editions (A0.1341865).
$4.99 ≈
$6.82
Rose-Noskowski-Alto Clarinet-Piano
Rose-Noskowski-Alto Clarinet-Piano
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Clarinette et Piano
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INTERMÉDIAIRE
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Z Noskowski
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Phil Beaman
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Rose-Noskowski-Alto Clarinet-P
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Phil Beaman
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SheetMusicPlus
E-Flat Clarinet,Piano - Level 3 - SKU: A0.845333 Composed by Z Noskowski. Arranged by Phil Beaman. Romantic Period,Wedding. Score and part. 7 pages. Phi...
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E-Flat Clarinet,Piano - Level 3 - SKU: A0.845333 Composed by Z Noskowski. Arranged by Phil Beaman. Romantic Period,Wedding. Score and part. 7 pages. Phil Beaman #6759845. Published by Phil Beaman (A0.845333). In 1897 the great Polish composer Zygmund Noskowski composed four characteristic pieces for piano, each piece evoking a different spring flower. This duet between an Instrumental Solo and piano is my arrangement of Rose from Fleurs du Printemps, Op 48 (Rose, from Flowers of Spring).It is expressive, portraying the beauty of the Rose. I have added considerable markings of articulation and dynamics and phrasing to bring out this expressiveness. I have also changed the tempos to create more emotional variety between the thematic sections and I wrote a new ending with an Instrumental cadenza. The solo instrument plays the various melodic themes while I created a new piano part based on the original chords. The melody contains many accidentals as is typical in the Romantic period. Accessible for the average player yet with enough markings and nuances to satisfy expert players with the results. Definitely a concert or audition piece to show musicianship. Also well suited for Wedding music. Solo range - nearly 2 octaves (14th)5 page score, 2 page part2:35 minutes
$5.99 ≈
$8.19
Rose-Noskowski-Clarinet-Piano
Rose-Noskowski-Clarinet-Piano
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Clarinette
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INTERMÉDIAIRE
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Z Noskowski
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Phil Beaman
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Rose-Noskowski-Clarinet-Piano
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Phil Beaman
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SheetMusicPlus
Clarinet,Piano - Level 3 - SKU: A0.845318 Composed by Z Noskowski. Arranged by Phil Beaman. Concert,Romantic Period,Wedding. Score and part. 7 pages. Ph...
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Clarinet,Piano - Level 3 - SKU: A0.845318 Composed by Z Noskowski. Arranged by Phil Beaman. Concert,Romantic Period,Wedding. Score and part. 7 pages. Phil Beaman #6753011. Published by Phil Beaman (A0.845318). In 1897 the great Polish composer Zygmund Noskowski composed four characteristic pieces for piano, each piece evoking a different spring flower. This duet between an Instrumental Solo and piano is my arrangement of Rose from Fleurs du Printemps, Op 48 (Rose, from Flowers of Spring).It is expressive, portraying the beauty of the Rose. I have added considerable markings of articulation and dynamics and phrasing to bring out this expressiveness. I have also changed the tempos to create more emotional variety between the thematic sections and I wrote a new ending with an Instrumental cadenza. The solo instrument plays the various melodic themes while I created a new piano part based on the original chords. The melody contains many accidentals as is typical in the Romantic period. Accessible for the average player yet with enough markings and nuances to satisfy expert players with the results. Definitely a concert or audition piece to show musicianship. Also well suited for Wedding music. Solo range - nearly 2 octaves (14th)5 page score, 2 page part2:35 minutes
$5.99 ≈
$8.19
Maggiolata-Hubay-Clarinet/Organ
Maggiolata-Hubay-Clarinet/Organ
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Clarinette, Orgue
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FACILE
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Jeno Hubay
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Phil Beaman
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Maggiolata-Hubay-Clarinet/Orga
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Phil Beaman
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SheetMusicPlus
Instrumental Duet Clarinet,Instrumental Duet,Organ - Level 2 - SKU: A0.844663 Composed by Jeno Hubay. Arranged by Phil Beaman. Romantic Period,Standards...
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Instrumental Duet Clarinet,Instrumental Duet,Organ - Level 2 - SKU: A0.844663 Composed by Jeno Hubay. Arranged by Phil Beaman. Romantic Period,Standards,Wedding. Score and parts. 4 pages. Phil Beaman #4897173. Published by Phil Beaman (A0.844663). Maggiolata is the Italian name of an ancient Spring Festival celebrated on May 1st, hence the subtitle Song of May. Jeno Hubay, Head of the Violin Dept at the Budapest Academy of Music, wrote this piece to be as light and celebratory as a perfect spring day. My arrangement abridges and slightly simplifies this classical standard. I reduced it from 6 1/2 minutes to 2 1/2 minutes by focusing on the recapitulation of the main theme but also included opening and closing cadenzas. Most of the expression markings are my own additions. I have scored it as an Instrumental Solo with an Organ accompaniment but a Piano accompaniment could be easily adapted from this. This arrangement, with an octave and a half solo range, is easy enough to be accessible for most players and its beautiful melody will have you singing and longing for spring. 3 page score, 1 page part5:00 minutes with repeatrecording is Violin and piano version
$5.99 ≈
$8.19
Claude Debussy: Sérénade for violin and 17 instrments, full score and solo part only (parts on ren
Claude Debussy: Sérénade for violin and 17 instrments, full score and solo part only (parts on ren
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Orchestre de chambre
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Claude Debussy/Robert Orledge
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Claude Debussy: Sér&eac
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Musik Fabrik Music Publishing
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SheetMusicPlus
Chamber Orchestra - Level 4 - SKU: A0.1080705 Composed by Claude Debussy/Robert Orledge. 20th Century,Romantic Period,Standards. Score and parts. 30 pag...
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Chamber Orchestra - Level 4 - SKU: A0.1080705 Composed by Claude Debussy/Robert Orledge. 20th Century,Romantic Period,Standards. Score and parts. 30 pages. Musik Fabrik Music Publishing #4727447. Published by Musik Fabrik Music Publishing (A0.1080705). Instrumentation2 flûtes/2 flutescor anglais (doublant hautbois/doubling oboe)clarinette en La/clarinet in Abasson/bassooncor en Fa/horn in Fpercission (1 éxecutant - timbales (3)/cymbale suspendue, tambour de basque)/percussion (1 performer - timpani (3)/suspended cymbal, tambourine)harpe/harp9 cordes/9 strings (2.2.2.2.1)durée/duration: 5 minutes 30 secconds (environ/approx.) Une versions pour violon et piano ainsi qu’une version pour violon et orchestre (31CA(hb)23/2100/timb/perc/hpe/cordes)est également disponibile/A version for violin and piano as well as a version for violin and orchestra (31EH(ob)23/2100/timp/perc/strings) is also available.______________________Prmière: Edmond Agapian, violin with the Calagray (CA) Youth orchestra, cond. Gareth Jones, University of Calgary, 28 Janaury, 2011Première of the version for violin and 17 instruments: Frédéric Moisan, violin Orchestre 21 cond. Paolo Bellomio, Unveristy of Montreal, Canada, 2 March 2012Preface:In the early 1890s, Debussy composed the opening of a lyrical piece in E major for violin and piano, perhaps as a shorter companion piece for the violin Nocturne he was planning for the Belgian violinist Eugène Ysaÿe. After Debussy’s death in 1918, his second wife Emma often gave away sketch pages to performers or composers as memorials to her beloved husband , and this particular page was given to the Cuban born pianist and composer Joaquin Nin (1879-1949). It came up for sale in the catalogue of the British antiquarian dealer Lisa Cox in 2010 and although it might possibly be an early song for contralto and piano, the more dynamic idea in bar 12 strongly suggests the violin, especially as it begins on an open D string. Moreover, there is no text and in pieces of this length, Debussy usually wrote at least one word in, if only to remind himself where he had got to in any song. So my starting point was a complete 12-bar melody gently undulating in the violin’s lowest register over a sensual accompaniment, rising to a climax in bar 12 and giving me a contrasting idea that I could use as a link between sections and in the cadenza. As the B section (bars 14-26) derives directly from Debussy’s opening theme by metamorphosis, my own additions were restricted to the central section (bars 27-57) - comprising a new scherzando idea (C) and the more lyrical D (bars 36-46). C returns at bar 47, followed by the opening sections in reverse order, so that the Sérénade begins and ends with Debussy’s material and is cast in arch form (ABCDCBA). Robert OrledgeBrighton, 19 June 2019Robert Orledge was born in Bath in 1948 and educated at Clare College, Cambridge, where he gained his doctorate for his study of the composer Charles Kœchlin in 1973. Between 1971 and 1991 He rose from Lecturer to Professor in the Music Department of the University of Liverpool, publishing books on Gabriel Fauré, Claude Debussy, Charles Kœchlin and Erik Satie, as well as numerous articles, editions and reviews. As a historical musicologist, Professor Orledge specialized in the way composers composed, ,and since taking early retirement in 2004, he has concentrated on completing and orchestrating Debussy’s unfinished works, and especially his theatre projects. His completion of Debussy’s opera The Fall of the House of Usher (1908-17) was successfully premiered at the Bregenz Opera Festival in Austria in August 2006 and has since been performed in America, Portugal Germany and Holland, as well as being broadcast throughout Europe. A DVD of the Bregenz premier is available on Capriccio 93517, produced by Phylida Lloyd and conducted by Lawrence Foster. His completion of the Chinese ballet No-ja-li ou Le Palais du Silence (1914) was also premiered in 2006 in Los Angeles and ot.
$16.95 ≈
$23.18
Concertino - for clarinet, mandolin and symphony orchestra
Concertino - for clarinet, mandolin and symphony orchestra
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Orchestre de chambre
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Klezmer
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Ofer Ben-Amots
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praise Him in the heights
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Concertino - for clarinet, man
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The Composer's Own Press
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SheetMusicPlus
Chamber Orchestra - SKU: A0.944032 Composed by Ofer Ben-Amots. Contemporary,Jewish,World. Score and parts. 118 pages. The Composer's Own Press #4610029....
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Chamber Orchestra - SKU: A0.944032 Composed by Ofer Ben-Amots. Contemporary,Jewish,World. Score and parts. 118 pages. The Composer's Own Press #4610029. Published by The Composer's Own Press (A0.944032). CONCERTINO, for Clarinet, Mandolin, and Orchestra CONCERTINO was officially commissioned in 2011 by the Geneva Chamber Orchestra. The composition explores the sound combination of two, seemingly opposing, instruments and sound characters: the clarinet and the mandolin. Thus, the three-movement work is a short double-concerto for clarinet and mandolin, accompanied by a chamber orchestra. The first movement, titled Psalm 148 and is a mixture of a coronation fanfare and a wild improvisatory-like dance. The music is based on the structure and ideas expressed in the 148th Psalm. For the transformation of this Psalmodic text into music I was concerned with two elements: first, the linguistic pulse of the ancient Biblical Hebrew gives the music its ever-changing meters and vibrant rhythms. The second element was the poetic concept presented in the text: Heaven vs. Earth, Universe vs. Planet, or Heights vs. Depths. The contrasting nature of these elements is described in the following verses: Hallelujah, Praise ye the LORD from the heavens; praise Him in the heights. (Psalm 148, verse 1) Praise the LORD from the earth, ye sea-monsters, and all deeps. (Psalm 148, verse 7) Finally, both Heaven and Earth join in praise together: Let them praise the name of the LORD, for His name alone is exalted; His glory is above the earth and heaven. (Psalm 148, verse 13) The musical expression of these contraries is reflected and the use of high-range and soprano instruments (flutes, clarinet, trumpets, violins) versus low-range instruments (trombone, bassoons, cellos and basses.) The second movement, Romacero Viejo (and old love song) is a slow, lyrical dirge-like melody in a Sephardic Judeo-spanish style. In this movement the mandolin plays in the manner of an Oud – a traditional pear-shaped Arabic lute. The harmony sits mostly on a single pedal note while the clarinet imitates the chant with rhythmically free ornatmental patterns. The third and final movement, Allegro con brio, is a festive klezmer dance with a traditional Bulgar (or Freylech) rhythm, where the regular 8/8 meter is constantly divided into the irregular count of: 3+3+2. In the middle of this movement the two soloists play a cadenza, which allows them to present their contrasting yet complementary instrumental characters. The movement is titled The Geneva Bulgar in honor of the City of Geneva and the wonderful memories I have been carrying with me ever since my time there as a young student at the Conservatoire de Musique. Total duration: ca. 23 min.Performance material by rental only! For demo recording, questions, or any additional information please e-mail Ofer Ben-Amots at: thecomposerspress@gmail.com
$54.00 ≈
$73.86
Legende-Wieniawski-Alto Clarinet duet
Legende-Wieniawski-Alto Clarinet duet
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H Wieniawski
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Phil Beaman
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Legende-Wieniawski-Alto Clarin
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Phil Beaman
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SheetMusicPlus
Instrumental Duet E-Flat Clarinet,Instrumental Duet - Level 2 - SKU: A0.844709 Composed by H Wieniawski. Arranged by Phil Beaman. Romantic Period,Standa...
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Instrumental Duet E-Flat Clarinet,Instrumental Duet - Level 2 - SKU: A0.844709 Composed by H Wieniawski. Arranged by Phil Beaman. Romantic Period,Standards. Score and parts. 7 pages. Phil Beaman #5311977. Published by Phil Beaman (A0.844709). Wieniawski's Legende is a repertoire standard that was originally written for Violin solo and Orchestra. I have greatly abridged and simplified the piece into a 2 part instrumental duet without losing any of the character of the Romantic piece. I have arranged themes from each of the three sections, keeping the original structure, but taking liberties such as changing phrasing, dynamics, adding my own markings, and even changing the Time Signature in certain passages. I begin with each instrument taking solo turns on the melody and end with a similar cadenza style set of solos for each instrument. The two parts are of equal importance and much of the character is in the interplay between the two instruments. This is a beautiful concert arrangement of a beloved classic.
$5.99 ≈
$8.19
Choral
Choral
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Barbara Heller
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Choral
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Schott Music - Digital
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SheetMusicPlus
Clarinet in Bb and organ - easy to intermediate - SKU: S9.Q41692 For Elke Mascha Blankenburg. Composed by Barbara Heller. This edition: Sheet mus...
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Clarinet in Bb and organ - easy to intermediate - SKU: S9.Q41692 For Elke Mascha Blankenburg. Composed by Barbara Heller. This edition: Sheet music. Clarinet Library. Dieser Orgelchoral mit Soloklarinette folgt in der formalen Anlage einem Jüdischen Totengebet. Dabei steht die Soloklarinette für den Gesang des traditionellen Vorbeters, die Orgel mimt den Nachgesang der Synagogengemeinde. Downloadable. Duration 8 minutes. Schott Music - Digital #Q41692. Published by Schott Music - Digital (S9.Q41692). The formal structure of this organ chorale with solo clarinet follows a Jewish death prayer. The solo clarinet represents the chant of the traditional prayer leader while the organ plays the response of the congregation of the synagogue. The piece ends with a cadenza of the solo clarinet to which an optional organ improvisation can be added. Barbara Heller dedicated this chorale to the memory of Elke Mascha Blankenburg (1943–2013). Talking about her before the first performance, the composer said: ‘She was open-hearted with a really tender soul, very trusting. Her creativity knew no limits; she was also an almost fanatical campaigner for music by women. In the music you will hear now I have attempted to convey some aspects of her personality: charming, loving, obstinate, committed, volatile, tragic, crazy, untamed, tender and anguished.’ The various sections of this chorale may be performed in a correspondingly contrasting manner: searching, hesitant, visionary, focused, volatile, accusatory, hopeful, etc., with use of rubato and powerful contrasts in dynamic and tone quality.
$11.99 ≈
$16.40
Maggiolata-Hubay-Bass Clarinet/Organ
Maggiolata-Hubay-Bass Clarinet/Organ
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Jeno Hubay
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Phil Beaman
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Maggiolata-Hubay-Bass Clarinet
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Phil Beaman
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SheetMusicPlus
Instrumental Duet Bass Clarinet,Instrumental Duet,Organ - Level 2 - SKU: A0.844664 Composed by Jeno Hubay. Arranged by Phil Beaman. Romantic Period,Stan...
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Instrumental Duet Bass Clarinet,Instrumental Duet,Organ - Level 2 - SKU: A0.844664 Composed by Jeno Hubay. Arranged by Phil Beaman. Romantic Period,Standards,Wedding. Score and parts. 4 pages. Phil Beaman #4897175. Published by Phil Beaman (A0.844664). Maggiolata is the Italian name of an ancient Spring Festival celebrated on May 1st, hence the subtitle Song of May. Jeno Hubay, Head of the Violin Dept at the Budapest Academy of Music, wrote this piece to be as light and celebratory as a perfect spring day. My arrangement abridges and slightly simplifies this classical standard. I reduced it from 6 1/2 minutes to 2 1/2 minutes by focusing on the recapitulation of the main theme but also included opening and closing cadenzas. Most of the expression markings are my own additions. I have scored it as an Instrumental Solo with an Organ accompaniment but a Piano accompaniment could be easily adapted from this. This arrangement, with an octave and a half solo range, is easy enough to be accessible for most players and its beautiful melody will have you singing and longing for spring. 3 page score, 1 page part5:00 minutes with repeatrecording is Violin and piano version
$5.99 ≈
$8.19
Concerto for Eb Clarinet and Clarinet Choir from Vivaldi Piccolo Concerto RV 443
Concerto for Eb Clarinet and Clarinet Choir from Vivaldi Piccolo Concerto RV 443
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Antonio Vivaldi
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Alan Edgar
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Concerto for Eb Clarinet and C
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Alan Edgar Ted Moon
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SheetMusicPlus
Woodwind Ensemble Clarinet - Level 5 - SKU: A0.1425377 Composed by Antonio Vivaldi. Arranged by Alan Edgar. Baroque. 86 pages. Alan Edgar Ted Moon #1006...
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Woodwind Ensemble Clarinet - Level 5 - SKU: A0.1425377 Composed by Antonio Vivaldi. Arranged by Alan Edgar. Baroque. 86 pages. Alan Edgar Ted Moon #1006198. Published by Alan Edgar Ted Moon (A0.1425377). VIVALDI RV 443 PICC CONCERTO ARR FOR EB CLARINET AND CLARINET CHOIR. Essential: Eb soloist, Bb1,2,3 or Alto, Bass. Optional Contra-alto, Contrabass. This Concerto in C Major for flautino RV443 dates from1728-29. It was probably composed for the Ospedale della Pietà in Venice, the convent/orphanage with which he was affiliated.. The girls of the Pietà were famous throughout Europe for their musical performances. . Since the term “flautino” was not generally used in Vivaldi’s day, scholars have speculated ever since about what instrument Vivaldi had in mind. The leading candidate is the sopranino recorder. However, later in the 18th century the transverse flute replaced the recorder in general use, and a new edition of RV 443 was published for the piccolo, a member of the flute family.There are several passages with only the bass line accompanying, and no figures, so I have realised some of these. Some of the accompaniment rhythm patterns, originally for strings, seem too heavy-footed on clarinets, so I have made a few tiny modifications in them. The cadenza, all the articulations and dynamics are mine. 9 minutes if the soloist is very agile.
$40.00 ≈
$54.71
Con-Tse-To
Con-Tse-To
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Saxophone Alto et Piano
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INTERMÉDIAIRE
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Jazz
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Gregory Fritze
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Con-Tse-To
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Musica Nova USA
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SheetMusicPlus
Composed by Gregory Fritze. 21st Century, Contemporary Classical, Post-Modern, Jazz, Bebop. Piano Reduction, Solo Part. 44 pages. Published by Musica ...
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Composed by Gregory Fritze. 21st Century, Contemporary Classical, Post-Modern, Jazz, Bebop. Piano Reduction, Solo Part. 44 pages. Published by Musica Nova USA
Con-Tse-To ? a Concerto for Alto Saxophone and Concert Band was composed in 2013 at the request of Kenneth Tse. It is in three movements ? 1. Pasodoble Melanie, 2. Lamento and 3. Danza Jubiloso. First performance was July 14, 2013 for the Hong Kong International Saxophone Symposium at the Hong Kong Academy for Performing Arts. Hong Kong Chamber Wind Philharmonic; Victor Tam, Conductor; Kenneth Tse, Saxophone Soloist.
The first movement ? Pasodoble Melanie, is in the traditional form of the march in Spain knownas the Pasodoble. It has a beginning theme in traditional march style using Spanish flavor harmoniesand melodies. As the Spanish pasodoble is in the same form as American marches, the second theme isthe ?Trio? section. In the Spanish pasodoble, it is customary to have the first presentation of this secondtheme played extremely softly in the clarinets. It is also common during the repeat of the Trio to have a soloist such as a piccolo displaying an obligato of great virtuosic melodies in counterpoint to the clarinets. I felt this would be a very appropriate place for an alto saxophone obligato. In this pasodoble the thirdpresentation of the Trio is shortened to allow for the first cadenza. Since I met Kenneth Tse for the first time in Buol (Valencia), Spain, I thought it would be very appropriate to use this traditional form for the firstmovement for his concerto. It is a Spanish custom for a composer to give a pasodoble composition as a gift such as to a musician or politician and the title of the piece often references the name of recipient?s wife. Kenneth Tse?s wife?s name is Melanie so this movement is dedicated to her.
The second movement ? Lamento was adapted from a melody of mine ?El ao del Trumpetista? originally composed in 2010. I thought the beautiful sound of Dr. Tse?s saxophone playing would be very complimentary for this melody.
The third movement ? Danza Jubiloso is in allegro tempo with the first theme based on leaps of afourth and an octave in duple meter. The second theme is mostly in 7/8 meter. There is also a bit of a jazz element of harmonies and the added instruments of a drum set and jazz double bass in pizzicato.
Con-Tse-To was awarded Finalist category in the Band Composition Competition of the American Prize in 2017. One of only two Concertos with Band awarded that year. The full band instrumentation is available on Musica Nova USA.
Gregory Fritze is a prize-winning composer and Fulbright Scholar, as well as an active performer. He recently retired from Berklee College of Music where he was Professor and Chair of Composition, serving on the faculty from 1979 to 2016. He has written over ninety compositions for orchestra, band, chamberensembles and soloists. He has won over fifty composition awards both nationally and internationally. His compositions include works published by several publishers in the United States, South America and Europe that have been performed extensively throughout the world.
He has been a frequent traveler to Spain since 1993 and has promoted compositions by Spanish composers around the world. He is the only composer who has been commissioned six times by Spanishbands for Certamen competitions, with each band winning first prize.
His compositions are recorded on Albany Records, MSR Classics, Crystal Records, Mark Records and others. He has been a guest lecturer, conductor and performer at many colleges, universities and music festivals in the United States, Canada, Japan, South America and Europe. He was born in Allentown, Pennsylvania in 1954 and has Composition degrees from the Boston Conservatory and Indiana University. He now resides in Daytona Beach Shores, Florida.
The piano transcription was done by Derek Reme?.
$20.00 ≈
$27.35
Six Preludes
Six Preludes
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Piano seul
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INTERMÉDIAIRE
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Ho Jie Rong
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Six Preludes
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Ho Jie Rong
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SheetMusicPlus
Piano Solo - Level 3 - SKU: A0.1011289 Composed by Ho Jie Rong. Contemporary,Standards. Score. 13 pages. Ho Jie Rong #5794097. Published by Ho Jie Rong ...
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Piano Solo - Level 3 - SKU: A0.1011289 Composed by Ho Jie Rong. Contemporary,Standards. Score. 13 pages. Ho Jie Rong #5794097. Published by Ho Jie Rong (A0.1011289). I am a Singaporean pianist and composer. I have studied the piano since 5 years old under Mr Joseph Toh and I graduated from LASALLE College of the Arts with a Diploma in Music in 2013, majoring in Music Composition under Malaysian composer Mr Chong Kee Yong and Singaporean composer Mrs Joyce Koh Bee Tuan. About Six Preludes I started composing this set of Six Preludes for piano in 2014 and revised in 2020. The first piece of this set is Walking. There are different types of walks one can imagine. Octaves in the left hand at the opening represents walking sluggishly, whilst the middle section’s running right hand and jokingly bass notes representing a quick stroll. The Adagio recititavo part represents tip-toeing and finally the quasi cadenza part represents a trip on the floor, ouch! The second piece, which is nicknamed Joke, is a parody of Chopin’s Scherzo no. 1 in B minor, Op. 20. Take this piece as a lame unfunny joke, as in the slow coda, which is a sigh after listening to this joke. Night Song, as the name says, means a piece to be played at night, most commonly associate with pieces like Nocturnes, Barcarolles etc. The fourth piece, Chopin, is a homage to Chopin. I chose his Prelude in G and B flat minor, Op. 28 no. 3 and no. 16 respectively as sources of inspirations. Vision is a poly-tonality piece. Sometimes what we think or see, may not always end up the way it is. Hence, I hope to create this double effect by using the keys at the same time. The final piece of this set is a Fughetta. A fughetta is a small fugue. This piece is actually a piano transcription of the 3rd movement of my Three Colours (for Clarinet in B flat, Violin and Cello) which is composed and premiered in 2012. I revised and edited some sections. This is a 12-tone work. The P0 and R0 makes up the subject of this piece, while R11 makes up the countersubject. Six Preludes is dedicated to my friend Ng Yu Fei.
$6.00 ≈
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Cadenza I for Solo Clarinet
