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Clarinet Note Recognition
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Vous avez sélectionné:
Clarinet Note Recognition
Partitions à imprimer
8 partitions trouvées
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1
Clarinet Note Recognition
Clarinet Note Recognition
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Clarinette
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DÉBUTANT
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Tyler Dahl
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Clarinet Note Recognition
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Tyler Dahl
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SheetMusicPlus
Clarinet Solo - Level 1 - SKU: A0.1300355 Composed by Tyler Dahl. Instructional. Individual part. 7 pages. Tyler Dahl #890081. Published by Tyler Dahl (...
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Clarinet Solo - Level 1 - SKU: A0.1300355 Composed by Tyler Dahl. Instructional. Individual part. 7 pages. Tyler Dahl #890081. Published by Tyler Dahl (A0.1300355). Fully written out warm-up to reinforce note recognition and intervals.
$1.99 ≈
$2.73
Kyrie (Durante) (Woodwind Quartet - 1 Flute, 1 Oboe, 1 Clar, 1 Bassoon)
Kyrie (Durante) (Woodwind Quartet - 1 Flute, 1 Oboe, 1 Clar, 1 Bassoon)
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Flûte, Hautbois, Clarinette, Basson
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INTERMÉDIAIRE
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Francesco Durante
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Regis Bookshar
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Kyrie
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Regis Bookshar
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SheetMusicPlus
Woodwind Ensemble,Woodwind Quartet Bassoon,Clarinet,Flute,Oboe - Level 3 - SKU: A0.1092511 Composed by Francesco Durante. Arranged by Regis Bookshar. Ba...
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Woodwind Ensemble,Woodwind Quartet Bassoon,Clarinet,Flute,Oboe - Level 3 - SKU: A0.1092511 Composed by Francesco Durante. Arranged by Regis Bookshar. Baroque,Instructional,Sacred. 7 pages. Regis Bookshar #696601. Published by Regis Bookshar (A0.1092511). Kyrie - by Francesco Durante; Woodwind Quartet – Intermediate – . “Kyrieâ€, originally written for a four-part vocal ensemble by Francesco Durante, has now been transcribed, edited and arranged by Regis Bookshar, for a Woodwind Quartet, consisting of 1 Flute, 1 Oboe, 1 Bb Clarinet and 1 Bassoon. It would be a welcomed addition to any music library. This short composition, which lasts less than two minutes, will provide many students with the opportunity to practice breath control because of its long phrases, and to help them to continue to develop good intonation because many of the phrases cadence on a unison note. This selection could be performed for concerts, recitals and church services. It is suitable for high school and college students but professional musicians would also enjoy playing this selection. Included are a score and a complete set of parts (7 pages). This selection is one of the many arrangements from the Regis Bookshar Trumpet Ensemble’s extensive music library which are being made available for the first time. We have performed the Trumpet Quartet version of this composition for many church services, especially funerals, when we were asked to supply something more somber and introspective rather than the louder, more festive music which many people come to expect from a Trumpet Ensemble. Francesco Durante was an Italian composer who was born on March 31, 1684 at Frattamaggiore, in the Kingdom of Naples. At an early age he entered the Conservatorio dei poveri di Gesu Cristo, in Naples, where he received lessons from Gaetano Greco. Later he became a pupil of Alessandro Scarlatti at the Conservatorio di Sant’Onofrio. He is said to have succeeded Scarlatti in 1725 at Sant’Onofrio and to have remained there until 1742, when he succeeded Nicola Porpora as head of the Conservatorio di Santa Maria de Loreto, also in Naples. He held this post for thirteen years, until his death on September 30, 1755. His fame as a teacher was considerable, and, unlike his Neapolitan contemporaries, who attracted international notice with their operas, Francesco Durante achieved recognition through his church music, along with some vocal chamber and instrumental works. His concern was not quantity. A complete collection of Durante’s works, consisting almost exclusively of sacred music, was presented by Gaspare Selveggi, a Neapolitan art collector and music theorist, to the Bibliotheque Nationale in Paris. The imperial library of Vienna also preserves a valuable collection of Durante’s manuscripts. The fact that Durante never composed for the stage brought him an exaggerated reputation as a composer of sacred music. He was considered one of the best church composers of his style and period. In his masses, requiems, litanies and Lamentations, he could provide strong expressive moments, as he does in this “Kyrieâ€. In addition to this arrangement for a Woodwind Quartet, Regis Bookshar has also made other arrangements of this selection. There are Quartets readily available for a wide variety of instrumental ensembles. Please take the time to look for other versions of this composition. You may find something else that may also suit your needs. I would also encourage you to search for other arrangements by Regis Bookshar, as well, as there are numerous arrangements in a variety of styles, also available for purchase. You may find something else which might interest you. Please continue to check periodically because new arrangements are being added as often as possible. I’m certain that this beautiful arrangement of Francesco Durante’s “Kyrie†will continue to entertain both performers and audiences alike for years to come.
$10.00 ≈
$13.72
Kyrie (Durante) (Woodwind Quartet - 1 Flute, 1 Clar, 1 Hrn, 1 Bassoon)
Kyrie (Durante) (Woodwind Quartet - 1 Flute, 1 Clar, 1 Hrn, 1 Bassoon)
#
Flûte, Hautbois, Clarinette, Basson
#
INTERMÉDIAIRE
#
Francesco Durante
#
Regis Bookshar
#
Kyrie
#
Regis Bookshar
#
SheetMusicPlus
Woodwind Ensemble,Woodwind Quartet Bassoon,Clarinet,Flute,Oboe - Level 3 - SKU: A0.1092508 Composed by Francesco Durante. Arranged by Regis Bookshar. Ba...
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Woodwind Ensemble,Woodwind Quartet Bassoon,Clarinet,Flute,Oboe - Level 3 - SKU: A0.1092508 Composed by Francesco Durante. Arranged by Regis Bookshar. Baroque,Instructional,Sacred. 7 pages. Regis Bookshar #696598. Published by Regis Bookshar (A0.1092508). Kyrie - by Francesco Durante; Woodwind Quartet – Intermediate – . “Kyrieâ€, originally written for a four-part vocal ensemble by Francesco Durante, has now been transcribed, edited and arranged by Regis Bookshar, for a Woodwind Quartet, consisting of 1 Flute, 1 Bb Clarinet, 1 French Horn and 1 Bassoon. It would be a welcomed addition to any music library. This short composition, which lasts less than two minutes, will provide many students with the opportunity to practice breath control because of its long phrases, and to help them to continue to develop good intonation because many of the phrases cadence on a unison note. This selection could be performed for concerts, recitals and church services. It is suitable for high school and college students but professional musicians would also enjoy playing this selection. Included are a score and a complete set of parts (7 pages). This selection is one of the many arrangements from the Regis Bookshar Trumpet Ensemble’s extensive music library which are being made available for the first time. We have performed the Trumpet Quartet version of this composition for many church services, especially funerals, when we were asked to supply something more somber and introspective rather than the louder, more festive music which many people come to expect from a Trumpet Ensemble. Francesco Durante was an Italian composer who was born on March 31, 1684 at Frattamaggiore, in the Kingdom of Naples. At an early age he entered the Conservatorio dei poveri di Gesu Cristo, in Naples, where he received lessons from Gaetano Greco. Later he became a pupil of Alessandro Scarlatti at the Conservatorio di Sant’Onofrio. He is said to have succeeded Scarlatti in 1725 at Sant’Onofrio and to have remained there until 1742, when he succeeded Nicola Porpora as head of the Conservatorio di Santa Maria de Loreto, also in Naples. He held this post for thirteen years, until his death on September 30, 1755. His fame as a teacher was considerable, and, unlike his Neapolitan contemporaries, who attracted international notice with their operas, Francesco Durante achieved recognition through his church music, along with some vocal chamber and instrumental works. His concern was not quantity. A complete collection of Durante’s works, consisting almost exclusively of sacred music, was presented by Gaspare Selveggi, a Neapolitan art collector and music theorist, to the Bibliotheque Nationale in Paris. The imperial library of Vienna also preserves a valuable collection of Durante’s manuscripts. The fact that Durante never composed for the stage brought him an exaggerated reputation as a composer of sacred music. He was considered one of the best church composers of his style and period. In his masses, requiems, litanies and Lamentations, he could provide strong expressive moments, as he does in this “Kyrieâ€. In addition to this arrangement for a Woodwind Quartet, Regis Bookshar has also made other arrangements of this selection. There are Quartets readily available for a wide variety of instrumental ensembles. Please take the time to look for other versions of this composition. You may find something else that may also suit your needs. I would also encourage you to search for other arrangements by Regis Bookshar, as well, as there are numerous arrangements in a variety of styles, also available for purchase. You may find something else which might interest you. Please continue to check periodically because new arrangements are being added as often as possible. I’m certain that this beautiful arrangement of Francesco Durante’s “Kyrie†will continue to entertain both performers and audiences alike for years to come.
$10.00 ≈
$13.72
Funeral March of a Marionette
Funeral March of a Marionette
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Clarinette
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INTERMÉDIAIRE/AVANCÉ
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Charles Francois Gounod
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Spike Maiden Müller
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Funeral March of a Marionette
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Spike Maiden Mueller
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SheetMusicPlus
Clarinet,Piano - Level 4 - SKU: A0.850769 Composed by Charles Francois Gounod. Arranged by Spike Maiden Müller. Film/TV,Halloween,Romantic Period,Sta...
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Clarinet,Piano - Level 4 - SKU: A0.850769 Composed by Charles Francois Gounod. Arranged by Spike Maiden Müller. Film/TV,Halloween,Romantic Period,Standards. Score and part. 11 pages. Spike Maiden Mueller #6616393. Published by Spike Maiden Mueller (A0.850769). Here is an excellent arrangement of that perennial Hallowe'en favorite, Funeral March of a Marionette, by Charles Gounod. This piece gained instant recognition status as the theme music for the popular Alfred Hitchcock Presents, and is still associated with the late great film director. Players should note that most modern performances omit most of the repeats found in the original and preserved in this arrangement by Spike Maiden Müller.
$6.99 ≈
$9.59
Pitch and Rhythm - Treble Clef, Diatonic (Sight Reading Exercise Book)
Pitch and Rhythm - Treble Clef, Diatonic (Sight Reading Exercise Book)
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Methodes
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Nathan Petitpas - Dots and Bea
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I encourage you to use both
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Pitch and Rhythm - Treble Clef
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Dots and Beams
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SheetMusicPlus
Large Ensemble Alto Saxophone,Banjo,Baritone Saxophone,Clarinet,English Horn,Flute,Guitar,Harpsichord,Marimba,Oboe,Organ,Piano,Soprano Saxophone,Tenor Saxophone...
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Large Ensemble Alto Saxophone,Banjo,Baritone Saxophone,Clarinet,English Horn,Flute,Guitar,Harpsichord,Marimba,Oboe,Organ,Piano,Soprano Saxophone,Tenor Saxophone,Treble Clef Instrument,Trumpet,Ukulele,Vibraphone,Violin,Xylophone - Level 4 - SKU: A0.931832 Composed by Nathan Petitpas - Dots and Beams. Instructional. Score and parts. 124 pages. Dots and Beams #4269045. Published by Dots and Beams (A0.931832). Dots and Beams creates a wide variety of reading materials for musicians at all skill levels and for all instruments. The goal of Dots and Beams is to break music down into its elements and provide reading material focused on systematically developing each element in isolation. These books can be used in any number of ways and are an invaluable tool for creative musicians who enjoy inventing new exercises. In addition, these books make excellent, thoughtfully graduated sight-reading material for a wide range of ability levels from student to professional. This collection presents its user with a series of notes on a treble staff in the context of increasingly complex rhythmic material. The pitch material in this book is entirely diatonic with a space left at the beginning of each system in which one can write a key signature. Early chapters use only notes on the staff while subsequent chapters begin to add notes on ledger lines above and below the staff. Each chapter contains two exercises in each of the following time signatures: 2/4, 3/4, 4/4, 6/8, 9/8, and 12/8. This gives exercises in 2, 3, and 4 beats per bar in both simple and compound meters. From chapter to chapter the conceptual difficulty of the rhythmic material increases. The exercises in this collection are intentionally aimless, wandering, and difficult to internalize. They resemble standard melodies on the surface but don’t emphasize any particular tonal centre or harmonic movement. They are designed this way for several reasons. In keeping the melodic material as non-specific as possible the door is left open for the materials to be used in conjunction with any number of exercises, something that would be much more difficult with a composition that dictates the harmonic, melodic, and rhythmic phrasing. It also allows the user to read the exercises in any key signature, making this a great tool to help students learn to think in different keys. The unpredictability of these exercises also forces the user to process every note and rhythm as its own event without relying on pattern recognition or melodic and harmonic tendencies to help in figuring out the notes and rhythms. While I absolutely agree that the skill of predicting music’s direction from harmonic and melodic cues is an essential skill for any musician to develop, I think we will all agree that resources for this type of reading practice are already abundant. This collection, on the other hand, is designed to develop the user’s ability to process raw musical data. Once this skill is strengthened and internalized it is my belief that the act of reading more predictable and typically melodic music will be made much easier as the processing of notes and rhythms will be second nature, allowing the musician to focus on musicality. This book is a supplement to practising sight-reading using real music, not a replacement; I encourage you to use both. If this material is being used to practice sight-reading, it is encouraged to cycle through the exercises quickly rather than dwelling on a particular exercise for a long period of time. The goal in practising sight-reading is not to learn the material but to develop the skill of reading new material. Some suggestions for how to use this book include: Read each exercise in all 15 key signatures from 7 flats to 7 sharps. Practice key changes by writing in a different key signature for each system. Increase the challenge of the previous exercise by using a metronome on weak beats. For example, instead of putting the metronome click on each quarter-note in 4/4, play the exercise with the metronome giving the second eighth note of each beat, or the last sixteenth note, or beats 2 and 4. Be creative with this one, the possib.
$10.00 ≈
$13.72
Rhythm Only - Book 1 - Eighths and Sixteenths - Assorted Meters (Sight Reading Exercise Book)
Rhythm Only - Book 1 - Eighths and Sixteenths - Assorted Meters (Sight Reading Exercise Book)
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Methodes
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Nathan Petitpas - Dots and Bea
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Rhythm Only - Book 1 - Eighths
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Dots and Beams
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SheetMusicPlus
Large Ensemble Alto Recorder,Alto Saxophone,Banjo,Baritone Recorder,Baritone Saxophone,Bass Guitar,Bassoon,Cello,Clarinet,Double Bass,Drum Set,Drums,English Hor...
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Large Ensemble Alto Recorder,Alto Saxophone,Banjo,Baritone Recorder,Baritone Saxophone,Bass Guitar,Bassoon,Cello,Clarinet,Double Bass,Drum Set,Drums,English Horn,Euphonium,Flute,Hand Percussion,Handbell,Harmonica,Harpsichord,Marimba,Multi-Percussion,Oboe,Orff Instrument,Organ,Piano,Soprano Recorder,Soprano Saxophone,Tenor Recorder,Tenor Saxophone,Timpani,Trombone,Trumpet,Tuba,Ukulele,Vibraphone,Viola,Violin,Voice,Xylophone - Level 1 - SKU: A0.931835 Composed by Nathan Petitpas - Dots and Beams. Instructional. Score and parts. 137 pages. Dots and Beams #4776185. Published by Dots and Beams (A0.931835). This collection presents its user with a series of increasingly difficult rhythms on a single pitch. The rhythmic material in this series is organized into 10 difficulty levels. Each difficulty level contains four exercises in each of the following time signatures: 2/4, 3/4, 4/4, 6/8, 9/8, and 12/8. This gives exercises in 2, 3, and 4 beats per bar in both simple and compound meters. The first two exercises of each time signature have no ties while the remaining two exercises in each time signature include ties. In Book 1 of this series you’ll find difficulty levels 1 to 5, while Book 2 completes the set with levels 6 to 10. The exercises in this collection are intentionally random and difficult to internalize. They don’t follow any predictable or standard groove pattern, but instead are random successions of eighth- and sixteenth-note groupings within the prescribed difficulty level. In keeping the rhythmic material as unpredictable as possible the door is left open for the materials to be used in conjunction with any number of exercises, while forcing the user to process every rhythm as its own event without relying on pattern recognition to help in identifying the rhythms. To curate the difficulty of rhythm in as objective a way as possible I looked at all of the possible eighth-note and sixteenth-note groupings within the basic unit of one beat. Each difficulty level builds on the exercises of the previous by adding groupings that are slightly more conceptually challenging. Difficulty Level 9 contains all possible groupings, while Level 10 focuses on the more challenging groupings by omitting easy ones. Some suggestions for how to use this book include: Practice sight-reading. When doing so it is encouraged to cycle through the exercises quickly rather than dwelling on a particular exercise for a long period of time. The goal in practising sight-reading is not to learn the material but to develop the skill of reading new material. Use a metronome! The most important thing you can do with this material is learn how to read these rhythms and play them in time. Advanced metronome work: Place the metronome click on weak beats. With the metronome clicking only on the beat you run the risk of relying on the metronome to give you the time. Placing the metronome click on non-strong beats forces you to take responsibility for the time. For example, instead of putting the metronome click on each quarter-note in 4/4, play the exercise with the metronome giving the second eighth note of each beat, or the last sixteenth note, or beats 2 and 4, or only the downbeat of each bar. Be creative with this one! The possibilities are limitless. Develop independence between hands by playing a repeating pattern in one hand while reading an exercise in the other. Expand on this by adding patterns in hands and feet while reading a rhythm with a remaining limb. This is a great exercise for drummers and percussionists but any instrumentalist could benefit from coordination practice. Use these rhythms to practice scales. Instead of playing scales in straight sixteenth-notes, try playing them in the rhythms given in these exercises. Write in sticking patterns, dynamics, accents, phrase marks, or other articulations for you or your students to practice. If you’re not happy with the ties I included, feel free to add some of your own. Combine the above exercises in any way that you think will be beneficial to your practice. As with any of the Dots and Beams books, the uses for this particular collection are limited only by the imagination of the musician using it. I encourage anybody using this book to find as many uses for these exerci.
$10.00 ≈
$13.72
Garage Sale Llama
Garage Sale Llama
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3 Saxophones (trio)
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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Jeffrey Hoover
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Garage Sale Llama
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Musicart Publications
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SheetMusicPlus
Woodwind Ensemble,Woodwind Trio Alto Saxophone,Baritone Saxophone,Clarinet - Level 4 - SKU: A0.971660 Composed by Jeffrey Hoover. 20th Century,Contempor...
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Woodwind Ensemble,Woodwind Trio Alto Saxophone,Baritone Saxophone,Clarinet - Level 4 - SKU: A0.971660 Composed by Jeffrey Hoover. 20th Century,Contemporary. 30 pages. Musicart Publications #5992037. Published by Musicart Publications (A0.971660). Garage Sale Llama is for Bb clarinet and Eb Alto saxophone (or Eb baritone saxophone). Duration, 5 min. 30 sec. Garage Sale Llama is a humorous and energetic duo for clarinet and saxophone. About 2/3 of the way into the music, there is an optional narrative that the clarinetist can speak.The score and parts in this edition are arranged to be printed double-sided, with correct page turns.Program NoteA conversation recently overheard at a grocery store: 'Why do you go to garage sales? What do you buy at garage sales?' 'Anything and everything!' 'Anything, really? What about... a Llama? Would you buy a Llama at a garage sale?' 'Well?... Yes!... I'd buy a llama.'It was at a holiday party I had a close encounter with a garage sale llama. 'True story. The llama was in the back yard of the neighbor's house where the party was being held. Having a llama in the neighbor's backyard is wild, but to hear how the neighbor acquired the llama at a garage sale is unimaginable! Even Hollywood could not come up with such a tall tale. – Jeffrey HooverJeffrey Hoover's compositions- music ranging from soloist to symphony orchestra -have received recognition through the Universal Edition/SMP Press Contemporary Composition Award, the prestigious Trieste prize, the international Luigi Russolo competition, awards from Mu Phi Epsilon, the Lancaster Fine Arts Festival, grants, publications fellowships, and more than 25 commissions. He is a member of the ACME roster of Mu Phi Epsilon, recognized for distinguished achievement as a composer. One unique aspect of Hoover’s work is when he combines composition with his paintings, creating synergetic art that intrigues and captivate audiences and performers alike. His paintings are seen in exhibitions and in concerts where his paintings are projected while musicians perform his music. Hoover’s background as a performer includes both classical and jazz music, as saxophonist and conductor. His book The Arts and Society: Making New Worlds is published by Kendall Hunt Publishing.Hoover was born on September 11, 1959, in Anderson, Indiana. He holds a Ph.D. in Fine Arts (Composition and Interdisciplinary Fine Arts) from Texas Tech University, as well as an M.M. and a Bch.Sc. from Ball State University. His career in higher education has included both faculty and arts administration appointments. To learn more about Jeffrey Hoover's work, or for specific inquiries about his music, guest residencies/festivals, and commissions, please visit his website: https://jeffreyhooverart.wixsite.com/mysiteTo Contact Musicart PublicationsCarlos Rio, Editormusicart.publications.editor@gmail.com
$14.95 ≈
$20.51
Judas's Coins Of Silver
Judas's Coins Of Silver
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Mark G
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Judas's Coins Of Silver
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M.G.Turner
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SheetMusicPlus
Large Ensemble Bass Clarinet,Bass Drum,Cello,Flute,Piano,Timpani,Viola,Violin - Level 4 - SKU: A0.938562 Composed by Mark G. Turner. 20th Century,Contem...
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Large Ensemble Bass Clarinet,Bass Drum,Cello,Flute,Piano,Timpani,Viola,Violin - Level 4 - SKU: A0.938562 Composed by Mark G. Turner. 20th Century,Contemporary,Sacred. Score and parts. 22 pages. M.G.Turner #2081515. Published by M.G.Turner (A0.938562). This ensemble composition features an atmosphere creating introduction in the lower registers of bass clarinet, piano, cello and viola with an under-stated artistry. It seeks to capture the devious character of Judas, the betrayer, as a false disciple who used to rob from the ministry funds (John 12:6). It then moves into the Lord Jesus' recognition of him as His betrayer and Judas's evil deal with the Pharisees. The work culminates in 30 treble piano notes which represent the 30 pieces of silver which Judas received for betraying Jesus. The final cadence represents Judas's suicide as the son of perdition. As performers you will enjoy: (1.) creating the atmosphere, (2.) the subtle nuances in the dynamics and phraseology, (3.) the understated and yet dramatic bass clarinet, flute and violin melodies, (4.) the use of harmonics in the violin and the poignant closing section within which the piano melody grips the listener.
$1.99 ≈
$2.73
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Clarinet Note Recognition
