String Orchestra arrangement by Edgar Meyer
Strings & Threads Suite
SKU: HL.49001838
ISBN 9790001024358. UPC: 884088026738. 9.0x12.0x0.082 inches.
String Orchestra and Basso continuo; Woodwinds ad lib.
SKU: BT.DHP-1094806-401
ISBN 9789043132657. 9x12 inches. English.
ESSENTIAL CLASSICS is a collection of pieces ideally suited to introduce beginning bands, whether in or outside of school, to the classical repertoire. The easy arrangements make the most popular melodies of all time accessible to young musicians, without the frustration of playing music that is too difficult for them. Now they can enjoy music from instrumental works and operas to oratorios and lieder, from Tylman Susato to George Gershwin. The pieces are arranged in ascending order of difficulty, coinciding with the progress students are making in Volumes 1 and 2 of ESSENTIAL ELEMENTS the complete method for music education in schools and bands. But even without ESSENTIALELEMENTS, ESSENTIAL CLASSICS is an excellent source of repertoire by itself. In addition to the music the individual parts contain short snippets of information about the music, composer and genre, written in a style younger players will understand. The full score contains more in-depth information on the music. No matter how you use ESSENTIAL CLASSICS with your band, your players will love all the fun and engaging arrangements it as to offer. Die deutschsprachige Ausgabe dieser Reihe ist unter dem Titel Bläserklasse Klassik erhältlich. Essential Classics est le matériel idéal pour familiariser votre Classe d’Orchestre ou votre Orchestre Junior avec le répertoire classique. Les arrangements de difficulté progressive sont taillés sur mesure pour développer les premiers acquis et renforcer la capacité d’application des connaissances dans un contexte pédagogiquement structuré et motivants pour vos jeunes musiciens. De Susato Gershwin, de l’oratorio au lied en passant par l’opéra et autres genres, Essential Classics propose une plongée dans l’univers classique. Les arrangements suivent la progression des recueils Essential Elements (Vol. 1 & 2), mais peuvent également être utilisés de façonindépendante. La version intégrale de chaque arrangement est disponible sur le compact disc d’accompagnement vendu séparément. Sommaire : La Mourisque (Susato) • Le Printemps (Vivaldi) • Musette (J.-S. Bach) • Le gai laboureur (Schumann) • L’Innamorata (Gastoldi) • 2e mouvement du Quatuor « L’Empereur » (Haydn) • 4e mouvement du Quintette « La Truite » (Schubert) • Ouverture de Guillaume Tell (Rossini) • Le beau Danube bleu (J. Strauss II) • Trumpet Voluntary (Clarke) • Alléluia du Messie (Haendel) • La lettre Élise (Beethoven) • Capriccio italien (Tcha kovski) • 4e mouvement de la Symphonie du » Nouveau Monde » (Dvoøák) • Une petite musique de nuit - 1er mouvement (Mozart) • Danse hongroise n° 5 (Brahms) • Land of Hope and Glory (Elgar) • La donna è mobile (Verdi) • Marche Nuptiale (Wagner) • Cancan (Offenbach) • Symphonie n° 1 - 3e mouvement (Mahler) • Summertime (Gershwin). ESSENTIAL CLASSICS è il materiale ideale per far familiarizzare le bande principianti o junior con il repertorio della musica classica. Gli arrangiamenti, ideati in ordine progressivo di difficolt , sono ideali per sviluppare le prime conoscenze gi acquisite e rinforzare la capacit di applicazione in un contesto strutturato in maniera pedagogica e motivante. Da Susato a Gershwin, dall’oratorio al lied, passando per l’opera e altri generi musicali, ESSENTIAL CLASSICS propone un’immersione nell’universo classico. La versione integrale di ogni arrangiamento è disponibile sul CD di accompagnamento venduto separatamente.
SKU: HL.49015208
ISBN 9790001065788.
SKU: HL.49006054
ISBN 9790001065733.
SKU: HL.49006061
ISBN 9790001065818. 9.0x12.0x0.042 inches.
SKU: HL.49006056
ISBN 9790001065757.
SKU: HL.49006053
ISBN 9790001065726.
SKU: HL.49006057
ISBN 9790001065764.
SKU: HL.48187612
UPC: 888680840020. 5.5x7.5x0.452 inches.
I. Allegro vivace II. Andante con moto III. Con moto moderato IV. Saltarello (Presto).
SKU: HL.49006060
ISBN 9790001065801. 9.0x12.0x0.045 inches.
SKU: HL.49006058
ISBN 9790001065771.
SKU: HL.49006055
ISBN 9790001065740.
SKU: HL.49006059
ISBN 9790001065795.
SKU: HL.14015124
English.
SKU: CA.1039809
ISBN 9790007292942. Key: D major. German/English. Text: J.P. Morgan; Friedrich Schiller.
Brahms' elegy Nanie op. 82, based on the poem by Friedrich von Schiller, was composed in 1880/81 following the death of the painter Anselm Feuerbach, whom Brahms greatly admired. In contrast with the poem, Brahms' Nanie ends full of hope: after earthly decline, beauty can live on in art. As in his Deutsches Requiem op. 45, in Nanie Brahms creates a musical connection between mourning and consolation in an incomparable way. Inspired by the model of classical Roman-Greek laments, the work adopts the classical verse form chosen by Schiller - surely alluding to Feuerbach's classically-inspired art.Scored for mixed chorus and orchestra, we are publishing the work in a modern Urtext edition. One or more harps can be used ad lib. The primary source is the first printed edition of 1881. The latest scholarly discoveries as well as practical requirements have been taken into consideration. Performance material is available on sale as well as a vocal score, based on Brahms's original vocal score, but in a revised performing version.
SKU: CA.1039819
ISBN 9790007293000. Key: D major. German/English. Text: J.P. Morgan; Friedrich Schiller.
SKU: HL.49004986
ISBN 9790001053464. 7.5x10.75x0.225 inches.
Vorspiel zum I. Akt: 4 * 2 * Engl. Hr. * 3 * Bassklar. * 3 * Kfg. - 4 * 2 * 4 * 1 - P. - Hfe. - Str.reduzierte Fassung:3 * 2 * Engl. Hr. * 2 * Bassklar. * 3 (3. auch Kfg.) - 4 * 3 * 3 * 1 - P. - Str.Vorspiel zum II. Akt: 4 (3., 4. auch Picc.) * 2 * Engl. Hr. * 3 (3. auch Es-Klar.) * Bassklar. * 3 * Kfg. - 6 * 4 * 4 * 1 - P. S. (Beck. * kl. Tr.) (2 Spieler) - Str.reduzierte Fassung: Picc. * 2 * 2 * Engl. Hr. * 2 * Bassklar. * 2 * Kfg. - 4 * 3 * 3 * 1 - P. S. (Beck. * kl. Tr.) (2 Spieler) - Str.Vorspiel zum III. Akt: 2 * 3 * Engl. Hr. * 2 * Bassklar. * 3 - 4 * 0 * 3 * 1 - P. S. (3 Gl. * Tamt.) (2 Spieler) - Hfe. - Str.reduzierte Fassung:2 * 2 * Engl. Hr. * 2 * Bassklar. * 3 - 4 * 0 * 3 * 1 - P. S. (Tamt.) - Hfe. - Str.Vorspiel zum I. Akt: 4 * 2 * Engl. Hr. * 3 * Bassklar. * 3 * Kfg. - 4 * 2 * 4 * 1 - P. - Hfe. - Str.reduzierte Fassung:3 * 2 * Engl. Hr. * 2 * Bassklar. * 3 (3. auch Kfg.) - 4 * 3 * 3 * 1 - P. - Str.Vorspiel zum II. Akt: 4 (3., 4. auch Picc.) * 2 * Engl. Hr. * 3 (3. auch Es-Klar.) * Bassklar. * 3 * Kfg. - 6 * 4 * 4 * 1 - P. S. (Beck. * kl. Tr.) (2 Spieler) - Str.reduzierte Fassung: Picc. * 2 * 2 * Engl. Hr. * 2 * Bassklar. * 2 * Kfg. - 4 * 3 * 3 * 1 - P. S. (Beck. * kl. Tr.) (2 Spieler) - Str.Vorspiel zum III. Akt: 2 * 3 * Engl. Hr. * 2 * Bassklar. * 3 - 4 * 0 * 3 * 1 - P. S. (3 Gl. * Tamt.) (2 Spieler) - Hfe. - Str.reduzierte Fassung:2 * 2 * Engl. Hr. * 2 * Bassklar. * 3 - 4 * 0 * 3 * 1 - P. S. (Tamt.) - Hfe. - Str.
SKU: CF.BAS5
ISBN 9780825845086. UPC: 798408045081. 8.5 X 11 inches. Key: D major.
The musical effect of Prarie Lullaby should be graceful and serene, evocative of a peaceful night on the open plains. To that end, players will need to strive for an unlabored rhythmic flow, smooth bowing and a clear, steady tone as close to p as possible. Beginning at m.39, the violin and viola parts are marked pizzicato. If young players are unable to return quickly to argo at m.53, they may make the bow preparation easier by taking a full measure rest at m.52. This option is marked in the parts and score. The divisi notes at m. 69 are provided for ensembles which lack violas. Ensembles with violas may have them play the lower notes while the second violins play the upper notes. Percussion, which is completely optional, should be very subdued. Choose a bell mallet which allows the tones to be heard just above the strings. the woodblock part is intended to imitate the clip-clop sound of a horse's hooves. Two different sizes of woodblocks or temple blocks are needed. Finding two suitable sounds on one woodblock is difficult. Again, the right mallets are very important. The suspended cymbal should be played with brushes if the string ensemble is small. If the suspended cymbal with brushes cannot be heard above a large number of strings, then sticks should be used instead. The percussion part can be performed by one player, provided the instruments and mallets are set up properly and the player has the skill to make the transitions smoothly. Note the optional rest at mm. 53-54. Performance time with the repeat is two and a half minutes.The musical effect ofA Prarie LullabyA should be graceful and serene, evocative of a peaceful night on the open plains. To that end, players will need to strive for an unlabored rhythmic flow, smooth bowing and a clear, steady tone as close toA p as possible. Beginning at m.39, the violin and viola parts are markedA pizzicato. If young players are unable to return quickly toA argo at m.53, they may make the bow preparation easier by taking a full measure rest at m.52. This option is marked in the parts and score. TheA divisiA notes at m. 69 are provided for ensembles which lack violas. Ensembles with violas may have them play the lower notes while the second violins play the upper notes. Percussion, which is completely optional, should be very subdued. Choose a bell mallet which allows the tones to be heard just above the strings. the woodblock part is intended to imitate the clip-clop sound of a horse's hooves. Two different sizes of woodblocks or temple blocks are needed. Finding two suitable sounds on one woodblock is difficult. Again, the right mallets are very important. The suspended cymbal should be played with brushes if the string ensemble is small. If the suspended cymbal with brushes cannot be heard above a large number of strings, then sticks should be used instead. The percussion part can be performed by one player, provided the instruments and mallets are set up properly and the player has the skill to make the transitions smoothly. Note the optional rest at mm. 53-54. Performance time with the repeat is two and a half minutes.The musical effect ofA Prarie LullabyA should be graceful and serene, evocative of a peaceful night on the open plains. To that end, players will need to strive for an unlabored rhythmic flow, smooth bowing and a clear, steady tone as close toA p as possible. Beginning at m.39, the violin and viola parts are markedA pizzicato. If young players are unable to return quickly toA argo at m.53, they may make the bow preparation easier by taking a full measure rest at m.52. This option is marked in the parts and score. TheA divisiA notes at m. 69 are provided for ensembles which lack violas. Ensembles with violas may have them play the lower notes while the second violins play the upper notes. Percussion, which is completely optional, should be very subdued. Choose a bell mallet which allows the tones to be heard just above the strings. the woodblock part is intended to imitate the clip-clop sound of a horse's hooves. Two different sizes of woodblocks or temple blocks are needed. Finding two suitable sounds on one woodblock is difficult. Again, the right mallets are very important. The suspended cymbal should be played with brushes if the string ensemble is small. If the suspended cymbal with brushes cannot be heard above a large number of strings, then sticks should be used instead. The percussion part can be performed by one player, provided the instruments and mallets are set up properly and the player has the skill to make the transitions smoothly. Note the optional rest at mm. 53-54. Performance time with the repeat is two and a half minutes.The musical effect of Prarie Lullaby should be graceful and serene, evocative of a peaceful night on the open plains. To that end, players will need to strive for an unlabored rhythmic flow, smooth bowing and a clear, steady tone as close to p as possible. Beginning at m.39, the violin and viola parts are marked pizzicato. If young players are unable to return quickly to argo at m.53, they may make the bow preparation easier by taking a full measure rest at m.52. This option is marked in the parts and score. The divisi notes at m. 69 are provided for ensembles which lack violas. Ensembles with violas may have them play the lower notes while the second violins play the upper notes. Percussion, which is completely optional, should be very subdued. Choose a bell mallet which allows the tones to be heard just above the strings. the woodblock part is intended to imitate the clip-clop sound of a horse's hooves. Two different sizes of woodblocks or temple blocks are needed. Finding two suitable sounds on one woodblock is difficult. Again, the right mallets are very important. The suspended cymbal should be played with brushes if the string ensemble is small. If the suspended cymbal with brushes cannot be heard above a large number of strings, then sticks should be used instead. The percussion part can be performed by one player, provided the instruments and mallets are set up properly and the player has the skill to make the transitions smoothly. Note the optional rest at mm. 53-54. Performance time with the repeat is two and a half minutes.The musical effect of Prarie Lullaby should be graceful and serene, evocative of a peaceful night on the open plains. To that end, players will need to strive for an unlabored rhythmic flow, smooth bowing and a clear, steady tone as close to p as possible. Beginning at m.39, the violin and viola parts are marked pizzicato. If young players are unable to return quickly to argo at m.53, they may make the bow preparation easier by taking a full measure rest at m.52. This option is marked in the parts and score. The divisi notes at m. 69 are provided for ensembles which lack violas. Ensembles with violas may have them play the lower notes while the second violins play the upper notes. Percussion, which is completely optional, should be very subdued. Choose a bell mallet which allows the tones to be heard just above the strings. the woodblock part is intended to imitate the clip-clop sound of a horse's hooves. Two different sizes of woodblocks or temple blocks are needed. Finding two suitable sounds on one woodblock is difficult. Again, the right mallets are very important. The suspended cymbal should be played with brushes if the string ensemble is small. If the suspended cymbal with brushes cannot be heard above a large number of strings, then sticks should be used instead. The percussion part can be performed by one player, provided the instruments and mallets are set up properly and the player has the skill to make the transitions smoothly. Note the optional rest at mm. 53-54. Performance time with the repeat is two and a half minutes.The musical effect of Prarie Lullaby should be graceful and serene, evocative of a peaceful night on the open plains. To that end, players will need to strive for an unlabored rhythmic flow, smooth bowing and a clear, steady tone as close to p as possible.Beginning at m.39, the violin and viola parts are marked pizzicato. If young players are unable to return quickly to argo at m.53, they may make the bow preparation easier by taking a full measure rest at m.52. This option is marked in the parts and score.The divisi notes at m. 69 are provided for ensembles which lack violas. Ensembles with violas may have them play the lower notes while the second violins play the upper notes.Percussion, which is completely optional, should be very subdued. Choose a bell mallet which allows the tones to be heard just above the strings. the woodblock part is intended to imitate the clip-clop sound of a horse's hooves. Two different sizes of woodblocks or temple blocks are needed. Finding two suitable sounds on one woodblock is difficult. Again, the right mallets are very important. The suspended cymbal should be played with brushes if the string ensemble is small. If the suspended cymbal with brushes cannot be heard above a large number of strings, then sticks should be used instead.The percussion part can be performed by one player, provided the instruments and mallets are set up properly and the player has the skill to make the transitions smoothly. Note the optional rest at mm. 53-54.Performance time with the repeat is two and a half minutes.
About Carl Fischer Beginning String Orchestra Series
This series of Grade 1 pieces is designed for first year string groups. The pieces in this series are characterized by:
SKU: HL.49004562
ISBN 9790001047814. 9.75x12.0x0.607 inches.
Vor der Buhne: 3 (auch 3 Picc.) * 0 * 2 (auch Klar. in Es u. Bassklar.) * 0 - 3 * 0 * 0 * 0 - P. S. (Xyl. * Mar. * Bassxyl. * Met. * Glasersp. * Rohrengl. * Cymb. * Beck. [und ] * Tamt. * Trgl. * Tamb. * 2 Bngs. * kl. Tr. * gr. Tr. * 3 Holzbl. * Angklung * Bambusstabe * Guiro * Ratsche * Rassel * Peitsche) (4-5 Spieler) - Hfe. * Cel. * Klav. * Org. - Str. (6 * 0 * 3 * 3 * 3)Auf der Buhne: 3 Tr. - Rupelorchester : 2 Klar. in C * 2 Tr. * Pos. * S. (kl. Tr. * gr. Tr. * Beck.) * 1 Kb.Hinter der Buhne: Schlitztr. * Muschelhr. * Windmasch.Tonband: Kinder-, Frauen- und Mannerstimmen * Chor - 3 Picc. - P. S. (Glsp. * Xyl. * Bassxyl. * Marimb. * Cymb. * Beck. * Tamt. * Trgl. *Tamb. * Sistr. * Bug. * 3 Holzbl. * Angklung * Bambusstabe * Glasgl.) - Klav. * Cemb. * Org. * Handharm. - 1 Kb.vor der Buhne: 3 (auch 3 Picc.) * 0 * 2 (auch Klar. in Es u. Bassklar.) * 0 - 3 * 0 * 0 * 0 - P. S. (Xyl. * Mar. * Bassxyl. * Met. * Glasersp. * Rohrengl. * Cymb. * Beck. [und ] * Tamt. * Trgl. * Tamb. * 2 Bngs. * kl. Tr. * gr. Tr. * 3 Holzbl. * Angklung * Bambusstabe * Guiro * Ratsche * Rassel * Peitsche) (4-5 Spieler) - Hfe. * Cel. * Klav. * Org. - Str. (6 * 0 * 3 * 3 * 3)Auf der Buhne: 3 Tr. - Rupelorchester : 2 Klar. in C * 2 Tr. * Pos. * S. (kl. Tr. * gr. Tr. * Beck.) * 1 Kb.Hinter der Buhne: Schlitztr. * Muschelhr. * Windmasch.Tonband: Kinder-, Frauen- und Mannerstimmen * Chor - 3 Picc. - P. S. (Glsp. * Xyl. * Bassxyl. * Marimb. * Cymb. * Beck. * Tamt. * Trgl. *Tamb. * Sistr. * Bug. * 3 Holzbl. * Angklung * Bambusstabe * Glasgl.) - Klav. * Cemb. * Org. * Handharm. - 1 Kb.
SKU: PZ.PVH-1943-P
ISBN 9790705100907. 10 x 14 inches.
SKU: ML.010026060
SKU: HL.50489481
ISBN 9790080083888. Octavo (19 x27 cm) inches. Latin. Maria Eckhardt P.
Territorial restrictions may apply. Please ask before ordering.
SKU: BT.DHP-1063912-020
9x12 inches. English-German-French-Dutch.
Paul Dukas (1865-1935) was a composer who had little self-confidence and was very self-critical. As a result of this he destroyed the manuscripts of all but seven large and five small works. Luckily kept what is now his best know composition, the symphonic scherzo L’apprenti sorcier (The Sorcerer’s Apprentice). He also came very close to destroying the manuscript of his ballet music La Peri (The Fairy). This was however rescued by his friends. Thus we can still enjoy this magnificent fanfare which was originally used as an opener for the ballet. This magnificent transcription for fanfare band will make a great opening item for any concert.In Paul Dukas’ ballet La Péri (De fee) is in stilistisch opzicht zijn bewondering voor Wagner (de romantiek) en het Franse impressionisme merkbaar: een interessante en unieke mix, want deze twee stijlen werden maar weinig gecombineerd.De populaire fanfare die voorafgaat aan La Péri is van oorsprong alleen voor koperblazers geschreven en pas naderhand aan het werk toegevoegd. Het gebruikte idioom is moderner dan dat in het ballet zelf. Deze schitterendefanfare wordt vaak afzonderlijk uitgevoerd en is geschikt als openingswerk voor diverse gelegenheden.In den Werken des französischen Komponisten Paul Dukas (1865-1935) ist stilistisch die Bewunderung für Wagner sowie für den französischen Impressionismus spürbar, woraus sich ein interessanter, seltener Stilmix ergibt. Das Ballett La Péri enthält immense dynamische Abstufungen und fordert die Musiker dementsprechend stark. Die populäre Fanfare, welche dem Werk vorangeht, eignet sich in der gelungenen Blasorchesterbearbeitung von Wil van der Beek als Eröffnungswerk für viele Anlässe.
SKU: BT.DHP-1063912-120