from Star Trek: The Next Generation-From a Star Trek: The Next Generation episode of the same name The Inner Light is a melody that is haunting and yet full of solace. A perfect choice for solo with string orchestra James Kazik's setting includessolo parts for flute violin piccolo or even the original penny whistle as played by Captain Picard (Patrick Stewart).

Orchestral study score. This work was commissioned by the Royal Philharmonic Orchestra. It was first performed on 23 April 1997 by Stewart McIlwham and the Royal Philharmonic Orchestra conducted by the composer. The threemovements should be played without a break.The piccolo may have obvious limitations as a solo instrument but Davies is not one to shirk a challenge. What he does is to play with the stereotypical modes of the instrument sothat the military ?pipe and drum? effect is hinted at near the beginning of the third movement while the jaunty manner is recalled at the close of the first but as through a veil. A potentially comic partnership with the bassclarinet is also dignified when the two instruments engage in meditative dialogue in the second movement. Solo part and piano reduction on sale. Conductor's score and orchestral parts are available on hire.

Par BAGLIONI CLAUDIO. Contents: Amore bello - Cincinnato - Con tutto lamore che posso - E tu. . . - Lacrime di marzo - Porta Portese - Poster - Questo piccolo grande amore - Ragazza di campagna - Sabato pomeriggio - Signora Lia - Solo / Pop and rock / Date parution : 1905-06-10/ Recueil / Piano, Chant et Guitare

Version 1. Par FELDMANN WALTER. «sexe-tuor» was originally a failed attempt to compose a solo oboe piece for my noyé cycle. For the solo the name 'le sexe du noyé' was intended, and the few measures of sexe-tuor were my first attempt to compose a piece in which more complex rhythms would result in a kind of proportional multiplication of individual fragments from the sextet [hence the French sextuor] le retour du noyé. This proved to be monstrously complicated and absurd. Thus, the ten measures of the «sexe-tuor» fragment represent a capitulation in the face of these complications, presented as the interruption of an immovable column of air in a frozen multiphonic sound. In the event, the solution to the problemwas quite simple: Beginning with the composition of le sexe du noyé the proportionalities of the pitch levels and rhythmic values revealed significant rhythmic possibilities. sexe-tuor remains as it is: a solo piece that can function in another compositional context, as an intermezzo between other, larger works on a concert program. The 90 second piece of music can be played in two versions: either for solo piccolo or solo oboe./ Répertoire / Hautbois

One of the most widely used series of methods for individual or like-instrument class instruction. Using a very well-rounded approach including scales arpeggios technical studies studies for musicianship articulation studies solos duets and studies devoted to the special needs of each instrument this series provides a fantastic wealth of material for all student musicians.

Contenu : Big Mama Blues - Blue Notes - Just for Fun - Keep Cool ! - Lazy Shoes - Lucky Blues - Oldtimer Blues - Piccolo Blues - Sleepy Sunday - That's Great ! - Walking BluesCompositeur/Auteur : HEUMANN Hans GünterDiscipline/Instrument : pianoSupport : PartitionStyle/Genre : variété - jazzDate de parution : avr.-92Niveau de difficulté : 1Nombre de pages : 20

For baritone and chamber ensemble (piccolo/alto flute oboe clarinet percussion piano violin viola and cello).

The solo group consists of a sextet of the woodwind instruments which are normally doubled with more regular members of the orchestra: these six strangers now brought to the fore are piccolo and alto flute cor anglais Eb andbass clarinets and contrabassoon. They make a motley group diverse in colour as in register and one of the tasks of the piece sets itself is to have them blend and cohere both together as an ensemble and in partnership with thestring orchestra (which itself is used with unusual variety and subtlety). Another evident task of the work is to provide fine solos for each member of the woodwind sextet: bright dances for the piccolo recitatives for thealto flute a stoical song from the contrabassoon in the extreme bass. The work is cast as a single movement which begins in the composer's first-movement style of rapid regeneration. This is interrupted by slow interventions including one for divided strings which gives rise to a sextuple cadenza for the soloists. Out of this comes a slow movement or sequence of short slow movements followed by a dancing finale with its own slow episodes. Altogetherthis is music of songs and dances heavily tinged with Scottish rhythms and tonalities: one might think of a magic bagpipe having six chanters and a drone of variegated string texture.This work for woodwind instruments andstring orchestra was commissioned by the Strathclyde Regional Council and the Scottish Chamber Orchestra. It is the ninth of ten concerti to be written for principal players of the Scottish Chamber Orchestra. The first performancewas given in February 1995 by the Scottish Chamber Orchestra conducted by the composer.