Compositions For Oboe Vol.1 With Cd

SKU: CF.YPS217F

ISBN 9781491156551. UPC: 680160915095. 9 x 12 inches.

Hope Remains Within was commissioned by and composed for the Mount Nittany Middle School 7th and 8th Grade Concert Bands. Having heard the students of Mount Nittany perform another work of mine, I was very excited when their director, Johanna Steinbacher, approached me about writing a piece specifically for them. I knew right away that I wanted to write something that would tie in with their non-music curriculum in some way, but I wasn't exactly sure how, or what. Johanna talked to some of her students and learned that, in 7th grade, the students spend a good deal of time studying mythology in their English class. In particular, two clarinet students mentioned how much they enjoyed the story of Pandora. As such, I decided to use that story as the basis of this composition. Hope Remains Within doesn't attempt to re-tell the story, event by event, in musical terms. Instead, my goal was to address what seems to be one of the central issues of the Pandora myth. Though there are some variations, we probably all know the basics as told by the ancient Greek poet Hesiod. Zeus decides to punish Prometheus for stealing fire from heaven and giving it to humans. He and the other gods create Pandora, a beautiful and deceitful woman, and they give her to Prometheus's brother Epimetheus as a bride. Pandora is herself given a jar (according to many sources, jar seems to be a more accurate translation for what we commonly call Pandora's box) which contained numerous evils, diseases, and other pains. Out of curiosity, Pandora opens the jar and releases all of these evils into the world. But one thing remains in the jar: hope. The issue of hope seems to be one of the big interpretive questions of the Pandora myth. Why does hope remain within the jar? Why doesn't it come out of the jar to help humanity? Is hope being held on a pedestal of some sort? Is hope deliberately withheld from humanity? Why was hope in the jar with all those evils in the first place? I'm not enough of a mythological scholar to claim to have definitive answers to those questions, but these are the questions that I've tried to engage from a musical perspective in Hope Remains Within. I encourage the students and listeners to consider their own ideas of what hope is, and where you can find your own hope when needed. Musically, Hope Remains Within draws one of its main themes from the Prometheus Symphony by Alexander Skryabin (Scriabin). The note sequence F-D-Gb -F, heard near Hope's beginning played by alto saxophones and chimes, comes from the opening measures of Skyrabin's work. Given the important role that Prometheus plays in the Pandora myth, this seemed like an appropriate musical gesture to quote. This Prometheus motive is varied throughout the course of the piece, and even provides closure at the end, recast in a major key. Additionally, I have tried to involve a manageable amount of chromaticism in this piece. I have worked from the key of Bb major, no doubt familiar to every student who has ever played an instrument in a band. But I have added three extra notes: Db, Gb, and Ab, which are drawn from the key of Bb minor. During the piece's slow opening, I have allowed these minor key pitches to mingle freely within the Bb major tonality, adding extra color and (I hope!) beauty. As the piece progresses, though, the tempo increases, and we lose sense of the Bb major key entirely, and these extra notes play a more important role. But finally, Bb major returns triumphantly and all the extra notes are gone, except for a brief memory near the very end. (Ok, there are a couple of E-naturals that sneak in there along the way. I couldn't resist.).
Hope Remains Within was commissioned by and composed for the Mount Nittany Middle School 7th and 8th Grade Concert Bands. Having heard the students of Mount Nittany perform another work of mine, I was very excited when their director, Johanna Steinbacher, approached me about writing a piece specifically for them. I knew right away that I wanted to write something that would tie in with their non-music curriculum in some way, but I wasn’t exactly sure how, or what. Johanna talked to some of her students and learned that, in 7th grade, the students spend a good deal of time studying mythology in their English class. In particular, two clarinet students mentioned how much they enjoyed the story of Pandora.As such, I decided to use that story as the basis of this composition. Hope Remains Within doesn’t attempt to re-tell the story, event by event, in musical terms. Instead, my goal was to address what seems to be one of the central issues of the Pandora myth. Though there are some variations, we probably all know the basics as told by the ancient Greek poet Hesiod. Zeus decides to punish Prometheus for stealing fire from heaven and giving it to humans. He and the other gods create Pandora, a beautiful and deceitful woman, and they give her to Prometheus’s brother Epimetheus as a bride. Pandora is herself given a jar (according to many sources, “jar” seems to be a more accurate translation for what we commonly call “Pandora’s box”) which contained numerous evils, diseases, and other pains. Out of curiosity, Pandora opens the jar and releases all of these evils into the world. But one thing remains in the jar: hope.The issue of hope seems to be one of the big interpretive questions of the Pandora myth. Why does hope remain within the jar? Why doesn’t it come out of the jar to help humanity? Is hope being held on a pedestal of some sort? Is hope deliberately withheld from humanity? Why was hope in the jar with all those evils in the first place?I’m not enough of a mythological scholar to claim to have definitive answers to those questions, but these are the questions that I’ve tried to engage from a musical perspective in Hope Remains Within. I encourage the students and listeners to consider their own ideas of what hope is, and where you can find your own hope when needed.Musically, Hope Remains Within draws one of its main themes from the Prometheus Symphony by Alexander Skryabin (Scriabin). The note sequence F-D-Gb -F, heard near Hope’s beginning played by alto saxophones and chimes, comes from the opening measures of Skyrabin’s work. Given the important role that Prometheus plays in the Pandora myth, this seemed like an appropriate musical gesture to quote. This Prometheus motive is varied throughout the course of the piece, and even provides closure at the end, recast in a major key.Additionally, I have tried to involve a manageable amount of chromaticism in this piece. I have worked from the key of Bb major, no doubt familiar to every student who has ever played an instrument in a band. But I have added three extra notes: Db, Gb, and Ab, which are drawn from the key of Bb minor. During the piece’s slow opening, I have allowed these minor key pitches to mingle freely within the Bb major tonality, adding extra color and (I hope!) beauty. As the piece progresses, though, the tempo increases, and we lose sense of the Bb major key entirely, and these extra notes play a more important role. But finally, Bb major returns triumphantly and all the extra notes are gone, except for a brief memory near the very end. (Ok, there are a couple of E-naturals that sneak in there along the way. I couldn’t resist.).

SKU: BT.EMBZ8318

English-German-Hungari an.

An Evening in the Village was composed in 1908 as no. 5 of the Ten Easy Piano Pieces. It has become one of Bartók's favorite works, which the composer himself was fond of playing at recitals. As he explained in an American interview, it was ''an original composition that is ... with themes of my own invention but ... the themes are in the style of the Hungarian-Transylvanian folk tunes. There are two themes. The first one is a parlando-rubato-rhythm and the second one is more in a dance-like rhythm. The second one is more or less the imitation of a peasant flute playing.'' Bartók also orchestrated the piece in 1931 as no. 1 of Hungarian Sketches. In 2015 we are launching aseries entitled Bartók Transcriptions for Music Students to mark the 70th anniversary of the composer s death. This involves reissuing our tried publications, and publishing some further, new transcriptions that fulfill in every respect the strict aesthetic demands of the earlier ones. We trust these publications will allow us to introduce still more music students to the realm of one of the great geniuses of 20th-century music.

Das 1908 als Nr. 5 der Zehn leichten Klavierstücke komponierte Klavierwerk Ein Abend am Lande ist ein echter Bartók-Schlager, der auch vom Komponisten selbst mit Vorliebe im Rahmen seiner Konzerte vorgetragen wurde. In einem amerikanischen Interview äußerte er sich dazu, ''… es handelt sich um eine Originalkomposition, das heißt, ihre Themen stammen von mir, wobei diese Themen jedoch den Stil der siebenbürgisch-ungaris chen Volkslieder aufgreifen. Von seinen zwei Themen hat das erste Parlando-Rubato-Charakter , das zweite ist eher von einem Tanzrhythmus geprägt … und ist mehr oder weniger die Imitation eines bäuerlichen Blockflötenspiels.'' Im Jahr 1931 instrumentierte Bartókdas Stück als Nr. 1 der Bilder aus Ungarn auch für Orchester.

SKU: HL.44010720

ISBN 9789043107464. UPC: 884088530884. 0.162 inches.

Pour tous ceux qui recherchent un nouvel outil pedagogique pour apprendre a jouer d'un instrument a vent, les Editions De Haske proposent la methode Ecouter, lire and jouer.Ecouter, lire and jouer se compose d'une methode richement illustree en trois volumes avec compact disc et d'ouvrages educatifs et ludiques fondes sur les principes actuels de la theorie musicale. Tout en se conformant aux exigences de l'apprentissage classique, cette collection utilise une approche resolument ouverte, motivante et moderne de l'enseignement musical permettant aux eleves de decouvrir la pratique instrumentale avec plaisir. De nombreux jeux, exercices d'ecoute, morceaux et compositionsoriginales permettent d'acquerir un savoir-faire tout en s'amusant. Ecouter - lire - jouer : trois elements incontournables de la pratique musicale, trois concepts reunis dans une collection enrichissante et simple a utiliser.

SKU: FL.FX073423

The Oboe du cote de chez Proust is a series of pieces composed by Pascal PROUST with piano accompaniment. Each piece is also published separately.

This volume, for beginners, is a visit full of surprises in an incredible zoo where nice elephants applaude a parade of ants... These 6 short pieces for very young oboists reflect those rare moments! ; Instruments: 1 Oboe 1 Piano; Difficuly Level: Grade 1; Duration: 6 mn 30 s; Musical Style: Classical, Educational; Category: Original Composition; Composer: Pascal PROUST;.

SKU: FL.FX073425

The Oboe du cote de chez Proust is a series of pieces composed by Pascal PROUST with piano accompaniment. Each piece is also published separately.

This volume puts together 6 original pieces that can be played from 5 years of Oboe practice. ; Instruments: 1 Oboe 1 Piano; Difficuly Level: Grade 3; Duration: 22 mn 20 s; Musical Style: Classical, Educational; Category: Original Composition; Composer: Pascal PROUST;.

SKU: FL.FX073424

The Oboe du cote de chez Proust is a series of pieces composed by Pascal PROUST with piano accompaniment. Each piece is also published separately.

This volume puts together 6 original pieces that can be played from 4 years of Oboe practice. ; Instruments: 1 Oboe 1 Piano; Difficuly Level: Grade 3; Duration: 14 mn 25 s; Musical Style: Classical, Educational; Category: Original Composition; Composer: Pascal PROUST;.

SKU: BT.DHP-0991816-404

ISBN 9789043163644. French.

Pour tous ceux qui recherchent un nouvel outil pédagogique pour apprendre jouer dâ??un instrument vent, les Ã?ditions De Haske proposent la méthode Ã?couter, lire and jouer. Elle se compose dâ??une méthode richement illustréeen trois volumes avec fichiers audio en ligne et dâ??ouvrages éducatifs et ludiques fondés sur les principes actuels de la théorie musicale. Tout en se conformant aux exigences de lâ??apprentissage classique, cette collection utiliseune approche résolument ouverte, motivante et moderne de lâ??enseignement musical permettant aux élèves de découvrir la pratique instrumentale avec plaisir. De nombreux jeux, exercices dâ??écoute, morceaux et compositions originalespermettent dâ??acquérir un savoir-faire tout en sâ??amusant. Ã?couter - lire jouer : trois éléments incontournables de la pratique musicale, trois concepts réunis dans une collection enrichissante et simple utiliser.