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Concerto for Xylophone
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1
Concerto
Concerto
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Piano and Orchestra
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ADVANCED
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Contemporary
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Gyorgy Ligeti
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Concerto
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Schott Music - Digital
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SheetMusicPlus
Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. D...
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Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minutes. Schott Music - Digital #Q53630. Published by Schott Music - Digital
I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. .
The markings of the movements are the following: .
1. Vivace molto ritmico e preciso .
2. Lento e deserto .
3. Vivace cantabile .
4. Allegro risoluto .
5. Presto luminoso.
The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. .
The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. .
In the Piano Concerto I realized new concepts of harmony and rhythm. .
The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. .
In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. .
The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. .
In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. .
Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). .
The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). .
Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. .
These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. .
The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). .
The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. .
Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. .
Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. .
This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. .
The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. .
I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. .
(Gyorgy Ligeti)
$23.99 ≈
$32.61
Concerto for Xylophone
Concerto for Xylophone
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Orchestra
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Samuel Stokes
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Concerto for Xylophone
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SamuelStokesMusic.com
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SheetMusicPlus
Full Orchestra - Digital Download SKU: A0.1491892 Composed by Samuel Stokes. 21st Century,Contemporary. 257 pages. SamuelStokesMusic.com #1068576. Publis...
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Full Orchestra - Digital Download SKU: A0.1491892 Composed by Samuel Stokes. 21st Century,Contemporary. 257 pages. SamuelStokesMusic.com #1068576. Published by SamuelStokesMusic.com (A0.1491892). This concerto is for a xylophone soloist with orchestral accompaniment. There are five movements:I. IntradaII. WaltzIII. ScherzoIV. BalladeV. RondoEach movement is in a distinct style and gives a good variety for the soloist and orchestra to explore.Learn more about Samuel Stokes at https://www.SamuelStokesMusic.com.
$59.99 ≈
$81.54
Focus on Grace ... A concerto for jazz saxophone and orchestra (2010)
Focus on Grace ... A concerto for jazz saxophone and orchestra (2010)
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Thomas Oboe Lee
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Focus on Grace ... A concerto
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Thomas Oboe Lee
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SheetMusicPlus
Small Ensemble - Level 4 - Digital Download SKU: A0.869266 Composed by Thomas Oboe Lee. 20th Century,Contemporary,Jazz,Latin,Romantic Period. Score and p...
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Small Ensemble - Level 4 - Digital Download SKU: A0.869266 Composed by Thomas Oboe Lee. 20th Century,Contemporary,Jazz,Latin,Romantic Period. Score and parts. 73 pages. Thomas Oboe Lee #2019061. Published by Thomas Oboe Lee (A0.869266). Instrumentation: Alto sax solo and orchestra, 2222-4231-perc-drum set-strings Program note. Maestro Max Hobart called me in the spring of 2009 and told me to check out this young jazz phenom on the saxophone named Grace Kelly. I said OK, that’s cool. That summer we went to the Regatta Bar in Harvard Square to hear her play with her band, and I was duly impressed by her musicality, soulfulness and chops. Max asked if I would be interested in writing a concerto for her and the Wellesley Symphony. I said, Sure. It sounds like a great idea. One of the most cherished jazz records in my vast collection is the collaboration between Stan Getz and Eddie Sauter entitled Focus. Eddie, who used to be an arranger for the Benny Goodman Band in the forties, went on to create the Sauter Finegan Band in the early fifties. The band was one of the first to include the piccolo, oboe, bassoon, harp, celesta, French horn, tuba, xylophone, glockenspiel, chimes, timpani, and other unusual symphonic instruments in the standard big band format of trumpets, trombones, saxophones and rhythm section of piano, bass and drum set. On the album Focus Eddie Sauter composed seven tracks of music for string orchestra and rhythm section. Stan Getz did not have a written part - he just improvised over the written music. If you are not familiar with this recording, then you will do yourself a huge favor if you go find it and add it to your own CD collection. The music is phenomenal and Stan is on top of his game, soaring above the strings with endless melodic inventions, flights of imagination and whimsy! It is one of those desert island CDs one should not be without. When I emailed Grace about this project and mentioned Stan Getz’s Focus, she said, It’s one of my favorite albums. So, we got off on a positive note immediately. My work, Focus on Grace … Concerto for Jazz Saxophone and Orchestra, is very much inspired both by the Stan Getz album and by the performances I heard of Grace and her band. The first movement is based on a funk groove in D minor: Grace’s part is initially written-out but she improvises freely in the coda. The second movement is a boss nova: as in the Stan Getz album, Grace does not have a written part but improvises over a set of chord changes provided by the orchestra. The third and last movement is an Afro-Cuban groove in six-eight: Grace has a written melody at first but soon launches into improvisation on a 12-bar blues in F. She ends the concerto in a free cadenza to show off her virtuosity and saxophone chops. ENJOY!!!
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Focus on Grace ... A concerto for jazz saxophone and orchestra (2010)
Focus on Grace ... A concerto for jazz saxophone and orchestra (2010)
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Orchestra
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INTERMEDIATE/ADVANCED
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Thomas Oboe Lee
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Focus on Grace ... A concerto
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Thomas Oboe Lee
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SheetMusicPlus
Full Orchestra - Level 4 - Digital Download SKU: A0.869355 Composed by Thomas Oboe Lee. 20th Century,Classical,Contemporary,Jazz,Romantic Period. Score a...
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Full Orchestra - Level 4 - Digital Download SKU: A0.869355 Composed by Thomas Oboe Lee. 20th Century,Classical,Contemporary,Jazz,Romantic Period. Score and parts. 73 pages. Thomas Oboe Lee #15875. Published by Thomas Oboe Lee (A0.869355). Instrumentation: solo alto saxophone & 2222-4231-perc-drumset-strings. Program note. Maestro Max Hobart called me in the spring of 2009 and told me to check out this young jazz phenom on the saxophone named Grace Kelly. I said OK, that’s cool. That summer we went to the Regatta Bar in Harvard Square to hear her play with her band, and I was duly impressed by her musicality, soulfulness and chops. Max asked if I would be interested in writing a concerto for her and the Wellesley Symphony. I said, Sure. It sounds like a great idea. One of the most cherished jazz records in my vast collection is the collaboration between Stan Getz and Eddie Sauter entitled Focus. Eddie, who used to be an arranger for the Benny Goodman Band in the forties, went on to create the Sauter Finegan Band in the early fifties. The band was one of the first to include the piccolo, oboe, bassoon, harp, celesta, French horn, tuba, xylophone, glockenspiel, chimes, timpani, and other unusual symphonic instruments in the standard big band format of trumpets, trombones, saxophones and rhythm section of piano, bass and drum set. On the album Focus Eddie Sauter composed seven tracks of music for string orchestra and rhythm section. Stan Getz did not have a written part - he just improvised over the written music. If you are not familiar with this recording, then you will do yourself a huge favor if you go find it and add it to your own CD collection. The music is phenomenal and Stan is on top of his game, soaring above the strings with endless melodic inventions, flights of imagination and whimsy! It is one of those desert island CDs one should not be without. When I emailed Grace about this project and mentioned Stan Getz’s Focus, she said, It’s one of my favorite albums. So, we got off on a positive note immediately. My work, Focus on Grace … Concerto for Jazz Saxophone and Orchestra, is very much inspired both by the Stan Getz album and by the performances I heard of Grace and her band. The first movement is based on a funk groove in D minor: Grace’s part is initially written-out but she improvises freely in the coda. The second movement is a boss nova: as in the Stan Getz album, Grace does not have a written part but improvises over a set of chord changes provided by the orchestra. The third and last movement is an Afro-Cuban groove in six-eight: Grace has a written melody at first but soon launches into improvisation on a 12-bar blues in F. She ends the concerto in a free cadenza to show off her virtuosity and saxophone chops. ENJOY!!!
$9.99 ≈
$13.58
Concerto de Poche pour 2 Claviers
Concerto de Poche pour 2 Claviers
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Pascal Proust
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Instruments: 1 Xylophone (Mvt
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Concerto de Poche pour 2 Clavi
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FLEX Editions - Digital Sheet Music
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SheetMusicPlus
Chamber Music & Piano Accompaniment 1 Xylophone (Mvt.1 and Mvt 3), 1 Vibraphone (Mvt. 2) 1 Piano - Grade 3 - Digital Download SKU: FX.FX074303 Composed b...
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Chamber Music & Piano Accompaniment 1 Xylophone (Mvt.1 and Mvt 3), 1 Vibraphone (Mvt. 2) 1 Piano - Grade 3 - Digital Download SKU: FX.FX074303 Composed by Pascal Proust. Original Composition. Classical, Educational. Score and Set of Parts. 8 pages. FLEX Editions - Digital Sheet Music #FX074303. Published by FLEX Editions - Digital Sheet Music (FX.FX074303). 3 movements of a mini concerto for mini soloists who have been playing their instruments for 4-5 years - Pascal PROUST ; Instruments: 1 Xylophone (Mvt.1 and Mvt 3), 1 Vibraphone (Mvt. 2) 1 Piano; Difficuly Level: Grade 3; Duration: 3 mn 35 s; Musical Style: Classical, Educational; Category: Original Composition; Composer: Pascal PROUST.
$8.95 ≈
$12.16
Concerto for Five Musicians
Concerto for Five Musicians
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William Smith
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Glockenspiel), Piano &
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Concerto for Five Musicians
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William Smith
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SheetMusicPlus
Mixed Percussion B-Flat Bass Clarinet,B-Flat Clarinet,Bass Drum,Double Bass,Glockenspiel,Mallet Percussion,Marimba,Piano,Snare Drum,Suspended Cymbal,Tam Tam,Xyl...
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Mixed Percussion B-Flat Bass Clarinet,B-Flat Clarinet,Bass Drum,Double Bass,Glockenspiel,Mallet Percussion,Marimba,Piano,Snare Drum,Suspended Cymbal,Tam Tam,Xylophone - Level 5 - Digital Download SKU: A0.1216467 Composed by William Smith. Chamber,Classical,Contemporary,Wedding. 39 pages. William Smith #813063. Published by William Smith (A0.1216467). This is a chamber work featuring five players play 5 different instruments, Bb Clarinet, Bass Clarinet, Percussion (Tam-Tam, Bass Drum, Marimba, Xylophone, Suspended Cymbal, Snare Drum & Glockenspiel), Piano & Double Bass. It is recomended advanced groups looking to advance their skill. The heavily features each instrument getting them all to show off what they can do. If you're up for the challenge this is an essential work for any chamber group. Please Note:Included recording is a MIDI meaning it was played by a computer, this does not fully represent the work but still gives a good idea as to what to expect.Score + Separate parts are included.
$25.00 ≈
$33.98
[Liptak] Concerto for Viola and Percussion Quartet
[Liptak] Concerto for Viola and Percussion Quartet
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Percussion Ensemble
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Contemporary
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David Liptak
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[Liptak] Concerto for Viola an
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American Composers Alliance Inc.
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SheetMusicPlus
Percussion Ensemble - Digital Download SKU: A0.952873 Composed by David Liptak. Contemporary. Score and parts. 81 pages. American Composers Alliance Inc....
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Percussion Ensemble - Digital Download SKU: A0.952873 Composed by David Liptak. Contemporary. Score and parts. 81 pages. American Composers Alliance Inc. #4625301. Published by American Composers Alliance Inc. (A0.952873). A concerto in four movements for viola and percussion quartet - PDF download includes score and parts.Percussion needed:Perc. 1: marimba, 4 tom-toms, sizzle cymbal, claves.Perc. 2: vibraphone, maracas, lion's roar, tom-tom, woodblock, tambourine.Perc. 3: crotales, guiro, castanets, tom-tom, suspended cymbal, xylophone.Perc. 4: tubular bells, tam-tam, bamboo wind chimes, 5 temple blocks, tom-tom.
$32.95 ≈
$44.78
Concerto For Alto Saxophone And Wind Ensemble
Concerto For Alto Saxophone And Wind Ensemble
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Samuel R
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Concerto For Alto Saxophone An
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Hal Leonard - Digital
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SheetMusicPlus
Concert band Xylophone - Level 5 - Digital Download SKU: HX.208754 Composed by Samuel R. Hazo. Contest,Festival. Individual instrument part. 2 pages. Hal...
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Concert band Xylophone - Level 5 - Digital Download SKU: HX.208754 Composed by Samuel R. Hazo. Contest,Festival. Individual instrument part. 2 pages. Hal Leonard - Digital #0. Published by Hal Leonard - Digital (HX.208754).
$195.00 ≈
$265.04
Concerto for Orchestra Score and Parts
Concerto for Orchestra Score and Parts
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Jordan Grigg
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Concerto for Orchestra Score a
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Jordan Grigg
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SheetMusicPlus
Large Ensemble Bassoon,Cello,Clarinet,Double Bass,Flute,Glockenspiel,Marimba,Oboe,Trombone,Trumpet,Tuba,Viola,Violin,Xylophone - Level 5 - Digital Download S...
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Large Ensemble Bassoon,Cello,Clarinet,Double Bass,Flute,Glockenspiel,Marimba,Oboe,Trombone,Trumpet,Tuba,Viola,Violin,Xylophone - Level 5 - Digital Download SKU: A0.863215 Composed by Jordan Grigg. 20th Century,Concert. Score and parts. 419 pages. Jordan Grigg #3386573. Published by Jordan Grigg (A0.863215). Mp3 is the 1st mvt.
$39.95 ≈
$54.30
Music for Marimba - Volume III
Music for Marimba - Volume III
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Art Jolliff
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Percussion
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Music for Marimba - Volume III
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Rubank Publications
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SheetMusicPlus
Marimba; Percussion; Xylophone - Grade 3 SKU: HL.4471160 Intermediate 3- and 4-Mallet Solos with Piano Accompaniment. Composed by Art Jolliff. Rub...
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Marimba; Percussion; Xylophone - Grade 3 SKU: HL.4471160 Intermediate 3- and 4-Mallet Solos with Piano Accompaniment. Composed by Art Jolliff. Rubank Solo Collection. Collection, Contest, Instruction. 12 pages. Rubank Publications #RUBL151. Published by Rubank Publications (HL.4471160). ISBN 9781540001559. UPC: 073999711608. 9.0x12.0x0.102 inches.Contents 3-mallet solos: Anniversary Theme (from Waves of the Danube - Ivanovici); Home on the Range; La Cumparsita (Rodriguez); La Paloma (The Dove); La Spagnola (The Spanish Girl) 4-mallet solos: Calm As the Night (Bohm); Opening Theme from Concerto in Bb Minor (Tchaikovsky); Rainbow Theme (from Fantasie-Impromptu - Chopin); Song of India (Rimsky-Korsakov); Songs My Mother Taught Me (Dvorak).
Song List
: Calm As The Night (Still Wie Die Nacht) La Spagnola Piano Concerto In B Flat Minor La Cumparsita Songs My Mother Taught Me La Paloma Blanca (The White Dove) Home On The Range Fantaisie-Impromptu, Op. 66 (Posthumous) Song Of India Waves Of The Danube
$6.99 ≈
$9.50
Concerto Semplice (for two violins and orchestra) Score and Parts
Concerto Semplice (for two violins and orchestra) Score and Parts
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Jordan Grigg
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Concerto Semplice
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Jordan Grigg
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SheetMusicPlus
Large Ensemble Bassoon,Cello,Clarinet,Cymbals,Double Bass,Flute,Horn,Oboe,Timpani,Trombone,Trumpet,Tuba,Viola,Violin,Xylophone - Level 4 - Digital Download S...
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Large Ensemble Bassoon,Cello,Clarinet,Cymbals,Double Bass,Flute,Horn,Oboe,Timpani,Trombone,Trumpet,Tuba,Viola,Violin,Xylophone - Level 4 - Digital Download SKU: A0.863220 Composed by Jordan Grigg. 20th Century,Concert,Standards,World. Score and parts. 138 pages. Jordan Grigg #3386597. Published by Jordan Grigg (A0.863220). Mp3 is a live performance recorded in La Paz, Bolivia. 1st place in the 2015 SHSU-BMF International Composition Competition.
$57.00 ≈
$77.47
Concerto Semplice Live in Bolivia
Concerto Semplice Live in Bolivia
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Jordan Grigg
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Concerto Semplice Live in Boli
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Jordan Grigg
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SheetMusicPlus
Bassoon,Cello,Clarinet,Double Bass,Flute,Hand Percussion,Horn,Oboe,Timpani,Trombone,Trumpet,Tuba,Viola,Violin,Xylophone - Digital Download SKU: A0.1057070
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Bassoon,Cello,Clarinet,Double Bass,Flute,Hand Percussion,Horn,Oboe,Timpani,Trombone,Trumpet,Tuba,Viola,Violin,Xylophone - Digital Download SKU: A0.1057070 Composed by Jordan Grigg. 20th Century,Concert,Standards. Full Performance. Duration 698. Jordan Grigg #3460837. Published by Jordan Grigg (A0.1057070).
$3.99 ≈
$5.42
Viola Concerto
Viola Concerto
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Jordan Grigg
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Viola Concerto
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Jordan Grigg
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SheetMusicPlus
Bass Clarinet,Bassoon,Cello,Double Bass,English Horn,Flute,Glockenspiel,Multi-Percussion,Oboe,Piano,Piccolo,Timpani,Trombone,Trumpet,Tuba,Viola,Violin,Xylophone...
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Bass Clarinet,Bassoon,Cello,Double Bass,English Horn,Flute,Glockenspiel,Multi-Percussion,Oboe,Piano,Piccolo,Timpani,Trombone,Trumpet,Tuba,Viola,Violin,Xylophone - Digital Download SKU: A0.1056793 Composed by Jordan Grigg. 20th Century,Romantic Period. Full Performance. Duration 1369. Jordan Grigg #2549105. Published by Jordan Grigg (A0.1056793). I-0II-9:35III-14:05 19:33.
$3.99 ≈
$5.42
Rhythms of the Spirit
Rhythms of the Spirit
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Concert band
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Contemporary
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James M
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Rhythms of the Spirit
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Jim Stephenson Music, Inc.
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SheetMusicPlus
Concert Band - Digital Download SKU: A0.1030888 Composed by James M. Stephenson. Contemporary. Score and parts. 154 pages. Jim Stephenson Music, Inc. #48...
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Concert Band - Digital Download SKU: A0.1030888 Composed by James M. Stephenson. Contemporary. Score and parts. 154 pages. Jim Stephenson Music, Inc. #48491. Published by Jim Stephenson Music, Inc. (A0.1030888). Written by internationally renowned, Chicago-based composer, James M. Stephenson stephensonmusic.com Jim@Stephensonmusic.com Product info: http://stephensonmusic.com/product/rhythms-of-the-spirit Facebook: https://www.facebook.com/jim.stephenson.946 Twitter: https://twitter.com/ComposerJim YouTube: https://www.youtube.com/user/JimmyThird/featured Duration: 9' Commissioned by and dedicated to the Grand Symphonc Winds; Matthew George, Music Director. Premiered May 2, 2013. Notes about the Music: In the spring of 2012, I was in Minnesota attending some performances, and had the fortunate opportunity of catching up with Matthew George, conductor of the Grand Symphonic Winds. Matt had given the world premiere performance of my Concerto for Brass Quintet (Dodecafecta), and has always had a major presence in the formation of new works for winds, so I was very delighted when he brought up the idea of a new work for his group. The Grand Symphonic Winds, in honor of their 25th anniversary, were looking to celebrate the influx of many international cultures which had become a significant part of the landscape in Minnesota. This immediately called out to me in musical terms, namely in the forms of rhythms and spirituality (hence the title!) The piece opens and closes with heroic and beautiful music, signifying (to me) what most cultures seem to all be saying, but in different languages: we all just want peace, harmony and love. The entire middle section is very rhythmic, using many percussion instruments found in different cultures, also represented in Minnesota: Latin America (claves, bongos), Africa (Djembe) and if possible, Southeast Asia (Dholak). And just for fun, I even spelled out Minnesota in Morse code, but this was merely for my own enjoyment! I wish to thank Matt George, for all he has done for the field of music in Wind Ensembles, and specifically to him and the Grand Symphonic Winds for entrusting to me the responsibility of composing this new work, which I truly hope finds its home in the literature. Jim Stephenson March, 2013 Instrumentation: Wind Ensemble – one per part, except: 2 tubas recommended, French Horns doubled Recommended: Rhythm percussion sit in the middle of the ensemble, or immediately in front of the conductor, where visible to audience. Percussion instruments needed: Snare Drum, Bass Drum, Cymb. a2 Claves, Djembe, Marimba, Triangle, Vibes, Bongos (or Dholak) Xylophone, Glock., Tambourine, Sus. Cymb. (if desired, the Dholak could replace the Bongos, using high/low sounds).
$140.00 ≈
$190.28
Concerto For Alto Saxophone And Wind Ensemble - Xylophone
Concerto For Alto Saxophone And Wind Ensemble - Xylophone
Xylophone|Percussion|Alto Saxophone
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Samuel R
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Concerto For Alto Saxophone An
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Hal Leonard - Digital Sheet Music
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SheetMusicPlus
By Samuel R. Hazo. Contest; Festival. Concert Band. 2 pages. Published by Hal Leonard - Digital Sheet Music...
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By Samuel R. Hazo. Contest; Festival. Concert Band. 2 pages. Published by Hal Leonard - Digital Sheet Music
$10.50 ≈
$14.27
Dreams within Dreams
Dreams within Dreams
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Contemporary
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John Carbon
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Dreams within Dreams
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John Carbon
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SheetMusicPlus
Small Ensemble Marimba,Vibraphone,Xylophone - Level 4 - Digital Download SKU: A0.966228 Composed by John Carbon. 20th Century,Contemporary. Score and par...
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Small Ensemble Marimba,Vibraphone,Xylophone - Level 4 - Digital Download SKU: A0.966228 Composed by John Carbon. 20th Century,Contemporary. Score and parts. 191 pages. John Carbon #6889495. Published by John Carbon (A0.966228). Score and parts for Dreams within Dreams, a concerto for percussion solo playing vibes, xylophone and marimba, double woodwind quintet and brass quartet plus chimes and crotales. Duration 18 minutes.
$28.00 ≈
$38.06
Dreams within Dreams
Dreams within Dreams
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Contemporary
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John Carbon
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Dreams within Dreams
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John Carbon
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SheetMusicPlus
Small Ensemble Marimba,Vibraphone,Xylophone - Digital Download SKU: A0.966225 Composed by John Carbon. Contemporary. Score and parts. 48 pages. John Carb...
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Small Ensemble Marimba,Vibraphone,Xylophone - Digital Download SKU: A0.966225 Composed by John Carbon. Contemporary. Score and parts. 48 pages. John Carbon #6888383. Published by John Carbon (A0.966225). Percussion concerto for one player (Vibraphone, Marimba and Xylophone) plus double woodwind quintet, brass quartet, chimes and crotales. Duration 18 minutes. Optional spatial separation of players with processional.
$18.00 ≈
$24.47
Lesson Plan & Manuscript Book
Lesson Plan & Manuscript Book
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Eric Bolvin
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Lesson Plan & Manuscript Book
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ERIC V BOLVIN
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SheetMusicPlus
Large Ensemble Alto Recorder,Alto Saxophone,Banjo,Baritone Recorder,Baritone Saxophone,Bass Guitar,Bassoon,Cello,Clarinet,Double Bass,Drums,English Horn,Euphoni...
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Large Ensemble Alto Recorder,Alto Saxophone,Banjo,Baritone Recorder,Baritone Saxophone,Bass Guitar,Bassoon,Cello,Clarinet,Double Bass,Drums,English Horn,Euphonium,Flute,Harmonica,Harp,Marimba,Oboe,Soprano Recorder,Soprano Saxophone,Tenor Recorder,Tenor Saxophone,Timpani,Trombone,Trumpet,Tuba,Ukulele,Vibraphone,Viola,Violin,Voice,Xylophone - Level 1 - Digital Download SKU: A0.829070 Composed by Eric Bolvin. Instructional,Standards. Score and parts. 78 pages. ERIC V BOLVIN #3579873. Published by ERIC V BOLVIN (A0.829070). All teachers and students can use this book. It is simply an outline for developing a consistent practice routine. Sections A and B should consist of exercises that are for the instrument. For trumpet this may include flexibility, long tones, scales, arpeggios, buzzing, pedal tones or any other technical exercise. Sections C, D and E should be used for assignments concerning music. These could include etudes, jazz transcriptions, orchestral excerpts, concertos, ensemble parts or any other musical application. The indications for REST are very important for all brass players. You must always rest as much as you play during the A and B sections of the lesson.This is the warm-up section of your routine and you will feel better if you take your time during these first and most important steps. If you become fatigued during parts A or B, you are not resting enough and shouldstart fresh the next day, all the while considering the fact that you have not rested properly.The opposing manuscript page is for writing scales, exercises, tunes, licks, notes, or whatever you wish to write there.The book also has a space at the bottom for students to write down how much time they practice each day.
$13.95 ≈
$18.96
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Concerto for Xylophone
