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Whistle Down The Wind Percussion 2
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You've selected:
Whistle Down The Wind Percussion 2
Sheetmusic to print
12 sheet music found
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1
Whistle Down The Wind - Percussion 2
Whistle Down The Wind - Percussion 2
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Percussion (band part)
#
Broadway
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Jim Steinman and Andrew Lloyd
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John Leavitt
#
Musical/Show
#
Whistle Down The Wind - Percus
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Hal Leonard - Digital Sheet Music
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SheetMusicPlus
By Jim Steinman and Andrew Lloyd Webber. Arranged by John Leavitt. Orchestra. For Percussion 2. Broadway; Musical/Show. Individual instrument part. 1 pages. Dur...
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By Jim Steinman and Andrew Lloyd Webber. Arranged by John Leavitt. Orchestra. For Percussion 2. Broadway; Musical/Show. Individual instrument part. 1 pages. Duration 3:30. Published by Hal Leonard - Digital Sheet Music
$7.00 ≈
¥49.65
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 ≈
¥170.17
The Circus Cavalry (parts)
The Circus Cavalry (parts)
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Concert band
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INTERMEDIATE
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Jeffrey Ouper
#
The Circus Cavalry
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Jeffrey Ouper
#
SheetMusicPlus
Concert Band - Level 3 - Digital Download SKU: A0.866220 Composed by Jeffrey Ouper. 20th Century,Children,Contemporary. Score and parts. 101 pages. Jeffr...
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Concert Band - Level 3 - Digital Download SKU: A0.866220 Composed by Jeffrey Ouper. 20th Century,Children,Contemporary. Score and parts. 101 pages. Jeffrey Ouper #3684975. Published by Jeffrey Ouper (A0.866220). Note: This download is for the parts formatted for letter size paper. The score formatted for legal size paper is a separate download. The Circus Cavalry embodies the style of marches and descriptive light-music similar to Leroy Anderson. The Circus Cavalry follows the form of traditional marches, but ends with a descriptive coda in the original key. Listeners can imagine the opening parade of performers, clowns, and animals under the big top circus tent. After the main performance is finished, the coda portrays the clowns’ prolonged merriment, which results in a whip crack from the ringmaster to keep the show on schedule. The Circus Cavalry is perfect for any circus, carnival, or children’s themed band concert! Grade 4 Duration: 3:40 Instrumentation: piccolo, flute 1,2, oboe 1,2, english horn (optional), e-flat clarinet, b-flat clarinet 1,2,3, alto clarinet (optional), bass clarinet, bassoon, alto sax 1,2, tenor sax, bari sax, trumpet 1,2,3, horn 1,2,3,4, trombone 1,2,3, euphonium, baritone TC, tuba, double bass (optional) percussion: glockenspiel, timpani, ratchet, vibraslap, bird whistle, bass drum, snare drum, slide whistle, wood block, slapstick, whizzer siren whistle, triangle If percussionists are limited, important slide whistle cues are given for wind players to help. Other percussion events may be given to players in the band not playing in the coda. Other cues for missing instruments are given in strategic areas.
$34.95 ≈
¥247.92
The Circus Cavalry (score)
The Circus Cavalry (score)
#
Concert band
#
INTERMEDIATE
#
Jeffrey Ouper
#
The Circus Cavalry
#
Jeffrey Ouper
#
SheetMusicPlus
Concert Band - Level 3 - Digital Download SKU: A0.866219 Composed by Jeffrey Ouper. 20th Century,Children,Contemporary. Score and parts. 30 pages. Jeffre...
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Concert Band - Level 3 - Digital Download SKU: A0.866219 Composed by Jeffrey Ouper. 20th Century,Children,Contemporary. Score and parts. 30 pages. Jeffrey Ouper #3684883. Published by Jeffrey Ouper (A0.866219). Note: This download is for the score formatted for legal size paper. Parts formatted for letter size paper are a separate download.The Circus Cavalry embodies the style of marches and descriptive light-music similar to Leroy Anderson. The Circus Cavalry follows the form of traditional marches, but ends with a descriptive coda in the original key. Listeners can imagine the opening parade of performers, clowns, and animals under the big top circus tent. After the main performance is finished, the coda portrays the clowns’ prolonged merriment, which results in a whip crack from the ringmaster to keep the show on schedule. The Circus Cavalry is perfect for any circus, carnival, or children’s themed band concert!Grade 4Duration: 3:40 Instrumentation:piccolo, flute 1,2, oboe 1,2, english horn (optional), e-flat clarinet, b-flat clarinet 1,2,3, alto clarinet (optional), bass clarinet, bassoon, alto sax 1,2, tenor sax, bari sax, trumpet 1,2,3, horn 1,2,3,4, trombone 1,2,3, euphonium, baritone TC, tuba, double bass (optional) percussion: glockenspiel, timpani, ratchet, vibraslap, bird whistle, bass drum, snare drum, slide whistle, wood block, slapstick, whizzer siren whistle, triangle If percussionists are limited, important slide whistle cues are given for wind players to help. Other percussion events may be given to players in the band not playing in the coda. Other cues for missing instruments are given in strategic areas.
$34.95 ≈
¥247.92
The Munsters Theme
The Munsters Theme
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Concert band
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EASY
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Jack Marshall
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Kyle L
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2nd-year players
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The Munsters Theme
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KyleMac Music
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SheetMusicPlus
Concert Band - Level 2 - Digital Download SKU: A0.1208594 Composed by Jack Marshall. Arranged by Kyle L. McKinzey. Contest,Festival,Film/TV,Holiday. Scor...
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Concert Band - Level 2 - Digital Download SKU: A0.1208594 Composed by Jack Marshall. Arranged by Kyle L. McKinzey. Contest,Festival,Film/TV,Holiday. Score and Parts. 42 pages. KyleMac Music #806702. Published by KyleMac Music (A0.1208594). THE MUNSTERS†was an American sitcom airing on CBS from 1964 to 1966. It depicted the home life of a family of benign monsters. The series was a satire of American suburban life, the wholesome television family fare of the era and traditional monster movies. The music, by Jack Marshall, was described by writer Jon Burlingame as a Bernard-Herrmannmeets-Duane-Eddy sound. This arrangement has fun bass lines, so they will enjoy this and need to work on it sounding creepy. Though not marked throughout, the bass line should be separated and emulate a picked electric bass articulation throughout. The rest of the winds is more suitable for 1st & 2nd-year players. Ex. The 2nd clarinets do not cross the break. The percussion is written for a drum set but can be separated as a traditional part for concert band. As usual, I have included plenty of percussion parts to go around. The tom part can be ad-libbed by a drumkit player if you go with that option. The part itself is optional but does help if splitting the drum part. There are three different mallet parts with the xylophone and marimba carrying the load. Bells can be optional. There are lots of sound effects in the accessories part. Ratchet, Cowbell, Vibra-slap, Tambourine, Whistle, Siren whistle. These can be easily substituted with what you have on hand. I hope your students and audiences (and you) have fun with this piece. I appreciate all comments, questions, and criticisms. KyleMac Music
$49.99 ≈
¥354.61
The Midnight Circus
The Midnight Circus
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Concert band
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EASY
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Drew Morris
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The Midnight Circus
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Yellow Envelope Publications
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SheetMusicPlus
Concert Band - Level 2 - Digital Download SKU: A0.1272817 Composed by Drew Morris. 21st Century,Classical,Contemporary,Contest,Festival. Score and Parts....
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Concert Band - Level 2 - Digital Download SKU: A0.1272817 Composed by Drew Morris. 21st Century,Classical,Contemporary,Contest,Festival. Score and Parts. 63 pages. Yellow Envelope Publications #865015. Published by Yellow Envelope Publications (A0.1272817). This piece has a bunch of quirky solo and soli opportunities scattered throughout the ensemble (I hope you’ve been practicing your chromatic scales), a chance for trombones to finally dig into some glisses, and here’s your chance to use all those silly sounding instruments in your percussion cabinet! (And I encourage you to add even more chaotic sounds to the mix if you wish)The clarinet, alto saxophone, trumpet, horn, and trombones all have divided parts, while all other winds are single lines. The percussion parts are quite individualized, especially the mallets.InstrumentationFlute, Oboe, Bassoon, 2 Clarinet, Bass Clarinet,2 Alto Saxophone, Tenor Saxophone, Baritone Saxophone, 2 Trumpet, 2 French Horn, 2 Trombone, Euphonium, Treble Clef Euphonium, Tuba10 Percussionists - Timpani, Snare Drum, Bass Drum, Crash Cymbals,Bike Horn, Ratchet, Vibraslap, Flexatone, Whistle (or any other accessories you wish),Glockenspiel, Vibraphone, Xylophone, Marimba
$55.00 ≈
¥390.14
March of the Shadows
March of the Shadows
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Concert band
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BEGINNER
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Martin J
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March of the Shadows
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Imagine Music - Digital
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SheetMusicPlus
Concert band - Grade 1 - Digital Download SKU: IZ.CBS163-S Composed by Martin J. Wimmer. Score. 10 pages. Imagine Music - Digital #CBS163-S. Published by...
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Concert band - Grade 1 - Digital Download SKU: IZ.CBS163-S Composed by Martin J. Wimmer. Score. 10 pages. Imagine Music - Digital #CBS163-S. Published by Imagine Music - Digital (IZ.CBS163-S). 9 x 12 in inches.March of the Shadows is a Grade 1 1/2 work for second-year elementary band. As a veteran elementary band director,I am keenly aware of what students are able to accomplish at this level. March of the Shadows is a fun, slightlychallenging, and completely achievable work. It is a work that would be useful at the beginning of the school yearwhen it feels too summery to begin holiday music. March of the Shadows would be perfect for a Halloween orAutumn Concert.March of the Shadows begins with a whistle! It calls the show by announcing each new section of the piece. (Astudy of form.) It even reacts to a momentary modulation. The whistle part has all sorts of fun staging potential,including having it played by the director! The initial whistle is followed by a percussion introduction which sets thebeat. Seven percussion parts, three of them optional, have been included so that everyone in a large percussionsection will be kept engaged and out of trouble! The body of the work includes two alternating themes, one dark andshadowy in minor, the other bright, heroic and slightly syncopated in major. Every part gets the melody at somepoint, even the low brass and woodwinds! Ranges are all standard for early second-year band players, i.e. clarinetsdo not go over the break, trumpets do not go higher than middle line B, the snare drum part is sprinkled with basicrudiments such as flams and paradiddles. Even the horn gets a crack at the tune! Every part is fun, interesting andeducational.
$8.00 ≈
¥56.75
March of the Shadows
March of the Shadows
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Concert band
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BEGINNER
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Martin J
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March of the Shadows
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Imagine Music - Digital
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SheetMusicPlus
Concert band - Grade 1 - Digital Download SKU: IZ.CBS163 Composed by Martin J. Wimmer. Score and Parts. 26 pages. Imagine Music - Digital #CBS163. Publis...
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Concert band - Grade 1 - Digital Download SKU: IZ.CBS163 Composed by Martin J. Wimmer. Score and Parts. 26 pages. Imagine Music - Digital #CBS163. Published by Imagine Music - Digital (IZ.CBS163). 9 x 12 in inches.March of the Shadows is a Grade 1 1/2 work for second-year elementary band. As a veteran elementary band director,I am keenly aware of what students are able to accomplish at this level. March of the Shadows is a fun, slightlychallenging, and completely achievable work. It is a work that would be useful at the beginning of the school yearwhen it feels too summery to begin holiday music. March of the Shadows would be perfect for a Halloween orAutumn Concert.March of the Shadows begins with a whistle! It calls the show by announcing each new section of the piece. (Astudy of form.) It even reacts to a momentary modulation. The whistle part has all sorts of fun staging potential,including having it played by the director! The initial whistle is followed by a percussion introduction which sets thebeat. Seven percussion parts, three of them optional, have been included so that everyone in a large percussionsection will be kept engaged and out of trouble! The body of the work includes two alternating themes, one dark andshadowy in minor, the other bright, heroic and slightly syncopated in major. Every part gets the melody at somepoint, even the low brass and woodwinds! Ranges are all standard for early second-year band players, i.e. clarinetsdo not go over the break, trumpets do not go higher than middle line B, the snare drum part is sprinkled with basicrudiments such as flams and paradiddles. Even the horn gets a crack at the tune! Every part is fun, interesting andeducational.
$40.00 ≈
¥283.74
The Syncopated Clock
The Syncopated Clock
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Leroy Anderson
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Leroy Anderson
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Martha Lynn Thompson
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The Syncopated Clock
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Hope Publishing - Digital
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SheetMusicPlus
C Instrument, Percussion - Level 3 - Digital Download SKU: H1.2493PDP Composed by Leroy Anderson. Arranged by Martha Lynn Thompson. Secular, General Wors...
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C Instrument, Percussion - Level 3 - Digital Download SKU: H1.2493PDP Composed by Leroy Anderson. Arranged by Martha Lynn Thompson. Secular, General Worship. Percussion & c instrument score. 3 pages. Hope Publishing - Digital #2493PDP. Published by Hope Publishing - Digital (H1.2493PDP). By Leroy Anderson.Composition by Leroy Anderson Leroy Anderson introduced this playful composition to audiences by saying he had often wondered what a clock would sound like if, instead of going tick-tock, tick-tock, it went tock-tick-tock. Arranged by Martha Lynn Thompson for 3-5 octaves of handbells, optional handchimes, and incorporating the original percussion scoring for wood block, triangle (alarm clock), cow bell, and wind whistle, this piece has a mixture of stopped techniques (Pl/mallets or TD) and ringing - all in quick succession. Fun to ring, this easy, Level 2 arrangement is an excellent addition to any concert program.
$9.95 ≈
¥70.58
Ole Ole Ole (12" Version)
Ole Ole Ole (12" Version)
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Concert band
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BEGINNER
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J
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Jan Angermüller
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Ole Ole Ole
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Elbsound.studio
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SheetMusicPlus
Concert Band - Level 1 - Digital Download SKU: A0.1399010 Composed by J. Deja, Matthew Aitken, Michael Stock, Pete Waterman, and Roland Honore Verlooven....
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Concert Band - Level 1 - Digital Download SKU: A0.1399010 Composed by J. Deja, Matthew Aitken, Michael Stock, Pete Waterman, and Roland Honore Verlooven. Arranged by Jan Angermüller. Comedy,Instructional,Multicultural,Standards,Traditional,World. 41 pages. Elbsound.studio #982288. Published by Elbsound.studio (A0.1399010). Short arrangement of the Olé, olé, olé anthem for beginner school ensembles with percussion, woodwind and brass instruments. Each part is included twice for flexible school ensembles.The arrangement is very easy to play and a great show opener.With the ensemble becoming louder and louder and always shouting Olé it creates a football stadium atmosphere. A great school show opener. Includes:Score and parts for flute 1, flute 2, clarinet 1, clarinet 2, alto sax 1, alto sax 2, baritone, trombone.Several optional percussion instruments including bass drum, snare drum, surdo, ratchet, cow bell, guiro, whistleDuration: 1m08s
$49.99 ≈
¥354.61
How To Train Your Dragon for Clarinet Quartet
How To Train Your Dragon for Clarinet Quartet
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Clarinet Quartet: 4 clarinets
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INTERMEDIATE
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Film/TV
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John Powell
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Diego Marani
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How To Train Your Dragon for C
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Diego Marani
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SheetMusicPlus
Clarinet, Woodwind Quartet - Intermediate - Digital Download By John Powell. Arranged by Diego Marani. Score, Set of Parts. 20 pages. Published by Diego Ma...
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Clarinet, Woodwind Quartet - Intermediate - Digital Download By John Powell. Arranged by Diego Marani. Score, Set of Parts. 20 pages. Published by Diego Marani
How to Train Your Dragon is a 2010 American computer-animated action fantasy film produced by DreamWorks Animation and distributed by Paramount Pictures. John Powell composed an orchestral score, combining bombastic brass with loud percussion and soothing strings, while also using exotic Scottish and Irish tones with instruments like the penny whistle and bagpipes.
This arrangement for clarinet quartet includes the following parts: Bb Clarinet 1 or Eb Clarinet, Bb Clarinet 2, Bb Clarinet 3 or Eb Alto Clarinet, Bb Bass Clarinet.
It is suitable for classroom, repertoire and recital.
$19.99 ≈
¥141.80
How To Train Your Dragon for Flute Quartet
How To Train Your Dragon for Flute Quartet
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Flute Quartet: 4 flutes
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INTERMEDIATE
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Film/TV
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John Powell
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Diego Marani
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How To Train Your Dragon for F
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Diego Marani
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SheetMusicPlus
Flute, Woodwind Quartet - Intermediate - Digital Download By John Powell. Arranged by Diego Marani. Score, Set of Parts. 16 pages. Published by Diego...
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Flute, Woodwind Quartet - Intermediate - Digital Download By John Powell. Arranged by Diego Marani. Score, Set of Parts. 16 pages. Published by Diego Marani
How to Train Your Dragon is a 2010 American computer-animated action fantasy film produced by DreamWorks Animation and distributed by Paramount Pictures. John Powell composed an orchestral score, combining bombastic brass with loud percussion and soothing strings, while also using exotic Scottish and Irish tones with instruments like the penny whistle and bagpipes.
This arrangement for flute quartet includes the following parts: Flute 1, Flute 2, Flute 3, Flute 4 or Alto Flute.
It is suitable for classroom, repertoire and recital.
$19.99 ≈
¥141.80
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Whistle Down The Wind Percussion 2
