Swing Time - Bb Tuba BC

SKU: KN.19646

UPC: 822795196467. 9 x 12 inches.

These flexible instrumentation duet books are designed as a followup to the popular First Year FlexDuet collection. Featuring 10 grade 2-3 selections that can be played by virtually any combination of two like or mixed wind instruments using the appropriate key-compatible book(s).

Contents:
Allegretto (Hook); Brindisi (Verdi); Danny Boy (traditional); Fanfare (Strommen); Flow Gently, Sweet Afton (Spilman); Kerry Dance (traditional); La Cinquantaine (Marie); Let's Have A Party (Mozart); Polka (Strommen); and Swing Time (Strommen).

SKU: M7.AHW-412

English.

In the jazz tradition the Tuba was the bass in the rhythm section up until the mid-twenties. It was then the upright bass replaced the Tuba in many ensembles as the jazz music moved north and continued to develop. After this period the Tuba's roll, as bass in the rhythm section, was at a standstill and did not develop through Swing and Bebop. It wasn't until Cool Jazz of the 1950's when the Tuba was used by Miles Davis and Gil Evans in 'Birth of the Cool' as an ensemble horn. The Tuba, like swimming, is something you can't do any longer than you can hold your breath. In order to maintain a steady beat while playing in the rhythm section I have developed a system of breathing called Pant Breathing. Using this method, the player can maintain a steady beat within the rhythm section, without losing time while taking deep breaths.

SKU: KN.60760S

UPC: 822795607604.

This swingin' blues for developing groups features a moderate tempo, written or ad lib solos for trumpet and alto, and a series of solo fills by the drummer that create a dramatic conversation with the band. Rehearsal suggestions include a detailed note-grouping analysis is provided so that all players think in terms of the same sub-phrases to achieve an expressive performance. Each set includes a guitar chord chart by Jim Greeson. Duration 3:00.

SKU: KN.60110

UPC: 822795601107.

This piece utilizes a variety of rhythmic figures commonly seen in swing charts, and employs a tuneful melody supported by a simple, yet effective chord progression and solid orchestration. Designed to make developing groups sound their best, it features flexible instrumentation, very accessible brass ranges, completely notated rhythm parts, and a nice sax soli for a piece that is great fun to play and hear. Written or ad lib solos are provided for 1st Alto and 1st Trumpet. A guitar chord chart by Jim Greeson is included in each set. Duration 3:25. Available in SmartMusic.

SKU: KN.60110S

UPC: 822795601107.

This piece utilizes a variety of rhythmic figures commonly seen in swing charts, and employs a tuneful melody supported by a simple, yet effective chord progression and solid orchestration. Designed to make developing groups sound their best, it features flexible instrumentation, very accessible brass ranges, completely notated rhythm parts, and a nice sax soli for a piece that is great fun to play and hear. Written or ad lib solos are provided for 1st Alto and 1st Trumpet. A guitar chord chart by Jim Greeson is included in each set. Duration 3:25. Available in SmartMusic.

SKU: KN.02350S

UPC: 822795023503.

As recorded by the Count Basie Orchestra on their classic Basie-Straight Ahead album, this swingin' number will bring a smile to players and listeners alike as solo piano takes center stage from start to finish. Some suggested solo lines are provided, and the ensemble writing features quintessential figures and voicings for all. Rhythm section parts are partially notated with chords cued.

SKU: CL.DBI-BG1001-01

A collection of 12 original compositions by Dallas Brass arranger and composer, John Wasson. The pieces are written in a variety of music styles, Swing, Salsa, Blues, Reggae, Funk, and Broadway. They are scored for brass quintet and drums, but will also work for brass alone. Fun to listen to and even more fun to play, the difficulty level is appropriate for accomplished high school players on up. Accessible in regard to range, endurance and technique, these pieces will challenge each musician to play with good articulation, intonation and rhythm - all essential elements of any musical style. The collection is also great for gigging quintets! The COMPLETE SET includes books for: Director, Trumpet I, Trumpet II, Horn, Trombone, Tuba, Drums, and Trombone/Baritone/ Trumpet III substitute for Horn. Plus a full performance CD recorded by the Dallas Brass CONTENTS: Senor Salsa, Balloon Ride, Next Stop Funksville, Basically Basie, Surfside, Swingtime, Hearland, Catwalk Blues, Island Holiday, The Hipster, Beyond The Clouds, Curtain Call.

SKU: CL.DBI-BG1001-00

A collection of 12 original compositions by Dallas Brass arranger and composer, John Wasson. The pieces are written in a variety of music styles, Swing, Salsa, Blues, Reggae, Funk, and Broadway. They are scored for brass quintet and drums, but will also work for brass alone. Fun to listen to and even more fun to play, the difficulty level is appropriate for accomplished high school players on up. Accessible in regard to range, endurance and technique, these pieces will challenge each musician to play with good articulation, intonation and rhythm - all essential elements of any musical style. The collection is also great for gigging quintets! The COMPLETE SET includes books for: Director, Trumpet I, Trumpet II, Horn, Trombone, Tuba, Drums, and Trombone/Baritone/ Trumpet III substitute for Horn. Plus a full performance CD recorded by the Dallas Brass CONTENTS: Senor Salsa, Balloon Ride, Next Stop Funksville, Basically Basie, Surfside, Swingtime, Hearland, Catwalk Blues, Island Holiday, The Hipster, Beyond The Clouds, Curtain Call.

SKU: KN.60808

UPC: 822795608083.

This swing original utilizes a variety of rhythmic figures commonly used in rock and funk charts and includes a nice stop-time section as well as interesting chord progressions throughout. The solo section features written or ad lib solos for any player using solo sheets provided.

SKU: BA.BA10303-01

ISBN 9790006559503. 33 x 26 cm inches. Key: C minor. Preface: Michael Stegemann.

The third symphony by Camille Saint-Saens, known as the Organ Symphony, is the first publication in a complete historical-critical edition of the French composer's instrumental works.

I gave everything I was able to give in this work. [...] What I have done here I will never be able to do again.Camille Saint-Saens was rightly proud of his third Symphony in C minor Op.78, dedicated to the memory of Franz Liszt. Called theOrgan Symphonybecause of its novel scoring, the work was a commission from the Philharmonic Society in London, as was Beethoven's Ninth, and was premiered there on 19 May 1886. The first performance in Paris followed on 9 January 1887 and confirmed the composer's reputation asprobably the most significant, and certainly the most independent French symphonistof his time, as Ludwig Finscher wrote in MGG. In fact the work remains the only one in the history of that genre in France to the present day, composed a good half century after the Symphonie fantastique by Hector Berlioz and a good half century before Olivier Messiaen's Turangalila Symphonie.

You would think that such a famous, much-performed and much recorded opus could not hold any more secrets, but far from it: in the first historical-critical edition of the Symphony, numerous inconsistencies and mistakes in the Durand edition in general use until now, have been uncovered and corrected. An examination and evaluation of the sources ranged from two early sketches, now preserved in Paris and Washington (in which the Symphony was still in B minor!) via the autograph manuscript and a set of proofs corrected by Saint-Saens himself, to the first and subsequent editions of the full score and parts. The versions for piano duet (by Leon Roques) and for two pianos (by the composer himself) were also consulted. Further crucial information was finally found in his extensive correspondence, encompassing thousands of previously unpublished letters. The discoveries made in producing this edition include the fact that at its London premiere, the Symphony probably looked quite different from its present appearance ...

No less exciting than the work itself is the history of its composition and reception, which are described in an extensive foreword. With his Symphony, Saint-Saens entered right into the dispute which divided French musical life into pro and contra Wagner in the 1880s and 1890s. At the same time, the work succeeded in preserving the balance between tradition and modernism in masterly fashion, as a contemporary critic stated:The C minor Symphony by Saint-Saens creates a bridge from the past into the future, from immortal richness to progress, from ideas to their implementation.

On 19 March 1886 Saint-Saens wrote to the London Philharmonic Society, which commissioned the work:

Work on the symphony is in full swing. But I warn you, it will be terrible. Here is the precise instrumentation: 3 flutes / 2 oboes / 1 cor anglais / 2 clarinets / 1 bass clarinet / 2 bassoons / 1 contrabassoon / 2 natural horns / [3 trumpets / Saint-Saens had forgotten these in his listing.] 2 chromatic horns / 3 trombones / 1 tuba / 3 timpani / organ / 1 piano duet and the strings, of course. Fortunately, there are no harps. Unfortunately it will be difficult. I am doing what I can to mitigate the difficulties.

As in my 4th Concerto [for piano] and my [1st] Violin Sonata [in D minor Op.75] at first glance there appear to be just two parts: the first Allegro and the Adagio, the Scherzo and the Finale, each attacca. This fiendish symphony has crept up by a semitone; it did not want to stay in B minor, and is now in C minor.

It would be a pleasure for me to conduct this symphony. Whether it would be a pleasure for others to hear it? That is the question. It is you who wanted it, I wash my hands of it. I will bring the orchestral parts carefully corrected with me, and if anyone wants to give me a nice rehearsal for the symphony after the full rehearsal, everything will be fine.

When Saint-Saens hit upon the idea of adding an organ and a piano to the usual orchestral scoring is not known. The idea of adding an organ part to a secular orchestral work intended for the concert hall was thoroughly novel - and not without controversy. On the other hand, Franz Liszt, whose music Saint-Saens' Symphony is so close to, had already demonstrated that the organ could easily be an orchestral instrument in his symphonic poem Hunnenschlacht (1856/57). There was also a model for the piano duet part which Saint-Saens knew and may possibly have used quite consciously as an exemplar: theFantaisie sur la Tempetefrom the lyrical monodrama Lelio, ou le retour a la Vie op. 14bis (1831) by Berlioz. The name of the organist at the premiere ist unknown, as, incidentally, was also the case with many of the later performances; the organ part is indeed not soloistic, but should be understood as part of the orchestral texture.

In fact the subsequent success of the symphony seems to have represented a kind of breakthrough for the composer, who was then over 50 years of age.My dear composer of a famous symphony, wrote Saint-Saens' friend and pupil Gabriel Faure:You will never be able to imagine what a pleasure I had last Sunday [at the second performance on 16 January 1887]! And I had the score and did not miss a single note of this Symphony, which will endure much longer than we two, even if we were to join together our two lifespans!

About Barenreiter Urtext

What can I expect from a Barenreiter Urtext edition?< /p>

MUSICOLOGICA LLY SOUND
- A reliable musical text based on all available sources
- A description of the sources
- Information on the genesis and history of the work
- Valuable notes on performance practice
- Includes an introduction with critical commentary explaining source discrepancies and editorial decisions

... AND PRACTICAL
- Page-turns, fold-out pages, and cues where you need them
- A well-presented layout and a user-friendly format
- Excellent print quality
- Superior paper and binding

SKU: KN.KEN60049S

UPC: 822795600490.

In this winning and well-articulated swing outing for developing groups, highlights include a tuneful melody supported by accessible secondary lines, some nice stop-time figures, and a couple of 2/4 measures. Written or ad lib solos are reserved for baritone and tenor sax. Each set includes a guitar chord chart by Jim Greeson. Duration 4:40.