SKU: SU.21000305
Double Bass Composed: 1985 - 1986 Published by: Calabrese Brothers Music.
SKU: SU.21000213
UPC: 820821003284.
Jazz Sonorities (2002) was composed for Esther Lamneck at her request and premiered by her and Barbara Allen on drums at the Loewe Theater of New York University on May 30, 2002. Ms. Lamneck asked me to compose a piece for either solo clarinet or clarinet and piano. I decided on the former to continue my Sonorities series of works for solo instruments which eventually resulted in Sonorities VII for solo b-flat clarinet (2003-04). However, shortly after getting started with my Sonorities VII I kept hearing the swinging sounds of a jazz clarinet backed up by a jazz drum set. Part of the reason I kept hearing these sounds is that I grew up listening to the big swing bands of such clarinet leaders as Benny Goodman, Artie Shaw, Woody Herman, and Jimmy Dorsey. These musicians were my first exposure to the clarinet. So I decided to first compose a piece for clarinet with a jazz quality and a swinging partly ad lib part for the drums and to put my solo clarinet piece for Esther on hold for a year. There was also a personal reason to use the drums in the piece. My first ambition in music was to be a jazz drummer and indeed I studied drums with a jazz drummer and played drums professionally in dance bands for several years. Ms. Lamneck's part in this piece is almost entiirely written out except for a few measures of improvisation around the middle of the piece. The jazz quality of her part comes mostly in the prasing and using bluesy like pitch bends, slides, and microtones. The jazz quality of the drum set part is in the swinging beat that is used throughout most of the piece. The influence of the famous recording of Sing Sing Sing, with a swing by Benny Goodman & his orchestra in 1937 featuring Gene Krupa on drums is heard in the middle section when the drummer switches to a beat on the floor tom and high tom for several measures. Also, the Afro Cuban section toward the end of the piece was influenced by the many recordings of Stan Kenton & his orchestra particularly the 1950 Pete Rugolo arrangement of Cole Porter's Love for Sale. In the drum solo of the Afro Cuban section which is near the end can use optional claves and/or maracas (1-2 additional players). At the premiere the composer joined in this section on maracas. The drum set calls for a bass drum, floor tom, snare drum, high tom, ride cymbal, sizzle cymbal, and hi-hat. --Patrick Hardish.
SKU: BT.DHP-0960712-060
Sonority is een stralende concertmars in 6/8 maat met een zeer melodieus trio. Zoals de titel belooft, is de klank van het werk sonoor en warm. Een glanzend hoogtepunt in een volgend concert!Sonority - zu deutsch ‘Klangfülle’ - hält, was sein Titel verspricht: Peter Riedemanns Komposition ist ein prachtvoller Konzertmarsch im 6/8-Takt mit einem besonders melodischen Trio. Ein absoluter Glanzpunkt in Ihrem nächsten Konzertprogramm! Cette marche fluide et joyeuse, écrite en 6/8, s’interprète avec légèreté et souplesse. Structurée selon la forme traditionnelle de la marche, Sonority développe un thème mélodieux qui chemine travers le tissu thématique du trio. Après un passage contrastant joué avec panache, le thème du trio est repris une dernière fois.Sonority est une marche simple qui se prête parfaitement une interprétation en salle de concert ou en plein air.
SKU: BT.DHP-0940583-020
Sonority von Peter Riedemann ist mittlerweile ein Klassiker im Marschrepertoire von De Haske. Der wunderschöne Konzertmarsch im 6/8-Takt glänzt mit einem besonders melodischen Trio.Cette marche fluide et joyeuse, écrite en 6/8, s’interprète avec légèreté et souplesse. Structurée selon la forme traditionnelle de la marche, Sonority développe un thème mélodieux qui chemine travers le tissu thématique du trio. Après un passage contrastant joué avec panache, le thème du trio est repris une dernière fois.Sonority est une marche simple qui se prête parfaitement une interprétation en salle de concert ou en plein air.
SKU: BT.DHP-0940583-010
Sonority - zu deutsch ‘Klangfülle’ - hält, was sein Titel verspricht: Peter Riedemanns Komposition ist ein prachtvoller Konzertmarsch im 6/8-Takt mit einem besonders melodischen Trio. Ein absoluter Glanzpunkt in Ihrem nächsten Konzertprogramm! Cette marche fluide et joyeuse, écrite en 6/8, s’interprète avec légèreté et souplesse. Structurée selon la forme traditionnelle de la marche, Sonority développe un thème mélodieux qui chemine travers le tissu thématique du trio. Après un passage contrastant joué avec panache, le thème du trio est repris une dernière fois.Sonority est une marche simple qui se prête parfaitement une interprétation en salle de concert ou en plein air.
SKU: HL.44002245
UPC: 073999730715. 8.5x11.75x0.94 inches.
Sonority - zu deutsch 'Klangfulle' - halt, was sein Titel verspricht: Peter Riedemanns Komposition ist ein prachtvoller Konzertmarsch im 6/8-Takt mit einem besonders melodischen Trio. Ein absoluter Glanzpunkt in Ihrem nachsten Konzertprogramm!Cette marche fluide et joyeuse, ecrite en 6/8, s'interprete avec legerete et souplesse. Structuree selon la forme traditionnelle de la marche, Sonority developpe un theme melodieux qui chemine a travers le tissu thematique du trio. Apres un passage contrastant joue avec panache, le theme du trio est repris une derniere fois.Sonority est une marche simple qui se prete parfaitement a une interpretation en salle de concert ou en plein air.
SKU: BT.DHP-0940583-215
Sonority - zu deutsch ‘Klangfülle’ - hält, was sein Titel verspricht: Peter Riedemanns Komposition ist ein prachtvoller Konzertmarsch im 6/8-Takt mit einem besonders melodischen Trio. Ein absoluter Glanzpunkt in Ihrem nächsten Konzertprogramm!Cette marche fluide et joyeuse, écrite en 6/8, s’interprète avec légèreté et souplesse. Structurée selon la forme traditionnelle de la marche, Sonority développe un thème mélodieux qui chemine travers le tissu thématique du trio. Après un passage contrastant joué avec panache, le thème du trio est repris une dernière fois.Sonority est une marche simple qui se prête parfaitement une interprétation en salle de concert ou en plein air.
SKU: HL.48180818
UPC: 888680853068. 9x12 inches.
The Techniques of the Oboe, Sonority and Mechanism by Louis Bleuzet is a method for oboe, using the rational study of the scale. This first volume for beginners includes the following topics: 1. Scales 2. Mechanism 3. Sonority 4. Articulations 5. Trills. The two other volumes focus on: Scales in third, Mechanism, Scales in fourths, Mechanism, Whole tone scales, Chromatic scale, Arpeggios and Staccato. Louis Bleuzet (1874-1941) was a French oboist and a professor at the Paris Conservatoire.
SKU: CL.RWS-2116-01
A significant addition to your concert band folders, Keys To Success is a daily approach to developing stellar sonority and technique with your ensemble. Combining traditional long tone and technique exercises/studies with original chorales, this is a rich resource that has been proven in the classroom over many years. Detailed teaching notes to the conductor are included providing invaluable information beyond most band technique books. Directors are encouraged to listen to the publisher-provided demonstration recording featuring a high school band who has used Keys To Success for years in the development of their ensembles from grades 9-12. A cost effective and teaching-focused resource for all concert bands!
SKU: CY.CC3060
ISBN 9790530110355. 8.5 x 11 in inches.
A ricercar is an instrumental work that was popular in the Renaissance and Baroque periods. Jeremy Kempton's stirring Ricercar for Sonorous Instruments harkens back to the Venetian splendor of the Gabrielis who epitomized the Glory of Venice at its height. This 3 minute work is in A-B-A form beginning with a fanfare-like Allegro that gives way to a contrasting lyrical section which seems to almost melt away. The piece then returns to the opening Allegro and a hall-ringing conclusion. This work is appropriate for advanced performers.
SKU: CL.RWS-2116-00
SKU: PR.114405050
UPC: 680160008377. 11 x 14 inches.
Although structurally it subdivides into five movements, the entire quartet emerges as one vast continuum. There are no formal breaks between movements. However, certain musical signposts can be discerned, associated with each of the movements' terminations and new beginnings. The opening movement, The Nostalgia of Clanging Bell Sonorities, begins floating on recurrent Bbs whose soft rhythmic flow slowly puts into motion strong undercurrents suggestive of the latent power of water... After several suggestions of tolling bells, the movement gradually fades into hushed tones of veiled and very distant sonorities. It uses a unique efffect, for the first time in a musical context, conveyed through the use of extra heavy practice mutes. The second movement, The Spill of Water , disengages itself from the first through its distinct contrast in tempo. Water moves fast, and when it splashes, it tends to run wildly. In this case, it happens to be bubbly water that gushes forth bodly... smashing across rocky shorlines. So, too, the music attempts to conjure such moods. At the end of this movement, a cello cadenza emerges, introducing an introspective type of melodicism. The third movement, The Poignancy of Memory, contains many silences as it tries to convey memory through fragmented remembrances much like often occur in our dream state. Progressing through several slowly building images, it gradually works itself into juxtaposition of musical images. Towards the movement's end, high harmonics are sounding in all four instruments while left hand pizzicato notes in the cello pluch the last remembrances of this central core. Almost imperceptibly, the viola assumes leadership as it dissolves into: The fourth movement, The Fluidity of Motion, which has mostly the viola, but also the cello, articulating lyrical statements against the sheets of sound conjured up by the two violins playing a flood of swirling figures, evokes a kind of static motion in spae. Here, the virtually imperceptible manner in which this hushed whisper continues incessantly, can suggest the potential fluidity with which movement may inch forward... Later into the fourth movement , two fairly extended solos by the second and then the first violins, lead to a kind of spontaneous dialogue among the four instrumentalists. Eventually, this musical conversation gets caught up in: The fifth movement's The Rush of Time, which opens with a hushed flurry of speed, precipitates the Finale. It generates, at first slowly, but then very swiftly, whole shifts of rhythmic fields that initially seem to conflict with one another. Ultimately, this use of 'psycho-rhythmics contributes to an on-rush of motion and time. Rhythmic changes are, at times, abruptly precipitated with but little or no preparation creating a kind of inevitability in forward thrust, while the movement rushes forward with a feeling of gradual and continuous acceleration. It gathers density as more and more notes are piled progressively upon successive beats. The attempt is to spark tension and ignite excitement by means of frenetic confrontations of dissimilitudes. Ultimately - with the help of time - these polarities centrifically spin out their own destinies with their accompanying fall-out and own inevitable resolutions.
SKU: PR.11440505S
UPC: 680160008391. 11 x 14 inches.
Although structurally it subdivides into five movements, the entire quartet emerges as one vast continuum. There are no formal breaks between movements. However, certain musical signposts can be discerned, associated with each of the movements' terminations and new beginnings. The opening movement, The Nostalgia of Clanging Bell Sonorities, begins floating on recurrent Bbs whose soft rhythmic flow slowly puts into motion strong undercurrents suggestive of the latent power of water... After several suggestions of tolling bells, the movement gradually fades into hushed tones of veiled and very distant sonorities. It uses a unique effect, for the first time in a musical context, conveyed through the use of extra heavy practice mutes. The second movement, The Spill of Water, disengages itself from the first through its distinct contrast in tempo. Water moves fast, and when it splashes, it tends to run wildly. In this case, it happens to be bubbly water that gushes forth bodly... smashing across rocky shorelines. So, too, the music attempts to conjure such moods. At the end of this movement, a cello cadenza emerges, introducing an introspective type of melodicism. The third movement, The Poignancy of Memory, contains many silences as it tries to convey memory through fragmented remembrances much like often occur in our dream state. Progressing through several slowly building images, it gradually works itself into juxtaposition of musical images. Towards the movement's end, high harmonics are sounding in all four instruments while left hand pizzicato notes in the cello pluck the last remembrances of this central core. Almost imperceptibly, the viola assumes leadership as it dissolves into: The fourth movement, The Fluidity of Motion, which has mostly the viola, but also the cello, articulating lyrical statements against sheets of sound conjured up by the two violins playing a flood of swirling figures, evokes a kind of static motion in space. Here , the virtually imperceptible manner in which this hushed whisper continues incessantly, can suggest the potential fluidity with which movement may inch forward... Later into the fourth movement, two fairly extended solos by the second and then the first violins, lead to a kind of spontaneous dialogue amont the four instrumentalists. Eventually, this musical conversation gets caught up in: The fifth movement's The Rush of Time, which opens with a hushed flurry of speed, precipitates the Finale. It generates, at first slowly, but then very swiftly, whole shifts of rhythmic fields that initially seem to conflict with one another. Ultimately, this use of psycho-rhythmics contributes to an on-rush seem of motion and time. Rhythmic changes are, at times, abruptly precipitated with but little or no preparation creating a kind of inevitability in forward thrust, while the movement rushes forward with a feeling of gradual and continuous acceleration. It gathers density as more and more notes are piled progressively upon successive beats. The attempt is to spark tension and ignite excitement by means of frenetic confrontations of dissimilitudes. Ultimately - with the help of time - these polarities centrifically spin out their own destinies with their accompanying fall-out and own inevitable resolutions.
SKU: CA.1632800
ISBN 9790007112745. Language: all languages.
E texts of the French author Anne-Marie Albiach have long been the point of departure for my works. Following the viola concerto << monstrueuse vecut dans le cadre >> la memoire, which is based on her << H II>> lineaires, the three texts entitled << une geometrie >> have generated a new cycle. As in the other two works of the cycle, << figurations de memoire >> is predicated on two different readings of the text: on the one hand a (private) reading by Anne-Marie Albiach in which time is measured [demarcated] out; while on the other hand the graphic text is measured millimeter by millimeter. The latter serves as the basis - the genetic code - for the temporal, horizontal structure of the quintet, whereas the reading of the author appears in rhythmic surfaces which interrupt the horizontal plane. In << figurations de memoire >> two clearly recognizable elements are repeated: the tone b (which plays a central roll in most of my works) and a chord of fifths built around the tone b - a piece of memory (memoire) from viola concerto. In contrast, the extended chords of the reading consist of five tones which in their frequencies are equidistant from each other (like an overtone chord). For the generation of tone materials the chords of both levels are compressed and stretched within the ranges (frames) of tones from which the horizontal positions of the text fragments are derived: lower, borderline tones on the left margin, and higher borderline tones on the right margin. Thus the disposition on the page, essential for Anne-Marie Albiach (and first introduced in poetry by Mallarme in Un coup de des jamais n'abolire le hasard), is rendered in sound. Naturally each element of the text serves to mold structure and dynamic, to include typography: fragments within quotation marks, in italics, etc., yield different sonorous images [sonorities] and movements. Each word from the typographical reading is orchestrated [instrumentated] differently, which is important for the whole cycle (however, the chords of the spoken reading are always played by five instruments; here only speech and pauses in speech [[interruptions of speech]are distinguished from each other). Thus a tight network of instrumental combinations is created in which, word for word, the text is made audible. The most important element in the process: the vertical, synchronized playing together of the individual instruments (Synchorniestudie), ranging from solo to quintet.
SKU: HL.370494
ISBN 9781705147009. UPC: 840126994025.
The First String Quartet in C major, Op. 37, was written in the autumn of 1917 and earned Szymanowski the first prize in a competition organized by the Ministry of Religious and in a competition organized by the Ministry of Religious and Educational Affairs in January 1922. The First String Quartet is notable for its clar and simple construction. The first movement is in the formof a sonata allegro; the Andantino semplice (in modo iuna canzone) in the middle is a cross between ternary and variation form. The final Scherzando alla burlesca also keeps to the form of a sonata allegro. The combinations and proportions of formal factors and the treatment of thematic material betray a fairly conventional adoption of classical models. Similarly, the expressive and structural use of melodic material shows a respect for traditional norms. Szymanowski created, in other works from the same period, his own individual type of melodic line, which was strongly expressive and achieved its effect chiefly by its tonal qualieties; nevertheless in this Quartet he returns to a fluid, cantilena-like, symmetrically shaped melodic line, which runs along in broad phrases of a concentrated, reflective character. Melody becomes the chief factor in the development of the form, both in thematic usage and in the application of a more polyphonic texture. Harmonic and tonal means are considerably simplified in the Quartet []. Most of the writing is linear, or horizontal, with individual treatment of each part, the parallel continuation of the four sound planes, almost a matter of principle. The functions of the particular instruments in realizing these planes are constantly changing,which accounts for the even greater variedy of tone-colour. The decision to forego experiment with forms and sonorities is reflectedin the overall approach to musical expression. The predominant atmosphere of restrained emotion, quiet lyricism and serenity is strongly suggestive of classical aestetic models. (Based on Zofia Helman Commentary on Szymanowski Complete Edition, Vol. B6) (II) The ''Second String Quartet'' represents an interesting attempt to revert to classical form coupled with the new harmonic and tonal vocabulary worked out previously in the ''Slopiewnie'', ''Stabat Mater'' and ''Mazurkas''. It was also the first time the composer had used folk elements in the framework of a major classical form. The ''Second String Quartet'' is in a special category among Szymanowski's works. Though it dates from the composer was still occupied with folk music, it nevertheless shows him returning to classical models, but at the same time using an aesthetic of subjective expression, which gives the work its own individual stamp. The ''Second String Quartet'' synthesis of the various directions in which Szymanowski was attempting to develop. The sonority and texture used in the first.
SKU: CL.011-3693-01
Velocity is an exciting mixed-meter piece from the pen of Larry Neeck. Striking sonorities and driving rhythms characterize this fast-paced romp. Splashes of percussion color and alternating sonorous and jagged melodies and harmonies in the winds sustain interest and intensity throughout the work. With a driving intensity from start to finish, Velocity is the perfect opener, closer, or change-of-pace for your next concert.
About C.L. Barnhouse Command Series
The Barnhouse Command Series includes works at grade levels 2, 2.5, and 3. This series is designed for middle school and junior high school bands, as well as high school bands of smaller instrumentation or limited experience. Command Series publications have a slightly larger instrumentation than the Rising Band Series, and are typically of larger scope, duration, and musical content.
SKU: CA.1632809
Language: all languages.
E texts of the French author Anne-Marie Albiach have long been the point of departure for my works. Following the viola concerto << monstrueuse vecut dans le cadre >> la memoire, which is based on her << H II>> lineaires, the three texts entitled << une geometrie >> have generated a new cycle. As in the other two works of the cycle, << figurations de memoire >> is predicated on two different readings of the text: on the one hand a (private) reading by Anne-Marie Albiach in which time is measured [demarcated] out; while on the other hand the graphic text is measured millimeter by millimeter. The latter serves as the basis - the genetic code - for the temporal, horizontal structure of the quintet, whereas the reading of the author appears in rhythmic surfaces which interrupt the horizontal plane. In << figurations de memoire >> two clearly recognizable elements are repeated: the tone b (which plays a central roll in most of my works) and a chord of fifths built around the tone b - a piece of memory (memoire) from viola concerto. In contrast, the extended chords of the reading consist of five tones which in their frequencies are equidistant from each other (like an overtone chord). For the generation of tone materials the chords of both levels are compressed and stretched within the ranges (frames) of tones from which the horizontal positions of the text fragments are derived: lower, borderline tones on the left margin, and higher borderline tones on the right margin. Thus the disposition on the page, essential for Anne-Marie Albiach (and first introduced in poetry by Mallarme in Un coup de des jamais n'abolire le hasard), is rendered in sound. Naturally each element of the text serves to mold structure and dynamic, to include typography: fragments within quotation marks, in italics, etc., yield different sonorous images [sonorities] and movements. Each word from the typographical reading is orchestrated [instrumentated] differently, which is important for the whole cycle (however, the chords of the spoken reading are always played by five instruments; here only speech and pauses in speech [[interruptions of speech]are distinguished from each other). Thus a tight network of instrumental combinations is created in which, word for word, the text is made audible. The most important element in the process: the vertical, synchronized playing together of the individual instruments (Synchorniestudie), ranging from solo to quintet. Score and parts available separately - see item CA.1632800.
SKU: PR.114419670
ISBN 9781491134634. UPC: 680160685196.
HAMAMATSU OVERTURE is a joyous fanfare created to showcase the beautiful sonorities of three types of brass chamber music. Eric Ewazen was selected by the Yamaha Corporation to compose the most gratifying brass music possible. The work is available in publications for 3 Bb Trumpets, for Brass Quintet, and for 10-part Brass Ensemble.
SKU: CL.012-1595-75
A fine overture full of beautiful sonorities that attainable by mid-level bands. The lively opening theme and expressive andante section are a winning combination that make this quality composition for concert or competition performances. One of Mr. Sheldons finest!
