Search results for: '网上娱乐真人官网-【✔️网址㊙️sogou7.com✔️-全球十大外围足球平台排行网页平台-北京pk10赛车历史开奖直播-【✔️访问㊙️bet91.net✔️】-网上娱乐真人官网-网上娱乐真人官网-线上买球平台苹果平台-【✔️输入㊙️315bet.net✔'

Learn More

A Quodlibet on Nettleton and Beach Spring: Learn More

3 Tenor Trb, 1 Bass Trb Learn More

Perfect for any part of a church service. Nun Danket. Learn More

See product images or send us a message for information Learn More

Tuba Quartet (EETT) Learn More

for Bb Clarinet and Trombone It is a special feeling to come back to something or someone that is precious to us, even though we may have neglected them for one reason or another. We often think we have good reasons for losing touch, but upon coming back we feel a twinge of regret that it took us so long to move in the right direction. Perhaps we come back to our family, or religion, or cultural roots; perhaps we come back to ourselves, having lost a sense of what it is that defines us. This piece is dedicated to my niece, Carrie Johnston, and to my family; may we never be too busy, distracted, or proud to come back. Learn More

A musical tribute to the countless musicians who have contributed to the art of trumpet playing over the centuries. The musical essence of this work is a synthesis of traditional and new trumpet performance techniques. This combination of the old and new is a musical representation of the debt contemporary trumpeters owe to their counterparts in past generations. In sections of Commemoration the trumpet is performed in the traditional manner, indeed, there are a number of quotes from famous trumpet masterpieces of the past. At one point the performer is asked to sing (using the syllable "ah") a portion of the well known Trumpet Voluntary by Jeremiah Clarke while simultaneously sustaining a note on the instrument and using a plunger mute. The effect is truly mystical and becomes a musical synthesis of the past and present. In other sections the trumpet is used as a synthesizer, capable of producing a wide array of timbres and effects. Short quotes from the literature are embedded in this intriguing work which also includes messages expressed by pitch serialism and Morse code. The score includes detailed performance directions as well as a helpful explanation of the coded (serial) sections. “A must for the advanced performer. “- ITG Journal Learn More

Arranged for Horn and Piano/ Organ, this famous Christmas Hymn is based on 15th century plainchant. In four contrasting verses, it is faithful to the plainchant and the traditional harmony. Learn More

with Piano

Alison Stuart is the nom de plume (using their middle names) for the composing team of Debra Alexander and James Grant, both award-winning artists and dedicated teachers who have joined forces to compose melodically lyrical and harmonically rich new music specifically for, but not limited to, middle and high school bands, string orchestras and recitalists. Their music is available exclusively through Potenza Music Publishers.

With a memorable melody and a rich harmonic underpinning, this version of At Peace: Commemoration for clarinet and piano celebrates and honors the historical events and significant people who have passed from our lives. Originally composed for band, At Peace: Commemoration was commissioned by Lead Commissioner Dr. Josh Byrd and the University of West Georgia Wind Ensemble, with assistance from a consortium of participating commissioning ensembles.

This version of At Peace: Commemoration includes three separate clarinet parts to accommodate players of all levels: those who are in their early studies; those who are playing at the intermediate level; and those who are more advanced. The piano accompaniment remains the same in all three versions. The intermediate and advanced versions of the clarinet part simply extend the range and rhythmic palette.

Learn More

I come from where the Lotus Flower blooms- for Oboe, Clarinet and Bassoon by Amir Zaheri is based structurally on the diatonic scale as its reliable foundation which gives the listener a sense of stability. Learn More

with Piano

The titular confusion of this work came about in this way: the tunes first appeared in a 1991 musical I wrote based on Moliere's Le Malade Imaginaire (The Imaginary Invalid). Lacking faith in the musical but liking the tunes, I fashioned a few of them into the symphony - a comic symphony. Yet, it seemed to lack luster. When the opportunity came to write a work for my friend and fellow Snark Ensemble performer Ben Redwine, I decided what the material lacked was a solo voice. The tunes are still there, but now greatly elaborated and expanded upon. The final work is still very much a symphony - and no other title seems to suit it - but symphonies are generally for orchestra. Still, the size and the instrumentation for the form we call "symphony" have varied greatly over the years, so perhaps it's the nature of the music that makes it a symphony and not the scoring.

- Maurice Saylor

Learn More

Do you use the Weissenborn Method for Bassoon? Improve your learning experiences by adding The Weissenborn Companion! Components included:

• Skill Building – provides help for challenges in bassoon playing
• Music Expression – provides experiences to help you turn music notation into enjoyable sounds
• Duos – Adds melodies to those Weissenborn tunes that sound like accompaniments
• New Melodies – Melodies for each level of the method using many different musical styles, including different culture’s folk music, ragtime, and jazz

This book is used to accompany Julius Weissenborn’s Method for Bassoon

Learn More

The following is the preface from Peacock’s Perfectly Complete Collection of All Possible Musical Scales:

This book is the product of three years of dedicated research and analysis of all known musical scales and theory of scales. For three years, I literally dreamed about scales every night! It is a “perfectly complete collection” because it contains every possible pentatonic (five-note), heptatonic (seven-note) and octatonic (eight-note) scale! The mathematics and matrices in Part Three prove, without a doubt, that I’ve included all four-hundred and sixty-two heptatonic, three-hundred and thirty pentatonic and three-hundred and thirty octatonic scales with no repeated scales. This is more than just a collection of scales, though . It’s also my arrangement of all possible scales. My arrangement includes technical analysis as well as historical context and my own personal organization from the perspective of a performer and a composer.

So what is this book? How does one use this book? This is a futuristic technique book for any instrument or voice:  a path to the mastery of the music of the past, the present and even the music of the future! This book is not just a technique a book.  But those who dwell in its pages will gain an advanced degree of mastery on any instrument as well as a sharper musical mind. For those with an open mind, it’s a book to inspire imagination and wonder too. For creative musicians, this book is full of strange new worlds to mine for rare musical metals: a kind of cookbook, prayer book, atlas and book of spells all-in-one.  It’s also a source of comfort and music therapy:  a place to meditate and appreciate logic; a place to get lost as well as a place to find yourself.  I use this book to warm up and meditate with my horn every time I pick it up.

I also use it as a form of escape, as though it can take me to exotic vacation spots whenever I please.  I even like to gaze into it like it is a crystal ball that shows me the future when I write.

More specifically, anyone using this book should start by studying the scales in Part One: Traditional Scales followed by Ferruccio Busoni’s kaleidoscopic variations on these traditional scales in Part Two. Then Part Three: Tetrachords is crucial for understanding the scales in the complete collections that follow.  Each complete collection starts with variations on traditional scales followed by “Deviant” scales which do not compare to traditional scales and “Radical” scales which barely resemble a scale.

In his book, Sketch of a N ew Esthetic of Music (1911), Ferruccio Busoni describes all the paths of the modern music of his time as “leading so far afield – but none lead upward” [emphasis in the original].  He also describes the intervals within a heptatonic scale as being differently arranged in isolated passages by the likes of Liszt and Debussy, but claims “it does not appear to me that a conscious and orderly conception of this intensified means of expression has been formed by these composers.”  From my perspective, over a century later, things have not changed. This book aims to change that with a systematic uncovering of all possible scales which offer a path upward to new and intensified means of musical expression.

While I can prove with mathematics that this book contains all possible pentatonic, heptatonic and octatonic scales, I did not use mathematics to generate these scales.  I only used mathematics at the very end of the process to verify my findings.  To uncover all possible scales, I developed my own unique system of tetrachord juxtaposition. With this system, every variation of each type of scale (pentatonic, heptatonic or octatonic) fits neatly into a matrix on only one page each! This is a testament to the simple elegance of my system. My matrices are included in this volume as well and I believe that with the use of my matrices, virtuosi of the future, including myself, could even play all these scales from memory simply by memorizing the order of tetrachords.

This book began when my wife, Lyndi, gave me a trumpet for Valentine’s Day 2019. With the addition of trumpet, I play every brass instrument as a multi-instrumentalist. My first thoughts about playing the trumpet were how easy and fun scales are on the trumpet. Without a doubt, the trumpet is the best brass instrument for scales. So as I began to play trumpet, I played all the common scales everyday. Then I started to write out these scales for my students and I thought it would be good to compile a more comprehensive book of scales for myself. When I began, I didn’t intend to write every possible scale. I merely intended to compile a more extensive book of scales for myself. But as I collected the scales, I put on a serious soundtrack of jazz and rock and went a little crazy. Then I added more and more until I exhausted all possible scales. So this book began as a scale book for trumpet, essentially. But it is now intended for serious musicians of any instrument or voice at any level and for creative musicians of any genre.

Learn More

From the composer:

The Complete Solo Repertoire of Percy Code takes you back to a time when you may have played, performed or competed in solo competitions using Percy’s wonderful repertoire. This book can be used for the new student, enthusiast, or for the many individuals who sat in the audience in the early years of their children’s or students’ musical journeys; listening to their progress while simultaneously enjoying the gift of Percy Code’s wonderful repertoire – a gift that has now been enjoyed for almost 100 years. Enjoy playing through and performing these solos and working alongside the amazing accompaniment of Peter Baker on piano.

- Matthew van Emmerick

Contents:

• At Dawn – 1925
• Wendouree – 1919
• Miranda – 1920
• ‘Neath Austral Skies – 1921
• Zelda – 1923
• Zanette – 1925
• Lucille – 1927
• The Emperor – 1929
• Valse Caprice – 1933
• Prelude De Concert – 1934
• At Sunset – 1925

Solo brass parts included: B-flat, E-flat, Bass Clef concert pitch

Learn More

German musician Carl Teike was a military musician, playing amongst other instruments, the French Horn. He composed Alte Kameraden (Old Comrades) in 1889, and was less than pleased with his bandmaster’s reception to it – he suggested that Teike throw it on the fire. He promptly left the military and a cluey publisher picked up the march, which has become extremely popular – the most popular of all his over one hundred marches.

This brass quintet arrangement is a delightful addition to any program, and in an extra tribute to the composer, the French horn is featured in the trio.

Learn More

Seeking to diversify horn repertoire and inspired by her students amid a global pandemic, Margaret McGillivray set out to inject beauty and justice into the world in a small way. Her frustrations soon led to:

LIFT: Solos for Horn by Black Composers

With piano accompaniment for each piece, this project culminated in 18 new arrangements or compositions for horn:

1. Friendship Source of Joy –– Ignatius Sancho/Katy Ambrose

2A. Menuetto in C –– J. Bologne, Chevalier de Saint Georges/Althea Talbot-Howard

2B. Menuetto in E-flat –– J. Bologne, Chevalier de Saint Georges/Althea Talbot-Howard

3. The American Girl –– Francis Johnson/Katy Ambrose

4. Deep River –– African American Spiritual/Samuel Coleridge-Taylor/Althea Talbot-Howard

5. Adagio Cantabile from Cinnamon Grove Suite –– R. Nathaniel Dett/Margaret McGillivray

6. Sympathy –– Florence Price/Margaret McGillivray

7. Wake Me Up –– Jasmine Barnes

8. A Stolen Moment –– Joel Collier (ASCAP)

9. Old St. John –– Mary D. Watkins

10. Stranger from the Wind –– Benjamin Horne

11. On the Uses of Quills –– Melika M. Fitzhugh

12. Eulogy –– Stewart Goodyear

13. Pan-Tones –– Mattea Williams

14. When I’m Older –– Shanyse Strickland

15. The First Solo Flight –– David A. Eastmond

16. Tango No. 3 –– Dalian Bryan

17. Dahomey Passacaglia –– Althes Talbot-Howard

18. Pesadelos 1 (Nightmare 1) –– Jeff Scott

Learn More

Learn More

This is a charming piece from the Renaissance period that has been arranged for Brass Quintet. It is a great filler for a recital or can be used during a church service. Learn More

A dixieland standard, "Bill Bailey, Won't You Please Come Home" comes to life in this version for Tuba Quartet (EETT) arranged by Paul Chauvin. Fun, entertaining for the audience and parts can be doubled so it can be played by a larger ensemble. Learn More