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Waltzing Matilda : Intermediate Band

Essential Repertoire for the Young Choir : Level 1 Treble, Student 1-Pak

Essential Repertoire for the Developing Choir : Level 2 Mixed, Student 1-Pak

Festival Fanfare for Christmas (for Wind Band)

Ola Gjeilo: Sunrise Mass (Full Score/String Orchestra Parts)

A Bernstein Tribute : Quarter Military Band QMB 563

Musical Composition

Parkour

River Rendezvous : (for Multi-Level Combined Bands)

Valley Montage and Celebration

Stonehenge

Dance of the Knights from Romeo and Juliet

Asbjørn Schaathun: Actions Interpolations And Analyses (Score)

Asbjørn Schaathun: Actions Interpolations And Analyses (Score)

ACTIONS, INTERPOLATIONS AND ANALYSES, symphonies for bass-clarinet and large ensemble (1987-90), is what is commonly termed a work in progress. So far Schaathun has completed three of five parts. The is the composer's first large-scale attempt to investigate possible connections between ostensibly unrelated material. Explained in simple terms, it involves taking two of Schaathun's "own" type of texture (composed by means of different techniques) and letting them "rotate" around a familiar musical object (in this case a short excerpt from Stravinskij's Symphonies of Wind instruments in which he employs the famous "frozen" chords). In the course of the piece the elements takes over various characteristics from one another and the form progresses from fairly clear-cut textures to a situation where the various textures are superimposed, creating a dramatic flow. On a more advanced level, the piece is about trying to mediate between different musical textures as metaphors for the different levels of the sound itself. One of the main questions in this context is; What is size in music? Is it possible to take a small chord(i.e. narrow register, few instruments, simple tone colours) and then blow it up (wide register, many instruments, advanced mixtures) in such a way that the listener still perceives it as the same chord? You have simply moved closer to the sound. At any rate, when Schaathun composed the piece, he himself travellig into the sound, as if were viewing a texture from a distance. He then recomposed the same situation and drew closer, and then recompose it a third time and simply get close enough to discover the world of sounds that thus emerged. A world of sounds capable of travelling at a tremendous speed... However, like all concertos, the piece is of course about the individual and his relationship to his surroundings (society). Schaathun has often pondered on the reason for this preoccupation wih solo concertos. The answer derives from his firm conviction that nothing would ever happen if it weren't for the initiative, the Action, of the individual.

SEK 1065.00
1

Scalin' and Wailin'

Scalin' and Wailin'

Scalin' and Wailin' is a flexible, fun piece written with a differentiated instruction model. Three different difficulty levels meet students where they're at in their development and allows space for each to grow. This piece is also ideal for educators and conductors looking for side by side programming - younger ensembles can all play within the easiest group and more advanced ensembles can play within the more difficult groups, all fitting together in one energetic piece. Celebrate BandQuest's 20th anniversary with this special release, and find what works for your ensemble! BandQuest®, an exciting series of new music and accompanying curricula for band, is a program publishedby the American Composers Forum. The series was started as a response to feedback from music educators that there is a pressing need for new, fresh band music. The heart of this program is new works written by a diverse group of leading American composers who have created challenging pieces that are a true departure from standard middle school repertoire. Every BandQuest project includes a residency component in which the composer works collaboratively with a middle school as they create their new piece. Many BandQuest pieces are accompanied by an interdisciplinary curriculum designed to assist students as they learn the music and to integrate each piece with non-music studies. Visit www.bandquest.org to learn more about this innovative series, and email bandquest@composersforum.org to request a free downloadable audio catalog.

SEK 1079.00
1

Asbjørn Schaathun: Musical Grafitti Nr. 2

Asbjørn Schaathun: Musical Grafitti Nr. 2

MUSICAL GRAFITTI(II)In Musical Grafitti(II), "virtuoso drawings for amplified piano, large ensemble and tape with cosmic sounds, von den herrn Asberion Ska-tune" (1983-84), Schaathun is particularly concerned about investigating the relationship between various kinds of compositional techniques and their actual influence on the sound image, and therebye on the musical language. Thus is Musical Grafitti about different settings of the same musical gesture, which are presented in the initializing Formula. At the same time Formula serves as a model for the progression of the entire piece on various levels.The computer-program SCHAATON, written especially for this work by Swedish composer Bo Rydberg, governs the relative intervallic relationship in the first extensive piano exposition. In this part of the piece, the computer establishes the chordal focal points of the work, thus rather paradoxically making itself redundant.The brief tape interpolations and the long ending consist of cosmic noise recorded by a satelite. This noise symbolizes the outermost edge of the musical continuum Schaathun is seeking to describe: from "white" noise to music characterized by an "advanced" syntax. To compose is to control a defined continuum of sound. In this piece the control is represended by the Formula.The piece may also be read as a big prelude to Luciano Berios "points on the curve to find..." At one point Schaathun's "curve" crosses Berios curve, and the contours become directly involved in Berio's instrumentation before passing through and the soloist disappears into the "coloured" noise into which the piece fades away.(+ Fransk versjon NMI)

SEK 1219.00
1