FANTASY FOR EUPHONIUM SPARKE PDF

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Philip Sparke’s 15 Intermediate Christmas Carols, a bundle that is part of the Anglo Music Play-Along Series, is intended for the young instrumentalist who can play about one and a half octaves. The book, which in terms of notes is tailored to the instrument in question, is a sequel to 15 Easy Christmas Carols and allows musicians in development to discover some of the world’s most popular Christmas songs – simple yet beautiful melodies that suit their limited range.

Philip Sparke’s 15 Easy Christmas Carols, a bundle that is part of the Anglo Music Play-Along Series, is meant for the young instrumentalist who can play just over an octave. The book is custom-tailored to the instrument concerned and introduces the novice musician to some of the world’s most popular Christmas songs – simple yet beautiful melodies that suit their limited range.

This is a challenging three movement work that Demondare Thurman and Kathryn Fouse premiered at the U. This is a wonderful addition and perfect all aspiring college Euphonium players. Her minute scripted, children’s piece, A Butterfly in Time was nominated for a Canadian “Juno Award” for recordings in and is available through Amazon.

As an accompanist, Barbara plays regularly at school, university and professional concert venues throughout the United States and Canada, has recorded for CBC Radio and has premiered numerous works for other composers at International congresses.

Barbara York writes, “This piece was not written specifically in response to either the poem by Maya Angelou or that by Paul Dunbar that both refer to the ‘caged bird’.

However, there is no doubt that both poems have inspired my own further exploration and now musical extrapolation on the subject of being ‘caged’ and still ‘singing’ in spite of this Even within the many bonds and restrictive boundaries that we often find ourselves, it still seems to be a fundamental part of Nature as both human and spiritual beings that we cannot help but sing in both joy and praise both from ourselves and to our own Creator despite the sometimes, even apparently insurmountable obstacles we encounter.

At night The Big Friendly Giant catches dreams and nightmares in jars. All his lyrical and technical capacities are used in function of creating beautiful musical dreams. As in a classical concerto, the soloist combats with the orchestra.

At first they are playing alternately, afterwords they play fraternal together. Besides being a versatile and prolific composer he is also very much in demand as an adjudicator, clinician and guest conductor. His musical activities have taken place in various countries in three continents and his compositions have been performed and recorded around the world.

Houben also orchestrated the special composition Hymne by Hans Zimmer for the event. During those days that I spent at Lake Garda under sunny Italian skies, I met so many outstanding international instrumentalists and heard so much fascinating and wonderfully interpreted music, that I spontaneously resolved to compose a new work for euphonium.

It would be a companion piece to my Concertino for Tuba and Wind Instruments which we also performed there. The present work is herewith made available to performing artists, and I hope that they, the musicians, as well as the public, receive it as well and enjoy it as much as they did its predecessor. This new work is also a short, uncomplicated peace, striving solely to express the love of music and joie de vivre.

Written in three movements: Allegro mon troppo; Andante ma non troppo, piacevole; Moderato con animo. The opening movement features a slightly technical style with a great energy. There are no extremely awkward sections, but Wilhelm does occasionally use a bar with numerous accidentals.

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The second movement allows the soloist to show excellent control and features very lovely writing, especially the descending motive that reappears three times. The technique is manageable as the level dictates, but the range does occasionally create problems eupohnium the final movement. This remains the main challenge and features the most range extremes.

The articulations are very detailed. This is the version for euphonium and piano. A real gem of a euphonium duet, not so well known as the famous Two Part Invention by the same composer, but really delightful and deserves to be heard a lot more. It ends slowly and with a beautiful mood. A brand new and truly original work, not too difficult, by one of France’s most notable brass composers of the modern era, Frank Steckar.

Just released a few weeks ago, this workIs a superb vehicle for the intermediate player to play a work that has serious yet more relaxed and fun moments, very well constructed, an excellent piece for recitals, competitions and festivals.

It fantasj a rich harmonic language In the accompaniment, and is an fine work for a teacher coach a student on, as there are so many excellent musical elements involved. A brand new publication from the leading French publishers Robert Martin, with a really fun eupnonium, in jazzy style, and not too difficult!! Fun jazzy rythms, some mixed metre sections It comes with a beautifully produced book for piano and a set of free Mp3 backing tracking tracks fantasyy – Euphoniumstore sends you the link to download these backing tracks once you’ve purchased this book.

Fantasy for Euphonium & Band – C. Alan Publications

Selection of ancient arias transcribed for brass and piano, composed by some of the most important Italian composers who lived between the seventeenth and eighteenth centuries. Songs belonging to the “Bel Canto” school, of great educational use for all those teachers and students of trumpet, horn, trombone, euphonium and tuba, who base their “musical belief” on the importance of singing, sound, phrasing and of musicality.

The original piano version of the Pavane was composed in and dedicated to the Princesse Edmond de Polignac otherwise known as Winnaretta Singera French-American musical patron who was also the daughter of the nineteenth-century sewing-machine magnate, Isaac Singer.

The strikingly morose title of the work belies its actual inspiration: His comments went largely unheard, though; even today, many believe the piece to have a quite different meaning from the one the composer intended. This arrangement for euphonium or saxhorn, supplied with three solo parts, is set just perfectly for the instrument.

It is also very beautifully produced. Take a listen to this beautiful work on Youtubefeaturing the french horn.

Here is a brand new composition from Tom Davoren, www. It’s an absolute gem and one that is sure to be widely played in concerts and recitals. Very accessible even for the intermediate player.

As its title suggests the piece is a gesture of thanks from composer to soloist, celebrating Steven Mead’s gift for shaping melody as well as the natural lyrical quality of the euphonium itself”. A brand new encore-type work from the pen of the popular composer Fantasu Davoren.

Unashamedly virtuosic, of course! Composed over Fantasg for Steven Mead! The title makes an obvious reference to Mr. This is a four-movement suite of fantasy variations, based on a theme from one of Falcone’s favorite band transcriptions: This theme is only referenced not quoted in the opening cadenza of Movement 1, epuhonium developed throughout the overall construction of all four movements.

It is dedicated to Mrs. Beryl Falcone on the 20th anniversary of the festival in Leonard’s name. This is undoubtedly one of our most important pillars in our historic original euphonium repertoire.

It has for many years being a standard audition work for wind orchestra auditions and examination recitals. Robert Jager’s Concerto for Euphonium was originally commissioned as a concerto for trombone and orchestra, But in the composer decided to rewrite and rescore the work as a concerto for euphonium with accompaniments for wuphonium, symphony orchestra and piano.

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The Concerto for Euphonium is a highly demanding work for both soloist and the accompaniment. The outer movements are filled with rhythmic and metric complexities that demand a virtuoso group of musicians is the second movement, while less technically demanding, requires mature musicianship because of its sensitive lines and shaded instrumental colours. After a dramatic introduction dominated by euphonium the first movement moves into a highly rhythmic dialogue between soloist and accompaniment.

The second movement is designed to be played at slowly and reflectively. It is this mood, one of reflection, that dominates the quasi-impressionistic character of the music.

Sparke, Philip – Fantasy for Euphonium and Piano (Treble Clef)

The third movement returns to the fiery rhythmic character of the first movement but this time more emphasis is placed upon mixed and is symmetrical metres so that the solid feel of the barline is lost.

The form of this movement is that of a Rondo, and in the typical capricious mood of the Rondo literally rushes headlong into an exciting and brilliant finale. This challenging work features high intensity writing that translates to complex rhythms and syncopations. Flutter tonguing, lip trills, double tonguing, rapid meter changes, awkward trills and sections in seven flats encapsulate most of the difficulties of the work. Yet, its vigor and drive, especially in the third movement, can compensate the performer and listener for these challenges.

The second movement has some nice recitative sections with ornamental runs. A strong addition to the more contemporary repertoire of the euphonium.

Sparke Fantasy

This has allowed her to commission a series of new works for her instrument, including Scaramouche. A slow expressive ballad, followed by a spirited vivace allows the composer to exploit both the lyrical and technical sides of the euphonium, therefore giving the soloist the chance to display the full capabilities of their instrument. From the pen of one of Switzerland’s most prolific brass composers and outstanding euphonium soloists, Fantasg Rocha.

Sweet Euphonim is a very elegant lyrical solo that really sings, especially in the upper register. Ideal for lyrical slow melody contests. Highest note is treble clef high D.

Gives great scope for a players artistry to shine. A fine collection of 20 easy pieces for Euphonium and Piano. A separate piano accompaniment is supplied, and the solo parts are published in both treble and spatke clef.

Euphonium take the student progressively through the early grades. They consist mainly of original material, with a few arrangements too, some well known, some more unusual. These pieces are intended to encourage the student to perform, rather than merely play, whenever the opportunity arises.

All too often, the early stages of learning an instrument can be a solitary process. Whenever possible, these pieces should be played with their keyboard accompaniments. Hearing the keyboard parts will lead to an awareness and appreciation of different musical styles and a sense of harmony, not just the melody.

In addition, playing with an accompaniment develops the pupils ability to maintain his or her own part while listening to another. Here is one of the euphonium’s most fearsome yet lyrical challenges, the Euphonium Concerto by Derek Bourgeois, commissioned and first performed by Wendy Picton. It is a straightforward tuneful work in three contrasted movements. The first movement is in regular sonata form with a lively first subject that has a strong rhythmic character.

The second subject is lyrical and wistful. The development is mainly concerned with material derived from the opening subject.

The movement concludes with a jaunty coda. The second movement again has two main themes. The first is slow and melancholy with a marching bass line. The second is more overtly melodic with lush accompanying harmonies.