No description available. Contact info@musicroom.com for more information.

No description available. Contact info@musicroom.com for more information.

No description available. Contact info@musicroom.com for more information.

Zephyr by Gregory Danner. For Concert Band (flute, oboe, clarinet 1/2, bass clarinet, bassoon, Eb alto saxophone, tenor saxophone, baritone saxophone, Bb trumpet 1/2, horn in F, trombone, baritone tuba, timpani, percussion 1 (bells) percussion 2 (suspended cymbal) percussion 3 (wind chimes)). Grade 2. Score and parts. Duration 1:10. Published by C. Alan Publications (CN.08900). Zephyr is a poetic term for a gentle breeze. Nature offers few pleasures that are more calm and peaceful than the mood we feel with a refreshing breeze. It is this thought that is the stimulus for this ballad for band.

Zephyr by Gregory Danner. For Concert Band (flute, oboe, clarinet 1/2, bass clarinet, bassoon, Eb alto saxophone, tenor saxophone, baritone saxophone, Bb trumpet 1/2, horn in F, trombone, baritone tuba, timpani, percussion 1 (bells) percussion 2 (suspended cymbal) percussion 3 (wind chimes)). Grade 2. Score only. Duration 1:10. Published by C. Alan Publications (CN.08901). Zephyr is a poetic term for a gentle breeze. Nature offers few pleasures that are more calm and peaceful than the mood we feel with a refreshing breeze. It is this thought that is the stimulus for this ballad for band.

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Zen by Porcelijn. For Flute. Standard notation. Published by Donemus (PR.524053740). With Standard notation.

Zemire et Azor: La fauvette by Andre Ernest Gretry. For soprano voice solo with flute. 15 pages. Published by Classical Vocal Reprint (CV.642).

Zehn (Elf) Madchen und (k)ein Mann (Free operetta by Franz von Suppe for singers and piano (ad libitum flute and violin on the stage)). By Franz von Suppe (1819-1895). Edited by Matthias Hammerschmitt. Piano reduction (for Rental Equipment). Score. Duration 70'00. Published by Edition 49 (E4.E49-06042-10). Eine Komodie fur alle Buhnen, die unter Mannermangel leiden, erfolgreiche Auffuhrung durch die Opernschule der Musikhochschule Karlsruhe und durch die Kunst und Musikschule Bruchsal.

Zefiro Torna by Carlo Galante. For Flute, Clarinet and Piano. Chamber Music with Piano. Score. Composed 1981. 16 pages. Duration 6 minutes. Published by Edizioni Suvini Zerboni (M7.ESZ-8960).

Zefiro Delicato. (For Flute Ensemble). By Gary Schocker. For Flute / Piccolo, 2 Flutes, Alto Flute, Bass Flute. 5 + 1 pages. Published by Falls House Press (PR.FCGS43).

Zaza: O mio piccolo tavolo by Ruggiero Leoncavallo (1857-1919). For tenor voice solo and piano. 5 pages. Published by Classical Vocal Reprint (CV.907).

Zarabanda. (Xylophone/Marimba Feature). By Joseph Turrin (1947-). For Soloist(s) with Concert Band (Solo Percussion, Piccolo, Flute 1-2, Oboe 1-2, Bassoon 1-2, Clarinet in Eb, Clarinet in Bb 1-3, Bass Clarinet, Alto Saxophone 1-2, Tenor Saxophone, Baritone Saxophone, Horn in F 1-4, Trumpet in Bb 1-5, Trombone 1-3, Euphonium, Tuba, Contrabass, Percussion). Grade 4. Score and parts. Duration 5:00. Published by C. Alan Publications (CN.16430). I composed Zarabanda for a Latin American recording project with RCA Records and percussionist Evelyn Glennie. Although the recording project was never realized by RCA, I decided that the work would make a wonderful vehicle for Ms. Glennie along with wind ensemble accompaniment.The piece is in several sections with a Latin style rhythm that occasionally gets interrupted by accented outbursts from the ensemble. The soloist alternates between the xylophone, for the more accented staccato passages and scales, and the marimba, for the more melodic material. As the piece develops and moves from section to section, new rhythmic and melodic ideas are introduced. The piece culminates with a bravura cadenza - the soloist performing rapid-fire staccatos and scales on the xylophone. There is also an optional cadenza, which calls for the additional skills of playing the timbales, bongos, tom-toms, and conga drum. The piece concludes with a quick coda as the solo xylophone and ensemble build a fiery rhythmic syncopation. There are more rapidly accented staccatos, a quick scale, and the final bar.The zarabanda is a late 16th and 17th century Spanish dance in a lively alternating 6/8 and 3/4 time. Some evidence suggests that the zarabanda originated in the Spanish colonies in America, making it the first popular Latin American dance. Other evidence seems to suggest an African origin. A possible scenario might be that the zarabanda was brought to Spain by the Moors during the 12th Century, but was heavily modified by American influences during the early 16th Century.The zarabanda and its French descendant, the sarabande, were very different dances. While the French dance was a slow dance in 3/4 time, the Spanish original was very lively, alternating between 6/8 and 3/4 time. In the beginning, the zarabanda was considered very indecent. Cervantes writes about the "diabolic zarabanda" in one of his short stories, and in 1583, a law was passed against singing the zarabanda. The penalties for breaking it were banishment for women and 200 whiplashes and 6 years of galley service for men.

Zarabanda. (Xylophone/Marimba Feature). By Joseph Turrin (1947-). For Soloist(s) with Concert Band (Solo Percussion, Piccolo, Flute 1-2, Oboe 1-2, Bassoon 1-2, Clarinet in Eb, Clarinet in Bb 1-3, Bass Clarinet, Alto Saxophone 1-2, Tenor Saxophone, Baritone Saxophone, Horn in F 1-4, Trumpet in Bb 1-5, Trombone 1-3, Euphonium, Tuba, Contrabass, Percussion). Grade 4. Score only. Duration 5:00. Published by C. Alan Publications (CN.16431). The piece is in several sections with a Latin style rhythm that occasionally gets interrupted by accented outbursts from the ensemble. As the piece develops and moves from section to section, new rhythmic and melodic ideas are introduced. The piece culminates with a bravura mallet cadenza and an optional cadenza, which calls for the additional skills of playing the timbales, bongos, tom-toms, and conga drum. I composed Zarabanda for a Latin American recording project with RCA Records and percussionist Evelyn Glennie. Although the recording project was never realized by RCA, I decided that the work would make a wonderful vehicle for Ms. Glennie along with wind ensemble accompaniment. The piece is in several sections with a Latin style rhythm that occasionally gets interrupted by accented outbursts from the ensemble. The soloist alternates between the xylophone, for the more accented staccato passages and scales, and the marimba, for the more melodic material. As the piece develops and moves from section to section, new rhythmic and melodic ideas are introduced. The piece culminates with a bravura cadenza - the soloist performing rapid-fire staccatos and scales on the xylophone. There is also an optional cadenza, which calls for the additional skills of playing the timbales, bongos, tom-toms, and conga drum. The piece concludes with a quick coda as the solo xylophone and ensemble build a fiery rhythmic syncopation. There are more rapidly accented staccatos, a quick scale, and the final bar. The zarabanda is a late 16th and 17th century Spanish dance in a lively alternating 6/8 and 3/4 time. Some evidence suggests that the zarabanda originated in the Spanish colonies in America, making it the first popular Latin American dance. Other evidence seems to suggest an African origin. A possible scenario might be that the zarabanda was brought to Spain by the Moors during the 12th Century, but was heavily modified by American influences during the early 16th Century. The zarabanda and its French descendant, the sarabande, were very different dances. While the French dance was a slow dance in 3/4 time, the Spanish original was very lively, alternating between 6/8 and 3/4 time. In the beginning, the zarabanda was considered very indecent. Cervantes writes about the "diabolic zarabanda" in one of his short stories, and in 1583, a law was passed against singing the zarabanda. The penalties for breaking it were banishment for women and 200 whiplashes and 6 years of galley service for men.

Zais - Symphonies by Jean-Philippe Rameau (1683-1764). Edited by Graham Sadler. For orchestra (Piccolo (2), Flute (2), Oboe (2), Bassoon (2), Tambourine, Strings, Basso continuo). This edition: Urtext. Instrumental extracts from the ballet heroique in a prologue and four acts. Score. Text Language: French, English. 64 pages. Published by Baerenreiter Verlag (BA.BA7564). ISBN 9790006542000. With Text Language: French, English. Premiered at the Paris Opéra on 29 February 1748, Zaïs was much praised for the strength, elegance and diversity of its music and for the grace of its ballets. This edition is the first in a series that brings together the symphonies (orchestral pieces and dances) from operas published in Opera Omnia Rameau.

Zaide (Das Serail) (Deutsches Singspiel in 2 Akten. In dem Klavierauszug nach der Neuen Mozart-Ausgabe sind die verschollenen, ursprunglichen Dialogtexte ersetzt durch Texte aus dem "Bozener Textbuch" zu dem Singspiel "Das Serail"). By Wolfgang Amadeus Mozart (1756-1791). Edited by Friedrich-Heinrich Neumann. Arranged by Heinz Moehn. For Soprano voice solo, Tenor voice solo (2), Bass voice solo (2), Men's choir-TTTT, Flute (2), Oboe (2), Bassoon (2), Horn (2), Trumpet (2), Kettledrum, Strings. Singspiele (singing Games). Piano reduction (cloth bound). KV 344 (336b). Duration 90'. Published by Baerenreiter Verlag (BA.BA4510-90). ISBN 9790006449385. Singspiele (singing Games). 27.0 x 19.0 cm inches.

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ZAUBERFLOETE OUV (JUERGENS) by Wolfgang Amadeus Mozart (1756-1791). For mixed choir a cappella. This edition: C 46078-99. Choral Music. Schott Chorverlag (Choral Music). Grade 4. Score. 24 pages. Published by Schott Music (SD.49026028).

ZAUBERFLOETE OUV (JUERGENS) by Wolfgang Amadeus Mozart / Albert Lortzing. For men's choir. This edition: C 46077-99. Choral Music. Schott Chorverlag (Choral Music). Grade 6. Score. 24 pages. Published by Schott Music (SD.49026027).

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Renaissance drums and tambourine beat a festive cadence, joined first by a merry flute, second by the open fifth "Noel" chants of the men, and finally by a 3-part women's jovial call. Process down the aisles at your winter concert or Yuletide feast with the performers reaching their positions by the time the opposing themes fit together or at the full Picardy conclusion. Piano supports the divisi voice parts, adding embellishments between phrases, but never distracting from the early music quality.

Yu Ko by Wen-chung Chou. Mixed Ensemble, Contemporary Small Ensemble. For Alto Flute, English Horn, Bass Clarinet, 2 Trombone, 2 Percussion, Piano, Violin. Modern. Score. Duration 5 minutes. Published by Edition Peters (PE.P66098). ISBN M-3007-1710-4. Modern.

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