Zigeunerweisen, Op 20. Large score by Pablo de Sarasate (1844-1908). For Violin solo; 2222; 2200; timpani triangle ad lib; strings. Large score. Duration 10:00. Published by Broude Brothers (BB.BB855S).

Zigeunerweisen (Gypsy Airs), Op. 20 by Pablo de Sarasate (1844-1908). For Violin / Orchestra 2, 2, 2, 2 - 2, 2, 0, 0, timpani, percussion, strings. Concerto/Instrumental Solo; Original Works. Masters Study Scores. Romantic; Spanish. Study score. Composed 1878. Duration 11 minutes. Published by Masters Music Publications Inc. (MT.MSS-0016-SS).

Zigeunerliebe Lied und Cs rd s. (Hor ich Cymbalklange). By Franz Lehar (1870-1948). For soprano voice solo and piano. Language: German. 4 pages. Published by Classical Vocal Reprint (CV.2312). With Language: German.

Zigeunerliebe (Gypsy Love) No. 16: Lied and Czardas: Hoer'ich Cymbalklang by Franz Lehar (1870-1948). Viennese Hungarian: Romantic. Keyboard/conductor score. Composed 1910. Published by Edwin F. Kalmus (KM.A8025).

A true popular classic, this fresh edition is your opportunity to share the image that the composer paints of European gypsy life in the early 1800s. A high school essential. Triangle and tambourine parts are included. In German with English subtext. Duration: ca. 3:30. New product for the week of May 21, 2012.

Zeven Pauken En Een Koperorkest. (7 Percussionists & Brass Orchestra). By Geza Frid (1904-1989). For Brass Orchestra, 7 Percussion. Full Score - Miniature. Standard notation. Duration 10 minutes. Published by Donemus (PR.597002290). With Standard notation.

Zeugma by Bernard Carlosema. Duet. For Saxophone, Percussion. This edition: Instrumental. Small ensemble music. Grade 3. 2 pages. Duration 3 minutes 10 seconds. Published by Anne Fuzeau Productions - France (FZ.3703). ISBN M230637039. 27 x 37.5 cm inches. Alto or tenor saxophone and percussionsManuscript.

Zeuch an die Macht by Gustav Geisel. For SAM (SATB) Choir, Congregation, 3 Trumpets, Tenorhorn, Trombone, Timpani, Organ. This edition: paperbound. Cantatas. Score. Language: German. 8 pages. Published by Carus Verlag (CA.1014200). ISBN M-007-01994-5. With Language: German. Cantatas.

Zeuch an die Macht by Gustav Geisel. For SAM (SATB) Choir, Congregation, 3 Trumpets, Tenorhorn, Trombone, Timpani, Organ. Score available separately - see item CA.1014200. Cantatas. Score (without envelope). Language: German. 8 pages. Published by Carus Verlag (CA.1014205). With Language: German. Cantatas.

Zes Soli Voor Kleine Trom. (Kleine Trom). By M. Sauren. For Percussion. Drum Band Method. Solo Pieces. Grade 3. Published by Molenaar Edition (ML.060659620).

Zero Drum - Single Cadence by Neal R. Fredrickson. For percussion ensemble. Cadence(s). Grade 3. Score and parts. Published by Row-Loff Publications (RF.8024).

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.

Zekiel's Got Shoes arranged by Hart Morris. For handbell choir (3-5 octaves). General, Sacred. Grade 5+. Handbell score. Published by Hope Publishing Company (HP.1770).

Zeemars by A. van Veluwen. For Drum Band. Marches. Score and Parts. Published by Molenaar Edition (ML.100007940).

Zeemars by A. van Veluwen. For Drum Band. Marches. Score. Published by Molenaar Edition (ML.100007940-S).

By Mosolov, Alexander Vasilievich (1900-1973). For 2+1, 2+1, 2+1, 2+1 - 4, 3, 3, 1, timpani, percussion, strings. Russian: 20th Century. Full score. Composed 1927. Duration 3.5 minutes. Published by Edwin F. Kalmus

Zauberspruche by Hans Urs Zurcher. For Recorder (div.), percussion. 44 pages. Published by Breitkopf and Haertel (BR.MN-9255). ISBN 979-0-004-79035-9.

Zaragoza (with Tutor CD) by Chris Brooks. For marching percussion ensemble (Snare, Tenor Drums, Cymbals, Bass Drums, Bells, Xylophone, Marimba, Vibes, (4) Timpani, Suspended Cymbal, Pang Cymbal, Castanets, Maracas, Concert Bass Drum, Gong, Triangle, Hi Hat). Grade 5. Score, parts & tutor CD. Duration 1:18. Published by Row-Loff Publications (RF.9510-WTCD).

Zaragoza (Tutor CD only). For marching percussion ensemble (Snare, Tenor Drums, Cymbals, Bass Drums, Bells, Xylophone, Marimba, Vibes, (4) Timpani, Suspended Cymbal, Pang Cymbal, Castanets, Maracas, Concert Bass Drum, Gong, Triangle, Hi Hat). Tutor CD. Published by Row-Loff Publications (RF.9510-TCD).

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.