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Email to PurchasePraeludium
Official edition of "Praeludium" by Keiron Anderson, published by Songburd Music (SM.000047), scored for 演唱会乐队. Edition includes 37 parts, 83 pages.
- Composer
- Keiron Anderson
- Publisher
- Songburd Music
- Catalog No.
- SM.000047
- Instrumentation
- 演唱会乐队
- Instruments
- Specifications
- 37 parts · 83 pages (Score & Parts)
- Purchase Orders
- cdiyao@gmail.com (Email to Purchase)
Parts & Score Materials
| Part Name | Instrument | Pages |
|---|---|---|
| (全)总谱 | FullScore | 14 pages |
| 短笛 | Piccolo | 2 pages |
| 长笛 1 | Flute | 2 pages |
| 长笛 2 | Flute | 2 pages |
| 双簧管 1 | Oboe | 2 pages |
| 双簧管 2 | Oboe | 2 pages |
| 英国管 | HornEnglish | 2 pages |
| 降E小黑管 | Clarinet | 2 pages |
| 单簧管 1 | Clarinet | 2 pages |
| 单簧管 2 | Clarinet | 2 pages |
| 单簧管 3 | Clarinet | 2 pages |
| 中音单簧管 | Clarinet | 2 pages |
| 低音单簧管 | ClarinetBass | 2 pages |
| 中音萨克斯风 1 | Saxophone | 2 pages |
| 中音萨克斯风 2 | Saxophone | 2 pages |
| 次中音萨克斯风 | Saxophone | 2 pages |
| 上低音萨克斯风 | Saxophone | 2 pages |
| 大管 1 | Bassoon | 2 pages |
| 大管 2 | Bassoon | 2 pages |
| Horn in F 1 | Horn | 2 pages |
| Horn in F 2 | Horn | 2 pages |
| Horn in F 3 | Horn | 2 pages |
| Horn in F 4 | Horn | 2 pages |
| 小号 1 | Trumpet | 2 pages |
| 小号 2 | Trumpet | 2 pages |
| 小号 3 | Trumpet | 2 pages |
| 长号 1 | Trombone | 2 pages |
| 长号 2 | Trombone | 2 pages |
| 低音长号 | Trombone | 2 pages |
| Euphonium G 谱号 | Euphonium | 2 pages |
| Euphonium F 谱号 | Euphonium | 2 pages |
| Tuba | Tuba | 2 pages |
| Timpani | Percussion | 2 pages |
| 打击乐 1 | Percussion | 1 page |
| 打击乐 2 | Percussion | 1 page |
| Tubular Bells | Percussion | 1 page |
| 低音提琴 | DoubleBass | 2 pages |
Work & Edition Details
Praeludium takes the musician and the listener on a tonal journey, using multiple key changes throughout the music. Beginning with B-Flat Major and using counter-melody to create the thematic material, the music quickly progresses from one key change to another, requiring performers to demonstrate good intonation skills as they develop the melodic and harmonic texture of the opening measures, until the lyrical journey has taken them far from the opening key. Yet, as the music brings us to its final key change, the musician turns to discover that the music has faithfully and assuredly returned them back to the key in which it began. A technique not so commonly used for wind ensembles after the post-Romantic period.