SKU: AP.46418
UPC: 038081527970. English.
A folk-like setting of Maya Angelou's empowering poem, which compares a bird's longing to be liberated with that of all people. Hayes chooses a minor key with plenty of harmonic tension and a walking tempo that suggests the footsteps of those who have come before. The final Picardy third is the ultimate symbol of freedom. This is the second movement from the song cycle Like Dust I Rise.
About Alfred Choral Designs
The Alfred Choral Designs Series provides student and adult choirs with a variety of secular choral music that is useful, practical, educationally appropriate, and a pleasure to sing. To that end, the Choral Designs series features original works, folk song settings, spiritual arrangements, choral masterworks, and holiday selections suitable for use in concerts, festivals, and contests.
SKU: FJ.ST6423
UPC: 241444375396. English.
Students confidently tell their story as though from the mountaintops in this African American Spiritual. With straightforward rhythms and pitches, the right arm and bow hand can be the focus to achieve a convincing proclamation tone, as well as a lush but gentle sound in the subdued moments. A wonderful change of pace that is still at a moderate tempo.
About FJH Beginning Strings
Appropriate for first year string students. All instruments stay in first position, and optional third violin (viola) parts and piano are included to aid in rehearsal and performance situations. Grade 1 - 1.5
SKU: AP.46918
UPC: 038081535678. English. Words by W. S. Gilbert.
Your men's ensemble will adore the patter text and witty humor in this excerpt from Gilbert and Sullivan's comic operetta, Patience. Verses are sung in two-part harmony, with an optional third part added during the chorus. Lon Beery's careful approach to the changing voice ensures that all the guys sing in an appropriate tessitura.
SKU: AP.46924
UPC: 038081535739. English. Alan Billingsley.
A Christmas classic updated with a fresh Latin groove! Syncopated rhythms energize the vocal lines, which remain true to the carol's original harmonization. A new Fa la la refrain and bridge build excitement leading to the third verse, and a key change near the end results in a big finish. Add the SoundTrax CD, SoundPax, and complete choreography from the Movin' DVD for even more pizzazz!
SKU: CF.CM9708
ISBN 9781491160039. UPC: 680160918638. Key: F major. Hebrew. Traditional.
The traditional Jewish practice for the holiday of Hanukkah is to recall ancient miracles and increase the light in the world by lighting a nine-stemmed menorah. One candle is added each night until the menorah is full on the eighth night. After lighting the candles each night, those gathered around the menorah sing these ancient blessings. The first two blessings are sung on all eight nights, and the third blessing is only sung on the first. This melody, first published in New York in 1922, is commonly used throughout the world. It is sung by crowds of thousands gathering to light a community menorah and small families gathering in their homes alike.
SKU: AP.47606
UPC: 038081542997. English.
Inspired by the much-revered spiritual tradition, this original a cappella piece recounts the biblical story of the Great Flood. On its third attempt, Noah's dove returned with an olive branch, signaling the discovery of dry land. Flexible call-and-response solos are accompanied by a humming choir in the verses, and a jubilant refrain becomes even more thrilling when a treble trio joins at the end!
SKU: FJ.ST6141S
English.
This very playable arrangement is based on an old London carol dating back to the 16th century. The straightforward and rhythmically simple melodic lines are modal in nature and form one of the memorable carols of the season.
SKU: AP.48972
UPC: 038081562964. English. Traditional Jamaican Folk Songs.
In the words of Jamaican musicologist Marjorie Whylie, Jamaican folk songs are full of social commentary, censure, and recrimination in a vehicle of humor. This publication includes three charming arrangements for a cappella singers and percussion. One describes a comical scene at a train station; a second playfully questions a neighbor about some missing food; and the third (complete with simple instructions to recreate a ringplay game) cheers a naughty cousin who threw his aunt's coat out the window. A printed guide and online video provide vetted learning tools for the Patois language. Unique, authentic, fun!
SKU: AP.46921
UPC: 038081535708. English. Alan Billingsley.
SKU: AP.46920
UPC: 038081535692. English. Alan Billingsley.
SKU: FJ.ST6345S
Beginning with an unaccompanied solo that can be performed on any instrument, this beautiful arrangement weaves Angels We Have Heard on High with Once in Royal David's City to create a breathtaking setting suitable for the youngest of players. An ideal way to feature your rock star soloist, regardless of instrument!
SKU: LO.30-3260L
UPC: 000308142075.
This superb setting of a German carol opens with a jubilant fanfare. Excitement escalates as the carol appears, modulating up with the second and third verses, and the concluding fanfare provides a thrilling close. From the Celtic-inspired cantata, Stars of Glory (SATB—65/2066L), this piece is great for holiday concerts or Christmas worship.
SKU: AP.47605
UPC: 038081542980. English.
SKU: AP.46923
UPC: 038081535722. English. Alan Billingsley.
SKU: FG.55011-372-5
ISBN 9790550113725.
Images of the sea figure prominently throughout my life and memories: from holidays on the Atlantic coast during my Canadian childhood to my current Baltic home, and the imagined, only later experienced Mediterranean of my ancestral heritage. As an immigrant (son of an immigrant) bound to two northern countries, the sea is emblematic of my twin homelands, from the expanses of water surrounding them to those separating them. A Mari usque ad Mare. The sea is also an enduring image of the unknown, of expanses unexplored, of the raw power of nature and, for too many currently, of terror holding a hope of refuge - or the pain of loss. Such disparate ideas were captured for me in the seascapes of the New York painter MaryBeth Thielhelm, whom I met in 2008 during a residency on the Gulf of Mexico. Her vast, abstract, nearly monochromatic depictions of imaginary seas in wildly varying moods were the catalyst for a concerto where the piano is frequently far from a hero battling a collective, but rather acts as a channel for elemental forces surging up from the orchestra, floating - sometimes barely so - on its constantly shifting surface. There are few themes to speak of, beyond a handful of iconic ideas that periodically cycle upward. Rather, the piano's material is largely an ornamentation of the more primal rhythmic and harmonic impulses from the orchestra below - a poetic interpretation, if you will, of the more immediate experience of facing the vastness of some unknown body of water. The title Nameless Seas is borrowed from one of Thielhelm's exhibitions, as are those of the four movements, which are bridged together into two halves of roughly equal weight - one rhapsodic and free, the other more single-minded and direct, separated only by a short breath. The opening movement, Nocturne, is predominantly calm, if brooding, darkness and light alternating throughout. Lyrical arabesques sparkle over gently lapping cross-currents in the strings and mirrored timpani, the piano's full power only rarely deployed. The waves gradually build, drawing in the full orchestra for a meeting of forces in Land and Sea, a brighter, more warmly lyrical scene that unfolds in series of dreamlike, sometimes even nostalgic visions, which for me carry strong memories of sitting on rocks above surging Atlantic waves. The third movement, Wake, is a fast, perpetual-motion texture of glinting, darting rhythms and sudden shafts of light, with a prominent part for the steel drums, limning the piano's quicksilver figurations. An ecstatic climax crashes into a solo cadenza that grows progressively calmer and more introspective rather than virtuosic. Much of the tension finally releases into Unclaimed Waters, a drifting, meditative seascape in which the piano is progressively engulfed by a series of ever-taller waves, ultimately dissolving into a tolling, rippling continuum of sound. It has been a great privilege to realize such a long-held dream as this piece, and to write it for not one, but two great pianists. Risto-Matti Marin and Angela Hewitt, both of whose friendship and support have been unfailing and humbling, share the dedication. Nameless Seas was commissioned by the PianoEspoo festival and Canada's National Arts Centre, with the premieres in Ottawa and Helsinki led by Hannu Lintu and Olari Elts. Thanks are due also to the Jenny and Antti Wihuri fund, whose generous grant provided me with much-needed time, and Escape to Create in Seaside, Florida, the source to which I returned to do a large part of the work.
SKU: AP.46922
UPC: 038081535715. English. Alan Billingsley.
SKU: AP.47600
UPC: 038081542935. English.
This simple yet elegant setting is sung on just two short Latin phrases. A partner song approach gives each voice part independence, while a brief B section includes some homophonic choral harmonies. Halfway through the piece, a delicate descant-like third part is introduced, which floats gently above when the lyrical theme and counter theme return. Excellent concert or contest repertoire for developing groups.
SKU: AP.46417
UPC: 038081527963. English.
SKU: FJ.ST6423S
SKU: LO.99-3407L
UPC: 000308142082.
SKU: BR.DV-8109
ISBN 9790200482898. 10 x 13 inches.
Johann Matthias Sperger, no doubt the leading double bass player of his time, was born on 23 March 1750 in the Lower Austrian town of Feldsberg (today Valtice, Czech Republic). After studying in Vienna and occupying various posts in Pressburg and Eberau, he was hired by Grand Duke Friedrich Franz I of Mecklenburg-Schwerin for the Duke's court ensemble in Ludwigslust. There Sperger died on 13 May 1812, a highly esteemed man. His extensive compositional oeuvre (which includes 45 symphonies, chamher works, church music and concertos) found its climax in his works for double bass solo. His 18 concertos, sonatas and chamber works for various instrumental comhinations off er the soloist gratifying musical tasks both from a musical as well as a technical point of view. The Adagio for Double Bass and String Quartet was composed around 1796/97, no doubt for the composer's own use. The autograph belongs to the Landesbibliothek Mecklenburg-Vorpommern (class. no. Mus. 5179). The work is based on thematic material from the second movement of Anton Franz Hoffmeister's Double Bass Concerto No. 3. The relationship between the two works and the mutual influence of both composers is plainly visible.In order to allow a performance of this charming little work without a string quartet, we are also offering a version with piano accompaniment (DVfM 8109) as well. Since the original solo part was written for a double bass tuned in thirds and a fourth (Viennese tuning: A-D-F sharp-A), it was necessary to arrange the enclosed for the solo tuning customary today: F sharp-B-E-A. The editor and publisher wish to thank the Landesbibliothek Mecklenburg-Vorpommern for its permission to print this first edition. Klaus Trumpf, Munich, Spring 1997 Klaus TrumpfSperger, musician at the Mecklenburg court in Ludwigslust, achieved fame above all with his works for double bass. Thematically, the A major Adagio closely recalls Anton Franz Hoffmeister's Double Bass Concerto No. 3.
© 2000 - 2024 Home - New realises - Composers Legal notice - Full version
