SKU: BT.DHP-1145613-010

English-German-French-Dutch.

The main role in this attractive march is played by the harmonic elements of minor and major. These ingredients are supported by a solid bass passage, various dynamic contrasts and a lovely cantabile trio theme. Bandshop is a wonderfulmarch that brings pleasure to performer and listener alike-and is ideal for any concert program.

In deze attractieve mars spelen de harmonische componenten mineur en majeur de hoofdrol. Deze elementen worden aangevuld door een stevige baspassage, verschillende dynamische contrastwerkingen en een fraai zangrijk triothema. Bandshop is eenprachtige mars die veel luister- en speelplezier biedt en die geschikt is voor elk concertprogramma!

In diesem attraktiven Marsch spielen die harmonischen Komponenten Moll und Dur die Hauptrolle. Diese Elemente werden durch eine solide Passage im Bass, verschiedene dynamische Kontraste und ein liebliches Cantabile-Triothema ergänzt. Bandshopist ein wundervoller Marsch, der viel Spiel- und Hörspaß bietet und sich für jedes Konzertprogramm eignet!

Dans cette adorable marche, les éléments harmoniques en modes mineur et majeur jouent le rôle principal. Ces motifs sont complétés par une solide arcade la basse, alors que différents contrastes de dynamiques soutiennent un joli trio cantabile.Bandshop est une merveilleuse marche, qui offre en tout occasion l’incomparable émotion d’être jouée, mais également l’immense plaisir d’être écoutée.

In questa accattivante marcia, gli elementi armonici in tonalit maggiore e minore rivestono un ruolo principale. Questi motivi sono completati da una solida linea del basso, mentre i differenti contrasti di dinamiche sostengono un piacevole triocantabile. Bandshop è una splendida marcia che oltre ad essere emozionante da eseguire, offre momenti di puro piacere musicale a chi ascolta!

SKU: BT.DHP-1084477-400

ISBN 9789043129893. 9x12 inches. English-German-French-Dutch.

Play â??em Right! is the ultimate series for wind players who want to learn popular music styles in a practical and exciting way. In Play â??em Right! - More Play Along you will find thirteen amazing pop and jazz pieces: join in with RandB from the sixties, boogaloo, funk, gospel, jive, rock-shuffle, swing, latin and modern RandB. On the enclosed CD all thirteen can be found (demo play-along) - played â??liveâ?? by a professional combo. Thereâ??s plenty to discover in Play â??em Right! - More Play Along!

Play â??em Right! is dé serie voor blazers die op een praktische en boeiende manier lichtemuziekstijlen willen leren. In Play â??em Right! - More Play Along! vind je tien geweldige pop- en jazzstukken: speel mee met RandBuit de jaren zestig, boogaloo, funk, gospel, jive, rock-shuffle, swing, latin en moderne RandB. Op de bijgevoegde cd staan ze alle 13 (demo play-along) - â??liveâ?? ingespeeld door een professioneel combo. Er valt genoeg te ontdekkenin Play â??em Right! - More Play Along!

Play 'em Right! ist die ultimative Reihe für Bläser, die auf praktische und spannende Weise Popmusikstile lernen möchten. In Play 'em Right! More Play-along ist dies gleich mit 13 unglaublichen Jazz- und Popstücken möglich: RandB aus den Sechzigern, Boogaloo, Funk, Gospel, Jive, Rock-shuffle, Swing, Latin und moderner RandB. Auf der beiliegenden CD sind alle 13 Stücke zu finden (als Demo- und als Play-Along-Version) - live eingespielt von einer professionellen Combo. Es gibt viel zu entdecken in Play 'em Right! More Play-along!

Play â??em Right! est la collection incontournable que tout instrumentiste vent se doit de posséder sâ??il souhaite se familiariser avec les styles de la musique pop, de façon simple, efficace et plaisante. Play â??em Right! - More Play Along! réunit treize superbes morceaux pop et jazz dans des styles aussi divers que variés allant du RandB des années 60 au RandB moderne en passant par le boogaloo, le funk, le gospel, le jive, le rock-shuffle, le swing et les musiques latines. Sur le compact disc inclus, vous trouverez une version de démonstration et une version play-along de chaque pièce. Lâ??accompagnement a été confié un combo professionnel. Play â??em Right! - MorePlay Along! : une aventure musicale !

Una pubblicazione che rappresenta una sfida per tutti gli strumentisti con allâ??attivo alcuni anni dâ??esperienza. Playâ??em Right - More Play Along copre una vasta paletta di stili musicali consentendo, grazie ad introduzioni sui vari generi ed esercizi tecnici, di avere un approccio efficace e gratificante. I 10 brani proposti spaziano dal pop al jazz, passando per il funk, il gospel, il rock-shuffle, lo swing e la musica latina. Molta importanza è data alla creativit , allâ??interpretazione e alla musicalit . Il CD incluso è un prezioso aiuto per lâ??acquisizione delle tecniche.

SKU: CF.B3470

ISBN 9781491159460. UPC: 680160918058.

The awardee of two Guggenheim fellowships, Julia Perry studied composition with Luigi Dallapiccola and Nadia Boulanger, and conducted her works on a tour throughout Europe with the Vienna Philharmonic and the BBC Orchestra. She would become one of the first African-American female composers to have an orchestral work performed by the New York Philharmonic. Although she had an auspicious and promising career in her early life, it was tragically cut short by a series of strokes leading to partial paralysis and eventually, her death, at age 55 in 1979.Perry’s catalog is widely varied, featuring thirteen symphonies, numerous chamber and solo works, pieces for band, choral and vocal music, and four operas. Her Violin Concerto, completed in 1968, shows the influence of Dallapiccola’s teachings: sharp harmonic dissonances organized around specific pitch centers, short repetitive patterns that establish significant musical materials, and contrapuntal textures. Her fastidious performance markings in the solo violin part indicate her profound understanding of the instrument. Angular, muscled, and sparkling by turns, this piece is a sophisticated entry to the serious violinist's concert repertoire.There is no evidence or documentation that the Violin Concerto was ever premiered or performed during her lifetime, despite the fact that the composer prepared a full score, piano reduction and orchestral parts. Regrettably, this is the case with the majority of her works composed in the final decade of her life.
What is extraordinary about Julia Perry’s musical career was the astonishing success she attained in her early years. In her youth she studied piano, voice, violin and cello. She began to compose in her teenage years, her first publication being a choral work in 1947 by Carl Fischer. Her Stabat Mater was published in 1951 and would become one of her most often performed pieces, with performances in Europe and the United States. In 1953 she was awarded a Guggenheim fellowship to study with the Italian composer Luigi Dallapiccola, first at the Berkshire Music Center in Tanglewood, later in Florence, Italy. During this time, she also pursued studies with Nadia Boulanger in Paris and was awarded a second Guggenheim fellowship. She studied conducting at this time, touring Europe in 1957 to conduct her own works with the Vienna Philharmonic and the BBC Orchestra. During her European sojourns, she learned and mastered French, German and Italian. She would become one of the first African-American female composers to have an orchestral work performed by the New York Philharmonic.Perry’s circumstances would change dramatically once she reached forty years of age, having returned permanently to the United States. At some point in the spring of 1970, she suffered the first of two strokes that would paralyze her right side and confine her to a wheelchair for the rest of her life. Nonetheless, she continued to compose and to promote her works with publishers and conductors. A second stroke contributed to her death in 1979 at age 55. She likely endured harsh ethnic and gender discrimination in the course of her career, and her later years would witness a period of extreme civil unrest. These matters and the significance of music in her life are undoubtedly what led her to say, “Music has a great role to play in establishing the brotherhood of man.”Perry’s catalog is widely varied, featuring thirteen symphonies, numerous chamber and solo works, pieces for band, choral and vocal music, and four operas. Her Violin Concerto, completed in 1968, is indicative of the influence of Dallapiccola’s teachings: sharp harmonic dissonances organized around specific pitch centers, short repetitive patterns that establish significant musical materials, and contrapuntal textures. The work is a single movement of 392 measures organized around three alternating tempos: Slow (Œ = 60), Moderate (Œ = 84) and Fast (Œ = 120). The opening thirty-measure cadenza for the solo violin introduces most of the thematic material for the piece. The orchestration commonly features antiphonal writing between orchestral groups, for example, strings alternating with brass, or strings alternating with winds. The harp and piano generally appear as solo instruments, rather than as members of the orchestra. Her fastidious performance markings in the solo violin part indicate her profound understanding of the instrument.There is no evidence or documentation that the Violin Concerto was ever premiered or performed during her lifetime, despite the fact that the composer prepared a full score, piano reduction and orchestral parts. Regrettably, this is the case with the majority of her works composed in the final decade of her life.

SKU: CL.CTS-8031-01

Nocturne from Incidental Suite is the second movement of this suite originally scored for concert band. This work highlights a beautiful melodic line filled with lush and occasionally dissonant harmonies. This flexible arrangement allows ensembles to perform the work with as few as thirteen musicians providing accessibility and flexibility for numerous instrumentation needs, while still allowing a full ensemble sound. *The posted recording is based on the full band scoring but aligns with the suggested preferences for either woodwinds/strings or brass suggested in the score.