SKU: KJ.SO242F
Subtitled Five Pieces for New England, each movement shares two distinct facets: a group of people living in New England that share an ethnic background, and a bird native to the area. Movements may be performed separately. This is a college/professional-level work.
SKU: HL.48187564
UPC: 888680906719. 9.0x12.0x0.104 inches. French.
Quartets No.14 and No.15 may be performed separately or as an Octet.
SKU: SU.50500050
Piano Duration: c. 6' Composed: 2007 Published by: Seesaw Music Composer's Note: The second bagatelle, Three/Four is newly composed. The first bagatelle is Two/Three from 1996. Each work may be performed separately.
SKU: SU.80209301
16 page octavo Duration: 9'22 Text: Jane Griner 1. Hold Me, Lord (4'52); 2. Teach me, Lord (4'30); may be performed separately Published by: Dunstan House Minimum order quantity: 8 copies. Perusal copies are available by contacting office@DunstanHouse.com (include the organization name with your request). To order quantities fewer than 8.
SKU: SU.80200701
A set of small scale character studies; may be performed separately 20 page book Duration: 13'46 1. Neon (4'08); 2. Argon (2'54); 3. Krypton 4'32); 4. Xenon (2'12) Published by: Dunstan House.
SKU: BT.ALHE31278
French.
SKU: BT.WH31444
ISBN 9788759823996. International.
Pelle Gudmundsen-HolmgreenNEW GROUND GREEN 2011for Solo Voices (SATB)and String QuartetThe vocal part of NGG may be performed separately,a cappella, entitled GREEN.The vocal part of NGG also makes part of another work (in preparation),also for voices and string quartet, entitled NO GROUND GREEN.
SKU: BT.WH31444A
ISBN 9788759879078. English.
FOR VOICES (SATB)AND STRING QUARTETScore = WH31444The vocal part of NGG may be performed separately, a cappella, entitledGREEN.The vocal part of NGG also makes part of another work (in preparation),also for voices and string quartet, entitled NO GROUND GREEN.
SKU: LO.15-2109H
UPC: 000308107494.
These two charming original works are set to poems from Lowell's poetry collection, A Dome of Many Coloured Glass. Sea Shell is in a lilting 6/8 and The Trout in a very playful, rhythmic 2/2. Full of vivid imagery and word-painting, they may be performed separately or as a delightful pair.
SKU: HL.48187562
UPC: 888680839710. 6.5x8.5x0.582 inches. French.
SKU: BT.ALHE31276
Quartets No.14 and No.15 may be performed separately or as an Octet
SKU: LO.70-1099S
UPC: 000308030587.
In three movements, this captivating suite displays the composer's flair for harmonic surprises and lively rhythmic interest. The movements may be performed separately in the service as prelude, offertory, and postlude, or in their entirety for recital use. The tune GROSSER GOTT first appeared in 1774, and today it is commonly associated with the text, Holy God, We Praise Your Name.
SKU: SU.80200206
Choral cycle of four poems by Henry Wadsworth Longfellow (1807-1882); may be performed separately 32 page octavo Duration: 12'50 1. Snow-Flakes (3'15); 2. Aftermath (2'58); 3. My Cathedral (3'03); 4. Night (3'10) Published by: Dunstan House Minimum order quantity: 8 copies. Perusal copies are available by contacting office@DunstanHouse.com (include the organization name with your request). To order quantities fewer than 8.
SKU: KJ.SO242C
UPC: 8402701788.
SKU: BA.BA07973
ISBN 9790006561056. 26.5 x 25.5 cm inches. Language: German.
Published in 1648, Heinrich Schütz’s “Geistliche Chor-Music†is still regarded as one of his seminal works.A two-volume performance edition based on Werner Breig’s revised new text was published in 2012 and 2013 (BA 5901/BA 5902).Now selected motets are being issued in separate volumes. They offer a modern notation and layout, retain the original keys and include an integrated figured bass realisation.In keeping with contemporary performance practice, the ‘choral’ parts can be performed by instruments as well as voices. Instrumental parts with underlaid words may be purchased separately for performances with instruments (see performance material for BA 5901 and BA 5902).
About Barenreiter Urtext
What can I expect from a Barenreiter Urtext edition?
MUSICOLOGICALLY SOUND - A reliable musical text based on all available sources - A description of the sources - Information on the genesis and history of the work - Valuable notes on performance practice - Includes an introduction with critical commentary explaining source discrepancies and editorial decisions ... AND PRACTICAL - Page-turns, fold-out pages, and cues where you need them - A well-presented layout and a user-friendly format - Excellent print quality - Superior paper and binding
SKU: BA.BA07977
ISBN 9790006561063. 27 x 19 cm inches. Language: German.
SKU: BT.EMBZ20003
Hungarian-English-German-French.
György Orbán (born 1947) is among the most frequently performed contemporary Hungarian composers. His style incorporates a characteristic mix of classical, modern, cinematic, and jazz elements. In addition, he claims he ''loves splashing about in tonality,'' which makes his works accessible to the wider public. Owing to his humor and imagination, he finds an easy path to children, as demonstrated by the popularity of his piano works specifically intended for beginners. He composed close to 70 short children s pieces for Ãgnes Lakos s four-volume Friendly Piano Tutor (Z. 14749-14756), later published separately as Enchanted Forest (Z. 14742). The New Bell includes 19 piano piecesfor beginners among others, we encounter a baby elephant now and again (perhaps paying a visit from Debussy s Children s Corner?) and we hear the awful clamor of a most outgoing granny s alarm clock as well as the solemn tolling of a new church-bell. The pieces are arranged in order of difficulty and even include a few items for three hands which may be played by a pupil with the teacher or another student. György Orbán (geb. 1947) ist einer der meistgespielten zeitgenössischen ungarischen Komponisten. In seinem Stil vermischen sich auf charakteristische Weise Elemente der klassischen, zeitgenössischen, Film- und Jazzmusik. Daneben ''plantscht er in der Tonalität'' nach eigener Aussage, so dass seine Werke für ein großes Publikum zugänglich sind. Dank ihres Humors und ihrer Fantasie finden sie auch bei Kindern leichten Zugang: Das beweist die Popularität der ausdrücklich für AnfängerInnen komponierten Klavierwerke. Für die vierbändige Freundliche Klavierschule von Ãgnes Lakos (EMBZ14749-14756) komponierte er fast siebzig kleine Klavierstücke, die später unter dem Titel Der Zauberwald (EMBZ14742) auch eigenständig erschienen.
Die neue Glocke enthält 19 neue Stücke für KlavieranfängerInnen: Unter anderem taucht darin ein kleiner Elefant auf (vielleicht trappelte er aus Debussys Children´s Corner hierher?), man erfährt, wie schrecklich der Wecker von der Oma in Partystimmung klingelt - und natürlich auch, wie würdevoll die neue Glocke der Kirche läutet. Die Stücke folgen einander in der Reihenfolge ihrer Schwierigkeit. Unter ihnen sind auch einige Stücke zu drei Händen zu finden, die mit der Lehrkraft oder einer anderen Schülerin bzw. einem anderen Schüler zusammen vorgetragen werden können.
SKU: PR.140401330
ISBN 9781491134412. UPC: 680160684939.
Nathaniel Dett was among America’s leading composers in the early 20th century, and MAGNOLIA SUITE is a beautiful example of his rich, hybrid style. Deeply inspired by the music and mission of Samuel Coleridge-Taylor, Dett’s piano music springs from the late Romantic traditions of florid texture and embellishment, along with programmatic titles and raw emotion. It is notable for melody writing inspired by and paraphrasing African-American song. The 18-minute MAGNOLIA SUITE contains five movements, any of which may also be performed separately. This edition by Lara Downes provides a clean, new engraving that corrects the many errors and unclear indications appearing in the historical printing.Robert Nathaniel Dett was born in a place that was built on freedom. The little village of Drummondville, Ontario was founded by enslaved Africans – Dett’s ancestors among them – who traveled the Underground Railroad out of the American South into Canada. Their journey brought them to a safe haven, a place where fortunes and futures could be transformed in the span of one generation, to lives full of new possibilities. You could call it “the place where the rainbow ends,†which is the title of the last movement of Dett’s Magnolia Suite.When Dett wrote these pieces, he was a young teacher at Lane College in Tennessee, a historically Black college that had been founded in 1882, the year of his birth. A place built on freedom, with the purpose of educating newly-emancipated slaves – a place designed to nurture the blossoming of ideas, the vibrant flowering of minds set free. This music is inspired by the gorgeous splendor of the magnolia blooms on that college campus, and also by the shared histories, experiences, and aspirations of the community that Dett found there.These five pieces pay affectionate tribute to lineage and legacy. They express gratitude for the bittersweet beauties of the present; nostalgia for the past (a bit romanticized, as the past always is); and an effervescent optimism for the future that awaits us in the place where the rainbow ends.
SKU: CF.YPS105
ISBN 9780825884870. UPC: 798408084875. 9 x 12 inches. Key: Bb major.
Based on our popular New Bennett Band Book series, we have compiled march-style warm-ups in a separate publication so they may be used by all bands wishing to learn from them. These innovative warm-ups and fundamental drills are the ultimate method of teaching and reinforcing the March style.How To Use the March Warm-upsPlaying in a march style can present difficulties for young students. The most prevalent problem is that students have a tendency to play every note too short. Conversely, accented notes are usually played incorrectly with too much tongue. Do marches contain short notes? Absolutely, but these shortest of notes should be reserved for notes that precede an accent or notes that are specifically marked with a staccato. Think of unmarked notes as being separated, but not short and certainly not clipped or stopped with the tongue. Accented notes should be played with more weight using air and more length, and not just a harder tongue. Accents are given to show emphasis to a note and should be thought of in this manner.The warm-up exercises provided in this collection should give you many opportunities to stress the above-mentioned comments on march performance style. The following gives an explanation on the purpose and use of each of these exercises.No. 1 – Basic Chords and ModulationsOne of the challenges of playing marches with young students is successfully performing the key change at the Trio. This exercise presents the three basic chords (tonic, subdominant and dominant) in each of the three keys in this collection of marches. You can also use this exercise to teach and reinforce the style of accented notes. You may want to have your band play major scales in succession by fourths to reinforce the concept of modulation to the subdominant that occurs at the Trio (i.e. the B≤-major scale, then the E≤-major scale, then the A≤-major scale). I might suggest getting the students to try continuing the pattern all the way around the circle of fourths.No. 2 – March Style in B≤ MajorThis exercise contains many opportunities to teach and reinforce the difference between staccato and accented notes. The melody voices move up and down the B≤-major scale, while other instruments play chords commonly found in the marches in this collection. These include diminished chords, secondary dominant chords (i.e. the V of the V) and other common chromatic chords that Fillmore often used.No. 3 – Cakewalk Rhythm in B≤ MajorThe simple syncopated rhythm in this exercise is common to many marches. This drill gives you the opportunity to teach/ reinforce the standard ar-ticulation and natural accent of this rhythmic pattern. Again, this exercise uses an ascending and descending major-scale pattern as the melodic basis, accompanied by chords commonly found in American- style marches.No. 4 – The March Scale in B≤ MajorI call this exercise “The March Scale,†because often in marches (and especially in these marches) the descending half-step is part of the melodic material. These chromatic figures give the melodies of many marches their charm and flow. Thus, I devised this exercise and others like it in E≤ major and A≤ major to familiarize students with these patterns. I would suggest playing the pattern in a variety of ways different from what is written. Here are some other possibilities:• Tongue one, slur three• Slur two, tongue two• Tongue two, slur two• Tongue one, slur two, tongue oneGradually increase the tempo to the march tempo and the articulation style will fall right into place.Another important consideration is the performance of the bass line and the bass-drum part. Too often, the bass drum and bass instruments play their parts with equal emphasis on both beats in the measure. This is incorrect, and frequently makes the marchNo. 5 – March Style in E≤ MajorThis is a similar to exercise No. 2, but with a different rhythmic pattern. Emphasize the difference between accented and unaccented notes. Also, play the exercise with line direction moving the musical line forward. Experiment and play the exercise with different dynamic choices and with hairpins up and down in different ways.No. 6 – More March Style in E≤ MajorExercise No. 6 comprises more rhythmic patterns and harmonic materials in E≤ major to teach and reinforce the march style. This exercise em-phasizes the sixteenth-note rhythm, as notated in the third measure of the exercise. Young stu- dents have a tendency to “crush†the sixteenths; consequently, they lack clarity. It would be a good idea to work this rhythmic figure on a scale pattern with all of the instruments in the band as an additional warm-up exercise.No. 7 – The March Scale in E≤ MajorSee the information for No. 4 and apply it to this exercise. Use all of the various articulations described above as well.No. 8 – March Style in A≤ MajorSee the information for No. 2 and apply it to this exercise.No. 9 – Cakewalk Rhythm in A≤ MajorSee the information for No. 3 and apply it to this exercise.No. 10 – The March Scale in A≤ MajorSee the information for No. 4 and apply it to this exercise.Other Ideas for March PerformanceA rehearsal practice that has worked very well for me is to start out by having the band play the march very slowly at about Œ = 60 in a chorale/legato style. The slow tempo is a fine opportunity to work on clarity of harmonic move- ment and to work on the balance and blend of the tutti band sound. This will pay great dividends toward improving the sound of your band. Gradually increase the tempo to the march tempo and the articulation style will fall right into place.Another important consideration is the performance of the bass line and the bass-drum part. Too often, the bass drum and bass instruments play their parts with equal emphasis on both beats in the measure. This is incorrect, and frequently makes the march.
SKU: CA.1037812
ISBN 9790007190927. Language: German/English/French.
I wrote this Christmas cantata from Koroshegy at the request of the Council of the Komitat Somogy. When I visited the still unrenovated little church at Koroshegy about ten years ago I had no idea that this beautiful Gothic building would one day be the scene of the world premiere of one of my works. - The cantata is founded on four pillars: four organ soli which could be described as ritornelli, followed by four a cappella choruses with the same melody but different harmonizations. These are settings of the four verses of In Epiphaniam by Janus Pannonius, the most renowned Hungarian poet and humanist of the Renaissance. Between these pillars I have introduced movements for choir or for soloists based on Hungarian folk tunes and Christmas songs from Transylvania and the Komitat Somogy: songs of the shepherds, angels and wise men, and, after a pastorale for organ, a large scale mixed-voice chorus intoning Ez karacsony ejszakajan [Holy Night]. A narrator introduces the individual numbers with passages from the Christmas story. An organ postlude concludes the work. (Ferenc Farkas) This work may be performed in German, English, French or Hungarian language. Score and part available separately - see item CA.1037800.
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