(For mallet ensemble and two flutes). By George Frideric Handel (1685-1759). Arranged by Brian Slawson. For Two flutes, two glockenspiels, two small marimbas (4-octave), one 4.3 octave marimba (low-A), one 5-octave marimba (low C) (8 or 9 players). This edition: Percussion ensemble. Concert Percussion Ensembles. NOTE: If four marimbas aren't available these parts can be performed by sharing two marimbas (one low-A, and one low-C). Medium. Folio parts on CD-Rom. 12 pages. Duration 2:30

(Alto Saxophone Feature). Composed by Catherine McMichael. For Soloist(s) with Concert Band (Piccolo, Flute 1/2, Oboe 1/2, Bb Clarinet 1, Bb Clarinet 2/3, Bb Bass Clarinet, Bassoon 1/2, Alto Saxophone 1/2, Tenor Saxophone, Baritone Saxophone, Bb Trumpet 1, Bb Trumpet 2/3, Horn in F 1/2, Horn in F 3/4, Trombone 1/2, Bass Trombone, Euphonium, Tuba,). Grade 4. Score and parts. Duration 6:00. Published by C. Alan Publications

Orchestra Bass Drum, Bassoon 1, Bassoon 2, Clarinet 1, Clarinet 2, Contrabass, Flute 1, Flute 2, Harp, Horn 1, Horn 2, Horn 3, Horn 4, Marimba, Oboe 1, Oboe 2, Percussion 1, Percussion 2, Percussion 3, Snare Drum, Suspended Cymbal, Tam-tam, Trombone 1 and more.

SKU: PR.11641963S

Composed by Chen Yi. Full score. 58 pages. Duration 20 minutes. Theodore Presser Company #116-41963S. Published by Theodore Presser Company (PR.11641963S).

UPC: 680160684472.

The violin concerto is commissioned by Friends of Dresden Music Foundation for American soloist Mira Wang and the New York Philharmonic and Staatskapelle Dresden as an American commemoration of the reconstruction of the Dresden Frauenkirche, 60 years after its destruction in World War II by American and British Forces. The world premiere is given at the Semperoper in Dresden, Germany, on October 9, 10 & 11, 2005, conducted by Ivan Fischer. Full of excitement and inner power, the musical image is vivid, energetic, sometimes lyrical and sometimes dramatic. The major angular thematic material (a three note motive) consists of big leaps in interval (a perfect fourth downward and then a minor seventh upward, first introduced by the violin solo in measures 27-29). Except for the cadenzas which stand at the middle (Rehearsal E, measure 127) and the two ends of the piece as a frame, the virtuosic violin solo line is always accompanied by the ever moving and growing textures in the background. The rests between long and short phrases symbolize the space in Chinese paintings. The Beijing Opera reciting tune, and the fingerings to produce sliding tones in the performance of the Chinese fiddle erhu are also borrowed in the writing and the performing of the western instruments. The musical imagination of the violin concerto came from an ancient Chinese poem with the same title, written by Du Fu (712-770) in Tang Dynasty. Happy Rain on a Spring Night by Du Fu (712-770 in Tang Dynasty) Happy rain comes in time, When spring is in its prime. With night breeze it will fall, And quietly moisten all. Clouds darken wild roads, Light brightens a little boat. Saturated at dawn, With flowers blooming the town. (English translation by Chen Yi from the original poem in Chinese) The following is the poem in its original Chinese form, and the detailed introduction on the structural plan of the violin concerto Spring in Dresden. It's like the welcome rain on a quiet spring night that nurtures the budding seeds, our new society is pushing us forward to the new future. The music reflects the scenes and the expression according to the meaning of the poem when it's being unfolded line by line. Although the tempo is set 63 quarter notes per minute throughout (played vividly, never slow down), the tension is being built up from the quiet background in the beginning, to the sustained climax towards the end. The musical image in Rehearsal A and B (measures 39-80) represents the first four lines of the poem. The wind instruments response to the rustling of fast moving notes on muted string triplets, decorated by occasional strokes produced by metallic string sound and high woodwind gestures. The music in Rehearsal C and D (measures 81-126) represents the next two lines of the poem. It's so dark, a little light in the boat is shimmering on the lake... The breathy sound and key slaps on the flutes create a mysterious atmosphere, in a dialogue with other instruments. The cello glissandi recite the poem in the tone of Mandarin, echoed by the string harmonics. The music in Rehearsal F, G and H (m 129-202) is a toccata, starting in the orchestra (led by the marimba), which builds up a big shape, to reach the climax in m. 157 (Rehearsal G, the location of the Golden Section, according to the length of the music without cadenzas), and keeps the vivid scene towards the coda (from Rehearsal I, m. 203), which stands on the energetic peak until the clear cutoff on measure 239, followed by the short, yet powerful solo conclusion with the lingering echo produced by the high string harmonics. On the top, there is a recall of the three note motive in the sound of wonderland, touched by the motor-on vibraphone meaningfully. The music is written for 2 flutes, 2 oboes, 2 clarinets (in Bb), 2 bassoons, 4 French horns (in F), 2 trumpets (in Bb), 3 trombones, tuba, harp, 3 percussion players (Perc. 1: xylophone; Perc. 2: suspended cymbal, Japanese high woodblock, snare drum, bass drum and vibraphone; Perc. 3: marimba and tam-tam), solo violin, and strings. Duration is about 20 minutes.
The violin concerto is commissioned by Friends of Dresden Music Foundation for American soloist Mira Wang and the New York Philharmonic and Staatskapelle Dresden as an American commemoration of the reconstruction of the Dresden Frauenkirche, 60 years after its destruction in World War II by American and British Forces. The world premiere is given at the Semperoper in Dresden, Germany, on October 9, 10 & 11, 2005, conducted by Ivan Fischer.Full of excitement and inner power, the musical image is vivid, energetic, sometimeslyrical and sometimes dramatic. The major angular thematic material (a three notemotive) consists of big leaps in interval (a perfect fourth downward and then a minorseventh upward, first introduced by the violin solo in measures 27-29). Except for thecadenzas which stand at the middle (Rehearsal E, measure 127) and the two ends of the piece as a frame, the virtuosic violin solo line is always accompanied by the ever moving and growing textures in the background. The rests between long and short phrases symbolize the space in Chinese paintings. The Beijing Opera reciting tune, and the fingerings to produce sliding tones in the performance of the Chinese fiddle erhu are also borrowed in the writing and the performing of the western instruments.The musical imagination of the violin concerto came from an ancient Chinese poem with the same title, written by Du Fu (712-770) in Tang Dynasty.Happy Rain on a Spring Nightby Du Fu (712-770 in Tang Dynasty)Happy rain comes in time,When spring is in its prime.With night breeze it will fall,And quietly moisten all.Clouds darken wild roads,Light brightens a little boat.Saturated at dawn,With flowers blooming the town.(English translation by Chen Yi from the original poem in Chinese)The following is the poem in its original Chinese form, and the detailed introduction onthe structural plan of the violin concerto Spring in Dresden.It’s like the welcome rain on a quiet spring night that nurtures the budding seeds, our newsociety is pushing us forward to the new future. The music reflects the scenes and theexpression according to the meaning of the poem when it’s being unfolded line by line.Although the tempo is set 63 quarter notes per minute throughout (played vividly, neverslow down), the tension is being built up from the quiet background in the beginning, tothe sustained climax towards the end. The musical image in Rehearsal A and B (measures39-80) represents the first four lines of the poem. The wind instruments response to therustling of fast moving notes on muted string triplets, decorated by occasional strokesproduced by metallic string sound and high woodwind gestures. The music in RehearsalC and D (measures 81-126) represents the next two lines of the poem. It's so dark, a littlelight in the boat is shimmering on the lake... The breathy sound and key slaps on theflutes create a mysterious atmosphere, in a dialogue with other instruments. The celloglissandi recite the poem in the tone of Mandarin, echoed by the string harmonics. Themusic in Rehearsal F, G and H (m 129-202) is a toccata, starting in the orchestra (led bythe marimba), which builds up a big shape, to reach the climax in m. 157 (Rehearsal G,the location of the Golden Section, according to the length of the music withoutcadenzas), and keeps the vivid scene towards the coda (from Rehearsal I, m. 203), whichstands on the energetic peak until the clear cutoff on measure 239, followed by the short,yet powerful solo conclusion with the lingering echo produced by the high stringharmonics. On the top, there is a recall of the three note motive in the sound ofwonderland, touched by the motor-on vibraphone meaningfully.The music is written for 2 flutes, 2 oboes, 2 clarinets (in Bb), 2 bassoons, 4 French horns (in F), 2 trumpets (in Bb), 3 trombones, tuba, harp, 3 percussion players (Perc. 1:xylophone; Perc. 2: suspended cymbal, Japanese high woodblock, snare drum, bass drum and vibraphone; Perc. 3: marimba and tam-tam), solo violin, and strings.Duration is about 20 minutes.

Orchestra Bass Drum, Bassoon 1, Bassoon 2, Clarinet 1, Clarinet 2, Contrabass, Flute 1, Flute 2, Harp, Horn 1, Horn 2, Horn 3, Horn 4, Marimba, Oboe 1, Oboe 2, Percussion 1, Percussion 2, Percussion 3, Snare Drum, Suspended Cymbal, Tam-tam, Trombone 1 and more.

SKU: PR.11641963L

Composed by Chen Yi. Large Score. 58 pages. Duration 20 minutes. Theodore Presser Company #116-41963L. Published by Theodore Presser Company (PR.11641963L).

UPC: 680160684489.

The violin concerto is commissioned by Friends of Dresden Music Foundation for American soloist Mira Wang and the New York Philharmonic and Staatskapelle Dresden as an American commemoration of the reconstruction of the Dresden Frauenkirche, 60 years after its destruction in World War II by American and British Forces. The world premiere is given at the Semperoper in Dresden, Germany, on October 9, 10 & 11, 2005, conducted by Ivan Fischer. Full of excitement and inner power, the musical image is vivid, energetic, sometimes lyrical and sometimes dramatic. The major angular thematic material (a three note motive) consists of big leaps in interval (a perfect fourth downward and then a minor seventh upward, first introduced by the violin solo in measures 27-29). Except for the cadenzas which stand at the middle (Rehearsal E, measure 127) and the two ends of the piece as a frame, the virtuosic violin solo line is always accompanied by the ever moving and growing textures in the background. The rests between long and short phrases symbolize the space in Chinese paintings. The Beijing Opera reciting tune, and the fingerings to produce sliding tones in the performance of the Chinese fiddle erhu are also borrowed in the writing and the performing of the western instruments. The musical imagination of the violin concerto came from an ancient Chinese poem with the same title, written by Du Fu (712-770) in Tang Dynasty. Happy Rain on a Spring Night by Du Fu (712-770 in Tang Dynasty) Happy rain comes in time, When spring is in its prime. With night breeze it will fall, And quietly moisten all. Clouds darken wild roads, Light brightens a little boat. Saturated at dawn, With flowers blooming the town. (English translation by Chen Yi from the original poem in Chinese) The following is the poem in its original Chinese form, and the detailed introduction on the structural plan of the violin concerto Spring in Dresden. It's like the welcome rain on a quiet spring night that nurtures the budding seeds, our new society is pushing us forward to the new future. The music reflects the scenes and the expression according to the meaning of the poem when it's being unfolded line by line. Although the tempo is set 63 quarter notes per minute throughout (played vividly, never slow down), the tension is being built up from the quiet background in the beginning, to the sustained climax towards the end. The musical image in Rehearsal A and B (measures 39-80) represents the first four lines of the poem. The wind instruments response to the rustling of fast moving notes on muted string triplets, decorated by occasional strokes produced by metallic string sound and high woodwind gestures. The music in Rehearsal C and D (measures 81-126) represents the next two lines of the poem. It's so dark, a little light in the boat is shimmering on the lake... The breathy sound and key slaps on the flutes create a mysterious atmosphere, in a dialogue with other instruments. The cello glissandi recite the poem in the tone of Mandarin, echoed by the string harmonics. The music in Rehearsal F, G and H (m 129-202) is a toccata, starting in the orchestra (led by the marimba), which builds up a big shape, to reach the climax in m. 157 (Rehearsal G, the location of the Golden Section, according to the length of the music without cadenzas), and keeps the vivid scene towards the coda (from Rehearsal I, m. 203), which stands on the energetic peak until the clear cutoff on measure 239, followed by the short, yet powerful solo conclusion with the lingering echo produced by the high string harmonics. On the top, there is a recall of the three note motive in the sound of wonderland, touched by the motor-on vibraphone meaningfully. The music is written for 2 flutes, 2 oboes, 2 clarinets (in Bb), 2 bassoons, 4 French horns (in F), 2 trumpets (in Bb), 3 trombones, tuba, harp, 3 percussion players (Perc. 1: xylophone; Perc. 2: suspended cymbal, Japanese high woodblock, snare drum, bass drum and vibraphone; Perc. 3: marimba and tam-tam), solo violin, and strings. Duration is about 20 minutes.
The violin concerto is commissioned by Friends of Dresden Music Foundation for American soloist Mira Wang and the New York Philharmonic and Staatskapelle Dresden as an American commemoration of the reconstruction of the Dresden Frauenkirche, 60 years after its destruction in World War II by American and British Forces. The world premiere is given at the Semperoper in Dresden, Germany, on October 9, 10 & 11, 2005, conducted by Ivan Fischer.Full of excitement and inner power, the musical image is vivid, energetic, sometimeslyrical and sometimes dramatic. The major angular thematic material (a three notemotive) consists of big leaps in interval (a perfect fourth downward and then a minorseventh upward, first introduced by the violin solo in measures 27-29). Except for thecadenzas which stand at the middle (Rehearsal E, measure 127) and the two ends of the piece as a frame, the virtuosic violin solo line is always accompanied by the ever moving and growing textures in the background. The rests between long and short phrases symbolize the space in Chinese paintings. The Beijing Opera reciting tune, and the fingerings to produce sliding tones in the performance of the Chinese fiddle erhu are also borrowed in the writing and the performing of the western instruments.The musical imagination of the violin concerto came from an ancient Chinese poem with the same title, written by Du Fu (712-770) in Tang Dynasty.Happy Rain on a Spring Nightby Du Fu (712-770 in Tang Dynasty)Happy rain comes in time,When spring is in its prime.With night breeze it will fall,And quietly moisten all.Clouds darken wild roads,Light brightens a little boat.Saturated at dawn,With flowers blooming the town.(English translation by Chen Yi from the original poem in Chinese)The following is the poem in its original Chinese form, and the detailed introduction onthe structural plan of the violin concerto Spring in Dresden.It’s like the welcome rain on a quiet spring night that nurtures the budding seeds, our newsociety is pushing us forward to the new future. The music reflects the scenes and theexpression according to the meaning of the poem when it’s being unfolded line by line.Although the tempo is set 63 quarter notes per minute throughout (played vividly, neverslow down), the tension is being built up from the quiet background in the beginning, tothe sustained climax towards the end. The musical image in Rehearsal A and B (measures39-80) represents the first four lines of the poem. The wind instruments response to therustling of fast moving notes on muted string triplets, decorated by occasional strokesproduced by metallic string sound and high woodwind gestures. The music in RehearsalC and D (measures 81-126) represents the next two lines of the poem. It's so dark, a littlelight in the boat is shimmering on the lake... The breathy sound and key slaps on theflutes create a mysterious atmosphere, in a dialogue with other instruments. The celloglissandi recite the poem in the tone of Mandarin, echoed by the string harmonics. Themusic in Rehearsal F, G and H (m 129-202) is a toccata, starting in the orchestra (led bythe marimba), which builds up a big shape, to reach the climax in m. 157 (Rehearsal G,the location of the Golden Section, according to the length of the music withoutcadenzas), and keeps the vivid scene towards the coda (from Rehearsal I, m. 203), whichstands on the energetic peak until the clear cutoff on measure 239, followed by the short,yet powerful solo conclusion with the lingering echo produced by the high stringharmonics. On the top, there is a recall of the three note motive in the sound ofwonderland, touched by the motor-on vibraphone meaningfully.The music is written for 2 flutes, 2 oboes, 2 clarinets (in Bb), 2 bassoons, 4 French horns (in F), 2 trumpets (in Bb), 3 trombones, tuba, harp, 3 percussion players (Perc. 1:xylophone; Perc. 2: suspended cymbal, Japanese high woodblock, snare drum, bass drum and vibraphone; Perc. 3: marimba and tam-tam), solo violin, and strings.Duration is about 20 minutes.

Orchestra alto flute, clarinet, bass clarinet, bassoon, 2 horns, trumpet, trombone, marimba, harp, piano, violin, viola, cello, contrabass

SKU: CA.1633500

For marimbaphone solo and 15 instruments. Composed by Walter Feldmann. Feldmann: Esquisse: << le froid >> Full score. 44 pages. Duration 10 minutes. Carus Verlag #CV 16.335/00. Published by Carus Verlag (CA.1633500).

ISBN 9790007181079. Language: all languages.

The texts of the French author Anne-Marie Albiach have long been the point of departure for the works by Feldmann. A twofold perspective of the text underlies the composition Esquisse : << le froid >> : on the one hand, there is a spoken reading of the text, in which time of recitation is measured out, and on the other hand, there is a graphic measuring of the text. The latter serves as a foundation - the genetic code - for the temporal structures of the solo marimba, supported arally by the harp and piano. The reading appears int the rhythmic surfaces of the accompanying ensemble. Each word of the spoken text has its own instrumentation, and thus a compact network of instrumental combinations is created, in which, word by word, the text is made audible.

Band Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Crash Cymbals, Euphonium, Euphonium T.C., Flute, Flute 2, Horn, Mallet Percussion, Newspaper, Oboe, Percussion 1, Percussion 2, Snare Drum, Timpani, Trombone, Trumpet 1, Trumpet 2, Tuba and more. - Grade 2.5

SKU: CF.YPS203

Composed by James Meredith. Young Band (YPS). Set of Score and Parts. With Standard notation. 16+4+8+4+4+10+4+4+8+8+12+6+6+2+1+2+20+8+8+4+4 pages. Duration 3 minutes, 55 seconds. Carl Fischer Music #YPS203. Published by Carl Fischer Music (CF.YPS203).

ISBN 9781491152232. UPC: 680160909735. Key: D minor.

Imagine Bach trying to compose in his studio while being pestered by a spider! Arachnophobia and Fugue exposes students to the Baroque style of music using dramatic contrasts, light articulation, chorale-style sections, and multiple references to Bach's works. The spider is represented by the xylophone and/or marimba supported by the flutes. As a humorous bonus, auxiliary percussion includes rolled-up newspapers to swat the pesky spider throughout the piece.
Good music played well inspires the imagination. Imagine Bach trying to compose in his studio while being pestered by a spider! First and foremost this is educational music exposing kids to the Baroque style of music. Dramatic dynamic contrasts, light articulation, chorale-style, and multiple references to Bach’s works form the basis for the work. Toccata and Fugue in D Minor, Sleepers Wake, Little Fugue in G Minor, Sheep May Safely Graze, Dies Irae, and Come Sweet Death are the basis for this look into an imaginary situation with the Great Baroque Master. The spider is represented by either a solo xylophone or multiple xylophones and/or marimba (supported by the flutes.) As a humorous bonus auxiliary percussion use rolled up newspapers to swat the pesky spider throughout the piece in rhythm with the music.

By Roland Szentpali. For soprano, tenor, mixed choir, symphony orchestra and jazz quartet (Soprano solo, tenor solo, SATB - 2.2 (English Horn).3 (Bass clarinet).2 - 4.3.3.1 - timpani - strings - Saxophone (alto soprano), Electric Guitar, Piano, Marimba and Drums (ad lib improvised)). Jazz. Choir score. Composed 2003. Duration 25'

For percussion ensemble. Composed by Brian Slawson. Percussion Ensembles. Folio and Parts on CD-ROM. Tapspace Publications #TSPCE17-012. Published by Tapspace Publications