SKU: XC.2401015

10.5 x 6.75 inches.

Dance of the Sugar Plum Fairy is reimagined as a jazz waltz and creatively set with lyrics that capture the awe and wonder of witnessing the Sugar Plum Fairy perform her iconic dance in the Nutcracker ballet. Discover the perfect version for your vocal group. Challenge your vocal ensemble with the rich harmonies of the SATB version, or look to the SAB, SSA, and Two-Part arrangements for less complexity. Perform with piano, or add bass and drums for a jazz trio accompaniment. A wonderful choice for a December concert!

Please note the jazz ensemble version of this song is in a different key and cannot be combined with the choral version. Perform with the accompaniment MP3 or add the bass and drum parts to the written piano accompaniment to form a live jazz trio. Rehearse with the part-dominant MP3 practice tracks, available in a multi-user bundle to share with your whole choir.

SKU: XC.2401011

10.5 x 6.75 inches.

Dance of the Sugar Plum Fairy is reimagined as a jazz waltz and creatively set with lyrics that capture the awe and wonder of witnessing the Sugar Plum Fairy perform her iconic dance in the Nutcracker ballet. Discover the perfect version for your vocal group. Challenge your vocal ensemble with the rich harmonies of the SATB version, or look to the SAB, SSA, and Two-Part arrangements for less complexity. Perform with piano, or add bass and drums for a jazz trio accompaniment. A wonderful choice for a December concert!

Please note the jazz ensemble version of this song is in a different key and cannot be combined with the choral version. Perform with the accompaniment MP3 or add the bass and drum parts to the written piano accompaniment to form a live jazz trio. Rehearse with the part-dominant MP3 practice tracks, available in a multi-user bundle to share with your whole choir.

SKU: AP.1-ADV31300

UPC: 805095313000. English. Traditional.

Burungkaka is an Indonesian folk song which is known throughout Malaysia. It is about an old parrot which sits near the window, singing. The children make fun of it in a good-natured manner. Originally arranged in 1997 for virtuoso jazz trombonist Albert Mangelsdorff and the WDR Big Band by Bill Dobbins. Albert had recorded the piece many years earlier on a trio recording of his. Saxes double on flute, clarinet, or bass clarinet. First alto doubles on soprano. Substitute saxophone parts are provided on the reverse side of the woodwind parts. First trumpet goes to C (2 ledger lines above staff).

SKU: P2.10022

The third part of the Chthonic Flute Suite commissioned by Areon Flutes in 2012. This suite has two main inspirations: ideologically it draws guidance from the book The Dream and the Underworld (1979)by James Hillman (1926-2011) and musically it explores the textural possibilities of a flute ensemble within the context of the heavy chamber music style I have developed with Edmund Welles: the bass clarinet quartet since 1996. This style draws virtuosic precision from the classical realm; innovation and texture from jazz; and power, rhythm and overall perspective from rock and metal. The term chthonic [thon-ik] generally means underworld. However, Hillman thoroughly elaborates that its true meaning extends below the earth and beyond it into invisible, non-physical and far distant psychic realms: the deeper mysteries of the invisible. The trio is divided into three sections: The Way We Descend--Reflection of Narcissus--Below Nature. Taking a break from Greek myth-nerd terms, this movement introduces chthonic-flavored phrases that elaborate on our descent into the underworld, specifically through dreams. The realm of the underworld can be such a shock to our dayworld, limited, egoic consciousness that it can seem like a violation as Hillman points out, referencing the Greeks: This style of the underworld experience is overwhelming, it comes as violation, dragging one out of life and into the Kingdom that the Orphic Hymn to Pluto describes as 'void of day.' So it often says on Greek epitaphs that entering Hades is 'leaving the sweet sunlight.' (p.49) He elaborates on the differences between dayworld and underworld perspectives: The dream is not compensation but initiation. It does not complete ego-consciousness, but voids it. So it matters very much the way we descend. (p.112) He goes on to describe the various modes in which mythical figures have descended: Ulysses and Aenas to learn; Hercules to take and to test, for example. To act like Hercules, like the hero, in the underworld is to miss the point and cause more problems, the villain in the underworld is the heroic ego, not Hades. (p.113).