SKU: HL.48025138
ISBN 9781784546984. UPC: 196288093152. 9.0x12.0x0.321 inches.
The full range of traditional fiddle repertoire is now at your fingertips! Using these generous collections, you can create your own ceilidh, barn dance, jazz club or Sarajevo street-café. Some of this music is familiar, some more exotic, but all of it is absolutely authentic, faithfully arranged and, above all, hugely enjoyable. Each title in the series is available in two formats: the Violin Edition (with an optional easy violin part and guitar chords); or the Complete Edition, which also includes both keyboard and violin accompaniments. Either format is hugely flexible, which means themusic can be played as solos, duets or trios as well as with larger ensembles. Edward Huws Jones has travelled extensively researching fiddle-playing traditions. In each book he explains the background of the particular musical style, giving his own suggestions for a lively performance.
SKU: CN.R10203
Freedom's Sword tells the tale of battle and reconciliation between two lands, deriving themes from the well-known Scottish song Ca' the yowes. Horn calls and pounding drums set the tone for the battle scenes while a dreamy alto saxophone solo creates an air of optimism.This work was originally commissioned by Nigel Boddice for the West Lothian Schools Brass Band to play at the European Youth Brass Band Championships in 1997 entitled Devolution to celebrate the setting up of the new Scottish Parliament. It appears in this revised version for Concert Band with the title Freedom's Sword. The opening section recalls days gone by when the Scots and English fought many a battle. The themes are derived from the well-known haunting song Ca' the yowes. The horn calls and off-stage percussion sound of a distant battle and it gradually comes closer. The centre section creates a mood of reconciliation with a dreamy Alto Saxophone solo. The last section now looks ahead with optimism and various bright dance themes appear based on traditional Scottish reel tunes, one of which is a two-part vocal scat section The piece then heads for its conclusion including a full statement of the main theme.
SKU: CN.S11203
SKU: CF.SPS71
ISBN 9781491143544. UPC: 680160901043. Key: G minor.
Nordanvind is a tour de force symphonic rhapsody that is built on three Scandinavian folk songs. Composer Carl Strommen has composed these Viking-influenced melodies into a concert setting that brings out all of the history of the Scandinavian people. The piece is at times bold and aggressive, at other times beautiful. Carl employs all of the instrumental colors of the concert band to create a new work for more advanced ensembles.Modern Scandinavians are descendants of the Vikings, an adventuresome people who were known for their love of the sea, their naval prowess, and as fierce fighters . The Scandinavian Vikings were warriors from Denmark, Norway, and Sweden who traded, raided and settled in various parts of Europe, Russia, the North Atlantic islands, and the northeastern coast of North America .Starting around 1850, over one million Swedes left their homeland for the United States in search of religious freedom and open farm land . Augustana College was founded in 1860 by graduates of Swedish universities and is located on the Mississippi River in Rock Island, Illinois . Home of the “Vikings,†Augustana College is the oldest Swedish- American institution of higher learning in the United States . This powerful and lively piece takes inspiration from Swedish history and from Swedish folk songs and hymns .Havsdrake (Dragon of the Sea)The Nordanvind or “North Wind†blows a cold wind during a journey of a group of courageous Viking rowers . The “Dragon-ship†or long ships designed for raiding and war was a sophisticated, fast ship able to navigate in very shallow water . To musically portray these magnificent seafaring vessels, the director is encouraged to use an Ocean Drum (or a rain stick) during the introduction . Wind players may consider blowing air through their instruments to suggest the North wind . Adding men’s voices to accompany the haunting low brass and percussive “rower†sounds can be helpful in creating the dark and ominous portrayal of Viking adventurers .Slangpolska efter Byss - KalleIn Sweden, a “polska†is a partner dance where the dancers spin each other (släng in Swedish “to sling or tossâ€) . Slangpolska efter Byss - Kalle is attributed to Byss-Kalle, who was a notable Swedish folk musician, specifically a nyckelharpa player . Slangpolska efter Byss - Kalle is a traditional “polska†dance song most often played on the Nyckelharpa or keyed fiddle and is commonly heard in pubs and at festive events throughout Sweden . Approximately 10,000 nyckelharpa players live in Sweden today, and the Swedish and the American Nyckelharpa Associations are dedicated to this Swedish National instrument . The director is encouraged to share video and audio examples of the nyckelharpa playing the original Slangpolska efter Byss - Kalle .Tryggare Kan Ingen Vara (Children of the Heavenly Father)Tryggare Kan Ingen Vara Is a traditional Swedish melody, possibly of German roots, and was believed to be arranged as a hymn by the Swedish hymn writer, Karolina Wilhelmina Sandell-Berg (1832–1903) . As a daughter of a Swedish Lutheran minister, she began writing poems as a teenager and is said to have written over 1,700 different texts . There are two different accounts as to the inspiration for this hymn . The first story is that Lina (as she was called) wrote the hymn to honor her father and to say thank you to him for raising her and protecting her . A second belief is of her witnessing the tragic death of her father . She and her father were on a boat, when a wave threw her father overboard . It was said that the profound effect of watching her father drown is what caused Lina to write the text to this hymn . Although this is a treasured song to people of Swedish descent everywhere, it speaks to all people about a father tending and nourishing his children, and protecting them from evil .SPS71FThe Augustana College Concert BandFounded in 1874, the Augustana Band program is one of the oldest continuously active collegiate band programs in the country . The Concert Band is one of two bands on campus and was formed more than thirty years ago . The Concert Band attracts students of every skill level and from a wide variety of majors . Students in the ensemble play a large part in choosing their music for performance, which include works from the standard repertoire, orchestral transcriptions, and the latest compositions from leading composers .Rick Jaeschke began his musical career as a clarinet player in the 1st US Army Band . He received a Bachelor of Music degree from Susquehanna University, a Masters of Music from James Madison University, and a doctorate from Columbia University in New York . He was also fortunate to study conducting with Donald Hunsburger and with Frederick Fennell .Dr . Jaeschke taught band and choir at Great Mills High School in Southern Maryland, and for fifteen years, he was the district Music Supervisor in Armonk, New York, where he taught high school concert and jazz bands, beginning band, and music technology . During that time, the music program flourished, and the high school band consistently received Gold Medals in the New York State Festivals, as well as in national, and international festivals . As a clarinet and saxophone player, Dr . Jaeschke performed in the New York metropolitan area with the Rockland Symphony Orchestra, the Putnam Symphony Orchestra, Fine Arts Symphony Orchestra, and served as the concert master for the Hudson Valley Wind Symphony .For several years, Dr . Jaeschke served as the Fine Arts Coordinator for the District 204 schools in Naperville, IL, a district selected as One of the Best 100 Schools in America for Music . Currently, Dr . Jaeschke is an Associate Professor at Augustana College where he teaches music and music education courses, and directs the Concert Band . He has served on various educational boards, is a National edTPA scorer, and has presented at state, national and international music conferences . He lives with his family in Bettendorf Iowa, and enjoys any opportunity to explore the open water in his sea kayak .
SKU: PR.114419280
ISBN 9781491132357. UPC: 680160676125.
Inspired by Chinese tradition, this concerto-like dance suite includes: 1. Lion Dance, 2. YangKo, and 3. Muqam. Each movement draws from melodies and rhythms characteristic of various regions of China many centuries ago. CHINESE FOLK DANCE SUITE is available for violin with full orchestra, or as a recital work with piano.Supported by a major commissioning award from the Serge Koussevitzky Music Foundation in the Library of Congress, Chinese Folk Dance Suite is written for solo violin and orchestra; it was premiered by The Women’s Philharmonic with violin soloist Terrie Baune, conducted by Apo Hsu, on March 10, 2001, at Yerba Buena Center For the Arts Theater in San Francisco.Inspired by various Chinese traditional folk dances, the suite has three movements:I. Lion Dance. Traditionally, people dance with richly decorated hand-made lions, accompanied by percussion ensemble, to celebrate happy occasions and major festivals throughout the country. In this composition, I use Chinese drum and other percussion instruments in the background, to form a dynamic and rhythmic texture responding to the solo part, which imitates the tunes played on the suona (traditional Chinese trumpet). The pitch materials came from the traditional Guangdong tune “Dragon Boat Racing,†and the Chaozhou tune “Lion Playing Ball.â€II. YangKo. Originating in northern China, this is a major folk dance form in mass performance popularized in the country. In YangKo performance, people play rhythmic patterns on the drums hung around their waists while singing and dancing. In the second movement, I imagined a warm scene of YangKo dancing in distance. The solo violin plays a sweet and gracious melodic line while all members of the orchestra sing non-pitched syllables in different layers as the soft background, to imitate the percussion sound which produces the ever-going pulse.III. Muqam. This large-scale music and dance form, from the Uygur nationality in Xinjiang province, originated in the 15th century. My third movement use a 7/8 meter and the melodic style of Muqam music. The fiery dancing gesture culminates in the sustained climax section at the end of the work, after a colorful violin cadenza in both improvisational singing style and polyphonic writing with woven lines.
SKU: HL.1315785
ISBN 9798350110319. UPC: 196288179078. 9.0x12.0 inches.
So you've just started playing this compact wonder – now what? Hal Leonard's First 50 series is here to help! Designed for new players, First 50 Songs You Should Play on Melodica features a variety of accessible songs in a wide range of styles, simply arranged so you can start playing right away. Choose to play just the melody or enhance it using the chord labels or left hand part – the possibilities are endless for wherever you are on your melodica journey! Songs include: All of Me • Blinding Lights • Cabinessence • Canon in D • Easy on Me • Final Countdown • The Flight of the Bumblebee • Hallelujah • Heart of Gold • Imagine • A Million Dreams • Perfect • Someone Like You • Toccata in D Minor • Wellerman • You Raise Me Up • and more.
About First 50
You've been taking lessons, you've got a few chords under your belt, and you're ready to buy a songbook. Now what? Hal Leonard has the answers in its First 50 series. The First 50 series steers new players in the right direction. These books contain easy to intermediate arrangements for must-know songs. Each arrangement is simple and streamlined, yet still captures the essence of the tune.
SKU: PR.114419290
ISBN 9781491135235. UPC: 680160676118. 9 x 12 inches.
Supported by a major commissioning award from the Serge Koussevitzky Music Foundation in the Library of Congress, my Chinese Folk Dance Suite is written for violin solo and orchestra, and premiered by The Women's Philharmonic with violin soloist Terrie Baune, conducted by Apo Hsu, on March 10, 2001, at Yerba Buena Center For the Arts Theater in San Francisco. Inspired by various Chinese traditional folk dances, I've composed three movements in the suite: 1) Lion Dance. Traditionally, people dance with richly decorated hand made lions, accompanied by percussion ensemble, to celebrate happy occasions and major festivals throughout the country. In the composition, I use Chinese drum and other percussion instruments in the background, to form a dynamic and rhythmic texture responding to the solo part, which imitates the tunes played on the suona (traditional Chinese trumpet). The pitch materials came from traditional Guangdong Music tune and Chaozhou Music tune ; 2) YangKo. Originated in northern China, it's a major folk dance form in mass performance popularized in the country. In YangKo performance, people always play rhythmic patterns on the drums hung around their waists while singing and dancing. In my second movement, I have imagined a warm scene of YangKo dancing in distance. The solo violin plays a sweet and gracious melodic line while all members in the orchestra sing the non-pitch syllables in different layers as the soft background, to imitate the percussion sound which produces the ever going pulse. 3) Muqam. It is a large scale traditional music and dance form from Uygur nationality in Xinjiang province, originated in the 15th century. In my third movement, I keep the meter of seven eight and the melodic style of Muqam music. The fiery dancing gesture cumulates the sustained climax section at the end of the work, after a colorful violin cadenza in both improvisational singing style and polyphonic writing with woven lines. Scored for 2 flutes (2nd doubling piccolo), 2 oboes, 2 clarinets in Bb, 2 bassoons, 4 French horns in F, 2 trumpets in Bb, 3 trombones, percussion 1 (3 congas, low tom-tom, temple block, paddle castanets), percussion 2 (snare drum, 6 small Beijing opera gong, 12 big Beijing opera gong, crotales, tambourine), percussion 3 (suspended cymbal, a pair of 6 Chinese cymbals, bass drum), solo violin, violins I, violins II, violas, cellos and double basses. Duration is about 16 minutes. The work is recorded on Bis [CD-1352] and released in 2003, performed by Cho-Liang Lin and the Singapore Symphony Orchestra, cond. by Lan Shui. Reduction for B-flat soprano saxophone and piano by Wong Tak Chiu (2017) and edited by Chen Yi (2018) The second movement YangKo is premiered by Dr. Wong and Korak Lerpibulchai at the Singapore Saxophone Symposium on 8/13/2017. The American premiere of the saxophone and piano reduction version of Chinese Folk Dance Suite is given by Chi Him Chik and Hao Yin at the Society for American Music National Conference in Kansas City, MO on 3/2/2018.
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