| American Death Ballads Piano, Voice [Vocal Score] Schirmer
Composed by David Conte (1955-). Vocal Anthology/Vocal Solo. Secular, 21st Cent...(+)
Composed by David Conte (1955-). Vocal Anthology/Vocal Solo. Secular, 21st Century. Vocal score. 35 pages. Published by E.C. Schirmer Publishing (EC.8454).
$17.25 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| I love the almighty with all of my spirit (Ich liebe den Hochsten von ganzem Gemute) Choral SATB Carus Verlag
ATB vocal soli, SATB choir, 2 oboes, 2 horns, Taille (english horn), 3 soli viol...(+)
ATB vocal soli, SATB choir, 2 oboes, 2 horns, Taille (english horn), 3 soli violins + viola + cello, 2 violins, viola, basso continuo SKU: CA.3117414 Cantata for the 2nd day of Pentecost. Composed by Johann Sebastian Bach. Edited by Karin Wollschlager. Stuttgart Urtext Edition: Bach vocal. Viola solo 1-3. Sacred vocal music, Cantatas, Whitsun, Praise and thanks. Single Part, Viola solo 1-3. Composed 1729. BWV 174. 16 pages. Duration 23 minutes. Carus Verlag #CV 31.174/14. Published by Carus Verlag (CA.3117414). ISBN 9790007209674. Text language: German/English. Text: Henrici (Picander), Christian Friedrich. The cantata Ich liebe den Hochsten von ganzem Gemute (I love the Almighty with all of my spirit) BWV 174 was composed for Whit Monday 1729. It probably belongs to Bach's fourth cycle of cantatas, known as the Picander cycle. Most of the cantata is taken up by the introductory Sinfonia. This is a reworking of the first movement of the famous third Brandenburg Concerto BWV 1048. Bach took the movement almost unaltered and simply added wind parts to strengthen the sound to the nine string parts (three violins, three violas, three violoncelli) and basso continuo - two corni da caccia and two oboes, reinforced by two violins, an oboe da caccia (taille) and a viola. The following movements (aria, recitative, aria) form a distinct contrast with their chamber music scoring (two oboes or one or two string parts with basso continuo). A simple four-part chorale concludes the cantata. Score and part available separately - see item CA.3117400. $9.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| I love the almighty with all of my spirit (Ich liebe den Hochsten von ganzem Gemute) Choral SATB Carus Verlag
ATB vocal soli, SATB choir, 2 oboes, 2 horns, Taille (english horn), 3 soli viol...(+)
ATB vocal soli, SATB choir, 2 oboes, 2 horns, Taille (english horn), 3 soli violins + viola + cello, 2 violins, viola, basso continuo SKU: CA.3117403 Cantata for the 2nd day of Pentecost. Composed by Johann Sebastian Bach. Edited by Karin Wollschlager. Stuttgart Urtext Edition: Bach vocal. Sacred vocal music, Cantatas, Whitsun, Praise and thanks. Vocal score. Composed 1729. BWV 174. 28 pages. Duration 23 minutes. Carus Verlag #CV 31.174/03. Published by Carus Verlag (CA.3117403). ISBN 9790007183554. Language: German/English. Text: Henrici (Picander), Christian Friedrich. The cantata Ich liebe den Hochsten von ganzem Gemute (I love the Almighty with all of my spirit) BWV 174 was composed for Whit Monday 1729. It probably belongs to Bach's fourth cycle of cantatas, known as the Picander cycle. Most of the cantata is taken up by the introductory Sinfonia. This is a reworking of the first movement of the famous third Brandenburg Concerto BWV 1048. Bach took the movement almost unaltered and simply added wind parts to strengthen the sound to the nine string parts (three violins, three violas, three violoncelli) and basso continuo - two corni da caccia and two oboes, reinforced by two violins, an oboe da caccia (taille) and a viola. The following movements (aria, recitative, aria) form a distinct contrast with their chamber music scoring (two oboes or one or two string parts with basso continuo). A simple four-part chorale concludes the cantata. Score available separately - see item CA.3117400. $11.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| American Death Ballads Piano, Voice Schirmer
Composed by David Conte (1955-). Vocal Anthology/Vocal Solo. Secular, 21st cent...(+)
Composed by David Conte (1955-). Vocal Anthology/Vocal Solo. Secular, 21st century. Vocal score. 35 pages. Published by E.C. Schirmer Publishing (EC.8455).
$17.25 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| I love the almighty with all of my spirit (Ich liebe den Hochsten von ganzem Gemute) Choral SATB Carus Verlag
ATB vocal soli, SATB choir, 2 oboes, 2 horns, Taille (english horn), 3 soli viol...(+)
ATB vocal soli, SATB choir, 2 oboes, 2 horns, Taille (english horn), 3 soli violins + viola + cello, 2 violins, viola, basso continuo SKU: CA.3117412 Cantata for the 2nd day of Pentecost. Composed by Johann Sebastian Bach. Edited by Karin Wollschlager. Stuttgart Urtext Edition: Bach vocal. Violin solo 2. Sacred vocal music, Cantatas, Whitsun, Praise and thanks. Single Part, Violin Solo 2. Composed 1729. BWV 174. 12 pages. Duration 23 minutes. Carus Verlag #CV 31.174/12. Published by Carus Verlag (CA.3117412). ISBN 9790007209650. Text language: German/English. Text: Henrici (Picander), Christian Friedrich. The cantata Ich liebe den Hochsten von ganzem Gemute (I love the Almighty with all of my spirit) BWV 174 was composed for Whit Monday 1729. It probably belongs to Bach's fourth cycle of cantatas, known as the Picander cycle. Most of the cantata is taken up by the introductory Sinfonia. This is a reworking of the first movement of the famous third Brandenburg Concerto BWV 1048. Bach took the movement almost unaltered and simply added wind parts to strengthen the sound to the nine string parts (three violins, three violas, three violoncelli) and basso continuo - two corni da caccia and two oboes, reinforced by two violins, an oboe da caccia (taille) and a viola. The following movements (aria, recitative, aria) form a distinct contrast with their chamber music scoring (two oboes or one or two string parts with basso continuo). A simple four-part chorale concludes the cantata. Score and part available separately - see item CA.3117400. $9.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| I love the almighty with all of my spirit (Ich liebe den Hochsten von ganzem Gemute) Choral SATB Carus Verlag
ATB vocal soli, SATB choir, 2 oboes, 2 horns, Taille (english horn), 3 soli viol...(+)
ATB vocal soli, SATB choir, 2 oboes, 2 horns, Taille (english horn), 3 soli violins + viola + cello, 2 violins, viola, basso continuo SKU: CA.3117405 Cantata for the 2nd day of Pentecost. Composed by Johann Sebastian Bach. Edited by Karin Wollschlager. Stuttgart Urtext Edition: Bach vocal. Sacred vocal music, Cantatas, Whitsun, Praise and thanks. Choral Score. Composed 1729. BWV 174. 2 pages. Duration 23 minutes. Carus Verlag #CV 31.174/05. Published by Carus Verlag (CA.3117405). ISBN 9790007186111. Language: German/English. Text: Henrici (Picander), Christian Friedrich. The cantata Ich liebe den Hochsten von ganzem Gemute (I love the Almighty with all of my spirit) BWV 174 was composed for Whit Monday 1729. It probably belongs to Bach's fourth cycle of cantatas, known as the Picander cycle. Most of the cantata is taken up by the introductory Sinfonia. This is a reworking of the first movement of the famous third Brandenburg Concerto BWV 1048. Bach took the movement almost unaltered and simply added wind parts to strengthen the sound to the nine string parts (three violins, three violas, three violoncelli) and basso continuo - two corni da caccia and two oboes, reinforced by two violins, an oboe da caccia (taille) and a viola. The following movements (aria, recitative, aria) form a distinct contrast with their chamber music scoring (two oboes or one or two string parts with basso continuo). A simple four-part chorale concludes the cantata. Score available separately - see item CA.3117400. $3.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| I love the almighty with all of my spirit (Ich liebe den Hochsten von ganzem Gemute) Carus Verlag
Orchestra Soli ATB, Coro SATB, 2 Ob, Tl, 3 Vl conc., 3 Va conc., 3 Vc conc., 2 V...(+)
Orchestra Soli ATB, Coro SATB, 2 Ob, Tl, 3 Vl conc., 3 Va conc., 3 Vc conc., 2 Vl, Va, Bc SKU: CA.3117407 Cantata for the 2nd day of Pentecost. Composed by Johann Sebastian Bach. Edited by Karin Wollschlager. Stuttgart Urtext Edition: Bach vocal. Sacred vocal music, Cantatas, Whitsun, Praise and thanks. Study score. Composed 1729. BWV 174. 68 pages. Duration 23 minutes. Carus Verlag #CV 31.174/07. Published by Carus Verlag (CA.3117407). ISBN 9790007244996. Language: German/English. Text: Henrici (Picander), Christian Friedrich. The cantata Ich liebe den Hochsten von ganzem Gemute (I love the Almighty with all of my spirit) BWV 174 was composed for Whit Monday 1729. It probably belongs to Bach's fourth cycle of cantatas, known as the Picander cycle. Most of the cantata is taken up by the introductory Sinfonia. This is a reworking of the first movement of the famous third Brandenburg Concerto BWV 1048. Bach took the movement almost unaltered and simply added wind parts to strengthen the sound to the nine string parts (three violins, three violas, three violoncelli) and basso continuo - two corni da caccia and two oboes, reinforced by two violins, an oboe da caccia (taille) and a viola. The following movements (aria, recitative, aria) form a distinct contrast with their chamber music scoring (two oboes or one or two string parts with basso continuo). A simple four-part chorale concludes the cantata. Score available separately - see item CA.3117400. $15.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| I love the almighty with all of my spirit (Ich liebe den Hochsten von ganzem Gemute) Choral SATB Carus Verlag
ATB vocal soli, SATB choir, 2 oboes, 2 horns, Taille (english horn), 3 soli viol...(+)
ATB vocal soli, SATB choir, 2 oboes, 2 horns, Taille (english horn), 3 soli violins + viola + cello, 2 violins, viola, basso continuo SKU: CA.3117411 Cantata for the 2nd day of Pentecost. Composed by Johann Sebastian Bach. Edited by Karin Wollschlager. Stuttgart Urtext Edition: Bach vocal. Violin solo 1. Sacred vocal music, Cantatas, Whitsun, Praise and thanks. Single Part, Violin Solo 1. Composed 1729. BWV 174. 12 pages. Duration 23 minutes. Carus Verlag #CV 31.174/11. Published by Carus Verlag (CA.3117411). ISBN 9790007209643. Text language: German/English. Text: Henrici (Picander), Christian Friedrich. The cantata Ich liebe den Hochsten von ganzem Gemute (I love the Almighty with all of my spirit) BWV 174 was composed for Whit Monday 1729. It probably belongs to Bach's fourth cycle of cantatas, known as the Picander cycle. Most of the cantata is taken up by the introductory Sinfonia. This is a reworking of the first movement of the famous third Brandenburg Concerto BWV 1048. Bach took the movement almost unaltered and simply added wind parts to strengthen the sound to the nine string parts (three violins, three violas, three violoncelli) and basso continuo - two corni da caccia and two oboes, reinforced by two violins, an oboe da caccia (taille) and a viola. The following movements (aria, recitative, aria) form a distinct contrast with their chamber music scoring (two oboes or one or two string parts with basso continuo). A simple four-part chorale concludes the cantata. Score and part available separately - see item CA.3117400. $9.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| I love the almighty with all of my spirit (Ich liebe den Hochsten von ganzem Gemute) Choral SATB Carus Verlag
ATB vocal soli, SATB choir, 2 oboes, 2 horns, Taille (english horn), 3 soli viol...(+)
ATB vocal soli, SATB choir, 2 oboes, 2 horns, Taille (english horn), 3 soli violins + viola + cello, 2 violins, viola, basso continuo SKU: CA.3117413 Cantata for the 2nd day of Pentecost. Composed by Johann Sebastian Bach. Edited by Karin Wollschlager. Stuttgart Urtext Edition: Bach vocal. Violin solo 2. Sacred vocal music, Cantatas, Whitsun, Praise and thanks. Single Part, Violin solo 3. Composed 1729. BWV 174. 12 pages. Duration 23 minutes. Carus Verlag #CV 31.174/13. Published by Carus Verlag (CA.3117413). ISBN 9790007209667. Text language: German/English. Text: Henrici (Picander), Christian Friedrich. The cantata Ich liebe den Hochsten von ganzem Gemute (I love the Almighty with all of my spirit) BWV 174 was composed for Whit Monday 1729. It probably belongs to Bach's fourth cycle of cantatas, known as the Picander cycle. Most of the cantata is taken up by the introductory Sinfonia. This is a reworking of the first movement of the famous third Brandenburg Concerto BWV 1048. Bach took the movement almost unaltered and simply added wind parts to strengthen the sound to the nine string parts (three violins, three violas, three violoncelli) and basso continuo - two corni da caccia and two oboes, reinforced by two violins, an oboe da caccia (taille) and a viola. The following movements (aria, recitative, aria) form a distinct contrast with their chamber music scoring (two oboes or one or two string parts with basso continuo). A simple four-part chorale concludes the cantata. Score and part available separately - see item CA.3117400. $9.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| I love the almighty with all of my spirit (Ich liebe den Hochsten von ganzem Gemute) Choral SATB Carus Verlag
ATB vocal soli, SATB choir, 2 oboes, 2 horns, Taille (english horn), 3 soli viol...(+)
ATB vocal soli, SATB choir, 2 oboes, 2 horns, Taille (english horn), 3 soli violins + viola + cello, 2 violins, viola, basso continuo SKU: CA.3117416 Cantata for the 2nd day of Pentecost. Composed by Johann Sebastian Bach. Edited by Karin Wollschlager. Stuttgart Urtext Edition: Bach vocal. Viola. Sacred vocal music, Cantatas, Whitsun, Praise and thanks. Single Part, Viola. Composed 1729. BWV 174. 4 pages. Duration 23 minutes. Carus Verlag #CV 31.174/16. Published by Carus Verlag (CA.3117416). ISBN 9790007209698. Text language: German/English. Text: Henrici (Picander), Christian Friedrich. The cantata Ich liebe den Hochsten von ganzem Gemute (I love the Almighty with all of my spirit) BWV 174 was composed for Whit Monday 1729. It probably belongs to Bach's fourth cycle of cantatas, known as the Picander cycle. Most of the cantata is taken up by the introductory Sinfonia. This is a reworking of the first movement of the famous third Brandenburg Concerto BWV 1048. Bach took the movement almost unaltered and simply added wind parts to strengthen the sound to the nine string parts (three violins, three violas, three violoncelli) and basso continuo - two corni da caccia and two oboes, reinforced by two violins, an oboe da caccia (taille) and a viola. The following movements (aria, recitative, aria) form a distinct contrast with their chamber music scoring (two oboes or one or two string parts with basso continuo). A simple four-part chorale concludes the cantata. Score and part available separately - see item CA.3117400. $9.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| High Flight Theodore Presser Co.
Choral Cello, Flute, Harp, Oboe, Percussion, Piano, Viola, Violin 1, Violin 2, a...(+)
Choral Cello, Flute, Harp, Oboe, Percussion, Piano, Viola, Violin 1, Violin 2, alto voice, bass voice, soprano voice, tenor voice SKU: PR.31241902S From Terra Nostra. Composed by Stacy Garrop. Full score. Duration 3:15. Theodore Presser Company #312-41902S. Published by Theodore Presser Company (PR.31241902S). UPC: 680160690589. English. Commissioned by the San Francisco Choral Society and the Piedmont East Bay Children’s Choir, Terra Nostra is a 70-minute oratorio on the relationship between our planet and humankind, how this relationship has shifted over time, and how we can re-establish a harmonious balance. Part I: Creation of the World explores various creation myths from different cultures, culminating in a joyous celebration of the beauty of our planet. Part II: The Rise of Humanity examines human achievements, particularly since the dawn of our Industrial Age, and how these achievements have impacted the planet. Part III: Searching for Balance questions how to create more awareness for our planet’s plight, re-establish a deeper connection to it, and find a balance for living within our planet’s resources. In addition to the complete oratorio, stand-alone movements for mixed chorus, and for solo voice with piano, are also available separately. Terra Nostra focuses on the relationship between our planet and mankind, how this relationship has shifted over time, and how we can re-establish a harmonious balance. The oratorio is divided into three parts:Part I: Creation of the World celebrates the birth and beauty of our planet. The oratorio begins with creation myths from India, North America, and Egypt that are integrated into the opening lines of Genesis from the Old Testament. The music surges forth from these creation stories into “God’s World†by Edna St. Vincent Millay, which describes the world in exuberant and vivid detail. Percy Bysshe Shelley’s “On thine own child†praises Mother Earth for her role bringing forth all life, while Walt Whitman sings a love song to the planet in “Smile O voluptuous cool-breathed earth!†Part I ends with “A Blade of Grass†in which Whitman muses how our planet has been spinning in the heavens for a very long time.Part II: The Rise of Humanity examines the achievements of mankind, particularly since the dawn of the Industrial Age. Lord Alfred Tennyson’s “Locksley Hall†sets an auspicious tone that mankind is on the verge of great discoveries. This is followed in short order by Charles Mackay’s “Railways 1846,†William Ernest Henley’s “A Song of Speed,†and John Gillespie Magee, Jr.’s “High Flight,†each of which celebrates a new milestone in technological achievement. In “Binsey Poplars,†Gerard Manley Hopkins takes note of the effect that these advances are having on the planet, with trees being brought down and landscapes forever changed. Percy Bysshe Shelley’s “A Dirge†concludes Part II with a warning that the planet is beginning to sound a grave alarm.Part III: Searching for Balance questions how we can create more awareness for our planet’s plight, re-establish a deeper connection to it, and find a balance for living within our planet’s resources. Three texts continue the earth’s plea that ended the previous section: Lord Byron’s “Darkness†speaks of a natural disaster (a volcano) that has blotted out the sun from humanity and the panic that ensues; contemporary poet Esther Iverem’s “Earth Screaming†gives voice to the modern issues of our changing climate; and William Wordsworth’s “The World Is Too Much With Us†warns us that we are almost out of time to change our course. Contemporary/agrarian poet Wendell Berry’s “The Want of Peace†speaks to us at the climax of the oratorio, reminding us that we can find harmony with the planet if we choose to live more simply, and to recall that we ourselves came from the earth. Two Walt Whitman texts (“A Child said, What is the grass?†and “There was a child went forth every dayâ€) echo Berry’s thoughts, reminding us that we are of the earth, as is everything that we see on our planet. The oratorio concludes with a reprise of Whitman’s “A Blade of Grass†from Part I, this time interspersed with an additional Whitman text that sublimely states, “I bequeath myself to the dirt to grow from the grass I love…â€My hope in writing this oratorio is to invite audience members to consider how we interact with our planet, and what we can each personally do to keep the planet going for future generations. We are the only stewards Earth has; what can we each do to leave her in better shape than we found her? $20.99 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Christmas Music for Banjo Made Easy Banjo [Sheet music + Audio access] - Easy Mel Bay
Composed by Ross Nickerson. Saddle-stitched. Made Easy. Book and online audio....(+)
Composed by Ross Nickerson.
Saddle-stitched. Made Easy.
Book and online audio.
Published by Mel Bay
Publications, Inc
$14.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Guitar Essentials Guitar [Poster] Santorella Publications
Guitar Essentials composed by Phil Black. For guitar. This edition: Paperback. R...(+)
Guitar Essentials composed by Phil Black. For guitar. This edition: Paperback. Reference. Educational. Color poster. Text Language: English. 1 pages. Published by Santorella Publications
$6.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Marchissimo Marching band - Intermediate Anglo Music
Fanfare Band - Grade 3 SKU: BT.AMP-062-020 Composed by Philip Sparke. Cer...(+)
Fanfare Band - Grade 3 SKU: BT.AMP-062-020 Composed by Philip Sparke. Ceremonial Series. Opening Pieces. Set (Score & Parts). Composed 2003. Anglo Music Press #AMP 062-020. Published by Anglo Music Press (BT.AMP-062-020). English-German-French-Dutch. Marchissimo will make a fantastic opening piece for any concert. It does however come with a twist! It can be played simply as written, but is really designed to be ‘staged’ with players coming on the concert platform one by one as they begin to play. The piece actually consists of three marches in one, each of which highlights a section of the band. The piece culminates in a final climax where all three march themes are played simultaneously.
Marchissimo is een fantastisch openingsstuk voor elk concert, maar er zit wel een bijzondere wending aan! Het kan gewoon worden gespeeld zoals genoteerd, maar het is eigenlijk zo gecomponeerd dat muzikanten een voor een het podiumop kunnen komen voor ze beginnen te spelen. Het gaat hier in feite om drie marsen in één, waarbij steeds een deel van het orkest aan bod komt. Het stuk leidt naar een climax waarin alledrie de thema’s tegelijkertijd worden gespeld.
Marchissimo wurde als Eröffnung eines Konzerts geschrieben, da es einem Spieler nach dem Anderen Gelegenheit gibt, auf die Bühne zu treten. Im ersten Satz treten erst die Schlaginstrumente, zusammen mit Pikkoloflöte, Bassklarinette, Euphonium und Tuba auf. Im zweiten Satz kommen Posaune, Flöte, Klarinette und schließlich Saxophon hinzu. Im dritten Satz komplettieren die Hörner das Blasorchester, welches im fulminanten Schluss die Themen aller drei Sätze noch einmal aufnimmt. Mit Marchissimo ist ein wirkungsvoller Auftritt garantiert!
Marchissimo est un condensé de trois marches qui offre deux possibilités d’interprétation. Elle peut être jouée telle qu’elle est écrite, ou se développer selon un jeu scénique bien structuré où les musiciens entrent en scène au moment de leur première intervention dans la pièce. Chaque groupe expose alors un des trois thèmes principaux. Lorsque la formation est au complet, un court passage constitué de fragments des trois lignes mélodiques surgit travers l’ensemble de la formation avant d’aborder le tutti final, ultime retour des trois thèmes exposés simultanément. $130.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| High Flight Choral SATB SATB, Piano Theodore Presser Co.
Choral SATB Choir and Piano SKU: PR.312419020 From Terra Nostra. C...(+)
Choral SATB Choir and Piano SKU: PR.312419020 From Terra Nostra. Composed by Stacy Garrop. Sws. Performance Score. 12 pages. Duration 3:15. Theodore Presser Company #312-41902. Published by Theodore Presser Company (PR.312419020). ISBN 9781491131862. UPC: 680160680474. 6.875 x 10.5 inches. English. Commissioned by the San Francisco Choral Society and the Piedmont East Bay Children’s Choir, Terra Nostra is a 70-minute oratorio on the relationship between our planet and humankind, how this relationship has shifted over time, and how we can re-establish a harmonious balance. Part I: Creation of the World explores various creation myths from different cultures, culminating in a joyous celebration of the beauty of our planet. Part II: The Rise of Humanity examines human achievements, particularly since the dawn of our Industrial Age, and how these achievements have impacted the planet. Part III: Searching for Balance questions how to create more awareness for our planet’s plight, re-establish a deeper connection to it, and find a balance for living within our planet’s resources. In addition to the complete oratorio, stand-alone movements for mixed chorus, and for solo voice with piano, are also available separately. Terra Nostra focuses on the relationship between our planet and mankind, how this relationship has shifted over time, and how we can re-establish a harmonious balance. The oratorio is divided into three parts:Part I: Creation of the World celebrates the birth and beauty of our planet. The oratorio begins with creation myths from India, North America, and Egypt that are integrated into the opening lines of Genesis from the Old Testament. The music surges forth from these creation stories into “God’s World†by Edna St. Vincent Millay, which describes the world in exuberant and vivid detail. Percy Bysshe Shelley’s “On thine own child†praises Mother Earth for her role bringing forth all life, while Walt Whitman sings a love song to the planet in “Smile O voluptuous cool-breathed earth!†Part I ends with “A Blade of Grass†in which Whitman muses how our planet has been spinning in the heavens for a very long time.Part II: The Rise of Humanity examines the achievements of mankind, particularly since the dawn of the Industrial Age. Lord Alfred Tennyson’s “Locksley Hall†sets an auspicious tone that mankind is on the verge of great discoveries. This is followed in short order by Charles Mackay’s “Railways 1846,†William Ernest Henley’s “A Song of Speed,†and John Gillespie Magee, Jr.’s “High Flight,†each of which celebrates a new milestone in technological achievement. In “Binsey Poplars,†Gerard Manley Hopkins takes note of the effect that these advances are having on the planet, with trees being brought down and landscapes forever changed. Percy Bysshe Shelley’s “A Dirge†concludes Part II with a warning that the planet is beginning to sound a grave alarm.Part III: Searching for Balance questions how we can create more awareness for our planet’s plight, re-establish a deeper connection to it, and find a balance for living within our planet’s resources. Three texts continue the earth’s plea that ended the previous section: Lord Byron’s “Darkness†speaks of a natural disaster (a volcano) that has blotted out the sun from humanity and the panic that ensues; contemporary poet Esther Iverem’s “Earth Screaming†gives voice to the modern issues of our changing climate; and William Wordsworth’s “The World Is Too Much With Us†warns us that we are almost out of time to change our course. Contemporary/agrarian poet Wendell Berry’s “The Want of Peace†speaks to us at the climax of the oratorio, reminding us that we can find harmony with the planet if we choose to live more simply, and to recall that we ourselves came from the earth. Two Walt Whitman texts (“A Child said, What is the grass?†and “There was a child went forth every dayâ€) echo Berry’s thoughts, reminding us that we are of the earth, as is everything that we see on our planet. The oratorio concludes with a reprise of Whitman’s “A Blade of Grass†from Part I, this time interspersed with an additional Whitman text that sublimely states, “I bequeath myself to the dirt to grow from the grass I love…â€My hope in writing this oratorio is to invite audience members to consider how we interact with our planet, and what we can each personally do to keep the planet going for future generations. We are the only stewards Earth has; what can we each do to leave her in better shape than we found her? $3.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Concerto Concert band Theodore Presser Co.
Orchestra Concert Band SKU: PR.416413660 For Violin and Orchestra....(+)
Orchestra Concert Band SKU: PR.416413660 For Violin and Orchestra. Composed by Behzad Ranjbaran. Perfect. Contemporary. Full score. With Standard notation. Composed 1994. 144 pages. Duration 31 minutes. Theodore Presser Company #416-41366. Published by Theodore Presser Company (PR.416413660). ISBN 9781598063578. UPC: 680160601899. 9x12 inches. Trained as a violinist in his native Tehran, composer Behzad Ranjbaran eagerly drew inspiration from the traditional Persian kamancheh and its delicate, lyrical sound when creating his profoundly luscious and brilliant Concerto for Violin and Orchestra. This work was completed in 1994 and premiered in England by Joshua Bell, who also gave the first American and Canadian performances. The Concerto for Violin and Orchestra is the recipient of the Rudolf Nissim Award from ASCAP, and it was supported in part by a grant from The National Endowment for the Arts. The solo part with a piano reduction as well as a large score are available on custom print. For advanced players. Duration: 31'. From my early years studying violin at the Tehran Music Conservatory, I was captivated by the sound of the kamancheh, an ancient Persian bowed instrument considered one of the ancestors to the modern violin. I was pleased when the National Endowment for the Arts awarded me a grant to write a violin concerto as it provided me with an occasion to rekindle my fascination with the kamancheh. The notionof writing a violin concerto that would incorporate the power and brilliance of a modern instrument with the delicate and lyrical character of an ancient one was simply irresistible. Moreover, the inspiration from the kamancheh also informed my use of Persian modes, melodic, and rhythmic figures.The notes of the violin’s open strings (G, D, A, E) also influenced many of the melodic and harmonic elements of my violin concerto. The opening tutti is mostly based on intervals of a perfect 4th and 5th. The primary material for each movement incorporates notes of two of the open strings of the violin, creating a three-note melodic motif as the basis of themes:1 st movement: A-D-A2nd movement: D-G-D3rd movement: E-A-EThe overall structure of the concerto is organic and cyclical, as themes are shared between the three movements. For example, the main musical idea of the third movement is a transformation of the first movement’s primary theme. While the movements share similar musical materials, each one is definedby distinguishing characters. The first movement is conflicted; alternating between sections of unabashed lyricism and unforgivingferocity. The second movement is haunting, mysterious, and expressive with long melodic lines that vary continuously. It moves through different moods and characters including a reimagining of a traditional Persian wedding tune played by the orchestra (m. 98). The third movement is festive in character and features much brilliant passagework for the solo violin. At the climax of this movement, themes fromthe previous movements re-emerge simultaneously with greater intensity, propelling the concerto to an energetic finale. The Concerto was composed in 1994 and is dedicated to Joshua Bell. $55.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Mastering the Classical Guitar Book 1A Guitar Classical guitar [Sheet music + Audio access] Mel Bay
Composed by Wissam Abboud. Saddle-stitched, Method. Mastering the Classical ...(+)
Composed by Wissam Abboud.
Saddle-stitched, Method.
Mastering the Classical
Guitar. Style. Book and
online audio. 72 pages. Mel
Bay Publications, Inc
#30683M. Published by Mel Bay
Publications, Inc
$19.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Melody - Intermediate Carl Fischer
Orchestra Cello, Contrabass, Viola, Violin 1, Violin 2 - Grade 3 SKU: CF.CAS1...(+)
Orchestra Cello, Contrabass, Viola, Violin 1, Violin 2 - Grade 3 SKU: CF.CAS160 From Three Short Pieces for Organ. Composed by Samuel Coleridge-Taylor. Arranged by Robert Debbaut. Cas. Set of Score and Parts. Duration 3 minutes. Carl Fischer Music #CAS160. Published by Carl Fischer Music (CF.CAS160). ISBN 9781491165058. UPC: 680160923960. Key: C major. The story of Samuel Coleridge-Taylor is of a rising star composer, one with a significant gift for melody and a simple lyricism, who embraced the previously unexplored song and dance forms from his father’s native west Africa and incorporated them into his own very European art music. Coleridge-Taylor began playing the violin at age five and by age fifteen wasadmitted to London’s Royal College of Music, where he studied both violin and composition and composed his first works. The simply titled Melody is taken from Three Short Pieces for Organ, a set of pieces originally published in Novello’s Album for the Organ, No. 3 (1898). While certainly typical of the late nineteenth century, many of Coleridge-Taylor's creations display inspiration by African musical elements much like spirituals inspired Dvořák’s “New World†Symphony. $65.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Blue Window Concert band - Intermediate/advanced RWS Music Company
Grade 4 SKU: CL.RWS-2204-01 (Mvt. 2 from Three Conversations with Mati...(+)
Grade 4 SKU: CL.RWS-2204-01 (Mvt. 2 from Three Conversations with Matisse). Composed by Robert W. Smith. Concert Band. Extra full score. Composed 2022. RWS Music Company #RWS-2204-01. Published by RWS Music Company (CL.RWS-2204-01). Inspired by The Blue Window by Henri Matisse, this lyrical statement for alto saxophone and band is a subdued departure from the more colorful and powerful movements of Three Conversations With Matisse. Reflective and poignant, your soloist, ensemble and audience will be quietly enthralled in a musical setting that harkens to days gone by. Simply stated....beautiful. $15.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Marchissimo Marching band - Intermediate Anglo Music
Fanfare Band - Grade 3 SKU: BT.AMP-062-120 Composed by Philip Sparke. Cer...(+)
Fanfare Band - Grade 3 SKU: BT.AMP-062-120 Composed by Philip Sparke. Ceremonial Series. Opening Pieces. Score Only. Composed 2003. Anglo Music Press #AMP 062-120. Published by Anglo Music Press (BT.AMP-062-120). English-German-French-Dutch. Marchissimo will make a fantastic opening piece for any concert. It does however come with a twist! It can be played simply as written, but is really designed to be ‘staged’ with players coming on the concert platform one by one as they begin to play. The piece actually consists of three marches in one, each of which highlights a section of the band. The piece culminates in a final climax where all three march themes are played simultaneously.
Marchissimo is een fantastisch openingsstuk voor elk concert, maar er zit wel een bijzondere wending aan! Het kan gewoon worden gespeeld zoals genoteerd, maar het is eigenlijk zo gecomponeerd dat muzikanten een voor een het podiumop kunnen komen voor ze beginnen te spelen. Het gaat hier in feite om drie marsen in één, waarbij steeds een deel van het orkest aan bod komt. Het stuk leidt naar een climax waarin alledrie de thema’s tegelijkertijd worden gespeld.
Marchissimo wurde als Eröffnung eines Konzerts geschrieben, da es einem Spieler nach dem Anderen Gelegenheit gibt, auf die Bühne zu treten. Im ersten Satz treten erst die Schlaginstrumente, zusammen mit Pikkoloflöte, Bassklarinette, Euphonium und Tuba auf. Im zweiten Satz kommen Posaune, Flöte, Klarinette und schließlich Saxophon hinzu. Im dritten Satz komplettieren die Hörner das Blasorchester, welches im fulminanten Schluss die Themen aller drei Sätze noch einmal aufnimmt. Mit Marchissimo ist ein wirkungsvoller Auftritt garantiert!
Marchissimo est un condensé de trois marches qui offre deux possibilités d’interprétation. Elle peut être jouée telle qu’elle est écrite, ou se développer selon un jeu scénique bien structuré où les musiciens entrent en scène au moment de leur première intervention dans la pièce. Chaque groupe expose alors un des trois thèmes principaux. Lorsque la formation est au complet, un court passage constitué de fragments des trois lignes mélodiques surgit travers l’ensemble de la formation avant d’aborder le tutti final, ultime retour des trois thèmes exposés simultanément. $22.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Sonatina Smith WV 225 Alto Saxophone and Piano Music Distribution Services
Alto saxophone and piano SKU: M7.KECF-135 Composed by Peter Bernard Smith...(+)
Alto saxophone and piano SKU: M7.KECF-135 Composed by Peter Bernard Smith. This edition: Saddle stitching. Sheet music. 32 pages. MDS (Music Distribution Services) #KECF 135. Published by MDS (Music Distribution Services) (M7.KECF-135). ISBN 9790502361358. German English. This Sonatina was composed simply to extend the repertoire for original medium grade saxophone music, also to introduce young players to contemporary music. The work consists of three movements Moderato, Andante and Allegro con Brio and is developed from a motive of the three notes G, A and C. $15.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| High Flight Theodore Presser Co.
Choral Cello, Flute, Harp, Oboe, Percussion, Piano, Viola, Violin 1, Violin 2, a...(+)
Choral Cello, Flute, Harp, Oboe, Percussion, Piano, Viola, Violin 1, Violin 2, alto voice, bass voice, soprano voice, tenor voice SKU: PR.31241902A From Terra Nostra. Composed by Stacy Garrop. Set of Score and Parts. Duration 3:15. Theodore Presser Company #312-41902A. Published by Theodore Presser Company (PR.31241902A). UPC: 680160690510. English. Commissioned by the San Francisco Choral Society and the Piedmont East Bay Children’s Choir, Terra Nostra is a 70-minute oratorio on the relationship between our planet and humankind, how this relationship has shifted over time, and how we can re-establish a harmonious balance. Part I: Creation of the World explores various creation myths from different cultures, culminating in a joyous celebration of the beauty of our planet. Part II: The Rise of Humanity examines human achievements, particularly since the dawn of our Industrial Age, and how these achievements have impacted the planet. Part III: Searching for Balance questions how to create more awareness for our planet’s plight, re-establish a deeper connection to it, and find a balance for living within our planet’s resources. In addition to the complete oratorio, stand-alone movements for mixed chorus, and for solo voice with piano, are also available separately. Terra Nostra focuses on the relationship between our planet and mankind, how this relationship has shifted over time, and how we can re-establish a harmonious balance. The oratorio is divided into three parts:Part I: Creation of the World celebrates the birth and beauty of our planet. The oratorio begins with creation myths from India, North America, and Egypt that are integrated into the opening lines of Genesis from the Old Testament. The music surges forth from these creation stories into “God’s World†by Edna St. Vincent Millay, which describes the world in exuberant and vivid detail. Percy Bysshe Shelley’s “On thine own child†praises Mother Earth for her role bringing forth all life, while Walt Whitman sings a love song to the planet in “Smile O voluptuous cool-breathed earth!†Part I ends with “A Blade of Grass†in which Whitman muses how our planet has been spinning in the heavens for a very long time.Part II: The Rise of Humanity examines the achievements of mankind, particularly since the dawn of the Industrial Age. Lord Alfred Tennyson’s “Locksley Hall†sets an auspicious tone that mankind is on the verge of great discoveries. This is followed in short order by Charles Mackay’s “Railways 1846,†William Ernest Henley’s “A Song of Speed,†and John Gillespie Magee, Jr.’s “High Flight,†each of which celebrates a new milestone in technological achievement. In “Binsey Poplars,†Gerard Manley Hopkins takes note of the effect that these advances are having on the planet, with trees being brought down and landscapes forever changed. Percy Bysshe Shelley’s “A Dirge†concludes Part II with a warning that the planet is beginning to sound a grave alarm.Part III: Searching for Balance questions how we can create more awareness for our planet’s plight, re-establish a deeper connection to it, and find a balance for living within our planet’s resources. Three texts continue the earth’s plea that ended the previous section: Lord Byron’s “Darkness†speaks of a natural disaster (a volcano) that has blotted out the sun from humanity and the panic that ensues; contemporary poet Esther Iverem’s “Earth Screaming†gives voice to the modern issues of our changing climate; and William Wordsworth’s “The World Is Too Much With Us†warns us that we are almost out of time to change our course. Contemporary/agrarian poet Wendell Berry’s “The Want of Peace†speaks to us at the climax of the oratorio, reminding us that we can find harmony with the planet if we choose to live more simply, and to recall that we ourselves came from the earth. Two Walt Whitman texts (“A Child said, What is the grass?†and “There was a child went forth every dayâ€) echo Berry’s thoughts, reminding us that we are of the earth, as is everything that we see on our planet. The oratorio concludes with a reprise of Whitman’s “A Blade of Grass†from Part I, this time interspersed with an additional Whitman text that sublimely states, “I bequeath myself to the dirt to grow from the grass I love…â€My hope in writing this oratorio is to invite audience members to consider how we interact with our planet, and what we can each personally do to keep the planet going for future generations. We are the only stewards Earth has; what can we each do to leave her in better shape than we found her? $33.99 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| The Wind Won't Listen Theodore Presser Co.
Bassoon, Viola, Violin 1, Violin 2, Violoncello SKU: PR.16400261S Compose...(+)
Bassoon, Viola, Violin 1, Violin 2, Violoncello SKU: PR.16400261S Composed by Dan Welcher. With Standard notation. Duration 15 minutes. Theodore Presser Company #164-00261S. Published by Theodore Presser Company (PR.16400261S). UPC: 680160038411. Since the bassoon is my own instrument, many people have asked me why I've written so little for the instrument. Beyond my early Concerto Da Camera for bassoon and small orchestra, written for Leonard Sharrow in 1975, I've not written a single piece that features the bassoon as a solo vehicle (though I have written three woodwind quintets). When I first began composing seriously, critics were quick to point out that my orchestral writing revealed nothing of my roots as a woodwind player--and bassoonists asked why my pieces didn't have more bassoon solos. Perhaps I was so aware that people were looking at me as a bassoonist/composer that I was determined to remove that stigma. Now that my transformation from performer to composer is complete, however, it's time to re-address my instrument. I wanted this new piece to be serious rather than whimsical. The Wind Won't Listen represents my return to the bassoon as the highly expressive, poetic soul that it is. As such, it shouldn't come as a surprise that the piece is based on a poem, and that the title of the piece as well as both its movement titles come from lines in that poem. I first read Beth Gylys' poem Split at the MacDowell Colony in the summer of 2001, and it made a big impression on me. My personal life had been ruptured by divorce in the preceding year. This poem, with its dry insistence on observation rather than feeling, expressed the wrung-out state of my emotions at the time better than any I had seen. I set it to music, as a song, immediately. In this format, for voice and piano, I was able to put a musical note to every word of the poem. The first lines of the poem, Everyone I know is crying, or should be crying, became a melody that haunted me even without the words. The work for bassoon and string quartet is an outgrowth of the song. The first movement is labeled Romanza, and has a loose formal arch structure of A-B-C-B-A, with B and C being fast sections framed by the lamenting A music. In addition to hearing the bassoon's first notes attached to the lines Everyone I know is crying, there's a sense of agitation, of loss, of longing, and at times of desperation in the music. At one point, the opening theme from Tristan even appears in the strings. The second movement follows, without a real pause--the pizzicato final chords of the first movement becoming the increasingly aggressive opening chords of the second. The recitative is actually a foreshadowing of the basic theme that will be varied, again to the words of the song: Life makes itself without us. Don't let me tell you how it is. Go out. Look. The recitative begins in an anguished state, but subsides into more gentle singing by the end, when it simply falls into an ostinato 5/8-3/4 pattern to begin the variations. Marked Very steady tempo; Dancing, this set of variations consists of three dances, each faster than the previous. The first, in the aforementioned 5/8-3/4 meter, gives way to a 3/8 scherzo, which in turn takes on a furious 2/4 scurrying motion. The music becomes breathless, almost pulse-less, and an ethereal theme appears in the violins while the rushing music continues, sotto voce in the bassoon. This new theme is also from the song: Why do I do this? The wind won't listen. The bassoon re-states its Everyone I know is crying melody from the first movement, and at length the 5/8-3/4 music returns, more subdued this time. The piece ends on a major-minor chord, suspended. The Wind Won't Listen is dedicated to the man who commissioned it, bassoonist Steven Dibner--who shares my passion for poetry and language. --Dan Welcher. $41.99 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| The Blue Window Concert band - Intermediate/advanced RWS Music Company
Grade 4 SKU: AP.98-RWS220400 (Mvt. 2 from Three Conversations with Mat...(+)
Grade 4 SKU: AP.98-RWS220400 (Mvt. 2 from Three Conversations with Matisse). Composed by Robert W. Smith. Concert Band. Score and set of parts. Composed 2022. RWS Music Company #RWS-2204-00. Published by RWS Music Company (AP.98-RWS220400). Inspired by The Blue Window by Henri Matisse, this lyrical statement for alto saxophone and band is a subdued departure from the more colorful and powerful movements of Three Conversations With Matisse. Reflective and poignant, your soloist, ensemble and audience will be quietly enthralled in a musical setting that harkens to days gone by. Simply stated....beautiful. $100.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Children's Songs for Banjo Made Easy Banjo [Sheet music + Audio access] - Beginner Mel Bay
Banjo - Beginning SKU: MB.21025M Composed by Ross Nickerson. Saddle-stitc...(+)
Banjo - Beginning SKU: MB.21025M Composed by Ross Nickerson. Saddle-stitched, Banjo: 5-String, Folk, Solos and Duets. Made Easy. Style. Book and online audio. 32 pages. Mel Bay Publications, Inc #21025M. Published by Mel Bay Publications, Inc (MB.21025M). ISBN 9780786691968. 8.75 x 11.75 inches. Easy to play five-string banjo arrangements of twenty-four childrens favorites by banjo master Ross Nickerson. Not only are these songs fun to play but from an instructional standpoint they are perfect for helping you develop the ability to bring out the melody in the bluegrass banjo style. Accenting the melody within the steady rhythmic roll of banjo playing is one of the biggest challenges facing banjo students and these familiar melodies are ideal for your development of that skill. Each song is arranged and performed using proper three-finger bluegrass technique. The arrangements are carefully designed to bring out the melody, but easy enough for a beginner or intermediate player to learn quickly. The tablature in the book is large and easy to read with accent marks for melody notes, as well as right and left-hand fingering indications. This book is not simply a tablature book. Childrens Songs for Banjo Made Easy also features instruction on learning the chords to each song, chord progression charts for each song, special learning tips for each arrangement, a full page of advice on memorizing the songs and more. Also, in the instructional section of the book Ross includes a page of suggestions on the best use of practice time and how to develop the skills needed to succeed with each piece. Includes online access to a high quality studio recorded audio of all the songs played at three speeds and a bonus track of Ross performing. $14.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Melody Organ - Intermediate Carl Fischer
Orchestra Cello, Contrabass, Viola, Violin 1, Violin 2 - Grade 3 SKU: CF.CAS1...(+)
Orchestra Cello, Contrabass, Viola, Violin 1, Violin 2 - Grade 3 SKU: CF.CAS160F From Three Short Pieces for Organ. Composed by Samuel Coleridge-Taylor. Arranged by Robert Debbaut. Cas. Full score. Duration 3 minutes. Carl Fischer Music #CAS160F. Published by Carl Fischer Music (CF.CAS160F). ISBN 9781491165454. UPC: 680160924363. Key: C major. The story of Samuel Coleridge-Taylor is of a rising star composer, one with a significant gift for melody and a simple lyricism, who embraced the previously unexplored song and dance forms from his father’s native west Africa and incorporated them into his own very European art music. Coleridge-Taylor began playing the violin at age five and by age fifteen wasadmitted to London’s Royal College of Music, where he studied both violin and composition and composed his first works. The simply-titled Melody is taken from Three Short Pieces for Organ - a set of pieces originally published in Novello’s Album for the Organ, No. 3 (1898). While certainly typical of the late 19th century, many of Coleridge-Taylor's creations display inspiration by African musical elements much like spirituals inspired Dvořák’s “New World†Symphony. $9.50 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
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