SKU: AP.49649
UPC: 038081567365. English. Ruth Morris Gray.
How fun! A unique setting of words adapted from a familiar English folk song. Handclaps, leg taps, and brushing palms decorate each voice part from the first statement of their independent line to the final layered recap. A departure from the traditional tune and tempo, Ruth's jaunty melody and andante interpretation creates a feeling of motion in triple meter.
About Alfred Choral Designs
The Alfred Choral Designs Series provides student and adult choirs with a variety of secular choral music that is useful, practical, educationally appropriate, and a pleasure to sing. To that end, the Choral Designs series features original works, folk song settings, spiritual arrangements, choral masterworks, and holiday selections suitable for use in concerts, festivals, and contests.
SKU: TM.02026SC
SKU: CL.012-5047-00
David Holsinger’s Downtown Scherzo represents a departure in style for this composer who is well-known for aggressive and volatile musical styles. Originally composed as part of a larger orchestral work, the composer has extracted and adapted this scherzo which is extraordinarily well-suited to the concert band. Lighthearted, effervescent, and joyful, with just the touch of Holsinger magic, this work for mature bands is an excellent choice for any concert performance.
SKU: CF.CPS84F
ISBN 9780825867668. UPC: 798408067663. 9 X 12 inches. Key: D minor.
Musical twists and turns abound in this compositional departure for composer Larry Clark. It contains all of his impeccable scoring and attention to detail, but is a refreshing change in sound and technique for this adept composer. The piece is at times energetic, and at other times, lyrical. Elusive and ever-changing in harmonic structure and rhythmic content, it all adds up to an exceptional new piece by one of the most popular composers of band music today.
SKU: HL.14019450
ISBN 9788759867570. English.
The Planets is cast as a single unit, consisting of seven movements, varying greatly in character, each of which describes a planet or a celestial body. Mars makes a war-like contrast with aggressive rhythms and contrasting registers. This part is poly-rhythmic and very complex. Thus there is extensive use of the proportions 5:2, 5:3, 5:4, 5:7 and 5:9 which are the point of departure of all the rhythm series.
SKU: 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.
SKU: CL.011-4742-01
A Fond Farewell is a warm retrospective work for developing bands, which musically expresses the mixed emotions felt by the departure of a retiring teacher, coach or graduates. It begins with two lush melancholy melodies, evoking feelings of sadness over leaving, that build to a dramatic climax with stirring lines. These opening themes shift to a joyous celebration of starting an exciting new chapter in life through a lively change in tempo and meter for an uplifting ending!
SKU: PR.16500101F
ISBN 9781491131725. UPC: 680160680252.
Ever since the success of my series of wind ensemble works Places in the West, I've been wanting to write a companion piece for national parks on the other side of the north American continent. The earlier work, consisting of GLACIER, THE YELLOWSTONE FIRES, ARCHES, and ZION, spanned some twenty years of my composing life, and since the pieces called for differing groups of instruments, and were in slightly different styles from each other, I never considered them to be connected except in their subject matter. In their depiction of both the scenery and the human history within these wondrous places, they had a common goal: awaking the listener to the fragile beauty that is in them; and calling attention to the ever more crucial need for preservation and protection of these wild places, unique in all the world. With this new work, commissioned by a consortium of college and conservatory wind ensembles led by the University of Georgia, I decided to build upon that same model---but to solidify the process. The result, consisting of three movements (each named for a different national park in the eastern US), is a bona-fide symphony. While the three pieces could be performed separately, they share a musical theme---and also a common style and instrumentation. It is a true symphony, in that the first movement is long and expository, the second is a rather tightly structured scherzo-with-trio, and the finale is a true culmination of the whole. The first movement, Everglades, was the original inspiration for the entire symphony. Conceived over the course of two trips to that astonishing place (which the native Americans called River of Grass, the subtitle of this movement), this movement not only conveys a sense of the humid, lush, and even frightening scenery there---but also an overview of the entire settling-of- Florida experience. It contains not one, but two native American chants, and also presents a view of the staggering influence of modern man on this fragile part of the world. Beginning with a slow unfolding marked Heavy, humid, the music soon presents a gentle, lyrical theme in the solo alto saxophone. This theme, which goes through three expansive phrases with breaks in between, will appear in all three movements of the symphony. After the mood has been established, the music opens up to a rich, warm setting of a Cherokee morning song, with the simple happiness that this part of Florida must have had prior to the nineteenth century. This music, enveloping and comforting, gradually gives way to a more frenetic, driven section representative of the intrusion of the white man. Since Florida was populated and developed largely due to the introduction of a train system, there's a suggestion of the mechanized iron horse driving straight into the heartland. At that point, the native Americans become considerably less gentle, and a second chant seems to stand in the way of the intruder; a kind of warning song. The second part of this movement shows us the great swampy center of the peninsula, with its wildlife both in and out of the water. A new theme appears, sad but noble, suggesting that this land is precious and must be protected by all the people who inhabit it. At length, the morning song reappears in all its splendor, until the sunset---with one last iteration of the warning song in the solo piccolo. Functioning as a scherzo, the second movement, Great Smoky Mountains, describes not just that huge park itself, but one brave soul's attempt to climb a mountain there. It begins with three iterations of the UR-theme (which began the first movement as well), but this time as up-tempo brass fanfares in octaves. Each time it begins again, the theme is a little slower and less confident than the previous time---almost as though the hiker were becoming aware of the daunting mountain before him. But then, a steady, quick-pulsed ostinato appears, in a constantly shifting meter system of 2/4- 3/4 in alteration, and the hike has begun. Over this, a slower new melody appears, as the trek up the mountain progresses. It's a big mountain, and the ascent seems to take quite awhile, with little breaks in the hiker's stride, until at length he simply must stop and rest. An oboe solo, over several free cadenza-like measures, allows us (and our friend the hiker) to catch our breath, and also to view in the distance the rocky peak before us. The goal is somehow even more daunting than at first, being closer and thus more frighteningly steep. When we do push off again, it's at a slower pace, and with more careful attention to our footholds as we trek over broken rocks. Tantalizing little views of the valley at every switchback make our determination even stronger. Finally, we burst through a stand of pines and----we're at the summit! The immensity of the view is overwhelming, and ultimately humbling. A brief coda, while we sit dazed on the rocks, ends the movement in a feeling of triumph. The final movement, Acadia, is also about a trip. In the summer of 2014, I took a sailing trip with a dear friend from North Haven, Maine, to the southern coast of Mt. Desert Island in Acadia National Park. The experience left me both exuberant and exhausted, with an appreciation for the ocean that I hadn't had previously. The approach to Acadia National Park by water, too, was thrilling: like the difference between climbing a mountain on foot with riding up on a ski-lift, I felt I'd earned the right to be there. The music for this movement is entirely based on the opening UR-theme. There's a sense of the water and the mysterious, quiet deep from the very beginning, with seagulls and bell buoys setting the scene. As we leave the harbor, the theme (in a canon between solo euphonium and tuba) almost seems as if large subaquatic animals are observing our departure. There are three themes (call them A, B and C) in this seafaring journey---but they are all based on the UR theme, in its original form with octaves displaced, in an upside-down form, and in a backwards version as well. (The ocean, while appearing to be unchanging, is always changing.) We move out into the main channel (A), passing several islands (B), until we reach the long draw that parallels the coastline called Eggemoggin Reach, and a sudden burst of new speed (C). Things suddenly stop, as if the wind had died, and we have a vision: is that really Mt. Desert Island we can see off the port bow, vaguely in the distance? A chorale of saxophones seems to suggest that. We push off anew as the chorale ends, and go through all three themes again---but in different instrumentations, and different keys. At the final tack-turn, there it is, for real: Mt. Desert Island, big as life. We've made it. As we pull into the harbor, where we'll secure the boat for the night, there's a feeling of achievement. Our whale and dolphin friends return, and we end our journey with gratitude and celebration. I am profoundly grateful to Jaclyn Hartenberger, Professor of Conducting at the University of Georgia, for leading the consortium which provided the commissioning of this work.
SKU: YM.GTW01090954
ISBN 9784636909548.
26 songs from 15 Ghibli cinemas arranged for solo trumpet and piano. Lai Zi 15Bu Ji Bu Li Gong Zuo Shi Dian Ying Zuo Pin De 26Shou Ge Qu De Xiao Hao Du Zou Le Pu ,Fu Qia La OKBan Zou . 1. Nausicaa of the Valley of Wind - Opening Theme; 2. The Girl Who Fell From the Sky; 3. Doves and the Boy; 4. My Neighbor Totoro; 5. Hey Let's Go; 6. Cat Bus; 7. The Path of the Win; 8. A Town with an Ocean View; 9. On a Clear Day; 10. Departure; 11. Starting the Job; 12. The Theme of Marco and Gina; 13. Le Temps des cerises; 14. Princess Mononoke; 15. The Legend of Ashitaka; 16. Ashitaka and San; 17. Always with Me; 18. Reprise; 19. Merry-Go-Round of Life; 20. Therru's Song; 21. Ponyo on the Cliff by the Sea; 22. Arrietty's Song; 23. Summer of Farewells - From Up on Poppy Hill; 24. Hikoukigumo(Vapor Trail) 25. When I Remember This Life; 26. Fine on the Outside 1.[Feng Zhi Gu ] (Pian Tou Qu ); 2. Cong Tian Er Jiang De Shao Nu ; 3. Ge Zi Yu Shao Nian ; 4. Lin Jia De Long Mao ; 5. San Bu ; 6. Mao Ba Shi ; 7. Feng Zhi Yong Dao ; 8. Kan De Jian Hai De Jie Dao ; 9. Qing Lang De Na Yi Tian ...; 10. Qi Cheng ; 11. Di Yi Fen Gong Zuo ; 12. Ma Ke He Ji Nuo De Zhu Ti Yin Le ; 13. Ying Tao Cheng Shou Shi ; 14. You Ling Gong Zhu ; 15. A Xi Da Qia Chuan Qi ; 16. A Xi Da Qia Yu Shan ; 17. Yong Yuan Chang Zai ; 18. Zai Du ; 19. Ren Sheng De Xuan Zhuan Mu Ma ; 20. Se Lu Zhi Ge ; 21. Xuan Ya Shang De Jin Yu Ji ; 22. A Li Ai Di Zhi Ge ; 23. Chi Bie Zhi Xia ~Yu Mei Ren Sheng Kai De Shan Po ~; 24. Fei Ji Yun ; 25. Sheng Ming De Ji Yi ; 26. Fine on the Outside.
SKU: TM.02026SET
SKU: CF.FPS100
ISBN 9780825887734. UPC: 798408087739. 9x12 inches.
Majestic and flowing; with images of American grandeur, this new Alan Silva composition showcases his unique style of writing. Alan's pieces are cinematic and paint a sonic landscape for the imagination, and are always a welcome departure from the norm. Your students will love the magnitude of this wonderful work.
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