SKU: CL.032-0258-00
A bright swing tune that really gets off the ground. This concert opener features solos for trumpet and piano along with a driving sax soli. ``Joyful’’ it is.
SKU: FG.042-08397-0
ISBN 979-0-042-08397-0.
Englund's second piano sonatina The Parisian dates from 1984. Neoclassical in style, its brilliantly driving first movement gives way to the the sarabande-like middle movement, whose ambiguous harmonic motion in parallel thirds with octave doublings is challenged by a clangorous outburst of polytonality. The last movement is a fiery gigue on a jagged, syncopated theme.
SKU: KJ.SO322F
UPC: 8402703221.
Erebus was an ancient demigod, most often represented as Night, the son of Chaos. Here, Mr. Bishop composed a work representing the attributes ascribed to Erebus: pensive anticipation, sullen darkness, driving passion. He features the ever-popular tritone to help create the sense of unease and with other dissonance, offers students an amazing opportunity to create an ensemble sound like no other.
SKU: GI.WW1798
UPC: 785147024866. English. Text Source: African American spiritual.
Ryan Murphy's arrangement of Music in the Air brings the song to an exciting new life. This setting includes a driving piano accompaniment and singable vocal parts, making this an achievable work for your choir with great impact. Andrew Crane Choral Series.
SKU: FJ.B1643S
English.
Experience a magical winter solstice ceremony at the Megalithic Newgrange site in Ireland. A smooth, mystical introduction leads to a hypnotic dance groove as open fifths, driving drones and percussion ostinatos give the piece an ancient feel. Eventually the music builds one final time as it barrels to the powerful conclusion!
About FJH Young Band
Appropriate for middle school and smaller high school groups. Second clarinets usually stay below the break. Parts are written with more independence, and instrumentation increases slightly. There is still adequate doubling in the lower voices. Grades 2 - 2.5
SKU: PR.16500092L
UPC: 680160039531. 11 x 17 inches.
Zion is the third and final installment of a series of works for Wind Ensemble inspired by national parks in the western United States, collectively called Three Places in the West. As in the other two works (The Yellowstone Fires and Arches), it is my intention to convey more an impression of the feelings I've had in Zion National Park in Utah than an attempt at pictorial description. Zion is a place with unrivalled natural grandeur, being a sort of huge box canyon in which the traveler is constantly overwhelmed by towering rock walls on every side of him -- but it is also a place with a human history, having been inhabited by several tribes of native Americans before the arrival of the Mormon settlers in the mid-19th century. By the time the Mormons reached Utah, they had been driven all the way from New York State through Ohio and, with tragic losses, through Missouri. They saw Utah in general as a place nobody wanted, but they were nonetheless determined to keep it to themselves. Although Zion Canyon was never a Mormon Stronghold, the people who reached it and claimed it (and gave it its present name) had been through extreme trials. It is the religious fervor of these persecuted people that I was able to draw upon in creating Zion as a piece of music. There are two quoted hymns in the work: Zion's Walls (which Aaron Copland adapted to his own purposes in both is Old American Songs and the opera The Tender Land) and Zion's Security, which I found in the same volume in which Copland found Zion's Walls -- that inexhaustible storehouse of 19th-century hymnody called The Sacred Harp. My work opens with a three-verse setting of Zion's Security, a stern tune in F-sharp minor which is full of resolve. (The words of this hymn are resolute and strong, rallying the faithful to be firm, and describing the city of our God they hope to establish). This melody alternates with a fanfare tune, whose origins will be revealed in later music, until the second half of the piece begins: a driving rhythmic ostinato based on a 3/4-4/4 alternating meter scheme. This pauses at its height to restate Zion's Security one more time, in a rather obscure setting surrounded by freely shifting patterns in the flutes, clarinets, and percussion -- until the sun warms the ground sufficiently for the second hymn to appear. Zion's Walls is set in 7/8, unlike Copland's 9/8-6/8 meters (the original is quite strange, and doesn't really fit any constant meter), and is introduced by a warm horn solo. The two hymns vie for attention from here to the end of the piece, with the glowingly optimistic Zion's Walls finally achieving prominence. The work ends with a sense of triumph and unbreakable spirit. Zion was commissioned in 1994 by the wind ensembles of the University of Texas at Arlington, the University of Texas at Austin, and the University of Oklahoma. It is dedicated to the memory of Aaron Copland.
SKU: KN.42055S
UPC: 822795420555.
A catchy melody, blues based harmony, and a driving rock groove combine to create a medium easy chart that is sure to be loads of fun. Everyone gets to play the melody and the written or ad lib open solo section features any soloists, making it a great choice for concerts and festivals alike. Written with reduced instrumentation (12-17 players), optional flute, clarinet, horn in F, tuba and vibes parts are included in each set. Duration 3:31.
SKU: HL.35032363
UPC: 888680783402. 5.0x5.0x0.152 inches. Acts 4:24, Job 26, Nehemiah 9:6, Psalm 89:11.
A regal celebration of a time-honored hymn is displayed in this festive arrangement! Classic brass motives define the introduction, raising the curtain on a joyful unison presentation of the well-known ELLACOMBE theme. A graceful middle verse offers a pleasing contrast of interesting choral textures, giving directors an opportunity for interpretive freedom. Driving to a climactic conclusion, the anthem explodes in a sensational sonic moment worthy of cathedral or concert hall. Score and Parts (hn, tpt 1-2, tbn, tba, sdm, bdm, cym, timp) available as a digital download.
SKU: PR.116400500
ISBN 9781491130773. UPC: 680160676729. 9 x 12 inches.
TINY TATTOO was written after the composer visited a “treetop†bistro at Big Sur, California. The restaurant is named Nepenthe, after an ancient Greek elixir fabled to relieve any and all sorrows. This spot-on-the-cliff made such an impression on Pann that musical ideas immediately started flowing, giving rise to the opening hook of this 5-minute orchestral work. Written as a gift to conductor Alastair Willis, TINY TATTOO is a highly catchy and colorful work with exciting percussion parts, equally suitable for advanced student orchestras, professional ensembles, and everything in between.TINY TATTOO (2017) was written after visiting a “treetop†bistro at Big Sur, California with my wife after driving the entire day up from L.A. The restaurant is called “Nepenthe,†named after an ancient Greek elixir fabled to relieve one from any and all sorrows. This spot-on-the-cliff made such an impression on me (in my exhausted state) that I immediately began humming the opening minimal hook in what is now this piece. Any well-known excerpts containted within the work are happy accidents.Tiny Tattoo was written as a gift to conductor Alastair Willis.
SKU: HL.4003293
UPC: 884088864217. 9.0x12.0x0.096 inches.
Written in a driving fast tempo, this exciting work by Michael Oare incorporates the metric grouping of 3+3+2 as a recurring motif. At times superimposing layers of simple meter feel along with more complex patterns, Uproar generates energy and excitement while using a variety of textures and colors within the wind and percussion sections. An impressive-sounding work for young players. Dur: 3:30.
SKU: CL.032-4748-01
Apocalypse is a hard-hitting, up-tempo rock tune with the feel of a cataclysmic event, and when combined with the composer’s signature driving rock feel, makes for a winning combination! Written solidly at the medium easy level, this tune features repetitive rhythms and patterns that guarantee you will be performance ready with a minimum of rehearsal time. Scored for limited instrumentation, with careful attention to instrument ranges, and written out solos over easy changes, Apocalypse will be accessible to the smallest and youngest ensembles, as well as a lot of fun for more advanced groups. Loaded with student and audience appeal, this tune is an ideal contest/concert selection. Guaranteed to rock every time you play it!
SKU: BP.HB756
Written for 5 to 8 octave handbell choir. Level 5+.Sandra Eithun has masterfully woven together the tune Creator of the Stars of Night with Do You Hear What I Hear? in this new addition to The Legacy Series. Changing meters and driving rhythms abound as listeners and ringers are treated to various styles and moods as the piece progresses. The tune rises in intensity and complexity before coming back to the opening feeling of rest and hopeful anticipation. A glorious choice for the advanced ensemble this holiday season!
SKU: HP.C5426C
UPC: 763628954260. By Chris Tomlin & Louie Giglio. Isaiah 6:3, Psalms 99:1-9.
Popular worship song by Chris Tomlin & Louie Giglio This driving anthem interweaves Chris Tomlin and Louis Giglio's well-known praise chorus with a quote from Holy, Holy, Holy. The accompaniment is full of rhythmic energy and the quiet conclusion reminds us that we worship a holy God who is worthy of our reverence, as well as our praise.
SKU: KN.42342
UPC: 822795423426.
A solid rhythmic groove and a lyrical melody combine to create the foundation of this driving Latin chart. Rich ensemble voicings and an open solo section over easy changes make this a perfect vehicle for teaching the Latin style. Rhythm section parts are notated with chords cued. Duration 3:33. Available in SmartMusic.
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