| Good News! (A Christmas Spiritual) Choral SATB SATB A Cappella [Octavo] Alfred Publishing
By Jay Althouse. For Choir. (SATB, a cappella). Choral Octavo. Choral Designs. ...(+)
By Jay Althouse. For Choir. (SATB, a cappella). Choral Octavo. Choral Designs. Spiritual, Christmas. Choral Octavo. 12 pages. Published by Alfred Publishing. Level: Level 4 (grade L4).
$2.25 $2.1375 (5% off) See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Good News! (A Christmas Spiritual) Choral TTBB TTBB A Cappella [Octavo] - Intermediate Alfred Publishing
By Jay Althouse. For Choir. (TTBB, a cappella). Choral Octavo. Choral Designs. ...(+)
By Jay Althouse. For Choir. (TTBB, a cappella). Choral Octavo. Choral Designs. Spiritual, Christmas. Choral Octavo. 12 pages. Published by Alfred Publishing. Level: Level 3 (grade L3).
$2.25 $2.1375 (5% off) See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Good Time Was Had By All, A Jazz Ensemble [Score and Parts] - Intermediate Kendor Music Inc.
Jazz Ensemble standard jazz ensemble with SATTB saxes - Grade 5 SKU: KN.52350...(+)
Jazz Ensemble standard jazz ensemble with SATTB saxes - Grade 5 SKU: KN.52350 Composed by Thad Jones. Kendor Jazz Archive Series. Bright Swing. Score and set of parts. Duration 5 minutes, 30 seconds. Kendor Music Inc #52350. Published by Kendor Music Inc (KN.52350). As recorded by the Thad Jones-Mel Lewis Orchestra on their 1972 album Suite For Pops, soprano sax gets the lion's share of solo action in this bright swinger, with additional solos for tenor, trumpet and drums added for good measure. Plenty of bold tutti writing keeps the overall energy (and volume) level high, making this a great program opener or closer. Duration 5:30. $95.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Good Time Was Had By All, A (Full Score) Jazz Ensemble - Intermediate Kendor Music Inc.
Jazz Ensemble standard jazz ensemble with SATTB saxes - Grade 5 SKU: KN.52350...(+)
Jazz Ensemble standard jazz ensemble with SATTB saxes - Grade 5 SKU: KN.52350S Composed by Thad Jones. Kendor Archive Editions. Kendor Music Inc #52350S. Published by Kendor Music Inc (KN.52350S). As recorded by the Thad Jones-Mel Lewis Orchestra on their 1972 album Suite For Pops, soprano sax gets the lion's share of solo action in this bright swinger, with additional solos for tenor, trumpet and drums added for good measure. Plenty of bold tutti writing keeps the overall energy (and volume) level high, making this a great program opener or closer. Duration 5:30. $7.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Eight Candles for Chanukah Choral 3-part SSA Transcontinental Music
(Ocho Kandelikas). By Flory Jagoda. Arranged by J.A. Kawarsky. (SSA). TRANSCONT...(+)
(Ocho Kandelikas). By Flory Jagoda. Arranged by J.A. Kawarsky. (SSA). TRANSCONTINENTAL MUSIC CHORAL. Jewish. 20 pages. Published by Transcontinental Music Publications.
$2.75 $2.6125 (5% off) See more - Buy onlinePre-shipment lead time: 3 to 5 business days | | |
| A Walk in an Irish Garden Flute and Piano Southern Music Ltd
For Flute and Piano. Composed by James Galway. Arranged by David Overton. Sout...(+)
For Flute and Piano. Composed
by James Galway. Arranged by
David Overton. Southern
Music. Concert. Softcover. 16
pages. Southern Music Company
#B586. Published by Southern
Music Company
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| Cross-Sticking Studies Drums [Sheet music + DVD-ROM] Modern Drummer Publications
(Exercises for Moving Around the Drumset). Book. Softcover with DVD-ROM. 96 page...(+)
(Exercises for Moving Around the Drumset). Book. Softcover with DVD-ROM. 96 pages. Published by Modern Drummer Publications
$15.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Recordare: Drop, drop slow tears from Eternal Light: A Requiem Soli, Mixted choir and accompaniment - Intermediate MorningStar Music Publishers
Soprano voice solo, SATB choir, and piano - Intermediate SKU: MN.56-0055 ...(+)
Soprano voice solo, SATB choir, and piano - Intermediate SKU: MN.56-0055 Composed by Howard Goodall. Lent, Triduum/Three Days, Tenebrae, 21st Century, Heaven, Lament/Grief/Sorrow. Duration 4 minutes, 4 seconds. MorningStar Music Publishers #56-0055. Published by MorningStar Music Publishers (MN.56-0055). UPC: 688670220586. English. Arranged for SATB choir, two keyboards, strings, and optional harp, with soprano, tenor (optional) and baritone soloists, this fresh and unorthodox interpretation reflects on the words of the Latin Mass by juxtaposing them with poems in English. For soprano solo and SATB choir, this movement begins with the choir on the English text by Phineas Fletcher (1633). A 32-measure soprano solo follows, which covers the majority of the English text. The soloist then begins the ââ¬ÅRecordare,ââ¬Â a calm, descending melodic line with the choir singing the opening ââ¬ÅDrop, dropââ¬Â motif as accompaniment. The choir then concludes with the slow, descending lines ââ¬ÅJesu pie, Jesu pie.ââ¬Â Duration 4:04. $2.75 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Requiem: Kyrie: Close now thine eyes from Eternal Light: A Requiem Soli, Mixted choir and accompaniment - Intermediate MorningStar Music Publishers
Soprano voice solo, SATB choir, and piano - Intermediate SKU: MN.56-0049 ...(+)
Soprano voice solo, SATB choir, and piano - Intermediate SKU: MN.56-0049 Composed by Howard Goodall. Lent, Triduum/Three Days, Tenebrae, 21st Century, Heaven, Lament/Grief/Sorrow. Duration 9 minutes, 13 seconds. MorningStar Music Publishers #56-0049. Published by MorningStar Music Publishers (MN.56-0049). UPC: 688670220524. English. Arranged for SATB choir, two keyboards, strings, and optional harp, with soprano, tenor (optional) and baritone soloists, this fresh and unorthodox interpretation reflects on the words of the Latin Mass by juxtaposing them with poems in English. The “Kyrie†uses Francis Quarles’ “Close now thine eyes and rest secure†as the opposing English text. After the choir begins the requiem text in Latin (“Requiem aeternam†through the “Kyrie eleison,â€) the soprano soloist has a 27-measure solo in which the English text appears. Then the solo is repeated over choir accompaniment and the opening Latin text reappears to close the movement. Duration 9:13. $3.35 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Triangle of the Tempest - Easy Carl Fischer
Orchestra Cello, Contrabass, Piano, Viola, Violin 1, Violin 2, Violin 3 - Grade ...(+)
Orchestra Cello, Contrabass, Piano, Viola, Violin 1, Violin 2, Violin 3 - Grade 3.5 SKU: CF.CAS107 Composed by Alan Lee Silva. SWS FS. Carl Fischer Concert String Orchestra Series. Set of Score and Parts. With Standard notation. 24+24+6+15+15+15+6+20 pages. Duration 4 minutes, 17 seconds. Carl Fischer Music #CAS107. Published by Carl Fischer Music (CF.CAS107). ISBN 9781491146675. UPC: 680160904174. 9 x 12 inches. Key: E minor. Triangle of the Tempest is a fast-moving composition with interesting rhythmic challenges and dynamic color shifts. Starting with syncopated figures over a repeated eight-measure progression, the piece builds in intensity as more sections and layers are added. The second part changes tone and is led by a heroic violin melody with a soaring cello obligato. The themes intertwine and the material develops into a dramatic conclusion with a final explosive ensemble hit. Action-packed and full of rhythmic drive, this piece is a good choice for contest or festival performance. An up-tempo 3â„4 piece in E minor, Triangle of the Tempest features inviting rhythmic challenges, provocative melodic variations and dynamic color shifts .The A-section is based on a repeating eight-measure harmonic progression with punctuated open voicings and syncopated figures . Each section builds in intensity as new elements are added in subsequent eight-measure increments . Rhythmically, the pattern in the A-section (mm . 1–36) follows a two-measure form: the first of the two measures has a dotted quarter-eighth syncopated figure, and the rhythms in the second measure fall primarily on the beats . After the main eight-measure pattern is established, the A-melody and its variations are introduced on top of it .A two-measure build (mm . 35–36), highlighted by fast moving ensemble triplet figures, propels the piece as it crescendos into the jubilant B-section (mm . 37–52), changing tone and moving to the relative G major . The violins carry the soaring melody atop sonorous major chords in the mid and low strings . Rhythmically, the alternating syncopated measure/non-syncopated measure form continues through this section .Returning to the dramatic E minor A-section phrases in mm . 53–86, the piece shifts to the original eight-measure harmonic progression with melodic variations in the violins over the top . After reprising the B-section (mm . 87–102), intertwining motifs at m . 103 offer a variation on the A-theme where the melodic entrances happen at one-measure intervals .The tempo slows slightly and the tone changes again in the flowing and magical C-section at m . 123 as the piece moves again to the relative G major . Repeating lyrical legato violin lines create the musical background for a majestic viola melody, featured in mm . 126–146 . A brief fanfare statement with motifs spread throughout the orchestra at m . 153, prepares the return to E minor and the A-theme in mm . 160–193 .Measure 194 introduces an E-pedal point and tension builds, ramping up emotionally to the ending . The ensemble thunders at m . 202 as the violins and violas begin a four-measure syncopated question/answer section with the cellos and basses . The phrases crescendo and build for another four measures at m . 206, setting up the driving unison, tutti figures at m . 211 and a final explosive hit on the downbeat of m . 212 . About Carl Fischer Concert String Orchestra Series This series of pieces (Grade 3 and higher) is designed for advancing ensembles. The pieces in this series are characterized by: - Expanded use of rhythms, ranges and keys but technical demands are still carefully considered
- More comprehensive bowing techniques
- Viola T.C. included
- Careful selection of keys and degree of difficulty for advancing musicians
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| Refining The March Style Concert band - Easy Carl Fischer
Band Concert Band - Grade 2 SKU: CF.YPS105 Warm-Ups and Fundamentals(+)
Band Concert Band - Grade 2 SKU: CF.YPS105 Warm-Ups and Fundamentals. Composed by Larry Clark. Collate - FS SWS - spine: 3/4 or .75. Young Performance Series. Set of Score and Parts. With Standard notation. 16+4+8+8+4+10+4+4+8+8+8+12+4+6+2+2+4+2+20 pages. Duration 2 minutes, 53 seconds. Carl Fischer Music #YPS105. Published by Carl Fischer Music (CF.YPS105). ISBN 9780825884870. UPC: 798408084875. 9 x 12 inches. Key: Bb major. Based on our popular New Bennett Band Book series, we have compiled march-style warm-ups in a separate publication so they may be used by all bands wishing to learn from them. These innovative warm-ups and fundamental drills are the ultimate method of teaching and reinforcing the March style. How To Use the March Warm-upsPlaying in a march style can present difficulties for young students. The most prevalent problem is that students have a tendency to play every note too short. Conversely, accented notes are usually played incorrectly with too much tongue. Do marches contain short notes? Absolutely, but these shortest of notes should be reserved for notes that precede an accent or notes that are specifically marked with a staccato. Think of unmarked notes as being separated, but not short and certainly not clipped or stopped with the tongue. Accented notes should be played with more weight using air and more length, and not just a harder tongue. Accents are given to show emphasis to a note and should be thought of in this manner.The warm-up exercises provided in this collection should give you many opportunities to stress the above-mentioned comments on march performance style. The following gives an explanation on the purpose and use of each of these exercises.No. 1 – Basic Chords and ModulationsOne of the challenges of playing marches with young students is successfully performing the key change at the Trio. This exercise presents the three basic chords (tonic, subdominant and dominant) in each of the three keys in this collection of marches. You can also use this exercise to teach and reinforce the style of accented notes. You may want to have your band play major scales in succession by fourths to reinforce the concept of modulation to the subdominant that occurs at the Trio (i.e. the B≤-major scale, then the E≤-major scale, then the A≤-major scale). I might suggest getting the students to try continuing the pattern all the way around the circle of fourths.No. 2 – March Style in B≤ MajorThis exercise contains many opportunities to teach and reinforce the difference between staccato and accented notes. The melody voices move up and down the B≤-major scale, while other instruments play chords commonly found in the marches in this collection. These include diminished chords, secondary dominant chords (i.e. the V of the V) and other common chromatic chords that Fillmore often used.No. 3 – Cakewalk Rhythm in B≤ MajorThe simple syncopated rhythm in this exercise is common to many marches. This drill gives you the opportunity to teach/ reinforce the standard ar-ticulation and natural accent of this rhythmic pattern. Again, this exercise uses an ascending and descending major-scale pattern as the melodic basis, accompanied by chords commonly found in American- style marches.No. 4 – The March Scale in B≤ MajorI call this exercise “The March Scale,†because often in marches (and especially in these marches) the descending half-step is part of the melodic material. These chromatic figures give the melodies of many marches their charm and flow. Thus, I devised this exercise and others like it in E≤ major and A≤ major to familiarize students with these patterns. I would suggest playing the pattern in a variety of ways different from what is written. Here are some other possibilities:• Tongue one, slur three• Slur two, tongue two• Tongue two, slur two• Tongue one, slur two, tongue oneGradually increase the tempo to the march tempo and the articulation style will fall right into place.Another important consideration is the performance of the bass line and the bass-drum part. Too often, the bass drum and bass instruments play their parts with equal emphasis on both beats in the measure. This is incorrect, and frequently makes the marchNo. 5 – March Style in E≤ MajorThis is a similar to exercise No. 2, but with a different rhythmic pattern. Emphasize the difference between accented and unaccented notes. Also, play the exercise with line direction moving the musical line forward. Experiment and play the exercise with different dynamic choices and with hairpins up and down in different ways.No. 6 – More March Style in E≤ MajorExercise No. 6 comprises more rhythmic patterns and harmonic materials in E≤ major to teach and reinforce the march style. This exercise em-phasizes the sixteenth-note rhythm, as notated in the third measure of the exercise. Young stu- dents have a tendency to “crush†the sixteenths; consequently, they lack clarity. It would be a good idea to work this rhythmic figure on a scale pattern with all of the instruments in the band as an additional warm-up exercise.No. 7 – The March Scale in E≤ MajorSee the information for No. 4 and apply it to this exercise. Use all of the various articulations described above as well.No. 8 – March Style in A≤ MajorSee the information for No. 2 and apply it to this exercise.No. 9 – Cakewalk Rhythm in A≤ MajorSee the information for No. 3 and apply it to this exercise.No. 10 – The March Scale in A≤ MajorSee the information for No. 4 and apply it to this exercise.Other Ideas for March PerformanceA rehearsal practice that has worked very well for me is to start out by having the band play the march very slowly at about Œ = 60 in a chorale/legato style. The slow tempo is a fine opportunity to work on clarity of harmonic move- ment and to work on the balance and blend of the tutti band sound. This will pay great dividends toward improving the sound of your band. Gradually increase the tempo to the march tempo and the articulation style will fall right into place.Another important consideration is the performance of the bass line and the bass-drum part. Too often, the bass drum and bass instruments play their parts with equal emphasis on both beats in the measure. This is incorrect, and frequently makes the march. $70.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Best of Contemporary Christian
Fake Book [Fake Book] - Intermediate Hal Leonard
Over 400 Songs. Fake Book (Includes melody line and chords). Size 9x12 inches. 5...(+)
Over 400 Songs. Fake Book (Includes melody line and chords). Size 9x12 inches. 583 pages. Published by Hal Leonard.
(4)$49.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Hallelujah. Gospels and Spirituals for mixed choir Carus Verlag
SKU: CA.210400 Composed by Anonymus and John Hoybye. Edited by Volker Hem...(+)
SKU: CA.210400 Composed by Anonymus and John Hoybye. Edited by Volker Hempfling, Stanley Engebretson. Choral collections. Conductor's score, with CD. Sacred vocal music. Choir Book. 104 pages. Carus Verlag #CV 02.104/00. Published by Carus Verlag (CA.210400). ISBN 9790007187651. The choral collection Hallelujah. Gospels and Spirituals transports us into the fascinating world of African American folk songs. 30 gospels and spirituals have been arranged for mixed choir, unaccompanied or with piano. The choral parts sometimes divide, and occasionally solo parts (or even a small choral group) are required. The arrangements with their catchy rhythms, groove, their blue notes and other elements from Jazz and Blues and the principles of call-and-response will move performers and audiences in equal measure. As well as American classics (e.g. Amazing grace, Go down Moses, Kumbaya, Deep river, Down by the riverside, Good News, O when the saints, Nobody knows, Joshua fit the battle of Jericho), the collection also contains some discoveries from the beginnings of the genre. Just under half the arrangements were specially commissioned for the collection. Young composers from the USA (such as Courtney Carey, Marques Garrett) and arrangers from Canada, Denmark, and Germany (including Mark Sirett, John Hoybye, Thomas Gabriel, Carsten Gerlitz, Gunther Martin Gottsche, and Hans Ludemann) have contributed to this stylistically extremely varied choral collection. The medium difficulty level will enable many choirs to get to grips with the gospel style, something which perhaps few of them are very familiar with. Tips from the editors on performance, and a CD recording with a selection of the arrangements will help with learning the pieces. With their deep and emotional symbolism of captivity and repression on the one hand and redemption and freedom on the other hand, these Gospel settings are well-suited for many uses in concerts and church services. arrangements of around 30 spirituals and gospels for four-part mixed choir a cappella or with keyboard accompaniment medium difficulty level a good introduction for choirs with little previous experience of this repertoire includes popular classics such as Amazing grace, Deep river, Go down Moses, Good News, Nobody knows, Joshua fit the battle of Jericho wide variety of styles with many new arrangements conductor's score with CD Introductory price: 29.90 Euro, from 01.12.2019: 34.90 Euro. $50.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Hallelujah. Gospels and Spirituals for mixed choir Carus Verlag
SKU: CA.210405 Composed by Anonymus and John Hoybye. Edited by Volker Hem...(+)
SKU: CA.210405 Composed by Anonymus and John Hoybye. Edited by Volker Hempfling, Stanley Engebretson. Choral collections. Editionchor. Sacred vocal music. Choir Book. 96 pages. Carus Verlag #CV 02.104/05. Published by Carus Verlag (CA.210405). ISBN 9790007187668. The choral collection Gospels and Spirituals transports us into the fascinating world of African American folk songs. Around 30 gospels and spirituals have been arranged for mixed choir, unaccompanied or with piano. The choral parts sometimes divide, and occasionally solo parts (or even a small choral group) are required. As well as American classics (e.g. Amazing grace, Go down Moses, Kumbaya, Deep river, Down by the riverside, Good News, O when the saints, Nobody knows, Joshua fit the battle of Jericho), the collection also contains some discoveries from the beginnings of the genre. Just under half the arrangements were specially commissioned for the collection. Young composers from the USA (such as Courtney Carey, Marques Garrett) and arrangers from Canada, Denmark, and Germany (including Mark Sirett, John Hoybye, Thomas Gabriel, Carsten Gerlitz, Gunther Martin Gottsche, and Hans Ludemann) have contributed to this stylistically extremely varied choral collection. The medium difficulty level will enable many choirs to get to grips with the gospel style, something which perhaps few of them are very familiar with. Tips from the editors on performance, and a CD recording with a selection of the arrangements will help with learning the pieces. With their deep and emotional symbolism of captivity and repression on the one hand and redemption and freedom on the other hand, these Gospel settings are well-suited for many uses in concerts and church services. The arrangements with their catchy rhythms, groove, their blue notes and other elements from Jazz and Blues and the principles of call-and-response will move performers and audiences in equal measure. * arrangements of around 30 spirituals and gospels for four-part mixed choir * a cappella or with keyboard accompaniment * medium difficulty level * a good introduction for choirs with little previous experience of this repertoire * includes popular classics such as Amazing grace, Deep river, Go down Moses, Good News, Nobody knows, Joshua fit the battle of Jericho * wide variety of styles with many new arrangements * CD recordings helps with learning and rehearsing the pieces. Score available separately - see item CA.210400. $13.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Alfred's Basic Adult Piano Course - Lesson Book Level 1, Book And Cd
Piano solo [Sheet music + CD] - Beginner Alfred Publishing
Alfred's Basic Adult Piano Course Lesson Book, Book 1 by Willard A. Palmer, Mort...(+)
Alfred's Basic Adult Piano Course Lesson Book, Book 1 by Willard A. Palmer, Morton Manus, and Amanda Vick Lethco. For Piano. Method/Instruction; Piano - Alfred's Basic Adult Piano Course. Alfred's Basic Adult Piano Course. Book and CD. 112 pages. Published by Alfred Music Publishing
$17.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Alfred's Self-Teaching Adult Piano Course
Piano solo [Sheet music + CD] - Beginner Alfred Publishing
The new, easy and fun way to teach yourself to play. Willard A. Palmer and Morto...(+)
The new, easy and fun way to teach yourself to play. Willard A. Palmer and Morton Manus. For Piano. Piano Method. Book and CD. 192 pages. Published by Alfred Publishing.
(1)$24.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Royal Coronation Dances Concert band [Score and Parts] - Easy Manhattan Beach Music
Concert band - Grade 3 SKU: MH.1-59913-054-8 Composed by Bob Margolis. Su...(+)
Concert band - Grade 3 SKU: MH.1-59913-054-8 Composed by Bob Margolis. Suitable for advanced middle school, high school, community and college bands. Conductor score and set of parts. Duration 4:45. Published by Manhattan Beach Music (MH.1-59913-054-8). ISBN 9781599130545. Royal Coronation Dances is the first sequel to the Fanfare Ode & Festival, both being settings of dance music originally arranged by Gervaise in the mid 16th-century (the next sequel is The Renaissance Fair, which uses music of Susato and Praetorius). Fanfare Ode & Festival has been performed by many tens of thousands of students, both in high school and junior high school. I have heard that some of them are amazed that the music they are playing was first played and danced to over 400 years ago. Some students tend to think that music started with Handel and his Messiah to be followed by Beethoven and his Fifth Symphony, with naught in between or before of consequence. Although Royal Coronation Dances is derived from the same source as Fanfare Ode & Festival, they are treated in different ways. I envisioned this new suite programmatically -- hence the descriptive movement titles, which I imagined to be various dances actually used at some long-ago coronation. The first movement depicts the guests, both noble and common, flanked by flag and banner bearers, arriving at the palace to view the majestic event. They are festive, their flags swirling the air, their cloaks brightly colored. In the second movement, the queen in stately measure moves to take her place on the throne as leader and protector of the realm. In the third movement, the jesters of the court entertain the guests with wild games of sport. Musically, there are interesting sonorities to recreate. Very special attention should be given to the tambourine/tenor drum part in the first movement. Their lively rhythms give the movement its power. Therefore they should be played as distinctly and brilliantly as possible. The xylophone and glockenspiel add clarity, but must not be allowed to dominate. Observe especially the differing dynamics; the intent is to allow much buzzing bass to penetrate. The small drum (starting at meas. 29) should be played expressively, with attention to the notated articulations, with the brass light and detached, especially in a lively auditorium. It is of some further interest that the first dance is extremely modal. The original is clearly in G mixolydian mode (scale: G-A-B-C-D-E-F-G). However, other editors might put in F-sharps in many places (changing the piece almost to G major), in the belief that such ficta would have been automatically put in by the 16th-century performers as they played. I doubt it. I have not only eschewed these within the work, but even at the cadences. So this arrangement is most distinctly modal (listen to the F-naturals in meas. 22 and 23, for instance), with all the part-writing as Gervaise wrote it. In the second movement, be careful that things do not become too glued together. In the 16th century this music might have been played by a consort of recorders, instruments very light of touch and sensitive to articulation. Concert band can easily sound heavy, and although this movement has been scored for tutti band, it must not sound it. It is essential, therefore, that you hear all the instruments, with none predominating. Only when each timbre can be heard separately and simultaneously will the best blend occur, and consequently the greatest transparency. So aim for a transparent, spacious tutti sound in this movement. Especially have the flutes, who do this so well, articulate rather sharply, so as to produce a chiffing sound, and do not allow the quarter-notes to become too tied together in the entire band. The entrance of the drums (first tenor, then bass) are events and as such should be audible. Incidentally, this movement begins in F Major and ends in D Minor: They really didn't care so much about those things then. The third movement (one friend has remarked that it is the most Margolisian of the bunch, but actually I am just getting subtler, I hope) again relies upon the percussion (and the scoring) to make its points. Xylophone in this movement is meant to be distinctly audible. Therefore, be especially sure that the xylophone player is secure in the part, and also that the tambourine and toms sound good. This movement must fly or it will sink, so rev up the band and conduct it in 1 for this mixolydian jesting. I suppose the wildly unrelated keys (clarinets and then brass at the end) would be a good 16th-century joke, but to us, our put-up-the-chorus-a-half-step ears readily accept such shenanigans. Ensemble instrumentation: 1 Full Score, 1 Piccolo, 4 Flute 1, 4 Flute 2 & 3, 2 Oboe 1 & 2, 2 Bassoon 1 & 2, 1 Eb Clarinet, 4 Bb Clarinet 1, 4 Bb Clarinet 2, 4 Bb Clarinet 3, 2 Eb Alto Clarinet, 1 Eb Contra Alto Clarinet, 3 Bb Bass & Bb Contrabass Clarinet, 2 Eb Alto Saxophone 1, 2 Eb Alto Saxophone 2, 2 Bb Tenor Saxophone, 2 Eb Baritone Saxophone, 3 Bb Trumpet 1, 3 Bb Trumpet 2, 3 Bb Trumpet 3, 4 Horn in F 1 & 2, 2 Trombone 1, 4 Trombone 2 & 3, 3 Euphonium (B.C.), 2 Euphonium (T.C.), 4 Tuba, 1 String Bass, 1 Timpani (optional), 2 Xylophone & Glockenspiel, 5 Percussion. $95.00 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Open Our Ears Choral Unison Unison, Piano - Beginner GIA Publications
Unison voices, cantor, assembly, keyboard accompaniment, flute - Beginning SK...(+)
Unison voices, cantor, assembly, keyboard accompaniment, flute - Beginning SKU: GI.G-5405 Composed by Darryl Ducote. Celebration Series. Sacred. Octavo. With guitar chord names. 4 pages. GIA Publications #5405. Published by GIA Publications (GI.G-5405). Text by Darryl Ducote. This is a simple 18-measure unison song in which the assembly prays that God will give us ears to hear the word, and hearts to live the word. A good introduction to the reading of Scripture. Unison or cantor. Flute part is optional. A good introduction to the reading of Scripture. $1.10 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Um... It's Complicated!! Percussion Ensemble Eighth Note Publications
By Vince Gassi. For Multi Percussion Ensemble. Percussion - Ensemble. Eighth Not...(+)
By Vince Gassi. For Multi Percussion Ensemble. Percussion - Ensemble. Eighth Note Publications. 32 pages. Published by Eighth Note Publications
$20.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Triangle of the Tempest Concert band [Score] - Intermediate Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Clarinet 3, Cras...(+)
Band Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Clarinet 3, Crash Cymbals, Euphonium, Euphonium T.C., Flute 1, Flute 2, Glockenspiel, Horn 1, Horn 2, Mallet Percussion 1, Mallet Percussion 2, Mallet Percussion 3, Marimba, Oboe and more. - Grade 3.5 SKU: CF.CPS135F Composed by Alan Lee Silva. SWS. Carl Fischer Concert Performance Series. Full score. With Standard notation. 36 pages. Duration 4 minutes, 18 seconds. Carl Fischer Music #CPS135F. Published by Carl Fischer Music (CF.CPS135F). ISBN 9780825888496. UPC: 798408088491. 9x12 inches. Triangle of the Tempest is a fast-moving composition with interesting rhythmic challenges and dynamic color shifts. Starting with syncopated figures over a repeated eight-measure progression, the piece builds in intensity as more sections and layers are added. The second part changes tone and is led by a heroic trumpet melody with a soaring woodwind obligato. The themes intertwine and the material develops into a dramatic conclusion with a final explosive ensemble hit. Action-packed and full of rhythmic drive, this piece is a good choice for contest or festival performance. $13.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Crucifixus for 8-part Trombone ensemble Trombone ensemble [Score and Parts] Cherry Classics
8-part trombone ensemble - moderately advanced SKU: CY.CC2598 Composed by...(+)
8-part trombone ensemble - moderately advanced SKU: CY.CC2598 Composed by Antonio Lotti. Arranged by Philip Brink. Italian Renaissance. Score and parts. Published by Cherry Classics (CY.CC2598). Crucifixus by Antonio Lotti is part of his Credo in F. This motet of 8 voices is a wonderful example of polyphony with many suspensions thrown in for good measure. The music is sweet with a beautiful sadness, making it a work that touches most listeners in a very personal way.
Mr. Brink has transposed the work down a fifth into the key of F minor (resolving to F major at the conclusion), otherwise keeping the music true to its origins.
This 4 minute work has a range of up to high B-flat for the 1st part. The top four parts are in tenor clef.
The mp3 sound file is from a live performance of the Rundfunkchor conducted by Sir Simon Rattle from YouTube.
$25.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Triangle of the Tempest Concert band - Intermediate Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Clarinet 3, Cras...(+)
Band Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Clarinet 3, Crash Cymbals, Euphonium, Euphonium T.C., Flute 1, Flute 2, Glockenspiel, Horn 1, Horn 2, Mallet Percussion 1, Mallet Percussion 2, Mallet Percussion 3, Marimba, Oboe and more. - Grade 3.5 SKU: CF.CPS135 Composed by Alan Lee Silva. SWS FS. Carl Fischer Concert Performance Series. Set of Score and Parts. With Standard notation. 12+12+6+12+12+12+6+6+4+4+6+6+12+12+12+6+6+9+9+6+9+12+4+2+6+2+6+2+15+36 pages. Duration 4 minutes, 18 seconds. Carl Fischer Music #CPS135. Published by Carl Fischer Music (CF.CPS135). ISBN 9780825888489. UPC: 798408088484. 9x12 inches. Triangle of the Tempest is a fast-moving composition with interesting rhythmic challenges and dynamic color shifts. Starting with syncopated figures over a repeated eight-measure progression, the piece builds in intensity as more sections and layers are added. The second part changes tone and is led by a heroic trumpet melody with a soaring woodwind obligato. The themes intertwine and the material develops into a dramatic conclusion with a final explosive ensemble hit. Action-packed and full of rhythmic drive, this piece is a good choice for contest or festival performance. $95.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Star of Promise, Light of Glory Choral SATB [Score and Parts] Shawnee Press
Choral (SATB) SKU: HL.365819 Arranged by Brad Nix. Shawnee Sacred. Advent...(+)
Choral (SATB) SKU: HL.365819 Arranged by Brad Nix. Shawnee Sacred. Advent, Christmas/Advent Sacred. Octavo. Duration 250 seconds. Published by Shawnee Press (HL.365819). UPC: 840126962109. 6.75x10.5x0.029 inches. Daniel 12:3, Matthew 2:2, Psalm 19:1, Psalm 85:8. This rustic approach to the early-American tunes WARRENTON and NETTLETON will raise the joy level in your sanctuary! The original text has a sprinkling of Wesleyan lyric thrown in for good measure and comes wrapped up in a surprising choral/bluegrass jubilee. A contrasting middle section delivers a lyrical pause in the dance, but the joy soon returns as the anthem races to a decisive ending. Score and Parts (fdl, bjo, mndln, ac gtr, up b, dm) available as a digital download. $2.10 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Rain Down Choral SATB SATB divisi Schirmer
By Elena Ruehr. For SATB Choir and piano [or full orchestra] (Mixed Voices). Sec...(+)
By Elena Ruehr. For SATB Choir and piano [or full orchestra] (Mixed Voices). Secular. Choral. 28 pages
$3.25 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
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