SKU: CY.CC2938
ISBN 9790530057575.
Originally written for Cello, Ralph Sauer's brilliant arrangement of the Pergolesi Sinfonia (Sonata) for Trombone and Piano (or Harpsichord) has become a standard work in the solo repertoire. This new edition which replaces the previous one comes with some notable changes. Below is Mr. Sauer's description.This new edition of the Pergolesi Sinfonia in F is an update of the original version which was first published 40 years ago (!) and is now permanently out of print. Movements one, two, and three are essentially the same. I have corrected a few errors in the keyboard part and also revised some of the notationâ€â€notably, grace notes are now placed correctly. (The original publisher insisted that they should be placed after barlines, causing confusion as to whether they were to be played on the beat or before the beat.)In the last movement, there are now two places where the keyboard takes over the solo line. In addition to providing much needed rest for the trombonist, it gives a change of color and a chance for the keyboard player to be the soloist for a few measures.The original version of the last movement is also included as an appendix for those who would rather perform the original.Ralph Sauer
Los Angeles, 2017
SKU: CL.012-3617-01
Commemorating a landmark event in history, Cory McBride sets out to replicate the awe of the New Madrid Earthquake of February 12, 1812, which affected over 1 million square miles and was powerful enough to change the route of the Mississippi River. Featuring an insistent motive that is supported by intertwined counterpoints, the vigilant beginning leads to a chorale-like middle section, expressing the dismay after the quake, which is soon followed up by an emotionally ending. The piece contains challenges for every instrument and is well-suited for more experienced groups. Amid the Great Displace is a fantastic choice for concert or contest and will be inspiring programming for your students and audiences.
About C.L. Barnhouse Spotlight Series
The Barnhouse Spotlight series includes publications for solo instruments with concert band accompaniment. These publications are designed to feature outstanding members of your band as soloist, and to provide unique and entertaining programming options. Solo parts are graded more difficult than the band accompaniments
SKU: MN.50-6011
UPC: 688670560118.
This musical setting seeks to convey the sense of urgency and insistence found in this well-known hymn. A combination of unison and four-part writing is used. Appropriate for mission emphasis or general use.
SKU: HL.51487183
ISBN 9790201871837. UPC: 888680986568. 6.5x9.5x0.086 inches.
Redolent of the work of Dmitri Shostakovich in its musical language, Evgeny Kissin's String Quartet op. 3 comprises four strongly contrasting movements: on the heels of the stately “Adagio liberamente†comes an extremely lively “Allegro inquieto†that wanders between dynamic extremes and bristles with glissandi. The third movement, marked “Largo drammatico,†is sustained by an insistent, heavily rhythmic dotted motive, while the final movement shifts from the introduction, marked “Pensierosamente, ma mantenendo strettamente il ritmo puntato,†into a brilliant finale, “Molto allegro e sarcastico,†that is suffused with elements of fugato and,like all movements, informed by dodecaphonic harmonies. This demanding fifteen-minute work was composed in 2015-16 and recorded for the first time on Nimbus Records by the Kopelman Quartet.
SKU: BP.HB568
Arranged for 3 to 6 octave handbell choir, optional 3 to 6 octaves of handchimes and optional flute, windchimes and bongo drum. Level 3. With a mysterious and evocative opening, this arrangement of a French carol is sure to add an element of the ethereal to your worship or concert setting. The theme becomes more insistent and energetic with each successive verse, before culminating in an almost-raucous final iteration. Optional percussion drives the piece along, and the optional flute provides interesting, bird-like ornamentation. A treat for listener and ringer alike!Companion product (digital downloads):.
SKU: AP.49095
ISBN 9781470646004. UPC: 038081564364. English.
Camelot refers to an idyllic time and place, lost to lore and legend, but which continues on in the hearts, minds, and stories of so many. When our imagination and sense of adventure allow it, we return to Camelot, with its gallant knights of the Round Table, acts of chivalry, and even moments of magic! This exciting piece by Scott Watson---with its driving tempo, insistent rhythms, modal harmonies, and glimpses of beauty---musically transports the listener back to King Arthur's Camelot. (3:25) This title is available in MakeMusic Cloud.
SKU: AP.46655
UPC: 038081532899. English.
This piece was written for young band by world-renowned film score composer Bruce Broughton. Open the Door! is a descriptive piece with an insistent percussion part that imitates a knock on a door that gets louder and louder as the piece progresses.
SKU: MB.30943M
ISBN 9781513476933. 8.75 x 11.75 inches.
In this expansive book, versatile Argentine guitarist and teacher Pablo Pescatore provides a masterclass in the theory behind creative rock soloing. From the ground up, he presents the theoretical building blocks of major, minor, pentatonic, and modal scales followed by triads and seventh chords in all keys, not just the guitar-friendly ones. Then he proceeds to analyze rhythm in all common and uncommon time signatures before delving into 20 exotic scales.Written in standard notation and tablature, the truly unique aspect of this book is the authors insistence on improvising with an acute awareness of rhythmic, melodic, harmonic, and dynamic valuesnot just playing fast and loud in predictable patterns. Demonstrating his ideas in 120 audio examples and a final knock-out blues progression, Pablo encourages readers to write, sing and otherwise incorporate their own variations into their music, dramatically changing the audio landscape of rock guitar soloing. Includes access to online audio.
SKU: HL.14041798
ISBN 9788759818077. 12.5x16.5x1.13 inches.
Set of parts for Per Nørgård's En Lys Time / A Light Hour (2008-09) for a variable Percussion Ensemble (min. 10 players).
In A Light Hour everything - rhythms and motifs – is based on Nørgård´s special infinity series.
Score: WH30964
Programme note
A Light Hour is for ‘any number of percussion musicians’ (but a minimum of ten). The duration is about 60 minutes. The instrumentation is in principle open, as long as percussion is used within the three types specified in the score: skin, metal and wood. Each musicianuses two sound sources with two different sounds, one of which is bright (or light) and the other dark. Certain passages also include tuned percussion instruments – vibraphone, xylophone, marimba, gamelan, glockenspiel, steel drums, crotales and the like. The work integrates and combines a number of rhythms that Nørgård has used in percussion works since the 1970s, for example in Early Spring Dance (for choir and percussion), and percussion works like I Ching, Easy Beats, Whirls, Zigzag, Nemo Dynamo and Echo Zone I-II-III. Special “tone-feasts” (the composer’s term) – followed by a rest – are an recognizable melodic feature of the work.: the first minute end with a short tone-feast (and a rest), the first four minutes end with a tone-feast lasting a minute (and a rest), the first quarter of an hour ends with a tone-feast of four minutes (and a rest) – and the work ends with a tone-feast lasting quarter of an hour (and a rest, when the work is over ...). The first 15 minutes have a bright, light character throughout, and alternate between rhythms and melodic play. The following 15 minutes are more insistent and decidedly percussion-based, Afro-Cuban, whereas the third quarter of A Light Hour moves in the.
SKU: AP.36-A134701
ISBN 9798888529843. UPC: 659359537080. English.
Johannes Brahms (1833-1897) wrote his Violin Concerto in D major, Op. 77, in 1878. He composed the work for his longtime friend, famed violinist Joseph Joachim, who premiered it in Leipzig with the Gewandhaussaal on January 1, 1879, Brahms himself conducting. The program also included, at Joachim's insistence, Beethoven's Violin Concerto in D major, Op. 61, on which Brahms modeled his own concerto. While the critical reception of the time was mixed, the audiences at the various early performances received the work well. Most complaints directed at the concerto addressed the role of the solo violin, noting that the soloist does not offer much of the melodic material or include much in the way virtuosic passages, a consequence of looking more towards Beethoven's serious aesthetic rather than Paganini's flashy one. Joachim himself, before a falling out with the composer over personal reasons, included Brahms' concerto among the best German offered, saying: The Germans have four violin concertos. The greatest, most uncompromising is Beethoven's. The one by Brahms vies with it in seriousness. The richest, the most seductive, was written by Max Bruch. But the most inward, the heart's jewel, is Mendelssohn's. Instrumentation: 2.2.2.2: 4.2.0.0: Timp: Str (9-8-7-6-5 in set): Solo Violin in set.
These products are currently being prepared by a new publisher. While many items are ready and will ship on time, some others may see delays of several months.
SKU: PR.11441345S
UPC: 680160608829. 8.5 x 11 inches.
BACH-SHARDS was commissioned by the Brentano String Quartet as part of their Art of the Fugue companion-piece project. Ran deliberately stays within the realm of Bach-like vocabulary, altering syntax in ways that add up to something slightly different from the anticipated sum of the parts. The work builds up to a climax that makes the entry point into Bach’s Contrapunctus X seem thoroughly natural.While composing Bach-Shards I found myself gravitating, intuitively and gradually, toward a dual goal. First, though the tension and dissonance inherent in certain moments of Bach’s own maze-like contrapuntal structures could quite easily and naturally lead one into a pungent contemporary terrain, I opted not to stray outside the realm of Bach-like materials and harmonic language. Instead, it was my hope to alter their relationships and context in ways that add up to a something that’s slightly different than the anticipated sum of the parts. A mildly deconstructed Bach, if you will. The other important challenge I set for myself was building up the latter, toccata-like portion of Bach-Shards in a way that would make the entry point of the fugue which it precedes, Contrapunctus X, seem thoroughly natural. It was my intent to have the first fugal entrance feel like a huge and much welcome release of the energy created by my Prelude’s penultimate stretch, with its bravura figurations elaborating on an insistent dominant pedal point.
SKU: P2.30110
Nick DiBerardino says, Madison Avenue is a work full of whimsy, bustle and effervescent energy. Composed with New York City's famous Madison Avenue in mind, this piece attempts to capture the action of New York's busy streets, the mass of its towering buildings and the thrill - and occasional anxiety - of participating in its frenetic rituals. Madison Avenue's celebrated advertising history plays a role here, as well; I like to think you can hear somewhere in the work the furious typing of secretaries or the insistence of a hard sell. Above all, this is a playful piece, a romp and a gallop, a miniature rhapsody infused with the spirit and drive of the city. In it, I hope you hear an unbridled enthusiasm and an unyielding optimism, both marked on the music by the persistent energy of the human spirit..
SKU: AP.36-60440001
ISBN 9798888521748. UPC: 676737684600. English.
Alban Berg's (1885-1935) Vier Stücke für Klarinette und Klavier (Four Pieces for Clarinet and Piano), Op. 5, was composed in 1913. They are his only true miniatures as, shortly after he wrote them, a fateful and somewhat traumatic lesson with his tutor Arnold Schoenberg drove the young Berg to abandon small-scale works altogether, turning towards large extended orchestral works at his teacher's heavily critical insistence. Each of the four movements (1. Mäßig; 2. Sehr langsam; 3. Sehr rasch; 4. Langsam) constantly changes in tempo, articulation, timbral effects, and dynamics throughout. Despite Schoenberg's criticism in 1913, the work did finally premiere on October 17, 1919, ironically at Schoenberg's own Society for Private Musical Performances in Vienna. Reprint edition.
SKU: MN.50-8822
UPC: 688670588228.
New musictraditional text portraying turmoil and restlessness and urgency of Christ's insistent appeal. Mildly syncopated.
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