| Südwind Overture Concert band [Score and Parts] - Intermediate Ibermusica
Overture for Symphonic Band. Composed by Ferrer Ferran (1966-). IberMusica Conce...(+)
Overture for Symphonic Band. Composed by Ferrer Ferran (1966-). IberMusica Concert Band. Symphonic. Score Only. Composed 2007. 36 pages. Ibermusica #IB020. Published by Ibermusica
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| First Trombonanza Suite for 4-part Trombone Ensemble Brass Quartet: 4 trombones - Intermediate Cherry Classics
4-part Trombone Ensemble - intermediate SKU: CY.CC2997 Composed by John F...(+)
4-part Trombone Ensemble - intermediate SKU: CY.CC2997 Composed by John Frith. Contemporary Rock. Score and Parts. 20 pages. Cherry Classics #2997. Published by Cherry Classics (CY.CC2997). ISBN 9790530058169. These TWO SUITES were composed in response to a request form Heini Schneebeli, the musical director of 'TROMBONANZA 2017'. Santa Fe in Argentina is the backdrop for this exciting annual event involving many hundreds of student and professional players. The FIRST SUITE has three movements and is intended for a trio of younger tenor trombonists working with a teacher on bass trombone who will add richness and depth to the ensemble sound. It is my hope that this piece will encourage, entertain and challenge student players and provide useful concert material for use in the promotion of this unique and versatile instrument. John Frith - 2017 This work is appropriate for younger performers at an intermediate level all in bass clef. The three movements total about 5 1/2 minutes in length and have the following titles: 1. Totem Tango 2. Full Steam Ahead 3. Clowning Around
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| Macarella Trombone and Piano - Intermediate FLEX Editions
Chamber Music & Piano Accompaniment 1 Trombone 1 Piano - Grade 3 SKU: FL.FX07...(+)
Chamber Music & Piano Accompaniment 1 Trombone 1 Piano - Grade 3 SKU: FL.FX074328 Composed by Jean-Michel Maury. Original Composition. Classical, Educational. Score and Set of Parts. FLEX Editions #FX074328. Published by FLEX Editions (FL.FX074328). A catchy piece that can be played for an exam (from 5 years of practice), audition or concert. With an accompaniment by percussions (optional) for the Latin touch! ; Instruments: 1 Trombone 1 Piano; Difficuly Level: Grade 3; Duration: 3 mn 10 s; Musical Style: Classical, Educational; Category: Original Composition; Composer: Jean-Michel MAURY. $12.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Magallanes Concert band [Score and Parts] De Haske Publications
Score and Parts. By Ferrer Ferran. IberMusica Concert Band. Published by Ibermus...(+)
Score and Parts. By Ferrer Ferran. IberMusica Concert Band. Published by Ibermusica.
$294.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| El Quijote Concert band [Score and Parts] Hal Leonard
Score and Parts. By Ferrer Ferran. De Haske Concert Band Full Set. Published by ...(+)
Score and Parts. By Ferrer Ferran. De Haske Concert Band Full Set. Published by Ibermusica.
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| Blue Shades Concert band [Score] Manhattan Beach Music
By Frank Ticheli. Concert band. Suitable for the most advanced high school bands...(+)
By Frank Ticheli. Concert band. Suitable for the most advanced high school bands, community, college, university, and professional bands. Conductor Full Score. Duration 10:00. Published by Manhattan Beach Music. Level: Grade 5.
(2)$95.00 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Blue Shades Concert band [Score and Parts] - Intermediate/advanced Manhattan Beach Music
By Frank Ticheli. Concert band. Suitable for the most advanced high school bands...(+)
By Frank Ticheli. Concert band. Suitable for the most advanced high school bands, community, college, university, and professional bands. Level: Grade 5. Conductor score and set of parts. Duration 10:00. Published by Manhattan Beach Music.
$365.00 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Abracadabra Concert band [Score] - Intermediate Manhattan Beach Music
By Frank Ticheli. Concert band. Suitable for advanced middle school, high school...(+)
By Frank Ticheli. Concert band. Suitable for advanced middle school, high school, community and college bands. Level: Grade 3. Conductor Full Score. Duration 4:30. Published by Manhattan Beach Music.
(5)$25.00 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Abracadabra School Ensemble [Score and Parts] - Intermediate Manhattan Beach Music
By Frank Ticheli. Concert band. Suitable for advanced middle school, high school...(+)
By Frank Ticheli. Concert band. Suitable for advanced middle school, high school, community and college bands. Level: Grade 3. Conductor score and set of parts. Duration 4:30. Published by Manhattan Beach Music.
(2)$165.00 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Hymn for Band Symphonic Band [Score and Parts] - Intermediate Hal Leonard
A Hymn for Band by Hugh Stuart. For Concert Band (Score and Parts). MusicWorks G...(+)
A Hymn for Band by Hugh Stuart. For Concert Band (Score and Parts). MusicWorks Grade 3. Grade 2.5. Score and parts. Hal Leonard #K0481. Published by Hal Leonard
$70.00 $66.5 (5% off) See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| One Small Child Choral 3-part SSA [Octavo] Hope Publishing Company
Composed by David Meece. Arranged by Lloyd Larson. Ring and Sing Series / Vocal ...(+)
Composed by David Meece. Arranged by Lloyd Larson. Ring and Sing Series / Vocal Solo Sheet Music Series. Christmas, Sacred, Contemporary. Octavo. 12 pages. Published by Hope Publishing Company (HP.C6044).
$3.25 - See more - Buy onlinePre-shipment lead time: 4 to 6 business days | | |
| Tone Builders For Developing Bands Score And Parts Concert band [Score and Parts] - Beginner Hal Leonard
Tone Builders for Developing Bands (Grade 1 to 2.5 - Score and Parts). By James ...(+)
Tone Builders for Developing Bands (Grade 1 to 2.5 - Score and Parts). By James Curnow. For Concert Band. Curnow Music Concert Band. Grade 1-2. Curnow Music #009496. Published by Curnow Music
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| Quartet No. 5, For 2 Cornets, Horn Or Trombone, And Baritone Leduc, Alphonse
SKU: HL.48185075 Composed by Luis de Victoria. Robert King. Classical. Al...(+)
SKU: HL.48185075 Composed by Luis de Victoria. Robert King. Classical. Alphonse Leduc #AL28417. Published by Alphonse Leduc (HL.48185075). UPC: 888680879228. 9.0x12.0x0.251 inches. “German composer, Wilhelm Ramsöe (1837-1895) is best remembered for his compositions for brass. His Quartet No. 5 for 2 Cornets, Horn or Trombone, and Baritone is no exception. As the final of five brass quartets by the composer, Quartet No. 5 remains prominent in the brass ensemble repertoire. Made of of four movements, each part contains a variety of exciting musical features. The movements are 1) Allegro Moderato, 2) Andante, Quasi Allegretto, 3) Scherzo, and 4) Finale, all of which contain edits by Robert King. For all advanced brass ensembles, Ramsöe's Quartet No. 5 is a sublime addition to the repertoire.â€. $59.60 - See more - Buy online | | |
| One Small Child Handbells [Score] - Intermediate Hope Publishing Company
By Meece, David. Arranged by Lloyd Larson. For Handbells. Ring and Sing, Contemp...(+)
By Meece, David. Arranged by Lloyd Larson. For Handbells. Ring and Sing, Contemporary and Sacred. Print Music Single (3-5 oct. L3-). 8 pages. Published by Hope Publishing Company. Level: L3-.
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| 3e Symphonie en ut mineur, op. 78 - Advanced Barenreiter
Orchestra, Organ (Fl1, Fl2 , Fl3(Fl-picc), 2 Ob, EnglHn, 2 clarinet, clarinet-B,...(+)
Orchestra, Organ (Fl1, Fl2 , Fl3(Fl-picc), 2 Ob, EnglHn, 2 clarinet, clarinet-B, 2 bassoon, bassoon-Co, Hn1, Hn2 , Hn3(chrom.), Hn4(chrom.), 3Trp, 3trombone, timpani, Tr-Gr, Tri, Be, Org, piano-4ms, 2 Violin, Viola, Cello, Double Bass) - Level 5 SKU: BA.BA10303-01 Composed by Camille Saint-Saens. Edited by Michael Stegemann. This edition: Edition of selected works, Urtext edition. Linen. Saint-Saens, Camille. Oevres instrumentales completes I/3. Edition of selected works, Score. Opus 78. Duration 39 minutes. Baerenreiter Verlag #BA10303_01. Published by Baerenreiter Verlag (BA.BA10303-01). ISBN 9790006559503. 33 x 26 cm inches. Key: C minor. Preface: Michael Stegemann. The third symphony by Camille Saint-Saens, known as the Organ Symphony, is the first publication in a complete historical-critical edition of the French composer's instrumental works.
I gave everything I was able to give in this work. [...] What I have done here I will never be able to do again.Camille Saint-Saens was rightly proud of his third Symphony in C minor Op.78, dedicated to the memory of Franz Liszt. Called theOrgan Symphonybecause of its novel scoring, the work was a commission from the Philharmonic Society in London, as was Beethoven's Ninth, and was premiered there on 19 May 1886. The first performance in Paris followed on 9 January 1887 and confirmed the composer's reputation asprobably the most significant, and certainly the most independent French symphonistof his time, as Ludwig Finscher wrote in MGG. In fact the work remains the only one in the history of that genre in France to the present day, composed a good half century after the Symphonie fantastique by Hector Berlioz and a good half century before Olivier Messiaen's Turangalila Symphonie.
You would think that such a famous, much-performed and much recorded opus could not hold any more secrets, but far from it: in the first historical-critical edition of the Symphony, numerous inconsistencies and mistakes in the Durand edition in general use until now, have been uncovered and corrected. An examination and evaluation of the sources ranged from two early sketches, now preserved in Paris and Washington (in which the Symphony was still in B minor!) via the autograph manuscript and a set of proofs corrected by Saint-Saens himself, to the first and subsequent editions of the full score and parts. The versions for piano duet (by Leon Roques) and for two pianos (by the composer himself) were also consulted. Further crucial information was finally found in his extensive correspondence, encompassing thousands of previously unpublished letters. The discoveries made in producing this edition include the fact that at its London premiere, the Symphony probably looked quite different from its present appearance ...
No less exciting than the work itself is the history of its composition and reception, which are described in an extensive foreword. With his Symphony, Saint-Saens entered right into the dispute which divided French musical life into pro and contra Wagner in the 1880s and 1890s. At the same time, the work succeeded in preserving the balance between tradition and modernism in masterly fashion, as a contemporary critic stated:The C minor Symphony by Saint-Saens creates a bridge from the past into the future, from immortal richness to progress, from ideas to their implementation.
On 19 March 1886 Saint-Saens wrote to the London Philharmonic Society, which commissioned the work:
Work on the symphony is in full swing. But I warn you, it will be terrible. Here is the precise instrumentation: 3 flutes / 2 oboes / 1 cor anglais / 2 clarinets / 1 bass clarinet / 2 bassoons / 1 contrabassoon / 2 natural horns / [3 trumpets / Saint-Saens had forgotten these in his listing.] 2 chromatic horns / 3 trombones / 1 tuba / 3 timpani / organ / 1 piano duet and the strings, of course. Fortunately, there are no harps. Unfortunately it will be difficult. I am doing what I can to mitigate the difficulties.
As in my 4th Concerto [for piano] and my [1st] Violin Sonata [in D minor Op.75] at first glance there appear to be just two parts: the first Allegro and the Adagio, the Scherzo and the Finale, each attacca. This fiendish symphony has crept up by a semitone; it did not want to stay in B minor, and is now in C minor.
It would be a pleasure for me to conduct this symphony. Whether it would be a pleasure for others to hear it? That is the question. It is you who wanted it, I wash my hands of it. I will bring the orchestral parts carefully corrected with me, and if anyone wants to give me a nice rehearsal for the symphony after the full rehearsal, everything will be fine.
When Saint-Saens hit upon the idea of adding an organ and a piano to the usual orchestral scoring is not known. The idea of adding an organ part to a secular orchestral work intended for the concert hall was thoroughly novel - and not without controversy. On the other hand, Franz Liszt, whose music Saint-Saens' Symphony is so close to, had already demonstrated that the organ could easily be an orchestral instrument in his symphonic poem Hunnenschlacht (1856/57). There was also a model for the piano duet part which Saint-Saens knew and may possibly have used quite consciously as an exemplar: theFantaisie sur la Tempetefrom the lyrical monodrama Lelio, ou le retour a la Vie op. 14bis (1831) by Berlioz. The name of the organist at the premiere ist unknown, as, incidentally, was also the case with many of the later performances; the organ part is indeed not soloistic, but should be understood as part of the orchestral texture.
In fact the subsequent success of the symphony seems to have represented a kind of breakthrough for the composer, who was then over 50 years of age.My dear composer of a famous symphony, wrote Saint-Saens' friend and pupil Gabriel Faure:You will never be able to imagine what a pleasure I had last Sunday [at the second performance on 16 January 1887]! And I had the score and did not miss a single note of this Symphony, which will endure much longer than we two, even if we were to join together our two lifespans!
About Barenreiter Urtext What can I expect from a Barenreiter Urtext edition? MUSICOLOGICALLY SOUND - A reliable musical text based on all available sources - A description of the sources - Information on the genesis and history of the work - Valuable notes on performance practice - Includes an introduction with critical commentary explaining source discrepancies and editorial decisions ... AND PRACTICAL - Page-turns, fold-out pages, and cues where you need them - A well-presented layout and a user-friendly format - Excellent print quality - Superior paper and binding
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| The Renaissance Fair Concert band [Score and Parts] - Intermediate/advanced Manhattan Beach Music
By Bob Margolis (After Claude Gervaise). Concert band. Suitable for high school,...(+)
By Bob Margolis (After Claude Gervaise). Concert band. Suitable for high school, community, and college bands. Level: Grade 4. Conductor score and set of parts. Duration 4:30. Published by Manhattan Beach Music.
$135.00 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Galloping Ghosts Concert band - Intermediate/advanced Manhattan Beach Music
Concert band - Grade 4 SKU: MH.1-59913-064-5 Composed by William Ryden. S...(+)
Concert band - Grade 4 SKU: MH.1-59913-064-5 Composed by William Ryden. Suitable for high school, community, and college bands. Conductor score and set of parts. Duration 2:45. Published by Manhattan Beach Music (MH.1-59913-064-5). ISBN 9781599130644. I wrote Galloping Ghosts (A Ragtime March) to conclude a concert of my chamber music in New York City on October 28, 1986. It is the final part of a work called Rags for Divers Players. This work was written to show the variety possible within the standard rag form. I used all the players available for the finale -- two violins, viola, cello, bass, flute, oboe, clarinet, horn, bassoon, and piano. Since this is a rather unusual instrumental combination and not easy to reassemble, I decided to rescore the work for concert band. Galloping Ghosts is written in a standard march form but incorporates many of the syncopations found in ragtime. The uniquely American music called ragtime traces its history to African rhythms brought over by slaves. Over the years this music became welded to European musical forms such as the quadrille and the march. Drums and banjos and the minstrel tradition lent a special flavor, and from all these elements ragtime slowly evolved within the largely unknown black subculture of the late 19th century. In the late 1890's it emerged as a fully developed form in the classic piano solos of Scott Joplin (1869-1917). Joplin's 1899 hit, Maple Leaf Rag, was an overnight sensation and brought ragtime worldwide fame. Ensemble instrumentation: 1 Piccolo, 8 Flute 1 and 2, 2 Oboe, 1 Eb Clarinet, 4 Bb Clarinet 1, 4 Bb Clarinet 2, 4 Bb Clarinet 3, 2 Eb Alto Clarinet, 3 Bb Bass and Bb Contrabass Clarinet, 2 Bassoon 1 and 2, 2 Eb Alto Saxophone 1, 2 Eb Alto Saxophone 2, 2 Bb Tenor Saxophone, 1 Eb Baritone Saxophone, 3 Bb Cornet 1, 3 Bb Cornet 2, 3 Bb Cornet 3, 2 Horn 1 and 2 in F, 2 Horn 3 and 4 in F, 4 Trombone 1 and 2, 4 Bass Trombone, 2 Baritone (B.C.), 2 Baritone (T.C.), 4 Tuba, 1 String Bass, 1 Timpani, 1 Xylophone, 3 Percussion 1, 3 Percussion 2. $95.00 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Rituals Theodore Presser Co.
Orchestra Bass Clarinet, Bass Trombone, Bassoon, Clarinet, Contrabass, Contrabas...(+)
Orchestra Bass Clarinet, Bass Trombone, Bassoon, Clarinet, Contrabass, Contrabassoon, English Horn, Flute 1, Flute 2, Horn 1, Horn 2, Horn 3, Horn 4, Oboe, Percussion, Trombone 1, Trombone 2, Trumpet 1, Trumpet 2, Tuba, Viola, Violin 1, Violin 2, Violoncello SKU: PR.44641192L For 5 Percussionists and Orchestra. Composed by Ellen Taaffe Zwilich. Contemporary. Large Score. With Standard notation. Composed 2003. 72 pages. Duration 30 minutes. Theodore Presser Company #446-41192L. Published by Theodore Presser Company (PR.44641192L). UPC: 680160610860. 11 x 14 inches. One of my greatest pleasures in writing a concerto is exploring the new world that opens for me each time I enter the sometimes alien, but always fascinating, world of a solo instrument or instruments. For me, the challenge is to discover the deepest nature of the solo instrument (its karma, if you will) and to allow that essential character to guide the shape and form of the work and the nature of the interaction between soloists and orchestra. In recent years, many of us have become more aware of the musical world outside the Western tradition of musics that follow different procedures and spring from other aesthetics. And contemporary percussionists have opened many of these worlds to us, as they have ventured around the globe, participating in Brazilian Samba schools, studying Gamelan and African drumming with local experts, collecting instruments from Asia and Africa and South America and the South Pacific, widening our horizons in the process. I will never forget our first meeting in Toronto when Nexus invited me into their world of hundreds of exciting percussion instruments. The vast array of instruments in the collection of the Nexus ensemble is truly global in scope as well as offering a thrilling sound-universe. I was inspired by the incredible range of sound and moved by the fact that so many of these instruments were musical reflections of a spiritual dimension. After long consideration, I decided that it would not only be impossible, but even undesirable for this Western-tradition-steeped composer to attempt to use these instruments in a culturally authentic way. My goal was an existential kind of authenticity: searching instead for universal ideas that would be true to both myself and the performers while acknowledging the traditional uses of the instruments. Since many percussion instruments are associated with various kinds of ritual, I decided that I would allow that concept to shape my piece. Rituals is in four movements, each issuing from a ritual associated with percussion, but with the orchestral interaction providing an essential element in the musical form. I. Invocation alludes to the traditions of invoking the spirit of the instruments, or the gods, or the ancestors before performing. II. Ambulation moves from a processional, through march and dance to fantasy based on all three. III. Remembrances alludes to traditions of memorializing. IV. Contests progresses from friendly competition games, contests to a suggestion of a battle of big band drummers, to warlike exchanges. In the 2nd and 4th movements, another percussion tradition, improvisation, is employed. Written into these movements are a number of seeds for improvisation. Indications in the score call for the soloists to improvise in three different ways, marked A for percussion alone; marked B for percussion with and in response to the orchestra; and C where the percussionists are free to add and embellish the written parts. These improvisations should grow out of and embellish previous motives and gestures in the movement. $95.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Reflections on the Mississippi Concert band [Score] - Intermediate/advanced Hal Leonard
(for Tuba and Symphonic Band). Composed by Michael Daugherty (1954-). For Concer...(+)
(for Tuba and Symphonic Band). Composed by Michael Daugherty (1954-). For Concert Band (Full Score). Michael Daugherty Music. Grade 5-6. Softcover. Published by Hal Leonard
$65.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Immortals Marching band [Score and Parts] - Intermediate Arrangers' Publishing Company
By Fall Out Boy. Arranged by Tom Wallace. Arrangers' Publ Marching Band. Disne...(+)
By Fall Out Boy. Arranged by
Tom Wallace. Arrangers' Publ
Marching Band. Disney,
Movies. Softcover. Published
by Arrangers' Publishing
Company
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| Opus 4 Big band [Score and Parts] - Intermediate Hal Leonard
By Charles Mingus. Arranged by Boris Koslov. Charles Mingus Big Band Jazz. Publi...(+)
By Charles Mingus. Arranged by Boris Koslov. Charles Mingus Big Band Jazz. Published by Hal Leonard.
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| Sleep, My Child Concert band - Easy Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Euphonium...(+)
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Euphonium, Euphonium T.C., Flute, Flute 2, Horn, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Snare Drum, Timpani, Trombone, Trumpet 1, Trumpet 2, Tuba, alto Saxophone and more. - Grade 2 SKU: CF.YPS208 Shlof, Mayn Kind. Composed by Larry Clark. Young Band (YPS). Set of Score and Parts. With Standard notation. 8+2+4+4+2+2+5+2+2+4+4+4+6+3+2+3+1+1+2+6+12 pages. Duration 4 minutes, 31 seconds. Carl Fischer Music #YPS208. Published by Carl Fischer Music (CF.YPS208). ISBN 9781491152287. UPC: 680160909780. Key: D minor. A stunning and heart-wrenching composition based on the Jewish folk son Shlof, Mayn Kind. You can hear the emotional content pour out of this piece written in memory of an outstanding orchestra director. The piece beginnings with original material to set the tone, followed by a clarinet solo on the song. It then develops through a variety of different harmonic presentation before building to a nice key change and climatic moment. The piece ends as it began, but with a more hopeful tone. An amazing piece. Sleep, My Child was commissioned by the Madison Middle School Band and Orchestra in Tampa, Florida, and is dedicated to the memory of their Director of Orchestras Kevin Frye. Director of Bands Chris Shultz championed the commissioning of this piece to honor Kevin after he passed away in December 2016. Mr. Frye was a beloved member of the staff at Madison Middle as well as the music community of Tampa and the state of Florida. I was a personal friend of Kevin’s. We were in several musical groups together when we were young that were formative to both of our musical careers. I also guest conducted his Madison Middle School Orchestra several times over the past four years. His musicianship, teaching skills and love for his students were exemplary.When taking on the challenge of writing a piece to honor Kevin’s legacy, Mr. Shultz and I decided to try and include several important aspects of Kevin’s life into the piece. Kevin was proudly Jewish, a fantastic trumpet player and loved Jazz. With that in mind, and after a lot of research, a Jewish folk song Shlof, Mayn Kind was selected as the basis for the piece, not to be religious, but to honor his faith and heritage. Plus it is a beautiful song, and I felt the title reflected the sentiment I was looking to express, which is of someone taking rest after a long battle with illness. Thus, a lullaby seemed appropriate.I also wanted to incorporate Jazz into the piece, but in a concert setting, so you will hear as the piece develops, the harmonies of the folk song expand into ones found more commonly in Jazz compositions. Not in a far out way, but in a subtle way to again honor this part of his life. For example the climactic moment of the piece at the fermata in m. 57 is a Dbmaj9#11 chord. It appropriately give the piece the angst that I was looking for at this moment in the piece, while honoring the importance of Jazz in Kevin’s musical life.The piece was also conceived to include both the Madison band and orchestra in the performance at the premiere. I wanted the pieces to work separately by the band and separately by the orchestra, but I also wanted them to be able to play the piece together to honor Kevin.The piece begins with original material designed to set the mood of the piece with a tempo/style marking of pensive, but also as material that I used as connective musical tissue between statements of the folk song. After this introduction, the folk song is presented by a solo violin (or clarinet) with orchestral accompaniment in a simple straight forward presentation of the song. This is followed by a woodwind section statement of the folk song accompanied by muted trumpets. During this presentation the harmony starts to expand with more color notes in the chords. The low brass are added half way through this statement to add depth and lushness.The introductory material returns, but with some angry hits in the lower voices. This leads to a full ensemble state of new material that is used to transition to the climax of the piece, and to build tension. After the build, the piece modulates to a shortened statement of the folk song with more advanced harmonies and an active counter line in the violas, horns, saxes and first clarinets to further build the tension. This tension is released at the fermata in m. 57, as mentioned above. After a thoughtful pause, the piece concludes with a completion of the folk song again with a solo violin (or clarinet) followed by a return of the introductory material to tie the piece together. The piece ends hopeful, with a solo trumpet (Kevin’s instrument) that is dissonant at first, but then resolves as if to say - everything will be OK! It has been my distinct honor to have been asked to write this piece in Kevin’s memory! I hope that in some small way the piece helps to bring comfort to his family, students, colleagues and to all those that knew him!–Larry ClarkLakeland, FL 2017. $70.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
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