SKU: SU.26180040
Cædmon's Hymn is the oldest English of known authorship. It was written in the seventh century by the poet Cædmon, supposedly from divine inspiration. My setting, for SATB chorus and organ, begins with four members of the chorus speaking the opening line of the poem in Old English, the intention being to evoke the atmosphere of the time and place of the hymn’s creation. The work was commissioned by and is dedicated to the South Bend (Indiana) Chamber Singers, Nancy Menk, Music Director, and David Eicher, organist, and was premiered in 2018.SATB Chorus, a cappella Duration: 9' Composed: 2018 Published by: WMC Music (BMI) Minimum order quantity: 8 copies. To order quantities fewer than 8.
SKU: HL.1428493
ISBN 9798892701761. UPC: 196288202554. 9.0x12.0x0.144 inches.
Written for the First Unitarian Church of Portland, Oregon. A version is also available for Chorus, Flute and String Orchestra.
SKU: BR.OB-32034-54
ISBN 9790004350966. 10 x 12.5 inches.
The cantata Christ lag in Todes-Banden is a mixed chorale cantata that sets the first and last verses of the corresponding Luther chorale verbatim, but the other movements in free poetry based on the content of the chorale. The time of composition cannot be clearly determined, but at the end of the copy that serves as the basis for the edition, there is a date of January 1693. According to this, the composition was written before 1693 and thus well before Johann Kuhnau took up his post as Thomaskantor in Leipzig (1701). The use of two cornetti is also a parallel to the cantata Lobe den Herren, meine Seele(PB 32091), whose composition can be linked to Kuhnau's stay in Zittau. The two parts marked Cornett are only in the first two movements of the cantata; in the further course, a collaparte lead would be possible, but cannot be proven. In principle, according to the source, the two cornett parts can also be played by violins. The title page also notes the possibility of adding ripieno singers, i.e. a choir, in the non-soloistic movements.The cantata, according to its text intended for Easter, is very well suited for use in church services with its small size and flexible scoring.
SKU: KN.61037
UPC: 82279561037.
Inspired by the music of Art Blakey and the Jazz Messengers, this medium swing original for advancing groups features a combo style melody and a hard-driving rhythmic feel. The written or ad lib solo section can be played by any player, and there is plenty of space for drum fills throughout. Notated piano voicings and bass lines are provided, and a guitar chord chard by Jim Greeson is included in each set. Duration 6:00.
SKU: CL.023-4318-01
Pure fun describes this clever mallet percussion feature! David Shaffer has once again crafted a novelty piece with clever melodies, crisp percussion writing and a thoughtful brass and woodwind accompaniment, making it a favorite of your students and audiences alike. Although written for 2 solo xylophones, the piece may be performed with multiple mallets on each part, just 1 mallet part or you can utilize any mallet instrument. Time for FUN!
SKU: FP.FTJ06
ISBN 9780951479537.
Composing for the recorder can be intimidating for those with limited or no experience playing the instrument. John Turner's new book is the ideal primer, taking the would be recorder composer on a journey through the history of recorder composition, and onwards to explore player techniques and the musicality offered by this versatile instrument. Each section is extensively referenced to exisiting compositions, providing a fantastic platform for further research by the reader.About the Author:JOHN TURNER is one of the leading recorder players of today. Born in Stockport, he was Senior Scholar in Law at Fitzwilliam College Cambridge before pursuing a legal career, acting for many distinguished musicians and musical organisations alongside his many musical activities. These included numerous appearances and recordings with David Munrow's Early Music Consort of London, the Academy of Ancient Music, the English Chamber Orchestra, the Academy of St. Martin-in-the-Fields and the English Baroque Soloists. He now devotes his time to playing, writing, reviewing, publishing, composing and generally energising.He has played as recorder soloist with the Halle Orchestra, the Royal Liverpool Philharmonic Orchestra, the Manchester Camerata, the English Baroque Soloists, the English Chamber Orchestra, and many other leading orchestras and ensembles. Concertos and works with orchestra have been written for him by Gordon Crosse, Anthony Gilbert, Peter Hope, Kenneth Leighton, Elis Pehkonen, Alan Bullard, John Casken, and many other distinguished composers. His recordings include no less than five sets of the Brandenburg Concertos, as well as the F Major version of Brandenburg Concerto No. 4 with Menuhin and George Malcolm, but lately he has madenumerous acclaimed recordings of the recorder’s contemporary concerto and chamber music repertoire, including several concerto discs, all of which have received critical acclaim. In all, he has given the first performances of over 600 works for the recorder, with works by many non-British composers, including Leonard Bernstein, Ned Rorem, Peter Sculthorpe, Douglas Lilburn and Petr Eben.Many of the works he has premiered have now entered the instrument’s standard repertoire, and these and his own recorder compositions are regularly set for festivals and examinations. He edits series of recorder publications for both Forsyths and Peacock Press, and founded the periodical Manchester Sounds, in response to the perceived threat to music libraries in Great Britain. In addition he was responsible for the rediscovery of several works for his instrument, including the Rawsthorne Recorder Suite, Antony Hopkins' Pastiche Suite, Herbert Murrill’s Sarabande, the Handel F Major Trio Sonata and John Parry's Nightingale Rondo (the only substantial known British nineteenth century work for a fipple flute). He was awarded an Honorary Fellowship by the Royal Northern College of Music in 2002 for his services to British music, and is a Visiting Distinguished Scholar of Manchester University.
SKU: BR.OB-15132-30
ISBN 9790004341995. 10 x 12.5 inches.
Bruch's evergreen for the first time in UrtextThanks to the premiere performance by Joseph Joachim and to the release of the printed edition in 1868, Max Bruch's Violin Concerto no. 1 zipped onto the road to success and has never left it since. Yet from the preface of the BreitkopfUrtext edition,one can infer how things looked like behind the dazzling facade. After the world premiere, the composer struggled for the definitive form. He wrote 3, 4 development sections in the finale, and sought the advice of celebrated virtuosi such as Joseph Joachim and Ferdinand David to revise the solo part. And after all this was done (see above), Bruch suffered under the work's popularity: Have I written nothing but this one concerto?The new Urtext edition is based primarily on the first edition. Next to the main source and the autograph, what is supremely interesting is a solo part with entries by Joachim and Bruch. It confirms how intensively the two men collaborated on honing the final form of the work.
SKU: FH.WC3
ISBN 978-1-55440-579-4.
This new series offers a sequenced approach to the study of clarinet from the beginner to advanced levels. With a progressive collection of Repertoire, Etudes, Recordings, Orchestral Excerpts, and Technique, the Clarinet Series, 2014 Edition provides complete support for teachers and students at every level of study. Nine progressive volumes of Repertoire expose students to a wealth of music from the earliest works for clarinet to accompanied and unaccompanied contemporary compositions. Students will explore some of the most definitive solo pieces written for clarinet, along with popular folk tunes, Klezmer melodies, Classical solos, and contemporary compositions that incorporate traditional and extended techniques.Technical Repertoire:Le petit negre - Claude Debussy, arr. Sidney LawtonAllegro - Xavier Lefevre, arr. David RowlandTarantella, op. 63, no. 41 - Carl Baermann, arr. Paul Harris and Emma JohnsonPotpourri, op. 45, no. 3 - Franz Danzi, arr. Paul HarrisVariations on La ci darem la mano (Excerpt) - Ludwig van Beethoven, arr. Simeon BellisonAnitra's Dance, from Peer Gynt - Edvard Grieg, arr. James RaeLyrical Repertoire:Largo - Johann Friedrich Fasch, arr. Richard PlattFreylach Suite - Martin van de Ven, arr. Jason GrayRomance - Edward GermanAdagio - Johann Melchior Molter, arr. Pamela WestonSiciliano - Gerhard WuenschSiciliana - Paul HarveyDance Prelude No. 4 - Witold Lutos_awskiAlone - Elena Firsova.
SKU: CL.026-4437-01
David Shaffer's Legend of the Eagles has been a contest/festival favorite of bands for many years, and this new Build-A-Band series arrangement makes this appealing and energetic work accessible to bands with instrumentation limitations. Bold and rhythmic at the beginning, it also contains a slower expressive section which will help musicians learn legato phrasing techniques. An exceptional composition!
About Build-A-Band Series
The Build-A-Band Series provides educational and enjoyable music for bands with incomplete or unbalanced instrumentation. Written using just four or five parts (plus percussion), these effective arrangements will work with any combination of brass, woodwind, string and percussion instruments as long as you distribute the parts so that each of the five parts is covered. All of the publications in the Build-A-Band Series have been arranged to be playable with any instrumentation as long as each part is used: 1st Part, 2nd Part, 3rd Part, 4th Part, and Bass Part. (Please note: In some of these arrangements the 4th Part, and the Bass Part are the same, making it possible to play those arrangements with only 4 parts.)
SKU: BR.OB-32034-53
ISBN 9790004350959. 10 x 12.5 inches.
SKU: M7.AHW-2011
English.
It is so easy to dismiss a rhythm book as something for beginners, not worth a serious musician's time and energy. We can already read, what more do we need? I felt this way as well, then I was VERY glad that I did not put this book down after the first few pages. Once you get past the first 10 pages of basics you are left with a book of such creative jazz and rock etudes that you wouldn't even consider it to have been written with the intention of improving your reading. This is a fully fledged contemporary jazz rock etude book that gets you reading complex grooves that will keep you coming back for more.
SKU: CL.026-4338-01
A terrific easy overture by David Shaffer for less experienced bands that is now made playable by the smallest of bands in this delightful Build-A-Band version. It will sound great as long has you have the four essential parts covered. Optional percussion and keyboard parts can add to the overall effect.
SKU: BR.OB-15132-16
ISBN 9790004341957. 10 x 12.5 inches.
SKU: CL.011-4452-01
This exciting piece has all of David Shaffer’s signature trademarks for younger bands, including musical energy, flowing melodies and beautiful lush harmonies. Written in overture form, a powerful introduction is the prelude to the main theme, a whimsical melody, that is passed through several choirs of instruments. The lyrical middle section, a variation of the primary melody, allows for development of your musicians' expressive performance. Scored to make your band sound their best, this is a perfect selection for concert or festival use.
About C.L. Barnhouse Command Series
The Barnhouse Command Series includes works at grade levels 2, 2.5, and 3. This series is designed for middle school and junior high school bands, as well as high school bands of smaller instrumentation or limited experience. Command Series publications have a slightly larger instrumentation than the Rising Band Series, and are typically of larger scope, duration, and musical content.
SKU: CL.026-4227-01
A delightful lyrical piece by popular composer David Shaffer that works wonderfully in the Build-A-Band format. Playable as long as you have the four main parts covered by the instruments of your choice. Arrangement includes optional parts for piano, timpani, percussion and mallet percussion. Will sound great with bands with extreme instrumentation issues and very small groups. Extremely nice!
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