| A Shaker Gift Song Concert band [Score and Parts] - Easy Manhattan Beach Music
By Frank Ticheli. Concert band. Suitable for middle school and high school bands...(+)
By Frank Ticheli. Concert band. Suitable for middle school and high school bands. Grade 2. Conductor score and set of parts. Duration 2:15. Published by Manhattan Beach Music
$125.00 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Be Thou My Vision Concert band [Score] - Intermediate Carl Fischer
Composed by Larry Clark. Concert Band. For Flute I, Piccolo, Flute II, Oboe, Cla...(+)
Composed by Larry Clark. Concert Band. For Flute I, Piccolo, Flute II, Oboe, Clarinet I, Clarinet II, Clarinet III, Alto Clarinet, Bass Clarinet, Bassoon, Alto Saxophone I, Alto Saxophone II, Tenor Saxophone, Baritone Saxophone, Trumpet I, Trumpet II, Trumpet III, Horn I, Horn II, Tenor I, Tenor I. This edition: Medium Easy Band. Carl Fischer Concert Performance Series. Grade 3-3.5. Full Score. Standard notation. 24 pages. Published by Carl Fischer
$14.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Be Thou My Vision Choral SATB SATB, Organ - Easy GIA Publications
SATB choir, organ accompaniment, flute - Early intermediate SKU: GI.G-10033(+)
SATB choir, organ accompaniment, flute - Early intermediate SKU: GI.G-10033 Arranged by Charles Thatcher. Ordinary Time 29 B. Choral. Tune Name: Slane. Sacred. Octavo. 12 pages. GIA Publications #10033. Published by GIA Publications (GI.G-10033). UPC: 785147003311. English. Text Source: Irish hymn, tr. Mary Byrne, 1880-1931, versified by Eleanor Hull, 1860-1935, alt.; Translation: Mary Byrne. The flute part is optional. $2.40 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Simple Gifts: Four Shaker Songs 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. Grade 3. Conductor Full Score. Duration 9:00
$50.00 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Be thou my vision Choral SATB SATB, Orchestra [Set of Parts] Oxford University Press
Composed by John Rutter (1945-). For SATB choir and small orchestra (flute, oboe...(+)
Composed by John Rutter (1945-). For SATB choir and small orchestra (flute, oboe, 2 clarinets, 2 horns, harp, strings). This edition: Paperback. Instrumental Accompaniment. John Rutter Anniversary Edition. Set of parts. Duration 4.5 minutes. Published by Oxford University Press
$70.25 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Be Thou My Vision Handbells Choristers Guild
By Anna Laura Page. For Handbells (3-5 octaves) (with optional flute). Level 3. ...(+)
By Anna Laura Page. For Handbells (3-5 octaves) (with optional flute). Level 3. Sheet Music. Published by Chorister's Guild
$4.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Be Thou My Vision (Orchestral Parts) MorningStar Music Publishers
Choir and various instruments SKU: MN.50-9119B Composed by Claude L. Bass...(+)
Choir and various instruments SKU: MN.50-9119B Composed by Claude L. Bass. Instrument parts. MorningStar Music Publishers #50-9119B. Published by MorningStar Music Publishers (MN.50-9119B). UPC: 688670002328. Optional Orchestral Parts include: Flutes I and II Oboe Clarinets I and II in B-flat Bassoon Horns I and II in F Trombones I and II Tuba Harp or Piano Violins I and II Viola Cello Double Bass. $50.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Prayer of Saint Patrick - Performance/Accompaniment CD Choral CD Lorenz Publishing Company
SKU: LO.99-2835L Incorporating Be Thou My Vision. Composed by Mark...(+)
SKU: LO.99-2835L Incorporating Be Thou My Vision. Composed by Mark Burrows. Arranged by Victor C Johnson. Choral. Sacred Anthem. Performance/accompaniment CD. Lorenz Publishing Company #99/2835L. Published by Lorenz Publishing Company (LO.99-2835L). UPC: 000308127256. Mark Burrows's new melody beautifully conveys the message of St. Patrick's ancient prayer as it alternates with verses of the Irish hymn Be Thou My Vision. Along with the opportunity to join the choir for the final verse, your congregation will delight in the lovely flute obbligato, rich harmonic colors, and a signature piano accompaniment by Victor C. Johnson. $29.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Music for Two, Volume 1 - Wedding and Classical Favorites - Cello/Bassoon and Cello/Bassoon |bassoon|cello| [Score and Parts] - Intermediate/advanced Last Resort Music Publishing
Arranged by Daniel Kelley. For Cello (or Bassoon) and Cello (or Bassoon). Duets....(+)
Arranged by Daniel Kelley. For Cello (or Bassoon) and Cello (or Bassoon). Duets. Music for Two. Wedding, Classical. Level: Intermediate/Advanced. Score with 2 parts. Published by Last Resort Music Publishing.
$22.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Sinfonia XVI: Transcendental Vienna Concert band [Score and Parts] - Intermediate Manhattan Beach Music
Concert band - Grade 4 SKU: MH.1-59913-072-6 Composed by Timothy Broege. ...(+)
Concert band - Grade 4 SKU: MH.1-59913-072-6 Composed by Timothy Broege. Suitable for high school, community, and college bands. Conductor score and set of parts. Duration 7:00. Published by Manhattan Beach Music (MH.1-59913-072-6). ISBN 9781599130729. Program Notes: It was a happy coincidence that the commission for SINFONIA XVI: TRANSCENDENTAL VIENNA came from the Henry David Thoreau School located in Vienna, Virginia. Thoreau is one of the magic names in American culture: Henry David Thoreau, one of the leading figures of the Transcendentalist movement, centered in 19th-century New England, left us a body of unique philosophical and poetical writings. To utter the words, Walden Pond, is to invoke an America long past in physical actuality, but still present in the minds and hearts of many American citizens. The name, Vienna, of course, summons thoughts of the Old World: culture, fine food, wine, civilized cities. While contemplating the form that SINFONIA XVI should take, I found myself thinking of two pillars of Viennese culture: expressionism and the waltz. Musically speaking, expressionism reached a zenith in the works of Arnold Schoenberg and Alban Berg. It was Berg, in particular, that I wanted to invoke in the outer movements of my composition. I knew I would also have to include a waltz, and an invocation of the mysterious forces that are contained in both expressionism and transcendentalism. Thus was the structure of the work generated. The outer movements with their vision of the night sky and the stars, Aldebaran and Sirius, frame the central movements, which are essentially two versions of the same material, and are quieter and less dramatic. The outer movements are symmetrical, and share both pitch and rhythmic materials. Accordingly, I see the work as a ternary form, with the central movements forming a unit within the outer frame: A (Movement 1) B (Movements 2 & 3) A' (Movement 4). Harmonically, the work can be summarized by the two pitch-series which occur in the opening bars of Movement 1: the initial 12-note row, with a tonal center on F-sharp (measures 1-6), and the subsequent D-minor Dorian 7-note row (beginning in measure 14). Aspects of these materials occur in all four movements, but they are most strongly present in Movements 1 and 4. Note that the 12-note row is not subjected to the usual serial procedures, but instead is treated as a signifier and is left unchanged. Since the fourth movement takes up where the first movement leaves off, I can conceive of one interpretation of SINFONIA XVI as an evocation of Thoreau himself contemplating two of the brightest stars on a clear, cold night. Aldebaran is an orange, first-magnitude star, located in the constellation Taurus; Sirius, the Dog Star, is the brightest star in the sky, and is located in the constellation Canis Major. Thoreau interrupts his star-gazing to entertain some inward thoughts, waking dreams, as it were, then returns his gaze to the splendid night sky and all its treasures. Although many other interpretations of the material are possible, it is important to remember that the abstract materials of the piece -- pitch, rhythm, structure -- are what count the most. Ensemble instrumentation: 1 Piccolo, 4 Flute 1, 4 Flute 2, 3 Oboe, 1 Eb Clarinet (opt.), 4 Bb Clarinet 1, 4 Bb Clarinet 2, 4 Bb Clarinet 3, 3 Bass Clarinet, 3 Bassoon, 3 Eb Alto Saxophone 1, 3 Eb Alto Saxophone 2, 2 Bb Tenor Saxophone, 2 Eb Baritone Saxophone, 3 Bb Trumpet 1, 3 Bb Trumpet 2, 3 Bb Trumpet 3, 2 Horn 1, 2 Horn 2, 3 Trombone 1, 3 Trombone 2, 3 Euphonium B.C., 2 Euphonium T.C., 5 Tuba, 2 Timpani, 3 Percussion 1, 3 Percussion 2, 3 Percussion 3, 3 Percussion 4. $135.00 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Scenes from an English Landscape Concert band [Score] - Intermediate G and M Brand Music Publishers
Concert band (Piccolo, Flute 1/2, Oboe 1/2, Bassoon 1/2, Bb Soprano Clarinet 1-3...(+)
Concert band (Piccolo, Flute 1/2, Oboe 1/2, Bassoon 1/2, Bb Soprano Clarinet 1-3, Eb Alto Clarinet, Bb Bass Clarinet, Alto Saxophone 1/2, Tenor Saxophone, Baritone Saxophone, Cornet (in Bb) 1-3, Trumpet (in Bb) 1/2, French Horn 1-4 , Trombone 1-3, Euphonium, Tuba, Stri) - grade 4 SKU: CN.S11242 Composed by Adam Gorb. Arranged by Michael Brand. Band Music. Score only. Duration 4:20. Published by G & M Brand Music Publishers (CN.S11242). Scenes from an English Landscape is a brief nostalgic tone poem taking its inspiration from visions of rural England as depicted in the paintings of John Constable, the novels of Thomas Hard, and the music of Gustav Holst and Ralph Vaughan Williams. A chorale-like theme is stated in the brass and then taken up at three times the tempo in the woodwinds. At the end of the work, both versions of the theme are stated together to bring the piece to a triumphant climax.
This is a brief nostalgic tone poem taking its inspiration from visions of rural England as depicted in the paintings of John Constable, the novels of Thomas Hard, and the music of Gustav Holst and Ralph Vaughan Williams. I imagined a community of villagers coming out of church and filling a village square with their vibrant presence. A chorale-like theme is stated in the brass and then taken up at three times the tempo in the woodwinds. At the end o the work, both versions of the theme are stated together to bring the piece to a triumphant climax. Adam Gorb was born in Cardiff and started composing at the age of ten. His first work broadcast on national radio was written when he was fifteen. He studied at Cambridge University (1977-1980) and the Royal Academy of Music (1991-1993) where he graduated with the highest honours including the Principal's Prize. He has been on the staff at the London College of Music and Media, the junior Academy of the Royal Academy of Music and, since 2000 he has been the Head of School of Composition at the Royal Northern College of Music in Manchester . International recognition came in 1994 with the US Walter Beeler Prize for his work Metropolis . With it began what has developed into probably the most important wind ensemble catalogue by a contemporary composer, ranging from extremely challenging to the most accessible, at all technical levels, seized on by players internationally, widely recorded and now absolutely central to the world's wind repertoire. Equally important though are his works for dance, and concert pieces like the chamber orchestral Weimar , the Violin Sonata , a Clarinet Concerto for the Royal Liverpool Philharmonic Orchestra and Diaspora for strings (for the Goldberg Ensemble). Deceptively mainstream at first glance, they display the same inventive brilliance, pulsating sound world, striking use of rhythm and an undogmatic absence of stylistic hang-ups to embrace jazz and serialism in works where power, poetry, irony and pathos, often underlaid by a theatrical and deeply subversive element, coalesce in an integrated, highly individual musical voice. Gorb is also not afraid to draw on the vivid musical heritage of his Jewish roots, sometimes directly, often in a more subsumed or radically creative way. The crucial and consistent feature of Gorb's work though is that it communicates strongly without patronizing players or audiences. He firmly believes that if contemporary music - any music - does not impact on listeners then its message is irrelevant; it is lost. $7.50 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Symphony No. 6 - At the End of the Day Orchestra - Intermediate Wilhelm Hansen
Orchestra (Full Score) - Grade 4 SKU: HL.14032192 Full Score. Comp...(+)
Orchestra (Full Score) - Grade 4 SKU: HL.14032192 Full Score. Composed by Per Norgard. Music Sales America. 20Th Century, Classical. Softcover. 188 pages. Edition Wilhelm Hansen #KP00865. Published by Edition Wilhelm Hansen (HL.14032192). ISBN 9788759858394. 12.0x16.5x0.78 inches. International (more than one language). Symphony No. 6 for orchestra, 1997-99. Preface / Program Note:... with the Lord a day is like a thousand years, and a thousand years is like a day(New Testament, 2 Peter 3:8)My SYMPHONY NO. 6 was commissioned by the Danish National Radio Symphony Orchestra, the Gteborg Symphony Orchestra and the Oslo Philharmonic Orchestra, to be premiered at the millenium 2000.The subtitle AT THE END OF THE DAY can be understood literally or it can mean when all is added up. However, in my opinion, nothing ever quite adds up, there is always something missing, any ending will be provisional ...This symphony appears to end only a few minutes into the first movement, the first passage, as the music fades away to almost-silence, after a start of flying colours. But then there is still something, a small motive (first heard in the initial sound-waves) which reappears, hesitant, but persistent, and this embryo is what leads on the musical progression. An agitated section of many instrumental voices comes next, until all the voices become obsessed with the same phrase, a see-saw motive based on thirds. This section evolves into almost martial ferocity, when broken off by a tutti descent into an extreme bass-world (a bass-world which actually permeates the whole symphony, emplyoing instruments that I have never used before: double-bass tuba, double-bass trombone, double-bass clarinet, and bass flute).The second movement, the second passage, apparently takes off where the first passage ended, but now the events are more ambiguous, and the same music may be perceived as fast-moving one moment and slow-moving the next. This section is a kind of passacaglia, the characteristic baroque bass-variation.Without a break follows the third and last passage, in a contrasting high register. The music is rhythmically knotty as well as freely flowing. As in the beginning of the symphony, a never-ending descent or fall breaks off the events, and at the very end a delta of new beginnings, of other worlds, is revealed ....The symphony is dedicated to Helle, my wife. - Per Norgard. $125.50 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
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