SKU: AP.45892S
UPC: 038081526546. English. Traditional American.
Imagining the Alaska Klondike gold rush calls up visions of fortune seekers, turn-of-the-century dance halls, and adventure! Klondike Fiddles captures those moods in a medley of two authentic fiddle tunes from that by-gone era by Andrew H. Dabczynski. These delightful melodies---March of the Gold Miners and Crooked Stovepipe---fall under the fingers of intermediate string students, with interesting parts for all players, body percussion sounds, and challenging optional improvisation opportunities. Here's a piece that complements any concert program and will have the players and audience tapping their toes! (3:50).
SKU: AP.45892
UPC: 038081526539. English. Traditional American.
SKU: AP.38425
UPC: 038081438689. English.
This three-piece suite is based on the widely popular music of talented songwriter Parry Gripp. Parry's music has gone viral on YouTube, where his songs accompany many internet videos, as well as his own music videos. The three catchy songs included are Boogie Boogie Hedgehog, Baby Monkey (Riding Backwards on a Pig), and Do You Like Waffles? This clever medley of infectious tunes will certainly put a smile on everyone's faces!
SKU: HL.49027637
SKU: AP.49453S
ISBN 9781470660802. UPC: 038081577593. English.
Country music singer and songwriter Kane Brown's music has soared to the top of the charts within a few short years, winning the American Music Awards category Favorite Country Male Artist twice (2018 and 2019), along with Video of the Year in 2021. Like I Love Country Music, arranged by Douglas E. Wagner, is from the artist's third studio album Different Man, released in 2022, and is full of all the American country music feels. So much fun to play! (1:50).
SKU: AP.49455S
ISBN 9781470660765. UPC: 038081577555. English.
Fancy Like was a surprise smash, becoming Walker Hayes's first number-one country hit. This chart-topper will be a success with your ensemble and audience! (2:00).
SKU: AP.49453
ISBN 9781470660796. UPC: 038081577586. English.
SKU: AP.49455
ISBN 9781470660758. UPC: 038081577548. English.
SKU: AP.12-057154309X
ISBN 9780571543090. English.
Picture a Day Like This is the fourth operatic collaboration between George Benjamin and Martin Crimp, whose acclaimed partnership produced Written on Skin, Lessons in Love and Violence, and Into the Little Hill. This limited edition of the full score is one of only 150, presented in a cloth-bound hard cover. It is signed by George Benjamin and Martin Crimp and includes facsimile reproductions of pages from the manuscript, sketches by Benjamin and Crimp, and a photograph of Benjamin, Crimp, and directors Daniel Jeanneteau and Marie-Christine Soma in rehearsal at the Aix-en-Provence Festival. In this bittersweet fable of grief and renewal. Benjamin and Crimp tell the story of a woman who has lost her child: if, before nightfall, she meets one truly happy person and cuts a button from their sleeve, her child will live again. In her search she meets a pair of lovers, a composer and their assistant, an artisan, collector, and, in a beautiful garden, the mysterious Zabelle. Benjamin proves with this taut, sharp miniature that he is the finest opera composer of todayâ¦a work of depth of feeling, humanistic artistry, and expressive rigorâ¦a drama that is miraculously condensed. -- Süddeutsche Zeitung (Reinhard J. Brembeck) 9 July 2023.
SKU: CF.PO192S
ISBN 9781491157367. UPC: 680160915927.
Program note: Christmas Fugue, like the charming English folk tune on which it is based, is full of the spirit and fun that is Christmas. After a slow shimmering introduction which imparts an impression of Christmas morning, the fugue subject is abruptly introduced. The fugue subject: We Wish You a Merry Christmas. The work develops through a series of playful musical episodes which afford satisfying opportunities for the various sections of the orchestra. The fugue culminates in a combination of motifs which find the brass heralding the unmistakable arrival of Christmas. The Composer: Dr. Robert Bennett Brown has devoted much of his professional teaching career to musical compositions and arrangements for young orchestral enthusiasts. Christmas Fugue, like other of Dr. Drown's published works, was written in and for the actual teaching situation. At the present time, Robert Bennett Brown is District Supervisor of Music for the Levittown, N.Y. Public Schools. Previously, for some nineteen years, he taught in Bronxville, N.Y. where, as Chairman of Music, he brought about an extremely high level of school orchestral achievement. he was educated at New York University and Teachers College, Columbia University. He has served as a field supervisor of student teaching for New York University and as a general music consultant. For the past two years he has been a member of the New York State Music Regents Committee. To the Conductor: You will find this work to be the conductor's dream. Parts are easy but impressive sounding. The total effect will give your orchestra that typical classical sound so satisfying to performer and listener alike. Full or exact instrumentation is not a must; cross-cues will carry critical areas where a specified instrument may be lacking. Piano, tuba, and saxophone parts are written to accommodate those players where they exist. These parts are not essential to the instrumentation. Though Christmas Fugue is well suited to the interests of high school orchestra pursuits, its grade of difficulty is easily handled by any junior high school group of average ability.  .Program note:Christmas Fugue, like the charming English folk tune on which it is based, is full of the spirit and fun that is Christmas. After a slow shimmering introduction which imparts an impression of Christmas morning, the fugue subject is abruptly introduced. The fugue subject: We Wish You a Merry Christmas. The work develops through a series of playful musical episodes which afford satisfying opportunities for the various sections of the orchestra. The fugue culminates in a combination of motifs which find the brass heralding the unmistakable arrival of Christmas.The Composer:Dr. Robert Bennett Brown has devoted much of his professional teaching career to musical compositions and arrangements for young orchestral enthusiasts. Christmas Fugue, like other of Dr. Drown's published works, was written in and for the actual teaching situation.At the present time, Robert Bennett Brown is District Supervisor of Music for the Levittown, N.Y. Public Schools. Previously, for some nineteen years, he taught in Bronxville, N.Y. where, as Chairman of Music, he brought about an extremely high level of school orchestral achievement. he was educated at New York University and Teachers College, Columbia University. He has served as a field supervisor of student teaching for New York University and as a general music consultant. For the past two years he has been a member of the New York State Music Regents Committee.To the Conductor:You will find this work to be the conductor's dream. Parts are easy but impressive sounding. The total effect will give your orchestra that typical classical sound so satisfying to performer and listener alike. Full or exact instrumentation is not a must; cross-cues will carry critical areas where a specified instrument may be lacking. Piano, tuba, and saxophone parts are written to accommodate those players where they exist. These parts are not essential to the instrumentation. Though Christmas Fugue is well suited to the interests of high school orchestra pursuits, its grade of difficulty is easily handled by any junior high school group of average ability. .
SKU: CF.PO192F
ISBN 9781491157374. UPC: 680160915934.
SKU: SU.32020070
Three movements, 15:00 total. South Florida Classical Review called Setting Century ...ingeniously crafted. The score is an imaginative essay in orchestral rhythm and color. The initial section Ticking is based on a brief, repeated figure in the violins, like the machinery of a clock. Gradually larger melodic threads emerge. The piano imitates bells over long string lines in Tolling. As the winds and strings branch out to broader, more complex patterns, the overall effect is powerful. Dance-like themes give the entire orchestra a good workout in Streaming. An extended episode for winds exploits the individual instruments’ timbres in striking fashion. ~ Lawrence Budmen. 2(1) 22 2(1); 4231; timp, 2 perc, pno; stgs Duration: 15' Composed: 2004/16 Published by: Distributed Composer Performance materials available on rental only:.
SKU: AP.49019
ISBN 9781470645403. UPC: 038081563985. English.
This title features Alfred Music's String Orchestra FLEX options. That means that every part in this set is now transposed into every other part, so you can play this title with any combination of like- or mixed-string ensemble. After purchasing this set, decide what additional parts you need to meet the unique needs of your ensemble, then download and print them for free at alfred.com/supplemental---free of charge. Imagine riding through Camelot on a quest to save the kingdom. Every player will be the hero in this medieval inspired tune, Camelot Quest by Katie Katie O'Hara LaBrie. Written in E minor, students will be introduced to D-sharps through low 1st finger as well as dotted-quarter rhythms in every part. Students and audiences alike will love the mixed energy of marcato ostinato patterns vs. the legato melodies. The journey concludes with a joust-like battle, adding excitement to any concert or festival program. Optional percussion adds to the medieval flair. (2:45) This title is available in MakeMusic Cloud.
SKU: AP.49019S
ISBN 9781470645410. UPC: 038081563992. English.
This title features Alfred Music's String Orchestra FLEX options. That means that every part in this set is now transposed into every other part, so you can play this title with any combination of like- or mixed-string ensemble. After purchasing this set, decide what additional parts you need to meet the unique needs of your ensemble, then download and print them for free at alfred.com/supplemental---free of charge. Imagine riding through Camelot on a quest to save the kingdom. Every player will be the hero in this medieval inspired tune, Camelot Quest by Katie Katie O'Hara LaBrie. Written in E minor, students will be introduced to D-sharps through low 1st finger as well as dotted-quarter rhythms in every part. Students and audiences alike will love the mixed energy of marcato ostinato patterns vs. the legato melodies. The journey concludes with a joust-like battle, adding excitement to any concert or festival program. Optional percussion adds to the medieval flair. (2:45) This title available in MakeMusic Cloud.
SKU: AP.40486S
UPC: 038081457673. English.
Alfred Einstein, the eminent musicologist, declared this piano concerto to be Mozart's most characteristic creation . . . the peak of all his instrumental achievement. The span of these amazing works provides a view of the fascinating journey from a great talent to pure genius. Unlike most of the Middle Concertos, Mozart considered this selection to be a chamber work, where spare instrumentation, and, in the case of the Andantino movement, a religious air, exhibit similarities to some choral works, like Ave Verum Corpus. This arrangement allows the eloquent melodic themes to be shared by all sections, requiring attention to detail and sensitive phrasing. This title is available in MakeMusic Cloud.
SKU: HL.49000612
ISBN 9790200100587. 5.75x8.25x0.315 inches.
Es gibt drei verschiedene Moglichkeiten fur die Besetzung:1. fur 31 Musiker:Gruppe I: Str. (4 * 3 * 3 * 2 * 1)Gruppe II: Str. (2 * 2 * 2 * 1 * 1)Gruppe III: Solo-StreichquartettGruppe IV: 1 Fl. * 1 Ob. * 1 Engl. Hr. * 2 Fg. - Cemb.2. fur 24 Musiker (fur kleinere Sale)Gruppe I: Str. (3 * 2 * 2 * 1 * 1)Gruppe II: Str. (1 * 1 * 1 * 1 * 1)Gruppe III: Solo-StreichquartettGruppe IV: 1 Fl. * 1 Ob. * 1 Engl. Hr. * 2 Fg. - Cemb.3. fur 42 Musiker (fur grossere Sale)Gruppe I: Str. (6 * 5 * 4 * 3 * 2)Gruppe II: Str. (4 * 3 * 2 * 2 * 1)Gruppe III: Solo-StreichquartettGruppe IV: 1 Fl. * 1 Ob. * 1 Engl. Hr. * 2 Fg. - Cemb.Es gibt drei verschiedene Moglichkeiten fur die Besetzung:1. fur 31 Musiker:Gruppe I: Str. (4 * 3 * 3 * 2 * 1)Gruppe II: Str. (2 * 2 * 2 * 1 * 1)Gruppe III: Solo-StreichquartettGruppe IV: 1 Fl. * 1 Ob. * 1 Engl. Hr. * 2 Fg. - Cemb.2. fur 24 Musiker (fur kleinere Sale)Gruppe I: Str. (3 * 2 * 2 * 1 * 1)Gruppe II: Str. (1 * 1 * 1 * 1 * 1)Gruppe III: Solo-StreichquartettGruppe IV: 1 Fl. * 1 Ob. * 1 Engl. Hr. * 2 Fg. - Cemb.3. fur 42 Musiker (fur grossere Sale)Gruppe I: Str. (6 * 5 * 4 * 3 * 2)Gruppe II: Str. (4 * 3 * 2 * 2 * 1)Gruppe III: Solo-StreichquartettGruppe IV: 1 Fl. * 1 Ob. * 1 Engl. Hr. * 2 Fg. - Cemb.
SKU: BR.PB-5505
ISBN 9790004211519. 10 x 12.5 inches.
A visit to the opera whetted the composers creative appetite to explore the fairy-tale-like theme of Knight Raimunds love for the beautiful mermaid Melusine, which provided the basis for Mendelssohns fourth concert overture. As usual, Mendelssohn worked out the composition in his mind before committing it to paper, a task he most likely began towards the end of March 1833. The works premiere performance took place in London on 7 April 1834; the revised version was given its first account in Leipzig on 23 November 1835. Its ranking as No. 4 of the concert overtures was assigned around 1857 in a posthumous edition.(Ralf Wehner in the Study Edition of the Mendelssohn Work Catalogue).
SKU: LO.30-1493L
UPC: 000308074642.
John's Gospel is the basis for an innovative new musical setting of the timeless Easter story. The composer weaves striking new melodies and traditional hymn tunes together to produce a vibrant, energetic work of meditation and praise. The congregation is called on to sing with the choir in a sensitive setting of When I Survey the Wondrous Cross and a rousing arrangement of Crown Him With Many Crowns. New settings of What Wondrous Love Is This? and O Sacred Head, Now Wounded are ingeniously intertwined with new anthems. An inspirational and deeply moving experience for choir and congregation alike. Performance time: approx. 25 minutes. Flute 1 & 2, Violin 2, Viola, Cello, Double Bass, Oboe 1 & 2, Horn, Trumpet 1 & 2, Trombone 1 & 2, Tuba, Percussion (Windchimes, Suspended Cymbal) Glockenspiel,Triangle,Chimes, Snare Drum,Timpani, Harp, Violin 1.
SKU: BT.WH31338
ISBN 9788759822715. Danish.
I Hvem har skrevet noderne? forsøger Erik Axel Wessberg at rette lidt op på den kollektive forsømmelse af anerkendelsen af den musikalske arrangørs arbejde og trække ham og hans bidrag til vores kulturhistorie ud af den anonymitet, hvor det hidtil har befundet sig.Bogen henvender sig både til musikstuderende og professionelle musikere og arrangører men også til den almindelige musikinteresserede.En række nodeeksempler samt henvisninger til indspilninger af de analyserede arrangementer tilfører fremstillingen en ekstra dimension.
SKU: PR.416415760
UPC: 680160636532. 9 x 12 inches.
The 1712 Overture stands out in P.D.Q. Bach's oeuvre for two reasons, among others: it is by far the most programmatic instrumental piece among those by the minimeister of Wein-am-Rhein so far unearthed, and 2) its discovery has led to a revelation about the composer's father, Johann Sebastian Bach, that has exploded like a bombshell on the usually serene musicological landscape. The overture is based on an anecdote told to P.D.Q. Bach by a cousin, Peter Ulrich. Since P.U. Bach lived in Dudeldorf, only a few miles down the road from Wein-am-Rhein, he was P.D.Q.'s closest relative, and he was, in fact, one of the few members of the family who was on speaking terms with P.D.Q. The story, related to P.D.Q. (fortunately for us posterity types) in a letter, may be summarized thus: The town of Dudeldorf was founded by two brothers, Rudi and Dieter Dudel, early in the 18th century. Rudi remained mayor of the newborn burg for the rest of his long life, but Dieter had a dream of starting a musicians' colony, an entire city devoted to music, which dream, he finally decided, could be realized only in the New World. In 1712, he and several other bagpipers sailed to Boston, never to return to Germany. (Henceforth, Rudi became known as der deutscher Dudel and Dieter as the Yankee Dudel). Unfortunately, the head of the Boston Musicians' Guild had gotten wind of Dudel's plans, and Wilhelm Wiesel (pron. VEE-zle), known none too affectionately around town as Wiesel the Weasel, was not about to share what few gigs there were in colonial America with more foreigners and outside agitators. He and his cronies were on hand to meet Dudel's boat when it pulled into Boston Harbor; they intended to prevent the newcomers' disembarkation, but Dudel and his companions managed to escape to the other side of the bay in a dinghy, landing with just enough time to rent a carriage and horses before hearing the sound of The Weasel and his men, who had had to come around the long way. The Germans headed West, with the Bostonians in furious pursuit. soon the city had been left far behind, and by midnight so had the pursuers; Dieter Dudel decided that it was safe for him and his men to stop and sleep until daybreak. When they awoke, they found that they were in a beautiful landscape of low, forested mountains and pleasant fields, warmed by the brilliant morning sun and serenaded by an entrancing variety of birds. Here, Dudel thought, her is where I will build my colony. The immigrants continued down the road at a leisurely pace until they came upon a little church, all by itself in the countryside, from which there suddenly emanated the sounds of a pipe organ. At this point, the temptation to quote from P.U. Bach's letter to P.D.Q. cannot be resisted: They went inside and, after listening to the glorious music for a while, introduced themselves to the organist. And who do you think it was? Are you ready for this -- it was your old man! Hey, no kidding -- you know, I'm sure, that your father was the guy to get when it came to testing new organs, and whoever had that one in Massachusetts built offered old Sebastian a tidy sum to go over there and check it out. The unexpected meeting with J.S. Bach and his sponsors was interrupted by the sound of horse hooves, as the dreaded Wiesel and his men thundered on to the scene. They had been riding all night, however, and they were no spring chickens to start with, and as soon as they reached the church they all dropped, exhausted, to the ground. The elated Germans rang the church bells and offered to buy everyone a beer at the nearest tavern. There they were taught, and joined in singing, what might be called the national anthem of the New World. The melody of this pre-revolutionary patriotic song is still remembered (P.D.Q. Bach quotes it, in the bass instruments, near the end of the overture), but is words are now all but forgotten: Freedom, of thee we sing, Freedom e'er is our goal; Death to the English King, Long live Rock and Ross. The striking paucity of biographical references to Johann Sebastian Bah during the year 1712 can now be explained: he was abroad for a significant part of that year, testing organs in the British Colonies. That this revelation has not been accepted as fact by the musicological establishment is no surprise, since it means that a lot of books would have to be rewritten. The members of that establishment haven't even accepted the existence of P.D.Q. Bach, one of whose major works the 1712 Overture certainly is. It is also a work that shows Tchaikowsky up as the shameless plagiarizer that some of us have always known he was. The discovery of this awesome opus was made possible by a Boston Pops Centennial Research Commission; the first modern performance took place at the opening concert of the 100th anniversary season of that orchestra, under the exciting but authentic direction of John Williams.
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