SKU: HL.14021038
ISBN 9780711991248. 5.5x7.5x0.148 inches.
Peter Maxwell Davies' Swinton Jig was inspired by his youth spent in Salford. These variations on a traditional melody portray the community spirit during wartime and the impromptu concerts and dances held within the air shelters. The instrumentation reflects this, with banjos, bells, bones and horns, and even an out of tune upright piano! This work was commissioned by the BBC and first performed in November 1998 by the BBC Philharmonic. In miniature pocket score format.
SKU: HL.35008056
Don Besig/Nancy Price.
Energetic and driving rhythms emphasize the urgent need to go forth and preach the gospel. Contrasting legato verses with a syncopated refrain stresses the importance of Jesus' command to his disciples with a memorable melody and exciting accompaniment. Go Ye into All the World is a directive to us all, and this catchy anthem will make you want to go out and do just that.
SKU: BA.BA06861
ISBN 9790260104211. 34.3 x 27 cm inches.
LeoÅ¡ Janácek’s symphonic fragment Dunaj (The Danube) dates from the period of the composition of “Katya Kabanovaâ€. The composer was not concerned with a musical-picturesque description of a river landscape, but with the mythical link between women’s destinies and water.“Pale green waves of the Danube! There are so many of you, and one followed by another. You remain interlocked in a continuous flow. You surprise yourselves where you ended up – on the Czech shores! Look back downstream and you will have an impression of what you have left behind in your haste. It pleases you here. Here I will rest with my symphony.†Thus LeoÅ¡ Janácek described the idea behind the composition project which occupied him in 1923/24. However, after further work, it remained incomplete in 1926. His “symphony†entitled Dunaj has survived as a continuously-notated, four-movement bundle of sketches in score form. It is one of the works which occupied him until his death. The scholarly reconstruction by the two Brno composers MiloÅ¡ Å tedron and LeoÅ¡ Faltus closely follows the original manuscript.A whole conglomeration of motifs stands behind the incomplete work. What at first seems like a counterpart to Smetana’s Vltava, in fact doesn’t turn out to be a musical depiction of the Danube. On the contrary, the fateful link between the destiny of women, water and death permeates the range of motifs found in the work. It seems to be no coincidence that Janácek, whilst working on the opera Katya Kabanova, in which the Volga, as the river bringing death plays an almost mythical role, planned a Danube symphony, and that its content was linked with the destiny of women: in the sketches, two poems were found which may have provided the stimulus for several movements of the symphony. He copied a poem by Pavla Kriciková into the second movement, in which a girl remarks that whilst bathing in a pond, she was observed by a man. Filled with shame, the young naked woman jumps into the water and drowns. The outer movements likewise draw on the poem “Lola†by the Czech writer Sonja Å pálová, published under the pseudonym Alexander Insarov. This is about a prostitute who asks for her heart’s desire: she is given a palace, but then goes on a long search for it and is finally no longer wanted by anyone. She suffers, feels cold and just wants a warm fire. Janácek adds his remark “she jumps into the Danube†to the inconclusive ending.To these tangible literary models is added Adolf Veselý’s verbal account which reports that the composer wanted to portray “in the Danube, the female sex with all its passions and driving forcesâ€. The third movement is said to characterise the city of Vienna in the form of a woman.It is evident that in his composition, Janácek was not striving for a simple, natural lyricism. The River Danube is masculine in the Slavic language – “ten Dunaj†– and assumes an almost mythical significance in the national character, indeed often also a role bringing death. The four movements are motivically conceived. Elements of sound painting, small wave-like figures in the first movement, motoric, driving movements in the third are obvious evocations of water. And the content and the literary level are easy to discover. The “tremolo of the four timpaniâ€, which was amongst Janácek’s first inspirations, appears in the second movement. It is not difficult to retrace in it the fate of the drowning bather. The oboe enters lamentoso towards the end of the movement over timpani playing tremolo, its descending figure is taken over by the flute, then upper strings and intensified considerably. The motif of drowning – Lola’s despair – returns again in the fourth movement in the clarinet, before the work ends abruptly and dramatically.One special effect is the use of a soprano voice in the motor-driven third movement. The singer vocalises mainly in parallel with the solo oboe, but also in dialogue with other parts such as the viola d’amore, which Janácek used in several late works as a sort of “voice of loveâ€.
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
SKU: AP.49031S
ISBN 9781470645472. UPC: 038081564012. English.
Written by Anthony Granata, Into the Stars: A Galactic Journey is an exciting space-themed adventure piece that will captivate your developing orchestras and have them feeling and playing confidently in 6/8 time. With an epic and memorable sounding main theme, your students will be transported into a world of simple and compound meters as they dig into their strings for this fun programmatic piece of music. Students will feel as though they have stepped into the sound stage for a film score of a Hollywood science fiction movie. (1:45).
SKU: AP.43757
UPC: 038081496313. English.
This fun and energetic piece includes easy, optional keyboard and percussion parts. It is sure to strike a chord with students! (2:10).
SKU: LO.30-3733L
UPC: 000308154610.
CD with Printable Parts for 65/2106L Joel Raney calls on Celtic musical traditions and instrumentation to deliver a refreshing sound for Christmas! The orchestration by Ed Hogan incorporates Irish flutes, drums, acoustic guitar, and fiddle to paint vivid imagery of a beautifully lush and green Irish countryside. Familiar Christmas carols appear, as do some familiar Christmas texts set to beloved Irish and Welsh folk songs. An ethereal opening sets the stage before breaking into an exuberant rendition of I Saw Three Ships. Come, Thou Long-Expected Jesus; Away in a Manger; Gentle Mary Laid Her Child; and the beloved Angels We Have Heard on High all make appearances as the work progresses, culminating with a rhythmic re-imagining of O Come, All Ye Faithful set to the traditional Scottish melody Loch Lomond. One of the highlights of this musical is O Holy Night, written for soloist and choir and set to the timeless tune, LONDONDERRY AIR. Present the Christmas story in a uniquely captivating way with this imaginative work!
SKU: LO.30-3734L
UPC: 000308154627.
Score and Parts plus CD with Printable Parts for 65/2106L Joel Raney calls on Celtic musical traditions and instrumentation to deliver a refreshing sound for Christmas! The orchestration by Ed Hogan incorporates Irish flutes, drums, acoustic guitar, and fiddle to paint vivid imagery of a beautifully lush and green Irish countryside. Familiar Christmas carols appear, as do some familiar Christmas texts set to beloved Irish and Welsh folk songs. An ethereal opening sets the stage before breaking into an exuberant rendition of I Saw Three Ships. Come, Thou Long-Expected Jesus; Away in a Manger; Gentle Mary Laid Her Child; and the beloved Angels We Have Heard on High all make appearances as the work progresses, culminating with a rhythmic re-imagining of O Come, All Ye Faithful set to the traditional Scottish melody Loch Lomond. One of the highlights of this musical is O Holy Night, written for soloist and choir and set to the timeless tune, LONDONDERRY AIR. Present the Christmas story in a uniquely captivating way with this imaginative work!
SKU: LO.30-3732L
UPC: 000308154603.
Set of Parts for 65/2106L Joel Raney calls on Celtic musical traditions and instrumentation to deliver a refreshing sound for Christmas! The orchestration by Ed Hogan incorporates Irish flutes, drums, acoustic guitar, and fiddle to paint vivid imagery of a beautifully lush and green Irish countryside. Familiar Christmas carols appear, as do some familiar Christmas texts set to beloved Irish and Welsh folk songs. An ethereal opening sets the stage before breaking into an exuberant rendition of I Saw Three Ships. Come, Thou Long-Expected Jesus; Away in a Manger; Gentle Mary Laid Her Child; and the beloved Angels We Have Heard on High all make appearances as the work progresses, culminating with a rhythmic re-imagining of O Come, All Ye Faithful set to the traditional Scottish melody Loch Lomond. One of the highlights of this musical is O Holy Night, written for soloist and choir and set to the timeless tune, LONDONDERRY AIR. Present the Christmas story in a uniquely captivating way with this imaginative work!
SKU: LO.30-3731L
UPC: 000308154597.
Full Score for 65/2106L Joel Raney calls on Celtic musical traditions and instrumentation to deliver a refreshing sound for Christmas! The orchestration by Ed Hogan incorporates Irish flutes, drums, acoustic guitar, and fiddle to paint vivid imagery of a beautifully lush and green Irish countryside. Familiar Christmas carols appear, as do some familiar Christmas texts set to beloved Irish and Welsh folk songs. An ethereal opening sets the stage before breaking into an exuberant rendition of I Saw Three Ships. Come, Thou Long-Expected Jesus; Away in a Manger; Gentle Mary Laid Her Child; and the beloved Angels We Have Heard on High all make appearances as the work progresses, culminating with a rhythmic re-imagining of O Come, All Ye Faithful set to the traditional Scottish melody Loch Lomond. One of the highlights of this musical is O Holy Night, written for soloist and choir and set to the timeless tune, LONDONDERRY AIR. Present the Christmas story in a uniquely captivating way with this imaginative work!
SKU: KN.8718
UPC: 822795087185.
This entertaining Del Borgo original features the finger patterns and scale passages that are so important to young players. Very easy double stops create a strong, full sound and simple rhythms propel the piece to an energetic conclusion. Contrapuntal interlude gives each section a chance to play lead while providing essential textural contrast. An optional piano part is included.
SKU: AP.35895S
UPC: 038081407449. English.
Get the whole room clapping! This fun piece is designed to let the director interact with the audience and give the students, parents, and grandparents an opportunity to participate in the program with the ensemble. It has a blues feel and the director could turn this into an impromptu lesson on dynamics, the blues, or the different sounds of the strings: pizzicato, arco, and tremolo.
SKU: LO.30-3707MD
UPC: 000308154122.
Orchestral Score and CD with Printable Parts for 10/5315MD Only a Silent Night is a lovely, tranquil arrangement from beloved composer, Marty Parks. The music is outstanding, but the true beauty of this Christmas ballad lies in Marty's original text: And only the song of the herald angels could offer the earth something glorious with only three words that could change the world: God with us! Invite God’s presence into your worship with this moving anthem.
SKU: LO.30-3453MD
UPC: 000308146462.
Mary McDonald combines two great hymns of the church and sets them in contemporary musical language. The result is God centered, theologically sound text that settles deep into your soul.
SKU: HL.49018099
ISBN 9790001158428. UPC: 884088567347. 8.25x11.75x0.457 inches. Latin - German.
On letting go(Concerning the selection of the texts) In the selection of the texts, I have allowed myself to be motivated and inspired by the concept of 'letting go'. This appears to me to be one of the essential aspects of dying, but also of life itself. We humans cling far too strongly to successful achievements, whether they have to do with material or ideal values, or relationships of all kinds. We cannot and do not want to let go, almost as if our life depended on it. As we will have to practise the art of letting go at the latest during our hour of death, perhaps we could already make a start on this while we are still alive. Tagore describes this farewell with very simple but strikingly vivid imagery: 'I will return the key of my door'. I have set this text for tenor solo. Here I imagine, and have correspondingly noted in a certain passage of the score, that the protagonist finds himself as though 'in an ocean' of voices in which he is however not drowning, but immersing himself in complete relaxation. The phenomenon of letting go is described even more simply and tersely in Psalm 90, verse 12: 'So teach us to number our days, that we may apply our hearts unto wisdom'. This cannot be expressed more plainly.I have begun the requiem with a solo boy's voice singing the beginning of this psalm on a single note, the note A. This in effect says it all. The work comes full circle at the culmination with a repeat of the psalm which subsequently leads into a resplendent 'lux aeterna'. The intermediate texts of the Requiem which highlight the phenomenon of letting go in the widest spectrum of colours originate on the one hand from the Latin liturgy of the Messa da Requiem (In Paradisum, Libera me, Requiem aeternam, Mors stupebit) and on the other hand from poems by Joseph von Eichendorff, Hermann Hesse, Rabindranath Tagore and Rainer Maria Rilke.All texts have a distinctive positive element in common and view death as being an organic process within the great system of the universe, for example when Hermann Hesse writes: 'Entreiss dich, Seele, nun der Zeit, entreiss dich deinen Sorgen und mache dich zum Flug bereit in den ersehnten Morgen' ['Tear yourself way , o soul, from time, tear yourself away from your sorrows and prepare yourself to fly away into the long-awaited morning'] and later: 'Und die Seele unbewacht will in freien Flugen schweben, um im Zauberkreis der Nacht tief und tausendfach zu leben' ['And the unfettered soul strives to soar in free flight to live in the magic sphere of the night, deep and thousandfold']. Or Joseph von Eichendorff whose text evokes a distant song in his lines: 'Und meine Seele spannte weit ihre Flugel aus. Flog durch die stillen Lande, als floge sie nach Haus' ['And my soul spread its wings wide. Flew through the still country as if homeward bound.']Here a strong romantically tinged occidental resonance can be detected which is however also accompanied by a universal spirit going far beyond all cultures and religions. In the beginning was the sound Long before any sort of word or meaningful phrase was uttered by vocal chords, sounds, vibrations and tones already existed. This brings us back to the music. Both during my years of study and at subsequent periods, I had been an active participant in the world of contemporary music, both as percussionist and also as conductor and composer. My early scores had a somewhat adventurous appearance, filled with an abundance of small black dots: no rhythm could be too complicated, no register too extreme and no harmony too dissonant. I devoted myself intensely to the handling of different parameters which in serial music coexist in total equality: I also studied aleatory principles and so-called minimal music.I subsequently emigrated and took up residence in Spain from where I embarked on numerous travels over the years to India, Africa and South America. I spent repeated periods during this time as a resident in non-European countries. This meant that the currents of contemporary music swept past me vaguely and at a great distance. What I instead absorbed during this period were other completely new cultures in which I attempted to immerse myself as intensively as possible.I learned foreign languages and came into contact with musicians of all classes and styles who had a different cultural heritage than my own: I was intoxicated with the diversity of artistic potential.Nevertheless, the further I distanced myself from my own Western musical heritage, the more this returned insistently in my consciousness.The scene can be imagined of sitting somewhere in the middle of the Brazilian jungle surrounded by the wailing of Indians and out of the blue being provided with the opportunity to hear Beethoven's late string quartets: this can be a heart-wrenching experience, akin to an identity crisis. This type of experience can also be described as cathartic. Whatever the circumstances, my 'renewed' occupation with the 'old' country would not permit me to return to the point at which I as an audacious young student had maltreated the musical parameters of so-called contemporary music. A completely different approach would be necessary: an extremely careful approach, inching my way gradually back into the Western world: an approach which would welcome tradition back into the fold, attempt to unfurl the petals and gently infuse this tradition with a breath of contemporary life.Although I am aware that I will not unleash a revolution or scandal with this approach, I am nevertheless confident as, with the musical vocabulary of this Requiem, I am travelling in an orbit in which no ballast or complex structures will be transported or intimated: on the contrary, I have attempted to form the message of the texts in music with the naivety of a 'homecomer'. Harald WeissColonia de San PedroMarch 2009.
SKU: AP.48071S
UPC: 038081557601. 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. Tongue-in-cheek and beautiful, Bottom of the Ninths is the perfect way to delve into these masterworks with young players in a fun context! All sections remain in 1st position, in the key of D major, with no high 3's or low 1's as the melodies are passed throughout the orchestra. Easy to play and showcasing the beauty of these great composers, this piece, arranged by Bob Phillips, would shine at a festival or contest. The medley features Take Me Out to the Ball Game; the opening theme from Schubert's Symphony No. 9 which is, of course, at the beginning of that work; the famous Going Home theme from the middle of Dvorák's Symphony No. 9; and the Ode to Joy theme from Beethoven's Symphony No. 9, which is at the end, or the bottom, of the 9th. Correlated to Sound Innovations for String Orchestra, Book 1, Level 5. (2:30) This title available in MakeMusic Cloud.
SKU: AP.48071
UPC: 038081557595. 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. Tongue-in-cheek and beautiful, Bottom of the Ninths is the perfect way to delve into these masterworks with young players in a fun context! All sections remain in 1st position, in the key of D major, with no high 3's or low 1's as the melodies are passed throughout the orchestra. Easy to play and showcasing the beauty of these great composers, this piece, arranged by Bob Phillips, would shine at a festival or contest. The medley features Take Me Out to the Ball Game; the opening theme from Schubert's Symphony No. 9 which is, of course, at the beginning of that work; the famous Going Home theme from the middle of Dvorák's Symphony No. 9; and the Ode to Joy theme from Beethoven's Symphony No. 9, which is at the end, or the bottom, of the 9th. Correlated to Sound Innovations for String Orchestra, Book 1, Level 5. (2:30) This title is available in MakeMusic Cloud.
SKU: AP.48073S
UPC: 038081557625. 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. Puttin' on the Pizz by Chris Bernotas is sure to become a favorite selection of students and directors. The descending bass line sets the stage for this fun piece. All notes stay in first position and the string orchestra plays pizzicato throughout. Students also have the chance to act as the percussion section. With the optional use of 'swinging' eighth notes, Puttin' on the Pizz could be a fun way to introduce a jazzy style to the string orchestra. Everyone in the audience (and in the orchestra) will be tapping their toes to this piece. Violin 2 and Viola are doubled, as are Cello and String Bass, which will work perfectly for younger string orchestras. Correlated to Sound Innovations for String Orchestra, Book 1, Level 4. (2:30) This title is available in MakeMusic Cloud.
SKU: AP.48073
UPC: 038081557618. English.
SKU: AP.34001S
UPC: 038081376226. English.
Stretch your performance music budget further with a collection of pieces for the price of one! The Alfred and Belwin Signature Performance Series combine several best-selling pieces by our popular composers and arrangers into one set of score and parts. Made for young bands and orchestras, each set contains full-length pieces that can be used together in one concert or separately, with themes such as classic popular Christmas, movies, international, pop, and Classics appropriate for Contest. Also available for choir and handbell choir. Enjoy quality music at a great value price! This title features classics from Merle Isaac, perfect for festivals, concerts, and contests. Titles: The Apollo Suite * Quinto-Quinto Suite * Belvedere Suite.
SKU: AP.31604
UPC: 038081349534. English. Traditional English Carol.
You'll have no trouble getting into the Christmas spirit with this delightful adaptation of a traditional English Carol. Coated with a layer of sugar frosting, this piece will warm you up with its joyous harmonies and charming melodies, making you feel like you are sitting in front of a crackly fire sipping hot cocoa on a crisp wintry night. Sure to become an audience favorite!
SKU: SU.32040140
2222; 4331; timp, 2 perc, pno; stgs Duration: 13'30 Composed: 2016 Published by: Amy Mills Music, LLC Like a modern Pictures at an Exhibition…. Ha Shamayim is an original piece for orchestra that was inspired by photographs taken by the Hubble space telescope. Each section is inspired by one photo; the title of each section is the title that NASA gave to the photograph. The words Ha Shamayim are Hebrew for The Heavens. They are written in Genesis 1:1, In the beginning God created the heavens and the earth. The words are also seen in Psalm 19. Section I: Warped Edge-On Galaxy ESO 510-G13 The piece begins in outer space with its glistening stars. Glissandi are used to depict the strange but beautiful warp seen in the photograph. Section II: Galaxy Fires at Neighboring Galaxy Suddenly the piece erupts as one galaxy fires blue gas at its neighbor. They engage in a cosmic battle. Section III: Youthful-looking Galaxy May Be an Adult The adolescent galaxy is personified by a humorous, gawky melody reminiscent of teenage boys who walk on feet that are still too big. Occasionally there is an argument with an authority figure, but the joy of exploring the universe quickly returns. Section IV: Star Birth in Galaxy M83 The dramatic photograph looks like a womb with veins. The music begins on one note, then it begins to explore the initial swelling and stretching. It morphs into an energetic fast theme, still growing. Ultimately it becomes glorious and expansive, like the new star. Section V: String of ‘Cosmic Pearls’ Surrounds an Exploding Star The first theme is a happy circle dance inspired by the circle of white dots in the photograph. The second theme is noble and joyful. It is reminiscent of the melody in the famous chorus in Haydn’s The Creation with the words from Psalm 19, The heavens are telling the glory of God. The music then has flashbacks to the earlier sections, and ends in triumph. The five sections in Ha Shamayim are continuous with no breaks. Difficulty Level: 5 (Advanced/Professional) See composer website for audio sample. Performance materials available on rental only:.
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.
SKU: PR.41641576L
UPC: 680160636549. 11 x 17 inches.
SKU: AP.49051S
ISBN 9781470645656. UPC: 038081561240. 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. This energetic, modern-sounding selection was written to improve your students' reading of notes on the G string and is focused on this often-neglected lower range of the instruments. The minor and modal harmonies, hard-driving rhythms, and stunning dynamic contrasts all combine to give the piece a primal and primitive sound that students will love. A slow, introspective middle section provides a dramatic contrast to the piece's initial surge and will help develop bow control and steady pizzicato pulse. G Force by Richard Meyer is perfect for festival or contest! (2:50).
SKU: AP.48055S
ISBN 9781470656980. UPC: 038081557502. English. John Williams except Care of Magical Creatures Encounter composed by Nicholas Hooper.
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. Whether or not they have the Harry Potter: Wizards Unite augmented reality game on their mobile device, your students are sure to recognize the melodies from Harry Potter: Wizards Unite by John Williams, arranged by Douglas E. Wagner. Five diverse excerpts from the game are included in this medley: Hedwig's Theme, Profile: Selfie Avatar, Fawkes the Phoenix, Care of Magical Creatures Encounter, and Victory Fanfare. So, with wands at the ready, let the magic begin! (3:30) This title is available in MakeMusic Cloud.
SKU: AP.49051
ISBN 9781470645649. UPC: 038081561233. 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. This energetic, modern-sounding selection was written to improve your students' reading of notes on the G string and is focused on this often-neglected lower range of the instruments. The minor and modal harmonies, hard-driving rhythms, and stunning dynamic contrasts all combine to give the piece a primal and primitive sound that students will love. A slow, introspective middle section provides a dramatic contrast to the piece's initial surge and will help develop bow control and steady pizzicato pulse. G Force by Richard Meyer is perfect for festival or contest! (2:50) This title is available in MakeMusic Cloud.
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