SKU: AP.49426S
ISBN 9781470650940. UPC: 038081571850. English.
The composer, Mark Wood, writes: Come Fly with Me comes from my personal visualization of flying while improvising music. In writing a work which combines classical and American rock styles, I have created a vehicle for musicians to spread their wings and truly learn the beautiful art of composing their own music on the spot in the improvisation section. (4:00).
SKU: AP.49426
ISBN 9781470650933. UPC: 038081571843. English.
SKU: KJ.SO373F
UPC: 8402704687.
Want a one-of-a-kind novelty? This is the piece! Flying Fiddlesticks includes...fiddlesticks! It's fun, it's safe, it helps students to play with steady pulse. It's about building teamwork throughout the orchestra. A Learning Bank is included in the score and parts, and features instructions and photos regarding safe handling and performing with fiddlesticks (i.e. disposable chopsticks). Duration: 2:15.
SKU: KJ.SO373C
UPC: 8402704688.
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: 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.
SKU: AP.49071S
ISBN 9781470648183. UPC: 038081567310. English.
Ride the Wind by Mark Wood showcases how pop/rock music fits perfectly with orchestras. The song starts with tremolo building into the downbeat---from a light breeze to a strong wind blowing and flying in the air. The middle section adds arpeggios and solos for the first violin, building up to a key change finale. This composition features soaring melodies and rockin' cellos and bass! For string orchestra with optional rock rhythm section parts. (2:40)Download Play-Along Track
SKU: AP.49071
ISBN 9781470648176. UPC: 038081567303. English.
SKU: AP.48078
ISBN 9781470656911. UPC: 038081557632. 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. Using the notes of the D major scale, Dizzy Digits by Richard Meyer was written to improve early readers' finger dexterity and note-reading skills. Your students are sure to rise to the challenge of this fun, perpetual-motion style selection that is great for concert or contest. Start slow and increase the tempo a bit each day and watch those digits start flying! A great motivator for year one and two string students! Correlated to String Explorer, Book 1, Unit 8. (2:00) This title is available in MakeMusic Cloud.
SKU: AP.48078S
ISBN 9781470656928. UPC: 038081557649. English.
SKU: AP.47475S
UPC: 038081547602. English.
Vivid imagery, colorful orchestrations, and a variety of styles all combine to make this one-of-a-kind selection a journey that your students and audience will never forget! In the form of a five-part rondo with changing tempos, this piece will let creativity fly!
SKU: BR.PB-5342-07
Words are not enough to praise this exemplary edition, resulting from many years of systematic editorial work on the sources. Breitkopf's source-critical, practice-oriented edition by Clive Brown and Peter Hauschild will provide valuable new impulses i. Symphony; Classical. Study Score. 88 pages. Duration 35'. Breitkopf and Haertel #PB 5342-07. Published by Breitkopf and Haertel (BR.PB-5342-07).
ISBN 9790004210970. 6.5 x 9 inches.
For the present Urtext edition of Beethoven's Symphony No. 2, the editor also consulted certain sources and authentic new variants for the first time; among them are the nonet arrangement made by Beethoven's pupil Ferdinand Ries in 1807, thus with authentic variants. Thanks to his vast knowledge, the editor has uncovered a number of errors and contradictions in the sources. The basic differences with respect to other editions chiefly concern the articulation and dynamics in movements 1, 2 and 4. They can easily be found in the Critical Commentary of the conducting score.Words are not enough to praise this exemplary edition, resulting from many years of systematic editorial work on the sources. Breitkopf's source-critical, practice-oriented edition by Clive Brown and Peter Hauschild will provide valuable new impulses in the interpretation of Beethoven's music. (Kurt Masur, 2006).
SKU: AP.49448
ISBN 9781470650384. UPC: 038081571164. English.
Many special experiences are joyful or thrilling, such as flying for the first time, a big sports moment, or the excitement of a first concert. Whatever it might be, Cooper Ford's Exhilaration is a musical expression of the emotions that come from these memorable moments. Young musicians should find this both easily accessible and fun to play, as melodies are passed around to different sections while reinforcing foundational rhythms, notes within a D major scale, and playing with a big sound. Written with the young orchestra in mind, 2nd violin and viola parts are doubled, as well as cello and string bass. (1:40) This title is available in MakeMusic Cloud.
SKU: AP.49464
ISBN 9781470650223. UPC: 038081571003. English.
Written to help students develop their spiccato bow stroke, this energetic piece is a joyful celebration from the very first measure. The left hand challenges are minimal, allowing the players to focus on controlling their bow on and off the string. A contrasting call-and-response B section in minor mode briefly slows the pace down before the party resumes again. Over time, the overall tempo can be increased as the students become more and more proficient with this all important bow technique. Correlated to Sound Innovations, Book 2, Level 2. (2:30).
SKU: AP.49464S
ISBN 9781470650230. UPC: 038081571010. English.
SKU: AP.35968S
UPC: 038081417233. English.
Let your string bass section swing in this easy-to-play blues piece as they build skills and enjoy the motivation of being in the spotlight. Basses carry the melody much of the time, while also accompanying the melody as it weaves through other sections. All parts stay in first position, while the bass shifts briefly to third position. Educational objectives include playing accidentals, contrasting between staccato and legato, and learning to play in a swing style. (2:52).
SKU: AP.24936S
UPC: 038081275895. English.
Imagine the stately bird, the blue heron, in the marshes along Lake Erie. When standing on one leg in the water, the bird is visible to the careful observer, yet their large wingspan makes them majestic flyers. This piece calls for a moderate tempo. After the short introduction, the next 16 measures are played piano, mezzo forte and forte. This is followed by two versions with variations. All players get to play the melody and bowings and dynamics make the music more interesting for the audience and performers as the piece comes to a loud ending.
SKU: HL.50510086
ISBN 9790080400715. UPC: 073999621211. 5.5x8.0x0.091 inches. Hungarian, English, German. Bela Bartok.
'Dances of Transylvania is the orchestral version of 'Sonatina' (1915). In Sonatina, Bartok had arranged Romanian instrumental (chiefly bagpipe) music. The three movements of the work, 'Bagpipers', 'Bear Dance' and 'Finale' comprise five melodies. Bartok explained that each of the two melodies of the first movement had been played by two pipers, the second by a peasant violinist using the lower strings of the instrument to reproduce the sounds of a bear, and the two melodies of the 'Finale' again by two violinists. In the orchestral version Bartok was out to reproduce the original sonority created by the peasants.' (HCD 32505 Bartok New Series Vol. 5, Virag Buky).
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