SKU: AP.49425
ISBN 9781470650643. UPC: 038081571423. English.
Mark Wood's multi-level arrangement of Any Way You Want It / Don't Stop Believin' showcases fun rock styles and classical technique. Right from the first notes with the anticipated first rhythm to the incorporation of the Don't Stop Believing ending, your students can celebrate the great band Journey and their fantastic rock riffs! (3:30).
SKU: AP.49425S
ISBN 9781470650650. UPC: 038081571430. English.
SKU: AP.45840S
UPC: 038081524092. English. Starship; Miami Sound Machine; Cher.
The '80s had a sound of its own and this medley by Patrick Roszell captures it! Remember big hair and big hits as you play Nothing's Gonna Stop Us Now, Words Get in the Way, and If I Could Turn Back Time. Put on your whitewashed jeans and grab your walkman---this is '80s Soundtrax! (4:30).
SKU: HL.48024551
ISBN 9781784544393. UPC: 888680916695. 7.25x10.0x0.472 inches. Text: Jacopone de Todi.
Composed in 2015, Stabat Mater was commissioned by the Genesis Foundation for Harry Christophers and The Sixteen. Scored for mixed chorus and string orchestra, it is a long-awaited sequel to the early masterpiece Seven Last Words from the Cross (1993), for the same forces; indeed, the later work begins with the pianissimo 'dying breaths' with which the earlier score so unforgettably closes. Cast in four movements, Stabat Mater has a duration of 53 minutes. Following the premiere London's Financial Times commented that the composer speaks of a 'painful world of loss, violence, and spiritual desolation'. Both sides of MacMillan are to be found here, the devotional and the painter of bold, dramatic canvases - the former in the ethereal writing for solo and ensemble voices, the latter in the lacerating blows and feverish anxieties depicted in the string ensemble..
SKU: HL.48024654
ISBN 9781784545017. UPC: 888680949181. 8.25x11.75x0.288 inches.
New edition of this hitherto unpublished 13-minute work, which was first performed in 2002 by the Philharmonia Orchestra, conducted by Jukka-Pekka Saraste. The title clearly suggests a parade; but, as Lindberg points out, in Spanish, 'parada' also denotes a bus-stop or taxi-rank: a wry acknowledgement, perhaps, of the long wait for a slow movement from this composer at that time. For him, Parada is the middle panel of a loosely conceived triptych, the flanking sections of which are Feria (1997) and Cantigas (1999). Lindberg draws a parallel with Debussys Images, in which each of the three parts was conceived and premiered separately, and retains its own identity.
SKU: AP.43863S
UPC: 038081507118. English. Traditional American Folk Song.
Next stop---Fiddlin' Casey Jones--- a piece that's guaranteed to get both the orchestra and audience rolling along! This is a sparkling arrangement of the beloved American folk song that beginning / intermediate string players will have the skills to play, but more advanced students will find delightfully challenging. All sections of the orchestra are featured, with opportunities for optional improvised solos. Fiddlin' Casey Jones is a great opener or closer for any concert program. All aboard! (2:20).
SKU: AP.48057S
ISBN 9781470652340. UPC: 038081557830. English.
Doug Adams' arrangement of Panic! At the Disco's chart-topping pop-rock anthem, High Hopes, is going to excite your string orchestra and audience. It will be hard to stop them from singing along. Scored perfectly for younger string orchestras, students will fill the hall with a rich sound and strong rhythmic presence. (2:00).
SKU: AP.48057
ISBN 9781470652258. UPC: 038081557823. English.
SKU: AP.46704S
UPC: 038081537009. English.
Written in a flowing waltz style, this piece depicts the non-stop motion of an old-fashioned carousel going round and round with horses smoothly gliding up and down. In the keys of D Major and G Major, this is a perfect piece for first year players as all fingered notes occur on the D and A strings (D and G for bass). The violin 2 and viola parts are doubled, as are the cello and bass parts. Correlated with Sound Innovations Book 1, Level 5, Carousel by Bob Phillips is easily accessible by beginners and advancing students alike.
SKU: KN.8396
UPC: 822795083965.
This dance-style original in 6/8 time brings all the magic of Scottish fiddle music to developing string orchestras. Pizzicato, double-stop (or divisi) drones, and plenty of rhythmic energy make it an outstanding selection for concert and contest performances. Duration 2:00.
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: KN.8601
UPC: 822795086010.
This piece is based on a song written by Margaret Embers McGee in 1918 called My Paddle's Keen And Bright, which became a popular song sung by scouts around the campfire. The strong beat depicts the steady movement of paddles, and everyone gets an opportunity to play the A minor melody that passes from section to section. A contrasting A major section in the middle portrays a calm place on the lake where one might stop paddling and enjoy the scenery. Duration 2:50. Available in SmartMusic.
SKU: AP.46704
UPC: 038081536996. English.
SKU: PR.41641576L
UPC: 680160636549. 11 x 17 inches.
SKU: AP.31627S
UPC: 038081354026. English.
Join the celebration of the 50th anniversary of the annual string teachers' workshop in Birch Bay, Washington with this two-movement commemoration. The piece develops musical style and provides a great challenge! First presenting a tender and wistful folksong, and then moving to a rousing, virtuosic, fiddle-tune meets ragtime feel, this energetic romp is a non-stop workout that your students will love to play, practice and perform! This title is available in MakeMusic Cloud.
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