| Annie’s Gone Home [Score] - Beginner Carl Fischer
Orchestra Cello, Contrabass, Piano, Viola, Violin 1, Violin 2, Violin 3 - Grade ...(+)
Orchestra Cello, Contrabass, Piano, Viola, Violin 1, Violin 2, Violin 3 - Grade 1.5 SKU: CF.FAS108F Composed by Bud Woodruff. First-Plus String Orchestra (FAS). Full score. With Standard notation. 8 pages. Carl Fischer Music #FAS108F. Published by Carl Fischer Music (CF.FAS108F). ISBN 9781491151761. UPC: 680160909261. 9 x 12 inches. Annie's Gone Home, composed in the style of a spiritual, was written as a tribute to composer Bud Woodruff's mother. The tune is built on phrases of easily understandable material, but the poignant nature of the piece is marked with profundity. From the subtle bass solo to the emotional high points, the piece is inspired by this strong woman in the life of the composer.
Annies Gone Home is a tribute to my Mother, Annette Fenner Hains (19232017). Her siblings and cousins always called her Annie. She loved music, and her influence was the primary inspiration for me to go into music. Her tastes were wildly diverse, loving everything from symphonic music to Country/Western, to various styles of folk music, to pop, to marches, but she had a very tender spot for hymns and spirituals. While it is easy to interpret grief in this music, and its presence is undeniable, it is really intended more as a song of the ultimate triumph of goodness. In her wisdom, she was able to capture deep thoughts within simple phrases, which I have also tried to capture. Her life was one of frequent struggles, yet she was inspiring to many. She emerged from every difficulty, never unscathed, but always victorious, with clear eyes and head held high, until her last battle, which brought about her greatest victory. This sentiment is what I tried to capture. If too slow a tempo is taken, that feeling is lost and a sense of grief takes over. That may be what a conductor wants to convey, but is not what I intended. . Annieas Gone HomeA is a tribute to my Mother, Annette Fenner Hains (1923a2017). Her siblings and cousins always called her aAnnie.a She loved music, and her influence was the primary inspiration for me to go into music. Her tastes were wildly diverse, loving everything from symphonic music to Country/Western, to various styles of folk music, to pop, to marches, but she had a very tender spot for hymns and spirituals. While it is easy to interpret grief in this music, and its presence is undeniable, it is really intended more as a song of the ultimate triumph of goodness. In her wisdom, she was able to capture deep thoughts within simple phrases, which I have also tried to capture. Her life was one of frequent struggles, yet she was inspiring to many. She emerged from every difficulty, never unscathed, but always victorious, with clear eyes and head held high, until her last battle, which brought about her greatest victory. This sentiment is what I tried to capture. If too slow a tempo is taken, that feeling is lost and a sense of grief takes over. That may be what a conductor wants to convey, but is not what I intended. . Annieas Gone HomeA is a tribute to my Mother, Annette Fenner Hains (1923a2017). Her siblings and cousins always called her aAnnie.a She loved music, and her influence was the primary inspiration for me to go into music. Her tastes were wildly diverse, loving everything from symphonic music to Country/Western, to various styles of folk music, to pop, to marches, but she had a very tender spot for hymns and spirituals. While it is easy to interpret grief in this music, and its presence is undeniable, it is really intended more as a song of the ultimate triumph of goodness. In her wisdom, she was able to capture deep thoughts within simple phrases, which I have also tried to capture. Her life was one of frequent struggles, yet she was inspiring to many. She emerged from every difficulty, never unscathed, but always victorious, with clear eyes and head held high, until her last battle, which brought about her greatest victory. This sentiment is what I tried to capture. If too slow a tempo is taken, that feeling is lost and a sense of grief takes over. That may be what a conductor wants to convey, but is not what I intended. . Annie's Gone Home is a tribute to my Mother, Annette Fenner Hains (1923-2017). Her siblings and cousins always called her Annie. She loved music, and her influence was the primary inspiration for me to go into music. Her tastes were wildly diverse, loving everything from symphonic music to Country/Western, to various styles of folk music, to pop, to marches, but she had a very tender spot for hymns and spirituals. While it is easy to interpret grief in this music, and its presence is undeniable, it is really intended more as a song of the ultimate triumph of goodness. In her wisdom, she was able to capture deep thoughts within simple phrases, which I have also tried to capture. Her life was one of frequent struggles, yet she was inspiring to many. She emerged from every difficulty, never unscathed, but always victorious, with clear eyes and head held high, until her last battle, which brought about her greatest victory. This sentiment is what I tried to capture. If too slow a tempo is taken, that feeling is lost and a sense of grief takes over. That may be what a conductor wants to convey, but is not what I intended. . Annie's Gone Home is a tribute to my Mother, Annette Fenner Hains (1923-2017). Her siblings and cousins always called her Annie. She loved music, and her influence was the primary inspiration for me to go into music. Her tastes were wildly diverse, loving everything from symphonic music to Country/Western, to various styles of folk music, to pop, to marches, but she had a very tender spot for hymns and spirituals. While it is easy to interpret grief in this music, and its presence is undeniable, it is really intended more as a song of the ultimate triumph of goodness. In her wisdom, she was able to capture deep thoughts within simple phrases, which I have also tried to capture. Her life was one of frequent struggles, yet she was inspiring to many. She emerged from every difficulty, never unscathed, but always victorious, with clear eyes and head held high, until her last battle, which brought about her greatest victory. This sentiment is what I tried to capture. If too slow a tempo is taken, that feeling is lost and a sense of grief takes over. That may be what a conductor wants to convey, but is not what I intended. Annie’s Gone Home is a tribute to my Mother, Annette Fenner Hains (1923–2017). Her siblings and cousins always called her “Annie.†She loved music, and her influence was the primary inspiration for me to go into music. Her tastes were wildly diverse, loving everything from symphonic music to Country/Western, to various styles of folk music, to pop, to marches, but she had a very tender spot for hymns and spirituals.While it is easy to interpret grief in this music, and its presence is undeniable, it is really intended more as a song of the ultimate triumph of goodness. In her wisdom, she was able to capture deep thoughts within simple phrases, which I have also tried to capture. Her life was one of frequent struggles, yet she was inspiring to many. She emerged from every difficulty, never unscathed, but always victorious, with clear eyes and head held high, until her last battle, which brought about her greatest victory. This sentiment is what I tried to capture. If too slow a tempo is taken, that feeling is lost and a sense of grief takes over. That may be what a conductor wants to convey, but is not what I intended. $7.50 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Annie’s Gone Home - Beginner Carl Fischer
Orchestra Cello, Contrabass, Piano, Viola, Violin 1, Violin 2, Violin 3 - Grade ...(+)
Orchestra Cello, Contrabass, Piano, Viola, Violin 1, Violin 2, Violin 3 - Grade 1.5 SKU: CF.FAS108 Composed by Bud Woodruff. First-Plus String Orchestra (FAS). Set of Score and Parts. With Standard notation. 8+8+5+5+2+5+2+8 pages. Duration 3 minutes, 21 seconds. Carl Fischer Music #FAS108. Published by Carl Fischer Music (CF.FAS108). ISBN 9781491151396. UPC: 680160908899. 9 x 12 inches. Key: D major. Annie's Gone Home, composed in the style of a spiritual, was written as a tribute to composer Bud Woodruff's mother. The tune is built on phrases of easily understandable material, but the poignant nature of the piece is marked with profundity. From the subtle bass solo to the emotional high points, the piece is inspired by this strong woman in the life of the composer.
Annies Gone Home is a tribute to my Mother, Annette Fenner Hains (19232017). Her siblings and cousins always called her Annie. She loved music, and her influence was the primary inspiration for me to go into music. Her tastes were wildly diverse, loving everything from symphonic music to Country/Western, to various styles of folk music, to pop, to marches, but she had a very tender spot for hymns and spirituals. While it is easy to interpret grief in this music, and its presence is undeniable, it is really intended more as a song of the ultimate triumph of goodness. In her wisdom, she was able to capture deep thoughts within simple phrases, which I have also tried to capture. Her life was one of frequent struggles, yet she was inspiring to many. She emerged from every difficulty, never unscathed, but always victorious, with clear eyes and head held high, until her last battle, which brought about her greatest victory. This sentiment is what I tried to capture. If too slow a tempo is taken, that feeling is lost and a sense of grief takes over. That may be what a conductor wants to convey, but is not what I intended. . Annieas Gone HomeA is a tribute to my Mother, Annette Fenner Hains (1923a2017). Her siblings and cousins always called her aAnnie.a She loved music, and her influence was the primary inspiration for me to go into music. Her tastes were wildly diverse, loving everything from symphonic music to Country/Western, to various styles of folk music, to pop, to marches, but she had a very tender spot for hymns and spirituals. While it is easy to interpret grief in this music, and its presence is undeniable, it is really intended more as a song of the ultimate triumph of goodness. In her wisdom, she was able to capture deep thoughts within simple phrases, which I have also tried to capture. Her life was one of frequent struggles, yet she was inspiring to many. She emerged from every difficulty, never unscathed, but always victorious, with clear eyes and head held high, until her last battle, which brought about her greatest victory. This sentiment is what I tried to capture. If too slow a tempo is taken, that feeling is lost and a sense of grief takes over. That may be what a conductor wants to convey, but is not what I intended. . Annieas Gone HomeA is a tribute to my Mother, Annette Fenner Hains (1923a2017). Her siblings and cousins always called her aAnnie.a She loved music, and her influence was the primary inspiration for me to go into music. Her tastes were wildly diverse, loving everything from symphonic music to Country/Western, to various styles of folk music, to pop, to marches, but she had a very tender spot for hymns and spirituals. While it is easy to interpret grief in this music, and its presence is undeniable, it is really intended more as a song of the ultimate triumph of goodness. In her wisdom, she was able to capture deep thoughts within simple phrases, which I have also tried to capture. Her life was one of frequent struggles, yet she was inspiring to many. She emerged from every difficulty, never unscathed, but always victorious, with clear eyes and head held high, until her last battle, which brought about her greatest victory. This sentiment is what I tried to capture. If too slow a tempo is taken, that feeling is lost and a sense of grief takes over. That may be what a conductor wants to convey, but is not what I intended. . Annie's Gone Home is a tribute to my Mother, Annette Fenner Hains (1923-2017). Her siblings and cousins always called her Annie. She loved music, and her influence was the primary inspiration for me to go into music. Her tastes were wildly diverse, loving everything from symphonic music to Country/Western, to various styles of folk music, to pop, to marches, but she had a very tender spot for hymns and spirituals. While it is easy to interpret grief in this music, and its presence is undeniable, it is really intended more as a song of the ultimate triumph of goodness. In her wisdom, she was able to capture deep thoughts within simple phrases, which I have also tried to capture. Her life was one of frequent struggles, yet she was inspiring to many. She emerged from every difficulty, never unscathed, but always victorious, with clear eyes and head held high, until her last battle, which brought about her greatest victory. This sentiment is what I tried to capture. If too slow a tempo is taken, that feeling is lost and a sense of grief takes over. That may be what a conductor wants to convey, but is not what I intended. . Annie's Gone Home is a tribute to my Mother, Annette Fenner Hains (1923-2017). Her siblings and cousins always called her Annie. She loved music, and her influence was the primary inspiration for me to go into music. Her tastes were wildly diverse, loving everything from symphonic music to Country/Western, to various styles of folk music, to pop, to marches, but she had a very tender spot for hymns and spirituals. While it is easy to interpret grief in this music, and its presence is undeniable, it is really intended more as a song of the ultimate triumph of goodness. In her wisdom, she was able to capture deep thoughts within simple phrases, which I have also tried to capture. Her life was one of frequent struggles, yet she was inspiring to many. She emerged from every difficulty, never unscathed, but always victorious, with clear eyes and head held high, until her last battle, which brought about her greatest victory. This sentiment is what I tried to capture. If too slow a tempo is taken, that feeling is lost and a sense of grief takes over. That may be what a conductor wants to convey, but is not what I intended. Annie’s Gone Home is a tribute to my Mother, Annette Fenner Hains (1923–2017). Her siblings and cousins always called her “Annie.†She loved music, and her influence was the primary inspiration for me to go into music. Her tastes were wildly diverse, loving everything from symphonic music to Country/Western, to various styles of folk music, to pop, to marches, but she had a very tender spot for hymns and spirituals.While it is easy to interpret grief in this music, and its presence is undeniable, it is really intended more as a song of the ultimate triumph of goodness. In her wisdom, she was able to capture deep thoughts within simple phrases, which I have also tried to capture. Her life was one of frequent struggles, yet she was inspiring to many. She emerged from every difficulty, never unscathed, but always victorious, with clear eyes and head held high, until her last battle, which brought about her greatest victory. This sentiment is what I tried to capture. If too slow a tempo is taken, that feeling is lost and a sense of grief takes over. That may be what a conductor wants to convey, but is not what I intended. $53.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Paint Me Choral 3-part SSA, Piano Carl Fischer
Choral SSA choir, piano SKU: CF.CM9585 Composed by Debra Morton. Fold. Pe...(+)
Choral SSA choir, piano SKU: CF.CM9585 Composed by Debra Morton. Fold. Performance Score. 12 pages. Duration 2 minutes, 59 seconds. Carl Fischer Music #CM9585. Published by Carl Fischer Music (CF.CM9585). ISBN 9781491154076. UPC: 680160912575. 6.875 x 10.5 inches. Key: G major. English. Original. Good friends see the best in us. They tend to downplay our faults while applauding our strengths. In short, they encourage us to be the best we can be, maybe even a little more. The text of Paint Me was born out of the desire to be that person my best friend thinks I am. To Mary Jo, my sister and best friend. May I really be that person you see and love. In setting the text of Paint Me to music, I tried to let the cadence of the words dictate the rhythm of the music. Use rubato, word stress and syllabic stress to enhance this. Remember, no two eighth notes are alike, so dont be afraid to let the interior part of a phrase move along, while relaxing the beginning and ending. I would recommend a straight tone as opposed to vibrato for the held notes, since the accompaniment plays around with other harmonies while choral chords are being held. Diction is so important in this song. You have a great opportunity to paint the words, as well as making every idea understood. Enjoy adding the color and shading to make this piece of art your own. Good friends see the best in us. They tend to downplay our faults while applauding our strengths. In short, they encourage us to be the best we can be, maybe even a little more. The text of Paint MeA was born out of the desire to be that person my best friend thinks I am. To Mary Jo, my sister and best friend. May I really be that person you see and love. In setting the text of Paint Me to music, I tried to let the cadence of the words dictate the rhythm of the music. Use rubato, word stress and syllabic stress to enhance this. Remember, no two eighth notes are alike, so donat be afraid to let the interior part of a phrase move along, while relaxing the beginning and ending. I would recommend a straight tone as opposed to vibrato for the held notes, since the accompaniment plays around with other harmonies while choral chords are being held. Diction is so important in this song. You have a great opportunity to apainta the words, as well as making every idea understood. Enjoy adding the color and shading to make this piece of art your own. Good friends see the best in us. They tend to downplay our faults while applauding our strengths. In short, they encourage us to be the best we can be, maybe even a little more. The text of Paint Me was born out of the desire to be that person my best friend thinks I am. To Mary Jo, my sister and best friend. May I really be that person you see and love. In setting the text of Paint Me to music, I tried to let the cadence of the words dictate the rhythm of the music. Use rubato, word stress and syllabic stress to enhance this. Remember, no two eighth notes are alike, so don't be afraid to let the interior part of a phrase move along, while relaxing the beginning and ending. I would recommend a straight tone as opposed to vibrato for the held notes, since the accompaniment plays around with other harmonies while choral chords are being held. Diction is so important in this song. You have a great opportunity to paint the words, as well as making every idea understood. Enjoy adding the color and shading to make this piece of art your own. Good friends see the best in us. They tend to downplay our faults while applauding our strengths. In short, they encourage us to be the best we can be, maybe even a little more. The text of Paint Me was born out of the desire to be that person my best friend thinks I am. To Mary Jo, my sister and best friend. May I really be that person you see and love. In setting the text of Paint Me to music, I tried to let the cadence of the words dictate the rhythm of the music. Use rubato, word stress and syllabic stress to enhance this. Remember, no two eighth notes are alike, so don't be afraid to let the interior part of a phrase move along, while relaxing the beginning and ending. I would recommend a straight tone as opposed to vibrato for the held notes, since the accompaniment plays around with other harmonies while choral chords are being held. Diction is so important in this song. You have a great opportunity to paint the words, as well as making every idea understood. Enjoy adding the color and shading to make this piece of art your own. Good friends see the best in us. They tend to downplay our faults while applauding our strengths. In short, they encourage us to be the best we can be, maybe even a little more. The text of Paint Me was born out of the desire to be that person my best friend thinks I am.To Mary Jo, my sister and best friend. May I really be that person you see and love.In setting the text of Paint Me to music, I tried to let the cadence of the words dictate the rhythm of the music. Use rubato, word stress and syllabic stress to enhance this. Remember, no two eighth notes are alike, so don’t be afraid to let the interior part of a phrase move along, while relaxing the beginning and ending. I would recommend a straight tone as opposed to vibrato for the held notes, since the accompaniment plays around with other harmonies while choral chords are being held. Diction is so important in this song. You have a great opportunity to “paint†the words, as well as making every idea understood.Enjoy adding the color and shading to make this piece of art your own. $2.50 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| I Guds Ljus (In The Light Of God) - Intermediate Barenreiter
Mixed choir (SMezATB) - Level 3 SKU: BA.BA07417 Composed by Marten Jansso...(+)
Mixed choir (SMezATB) - Level 3 SKU: BA.BA07417 Composed by Marten Jansson. Stapled. Choral score. 28 pages. Baerenreiter Verlag #BA07417_00. Published by Baerenreiter Verlag (BA.BA07417). ISBN 9790006561469. 27 x 19 cm inches. Text Language: Swedish, English. Preface: Jansson, Mårten. “I asked my friend, the poet Einar Askestad, if he could write a poem for me about love between father and son, brothers and God. I felt that these forms of love are seldom sung about. The poem moved me greatly and I have tried to put music to these words which is simple yet full of beauty. In the four movements of this suite-like piece, various aspects of these relationships are conveyed.†(Marten Jansson)
“My music is my own and I have never tried to be original. That has always been my motto and I have only tried to use music to express all the feelings which life has to offer. This has led people to describe my music as ‘so sad that it sounds like birds who have lost their wings‘ but also as ‘the happiest classical music that we have ever heard’. My compositions are almost all sacred. They express not only my own faith but also my appreciation and respect for the timeless texts that have been used for centuries and centuries.â€
MÃ¥rten Jansson (b. 1965), elected member of the Föreningen svenska tonsättare (the Society of Swedish Composers), graduated from the Royal College of Music, Stockholm (KHM) with an MFA degree in Music Education, Dalcroze Eurhythmics and Voice. For more than ten years he was the music director and conductor of “Carmenâ€, one of the most prominent womens’ vocal ensembles in Sweden. He currently teaches choral conducting and music theory as well as giving vocal tuition at the Bolandgymnasiet and Musikskolan in his home town of Uppsala.
$15.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| The Real Country Book C Instruments [Fake Book] Hal Leonard
(C Instruments). By Various. For C Instruments. Fake Book. Softcover. 520 pages....(+)
(C Instruments). By Various. For C Instruments. Fake Book. Softcover. 520 pages. Published by Hal Leonard
$49.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Trio in F Flute, Clarinet and Bassoon. Imagine Music | | |
| Six (6) Pieces Score And Parts Horn, Violin And Piano - Intermediate Wilhelm Hansen
Violin, Horn and Piano (Score & Parts) - Grade 4 SKU: HL.14042920 Compose...(+)
Violin, Horn and Piano (Score & Parts) - Grade 4 SKU: HL.14042920 Composed by Hans Abrahamsen. Music Sales America. Softcover. Composed 2012. Edition Wilhelm Hansen #WH30687. Published by Edition Wilhelm Hansen (HL.14042920). ISBN 9788759814185. 9.5x14.25x0.107 inches. International (more than one language). Programme Note My &rsquo,6 Pieces for horn, violin and piano&rsquo, was written in 1984 as a commission from the Danish Radio for a concert where Ligeti&rsquo,s Horn Trio should receive its Danish premiere played by Danish musicians. My trio is based on my work &rsquo,Studies for Piano&rsquo,. While I wrote these studies I tried to &rsquo,conjure up&rsquo, instrumental parts inside the piano movement. When I received the commission for a horn trio I turned to six of the studies and deepened them by &rsquo,screening them&rsquo, so that their parts and moods appeared in a clearer way. Furthermore I changed the order of the movements so a new unity appeared, beginning with asteadyly hesitating &rsquo,Serenade&rsquo, in slow-motion followed by the &rsquo,Arabesque&rsquo, which hardly gets started before it stops. Then &rsquo,Blues&rsquo,, a melancholy melody and &rsquo,Marcia Funebre&rsquo,, like a fossilized picture with a dramatic threatening outburst ending with a quiet but majestic melody in violin and horn, a melody that disappears in the chords of the piano. Before the last movement &rsquo,For the Children&rsquo, is a large &rsquo,Scherzo misterioso&rsquo,. Hans Abrahamsen Six Pieces for Horn, Violin and Piano by Hans Abrahamsen. Programme Note My ’6 Pieces for horn, violin and piano’ was written in 1984 as a commission from the Danish Radio for a concert where Ligeti’s Horn Trio should receive its Danish premiere played by Danish musicians. My trio is based on my work ’Studies for Piano’. While I wrote these studies I tried to ’conjure up’ instrumental parts inside the piano movement. When I received the commission for a horn trio I turned to six of the studies and deepened them by ’screening them’ so that their partsand moods appeared in a clearer way. Furthermore I changed the order of the movements so a new unity appeared, beginning with a steadyly hesitating ’Serenade’ in slow-motion followed by the ’Arabesque’ which hardly gets started before it stops. Then ’Blues’, a melancholy melody and ’Marcia Funebre’, like a fossilized picture with a dramatic threatening outburst ending with a quiet but majestic melody in violin and horn, a melody that disappears in the chords of the piano. Before the last movement ’For the Children’ is a large ’Scherzo misterioso’.
Hans Abrahamsen $68.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| First 50 Songs You Should Play on Lap Steel Guitar Lap Steel Guitar Hal Leonard
Lap Steel Guitar SKU: HL.1136474 By Various. Guitar. Country, Pop. Softco...(+)
Lap Steel Guitar SKU: HL.1136474 By Various. Guitar. Country, Pop. Softcover. 96 pages. Published by Hal Leonard (HL.1136474). ISBN 9781705183250. UPC: 196288113492. 9.0x12.0x0.237 inches. This one-of-a-kind collection arranged by Fred Sokolow features accessible, must-know songs for anyone ready to start playing lap steel guitar, or any player wanting to expand their repertoire. Each song is presented in a combination of tab, standard notation, chords, and lyrics for the most popular songs lap steel players like to play. This collection features songs in several tunings, including open G, open E and C6, in these genres: country, Hawaiian, Western swing, rock/pop, folk, and blues. It also includes many transcriptions of solos by famous steel players. Songs include: Back in the Saddle Again â?¢ Blue Eyes Crying in the Rain â?¢ Can't Help Falling in Love â?¢ Crazy â?¢ Faded Love â?¢ Happy Trails â?¢ I'm So Lonesome I Could Cry â?¢ Mama Tried â?¢ (Ghost) Riders in the Sky (A Cowboy Legend) â?¢ Together Again â?¢ Waikiki â?¢ Walkin' After Midnight â?¢ Won't You Ride in My Little Red Wagon â?¢ Your Cheatin' Heart â?¢ and more. About First 50 You've been taking lessons, you've got a few chords under your belt, and you're ready to buy a songbook. Now what? Hal Leonard has the answers in its First 50 series. The First 50 series steers new players in the right direction. These books contain easy to intermediate arrangements for must-know songs. Each arrangement is simple and streamlined, yet still captures the essence of the tune. $19.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| To Create a Voice Concert band - Easy Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Clarinet 3, Euph...(+)
Band Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Clarinet 3, Euphonium, Euphonium T.C., Flute 1, Flute 2, Horn 1, Horn 2, Mallet Percussion 1, Mallet Percussion 2, Marimba, Oboe, Percussion 1, Percussion 2, Shaker, Snare Drum and more. - Grade 3 SKU: CF.CPS226 Composed by Carol Brittin Chambers. Concert Band (CPS). Set of Score and Parts. With Standard notation. 16+4+8+16+16+4+4+4+4+4+4+8+8+8+4+4+6+6+6+8+2+2+2+6+12+24+4 pages. Duration 3 minutes, 55 seconds. Carl Fischer Music #CPS226. Published by Carl Fischer Music (CF.CPS226). ISBN 9781491152522. UPC: 680160910021. Inspired by the memory of an influential music educator, Carol Brittin Chambers has woven a multitude of grooves, colors, and uplifting themes into To Create a Voice. Chambers has attempted to convey distinct moods and emotions that this educator tried to instill in his students. In honor of this dynamic teacher, you will hear Hot Cross Buns cleverly placed throughout the composition. To Create a Voice was commissioned by the Valley Concert Band in Stockton, California. The piece premiered in October 2017, in memory and celebration of Chris Anderson, a local musician and educator.When writing this piece, I tried to convey certain moods and emotions throughout: soulful at the beginning with calm woodwind chords and solo trombone; increased energy throughout the various sections of the piece; exploration of different grooves and colors; an uplifting, emotional ending that leaves the listener with a sense of how positive and loving Chris was.This piece is largely inspired by a specific quote from Chris:Most people would consider the sounds students first make on their instruments to be cringe-worthy, but to me that’s music to my ears, because that’s the first time students put a voice to their instrument. Over time those voices become stronger; they become clear, more confident, and get to a point where they use those voices to communicate with each other, and to their audiences.To relate to the first notes on the instrument idea, I used motifs based on the first notes most beginners ever play, do-re-mi, which are introduced at the beginning of the piece with the trombone solo, Chris’ instrument. During the section at m. 15, the brass introduce a chorale that I named Chris’ Theme while the woodwinds keep reminding us of do-re-mi. Later in the piece (mm. 71 and 79), I use these notes again, but in reverse, which becomes a reference to the first song most beginners learn, Hot Cross Buns. This section is also meant to portray Chris’ quirky and joking side. In mm. 75 and 83, Chris’ Theme presents itself again a couple of times in response to Hot Cross Buns.Toward the end, at the uplifting moment (m. 97), do-re-mi is heard again, but this time in harmony with mi-fa-sol. This represents the ultimate satisfaction we all feel as musicians when we have finally progressed enough to play in harmony with others. The half-time feeling in 3 at that moment also has significance, relating (rhythmically) to those important three notes again.I really hope you enjoy performing and listening to this piece as much as I have enjoyed creating it! $95.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| To Create a Voice Concert band [Score] - Easy Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Clarinet 3, Euph...(+)
Band Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Clarinet 3, Euphonium, Euphonium T.C., Flute 1, Flute 2, Horn 1, Horn 2, Mallet Percussion 1, Mallet Percussion 2, Marimba, Oboe, Percussion 1, Percussion 2, Shaker, Snare Drum and more. - Grade 3 SKU: CF.CPS226F Composed by Carol Brittin Chambers. Concert Band (CPS). Full score. With Standard notation. 24 pages. Carl Fischer Music #CPS226F. Published by Carl Fischer Music (CF.CPS226F). ISBN 9781491153208. UPC: 680160910700. Inspired by the memory of an influential music educator, Carol Brittin Chambers has woven a multitude of grooves, colors, and uplifting themes into To Create a Voice. Chambers has attempted to convey distinct moods and emotions that this educator tried to instill in his students. In honor of this dynamic teacher, you will hear Hot Cross Buns cleverly placed throughout the composition. To Create a Voice was commissioned by the Valley Concert Band in Stockton, California. The piece premiered in October 2017, in memory and celebration of Chris Anderson, a local musician and educator.When writing this piece, I tried to convey certain moods and emotions throughout: soulful at the beginning with calm woodwind chords and solo trombone; increased energy throughout the various sections of the piece; exploration of different grooves and colors; an uplifting, emotional ending that leaves the listener with a sense of how positive and loving Chris was.This piece is largely inspired by a specific quote from Chris:Most people would consider the sounds students first make on their instruments to be cringe-worthy, but to me that’s music to my ears, because that’s the first time students put a voice to their instrument. Over time those voices become stronger; they become clear, more confident, and get to a point where they use those voices to communicate with each other, and to their audiences.To relate to the first notes on the instrument idea, I used motifs based on the first notes most beginners ever play, do-re-mi, which are introduced at the beginning of the piece with the trombone solo, Chris’ instrument. During the section at m. 15, the brass introduce a chorale that I named Chris’ Theme while the woodwinds keep reminding us of do-re-mi. Later in the piece (mm. 71 and 79), I use these notes again, but in reverse, which becomes a reference to the first song most beginners learn, Hot Cross Buns. This section is also meant to portray Chris’ quirky and joking side. In mm. 75 and 83, Chris’ Theme presents itself again a couple of times in response to Hot Cross Buns.Toward the end, at the uplifting moment (m. 97), do-re-mi is heard again, but this time in harmony with mi-fa-sol. This represents the ultimate satisfaction we all feel as musicians when we have finally progressed enough to play in harmony with others. The half-time feeling in 3 at that moment also has significance, relating (rhythmically) to those important three notes again.I really hope you enjoy performing and listening to this piece as much as I have enjoyed creating it! $14.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| The Heart Of Lithuania Grade 3 Sc/pts Concert band Hal Leonard | | |
| Concierto No. 2, Op. 302 for Horn and Percussion [Score and Parts] Periferia Music
Horn and Percussion SKU: AY.FRH3110PM Composed by Sergio Parotti. Brass -...(+)
Horn and Percussion SKU: AY.FRH3110PM Composed by Sergio Parotti. Brass - Horn. Score & Parts. Duration 10'. Periferia Publishing #FRH3110PM. Published by Periferia Publishing (AY.FRH3110PM). ISBN 9790543576438. This work was entrusted by the solo singer (to whom it is dedicated) and the percussion orchestra Percusionistas de Buenos Aires, conducted by Fabian Bermann. I just thought in who was going to play it, both Fabris and the percussion players are great musicians and very virtuous with their instruments. It is written in only one movement, with an approximate duration of 10'. I only tried to capture the technical musical level of the interpreters. I tried to develop the melodic possibilities of the horn and the timpani, with the harmonic support of the Glockenspiel, vibes, xylophone and the marimba. Sergio Parotti. $51.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| I Want to Be the Sun Carl Fischer
Choral SA choir, piano SKU: CF.CM9795 Composed by Mark Burrows. Duration ...(+)
Choral SA choir, piano SKU: CF.CM9795 Composed by Mark Burrows. Duration 3:45. Carl Fischer Music #CM9795. Published by Carl Fischer Music (CF.CM9795). ISBN 9781491164662. UPC: 680160923571. Key: A major. English. Coty Raven Morris. Original. The text for When I Grow Up first came to me while I was teaching in Houston, Texas. I noticed that my students were becoming more and more concerned about what steps they had to take as students to secure a future for themselves decades ahead. Young people are finding themselves having to make lifelong decisions at a time where they are still in a season of exploration and wonderment. I then asked myself, What happened to discovery through play and imagination?With the help of one of my former and forever choir students, Monica Juarez, we took my original text and created illustrations of a young Coty in New Orleans, Louisiana imagining, in real time, all of the things that she could be! It was important to me that the images were of real things that I had seen growing up every day.That we are limitless and that it's only in the pressures of growing up that we can lose our creativity, I hope this text allows both singers and conductor to let their imagination take the lead and shape the journey ahead!Sing with JOY!—Coty Occasionally, when I get to visit with young people, I’ll ask, Has anyone ever asked you want to be when you grow up? All the hands go up. Children say yes, and then proceed to tell me what they want to be when they grow up. So, then I ask a follow-up question, Why on earth do you have to wait until you’re a grown-up to be somebody?!When I first read through Coty’s text, I was so moved by how clear and beautiful that message of empowerment shines through:I want to live, and that begins now. I want to be happy. And I refuse to wait until I grow up.I also was struck by her imaginative use of the four classical elements—air, water, fire, and earth—to bring us on a journey of discovery and wonder.I’ve tried my best to, not so much set Coty’s words to a tune, as to go along with her on the journey and see what music would emerge. And I’m so happy you’ve joined us on the journey, too.Welcome!—Mark. $2.55 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| I Want to Be the Sun Carl Fischer
Choral SAB Choir, Piano SKU: CF.CM9794 Composed by Mark Burrows. Duration...(+)
Choral SAB Choir, Piano SKU: CF.CM9794 Composed by Mark Burrows. Duration 3:45. Carl Fischer Music #CM9794. Published by Carl Fischer Music (CF.CM9794). ISBN 9781491164655. UPC: 680160923564. Key: A major. English. Coty Raven Morris. Original. The text for When I Grow Up first came to me while I was teaching in Houston, Texas. I noticed that my students were becoming more and more concerned about what steps they had to take as students to secure a future for themselves decades ahead. Young people are finding themselves having to make lifelong decisions at a time where they are still in a season of exploration and wonderment. I then asked myself, What happened to discovery through play and imagination?With the help of one of my former and forever choir students, Monica Juarez, we took my original text and created illustrations of a young Coty in New Orleans, Louisiana imagining, in real time, all of the things that she could be! It was important to me that the images were of real things that I had seen growing up every day.That we are limitless and that it's only in the pressures of growing up that we can lose our creativity, I hope this text allows both singers and conductor to let their imagination take the lead and shape the journey ahead!Sing with JOY!—CotyOccasionally, when I get to visit with young people, I’ll ask, Has anyone ever asked you want to be when you grow up? All the hands go up. Children say yes, and then proceed to tell me what they want to be when they grow up. So, then I ask a follow-up question, Why on earth do you have to wait until you’re a grown-up to be somebody?!When I first read through Coty’s text, I was so moved by how clear and beautiful that message of empowerment shines through:I want to live, and that begins now. I want to be happy. And I refuse to wait until I grow up. I also was struck by her imaginative use of the four classical elements—air, water, fire, and earth—to bring us on a journey of discovery and wonder.I’ve tried my best to, not so much set Coty’s words to a tune, as to go along with her on the journey and see what music would emerge. And I’m so happy you’ve joined us on the journey, too.Welcome!—Mark. $2.75 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| I Will Not Be Sad In This World [Score] Theodore Presser Co.
Chamber Music Electronics, alto Flute SKU: PR.114422360 Composed by Eve B...(+)
Chamber Music Electronics, alto Flute SKU: PR.114422360 Composed by Eve Beglarian. Sws. Score. 8 pages. Duration 6:30. Theodore Presser Company #114-42236. Published by Theodore Presser Company (PR.114422360). ISBN 9781491133828. UPC: 680160683321. 9 x 12 inches. Based on an Armenian troubadour song, I WILL NOT BE SAD IN THIS WORLD is a uniquely beautiful work for alto flute (or bass flute) accompanied by a pre-recorded audio track made purely from the composer’s own singing. The result is a fluid interplay between the live flute and the composer’s multi-tracked and processed vocal sonorities. The work was created for Marya Martin’s “Eight Visions†collection (published by Presser), and is now available as a single publication. I will not be sad in this world is based on the song “Ashkharumes Akh Chim Kashil†by the legendary 18th-century Armenian troubadour Sayat Nova. The song is often played on the duduk, and your flute playing should respond to the ornamentation, intonation, and vibrato of traditional duduk playing.In playing this piece, you will want to be flexible with time: the 32nd notes are mostly notated grace notes coloring the following note, and can be compressed towards that next note for effect. Similarly, the meter should be downplayed: use the pre-recorded part to give you guideposts, and then shape your phrases quite freely around those guideposts.I strongly suggest that you listen to my demo recording of the piece, as it will give an indication of what I am looking for. I have not transcribed every note that I sang on the demo, and similarly, once you feel comfortable with the playing style, you can ornament the melody with some flexibility yourself. The notated turns are meant to indicate places where it is most natural to do some ornamentation.The piece can be played on either alto flute or bass flute. I am hoping for a certain vulnerability in your playing, so choose the flute that will help you most with that. If you are playing in a dry hall, you might consider slight amplification, not for volume, but to allow you to add reverb to your sound. It will then be easier to blend well with the tape part.Optionally, one (or even two) additional flutists may double the lines called “voice†that are part of the tape part. The additional player(s) should play more softly than the soloist, and get even softer as the piece progresses and the electronics take over.* * *Thanks to Marya Martin who commissioned the piece. Many thanks to my friend and colleague Margaret Lancaster, who tried out the piece for me and advised me about notation. Thanks also to the Civitella Ranieri Foundation who were my generous hosts while I was writing I will not be sad in this world.The audio accompaniment and the demo are available for free download from the “Additional Downloads†tab at www.presser.com/114-42236. $11.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Ben Hur Chariot Race March Brass Quintet: 2 trumpets, horn, trombone, tuba Imagine Music
Composed by Edward Taylor Paull. Arranged by Judith Katz. Published by Imagine M...(+)
Composed by Edward Taylor Paull. Arranged by Judith Katz. Published by Imagine Music (IG.CMS164).
$12.00 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Someone's Singing, Lord [Sheet music + CD]
Classroom SKU: BT.9780713663440 Gospel & Spiritual. Book with CD. 96 page...(+)
Classroom SKU: BT.9780713663440 Gospel & Spiritual. Book with CD. 96 pages. Collins Music Publishing #9780713663440. Published by Collins Music Publishing (BT.9780713663440). ISBN 9780713663440. English. This book contains 59 tried and tested songs about topics including the world, the seasons, being a friend and caring for animals. There are tuneful hymns and thought-provoking subjects, just what's needed to fill the musicslot in assembly or at Sunday school. Includes CD of backing tracks. $27.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Born With a Hammer Potenza Music
Trombone choir, tubas and drum set SKU: P2.80051 Composed by Jonathan Han...(+)
Trombone choir, tubas and drum set SKU: P2.80051 Composed by Jonathan Hansen. Chamber music, 20th century. Published by Potenza Music (P2.80051). I wrote this piece for Sergio Carolino's group Mr. SC and the Wildbones Gang as one of the many new pieces being written for the group about myths and legends, and decided to base it upon the legend of John Henry, the American folk-hero. Having been moved by this story at multiple stages in life, I have understood it variously as an ode to the power of human determination, a cautionary tale about clinging too desperately to a particular practice in a constantly evolving world, and an allegorical demonstration of the prices and benefits of ambition. It was by this last reading that I was particularly inspired in the composition of the piece. The program of the piece abstractly follows John Henry's portent birth, the state of his occupation, the machine's challenge against his livelihood, his race against said machine, and his victory, which ultimately leads to his death. I feel that trombones, bass trombones, tubas, and drums, are uniquely suited for playing a piece based on this material, given both the kinetic power and mental imagery of the legend, and so I tried to bring out these qualities throughout the piece. I drew idiomatically upon African American musical traditions (since the story itself has African American origins), and melodically upon a traditional John Henry folk song. $36.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Sulle ali di un accordo (On the Wings of a Chord). 9 Studies for Guitar (2008) Guitar Ut Orpheus
(Sulle ali di un accordo). By Giorgio Signorile. 24 pages. Published by Ut Orphe...(+)
(Sulle ali di un accordo). By Giorgio Signorile. 24 pages. Published by Ut Orpheus
$16.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Leonard Cohen - The Little Black Songbook
Lyrics and Chords [Sheet music] Music Sales
(Chords/Lyrics). By Leonard Cohen. The Little Black Songbook. Softcover. 192 pag...(+)
(Chords/Lyrics). By Leonard Cohen. The Little Black Songbook. Softcover. 192 pages. Music Sales #AM995258. Published by Music Sales
$19.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Leonard Cohen: Anthology Piano, Vocal and Guitar Amsco Wise Publications
Composed by Leonard Cohen. Pop & Rock. Book Only. Wise Publications #MUS...(+)
Composed by Leonard Cohen. Pop
& Rock. Book Only. Wise
Publications #MUSAM995654.
Published by Wise Publications
$34.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Tuvan Songbook String Quartet: 2 violins, viola, cello [Score] Breitkopf & Härtel
String Quartet (2vl,va,vc) SKU: BR.EB-9243 Full Score. Composed by...(+)
String Quartet (2vl,va,vc) SKU: BR.EB-9243 Full Score. Composed by Christian Mason. Chamber music; stapled. Edition Breitkopf. World premiere of the original version: London, May 10, 2016World premiere of the string orchestra version: Clermont-Ferrand, October 8, 2020. New music (post-2000). Full score. Composed 2016/2020. 40 pages. Duration 19'. Breitkopf and Haertel #EB 9243. Published by Breitkopf and Haertel (BR.EB-9243). ISBN 9790004185438. 9 x 12 inches. It was the practice of Khoomii (throat singing) - following several workshops with Michael Ormiston - that first attracted me to Tuvan music. Composing this Songbook, the first in a series commissioned by the Ligeti Quartet, I took the chance to reflect on compositional questions around transcription and arrangement of existing music, and frequently found myself asking: where is the boundary between the source material and the new substance? Of course the relationship varies from piece to piece, and moment to moment: sometimes we seem to glimpse the pure source, but most of the time there are differing degrees of distance, working towards or away from it. This new version for string orchestra corresponds closely to the original quartet version, with an additional part for double basses.The traditional Tuvan songs that I have transcribed and recomposed are all known to me from the Ay Kherel CD The Music of Tuva: Throat Singing and Instruments from Central Asia (2004, Arc Music). According to the notes from that CD, this is what the songs are about:1. Dyngylday: If you have come on a horse in blue, it doesn't mean that you are the best. My heart tells me something else: my sweetheart doesn't have such a beautiful horse, but he is my darling.An alternative interpretation from Alash Ensemble (alashensemble.com): The word dyngylday is a nonsense term with no translation. The song makes good-humored fun of somebody for being a good-for-nothing.2. Eki Attar (The Best Steeds): The horse is the basis of our life. It is a magic creature. Even its step is full of music and rhythm. You may not be a horse rider, but when you hear this song you will always remember horses.3. Kuda Yry: This wedding song glorifies the strength of the groom and the beauty of his Horse.4. Ezir-Kara ('Black Eagle'): This was the name of a horse, who became a legend through his remarkable strength and speed.It is not just overtones that abound here: there are galloping rhythms aplenty, and though I am no horse rider I tried to keep the horses galloping in my imagination while composing these pieces.Christian Mason (with quotes from Ay Kherel and Alash Ensemble)
World premiere of the original version: London/UK, May 10, 2016, World premiere of the string orchestra version: Clermont-Ferrand/France, October 8, 2020. $57.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Percussion Perspectives, Mvt. I [Score] - Intermediate G and M Brand Music Publishers
Soloist(s) with Concert Band (Flute 1, Flute 2, Flute 3/Piccolo, Oboe, Eb Clarin...(+)
Soloist(s) with Concert Band (Flute 1, Flute 2, Flute 3/Piccolo, Oboe, Eb Clarinet, Bb Clarinet 1, Bb Clarinet 2, Bb Clarinet 3, Eb Alto Clarinet*, Bb Bass Clarinet*, Bassoon, Eb Alto Saxophone 1, Eb Alto Saxophone 2*, Bb Tenor Saxophone, Eb Baritone Saxophone*, Bb Cornet 1, Bb Cornet) - grade 4 SKU: CN.S11284 Percussion Section Feature. Composed by Stuart Johnson. Band Music. Score only. Duration 4:10. Published by G & M Brand Music Publishers (CN.S11284). Give the band a workout with this challenging composition. Subtle percussion used in unique scoring that features the entire band. Very accessible yet dramatic piece.
Though not without opportunities for displays of virtuosity, this work is not a concerto. In fact, Percussion Perspectives I is the first movement of a three-movement suite for wind orchestra which features percussion, although it stands on its own as a concert piece. However, unlike many percussion pieces, which tend to be lightweight in style, I have tried to provide a serious repertoire piece which happens to contain prominent parts for percussion instruments. When composing the piece I reversed my usual process of writing the music and then adding percussion parts to provide extra colour and reinforcement of rhythmic ideas. In this composition the ideas were conceived first for percussion and then translated into melody and harmony by the other instruments. In face there are several places in the score where this process is transparent, with the percussion expounding the ideas before they are taken up by the wind instruments. The leading roles are taken by timpani and side drum with a significant contribution from glockenspiel and xylophone. In addition to these major players a panoply of other percussion instruments are used ranging from agogos to vibraslap. $22.00 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
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