| The Ultimate Fake Book - Third Edition (Bb version)
Bb Instruments [Fake Book] Hal Leonard
Bb Edition. Fake Book (Includes melody line and chords). Size 9x12 inches. 816 p...(+)
Bb Edition. Fake Book (Includes melody line and chords). Size 9x12 inches. 816 pages. Published by Hal Leonard.
(8)$49.95 - See more - Buy onlinePre-shipment lead time: 3 to 5 business days | | |
| The Fiddler's Fakebook
Violin [Fake Book] Oak Publications
Edited by David Brody. For violin. Format: fake book. With lead melody, chord na...(+)
Edited by David Brody. For violin. Format: fake book. With lead melody, chord names, instructional text and performance notes. Folk, americana and british. 302 pages. 9x12 inches. Published by Oak Publications.
(7)$29.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Deep Winter's Night - Easy Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Clarinet ...(+)
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Clarinet 3, Euphonium, Euphonium T.C., Flute 1, Flute 2, Gong, Horn 1, Horn 2, Jingle Bells, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Percussion 3, Piccolo, Snare Drum and more. - Grade 3 SKU: CF.CPS243 Incorporating The First Noel. Composed by Ed Kiefer. Folio. Cps. Set of Score and Parts. 2+8+8+4+8+8+8+4+4+4+4+4+4+8+8+8+4+4+6+6+6+4+8+1+2+3+1+2+24 pages. Duration 4:15. Carl Fischer Music #CPS243. Published by Carl Fischer Music (CF.CPS243). ISBN 9781491158500. UPC: 680160917105. 9 x 12 inches. This setting of The First Noel begins with a percussion intro and dissonant chords that lead to a beautiful flute duet. The melody is freely adapted and at times, outright changed, to give this arrangement a very different sound. Using rhythmic motives, tone clusters, altered melodies and all the sounds available for a concert band, the piece takes the audience on a journey that leads to a statement of the original tune at m. 118. Everyone gets the melody at some point. After a chorale-like section, the composition returns to the fast and upbeat sounds of the beginning. Your musicians and audience will love this unique version of this old-time favorite. When performing this piece, start dark and mysterious and let the sounds crescendo through the introduction all the way to m. 21, the first statement of the hymn. Make sure you keep the tempo moving so the arrangement does not lose excitement. Keep the flute duet, and later the trumpet duet, nice and light. At m. 118, play a little slower and in a standard chorale style, being careful to let the flute and oboe voices be heard. Let the low voices have the reins at m. 126 as they play the melody. Pick the tempo back up to the original tempo at m. 145 and push to the end. The main thing is to match articulation throughout the band--at the beginning and at the end, think light accents and separation, and at the chorale section at m. 118, more legato. Keeping everyone on the same page with articulation will be the key to making a great performance. This setting of The First Noel begins with a percussion intro and dissonant chords that lead to a beautiful flute duet. The melody is freely adapted and at times, outright changed, to give this arrangement a very different sound. Using rhythmic motives, tone clusters, altered melodies and all the sounds available for a concert band, the piece takes the audience on a journey that leads to a statement of the original tune at m. 118. Everyone gets the melody at some point. After a chorale-like section, the composition returns to the fast and upbeat sounds of the beginning. Your musicians and audience will love this unique version of this old-time favorite.When performing this piece, start dark and mysterious and let the sounds crescendo through the introduction all the way to m. 21, the first statement of the hymn. Make sure you keep the tempo moving so the arrangement does not lose excitement. Keep the flute duet, and later the trumpet duet,nice and light. At m. 118, play a little slower and in a standard chorale style, being careful to let the flute and oboe voices be heard. Let the low voices have the reins at m. 126 as they play the melody. Pick the tempo back up to the original tempo at m. 145 and push to the end. The main thing is to matcharticulation throughout the band--at the beginning and at the end, think light accents and separation, and at the chorale section at m. 118, more legato. Keeping everyone on the same page with articulation will be the key to making a great performance. $85.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Deep Winter's Night [Score] - Easy Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Clarinet ...(+)
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Clarinet 3, Euphonium, Euphonium T.C., Flute 1, Flute 2, Gong, Horn 1, Horn 2, Jingle Bells, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Percussion 3, Piccolo, Snare Drum and more. - Grade 3 SKU: CF.CPS243F Incorporating The First Noel. Composed by Ed Kiefer. Sws. Cps. Full score. 24 pages. Duration 4:15. Carl Fischer Music #CPS243F. Published by Carl Fischer Music (CF.CPS243F). ISBN 9781491158517. UPC: 680160917112. 9 x 12 inches. This setting of The First Noel begins with a percussion intro and dissonant chords that lead to a beautiful flute duet. The melody is freely adapted and at times, outright changed, to give this arrangement a very different sound. Using rhythmic motives, tone clusters, altered melodies and all the sounds available for a concert band, the piece takes the audience on a journey that leads to a statement of the original tune at m. 118. Everyone gets the melody at some point. After a chorale-like section, the composition returns to the fast and upbeat sounds of the beginning. Your musicians and audience will love this unique version of this old-time favorite. When performing this piece, start dark and mysterious and let the sounds crescendo through the introduction all the way to m. 21, the first statement of the hymn. Make sure you keep the tempo moving so the arrangement does not lose excitement. Keep the flute duet, and later the trumpet duet, nice and light. At m. 118, play a little slower and in a standard chorale style, being careful to let the flute and oboe voices be heard. Let the low voices have the reins at m. 126 as they play the melody. Pick the tempo back up to the original tempo at m. 145 and push to the end. The main thing is to match articulation throughout the band--at the beginning and at the end, think light accents and separation, and at the chorale section at m. 118, more legato. Keeping everyone on the same page with articulation will be the key to making a great performance. This setting of The First Noel begins with a percussion intro and dissonant chords that lead to a beautiful flute duet. The melody is freely adapted and at times, outright changed, to give this arrangement a very different sound. Using rhythmic motives, tone clusters, altered melodies and all the sounds available for a concert band, the piece takes the audience on a journey that leads to a statement of the original tune at m. 118. Everyone gets the melody at some point. After a chorale-like section, the composition returns to the fast and upbeat sounds of the beginning. Your musicians and audience will love this unique version of this old-time favorite.When performing this piece, start dark and mysterious and let the sounds crescendo through the introduction all the way to m. 21, the first statement of the hymn. Make sure you keep the tempo moving so the arrangement does not lose excitement. Keep the flute duet, and later the trumpet duet,nice and light. At m. 118, play a little slower and in a standard chorale style, being careful to let the flute and oboe voices be heard. Let the low voices have the reins at m. 126 as they play the melody. Pick the tempo back up to the original tempo at m. 145 and push to the end. The main thing is to matcharticulation throughout the band--at the beginning and at the end, think light accents and separation, and at the chorale section at m. 118, more legato. Keeping everyone on the same page with articulation will be the key to making a great performance. $14.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Sleep, My Child Concert band - Easy Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Euphonium...(+)
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Euphonium, Euphonium T.C., Flute, Flute 2, Horn, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Snare Drum, Timpani, Trombone, Trumpet 1, Trumpet 2, Tuba, alto Saxophone and more. - Grade 2 SKU: CF.YPS208 Shlof, Mayn Kind. Composed by Larry Clark. Young Band (YPS). Set of Score and Parts. With Standard notation. 8+2+4+4+2+2+5+2+2+4+4+4+6+3+2+3+1+1+2+6+12 pages. Duration 4 minutes, 31 seconds. Carl Fischer Music #YPS208. Published by Carl Fischer Music (CF.YPS208). ISBN 9781491152287. UPC: 680160909780. Key: D minor. A stunning and heart-wrenching composition based on the Jewish folk son Shlof, Mayn Kind. You can hear the emotional content pour out of this piece written in memory of an outstanding orchestra director. The piece beginnings with original material to set the tone, followed by a clarinet solo on the song. It then develops through a variety of different harmonic presentation before building to a nice key change and climatic moment. The piece ends as it began, but with a more hopeful tone. An amazing piece. Sleep, My Child was commissioned by the Madison Middle School Band and Orchestra in Tampa, Florida, and is dedicated to the memory of their Director of Orchestras Kevin Frye. Director of Bands Chris Shultz championed the commissioning of this piece to honor Kevin after he passed away in December 2016. Mr. Frye was a beloved member of the staff at Madison Middle as well as the music community of Tampa and the state of Florida. I was a personal friend of Kevin’s. We were in several musical groups together when we were young that were formative to both of our musical careers. I also guest conducted his Madison Middle School Orchestra several times over the past four years. His musicianship, teaching skills and love for his students were exemplary.When taking on the challenge of writing a piece to honor Kevin’s legacy, Mr. Shultz and I decided to try and include several important aspects of Kevin’s life into the piece. Kevin was proudly Jewish, a fantastic trumpet player and loved Jazz. With that in mind, and after a lot of research, a Jewish folk song Shlof, Mayn Kind was selected as the basis for the piece, not to be religious, but to honor his faith and heritage. Plus it is a beautiful song, and I felt the title reflected the sentiment I was looking to express, which is of someone taking rest after a long battle with illness. Thus, a lullaby seemed appropriate.I also wanted to incorporate Jazz into the piece, but in a concert setting, so you will hear as the piece develops, the harmonies of the folk song expand into ones found more commonly in Jazz compositions. Not in a far out way, but in a subtle way to again honor this part of his life. For example the climactic moment of the piece at the fermata in m. 57 is a Dbmaj9#11 chord. It appropriately give the piece the angst that I was looking for at this moment in the piece, while honoring the importance of Jazz in Kevin’s musical life.The piece was also conceived to include both the Madison band and orchestra in the performance at the premiere. I wanted the pieces to work separately by the band and separately by the orchestra, but I also wanted them to be able to play the piece together to honor Kevin.The piece begins with original material designed to set the mood of the piece with a tempo/style marking of pensive, but also as material that I used as connective musical tissue between statements of the folk song. After this introduction, the folk song is presented by a solo violin (or clarinet) with orchestral accompaniment in a simple straight forward presentation of the song. This is followed by a woodwind section statement of the folk song accompanied by muted trumpets. During this presentation the harmony starts to expand with more color notes in the chords. The low brass are added half way through this statement to add depth and lushness.The introductory material returns, but with some angry hits in the lower voices. This leads to a full ensemble state of new material that is used to transition to the climax of the piece, and to build tension. After the build, the piece modulates to a shortened statement of the folk song with more advanced harmonies and an active counter line in the violas, horns, saxes and first clarinets to further build the tension. This tension is released at the fermata in m. 57, as mentioned above. After a thoughtful pause, the piece concludes with a completion of the folk song again with a solo violin (or clarinet) followed by a return of the introductory material to tie the piece together. The piece ends hopeful, with a solo trumpet (Kevin’s instrument) that is dissonant at first, but then resolves as if to say - everything will be OK! It has been my distinct honor to have been asked to write this piece in Kevin’s memory! I hope that in some small way the piece helps to bring comfort to his family, students, colleagues and to all those that knew him!–Larry ClarkLakeland, FL 2017. $70.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| I Gotta Funk, Buddy Brass Quintet: 2 trumpets, horn, trombone, tuba Advance Music
5 Brass Instruments, Percussion Ad Lib SKU: AP.1-ADV20413 For Brass Qu...(+)
5 Brass Instruments, Percussion Ad Lib SKU: AP.1-ADV20413 For Brass Quintet. Composed by Valentin Hude. 5 or More; Brass Ensemble - Quintet; Solo Small Ensembles. Advance Music. Funk. Score and Part(s). Advance Music #01-ADV20413. Published by Advance Music (AP.1-ADV20413). UPC: 805095204131. English. Scored for standard brass quintet with optional drums, the relaxed intro of this contemporary original, I Gotta Funk, Buddy, gives way to a lively funk theme that everyone will love. Trumpets start the piece with Harmon mutes, and first trumpet is given the chance to stretch out on a solo midway through the piece. If a drummer is used, an open solo of 3--7 bars can also be featured. $26.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| You mortals, tell of God's devotion (Ihr Menschen, ruhmet Gottes Liebe) Choral SATB Carus Verlag
Soli SATB, SATB Choir, Ob/Obca, Clarino, 2 Vl, Va, Bc SKU: CA.3116712 ...(+)
Soli SATB, SATB Choir, Ob/Obca, Clarino, 2 Vl, Va, Bc SKU: CA.3116712 Cantata for the feast of John the Baptist. Composed by Johann Sebastian Bach. Edited by Ulrich Leisinger. Arranged by Paul Horn. Stuttgart Urtext Edition: Bach vocal. Violin 2. Sacred vocal music, Cantatas, Special days. Single Part, Violin 2. Composed 1723. BWV 167. 4 pages. Duration 18 minutes. Carus Verlag #CV 31.167/12. Published by Carus Verlag (CA.3116712). ISBN 9790007209216. Language: German/English. The cantata Ihr Menschen, ruhmet Gottes Liebe (You mortals, tell of God's devotion) BWV 167 is one of the first works which Bach wrote in his capacity as Kantor of St. Thomas's Leipzig. It was composed for the Feast of St John, and was performed for the first time on 24 June 1723 in Leipzig. This concise and lively cantata is scored for four vocal soloists and modest instrumental forces; only the final chorale Sei Lob und Preis mit Ehren is for all four vocal parts and the use of strings, with the soprano reinforced by a slide trumpet. The text is partly drawn verbatim from Zacharias's hymn of praise in St Luke's Gospel chapter 1. It praises God's grace and love, as fulfilled by his promise of salvation through Jesus for which John has prepared the way and the path. Score and part available separately - see item CA.3116700. $5.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| You mortals, tell of God's devotion (Ihr Menschen, ruhmet Gottes Liebe) Choral SATB Carus Verlag
Soli SATB, SATB Choir, Ob/Obca, Clarino, 2 Vl, Va, Bc SKU: CA.3116713 ...(+)
Soli SATB, SATB Choir, Ob/Obca, Clarino, 2 Vl, Va, Bc SKU: CA.3116713 Cantata for the feast of John the Baptist. Composed by Johann Sebastian Bach. Edited by Ulrich Leisinger. Arranged by Paul Horn. Stuttgart Urtext Edition: Bach vocal. Viola. Sacred vocal music, Cantatas, Special days. Single Part, Viola. Composed 1723. BWV 167. 4 pages. Duration 18 minutes. Carus Verlag #CV 31.167/13. Published by Carus Verlag (CA.3116713). ISBN 9790007209223. Language: German/English. The cantata Ihr Menschen, ruhmet Gottes Liebe (You mortals, tell of God's devotion) BWV 167 is one of the first works which Bach wrote in his capacity as Kantor of St. Thomas's Leipzig. It was composed for the Feast of St John, and was performed for the first time on 24 June 1723 in Leipzig. This concise and lively cantata is scored for four vocal soloists and modest instrumental forces; only the final chorale Sei Lob und Preis mit Ehren is for all four vocal parts and the use of strings, with the soprano reinforced by a slide trumpet. The text is partly drawn verbatim from Zacharias's hymn of praise in St Luke's Gospel chapter 1. It praises God's grace and love, as fulfilled by his promise of salvation through Jesus for which John has prepared the way and the path. Score and part available separately - see item CA.3116700. $5.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| You mortals, tell of God's devotion (Ihr Menschen, ruhmet Gottes Liebe) Choral SATB Carus Verlag
Soli SATB, SATB Choir, Ob/Obca, Clarino, 2 Vl, Va, Bc SKU: CA.3116705 ...(+)
Soli SATB, SATB Choir, Ob/Obca, Clarino, 2 Vl, Va, Bc SKU: CA.3116705 Cantata for the feast of John the Baptist. Composed by Johann Sebastian Bach. Edited by Ulrich Leisinger. Arranged by Paul Horn. Stuttgart Urtext Edition: Bach vocal. Sacred vocal music, Cantatas, Special days. Choral Score. Composed 1723. BWV 167. 4 pages. Duration 18 minutes. Carus Verlag #CV 31.167/05. Published by Carus Verlag (CA.3116705). ISBN 9790007186852. Language: German/English. The cantata Ihr Menschen, ruhmet Gottes Liebe (You mortals, tell of God's devotion) BWV 167 is one of the first works which Bach wrote in his capacity as Kantor of St. Thomas's Leipzig. It was composed for the Feast of St John, and was performed for the first time on 24 June 1723 in Leipzig. This concise and lively cantata is scored for four vocal soloists and modest instrumental forces; only the final chorale Sei Lob und Preis mit Ehren is for all four vocal parts and the use of strings, with the soprano reinforced by a slide trumpet. The text is partly drawn verbatim from Zacharias's hymn of praise in St Luke's Gospel chapter 1. It praises God's grace and love, as fulfilled by his promise of salvation through Jesus for which John has prepared the way and the path. Score available separately - see item CA.3116700. $3.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| You mortals, tell of God's devotion (Ihr Menschen, ruhmet Gottes Liebe) Choral SATB [Score and Parts] Carus Verlag
Soli SATB, SATB Choir, Ob/Obca, Clarino, 2 Vl, Va, Bc SKU: CA.3116709 ...(+)
Soli SATB, SATB Choir, Ob/Obca, Clarino, 2 Vl, Va, Bc SKU: CA.3116709 Cantata for the feast of John the Baptist. Composed by Johann Sebastian Bach. Edited by Ulrich Leisinger. Arranged by Paul Horn. 1x 31.167/21 Oboe/ Oboe da caccia, 1x 31.167/31 Clarino. Stuttgart Urtext Edition: Bach vocal. Harmony parts. Sacred vocal music, Cantatas, Special days. Set of Orchestra Parts. Composed 1723. BWV 167. Duration 18 minutes. Carus Verlag #CV 31.167/09. Published by Carus Verlag (CA.3116709). ISBN 9790007209193. Language: German/English. The cantata Ihr Menschen, ruhmet Gottes Liebe (You mortals, tell of God's devotion) BWV 167 is one of the first works which Bach wrote in his capacity as Kantor of St. Thomas's Leipzig. It was composed for the Feast of St John, and was performed for the first time on 24 June 1723 in Leipzig. This concise and lively cantata is scored for four vocal soloists and modest instrumental forces; only the final chorale Sei Lob und Preis mit Ehren is for all four vocal parts and the use of strings, with the soprano reinforced by a slide trumpet. The text is partly drawn verbatim from Zacharias's hymn of praise in St Luke's Gospel chapter 1. It praises God's grace and love, as fulfilled by his promise of salvation through Jesus for which John has prepared the way and the path. Score and parts available separately - see item CA.3116700. $9.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| You mortals, tell of God's devotion (Ihr Menschen, ruhmet Gottes Liebe) Choral SATB Carus Verlag
Soli SATB, SATB Choir, Ob/Obca, Clarino, 2 Vl, Va, Bc SKU: CA.3116749 ...(+)
Soli SATB, SATB Choir, Ob/Obca, Clarino, 2 Vl, Va, Bc SKU: CA.3116749 Cantata for the feast of John the Baptist. Composed by Johann Sebastian Bach. Edited by Ulrich Leisinger. Arranged by Paul Horn. Stuttgart Urtext Edition: Bach vocal. Organ. Sacred vocal music, Cantatas, Special days. Single Part, Organ. Composed 1723. BWV 167. 8 pages. Duration 18 minutes. Carus Verlag #CV 31.167/49. Published by Carus Verlag (CA.3116749). ISBN 9790007209247. Language: German/English. The cantata Ihr Menschen, ruhmet Gottes Liebe (You mortals, tell of God's devotion) BWV 167 is one of the first works which Bach wrote in his capacity as Kantor of St. Thomas's Leipzig. It was composed for the Feast of St John, and was performed for the first time on 24 June 1723 in Leipzig. This concise and lively cantata is scored for four vocal soloists and modest instrumental forces; only the final chorale Sei Lob und Preis mit Ehren is for all four vocal parts and the use of strings, with the soprano reinforced by a slide trumpet. The text is partly drawn verbatim from Zacharias's hymn of praise in St Luke's Gospel chapter 1. It praises God's grace and love, as fulfilled by his promise of salvation through Jesus for which John has prepared the way and the path. Score and part available separately - see item CA.3116700. $20.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| You mortals, tell of God's devotion (Ihr Menschen, ruhmet Gottes Liebe) Choral SATB [Score] Carus Verlag
Soli SATB, SATB Choir, Ob/Obca, Clarino, 2 Vl, Va, Bc SKU: CA.3116700 ...(+)
Soli SATB, SATB Choir, Ob/Obca, Clarino, 2 Vl, Va, Bc SKU: CA.3116700 Cantata for the feast of John the Baptist. Composed by Johann Sebastian Bach. Edited by Ulrich Leisinger. Arranged by Paul Horn. Stuttgart Urtext Edition: Bach vocal. Sacred vocal music, Cantatas, Special days. Full score. Composed 1723. BWV 167. 32 pages. Duration 18 minutes. Carus Verlag #CV 31.167/00. Published by Carus Verlag (CA.3116700). ISBN 9790007186838. Language: German/English. The cantata Ihr Menschen, ruhmet Gottes Liebe (You mortals, tell of God's devotion) BWV 167 is one of the first works which Bach wrote in his capacity as Kantor of St. Thomas's Leipzig. It was composed for the Feast of St John, and was performed for the first time on 24 June 1723 in Leipzig. This concise and lively cantata is scored for four vocal soloists and modest instrumental forces; only the final chorale Sei Lob und Preis mit Ehren is for all four vocal parts and the use of strings, with the soprano reinforced by a slide trumpet. The text is partly drawn verbatim from Zacharias's hymn of praise in St Luke's Gospel chapter 1. It praises God's grace and love, as fulfilled by his promise of salvation through Jesus for which John has prepared the way and the path. $24.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| You mortals, tell of God's devotion (Ihr Menschen, ruhmet Gottes Liebe) Choral SATB [Score and Parts] Carus Verlag
Soli SATB, SATB Choir, Ob/Obca, Clarino, 2 Vl, Va, Bc SKU: CA.3116719 ...(+)
Soli SATB, SATB Choir, Ob/Obca, Clarino, 2 Vl, Va, Bc SKU: CA.3116719 Cantata for the feast of John the Baptist. Composed by Johann Sebastian Bach. Edited by Ulrich Leisinger. Arranged by Paul Horn. Stuttgart Urtext Edition: Bach vocal. Complete orchestral parts. Sacred vocal music, Cantatas, Special days. Set of Orchestra Parts. Composed 1723. BWV 167. Duration 18 minutes. Carus Verlag #CV 31.167/19. Published by Carus Verlag (CA.3116719). ISBN 9790007209230. Language: German/English. The cantata Ihr Menschen, ruhmet Gottes Liebe (You mortals, tell of God's devotion) BWV 167 is one of the first works which Bach wrote in his capacity as Kantor of St. Thomas's Leipzig. It was composed for the Feast of St John, and was performed for the first time on 24 June 1723 in Leipzig. This concise and lively cantata is scored for four vocal soloists and modest instrumental forces; only the final chorale Sei Lob und Preis mit Ehren is for all four vocal parts and the use of strings, with the soprano reinforced by a slide trumpet. The text is partly drawn verbatim from Zacharias's hymn of praise in St Luke's Gospel chapter 1. It praises God's grace and love, as fulfilled by his promise of salvation through Jesus for which John has prepared the way and the path. Score and parts available separately - see item CA.3116700. $113.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| You mortals, tell of God's devotion (Ihr Menschen, ruhmet Gottes Liebe) Choral SATB Carus Verlag
Soli SATB, SATB Choir, Ob/Obca, Clarino, 2 Vl, Va, Bc SKU: CA.3116703 ...(+)
Soli SATB, SATB Choir, Ob/Obca, Clarino, 2 Vl, Va, Bc SKU: CA.3116703 Cantata for the feast of John the Baptist. Composed by Johann Sebastian Bach. Edited by Ulrich Leisinger. Arranged by Paul Horn. Stuttgart Urtext Edition: Bach vocal. Sacred vocal music, Cantatas, Special days. Vocal score. Composed 1723. BWV 167. 28 pages. Duration 18 minutes. Carus Verlag #CV 31.167/03. Published by Carus Verlag (CA.3116703). ISBN 9790007186845. Language: German/English. The cantata Ihr Menschen, ruhmet Gottes Liebe (You mortals, tell of God's devotion) BWV 167 is one of the first works which Bach wrote in his capacity as Kantor of St. Thomas's Leipzig. It was composed for the Feast of St John, and was performed for the first time on 24 June 1723 in Leipzig. This concise and lively cantata is scored for four vocal soloists and modest instrumental forces; only the final chorale Sei Lob und Preis mit Ehren is for all four vocal parts and the use of strings, with the soprano reinforced by a slide trumpet. The text is partly drawn verbatim from Zacharias's hymn of praise in St Luke's Gospel chapter 1. It praises God's grace and love, as fulfilled by his promise of salvation through Jesus for which John has prepared the way and the path. Score available separately - see item CA.3116700. $12.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| You mortals, tell of God's devotion (Ihr Menschen, ruhmet Gottes Liebe) Carus Verlag
Orchestra Soli SATB, Coro SATB, Ob/Obca, Clarino, 2 Vl, Va, Bc SKU: CA.311670...(+)
Orchestra Soli SATB, Coro SATB, Ob/Obca, Clarino, 2 Vl, Va, Bc SKU: CA.3116707 Cantata for the feast of John the Baptist. Composed by Johann Sebastian Bach. Edited by Ulrich Leisinger. Arranged by Paul Horn. Stuttgart Urtext Edition: Bach vocal. Sacred vocal music, Cantatas, Special days. Study score. Composed 1723. BWV 167. 32 pages. Duration 18 minutes. Carus Verlag #CV 31.167/07. Published by Carus Verlag (CA.3116707). ISBN 9790007244972. Language: German/English. The cantata Ihr Menschen, ruhmet Gottes Liebe (You mortals, tell of God's devotion) BWV 167 is one of the first works which Bach wrote in his capacity as Kantor of St. Thomas's Leipzig. It was composed for the Feast of St John, and was performed for the first time on 24 June 1723 in Leipzig. This concise and lively cantata is scored for four vocal soloists and modest instrumental forces; only the final chorale Sei Lob und Preis mit Ehren is for all four vocal parts and the use of strings, with the soprano reinforced by a slide trumpet. The text is partly drawn verbatim from Zacharias's hymn of praise in St Luke's Gospel chapter 1. It praises God's grace and love, as fulfilled by his promise of salvation through Jesus for which John has prepared the way and the path. Score available separately - see item CA.3116700. $10.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| He's Always Been Faithful
Choral SATB SATB, Orchestra Hope Publishing Company
By Sara Groves. Sacred. Print Music Single (Vocal Solo (Medium Voice)). Publishe...(+)
By Sara Groves. Sacred. Print Music Single (Vocal Solo (Medium Voice)). Published by Hope Publishing Company.
$7.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 business days | | |
| Daniel Gottlob Turk: Sixty Pieces for Aspiring Players, Book I Piano solo - Easy ABRSM Publishing
By Daniel Gottlob Turk. Edited by Howard Ferguson. For Piano solo Harpsichord ...(+)
By Daniel Gottlob Turk. Edited by Howard Ferguson. For Piano solo Harpsichord Keyboard. Level: 1, 2, 3, 4, 5. 40 pages. Published by ABRSM (Associated Board of the Royal Schools of Music).
$11.99 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Qué Verdes Son - Beginner Carl Fischer
Band Bass Clarinet, Bassoon, Bells, Clarinet, Claves, Congas, Euphonium, Euphoni...(+)
Band Bass Clarinet, Bassoon, Bells, Clarinet, Claves, Congas, Euphonium, Euphonium T.C., Flute, Güiro, Horn, Mallet Percussion, Maracas, Oboe, Percussion 1, Percussion 2, Percussion 3, Percussion 4, Sleigh Bells, Snare Drum, Trombone, Trumpet, Tuba and more. - Grade 1 SKU: CF.BPS134 O Christmas Tree. Composed by Zachary Poulter. Folio. Bps. Set of Score and Parts. 8+2+8+2+2+5+2+2+8+3+2+2+2+3+1+2+1+1+2+12 pages. Duration 1 minute, 56 seconds. Carl Fischer Music #BPS134. Published by Carl Fischer Music (CF.BPS134). ISBN 9781491158265. UPC: 680160916863. 9 x 12 inches. QuA(c) verdes son is the Spanish-language version of O Tannenbaum (O Christmas Tree). Although the Christmas carol is sung in many languages, the translated lyrics are rarely a close copy of the original German text. Instead, each version finds unique ways to explore the beauty and meaning of one of the holidayas most beloved symbols: the Christmas tree. In QuA(c) verdes son, the beautiful lights, fresh aroma, and especially the lovely color of the tree are celebrated. This arrangement of QuA(c) verdes son begins with simmering Latin percussion playing a groove based on a 3-2 son clave. Subdividing this in groups of eighth notes (123-123-1234-12-12-12) will help lock in the time. In the gA 1/4 iro part, the quarter notes should be scraped and the eighth notes tapped. The main melody begins at m. 5. Rather than needing to be overly loud, much of the energy comes from the silences between notes and from the contrast between accents and staccatos. The woodwind countermelody at m. 9 and m. 17 should be smooth and sweet, a further contrast to the punchy rhythms beneath it. The percussion section is featured at m. 26, with a gradual buildup of textures and rhythmic energy. At m. 38 the whole band is back in, driving toward the fun cha-cha-cha ending. Que verdes son is the Spanish-language version of O Tannenbaum (O Christmas Tree). Although the Christmas carol is sung in many languages, the translated lyrics are rarely a close copy of the original German text. Instead, each version finds unique ways to explore the beauty and meaning of one of the holiday's most beloved symbols: the Christmas tree. In Que verdes son, the beautiful lights, fresh aroma, and especially the lovely color of the tree are celebrated. This arrangement of Que verdes son begins with simmering Latin percussion playing a groove based on a 3-2 son clave. Subdividing this in groups of eighth notes (123-123-1234-12-12-12) will help lock in the time. In the guiro part, the quarter notes should be scraped and the eighth notes tapped. The main melody begins at m. 5. Rather than needing to be overly loud, much of the energy comes from the silences between notes and from the contrast between accents and staccatos. The woodwind countermelody at m. 9 and m. 17 should be smooth and sweet, a further contrast to the punchy rhythms beneath it. The percussion section is featured at m. 26, with a gradual buildup of textures and rhythmic energy. At m. 38 the whole band is back in, driving toward the fun cha-cha-cha ending. Qué verdes son is the Spanish-language version of O Tannenbaum (O Christmas Tree). Although the Christmas carol is sung in many languages, the translated lyrics are rarely a close copy of the original German text. Instead, each version finds unique ways to explore the beauty and meaning of one of the holiday’s most beloved symbols: the Christmas tree. In Qué verdes son, the beautiful lights, fresh aroma, and especially the lovely color of the tree are celebrated.This arrangement of Qué verdes son begins with simmering Latin percussion playing a groove based on a 3-2 son clave. Subdividing this in groups of eighth notes (123-123-1234-12-12-12) will help lock in the time. In the güiro part, the quarter notes should be scraped and the eighth notes tapped.The main melody begins at m. 5. Rather than needing to be overly loud, much of the energy comes from the silences between notes and from the contrast between accents and staccatos. The woodwind countermelody at m. 9 and m. 17 should be smooth and sweet, a further contrast to the punchy rhythms beneath it.The percussion section is featured at m. 26, with a gradual buildup of textures and rhythmic energy. At m. 38 the whole band is back in, driving toward the fun cha-cha-cha ending. $53.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| For the Mystic Harmony [Score] Theodore Presser Co.
Band Bass Clarinet, Bass Drum, Bassoon 1, Bassoon 2, Bongos, Castanets, Celesta,...(+)
Band Bass Clarinet, Bass Drum, Bassoon 1, Bassoon 2, Bongos, Castanets, Celesta, Clarinet, Clarinet 1, Clarinet 2, Clarinet 3, Contrabass Clarinet, Contrabassoon, English Horn, Euphonium, Euphonium T.C., Flute 1, Flute 2, Horn 1, Horn 2, Horn 3 and more. SKU: PR.16500100F Hymns for Wind Ensemble. Composed by Dan Welcher. Sws. Full score. 48 pages. Duration 10 minutes, 41 seconds. Theodore Presser Company #165-00100F. Published by Theodore Presser Company (PR.16500100F). ISBN 9781491114421. UPC: 680160669783. 9 x 12 inches. Commissioned for a consortium of high school and college bands in the north Dallas region, FOR THEMYSTIC HARMONY is a 10-minute inspirational work in homage to Norwood and Elizabeth Dixon,patrons of the Fort Worth Symphony and the Van Cliburn Competition. Welcher draws melodic flavorfrom five American hymns, spirituals, and folk tunes of the 19th century. The last of these sources toappear is the hymn tune For the Beauty of the Earth, whose third stanza is the quatrain: “For the joy of earand eye, For the heart and mind’s delight, For the mystic harmony, Linking sense to sound and sight,â€giving rise to the work’s title. This work, commissioned for a consortium of high school bands in the north Dallas area, is my fifteenth maturework for wind ensemble (not counting transcriptions). When I asked Todd Dixon, the band director whospearheaded this project, what kind of a work he most wanted, he first said “something that’s basically slow,†butwanted to leave the details to me. During a long subsequent conversation, he mentioned that his grandparents,Norwood and Elizabeth Dixon, were prime supporters of the Fort Worth Symphony, going so far as to purchase anumber of high quality instruments for that orchestra. This intrigued me, so I asked more about his grandparentsand was provided an 80-page biographical sketch. Reading that article, including a long section about theirdevotion to supporting a young man through the rigors of the Van Cliburn International Piano Competition fora number of years, moved me very much. Norwood and Elizabeth Dixon weren’t just supporters of the arts; theywere passionate lovers of music and musicians. I determined to make this work a testament to that love, and tothe religious faith that sustained them both. The idea of using extant hymns was also suggested by Todd Dixon,and this 10-minute work is the result.I have employed existing melodies in several works, delving into certain kinds of religious music more than a fewtimes. In seeking new sounds, new ways of harmonizing old tunes, and the contrapuntal overlaying of one tunewith another, I was able to make works like ZION (using 19th-century Revivalist hymns) and LABORING SONGS(using Shaker melodies) reflect the spirit of the composers who created these melodies, without sounding likepastiches or medleys. I determined to do the same with this new work, with the added problem of employingmelodies that were more familiar. I chose five tunes from the 19th century: hymns, spirituals, and folk-tunes.Some of these are known by differing titles, but they all appear in hymnals of various Christian denominations(with various titles and texts). My idea was to employ the tunes without altering their notes, instead using aconstantly modulating sense of harmony — sometimes leading to polytonal harmonizations of what are normallysimple four-chord hymns.The work begins and ends with a repeated chime on the note C: a reminder of steeples, white clapboard churchesin the country, and small church organs. Beginning with a Mixolydian folk tune of Caribbean origin presentedtwice with layered entrances, the work starts with a feeling of mystery and gentle sorrow. It proceeds, after along transition, into a second hymn that is sometimes connected to the sea (hence the sensation of water andwaves throughout it). This tune, by John B. Dykes (1823-1876), is a bit more chromatic and “shifty†than mosthymn-tunes, so I chose to play with the constant sensation of modulation even more than the original does. Atthe climax, the familiar spiritual “Were you there?†takes over, with a double-time polytonal feeling propelling itforward at “Sometimes it causes me to tremble.â€Trumpets in counterpoint raise the temperature, and the tempo as well, leading the music into a third tune (ofunknown provenance, though it appears with different texts in various hymnals) that is presented in a sprightlymanner. Bassoons introduce the melody, but it is quickly taken up by other instruments over three “verses,â€constantly growing in orchestration and volume. A mysterious second tune, unrelated to this one, interrupts it inall three verses, sending the melody into unknown regions.The final melody is “For the Beauty of the Earth.†This tune by Conrad Kocher (1786-1872) is commonly sung atThanksgiving — the perfect choice to end this work celebrating two people known for their generosity.Keeping the sense of constant modulation that has been present throughout, I chose to present this hymn in threegrowing verses, but with a twist: every four bars, the “key†of the hymn seems to shift — until the “Lord of all, toThee we praise†melody bursts out in a surprising compound meter. This, as it turns out, was the “mystery tuneâ€heard earlier in the piece. After an Ivesian, almost polytonal climax, the Coda begins over a long B( pedal. At first,it seems to be a restatement of the first two phrases of “For the Beauty†with long spaces between them, but it soonchanges to a series of “Amen†cadences, widely separated by range and color. These, too, do not conform to anykey, but instead overlay each other in ways that are unpredictable but strangely comforting.The third verse of “For the Beauty of the Earth†contains this quatrain:“For the joy of ear and eye, –For the heart and mind’s delightFor the mystic harmonyLinking sense to sound and sightâ€and it was from this poetry that I drew the title for the present work. It is my hope that audiences and performerswill find within it a sense of grace: more than a little familiar, but also quite new and unexpected. $25.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Remembrance - Easy Carl Fischer
Band Bass Clarinet, Bass Drum, Bass Trombone, Bassoon, Clarinet 1, Clarinet 2, C...(+)
Band Bass Clarinet, Bass Drum, Bass Trombone, Bassoon, Clarinet 1, Clarinet 2, Clarinet 3, Euphonium, Euphonium T.C., Flute 1, Flute 2, Horn 1, Horn 2, Mallet Percussion, Oboe, Percussion 1, Percussion 2, String Bass, Suspended Cymbal, Timpani and more. - Grade 3 SKU: CF.CPS265 Composed by Dong-In Choi. Set of Score and Parts. 8+8+4+8+8+8+4+4+4+4+4+4+8+4+4+4+6+6+4+6+4+8+2+4+1+2+1+20 pages. Duration 5 minutes. Carl Fischer Music #CPS265. Published by Carl Fischer Music (CF.CPS265). ISBN 9781491161289. UPC: 680160919871. Remembrance was written in November 2018. In remembrance of what it took for us to be here... was the only original program note. The piece can mean different things to different people; however, it brings unity to all under the theme of remembrance. We fight for many things: love, patriotism, freedom, ideology, possession...all of which have cost tremendous sacrifice. It was the battles, the blood and sweat, and the sacrifice of those that came before us that created the world as we know it. Remembrance is a tender, melancholic reflection that silently gives thanks to every step and every sacrifice that was made to bring us what we have today. Yes, what we have may not be perfect--nor is it anywhere near complete--but with each generation's responsibility to carry the torch and never forget, hopefully we can make everything worth it. Performance Notes This tender piece is an excellent opportunity to explore nuanced phrasing. While many sections may play similar parts, often the phrasing and dynamics are marked differently across the band. Each of these discrepancies should be brought out and add to the perpetual motion of the piece. Encourage confident, yet subtle entrances and furthermore, think about the ends of notes as important as the beginning. Really bring out the hairpins in sections such as m. 29, m. 67, and m. 81 as expressive devices. Despite the piece's major key, through the various levels of dissonance and tension, both the ensemble and the audience should feel the sacrifices and tragedy that this piece celebrates. The tempo should not be much slower than the marked tempos and with the careful observation of the various tempo changes, there should be a constant momentum pushing throughout the piece, all the way past the end that leaves the audience in thought with an uplifting, pensive, and gentle clarinet chord. Remembrance was written in November 2018. “In remembrance of what it took for us to be here...†was the only original program note. The piece can mean different things to different people; however, it brings unity to all under the theme of remembrance.We fight for many things: love, patriotism, freedom, ideology, possession...all of which have cost tremendous sacrifice. It was the battles, the blood and sweat, and the sacrifice of those that came before us that created the world as we know it. Remembrance is a tender, melancholic reflection that silently gives thanks to every step and every sacrifice that was made to bring us what we have today. Yes, what we have may not be perfect—nor is it anywhere near complete—but with each generation’s responsibility to carry the torch and never forget, hopefully we can make everything worth it.Performance NotesThis tender piece is an excellent opportunity to explore nuanced phrasing. While many sections may play similar parts, often the phrasing and dynamics are marked differently across the band. Each of these discrepancies should be brought out and add to the perpetual motion of the piece. Encourage confident, yet subtle entrances and furthermore, think about the ends of notes as important as the beginning. Really bring out the hairpins in sections such as m. 29, m. 67, and m. 81 as expressive devices. Despite the piece’s major key, through the various levels of dissonance and tension, both the ensemble and the audience should feel the sacrifices and tragedy that this piece celebrates.The tempo should not be much slower than the marked tempos and with the careful observation of the various tempo changes, there should be a constant momentum pushing throughout the piece, all the way past the end that leaves the audience in thought with an uplifting, pensive, and gentle clarinet chord. $75.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Remembrance [Score] - Easy Carl Fischer
Band Bass Clarinet, Bass Drum, Bass Trombone, Bassoon, Clarinet 1, Clarinet 2, C...(+)
Band Bass Clarinet, Bass Drum, Bass Trombone, Bassoon, Clarinet 1, Clarinet 2, Clarinet 3, Euphonium, Euphonium T.C., Flute 1, Flute 2, Horn 1, Horn 2, Mallet Percussion, Oboe, Percussion 1, Percussion 2, String Bass, Suspended Cymbal, Timpani and more. - Grade 3 SKU: CF.CPS265F Composed by Dong-In Choi. Full score. 20 pages. Duration 5 minutes. Carl Fischer Music #CPS265F. Published by Carl Fischer Music (CF.CPS265F). ISBN 9781491161753. UPC: 680160920440. Remembrance was written in November 2018. In remembrance of what it took for us to be here... was the only original program note. The piece can mean different things to different people; however, it brings unity to all under the theme of remembrance. We fight for many things: love, patriotism, freedom, ideology, possession...all of which have cost tremendous sacrifice. It was the battles, the blood and sweat, and the sacrifice of those that came before us that created the world as we know it. Remembrance is a tender, melancholic reflection that silently gives thanks to every step and every sacrifice that was made to bring us what we have today. Yes, what we have may not be perfect--nor is it anywhere near complete--but with each generation's responsibility to carry the torch and never forget, hopefully we can make everything worth it. Performance Notes This tender piece is an excellent opportunity to explore nuanced phrasing. While many sections may play similar parts, often the phrasing and dynamics are marked differently across the band. Each of these discrepancies should be brought out and add to the perpetual motion of the piece. Encourage confident, yet subtle entrances and furthermore, think about the ends of notes as important as the beginning. Really bring out the hairpins in sections such as m. 29, m. 67, and m. 81 as expressive devices. Despite the piece's major key, through the various levels of dissonance and tension, both the ensemble and the audience should feel the sacrifices and tragedy that this piece celebrates. The tempo should not be much slower than the marked tempos and with the careful observation of the various tempo changes, there should be a constant momentum pushing throughout the piece, all the way past the end that leaves the audience in thought with an uplifting, pensive, and gentle clarinet chord. Remembrance was written in November 2018. “In remembrance of what it took for us to be here...†was the only original program note. The piece can mean different things to different people; however, it brings unity to all under the theme of remembrance.We fight for many things: love, patriotism, freedom, ideology, possession...all of which have cost tremendous sacrifice. It was the battles, the blood and sweat, and the sacrifice of those that came before us that created the world as we know it. Remembrance is a tender, melancholic reflection that silently gives thanks to every step and every sacrifice that was made to bring us what we have today. Yes, what we have may not be perfect—nor is it anywhere near complete—but with each generation’s responsibility to carry the torch and never forget, hopefully we can make everything worth it.Performance NotesThis tender piece is an excellent opportunity to explore nuanced phrasing. While many sections may play similar parts, often the phrasing and dynamics are marked differently across the band. Each of these discrepancies should be brought out and add to the perpetual motion of the piece. Encourage confident, yet subtle entrances and furthermore, think about the ends of notes as important as the beginning. Really bring out the hairpins in sections such as m. 29, m. 67, and m. 81 as expressive devices. Despite the piece’s major key, through the various levels of dissonance and tension, both the ensemble and the audience should feel the sacrifices and tragedy that this piece celebrates.The tempo should not be much slower than the marked tempos and with the careful observation of the various tempo changes, there should be a constant momentum pushing throughout the piece, all the way past the end that leaves the audience in thought with an uplifting, pensive, and gentle clarinet chord. $13.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Hal Leonard Acoustic Guitar Tab Method - Combo Edition Guitar notes and tablatures Acoustic guitar [Sheet music + Audio access] Hal Leonard
Books 1 and 2 with Online Audio, Plus Bonus Material. By Various. Guitar Tab ...(+)
Books 1 and 2 with Online
Audio, Plus Bonus Material.
By Various. Guitar Tab
Method. Acoustic,
Instruction. Softcover Audio
Online. With guitar
tablature. 82 pages.
Published by Hal Leonard
$27.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| From the Black Belt Carl Fischer
Orchestra Bass Clarinet, Bassoon, Clarinet 1, Clarinet 2, Contrabass, Flute 1, F...(+)
Orchestra Bass Clarinet, Bassoon, Clarinet 1, Clarinet 2, Contrabass, Flute 1, Flute 2, Harp, Horn 1, Horn 2, Horn 3, Oboe, Percussion, Timpani, Trumpet 1, Trumpet 2, Trumpet 3, Viola, Violin 1, Violin 2, Violoncello SKU: CF.SC89L Seven Little Pieces. Composed by William Grant Still. Large Score. 36 pages. Duration 12 minutes. Carl Fischer Music #SC89L. Published by Carl Fischer Music (CF.SC89L). William Grant Still’s catalog of works comprises over 200 pieces, including five symphonies, nine operas, four ballets and numerous works for chamber ensembles. He initially found employment as an oboist in pit orchestras in New York City, later as an arranger of popular music for various ensembles, including those by William C. Handy, James P. Johnson and Paul Whiteman. His career as a composer was launched with a performance in 1931 of his Symphony No. 1 “Afro-American†by the Rochester Philharmonic, conducted by Howard Hanson, who would remain a life-long champion of Still’s orchestral works. By the 1950s the symphony had been performed in New York, Chicago, Los Angeles and various European capitals.This notoriety earned Still a Guggenheim Fellowship in 1934, after which he moved to Los Angeles. He is credited as the first African-American to conduct a major orchestra (the Los Angeles Philharmonic Orchestra), the first to have an opera performed by a major company (Troubled Island by the New York City Opera in 1949), and one of the first composers to write for radio, films and television. So numerous were his awards and accolades, including three Guggenheim Fellowships and a variety of honorary doctorates, that he was designated as the “Dean of Afro-American Composers.â€The “Black belt†refers to a region in the southern United States that was distinguished by the color of its fertile soil. It was an area whose rich economy was based on cotton and tobacco plantations that were controlled by rich white people and worked by poor black laborers. Still’s piece From the Black Belt from 1926 is presumably a musical representation of these laborers. He described its seven parts in the following ways: William Grant Still’s catalog of works comprises over 200 pieces, including five symphonies, nine operas, four ballets and numerous works for chamber ensembles. He initially found employment as an oboist in pit orchestras in New York City, later as an arranger of popular music for various ensembles, including those by William C. Handy, James P. Johnson and Paul Whiteman. His career as a composer was launched with a performance in 1931 of his Symphony No. 1 “Afro-American†by the Rochester Philharmonic, conducted by Howard Hanson, who would remain a life-long champion of Still’s orchestral works. By the 1950s the symphony had been performed in New York, Chicago, Los Angeles and various European capitals.This notoriety earned Still a Guggenheim Fellowship in 1934, after which he moved to Los Angeles. He is credited as the first African-American to conduct a major orchestra (the Los Angeles Philharmonic Orchestra), the first to have an opera performed by a major company (Troubled Island by the New York City Opera in 1949), and one of the first composers to write for radio, films and television. So numerous were his awards and accolades, including three Guggenheim Fellowships and a variety of honorary doctorates, that he was designated as the “Dean of Afro-American Composers.â€The “Black belt†refers to a region in the southern United States that was distinguished by the color of its fertile soil. It was an area whose rich economy was based on cotton and tobacco plantations that were controlled by rich white people and worked by poor black laborers. Still’s piece From the Black Belt from 1926 is presumably a musical representation of these laborers. He described its seven parts in the following ways: Li’l Scamp If one were to base his judgment on the volume of sound, he would think this little fellow, who delights in playing childish pranks, a big scamp. But the aptness of the title is determined by the brevity of the piece rather than by the volume of sound. Honeysuckle A musical suggestion of the saccharine odor of the honeysuckle. Dance This title is self-explanatory. Brown GirlA tone picture of a lovely girl. Mah Bones Is Creakin’An old man, afflicted with rheumatism, complains loudly. BlueThe lament of a weary soul. Clap Yo’ Han’sThe participants in a game for children form a circle and clap their hands at intervals. $48.99 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| St. Paul, Op. 36 Choral SATB [Large Vocal Score] Serenissima
By Felix Bartholdy Mendelssohn (1809-1847). Edited by Alfred Dorffel. Arranged b...(+)
By Felix Bartholdy Mendelssohn (1809-1847). Edited by Alfred Dorffel. Arranged by August Horn. Choir and piano. For Solo voices, SATB Choir, Piano. This edition: Paperback. Oratorio (complete), Transcriptions, Original Works, Choral. Romantic Period; Sacr. Large Vocal Score. Romantic Period; Sacred/Hymns, German.
$16.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Sleep, My Child Concert band [Score] - Easy Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bell Tree, Bells, Clarinet 1, Clarinet 2...(+)
Band Bass Clarinet, Bass Drum, Bassoon, Bell Tree, Bells, Clarinet 1, Clarinet 2, Crash Cymbals, Euphonium, Euphonium T.C., Flute, Flute 2, Horn, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Snare Drum, Suspended Cymbal, Tam-tam, Timpani and more. - Grade 2 SKU: CF.YPS208F Shlof, Mayn Kind. Composed by Larry Clark. Young Band (YPS). Full score. With Standard notation. 12 pages. Carl Fischer Music #YPS208F. Published by Carl Fischer Music (CF.YPS208F). ISBN 9781491152966. UPC: 680160910465. A stunning and heart-wrenching composition based on the Jewish folk son Shlof, Mayn Kind. You can hear the emotional content pour out of this piece written in memory of an outstanding orchestra director. The piece beginnings with original material to set the tone, followed by a clarinet solo on the song. It then develops through a variety of different harmonic presentation before building to a nice key change and climatic moment. The piece ends as it began, but with a more hopeful tone. An amazing piece. Sleep, My Child was commissioned by the Madison Middle School Band and Orchestra in Tampa, Florida, and is dedicated to the memory of their Director of Orchestras Kevin Frye. Director of Bands Chris Shultz championed the commissioning of this piece to honor Kevin after he passed away in December 2016. Mr. Frye was a beloved member of the staff at Madison Middle as well as the music community of Tampa and the state of Florida. I was a personal friend of Kevin’s. We were in several musical groups together when we were young that were formative to both of our musical careers. I also guest conducted his Madison Middle School Orchestra several times over the past four years. His musicianship, teaching skills and love for his students were exemplary.When taking on the challenge of writing a piece to honor Kevin’s legacy, Mr. Shultz and I decided to try and include several important aspects of Kevin’s life into the piece. Kevin was proudly Jewish, a fantastic trumpet player and loved Jazz. With that in mind, and after a lot of research, a Jewish folk song Shlof, Mayn Kind was selected as the basis for the piece, not to be religious, but to honor his faith and heritage. Plus it is a beautiful song, and I felt the title reflected the sentiment I was looking to express, which is of someone taking rest after a long battle with illness. Thus, a lullaby seemed appropriate.I also wanted to incorporate Jazz into the piece, but in a concert setting, so you will hear as the piece develops, the harmonies of the folk song expand into ones found more commonly in Jazz compositions. Not in a far out way, but in a subtle way to again honor this part of his life. For example the climactic moment of the piece at the fermata in m. 57 is a Dbmaj9#11 chord. It appropriately give the piece the angst that I was looking for at this moment in the piece, while honoring the importance of Jazz in Kevin’s musical life.The piece was also conceived to include both the Madison band and orchestra in the performance at the premiere. I wanted the pieces to work separately by the band and separately by the orchestra, but I also wanted them to be able to play the piece together to honor Kevin.The piece begins with original material designed to set the mood of the piece with a tempo/style marking of pensive, but also as material that I used as connective musical tissue between statements of the folk song. After this introduction, the folk song is presented by a solo violin (or clarinet) with orchestral accompaniment in a simple straight forward presentation of the song. This is followed by a woodwind section statement of the folk song accompanied by muted trumpets. During this presentation the harmony starts to expand with more color notes in the chords. The low brass are added half way through this statement to add depth and lushness.The introductory material returns, but with some angry hits in the lower voices. This leads to a full ensemble state of new material that is used to transition to the climax of the piece, and to build tension. After the build, the piece modulates to a shortened statement of the folk song with more advanced harmonies and an active counter line in the violas, horns, saxes and first clarinets to further build the tension. This tension is released at the fermata in m. 57, as mentioned above. After a thoughtful pause, the piece concludes with a completion of the folk song again with a solo violin (or clarinet) followed by a return of the introductory material to tie the piece together. The piece ends hopeful, with a solo trumpet (Kevin’s instrument) that is dissonant at first, but then resolves as if to say - everything will be OK! It has been my distinct honor to have been asked to write this piece in Kevin’s memory! I hope that in some small way the piece helps to bring comfort to his family, students, colleagues and to all those that knew him!–Larry ClarkLakeland, FL 2017. $11.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| The Ides of March [Score] - Easy Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Chimes, China Cymbal, Clarinet 1,...(+)
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Chimes, China Cymbal, Clarinet 1, Clarinet 2, Clarinet 3, Claves, Crash Cymbals, Euphonium, Euphonium T.C., Flute 1, Flute 2, Horn 1, Horn 2, Mallet Percussion, Oboe, Percussion 1, Percussion 2 and more. - Grade 3 SKU: CF.CPS142F Composed by Sean O'Loughlin. Concert Performcnace Series. Full score. With Standard notation. 24 pages. Carl Fischer Music #CPS142F. Published by Carl Fischer Music (CF.CPS142F). ISBN 9780825892899. UPC: 798408092894. 9 x 12 inches. Key: Eb minor. Sean O'Loughlin's The Ides of March is pulse-pounding and haunting; a dramatic composition for band. This work celebrates the composer's love of modern film music and is an exercise in economy of musical material while remaining wonderfully melodic and elegant.
Pulse-pounding and haunting are two very distinct characteristics in The Ides of March. This dramatic compo- sition for string orchestra celebrates my love of modern film music and is an exercise in economy of musical material. This economy is often referred to as minimalism, although I would not go so far as to include this composition in that world. The Ides of March is a phrase that first appeared in the play Julius Caesar by William Shakespeare and rep- resented the time when a coup detat happened in the Roman government. Et tu, Brute? is the famous line recited by Julius Caesar at the climactic scene. The music reflects this heart pounding pace and the events leading to the coup detat or overthrow of the government in power. The music starts with a three note idea that permeates the entire composition. The first section of the piece from mm. 1-35 is essentially one big crescendo. Different elements get added to the core three-note idea to increase its complexity. The swells in the low strings provide a grounding element to the rhythm above. The rhythm starts to break away from itself at m. 13 with the addition of a counterrhythm in the first violin. This counterrhythm becomes the main driving force at m. 21 with some melodic material introduced in the lower strings. The two eighth-note rhythmic ideas unite once again at m. 29 with a third rhythmic idea brought into the lower strings to provide the final push into m. 35. The rhythmic cycle starts up again at m. 36, but this time it welcomes a lyrical line in the first violins. The piz- zicato notes in the celli and basses should have a light and spirited quality to them. A counterline joins the lyrical line at m. 46 with several intriguing moments of dissonance. The rhythm lets up a touch at m. 54, but quickly returns at m. 62 with the same three note rhythm displaced by one beat between the violins and the viola and celli. A build-up follows that releases into the big lyrical and haunting moment of the piece at m. 74. The sound here should be broad, rich and triumphant. Bring out the eighth notes at mm. 80-81 while hav- ing the sustained notes pull back a bit. The soft dynamic at m. 90 signals a return to the rhythmic cycle. As before, layers of rhythms keep being added to increase the intensity of the moment. This crescendo finally releases itself at the end. Be mindful of the two beats of tutti rest in m. 117 that sets up the final climactic gesture in the following measure.
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