| Fanfare: Generation Next - Intermediate Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Chimes, Clarinet 1, Clarinet 2, C...(+)
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Chimes, Clarinet 1, Clarinet 2, Clarinet 3, Crash Cymbals, Euphonium, Euphonium T.C., Flute 1, Flute 2, Horn 1, Horn 2, Mallet Percussion 1, Mallet Percussion 2, Mallet Percussion 3, Marimba, Oboe and more. - Grade 3 SKU: CF.CPS233 Composed by Zachary Cairns. Folio. Cps. Set of Score and Parts. 8+8+4+8+8+8+2+2+4+4+2+2+8+8+8+4+4+3+3+3+2+4+4+4+2+1+6+3+20 pages. Duration 2 minutes, 36 seconds. Carl Fischer Music #CPS233. Published by Carl Fischer Music (CF.CPS233). ISBN 9781491156322. UPC: 680160914869. 9 x 12 inches. Fanfare: Generation Next Fanfare: Generation Next is a piece I wrote in honor of Mr. Dean Zirkle, long-time director of bands at Camp Hill Senior High School (near Harrisburg, PA). I had been working as Dean's marching band arranger/composer for eleven years when he announced his upcoming retirement, and I felt compelled to write a piece to pay tribute to his remarkable contributions to music education and to the lives of his students and colleagues. The piece is built on two primary ideas. The first idea is a musical rendering of the name Dean. D, E, and A are all musical notes, but N is not. I have chosen to use a neighbor tone (a note a half-step above or below a given note) to finish off the name. (MUSIC EXAMPLE) This melodic idea occurs throughout the composition in a variety of transformations. Sometimes it is presented with the exact notes shown above; sometimes the interval structure is maintained, but the pitch series is transposed (G-A-D-C#, for example); sometimes the four notes are played in order, sometimes out of order; sometimes the first three notes (D-E-A) sound together as a chord; etc. (MUSIC EXAMPLE) The second idea is a rhythmic motive, established in the opening brass fanfare. (MUSIC EXAMPLE) This rhythm is later transformed to the accent pattern shown below, which is used as an ostinato throughout much of the allegro section of the piece.  . Fanfare: Generation Next Fanfare: Generation Next is a piece I wrote in honor of Mr. Dean Zirkle, long-time director of bands at Camp Hill Senior High School (near Harrisburg, PA). I had been working as Dean’s marching band arranger/composer for eleven years when he announced his upcoming retirement, and I felt compelled to write a piece to pay tribute to his remarkable contributions to music education and to the lives of his students and colleagues.The piece is built on two primary ideas. The first idea is a musical rendering of the name “Dean.†D, E, and A are all musical notes, but N is not. I have chosen to use a “neighbor tone†(a note a half-step above or below a given note) to finish off the name.(MUSIC EXAMPLE)This melodic idea occurs throughout the composition in a variety of transformations. Sometimes it is presented with the exact notes shown above; sometimes the interval structure is maintained, but the pitch series is transposed (G-A-D-C#, for example); sometimes the four notes are played in order, sometimes out of order; sometimes the first three notes (D-E-A) sound together as a chord; etc.(MUSIC EXAMPLE)The second idea is a rhythmic motive, established in the opening brass fanfare.(MUSIC EXAMPLE)This rhythm is later transformed to the accent pattern shown below, which is used as an ostinato throughout much of the allegro section of the piece.   . $85.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Symphony No. 6 Theodore Presser Co.
Band SKU: PR.16500104F Three Places in the East. Composed by Dan W...(+)
Band SKU: PR.16500104F Three Places in the East. Composed by Dan Welcher. Full score. Theodore Presser Company #165-00104F. Published by Theodore Presser Company (PR.16500104F). ISBN 9781491132159. UPC: 680160681082. Ever since the success of my series of wind ensemble works Places in the West, I've been wanting to write a companion piece for national parks on the other side of the north American continent. The earlier work, consisting of GLACIER, THE YELLOWSTONE FIRES, ARCHES, and ZION, spanned some twenty years of my composing life, and since the pieces called for differing groups of instruments, and were in slightly different styles from each other, I never considered them to be connected except in their subject matter. In their depiction of both the scenery and the human history within these wondrous places, they had a common goal: awaking the listener to the fragile beauty that is in them; and calling attention to the ever more crucial need for preservation and protection of these wild places, unique in all the world. With this new work, commissioned by a consortium of college and conservatory wind ensembles led by the University of Georgia, I decided to build upon that same model---but to solidify the process. The result, consisting of three movements (each named for a different national park in the eastern US), is a bona-fide symphony. While the three pieces could be performed separately, they share a musical theme---and also a common style and instrumentation. It is a true symphony, in that the first movement is long and expository, the second is a rather tightly structured scherzo-with-trio, and the finale is a true culmination of the whole. The first movement, Everglades, was the original inspiration for the entire symphony. Conceived over the course of two trips to that astonishing place (which the native Americans called River of Grass, the subtitle of this movement), this movement not only conveys a sense of the humid, lush, and even frightening scenery there---but also an overview of the entire settling-of- Florida experience. It contains not one, but two native American chants, and also presents a view of the staggering influence of modern man on this fragile part of the world. Beginning with a slow unfolding marked Heavy, humid, the music soon presents a gentle, lyrical theme in the solo alto saxophone. This theme, which goes through three expansive phrases with breaks in between, will appear in all three movements of the symphony. After the mood has been established, the music opens up to a rich, warm setting of a Cherokee morning song, with the simple happiness that this part of Florida must have had prior to the nineteenth century. This music, enveloping and comforting, gradually gives way to a more frenetic, driven section representative of the intrusion of the white man. Since Florida was populated and developed largely due to the introduction of a train system, there's a suggestion of the mechanized iron horse driving straight into the heartland. At that point, the native Americans become considerably less gentle, and a second chant seems to stand in the way of the intruder; a kind of warning song. The second part of this movement shows us the great swampy center of the peninsula, with its wildlife both in and out of the water. A new theme appears, sad but noble, suggesting that this land is precious and must be protected by all the people who inhabit it. At length, the morning song reappears in all its splendor, until the sunset---with one last iteration of the warning song in the solo piccolo. Functioning as a scherzo, the second movement, Great Smoky Mountains, describes not just that huge park itself, but one brave soul's attempt to climb a mountain there. It begins with three iterations of the UR-theme (which began the first movement as well), but this time as up-tempo brass fanfares in octaves. Each time it begins again, the theme is a little slower and less confident than the previous time---almost as though the hiker were becoming aware of the daunting mountain before him. But then, a steady, quick-pulsed ostinato appears, in a constantly shifting meter system of 2/4- 3/4 in alteration, and the hike has begun. Over this, a slower new melody appears, as the trek up the mountain progresses. It's a big mountain, and the ascent seems to take quite awhile, with little breaks in the hiker's stride, until at length he simply must stop and rest. An oboe solo, over several free cadenza-like measures, allows us (and our friend the hiker) to catch our breath, and also to view in the distance the rocky peak before us. The goal is somehow even more daunting than at first, being closer and thus more frighteningly steep. When we do push off again, it's at a slower pace, and with more careful attention to our footholds as we trek over broken rocks. Tantalizing little views of the valley at every switchback make our determination even stronger. Finally, we burst through a stand of pines and----we're at the summit! The immensity of the view is overwhelming, and ultimately humbling. A brief coda, while we sit dazed on the rocks, ends the movement in a feeling of triumph. The final movement, Acadia, is also about a trip. In the summer of 2014, I took a sailing trip with a dear friend from North Haven, Maine, to the southern coast of Mt. Desert Island in Acadia National Park. The experience left me both exuberant and exhausted, with an appreciation for the ocean that I hadn't had previously. The approach to Acadia National Park by water, too, was thrilling: like the difference between climbing a mountain on foot with riding up on a ski-lift, I felt I'd earned the right to be there. The music for this movement is entirely based on the opening UR-theme. There's a sense of the water and the mysterious, quiet deep from the very beginning, with seagulls and bell buoys setting the scene. As we leave the harbor, the theme (in a canon between solo euphonium and tuba) almost seems as if large subaquatic animals are observing our departure. There are three themes (call them A, B and C) in this seafaring journey---but they are all based on the UR theme, in its original form with octaves displaced, in an upside-down form, and in a backwards version as well. (The ocean, while appearing to be unchanging, is always changing.) We move out into the main channel (A), passing several islands (B), until we reach the long draw that parallels the coastline called Eggemoggin Reach, and a sudden burst of new speed (C). Things suddenly stop, as if the wind had died, and we have a vision: is that really Mt. Desert Island we can see off the port bow, vaguely in the distance? A chorale of saxophones seems to suggest that. We push off anew as the chorale ends, and go through all three themes again---but in different instrumentations, and different keys. At the final tack-turn, there it is, for real: Mt. Desert Island, big as life. We've made it. As we pull into the harbor, where we'll secure the boat for the night, there's a feeling of achievement. Our whale and dolphin friends return, and we end our journey with gratitude and celebration. I am profoundly grateful to Jaclyn Hartenberger, Professor of Conducting at the University of Georgia, for leading the consortium which provided the commissioning of this work. $90.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Fanfare and Jubilation - Beginner Carl Fischer
Band Bass Clarinet, Bass Drum, Bass Trombone, Bassoon, Bells, Clarinet 1, Clarin...(+)
Band Bass Clarinet, Bass Drum, Bass Trombone, Bassoon, Bells, Clarinet 1, Clarinet 2, Crash Cymbals, Euphonium, Euphonium T.C., Flute 1, Flute 2, Horn, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Snare Drum, Timpani, Trombone, Trumpet 1 and more. - Grade 1 SKU: CF.BPS137 Composed by Michael Boo. Folio. Bps. Set of Score and Parts. 4+4+2+4+4+2+2+3+2+2+2+4+4+3+2+2+2+3+1+1+2+1+16 pages. Duration 2:20. Carl Fischer Music #BPS137. Published by Carl Fischer Music (CF.BPS137). ISBN 9781491158487. UPC: 680160917082. 9 x 12 inches. Fanfare and Jubilation is a Grade 1 work that is playable by any beginning band with any instrumentation due to extensive doubling. The mood is regal and optimistic and is non-programmatic, conveying no picturesque image or storyline. It is appropriate for any occasion. Accents are to be emphasized more than non-accented notes, but are not to be hammered hard. Stress that accented notes are to be played with the same good tone as the other notes and that pitches should not suffer from the additional emphasis. Think of the accents as more of an additional emphasis from the air column and not the tongue. Percussion accents are to played with more emphasis than non-accented notes, but shouldnat be perceived as being much louder. Timpani is only two pitches and is optional. The piece will not suffer at all if you donat have access to Timpani or a timpanist. Bells cover a wide rangea|the lower octave sections should not be played louder just because theyare low pitched, as those notes will still be appropriately heard while supporting the melody. Do not use brass mallets. Balter 10 Phenolic mallets or equivalent (such as clear Balter Lexan or white Medium Hard Poly models) are most appropriate. Think of the m. 10 accented quarter notes tied to the half notes (and similar later examples) as being akin to Horn rips in a Hollywood movie. They are to be emphasized slightly but should not be blaring. Even though they are the only things happening on counts 2 and 3, care must be given that the young players donat get carried away and give them more emphasis than is musically desired. At m. 21, be careful that the bass line isnat plodding or over-emphasized due to the accents. Those players should be aware of the sudden drop in volume and lack of accents at m. 25. Attention to sudden dynamic shifts will add interest to the piece and present a more musical performance. Throughout this entire section, try to get all winds to sustain a single breath through four bars until the breath marks. If they are unable to do so, please explain the concept of staggered breathing between members of their section. There may be a tendency among the players to blast out m. 57 to the end. Notes should have more power than the section from mm. 21-56, but are still to be approached musically. Explaining such concepts during their early musical development will go far in helping them develop good traits that will pay off dividends in the future. Fanfare and Jubilation is a Grade 1 work that is playable by any beginning band with any instrumentation due to extensive doubling. The mood is regal and optimistic and is non-programmatic, conveying no picturesque image or storyline. It is appropriate for any occasion. Accents are to be emphasized more than non-accented notes, but are not to be hammered hard. Stress that accented notes are to be played with the same good tone as the other notes and that pitches should not suffer from the additional emphasis. Think of the accents as more of an additional emphasis from the air column and not the tongue. Percussion accents are to played with more emphasis than non-accented notes, but shouldn't be perceived as being much louder. Timpani is only two pitches and is optional. The piece will not suffer at all if you don't have access to Timpani or a timpanist. Bells cover a wide range...the lower octave sections should not be played louder just because they're low pitched, as those notes will still be appropriately heard while supporting the melody. Do not use brass mallets. Balter 10 Phenolic mallets or equivalent (such as clear Balter Lexan or white Medium Hard Poly models) are most appropriate. Think of the m. 10 accented quarter notes tied to the half notes (and similar later examples) as being akin to Horn rips in a Hollywood movie. They are to be emphasized slightly but should not be blaring. Even though they are the only things happening on counts 2 and 3, care must be given that the young players don't get carried away and give them more emphasis than is musically desired. At m. 21, be careful that the bass line isn't plodding or over-emphasized due to the accents. Those players should be aware of the sudden drop in volume and lack of accents at m. 25. Attention to sudden dynamic shifts will add interest to the piece and present a more musical performance. Throughout this entire section, try to get all winds to sustain a single breath through four bars until the breath marks. If they are unable to do so, please explain the concept of staggered breathing between members of their section. There may be a tendency among the players to blast out m. 57 to the end. Notes should have more power than the section from mm. 21-56, but are still to be approached musically. Explaining such concepts during their early musical development will go far in helping them develop good traits that will pay off dividends in the future. Fanfare and Jubilation is a Grade 1 work that is playable by any beginning band with any instrumentation due to extensive doubling. The mood is regal and optimistic and is non-programmatic, conveying no picturesque image or storyline. It is appropriate for any occasion.Accents are to be emphasized more than non-accented notes, but are not to be hammered hard. Stress that accented notes are to be played with the same good tone as the other notes and that pitches should not suffer from the additional emphasis. Think of the accents as more of an additional emphasis from the air column and not the tongue.Percussion accents are to played with more emphasis than non-accented notes, but shouldn’t be perceived as being much louder. Timpani is only two pitches and is optional. The piece will not suffer at all if you don’t have access to Timpani or a timpanist. Bells cover a wide range…the lower octave sections should not be played louder just because they’re low pitched, as those notes will still be appropriately heard while supporting the melody. Do not use brass mallets. Balter 10 Phenolic mallets or equivalent (such as clear Balter Lexan or white Medium Hard Poly models) are most appropriate.Think of the m. 10 accented quarter notes tied to the half notes (and similar later examples) as being akin to Horn rips in a Hollywood movie. They are to be emphasized slightly but should not be blaring. Even though they are the only things happening on counts 2 and 3, care must be given that the young players don’t get carried away and give them more emphasis than is musically desired.At m. 21, be careful that the bass line isn’t plodding or over-emphasized due to the accents. Those players should be aware of the sudden drop in volume and lack of accents at m. 25. Attention to sudden dynamic shifts will add interest to the piece and present a more musical performance. Throughout this entire section, try to get all winds to sustain a single breath through four bars until the breath marks. If they are unable to do so, please explain the concept of staggered breathing between members of their section.There may be a tendency among the players to blast out m. 57 to the end. Notes should have more power than the section from mm. 21-56, but are still to be approached musically. Explaining such concepts during their early musical development will go far in helping them develop good traits that will pay off dividends in the future. $53.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Ray Cramer GIA Publications
SKU: GI.G-9344 A Teaching Music through Performance in Band 20th Anniv...(+)
SKU: GI.G-9344 A Teaching Music through Performance in Band 20th Anniversary Edition. Composed by Ray Cramer. Teaching Music Through Performance. Music Education. 204 pages. GIA Publications #9344. Published by GIA Publications (GI.G-9344). ISBN 9781622772193. English. Ray Cramer’s contribution to the distinguished Teaching Music through Performance in Band series is but one of the ways he has advanced the art of band music and performance. Under his leadership as Director of Bands at the Indiana University School of Music, the IU Wind Ensemble earned an international reputation for outstanding musical performances—only one of his many and varied accomplishments. Now, Cramer’s ten chapters on the teaching of music throughout the Teaching Music series are collected in one volume, making this a treasure-trove of practical advice and inspiration. Step by step, he shares the methodology of selecting appropriate literature (Volume 1)— including the importance of performing music of multicultural diversity (Volume 2)—using the director’s personality to successfully engage the band (Volume 3), and the nuts and bolts of developing beautiful ensemble tone (Volume 6), along with practical advice regarding making a difference (Volume 4), the road to inspired teaching (Volume 8), and relentlessly pursuing excellence as a music educator (Volume 10). Cramer’s profound love for music and the students he helps make music has been an inspiration to readers of the Teaching Music through Performance in Band series for 20 years. This collection of essays from one of the preeminent bandmasters of our time will inspire and enlighten you on your journey to become the best music educator you can be. $20.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Audio Mixing Boot Camp Alfred Publishing
(Hands-On Basic Training for Musicians). Composed by Bobby Owsinski. Book; Books...(+)
(Hands-On Basic Training for Musicians). Composed by Bobby Owsinski. Book; Books and DVDs; DVD; Method/Instruction; Pro Audio; Pro Audio Textbook; Reference Textbooks. Boot Camp. 160 pages. Published by Alfred Music
$29.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Conquest of Paradise Brass ensemble - Easy De Haske Publications
Brass Band - Grade 2 SKU: BT.DHP-0950644-030 Composed by Vangelis. Arrang...(+)
Brass Band - Grade 2 SKU: BT.DHP-0950644-030 Composed by Vangelis. Arranged by Ron Sebregts. Film Spectaculars. TV-Film-Musical-Show. Set (Score & Parts). Composed 1995. De Haske Publications #DHP 0950644-030. Published by De Haske Publications (BT.DHP-0950644-030). 9x12 inches. Conquest Of Paradise is the title song from the film of the same name staring Gérard Dépardieu as the explorer Christopher Columbus, on his quest to discover America. The title music to the film, composed by Vangelis, was released as a single, which sold over 4 million copies and was rightfully awarded a Golden Globe. Add a little drama to any concert with this stirring arrangement.
Conquest of Paradise werd geschreven voor de film 1492. De Griekse muzikant en componist Vangelis is bij het grote publiek vooral bekend vanwege zijn soundtrack voor de film Chariots of Fire en zijn sucsesvolleVoices. Deze hero sche muziek, in een arangement van Ron Sebregts, brengt de stemming er beslist in!
Die Rockhymne Conquest of Paradise von Vangelis wurde zunächst als das Lied bekannt, das Henry Maskes letzten Boxkampf begleitete. Nun hat sie aber längst auch die Fußballwelt für sich erobert. Die heroische Musik zaubert auch in Ron Sebregts Blasorchester-Bearbeitung 100 Prozent Stadionstimmung herbei!
Pour célébrer les 500 ans de la découverte de l'Amérique, Ridley Scott réalisa 1492, Christophe Colomb avec Gérard Depardieu dans le rôle-titre. La musique fut confiée Vangelis, compositeur grec de renommée internationale, connu du grand public pour les bandes originales des films Les Chariots de Feu et Blade Runner, entre autres. Habité par le sujet, Vangelis réalise une bande son exceptionnelle mêlant composantes électroniques et mélodiques avec une texture ethnique et chorale. L'ensemble des lignes harmoniques trouve son apogée dans le sublime Conquest Of Paradise ( la conquête du Paradis), une ode magnifique la découverte et la liberté. $72.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Parnassus Brass ensemble - Intermediate/advanced De Haske Publications
Brass Band - Grade 4 SKU: BT.DHP-1125341-130 Composed by Jan Van der Roos...(+)
Brass Band - Grade 4 SKU: BT.DHP-1125341-130 Composed by Jan Van der Roost. Concert and Contest Collection Brass Band en Fanfare. Concert Piece. Score Only. Composed 2012. 52 pages. De Haske Publications #DHP 1125341-130. Published by De Haske Publications (BT.DHP-1125341-130). 9x12 inches. English-German-French-Dutch. Since most of the bands competing in the 4th Section of the Dutch National Championships have many young players, this piece is stylistically youthful— especially in the opening and closing sections. An arpeggio pattern appears numerous times in all registers and is the basic musical element of the main melody, alternating with a second theme that has a slightly different melodic character. The middle section is conceived like a chorale, introduced and developed stepwise: firstly with short patterns and gradually in increasingly long snippets, until it’s played in its glorious entirety at measure 216. No real solo passages are included but rather small chambercombinations, thus offering the opportunity to various players to display their technical and performance skills. The finale recaptures musical material from the first section of the piece and provides a majestic conclusion.
Vermits de meeste bands die aan het jaarlijkse NBK (Nederlandse Brass Band Kampioenschappen) deelnemen veel jonge muzikanten in hun rangen hebben, is dit werk overwegend jeugdig van karakter - vooral in de hoekdelen. Een arpeggio-figuur vormt de basis van het hoofdthema en het verschijnt in alle registers. Een tweede muzikaal gegeven dialogeert met die hoofdmelodie: samen stofferen ze de openingssectie van het werk. Dan volgt een koraalmatig middendeel: stapsgewijs worden korte en nadien steeds langere melodische fragmenten aan elkaar geregen tot de koraal in haar volle pracht integraal weerklinkt aan maat 205. Echte solopassages komen niet voor in dit werk, maar viadiverse kleine kamermuziek-combinaties wordt aan diverse musici de mogelijkheid geboden hun muzikale kwaliteiten te etaleren. In de laatste beweging worden een aantal muzikale bouwstenen van het begindeel hernomen en verder uitgewerkt om dan te besluiten in een majestueus slot. $34.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Digital Prisms - Easy Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Bongos, Cello, Chimes, Clarinet, ...(+)
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Bongos, Cello, Chimes, Clarinet, Crash Cymbals, Euphonium, Euphonium T.C., Flute, Horn, Keyboard, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Shaker, Snare Drum, String Bass, Suspended Cymbal and more. - Grade 2.5 SKU: CF.XPS4 Composed by Larry Clark. Flexible Band Series. Set of Score and Parts. With Standard notation. 16+8+4+8+4+6+6+2+4+4+4+4+6+4+8+2+2+8+4+6+2+4+2+4+12+4+24 pages. Duration 5 minutes, 41 seconds. Carl Fischer Music #XPS4. Published by Carl Fischer Music (CF.XPS4). ISBN 9780825893087. UPC: 798408093082. 9 x 12 inches. This popular Larry Clark piece has been rescored for flexible instrumentation. Digital Prisms is a musical statement about technology and is cast in a standard overture form. The piece appears on many contest/festival required music lists and is now playable by bands with instrumentation deficiencies. $75.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Progressive Rock Piano Practice Sessions V.1 In Al ll 12 Keys Piano solo [Sheet music + Audio access] - Intermediate ADG productions
Composed by Andrew D. Gordon. Piano Practice Sessions. Rock. Book and digital ...(+)
Composed by Andrew D. Gordon.
Piano Practice Sessions. Rock.
Book and digital audio. ADG
Productions #ADG235. Published
by ADG Productions
$26.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Conzensus Brass ensemble - Intermediate/advanced De Haske Publications
Brass Band - Grade 4 SKU: BT.DHP-0960767-030 Composed by Jan Van der Roos...(+)
Brass Band - Grade 4 SKU: BT.DHP-0960767-030 Composed by Jan Van der Roost. Inspiration Series. Opening Pieces. Set (Score & Parts). Composed 1996. De Haske Publications #DHP 0960767-030. Published by De Haske Publications (BT.DHP-0960767-030). This stately concert opener was originally written by Jan Van der Roost for a special event in which six respected wind orchestras (two Belgian and four Dutch) of different composition (two symphonic bands, two fanfare bands and two brass bands) were featured during six concerts. Each evening brought forth a performance by a symphonic band, a fanfare, and brass band, so that the audience could experience all three types of ensembles. This was indeed an original concept.The name, ConZEnSus, comes from a combination of the words, ‘Concert Cyclus’ (concert series) and ‘zes’ (Dutch for ‘six’). This leads to a new word, which refers to ‘consensus’. The general tenor of the cycle isthus immediately indicated. The richness of color of the various ensembles is revealed through an open and friendly atmosphere. During all six concerts (over a span of three years), ConZEnSus functioned as a permanent opening number for each orchestra. Thus the same musical story was portrayed in three different packages. $78.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Remembering Pearl Harbor - Intermediate/advanced Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Chimes, Clarinet 1, Clarinet 2, C...(+)
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Chimes, Clarinet 1, Clarinet 2, Clarinet 3, Crash Cymbals, Euphonium, Euphonium T.C., Flute, Gong, Horn 1, Horn 2, Horn 3, Horn 4, Mallet Percussion, Marimba, Oboe, Percussion 1, Percussion 2 and more. - Grade 4 SKU: CF.SPS95 December 7, 1941. Composed by Christina Huss R. Alan Carter. Sps. Set of Score and Parts. 2+16+4+8+8+8+4+4+4+4+4+4+6+6+6+4+4+4+4+6+6+6+6+4+6+6+2+4+8+2+28 pages. Duration 6 minutes, 45 seconds. Carl Fischer Music #SPS95. Published by Carl Fischer Music (CF.SPS95). ISBN 9781491161302. UPC: 680160919895. Written to commemorate the 80th Anniversary of the surprise attack on the American Pacific Fleet, Remembering Pearl Harbor is a stirring tribute honoring the heroes of the date which will live in infamy- December 7, 1941. Like flying over the Pacific, the opening bars seemingly soar back in time. The composition takes the listener on a moving journey from the precarious moments before the fateful attack, through the air strike and resulting aftermath. The musical voyage begins with chimes, signifying the hour of the attack that Sunday morning, developing into the heroic main theme representing the Spirit of America. A rousing version of Anchors Aweigh takes us to the naval base at Pearl Harbor and the activities of the day. By the end of Anchors Aweigh, the mood seems to change, foreshadowing the fate of the U.S. fleet. Next, the haunting theme of the Japanese National Anthem is heard and the distant sound of propellers as they approach. When the planes arrive, the battle rages until there is total destruction. Countless people lost their lives on this tragic day. The playing of Taps and the Navy Hymn, Eternal Father, Strong to Save is presented as an homage to those who perished. Following this solemn moment, the American spirit begins to rise as they come together to defeat the enemy. As the U.S. triumphs in the end, we hear fragments of many American tunes depicting the strength and resilience of the American People. You may want to consider using portions of Franklin Delano Roosevelt's famous speech to enhance your performance. The following sections are suggested: Measure 46: Yesterday, December 7th, 1941 - a date which will live in infamy - the United States of America was suddenly and deliberately attacked by the naval and air forces of the Empire of Japan. Measure 83: The attack yesterday on the Hawaiian Islands has caused severe damage to American naval and military forces. I regret to tell you that very many American lives have been lost. Measure 105: No matter how long it may take us to overcome this premeditated invasion, the American people in their righteous might will win through to absolute victory.. Written to commemorate the 80th Anniversary of the surprise attack on the American Pacific Fleet, Remembering Pearl Harbor is a stirring tribute honoring the heroes of the “date which will live in infamyâ€- December 7, 1941. Like flying over the Pacific, the opening bars seemingly soar back in time. The composition takes the listener on a moving journey from the precarious moments before the fateful attack, through the air strike and resulting aftermath.The musical voyage begins with chimes, signifying the hour of the attack that Sunday morning, developing into the heroic main theme representing the Spirit of America. A rousing version of Anchors Aweigh takes us to the naval base at Pearl Harbor and the activities of the day. By the end of Anchors Aweigh, the mood seems to change, foreshadowing the fate of the U.S. fleet.  Next, the haunting theme of the Japanese National Anthem is heard and the distant sound of propellers as they approach. When the planes arrive, the battle rages until there is total destruction. Countless people lost their lives on this tragic day. The playing of Taps and the Navy Hymn, Eternal Father, Strong to Save is presented as an homage to those who perished.Following this solemn moment, the American spirit begins to rise as they come together to defeat the enemy. As the U.S. triumphs in the end, we hear fragments of many American tunes depicting the strength and resilience of the American People.You may want to consider using portions of Franklin Delano Roosevelt’s famous speech to enhance your performance. The following sections are suggested:Measure 46: “Yesterday, December 7th, 1941 – a date which will live in infamy – the United States of America was suddenly and deliberately attacked by the naval and air forces of the Empire of Japan.â€Measure 83: “The attack yesterday on the Hawaiian Islands has caused severe damage to American naval and military forces. I regret to tell you that very many American lives have been lost.â€Measure 105: “No matter how long it may take us to overcome this premeditated invasion, the American people in their righteous might will win through to absolute victory.â€. $90.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| The Piano Bench Of Easy Classical Music Piano solo [Sheet music] - Easy Music Sales
The Piano Bench of Easy Classical Music arranged by Amy Appleby. For Piano Solo....(+)
The Piano Bench of Easy Classical Music arranged by Amy Appleby. For Piano Solo. Music Sales America. Classical. Softcover. 400 pages. Music Sales #AM967549. Published by Music Sales
(1)$34.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Trumpets of Jericho Brass ensemble - Intermediate/advanced De Haske Publications
Brass Band - Grade 4 SKU: BT.DHP-1074321-030 Composed by Enrique Crespo. ...(+)
Brass Band - Grade 4 SKU: BT.DHP-1074321-030 Composed by Enrique Crespo. Arranged by Klaas van der Woude. Applause Series. Concert Piece. Set (Score and Parts). Composed 2007. De Haske Publications #DHP 1074321-030. Published by De Haske Publications (BT.DHP-1074321-030). 9x12 inches. English-German. This programmatic piece tells the biblical story of the fall of Jericho. The music paints a vivid picture of the procession of armed men and seven priests marching around the city for seven days, before blowing their trumpets and to the cheers of the crowds watching as the walls came tumbling down. A dazzling opening work for any concert.
In Trumpets of Jericho staat het Bijbelse verhaal over Jericho centraal. Zes dagen trokken gewapenden en priesters met de Ark rond de stad, gevolgd door het volk der Israëlieten, terwijl de priesters op ramshorens bliezen.Op dag zeven trok de stoet zeven maal rond de stad - en toen de priesters bij de zevende maal op de horens bliezen, stortten de stadsmuren in. Dit arrangement begint met een kleine trom en suggereert een optocht vanuit de verte. Steedsmeer instrumenten sluiten zich aan. Het groot koper, de middengroep en het slagwerk stellen de Israëlieten voor. De cornetten verklanken de gewapenden en de priesters met hun ramshorens.
Trumpets of Jericho ist ein programmatisches Stück über den Fall der Mauern von Jericho. Sieben Tage lang marschierte das Volk Israel schweigend um die Stadt herum, während die Priester in ihre Trompeten aus Widderhörnern bliesen, bis die Mauern schlie�lich einstürzten. Mit kleinen Trommeln und den Bass-, Tenor- und Altinstrumenten für den schweigsamen Marsch sowie Kornetten für die Priester und Soldaten wird die spannende biblische Erzählung in diesem Stück lebendig.
Trumpets of Jericho est une ?uvre programme du compositeur et tromboniste uruguayen Enrique Crespo (1941). Jéricho est, selon le récit biblique, la première ville du pays de Canaan conquise par Josué et les Hébreux vers 1200 avant J.-C. Le livre de Josué relate la prise de Jéricho et comment, le septième jour - après avoir fait le tour de la cité en silence une fois pendant six jours - les murailles de la ville s'effondrèrent par la simple volonté divine après la procession, sept fois autour de la cité, de l'arche d'Alliance et de sept prêtres sonnant sept chofars (trompettes). La version musicale du récit est dâ??une grande intensité. $78.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Trumpets of Jericho Brass ensemble - Intermediate/advanced De Haske Publications
Brass Band - Grade 4 SKU: BT.DHP-1074321-130 Composed by Enrique Crespo. ...(+)
Brass Band - Grade 4 SKU: BT.DHP-1074321-130 Composed by Enrique Crespo. Arranged by Klaas van der Woude. Applause Series. Concert Piece. Score Only. Composed 2007. 28 pages. De Haske Publications #DHP 1074321-130. Published by De Haske Publications (BT.DHP-1074321-130). 9x12 inches. English-German. This programmatic piece tells the biblical story of the fall of Jericho. The music paints a vivid picture of the procession of armed men and seven priests marching around the city for seven days, before blowing their trumpets and to the cheers of the crowds watching as the walls came tumbling down. A dazzling opening work for any concert.
In Trumpets of Jericho staat het Bijbelse verhaal over Jericho centraal. Zes dagen trokken gewapenden en priesters met de Ark rond de stad, gevolgd door het volk der Israëlieten, terwijl de priesters op ramshorens bliezen.Op dag zeven trok de stoet zeven maal rond de stad - en toen de priesters bij de zevende maal op de horens bliezen, stortten de stadsmuren in. Dit arrangement begint met een kleine trom en suggereert een optocht vanuit de verte. Steedsmeer instrumenten sluiten zich aan. Het groot koper, de middengroep en het slagwerk stellen de Israëlieten voor. De cornetten verklanken de gewapenden en de priesters met hun ramshorens.
Trumpets of Jericho ist ein programmatisches Stück über den Fall der Mauern von Jericho. Sieben Tage lang marschierte das Volk Israel schweigend um die Stadt herum, während die Priester in ihre Trompeten aus Widderhörnern bliesen, bis die Mauern schließlich einstürzten. Mit kleinen Trommeln und den Bass-, Tenor- und Altinstrumenten für den schweigsamen Marsch sowie Kornetten für die Priester und Soldaten wird die spannende biblische Erzählung in diesem Stück lebendig.
Trumpets of Jericho est une œuvre programme du compositeur et tromboniste uruguayen Enrique Crespo (1941). Jéricho est, selon le récit biblique, la première ville du pays de Canaan conquise par Josué et les Hébreux vers 1200 avant J.-C. Le livre de Josué relate la prise de Jéricho et comment, le septième jour - après avoir fait le tour de la cité en silence une fois pendant six jours - les murailles de la ville s'effondrèrent par la simple volonté divine après la procession, sept fois autour de la cité, de l'arche d'Alliance et de sept prêtres sonnant sept chofars (trompettes). La version musicale du récit est d’une grande intensité. $22.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Remembering Pearl Harbor - Intermediate/advanced Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Chimes, Clarinet 1, Clarinet 2, C...(+)
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Chimes, Clarinet 1, Clarinet 2, Clarinet 3, Crash Cymbals, Euphonium, Euphonium T.C., Flute, Gong, Horn 1, Horn 2, Horn 3, Horn 4, Mallet Percussion, Marimba, Oboe, Percussion 1, Percussion 2 and more. - Grade 4 SKU: CF.SPS95F December 7, 1941. Composed by Christina Huss R. Alan Carter. Sps. Full score. 28 pages. Duration 6 minutes, 45 seconds. Carl Fischer Music #SPS95F. Published by Carl Fischer Music (CF.SPS95F). ISBN 9781491161845. UPC: 680160920525. Written to commemorate the 80th Anniversary of the surprise attack on the American Pacific Fleet, Remembering Pearl Harbor is a stirring tribute honoring the heroes of the date which will live in infamy- December 7, 1941. Like flying over the Pacific, the opening bars seemingly soar back in time. The composition takes the listener on a moving journey from the precarious moments before the fateful attack, through the air strike and resulting aftermath. The musical voyage begins with chimes, signifying the hour of the attack that Sunday morning, developing into the heroic main theme representing the Spirit of America. A rousing version of Anchors Aweigh takes us to the naval base at Pearl Harbor and the activities of the day. By the end of Anchors Away, the mood seems to change, foreshadowing the fate of the U.S. fleet. Next, the haunting theme of the Japanese National Anthem is heard and the distant sound of propellers as they approach. When the planes arrive, the battle rages until there is total destruction. Countless people lost their lives on this tragic day. The playing of Taps and the Navy Hymn, Eternal Father, Strong to Save is presented as an homage to those who perished. Following this solemn moment, the American spirit begins to rise as they come together to defeat the enemy. As the U.S. triumphs in the end, we hear fragments of many American tunes depicting the strength and resilience of the American People. You may want to consider using portions of Franklin Delano Roosevelt's famous speech to enhance your performance. The following sections are suggested: Measure 46: Yesterday, December 7th, 1941 - a date which will live in infamy - the United States of America was suddenly and deliberately attacked by the naval and air forces of the Empire of Japan. Measure 83: The attack yesterday on the Hawaiian Islands has caused severe damage to American naval and military forces. I regret to tell you that very many American lives have been lost. Measure 105: No matter how long it may take us to overcome this premeditated invasion, the American people in their righteous might will win through to absolute victory.. Written to commemorate the 80th Anniversary of the surprise attack on the American Pacific Fleet, Remembering Pearl Harbor is a stirring tribute honoring the heroes of the “date which will live in infamyâ€- December 7, 1941. Like flying over the Pacific, the opening bars seemingly soar back in time. The composition takes the listener on a moving journey from the precarious moments before the fateful attack, through the air strike and resulting aftermath.The musical voyage begins with chimes, signifying the hour of the attack that Sunday morning, developing into the heroic main theme representing the Spirit of America. A rousing version of Anchors Aweigh takes us to the naval base at Pearl Harbor and the activities of the day. By the end of Anchors Away, the mood seems to change, foreshadowing the fate of the U.S. fleet.  Next, the haunting theme of the Japanese National Anthem is heard and the distant sound of propellers as they approach. When the planes arrive, the battle rages until there is total destruction. Countless people lost their lives on this tragic day. The playing of Taps and the Navy Hymn, Eternal Father, Strong to Save is presented as an homage to those who perished.Following this solemn moment, the American spirit begins to rise as they come together to defeat the enemy. As the U.S. triumphs in the end, we hear fragments of many American tunes depicting the strength and resilience of the American People.You may want to consider using portions of Franklin Delano Roosevelt’s famous speech to enhance your performance. The following sections are suggested:Measure 46: “Yesterday, December 7th, 1941 – a date which will live in infamy – the United States of America was suddenly and deliberately attacked by the naval and air forces of the Empire of Japan.â€Measure 83: “The attack yesterday on the Hawaiian Islands has caused severe damage to American naval and military forces. I regret to tell you that very many American lives have been lost.â€Measure 105: “No matter how long it may take us to overcome this premeditated invasion, the American people in their righteous might will win through to absolute victory.â€. $13.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Espana Cani - Intermediate/advanced De Haske Publications
Concert Band/Harmonie and Trumpet Trio - Grade 4 SKU: BT.DHP-1064165-140 ...(+)
Concert Band/Harmonie and Trumpet Trio - Grade 4 SKU: BT.DHP-1064165-140 Paso Doble for 3 Trumpeters and Band - New Sounds for Concert Band no. 114. Composed by Pascual Marquina Narro. Arranged by Toshio Mashima. New Sounds for Concert Band. Solo & Concerto. Score Only. Composed 2006. 28 pages. De Haske Publications #DHP 1064165-140. Published by De Haske Publications (BT.DHP-1064165-140). 9x12 inches. English-German-French-Dutch. Der Paso doble ist ein spanischer Tanz, bei dem der Mann einen Torero und die Frau das rote Tuch, einen zweiten Stierkämpfer oder eine Flamencotänzerin darstellt. Eines der beliebtesten Paso-doble-Stücke, das auch oft auf professionellen Tanzturnieren gespielt wird, ist das feurige Stück España Cani, das Toshio Mashima nun für Blasorchester bearbeitete. Spanisches Temperament auf Ihrer Konzertbühne!
Le paso doble, littéralement pas double est né au début du XIX ème siècle dans l'esprit de la corrida où la femme symbolise la cape rouge (la mantilla) et l'homme le torero. España Cani compte parmi les plus célèbres paso doble. La musique cache un tempérament de feu.
Il paso doble è nato agli inizi del XIX secolo nello spirito della corrida dove la donna simbolizza il mantello rosso (la mantella) e l’uomo il torero. Espana Cani è considerato uno dei più celebri paso doble. La musica nasconde un temperamento di fuoco. $24.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Se'n har jag ej fragat mera Op. 17/1 Piano, Voice Breitkopf & Härtel
Voice and piano (solo: S/Mez - 2.2.1.B-clar.2 - 4.0.0.0 - perc - str) SKU: BR...(+)
Voice and piano (solo: S/Mez - 2.2.1.B-clar.2 - 4.0.0.0 - perc - str) SKU: BR.DLV-3496 Then I Ceased to Ask Those Questions. Composed by Jean Sibelius. Voice; stapled. Deutscher-Lieder-Verlag. Nearly all of the orchestral arrangements were made years after the original compositions. Yet even though the arrangements were made in a very short period of time, Sibelius handled the combination of solo voice and orchestra with equal mastery. Song; Early modern; Late-romantic. Piano/Vocal Score. 4 pages. Duration 3'. Breitkopf and Haertel #DLV 3496. Published by Breitkopf and Haertel (BR.DLV-3496). ISBN 9790004801666. 9 x 12 inches. Swedish / German. Sibelius made most of the orchestral versions of his songs for the soprano Ida Ekman (1875-1942), the incomparable Sibelius singer the composer called her in a dedication written in a score. Ida Ekman gave the first performance of the orchestral version of Se'n har jag ej fragat mera on March 30, 1914, in Turku. Idas husband Karl conducted the orchestra of the Turku Musical Society.Nearly all of the orchestral arrangements were made years after the original compositions for voice and piano. Yet even though the arrangements were made in a very short period of time, Sibelius handled the combination of solo voice and orchestra in all songs with equal mastery, sometimes creating dark and dramatic atmospheres (in Pa verandan vid havet), sometimes radiant, colorful impressions (in Soluppgang), or light-colored, transparent textures (in Varen flyktar hastigt), and always basing his ideas on the poetic idea of the song while discovering refined ways of supporting it.In most cases, Sibelius used a comparatively small orchestra: Varen flyktar hastigt has only two flute and four horns added to the strings.
Nearly all of the orchestral arrangements were made years after the original compositions. Yet even though the arrangements were made in a very short period of time, Sibelius handled the combination of solo voice and orchestra with equal mastery. $8.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| The Cream of Clapton Brass ensemble - Intermediate/advanced De Haske Publications
Brass Band - Grade 4 SKU: BT.DHP-0940587-230 Composed by Eric Clapton. Ar...(+)
Brass Band - Grade 4 SKU: BT.DHP-0940587-230 Composed by Eric Clapton. Arranged by Ron Sebregts. De Haske Pop Collection. Pop & Rock. Score Only. Composed 1994. De Haske Publications #DHP 0940587-230. Published by De Haske Publications (BT.DHP-0940587-230). Eric Clapton’s CD Unplugged is one of the top-selling albums of all time. The collection of hits inspired Ron Sebregts to create the medley The Cream of Clapton. It consists of Sebregts favourite songs by this legendary blues and rock guitarrist, singer and songwriter. This medley is guaranteed to be an audience and band favorite for many years to come!
Das Album Unplugged von Eric Clapton ist nach wie vor einer der meist verkauften Tonträger der Rock- und Popgeschichte. Aus drei legendären Hits von diesem Album schuf Ron Segbregts dieses Medley für Brass Band.
Eric Clapton è uno dei rari virtuosi della chitarra per i quali la descrizione di genio non appare esagerata. Nel corso della sua lunga carriera ha inciso o partecipato a oltre un centinaio di album, molti dei quali sono dei veri capolavori. Nel 1992, Clapton pubblica Unplugged, un album che vender oltre 14 milioni di esemplari. The Cream of Clapton raccoglie tre dei più grandi successi di questa leggenda della musica rock e del blues. $23.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Soluppgang (Sunrise) Op. 37/3 Piano, Voice Breitkopf & Härtel
Voice and piano (solo: S - 2.0.2.2. - 4.0.0.0. - str) SKU: BR.DLV-3471 (+)
Voice and piano (solo: S - 2.0.2.2. - 4.0.0.0. - str) SKU: BR.DLV-3471 Original and Arrangement by the Composer. Composed by Jean Sibelius. Voice. Deutscher-Lieder-Verlag. Nearly all of the orchestral arrangements were made years after the original compositions. Yet even though the arrangements were made in a very short period of time, Sibelius handled the combination of solo voice and orchestra with equal mastery. Song; Early modern; Late-romantic. Score. 8 pages. Duration 2'. Breitkopf and Haertel #DLV 3471. Published by Breitkopf and Haertel (BR.DLV-3471). ISBN 9790004801512. 9 x 12 inches. Swedish / German. Sibelius made most of the orchestral versions of his songs for the soprano Ida Ekman (1875-1942), the incomparable Sibelius singer the composer called her in a dedication written in a score. Ida Ekman gave the first performance of the orchestral version of Soluppgang on March 30, 1914, in Turku. Idas husband Karl conducted the orchestra of the Turku Musical Society.Nearly all of the orchestral arrangements were made years after the original compositions for voice and piano. Yet even though the arrangements were made in a very short period of time, Sibelius handled the combination of solo voice and orchestra in all songs with equal mastery, sometimes creating dark and dramatic atmospheres (in Pa verandan vid havet), sometimes radiant, colorful impressions (in Soluppgang), or light-colored, transparent textures (in Varen flyktar hastigt), and always basing his ideas on the poetic idea of the song while discovering refined ways of supporting it.
Nearly all of the orchestral arrangements were made years after the original compositions. Yet even though the arrangements were made in a very short period of time, Sibelius handled the combination of solo voice and orchestra with equal mastery. $12.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Llobet Guitar Works - set of 15 volumes Vol. 1-15 Guitar Classical guitar - Intermediate Music Distribution Services
Composed by Miguel Llobet. Edited by Stefano Grondona. This edition: Saddle-wi...(+)
Composed by Miguel Llobet.
Edited by Stefano Grondona.
This edition: Saddle-wire
stitching. Sheet music. 1048
pages. MDS (Music Distribution
Services) #GHE 900. Published
by MDS (Music Distribution
Services)
$399.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Reflections Piano solo Theodore Presser Co.
Scott Joplin Reconsidered. Composed by Scott Joplin (1868-1917). Edited by L...(+)
Scott Joplin Reconsidered.
Composed by Scott Joplin
(1868-1917). Edited by Lara
Downes. Collection. Theodore
Presser Company #440-40028.
Published by Theodore Presser
Company
$21.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Concerto Piano solo Theodore Presser Co.
Orchestra Piano SKU: PR.11641861SP Composed by William Kraft. Part. 35 pa...(+)
Orchestra Piano SKU: PR.11641861SP Composed by William Kraft. Part. 35 pages. Duration 21 minutes. Theodore Presser Company #116-41861SP. Published by Theodore Presser Company (PR.11641861SP). UPC: 680160685202. What?! - my composer colleagues said - A concerto for the piano? It's a 19th century instrument! Admittedly we are in an age when originally created timbres and/or musico-technological formulations are often the modus operandi of a piece. Actually, this Concerto began about two years ago when, during one of my creative jogs, the sound of the uppermost register of the piano mingled with wind chimes penetrated my inner ear. The challenge and fascination of exploring and developing this idea into an orchestral situation determined that some day soon I would be writing a work for piano and orchestra. So it was a very happy coincidence when Mona Golabek phoned to tell me she would like discuss the Ford Foundation commission. After covering areas of aesthetics and compositional styles, we found that we had a good working rapport, and she asked if I would accept the commission. The answer was obvious. Then began the intensive thought process on the stylistic essence and organization of the work. Along with this went a renewed study of idiomatic writing for the piano, of the kind Stravinsky undertook with the violin when he began his Violin Concerto. By a stroke of great fortune, the day in February 1972 that I received official notice from the Ford Foundation of the commission, I also received a letter from the Guggenheim Foundation informing me I had been awarded my second fellowship. With the good graces of Zubin Mehta and Ernest Fleischmann, masters of my destiny as a member of the Los Angeles Philharmonic, I was relieved of my orchestral duties during the Hollywood Bowl season. Thus I was able to go to Europe to work and to view the latest trends in music concentrating in London (the current musical melting pot and showcase par excellence), Oslo, Norway, for the Festival of Scandinavian Music called Nordic Days, and Warsaw, Poland, for its prestigious Autumn Festival. Over half the Concerto was completed in that summer and most of the rest during the 72-73 season with the final touches put on during a month as Resident Scholar at the Rockefeller Foundation's Villa Serbelloni in Bellagio, Italy. So much for the external and environmental influences, except perhaps to mention the birds of Sussex in the first movement, the bells of Arhus (Denmark) in the second movement and the bells of Bellagio at the end of the Concerto. Primary in the conception was the personality of Miss Golabek: she is a wonderfully vital and dynamic person and a real virtuoso. Therefore, the soloist in the Concerto is truly the protagonist; it is she (for once we can do away with the generic he) who unfolds the character and intent of the piece. The first section is constructed in the manner of a recitative - completely unmeasured - with letters and numbers by which the conductor signals the orchestra for its participation. This allows the soloist the freedom to interpret the patterns and control the flow and development of the music. The Concerto is actually in one continuous movement but with three large divisions of sufficiently contrasting character to be called movements in themselves. The first 'movement' is based on a few timbral elements: 1) a cluster of very low pitches which at the beginning are practically inaudibly depressed, and sustained silently by the sostenuto pedal, which causes sympathetic vibrating pitches to ring when strong notes are struck; 2) a single powerful note indicated by a black note-head with a line through it indicating the strongest possible sforzando; 3) short figures of various colors sometimes ominous, sometimes as splashes of light or as elements of transition; 4) trills and tremolos which are the actual controlling organic thread starting as single axial tremolos and gradually expanding to trills of increasingly larger and more powerful scope. The 'movement' begins in quiescent repose but unceasingly grows in energy and tension as the stretching of a string or rubber band. When it can no longer be restrained, it bursts into the next section. The second 'movement,' propelled by the released tension, is a brilliant virtuosic display, which begins with a long solo of wispy percussion, later joined in duet with the piano. Not to be ignored, the orchestra takes over shooting the material throughout all its sections like a small agile bird deftly maneuvering through nothing but air, while the piano counterposes moments of lyricism. The orchestra reaches a climax, thrusting us into the third 'movement' which begins with a cadenza-like section for the piano. This moves gently into an expressive section (expressive is not a negative term to me) in which duets are formed with various instruments. There are fleeting glimpses of remembrances past, as a fragmented recapitulation. One glimpse is hazily expressed by strings and percussion in a moment of simultaneous contrasting levels of activity, a technique of which I have been fond and have utilized in various fixed-free relationships, particularly in my Percussion Concerto, Contextures and Games: Collage No. 1. The second half of the third 'movement; is a large coda - akin to those in Beethoven - which brings about another display of virtuosity, this time gutsy and driving, raising the Concerto to a final climax, the soloist completing the fragmented recapitulation concept as well as the work with the single-note sforzando and low cluster from the very opening of the first movement. $47.99 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Oregon Brass ensemble - Intermediate/advanced De Haske Publications
Brass Band - Grade 4 SKU: BT.DHP-0890139-030 Composed by Jacob De Haan. I...(+)
Brass Band - Grade 4 SKU: BT.DHP-0890139-030 Composed by Jacob De Haan. Inspiration Series. Concert Piece. Set (Score and Parts). Composed 1989. De Haske Publications #DHP 0890139-030. Published by De Haske Publications (BT.DHP-0890139-030). This fantasy tells the story of Oregon, one of Americas north-western states. Traveling by train on the Northern Pacific Railroad, the listener is taken through the fascinating Oregon landscape. Indians, cowboys, golddiggers and hooded wagons willfile past on this adventurous journey. The piece has some similarities with a soundtrack of a movie. Various melodies, which could be the main themes of a movie, pass the review.The piece begins in a slow movement, introducing the first theme inminor. Then we hear in the following fast movement the trombones imitate the train, whistling the steam-flute. We hear the characteristic minor theme again, but now in different variants(also in major). The rythmic structure of western stile androck succeed each other. This is leading to the slow movement, where the signals of horns and trumpets introduce a wonderful vocal melody. After this characteristic melody, the fast movement appears shortly again, the trombones whistling thesteam-flute again (now in major). We hear also some musical elements, that plays a part in the following Presto. Barchanges, jazzy chords, interesting rhytmic patterns (with bongo) and an original theme are the characteristics of this Presto. Afterthis, the horns announce the last section of the piece. Interesting is the fact that we hear in this Allegro section a variant of the vocal melody in the slow movement. Also the Presto theme returns shortly, followed by the Allargando, which is agrand characteristic end of a soundtrack. The movie of our travelling fantasy has come to an end.
Deze fantasie vertelt het verhaal van Oregon, een van de noordwestelijke staten van Amerika. Een treinreis over de Northern Pacific Railroad voert de luisteraar mee door het boeiende landschap van Oregon. Tijdens deze avontuurlijke reis isdromen over een ver verleden onvermijdelijk. Indianen, cowboys, goudzoekers en huifkarren met paarden ervoor passeren hierbij de revue. Het werk heeft overeenkomsten met de soundtrack van een film.
In Oregon entführt Sie Jacob de Haan auf eine abenteuerliche Zugfahrt durch die faszinierende Landschaft einer der nordwestlichen Staaten Amerikas. Ein langsames Thema in Moll, gepaart mit Variationen in Western- und Rockrhythmen undmelodiösen Passagen sind nur einige der Elemente, die diese Reise so spannend und abwechslungsreich gestalten.
Cette pièce est un voyage musical travers lâ??Oregon, Ã?tat du nord-ouest des Ã?tats-Unis. bord dâ??un train de la Northern Pacific Railroad, lâ??auditeur est invité découvrir les paysages somptueux de lâ??Oregon. Au fil du trajet, sur la route empruntéepar les chariots des pionniers, on rencontre des Indiens, des cowboys et des chercheurs dâ??or. Et la musique prend la forme dâ??une aventure digne dâ??un western. $98.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Maple Leaf Rag (Collection Anacrouse) Piano solo EBR Editions Bourges
Piano Solo - Moderately Difficult SKU: BU.EBR-A018 Composed by Scott Jopl...(+)
Piano Solo - Moderately Difficult SKU: BU.EBR-A018 Composed by Scott Joplin. This edition: French Edition. Jazz. Anacrouse. Partition Biographie Notes sur l'oeuvre. Score. Editions Bourges #EBR-A018. Published by Editions Bourges (BU.EBR-A018). ISBN 9790560150901. 8.58 x 12.48 inches. La collection ANACROUSE offre aux pianistes novices et confirmés un large choix d’œuvres classiques, allant de la Renaissance à l’époque moderne.
Proposer tout à la fois des « incontournables » du répertoire classique et des pièces de compositeurs parfois oubliés, toutes d’une valeur pédagogique indéniable, tels sont les objectifs que nous nous sommes fixés. Chaque pièce, vendue à l’unité, a fait l’objet d’un travail éditorial attentif, tant sur le plan de l’établissement du texte musical que de sa gravure, afin de garantir aux musiciens les conditions indispensables aux plaisirs tirés du commerce fréquent de ces œuvres.
Les partitions sont proposées sous la forme d’ouvrages traditionnels (feuillets papier), et disponibles également par téléchargement.
En 1899, l’éditeur John Stark publia la partition Maple leaf rag de Scott Joplin Ce dernier le baptisa d’après le Maple Leaf Club à Sédelia, boite de nuit où il travaillait. John Stark fit de Joplin l’une des grandes figures de ce nouveau courant musical. Maple leaf rag s’est vendu à plus d’un million d’exemplaires et a notamment permis à l’éditeur Stark d’acheter une presse à imprimer et de faire une nouvelle édition en couleurs avec la fameuse couverture à la feuille d’érable où apparaît la première photo connue de Scott Joplin.
Maple Leaf Rag atteint le hit-parade en 1907 grâce aux versions du banjoïste Vess L. Ossman et de l’US Marine Band, premier orchestre à avoir, semble-t-il, enregistré le titre en octobre 1906. Scott Joplin, quant à lui, le grave en rouleau de piano en 1916, tandis que la première prise gravée sur disque par des jazzmen est celle des New Orleans Rhythm Kings le 13 mars 1923 pour le label Gennett. Il composa Maple Leaf Rag sur un rythme binaire à 2/4 pour le piano. Contrairement à la plupart des rags, il contient quatre thèmes de 16 mesures chacun. Les premiers, deuxième et quatrième sont en la bémol majeur, alors que le troisième est en ré bémol majeur. Référence en matière de ragtime, Maple Leaf Rag a représenté une source d’inspiration élémentaire pour de nombreux compositeurs qui en ont emprunté les tournures mélodiques et rythmiques, voire la trame harmonique comme le célèbre James Scott dans Great Scott Rag, Ophelia Rag et Quality Rag Grâce à ce fameux succès, le nom de Scott Joplin devint synonyme de Ragtime et il fut surnommé de son vivant « roi du ragtime ». Ce morceau est considéré comme l'oeuvre majeure de Scott Joplin, celle qui a codifié pour toute une décennie la structure du ragtime classique et qui allait donner naissance au jazz quelques années plus tard. Cette pièce éveille un enthousiasme particulier chez les musiciens. Elle attire encore aujourd’hui beaucoup d’interprètes plus ou moins confirmés. $9.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Starting Early GIA Publications
SKU: GI.G-7850 Adventures with Music - Book 1. Composed by Ann Kac...(+)
SKU: GI.G-7850 Adventures with Music - Book 1. Composed by Ann Kaczkowski Kimpton and Paul Kimpton. Adventures with Music. Music Education. Book. 204 pages. GIA Publications #7850. Published by GIA Publications (GI.G-7850). ISBN 9781579998059. English. Adventures with Music Book 1 A new adventure series where the heroes are young musicians! Dale and his friends waited for this moment, and now it was here: they were finally old enough to play an instrument. Little did Dale know that his decision to play the cornet would take him on an adventure of a lifetime... This first book in The Adventures with Music Series begins in the U.S. during World War II. Paul and Ann Kimpton bring to life this unforgettable story about best friends, their dog Scout, bike rides, forts, foot races, and heroism—capturing the spirit of a remarkable time and the sheer joy of making music Excerpt from the book... The Conn instrument factory was on fire, and only one person could save the town.... Hurry, Dale! You have no time to spare! Grandpa warned as Dale hopped on his bike. He put the bugle to his lips, but nothing came out. Remember what you have been taught, Grandpa advised. Dale licked his lips and tried again. This time the Fire Call came out loud and clear. The sound echoed across the valley. Grandpa shouted, Now ride to each corner and play it as loud as you can. This is going to be your most important performance ever! Paul Kimpton grew up in a musical family and was a band director in Illinois for 34 years. His father Dale was a band director and professor at the University of Illinois, and his mother Barbara was a vocalist. When Paul is not writing, he is reading or enjoying the outdoors. Ann Kimpton played French horn through college and went on to be a mother, teacher, and high school administrator. Her parents, Henry and Maryalyce Kaczkowski, both educators, instilled an appreciation for the fine arts and the outdoors in all of their children. How to use the Adventures with Music series: 1. Parents, Teachers, Librarians: Intended for intermediate readers in grades 4 through 8, these books capture the interests of both boys and girls. The series fosters a love of reading while exposing students to American history and the foundations of music. The musician characters provide positive role models for any child, but especially students who like music or play an instrument. 2. General Music Classroom: Support reading across the curriculum in your classroom! The Adventures with Music series promotes musicians as can-do kids. Musical concepts are embedded throughout each high-interest story, thus reinforcing what students are learning in your classroom. Provide your students with a background rich in music history in an exciting context. The books are written to appeal to a variety of reading levels, and as a result, support differentiated instruction in your classroom. 3. Instrumental Music Teachers: Build interest when recruiting beginners, and maintain that excitement, as students develop their musical skills. The Adventures with Music series provides students with positive role models of well-rounded, active musicians. Students see how music can be an essential part of their lives and are drawn to the exciting stories that reinforce the concepts they will encounter when they play an instrument. The series’ characters learn to read music, rehearse, and persevere all while developing leadership skills in their school’s music program. Music history is woven throughout, helping you keep the legacy of music alive for young musicians.  . $8.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Edward S. Lisk GIA Publications
SKU: GI.G-9343 A Teaching Music through Performance in Band 20th Anniv...(+)
SKU: GI.G-9343 A Teaching Music through Performance in Band 20th Anniversary Edition. Composed by Edward Lisk. Teaching Music Through Performance. Music Education. 188 pages. GIA Publications #9343. Published by GIA Publications (GI.G-9343). ISBN 9781622772186. English. Edward S. Lisk’s twenty years of contributions to the critically acclaimed Teaching Music through Performance in Band series are collected in this milestone volume, revealing his keen knowledge of the concepts, methodology, and instructional techniques required to draw the beauty of musical expression out of students. Tested throughout a fifty-year career in music, Lisk—an internationally recognized clinician, conductor, and author—understands the “life priorities†hidden in music study, such as Beauty, Compassion, Tolerance, Self-Esteem, Cooperation, and Respect. In this milestone volume, he elucidates the way to teach them. Included are chapters on “Building a Sound Rehearsal†(Volume 1), “Beyond the Page: The Natural Laws of Musical Expression†(Volume 4), “Imagination and Creativity: A Prelude to Musical Expression†(Volume 7), and “Shaping Ensemble Sonority†(Volume 9), along with much more. Readers of this volume will come away with knowledge, inspiration, and practical advice on how to continually grow and educate themselves and their students as musicians able to share the beauty of music on the highest level. $20.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Library Of Easy Piano Classics 2 Piano solo [Sheet music] - Easy Music Sales
Edited by Amy Appleby. For piano. Format: piano solo book (spiral bound). With f...(+)
Edited by Amy Appleby. For piano. Format: piano solo book (spiral bound). With fingerings. Baroque, classical period, romantic period and americana. 240 pages. 9x12 inches. Published by Music Sales.
(3)$29.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
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