| Ascent (Day 6) Piano Trio: piano, violin, cello Chester
SKU: HL.50606990 For Piano Trio. Composed by Ludovico Einaudi. Ins...(+)
SKU: HL.50606990 For Piano Trio. Composed by Ludovico Einaudi. Instrumental. Softcover. 12 pages. Duration 360 seconds. Chester Music #CH88268. Published by Chester Music (HL.50606990). ISBN 9798350128734. UPC: 196288215370. 9.0x12.0x0.079 inches. From 'Day 6' of Seven Days Walking, Einaudi's Ascent (Day 6) is a six minute piece for Piano trio. Inspired by winter walks through the mountains and the subtle details and variations found when exploring the same path over and over, Seven Days Walking is a seriesof seven studio albums released throughout 2019. Ascentis one of several main themes which recur in different forms and variations across the days. $7.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Ascent Orchestra - Easy Belwin
Orchestra - Grade 2 SKU: AP.48044S Composed by Tanner Otto. MakeMusic Clo...(+)
Orchestra - Grade 2 SKU: AP.48044S Composed by Tanner Otto. MakeMusic Cloud; Performance Music Ensemble; Single Titles; String Orchestra. Belwin Intermediate String Orchestra. Score. 12 pages. Duration 2:10. Belwin Music #00-48044S. Published by Belwin Music (AP.48044S). ISBN 9781470658779. UPC: 038081550824. English. Students will love playing The Ascent by Tanner Otto for its upbeat, driving rhythms and beautiful melodies. This piece begins with a triumphant ostinato pattern that reappears throughout the work. The animated main theme leads to a cold and tense middle section before building back into familiar melody. This piece is perfect for working on the A minor and C major finger pattern and staccato bowing. (2:10) This title available in MakeMusic Cloud. $9.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| The Ascent from Darkness Concert band - Intermediate/advanced Alfred Publishing
Concert Band - Grade 4 SKU: AP.50883S Composed by Rossano Galante. Concer...(+)
Concert Band - Grade 4 SKU: AP.50883S Composed by Rossano Galante. Concert Band; Performance Music Ensemble; Single Titles. Alfred Concert Band. Score. Duration 4:00. Alfred Music #00-50883S. Published by Alfred Music (AP.50883S). ISBN 9781470668464. UPC: 038081587332. English. The Ascent from Darkness, by Rossano Galante, pays homage to the human race that endured the pandemic. He creates a musical landscape that depicts strength, tenacity, and compassion. The main theme, which is broad and lyrical, is stated by horns and winds. As the piece develops, the theme is played by full, chordal brass accompanied by rhythmic woodwind lines. The B section is lightly orchestrated with a solo oboe accompanied by the clarinet section, slowly growing to a tutti statement. The piece recapitulates with bold brass chords. The work ends as it begins, quietly incorporating the first motive. (4:00). $10.00 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Sonic Ascent Concert band C.L. Barnhouse
Concert band - Pre 1 SKU: CL.023-4182-01 Composed by Weller. Young Concer...(+)
Concert band - Pre 1 SKU: CL.023-4182-01 Composed by Weller. Young Concert Band. Sound Foundations Series. Audio recording available separately (item CL.WFR380). Extra full score. Composed 2013. Duration 1 minute, 16 seconds. C.L. Barnhouse #023-4182-01. Published by C.L. Barnhouse (CL.023-4182-01). Energize your beginning band with Sonic Ascent, a triumphant concert opener that fuels a young musician’s aspiration to play an instrument. Using just six notes in all the wind parts, bold melodies are shared by each section in the ensemble. The middle section offers opportunities to develop the ensemble’s awareness of dynamic and articulation contrast through a series of short call and response motifs between the sections. A brilliant opener for that very first band concert! $6.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| The Ascent from Darkness Concert band - Intermediate/advanced Alfred Publishing
Concert Band - Grade 4 SKU: AP.50883 Composed by Rossano Galante. Concert...(+)
Concert Band - Grade 4 SKU: AP.50883 Composed by Rossano Galante. Concert Band; Performance Music Ensemble; Single Titles. Alfred Concert Band. Score and Part(s). Duration 4:00. Alfred Music #00-50883. Published by Alfred Music (AP.50883). ISBN 9781470668457. UPC: 038081587325. English. The Ascent from Darkness, by Rossano Galante, pays homage to the human race that endured the pandemic. He creates a musical landscape that depicts strength, tenacity, and compassion. The main theme, which is broad and lyrical, is stated by horns and winds. As the piece develops, the theme is played by full, chordal brass accompanied by rhythmic woodwind lines. The B section is lightly orchestrated with a solo oboe accompanied by the clarinet section, slowly growing to a tutti statement. The piece recapitulates with bold brass chords. The work ends as it begins, quietly incorporating the first motive. (4:00). $85.00 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Modern Wind Series - Horn French horn - Advanced Forsyth Publications
Horn - Advanced SKU: FP.FZZ10 Composed by Various Various. Published by F...(+)
Horn - Advanced SKU: FP.FZZ10 Composed by Various Various. Published by Forsyths Publications (FP.FZZ10). ISBN 979-0-57050-331-5. Forsyth's Modern Wind Music is a series of volumes containing exciting and challenging, but not unduly difficult, works by talented English composers of current or recent vintage for recital, study or recreation. Each volume includes three works with piano, one unaccompanied piece, and one piece for two or more players of the instrument. In this volume for horn two aubades by David Ellis and John Golland (Ascent) reflect traditional associations of the instrument, whilst Anthony Gilbert's Two Birds by Kuring-Gai show the horn in an unusual guise and where written whilst the composer was living in the spectacular landscape of New South Wales. James Langley's music is well known to horn players and his fanfare-like Caccia for solo horn and Trident for three horns are both welcome additions to a slender repertory. $18.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| The Ascent Orchestra - Easy Belwin
Orchestra - Grade 2 SKU: AP.48044 Composed by Tanner Otto. MakeMusic Clou...(+)
Orchestra - Grade 2 SKU: AP.48044 Composed by Tanner Otto. MakeMusic Cloud; Performance Music Ensemble; Single Titles; String Orchestra. Belwin Intermediate String Orchestra. Score and Part(s). 144 pages. Duration 2:10. Belwin Music #00-48044. Published by Belwin Music (AP.48044). ISBN 9781470658762. UPC: 038081550817. English. Students will love playing The Ascent by Tanner Otto for its upbeat, driving rhythms and beautiful melodies. This piece begins with a triumphant ostinato pattern that reappears throughout the work. The animated main theme leads to a cold and tense middle section before building back into familiar melody. This piece is perfect for working on the A minor and C major finger pattern and staccato bowing. (2:10) This title is available in MakeMusic Cloud. $50.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Sonic Ascent Concert band C.L. Barnhouse
Concert band - Pre 1 SKU: CL.023-4182-00 Composed by Weller. Young Concer...(+)
Concert band - Pre 1 SKU: CL.023-4182-00 Composed by Weller. Young Concert Band. Sound Foundations Series. Audio recording available separately (item CL.WFR380). Score and set of parts. Composed 2013. Duration 1 minute, 16 seconds. C.L. Barnhouse #023-4182-00. Published by C.L. Barnhouse (CL.023-4182-00). Energize your beginning band with Sonic Ascent, a triumphant concert opener that fuels a young musician’s aspiration to play an instrument. Using just six notes in all the wind parts, bold melodies are shared by each section in the ensemble. The middle section offers opportunities to develop the ensemble’s awareness of dynamic and articulation contrast through a series of short call and response motifs between the sections. A brilliant opener for that very first band concert! $46.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Crossing the Bar Choral SATB SATB, Piano Carl Fischer
Choral SATB choir, piano SKU: CF.CM9608 Composed by Jamey Ray. Fold. Perf...(+)
Choral SATB choir, piano SKU: CF.CM9608 Composed by Jamey Ray. Fold. Performance. 12 pages. Duration 3 minutes, 33 seconds. Carl Fischer Music #CM9608. Published by Carl Fischer Music (CF.CM9608). ISBN 9781491154304. UPC: 680160912803. 6.875 x 10.5 inches. Key: E major. English. Alfred, Lord Tennyson (1809-1892). The beauty in Alfred, Lord Tennysons poem is reflected by the music with the use of text painting. The piano creates the sound of moving water in m. 19, providing the first instance of text painting. When the men enter, they continue this idea of the ocean tide while the descent into the word deep in m. 27 gives another instance of text painting. Take advantage of the minor second suspension on the word dark in m. 38 in order to achieve a feeling of suspense. The entrance at m. 41 is full, and while still minor, the text gives us hope for a change. The change comes in m. 45 with the staggered entrances creating a sense of building and ascent until the climax of this moment at m. 47 on the word embark, which is to be an ascent to Heaven. The melody moves between voice parts, even as early as m. 14 where the altos have the melody for only a single measure; it is then handed back to the sopranos. From mm. 5764, the altos trade the melody back and forth with the sopranos. Take note that the alto melody should be brought out, but the line does not actually begin until the word when. Lastly, be intentional with syllabic stress (no two eighth notes or quarter notes alike) and to give direction to any note longer than a quarter. I hope you enjoy learning and performing Crossing the Bar as much as I enjoyed writing it. ~Jamey Ray. The beauty in Alfred, Lord Tennysonas poem is reflected by the music with the use of text painting. The piano creates the sound of moving water in m.A 19, providing the first instance of text painting. When the men enter, they continue this idea of the ocean tide while the descent into the word adeepa in m. 27 gives another instance of text painting. Take advantage of the minor second suspension on the word adarka in m. 38 in order to achieve a feeling of suspense. The entrance at m. 41 is full, and while still minor, the text gives us hope for a change. The change comes in m. 45 with the staggered entrances creating a sense of building and ascent until the climax of this moment at m. 47 on the word aembark,a which is to be an ascent to Heaven. The melody moves between voice parts, even as early as m. 14 where the altos have the melody for only a single measure; it is then handed back to the sopranos. From mm. 57a64, the altos trade the melody back and forth with the sopranos. Take note that the alto melody should be brought out, but the line does not actually begin until the word awhen.a Lastly, be intentional with syllabic stress (no two eighth notes or quarter notes alike) and to give direction to any note longer than a quarter. I hope you enjoy learning and performing Crossing the Bar as much as I enjoyed writing it. ~Jamey Ray. The beauty in Alfred, Lord Tennyson's poem is reflected by the music with the use of text painting. The piano creates the sound of moving water in m. 19, providing the first instance of text painting. When the men enter, they continue this idea of the ocean tide while the descent into the word deep in m. 27 gives another instance of text painting. Take advantage of the minor second suspension on the word dark in m. 38 in order to achieve a feeling of suspense. The entrance at m. 41 is full, and while still minor, the text gives us hope for a change. The change comes in m. 45 with the staggered entrances creating a sense of building and ascent until the climax of this moment at m. 47 on the word embark, which is to be an ascent to Heaven. The melody moves between voice parts, even as early as m. 14 where the altos have the melody for only a single measure; it is then handed back to the sopranos. From mm. 57-64, the altos trade the melody back and forth with the sopranos. Take note that the alto melody should be brought out, but the line does not actually begin until the word when. Lastly, be intentional with syllabic stress (no two eighth notes or quarter notes alike) and to give direction to any note longer than a quarter. I hope you enjoy learning and performing Crossing the Bar as much as I enjoyed writing it. ~Jamey Ray. The beauty in Alfred, Lord Tennyson's poem is reflected by the music with the use of text painting. The piano creates the sound of moving water in m. 19, providing the first instance of text painting. When the men enter, they continue this idea of the ocean tide while the descent into the word deep in m. 27 gives another instance of text painting. Take advantage of the minor second suspension on the word dark in m. 38 in order to achieve a feeling of suspense. The entrance at m. 41 is full, and while still minor, the text gives us hope for a change. The change comes in m. 45 with the staggered entrances creating a sense of building and ascent until the climax of this moment at m. 47 on the word embark, which is to be an ascent to Heaven. The melody moves between voice parts, even as early as m. 14 where the altos have the melody for only a single measure; it is then handed back to the sopranos. From mm. 57-64, the altos trade the melody back and forth with the sopranos. Take note that the alto melody should be brought out, but the line does not actually begin until the word when. Lastly, be intentional with syllabic stress (no two eighth notes or quarter notes alike) and to give direction to any note longer than a quarter. I hope you enjoy learning and performing Crossing the Bar as much as I enjoyed writing it. ~Jamey Ray. The beauty in Alfred, Lord Tennyson’s poem is reflected by the music with the use of text painting. The piano creates the sound of moving water in m. 19, providing the first instance of text painting. When the men enter, they continue this idea of the ocean tide while the descent into the word “deep†in m. 27 gives another instance of text painting.Take advantage of the minor second suspension on the word “dark†in m. 38 in order to achieve a feeling of suspense. The entrance at m. 41 is full, and while still minor, the text gives us hope for a change. The change comes in m. 45 with the staggered entrances creating a sense of building and ascent until the climax of this moment at m. 47 on the word “embark,†which is to be an ascent to Heaven.The melody moves between voice parts, even as early as m. 14 where the altos have the melody for only a single measure; it is then handed back to the sopranos. From mm. 57–64, the altos trade the melody back and forth with the sopranos. Take note that the alto melody should be brought out, but the line does not actually begin until the word “when.â€Lastly, be intentional with syllabic stress (no two eighth notes or quarter notes alike) and to give direction to any note longer than a quarter.I hope you enjoy learning and performing Crossing the Bar as much as I enjoyed writing it.~Jamey Ray. $2.50 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Le Printemps - Easy Carl Fischer
Orchestra Cello, Contrabass, Piano, Viola, Violin 1, Violin 2, Violin 3 - Grade ...(+)
Orchestra Cello, Contrabass, Piano, Viola, Violin 1, Violin 2, Violin 3 - Grade 2 SKU: CF.YAS178F Composed by Ruth Elaine Schram. Young String Orchestra (YAS). Full score. With Standard notation. 8 pages. Carl Fischer Music #YAS178F. Published by Carl Fischer Music (CF.YAS178F). ISBN 9781491151808. UPC: 680160909308. 9 x 12 inches. The title of this piece,?Le Printemps,?is French for the springtime. This piece brings images of springtime to the listener's mind. ?The rhythmic pattern that begins in the bass and works its way up to the violins illustrates the patter of raindrops or of flowers bursting into bloom. The beautiful melodies in the piece engage players and audiences. The title Le Printemps is French for the springtime. This piece is meant to bring images of springtime to the listeners mind. The rhythmic pattern that begins in the bass and works its way up through the sections to the violins could be the patter of raindrops, or indicative of flowers pushing their way up through the ground and bursting into bloom. All the instruments that have the staccato notes are the backup; the instruments who have the slurred notes are playing the melody in these sections and should bring the melody out a little bit. The middle section is a little softer (mp) and more legato, and could bring to mind a lovely, warm breeze that is gently moving across the new, green grass and the budding leaves of the trees. It should be played with tenderness and feeling, paying careful attention to the crescendo in mm. 2528, building up to the mf. In m. 34, make the most of the poco rall. as you prepare to reiterate the staccato portion that begins again in m. 35. Again, the moving parts here with the slurs have the melody and should not be overwhelmed by the staccato instruments. At m. 55 should begin to build slightly into the crescendo at m. 57 and really build that up through beat 3 of m. 58. At m. 59, be suddenly very soft to begin the final ascent into the climactic ending. Build steadily through the last four measures and give a good solid bowing of your last note. Enjoy Le Printemps!. The title Le PrintempsA is French for athe springtime.a This piece is meant to bring images of springtime to the listeneras mind. A The rhythmic pattern that begins in the bass and works its way up through the sections to the violins could be the patter of raindrops, or indicative of flowers pushing their way up through the ground and bursting into bloom. All the instruments that have the staccato notes are the backup; the instruments who have the slurred notes are playing the melody in these sections and should bring the melody out a little bit. The middle section is a little softer (mp) and more legato, and could bring to mind a lovely, warm breeze that is gently moving across the new, green grass and the budding leaves of the trees. It should be played with tenderness and feeling, paying careful attention to the crescendo in mm. 25a28, building up to the mf. In m. 34, make the most of the poco rall. as you prepare to reiterate the staccato portion that begins again in m. 35. Again, the moving parts here with the slurs have the melody and should not be overwhelmed by the staccato instruments. At m. 55 should begin to build slightly into the crescendo at m. 57 and really build that up through beat 3 of m. 58. At m. 59, be suddenly very soft to begin the final ascent into the climactic ending. Build steadily through the last four measures and give a good solid bowing of your last note. A Enjoy Le Printemps!. The title Le Printemps is French for the springtime. This piece is meant to bring images of springtime to the listener's mind. The rhythmic pattern that begins in the bass and works its way up through the sections to the violins could be the patter of raindrops, or indicative of flowers pushing their way up through the ground and bursting into bloom. All the instruments that have the staccato notes are the backup; the instruments who have the slurred notes are playing the melody in these sections and should bring the melody out a little bit. The middle section is a little softer (mp) and more legato, and could bring to mind a lovely, warm breeze that is gently moving across the new, green grass and the budding leaves of the trees. It should be played with tenderness and feeling, paying careful attention to the crescendo in mm. 25-28, building up to the mf. In m. 34, make the most of the poco rall. as you prepare to reiterate the staccato portion that begins again in m. 35. Again, the moving parts here with the slurs have the melody and should not be overwhelmed by the staccato instruments. At m. 55 should begin to build slightly into the crescendo at m. 57 and really build that up through beat 3 of m. 58. At m. 59, be suddenly very soft to begin the final ascent into the climactic ending. Build steadily through the last four measures and give a good solid bowing of your last note. Enjoy Le Printemps!. The title Le Printemps is French for the springtime. This piece is meant to bring images of springtime to the listener's mind. The rhythmic pattern that begins in the bass and works its way up through the sections to the violins could be the patter of raindrops, or indicative of flowers pushing their way up through the ground and bursting into bloom. All the instruments that have the staccato notes are the backup; the instruments who have the slurred notes are playing the melody in these sections and should bring the melody out a little bit. The middle section is a little softer (mp) and more legato, and could bring to mind a lovely, warm breeze that is gently moving across the new, green grass and the budding leaves of the trees. It should be played with tenderness and feeling, paying careful attention to the crescendo in mm. 25-28, building up to the mf. In m. 34, make the most of the poco rall. as you prepare to reiterate the staccato portion that begins again in m. 35. Again, the moving parts here with the slurs have the melody and should not be overwhelmed by the staccato instruments. At m. 55 should begin to build slightly into the crescendo at m. 57 and really build that up through beat 3 of m. 58. At m. 59, be suddenly very soft to begin the final ascent into the climactic ending. Build steadily through the last four measures and give a good solid bowing of your last note. Enjoy Le Printemps!. The title Le Printemps is French for “the springtime.†This piece is meant to bring images of springtime to the listener’s mind.  The rhythmic pattern that begins in the bass and works its way up through the sections to the violins could be the patter of raindrops, or indicative of flowers pushing their way up through the ground and bursting into bloom. All the instruments that have the staccato notes are the backup; the instruments who have the slurred notes are playing the melody in these sections and should bring the melody out a little bit.The middle section is a little softer (mp) and more legato, and could bring to mind a lovely, warm breeze that is gently moving across the new, green grass and the budding leaves of the trees. It should be played with tenderness and feeling, paying careful attention to the crescendo in mm. 25–28, building up to the mf. In m. 34, make the most of the poco rall. as you prepare to reiterate the staccato portion that begins again in m. 35. Again, the moving parts here with the slurs have the melody and should not be overwhelmed by the staccato instruments.At m. 55 should begin to build slightly into the crescendo at m. 57 and really build that up through beat 3 of m. 58. At m. 59, be suddenly very soft to begin the final ascent into the climactic ending. Build steadily through the last four measures and give a good solid bowing of your last note.  Enjoy Le Printemps! $8.50 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Le Printemps - Easy Carl Fischer
Orchestra Cello, Contrabass, Piano, Viola, Violin 1, Violin 2, Violin 3 - Grade ...(+)
Orchestra Cello, Contrabass, Piano, Viola, Violin 1, Violin 2, Violin 3 - Grade 2 SKU: CF.YAS178 Springtime. Composed by Ruth Elaine Schram. Young String Orchestra. Set of Score and Parts. With Standard notation. 8+8+2+5+5+5+2+8 pages. Duration 2 minutes, 16 seconds. Carl Fischer Music #YAS178. Published by Carl Fischer Music (CF.YAS178). ISBN 9781491151433. UPC: 680160908936. 9 x 12 inches. Key: D major. The title of this piece,?Le Printemps,?is French for the springtime. This piece brings images of springtime to the listener's mind. ?The rhythmic pattern that begins in the bass and works its way up to the violins illustrates the patter of raindrops or of flowers bursting into bloom. The beautiful melodies in the piece engage players and audiences. The title Le Printemps is French for the springtime. This piece is meant to bring images of springtime to the listeners mind. The rhythmic pattern that begins in the bass and works its way up through the sections to the violins could be the patter of raindrops, or indicative of flowers pushing their way up through the ground and bursting into bloom. All the instruments that have the staccato notes are the backup; the instruments who have the slurred notes are playing the melody in these sections and should bring the melody out a little bit. The middle section is a little softer (mp) and more legato, and could bring to mind a lovely, warm breeze that is gently moving across the new, green grass and the budding leaves of the trees. It should be played with tenderness and feeling, paying careful attention to the crescendo in mm. 2528, building up to the mf. In m. 34, make the most of the poco rall. as you prepare to reiterate the staccato portion that begins again in m. 35. Again, the moving parts here with the slurs have the melody and should not be overwhelmed by the staccato instruments. At m. 55 should begin to build slightly into the crescendo at m. 57 and really build that up through beat 3 of m. 58. At m. 59, be suddenly very soft to begin the final ascent into the climactic ending. Build steadily through the last four measures and give a good solid bowing of your last note. Enjoy Le Printemps!. The title Le PrintempsA is French for athe springtime.a This piece is meant to bring images of springtime to the listeneras mind. A The rhythmic pattern that begins in the bass and works its way up through the sections to the violins could be the patter of raindrops, or indicative of flowers pushing their way up through the ground and bursting into bloom. All the instruments that have the staccato notes are the backup; the instruments who have the slurred notes are playing the melody in these sections and should bring the melody out a little bit. The middle section is a little softer (mp) and more legato, and could bring to mind a lovely, warm breeze that is gently moving across the new, green grass and the budding leaves of the trees. It should be played with tenderness and feeling, paying careful attention to the crescendo in mm. 25a28, building up to the mf. In m. 34, make the most of the poco rall. as you prepare to reiterate the staccato portion that begins again in m. 35. Again, the moving parts here with the slurs have the melody and should not be overwhelmed by the staccato instruments. At m. 55 should begin to build slightly into the crescendo at m. 57 and really build that up through beat 3 of m. 58. At m. 59, be suddenly very soft to begin the final ascent into the climactic ending. Build steadily through the last four measures and give a good solid bowing of your last note. A Enjoy Le Printemps!. The title Le Printemps is French for the springtime. This piece is meant to bring images of springtime to the listener's mind. The rhythmic pattern that begins in the bass and works its way up through the sections to the violins could be the patter of raindrops, or indicative of flowers pushing their way up through the ground and bursting into bloom. All the instruments that have the staccato notes are the backup; the instruments who have the slurred notes are playing the melody in these sections and should bring the melody out a little bit. The middle section is a little softer (mp) and more legato, and could bring to mind a lovely, warm breeze that is gently moving across the new, green grass and the budding leaves of the trees. It should be played with tenderness and feeling, paying careful attention to the crescendo in mm. 25-28, building up to the mf. In m. 34, make the most of the poco rall. as you prepare to reiterate the staccato portion that begins again in m. 35. Again, the moving parts here with the slurs have the melody and should not be overwhelmed by the staccato instruments. At m. 55 should begin to build slightly into the crescendo at m. 57 and really build that up through beat 3 of m. 58. At m. 59, be suddenly very soft to begin the final ascent into the climactic ending. Build steadily through the last four measures and give a good solid bowing of your last note. Enjoy Le Printemps!. The title Le Printemps is French for the springtime. This piece is meant to bring images of springtime to the listener's mind. The rhythmic pattern that begins in the bass and works its way up through the sections to the violins could be the patter of raindrops, or indicative of flowers pushing their way up through the ground and bursting into bloom. All the instruments that have the staccato notes are the backup; the instruments who have the slurred notes are playing the melody in these sections and should bring the melody out a little bit. The middle section is a little softer (mp) and more legato, and could bring to mind a lovely, warm breeze that is gently moving across the new, green grass and the budding leaves of the trees. It should be played with tenderness and feeling, paying careful attention to the crescendo in mm. 25-28, building up to the mf. In m. 34, make the most of the poco rall. as you prepare to reiterate the staccato portion that begins again in m. 35. Again, the moving parts here with the slurs have the melody and should not be overwhelmed by the staccato instruments. At m. 55 should begin to build slightly into the crescendo at m. 57 and really build that up through beat 3 of m. 58. At m. 59, be suddenly very soft to begin the final ascent into the climactic ending. Build steadily through the last four measures and give a good solid bowing of your last note. Enjoy Le Printemps!. The title Le Printemps is French for “the springtime.†This piece is meant to bring images of springtime to the listener’s mind.  The rhythmic pattern that begins in the bass and works its way up through the sections to the violins could be the patter of raindrops, or indicative of flowers pushing their way up through the ground and bursting into bloom. All the instruments that have the staccato notes are the backup; the instruments who have the slurred notes are playing the melody in these sections and should bring the melody out a little bit.The middle section is a little softer (mp) and more legato, and could bring to mind a lovely, warm breeze that is gently moving across the new, green grass and the budding leaves of the trees. It should be played with tenderness and feeling, paying careful attention to the crescendo in mm. 25–28, building up to the mf. In m. 34, make the most of the poco rall. as you prepare to reiterate the staccato portion that begins again in m. 35. Again, the moving parts here with the slurs have the melody and should not be overwhelmed by the staccato instruments.At m. 55 should begin to build slightly into the crescendo at m. 57 and really build that up through beat 3 of m. 58. At m. 59, be suddenly very soft to begin the final ascent into the climactic ending. Build steadily through the last four measures and give a good solid bowing of your last note.  Enjoy Le Printemps! $55.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Ascention Choral SATB SATB, Keyboard Theodore Presser Co.
Choral SATB Choir, Organ, Piano SKU: PR.312407280 S.A.T.B. and Piano o...(+)
Choral SATB Choir, Organ, Piano SKU: PR.312407280 S.A.T.B. and Piano or Organ. Composed by Lee Hoiby. Sws. Choral. Performance Score. With Standard notation. 36+22+4+3+3+3+3+2 pages. Theodore Presser Company #312-40728. Published by Theodore Presser Company (PR.312407280). UPC: 680160043491. Octavo inches. English. Text: John Donne. John Donne. Ascention: Holy Sonnet, No. 7. $3.25 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Mont Blanc Concert band - Easy Hal Leonard
Concert Band (Score) - Level 2.5 SKU: HL.4007970 Concert Band, Grade 2...(+)
Concert Band (Score) - Level 2.5 SKU: HL.4007970 Concert Band, Grade 2.5 6:50 Score. Composed by Otto M. Schwarz. Concert. Softcover. Duration 410 seconds. Hal Leonard #SDP0672101. Published by Hal Leonard (HL.4007970). With its height of 4,808 meters, Mont-Blanc is called “the roof of Europe.†The highest mountains on our planet have been insurmountable for a long time. Only in the past 250 years have those giants been mounted. Crystal-hunter Jacques Balmat and Michel-Gabriel Paccard, a doctor, were the first to climb Mont-Blanc, in 1786. Many paths lead to Mont-Blanc's peak: the regular ascent goes through the magnificent “voie royale of Saint-Gervais-les- Bains,†which was opened in August 1855 by the Englishmen Hudson, Kennedy, and Smythe. Today's most common route to climb up, starting from Saint-Gervais via Aiguille du Gou ter (3,863m), Do me du Gou ter (4,304m), and Are te des Bosses (4,547m), was first used in 1861. Otto M. Schwarz composed this work inspired by “the roof of Europe†with its luminous and huge glaciers. Early in the morning, mountain climbers set off to the peak; they witness the sunrise, and experience the hazards that the journey up to the summit brings along. A snowstorm and falling rocks at Are te des Bosses aggravate their journey. A sudden change of weather, however, enables them to reach the top after a strenuous ascent. This piece invites you to an imaginary journey from Saint-Gervais-les-Bains via the “voie royale†to the top of Mont-Blanc. $18.99 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Challenger Deep Concert band [Score and Parts] - Easy Scomegna Edizioni Musicali
By Filippo Ledda. For concert band. Music for Young band. Grade 2. Score and f...(+)
By Filippo Ledda. For concert
band. Music for Young band.
Grade 2. Score and full set of
parts. Duration 5 minutes, 50
seconds. Published by Scomegna
Edizioni Musical srl
$105.75 $100.4625 (5% off) See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Mont Blanc Concert band [Score and Parts] Hal Leonard
For Concert Band. Composed by Otto M. Schwarz. Duration 135 seconds. Hal Leona...(+)
For Concert Band. Composed by
Otto M. Schwarz. Duration 135
seconds. Hal Leonard
#SDP067.21-02. Published by
Hal Leonard
$90.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Ed Huckeby: Ascentium Concert band [Score and Parts] - Intermediate C.L. Barnhouse
By Ed Huckeby. Overture. Concert Band. Full score and set of parts. Composed 200...(+)
By Ed Huckeby. Overture. Concert Band. Full score and set of parts. Composed 2004. Duration 0:05:38. Published by C.L. Barnhouse. Level: Grade 3.
(5)$74.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Ascentium Concert band - Intermediate C.L. Barnhouse
Grade 3 SKU: CL.012-3354-75 Composed by Huckeby. Concert Band. Spotlight ...(+)
Grade 3 SKU: CL.012-3354-75 Composed by Huckeby. Concert Band. Spotlight Series. Audio recording available separately (item CL.WFR332). Oversized, spiral-bound score. Composed 2004. Duration 5 minutes, 38 seconds. Opus III Wind Orchestra Publications #012-3354-75. Published by Opus III Wind Orchestra Publications (CL.012-3354-75). From the opening pyramid chords to the rousing and energetic conclusion, Ascentium will bring out the best in your ensemble. The crisp, syncopated rhythms and exciting, but playable, melodic lines provide the basis for a new piece which is characteristically Huckeby through and through! Great for concert and/or contest performance. About C.L. Barnhouse Spotlight Series The Barnhouse Spotlight series includes publications for solo instruments with concert band accompaniment. These publications are designed to feature outstanding members of your band as soloist, and to provide unique and entertaining programming options. Solo parts are graded more difficult than the band accompaniments $25.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| De Profundis Sikorski
Bayan SKU: HL.50600472 For Bayan Solo. Composed by Sofia Gubaiduli...(+)
Bayan SKU: HL.50600472 For Bayan Solo. Composed by Sofia Gubaidulina. Woodwind Solo. Classical. Softcover. 16 pages. Sikorski #SIK8742. Published by Sikorski (HL.50600472). 8.25x12.0x0.076 inches. In the field of New Music, Sofia Gubaidulina's “De profundis†has already achieved the status of a classic. It is not only an attainment of the New Music that instruments are capable of approaching the human voice in their sound, or that they can imitate areas of expression found in language and linguistic articulation. But the avant-garde has surely expanded the spectrum to a considerable extent. The piece for solo bayan is an impressive example of this. The listener witnesses a slow and inexorable intensification from the “rattling†of the lowest accordion register up to the pure, tender tones of the highest register. It is “anascent from the lowest to the highest, from the breath and soul to the world's soul or wisdomâ€, as Gubaidulina's friend and colleague Viktor Suslin once expressed it. With the means of sound, Gubaidulina transfers a symbol of life onto the music: breathing. Breathing distinguishes the living from the dead. What other instrument, other than the winds, perhaps, could better lendexpression to this characteristic than the accordion? In contrast to the wind instruments, however, the accordion is not an instrument into which the player breathes and creates breathing sounds - instead, the instrument itself assumes this function. It breathes through the pulling apart and pressing together of the bellows. As the basis of her composition, Gubaidulina chose the lines of the Psalm 130 “From the depths, o Lord, I call to you†for the characterisation of her interlaced message. Shadowy chorale melodies are occasionally heard, but the fundamental idea of ascent remains decisive. Sharp insertions and expressive gestures, intrusive glissandi and nervous vibrati repeatedly disturb the direction of movement. And then we hear consciously the integrated breathing of the instrument - breathing slightly, hardly audible, opposing the powerful chord blocks. The musicologist Valentina Cholopova once said of this: “All these sounds confront solemn chords richly ornamented with figurations, but there is also a long, monodic melody running through the entire symbolic path of the work - from the depths all the way up to the brilliant heights.†The work is dedicated to Friedrich Lips! $19.99 - See more - Buy online | | |
| On Jesus Christ's ascent on high (Auf Christi Himmelfahrt allein) Choral SATB Carus Verlag
ATB vocal soli, SATB choir, oboe I/oboe d'amore, oboe II, oboe da caccia, trumpe...(+)
ATB vocal soli, SATB choir, oboe I/oboe d'amore, oboe II, oboe da caccia, trumpet, 2 horns, 2 violins, viola, basso continuo SKU: CA.3112814 Cantata for the Feast of Ascension. Composed by Johann Sebastian Bach. Edited by Julia Ronge. This edition: urtext. Stuttgart Urtext Edition: Bach vocal. Basso continuo. Sacred vocal music, Cantatas, Ascension. Single Part, basso continuo. Composed 1725. BWV 128. 8 pages. Duration 22 minutes. Carus Verlag #CV 31.128/14. Published by Carus Verlag (CA.3112814). ISBN 9790007207748. Text language: German/English. Text: von Ziegler, Christiane Mariane. Text by Christiane Mariane von Ziegler. After breaking off the annual cantata cycle at the end of March 1725 Bach set a series of cantata texts by the Leipzig poet Christiana Mariana von Ziegler, who maintained one of the first literary-musical salons. The large scale chorale chorus ties this work to the chorale cantatas. The central bass aria Auf,auf, mit hellem Schall with solo trumpet is note-worthy since in place of a middle section in the aria, here Bach employs an accompagnato recitative. Score and part available separately - see item CA.3112800. $6.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Rocky Mountain Praise - Hymns of Ascent for Solo Piano Piano solo [Sheet music] - Intermediate/advanced FJH
By Frank Milholland. For Piano. The FJH Sacred Piano Library. Contents include: ...(+)
By Frank Milholland. For Piano. The FJH Sacred Piano Library. Contents include: O Worship the King; Wonderful Grace of Jesus; Open My Eyes, That I May See; Amazing Grace; Praise Him! Praise Him!; The Solid Rock; Blessed Assurance; God Will Take Care of You; Stand Up, Stand Up for Jesus. Sacred. Level: Early Advanced. Book. Published by The FJH Music Company Inc.
$9.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Shrouded in Light and Fog Violin and Piano SSA - Advanced Schott
Piano Accompaniment; Violin (Score and Solo Part) - advanced SKU: HL.49045598...(+)
Piano Accompaniment; Violin (Score and Solo Part) - advanced SKU: HL.49045598 Poem for Violin and Piano. Composed by Tatjana Komarova. This edition: Saddle stitching. Sheet music. String Solo. Musiker sind auf der Buhne von Rampenlicht und Ruhm, und nach der Auffuhrung von einem seltsamen Nebel in Einsamkeit umhullt.Licht verknupft sich mit Auf- und Untergang, es fuhrt in die Helligkeit, aber auch in die Finsternis. Licht kann erleuchten oder b. Classical. Softcover. Composed 2014. 36 pages. Duration 14'. Schott Music #VLB193. Published by Schott Music (HL.49045598). ISBN 9790001165709. 0.196 inches. Musicians onstage stand in the limelight and enjoy their fame whereas after performance they become shrouded in a strange fog of isolation. Light is associated with ascent and descent: it can lead into brightness, but equally into darkness. Light can illuminate and yet bedazzling; fog stands for insecurity, uncertainty and anxiety ... but also for mysticism and wafting dreams. Somehow time stands still... $22.99 - See more - Buy online | | |
| Sunrise Over Kilimanjaro Concert band - Intermediate C.L. Barnhouse
Concert band - Grade 3 SKU: CL.012-4309-01 Composed by Huckeby. Concert B...(+)
Concert band - Grade 3 SKU: CL.012-4309-01 Composed by Huckeby. Concert Band. Concert Band Series. Audio recording available separately (item CL.WFR381). Extra full score. Composed 2014. Duration 3 minutes, 25 seconds. Opus III Wind Orchestra Publications #012-4309-01. Published by Opus III Wind Orchestra Publications (CL.012-4309-01). This creative work incorporates an intriguing combination of dramatic harmonies and syncopated rhythms which make it refreshingly unique. From the subtle opening to the lively percussive motives, Sunrise Over Kilimanjaro presents an outstanding programmatic perspective which features unique African-style polyrhythms and harmonies. Inspired by an actual ascent to the top of Kilimanjaro, this exciting work is a real winner for concert or contest performance. $8.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| On Jesus Christ's ascent on high (Auf Christi Himmelfahrt allein) Choral SATB Carus Verlag
ATB vocal soli, SATB choir, oboe I/oboe d'amore, oboe II, oboe da caccia, trumpe...(+)
ATB vocal soli, SATB choir, oboe I/oboe d'amore, oboe II, oboe da caccia, trumpet, 2 horns, 2 violins, viola, basso continuo SKU: CA.3112812 Cantata for the Feast of Ascension. Composed by Johann Sebastian Bach. Edited by Julia Ronge. This edition: urtext. Stuttgart Urtext Edition: Bach vocal. Violin 2. Sacred vocal music, Cantatas, Ascension. Single Part, Violin 2. Composed 1725. BWV 128. 8 pages. Duration 22 minutes. Carus Verlag #CV 31.128/12. Published by Carus Verlag (CA.3112812). ISBN 9790007207724. Text language: German/English. Text: von Ziegler, Christiane Mariane. Text by Christiane Mariane von Ziegler. After breaking off the annual cantata cycle at the end of March 1725 Bach set a series of cantata texts by the Leipzig poet Christiana Mariana von Ziegler, who maintained one of the first literary-musical salons. The large scale chorale chorus ties this work to the chorale cantatas. The central bass aria Auf,auf, mit hellem Schall with solo trumpet is note-worthy since in place of a middle section in the aria, here Bach employs an accompagnato recitative. Score and part available separately - see item CA.3112800. $6.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Songs from the High Sierra High voice, Piano Schirmer
Composed by Gwyneth W. Walker (1947-). For high voice, piano. Secular, 21st cent...(+)
Composed by Gwyneth W. Walker (1947-). For high voice, piano. Secular, 21st century. Medium. Collection. Published by E.C. Schirmer Publishing
$13.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Zeus Concert band [Score and Parts] - Intermediate Scomegna Edizioni Musicali
(Dissidio e Furia). By Federico Agnello. For concert band. Grade 3.5. Score an...(+)
(Dissidio e Furia). By
Federico Agnello. For concert
band. Grade 3.5. Score and
full set of parts. Duration 8
minutes, 30 seconds. Published
by Scomegna Edizioni Musical
srl
$167.62 $159.239 (5% off) See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| R.E.M. : Around the Sun Piano, Vocal and Guitar [Sheet music] - Intermediate Warner Brothers
Performed by R.E.M. Edited by Carol Cuellar. Songbook (Piano/Vocal/Chords. Arran...(+)
Performed by R.E.M. Edited by Carol Cuellar. Songbook (Piano/Vocal/Chords. Arrangements for piano and voice with guitar chords). 76 pages. Published by Warner Brothers.
$19.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Ascent Gehrmans Musikforlag
Composed by Mattias Skold. For SAATBB choir. Language: English, Koptic. 12 pages...(+)
Composed by Mattias Skold. For SAATBB choir. Language: English, Koptic. 12 pages. Published by Gehrmans Musikforlag
$8.11 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| The Call Choral SATB Chester
Choral (SATB) SKU: HL.14032885 Composed by John Tavener. Music Sales Amer...(+)
Choral (SATB) SKU: HL.14032885 Composed by John Tavener. Music Sales America. A Cappella, Classical, General Worship, Sacred. Choral Score. Composed 1999. 12 pages. Chester Music #CH55909. Published by Chester Music (HL.14032885). ISBN 9780711943261. UPC: 884088593339. 6.75x9.75x0.046 inches. A piece for unaccompanied SATB choir, the text of which is based on a line from St. Matthew 9:9. The music was written to represent the work of St. Matthew. In three mounting steps, the music represents the work of St. Matthew: the ascent of the spirit into silence. The first performance was given during evensong on 25th September 1988 by the choir of St. Matthew's Church conducted by Andrew Shenton. $2.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
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