| Katraterra Percussion Ensemble [Sheet music + CD-ROM] - Advanced Tapspace Publications
By Jim Casella. Percussion Ensemble. For glockenspiel, xylophone, vibraphone, ma...(+)
By Jim Casella. Percussion Ensemble. For glockenspiel, xylophone, vibraphone, marimba (4 octave), marimba (4.3 octave), 4 timpani, chimes, 4 cowbells, log drum, 2 china cymbals, 5 suspended cymbals, 2 brake drums, 3 woodblocks, 2 triangles, splash cymbal, hi hat, 4 toms, chinese opera gong, kick drum, tambourine, low conga, bongos. (9 players). Level: Advanced. Full score and CD-Rom (containing printable parts). Duration 5:00. Published by Tapspace Publications.
$48.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Requiem Novum (Organ & Percussion Version) Choral SATB SATB, Organ - Intermediate Walton Music
SATB choir, organ accompaniment, organ, percussion, tubular bells, chime tree, t...(+)
SATB choir, organ accompaniment, organ, percussion, tubular bells, chime tree, triangle - Intermediate SKU: GI.WW1941B Composed by Marten Jansson. Classical. 104 pages. Walton Music #WW1941B. Published by Walton Music (GI.WW1941B). UPC: 785147047360. Latin, English. Text Source: Traditional Latin Requiem. Text by Charles Anthony Silvestri. Requiem Novum, an evocative musical work from Swedish composer Mårten Jansson, weaves drama, emotion, and exquisite compositional technique info a masterpiece for our time. The choir (singing the traditional Latin texts) represents the mourning and God-fearing congregation, while the soloist (singing new English texts by Charles Anthony Silvestri) answers as one beyond the veil, sending back words of comfort and hope. Highly melodic and incredibly moving, Jansson's new setting of the Latin Requiem offers a new perspective on grief and loss. Available here for choir, organ, percussion, and soloist, but also available for choir and full orchestra (WW1941A). $15.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Soul-ar Eclipse Percussion Ensemble [Score and Parts] C. Alan Publications
Composed by Tom Morgan. Percussion Ensemble. For Percussion Ensemble (bells, xyl...(+)
Composed by Tom Morgan. Percussion Ensemble. For Percussion Ensemble (bells, xylophone, vibraphone, marimba 1*, marimba 2*, timpani, electric bass (optional marimba 3), drum set, *marimba 1 and 2, may be performed on the same 4-1/3 octave instrument). Percussion Music. Edge Series. Medium. Score and parts. Duration 4:30. Published by C. Alan Publications
$36.00 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Rock N Roll It! Percussion Ensemble [Score and Parts] - Beginner Row-Loff Publications
Composed by Michael Reineking. For concert percussion ensemble (9 players: Bells...(+)
Composed by Michael Reineking. For concert percussion ensemble (9 players: Bells, Xylophone, Vibes, (2) Marimbas, Drum-Set, Tambourine, Cowbell, Bass Guitar, (Optional Synthesizer Organ or B3)). Grade 1. Score and parts. Duration 2:39. Published by Row-Loff Publications
$35.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Wisdom Is Calling - Instrumental Set Timpani, Horn, Trombone, Percussion, Organ, B-Flat Trumpet GIA Publications
By Jan Michael Joncas. For 2 Trumpets, 2 Trombones, Horn in F, Timpani, Orchestr...(+)
By Jan Michael Joncas. For 2 Trumpets, 2 Trombones, Horn in F, Timpani, Orchestral Bells, Organ. Instrumental Part. Sacred. 28 pages
$40.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Ring Out, Wild Bells Choral SATB SATB, Piano [Octavo] Schirmer
By Gwyneth W. Walker (1947-). For SATB choir, piano [or brass quintet, percussio...(+)
By Gwyneth W. Walker (1947-). For SATB choir, piano [or brass quintet, percussion, organ]. Sacred, Christian. Octavo. Composed 2006. 16 pages. Duration 4 minutes. Published by E.C. Schirmer Publishing
$2.85 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Lumen Christi Choral SATB Subito Music
SATB Chorus, Flute, Percussion, Organ & hand bells SKU: SU.90880130 Fo...(+)
SATB Chorus, Flute, Percussion, Organ & hand bells SKU: SU.90880130 For SATB Chorus, Flute, Percussion, Organ & hand bells. Composed by Nancy Galbraith. Vocal/Choral, Sacred Large Choral Works. Score. Subito Music Corporation #90880130. Published by Subito Music Corporation (SU.90880130). SATB Chorus, Flute, Percussion, Organ, Hand Bells Duration: 30' Text: compiled by composer I. The Light of Christ; II. Psalm 98; III. O Born Light; IV. The Good Zeal; V. Holy, Holy, Holy; VI. Bread of Angels; VII. Lord Now Let Full Score & Parts: available on rental Composed: 2010 Published by: Subito Music Publishing Commissioned by and Dedicated to the Benedictine Monks of St. Procopius Abbey, Lisle, Illinois on the occasion of the 125th anniversary of their founding. $45.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Soundscape for Organ & Percussion Ensemble [Score] C. Alan Publications
Composed by Robert W. Rumbelow. Solo with Percussion Ensemble. For Solo with Per...(+)
Composed by Robert W. Rumbelow. Solo with Percussion Ensemble. For Solo with Percussion Ensemble (Concert Organ, Percussion 1 (taiko drum, orchestra bells, 2 medium tams, 3 low Noa bells [or temple bowls], bowed crotales), Percussion 2 (taiko drum, vibraphone, 3 high tams, nipple gong, small temple chimes, bow), Percussion 3 (taiko drum, 4.3-octave Ma). Medium. Score only. Duration 9:30. Published by C. Alan Publications
$12.00 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Soundscape for Organ & Percussion Ensemble C. Alan Publications
By Robert W. Rumbelow. For Solo with Percussion Ensemble (Concert Organ, Percuss...(+)
By Robert W. Rumbelow. For Solo with Percussion Ensemble (Concert Organ, Percussion 1 (taiko drum, orchestra bells, 2 medium tams, 3 low Noa bells [or temple bowls], bowed crotales), Percussion 2 (taiko drum, vibraphone, 3 high tams, nipple gong, small temple chimes, bow), Percussion 3 (taiko drum, 4.3-octave Ma). Medium. Duration 9:30. Published by C. Alan Publications
$36.00 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Ring Out Our Joy Choral SATB SATB, Organ - Beginner GIA Publications
SATB choir, assembly, organ accompaniment, trumpet 1 in B-flat, trumpet 1 in C, ...(+)
SATB choir, assembly, organ accompaniment, trumpet 1 in B-flat, trumpet 1 in C, trumpet 2 in B-flat, trumpet 2 in C, trombone 1, trombone 2, percussion - Beginning SKU: GI.G-6950 A Festive Processional. Composed by Howard Hughes. Choral. Choral. Sacred. Octavo. 12 pages. GIA Publications #6950. Published by GIA Publications (GI.G-6950). UPC: 785147695004. English. Text Source: Psalm 95:1a, 2a, 6–7, 100:3–5, The Grail , alt. Scripture: Psalm 95:1a, 2a, 6–7, Psalm 100:3–5. Using an amalgam of Psalms 95 and 100, Howard Hughes has created an extraordinary festive processional. In addition to the optional brass quartet and glockenspiel, tubular bells (preferred) or handbells are called for! If you use this piece for your processional, there will be no doubt that the celebration is going to be festive! Optional Brass Quartet and Percussion Percussion part is for Glockenspiel and Tubular Bells or Handbells. $2.40 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Concerto for Organ with Percussion Peermusic Classical
(Score). By Lou Harrison (1937-2002). Score. Peermusic Classical. Softcover. 68 ...(+)
(Score). By Lou Harrison (1937-2002). Score. Peermusic Classical. Softcover. 68 pages. Peermusic #61951-527. Published by Peermusic
$29.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Gift to be Simple |piano|organ|hand bell|percussion|vocal|handbell||chora l|vocal| [Octavo] Carl Fischer
Unison, Two-Part, SSA, or SAB and Organ (with Optional C Instrument and English ...(+)
Unison, Two-Part, SSA, or SAB and Organ (with Optional C Instrument and English Handbells or Orff-Type Bells). By Anonymous. Arranged by Dale Wood. Text: Dale Wood; Linda Wood. Mixed choir. For Unison Chorus, 2-Pt Chorus, SSA Chorus, SAB Chorus, Organ, C Instrument, Handbells, Keyboard, Orff-Type Bells. Dale Wood Choral Series. Choral. Piano/Vocal Score. 7 pages. Published by Carl Fischer.
$2.25 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Lord, Lift My Soul Choral SATB SATB, Organ Subito Music
SATB, Organ, Brass Quintet & Percussion SKU: SU.80200314 For SATB, Org...(+)
SATB, Organ, Brass Quintet & Percussion SKU: SU.80200314 For SATB, Organ, Brass Quintet & Percussion. Composed by Daniel E. Gawthrop. Vocal/Choral, Sacred Choral. Choral Score. Subito Music Corporation #80200314. Published by Subito Music Corporation (SU.80200314). 2 trumpets, horn, trombone, Tuba, timpani, cymbals, bells Text: Jane Griner Set of instrumental parts: available for sale (#80200315) Published by: Dunstan House Minimum order quantity: 8 copies. Perusal copies are available by contacting office@DunstanHouse.com (Please include the organization name with your request). To order quantities less than 8. $3.25 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Lord, Lift My Soul Choral SATB SATB, Organ Subito Music
SATB, Organ, Brass Quintet & Percussion SKU: SU.80200315 For SATB, Org...(+)
SATB, Organ, Brass Quintet & Percussion SKU: SU.80200315 For SATB, Organ, Brass Quintet & Percussion. Composed by Daniel E. Gawthrop. Vocal/Choral, Sacred Choral. Set of Parts. Subito Music Corporation #80200315. Published by Subito Music Corporation (SU.80200315). 2 trumpets, horn, trombone, Tuba, timpani, cymbals, bells Text: Jane Griner Choral score: available for sale (#80200314) Published by: Dunstan House. $8.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Magnificat Carus Verlag
Soprano voice solo, flute, oboe, percussion, viola, cello, contrabass (soprano v...(+)
Soprano voice solo, flute, oboe, percussion, viola, cello, contrabass (soprano voice solo, percussion, organ) SKU: CA.1029209 Composed by Karl-Michael Komma. 1x 10.292/21 flute, 1x 10.292/22 oboe, 1x 10.292/41 percussion, 1x 10.292/42 chime bells. German title: Magnificat (1965) (Dt.). Sacred vocal music, Magnificats, Advent, Christmas, Feasts of the Blessed Virgin Mary, Hymns in praise of the Virgin Mary, Daily hours. Set of Orchestra Parts. Composed 1965. 12 pages. Carus Verlag #CV 10.292/09. Published by Carus Verlag (CA.1029209). ISBN 9790007023867. Language: German. Score available separately - see item CA.1029200. $14.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| The Music of the Spheres - Intermediate/advanced Beckenhorst Press
3-6 octave hhandbells and organ with optional brass quintet and percussion - Gra...(+)
3-6 octave hhandbells and organ with optional brass quintet and percussion - Grade 4 SKU: BP.HB168 Arranged by Kevin McChesney. Handbell choir music. Sacred. Full score. Beckenhorst Press #HB168. Published by Beckenhorst Press (BP.HB168). Arranged for 3 to 6 octave handbell choir, organ and optional brass quintet and percussion. Level 4. Uses TERRA BEATA, ELLACOMBE, HYMN TO JOY. $6.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Christmas is coming Choral SATB SATB, Piano [Octavo] Oxford University Press
Composed by Mack Wilberg (1955-). For SATB choir and piano, 4-hands (3 flutes (3...(+)
Composed by Mack Wilberg (1955-). For SATB choir and piano, 4-hands (3 flutes (3rd doubles piccolo), 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (suspended cymbal, sleigh bells, xylophone, glockenspiel) harp, piano, organ (opt.), strings). Mixed Voices. Christmas Carols. Level B (easy). Octavo. 20 pages. Duration 3'. Published by Oxford University Press
$4.50 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Finlandia - Brass and Percussion Score and Parts Lorenz Publishing Company
2 trumpets, 2 trombones, tuba, timpani - Level 3+ SKU: LO.30-2066L Compos...(+)
2 trumpets, 2 trombones, tuba, timpani - Level 3+ SKU: LO.30-2066L Composed by Jean Sibelius. Arranged by Dale Wood. Conductor's score. Concert, General. Score and parts. Lorenz Publishing Company #30/2066L. Published by Lorenz Publishing Company (LO.30-2066L). UPC: 000308105889. Whether performed with handbells alone or with the organ/brass additions, the overall effect is absolutely stunning. Dale Wood's choral classic (performed by the Mormon Tabernacle Choir) is now available in an equally thrilling transcription for bells. $39.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Requiem Wilhelm Hansen
Organ; Percussion SKU: HL.14042161 Organ Reduction with Percussion...(+)
Organ; Percussion SKU: HL.14042161 Organ Reduction with Percussion. Composed by John Frandsen. Music Sales America. Classical, Contemporary. Softcover. Composed 2012. Edition Wilhelm Hansen #WH31253C. Published by Edition Wilhelm Hansen (HL.14042161). ISBN 9788759876244. International (more than one language). John Frandsen: REQUIEMStrumenti2 fl. grande1 fl. picc.2 oboi1 c. ingl.2 cl. in Bb1 cl. basso in Bb2 fagotti1 contrafag.4 corni in F3 trombe3 tromboni1 tubaarpapercussione (4 musici)Tubular bells4 chinese temple bellsTamtamCrotalesTuned gongsMarimbaGran cassaGlockenspielSnare drumLarge church bell in AThunder plateCymbals - 2Suspended cymbal2 x 5 tom-toms (in left & right side of the stage)CelestaXylophoneTringletimpaniarchiorgano. $180.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Semper Gratus - Intermediate Carl Fischer
Band Bass Clarinet, Bassoon, Bells, Chimes, Clarinet 1, Clarinet 2, Clarinet 3, ...(+)
Band Bass Clarinet, Bassoon, Bells, Chimes, Clarinet 1, Clarinet 2, Clarinet 3, Euphonium, Euphonium T.C., Flute 1, Flute 2, Horn 1, Horn 2, Mallet Percussion 1, Mallet Percussion 2, Mallet Percussion 3, Marimba, Oboe, Percussion 1, Percussion 2 and more. - Grade 3 SKU: CF.CPS251 Composed by Patrick Glenn Harper. Set of Score and Parts. 28+8+8+4+8+8+8+4+4+4+4+4+4+8+8+8+4+4+6+6+6+4+8+1+4+2+2+12+2+8 pages. Duration 4 minutes, 27 seconds. Carl Fischer Music #CPS251. Published by Carl Fischer Music (CF.CPS251). ISBN 9781491159873. UPC: 680160918461. About the Music Semper Gratus is Latin for always grateful. The piece was written in honor of James E. Champion, who taught band for thirty-eight years, twenty-five of which were spent in Florence, Alabama, where he was my elementary school and high school band director. His bands consistently achieved superior ratings throughout his career. He holds multi-decade-spanning memberships in professional music education organizations, continues to serve in helping with Alabama Bandmasters Association events, and conducts and performs in various community bands and ensembles. As my band director at Bradshaw High School, Mr. Champion encouraged me to perform one of my first compositions, a clarinet quartet, at solo/ensemble festival. He taught his students the fundamentals of music, the technical aspects of performance, and exposed them to the great standards of band literature. But in doing so, he also modeled leadership, work-ethic, good character, and fostered the love of the activity of band that led me to choose music education as a career. And for that, I will always be grateful. Performance Notes Measures 1-12: The beginning of the piece should be performed in a majestic, fanfare-like style. The woodwind cues should only be used if absolutely needed during this section. Measures 41-58: The concert toms should establish a presence, but not overpower the winds. The triangle and woodblock parts should be heard distinctly over the concert toms. A higher pitched woodblock should be used for this section. (A set of claves could be used in place of the woodblock if desired.) Measures 59-94: The entirety of the middle section should be played in a rubato style to maximize musical expression, exaggerating dynamics and ritardando sections. The quarter-note triplets in the middle and low winds should be emphasized at m. 70. The molto ritardando that begins at m. 70 should be allowed to build as long as possible in m. 71 before reaching the musical apex of the middle section at m. 72. At mm. 92-94, depending on the size of the ensemble, you may want to limit the number of players (or put one per part) to achieve the most delicate sound possible. Measures 95-End: In mm. 99-107, be sure that the eighth-note running mallet parts are heard as a background texture, but do not overpower the winds. In mm. 114-115, the accents on beats 2 and 4 in the lower winds should be exaggerated to contrast the feel of the previous four measures. In m. 118, all winds should cut off and breathe on beat two for maximum impact on the next three measures. About the MusicSemper Gratus is Latin for “always grateful.†The piece was written in honor of James E. Champion, who taught band for thirty-eight years, twenty-five of which were spent in Florence, Alabama, where he was my elementary school and high school band director. His bands consistently achieved superior ratings throughout his career. He holds multi-decade-spanning memberships in professional music education organizations, continues to serve in helping with Alabama Bandmasters Association events, and conducts and performs in various community bands and ensembles. As my band director at Bradshaw High School, Mr. Champion encouraged me to perform one of my first compositions, a clarinet quartet, at solo/ensemble festival. He taught his students the fundamentals of music, the technical aspects of performance, and exposed them to the great standards of band literature. But in doing so, he also modeled leadership, work-ethic, good character, and fostered the love of the activity of band that led me to choose music education as a career. And for that, I will always be grateful.Performance NotesMeasures 1-12:  The beginning of the piece should be performed in a majestic, fanfare-like style. The woodwind cues should only be used if absolutely needed during this section.Measures 41-58:  The concert toms should establish a presence, but not overpower the winds.  The triangle and woodblock parts should be heard distinctly over the concert toms. A higher pitched woodblock should be used for this section. (A set of claves could be used in place of the woodblock if desired.) Measures 59-94:  The entirety of the middle section should be played in a rubato style to maximize musical expression, exaggerating dynamics and ritardando sections.  The quarter-note triplets in the middle and low winds should be emphasized at m. 70.  The molto ritardando that begins at m. 70 should be allowed to build as long as possible in m. 71 before reaching the musical apex of the middle section at m. 72. At mm. 92–94, depending on the size of the ensemble, you may want to limit the number of players (or put one per part) to achieve the most delicate sound possible.Measures 95-End:  In mm. 99–107, be sure that the eighth-note running mallet parts are heard as a background texture, but do not overpower the winds. In mm. 114–115, the accents on beats 2 and 4 in the lower winds should be exaggerated to contrast the feel of the previous four measures.  In m. 118, all winds should cut off and breathe on beat two for maximum impact on the next three measures. $90.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Semper Gratus - 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, Gong, Horn 1, Horn 2, Mallet Percussion 1, Mallet Percussion 2, Mallet Percussion 3, Marimba, Oboe and more. - Grade 3 SKU: CF.CPS251F Composed by Patrick Glenn Harper. Full score. 25 pages. Carl Fischer Music #CPS251F. Published by Carl Fischer Music (CF.CPS251F). ISBN 9781491159880. UPC: 680160918478. About the Music Semper Gratus is Latin for always grateful. The piece was written in honor of James E. Champion, who taught band for thirty-eight years, twenty-five of which were spent in Florence, Alabama, where he was my elementary school and high school band director. His bands consistently achieved superior ratings throughout his career. He holds multi-decade-spanning memberships in professional music education organizations, continues to serve in helping with Alabama Bandmasters Association events, and conducts and performs in various community bands and ensembles. As my band director at Bradshaw High School, Mr. Champion encouraged me to perform one of my first compositions, a clarinet quartet, at solo/ensemble festival. He taught his students the fundamentals of music, the technical aspects of performance, and exposed them to the great standards of band literature. But in doing so, he also modeled leadership, work-ethic, good character, and fostered the love of the activity of band that led me to choose music education as a career. And for that, I will always be grateful. Performance Notes Measures 1-12: The beginning of the piece should be performed in a majestic, fanfare-like style. The woodwind cues should only be used if absolutely needed during this section. Measures 41-58: The concert toms should establish a presence, but not overpower the winds. The triangle and woodblock parts should be heard distinctly over the concert toms. A higher pitched woodblock should be used for this section. (A set of claves could be used in place of the woodblock if desired.) Measures 59-94: The entirety of the middle section should be played in a rubato style to maximize musical expression, exaggerating dynamics and ritardando sections. The quarter-note triplets in the middle and low winds should be emphasized at m. 70. The molto ritardando that begins at m. 70 should be allowed to build as long as possible in m. 71 before reaching the musical apex of the middle section at m. 72. At mm. 92-94, depending on the size of the ensemble, you may want to limit the number of players (or put one per part) to achieve the most delicate sound possible. Measures 95-End: In mm. 99-107, be sure that the eighth-note running mallet parts are heard as a background texture, but do not overpower the winds. In mm. 114-115, the accents on beats 2 and 4 in the lower winds should be exaggerated to contrast the feel of the previous four measures. In m. 118, all winds should cut off and breathe on beat two for maximum impact on the next three measures. About the MusicSemper Gratus is Latin for “always grateful.†The piece was written in honor of James E. Champion, who taught band for thirty-eight years, twenty-five of which were spent in Florence, Alabama, where he was my elementary school and high school band director. His bands consistently achieved superior ratings throughout his career. He holds multi-decade-spanning memberships in professional music education organizations, continues to serve in helping with Alabama Bandmasters Association events, and conducts and performs in various community bands and ensembles. As my band director at Bradshaw High School, Mr. Champion encouraged me to perform one of my first compositions, a clarinet quartet, at solo/ensemble festival. He taught his students the fundamentals of music, the technical aspects of performance, and exposed them to the great standards of band literature. But in doing so, he also modeled leadership, work-ethic, good character, and fostered the love of the activity of band that led me to choose music education as a career. And for that, I will always be grateful.Performance NotesMeasures 1-12:  The beginning of the piece should be performed in a majestic, fanfare-like style. The woodwind cues should only be used if absolutely needed during this section.Measures 41-58:  The concert toms should establish a presence, but not overpower the winds.  The triangle and woodblock parts should be heard distinctly over the concert toms. A higher pitched woodblock should be used for this section. (A set of claves could be used in place of the woodblock if desired.) Measures 59-94:  The entirety of the middle section should be played in a rubato style to maximize musical expression, exaggerating dynamics and ritardando sections.  The quarter-note triplets in the middle and low winds should be emphasized at m. 70.  The molto ritardando that begins at m. 70 should be allowed to build as long as possible in m. 71 before reaching the musical apex of the middle section at m. 72. At mm. 92–94, depending on the size of the ensemble, you may want to limit the number of players (or put one per part) to achieve the most delicate sound possible.Measures 95-End:  In mm. 99–107, be sure that the eighth-note running mallet parts are heard as a background texture, but do not overpower the winds. In mm. 114–115, the accents on beats 2 and 4 in the lower winds should be exaggerated to contrast the feel of the previous four measures.  In m. 118, all winds should cut off and breathe on beat two for maximum impact on the next three measures. $14.00 - 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 | | |
| Gallery Music, Vol. 1 Zimbel Press
Handbells & Organ SKU: SU.80101306 For handbells & Organ. Composed...(+)
Handbells & Organ SKU: SU.80101306 For handbells & Organ. Composed by Cooman, Frahm, and Walters. Keyboard, Organ, Percussion, Miscellaneous, Handbells. Handbells. Score & Parts. Zimbel Press #80101306. Published by Zimbel Press (SU.80101306). Four evocative compositions for small handbell ensembles and organ. Contents: Frederick Frahm's Celestial Fire (6 bells) and At the cry of the first bird (8 bells); Carson Cooman's All Things Came to Be (8 bells); and Eric Walters's Jubilation (10 bells). The book contains a part which may be duplicated for use by the handbell ringers. Zimbel Press. $31.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Herr, Herr, Lehre Uns! Variation On Psalm 150 Ssatb Choral Score Schott
Mixed choir (SAATB), organ, percussion (2 tom toms, triangles, tubular bells) an...(+)
Mixed choir (SAATB), organ, percussion (2 tom toms, triangles, tubular bells) and timpani SKU: HL.49044686 Variation on Psalm 150. Composed by Albrecht Haaf. This edition: Saddle stitching. Sheet music. Choral. Octavo. 16 pages. Schott Music #ED21915-01. Published by Schott Music (HL.49044686). ISBN 9790001199711. German. Albrecht Haaf ging bereits mehrfach als Preistrager aus verschiedensten Kompositionswettbewerben hervor. So auch mit seinem geistlichen Chorwerk Herr, Herr, lehre uns! fur gemischten Chor (SSATB), Orgel und zwei Schlagzeuger, fur das er 2012 mit dem Carl von Ossietzky-Kompositionspreis der Universitat Oldenburg ausgezeichnet wurde. Der Untertitel lautet 'Variation uber Psalm 150'. Variation deshalb, weil im Anschluss an den wortlich dem Bibeltext entnommenen Lobpreis Gottes die 'Unloblichkeit des Menschen Werk' in ihrer unterschiedlichsten Auspragung auf musikalisch und textlich drastische Weise angeprangert wird.Haaf, der dieses aufruttelnde Textarrangement selbst verfasste, bedient sich dafur kompositorisch zahlreicher Taktwechsel und Clustertechniken und nutzt meisterhaft das Spiel mit verschiedenen Klangfarben. Dieses Werk stellt nicht nur an den Organisten und die beiden Schlagzeuger, die u.a. vier Rohrenglocken, drei Tomtoms, Pauken und Triangel zu bedienen haben, hohe Anforderungen. Auch die funfstimmige Chorpartie dieses unter die Haut gehenden Stucks ist als 'schwer bis mittelschwer' einzuordnen. Doch der Aufwand lohnt sich versprochen! $6.99 - See more - Buy online | | |
| Herr, Herr, Lehre Uns! Variation On Psalm 150 Ssatb/org/perc/timp Score Schott
Mixed choir (SAATB), organ, percussion (2 tom toms, triangles, tubular bells) an...(+)
Mixed choir (SAATB), organ, percussion (2 tom toms, triangles, tubular bells) and timpani SKU: HL.49044685 Variation on Psalm 150. Composed by Albrecht Haaf. This edition: Saddle stitching. Sheet music. Choral. Softcover. 28 pages. Schott Music #ED21915. Published by Schott Music (HL.49044685). ISBN 9790001199704. German. Albrecht Haaf ging bereits mehrfach als Preistrager aus verschiedensten Kompositionswettbewerben hervor. So auch mit seinem geistlichen Chorwerk Herr, Herr, lehre uns! fur gemischten Chor (SSATB), Orgel und zwei Schlagzeuger, fur das er 2012 mit dem Carl von Ossietzky-Kompositionspreis der Universitat Oldenburg ausgezeichnet wurde. Der Untertitel lautet 'Variation uber Psalm 150'.Variation deshalb, weil im Anschluss an den wortlich dem Bibeltext entnommenen Lobpreis Gottes die 'Unloblichkeit des Menschen Werk' in ihrer unterschiedlichsten Auspragung auf musikalisch und textlich drastische Weise angeprangert wird.Haaf, der dieses aufruttelnde Textarrangement selbst verfasste, bedient sich dafur kompositorisch zahlreicher Taktwechsel und Clustertechniken und nutzt meisterhaft das Spiel mit verschiedenen Klangfarben. Dieses Werk stellt nicht nur an den Organisten und die beiden Schlagzeuger, die u.a. vier Rohrenglocken, drei Tomtoms, Pauken und Triangel zu bedienen haben, hohe Anforderungen. Auch die funfstimmige Chorpartie dieses unter die Haut gehenden Stucks ist als 'schwer bis mittelschwer' einzuordnen. Doch der Aufwand lohnt sich versprochen! $26.99 - See more - Buy online | | |
| Herr, Herr, Lehre Uns! Variation On Psalm 150 Set Of Parts Schott
Mixed choir (SAATB), organ, percussion (2 tom toms, triangles, tubular bells) an...(+)
Mixed choir (SAATB), organ, percussion (2 tom toms, triangles, tubular bells) and timpani SKU: HL.49044687 Variation on Psalm 150. Composed by Albrecht Haaf. This edition: Saddle stitching. Sheet music. Choral. Softcover. 32 pages. Schott Music #ED21915-02. Published by Schott Music (HL.49044687). ISBN 9790001199728. German. Albrecht Haaf ging bereits mehrfach als Preistrager aus verschiedensten Kompositionswettbewerben hervor. So auch mit seinem geistlichen Chorwerk Herr, Herr, lehre uns! fur gemischten Chor (SSATB), Orgel und zwei Schlagzeuger, fur das er 2012 mit dem Carl von Ossietzky-Kompositionspreis der Universitat Oldenburg ausgezeichnet wurde. Der Untertitel lautet 'Variation uber Psalm 150'. Variation deshalb, weil im Anschluss an den wortlich dem Bibeltext entnommenen Lobpreis Gottes die 'Unloblichkeit des Menschen Werk' in ihrer unterschiedlichsten Auspragung auf musikalisch und textlich drastische Weise angeprangert wird.Haaf, der dieses aufruttelnde Textarrangement selbst verfasste, bedient sich dafur kompositorisch zahlreicher Taktwechsel und Clustertechniken und nutzt meisterhaft das Spiel mit verschiedenen Klangfarben. Dieses Werk stellt nicht nur an den Organisten und die beiden Schlagzeuger, die u.a. vier Rohrenglocken, drei Tomtoms, Pauken und Triangel zu bedienen haben, hohe Anforderungen. Auch die funfstimmige Chorpartie dieses unter die Haut gehenden Stucks ist als 'schwer bis mittelschwer' einzuordnen. Doch der Aufwand lohnt sich versprochen! $19.99 - See more - Buy online | | |
| Happy Camper Blues, The (score and parts) Vibraphone [Score and Parts] C. Alan Publications
(Solo Vibraphone Feature). By Tom Morgan. Soloist(s) with Percussion Ensemble. F...(+)
(Solo Vibraphone Feature). By Tom Morgan. Soloist(s) with Percussion Ensemble. For soloist(s) with percussion ensemble (Solo Vibraphone Bells Xylophone Vibraphone Marimba 1 (4-octave) Marimba 2 (5-octave) Drum Set Auxiliary Percussion (Congas, Cowbell)).
$29.00 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Under a Winter Sky - Easy Carl Fischer
Band Bass Clarinet, Bassoon, Bells, Clarinet 1, Clarinet 2, Euphonium, Euphonium...(+)
Band Bass Clarinet, Bassoon, Bells, Clarinet 1, Clarinet 2, Euphonium, Euphonium T.C., Flute, Flute 2, Horn, Mallet Percussion, Oboe, Percussion, Suspended Cymbal, Timpani, Triangle, Trombone, Trumpet 1, Trumpet 2, Tuba, alto Saxophone and more. - Grade 2 SKU: CF.YPS242 Composed by Yukiko Nishimura. Set of Score and Parts. 8+8+2+4+4+2+2+5+2+2+4+4+4+6+2+3+3+1+1+2 pages. Duration 3 minutes, 16 seconds. Carl Fischer Music #YPS242. Published by Carl Fischer Music (CF.YPS242). ISBN 9781491159675. UPC: 680160918263. I love the winter season, perhaps because I was born in February. My hometown is known for its cold weather in winter. In fact, my first name Yukiko means snow girl. My parents gave me this name because it was snowing on the day I was born. Before I started to write the piece, various images depicting the scenery of a snowy morning developed in my mind. Imagine that there is no wind, no sound, and it is a very clear morning. I heard the sound of an organ playing a traditional chorale somewhere from a distance. This is the scenery of my imagination for this piece. You will find many inner melodies, dialogues and conversations between the instruments throughout the piece. Listen carefully to the other instruments and stay in tune while you play. I love the winter season, perhaps because I was born in February. My hometown is known for its cold weather in winter. In fact, my first name “Yukiko†means snow girl. My parents gave me this name because it was snowing on the day I was born.Before I started to write the piece, various images depicting the scenery of a snowy morning developed in my mind. Imagine that there is no wind, no sound, and it is a very clear morning. I heard the sound of an organ playing a traditional chorale somewhere from a distance. This is the scenery of my imagination for this piece.  You will find many inner melodies, dialogues and conversations between the instruments throughout the piece. Listen carefully to the other instruments and stay in tune while you play. $65.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Cantus Choral 2-part SA - Easy GIA Publications
SA choir, organ accompaniment, violin 1, violin 2, viola, cello, bass, percussio...(+)
SA choir, organ accompaniment, violin 1, violin 2, viola, cello, bass, percussion - Early intermediate SKU: GI.G-2057 Laudate Dominum / Sinfonia / Omnes Gentes. Composed by John Russell. Choral. Choral. Sacred. Octavo. 12 pages. GIA Publications #2057. Published by GIA Publications (GI.G-2057). Scripture: Psalm 47, Psalm 150. Percussion is for Orff bells and finger cymbals. Organ or strings. $0.90 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
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