SKU: BT.DHP-1115194-401
9x12 inches. International.
Each book in this series contains 13 easy arrangements of well known songs arranger for beginner pianists. The pieces use a single five-finger hand position for each song, enabling early pianists to play their favourite tunes straight away! The note-size is large and each song has a diagram so players know exactly where their hands should be before starting the piece. Includes an optional teacher's duet part for each song to add some extra interest in both practice and performance.Elk deel in de nieuwe serie De Haske Five Finger Piano bevat dertien eenvoudige bewerkingen van bekende liedjes, bedoeld voor beginnende spelers die naast de gebruikelijke oefeningen nog weinig speelstukjes hebben. De notenzijn extra groot afgedrukt, en voor elk stuk wordt de exacte handpositie aangegeven. Bovendien is er voor elke titel een tweede stem voor de docent beschikbaar.Die Reihe Five Finger Piano bietet Klavierschülern die Gelegenheit, schon zu Beginn ihrer musikalischen Reise ihre Lieblingsmelodien zu spielen. Jedes Stück ist in einer einzigen 10-Finger-Lage für beide Hände spielbar; die Töne werden zu Beginn des Stückes in einem Tastaturdiagramm und in Notenschrift angezeigt. Zu jedem Stück gibt es eine optionale zweite Stimme für den Klavierlehrer. Mit Enjoy Folksongs! machen die Pianisten eine musikalische Reise durch Frankreich, Deutschland, England und Holland in Griffweite auf dem Klavier!
SKU: CF.YAS181F
ISBN 9781491151839. UPC: 680160909339. 9 x 12 inches.
Peter Terry's The Lightning Catcher celebrates youth and the mysteries of summer nights. The wonder of lightning bugs and the hours spent chasing, catching, and releasing them back are childhood staples for many. With bold gestures and textures, this dramatic piece takes the audience back in time to the days of their youth.The Lightning Catcher is a piece that celebrates youth and the mysteries of a summer night. These mysteries include the wonder of lightning bugs: spending hours chasing them, catching them in jars and then releasing them back into the night, only to catch them again on another perfect night. Coupled with this experience are memories of summer thunderstorms moving across the Great Lakes and a certain naive wish that this too could be caught in a glass jar for later release. The Lightning Catcher is a dramatic work with big, bold gestures and textures. Make sure that you reserve enough volume and energy to make the ending the biggest point in the piece. I enjoyed writing this piece and hope your students will enjoy playing these contrasting styles and that you will find the piece beneficial in teaching important musical concepts.
Peter Terry, 2018
About Carl Fischer Young String Orchestra Series
This series of Grade 2/Grade 2.5 pieces is designed for second and third year ensembles. The pieces in this series are characterized by:--Occasionally extending to third position--Keys carefully considered for appropriate difficulty--Addition of separate 2nd violin and viola parts--Viola T.C. part included--Increase in independence of parts over beginning levels
SKU: CF.YAS181
ISBN 9781491151464. UPC: 680160908967. 9 x 12 inches. Key: B minor.
SKU: CF.CAS112F
ISBN 9781491151686. UPC: 680160909186. 9 x 12 inches.
Peter Terry's Unleashed?makes for an impressive concert opener that is the musical equivalent of unleashing a caged animal. The piece is exciting from start to finish, with energetic and bold material that students will love to play.Everyone wants to be unleashed, to be set free of restraints. This piece captures the exhilaration of being set into motion with unlimited optimism and energy. The piece is a rhythmic and propulsive gallop that spins off lyrical material as it drives to a climactic finish that is both exciting and fun. The piece opens with a robust first theme, then transitions on a rhythmic figure spun off from the opening material. The opening section repeats in variation with different orchestration. The more lyrical material that emerges should be brought out to balance the first theme and rhythmic figures from the first section. A development of the material from the opening follows, driving to a brief pause. This pause feels like it will lead to a contrasting lyrical theme, but the energy is just suspended for a second before the piece takes off again. The work finishes with a repeated-note transition back to variations on the opening material and a propulsive rush to the end. I enjoyed writing this piece and hope your students will enjoy playing these contrasting styles and that you will find the piece beneficial in teaching important musical concepts. ?????????Peter Terry, 2018.Everyone wants to be unleashed, to be set free of restraints. This piece captures the exhilaration of being set into motion with unlimited optimism and energy.A The piece is a rhythmic and propulsive gallop that spins off lyrical material as it drives to a climactic finish that is both exciting and fun. The piece opens with a robust first theme, then transitions on a rhythmic figure spun off from the opening material. The opening section repeats in variation with different orchestration. The more lyrical material that emerges should be brought out to balance the first theme and rhythmic figures from the first section. A development of the material from the opening follows, driving to a brief pause. This pause feels like it will lead to a contrasting lyrical theme, but the energy is just suspended for a second before the piece takes off again. The work finishes with a repeated-note transition back to variations on the opening material and a propulsive rush to the end. I enjoyed writing this piece and hope your students will enjoy playing these contrasting styles and that you will find the piece beneficial in teaching important musical concepts. ?????????Peter Terry, 2018.Everyone wants to be unleashed, to be set free of restraints. This piece captures the exhilaration of being set into motion with unlimited optimism and energy.A The piece is a rhythmic and propulsive gallop that spins off lyrical material as it drives to a climactic finish that is both exciting and fun. The piece opens with a robust first theme, then transitions on a rhythmic figure spun off from the opening material. The opening section repeats in variation with different orchestration. The more lyrical material that emerges should be brought out to balance the first theme and rhythmic figures from the first section. A development of the material from the opening follows, driving to a brief pause. This pause feels like it will lead to a contrasting lyrical theme, but the energy is just suspended for a second before the piece takes off again. The work finishes with a repeated-note transition back to variations on the opening material and a propulsive rush to the end. I enjoyed writing this piece and hope your students will enjoy playing these contrasting styles and that you will find the piece beneficial in teaching important musical concepts. ?????????Peter Terry, 2018.Everyone wants to be unleashed, to be set free of restraints. This piece captures the exhilaration of being set into motion with unlimited optimism and energy. The piece is a rhythmic and propulsive gallop that spins off lyrical material as it drives to a climactic finish that is both exciting and fun. The piece opens with a robust first theme, then transitions on a rhythmic figure spun off from the opening material. The opening section repeats in variation with different orchestration. The more lyrical material that emerges should be brought out to balance the first theme and rhythmic figures from the first section. A development of the material from the opening follows, driving to a brief pause. This pause feels like it will lead to a contrasting lyrical theme, but the energy is just suspended for a second before the piece takes off again. The work finishes with a repeated-note transition back to variations on the opening material and a propulsive rush to the end. I enjoyed writing this piece and hope your students will enjoy playing these contrasting styles and that you will find the piece beneficial in teaching important musical concepts. ?????????Peter Terry, 2018.Everyone wants to be unleashed, to be set free of restraints. This piece captures the exhilaration of being set into motion with unlimited optimism and energy. The piece is a rhythmic and propulsive gallop that spins off lyrical material as it drives to a climactic finish that is both exciting and fun. The piece opens with a robust first theme, then transitions on a rhythmic figure spun off from the opening material. The opening section repeats in variation with different orchestration. The more lyrical material that emerges should be brought out to balance the first theme and rhythmic figures from the first section. A development of the material from the opening follows, driving to a brief pause. This pause feels like it will lead to a contrasting lyrical theme, but the energy is just suspended for a second before the piece takes off again. The work finishes with a repeated-note transition back to variations on the opening material and a propulsive rush to the end. I enjoyed writing this piece and hope your students will enjoy playing these contrasting styles and that you will find the piece beneficial in teaching important musical concepts. Peter Terry, 2018.Everyone wants to be unleashed, to be set free of restraints. This piece captures the exhilaration of being set into motion with unlimited optimism and energy. The piece is a rhythmic and propulsive gallop that spins off lyrical material as it drives to a climactic finish that is both exciting and fun.The piece opens with a robust first theme, then transitions on a rhythmic figure spun off from the opening material. The opening section repeats in variation with different orchestration. The more lyrical material that emerges should be brought out to balance the first theme and rhythmic figures from the first section. A development of the material from the opening follows, driving to a brief pause. This pause feels like it will lead to a contrasting lyrical theme, but the energy is just suspended for a second before the piece takes off again. The work finishes with a repeated-note transition back to variations on the opening material and a propulsive rush to the end.I enjoyed writing this piece and hope your students will enjoy playing these contrasting styles and that you will find the piece beneficial in teaching important musical concepts.​​​​​​​​​Peter Terry, 2018.
About Carl Fischer Concert String Orchestra Series
This series of pieces (Grade 3 and higher) is designed for advancing ensembles. The pieces in this series are characterized by:
SKU: CF.CAS112
ISBN 9781491151310. UPC: 680160908813. 9 x 12 inches. Key: E minor.
SKU: 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.
SKU: CF.CM9781
ISBN 9781491164525. UPC: 680160923434. Key: D major. English. Based on an African American Spiritual with Additional Music by Donald Moore.
The Shepherdâ??s Spiritual is a fun and energetic choral work that has become a favorite of choirs around the world. The heart and soul of the piece is the driving piano accompaniment, which should be played with an upbeat tempo and very little pedal. Singers should follow the piano lead with gusto and enthusiasm. Be sure to allow plenty of dynamic contrast, which will add to the enjoyment of the piece.Have fun with this one!
SKU: CF.N1196
UPC: 680160683062.
Notes: This composition was completed in September of 1978. It was written for the Kappelle Woodwind Trio, who performed it many times including in Carnegie Recital Hall in New York City. I am particularly proud of this work, because it was the first truly mature work that I had written. Much like a good novel where every character introduced is developed and completed, every motif that was introduced was developed at some point in this work. When I say developed, I do not mean in the way Mozart, Beethoven, or other classical composers worked their motives in the development section, running through different keys and tonalities. In this work, I let the motives spin their way into longer themes or just show up in a different or disguised way. For example, a motif introduced in the first movement receives its final development in the final of the fourth movement. I hope the audience enjoys listening to this composition, and of course, the performers enjoy exploring and playing my music. Thank you! - Randy Navarre.Notes:This composition was completed in September of 1978. It was written for the Kappelle Woodwind Trio, who performed it many times including in Carnegie Recital Hall in New York City. I am particularly proud of this work, because it was the first truly mature work that I had written. Muchlike a good novel where every character introduced is developed and completed, every motif that was introduced was developed at some point in this work. When I say developed, I do not mean in the way Mozart, Beethoven, or other classical composers worked their motives in the development section, running through different keys and tonalities. In this work, I let the motives spin their way into longer themes or just show up in a different or disguised way. For example, a motif introduced in the first movement receives its final development in the final of the fourth movement.I hope the audience enjoys listening to this composition, and of course, the performers enjoy exploring and playing my music.Thank you!- Randy Navarre.
SKU: P2.80059
Impromptu for Trombone and Piano was written, as the title suggests, rather spontaneously. Classical improvisation has always been a favorite technique of mine; I very much enjoy simply sitting down at the piano and composing freely through improvisation, sometimes for up to forty-five minutes or more without a pause. These sessions for me are both personal and musical, but in a seemingly incompatible way, and with different affects. As a personal endeavor, I have always found improvisation to be essentially a meditative exercise for me; after a substantial bout of spontaneous music-making, playing the final note feels like emerging from a blurry and dream-like state. I've always enjoyed the markedly improved clarity and focus that I am granted in all my non-musical activities immediately following such an event. However in hindsight of my musical mind, these long sessions of improvisation have always been extremely unsatisfying...I'm not really able to retain any of the musical information which I created. The music that I made, with some choice moments of dictation-worthy value, is not only through-composed but essentially un-replicable. It has, of course, been suggested to me that I record these moments so that I might transcribe them later, however as with most creative things in this world, a true impromptu work requires complete spontaneity; I simply can't improvise anything of real value on my own command. This is the reasons that I feel lucky to have wrote this piece. I suppose it was luck of the draw to have a brief stint of enough patience to combine composition with short bursts of improvisation. As both a trombonist and a pianist, I am thankful to have the luxury of improvisational facility on both instruments. The result is that the work is truly a duet, in that both the trombone and piano parts contain original motives. It is not the case that the piano part serves to accompany a melody in the trombone, because some music which you hear from the piano came as improvisational ideas before a trombone part was superimposed on top of it. And, of course, the opposite is true as well. Essentially, Impromptu was written like a jigsaw puzzle made of oddly shaped pieces; two jagged and asymmetrical chunks become balanced only when they find each other. I hope you enjoy pulling the pieces apart as much as I enjoyed putting them together.
SKU: CF.CM9617
ISBN 9781491156735. UPC: 680160915279. 6.875 x 10.5 inches. Key: F major. English.
Christmas Carol Trilogy is a perfect opening or closing piece for the holiday concert. This arrangement incorporates three of the most famous traditional carols: O Come, All Ye Faithful, What Child is This? and Joy to the World. Michael J. Miller has written a band arrangement based on this choral arrangement (YPS223). Miller's arrangement can either serve as a band accompaniment or as a stand-alone band arrangement. Choral and band directors can now have a piece for holiday concerts where both can play and sing together!.Christmas Carol Trilogy was arranged because it is often difficult to find a medley of standard Christmas/Holiday carols to use as an opening or closing piece for the holiday concert. Choral and band directors can now have a piece to close a holiday concert where both can play and sing together! It was a joy to arrange a choral arrangement that incorporates three of the most famous traditional carols: O Come, All Ye Faithful, What Child is This? and Joy to the World. I am so pleased that Michael J. Miller wrote a band arrangement based on this choral arrangement (YPS223). Miller's arrangement can either serve as a band accompaniment or as a stand-alone band arrangement. I hope you enjoy singing Christmas Carol Trilogy as much as I enjoyed writing it! Russell Robinson, Arranger.Christmas Carol Trilogy was arranged because it is often difficult to find a medley of standard Christmas/Holiday carols to use as an opening or closing piece for the holiday concert. Choral and band directors can now have a piece to close a holiday concert where both can play and sing together!It was a joy to arrange a choral arrangement that incorporates three of the most famous traditional carols: O Come, All Ye Faithful, What Child is This? and Joy to the World.I am so pleased that Michael J. Miller wrote a band arrangement based on this choral arrangement (YPS223). Miller’s arrangement can either serve as a band accompaniment or as a stand-alone band arrangement.I hope you enjoy singing Christmas Carol Trilogy as much as I enjoyed writing it!Russell Robinson, Arranger.
SKU: CF.YAS179F
ISBN 9781491151815. UPC: 680160909315. 9 x 12 inches. Key: F major.
Bud Woodruff presents The Cat Is in the Kitchen, a tongue-in-cheek style piece with jazz influences that students enjoy playing. This quirky piece is designed to help students successfully navigate playing F-naturals and B-flats. Bud Woodruff draws on his lengthy career as a string educator to help students overcome the challenges in this piece.
I wrote The Cat Is in the Kitchen for a group of very talented young players who, for some reason, did not like Bb's, and particularly Bb's on the G string ... especially the cellos (who always faithfully played them as B naturals). They bore no great love for F naturals, either. So this piece is full of both. Since the students liked the sound of the piece, they overcame their dislikes, and all was just fine in the end ... mission accomplished!
One will find that changing the bowings will change the accents, too, and the flavor of the piece will be lost. Without a doubt, there is a jazz influence, and the piece will be easier to teach if you approach it from that angle. Have the class work on m. 18 until everyone can play it ease. Then add m. 19 for the upper strings, and 90% of any issues the bowings may present will be solved.
My kids loved playing this piece, and the audience enjoyed hearing it. I trust you will have the same results.
I wrote The Cat Is in the KitchenA for a group of very talented young players who, for some reason, did not like Bb's, and particularly Bb's on the G string ... especially the cellos (who always faithfully played them as B naturals). They bore no great love for F naturals, either. So this piece is full of both. Since the students liked the sound of the piece, they overcame their dislikes, and all was just fine in the end ... mission accomplished!
A One will find that changing the bowings will change the accents, too, and the flavor of the piece will be lost. Without a doubt, there is a jazz influence, and the piece will be easier to teach if you approach it from that angle. Have the class work on m. 18 until everyone can play it ease. Then add m. 19 for the upper strings, and 90% of any issues the bowings may present will be solved.
A My kids loved playing this piece, and the audience enjoyed hearing it. I trust you will have the same results.
SKU: CF.YAS179
ISBN 9781491151440. UPC: 680160908943. 9 x 12 inches. Key: C major.
SKU: CF.CAS108
ISBN 9781491151273. UPC: 680160908776. 9 x 12 inches.
Thomas Jefferson's Fiddle Tunes is inspired by Thomas and Martha Jefferson's musical evenings after dinner at Monticello. Composer James Meredith has taken three reels from the colonial period in American history and put them together into a potpourri setting that students will enjoy playing.Good music played well inspires the imagination. In the evenings after dinner at Monticello Thomas and Martha Jefferson enjoyed nothing better than to play music. Each was an accomplished musician. Jefferson would play the violin, and Martha would often accompany him at the piano. He especially enjoyed the music of Corelli. Thomas Jefferson’s Fiddle Tunes is an effort to depict what a musical evening might have been at the farm with guests joining in, clapping, stomping, or dancing to the lively tunes. Three reels of the Colonial period are featured in this medley. Jefferson and Liberty, Smash the Windows, and The White Cockade. Each jig is introduced by a solo violin then the whole section joins in.
SKU: CF.CAS108F
ISBN 9781491151648. UPC: 680160909148. 9 x 12 inches. Key: D minor.
SKU: FT.FM492
ISBN 9790570483914.
These intermediate level pieces are intended to be fun and challenging, tuneful and jazzy. They are the type of repertoire I enjoyed as a music student and could never find often enough. I haven't simplified my ideas, but have sought to present the music as clearly as possible. I have kept directions to a minimum to allow performers the freedom to interpret details in their own way. These pieces would also lend themselves to improvisation. I hope you enjoy playing this music as much as I have enjoyed composing it.
SKU: PR.114418820
ISBN 9781491113998. UPC: 680160667697.
Composed by Telemann as a double concerto for recorder and transverse flute, Zart Dombourian-Eby’s new edition is prepared for piccolo, flute, and piano — remaining compatible with available orchestral editions, and respectfully faithful to Telemann’s detailed nuances. Cast in the slow-fast, slow-fast four-movement mold typical of Baroque concert works, the CONCERTO IN E MINOR is at once among the most beautiful and exhilarating works of Telemann’s formidable output.______________________________________Text from the scanned back cover:ZART DOMBOURIAN-EBY is the Principal Piccoloist of the SeattleSymphony and is regularly featured as both a soloist and clinician in Seattle and across the world. Her performances consistently receive highest praise from both critics and audiences. A native of New Orleans, she received B.A. and M.M. degrees from Louisiana State University. After a year of study with Albert Tipton she attended Northwestern University earning a Doctor of Music degree under the tutelage of Walfrid Kujala. She has been a member of the New Orleans Pops, Baton Rouge Symphony, Colorado Philharmonic, and the Civic Orchestra of Chicago. She has performed with the Chicago Symphony and served on the faculties of the University of Washington and Pacific Lutheran University. She was the founding editor of Flute Talk and ison the Editorial Board for The Flutist Quarterly. Zart is the immediate past president of the National Flute Association, and been a featured soloist and presenter at numerous NFA conventions. Zart has commissioned numerous works, including two for piccolo and piano by Martin Amlin, sonatas by Gary Schocker and Levente Gyongyosi, and a chamber work by Ken Benshoof. She can be heard in over 100 recordings by the Seattle Symphony, and her solo CD, in shadow, light, is available on Crystal Records. Her award-winning edition of the three Vivaldi piccolo concertos is published by Theodore Presser.A native of Seattle, VALERIE SHIELDS received her B.M. summa cum laude in organ and violin from St. Olaf College. While completing her M.M. from Northwestern University, she became increasingly interested and skilled in the art of improvisation. She served as Director of Music at St. Luke’s Lutheran Church in Park Ridge, Illinois, where she developed a music program involving over 150 participants in choirs and chamber music groups.Upon her return to Seattle, she served for 12 years as director of adivision of the Northwest Girlchoir. She became organist and developed a vibrant Youth Choir at Phinney Ridge Lutheran Church, where she served for over 30 years, as well as enjoying a 20-year tenure as Music Director and Composer-in-Residence of Temple De Hirsch Sinai. Valerie’s work with children’s choirs,churches, and synagogues has inspired over 100 published compositions.When I was invited to perform a Vivaldi piccolo concerto in Italy a few years ago, my host, Luisa Sello, wrote that Carol Wincenc was going to be on the same concert, and was there any piece that we could play together? I looked and asked around, and my colleague Joanna Bassett recommended the Telemann Concerto in E Minor for Traverso and Recorder. I didn’t know the piece, but as I listened to a recording of it, I immediately loved it and could easily envision how beautifully it could work, with a few “adjustments,†for flute and piccolo. I got to work, and the current publication is the result. I have performed it many times, and enjoy it even more every time. It fits a unique place in our repertoire, and works equally well with piano as with the string orchestra setting.According to Steven D. Zohn, pre-eminent Telemann scholar, and author of Music for a Mixed Taste: Style, Genre, and Meaning in Telemann’s Instrumental Works, much is unknown about the concerto itself; it likely dates from the 1720s, soon after Telemann moved to Hamburg. Only an eighteenth-century copyist’s set of parts is extant, that of Johann Samuel Endler, who was engaged at the Darmstadt court as a singer and violinist, later becoming Vice-Kapellmeister and Kapellmeister, and who had a large collection of Telemann’s works.As in my Vivaldi concertos edition (Presser 414-41190), I have added virtually all of the articulations and dynamics that appear here, and have inserted quite a bit of ornamentation. Unlike the Vivaldi edition, I have not included any indication of the original Telemann in those passages, nor have I included any pedagogical markings, such as fingerings.Finally, I would like to acknowledge, with gratitude, Joanna Bassett, Daniel Dorff, Benton Gordon, Evan Pengra-Sult, Sandra Saathoff, Valerie Shields, Carol Wincenc, and Steven Zohn, for the various roles they played in the making of this publication.— Zart Dombourian-EbyJune 2018.
SKU: AP.45829S
UPC: 038081523347. English.
Although the structure, notes, and dynamics are written by Leopold Mozart, arranger Jan Farrar-Royce takes the liberty of distributing the main themes among the sections of the string ensemble so that every player can enjoy being the horses who are trotting along, the rising and falling winter winds, and the passengers enjoying their ride. (2:35).
SKU: M7.MH-15012-15
German.
This 'Musical Garden for Babies' extends an invitation to babies of up to 18 months and their parents to join in a musical game. Making music together at this early stage provides the child with nourishment in three respects: for body, soul and brain. Through songs, rhymes and movement games children and those closest to them can enjoy discovering their own voices and bodies. Simple instruments such as wood blocks, rattles and drums lead the child into the world of sounds. Research has confirmed the positive influence of musical activity on the overall development of the child - in its musical ability, its social relationships and its intelligence. A lesson in the 'Musical Garden for Babies' is structured around the following activities: greeting and farewell songs - rhymes and games for bouncing baby on your knee - finger games and songs to develop awareness of the body - rocking songs and lullabies - songs for dancing and moving about to - echo games - introducing simple instruments - playing with pieces of cloth - listening to music. The teacher's book contains information on infant development, explanations of the principles behind teaching and plenty of ideas for lessons. The song books with CD make it possible to take the 'sound environment' of the music lesson home with you and to keep singing and enjoying the songs with the family.
SKU: CF.YPS204F
ISBN 9781491152928. UPC: 680160910427.
Avalon–Long Live the King is a medieval fantasy piece depicting the Isle of Avalon where the mystical sword Excalibur of King Arthur was forged. Composer Tyler Arcari unearths a solid piece for young bands that is both bold and dramatic. This piece is sure to spark the imagination of students and give them strong musical content with which they can develop their musicianship.Program Notes:Avalon–Long live the King began its journey as a commission in honor of a dear friend and mentor. David Riggs is one of those band directors that just seems timeless. He is a powerhouse with such a stacked resume that it is easy to forget that at the end of the day he enjoys taking long bike rides with his lovely wife and whittling a piece of wood just as much as being a band director. He has touched so many lives and inspired so many people in our field and beyond. I was humbled, and honored, when I was contacted for the commission. To David, I hope that you one day know how much you mean to so many people, including myself.About the piece:The piece is written with a little homage to David’s long tenure at Avalon Middle school in Pace, Florida. He was certainly treated like a king as the band director and rightly so. It seemed only fitting to add a little medieval fantasy. Avalon is a mystical island in the world of King Arthur where the great sword Excalibur was forged.The piece begins lyrically with a slow introduction with melodic material. This melodic motive is used throughout with slight variations depending on the instrument voicing etc. Care should be taken at m. 10 that the Timpani roll helps to bridge our transition from an exposed section to full tutti. Care should be taken so that the tempo change at m. 19 is brisk and avoids the low brass turning into stomping. Accessories like the China cymbal and tambourine can become overpowering. I recommend having students think of these effects as background in order to make sure they don’t POP out. The dynamic changes at mm. 27-35 should be subito similar to orchestral dynamic changes. Avoid unwritten crescendos in this section. Measures 60–64 are a great opportunity to teach those unwritten dynamics that make music so enjoyable as we lead up to the finale. It was originally left blank for some theatrics in the premiere at David’s retirement concert so I know he would enjoy adding some Cholesterol as David would say.Long Live the King!
© 2000 - 2024 Home - New releases - Composers Legal notice - Full version