| College Songs for School Bands - Oboe (Marching Band) Individual Part Hal Leonard College Songs. Size
5.25x6.75 inches. 16
pages. Published by Hal
Leonard.
$3.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Buffalo Ballads: Oboe and English Horn Mark Custom Music
By Heidi Huseman Dewally, oboe and english horn; John Mitton, piano; Jill Master...(+)
By Heidi Huseman Dewally, oboe and english horn; John Mitton, piano; Jill Masters, soprano; John C. Fullam, clarinet. By Various. Mark Records. Audio CD. Published by Mark Custom Music (MK.8074-MCD).
$15.00 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Symphony No. 4 for Band (West Point Symphony) Concert band [Score and Parts] - Intermediate Schirmer
Score and Parts. By Morton Gould. Score and full set of parts. Hal Leonard Conce...(+)
Score and Parts. By Morton Gould. Score and full set of parts. Hal Leonard Concert Band Series. Grade 4. Size 9x12 inches. Published by G. Schirmer, Inc.
$110.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Madonna of the Western Trail [Score] - Easy Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Clarinet 3, Cras...(+)
Band Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Clarinet 3, Crash Cymbals, Euphonium, Euphonium T.C., Flute, Horn 1, Horn 2, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Snare Drum, Temple Blocks, Timpani, Trombone 1 and more. - Grade 3 SKU: CF.CPS240F Composed by Richard Summers. Sws. Cps. Full score. 24 pages. Duration 3 minutes, 55 seconds. Carl Fischer Music #CPS240F. Published by Carl Fischer Music (CF.CPS240F). ISBN 9781491157879. UPC: 680160916474. 9 x 12 inches. Composing this piece was an interesting process. A piece of a melody or an idea takes shape, and after writing it down, itas like planting a seed that starts to grow and develop. I got a snippet of a western idea and then thought of a monument in my hometown of Wheeling, West Virginia. The statue is called Madonna of the Trail. The history part of this piece started to take shape as I researched this statue. There are twelve of them located in twelve states where the Old Trail Road, or National Road, passes through. As the piece developed, I started to think about the travel of a pioneer woman and her family passing through various areas of our early country. The 3,000 mile coast-to-coast National road was realized in the early 1900s but was based on six trails that date back to the 1700s. After developing the introduction and theme to this concert band piece, the story began to take shape. The slower 3/4 section melody hints at Greensleeves (What Child Is This) which appropriately weaves itself into the mix. Finally heading further west into New Mexico, Arizona, and California, the melody takes on a Spanish flavor and returns to the main theme before its conclusion. Divisi parts that are optional can be utilized to add a richer sound. Feel free to experiment with octave changes in the woodwinds in the fuller sections, if students are comfortable playing up an octave. Always be aware of the musicality, blend, and especially legato playing when required. Composing this piece was an interesting process. A piece of a melody or an idea takes shape, and after writing it down, it's like planting a seed that starts to grow and develop. I got a snippet of a western idea and then thought of a monument in my hometown of Wheeling, West Virginia. The statue is called Madonna of the Trail. The history part of this piece started to take shape as I researched this statue. There are twelve of them located in twelve states where the Old Trail Road, or National Road, passes through. As the piece developed, I started to think about the travel of a pioneer woman and her family passing through various areas of our early country. The 3,000 mile coast-to-coast National road was realized in the early 1900s but was based on six trails that date back to the 1700s. After developing the introduction and theme to this concert band piece, the story began to take shape. The slower 3/4 section melody hints at Greensleeves (What Child Is This) which appropriately weaves itself into the mix. Finally heading further west into New Mexico, Arizona, and California, the melody takes on a Spanish flavor and returns to the main theme before its conclusion. Divisi parts that are optional can be utilized to add a richer sound. Feel free to experiment with octave changes in the woodwinds in the fuller sections, if students are comfortable playing up an octave. Always be aware of the musicality, blend, and especially legato playing when required. Composing this piece was an interesting process. A piece of a melody or an idea takes shape, and after writing it down, it’s like planting a seed that starts to grow and develop. I got a snippet of a western idea and then thought of a monument in my hometown of Wheeling, West Virginia. The statue is called Madonna of the Trail. The history part of this piece started to take shape as I researched this statue. There are twelve of them located in twelve states where the Old Trail Road, or National Road, passes through. As the piece developed, I started to think about the travel of a pioneer woman and her family passing through various areas of our early country. The 3,000 mile coast-to-coast National road was realized in the early 1900s but was based on six trails that date back to the 1700s. After developing the introduction and theme to this concert band piece, the story began to take shape. The slower 3/4 section melody hints at Greensleeves (What Child Is This) which appropriately weaves itself into the mix. Finally heading further west into New Mexico, Arizona, and California, the melody takes on a Spanish flavor and returns to the main theme before its conclusion. Divisi parts that are optional can be utilized to add a richer sound. Feel free to experiment with octave changes in the woodwinds in the fuller sections, if students are comfortable playing up an octave. Always be aware of the musicality, blend, and especially legato playing when required. $14.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Madonna of the Western Trail - Easy Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Clarinet 3, Cras...(+)
Band Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Clarinet 3, Crash Cymbals, Euphonium, Euphonium T.C., Flute, Horn 1, Horn 2, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Snare Drum, Temple Blocks, Timpani, Trombone 1 and more. - Grade 3 SKU: CF.CPS240 Composed by Richard Summers. Folio. Cps. Set of Score and Parts. 16+4+8+8+8+4+4+4+4+4+4+8+8+8+4+4+6+6+6+4+8+2+2+4+2+24 pages. Duration 3 minutes, 55 seconds. Carl Fischer Music #CPS240. Published by Carl Fischer Music (CF.CPS240). ISBN 9781491157862. UPC: 680160916467. 9 x 12 inches. Composing this piece was an interesting process. A piece of a melody or an idea takes shape, and after writing it down, itas like planting a seed that starts to grow and develop. I got a snippet of a western idea and then thought of a monument in my hometown of Wheeling, West Virginia. The statue is called Madonna of the Trail. The history part of this piece started to take shape as I researched this statue. There are twelve of them located in twelve states where the Old Trail Road, or National Road, passes through. As the piece developed, I started to think about the travel of a pioneer woman and her family passing through various areas of our early country. The 3,000 mile coast-to-coast National road was realized in the early 1900s but was based on six trails that date back to the 1700s. After developing the introduction and theme to this concert band piece, the story began to take shape. The slower 3/4 section melody hints at Greensleeves (What Child Is This) which appropriately weaves itself into the mix. Finally heading further west into New Mexico, Arizona, and California, the melody takes on a Spanish flavor and returns to the main theme before its conclusion. Divisi parts that are optional can be utilized to add a richer sound. Feel free to experiment with octave changes in the woodwinds in the fuller sections, if students are comfortable playing up an octave. Always be aware of the musicality, blend, and especially legato playing when required. Composing this piece was an interesting process. A piece of a melody or an idea takes shape, and after writing it down, it's like planting a seed that starts to grow and develop. I got a snippet of a western idea and then thought of a monument in my hometown of Wheeling, West Virginia. The statue is called Madonna of the Trail. The history part of this piece started to take shape as I researched this statue. There are twelve of them located in twelve states where the Old Trail Road, or National Road, passes through. As the piece developed, I started to think about the travel of a pioneer woman and her family passing through various areas of our early country. The 3,000 mile coast-to-coast National road was realized in the early 1900s but was based on six trails that date back to the 1700s. After developing the introduction and theme to this concert band piece, the story began to take shape. The slower 3/4 section melody hints at Greensleeves (What Child Is This) which appropriately weaves itself into the mix. Finally heading further west into New Mexico, Arizona, and California, the melody takes on a Spanish flavor and returns to the main theme before its conclusion. Divisi parts that are optional can be utilized to add a richer sound. Feel free to experiment with octave changes in the woodwinds in the fuller sections, if students are comfortable playing up an octave. Always be aware of the musicality, blend, and especially legato playing when required. Composing this piece was an interesting process. A piece of a melody or an idea takes shape, and after writing it down, it’s like planting a seed that starts to grow and develop. I got a snippet of a western idea and then thought of a monument in my hometown of Wheeling, West Virginia. The statue is called Madonna of the Trail. The history part of this piece started to take shape as I researched this statue. There are twelve of them located in twelve states where the Old Trail Road, or National Road, passes through. As the piece developed, I started to think about the travel of a pioneer woman and her family passing through various areas of our early country. The 3,000 mile coast-to-coast National road was realized in the early 1900s but was based on six trails that date back to the 1700s. After developing the introduction and theme to this concert band piece, the story began to take shape. The slower 3/4 section melody hints at Greensleeves (What Child Is This) which appropriately weaves itself into the mix. Finally heading further west into New Mexico, Arizona, and California, the melody takes on a Spanish flavor and returns to the main theme before its conclusion. Divisi parts that are optional can be utilized to add a richer sound. Feel free to experiment with octave changes in the woodwinds in the fuller sections, if students are comfortable playing up an octave. Always be aware of the musicality, blend, and especially legato playing when required. $85.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Christmas Hymn-Alongs - Oboe Oboe [Score] - Easy Jackman Music Corporation
Oboe - Easy SKU: JK.01991 Composed by Various. Arranged by Brent Jorgense...(+)
Oboe - Easy SKU: JK.01991 Composed by Various. Arranged by Brent Jorgensen. Christian, Christmas, Christmas Carols, Contemporary Christian, Gospel, Holiday, Inspirational. Christian, Inspirational. Score. Jackman Music Corporation #01991. Published by Jackman Music Corporation (JK.01991). Presenting the newest addition to the popular Hymn-Alongs series: Christmas Hymn-Alongs! The Hymn-Alongs series includes over 20 different instrumental books. They are simple enough for developing musicians to master, yet beautiful and fun for those advancing in music. The accompaniment book features beautiful, yet simple arrangments for piano, guitar (chord symbols), and voice. The many instrumental books can be played together in any combination. All instrument books include a melody part; treble instruments have a duet part, and bass instruments also include a bass part. View all Christmas Hymn-Alongs products HERE. Songs included in Christmas Hymn-Alongs:Angels We Have Heard on HighAway in a MangerHark! The Herald Angels SingI Heard the Bells on Christmas DayIt Came upon the Midnight ClearJoy to the WorldO Come, O Come, EmmanuelO Little Town of BethlehemOh, Come, All Ye FaithfulO Holy NightSilent NightThe First NoelWe Three KingsWhat Child Is This? Composer: VariousArranger: Brent JorgensenDifficulty: Easy hymn along, hymnalongs, hymnalong, hymn alongs. $6.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| 100 Christmas Carols and Hymns for Flute and Guitar Flute and Guitar - Intermediate Mel Bay
With Suggested Chordal Accompaniment. Composed by William Bay. Flute, Fife and...(+)
With Suggested Chordal
Accompaniment. Composed by
William Bay. Flute, Fife and
Oboe,Guitar: Gospel and
Sacred,Style,Duets and
Ensembles,Solos,Duets and
Ensemble,Solos,Holiday:
Christmas. 100 Hymns. Book.
124 pages. Published by Mel
Bay Publications, Inc
$19.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| 100 Movie Songs for Piano Solo
Piano solo Hal Leonard
By Various. For Piano/Keyboard. Piano Solo Songbook. Softcover. 400 pages. Publi...(+)
By Various. For Piano/Keyboard. Piano Solo Songbook. Softcover. 400 pages. Published by Hal Leonard
$36.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Movie Trios for All Flexible Instrumentation [Sheet music] Alfred Publishing
(Piano/Conductor, Oboe). Arranged by Michael Story and Michael Story. For Piano/...(+)
(Piano/Conductor, Oboe). Arranged by Michael Story and Michael Story. For Piano/Conductor, Oboe. Mixed Instruments - Flexible Instrumentation; Trio. Instrumental Ensembles for All. Movie. Book. 24 pages
$7.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Easy Charts Play-Along - Beginner Schott
C/Eb/Bb-instrument - very easy to easy SKU: M7.MF-3606 Die größt...(+)
C/Eb/Bb-instrument - very easy to easy SKU: M7.MF-3606 Die größten Hits spielerisch leicht gesetzt. Arranged by Uwe Bye. This edition: Saddle-wire stitching. Sheet music with CD. Music Factory. Die erfolgreiche Reihe für Nachwuchsmusiker. Alle Bearbeitungen liegen in C-, B- und Es-Stimmung vor und können somit von verschiedenen Instrumenten gespielt werden, wie Flöte, Klarinette, Saxophon, Trompete oder Oboe. Performance book. 72 pages. Music Factory #MF 3606. Published by Music Factory (M7.MF-3606). ISBN 9783795749439. Mit Easy Charts Play-Along 6 erscheint die neueste Ausgabe der erfolgreichen Reihe von Schott Music, mit der junge Nachwuchsmusiker aktuelle Hits nachspielen können. Unter den 12 ausgewählten Songs befinden sich u. a. der quirlige Hit Shake It Off von Taylor Swift oder die gefühlvolle Ballade All Of Me von John Legend. Alle Bearbeitungen liegen in C-, B- und Es-Stimmung vor und können somit von verschiedenen Instrumenten gespielt werden, wie Flöte, Klarinette, Saxophon, Trompete oder Oboe. $26.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Songs of the West Concert band [Score and Parts] G and M Brand Music Publishers
Concert band (Piccolo, 1st Flute, 2nd Flute, 1st/2nd Oboes*, Eb Clarinet*, 1st B...(+)
Concert band (Piccolo, 1st Flute, 2nd Flute, 1st/2nd Oboes*, Eb Clarinet*, 1st Bb Clarinet, 2nd Bb Clarinet, 3rd Bb Clarinet, Eb Alto Clarinet*, Bb Bass Clarinet, 1st/2nd Bassoon, 1st Eb Alto Saxophone, 2nd Eb Alto Saxophone, Bb Tenor Saxophone, Eb Baritone Saxophone*,) - grade 5 SKU: CN.R10018 Composed by J. Curnow. Arranged by James Curnow. Band Music. Score and parts. Duration 11:15. Published by G & M Brand Music Publishers (CN.R10018). The melodies in Songs of the West differ in styles, keys, and tempos. The nautical nature of the coastal region is evident in many of the melodies.
Gustav Holst did not have much success in getting his early compositions published. In 1905, he began a career as a gifted teacher when he was appointed Director of Music at St. Paul's Girls School in Hammersmith. It was also a time when he developed the friendship of Ralph Vaughan Williams and the two developed an interest in English folk music. This became a turning point in Holst's style as he left behind the heaviness of the Wagnerian style for the simplicity of folk melodies. Vaughan Williams wrote 'we were dazzled, we wanted to preach a new gospel, we wanted to rhapsodise on these tunes just as Liszt and Grieg had done on theirs - we simply were fascinated by the tunes.' Enthusiastic archivist Cecil Sharp, of the Folk Song Society, encouraged Holst to write 'Two Selections of Folk Songs' based on material Sharp had collected in the West of England. Songs of the West was the first of the pair noted as Opus 22 was written in 1906; A Somerset Rhapsody was completed the following year. The melodies in Songs of the West differ in styles, keys, and tempos. The nautical nature of the coastal region is evident in many of the melodies. Originally written for orchestra, noted composer James Curnow was commissioned in 1986 to arrange the work for concert band. $130.00 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| The Beginning Band Collection Concert band Curnow Music
Oboe Part. Arranged by James Curnow. Curnow Concert Band Full Set. 16 pages. Pub...(+)
Oboe Part. Arranged by James Curnow. Curnow Concert Band Full Set. 16 pages. Published by Curnow Music.
$5.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| 11 Duets for Flute 2 Flutes (duet) [Sheet music + CD] - Intermediate Mel Bay
For 2 Flutes or Clarinet and Flute. Composed by Matthias Petzold. Clarinet, ...(+)
For 2 Flutes or Clarinet and
Flute. Composed by Matthias
Petzold. Clarinet, Flute,
Fife and Oboe, Music Styles and
Regions, Classical, Jazz,
Solos and Duets. Book and
Insert with CD. 52 pages.
Published by Mel Bay
Publications, Inc
$22.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Acadia [Score] Theodore Presser Co.
Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clar...(+)
Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clarinet 3, Contrabass Clarinet, Contrabassoon, Double Bass, English Horn, Euphonium, Flute 1, Flute 2, Horn 1, Horn 2, Horn 3, Horn 4, Oboe 1, Oboe 2, Percussion 1 and more. SKU: PR.16500103F Mvt. 3 from Symphony No. 6 (Three Places in the East). Composed by Dan Welcher. Full score. 60 pages. Theodore Presser Company #165-00103F. Published by Theodore Presser Company (PR.16500103F). ISBN 9781491131763. UPC: 680160680290. Ever since the success of my series of wind ensemble works Places in the West, I've been wanting to write a companion piece for national parks on the other side of the north American continent. The earlier work, consisting of GLACIER, THE YELLOWSTONE FIRES, ARCHES, and ZION, spanned some twenty years of my composing life, and since the pieces called for differing groups of instruments, and were in slightly different styles from each other, I never considered them to be connected except in their subject matter. In their depiction of both the scenery and the human history within these wondrous places, they had a common goal: awaking the listener to the fragile beauty that is in them; and calling attention to the ever more crucial need for preservation and protection of these wild places, unique in all the world. With this new work, commissioned by a consortium of college and conservatory wind ensembles led by the University of Georgia, I decided to build upon that same model---but to solidify the process. The result, consisting of three movements (each named for a different national park in the eastern US), is a bona-fide symphony. While the three pieces could be performed separately, they share a musical theme---and also a common style and instrumentation. It is a true symphony, in that the first movement is long and expository, the second is a rather tightly structured scherzo-with-trio, and the finale is a true culmination of the whole. The first movement, Everglades, was the original inspiration for the entire symphony. Conceived over the course of two trips to that astonishing place (which the native Americans called River of Grass, the subtitle of this movement), this movement not only conveys a sense of the humid, lush, and even frightening scenery there---but also an overview of the entire settling-of- Florida experience. It contains not one, but two native American chants, and also presents a view of the staggering influence of modern man on this fragile part of the world. Beginning with a slow unfolding marked Heavy, humid, the music soon presents a gentle, lyrical theme in the solo alto saxophone. This theme, which goes through three expansive phrases with breaks in between, will appear in all three movements of the symphony. After the mood has been established, the music opens up to a rich, warm setting of a Cherokee morning song, with the simple happiness that this part of Florida must have had prior to the nineteenth century. This music, enveloping and comforting, gradually gives way to a more frenetic, driven section representative of the intrusion of the white man. Since Florida was populated and developed largely due to the introduction of a train system, there's a suggestion of the mechanized iron horse driving straight into the heartland. At that point, the native Americans become considerably less gentle, and a second chant seems to stand in the way of the intruder; a kind of warning song. The second part of this movement shows us the great swampy center of the peninsula, with its wildlife both in and out of the water. A new theme appears, sad but noble, suggesting that this land is precious and must be protected by all the people who inhabit it. At length, the morning song reappears in all its splendor, until the sunset---with one last iteration of the warning song in the solo piccolo. Functioning as a scherzo, the second movement, Great Smoky Mountains, describes not just that huge park itself, but one brave soul's attempt to climb a mountain there. It begins with three iterations of the UR-theme (which began the first movement as well), but this time as up-tempo brass fanfares in octaves. Each time it begins again, the theme is a little slower and less confident than the previous time---almost as though the hiker were becoming aware of the daunting mountain before him. But then, a steady, quick-pulsed ostinato appears, in a constantly shifting meter system of 2/4- 3/4 in alteration, and the hike has begun. Over this, a slower new melody appears, as the trek up the mountain progresses. It's a big mountain, and the ascent seems to take quite awhile, with little breaks in the hiker's stride, until at length he simply must stop and rest. An oboe solo, over several free cadenza-like measures, allows us (and our friend the hiker) to catch our breath, and also to view in the distance the rocky peak before us. The goal is somehow even more daunting than at first, being closer and thus more frighteningly steep. When we do push off again, it's at a slower pace, and with more careful attention to our footholds as we trek over broken rocks. Tantalizing little views of the valley at every switchback make our determination even stronger. Finally, we burst through a stand of pines and----we're at the summit! The immensity of the view is overwhelming, and ultimately humbling. A brief coda, while we sit dazed on the rocks, ends the movement in a feeling of triumph. The final movement, Acadia, is also about a trip. In the summer of 2014, I took a sailing trip with a dear friend from North Haven, Maine, to the southern coast of Mt. Desert Island in Acadia National Park. The experience left me both exuberant and exhausted, with an appreciation for the ocean that I hadn't had previously. The approach to Acadia National Park by water, too, was thrilling: like the difference between climbing a mountain on foot with riding up on a ski-lift, I felt I'd earned the right to be there. The music for this movement is entirely based on the opening UR-theme. There's a sense of the water and the mysterious, quiet deep from the very beginning, with seagulls and bell buoys setting the scene. As we leave the harbor, the theme (in a canon between solo euphonium and tuba) almost seems as if large subaquatic animals are observing our departure. There are three themes (call them A, B and C) in this seafaring journey---but they are all based on the UR theme, in its original form with octaves displaced, in an upside-down form, and in a backwards version as well. (The ocean, while appearing to be unchanging, is always changing.) We move out into the main channel (A), passing several islands (B), until we reach the long draw that parallels the coastline called Eggemoggin Reach, and a sudden burst of new speed (C). Things suddenly stop, as if the wind had died, and we have a vision: is that really Mt. Desert Island we can see off the port bow, vaguely in the distance? A chorale of saxophones seems to suggest that. We push off anew as the chorale ends, and go through all three themes again---but in different instrumentations, and different keys. At the final tack-turn, there it is, for real: Mt. Desert Island, big as life. We've made it. As we pull into the harbor, where we'll secure the boat for the night, there's a feeling of achievement. Our whale and dolphin friends return, and we end our journey with gratitude and celebration. I am profoundly grateful to Jaclyn Hartenberger, Professor of Conducting at the University of Georgia, for leading the consortium which provided the commissioning of this work. $39.99 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Great Smoky Mountains [Score] Theodore Presser Co.
Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clar...(+)
Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clarinet 3, Contrabass Clarinet, Contrabassoon, Double Bass, English Horn, Euphonium, Flute 1, Flute 2, Horn 1, Horn 2, Horn 3, Horn 4, Oboe 1, Oboe 2, Percussion 1 and more. SKU: PR.16500102F Mvt. 2 from Symphony No. 6 (Three Places in the East). Composed by Dan Welcher. Full score. 52 pages. Theodore Presser Company #165-00102F. Published by Theodore Presser Company (PR.16500102F). ISBN 9781491131749. UPC: 680160680276. Ever since the success of my series of wind ensemble works Places in the West, I've been wanting to write a companion piece for national parks on the other side of the north American continent. The earlier work, consisting of GLACIER, THE YELLOWSTONE FIRES, ARCHES, and ZION, spanned some twenty years of my composing life, and since the pieces called for differing groups of instruments, and were in slightly different styles from each other, I never considered them to be connected except in their subject matter. In their depiction of both the scenery and the human history within these wondrous places, they had a common goal: awaking the listener to the fragile beauty that is in them; and calling attention to the ever more crucial need for preservation and protection of these wild places, unique in all the world. With this new work, commissioned by a consortium of college and conservatory wind ensembles led by the University of Georgia, I decided to build upon that same model---but to solidify the process. The result, consisting of three movements (each named for a different national park in the eastern US), is a bona-fide symphony. While the three pieces could be performed separately, they share a musical theme---and also a common style and instrumentation. It is a true symphony, in that the first movement is long and expository, the second is a rather tightly structured scherzo-with-trio, and the finale is a true culmination of the whole. The first movement, Everglades, was the original inspiration for the entire symphony. Conceived over the course of two trips to that astonishing place (which the native Americans called River of Grass, the subtitle of this movement), this movement not only conveys a sense of the humid, lush, and even frightening scenery there---but also an overview of the entire settling-of- Florida experience. It contains not one, but two native American chants, and also presents a view of the staggering influence of modern man on this fragile part of the world. Beginning with a slow unfolding marked Heavy, humid, the music soon presents a gentle, lyrical theme in the solo alto saxophone. This theme, which goes through three expansive phrases with breaks in between, will appear in all three movements of the symphony. After the mood has been established, the music opens up to a rich, warm setting of a Cherokee morning song, with the simple happiness that this part of Florida must have had prior to the nineteenth century. This music, enveloping and comforting, gradually gives way to a more frenetic, driven section representative of the intrusion of the white man. Since Florida was populated and developed largely due to the introduction of a train system, there's a suggestion of the mechanized iron horse driving straight into the heartland. At that point, the native Americans become considerably less gentle, and a second chant seems to stand in the way of the intruder; a kind of warning song. The second part of this movement shows us the great swampy center of the peninsula, with its wildlife both in and out of the water. A new theme appears, sad but noble, suggesting that this land is precious and must be protected by all the people who inhabit it. At length, the morning song reappears in all its splendor, until the sunset---with one last iteration of the warning song in the solo piccolo. Functioning as a scherzo, the second movement, Great Smoky Mountains, describes not just that huge park itself, but one brave soul's attempt to climb a mountain there. It begins with three iterations of the UR-theme (which began the first movement as well), but this time as up-tempo brass fanfares in octaves. Each time it begins again, the theme is a little slower and less confident than the previous time---almost as though the hiker were becoming aware of the daunting mountain before him. But then, a steady, quick-pulsed ostinato appears, in a constantly shifting meter system of 2/4- 3/4 in alteration, and the hike has begun. Over this, a slower new melody appears, as the trek up the mountain progresses. It's a big mountain, and the ascent seems to take quite awhile, with little breaks in the hiker's stride, until at length he simply must stop and rest. An oboe solo, over several free cadenza-like measures, allows us (and our friend the hiker) to catch our breath, and also to view in the distance the rocky peak before us. The goal is somehow even more daunting than at first, being closer and thus more frighteningly steep. When we do push off again, it's at a slower pace, and with more careful attention to our footholds as we trek over broken rocks. Tantalizing little views of the valley at every switchback make our determination even stronger. Finally, we burst through a stand of pines and----we're at the summit! The immensity of the view is overwhelming, and ultimately humbling. A brief coda, while we sit dazed on the rocks, ends the movement in a feeling of triumph. The final movement, Acadia, is also about a trip. In the summer of 2014, I took a sailing trip with a dear friend from North Haven, Maine, to the southern coast of Mt. Desert Island in Acadia National Park. The experience left me both exuberant and exhausted, with an appreciation for the ocean that I hadn't had previously. The approach to Acadia National Park by water, too, was thrilling: like the difference between climbing a mountain on foot with riding up on a ski-lift, I felt I'd earned the right to be there. The music for this movement is entirely based on the opening UR-theme. There's a sense of the water and the mysterious, quiet deep from the very beginning, with seagulls and bell buoys setting the scene. As we leave the harbor, the theme (in a canon between solo euphonium and tuba) almost seems as if large subaquatic animals are observing our departure. There are three themes (call them A, B and C) in this seafaring journey---but they are all based on the UR theme, in its original form with octaves displaced, in an upside-down form, and in a backwards version as well. (The ocean, while appearing to be unchanging, is always changing.) We move out into the main channel (A), passing several islands (B), until we reach the long draw that parallels the coastline called Eggemoggin Reach, and a sudden burst of new speed (C). Things suddenly stop, as if the wind had died, and we have a vision: is that really Mt. Desert Island we can see off the port bow, vaguely in the distance? A chorale of saxophones seems to suggest that. We push off anew as the chorale ends, and go through all three themes again---but in different instrumentations, and different keys. At the final tack-turn, there it is, for real: Mt. Desert Island, big as life. We've made it. As we pull into the harbor, where we'll secure the boat for the night, there's a feeling of achievement. Our whale and dolphin friends return, and we end our journey with gratitude and celebration. I am profoundly grateful to Jaclyn Hartenberger, Professor of Conducting at the University of Georgia, for leading the consortium which provided the commissioning of this work. $36.99 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Everglades (River of Grass) [Score] Theodore Presser Co.
Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clar...(+)
Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clarinet 3, Contrabass Clarinet, Contrabassoon, Double Bass, English Horn, Euphonium, Flute 1, Flute 2, Horn 1, Horn 2, Horn 3, Horn 4, Oboe 1, Oboe 2, Percussion 1 and more. SKU: PR.16500101F Mvt. 1 from Symphony No. 6 (Three Places in the East). Composed by Dan Welcher. Full score. 52 pages. Theodore Presser Company #165-00101F. Published by Theodore Presser Company (PR.16500101F). ISBN 9781491131725. UPC: 680160680252. Ever since the success of my series of wind ensemble works Places in the West, I've been wanting to write a companion piece for national parks on the other side of the north American continent. The earlier work, consisting of GLACIER, THE YELLOWSTONE FIRES, ARCHES, and ZION, spanned some twenty years of my composing life, and since the pieces called for differing groups of instruments, and were in slightly different styles from each other, I never considered them to be connected except in their subject matter. In their depiction of both the scenery and the human history within these wondrous places, they had a common goal: awaking the listener to the fragile beauty that is in them; and calling attention to the ever more crucial need for preservation and protection of these wild places, unique in all the world. With this new work, commissioned by a consortium of college and conservatory wind ensembles led by the University of Georgia, I decided to build upon that same model---but to solidify the process. The result, consisting of three movements (each named for a different national park in the eastern US), is a bona-fide symphony. While the three pieces could be performed separately, they share a musical theme---and also a common style and instrumentation. It is a true symphony, in that the first movement is long and expository, the second is a rather tightly structured scherzo-with-trio, and the finale is a true culmination of the whole. The first movement, Everglades, was the original inspiration for the entire symphony. Conceived over the course of two trips to that astonishing place (which the native Americans called River of Grass, the subtitle of this movement), this movement not only conveys a sense of the humid, lush, and even frightening scenery there---but also an overview of the entire settling-of- Florida experience. It contains not one, but two native American chants, and also presents a view of the staggering influence of modern man on this fragile part of the world. Beginning with a slow unfolding marked Heavy, humid, the music soon presents a gentle, lyrical theme in the solo alto saxophone. This theme, which goes through three expansive phrases with breaks in between, will appear in all three movements of the symphony. After the mood has been established, the music opens up to a rich, warm setting of a Cherokee morning song, with the simple happiness that this part of Florida must have had prior to the nineteenth century. This music, enveloping and comforting, gradually gives way to a more frenetic, driven section representative of the intrusion of the white man. Since Florida was populated and developed largely due to the introduction of a train system, there's a suggestion of the mechanized iron horse driving straight into the heartland. At that point, the native Americans become considerably less gentle, and a second chant seems to stand in the way of the intruder; a kind of warning song. The second part of this movement shows us the great swampy center of the peninsula, with its wildlife both in and out of the water. A new theme appears, sad but noble, suggesting that this land is precious and must be protected by all the people who inhabit it. At length, the morning song reappears in all its splendor, until the sunset---with one last iteration of the warning song in the solo piccolo. Functioning as a scherzo, the second movement, Great Smoky Mountains, describes not just that huge park itself, but one brave soul's attempt to climb a mountain there. It begins with three iterations of the UR-theme (which began the first movement as well), but this time as up-tempo brass fanfares in octaves. Each time it begins again, the theme is a little slower and less confident than the previous time---almost as though the hiker were becoming aware of the daunting mountain before him. But then, a steady, quick-pulsed ostinato appears, in a constantly shifting meter system of 2/4- 3/4 in alteration, and the hike has begun. Over this, a slower new melody appears, as the trek up the mountain progresses. It's a big mountain, and the ascent seems to take quite awhile, with little breaks in the hiker's stride, until at length he simply must stop and rest. An oboe solo, over several free cadenza-like measures, allows us (and our friend the hiker) to catch our breath, and also to view in the distance the rocky peak before us. The goal is somehow even more daunting than at first, being closer and thus more frighteningly steep. When we do push off again, it's at a slower pace, and with more careful attention to our footholds as we trek over broken rocks. Tantalizing little views of the valley at every switchback make our determination even stronger. Finally, we burst through a stand of pines and----we're at the summit! The immensity of the view is overwhelming, and ultimately humbling. A brief coda, while we sit dazed on the rocks, ends the movement in a feeling of triumph. The final movement, Acadia, is also about a trip. In the summer of 2014, I took a sailing trip with a dear friend from North Haven, Maine, to the southern coast of Mt. Desert Island in Acadia National Park. The experience left me both exuberant and exhausted, with an appreciation for the ocean that I hadn't had previously. The approach to Acadia National Park by water, too, was thrilling: like the difference between climbing a mountain on foot with riding up on a ski-lift, I felt I'd earned the right to be there. The music for this movement is entirely based on the opening UR-theme. There's a sense of the water and the mysterious, quiet deep from the very beginning, with seagulls and bell buoys setting the scene. As we leave the harbor, the theme (in a canon between solo euphonium and tuba) almost seems as if large subaquatic animals are observing our departure. There are three themes (call them A, B and C) in this seafaring journey---but they are all based on the UR theme, in its original form with octaves displaced, in an upside-down form, and in a backwards version as well. (The ocean, while appearing to be unchanging, is always changing.) We move out into the main channel (A), passing several islands (B), until we reach the long draw that parallels the coastline called Eggemoggin Reach, and a sudden burst of new speed (C). Things suddenly stop, as if the wind had died, and we have a vision: is that really Mt. Desert Island we can see off the port bow, vaguely in the distance? A chorale of saxophones seems to suggest that. We push off anew as the chorale ends, and go through all three themes again---but in different instrumentations, and different keys. At the final tack-turn, there it is, for real: Mt. Desert Island, big as life. We've made it. As we pull into the harbor, where we'll secure the boat for the night, there's a feeling of achievement. Our whale and dolphin friends return, and we end our journey with gratitude and celebration. I am profoundly grateful to Jaclyn Hartenberger, Professor of Conducting at the University of Georgia, for leading the consortium which provided the commissioning of this work. $36.99 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Woodland Serenade and Rondo Saxophone and Orchestra [Score and Parts] - Intermediate C. Alan Publications
(Alto Saxophone Feature). Composed by Catherine McMichael. For Soloist(s) with C...(+)
(Alto Saxophone Feature). Composed by Catherine McMichael. For Soloist(s) with Concert Band (Piccolo, Flute 1/2, Oboe 1/2, Bb Clarinet 1, Bb Clarinet 2/3, Bb Bass Clarinet, Bassoon 1/2, Alto Saxophone 1/2, Tenor Saxophone, Baritone Saxophone, Bb Trumpet 1, Bb Trumpet 2/3, Horn in F 1/2, Horn in F 3/4, Trombone 1/2, Bass Trombone, Euphonium, Tuba,). Grade 4. Score and parts. Duration 6:00. Published by C. Alan Publications
$120.00 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Double Play Violin [Score] Theodore Presser Co.
Orchestra Bass Clarinet, Bassoon 1, Bassoon 2, Bongos, Cello, Clarinet, Contraba...(+)
Orchestra Bass Clarinet, Bassoon 1, Bassoon 2, Bongos, Cello, Clarinet, Contrabass, Crotales, Cymbals, English Horn, Field Drum, Flute, Glockenspiel, Horn 1, Horn 2, Oboe 1, Oboe 2, Percussion, Piano, Snare Drum, Triangle, Trumpet, Vibraphone, Viola and more. SKU: PR.416411770 For Violin, Piano, and Chamber Orchestra. Composed by William Kraft. Full score. With Standard notation. Duration 17 minutes. Theodore Presser Company #416-41177. Published by Theodore Presser Company (PR.416411770). UPC: 680160091508. I was tempted to call the piece Throw Back because it consciously employs rhythmic and harmonic approaches characteristic of the earlier part of the twentieth century, much of which plays a part in forging my musical personality. Going along with the impetus, I have paid homage by subtly interpolating stylistic or actual references to such unexpected bedfellows as Scriabin, Ravel, Debussy, Piston, Roussel, and Ysaye. I hope I will be musically forgiven. In one continuous movement, there are three definite internal sections: Presto-Largo-Allegro. The first section opens with a very soft percussion cadenza. If the acoustics allow it, the player will use sponge pottery mallets (sponge-headed mallets employed to smooth the interior of a pot as it is being spin-dried). No matter how hard the percussionist strikes the drums, the dynamic cannot go above pp (pianissimo). This cadenza serves as a basis for the first movement. The elements of the cadenza are taken by the orchestra to make the first major statement, similar to the classical concerto; but rather than making a restatement, the soloists, when they come in, begin with variational ideas. The second section is given over to the soloists, and is lyrical. The third section begins with an alternation between strict rhythmic pulsation and free-sounding timbres, as if reluctant to leave the second section behind. The rhythmic aspect takes over more and more as the piece progresses toward its conclusion. Double Play was commissioned by the Saint Paul Chamber Orchestra with financial assistance from the Northwest Area Foundation. It received its premiere on January 7, 1983, in St. Paul, with the St. Paul Chamber Orchestra; Pinchas Zukerman, violinist; Marc Neikrug, piano; and the composer conducting. $26.99 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Symphony No. 6 [Score] Theodore Presser Co.
Band SKU: PR.16500104F Three Places in the East. Composed by Dan W...(+)
Band SKU: PR.16500104F Three Places in the East. Composed by Dan Welcher. Full score. Theodore Presser Company #165-00104F. Published by Theodore Presser Company (PR.16500104F). ISBN 9781491132159. UPC: 680160681082. Ever since the success of my series of wind ensemble works Places in the West, I've been wanting to write a companion piece for national parks on the other side of the north American continent. The earlier work, consisting of GLACIER, THE YELLOWSTONE FIRES, ARCHES, and ZION, spanned some twenty years of my composing life, and since the pieces called for differing groups of instruments, and were in slightly different styles from each other, I never considered them to be connected except in their subject matter. In their depiction of both the scenery and the human history within these wondrous places, they had a common goal: awaking the listener to the fragile beauty that is in them; and calling attention to the ever more crucial need for preservation and protection of these wild places, unique in all the world. With this new work, commissioned by a consortium of college and conservatory wind ensembles led by the University of Georgia, I decided to build upon that same model---but to solidify the process. The result, consisting of three movements (each named for a different national park in the eastern US), is a bona-fide symphony. While the three pieces could be performed separately, they share a musical theme---and also a common style and instrumentation. It is a true symphony, in that the first movement is long and expository, the second is a rather tightly structured scherzo-with-trio, and the finale is a true culmination of the whole. The first movement, Everglades, was the original inspiration for the entire symphony. Conceived over the course of two trips to that astonishing place (which the native Americans called River of Grass, the subtitle of this movement), this movement not only conveys a sense of the humid, lush, and even frightening scenery there---but also an overview of the entire settling-of- Florida experience. It contains not one, but two native American chants, and also presents a view of the staggering influence of modern man on this fragile part of the world. Beginning with a slow unfolding marked Heavy, humid, the music soon presents a gentle, lyrical theme in the solo alto saxophone. This theme, which goes through three expansive phrases with breaks in between, will appear in all three movements of the symphony. After the mood has been established, the music opens up to a rich, warm setting of a Cherokee morning song, with the simple happiness that this part of Florida must have had prior to the nineteenth century. This music, enveloping and comforting, gradually gives way to a more frenetic, driven section representative of the intrusion of the white man. Since Florida was populated and developed largely due to the introduction of a train system, there's a suggestion of the mechanized iron horse driving straight into the heartland. At that point, the native Americans become considerably less gentle, and a second chant seems to stand in the way of the intruder; a kind of warning song. The second part of this movement shows us the great swampy center of the peninsula, with its wildlife both in and out of the water. A new theme appears, sad but noble, suggesting that this land is precious and must be protected by all the people who inhabit it. At length, the morning song reappears in all its splendor, until the sunset---with one last iteration of the warning song in the solo piccolo. Functioning as a scherzo, the second movement, Great Smoky Mountains, describes not just that huge park itself, but one brave soul's attempt to climb a mountain there. It begins with three iterations of the UR-theme (which began the first movement as well), but this time as up-tempo brass fanfares in octaves. Each time it begins again, the theme is a little slower and less confident than the previous time---almost as though the hiker were becoming aware of the daunting mountain before him. But then, a steady, quick-pulsed ostinato appears, in a constantly shifting meter system of 2/4- 3/4 in alteration, and the hike has begun. Over this, a slower new melody appears, as the trek up the mountain progresses. It's a big mountain, and the ascent seems to take quite awhile, with little breaks in the hiker's stride, until at length he simply must stop and rest. An oboe solo, over several free cadenza-like measures, allows us (and our friend the hiker) to catch our breath, and also to view in the distance the rocky peak before us. The goal is somehow even more daunting than at first, being closer and thus more frighteningly steep. When we do push off again, it's at a slower pace, and with more careful attention to our footholds as we trek over broken rocks. Tantalizing little views of the valley at every switchback make our determination even stronger. Finally, we burst through a stand of pines and----we're at the summit! The immensity of the view is overwhelming, and ultimately humbling. A brief coda, while we sit dazed on the rocks, ends the movement in a feeling of triumph. The final movement, Acadia, is also about a trip. In the summer of 2014, I took a sailing trip with a dear friend from North Haven, Maine, to the southern coast of Mt. Desert Island in Acadia National Park. The experience left me both exuberant and exhausted, with an appreciation for the ocean that I hadn't had previously. The approach to Acadia National Park by water, too, was thrilling: like the difference between climbing a mountain on foot with riding up on a ski-lift, I felt I'd earned the right to be there. The music for this movement is entirely based on the opening UR-theme. There's a sense of the water and the mysterious, quiet deep from the very beginning, with seagulls and bell buoys setting the scene. As we leave the harbor, the theme (in a canon between solo euphonium and tuba) almost seems as if large subaquatic animals are observing our departure. There are three themes (call them A, B and C) in this seafaring journey---but they are all based on the UR theme, in its original form with octaves displaced, in an upside-down form, and in a backwards version as well. (The ocean, while appearing to be unchanging, is always changing.) We move out into the main channel (A), passing several islands (B), until we reach the long draw that parallels the coastline called Eggemoggin Reach, and a sudden burst of new speed (C). Things suddenly stop, as if the wind had died, and we have a vision: is that really Mt. Desert Island we can see off the port bow, vaguely in the distance? A chorale of saxophones seems to suggest that. We push off anew as the chorale ends, and go through all three themes again---but in different instrumentations, and different keys. At the final tack-turn, there it is, for real: Mt. Desert Island, big as life. We've made it. As we pull into the harbor, where we'll secure the boat for the night, there's a feeling of achievement. Our whale and dolphin friends return, and we end our journey with gratitude and celebration. I am profoundly grateful to Jaclyn Hartenberger, Professor of Conducting at the University of Georgia, for leading the consortium which provided the commissioning of this work. $90.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| My First Movie Themes Songbook Easy Piano [Sheet music] - Easy Hal Leonard
(A Treasury of Favorite Songs to Play). By Various. For Piano/Keyboard. Easy Pia...(+)
(A Treasury of Favorite Songs to Play). By Various. For Piano/Keyboard. Easy Piano Songbook. Softcover. 114 pages. Published by Hal Leonard
$17.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Elegy for a Firefighter - Intermediate Carl Fischer
Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clar...(+)
Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clarinet 3, Euphonium, Euphonium T.C., Flute 1, Flute 2, Horn 1, Horn 2, Horn 3, Horn 4, Oboe 1, Oboe 2, Piccolo, String Bass, Trombone 1, Trombone 2, Trombone 3, Trumpet 1 and more. - Grade 4 SKU: CF.SPS87 Composed by Jeremy Martin. Folio. Sps. Set of Score and Parts. 4+4+2+2+2+8+8+4+2+4+4+2+2+2+2+3+3+3+4+4+4+4+3+3+3+6+4+4+2+2+1+1+1+1+4+24 pages. Duration 6 minutes, 28 seconds. Carl Fischer Music #SPS87. Published by Carl Fischer Music (CF.SPS87). ISBN 9781491156445. UPC: 680160914982. 9 x 12 inches. About the Work In the spring of 2008 a large number of wildfires plagued the west coast, including the area where my wife and I lived in northern California. Firefighters all along the West Coast worked overtime in what seemed like an endless battle to protect residents and their homes. After hearing of a number of firefighters who had lost their lives in the struggle, I composed this work as a dedication to them, in honor of their sacrifice. It is not dedicated to any one person or group, or even just to the west-coast firefighters who battled those horrible wildfires; instead, to all firefighters who have given their lives in the line of duty. Although designed as a standalone work, I highly recommend following this composition with one of the many fine band settings of Amazing Grace, as it is commonly performed at firefighter memorials. The one by Frank Ticheli is superb, and if you have access to a good piper there is an excellent version by Jay Dawson which features a solo verse for bagpipe; both are quite stirring. Performance Notes The sustained slower tempo may prove a challenge for some groups; as always, emphasize subdivision. Cues should be used only if necessary due to limited instrumentation. The clarinet and cup-muted trumpets at m. 39 should be very sostenuto (almost organ-like); be careful to stagger breathe. The tempo change at m. 55 should not be much of a challenge, but many groups may tend to slow back down to the original tempo by m. 59; the timpani player can greatly assist in avoiding this problem. The coda at m. 82 may be taken more slowly than the indicated tempo if your solo flutist can manage the lengthy sustained notes. About the WorkIn the spring of 2008 a large number of wildfires plagued the west coast, including the area where my wife and I lived in northern California. Firefighters all along the West Coast worked overtime in what seemed like an endless battle to protect residents and their homes. After hearing of a number of firefighters who had lost their lives in the struggle, I composed this work as a dedication to them, in honor of their sacrifice. It is not dedicated to any one person or group, or even just to the west-coast firefighters who battled those horrible wildfires; instead, to all firefighters who have given their lives in the line of duty.Although designed as a standalone work, I highly recommend following this composition with one of the many fine band settings of Amazing Grace, as it is commonly performed at firefighter memorials. The one by Frank Ticheli is superb, and if you have access to a good piper there is an excellent version by Jay Dawson which features a solo verse for bagpipe; both are quite stirring.Performance Notes The sustained slower tempo may prove a challenge for some groups; as always, emphasize subdivision. Cues should be used only if necessary due to limited instrumentation. The clarinet and cup-muted trumpets at m. 39 should be very sostenuto (almost “organ-likeâ€); be careful to stagger breathe. The tempo change at m. 55 should not be much of a challenge, but many groups may tend to slow back down to the original tempo by m. 59; the timpani player can greatly assist in avoiding this problem. The coda at m. 82 may be taken more slowly than the indicated tempo if your solo flutist can manage the lengthy sustained notes. $100.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Elegy for a Firefighter [Score] - Intermediate Carl Fischer
Band Bass Clarinet, Bassoon 1, Bassoon 2, Chimes, Clarinet, Clarinet 1, Clarinet...(+)
Band Bass Clarinet, Bassoon 1, Bassoon 2, Chimes, Clarinet, Clarinet 1, Clarinet 2, Clarinet 3, Crash Cymbals, Euphonium, Euphonium T.C., Flute 1, Flute 2, Glockenspiel, Horn 1, Horn 2, Horn 3, Horn 4, Mallet Percussion, Oboe 1, Oboe 2, Percussion and more. - Grade 4 SKU: CF.SPS87F Composed by Jeremy Martin. Sws. Sps. Full score. 24 pages. Duration 6 minutes, 28 seconds. Carl Fischer Music #SPS87F. Published by Carl Fischer Music (CF.SPS87F). ISBN 9781491156452. UPC: 680160914999. 9 x 12 inches. About the Work In the spring of 2008 a large number of wildfires plagued the west coast, including the area where my wife and I lived in northern California. Firefighters all along the West Coast worked overtime in what seemed like an endless battle to protect residents and their homes. After hearing of a number of firefighters who had lost their lives in the struggle, I composed this work as a dedication to them, in honor of their sacrifice. It is not dedicated to any one person or group, or even just to the west-coast firefighters who battled those horrible wildfires; instead, to all firefighters who have given their lives in the line of duty. Although designed as a standalone work, I highly recommend following this composition with one of the many fine band settings of Amazing Grace, as it is commonly performed at firefighter memorials. The one by Frank Ticheli is superb, and if you have access to a good piper there is an excellent version by Jay Dawson which features a solo verse for bagpipe; both are quite stirring. Performance Notes The sustained slower tempo may prove a challenge for some groups; as always, emphasize subdivision. Cues should be used only if necessary due to limited instrumentation. The clarinet and cup-muted trumpets at m. 39 should be very sostenuto (almost organ-like); be careful to stagger breathe. The tempo change at m. 55 should not be much of a challenge, but many groups may tend to slow back down to the original tempo by m. 59; the timpani player can greatly assist in avoiding this problem. The coda at m. 82 may be taken more slowly than the indicated tempo if your solo flutist can manage the lengthy sustained notes. About the WorkIn the spring of 2008 a large number of wildfires plagued the west coast, including the area where my wife and I lived in northern California. Firefighters all along the West Coast worked overtime in what seemed like an endless battle to protect residents and their homes. After hearing of a number of firefighters who had lost their lives in the struggle, I composed this work as a dedication to them, in honor of their sacrifice. It is not dedicated to any one person or group, or even just to the west-coast firefighters who battled those horrible wildfires; instead, to all firefighters who have given their lives in the line of duty.Although designed as a standalone work, I highly recommend following this composition with one of the many fine band settings of Amazing Grace, as it is commonly performed at firefighter memorials. The one by Frank Ticheli is superb, and if you have access to a good piper there is an excellent version by Jay Dawson which features a solo verse for bagpipe; both are quite stirring.Performance Notes The sustained slower tempo may prove a challenge for some groups; as always, emphasize subdivision. Cues should be used only if necessary due to limited instrumentation. The clarinet and cup-muted trumpets at m. 39 should be very sostenuto (almost “organ-likeâ€); be careful to stagger breathe. The tempo change at m. 55 should not be much of a challenge, but many groups may tend to slow back down to the original tempo by m. 59; the timpani player can greatly assist in avoiding this problem. The coda at m. 82 may be taken more slowly than the indicated tempo if your solo flutist can manage the lengthy sustained notes. $14.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Solemnity Concert band - Easy Molenaar Edition
Concert Band - Grade 3 SKU: ML.013751080 Composed by Alexandre Carlin. Fu...(+)
Concert Band - Grade 3 SKU: ML.013751080 Composed by Alexandre Carlin. Full set. Molenaar Edition #013751080. Published by Molenaar Edition (ML.013751080). Solemnity was composed when the composer came back from his first Midwest Clinic in Chicago. Inspired by all the concert bands performing there, and all the fellow composers met at this occasion, he decided to write a kind of fanfare work, leading to a fast theme on a driving rhythm.The piece begins like a fanfare with a solemn character which gives the title of the work, the brass here have a nice part to play. Then, a new theme full of energy, using the same rhythmic motive as the fanfare theme, is exposed by the high woodwinds and finally by more instruments. The central part is a slow one, where a melancolic theme is exposed by the oboe, and finally the rest of the band. After a fugato section, the energic theme is back to lead to a brilliant coda.
Solemnity werd gecomponeerd toen de componist terugkwam van zijn eerste Midwest Clinic in Chicago. Geïnspireerd door alle concertbands die daar optraden en alle collega-componisten die hij bij deze gelegenheid ontmoette, besloot hij een soort fanfarewerk te schrijven, leidend naar een snel thema op een stuwend ritme.Het stuk begint als een fanfare met een plechtig karakter dat de titel van het werk geeft, de koperblazers hebben hier een mooie rol te spelen. Dan volgt een nieuw thema vol energie, gebruikmakend van hetzelfde ritmische motief als het thema van de fanfare, belicht door de hoge houtblazers en tenslotte door meer instrumenten. Het centrale deel is langzaam, waar een melancholisch thema wordt belicht door de hobo en uiteindelijk de rest van de band. Na een fugatogedeelte is het energieke thema terug om te leiden naar een briljante coda.
Solemnity a été composée lorsque le compositeur est revenu de sa première Midwest Clinic à Chicago. Inspiré par tous les orchestres de concert qui s'y produisaient et par tous les collègues compositeurs rencontrés à cette occasion, il a décidé d'écrire une sorte de fanfare, conduisant à un thème rapide sur un rythme entraînant.La pièce commence comme une fanfare avec un caractère solennel qui donne le titre de l'œuvre, les cuivres ont ici un beau rôle à jouer. Ensuite, un nouveau thème plein d'énergie, utilisant le même motif rythmique que le thème de la fanfare, est exposé par les bois aigus et finalement par d'autres instruments. La partie centrale est une partie lente, où un thème mélancolique est exposé par le hautbois, puis par le reste de l'orchestre. Après une section fugato, le thème énergique est de retour pour mener à une brillante coda.
Solemnity wurde komponiert, als der Komponist von seiner ersten Midwest Clinic in Chicago zurückkam. Inspiriert von all den Konzertkapellen, die dort auftraten, und all den Komponistenkollegen, die er bei dieser Gelegenheit traf, beschloss er, eine Art Fanfare zu schreiben, die zu einem schnellen Thema auf einem treibenden Rhythmus führt.Das Stück beginnt wie eine Fanfare mit einem feierlichen Charakter, der dem Werk seinen Titel gibt; die Blechbläser haben hier einen schönen Part zu spielen. Dann folgt ein neues, energiegeladenes Thema, das dasselbe rhythmische Motiv wie das Fanfarenmotiv verwendet und von den hohen Holzbläsern und schließlich von weiteren Instrumenten vorgetragen wird. Der Mittelteil ist ein langsamer Teil, in dem ein melancholisches Thema von der Oboe und schließlich vom Rest des Orchesters vorgetragen wird. Nach einem Fugato-Abschnitt kehrt das energische Thema zurück und führt zu einer brillanten Coda. $125.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| ARKA - 3 Rituale (Full Score) Low voice, Piano [Score] Peters
Orchestra solo oboe, solo pipa, timpani 4 Pauken, 1 Spieler, percussion, (Crotal...(+)
Orchestra solo oboe, solo pipa, timpani 4 Pauken, 1 Spieler, percussion, (Crotali, Glockenspiel, gr, Trommel, vibraphonerafon - 1 Spieler), strings (7, 1) SKU: PE.EP14445 Composed by Bernd Franke. Full Scores. Edition Peters. Score. 52 pages. Duration 00:20:00. Edition Peters #98-EP14445. Published by Edition Peters (PE.EP14445). ISBN 9790014135041. 297 x 420 mm inches. German. ARKA stammt aus dem Sanskrit und bedeutet so viel wie Strahl, Blitz, Sonne, Licht, aber auch Lied, Feuer und Hymnus, und entwickelt in meiner Vorstellung sehr viele unterschiedliche Assoziationsfelder. In ARKA stecken auch die Worter arc (beten) und ka (Wasser), und es kann auch ubersetzt werden mit: ,,Das Wasser stromt aus dem heraus, der mehr weiss. Mein neues Werk fur Pipa, Oboe, Pauke, Schlagzeug und Orchester entstand im Auftrag der Kammerakademie Neuss und auf Anregung des Oboisten Christian Wetzel. Es entstanden drei Rituale mit zum Teil szenischen Elementen fur die Solisten und das Orchester. Inspirationsquelle in der Vorbeschaftigung waren zwei Quellen und Bucher. Das Daodejing von Laozi in der hervorragenden Neuubersetzung von Viktor Kalinke, eine der wichtigsten Quellen chinesischen Denkens und der Philosophie dieser grossen Kulturtradition und die chinesische Tradition der 5-Elementelehre und der Wandlungsphasen. Als zweites Buch hat mich ,,Die Glut von Roberto Calasso inspiriert, ein Buch uber die indischen Veden in Verbindung mit den Ursprungen des Buddhismus und den damit verbunden Ritualen. In den letzten 20 Jahren habe ich mich intensiv mit ostasiatischer Musik, Kunst und Philosophie beschaftigt und habe das auch durch langere Studienreisen und kompositorische Projekte vertiefen konnen. U.a. wurde 2012 mein Chorwerk PRAN in Kolkata in Indien uraufgefuhrt (Goethe-Institut), ebenfalls 2012 ,,in between VI fur Sho und Sheng in Tokyo und 2013 ,,Mirror and Circle fur Pipa, Cello und chinesisches Orchester in Taipeh/Taiwan (Auftragswerk der taiwanesischen Regierung). Mit der chinesischen Pipa-Virtuosin Ya Dong arbeite ich seit 2000 zusammen und habe fur sie mehrfach komponiert (Urauffuhrungen u.a. in Hannover/EXPO 2000, Rottweil 2001, Taipeh 2013, Magdeburg 2016). Auch mit Christian Wetzel arbeite ich seit uber 20 Jahren zusammen und habe ebenfalls haufig fur ihn komponiert (UA u.a. in Bonn 1999, Hannover/EXPO 2000, Rottweil 2001, Darmstadt 2004 und etliche weitere Projekte). Jedes dieser drei Rituale hat eine Lange von ca. 6-7 Minuten und stellt unterschiedliche Qualitaten und Besonderheiten der beiden Soloinstrumente heraus, immer in Verbindung mit der Interaktion zwischen Soli und Orchester. Die Besetzung war fur mich ausserst reizvoll, da beide Instrumente in dieser Kombination noch nie so erklungen sind. Die Pipa ist ein ungemein modernes und ungewohnliches Instrument, reich an Farben und vor allem an perkussiven Effekten. Das Tonmaterial wurde zum grossten Teil aus den Namen der beiden Solisten gewonnen und ergibt interessanter zwei gespiegelte Viertonmotive. In der asiatischen Kultur spielen der Spiegel und der Kreis eine wichtige Rolle, und so werden die Tone, Rhythmen und Formen eingewoben in diese drei Rituale, welche am Ende des dritten Satzes wieder kreisformig an den Anfang des ersten Rituals anknupfen. Ein von den Streichern und der Pauke erzeugtes Gerausch, verbunden mit dem Rhythmus der grossen Trommel, welcher einen Herzschlag symbolisieren soll. Die drei Untertitel der Rituale Himmel, Erde und (atmospharischer) Raum spielen im vedischen und chinesischen Denken eine grosse Rolle und war fur mich beim Komponieren ebenfalls eine sehr starke Inspirationsquelle. In vielen meiner Kompositionen gibt es Raumeffekte, Annaherungen an das Publikum, das Verschieben von Perspektiven, die Dekonstruktion und das Hinterfragen der ublichen Konzertsituation, so u.a in meinem Beuys-Zyklus oder in den Zyklen ,,CUT und ,,in between. In ARKA geht es mir besonders um die Interaktion zwischen westlichem und ostlichem Denken, um das gegenseitige Durchdringen dieser auf den ersten Blick so unterschiedlichen Denk- und Lebensweisen, um eine Verschmelzung scheinbarer Gegensatze - um Annaherung! Bernd Franke. Leipzig, 11.10.2019 W01476|C|Y 0.0000 Sheet Music _x000D_ 9780193556799 Y 23.50 X556799 357665 9780193556799 MISC C 1 432 8030 0.00 Oxford Solo Songs: Christmas 14 songs with piano PAPER 14 9780193556799 A-B CAROLS CHRISTMAS MISC MISCELLANEOUS OXFORD PIANO SOLO SONGS SONGS: VOICE WITH AB 00:00:0 Low voice & piano Low voice book + downloadable backing tracks 311x232 72 NEW NONE 29/07/2021 P 355580 9780193556799 - Young: A babe is born
- Rutter: Angels' Carol
- McDowall: Before the paling of the stars
- Rutter: Candlelight Carol
- Rutter: I sing of a maiden
- Chilcott: Mid-winter
- Todd: My Lord has Come
- Bullard: Scots Nativity
- Quartel: Snow Angel
- Todd: Softly
- Chilcott: Sweet was the song
- Chilcott: The Shepherd's Carol
- Quartel: This endris night
- McGlade: What child is this?
for low voice and piano This beautiful collection of 14 songs for low voice offers Christmas settings by some of Oxford's best-loved composers. Suitable for solo singers and unison choirs alike, each song is presented with piano accompaniment, and high-quality, downloadable backing tracks are included on a companion website. With a wonderful selection of pieces, including favourites such as Bob Chilcott's 'The Shepherd's Carol' and John Rutter's 'Candlelight Carol', this is the perfect collection for use in carol services and Christmas concerts or for enjoying at home. Also available in a volume for high voice and piano. - 14 songs for solo voice
- Well-loved composers, including John Rutter and Bob Chilcott
- Wide selection of Christmas texts
- Accessible accompaniments
- Includes backing tracks downloadable from a Companion Website
- Available in volumes for high and low voice
MISC|AU|Y 0.0000 Paperback _x000D_ EP73308R Y 0.00 73308R P73308R 1 ORCHA 8000 0.00 Hover A (LARGE) BEAMISH EP73308R GP:ORCHESTRAL HOVER ONLY RENTAL SALLY WORKS NONE ORCHA P 303000 EP73308R 0.0000 Sheet Music _x000D_ EP14437A Y 22.95 14437A P14437A FRANKE, BERND C 9790014137199 52A1 8000 0.00 AGNI A 9790014137199 AGNI BASS BERND CLARINET EP14437A FRANKE PHOTOPRINTS W01476 English / German 00:12:0 Instrumental Score 232 x 303 mm Bass clarinet 20 DETNT NEW PR43 23/04/2021 P 303006 AGNI is the Hindu god of fire; the elemental and transformative force inherent in everything: Every flame, every fire, every light, every warmth is AGNI. AGNI is omnipresent, establishing everything and ending everything. AGNI is often depicted with seven tongues which represent different aspects of his being. These include: creating, sustaining, cleansing, purifying, priestly, martial, devastating, destructive, and consuming. Derived from Franke's concerto of the same name, this solo work for bass clarinet compositionally traces the transformative processes initiated by the divine fire. The solo takes seven pieces from the concerto, presenting vivid character pieces exploring the creative possibilities and wide tonal range offered by the bass clarinet. This version of AGNI for bass clarinet solo was premiered on 4 December 2020 in Leipzig by Volker Hemken, the principal bass clarinetist of the Gewandhausorchester Leipzig. EP14437a convinces with its excellent and clear notation, making the piece a new standard for bass clarinet. W01476|C|Y 0.0000 Sheet Music _x000D_ EP68686 Y 165.00 68686 P68686 LEWIS C 9790300761299 97 8000 0.00 Ikons A 9790300761299 CONTEMPORARY ENSEMBLE EP68686 GEORGE IKONS LEWIS PHOTOPRINTS SMALL W06652 English 00:14:0 Conductor Score & Parts 303 x 232 mm Fl (A-fl in F).Cl.Bsn (Cbsn).Tbn.Perc.Vln.Vlc.Cb 132 NEW PR43 USTNT 21/04/2021 P 303006 Ikons, commissioned by the Vancouver Cultural Olympiad 2010, exists in two forms. This 14-minute acoustic version, premiered by the Turning Point Ensemble, calls for an octet of live musicians to execute complex rhythms and quarter-tone harmonies. The interactive, electronic version, created with visual artist Eric Metcalfe and designed to be presented separately, incorporates samples from this acoustic version into a sculptural environment of seven pyramidal structures that respond sonically to the viewer. W06652|C|Y 0.0000 Sheet Music _x000D_ EP73531 Y 31.95 73531 P73531 PANUFNIK, ROXANNA C 9790577020976 61 8000 0.00 Sonnets without Words A 9790577020976 EP73531 HORN PANUFNIK PHOTOPRINTS PIANO ROXANNA SHAKESPEARE SONNETS W03578 WILLIAM WITHOUT WORDS English Score & Instrumental Parts 232 x 303 mm Horn and piano 28 NEW PR43 UKTNT 21/04/2021 P 303006 Roxanna Panufnik's Sonnets without Words is a contemporary piece for Horn in F and piano. Written for horn player Ben Goldscheider, Panufnik has reimagined the lyrical vocal lines from three of her previous settings of Shakespeare's sonnets (Mine eye, Music to hear and Sweet Love Remember'd for voice and piano) into a purely instrumental work. Score and horn part. - Contemporary work for Horn in F and piano
- Settings of Sheakespeare's Sonnets 8, 24 & 29 in instrumental form
W03578|C|Y W06737|LY|N 0.0000 Sheet Music _x000D_ EP73571 Y 15.95 73571 P73571 MCNEFF, STEPHEN C 9790577021317 20 8000 0.00 Trig for Solo Cello A 9790577021317 (SOLO) CELLO EP73571 MCNEFF PHOTOPRINTS SOLO STEPHEN TRIG W03150 English 00:07:0 Instrumental Score 232 x 303 mm Solo Violoncello 8 NEW PR43 UKTNT 21/04/2021 P 303006 Stephen McNeff's Trig is a short 7-minute contemporary work for solo cello, written to celebrate the bicentennial of the Royal Academy of Music in 2022 and in memorium cellist Mike Edwards 1948-2010. Trig was premiered by Henry Hargreaves on 19 March 2021, livestreamed from the Royal Academy of Music. - Contemporary piece for solo cello
- Written for the Royal Academy of Music's bicentennial
W03150|C|Y 0.0000 Sheet Music _x000D_ EP14528 Y 34.95 14528 P14528 SAUNDERS, REBECCA C 9790014136796 3 8000 0.00 to an utterance - study A 9790014136796 (SOLO) AN EP14528 PHOTOPRINTS PIANO REBECCA SAUNDERS STUDY TO UTTERANCE W04191 English Instrumental Score 420 x 297 mm Piano Solo 16 DETNT NEW PR43 21/04/2021 P 303006 to an utterance - study was commissioned by Klangforum Wien for the premiere commercial audio recording on a portrait CD in 2020 and first performed by Joonas Ahonen at the Berlin Philharmonie on 4th September 2020 at the Musikfest Berlin. W04191|C|Y 0.0000 Sheet Music _x000D_ EP71880 Y 75.00 71880 P71880 PANUFNIK, ROXANNA C 9790577008332 82 8000 0.00 Spirit Moves for Brass Quintet A 9790577008332 BRASS ENSEMBLE EP71880 MOVES PANUFNIK PHOTOPRINTS QUINTET ROXANNA SPIRIT W03578 English 00:15:0 Score & Instrumental Parts 232 x 303 mm Trumpet 1 in B flat (doubling Piccolo Trumpet), Trumpet 2 in B flat (doubling Flugel Horn), Horn in F, Trombone, Tuba 84 NEW PR43 UKTNT 21/04/2021 P 303006 Roxanna Panufnik's Spirit Moves, for brass quintet, was commissioned by the Fine Arts Brass Ensemble. This 15-minute piece is scored for two trumpets in Bb (one doubling piccolo trumpet and the other doubling flugel horn), horn in F, trombone and tuba. This brass quintet is so called because the outer movements are highly spirited and the central one is spiritual. This product consists of score and parts. W03578|C|Y 0.0000 Sheet Music _x000D_ EP73585 Y 4.00 73585 P73585 369282 WILLIAMS, RODERICK C 9790577021591 1 151 8000 0.00 Eriskay Love Lilt A 9790577021591 (SECULAR) CHORAL EP73585 ERISKAY HALSTAN-USA LILT LOVE RODERICK TRADITIONAL W05152 WILLIAMS WORKS English 00:03:0 190 x 272 mm SATB (divisi) and piano 16 NEW PR30 UKTNT 20/05/2021 P 377788 A gently flowing 3-minute arrangement by Roderick Williams for SATB (with divisi) with piano accompaniment that captures the beauty of this famous traditional Hebridean love song. The song text uses both old dialect and English, each verse ending with the words, 'Sad am I without thee'. - Commissioned by The Sixteen choir and recorded on their 2021 album 'Goodnight Beloved'
- Roderick Williams is a composer/arranger and also a world-renowned baritone
- The arrangement is described by Williams as 'having a little nod to Ravel and Grieg'
W05152|C|Y W04819|LY|N 0.0000 Sheet Music _x000D_ 9780193556782 Y 23.50 X556782 357665 9780193556782 MISC C 1 432 8030 0.00 Oxford Solo Songs: Christmas 14 songs with piano PAPER 14 9780193556782 A-B CAROLS CHRISTMAS MISC MISCELLANEOUS OXFORD PIANO SOLO SONGS SONGS: VOICE WITH AB 00:00:0 High voice & piano High voice book + downloadable backing tracks 311x232 72 NEW NONE 29/07/2021 P 355580 9780193556782 - Young: A babe is born
- Rutter: Angels' Carol
- McDowall: Before the paling of the stars
- Rutter: Candlelight Carol
- Rutter: I sing of a maiden
- Chilcott: Mid-winter
- Todd: My Lord has Come
- Bullard: Scots Nativity
- Quartel: Snow Angel
- Todd: Softly
- Chilcott: Sweet was the song
- Chilcott: The Shepherd's Carol
- Quartel: This endris night
- McGlade: What child is this?
for high voice and piano This beautiful collection of 14 songs for high voice offers Christmas settings by some of Oxford's best-loved composers. Suitable for solo singers and unison choirs alike, each song is presented with piano accompaniment, and high-quality, downloadable backing tracks are included on a companion website. With a wonderful selection of pieces, including favourites such as Bob Chilcott's 'The Shepherd's Carol' and John Rutter's 'Candlelight Carol', this is the perfect collection for use in carol services and Christmas concerts or for enjoying at home. Also available in a volume for low voice and piano. - 14 songs for solo high voice
- Well-loved composers, including John Rutter and Bob Chilcott
- Wide selection of sacred and secular Christmas texts
- Accessible accompaniments
- Includes backing tracks downloadable from a Companion Website
- Available in volumes for high and low solo voice
MISC|AU|Y 0.0000 Paperback _x000D_ 9780193559066 Y 4.25 X559066 357665 9780193559066 YOUNG C 1 444 8030 0.00 O splendour of God's glory bright PAPER 9780193559066 BRIGHT CHORAL GLORY GOD'S MIXED OF OXFORD SACRED SPLENDOUR TOBY VOICES W06576 YOUNG C 00:03:30 SATB & organ Vocal score 254x178 SATB 20 NONE P 355580 9780193559066 for SATB and organ This energetic setting of words by St Ambrose of Milan is a real showstopper. With pop-influences and a sparkling organ part, Young effortlessly fuses modern and traditional sound worlds, while changes in key and metre build up to an invigorating finish. Perfect for accomplished choirs looking for something different. W06576|C|Y 0.0000 Paperback _x000D_ 9780193554399 Y 2.60 X554399 357665 9780193554399 LASSUS, ORLANDO DE C 1 445 8030 0.00 Oculus non vidit PAPER 9780193554399 CHORAL DE KEANE LASSUS MARK NON OCULUS ORLANDO OXFORD SACRED UPPER VIDIT VOICES W02750 B 00:01:30 SA unaccompanied Vocal score 254x178 Upper Voices - 3 parts or more 4 NONE 10/06/2021 P 355580 9780193554399 for SA unaccompanied This simple, charming two-part motet features long melismatic phrases that reflect the text (1 Corinthians 2: 9), such as the rising melodic line over three bars on the word 'ascended' (ascendit).
W02750|C|Y W06960|E|N 0.0000 Paperback _x000D_ 9780193954298 Y 3.35 X954298 357665 9780193954298 TALLIS, THOMAS C 1 448 8030 0.00 Honor, virtus et potestas PAPER 9780193954298 CANTICLES DUNKLEY ET HONOR OXFORD POTESTAS SALLY SERVICES TALLIS THOMAS VIRTUS W04705 C 00:06:0 SAATB unaccompanied Vocal score MSER00020 SATB 12 NONE 28/05/2021 P 355580 9780193954298 for SAATB unaccompanied. This glorious musical depiction of the honour, strength, power and authority of the Holy Trinity by Thomas Tallis is the third issue in the CMS's series of great English Responds from the 16th century, edited by Sally Dunkley. Scored for SAATB, it can be performed either as a motet or as a full Responsory with plainsong alternating with polyphony. W04705|C|Y W01184|E|N 0.0000 Paperback _x000D_ EP73527 Y 6.95 73527 P73527 BEAMISH, SALLY C 9790577020891 50 8000 0.00 The Parting Glass A 9790577020891 (SOLO) BEAMISH CLARINET EP73527 GLASS PARTING PHOTOPRINTS SALLY W00306 English Score 232 x 303 mm Clarinet 4 NEW PR43 UKTNT 12/12/2020 P 303006 Based on a traditional Scottish/Irish 'farewell' song, this short piece is one of six works written to express my love of Scotland. After living there for nearly half my life, and raising a family, I moved back to England in 2018, and remarried in 2019. Of course, there were many different emotions attached to the move south: especially the joy and excitement of new beginnings, and reconnection with friends from my youth. But this piece expresses the wrench I experienced after a last family meal in Glasgow, and the realisation of all I was about to leave behind. I have taken the melody of the original song, and expanded it, exploring the detail of its patterns, so that it becomes a timeless meditation. The six pieces in the 'farewell' series are for 6 violas, string quintet, string quartet, trio, violin and clarinet duo, and solo clarinet. The Parting Glass was composed in 2020 during the coronavirus lockdown, which intensified the feeling of separation from my Scottish family, as well as from other musicians. It was commissioned by Vittorio Ceccanti for the ContempoArtEnsemble. W00306|C|Y 0.0000 Sheet Music _x000D_ EP73516 Y 6.95 73516 P73516 BEAMISH, SALLY C 9790577020747 20 8000 0.00 Maple A 9790577020747 (SOLO) BEAMISH CELLO EP73516 MAPLE PHOTOPRINTS SALLY W00306 English 00:06:0 Score 232 x 303 mm Contemporary cello solo 8 NEW PR43 UKTNT 12/12/2020 P 303006 Seed; Spinning Seed; Roots, shoots; Leaves ; Flowers; Tree ; Autumn ; Cello Maple arose from a commission to write a work for solo cello, to be performed alongside readings from artist John Newling's collection of letters entitled 'Dear Nature'; a poetic manifestation of our relationship with the natural world. The piece is in eight short sections, to be interspersed with readings of groups of the poems. It may also be performed as a single movement. It begins with a seed - the seed of a maple tree, as it hangs on the mature tree, ready to drop. The seeds are like propellers, sometimes travelling more than a mile before landing on the ground. Maple follows the growth of the tree to maturity - which in reality would take at least a hundred years. 'Roots, shoots' grows downwards and upwards from a pedal note, and the dance-like 'Flowers' is followed by the stately 'Tree', and then the warm, cascading 'Autumn'. Maple is very often the wood of choice for the back of a stringed instrument, and the last section uses open strings to explore the full resonance of the cello. The piece starts with a 'seed' of only five notes, which grows into different configurations. It is intended to be played in an improvisatory style. Maple was co-commissioned by Brighton Festival, Ars et Terra Festival with SACEM and Ditchling Arts and Crafts Museum, to be performed by Margarita Balanas as part of the Brighton Festival's 'Dear Nature' project. W00306|C|Y 0.0000 Sheet Music _x000D_ EP73508 Y 39.95 73508 P73508 DILLON, JAMES C 9790577020648 3 8000 0.00 echo the angelus A 9790577020648 (SOLO) ANGELUS DILLON ECHO EP73508 JAMES PHOTOPRINTS PIANO W01097 English 00:25:0 Score 232 x 303 mm Piano Solo 44 NEW PR43 UKTNT 12/01/2021 P 303006 First performed by Noriko Kawai for Huddersfield Contemporary Music Festival, in a broadcast from the Radio Theatre, BBC Broadcasting House, November 2020. Full of beautifully crafted, delicate tintinnabulations - Richard Morrison, The Times This product is Printed on Demand and may take several weeks to fulfill. Please order from your favorite retailer. $90.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
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