SKU: CF.CPS244
ISBN 9781491157985. UPC: 680160916580. 9 x 12 inches.
On Wings of Flight is a jubilant, short overture that is meant to convey the wonder of soaring high above the ground. Programmatically, it can represent either the flight of birds or aircraft. Donat be concerned if you donat have some of the lower voice color instruments such as bass clarinet, baritone saxophone, and/or bassoon. Those instruments are doubled in the low brass. Bass trombone isnat essential as it doubles tuba, but a lack or scarcity of bass trombone and/or tuba isnat critical if you do have those other low woodwinds. The repetitive eighth-note accents should be lighter than normal so the ongoing effect is more propulsive than heavy. Keep those eighth-note patterns locked into the tempo so the band refrains from unwittingly accelerating. Think of the legato accented notes as slightly separated as opposed to being slurred. When the accented whole notes surrounded by rests are played, be sure they are held out for a full four counts. Save the crescendo for m. 19 and quickly drop back down in volume at m. 21. At m. 31, the whole notes do not crescendo to the same ff volume as the melody. Those parts are to save their crescendo for m. 35. Pay attention to the instruments that do not diminuendo at m. 39. In the slower section after m. 41, be careful that the diminuendos on the half notes donat sag in pitch as the notes get softer. Trumpets and horns at m. 49 must not play their notes as accents. Give particular attention to the diminuendos in the melody at m. 56, so that they fade out as the volume of the other instruments grows. The accented notes at mm. 85 and 86 should each be heard through the volume of the rest of the instruments, so that the addition of each pitch is adequately heard. If you wish, you may place more emphasis on the accents in the last two measures of the piece than you did earlier throughout the piece.On Wings of Flight is a jubilant, short overture that is meant to convey the wonder of soaring high above the ground. Programmatically, it can represent either the flight of birds or aircraft. Don't be concerned if you don't have some of the lower voice color instruments such as bass clarinet, baritone saxophone, and/or bassoon. Those instruments are doubled in the low brass. Bass trombone isn't essential as it doubles tuba, but a lack or scarcity of bass trombone and/or tuba isn't critical if you do have those other low woodwinds. The repetitive eighth-note accents should be lighter than normal so the ongoing effect is more propulsive than heavy. Keep those eighth-note patterns locked into the tempo so the band refrains from unwittingly accelerating. Think of the legato accented notes as slightly separated as opposed to being slurred. When the accented whole notes surrounded by rests are played, be sure they are held out for a full four counts. Save the crescendo for m. 19 and quickly drop back down in volume at m. 21. At m. 31, the whole notes do not crescendo to the same ff volume as the melody. Those parts are to save their crescendo for m. 35. Pay attention to the instruments that do not diminuendo at m. 39. In the slower section after m. 41, be careful that the diminuendos on the half notes don't sag in pitch as the notes get softer. Trumpets and horns at m. 49 must not play their notes as accents. Give particular attention to the diminuendos in the melody at m. 56, so that they fade out as the volume of the other instruments grows. The accented notes at mm. 85 and 86 should each be heard through the volume of the rest of the instruments, so that the addition of each pitch is adequately heard. If you wish, you may place more emphasis on the accents in the last two measures of the piece than you did earlier throughout the piece.On Wings of Flight is a jubilant, short overture that is meant to convey the wonder of soaring high above the ground. Programmatically, it can represent either the flight of birds or aircraft.Don’t be concerned if you don’t have some of the lower voice color instruments such as bass clarinet, baritone saxophone, and/or bassoon. Those instruments are doubled in the low brass. Bass trombone isn’t essential as it doubles tuba, but a lack or scarcity of bass trombone and/or tuba isn’t critical if you do have those other low woodwinds.The repetitive eighth-note accents should be lighter than normal so the ongoing effect is more propulsive than heavy. Keep those eighth-note patterns locked into the tempo so the band refrains from unwittingly accelerating. Think of the legato accented notes as slightly separated as opposed to being slurred.When the accented whole notes surrounded by rests are played, be sure they are held out for a full four counts. Save the crescendo for m. 19 and quickly drop back down in volume at m. 21. At m. 31, the whole notes do not crescendo to the same ff volume as the melody. Those parts are to save their crescendo for m. 35. Pay attention to the instruments that do not diminuendo at m. 39.In the slower section after m. 41, be careful that the diminuendos on the half notes don’t sag in pitch as the notes get softer. Trumpets and horns at m. 49 must not play their notes as accents. Give particular attention to the diminuendos in the melody at m. 56, so that they fade out as the volume of the other instruments grows.The accented notes at mm. 85 and 86 should each be heard through the volume of the rest of the instruments, so that the addition of each pitch is adequately heard. If you wish, you may place more emphasis on the accents in the last two measures of the piece than you did earlier throughout the piece.
SKU: CF.CPS244F
ISBN 9781491157992. UPC: 680160916597. 9 x 12 inches.
SKU: HL.1224660
UPC: 196288143635. 6.75x10.5x0.029 inches.
Now available for treble voices. Royal Canadian Air Force Pilot John Magee wrote his popular poem ââ¬ÅHigh Flightââ¬Â when he was just 19 years old. In the poem, he describes the delirious feeling of wheeling and soaring, and an intimate connection with the divine. Setting these words, the composer's music soars and dives and floats and reflects the joy this young pilot experienced from the pilot's chair.
SKU: HL.4007602
UPC: 196288070290. 6.0x12.0x0.052 inches.
First published in 2004, Richard Saucedo's Flight of the Thunderbird has remained a popular choice for contest and festival for younger players. Skillfully scored in this new edition for flexible instrumentation, this exciting work in one tempo will sound great with an ensemble of any size.
SKU: HL.284155
90.0x12.0 inches.
Solo Violin part from Oliver Davis' Flight Concerto.
SKU: HL.137591
ISBN 9781495001659. UPC: 888680027933. 5.25x7.25x1.214 inches.
Noteflight is a subscription-based music writing application that lets you create, view, print and hear professional quality music notation right in your web browser. This innovative online notation software gives musicians an intuitive tool that displays, edits, prints and plays back music on any device. Now you can compose, read, or practice musical scores anywhere, any time! Features include: • Full-featured notaton editor with orchestral sound library and MusicXML support • Write music on any computer, tablet or smartphone and share scores with anyone • Collaborate and share with millions of Noteflight community members • Nothing to install: set up your account online with the included access code • Easy to learn and intuitive to use so you can get started immediately • Unlimited cloud storage for all your scores • You're always using the latest version: no expensive upgrades • Embed interactive scores in web pages, on your blog, or on a personal site • Interact with the world's most vibrant music composition community • Compose using on-screen notation palette, keyboard shortcuts, or with any MIDI device • Synchronize scores wtih online video and audio • and more! Retail edition exclusive offer: 3-year premium subscription $99.99 ($50 savings) Take flight! Vnewsletter talks about Noteflight and our boxed software in this video. See an Overview to Noteflight here. Click here for details on Noteflight Learn Subscriptions available from Hal Leonard.
SKU: HL.137592
ISBN 9781495001666. UPC: 888680027940. 5.25x7.25x1.219 inches.
Noteflight is a subscription-based music writing application that lets you create, view, print and hear professional quality music notation right in your web browser. This innovative online notation software gives musicians an intuitive tool that displays, edits, prints and plays back music on any device. Now you can compose, read, or practice musical scores anywhere, any time! Features include: • Full-featured notaton editor with orchestral sound library and MusicXML support • Write music on any computer, tablet or smartphone and share scores with anyone • Collaborate and share with millions of Noteflight community members • Nothing to install: set up your account online with the included access code • Easy to learn and intuitive to use so you can get started immediately • Unlimited cloud storage for all your scores • You're always using the latest version: no expensive upgrades • Embed interactive scores in web pages, on your blog, or on a personal site • Interact with the world's most vibrant music composition community • Compose using on-screen notation palette, keyboard shortcuts, or with any MIDI device • Synchronize scores wtih online video and audio • and more! Retail edition exclusive offer: 5-year premium subscription $149.99 ($100 savings) Take flight! Vnewsletter talks about Noteflight and our boxed software in this video. See an Overview to Noteflight here. Click here for details on Noteflight Learn Subscriptions available from Hal Leonard.
SKU: CL.011-2914-01
A wonderful way to encourage and challenge your best young players is by featuring them on a solo with band accompaniment. Larry Neeck’s Solo Flight is a delightful solo feature for virtually almost any instrument in the band (Bb, Eb, C & Bass Clef Solo Parts are included with the set). Light in nature, it will be a welcome addition to any concert. Playable and enjoyable, this piece can pay big dividends to your band program! Recorded on the CD A Lantern In The Window by The Washington Winds.
About C.L. Barnhouse Command Series
The Barnhouse Command Series includes works at grade levels 2, 2.5, and 3. This series is designed for middle school and junior high school bands, as well as high school bands of smaller instrumentation or limited experience. Command Series publications have a slightly larger instrumentation than the Rising Band Series, and are typically of larger scope, duration, and musical content.
SKU: PR.114422650
ISBN 9781491134528. UPC: 680160685004.
Charmingly packed with wit, grace, symbolism, and irony, Shulamit Ran’s THE FLIGHT OF THE BRAVE CHICKEN celebrates the life and work of a graphic artist and illustrator (who played clarinet), who lost her battle with cancer as a young adult. The six-minute duo begins as a dramatic dialog for bass clarinet and piccolo, gradually evolving to peaceful resolution for flute and clarinet. The work may be performed with projections of the original art panels that inspired the work.Brave Chicken was a character developed by Nina Frenkel, gifted illustrator, graphicartist, and beloved friend to many, who passed away at the age of 43 having lost adifficult battle with cancer. Her parents, Marcel and Anne Frenkel, approached mein May 2017 about composing a short work in Nina’s memory, suggesting that it bebased on four delightful panels that Nina had painted in 2014 before she knew of therecurrence of the disease.Titled “Brave Chicken Meets the Ogre,†“Brave Chicken Fights the Ogre,†“BraveChicken Flees to Safety,†and “Brave Chicken in the Healing Hut,†the four panelsdepict a progression from darkness to light. And while my composition does notattempt to follow the four panels literally, I did aim to create two distinctly differentmusical characters who are posed against one another with one clearly perceived asdominant and threatening, and trace the evolving change in the balance of power,and with it the journey from darkness to light.Inspired by the knowledge that Nina herself greatly enjoyed playing the clarinet, Idecided to pair bass clarinet with piccolo, eventually switching the piccolo over toflute, with clarinet appearing in time for the work’s peaceful conclusion. Though I hadnever met Nina, I felt honored to compose this work in her memory.
SKU: PR.164002950
ISBN 9781491114568. UPC: 680160633449. 9 x 12 inches.
Dan Welcher’s fascinating work for soprano sax is both a refraction of Mendelssohn’s music for A Midsummer Night’s Dream, and his own incidental music to Shakespeare’s comedy. The work’s title, AS LIGHT AS BIRD FROM BRIER, quotes from Oberon (King of the Fairies) invoking revelry at the play’s climactic wedding scene. Welcher’s fantasy skips among the most beloved themes of Mendelssohn’s Midsummer – giving the saxophonist quite a workout, and the listener a midsummer delight.AS LIGHT AS BIRD FROM BRIER is loosely based on Shakespeare’s play A Midsummer Night’s Dream, which has haunted me since I was nine years old. My parents subscribed me to The Children’s Record Guild, and every month a new 78rpm vinyl record would arrive in the mail. They were mostly fairy tales and “kids lit,†but in this case it was a very condensed performance of the actual play, with Mendelssohn’s music. I loved it immediately, and still do – I saw a performance in 2014 at the Stratford Festival that literally stalks my dreams.When I was commissioned by saxophonist Stephen Page to compose a work for soprano saxophone and piano two years later, I channeled Mendelssohn as an inspiration: specifically, the Overture, the Scherzo, the Intermezzo, the fairy’s song “You spotted snakes with double tongue,†and the Rustics’ Dance. But it’s not a pastiche – most of the music is completely my own, though attentive listeners will detect snatches of Mendelssohn’s haunting score throughout.This piece joins MILL SONGS and FLORESTAN’S FALCON among works honoring my favorite 19th-century composers (in those cases, Schubert and Schumann) without ripping them off. As Stravinsky did in his ballet Pulcinella, I have borrowed fragments of melody from a much-loved composer, and made a fabric of harmonies and scales that are genetically related to Mendelssohn, but unmistakably Welcher.In this work, the saxophonist is Puck – skittish, dazzlingly fast, and brilliant in the outer parts, and a mischievous Cupid in the long, central Love Song. (Remember how Puck anoints Titania’s eyes with the juice from a magic flower, which causes her to fall in love with Bottom the weaver, who has been bewitched and wears a donkey’s head?) The music traces Puck’s magic flight, the finding of the flower, Titania’s love-scene with Bottom and her fairies, and the rustic players – whose rehearsal of the funniest play-within-the-play in literature is interrupted by Puck’s dirty tricks.I greatly enjoyed the process of writing this piece, and often found myself quite moved even as I was writing it... which rarely happens. Stephen Page, who commissioned the work, is a consummate artist (and a bit of a Puck himself). The title comes from Oberon’s final speech in the play:Through the house, give glimmering light,By the dead and drowsy fire.Every elf and fairy spriteHop as light as bird from brier,And this ditty, after me,Sing, and dance it trippingly.
SKU: CF.YPS234F
ISBN 9781491158210. UPC: 680160916818. 9 x 12 inches.
Flight of the Eagle is a driving fanfare highlighting all sections of the band. Written in a mature style, brass and saxophones begin the piece in a half-time feel with accentuated percussion interjections. Rehearsal 16, the flutes, oboes, and percussion are the driving pulse, while the other voices have the melodic content. The style is noticeably different at Rehearsal 28 with accented notes throughout. Rehearsal 35 introduces the new rhythmic ostinato, which should diminuendo so the melody can be heard. Rehearsal 67 is similar to Rehearsal 28 to the end, and percussion should dampen on the final note of the piece.
SKU: CF.YPS234
ISBN 9781491158203. UPC: 680160916801. 9 x 12 inches.
SKU: AP.29603S
UPC: 038081318332. English.
Dillon's Flight was inspired by the legend of the Phoenix, a bird of fire that does not lay eggs, has no younglings, was here at the beginning of time, and yet still lives today in a hidden desert land. Every 500 years, the sun burns down on the Phoenix until a flash of light appears and it becomes consumed by the flames of fire. From the pile of silvery-gray ash rises up a young Phoenix. The young Phoenix then takes flight and sings its glorious song to the sun for another five hundred years. Dedicated to the Dillon School in Phoenix, New York, this musical depiction is jam-packed with energy. (5:07) This title is available in MakeMusic Cloud.
SKU: CL.RWS-1930-00
Just before the sun breaks through the morning clouds, the Dragon Riders prepare their mighty beasts for flight. In this exciting piece for developing band, take your musicians and audience to the skies as the dragons soar through the clouds reigning over the world below. Your students will love this imaginative work by F. Scott Kroll!
SKU: CL.RWS-1930-01
SKU: XC.DSO2104FS
UPC: 812598037180. 9 x 12 inches.
Newcomer Liam Ramsey-White flies out of the gate with Dragon's Flight! Liam knows how to write for string orchestra and it shows with this dynamic and intense work. Students will take a journey alongside this ancient and mythical creature in this light and fun work, perfect for any concert opener or closer.
SKU: XC.DSO2104
UPC: 812598037487. 9 x 12 inches.
SKU: HL.1315785
ISBN 9798350110319. UPC: 196288179078. 9.0x12.0 inches.
So you've just started playing this compact wonder – now what? Hal Leonard's First 50 series is here to help! Designed for new players, First 50 Songs You Should Play on Melodica features a variety of accessible songs in a wide range of styles, simply arranged so you can start playing right away. Choose to play just the melody or enhance it using the chord labels or left hand part – the possibilities are endless for wherever you are on your melodica journey! Songs include: All of Me • Blinding Lights • Cabinessence • Canon in D • Easy on Me • Final Countdown • The Flight of the Bumblebee • Hallelujah • Heart of Gold • Imagine • A Million Dreams • Perfect • Someone Like You • Toccata in D Minor • Wellerman • You Raise Me Up • and more.
About First 50
You've been taking lessons, you've got a few chords under your belt, and you're ready to buy a songbook. Now what? Hal Leonard has the answers in its First 50 series. The First 50 series steers new players in the right direction. These books contain easy to intermediate arrangements for must-know songs. Each arrangement is simple and streamlined, yet still captures the essence of the tune.
SKU: PR.31241902S
UPC: 680160690589. English.
Commissioned by the San Francisco Choral Society and the Piedmont East Bay Children’s Choir, Terra Nostra is a 70-minute oratorio on the relationship between our planet and humankind, how this relationship has shifted over time, and how we can re-establish a harmonious balance. Part I: Creation of the World explores various creation myths from different cultures, culminating in a joyous celebration of the beauty of our planet. Part II: The Rise of Humanity examines human achievements, particularly since the dawn of our Industrial Age, and how these achievements have impacted the planet. Part III: Searching for Balance questions how to create more awareness for our planet’s plight, re-establish a deeper connection to it, and find a balance for living within our planet’s resources. In addition to the complete oratorio, stand-alone movements for mixed chorus, and for solo voice with piano, are also available separately.Terra Nostra focuses on the relationship between our planet and mankind, how this relationship has shifted over time, and how we can re-establish a harmonious balance. The oratorio is divided into three parts:Part I: Creation of the World celebrates the birth and beauty of our planet. The oratorio begins with creation myths from India, North America, and Egypt that are integrated into the opening lines of Genesis from the Old Testament. The music surges forth from these creation stories into “God’s World†by Edna St. Vincent Millay, which describes the world in exuberant and vivid detail. Percy Bysshe Shelley’s “On thine own child†praises Mother Earth for her role bringing forth all life, while Walt Whitman sings a love song to the planet in “Smile O voluptuous cool-breathed earth!†Part I ends with “A Blade of Grass†in which Whitman muses how our planet has been spinning in the heavens for a very long time.Part II: The Rise of Humanity examines the achievements of mankind, particularly since the dawn of the Industrial Age. Lord Alfred Tennyson’s “Locksley Hall†sets an auspicious tone that mankind is on the verge of great discoveries. This is followed in short order by Charles Mackay’s “Railways 1846,†William Ernest Henley’s “A Song of Speed,†and John Gillespie Magee, Jr.’s “High Flight,†each of which celebrates a new milestone in technological achievement. In “Binsey Poplars,†Gerard Manley Hopkins takes note of the effect that these advances are having on the planet, with trees being brought down and landscapes forever changed. Percy Bysshe Shelley’s “A Dirge†concludes Part II with a warning that the planet is beginning to sound a grave alarm.Part III: Searching for Balance questions how we can create more awareness for our planet’s plight, re-establish a deeper connection to it, and find a balance for living within our planet’s resources. Three texts continue the earth’s plea that ended the previous section: Lord Byron’s “Darkness†speaks of a natural disaster (a volcano) that has blotted out the sun from humanity and the panic that ensues; contemporary poet Esther Iverem’s “Earth Screaming†gives voice to the modern issues of our changing climate; and William Wordsworth’s “The World Is Too Much With Us†warns us that we are almost out of time to change our course. Contemporary/agrarian poet Wendell Berry’s “The Want of Peace†speaks to us at the climax of the oratorio, reminding us that we can find harmony with the planet if we choose to live more simply, and to recall that we ourselves came from the earth. Two Walt Whitman texts (“A Child said, What is the grass?†and “There was a child went forth every dayâ€) echo Berry’s thoughts, reminding us that we are of the earth, as is everything that we see on our planet. The oratorio concludes with a reprise of Whitman’s “A Blade of Grass†from Part I, this time interspersed with an additional Whitman text that sublimely states, “I bequeath myself to the dirt to grow from the grass I love…â€My hope in writing this oratorio is to invite audience members to consider how we interact with our planet, and what we can each personally do to keep the planet going for future generations. We are the only stewards Earth has; what can we each do to leave her in better shape than we found her?
SKU: PR.312419020
ISBN 9781491131862. UPC: 680160680474. 6.875 x 10.5 inches. English.
SKU: PR.31241902A
UPC: 680160690510. English.
SKU: CF.CM9707
ISBN 9781491160121. UPC: 680160918720. Key: Db major. John Gillespie Magee. Poem by John Gillespie Magee, Jr.
Just weeks after his nineteenth birthday, John Gillespie Magee, Jr. wrote the poem High Flight while serving in the Royal Canadian Air Force. The year was 1941, and World War II was culminating toward its darkest chapters. Magee had just completed his seventh flight in the iconic Spitfire Mk I fighter plane, soaring to heights well above 30,000 feet. These high altitude exercises supplied his inspiration for the poem, which describes the long, delirious, burning blue and having touched the face of God. Tragically, Magee died in a training exercise just months after writing High Flight. His words, however, live on to lift our hearts and stir the imagination. After you have learned High Flight, ask yourself the following questions: Are you singing the text clearly and articulately? Are you properly stressing the important syllables and backing off of non-stressed syllables? Is there a sense of energy throughout the piece, in both the lyrical, flowing sections and the up-tempo, faster sections? Are you also singing with a sense of energy no matter what the dynamic marking? Are you singing phrases with proper breath support and a sense of rise and fall to the phrase?.Just weeks after his nineteenth birthday, John Gillespie Magee, Jr. wrote the poem High Flight while serving in the Royal Canadian Air Force. The year was 1941, and World War II was culminating toward its darkest chapters. Magee had just completed his seventh flight in the iconic Spitfire Mk I fighter plane, soaring to heights well above 30,000 feet. These high altitude exercises supplied his inspiration for the poem, which describes “the long, delirious, burning blue†and having “touched the face of God.â€Tragically, Magee died in a training exercise just months after writing High Flight. His words, however, live on to lift our hearts and stir the imagination. After you have learned High Flight, ask yourself the following questions: Are you singing the text clearly and articulately? Are you properly stressing the important syllables and backing off of non-stressed syllables? Is there a sense of energy throughout the piece, in both the lyrical, flowing sections and the up-tempo, faster sections? Are you also singing with a sense of energy no matter what the dynamic marking? Are you singing phrases with proper breath support and a sense of rise and fall to the phrase?
SKU: GI.G-1095
The Universe works in strange ways. Recorded almost three years ago, none of us could have known that when this recording was released the world would have lived through a life-altering pandemic or a tumultuous upheaval in the cultural awareness that now surrounds us. The work that opens this recording—with the words of Quaker George Fox that end with, “So be faithful, and live in that which doth not think the time longâ€â€”provides a haunting premonition regarding the time in which we live, Quaker George Fox is strangely prophetic about these days and perhaps provides a future caution for us all. The music chosen for this recording is strangely and poignantly relevant, I believe, for each of us. “The Fruit of Silence†by PÄ“teris Vasks reminds us to visit those beliefs that are most sacred in the work by Cortlandt Matthews. A deeply personal Requiem by Peter Relph, in reflection, remembers the hundreds of thousands of lives lost in the pandemic. And then there is Thomas LaVoy’s “O Great Beyond.†All great texts are timeless and speak to the universality of the human condition. Particularly, the George Fox text set by Jackson Hill and the Tagore text set by LaVoy give us messages to reinforce the humanness of each of us for hope. Two other works on this recording poignantly remind us of the passing of life, with the Relph Requiem and especially the final movement of “O Great Beyond.†May these words give comfort to all those who endured the deepest of Life’s losses during our shared pandemic journey. For so many loved ones, goodbyes were said in silence, and alone. It is our hope that all the music on this CD will show us a way for living as we move forward and also give loving comfort to those who have lost loved ones. Peace, my heart, let the time for the parting be sweet. Let it not be a death but completeness. Let love melt into memory and pain into songs. Let the flight through the sky end in the folding of the wings over the nest. Let the last touch of your hands be gentle like the flower of the night. Stand still, O Beautiful End, for a moment, and say your last words in silence. I bow to you and hold up my lamp to light you on your way. —Rabindranath Tagore in The Gardener (1913).
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