| Sleep, My Child Concert band - Easy Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bell Tree, Bells, Clarinet 1, Clarinet 2...(+)
Band Bass Clarinet, Bass Drum, Bassoon, Bell Tree, Bells, Clarinet 1, Clarinet 2, Crash Cymbals, Euphonium, Euphonium T.C., Flute, Flute 2, Horn, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Snare Drum, Suspended Cymbal, Tam-tam, Timpani and more. - Grade 2 SKU: CF.YPS208F Shlof, Mayn Kind. Composed by Larry Clark. Young Band (YPS). Full score. With Standard notation. 12 pages. Carl Fischer Music #YPS208F. Published by Carl Fischer Music (CF.YPS208F). ISBN 9781491152966. UPC: 680160910465. A stunning and heart-wrenching composition based on the Jewish folk son Shlof, Mayn Kind. You can hear the emotional content pour out of this piece written in memory of an outstanding orchestra director. The piece beginnings with original material to set the tone, followed by a clarinet solo on the song. It then develops through a variety of different harmonic presentation before building to a nice key change and climatic moment. The piece ends as it began, but with a more hopeful tone. An amazing piece. Sleep, My Child was commissioned by the Madison Middle School Band and Orchestra in Tampa, Florida, and is dedicated to the memory of their Director of Orchestras Kevin Frye. Director of Bands Chris Shultz championed the commissioning of this piece to honor Kevin after he passed away in December 2016. Mr. Frye was a beloved member of the staff at Madison Middle as well as the music community of Tampa and the state of Florida. I was a personal friend of Kevin’s. We were in several musical groups together when we were young that were formative to both of our musical careers. I also guest conducted his Madison Middle School Orchestra several times over the past four years. His musicianship, teaching skills and love for his students were exemplary.When taking on the challenge of writing a piece to honor Kevin’s legacy, Mr. Shultz and I decided to try and include several important aspects of Kevin’s life into the piece. Kevin was proudly Jewish, a fantastic trumpet player and loved Jazz. With that in mind, and after a lot of research, a Jewish folk song Shlof, Mayn Kind was selected as the basis for the piece, not to be religious, but to honor his faith and heritage. Plus it is a beautiful song, and I felt the title reflected the sentiment I was looking to express, which is of someone taking rest after a long battle with illness. Thus, a lullaby seemed appropriate.I also wanted to incorporate Jazz into the piece, but in a concert setting, so you will hear as the piece develops, the harmonies of the folk song expand into ones found more commonly in Jazz compositions. Not in a far out way, but in a subtle way to again honor this part of his life. For example the climactic moment of the piece at the fermata in m. 57 is a Dbmaj9#11 chord. It appropriately give the piece the angst that I was looking for at this moment in the piece, while honoring the importance of Jazz in Kevin’s musical life.The piece was also conceived to include both the Madison band and orchestra in the performance at the premiere. I wanted the pieces to work separately by the band and separately by the orchestra, but I also wanted them to be able to play the piece together to honor Kevin.The piece begins with original material designed to set the mood of the piece with a tempo/style marking of pensive, but also as material that I used as connective musical tissue between statements of the folk song. After this introduction, the folk song is presented by a solo violin (or clarinet) with orchestral accompaniment in a simple straight forward presentation of the song. This is followed by a woodwind section statement of the folk song accompanied by muted trumpets. During this presentation the harmony starts to expand with more color notes in the chords. The low brass are added half way through this statement to add depth and lushness.The introductory material returns, but with some angry hits in the lower voices. This leads to a full ensemble state of new material that is used to transition to the climax of the piece, and to build tension. After the build, the piece modulates to a shortened statement of the folk song with more advanced harmonies and an active counter line in the violas, horns, saxes and first clarinets to further build the tension. This tension is released at the fermata in m. 57, as mentioned above. After a thoughtful pause, the piece concludes with a completion of the folk song again with a solo violin (or clarinet) followed by a return of the introductory material to tie the piece together. The piece ends hopeful, with a solo trumpet (Kevin’s instrument) that is dissonant at first, but then resolves as if to say - everything will be OK! It has been my distinct honor to have been asked to write this piece in Kevin’s memory! I hope that in some small way the piece helps to bring comfort to his family, students, colleagues and to all those that knew him!–Larry ClarkLakeland, FL 2017. $11.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| The Ides of March - Intermediate Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Chimes, China Cymbal, Clarinet 1,...(+)
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Chimes, China Cymbal, Clarinet 1, Clarinet 2, Clarinet 3, Claves, Crash Cymbals, Euphonium, Euphonium T.C., Flute 1, Flute 2, Horn 1, Horn 2, Mallet Percussion, Oboe, Percussion 1, Percussion 2 and more. - Grade 3 SKU: CF.CPS142F Composed by Sean O'Loughlin. Concert Performcnace Series. Full score. With Standard notation. 24 pages. Carl Fischer Music #CPS142F. Published by Carl Fischer Music (CF.CPS142F). ISBN 9780825892899. UPC: 798408092894. 9 x 12 inches. Key: Eb minor. Sean O'Loughlin's The Ides of March is pulse-pounding and haunting; a dramatic composition for band. This work celebrates the composer's love of modern film music and is an exercise in economy of musical material while remaining wonderfully melodic and elegant.
Pulse-pounding and haunting are two very distinct characteristics in The Ides of March. This dramatic compo- sition for string orchestra celebrates my love of modern film music and is an exercise in economy of musical material. This economy is often referred to as minimalism, although I would not go so far as to include this composition in that world. The Ides of March is a phrase that first appeared in the play Julius Caesar by William Shakespeare and rep- resented the time when a coup detat happened in the Roman government. Et tu, Brute? is the famous line recited by Julius Caesar at the climactic scene. The music reflects this heart pounding pace and the events leading to the coup detat or overthrow of the government in power. The music starts with a three note idea that permeates the entire composition. The first section of the piece from mm. 1-35 is essentially one big crescendo. Different elements get added to the core three-note idea to increase its complexity. The swells in the low strings provide a grounding element to the rhythm above. The rhythm starts to break away from itself at m. 13 with the addition of a counterrhythm in the first violin. This counterrhythm becomes the main driving force at m. 21 with some melodic material introduced in the lower strings. The two eighth-note rhythmic ideas unite once again at m. 29 with a third rhythmic idea brought into the lower strings to provide the final push into m. 35. The rhythmic cycle starts up again at m. 36, but this time it welcomes a lyrical line in the first violins. The piz- zicato notes in the celli and basses should have a light and spirited quality to them. A counterline joins the lyrical line at m. 46 with several intriguing moments of dissonance. The rhythm lets up a touch at m. 54, but quickly returns at m. 62 with the same three note rhythm displaced by one beat between the violins and the viola and celli. A build-up follows that releases into the big lyrical and haunting moment of the piece at m. 74. The sound here should be broad, rich and triumphant. Bring out the eighth notes at mm. 80-81 while hav- ing the sustained notes pull back a bit. The soft dynamic at m. 90 signals a return to the rhythmic cycle. As before, layers of rhythms keep being added to increase the intensity of the moment. This crescendo finally releases itself at the end. Be mindful of the two beats of tutti rest in m. 117 that sets up the final climactic gesture in the following measure.
$13.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| All the Way My Savior Leads Me Orchestra [Sheet music + CD-ROM] Lillenas Publishing Co.
Composed by Robert Lowry. Arranged by Tom Payne and Ed Hogan. For orchestra. All...(+)
Composed by Robert Lowry. Arranged by Tom Payne and Ed Hogan. For orchestra. Allegis. Sacred, hymn. Medium. Score and CD with printable parts and accompaniment tracks. 15 pages. Lillenas Publishing Company #765762213005. Published by Lillenas Publishing Company
$69.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Tum Balalaika Concert band - Easy Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Cymbals, ...(+)
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Cymbals, Euphonium, Euphonium T.C., Flute, Flute 2, Horn, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Snare Drum, Timpani, Triangle, Trombone, Trumpet 1, Trumpet 2, Tuba and more. - Grade 2 SKU: CF.YPS199 Composed by Russian Folk Song. Arranged by Carl Strommen. Young Band (YPS). Set of Score and Parts. With Standard notation. 8+2+4+4+2+2+5+2+2+4+4+4+6+3+3+1+1+2+2+12+2 pages. Duration 2 minutes, 14 seconds. Carl Fischer Music #YPS199. Published by Carl Fischer Music (CF.YPS199). ISBN 9781491152195. UPC: 680160909698. Key: G minor. Tum Balalaika is attributed to a number of Eastern European countries, but is best known as a Russian Jewish folk/love/“riddle†song. Loosely translated, “tum†means “noise,†and the Balalaika is a Russian stringed instrument with a characteristic triangular, hollow, wooden body and three strings, closely related to the domra and mandolin. Carl Strommen's wonderful setting will help any group sound their best. Tum Balalaika is attributed to a number of Eastern European countries, but is best known as a Russian Jewish folk/love/“riddle†song. Loosely translated, “Tum†means “noise,†and the Balalaika is a Russian stringed instrument with the characteristic triangular wooden hollow body and three strings, closely related to the Domra and Mandolin. Tum Balalaika should be played brightly and in a broad flowing manner. As always, attention should be paid to dynamics and articulations. $70.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Sleep, My Child - Easy Carl Fischer
Orchestra Cello, Contrabass, Piano, Viola, Violin 1, Violin 2, Violin 3 - Grade ...(+)
Orchestra Cello, Contrabass, Piano, Viola, Violin 1, Violin 2, Violin 3 - Grade 2.5 SKU: CF.YAS186 Shlof, Mayn Kind. Composed by Larry Clark. Young String Orchestra (YAS). Set of Score and Parts. With Standard notation. 8+5+2+8+5+5+3+12 pages. Duration 2018. Carl Fischer Music #YAS186. Published by Carl Fischer Music (CF.YAS186). ISBN 9781491151518. UPC: 680160909018. 9 x 12 inches. Key: D minor. A stunning and heart-wrenching composition based on the Jewish folk son Shlof, Mayn Kind. You can hear the emotional content pour out of this piece written in memory of an outstanding orchestra director. The piece beginnings with original material to set the tone, followed by a violin solo on the song. It them develops through a variety of different harmonic presentation before building to a nice key change and climatic moment. The piece ends as it began, but with a more hopeful tone. An amazing piece. Sleep, My Child was commissioned by the Madison Middle School Band and Orchestra in Tampa, Florida, and is dedicated to the memory of their Director of Orchestras Kevin Frye. Director of Bands Chris Shultz championed the commissioning of this piece to honor Kevin after he passed away in December 2016. Mr. Frye was a beloved member of the staff at Madison Middle as well as the music community of Tampa and the state of Florida. I was a personal friend of Kevin’s. We were in several musical groups together when we were young that were formative to both of our musical careers. I also guest-conducted his Madison Middle School Orchestra several times over the past four years. His musicianship, teaching skills and love for his students were exemplary.When taking on the challenge of writing a piece to honor Kevin’s legacy, Mr. Shultz and I decided to try and include several important aspects of Kevin’s life into the piece. Kevin was proudly Jewish, a fantastic trumpet player and loved Jazz. With that in mind, and after a lot of research, a Jewish folk song Shlof, Mayn Kind was selected as the basis for the piece, not to be religious, but to honor his faith and heritage. Plus it is a beautiful song and I felt the title reflected the sentiment I was looking to express, which is of someone taking rest after a long battle with illness, so a lullaby seemed appropriate.I also wanted to incorporate Jazz into the piece, but in a concert setting, so you will hear as the piece develops, the harmonies of the folk song expand into ones found more commonly in Jazz compositions. Not in a far out way, but in a subtle way to again honor this part of his life. For example the climactic moment of the piece at the fermata in m. 57 is a Dbmaj9#11 chord. It appropriately give the piece the angst that I was looking for at this moment in the piece, while honoring the importance of Jazz in Kevin’s musical life.The piece was also conceived to include both the Madison band and orchestra in the performance at the premiere. I wanted the pieces to work separately by the band and separately by the orchestra, but I also wanted them to be able to play the piece together to honor Kevin.The piece begins with original material designed to set the mood of the piece with a tempo/style marking of pensive, but also as material that I used as connective musical tissue between statements of the folk song. After this introduction, the folk song is presented by a solo violin (or clarinet) with orchestral accompaniment in a simple straight forward presentation of the song. This is followed by a woodwind section statement of the folk song accompanied by muted trumpets. During this presentation the harmony starts to expand with more color notes in the chords. The low brass are added half way through this statement to add depth and lushness.The introductory material returns, but with some angry hits in the lower voices. This leads to a full ensemble state of new material that is used to transition to the climax of the piece, and to build tension. After the build, the piece modulates to a shortened statement of the folk song with more advanced harmonies and an active counter line in the violas, horns, saxes and first clarinets to further build the tension. This tension is released at the fermata in m. 57 as mentioned above. After a thoughtful pause, the piece concludes with a completion of the folk song again with a solo violin (or clarinet) followed by a return of the introductory material to tie the piece together. The piece ends hopeful, with a solo trumpet (Kevin’s instrument) that is dissonant at first, but then resolves as if to say, Everything will be OK! It has been my distinct honor to have been asked to write this piece in Kevin’s memory! I hope that in some small way the piece helps to bring comfort to his family, students, colleagues and to all those that knew him!–Larry ClarkLakeland, FL 2017. About Carl Fischer Young String Orchestra Series This series of Grade 2/Grade 2.5 pieces is designed for second and third year ensembles. The pieces in this series are characterized by: --Occasionally extending to third position --Keys carefully considered for appropriate difficulty --Addition of separate 2nd violin and viola parts --Viola T.C. part included --Increase in independence of parts over beginning levels $55.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Sleep, My Child - Easy Carl Fischer
Orchestra Cello, Contrabass, Piano, Viola, Violin 1, Violin 2, Violin 3 - Grade ...(+)
Orchestra Cello, Contrabass, Piano, Viola, Violin 1, Violin 2, Violin 3 - Grade 2.5 SKU: CF.YAS186F Shlof, Mayn Kind. Composed by Larry Clark. Young String Orchestra (YAS). Full score. With Standard notation. 12 pages. Carl Fischer Music #YAS186F. Published by Carl Fischer Music (CF.YAS186F). ISBN 9781491151884. UPC: 680160909384. 9 x 12 inches. A stunning and heart-wrenching composition based on the Jewish folk son Shlof, Mayn Kind. You can hear the emotional content pour out of this piece written in memory of an outstanding orchestra director. The piece beginnings with original material to set the tone, followed by a violin solo on the song. It them develops through a variety of different harmonic presentation before building to a nice key change and climatic moment. The piece ends as it began, but with a more hopeful tone. An amazing piece. Sleep, My Child was commissioned by the Madison Middle School Band and Orchestra in Tampa, Florida, and is dedicated to the memory of their Director of Orchestras Kevin Frye. Director of Bands Chris Shultz championed the commissioning of this piece to honor Kevin after he passed away in December 2016. Mr. Frye was a beloved member of the staff at Madison Middle as well as the music community of Tampa and the state of Florida. I was a personal friend of Kevin’s. We were in several musical groups together when we were young that were formative to both of our musical careers. I also guest-conducted his Madison Middle School Orchestra several times over the past four years. His musicianship, teaching skills and love for his students were exemplary.When taking on the challenge of writing a piece to honor Kevin’s legacy, Mr. Shultz and I decided to try and include several important aspects of Kevin’s life into the piece. Kevin was proudly Jewish, a fantastic trumpet player and loved Jazz. With that in mind, and after a lot of research, a Jewish folk song Shlof, Mayn Kind was selected as the basis for the piece, not to be religious, but to honor his faith and heritage. Plus it is a beautiful song and I felt the title reflected the sentiment I was looking to express, which is of someone taking rest after a long battle with illness, so a lullaby seemed appropriate.I also wanted to incorporate Jazz into the piece, but in a concert setting, so you will hear as the piece develops, the harmonies of the folk song expand into ones found more commonly in Jazz compositions. Not in a far out way, but in a subtle way to again honor this part of his life. For example the climactic moment of the piece at the fermata in m. 57 is a Dbmaj9#11 chord. It appropriately give the piece the angst that I was looking for at this moment in the piece, while honoring the importance of Jazz in Kevin’s musical life.The piece was also conceived to include both the Madison band and orchestra in the performance at the premiere. I wanted the pieces to work separately by the band and separately by the orchestra, but I also wanted them to be able to play the piece together to honor Kevin.The piece begins with original material designed to set the mood of the piece with a tempo/style marking of pensive, but also as material that I used as connective musical tissue between statements of the folk song. After this introduction, the folk song is presented by a solo violin (or clarinet) with orchestral accompaniment in a simple straight forward presentation of the song. This is followed by a woodwind section statement of the folk song accompanied by muted trumpets. During this presentation the harmony starts to expand with more color notes in the chords. The low brass are added half way through this statement to add depth and lushness.The introductory material returns, but with some angry hits in the lower voices. This leads to a full ensemble state of new material that is used to transition to the climax of the piece, and to build tension. After the build, the piece modulates to a shortened statement of the folk song with more advanced harmonies and an active counter line in the violas, horns, saxes and first clarinets to further build the tension. This tension is released at the fermata in m. 57 as mentioned above. After a thoughtful pause, the piece concludes with a completion of the folk song again with a solo violin (or clarinet) followed by a return of the introductory material to tie the piece together. The piece ends hopeful, with a solo trumpet (Kevin’s instrument) that is dissonant at first, but then resolves as if to say, Everything will be OK! It has been my distinct honor to have been asked to write this piece in Kevin’s memory! I hope that in some small way the piece helps to bring comfort to his family, students, colleagues and to all those that knew him!–Larry ClarkLakeland, FL 2017. About Carl Fischer Young String Orchestra Series This series of Grade 2/Grade 2.5 pieces is designed for second and third year ensembles. The pieces in this series are characterized by: --Occasionally extending to third position --Keys carefully considered for appropriate difficulty --Addition of separate 2nd violin and viola parts --Viola T.C. part included --Increase in independence of parts over beginning levels $8.50 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Kith and Kin Concert band - Beginner Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Crash Cym...(+)
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Crash Cymbals, Euphonium, Euphonium T.C., Flute, Flute 2, Gong, Horn, Mallet Percussion 1, Mallet Percussion 2, Oboe, Percussion 1, Percussion 2, Snare Drum, Suspended Cymbal and more. - Grade 1.5 SKU: CF.FPS145 Composed by George Sweet. SWS FS. First Plus Performance Series. Set of Score and Parts. With Standard notation. 8+2+4+4+2+5+2+2+4+4+4+6+2+3+1+1+1+2+4+12 pages. Duration 2 minutes, 13 seconds. Carl Fischer Music #FPS145. Published by Carl Fischer Music (CF.FPS145). ISBN 9781491147290. UPC: 680160904792. 9 x 12 inches. As the title suggests, Kith and Kin will inspire reflection and fond feelings for loved ones. Opening with a warmly lush introduction, the piece features a beautiful, tuneful melody that will take your audience's breath away. Introducing some advanced compositional techniques, the piece is also a perfect vehicle to move students into more sophisticated literature. $60.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Brenda Stubbert's - The Second Collection Violin [Sheet music] - Intermediate Cranford Publication
Edited by Paul Stewart Cranford. Arranged by Melissa Emmons. For Fiddle. Solos. ...(+)
Edited by Paul Stewart Cranford. Arranged by Melissa Emmons. For Fiddle. Solos. Cranford Publications. Canadian-Maritime. Intermediate. Book. 80 pages
$19.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Joy In the Morning - Easy Hope Publishing Company
Choral Brass, Handbells, Orchestra - Level 2 SKU: HP.C6268 Composed by Na...(+)
Choral Brass, Handbells, Orchestra - Level 2 SKU: HP.C6268 Composed by Natalie Sleeth. Easter Sunday, Church - Final Victory, Comfort, Eternal Life, Forgiveness, Jesus Christ - Friend, Jesus Christ - Redeemer, Jesus Christ - Resurrection, Joy, Love, Peace, Peace on Earth, Resurrection, Second Coming of Christ. Octavo. 16 pages. Hope Publishing Company #C6268. Published by Hope Publishing Company (HP.C6268). UPC: 763628162689. Original Anthem Far and away the best-selling anthem in the Hope catalog with over one million copies sold, Natalie Sleeth's Joy in the Morning is a true classic. This is indispensable choral music!
Brass Parts include: B-flat Trumpets 1 & 2, and Trombones 1 & 2. Full Orchestration by Mark Kellner includes: Flute, Oboe, Clarinet, Trumpet 1, 2, & 3, Horns 1 & 2, Trombone 1, 2 & 3 (or Tuba), Snare, Percussion, Timpani, Harp, Violins, Violas, Cellos, and Basses. $3.25 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| We Are the Heroes - Beginner Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Euphonium...(+)
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Euphonium, Euphonium T.C., Flute, Horn, Mallet Percussion, Oboe, Percussion, Piano, Snare Drum, Suspended Cymbal, Timpani, Trombone, Trumpet 1, Trumpet 2, Tuba, Voice 1, Voice 2 and more. - Grade 1.5 SKU: CF.FPS159 Composed by Carl Strommen. Folio. Fps. Set of Score and Parts. 8+2+4+4+2+5+2+2+4+4+3+6+2+3+1+1+3+16 pages. Duration 4 minutes, 29 seconds. Carl Fischer Music #FPS159. Published by Carl Fischer Music (CF.FPS159). ISBN 9781491158289. UPC: 680160916887. 9 x 12 inches. The commissioning party of We Are the Heroes requested that the band arrangement work alone and with full chorus. Based on the school theme Building a Better World, the lyrics (see below) were contributed by the students at the Sea Cliff Elementary School, part of the Long Island, New York's North Shore school district. When performed with chorus, the director(s) should consider balance, placement of the chorus (in front of or behind the band), whether on risers, and if amplification is used. At the director's discretion, written dynamics may be altered. Verse: A word and a smile, with hope in our heart with kindness and and love reaching out to us all - a helping hand one step at a time, it starts with a smile, one voice will be heard we will build a better world - for all Chorus: We are the future, we are have a voice we are the future, we have a choice we are the heroes, weall lead the way to make a better world, today we are the future- now hear our song we are the future and we are strong we are the heroes, weall lead the way to build a better world - to-day Chorus 2: to be repeated as many times as desired- with increasing intensity We are the future - we are the heroes we make the music, we have the power Our voices proud and strong the futureas in our hands Weall build a better world - today (repeat). The commissioning party of We Are the Heroes requested that the band arrangement work alone and with full chorus. Based on the school theme Building a Better World, the lyrics (see below) were contributed by the students at the Sea Cliff Elementary School, part of the Long Island, New York's North Shore school district. When performed with chorus, the director(s) should consider balance, placement of the chorus (in front of or behind the band), whether on risers, and if amplification is used. At the director's discretion, written dynamics may be altered. Verse: A word and a smile, with hope in our heart with kindness and and love reaching out to us all - a helping hand one step at a time, it starts with a smile, one voice will be heard we will build a better world - for all Chorus: We are the future, we are have a voice we are the future, we have a choice we are the heroes, we'll lead the way to make a better world, today we are the future- now hear our song we are the future and we are strong we are the heroes, we'll lead the way to build a better world - to-day Chorus 2: to be repeated as many times as desired- with increasing intensity We are the future - we are the heroes we make the music, we have the power Our voices proud and strong the future's in our hands We'll build a better world - today (repeat). The commissioning party of We Are the Heroes requested that the band arrangement work alone and with full chorus. Based on the school theme Building a Better World, the lyrics (see below) were contributed by the students at the Sea Cliff Elementary School, part of the Long Island, New York's North Shore school district.When performed with chorus, the director(s) should consider balance, placement of the chorus (in front of or behind the band), whether on risers, and if amplification is used. At the director's discretion, written dynamics may be altered.Verse:A word and a smile, with hope in our heartwith kindness and and love reaching out to us all - a helping hand onestep at a time, it starts with a smile, one voice will be heard we will builda better world - for allChorus:We are the future, we are have a voice we are the future, we have achoice we are the heroes, we’ll lead the way to make a better world,todaywe are the future- now hear our song we are the future and we arestrongwe are the heroes, we’ll lead the way to build a better world - to-dayChorus 2: to be repeated as many times as desired- with increasingintensityWe are the future - we are the heroes we make the music, we have thepower Our voices proud and strongthe future’s in our handsWe’ll build a better world - today (repeat). $58.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| We are the Heroes - Beginner Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Euphonium...(+)
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Euphonium, Euphonium T.C., Flute, Horn, Mallet Percussion, Oboe, Percussion, Piano, Snare Drum, Suspended Cymbal, Timpani, Trombone, Trumpet 1, Trumpet 2, Tuba, Voice 1, Voice 2 and more. - Grade 1.5 SKU: CF.FPS159F Composed by Carl Strommen. Sws. Fps. Full score. 16 pages. Duration 4 minutes, 29 seconds. Carl Fischer Music #FPS159F. Published by Carl Fischer Music (CF.FPS159F). ISBN 9781491158296. UPC: 680160916894. 9 x 12 inches. The commissioning party of We Are the Heroes requested that the band arrangement work alone and with full chorus. Based on the school theme Building a Better World, the lyrics (see below) were contributed by the students at the Sea Cliff Elementary School, part of the Long Island, New York's North Shore school district. When performed with chorus, the director(s) should consider balance, placement of the chorus (in front of or behind the band), whether on risers, and if amplification is used. At the director's discretion, written dynamics may be altered. Verse: A word and a smile, with hope in our heart with kindness and and love reaching out to us all - a helping hand one step at a time, it starts with a smile, one voice will be heard we will build a better world - for all Chorus: We are the future, we are have a voice we are the future, we have a choice we are the heroes, weall lead the way to make a better world, today we are the future- now hear our song we are the future and we are strong we are the heroes, weall lead the way to build a better world - to-day Chorus 2: to be repeated as many times as desired- with increasing intensity We are the future - we are the heroes we make the music, we have the power Our voices proud and strong the futureas in our hands Weall build a better world - today (repeat). The commissioning party of We Are the Heroes requested that the band arrangement work alone and with full chorus. Based on the school theme Building a Better World, the lyrics (see below) were contributed by the students at the Sea Cliff Elementary School, part of the Long Island, New York's North Shore school district. When performed with chorus, the director(s) should consider balance, placement of the chorus (in front of or behind the band), whether on risers, and if amplification is used. At the director's discretion, written dynamics may be altered. Verse: A word and a smile, with hope in our heart with kindness and and love reaching out to us all - a helping hand one step at a time, it starts with a smile, one voice will be heard we will build a better world - for all Chorus: We are the future, we are have a voice we are the future, we have a choice we are the heroes, we'll lead the way to make a better world, today we are the future- now hear our song we are the future and we are strong we are the heroes, we'll lead the way to build a better world - to-day Chorus 2: to be repeated as many times as desired- with increasing intensity We are the future - we are the heroes we make the music, we have the power Our voices proud and strong the future's in our hands We'll build a better world - today (repeat). The commissioning party of We Are the Heroes requested that the band arrangement work alone and with full chorus. Based on the school theme Building a Better World, the lyrics (see below) were contributed by the students at the Sea Cliff Elementary School, part of the Long Island, New York's North Shore school district.When performed with chorus, the director(s) should consider balance, placement of the chorus (in front of or behind the band), whether on risers, and if amplification is used. At the director's discretion, written dynamics may be altered.Verse:A word and a smile, with hope in our heartwith kindness and and love reaching out to us all - a helping hand onestep at a time, it starts with a smile, one voice will be heard we will builda better world - for allChorus:We are the future, we are have a voice we are the future, we have achoice we are the heroes, we’ll lead the way to make a better world,todaywe are the future- now hear our song we are the future and we arestrongwe are the heroes, we’ll lead the way to build a better world - to-dayChorus 2: to be repeated as many times as desired- with increasingintensityWe are the future - we are the heroes we make the music, we have thepower Our voices proud and strongthe future’s in our handsWe’ll build a better world - today (repeat). $9.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Factory Child Concert band - Easy Carl Fischer
Band Bass Clarinet, Bassoon, Brake Drum, Chimes, Clarinet 1, Clarinet 2, Euphoni...(+)
Band Bass Clarinet, Bassoon, Brake Drum, Chimes, Clarinet 1, Clarinet 2, Euphonium, Euphonium T.C., Flute, Flute 2, Horn, Jingle Bells, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Percussion 3, Ratchet, Snare Drum, Suspended Cymbal, Timpani and more. - Grade 2.5 SKU: CF.YPS207 Sweatshop Protest Song. Composed by Ed Kiefer. Young Band (YPS). Set of Score and Parts. With Standard notation. 16+4+8+8+4+4+10+4+4+8+8+8+12+6+6+4+2+4+4+24+4+4 pages. Duration 4 minutes, 14 seconds. Carl Fischer Music #YPS207. Published by Carl Fischer Music (CF.YPS207). ISBN 9781491152270. UPC: 680160909773. Key: C minor. Factory Child is a protest song against child sweatshops. The piece depicts the factory life of children laboring many hours a day and manufacturing the shoes and clothes that end up in American retail stores. Young performers will find this thought-provoking piece an excellent way to use their musical voice to affect change. Factory Child is a protest song against child sweatshops. Written in memory of Mrs. Peterson, who loved children dearly, the piece depicts the factory life of children laboring 16+ hours a day, manufacturing the shoes and clothes that end up in American retail stores.Factory Child begins with factory sounds and an oppressive, repetitive pattern that supports the melody carried by the upper voices. The second section is composed of wistful, dream-like sounds and melodies that have traces of children’s songs that remind us that these children forced into labor would love to have the opportunity to play, attend school, and dream, but cannot and realistically have little hope for a life we consider normal. The middle section gives way to more sounds from the factory. The climax is a raucous circus-like waltz using themes from both sections.The percussion parts can be covered by six players. Some players will need to cover two parts. Use someone from the wind section if you do not have six, as some of the parts, although important, are not very difficult. The second clarinet never goes over the break and the bass line is usually doubled in the euphonium as well as in the low reeds.This piece is an excellent way for young performers to use their musical voice to affect change. It is a great discussion starter for researching where our apparel comes from and why to stay away from some brands. It can also make students aware of the fantastic opportunity they have to attend school that children in other parts of the world do not. Young students will find this piece very thought provoking.Ed Kiefer . $75.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Factory Child Concert band - Easy Carl Fischer
Band Bass Clarinet, Bassoon, Brake Drum, Chimes, Clarinet 1, Clarinet 2, Euphoni...(+)
Band Bass Clarinet, Bassoon, Brake Drum, Chimes, Clarinet 1, Clarinet 2, Euphonium, Euphonium T.C., Flute, Flute 2, Horn, Jingle Bells, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Percussion 3, Ratchet, Snare Drum, Suspended Cymbal, Timpani and more. - Grade 2.5 SKU: CF.YPS207F Sweatshop Protest Song. Composed by Ed Kiefer. Young Band (YPS). Full score. With Standard notation. 24 pages. Carl Fischer Music #YPS207F. Published by Carl Fischer Music (CF.YPS207F). ISBN 9781491152959. UPC: 680160910458. Factory Child is a protest song against child sweatshops. The piece depicts the factory life of children laboring many hours a day and manufacturing the shoes and clothes that end up in American retail stores. Young performers will find this thought-provoking piece an excellent way to use their musical voice to affect change. Factory Child is a protest song against child sweatshops. Written in memory of Mrs. Peterson, who loved children dearly, the piece depicts the factory life of children laboring 16+ hours a day, manufacturing the shoes and clothes that end up in American retail stores.Factory Child begins with factory sounds and an oppressive, repetitive pattern that supports the melody carried by the upper voices. The second section is composed of wistful, dream-like sounds and melodies that have traces of children’s songs that remind us that these children forced into labor would love to have the opportunity to play, attend school, and dream, but cannot and realistically have little hope for a life we consider normal. The middle section gives way to more sounds from the factory. The climax is a raucous circus-like waltz using themes from both sections.The percussion parts can be covered by six players. Some players will need to cover two parts. Use someone from the wind section if you do not have six, as some of the parts, although important, are not very difficult. The second clarinet never goes over the break and the bass line is usually doubled in the euphonium as well as in the low reeds.This piece is an excellent way for young performers to use their musical voice to affect change. It is a great discussion starter for researching where our apparel comes from and why to stay away from some brands. It can also make students aware of the fantastic opportunity they have to attend school that children in other parts of the world do not. Young students will find this piece very thought provoking.Ed Kiefer . $11.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Qué Verdes Son - Beginner Carl Fischer
Band Bass Clarinet, Bassoon, Bells, Clarinet, Claves, Congas, Euphonium, Euphoni...(+)
Band Bass Clarinet, Bassoon, Bells, Clarinet, Claves, Congas, Euphonium, Euphonium T.C., Flute, Güiro, Horn, Mallet Percussion, Maracas, Oboe, Percussion 1, Percussion 2, Percussion 3, Percussion 4, Sleigh Bells, Snare Drum, Trombone, Trumpet, Tuba and more. - Grade 1 SKU: CF.BPS134F O Christmas Tree. Composed by Zachary Poulter. Sws. Bps. Full score. 12 pages. Carl Fischer Music #BPS134F. Published by Carl Fischer Music (CF.BPS134F). ISBN 9781491158272. UPC: 680160916870. 9 x 12 inches. QuA(c) verdes son is the Spanish-language version of O Tannenbaum (O Christmas Tree). Although the Christmas carol is sung in many languages, the translated lyrics are rarely a close copy of the original German text. Instead, each version finds unique ways to explore the beauty and meaning of one of the holidayas most beloved symbols: the Christmas tree. In QuA(c) verdes son, the beautiful lights, fresh aroma, and especially the lovely color of the tree are celebrated. This arrangement of QuA(c) verdes son begins with simmering Latin percussion playing a groove based on a 3-2 son clave. Subdividing this in groups of eighth notes (123-123-1234-12-12-12) will help lock in the time. In the gA 1/4 iro part, the quarter notes should be scraped and the eighth notes tapped. The main melody begins at m. 5. Rather than needing to be overly loud, much of the energy comes from the silences between notes and from the contrast between accents and staccatos. The woodwind countermelody at m. 9 and m. 17 should be smooth and sweet, a further contrast to the punchy rhythms beneath it. The percussion section is featured at m. 26, with a gradual buildup of textures and rhythmic energy. At m. 38 the whole band is back in, driving toward the fun cha-cha-cha ending. Que verdes son is the Spanish-language version of O Tannenbaum (O Christmas Tree). Although the Christmas carol is sung in many languages, the translated lyrics are rarely a close copy of the original German text. Instead, each version finds unique ways to explore the beauty and meaning of one of the holiday's most beloved symbols: the Christmas tree. In Que verdes son, the beautiful lights, fresh aroma, and especially the lovely color of the tree are celebrated. This arrangement of Que verdes son begins with simmering Latin percussion playing a groove based on a 3-2 son clave. Subdividing this in groups of eighth notes (123-123-1234-12-12-12) will help lock in the time. In the guiro part, the quarter notes should be scraped and the eighth notes tapped. The main melody begins at m. 5. Rather than needing to be overly loud, much of the energy comes from the silences between notes and from the contrast between accents and staccatos. The woodwind countermelody at m. 9 and m. 17 should be smooth and sweet, a further contrast to the punchy rhythms beneath it. The percussion section is featured at m. 26, with a gradual buildup of textures and rhythmic energy. At m. 38 the whole band is back in, driving toward the fun cha-cha-cha ending. Qué verdes son is the Spanish-language version of O Tannenbaum (O Christmas Tree). Although the Christmas carol is sung in many languages, the translated lyrics are rarely a close copy of the original German text. Instead, each version finds unique ways to explore the beauty and meaning of one of the holiday’s most beloved symbols: the Christmas tree. In Qué verdes son, the beautiful lights, fresh aroma, and especially the lovely color of the tree are celebrated.This arrangement of Qué verdes son begins with simmering Latin percussion playing a groove based on a 3-2 son clave. Subdividing this in groups of eighth notes (123-123-1234-12-12-12) will help lock in the time. In the güiro part, the quarter notes should be scraped and the eighth notes tapped.The main melody begins at m. 5. Rather than needing to be overly loud, much of the energy comes from the silences between notes and from the contrast between accents and staccatos. The woodwind countermelody at m. 9 and m. 17 should be smooth and sweet, a further contrast to the punchy rhythms beneath it.The percussion section is featured at m. 26, with a gradual buildup of textures and rhythmic energy. At m. 38 the whole band is back in, driving toward the fun cha-cha-cha ending. $7.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| For the Mystic Harmony 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, English Horn, Flute 1, Flute 2, Oboe 1, Oboe 2, Piccolo, alto Saxophone, soprano Saxophone, tenor Saxophone SKU: PR.165001000 Hymns for Wind Ensemble. Composed by Dan Welcher. Folio. Set of Score and Parts. 4+24+24+16+8+4+4+24+12+12+8+4+4+4+4+8+8+8+8+4+4+4+4+8+8+8+8+8+8+8+8+4+16+4+8+4+8+8+4+4+4+48 pages. Duration 10 minutes, 41 seconds. Theodore Presser Company #165-00100. Published by Theodore Presser Company (PR.165001000). ISBN 9781491129241. UPC: 680160669776. 9 x 12 inches. Commissioned for a consortium of high school and college bands in the north Dallas region, FOR THEMYSTIC HARMONY is a 10-minute inspirational work in homage to Norwood and Elizabeth Dixon,patrons of the Fort Worth Symphony and the Van Cliburn Competition. Welcher draws melodic flavorfrom five American hymns, spirituals, and folk tunes of the 19th century. The last of these sources toappear is the hymn tune For the Beauty of the Earth, whose third stanza is the quatrain: “For the joy of earand eye, For the heart and mind’s delight, For the mystic harmony, Linking sense to sound and sight,â€giving rise to the work’s title. This work, commissioned for a consortium of high school bands in the north Dallas area, is my fifteenth maturework for wind ensemble (not counting transcriptions). When I asked Todd Dixon, the band director whospearheaded this project, what kind of a work he most wanted, he first said “something that’s basically slow,†butwanted to leave the details to me. During a long subsequent conversation, he mentioned that his grandparents,Norwood and Elizabeth Dixon, were prime supporters of the Fort Worth Symphony, going so far as to purchase anumber of high quality instruments for that orchestra. This intrigued me, so I asked more about his grandparentsand was provided an 80-page biographical sketch. Reading that article, including a long section about theirdevotion to supporting a young man through the rigors of the Van Cliburn International Piano Competition fora number of years, moved me very much. Norwood and Elizabeth Dixon weren’t just supporters of the arts; theywere passionate lovers of music and musicians. I determined to make this work a testament to that love, and tothe religious faith that sustained them both. The idea of using extant hymns was also suggested by Todd Dixon,and this 10-minute work is the result.I have employed existing melodies in several works, delving into certain kinds of religious music more than a fewtimes. In seeking new sounds, new ways of harmonizing old tunes, and the contrapuntal overlaying of one tunewith another, I was able to make works like ZION (using 19th-century Revivalist hymns) and LABORING SONGS(using Shaker melodies) reflect the spirit of the composers who created these melodies, without sounding likepastiches or medleys. I determined to do the same with this new work, with the added problem of employingmelodies that were more familiar. I chose five tunes from the 19th century: hymns, spirituals, and folk-tunes.Some of these are known by differing titles, but they all appear in hymnals of various Christian denominations(with various titles and texts). My idea was to employ the tunes without altering their notes, instead using aconstantly modulating sense of harmony — sometimes leading to polytonal harmonizations of what are normallysimple four-chord hymns.The work begins and ends with a repeated chime on the note C: a reminder of steeples, white clapboard churchesin the country, and small church organs. Beginning with a Mixolydian folk tune of Caribbean origin presentedtwice with layered entrances, the work starts with a feeling of mystery and gentle sorrow. It proceeds, after along transition, into a second hymn that is sometimes connected to the sea (hence the sensation of water andwaves throughout it). This tune, by John B. Dykes (1823-1876), is a bit more chromatic and “shifty†than mosthymn-tunes, so I chose to play with the constant sensation of modulation even more than the original does. Atthe climax, the familiar spiritual “Were you there?†takes over, with a double-time polytonal feeling propelling itforward at “Sometimes it causes me to tremble.â€Trumpets in counterpoint raise the temperature, and the tempo as well, leading the music into a third tune (ofunknown provenance, though it appears with different texts in various hymnals) that is presented in a sprightlymanner. Bassoons introduce the melody, but it is quickly taken up by other instruments over three “verses,â€constantly growing in orchestration and volume. A mysterious second tune, unrelated to this one, interrupts it inall three verses, sending the melody into unknown regions.The final melody is “For the Beauty of the Earth.†This tune by Conrad Kocher (1786-1872) is commonly sung atThanksgiving — the perfect choice to end this work celebrating two people known for their generosity.Keeping the sense of constant modulation that has been present throughout, I chose to present this hymn in threegrowing verses, but with a twist: every four bars, the “key†of the hymn seems to shift — until the “Lord of all, toThee we praise†melody bursts out in a surprising compound meter. This, as it turns out, was the “mystery tuneâ€heard earlier in the piece. After an Ivesian, almost polytonal climax, the Coda begins over a long B( pedal. At first,it seems to be a restatement of the first two phrases of “For the Beauty†with long spaces between them, but it soonchanges to a series of “Amen†cadences, widely separated by range and color. These, too, do not conform to anykey, but instead overlay each other in ways that are unpredictable but strangely comforting.The third verse of “For the Beauty of the Earth†contains this quatrain:“For the joy of ear and eye, –For the heart and mind’s delightFor the mystic harmonyLinking sense to sound and sightâ€and it was from this poetry that I drew the title for the present work. It is my hope that audiences and performerswill find within it a sense of grace: more than a little familiar, but also quite new and unexpected. $150.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Live On Concert band - Easy Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Cabasa, Clarinet 1, Clarinet 2, C...(+)
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Cabasa, Clarinet 1, Clarinet 2, Crash Cymbals, Euphonium, Euphonium T.C., Flute, Flute 2, Horn, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Snare Drum, Suspended Cymbal, Tambourine, Timpani and more. - Grade 2.5 SKU: CF.YPS212 Composed by Larry Clark. Young Band (YPS). Set of Score and Parts. With Standard notation. 16+4+8+8+4+4+10+4+4+8+8+8+12+6+6+2+2+4+10+20+4 pages. Duration 3 minutes, 39 seconds. Carl Fischer Music #YPS212. Published by Carl Fischer Music (CF.YPS212). ISBN 9781491152317. UPC: 680160909810. Key: C minor. Taking its title from a poem about grief and loss by Chrissie Pinney, Live On honors the life of band director Linda Mann, to whom the piece is dedicated. The piece begins with a pensive intro before shifting to a whimsical theme that brings about happy thoughts of a life well-lived. After a return to the poignant opening material, the music surges to a triumphant conclusion based on an augmented version of the whimsical theme. Live On was commissioned by Diplomat Middle School's staff, faculty and students, in Cape Coral, Florida, and is dedicated to the memory of their Director of Bands, Linda Mann. Director of Orchestras, Roland Forti, championed the commissioning of this piece to honor the life of Linda after her untimely passing in February of 2017. Linda Mann’s impact on the field of music education was profound and wide-reaching. She was a beloved member of the staff at Diplomat Middle School, as well as the music community of Cape Coral and the state of Florida. Linda was highly respected throughout the state, serving as recent past-president of the Florida Bandmasters Association.In discussing the type of piece the school wanted to honor Ms. Mann, they indicated the piece should “depict Linda’s personality: dynamic, sassy, yet thoughtful and almost mentor-like.†They wanted a piece that was upbeat, yet still had moments that were thoughtful, portraying the grief that the Diplomat Middle School community has suffered from the sudden loss of such a beloved teacher.After contemplating their thoughts, I did some research to find inspiration for the piece. This led me to poetry about grief and loss. In time, I stumbled upon a short, yet poignant poem that I felt perfectly depicted the sentiment that I wanted the piece to convey. That poem is entitled Live On by Chrissie Pinney.Live OnNow as I live onWithout youI hope to keepThe pieces of youThat I loved so dearlyYour mannerismsAnd compassionate characterAnd smiles through struggleSo that youMay live on too -Chrissie PinneyI reached out to Ms. Pinney, and she graciously agreed to allow me to quote her powerful poem in these notes. She expressed that she was deeply touched that her work would inspire me to write a piece in honor of Linda Mann.The piece begins with a poignant, pensive opening section. The use of the musical interval of a tritone between the first two openly voiced chords are used to represent the sadness we all feel from this type of loss. When I sat in front of my piano and started to work on this piece, my hands seemed to naturally and immediately play these first two chords, which set the process in motion of composing the piece.After the somber opening, the piece shifts to a whimsical theme that I hope brings about happy thoughts of Linda and her personality. It was also my intent, however, to include some musical dissonance in the theme that still reflected the bittersweet loss at the same time. The piece develops into a secondary theme that is a quasi inversion of the main fast theme. This section is followed by a return of the opening material, with snippets of the fast theme intertwined, before the piece builds to a triumphant, augmented presentation of the main theme in a lush form to complete the work.It is my hope that in some small way, this piece will bring comfort to those affected by the loss of Linda Mann, and that the music will allow her memory to Live On.–Larry ClarkLakeland, FL 2017. $75.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Live On Concert band - Easy Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Cabasa, Clarinet 1, Clarinet 2, C...(+)
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Cabasa, Clarinet 1, Clarinet 2, Crash Cymbals, Euphonium, Euphonium T.C., Flute, Flute 2, Horn, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Snare Drum, Suspended Cymbal, Tambourine, Timpani and more. - Grade 2 SKU: CF.YPS212F Composed by Larry Clark. Young Band (YPS). Full score. With Standard notation. 20 pages. Carl Fischer Music #YPS212F. Published by Carl Fischer Music (CF.YPS212F). ISBN 9781491152997. UPC: 680160910496. Taking its title from a poem about grief and loss by Chrissie Pinney, Live On honors the life of band director Linda Mann, to whom the piece is dedicated. The piece begins with a pensive intro before shifting to a whimsical theme that brings about happy thoughts of a life well-lived. After a return to the poignant opening material, the music surges to a triumphant conclusion based on an augmented version of the whimsical theme. Live On was commissioned by Diplomat Middle School's staff, faculty and students, in Cape Coral, Florida, and is dedicated to the memory of their Director of Bands, Linda Mann. Director of Orchestras, Roland Forti, championed the commissioning of this piece to honor the life of Linda after her untimely passing in February of 2017. Linda Mann’s impact on the field of music education was profound and wide-reaching. She was a beloved member of the staff at Diplomat Middle School, as well as the music community of Cape Coral and the state of Florida. Linda was highly respected throughout the state, serving as recent past-president of the Florida Bandmasters Association.In discussing the type of piece the school wanted to honor Ms. Mann, they indicated the piece should “depict Linda’s personality: dynamic, sassy, yet thoughtful and almost mentor-like.†They wanted a piece that was upbeat, yet still had moments that were thoughtful, portraying the grief that the Diplomat Middle School community has suffered from the sudden loss of such a beloved teacher.After contemplating their thoughts, I did some research to find inspiration for the piece. This led me to poetry about grief and loss. In time, I stumbled upon a short, yet poignant poem that I felt perfectly depicted the sentiment that I wanted the piece to convey. That poem is entitled Live On by Chrissie Pinney.Live OnNow as I live onWithout youI hope to keepThe pieces of youThat I loved so dearlyYour mannerismsAnd compassionate characterAnd smiles through struggleSo that youMay live on too -Chrissie PinneyI reached out to Ms. Pinney, and she graciously agreed to allow me to quote her powerful poem in these notes. She expressed that she was deeply touched that her work would inspire me to write a piece in honor of Linda Mann.The piece begins with a poignant, pensive opening section. The use of the musical interval of a tritone between the first two openly voiced chords are used to represent the sadness we all feel from this type of loss. When I sat in front of my piano and started to work on this piece, my hands seemed to naturally and immediately play these first two chords, which set the process in motion of composing the piece.After the somber opening, the piece shifts to a whimsical theme that I hope brings about happy thoughts of Linda and her personality. It was also my intent, however, to include some musical dissonance in the theme that still reflected the bittersweet loss at the same time. The piece develops into a secondary theme that is a quasi inversion of the main fast theme. This section is followed by a return of the opening material, with snippets of the fast theme intertwined, before the piece builds to a triumphant, augmented presentation of the main theme in a lush form to complete the work.It is my hope that in some small way, this piece will bring comfort to those affected by the loss of Linda Mann, and that the music will allow her memory to Live On.–Larry ClarkLakeland, FL 2017. $11.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Tum Balalaika Concert band - Easy Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Cymbals, ...(+)
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Cymbals, Euphonium, Euphonium T.C., Flute, Flute 2, Horn, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Snare Drum, Timpani, Triangle, Trombone, Trumpet 1, Trumpet 2, Tuba and more. - Grade 2 SKU: CF.YPS199F Composed by Russian Folk Song. Arranged by Carl Strommen. Young Band (YPS). Full score. With Standard notation. 12 pages. Carl Fischer Music #YPS199F. Published by Carl Fischer Music (CF.YPS199F). ISBN 9781491152874. UPC: 680160910373. Tum Balalaika is attributed to a number of Eastern European countries, but is best known as a Russian Jewish folk/love/“riddle†song. Loosely translated, “tum†means “noise,†and the Balalaika is a Russian stringed instrument with a characteristic triangular, hollow, wooden body and three strings, closely related to the domra and mandolin. Carl Strommen's wonderful setting will help any group sound their best. Tum Balalaika is attributed to a number of Eastern European countries, but is best known as a Russian Jewish folk/love/“riddle†song. Loosely translated, “Tum†means “noise,†and the Balalaika is a Russian stringed instrument with the characteristic triangular wooden hollow body and three strings, closely related to the Domra and Mandolin. Tum Balalaika should be played brightly and in a broad flowing manner. As always, attention should be paid to dynamics and articulations. $11.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Organ Improvisations For Lent And Easter Hymns Organ - Easy Hinshaw Music Inc.
Arranged by Gerre Hancock. For Organ solo. Organ. Level: Medium Easy Adult. Dura...(+)
Arranged by Gerre Hancock. For Organ solo. Organ. Level: Medium Easy Adult. Duration 8 min. Published by Hinshaw Music Inc.
$15.99 - See more - Buy onlinePre-shipment lead time: 3 to 5 business days | | |
| Irish Tunes Schott
Arranged by Norbert Sikora, Margit Bazilewski. Schott. 62 pages. Published by Sc...(+)
Arranged by Norbert Sikora, Margit Bazilewski. Schott. 62 pages. Published by Schott.
$22.99 - See more - Buy online | | |
| Sing We Now Merrily Choral Boosey and Hawkes
A Collection of Elizabethan Rounds from Ravenscroft. (COLLECTION). Boosey and H...(+)
A Collection of Elizabethan Rounds from Ravenscroft. (COLLECTION). Boosey and Hawkes Secular Choral. Book only. 96 pages. Published by Boosey & Hawkes.
$14.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
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