SKU: CF.CAS36
ISBN 9780825863646. UPC: 798408063641. 8.5 X 11 inches. Key: F major.
A warm and richly scored setting of the popular Christmas carol Bring a Torch Jeanette, Isabella, this full sounding arrangement will greatly enrich seasonal programming. Roy Phillippe has employed a broad palette of harmonic and instrumental colors to craft a memorable holiday selection.Bring a Torch is a lovely Christmas carol. Using techniques such as suspensions, re-harmonization and modulations, my goal is to provide an interesting showcase for this familiar melody. the introduction in F major features sustained violins with a pattern of moving eighth notes in the violas and cellos. This pattern recurs throughout the piece. The first statement of the melody is in the first violins. The second violins supply harmonic support along with the viola/cello pattern. Measures 13-29 feature a section of tutti chordal playing. Measure 30 crescendos into the modulation to D major at m. 32. Here, the dynamic is forte, and the viola/cello pattern returns. At m. 40, the violas and cellos have the melody with violin accompaniment. A crescendo begins at m. 44 and builds to fortissimo at m. 48, featuring a modulation to G major. At this point the melody should soar. A descrescendo at m. 60 is followed by a ritard at m. 64. The final four measures are in the original tempo ending on a tutti chord.Careful attention to dynamics, especially in the accompanying parts, will result in a fine performance.
About Carl Fischer Concert String Orchestra Series
This series of pieces (Grade 3 and higher) is designed for advancing ensembles. The pieces in this series are characterized by:
SKU: GI.G-003039
UPC: 641151030609.
A very practical collection for accompanying hymns. Composer Edward Eicker has taken ten familiar and frequently-used hymn tunes and provided each with an artful introduction and a free harmonization, often used for a final stanza. In addition, there is a modulation provided for each tune that takes the hymn up one step. The modulation is followed by the same free harmonization in the new key. This collection provides organists with great flexibility—any one of the four items provided for the hymns can be used by itself or in any combination with the others.
SKU: CF.YPS105
ISBN 9780825884870. UPC: 798408084875. 9 x 12 inches. Key: Bb major.
Based on our popular New Bennett Band Book series, we have compiled march-style warm-ups in a separate publication so they may be used by all bands wishing to learn from them. These innovative warm-ups and fundamental drills are the ultimate method of teaching and reinforcing the March style.How To Use the March Warm-upsPlaying in a march style can present difficulties for young students. The most prevalent problem is that students have a tendency to play every note too short. Conversely, accented notes are usually played incorrectly with too much tongue. Do marches contain short notes? Absolutely, but these shortest of notes should be reserved for notes that precede an accent or notes that are specifically marked with a staccato. Think of unmarked notes as being separated, but not short and certainly not clipped or stopped with the tongue. Accented notes should be played with more weight using air and more length, and not just a harder tongue. Accents are given to show emphasis to a note and should be thought of in this manner.The warm-up exercises provided in this collection should give you many opportunities to stress the above-mentioned comments on march performance style. The following gives an explanation on the purpose and use of each of these exercises.No. 1 – Basic Chords and ModulationsOne of the challenges of playing marches with young students is successfully performing the key change at the Trio. This exercise presents the three basic chords (tonic, subdominant and dominant) in each of the three keys in this collection of marches. You can also use this exercise to teach and reinforce the style of accented notes. You may want to have your band play major scales in succession by fourths to reinforce the concept of modulation to the subdominant that occurs at the Trio (i.e. the B≤-major scale, then the E≤-major scale, then the A≤-major scale). I might suggest getting the students to try continuing the pattern all the way around the circle of fourths.No. 2 – March Style in B≤ MajorThis exercise contains many opportunities to teach and reinforce the difference between staccato and accented notes. The melody voices move up and down the B≤-major scale, while other instruments play chords commonly found in the marches in this collection. These include diminished chords, secondary dominant chords (i.e. the V of the V) and other common chromatic chords that Fillmore often used.No. 3 – Cakewalk Rhythm in B≤ MajorThe simple syncopated rhythm in this exercise is common to many marches. This drill gives you the opportunity to teach/ reinforce the standard ar-ticulation and natural accent of this rhythmic pattern. Again, this exercise uses an ascending and descending major-scale pattern as the melodic basis, accompanied by chords commonly found in American- style marches.No. 4 – The March Scale in B≤ MajorI call this exercise “The March Scale,†because often in marches (and especially in these marches) the descending half-step is part of the melodic material. These chromatic figures give the melodies of many marches their charm and flow. Thus, I devised this exercise and others like it in E≤ major and A≤ major to familiarize students with these patterns. I would suggest playing the pattern in a variety of ways different from what is written. Here are some other possibilities:• Tongue one, slur three• Slur two, tongue two• Tongue two, slur two• Tongue one, slur two, tongue oneGradually increase the tempo to the march tempo and the articulation style will fall right into place.Another important consideration is the performance of the bass line and the bass-drum part. Too often, the bass drum and bass instruments play their parts with equal emphasis on both beats in the measure. This is incorrect, and frequently makes the marchNo. 5 – March Style in E≤ MajorThis is a similar to exercise No. 2, but with a different rhythmic pattern. Emphasize the difference between accented and unaccented notes. Also, play the exercise with line direction moving the musical line forward. Experiment and play the exercise with different dynamic choices and with hairpins up and down in different ways.No. 6 – More March Style in E≤ MajorExercise No. 6 comprises more rhythmic patterns and harmonic materials in E≤ major to teach and reinforce the march style. This exercise em-phasizes the sixteenth-note rhythm, as notated in the third measure of the exercise. Young stu- dents have a tendency to “crush†the sixteenths; consequently, they lack clarity. It would be a good idea to work this rhythmic figure on a scale pattern with all of the instruments in the band as an additional warm-up exercise.No. 7 – The March Scale in E≤ MajorSee the information for No. 4 and apply it to this exercise. Use all of the various articulations described above as well.No. 8 – March Style in A≤ MajorSee the information for No. 2 and apply it to this exercise.No. 9 – Cakewalk Rhythm in A≤ MajorSee the information for No. 3 and apply it to this exercise.No. 10 – The March Scale in A≤ MajorSee the information for No. 4 and apply it to this exercise.Other Ideas for March PerformanceA rehearsal practice that has worked very well for me is to start out by having the band play the march very slowly at about Œ = 60 in a chorale/legato style. The slow tempo is a fine opportunity to work on clarity of harmonic move- ment and to work on the balance and blend of the tutti band sound. This will pay great dividends toward improving the sound of your band. Gradually increase the tempo to the march tempo and the articulation style will fall right into place.Another important consideration is the performance of the bass line and the bass-drum part. Too often, the bass drum and bass instruments play their parts with equal emphasis on both beats in the measure. This is incorrect, and frequently makes the march.
SKU: HL.49019730
ISBN 9790001194341. 9.0x12.0x0.1 inches.
'African Patchwork' was created for the European 'Albert Schweitzer Year 2013' in remembrance of the foundation of the hospital in Lambarene 100 years ago (1913). The organ sound, thought of as an ideal here, is the typical 'Albert Schweitzer sound': romantic, soft diapasons and string parts, hardly any mixtures, cymbals and tongues. This dark fundamental sound is joined by the djembe with its richness of high harmonics and its ability of modulation (the best-known of the African drums can be used in different sizes). Depending on the percussionist's creativity, the percussion part, notated in a quite rudimentary way, can be extended by various playing techniques, drum changes and pitch modulations of the drumhead. The notated percussion part can also be used as a basis for intuitive and improvisational playing.
SKU: LO.10-5739MD
ISBN 9780787777883.
The traditional carol, THE FIRST NOWELL, has been given a modern treatment by arranger Jay Rouse. Choir-driven, the anthem begins simply as it expands in texture. Creative and expertly executed modulations and key changes give this arrangement direction and ever-developing energy as it arrives at its climactic and powerful ending.
SKU: GI.G-8679
UPC: 785147867906. English. Text Source: Text I: John of Damascus, ca. 675-ca. 749, tr. John Mason Neale, 1818-1866, alt., Text II: Ernest W. Shurtleff, 1862-1917. Text by Ernest W. Shurtleff.
This majestic arrangement of LANCASHIRE by Robert Powell, with innovative modulations and interludes, will engage and inspire your congregation. The addition of optional brass quintet and timpani makes this a triumphant complement to any celebration. A second text is included, which can expand the usefulness of the piece to other occasions. Trombone I can be substituted for Horn in F.
SKU: OU.9780193524385
ISBN 9780193524385. 6.9 x 10.5 inches.
For SATB and organ or orchestra This is an arrangement of the 19th-century hymn by Philip Bliss, with words by Horatio Spafford following several personal tragedies. Wilberg keeps the first two verses in unison, before allowing fuller textures to take over, with two upward modulations leading to a triumphant close.
SKU: KN.43374S
UPC: 822795433746.
Commissioned by the Pennsylvania Unit of IAJE for the 2000 All-State Jazz Ensemble, this ambitious chart features two open solo sections (one for brass, one for saxes), several dramatic modulations, and some solo trades between the drummer and band that'll bring the house down. Rhythm section parts are partially notated with chords cued, and supplements with chord changes for both open solos sections are included. Duration 6:30.
SKU: HL.14029581
ISBN 9780711952287.
Salvador Segui Perez (1939-2004) was a Spanish musician, academic and composer, who studied in Spain, Italy and France. For many years he was the professor of music theory, and later director, at the Valencia conservatory. Teoria Musical - Volume 2 is suitable for any musician of grade 4 or 5 standard, and covers all aspects of musical theory, including the following: musical syntax, acoustic theory, sound production, instrumental families and ensembles, keys and scales (including tetrachords and modulations), intervals, enharmonics, and more! There are also sections on various eras of musical history, from ancient Greece and the Gregorian chants of the Middle Ages, to modernatonal music and electronic music. A comprehensive volume, this book is ideal for any inquisitive music student.
SKU: BT.ESZ-01685800
English-Italian.
SKU: HL.48188417
UPC: 888680866266. 9.0x12.0x0.53 inches.
“Italian composer, Domenico Scarlatti (1685-1757) is well-known for his Keyboard compositions. His 555 Keyboard Sonatas remain ever popular to this day, and it is for this reason that this second volume is indispensable to performers of the genre. Originally composed for the Harpsichord, Organ or early Pianoforte, the Sonatas display the riveting use of discords and unconventional modulations to remote keys. It is also thought that much of Scarlatti's Keyboard music contains influences of Iberian music, considering that he spent much of his working life in the service of the Spanish and Portuguese royal families. The second volume, comprising Sonatas 53-103, includes the popular and recognised Sonatas in F minor (K. 69) and B minor (K. 87). Bearing in mind that Domenico Scarlatti was a highly competent and popular Keyboard player in his day, so much so that he was employed in the service of two royal families, his Sonatas are composed with much experience, understanding and expertise, creating an essential addition to the repertoire of all Keyboard players of the Baroque genre. â€.
SKU: HL.48181897
0.09 inches.
As one of the fundamentals in the study of harmony, particularly for Baroque music, Henri Challan (1910-1977) provides an imperative aid to the understanding of Figured Bass. Challan, a French composer and music educator was appointed Professor of Harmony at the Paris Conservatoire in 1936. He compiled 380 Figured Bass Exercises during 1960, after a considerable amount of time working in the field. With Challan''s experiences in mind, 380 Figured Bass Exercises is very well-informed. Part B of the second volume provides 39 exercises in which the student can study modulations and harmony in the context of figured bass. Challan''s 380 Figured Bass Exercises is essential to all harmony studies, given that the realisation of figured bass remains an important part of music education..
SKU: LP.OR-9125
UPC: 765762089709.
Twenty-seven inspirational classics arranged for SATB choir in a flexible 4-part format designed for large or small choirs. A sequel to Tom Fettke's classic choral songbook Great Is the Lord . Along with its finest features Carry the Light offers individual song selections choral arrangements that are more fully realized written-out introductions modulations and endings. Sample songs: Carry the Light; The Strength of the Lord; Awesome God; His Strength Is Perfect; When I Look into Your Holiness; God and God Alone; Lamb of God..
SKU: LO.20-1622L
ISBN 9780787706777.
Level 2 • Cascading peals, confident harmonies, and uplifting modulations add to this celebration of glory to the newborn King. Shakes, martellato lifts, and LVs are utilized throughout.
SKU: PO.PE123
ISBN 9781877564239.
Hatzis wrote Phosphorus soon after the death of his wife's nephew Cameron. Dedicated to Cameron's memory, this mysterious yet playful work sees two musical characters engage in a virtual conversation with each other. One, a quiet lament-like harmonic sequence for the marimba, the other consisting of samples taken from Cameron's DJ mix also titled Phosphorus. These two seemingly incongruous forms of musical expression enter a push-and-pull dialogue in Phosphorus, in which the marimbist must navigate a series of metric modulations accompanied by eerie electronic ambience, pulses of synthesized pitches and samples of Cameron's phosphorus chants and electronic hooks.
SKU: GI.G-003120
ISBN 9781622774449. Scripture: Psalm 25, Psalm 31, Psalm 85, Psalm 95, Psalm 97, Psalm 145.
The final collaboration with WLP from the distinguished composer, choral conductor, and organist Colin Mawby before his passing, this collection contains pieces reflecting Mawby’s signature styles: plaintive melodies, seventh and ninth chords, modulations, and propulsive rhythms. Several of these psalms lend themselves to the organ. As preludes, postludes, or performed together as a concert piece, the Psalms in this collection are an excellent addition to any pianist’s repertoire. Contents: Psalm 25 “To you, O Lord, I lift my soulâ€, Psalm 31 “I trust in you, O Lord, you are my Godâ€, Psalm 85 “For he will speak peace to his peopleâ€, Psalm 95 “Come let us sing with joy to the Lordâ€, Psalm 97 “The Lord reigns, let the earth be gladâ€, Psalm 145 “I will extol you, my God and kingâ€.
SKU: AP.1-ADV20411
UPC: 805095204117. English.
A beautiful series of harmonic variations on the well-known Christmas favorite, Still Nacht, or Silent Night, by Franz Xaver Gruber is developed with modulations through several different keys, featuring the individual instruments in both solo and ensemble roles. The music is not technically difficult, and the chromatic harmonies provide an opportunity to work on the expressive aspects of this evocative and lyrical piece. Arranged for brass sextet: 2 trumpets, horn in F, 2 trombones, bass trombone.
SKU: HL.49044283
ISBN 9781627219839. UPC: 888680031329. 8.5x11.0x0.25 inches.
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