Grade 1

SKU: CL.RWS-2037-00

Composed by Hoefle. Young Concert Band. RWS Beginning Band Series. Score and set of parts. Composed 2020. Duration 1 minute, 34 seconds. RWS Music Company #RWS-2037-00. Published by RWS Music Company (CL.RWS-2037-00).

Rockin’ Locomotive is a fun and easy concert piece for your beginning band. Utilizing short repeated motifs with limited ranges, Rockin’ Locomotive will have your band rockin’ in no time! It is an excellent choice to motivate your students while entertaining your audience!

Grade 1

SKU: CL.RWS-2037-01

Composed by Hoefle. Young Concert Band. Extra full Score. Composed 2020. RWS Music Company #RWS-2037-01. Published by RWS Music Company (CL.RWS-2037-01).

Rockin’ Locomotive is a fun and easy concert piece for your beginning band. Utilizing short repeated motifs with limited ranges, Rockin’ Locomotive will have your band rockin’ in no time! It is an excellent choice to motivate your students while entertaining your audience!

Children's choir (SMezA) with solo parts, recorders, mallet percussion, percussion instruments and piano (CHP) - very easy

SKU: HL.49031739

Szenische Kantate fur Kinder. Composed by Cesar Bresgen. Arranged by Ernst Gaertner. Sheet music. Edition Schott. Choral Score. Composed 1960. 16 pages. Duration 30'. Schott Music #ED 4884-01. Published by Schott Music (HL.49031739).

ISBN 9790001056182. German.

Die Geschichte von der alten Lokomotive, die aus ihrem Museum 'ausbricht', ihrem Freiheitsdrang im wahrsten Sinne 'freien Lauf' lasst, eingefangen und verurteilt wird und zum Schluss wieder an ihren angestammten Platz im Museum zuruckkehren muss, lebt von der Moral 'Alles auf der Welt hat seine Zeit' - eine im Grunde einfache Schlussfolgerung, die in den Urauffuhrungskritiken auch interpretiert wurde als 'Moral des technischen Fortschritts' und der 'irdischen Verganglichkeit' (L. Wismeyer, Munchner Merkur). Viel wichtiger aber als solche interpretatorischen Ansatze ist, dass Bresgen mit dieser Kantate eine Spielvorlage gelungen ist, die mit ihren mannigfaltigen facherubergreifenden Angeboten (z.B. Kunst- und Werkunterricht; Musikunterricht) gerade fur Schultheatergruppen vielseitige Gestaltungsmoglichkeiten bietet.

Children's choir (SMezA) with solo parts, recorders, mallet percussion, percussion instruments and piano (S/A XYLO) - very easy

SKU: HL.49031742

Szenische Kantate fur Kinder. Composed by Cesar Bresgen. Arranged by Ernst Gaertner. Sheet music. Edition Schott. Individual part. Composed 1960. 8 pages. Duration 30'. Schott Music #ED 4884-13. Published by Schott Music (HL.49031742).

ISBN 9790001056212. German.

Die Geschichte von der alten Lokomotive, die aus ihrem Museum 'ausbricht', ihrem Freiheitsdrang im wahrsten Sinne 'freien Lauf' lasst, eingefangen und verurteilt wird und zum Schluss wieder an ihren angestammten Platz im Museum zuruckkehren muss, lebt von der Moral 'Alles auf der Welt hat seine Zeit' - eine im Grunde einfache Schlussfolgerung, die in den Urauffuhrungskritiken auch interpretiert wurde als 'Moral des technischen Fortschritts' und der 'irdischen Verganglichkeit' (L. Wismeyer, Munchner Merkur). Viel wichtiger aber als solche interpretatorischen Ansatze ist, dass Bresgen mit dieser Kantate eine Spielvorlage gelungen ist, die mit ihren mannigfaltigen facherubergreifenden Angeboten (z.B. Kunst- und Werkunterricht; Musikunterricht) gerade fur Schultheatergruppen vielseitige Gestaltungsmoglichkeiten bietet.

Children's choir (SMezA) with solo parts, recorders, mallet percussion, percussion instruments and piano (S/A BFL) - very easy

SKU: HL.49031740

Szenische Kantate fur Kinder. Composed by Cesar Bresgen. Arranged by Ernst Gaertner. This edition: Saddle stitching. Sheet music. Edition Schott. Individual part. Composed 1960. 8 pages. Duration 30'. Schott Music #ED 4884-11. Published by Schott Music (HL.49031740).

ISBN 9790001056199. German.

Die Geschichte von der alten Lokomotive, die aus ihrem Museum 'ausbricht', ihrem Freiheitsdrang im wahrsten Sinne 'freien Lauf' lasst, eingefangen und verurteilt wird und zum Schluss wieder an ihren angestammten Platz im Museum zuruckkehren muss, lebt von der Moral 'Alles auf der Welt hat seine Zeit' - eine im Grunde einfache Schlussfolgerung, die in den Urauffuhrungskritiken auch interpretiert wurde als 'Moral des technischen Fortschritts' und der 'irdischen Verganglichkeit' (L. Wismeyer, Munchner Merkur). Viel wichtiger aber als solche interpretatorischen Ansatze ist, dass Bresgen mit dieser Kantate eine Spielvorlage gelungen ist, die mit ihren mannigfaltigen facherubergreifenden Angeboten (z.B. Kunst- und Werkunterricht; Musikunterricht) gerade fur Schultheatergruppen vielseitige Gestaltungsmoglichkeiten bietet.

Saxophone Eb and piano - Level 3

SKU: LM.27764

Composed by Bertrand Peigne. Claude Delangle. Classical. Score. Editions Henry Lemoine #27764. Published by Editions Henry Lemoine (LM.27764).

ISBN 9790230977647.

Les Bibelots - Les Tasses chinoises - La Locomotive rouge - les Ailes de soie - Les Fagots de bois - Les Larmes de glace - L'Etrange sirene - Le Crepuscule des mysteres - Les Pensees du clair de lune - La Petite fete.

Orchestra Bass Drum, Bassoon 1, Bassoon 2, Clarinet 1, Clarinet 2, Contrabass, Flute 1, Flute 2, Harp, Horn 1, Horn 2, Horn 3, Horn 4, Marimba, Oboe 1, Oboe 2, Percussion 1, Percussion 2, Percussion 3, Snare Drum, Suspended Cymbal, Tam-tam, Trombone 1 and more.

SKU: PR.11641963S

Composed by Chen Yi. Full score. 58 pages. Duration 20 minutes. Theodore Presser Company #116-41963S. Published by Theodore Presser Company (PR.11641963S).

UPC: 680160684472.

The violin concerto is commissioned by Friends of Dresden Music Foundation for American soloist Mira Wang and the New York Philharmonic and Staatskapelle Dresden as an American commemoration of the reconstruction of the Dresden Frauenkirche, 60 years after its destruction in World War II by American and British Forces. The world premiere is given at the Semperoper in Dresden, Germany, on October 9, 10 & 11, 2005, conducted by Ivan Fischer. Full of excitement and inner power, the musical image is vivid, energetic, sometimes lyrical and sometimes dramatic. The major angular thematic material (a three note motive) consists of big leaps in interval (a perfect fourth downward and then a minor seventh upward, first introduced by the violin solo in measures 27-29). Except for the cadenzas which stand at the middle (Rehearsal E, measure 127) and the two ends of the piece as a frame, the virtuosic violin solo line is always accompanied by the ever moving and growing textures in the background. The rests between long and short phrases symbolize the space in Chinese paintings. The Beijing Opera reciting tune, and the fingerings to produce sliding tones in the performance of the Chinese fiddle erhu are also borrowed in the writing and the performing of the western instruments. The musical imagination of the violin concerto came from an ancient Chinese poem with the same title, written by Du Fu (712-770) in Tang Dynasty. Happy Rain on a Spring Night by Du Fu (712-770 in Tang Dynasty) Happy rain comes in time, When spring is in its prime. With night breeze it will fall, And quietly moisten all. Clouds darken wild roads, Light brightens a little boat. Saturated at dawn, With flowers blooming the town. (English translation by Chen Yi from the original poem in Chinese) The following is the poem in its original Chinese form, and the detailed introduction on the structural plan of the violin concerto Spring in Dresden. It's like the welcome rain on a quiet spring night that nurtures the budding seeds, our new society is pushing us forward to the new future. The music reflects the scenes and the expression according to the meaning of the poem when it's being unfolded line by line. Although the tempo is set 63 quarter notes per minute throughout (played vividly, never slow down), the tension is being built up from the quiet background in the beginning, to the sustained climax towards the end. The musical image in Rehearsal A and B (measures 39-80) represents the first four lines of the poem. The wind instruments response to the rustling of fast moving notes on muted string triplets, decorated by occasional strokes produced by metallic string sound and high woodwind gestures. The music in Rehearsal C and D (measures 81-126) represents the next two lines of the poem. It's so dark, a little light in the boat is shimmering on the lake... The breathy sound and key slaps on the flutes create a mysterious atmosphere, in a dialogue with other instruments. The cello glissandi recite the poem in the tone of Mandarin, echoed by the string harmonics. The music in Rehearsal F, G and H (m 129-202) is a toccata, starting in the orchestra (led by the marimba), which builds up a big shape, to reach the climax in m. 157 (Rehearsal G, the location of the Golden Section, according to the length of the music without cadenzas), and keeps the vivid scene towards the coda (from Rehearsal I, m. 203), which stands on the energetic peak until the clear cutoff on measure 239, followed by the short, yet powerful solo conclusion with the lingering echo produced by the high string harmonics. On the top, there is a recall of the three note motive in the sound of wonderland, touched by the motor-on vibraphone meaningfully. The music is written for 2 flutes, 2 oboes, 2 clarinets (in Bb), 2 bassoons, 4 French horns (in F), 2 trumpets (in Bb), 3 trombones, tuba, harp, 3 percussion players (Perc. 1: xylophone; Perc. 2: suspended cymbal, Japanese high woodblock, snare drum, bass drum and vibraphone; Perc. 3: marimba and tam-tam), solo violin, and strings. Duration is about 20 minutes.
The violin concerto is commissioned by Friends of Dresden Music Foundation for American soloist Mira Wang and the New York Philharmonic and Staatskapelle Dresden as an American commemoration of the reconstruction of the Dresden Frauenkirche, 60 years after its destruction in World War II by American and British Forces. The world premiere is given at the Semperoper in Dresden, Germany, on October 9, 10 & 11, 2005, conducted by Ivan Fischer.Full of excitement and inner power, the musical image is vivid, energetic, sometimeslyrical and sometimes dramatic. The major angular thematic material (a three notemotive) consists of big leaps in interval (a perfect fourth downward and then a minorseventh upward, first introduced by the violin solo in measures 27-29). Except for thecadenzas which stand at the middle (Rehearsal E, measure 127) and the two ends of the piece as a frame, the virtuosic violin solo line is always accompanied by the ever moving and growing textures in the background. The rests between long and short phrases symbolize the space in Chinese paintings. The Beijing Opera reciting tune, and the fingerings to produce sliding tones in the performance of the Chinese fiddle erhu are also borrowed in the writing and the performing of the western instruments.The musical imagination of the violin concerto came from an ancient Chinese poem with the same title, written by Du Fu (712-770) in Tang Dynasty.Happy Rain on a Spring Nightby Du Fu (712-770 in Tang Dynasty)Happy rain comes in time,When spring is in its prime.With night breeze it will fall,And quietly moisten all.Clouds darken wild roads,Light brightens a little boat.Saturated at dawn,With flowers blooming the town.(English translation by Chen Yi from the original poem in Chinese)The following is the poem in its original Chinese form, and the detailed introduction onthe structural plan of the violin concerto Spring in Dresden.It’s like the welcome rain on a quiet spring night that nurtures the budding seeds, our newsociety is pushing us forward to the new future. The music reflects the scenes and theexpression according to the meaning of the poem when it’s being unfolded line by line.Although the tempo is set 63 quarter notes per minute throughout (played vividly, neverslow down), the tension is being built up from the quiet background in the beginning, tothe sustained climax towards the end. The musical image in Rehearsal A and B (measures39-80) represents the first four lines of the poem. The wind instruments response to therustling of fast moving notes on muted string triplets, decorated by occasional strokesproduced by metallic string sound and high woodwind gestures. The music in RehearsalC and D (measures 81-126) represents the next two lines of the poem. It's so dark, a littlelight in the boat is shimmering on the lake... The breathy sound and key slaps on theflutes create a mysterious atmosphere, in a dialogue with other instruments. The celloglissandi recite the poem in the tone of Mandarin, echoed by the string harmonics. Themusic in Rehearsal F, G and H (m 129-202) is a toccata, starting in the orchestra (led bythe marimba), which builds up a big shape, to reach the climax in m. 157 (Rehearsal G,the location of the Golden Section, according to the length of the music withoutcadenzas), and keeps the vivid scene towards the coda (from Rehearsal I, m. 203), whichstands on the energetic peak until the clear cutoff on measure 239, followed by the short,yet powerful solo conclusion with the lingering echo produced by the high stringharmonics. On the top, there is a recall of the three note motive in the sound ofwonderland, touched by the motor-on vibraphone meaningfully.The music is written for 2 flutes, 2 oboes, 2 clarinets (in Bb), 2 bassoons, 4 French horns (in F), 2 trumpets (in Bb), 3 trombones, tuba, harp, 3 percussion players (Perc. 1:xylophone; Perc. 2: suspended cymbal, Japanese high woodblock, snare drum, bass drum and vibraphone; Perc. 3: marimba and tam-tam), solo violin, and strings.Duration is about 20 minutes.

Orchestra Bass Drum, Bassoon 1, Bassoon 2, Clarinet 1, Clarinet 2, Contrabass, Flute 1, Flute 2, Harp, Horn 1, Horn 2, Horn 3, Horn 4, Marimba, Oboe 1, Oboe 2, Percussion 1, Percussion 2, Percussion 3, Snare Drum, Suspended Cymbal, Tam-tam, Trombone 1 and more.

SKU: PR.11641963L

Composed by Chen Yi. Large Score. 58 pages. Duration 20 minutes. Theodore Presser Company #116-41963L. Published by Theodore Presser Company (PR.11641963L).

UPC: 680160684489.

The violin concerto is commissioned by Friends of Dresden Music Foundation for American soloist Mira Wang and the New York Philharmonic and Staatskapelle Dresden as an American commemoration of the reconstruction of the Dresden Frauenkirche, 60 years after its destruction in World War II by American and British Forces. The world premiere is given at the Semperoper in Dresden, Germany, on October 9, 10 & 11, 2005, conducted by Ivan Fischer. Full of excitement and inner power, the musical image is vivid, energetic, sometimes lyrical and sometimes dramatic. The major angular thematic material (a three note motive) consists of big leaps in interval (a perfect fourth downward and then a minor seventh upward, first introduced by the violin solo in measures 27-29). Except for the cadenzas which stand at the middle (Rehearsal E, measure 127) and the two ends of the piece as a frame, the virtuosic violin solo line is always accompanied by the ever moving and growing textures in the background. The rests between long and short phrases symbolize the space in Chinese paintings. The Beijing Opera reciting tune, and the fingerings to produce sliding tones in the performance of the Chinese fiddle erhu are also borrowed in the writing and the performing of the western instruments. The musical imagination of the violin concerto came from an ancient Chinese poem with the same title, written by Du Fu (712-770) in Tang Dynasty. Happy Rain on a Spring Night by Du Fu (712-770 in Tang Dynasty) Happy rain comes in time, When spring is in its prime. With night breeze it will fall, And quietly moisten all. Clouds darken wild roads, Light brightens a little boat. Saturated at dawn, With flowers blooming the town. (English translation by Chen Yi from the original poem in Chinese) The following is the poem in its original Chinese form, and the detailed introduction on the structural plan of the violin concerto Spring in Dresden. It's like the welcome rain on a quiet spring night that nurtures the budding seeds, our new society is pushing us forward to the new future. The music reflects the scenes and the expression according to the meaning of the poem when it's being unfolded line by line. Although the tempo is set 63 quarter notes per minute throughout (played vividly, never slow down), the tension is being built up from the quiet background in the beginning, to the sustained climax towards the end. The musical image in Rehearsal A and B (measures 39-80) represents the first four lines of the poem. The wind instruments response to the rustling of fast moving notes on muted string triplets, decorated by occasional strokes produced by metallic string sound and high woodwind gestures. The music in Rehearsal C and D (measures 81-126) represents the next two lines of the poem. It's so dark, a little light in the boat is shimmering on the lake... The breathy sound and key slaps on the flutes create a mysterious atmosphere, in a dialogue with other instruments. The cello glissandi recite the poem in the tone of Mandarin, echoed by the string harmonics. The music in Rehearsal F, G and H (m 129-202) is a toccata, starting in the orchestra (led by the marimba), which builds up a big shape, to reach the climax in m. 157 (Rehearsal G, the location of the Golden Section, according to the length of the music without cadenzas), and keeps the vivid scene towards the coda (from Rehearsal I, m. 203), which stands on the energetic peak until the clear cutoff on measure 239, followed by the short, yet powerful solo conclusion with the lingering echo produced by the high string harmonics. On the top, there is a recall of the three note motive in the sound of wonderland, touched by the motor-on vibraphone meaningfully. The music is written for 2 flutes, 2 oboes, 2 clarinets (in Bb), 2 bassoons, 4 French horns (in F), 2 trumpets (in Bb), 3 trombones, tuba, harp, 3 percussion players (Perc. 1: xylophone; Perc. 2: suspended cymbal, Japanese high woodblock, snare drum, bass drum and vibraphone; Perc. 3: marimba and tam-tam), solo violin, and strings. Duration is about 20 minutes.
The violin concerto is commissioned by Friends of Dresden Music Foundation for American soloist Mira Wang and the New York Philharmonic and Staatskapelle Dresden as an American commemoration of the reconstruction of the Dresden Frauenkirche, 60 years after its destruction in World War II by American and British Forces. The world premiere is given at the Semperoper in Dresden, Germany, on October 9, 10 & 11, 2005, conducted by Ivan Fischer.Full of excitement and inner power, the musical image is vivid, energetic, sometimeslyrical and sometimes dramatic. The major angular thematic material (a three notemotive) consists of big leaps in interval (a perfect fourth downward and then a minorseventh upward, first introduced by the violin solo in measures 27-29). Except for thecadenzas which stand at the middle (Rehearsal E, measure 127) and the two ends of the piece as a frame, the virtuosic violin solo line is always accompanied by the ever moving and growing textures in the background. The rests between long and short phrases symbolize the space in Chinese paintings. The Beijing Opera reciting tune, and the fingerings to produce sliding tones in the performance of the Chinese fiddle erhu are also borrowed in the writing and the performing of the western instruments.The musical imagination of the violin concerto came from an ancient Chinese poem with the same title, written by Du Fu (712-770) in Tang Dynasty.Happy Rain on a Spring Nightby Du Fu (712-770 in Tang Dynasty)Happy rain comes in time,When spring is in its prime.With night breeze it will fall,And quietly moisten all.Clouds darken wild roads,Light brightens a little boat.Saturated at dawn,With flowers blooming the town.(English translation by Chen Yi from the original poem in Chinese)The following is the poem in its original Chinese form, and the detailed introduction onthe structural plan of the violin concerto Spring in Dresden.It’s like the welcome rain on a quiet spring night that nurtures the budding seeds, our newsociety is pushing us forward to the new future. The music reflects the scenes and theexpression according to the meaning of the poem when it’s being unfolded line by line.Although the tempo is set 63 quarter notes per minute throughout (played vividly, neverslow down), the tension is being built up from the quiet background in the beginning, tothe sustained climax towards the end. The musical image in Rehearsal A and B (measures39-80) represents the first four lines of the poem. The wind instruments response to therustling of fast moving notes on muted string triplets, decorated by occasional strokesproduced by metallic string sound and high woodwind gestures. The music in RehearsalC and D (measures 81-126) represents the next two lines of the poem. It's so dark, a littlelight in the boat is shimmering on the lake... The breathy sound and key slaps on theflutes create a mysterious atmosphere, in a dialogue with other instruments. The celloglissandi recite the poem in the tone of Mandarin, echoed by the string harmonics. Themusic in Rehearsal F, G and H (m 129-202) is a toccata, starting in the orchestra (led bythe marimba), which builds up a big shape, to reach the climax in m. 157 (Rehearsal G,the location of the Golden Section, according to the length of the music withoutcadenzas), and keeps the vivid scene towards the coda (from Rehearsal I, m. 203), whichstands on the energetic peak until the clear cutoff on measure 239, followed by the short,yet powerful solo conclusion with the lingering echo produced by the high stringharmonics. On the top, there is a recall of the three note motive in the sound ofwonderland, touched by the motor-on vibraphone meaningfully.The music is written for 2 flutes, 2 oboes, 2 clarinets (in Bb), 2 bassoons, 4 French horns (in F), 2 trumpets (in Bb), 3 trombones, tuba, harp, 3 percussion players (Perc. 1:xylophone; Perc. 2: suspended cymbal, Japanese high woodblock, snare drum, bass drum and vibraphone; Perc. 3: marimba and tam-tam), solo violin, and strings.Duration is about 20 minutes.

Band Concert Band - Grade 3

SKU: CF.CPS255F

Composed by Mark Lortz. Full score. 17 pages. Carl Fischer Music #CPS255F. Published by Carl Fischer Music (CF.CPS255F).

ISBN 9781491159842. UPC: 680160918430.

American Visions is a fast-paced and energetic composition featuring rousing brass fanfares, lively woodwind motives, and driving percussion. It was initially inspired to embody the sense of American vigor and patriotism. Musically, the main motive at mm. 4-12 runs throughout the piece and vacillates between duple and triplet rhythms. Players should be mindful to differentiate between the two rhythms, so there is clarity. Measure 39 represents a contrasting section, and should be thought of as dark and warm sounding as possible. I intended that the section would resemble the overall timbre of orchestral strings, and players could think of that when performing the piece. Measure 55 presents a triplet rhythmic motive that must be precise in timing and dynamics. At m. 66, be sure that the main melodic motive and the tenor saxophone, low brass, and chimes countermelody can be heard through the ensemble's texture. Measure 73 uses bell tone articulations that build to standard articulations at m. 76. Thank you for playing my composition.
American Visions is a fast-paced and energetic composition featuring rousing brass fanfares, lively woodwind motives, and driving percussion. It was initially inspired to embody the sense of American vigor and patriotism. Musically, the main motive at mm. 4–12 runs throughout the piece and vacillates between duple and triplet rhythms. Players should be mindful to differentiate between the two rhythms, so there is clarity. Measure 39 represents a contrasting section, and should be thought of as dark and warm sounding as possible. I intended that the section would resemble the overall timbre of orchestral strings, and players could think of that when performing the piece. Measure 55 presents a triplet rhythmic motive that must be precise in timing and dynamics. At m. 66, be sure that the main melodic motive and the tenor saxophone, low brass, and chimes countermelody can be heard through the ensemble’s texture. Measure 73 uses bell tone articulations that build to standard articulations at m. 76. Thank you for playing my composition. .

By Dan Haerle. For various instruments. Book and CD. Published by Jamey Aebersold Jazz

Orchestra

SKU: SU.94010400

For Orchestra. Composed by James Lee III. Orchestra. Study Score. Subito Music Corporation #94010400. Published by Subito Music Corporation (SU.94010400).

2,1 2,1 2,1 2,1; 4331; timp, perc(3), cel, hp; stgs Duration: 11' Composed: 2013 Published by: Subito Music Publishing Performance materials available on rental: Alas! Babylon’s Final Sunset is another installment in my series of works that musically comment on the biblical books of Daniel and Revelation. The principal source of inspiration for this works comes from the 18th chapter of the book of Revelation. This chapter states that the career of Babylon the Great is finally coming to an end. The music begins with a mysterious pianissimo tremolo accompanied by tam-tam and bass drum. The initial flourishes in the oboes and English horn serve as the principal motive of warning. As the music continues, there are varying degrees of agitation among the strings and woodwinds. Throughout the work there are rhythmic motives in the brass, percussion, and various woodwind instruments that sing and speak Babylon is Fallen in triple meter. As the tutti ensemble arrives at a climax, the orchestral texture becomes thinner and slightly transparent. As the music continues, the opening motive returns in the oboes, however the counterpoint produces a series of solo laments. These passages are intended to provide picturesque images of these words: And the voice of harpers, and musicians, and of pipers, and trumpeters, shall be heard no more at all in thee; and no craftsman, of whatsoever craft he be, shall be found any more in thee; and the sound of a millstone shall be heard no more at all in thee; And the light of a candle shall shine no more at all in thee. and the voice of the bridegroom and of the bride shall be heard no more at all in thee: for thy merchants were the great men of the earth; for by thy sorceries were all nations deceived. And in her was found the blood of prophets, and of saints, and of all that were slain upon the earth. Rev. 18:22-24 The following passages musically comment on the historical career of Babylon with a sense of her impending destruction. The series of laments transforms into the more emphatic rhythmic motive Babylon is Fallen. The orchestral texture begins to become more condense, once again, with the initial flourishes of, but with notable variations. Finally, the celesta, harp, oboes, English horn, and strings sing profundities that are finally transformed into a minor mode tonality that fades away with the ringing of the tam-tam. Babylon has finally seen her last sunset.

Band Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Clarinet 3, Crash Cymbals, Euphonium, Euphonium T.C., Flute 1, Flute 2, Glockenspiel, Horn 1, Horn 2, Mallet Percussion 1, Mallet Percussion 2, Oboe, Percussion 1, Percussion 2 and more. - Grade 3

SKU: CF.CPS207

Composed by George Sweet. SWS FS. Carl Fischer Concert Performance Series. Set of Score and Parts. With Standard notation. 8+8+4+8+8+8+4+4+4+4+4+4+8+4+4+2+2+3+3+3+2+4+1+1+1+2+4+20 pages. Duration 6 minutes, 24 seconds. Carl Fischer Music #CPS207. Published by Carl Fischer Music (CF.CPS207).

ISBN 9781491147634. UPC: 680160905133. 9 x 12 inches.

Virgo is a lush and dramatic piece for concert band that reflects upon lost loved ones. In the case of the composer, the piece is in remembrance of his late brother whose astrological sign was Virgo. It is an emotional harmonic journey with well-placed dissonance tied together by a memorable motive. Musically, this piece is beautiful, emotive, and will stretch your young musicians to strive for musical elegance.

SKU: M7.DUX-99014

Miscellaneous. Edition Dux Verlag #DUX 99014. Published by Edition Dux Verlag (M7.DUX-99014).

So einzigartig wie Du! Mit Sticky Tunes Style Stickern bist Du und Deine Gitarre der Blickfang bei jedem Gig. Sticky Tunes Design-Sticker bieten eine einfache Möglichkeit deiner Gitarre einen neuen Look zu verpassen. Wähle aus verschiedenen Designs und verleihe deiner Gitarre den Stil, der zu dir passt. Die hochwertigen und widerstandsfähigen Design-Sticker verwandeln deine Gitarre in ein Schmuckstück und lassen sich bei Bedarf auch wieder problemlos vom Gitarrenhals lösen. VORTEILE AUF EINEN BLICK Leicht zu entfernen Die Sticker sind speziell für Gitarren konzipiert und beim Entfernen bleiben keine Klebstoffrückstände zurück. Sehr widerstandsfähig Die spezielle Beschichtung macht die Sticker widerstandsfähig gegen mechanischen Abrieb und Feuchtigkeit. Hauchdünn Die Sticker sind 0.08 mm dünn und daher beim Spielen kaum wahrzunehmen Wie echte Inlays Durch das ultra-dünne Material und dem Metallic-Look wirken die Sticker wie echte Inlays Verschiedenste Motive verfügbar Sticky Tunes Design Sticker sind in verschiedensten Motiven verfügbar. Ob lustig, verspielt, edel oder düster... unsere Sticker sind für Alle da.

SKU: M7.DUX-99010

Miscellaneous. Edition Dux Verlag #DUX 99010. Published by Edition Dux Verlag (M7.DUX-99010).

So einzigartig wie Du! Mit Sticky Tunes Style Stickern bist Du und Deine Gitarre der Blickfang bei jedem Gig. Sticky Tunes Design-Sticker bieten eine einfache Möglichkeit deiner Gitarre einen neuen Look zu verpassen. Wähle aus verschiedenen Designs und verleihe deiner Gitarre den Stil, der zu dir passt. Die hochwertigen und widerstandsfähigen Design-Sticker verwandeln deine Gitarre in ein Schmuckstück und lassen sich bei Bedarf auch wieder problemlos vom Gitarrenhals lösen. VORTEILE AUF EINEN BLICK Leicht zu entfernen Die Sticker sind speziell für Gitarren konzipiert und beim Entfernen bleiben keine Klebstoffrückstände zurück. Sehr widerstandsfähig Die spezielle Beschichtung macht die Sticker widerstandsfähig gegen mechanischen Abrieb und Feuchtigkeit. Hauchdünn Die Sticker sind 0.08 mm dünn und daher beim Spielen kaum wahrzunehmen Wie echte Inlays Durch das ultra-dünne Material und dem Metallic-Look wirken die Sticker wie echte Inlays Verschiedenste Motive verfügbar Sticky Tunes Design Sticker sind in verschiedensten Motiven verfügbar. Ob lustig, verspielt, edel oder düster... unsere Sticker sind für Alle da.