| Aida (Songs from the Musical) Choral 3-part SAB Hal Leonard
By Elton John, Tim Rice. Arranged by Ed Lojeski. (SAB). Broadway Choral. Size 6...(+)
By Elton John, Tim Rice. Arranged by Ed Lojeski. (SAB). Broadway Choral. Size 6.75x10.5 inches. 16 pages. Published by Hal Leonard.
$1.95 $1.8525 (5% off) See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Aida (Songs from the Musical) Choral SATB SATB Hal Leonard
By Elton John, Tim Rice. Arranged by Ed Lojeski. (SATB). Broadway Choral. Size ...(+)
By Elton John, Tim Rice. Arranged by Ed Lojeski. (SATB). Broadway Choral. Size 6.75x10.5 inches. 16 pages. Published by Hal Leonard.
$2.25 $2.1375 (5% off) See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Aida (Songs from the Musical) Choral CD [Accompaniment CD] Hal Leonard
By Elton John, Tim Rice. Arranged by Ed Lojeski. (Showtrax Cd). Broadway Choral...(+)
By Elton John, Tim Rice. Arranged by Ed Lojeski. (Showtrax Cd). Broadway Choral. CD only. Size 5x5 inches. Published by Hal Leonard.
$29.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Home of the Brave Concert band [Score] - Beginner C.L. Barnhouse
Grade 1.5 SKU: CL.015-3246-01 Concert March. Composed by Shaffer. ...(+)
Grade 1.5 SKU: CL.015-3246-01 Concert March. Composed by Shaffer. Young Concert Band. Elementary Series. Audio recording available separately (item CL.WFR330). Extra full score. Composed 2003. Duration 1 minute, 53 seconds. C.L. Barnhouse #015-3246-01. Published by C.L. Barnhouse (CL.015-3246-01). A concert march for young bands that includes short quotes from several well known patriotic tunes including America, The Star Spangled Banner and Yankee Doodle. These quotes are woven together to create a unique piece which will introduce your young players to the musical concept of dissonance. Challenging and Unique. $5.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| The Big Book Of Dance Songs Music Sales | | |
| The William Bay Collection - Plectrum Guitar Solo Anthology Guitar [Sheet music + Audio access] - Intermediate Mel Bay
Guitar - Intermediate SKU: MB.WBM58M Traditional, Wire bound, Celtic. Fol...(+)
Guitar - Intermediate SKU: MB.WBM58M Traditional, Wire bound, Celtic. Folk. Book and online audio. 216 pages. Mel Bay Publications, Inc #WBM58M. Published by Mel Bay Publications, Inc (MB.WBM58M). ISBN 9781736363058. 8.75x11.75 inches. A comprehensive collection of 172 guitar solos for the flatpick or plectrum guitarist. All solos are written in standard notation with accompanying online recordings by the author. The solos include beautiful American, British and Celtic airs and ballads, Celtic dance tunes, lute and early music, popular classical repertoire and contemporary etudes. Includes access to online audio. $34.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| The Little Black Songbook: Eric Clapton Music Sales | | |
| Atlas Concert band [Score and Parts] - Easy Alfred Publishing
Composed by William Palange. Concert Band; Part(s); Score; SmartMusic. Young Sym...(+)
Composed by William Palange. Concert Band; Part(s); Score; SmartMusic. Young Symphonic. 304 pages. Published by Alfred Music (AP.44993).
$60.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| The Complete Organ Player Scottish Songbook Music Sales | | |
| Viper Squadron March Concert band - Intermediate Alfred Publishing
By John O'reilly. Music by John O'Reilly. For Concert Band. Concert Band. Alfred...(+)
By John O'reilly. Music by John O'Reilly. For Concert Band. Concert Band. Alfred Concert Band. Level: 3 (Medium) (grade 3). Conductor Score. 24 pages. Published by Alfred Publishing.
$7.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Pour faire un brave mousquetaire from Les Mousquetaires au Couvent Baritone voice Prima Voce Editions
By Louis Varney (1844-1908). For Baritone Voice. Operetta. Sheet music. 6 pages....(+)
By Louis Varney (1844-1908). For Baritone Voice. Operetta. Sheet music. 6 pages. Published by Prima Voce Editions
$8.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Mountain Rangers Concert band [Score] - Easy RWS Music Company
Grade 2 SKU: CL.RWS-1819-01 Composed by Bankston. Young Concert Band. RWS...(+)
Grade 2 SKU: CL.RWS-1819-01 Composed by Bankston. Young Concert Band. RWS Developing Band Series. Extra full score. Composed 2018. Duration 2 minutes, 5 seconds. RWS Music Company #RWS-1819-01. Published by RWS Music Company (CL.RWS-1819-01). The bravery, adventure and excitement of the Mountain Rangers comes to life in this musical work by composer/teacher Brian Bankston. Section soli features throughout insure musician and audience interest as the piece develops from one melodic idea to the next. Bold, energetic and musically exciting, take your band on a mountain musical adventure! $10.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Fingerpicking Film Score Music Guitar notes and tablatures Hal Leonard
15 Famous Pieces Arranged for Solo Guitar in Standard Notation and Tablature. ...(+)
15 Famous Pieces Arranged
for Solo Guitar in Standard
Notation and Tablature.
Composed by Various. Guitar
Solo. Softcover. With guitar
tablature. 48 pages.
Published by Hal Leonard
$15.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Strauss J Zigeunerbaron Schott
(TB) SKU: HL.49028131 Comic Opera in 3 Acts. Composed by Johann St...(+)
(TB) SKU: HL.49028131 Comic Opera in 3 Acts. Composed by Johann Strauss Jr. Sheet music. Edition Schott. Text book/libretto. 40 pages. Schott Music #CRZ 1016-10. Published by Schott Music (HL.49028131). ISBN 9790204001613. 6.0x8.25x0.158 inches. German. $7.99 - See more - Buy online | | |
| Dog Tags GIA Publications
SKU: GI.G-8093 Adventures with Music - Book 2. Composed by Ann Kac...(+)
SKU: GI.G-8093 Adventures with Music - Book 2. Composed by Ann Kaczkowski Kimpton and Paul Kimpton. Adventures with Music. Music Education. Book. GIA Publications #8093. Published by GIA Publications (GI.G-8093). ISBN 9781579998509. English. A young boy and his faithful dog face a big decision. Dale Kingston isn’t your average boy. He saved the Conn musical instrument factory from burning to the ground in Book One of the Adventures with Music series. In Dog Tags, Book Two in the Adventures with Music series, Dale faces a big decision: World War II is in full swing, and he wants to do his patriotic duty. But Dale is only twelve years old. How can he help America? His dog, Scout, provides the answer when his master hears about the U.S. Army’s Dogs for Defense program. Dale loves his pet, but he knows Scout would do his country proud by serving as an animal courier for American troops at war. Should he enroll Scout in the program? Along the way, Dale begins trumpet lessons as his school forms a band for the first time. He loves the Andrews Sisters and their hot new song, Boogie Woogie Bugle Boy. His dream is to play that solo for the popular trio. Could that dream come true? Dog Tags, the second volume in the Adventures with Music series, answers these questions and more in a story told from the heart that will inspire young readers everywhere. Excerpt from the book... The instruments arrive and the students have their first band rehearsal, but Dale has his mind on other things.... Grandpa knelt down and looked directly into Dale's eyes. This is a very brave thing you're doing for your country son. You're making the biggest sacrifice any boy can make by volunteering your dog for the military. Breaking free from his grandfather, Dale ran to Scout and gave him one last deep hug. He whispered, Do your best, Scout. I love you!  Paul Kimpton grew up in a musical family and was a band director in Illinois for 34 years. His father Dale was a band director and professor at the University of Illinois, and his mother Barbara was a vocalist. When Paul is not writing, he is reading or enjoying the outdoors. Ann Kimpton played French horn through college and went on to be a mother, teacher, and high school administrator. Her parents, Henry and Maryalyce Kaczkowski, both educators, instilled an appreciation for the fine arts and the outdoors in all of their children. . $8.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Acadia [Score] Theodore Presser Co.
Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clar...(+)
Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clarinet 3, Contrabass Clarinet, Contrabassoon, Double Bass, English Horn, Euphonium, Flute 1, Flute 2, Horn 1, Horn 2, Horn 3, Horn 4, Oboe 1, Oboe 2, Percussion 1 and more. SKU: PR.16500103F Mvt. 3 from Symphony No. 6 (Three Places in the East). Composed by Dan Welcher. Full score. 60 pages. Theodore Presser Company #165-00103F. Published by Theodore Presser Company (PR.16500103F). ISBN 9781491131763. UPC: 680160680290. Ever since the success of my series of wind ensemble works Places in the West, I've been wanting to write a companion piece for national parks on the other side of the north American continent. The earlier work, consisting of GLACIER, THE YELLOWSTONE FIRES, ARCHES, and ZION, spanned some twenty years of my composing life, and since the pieces called for differing groups of instruments, and were in slightly different styles from each other, I never considered them to be connected except in their subject matter. In their depiction of both the scenery and the human history within these wondrous places, they had a common goal: awaking the listener to the fragile beauty that is in them; and calling attention to the ever more crucial need for preservation and protection of these wild places, unique in all the world. With this new work, commissioned by a consortium of college and conservatory wind ensembles led by the University of Georgia, I decided to build upon that same model---but to solidify the process. The result, consisting of three movements (each named for a different national park in the eastern US), is a bona-fide symphony. While the three pieces could be performed separately, they share a musical theme---and also a common style and instrumentation. It is a true symphony, in that the first movement is long and expository, the second is a rather tightly structured scherzo-with-trio, and the finale is a true culmination of the whole. The first movement, Everglades, was the original inspiration for the entire symphony. Conceived over the course of two trips to that astonishing place (which the native Americans called River of Grass, the subtitle of this movement), this movement not only conveys a sense of the humid, lush, and even frightening scenery there---but also an overview of the entire settling-of- Florida experience. It contains not one, but two native American chants, and also presents a view of the staggering influence of modern man on this fragile part of the world. Beginning with a slow unfolding marked Heavy, humid, the music soon presents a gentle, lyrical theme in the solo alto saxophone. This theme, which goes through three expansive phrases with breaks in between, will appear in all three movements of the symphony. After the mood has been established, the music opens up to a rich, warm setting of a Cherokee morning song, with the simple happiness that this part of Florida must have had prior to the nineteenth century. This music, enveloping and comforting, gradually gives way to a more frenetic, driven section representative of the intrusion of the white man. Since Florida was populated and developed largely due to the introduction of a train system, there's a suggestion of the mechanized iron horse driving straight into the heartland. At that point, the native Americans become considerably less gentle, and a second chant seems to stand in the way of the intruder; a kind of warning song. The second part of this movement shows us the great swampy center of the peninsula, with its wildlife both in and out of the water. A new theme appears, sad but noble, suggesting that this land is precious and must be protected by all the people who inhabit it. At length, the morning song reappears in all its splendor, until the sunset---with one last iteration of the warning song in the solo piccolo. Functioning as a scherzo, the second movement, Great Smoky Mountains, describes not just that huge park itself, but one brave soul's attempt to climb a mountain there. It begins with three iterations of the UR-theme (which began the first movement as well), but this time as up-tempo brass fanfares in octaves. Each time it begins again, the theme is a little slower and less confident than the previous time---almost as though the hiker were becoming aware of the daunting mountain before him. But then, a steady, quick-pulsed ostinato appears, in a constantly shifting meter system of 2/4- 3/4 in alteration, and the hike has begun. Over this, a slower new melody appears, as the trek up the mountain progresses. It's a big mountain, and the ascent seems to take quite awhile, with little breaks in the hiker's stride, until at length he simply must stop and rest. An oboe solo, over several free cadenza-like measures, allows us (and our friend the hiker) to catch our breath, and also to view in the distance the rocky peak before us. The goal is somehow even more daunting than at first, being closer and thus more frighteningly steep. When we do push off again, it's at a slower pace, and with more careful attention to our footholds as we trek over broken rocks. Tantalizing little views of the valley at every switchback make our determination even stronger. Finally, we burst through a stand of pines and----we're at the summit! The immensity of the view is overwhelming, and ultimately humbling. A brief coda, while we sit dazed on the rocks, ends the movement in a feeling of triumph. The final movement, Acadia, is also about a trip. In the summer of 2014, I took a sailing trip with a dear friend from North Haven, Maine, to the southern coast of Mt. Desert Island in Acadia National Park. The experience left me both exuberant and exhausted, with an appreciation for the ocean that I hadn't had previously. The approach to Acadia National Park by water, too, was thrilling: like the difference between climbing a mountain on foot with riding up on a ski-lift, I felt I'd earned the right to be there. The music for this movement is entirely based on the opening UR-theme. There's a sense of the water and the mysterious, quiet deep from the very beginning, with seagulls and bell buoys setting the scene. As we leave the harbor, the theme (in a canon between solo euphonium and tuba) almost seems as if large subaquatic animals are observing our departure. There are three themes (call them A, B and C) in this seafaring journey---but they are all based on the UR theme, in its original form with octaves displaced, in an upside-down form, and in a backwards version as well. (The ocean, while appearing to be unchanging, is always changing.) We move out into the main channel (A), passing several islands (B), until we reach the long draw that parallels the coastline called Eggemoggin Reach, and a sudden burst of new speed (C). Things suddenly stop, as if the wind had died, and we have a vision: is that really Mt. Desert Island we can see off the port bow, vaguely in the distance? A chorale of saxophones seems to suggest that. We push off anew as the chorale ends, and go through all three themes again---but in different instrumentations, and different keys. At the final tack-turn, there it is, for real: Mt. Desert Island, big as life. We've made it. As we pull into the harbor, where we'll secure the boat for the night, there's a feeling of achievement. Our whale and dolphin friends return, and we end our journey with gratitude and celebration. I am profoundly grateful to Jaclyn Hartenberger, Professor of Conducting at the University of Georgia, for leading the consortium which provided the commissioning of this work. $39.99 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Great Smoky Mountains [Score] Theodore Presser Co.
Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clar...(+)
Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clarinet 3, Contrabass Clarinet, Contrabassoon, Double Bass, English Horn, Euphonium, Flute 1, Flute 2, Horn 1, Horn 2, Horn 3, Horn 4, Oboe 1, Oboe 2, Percussion 1 and more. SKU: PR.16500102F Mvt. 2 from Symphony No. 6 (Three Places in the East). Composed by Dan Welcher. Full score. 52 pages. Theodore Presser Company #165-00102F. Published by Theodore Presser Company (PR.16500102F). ISBN 9781491131749. UPC: 680160680276. Ever since the success of my series of wind ensemble works Places in the West, I've been wanting to write a companion piece for national parks on the other side of the north American continent. The earlier work, consisting of GLACIER, THE YELLOWSTONE FIRES, ARCHES, and ZION, spanned some twenty years of my composing life, and since the pieces called for differing groups of instruments, and were in slightly different styles from each other, I never considered them to be connected except in their subject matter. In their depiction of both the scenery and the human history within these wondrous places, they had a common goal: awaking the listener to the fragile beauty that is in them; and calling attention to the ever more crucial need for preservation and protection of these wild places, unique in all the world. With this new work, commissioned by a consortium of college and conservatory wind ensembles led by the University of Georgia, I decided to build upon that same model---but to solidify the process. The result, consisting of three movements (each named for a different national park in the eastern US), is a bona-fide symphony. While the three pieces could be performed separately, they share a musical theme---and also a common style and instrumentation. It is a true symphony, in that the first movement is long and expository, the second is a rather tightly structured scherzo-with-trio, and the finale is a true culmination of the whole. The first movement, Everglades, was the original inspiration for the entire symphony. Conceived over the course of two trips to that astonishing place (which the native Americans called River of Grass, the subtitle of this movement), this movement not only conveys a sense of the humid, lush, and even frightening scenery there---but also an overview of the entire settling-of- Florida experience. It contains not one, but two native American chants, and also presents a view of the staggering influence of modern man on this fragile part of the world. Beginning with a slow unfolding marked Heavy, humid, the music soon presents a gentle, lyrical theme in the solo alto saxophone. This theme, which goes through three expansive phrases with breaks in between, will appear in all three movements of the symphony. After the mood has been established, the music opens up to a rich, warm setting of a Cherokee morning song, with the simple happiness that this part of Florida must have had prior to the nineteenth century. This music, enveloping and comforting, gradually gives way to a more frenetic, driven section representative of the intrusion of the white man. Since Florida was populated and developed largely due to the introduction of a train system, there's a suggestion of the mechanized iron horse driving straight into the heartland. At that point, the native Americans become considerably less gentle, and a second chant seems to stand in the way of the intruder; a kind of warning song. The second part of this movement shows us the great swampy center of the peninsula, with its wildlife both in and out of the water. A new theme appears, sad but noble, suggesting that this land is precious and must be protected by all the people who inhabit it. At length, the morning song reappears in all its splendor, until the sunset---with one last iteration of the warning song in the solo piccolo. Functioning as a scherzo, the second movement, Great Smoky Mountains, describes not just that huge park itself, but one brave soul's attempt to climb a mountain there. It begins with three iterations of the UR-theme (which began the first movement as well), but this time as up-tempo brass fanfares in octaves. Each time it begins again, the theme is a little slower and less confident than the previous time---almost as though the hiker were becoming aware of the daunting mountain before him. But then, a steady, quick-pulsed ostinato appears, in a constantly shifting meter system of 2/4- 3/4 in alteration, and the hike has begun. Over this, a slower new melody appears, as the trek up the mountain progresses. It's a big mountain, and the ascent seems to take quite awhile, with little breaks in the hiker's stride, until at length he simply must stop and rest. An oboe solo, over several free cadenza-like measures, allows us (and our friend the hiker) to catch our breath, and also to view in the distance the rocky peak before us. The goal is somehow even more daunting than at first, being closer and thus more frighteningly steep. When we do push off again, it's at a slower pace, and with more careful attention to our footholds as we trek over broken rocks. Tantalizing little views of the valley at every switchback make our determination even stronger. Finally, we burst through a stand of pines and----we're at the summit! The immensity of the view is overwhelming, and ultimately humbling. A brief coda, while we sit dazed on the rocks, ends the movement in a feeling of triumph. The final movement, Acadia, is also about a trip. In the summer of 2014, I took a sailing trip with a dear friend from North Haven, Maine, to the southern coast of Mt. Desert Island in Acadia National Park. The experience left me both exuberant and exhausted, with an appreciation for the ocean that I hadn't had previously. The approach to Acadia National Park by water, too, was thrilling: like the difference between climbing a mountain on foot with riding up on a ski-lift, I felt I'd earned the right to be there. The music for this movement is entirely based on the opening UR-theme. There's a sense of the water and the mysterious, quiet deep from the very beginning, with seagulls and bell buoys setting the scene. As we leave the harbor, the theme (in a canon between solo euphonium and tuba) almost seems as if large subaquatic animals are observing our departure. There are three themes (call them A, B and C) in this seafaring journey---but they are all based on the UR theme, in its original form with octaves displaced, in an upside-down form, and in a backwards version as well. (The ocean, while appearing to be unchanging, is always changing.) We move out into the main channel (A), passing several islands (B), until we reach the long draw that parallels the coastline called Eggemoggin Reach, and a sudden burst of new speed (C). Things suddenly stop, as if the wind had died, and we have a vision: is that really Mt. Desert Island we can see off the port bow, vaguely in the distance? A chorale of saxophones seems to suggest that. We push off anew as the chorale ends, and go through all three themes again---but in different instrumentations, and different keys. At the final tack-turn, there it is, for real: Mt. Desert Island, big as life. We've made it. As we pull into the harbor, where we'll secure the boat for the night, there's a feeling of achievement. Our whale and dolphin friends return, and we end our journey with gratitude and celebration. I am profoundly grateful to Jaclyn Hartenberger, Professor of Conducting at the University of Georgia, for leading the consortium which provided the commissioning of this work. $36.99 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Everglades (River of Grass) [Score] Theodore Presser Co.
Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clar...(+)
Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clarinet 3, Contrabass Clarinet, Contrabassoon, Double Bass, English Horn, Euphonium, Flute 1, Flute 2, Horn 1, Horn 2, Horn 3, Horn 4, Oboe 1, Oboe 2, Percussion 1 and more. SKU: PR.16500101F Mvt. 1 from Symphony No. 6 (Three Places in the East). Composed by Dan Welcher. Full score. 52 pages. Theodore Presser Company #165-00101F. Published by Theodore Presser Company (PR.16500101F). ISBN 9781491131725. UPC: 680160680252. Ever since the success of my series of wind ensemble works Places in the West, I've been wanting to write a companion piece for national parks on the other side of the north American continent. The earlier work, consisting of GLACIER, THE YELLOWSTONE FIRES, ARCHES, and ZION, spanned some twenty years of my composing life, and since the pieces called for differing groups of instruments, and were in slightly different styles from each other, I never considered them to be connected except in their subject matter. In their depiction of both the scenery and the human history within these wondrous places, they had a common goal: awaking the listener to the fragile beauty that is in them; and calling attention to the ever more crucial need for preservation and protection of these wild places, unique in all the world. With this new work, commissioned by a consortium of college and conservatory wind ensembles led by the University of Georgia, I decided to build upon that same model---but to solidify the process. The result, consisting of three movements (each named for a different national park in the eastern US), is a bona-fide symphony. While the three pieces could be performed separately, they share a musical theme---and also a common style and instrumentation. It is a true symphony, in that the first movement is long and expository, the second is a rather tightly structured scherzo-with-trio, and the finale is a true culmination of the whole. The first movement, Everglades, was the original inspiration for the entire symphony. Conceived over the course of two trips to that astonishing place (which the native Americans called River of Grass, the subtitle of this movement), this movement not only conveys a sense of the humid, lush, and even frightening scenery there---but also an overview of the entire settling-of- Florida experience. It contains not one, but two native American chants, and also presents a view of the staggering influence of modern man on this fragile part of the world. Beginning with a slow unfolding marked Heavy, humid, the music soon presents a gentle, lyrical theme in the solo alto saxophone. This theme, which goes through three expansive phrases with breaks in between, will appear in all three movements of the symphony. After the mood has been established, the music opens up to a rich, warm setting of a Cherokee morning song, with the simple happiness that this part of Florida must have had prior to the nineteenth century. This music, enveloping and comforting, gradually gives way to a more frenetic, driven section representative of the intrusion of the white man. Since Florida was populated and developed largely due to the introduction of a train system, there's a suggestion of the mechanized iron horse driving straight into the heartland. At that point, the native Americans become considerably less gentle, and a second chant seems to stand in the way of the intruder; a kind of warning song. The second part of this movement shows us the great swampy center of the peninsula, with its wildlife both in and out of the water. A new theme appears, sad but noble, suggesting that this land is precious and must be protected by all the people who inhabit it. At length, the morning song reappears in all its splendor, until the sunset---with one last iteration of the warning song in the solo piccolo. Functioning as a scherzo, the second movement, Great Smoky Mountains, describes not just that huge park itself, but one brave soul's attempt to climb a mountain there. It begins with three iterations of the UR-theme (which began the first movement as well), but this time as up-tempo brass fanfares in octaves. Each time it begins again, the theme is a little slower and less confident than the previous time---almost as though the hiker were becoming aware of the daunting mountain before him. But then, a steady, quick-pulsed ostinato appears, in a constantly shifting meter system of 2/4- 3/4 in alteration, and the hike has begun. Over this, a slower new melody appears, as the trek up the mountain progresses. It's a big mountain, and the ascent seems to take quite awhile, with little breaks in the hiker's stride, until at length he simply must stop and rest. An oboe solo, over several free cadenza-like measures, allows us (and our friend the hiker) to catch our breath, and also to view in the distance the rocky peak before us. The goal is somehow even more daunting than at first, being closer and thus more frighteningly steep. When we do push off again, it's at a slower pace, and with more careful attention to our footholds as we trek over broken rocks. Tantalizing little views of the valley at every switchback make our determination even stronger. Finally, we burst through a stand of pines and----we're at the summit! The immensity of the view is overwhelming, and ultimately humbling. A brief coda, while we sit dazed on the rocks, ends the movement in a feeling of triumph. The final movement, Acadia, is also about a trip. In the summer of 2014, I took a sailing trip with a dear friend from North Haven, Maine, to the southern coast of Mt. Desert Island in Acadia National Park. The experience left me both exuberant and exhausted, with an appreciation for the ocean that I hadn't had previously. The approach to Acadia National Park by water, too, was thrilling: like the difference between climbing a mountain on foot with riding up on a ski-lift, I felt I'd earned the right to be there. The music for this movement is entirely based on the opening UR-theme. There's a sense of the water and the mysterious, quiet deep from the very beginning, with seagulls and bell buoys setting the scene. As we leave the harbor, the theme (in a canon between solo euphonium and tuba) almost seems as if large subaquatic animals are observing our departure. There are three themes (call them A, B and C) in this seafaring journey---but they are all based on the UR theme, in its original form with octaves displaced, in an upside-down form, and in a backwards version as well. (The ocean, while appearing to be unchanging, is always changing.) We move out into the main channel (A), passing several islands (B), until we reach the long draw that parallels the coastline called Eggemoggin Reach, and a sudden burst of new speed (C). Things suddenly stop, as if the wind had died, and we have a vision: is that really Mt. Desert Island we can see off the port bow, vaguely in the distance? A chorale of saxophones seems to suggest that. We push off anew as the chorale ends, and go through all three themes again---but in different instrumentations, and different keys. At the final tack-turn, there it is, for real: Mt. Desert Island, big as life. We've made it. As we pull into the harbor, where we'll secure the boat for the night, there's a feeling of achievement. Our whale and dolphin friends return, and we end our journey with gratitude and celebration. I am profoundly grateful to Jaclyn Hartenberger, Professor of Conducting at the University of Georgia, for leading the consortium which provided the commissioning of this work. $36.99 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Along the Western Trail Concert band [Score] - Beginner Belwin
Concert Band - Grade 1 SKU: AP.BD9813C Featuring: Sweet Betsy from Pik...(+)
Concert Band - Grade 1 SKU: AP.BD9813C Featuring: Sweet Betsy from Pike / The Streets of Laredo / The Lone Prairie / Little Brown Jug. Arranged by James D. Ployhar. Concert Band; Performance Music Ensemble; Single Titles. Belwin Beginning Band. Folk. Score. 12 pages. Duration 2:04. Belwin Music #00-BD9813C. Published by Belwin Music (AP.BD9813C). UPC: 029156908343. English. From radio to motion pictures to television, all have glamorized what we know as The Wild West, but the folk songs from that era have lived on in an unaltered state. They tell stories of the lives, loves, and losses of the brave souls who ventured into a then uncharted landscape. Here is a musical salute to that time and its people, featuring SWEET BETSY FROM PIKE, THE STREETS OF LAREDO, THE LONE PRAIRIE, and LITTLE BROWN JUG. Head 'em up and move 'em out! (2:04). $8.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Along the Western Trail Concert band - Beginner Belwin
Concert Band - Grade 1 SKU: AP.BD9813 Featuring: Sweet Betsy from Pike...(+)
Concert Band - Grade 1 SKU: AP.BD9813 Featuring: Sweet Betsy from Pike / The Streets of Laredo / The Lone Prairie / Little Brown Jug. Arranged by James D. Ployhar. Concert Band; Performance Music Ensemble; Single Titles. Belwin Beginning Band. Folk. Score and Part(s). 126 pages. Duration 2:04. Belwin Music #00-BD9813. Published by Belwin Music (AP.BD9813). UPC: 029156908336. English. From radio to motion pictures to television, all have glamorized what we know as The Wild West, but the folk songs from that era have lived on in an unaltered state. They tell stories of the lives, loves, and losses of the brave souls who ventured into a then uncharted landscape. Here is a musical salute to that time and its people, featuring SWEET BETSY FROM PIKE, THE STREETS OF LAREDO, THE LONE PRAIRIE, and LITTLE BROWN JUG. Head 'em up and move 'em out! (2:04). $55.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Symphony No. 6 [Score] Theodore Presser Co.
Band SKU: PR.16500104F Three Places in the East. Composed by Dan W...(+)
Band SKU: PR.16500104F Three Places in the East. Composed by Dan Welcher. Full score. Theodore Presser Company #165-00104F. Published by Theodore Presser Company (PR.16500104F). ISBN 9781491132159. UPC: 680160681082. Ever since the success of my series of wind ensemble works Places in the West, I've been wanting to write a companion piece for national parks on the other side of the north American continent. The earlier work, consisting of GLACIER, THE YELLOWSTONE FIRES, ARCHES, and ZION, spanned some twenty years of my composing life, and since the pieces called for differing groups of instruments, and were in slightly different styles from each other, I never considered them to be connected except in their subject matter. In their depiction of both the scenery and the human history within these wondrous places, they had a common goal: awaking the listener to the fragile beauty that is in them; and calling attention to the ever more crucial need for preservation and protection of these wild places, unique in all the world. With this new work, commissioned by a consortium of college and conservatory wind ensembles led by the University of Georgia, I decided to build upon that same model---but to solidify the process. The result, consisting of three movements (each named for a different national park in the eastern US), is a bona-fide symphony. While the three pieces could be performed separately, they share a musical theme---and also a common style and instrumentation. It is a true symphony, in that the first movement is long and expository, the second is a rather tightly structured scherzo-with-trio, and the finale is a true culmination of the whole. The first movement, Everglades, was the original inspiration for the entire symphony. Conceived over the course of two trips to that astonishing place (which the native Americans called River of Grass, the subtitle of this movement), this movement not only conveys a sense of the humid, lush, and even frightening scenery there---but also an overview of the entire settling-of- Florida experience. It contains not one, but two native American chants, and also presents a view of the staggering influence of modern man on this fragile part of the world. Beginning with a slow unfolding marked Heavy, humid, the music soon presents a gentle, lyrical theme in the solo alto saxophone. This theme, which goes through three expansive phrases with breaks in between, will appear in all three movements of the symphony. After the mood has been established, the music opens up to a rich, warm setting of a Cherokee morning song, with the simple happiness that this part of Florida must have had prior to the nineteenth century. This music, enveloping and comforting, gradually gives way to a more frenetic, driven section representative of the intrusion of the white man. Since Florida was populated and developed largely due to the introduction of a train system, there's a suggestion of the mechanized iron horse driving straight into the heartland. At that point, the native Americans become considerably less gentle, and a second chant seems to stand in the way of the intruder; a kind of warning song. The second part of this movement shows us the great swampy center of the peninsula, with its wildlife both in and out of the water. A new theme appears, sad but noble, suggesting that this land is precious and must be protected by all the people who inhabit it. At length, the morning song reappears in all its splendor, until the sunset---with one last iteration of the warning song in the solo piccolo. Functioning as a scherzo, the second movement, Great Smoky Mountains, describes not just that huge park itself, but one brave soul's attempt to climb a mountain there. It begins with three iterations of the UR-theme (which began the first movement as well), but this time as up-tempo brass fanfares in octaves. Each time it begins again, the theme is a little slower and less confident than the previous time---almost as though the hiker were becoming aware of the daunting mountain before him. But then, a steady, quick-pulsed ostinato appears, in a constantly shifting meter system of 2/4- 3/4 in alteration, and the hike has begun. Over this, a slower new melody appears, as the trek up the mountain progresses. It's a big mountain, and the ascent seems to take quite awhile, with little breaks in the hiker's stride, until at length he simply must stop and rest. An oboe solo, over several free cadenza-like measures, allows us (and our friend the hiker) to catch our breath, and also to view in the distance the rocky peak before us. The goal is somehow even more daunting than at first, being closer and thus more frighteningly steep. When we do push off again, it's at a slower pace, and with more careful attention to our footholds as we trek over broken rocks. Tantalizing little views of the valley at every switchback make our determination even stronger. Finally, we burst through a stand of pines and----we're at the summit! The immensity of the view is overwhelming, and ultimately humbling. A brief coda, while we sit dazed on the rocks, ends the movement in a feeling of triumph. The final movement, Acadia, is also about a trip. In the summer of 2014, I took a sailing trip with a dear friend from North Haven, Maine, to the southern coast of Mt. Desert Island in Acadia National Park. The experience left me both exuberant and exhausted, with an appreciation for the ocean that I hadn't had previously. The approach to Acadia National Park by water, too, was thrilling: like the difference between climbing a mountain on foot with riding up on a ski-lift, I felt I'd earned the right to be there. The music for this movement is entirely based on the opening UR-theme. There's a sense of the water and the mysterious, quiet deep from the very beginning, with seagulls and bell buoys setting the scene. As we leave the harbor, the theme (in a canon between solo euphonium and tuba) almost seems as if large subaquatic animals are observing our departure. There are three themes (call them A, B and C) in this seafaring journey---but they are all based on the UR theme, in its original form with octaves displaced, in an upside-down form, and in a backwards version as well. (The ocean, while appearing to be unchanging, is always changing.) We move out into the main channel (A), passing several islands (B), until we reach the long draw that parallels the coastline called Eggemoggin Reach, and a sudden burst of new speed (C). Things suddenly stop, as if the wind had died, and we have a vision: is that really Mt. Desert Island we can see off the port bow, vaguely in the distance? A chorale of saxophones seems to suggest that. We push off anew as the chorale ends, and go through all three themes again---but in different instrumentations, and different keys. At the final tack-turn, there it is, for real: Mt. Desert Island, big as life. We've made it. As we pull into the harbor, where we'll secure the boat for the night, there's a feeling of achievement. Our whale and dolphin friends return, and we end our journey with gratitude and celebration. I am profoundly grateful to Jaclyn Hartenberger, Professor of Conducting at the University of Georgia, for leading the consortium which provided the commissioning of this work. $90.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| O Say, Can You See Choral CD Alfred Publishing
Choir Secular SKU: AP.47582 Composed by Ruth Morris Gray. This edition: S...(+)
Choir Secular SKU: AP.47582 Composed by Ruth Morris Gray. This edition: SoundTrax CD. Choral Octavo; Performance Music Ensemble; Single Titles. Alfred Choral Designs. 4th of July; Patriotic; Secular. CD. Alfred Music #00-47582. Published by Alfred Music (AP.47582). UPC: 038081542751. English. Francis Scott Key. Program this moving patriotic piece to celebrate our country at any time of year. An all-new original melody and a shimmering accompaniment beautifully highlight Francis Scott Key's words from The Star-Spangled Banner. Toward the end, a lush musical quote from the national anthem blossoms into a final glorious refrain, a soaring penultimate cadence, and one last introspective accolade for the brave! $27.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| O Say, Can You See Choral SATB Alfred Publishing
Choir Secular (SATB choir) SKU: AP.47579 Composed by Ruth Morris Gray. Pe...(+)
Choir Secular (SATB choir) SKU: AP.47579 Composed by Ruth Morris Gray. Performance Music Ensemble; Single Titles. Alfred Choral Designs. 4th of July; Patriotic; Secular. Choral Octavo. 12 pages. Alfred Music #00-47579. Published by Alfred Music (AP.47579). UPC: 038081542720. English. Francis Scott Key. Program this moving patriotic piece to celebrate our country at any time of year. An all-new original melody and a shimmering accompaniment beautifully highlight Francis Scott Key's words from The Star-Spangled Banner. Toward the end, a lush musical quote from the national anthem blossoms into a final glorious refrain, a soaring penultimate cadence, and one last introspective accolade for the brave! $2.05 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| O Say, Can You See Choral 3-part SAB Alfred Publishing
Choir Secular (SAB choir/3-Part choir Mixed) SKU: AP.47580 Composed by Ru...(+)
Choir Secular (SAB choir/3-Part choir Mixed) SKU: AP.47580 Composed by Ruth Morris Gray. Performance Music Ensemble; Single Titles. Alfred Choral Designs. 4th of July; Patriotic; Secular. Choral Octavo. 12 pages. Alfred Music #00-47580. Published by Alfred Music (AP.47580). UPC: 038081542737. English. Francis Scott Key. Program this moving patriotic piece to celebrate our country at any time of year. An all-new original melody and a shimmering accompaniment beautifully highlight Francis Scott Key's words from The Star-Spangled Banner. Toward the end, a lush musical quote from the national anthem blossoms into a final glorious refrain, a soaring penultimate cadence, and one last introspective accolade for the brave! $2.05 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| O Say, Can You See Choral 3-part TTB/TBB Alfred Publishing
Choir Secular (Men's Choir) SKU: AP.47581 Composed by Ruth Morris Gray. P...(+)
Choir Secular (Men's Choir) SKU: AP.47581 Composed by Ruth Morris Gray. Performance Music Ensemble; Single Titles. Alfred Choral Designs. 4th of July; Patriotic; Secular. Choral Octavo. 12 pages. Alfred Music #00-47581. Published by Alfred Music (AP.47581). UPC: 038081542744. English. Francis Scott Key. Program this moving patriotic piece to celebrate our country at any time of year. An all-new original melody and a shimmering accompaniment beautifully highlight Francis Scott Key's words from The Star-Spangled Banner. Toward the end, a lush musical quote from the national anthem blossoms into a final glorious refrain, a soaring penultimate cadence, and one last introspective accolade for the brave! $2.05 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Galaxy's Edge Concert band [Score] - Beginner C.L. Barnhouse
Grade 1 SKU: CL.024-4844-01 Composed by Hammonds. Young Concert Band. Ext...(+)
Grade 1 SKU: CL.024-4844-01 Composed by Hammonds. Young Concert Band. Extra full score. C.L. Barnhouse #024-4844-01. Published by C.L. Barnhouse (CL.024-4844-01). Hopeful, brave, and determined – those words describes most beginning band musicians. Your first-year players will be ready to blast across the skies with Galaxy’s Edge, a bold and adventurous work from composer Mike Hammonds. With melodies and scoring reminiscent of epic film soundtracks, young musicians will find the heroic melodic material to be inspiring as it passes through each section of the band. Give your young band a chance to ride the rocket of success with Galaxy’s Edge!. $7.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Galaxy's Edge Concert band [Score and Parts] - Beginner C.L. Barnhouse
Grade 1 SKU: CL.024-4844-00 Composed by Hammonds. Young Concert Band. Sco...(+)
Grade 1 SKU: CL.024-4844-00 Composed by Hammonds. Young Concert Band. Score and set of parts. C.L. Barnhouse #024-4844-00. Published by C.L. Barnhouse (CL.024-4844-00). Hopeful, brave, and determined – those words describes most beginning band musicians. Your first-year players will be ready to blast across the skies with Galaxy’s Edge, a bold and adventurous work from composer Mike Hammonds. With melodies and scoring reminiscent of epic film soundtracks, young musicians will find the heroic melodic material to be inspiring as it passes through each section of the band. Give your young band a chance to ride the rocket of success with Galaxy’s Edge!. $60.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| A Scottish Portrait Concert band [Score and Parts] - Intermediate C.L. Barnhouse
By James Swearingen. Concert band. Symphony Band Series. Audio recording availab...(+)
By James Swearingen. Concert band. Symphony Band Series. Audio recording available separately (item CL.WFR373). Grade 3.5. Score and set of parts. Composed 2011. Duration 5 minutes, 58 seconds. Published by C.L. Barnhouse
$76.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
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