SKU: HL.50603933
ISBN 9788759841891. UPC: 196288056959. 10.5x14.0x0.049 inches.
There is more light in this room when you are here is a fervently optimistic mood piece embodying the core themes of my song cycle The Lustful Mother. The title refers to another person - maybe a lover, child or friend - whose existence makes life more meaningful. In the first movement, the music wanders through the twilight, and the solitary recitation of the tenor sax is framed by answering sighs from the soprano and alto. In the second movement, the full quartet joins in the same hopeful song, that, endlessly swaying and discreetly circling, fills the whole space with its light. The work was commissioned by the Arcis Saxophone Quartet, to which it is dedicated.
SKU: AP.45351
UPC: 038081510910. English.
Ask me to sing, and I'll give you a part of my soul. Ask me to sing, and I feel happy and hopeful and whole. Powerful as an opener, closer, or for a combined choir concert, this inspirational contemporary musical-theater-style choral opens simply and builds to an exquisite finish. Don't miss the choreography on the Step One! DVD and at alfred.com/video.
SKU: KJ.C9305
UPC: 8402701925.
The composer of the visionary Japanese Garden now brings us a fresh take on a popular Shakespeare text. The contemporary music treatment of ABA form is stark for the 'A' sections and hopeful for the 'B' section (But my kisses bring again). Ideal for medium to advanced women's choir.
SKU: P2.30092
Composer Michael Albaugh says, The Knife of Loneliness is composed as three movements in one piece. It was originally conceived as material for a larger string trio, but it became great source material for my then neighbor, clarinetist Nathan Williams and his trio Strata when I was invited to contribute for a concert. The first section is determined and driven, reflecting the push for clarity in difficult life situations. The second section is reflective and contemplative. It is sad but hopeful with resolve to move forward which is reflected in the final section. Life provides many opportunities to overcome difficult situations - it simply takes time..
SKU: M7.ART-42173
ISBN 9783866421738.
Nach den erfolgreichen Vorgängerbänden 'Emotional Piano Ballads', 'Lovely Piano Moments' und 'Sentimental Piano Ballads' hat Michael Gundlach mit 'Modern Piano Ballads' einmal mehr eine außergewöhnliche Sammlung aus 14 wunderschönen und leicht zu erlernenden Klavierkompositionen zusammengestellt. Diese eingängigen Balladen sind eine ideale Ergänzung zum Klavierunterricht ab dem zweiten Unterrichtsjahr. Durch die modernen, aber einfachen Begleitfiguren der linken Hand, lassen sich die Stücke schnell erlernen und bereiten so viel Spielfreude! Während auf Dynamikangaben verzichtet wurde, bieten die Fingersätze und Pedalzeichen ausreichend Unterstützung beim Erarbeiten der Kompositionen. Akkordsymbole über den Takten vermitteln dem Spieler die harmonischen Zusammenhänge der Kompositionen. Mit dem optionalen Download kann zudem auf genussvolle Weise der Ausdruck und die Artikulation der Stücke nachvollzogen werden. Auch als 'Soundtrack' für unterwegs ist 'Modern Piano Ballads' eine musikalische Reise wert.
SKU: CF.YAS13F
ISBN 9780825848339. UPC: 798408048334. 8.5 X 11 inches. Key: G major.
IApart from some of his Sonatinas, Opus 36, Clementi's life and music are hardly known to the piano teachers and students of today. For example, in addition to the above mentioned Sonatinas, Clementi wrote sixty sonatas for the piano, many of them unjustly neglected, although his friend Beethoven regarded some of them very highly. Clementi also wrote symphonies (some of which he arranged as piano sonatas), a substantial number of waltzes and other dances for the piano as well as sonatas and sonatinas for piano four-hands.In addition to composing, Clementi was a much sought after piano teacher, and included among his students John Field (Father of the 'Nocturne'), and Meyerbeer.In his later years, Clementi became a very successful music publisher, publishing among other works the first English edition of Beethoven's Violin Concerto, in the great composer's own arrangement for the piano, as well as some of his string quartets. Clementi was also one of the first English piano manufacturers to make pianos with a metal frame and string them with wire.The Sonatina in C, Opus 36, No. 1 was one of six such works Clementi wrote in 1797. He must have been partial to these little pieces (for which he also provided the fingerings), since they were reissued (without the fingering) by the composer shortly after 1801. About 1820, he issued ''the sixth edition, with considerable improvements by the author;· with fingerings added and several minor changes, among which were that many of them were written an octave higher.IIIt has often been said, generally by those unhampered by the facts, that composers of the past (and, dare we add, the present?), usually handled their financial affairs with their public and publishers with a poor sense of business acumen or common sense. As a result they frequently found themselves in financial straits.Contrary to popular opinion, this was the exception rather than the rule. With the exception of Mozart and perhaps a few other composers, the majority of composers then, as now, were quite successful in their dealings with the public and their publishers, as the following examples will show.It was not unusual for 18th- and 19th-century composers to arrange some of their more popular compositions for different combinations of instruments in order to increase their availability to a larger music-playing public. Telemann, in the introduction to his seventy-two cantatas for solo voice and one melody instrument (flute, oboe or violin, with the usual continua) Der Harmonische Gottesdienst, tor example, suggests that if a singer is not available to perform a cantata the voice part could be played by another instrument. And in the introduction to his Six Concertos and Six Suites for flute, violin and continua, he named four different instrumental combinations that could perform these pieces, and actually wrote out the notes for the different possibilities. Bach arranged his violin concertos for keyboard, and Beethoven not only arranged his Piano Sonata in E Major, Opus 14, No. 1 for string quartet, he also transposed it to the key of F. Brahm's well-known Quintet in F Minor for piano and strings was his own arrangement of his earlier sonata for two pianos, also in F Minor.IIIWe come now to Clementi. It is well known that some of his sixty piano sonatas were his own arrangements of some of his lost symphonies, and that some of his rondos for piano four-hands were originally the last movements of his solo sonatas or piano trios.In order to make the first movement of his delightful Sonatina in C, Opus 36, No. 1 accessible to young string players, I have followed the example established by the composer himself by arranging and transposing one of his piano compositions from one medium (the piano) to another. (string instruments). In order to simplify the work for young string players, in the process of adapting it to the new medium it was necessary to transpose it from the original key of C to G, thereby doing away with some of the difficulties they would have encountered in the original key. The first violin and cello parts are similar to the right- and left-hand parts of the original piano version. The few changes I have made in these parts have been for the convenience of the string players, but in no way do they change the nature of the music.Since the original implied a harmonic framework in many places, I have added a second violin and viola part in such a way that they not only have interesting music to play, but also fill in some of the implied harmony without in any way detracting from the composition's musical value. Occasionally, it has been necessary to raise or lower a few passages an octave or to modify others slightly to make them more accessible for young players.It is hoped that the musical value of the composition has not been too compromised, and that students and teachers will come to enjoy this little piece in its new setting as much as pianists have in the original one. This arrangement may also be performed by a solo string quartet. When performed by a string orchestra, the double bass part may be omitted.- Douglas TownsendString editing by Amy Rosen.
About Carl Fischer Young String Orchestra Series
This series of Grade 2/Grade 2.5 pieces is designed for second and third year ensembles. The pieces in this series are characterized by:--Occasionally extending to third position--Keys carefully considered for appropriate difficulty--Addition of separate 2nd violin and viola parts--Viola T.C. part included--Increase in independence of parts over beginning levels
SKU: M7.MF-3610
ISBN 9783795716967.
Easy Charts Play-Along 10 is the latest installment of the successful series that allows up-and-coming musicians to play and enjoy hits from the charts. Including Bella Ciao by the French DJ El Profesor, the Oscar-winning song Shallow by Lady Gaga and Bradley Cooper and Shotgun by the British singer George Ezra. All arrangements are available for C, Bb and Eb instruments and can be played by a variety of instruments, such as flute, clarinet, saxophone, and trumpet.
SKU: HL.49046458
ISBN 9783795719364. UPC: 840126927788. 9.0x12.0x0.135 inches.
The most beautiful pop songs, well-known film melodies and timeless evergreens: Volume 3 of the Pop for Alto Saxophone series contains 12 easily arranged arrangements for 1-2 players with suitable playbacks for every song. Current chart hits such as shallow or high hopes stand alongside the pop classics Every Breath You Take and You CanÂ’t Hurry Love. Real sax highlights are the jazzy songs Just The Way You Are, Smooth Operator and Georgia On My Mind, which were produced in the sonorous Big Band sound.
SKU: AP.37819S
UPC: 038081438474. English.
A mother's love is boundless, never-ending, gentle, and caressing. Written upon the passing of the composer's mother, this composition opens with a pure and simple melodic statement that later opens into the warmth of the full ensemble sound, much like the comfort of a mother's embrace. The opening interval of the minor third is often heard by a child calling mom-my, and the piece closes with the bells playing this motive. The composer dedicates this piece to the memory of his mother, who always believed in his hopes and dreams.
SKU: PR.114422590
ISBN 9781491134771. UPC: 680160685493.
Chen Yi describes the cheery interplay of HAPPY TUNE as one instrument playing a lively melody, while the other plays a vivid rhythmic pattern as accompaniment. The pair of instruments imitates primitive Chinese folk song singing, as well as the traditional wind instrument sheng, a mouth pipe organ. One of the composer’s favorite themes to develop for different textures, HAPPY TUNE is a variant from Chen Yi’s Three Bagatelles from China West, both versions appearing in several scorings.Composed to celebrate the 25th Anniversary of the Great Lakes Chamber Music Festival, HAPPY TUNE was originally written as a violin/viola duet for Kim Kashkashian and Tien-Hsin Cindy Wu, and premiered at the festival on June 16, 2018. The flute/cello adaptation was created in 2021.I fondly remember being invited by the GLCMF (directed by Prof. James Tocco) to be the dual Stone Composers-in-Residence with my husband Zhou Long, along with the Stone Composer Fellow Nicholas Omiccioli in 2011. We had a dozen of our chamber works performed excellently by the outstanding chamber ensembles and musicians during the week, meeting enthusiastic audiences and supporters of new music in various venues at the festival. The experience was truly inspiring, and I created HAPPY TUNE to honor the GLCMF, with hopes to carry on the high spirit in our new music society.In this duet, when one instrument plays a lively melody, the other plays a vivid rhythmic pattern in the accompaniment. The pair of string instruments imitates the sound of primitive Chinese folk song singing, as well as the Chinese traditional wind instrument sheng, a mouth pipe organ.
SKU: PR.UE036417
UPC: 803452072812.
Listening to an airtight, professional brass band like Marshall Cooper can be daunting for musicians interested in entering the realm of jazz and popular music performance. Manuel Hilleke, band leader/arranger/composer, presents Groove Trumpet in hopes of making that entry a bit easier. My aim is to use simple song and groove forms to introduce players to the basics of pop and jazz trumpet, along with section playing, articulation and phrasing techniques, soloing and improvisation. Eleven intermediate-level pieces in various styles are annotated with tips and tricks, and the audio CD includes live recordings of the Marshall Cooper brass band for play-along. Experimentation and improvisation is encouraged. Groove Trumpet is especially helpful for classical musicians who want to cross over.
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