Unison choir/voices, 2-part equal voices, 2-part mixed - Early intermediate

SKU: GI.G-4651S

Unison and Two-Part Vocal Etudes. Composed by Joseph Reiser. Children. Music Education. Book. 32 pages. GIA Publications #4651S. Published by GIA Publications (GI.G-4651S).

English. Text by Joseph Reiser.

Fresh on the heels of Poly-Phonics is this new collection of vocal etudes, especially suited to the younger student. These 15 delightful and creative pieces will help you teach concepts of meter, rhythm, solfege, syncopation, and more. Songs such as “I Just Want to Tell You,” “I’m Gonna Sing a Lotta Do,” “How Many Times Can You Sing One Note?” and “Sail with Me” provide a context for music learning and fun at the same time. These etudes can be an integral part of early musical training and lead to a lifetime of musical enjoyment.

Six original pieces for one piano, four hands. Composed by Joyce Grill. Duet or Duo; Piano Duet (1 Piano, 4 Hands); Solo Small Ensembles. Book. 24 pages. Alfred Music #00-EL9818A. Published by Alfred Music

Band Bass Clarinet, Bass Drum, Bass Trombone, Bassoon, Bells, Clarinet 1, Clarinet 2, Crash Cymbals, Euphonium, Euphonium T.C., Flute 1, Flute 2, Horn, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Snare Drum, Timpani, Trombone, Trumpet 1 and more. - Grade 1

SKU: CF.BPS137

Composed by Michael Boo. Folio. Bps. Set of Score and Parts. 4+4+2+4+4+2+2+3+2+2+2+4+4+3+2+2+2+3+1+1+2+1+16 pages. Duration 2:20. Carl Fischer Music #BPS137. Published by Carl Fischer Music (CF.BPS137).

ISBN 9781491158487. UPC: 680160917082. 9 x 12 inches.

Fanfare and Jubilation is a Grade 1 work that is playable by any beginning band with any instrumentation due to extensive doubling. The mood is regal and optimistic and is non-programmatic, conveying no picturesque image or storyline. It is appropriate for any occasion. Accents are to be emphasized more than non-accented notes, but are not to be hammered hard. Stress that accented notes are to be played with the same good tone as the other notes and that pitches should not suffer from the additional emphasis. Think of the accents as more of an additional emphasis from the air column and not the tongue. Percussion accents are to played with more emphasis than non-accented notes, but shouldnat be perceived as being much louder. Timpani is only two pitches and is optional. The piece will not suffer at all if you donat have access to Timpani or a timpanist. Bells cover a wide rangea|the lower octave sections should not be played louder just because theyare low pitched, as those notes will still be appropriately heard while supporting the melody. Do not use brass mallets. Balter 10 Phenolic mallets or equivalent (such as clear Balter Lexan or white Medium Hard Poly models) are most appropriate. Think of the m. 10 accented quarter notes tied to the half notes (and similar later examples) as being akin to Horn rips in a Hollywood movie. They are to be emphasized slightly but should not be blaring. Even though they are the only things happening on counts 2 and 3, care must be given that the young players donat get carried away and give them more emphasis than is musically desired. At m. 21, be careful that the bass line isnat plodding or over-emphasized due to the accents. Those players should be aware of the sudden drop in volume and lack of accents at m. 25. Attention to sudden dynamic shifts will add interest to the piece and present a more musical performance. Throughout this entire section, try to get all winds to sustain a single breath through four bars until the breath marks. If they are unable to do so, please explain the concept of staggered breathing between members of their section. There may be a tendency among the players to blast out m. 57 to the end. Notes should have more power than the section from mm. 21-56, but are still to be approached musically. Explaining such concepts during their early musical development will go far in helping them develop good traits that will pay off dividends in the future.
Fanfare and Jubilation is a Grade 1 work that is playable by any beginning band with any instrumentation due to extensive doubling. The mood is regal and optimistic and is non-programmatic, conveying no picturesque image or storyline. It is appropriate for any occasion. Accents are to be emphasized more than non-accented notes, but are not to be hammered hard. Stress that accented notes are to be played with the same good tone as the other notes and that pitches should not suffer from the additional emphasis. Think of the accents as more of an additional emphasis from the air column and not the tongue. Percussion accents are to played with more emphasis than non-accented notes, but shouldn't be perceived as being much louder. Timpani is only two pitches and is optional. The piece will not suffer at all if you don't have access to Timpani or a timpanist. Bells cover a wide range...the lower octave sections should not be played louder just because they're low pitched, as those notes will still be appropriately heard while supporting the melody. Do not use brass mallets. Balter 10 Phenolic mallets or equivalent (such as clear Balter Lexan or white Medium Hard Poly models) are most appropriate. Think of the m. 10 accented quarter notes tied to the half notes (and similar later examples) as being akin to Horn rips in a Hollywood movie. They are to be emphasized slightly but should not be blaring. Even though they are the only things happening on counts 2 and 3, care must be given that the young players don't get carried away and give them more emphasis than is musically desired. At m. 21, be careful that the bass line isn't plodding or over-emphasized due to the accents. Those players should be aware of the sudden drop in volume and lack of accents at m. 25. Attention to sudden dynamic shifts will add interest to the piece and present a more musical performance. Throughout this entire section, try to get all winds to sustain a single breath through four bars until the breath marks. If they are unable to do so, please explain the concept of staggered breathing between members of their section. There may be a tendency among the players to blast out m. 57 to the end. Notes should have more power than the section from mm. 21-56, but are still to be approached musically. Explaining such concepts during their early musical development will go far in helping them develop good traits that will pay off dividends in the future.
Fanfare and Jubilation is a Grade 1 work that is playable by any beginning band with any instrumentation due to extensive doubling. The mood is regal and optimistic and is non-programmatic, conveying no picturesque image or storyline. It is appropriate for any occasion.Accents are to be emphasized more than non-accented notes, but are not to be hammered hard. Stress that accented notes are to be played with the same good tone as the other notes and that pitches should not suffer from the additional emphasis. Think of the accents as more of an additional emphasis from the air column and not the tongue.Percussion accents are to played with more emphasis than non-accented notes, but shouldn’t be perceived as being much louder. Timpani is only two pitches and is optional. The piece will not suffer at all if you don’t have access to Timpani or a timpanist. Bells cover a wide range…the lower octave sections should not be played louder just because they’re low pitched, as those notes will still be appropriately heard while supporting the melody. Do not use brass mallets. Balter 10 Phenolic mallets or equivalent (such as clear Balter Lexan or white Medium Hard Poly models) are most appropriate.Think of the m. 10 accented quarter notes tied to the half notes (and similar later examples) as being akin to Horn rips in a Hollywood movie. They are to be emphasized slightly but should not be blaring. Even though they are the only things happening on counts 2 and 3, care must be given that the young players don’t get carried away and give them more emphasis than is musically desired.At m. 21, be careful that the bass line isn’t plodding or over-emphasized due to the accents. Those players should be aware of the sudden drop in volume and lack of accents at m. 25. Attention to sudden dynamic shifts will add interest to the piece and present a more musical performance. Throughout this entire section, try to get all winds to sustain a single breath through four bars until the breath marks. If they are unable to do so, please explain the concept of staggered breathing between members of their section.There may be a tendency among the players to blast out m. 57 to the end. Notes should have more power than the section from mm. 21-56, but are still to be approached musically. Explaining such concepts during their early musical development will go far in helping them develop good traits that will pay off dividends in the future.

Chamber Music

SKU: IS.CM7397EM

Composed by Nico Schoeters. Ensembles - Chamber Music. Metropolis Music Publishers #CM7397EM. Published by Metropolis Music Publishers (IS.CM7397EM).

ISBN 9790365073979.

Nico Schoeters took his first percussion lessons with Eric Buyle in the Academy for Music and Word in Boom, near Antwerp, after getting the hang of it through private lessons by Jozef Vervliet. Afterwards he continued his music studies at the Royal Conservatory of Antwerp, where he was taught by Leo Ouderits, Carlo Willems and Koen Wilmaers. In 1998 he graduated there with great distinction as Master in percussion. After cooperating on various projects in Belgium and abroad as a freelance percussionist, Nico took up a position as a percussionist in the National Orchestra of Belgium. However, despite of all his achievements as a percussionist, Nico Schoeters didn’t take his first musical steps by playing percussion, but by playing the piano. His love for the piano remained a common thread in his musical career. For example, he played numerous gigs as a pianist with his jazz quartet ‘Just Friends, consisting of a number of top musicians who are his friends. In addition he started composing piano works in 2012. Cosmopolydian is my first composition for symphonic windband. It's a solo piece for flute and vibraphone which is dedicated to Inge Smedts, principal piccolo at the Royal Wind Band of the Belgian Guides. It is written in the context of a musical project ‘Cocktail Maison'. This project includes a concert on May 25th, 2017 in De Singel in Antwerp where this work will be premiered, a CD recording and a concert tour. All the pieces for this project are new compositions by Piet Swerts, Jef Neve, Klaas Coulembier, Etienne Houben, Bart Watté, Jan Huylebroeck, Francois Glorieux and myself. All the compositions are inspired by a cocktail. My choice is the Cosmopolitan, but the non-alcoholic version, the mocktail actually. The title Cosmopolydian is a nod to the lydian scale which I used as a base for the majority of the piece. The idea behind the music is an image of children enjoying themselves, worry-free, during the holidays. Tired but satisfied, they go to sleep and have wonderful dreams. The next day they wake up to start a beautiful new day. The work is constructed in a typical ABA form. A quick first part: ‘sparkling allegro', which of course should sound very light and playful. A slow middle part warm adagio, in which the beautiful dreams become audible. The last part is a re-exposition of the first part in which eventually all the themes merge into the final.

Fanfare Band - Grade 5

SKU: BT.DHP-0970939-020

Composed by Jan Van der Roost. Sovereign Series. Concert Piece. Set (Score & Parts). Composed 1997. De Haske Publications #DHP 0970939-020. Published by De Haske Publications (BT.DHP-0970939-020).

As the title suggests, this is a fiery and energetic, dynamic overture. Jan Van der Roost was commissioned to write the piece by the Japanese ‘Band of the NEC-Tamagawa Plant’ on the occasion of its 40th anniversary. From the first measure, the brass section sets the scene with rhythmical motives. Gradually we hear melodic and playful themes, often supported by (poly)rhythmic figures. A fermate in the trombone section prepares the way for the final theme, which virtuosically leads into a reprise of the first fanfare. The dynamic circle closes!

Wie der Titel schon sagt ist diese kraftvolle und energische Ouvertüre sehr dynamisch. Jan Van der Roost schrieb diese Komposition im Auftrag der Band of the NEC-Tamagava Plant aus Anlass des 40. jährigen Jubiläums. Das Blechbläserregister gibt vom ersten Takt an den Ton mit rhythmischen Motiven an. Allmählich hören wir melodische und spielerische Themen, die oft durch (poly)rhythmische Begleitungsfiguren unterstützt werden. Eine Femate bei den Posaunen leitet das Thema ein, das virtuos in die Reprise übergeht: der dynamische Kreis ist rund!

Orchestra String Orchestra - Grade 1.5-2

SKU: CF.FAS11

Composed by Larry Clark. FS SWS. Carl Fischer First Plus String Orchestra Series. Classical. Score and Parts. With Standard notation. 8+8+5+5+5+2+8 pages. Carl Fischer Music #FAS11. Published by Carl Fischer Music (CF.FAS11).

ISBN 9780825845048. UPC: 798408045043. 8.5 X 11 inches. Key: G major.

This outstanding original from Larry Clark can be played any time of year! A vigorous theme moves through all the sections and violas combine with second violins for prominent solo passages. A section in minor adds to the drama as strong rhythmic chords give way to a subdued tremolo in the first violins, reminiscent of Vivaldi's Winter This music reaches a level of intensity your players and audience will love.
Out of the Winter is a musical depiction of the many moods of winter from its harsh storms to its simple beauty. The composition is based on a central main theme that is musically developed throughout the composition presented in and out of major and minor keys.The main theme begins right away without introduction and is set to depict the simple delicate beauty of a light falling snow. The theme is then developed in the minor key using simple contrapuntal techniques that give the composition a fresh sound for pieces at this grade level. The aggressive development of the piece is a musical description of a powerful winter storm. The tension of this section is built to a climax using simple divisi in the strongs and some poly-chordal harmonic techniques that give way to a final return of the main theme to complete the piece.Special care should be given to exaggerating the contrast between the two diverse sections of the piece. The main theme should be light and uplifting. The second section with the theme in minor should have an ominous presence, but still be reminiscent of the original light main theme. As with all of my compositions at this grade level, adjust the tempo to fit the ability level of your students. It is hope that this piece helps to reinforce the concepts of good musicianship which you are trying to instill in your students. Bowings should be used as a guide and should be adjusted to your needs.It has been my pleasure to have had the opportunity to write this piece. I hope that you and your students find it useful for your program.

Flute, Clarinet and Oboe

SKU: HL.14043012

Composed by Hans Abrahamsen. Music Sales America. Classical. Softcover. Composed 2014. Edition Wilhelm Hansen #WH31940. Published by Edition Wilhelm Hansen (HL.14043012).

ISBN 9788759829271.

Hans Abrahamsen 's Flowersongs (2012 version) for Flute, Oboe and Clarinet. Score. 'I wrote Flowersongs for three Flutes in the spring of 1973, when I was 20 years old. Looking back now, 40 years begins to feel like a really long time and sometimes I think that it is as if someone in 1973 is talking about a piece from 1933! But in spite of this long time, this is still a very important piece for me. In Flowersongs , along with works like '10 Preludes' for String Quartet and 'Stratifications' for Orchestra, I feel that I was on my way to finding my own voice in the middle of the music of the great Central European modernist tradition from the 50s and the reaction from the 60s of thenew simplicity, minimalism and the possibility of poly-stilisme. The English title Flowersongs links to the flower power movement and the hippie culture of the 60s and the early 70s, and the work is trying to find the power inherent in this imaginary world. Many of my later works have titles in German, for example 'Winternacht' (1976/78), 'Nacht und Trumpeten' (1981) and much later 'Schnee' (2006-08). If we think of Flowersongs in German, it must be Blumenlieder, and to me it now sounds suddenly very different, more romantic and into the world of Schumann. Perhaps it is also a way in which to hear the piece? Another thing is that the correct English title is Flower Songs (as two words) and not as one word like in German or Danish. This is perhaps the German connection, as I incorrectly wrote the title as one word, but perhaps it is also a kind of naivety, which is also part of the work. I cannot help but carry with me to this day the ideas from my early works. For example, there are clear links in this work from the 8th Prelude from '10 Preludes' and to Canon 2a from 'Schnee' from 2008. This work is written for the wonderful ensemble recherche and it was meeting them that made me consider making a version of Flowersongs for Flute, Oboe and Clarinet.' - Hans Abrahamsen.

Flute [Trio-]

SKU: HL.14011531

Composed by Hans Abrahamsen. Music Sales America. Classical. Score. 20 pages. Music Sales #KP00379. Published by Music Sales (HL.14011531).

ISBN 9788759877104. 10.25x14.25x0.44 inches. Danish.

Hans Abrahamsen 's Flowersongs (1973) for three Flutes. Score. 'I wrote Flowersongs for three Flutes in the spring of 1973, when I was 20 years old. Looking back now, 40 years begins to feel like a really long time and sometimes I think that it is as if someone in 1973 is talking about a piece from 1933! But in spite of this long time, this is still a very important piece for me. In Flowersongs , along with works like '10 Preludes' for String Quartet and 'Stratifications' for Orchestra, I feel that I was on my way to finding my own voice in the middle of the music of the great Central European modernist tradition from the 50s and the reaction from the 60s of the new simplicity,minimalism and the possibility of poly-stilisme. The English title Flowersongs links to the flower power movement and the hippie culture of the 60s and the early 70s, and the work is trying to find the power inherent in this imaginary world. Many of my later works have titles in German, for example 'Winternacht' (1976/78), 'Nacht und Trumpeten' (1981) and much later 'Schnee' (2006-08). If we think of Flowersongs in German, it must be Blumenlieder, and to me it now sounds suddenly very different, more romantic and into the world of Schumann. Perhaps it is also a way in which to hear the piece? Another thing is that the correct English title is Flower Songs (as two words) and not as one word like in German or Danish. This is perhaps the German connection, as I incorrectly wrote the title as one word: but perhaps it is also a kind of naivety, which is also part of the work. I cannot help but carry with me to this day the ideas from my early works. For example, there are clear links in this work from the 8th Prelude from '10 Preludes' and to Canon 2a from 'Schnee' from 2008. This work is written for the wonderful ensemble recherche and it was meeting them that made me consider making a version of Flowersongs for Flute, Oboe and Clarinet.' - Hans Abrahamsen.

Organ

SKU: HL.14024363

Composed by F.A. Gore Ouseley. Music Sales America. Classical. Book [Softcover]. Music Sales #NOV951742. Published by Music Sales (HL.14024363).

English Romantic composer Sir Frederick Arthur Gore Ouseley's piece for organ.

By Ryan Meeboer. For Multi Percussion Ensemble. Percussion - Ensemble. Eighth Note Publications. Multicultural. 20 pages. Published by Eighth Note Publications

36 pieces with position changes. Method. Book with Online Audio. Composed 2021. 64 pages. De Haske Publications #DHP 1053839-404. Published by De Haske Publications

By Margaret Goldston. For Piano. Piano Solo. Level: Intermediate. Sheet. Published by Alfred Publishing.