Saxophone Quartet

SKU: HL.14008247

Composed by Per Norgard. Music Sales America. Classical. Book [Softcover]. Music Sales #KP00517. Published by Music Sales (HL.14008247).

ISBN 9788759860694. Danish.

Per Norgard DANCERS AROUND JUPITERI: 'Shadow Dancer', dedicated to Axel Borup-Jorgensen, as my birthday greeting on the composer's 70th birthday 22.11.94II: 'Jupiter Waves', dedicated to Dr. Jeffrey D. ThompsonIII: 'Day Dancer', dedicated to the dancer and choreographer Marie Lalander, as a homage: Marie wrote the line which inspired me for the title: 'Woman, oh you day dancer'.The title of the whole work is immediately intelligible if one compares the individual titles of the outer movements with the title of the middle movement.Axel Borup-Jorgensen and Marie Lalander could be said to be in rotation around Jupiter in the following sense:Axel's music has a 'shadow dancing' side, which can most clearly be heard in his works for harpsichord and double-bass - or in his work for organ. But his music has also a light side, which can be heard in 'Marin' or in 'Nordic Summer Pastorale'.Marie's dance and choreography contain both ecstatic forces of light and expressions of the suppressed and dark. The music of the middle movement on the other hand is in all ways inspired by the actual acoustic ion waves, that constantly arise through the collision of the sun wind with Jupiter's magnet field (registered by Voyager II, 1989). This movement is dedicated to Dr Jeffrey D. Thompson who made these NASA registrations publicly available in the CD-series'NASA Voyager Space Sounds'.Per Norgard.

Orchestra violin 1, violin 2, violin 3, viola, cello, bass - Grade 2.5

SKU: CF.YAS242

Composed by Susan Day. Yas. Set of Score and Parts. Duration 2 minutes, 42 seconds. Carl Fischer Music #YAS242. Published by Carl Fischer Music (CF.YAS242).

ISBN 9781491164945. UPC: 680160923854. Key: D minor.

This piece, written in 3/4 time throughout, evokes visions of dancing figures, their faces unrecognizable in the shadows created from the play of light at dusk. Moving from D minor to E minor, the eerie keys and accidentals provide intriguing effects. Teachable moments abound for low first finger on A and E and some high third finger in the upper strings, augmented intervals and extended patterns in all instruments, as well as slurs and hooked bowings. This piece can be performed any time of the year, or as an autumn or Halloween feature.

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

C Edition. Fake Book (Includes melody line and chords). Size 9x12 inches. 816 pages. Published by Hal Leonard.

Bassoon, Viola, Violin 1, Violin 2, Violoncello

SKU: PR.16400261S

Composed by Dan Welcher. With Standard notation. Duration 15 minutes. Theodore Presser Company #164-00261S. Published by Theodore Presser Company (PR.16400261S).

UPC: 680160038411.

Since the bassoon is my own instrument, many people have asked me why I've written so little for the instrument. Beyond my early Concerto Da Camera for bassoon and small orchestra, written for Leonard Sharrow in 1975, I've not written a single piece that features the bassoon as a solo vehicle (though I have written three woodwind quintets). When I first began composing seriously, critics were quick to point out that my orchestral writing revealed nothing of my roots as a woodwind player--and bassoonists asked why my pieces didn't have more bassoon solos. Perhaps I was so aware that people were looking at me as a bassoonist/composer that I was determined to remove that stigma. Now that my transformation from performer to composer is complete, however, it's time to re-address my instrument. I wanted this new piece to be serious rather than whimsical. The Wind Won't Listen represents my return to the bassoon as the highly expressive, poetic soul that it is.   As such, it shouldn't come as a surprise that the piece is based on a poem, and that the title of the piece as well as both its movement titles come from lines in that poem. I first read Beth Gylys' poem Split at the MacDowell Colony in the summer of 2001, and it made a big impression on me. My personal life had been ruptured by divorce in the preceding year. This poem, with its dry insistence on observation rather than feeling, expressed the wrung-out state of my emotions at the time better than any I had seen. I set it to music, as a song, immediately. In this format, for voice and piano, I was able to put a musical note to every word of the poem. The first lines of the poem, Everyone I know is crying, or should be crying, became a melody that haunted me even without the words.   The work for bassoon and string quartet is an outgrowth of the song. The first movement is labeled Romanza, and has a loose formal arch structure of A-B-C-B-A, with B and C being fast sections framed by the lamenting A music. In addition to hearing the bassoon's first notes attached to the lines Everyone I know is crying, there's a sense of agitation, of loss, of longing, and at times of desperation in the music. At one point, the opening theme from Tristan even appears in the strings.   The second movement follows, without a real pause--the pizzicato final chords of the first movement becoming the increasingly aggressive opening chords of the second. The recitative is actually a foreshadowing of the basic theme that will be varied, again to the words of the song: Life makes itself without us. Don't let me tell you how it is. Go out. Look. The recitative begins in an anguished state, but subsides into more gentle singing by the end, when it simply falls into an ostinato 5/8-3/4 pattern to begin the variations. Marked Very steady tempo; Dancing, this set of variations consists of three dances, each faster than the previous. The first, in the aforementioned 5/8-3/4 meter, gives way to a 3/8 scherzo, which in turn takes on a furious 2/4 scurrying motion. The music becomes breathless, almost pulse-less, and an ethereal theme appears in the violins while the rushing music continues, sotto voce in the bassoon. This new theme is also from the song: Why do I do this? The wind won't listen. The bassoon re-states its Everyone I know is crying melody from the first movement, and at length the 5/8-3/4 music returns, more subdued this time. The piece ends on a major-minor chord, suspended.   The Wind Won't Listen is dedicated to the man who commissioned it, bassoonist Steven Dibner--who shares my passion for poetry and language. --Dan Welcher.

Over 400 Songs to Strum and Sing. Composed by Various. Ukulele. Folk, Standards. Softcover. 632 pages. Published by Hal Leonard

Fake Book (Includes melody line and chords). Size 9x12 inches. 568 pages. Published by Hal Leonard.