| 1712 Overture Orchestra Theodore Presser Co.
Orchestra SKU: PR.416415760 For Really Big Orchestra. Composed by ...(+)
Orchestra SKU: PR.416415760 For Really Big Orchestra. Composed by PDQ Bach. Edited by Prof. Peter Schickele. Study Score. With Standard notation. Duration 11 minutes. Theodore Presser Company #416-41576. Published by Theodore Presser Company (PR.416415760). UPC: 680160636532. 9 x 12 inches. The 1712 Overture stands out in P.D.Q. Bach's oeuvre for two reasons, among others: it is by far the most programmatic instrumental piece among those by the minimeister of Wein-am-Rhein so far unearthed, and 2) its discovery has led to a revelation about the composer's father, Johann Sebastian Bach, that has exploded like a bombshell on the usually serene musicological landscape. The overture is based on an anecdote told to P.D.Q. Bach by a cousin, Peter Ulrich. Since P.U. Bach lived in Dudeldorf, only a few miles down the road from Wein-am-Rhein, he was P.D.Q.'s closest relative, and he was, in fact, one of the few members of the family who was on speaking terms with P.D.Q. The story, related to P.D.Q. (fortunately for us posterity types) in a letter, may be summarized thus: The town of Dudeldorf was founded by two brothers, Rudi and Dieter Dudel, early in the 18th century. Rudi remained mayor of the newborn burg for the rest of his long life, but Dieter had a dream of starting a musicians' colony, an entire city devoted to music, which dream, he finally decided, could be realized only in the New World. In 1712, he and several other bagpipers sailed to Boston, never to return to Germany. (Henceforth, Rudi became known as der deutscher Dudel and Dieter as the Yankee Dudel). Unfortunately, the head of the Boston Musicians' Guild had gotten wind of Dudel's plans, and Wilhelm Wiesel (pron. VEE-zle), known none too affectionately around town as Wiesel the Weasel, was not about to share what few gigs there were in colonial America with more foreigners and outside agitators. He and his cronies were on hand to meet Dudel's boat when it pulled into Boston Harbor; they intended to prevent the newcomers' disembarkation, but Dudel and his companions managed to escape to the other side of the bay in a dinghy, landing with just enough time to rent a carriage and horses before hearing the sound of The Weasel and his men, who had had to come around the long way. The Germans headed West, with the Bostonians in furious pursuit. soon the city had been left far behind, and by midnight so had the pursuers; Dieter Dudel decided that it was safe for him and his men to stop and sleep until daybreak. When they awoke, they found that they were in a beautiful landscape of low, forested mountains and pleasant fields, warmed by the brilliant morning sun and serenaded by an entrancing variety of birds. Here, Dudel thought, her is where I will build my colony. The immigrants continued down the road at a leisurely pace until they came upon a little church, all by itself in the countryside, from which there suddenly emanated the sounds of a pipe organ. At this point, the temptation to quote from P.U. Bach's letter to P.D.Q. cannot be resisted: They went inside and, after listening to the glorious music for a while, introduced themselves to the organist. And who do you think it was? Are you ready for this -- it was your old man! Hey, no kidding -- you know, I'm sure, that your father was the guy to get when it came to testing new organs, and whoever had that one in Massachusetts built offered old Sebastian a tidy sum to go over there and check it out. The unexpected meeting with J.S. Bach and his sponsors was interrupted by the sound of horse hooves, as the dreaded Wiesel and his men thundered on to the scene. They had been riding all night, however, and they were no spring chickens to start with, and as soon as they reached the church they all dropped, exhausted, to the ground. The elated Germans rang the church bells and offered to buy everyone a beer at the nearest tavern. There they were taught, and joined in singing, what might be called the national anthem of the New World. The melody of this pre-revolutionary patriotic song is still remembered (P.D.Q. Bach quotes it, in the bass instruments, near the end of the overture), but is words are now all but forgotten: Freedom, of thee we sing, Freedom e'er is our goal; Death to the English King, Long live Rock and Ross. The striking paucity of biographical references to Johann Sebastian Bah during the year 1712 can now be explained: he was abroad for a significant part of that year, testing organs in the British Colonies. That this revelation has not been accepted as fact by the musicological establishment is no surprise, since it means that a lot of books would have to be rewritten. The members of that establishment haven't even accepted the existence of P.D.Q. Bach, one of whose major works the 1712 Overture certainly is. It is also a work that shows Tchaikowsky up as the shameless plagiarizer that some of us have always known he was. The discovery of this awesome opus was made possible by a Boston Pops Centennial Research Commission; the first modern performance took place at the opening concert of the 100th anniversary season of that orchestra, under the exciting but authentic direction of John Williams. $39.99 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| 1712 Overture Orchestra Theodore Presser Co.
Orchestra SKU: PR.41641576L For Really Big Orchestra. Composed by ...(+)
Orchestra SKU: PR.41641576L For Really Big Orchestra. Composed by PDQ Bach. Edited by Peter Schickele. Large Score. With Standard notation. Duration 11 minutes. Theodore Presser Company #416-41576L. Published by Theodore Presser Company (PR.41641576L). UPC: 680160636549. 11 x 17 inches. The 1712 Overture stands out in P.D.Q. Bach's oeuvre for two reasons, among others: it is by far the most programmatic instrumental piece among those by the minimeister of Wein-am-Rhein so far unearthed, and 2) its discovery has led to a revelation about the composer's father, Johann Sebastian Bach, that has exploded like a bombshell on the usually serene musicological landscape. The overture is based on an anecdote told to P.D.Q. Bach by a cousin, Peter Ulrich. Since P.U. Bach lived in Dudeldorf, only a few miles down the road from Wein-am-Rhein, he was P.D.Q.'s closest relative, and he was, in fact, one of the few members of the family who was on speaking terms with P.D.Q. The story, related to P.D.Q. (fortunately for us posterity types) in a letter, may be summarized thus: The town of Dudeldorf was founded by two brothers, Rudi and Dieter Dudel, early in the 18th century. Rudi remained mayor of the newborn burg for the rest of his long life, but Dieter had a dream of starting a musicians' colony, an entire city devoted to music, which dream, he finally decided, could be realized only in the New World. In 1712, he and several other bagpipers sailed to Boston, never to return to Germany. (Henceforth, Rudi became known as der deutscher Dudel and Dieter as the Yankee Dudel). Unfortunately, the head of the Boston Musicians' Guild had gotten wind of Dudel's plans, and Wilhelm Wiesel (pron. VEE-zle), known none too affectionately around town as Wiesel the Weasel, was not about to share what few gigs there were in colonial America with more foreigners and outside agitators. He and his cronies were on hand to meet Dudel's boat when it pulled into Boston Harbor; they intended to prevent the newcomers' disembarkation, but Dudel and his companions managed to escape to the other side of the bay in a dinghy, landing with just enough time to rent a carriage and horses before hearing the sound of The Weasel and his men, who had had to come around the long way. The Germans headed West, with the Bostonians in furious pursuit. soon the city had been left far behind, and by midnight so had the pursuers; Dieter Dudel decided that it was safe for him and his men to stop and sleep until daybreak. When they awoke, they found that they were in a beautiful landscape of low, forested mountains and pleasant fields, warmed by the brilliant morning sun and serenaded by an entrancing variety of birds. Here, Dudel thought, her is where I will build my colony. The immigrants continued down the road at a leisurely pace until they came upon a little church, all by itself in the countryside, from which there suddenly emanated the sounds of a pipe organ. At this point, the temptation to quote from P.U. Bach's letter to P.D.Q. cannot be resisted: They went inside and, after listening to the glorious music for a while, introduced themselves to the organist. And who do you think it was? Are you ready for this -- it was your old man! Hey, no kidding -- you know, I'm sure, that your father was the guy to get when it came to testing new organs, and whoever had that one in Massachusetts built offered old Sebastian a tidy sum to go over there and check it out. The unexpected meeting with J.S. Bach and his sponsors was interrupted by the sound of horse hooves, as the dreaded Wiesel and his men thundered on to the scene. They had been riding all night, however, and they were no spring chickens to start with, and as soon as they reached the church they all dropped, exhausted, to the ground. The elated Germans rang the church bells and offered to buy everyone a beer at the nearest tavern. There they were taught, and joined in singing, what might be called the national anthem of the New World. The melody of this pre-revolutionary patriotic song is still remembered (P.D.Q. Bach quotes it, in the bass instruments, near the end of the overture), but is words are now all but forgotten: Freedom, of thee we sing, Freedom e'er is our goal; Death to the English King, Long live Rock and Ross. The striking paucity of biographical references to Johann Sebastian Bah during the year 1712 can now be explained: he was abroad for a significant part of that year, testing organs in the British Colonies. That this revelation has not been accepted as fact by the musicological establishment is no surprise, since it means that a lot of books would have to be rewritten. The members of that establishment haven't even accepted the existence of P.D.Q. Bach, one of whose major works the 1712 Overture certainly is. It is also a work that shows Tchaikowsky up as the shameless plagiarizer that some of us have always known he was. The discovery of this awesome opus was made possible by a Boston Pops Centennial Research Commission; the first modern performance took place at the opening concert of the 100th anniversary season of that orchestra, under the exciting but authentic direction of John Williams. $80.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Variations on "America" Piano solo Theodore Presser Co.
Chamber Music Piano SKU: PR.110418370 Composed by Charles Ives. Arranged ...(+)
Chamber Music Piano SKU: PR.110418370 Composed by Charles Ives. Arranged by Danny Holt. Performance Score. 20 pages. Duration 8 minutes. Theodore Presser Company #110-41837. Published by Theodore Presser Company (PR.110418370). ISBN 9781491135075. UPC: 680160686247. Composed as an organ solo by the 17-year-old Ives for his own performance purposes, the beloved Variations on America is a treat for any occasion, whether a holiday concert, a serious recital, or other special event. Danny Holt’s transcription for Piano, Four Hands adds a dazzling new option to play at home or on stage, taking best advantage of Ives’ tremendous contrasts in color, dynamics, and texture. Composed when Charles Ives was a teenager, Variations on “America†is both a convenient introduction to Ives’ body of work, and an early example of his iconoclastic musical voice and creative genius. Just a few years after composing this piece, Ives would leave home to study music at Yale. But until then he had been taught by his father, George (who had been a bandmaster in the Civil War). George subjected the young Ives to experiments such as singing a song in one key while being accompanied in another, or arranging for two marching bands to converge on a town center, with the resulting cacophony that ensued.The Variations exemplifies an early period of experimentation in Ives’ work, spurred on by the unusual pedagogy of his father. The piece is particularly notable for its use of bitonality in the two interludes, subtly foreshadowing more well-known examples by Stravinsky, Bartók, and others by approximately two decades.The bitonal interludes were so ahead of their time, in fact, they were omitted from the first copy that was submitted to a publisher in 1892. (Alas, the piece was rejected even despite these “shocking†elements having been left out, and it wasn’t published until more than five decades later.) There is some ambiguity about when exactly Ives added the interludes into his manuscript copy, though ample evidence suggests he had performed the piece with the interludes around the time he notated the piece in 1891-92. In any case, in light of this piece and his other polytonal explorations from the last decade of the 19th century, it seems fair to give Ives credit for being a pioneer in this area!This arrangement for Piano, Four Hands, closely follows Ives’ original version for organ, setting aside William Schuman’s popular adaptation for symphony orchestra and William Rhoads’ band transcription of the Schuman orchestration. Pianists will find that the piece translates well to the instrument. Ideally, the choreography and logistics of elbow-to-elbow four-hands playing approximates the wild joy one gets from watching an organist play the piece (e.g., the elaborate pedal part in the final variation).In preparing this publication, attention was paid to details in the dual Critical Editions (Presser 443-41003) of both Ives’ manuscript edition and the 1949 publication edited by organist E. Power Biggs (who is credited with discovering what had been a long-lost, forgotten work.) But as with much of Ives’ output, attempting to create a true ‘urtext’ score is a futile endeavor, and especially with a piece such as this one – in which Ives incorporated improvisation in live performance – seems unnecessary anyhow. True die-hards are of course encouraged to consult the critical editions and even find inspiration in the orchestrated version. Generally, performers are advised to be wild, have fun, and not to be too rigid in their interpretive choices.Dynamics in this arrangement mostly follow the organ score closely. Pianists will use good judgment about pedaling throughout, which should be straightforward and intuitive. Courtesy accidentals have been provided frequently – without parentheses – balancing the need for extra clarity in the context of Ives’ murky musical language, and a desire to avoid unnecessary clutter.A few notes that might inform interpretive decisions:mm. 15-16: There are inconsistencies here between Ives’ original manuscript and the 1949 Biggs edition, regarding the top voice in m. 15, beat 3 (C# vs. Cn) and m. 16 (D Major vs. D Minor).mm. 76-84 & 143-146: In both Interludes, Ives emphatically notates extreme dynamic contrast, in order to highlight the bitonality. Although it may seem counterintuitive (or even a misprint, as has apparently been misconstrued by some), performers are urged to follow the composer’s marking!m. 109: Two-note slurs have been added here for clarity and consistency with other similar passages, though they do not appear in either the original manuscript or Biggs.m. 112: The last two eighth notes of Primo appear as 16ths in the original manuscript.mm. 183-186: The original manuscript has a slightly different bass line.mm. 184 & 186: Primo gestures have been re-written to be slightly more idiomatic for Piano, Four Hands.m. 186: The breath mark at the end of this bar does not appear in either the manuscript or Biggs, but is an editorial suggestion – aside from being appropriately dramatic, it will indeed be necessary in a reverberant hall!I would like to thank Steven Vanhauwaert, the other half of my piano duo, 4handsLA, for his input on early drafts of this arrangement.— Danny Holt, April 2022. $24.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Weather the Weather! - Director's Score Children choir Alfred Publishing
A Scientific Songbook or Program for Mini-Meteorologists Featuring 9 Unison/2-pa...(+)
A Scientific Songbook or Program for Mini-Meteorologists Featuring 9 Unison/2-part Songs. By Brian Fisher, Andy Beck. Children's Musicals and Programs. Choral. Score. 68 pages. Published by Alfred Publishing.
$24.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Singin' the '70s! Shawnee Press
Choral (Studiotrax CD) SKU: HL.35032388 Best of My Love/I Feel the Ear...(+)
Choral (Studiotrax CD) SKU: HL.35032388 Best of My Love/I Feel the Earth Move/Ain't No Mountain High Enough. Arranged by Paul Langford. Shawnee Press. Pop. CD. Published by Shawnee Press (HL.35032388). ISBN 9781540033987. UPC: 888680787790. 5.0x5.0x0.15 inches. Capturing the sound of the 1970s, this medley will be a sure-fire hit for your next concert or show. Covering styles from disco to light gospel, your singers will groove to these beats and love experiencing these iconic tunes. Available for mixed, women's and men's voices with a super hot track! $26.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Singing Times Tables Book 1 [Sheet music + CD]
Classroom SKU: BT.9781408194751 Composed by Stephen Chadwick. Method. Boo...(+)
Classroom SKU: BT.9781408194751 Composed by Stephen Chadwick. Method. Book with CD. Collins Music Publishing #9781408194751. Published by Collins Music Publishing (BT.9781408194751). ISBN 9781408194751. English. Singing Times Tables Book 1 by Helen MacGregor and Stephen Chadwick uses rhythmic rapping and vibrant vocals to transform learning the times tables - whether it's rote learning, applying calculations or testing them. Fortimes tables with a special x factor, these contemporary, cool songs are the place for kids to start.
Higher standards in maths are getting an extra push from the Department for Education with a target for pupils toknow their times tables up to 12x12 by age 9. In Singing Times Tables Book 1, children develop a secure knowledge of the 2, 3, 4, 5 and 10 times tables. By rapping or singing to lively performance and backing tracks they rotelearnthe tables, then they apply the calculations in real life situation songs and chants. The last section offers question and answer tests - a handy assessment tool for teachers.
$25.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Top-Requested Movie & TV Sheet Music Piano, Vocal and Guitar Alfred Publishing
(20 of the Greatest Movie and TV Themes (Piano/Vocal/Guitar)). For Guitar; Keybo...(+)
(20 of the Greatest Movie and TV Themes (Piano/Vocal/Guitar)). For Guitar; Keyboard; Piano; Voice. This edition: Piano/Vocal/Guitar. Book; P/V/C Mixed Folio; Piano/Vocal/Chords. Top-Requested Sheet Music. Movie; TV. 96 pages. Published by Alfred Music
$16.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Caminemos con Jesús GIA Publications
SKU: GI.G-1064 Composed by Tony Alonso S.J. Sacred. GIA Publications #106...(+)
SKU: GI.G-1064 Composed by Tony Alonso S.J. Sacred. GIA Publications #1064. Published by GIA Publications (GI.G-1064). UPC: 785147006428. From the music of the Buena Vista Social Club to Gloria Estefan, the lyrical melodies and infectious rhythms of Cuban music have become embedded in U.S. culture. With Caminemos con Jesús / Let Us Walk with Jesus, composer Tony Alonso presents a groundbreaking collection of liturgical music that calls on his own Cuban musical heritage to provide new ways of singing the liturgy in Spanish, English or bilingually. The first project of its kind, Caminemos con Jesús not only utilizes rich Cuban idioms but also explores what style and musical form can teach us about praying together across cultural and linguistic boundaries. The dynamic call-and-response form that is a hallmark of traditional Cuban music makes these songs especially compelling choices for bilingual worship, allowing assemblies to learn, internalize, and pray easily in both Spanish and English. “Qué AlegrÃa Cuando Me Dijeron / I Rejoiced When I Heard Them Say†uses the words of the psalm as a rhythmic mantra, creating a fresh and engaging way to gather as the Body of Christ. “LetanÃa a la Madre de las Américas / Litany of Mary of The Americas,†invokes the Mary of many names and nations with a simple yet strong response that will enliven Marian feasts throughout the year. The gentle simplicity of “Tres Guajiros / Three Peasants†re-imagines the story of the Magi as humble peasants bringing gifts of the land to honor the newborn Jesus. Also, in this collection and for the first time in published form, is Gloria Estefan’s “Caridad,†a powerful and poetic prayer to Our Lady of Charity, the patroness of Cuba. All of the pieces of this collection focus on the importance of bringing the voices of the assembly to the forefront while the arrangements are skillfully crafted to be accessible to musicians of all abilities. In addition to the spiral-bound edition, individual octavos, and flute and brass parts, Caminemos con Jesús offers a special edition featuring parts for guitar, percussion and other instruments central to Cuban music. The studio recording is a stunning source of prayer and inspiration, produced in Miami by Grammy Award winner Juan Delgado and featuring some of the finest Cuban-American musicians today. GIA Publications, Inc. is committed to responding to the rich diversity of the contemporary Church. With Caminemos con Jesús, we offer you our very best bilingual music for the liturgical year. “The music of my father’s Cuban homeland has been the language of my heart for as long as I can remember. These songs infuse that rich tradition with the unique sabor of my own experience as a Cuban-American in a distinctly liturgical shape that I hope will inspire others in their daily camino con Jesús.†–Tony Alonso Featuring “Live Mercy, Be Holy / Vive la Misericordia, Vive la Santidad,†the 2020 Los Angeles Religious Education Congress theme song! Desde la música de Buena Vista Social Club hasta la de Gloria Estefan, las melodÃas lÃricas y ritmos contagiosos de la música cubana son incrustados en la cultura estadounidense. Con Caminemos con Jesús / Let Us Walk with Jesus, el compositor Tony Alonso presenta una colección innovadora de música litúrgica que incorpora su herencia musical cubana para producir una manera nueva de cantar la liturgia — en español, inglés o bilingüemente. El primer proyecto de este tipo, Caminemos con Jesús no sólo utiliza modismos ricos de Cuba sino también explora lo que el estilo y la forma musical nos pueden enseñar con respeto a rezar juntos a través de los lÃmites culturales y lingüÃsticos. La forma dinámica de llamada-y-respuesta que es un sello distintivo de la música cubana tradicional crea opciones cautivadoras para los rituales bilingües donde la asamblea puede aprender, interiorizar y rezar facilmente tanto en español como en inglés. “Qué AlegrÃa Cuando Me Dijeron†incorpora la letra del salmo como una mantra rÃtmica, creando una manera original para congregar al Cuerpo de Cristo. La “LetanÃa a la Madre de las Américas,†la cual invoca a la MarÃa de muchos nombres y naciones utilizando una respuesta sencilla y fuerte, enriquecerá a las fiestas marianas de muchos pueblos durante todo el año. La sencillez suave de “Tres Guajiros†reimagina la historia de los Reyes Magos como guajiros humildes, trayendo regalos de la tierra para honrar al recién nacido Jesús. También se encuentra en esta colección, por la primera vez en forma publicada, el tema musical “Caridad†por Gloria Estefan, que es una oración poderosa y poética a Nuestra Madre de Caridad, la patrona de Cuba. Todas las piezas en esta colección se enfocan en la importancia de las voces de la asamblea mientras los arreglos son accesibles para los músicos de todas habilidades. Además de la edición con espiral, las partituras corales individuales, y las ediciones para flauta y instrumentos de metal, Caminemos con Jesús también ofrece una edición para guitarra con partituras adicionales para percusión y otros instrumentos centrales en la música cubana. La grabación del estudio es espectacular, una fuente de oración y inspiración. Producido en Miami por el ganador de Grammy Juan Delgado, el álbum destaca los talentos de unos de los mejores músicos cubano-americanos de hoy dÃa. GIA Publications, Inc. está comprometido a responder a la diversidad rica de la Iglesia actual. En Caminemos con Jesús, les ofrecemos nuestra mejor música bilingüe para todo el año litúrgico. “La música de la tierra cubana de mi padre ha sido el lenguaje de mi corazón desde que yo tengo memoria. Estas canciones infunden esa rica tradición del sabor único de mi propia experiencia como cubanoamericano con una forma claramente litúrgica. Es mi deseo que esta obra inspire a los demás en su propio camino diario con Jesúsâ€. –Tony Alonso Incluye el canto tema, “Vive la Misericordia, Vive la Santidad / Live Mercy, Be Holy,†compuesto para el Congreso de Educación Religiosa de Los Angeles del 2020. CONTENTS / CONTENIDO: Arriba los Corazones / We Lift Up Our Hearts • Caminemos con Jesús / Let Us Walk with Jesus • Cántico de Daniel / Canticle of Daniel • Caridad / Our Lady of Charity • LetanÃa del Santo Nombre de Jesús / Litany of the Holy Name of Jesus • LetanÃa a la Madre de las Américas / Litany to the Mother of the Americas • Qué AlegrÃa Cuando Me Dijeron / I Rejoiced When I Heard them Say • Una Gran Nube de Testigos / A Wondrous Cloud of Witnesses • Tres Guajiros / Three Peasants • Vayan Por el Mundo Entero / Go Out to All the World • Vive la Misericordia, Vive la Santidad / Live Mercy, Be Holy.  . $16.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Concerto For Oboe And Orchestra Theodore Presser Co.
Orchestra Orchestra SKU: PR.11641373S Composed by Peter Schickele. Full s...(+)
Orchestra Orchestra SKU: PR.11641373S Composed by Peter Schickele. Full score. Duration 24 minutes. Theodore Presser Company #116-41373S. Published by Theodore Presser Company (PR.11641373S). UPC: 680160680344. The concerto has always seemed an especially attractive medium to me, not necessarily because of its expectations of virtuosity (although flaunting it when you've got it certainly has its place), and emphatically not because of the perception of a concerto as a contest, but because so much of what I write feels song-like; I'm very much at home with the age-old texture of melody and accompaniment. I hope, before I move on, to have the opportunity to write concertos for all the major instruments, and perhaps some of the rarer ones as well. The oboe is not only one of the major instruments, it is one of my favorite instruments. I've always loved its sound, but since moving to New York I have gotten to hear and, in some cases, know some extremely fine oboists who broadened my appreciation of the instrument's possibilities. I especially remember a concert, probably in the late 1960's, in which Humbert Lucarelli played a Handel concerto, filling out large melodic leaps with cascading scale passages in a way that raised the hair on the back of your neck, somewhat in the way that John Coltrane's sheets of sound did. The sweeping scales in the second movement of my concerto were definitely inspired by Bert Lucarelli's performance. The first, third and fifth movements of the Concerto for Oboe and Orchestra are song-like, whereas the second and fourth have strong scherzo and dance qualities, including a couple of sections that sound like out-and-out pirate dances to me. The hymn-like tune at the beginning of the middle movement was originally begun as a vocal piece to be sung by my wife, son and daughter at my brother's wedding, but I couldn't come up with good works for it, so it ended up as an instrumental chant. The opening and closing of the concerto make use of the oboe's uniquely soulful singing. I had not heard Pamela Woods Pecha's solo playing in person when she approached me about writing a concerto, but I had heard her fine recording of chamber music for oboe and strings by the three B's (English, that is: Bliss, Bax and Britten) with the Audubon Quartet. I actually already had some oboe concerto ideas in my sketchbooks; although I didn't end up using any of those earlier ideas, it's interesting that most of them tended to share the general feeling and tonality of the eventual opening of the concerto. The work was completed on October 13, 1994. I hate the compromises involved in making piano reductions -- perhaps I would feel differently if I were a more accomplished pianist -- so I often decide to make piano reductions for four hands rather than two. My good friend Jon Kimura Parker is a terrific sight-reader, and I roped him into coming over to my place on February 17, 1995, to help me accompany Pamela on the first read-through of the piece. The first performance of the work took place on July 21, 1995, at the American Music Festival in Duncan, Oklahoma, with Mark Parker conducting the Festival Orchestra. $80.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Upriver Concert band Theodore Presser Co.
Band Concert Band SKU: PR.465000130 For Large Wind Ensemble. Compo...(+)
Band Concert Band SKU: PR.465000130 For Large Wind Ensemble. Composed by Dan Welcher. Sws. Contemporary. Full score. With Standard notation. Composed 2010. Duration 14 minutes. Theodore Presser Company #465-00013. Published by Theodore Presser Company (PR.465000130). ISBN 9781598064070. UPC: 680160600144. 9x12 inches. Following a celebrated series of wind ensemble tone poems about national parks in the American West, Dan Welcher’s Upriver celebrates the Lewis & Clark Expedition from the Missouri River to Oregon’s Columbia Gorge, following the Louisiana Purchase of 1803. Welcher’s imaginative textures and inventiveness are freshly modern, evoking our American heritage, including references to Shenandoah and other folk songs known to have been sung on the expedition. For advanced players. Duration: 14’. In 1803, President Thomas Jefferson sent Meriwether Lewis and William Clark’s Corps of Discovery to find a water route to the Pacific and explore the uncharted West. He believed woolly mammoths, erupting volcanoes, and mountains of pure salt awaited them. What they found was no less mind-boggling: some 300 species unknown to science, nearly 50 Indian tribes, and the Rockies.Ihave been a student of the Lewis and Clark expedition, which Thomas Jefferson called the “Voyage of Discovery,†for as long as I can remember. This astonishing journey, lasting more than two-and-a-half years, began and ended in St. Louis, Missouri — and took the travelers up more than a few rivers in their quest to find the Northwest Passage to the Pacific Ocean. In an age without speedy communication, this was akin to space travel out of radio range in our own time: no one knew if, indeed, the party had even survived the voyage for more than a year. Most of them were soldiers. A few were French-Canadian voyageurs — hired trappers and explorers, who were fluent in French (spoken extensively in the region, due to earlier explorers from France) and in some of the Indian languages they might encounter. One of the voyageurs, a man named Pierre Cruzatte, also happened to be a better-than-average fiddle player. In many respects, the travelers were completely on their own for supplies and survival, yet, incredibly, only one of them died during the voyage. Jefferson had outfitted them with food, weapons, medicine, and clothing — and along with other trinkets, a box of 200 jaw harps to be used in trading with the Indians. Their trip was long, perilous to the point of near catastrophe, and arduous. The dream of a Northwest Passage proved ephemeral, but the northwestern quarter of the continent had finally been explored, mapped, and described to an anxious world. When the party returned to St. Louis in 1806, and with the Louisiana Purchase now part of the United States, they were greeted as national heroes.Ihave written a sizeable number of works for wind ensemble that draw their inspiration from the monumental spaces found in the American West. Four of them (Arches, The Yellowstone Fires, Glacier, and Zion) take their names, and in large part their being, from actual national parks in Utah, Wyoming, and Montana. But Upriver, although it found its voice (and its finale) in the magnificent Columbia Gorge in Oregon, is about a much larger region. This piece, like its brother works about the national parks, doesn’t try to tell a story. Instead, it captures the flavor of a certain time, and of a grand adventure. Cast in one continuous movement and lasting close to fourteen minutes, the piece falls into several subsections, each with its own heading: The Dream (in which Jefferson’s vision of a vast expanse of western land is opened); The Promise, a chorale that re-appears several times in the course of the piece and represents the seriousness of the presidential mission; The River; The Voyageurs; The River II ; Death and Disappointment; Return to the Voyage; and The River III .The music includes several quoted melodies, one of which is familiar to everyone as the ultimate “river song,†and which becomes the through-stream of the work. All of the quoted tunes were either sung by the men on the voyage, or played by Cruzatte’s fiddle. From various journals and diaries, we know the men found enjoyment and solace in music, and almost every night encampment had at least a bit of music in it. In addition to Cruzatte, there were two other members of the party who played the fiddle, and others made do with singing, or playing upon sticks, bones, the ever-present jaw harps, and boat horns. From Lewis’ journals, I found all the tunes used in Upriver: Shenandoah (still popular after more than 200 years), V’la bon vent, Soldier’s Joy, Johnny Has Gone for a Soldier, Come Ye Sinners Poor and Needy (a hymn sung to the tune “Beech Springâ€) and Fisher’s Hornpipe. The work follows an emotional journey: not necessarily step-by-step with the Voyage of Discovery heroes, but a kind of grand arch. Beginning in the mists of history and myth, traversing peaks and valleys both real and emotional (and a solemn funeral scene), finding help from native people, and recalling their zeal upon finding the one great river that will, in fact, take them to the Pacific. When the men finally roar through the Columbia Gorge in their boats (a feat that even the Indians had not attempted), the magnificent river combines its theme with the chorale of Jefferson’s Promise. The Dream is fulfilled: not quite the one Jefferson had imagined (there is no navigable water passage from the Missouri to the Pacific), but the dream of a continental destiny. $45.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| The Choral Warm-Up: Accompanied Canons for Choirs Choral [CD] GIA Publications
(Conductor's Edition with CD). By James Jordan and Roger Ames. Music Education. ...(+)
(Conductor's Edition with CD). By James Jordan and Roger Ames. Music Education. Sacred. 80 pages. Published by GIA Publications
$24.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Chinese Folk Dance Suite Violin and Piano Theodore Presser Co.
Chamber Music violin, piano SKU: PR.114419280 Composed by Chen Yi. Arrang...(+)
Chamber Music violin, piano SKU: PR.114419280 Composed by Chen Yi. Arranged by Wong Tak Chiu. Performance Score. 32+12 pages. Duration 20 minutes. Theodore Presser Company #114-41928. Published by Theodore Presser Company (PR.114419280). ISBN 9781491132357. UPC: 680160676125. Inspired by Chinese tradition, this concerto-like dance suite includes: 1. Lion Dance, 2. YangKo, and 3. Muqam. Each movement draws from melodies and rhythms characteristic of various regions of China many centuries ago. CHINESE FOLK DANCE SUITE is available for violin with full orchestra, or as a recital work with piano. Supported by a major commissioning award from the Serge Koussevitzky Music Foundation in the Library of Congress, Chinese Folk Dance Suite is written for solo violin and orchestra; it was premiered by The Women’s Philharmonic with violin soloist Terrie Baune, conducted by Apo Hsu, on March 10, 2001, at Yerba Buena Center For the Arts Theater in San Francisco.Inspired by various Chinese traditional folk dances, the suite has three movements:I. Lion Dance. Traditionally, people dance with richly decorated hand-made lions, accompanied by percussion ensemble, to celebrate happy occasions and major festivals throughout the country. In this composition, I use Chinese drum and other percussion instruments in the background, to form a dynamic and rhythmic texture responding to the solo part, which imitates the tunes played on the suona (traditional Chinese trumpet). The pitch materials came from the traditional Guangdong tune “Dragon Boat Racing,†and the Chaozhou tune “Lion Playing Ball.â€II. YangKo. Originating in northern China, this is a major folk dance form in mass performance popularized in the country. In YangKo performance, people play rhythmic patterns on the drums hung around their waists while singing and dancing. In the second movement, I imagined a warm scene of YangKo dancing in distance. The solo violin plays a sweet and gracious melodic line while all members of the orchestra sing non-pitched syllables in different layers as the soft background, to imitate the percussion sound which produces the ever-going pulse.III. Muqam. This large-scale music and dance form, from the Uygur nationality in Xinjiang province, originated in the 15th century. My third movement use a 7/8 meter and the melodic style of Muqam music. The fiery dancing gesture culminates in the sustained climax section at the end of the work, after a colorful violin cadenza in both improvisational singing style and polyphonic writing with woven lines. $26.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Kirchenliedsatze mit einer Mannerstimme. Varia Bd. 1 Choral Unison Carus Verlag
Choir SKU: CA.1490100 Composed by Various. Edited by Otto Brodde. Hymns b...(+)
Choir SKU: CA.1490100 Composed by Various. Edited by Otto Brodde. Hymns by Martin Luther: Jesus Christus, unser Heiland, der den Tod uberwand, Nun bitten wir den Heiligen Geist. German title: Band 1. Sacred vocal music, Unison hymns, Hymn settings, Whole church year / Omni tempore. Choir Book. 264 pages. Carus Verlag #CV 14.901/00. Published by Carus Verlag (CA.1490100). ISBN 9790007031381. $34.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| 30 Piano Pieces for Beginners Piano solo [Sheet music + CD] Play Music Publishing
Piano SKU: BT.MUSME0282 Composed by Paul Murphy. Play Music. Tuition. Boo...(+)
Piano SKU: BT.MUSME0282 Composed by Paul Murphy. Play Music. Tuition. Book with CD. Composed 2015. Play Music Publishing #MUSME0282. Published by Play Music Publishing (BT.MUSME0282). English. The 30 pieces contained within this tutorial are aimed exclusively at piano beginners. All pieces are easy to play and will enable you to rapidly gain substantial experience in piano playing and, since they are adapted versions of real musical pieces, you will at no time lose your pleasure of playing. In order not to overwhelm you, the level of difficulty of the pieces to be performed increases progressively, allowing you to work in a fluent and coherent manner. The piano pieces put together in this tutorial will also allow you to discover musical styles which are totally different from one another, forming a large panorama of contemporary and classic music. You will get a tasteof popular music, jazz, ragtime, blues and rock. So you can rest assured, there’s something for everyone in here(!) The CD attached to the book will make your study even more enjoyable. Every musical piece appears twice: the first time for demonstration purposes (with the piano) and the second in the form of a backing track (without the piano), in order to give you the opportunity to play the piano and enjoy the accompaniment of other musicians. $14.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Folk Songs, Singing Games & Play Parties (Collection) Choral CD Hal Leonard
Activity Songs for the Elementary Music Classroom. By Cristi Cary Miller. (Show...(+)
Activity Songs for the Elementary Music Classroom. By Cristi Cary Miller. (Showtrax CD). Expressive Art (Choral). CD only. Size 5x5.5 inches. Published by Hal Leonard.
$49.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Beatles – Strum Together Ukulele Hal Leonard
Ukulele, Baritone Ukulele, Guitar, Mandolin, Banjo Banjo; Baritone Ukulele; Guit...(+)
Ukulele, Baritone Ukulele, Guitar, Mandolin, Banjo Banjo; Baritone Ukulele; Guitar; Mandolin; Ukulele SKU: HL.295362 For Ukulele, Baritone Ukulele, Guitar, Mandolin, Banjo. By The Beatles. Arranged by Mark Phillips. Strum Together. Pop. Softcover. 146 pages. Published by Hal Leonard (HL.295362). ISBN 9781540055798. UPC: 888680946548. 9.0x12.0x0.366 inches. 70 songs with lyrics, melody lines, and chord frames for standard ukulele, baritone ukulele, guitar, mandolin, and banjo. Enjoy strumming and singing these Beatles classics with all your buddies! A great resource for beginning stringed instrument players who are ready to experience the fun of making music together! Songs include: All You Need Is Love • Back in the U.S.S.R. • Birthday • Can't Buy Me Love • Come Together • Day Tripper • Drive My Car • Eight Days a Week • Eleanor Rigby • Get Back • Good Day Sunshine • Got to Get You into My Life • A Hard Day's Night • Help! • Here Comes the Sun • Hey Jude • I Saw Her Standing There • I Want to Hold Your Hand • In My Life • Let It Be • The Long and Winding Road • Norwegian Wood (This Bird Has Flown) • Paperback Writer • Revolution • Sgt. Pepper's Lonely Hearts Club Band • She Loves You • Ticket to Ride • Twist and Shout • Yellow Submarine • Yesterday • and more! $25.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| A Young Singer's Journey - Book I, 2nd Edition Choral [Sheet music + Audio access] Hinshaw Music Inc.
An Integrated Approach to Musical Literacy. Hinshaw Music. Softcover Audio ...(+)
An Integrated Approach to
Musical Literacy. Hinshaw
Music. Softcover Audio
Online. 48 pages. Hinshaw
Music Inc. #HMB270.
Published by Hinshaw Music
Inc.
$17.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Unleashing the Potential of the Musician's Body GIA Publications
SKU: GI.G-10856 Timani: Anatomy and Exercises for Healthy Playing and ...(+)
SKU: GI.G-10856 Timani: Anatomy and Exercises for Healthy Playing and Singing. Composed by Tina Margareta Nilssen. Music Education. 332 pages. GIA Publications #10856. Published by GIA Publications (GI.G-10856). ISBN 9781622777303. Unleashing the Potential of the Musician’s Body offers clear and practical tools for music professionals, students, educators, movement specialists, and therapists working with musicians. You’ll learn about relevant anatomy—in particular, joints, muscles, and fascia—and get information on how the brain and movement are linked together. You’ll find dozens of illustrated performance-targeted exercises for all parts of the body, with specific instructions for different types of instruments as well as for singers. The exercises are designed to optimize movement and make playing or singing more effortless and expressive—and through this, access more musical potential. This book also touches on subjects such as warm-ups, pain, healthy living, and self-care tips. Tina Margareta Nilssen is a pianist, creator of the Timani movement system for musicians, and the founder of Musicians’ Health and Movement Institute. She lives in Oslo, Norway, teaches at various universities, and gives lectures and workshops to professional musicians and music students around the world. She has taught thousands of musicians from more than 20 countries how to access more potential in their bodies while playing or singing. Learn more at unleashingthepotential.com. Tina Margareta Nilssen takes you on an exciting journey through the musician’s instrument: your body and your brain. She shares her abundance of anatomical knowledge, presented in a way that is engaging and easy to understand. I highly recommend this book to both students and experienced performers looking for a deeper understanding of our functionality, not only to avoid pain and injury, but also for exploring our potential for greater artistic freedom. —Tuva Semmingsen   Opera Singer   Associate Professor at the Grieg Academy in Bergen This book should be required reading for every music educator, student, and professional. Through this information, musicians will be empowered to take their education to the next level. —Hannah Murray   Violinist and Co-founder of Corpßonore A must-read for all musicians, and for health professionals and therapists working with musicians! Tina Margareta Nilssen has managed to fuse the musical world and body science. —Karen van der Starre   Psychomotor physiotherapist at the Norwegian Academy of Music. $48.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Minnie the Moocher Orchestra [Score and Parts] - Easy Alfred Publishing
By Cab Calloway and Irving Mills [The Blues Brothers]. Arranged by Ralph Ford. O...(+)
By Cab Calloway and Irving Mills [The Blues Brothers]. Arranged by Ralph Ford. Orchestra. Full Orchestra; Part(s); Score. Pop Intermediate Full Orchestra. Jazz. Grade 2.5. 160 pages. Published by Alfred Music Publishing
$70.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Promised Land Early American Hymns from the Shape-Note Tradition Voice solo - Beginner Mel Bay
Vocal - Beginning SKU: MB.30856 Christian, Saddle-stitched. Woodwinds. Bo...(+)
Vocal - Beginning SKU: MB.30856 Christian, Saddle-stitched. Woodwinds. Book. 36 pages. Mel Bay Publications, Inc #30856. Published by Mel Bay Publications, Inc (MB.30856). ISBN 9781513470795. 8.75x11.75 inches. With this collection of 26 folk hymns, author Peter Irvine brings shape-note music into the home, and provides adaptable music for a variety of instrumental ensembles. This format allows for instruments such as the mountain dulcimer, Native American or transverse flute, penny whistle, fiddle, mandolin, guitar, and so forth. Anyone can play shape-note music, even when Sacred Harp gatherings or â??singingsâ? are not easily accessible. Â The hymns in this collection are drawn from various classic shape-note sources like Southern Harmony (1835) and The Sacred Harp (1844). Presented in lead-sheet format (melody, chords, and lyrics), and written in keys accessible to all C instruments and several D instruments such as the penny whistle and mountain dulcimer, the material offers plenty of arrangements. Hymns can be sung by a soloist, in unison by a small group with chordal accompaniment, or a mixed ensemble.
$14.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| The Giant Book of Standards Sheet Music Easy Piano - Easy Alfred Publishing
(Easy Piano). Arranged by Dan Coates. For Piano. This edition: Easy Piano. B...(+)
(Easy Piano). Arranged by Dan
Coates. For Piano. This
edition: Easy Piano. Book;
Piano - Easy Piano Collection.
The Giant Book of Sheet Music.
Jazz. Easy Piano. 252 pages.
Published by Alfred Music
$24.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Sound Patterns for Changing Voices - Sequential Sight-Reading in the Choral Classroom [Sheet music + Audio access] Hal Leonard
Choral (Teacher) SKU: HL.360733 Teacher Edition. Choral. Male Voic...(+)
Choral (Teacher) SKU: HL.360733 Teacher Edition. Choral. Male Voices, Sightsinging. Softcover Audio Online. 84 pages. Published by Hal Leonard (HL.360733). ISBN 9781705124963. UPC: 840126949957. 9.0x12.0x0.256 inches. For Tenor and Baritone changing voices, Sound Patterns for Changing Voices teaches sight reading skills quickly while singing “real music†from day one. This step-by-step method includes age and range appropriate songs with lyrics, dynamics and accompaniment, along with preparatory exercises that are interesting, authentic and flexible. This resource may be used with changing voice beginners from approximately age 11 through 15, and for older singers with less singing experience. The sequential approach focuses on the keys C, G, and F, basic rhythms and simple intervals in the tonic, dominant and subdominant chords. Teacher Edition comes complete with teaching suggestions and online digital access to student notation and audio files. $79.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Sound Patterns for Changing Voices - Sequential Sight-Reading in the Choral Classroom Hal Leonard
Choral (Kit of score and part books) SKU: HL.360736 Classroom Bundle(+)
Choral (Kit of score and part books) SKU: HL.360736 Classroom Bundle. Choral. Male Voices, Sightsinging. General Merchandise. Published by Hal Leonard (HL.360736). ISBN 9781705124970. UPC: 840126949964. 11.0x13.0x9.0 inches. This classroom bundle contains 30 Student Editions and 1 Teacher Edition. For Tenor and Baritone changing voices, Sound Patterns for Changing Voices teaches sight reading skills quickly while singing “real music†from day one. This step-by-step method includes age and range appropriate songs with lyrics, dynamics and accompaniment, along with preparatory exercises that are interesting, authentic and flexible. This resource may be used with changing voice beginners from approximately age 11 through 15, and for older singers with less singing experience. The sequential approach focuses on the keys C, G, and F, basic rhythms and simple intervals in the tonic, dominant and subdominant chords. Teacher Edition comes complete with teaching suggestions and online digital access to student notation and audio files. $250.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Songs of Gilbert and Sullivan for Ukulele Ukulele [Sheet music + Audio access] Centerstream
Composed by Sir Arthur Seymour Sullivan (1842-1900) and W.S. Gilbert. Arranged...(+)
Composed by Sir Arthur
Seymour Sullivan (1842-1900)
and W.S. Gilbert. Arranged
by Dick Sheridan. Fretted.
Softcover Audio Online.
Published by Centerstream
Publications
$19.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Solos for the Sanctuary - Hymns Piano solo [Sheet music] Willis Music
(7 Piano Solos for the Church Pianist/Mid to Later Intermediate Level). By Vario...(+)
(7 Piano Solos for the Church Pianist/Mid to Later Intermediate Level). By Various. Arranged by Glenda Austin. Willis. Mid to Late Intermediate. Softcover. 32 pages. Published by Willis Music
(1)$12.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Magnificats 50-70 Choral SATB Barenreiter
SATB Choir (Mixed choir) SKU: BA.BA04196 Magnificat compositions from ...(+)
SATB Choir (Mixed choir) SKU: BA.BA04196 Magnificat compositions from 1576-1583 from the Munich manuscripts. 21 compositions of 4, 5, 6 and 8 parts. Composed by Orlande De Lassus. Edited by James Erb. This edition: Complete edition. Linen. Orlando di Lasso, Complete Works (Samtliche Werke - Neue Reihe), Volume 15. Complete edition, Singing Score, anthology. Baerenreiter Verlag #BA04196_00. Published by Baerenreiter Verlag (BA.BA04196). ISBN 9790006444755. 27.5 x 19.5 cm inches. Magnificat-Kompositionen der Jahre 1576-1583 aus Munchner Handschriften. 21 Kompositionen zu 4, 5, 6 und 8 Stimmen. $306.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Lokuttara Theodore Presser Co.
SKU: PR.41541158L For Wind Ensemble. Composed by Narong Prangcharo...(+)
SKU: PR.41541158L For Wind Ensemble. Composed by Narong Prangcharoen. Large Score. 42 pages. Duration 14 minutes. Theodore Presser Company #415-41158L. Published by Theodore Presser Company (PR.41541158L). UPC: 680160666140. Lokuttara means Ultramundane. It is the power that enables the mind to transcend beyond the world, or beyond the limits of our system. This piece is mainly focusing on the texture and timbre inspired by chanting or praying. For example, the texture of this piece is imitating the rhythm of speech or the singing of words or sounds, called reciting tones, as in a chant or a prayer. The timbre enlightens the listener to the sound and atmosphere beyond the material world, echoing the transcendence of Tibetan monk chants. The direction of the lines are mainly focused on the departure from a low register to a high register as if the mind transcends from the fiscal world to the the world beyond our system. The thematic and harmonic material are controlled by the set of pitches which function as the main material for the entire piece. Lokuttara consists of three main sections divided fast--slow--fast. Although the material is from the same pitch collection, the music in each section transforms into many different forms. Lokuttara is graciously commissioned by the Barlow Endowment for Music Composition at Brigham Young University for the United States Marine Band, Brigham Young University's Wind Symphony and Florida State University's Wind Orchestra as the Endowment's performing consortium who will premiere the work in 2015. $65.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Sonata Piano solo Theodore Presser Co.
Chamber Music Bassoon, Piano SKU: PR.114423350 Composed by Amanda Harberg...(+)
Chamber Music Bassoon, Piano SKU: PR.114423350 Composed by Amanda Harberg. Set of Score and Parts. 32+12 pages. Duration 16 minutes. Theodore Presser Company #114-42335. Published by Theodore Presser Company (PR.114423350). ISBN 9781491135112. UPC: 680160686339. This stunning addition to the bassoon repertory features dramatic outer movements framing a slow and plaintive aria. Harberg’s program notes put the drama and its crying-out high notes in the context of writing in 2021: “The composition was deeply influenced by disruptive forces unfolding around us. While this unrest made writing difficult at times and brought me to uncomfortable places within myself, the process was also full of unexpected discoveries and musical solutions I never would have found in less troubled times.â€. Connections are all around us. I first met bassoonist Adrian Morejon while writing my Suite for Wind Quintet for the Dorian Wind Quintet in 2017. He and I quickly became fast friends and decided to collaborate on a new piece. Over the next two years, Adrian assembled a phenomenal group of 28 bassoonists from around the world to be co-commissioners. Adrian and I premiered the resulting sonata at the International Double Reed Society’s 2021 Virtual Symposium.The SONATA was composed between January and June 2021. In composing it, my goal was to offer bassoonists a substantial work that would show off the instrument’s remarkable strengths including its athletic agility, gorgeous singing qualities, and enormous range. While I generally avoid being programmatic, this composition was deeply influenced by the disruptive forces unfolding around us. While this unrest made writing difficult at times and often brought me to uncomfortable places within myself, the process was also full of unexpected discoveries and musical solutions I never would have found in less troubled times.I am deeply grateful to Adrian for our collaboration, and to everyone in the consortium for making the SONATA possible. $24.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| The Heart of Vocal Harmony Choral [Sheet music] Hal Leonard
Emotional Expression in Group Singing. Music Pro Guide Books and DVDs. So...(+)
Emotional Expression in Group Singing. Music Pro Guide Books and DVDs. Softcover. 272 pages. Published by Hal Leonard (HL.156135).
$25.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| That 40's Swing (Medley) Choral CD Hal Leonard
Choral (ShowTrax CD) SKU: HL.299900 Discovery Level 2. Arranged by...(+)
Choral (ShowTrax CD) SKU: HL.299900 Discovery Level 2. Arranged by Roger Emerson. Discovery Choral. Jazz, Medley. CD. Duration 285 seconds. Published by Hal Leonard (HL.299900). UPC: 888680959173. 5.0x5.0x0.185 inches. The Andrews Sisters were a popular '40s-era close-harmony singing group whose stylistic compositions and arrangements made them the top-selling female group of all time. Emerson stuffs in the swing and the sass--and breathes in new life to a musical decade worth a second look! $39.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
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