2-Part Choir

SKU: HL.14020087

Composed by Thomas Morley. Arranged by George Rathbone. Music Sales America. Classical. Choral Score. Music Sales #NOV481305. Published by Music Sales (HL.14020087).

Tonic-sol-fa version of this popular anthem.

Chamber Music, Trio, Duo or 2 Bb Trumpets 1 Piano - Grade 4

SKU: FL.FX074450

Composed by Andre Telman. Original Composition. Classical, Educational. Score and Set of Parts. FLEX Editions #FX074450. Published by FLEX Editions (FL.FX074450).

For 2 trumpets and piano, this piece is intended for 3rd cycle artists. This long descriptive musical fresco of 7'20'' takes us on a journey to Celtic lands, first on a slow and delirious theme, to move on to tonic sequences in asymmetrical measures. - Andre TELMAN ; Instruments:or 2 Bb Trumpets 1 Piano; Difficuly Level: Grade 4; Duration: 7 mn 20 s; Musical Style: Classical, Educational; Category: Original Composition; Composer: Andre TELMAN.

Piano

SKU: HL.48188982

Leduc. CD. 24 pages. Heugel & Cie #HE33888. Published by Heugel & Cie (HL.48188982).

UPC: 888680874216. 9x12 inches.

“Composed by Reynaldo Hahn, Sonatina in C major (1907) is a piece for Piano for intermediate players. This really melodious piece is divided in three main movements. 1. Allegro Moderato in C The main theme starts the piece with an accent on the tonic arpeggio. Counterpoint principle is also used thanks to a canon in two measures. 2. Andantino Rubato in G Written in the form ABA, this movement is then continued by four variations of the theme. 3. Final in G The piece ends on a coda with harmonious arpeggios, played after a ternary dance. Reynaldo Hahn was a naturalised French composer, conductor, theatre director and singer. Best known as a composer of songs, he also wrote many pieces and melodies for different instruments.&rdquo.

By Helen Marlais and Peggy O'Dell. Instructional Method, Theory. Elementary-late elementary. Instructional book. 72 pages. Published by The FJH Music Company Inc

By Cox/Mcarthur. For Piano. Theory, Technique and Assignment Books. The second book in this series covers: key signatures and major scales (through 3 sharps and flats); key signatures and minor scales (through 1 sharp and flat); sixteenth notes and rests; triplets; tonic triads (through 3 sharps and flats); and more. Theory. Book. Published by The FJH Music Company, Inc.

Chamber Music & Piano Accompaniment 1 Trombone 1 Piano - Grade 1

SKU: FL.FX072987

Composed by Olivier Lachurie. Original Composition. Classical, Educational. Score and Set of Parts. Duration 1 minute, 25 seconds. FLEX Editions #FX072987. Published by FLEX Editions (FL.FX072987).

A perfect Piece for exams or auditions - from 1 year of Trombone practice ; Instruments: 1 Trombone 1 Piano; Difficuly Level: Grade 1.

Concert band (Piccolo, 1st Flute, 2nd Flute, 1st Oboe, 2nd Oboe*, 1st Bb Clarinet, 2nd Bb Clarinet, 3rd Bb Clarinet, Eb Alto Clarinet*, Bb Bass Clarinet, 1st Bassoon, 2nd Bassoon*, 1st Eb Alto Saxophone, 2nd Eb Alto Saxophone, Bb Tenor Saxophone, Eb Baritone Saxophone*) - grade 5

SKU: CN.R10004

Composed by John Ireland. Band Music. Score and parts. Duration 10:30. Published by G & M Brand Music Publishers (CN.R10004).

A slow introduction gives way to the chirpy theme which is developed, inverted, and accents displaced across the bar line to give a 3/2 feel against the written meter. Restlessness leads to a tranquillo presented by the flute and clarinet, weaving a flowing counterpoint around the melody until the original slow introduction returns. A triumphant recapitulation of the main theme brings this wonderful piece to an end.

Originally composed for Brass Band in 1934 Comedy Overture is, despite its name, a serious piece of writing. The term Overture does not imply that there is anything else to follow; it is used in the 19th century sense of Concert Overture (like Mendelssohn's Fingal's Cave - in other words, a miniature Tone Poem). The 1930's was a period of Ireland's mature writing - yielding the Piano Concerto (1930), the Legend for piano and orchestra (1933), and the choral work These Things Shall Be (1936-1937). We are fortunate therefore to have both Comedy Overture and A Downland Suite (1932) written for band medium at this time. As with Maritime Overture (written in 1944 for military band) Ireland approaches his material symphonically. The opening three notes state immediately the two seminal intervals of a semitone and a third. These are brooding and dark in Bb minor. It is these intervals which make up much of the thematic content of Comedy, sometimes appearing in inverted form, and sometimes in major forms as well. The concept that some musical intervals are consonant , some dissonant, and some perfect is perhaps useful in understanding the nature of the tension and resolution of this work. The third is inherently unstable, and by bar 4, the interval is expanded to a fourth - with an ascending sem-quaver triplet - and then expanded to a fifth. The instability of the third pushes it towards a perfect resolution in the fourth or the fifth. The slow introduction is built entirely around these intervals in Bb minor and leads through an oboe cadenza, to an Allegro moderato brillante in Bb major. Once again, the semi-tone (inverted) and a third (major) comprise the main, chirpy, theme-inspired by a London bus-conductor's cry of Piccadilly. (Much of the material in Comedy was re-conceived by Ireland for orchestra and published two years later under the title A London Overture.) The expansion of the interval of a third through a fourth, fifth, sixth, and seventh now takes place quickly before our very ears at the outset of this quicker section. Immediately the theme is developed, inverted, and accents displaced across the bar line to give a 3/2 feel against the written meter. But this restlessness leads to a tranquillo built around an arpeggio figure and presented by flute and clarinet. Ireland weaves his flowing counterpoint around this melody until the original slow introduction returns leading to a stretto effect as the rising bass motifs become more urgent, requesting a resolution of the tension of that original semitone and minor third. Yet resolution is withheld at this point as the music becomes almost becalmed in a further, unrelated tranquillo section marked pianissimo. It is almost as if another side of Ireland's nature is briefly allowed to shine through the stern counterpoint and disciplined structure. This leads to virtually a full recapitulation of the chirpy brilliante, with small additional touches of counterpoint, followed by the first tranquillo section-this time in the tonic of Bb major. But the instability of the third re-asserts itself, this time demanding a resolution. And a triumphant resolution it receives, for it finally becomes fully fledged and reiterates the octave in a closing vivace. The opening tension has at last resolved itself into the most perfect interval of all.

Introductory Harmonic Immersion Solfege for Individuals and Choirs. By Marilyn Shenenberger; James Jordan. Music Education. Instructional. 64 pages. Published by GIA Publications.

Chamber Music flute, piano

SKU: PR.114422710

Composed by Charles Gibb. Set of Score and Parts. 44+8 pages. Duration 24 minutes. Theodore Presser Company #114-42271. Published by Theodore Presser Company (PR.114422710).

ISBN 9781491136072. UPC: 680160688227.

DUO’s succinct movement titles (I. Here, II. Open, III. Stark, IV. Ardent) tease at revealing the grand and heartfelt inspiration for exuberant romanticism in this sonata-like work of symphonic proportions and depth. Charles Gibb is both an accomplished pianist and an award-winning flutist, who has written of this compelling major addition to the literature: “This work is a journey. What journey and whose journey does not matter. It is my journey, it is your journey. It is the journey of those who came before us, and of those who will come after us. I wrote this hoping that we can find each other along the road, so we can realize that we don’t need to go on the journey alone.” Gibb’s DUO is sure to become a favorite major work for flute recitalists.
This work is a journey. What journey and whose journey does not matter. It is my journey, it is your journey. It is the journey of those who came before us, and of those who will come after us. I wrote this hoping that we can find each other along the road, so we can realize that we don’t need to go on the journey alone.“Here” begins with three notes that shape the rhythmic and harmonic content of the entire work. Melodies and harmonies including the tonic, dominant, and leading tone can be found in each of the four movements. The first moments of this movement introduce the melody, offering itself unencumbered and uninhibited. It shows itself as it is. The melodies soar, the harmonies become voiced more intricately, and the opening theme repeats in full grandeur. The momentum slows down, and the movement ends with a sense of completion, yet remains unbalanced.A striking piano gesture launches “Open,” the idea of instability reflected with the flowing flute trills and unclear meter patterns in the piano. The sensation of an unsteady grace in 5/8 time arrives with a piano ostinato. The melody is expressive, yet insecure and unbalanced due to changing meters. After a grand pause, the movement transitions to 4/4 time with the flute switching between duplet and triplet flourishes. After a rapid descent in the flute, the opening gesture returns, changed and abruptly interrupted.The third movement, “Stark,” is very static, beginning plainly but markedly. The falling fifth calls out continually throughout the movement, searching, lost. Melodies appear in pieces, some smooth and flowing, others rather disjunct. The piece climaxes with a line of mournfulness, yet revealing a deeper strength through intense projection of tone in the high register. However, the static harmonies return, this time unsteady all the way to its foundation. This destabilization repeats, and then quietly recedes.“Ardent” is the longest of the movements and spans a wide range of musical emotion. Part of the movement is fast paced, energetic, and balances order and disarray. However, once the chaos dies down, a gentle, expressive theme comes in. The theme itself is very resolute; it is order appearing from the pandemonium. Conflict returns, and order and chaos become less distinguishable from one another, and soon fuse together. However, order returns with new meaning, synthesized with previous musical content, creating a truer, deeper sense of awareness or understanding. A moment of ambiguity arises, but the flute persists, supported by the sensitive but firm figuration in the piano, and resoundingly comes to a close, unburdened and at ease.

Chamber Music & Piano Accompaniment 1 Bassoon 1 Piano - Grade 3

SKU: FL.FX073032

Composed by Jerome Naulais. Original Composition. Classical, Educational. Score and Set of Parts. Duration 3 minutes. FLEX Editions #FX073032. Published by FLEX Editions (FL.FX073032).

An original and tonic piece from 4 years of instrument practice ; Instruments: 1 Bassoon 1 Piano; Difficuly Level: Grade 3.

Teach Yourself Fingerpicking Guitar with CD arranged by Jared Walker. For guitar. This edition: Paperback. Instructional. Method. Book and CD. Text Language: English. 96 pages. Published by Santorella Publications

Choral

SKU: CF.CMF9

Composed by Janice Bradshaw Denise Eaton. None. Teacher's book. With Standard notation. 100 pages. Carl Fischer Music #CMF9. Published by Carl Fischer Music (CF.CMF9).

ISBN 9781491150979. UPC: 680160908479. 4.75 x 10.50 inches.

Denise Eaton's STEPS Further flashcards are designed to visually reinforce the notes of the tonic triad in each key. Utilizing the flashcards immerses the singers in a given key through creative repetition, helping them to become comfortable with syllable and interval identification in each key. When incorporating this resource into daily teaching, there are unlimited opportunities that exist for creativity and fun, while also improving skills.