Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clarinet 3, Contrabass Clarinet, English Horn, Flute 1, Flute 2, Horn 1, Horn 2, Horn 3, Horn 4, Oboe 1, Oboe 2, Piccolo, Trumpet 1, Trumpet 2, Trumpet 3, alto Saxophone 1 and more. - Grade 5

SKU: CF.SPS85

Composed by Jeremy Martin. Folio. Sps. Set of Score and Parts. 4+28+28+14+14+4+14+14+7+24+28+28+8+4+8+8+14+8+9+12+12+8+8+8+8+12+12+9+12+8+16+4+3+2+6+6+6+7+44 pages. Duration 7 minutes, 8 seconds. Carl Fischer Music #SPS85. Published by Carl Fischer Music (CF.SPS85).

ISBN 9781491156421. UPC: 680160914968. 9 x 12 inches.

Blue Horizons is a spirited tribute to the musical heritage of the United States Air Force. The main theme is a variation of the U.S. Air Force Song (Off We Go), with a secondary theme based on A Toast to the Host (the bridge of The Air Force Song). Throughout the work, fragments of other Air Force-related songs appear: Lord, Guard and Guide (the Air Force Hymn), Air Force Blue, and Those Magnificent Men in Their Flying Machines. The original request for this work was a daunting task: I was asked to create an Air Force companion piece to Robert Jager's Esprit de Corps that would mirror the style and spirit of that landmark work. The goal was to use elements of our various Air Force tunes in the same way that Jager incorporated The Marine's Hymn into his work - that is, to weave a musical tapestry of the Air Force's musical heritage without ever becoming a mere arrangement of the original material. As a former student of Robert Jager at Tennessee Technological University, I discussed my plans for the piece with him, shared my progress along the way, and sought his guidance as I had done so many times in the past. He was delighted that I managed to incorporate a few Jager-isms into the music, including one direct quote from Esprit de Corps. Although Blue Horizons was conceived as a dedication to the Air Force's musical legacy, it is also a personal homage to my teacher and friend, Robert Jager. Performance Notes * If only two flutists are available, omit the piccolo part and have them play Flute 1 and 2; in this case, Flute 1 should switch over to piccolo (still playing from the Flute 1 part) at m. 81 and back to regular flute at m. 114. If only covering the Flute 1 and 2 parts, Flute 2 should ignore indications to switch to piccolo and just play the entire work on regular flute. * Oboe 1 and 2 parts should be covered before adding the English Horn part. * The clarinet in Eb part should not be covered unless there are a sufficient number of players on the clarinet in Bb parts. * The trumpet cues in mm. 77-80 are only necessary if the horns need assistance finishing their soli phrase with enough strength to be heard. If you can hear them without extra support, leave the trumpets out. * From mm. 89-95, be sure the wind players with static eighth notes do not cover up the players with moving lines. * There is a strong tendency to rush m. 121. * During the oboe solo from mm. 157-168, ensure that the suspension/resolution lines in the bassoon and clarinet parts are heard; emphasize the importance of growing into the suspension with a slight crescendo. * In the scherzo section that begins at m. 217, be sure that each player knows how his/her part fits into the overall sound. I recommend isolating different textural items so the players can hear those parts on their own. (The bass line from mm. 243-260, for example, or the moving inner-voice line from mm. 251-260.) * In this same scherzo section, care should be taken to not play too loud and save a little strength for the climax fanfare at m. 279. * If you have an abundance of tubas, I would recommend having one or two of them play up an octave from mm. 243-271 if the lower part seems too heavy.
Blue Horizons is a spirited tribute to the musical heritage of the United States Air Force. The main theme is a variation of the U.S. Air Force Song (Off We Go), with a secondary theme based on A Toast to the Host (the bridge of The Air Force Song). Throughout the work, fragments of other Air Force-related songs appear: Lord, Guard and Guide (the Air Force Hymn), Air Force Blue, and Those Magnificent Men in Their Flying Machines.The original request for this work was a daunting task: I was asked to create an Air Force “companion piece” to Robert Jager’s Esprit de Corps that would mirror the style and spirit of that landmark work. The goal was to use elements of our various Air Force tunes in the same way that Jager incorporated The Marine’s Hymn into his work – that is, to weave amusical tapestry of the Air Force’s musical heritage without ever becoming a mere arrangement of the original material. As a former student of Robert Jager at Tennessee Technological University, I discussed my plans for the piece with him, shared my progress along the way, and sought his guidance as I had done so many times in the past. He was delighted that I managed to incorporate a few “Jager-isms” into the music, including one direct quote from Esprit de Corps. Although Blue Horizons was conceived asa dedication to the Air Force’s musical legacy, it is also a personal homage to my teacher and friend, Robert Jager.Performance Notes• If only two flutists are available, omit the piccolo part and have them play Flute 1 and 2; in this case, Flute 1 should switch over to piccolo (still playing from the Flute 1 part) at m. 81 and back to regular flute at m. 114. If only covering the Flute 1 and 2 parts, Flute 2 should ignore indications to switch to piccolo and just play the entire work on regular flute.• Oboe 1 and 2 parts should be covered before adding the English Horn part.• The clarinet in Eb part should not be covered unless there are a sufficient number of players on the clarinet in Bb parts.• The trumpet cues in mm. 77-80 are only necessary if the horns need assistance finishing their soli phrase with enough strength to be heard. If you can hear them without extra support, leave the trumpets out.• From mm. 89-95, be sure the wind players with static eighth notes do not cover up the players with moving lines.• There is a strong tendency to rush m. 121.• During the oboe solo from mm. 157-168, ensure that the suspension/resolution lines in the bassoon and clarinet parts are heard; emphasize the importance of growing into the suspension with a slight crescendo.• In the scherzo section that begins at m. 217, be sure that each player knows how his/her part fits into the overall sound. I recommend isolating different textural items so the players can hear those parts on their own. (The bass line from mm. 243-260, for example, or the moving inner-voice linefrom mm. 251-260.)• In this same scherzo section, care should be taken to not play too loud and save a little strength for the climax fanfare at m. 279.• If you have an abundance of tubas, I would recommend having one or two of them play up an octave from mm. 243-271 if the lower part seems too heavy.

Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clarinet 3, Contrabass Clarinet, Contrabassoon, Double Bass, English Horn, Euphonium, Flute 1, Flute 2, Horn 1, Horn 2, Horn 3, Horn 4, Oboe 1, Oboe 2, Percussion 1 and more.

SKU: PR.16500103F

Mvt. 3 from Symphony No. 6 (Three Places in the East). Composed by Dan Welcher. Full score. 60 pages. Theodore Presser Company #165-00103F. Published by Theodore Presser Company (PR.16500103F).

ISBN 9781491131763. UPC: 680160680290.

Ever since the success of my series of wind ensemble works Places in the West, I've been wanting to write a companion piece for national parks on the other side of the north American continent. The earlier work, consisting of GLACIER, THE YELLOWSTONE FIRES, ARCHES, and ZION, spanned some twenty years of my composing life, and since the pieces called for differing groups of instruments, and were in slightly different styles from each other, I never considered them to be connected except in their subject matter. In their depiction of both the scenery and the human history within these wondrous places, they had a common goal: awaking the listener to the fragile beauty that is in them; and calling attention to the ever more crucial need for preservation and protection of these wild places, unique in all the world. With this new work, commissioned by a consortium of college and conservatory wind ensembles led by the University of Georgia, I decided to build upon that same model---but to solidify the process. The result, consisting of three movements (each named for a different national park in the eastern US), is a bona-fide symphony. While the three pieces could be performed separately, they share a musical theme---and also a common style and instrumentation. It is a true symphony, in that the first movement is long and expository, the second is a rather tightly structured scherzo-with-trio, and the finale is a true culmination of the whole. The first movement, Everglades, was the original inspiration for the entire symphony. Conceived over the course of two trips to that astonishing place (which the native Americans called River of Grass, the subtitle of this movement), this movement not only conveys a sense of the humid, lush, and even frightening scenery there---but also an overview of the entire settling-of- Florida experience. It contains not one, but two native American chants, and also presents a view of the staggering influence of modern man on this fragile part of the world. Beginning with a slow unfolding marked Heavy, humid, the music soon presents a gentle, lyrical theme in the solo alto saxophone. This theme, which goes through three expansive phrases with breaks in between, will appear in all three movements of the symphony. After the mood has been established, the music opens up to a rich, warm setting of a Cherokee morning song, with the simple happiness that this part of Florida must have had prior to the nineteenth century. This music, enveloping and comforting, gradually gives way to a more frenetic, driven section representative of the intrusion of the white man. Since Florida was populated and developed largely due to the introduction of a train system, there's a suggestion of the mechanized iron horse driving straight into the heartland. At that point, the native Americans become considerably less gentle, and a second chant seems to stand in the way of the intruder; a kind of warning song. The second part of this movement shows us the great swampy center of the peninsula, with its wildlife both in and out of the water. A new theme appears, sad but noble, suggesting that this land is precious and must be protected by all the people who inhabit it. At length, the morning song reappears in all its splendor, until the sunset---with one last iteration of the warning song in the solo piccolo. Functioning as a scherzo, the second movement, Great Smoky Mountains, describes not just that huge park itself, but one brave soul's attempt to climb a mountain there. It begins with three iterations of the UR-theme (which began the first movement as well), but this time as up-tempo brass fanfares in octaves. Each time it begins again, the theme is a little slower and less confident than the previous time---almost as though the hiker were becoming aware of the daunting mountain before him. But then, a steady, quick-pulsed ostinato appears, in a constantly shifting meter system of 2/4- 3/4 in alteration, and the hike has begun. Over this, a slower new melody appears, as the trek up the mountain progresses. It's a big mountain, and the ascent seems to take quite awhile, with little breaks in the hiker's stride, until at length he simply must stop and rest. An oboe solo, over several free cadenza-like measures, allows us (and our friend the hiker) to catch our breath, and also to view in the distance the rocky peak before us. The goal is somehow even more daunting than at first, being closer and thus more frighteningly steep. When we do push off again, it's at a slower pace, and with more careful attention to our footholds as we trek over broken rocks. Tantalizing little views of the valley at every switchback make our determination even stronger. Finally, we burst through a stand of pines and----we're at the summit! The immensity of the view is overwhelming, and ultimately humbling. A brief coda, while we sit dazed on the rocks, ends the movement in a feeling of triumph. The final movement, Acadia, is also about a trip. In the summer of 2014, I took a sailing trip with a dear friend from North Haven, Maine, to the southern coast of Mt. Desert Island in Acadia National Park. The experience left me both exuberant and exhausted, with an appreciation for the ocean that I hadn't had previously. The approach to Acadia National Park by water, too, was thrilling: like the difference between climbing a mountain on foot with riding up on a ski-lift, I felt I'd earned the right to be there. The music for this movement is entirely based on the opening UR-theme. There's a sense of the water and the mysterious, quiet deep from the very beginning, with seagulls and bell buoys setting the scene. As we leave the harbor, the theme (in a canon between solo euphonium and tuba) almost seems as if large subaquatic animals are observing our departure. There are three themes (call them A, B and C) in this seafaring journey---but they are all based on the UR theme, in its original form with octaves displaced, in an upside-down form, and in a backwards version as well. (The ocean, while appearing to be unchanging, is always changing.) We move out into the main channel (A), passing several islands (B), until we reach the long draw that parallels the coastline called Eggemoggin Reach, and a sudden burst of new speed (C). Things suddenly stop, as if the wind had died, and we have a vision: is that really Mt. Desert Island we can see off the port bow, vaguely in the distance? A chorale of saxophones seems to suggest that. We push off anew as the chorale ends, and go through all three themes again---but in different instrumentations, and different keys. At the final tack-turn, there it is, for real: Mt. Desert Island, big as life. We've made it. As we pull into the harbor, where we'll secure the boat for the night, there's a feeling of achievement. Our whale and dolphin friends return, and we end our journey with gratitude and celebration. I am profoundly grateful to Jaclyn Hartenberger, Professor of Conducting at the University of Georgia, for leading the consortium which provided the commissioning of this work.

Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clarinet 3, Contrabass Clarinet, Contrabassoon, Double Bass, English Horn, Euphonium, Flute 1, Flute 2, Horn 1, Horn 2, Horn 3, Horn 4, Oboe 1, Oboe 2, Percussion 1 and more.

SKU: PR.16500101F

Mvt. 1 from Symphony No. 6 (Three Places in the East). Composed by Dan Welcher. Full score. 52 pages. Theodore Presser Company #165-00101F. Published by Theodore Presser Company (PR.16500101F).

ISBN 9781491131725. UPC: 680160680252.

Ever since the success of my series of wind ensemble works Places in the West, I've been wanting to write a companion piece for national parks on the other side of the north American continent. The earlier work, consisting of GLACIER, THE YELLOWSTONE FIRES, ARCHES, and ZION, spanned some twenty years of my composing life, and since the pieces called for differing groups of instruments, and were in slightly different styles from each other, I never considered them to be connected except in their subject matter. In their depiction of both the scenery and the human history within these wondrous places, they had a common goal: awaking the listener to the fragile beauty that is in them; and calling attention to the ever more crucial need for preservation and protection of these wild places, unique in all the world. With this new work, commissioned by a consortium of college and conservatory wind ensembles led by the University of Georgia, I decided to build upon that same model---but to solidify the process. The result, consisting of three movements (each named for a different national park in the eastern US), is a bona-fide symphony. While the three pieces could be performed separately, they share a musical theme---and also a common style and instrumentation. It is a true symphony, in that the first movement is long and expository, the second is a rather tightly structured scherzo-with-trio, and the finale is a true culmination of the whole. The first movement, Everglades, was the original inspiration for the entire symphony. Conceived over the course of two trips to that astonishing place (which the native Americans called River of Grass, the subtitle of this movement), this movement not only conveys a sense of the humid, lush, and even frightening scenery there---but also an overview of the entire settling-of- Florida experience. It contains not one, but two native American chants, and also presents a view of the staggering influence of modern man on this fragile part of the world. Beginning with a slow unfolding marked Heavy, humid, the music soon presents a gentle, lyrical theme in the solo alto saxophone. This theme, which goes through three expansive phrases with breaks in between, will appear in all three movements of the symphony. After the mood has been established, the music opens up to a rich, warm setting of a Cherokee morning song, with the simple happiness that this part of Florida must have had prior to the nineteenth century. This music, enveloping and comforting, gradually gives way to a more frenetic, driven section representative of the intrusion of the white man. Since Florida was populated and developed largely due to the introduction of a train system, there's a suggestion of the mechanized iron horse driving straight into the heartland. At that point, the native Americans become considerably less gentle, and a second chant seems to stand in the way of the intruder; a kind of warning song. The second part of this movement shows us the great swampy center of the peninsula, with its wildlife both in and out of the water. A new theme appears, sad but noble, suggesting that this land is precious and must be protected by all the people who inhabit it. At length, the morning song reappears in all its splendor, until the sunset---with one last iteration of the warning song in the solo piccolo. Functioning as a scherzo, the second movement, Great Smoky Mountains, describes not just that huge park itself, but one brave soul's attempt to climb a mountain there. It begins with three iterations of the UR-theme (which began the first movement as well), but this time as up-tempo brass fanfares in octaves. Each time it begins again, the theme is a little slower and less confident than the previous time---almost as though the hiker were becoming aware of the daunting mountain before him. But then, a steady, quick-pulsed ostinato appears, in a constantly shifting meter system of 2/4- 3/4 in alteration, and the hike has begun. Over this, a slower new melody appears, as the trek up the mountain progresses. It's a big mountain, and the ascent seems to take quite awhile, with little breaks in the hiker's stride, until at length he simply must stop and rest. An oboe solo, over several free cadenza-like measures, allows us (and our friend the hiker) to catch our breath, and also to view in the distance the rocky peak before us. The goal is somehow even more daunting than at first, being closer and thus more frighteningly steep. When we do push off again, it's at a slower pace, and with more careful attention to our footholds as we trek over broken rocks. Tantalizing little views of the valley at every switchback make our determination even stronger. Finally, we burst through a stand of pines and----we're at the summit! The immensity of the view is overwhelming, and ultimately humbling. A brief coda, while we sit dazed on the rocks, ends the movement in a feeling of triumph. The final movement, Acadia, is also about a trip. In the summer of 2014, I took a sailing trip with a dear friend from North Haven, Maine, to the southern coast of Mt. Desert Island in Acadia National Park. The experience left me both exuberant and exhausted, with an appreciation for the ocean that I hadn't had previously. The approach to Acadia National Park by water, too, was thrilling: like the difference between climbing a mountain on foot with riding up on a ski-lift, I felt I'd earned the right to be there. The music for this movement is entirely based on the opening UR-theme. There's a sense of the water and the mysterious, quiet deep from the very beginning, with seagulls and bell buoys setting the scene. As we leave the harbor, the theme (in a canon between solo euphonium and tuba) almost seems as if large subaquatic animals are observing our departure. There are three themes (call them A, B and C) in this seafaring journey---but they are all based on the UR theme, in its original form with octaves displaced, in an upside-down form, and in a backwards version as well. (The ocean, while appearing to be unchanging, is always changing.) We move out into the main channel (A), passing several islands (B), until we reach the long draw that parallels the coastline called Eggemoggin Reach, and a sudden burst of new speed (C). Things suddenly stop, as if the wind had died, and we have a vision: is that really Mt. Desert Island we can see off the port bow, vaguely in the distance? A chorale of saxophones seems to suggest that. We push off anew as the chorale ends, and go through all three themes again---but in different instrumentations, and different keys. At the final tack-turn, there it is, for real: Mt. Desert Island, big as life. We've made it. As we pull into the harbor, where we'll secure the boat for the night, there's a feeling of achievement. Our whale and dolphin friends return, and we end our journey with gratitude and celebration. I am profoundly grateful to Jaclyn Hartenberger, Professor of Conducting at the University of Georgia, for leading the consortium which provided the commissioning of this work.

SKU: HL.911071

EAST SOUND RESEARCH. Guitar Pedal. Duration 240 seconds. Hal Leonard #CM0230. Published by Hal Leonard (HL.911071).

UPC: 852940000981. 10.0x5.5x3.0 inches.

The world of music has changed and the world of guitar playing has changed along with it. It is becoming normal to not see the full guitar rigs of the '70s, '80s, and '90s, and instead just see guitar players with minimal systems to achieve their signature sounds. Introducing the Carl Martin Ampster ... from the company that has shone the single analog light down that deep digital tunnel. The Ampster, a single tube driven amp/speaker simulator that can either supplement your amp, or replace it. A fully analog unit with controls that are the same as your amplifier with the addition of a mute switch, a speaker selection switch and a voicing switch. What's more important, the Ampster reacts to your playing in the same way your full size amp does, giving you the same organic feel with zero latency! The Ampster is housed in a solid metal box with the standard EQ (Bass Middle Treble), pre and post volume/gain controls (Master & Gain) plus a Presence Control. There is a Mute Switch for obvious reasons and a Cabinet Switch with an LED Indicator light ( Red for a 2x12 Open Backed Cab, and Green for a 4x12 Closed Back Cab). On the back of the pedal you will find a Ground Lift and a Voicing Switch (a subtle low end cap controlled voicing adjustment). Input, Link (output to your amp or powered speaker) Balanced DI (XLR output to go to a mixing or recording console), a Send and Return for those specific effects that shouldn't be in front of the amp, a Remote Input for use with digital or analog effect controllers like the Carl Martin Octaswitch “The Strip,” and your standard 9v 1A power input. It couldn't be simpler! Plug your guitar straight in, or plug your pedal board into the input jack, choose your output and open your ears to a surprisingly big round clean sound, or by adjusting the Gain, that decidedly British Overdrive sound for which Carl Martin has become so well known. Our test players have fallen in love, telling us the Ampster reacts just like their standard amps, organic and responsive to your playing style or attack. In fact, the Ampster sounds just like a full size amp, but it fits on your pedalboard. Take a look at the videos ... we are certain you will want to take the Ampster for a test drive!

SKU: HL.456817

Transparent Black. Michael Kelly Guitars. Guitars. Michael Kelly Guitar Co. #MKO5OBKMRC. Published by Michael Kelly Guitar Co. (HL.456817).

UPC: 809164026518. 17.0x48.5x4.2 inches.

Element 5OP Designed for the modern bass player, the Element 5OP 5-string bass will immediately become a favorite instrument in your collection - not just for its striking looks but its tone and playability. The Element 5OP's open pore grain finish preserves the natural acoustic properties of the sungkai wood body, resulting in a wider range of sustained frequencies and a stellar low-end. Its 35″ maple neck and fingerboard provide a well-balanced feel and pinpoint articulation even on the low B string. The “C” neck profile features a satin finish for an extremely comfortable feel and easy lateral movement. The Element 5OP offers sonic flexibility without compromising authentic bass tone. For dialing up a broad range of sounds, it's equipped with two Rockfield single coil pickups, matched up with a 2-band EQ & preamp. If more of a vintage flavor is your preference, a push-pull switch bypasses the preamp and puts out a traditional passive tone. Between its gorgeous visuals and pristine low-end punch, the Element 5OP will be your go-to instrument on stage, at practice or in the studio.

Chamber Music Cello

SKU: CF.BF126

Composed by Roland Vamos. Edited by Horacio Contreras. SWS. Book. With Standard notation. 64 pages. Carl Fischer Music #BF126. Published by Carl Fischer Music (CF.BF126).

ISBN 9781491150009. UPC: 680160907502. 9x12 inches.

Written by world renown pedagogue, Roland Vamos, this collection of double-stop exercises fill a void in the literature of technical exercises for cellists. These etudes feature a systematic series of fixed double-stops that enables the player to practice and master every possible combination of finger patterns across two strings without shifting. Mr. Vamos says of the book, The most important accomplishment is the development of a strong left handà These exercises, when practiced slowly and carefully, will help to develop a keen sense of pitch and intonation. Adapted for cello by Horacio Contreras, teacher, chamber musician, and recitalist.
When I first became familiar with Roland Vamos’ Exercises, I was impressed with itsclarity and effectiveness. The book focuses on a few important fundamentals of string playing,and it is accessible to students of every age. Moreover, its tonal organization in C major makesit simple and easy to understand. I recognized the potential this book could have for cellists,and after spending several months working on an adaptation, I witnessed its results in buildingand maintaining important fundamentals of technique.Mr. Vamos’ Exercises is comprised of simple patterns of double-stops in sevenpositions. There are two basic groups of variations: seven double-stop variations in differentcombined rhythms that develop finger coordination and independence of the left hand, andnine bowing variations that use détaché at the frog, middle and tip of the bow to work onstring crossings, coordination, and balance of the bow. The whole work provides training thatimproves intonation, sound, and ease of playing in all positions and all parts of the bow.In order to adapt Mr. Vamos’ book for cello, I needed to make some modifications tothe original. To address the different needs of the neck and the thumb positions, I chose to writetwo separate books. I kept the original ascending stepwise motion for subsequent variationsin Book I by following a diatonic scale on the top line of the patterns. However, I modifiedthe tonal framework to adjust to the more limited range of the cello. Therefore, unlike in Mr.Vamos’ book, variations in Book I do not ascend through the positions in a uniform pattern.I also switched the order of patterns to create a gradual increase in difficulty. In Book II, Iadded options that work on the fourth finger and an extended left hand frame, and at the end, Iincluded five sets of variations with different bowing alternatives.Mr. Vamos provides a number of specific instructions regarding left hand techniquein his exercises. For his original version, two fingers must remain down for almost the entireset of variations, providing a solid reference for the frame of the hand. In variations H and I,he instructs students to lift these fingers when they are not being used. In the case of thumbposition on cello, lifting the thumb could make the hand unstable; therefore, I suggested thatthe thumb remains down while the other fingers are lifted alternately in H and I. I have foundthis exercise quite useful to work on thumb independence and relaxing the thumb while usingother fingers.Mr. Vamos gives precise instructions for the bowing exercises as well. Following hisdirections, the exercises should be performed with a relaxed hand and flexible fingers. Thenotes should be consistently connected even when crossing strings. The bowing patterns shouldbe performed at the frog, the middle and the tip of the bow in every position.

Choral Bass 1, Bass 2, baritone voice tenor 1, tenor 2

SKU: CF.CM9634

Composed by Traditional Christmas Spiritual. Arranged by Ken Berg. Sws. Performance Score. 16 pages. Duration 3 minutes, 40 seconds. Carl Fischer Music #CM9634. Published by Carl Fischer Music (CF.CM9634).

ISBN 9781491157060. UPC: 680160915620. 6.875 x 10.5 inches. Key: G major. English, English. Traditional Christmas Spiritual.

Berg's fantastic setting of this beloved American Christmas spiritual for advanced tenor-bass choirs tells a story of hope and meaning. The various textures throughout the a cappella arrangement with solos add much variety and musical interest. A holiday programming must!.
This beloved American Christmas Spiritual, like all spirituals and/or folk songs, tells a story. This is a story of hope and meaning. The introductory solo call and response (mm. 1-7) is hymnic in nature, just to get us started. (Think of it as an effective head fake!) The entrance at m. 8 from the upper three voices (we'll call them the trio part henceforth) is pivotal. They set the stage for the conversation between the singers and the soloist for the rest of the song. From this point, the song is basically a Jazz Trio in vocal form. The bass singers take on the role of the cool dude in the back wearing dark glasses and a beret playing the string bass. They provide the driving force for the forward movement of the entire song. The trio part, basically tenors 1 & 2 and baritones, take on the role of the keyboard providing chordal structure and syncopation. Their job is to fill the listener's ear with sound and rhythm. The soloist tells the story using the known melody and text with appropriate improv opportunities to keep the listeners focused on the message of the song. There is enough repetition to make for easy learning, but this also means that the chords need to snap into position cleanly every time. The Verses are easily identified (there are three) and presented with some small variations in Verse 3 (see mm. 56-58...this only happens once). The Refrain (mm. 30-37) is the part of the song where the singers switch from the Jazz Trio role and actually become a Men's Choral Ensemble. This Refrain is repeated after Verse 3 at mm. 66-71. Between verses 2 & 3, there is not a refrain. Instead, there is a bridge repeated from the introductory material, but used this time to move us into a new key signature. This can be a very exciting moment for the singers as well as the listeners! Measures 72-75 is known in the business as a vamp. It can be repeated once and then move on, OR it can be repeated multiple times, depending on the comfort level of the soloist and the response of the audience. It is important that there be a clear signal from the conductor as to how to end the vamp and move effectively to the actual coda of the song. The ending should be sung with tight control that only looks like reckless abandon! Faces bright; words clean; melody clear; rhythms precise! Enjoy.
This beloved American Christmas Spiritual, like all spirituals and/or folk songs, tells a story. This is a story of hope and meaning. The introductory solo call and response (mm. 1-7) is hymnic in nature, just to get us started. (Think of it as an effective head fake!)The entrance at m. 8 from the upper three voices (we’ll call them the “trio part” henceforth) is pivotal. They set the stage for the conversation between the singers and the soloist for the rest of the song. From this point, the song is basically a Jazz Trio in vocal form. The bass singers take on the role of the cool dude in the back wearing dark glasses and a beret playing the string bass. They provide the driving force for the forward movement of the entire song.The “trio part”, basically tenors 1 & 2 and baritones, take on the role of the keyboard providing chordal structure and syncopation. Their job is to fill the listener’s ear with sound and rhythm.The soloist tells the story using the known melody and text with appropriate improv opportunities to keep the listeners focused on the message of the song.There is enough repetition to make for easy learning, but this also means that the chords need to “snap into position” cleanly every time. The Verses are easily identified (there are three) and presented with some small variations in Verse 3 (see mm. 56-58…this only happens once).The Refrain (mm. 30-37) is the part of the song where the singers switch from the “Jazz Trio” role and actually become a “Men’s Choral Ensemble”. This Refrain is repeated after Verse 3 at mm. 66-71. Between verses 2 & 3, there is not a refrain. Instead, there is a bridge repeated from the introductory material, but used this time to move us into a new key signature. This can be a very exciting moment for the singers as well as the listeners!Measures 72-75 is known in the business as a “vamp”. It can be repeated once and then move on, OR it can be repeated multiple times, depending on the comfort level of the soloist and the response of the audience.It is important that there be a clear signal from the conductor as to how to end the “vamp” and move effectively to the actual coda of the song. The ending should be sung with tight control that only looks like reckless abandon!Faces bright; words clean; melody clear; rhythms precise! Enjoy.