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.
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.
By Lloyd Larson. For keyboard. General, Thanksgiving, Christmas, Lent, Holy Week...(+)
By Lloyd Larson. For
keyboard. General,
Thanksgiving, Christmas,
Lent, Holy Week, Palm
Sunday, Eastertide.
Level: 2-staff. Sacred
instrumental. Published
by Exaltation
Publications.
By Lloyd Larson. For handbells (3-5 octaves). General, Thanksgiving, Christmas, ...(+)
By Lloyd Larson. For
handbells (3-5 octaves).
General, Thanksgiving,
Christmas, Lent, Holy
Week, Palm Sunday,
Eastertide. Sacred organ.
Published by Exaltation
Publications. (30/2161L)
By Lloyd Larson. For keyboard, 2 trumpets, 2 tormbones, tuba and percussion (con...(+)
By Lloyd Larson. For
keyboard, 2 trumpets, 2
tormbones, tuba and
percussion (conductor's
score). General,
Thanksgiving, Christmas,
Lent, Holy Week, Palm
Sunday, Eastertide.
Sacred organ. Published
by Exaltation
Publications. (30/2160L)
366 More Great Songs for Better Living. Arranged by Jim Beloff, Liz Belof...(+)
366 More Great Songs
for Better Living.
Arranged by Jim Beloff,
Liz Beloff. Fake Book.
Country, Pop,
Standards. Softcover. 416
pages. Published by Hal
Leonard (HL.212971).
Choral (SSA opt. a cappella) SKU: HL.360222 Composed by Pepper Choplin. S...(+)
Choral (SSA opt. a
cappella)
SKU:
HL.360222
Composed by
Pepper Choplin. Shawnee
Sacred. General Worship,
Sacred. Octavo. Duration
150 seconds. Published by
Shawnee Press
(HL.360222).
UPC:
840126948851.
6.75x10.5x0.029 inches.
Isaiah 41:10, Matthew
28:20.
This anthem
touches the heart with
its reassuring message of
God's faithfulness and
power. The choir supplies
rhythmic energy with its
repetitive phrase, We Are
Not Alone, while the
soloist glides above in
smooth sustained lines.
The piece will leave the
congregation singing this
simple but profound truth
long after the service
has ended. Score and
Parts (fl 1-2, ob, cl
1-2, bn, tpt 1-3, hn 1-2,
tbn 1-3/tba, perc 1-2,
timp, hp, pno, vn 1-2,
va, vc, db, kybd)
available as a digital
download. An a cappella
SATB voicing is also
available. NOTE: Full
Performance and Part
Dominant MP3's are for
the SATB voicing
only.
Choral (TTBB OPT. A CAPPELLA) SKU: HL.360223 Composed by Pepper Choplin. ...(+)
Choral (TTBB OPT. A
CAPPELLA)
SKU:
HL.360223
Composed by
Pepper Choplin. Shawnee
Sacred. General Worship,
Sacred. Octavo. Duration
150 seconds. Published by
Shawnee Press
(HL.360223).
UPC:
840126948868.
6.75x10.5x0.029 inches.
Isaiah 41:10, Matthew
28:20.
This anthem
touches the heart with
its reassuring message of
God's faithfulness and
power. The choir supplies
rhythmic energy with its
repetitive phrase, We Are
Not Alone, while the
soloist glides above in
smooth sustained lines.
The piece will leave the
congregation singing this
simple but profound truth
long after the service
has ended. Score and
Parts (fl 1-2, ob, cl
1-2, bn, tpt 1-3, hn 1-2,
tbn 1-3/tba, perc 1-2,
timp, hp, pno, vn 1-2,
va, vc, db, kybd)
available as a digital
download. An a cappella
SATB voicing is also
available. NOTE: Full
Performance and Part
Dominant MP3's are for
the SATB voicing
only.
SKU: GI.G-10833 Composed by Daniel Gregerman. Music Education. 150 pages....(+)
SKU: GI.G-10833
Composed by Daniel
Gregerman. Music
Education. 150 pages. GIA
Publications #10833.
Published by GIA
Publications
(GI.G-10833).
ISBN
9781574635614.
From
philosophy, auditions,
and lesson planning to
improvisation and
literature selection,
this diverse group of
nationally recognized
educators at all levels
discuss these topics and
more. Each director
practically walks you
through a rehearsal!
Whether you are a
seasoned vocal jazz
director or someone
looking to get started,
the authors’
concepts on running an
outstanding vocal jazz
program has something for
everyone. There are
different vocal timbres
that we expect to hear in
different styles, and I
believe that there are
ways to produce a variety
of sounds in a healthy
way with sound technique.
—Andrew Dahan Â
 Niles North High
School, Skokie, IL When
starting a vocal jazz
ensemble, I keep the
literature on the easy
side so concepts of
style, tone, vibrato,
balance, and blend can be
focused on without
pounding out notes.
—Roger Emerson
  Professional
Composer and Arranger As
with any language, one of
the fastest ways to learn
about different styles,
genres, and other
idiosyncrasies is to
immerse ourselves in the
language. —Daniel
Gregerman  Â
Glenbrook South High
School, Glenview, IL I
think of the audition
process as a necessary
means to help me
‘cast’ the
ensemble. —Greg
Jasperse  Â
Western Michigan
University My overall
philosophy is that
teaching jazz is
extremely important. The
creation of this music is
unique to America, and it
is imperative that we
keep our youth informed.
—Connaitre Miller
  Howard
University We
don’t really ever
‘finish’ a
piece or arrangement, do
we? We work on the
repertoire and the music
arrives to an artistic
place. —Kate Reid
  University of
Miami, Frost School of
Music Jazz is a genre
that has to be primarily
learned from listening.
Exposing students to a
wide variety of jazz and
contemporary styles is
one of the most important
things we need to do.
—John Stafford II
  Kansas City
Kansas Community College
My jazz singers are the
best music readers in the
department, and I never
do any sight singing with
the jazz choirs. That is
all done in the
traditional choirs.
—Janice Vlachos
  Fairview High
School, Boulder, CO It
takes a good amount of
work to achieve a unified
sound, however, within
working on the minute
details and repetition,
it is those moments of
victory during the
rehearsals that make it
all worth it. —Gaw
Vang Williams  Â
Sacramento State College
Vocal jazz encourages
personal expression
through which
improvisation has become
a hallmark trait of the
genre. —Natalie
Wilson   Grass
Valley Elementary School,
Camas, WA.
Composed by Will Lopes.
Henry Leck Creating
Artistry. Concert,
Festival, Inspirational.
Octavo. 12 pages.
Duration 210 seconds.
Published by Hal Leonard
(HL.388333).
UPC:
196288025504.
6.75x10.5x0.029
inches.
Created and
imagined for either SATB
or SSA or both, this
flexible original
celebrates the power of
music. Full chords
celebrate the ringing,
singing and healing that
music is capable of
creating.
The singing heart by Bob Chilcott. For Double SATB choir and handbells. Mixed Vo...(+)
The singing heart by Bob
Chilcott. For Double SATB
choir and handbells.
Mixed Voices. Secular,
Choral Leaflet. Vocal
score. 16 pages. Duration
4'. Published by Oxford
University Press
Choral (Studiotrax CD) SKU: HL.35028268 Composed by Joseph M. Martin. Sha...(+)
Choral (Studiotrax CD)
SKU: HL.35028268
Composed by Joseph M.
Martin. Shawnee Sacred.
General Worship, Lent,
Youth Choir. CD only.
Published by Shawnee
Press (HL.35028268).
UPC: 884088638221.
4.75x5.5
inches.
Uses: General, Lent, Youth
Choir, Church
Anniversary
Scr
ipture: Psalm 67:3;
Psalm 30:4; Romans
12:1
A clarion
call to commitment is at
the heart of this ballad
of praise. Soaring on the
wings of melody and a
powerful accompaniment,
this contemporary sacred
song springs with
confidence from
Scripture. The stately
gait of the theme is
solidly supported with
strong unison singing and
sturdy harmonies. The
anthem moves as a
unifying credo of purpose
ending in a mighty
crescendo of praise.
Available separately:
SATB, StudioTrax CD
(Accompaniment/Split-Trax
/Performance),
Orchestration (Score &
parts for Flute 1&2,
Oboe, Clarinet 1&2,
Bassoon, Horn 1&2,
Trumpets 1-3, Trombones
1-3, Bass Trombone/Tuba,
Timpani, Percussion 1&2,
Harp, Piano, Violin 1&2,
Viola, Cello, Double
Bass). Duration: ca.
3:38.
2-Part opt. a cappella (2-Part optional a cappella) SKU: HL.1224306 Compo...(+)
2-Part opt. a cappella
(2-Part optional a
cappella)
SKU:
HL.1224306
Composed
by Greg Gilpin. Shawnee
Press. Concert, Festival,
Light Concert,
Multicultural. Octavo. 16
pages. Duration 180
seconds. Published by
Shawnee Press
(HL.1224306).
ISBN
9781705196373. UPC:
196288143321. 6.75x10.5
inches.
Originally
written and premiered at
Carnegie Hall by the
composer, this is the
ultimate choral for
musical unity! Set in a
very rhythmic style with
optional percussion
parts, it can be sung a
cappella or with piano.
The text is a wonderful
mix of Swahili and
English singing,
“Together we are
better, friend to friend,
heart to heart.†In
any voicing, this one
will rock your concert
with energy and
sound!
