With Variants, Examples and Advice for Playing and Improvising on any instrument. Edited by Pascale Boquet, Gerard Rebours. Music Books/CDs. Teaching Works. Level: Grade 0. 144 pages. Published by Editions Fuzeau Classique - France (French import).

Composed by Angelo Bertalotti. Arranged by Gabriel Iroffy. Text: Traditional Marian texts. Exercises becoming repertoire. Marian, Advent. Octavo. Published by CanticaNOVA Publications (C5.7113).

Composed by Traditional. Arranged by Kenneth Drobnak. Quartet. For Tuba Quartet (EETT). Published by Tuba-Euphonium Press

Guitar - Intermediate

SKU: MB.WBM58M

Traditional, Wire bound, Celtic. Folk. Book and online audio. 216 pages. Mel Bay Publications, Inc #WBM58M. Published by Mel Bay Publications, Inc (MB.WBM58M).

ISBN 9781736363058. 8.75x11.75 inches.

A comprehensive collection of 172 guitar solos for the flatpick or plectrum guitarist. All solos are written in standard notation with accompanying online recordings by the author. The solos include beautiful American, British and Celtic airs and ballads, Celtic dance tunes, lute and early music, popular classical repertoire and contemporary etudes. Includes access to online audio.

Based on a Traditional Glouchester Carol, words and music by Douglas E. Wagner. For Choir. (SSA). Choral Octavo. Choral Designs. Madrigal; Multicultural. Choral Octavo. 12 pages. Published by Alfred Publishing.

Recorder

SKU: UT.DM-79

Composed by Ludovica Scoppola. Paperback (Soft Cover). Classical. Ut Orpheus #DM 79. Published by Ut Orpheus (UT.DM-79).

ISBN 9790215324565. 9 x 12 inches.

This method of instrumental practice is aimed at all those who, at any age, wish to learn to play the treble recorder, through the reading of music. During the course, step by step, the various chapters introduce the fingering for the recorder, together with the understanding of the musical symbols. The goal, at the end of the study course, is to be in a position to perform all the notes on the instrument and to be able to read music at a basic level, which is the first step in dealing with the specific technical studies and the music written for the instrument.
Each chapter, through progressive exercises, introduces a new note and new topics of music theory, in order to achieve a gradual mastery of the fingering of the instrument. The progression suggested for learning the fingering begins with the use of the five fingers of the left hand, then to proceed to the use of the right hand. Each topic is then examined closely by studying pieces from the traditional, Renaissance, Baroque and Classical repertoires. The scales are also introduced gradually, aiming to help the student master the fingering of the scales up to three sharps and three flats and relative minor scales.
The progressive difficulty found in the course of the method is measured according to the experience gained from teaching students of different ages, and can be varied and adapted to the needs of each student. The workbook at the start of each chapter can be condensed, expanded or developed in relation to different learning abilities.

Tuba quartet (EETT)

SKU: TE.TEP10913

Composed by Traditional. Arranged by Kenneth Drobnak. Score and parts. Published by Tuba-Euphonium Press (TE.TEP10913).

SKU: HL.49018126

Festschrift Hermann Rauhe zum 80. Geburtstag. Edited by Reinhard Flender. This edition: Paperback/Soft Cover. Book. Misc. 420 pages. Schott Music #ED20880. Published by Schott Music (HL.49018126).

ISBN 9783795707187. German.

Kulturen zeichnen sich dadurch aus, dass sie starke Traditionen ausbilden. In diesen Traditionen spiegelt sich die Wertestruktur einer Kultur wider. Die Wertschatzung von Innovation ist in der europaischen Tradition seit der Renaissance ein viel beachtetes Phanomen, das Fortschritt und Entwicklung beflugelte und dem europaischen Kontinent zu Macht und Prestige verhalf. Das Ethos der Erneuerung ist hier zu einer festen Tradition, zu einer 'Innovation aus Tradition' geworden. Der Musikwissenschaftler Hermann Rauhe, dem diese Festschrift zu seinem 80. Geburtstag gewidmet ist, hat das Prinzip 'Innovation aus Tradition' in seinem vielseitigen beruflichen Leben als Wissenschaftler, Padagoge, Hochschulprasident, Kulturmanager und Komponist praktiziert. Sein Credo war und ist: Nur wer Innovation wagt, kann Tradition bewahren. 40 Autoren reflektieren dieses Credo im Spiegel von Kunst, Kultur- und Medienmanagement, Bildung und Ausbildung, Kirche und Religion sowie Wirtschaft.

SATB choir, flute, oboe (optional) and piano

SKU: B9.640-SC

Composed by Jake Heggie. This edition: saddle stitch. Full score and parts. Duration 12 minutes. Bill Holab Music #640-sc. Published by Bill Holab Music (B9.640-SC).

Score - 8.5 x 11, parts 9 x 12 inches.

Lyrics by Mark Campbell

Commissioned by the Renaissance City Choirs. First Performance: December 9, 2012 at Carnegie Music Hall, Pittsburgh, PA.

Choral TBB choir, piano

SKU: CF.CM9589

Composed by English Carol. Arranged by Jimmy Baas. Fold. Performance Score. 12 pages. Duration 2 minutes, 38 seconds. Carl Fischer Music #CM9589. Published by Carl Fischer Music (CF.CM9589).

ISBN 9781491154113. UPC: 680160912612. 6.875 x 10.5 inches. Key: C major. English, Latin. English Carol.

The Boars Head Carol is a traditional English Carol. This TBB arrangement was written as a processional for a Renaissance festival to be sung by a high school varsity level mens chorus. The boar's head feast is said to have been the special first dish at formal feasts around the year for many centuries, especially at Yuletide. The piano accompaniment contains brass-like interludes throughout as an interaction with the male voices. Page 8 contains transitional material with the repeated text laudes Domino building up to the final verse with a slower, broader tempo as marked. Latin text translation: Verse 1: Quot estis in convivio As you all feast so heartily Verse 2: Let us servire cantico. Let us serve with a song. Verse 3: In Reginensi atrio. In the Queens hall. Chorus: Caput apri defero Lo, behold the head I bring Reddens laudes Domino Giving praise to God we sing.  .
The Boaras Head Carol is a traditional English Carol. This TBB arrangement was written as a processional for a Renaissance festival to be sung by a high school varsity level menas chorus. The boar's head feast is said to have been the special first dish at formal feasts around the year for many centuries, especially at Yuletide. The piano accompaniment contains brass-like interludes throughout as an interaction with the male voices. Page 8 contains transitional material with the repeated text alaudes Dominoa building up to the final verse with a slower, broader tempo as marked. Latin text translation: Verse 1:A Quot estis in convivioA A A A A As you all feast so heartily Verse 2:A Let us servire cantico.A A A A A Let us serve with a song. Verse 3:A In Reginensi atrio.A A A A A A A A A In the Queenas hall. Chorus: Caput apri deferoA A A A A A A A A A Lo, behold the head I bring Reddens laudes DominoA A A Giving praise to God we sing.  .
The Boar's Head Carol is a traditional English Carol. This TBB arrangement was written as a processional for a Renaissance festival to be sung by a high school varsity level men's chorus. The boar's head feast is said to have been the special first dish at formal feasts around the year for many centuries, especially at Yuletide. The piano accompaniment contains brass-like interludes throughout as an interaction with the male voices. Page 8 contains transitional material with the repeated text laudes Domino building up to the final verse with a slower, broader tempo as marked. Latin text translation: Verse 1: Quot estis in convivio As you all feast so heartily Verse 2: Let us servire cantico. Let us serve with a song. Verse 3: In Reginensi atrio. In the Queen's hall. Chorus: Caput apri defero Lo, behold the head I bring Reddens laudes Domino Giving praise to God we sing.  .
The Boar's Head Carol is a traditional English Carol. This TBB arrangement was written as a processional for a Renaissance festival to be sung by a high school varsity level men's chorus. The boar's head feast is said to have been the special first dish at formal feasts around the year for many centuries, especially at Yuletide. The piano accompaniment contains brass-like interludes throughout as an interaction with the male voices. Page 8 contains transitional material with the repeated text laudes Domino building up to the final verse with a slower, broader tempo as marked. Latin text translation: Verse 1: Quot estis in convivio As you all feast so heartily Verse 2: Let us servire cantico. Let us serve with a song. Verse 3: In Reginensi atrio. In the Queen's hall. Chorus: Caput apri defero Lo, behold the head I bring Reddens laudes Domino Giving praise to God we sing.  .
The Boar’s Head Carol is a traditional English Carol. This TBB arrangement was written as a processional for a Renaissance festival to be sung by a high school varsity level men’s chorus. The boar's head feast is said to have been the special first dish at formal feasts around the year for many centuries, especially at Yuletide.The piano accompaniment contains brass-like interludes throughout as an interaction with the male voices. Page 8 contains transitional material with the repeated text “laudes Domino” building up to the final verse with a slower, broader tempo as marked.Latin text translation:Verse 1:  Quot estis in convivio          As you all feast so heartilyVerse 2: Let us servire cantico.          Let us serve with a song.Verse 3: In Reginensi atrio.                 In the Queen’s hall.Chorus: Caput apri defero                   Lo, behold the head I bringReddens laudes Domino     Giving praise to God we sing. .

Choral TBB chorus

SKU: CF.CM9588

Composed by Tomas Luis de Victoria. Arranged by Jeb Mueller. Fold. Performance Score. 8 pages. Duration 1 minute, 59 seconds. Carl Fischer Music #CM9588. Published by Carl Fischer Music (CF.CM9588).

ISBN 9781491154106. UPC: 680160912605. 6.875 x 10.5 inches. Key: Eb major. Latin. Traditional Latin.

Tomas Luis de Victoria (15481611) is widely considered the greatest Spanish Renaissance composer and one of the most influential musicians of his time. Included in his oeuvre are two settings of the Pange lingua, both produced in 1581. This motet is excerpted from the first of those and incorporates the original Roman melody, or cantus firmus. (He composed his second Pange lingua based on a Spanish melody.) The baritones anchor the motet by singing the tune in augmentation. This line should be intoned with a flowing, legato articulation that incorporates subtle phrasing and text stresses. The more rhythmic tenor and bass lines complement the melody and illustrate the hopeful nature of its text. Singing this piece with two pulses per measure will encourage a steady and vital performance. Composers provided minimal performance details in their scores during this period in music history, so I added a time signature, bar lines, dynamics, and metronome markings in order to facilitate performances that musicologists believe mimic those of Victorias time. It should be noted that dynamics are largely subjective, so performers may make alternative choices. Each tenuto indicates word stress; the most musical performances will incorporate gentle crescendos and decrescendos before and after each of them. Lastly, using minimal vibrato, especially at cadences, will imbue this wonderful motet with style and clarity. PRONUNCIATION GUIDE Victoria received much of his training in Italy, therefore making Italianate Latin most appropriate. Pure vowels are critical to correct pronunciation, and those phonemes remain constant without exceptions. The most problematic of the vowels is o, which sounds similar to the English words bought and got. The letter t should be produced dentally: lift the tongue to the top of the mouth as in English, but aspirate less on the release. All occurrences of s should be soft and never hardened to [z], such as in praise. Verbum caro, panem verum, [v??bum k??? p?n?m v?rum] verbo carnem efficit: fitque sanguis Christi merum. [v??b? k??n?m ??fit?it fitkw? s??gwis k?isti m??um] Et si sensus deficit, ad firmandum cor sin cerum. [?t si s?nsus ?d?fit?it, ?d fi??m?ndum k?? sin t???um] Jeb Mueller.
TomA!s Luis de Victoria (1548a1611) is widely considered the greatest Spanish Renaissance composer and one of the most influential musicians of his time. Included in his oeuvre are two settings of the Pange lingua, both produced in 1581. This motet is excerpted from the first of those and incorporates the original Roman melody, or cantus firmus. (He composed his second Pange lingua based on a Spanish melody.) The baritones anchor the motet by singing the tune in augmentation. This line should be intoned with a flowing, legato articulation that incorporates subtle phrasing and text stresses. The more rhythmic tenor and bass lines complement the melody and illustrate the hopeful nature of its text. Singing this piece with two pulses per measure will encourage a steady and vital performance. Composers provided minimal performance details in their scores during this period in music history, so I added a time signature, bar lines, dynamics, and metronome markings in order to facilitate performances that musicologists believe mimic those of Victoriaas time. It should be noted that dynamics are largely subjective, so performers may make alternative choices. Each tenuto indicates word stress; the most musical performances will incorporate gentle crescendos and decrescendos before and after each of them. Lastly, using minimal vibrato, especially at cadences, will imbue this wonderful motet with style and clarity. PRONUNCIATION GUIDE Victoria received much of his training in Italy, therefore making Italianate Latin most appropriate. Pure vowels are critical to correct pronunciation, and those phonemes remain constant without exceptions. The most problematic of the vowels is ao,a which sounds similar to the English words bought and got. The letter ata should be produced dentally: lift the tongue to the top of the mouth as in English, but aspirate less on the release. All occurrences of asa should be soft and never hardened to [z], such as in praise. Verbum caro, panem verum, [vEE 3/4 bum kEE 3/4 E pEnEm vErum] verbo carnem efficit: fitque sanguis Christi merum. [vEE 3/4 bE kEE 3/4 nEm EEfitEit fitkwE sEAgwis kE 3/4 isti mEE 3/4 um] Et si sensus deficit, ad firmandum cor sin cerum. [Et si sEnsus EdEfitEit, Ed fiE 3/4 EmEndum kEE 3/4 sin tEEE 3/4 um] Jeb Mueller.
Tomas Luis de Victoria (1548-1611) is widely considered the greatest Spanish Renaissance composer and one of the most influential musicians of his time. Included in his oeuvre are two settings of the Pange lingua, both produced in 1581. This motet is excerpted from the first of those and incorporates the original Roman melody, or cantus firmus. (He composed his second Pange lingua based on a Spanish melody.) The baritones anchor the motet by singing the tune in augmentation. This line should be intoned with a flowing, legato articulation that incorporates subtle phrasing and text stresses. The more rhythmic tenor and bass lines complement the melody and illustrate the hopeful nature of its text. Singing this piece with two pulses per measure will encourage a steady and vital performance. Composers provided minimal performance details in their scores during this period in music history, so I added a time signature, bar lines, dynamics, and metronome markings in order to facilitate performances that musicologists believe mimic those of Victoria's time. It should be noted that dynamics are largely subjective, so performers may make alternative choices. Each tenuto indicates word stress; the most musical performances will incorporate gentle crescendos and decrescendos before and after each of them. Lastly, using minimal vibrato, especially at cadences, will imbue this wonderful motet with style and clarity. PRONUNCIATION GUIDE Victoria received much of his training in Italy, therefore making Italianate Latin most appropriate. Pure vowels are critical to correct pronunciation, and those phonemes remain constant without exceptions. The most problematic of the vowels is o, which sounds similar to the English words bought and got. The letter t should be produced dentally: lift the tongue to the top of the mouth as in English, but aspirate less on the release. All occurrences of s should be soft and never hardened to [z], such as in praise. Verbum caro, panem verum, [verbum karo panem verum] verbo carnem efficit: fitque sanguis Christi merum. [verbo karnem 'efitSit fitkwe saNGgwis kristi merum] Et si sensus deficit, ad firmandum cor sin cerum. [et si sensus 'defitSit, ad fir'mandum kor sin tSerum] Jeb Mueller.
Tomas Luis de Victoria (1548-1611) is widely considered the greatest Spanish Renaissance composer and one of the most influential musicians of his time. Included in his oeuvre are two settings of the Pange lingua, both produced in 1581. This motet is excerpted from the first of those and incorporates the original Roman melody, or cantus firmus. (He composed his second Pange lingua based on a Spanish melody.) The baritones anchor the motet by singing the tune in augmentation. This line should be intoned with a flowing, legato articulation that incorporates subtle phrasing and text stresses. The more rhythmic tenor and bass lines complement the melody and illustrate the hopeful nature of its text. Singing this piece with two pulses per measure will encourage a steady and vital performance. Composers provided minimal performance details in their scores during this period in music history, so I added a time signature, bar lines, dynamics, and metronome markings in order to facilitate performances that musicologists believe mimic those of Victoria's time. It should be noted that dynamics are largely subjective, so performers may make alternative choices. Each tenuto indicates word stress; the most musical performances will incorporate gentle crescendos and decrescendos before and after each of them. Lastly, using minimal vibrato, especially at cadences, will imbue this wonderful motet with style and clarity. PRONUNCIATION GUIDE Victoria received much of his training in Italy, therefore making Italianate Latin most appropriate. Pure vowels are critical to correct pronunciation, and those phonemes remain constant without exceptions. The most problematic of the vowels is o, which sounds similar to the English words bought and got. The letter t should be produced dentally: lift the tongue to the top of the mouth as in English, but aspirate less on the release. All occurrences of s should be soft and never hardened to [z], such as in praise. Verbum caro, panem verum, [verbum karo panem verum] verbo carnem efficit: fitque sanguis Christi merum. [verbo karnem 'efitSit fitkwe saNGgwis kristi merum] Et si sensus deficit, ad firmandum cor sin cerum. [et si sensus 'defitSit, ad fir'mandum kor sin tSerum] Jeb Mueller.
Tomas Luis de Victoria (1548-1611) is widely considered the greatest Spanish Renaissance composer and one of the most influential musicians of his time. Included in his oeuvre are two settings of the Pange lingua, both produced in 1581. This motet is excerpted from Pange lingua more hisapano. The baritones anchor the motet by singing the tune in augmentation. This line should be intoned with a flowing, legato articulation that incorporates subtle phrasing and text stresses. The more rhythmic tenor and bass lines complement the melody and illustrate the hopeful nature of its text. Singing this piece with two pulses per measure will encourage a steady and vital performance. Composers provided minimal performance details in their scores during this period in music history, so I added a time signature, bar lines, dynamics, and metronome markings in order to facilitate performances that musicologists believe mimic those of Victoria's time. It should be noted that dynamics are largely subjective, so performers may make alternative choices. Each tenuto indicates word stress; the most musical performances will incorporate gentle crescendos and decrescendos before and after each of them. Lastly, using minimal vibrato, especially at cadences, will imbue this wonderful motet with style and clarity. PRONUNCIATION GUIDE Victoria received much of his training in Italy, therefore making Italianate Latin most appropriate. Pure vowels are critical to correct pronunciation, and those phonemes remain constant without exceptions. The most problematic of the vowels is o, which sounds similar to the English words bought and got. The letter t should be produced dentally: lift the tongue to the top of the mouth as in English, but aspirate less on the release. All occurrences of s should be soft and never hardened to [z], such as in praise. Verbum caro, panem verum, [verbum karo panem verum] verbo carnem efficit: fitque sanguis Christi merum. [verbo karnem 'efitSit fitkwe saNGgwis kristi merum] Et si sensus deficit, ad firmandum cor sin cerum. [et si sensus 'defitSit, ad fir'mandum kor sin tSerum] Jeb Mueller.
Tomás Luis de Victoria (1548–1611) is widely considered the greatest Spanish Renaissance composer and one of the most influential musicians of his time. Included in his oeuvre are two settings of the Pange lingua, both produced in 1581. This motet is excerpted from Pange lingua more hisapano.The baritones anchor the motet by singing the tune in augmentation. This line should be intoned with a flowing, legato articulation that incorporates subtle phrasing and text stresses. The more rhythmic tenor and bass lines complement the melody and illustrate the hopeful nature of its text. Singing this piece with two pulses per measure will encourage a steady and vital performance.Composers provided minimal performance details in their scores during this period in music history, so I added a time signature, bar lines, dynamics, and metronome markings in order to facilitate performances that musicologists believe mimic those of Victoria’s time. It should be noted that dynamics are largely subjective, so performers may make alternative choices. Each tenuto indicates word stress; the most musical performances will incorporate gentle crescendos and decrescendos before and after each of them. Lastly, using minimal vibrato, especially at cadences, will imbue this wonderful motet with style and clarity.PRONUNCIATION GUIDEVictoria received much of his training in Italy, therefore making Italianate Latin most appropriate. Pure vowels are critical to correct pronunciation, and those phonemes remain constant without exceptions. The most problematic of the vowels is “o,” which sounds similar to the English words bought and got. The letter “t” should be produced dentally: lift the tongue to the top of the mouth as in English, but aspirate less on the release. All occurrences of “s” should be soft and never hardened to [z], such as in praise.Verbum caro, panem verum,[vɛɾbum kɑɾɔ pɑnɛm vɛrum]verbo carnem efficit: fitque sanguis Christi merum.[vɛɾbɔ kɑɾnɛm ˈɛfitʃit fitkwɛ sɑŋgwis kɾisti mɛɾum]Et si sensus deficit, ad firmandum cor sin cerum.[ɛt si sɛnsus ˈdɛfitʃit, ɑd fiɾˈmɑndum kɔɾ sin tʃɛɾum]Jeb Mueller.

Brass Band

SKU: BT.DHP-1053796-030

Easter Fantasy. Composed by Michael Bilkes. Musica Sacra. Hymns & Chorals. Set (Score & Parts). Composed 2005. De Haske Publications #DHP 1053796-030. Published by De Haske Publications (BT.DHP-1053796-030).

English-German-French- Dutch.

Fantasia di Pasqua is a fantasy in which traditional Easter melodies have been used. The work is written for brass band with a separate brass quartet which, since this music is often performed in churches, the composer suggests should be positioned on a gallery. This creates a double choir effect and perfectly fits the Renaissance-like style. Each of the melodies is played in various dance-like cadences that, partly because of the double choir effect, will result in a very lively and original performance.

In Fantasia di Pasqua speelt het (koper)kwartet een cruciale rol. De componist raadt aan dit kwartet vanuit een galerij te laten spelen: de zo gecreëerde dubbelkorigheid past bij de enigszins renaissancistische stijl van hetwerk. De gebruikte koraalmelodieën worden alle - veelal dansrijk - door het kwartet uitgevoerd in diverse cadansen, die mede door de dubbelkorigheid resulteren in een levendige en afwisselende uitvoering. Het kwartet hoeft nietper se te bestaan uit twee trompetten (cornetten) en twee trombones, maar kan naar believen worden samengesteld.

In Fantasia di Pasqua wurden traditionelle Osterlieder verwendet. Das Stück ist für Brass Band mit separatem Blechbläserquartett geschrieben, welches bei Aufführungen in der Kirche von der Empore herab spielen sollte. Der so kreierte Doppelchor-Effekt passt ausgezeichnet zum etwas Renaissance artigen Stil, der bewusst gewählt wurde, da die meisten Choralmelodien aus der Renaissance stammen. Auf diese Weise gelingt eine sehr lebhafte und abwechslungsreiche Aufführung der Fantasia di Pasqua.

Fan tasia di Pasqua est une fantaisie basée sur des mélodies chorales pascales, issues de la Renaissance. Un quatuor (cuivres/bois) joue un rôle primordial dans le développement de la pièce. La musique pascale étant essentiellement destinée être interprétée dans un lieu de culte, le compositeur préconise de placer le quatuor sur le balcon. L’effet de double chœur ainsi créé donne la pièce un caractère varié et divertissant.

Fanfare Band

SKU: BT.DHP-1053796-020

Easter Fantasy. Composed by Michael Bilkes. Musica Sacra. Hymns & Chorals. Set (Score & Parts). Composed 2005. De Haske Publications #DHP 1053796-020. Published by De Haske Publications (BT.DHP-1053796-020).

English-German-French- Dutch.

Based on traditional Easter chants Fantasia di Pasqua is a tremendous work to feature four of your players in a religiously inspired work. Often this work is performed in church concerts or religious situations and, as such, the composer suggests that the quartet may be utilised performing from two ‘galleries’. This creates a wonderful double-choir effect that befits the Renaissance-like style of such great composers as Gabrieli. A truly inspired work to bring a touch of Renaissance class to your concerts.

In Fantasia di Pasqua speelt het (koper)kwartet een cruciale rol. De componist raadt aan dit kwartet vanuit een galerij te laten spelen: de zo gecreëerde dubbelkorigheid past bij de enigszins renaissancistische stijl van hetwerk. De gebruikte koraalmelodieën worden alle - veelal dansrijk - door het kwartet uitgevoerd in diverse cadansen, die mede door de dubbelkorigheid resulteren in een levendige en afwisselende uitvoering. Het kwartet hoeft nietper se te bestaan uit twee trompetten (cornetten) en twee trombones, maar kan naar believen worden samengesteld.

In seiner Fantasia di Pasqua verwendete Michael Bilkes traditionelle Osterlieder. Ein Quartett spielt hier eine entscheidende Rolle. Dies kann ein Blech- und/oder Holzbläserquartett sein, möglich ist auch ein Posaunenchor (der Komponist gibt hierzu Tipps). In Kirchen kommt die Fantasie besonders schön zur Geltung, wenn das Quartett von der Empore herab spielt. Der so kreierte Doppelchor-Effekt passt ausgezeichnet zum Renaissance ähnlichen Stil und verspricht eine sehr lebhafte und abwechslungsreiche Aufführung.

Fantasia di Pasqua est une fantaisie basée sur des mélodies chorales pascales, issues de la Renaissance. Un quatuor (cuivres/bois) joue un rôle primordial dans le développement de la pièce. La musique pascale étant essentiellement destinée être interprétée dans un lieu de culte, le compositeur préconise de placer le quatuor sur le balcon. L’effet de double chœur ainsi créé donne la pièce un caractère varié et divertissant.

Concert Band/Harmonie

SKU: BT.DHP-1053796-140

Easter Fantasy. Composed by Michael Bilkes. Musica Sacra. Hymns and Chorals. Score Only. Composed 2005. 24 pages. De Haske Publications #DHP 1053796-140. Published by De Haske Publications (BT.DHP-1053796-140).

English-German-French- Dutch.

Based on traditional Easter chants Fantasia di Pasqua is a tremendous work to feature four of your players in a religiously inspired work. Often this work is performed in church concerts or religious situations and, as such, thecomposer suggests that the quartet may be utilised performing from two galleries_x001A_. This creates a wonderful double-choir effect that befits the Renaissance-like style of such great composers as Gabrieli. A truly inspired work tobring a touch of Renaissance class to your concerts.

In Fantasia di Pasqua speelt het (koper)kwartet een cruciale rol. De componist raadt aan dit kwartet vanuit een galerij te laten spelen: de zo gecreëerde dubbelkorigheid past bij de enigszins renaissancistische stijl van hetwerk. De gebruikte koraalmelodieën worden alle - veelal dansrijk - door het kwartet uitgevoerd in diverse cadansen, die mede door de dubbelkorigheid resulteren in een levendige en afwisselende uitvoering. Het kwartet hoeft nietper se te bestaan uit twee trompetten (cornetten) en twee trombones, maar kan naar believen worden samengesteld.

In seiner Fantasia di Pasqua verwendete Michael Bilkes traditionelle Osterlieder. Ein Quartett spielt hier eine entscheidende Rolle. Dies kann ein Blech- und/oder Holzbläserquartett sein, möglich ist auch ein Posaunenchor (der Komponist gibt hierzu Tipps). In Kirchen kommt die Fantasie besonders schön zur Geltung, wenn das Quartett von der Empore herab spielt. Der so kreierte Doppelchor-Effekt passt ausgezeichnet zum Renaissance ähnlichen Stil und verspricht eine sehr lebhafte und abwechslungsreiche Aufführung.

Fantasia di Pasqua est une fantaisie basée sur des mélodies chorales pascales, issues de la Renaissance. Un quatuor (cuivres/bois) joue un rôle primordial dans le développement de la pièce. La musique pascale étant essentiellement destinée être interprétée dans un lieu de culte, le compositeur préconise de placer le quatuor sur le balcon. Lâ??effet de double ch?ur ainsi créé donne la pièce un caractère varié et divertissant.

Fantasia di Pasqua, basata su melodie tradizionali, utilizza un quartetto, che riveste un ruolo fondamentale nello sviluppo del brano. Sono possibili varie combinazioni, come ad esempio un quartetto di ottoni e/o legni, come anche un coro di tromboni). Fantasia di Pasqua è scritta in uno stile simile alla musica rinascimentale, una scelta che si spiega con il fatto che la maggior parte delle melodie corali datano di questo periodo. Queste melodie danzanti, interpretate dal quartetto, segnano la trama del brano. La bellezza del doppio coro conferisce al brano un carattere variegato e divertente.

Concert Band

SKU: BT.DHP-1053796-040

Easter Fantasy. Composed by Michael Bilkes. Musica Sacra. Hymns & Chorals. Set (Score & Parts). Composed 2005. De Haske Publications #DHP 1053796-040. Published by De Haske Publications (BT.DHP-1053796-040).

English-German-French- Dutch.

Based on traditional Easter chants Fantasia di Pasqua is a tremendous work to feature four of your players in a religiously inspired work. Often this work is performed in church concerts or religious situations and, as such, the composer suggests that the quartet may be utilised performing from two ‘galleries’. This creates a wonderful double-choir effect that befits the Renaissance-like style of such great composers as Gabrieli. A truly inspired work to bring a touch of Renaissance class to your concerts.

In Fantasia di Pasqua speelt het (koper)kwartet een cruciale rol. De componist raadt aan dit kwartet vanuit een galerij te laten spelen: de zo gecreëerde dubbelkorigheid past bij de enigszins renaissancistische stijl van hetwerk. De gebruikte koraalmelodieën worden alle - veelal dansrijk - door het kwartet uitgevoerd in diverse cadansen, die mede door de dubbelkorigheid resulteren in een levendige en afwisselende uitvoering. Het kwartet hoeft nietper se te bestaan uit twee trompetten (cornetten) en twee trombones, maar kan naar believen worden samengesteld.

In seiner Fantasia di Pasqua verwendete Michael Bilkes traditionelle Osterlieder. Ein Quartett spielt hier eine entscheidende Rolle. Dies kann ein Blech- und/oder Holzbläserquartett sein, möglich ist auch ein Posaunenchor (der Komponist gibt hierzu Tipps). In Kirchen kommt die Fantasie besonders schön zur Geltung, wenn das Quartett von der Empore herab spielt. Der so kreierte Doppelchor-Effekt passt ausgezeichnet zum Renaissance ähnlichen Stil und verspricht eine sehr lebhafte und abwechslungsreiche Aufführung.

Fantasia di Pasqua est une fantaisie basée sur des mélodies chorales pascales, issues de la Renaissance. Un quatuor (cuivres/bois) joue un rôle primordial dans le développement de la pièce. La musique pascale étant essentiellement destinée être interprétée dans un lieu de culte, le compositeur préconise de placer le quatuor sur le balcon. L’effet de double chœur ainsi créé donne la pièce un caractère varié et divertissant.

Orchestra - Grade 2

SKU: AP.44798

Jouissance vous donnerai. Arranged by Deborah Baker Monday. Performance Music Ensemble; Single Titles; String Orchestra. Belwin Intermediate String Orchestra. Form: Dance. Renaissance; Traditional. Score and Part(s). 80 pages. Duration 1:45. Belwin Music #00-44798. Published by Belwin Music (AP.44798).

UPC: 038081517292. English. Traditional.

One of several popular dances from time of the French Renaissance, jouissance refers to a dance in which the feet stay on the floor, as opposed to one with leaps or lifts. This setting by Deborah Baker Monday has a driving pulse with attractive modal harmonies in the friendly key of E natural minor. All instruments have melodic lines. This arrangement also provides a great opportunity for teaching double up-bows and two-note slurs followed by two separate notes. The added percussion part will make this piece a great selection for festival or your next concert! (1:45).

Brass Band

SKU: BT.DHP-1053796-130

Easter Fantasy. Composed by Michael Bilkes. Musica Sacra. Hymns & Chorals. Score Only. Composed 2005. 24 pages. De Haske Publications #DHP 1053796-130. Published by De Haske Publications (BT.DHP-1053796-130).

English-German-French- Dutch.

Fantasia di Pasqua is a fantasy in which traditional Easter melodies have been used. The work is written for brass band with a separate brass quartet which, since this music is often performed in churches, the composer suggests should be positioned on a gallery. This creates a double choir effect and perfectly fits the Renaissance-like style. Each of the melodies is played in various dance-like cadences that, partly because of the double choir effect, will result in a very lively and original performance.

In Fantasia di Pasqua speelt het (koper)kwartet een cruciale rol. De componist raadt aan dit kwartet vanuit een galerij te laten spelen: de zo gecreëerde dubbelkorigheid past bij de enigszins renaissancistische stijl van hetwerk. De gebruikte koraalmelodieën worden alle - veelal dansrijk - door het kwartet uitgevoerd in diverse cadansen, die mede door de dubbelkorigheid resulteren in een levendige en afwisselende uitvoering. Het kwartet hoeft nietper se te bestaan uit twee trompetten (cornetten) en twee trombones, maar kan naar believen worden samengesteld.

In Fantasia di Pasqua wurden traditionelle Osterlieder verwendet. Das Stück ist für Brass Band mit separatem Blechbläserquartett geschrieben, welches bei Aufführungen in der Kirche von der Empore herab spielen sollte. Der so kreierte Doppelchor-Effekt passt ausgezeichnet zum etwas Renaissance artigen Stil, der bewusst gewählt wurde, da die meisten Choralmelodien aus der Renaissance stammen. Auf diese Weise gelingt eine sehr lebhafte und abwechslungsreiche Aufführung der Fantasia di Pasqua.

By or arr. Keith Snell. For Trombone. Brass - Trombone Duet. Level: Easy. 32 pages. Published by Alfred Publishing.

Hand drum; handbell; handchimes; windchimes - Level 3

SKU: HP.2803P

Arranged by Jason W. Krug. Christmas, Sacred. Percussion parts. 4 pages. Hope Publishing Company #2803P. Published by Hope Publishing Company (HP.2803P).

UPC: 763628228033.

Tradi tional Irish tune This creative arrangement of a traditional Irish tune starts off with a Renaissance flair featuring open harmonies and tenor drum, then gives way to a sedate middle verse introducing handchime accompaniment with the melody in the middle octaves before returning to the festive feel of the opening. You can't miss with this energetic and engaging choice for your Christmas season. Percussion Parts: Tenor Drum and Wind Chimes.

Choir Secular

SKU: AP.43386

Arranged by Ruth Morris Gray. This edition: SoundTrax CD. CD. Alfred Choral Designs. Christmas; Secular; Traditional; Winter. CD. Alfred Music #00-43386. Published by Alfred Music (AP.43386).

UPC: 038081489278. English. Traditional English Carol.

This little known English carol is appropriate for holiday concerts, Yuletide feasts, and madrigal performances. Evoke a Renaissance atmosphere this December, singing of wassail---both a cordial greeting and a spiced mulled cider.

3-5 octave handbells - Grade 3

SKU: BP.HB392

Composed by Traditional. Arranged by Jason W. Krug. Handbell choir music. Choral Series. Handbell part. Beckenhorst Press #HB392. Published by Beckenhorst Press (BP.HB392).

Jason Krug's arrangement of this old English carol will energize your worship service or holiday concert. Playable as a stand-alone piece, instructions are also included to turn the piece into a processional for your handbell choir. You'll want to add the optional hand drum, tambourine, and suspended cymbal to add the air of a Renaissance feast. 3-5 octaves - level 3+

Separate percussion part available as BP.HB392A
Traditional English Carol.

Choir Secular (SAB choir/3-Part choir Mixed)

SKU: AP.43384

Arranged by Ruth Morris Gray. Performance Music Ensemble; Single Titles. Alfred Choral Designs. Christmas; Secular; Traditional; Winter. Choral Octavo. 12 pages. Alfred Music #00-43384. Published by Alfred Music (AP.43384).

UPC: 038081489254. English. Traditional English Carol.

This little known English carol is appropriate for holiday concerts, Yuletide feasts, and madrigal performances. Evoke a Renaissance atmosphere this December, singing of wassail---both a cordial greeting and a spiced mulled cider.

Choir Secular

SKU: AP.46436

Arranged by Andy Beck. This edition: SoundTrax CD. Choral Octavo; Performance Music Ensemble; Single Titles. Alfred Choral Designs. Christmas; Secular; Traditional. CD. Alfred Music #00-46436. Published by Alfred Music (AP.46436).

UPC: 038081528151. English. Old English Melody; words from the Traditional English Carol.

Words from the English carol, Good King Wenceslas are set to the melody of Hey, Ho, Nobody Home. Canonic writing ensures success, and the stately walking tempo suggests a processional. A light percussion accompaniment (including handbells or Orff instruments) adds a Renaissance feel. Ideal for developing choirs!

About Alfred Choral Designs

Th e Alfred Choral Designs Series provides student and adult choirs with a variety of secular choral music that is useful, practical, educationally appropriate, and a pleasure to sing. To that end, the Choral Designs series features original works, folk song settings, spiritual arrangements, choral masterworks, and holiday selections suitable for use in concerts, festivals, and contests.

Choir Sacred

SKU: AP.39796

Arranged by Russell L. Robinson. This edition: SoundTrax CD. CD. Alfred Choral Designs. Christmas; Sacred; Traditional. CD. Alfred Music #00-39796. Published by Alfred Music (AP.39796).

UPC: 038081444574. English. William Chatterton Dix; arr.; with additional words; by Russell Robinson.

The traditional Greensleeves tune seasoned with a dash of the Renaissance and a generous sprinkling of rhythmic whimsy. This intriguing arrangement is set lightly in compound meter, alternating between 3/4 and 6/8 time. A new treatment of a Christmas classic.

About Alfred Choral Designs

Th e Alfred Choral Designs Series provides student and adult choirs with a variety of secular choral music that is useful, practical, educationally appropriate, and a pleasure to sing. To that end, the Choral Designs series features original works, folk song settings, spiritual arrangements, choral masterworks, and holiday selections suitable for use in concerts, festivals, and contests.