A Beacon of Light Orchestre d'harmonie [Conducteur] - Intermédiaire Belwin
Concert Band - Grade 4 SKU: AP.50024S Composed by Patrick Roszell. Concer...(+)
Concert Band - Grade 4
SKU: AP.50024S
Composed by Patrick
Roszell. Concert Band;
MakeMusic Cloud;
Performance Music
Ensemble; Single Titles.
Belwin Symphonic Band.
Score. Duration 5:20.
Belwin Music #00-50024S.
Published by Belwin Music
(AP.50024S).
ISBN
9781470659158. UPC:
038081576411.
English.
A Beacon
of Light, by Patrick
Roszell, was written for
and dedicated to Mr. Gene
Inglis and his incredible
49-year career in music
education. With lively
melodies, a touch of jazz
harmonies, and a
beautiful setting of Be
Thou My Vision, this new
contribution to
instrumental literature
will be a welcomed
addition for contest and
concert settings.
(5:20).
Be Thou My Vision Orchestre d'harmonie - Facile LudwigMasters Publications
Concert Band - Grade 3 SKU: AP.36-50100342 Arranged by Jeremy Martin. Con...(+)
Concert Band - Grade 3
SKU:
AP.36-50100342
Arranged by Jeremy
Martin. Concert Band;
Performance Music
Ensemble. Concert Band -
LudwigMasters. Score and
Part(s). Duration 2:00.
LudwigMasters
Publications
#36-50100342. Published
by LudwigMasters
Publications
(AP.36-50100342).
UPC:
659359616167.
English.
Instrument
ation rather than
difficulty makes this
work a grade 3. Jeremy
Martin's arrangement of
Be Thou My Vision is
ideal for memorial
services or just for that
spot at your concert
where you want the beauty
of the concert band sound
to transfix your
audience. Careful
attention to doublings
can allow bands with less
than ideal
instrumentation the
opportunity to perform
this sublime work.
(2:00).
These products
are currently being
prepared by a new
publisher. While many
items are ready and will
ship on time, some others
may see delays of several
months.
Be Thou My Vision Orchestre d'harmonie [Conducteur] - Facile LudwigMasters Publications
Concert Band - Grade 3 SKU: AP.36-50105342 Arranged by Jeremy Martin. Con...(+)
Concert Band - Grade 3
SKU:
AP.36-50105342
Arranged by Jeremy
Martin. Concert Band;
Performance Music
Ensemble. Concert Band -
LudwigMasters. Score.
Duration 2:00.
LudwigMasters
Publications
#36-50105342. Published
by LudwigMasters
Publications
(AP.36-50105342).
ISBN
9798892703079. UPC:
659359528989.
English.
Instrument
ation rather than
difficulty makes this
work a grade 3. Jeremy
Martin's arrangement of
Be Thou My Vision is
ideal for memorial
services or just for that
spot at your concert
where you want the beauty
of the concert band sound
to transfix your
audience. Careful
attention to doublings
can allow bands with less
than ideal
instrumentation the
opportunity to perform
this sublime work.
(2:00).
These products
are currently being
prepared by a new
publisher. While many
items are ready and will
ship on time, some others
may see delays of several
months.
By John O'reilly. Music by John O'Reilly. For Concert Band. Concert Band. Growin...(+)
By John O'reilly. Music
by John O'Reilly. For
Concert Band. Concert
Band. Growing Band
Series. Multicultural.
Level: 3 (Medium) (grade
3). Conductor Score and
Parts. 2 pages. Published
by Alfred Publishing.
Concert Band - Grade 3 SKU: HL.44007430 Grade 3 - Score and Parts....(+)
Concert Band - Grade 3
SKU: HL.44007430
Grade 3 - Score and
Parts. Composed by
Timothy Johnson. Curnow
Music Concert Band. Folk,
Irish. Full Score and
Parts. Published by
Curnow Music
(HL.44007430).
UPC:
884088251987. 9x12
inches.
The Irish
folk tune Slane
(the melody used in the
hymn Be Thou My
Vision) forms the
foundation for this
melodically expansive and
inspired work for concert
band. A flowing
exploration of the melody
in variation inspires the
listener with its bold
and thrilling
progression. The piece
remains within reach of a
solid grade 3 band but
gives the impression of a
higher level of
composition. A rich
variety of style and
orchestration make this a
good choice for festival
use as well as concert
performance, as well as a
great opportunity to
study the rich cultural
heritage of Ireland.
You'll be glad you
programmed Variants on
an Irish Folk Tune by
Timothy Johnson.
20 Timeless Hymns performed by Philip Smith - Principal Trumpet, NY Philharmonic...(+)
20 Timeless Hymns
performed by Philip Smith
- Principal Trumpet, NY
Philharmonic. Performed
by Philip Smith. Curnow
Music Concert Band. Size
5x5.5 inches. Published
by Hal Leonard.
Be Thou My Vision Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire Carl Fischer
By Larry Clark. Concert Band. For concert band. Carl Fischer Concert Performance...(+)
By Larry Clark. Concert
Band. For concert band.
Carl Fischer Concert
Performance Series.
Classical. Grade 3-3.5.
Score and Set of Parts.
Standard notation. 24
pages
Brass Band Concert Band SKU: HL.44004739 Score and Parts. Composed...(+)
Brass Band Concert Band
SKU: HL.44004739
Score and Parts.
Composed by James Curnow.
Curnow Music Brass Band.
General Worship, Sacred.
Curnow Music #51800030.
Published by Curnow Music
(HL.44004739).
Band Concert Band - Grade 3 SKU: CF.CPS255 Composed by Mark Lortz. Set of...(+)
Band Concert Band - Grade
3
SKU: CF.CPS255
Composed by Mark Lortz.
Set of Score and Parts.
17+4+4+2+4+4+4+2+2+2+2+2+
2+4+4+4+2+2+3+3+3+2+4+1+2
+1+4+6 pages. Duration
2:10. Carl Fischer Music
#CPS255. Published by
Carl Fischer Music
(CF.CPS255).
ISBN
9781491159835. UPC:
680160918423.
Ameri
can Visions is a
fast-paced and energetic
composition featuring
rousing brass fanfares,
lively woodwind motives,
and driving percussion.
It was initially inspired
to embody the sense of
American vigor and
patriotism. Musically,
the main motive at mm.
4-12 runs throughout the
piece and vacillates
between duple and triplet
rhythms. Players should
be mindful to
differentiate between the
two rhythms, so there is
clarity. Measure 39
represents a contrasting
section, and should be
thought of as dark and
warm sounding as
possible. I intended that
the section would
resemble the overall
timbre of orchestral
strings, and players
could think of that when
performing the piece.
Measure 55 presents a
triplet rhythmic motive
that must be precise in
timing and dynamics. At
m. 66, be sure that the
main melodic motive and
the tenor saxophone, low
brass, and chimes
countermelody can be
heard through the
ensemble's texture.
Measure 73 uses bell tone
articulations that build
to standard articulations
at m. 76. Thank you for
playing my
composition. American
Visions is a fast-paced
and energetic composition
featuring rousing brass
fanfares, lively woodwind
motives, and driving
percussion. It was
initially inspired to
embody the sense of
American vigor and
patriotism. Musically,
the main motive at mm.
4–12 runs
throughout the piece and
vacillates between duple
and triplet rhythms.
Players should be mindful
to differentiate between
the two rhythms, so there
is clarity. Measure 39
represents a contrasting
section, and should be
thought of as dark and
warm sounding as
possible. I intended that
the section would
resemble the overall
timbre of orchestral
strings, and players
could think of that when
performing the piece.
Measure 55 presents a
triplet rhythmic motive
that must be precise in
timing and dynamics. At
m. 66, be sure that the
main melodic motive and
the tenor saxophone, low
brass, and chimes
countermelody can be
heard through the
ensemble’s
texture. Measure 73 uses
bell tone articulations
that build to standard
articulations at m.
76. Thank you for
playing my
composition. .
American Visions Orchestre d'harmonie [Conducteur] - Facile Carl Fischer
Band Concert Band - Grade 3 SKU: CF.CPS255F Composed by Mark Lortz. Full ...(+)
Band Concert Band - Grade
3
SKU: CF.CPS255F
Composed by Mark Lortz.
Full score. 17 pages.
Carl Fischer Music
#CPS255F. Published by
Carl Fischer Music
(CF.CPS255F).
ISBN
9781491159842. UPC:
680160918430.
Ameri
can Visions is a
fast-paced and energetic
composition featuring
rousing brass fanfares,
lively woodwind motives,
and driving percussion.
It was initially inspired
to embody the sense of
American vigor and
patriotism. Musically,
the main motive at mm.
4-12 runs throughout the
piece and vacillates
between duple and triplet
rhythms. Players should
be mindful to
differentiate between the
two rhythms, so there is
clarity. Measure 39
represents a contrasting
section, and should be
thought of as dark and
warm sounding as
possible. I intended that
the section would
resemble the overall
timbre of orchestral
strings, and players
could think of that when
performing the piece.
Measure 55 presents a
triplet rhythmic motive
that must be precise in
timing and dynamics. At
m. 66, be sure that the
main melodic motive and
the tenor saxophone, low
brass, and chimes
countermelody can be
heard through the
ensemble's texture.
Measure 73 uses bell tone
articulations that build
to standard articulations
at m. 76. Thank you for
playing my
composition. American
Visions is a fast-paced
and energetic composition
featuring rousing brass
fanfares, lively woodwind
motives, and driving
percussion. It was
initially inspired to
embody the sense of
American vigor and
patriotism. Musically,
the main motive at mm.
4–12 runs
throughout the piece and
vacillates between duple
and triplet rhythms.
Players should be mindful
to differentiate between
the two rhythms, so there
is clarity. Measure 39
represents a contrasting
section, and should be
thought of as dark and
warm sounding as
possible. I intended that
the section would
resemble the overall
timbre of orchestral
strings, and players
could think of that when
performing the piece.
Measure 55 presents a
triplet rhythmic motive
that must be precise in
timing and dynamics. At
m. 66, be sure that the
main melodic motive and
the tenor saxophone, low
brass, and chimes
countermelody can be
heard through the
ensemble’s
texture. Measure 73 uses
bell tone articulations
that build to standard
articulations at m.
76. Thank you for
playing my
composition. .
Band Concert Band SKU: PR.465000130 For Large Wind Ensemble. Compo...(+)
Band Concert Band
SKU:
PR.465000130
For
Large Wind Ensemble.
Composed by Dan Welcher.
Sws. Contemporary. Full
score. With Standard
notation. Composed 2010.
Duration 14 minutes.
Theodore Presser Company
#465-00013. Published by
Theodore Presser Company
(PR.465000130).
ISBN
9781598064070. UPC:
680160600144. 9x12
inches.
Following a
celebrated series of wind
ensemble tone poems about
national parks in the
American West, Dan
Welcher’s Upriver
celebrates the Lewis &
Clark Expedition from the
Missouri River to
Oregon’s Columbia
Gorge, following the
Louisiana Purchase of
1803. Welcher’s
imaginative textures and
inventiveness are freshly
modern, evoking our
American heritage,
including references to
Shenandoah and other folk
songs known to have been
sung on the expedition.
For advanced players.
Duration:
14’. In 1803,
President Thomas
Jefferson sent Meriwether
Lewis and William
Clark’s Corps of
Discovery to find a water
route to the Pacific and
explore the uncharted
West. He believed woolly
mammoths, erupting
volcanoes, and mountains
of pure salt awaited
them. What they found was
no less mind-boggling:
some 300 species unknown
to science, nearly 50
Indian tribes, and the
Rockies.Ihave been a
student of the Lewis and
Clark expedition, which
Thomas Jefferson called
the “Voyage of
Discovery,†for as
long as I can remember.
This astonishing journey,
lasting more than
two-and-a-half years,
began and ended in St.
Louis, Missouri —
and took the travelers up
more than a few rivers in
their quest to find the
Northwest Passage to the
Pacific Ocean. In an age
without speedy
communication, this was
akin to space travel out
of radio range in our own
time: no one knew if,
indeed, the party had
even survived the voyage
for more than a year.
Most of them were
soldiers. A few were
French-Canadian voyageurs
— hired trappers
and explorers, who were
fluent in French (spoken
extensively in the
region, due to earlier
explorers from France)
and in some of the Indian
languages they might
encounter. One of the
voyageurs, a man named
Pierre Cruzatte, also
happened to be a
better-than-average
fiddle player. In many
respects, the travelers
were completely on their
own for supplies and
survival, yet,
incredibly, only one of
them died during the
voyage. Jefferson had
outfitted them with food,
weapons, medicine, and
clothing — and
along with other
trinkets, a box of 200
jaw harps to be used in
trading with the Indians.
Their trip was long,
perilous to the point of
near catastrophe, and
arduous. The dream of a
Northwest Passage proved
ephemeral, but the
northwestern quarter of
the continent had finally
been explored, mapped,
and described to an
anxious world. When the
party returned to St.
Louis in 1806, and with
the Louisiana Purchase
now part of the United
States, they were greeted
as national heroes.Ihave
written a sizeable number
of works for wind
ensemble that draw their
inspiration from the
monumental spaces found
in the American West.
Four of them (Arches, The
Yellowstone Fires,
Glacier, and Zion) take
their names, and in large
part their being, from
actual national parks in
Utah, Wyoming, and
Montana. But Upriver,
although it found its
voice (and its finale) in
the magnificent Columbia
Gorge in Oregon, is about
a much larger region.
This piece, like its
brother works about the
national parks,
doesn’t try to
tell a story. Instead, it
captures the flavor of a
certain time, and of a
grand adventure. Cast in
one continuous movement
and lasting close to
fourteen minutes, the
piece falls into several
subsections, each with
its own heading: The
Dream (in which
Jefferson’s vision
of a vast expanse of
western land is opened);
The Promise, a chorale
that re-appears several
times in the course of
the piece and represents
the seriousness of the
presidential mission; The
River; The Voyageurs; The
River II ; Death and
Disappointment; Return to
the Voyage; and The River
III .The music includes
several quoted melodies,
one of which is familiar
to everyone as the
ultimate “river
song,†and which
becomes the
through-stream of the
work. All of the quoted
tunes were either sung by
the men on the voyage, or
played by
Cruzatte’s fiddle.
From various journals and
diaries, we know the men
found enjoyment and
solace in music, and
almost every night
encampment had at least a
bit of music in it. In
addition to Cruzatte,
there were two other
members of the party who
played the fiddle, and
others made do with
singing, or playing upon
sticks, bones, the
ever-present jaw harps,
and boat horns. From
Lewis’ journals, I
found all the tunes used
in Upriver: Shenandoah
(still popular after more
than 200 years),
V’la bon vent,
Soldier’s Joy,
Johnny Has Gone for a
Soldier, Come Ye Sinners
Poor and Needy (a hymn
sung to the tune
“Beech
Springâ€) and
Fisher’s Hornpipe.
The work follows an
emotional journey: not
necessarily step-by-step
with the Voyage of
Discovery heroes, but a
kind of grand arch.
Beginning in the mists of
history and myth,
traversing peaks and
valleys both real and
emotional (and a solemn
funeral scene), finding
help from native people,
and recalling their zeal
upon finding the one
great river that will, in
fact, take them to the
Pacific. When the men
finally roar through the
Columbia Gorge in their
boats (a feat that even
the Indians had not
attempted), the
magnificent river
combines its theme with
the chorale of
Jefferson’s
Promise. The Dream is
fulfilled: not quite the
one Jefferson had
imagined (there is no
navigable water passage
from the Missouri to the
Pacific), but the dream
of a continental
destiny.
Band Concert Band SKU: PR.46500013L For Wind Ensemble. Composed by...(+)
Band Concert Band
SKU:
PR.46500013L
For
Wind Ensemble.
Composed by Dan Welcher.
Contemporary. Large
Score. With Standard
notation. Composed 2010.
Duration 14 minutes.
Theodore Presser Company
#465-00013L. Published by
Theodore Presser Company
(PR.46500013L).
UPC:
680160600151. 11 x 14
inches.
I n 1803,
President Thomas
Jefferson sent Meriwether
Lewis and William Clarks
Corps of Discovery to
find a water route to the
Pacific and explore the
uncharted West. He
believed woolly mammoths,
erupting volcanoes, and
mountains of pure salt
awaited them. What they
found was no less
mind-boggling: some 300
species unknown to
science, nearly 50 Indian
tribes, and the Rockies.
I have been a student of
the Lewis and Clark
expedition, which Thomas
Jefferson called the
Voyage of Discovery, for
as long as I can
remember. This
astonishing journey,
lasting more than
two-and-a-half years,
began and ended in St.
Louis, Missouri and took
the travelers up more
than a few rivers in
their quest to find the
Northwest Passage to the
Pacific Ocean. In an age
without speedy
communication, this was
akin to space travel out
of radio range in our own
time: no one knew if,
indeed, the party had
even survived the voyage
for more than a year.
Most of them were
soldiers. A few were
French-Canadian voyageurs
hired trappers and
explorers, who were
fluent in French (spoken
extensively in the
region, due to earlier
explorers from France)
and in some of the Indian
languages they might
encounter. One of the
voyageurs, a man named
Pierre Cruzatte, also
happened to be a
better-than-average
fiddle player. In many
respects, the travelers
were completely on their
own for supplies and
survival, yet,
incredibly, only one of
them died during the
voyage. Jefferson had
outfitted them with food,
weapons, medicine, and
clothing and along with
other trinkets, a box of
200 jaw harps to be used
in trading with the
Indians. Their trip was
long, perilous to the
point of near
catastrophe, and arduous.
The dream of a Northwest
Passage proved ephemeral,
but the northwestern
quarter of the continent
had finally been
explored, mapped, and
described to an anxious
world. When the party
returned to St. Louis in
1806, and with the
Louisiana Purchase now
part of the United
States, they were greeted
as national heroes. I
have written a sizeable
number of works for wind
ensemble that draw their
inspiration from the
monumental spaces found
in the American West.
Four of them (Arches, The
Yellowstone Fires,
Glacier, and Zion) take
their names, and in large
part their being, from
actual national parks in
Utah, Wyoming, and
Montana. But Upriver,
although it found its
voice (and its finale) in
the magnificent Columbia
Gorge in Oregon, is about
a much larger region.
This piece, like its
brother works about the
national parks, doesnt
try to tell a story.
Instead, it captures the
flavor of a certain time,
and of a grand adventure.
Cast in one continuous
movement and lasting
close to fourteen
minutes, the piece falls
into several subsections,
each with its own
heading: The Dream (in
which Jeffersons vision
of a vast expanse of
western land is opened);
The Promise, a chorale
that re-appears several
times in the course of
the piece and represents
the seriousness of the
presidential mission; The
River; The Voyageurs; The
River II ; Death and
Disappointment; Return to
the Voyage; and The River
III . The music includes
several quoted melodies,
one of which is familiar
to everyone as the
ultimate river song, and
which becomes the
through-stream of the
work. All of the quoted
tunes were either sung by
the men on the voyage, or
played by Cruzattes
fiddle. From various
journals and diaries, we
know the men found
enjoyment and solace in
music, and almost every
night encampment had at
least a bit of music in
it. In addition to
Cruzatte, there were two
other members of the
party who played the
fiddle, and others made
do with singing, or
playing upon sticks,
bones, the ever-present
jaw harps, and boat
horns. From Lewis
journals, I found all the
tunes used in Upriver:
Shenandoah (still popular
after more than 200
years), Vla bon vent,
Soldiers Joy, Johnny Has
Gone for a Soldier, Come
Ye Sinners Poor and Needy
(a hymn sung to the tune
Beech Spring) and Fishers
Hornpipe. The work
follows an emotional
journey: not necessarily
step-by-step with the
Voyage of Discovery
heroes, but a kind of
grand arch. Beginning in
the mists of history and
myth, traversing peaks
and valleys both real and
emotional (and a solemn
funeral scene), finding
help from native people,
and recalling their zeal
upon finding the one
great river that will, in
fact, take them to the
Pacific. When the men
finally roar through the
Columbia Gorge in their
boats (a feat that even
the Indians had not
attempted), the
magnificent river
combines its theme with
the chorale of Jeffersons
Promise. The Dream is
fulfilled: not quite the
one Jefferson had
imagined (there is no
navigable water passage
from the Missouri to the
Pacific), but the dream
of a continental
destiny.
Band concert band - Grade 3 SKU: CF.CPS250 Composed by Peter Sciaino. Set...(+)
Band concert band - Grade
3
SKU: CF.CPS250
Composed by Peter
Sciaino. Set of Score and
Parts.
27+12+12+6+12+12+12+6+6+6
+6+4+4+8+8+8+4+4+6+6+6+4+
12+4+2+6+10 pages.
Duration 4 minutes, 40
seconds. Carl Fischer
Music #CPS250. Published
by Carl Fischer Music
(CF.CPS250).
ISBN
9781491159576. UPC:
680160918164.
Kalei
doscope Sky is inspired
by the breathtaking
pastime of hot-air
ballooning and the
glorious festivals around
the world that honor the
practice. A sky full of
colorful spheres
elegantly floating at the
Albuquerque International
Balloon Fiesta,
International Balloon
Festival of
Saint-Jean-sur-Richelieu,
Bristol International
Balloon Fiesta, Mondial
Air Ballons and more draw
thousands of people to
witness awe-inspiring
scenes full of passionate
balloonists. Traditional
hot-air balloons mix with
creatively designed
balloons to thrill the
tens of thousands of
spectators below. While I
personally am not a
person who dreams of
taking my own
flight--heights are not
my thing--I have to
marvel at how gently and
easily these vessels
float among the clouds.
It truly is an image of
exquisite freedom. This
piece reflects the view
and experience of the
onlooker taking in an
elegantly shifting scene
reminiscent of
kaleidoscope patterns.
Spectators like me can
appreciate the beauty and
vibrancy associated with
a horizon full of
adventurous balloonists
and their wondrous
aircrafts. Kaleidoscope
Sky starts in a
triumphant and
celebratory fashion and
continues to conjure
images reminiscent of the
wide variety of soaring
colors on display at a
hot-air balloon event.
Ultimately, the piece
appropriately concludes
with a suspenseful, yet
graceful, run to the
finish line. Melodic
lines should soar with
attention being paid to
phrase markings and
assigned articulations.
Encourage musicians to
allow room for the
melodic material to be
heard in thicker textures
where supporting
harmonies are often
rhythmic in nature. These
harmonies should support,
and not cloud the
melodies. The meter
changes should sound
effortless, and the
continuous figures in the
percussion will help to
achieve this effect. The
snare drum, in
particular, should bring
accented notes to the
foreground while
maintaining a steady
textural effect with
non-accented notes as a
rhythmic background. This
will go a long way in
finding a cohesive
subdivision and ensemble
pulse. Kaleidoscope
Sky is inspired by the
breathtaking pastime of
hot-air ballooning and
the glorious festivals
around the world that
honor the practice. A sky
full of colorful spheres
elegantly floating at the
Albuquerque International
Balloon Fiesta,
International Balloon
Festival of
Saint-Jean-sur-Richelieu,
Bristol International
Balloon Fiesta, Mondial
Air Ballons and more draw
thousands of people to
witness awe-inspiring
scenes full of passionate
balloonists. Traditional
hot-air balloons mix with
creatively designed
balloons to thrill the
tens of thousands of
spectators below. While I
personally am not a
person who dreams of
taking my own
flight—heights are
not my thing—I
have to marvel at how
gently and easily these
vessels float among the
clouds. It truly is an
image of exquisite
freedom. This piece
reflects the view and
experience of the
onlooker taking in an
elegantly shifting scene
reminiscent of
kaleidoscope patterns.
Spectators like me can
appreciate the beauty and
vibrancy associated with
a horizon full of
adventurous balloonists
and their wondrous
aircrafts. Kaleidoscope
Sky starts in a
triumphant and
celebratory fashion and
continues to conjure
images reminiscent of the
wide variety of soaring
colors on display at a
hot-air balloon event.
Ultimately, the piece
appropriately concludes
with a suspenseful, yet
graceful, run to the
finish line.Melodic lines
should “soarâ€
with attention being paid
to phrase markings and
assigned articulations.
Encourage musicians to
allow room for the
melodic material to be
heard in thicker textures
where supporting
harmonies are often
rhythmic in nature. These
harmonies should support,
and not
“cloud†the
melodies. The meter
changes should sound
effortless, and the
continuous figures in the
percussion will help to
achieve this effect. The
snare drum, in
particular, should bring
accented notes to the
foreground while
maintaining a steady
textural effect with
non-accented notes as a
rhythmic background. This
will go a long way in
finding a cohesive
subdivision and ensemble
pulse.
Kaleidoscope Sky Orchestre d'harmonie [Conducteur] - Facile Carl Fischer
Band concert band - Grade 3 SKU: CF.CPS250F Composed by Peter Sciaino. Fu...(+)
Band concert band - Grade
3
SKU: CF.CPS250F
Composed by Peter
Sciaino. Full score. 27
pages. Carl Fischer Music
#CPS250F. Published by
Carl Fischer Music
(CF.CPS250F).
ISBN
9781491159583. UPC:
680160918171.
Kalei
doscope Sky is inspired
by the breathtaking
pastime of hot-air
ballooning and the
glorious festivals around
the world that honor the
practice. A sky full of
colorful spheres
elegantly floating at the
Albuquerque International
Balloon Fiesta,
International Balloon
Festival of
Saint-Jean-sur-Richelieu,
Bristol International
Balloon Fiesta, Mondial
Air Ballons and more draw
thousands of people to
witness awe-inspiring
scenes full of passionate
balloonists. Traditional
hot-air balloons mix with
creatively designed
balloons to thrill the
tens of thousands of
spectators below. While I
personally am not a
person who dreams of
taking my own
flight--heights are not
my thing--I have to
marvel at how gently and
easily these vessels
float among the clouds.
It truly is an image of
exquisite freedom. This
piece reflects the view
and experience of the
onlooker taking in an
elegantly shifting scene
reminiscent of
kaleidoscope patterns.
Spectators like me can
appreciate the beauty and
vibrancy associated with
a horizon full of
adventurous balloonists
and their wondrous
aircrafts. Kaleidoscope
Sky starts in a
triumphant and
celebratory fashion and
continues to conjure
images reminiscent of the
wide variety of soaring
colors on display at a
hot-air balloon event.
Ultimately, the piece
appropriately concludes
with a suspenseful, yet
graceful, run to the
finish line. Melodic
lines should soar with
attention being paid to
phrase markings and
assigned articulations.
Encourage musicians to
allow room for the
melodic material to be
heard in thicker textures
where supporting
harmonies are often
rhythmic in nature. These
harmonies should support,
and not cloud the
melodies. The meter
changes should sound
effortless, and the
continuous figures in the
percussion will help to
achieve this effect. The
snare drum, in
particular, should bring
accented notes to the
foreground while
maintaining a steady
textural effect with
non-accented notes as a
rhythmic background. This
will go a long way in
finding a cohesive
subdivision and ensemble
pulse. Kaleidoscope
Sky is inspired by the
breathtaking pastime of
hot-air ballooning and
the glorious festivals
around the world that
honor the practice. A sky
full of colorful spheres
elegantly floating at the
Albuquerque International
Balloon Fiesta,
International Balloon
Festival of
Saint-Jean-sur-Richelieu,
Bristol International
Balloon Fiesta, Mondial
Air Ballons and more draw
thousands of people to
witness awe-inspiring
scenes full of passionate
balloonists. Traditional
hot-air balloons mix with
creatively designed
balloons to thrill the
tens of thousands of
spectators below. While I
personally am not a
person who dreams of
taking my own
flight—heights are
not my thing—I
have to marvel at how
gently and easily these
vessels float among the
clouds. It truly is an
image of exquisite
freedom. This piece
reflects the view and
experience of the
onlooker taking in an
elegantly shifting scene
reminiscent of
kaleidoscope patterns.
Spectators like me can
appreciate the beauty and
vibrancy associated with
a horizon full of
adventurous balloonists
and their wondrous
aircrafts. Kaleidoscope
Sky starts in a
triumphant and
celebratory fashion and
continues to conjure
images reminiscent of the
wide variety of soaring
colors on display at a
hot-air balloon event.
Ultimately, the piece
appropriately concludes
with a suspenseful, yet
graceful, run to the
finish line.Melodic lines
should “soarâ€
with attention being paid
to phrase markings and
assigned articulations.
Encourage musicians to
allow room for the
melodic material to be
heard in thicker textures
where supporting
harmonies are often
rhythmic in nature. These
harmonies should support,
and not
“cloud†the
melodies. The meter
changes should sound
effortless, and the
continuous figures in the
percussion will help to
achieve this effect. The
snare drum, in
particular, should bring
accented notes to the
foreground while
maintaining a steady
textural effect with
non-accented notes as a
rhythmic background. This
will go a long way in
finding a cohesive
subdivision and ensemble
pulse.