Royal Coronation Dances Orchestre d'harmonie [Conducteur et Parties séparées] - Facile Manhattan Beach Music
Concert band - Grade 3 SKU: MH.1-59913-054-8 Composed by Bob Margolis. Su...(+)
Concert band - Grade 3
SKU:
MH.1-59913-054-8
Composed by Bob Margolis.
Suitable for advanced
middle school, high
school, community and
college bands. Conductor
score and set of parts.
Duration 4:45. Published
by Manhattan Beach Music
(MH.1-59913-054-8).
ISBN
9781599130545.
Roya
l Coronation Dances is
the first sequel to the
Fanfare Ode & Festival,
both being settings of
dance music originally
arranged by Gervaise in
the mid 16th-century (the
next sequel is The
Renaissance Fair, which
uses music of Susato and
Praetorius). Fanfare Ode
& Festival has been
performed by many tens of
thousands of students,
both in high school and
junior high school. I
have heard that some of
them are amazed that the
music they are playing
was first played and
danced to over 400 years
ago. Some students tend
to think that music
started with Handel and
his Messiah to be
followed by Beethoven and
his Fifth Symphony, with
naught in between or
before of consequence.
Although Royal Coronation
Dances is derived from
the same source as
Fanfare Ode & Festival,
they are treated in
different ways. I
envisioned this new suite
programmatically -- hence
the descriptive movement
titles, which I imagined
to be various dances
actually used at some
long-ago coronation. The
first movement depicts
the guests, both noble
and common, flanked by
flag and banner bearers,
arriving at the palace to
view the majestic event.
They are festive, their
flags swirling the air,
their cloaks brightly
colored. In the second
movement, the queen in
stately measure moves to
take her place on the
throne as leader and
protector of the realm.
In the third movement,
the jesters of the court
entertain the guests with
wild games of sport.
Musically, there are
interesting sonorities to
recreate. Very special
attention should be given
to the tambourine/tenor
drum part in the first
movement. Their lively
rhythms give the movement
its power. Therefore they
should be played as
distinctly and
brilliantly as possible.
The xylophone and
glockenspiel add clarity,
but must not be allowed
to dominate. Observe
especially the differing
dynamics; the intent is
to allow much buzzing
bass to penetrate. The
small drum (starting at
meas. 29) should be
played expressively, with
attention to the notated
articulations, with the
brass light and detached,
especially in a lively
auditorium. It is of some
further interest that the
first dance is extremely
modal. The original is
clearly in G mixolydian
mode (scale:
G-A-B-C-D-E-F-G).
However, other editors
might put in F-sharps in
many places (changing the
piece almost to G major),
in the belief that such
ficta would have been
automatically put in by
the 16th-century
performers as they
played. I doubt it. I
have not only eschewed
these within the work,
but even at the cadences.
So this arrangement is
most distinctly modal
(listen to the F-naturals
in meas. 22 and 23, for
instance), with all the
part-writing as Gervaise
wrote it. In the second
movement, be careful that
things do not become too
glued together. In the
16th century this music
might have been played by
a consort of recorders,
instruments very light of
touch and sensitive to
articulation. Concert
band can easily sound
heavy, and although this
movement has been scored
for tutti band, it must
not sound it. It is
essential, therefore,
that you hear all the
instruments, with none
predominating. Only when
each timbre can be heard
separately and
simultaneously will the
best blend occur, and
consequently the greatest
transparency. So aim for
a transparent, spacious
tutti sound in this
movement. Especially have
the flutes, who do this
so well, articulate
rather sharply, so as to
produce a chiffing sound,
and do not allow the
quarter-notes to become
too tied together in the
entire band. The entrance
of the drums (first
tenor, then bass) are
events and as such should
be audible. Incidentally,
this movement begins in F
Major and ends in D
Minor: They really didn't
care so much about those
things then. The third
movement (one friend has
remarked that it is the
most Margolisian of the
bunch, but actually I am
just getting subtler, I
hope) again relies upon
the percussion (and the
scoring) to make its
points. Xylophone in this
movement is meant to be
distinctly audible.
Therefore, be especially
sure that the xylophone
player is secure in the
part, and also that the
tambourine and toms sound
good. This movement must
fly or it will sink, so
rev up the band and
conduct it in 1 for this
mixolydian jesting. I
suppose the wildly
unrelated keys (clarinets
and then brass at the
end) would be a good
16th-century joke, but to
us, our
put-up-the-chorus-a-half-
step ears readily accept
such shenanigans.
Ensemble instrumentation:
1 Full Score, 1 Piccolo,
4 Flute 1, 4 Flute 2 & 3,
2 Oboe 1 & 2, 2 Bassoon 1
& 2, 1 Eb Clarinet, 4 Bb
Clarinet 1, 4 Bb Clarinet
2, 4 Bb Clarinet 3, 2 Eb
Alto Clarinet, 1 Eb
Contra Alto Clarinet, 3
Bb Bass & Bb Contrabass
Clarinet, 2 Eb Alto
Saxophone 1, 2 Eb Alto
Saxophone 2, 2 Bb Tenor
Saxophone, 2 Eb Baritone
Saxophone, 3 Bb Trumpet
1, 3 Bb Trumpet 2, 3 Bb
Trumpet 3, 4 Horn in F 1
& 2, 2 Trombone 1, 4
Trombone 2 & 3, 3
Euphonium (B.C.), 2
Euphonium (T.C.), 4 Tuba,
1 String Bass, 1 Timpani
(optional), 2 Xylophone &
Glockenspiel, 5
Percussion.
Chamber Music Piano SKU: PR.110418490 Composed by Carter Pann. 16 pages. ...(+)
Chamber Music Piano
SKU: PR.110418490
Composed by Carter Pann.
16 pages. Duration 16
minutes. Theodore Presser
Company #110-41849.
Published by Theodore
Presser Company
(PR.110418490).
ISBN
9781491137260. UPC:
680160690022.
Carte
r Pann writes, the piece
might have been titled
Three Improvisations, but
there is an expressive
inertia baked in to these
works which makes them
truer as rhapsodies. This
description tells us much
about the work, whose
movements are an
enterprising tango, a
bombastic central
movement with virtuosic
thrust, and a and a hymn
heard from afar without
any sense of marked
time. Three Rhapsodies
was commissioned by the
American Composers Forum
with complete support
from the Thelma E. Hunter
Fund. The premiere
performance took place in
Kilbourn Hall at the
Eastman School of Music
in Rochester, New York by
pianist Marina Lomazov.As
with all of my piano
works, this was very much
an at-the-piano
compositional experience.
As a pianist I cannot
imagine writing a solo
work away from the
instrument (though at
times that would be quite
convenient).The whole
work explores a palette
of impassioned emotions
– sometimes
veiled, sometimes
emboldened, or even
outrageous at times.
There are technical
freedoms in each
movement, allowing the
pianist to stretch their
interpretive inclinations
to great lengths. In this
way the piece might have
been titled Three
Improvisations, but there
is an expressive inertia
baked in to these works
which make them truer as
rhapsodies.The first
movement is a tango with
real wanderlust. The
second reminds me of
Rachmaninoff’s
Polka de W.R. in its
bombast, but also
Chopin’s sixteenth
prelude with its sheer
virtuosic thrust. The
third is a hymn heard
from afar with no
rhythmic drive, only
sheened sonority.
Santa Plays the Viola Orchestre à Cordes [Conducteur et Parties séparées] - Débutant Alfred Publishing
Arranged by Mark Williams. Orchestra. String Orchestra. Strictly Strings Series....(+)
Arranged by Mark
Williams. Orchestra.
String Orchestra.
Strictly Strings Series.
Form: Medley. Christmas;
Contemporary; Winter.
Grade 1. Conductor Score
and Parts. 72 pages.
Published by Alfred Music
Publishing
Percussion (Percussion Parts) SKU: HL.48183715 Composed by Boursault E. J...(+)
Percussion (Percussion
Parts)
SKU:
HL.48183715
Composed
by Boursault E.
Jean-Marc. Leduc.
Classical. Softcover. 136
pages. Alphonse Leduc
#AL25923. Published by
Alphonse Leduc
(HL.48183715).
UPC:
888680861476. 9x12
inches.
“&Eac
ute;tude Progressive de
Batterie is a very
progressive method in two
books written by Emmanuel
Boursault (born in 1949)
and Jean-Marc Lajudie
(born in 1948), winner of
the first prize of the
Agostini School and
founder of the Centre
Musical of Limoges. This
first volume for
beginners includes many
annotations and
illustrations to help the
development of the
student. It introduces
the players to all
necessary bases to
acquire some strong
technique: binary rhythm,
tempo, sonority, theory.
This method will develop
the skills of all Drum
beginners.&rdquo.
Dona Nobis Pacem Orchestre d'harmonie [Conducteur] - Débutant Belwin
Concert Band - Grade 1 SKU: AP.BD9752C Composed by Traditional. Arranged ...(+)
Concert Band - Grade 1
SKU: AP.BD9752C
Composed by Traditional.
Arranged by Marty
Schubert. Concert Band;
Performance Music
Ensemble; Single Titles.
Belwin Beginning Band.
Traditional. Score. 16
pages. Belwin Music
#00-BD9752C. Published by
Belwin Music
(AP.BD9752C).
UPC:
029156607628. English.
Traditional.
In the
rich chalumeau register,
a solo (or soli) clarinet
voice quietly introduces
the hauntingly beautiful
melody. Layering into the
texture, other voices add
timbre and depth. The
phrasing is exquisite,
and teaching
opportunities for legato
playing abound. A
modulation from B-flat to
E-flat allows even more
sonorities as the work
moves to its conclusion.
Serious music educators
should look closely at
this piece. (duration
2:40).
By Frank Ticheli. Concert band. Suitable for the most advanced high school bands...(+)
By Frank Ticheli. Concert
band. Suitable for the
most advanced high school
bands, community,
college, university, and
professional bands.
Level: Grade 6. Conductor
Full Score. Duration
21:00. Published by
Manhattan Beach Music.
Orchestra (Score) SKU: HL.14028679 Composed by Esa-Pekka Salonen. Music S...(+)
Orchestra (Score)
SKU:
HL.14028679
Composed
by Esa-Pekka Salonen.
Music Sales America.
Score. Composed 2006. 116
pages. Chester Music
#CH69663. Published by
Chester Music
(HL.14028679).
ISBN
9781847725684.
9.75x13.5x0.395
inches.
In the
words of the composer
Insomnia was written
between March and
November 2002.
Technically speaking, it
is a set of variations
based on a harmonic model
separated by a
Ritornello-like section,
which is essentially a
pedal point on the note
e. The sound of Insomnia
is darker and deeper than
that of some of my other
orchestral works. I
decided to add a quartet
of Wagner Tubas to the
brass section for the
very particular sonority
only these rare and weird
instruments can
produce..
Concert Band - Grade 1 SKU: AP.BD9752 Composed by Traditional. Arranged b...(+)
Concert Band - Grade 1
SKU: AP.BD9752
Composed by Traditional.
Arranged by Marty
Schubert. Concert Band;
Performance Music
Ensemble; Single Titles.
Belwin Beginning Band.
Traditional. Score and
Part(s). 124 pages.
Duration 2:40. Belwin
Music #00-BD9752.
Published by Belwin Music
(AP.BD9752).
UPC:
029156607611. English.
Traditional.
In the
rich chalumeau register,
a solo (or soli) clarinet
voice quietly introduces
the hauntingly beautiful
melody. Layering into the
texture, other voices add
timbre and depth. The
phrasing is exquisite,
and teaching
opportunities for legato
playing abound. A
modulation from B-flat to
E-flat allows even more
sonorities as the work
moves to its conclusion.
Serious music educators
should look closely at
this piece. (duration
2:40).