Trombone and Piano - Advanced SKU: CY.CC3136 Composed by John W. Ware. Cl...(+)
Trombone and Piano -
Advanced
SKU:
CY.CC3136
Composed by
John W. Ware. Classical.
Score and Parts. Cherry
Classics #CC3136.
Published by Cherry
Classics (CY.CC3136).
ISBN 9790530111055.
8.5 x 11 in
inches.
This fine
work has sat dormant for
many years and has now
come to light thanks to
the efforts of Charlie
Vernon, Bass Trombonist
of the Chicago Symphony,
who performed this
virtuoso work as a young
performer. The concerto
is in the standard three
movement form: Fast,
slow, fast. This
publication is a
reduction from the
original orchestral
version (to be released
at some point in the
future). Here is a
description of the
Concerto by the composer,
John W. Ware. I started
on the trombone concerto
in my junior year
studying composition at
Indiana University. While
working on it, I learned
of an opportunity to make
it sort of a thesis piece
(though students didn't
write a thesis in
composition while an
undergrad). The original
version was for trombone
with string orchestra,
and it was performed by
the IU String Orchestra,
conducted by Dr. Arthur
Corra, with Robert Priez,
trombone, as part of my
senior composition
recital. I thought the
performance was quite
good (Priez played
extraordinarily well),
and the piece received a
newspaper review in the
Indiana Daily Student, in
which the reviewer wrote
that the work was almost
too exciting. I thought
at the time that he had
given me and my music a
fine compliment. I made a
piano version of the
accompaniment, shortening
and tightening the first
movement, for
performances in 1966; I
made a second revision in
1967 for a performance by
E. J. Eaton, trombonist
at the University of
Tennessee at Martin,
arriving at the form in
which the work exists
now. The first movement
is in fairly normal
sonata-allegro form, in
the key of A minor. It
alternates between
assertive and more
thoughtful moods. There
is no introduction; the
soloist enters
immediately and dominates
much of the movement. The
main theme is--by some
manipulation--a source
for most of the other
themes, and all of the
themes are used in close
proximity to each other,
including contrapuntal
combinations, especially
near the end. Originally
the movement included a
lengthy fugato, now much
shortened and including a
stretto that builds and
subsides before a cadenza
leading to a coda based
on both the principal and
secondary themes. Key
relations in this
movement, as in the other
two, are quite free and
often chromatic, with
frequent third-relations;
but returns to the tonic
at the end are emphatic.
The writing is
challenging for both
soloist and accompanist;
the piece is substantial,
requiring technique and
stamina. The second
movement is in F minor
and is also built on both
contrast and close
relationships between the
main and secondary
themes. The main theme is
heard in the piano part
before the soloist
enters. The mood is more
lyric than in the first
movement, but with
dramatic episodes also.
In this movement are some
definite derivations from
themes in the first
movement. The ending is a
sort of lengthened shadow
of the opening. The
finale returns to A
minor, with themes
slightly related to
polonaise rhythms, but
with strong echoes of
first-movement themes.
Here, too, dramatic and
lyric episodes alternate,
with dotted rhythms
frequently propelling the
music forward. The
introduction is a brief
and simple preparation
for the solo entry. Later
in the movement, a very
brief, slightly slower
section is soon overtaken
by the original tempo.
Toward the end, there is
a second cadenza, again
leading to a swift and
energetic coda. The work
is about 20 minutes in
length and is appropriate
for advanced
performers.
Composed by Romeyn.
Concert Band. Concert
Band Series. Audio
recording available
separately (item
CL.WFR395). Score and set
of parts. Composed 2018.
Duration 4 minutes, 44
seconds. Opus III Wind
Orchestra Publications
#012-4642-00. Published
by Opus III Wind
Orchestra Publications
(CL.012-4642-00).
An epic
programmatic piece,
Forged In Fire is a work
of vibrant energy, vivid
color and immense power.
It draws inspiration from
the immense power and
uses of fire, and its
effect on early
civilization and
industrialization. A calm
and sensitive
introductions leads to a
new theme at a quickening
tempo. This theme, stated
simply at first, is then
embellished by a driving
rhythm multi-meter
effect, and further
developed with layered
contemporary harmonies,
changing textures and
variations on the theme.
After a breathtaking
climax, the original
theme is restated, more
powerfully this time. It
then subsides, before
building to a shimmering,
red hot ending that will
leave your audience
breathless. Certain to
become a mainstay for
concert and festival use.
Not to be missed!
Composed by Sheldon.
Concert Band. Heritage of
the March Series. Audio
recording available
separately (items
CL.WFR185 & CL.WFR315).
Score and set of parts.
Composed 1996. Duration 5
minutes, 10 seconds. Opus
III Wind Orchestra
Publications
#012-2760-00. Published
by Opus III Wind
Orchestra Publications
(CL.012-2760-00).
An outstanding
composition begins as a
tone poem depicting the
Illinois River and the
peaceful Indian tribes
that lived in the area.
The tempo of the music
quickens as the tribe
seeks refuge from their
enemies and then the
piece reaches it’s
climax at the peak of the
battle. The music
subsides as the ill-fated
Indians are finally
starved into defeat.
About Heritage
of the
March
Full
-sized concert band
editions of the greatest
marches of all time. Each
has been faithfully
re-scored to accommodate
modern instrumentation
and incorporate
performance practices of
classic march style
Hail the Dragon! Orchestre d'harmonie - Intermédiaire Anglo Music
(Grade 5 - Score Only). Composed by Philip Sparke (1951-). For Concert Band. Ang...(+)
(Grade 5 - Score Only).
Composed by Philip Sparke
(1951-). For Concert
Band. Anglo Music Concert
Band. Grade 5. 28 pages.
Anglo Music Press
#AMP278. Published by
Anglo Music Press
Composed
by Larry Clark. Concert
Band (CPS). Full score.
With Standard notation.
32 pages. Carl Fischer
Music #CPS225F. Published
by Carl Fischer Music
(CF.CPS225F).
ISBN
9781491153192. UPC:
680160910694.
Tarta
n Tapestries is an
original piece that sets
out to emulate Scottish
folk music. Composer
Larry Clark has created a
concert overture in
triple meter to capture
the essence of music from
Scotland. After a lilting
first section, lush
and beautiful moments
weave a tapestry of
sounds with the lyrical,
middle section of the
piece. There is an
optional part for
bagpipes, and an optional
ending should you chose
to use this instrument as
part of the piece. Alert
your contest music
committee about this
strong new piece for
advancing
groups. Tartan
Tapestries was
commissioned by Friends
of the Arts for the Saint
Andrew's School Band in
Boca Raton,
Florida. The band
program at Saint
Andrew’s School is
under the direction of
Andrea Wolgin. The
premiere took place on
November 29, 2017.When I
was asked by their
conductor Ms. Wolgin to
write a piece for the
Saint Andrew’s
School, I asked her what
kind of involvement she
wanted the students to
have in the process. We
discussed several options
for having the students
involved in the process
of creating with the type
of piece they wanted.Â
We set up a
“Skypeâ€
meeting with members of
the band to discuss the
piece. During this
discussion, the consensus
of the students was that
they wanted a piece
depicting the Scottish
influence to the
school. They also
wanted a piece that would
challenge all sections of
the band and to include
bagpipes if possible. I
asked that the students
be involved in helping to
name the piece once it
was completed, for which
they agreed and were very
helpful. Armed with
this information, I set
out to compose a piece
for them, and Tartan
Tapestries is the
result.The piece begins
with a fanfare gesture
based upon rhythms and
harmonies that appear
throughout the piece. I
chose the lilting triple
feel to the piece, to
bring about the Scottish
flavor. I wanted the
fanfare to be bardic
sounding, to depict the
strength of the Scottish
people and for the piece
to have a dynamic
opening. The fanfare
contains material that
alludes to the main theme
and with a bit of
dissonance and tension
that is resolved in the
main body of the
piece.The main theme is a
lilting original melody,
but one that I hope with
have the essence of
Scottish folk songs. The
main idea is followed by
a more modal and dark
sounding secondary theme,
first stated in the
horns. This material
is later used in the
development section of
the piece. The main
theme returns several
times, with different and
varied orchestrations and
harmonic treatments. This
is followed by a short
transition leading to the
more lyrical and slower
second section of the
piece. A transparent
presentation of the
lyrical theme, which is
based on aspects of the
main theme, is presented
first by a solo flute.
This section is a nod to
famous composer Malcom
Arnold’s wonderful
works for orchestra in
its style and
orchestration. After a
transition or bridge
section with a solo
euphonium, the piece
builds to a dramatic
climax of the lyrical
theme by the full band.
This subsides to a return
of the solo flute to end
this second section of
the piece, followed by a
transition back the main
theme.The solo bagpipes
play a central role in
the return of the main
theme and take center
stage after being heard
in the distance earlier
in the work. The piece
brings back a shortened
version of the darker
secondary theme, followed
by a hint of the fanfare
material that builds to
one last statement of the
main theme by the full
band, before leading to a
dramatic coda to complete
the work.It has been my
pleasure to have been
given the opportunity to
compose this piece for
the Saint Andrew’s
School Band! I thank
Andrea Wolgin for making
it happen, and I hope
that you enjoy it as much
as I have enjoyed
bringing the piece to
life.–Larry
ClarkLakeland, Florida
2017.
Blaze of Glory Orchestre d'harmonie [Conducteur et Parties séparées] - Facile FJH
By Robert Sheldon. For concert band. FJH Young Band. Full set (score and parts)....(+)
By Robert Sheldon. For
concert band. FJH Young
Band. Full set (score and
parts). Score only also
available: B1183S. Grade
2.5. Score and set of
parts. Composed 2003
Violin - Concerto Orchestre, Violon SATB, Orchestre Editorial de Musica Boileau
Violin and orchestra SKU: BO.B.3340 Composed by Jordi Cervello. Instrumen...(+)
Violin and orchestra
SKU: BO.B.3340
Composed by Jordi
Cervello. Instrumental
Sets. Duration 29:00.
Published by Editorial de
Musica Boileau
(BO.B.3340).
ISBN
9788480207591.
Engl
ish comments: My
dedication to the string
instruments has been a
constant throughout my
compositional career and
I knew that sooner or
later the time would come
to compose a concerto for
violin and orchestra.
That moment came in the
autumn of 2002 and after
ten months of
uninterrupted work I
finished it in August of
2003. It is a work
structured similarly to
the traditional
concertos. An important
impetus for the
elaboration of my
concerto was due to the
ill-fated violinist
Ginette Neveu. Her
version of Sibelius'
Concerto has always
stayed with me. For this
reason the first
movement,
Moderato-Allegro, begins
with a contemplative
atmosphere similar to
that of Sibelius'
Concerto in which the
principal thematic ideas
appear tentatively. These
ideas, two rhythmic and
two melodic, are
reaffirmed through a
broad development that
culminates in an
orchestral fullness. A
calm, mysterious passage
recalls the introduction
and after becoming
blurred, three bars burst
in leading to the rapid
section of the movement.
Soloist and orchestra
engage in a dialectic
struggle of a dramatic
nature. The agitation
subsides leaving only a
tranquil and suggestive
clarinet phrase. This
will be taken up by the
soloist who leads up to
the movement's most
dramatic moment playing
an accelerating triplet
figure supported by an
orchestral pedal in
crescendo. From here the
soloist's cadenza emerges
beginning with soft
double notes. It finishes
with an ascending
progression and the
soloist settles into the
high register to elicit
the orchestra's
intervention in a soft
and transfigured
atmosphere. Once
internalised the second
movement, Adagio poco
sostenuto e leggero
begins. It has a solemn
character and opens with
two trumpet calls
answered by the
violoncellos and the
contrabasses. The violin
soloist introduces and
plays two nostalgic
themes, the first in the
low register and the
second, more extensive,
in the middle register.
The soft and delicate
Misterioso e leggero
begins with the violin
singing on high. The
rhythm of the constant
quaver figures gradually
accelerates until the
soloist provokes a
dramatic full orchestra
as in a cadenza. Once
again, the Calmo, in
which the soloist with
less and less orchestral
attire serenely bids
farewell. A rising series
of double stops by the
soloist serves to
initiate the
Finale-Scherzo. In 6/8
rhythm and with the
character of a rondo it
carries us along in a
carefree, virtuosic
ambiance. The principal
motives, brief and
concise, emerge from the
happy, playful theme
presented by the soloist.
With an intricate
progression of rapid
sixths in double stops it
reaches a tense and
somewhat combative
moment. However this
resolves itself in a
diminuendo that the
soloist peacefully takes
up with the notes re-la
to commence the cadenza.
This culminates in a
series of tied notes to
reintroduce the principal
theme. A moment of
melodic suspension serves
as a farewell before the
brief and jovial final
coda. --The
author
Comentari
os del Espanol: A lo
largo de mi carrera
compositiva mi dedicacion
a los instrumentos de
cuerda ha sido constante
y sabia que, tarde o
temprano, llegaria el
momento de componer un
concierto para violin y
orquesta. Este llego en
otono de 2002 y, tras
diez meses de trabajo
ininterrumpido, lo
termine en agosto de
2003. Se trata de una
obra estructurada de
manera similar a los
conciertos tradicionales.
Un importante impulso a
la elaboracion de mi
concierto lo debo al
recuerdo de la malograda
violinista Ginette Neveu.
Su version del concierto
de Sibelius ha
permanecido siempre
dentro de mi. Por ese
motivo, el primer
movimiento
Moderato-Allegro se
inicia con una atmosfera
contemplativa cercana a
la del mencionado
Concierto, en la que
aparecen cautamente las
principales ideas
tematicas. Con un amplio
desarrollo se llega a un
lleno orquestal en el que
estas ideas -dos ritmicas
y dos melodicas- quedan
reafirmadas. Un pasaje
calmo y misterioso
rememora la introduccion.
Tras desdibujarse,
irrumpen tres compases
que nos llevan a la parte
rapida del movimiento.
Solista y orquesta
establecen un combate
dialectico de caracter
dramatico. La inquietud
desaparece hasta una
tranquila e insinuante
frase del clarinete. Esta
sera recogida por el
solista, quien, a base de
una figuracion de
tresillos cada vez mas
rapidos apoyada por un
pedal de la orquesta in
crescendo, conduce hacia
el momento mas dramatico
del movimiento. De aqui
nace la cadenza del
solista, que se incia con
suaves notas dobles.
Finaliza con una
progresion ascendente y
el solista se coloca en
el registro agudo para
llamar la intervencion de
la orquesta dentro de una
atmosfera suave y
transfigurada.
Interiorizado es el
segundo movimiento Adagio
poco sostenuto e leggero.
Con dos llamadas de las
trompas respondidas por
los violonchelos y
contrabajos inicia el
Adagio de caracter grave.
El violin solista
introduce y canta dos
temas nostalgicos. El
primero en el registro
grave y el segundo, mas
amplio, en el medio.
Inicia el Misterioso e
leggero, de caracter
suave y delicado. Con el
violin cantando en agudo.
La constante figuracion
de corcheas acelerara
poco a poco el ritmo
hasta que el solista a
modo de cadenza provocara
un dramatico lleno
orquestal. De nuevo el
Calmo, donde el solista,
cada vez con menos ropaje
orquestal, se despide
serenamente. Una subida
de dobles cuerdas a cargo
del solista sirve para
iniciar el
Finale-Scherzo. Este, en
ritmo de 6/8 y con
caracter de rondo, nos
transporta en un clima
virtuosistico y
despreocupado. Del tema
alegre y jugueton
presentado por el solista
nacen los principales
motivos, breves y
concisos. Con una
intrincada sucesion de
rapidas sextas en doble
cuerda se llega a un
momento crispado y algo
combativo que, sin
embargo, se resolvera en
un diminuendo que el
solista recoge
apaciblemente con las
notas re-la para inciar
la cadenza. Esta culmina
con un suave rosario de
notas en ligado para
introducir de nuevo el
tema principal. Un
momento de suspension
melodica sirve como
despido antes de la breve
y jovial coda final. La
obra fue estrenada el 23
de septiembre de 2005 en
el Teatre Monumental de
Madrid por la Orquesta
Sinfonica de RTVE con
Markus Placci de solista
y Uwe Mund de director.
Gravacion: RNE y Canal
Clasico de TVE. --El
Autor.
Desert Dances Orchestre d'harmonie - Intermédiaire Anglo Music
Score and Parts Concert Band (Score & Parts) - Grade 3 SKU: HL.4006900 Co...(+)
Score and Parts Concert
Band (Score & Parts) -
Grade 3
SKU:
HL.4006900
Composed
by Philip Sparke. Anglo
Music Concert Band.
Concert. Softcover.
Duration 290 seconds.
Anglo Music Press
#AMP474-010. Published by
Anglo Music Press
(HL.4006900).
UPC:
840126945539.
Hende
rson is a city in Clark
County, Nevada, just
southeast of Las Vegas
and surrounded by desert:
this was the inspiration
for the title. Desert
Dances opens with a
lively introduction,
mostly in 3/4, which
pervades the faster
sections of the piece.
This subsides to
introduce a slower dance
which expands to a
full-band climax. The
introduction soon returns
and leads to the main
theme of the piece, a
waltz-like melody played
by the full ensemble. A
short bridge passage
follows, which leads to a
legato central theme.
This is played twice and
heralds the return of the
main theme and a short
coda which closes the
work. An imaginative work
for concert or contest
with nice features
throughout all groups of
the band.
Chamber Music 2 Guitars SKU: PR.11440785S Composed by Jan Krzywicki. Scor...(+)
Chamber Music 2 Guitars
SKU: PR.11440785S
Composed by Jan
Krzywicki. Score. With
Standard notation. 8
pages. Duration 6
minutes. Theodore Presser
Company #114-40785S.
Published by Theodore
Presser Company
(PR.11440785S).
UPC:
680160012091.
The
composition of the work
began as a few
improvisational thoughts
on a short phrase from a
Beethoven piano sonata,
which eventually
developed into a
six-minute fantasia that
ultimately bears little
audible relation to the
original Beethoven
phrase. The work is in
four sections, of which
the first and last are
nocturnal, prelude, and
postlude respectively.
The main second section
grows from a simple
imitative idea to a
chordal climax that
subsides into a chorale
and soliloquy which is
elegiac in nature.
By Rob Romeyn. For young concert band. Sound Foundations Series. Grade 1. Score ...(+)
By Rob Romeyn. For young
concert band. Sound
Foundations Series. Grade
1. Score and set of
parts. Duration 2
minutes, 43 seconds.
Published by C.L.
Barnhouse
Composed
by Philip Sparke. Anglo
Music Concert Band.
Concert Piece. Score
Only. Composed 2013.
Anglo Music Press
#AMP358140. Published by
Anglo Music Press
(HL.44012271).
UPC:
888680057664.
English-German-French-Dut
ch.
Looking Up,
Moving On was
commissioned by the Tokyo
Kosei Wind Orchestra and
was part of a tour
programme they gave in
May 2012, a tour which
included many areas that
had been devastated by
the 2011 earthquake and
tsunami.The theme of the
piece is the powerful
ability of mankind to
overcome such disasters
and look forward to a
positive future; it opens
in an appropriately
optimistic mood,
featuring bright
orchestral colours and
extensive syncopation. A
chorale-like fanfare is
soon introduced on horns
and euphonium, answered
by chirpy woodwinds. The
mood subsides until an
alto saxophone introduces
a brief quotation from
the composer's The Sun
Will RiseAgain, which
was written to raise
funds for victims of the
2011 disaster. The mood
soon changes and the
horns introduce a noble
theme under woodwind
flourishes. This leads to
the main Vivo
section of the piece
which is characterised
again by strong
syncopations as part of a
florid theme in the low
woodwinds. This melody
undergoes varied
development by all
sections of the band
until the horn fanfare
returns triumphally on
the brass. This is
extended and leads to a
faster coda which brings
together previous
material in counterpoint
to close the work in
optimistic mood.
Looking Up,
Moving On is
gecomponeerd in opdracht
van het Tokyo Kosei Wind
Orchestra. Het werk
maakte deel uit van een
programma uit mei 2012,
dat werd uitgevoerd
tijdens een tournee
waarbij veel regio's
werden bezocht die waren
verwoest door de
aardbeving en tsunami van
2011.Het thema van het
werk is het buitengewone
vermogen van de mens om
dergelijke rampen te
boven te komen en vooruit
te kijken naar een
positieve toekomst. De
opening is dan ook
optimistisch van
karakter, met heldere
orkestrale kleuren en een
rijkelijke syncopering.
Al snel wordt er een
koraalachtige fanfare
geintroduceerd door de
hoorns en het euphonium,
waarop een levendig
antwoord volgt in
dehoutblazerssectie. De
sfeer wordt dan steeds
kalmer totdat een
altsaxofoon een kort
citaat laat horen uit een
eerder werk van de
componist, The Sun
Will Rise Again, dat
werd geschreven om geld
in te zamelen voor de
slachtoffers van de ramp
uit 2011. De stemming
slaat vlug weer om: de
hoorns introduceren een
nobel thema, dat
weerklinkt onder
versieringen in het hout.
Dit leidt naar het Vivo,
het hoofdgedeelte, dat
eveneens wordt gekenmerkt
door sterke
syncoperingen, als
onderdeel van een
sierlijk thema in het
lage hout. De melodie
ondergaat een gevarieerde
ontwikkeling binnen alle
secties van het orkest,
totdat de hoornfanfare op
triomfantelijke wijze
terugkeert in het koper.
De fanfare wordt
vervolgens verder
uitgewerkt en voert ons
mee naar een snellere
coda, die voorafgaand
materiaal in contrapunt
samenbrengt en de
compositie in
optimistische stemming
afsluit.
Looking Up,
Moving Down wurde vom
Tokyo Kosei Wind
Orchestra in Auftrag
gegeben und war Teil des
Konzertprogramms einer
Tour im Mai 2012, welche
viele Gebiete einschloss,
die vom Erdbeben und
Tsunami im Jahr 2011
zerstort worden waren.
Thema dieses Stuckes ist
die gewaltige Fahigkeit
der Menschheit, uber
solche Katastrophen
hinwegzukommen und voll
Optimismus in die Zukunft
zu blicken; es beginnt
dementsprechend in einer
positiven Stimmung mit
strahlenden
Orchesterfarben und einer
ausgepragten
Synkopierung. Schon bald
wird eine choralartige
Fanfare auf den Hornern
und im Euphonium
vorgestellt, die von
munteren Holzblasern
beantwortet wird. Die
Stimmung flaut ab, bis
einAltsaxophon ein kurzes
Zitat aus The Sun Will
Rise Again anspielt,
das der Komponist zur
Spendenbeschaffung fur
die Opfer des Unglucks
2011 geschrieben hatte.
Kurz darauf folgt ein
Stimmungswechsel und die
Horner prasentieren ein
stattliches Thema,
begleitet von Fanfaren in
den Holzblasern. Dies
fuhrt zum mit Vivo
uberschriebenen Hauptteil
des Stuckes, der wiederum
von starken
Synkopierungen gepragt
ist, die Teil eines
bluhenden Themas in den
tiefen Holzblasern sind.
Diese Melodie durchlauft
eine vielgestaltige
Entwicklung durch alle
Instrumentengruppen des
Blasorchesters, bis das
Blech mit der Hornfanfare
triumphal zuruckkehrt.
Dies wird erweitert und
fuhrt zu einer
schnelleren Coda, in dem
verschiedenes zuvor
gehortes Material
kontrapunktisch
zusammenkommt, um das
Werk in einer
optimistischen Stimmung
zu beenden.
Looking Up,
Moving On est une
commande du Tokyo Kosei
Wind Orchestra. Cette
piece faisait partie du
programme de la tournee
effectuee par l'orchestre
en mai 2012, qui s'est
produit dans de
nombreuses regions
devastees par le
tremblement de terre et
le tsunami de 2011.La
composition a pour theme
l'immense capacite
humaine a surmonter de
telles catastrophes et
envisager l'avenir de
facon positive. Elle
debute justement dans un
climat optimiste
comportant de vives
couleurs orchestrales et
des passages syncopes.
Les cors et les euphonium
introduisent bientot une
fanfare en forme de
choral a laquelle
repondent des bois
petillants. L'ambiance
s'apaise jusqu'a ce
qu'unsaxophone alto
introduise un court
extrait de The Sun
Will Rise Again, du
meme compositeur, une
piece ecrite pour
collecter des fonds en
faveur des victimes du
desastre de 2011. Le
climat change hativement
lorsque les cors
introduisent un theme
noble par-dessus des
fioritures executees par
les bois. Vient ensuite
la principale section
vivo de la piece, qui se
caracterise, encore une
fois, par des syncopes
tres marquees dans le
cadre d'un theme fleuri
assure dans le registre
grave des bois. Cette
melodie fait l'objet de
divers developpements par
tous les pupitres de
l'orchestre jusqu'au
retour triomphant de la
fanfare soutenue par les
cuivres. Celle-ci se
prolonge pour mener a une
coda plus rapide qui
rassemble les elements
precedents en contrepoint
pour clore la piece dans
un climat optimiste.
Prayer for Guidance Chorale SATB SATB, Clavier [Octavo] MorningStar Music Publishers
Composed by Kenneth Lowenberg. Catholic Year C Ordinary27; Year C Pentecost12; C...(+)
Composed by Kenneth
Lowenberg. Catholic Year
C Ordinary27; Year C
Pentecost12; Catholic
Year C Ordinary19; Year C
Pentecost18; Year C
Pentecost20; Year A
Proper 8 (13); Catholic
Year A Ordinary13.
Benediction/Sending,
Prayer, Trust/Guidance.
Octavo. Published by
MorningStar Music
Publishers (MN.50-6402).
Finlandia Orchestre [Conducteur et Parties séparées] - Débutant Alfred Publishing
By Jean Sibelius (1865-1957). Arranged by Richard Meyer. Orchestra. Full Orchest...(+)
By Jean Sibelius
(1865-1957). Arranged by
Richard Meyer. Orchestra.
Full Orchestra. First
Philharmonic. 20th
Century; Romantic. Grade
1. Conductor Score and
Parts. 102 pages
Concert band - Grade 3 SKU: CL.012-4108-01 Composed by Romeyn. Concert Ba...(+)
Concert band - Grade 3
SKU:
CL.012-4108-01
Composed by Romeyn.
Concert Band. Symphony
Band. Audio recording
available separately
(items CL.WFR375 &
CL.WFR387). Extra full
score. Composed 2012.
Duration 5 minutes, 58
seconds. Opus III Wind
Orchestra Publications
#012-4108-01. Published
by Opus III Wind
Orchestra Publications
(CL.012-4108-01).
Mt Everest has
attracted the most
adventurous of mountain
climbers for decades,
with many meeting their
fate in the attempt to
scale the world's highest
mountain. The legend of
the Yeti has tales of the
wild, hairy creatures
serving as protectors of
Everest and it's
villages. The music
begins boldly, depicting
the majestic sight of
this magnificent mountain
as our journey begins.
The music develops as our
journey progresses,
telling an eventful and
tumultuous tale reaching
a stunning climax as the
apex of the mountain is
reached. From here, the
work subsides as the
breathtaking vistas
unfold in the beautiful,
lyric sounds before
building to a stunning
conclusion of majesty and
grandeur. A truly
outstanding work,
Everest: The Forbidden
Journey is destined to
become a classic for
concert and festival use.
Don't miss this epic
musical adventure!
At Sunrise Orchestre d'harmonie - Intermédiaire Opus III Wind Orchestra Publications
Concert band - Grade 3 SKU: CL.012-4167-75 Composed by Romeyn. Concert Ba...(+)
Concert band - Grade 3
SKU:
CL.012-4167-75
Composed by Romeyn.
Concert Band. Concert
Band Series. Audio
recording available
separately (items
CL.WFR378 & CL.WFR387).
Oversized, spiral-bound
score. Composed 2013.
Duration 3 minutes, 35
seconds. Opus III Wind
Orchestra Publications
#012-4167-75. Published
by Opus III Wind
Orchestra Publications
(CL.012-4167-75).
Inspired by a
sunrise over the water in
the composer's home state
of Florida, At Sunrise
includes a beautiful and
memorable melody moving
amid changing textures
and harmonies, leading to
a magnificent full
ensemble. It begins
gently, with a
transparent quality to
portray the first signs
of light. Breathtaking
colors then unfold with
the rich, lyric sounds
presented here with
uncommon sensitivity,
leading to a dramatic
final climax. From here,
the work subsides, ending
as it began, leaving a
spell not soon forgotten.
Ideal for concert and
festival use, this is
lyric music of the
highest quality!
By Rob Romeyn. Concert band. Concert Band Series. Audio recording available sepa...(+)
By Rob Romeyn. Concert
band. Concert Band
Series. Audio recording
available separately
(item CL.WFR373). Grade
3. Score and set of
parts. Composed 2011.
Duration 3 minutes, 7
seconds. Published by
C.L. Barnhouse
Guitar SKU: FG.55011-710-5 Composed by Kalevi Aho. Score. Fennica Gehrman...(+)
Guitar
SKU:
FG.55011-710-5
Composed by Kalevi Aho.
Score. Fennica Gehrman
#55011-710-5. Published
by Fennica Gehrman
(FG.55011-710-5).
ISBN
9790550117105.
Kale
vi Aho's Concerto for
Guitar and Chamber
Orchestra (2018) is in
seven movements performed
without a break and each
using the guitar in a
different way. The fairly
slow introduction-like
movement is followed by a
virtuosic Allegro molto
in which the guitar is
also used like a
percussion instrument in
places as the soloist
taps out rhythms on the
soundboard. Motifs from
the Introduzione reappear
in the Interludio, and in
the lyrical, singing
Andante cantabile that
follows. In the
Misterioso movement the
guitarist plays only
flageolet notes. The
sixth movement, Presto,
is the other virtuoso one
in the concerto. The
Presto is the concerto's
dynamic climax. From then
onwards, the music
subsides to a slow
Epilogue, gradually
retreating into silence.
Duration: c. 30 minutes.
The full score is
available for sale (ISMN
9790550117099) and the
orchestral material is
available for hire from
the publisher. The
orchestration is
1111-1000-str(43321).
Concert band - Grade 3 SKU: CL.012-4108-75 Composed by Romeyn. Concert Ba...(+)
Concert band - Grade 3
SKU:
CL.012-4108-75
Composed by Romeyn.
Concert Band. Symphony
Band. Audio recording
available separately
(items CL.WFR375 &
CL.WFR387). Oversized,
spiral-bound score.
Composed 2012. Duration 5
minutes, 58 seconds. Opus
III Wind Orchestra
Publications
#012-4108-75. Published
by Opus III Wind
Orchestra Publications
(CL.012-4108-75).
Mt Everest has
attracted the most
adventurous of mountain
climbers for decades,
with many meeting their
fate in the attempt to
scale the world's highest
mountain. The legend of
the Yeti has tales of the
wild, hairy creatures
serving as protectors of
Everest and it's
villages. The music
begins boldly, depicting
the majestic sight of
this magnificent mountain
as our journey begins.
The music develops as our
journey progresses,
telling an eventful and
tumultuous tale reaching
a stunning climax as the
apex of the mountain is
reached. From here, the
work subsides as the
breathtaking vistas
unfold in the beautiful,
lyric sounds before
building to a stunning
conclusion of majesty and
grandeur. A truly
outstanding work,
Everest: The Forbidden
Journey is destined to
become a classic for
concert and festival use.
Don't miss this epic
musical adventure!
Concert band - Grade 2 SKU: CL.011-4460-01 Composed by Romeyn. Young Conc...(+)
Concert band - Grade 2
SKU:
CL.011-4460-01
Composed by Romeyn. Young
Concert Band. Command
Series. Audio recording
available separately
(item CL.WFR389). Extra
full score. Composed
2016. Duration 3 minutes,
11 seconds. C.L.
Barnhouse #011-4460-01.
Published by C.L.
Barnhouse
(CL.011-4460-01).
Lanterns In The
Sky is a concert/festival
work for young band
inspired by a hot air
balloon ride. The work
begins with an explosion
of energy and sound that
is sure to command
attention. The energy
subsides, and builds
again to a forceful
statement as we begin our
glorious flight. The
music then takes on a
soaring quality that
gives the effect of
floating on air. A
beautifully expressive
middle section invokes
imagery of the incredible
views and gentle breezes.
The opening theme then
returns bringing the
piece and our journey to
a forceful conclusion.
Contrasting styles and
changing textures provide
many teaching
opportunities, making
this suitable for
festival use.
Don’t miss this
outstanding addition to
the young band
repertoire!
About C.L.
Barnhouse Command
Series
The
Barnhouse Command Series
includes works at grade
levels 2, 2.5, and 3.
This series is designed
for middle school and
junior high school bands,
as well as high school
bands of smaller
instrumentation or
limited experience.
Command Series
publications have a
slightly larger
instrumentation than the
Rising Band Series, and
are typically of larger
scope, duration, and
musical content.
Composed by Dan Welcher.
With Standard notation.
Duration 15 minutes.
Theodore Presser Company
#164-00261S. Published by
Theodore Presser Company
(PR.16400261S).
UPC:
680160038411.
Since
the bassoon is my own
instrument, many people
have asked me why I've
written so little for the
instrument. Beyond my
early Concerto Da Camera
for bassoon and small
orchestra, written for
Leonard Sharrow in 1975,
I've not written a single
piece that features the
bassoon as a solo vehicle
(though I have written
three woodwind quintets).
When I first began
composing seriously,
critics were quick to
point out that my
orchestral writing
revealed nothing of my
roots as a woodwind
player--and bassoonists
asked why my pieces
didn't have more bassoon
solos. Perhaps I was so
aware that people were
looking at me as a
bassoonist/composer that
I was determined to
remove that stigma. Now
that my transformation
from performer to
composer is complete,
however, it's time to
re-address my instrument.
I wanted this new piece
to be serious rather than
whimsical. The Wind Won't
Listen represents my
return to the bassoon as
the highly expressive,
poetic soul that it is.
As such, it
shouldn't come as a
surprise that the piece
is based on a poem, and
that the title of the
piece as well as both its
movement titles come from
lines in that poem. I
first read Beth Gylys'
poem Split at the
MacDowell Colony in the
summer of 2001, and it
made a big impression on
me. My personal life had
been ruptured by divorce
in the preceding year.
This poem, with its dry
insistence on observation
rather than feeling,
expressed the wrung-out
state of my emotions at
the time better than any
I had seen. I set it to
music, as a song,
immediately. In this
format, for voice and
piano, I was able to put
a musical note to every
word of the poem. The
first lines of the poem,
Everyone I know is
crying, or should be
crying, became a melody
that haunted me even
without the words.
The work for bassoon and
string quartet is an
outgrowth of the song.
The first movement is
labeled Romanza, and has
a loose formal arch
structure of A-B-C-B-A,
with B and C being fast
sections framed by the
lamenting A music. In
addition to hearing the
bassoon's first notes
attached to the lines
Everyone I know is
crying, there's a sense
of agitation, of loss, of
longing, and at times of
desperation in the music.
At one point, the opening
theme from Tristan even
appears in the strings.
The second
movement follows, without
a real pause--the
pizzicato final chords of
the first movement
becoming the increasingly
aggressive opening chords
of the second. The
recitative is actually a
foreshadowing of the
basic theme that will be
varied, again to the
words of the song: Life
makes itself without us.
Don't let me tell you how
it is. Go out. Look. The
recitative begins in an
anguished state, but
subsides into more gentle
singing by the end, when
it simply falls into an
ostinato 5/8-3/4 pattern
to begin the variations.
Marked Very steady tempo;
Dancing, this set of
variations consists of
three dances, each faster
than the previous. The
first, in the
aforementioned 5/8-3/4
meter, gives way to a 3/8
scherzo, which in turn
takes on a furious 2/4
scurrying motion. The
music becomes breathless,
almost pulse-less, and an
ethereal theme appears in
the violins while the
rushing music continues,
sotto voce in the
bassoon. This new theme
is also from the song:
Why do I do this? The
wind won't listen. The
bassoon re-states its
Everyone I know is crying
melody from the first
movement, and at length
the 5/8-3/4 music
returns, more subdued
this time. The piece ends
on a major-minor chord,
suspended. The
Wind Won't Listen is
dedicated to the man who
commissioned it,
bassoonist Steven
Dibner--who shares my
passion for poetry and
language. --Dan
Welcher.
Shadowplay (full set) Orchestre d'harmonie [Conducteur et Parties séparées] Opus III Wind Orchestra Publications
Composed by Bob Buckley. Opus III Wind Orchestra series. Audio recording availab...(+)
Composed by Bob Buckley.
Opus III Wind Orchestra
series. Audio recording
available separately
(item CL.WFR375). Score
and set of parts.
Composed 2012. Duration 6
minutes, 12 seconds.
Published by Opus III
Wind Orchestra
Publications
Violin, piano SKU: FG.55011-615-3 Composed by Kalevi Aho. Solo part & pia...(+)
Violin, piano
SKU:
FG.55011-615-3
Composed by Kalevi Aho.
Solo part & piano
reduction. Fennica
Gehrman #55011-615-3.
Published by Fennica
Gehrman (FG.55011-615-3).
ISBN
9790550116153.
Kale
vi Aho (b. 1949) composed
Violin concerto No. 2 in
late summer and early
autumn 2015 for the
Finnish violinist Elina
Vahala. Lasting about 32
minutes, the second
concerto is a large-scale
virtuoso work dominated
by the soloist. The
strong-featured first
movement (Allegro) begins
with a fairly short
orchestral introduction
that is followed by the
soloist's first vigorous
statement. Around the
middle of the movement is
a cadenza, and the
movement ends with a
quick stretta. The
soloist dominates the
events in the slow second
movement (Adagio) even
more than it did in the
first. The Adagio begins
with the same opening
motif for the soloist as
the first movement, but
this time the motif is
more lyrical and singing.
Having built up to a
dramatic climax, it
subsides on flageolet
notes and finally sounds
that are somewhere
between musical notes and
noise. The third movement
(Vivace, leggiero) is by
nature dance-like again
and lighter than the
previous ones. At the
end, the tempo
accelerates to a wild,
virtuosic prestissimo.
Piano reduction (2020) by
Kari Vehmanen.
Kaboom! Orchestre d'harmonie - Facile C.L. Barnhouse
Young concert band - Grade 2 SKU: CL.011-4116-01 Composed by Romeyn. Youn...(+)
Young concert band -
Grade 2
SKU:
CL.011-4116-01
Composed by Romeyn. Young
Concert Band. Command
Series. Audio recording
available separately
(item CL.WFR376). Extra
full score. Composed
2012. Duration 3 minutes,
8 seconds. C.L. Barnhouse
#011-4116-01. Published
by C.L. Barnhouse
(CL.011-4116-01).
Kaboom! is an
aggressive work for young
band that is sure to
capture the incredible
energy and passion of
young musicians. It
begins with an explosion
of sound and power. The
tension then subsides
before building to a
thunderous climax of
driving rhythms and
contemporary, fresh
sounding harmonies.
Memorable melodic themes,
stark musical contrasts
and the dark, foreboding
middle section will make
this work a favorite for
concert and festival use.
This is the type of piece
your students will love
to rehearse, and it's
sure to be the hit of any
concert!
About C.L.
Barnhouse Command
Series
The
Barnhouse Command Series
includes works at grade
levels 2, 2.5, and 3.
This series is designed
for middle school and
junior high school bands,
as well as high school
bands of smaller
instrumentation or
limited experience.
Command Series
publications have a
slightly larger
instrumentation than the
Rising Band Series, and
are typically of larger
scope, duration, and
musical content.
Desert Dances Orchestre d'harmonie - Intermédiaire Anglo Music
Concert Band (Score) - Grade 3 SKU: HL.4007380 Composed by Philip Sparke....(+)
Concert Band (Score) -
Grade 3
SKU:
HL.4007380
Composed
by Philip Sparke. Anglo
Music Concert Band.
Concert. Softcover.
Duration 290 seconds.
Anglo Music Press
#AMP474-140. Published by
Anglo Music Press
(HL.4007380).
UPC:
196288019725.
Hende
rson is a city in Clark
County, Nevada, just
southeast of Las Vegas
and surrounded by desert:
this was the inspiration
for the title. Desert
Dances opens with a
lively introduction,
mostly in 3/4, which
pervades the faster
sections of the piece.
This subsides to
introduce a slower dance
which expands to a
full-band climax. The
introduction soon returns
and leads to the main
theme of the piece, a
waltz-like melody played
by the full ensemble. A
short bridge passage
follows, which leads to a
legato central theme.
This is played twice and
heralds the return of the
main theme and a short
coda which closes the
work. An imaginative work
for concert or contest
with nice features
throughout all groups of
the band.