Piano Solo - Easy-Intermediate SKU: FP.FBS03 Composed by Sarah Baker. She...(+)
Piano Solo -
Easy-Intermediate
SKU:
FP.FBS03
Composed by
Sarah Baker. Sheet Music
and Books. Nine pieces
on a day time theme
for solo piano, by Sarah
Baker. Suggested grade
4-5. Classical.
Collection. Forsyths
Publications #FBS03.
Published by Forsyths
Publications (FP.FBS03).
ISBN
9790570500192.
Sara
h Baker is Vocal Composer
in Residence at Education
Music Services, an ABRSM
examiner and a well known
composer of songs and
musicals for primary
schools and massed-choral
events.
All this
experience has come
together in the creation
of this album of piano
pieces, inspired by
growing up in the
Chiltern Hills. Suitable
for players of around
grade 4-5 standard, her
evocative sound pieces
describe a crash-landing
hot air balloon, garden
invading cows and a even
a snake in a
pond!
Air
Balloon!: One vivid
memory I have as a child
is of the day that a hot
air balloon passed over
our house and made an
emergency landing on the
road in front! The sound
of the gas being blown
into the balloon to try
to keep it high enough to
pass the house sounded so
loud and intimidating,
and then there was the
bustle of the neighbours
as we all went out into
the street to watch. It
was both terrifying and
exhilarating to watch the
balloon float past and
then land so near
by.
Buzzards
Circling: There is
something so calming and
restful about watching
birds of prey circling in
the thermal currents of a
summer sky. Growing up in
the Chilterns gave me
plenty of opportunity to
watch buzzards and red
kites. This piano solo
captures the beauty of
their flight as they
glide so effortlessly
through the
air.
There’
s A Cow In The Garden
Eating The Flowers:
Inspired by the memory of
seeing an unexpected cow
in the garden! This
surreal image is captured
in a quirky waltz, as I
portray both the
absurdity of the moment
and the sense of wonder I
felt as a child, looking
out of the window and
seeing the cow walking
round and eating the
flowers. The final phrase
articulates my longing:
‘I wish it would
come
again’.
Wat
ching The World Go By: A
short, reflective piece,
remembering what it was
like to have time to just
sit and watch the world
go by from my bedroom
window.
Autumn
Skies: A miniature about
the beauty of Autumn
skies and the poignant
sense of loss for a
summer gone. Friends I
was fortunate to have
several children of my
own age living close by.
We seemed to be forever
making dens, playing out
in the street and
generally enjoying each
other’s company.
This piece reflects that
sense of
well-being.
Snake
In The Pond: One hot
summer I was astonished
and scared to see a grass
snake cooling off in our
garden pond! I watched,
both horrified and
fascinated, as it rose up
from the depths and then
disappeared again. Here I
portray the sense of the
hazy summer afternoon as
I peacefully watched the
tiny movements of fish in
the pond, contrasted with
the fear and excitement
of seeing the snake
appear.
Morning
Commute: I recollect many
mornings stuck in traffic
as my Dad took me to
school on his way to
work. There is one main
road out of the village
where I grew up, and that
got more and more
congested the closer we
got to the town. We may
not have chatted a lot,
but it was always good to
be together with my Dad,
lost in our own
thoughts.
The
Witch’s Cottage:
My siblings and I had a
fascination with a small
cottage nearby. It was
set back from the road in
a dark part of the woods
and we called it 'the
witch's cottage’.
Every time we passed, I
imagined I heard the
distant cackle of the
witch and wished I could
catch a glimpse of
her.
These pieces
are written to complement
my other collection,
Night Time Impressions,
which also draw on
childhood recollections,
particularly of the woods
behind the house where I
grew up. - Sarah Baker
2023.
Ligne De Mélodie, Paroles et Accords [Fake Book] - Intermédiaire Sher Music Company
By Various. Almost 600 pages of world-famous Sher Music transcriptions! Don't go...(+)
By Various. Almost 600
pages of world-famous
Sher Music
transcriptions! Don't go
to the gig without it!.
Various. Fake Book.
Published by Sher Music
Company.
Chamber Music Piano SKU: PR.110418370 Composed by Charles Ives. Arranged ...(+)
Chamber Music Piano
SKU: PR.110418370
Composed by Charles Ives.
Arranged by Danny Holt.
Performance Score. 20
pages. Duration 8
minutes. Theodore Presser
Company #110-41837.
Published by Theodore
Presser Company
(PR.110418370).
ISBN
9781491135075. UPC:
680160686247.
Compo
sed as an organ solo by
the 17-year-old Ives for
his own performance
purposes, the beloved
Variations on America is
a treat for any occasion,
whether a holiday
concert, a serious
recital, or other special
event. Danny
Holt’s
transcription for Piano,
Four Hands adds a
dazzling new option to
play at home or on stage,
taking best advantage of
Ives’ tremendous
contrasts in color,
dynamics, and
texture. Composed when
Charles Ives was a
teenager, Variations on
“America†is
both a convenient
introduction to
Ives’ body of
work, and an early
example of his
iconoclastic musical
voice and creative
genius. Just a few years
after composing this
piece, Ives would leave
home to study music at
Yale. But until then he
had been taught by his
father, George (who had
been a bandmaster in the
Civil War). George
subjected the young Ives
to experiments such as
singing a song in one key
while being accompanied
in another, or arranging
for two marching bands to
converge on a town
center, with the
resulting cacophony that
ensued.The Variations
exemplifies an early
period of experimentation
in Ives’ work,
spurred on by the unusual
pedagogy of his father.
The piece is particularly
notable for its use of
bitonality in the two
interludes, subtly
foreshadowing more
well-known examples by
Stravinsky, Bartók,
and others by
approximately two
decades.The bitonal
interludes were so ahead
of their time, in fact,
they were omitted from
the first copy that was
submitted to a publisher
in 1892. (Alas, the piece
was rejected even despite
these
“shockingâ€
elements having been left
out, and it wasn’t
published until more than
five decades later.)
There is some ambiguity
about when exactly Ives
added the interludes into
his manuscript copy,
though ample evidence
suggests he had performed
the piece with the
interludes around the
time he notated the piece
in 1891-92. In any case,
in light of this piece
and his other polytonal
explorations from the
last decade of the 19th
century, it seems fair to
give Ives credit for
being a pioneer in this
area!This arrangement for
Piano, Four Hands,
closely follows
Ives’ original
version for organ,
setting aside William
Schuman’s popular
adaptation for symphony
orchestra and William
Rhoads’ band
transcription of the
Schuman orchestration.
Pianists will find that
the piece translates well
to the instrument.
Ideally, the choreography
and logistics of
elbow-to-elbow four-hands
playing approximates the
wild joy one gets from
watching an organist play
the piece (e.g., the
elaborate pedal part in
the final variation).In
preparing this
publication, attention
was paid to details in
the dual Critical
Editions (Presser
443-41003) of both
Ives’ manuscript
edition and the 1949
publication edited by
organist E. Power Biggs
(who is credited with
discovering what had been
a long-lost, forgotten
work.) But as with much
of Ives’ output,
attempting to create a
true
‘urtext’
score is a futile
endeavor, and especially
with a piece such as this
one – in which
Ives incorporated
improvisation in live
performance –
seems unnecessary anyhow.
True die-hards are of
course encouraged to
consult the critical
editions and even find
inspiration in the
orchestrated version.
Generally, performers are
advised to be wild, have
fun, and not to be too
rigid in their
interpretive
choices.Dynamics in this
arrangement mostly follow
the organ score closely.
Pianists will use good
judgment about pedaling
throughout, which should
be straightforward and
intuitive. Courtesy
accidentals have been
provided frequently
– without
parentheses –
balancing the need for
extra clarity in the
context of Ives’
murky musical language,
and a desire to avoid
unnecessary clutter.A few
notes that might inform
interpretive
decisions:mm. 15-16:
There are inconsistencies
here between Ives’
original manuscript and
the 1949 Biggs edition,
regarding the top voice
in m. 15, beat 3 (C# vs.
Cn) and m. 16 (D Major
vs. D Minor).mm. 76-84 &
143-146: In both
Interludes, Ives
emphatically notates
extreme dynamic contrast,
in order to highlight the
bitonality. Although it
may seem counterintuitive
(or even a misprint, as
has apparently been
misconstrued by some),
performers are urged to
follow the
composer’s
marking!m. 109: Two-note
slurs have been added
here for clarity and
consistency with other
similar passages, though
they do not appear in
either the original
manuscript or Biggs.m.
112: The last two eighth
notes of Primo appear as
16ths in the original
manuscript.mm. 183-186:
The original manuscript
has a slightly different
bass line.mm. 184 & 186:
Primo gestures have been
re-written to be slightly
more idiomatic for Piano,
Four Hands.m. 186: The
breath mark at the end of
this bar does not appear
in either the manuscript
or Biggs, but is an
editorial suggestion
– aside from being
appropriately dramatic,
it will indeed be
necessary in a
reverberant hall!I would
like to thank Steven
Vanhauwaert, the other
half of my piano duo,
4handsLA, for his input
on early drafts of this
arrangement.—
Danny Holt, April
2022.
Cassatt. Composed
by Dan Welcher. Premiere:
Cassatt Quartet,
Northeastern Illinois
University, Chicago, IL.
Contemporary. Full score.
With Standard notation.
Composed 2007. WRT11142.
52 pages. Duration 24
minutes. Theodore Presser
Company #164-00272S.
Published by Theodore
Presser Company
(PR.16400272S).
UPC:
680160588442. 8.5 x 11
inches.
My third
quartet is laid out in a
three-movement structure,
with each movement based
on an early, middle, and
late work of the great
American impressionist
painter Mary Cassatt.
Although the movements
are separate, with
full-stop endings, the
music is connected by a
common scale-form,
derived from the name
MARY CASSATT, and by a
recurring theme that
introduces all three
movements. I see this
theme as Mary's Theme, a
personality that stays
intact while undergoing
gradual change. I
The Bacchante (1876)
[Pennsylvania Academy of
Fine Arts, Philadelphia,
Pennsylvania] The
painting shows a young
girl of Italian or
Spanish origin, playing a
small pair of cymbals.
Since Cassatt was trying
very hard to fit in at
the French Academy at the
time, she painted a lot
of these subjects, which
were considered typical
and universal. The style
of the painting doesn't
yet show Cassatt's
originality, except
perhaps for certain
details in the face.
Accordingly the music for
this movement is
Spanish/Italian, in a
similar period-style but
using the musical
signature described
above. The music begins
with Mary's Theme,
ruminative and slow, then
abruptly changes to an
alla Spagnola-type fast
3/4 - 6/8 meter. It
evokes the
Spanish-influenced music
of Ravel and Falla.
Midway through,
there's an accompanied
recitative for the viola,
which figures large in
this particular movement,
then back to a truncated
recapitulation of the
fast music. The overall
feeling is of a
well-made, rather
conventional movement in
a contemporary
Spanish/Italian style.
Cassatt's painting, too,
is rather conventional.
II At the Opera
(1880) [Museum of Fine
Arts, Boston,
Massachusetts]
This painting is one of
Cassatt's most well known
works, and it hangs in
the Museum of Fine Arts
in Boston. The painting
shows a woman alone in a
box at the opera house,
completely dressed
(including gloves) and
looking through opera
glasses at someone or
something that is NOT on
the stage. Across the
auditorium from her, but
exactly at eye level, is
a gentleman with opera
glasses intently watching
her - though it is not
him that she's looking
at. It's an intriguing
picture. This
movement is far less
conventional than the
first movement, as the
painting is far less
conventional. The music
begins with a rapid,
Shostakovich-type
mini-overture lasting
less than a minute, based
on Mary's Theme. My
conjecture is that the
woman in the painting has
arrived late to the
opera, busily stumbling
into her box. What
happens next is a kind of
collage, a kind of
surrealistic overlaying
of two different
elements: the foreground
music, at first is a
direct quotation of
Soldier's Chorus from
Gounod's FAUST (an opera
Cassatt would certainly
have heard in the
brand-new Paris Opera
House at that time),
played by Violin II,
Viola, and Cello. This
music is played sul
ponticello in the melody
and col legno in the
marching accompaniment.
On top of this, the first
violin hovers at first on
a high harmonic, then
descends into a slow
melody, completely
separate from the Gounod.
It's as if the woman in
the painting is hearing
the opera onstage but is
not really interested in
it. Then the cello joins
the first violin in a
kind of love-duet (just
the two of them, at
first). This music isn't
at all Gounod-derived;
it's entirely from the
same scale patterns as
the first movement and
derives from Mary's Theme
and its scale. The music
stays in a kind of
dichotomy feeling,
usually
three-against-one, until
the end of the movement,
when another Gounod
melody, Valentin's aria
Avant de quitter ce lieux
reappears in a kind of
coda for all four
players. It ends
atmospherically and
emotionally disconnected,
however. The overall
feeling is a kind of
schizophrenic,
opera-inspired dream.
III Young Woman in
Green, Outdoors in the
Sun (1909) [Worcester Art
Museum, Massachusetts]
The painting, one
of Cassatt's last, is
very simple: just a
figure, looking sideways
out of the picture. The
colors are pastel and yet
bold - and the woman is
likewise very
self-assured and not in
the least demure. It is
eight minutes long, and
is all about melody -
three melodies, to be
exact (Young Woman,
Green, and Sunlight). No
angst, no choppy rhythms,
just ever-unfolding
melody and lush
harmonies. I quote one
other French composer
here, too: Debussy's song
Green, from Ariettes
Oubliees. 1909 would have
been Debussy's heyday in
Paris, and it makes
perfect sense musically
as well as visually to do
this. Mary Cassatt
lived her last several
years in near-total
blindness, and as she
lost visual acuity, her
work became less sharply
defined - something akin
to late water lilies of
Monet, who suffered
similar vision loss. My
idea of making this
movement entirely melodic
was compounded by having
each of the three
melodies appear twice,
once in a pure form, and
the second time in a more
diffuse setting. This
makes an interesting two
ways form:
A-B-C-A1-B1-C1.
String Quartet No.3
(Cassatt) is dedicated,
with great affection and
respect, to the Cassatt
String Quartet, whose
members have dedicated
themselves in large
measure to the furthering
of the contemporary
repertoire for
quartet.
Chamber Music String Quartet SKU: PR.164002720 Cassatt. Composed b...(+)
Chamber Music String
Quartet
SKU:
PR.164002720
Cassatt. Composed
by Dan Welcher. Spiral
and Saddle. Premiere:
Cassatt Quartet,
Northeastern Illinois
University, Chicago, IL.
Contemporary. Set of
Score and Parts. With
Standard notation.
Composed 2007. WRT11142.
52+16+16+16+16 pages.
Duration 24 minutes.
Theodore Presser Company
#164-00272. Published by
Theodore Presser Company
(PR.164002720).
UPC:
680160573042. 8.5 x 11
inches.
My third
quartet is laid out in a
three-movement structure,
with each movement based
on an early, middle, and
late work of the great
American impressionist
painter Mary Cassatt.
Although the movements
are separate, with
full-stop endings, the
music is connected by a
common scale-form,
derived from the name
MARY CASSATT, and by a
recurring theme that
introduces all three
movements. I see this
theme as Mary's Theme, a
personality that stays
intact while undergoing
gradual change. I
The Bacchante (1876)
[Pennsylvania Academy of
Fine Arts, Philadelphia,
Pennsylvania] The
painting shows a young
girl of Italian or
Spanish origin, playing a
small pair of cymbals.
Since Cassatt was trying
very hard to fit in at
the French Academy at the
time, she painted a lot
of these subjects, which
were considered typical
and universal. The style
of the painting doesn't
yet show Cassatt's
originality, except
perhaps for certain
details in the face.
Accordingly the music for
this movement is
Spanish/Italian, in a
similar period-style but
using the musical
signature described
above. The music begins
with Mary's Theme,
ruminative and slow, then
abruptly changes to an
alla Spagnola-type fast
3/4 - 6/8 meter. It
evokes the
Spanish-influenced music
of Ravel and Falla.
Midway through,
there's an accompanied
recitative for the viola,
which figures large in
this particular movement,
then back to a truncated
recapitulation of the
fast music. The overall
feeling is of a
well-made, rather
conventional movement in
a contemporary
Spanish/Italian style.
Cassatt's painting, too,
is rather conventional.
II At the Opera
(1880) [Museum of Fine
Arts, Boston,
Massachusetts]
This painting is one of
Cassatt's most well known
works, and it hangs in
the Museum of Fine Arts
in Boston. The painting
shows a woman alone in a
box at the opera house,
completely dressed
(including gloves) and
looking through opera
glasses at someone or
something that is NOT on
the stage. Across the
auditorium from her, but
exactly at eye level, is
a gentleman with opera
glasses intently watching
her - though it is not
him that she's looking
at. It's an intriguing
picture. This
movement is far less
conventional than the
first movement, as the
painting is far less
conventional. The music
begins with a rapid,
Shostakovich-type
mini-overture lasting
less than a minute, based
on Mary's Theme. My
conjecture is that the
woman in the painting has
arrived late to the
opera, busily stumbling
into her box. What
happens next is a kind of
collage, a kind of
surrealistic overlaying
of two different
elements: the foreground
music, at first is a
direct quotation of
Soldier's Chorus from
Gounod's FAUST (an opera
Cassatt would certainly
have heard in the
brand-new Paris Opera
House at that time),
played by Violin II,
Viola, and Cello. This
music is played sul
ponticello in the melody
and col legno in the
marching accompaniment.
On top of this, the first
violin hovers at first on
a high harmonic, then
descends into a slow
melody, completely
separate from the Gounod.
It's as if the woman in
the painting is hearing
the opera onstage but is
not really interested in
it. Then the cello joins
the first violin in a
kind of love-duet (just
the two of them, at
first). This music isn't
at all Gounod-derived;
it's entirely from the
same scale patterns as
the first movement and
derives from Mary's Theme
and its scale. The music
stays in a kind of
dichotomy feeling,
usually
three-against-one, until
the end of the movement,
when another Gounod
melody, Valentin's aria
Avant de quitter ce lieux
reappears in a kind of
coda for all four
players. It ends
atmospherically and
emotionally disconnected,
however. The overall
feeling is a kind of
schizophrenic,
opera-inspired dream.
III Young Woman in
Green, Outdoors in the
Sun (1909) [Worcester Art
Museum, Massachusetts]
The painting, one
of Cassatt's last, is
very simple: just a
figure, looking sideways
out of the picture. The
colors are pastel and yet
bold - and the woman is
likewise very
self-assured and not in
the least demure. It is
eight minutes long, and
is all about melody -
three melodies, to be
exact (Young Woman,
Green, and Sunlight). No
angst, no choppy rhythms,
just ever-unfolding
melody and lush
harmonies. I quote one
other French composer
here, too: Debussy's song
Green, from Ariettes
Oubliees. 1909 would have
been Debussy's heyday in
Paris, and it makes
perfect sense musically
as well as visually to do
this. Mary Cassatt
lived her last several
years in near-total
blindness, and as she
lost visual acuity, her
work became less sharply
defined - something akin
to late water lilies of
Monet, who suffered
similar vision loss. My
idea of making this
movement entirely melodic
was compounded by having
each of the three
melodies appear twice,
once in a pure form, and
the second time in a more
diffuse setting. This
makes an interesting two
ways form:
A-B-C-A1-B1-C1.
String Quartet No.3
(Cassatt) is dedicated,
with great affection and
respect, to the Cassatt
String Quartet, whose
members have dedicated
themselves in large
measure to the furthering
of the contemporary
repertoire for
quartet.
Band Concert Band - Grade 2 SKU: CF.YPS105 Warm-Ups and Fundamentals(+)
Band Concert Band - Grade
2
SKU: CF.YPS105
Warm-Ups and
Fundamentals.
Composed by Larry Clark.
Collate - FS SWS - spine:
3/4 or .75. Young
Performance Series. Set
of Score and Parts. With
Standard notation.
16+4+8+8+4+10+4+4+8+8+8+1
2+4+6+2+2+4+2+20 pages.
Duration 2 minutes, 53
seconds. Carl Fischer
Music #YPS105. Published
by Carl Fischer Music
(CF.YPS105).
ISBN
9780825884870. UPC:
798408084875. 9 x 12
inches. Key: Bb
major.
Based on our
popular New Bennett Band
Book series, we have
compiled march-style
warm-ups in a separate
publication so they may
be used by all bands
wishing to learn from
them. These innovative
warm-ups and fundamental
drills are the ultimate
method of teaching and
reinforcing the March
style. How To Use the
March Warm-upsPlaying in
a march style can present
difficulties for young
students. The most
prevalent problem is that
students have a tendency
to play every note too
short. Conversely,
accented notes are
usually played
incorrectly with too much
tongue. Do marches
contain short notes?
Absolutely, but these
shortest of notes should
be reserved for notes
that precede an accent or
notes that are
specifically marked with
a staccato. Think of
unmarked notes as being
separated, but not short
and certainly not clipped
or stopped with the
tongue. Accented notes
should be played with
more weight using air and
more length, and not just
a harder tongue. Accents
are given to show
emphasis to a note and
should be thought of in
this manner.The warm-up
exercises provided in
this collection should
give you many
opportunities to stress
the above-mentioned
comments on march
performance style. The
following gives an
explanation on the
purpose and use of each
of these exercises.No. 1
– Basic Chords and
ModulationsOne of the
challenges of playing
marches with young
students is successfully
performing the key change
at the Trio. This
exercise presents the
three basic chords
(tonic, subdominant and
dominant) in each of the
three keys in this
collection of marches.
You can also use this
exercise to teach and
reinforce the style of
accented notes. You may
want to have your band
play major scales in
succession by fourths to
reinforce the concept of
modulation to the
subdominant that occurs
at the Trio (i.e. the
B≤-major scale,
then the E≤-major
scale, then the
A≤-major scale). I
might suggest getting the
students to try
continuing the pattern
all the way around the
circle of fourths.No. 2
– March Style in
B≤ MajorThis
exercise contains many
opportunities to teach
and reinforce the
difference between
staccato and accented
notes. The melody voices
move up and down the
B≤-major scale,
while other instruments
play chords commonly
found in the marches in
this collection. These
include diminished
chords, secondary
dominant chords (i.e. the
V of the V) and other
common chromatic chords
that Fillmore often
used.No. 3 –
Cakewalk Rhythm in
B≤ MajorThe simple
syncopated rhythm in this
exercise is common to
many marches. This drill
gives you the opportunity
to teach/ reinforce the
standard ar-ticulation
and natural accent of
this rhythmic pattern.
Again, this exercise uses
an ascending and
descending major-scale
pattern as the melodic
basis, accompanied by
chords commonly found in
American- style
marches.No. 4 –
The March Scale in
B≤ MajorI call this
exercise “The March
Scale,†because
often in marches (and
especially in these
marches) the descending
half-step is part of the
melodic material. These
chromatic figures give
the melodies of many
marches their charm and
flow. Thus, I devised
this exercise and others
like it in E≤ major
and A≤ major to
familiarize students with
these patterns. I would
suggest playing the
pattern in a variety of
ways different from what
is written. Here are some
other
possibilities:•
Tongue one, slur
three• Slur two,
tongue two• Tongue
two, slur two•
Tongue one, slur two,
tongue oneGradually
increase the tempo to the
march tempo and the
articulation style will
fall right into
place.Another important
consideration is the
performance of the bass
line and the bass-drum
part. Too often, the bass
drum and bass instruments
play their parts with
equal emphasis on both
beats in the measure.
This is incorrect, and
frequently makes the
marchNo. 5 – March
Style in E≤
MajorThis is a similar to
exercise No. 2, but with
a different rhythmic
pattern. Emphasize the
difference between
accented and unaccented
notes. Also, play the
exercise with line
direction moving the
musical line forward.
Experiment and play the
exercise with different
dynamic choices and with
hairpins up and down in
different ways.No. 6
– More March Style
in E≤ MajorExercise
No. 6 comprises more
rhythmic patterns and
harmonic materials in
E≤ major to teach
and reinforce the march
style. This exercise
em-phasizes the
sixteenth-note rhythm, as
notated in the third
measure of the exercise.
Young stu- dents have a
tendency to
“crush†the
sixteenths; consequently,
they lack clarity. It
would be a good idea to
work this rhythmic figure
on a scale pattern with
all of the instruments in
the band as an additional
warm-up exercise.No. 7
– The March Scale
in E≤ MajorSee the
information for No. 4 and
apply it to this
exercise. Use all of the
various articulations
described above as
well.No. 8 – March
Style in A≤
MajorSee the information
for No. 2 and apply it to
this exercise.No. 9
– Cakewalk Rhythm
in A≤ MajorSee the
information for No. 3 and
apply it to this
exercise.No. 10 –
The March Scale in
A≤ MajorSee the
information for No. 4 and
apply it to this
exercise.Other Ideas for
March PerformanceA
rehearsal practice that
has worked very well for
me is to start out by
having the band play the
march very slowly at
about Å’ = 60 in a
chorale/legato style. The
slow tempo is a fine
opportunity to work on
clarity of harmonic move-
ment and to work on the
balance and blend of the
tutti band sound. This
will pay great dividends
toward improving the
sound of your band.
Gradually increase the
tempo to the march tempo
and the articulation
style will fall right
into place.Another
important consideration
is the performance of the
bass line and the
bass-drum part. Too
often, the bass drum and
bass instruments play
their parts with equal
emphasis on both beats in
the measure. This is
incorrect, and frequently
makes the march.
Guitar - Intermediate SKU: MB.WBM75M Saddle-stitched. Folk. Book and onli...(+)
Guitar - Intermediate
SKU: MB.WBM75M
Saddle-stitched. Folk.
Book and online audio.
Mel Bay Publications, Inc
#WBM75M. Published by Mel
Bay Publications, Inc
(MB.WBM75M).
ISBN
9781737795353. 8.75X11.75
inches.
This is a
collection of 86 guitar
solos in notation only
from William Bayâ??s
books, Solo Guitar in
Worship,
Communion,
Psalms,
Timeless Gospel
Melodies and
Spirituals. The
solos work well as
preludes, offertories,
communion hymns,
recessionals or they can
be played for
enjoyment. All 86
solos have been recorded
and are available as
online downloads with
this book.
Lyrics/Chords Ukulele SKU: HL.232108 By The Beatles. Ukulele. Pop. Softco...(+)
Lyrics/Chords Ukulele
SKU: HL.232108
By
The Beatles. Ukulele.
Pop. Softcover. Composed
2014. 384 pages. Hal
Leonard #NO91894.
Published by Hal Leonard
(HL.232108).
ISBN
9781783052738. UPC:
888680677329.
4.5x7.5x0.899
inches.
Complete
lyrics and chords to 195
Beatles songs, including:
Across the Universe
• All My Loving
• All You Need Is
Love • And I Love
Her • Back in the
U.S.S.R. • The
Ballad of John and Yoko
• Birthday •
Blackbird • A Day
in the Life • Day
Tripper • Dear
Prudence • Drive My
Car • Eight Days a
Week • Eleanor
Rigby • Good Day
Sunshine • Got to
Get You into My Life
• A Hard Day's
Night • Help!
• Helter Skelter
• Here Comes the
Sun • Hey Jude
• I Saw Her
Standing There • I
Want to Hold Your Hand
• In My Life
• Let It Be •
The Long and Winding Road
• Lucy in the Sky
with Diamonds •
Penny Lane •
Revolution •
Something • Ticket
to Ride • Twist and
Shout • When I'm
Sixty-Four • While
My Guitar Gently Weeps
• Yellow Submarine
• Yesterday •
and more. 4-1/2 inches x
7-1/2 inches.
Lyrics/Chords Guitar SKU: HL.242081 By The Beatles. The Little Black Song...(+)
Lyrics/Chords Guitar
SKU: HL.242081
By
The Beatles. The Little
Black Songbook. Pop. 384
pages. Hal Leonard
#HL00242081. Published by
Hal Leonard (HL.242081).
ISBN 9781785588617.
UPC: 888680704407.
4.75x7.75x0.956
inches.
A
pocket-sized collection
of 195 Beatles hits
presented in chord
songbook format. Includes
complete lyrics, chord
names & a handy chord
box reference sheet.
Including classic hits
such as: All You Need Is
Love • Can't Buy Me
Love • Day Tripper
• Do You Want to
Know a Secret •
Eleanor Rigby •
From Me to You •
Get Back • Help!
• Hey Jude •
I Want to Hold Your Hand
• Let It Be •
Magical Mystery Tour
• Ob-La-Di Ob-La-Da
• Please Please Me
• Ticket to Ride
• Twist and Shout
• and more.
Dan Welcher’s most enduringly and frequently played orchestral work, Prai...(+)
Dan Welcher’s most
enduringly and frequently
played orchestral work,
Prairie Light is a
fascinating musical
companion to three of
Georgia
O’Keeffe’s
most unusual paintings,
Light Coming on the
Plains, Canyon with
Crows, and Starlight
Night. This work is ideal
for performances using
visual projections of the
paintings, and is
frequently programmed for
subscription concerts as
well as those for
educational settings.
Duration: 14’
Parts available on
rental. This work for
full orchestra was
inspired by three
paintings of the noted
Americanartist Georgia
O’Keeffe. These
three watercolors were
done in 1917 while the
artist was living in
Canyon, Texas (near
Amarillo), and deal
primarily with color and
shape. Consequently, the
music is primarily
concerned with broad
lines and shapes rather
than rhythms, with subtle
washes of color rather
than constant harmonic
movement, and with
arching melody instead of
linear counterpoint.The
first movement, Light
Coming on the Plains, is
an elliptical-shaped
painting, deep blue to
indigo with a
“horizon†at
the bottom that seems
flat and unchanging. The
sun hasn’t risen
yet, although it does in
the course of this
movement, but it seems
instead to be providing
light from behind the
canvas. The music is
unmoving in terms of
rhythm or harmony
(although there is a
modulation midway
through), a color-infused
mantra of sound that is
almost Eastern.At the
height of the sun, we
proceed to the second
movement, entitled Canyon
with Crows. The canyon is
red-orange, with black
crows circling above
friendly unfolding hills.
The music is gentle but
lively and more rhythmic,
with the birds
represented by solo oboe,
clarinet, and sometimes
flute. Halfway through,
the brass have a chorale
version of the opening
motive, played very
slowly, over the unending
triplets of woodwinds and
strings. At the end of
the movement, the
birds return for a
duo-cadenza, accompanied
by the dying rays of the
sun in muted strings and
the ongoing triplets of
the solo quartet.The
stage is set for the
final movement, Starlight
Night. In
O’Keeffe’s
painting, the stars are
represented by
regularly-spaced
rectangles of bright pale
yellow on a blue-black
sky, with the same shape
to the field of vision
and the horizon that is
found in Light Coming on
the Plains. The stars
become audible: harp,
celesta, glockenspiel,
and string pizzicati all
lend a sparkle while a
solo flute introduces a
slowly unfolding theme.
After this theme has been
heard twice and the sky
has begun to really
brighten, there is a
sudden interruption: a
xylophone and a piano
begin another
“mantra†in
brittle staccato chords.
This is the same
mechanical eternity as
O’Keeffe’s
regularly-spaced square
stars, and it continues
on its own as the night
progresses. The music
builds and grows as the
moon rises and arcs, then
falls as the pre-dawn
light that opened the
work returns to bring it
to a close. Acycle of
light, changing with the
movements of sun, moon,
and stars, appearing
differently from various
points of view
For
Chamber Orchestra.
Composed by James
Matheson. This edition:
Version 6/10/10. Sws.
Contemporary. Full score.
With Standard notation.
Composed February 13
2003. 84 pages. Duration
18 minutes. Theodore
Presser Company
#416-41423. Published by
Theodore Presser Company
(PR.416414230).
ISBN
9781598066630. UPC:
680160602087. 9x12
inches.
Colonnade
is James
Matheson’s
intriguing response to
the Albany
Symphony’s
commission to create a
work inspired by the NY
State Board of Education
Building, designed by the
renowned architect Rafael
Guastavino. Matheson
explains that “A
colonnade acts as a
metaphor for the tension
between knowledge and
perception. The columns
are the same height and
equidistant from each
other; while the mind
understands this fully,
there exists no place
from which one can
perceive this –
the columns always appear
to be of uneven height
and spacing. If one then
adds motion to
perspective, identical
columns acquire
elasticity, and begin to
change kaleidoscopically
– they shrink,
grow, become closer, and
then further
apart.†This
structural paradox is
given musical life in the
outer sections of
Colonnade, while the
long, arching middle
section is inspired by
the vaulted ceiling of
one of the
building’s largest
rooms, enhancing the
structure’s
spacious openness and
lightness. Colonnade
is inspired by
Albany’s majestic
New York State Board of
Education Building, and
written on a commission
from the Albany Symphony
Orchestra. It was an
intriguing task, in part
because in order to
accept the commission I
had to agree to write a
work “inspired
by†a building I
had not yet seen.
Thisproblem was
compounded by the fact
that, for me, the very
notion of extra-musical
inspiration is a complex
one, particularly with
respect to literary or
visual sources. I
generally find ideas and
abstracted notions more
generative of musical
ideas than specific ones
(a poem, an experience, a
painting). So when I went
to seeand tour the
building, I sought to
identify fundamental
formal aspects of the
building which I could
process into musical
ideas, and would then be
linked to the building
through a sense of formal
relationship. In theend,
two characteristics of
the building stood out as
noteworthy and
undiminished by time
(compared with, for
instance, the
building’s
rotunda, which contains a
series of quaintly
outdated allegorical
paintings): theexterior
colonnade and a beautiful
interior vaulted ceiling,
designed by Rafael
Guastavino.For me, a
colonnade acts as a
metaphor for the tension
between knowledge and
perception. We all know,
for instance, that the
columns are of the same
height and are
equidistant from each
other. Nevertheless,
while the mind
understands this fully,
it is also the case that
there exists no place
– no standpoint or
viewpoint –
anywhere in the universe
– from which one
can perceive this; the
columns always appear to
be of uneven height and
spacing. If one then adds
motion to perspective
– a walk along the
colonnade, for instance
– the fixed, even,
rigidly identical columns
acquire elasticity, and
begin to change
kaleidoscopically
– they shrink,
grow, become closer, and
then further apart.
Further, the detail of
the building’s
façade behind the
colonnadeshifts into and
out of visibility, with
different portions
obscured by the columns
from each vantage point.
These considerations
underlie the outer
sections of Colonnade, in
which a continuously
repeated, continuously
varied rising figure
– suggestive of a
column –
dominates. The iterations
of this elastic,
evolvingfigure are
interspersed with other
music – suggestive
of the building’s
façade. The second
feature of the building
that caught my attention
was the vaulted ceiling,
designed by Guastavino,of
one of the
building’s largest
rooms. The ceiling
enhances the spaciousness
of the room, giving it an
openness and lightness
that is quite
captivating. The middle
section of Colonnade has
this openness at its
core, and is dominated by
long, arching lines that,
to me, suggest the
refined beauty of this
ceiling.World premiere
March 8, 2003; Albany
Symphony Orchestra
conducted by David Alan
Miller.
Chamber Music Cello, Piano, Violin SKU: PR.114423360 Composed by Stacy Ga...(+)
Chamber Music Cello,
Piano, Violin
SKU:
PR.114423360
Composed
by Stacy Garrop. Set of
Score and Parts. 24+12+12
pages. Duration 8:30.
Theodore Presser Company
#114-42336. Published by
Theodore Presser Company
(PR.114423360).
UPC:
680160686285.
When
the Newport Music
Festival commissioned me
for a piano trio in honor
of their 2021 season, I
looked for a topic that
would celebrate an aspect
of the Newport community.
While researching the
area, I was struck by the
nine lighthouses situated
around the island. The
dual nature of
lighthouses was
particularly appealing to
me: not only do they
serve a vital role in the
navigation of ships
around rocks and land,
but they are also a
beautiful sight,
particularly at night
when their blinking
beacons are clearly
visible to the eye. It
occurred to me that
lighthouses link the past
with the present, and
will endure long into the
future, with their
beacons serving the same
purpose for every
generation.I became
fascinated with the
lighthouse on the
property of Castle Hill
Inn, located at the
opening of the East
Passage of the
Narragansett Bay. This
squat thirty-four foot
granite structure was
erected in 1890 on a very
picturesque spot, right
at the water’s
edge. Its
“characteristic,â
the nautical term
for each
lighthouse’s
unique light sequence
that allows ships to
identify the lighthouse,
is to alternate on for
three seconds, then off
for three seconds. The
lighthouse has also
served as the starting
and finish line for
numerous high profile
yacht races, as well as
survived a massive
hurricane in 1938, though
the lighthouse
keeper’s nearby
residence wasn’t
so lucky. American
novelist Thornton Wilder
wrote much of his 1973
novel Theophilus North
while staying at the
Castle Hill Inn; a
passage from the book
perfectly captures the
dual nature of
lighthouses:“At a
later visit I was able to
engage the pentagonal
room in a turret above
the house; from that
magical room I could see
at night the beacons of
six lighthouses and hear
the booming and chiming
of as many sea
buoys.â€In Beacon of
the Bay, we first hear
the lighthouse’s
characteristic as its
ruby light blinks on and
off. This is followed by
a simple theme that
represents the lighthouse
performing its solitary
duty. As the piece
progresses, we hear waves
playfully lapping around
its base, then yachts
gracefully floating by;
this is followed by a
violent storm that churns
the waves with so much
force that they crash
against the
lighthouse’s
granite body. But the
steadfast lighthouse
holds firm to the rocks,
grandly blinking its ruby
light. The music quiets
back down to its simple
theme, with yachts
sailing by once more as
the piece concludes.
Chamber Music Guitar SKU: PR.114410840 A Sleepless Nocturne for Guitar...(+)
Chamber Music Guitar
SKU: PR.114410840
A Sleepless Nocturne
for Guitar. Composed
by Michael Karmon. Solo
part. With Standard
notation. Composed 1998.
Duration 15 minutes.
Theodore Presser Company
#114-41084. Published by
Theodore Presser Company
(PR.114410840).
UPC:
680160015689.
See
the biography of Michael
Karmon on the back
cover. WHEN THE SHEEP
WON'T COME:Â A
SLEEPLESS NOCTURNE FOR
GUITAR was composed for
Joseph Hagedorn, winner
of the 1990 GFA solo
competition, and
premiered by him in
November 1999. My
original idea was to
write a serene and moody
nocturne in several
movements. However,
as I began researching
and listening to new
guitar pieces, I came
across Toru Takemitsu's
All in Twilight, and it
immediately made a
profound impression.Â
At the time I found it
beautiful, moving, and
inspiring, but I also
felt I didn't have
anything to add to what
Takemitsu already did,
and that I needed to find
a new concept for my
piece. So, I decided
to view night as a
potentially restless
time, rather than a
serene time, and portray
states of mind one might
go through during a
sleepless night. The
names of the movements
evoke, at least in my
mind, the moods I am to
depict, and the piece
becomes progressively
more convoluted as it
goes on. By the end,
the music is a surreal
and weary shadow of the
opening.
SKU: WD.080689573231 Composed by David Wise. Choral. Sacred Anthem. Octav...(+)
SKU:
WD.080689573231
Composed by David Wise.
Choral. Sacred Anthem.
Octavo. Word Music
#080689573231. Published
by Word Music
(WD.080689573231).
UPC:
080689573231.
Close your eyes
and feel the peaceful
presence of the Holy
Spirit come over you and
your congregation with
The More I
Seek You,
from the collection
Timeless
, as tender piano and
quiet strings place you
at the feet of the
Father.
Written by Mark Levine. Instructional book (spiral bound). With instructional te...(+)
Written by Mark Levine.
Instructional book
(spiral bound). With
instructional text,
musical examples and
black and white photos.
522 pages. Published by
Sher Music Company.