Sing of the Spring Chorale 2 parties 2 parties, Piano [Octavo] Alfred Publishing
(A Partner Song with Thomas Morley's madrigal Now Is the Month of Maying ). Arr...(+)
(A Partner Song with
Thomas Morley's madrigal
Now Is the Month of
Maying ). Arranged by
with new words and music
by Sally K. Albrecht and
Jay Althouse. Choir
Secular. 2-Part Choir.
Choral Octavo. Choral
Designs. Spring. Choral
Octavo. 12 pages.
Published by Alfred Music
Publishing
Choral (SSA Choir) SKU: HL.125418 Composed by Audrey Snyder and John Jaco...(+)
Choral (SSA Choir)
SKU: HL.125418
Composed by Audrey Snyder
and John Jacobson.
Festival Choral. Concert,
Female Voices, Festival,
Winter, Young Choir,
Young Voices. Octavo. 12
pages. Published by Hal
Leonard (HL.125418).
UPC: 884088990206.
6.75x10.5 inches. John
Jacobson/Audrey
Snyder.
Treble
choirs in middle school
and children's choirs
will develop important
choral skills with this
charming original work
that imagines the light,
warmth and color of
spring within winter's
cold and dark embrace.
Lyrical and expressive,
this is a perfect
selection for contest or
festival!
Ligne De Mélodie, Paroles et Accords [Partition] - Intermédiaire Alfred Publishing
(Guitar/Vocal/Chords). By Bruce Springsteen. For guitar and voice. This edition:...(+)
(Guitar/Vocal/Chords). By
Bruce Springsteen. For
guitar and voice. This
edition:
Guitar/Vocal/Chords.
Guitar:
Guitar/Vocal/Chords. Rock
and Classic Rock.
Difficulty: medium.
Guitar/vocal songbook.
Standard notation, vocal
melody, lyrics, chord
names, guitar chord
diagrams, strum patterns
and color photos. 235
pages. Published by
Alfred Music Publishing
Whispers of Spring Orchestre à Cordes [Conducteur et Parties séparées] - Facile Excelcia Music Publishing
String Orchestra - early intermediate SKU: XC.ISO2103 Composed by Sean O'...(+)
String Orchestra - early
intermediate
SKU:
XC.ISO2103
Composed
by Sean O'Loughlin.
Excelcia Music Publishing
String Orchestra. Concert
and Contest. Concert &
Contest. Score and set of
parts. Excelcia Music
Publishing #ISO2103.
Published by Excelcia
Music Publishing
(XC.ISO2103).
UPC:
812598037579. 9 x 12
inches.
Whispers of
Spring highlights
composer Sean
O'Loughlin’s love
of French impressionistic
music from composers like
Ravel, Debussy and Satie.
Like those composers of
old, Sean has created a
wonderfully lyrical work
with lots of colorful
sound.
Whispers of Spring Orchestre à Cordes [Conducteur] - Facile Excelcia Music Publishing
String Orchestra - early intermediate SKU: XC.ISO2103FS Composed by Sean ...(+)
String Orchestra - early
intermediate
SKU:
XC.ISO2103FS
Composed
by Sean O'Loughlin.
Excelcia Music Publishing
String Orchestra. Concert
and Contest. Concert &
Contest. Score. Excelcia
Music Publishing
#ISO2103FS. Published by
Excelcia Music Publishing
(XC.ISO2103FS).
UPC:
812598037272. 9 x 12
inches.
Whispers of
Spring highlights
composer Sean
O'Loughlin’s love
of French impressionistic
music from composers like
Ravel, Debussy and Satie.
Like those composers of
old, Sean has created a
wonderfully lyrical work
with lots of colorful
sound.
Composed
by Chen Yi. Full score.
58 pages. Duration 20
minutes. Theodore Presser
Company #116-41963S.
Published by Theodore
Presser Company
(PR.11641963S).
UPC:
680160684472.
The
violin concerto is
commissioned by Friends
of Dresden Music
Foundation for American
soloist Mira Wang and the
New York Philharmonic and
Staatskapelle Dresden as
an American commemoration
of the reconstruction of
the Dresden Frauenkirche,
60 years after its
destruction in World War
II by American and
British Forces. The world
premiere is given at the
Semperoper in Dresden,
Germany, on October 9, 10
& 11, 2005, conducted
by Ivan Fischer. Full of
excitement and inner
power, the musical image
is vivid, energetic,
sometimes lyrical and
sometimes dramatic. The
major angular thematic
material (a three note
motive) consists of big
leaps in interval (a
perfect fourth downward
and then a minor seventh
upward, first introduced
by the violin solo in
measures 27-29). Except
for the cadenzas which
stand at the middle
(Rehearsal E, measure
127) and the two ends of
the piece as a frame, the
virtuosic violin solo
line is always
accompanied by the ever
moving and growing
textures in the
background. The rests
between long and short
phrases symbolize the
space in Chinese
paintings. The Beijing
Opera reciting tune, and
the fingerings to produce
sliding tones in the
performance of the
Chinese fiddle erhu are
also borrowed in the
writing and the
performing of the western
instruments. The musical
imagination of the violin
concerto came from an
ancient Chinese poem with
the same title, written
by Du Fu (712-770) in
Tang Dynasty. Happy Rain
on a Spring Night by Du
Fu (712-770 in Tang
Dynasty) Happy rain comes
in time, When spring is
in its prime. With night
breeze it will fall, And
quietly moisten all.
Clouds darken wild roads,
Light brightens a little
boat. Saturated at dawn,
With flowers blooming the
town. (English
translation by Chen Yi
from the original poem in
Chinese) The following is
the poem in its original
Chinese form, and the
detailed introduction on
the structural plan of
the violin concerto
Spring in Dresden. It's
like the welcome rain on
a quiet spring night that
nurtures the budding
seeds, our new society is
pushing us forward to the
new future. The music
reflects the scenes and
the expression according
to the meaning of the
poem when it's being
unfolded line by line.
Although the tempo is set
63 quarter notes per
minute throughout (played
vividly, never slow
down), the tension is
being built up from the
quiet background in the
beginning, to the
sustained climax towards
the end. The musical
image in Rehearsal A and
B (measures 39-80)
represents the first four
lines of the poem. The
wind instruments response
to the rustling of fast
moving notes on muted
string triplets,
decorated by occasional
strokes produced by
metallic string sound and
high woodwind gestures.
The music in Rehearsal C
and D (measures 81-126)
represents the next two
lines of the poem. It's
so dark, a little light
in the boat is shimmering
on the lake... The
breathy sound and key
slaps on the flutes
create a mysterious
atmosphere, in a dialogue
with other instruments.
The cello glissandi
recite the poem in the
tone of Mandarin, echoed
by the string harmonics.
The music in Rehearsal F,
G and H (m 129-202) is a
toccata, starting in the
orchestra (led by the
marimba), which builds up
a big shape, to reach the
climax in m. 157
(Rehearsal G, the
location of the Golden
Section, according to the
length of the music
without cadenzas), and
keeps the vivid scene
towards the coda (from
Rehearsal I, m. 203),
which stands on the
energetic peak until the
clear cutoff on measure
239, followed by the
short, yet powerful solo
conclusion with the
lingering echo produced
by the high string
harmonics. On the top,
there is a recall of the
three note motive in the
sound of wonderland,
touched by the motor-on
vibraphone meaningfully.
The music is written for
2 flutes, 2 oboes, 2
clarinets (in Bb), 2
bassoons, 4 French horns
(in F), 2 trumpets (in
Bb), 3 trombones, tuba,
harp, 3 percussion
players (Perc. 1:
xylophone; Perc. 2:
suspended cymbal,
Japanese high woodblock,
snare drum, bass drum and
vibraphone; Perc. 3:
marimba and tam-tam),
solo violin, and strings.
Duration is about 20
minutes. The violin
concerto is commissioned
by Friends of Dresden
Music Foundation for
American soloist Mira
Wang and the New York
Philharmonic and
Staatskapelle Dresden as
an American commemoration
of the reconstruction of
the Dresden Frauenkirche,
60 years after its
destruction in World War
II by American and
British Forces. The world
premiere is given at the
Semperoper in Dresden,
Germany, on October 9, 10
& 11, 2005, conducted by
Ivan Fischer.Full of
excitement and inner
power, the musical image
is vivid, energetic,
sometimeslyrical and
sometimes dramatic. The
major angular thematic
material (a three
notemotive) consists of
big leaps in interval (a
perfect fourth downward
and then a minorseventh
upward, first introduced
by the violin solo in
measures 27-29). Except
for thecadenzas which
stand at the middle
(Rehearsal E, measure
127) and the two ends of
the piece as a frame, the
virtuosic violin solo
line is always
accompanied by the ever
moving and growing
textures in the
background. The rests
between long and short
phrases symbolize the
space in Chinese
paintings. The Beijing
Opera reciting tune, and
the fingerings to produce
sliding tones in the
performance of the
Chinese fiddle erhu are
also borrowed in the
writing and the
performing of the western
instruments.The musical
imagination of the violin
concerto came from an
ancient Chinese poem with
the same title, written
by Du Fu (712-770) in
Tang Dynasty.Happy Rain
on a Spring Nightby Du Fu
(712-770 in Tang
Dynasty)Happy rain comes
in time,When spring is in
its prime.With night
breeze it will fall,And
quietly moisten
all.Clouds darken wild
roads,Light brightens a
little boat.Saturated at
dawn,With flowers
blooming the
town.(English translation
by Chen Yi from the
original poem in
Chinese)The following is
the poem in its original
Chinese form, and the
detailed introduction
onthe structural plan of
the violin concerto
Spring in
Dresden.It’s like
the welcome rain on a
quiet spring night that
nurtures the budding
seeds, our newsociety is
pushing us forward to the
new future. The music
reflects the scenes and
theexpression according
to the meaning of the
poem when it’s
being unfolded line by
line.Although the tempo
is set 63 quarter notes
per minute throughout
(played vividly,
neverslow down), the
tension is being built up
from the quiet background
in the beginning, tothe
sustained climax towards
the end. The musical
image in Rehearsal A and
B (measures39-80)
represents the first four
lines of the poem. The
wind instruments response
to therustling of fast
moving notes on muted
string triplets,
decorated by occasional
strokesproduced by
metallic string sound and
high woodwind gestures.
The music in RehearsalC
and D (measures 81-126)
represents the next two
lines of the poem. It's
so dark, a littlelight in
the boat is shimmering on
the lake... The breathy
sound and key slaps on
theflutes create a
mysterious atmosphere, in
a dialogue with other
instruments. The
celloglissandi recite the
poem in the tone of
Mandarin, echoed by the
string harmonics.
Themusic in Rehearsal F,
G and H (m 129-202) is a
toccata, starting in the
orchestra (led bythe
marimba), which builds up
a big shape, to reach the
climax in m. 157
(Rehearsal G,the location
of the Golden Section,
according to the length
of the music
withoutcadenzas), and
keeps the vivid scene
towards the coda (from
Rehearsal I, m. 203),
whichstands on the
energetic peak until the
clear cutoff on measure
239, followed by the
short,yet powerful solo
conclusion with the
lingering echo produced
by the high
stringharmonics. On the
top, there is a recall of
the three note motive in
the sound ofwonderland,
touched by the motor-on
vibraphone
meaningfully.The music is
written for 2 flutes, 2
oboes, 2 clarinets (in
Bb), 2 bassoons, 4 French
horns (in F), 2 trumpets
(in Bb), 3 trombones,
tuba, harp, 3 percussion
players (Perc.
1:xylophone; Perc. 2:
suspended cymbal,
Japanese high woodblock,
snare drum, bass drum and
vibraphone; Perc. 3:
marimba and tam-tam),
solo violin, and
strings.Duration is about
20 minutes.
Composed by Chen Yi.
Part. 11 pages. Duration
20 minutes. Theodore
Presser Company
#116-41963SP. Published
by Theodore Presser
Company (PR.11641963SP).
UPC:
680160684496.
The
violin concerto is
commissioned by Friends
of Dresden Music
Foundation for American
soloist Mira Wang and the
New York Philharmonic and
Staatskapelle Dresden as
an American commemoration
of the reconstruction of
the Dresden Frauenkirche,
60 years after its
destruction in World War
II by American and
British Forces. The world
premiere is given at the
Semperoper in Dresden,
Germany, on October 9, 10
& 11, 2005, conducted
by Ivan Fischer. Full of
excitement and inner
power, the musical image
is vivid, energetic,
sometimes lyrical and
sometimes dramatic. The
major angular thematic
material (a three note
motive) consists of big
leaps in interval (a
perfect fourth downward
and then a minor seventh
upward, first introduced
by the violin solo in
measures 27-29). Except
for the cadenzas which
stand at the middle
(Rehearsal E, measure
127) and the two ends of
the piece as a frame, the
virtuosic violin solo
line is always
accompanied by the ever
moving and growing
textures in the
background. The rests
between long and short
phrases symbolize the
space in Chinese
paintings. The Beijing
Opera reciting tune, and
the fingerings to produce
sliding tones in the
performance of the
Chinese fiddle erhu are
also borrowed in the
writing and the
performing of the western
instruments. The musical
imagination of the violin
concerto came from an
ancient Chinese poem with
the same title, written
by Du Fu (712-770) in
Tang Dynasty. Happy Rain
on a Spring Night by Du
Fu (712-770 in Tang
Dynasty) Happy rain comes
in time, When spring is
in its prime. With night
breeze it will fall, And
quietly moisten all.
Clouds darken wild roads,
Light brightens a little
boat. Saturated at dawn,
With flowers blooming the
town. (English
translation by Chen Yi
from the original poem in
Chinese) The following is
the poem in its original
Chinese form, and the
detailed introduction on
the structural plan of
the violin concerto
Spring in Dresden. It's
like the welcome rain on
a quiet spring night that
nurtures the budding
seeds, our new society is
pushing us forward to the
new future. The music
reflects the scenes and
the expression according
to the meaning of the
poem when it's being
unfolded line by line.
Although the tempo is set
63 quarter notes per
minute throughout (played
vividly, never slow
down), the tension is
being built up from the
quiet background in the
beginning, to the
sustained climax towards
the end. The musical
image in Rehearsal A and
B (measures 39-80)
represents the first four
lines of the poem. The
wind instruments response
to the rustling of fast
moving notes on muted
string triplets,
decorated by occasional
strokes produced by
metallic string sound and
high woodwind gestures.
The music in Rehearsal C
and D (measures 81-126)
represents the next two
lines of the poem. It's
so dark, a little light
in the boat is shimmering
on the lake... The
breathy sound and key
slaps on the flutes
create a mysterious
atmosphere, in a dialogue
with other instruments.
The cello glissandi
recite the poem in the
tone of Mandarin, echoed
by the string harmonics.
The music in Rehearsal F,
G and H (m 129-202) is a
toccata, starting in the
orchestra (led by the
marimba), which builds up
a big shape, to reach the
climax in m. 157
(Rehearsal G, the
location of the Golden
Section, according to the
length of the music
without cadenzas), and
keeps the vivid scene
towards the coda (from
Rehearsal I, m. 203),
which stands on the
energetic peak until the
clear cutoff on measure
239, followed by the
short, yet powerful solo
conclusion with the
lingering echo produced
by the high string
harmonics. On the top,
there is a recall of the
three note motive in the
sound of wonderland,
touched by the motor-on
vibraphone meaningfully.
The music is written for
2 flutes, 2 oboes, 2
clarinets (in Bb), 2
bassoons, 4 French horns
(in F), 2 trumpets (in
Bb), 3 trombones, tuba,
harp, 3 percussion
players (Perc. 1:
xylophone; Perc. 2:
suspended cymbal,
Japanese high woodblock,
snare drum, bass drum and
vibraphone; Perc. 3:
marimba and tam-tam),
solo violin, and strings.
Duration is about 20
minutes. The violin
concerto is commissioned
by Friends of Dresden
Music Foundation for
American soloist Mira
Wang and the New York
Philharmonic and
Staatskapelle Dresden as
an American commemoration
of the reconstruction of
the Dresden Frauenkirche,
60 years after its
destruction in World War
II by American and
British Forces. The world
premiere is given at the
Semperoper in Dresden,
Germany, on October 9, 10
& 11, 2005, conducted by
Ivan Fischer.Full of
excitement and inner
power, the musical image
is vivid, energetic,
sometimeslyrical and
sometimes dramatic. The
major angular thematic
material (a three
notemotive) consists of
big leaps in interval (a
perfect fourth downward
and then a minorseventh
upward, first introduced
by the violin solo in
measures 27-29). Except
for thecadenzas which
stand at the middle
(Rehearsal E, measure
127) and the two ends of
the piece as a frame, the
virtuosic violin solo
line is always
accompanied by the ever
moving and growing
textures in the
background. The rests
between long and short
phrases symbolize the
space in Chinese
paintings. The Beijing
Opera reciting tune, and
the fingerings to produce
sliding tones in the
performance of the
Chinese fiddle erhu are
also borrowed in the
writing and the
performing of the western
instruments.The musical
imagination of the violin
concerto came from an
ancient Chinese poem with
the same title, written
by Du Fu (712-770) in
Tang Dynasty.Happy Rain
on a Spring Nightby Du Fu
(712-770 in Tang
Dynasty)Happy rain comes
in time,When spring is in
its prime.With night
breeze it will fall,And
quietly moisten
all.Clouds darken wild
roads,Light brightens a
little boat.Saturated at
dawn,With flowers
blooming the
town.(English translation
by Chen Yi from the
original poem in
Chinese)The following is
the poem in its original
Chinese form, and the
detailed introduction
onthe structural plan of
the violin concerto
Spring in
Dresden.It’s like
the welcome rain on a
quiet spring night that
nurtures the budding
seeds, our newsociety is
pushing us forward to the
new future. The music
reflects the scenes and
theexpression according
to the meaning of the
poem when it’s
being unfolded line by
line.Although the tempo
is set 63 quarter notes
per minute throughout
(played vividly,
neverslow down), the
tension is being built up
from the quiet background
in the beginning, tothe
sustained climax towards
the end. The musical
image in Rehearsal A and
B (measures39-80)
represents the first four
lines of the poem. The
wind instruments response
to therustling of fast
moving notes on muted
string triplets,
decorated by occasional
strokesproduced by
metallic string sound and
high woodwind gestures.
The music in RehearsalC
and D (measures 81-126)
represents the next two
lines of the poem. It's
so dark, a littlelight in
the boat is shimmering on
the lake... The breathy
sound and key slaps on
theflutes create a
mysterious atmosphere, in
a dialogue with other
instruments. The
celloglissandi recite the
poem in the tone of
Mandarin, echoed by the
string harmonics.
Themusic in Rehearsal F,
G and H (m 129-202) is a
toccata, starting in the
orchestra (led bythe
marimba), which builds up
a big shape, to reach the
climax in m. 157
(Rehearsal G,the location
of the Golden Section,
according to the length
of the music
withoutcadenzas), and
keeps the vivid scene
towards the coda (from
Rehearsal I, m. 203),
whichstands on the
energetic peak until the
clear cutoff on measure
239, followed by the
short,yet powerful solo
conclusion with the
lingering echo produced
by the high
stringharmonics. On the
top, there is a recall of
the three note motive in
the sound ofwonderland,
touched by the motor-on
vibraphone
meaningfully.The music is
written for 2 flutes, 2
oboes, 2 clarinets (in
Bb), 2 bassoons, 4 French
horns (in F), 2 trumpets
(in Bb), 3 trombones,
tuba, harp, 3 percussion
players (Perc.
1:xylophone; Perc. 2:
suspended cymbal,
Japanese high woodblock,
snare drum, bass drum and
vibraphone; Perc. 3:
marimba and tam-tam),
solo violin, and
strings.Duration is about
20 minutes.
Composed
by Chen Yi. Large Score.
58 pages. Duration 20
minutes. Theodore Presser
Company #116-41963L.
Published by Theodore
Presser Company
(PR.11641963L).
UPC:
680160684489.
The
violin concerto is
commissioned by Friends
of Dresden Music
Foundation for American
soloist Mira Wang and the
New York Philharmonic and
Staatskapelle Dresden as
an American commemoration
of the reconstruction of
the Dresden Frauenkirche,
60 years after its
destruction in World War
II by American and
British Forces. The world
premiere is given at the
Semperoper in Dresden,
Germany, on October 9, 10
& 11, 2005, conducted
by Ivan Fischer. Full of
excitement and inner
power, the musical image
is vivid, energetic,
sometimes lyrical and
sometimes dramatic. The
major angular thematic
material (a three note
motive) consists of big
leaps in interval (a
perfect fourth downward
and then a minor seventh
upward, first introduced
by the violin solo in
measures 27-29). Except
for the cadenzas which
stand at the middle
(Rehearsal E, measure
127) and the two ends of
the piece as a frame, the
virtuosic violin solo
line is always
accompanied by the ever
moving and growing
textures in the
background. The rests
between long and short
phrases symbolize the
space in Chinese
paintings. The Beijing
Opera reciting tune, and
the fingerings to produce
sliding tones in the
performance of the
Chinese fiddle erhu are
also borrowed in the
writing and the
performing of the western
instruments. The musical
imagination of the violin
concerto came from an
ancient Chinese poem with
the same title, written
by Du Fu (712-770) in
Tang Dynasty. Happy Rain
on a Spring Night by Du
Fu (712-770 in Tang
Dynasty) Happy rain comes
in time, When spring is
in its prime. With night
breeze it will fall, And
quietly moisten all.
Clouds darken wild roads,
Light brightens a little
boat. Saturated at dawn,
With flowers blooming the
town. (English
translation by Chen Yi
from the original poem in
Chinese) The following is
the poem in its original
Chinese form, and the
detailed introduction on
the structural plan of
the violin concerto
Spring in Dresden. It's
like the welcome rain on
a quiet spring night that
nurtures the budding
seeds, our new society is
pushing us forward to the
new future. The music
reflects the scenes and
the expression according
to the meaning of the
poem when it's being
unfolded line by line.
Although the tempo is set
63 quarter notes per
minute throughout (played
vividly, never slow
down), the tension is
being built up from the
quiet background in the
beginning, to the
sustained climax towards
the end. The musical
image in Rehearsal A and
B (measures 39-80)
represents the first four
lines of the poem. The
wind instruments response
to the rustling of fast
moving notes on muted
string triplets,
decorated by occasional
strokes produced by
metallic string sound and
high woodwind gestures.
The music in Rehearsal C
and D (measures 81-126)
represents the next two
lines of the poem. It's
so dark, a little light
in the boat is shimmering
on the lake... The
breathy sound and key
slaps on the flutes
create a mysterious
atmosphere, in a dialogue
with other instruments.
The cello glissandi
recite the poem in the
tone of Mandarin, echoed
by the string harmonics.
The music in Rehearsal F,
G and H (m 129-202) is a
toccata, starting in the
orchestra (led by the
marimba), which builds up
a big shape, to reach the
climax in m. 157
(Rehearsal G, the
location of the Golden
Section, according to the
length of the music
without cadenzas), and
keeps the vivid scene
towards the coda (from
Rehearsal I, m. 203),
which stands on the
energetic peak until the
clear cutoff on measure
239, followed by the
short, yet powerful solo
conclusion with the
lingering echo produced
by the high string
harmonics. On the top,
there is a recall of the
three note motive in the
sound of wonderland,
touched by the motor-on
vibraphone meaningfully.
The music is written for
2 flutes, 2 oboes, 2
clarinets (in Bb), 2
bassoons, 4 French horns
(in F), 2 trumpets (in
Bb), 3 trombones, tuba,
harp, 3 percussion
players (Perc. 1:
xylophone; Perc. 2:
suspended cymbal,
Japanese high woodblock,
snare drum, bass drum and
vibraphone; Perc. 3:
marimba and tam-tam),
solo violin, and strings.
Duration is about 20
minutes. The violin
concerto is commissioned
by Friends of Dresden
Music Foundation for
American soloist Mira
Wang and the New York
Philharmonic and
Staatskapelle Dresden as
an American commemoration
of the reconstruction of
the Dresden Frauenkirche,
60 years after its
destruction in World War
II by American and
British Forces. The world
premiere is given at the
Semperoper in Dresden,
Germany, on October 9, 10
& 11, 2005, conducted by
Ivan Fischer.Full of
excitement and inner
power, the musical image
is vivid, energetic,
sometimeslyrical and
sometimes dramatic. The
major angular thematic
material (a three
notemotive) consists of
big leaps in interval (a
perfect fourth downward
and then a minorseventh
upward, first introduced
by the violin solo in
measures 27-29). Except
for thecadenzas which
stand at the middle
(Rehearsal E, measure
127) and the two ends of
the piece as a frame, the
virtuosic violin solo
line is always
accompanied by the ever
moving and growing
textures in the
background. The rests
between long and short
phrases symbolize the
space in Chinese
paintings. The Beijing
Opera reciting tune, and
the fingerings to produce
sliding tones in the
performance of the
Chinese fiddle erhu are
also borrowed in the
writing and the
performing of the western
instruments.The musical
imagination of the violin
concerto came from an
ancient Chinese poem with
the same title, written
by Du Fu (712-770) in
Tang Dynasty.Happy Rain
on a Spring Nightby Du Fu
(712-770 in Tang
Dynasty)Happy rain comes
in time,When spring is in
its prime.With night
breeze it will fall,And
quietly moisten
all.Clouds darken wild
roads,Light brightens a
little boat.Saturated at
dawn,With flowers
blooming the
town.(English translation
by Chen Yi from the
original poem in
Chinese)The following is
the poem in its original
Chinese form, and the
detailed introduction
onthe structural plan of
the violin concerto
Spring in
Dresden.It’s like
the welcome rain on a
quiet spring night that
nurtures the budding
seeds, our newsociety is
pushing us forward to the
new future. The music
reflects the scenes and
theexpression according
to the meaning of the
poem when it’s
being unfolded line by
line.Although the tempo
is set 63 quarter notes
per minute throughout
(played vividly,
neverslow down), the
tension is being built up
from the quiet background
in the beginning, tothe
sustained climax towards
the end. The musical
image in Rehearsal A and
B (measures39-80)
represents the first four
lines of the poem. The
wind instruments response
to therustling of fast
moving notes on muted
string triplets,
decorated by occasional
strokesproduced by
metallic string sound and
high woodwind gestures.
The music in RehearsalC
and D (measures 81-126)
represents the next two
lines of the poem. It's
so dark, a littlelight in
the boat is shimmering on
the lake... The breathy
sound and key slaps on
theflutes create a
mysterious atmosphere, in
a dialogue with other
instruments. The
celloglissandi recite the
poem in the tone of
Mandarin, echoed by the
string harmonics.
Themusic in Rehearsal F,
G and H (m 129-202) is a
toccata, starting in the
orchestra (led bythe
marimba), which builds up
a big shape, to reach the
climax in m. 157
(Rehearsal G,the location
of the Golden Section,
according to the length
of the music
withoutcadenzas), and
keeps the vivid scene
towards the coda (from
Rehearsal I, m. 203),
whichstands on the
energetic peak until the
clear cutoff on measure
239, followed by the
short,yet powerful solo
conclusion with the
lingering echo produced
by the high
stringharmonics. On the
top, there is a recall of
the three note motive in
the sound ofwonderland,
touched by the motor-on
vibraphone
meaningfully.The music is
written for 2 flutes, 2
oboes, 2 clarinets (in
Bb), 2 bassoons, 4 French
horns (in F), 2 trumpets
(in Bb), 3 trombones,
tuba, harp, 3 percussion
players (Perc.
1:xylophone; Perc. 2:
suspended cymbal,
Japanese high woodblock,
snare drum, bass drum and
vibraphone; Perc. 3:
marimba and tam-tam),
solo violin, and
strings.Duration is about
20 minutes.
9 of His Original Piano Solos. Composed by Mike Springer. Book; Graded St...(+)
9 of His Original
Piano Solos. Composed
by Mike Springer. Book;
Graded Standard
Repertoire; Piano
Collection; Piano
Supplemental. Favorite
Solos. Recital. 24 pages.
Published by Alfred Music
(AP.45290).
(Newly Composed Fiddle Tunes). Edited by Paul Stewart Cranford. For Fiddle and V...(+)
(Newly Composed Fiddle
Tunes). Edited by Paul
Stewart Cranford. For
Fiddle and Violin.
Transcribed Solos.
Cranford Publications.
Fiddle Tunes.
Intermediate. Book/CD
Set. 112 pages
Ozarks Sonatina Piano seul - Intermédiaire Alfred Publishing
Composed by Mike Springer. For Piano. Piano Suite; Piano Supplemental; Sheet; So...(+)
Composed by Mike
Springer. For Piano.
Piano Suite; Piano
Supplemental; Sheet;
Solo. Recital Suite
Series. Form: Sonatina;
Suite. Recital.
Intermediate. 12 pages.
Published by Alfred Music
Chamber Music Piano SKU: PR.110418480 Composed by Chen Yi. Performance Sc...(+)
Chamber Music Piano
SKU: PR.110418480
Composed by Chen Yi.
Performance Score.
Duration 6 minutes.
Theodore Presser Company
#110-41848. Published by
Theodore Presser Company
(PR.110418480).
ISBN
9781491136294. UPC:
680160688784.
Chen
Yi’s beautiful and
highly-textured tone poem
was inspired by ancient
Chinese poetry; its
melodic ideas were
developed from musical
phrases characteristic of
Chinese opera. Wang
Ya’s original verse as
translated by Chen Yi
reads:“SONG OF SPRING
OUTING”Ten thousand
apricot trees by the
riverside,Spring flowers
bloom after the wind at
night.Covered over the
garden, colors dark and
light,Mirrored in the
green water
ripples. SONG OF
SPRING OUTING was
commissioned by the
Center for East Asian
Studies and the Asian
Classical Music
Initiative at the
University of Kansas in
2022 for Dr. Yi-Yang Chen
to premiere in 2023.The
work was inspired by an
ancient Chinese poem with
the same title:Song of
Spring Outingby Wang Ya
(Tang Dynasty)English
translation by Chen YiTen
thousand apricot trees by
the riverside,Spring
flowers bloom after the
wind at night.Covered
over the garden, colors
dark and light,Mirrored
in the green water
ripples.This inspiring
image is like taking a
walk through a beautiful
garden with layers of
colorful trees and
flowers, mirrored in the
green water.The opening
phrase of the music
introduces the signature
intervals, the leap of a
seventh found in Beijing
Opera fiddle’s
language, followed by
melodic material with a
major 2nd and perfect 4th
in pentatonic style as
the thematic materials.
[C-Bb-G in bars 1-2,
followed by the top
pitches A-B and Ab-E( in
bars 2-3]. This statement
is brought back
(Rehearsal F) in a
retrograded form of the
introduction at the
climatic end of the
piece.The musical form is
a combination of
variations on thematic
materials, and a rondo.
After the introductory
section, Rehearsal A
introduces an
improvisation-like
mountain song melody
(developed from the
pentatonic material in
the
introduction).Rehearsal B
brings in a lively
texture in short
groupings with staccato
in both hands (using the
seventh leap interval
introduced in the opening
of the piece).Rehearsals
C and D develop the
introduction’s
pentatonic melody and the
mountain tune (introduced
in Rehearsal A) with more
layers in the
texture.Rehearsal E
develops the material
presented in Rehearsal B,
with an extended range in
both ends of the
keyboard, increasing the
freshness and
excitement.
Teacher Edition with CD Choral (Teacher Magazine w/CD) SKU: HL.140879 ...(+)
Teacher Edition with CD
Choral (Teacher Magazine
w/CD)
SKU:
HL.140879
Seasonal
Movement and Activity
Songs for Grades K-3.
Composed by John Jacobson
and Roger Emerson. Music
Express Books. Classroom
Resources, Collection,
Elementary. Softcover
with CD. Published by Hal
Leonard (HL.140879).
ISBN 9781495008306.
UPC: 888680041472.
8.5x11.0x0.252 inches. By
John Jacobson and Roger
Emerson.
This is
the day! Jump in. Pump up
the pumpkin. Do a little
holiday hop. Put a little
spring in your life!
Bring John Jacobson into
your music class every
day with step-by-step
online video
demonstrations of twelve
active seasonal songs for
movin' fun all year!
There are helpful teacher
tips, reproducible lyric
sheets and piano/vocal
accompaniments with
printed choreography
notes; now all available
in one cost-saving
Book/CD pak! Sing along
with John and a group of
children as you learn
each song; then perform
for others with the
accompaniment-only song
tracks! Songs include:
This Is the Day, Jump In,
Fallin' Into Fall, Pump
Up the Pumpkin, The
Holiday Hop, Circle of
Light, A Brand New Me,
February, Put a Little
Spring in Your Life,
Spring Up, All I Wanna Do
Is Dance, Feelin' Good.
Suggested for Grades K-3.
Come along and you will
see - it's a brand new
me! ScorePlay - click to
view score with
recording.
Easy Piano Piano/Keyboard SKU: HL.282476 The New Decade Series. Co...(+)
Easy Piano Piano/Keyboard
SKU: HL.282476
The New Decade
Series. Composed by
Various. Easy Piano
Songbook. Standards.
Softcover. 352 pages.
Published by Hal Leonard
(HL.282476).
ISBN
9781540034335. UPC:
888680789206.
9.0x12.0x0.846
inches.
100 songs
popularized in the World
War II era of the 1940s
are included in this
collection arranged for
easy piano with lyrics.
Songs include:
Ac-cent-tchu-ate the
Positive * Besame Mucho
(Kiss Me Much) * Boogie
Woogie Bugle Boy *
Chattanooga Choo Choo *
Don't Get Around Much
Anymore * A Dream Is a
Wish Your Heart Makes *
How High the Moon * I Get
a Kick Out of You * It
Might As Well Be Spring *
Java Jive * Laura *
Moonlight in Vermont * A
Nightingale Sang in
Berkeley Square * On a
Slow Boat to China *
Perfidia * Route 66 *
Sentimental Journey *
Some Enchanted Evening *
The Surrey with the
Fringe on Top * Take the
A Train * Time After Time
* When You Wish upon a
Star * You'd Be So Nice
to Come Home To *
Zip-A-Dee-Doo-Dah * and
more.
Band Concert Band - Grade 1 SKU: CF.BPS106 Composed by Peter Terry. SWS F...(+)
Band Concert Band - Grade
1
SKU: CF.BPS106
Composed by Peter Terry.
SWS FS. Carl Fischer
Beginning Performance
Series. Set of Score and
Parts. With Standard
notation.
8+2+8+2+5+2+2+8+3+6+3+1+1
+2+3+16+2 pages. Duration
2:10. Carl Fischer Music
#BPS106. Published by
Carl Fischer Music
(CF.BPS106).
ISBN
9781491147153. UPC:
680160904655. 9 x 12
inches.
Spring
Unfolding celebrates the
possibilities of new
life, as trees and
growing plants follow the
light and green emerges
to cover the remains of
winter. The piece begins
with a contemplative
opening before diving
into a liltingly tuneful
3/4 melody. Delightfully
unique, this piece is
perfect for
beginners.
Spring Unfolding Orchestre d'harmonie [Conducteur] - Débutant Carl Fischer
Band Concert Band - Grade 1 SKU: CF.BPS106F Composed by Peter Terry. SWS....(+)
Band Concert Band - Grade
1
SKU: CF.BPS106F
Composed by Peter Terry.
SWS. Carl Fischer
Beginning Performance
Series. Full score. With
Standard notation. 16
pages. Duration 2:10.
Carl Fischer Music
#BPS106F. Published by
Carl Fischer Music
(CF.BPS106F).
ISBN
9781491147856. UPC:
680160905355. 9 x 12
inches.
Spring
Unfolding celebrates the
possibilities of new
life, as trees and
growing plants follow the
light and green emerges
to cover the remains of
winter. The piece begins
with a contemplative
opening before diving
into a liltingly tuneful
3/4 melody. Delightfully
unique, this piece is
perfect for
beginners.
Spring Fever Orchestre d'harmonie [Conducteur et Parties séparées] - Débutant C.L. Barnhouse
Grade 1 SKU: CL.015-3320-00 Composed by Shaffer. Young Concert Band. Elem...(+)
Grade 1
SKU:
CL.015-3320-00
Composed by Shaffer.
Young Concert Band.
Elementary Series. Audio
recording available
separately (item
CL.WFR333). Lighter.
Score and set of parts.
Composed 2004. Duration 1
minute, 42 seconds. C.L.
Barnhouse #015-3320-00.
Published by C.L.
Barnhouse
(CL.015-3320-00).
A delightful
composition for beginning
bands that is the perfect
choice for your spring
concert. The winds parts
are incredibly easy,
consisting of nothing
harder than quarter notes
while the percussion
includes a part to be
played on temple blocks
or wood blocks.
It’s cute,
it’s playable and
your students and their
parents will love it!
Lots of fun!
Spring March Orchestre d'harmonie - Facile Alfred Publishing
Concert Band - Grade 2 SKU: AP.49510 Composed by Jonathan Dagenais. Conce...(+)
Concert Band - Grade 2
SKU: AP.49510
Composed by Jonathan
Dagenais. Concert Band;
MakeMusic Cloud;
Performance Music
Ensemble; Single Titles.
Developing Band Series.
Form: March. Score and
Part(s). Duration 2:57.
Alfred Music #00-49510.
Published by Alfred Music
(AP.49510).
ISBN
9781470649647. UPC:
038081570426.
English.
Spring
March by Jonathan
Dagenais was written for
the Saint-Edmond High
School music program in
Quebec, Canada. Spring
March is a short, lively,
and exciting concert
march for beginner bands.
With several thematic and
humorous elements, this
piece is a fun way to
work on lightness of
style, functional
balance, tempo stability,
and is perfect for
teaching cut time and the
traditional march form
and structure. There are
clear stylistic contrasts
between all the different
sections of the piece and
the beautiful lyrical
trio section offers a
great opportunity to work
on phrasing and support.
With efficient and
exciting percussion
parts, the piece also
offers interesting lines
and melodies for every
instrument. (2:57) This
title is available in
MakeMusic Cloud.
Spring March Orchestre d'harmonie [Conducteur] - Facile Alfred Publishing
Concert Band - Grade 2 SKU: AP.49510S Composed by Jonathan Dagenais. Conc...(+)
Concert Band - Grade 2
SKU: AP.49510S
Composed by Jonathan
Dagenais. Concert Band;
Performance Music
Ensemble; Single Titles.
Developing Band Series.
Form: March. Score.
Duration 2:57. Alfred
Music #00-49510S.
Published by Alfred Music
(AP.49510S).
ISBN
9781470649654. UPC:
038081570433.
English.
Spring
March by Jonathan
Dagenais was written for
the Saint-Edmond High
School music program in
Quebec, Canada. Spring
March is a short, lively,
and exciting concert
march for beginner bands.
With several thematic and
humorous elements, this
piece is a fun way to
work on lightness of
style, functional
balance, tempo stability,
and is perfect for
teaching cut time and the
traditional march form
and structure. There are
clear stylistic contrasts
between all the different
sections of the piece and
the beautiful lyrical
trio section offers a
great opportunity to work
on phrasing and support.
With efficient and
exciting percussion
parts, the piece also
offers interesting lines
and melodies for every
instrument. (2:57).
Percussion Ensemble SKU: HL.14041798 A Light Hour 2008. Composed b...(+)
Percussion Ensemble
SKU: HL.14041798
A Light Hour 2008.
Composed by Per Norgard.
Music Sales America.
Classical. Set. Composed
2013. Edition Wilhelm
Hansen #WH30964A.
Published by Edition
Wilhelm Hansen
(HL.14041798).
ISBN
9788759818077.
12.5x16.5x1.13
inches.
Set of
parts for Per
Nørgård
's En Lys Time /
A Light Hour
(2008-09) for a variable
Percussion Ensemble (min.
10 players).
In A Light
Hour everything
- rhythms and motifs
– is based on
Nørgård&acut
e;s special infinity
series.
Score: WH30964
Programme
note
A Light Hour
is for ‘any number
of percussion
musicians’ (but a
minimum of ten). The
duration is about 60
minutes. The
instrumentation is in
principle open, as long
as percussion is used
within the three types
specified in the score:
skin, metal and wood.
Each musicianuses two
sound sources with two
different sounds, one of
which is bright (or
light) and the other
dark. Certain passages
also include tuned
percussion instruments
– vibraphone,
xylophone, marimba,
gamelan, glockenspiel,
steel drums, crotales and
the
like.
The
work integrates and
combines a number of
rhythms that
Nørgård has
used in percussion works
since the 1970s, for
example in Early Spring
Dance (for choir and
percussion), and
percussion works like I
Ching, Easy Beats,
Whirls, Zigzag, Nemo
Dynamo and Echo Zone
I-II-III.
Special
“tone-feasts”
(the composer’s
term) – followed by
a rest – are an
recognizable me
lodic feature of the
work.: the first minute
end with a short
tone-feast (and a rest),
the first four minutes
end with a tone-feast
lasting a minute (and a
rest), the first quarter
of an hour ends with a
tone-feast of four
minutes (and a rest)
– and the work ends
with a tone-feast lasting
quarter of an hour (and a
rest, when the work is
over
...).
The
first 15 minutes have a
bright, light character
throughout, and alternate
between rhythms
and melodic play. The
following 15 minutes are
more insistent and
decidedly percu
ssion-based, Afro-Cuban,
whereas the third quarter
of A Light Hour moves in
the.