(with Autumn Leaves). Composed by Barry Manilow and Joseph Kosma. Arrange...(+)
(with Autumn
Leaves). Composed by
Barry Manilow and Joseph
Kosma. Arranged by Paul
Langford. Shawnee Press.
Octavo. 16 pages.
Published by Shawnee
Press (HL.35031253).
(with Autumn Leaves). Composed by Barry Manilow and Joseph Kosma. Arrange...(+)
(with Autumn
Leaves). Composed by
Barry Manilow and Joseph
Kosma. Arranged by Paul
Langford. Shawnee Press.
Octavo. 16 pages.
Published by Shawnee
Press (HL.35031252).
(with Autumn Leaves). Composed by Barry Manilow, Joseph Kosma. Arranged b...(+)
(with Autumn
Leaves). Composed by
Barry Manilow, Joseph
Kosma. Arranged by Paul
Langford. Shawnee Press.
Pop, Standards. Octavo.
16 pages. Published by
Shawnee Press
(HL.35031251).
(with Autumn Leaves). Composed by Barry Manilow, Joseph Kosma. Arranged b...(+)
(with Autumn
Leaves). Composed by
Barry Manilow, Joseph
Kosma. Arranged by Paul
Langford. Shawnee Press.
Pop, Standards. Octavo.
16 pages. Published by
Shawnee Press
(HL.35031250).
Book. Published by Music Sales. The matching folio to the October 2003 album rel...(+)
Book. Published by Music
Sales. The matching folio
to the October 2003 album
release. Thirty-three
songs arranged for piano,
vocal, and guitar,
including: Wednesday
Morning 3 A.M., Bleecker
Street, The Sound Of
Silence, I Am A Rock,
Scarborough
Fair/Canticle, Homeward
Bound, The 59th Street
Bridge Song (Feelin'
Groovy), A Hazy Shade Of
Winter, Mrs. Robinson
(From the Motion Picture
The Graduate), Bookends
Theme, America, El Condor
Pasa (If I Could), Bridge
Over Troubled Water,
Cecilia, The Boxer, My
Little Town, and more.
Composed by
Carol Brittin Chambers.
Concert Band (CPS). Set
of Score and Parts. With
Standard notation.
16+4+8+16+16+4+4+4+4+4+4+
8+8+8+4+4+6+6+6+8+2+2+2+6
+12+24+4 pages. Duration
3 minutes, 55 seconds.
Carl Fischer Music
#CPS226. Published by
Carl Fischer Music
(CF.CPS226).
ISBN
9781491152522. UPC:
680160910021.
Inspi
red by the memory of an
influential music
educator, Carol Brittin
Chambers has woven a
multitude of grooves,
colors, and uplifting
themes into To Create a
Voice. Chambers has
attempted to convey
distinct moods and
emotions that this
educator tried to instill
in his students. In honor
of this dynamic teacher,
you will hear Hot
Cross Buns cleverly
placed throughout the
composition. To Create
a Voice was commissioned
by the Valley Concert
Band in Stockton,
California. The piece
premiered in October
2017, in memory and
celebration of Chris
Anderson, a local
musician and
educator.When writing
this piece, I tried to
convey certain moods and
emotions throughout:
soulful at the beginning
with calm woodwind chords
and solo trombone;
increased energy
throughout the various
sections of the piece;
exploration of different
grooves and colors; an
uplifting, emotional
ending that leaves the
listener with a sense of
how positive and loving
Chris was.This piece is
largely inspired by a
specific quote from
Chris:Most people would
consider the sounds
students first make on
their instruments to be
cringe-worthy, but to me
that’s music to my
ears, because
that’s the first
time students put a voice
to their instrument. Over
time those voices become
stronger; they become
clear, more confident,
and get to a point where
they use those voices to
communicate with each
other, and to their
audiences.To relate to
the first notes on the
instrument idea, I used
motifs based on the first
notes most beginners ever
play, do-re-mi, which are
introduced at the
beginning of the piece
with the trombone solo,
Chris’ instrument.
During the section at m.
15, the brass introduce a
chorale that I named
Chris’ Theme while
the woodwinds keep
reminding us of do-re-mi.
Later in the piece (mm.
71 and 79), I use these
notes again, but in
reverse, which becomes a
reference to the first
song most beginners
learn, Hot Cross Buns.
This section is also
meant to portray
Chris’ quirky and
joking side. In mm. 75
and 83, Chris’
Theme presents itself
again a couple of times
in response to Hot Cross
Buns.Toward the end, at
the uplifting moment (m.
97), do-re-mi is heard
again, but this time in
harmony with mi-fa-sol.
This represents the
ultimate satisfaction we
all feel as musicians
when we have finally
progressed enough to play
in harmony with others.
The half-time feeling in
3 at that moment also has
significance, relating
(rhythmically) to those
important three notes
again.I really hope you
enjoy performing and
listening to this piece
as much as I have enjoyed
creating it!
Toward the Unknown Region Chorale SATB SATB, Cuivre(s) [Score and Parts|Set of Parts|Reduction|Octavo] Thorpe
(Song for Mixed Voices and Orchestra). By Ralph Vaughan Williams (1872-1958). Fo...(+)
(Song for Mixed Voices
and Orchestra). By Ralph
Vaughan Williams
(1872-1958). For SATB,
Piano Reduction. This
edition: Orchestra score
and parts are available
for purchase. Orchestra
score and parts are
available for purchase.
Octavo. 28 pages.
Duration 12 minutes.
Published by Thorpe Music
Late-Elementary Level Piano Duet Composer Showcase. Arranged by Christos Tsitsar...(+)
Late-Elementary Level
Piano Duet Composer
Showcase. Arranged by
Christos Tsitsaros.
Educational Piano
Library. Softcover. 48
pages. Published by Hal
Leonard.
Composed
by Carol Brittin
Chambers. Concert Band
(CPS). Full score. With
Standard notation. 24
pages. Carl Fischer Music
#CPS226F. Published by
Carl Fischer Music
(CF.CPS226F).
ISBN
9781491153208. UPC:
680160910700.
Inspi
red by the memory of an
influential music
educator, Carol Brittin
Chambers has woven a
multitude of grooves,
colors, and uplifting
themes into To Create a
Voice. Chambers has
attempted to convey
distinct moods and
emotions that this
educator tried to instill
in his students. In honor
of this dynamic teacher,
you will hear Hot
Cross Buns cleverly
placed throughout the
composition. To Create
a Voice was commissioned
by the Valley Concert
Band in Stockton,
California. The piece
premiered in October
2017, in memory and
celebration of Chris
Anderson, a local
musician and
educator.When writing
this piece, I tried to
convey certain moods and
emotions throughout:
soulful at the beginning
with calm woodwind chords
and solo trombone;
increased energy
throughout the various
sections of the piece;
exploration of different
grooves and colors; an
uplifting, emotional
ending that leaves the
listener with a sense of
how positive and loving
Chris was.This piece is
largely inspired by a
specific quote from
Chris:Most people would
consider the sounds
students first make on
their instruments to be
cringe-worthy, but to me
that’s music to my
ears, because
that’s the first
time students put a voice
to their instrument. Over
time those voices become
stronger; they become
clear, more confident,
and get to a point where
they use those voices to
communicate with each
other, and to their
audiences.To relate to
the first notes on the
instrument idea, I used
motifs based on the first
notes most beginners ever
play, do-re-mi, which are
introduced at the
beginning of the piece
with the trombone solo,
Chris’ instrument.
During the section at m.
15, the brass introduce a
chorale that I named
Chris’ Theme while
the woodwinds keep
reminding us of do-re-mi.
Later in the piece (mm.
71 and 79), I use these
notes again, but in
reverse, which becomes a
reference to the first
song most beginners
learn, Hot Cross Buns.
This section is also
meant to portray
Chris’ quirky and
joking side. In mm. 75
and 83, Chris’
Theme presents itself
again a couple of times
in response to Hot Cross
Buns.Toward the end, at
the uplifting moment (m.
97), do-re-mi is heard
again, but this time in
harmony with mi-fa-sol.
This represents the
ultimate satisfaction we
all feel as musicians
when we have finally
progressed enough to play
in harmony with others.
The half-time feeling in
3 at that moment also has
significance, relating
(rhythmically) to those
important three notes
again.I really hope you
enjoy performing and
listening to this piece
as much as I have enjoyed
creating it!