Arranged by Susan T. Nelson. For handbells (3-6 octave w/ optional 2 octave hand...(+)
Arranged by Susan T.
Nelson. For handbells
(3-6 octave w/ optional 2
octave handchimes and
orchestral chimes). Level
2. Handbell part.
Published by Hope
Publishing Company
(For Trombone, Two Percussionists, and Keyboards). Composed by Donald Erb. Chamb...(+)
(For Trombone, Two
Percussionists, and
Keyboards). Composed by
Donald Erb. Chamber
ensemble. For Trombone,
Percussion I, Chimes,
Vibraphone, Marimba,
Crotales, Bass Drum,
Percussion II, Nipple
Gong (in C),
Glockenspiel, Timpani
(4), Roto-Toms, Bongos,
Keyboard, Piano,
Harpsichord, Celesta,
Celesta, Harmonica.
Classical. Score and
part(s). Standard
notation. 38 pages.
Duration 10 minutes.
Theodore Presser Company
#144-40142. Published by
Theodore Presser Company
Orchestra Piano SKU: PR.11641861SP Composed by William Kraft. Part. 35 pa...(+)
Orchestra Piano
SKU:
PR.11641861SP
Composed by William
Kraft. Part. 35 pages.
Duration 21 minutes.
Theodore Presser Company
#116-41861SP. Published
by Theodore Presser
Company (PR.11641861SP).
UPC:
680160685202.
What?
! - my composer
colleagues said - A
concerto for the piano?
It's a 19th century
instrument! Admittedly we
are in an age when
originally created
timbres and/or
musico-technological
formulations are often
the modus operandi of a
piece. Actually, this
Concerto began about two
years ago when, during
one of my creative jogs,
the sound of the
uppermost register of the
piano mingled with wind
chimes penetrated my
inner ear. The challenge
and fascination of
exploring and developing
this idea into an
orchestral situation
determined that some day
soon I would be writing a
work for piano and
orchestra. So it was a
very happy coincidence
when Mona Golabek phoned
to tell me she would like
discuss the Ford
Foundation commission.
After covering areas of
aesthetics and
compositional styles, we
found that we had a good
working rapport, and she
asked if I would accept
the commission. The
answer was obvious. Then
began the intensive
thought process on the
stylistic essence and
organization of the work.
Along with this went a
renewed study of
idiomatic writing for the
piano, of the kind
Stravinsky undertook with
the violin when he began
his Violin Concerto. By a
stroke of great fortune,
the day in February 1972
that I received official
notice from the Ford
Foundation of the
commission, I also
received a letter from
the Guggenheim Foundation
informing me I had been
awarded my second
fellowship. With the good
graces of Zubin Mehta and
Ernest Fleischmann,
masters of my destiny as
a member of the Los
Angeles Philharmonic, I
was relieved of my
orchestral duties during
the Hollywood Bowl
season. Thus I was able
to go to Europe to work
and to view the latest
trends in music
concentrating in London
(the current musical
melting pot and showcase
par excellence), Oslo,
Norway, for the Festival
of Scandinavian Music
called Nordic Days, and
Warsaw, Poland, for its
prestigious Autumn
Festival. Over half the
Concerto was completed in
that summer and most of
the rest during the 72-73
season with the final
touches put on during a
month as Resident Scholar
at the Rockefeller
Foundation's Villa
Serbelloni in Bellagio,
Italy. So much for the
external and
environmental influences,
except perhaps to mention
the birds of Sussex in
the first movement, the
bells of Arhus (Denmark)
in the second movement
and the bells of Bellagio
at the end of the
Concerto. Primary in the
conception was the
personality of Miss
Golabek: she is a
wonderfully vital and
dynamic person and a real
virtuoso. Therefore, the
soloist in the Concerto
is truly the protagonist;
it is she (for once we
can do away with the
generic he) who unfolds
the character and intent
of the piece. The first
section is constructed in
the manner of a
recitative - completely
unmeasured - with letters
and numbers by which the
conductor signals the
orchestra for its
participation. This
allows the soloist the
freedom to interpret the
patterns and control the
flow and development of
the music. The Concerto
is actually in one
continuous movement but
with three large
divisions of sufficiently
contrasting character to
be called movements in
themselves. The first
'movement' is based on a
few timbral elements: 1)
a cluster of very low
pitches which at the
beginning are practically
inaudibly depressed, and
sustained silently by the
sostenuto pedal, which
causes sympathetic
vibrating pitches to ring
when strong notes are
struck; 2) a single
powerful note indicated
by a black note-head with
a line through it
indicating the strongest
possible sforzando; 3)
short figures of various
colors sometimes ominous,
sometimes as splashes of
light or as elements of
transition; 4) trills and
tremolos which are the
actual controlling
organic thread starting
as single axial tremolos
and gradually expanding
to trills of increasingly
larger and more powerful
scope. The 'movement'
begins in quiescent
repose but unceasingly
grows in energy and
tension as the stretching
of a string or rubber
band. When it can no
longer be restrained, it
bursts into the next
section. The second
'movement,' propelled by
the released tension, is
a brilliant virtuosic
display, which begins
with a long solo of wispy
percussion, later joined
in duet with the piano.
Not to be ignored, the
orchestra takes over
shooting the material
throughout all its
sections like a small
agile bird deftly
maneuvering through
nothing but air, while
the piano counterposes
moments of lyricism. The
orchestra reaches a
climax, thrusting us into
the third 'movement'
which begins with a
cadenza-like section for
the piano. This moves
gently into an expressive
section (expressive is
not a negative term to
me) in which duets are
formed with various
instruments. There are
fleeting glimpses of
remembrances past, as a
fragmented
recapitulation. One
glimpse is hazily
expressed by strings and
percussion in a moment of
simultaneous contrasting
levels of activity, a
technique of which I have
been fond and have
utilized in various
fixed-free relationships,
particularly in my
Percussion Concerto,
Contextures and Games:
Collage No. 1. The second
half of the third
'movement; is a large
coda - akin to those in
Beethoven - which brings
about another display of
virtuosity, this time
gutsy and driving,
raising the Concerto to a
final climax, the soloist
completing the fragmented
recapitulation concept as
well as the work with the
single-note sforzando and
low cluster from the very
opening of the first
movement.
Chimes in the Night Chorale Unison Unison/2-parties, Piano Hope Publishing Company
Unison/2-part youth choir SKU: HP.8213 Composed by Allen Pote. Musicals. ...(+)
Unison/2-part youth choir
SKU: HP.8213
Composed by Allen Pote.
Musicals. Youth Musicals.
General Worship, Sacred.
Value Pack (10 Listening
CDs). Hope Publishing
Company #8213. Published
by Hope Publishing
Company (HP.8213).
UPC: 763628182137. Tom
S. Long.
Musical
for Young Voices This
musical for young voices
is adapted from the
classic Christmas story
Why the Chimes Rang, by
Raymond MacDonald Alden.
Allen Pote and Tom Long
have transformed this
inspirational tale of
sacrificial love and
giving into a moving
30-minute musical
program. Easy to perform,
it requires a minimum of
sets and props and
concludes with a nativity
pageant in the dramatic
final act.
Piano - intermediate-advanced SKU: HL.14016569 Composed by John McCabe. M...(+)
Piano -
intermediate-advanced
SKU: HL.14016569
Composed by John McCabe.
Music Sales America.
Post-1900. Book
[Softcover]. 14 pages.
Music Sales #NOV954767.
Published by Music Sales
(HL.14016569).
8.25x11.75x0.076
inches.
Commissione
d by the British Music
Society as a Test Piece
for its Piano Awards
Competition held at
Trinity College of Music,
London on 31st October
2004. The piece was
inspired by the peal at
Tunstall Church, Kent,
and is a tribute to the
Piano music of Maurice
Ravel.
Chimes in the Night Chorale Unison Unison/2-parties, Piano Hope Publishing Company
Unison/2-part youth choir SKU: HP.8211 Composed by Allen Pote. Musicals. ...(+)
Unison/2-part youth choir
SKU: HP.8211
Composed by Allen Pote.
Musicals. Youth Musicals.
General Worship, Sacred.
Listening CD. Hope
Publishing Company #8211.
Published by Hope
Publishing Company
(HP.8211).
UPC:
763628182113. Tom S.
Long.
Musical for
Young Voices This musical
for young voices is
adapted from the classic
Christmas story Why the
Chimes Rang, by Raymond
MacDonald Alden. Allen
Pote and Tom Long have
transformed this
inspirational tale of
sacrificial love and
giving into a moving
30-minute musical
program. Easy to perform,
it requires a minimum of
sets and props and
concludes with a nativity
pageant in the dramatic
final act.
Arranged by Douglas E. Wagner. Orchestra. For full (bells/chimes, timp, crash cy...(+)
Arranged by Douglas E.
Wagner. Orchestra. For
full (bells/chimes, timp,
crash cym/triangle/snare,
vln3). Full Orchestra;
Part(s); Score. Belwin
Intermediate Full
Orchestra. Form: Medley.
Light Concert. Grade 3.
228 pages. Published by
Belwin Publishing
Arranged by Edwin McLean. For Piano. The FJH Piano Teaching Library. Piano solos...(+)
Arranged by Edwin McLean.
For Piano. The FJH Piano
Teaching Library. Piano
solos with optional
duets. Level: Early
Elementary. Book.
Published by The FJH
Music Company Inc.
By C. 1774 Katholisches Gesangbuch. Arranged by Brian Zuar. For Voices: SATB, as...(+)
By C. 1774 Katholisches
Gesangbuch. Arranged by
Brian Zuar. For Voices:
SATB, assembly.
Instruments: Brass
quartet (2 trumpets in B
or C, 2 trombones),
timpani, 6 handbells (or
orchestral chimes)
(instruments required).
Organ. Choral Sacred.
Level: easy. 10 pages.
Published by GIA
Publications.
Composed by Patricia
Hurlbutt. Arranged by
Patricia Hurlbutt.
Handbell choir music.
Handbell score.
Beckenhorst Press #HB697.
Published by Beckenhorst
Press (BP.HB697).
Arranged for 3
to 5 octave handbell
choir and o octaves of
handchimes. Level 2.
Patricia Hurlbutt's
festive arrangement of
DARWALL'S 148th is as
much fun to ring as it is
to hear! Joyous arpeggios
give way to a chordal
treatment of the theme,
complete with bold and
unexpected harmonies. A
key change ushers in a
verse underscored by
delicate martellatos
before a verse on the
chimes accompanied by
peals and arpeggios in
the treble bells. A final
exuberant flourish ends
the piece on a triumphant
note. Perfect for any
celebratory moment in
concert or worship!
Carol of the Bells Orchestre [Conducteur et Parties séparées] Carl Fischer
(Ukrainian Christmas Carol - Full Score and Parts). By Peter Wilhousky. Arranged...(+)
(Ukrainian Christmas
Carol - Full Score and
Parts). By Peter
Wilhousky. Arranged by
Richard Hayman.
Orchestra. For Piccolo,
Flute I, Flute II, Oboe
I, Oboe II, Clarinet I,
Clarinet II, Bassoon I,
Bassoon II, Horn I, Horn
II, Horn III, Horn IV,
Trumpet I, Trumpet II,
Trumpet III, Tenor I,
Tenor II, Tenor III,
Tuba, Timpani,
Glockenspiel, Chimes,
Swiss Hand Bells, Suspe.
Carl Fischer Orchestra
Edition. Score and
part(s). Standard
notation. 29 pages.
Published by Carl Fischer
The Chimes of Liberty Orchestre d'harmonie [Conducteur et Parties séparées] - Débutant Alfred Publishing
By Edwin Franko Goldman (1878-1956). Arranged by Douglas E. Wagner. Concert Band...(+)
By Edwin Franko Goldman
(1878-1956). Arranged by
Douglas E. Wagner.
Concert Band. Concert
Band; Part(s); Score. Pop
Beginning Band. Form:
March. Patriotic. Grade
1. 134 pages. Published
by Alfred Music
Publishing
Composed by Carol Lynn Mizell. For selected handbells (chimes, glockenspiel), ob...(+)
Composed by Carol Lynn
Mizell. For selected
handbells (chimes,
glockenspiel), oboe,
unison voices. Level 2 .
Full score and parts.
Published by Chorister's
Guild
There's No Place
Like. Composed by
Robert Allen. Arranged by
Larry Clark. FS-SWS. Carl
Fischer Young Performance
Series. Score and Set of
Parts. With Standard
notation.
16+8+2+4+4+2+2+5+2+2+4+4+
4+6+3+2+3+2+1+2+2 pages.
Carl Fischer Music
#YPS38. Published by Carl
Fischer Music (CF.YPS38).
ISBN 9780825852152.
UPC: 798408052157. 9 X 12
inches. Key: Eb major.
Text: Al Stillman. Al
Stillman.
The
classic holiday favorite
by Al Stillman and Robert
Allen is presented here
in a playable arrangement
for concert band. It is
my hope that this
arrangement will be
equally satisfying for
the young band with ample
rehearsal time or for the
more mature band that
wants a holiday favorite
they can perform with
limited rehearsal. The
piece is presented first
in a lush chorale format
with the use of extended
jazz harmonies. Special
care should be given to
balancing and tuning the
inner voices for the most
pleasant sound. After the
lush opening on the
famous refrain the
arrangement moves to the
bridge in an up-tempo
swing. In this section
the percussion is written
to imitate a drum set,
but if a set is available
it may be preferable to
use it in order to get
the right feel. Following
the bridge is another
statement of the refrain
followed by a hymn-style
section by the reeds with
jazz interjections by the
brass straight out of the
famous Perry Como
rendition. This is
followed by a D.S. to the
bridge, one more refrain
and then a short coda It
has been my pleasure to
have the opportunity to
write this arrangement. I
hope you and your
students enjoy it and
find it useful for your
program. -LARRY CLARK New
York, NY 2003. The
classic holiday favorite
by Al Stillman and Robert
Allen is presented here
in a playable arrangement
for concert band. It is
my hope that this
arrangement will be
equally satisfying for
the young band with ample
rehearsal time or for the
more mature band that
wants a holiday favorite
they can perform with
limited rehearsal.The
piece is presented first
in a lush chorale format
with the use of extended
jazz harmonies. Special
care should be given to
balancing and tuning the
inner voices for the most
pleasant sound. After the
lush opening on the
famous refrain the
arrangement moves to the
bridge in an up-tempo
swing. In this section
the percussion is written
to imitate a drum set,
but if a set is available
it may be preferable to
use it in order to get
the right feel. Following
the bridge is another
statement of the refrain
followed by a
“hymn-styleâ€
section by the reeds with
jazz interjections by the
brass straight out of the
famous Perry Como
rendition. This is
followed by a D.S. to the
bridge, one more refrain
and then a short coda It
has been my pleasure to
have the opportunity to
write this arrangement. I
hope you and your
students enjoy it and
find it useful for your
program.-LARRY CLARKNew
York, NY 2003.
Pacific Fanfare Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire Manhattan Beach Music
By Frank Ticheli. Concert band - antiphonal. Suitable for the most advanced high...(+)
By Frank Ticheli. Concert
band - antiphonal.
Suitable for the most
advanced high school
bands, community,
college, university, and
professional bands. Grade
5. Conductor score and
set of parts. Duration
5:30
By Frank Ticheli. Concert band. Suitable for the most advanced high school bands...(+)
By Frank Ticheli. Concert
band. Suitable for the
most advanced high school
bands, community,
college, university, and
professional bands.
Level: Grade 6. Conductor
Full Score. Duration
21:00. Published by
Manhattan Beach Music.