By Michael Joncas. For Voices: SATB. Instruments: Flute, oboe, B clarinet, basso...(+)
By Michael Joncas. For
Voices: SATB.
Instruments: Flute, oboe,
B clarinet, bassoon,
brass septet (2 B
trumpets, 2 horns in F, 2
trombones, tuba), 5
strings, harp, 3 timpani,
glockenspiel (instruments
optional). Organ. Uses
Eucharistic Prayer for
Reconciliation II.
Chamber Music Sacred.
Level: easy/medium. 86
pages. Published by GIA
Publications.
SKU: LO.99-2650L Remembering Christ's final days and ultimate gift of ...(+)
SKU: LO.99-2650L
Remembering Christ's
final days and ultimate
gift of love.
Composed by Larry
Shackley. Choral,
cantatas. Holy Week,
Eastertide, Lent, Sacred.
Performance CD. Lorenz
Publishing Company
#99/2650L. Published by
Lorenz Publishing Company
(LO.99-2650L).
UPC:
000308124293.
No
Greater Sacrifice is a
thoughtful review of the
last days of Jesus'
earthly life as He
prepared Himself and His
followers for that which
was to come. It is a
poignant look at the
Master as He fulfilled
the call of God and
became the sacrificial
Lamb. The inspirational
blending of music,
lyrics, and narration
provides the framework
for a most meaningful
worship experience. This
work may be presented in
a single 20–25
minute performance, or
the five individual
anthems and their
correlating narratives
may be used to present
the final days of Jesus'
life during a series of
Lenten or Holy Week
services. Beginning with
the Palm Sunday entrance
into Jerusalem and
concluding with the
resounding refrain Worthy
Is the Lamb!, this
flexible and practical
worship resource is
designed specifically for
creative church musicians
to use during the busy
Lenten season. Includes
SATB and SAB
versions.
SATB a cappella Choral (SATB) SKU: HL.466847 Composed by Andrew Miller. P...(+)
SATB a cappella Choral
(SATB)
SKU:
HL.466847
Composed by
Andrew Miller. Pavane
Choral. Concert. Octavo.
Pavane Publishing #P1644.
Published by Pavane
Publishing (HL.466847).
UPC: 196288070757.
6.75x10.5x0.01
inches.
There is no
greater power than love,
is the message in this
song. With a cascade of
beautiful suspensions, we
are reminded how
meaningful it is to love
one another and help each
other. The combined music
and words carry a message
of truth that is
meaningful and profound.
For high school, college,
and community choirs.
Piano SKU: BR.EB-8936 33 Original Pieces for Piano. Composed by Ma...(+)
Piano
SKU:
BR.EB-8936
33
Original Pieces for
Piano. Composed by
Martina Schneider. Edited
by Martina Schneider.
Solo instruments;
stapled. Edition
Breitkopf. Music
pedagogy. Score. 68
pages. Breitkopf and
Haertel #EB 8936.
Published by Breitkopf
and Haertel (BR.EB-8936).
ISBN 9790004186039. 9
x 12
inches.
Playing
piano is great - and not
just in minor but also,
of course, in major keys
as well! High time for
the publication of the
companion to our
bestseller Toll in Moll
[Finer in Minor] (EB
9410) to complete now the
long missing other half.
Playing piano is great -
with a selection of
beautiful original works,
easy to moderate in
difficulty. These include
both familiar but above
all not so familiar
pieces from a repertoire
varying in terms of era
and style. Just by
listening to them, these
pieces will inspire you
to want to play piano
more and more. Playing
piano is great - when
pianists musically en
route to the large
wonderful works of piano
literature have the
opportunity to delve more
deeply into the special
aspects of piano music
from different epochs.
Playing piano is great -
with the pair, Greater in
Major and Finer in Minor
, two piano books that
pianists of all ages can
always return to and
enjoy over many
years.
Choral Hand Clap, Hand Drum, Violin, alto 1, alto 2, soprano 1, soprano 2 SKU...(+)
Choral Hand Clap, Hand
Drum, Violin, alto 1,
alto 2, soprano 1,
soprano 2
SKU:
CF.CM9563
Great
and Fiery Force.
Composed by Michael John
Trotta. Hidegard Von
Bingen transcribed by
Michael John Trotta.
Mjts. With Standard
notation. 24 pages.
Duration 4 minutes, 41
seconds. Carl Fischer
Music #CM9563. Published
by Carl Fischer Music
(CF.CM9563).
ISBN
9781491153635. UPC:
680160911134. 6.75 x 10.5
inches. Key: G minor.
Latin, English. Hidegard
Von Bingen transcribed by
Michael John
Trotta.
Trotta's
composition is an
energetic reimagining of
timeless text and tune
from the 12th century
poet, composer, and
philosopher Hildegard of
Bingen. The marriage of
the chant Caritas Abundat
with a text taken from
Liber Divinorum Operum
(The Book of Divine
Works) creates an
entirely new work that
expresses themes of
empowerment. There is a
reflective sense of the
empowerment that comes
from singing in a choir,
especially the power of
belonging to a group
united for a purpose
greater than
oneself. This
commissioned work for
womens choir is an
energetic reimagining of
a timeless text and tune
from the twelfth-century
poet, composer and
philosopher Hildegard of
Bingen. The text was
selected as a reflection
of the students' desire
to express the
empowerment that comes
from singing in a choir,
especially the power of
belonging to a group
united for a purpose
greater than oneself.
This piece marries the
chant Caritas
Abundat with a text
taken from Liber
Divinorum Operum
(The Book of Divine
Works), creating an
entirely new work that
expresses themes of
empowerment. An adapted
quotation of the tune is
introduced in the violin,
then taken up by the
choir, treated to a
five-part canon in the
more reflective middle
section, and finally
changes meter for an
energetic finish. I am
the great and fiery
force, That breathes life
into all things: I am
what awakens and supports
life And enkindles all
living things I am the
great and fiery force,
That breathes life into
all things: Everything in
the cosmos Is encircled
with my wisdom. I am the
beauty in the fields, The
force, that moves like a
graceful wind I shine in
the waters, and burn in
the sun, Glimmering in
the stars. Caritas
abundat in omnia (Grace
abounds for everyone)
[Liber Divinorum Operum
(The Book of Divine
Works), I.I.2]. This
commissioned work for
womenas choir is an
energetic reimagining of
a timeless text and tune
from the twelfth-century
poet, composer and
philosopher Hildegard of
Bingen. The text was
selected as a reflection
of the students' desire
to express the
empowerment that comes
from singing in a choir,
especially the power of
belonging to a group
united for a purpose
greater than oneself.
This piece marries the
chant Caritas
Abundat with a text
taken from Liber
Divinorum Operum
(The Book of Divine
Works), creating an
entirely new work that
expresses themes of
empowerment. An adapted
quotation of the tune is
introduced in the violin,
then taken up by the
choir, treated to a
five-part canon in the
more reflective middle
section, and finally
changes meter for an
energetic finish. I am
the great and fiery
force, That breathes life
into all things: I am
what awakens and supports
life And enkindles all
living things I am the
great and fiery force,
That breathes life into
all things: Everything in
the cosmos Is encircled
with my wisdom. I am the
beauty in the fields, The
force, that moves like a
graceful wind I shine in
the waters, and burn in
the sun, Glimmering in
the stars. Caritas
abundat in omnia (Grace
abounds for everyone)
[Liber Divinorum Operum
(The Book of Divine
Works), I.I.2]. This
commissioned work for
womenas choir is an
energetic reimagining of
a timeless text and tune
from the twelfth-century
poet, composer and
philosopher Hildegard of
Bingen. The text was
selected as a reflection
of the students' desire
to express the
empowerment that comes
from singing in a choir,
especially the power of
belonging to a group
united for a purpose
greater than oneself.
This piece marries the
chant Caritas
Abundat with a text
taken from Liber
Divinorum Operum
(The Book of Divine
Works), creating an
entirely new work that
expresses themes of
empowerment. An adapted
quotation of the tune is
introduced in the violin,
then taken up by the
choir, treated to a
five-part canon in the
more reflective middle
section, and finally
changes meter for an
energetic finish. I am
the great and fiery
force, That breathes life
into all things: I am
what awakens and supports
life And enkindles all
living things I am the
great and fiery force,
That breathes life into
all things: Everything in
the cosmos Is encircled
with my wisdom. I am the
beauty in the fields, The
force, that moves like a
graceful wind I shine in
the waters, and burn in
the sun, Glimmering in
the stars. Caritas
abundat in omnia (Grace
abounds for everyone)
[Liber Divinorum Operum
(The Book of Divine
Works), I.I.2]. This
commissioned work for
women's choir is an
energetic reimagining of
a timeless text and tune
from the twelfth-century
poet, composer and
philosopher Hildegard of
Bingen. The text was
selected as a reflection
of the students' desire
to express the
empowerment that comes
from singing in a choir,
especially the power of
belonging to a group
united for a purpose
greater than oneself.
This piece marries the
chant Caritas
Abundat with a text
taken from Liber
Divinorum Operum
(The Book of Divine
Works), creating an
entirely new work that
expresses themes of
empowerment. An adapted
quotation of the tune is
introduced in the violin,
then taken up by the
choir, treated to a
five-part canon in the
more reflective middle
section, and finally
changes meter for an
energetic finish. I am
the great and fiery
force, That breathes life
into all things: I am
what awakens and supports
life And enkindles all
living things I am the
great and fiery force,
That breathes life into
all things: Everything in
the cosmos Is encircled
with my wisdom. I am the
beauty in the fields, The
force, that moves like a
graceful wind I shine in
the waters, and burn in
the sun, Glimmering in
the stars. Caritas
abundat in omnia (Grace
abounds for everyone)
[Liber Divinorum Operum
(The Book of Divine
Works), I.I.2]. This
commissioned work for
women's choir is an
energetic reimagining of
a timeless text and tune
from the twelfth-century
poet, composer and
philosopher Hildegard of
Bingen. The text was
selected as a reflection
of the students' desire
to express the
empowerment that comes
from singing in a choir,
especially the power of
belonging to a group
united for a purpose
greater than oneself.
This piece marries the
chant Caritas Abundat
with a text taken from
Liber Divinorum Operum
(The Book of Divine
Works), creating an
entirely new work that
expresses themes of
empowerment. An adapted
quotation of the tune is
introduced in the violin,
then taken up by the
choir, treated to a
five-part canon in the
more reflective middle
section, and finally
changes meter for an
energetic finish. I am
the great and fiery
force, That breathes life
into all things: I am
what awakens and supports
life And enkindles all
living things I am the
great and fiery force,
That breathes life into
all things: Everything in
the cosmos Is encircled
with my wisdom. I am the
beauty in the fields, The
force, that moves like a
graceful wind I shine in
the waters, and burn in
the sun, Glimmering in
the stars. Caritas
abundat in omnia (Grace
abounds for everyone)
[Liber Divinorum Operum
(The Book of Divine
Works), I.I.2]. This
commissioned work for
women’s choir is
an energetic reimagining
of a timeless text and
tune from the
twelfth-century poet,
composer and philosopher
Hildegard of Bingen. The
text was selected as a
reflection of the
students' desire to
express the empowerment
that comes from singing
in a choir, especially
the power of belonging to
a group united for a
purpose greater than
oneself.This piece
marries the chant Caritas
Abundat with a text taken
from Liber Divinorum
Operum (The Book of
Divine Works), creating
an entirely new work that
expresses themes of
empowerment.An adapted
quotation of the tune is
introduced in the violin,
then taken up by the
choir, treated to a
five-part canon in the
more reflective middle
section, and finally
changes meter for an
energetic finish.I am the
great and fiery
force,That breathes life
into all things:I am what
awakens and supports
lifeAnd enkindles all
living thingsI am the
great and fiery
force,That breathes life
into all
things:Everything in the
cosmosIs encircled with
my wisdom.I am the beauty
in the fields,The force,
that moves like a
graceful windI shine in
the waters, and burn in
the sun,Glimmering in the
stars.Caritas abundat in
omnia (Grace abounds for
everyone)[Liber Divinorum
Operum (The Book of
Divine Works),
I.I.2].
For Violin and
Orchestra. Composed
by Behzad Ranjbaran.
Contemporary. Large
Score. With Standard
notation. Composed 1994.
144 pages. Duration 31
minutes. Theodore Presser
Company #416-41366L.
Published by Theodore
Presser Company
(PR.41641366L).
UPC:
680160585755.
From
my early years studying
violin at the Tehran
Music Conservatory, I was
captivated by the sound
of the kamancheh, an
ancient Persian bowed
instrument considered one
of the ancestors to the
modern violin. I was
pleased when the National
Endowment for the Arts
awarded me a grant to
write a violin concerto
as it provided me with an
occasion to rekindle my
fascination with the
kamancheh. The notion of
writing a violin concerto
that would incorporate
the power and brilliance
of a modern instrument
with the delicate and
lyrical character of an
ancient one was simply
irresistible. Moreover,
the inspiration from the
kamancheh also informed
my use of Persian modes,
melodic, and rhythmic
figures. The notes of the
violins open strings (G,
D, A, E) also influenced
many of the melodic and
harmonic elements of my
violin concerto. The
opening tutti is mostly
based on intervals of a
perfect 4th and 5th. The
primary material for each
movement incorporates
notes of two of the open
strings of the violin,
creating a three-note
melodic motif as the
basis of themes: 1 st
movement: A-D-A 2nd
movement: D-G-D 3rd
movement: E-A-E The
overall structure of the
concerto is organic and
cyclical, as themes are
shared between the three
movements. For example,
the main musical idea of
the third movement is a
transformation of the
first movements primary
theme. While the
movements share similar
musical materials, each
one is defined by
distinguishing
characters. The first
movement is conflicted;
alternating between
sections of unabashed
lyricism and unforgiving
ferocity. The second
movement is haunting,
mysterious, and
expressive with long
melodic lines that vary
continuously. It moves
through different moods
and characters including
a reimagining of a
traditional Persian
wedding tune played by
the orchestra (m. 98).
The third movement is
festive in character and
features much brilliant
passagework for the solo
violin. At the climax of
this movement, themes
from the previous
movements re-emerge
simultaneously with
greater intensity,
propelling the concerto
to an energetic finale.
The Concerto was composed
in 1994 and is dedicated
to Joshua Bell. From
my early years studying
violin at the Tehran
Music Conservatory, I was
captivated by the sound
of the kamancheh, an
ancient Persian bowed
instrument considered one
of the ancestors to the
modern violin. I was
pleased when the National
Endowment for the Arts
awarded me a grant to
write a violin concerto
as it provided me with an
occasion to rekindle my
fascination with the
kamancheh. The notion of
writing a violin concerto
that would incorporate
the power and brilliance
of a modern instrument
with the delicate and
lyrical character of an
ancient one was simply
irresistible. Moreover,
the inspiration from the
kamancheh also informed
my use of Persian modes,
melodic, and rhythmic
figures. The notes of the
violinas open strings (G,
D, A, E) also influenced
many of the melodic and
harmonic elements of my
violin concerto. The
opening tutti is mostly
based on intervals of a
perfect 4th and 5th. The
primary material for each
movement incorporates
notes of two of the open
strings of the violin,
creating a three-note
melodic motif as the
basis of themes: 1 st
movement: A-D-A 2nd
movement: D-G-D 3rd
movement: E-A-E The
overall structure of the
concerto is organic and
cyclical, as themes are
shared between the three
movements. For example,
the main musical idea of
the third movement is a
transformation of the
first movementas primary
theme. While the
movements share similar
musical materials, each
one is defined by
distinguishing
characters. The first
movement is conflicted;
alternating between
sections of unabashed
lyricism and unforgiving
ferocity. The second
movement is haunting,
mysterious, and
expressive with long
melodic lines that vary
continuously. It moves
through different moods
and characters including
a reimagining of a
traditional Persian
wedding tune played by
the orchestra (m. 98).
The third movement is
festive in character and
features much brilliant
passagework for the solo
violin. At the climax of
this movement, themes
from the previous
movements re-emerge
simultaneously with
greater intensity,
propelling the concerto
to an energetic finale.
The Concerto was composed
in 1994 and is dedicated
to Joshua Bell. From
my early years studying
violin at the Tehran
Music Conservatory, I was
captivated by the sound
of the kamancheh, an
ancient Persian bowed
instrument considered one
of the ancestors to the
modern violin. I was
pleased when the National
Endowment for the Arts
awarded me a grant to
write a violin concerto
as it provided me with an
occasion to rekindle my
fascination with the
kamancheh. The notion of
writing a violin concerto
that would incorporate
the power and brilliance
of a modern instrument
with the delicate and
lyrical character of an
ancient one was simply
irresistible. Moreover,
the inspiration from the
kamancheh also informed
my use of Persian modes,
melodic, and rhythmic
figures. The notes of the
violin's open strings (G,
D, A, E) also influenced
many of the melodic and
harmonic elements of my
violin concerto. The
opening tutti is mostly
based on intervals of a
perfect 4th and 5th. The
primary material for each
movement incorporates
notes of two of the open
strings of the violin,
creating a three-note
melodic motif as the
basis of themes: 1 st
movement: A-D-A 2nd
movement: D-G-D 3rd
movement: E-A-E The
overall structure of the
concerto is organic and
cyclical, as themes are
shared between the three
movements. For example,
the main musical idea of
the third movement is a
transformation of the
first movement's primary
theme. While the
movements share similar
musical materials, each
one is defined by
distinguishing
characters. The first
movement is conflicted;
alternating between
sections of unabashed
lyricism and unforgiving
ferocity. The second
movement is haunting,
mysterious, and
expressive with long
melodic lines that vary
continuously. It moves
through different moods
and characters including
a reimagining of a
traditional Persian
wedding tune played by
the orchestra (m. 98).
The third movement is
festive in character and
features much brilliant
passagework for the solo
violin. At the climax of
this movement, themes
from the previous
movements re-emerge
simultaneously with
greater intensity,
propelling the concerto
to an energetic finale.
The Concerto was composed
in 1994 and is dedicated
to Joshua Bell. From
my early years studying
violin at the Tehran
Music Conservatory, I was
captivated by the sound
of the kamancheh, an
ancient Persian bowed
instrument considered one
of the ancestors to the
modern violin. I was
pleased when the National
Endowment for the Arts
awarded me a grant to
write a violin concerto
as it provided me with an
occasion to rekindle my
fascination with the
kamancheh. The notionof
writing a violin concerto
that would incorporate
the power and brilliance
of a modern instrument
with the delicate and
lyrical character of an
ancient one was simply
irresistible. Moreover,
the inspiration from the
kamancheh also informed
my use of Persian modes,
melodic, and rhythmic
figures.The notes of the
violin’s open
strings (G, D, A, E) also
influenced many of the
melodic and harmonic
elements of my violin
concerto. The opening
tutti is mostly based on
intervals of a perfect
4th and 5th. The primary
material for each
movement incorporates
notes of two of the open
strings of the violin,
creating a three-note
melodic motif as the
basis of themes:1 st
movement: A-D-A2nd
movement: D-G-D3rd
movement: E-A-EThe
overall structure of the
concerto is organic and
cyclical, as themes are
shared between the three
movements. For example,
the main musical idea of
the third movement is a
transformation of the
first movement’s
primary theme. While the
movements share similar
musical materials, each
one is definedby
distinguishing
characters. The first
movement is conflicted;
alternating between
sections of unabashed
lyricism and
unforgivingferocity. The
second movement is
haunting, mysterious, and
expressive with long
melodic lines that vary
continuously. It moves
through different moods
and characters including
a reimagining of a
traditional Persian
wedding tune played by
the orchestra (m. 98).
The third movement is
festive in character and
features much brilliant
passagework for the solo
violin. At the climax of
this movement, themes
fromthe previous
movements re-emerge
simultaneously with
greater intensity,
propelling the concerto
to an energetic finale.
The Concerto was composed
in 1994 and is dedicated
to Joshua Bell.
Finer in Minor Piano seul [Conducteur] Breitkopf & Härtel
Piano SKU: BR.EB-9410 33 Original Pieces for Piano. Composed by Ma...(+)
Piano
SKU:
BR.EB-9410
33
Original Pieces for
Piano. Composed by
Martina Schneider. Solo
instruments; stapled.
Edition Breitkopf. The
editors of the Keyboard
Crocodile have delved
into music history's
treasure chest of piano
literature and come up
with some gems in the
minor mode that offer
major enjoyment.MP3
audiofiles, performed by
Aki Sakae, are to be
found on YouTube. Music
pedagogy. Score. 68
pages. Breitkopf and
Haertel #EB 9410.
Published by Breitkopf
and Haertel (BR.EB-9410).
ISBN 9790004188842. 9
x 12 inches.
The
new Finer in Minor With
beautiful, easy to
moderately difficult,
familiar and above all
not so familiar pieces,
our bestseller Finer in
Minor has now been a
companion for many
generations on their way
to the wonderful works of
major piano literature.
In the meantime, the
sister edition Greater in
Major (EB 8936) expands
the sound palette,
showing that playing the
piano in a major key is,
of course, just as
beautiful as playing in a
minor key! In the course
of preparing it, the
desire for freshness and
renewal of the
well-established
minor-key edition
developed. Editors and
publishing house finally
gave in and decided on a
revised and expanded new
edition. The outer
appearance has been
adapted to its major-key
twin, and inside the
edition, things look new
and different, too. New
composers and even more
pieces expand the range
of minor-key music to
include new worlds of
sound and feeling. Thus,
playing the piano is
simply great - with
Greater in Major and
Finer in Minor ! Voices
to the 1st edition: It is
a good collection of easy
pieces and well edited.
(Music Teacher) The
publisher began with a
novel idea and invested
their faith in its
success by producing a
bright, colorful album
that will easily catch
the eye of the potential
buyer. (Trevor Barnard,
Music Teacher)
The
editors of the Keyboard
Crocodile have delved
into music history's
treasure chest of piano
literature and come up
with some gems in the
minor mode that offer
major enjoyment.MP3
audiofiles, performed by
Aki Sakae, are to be
found in the download
section or on YouTube.
Here you can find the
sister edition Greater in
Major.
(Leadsheets for Performance and Personal Enjoyment). Composed by David Mcdonald....(+)
(Leadsheets for
Performance and Personal
Enjoyment). Composed by
David Mcdonald. For voice
solo. Sacred Vocal.
Published by Lillenas
Publishing Company
SAMz chorus, solo voice and Piano (SAM) - Grade 2+ SKU: ZB.ZE-4080 Fro...(+)
SAMz chorus, solo voice
and Piano (SAM) - Grade
2+
SKU: ZB.ZE-4080
From GREATER THAN
ANYTHING (ZE 4071).
Composed by Niko
Schlenker. Arrangement
for mixed voices, soloist
and piano. Gospel Music.
Octavo. Zebe Publishing
#ZE 4080. Published by
Zebe Publishing
(ZB.ZE-4080).
Single Print
from Niko Schlenker's
GREATER THAN ANYTHING
(ZE4070) includes the
vocal part.
Chamber Music String Quartet SKU: PR.11440902S Composed by Behzad Ranjbar...(+)
Chamber Music String
Quartet
SKU:
PR.11440902S
Composed
by Behzad Ranjbaran. Full
score. With Standard
notation. Composed 1990.
44 pages. Duration 22
minutes. Theodore Presser
Company #114-40902S.
Published by Theodore
Presser Company
(PR.11440902S).
UPC:
680160013708.
The
quartet begins with a
5-note motif, played in
unison that permeates
melodically and
harmonically throughout
the movement. The
energetic and hard-driven
character of the second
musical idea propels the
music forward with fast
moving notes and greater
urgency. It often
alternates with the more
lyrical rendition of the
5-note motif, yielding
contrasting sections.
After a brief coda, the
5-note motif concludes
the movement much the
same way it had begun but
with greater intensity.
The second movement
explores the world of
fantasy. To some extent
the beginning and the
ending of the movement
function as the opening
and closing doors that
separate the reality from
the dream and
subconscious. It is one
continuous movement in an
arch form that gradually
accelerates to an
expansive emotional
climax and returning
steadily to the surface
led by an ethereal solo
cello. The transcendent
ending is similar to the
beginning, though half
step higher. The third
movement begins boldly
with the 5-note motif
transformed into a dance
character in a compound
meter. The asymmetrical
meter of the Persian folk
music influences much of
the rhythmic character of
the movement. The return
of many materials from
earlier movements
interwoven into the
fabric of this movement
reinforces the cyclical
and organic character of
the quarter.
Particularly, a
mysterious passage,
reminiscence of the
second movement leading
to a brief full-blown
ballad is a favorite
moment of Ranjbaran's in
the quartet. A blazingly
virtuosic viola leads the
quartet to an uplifting
conclusion.
Trumpet SKU: M7.AHW-1603 Composed by David Baker. Sheet music. Charles Co...(+)
Trumpet
SKU:
M7.AHW-1603
Composed
by David Baker. Sheet
music. Charles Colin
Corp. #AHW 1603.
Published by Charles
Colin Corp.
(M7.AHW-1603).
English.
'Improv
isational Patterns: The
Bebop Era' is a series of
pattern books predicated
on the belief that while
certain patterns seem to
transcend eras and
styles, the greater body
of improvisational
material is of high
specificity with regard
to its time and place
within the jazz
continuum. The bebop era
initiates the series
since in the minds of
many people, (the author
included), this era is
the common practice
period of jazz music.
While the patterns in
this book are also highly
specific, they enjoy a
greater continuing
currency than do the
patterns of any other
period in jazz's brief
history. The many II V7,
cycle and turnaround
patterns are based on
protracted studies of
literally hundreds of
solos by the jazz greats
of the bebop era. Volume
1 is over 100 pages and
volumes 2 and 3 are over
50 pages each, making
this one of the biggest
jazz improv books ever
written.
SAMz chorus and Piano (SAM) - Grade 3+ SKU: ZB.ZE-4081 From GREATER TH...(+)
SAMz chorus and Piano
(SAM) - Grade 3+
SKU:
ZB.ZE-4081
From
GREATER THAN ANYTHING (ZE
4071). Composed by
Niko Schlenker.
Arrangement for mixed
voices and piano. Gospel
Music. Octavo. Zebe
Publishing #ZE 4081.
Published by Zebe
Publishing (ZB.ZE-4081).
Single Print
from Niko Schlenker's
GREATER THAN ANYTHING
(ZE4070) includes the
vocal part.
Composed by
Carlos Lalonde. Set of
Score and Parts. Duration
3:30. Carl Fischer Music
#YAS230. Published by
Carl Fischer Music
(CF.YAS230).
ISBN
9781491162781. UPC:
680160921539. Key: E
minor.
The phoenix
is a mythical symbol that
dates back to ancient
times, representing the
idea of rebirth and being
born again out of the
ashes. This piece
explores the idea of
taking a rhythmic motive
and developing it in such
a way that it gains
momentum, then dies away
before rising to even
greater heights. Set in E
minor, this piece works
in particular on the
finger pattern for
D-sharp accidentals in
all parts. The fiery
theme builds slowly using
accented accompaniments
and dramatic dynamics to
build intensity. A brief
lull reveals a lyrical
melody, allowing players
to perfect four-note
slurs with optional
shifting in first violin.
Then the opening theme
returns with even greater
fire, growing to a
glorious finale.
About Carl
Fischer Young String
Orchestra
Series
Thi
s series of Grade 2/Grade
2.5 pieces is designed
for second and third year
ensembles. The pieces in
this series are
characterized
by: --Occasionally
extending to third
position --Keys
carefully considered for
appropriate
difficulty --Addition
of separate 2nd violin
and viola
parts --Viola T.C.
part
included --Increase
in independence of parts
over beginning levels
SAMz chorus, solo voice ad lib. And Piano (SAM) - Grade 3 SKU: ZB.ZE-4078 ...(+)
SAMz chorus, solo voice
ad lib. And Piano (SAM) -
Grade 3
SKU:
ZB.ZE-4078
From
GREATER THAN ANYTHING (ZE
4071). Composed by
Niko Schlenker.
Arrangement for mixed
voices, soloist ad lib
and piano. Gospel Music.
Octavo. Zebe Publishing
#ZE 4078. Published by
Zebe Publishing
(ZB.ZE-4078).
Single Print
from Niko Schlenker's
GREATER THAN ANYTHING
(ZE4070) includes the
vocal part.
SAMz chorus, solo voice and Piano (SAM) - Grade 2+ SKU: ZB.ZE-4087 Fro...(+)
SAMz chorus, solo voice
and Piano (SAM) - Grade
2+
SKU: ZB.ZE-4087
From GREATER THAN
ANYTHING (ZE 4071).
Composed by Niko
Schlenker. Arrangement
for mixed voices, soloist
and piano. Gospel Music.
Octavo. Zebe Publishing
#ZE 4087. Published by
Zebe Publishing
(ZB.ZE-4087).
Single Print
from Niko Schlenker's
GREATER THAN ANYTHING
(ZE4070) includes the
vocal part.
Concert Band - Advanced; Intermediate SKU: PE.TSGSE001 Composed by Tyler ...(+)
Concert Band - Advanced;
Intermediate
SKU:
PE.TSGSE001
Composed
by Tyler S. Grant. Brass
Band; Performance Music
Ensemble. Tyler S. Grant
Music Works. Score and
Part(s). Duration 2:00.
Edition Peters
#98-TSGSE001. Published
by Edition Peters
(PE.TSGSE001).
UPC:
038081584270.
Origi
nally scored for brass
and percussion, Panoramic
Fanfare by Tyler S. Grant
was performed by members
of the Dallas Wind
Symphony and the Greater
Dallas Youth Orchestra as
a winning composition in
the DWS's Call for
Fanfares competition.
While still remaining
true to the original,
Tyler has expanded the
thematic material in a
way that exhibits greater
harmonic color and
stunning panoramic
imagery. (2:00).
Concert Band - Advanced; Intermediate SKU: PE.TSGSE001S Composed by Tyler...(+)
Concert Band - Advanced;
Intermediate
SKU:
PE.TSGSE001S
Composed
by Tyler S. Grant. Brass
Band; Performance Music
Ensemble; Solo Small
Ensembles. Tyler S. Grant
Music Works. Score.
Duration 2:00. Edition
Peters #98-TSGSE001S.
Published by Edition
Peters (PE.TSGSE001S).
UPC:
038081584553.
Origi
nally scored for brass
and percussion, Panoramic
Fanfare by Tyler S. Grant
was performed by members
of the Dallas Wind
Symphony and the Greater
Dallas Youth Orchestra as
a winning composition in
the DWS's Call for
Fanfares competition.
While still remaining
true to the original,
Tyler has expanded the
thematic material in a
way that exhibits greater
harmonic color and
stunning panoramic
imagery. (2:00).
(A day-to-day guide to better drumming). By Claus Hessler. For Drumset. Book; CD...(+)
(A day-to-day guide to
better drumming). By
Claus Hessler. For
Drumset. Book; CD;
Method/Instruction;
Percussion - Drum Set
Method or Collection;
Technique Musicianship.
Published by Alfred Music
Publishing
Chamber Music String Quartet SKU: PR.114410380 Composed by Lowell Lieberm...(+)
Chamber Music String
Quartet
SKU:
PR.114410380
Composed
by Lowell Liebermann.
Saddle, Tape Junction.
Set of Score and Parts.
With Standard notation.
Composed 1998. Opus 60.
48 + 92 pages. Duration
30 minutes. Theodore
Presser Company
#114-41038. Published by
Theodore Presser Company
(PR.114410380).
UPC:
680160015160. 9.5 x 13
inches.
My second
String Quartet was
written twenty years
after the first, Opus 4
from 1978. The First
Quartet is an obsessively
contrapuntal work in one
movement, which was no
doubt influenced by my
studies with David
Diamond. I had always
intended to return to the
medium once I left the
astringency of my earlier
style, but it was only
when the National
Federation of Music Clubs
commissioned a major
chamber work, with
unspecified
instrumentation, to
celebrate their 100th
Anniversary that I was
enabled to do so. The
Second Quartet is in four
movements: Moderato,
Allegro isterico, an
Andante theme with 11
variations, and the
closing Allegro, which
then returns to the tempo
of the first movement. An
audience member at the
premiere told me that she
heard echoes of recent
tragic events such as the
Oklahoma bombing in this
work. While I had no such
programmatic intent while
writing the quartet, it
was not an entirely
incorrect assessment of
the work's intended
emotional impact. The
quartet is pervaded by a
sense of seriousness,
even mournfulness. The
second movement's scherzo
is an aggressively
animated piece of musical
machinery. The third
movement's Variations
unfold into a greater
variety of moods than the
others - but the moments
of lyricism are countered
by aggressive or ironic
outbursts. The final
movement's attempt at
triumph quickly subsides
into a return of the
first movement, before
being transformed onto a
sense of resignation and
acceptance as the
chromaticism of the
opening theme is
transformed into a pure
and diatonic C-Major. The
work received its world
premiere by the Shanghai
Quartet at the 100th
Anniversary Congress of
the National Federation
of Music Clubs at the
Congress Hotel in Chicago
on August 19th
1998. My second String
Quartet was written
twenty years after the
first, Opus 4 from
1978. The First
Quartet is an obsessively
contrapuntal work in one
movement, which was no
doubt influenced by my
studies with David
Diamond. I had always
intended to return to the
medium once I left the
astringency of my earlier
style, but it was only
when the National
Federation of Music Clubs
commissioned a major
chamber work, with
unspecified
instrumentation, to
celebrate their 100th
Anniversary that I was
enabled to do so.The
Second Quartet is in four
movements:Â Moderato,
Allegro isterico, an
Andante theme with 11
variations, and the
closing Allegro, which
then returns to the tempo
of the first movement.An
audience member at the
premiere told me that she
heard echoes of recent
tragic events such as the
Oklahoma bombing in this
work. While I had no
such programmatic intent
while writing the
quartet, it was not an
entirely incorrect
assessment of the
work’s intended
emotional impact. The
quartet is pervaded by a
sense of seriousness,
even mournfulness.Â
The second
movement’s scherzo
is an aggressively
animated piece of musical
machinery. The third
movement’s
Variations unfold into a
greater variety of moods
than the others –
but the moments of
lyricism are countered by
aggressive or ironic
outbursts. The final
movement’s attempt
at triumph quickly
subsides into a return of
the first movement,
before being transformed
onto a sense of
resignation and
acceptance as the
chromaticism of the
opening theme is
transformed into a pure
and diatonic C-Major.The
work received its world
premiere by the Shanghai
Quartet at the 100th
Anniversary Congress of
the National Federation
of Music Clubs at the
Congress Hotel in Chicago
on August 19th 1998.
Composed
by Carlos Lalonde. Full
score. 8 pages. Duration
3:30. Carl Fischer Music
#YAS230F. Published by
Carl Fischer Music
(CF.YAS230F).
ISBN
9781491163122. UPC:
680160921874. Key: E
minor.
The phoenix
is a mythical symbol that
dates back to ancient
times, representing the
idea of rebirth and being
born again out of the
ashes. This piece
explores the idea of
taking a rhythmic motive
and developing it in such
a way that it gains
momentum, then dies away
before rising to even
greater heights. Set in E
minor, this piece works
in particular on the
finger pattern for
D-sharp accidentals in
all parts. The fiery
theme builds slowly using
accented accompaniments
and dramatic dynamics to
build intensity. A brief
lull reveals a lyrical
melody, allowing players
to perfect four-note
slurs with optional
shifting in first violin.
Then the opening theme
returns with even greater
fire, growing to a
glorious finale.
About Carl
Fischer Young String
Orchestra
Series
Thi
s series of Grade 2/Grade
2.5 pieces is designed
for second and third year
ensembles. The pieces in
this series are
characterized
by: --Occasionally
extending to third
position --Keys
carefully considered for
appropriate
difficulty --Addition
of separate 2nd violin
and viola
parts --Viola T.C.
part
included --Increase
in independence of parts
over beginning levels