In All Major and Minor Keys. Composed by J. B. Albert. Edited by Julie DeRoche...(+)
In All Major and Minor
Keys.
Composed by J. B. Albert.
Edited by Julie DeRoche.
Book.
With Standard notation.
32
pages. Carl Fischer Music
#O99X. Published by Carl
Fischer Music
Composed by Traditional
African-American
Spiritual. Arranged by
Kevin Phillip Johnson.
Set of Score and Parts.
44+32+2 pages. Duration 4
minutes, 5 seconds. Carl
Fischer Music #CM9743IN.
Published by Carl Fischer
Music (CF.CM9743IN).
ISBN 9781491162231.
UPC: 680160920990. Key: E
minor. English. Iyana
Davis. Negro Spiritual
with Rap crafter by Ayana
Davis.
This Negro
Spiritual was made
popular by the Golden
Gate Quartet in the
1930s. Willie T. Johnson,
the lead singer of the
group, is the father of
Kevin P. Johnson the
arranger of this version.
The composer, like his
father, uses rhythm in
exciting new ways to
deliver Negro Spirituals
to contemporary
audiences. The text of
this spiritual has been
interpreted in many
different ways over the
years. Here's a popular
interpretation of the
text. One for the little
bitty baby born, born,
born in Bethlehem: This
refers to the infant
Jesus. Two for Paul and
Silas: This verse honors
Paul and Silas who went
on many missionary
journeys to spread the
teachings of Christ.
Three for the Hebrew
children: The three
Hebrew children could be
Shadrach, Meshach and
Abednego. Four for the
four that stood at the
door: Many people
interpret the four to be
the four writers of the
Gospel books - Matthew,
Mark, Luke and John,
though this does not
explain the part about
standing at the door.
Five for the gospel
preachers: The five are
Matthew, Mark, Luke, John
and Peter. Paul is
already mentioned above,
in line two. Six for the
six that never got fixed:
Could this mean the
sinners who never change
their ways? Seven for the
seven that went up to
heaven: The seven in
heaven could be the seven
stars in Ursa Major or
the sevenfold spirit of
God or the seven early
Christian churches or the
seven stars in the right
hand of Christ mentioned
in the Revelation. Eight
for the eight that stood
at the gate: This could
refer to the eight people
who entered Noah's ark
(Noah, his wife, their
three sons and their
wives). Nine for the nine
that dressed so fine:
This could refer to the
nine orders of Angels in
heaven. Ten for the ten
commandments: This refers
to the ten commandments
given to Moses.
Performance notes: Swing
the 8th notes Djembe
drums should be played
freely with flexible
precision The rap can be
optional The ending solo
can be sung down an
octave and can be changed
to match the ability of
the soloist. Do not clap
louder than you sing If
doing choral movement on
the piece, pay attention
to detail synchronizing
movements as much as
possible. While the rap
is words in rhythm, if
adding one is not
possible for your
performance, consider a
spoken word of your own
choosing Have
fun!. This Negro
Spiritual was made
popular by the Golden
Gate Quartet in the
1930s. Willie T. Johnson,
the lead singer of the
group, is the father of
Kevin P. Johnson the
arranger of this
version. The
composer, like his
father, uses rhythm in
exciting new ways to
deliver Negro Spirituals
to contemporary
audiences.The text of
this spiritual has been
interpreted in many
different ways over the
 years. Here's a
popular interpretation of
the text. One for the
little bitty baby born,
born, born in
Bethlehem:Â This refers
to the infant Jesus. Two
for Paul and
Silas:Â This verse
honors Paul and Silas who
went on many missionary
journeys to spread the
teachings of Christ.Â
Three for the Hebrew
children: The three
Hebrew children could be
Shadrach, Meshach and
Abednego. Four for
the four that stood at
the door:Â Many people
interpret the four
to be the four writers
of the Gospel books
– Matthew, Mark,
Luke and John, though
this does not explain the
part about standing at
the door. Five for the
gospel preachers: The
five are Matthew, Mark,
Luke, John and Peter.
Paul is already mentioned
above, in line two. Six
for the six that never
got fixed: Could this
mean the sinners who
never change their
ways? Seven for the
seven that went up to
heaven: The seven in
heaven could be
the seven stars in
Ursa
Major or the sev
enfold
spirit of God or
 the seven early
 Christian churches
 or the sevenÂ
stars in the
right hand of Ch
rist mentioned inÂ
the Revelation.
Eight for the eight that
stood at the gate: This
could refer to the eight
people who entered
Noah’s ark (Noah,
his wife, their three
sons and their wives).
Nine for the nine that
dressed so fine: This
could refer to the nine
orders of Angels in
heaven. Ten for the
ten commandments: This
refers to the ten
commandments given to
Moses.Performance notes:
Swing the 8th notes
Djembe drums should be
played freely with
flexible precision The
rap can be optional The
ending solo can be sung
down an octave and can be
changed to match the
ability of the soloist.
Do not clap louder than
you sing If doing choral
movement on the piece,
pay attention to detail
synchronizing movements
as much as possible.
While the rap is words in
rhythm, if adding one is
not possible for your
performance, consider a
spoken word of your own
choosing Have fun!
Choral SATB Choir, Bass Guitar, Percussion, Piano SKU: CF.CM9743 Composed...(+)
Choral SATB Choir, Bass
Guitar, Percussion, Piano
SKU: CF.CM9743
Composed by Traditional
African-American
Spiritual. Arranged by
Kevin Phillip Johnson. 20
pages. Duration 4
minutes, 5 seconds. Carl
Fischer Music #CM9743.
Published by Carl Fischer
Music (CF.CM9743).
ISBN 9781491161562.
UPC: 680160920211. Key: E
minor. English. Iyana
Davis. Negro Spiritual
with Rap crafter by Ayana
Davis.
This Negro
Spiritual was made
popular by the Golden
Gate Quartet in the
1930s. Willie T. Johnson,
the lead singer of the
group, is the father of
Kevin P. Johnson the
arranger of this version.
The composer, like his
father, uses rhythm in
exciting new ways to
deliver Negro Spirituals
to contemporary
audiences. The text of
this spiritual has been
interpreted in many
different ways over the
years. Here's a popular
interpretation of the
text. One for the little
bitty baby born, born,
born in Bethlehem: This
refers to the infant
Jesus. Two for Paul and
Silas: This verse honors
Paul and Silas who went
on many missionary
journeys to spread the
teachings of Christ.
Three for the Hebrew
children: The three
Hebrew children could be
Shadrach, Meshach and
Abednego. Four for the
four that stood at the
door: Many people
interpret the four to be
the four writers of the
Gospel books - Matthew,
Mark, Luke and John,
though this does not
explain the part about
standing at the door.
Five for the gospel
preachers: The five are
Matthew, Mark, Luke, John
and Peter. Paul is
already mentioned above,
in line two. Six for the
six that never got fixed:
Could this mean the
sinners who never change
their ways? Seven for the
seven that went up to
heaven: The seven in
heaven could be the seven
stars in Ursa Major or
the sevenfold spirit of
God or the seven early
Christian churches or the
seven stars in the right
hand of Christ mentioned
in the Revelation. Eight
for the eight that stood
at the gate: This could
refer to the eight people
who entered Noah's ark
(Noah, his wife, their
three sons and their
wives). Nine for the nine
that dressed so fine:
This could refer to the
nine orders of Angels in
heaven. Ten for the ten
commandments: This refers
to the ten commandments
given to Moses.
Performance notes: Swing
the 8th notes Djembe
drums should be played
freely with flexible
precision The rap can be
optional The ending solo
can be sung down an
octave and can be changed
to match the ability of
the soloist. Do not clap
louder than you sing If
doing choral movement on
the piece, pay attention
to detail synchronizing
movements as much as
possible. While the rap
is words in rhythm, if
adding one is not
possible for your
performance, consider a
spoken word of your own
choosing Have
fun!. This Negro
Spiritual was made
popular by the Golden
Gate Quartet in the
1930s. Willie T. Johnson,
the lead singer of the
group, is the father of
Kevin P. Johnson the
arranger of this
version. The
composer, like his
father, uses rhythm in
exciting new ways to
deliver Negro Spirituals
to contemporary
audiences.The text of
this spiritual has been
interpreted in many
different ways over the
 years. Here's a
popular interpretation of
the text. One for the
little bitty baby born,
born, born in
Bethlehem:Â This refers
to the infant Jesus. Two
for Paul and
Silas:Â This verse
honors Paul and Silas who
went on many missionary
journeys to spread the
teachings of Christ.Â
Three for the Hebrew
children: The three
Hebrew children could be
Shadrach, Meshach and
Abednego. Four for
the four that stood at
the door:Â Many people
interpret the four
to be the four writers
of the Gospel books
– Matthew, Mark,
Luke and John, though
this does not explain the
part about standing at
the door. Five for the
gospel preachers: The
five are Matthew, Mark,
Luke, John and Peter.
Paul is already mentioned
above, in line two. Six
for the six that never
got fixed: Could this
mean the sinners who
never change their
ways? Seven for the
seven that went up to
heaven: The seven in
heaven could be
the seven stars in
Ursa
Major or the sev
enfold
spirit of God or
 the seven early
 Christian churches
 or the sevenÂ
stars in the
right hand of Ch
rist mentioned inÂ
the Revelation.
Eight for the eight that
stood at the gate: This
could refer to the eight
people who entered
Noah’s ark (Noah,
his wife, their three
sons and their wives).
Nine for the nine that
dressed so fine: This
could refer to the nine
orders of Angels in
heaven. Ten for the
ten commandments: This
refers to the ten
commandments given to
Moses.Performance notes:
Swing the 8th notes
Djembe drums should be
played freely with
flexible precision The
rap can be optional The
ending solo can be sung
down an octave and can be
changed to match the
ability of the soloist.
Do not clap louder than
you sing If doing choral
movement on the piece,
pay attention to detail
synchronizing movements
as much as possible.
While the rap is words in
rhythm, if adding one is
not possible for your
performance, consider a
spoken word of your own
choosing Have fun!
Composed by Traditional
African American
Spiritual. Arranged by
Kevin Phillip Johnson. 16
pages. Duration 4
minutes, 5 seconds. Carl
Fischer Music #CM9742.
Published by Carl Fischer
Music (CF.CM9742).
ISBN 9781491161555.
UPC: 680160920204. Key: E
minor. English. Iyana
Davis.
This Negro
Spiritual was made
popular by the Golden
Gate Quartet in the
1930s. Willie T. Johnson,
the lead singer of the
group, is the father of
Kevin P. Johnson the
arranger of this version.
The composer, like his
father, uses rhythm in
exciting new ways to
deliver Negro Spirituals
to contemporary
audiences. The text of
this spiritual has been
interpreted in many
different ways over the
years. Here's a popular
interpretation of the
text. One for the little
bitty baby born, born,
born in Bethlehem: This
refers to the infant
Jesus. Two for Paul and
Silas: This verse honors
Paul and Silas who went
on many missionary
journeys to spread the
teachings of Christ.
Three for the Hebrew
children: The three
Hebrew children could be
Shadrach, Meshach and
Abednego. Four for the
four that stood at the
door: Many people
interpret the four to be
the four writers of the
Gospel books - Matthew,
Mark, Luke and John,
though this does not
explain the part about
standing at the door.
Five for the gospel
preachers: The five are
Matthew, Mark, Luke, John
and Peter. Paul is
already mentioned above,
in line two. Six for the
six that never got fixed:
Could this mean the
sinners who never change
their ways? Seven for the
seven that went up to
heaven: The seven in
heaven could be the seven
stars in Ursa Major or
the sevenfold spirit of
God or the seven early
Christian churches or the
seven stars in the right
hand of Christ mentioned
in the Revelation. Eight
for the eight that stood
at the gate: This could
refer to the eight people
who entered Noah's ark
(Noah, his wife, their
three sons and their
wives). Nine for the nine
that dressed so fine:
This could refer to the
nine orders of Angels in
heaven. Ten for the ten
commandments: This refers
to the ten commandments
given to Moses.
Performance notes: Swing
the 8th notes Djembe
drums should be played
freely with flexible
precision The rap can be
optional The ending solo
can be sung down an
octave and can be changed
to match the ability of
the soloist. Do not clap
louder than you sing If
doing choral movement on
the piece, pay attention
to detail synchronizing
movements as much as
possible. While the rap
is words in rhythm, if
adding one is not
possible for your
performance, consider a
spoken word of your own
choosing Have
fun!. This Negro
Spiritual was made
popular by the Golden
Gate Quartet in the
1930s. Willie T. Johnson,
the lead singer of the
group, is the father of
Kevin P. Johnson the
arranger of this
version. The
composer, like his
father, uses rhythm in
exciting new ways to
deliver Negro Spirituals
to contemporary
audiences.The text of
this spiritual has been
interpreted in many
different ways over the
 years. Here's a
popular interpretation of
the text. One for the
little bitty baby born,
born, born in
Bethlehem:Â This refers
to the infant Jesus. Two
for Paul and
Silas:Â This verse
honors Paul and Silas who
went on many missionary
journeys to spread the
teachings of Christ.Â
Three for the Hebrew
children: The three
Hebrew children could be
Shadrach, Meshach and
Abednego. Four for
the four that stood at
the door:Â Many people
interpret the four
to be the four writers
of the Gospel books
– Matthew, Mark,
Luke and John, though
this does not explain the
part about standing at
the door. Five for the
gospel preachers: The
five are Matthew, Mark,
Luke, John and Peter.
Paul is already mentioned
above, in line two. Six
for the six that never
got fixed: Could this
mean the sinners who
never change their
ways? Seven for the
seven that went up to
heaven: The seven in
heaven could be
the seven stars in
Ursa
Major or the sev
enfold
spirit of God or
 the seven early
 Christian churches
 or the sevenÂ
stars in the
right hand of Ch
rist mentioned inÂ
the Revelation.
Eight for the eight that
stood at the gate: This
could refer to the eight
people who entered
Noah’s ark (Noah,
his wife, their three
sons and their wives).
Nine for the nine that
dressed so fine: This
could refer to the nine
orders of Angels in
heaven. Ten for the
ten commandments: This
refers to the ten
commandments given to
Moses.Performance notes:
Swing the 8th notes
Djembe drums should be
played freely with
flexible precision The
rap can be optional The
ending solo can be sung
down an octave and can be
changed to match the
ability of the soloist.
Do not clap louder than
you sing If doing choral
movement on the piece,
pay attention to detail
synchronizing movements
as much as possible.
While the rap is words in
rhythm, if adding one is
not possible for your
performance, consider a
spoken word of your own
choosing Have fun!
Integrity Orchestre à Cordes - Débutant Carl Fischer
Orchestra String Orchestra - Grade 1.5-2 SKU: CF.FAS27 Composed by Larry ...(+)
Orchestra String
Orchestra - Grade 1.5-2
SKU: CF.FAS27
Composed by Larry Clark.
Carl Fischer First Plus
String Orchestra Series.
Score and Parts. With
Standard notation.
8+8+5+5+5+2+8 pages. Carl
Fischer Music #FAS27.
Published by Carl Fischer
Music (CF.FAS27).
ISBN
9780825854835. UPC:
798408054830. 8.5 X 11
inches. Key: D
major.
The title
depicts the uplifting
nature of the piece that
inspires young players to
have confidence and
respect while living with
character and integrity.
The music is
characterized by strong
melodic intervals of
fourths and fifths and
dynamic contrasts, a
Larry Clark signature
that has made his music
so popular. In addition,
every player is an
important part of the
music. This is a perfect
showpiece for developing
groups for concerts or
festivals. As a former
teacher I always tried to
use the experience of
playing in an ensemble to
teach students about
being good people first b
having confidence, being
respectful, living with
character and integrity.
I choose to write music
with titles that will
stimulate students to
strive for this high
standard and I have tried
to write pieces that will
somehow musically depict
these values.
Integrity is one
such piece. I hope you
will find the main theme
to be uplifting and with
musical integrity, but
within the reach of
developing students. My
themes usually are
characterized by strong
melodic intervals of
fourths and fifths and
this piece is no
exception. It is also my
goal when writing music
for younger students to
provide every section in
the ensemble a chance to
play important melodic
material at some point in
the piece. In my humble
opinion, if students are
given music they like to
play they will want to
practice it over and over
again. The tempo markings
and bowings indicated are
only there as a guide and
should be adjusted to the
needs of your students.
It has been my pleasure
to have the opportunity
to write this piece. I
hope that you and your
students find it useful
for your program. LARRY
CLARK Lakeland, Florida
2004. As a former
teacher I always tried to
use the experience of
playing in an ensemble to
teach students about
being good people first b
having confidence, being
respectful, living with
character and integrity.
I choose to write music
with titles that will
stimulate students to
strive for this high
standard and I have tried
to write pieces that will
somehow musically depict
these values.A
Integrity is one
such piece. I hope you
will find the main theme
to be uplifting and with
musical integrity, but
within the reach of
developing students. My
themes usually are
characterized by strong
melodic intervals of
fourths and fifths and
this piece is no
exception. It is also my
goal when writing music
for younger students to
provide every section in
the ensemble a chance to
play important melodic
material at some point in
the piece. In my humble
opinion, if students are
given music they like to
play they will want to
practice it over and over
again. The tempo markings
and bowings indicated are
only there as a guide and
should be adjusted to the
needs of your students.
It has been my pleasure
to have the opportunity
to write this piece. I
hope that you and your
students find it useful
for your program. LARRY
CLARK Lakeland, Florida
2004. As a former
teacher I always tried to
use the experience of
playing in an ensemble to
teach students about
being good people first b
having confidence, being
respectful, living with
character and integrity.
I choose to write music
with titles that will
stimulate students to
strive for this high
standard and I have tried
to write pieces that will
somehow musically depict
these values. Integrity
is one such piece. I hope
you will find the main
theme to be uplifting and
with musical integrity,
but within the reach of
developing students. My
themes usually are
characterized by strong
melodic intervals of
fourths and fifths and
this piece is no
exception. It is also my
goal when writing music
for younger students to
provide every section in
the ensemble a chance to
play important melodic
material at some point in
the piece. In my humble
opinion, if students are
given music they like to
play they will want to
practice it over and over
again. The tempo markings
and bowings indicated are
only there as a guide and
should be adjusted to the
needs of your students.
It has been my pleasure
to have the opportunity
to write this piece. I
hope that you and your
students find it useful
for your program. LARRY
CLARK Lakeland, Florida
2004. As a former
teacher I always tried to
use the experience of
playing in an ensemble to
teach students about
being good people first b
having confidence, being
respectful, living with
character and integrity.
I choose to write music
with titles that will
stimulate students to
strive for this high
standard and I have tried
to write pieces that will
somehow musically depict
these
values. Integrity is
one such piece.I hope you
will find the main theme
to be uplifting and with
musical integrity, but
within the reach of
developing students. My
themes usually are
characterized by strong
melodic intervals of
fourths and fifths and
this piece is no
exception. It is also my
goal when writing music
for younger students to
provide every section in
the ensemble a chance to
play important melodic
material at some point in
the piece. In my humble
opinion, if students are
given music they like to
play they will want to
practice it over and over
again.The tempo markings
and bowings indicated are
only there as a guide and
should be adjusted to the
needs of your students.It
has been my pleasure to
have the opportunity to
write this piece. I hope
that you and your
students find it useful
for your program.LARRY
CLARKLakeland, Florida
2004.
Challenger Deep Orchestre d'harmonie [Conducteur et Parties séparées] - Facile Scomegna Edizioni Musicali
By Filippo Ledda. For concert band. Music for Young band. Grade 2. Score and f...(+)
By Filippo Ledda. For
concert
band. Music for Young
band.
Grade 2. Score and full
set of
parts. Duration 5
minutes, 50
seconds. Published by
Scomegna
Edizioni Musical srl
SATB choir, organ SKU: LO.10-5198S Composed by Eugene Butler. Choral. Sac...(+)
SATB choir, organ
SKU:
LO.10-5198S
Composed
by Eugene Butler. Choral.
Sacred Anthem. Octavo.
Sacred Music Press
#10/5198S. Published by
Sacred Music Press
(LO.10-5198S).
ISBN
9780787763633.
Euge
ne Butler has crafted a
striking setting of text
from Psalm 36,
celebrating the love of
God that reaches to the
heavens. Beginning
grandly and joyfully, the
music moves through
several contrasting moods
to reach a glorious
climax before ending with
a brief, prayerful
coda.
Choral (SATB) SKU: HL.365345 Craig Hella Johnson Choral Series. Co...(+)
Choral (SATB)
SKU:
HL.365345
Craig
Hella Johnson Choral
Series. Composed by
Kyle Pederson. Craig
Hella Johnson Series.
Concert, Festival,
Inspirational. Octavo.
Duration 450 seconds.
Published by Hal Leonard
(HL.365345).
UPC:
840126961232.
6.75x10.5x0.07
inches.
Winner of
the 2021 ACDA Genesis
Project. This powerful
and inspirational new
work reaches across
cultures, ages, languages
and geography. Premiered
by
“Conspirareâ€
at the National ACDA
conference, this looks at
1st blush like it is
beyond many choirs reach.
However, the skill of
Kyle Pederson is
exceptional and his music
is available to almost
all high school, college,
community, and
professional choir.
By Jean-Baptiste Arban. Arranged by Claude Egea. For Bb Trumpet, Cornet, Euphoni...(+)
By Jean-Baptiste Arban.
Arranged by Claude Egea.
For Bb Trumpet, Cornet,
Euphonium, Saxhorn or any
Bb instrument.
Instructional method,
Play along, Classical,
Educational, Jazz. Book
and accompaniment CD. 32
pages. Published by FLEX
Editions
By Jean-Baptiste Arban. Arranged by Claude Egea. For Trombone solo. Instructiona...(+)
By Jean-Baptiste Arban.
Arranged by Claude Egea.
For Trombone solo.
Instructional method,
Play along, Classical,
Educational, Jazz. Book
and accompaniment CD. 32
pages. Published by FLEX
Editions
Chamber Music Clarinet SKU: PR.114419200 For solo Bb Clarinet. Com...(+)
Chamber Music Clarinet
SKU: PR.114419200
For solo Bb
Clarinet. Composed by
Shulamit Ran. Solo part.
With Standard notation. 8
pages. Duration 7
minutes. Theodore Presser
Company #114-41920.
Published by Theodore
Presser Company
(PR.114419200).
ISBN
9781491114223. UPC:
680160671731. 9 x 12
inches.
Spirit was
composed in memory of the
renowned clarinetist
Laura Flax. Laura
commissioned Ran’s
first solo clarinet work,
For an Actor: Monologue
for Clarinet, to premiere
with the Da Capo Chamber
Players in 1978. Ran
returned to the clarinet
in many compositions over
the years, sometimes as a
lead instrument and at
other times as an
important voice, yet
always inspired by
Laura’s rich
sound, blazing technique,
and the “brain and
guts†that she
brought to her playing.
As a memorial, Spirit is
not about absence, but
rather a celebration
displaying a wide range
of emotions, with at
least a tiny glimpse of
Laura’s brilliant
spirit and spiritedness.
Only in the work’s
final stretch does the
sense of parting and loss
take over. SPIRIT was
composed in memory of
Laura Flax (1952-2017),
the renowned New
York-based clarinetist
and my cherished friend.
Our musical and personal
association began in 1977
when Laura invited me to
compose a solo clarinet
work, For an Actor:
Monologue for Clarinet,
in memory of her mother,
Hazel Flax, whom I had
known.After composing For
an Actor for Laura I came
back to the clarinet in
many of my compositions
over the years, sometimes
as a lead instrument and
at other times as an
important voice. In all
of my clarinet music
Laura is present. The
rich sound, blazing
technique, the
“brain and
guts†that she
brought to her playing,
and her remarkable
person, have inspired me
in so many ways during
the four decades of our
friendship, and beyond.I
did not want Spirit to be
about absence, though. I
wanted the piece to
exhibit a wider range of
emotions, as well as
capture at least a tiny
glimpse of Laura’s
brilliant spirit and
spiritedness. Only in the
work’s final
stretch does the sense of
“parting,â€
and of loss, take
over.Upon completing
Spirit on October 21,
2017 I found myself
compelled to add at the
bottom of the score the
words “To Laura,
always in my
heart,†as though
in an effort to reach
out, for a brief moment,
and touch the
unreachable.—Shula
mit Ran.
Flute and orchestra (FLUTE PIANO) - difficult SKU: HL.49044665 For flu...(+)
Flute and orchestra
(FLUTE PIANO) - difficult
SKU: HL.49044665
For flute and
orchestral groups.
Composed by Jorg Widmann.
This edition: Saddle
stitching. Sheet music.
Woodwind Solo. This
'Suite' is not one of my
'epic' instrumental
concertos such as the
concertos for cello,
violin or oboe, but a
substantially
smaller-structured series
of dance forms arranged
into a suite. Sunken
worlds suddenly emerge
here, only to reach the
surface,. Softcover.
Composed 2011. 80 pages.
Duration 22'. Schott
Music #FTR225. Published
by Schott Music
(HL.49044665).
ISBN
9790001200103. UPC:
841886022928.
9.0x12.0x0.213
inches.
This
'Suite' is not one of my
'epic' instrumental
concertos such as the
concertos for cello,
violin or oboe, but a
substantially
smaller-structured series
of dance forms arranged
into a suite. Sunken
worlds suddenly emerge
here, only to reach the
surface, hover in
dangerously distorted
fashion and then sink
back to the bottom.Almost
every individual movement
allots the solo flute a
specific tonal colouring
and an instrumental group
from the orchestra: in
the opening Allemande,
the flutes of the
orchestra (including alto
and bass flute and later
also piccolo to include
the entire flute family);
the string section in the
Sarabande; in both
chorales (extremely muted
in the first and
brutalist in the second),
the brass etc.; and it is
only in the concluding
Badinerie that all
orchestral groups are
combined, although they
are terraced in the
Baroque style, one
following another, seldom
all playing
simultaneously.This
permits the flute to
remain the provider of
all impulses; it attaches
itself to the wide
variety of instrumental
colours, becomes suffused
with these colours and
thereby shines in
different lights -
acerbic, pale and
radiant. This first
performance marks the
conclusion of my two-year
residence with the
Cleveland Orchestra. The
immense versatility of
this fine body of sound
(which is indeed treated
as such with the sum of
its parts) and the
exciting dark timbre of
its principal flautist
Joshua Smith have to a
great extent determined
the form and tonal
character of my Flute en
suite. Jorg
Widmann
This
'Suite' is not one of my
'epic' instrumental
concertos such as the
concertos for cello,
violin or oboe, but a
substantially
smaller-structured series
of dance forms arranged
into a suite. Sunken
worlds suddenly emerge
here, only to reach the
surface, hover in
dangerously distorted
fashion and then sink
back to the bottom.Every
individual movement
allots the solo flute an
instrumental group from
the orchestra: in the
opening Allemande, the
flutes of the orchestra;
the string section in the
Sarabande; in both
chorales the brass etc.;
and it is only in the
concluding Badinerie that
all orchestral groups are
combined, although they
are terraced in the
Baroque style, one
following another, seldom
all playing
simultaneously.This first
performance marks the
conclusion of my two-year
residence with the
Cleveland Orchestra. The
immense versatility of
this fine body of sound
and the exciting dark
timbre of its principal
flautist Joshua Smith
have to a great extent
determined the form and
tonal character of my
Flute en suite. Jorg
Widmann
3 (2. auch
Altfl., 3. auch Bassfl.,
alle auch Picc.) * 3 (2.
auch Ob. d'am., 3. auch
Engl. Hr.) * 0 * 3 (3.
auch Kfg.) - 4 * 4 * 3 *
1 - S. (Glsp. * Vibr. * 3
hg. Beck. [h./m./t.] *
chin. Beck. * 4 Gongs * 4
Buckelgongs * 2 Tamt.
[m./t.] * Wassertamt. *
gr. Tr. * Metal Chimes *
Peitsche) (2 Spieler) -
Hfe. * Cel. (auch Cemb.)
- Str. (10 * 8 * 6 * 4 *
3).
Chamber Music Piano SKU: PR.110418160 Composed by Stacy Garrop. Performan...(+)
Chamber Music Piano
SKU: PR.110418160
Composed by Stacy Garrop.
Performance score. With
Standard notation. 16
pages. Duration 8:30.
Theodore Presser Company
#110-41816. Published by
Theodore Presser Company
(PR.110418160).
ISBN
9781491114049. UPC:
680160640393. 9 x 12
inches.
Stacy
Garrop began hiking in
northern
Colorado’s Rocky
Mountain National Park in
her early 20s. From the
start, she was drawn to a
jagged stretch of rock
formations linking Longs
Peak to Pagoda Mountain,
at over 13,000 feet.
These formations are
called the
“Keyboard of the
Winds,†as their
thin, spindly peaks
suggest splintered keys
of an old, broken piano.
Inspired by one
particular journey the
composer took through the
Keyboard of the Winds en
route to Pagoda’s
summit, this work is a
tribute to the Keyboard
of the Winds. Its fast,
whirling gestures depict
swirling clouds above,
and the musical high
points represent a hiker
reaching the peak of
Pagoda Mountain. These
sections are set in
contrast with quiet,
introspective material
embodying the hiker
quietly surveying the
grandeur and beauty of
the valley below, as well
as the soaring pinnacle
of Longs Peak
overhead. I began
hiking in the Rocky
Mountain National Park in
northern Colorado when I
was in my early twenties.
RMNP is home to some of
the most gorgeous
mountains in North
America, encompassing
265,000 acres of
wilderness, flora, and
fauna. Among the
park’s numerous
summits is Longs Peak, a
mountain that is 14,259
feet high (the highest in
the region). From my
earliest days of hiking,
I was drawn to Longs
Peak, as well as to a
jagged stretch of rock
formations that link
Longs Peak to Pagoda
Mountain (which stands at
13,497 feet). These
formations are called the
Keyboard of the Winds, as
their thin, spindly peaks
loosely suggest the
splintered keys of an
old, broken piano.One
summer, I made the ascent
to Pagoda Mountain using
a route that took me
along the right side of
the Keyboard of the
Winds. My hiking partner
and I started up the
trail in the pre-dawn
hours, and the weather
was stormy. Dawn had
broken by the time we
reached the base of the
Keyboard, but its peaks
were still surrounded by
clouds. As we climbed
higher and higher, the
Keyboard’s thin
spires became visible,
along with the top of
Pagoda Mountain. We
reached the summit of
Pagoda, admired the view
(what we could see
through the clouds), and
made our descent.My piece
is a tribute to the
Keyboard of the Winds.
The fast, whirling
gestures depict swirling
clouds, and the musical
high points represent a
hiker reaching the peaks
of the Keyboard. I have
contrasted these sections
with quiet, introspective
material; these embody
the hiker quietly
surveying the grandeur
and beauty of the valley
below (on a cloudless
day), as well as the
soaring pinnacles of
Longs Peak and Pagoda
Mountain overhead.
Choral SSAA choir SKU: CF.CM9717 Composed by Mark Burrows. 8 pages. Durat...(+)
Choral SSAA choir
SKU:
CF.CM9717
Composed by
Mark Burrows. 8 pages.
Duration 3 minutes, 7
seconds. Carl Fischer
Music #CM9717. Published
by Carl Fischer Music
(CF.CM9717).
ISBN
9781491160961. UPC:
680160919567. Psalm
91:4-5.
The Lord
will overshadow you with
his pinions, and you will
find refuge under his
wings. His faithfulness
will encompass you with a
shield. Psalm 91:4-5 To
feel safe and to feel
cared for, these are two
of the great yearnings of
the human heart. What a
blessing it is,
especially during times
of distress or
uncertainty, to know that
we aren't alone, that
someone is reaching out
to help us and even hold
us. It could be a family
member or a friend. It
could be a still small
voice whispering, It's
okay. I've got you. It
could even be a loving
community, like a choir,
assuring us that we are
known, that we are loved,
that we belong. The first
word - scapulis - is
translated as pinions. On
a bird, a pinion is the
outer part of the wing,
including the flight
feathers. The opening
measures, with a
one-measure phrase
followed be a
three-measure phrase, are
meant to evoke the image
of wings unfurling to
welcome in. All through
this section - mm. 1-20 -
encourage phrasing that
is never hurried but
moves with intention to
the last stressed
syllable of each phrase,
before ebbing slightly.
This section is all about
reassurance and comfort.
In mm. 21-30 we have a
new section where
uncertainty grows. At
this point the text - and
you will find refuge
under his wings - is more
aspirational than
definitive. Leaning into
non-chord tones will help
make this feeling of
uncertainty more
palpable. Places where
this occurs: Alto I -
Measure 22 the Ab in
pennis, m. 26 the Bb in
sperabis Soprano II -
Measure 23 the A natural
in pennis, m. 29 the C in
sperabis Soprano I -
Measure 24 the C in
pennis, m. 28 the D in
sperabis The apex of the
piece is at m. 30 where
the yearning for comfort
and assurance reaches its
height, finding that
comfort in the arrival
back at Eb major in m.
39. The phrase veritas
ejus (his faithfulness),
with its triplet figure
should flow gently, like
a musical carress. The
final reassurance occurs
at m. 51 as we return to
the melody, and the
homophonic texture, of
the opening. Even as the
piece gets softer and
softer, encourage the
singers to keep energy
moving through each
phrase. The structure and
feel of this piece was
inspired by one of the
all-time great settings
of yet another Psalm of
assurance - Felix
Mendelssohn's Lift Thine
Eyes. The Lord will
overshadow you with his
pinions,and you will find
refuge under his
wings.His faithfulness
will encompass you with a
shield. Psalm
91:4-5Â To feel safe
and to feel cared for,
these are two of the
great yearnings of the
human heart.What a
blessing it is,
especially during times
of distress or
uncertainty, to know that
we aren’t alone,
that someone is reaching
out to help us and even
hold us. It could be a
family member or a
friend. It could be a
still small voice
whispering,
“It’s okay.
I’ve got
you.†It could even
be a loving community,
like a choir, assuring us
that we are known, that
we are loved, that we
belong.The first word
– scapulis
– is translated as
“pinions.†On
a bird, a pinion is the
outer part of the wing,
including the flight
feathers. The opening
measures, with a
one-measure phrase
followed be a
three-measure phrase, are
meant to evoke the image
of wings unfurling to
welcome in. All through
this section – mm.
1-20 – encourage
phrasing that is never
hurried but moves with
intention to the last
stressed syllable of each
phrase, before ebbing
slightly. This section is
all about reassurance and
comfort.In mm. 21-30 we
have a new section where
uncertainty grows. At
this point the text
– and you will
find refuge under his
wings – is more
aspirational than
definitive. Leaning into
non-chord tones will help
make this feeling of
uncertainty more
palpable. Places where
this occurs:Alto I
– Measure 22 the
Ab in pennis, m. 26 the
Bb in sperabisSoprano II
– Measure 23 the A
natural in pennis, m. 29
the C in sperabisSoprano
I – Measure 24 the
C in pennis, m. 28 the D
in sperabis The apex
of the piece is at m. 30
where the yearning for
comfort and assurance
reaches its height,
finding that comfort in
the arrival back at Eb
major in m. 39. The
phrase veritas ejus (his
faithfulness), with its
triplet figure should
flow gently, like a
musical carress.The final
reassurance occurs at m.
51 as we return to the
melody, and the
homophonic texture, of
the opening. Even as the
piece gets softer and
softer, encourage the
singers to keep energy
moving through each
phrase.The structure and
feel of this piece was
inspired by one of the
all-time great settings
of yet another Psalm of
assurance – Felix
Mendelssohn’s Lift
Thine Eyes.