Composed by Franz Liszt (1811-1886). Arranged by Tomer Yariv. Marimba and Vibrap...(+)
Composed by Franz Liszt
(1811-1886). Arranged by
Tomer Yariv. Marimba and
Vibraphone Duet. For
marimba and vibraphone
duet (marimba low c and
vibraphone). Level 5.
Score and set of parts.
Published by Innovative
Percussion
Clarinet, Violin & Piano SKU: SU.46200010 For Clarinet, Violin & Piano...(+)
Clarinet, Violin & Piano
SKU: SU.46200010
For Clarinet, Violin &
Piano. Composed by
James Niblock. Chamber
Music, Piano Trio,
Woodwinds, Clarinet.
Score & Parts. Subito
Music Corporation
#46200010. Published by
Subito Music Corporation
(SU.46200010).
Clarinet,
Violin & Piano Duration:
25 ' Composed: 1984
Published by: Verdehr
Trio This publication
contains two separate
worksMedieval Suite
composed by James
NiblockTrio in B-flat
transcribed by James
Niblock Medieval Suite
uses material from a
variety of thirteenth
through fifteenth-century
sources. The second
movement is a fantasy for
clarinet solo based on a
Gregorian Chant melody
from the Liber Usualis.
Trio in Bb Major, K358 is
a transcription on one of
four piano sonatas that
Mozart composed for four
hands. The objective of
this transcription was to
capture, as accurately as
possible, Mozart’s
intent had he scored this
sonata of the trio.
Michigan State University
Press.
A Birthday Fanfare Ensemble de Trompettes [Conducteur et Parties séparées] Winwood Music
By William Walton (1902-1983). Brass Ensemble. For 7 C Trumpets or B-flat Trumpe...(+)
By William Walton
(1902-1983). Brass
Ensemble. For 7 C
Trumpets or B-flat
Trumpets, Percussion.
Ceremonial fanfare. Light
Concert. Medium. Score
and parts. Standard
Notation. Duration 0:40.
Published by Winwood
Music
Lyrics and chords (ukulele) SKU: M7.DUX-342 200 Lieder and Songs. ...(+)
Lyrics and chords
(ukulele)
SKU:
M7.DUX-342
200
Lieder and Songs.
Composed by Andreas Lutz
and Bernhard Bitzel. This
edition: Ring/Spiral
binding. Sheet music.
Songbook. Edition Dux
Verlag #DUX 342.
Published by Edition Dux
Verlag (M7.DUX-342).
ISBN
9783868494006.
The
Ukulele-Ding 2 contains
200 songs from Pop and
Rock for campfires,
outings and parties. In
order to be able to sing
the songs optimally and
accompany them with the
ukulele, suitable keys
and chords have been
chosen. The chords are
given directly above the
lyrics, so you can sing
and play directly from
the sheet. A fingering
chart for all ukuleles in
the tuning g - c - e - a
is included. A must for
every campfire ukulele
player and all those who
want to become one. Bound
as a practical spiral
book - like every edition
from the cult songbook
series Das Ding. With
songs from ABBA - AC/DC -
Aerosmith - BAP - Billy
Joel - Bob Dylan - Bob
Marley - Boney M. - Bruce
Springsteen - Cat Stevens
- Coldplay - Die Toten
Hosen - Dire Straits -
Elvis Presley - George
Ezra - Howard Carpendale
- John Denver - Kansas -
Lady Gaga - Max Giesinger
- Nirvana - Peter Maffay
- Phil Collins - Pink
Floyd - Queen - Reinhard
Mey - Robbie Williams -
Rod Stewart - Simon and
Garfunkel - Supertramp -
The Beach Boys - The
Beatles - U2 und vielen
weiteren.
Caedmon's Hymn Chorale SATB SATB A Cappella Subito Music
SATB Chorus, a cappella SKU: SU.26180040 For SATB Chorus, a cappella(+)
SATB Chorus, a cappella
SKU: SU.26180040
For SATB Chorus, a
cappella. Composed by
William Mc Clelland.
Vocal/Choral, Sacred
Choral. A cappella.
Choral Octavo. Subito
Music Corporation
#26180040. Published by
Subito Music Corporation
(SU.26180040).
Cædmon's
Hymn is the oldest
English of known
authorship. It was
written in the seventh
century by the poet
Cædmon, supposedly
from divine inspiration.
My setting, for SATB
chorus and organ, begins
with four members of the
chorus speaking the
opening line of the poem
in Old English, the
intention being to evoke
the atmosphere of the
time and place of the
hymn’s creation.
The work was commissioned
by and is dedicated to
the South Bend (Indiana)
Chamber Singers, Nancy
Menk, Music Director, and
David Eicher, organist,
and was premiered in
2018.SATB Chorus, a
cappella Duration: 9'
Composed: 2018 Published
by: WMC Music (BMI)
Minimum order quantity: 8
copies. To order
quantities fewer than
8.
SKU: GI.G-7266 Music, Dreams, and Coming of Age in the Heartland. ...(+)
SKU: GI.G-7266
Music, Dreams, and
Coming of Age in the
Heartland. Composed
by Kristen Laine.
Instructional. 325 pages.
GIA Publications #7266.
Published by GIA
Publications (GI.G-7266).
ISBN 9781592403196.
English.
Every
fall, marching bands take
to the field in a
uniquely American ritual.
From the stands, it looks
easy. You don’t
see them sweat. For
millions of kids, band is
more than a show.
It’s a rite of
passage—a first
foray into leadership and
adult responsibility, and
a chance to learn what it
means to be part of a
community. Nowhere is
band more serious than at
Concord High School in
Elkhart, Indiana, where
the entire town is
involved with the success
of its defending state
champion band, the
Marching Minutemen. In
the place where this
tradition may have
originated, in the city
that became the band
instrument capital of the
world, band is a
religion. But it’s
not the only religion, as
director Max Jones
discovers. After four
decades. Jones’s
single-minded devotion to
musical excellence has
fallen out of step with a
younger generation
increasingly focused on
personal salvation. In
what his students do not
know is his final season
of directing, he has
assembled his most
ambitious show ever, for
the strongest senior
class he has ever
directed. Amid
conflicting notions of
greatness, the band
marches through a season
that starts in hope and
promise, progresses
through uncertainty and
disappointment, and ends,
ultimately, in
redemption. American Band
is an unusually intimate
chronicle of life, in all
its triumph,
disappointment, and
drama, in the kind of
community in which most
of America lives. It is
an especially timely
portrait, capturing as it
does the spirit of the
heartland at a time of
profound change. If you
have ever been— or
yearned to be—
part of something bigger
than yourself, you will
be rooting for the kids
whose voices fill this
book. Kirsten Laine is an
award-winning journalist
whose commentaries can be
heard on Vermont Public
Radio. She lives in New
Hampshire with writer Jim
Collins and their two
children. “American
Band has everything going
for it, from tempo to
heart to the grand
bittersweet finale. What
a gift for readers: a
pitch-perfect tribute to
kids and song and
community.â€
—Madeleine Blais
Pulitzer Prize winner and
author of In These Girls,
Hope is a Muscle.
Choral SATB Choir and Piano SKU: PR.312418770 No. 1 from Second April<...(+)
Choral SATB Choir and
Piano
SKU:
PR.312418770
No. 1
from Second April.
Composed by Eric Ewazen.
Octavo. Performance
Score. Theodore Presser
Company #312-41877.
Published by Theodore
Presser Company
(PR.312418770).
ISBN
9781491138120. UPC:
680160640195. Second
April, by Edna St.
Vincent
Millay.
Second
April for S.A.T.B. Chorus
and Piano is a
four-movement set, based
on the poetry of Edna St.
Vincent Millay. Ewazen
has long been enamored
with her poetry's
wonderfully vivid and
descriptive imagery of
nature and emotions, and
its powerful and profound
meaning. The first
movement, SONG OF A
SECOND APRIL is dramatic,
detailing a time of
personal strife and
tragedy, perhaps the end
of a relationship or even
the end of a life. The
music is intense, fast,
in a minor key, creating
a feeling of powerful,
relentless emotions.
Little by little, the
music almost dies away,
getting quieter and
quieter, creating a
feeling of resignation,
but with a surprise
Picardy Third in the
final chord –
suggesting a bit of
hope!. SECOND APRIL
for S.A.T.B. Chorus and
Piano is a four-movement
set, based on the poetry
of Edna St. Vincent
Millay. I have long been
enamored with the poetry
of Millay for its
wonderfully vivid and
descriptive imagery, and
its often powerful and
profound meaning.
Millay’s descriptions
of nature, and of
feelings and emotions,
have always spoken to me.
SECOND APRIL consists of
four of her poems, each
with a distinctive mood,
message, and emotional
feel. They are vivid,
powerful, and beautiful,
inspiring me to capture
these descriptions of the
various scenes she
portrays. Song of a
Second April uses music
to underlie strong
feelings, passions, and
the tragedies of life.
The poem itself is
dramatic, detailing a
time of personal strife
and tragedy, perhaps the
end of a relationship or
even the end of a life.
The music is intense,
fast, in a minor key, and
with rapid, spinning
notes creating a feeling
of powerful, relentless
emotions. Melodies,
motives, and gestures are
tossed between the
voices, increasing the
feelings of intensity and
even desperation. Little
by little, the music
almost dies away, getting
quieter and quieter,
creating a feeling of
resignation, but with a
Picardy Third in the
final chord – maybe a
bit of hope! Mariposa
is a celebration of
nature, wandering through
a field with white and
blue butterflies
appearing almost
wondrously. But there’s
also a profound feeling
of poignancy, noting that
as one relishes such a
beautiful, magical sight,
they should embrace the
experience – the
fleeting, transient
nature of such a perfect
vision and of life
itself. The music
portrays the flying of
the butterflies: gentle,
beautiful, with rich
chords and arpeggios, but
stepping back, as the
fleeting nature of life
is the reality, with
gentle, but sombre chords
interspersed with the
magical flight of the
Mariposa.Alms is a fast
rondo, intense, bold, and
always dance-like. It is
about both tragedy and
resilience. This music is
also in minor, yet with
moments of playfulness,
as a recollection of
happy times or moments
takes over. This seesaw
between emotions is heard
throughout the movement,
as the music continues to
“dance.” And with
Millay’s summing up of
“reality being what it
is,” the piece ends
with strength, boldness,
and finality. Into the
Golden Vessel of Great
Song is an appassionato
call to overcome! The
poem exhorts us to
“sing out” with hope,
determination, and
strength. The music is
full of bright and
lilting energy; but as
the turmoil and times of
strife people can
sometimes feel or
experience, the music
becomes intense,
dramatic, in a minor key,
and with changing
rhythms. BUT, there is a
return to championing the
idea of simply
overcoming, going forward
with hope and
determination, and the
music is in major,
resonant and strong.
.
Band Concert Band SKU: PR.465000130 For Large Wind Ensemble. Compo...(+)
Band Concert Band
SKU:
PR.465000130
For
Large Wind Ensemble.
Composed by Dan Welcher.
Sws. Contemporary. Full
score. With Standard
notation. Composed 2010.
Duration 14 minutes.
Theodore Presser Company
#465-00013. Published by
Theodore Presser Company
(PR.465000130).
ISBN
9781598064070. UPC:
680160600144. 9x12
inches.
Following a
celebrated series of wind
ensemble tone poems about
national parks in the
American West, Dan
Welcher’s Upriver
celebrates the Lewis &
Clark Expedition from the
Missouri River to
Oregon’s Columbia
Gorge, following the
Louisiana Purchase of
1803. Welcher’s
imaginative textures and
inventiveness are freshly
modern, evoking our
American heritage,
including references to
Shenandoah and other folk
songs known to have been
sung on the expedition.
For advanced players.
Duration:
14’. In 1803,
President Thomas
Jefferson sent Meriwether
Lewis and William
Clark’s Corps of
Discovery to find a water
route to the Pacific and
explore the uncharted
West. He believed woolly
mammoths, erupting
volcanoes, and mountains
of pure salt awaited
them. What they found was
no less mind-boggling:
some 300 species unknown
to science, nearly 50
Indian tribes, and the
Rockies.Ihave been a
student of the Lewis and
Clark expedition, which
Thomas Jefferson called
the “Voyage of
Discovery,†for as
long as I can remember.
This astonishing journey,
lasting more than
two-and-a-half years,
began and ended in St.
Louis, Missouri —
and took the travelers up
more than a few rivers in
their quest to find the
Northwest Passage to the
Pacific Ocean. In an age
without speedy
communication, this was
akin to space travel out
of radio range in our own
time: no one knew if,
indeed, the party had
even survived the voyage
for more than a year.
Most of them were
soldiers. A few were
French-Canadian voyageurs
— hired trappers
and explorers, who were
fluent in French (spoken
extensively in the
region, due to earlier
explorers from France)
and in some of the Indian
languages they might
encounter. One of the
voyageurs, a man named
Pierre Cruzatte, also
happened to be a
better-than-average
fiddle player. In many
respects, the travelers
were completely on their
own for supplies and
survival, yet,
incredibly, only one of
them died during the
voyage. Jefferson had
outfitted them with food,
weapons, medicine, and
clothing — and
along with other
trinkets, a box of 200
jaw harps to be used in
trading with the Indians.
Their trip was long,
perilous to the point of
near catastrophe, and
arduous. The dream of a
Northwest Passage proved
ephemeral, but the
northwestern quarter of
the continent had finally
been explored, mapped,
and described to an
anxious world. When the
party returned to St.
Louis in 1806, and with
the Louisiana Purchase
now part of the United
States, they were greeted
as national heroes.Ihave
written a sizeable number
of works for wind
ensemble that draw their
inspiration from the
monumental spaces found
in the American West.
Four of them (Arches, The
Yellowstone Fires,
Glacier, and Zion) take
their names, and in large
part their being, from
actual national parks in
Utah, Wyoming, and
Montana. But Upriver,
although it found its
voice (and its finale) in
the magnificent Columbia
Gorge in Oregon, is about
a much larger region.
This piece, like its
brother works about the
national parks,
doesn’t try to
tell a story. Instead, it
captures the flavor of a
certain time, and of a
grand adventure. Cast in
one continuous movement
and lasting close to
fourteen minutes, the
piece falls into several
subsections, each with
its own heading: The
Dream (in which
Jefferson’s vision
of a vast expanse of
western land is opened);
The Promise, a chorale
that re-appears several
times in the course of
the piece and represents
the seriousness of the
presidential mission; The
River; The Voyageurs; The
River II ; Death and
Disappointment; Return to
the Voyage; and The River
III .The music includes
several quoted melodies,
one of which is familiar
to everyone as the
ultimate “river
song,†and which
becomes the
through-stream of the
work. All of the quoted
tunes were either sung by
the men on the voyage, or
played by
Cruzatte’s fiddle.
From various journals and
diaries, we know the men
found enjoyment and
solace in music, and
almost every night
encampment had at least a
bit of music in it. In
addition to Cruzatte,
there were two other
members of the party who
played the fiddle, and
others made do with
singing, or playing upon
sticks, bones, the
ever-present jaw harps,
and boat horns. From
Lewis’ journals, I
found all the tunes used
in Upriver: Shenandoah
(still popular after more
than 200 years),
V’la bon vent,
Soldier’s Joy,
Johnny Has Gone for a
Soldier, Come Ye Sinners
Poor and Needy (a hymn
sung to the tune
“Beech
Springâ€) and
Fisher’s Hornpipe.
The work follows an
emotional journey: not
necessarily step-by-step
with the Voyage of
Discovery heroes, but a
kind of grand arch.
Beginning in the mists of
history and myth,
traversing peaks and
valleys both real and
emotional (and a solemn
funeral scene), finding
help from native people,
and recalling their zeal
upon finding the one
great river that will, in
fact, take them to the
Pacific. When the men
finally roar through the
Columbia Gorge in their
boats (a feat that even
the Indians had not
attempted), the
magnificent river
combines its theme with
the chorale of
Jefferson’s
Promise. The Dream is
fulfilled: not quite the
one Jefferson had
imagined (there is no
navigable water passage
from the Missouri to the
Pacific), but the dream
of a continental
destiny.
Band Concert Band SKU: PR.46500013L For Wind Ensemble. Composed by...(+)
Band Concert Band
SKU:
PR.46500013L
For
Wind Ensemble.
Composed by Dan Welcher.
Contemporary. Large
Score. With Standard
notation. Composed 2010.
Duration 14 minutes.
Theodore Presser Company
#465-00013L. Published by
Theodore Presser Company
(PR.46500013L).
UPC:
680160600151. 11 x 14
inches.
I n 1803,
President Thomas
Jefferson sent Meriwether
Lewis and William Clarks
Corps of Discovery to
find a water route to the
Pacific and explore the
uncharted West. He
believed woolly mammoths,
erupting volcanoes, and
mountains of pure salt
awaited them. What they
found was no less
mind-boggling: some 300
species unknown to
science, nearly 50 Indian
tribes, and the Rockies.
I have been a student of
the Lewis and Clark
expedition, which Thomas
Jefferson called the
Voyage of Discovery, for
as long as I can
remember. This
astonishing journey,
lasting more than
two-and-a-half years,
began and ended in St.
Louis, Missouri and took
the travelers up more
than a few rivers in
their quest to find the
Northwest Passage to the
Pacific Ocean. In an age
without speedy
communication, this was
akin to space travel out
of radio range in our own
time: no one knew if,
indeed, the party had
even survived the voyage
for more than a year.
Most of them were
soldiers. A few were
French-Canadian voyageurs
hired trappers and
explorers, who were
fluent in French (spoken
extensively in the
region, due to earlier
explorers from France)
and in some of the Indian
languages they might
encounter. One of the
voyageurs, a man named
Pierre Cruzatte, also
happened to be a
better-than-average
fiddle player. In many
respects, the travelers
were completely on their
own for supplies and
survival, yet,
incredibly, only one of
them died during the
voyage. Jefferson had
outfitted them with food,
weapons, medicine, and
clothing and along with
other trinkets, a box of
200 jaw harps to be used
in trading with the
Indians. Their trip was
long, perilous to the
point of near
catastrophe, and arduous.
The dream of a Northwest
Passage proved ephemeral,
but the northwestern
quarter of the continent
had finally been
explored, mapped, and
described to an anxious
world. When the party
returned to St. Louis in
1806, and with the
Louisiana Purchase now
part of the United
States, they were greeted
as national heroes. I
have written a sizeable
number of works for wind
ensemble that draw their
inspiration from the
monumental spaces found
in the American West.
Four of them (Arches, The
Yellowstone Fires,
Glacier, and Zion) take
their names, and in large
part their being, from
actual national parks in
Utah, Wyoming, and
Montana. But Upriver,
although it found its
voice (and its finale) in
the magnificent Columbia
Gorge in Oregon, is about
a much larger region.
This piece, like its
brother works about the
national parks, doesnt
try to tell a story.
Instead, it captures the
flavor of a certain time,
and of a grand adventure.
Cast in one continuous
movement and lasting
close to fourteen
minutes, the piece falls
into several subsections,
each with its own
heading: The Dream (in
which Jeffersons vision
of a vast expanse of
western land is opened);
The Promise, a chorale
that re-appears several
times in the course of
the piece and represents
the seriousness of the
presidential mission; The
River; The Voyageurs; The
River II ; Death and
Disappointment; Return to
the Voyage; and The River
III . The music includes
several quoted melodies,
one of which is familiar
to everyone as the
ultimate river song, and
which becomes the
through-stream of the
work. All of the quoted
tunes were either sung by
the men on the voyage, or
played by Cruzattes
fiddle. From various
journals and diaries, we
know the men found
enjoyment and solace in
music, and almost every
night encampment had at
least a bit of music in
it. In addition to
Cruzatte, there were two
other members of the
party who played the
fiddle, and others made
do with singing, or
playing upon sticks,
bones, the ever-present
jaw harps, and boat
horns. From Lewis
journals, I found all the
tunes used in Upriver:
Shenandoah (still popular
after more than 200
years), Vla bon vent,
Soldiers Joy, Johnny Has
Gone for a Soldier, Come
Ye Sinners Poor and Needy
(a hymn sung to the tune
Beech Spring) and Fishers
Hornpipe. The work
follows an emotional
journey: not necessarily
step-by-step with the
Voyage of Discovery
heroes, but a kind of
grand arch. Beginning in
the mists of history and
myth, traversing peaks
and valleys both real and
emotional (and a solemn
funeral scene), finding
help from native people,
and recalling their zeal
upon finding the one
great river that will, in
fact, take them to the
Pacific. When the men
finally roar through the
Columbia Gorge in their
boats (a feat that even
the Indians had not
attempted), the
magnificent river
combines its theme with
the chorale of Jeffersons
Promise. The Dream is
fulfilled: not quite the
one Jefferson had
imagined (there is no
navigable water passage
from the Missouri to the
Pacific), but the dream
of a continental
destiny.
SATB Chorus, a cappella SKU: SU.27040380 For SATB Chorus, a cappella(+)
SATB Chorus, a cappella
SKU: SU.27040380
For SATB Chorus, a
cappella. Composed by
Gregory J. Hutter.
Vocal/Choral, Secular
Choral. Choral Octavo.
Subito Music Corporation
#27040380. Published by
Subito Music Corporation
(SU.27040380).
The Three
American Madrigals
includes settings of
Frost, Whitman and
Teasdale. Frostâ??s poem
Bond and Free is another
slow lyrical setting with
contrasting tonalities
accentuating the two
halves of the poem.
Likewise, the setting of
Whitmanâ??s Tears
explores various diatonic
modes while also
employing constantly
changing meters, thus
yielding a feeling of
fluidity. A setting of
Sara Teasdaleâ??s I Love
You closes the cycle. The
four symmetrical stanzas
of the poem are
exaggerated with
chromaticâ??almost
barbershop-styleâ??harmo
nies in close
spacing.SATB Chorus, a
cappella Duration: 15 '
Composed: 2014 Published
by: Distributed Composer
Minimum order quantity: 8
copies. To order
quantities fewer than 8,
please email customer
service at
sales@subitomusic.com.
All the While Orchestre d'harmonie - Facile Carl Fischer
Band Concert Band - Grade 2 SKU: CF.YPS198 Composed by Tyler Arcari. Youn...(+)
Band Concert Band - Grade
2
SKU: CF.YPS198
Composed by Tyler Arcari.
Young Band (YPS). Set of
Score and Parts. With
Standard notation.
8+2+8+8+2+4+10+4+2+4+4+8+
12+6+3+1+1+4+2+16+4
pages. Duration 2
minutes, 14 seconds. Carl
Fischer Music #YPS198.
Published by Carl Fischer
Music (CF.YPS198).
ISBN 9781491152188.
UPC: 680160909681. Key: C
minor.
All the
While was inspired by
a very special person in
Tyler Arcari's life.
Directors will be happy
to find many
opportunities for
emotional and passionate
playing with plenty of
fun in the middle for
young bands. All the
While gives students a
number of chances to
work on expressive
playing during the
beginning and ending
sections, and offers a
light rhythmic middle
section for
contrast. Program
Notes:All the While is a
bit of a personal piece
for me. I was inspired to
write it by a very
special person in my
life. It might be a
young-band piece but I
feel that it has the
capacity for great
emotion and passionate
playing as well as a
little fun in the middle.
Sometimes it is difficult
to tell people how you
feel, even if you have
known them for a long
time. I think sometimes
we say in our heads that
“I have felt this
way for a long
time,†and all the
while never being able to
put it to words.About the
work:The piece opens with
a flute and alto
saxophone duet. This
melody trades off at m.
10 with the addition of
new voices and harmonies
building in intensity all
the way to m. 28. I
personally like to use
extended phrases in this
section, though it looks
like it would just
utilize four-measure
phrases. I feel this adds
to the momentum building
in dynamic intensity.
Measure 28 is a subito
change beginning with a
prominent Timpani solo.
The following section
should be played as
lightly as possible to
avoid a lumbering feel.
In mm. 68- 70, the agogic
accents should not be
very heavy, but more
pointed in their momentum
to m. 70.Measures
70–76 should be
taken with metric liberty
bringing out all of the
moving parts in the low
brass. The low brass
really adds the
foundation of momentum
for the rest of the band
here. Measure 76 to the
end, though a repetition
of material from the
beginning, should be
played as the high point
of the piece and familiar
conclusion.
All the While Orchestre d'harmonie [Conducteur] - Facile Carl Fischer
Band Concert Band - Grade 2 SKU: CF.YPS198F Composed by Tyler Arcari. You...(+)
Band Concert Band - Grade
2
SKU: CF.YPS198F
Composed by Tyler Arcari.
Young Band (YPS). Full
score. With Standard
notation. 16 pages. Carl
Fischer Music #YPS198F.
Published by Carl Fischer
Music (CF.YPS198F).
ISBN 9781491152867.
UPC:
680160910366.
All
the While was inspired
by a very special person
in Tyler Arcari's life.
Director's will be happy
to find many
opportunities for
emotional and passionate
playing with plenty of
fun in the middle for
young bands. All the
While gives students a
number of chances to
work on expressive
playing during the
beginning and ending
sections, and offers a
light rhythmic middle
section for
contrast. Program
Notes:All the While is a
bit of a personal piece
for me. I was inspired to
write it by a very
special person in my
life. It might be a
young-band piece but I
feel that it has the
capacity for great
emotion and passionate
playing as well as a
little fun in the middle.
Sometimes it is difficult
to tell people how you
feel, even if you have
known them for a long
time. I think sometimes
we say in our heads that
“I have felt this
way for a long
time,†and all the
while never being able to
put it to words.About the
work:The piece opens with
a flute and alto
saxophone duet. This
melody trades off at m.
10 with the addition of
new voices and harmonies
building in intensity all
the way to m. 28. I
personally like to use
extended phrases in this
section, though it looks
like it would just
utilize four-measure
phrases. I feel this adds
to the momentum building
in dynamic intensity.
Measure 28 is a subito
change beginning with a
prominent Timpani solo.
The following section
should be played as
lightly as possible to
avoid a lumbering feel.
In mm. 68- 70, the agogic
accents should not be
very heavy, but more
pointed in their momentum
to m. 70.Measures
70–76 should be
taken with metric liberty
bringing out all of the
moving parts in the low
brass. The low brass
really adds the
foundation of momentum
for the rest of the band
here. Measure 76 to the
end, though a repetition
of material from the
beginning, should be
played as the high point
of the piece and familiar
conclusion.
Composed by Robert Sterling and Joseph M. Martin. Shawnee Sacred. General Wor...(+)
Composed by Robert
Sterling
and Joseph M. Martin.
Shawnee Sacred. General
Worship, Sacred. Octavo.
12
pages. Duration 245
seconds.
Published by Shawnee
Press
Edited by Amy Appleby, Liz Seelhoff Byrum. For voice and piano. Format: piano/vo...(+)
Edited by Amy Appleby,
Liz Seelhoff Byrum. For
voice and piano. Format:
piano/vocal/chords
songbook (spiral bound).
With vocal melody, piano
accompaniment, lyrics,
chord names,
illustrations and
introductory text.
Children's and Folk. 240
pages. 9x12 inches.
Published by Music Sales.
Orchestra SKU: SU.91580100 For Orchestra. Composed by Steven Mercu...(+)
Orchestra
SKU:
SU.91580100
For
Orchestra. Composed
by Steven Mercurio.
Vocal/Choral, Opera. CD
(Audio). Subito Music
Corporation #91580100.
Published by Subito Music
Corporation
(SU.91580100).
A Grateful Tail
- Movement by Movement
Siriusly, Dog Star
Sirius, the brightest
star in the night sky,
has been used by
travelers and navigators
for thousands of years as
a guiding star and so it
is here as the opening
movement for the
symphony. Sirius, the
cornerstone to the
constellation Canis
Maggiore or Big Dog sits
at the foot of Orion, the
hunter, leading the way.
Highly cinematic, the
movement evokes both a
musical and visual sense
of the mythological and
mysterious elements of
Sirius and its Dog
Godstar secrets. From the
clarion call of the
opening, Sirius theme,
the sound is buoyant and
frisky emulating the
nature of doggy playtime.
Puppy pleasures abound as
a doggy four-step, my
turn on the traditional
American two-step dance,
is introduced. The
movement transforms into
an actual orchestrated
frolic of small, large
and medium dog barks
beginning with the winds
(smaller dogs) and
ultimately, the big dog,
brass. The movement
climaxes with the coda
or, Dog Park, where the
winds and the brass bark
and play together over
the, doggy ostinato
four-step rhythm,
culminating with the
final call of the Sirius
theme. Let Sleeping Dogs
Lie, Peacefully It's all
in a dog's day and life.
Tranquility presides over
this supremely gentle,
intermezzo-like movement.
After a day of play,
every dog needs rest. Let
Sleeping Dogs Lie, is a
lyrical andante inspired
by the profound serenity
and beauty of a dog at
rest. The Last Will and
Testament of Silverdene
Emblem O'Neill Based on a
powerful piece of prose
written by the American
playwright, Eugene
O'Neill this text was
intended as a consolation
piece for Carlotta, his
wife, who had become
grief-stricken over the
loss of their beloved
dog, the Dalmatian known
as Blemie.Written for a
singing actor who
personifies the role of
Blemie, a dog at the end
of his life, the movement
plays like a one act,
musical drama as we
follow Blemie through a
wonderfully
three-dimensional,
emotional and
psychological journey
writing his Last Will and
Testament, for those who
have loved him. Wagging
the Tail: Ossia Fido's
Lament A life-affirming
rumba/samba using
Blemie's final words from
O'Neill's text, this
final movement employs
the most unique American
musical invention, the
gospel choir. In order to
make the dances come
alive, this movement also
calls upon the colors of
a rhythm section.
Creating the spirit of an
Irish Funeral, the
movement is a joyful and
revival-like celebration
of a dog's life as its
spirit lives on forever
in the hearts and minds
of dog lovers everywhere.
Remember Me, remember me!
My spirit is wagging a
grateful tail. Published
by: Subito Music
Publishing Release Date:
July 9, 2013.
Four
Verses for Orchestra and
Record. Composed by
Arnulf Herrmann.
Performance Music
Ensemble; Single Titles.
Peters Contemporary
Library. Classical.
Score. 64 pages. Edition
Peters #98-EP14634.
Published by Edition
Peters (PE.EP14634).
ISBN 9790014139414.
German.
DÃ
monen (Ein
Kinderlied) –
English: Demons (A
Children's Song) –
by Arnulf Herrmann is a
21-minute work for
orchestra and a record
with the children's song
Die Blümelein, sie
schlafen (The little
flowers are sleeping). On
it, white noise and
historical fragments of
this song, preserved in
various versions, can be
heard. The recording is
interwoven with the
orchestra, sets the tempo
and, not least, provides
the timeframe by limiting
it to the duration of one
record side. But the end
is only technical: The
needle lifts, but the
song is not
over.
The premiere
took place on 16 October
2022 at the
Donaueschinger Musiktage,
with the SWR Symphony
Orchestra conducted by
Bas Wiegers.
The
full score (EP 14634) is
available for sale as
part of the Peters
Contemporary Library. The
performance material can
be hired.
This
product is Printed on
Demand and may take
several weeks to fulfill.
Please order from your
favorite
retailer.
About Peters
Contemporary
Library
Ma
rk Andre Milton
Babbitt Daniel
Bjarnason Earle
Brown John
Cage Henry
Cowell James
Dillon Jonathan
Dove Brian
Ferneyhough Roxanna
Panufnik Rebecca
Saunders Erkki-Sven
Tuur Charles
Wuorinen
These
are just a few of the
composers whose most
adventurous scores are
now available to purchase
through the Peters
Contemporary Library. A
new global initiative of
the Edition Peters Group,
the Peters Contemporary
Library is a project
designed to put these
bold 20th- and
21st-century works, once
available only for
rental, into the
collections of libraries,
performers, scholars, and
conductors alike.
Kicked off in 2016,
the Peters Contemporary
Library already contains
many cutting-edge works
and is constantly
expanding. We are proud
to offer these bold new
scores for sale, for the
first time ever, to
modern musicians and
students of music all
around the world.
(A Polyrhythmic Journey in 6/8 Time). By Alan Dworsky. For Keyboard (Piano). Met...(+)
(A Polyrhythmic Journey
in 6/8 Time). By Alan
Dworsky. For Keyboard
(Piano). Methods. Dancing
Hand. World Music.
Intermediate-Advanced.
Book/CD Set. 96 pages.
Published by Dancing
Hands
Featuring 43 Fiddlers
and 188 of Their
Tunes. Perfect
binding. Folk. Book. 212
pages. Mel Bay
Publications, Inc #30091.
Published by Mel Bay
Publications, Inc
(MB.30091).
ISBN
9781513466378. 8.75 x
11.75
inches.
Appalachian
fiddle music, based on
the musical traditions of
the people who settled in
the mountainous regions
of the southeastern
United States, is
widely-known and played
throughout North America
and parts of Europe
because of its complex
rhythms, its catchy
melodies, and its
often-ancient-sounding
stylistic qualities. The
authors explore the lives
and music of 43 of the
classic Appalachian
fiddlers who were active
during the first half of
the 20th century. Some of
them were recorded
commercially in the
1920s, such as Gid
Tanner, Fiddlin? John
Carson, and Charlie
Bowman. Some were
recorded by folklorists
from the Library of
Congress, such as William
Stepp, Emmett Lundy, and
Marion Reece. Others were
recorded informally by
family members and
visitors, such as John
Salyer, Emma Lee
Dickerson, and Manco
Sneed. All of them played
throughout most of their
lives and influenced the
growth and stylistic
elements of fiddle music
in their regions. Each
fiddler has been given a
chapter with a biography,
several tune
transcriptions, and tune
histories. To show the
richness of the music,
the authors make a
special effort to show
the musical elements in
detail, but also
acknowledge that nothing
can take the place of
listening. Many of the
classic recordings used
in this book can be found
on the web, allowing you
to hear and read the
music together.