Composed by
Peter Terry. Young Band
(YPS). Set of Score and
Parts. With Standard
notation.
8+2+4+4+2+2+5+2+2+4+4+4+6
+3+3+2+1+2+2+16+2 pages.
Duration 4 minutes, 13
seconds. Carl Fischer
Music #YPS211. Published
by Carl Fischer Music
(CF.YPS211).
ISBN
9781491152300. UPC:
680160909803. Key: F
major.
A Certain
Slant of Light is
inspired by the
introspective
mood created by the
rays of light on a dark
cloudy day. A
colorful, murmuring
introduction is followed
by a rich main theme in a
minor key. It is a
well-scored and
fresh-sounding piece that
will help young bands
enhance their
musicality. Rays of
light against the dark of
a cloudy day, or these
same rays of light as
they penetrate a dark
room in late afternoon
can create a mood of
introspection and make us
pause to reflect on the
nature of life, loss and
hope. A Certain Slant of
Light is inspired by the
title, but does not
depict the actual
poem There is a
Certain Slant of
Light by Emily
Dickinson.A Certain Slant
of Light opens with a
colorful murmuring
introduction followed
immediately by a
statement of the main
theme of the piece. The
opening briefly returns,
followed by a setting of
the melody in flute with
woodwind accompaniment.
The opening then returns
and grows to a climax
built on variations of
the main theme. The piece
fades to silence with a
soft echo of the opening
murmuring material.I
enjoyed writing this
piece and hope your
students will enjoy
playing these contrasting
styles and that you will
find the piece beneficial
in teaching important
musical concepts.Peter
Terry, 2018.
Choral SA choir, piano SKU: CF.CM9576 1. Who Robbed the Woods 2. Cool ...(+)
Choral SA choir, piano
SKU: CF.CM9576
1. Who Robbed the
Woods 2. Cool is the
Valley Now. Composed
by Paul David Thomas.
Sws. Performance Score.
16 pages. Carl Fischer
Music #CM9576. Published
by Carl Fischer Music
(CF.CM9576).
ISBN
9781491153987. UPC:
680160912483. 6.875 x
10.5 inches. Key: G
minor. English. Emily
Dickinson (1830-1886) ,
Walt Whitman
(1819-1892).
The
two pieces, Who Robbed
the Woods? and O Cool is
the Valley Now, combine
to create a set that both
explores the subtle
beauty, serenity,
fragility, and resiliency
of nature and examines
our relationship to the
natural world around us.
The first song combines a
short poem by Emily
Dickinson with a journal
entry excerpt by Walt
Whitman entitled The
Lesson of the Tree.
Only two stanzas in
length, Dickinsons poem
considers the ways in
which people use and
exploit trees for their
own purposes and asks, on
the trees behalf, who
would do such a thing?
Whitman ponders a trees
silent majesty and power
and its ability to be yet
say nothing at all. The
musical setting begins
and ends in the mode of
G-Dorian while moving
briefly in the middle
section to Bb major. The
Dorian mode, similar to
the natural minor but
with a raised sixth scale
degree, possesses a
mysterious and whimsical
sound, fitting for a poem
that considers the
possibility of talking
trees. The accents and
syncopation of the piano
accompaniment should be
carefully observed, with
particular attention paid
to the syncopation found
in gestures occurring in
mm. 712. The beginning
a cappella
section should be hushed
yet intense; a richer,
fuller sound may be
brought out in the middle
section where the key
shifts to Bb major and
the choir sings of the
many noble qualities of
trees (mm. 3953). O Cool
is the Valley Now also
makes use of a modal
scale. Set primarily in D
Mixolydian, similar to D
major but with a lowered
seventh scale degree,
this modes lack of a
leading tone gives the
melody a folk-tune
quality. The piano should
at all times remain
legato and flowing, its
ascending and descending
gestures, found in mm.
910, imitating the
rolling hills and valleys
evoked in the text. The
phrases of the vocal
lines should also be
flowing and carefully
shaped. Additional rubato
and dynamic subtleties
may be added to
accentuate any number of
the suspensions and
dissonances that occur,
especially on p.
14. The two pieces,
aWho Robbed the Woods?a
and aO Cool is the Valley
Now,a combine to create a
set that both explores
the subtle beauty,
serenity, fragility, and
resiliency of nature and
examines our relationship
to the natural world
around us. The first song
combines a short poem by
Emily Dickinson with a
journal entry excerpt by
Walt Whitman entitled
The Lesson of the
Tree. Only two
stanzas in length,
Dickinsonas poem
considers the ways in
which people use and
exploit trees for their
own purposes and asks, on
the treesa behalf, who
would do such a thing?
Whitman ponders a treeas
silent majesty and power
and its ability to be
ayet say nothing at all.a
The musical setting
begins and ends in the
mode of G-Dorian while
moving briefly in the
middle section to Bb
major. The Dorian mode,
similar to the natural
minor but with a raised
sixth scale degree,
possesses a mysterious
and whimsical sound,
fitting for a poem that
considers the possibility
of talking trees. The
accents and syncopation
of the piano
accompaniment should be
carefully observed, with
particular attention paid
to the syncopation found
in gestures occurring in
mm. 7a12. The beginning
a cappella
section should be hushed
yet intense; a richer,
fuller sound may be
brought out in the middle
section where the key
shifts to Bb major and
the choir sings of the
many noble qualities of
trees (mm. 39a53). O Cool
is the Valley NowA also
makes use of a modal
scale. Set primarily in D
Mixolydian, similar to D
major but with a lowered
seventh scale degree,
this modeas lack of a
leading tone gives the
melody a folk-tune
quality. The piano should
at all times remain
legato and flowing, its
ascending and descending
gestures, found in mm.
9a10, imitating the
rolling hills and valleys
evoked in the text. The
phrases of the vocal
lines should also be
flowing and carefully
shaped. Additional rubato
and dynamic subtleties
may be added to
accentuate any number of
the suspensions and
dissonances that occur,
especially on p.
14. The two pieces,
aWho Robbed the Woods?a
and aO Cool is the Valley
Now,a combine to create a
set that both explores
the subtle beauty,
serenity, fragility, and
resiliency of nature and
examines our relationship
to the natural world
around us. The first song
combines a short poem by
Emily Dickinson with a
journal entry excerpt by
Walt Whitman entitled
The Lesson of the
Tree. Only two
stanzas in length,
Dickinsonas poem
considers the ways in
which people use and
exploit trees for their
own purposes and asks, on
the treesa behalf, who
would do such a thing?
Whitman ponders a treeas
silent majesty and power
and its ability to be
ayet say nothing at all.a
The musical setting
begins and ends in the
mode of G-Dorian while
moving briefly in the
middle section to Bb
major. The Dorian mode,
similar to the natural
minor but with a raised
sixth scale degree,
possesses a mysterious
and whimsical sound,
fitting for a poem that
considers the possibility
of talking trees. The
accents and syncopation
of the piano
accompaniment should be
carefully observed, with
particular attention paid
to the syncopation found
in gestures occurring in
mm. 7a12. The beginning
a cappella
section should be hushed
yet intense; a richer,
fuller sound may be
brought out in the middle
section where the key
shifts to Bb major and
the choir sings of the
many noble qualities of
trees (mm. 39a53). O Cool
is the Valley NowA also
makes use of a modal
scale. Set primarily in D
Mixolydian, similar to D
major but with a lowered
seventh scale degree,
this modeas lack of a
leading tone gives the
melody a folk-tune
quality. The piano should
at all times remain
legato and flowing, its
ascending and descending
gestures, found in mm.
9a10, imitating the
rolling hills and valleys
evoked in the text. The
phrases of the vocal
lines should also be
flowing and carefully
shaped. Additional rubato
and dynamic subtleties
may be added to
accentuate any number of
the suspensions and
dissonances that occur,
especially on p.
14. The two pieces,
Who Robbed the Woods? and
O Cool is the Valley Now,
combine to create a set
that both explores the
subtle beauty, serenity,
fragility, and resiliency
of nature and examines
our relationship to the
natural world around us.
The first song combines a
short poem by Emily
Dickinson with a journal
entry excerpt by Walt
Whitman entitled The
Lesson of the Tree.
Only two stanzas in
length, Dickinson's poem
considers the ways in
which people use and
exploit trees for their
own purposes and asks, on
the trees' behalf, who
would do such a thing?
Whitman ponders a tree's
silent majesty and power
and its ability to be yet
say nothing at all. The
musical setting begins
and ends in the mode of
G-Dorian while moving
briefly in the middle
section to Bb major. The
Dorian mode, similar to
the natural minor but
with a raised sixth scale
degree, possesses a
mysterious and whimsical
sound, fitting for a poem
that considers the
possibility of talking
trees. The accents and
syncopation of the piano
accompaniment should be
carefully observed, with
particular attention paid
to the syncopation found
in gestures occurring in
mm. 7-12. The beginning
a cappella
section should be hushed
yet intense; a richer,
fuller sound may be
brought out in the middle
section where the key
shifts to Bb major and
the choir sings of the
many noble qualities of
trees (mm. 39-53). O Cool
is the Valley Now also
makes use of a modal
scale. Set primarily in D
Mixolydian, similar to D
major but with a lowered
seventh scale degree,
this mode's lack of a
leading tone gives the
melody a folk-tune
quality. The piano should
at all times remain
legato and flowing, its
ascending and descending
gestures, found in mm.
9-10, imitating the
rolling hills and valleys
evoked in the text. The
phrases of the vocal
lines should also be
flowing and carefully
shaped. Additional rubato
and dynamic subtleties
may be added to
accentuate any number of
the suspensions and
dissonances that occur,
especially on p.
14. The two pieces,
Who Robbed the Woods? and
O Cool is the Valley Now,
combine to create a set
that both explores the
subtle beauty, serenity,
fragility, and resiliency
of nature and examines
our relationship to the
natural world around us.
The first song combines a
short poem by Emily
Dickinson with a journal
entry excerpt by Walt
Whitman entitled The
Lesson of the Tree. Only
two stanzas in length,
Dickinson's poem
considers the ways in
which people use and
exploit trees for their
own purposes and asks, on
the trees' behalf, who
would do such a thing?
Whitman ponders a tree's
silent majesty and power
and its ability to be yet
say nothing at all. The
musical setting begins
and ends in the mode of
G-Dorian while moving
briefly in the middle
section to Bb major. The
Dorian mode, similar to
the natural minor but
with a raised sixth scale
degree, possesses a
mysterious and whimsical
sound, fitting for a poem
that considers the
possibility of talking
trees. The accents and
syncopation of the piano
accompaniment should be
carefully observed, with
particular attention paid
to the syncopation found
in gestures occurring in
mm. 7-12. The beginning a
cappella section should
be hushed yet intense; a
richer, fuller sound may
be brought out in the
middle section where the
key shifts to Bb major
and the choir sings of
the many noble qualities
of trees (mm. 39-53). O
Cool is the Valley Now
also makes use of a modal
scale. Set primarily in D
Mixolydian, similar to D
major but with a lowered
seventh scale degree,
this mode's lack of a
leading tone gives the
melody a folk-tune
quality. The piano should
at all times remain
legato and flowing, its
ascending and descending
gestures, found in mm.
9-10, imitating the
rolling hills and valleys
evoked in the text. The
phrases of the vocal
lines should also be
flowing and carefully
shaped. Additional rubato
and dynamic subtleties
may be added to
accentuate any number of
the suspensions and
dissonances that occur,
especially on p.
14. The two pieces,
“Who Robbed the
Woods?†and
“O Cool is the
Valley Now,â€
combine to create a set
that both explores the
subtle beauty, serenity,
fragility, and resiliency
of nature and examines
our relationship to the
natural world around
us.The first song
combines a short poem by
Emily Dickinson with a
journal entry excerpt by
Walt Whitman entitled The
Lesson of the Tree. Only
two stanzas in length,
Dickinson’s poem
considers the ways in
which people use and
exploit trees for their
own purposes and asks, on
the trees’ behalf,
who would do such a
thing? Whitman ponders a
tree’s silent
majesty and power and its
ability to be “yet
say nothing at
all.â€The musical
setting begins and ends
in the mode of G-Dorian
while moving briefly in
the middle section to Bb
major. The Dorian mode,
similar to the natural
minor but with a raised
sixth scale degree,
possesses a mysterious
and whimsical sound,
fitting for a poem that
considers the possibility
of talking trees. The
accents and syncopation
of the piano
accompaniment should be
carefully observed, with
particular attention paid
to the syncopation found
in gestures occurring in
mm. 7–12. The
beginning a cappella
section should be hushed
yet intense; a richer,
fuller sound may be
brought out in the middle
section where the key
shifts to Bb major and
the choir sings of the
many noble qualities of
trees (mm.
39–53).O Cool is
the Valley Now also
makes use of a modal
scale. Set primarily in D
Mixolydian, similar to D
major but with a lowered
seventh scale degree,
this mode’s lack
of a leading tone gives
the melody a folk-tune
quality. The piano should
at all times remain
legato and flowing, its
ascending and descending
gestures, found in mm.
9–10, imitating
the rolling hills and
valleys evoked in the
text. The phrases of the
vocal lines should also
be flowing and carefully
shaped. Additional rubato
and dynamic subtleties
may be added to
accentuate any number of
the suspensions and
dissonances that occur,
especially on p. 14.
The Art of Baroque Flûte traversière [Partition + CD] - Avancé De Haske Publications
Flute - advanced SKU: BT.DHP-1115103-400 For Flute and Basso Continuo ...(+)
Flute - advanced
SKU:
BT.DHP-1115103-400
For Flute and Basso
Continuo or Piano.
Arranged by Emily Beynon.
Emily Beynon Presents.
Book with CD. Composed
2011. 52 pages. De Haske
Publications #DHP
1115103-400. Published by
De Haske Publications
(BT.DHP-1115103-400).
9x12 inches.
In
The Art of Baroque
flutists can get
acquainted with the music
from the Baroque period
and also learn about
composers, the era and
the technique of playing
baroque music. The basso
continuo part means that
the pieces can be
performed with live
accompaniment or with the
play-along CD. Includes
pieces by J. S. Bach, G.
F. Handel, G. Ph.
Telemann. G. Platti, P.
Locatelli, M. Blavet and
J. Stanley.
In
The Art of Baroque
kunnen gevorderde
fluitisten zich verder
verdiepen in de muziek
uit de barokperiode. De
geselecteerde werken
worden aangevuld met
speeltips en informatie
over het tijdperk en de
componisten.
Vertegenwoordigdzijn
Johann Sebastian Bach,
Georg Friedrich
Händel, Georg Philipp
Telemann, Giovanni
Platti, Pietro Locatelli,
Michel Blavet en John
Stanley. Dankzij het
basso continuo kunnen de
stukken ook met
begeleiding worden
gespeeld
In The
Art of Baroque (die
Kunst des Barocks)
können Flötisten
die Musik der Barockzeit
und mehr kennen lernen:
Die ausgewählten Werke
werden von kurzen Texten
über die
Komponisten, die Epoche
und Spielanweisungen
sinnvoll ergänzt. Dank
des Basso continuo
können die
Stücke auch mit
Begleitung gespielt
werden. Vertreten sind
die Komponisten J.
S.Bach, G. F. Händel,
G. Ph. Telemann, Giovanni
Platti, Pietro Locatelli,
Michel Blavet und John
Stanley.
Ne L‘arte
del barocco“ viene
data ai flautisti la
possibilit di esplorare e
conoscere questo periodo
storico. I brani sono
infatti corredati di
brevi testi con
informazioni sui
compositori e
sull‘epoca del
barocco, come anche
istruzioni su come
eseguire i brani. Grazie
al basso continuo i brani
possono essere suonati
anche con
l‘accompagnamento.
Nella pubblicazione sono
proposte opere di J.S.
Bach, G.F. Haendel, G.
Ph. Telemann, Giovanni
Platti, Pietro Locatelli,
Michel Blavet e John
Stanley.
A Comprehensive Method Book for Years Two, Three, and Beyond. Edited by M...(+)
A Comprehensive Method
Book for Years Two,
Three, and Beyond.
Edited by Marguerite
Wilder. Habits of a
Successful Musician.
Music Education. Method
book. 72 pages. Published
by GIA Publications
(GI.G-9142).
A Comprehensive Method Book for Years Two, Three, and Beyond. Edited by M...(+)
A Comprehensive Method
Book for Years Two,
Three, and Beyond.
Edited by Marguerite
Wilder. Habits of a
Successful Musician.
Music Education. Method
book. 72 pages. Published
by GIA Publications
(GI.G-9145).
(Sur Un Poeme D'emily Jane Bronte - (On A Poem by Emily Jane Bronte)). By Guilla...(+)
(Sur Un Poeme D'emily
Jane Bronte - (On A Poem
by Emily Jane Bronte)).
By Guillaume Connesson.
For Alto Voice /
Countertenor Voice,
Piano. 7 pages. Duration
5 minutes. Published by
Gerard Billaudot Editeur
A Comprehensive Method Book for Years Two, Three, and Beyond. Edited by M...(+)
A Comprehensive Method
Book for Years Two,
Three, and Beyond.
Edited by Marguerite
Wilder. Habits of a
Successful Musician.
Music Education. Method
book. 72 pages. Published
by GIA Publications
(GI.G-9143).
Flute (Flute) - advanced SKU: HL.44011110 For Flute and Basso Continuo...(+)
Flute (Flute) - advanced
SKU: HL.44011110
For Flute and Basso
Continuo or Piano.
Arranged by Emily Beynon.
De Haske Play-Along Book.
Book with CD. Composed
2011. De Haske
Publications #1115103400.
Published by De Haske
Publications
(HL.44011110).
UPC:
884088654764. 9x12
inches.
In The
Art of Baroque
flutists can get
acquainted with the music
from the Baroque period
and also learn about
composers, the era and
the technique of playing
baroque music. The basso
continuo part means that
the pieces can be
performed with live
accompaniment or with the
play-along CD. Includes
pieces by J. S. Bach, G.
F. Handel, G. Ph.
Telemann. G. Platti, P.
Locatelli, M. Blavet and
J. Stanley.
In
The Art of Baroque
kunnen gevorderde
fluitisten zich verder
verdiepen in de muziek
uit de barokperiode. De
geselecteerde werken
worden aangevuld met
speeltips en informatie
over het tijdperk en de
componisten.
Vertegenwoordigdzijn
Johann Sebastian Bach,
Georg Friedrich Handel,
Georg Philipp Telemann,
Giovanni Platti, Pietro
Locatelli, Michel Blavet
en John Stanley. Dankzij
het basso continuo kunnen
de stukken ook met
begeleiding worden
gespeeld
In The
Art of Baroque (die
Kunst des Barocks) konnen
Flotisten die Musik der
Barockzeit und mehr
kennen lernen: Die
ausgewahlten Werke werden
von kurzen Texten u?ber
die Komponisten, die
Epoche und
Spielanweisungen sinnvoll
erganzt. Dank des Basso
continuo konnen die
Stu?cke auch mit
Begleitung gespielt
werden. Vertreten sind
die Komponisten J.
S.Bach, G. F. Handel, G.
Ph. Telemann, Giovanni
Platti, Pietro Locatelli,
Michel Blavet und John
Stanley.
Ce
recueil permettra a tout
flutiste d'un niveau
avance, d'aborder l'art
de la musique baroque.
Les oeuvres selectionnees
sont agrementees de
textes courts sur les
compositeur et leur
epoque et des annotations
d'interpretations
viennent completer cet
excellent ouvrage. La
version d'accompagnement
a la basse continue de
chaque piece est
enregistree sur le CD.
Retrouvez sans attendre
Bach, Haendel, Telemann,
Platti, Locatelli,
Stanley et Blavet.
Ne L'arte del
barocco viene data ai
flautisti la possibilita
di esplorare e conoscere
questo periodo storico. I
brani sono infatti
corredati di brevi testi
con informazioni sui
compositori e sull'epoca
del barocco, come anche
istruzioni su come
eseguire i brani. Grazie
al basso continuo i brani
possono essere suonati
anche con
l'accompagnamento. Nella
pubblicazione sono
proposte opere di J.S.
Bach, G.F. Haendel, G.
Ph. Telemann, Giovanni
Platti, Pietro Locatelli,
Michel Blavet e John
Stanley.
A Comprehensive Method Book for Years Two, Three, and Beyond. Edited by M...(+)
A Comprehensive Method
Book for Years Two,
Three, and Beyond.
Edited by Marguerite
Wilder. Habits of a
Successful Musician.
Music Education. Method
book. 72 pages. Published
by GIA Publications
(GI.G-9144).
4. Four Late Song Cycles: La Chanson d'Ève, Le Jardin clos, Mira...(+)
4. Four Late Song Cycles:
La
Chanson
d'Ève, Le
Jardin clos,
Mirages, L'Horizon
chimérique
(Edition for medium
voice).
Composed by Gabriel
Faure.
Edited by Emily
Kilpatrick and
Roy Howat. This edition:
Urtext. Collections;
Masterworks. Masterwork;
Romantic. Book. Edition
Peters
#98-EP11394B. Published
by
Edition Peters
Just Jazz Real Book - Bb Edition. (B-Flat Edition). For Bb instrument and voice....(+)
Just Jazz Real Book - Bb
Edition. (B-Flat
Edition). For Bb
instrument and voice.
This edition: B-Flat
Edition. Fake Book. Just
Real Books Series. Jazz.
Difficulty: easy-medium
to medium. Fakebook
(spiral bound).
Introductory text, vocal
melody, lyrics, chord
names, discography and
black and white photos.
400 pages. Published by
Alfred Music Publishing
Handbell Solo & Duet handbell; piano SKU: HP.1587 Composed by William B. ...(+)
Handbell Solo & Duet
handbell; piano
SKU:
HP.1587
Composed by
William B. Bradbury.
Arranged by Anna Laura
Page and Christine D.
Anderson. What if your
art is part of a bigger
picture, part of a daily
grace God has in mind for
someone else? -Emily P.
Freeman. Christine
Anderson Solo Handbells
Series. General Worship,
Sacred. Handbell Score.
Hope Publishing Company
#1587. Published by Hope
Publishing Company
(HP.1587).
UPC:
763628115876. By William
Bradbury. Psalms 23:1-6,
Psalms 31:3, Psalms 63:1,
Psalms 80:1, John
10:1-40, John 12:20-33,
John 13:1, John 8:32,36,
1 Corinthians 6:20, 1
Peter 5:1-4, Hebrews
13:20, Isaiah 40:11, Luke
15:4-6, Romans 6:18, 1
John
10:11-18.
Beloved
hymntune by William
Bradbury At the
beginnning, the
accompaniment sets a
pastoral mood for this
fine solo. Performance
notes are most
helpful.