21 pieces plus exercises for Trinity College London exams 2021-2023. Compose...(+)
21 pieces plus exercises
for
Trinity College London
exams
2021-2023. Composed by
Various. Classical.
Textbook.
Trinity College London
#TCL020512. Published by
Trinity College London
Composed by Wendy Hodge. Text: Laura Galvin. A little musical play honoring the ...(+)
Composed by Wendy Hodge.
Text: Laura Galvin. A
little musical play
honoring the Knights of
Columbus founder. Musical
play. Published by
CanticaNOVA Publications
(C5.8800).
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.
Concert Band (SCORE) - beginning SKU: HL.4005877 Composed by Robert Buckl...(+)
Concert Band (SCORE) -
beginning
SKU:
HL.4005877
Composed
by Robert Buckley. First
Concepts (Concert Band).
Concert. Softcover. 12
pages. Duration 500
seconds. Published by Hal
Leonard (HL.4005877).
UPC: 888680935771.
9.0x12.0x0.026
inches.
In a
cinematic, swashbuckling
style, Smugglers' Cove
relives an adventure on
the high seas aboard a
buccaneer ship as it
sails into a secret cove
on a mission of hidden
treasue! Dur: 2:00.
Score and Parts Concert Band (Score & Parts) - beginning SKU: HL.4005876 ...(+)
Score and Parts Concert
Band (Score & Parts) -
beginning
SKU:
HL.4005876
Composed
by Robert Buckley. First
Concepts (Concert Band).
Concert. Softcover.
Duration 500 seconds.
Published by Hal Leonard
(HL.4005876).
ISBN
9781540050915. UPC:
888680935764.
9.0x12.0x0.398
inches.
In a
cinematic, swashbuckling
style, Smugglers' Cove
relives an adventure on
the high seas aboard a
buccaneer ship as it
sails into a secret cove
on a mission of hidden
treasure! Dur: 2:00.
Alto Saxophone SKU: YM.GTW01100365 Composed by Various. J-Pop. J-Pop. Boo...(+)
Alto Saxophone
SKU:
YM.GTW01100365
Composed by Various.
J-Pop. J-Pop. Book.
Yamaha Music Media
#GTW01100365. Published
by Yamaha Music Media
(YM.GTW01100365).
ISBN
9784636102581. 8.5 x 12
inches.
Have you
ever wanted to play some
popular J-Pop songs, but
the notes are too high,
too detailed, too
difficult to finger, or
the song is too long? To
solve such difficulties,
the scores are arranged
in keys that are easier
for wind instruments to
play, reviewed the
detailed notes, and
shortened the length of
the songs. *Alto
saxophone scores are
notated in E-flat.
*All chord symbols in
alto saxophone sheet
music are transposed
chords. The concert key
is the minor third degree
above the chord listed.
(For example, a piece in
C is written in
E-flat.).
Choir SKU: BR.SON-442 Complete Works. Composed by Felix Bartholdy ...(+)
Choir
SKU:
BR.SON-442
Complete Works.
Composed by Felix
Bartholdy Mendelssohn.
Edited by Clemens
Harasim. Linen. Complete
Works. Romantic period.
Complete Works. 188
pages. Breitkopf and
Haertel #SON 442.
Published by Breitkopf
and Haertel (BR.SON-442).
ISBN 9790004803509. 10
x 12.5 inches.
This
volume contains three
reworkings and
orchestrations of
religious works by Felix
Mendelssohn Bartholdy
which were originally set
for smaller ensembles
(solo voices, four-part
chorus and organ). They
were composed at
different times and for
different occasions, two
of them as commissions.
The anthem ,,Why, o Lord,
delay forever MWV A 19
was originally the sacred
vocal piece MWV B 33,
published in England in
1841 with the additional
title ,,[…] The
Thirteenth Psalm, and in
Germany in the same year
as ,,Lass, o Herr, mich
Hilfe finden with the
title ,,Drei geistliche
Lieder which was composed
at the suggestion of the
English literature and
music lover Charles B.
Broadley who also
provided the paraphrase
of the psalm text. After
Mendelssohn had refused
an initial request by
Broadley to furnish the
anthem post festum with
an organ prelude, the
composer did not want to
turn down a second
request to orchestrate
the work and he even
expanded the existing
material with a lengthy
closing fugue involving
additional trumpets and
timpani. The ,,Ave Maria
MWV B 19 was written in
connection with
Mendelssohn's appointment
as municipal music
director, a position
which at the same time
included the
responsibility for the
musical organization of
church services. The
instrumentation of the
work with an
accompaniment of two
clarinets and two
bassoons as well as low
strings was due to the
fact that the organ in
Dusseldorf's principal
church St. Lambertus was
out of order for an
extended period of time,
and Mendelssohn
considered this solution
explicitly only as a
surrogate for the organ
should there be none. A
further psalm paraphrase
in English, this time by
William Bartholomew, of
the hymn ,,Hear my prayer
MWV B 49 was set to music
in early 1844; the
orchestration of the
organ part commissioned
by the distinguished
Dublin musician Joseph
Robinson was not
completed until 1847 so
that the premiere finally
only took place after
Mendelssohn's death. In
the further course of the
century ,,Hear my prayer
would, particularly in
the version with organ
accompaniment, come to
enjoy great popularity in
Great Britain and
Ireland.
Meet Me At The Manger (Wise Men Still Follow Him Today). By Celeste Clydesdale. ...(+)
Meet Me At The Manger
(Wise Men Still Follow
Him Today). By Celeste
Clydesdale. Arranged by
David Clydesdale. For
2-part/Unison choir.
Musical. Characters and
Casting: 6 Male
Characters, 3 Female
Characters, 1 Adult, 12
solos. Modern Christian,
Christmas. Easy. Choral
Book. Duration 37'00".
Published by Word Music
Huron Carol Chorale SATB SATB A Cappella Fennica Gehrman
Choral (SATB a cappella) SKU: HL.48025205 Jesous Ahatonhia–SATB...(+)
Choral (SATB a cappella)
SKU: HL.48025205
Jesous
Ahatonhia–SATB a
Cappella. Composed by
Jean de Bré and
beuf. Arranged by Matthew
Whittall. BH Secular
Choral. Canadian,
Classical. Octavo. 4
pages. Fennica Gehrman
#M550113565. Published by
Fennica Gehrman
(HL.48025205).
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.
by Bret Willmott. For all guitars. Complete. All styles. Level: Intermediate-Adv...(+)
by Bret Willmott. For all
guitars. Complete. All
styles. Level:
Intermediate-Advanced.
Book. Theory and harmony.
Size 8.75x11.75. 248
pages. Published by Mel
Bay Pub., Inc.
(Vocal Score). Composed by Richard Wagner (1813-1883). Edited by Egon Voss. For ...(+)
(Vocal Score). Composed
by Richard Wagner
(1813-1883). Edited by
Egon Voss. For Vocal,
Piano Accompaniment
(Vocal Score). This
edition: Urtext edition.
Vocal Score. Vocal score.
672 pages. Schott Music
#ED20410. Published by
Schott Music
Chamber Music Organ, Trumpet SKU: PR.114419810 Composed by Stacy Garrop. ...(+)
Chamber Music Organ,
Trumpet
SKU:
PR.114419810
Composed
by Stacy Garrop. Set of
Score and Parts. 33+12
pages. Duration 21
minutes. Theodore Presser
Company #114-41981.
Published by Theodore
Presser Company
(PR.114419810).
ISBN
9781491136638. UPC:
680160681921.
Stacy
Garrop’s ROAD
WARRIOR is music of
real-life tragedy,
expressed through the
power of a trumpet/organ
duo. Drawing inspiration
from Neil Peart’s
autobiographical book,
“Ghost Rider:
Travels on the Healing
Road,â€
Garrop’s work
grieves the loss of a
friend’s young son
and the journey to
healing. ROAD
WARRIOR’s
evocative movement titles
are drawn from passages
in Peart’s book:1.
I Am the Ghost Rider2. My
Little Baby Soul3. Are
You With Me
Here?. When Clarion
members Keith Benjamin
(trumpet), Melody Steed
(organ), and I initially
discussed possible topics
for a new piece, Keith
brought up his son
Cameron, who had passed
away at the age of seven
from leukemia. While
Cameron’s life
ended too soon, he left
an indelible and lasting
mark on his those
surrounding him. Keith
asked if I could
commemorate Cameron
musically.In talking over
possible ways to do this,
Keith mentioned the book
Ghost Rider: Travels on
the Healing Road. The
book was written by Neil
Peart, who is well-known
as the longtime drummer
and lyricist of the band
Rush. Peart suffered the
heartbreaking loss of his
daughter in 1997,
followed by his wife 10
months later. In an
effort to work through
the grieving process,
Peart did what his wife
suggested before she
passed: he got onto his
motorcycle and hit the
open road. Ghost Rider
chronicles a year of
Peart’s life in
which he drove for 55,000
miles, zigzagging his way
across Canada, the
western portion of the
United States, Mexico,
and Belize.
Peart’s powerful
story illustrates how he
coped with immense loss
and eventually emerged on
the other side to once
again embrace life. Keith
had found Peart’s
book helpful in dealing
with Cameron’s
death; moreover, Mr.
Peart sent Cameron a
signed cymbal while he
was in the hospital
undergoing treatment.
This unexpected gesture
of compassion and
generosity meant the
world to both Cameron and
Keith.I chose three
phrases from
Peart’s book to
serve as the inspiration
for the movements in Road
Warrior. In the first
movement, I am the ghost
rider, I imagined the
performers to be howling
phantoms that are
haunting drivers on a
nearly deserted highway.
Peart often mentioned
that he felt haunted by
ghosts from the past
while on his journey, and
sometimes felt like a
ghost himself, moving
through an immaterial
world as he rode from
town to town. The second
movement, My little baby
soul, references
Peart’s wording to
define his own inner
essence that he was
trying to protect and
nurture while on his
journey. In this gentle
movement, I capture the
innocence and simplicity
of a newborn soul. The
piece concludes with Are
you with me here? In this
movement, I depict the
performers as they search
to find connections to
those they have lost, and
to those still
living.Over the course of
his travels, Peart kept
up a steady letter
correspondence with his
close friend Brutus. In
one of his first letters,
he repeatedly asks Brutus
if he is with him in
spirit. I found it to be
very poignant that while
in his self-imposed
exile, Peart discovered
that he still needed
connections to humanity.I
wish to thank Mr. Peart
for granting me
permission to use his
phrases as the movement
titles, and for serving
as the inspiration for
Road Warrior. Rarely do
any of us make it through
our lives without being
touched by the loss of
someone dear to us. I
found Peart’s
insights into his
grieving and recovery
process to be insightful,
eloquent, and
surprisingly comforting.
His journey is a touching
reminder that with enough
fortitude and time, we
can work through what
fate deals us and
continue down our own
road of life.
God Is Calling Us Chorale Unison Unison/2-parties, Piano [Octavo] Lorenz Publishing Company
By Natalie Sleeth, Jean Anne Shafferman. For Unison/2-part choir and piano. Chri...(+)
By Natalie Sleeth, Jean
Anne Shafferman. For
Unison/2-part choir and
piano. Christ the King,
Discipleship, General,
Lent, Missions,
Stewardship, Sacred.
Sacred Anthem. Published
by Lorenz Publishing
Company. (10/3767L)