(22 Full Band Arrangements Correlated to Accent on Achievement (Bass Clarinet))....(+)
(22 Full Band
Arrangements Correlated
to Accent on Achievement
(Bass Clarinet)).
Arranged by John O'Reilly
and Mark Williams.
Concert Band. For Bass
Clarinet. Band
Supplement; Book;
Masterworks. Accent on
Performance. Masterwork
Arrangement. 24 pages.
Pub
Composed by Eastmond.
Concert Band. Heritage of
the March Series. Audio
recording available
separately (item
CL.WFR349). Score and set
of parts. Composed 2007.
Duration 7 minutes, 5
seconds. Opus III Wind
Orchestra Publications
#012-3599-00. Published
by Opus III Wind
Orchestra Publications
(CL.012-3599-00).
Bold and
playful, lyrical and
dramatic, this new work
by young Canadian
composer David Eastmond
is sure to delight. An
original hymn tune forms
the basis of bold
fanfares, lush lyrical
settings, dramatic
melodies, imitative
counterpoint and
surprising harmonic
twists. A variety of
articulations and dynamic
contrasts will show off
your ensemble's
versatility. An
outstanding choice for
concert or contest
performance.
About Heritage
of the
March
Full
-sized concert band
editions of the greatest
marches of all time. Each
has been faithfully
re-scored to accommodate
modern instrumentation
and incorporate
performance practices of
classic march style
Discovery Level 2.
Composed by Ruth Morris
Gray. Discovery Choral.
Christmas, Holiday. CD.
Duration 116 seconds.
Published by Hal Leonard
(HL.319977).
UPC:
888680973865.
5.0x5.0x0.194
inches.
Normally
set in a 3/4 meter, We
Three Kings is
transformed into a
three-section, 4/4
showcase with personality
to spare! Syncopated
rhythms and spirited
dynamic changes will
guarantee a surprise hit
with your students and
audiences!
Composed
by Heinrich Ignaz Franz
von Biber. Edited by
Armin Kircher. Arranged
by Paul Horn. Sacred
music from Salzburg.
Complete orchestral
parts. Sacred vocal
music, Requiem. Set of
Orchestra Parts. Duration
28 minutes. Carus Verlag
#CV 27.318/19. Published
by Carus Verlag
(CA.2731819).
ISBN
9790007164645. Key: F
minor. Text language:
Latin.
Biber's
Requiem in F minor is
amongst the most
impressive settings of
the Requiem Mass of the
17th century. The exact
reason for the
composition of the
Requiem, which can be
dated to 1692, is not
known. The dark key color
of F minor is emphasized
by the instrumental
scoring for two violins,
three violas, basso
continuo and three
trombones (colla parte
with the chorus). The
vivid language of the
Requiem text offered
Biber a wealth of
possibilities for
expressive, musical
interpretation. The
intensity of the musical
language used to portray
lamenting and mourning is
impressive. In the course
of publication of the
Biber Requiem,
surprisingly the primary
source, which until now
had been thought to be
missing, resurfaced and
the edition could be
prepared based on this
astonishing discovery.
This is a work of
mid-level difficulty for
a choir and with the
clear disposition of the
string parts it is well
suited for performance by
amateur choirs. Score and
parts available
separately - see item
CA.2731800.
Arranged by Artem Vassiliev. For Alto Saxophone. This edition: ED13165. Schott M...(+)
Arranged by Artem
Vassiliev. For Alto
Saxophone. This edition:
ED13165. Schott Master
Play-Along Series. 12
favourite works from the
Classical era, with
authentic orchestral
backing tracks. Play
Along. Collection and
Play-Along CD. 28 pages.
Published by Schott
Music.
Composed by Matthew Culloton. Christmas with The Singers Series. Christmas, 20t...(+)
Composed by Matthew
Culloton. Christmas with
The Singers Series.
Christmas, 20th Century.
Octavo. Published by
MorningStar Music
Publishers (MN.50-1962).
Concert Band/Harmonie - Grade 3 SKU: BT.1844-11-140-MS As performed by...(+)
Concert Band/Harmonie -
Grade 3
SKU:
BT.1844-11-140-MS
As performed by
Adele. Composed by
Adele Adkins. Arranged by
Stefan Schwalgin. Ovation
Series. Pop & Rock. Score
Only. Composed 2011. 16
pages. Music Sales
#1844-11-140 MS.
Published by Music Sales
(BT.1844-11-140-MS).
9x12 inches.
English-German-French-Dut
ch.
Since 2007,
British pop-singer
sensation Adele has been
winning one prize after
another and has enjoyed
unprecedented UK chart
success. In December
2010, Rolling in the Deep
finally propelled her
into the charts of many
European countries and
the USA. Thanks to Stefan
Schwalgin’s
fantastic arrangement,
you can surprise your
audiences with a hit that
is still riding high in
the charts!
Sinds
2007 sleept de jonge
Britse zangeres Adele de
ene na de andere prijs in
de wacht. Ook stond ze al
meerdere keren in de
Britse hitlijsten. Met
Rolling in the Deep lukte
het haar ook om eind
2010, begin 2011 in
verschillende
andereEuropese landen en
de VS de top tien te
bereiken. Dankzij de
bewerking voor
blaasorkest van Stefan
Schwalgin kunt u nu ook
uw publiek verrassen met
deze
publiekslieveling!
Seit 2007 gewinnt die
junge britische
Sängerin Adele einen
Preis nach dem anderen
und hatte in den
britischen Charts schon
etliche Hits. Mit Rolling
in the Deep gelang es ihr
Ende 2010/Anfang 2011,
sich in mehren
europäischen
Ländern und den USA an
die Spitze der Charts zu
setzen. Dank Stefan
Schwalgins
Blasorchesterbearbeitung
können Sie Ihr
Publikum schon jetzt mit
diesem aktuellen Hit
überraschen!
Dal 2007
a oggi Adele, giovane
cantante inglese, ha
vinto numerosi premi e le
sue canzoni sono tra le
più vendute. Il suo
Rolling in the Deep è
arrivato in vetta alle
classifiche in molti
paesi europei e negli
Stati Uniti.
L’arrangiamento di
Stefan Schwalgin vi
consente di sorprendere
il vostro pubblico con
questo successo!
Composed by Jeffrey
Bishop. String Tracks.
Score and parts. Neil A.
Kjos Music Company
#SO280C. Published by
Neil A. Kjos Music
Company (KJ.SO280C).
UPC:
8402702571.
Divided
into two starkly
different sections, the
first showcasing the
lyricism of the cellos
and the second featuring
minimalistic motor
rhythms, this diverse
composition is packed
with surprises.
Haydn * Intermediate to Advanced Piano Solos composed by Franz Joseph Haydn (173...(+)
Haydn * Intermediate to
Advanced Piano Solos
composed by Franz Joseph
Haydn (1732-1809).
Arranged by Erika
Feuchtner Macris. For
piano. This edition:
Paperback. Collection.
Classical Composer
Series. Classical.
Intermediate to Advanced.
Book. Text Language:
English. 64 pages.
Published by Santorella
Publications
Urtext. Composed
by Jan Dismas Zelenka.
Edited by Paul und
Wolfgang Horn. Stapled.
Orchester-Bibliothek
(Orchestral Library).
Mass; Baroque. Part. 24
pages. Duration 50'.
Breitkopf and Haertel #OB
5565-16. Published by
Breitkopf and Haertel
(BR.OB-5565-16).
ISBN
9790004342725. 10 x 12.5
inches.
Jan Dismas
Zelenka's Missa Dei Filii
is the second of three
transmitted Missae
ultimae, but consists,
like other short masses
of the 18th century,
solely of a Kyrie and
Gloria. Nevertheless, it
is an extensive work, and
the lengthy, multipartite
Gloria is considered as
the most impressive
Gloria setting that
Zelenka created in his
over 20 masses. What
remains to be answered is
whether Zelenka had
originally planned a
complete mass
composition.The full
score and the piano vocal
score are based on volume
100 of the Denkmaler
edition Das Erbe
deutscher Musik, in which
the gaps in the musical
text found in the
autograph towards the end
of the Gloria were
cautiously supplemented.
Zelenka's artistic
personality, his
biography and his
compositional style are
utterly distinctive. His
style is highly
experimental. Was Zelenka
really one of the
greatest composers of the
18th century, or only one
of the most interesting?
I think that he still has
several surprises for us.
(Schweizerische
Musikzeitung)Zelenka's
Masses - fine specimens
of Baroque choral
literature, some parts of
which are set even more
colorfully than in the
corresponding
compositions by Bach.
(Die Welt).
Composed
by Heather Sorenson.
Sacred Choral. Octavo.
Duration 270 seconds.
Published by Hal Leonard
(HL.1414555).
UPC:
196288197126. 6.75x10.5
inches. III John 1:12,
James 1:17, John
1:6.
A beautiful
affirmation of an
abundant life, this
anthem is a lovely choice
for reminding us all to
be grateful. Graceful
melodic contours and
moments of harmonic
surprise add warmth and
dimension to this
pleasing soundscape.
Goin' to Bethlehem Chorale 3 parties SAB A Cappella [Octavo] - Intermédiaire Alfred Publishing
By Jay Althouse. For Choir. (SSAB, a cappella). Choral Octavo. Spiritual, Chris...(+)
By Jay Althouse. For
Choir. (SSAB, a
cappella). Choral Octavo.
Spiritual, Christmas.
Level: Level 3 (grade
L3). Choral Octavo. 8
pages. Published by
Alfred Publishing.
Solo Violin SKU: SU.29110060 For Solo Violin. Composed by Wynton M...(+)
Solo Violin
SKU:
SU.29110060
For
Solo Violin. Composed
by Wynton Marsalis.
Strings, Violin.
Unaccompanied. Score.
Subito Music Corporation
#29110060. Published by
Subito Music Corporation
(SU.29110060).
1. Sidestep
Reel - In 19th
Century America, the
Afro-Celtic fiddle style
was the centerpiece of
many a dance. Reels and
hornpipes were very
popular forms. Their
repetitive, even-metered
rhythms were easy and fun
to dance to, and their
infectious singable
melodies stayed in the
mind and on the tongue.
More adventurous fiddlers
were given to syncopating
on these forms by
accenting off beats and
by embellishing melodies
with oddmetered note
groupings. Syncopation is
a fundamental rhythmic
attitude of jazz and this
movement is a celebration
of that art. The melodic
language is a home-grown
concoction of commonality
between traditional reels
and hornpipes and the
Baroque, Ragtime and the
quartal concepts of
Modern Jazz. 2. As the
Wind Goes - the
wistful late night song
of a lullabye, a campfire
song, a ballad...a
spiritual. It is sung as
if on the wind, yearning
to experience once again
that which will only ever
again live as memory. 3.
Jones’ Jig -
the Irish Jig, the
African 6/8 bell pattern,
the shuffle rhythm of
jazz and the drum style
of Elvin Jones all play
around with the
relationship of 3 in the
time-space of 2. The
juxtaposition,
negotiation and
reconciliation of these
opposing rhythmic
perspectives create
interesting musical
relationships all over
the globe. 4.
Nicola’s
Strathspey - In the
traditional Strathspey,
improvised
embellishments,
syncopated dotted rhythms
and the use of space
between notes create
expectation, momentum and
surprise. These same
elements and their effect
on the listener are the
same in the blues. It
seems like a natural
marriage. 5. Bye Bye
Breakdown - This is
good ol’, Saturday
night barn dance, hoedown
fiddling. It revels in
the whining cry of open
double stops, in all
types of musical
onomatopoeia from train
sounds to animal calls to
country whistling, and in
the steady 2/4 rhythm
that is as basic as
walking. The harmonic
framework of several
popular fiddle and folk
tunes provide a practical
grid for the cutting of
challenging melodic and
rhythmic figures. It is
designed to tire fiddler
and dancers out. Then we
stomp our way home in
varying states of delight
and disrepair.Solo Violin
Duration: 24' Composed:
2018 Published by: Wynton
Marsalis (administered by
Skayne's Music).
SATB choir SKU: LP.765762138926 A Christmas Worship Collection. Ar...(+)
SATB choir
SKU:
LP.765762138926
A
Christmas Worship
Collection. Arranged
by Community Bible
Church. This edition:
Paperback. Musical.
Sacred. Bulk CDs (10
pack). Published by
Lillenas Publishing
Company
(LP.765762138926).
UPC:
765762138926.
We
Celebrate the King
combines the classic,
traditional carols with
new songs of worship to
deliver the true message
of Christmas in a fresh
and exciting way. Moving
from the explosive Latin
rhythms of the surprise
opener Emmanuel Has Come
to the fresh new
arrangements of beloved
carols to children's
voices to power ballads
to the vibrant and
celebrative Forever King
as the closer, We
Celebrate the King is
widely eclectic in style
and offers something for
everyone. With vocal
parts that are accessible
for most choirs and the
opportunity for both
children's choir and
congregational
participation, this
exciting new work from
the Worship Ministry of
Community Bible Church is
an excellent resource for
your Christmas
programming this year and
for years to come.
Guitar and orchestra SKU: BO.B.3610 Composed by Jaume Torrent. Published ...(+)
Guitar and orchestra
SKU: BO.B.3610
Composed by Jaume
Torrent. Published by
Editorial de Musica
Boileau (BO.B.3610).
The concerto
establishes a dialogue
which alternates
constantly between the
guitar and the symphony
orchestra, with the two
sound worlds being
maintained in perfect
balance while also
exploring the unique
possibilities presented
by each: the guitar
develops a surprising
array of resources which
enhance its expressive
capacity to the utmost,
while the orchestra
envelops it in an
extensive range of
textures which at times
give rise to subtle
tones, and at others, all
the tonal vigour of the
tutti.
The
language I employ is
intended as a means of
achieving an efficient
symbiosis between
modernity and tradition,
continuing in the line of
my previous works as a
composer. It contains no
references to popular
music and at all times
veers away from the
expectations created by
the language of folklore
exploited in concertos of
this kind by the majority
of recognised composers.
In Concerto de Rialp,
modernity is reflected
through a search for
unique expressive forms,
experimentation with new
means of thematic
development and a unique
presentation of formal
solutions, all the while,
however, respecting
expressiveness and
lyricism as the
foundations of
communicating with the
audience.
The
concerto also explores
the guitar's new
technical resources.
Thanks to specific work
on left hand extensions,
mechanical formulas have
been developed which
allow certain scales to
be played at
unprecedented speeds. In
the cadenza of the first
movement, the guitar
develops the main theme
in the form of an
instrumental motif that
has never been used
before in guitar scores,
producing a polyphonic
effect of new
dimensions.
I have
worked to exploit the
distinctive sound
differences existing
between the guitar and
the orchestra -both from
the dynamic and the tonal
points of view- in order
to really develop the
dramatic effect that
their being brought
together affords. In the
second movement -calmo
assai- this dramatic
quality is expressed in a
way that is particularly
powerful by means of a
tension never before
achieved in a concerto
for guitar and
orchestra.