Composed
by Zachary Cairns. Sws.
Yps. Full score. 24
pages. Duration 4
minutes, 48 seconds. Carl
Fischer Music #YPS217F.
Published by Carl Fischer
Music (CF.YPS217F).
ISBN 9781491156551.
UPC: 680160915095. 9 x 12
inches.
Hope
Remains Within was
commissioned by and
composed for the Mount
Nittany Middle School 7th
and 8th Grade Concert
Bands. Having heard the
students of Mount Nittany
perform another work of
mine, I was very excited
when their director,
Johanna Steinbacher,
approached me about
writing a piece
specifically for them. I
knew right away that I
wanted to write something
that would tie in with
their non-music
curriculum in some way,
but I wasn't exactly sure
how, or what. Johanna
talked to some of her
students and learned
that, in 7th grade, the
students spend a good
deal of time studying
mythology in their
English class. In
particular, two clarinet
students mentioned how
much they enjoyed the
story of Pandora. As
such, I decided to use
that story as the basis
of this composition. Hope
Remains Within doesn't
attempt to re-tell the
story, event by event, in
musical terms. Instead,
my goal was to address
what seems to be one of
the central issues of the
Pandora myth. Though
there are some
variations, we probably
all know the basics as
told by the ancient Greek
poet Hesiod. Zeus decides
to punish Prometheus for
stealing fire from heaven
and giving it to humans.
He and the other gods
create Pandora, a
beautiful and deceitful
woman, and they give her
to Prometheus's brother
Epimetheus as a bride.
Pandora is herself given
a jar (according to many
sources, jar seems to be
a more accurate
translation for what we
commonly call Pandora's
box) which contained
numerous evils, diseases,
and other pains. Out of
curiosity, Pandora opens
the jar and releases all
of these evils into the
world. But one thing
remains in the jar: hope.
The issue of hope seems
to be one of the big
interpretive questions of
the Pandora myth. Why
does hope remain within
the jar? Why doesn't it
come out of the jar to
help humanity? Is hope
being held on a pedestal
of some sort? Is hope
deliberately withheld
from humanity? Why was
hope in the jar with all
those evils in the first
place? I'm not enough of
a mythological scholar to
claim to have definitive
answers to those
questions, but these are
the questions that I've
tried to engage from a
musical perspective in
Hope Remains Within. I
encourage the students
and listeners to consider
their own ideas of what
hope is, and where you
can find your own hope
when needed. Musically,
Hope Remains Within draws
one of its main themes
from the Prometheus
Symphony by Alexander
Skryabin (Scriabin). The
note sequence F-D-Gb -F,
heard near Hope's
beginning played by alto
saxophones and chimes,
comes from the opening
measures of Skyrabin's
work. Given the important
role that Prometheus
plays in the Pandora
myth, this seemed like an
appropriate musical
gesture to quote. This
Prometheus motive is
varied throughout the
course of the piece, and
even provides closure at
the end, recast in a
major key. Additionally,
I have tried to involve a
manageable amount of
chromaticism in this
piece. I have worked from
the key of Bb major, no
doubt familiar to every
student who has ever
played an instrument in a
band. But I have added
three extra notes: Db,
Gb, and Ab, which are
drawn from the key of Bb
minor. During the piece's
slow opening, I have
allowed these minor key
pitches to mingle freely
within the Bb major
tonality, adding extra
color and (I hope!)
beauty. As the piece
progresses, though, the
tempo increases, and we
lose sense of the Bb
major key entirely, and
these extra notes play a
more important role. But
finally, Bb major returns
triumphantly and all the
extra notes are gone,
except for a brief memory
near the very end. (Ok,
there are a couple of
E-naturals that sneak in
there along the way. I
couldn't
resist.). Hope Remains
Within was commissioned
by and composed for the
Mount Nittany Middle
School 7th and 8th Grade
Concert Bands. Having
heard the students of
Mount Nittany perform
another work of mine, I
was very excited when
their director, Johanna
Steinbacher, approached
me about writing a piece
specifically for them. I
knew right away that I
wanted to write something
that would tie in with
their non-music
curriculum in some way,
but I wasn’t
exactly sure how, or
what. Johanna talked to
some of her students and
learned that, in 7th
grade, the students spend
a good deal of time
studying mythology in
their English class. In
particular, two clarinet
students mentioned how
much they enjoyed the
story of Pandora.As such,
I decided to use that
story as the basis of
this composition. Hope
Remains Within
doesn’t attempt to
re-tell the story, event
by event, in musical
terms. Instead, my goal
was to address what seems
to be one of the central
issues of the Pandora
myth. Though there are
some variations, we
probably all know the
basics as told by the
ancient Greek poet
Hesiod. Zeus decides to
punish Prometheus for
stealing fire from heaven
and giving it to humans.
He and the other gods
create Pandora, a
beautiful and deceitful
woman, and they give her
to Prometheus’s
brother Epimetheus as a
bride. Pandora is herself
given a jar (according to
many sources,
“jar†seems
to be a more accurate
translation for what we
commonly call
“Pandora’s
boxâ€) which
contained numerous evils,
diseases, and other
pains. Out of curiosity,
Pandora opens the jar and
releases all of these
evils into the world. But
one thing remains in the
jar: hope.The issue of
hope seems to be one of
the big interpretive
questions of the Pandora
myth. Why does hope
remain within the jar?
Why doesn’t it
come out of the jar to
help humanity? Is hope
being held on a pedestal
of some sort? Is hope
deliberately withheld
from humanity? Why was
hope in the jar with all
those evils in the first
place?I’m not
enough of a mythological
scholar to claim to have
definitive answers to
those questions, but
these are the questions
that I’ve tried to
engage from a musical
perspective in Hope
Remains Within. I
encourage the students
and listeners to consider
their own ideas of what
hope is, and where you
can find your own hope
when needed.Musically,
Hope Remains Within draws
one of its main themes
from the Prometheus
Symphony by Alexander
Skryabin (Scriabin). The
note sequence F-D-Gb -F,
heard near Hope’s
beginning played by alto
saxophones and chimes,
comes from the opening
measures of
Skyrabin’s work.
Given the important role
that Prometheus plays in
the Pandora myth, this
seemed like an
appropriate musical
gesture to quote. This
Prometheus motive is
varied throughout the
course of the piece, and
even provides closure at
the end, recast in a
major key.Additionally, I
have tried to involve a
manageable amount of
chromaticism in this
piece. I have worked from
the key of Bb major, no
doubt familiar to every
student who has ever
played an instrument in a
band. But I have added
three extra notes: Db,
Gb, and Ab, which are
drawn from the key of Bb
minor. During the
piece’s slow
opening, I have allowed
these minor key pitches
to mingle freely within
the Bb major tonality,
adding extra color and (I
hope!) beauty. As the
piece progresses, though,
the tempo increases, and
we lose sense of the Bb
major key entirely, and
these extra notes play a
more important role. But
finally, Bb major returns
triumphantly and all the
extra notes are gone,
except for a brief memory
near the very end. (Ok,
there are a couple of
E-naturals that sneak in
there along the way. I
couldn’t
resist.).
Composed by
Zachary Cairns. Folio.
Yps. Set of Score and
Parts.
8+8+4+8+8+4+2+6+4+4+4+8+8
+8+8+6+6+6+4+6+4+2+2+4+6+
10+24 pages. Duration 4
minutes, 48 seconds. Carl
Fischer Music #YPS217.
Published by Carl Fischer
Music (CF.YPS217).
ISBN 9781491156544.
UPC: 680160915088. 9 x 12
inches.
Hope
Remains Within was
commissioned by and
composed for the Mount
Nittany Middle School 7th
and 8th Grade Concert
Bands. Having heard the
students of Mount Nittany
perform another work of
mine, I was very excited
when their director,
Johanna Steinbacher,
approached me about
writing a piece
specifically for them. I
knew right away that I
wanted to write something
that would tie in with
their non-music
curriculum in some way,
but I wasn't exactly sure
how, or what. Johanna
talked to some of her
students and learned
that, in 7th grade, the
students spend a good
deal of time studying
mythology in their
English class. In
particular, two clarinet
students mentioned how
much they enjoyed the
story of Pandora. As
such, I decided to use
that story as the basis
of this composition. Hope
Remains Within doesn't
attempt to re-tell the
story, event by event, in
musical terms. Instead,
my goal was to address
what seems to be one of
the central issues of the
Pandora myth. Though
there are some
variations, we probably
all know the basics as
told by the ancient Greek
poet Hesiod. Zeus decides
to punish Prometheus for
stealing fire from heaven
and giving it to humans.
He and the other gods
create Pandora, a
beautiful and deceitful
woman, and they give her
to Prometheus's brother
Epimetheus as a bride.
Pandora is herself given
a jar (according to many
sources, jar seems to be
a more accurate
translation for what we
commonly call Pandora's
box) which contained
numerous evils, diseases,
and other pains. Out of
curiosity, Pandora opens
the jar and releases all
of these evils into the
world. But one thing
remains in the jar: hope.
The issue of hope seems
to be one of the big
interpretive questions of
the Pandora myth. Why
does hope remain within
the jar? Why doesn't it
come out of the jar to
help humanity? Is hope
being held on a pedestal
of some sort? Is hope
deliberately withheld
from humanity? Why was
hope in the jar with all
those evils in the first
place? I'm not enough of
a mythological scholar to
claim to have definitive
answers to those
questions, but these are
the questions that I've
tried to engage from a
musical perspective in
Hope Remains Within. I
encourage the students
and listeners to consider
their own ideas of what
hope is, and where you
can find your own hope
when needed. Musically,
Hope Remains Within draws
one of its main themes
from the Prometheus
Symphony by Alexander
Skryabin (Scriabin). The
note sequence F-D-Gb -F,
heard near Hope's
beginning played by alto
saxophones and chimes,
comes from the opening
measures of Skyrabin's
work. Given the important
role that Prometheus
plays in the Pandora
myth, this seemed like an
appropriate musical
gesture to quote. This
Prometheus motive is
varied throughout the
course of the piece, and
even provides closure at
the end, recast in a
major key. Additionally,
I have tried to involve a
manageable amount of
chromaticism in this
piece. I have worked from
the key of Bb major, no
doubt familiar to every
student who has ever
played an instrument in a
band. But I have added
three extra notes: Db,
Gb, and Ab, which are
drawn from the key of Bb
minor. During the piece's
slow opening, I have
allowed these minor key
pitches to mingle freely
within the Bb major
tonality, adding extra
color and (I hope!)
beauty. As the piece
progresses, though, the
tempo increases, and we
lose sense of the Bb
major key entirely, and
these extra notes play a
more important role. But
finally, Bb major returns
triumphantly and all the
extra notes are gone,
except for a brief memory
near the very end. (Ok,
there are a couple of
E-naturals that sneak in
there along the way. I
couldn't
resist.). Hope Remains
Within was commissioned
by and composed for the
Mount Nittany Middle
School 7th and 8th Grade
Concert Bands. Having
heard the students of
Mount Nittany perform
another work of mine, I
was very excited when
their director, Johanna
Steinbacher, approached
me about writing a piece
specifically for them. I
knew right away that I
wanted to write something
that would tie in with
their non-music
curriculum in some way,
but I wasn’t
exactly sure how, or
what. Johanna talked to
some of her students and
learned that, in 7th
grade, the students spend
a good deal of time
studying mythology in
their English class. In
particular, two clarinet
students mentioned how
much they enjoyed the
story of Pandora.As such,
I decided to use that
story as the basis of
this composition. Hope
Remains Within
doesn’t attempt to
re-tell the story, event
by event, in musical
terms. Instead, my goal
was to address what seems
to be one of the central
issues of the Pandora
myth. Though there are
some variations, we
probably all know the
basics as told by the
ancient Greek poet
Hesiod. Zeus decides to
punish Prometheus for
stealing fire from heaven
and giving it to humans.
He and the other gods
create Pandora, a
beautiful and deceitful
woman, and they give her
to Prometheus’s
brother Epimetheus as a
bride. Pandora is herself
given a jar (according to
many sources,
“jar†seems
to be a more accurate
translation for what we
commonly call
“Pandora’s
boxâ€) which
contained numerous evils,
diseases, and other
pains. Out of curiosity,
Pandora opens the jar and
releases all of these
evils into the world. But
one thing remains in the
jar: hope.The issue of
hope seems to be one of
the big interpretive
questions of the Pandora
myth. Why does hope
remain within the jar?
Why doesn’t it
come out of the jar to
help humanity? Is hope
being held on a pedestal
of some sort? Is hope
deliberately withheld
from humanity? Why was
hope in the jar with all
those evils in the first
place?I’m not
enough of a mythological
scholar to claim to have
definitive answers to
those questions, but
these are the questions
that I’ve tried to
engage from a musical
perspective in Hope
Remains Within. I
encourage the students
and listeners to consider
their own ideas of what
hope is, and where you
can find your own hope
when needed.Musically,
Hope Remains Within draws
one of its main themes
from the Prometheus
Symphony by Alexander
Skryabin (Scriabin). The
note sequence F-D-Gb -F,
heard near Hope’s
beginning played by alto
saxophones and chimes,
comes from the opening
measures of
Skyrabin’s work.
Given the important role
that Prometheus plays in
the Pandora myth, this
seemed like an
appropriate musical
gesture to quote. This
Prometheus motive is
varied throughout the
course of the piece, and
even provides closure at
the end, recast in a
major key.Additionally, I
have tried to involve a
manageable amount of
chromaticism in this
piece. I have worked from
the key of Bb major, no
doubt familiar to every
student who has ever
played an instrument in a
band. But I have added
three extra notes: Db,
Gb, and Ab, which are
drawn from the key of Bb
minor. During the
piece’s slow
opening, I have allowed
these minor key pitches
to mingle freely within
the Bb major tonality,
adding extra color and (I
hope!) beauty. As the
piece progresses, though,
the tempo increases, and
we lose sense of the Bb
major key entirely, and
these extra notes play a
more important role. But
finally, Bb major returns
triumphantly and all the
extra notes are gone,
except for a brief memory
near the very end. (Ok,
there are a couple of
E-naturals that sneak in
there along the way. I
couldn’t
resist.).
The Chimes of Liberty Orchestre d'harmonie [Conducteur] - Débutant Alfred Publishing
Concert Band - Grade 1 SKU: AP.38313S Composed by Edwin Franko Goldman. A...(+)
Concert Band - Grade 1
SKU: AP.38313S
Composed by Edwin Franko
Goldman. Arranged by
Douglas E. Wagner.
Concert Band; Performance
Music Ensemble; Single
Titles. Pop Beginning
Band. Form: March. 4th of
July; Patriotic; Summer.
Score. 16 pages. Alfred
Music #00-38313S.
Published by Alfred Music
(AP.38313S).
UPC:
038081429977.
English.
A true
classic band march
prepared for your
beginners. Goldman is
considered band music's
other March King. This
endearing melody will be
a welcomed addition to
any program. Your
audience is certain to
approve!
Full orchestra SKU: LO.30-1493L An Easter Cantata For Choir And Worshi...(+)
Full orchestra
SKU:
LO.30-1493L
An
Easter Cantata For Choir
And Worship Leader.
Composed by Gregg Sewell.
Choral, cantatas.
Eastertide, Sacred.
Orchestration. Lorenz
Publishing Company
#30/1493L. Published by
Lorenz Publishing Company
(LO.30-1493L).
UPC:
000308074642.
John'
s Gospel is the basis for
an innovative new musical
setting of the timeless
Easter story. The
composer weaves striking
new melodies and
traditional hymn tunes
together to produce a
vibrant, energetic work
of meditation and praise.
The congregation is
called on to sing with
the choir in a sensitive
setting of When I Survey
the Wondrous Cross and a
rousing arrangement of
Crown Him With Many
Crowns. New settings of
What Wondrous Love Is
This? and O Sacred Head,
Now Wounded are
ingeniously intertwined
with new anthems. An
inspirational and deeply
moving experience for
choir and congregation
alike. Performance time:
approx. 25 minutes. Flute
1 & 2, Violin 2, Viola,
Cello, Double Bass, Oboe
1 & 2, Horn, Trumpet 1 &
2, Trombone 1 & 2, Tuba,
Percussion (Windchimes,
Suspended Cymbal)
Glockenspiel,Triangle,Chi
mes, Snare Drum,Timpani,
Harp, Violin 1.
SKU: HL.755790 With Handle. IQ Plus. Hal Leonard #IQ-M006-02. Publ...(+)
SKU: HL.755790
With Handle. IQ
Plus. Hal Leonard
#IQ-M006-02. Published by
Hal Leonard (HL.755790).
UPC: 888680091637.
4.0x12.75x1.13
inches.
With one
strike of the chimes with
a mallet, children will
enjoy discovering a
beautiful resonating tone
that never seems to end.
This instrument can be
used to add extra
beautiful sounds to any
music; it requires no
prior musical experience
or skills to play.
Children will love the
sound and how simply it
could be played while
they could develop their
creativity and timing.
Making music with IQ Plus
Energy Chimes together
with other instruments
can be a dynamic social
learning experience;
children will learn to
work as a team while they
each contribute to the
song in their own unique
way.
SKU: HL.755785 IQ Plus. Hal Leonard #IQ-M001-07. Published by Hal Leonard...(+)
SKU: HL.755785
IQ
Plus. Hal Leonard
#IQ-M001-07. Published by
Hal Leonard (HL.755785).
UPC: 888680091583.
4.0x12.0x1.269
inches.
With one
strike of the chimes with
a mallet, children will
enjoy discovering a
beautiful resonating tone
that never seems to end.
This instrument can be
used to add extra
beautiful sounds to any
music; it requires no
prior musical experience
or skills to play.
Children will love the
sound and how simply it
could be played while
they could develop their
creativity and timing.
Making music with IQ Plus
Energy Chimes together
with other instruments
can be a dynamic social
learning experience;
children will learn to
work as a team while they
each contribute to the
song in their own unique
way.
SKU: HL.755778 IQ Plus. Hal Leonard #IQ-M001-00. Published by Hal Leonard...(+)
SKU: HL.755778
IQ
Plus. Hal Leonard
#IQ-M001-00. Published by
Hal Leonard (HL.755778).
UPC: 888680091514.
6.0x13.25x1.283
inches.
With one
strike of the chimes with
a mallet, children will
enjoy discovering a
beautiful resonating tone
that never seems to end.
This instrument can be
used to add extra
beautiful sounds to any
music; it requires no
prior musical experience
or skills to play.
Children will love the
sound and how simply it
could be played while
they could develop their
creativity and timing.
Making music with IQ Plus
Energy Chimes together
with other instruments
can be a dynamic social
learning experience;
children will learn to
work as a team while they
each contribute to the
song in their own unique
way.
SKU: HL.755784 IQ Plus. Hal Leonard #IQ-M001-06. Published by Hal Leonard...(+)
SKU: HL.755784
IQ
Plus. Hal Leonard
#IQ-M001-06. Published by
Hal Leonard (HL.755784).
UPC: 888680091576.
4.0x12.0x1.336
inches.
With one
strike of the chimes with
a mallet, children will
enjoy discovering a
beautiful resonating tone
that never seems to end.
This instrument can be
used to add extra
beautiful sounds to any
music; it requires no
prior musical experience
or skills to play.
Children will love the
sound and how simply it
could be played while
they could develop their
creativity and timing.
Making music with IQ Plus
Energy Chimes together
with other instruments
can be a dynamic social
learning experience;
children will learn to
work as a team while they
each contribute to the
song in their own unique
way.
SKU: HL.755782 IQ Plus. Hal Leonard #IQ-M001-04. Published by Hal Leonard...(+)
SKU: HL.755782
IQ
Plus. Hal Leonard
#IQ-M001-04. Published by
Hal Leonard (HL.755782).
UPC: 888680091552.
4.0x12.0x1.326
inches.
With one
strike of the chimes with
a mallet, children will
enjoy discovering a
beautiful resonating tone
that never seems to end.
This instrument can be
used to add extra
beautiful sounds to any
music; it requires no
prior musical experience
or skills to play.
Children will love the
sound and how simply it
could be played while
they could develop their
creativity and timing.
Making music with IQ Plus
Energy Chimes together
with other instruments
can be a dynamic social
learning experience;
children will learn to
work as a team while they
each contribute to the
song in their own unique
way.
SKU: HL.755783 IQ Plus. Hal Leonard #IQ-M001-05. Published by Hal Leonard...(+)
SKU: HL.755783
IQ
Plus. Hal Leonard
#IQ-M001-05. Published by
Hal Leonard (HL.755783).
UPC: 888680091569.
4.0x12.0x1.23
inches.
With one
strike of the chimes with
a mallet, children will
enjoy discovering a
beautiful resonating tone
that never seems to end.
This instrument can be
used to add extra
beautiful sounds to any
music; it requires no
prior musical experience
or skills to play.
Children will love the
sound and how simply it
could be played while
they could develop their
creativity and timing.
Making music with IQ Plus
Energy Chimes together
with other instruments
can be a dynamic social
learning experience;
children will learn to
work as a team while they
each contribute to the
song in their own unique
way.
SKU: HL.755793 With Handle. IQ Plus. Hal Leonard #IQ-M006-05. Publ...(+)
SKU: HL.755793
With Handle. IQ
Plus. Hal Leonard
#IQ-M006-05. Published by
Hal Leonard (HL.755793).
UPC: 888680091668.
4.0x12.5x1.214
inches.
With one
strike of the chimes with
a mallet, children will
enjoy discovering a
beautiful resonating tone
that never seems to end.
This instrument can be
used to add extra
beautiful sounds to any
music; it requires no
prior musical experience
or skills to play.
Children will love the
sound and how simply it
could be played while
they could develop their
creativity and timing.
Making music with IQ Plus
Energy Chimes together
with other instruments
can be a dynamic social
learning experience;
children will learn to
work as a team while they
each contribute to the
song in their own unique
way.
SKU: HL.755779 IQ Plus. Hal Leonard #IQ-M001-01. Published by Hal Leonard...(+)
SKU: HL.755779
IQ
Plus. Hal Leonard
#IQ-M001-01. Published by
Hal Leonard (HL.755779).
UPC: 888680091521.
6.0x13.0x1.181
inches.
With one
strike of the chimes with
a mallet, children will
enjoy discovering a
beautiful resonating tone
that never seems to end.
This instrument can be
used to add extra
beautiful sounds to any
music; it requires no
prior musical experience
or skills to play.
Children will love the
sound and how simply it
could be played while
they could develop their
creativity and timing.
Making music with IQ Plus
Energy Chimes together
with other instruments
can be a dynamic social
learning experience;
children will learn to
work as a team while they
each contribute to the
song in their own unique
way.
SKU: HL.755780 IQ Plus. Hal Leonard #IQ-M001-02. Published by Hal Leonard...(+)
SKU: HL.755780
IQ
Plus. Hal Leonard
#IQ-M001-02. Published by
Hal Leonard (HL.755780).
UPC: 888680091538.
4.0x11.75x1.334
inches.
With one
strike of the chimes with
a mallet, children will
enjoy discovering a
beautiful resonating tone
that never seems to end.
This instrument can be
used to add extra
beautiful sounds to any
music; it requires no
prior musical experience
or skills to play.
Children will love the
sound and how simply it
could be played while
they could develop their
creativity and timing.
Making music with IQ Plus
Energy Chimes together
with other instruments
can be a dynamic social
learning experience;
children will learn to
work as a team while they
each contribute to the
song in their own unique
way.
SKU: HL.755794 With Handle. IQ Plus. Hal Leonard #IQ-M006-06. Publ...(+)
SKU: HL.755794
With Handle. IQ
Plus. Hal Leonard
#IQ-M006-06. Published by
Hal Leonard (HL.755794).
UPC: 888680091675.
4.0x11.0x2.03
inches.
With one
strike of the chimes with
a mallet, children will
enjoy discovering a
beautiful resonating tone
that never seems to end.
This instrument can be
used to add extra
beautiful sounds to any
music; it requires no
prior musical experience
or skills to play.
Children will love the
sound and how simply it
could be played while
they could develop their
creativity and timing.
Making music with IQ Plus
Energy Chimes together
with other instruments
can be a dynamic social
learning experience;
children will learn to
work as a team while they
each contribute to the
song in their own unique
way.
SKU: HL.755789 With Handle. IQ Plus. Hal Leonard #IQ-M006-01. Publ...(+)
SKU: HL.755789
With Handle. IQ
Plus. Hal Leonard
#IQ-M006-01. Published by
Hal Leonard (HL.755789).
UPC: 888680091620.
4.0x13.5x1.661
inches.
With one
strike of the chimes with
a mallet, children will
enjoy discovering a
beautiful resonating tone
that never seems to end.
This instrument can be
used to add extra
beautiful sounds to any
music; it requires no
prior musical experience
or skills to play.
Children will love the
sound and how simply it
could be played while
they could develop their
creativity and timing.
Making music with IQ Plus
Energy Chimes together
with other instruments
can be a dynamic social
learning experience;
children will learn to
work as a team while they
each contribute to the
song in their own unique
way.
SKU: HL.755781 IQ Plus. Hal Leonard #IQ-M001-03. Published by Hal Leonard...(+)
SKU: HL.755781
IQ
Plus. Hal Leonard
#IQ-M001-03. Published by
Hal Leonard (HL.755781).
UPC: 888680091545.
4.0x12.0x1.335
inches.
With one
strike of the chimes with
a mallet, children will
enjoy discovering a
beautiful resonating tone
that never seems to end.
This instrument can be
used to add extra
beautiful sounds to any
music; it requires no
prior musical experience
or skills to play.
Children will love the
sound and how simply it
could be played while
they could develop their
creativity and timing.
Making music with IQ Plus
Energy Chimes together
with other instruments
can be a dynamic social
learning experience;
children will learn to
work as a team while they
each contribute to the
song in their own unique
way.
SKU: HL.755792 With Handle. IQ Plus. Hal Leonard #IQ-M006-04. Publ...(+)
SKU: HL.755792
With Handle. IQ
Plus. Hal Leonard
#IQ-M006-04. Published by
Hal Leonard (HL.755792).
UPC: 888680091651.
4.0x14.5x1.244
inches.
With one
strike of the chimes with
a mallet, children will
enjoy discovering a
beautiful resonating tone
that never seems to end.
This instrument can be
used to add extra
beautiful sounds to any
music; it requires no
prior musical experience
or skills to play.
Children will love the
sound and how simply it
could be played while
they could develop their
creativity and timing.
Making music with IQ Plus
Energy Chimes together
with other instruments
can be a dynamic social
learning experience;
children will learn to
work as a team while they
each contribute to the
song in their own unique
way.
SKU: HL.755791 With Handle. IQ Plus. Hal Leonard #IQ-M006-03. Publ...(+)
SKU: HL.755791
With Handle. IQ
Plus. Hal Leonard
#IQ-M006-03. Published by
Hal Leonard (HL.755791).
UPC: 888680091644.
4.0x12.0x1.91
inches.
With one
strike of the chimes with
a mallet, children will
enjoy discovering a
beautiful resonating tone
that never seems to end.
This instrument can be
used to add extra
beautiful sounds to any
music; it requires no
prior musical experience
or skills to play.
Children will love the
sound and how simply it
could be played while
they could develop their
creativity and timing.
Making music with IQ Plus
Energy Chimes together
with other instruments
can be a dynamic social
learning experience;
children will learn to
work as a team while they
each contribute to the
song in their own unique
way.
March. By Edwin Franko Goldman. Arranged by Loras J. Schissel. Concert Band. Her...(+)
March. By Edwin Franko
Goldman. Arranged by
Loras J. Schissel.
Concert Band. Heritage of
the March. Level: Grade
3.5. Score and set of
parts. Composed 1998.
Duration 0:03:21.
Published by C.L.
Barnhouse.
For Percussion Quartet. Composed by Peter Schickele. Contemporary. Set of perfor...(+)
For Percussion Quartet.
Composed by Peter
Schickele. Contemporary.
Set of performance
scores. With Standard
notation. Composed
February 8 2015. 76
pages. Duration 13
minutes. Theodore Presser
Company #164-00294.
Published by Theodore
Presser Company
By Samuel R. Hazo. Arranged by Samuel R. Hazo. Concert Band/Wind Ensemble. FJH C...(+)
By Samuel R. Hazo.
Arranged by Samuel R.
Hazo. Concert Band/Wind
Ensemble. FJH Concert
Band. Score for this
title: B1177S. Extra part
for this title: B1178P.
Concert Band. Level:
Grade 3. Score and Set of
Parts. Published by The
FJH Music Company Inc.
Chamber Music Flute, Piccolo, alto Flute SKU: PR.164002480 Composed by Da...(+)
Chamber Music Flute,
Piccolo, alto Flute
SKU: PR.164002480
Composed by Dan Welcher.
Set of performance
scores. With Standard
notation. 23 pages.
Duration 14 minutes.
Theodore Presser Company
#164-00248. Published by
Theodore Presser Company
(PR.164002480).
UPC:
680160038237.
This
work is my second for a
solo woodwind and a solo
percussionist, following
Firewing: The Flame and
the Moth for oboe and
percussion by nine years.
The earlier piece
followed a specific story
line, and pitted the oboe
against the percussionist
as both adversary and
lover. In Spirit Realms,
my aim was not only to
juxtapose the very
different sounds of flute
(plus alto flute and
piccolo) against a large
array of percussion, but
also to attempt three
different meditative
spaces, each named for a
different type of
spiritual practice. The
musical means of
expression is very
different for each of the
three movements (as is
the instrumentation),
although they share a
common scale-source: the
looped pentatonic scale I
have been developing over
the last several years.
The first movement
is called Prayer Tunnel,
and is named for the
Eskimo practice of solo
meditation within a
tunnel of ice blocks.
This is said to be a
means of overcoming
demons within, and in my
musical rendering it
takes the form of an
unaccompanied alto flute
solo. The flute begins
rather angrily, full of
tension, but in the
course of the solo
passage manages to slowly
unwind. The percussionist
then plays the exact same
music the alto flute had
played....on seven tuned
cymbals. Toward the end,
the alto flute re-enters,
its original meditation
having fused with its
mirror. Kiva
represents the circular,
subterranean pit in which
the Anasazi practiced
their religion, a form of
which still can be found
in the Hopi tribes of the
American southwest. These
are not spaces for solo
meditation, but rather a
group meeting place in
which only the sanctified
are permitted. After an
introductory invocation
(dove call), the music
begins. At first, it is
flowing, in a repetitive
double-five meter. It
then traces several
sections, with metric
shifts forcing the pulse
to race faster and
faster, until it halves
itself in the coda and
returns to the exact
pulse of the beginning.
The flutist here uses the
C flute, and the
percussionist plays on
both pitched (marimba)
and unpitched instruments
(various drums and struck
sources). Zendo is
the meditation room used
by Zen Buddhists. My
music begins with another
invocation (wind chimes,
temple cup gongs, and
temple blocks), then
moves on to a slow
subject stated by the
flute. The subject is
taken up by the
vibraphone, and after
several modulations and
tempo changes, the
flutist takes up the
piccolo. The music
continues higher and
higher, and faster and
faster (Zen meditation is
NOT all about becoming
lost!) until it breaks
free at the very end. The
percussionist is put
through his paces in this
movement, having to reach
a staggering number of
instruments in a short
time. Spirit
Realms was commissioned
by, and is dedicated to,
the Armstrong Duo. -- Dan
Welcher.
Flute, Percussion SKU: PR.16400248S Composed by Dan Welcher. With Standar...(+)
Flute, Percussion
SKU:
PR.16400248S
Composed
by Dan Welcher. With
Standard notation.
Duration 14 minutes.
Theodore Presser Company
#164-00248S. Published by
Theodore Presser Company
(PR.16400248S).
UPC:
680160038244.
This
work is my second for a
solo woodwind and a solo
percussionist, following
Firewing: The Flame and
the Moth for oboe and
percussion by nine years.
The earlier piece
followed a specific story
line, and pitted the oboe
against the percussionist
as both adversary and
lover. In Spirit Realms,
my aim was not only to
juxtapose the very
different sounds of flute
(plus alto flute and
piccolo) against a large
array of percussion, but
also to attempt three
different meditative
spaces, each named for a
different type of
spiritual practice. The
musical means of
expression is very
different for each of the
three movements (as is
the instrumentation),
although they share a
common scale-source: the
looped pentatonic scale I
have been developing over
the last several years.
The first movement
is called Prayer Tunnel,
and is named for the
Eskimo practice of solo
meditation within a
tunnel of ice blocks.
This is said to be a
means of overcoming
demons within, and in my
musical rendering it
takes the form of an
unaccompanied alto flute
solo. The flute begins
rather angrily, full of
tension, but in the
course of the solo
passage manages to slowly
unwind. The percussionist
then plays the exact same
music the alto flute had
played....on seven tuned
cymbals. Toward the end,
the alto flute re-enters,
its original meditation
having fused with its
mirror. Kiva
represents the circular,
subterranean pit in which
the Anasazi practiced
their religion, a form of
which still can be found
in the Hopi tribes of the
American southwest. These
are not spaces for solo
meditation, but rather a
group meeting place in
which only the sanctified
are permitted. After an
introductory invocation
(dove call), the music
begins. At first, it is
flowing, in a repetitive
double-five meter. It
then traces several
sections, with metric
shifts forcing the pulse
to race faster and
faster, until it halves
itself in the coda and
returns to the exact
pulse of the beginning.
The flutist here uses the
C flute, and the
percussionist plays on
both pitched (marimba)
and unpitched instruments
(various drums and struck
sources). Zendo is
the meditation room used
by Zen Buddhists. My
music begins with another
invocation (wind chimes,
temple cup gongs, and
temple blocks), then
moves on to a slow
subject stated by the
flute. The subject is
taken up by the
vibraphone, and after
several modulations and
tempo changes, the
flutist takes up the
piccolo. The music
continues higher and
higher, and faster and
faster (Zen meditation is
NOT all about becoming
lost!) until it breaks
free at the very end. The
percussionist is put
through his paces in this
movement, having to reach
a staggering number of
instruments in a short
time. Spirit
Realms was commissioned
by, and is dedicated to,
the Armstrong Duo. -- Dan
Welcher.
Introducing New T3N Harmonic Chimes. Composed by Christopher Rudy. Banjo: 5- S...(+)
Introducing New T3N
Harmonic
Chimes. Composed by
Christopher Rudy. Banjo:
5-
String,Technique, Theory
and
Reference. Book. 36
pages.
Published by Mel Bay
Publications, Inc
Chimes Of Freedom Orchestre d'harmonie [Conducteur et Parties séparées] - Facile C.L. Barnhouse
Concert band - Grade 2 SKU: CL.024-4595-00 Young Concert Band. Rising Ban...(+)
Concert band - Grade 2
SKU:
CL.024-4595-00
Young
Concert Band. Rising Band
Series for Developing
Bands! Audio recording
available separately
(item CL.WFR393). Score
and set of parts.
Composed 2017. Duration 2
minutes, 37 seconds. C.L.
Barnhouse #024-4595-00.
Published by C.L.
Barnhouse
(CL.024-4595-00).
A march written
in a tradition form and
style, Chimes Of Freedom
is suitable for concert
and festival performance,
as well as patriotic and
ceremonial events
throughout the year. The
chimes are featured
throughout as they
interact with the melodic
lines presented in the
wind sections. Accessible
to most developing bands
in their second and third
year of instruction,
Chimes Of Freedom is an
instant classic and
standard in the band
repertoire!
Chimes Of Freedom Orchestre d'harmonie [Conducteur] - Facile C.L. Barnhouse
Concert band - Grade 2 SKU: CL.024-4595-01 Young Concert Band. Rising Ban...(+)
Concert band - Grade 2
SKU:
CL.024-4595-01
Young
Concert Band. Rising Band
Series for Developing
Bands! Audio recording
available separately
(item CL.WFR393). Extra
full score. Composed
2017. Duration 2 minutes,
37 seconds. C.L.
Barnhouse #024-4595-01.
Published by C.L.
Barnhouse
(CL.024-4595-01).
A march written
in a tradition form and
style, Chimes Of Freedom
is suitable for concert
and festival performance,
as well as patriotic and
ceremonial events
throughout the year. The
chimes are featured
throughout as they
interact with the melodic
lines presented in the
wind sections. Accessible
to most developing bands
in their second and third
year of instruction,
Chimes Of Freedom is an
instant classic and
standard in the band
repertoire!
Opera Bell Tree, Cello, Clarinet, Cowbell, Mark Tree, Percussion, Piano, Ratchet...(+)
Opera Bell Tree, Cello,
Clarinet, Cowbell, Mark
Tree, Percussion, Piano,
Ratchet, Suspended
Cymbal, Triangle,
Vibraslap, Violin, Wind
Chimes
SKU:
PR.446412930
A
Children's Opera In One
Act. Composed by
Lauren Bernofsky. This
edition: full score.
Libretto by Scott Russell
Sanders. Premiered by
Roundabout Opera for Kids
at the Monroe County
Public Library in
Bloomington, IN. Opera.
Full score. With Standard
notation. Composed 2012.
120 pages. Duration 40
minutes. Theodore Presser
Company #446-41293.
Published by Theodore
Presser Company
(PR.446412930).
UPC:
680160614196. Letter
inches. Libretto by Scott
Russell Sanders. Libretto
by Scott Russell
Sanders.
Commission
ed, premiered, and
frequently performed by
Roundabout Opera for
Kids, Mooch the
Magnificent is a
40-minute opera (with a
30-minute alternate
version), scored for SATB
principal roles, extra
speaking and non-speaking
parts, and an ensemble of
Clarinet, Cello,
Percussion, and Piano. It
may also be performed in
piano reduction. In a zoo
of the future, populated
not by animals but by
robots in animal form,
Mooch, an orphan girl,
convinces the zookeeper
to hire her to fix the
robots when they break
down, but she is actually
reprogramming them to be
increasingly wild. The
opera takes place in a
dome-covered city that is
part of a worldwide
network of such cities,
connected by travel
tubes, sealed off from
the outside. The time is
late twenty-first
century, after human
beings, afraid of the
wilds, have moved
indoors.
Suite for Six
Gig-Impaired
Musicians. Composed
by Peter Schickele.
Premiered as a part of A
Prairie Home Companion in
New York City's Town
Hall; Diva
Goodfriend-Koven, John
Moses, Melanie Feld,
Harry Searing, Andy
Stein, and Arnie
Kinsella. Traditional.
Full score. With Standard
notation. Composed
December 17 2006. 16
pages. Duration 6
minutes. Theodore Presser
Company #164-00274S.
Published by Theodore
Presser Company
(PR.16400274S).
UPC:
680160587049. 8.5 x 11
inches.
Peter
Schickele considers the
least employed among
musicians, those who play
the lesser-called-for
instruments listed above.
In his desire to put
these good instruments to
profitable use, he has
arranged four well-known
Christmas melodies for
just this combination of
players, in hopes that
they will find suitable
holiday employment. The
work consists of God Rest
Ye Merry Gentlemen, Good
King Wenceslas, We Three
Kings, and Jingle Bells.
Let the festivities
begin!
By Holst, Gustav. Arranged by Brad Printz. For Handbells, Percussion, Windchimes...(+)
By Holst, Gustav.
Arranged by Brad Printz.
For Handbells,
Percussion, Windchimes.
(Two-Part). Classics,
Hymntune and Sacred.
Print Music Single
(Two-Part Mixed). 12
pages. Published by Hope
Publishing Company.