Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Clarinet 3, Euphonium, Euphonium T.C., Flute 1, Flute 2, Gong, Horn 1, Horn 2, Jingle Bells, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Percussion 3, Piccolo, Snare Drum and more. - Grade 3

SKU: CF.CPS243F

Incorporating The First Noel. Composed by Ed Kiefer. Sws. Cps. Full score. 24 pages. Duration 4:15. Carl Fischer Music #CPS243F. Published by Carl Fischer Music (CF.CPS243F).

ISBN 9781491158517. UPC: 680160917112. 9 x 12 inches.

This setting of The First Noel begins with a percussion intro and dissonant chords that lead to a beautiful flute duet. The melody is freely adapted and at times, outright changed, to give this arrangement a very different sound. Using rhythmic motives, tone clusters, altered melodies and all the sounds available for a concert band, the piece takes the audience on a journey that leads to a statement of the original tune at m. 118. Everyone gets the melody at some point. After a chorale-like section, the composition returns to the fast and upbeat sounds of the beginning. Your musicians and audience will love this unique version of this old-time favorite. When performing this piece, start dark and mysterious and let the sounds crescendo through the introduction all the way to m. 21, the first statement of the hymn. Make sure you keep the tempo moving so the arrangement does not lose excitement. Keep the flute duet, and later the trumpet duet, nice and light. At m. 118, play a little slower and in a standard chorale style, being careful to let the flute and oboe voices be heard. Let the low voices have the reins at m. 126 as they play the melody. Pick the tempo back up to the original tempo at m. 145 and push to the end. The main thing is to match articulation throughout the band--at the beginning and at the end, think light accents and separation, and at the chorale section at m. 118, more legato. Keeping everyone on the same page with articulation will be the key to making a great performance.
This setting of The First Noel begins with a percussion intro and dissonant chords that lead to a beautiful flute duet. The melody is freely adapted and at times, outright changed, to give this arrangement a very different sound. Using rhythmic motives, tone clusters, altered melodies and all the sounds available for a concert band, the piece takes the audience on a journey that leads to a statement of the original tune at m. 118. Everyone gets the melody at some point. After a chorale-like section, the composition returns to the fast and upbeat sounds of the beginning. Your musicians and audience will love this unique version of this old-time favorite.When performing this piece, start dark and mysterious and let the sounds crescendo through the introduction all the way to m. 21, the first statement of the hymn. Make sure you keep the tempo moving so the arrangement does not lose excitement. Keep the flute duet, and later the trumpet duet,nice and light. At m. 118, play a little slower and in a standard chorale style, being careful to let the flute and oboe voices be heard. Let the low voices have the reins at m. 126 as they play the melody. Pick the tempo back up to the original tempo at m. 145 and push to the end. The main thing is to matcharticulation throughout the band--at the beginning and at the end, think light accents and separation, and at the chorale section at m. 118, more legato. Keeping everyone on the same page with articulation will be the key to making a great performance.

Composed by Johannes Brahms (1833-1897). Edited by Clive Brown; Neal Peres Da Costa. For clarinet and piano. Score with parts. Opus 120. Published by Baerenreiter Verlag

Composed by Johannes Brahms (1833-1897). Edited by Clive Brown / Neal Peres Da Costa. For viola and piano. This edition: urtext edition. Paperback. Level 3. Score with parts. Opus 120. Published by Baerenreiter Verlag

Chamber Music String Quartet

SKU: PR.114405050

Composed by John Downey. Set of Score and Parts. With Standard notation. 53 pages. Duration 25 minutes. Theodore Presser Company #114-40505. Published by Theodore Presser Company (PR.114405050).

UPC: 680160008377. 11 x 14 inches.

Although structurally it subdivides into five movements, the entire quartet emerges as one vast continuum. There are no formal breaks between movements. However, certain musical signposts can be discerned, associated with each of the movements' terminations and new beginnings. The opening movement, The Nostalgia of Clanging Bell Sonorities, begins floating on recurrent Bbs whose soft rhythmic flow slowly puts into motion strong undercurrents suggestive of the latent power of water... After several suggestions of tolling bells, the movement gradually fades into hushed tones of veiled and very distant sonorities. It uses a unique efffect, for the first time in a musical context, conveyed through the use of extra heavy practice mutes. The second movement, The Spill of Water , disengages itself from the first through its distinct contrast in tempo. Water moves fast, and when it splashes, it tends to run wildly. In this case, it happens to be bubbly water that gushes forth bodly... smashing across rocky shorlines. So, too, the music attempts to conjure such moods. At the end of this movement, a cello cadenza emerges, introducing an introspective type of melodicism. The third movement, The Poignancy of Memory, contains many silences as it tries to convey memory through fragmented remembrances much like often occur in our dream state. Progressing through several slowly building images, it gradually works itself into juxtaposition of musical images. Towards the movement's end, high harmonics are sounding in all four instruments while left hand pizzicato notes in the cello pluch the last remembrances of this central core. Almost imperceptibly, the viola assumes leadership as it dissolves into: The fourth movement, The Fluidity of Motion, which has mostly the viola, but also the cello, articulating lyrical statements against the sheets of sound conjured up by the two violins playing a flood of swirling figures, evokes a kind of static motion in spae. Here, the virtually imperceptible manner in which this hushed whisper continues incessantly, can suggest the potential fluidity with which movement may inch forward... Later into the fourth movement , two fairly extended solos by the second and then the first violins, lead to a kind of spontaneous dialogue among the four instrumentalists. Eventually, this musical conversation gets caught up in: The fifth movement's The Rush of Time, which opens with a hushed flurry of speed, precipitates the Finale. It generates, at first slowly, but then very swiftly, whole shifts of rhythmic fields that initially seem to conflict with one another. Ultimately, this use of 'psycho-rhythmics contributes to an on-rush of motion and time. Rhythmic changes are, at times, abruptly precipitated with but little or no preparation creating a kind of inevitability in forward thrust, while the movement rushes forward with a feeling of gradual and continuous acceleration. It gathers density as more and more notes are piled progressively upon successive beats. The attempt is to spark tension and ignite excitement by means of frenetic confrontations of dissimilitudes. Ultimately - with the help of time - these polarities centrifically spin out their own destinies with their accompanying fall-out and own inevitable resolutions.

Chamber Music String Quartet

SKU: PR.11440505S

Composed by John Downey. Full score. With Standard notation. 53 pages. Duration 25 minutes. Theodore Presser Company #114-40505S. Published by Theodore Presser Company (PR.11440505S).

UPC: 680160008391. 11 x 14 inches.

Although structurally it subdivides into five movements, the entire quartet emerges as one vast continuum. There are no formal breaks between movements. However, certain musical signposts can be discerned, associated with each of the movements' terminations and new beginnings. The opening movement, The Nostalgia of Clanging Bell Sonorities, begins floating on recurrent Bbs whose soft rhythmic flow slowly puts into motion strong undercurrents suggestive of the latent power of water... After several suggestions of tolling bells, the movement gradually fades into hushed tones of veiled and very distant sonorities. It uses a unique effect, for the first time in a musical context, conveyed through the use of extra heavy practice mutes. The second movement, The Spill of Water, disengages itself from the first through its distinct contrast in tempo. Water moves fast, and when it splashes, it tends to run wildly. In this case, it happens to be bubbly water that gushes forth bodly... smashing across rocky shorelines. So, too, the music attempts to conjure such moods. At the end of this movement, a cello cadenza emerges, introducing an introspective type of melodicism. The third movement, The Poignancy of Memory, contains many silences as it tries to convey memory through fragmented remembrances much like often occur in our dream state. Progressing through several slowly building images, it gradually works itself into juxtaposition of musical images. Towards the movement's end, high harmonics are sounding in all four instruments while left hand pizzicato notes in the cello pluck the last remembrances of this central core. Almost imperceptibly, the viola assumes leadership as it dissolves into: The fourth movement, The Fluidity of Motion, which has mostly the viola, but also the cello, articulating lyrical statements against sheets of sound conjured up by the two violins playing a flood of swirling figures, evokes a kind of static motion in space. Here , the virtually imperceptible manner in which this hushed whisper continues incessantly, can suggest the potential fluidity with which movement may inch forward... Later into the fourth movement, two fairly extended solos by the second and then the first violins, lead to a kind of spontaneous dialogue amont the four instrumentalists. Eventually, this musical conversation gets caught up in: The fifth movement's The Rush of Time, which opens with a hushed flurry of speed, precipitates the Finale. It generates, at first slowly, but then very swiftly, whole shifts of rhythmic fields that initially seem to conflict with one another. Ultimately, this use of psycho-rhythmics contributes to an on-rush seem of motion and time. Rhythmic changes are, at times, abruptly precipitated with but little or no preparation creating a kind of inevitability in forward thrust, while the movement rushes forward with a feeling of gradual and continuous acceleration. It gathers density as more and more notes are piled progressively upon successive beats. The attempt is to spark tension and ignite excitement by means of frenetic confrontations of dissimilitudes. Ultimately - with the help of time - these polarities centrifically spin out their own destinies with their accompanying fall-out and own inevitable resolutions.

Choral SSA Choir, piano, flute

SKU: CF.CM9583

Composed by Christopher Gabel. Sws. Performance Score. 20 pages. Duration 4 minutes, 9 seconds. Carl Fischer Music #CM9583. Published by Carl Fischer Music (CF.CM9583).

ISBN 9781491154052. UPC: 680160912551. 6.875 x 10.5 inches. Key: Eb major. English. Thomas Moore (1779-1852).

Thomas Moore (17791852) was an Irish poet, singer, songwriter and entertainer. In his poem, On Music, Moore emphasizes the power that music has in our lives and the ability it has to evoke memories and feelings from the past. Music transcends that which can be spoken or felt. The beauty of making music together is to establish meaningful connections with others and to share a common language through song. We are reminded, however, that relationships with each other can be fluid or unstable, but as the words of the poem remind us, music will not betray. No matter the experiences that we face, the relationships that we foster, or the memories that we create, music will always be there for us in times of need and in times of celebration. What does music mean to you? How does it enrich your life? On Music Thomas Moore When through life unblest we rove, Losing all that made life dear, Should some notes we used to love, In days of boyhood, meet our ear, Oh! how welcome breathes the strain! Wakening thoughts that long have slept, Kindling former smiles again In faded eyes that long have wept. Like the gale, that sighs along Beds of oriental flowers, Is the grateful breath of song, That once was heard in happier hours. Filld with balm the gale sighs on, Though the flowers have sunk in death; So, when pleasures dream is gone, Its memory lives in Musics breath. Music, oh, how faint, how weak, Language fades before thy spell! Why should Feeling ever speak, When thou canst breathe her soul so well? Friendships balmy words may feign, Loves are even more false than they; Oh! tis only musics strain Can sweetly soothe, and not betray. Note to the performer: Liberty can be taken with the tempo markings and rubato should be used throughout in order to further stress the beauty and significance of the text. With its vocal-like descant, the flute should be treated as an additional voice rather than mere accompaniment to enhance the texture of the piece.
Thomas Moore (1779a1852) was an Irish poet, singer, songwriter and entertainer. In his poem, On Music, Moore emphasizes the power that music has in our lives and the ability it has to evoke memories and feelings from the past. Music transcends that which can be spoken or felt. The beauty of making music together is to establish meaningful connections with others and to share a common language through song. We are reminded, however, that relationships with each other can be fluid or unstable, but as the words of the poem remind us, music will not betray. No matter the experiences that we face, the relationships that we foster, or the memories that we create, music will always be there for us in times of need and in times of celebration. What does music mean to you? How does it enrich your life? On Music a Thomas Moore When through life unblest we rove, Losing all that made life dear, Should some notes we used to love, In days of boyhood, meet our ear, Oh! how welcome breathes the strain! Wakening thoughts that long have slept, Kindling former smiles again In faded eyes that long have wept. Like the gale, that sighs along Beds of oriental flowers, Is the grateful breath of song, That once was heard in happier hours. Fillad with balm the gale sighs on, Though the flowers have sunk in death; So, when pleasureas dream is gone, Its memory lives in Musicas breath. Music, oh, how faint, how weak, Language fades before thy spell! Why should Feeling ever speak, When thou canst breathe her soul so well? Friendshipas balmy words may feign, Loveas are even more false than they; Oh! atis only musicas strain Can sweetly soothe, and not betray. Note to the performer: Liberty can be taken with the tempo markings and rubato should be used throughout in order to further stress the beauty and significance of the text. With its vocal-like descant, the flute should be treated as an additional voice rather than mere accompaniment to enhance the texture of the piece.
Thomas Moore (1779-1852) was an Irish poet, singer, songwriter and entertainer. In his poem, On Music, Moore emphasizes the power that music has in our lives and the ability it has to evoke memories and feelings from the past. Music transcends that which can be spoken or felt. The beauty of making music together is to establish meaningful connections with others and to share a common language through song. We are reminded, however, that relationships with each other can be fluid or unstable, but as the words of the poem remind us, music will not betray. No matter the experiences that we face, the relationships that we foster, or the memories that we create, music will always be there for us in times of need and in times of celebration. What does music mean to you? How does it enrich your life? On Music - Thomas Moore When through life unblest we rove, Losing all that made life dear, Should some notes we used to love, In days of boyhood, meet our ear, Oh! how welcome breathes the strain! Wakening thoughts that long have slept, Kindling former smiles again In faded eyes that long have wept. Like the gale, that sighs along Beds of oriental flowers, Is the grateful breath of song, That once was heard in happier hours. Fill'd with balm the gale sighs on, Though the flowers have sunk in death; So, when pleasure's dream is gone, Its memory lives in Music's breath. Music, oh, how faint, how weak, Language fades before thy spell! Why should Feeling ever speak, When thou canst breathe her soul so well? Friendship's balmy words may feign, Love's are even more false than they; Oh! 'tis only music's strain Can sweetly soothe, and not betray. Note to the performer: Liberty can be taken with the tempo markings and rubato should be used throughout in order to further stress the beauty and significance of the text. With its vocal-like descant, the flute should be treated as an additional voice rather than mere accompaniment to enhance the texture of the piece.
Thomas Moore (1779-1852) was an Irish poet, singer, songwriter and entertainer. In his poem, On Music, Moore emphasizes the power that music has in our lives and the ability it has to evoke memories and feelings from the past. Music transcends that which can be spoken or felt. The beauty of making music together is to establish meaningful connections with others and to share a common language through song. We are reminded, however, that relationships with each other can be fluid or unstable, but as the words of the poem remind us, music will not betray. No matter the experiences that we face, the relationships that we foster, or the memories that we create, music will always be there for us in times of need and in times of celebration. What does music mean to you? How does it enrich your life? On Music - Thomas Moore When through life unblest we rove, Losing all that made life dear, Should some notes we used to love, In days of boyhood, meet our ear, Oh! how welcome breathes the strain! Wakening thoughts that long have slept, Kindling former smiles again In faded eyes that long have wept. Like the gale, that sighs along Beds of oriental flowers, Is the grateful breath of song, That once was heard in happier hours. Fill'd with balm the gale sighs on, Though the flowers have sunk in death; So, when pleasure's dream is gone, Its memory lives in Music's breath. Music, oh, how faint, how weak, Language fades before thy spell! Why should Feeling ever speak, When thou canst breathe her soul so well? Friendship's balmy words may feign, Love's are even more false than they; Oh! 'tis only music's strain Can sweetly soothe, and not betray. Note to the performer: Liberty can be taken with the tempo markings and rubato should be used throughout in order to further stress the beauty and significance of the text. With its vocal-like descant, the flute should be treated as an additional voice rather than mere accompaniment to enhance the texture of the piece.
Thomas Moore (1779–1852) was an Irish poet, singer, songwriter and entertainer. In his poem, On Music, Moore emphasizes the power that music has in our lives and the ability it has to evoke memories and feelings from the past. Music transcends that which can be spoken or felt. The beauty of making music together is to establish meaningful connections with others and to share a common language through song.We are reminded, however, that relationships with each other can be fluid or unstable, but as the words of the poem remind us, music will not betray. No matter the experiences that we face, the relationships that we foster, or the memories that we create, music will always be there for us in times of need and in times of celebration. What does music mean to you? How does it enrich your life?On Music – Thomas MooreWhen through life unblest we rove,Losing all that made life dear,Should some notes we used to love,In days of boyhood, meet our ear,Oh! how welcome breathes the strain!Wakening thoughts that long have slept,Kindling former smiles againIn faded eyes that long have wept.Like the gale, that sighs alongBeds of oriental flowers,Is the grateful breath of song,That once was heard in happier hours.Fill’d with balm the gale sighs on,Though the flowers have sunk in death;So, when pleasure’s dream is gone,Its memory lives in Music’s breath.Music, oh, how faint, how weak,Language fades before thy spell!Why should Feeling ever speak,When thou canst breathe her soul so well?Friendship’s balmy words may feign,Love’s are even more false than they;Oh! ’tis only music’s strainCan sweetly soothe, and not betray.Note to the performer: Liberty can be taken with the tempo markings and rubato should be used throughout in order to further stress the beauty and significance of the text. With its vocal-like descant, the flute should be treated as an additional voice rather than mere accompaniment to enhance the texture of the piece.

Bass Clef Instruments. Composed by Bob Mintzer. Instrumental Series; Play-Along. Belwin Jazz Play-Along Series. Jazz. Book; DVD. 60 pages. Belwin Music #00-43727. Published by Belwin Music (AP.43727).

(C Instruments). Composed by Bob Mintzer. For C Instruments. Book; DVD; Instrumental Series; Play-Along. Belwin Jazz Play-Along Series. Jazz. Grade 3.5. 60 pages. Published by Belwin Music

(E-flat Instruments). Composed by Bob Mintzer. For E-flat Instruments. Book; DVD; Instrumental Series; Play-Along. Belwin Jazz Play-Along Series. Jazz. Grade 3.5. 60 pages. Published by Belwin Music

Orchestra String Orchestra - medium easy

SKU: CF.CAS36

Composed by Traditional. Arranged by Roy Phillippe. Carl Fischer Concert String Orchestra Series. Classical. Score and Parts. With Standard notation. 12 pages. Carl Fischer Music #CAS36. Published by Carl Fischer Music (CF.CAS36).

ISBN 9780825863646. UPC: 798408063641. 8.5 X 11 inches. Key: F major.

A warm and richly scored setting of the popular Christmas carol Bring a Torch Jeanette, Isabella, this full sounding arrangement will greatly enrich seasonal programming. Roy Phillippe has employed a broad palette of harmonic and instrumental colors to craft a memorable holiday selection.
Bring a Torch is a lovely Christmas carol. Using techniques such as suspensions, re-harmonization and modulations, my goal is to provide an interesting showcase for this familiar melody. the introduction in F major features sustained violins with a pattern of moving eighth notes in the violas and cellos. This pattern recurs throughout the piece. The first statement of the melody is in the first violins. The second violins supply harmonic support along with the viola/cello pattern. Measures 13-29 feature a section of tutti chordal playing. Measure 30 crescendos into the modulation to D major at m. 32. Here, the dynamic is forte, and the viola/cello pattern returns. At m. 40, the violas and cellos have the melody with violin accompaniment. A crescendo begins at m. 44 and builds to fortissimo at m. 48, featuring a modulation to G major. At this point the melody should soar. A descrescendo at m. 60 is followed by a ritard at m. 64. The final four measures are in the original tempo ending on a tutti chord.Careful attention to dynamics, especially in the accompanying parts, will result in a fine performance.

About Carl Fischer Concert String Orchestra Series

Thi s series of pieces (Grade 3 and higher) is designed for advancing ensembles. The pieces in this series are characterized by:

• Expanded use of rhythms, ranges and keys but technical demands are still carefully considered
• More comprehensive bowing techniques
• Viola T.C. included
• Careful selection of keys and degree of difficulty for advancing musicians

Composed by David Conte (1955-). Vocal Anthology/Vocal Solo. Secular, 21st Century. Vocal score. 35 pages. Published by E.C. Schirmer Publishing (EC.8454).

Composed by David Conte (1955-). Vocal Anthology/Vocal Solo. Secular, 21st century. Vocal score. 35 pages. Published by E.C. Schirmer Publishing (EC.8455).

Composed by Eric Barnum. For SATB choir, a cappella. Octavo. Published by Alliance Music Publications

Alfred's Essentials of Music Theory - Complete (Book/CDs). (Complete). Reference Textbooks; Textbook - General; Theory. Essentials of Music Theory. General Theory. Instructional book (spiral bound) and 2 example CDs. Introductory text, instructional text, musical examples and glossary. 120 pages. Published by Alfred Music Publishing

Choral TBB choir, piano

SKU: CF.CM9594

Composed by Greg Gilpin. Fold. Performance Score. 8 pages. Duration 2 minutes, 50 seconds. Carl Fischer Music #CM9594. Published by Carl Fischer Music (CF.CM9594).

ISBN 9781491154168. UPC: 680160912667. 6.875 x 10.5 inches. Key: Bb major. English. Alfred Tennyson. Alfred, Lord Tennyson (1809-1892).

The text of Alfred, Lord Tennyson's There is Sweet Music Here is a wonderful example of word painting. Keep this in mind while learning to sing the music and try to capture the different scenes created through these famous words. The first two measures of accompaniment outline the opening chord in the voices. Crescendo to the word music every time it occurs. In mm. 710, the vocals cascade gently into a dissonance that develops into a full, rich sound. Allow the piano to support the unison lines in mm. 1417 as well as those that contain three-part singing. The piano establishes a consistent undulating tempo in mm. 2225, as if lulling someone to sleep. Be intentional with word/syllabic stress when singing through the quarter notes. Maintain a consistent tempo when singing the eighth notes in mm. 3336. The chord progression helps establish the coolness of the mosses and ivies. Notice the melodic movement in mm. 3738 reflecting the craggy ledge and hanging poppy followed by the unison sleep which ushers in the return of the original melody within the accompaniment. Linger with quiet, full and supported singing during the last three measures.
The text of Alfred, Lord Tennyson'sA There is Sweet Music HereA is a wonderful example of word painting. Keep this in mind while learning to sing the music and try to capture the different scenes created through these famous words. The first two measures of accompaniment outline the opening chord in the voices. Crescendo to the word music every time it occurs. In mm. 7a10, the vocals cascade gently into a dissonance that develops into a full, rich sound. Allow the piano to support the unison lines in mm. 14a17 as well as those that contain three-part singing. The piano establishes a consistent undulating tempo in mm. 22a25, as if lulling someone to sleep. Be intentional with word/syllabic stress when singing through the quarter notes. Maintain a consistent tempo when singing the eighth notes in mm. 33a36. The chord progression helps establish the coolness of the mosses and ivies. Notice the melodic movement in mm. 37a38 reflecting the craggy ledge and hanging poppy followed by the unison sleep which ushers in the return of the original melody within the accompaniment. Linger with quiet, full and supported singing during the last three measures.
The text of Alfred, Lord Tennyson'sA There is Sweet Music HereA is a wonderful example of word painting. Keep this in mind while learning to sing the music and try to capture the different scenes created through these famous words. The first two measures of accompaniment outline the opening chord in the voices. Crescendo to the word music every time it occurs. In mm. 7a10, the vocals cascade gently into a dissonance that develops into a full, rich sound. Allow the piano to support the unison lines in mm. 14a17 as well as those that contain three-part singing. The piano establishes a consistent undulating tempo in mm. 22a25, as if lulling someone to sleep. Be intentional with word/syllabic stress when singing through the quarter notes. Maintain a consistent tempo when singing the eighth notes in mm. 33a36. The chord progression helps establish the coolness of the mosses and ivies. Notice the melodic movement in mm. 37a38 reflecting the craggy ledge and hanging poppy followed by the unison sleep which ushers in the return of the original melody within the accompaniment. Linger with quiet, full and supported singing during the last three measures.
The text of Alfred, Lord Tennyson's There is Sweet Music Here is a wonderful example of word painting. Keep this in mind while learning to sing the music and try to capture the different scenes created through these famous words. The first two measures of accompaniment outline the opening chord in the voices. Crescendo to the word music every time it occurs. In mm. 7-10, the vocals cascade gently into a dissonance that develops into a full, rich sound. Allow the piano to support the unison lines in mm. 14-17 as well as those that contain three-part singing. The piano establishes a consistent undulating tempo in mm. 22-25, as if lulling someone to sleep. Be intentional with word/syllabic stress when singing through the quarter notes. Maintain a consistent tempo when singing the eighth notes in mm. 33-36. The chord progression helps establish the coolness of the mosses and ivies. Notice the melodic movement in mm. 37-38 reflecting the craggy ledge and hanging poppy followed by the unison sleep which ushers in the return of the original melody within the accompaniment. Linger with quiet, full and supported singing during the last three measures.
The text of Alfred, Lord Tennyson's There is Sweet Music Here is a wonderful example of word painting. Keep this in mind while learning to sing the music and try to capture the different scenes created through these famous words. The first two measures of accompaniment outline the opening chord in the voices. Crescendo to the word music every time it occurs. In mm. 7-10, the vocals cascade gently into a dissonance that develops into a full, rich sound. Allow the piano to support the unison lines in mm. 14-17 as well as those that contain three-part singing. The piano establishes a consistent undulating tempo in mm. 22-25, as if lulling someone to sleep. Be intentional with word/syllabic stress when singing through the quarter notes. Maintain a consistent tempo when singing the eighth notes in mm. 33-36. The chord progression helps establish the coolness of the mosses and ivies. Notice the melodic movement in mm. 37-38 reflecting the craggy ledge and hanging poppy followed by the unison sleep which ushers in the return of the original melody within the accompaniment. Linger with quiet, full and supported singing during the last three measures.
The text of Alfred, Lord Tennyson's There is Sweet Music Here is a wonderful example of word painting. Keep this in mind while learning to sing the music and try to capture the different scenes created through these famous words.The first two measures of accompaniment outline the opening chord in the voices. Crescendo to the word music every time it occurs. In mm. 7–10, the vocals cascade gently into a dissonance that develops into a full, rich sound. Allow the piano to support the unison lines in mm. 14–17 as well as those that contain three-part singing.The piano establishes a consistent undulating tempo in mm. 22–25, as if lulling someone to sleep. Be intentional with word/syllabic stress when singing through the quarter notes.Maintain a consistent tempo when singing the eighth notes in mm. 33–36. The chord progression helps establish the coolness of the mosses and ivies. Notice the melodic movement in mm. 37–38 reflecting the craggy ledge and hanging poppy followed by the unison sleep which ushers in the return of the original melody within the accompaniment.Linger with quiet, full and supported singing during the last three measures.

Composed by David Gillingham. Arranged by Dennis Wright. Score only. Duration 9:30. Published by C. Alan Publications (CN.06191).

Edited by Albert Weir, Amy Appleby. For piano. Format: piano solo book. With fingerings. Baroque, classical period and romantic period. 400 pages. 9x12 inches. Published by Music Sales.

String quartet

SKU: BO.B.3664

Composed by Jordi Cervello. Published by Editorial de Musica Boileau (BO.B.3664).

Cuarteto San Petersburgo (The Saint Petersburg Quartet) was written between January and March 2011. It owes its name to the fact that Saint Petersburg has been a very significant city for me. I was invited there in 1988 to take part in a big contemporary music festival, but my uninterrupted bond with the city started on 2002, thanks to the negotiations of my friend and pupil Albert Barbeta. Since then, I have constantly travelled there in order to record a considerable part of my repertoire: seventeen pieces. In addition to the concerts we went to, I took the opportunity during my trips to visit the well-known conservatoire where so many great personalities from the world of music composition once taught, and the place that launched the most important violin school in the whole of Russia: the school of Leopoldo Auer. Spending a long time in Auer's classroom writing my concert for violin and orchestra was an unforgettable experience for me. His large portrait motivated me even further.

Cuartet o San Petersburgo evokes many of the most cherished and moving moments that I have had in this city. It is structured in four movements. The first one, Allegretto-Allegro, opens with an introduction that sets forth the two main themes, amid a soft and elastic atmosphere. The Allegro starts vigorously and in it we find changes in the tempo and moments of mystery, as well as certain seclusion, returning then to the emphatic theme where the counterpoint finds its place. The movement ends placidly.

The Scherzo-marcato that follows is marked by a persistent rhythm of triplets that carries on from beginning to end. The tempo does not change, but brief and decided themes are introduced, as well as passages of counterpoint. Brief and dissonant chords are heard throughout the movement, which ends vigorously.

The third movement, Ut, is a very special one. For a while already I had been playing with the idea of writing a movement that was to have the tonality C as a leitmotiv. This one is made up by two slow and static parts. In the first one, the first violin plays pizzicatti-glissandi. In the second, the first violin and particularly the violoncello settle on C while the other two instruments produce descending chromatic harmonies.

Final ly, the Introduccion-Presto (the Introduction-Presto). It starts with some bucolic passages which remind us of the introduction to the first movement. A fast and energetic Presto suddenly erupts. A kind of moto perpetuo which alternates with two expressive passages and, towards the end, a viola and violoncello tremolo, all of great mystery and expectation, make way for a resounding finale marcato.