Concert Band/Harmonie - Grade 3 SKU: HL.44002030 Arranged by Klaas van de...(+)
Concert Band/Harmonie -
Grade 3
SKU:
HL.44002030
Arranged
by Klaas van der Woude.
De Haske Concert Band.
Pop & Rock. Score Only.
Composed 2000. De Haske
Publications #1001968.
Published by De Haske
Publications
(HL.44002030).
UPC:
073999424614.
8.5x11.0x0.564
inches.
Einen ihrer
grossten Erfolge feierten
die Four Tops, die 1990
in die Rock'n' Roll Hall
of Fame aufgenommen
wurden, mit Reach Out
(I'll Be There), das
sich 1966 lange in den
Hitparaden mehrerer
Lander hielt und seither
immer wieder neu
aufgelegt wurde. Klaas
van der Woude hat sich
ebenfalls von diesem Lied
begeistern lassen und ein
Arrangement geschaffen,
das den romantischen
Inhalt sehr gut
widerspiegelt. Eine
stimmungsvolle
Bereicherung fur jedes
Serenadenkonzert.
Fanfare Band - Grade 3 SKU: BT.DHP-1001968-020 Arranged by Klaas van der ...(+)
Fanfare Band - Grade 3
SKU:
BT.DHP-1001968-020
Arranged by Klaas van der
Woude. De Haske Pop
Collection. Pop & Rock.
Set (Score & Parts).
Composed 2000. De Haske
Publications #DHP
1001968-020. Published by
De Haske Publications
(BT.DHP-1001968-020).
Einen ihrer
größten Erfolge
feierten die Four Tops,
die 1990 in die
Rock’n’
Roll Hall of Fame
aufgenommen wurden, mit
Reach Out (I’ll
Be There), das sich
1966 lange in den
Hitparaden mehrerer
Länder hielt und
seither immer wieder neu
aufgelegt wurde. Klaas
van der Woude hat sich
ebenfalls von diesem Lied
begeistern lassen und ein
Arrangement geschaffen,
das den romantischen
Inhalt sehr gut
widerspiegelt. Eine
stimmungsvolle
Bereicherung für jedes
Serenadenkonzert.
Reach Out, I'll Be There Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire Hal Leonard
Performed by Michael McDonald. Arranged by Ted Ricketts. (Score and Parts). Scor...(+)
Performed by Michael
McDonald. Arranged by Ted
Ricketts. (Score and
Parts). Score and full
set of parts. Young Band
(Concert Band). Grade 3.
Size 9x12 inches.
Published by Hal Leonard.
Fanfare Band - Grade 3 SKU: BT.DHP-1001968-120 Arranged by Klaas van der ...(+)
Fanfare Band - Grade 3
SKU:
BT.DHP-1001968-120
Arranged by Klaas van der
Woude. De Haske Pop
Collection. Pop & Rock.
Score Only. Composed
2000. De Haske
Publications #DHP
1001968-120. Published by
De Haske Publications
(BT.DHP-1001968-120).
Einen ihrer
größten Erfolge
feierten die Four Tops,
die 1990 in die
Rock’n’
Roll Hall of Fame
aufgenommen wurden, mit
Reach Out (I’ll
Be There), das sich
1966 lange in den
Hitparaden mehrerer
Länder hielt und
seither immer wieder neu
aufgelegt wurde. Klaas
van der Woude hat sich
ebenfalls von diesem Lied
begeistern lassen und ein
Arrangement geschaffen,
das den romantischen
Inhalt sehr gut
widerspiegelt. Eine
stimmungsvolle
Bereicherung für jedes
Serenadenkonzert.
Performed by S Club 7. By Cathy Dennis, Andrew Todd. Arranged by Roger Emerson. ...(+)
Performed by S Club 7. By
Cathy Dennis, Andrew
Todd. Arranged by Roger
Emerson. (SSA). Pop
Choral Series. Size
6.8x10.5 inches. 16
pages. Published by Hal
Leonard.
Beyond Reach Orchestre d'harmonie [Conducteur] - Facile Alfred Publishing
Concert Band - Grade 3 SKU: AP.49124S Composed by Adrian B. Sims. Concert...(+)
Concert Band - Grade 3
SKU: AP.49124S
Composed by Adrian B.
Sims. Concert Band;
Performance Music
Ensemble; Single Titles.
Young Symphonic. Score.
32 pages. Duration 3:30.
Alfred Music #00-49124S.
Published by Alfred Music
(AP.49124S).
ISBN
9781470646943. UPC:
038081566177.
English.
Reminiscen
t of a movie soundtrack,
Beyond Reach, by Adrian
B. Sims, characterizes an
action-filled journey
depicting the trek
towards an unseen
opposition. This work is
full of unforgettable
melodic lines and
explores a unique variety
of harmonic twists and
turns. Filled with
anticipation, hope, fear,
and bravery, the
adventurers unabashedly
charge into combat,
ultimately emerging
victorious. (3:30).
Choral SSAA choir SKU: CF.CM9717 Composed by Mark Burrows. 8 pages. Durat...(+)
Choral SSAA choir
SKU:
CF.CM9717
Composed by
Mark Burrows. 8 pages.
Duration 3 minutes, 7
seconds. Carl Fischer
Music #CM9717. Published
by Carl Fischer Music
(CF.CM9717).
ISBN
9781491160961. UPC:
680160919567. Psalm
91:4-5.
The Lord
will overshadow you with
his pinions, and you will
find refuge under his
wings. His faithfulness
will encompass you with a
shield. Psalm 91:4-5 To
feel safe and to feel
cared for, these are two
of the great yearnings of
the human heart. What a
blessing it is,
especially during times
of distress or
uncertainty, to know that
we aren't alone, that
someone is reaching out
to help us and even hold
us. It could be a family
member or a friend. It
could be a still small
voice whispering, It's
okay. I've got you. It
could even be a loving
community, like a choir,
assuring us that we are
known, that we are loved,
that we belong. The first
word - scapulis - is
translated as pinions. On
a bird, a pinion is the
outer part of the wing,
including the flight
feathers. The opening
measures, with a
one-measure phrase
followed be a
three-measure phrase, are
meant to evoke the image
of wings unfurling to
welcome in. All through
this section - mm. 1-20 -
encourage phrasing that
is never hurried but
moves with intention to
the last stressed
syllable of each phrase,
before ebbing slightly.
This section is all about
reassurance and comfort.
In mm. 21-30 we have a
new section where
uncertainty grows. At
this point the text - and
you will find refuge
under his wings - is more
aspirational than
definitive. Leaning into
non-chord tones will help
make this feeling of
uncertainty more
palpable. Places where
this occurs: Alto I -
Measure 22 the Ab in
pennis, m. 26 the Bb in
sperabis Soprano II -
Measure 23 the A natural
in pennis, m. 29 the C in
sperabis Soprano I -
Measure 24 the C in
pennis, m. 28 the D in
sperabis The apex of the
piece is at m. 30 where
the yearning for comfort
and assurance reaches its
height, finding that
comfort in the arrival
back at Eb major in m.
39. The phrase veritas
ejus (his faithfulness),
with its triplet figure
should flow gently, like
a musical carress. The
final reassurance occurs
at m. 51 as we return to
the melody, and the
homophonic texture, of
the opening. Even as the
piece gets softer and
softer, encourage the
singers to keep energy
moving through each
phrase. The structure and
feel of this piece was
inspired by one of the
all-time great settings
of yet another Psalm of
assurance - Felix
Mendelssohn's Lift Thine
Eyes. The Lord will
overshadow you with his
pinions,and you will find
refuge under his
wings.His faithfulness
will encompass you with a
shield. Psalm
91:4-5Â To feel safe
and to feel cared for,
these are two of the
great yearnings of the
human heart.What a
blessing it is,
especially during times
of distress or
uncertainty, to know that
we aren’t alone,
that someone is reaching
out to help us and even
hold us. It could be a
family member or a
friend. It could be a
still small voice
whispering,
“It’s okay.
I’ve got
you.†It could even
be a loving community,
like a choir, assuring us
that we are known, that
we are loved, that we
belong.The first word
– scapulis
– is translated as
“pinions.†On
a bird, a pinion is the
outer part of the wing,
including the flight
feathers. The opening
measures, with a
one-measure phrase
followed be a
three-measure phrase, are
meant to evoke the image
of wings unfurling to
welcome in. All through
this section – mm.
1-20 – encourage
phrasing that is never
hurried but moves with
intention to the last
stressed syllable of each
phrase, before ebbing
slightly. This section is
all about reassurance and
comfort.In mm. 21-30 we
have a new section where
uncertainty grows. At
this point the text
– and you will
find refuge under his
wings – is more
aspirational than
definitive. Leaning into
non-chord tones will help
make this feeling of
uncertainty more
palpable. Places where
this occurs:Alto I
– Measure 22 the
Ab in pennis, m. 26 the
Bb in sperabisSoprano II
– Measure 23 the A
natural in pennis, m. 29
the C in sperabisSoprano
I – Measure 24 the
C in pennis, m. 28 the D
in sperabis The apex
of the piece is at m. 30
where the yearning for
comfort and assurance
reaches its height,
finding that comfort in
the arrival back at Eb
major in m. 39. The
phrase veritas ejus (his
faithfulness), with its
triplet figure should
flow gently, like a
musical carress.The final
reassurance occurs at m.
51 as we return to the
melody, and the
homophonic texture, of
the opening. Even as the
piece gets softer and
softer, encourage the
singers to keep energy
moving through each
phrase.The structure and
feel of this piece was
inspired by one of the
all-time great settings
of yet another Psalm of
assurance – Felix
Mendelssohn’s Lift
Thine Eyes.
Pop! Pop! Pop! Orchestre d'harmonie [Conducteur] - Débutant Carl Fischer
Band Concert Band - Grade 1 SKU: CF.BPS125F Pop Goes the Weasel. C...(+)
Band Concert Band - Grade
1
SKU: CF.BPS125F
Pop Goes the
Weasel. Composed by
Traditional. Arranged by
Andrew Balent. Sws. Bps.
Full score. 12 pages.
Duration 1 minute, 26
seconds. Carl Fischer
Music #BPS125F. Published
by Carl Fischer Music
(CF.BPS125F).
ISBN
9781491156179. UPC:
680160914715. 9 x 12
inches.
This
beginning band
arrangement of Pop Goes
the Weasel is designed to
teach and perform basic
3/4 rhythms. The tempo
will be determined by the
ability of the group.
Begin rehearsing at a
slow tempo and gradually
increase the speed until
reaching the marked
allegro. Performance
Time: 1:30. This
beginning band
arrangement of Pop Goes
the Weasel is designed to
teach and perform basic
3/4 rhythms. The tempo
will be determined by the
ability of the
group.Begin rehearsing at
a slow tempo and
gradually increase the
speed until reaching the
marked
allegro.Performance Time:
1:30.
Pop! Pop! Pop! Orchestre d'harmonie - Débutant Carl Fischer
Band Concert Band - Grade 1 SKU: CF.BPS125 Pop Goes the Weasel. Co...(+)
Band Concert Band - Grade
1
SKU: CF.BPS125
Pop Goes the
Weasel. Composed by
Traditional. Arranged by
Andrew Balent. Folio.
Bps. Set of Score and
Parts.
8+2+8+2+5+2+2+8+3+6+2+3+1
+1+2+1+12 pages. Duration
1 minute, 26 seconds.
Carl Fischer Music
#BPS125. Published by
Carl Fischer Music
(CF.BPS125).
ISBN
9781491156162. UPC:
680160914708. 9 x 12
inches.
This
beginning band
arrangement of Pop Goes
the Weasel is designed to
teach and perform basic
3/4 rhythms. The tempo
will be determined by the
ability of the group.
Begin rehearsing at a
slow tempo and gradually
increase the speed until
reaching the marked
allegro. Performance
Time: 1:30. This
beginning band
arrangement of Pop Goes
the Weasel is designed to
teach and perform basic
3/4 rhythms. The tempo
will be determined by the
ability of the
group.Begin rehearsing at
a slow tempo and
gradually increase the
speed until reaching the
marked
allegro.Performance Time:
1:30.
Three Characters Piano Trio: Violon, Alto, Piano Faber Piano Adventures
(The Collaborative Artist). Composed by Randall Faber. For Piano Trio. Faber Pia...(+)
(The Collaborative
Artist). Composed by
Randall Faber. For Piano
Trio. Faber Piano
Adventures�®. Late
Intermediate. Softcover.
Faber Piano Adventures
#FF7009. Published by
Faber Piano Adventures
String Quartet No. 4 Parts Quatuor à cordes: 2 violons, alto, violoncelle University Of York Music Press
String Quartet SKU: HL.14043045 Composed by Thomas Simaku. Music Sales Am...(+)
String Quartet
SKU:
HL.14043045
Composed
by Thomas Simaku. Music
Sales America. Classical.
Softcover. University of
York Music Press
#M570363216. Published by
University of York Music
Press (HL.14043045).
Thomas Simaku
is an Albanian-born
British composer whose
music has been reaching
audiences all over Europe
and the USA for over a
decade. The sheet music
for String Quartet No. 4
- Parts has been
beautifully composed for
String Quartet for
Intermediate to Advanced
level.
Thomas
Simaku is an
Albanian-born British
composer whose music has
been reaching audiences
all over Europe and the
USA for over a
decade.
The sheet music
for String
Quartet No. 4 -
Parts hasbeen
beautifully composed for
String Quartet for
Intermediate to Advanced
level.
Composed by
Patrick Glenn Harper. Set
of Score and Parts.
28+8+8+4+8+8+8+4+4+4+4+4+
4+8+8+8+4+4+6+6+6+4+8+1+4
+2+2+12+2+8 pages.
Duration 4 minutes, 27
seconds. Carl Fischer
Music #CPS251. Published
by Carl Fischer Music
(CF.CPS251).
ISBN
9781491159873. UPC:
680160918461.
About
the Music Semper Gratus
is Latin for always
grateful. The piece was
written in honor of James
E. Champion, who taught
band for thirty-eight
years, twenty-five of
which were spent in
Florence, Alabama, where
he was my elementary
school and high school
band director. His bands
consistently achieved
superior ratings
throughout his career. He
holds
multi-decade-spanning
memberships in
professional music
education organizations,
continues to serve in
helping with Alabama
Bandmasters Association
events, and conducts and
performs in various
community bands and
ensembles. As my band
director at Bradshaw High
School, Mr. Champion
encouraged me to perform
one of my first
compositions, a clarinet
quartet, at solo/ensemble
festival. He taught his
students the fundamentals
of music, the technical
aspects of performance,
and exposed them to the
great standards of band
literature. But in doing
so, he also modeled
leadership, work-ethic,
good character, and
fostered the love of the
activity of band that led
me to choose music
education as a career.
And for that, I will
always be grateful.
Performance Notes
Measures 1-12: The
beginning of the piece
should be performed in a
majestic, fanfare-like
style. The woodwind cues
should only be used if
absolutely needed during
this section. Measures
41-58: The concert toms
should establish a
presence, but not
overpower the winds. The
triangle and woodblock
parts should be heard
distinctly over the
concert toms. A higher
pitched woodblock should
be used for this section.
(A set of claves could be
used in place of the
woodblock if desired.)
Measures 59-94: The
entirety of the middle
section should be played
in a rubato style to
maximize musical
expression, exaggerating
dynamics and ritardando
sections. The
quarter-note triplets in
the middle and low winds
should be emphasized at
m. 70. The molto
ritardando that begins at
m. 70 should be allowed
to build as long as
possible in m. 71 before
reaching the musical apex
of the middle section at
m. 72. At mm. 92-94,
depending on the size of
the ensemble, you may
want to limit the number
of players (or put one
per part) to achieve the
most delicate sound
possible. Measures
95-End: In mm. 99-107, be
sure that the eighth-note
running mallet parts are
heard as a background
texture, but do not
overpower the winds. In
mm. 114-115, the accents
on beats 2 and 4 in the
lower winds should be
exaggerated to contrast
the feel of the previous
four measures. In m. 118,
all winds should cut off
and breathe on beat two
for maximum impact on the
next three
measures. About the
MusicSemper Gratus is
Latin for “always
grateful.†The
piece was written in
honor of James E.
Champion, who taught band
for thirty-eight years,
twenty-five of which were
spent in Florence,
Alabama, where he was my
elementary school and
high school band
director. His bands
consistently achieved
superior ratings
throughout his career. He
holds
multi-decade-spanning
memberships in
professional music
education organizations,
continues to serve in
helping with Alabama
Bandmasters Association
events, and conducts and
performs in various
community bands and
ensembles. As my band
director at Bradshaw High
School, Mr. Champion
encouraged me to perform
one of my first
compositions, a clarinet
quartet, at solo/ensemble
festival. He taught his
students the fundamentals
of music, the technical
aspects of performance,
and exposed them to the
great standards of band
literature. But in
doing so, he also modeled
leadership, work-ethic,
good character, and
fostered the love of the
activity of band that led
me to choose music
education as a
career. And for that,
I will always be
grateful.Performance
NotesMeasures
1-12:Â Â The
beginning of the piece
should be performed in a
majestic, fanfare-like
style. The woodwind
cues should only be used
if absolutely needed
during this
section.Measures
41-58:Â Â The
concert toms should
establish a presence, but
not overpower the
winds.  The
triangle and woodblock
parts should be heard
distinctly over the
concert toms. A
higher pitched woodblock
should be used for this
section. (A set of
claves could be used in
place of the woodblock if
desired.)Â Measures
59-94:Â Â The
entirety of the middle
section should be played
in a rubato style to
maximize musical
expression, exaggerating
dynamics and ritardando
sections.  The
quarter-note triplets in
the middle and low winds
should be emphasized at
m. 70.  The molto
ritardando that begins at
m. 70 should be allowed
to build as long as
possible in m. 71 before
reaching the musical apex
of the middle section at
m. 72. At mm.
92–94, depending
on the size of the
ensemble, you may want to
limit the number of
players (or put one per
part) to achieve the most
delicate sound
possible.Measures
95-End:Â Â In mm.
99–107, be sure
that the eighth-note
running mallet parts are
heard as a background
texture, but do not
overpower the winds. In
mm. 114–115, the
accents on beats 2 and 4
in the lower winds should
be exaggerated to
contrast the feel of the
previous four measures.
 In m. 118, all winds
should cut off and
breathe on beat two for
maximum impact on the
next three measures.
Giantess Flûte traversière et Piano Theodore Presser Co.
Chamber Music flute, piano SKU: PR.114418770 Composed by Carter Pann. Set...(+)
Chamber Music flute,
piano
SKU:
PR.114418770
Composed
by Carter Pann. Set of
Score and Parts. With
Standard notation. 16+4
pages. Duration 9
minutes. Theodore Presser
Company #114-41877.
Published by Theodore
Presser Company
(PR.114418770).
ISBN
9781491112700. UPC:
680160667642.
GIANT
ESS was commissioned by
the Flute New Music
Consortium for
simultaneous
copremieresby many
consortium members in
early March 2018. The
composer has written,The
flute presents a
far-reaching melody that
seemingly never ends and
explores the entirerange
of the instrument at all
times. It is this quality
of the melodic line that
inspired the titleof the
work... the image of a
larger-than-life gigantic
performer who has the
ability to makethe flute
expand in range, timbre,
and volume, breaking the
bounds well beyond its
humblesize. The
phantasmagoric 9-minute
work is cast in one
rhapsodic
movement. Giantess was
written on commission
from the Flute New Music
Consortium, an
organization comprised of
professional flutists
throughout the United
States. The flute
presents a far-reaching
melody that seemingly
never ends, and that
explores the entire range
of the instrument at all
times. It is this quality
of the melodic line that
inspired the title of the
work — the image
of a larger-than-life
gigantic performer who
has the ability to make
the flute expand in
range, timbre, and
volume, breaking the
bounds well beyond its
humble size.
Chamber Music Piano SKU: PR.110418160 Composed by Stacy Garrop. Performan...(+)
Chamber Music Piano
SKU: PR.110418160
Composed by Stacy Garrop.
Performance score. With
Standard notation. 16
pages. Duration 8:30.
Theodore Presser Company
#110-41816. Published by
Theodore Presser Company
(PR.110418160).
ISBN
9781491114049. UPC:
680160640393. 9 x 12
inches.
Stacy
Garrop began hiking in
northern
Colorado’s Rocky
Mountain National Park in
her early 20s. From the
start, she was drawn to a
jagged stretch of rock
formations linking Longs
Peak to Pagoda Mountain,
at over 13,000 feet.
These formations are
called the
“Keyboard of the
Winds,†as their
thin, spindly peaks
suggest splintered keys
of an old, broken piano.
Inspired by one
particular journey the
composer took through the
Keyboard of the Winds en
route to Pagoda’s
summit, this work is a
tribute to the Keyboard
of the Winds. Its fast,
whirling gestures depict
swirling clouds above,
and the musical high
points represent a hiker
reaching the peak of
Pagoda Mountain. These
sections are set in
contrast with quiet,
introspective material
embodying the hiker
quietly surveying the
grandeur and beauty of
the valley below, as well
as the soaring pinnacle
of Longs Peak
overhead. I began
hiking in the Rocky
Mountain National Park in
northern Colorado when I
was in my early twenties.
RMNP is home to some of
the most gorgeous
mountains in North
America, encompassing
265,000 acres of
wilderness, flora, and
fauna. Among the
park’s numerous
summits is Longs Peak, a
mountain that is 14,259
feet high (the highest in
the region). From my
earliest days of hiking,
I was drawn to Longs
Peak, as well as to a
jagged stretch of rock
formations that link
Longs Peak to Pagoda
Mountain (which stands at
13,497 feet). These
formations are called the
Keyboard of the Winds, as
their thin, spindly peaks
loosely suggest the
splintered keys of an
old, broken piano.One
summer, I made the ascent
to Pagoda Mountain using
a route that took me
along the right side of
the Keyboard of the
Winds. My hiking partner
and I started up the
trail in the pre-dawn
hours, and the weather
was stormy. Dawn had
broken by the time we
reached the base of the
Keyboard, but its peaks
were still surrounded by
clouds. As we climbed
higher and higher, the
Keyboard’s thin
spires became visible,
along with the top of
Pagoda Mountain. We
reached the summit of
Pagoda, admired the view
(what we could see
through the clouds), and
made our descent.My piece
is a tribute to the
Keyboard of the Winds.
The fast, whirling
gestures depict swirling
clouds, and the musical
high points represent a
hiker reaching the peaks
of the Keyboard. I have
contrasted these sections
with quiet, introspective
material; these embody
the hiker quietly
surveying the grandeur
and beauty of the valley
below (on a cloudless
day), as well as the
soaring pinnacles of
Longs Peak and Pagoda
Mountain overhead.