SKU: HL.50605315 For Violin, Double Bass, Accordion and Percussion...(+)
SKU: HL.50605315
For Violin, Double
Bass, Accordion and
Percussion. Composed
by Cheryl Frances-Hoad.
Instrumental. Softcover.
70 pages. Duration 300
seconds. Chester Music
#CH88156. Published by
Chester Music
(HL.50605315).
ISBN
9781705177556. UPC:
196288102670. 9.0x12.0
inches.
Commissione
d by Fenella Humphreys
with funding from The
Marchus Trust First
performed by Fenella
Humphreys (violin), Ben
Griffiths (double bass),
Murray Grainger
(accordion) and George
Barton (percussion) at
the Chiltern Arts
Festival in September
2020.
Ligne De Mélodie, Paroles et Accords [Fake Book] - Facile Hal Leonard
For voice and C instrument. Format: fakebook (spiral bound). With vocal melody, ...(+)
For voice and C
instrument. Format:
fakebook (spiral bound).
With vocal melody,
lyrics, piano
accompaniment, chord
names and leadsheet
notation. Hymn. Series:
Hal Leonard Fake Books.
494 pages. 9x12 inches.
Published by Hal Leonard.
Walkin' on the Sun Fanfare [Conducteur et Parties séparées] - Facile Hal Leonard
By Smash Mouth. By Greg Camp, Kevin Iannello, Paul DeLisle, and Steve Harwell....(+)
By Smash Mouth. By Greg
Camp,
Kevin Iannello, Paul
DeLisle,
and Steve Harwell.
Arranged
by Paul Murtha. Easy
Contemporary Marching
Band.
Rock. Softcover.
Published by
Hal Leonard
Ligne De Mélodie, Paroles et Accords [Fake Book] - Intermédiaire Hal Leonard
For voice and C instrument. Format: fakebook. With vocal melody, lyrics, chord n...(+)
For voice and C
instrument. Format:
fakebook. With vocal
melody, lyrics, chord
names and guitar chord
chart. Gospel and
worship. Series: Hal
Leonard Fake Books. 295
pages. 9x12 inches.
Published by Hal Leonard.
Orchestra SKU: PR.416415760 For Really Big Orchestra. Composed by ...(+)
Orchestra
SKU:
PR.416415760
For
Really Big Orchestra.
Composed by PDQ Bach.
Edited by Prof. Peter
Schickele. Study Score.
With Standard notation.
Duration 11 minutes.
Theodore Presser Company
#416-41576. Published by
Theodore Presser Company
(PR.416415760).
UPC:
680160636532. 9 x 12
inches.
The 1712
Overture stands out in
P.D.Q. Bach's oeuvre for
two reasons, among
others: it is by far the
most programmatic
instrumental piece among
those by the minimeister
of Wein-am-Rhein so far
unearthed, and 2) its
discovery has led to a
revelation about the
composer's father, Johann
Sebastian Bach, that has
exploded like a bombshell
on the usually serene
musicological landscape.
The overture is based on
an anecdote told to
P.D.Q. Bach by a cousin,
Peter Ulrich. Since P.U.
Bach lived in Dudeldorf,
only a few miles down the
road from Wein-am-Rhein,
he was P.D.Q.'s closest
relative, and he was, in
fact, one of the few
members of the family who
was on speaking terms
with P.D.Q. The story,
related to P.D.Q.
(fortunately for us
posterity types) in a
letter, may be summarized
thus: The town of
Dudeldorf was founded by
two brothers, Rudi and
Dieter Dudel, early in
the 18th century. Rudi
remained mayor of the
newborn burg for the rest
of his long life, but
Dieter had a dream of
starting a musicians'
colony, an entire city
devoted to music, which
dream, he finally
decided, could be
realized only in the New
World. In 1712, he and
several other bagpipers
sailed to Boston, never
to return to Germany.
(Henceforth, Rudi became
known as der deutscher
Dudel and Dieter as the
Yankee Dudel).
Unfortunately, the head
of the Boston Musicians'
Guild had gotten wind of
Dudel's plans, and
Wilhelm Wiesel (pron.
VEE-zle), known none too
affectionately around
town as Wiesel the
Weasel, was not about to
share what few gigs there
were in colonial America
with more foreigners and
outside agitators. He and
his cronies were on hand
to meet Dudel's boat when
it pulled into Boston
Harbor; they intended to
prevent the newcomers'
disembarkation, but Dudel
and his companions
managed to escape to the
other side of the bay in
a dinghy, landing with
just enough time to rent
a carriage and horses
before hearing the sound
of The Weasel and his
men, who had had to come
around the long way. The
Germans headed West, with
the Bostonians in furious
pursuit. soon the city
had been left far behind,
and by midnight so had
the pursuers; Dieter
Dudel decided that it was
safe for him and his men
to stop and sleep until
daybreak. When they
awoke, they found that
they were in a beautiful
landscape of low,
forested mountains and
pleasant fields, warmed
by the brilliant morning
sun and serenaded by an
entrancing variety of
birds. Here, Dudel
thought, her is where I
will build my colony. The
immigrants continued down
the road at a leisurely
pace until they came upon
a little church, all by
itself in the
countryside, from which
there suddenly emanated
the sounds of a pipe
organ. At this point, the
temptation to quote from
P.U. Bach's letter to
P.D.Q. cannot be
resisted: They went
inside and, after
listening to the glorious
music for a while,
introduced themselves to
the organist. And who do
you think it was? Are you
ready for this -- it was
your old man! Hey, no
kidding -- you know, I'm
sure, that your father
was the guy to get when
it came to testing new
organs, and whoever had
that one in Massachusetts
built offered old
Sebastian a tidy sum to
go over there and check
it out. The unexpected
meeting with J.S. Bach
and his sponsors was
interrupted by the sound
of horse hooves, as the
dreaded Wiesel and his
men thundered on to the
scene. They had been
riding all night,
however, and they were no
spring chickens to start
with, and as soon as they
reached the church they
all dropped, exhausted,
to the ground. The elated
Germans rang the church
bells and offered to buy
everyone a beer at the
nearest tavern. There
they were taught, and
joined in singing, what
might be called the
national anthem of the
New World. The melody of
this pre-revolutionary
patriotic song is still
remembered (P.D.Q. Bach
quotes it, in the bass
instruments, near the end
of the overture), but is
words are now all but
forgotten: Freedom, of
thee we sing, Freedom
e'er is our goal; Death
to the English King, Long
live Rock and Ross. The
striking paucity of
biographical references
to Johann Sebastian Bah
during the year 1712 can
now be explained: he was
abroad for a significant
part of that year,
testing organs in the
British Colonies. That
this revelation has not
been accepted as fact by
the musicological
establishment is no
surprise, since it means
that a lot of books would
have to be rewritten. The
members of that
establishment haven't
even accepted the
existence of P.D.Q. Bach,
one of whose major works
the 1712 Overture
certainly is. It is also
a work that shows
Tchaikowsky up as the
shameless plagiarizer
that some of us have
always known he was. The
discovery of this awesome
opus was made possible by
a Boston Pops Centennial
Research Commission; the
first modern performance
took place at the opening
concert of the 100th
anniversary season of
that orchestra, under the
exciting but authentic
direction of John
Williams.
Orchestra SKU: PR.41641576L For Really Big Orchestra. Composed by ...(+)
Orchestra
SKU:
PR.41641576L
For
Really Big Orchestra.
Composed by PDQ Bach.
Edited by Peter
Schickele. Large Score.
With Standard notation.
Duration 11 minutes.
Theodore Presser Company
#416-41576L. Published by
Theodore Presser Company
(PR.41641576L).
UPC:
680160636549. 11 x 17
inches.
The 1712
Overture stands out in
P.D.Q. Bach's oeuvre for
two reasons, among
others: it is by far the
most programmatic
instrumental piece among
those by the minimeister
of Wein-am-Rhein so far
unearthed, and 2) its
discovery has led to a
revelation about the
composer's father, Johann
Sebastian Bach, that has
exploded like a bombshell
on the usually serene
musicological landscape.
The overture is based on
an anecdote told to
P.D.Q. Bach by a cousin,
Peter Ulrich. Since P.U.
Bach lived in Dudeldorf,
only a few miles down the
road from Wein-am-Rhein,
he was P.D.Q.'s closest
relative, and he was, in
fact, one of the few
members of the family who
was on speaking terms
with P.D.Q. The story,
related to P.D.Q.
(fortunately for us
posterity types) in a
letter, may be summarized
thus: The town of
Dudeldorf was founded by
two brothers, Rudi and
Dieter Dudel, early in
the 18th century. Rudi
remained mayor of the
newborn burg for the rest
of his long life, but
Dieter had a dream of
starting a musicians'
colony, an entire city
devoted to music, which
dream, he finally
decided, could be
realized only in the New
World. In 1712, he and
several other bagpipers
sailed to Boston, never
to return to Germany.
(Henceforth, Rudi became
known as der deutscher
Dudel and Dieter as the
Yankee Dudel).
Unfortunately, the head
of the Boston Musicians'
Guild had gotten wind of
Dudel's plans, and
Wilhelm Wiesel (pron.
VEE-zle), known none too
affectionately around
town as Wiesel the
Weasel, was not about to
share what few gigs there
were in colonial America
with more foreigners and
outside agitators. He and
his cronies were on hand
to meet Dudel's boat when
it pulled into Boston
Harbor; they intended to
prevent the newcomers'
disembarkation, but Dudel
and his companions
managed to escape to the
other side of the bay in
a dinghy, landing with
just enough time to rent
a carriage and horses
before hearing the sound
of The Weasel and his
men, who had had to come
around the long way. The
Germans headed West, with
the Bostonians in furious
pursuit. soon the city
had been left far behind,
and by midnight so had
the pursuers; Dieter
Dudel decided that it was
safe for him and his men
to stop and sleep until
daybreak. When they
awoke, they found that
they were in a beautiful
landscape of low,
forested mountains and
pleasant fields, warmed
by the brilliant morning
sun and serenaded by an
entrancing variety of
birds. Here, Dudel
thought, her is where I
will build my colony. The
immigrants continued down
the road at a leisurely
pace until they came upon
a little church, all by
itself in the
countryside, from which
there suddenly emanated
the sounds of a pipe
organ. At this point, the
temptation to quote from
P.U. Bach's letter to
P.D.Q. cannot be
resisted: They went
inside and, after
listening to the glorious
music for a while,
introduced themselves to
the organist. And who do
you think it was? Are you
ready for this -- it was
your old man! Hey, no
kidding -- you know, I'm
sure, that your father
was the guy to get when
it came to testing new
organs, and whoever had
that one in Massachusetts
built offered old
Sebastian a tidy sum to
go over there and check
it out. The unexpected
meeting with J.S. Bach
and his sponsors was
interrupted by the sound
of horse hooves, as the
dreaded Wiesel and his
men thundered on to the
scene. They had been
riding all night,
however, and they were no
spring chickens to start
with, and as soon as they
reached the church they
all dropped, exhausted,
to the ground. The elated
Germans rang the church
bells and offered to buy
everyone a beer at the
nearest tavern. There
they were taught, and
joined in singing, what
might be called the
national anthem of the
New World. The melody of
this pre-revolutionary
patriotic song is still
remembered (P.D.Q. Bach
quotes it, in the bass
instruments, near the end
of the overture), but is
words are now all but
forgotten: Freedom, of
thee we sing, Freedom
e'er is our goal; Death
to the English King, Long
live Rock and Ross. The
striking paucity of
biographical references
to Johann Sebastian Bah
during the year 1712 can
now be explained: he was
abroad for a significant
part of that year,
testing organs in the
British Colonies. That
this revelation has not
been accepted as fact by
the musicological
establishment is no
surprise, since it means
that a lot of books would
have to be rewritten. The
members of that
establishment haven't
even accepted the
existence of P.D.Q. Bach,
one of whose major works
the 1712 Overture
certainly is. It is also
a work that shows
Tchaikowsky up as the
shameless plagiarizer
that some of us have
always known he was. The
discovery of this awesome
opus was made possible by
a Boston Pops Centennial
Research Commission; the
first modern performance
took place at the opening
concert of the 100th
anniversary season of
that orchestra, under the
exciting but authentic
direction of John
Williams.
Guitare notes et tablatures [Partition] - Facile Hal Leonard
Easy Guitar with Standard Notation and Tab. By Various. Easy Guitar (Simplified ...(+)
Easy Guitar with Standard
Notation and Tab. By
Various. Easy Guitar
(Simplified arrangements
for guitar). With notes
and tablature. Size 9x12
inches. 342 pages.
Published by Hal Leonard.
Easy, Yet Beautiful, All-Organ Arrangements by Bob Rollins. Arranged by Bob Roll...(+)
Easy, Yet Beautiful,
All-Organ Arrangements by
Bob Rollins. Arranged by
Bob Rollins. Creative
Concepts Publishing. Size
9x12 inches. 128 pages.
Published by Creative
Concepts.
Synchroniestudie Nr. 1
fur 2 Violinen.
Composed by Walter
Feldmann. This edition:
Paperbound. German title:
Se Sont Penches Dessus,
Duo. Playing score.
Composed 2004/05. 10
pages. Duration 5
minutes. Carus Verlag #CV
16.327/10. Published by
Carus Verlag
(CA.1632710).
ISBN
9790007113063. Language:
all languages.
The
study in synchronicity,
se sont penches dessus
first achieved its final
scoring after many
changes. It was first
composed as music to a
choreography by Gabriel
Hernandez: Le (!). eh ?
Zovotrimaserovmeravmerouv
ian (dmzn !) ; se sont
penches dessus, which is
based on the letters of a
fragment translated into
French that appears in
James Joyce's Finnegan's
Wake. The short, static
piece has existed in
three versions: 1. -
sspd , electronic music
(normal version, a
glissando from one chord
of four sounds to
another, employed in the
electronics of No. 3) 2.
- sspd sature,
electronic music
(intentionally distorted
version of No. 1) 3. -
se sont penches dessus
for violin, alto flute
and electronics, in which
the flutist had to sing
one tone of a diad It
turns out that a version
for two equal string
instruments can better
render the harmony of the
piece (a tone sung
simultaneously with a
tone that is played on
the flute yields a
ring-modulated mixture of
sound which is too
indistinct), and thus the
duo version for 2 violins
was composed. A
collaboration with the
Kairos Quartet, Berlin,
(le second tour du noye,
3rd String Quartet) led
me to smuggle a viola and
cello into the piece as
background, in order to
glue the abrupt harmonic
changes discretely
together. The Duo and the
Quartet are definitive
and equally valid
versions, both of which
are available separately:
Duo (Carus 16.327/10),
Quartet (Carus 16.327).
se sont penches dessus
is now literally the
transposition of the
translated quotation from
James Joyce, in which the
letters of the text se
sont penches dessus
establish the basic
structure of the piece
(the rhythmic standstill
denotes the vowels of the
4 words), the letters of
Zovotrimaserovmeravmerouv
ian indicate the fine
rhythmic structure and
the manner of playing
(e.g., sul ponticello).
Walter Feldmann. Score
available separately -
see item CA.1632700.
Version fur 2 violins,
viola and
violoncello. Composed
by Walter Feldmann. Se
Sont Penches Dessus
Quartett. Set of
Orchestra Parts. Composed
2004/05. Duration 5
minutes. Carus Verlag #CV
16.327/09. Published by
Carus Verlag
(CA.1632709).
Language: all
languages.
The
study in synchronicity,
<< se sont penches dessus
>> first achieved its
final scoring after many
changes. It was first
composed as music to a
choreography by Gabriel
Hernandez: Le (!). eh ?
Zovotrimaserovmeravmerouv
ian (dmzn !) ; se sont
penches dessus, which is
based on the letters of a
fragment translated into
French that appears in
James Joyce's Finnegan's
Wake. The short, static
piece has existed in
three versions: 1. - <<
sspd >>, electronic music
(normal version, a
glissando from one chord
of four sounds to
another, employed in the
electronics of No. 3) 2.
- << sspd >> sature,
electronic music
(intentionally distorted
version of No. 1) 3. - <<
se sont penches dessus >>
for violin, alto flute
and electronics, in which
the flutist had to sing
one tone of a diad It
turns out that a version
for two equal string
instruments can better
render the harmony of the
piece (a tone sung
simultaneously with a
tone that is played on
the flute yields a
ring-modulated mixture of
sound which is too
indistinct), and thus the
duo version for 2 violins
was composed. A
collaboration with the
Kairos Quartet, Berlin,
(le second tour du noye,
3rd String Quartet) led
me to smuggle a viola and
cello into the piece as
background, in order to
glue the abrupt harmonic
changes discretely
together. The Duo and the
Quartet are definitive
and equally valid
versions, both of which
are available separately:
Duo (Carus 16.327/10),
Quartet (Carus 16.327).
<< se sont penches dessus
>> is now literally the
transposition of the
translated quotation from
James Joyce, in which the
letters of the text se
sont penches dessus
establish the basic
structure of the piece
(the rhythmic standstill
denotes the vowels of the
4 words), the letters of
Zovotrimaserovmeravmerouv
ian indicate the fine
rhythmic structure and
the manner of playing
(e.g., sul ponticello).
Walter Feldmann. Score
and parts available
separately - see item
CA.1632700.
Composed by
Michael Brand. Band
Music. Score and parts.
Duration 5:30. Published
by G & M Brand Music
Publishers (CN.R10192).
Hear the sounds
of marching bands,
choirs, and the music of
Broadway in this exciting
concert march. Inspired
by an actual parade in
New York, Michael Brand
brings us this
spectacular original
march. Perfect in any
setting throughout the
year.
In June 1997
I was in New York and had
a free weekend. On Sunday
morning I was awoken
early by a great deal of
banging and saw that
barriers and roadblocks
had been erected
throughout Central Park.
Why? I soon heard the
answer: a great parade.
When the Americans put
together a parade they
really mean it! This one
lasted 3 hours and
brought the center of New
York to a standstill.
Bands, dancers and choirs
marched past in
celebration of the Jewish
faith. New York Parade is
completely original but
its starting point in my
imagination was a
marching band, a choir
and Broadway. The
marching band starts in
the distance, passes by
and as it moves away we
hear the next block of
performers singing,
almost chanting, a hymn
(called Jewish Song). The
groups suddenly turn into
Broadway, as a song from
an imaginary show
intervenes but then the
band and choir return in
counterpoint and all
three themes come
together.
Composed by
Michael Brand. Band
Music. Platinum Band
Series. Score only.
Duration 5:30. Published
by G & M Brand Music
Publishers (CN.S11192).
Hear the sounds
of marching bands,
choirs, and the music of
Broadway in this exciting
concert march. Inspired
by an actual parade in
New York, Michael Brand
brings us this
spectacular original
march. Perfect in any
setting throughout the
year.
In June 1997
I was in New York and had
a free weekend. On Sunday
morning I was awoken
early by a great deal of
banging and saw that
barriers and roadblocks
had been erected
throughout Central Park.
Why? I soon heard the
answer: a great parade.
When the Americans put
together a parade they
really mean it! This one
lasted 3 hours and
brought the center of New
York to a standstill.
Bands, dancers and choirs
marched past in
celebration of the Jewish
faith. New York Parade is
completely original but
its starting point in my
imagination was a
marching band, a choir
and Broadway. The
marching band starts in
the distance, passes by
and as it moves away we
hear the next block of
performers singing,
almost chanting, a hymn
(called Jewish Song). The
groups suddenly turn into
Broadway, as a song from
an imaginary show
intervenes but then the
band and choir return in
counterpoint and all
three themes come
together.