Chamber Music Cello, Piano, Violin SKU: PR.114422690 Composed by Stacy Ga...(+)
Chamber Music Cello,
Piano, Violin
SKU:
PR.114422690
Composed
by Stacy Garrop. Sws. Set
of Score and Parts. 8+2+2
pages. Duration 5
minutes. Theodore Presser
Company #114-42269.
Published by Theodore
Presser Company
(PR.114422690).
UPC:
680160684809. 9 x 12
inches.
In 2014, I
enjoyed a wonderful
residence at the Ucross
Foundation in
Clearmont, Wyoming.
Ucross is an artist
colony that gives
writers, composers, and
visual artists
the gift of time,
space, and support to
follow their artistic
pursuits; we are provided
with studio space,
housing, and meals so
that we can work
continuously on our
projects. I have been
in residence at numerous
artist colonies; however,
nothing in my
previous experiences
prepared me for living in
such isolated, wild
country. Ucross is
situated on
a 20,000-acre cattle
ranch at nearly 4,000
feet in elevation with
fewer than 150
people living within
the town. But what
Clearmont lacks in
population, it makes up
for abundantly and
spectacularly in
wilderness and wildlife.
I composed the sextet
Postcards from Wyoming
to offer three glimpses
of what I found to be the
most striking aspects
of my residence. The
Solitude of Stars, the
third and final movement
of the original
sextet, was inspired
by the stunning nightly
display of the heavens
above. Without city
lights dimming the
night sky, countless
stars shone brightly over
the vast expanse of the
prairie. This edition
is part of The Solitude
of Stars Project that I
undertook during the
2020 COVID-19
pandemic, which consists
of a series of
arrangements that I made
for colleagues and
friends. In 2014, I
enjoyed a wonderful
residence at the Ucross
Foundation in Clearmont,
Wyoming. Ucross is an
artist colony that gives
writers, composers, and
visual artists the gift
of time, space, and
support to follow their
artistic pursuits; we are
provided with studio
space, housing, and meals
so that we can work
continuously on our
projects. I have been in
residence at numerous
artist colonies; however,
nothing in my previous
experiences prepared me
for living in such
isolated, wild country.
Ucross is situated on a
20,000-acre cattle ranch
at nearly 4,000 feet in
elevation with fewer than
150 people living within
the town. But what
Clearmont lacks in
population, it makes up
for abundantly and
spectacularly in
wilderness and wildlife.
I composed the sextet
Postcards from Wyoming to
offer three glimpses of
what I found to be the
most striking aspects of
my residence. The
Solitude of Stars, the
third and final movement
of the original sextet,
was inspired by the
stunning nightly display
of the heavens above.
Without city lights
dimming the night sky,
countless stars shone
brightly over the vast
expanse of the prairie.
This edition is part of
The Solitude of Stars
Project that I undertook
during the 2020 COVID-19
pandemic, which consists
of a series of
arrangements that I made
for colleagues and
friends. In 2014, I
enjoyed a wonderful
residence at the Ucross
Foundation in
Clearmont,Wyoming. Ucross
is an artist colony that
gives writers, composers,
and visual artists
thegift of time, space,
and support to follow
their artistic pursuits;
we are provided
withstudio space,
housing, and meals so
that we can work
continuously on our
projects. I havebeen in
residence at numerous
artist colonies; however,
nothing in my
previousexperiences
prepared me for living in
such isolated, wild
country. Ucross is
situated on a20,000-acre
cattle ranch at nearly
4,000 feet in elevation
with fewer than 150
peopleliving within the
town. But what Clearmont
lacks in population, it
makes up forabundantly
and spectacularly in
wilderness and wildlife.
I composed the sextet
Postcardsfrom Wyoming to
offer three glimpses of
what I found to be the
most striking aspects
ofmy residence. The
Solitude of Stars, the
third and final movement
of the original
sextet,was inspired by
the stunning nightly
display of the heavens
above. Without city
lightsdimming the night
sky, countless stars
shone brightly over the
vast expanse of the
prairie.This edition is
part of The Solitude of
Stars Project that I
undertook during the
2020COVID-19 pandemic,
which consists of a
series of arrangements
that I made forcolleagues
and friends.
Urtext. Composed
by Maurice Ravel. Edited
by Jean-Francois Monnard.
Orchestra; stapled.
Orchester-Bibliothek
(Orchestral Library). The
Rapsodie espagnole
qualifies above all as a
masterpiece of Ravel's
instrumental magic - a
fireworks of
orchestration!Have a look
into PB 5530. Early
modern. Part. 16 pages.
Duration 15'. Breitkopf
and Haertel #OB 5530-15.
Published by Breitkopf
and Haertel
(BR.OB-5530-15).
ISBN
9790004340820. 10 x 12.5
inches.
After
Bolero and La Valse, a
third, often-played work
by Ravel is now entering
Breitkopf's orchestral
program, obviously in a
Breitkopf Urtext edition
that was supervised by
the Ravel expert
Jean-Francois Monnard. As
a compositional
destination around 1900,
Spain was in the air, as
is also confirmed by
Debussy's Iberia.
Monnard's incisive
preface brilliantly draws
links between the two
composers who, along with
Igor Stravinsky, were
working in Paris during
those years. The Rapsodie
espagnole qualifies above
all as a masterpiece of
Ravel's instrumental
magic. This fireworks of
orchestration demands a
reliable and purchasable
performance material that
can grace the library of
every professional
orchestra.
The
Rapsodie espagnole
qualifies above all as a
masterpiece of Ravel's
instrumental magic - a
fireworks of
orchestration!
Flute/recorder and orchestra SKU: BR.PB-5397 Urtext. Composed by J...(+)
Flute/recorder and
orchestra
SKU:
BR.PB-5397
Urtext. Composed
by Johann Sebastian Bach.
Edited by Werner Breig.
Orchestra; stapled.
Partitur-Bibliothek
(Score Library). The
Urtext new edition
presented here is based
above all on the original
parts of Bach's Overture
(Suite) No. 2 in B minor
BWV 1067presented in the
Staatsbibliothek zu
Berlin, Preussischer
Kulturbesitz. Suite; Solo
concerto; Baroque. Full
score. 28 pages. Duration
24'. Breitkopf and
Haertel #PB 5397.
Published by Breitkopf
and Haertel (BR.PB-5397).
ISBN 9790004211311. 10
x 12.5 inches.
The
Urtext new edition
presented here is based
above all on the original
parts of Bach's Overture
(Suite) No. 2 in B minor
BWV 1067 presented in the
Staatsbibliothek zu
Berlin, Preussischer
Kulturbesitz.The copies
made by Christian
Friedrich Penzel (parts
1755c, score 1760c),
which are also located
there, were consulted for
purposes to use these
sources for this
edition.When the
concertante flute and the
first violin play in
unison, the performance
instructions and
expression marks are
often not identical in
the score. In this
edition, the markings
missing in one instrument
were borrowed from the
other, albeit designated
as additions so that
performers are free to
adjust their parts at
will.In his arrangement
for flute and harpsichord
(piano), Werner Breig has
consistently opted for
the elegance and
lightness of the original
version for flute,
strings and continuo.
Wherever it was difficult
to adapt the string part
of the famous B minor
Suite to the piano, he
followed the precept that
less is more and showed
his true mastery as an
arranger by leaving
things out. The flute
part, however, has
remained unchanged, which
allows this new edition
for flute and harpsichord
(piano) to be used for
studying and rehearsing
the piece in its original
setting.
The
Urtext new edition
presented here is based
above all on the original
parts of Bach's Overture
(Suite) No. 2 in B minor
BWV 1067 presented in the
Staatsbibliothek zu
Berlin, Preussischer
Kulturbesitz.
(253 of the finest praise and worship songs). Composed by Various. For voice, pi...(+)
(253 of the finest praise
and worship songs).
Composed by Various. For
voice, piano and guitar
(chords only). Sacred
Folio. Gospel and
Worship. Difficulty:
medium. Songbook (spiral
bound). Vocal melody,
piano accompaniment,
lyrics and chord names.
420 pages. Hal Leonard
#080689006395. Published
by Hal Leonard
Composed by Traditional
African-American
Spiritual. Arranged by
Kevin Phillip Johnson.
Set of Score and Parts.
44+32+2 pages. Duration 4
minutes, 5 seconds. Carl
Fischer Music #CM9743IN.
Published by Carl Fischer
Music (CF.CM9743IN).
ISBN 9781491162231.
UPC: 680160920990. Key: E
minor. English. Iyana
Davis. Negro Spiritual
with Rap crafter by Ayana
Davis.
This Negro
Spiritual was made
popular by the Golden
Gate Quartet in the
1930s. Willie T. Johnson,
the lead singer of the
group, is the father of
Kevin P. Johnson the
arranger of this version.
The composer, like his
father, uses rhythm in
exciting new ways to
deliver Negro Spirituals
to contemporary
audiences. The text of
this spiritual has been
interpreted in many
different ways over the
years. Here's a popular
interpretation of the
text. One for the little
bitty baby born, born,
born in Bethlehem: This
refers to the infant
Jesus. Two for Paul and
Silas: This verse honors
Paul and Silas who went
on many missionary
journeys to spread the
teachings of Christ.
Three for the Hebrew
children: The three
Hebrew children could be
Shadrach, Meshach and
Abednego. Four for the
four that stood at the
door: Many people
interpret the four to be
the four writers of the
Gospel books - Matthew,
Mark, Luke and John,
though this does not
explain the part about
standing at the door.
Five for the gospel
preachers: The five are
Matthew, Mark, Luke, John
and Peter. Paul is
already mentioned above,
in line two. Six for the
six that never got fixed:
Could this mean the
sinners who never change
their ways? Seven for the
seven that went up to
heaven: The seven in
heaven could be the seven
stars in Ursa Major or
the sevenfold spirit of
God or the seven early
Christian churches or the
seven stars in the right
hand of Christ mentioned
in the Revelation. Eight
for the eight that stood
at the gate: This could
refer to the eight people
who entered Noah's ark
(Noah, his wife, their
three sons and their
wives). Nine for the nine
that dressed so fine:
This could refer to the
nine orders of Angels in
heaven. Ten for the ten
commandments: This refers
to the ten commandments
given to Moses.
Performance notes: Swing
the 8th notes Djembe
drums should be played
freely with flexible
precision The rap can be
optional The ending solo
can be sung down an
octave and can be changed
to match the ability of
the soloist. Do not clap
louder than you sing If
doing choral movement on
the piece, pay attention
to detail synchronizing
movements as much as
possible. While the rap
is words in rhythm, if
adding one is not
possible for your
performance, consider a
spoken word of your own
choosing Have
fun!. This Negro
Spiritual was made
popular by the Golden
Gate Quartet in the
1930s. Willie T. Johnson,
the lead singer of the
group, is the father of
Kevin P. Johnson the
arranger of this
version. The
composer, like his
father, uses rhythm in
exciting new ways to
deliver Negro Spirituals
to contemporary
audiences.The text of
this spiritual has been
interpreted in many
different ways over the
 years. Here's a
popular interpretation of
the text. One for the
little bitty baby born,
born, born in
Bethlehem:Â This refers
to the infant Jesus. Two
for Paul and
Silas:Â This verse
honors Paul and Silas who
went on many missionary
journeys to spread the
teachings of Christ.Â
Three for the Hebrew
children: The three
Hebrew children could be
Shadrach, Meshach and
Abednego. Four for
the four that stood at
the door:Â Many people
interpret the four
to be the four writers
of the Gospel books
– Matthew, Mark,
Luke and John, though
this does not explain the
part about standing at
the door. Five for the
gospel preachers: The
five are Matthew, Mark,
Luke, John and Peter.
Paul is already mentioned
above, in line two. Six
for the six that never
got fixed: Could this
mean the sinners who
never change their
ways? Seven for the
seven that went up to
heaven: The seven in
heaven could be
the seven stars in
Ursa
Major or the sev
enfold
spirit of God or
 the seven early
 Christian churches
 or the sevenÂ
stars in the
right hand of Ch
rist mentioned inÂ
the Revelation.
Eight for the eight that
stood at the gate: This
could refer to the eight
people who entered
Noah’s ark (Noah,
his wife, their three
sons and their wives).
Nine for the nine that
dressed so fine: This
could refer to the nine
orders of Angels in
heaven. Ten for the
ten commandments: This
refers to the ten
commandments given to
Moses.Performance notes:
Swing the 8th notes
Djembe drums should be
played freely with
flexible precision The
rap can be optional The
ending solo can be sung
down an octave and can be
changed to match the
ability of the soloist.
Do not clap louder than
you sing If doing choral
movement on the piece,
pay attention to detail
synchronizing movements
as much as possible.
While the rap is words in
rhythm, if adding one is
not possible for your
performance, consider a
spoken word of your own
choosing Have fun!
Choral SA choir and piano SKU: CF.CM9707 Composed by Austin Hunt. 8 pages...(+)
Choral SA choir and piano
SKU: CF.CM9707
Composed by Austin Hunt.
8 pages. Duration 3
minutes, 19 seconds. Carl
Fischer Music #CM9707.
Published by Carl Fischer
Music (CF.CM9707).
ISBN 9781491160121.
UPC: 680160918720. Key:
Db major. John Gillespie
Magee. Poem by John
Gillespie Magee,
Jr.
Just weeks
after his nineteenth
birthday, John Gillespie
Magee, Jr. wrote the poem
High Flight while serving
in the Royal Canadian Air
Force. The year was 1941,
and World War II was
culminating toward its
darkest chapters. Magee
had just completed his
seventh flight in the
iconic Spitfire Mk I
fighter plane, soaring to
heights well above 30,000
feet. These high altitude
exercises supplied his
inspiration for the poem,
which describes the long,
delirious, burning blue
and having touched the
face of God. Tragically,
Magee died in a training
exercise just months
after writing High
Flight. His words,
however, live on to lift
our hearts and stir the
imagination. After you
have learned High Flight,
ask yourself the
following questions: Are
you singing the text
clearly and articulately?
Are you properly
stressing the important
syllables and backing off
of non-stressed
syllables? Is there a
sense of energy
throughout the piece, in
both the lyrical, flowing
sections and the
up-tempo, faster
sections? Are you also
singing with a sense of
energy no matter what the
dynamic marking? Are you
singing phrases with
proper breath support and
a sense of rise and fall
to the phrase?. Just
weeks after his
nineteenth birthday, John
Gillespie Magee, Jr.
wrote the poem High
Flight while serving
in the Royal Canadian Air
Force. The year was 1941,
and World War II was
culminating toward its
darkest
chapters. Magee had
just completed his
seventh flight in the
iconic Spitfire Mk
IÂ fighter plane,
soaring to heights well
above 30,000 feet. These
high altitude exercises
supplied
his inspiration for
the poem, which describes
“the long,
delirious, burning
blue†and having
“touched the face
of God.â€Tragically,
Magee died in a training
exercise just months
after writing High
Flight. His words,
however, live on to lift
our hearts and stir the
imagination. After you
have learned High Flight,
ask yourself the
following questions: Are
you singing the text
clearly and articulately?
Are you properly
stressing the important
syllables and backing off
of non-stressed
syllables? Is there a
sense of energy
throughout the piece, in
both the lyrical, flowing
sections and the
up-tempo, faster
sections? Are you also
singing with a sense of
energy no matter what the
dynamic marking? Are you
singing phrases with
proper breath support and
a sense of rise and fall
to the phrase?
The World's Greatest Praise Songs (50 Favorite Songs of Worship). By Various. Fo...(+)
The World's Greatest
Praise Songs (50 Favorite
Songs of Worship). By
Various. For
Piano/Vocal/Guitar.
Shawnee Press. Gospel.
Softcover. 144 pages.
Shawnee Press #SB1003.
Published by Shawnee
Press
(German Text) Voice - very easy to easy SKU: HL.49013547 For Voice and...(+)
(German Text) Voice -
very easy to easy
SKU:
HL.49013547
For
Voice and Piano (German
Text). Edited by
Bernhard Weigart. This
edition: Hardback/Hard
Cover. Sheet music with
CD. Kunter-bund-edition.
Classical. Songbook with
CD. 32 pages. Schott
Music #BUND71165.
Published by Schott Music
(HL.49013547).
ISBN
9783795756970. UPC:
073999490534.
6.0x8.5x0.384 inches.
German.
Twenty of
the finest Christmas
carols for singing and
playing along. Christmas
time is the season for
singing and music making,
above all others. And now
nobody need sing alone
any longer. This book
contains the best-loved
Christmas carols, with
recordings on the CD in
two versions: once with
voices and once just with
the accompaniment for you
to sing along to. There
are also chord symbols
above the music so that
you can play along to the
songs, too.
Here I Am to Worship Piano, Voix et Guitare [Partition] - Intermédiaire Hal Leonard
25 Worship Favorites 5 New Songs. Piano/Vocal/Chords Songbook (Arrangements fo...(+)
25 Worship Favorites 5
New Songs.
Piano/Vocal/Chords
Songbook (Arrangements
for piano and voice with
guitar chords). Size 9x12
inches. 176 pages.
Published by Hal Leonard.
By Paul Manz (1919-). For organ. This edition: commemorative edition. Collection...(+)
By Paul Manz (1919-). For
organ. This edition:
commemorative edition.
Collection. General,
Thanksgiving, Christmas,
Epiphany, Lent. Medium.
Organ score. 35 pages.
Published by MorningStar
Music Publishers
Composed by Ralph Vaughan
Williams. Arranged by
Todd Parrish. Folio. Cas.
Set of Score and Parts.
16+10+2+10+16+10+16
pages. Duration 5
minutes, 25 seconds. Carl
Fischer Music #SAS3.
Published by Carl Fischer
Music (CF.SAS3).
ISBN
9781491157732. UPC:
680160916313. 9 x 12
inches.
Fantasia on
Christmas Carols offers a
unique alternative to
traditional holiday
programming, combining
beautiful English carols
with the skill of
world-renowned composer.
Ralph Vaughan Williams
uses three folk carols
from his native country
of England: The Truth
Sent from Above, Come all
you Worthy Gentlemen, and
the Sussex Carol. Though
shortened for time, this
masterful arrangement
from Todd Parrish
contains moments from
each carol, including the
solo cello opening. A
wonderful selection for
any holiday
concert!. Fantasia on
Christmas Carols offers a
unique alternative to
traditional holiday
programming, combining
beautiful English carols
with the skill of
world-renowned composer.
Ralph Vaughan Williams
uses three folk carols
from his native country
of England: The Truth
Sent from Above, Come all
you Worthy Gentlemen, and
the Sussex Carol. Though
shortened for time, this
masterful arrangement
from Todd Parrish
contains moments from
each carol, including the
solo cello opening. A
wonderful selection for
any holiday concert!
Prairie Lullaby Orchestre à Cordes [Conducteur] - Débutant Carl Fischer
Orchestra String Orchestra - Grade 1 SKU: CF.BAS5F Composed by Joseph Com...(+)
Orchestra String
Orchestra - Grade 1
SKU: CF.BAS5F
Composed by Joseph
Compello. Carl Fischer
Beginning String
Orchestra Series. Full
score. With Standard
notation. 12 pages. Carl
Fischer Music #BAS5F.
Published by Carl Fischer
Music (CF.BAS5F).
ISBN
9780825845093. UPC:
798408045098. 8.5 X 11
inches.
The musical
effect of Prarie
Lullaby should be
graceful and serene,
evocative of a peaceful
night on the open plains.
To that end, players will
need to strive for an
unlabored rhythmic flow,
smooth bowing and a
clear, steady tone as
close to p as
possible.Beginning at
m.39, the violin and
viola parts are
marked pizzicato. If
young players are unable
to return quickly
to argo at m.53, they
may make the bow
preparation easier by
taking a full measure
rest at m.52. This option
is marked in the parts
and
score.The divisi no
tes at m. 69 are provided
for ensembles which lack
violas. Ensembles with
violas may have them play
the lower notes while the
second violins play the
upper notes.Percussion,
which is completely
optional, should be very
subdued. Choose a bell
mallet which allows the
tones to be heard just
above the strings. the
woodblock part is
intended to imitate the
clip-clop sound of a
horse's hooves. Two
different sizes of
woodblocks or temple
blocks are needed.
Finding two suitable
sounds on one woodblock
is difficult. Again, the
right mallets are very
important. The suspended
cymbal should be played
with brushes if the
string ensemble is small.
If the suspended cymbal
with brushes cannot be
heard above a large
number of strings, then
sticks should be used
instead.The percussion
part can be performed by
one player, provided the
instruments and mallets
are set up properly and
the player has the skill
to make the transitions
smoothly. Note the
optional rest at mm.
53-54.Performance time
with the repeat is two
and a half minutes.
About Carl
Fischer Beginning String
Orchestra
Series
Thi
s series of Grade 1
pieces is designed for
first year string groups.
The pieces in this series
are characterized by:
Limited parts
(often 2nd violin and
viola are the same part,
cello and bass are same
part)
Limited
keys and rhythms - only
simple 8th note
patterns
Band Concert Band - Grade 2 SKU: CF.YPS105 Warm-Ups and Fundamentals(+)
Band Concert Band - Grade
2
SKU: CF.YPS105
Warm-Ups and
Fundamentals.
Composed by Larry Clark.
Collate - FS SWS - spine:
3/4 or .75. Young
Performance Series. Set
of Score and Parts. With
Standard notation.
16+4+8+8+4+10+4+4+8+8+8+1
2+4+6+2+2+4+2+20 pages.
Duration 2 minutes, 53
seconds. Carl Fischer
Music #YPS105. Published
by Carl Fischer Music
(CF.YPS105).
ISBN
9780825884870. UPC:
798408084875. 9 x 12
inches. Key: Bb
major.
Based on our
popular New Bennett Band
Book series, we have
compiled march-style
warm-ups in a separate
publication so they may
be used by all bands
wishing to learn from
them. These innovative
warm-ups and fundamental
drills are the ultimate
method of teaching and
reinforcing the March
style. How To Use the
March Warm-upsPlaying in
a march style can present
difficulties for young
students. The most
prevalent problem is that
students have a tendency
to play every note too
short. Conversely,
accented notes are
usually played
incorrectly with too much
tongue. Do marches
contain short notes?
Absolutely, but these
shortest of notes should
be reserved for notes
that precede an accent or
notes that are
specifically marked with
a staccato. Think of
unmarked notes as being
separated, but not short
and certainly not clipped
or stopped with the
tongue. Accented notes
should be played with
more weight using air and
more length, and not just
a harder tongue. Accents
are given to show
emphasis to a note and
should be thought of in
this manner.The warm-up
exercises provided in
this collection should
give you many
opportunities to stress
the above-mentioned
comments on march
performance style. The
following gives an
explanation on the
purpose and use of each
of these exercises.No. 1
– Basic Chords and
ModulationsOne of the
challenges of playing
marches with young
students is successfully
performing the key change
at the Trio. This
exercise presents the
three basic chords
(tonic, subdominant and
dominant) in each of the
three keys in this
collection of marches.
You can also use this
exercise to teach and
reinforce the style of
accented notes. You may
want to have your band
play major scales in
succession by fourths to
reinforce the concept of
modulation to the
subdominant that occurs
at the Trio (i.e. the
B≤-major scale,
then the E≤-major
scale, then the
A≤-major scale). I
might suggest getting the
students to try
continuing the pattern
all the way around the
circle of fourths.No. 2
– March Style in
B≤ MajorThis
exercise contains many
opportunities to teach
and reinforce the
difference between
staccato and accented
notes. The melody voices
move up and down the
B≤-major scale,
while other instruments
play chords commonly
found in the marches in
this collection. These
include diminished
chords, secondary
dominant chords (i.e. the
V of the V) and other
common chromatic chords
that Fillmore often
used.No. 3 –
Cakewalk Rhythm in
B≤ MajorThe simple
syncopated rhythm in this
exercise is common to
many marches. This drill
gives you the opportunity
to teach/ reinforce the
standard ar-ticulation
and natural accent of
this rhythmic pattern.
Again, this exercise uses
an ascending and
descending major-scale
pattern as the melodic
basis, accompanied by
chords commonly found in
American- style
marches.No. 4 –
The March Scale in
B≤ MajorI call this
exercise “The March
Scale,†because
often in marches (and
especially in these
marches) the descending
half-step is part of the
melodic material. These
chromatic figures give
the melodies of many
marches their charm and
flow. Thus, I devised
this exercise and others
like it in E≤ major
and A≤ major to
familiarize students with
these patterns. I would
suggest playing the
pattern in a variety of
ways different from what
is written. Here are some
other
possibilities:•
Tongue one, slur
three• Slur two,
tongue two• Tongue
two, slur two•
Tongue one, slur two,
tongue oneGradually
increase the tempo to the
march tempo and the
articulation style will
fall right into
place.Another important
consideration is the
performance of the bass
line and the bass-drum
part. Too often, the bass
drum and bass instruments
play their parts with
equal emphasis on both
beats in the measure.
This is incorrect, and
frequently makes the
marchNo. 5 – March
Style in E≤
MajorThis is a similar to
exercise No. 2, but with
a different rhythmic
pattern. Emphasize the
difference between
accented and unaccented
notes. Also, play the
exercise with line
direction moving the
musical line forward.
Experiment and play the
exercise with different
dynamic choices and with
hairpins up and down in
different ways.No. 6
– More March Style
in E≤ MajorExercise
No. 6 comprises more
rhythmic patterns and
harmonic materials in
E≤ major to teach
and reinforce the march
style. This exercise
em-phasizes the
sixteenth-note rhythm, as
notated in the third
measure of the exercise.
Young stu- dents have a
tendency to
“crush†the
sixteenths; consequently,
they lack clarity. It
would be a good idea to
work this rhythmic figure
on a scale pattern with
all of the instruments in
the band as an additional
warm-up exercise.No. 7
– The March Scale
in E≤ MajorSee the
information for No. 4 and
apply it to this
exercise. Use all of the
various articulations
described above as
well.No. 8 – March
Style in A≤
MajorSee the information
for No. 2 and apply it to
this exercise.No. 9
– Cakewalk Rhythm
in A≤ MajorSee the
information for No. 3 and
apply it to this
exercise.No. 10 –
The March Scale in
A≤ MajorSee the
information for No. 4 and
apply it to this
exercise.Other Ideas for
March PerformanceA
rehearsal practice that
has worked very well for
me is to start out by
having the band play the
march very slowly at
about Å’ = 60 in a
chorale/legato style. The
slow tempo is a fine
opportunity to work on
clarity of harmonic move-
ment and to work on the
balance and blend of the
tutti band sound. This
will pay great dividends
toward improving the
sound of your band.
Gradually increase the
tempo to the march tempo
and the articulation
style will fall right
into place.Another
important consideration
is the performance of the
bass line and the
bass-drum part. Too
often, the bass drum and
bass instruments play
their parts with equal
emphasis on both beats in
the measure. This is
incorrect, and frequently
makes the march.
By Various. Edited by Trubel, Gerhard. Hymn settings, Mass Sections, Psalms, Ger...(+)
By Various. Edited by
Trubel, Gerhard. Hymn
settings, Mass Sections,
Psalms, German; Choral
Collections, Mixed Choir,
Music for Casuals;
Occasions: Eucharist,
Communion, Peace and
Justice, Prayer, Wedding,
Confirmation, Praise and
thanks, Morning, Midday,
Evening, Psalms, Baptism,
Mourning, Death, Our
Father; Use during church
year: Advent
Featuring: Gloria /
From Heaven Above to
Earth I Come / For Unto
Us a Child Is Born /
Hallelujah Chorus.
Arranged by Douglas E.
Wagner. Performance Music
Ensemble; Single Titles;
String Orchestra. Belwin
Intermediate String
Orchestra. Christmas;
Light Concert; Masterwork
Arrangement; Sacred;
Winter. Score. 16 pages.
Belwin Music #00-38437S.
Published by Belwin Music
(AP.38437S).
UPC:
038081432328.
English.
This
versatile arrangement can
be combined with choir
and/or concert band to
make a brilliant program
finale. Technical
accommodations make this
piece very playable.
Excerpts from three
Baroque Christmas
masterworks come together
in this festive musical
celebration of the
season. Titles included
are Gloria by Vivaldi,
From Heaven Above to
Earth I Come by J. S.
Bach, and two movements
from Handel's
Messiah.
Harp SKU: HL.128724 Music from the Disney Motion Picture Arranged for ...(+)
Harp
SKU:
HL.128724
Music
from the Disney Motion
Picture Arranged for
Harp. Arranged by
Sylvia Woods. Harp.
Children, Disney, Movies.
Softcover. 4 pages.
Published by Hal Leonard
(HL.128724).
ISBN
9780936661605. UPC:
888680014209.
8.5x11.0x0.027 inches.
Arr. Sylvia
Woods.
Tangled is
Disney's popular animated
film from 2010, based on
the German fairy tale
Rapunzel. This book
includes two songs from
the movie, arranged for
lever or pedal harp by
Sylvia Woods: I See the
Light and Healing
Incantation. Both pieces
include lyrics,
fingerings, and lever or
pedal changes. I See the
Light is the love song
between Rapunzel and
Flynn, sung in the boat
during the lantern
ceremony. This 5-page
intermediate arrangement
is in the key of C with F
and G lever changes
throughout. The range is
31 strings, from the C 2
octaves below middle C up
to the E 2 octaves and 2
strings above middle C.
The one-page Healing
Incantation is the song
that Rapunzel sings when
her hair creates the
magic. It is in the key
of 1 sharp, with G and C
lever changes. It can be
played by advanced
beginners with experience
in making lever changes.
The range is 22 strings,
from the E almost 2
octaves below middle C,
up to the E 9 strings
above middle C. It can be
played on many 26-string
harps, if played an
octave higher than
written. Both pieces are
included in this sheet
music.
Concert Band - Grade 1 SKU: FJ.B1868 Composed by Adrian B. Sims. Concert ...(+)
Concert Band - Grade 1
SKU: FJ.B1868
Composed by Adrian B.
Sims. Concert Band;
MakeMusic Cloud. FJH
Beginning Band.
Programmatic. Score and
Part(s). The FJH Music
Company Inc #98-B1868.
Published by The FJH
Music Company Inc
(FJ.B1868).
English.
Enjoy
the tranquility of the
night and the stars
above. A memorable theme
and stunning harmonies
encapsulate the view of
the twinkling night sky.
This approachable and
powerful work will have
your students
enthusiastic about
playing more lyrical
music, and is certain to
have a stunning impact on
your audience.
About FJH
Beginning
Band
Appro
priate within the first
year of instruction and
beginning of the second
year. Clarinets do not go
above the break, and
there is limited use of
accidentals. Plenty of
doublings in the lower
voices. Grade 1.
SATB choir, organ accompaniment, flute, violin, cello SKU: GI.G-10822 ...(+)
SATB choir, organ
accompaniment, flute,
violin, cello
SKU:
GI.G-10822
From
Heaven Above / What Star
Is This / That Easter
Day. Arranged by
Keith S. Kalemba.
Christmastide,
Eastertide, Christmas
Vigil, Christmas Night,
Christmas Dawn, Christmas
Day, Epiphany, Easter 2
A, Easter 2 B, Easter 2
C. Choral. Tune Name:
Puer Nobis. Sacred.
Octavo. 12 pages. GIA
Publications #10822.
Published by GIA
Publications
(GI.G-10822).
English.
Text Source: From Heaven
Above: ,Vom
Himmel hoch,
Martin Luther,
1483&ndash,1546, tr.
Catherine Winkworth,
1827&ndash,1878,
alt., ,What Star
Is
This: ,Qu
em stella sole
pulchrior,
Charles Coffin, 1676&nd.
Text by Martin
Luther.
SKU: M7.AHW-4019 Compilation of techniques for composition and jazz im...(+)
SKU: M7.AHW-4019
Compilation of
techniques for
composition and jazz
improvisation.
Composed by Denis
Diblasio. Sheet music.
289 pages. Charles Colin
Corp. #AHW 4019.
Published by Charles
Colin Corp.
(M7.AHW-4019).
English.
If
beginning players learn
the twelve major scales,
twelve jazz melodic minor
scales, two whole tone
scales and three
diminished scales, they
will be able to negotiate
more than 95% of the
chords that will be
coming their way. Many
corresponding scales that
fit chords are simply
modes of one the above
scales. A major scale
gives seven modes that
fit seven different
chords. Times that by
twelve and 84 chords can
be covered by simply
knowing the twelve major
scales. It can sound
overwhelming, not to
worry, after all music is
about what you have to
say not how many musical
nick-knacks you collect.
Jazz players of all eras
have looked for new
devices to experiment
with. Students are no
different. Once I have
given the foundation of
the above scales I let
students choose a sound
or device that they like.
This book is a result of
that teaching
perspective. It is also a
result of me being tired
of writing out the same
information year after
year and serves as a
compilation of many jazz
improvisation and
compositional techniques.
Learning them all is not
the goal. The book is
simply a collection and
includes brief
explanations and drills
to help utilize a new
sound into a player's
vocabulary. This text can
be used individually or
in a group of any
instrument combination. A
good number of the
chapters are organized
specifically for
this.