Shed No Tear! Chorale SATB SATB A Cappella Subito Music
SATB Chorus, a cappella SKU: SU.27040110 For SATB Chorus, a cappella(+)
SATB Chorus, a cappella
SKU: SU.27040110
For SATB Chorus, a
cappella. Composed by
Gregory J. Hutter.
Vocal/Choral, Secular
Choral. A cappella.
Choral Octavo. Subito
Music Corporation
#27040110. Published by
Subito Music Corporation
(SU.27040110).
First of a set
of two pieces on poems of
John Keats, this is a
gently flowing SATB
unaccompanied piece in D
major with almost no
accidentals. Expressive
yet accessible choral
writing on a unusual and
evocative text. Written
from the faery's point of
view, there are
references to autumn and
spring that encourage
faith, because The flower
will bloom another year.
Secular, Concerts,
Memorial,
Lament/Grief/Sorrow.SATB
Chorus Duration: 3'
Composed: 2011 Published
by: Hutter Music.
By John Cage (1912-1992). For for any instrument or combination of instruments. ...(+)
By John Cage (1912-1992).
For for any instrument or
combination of
instruments. Modern.
Sheet Music. Composed
1952. Duration 4 minutes
33 seconds. Published by
Edition Peters
Chamber Music Piano SKU: PR.110418370 Composed by Charles Ives. Arranged ...(+)
Chamber Music Piano
SKU: PR.110418370
Composed by Charles Ives.
Arranged by Danny Holt.
Performance Score. 20
pages. Duration 8
minutes. Theodore Presser
Company #110-41837.
Published by Theodore
Presser Company
(PR.110418370).
ISBN
9781491135075. UPC:
680160686247.
Compo
sed as an organ solo by
the 17-year-old Ives for
his own performance
purposes, the beloved
Variations on America is
a treat for any occasion,
whether a holiday
concert, a serious
recital, or other special
event. Danny
Holt’s
transcription for Piano,
Four Hands adds a
dazzling new option to
play at home or on stage,
taking best advantage of
Ives’ tremendous
contrasts in color,
dynamics, and
texture. Composed when
Charles Ives was a
teenager, Variations on
“America†is
both a convenient
introduction to
Ives’ body of
work, and an early
example of his
iconoclastic musical
voice and creative
genius. Just a few years
after composing this
piece, Ives would leave
home to study music at
Yale. But until then he
had been taught by his
father, George (who had
been a bandmaster in the
Civil War). George
subjected the young Ives
to experiments such as
singing a song in one key
while being accompanied
in another, or arranging
for two marching bands to
converge on a town
center, with the
resulting cacophony that
ensued.The Variations
exemplifies an early
period of experimentation
in Ives’ work,
spurred on by the unusual
pedagogy of his father.
The piece is particularly
notable for its use of
bitonality in the two
interludes, subtly
foreshadowing more
well-known examples by
Stravinsky, Bartók,
and others by
approximately two
decades.The bitonal
interludes were so ahead
of their time, in fact,
they were omitted from
the first copy that was
submitted to a publisher
in 1892. (Alas, the piece
was rejected even despite
these
“shockingâ€
elements having been left
out, and it wasn’t
published until more than
five decades later.)
There is some ambiguity
about when exactly Ives
added the interludes into
his manuscript copy,
though ample evidence
suggests he had performed
the piece with the
interludes around the
time he notated the piece
in 1891-92. In any case,
in light of this piece
and his other polytonal
explorations from the
last decade of the 19th
century, it seems fair to
give Ives credit for
being a pioneer in this
area!This arrangement for
Piano, Four Hands,
closely follows
Ives’ original
version for organ,
setting aside William
Schuman’s popular
adaptation for symphony
orchestra and William
Rhoads’ band
transcription of the
Schuman orchestration.
Pianists will find that
the piece translates well
to the instrument.
Ideally, the choreography
and logistics of
elbow-to-elbow four-hands
playing approximates the
wild joy one gets from
watching an organist play
the piece (e.g., the
elaborate pedal part in
the final variation).In
preparing this
publication, attention
was paid to details in
the dual Critical
Editions (Presser
443-41003) of both
Ives’ manuscript
edition and the 1949
publication edited by
organist E. Power Biggs
(who is credited with
discovering what had been
a long-lost, forgotten
work.) But as with much
of Ives’ output,
attempting to create a
true
‘urtext’
score is a futile
endeavor, and especially
with a piece such as this
one – in which
Ives incorporated
improvisation in live
performance –
seems unnecessary anyhow.
True die-hards are of
course encouraged to
consult the critical
editions and even find
inspiration in the
orchestrated version.
Generally, performers are
advised to be wild, have
fun, and not to be too
rigid in their
interpretive
choices.Dynamics in this
arrangement mostly follow
the organ score closely.
Pianists will use good
judgment about pedaling
throughout, which should
be straightforward and
intuitive. Courtesy
accidentals have been
provided frequently
– without
parentheses –
balancing the need for
extra clarity in the
context of Ives’
murky musical language,
and a desire to avoid
unnecessary clutter.A few
notes that might inform
interpretive
decisions:mm. 15-16:
There are inconsistencies
here between Ives’
original manuscript and
the 1949 Biggs edition,
regarding the top voice
in m. 15, beat 3 (C# vs.
Cn) and m. 16 (D Major
vs. D Minor).mm. 76-84 &
143-146: In both
Interludes, Ives
emphatically notates
extreme dynamic contrast,
in order to highlight the
bitonality. Although it
may seem counterintuitive
(or even a misprint, as
has apparently been
misconstrued by some),
performers are urged to
follow the
composer’s
marking!m. 109: Two-note
slurs have been added
here for clarity and
consistency with other
similar passages, though
they do not appear in
either the original
manuscript or Biggs.m.
112: The last two eighth
notes of Primo appear as
16ths in the original
manuscript.mm. 183-186:
The original manuscript
has a slightly different
bass line.mm. 184 & 186:
Primo gestures have been
re-written to be slightly
more idiomatic for Piano,
Four Hands.m. 186: The
breath mark at the end of
this bar does not appear
in either the manuscript
or Biggs, but is an
editorial suggestion
– aside from being
appropriately dramatic,
it will indeed be
necessary in a
reverberant hall!I would
like to thank Steven
Vanhauwaert, the other
half of my piano duo,
4handsLA, for his input
on early drafts of this
arrangement.—
Danny Holt, April
2022.
Harp SKU: HL.48182311 Composed by Marcel Grandjany. Leduc. Classical. Sof...(+)
Harp
SKU:
HL.48182311
Composed
by Marcel Grandjany.
Leduc. Classical.
Softcover. 12 pages.
Alphonse Leduc #AL23442.
Published by Alphonse
Leduc (HL.48182311).
UPC: 888680787066.
9.25x12.25x0.055
inches.
Written by
Marcel Grandjany on a
tune of Haydn, Fantasy is
a piece for Harp that
includes 5 variations of
the main theme. Ideally
to be played on pedal
Harp, it would fit the
skills and abilities of
advanced Harp players.
The technical
difficulties encountered
are various as this piece
involves some
hand-crossings,
arpeggios, natural
harmonies, accidental
alterations as well as
some pedal changes.
Marcel Grandjany is a
French-born American who
lived in the 20th
century. He studied with
Alphonse Hasselmans at
the Paris Conservatoire
from the age of 11 and
got the First Prize at 13
years old. He composed
numerous pieces for Harp,
of all levels: '3 Very
Easy Little Pieces, Op.
7', 'Divertissement, Op.
29', 'Variation on the
Londonderry Air, Op. 20'
and 'Two Duets for 2
harps, Op. 26' among many
others..
Composed
by Susan Day. Yas. Full
score. Duration 2
minutes, 42 seconds. Carl
Fischer Music #YAS242F.
Published by Carl Fischer
Music (CF.YAS242F).
ISBN 9781491165348.
UPC: 680160924257. Key: D
minor.
This piece,
written in 3/4 time
throughout, evokes
visions of dancing
figures, their faces
unrecognizable in the
shadows created from the
play of light at dusk.
Moving from D minor to E
minor, the eerie keys and
accidentals provide
intriguing effects.
Teachable moments abound
for low 1st finger on A
and E and some high 3rd
finger in upper strings,
augmented intervals and
extended patterns in all
instruments, as wells as
slurs and hooked bowings.
This piece can be
performed any time of the
year, or as an autumn or
Halloween feature!
About Carl
Fischer Young String
Orchestra
Series
Thi
s series of Grade 2/Grade
2.5 pieces is designed
for second and third year
ensembles. The pieces in
this series are
characterized
by: --Occasionally
extending to third
position --Keys
carefully considered for
appropriate
difficulty --Addition
of separate 2nd violin
and viola
parts --Viola T.C.
part
included --Increase
in independence of parts
over beginning levels
Composed by
Susan Day. Yas. Set of
Score and Parts. Duration
2 minutes, 42 seconds.
Carl Fischer Music
#YAS242. Published by
Carl Fischer Music
(CF.YAS242).
ISBN
9781491164945. UPC:
680160923854. Key: D
minor.
This piece,
written in 3/4 time
throughout, evokes
visions of dancing
figures, their faces
unrecognizable in the
shadows created from the
play of light at dusk.
Moving from D minor to E
minor, the eerie keys and
accidentals provide
intriguing effects.
Teachable moments abound
for low first finger on A
and E and some high third
finger in the upper
strings, augmented
intervals and extended
patterns in all
instruments, as well as
slurs and hooked bowings.
This piece can be
performed any time of the
year, or as an autumn or
Halloween feature.
About Carl
Fischer Young String
Orchestra
Series
Thi
s series of Grade 2/Grade
2.5 pieces is designed
for second and third year
ensembles. The pieces in
this series are
characterized
by: --Occasionally
extending to third
position --Keys
carefully considered for
appropriate
difficulty --Addition
of separate 2nd violin
and viola
parts --Viola T.C.
part
included --Increase
in independence of parts
over beginning levels
Syncopated Sam 2 Pianos, 4 mains [Feuillet] - Intermédiaire Alfred Publishing
By Martha Mier. For Piano. This edition: 2 copies included. Piano Duo (2 Pianos,...(+)
By Martha Mier. For
Piano. This edition: 2
copies included. Piano
Duo (2 Pianos, 4 Hands).
Piece for the Piano Duo
event with the National
Federation of Music Clubs
(NFMC) Festivals Bulletin
2008-2009-2010. Level:
Intermediate (grade 4/5).
4 pages. Published by
Alfred Publishing.
(Something New Every Lesson) Written by John Thompson. Instructional book for pi...(+)
(Something New Every
Lesson) Written by John
Thompson. Instructional
book for piano. With
introductory text,
instructional text,
instructional photos,
illustrations, easy piano
notation, fingerings and
lyrics (on some songs).
79 pages. Published by
Willis Music Company.
Composed by Timothy Brown. Sheet Music. FJH Written For You Piano Solos. This ti...(+)
Composed by Timothy
Brown. Sheet Music. FJH
Written For You Piano
Solos. This title is on
the 2017-2021 National
Federation of Music Clubs
list. Single. 3 pages
pages. Published by The
FJH Music Company Inc
(FJ.W9434).
Piano - Grade 5 SKU: ET.PNO47 Composed by Helena Winkelman. Contemporary....(+)
Piano - Grade 5
SKU:
ET.PNO47
Composed by
Helena Winkelman.
Contemporary. Composed
2004. Duration 4'.
Editions BIM #PNO47.
Published by Editions BIM
(ET.PNO47).
ISBN
9790207024060.
Sami
's Piece was written for
a jazz musician, and
should be played with a
jazz feel (and a nod to
polyrhythmic Balkan folk
music). It's an exuberant
work, relatively short,
but dizzying, full of
surprises, musical humor,
and changes of
atmosphere.
It
was premiered in 2003 at
the Hirzenberg Festival
in Zofingen, Switzerland,
by the Swiss pianist
Samuel Wettstein, to whom
the work is
dedicated.
Performing notes -
Attentive use of the
pedals to control
resonance and legato will
prevent blurriness. -
When played on an upright
piano that is slightly
out of tune, the work
gains an unexpected
charm. - As is
customary, accidentals
remain valid until the
end of the measure in
which they appear.
Tuba SKU: HL.48182433 Composed by Eugene Bozza. Leduc. Classical. Softcov...(+)
Tuba
SKU:
HL.48182433
Composed
by Eugene Bozza. Leduc.
Classical. Softcover. 16
pages. Alphonse Leduc
#AL23643. Published by
Alphonse Leduc
(HL.48182433).
UPC:
888680829476. 9x12.25
inches.
“Conc
ertino by Eugène
Bozza is a piece for C
Tuba or Bb Saxhorn and
Piano. Written in two
parts, this work lasts 17
minutes and is very
difficult to execute as a
strong endurance and a
high level of skill and
technique is required.
The whole score is in F
key with some accidental
alterations. Very
interesting in term of
melody and sonority, this
piece definitely shows
the full Tuba range at
its best and is perfect
for contests and
recitals. Eugène
Bozza won different
prizes at the
Conservatoire de Paris
such as the First Prize
for the Violin,
conducting and
composition, as well as
the Grand Prix de Rome.
He composed several
operas, chamber works and
ballets, among
others.&rdquo.
Piano - Elementary SKU: FJ.W9451 Composed by Mary Leaf. Piano Solo; Piano...(+)
Piano - Elementary
SKU: FJ.W9451
Composed by Mary Leaf.
Piano Solo; Piano
Supplemental. Written For
You. Score. The FJH Music
Company Inc #98-W9451.
Published by The FJH
Music Company Inc
(FJ.W9451).
UPC:
241444384060.
English.
This
charming elementary piece
deals with the rite of
passage of loosing a
tooth. A piece in Almost
Middle CÂ position
(R.H. on D, L.H. on C)
with no accidentals.
Clever lyrics that tell a
story and an optional
teacher duet adds to the
charm.
Concert Band Concert Band - Grade 1 SKU: FJ.B1234S Score Only. Com...(+)
Concert Band Concert Band
- Grade 1
SKU:
FJ.B1234S
Score
Only. Composed by
Brian Balmages. Arranged
by Brian Balmages.
Concert Band. FJH
Beginning Band. Score.
Duration 2:18. The FJH
Music Company Inc
#98-B1234S. Published by
The FJH Music Company Inc
(FJ.B1234S).
English.
You'll
be surprised to know that
this great sounding work
uses only six notes in
all instruments, with the
exception of the
clarinets, which also use
a low written B to
involve the right hand.
The piece has a
Renaissance quality to it
and includes a middle
processional theme (at
the same tempo) to work
on legato playing.
Optional parts are
included for clarinet 2
and trumpet 2. There is
something for everyone in
this dynamic addition to
the repertoire!
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.
9 X-traordinary and Challenging Piano Pieces. Composed by Melody Bober. Bo...(+)
9 X-traordinary and
Challenging Piano Pieces.
Composed by Melody Bober.
Book; Piano Collection;
Piano Supplemental.
Recital.
24 pages. Published by
Alfred Music
By Elizabeth W. Greenleaf. For Piano. FJH Written For You Piano Solos. Sheet Mus...(+)
By Elizabeth W.
Greenleaf. For Piano. FJH
Written For You Piano
Solos. Sheet Music.
Level: Late Elementary.
Sheet. 3 pages. Published
by The FJH Music Company
Inc.