Dry Bones Quatuor à Vent : 4 instruments à vents - Intermédiaire Brixton Publications
Composed by Traditional African American Spiritual. Arranged by Howard J. Buss...(+)
Composed by Traditional
African American
Spiritual.
Arranged by Howard J.
Buss.
This well-known African
American spiritual (the
foot
bone's connected to the
leg
bone, the leg bone's
connected to the...),
arranged by Howard Buss,
makes a memorable concert
feature as well as a
rousing
musical offering in
church.
African American
Spiritual.
Score and parts. Duration
2'30". Brixton
Publications
#B1018. Published by
Brixton
Publications
Composed by Traditional African American Spiritual. Arranged by Howard J. Bu...(+)
Composed by Traditional
African American
Spiritual.
Arranged by Howard J.
Buss.
This well-known African
American spiritual (the
foot
bone's connected to
the leg
bone, the leg bone's
connected to the...),
arranged by Howard Buss,
makes a memorable concert
feature as well as a
rousing
musical offering in
church.
African American
Spiritual.
Score and parts. Duration
2'30". Brixton
Publications
#B1016. Published by
Brixton
Publications
Dry Bones Quatuor de Cuivres - Intermédiaire Brixton Publications
Composed by Traditional African American Spiritual. Arranged by Howard J. Buss...(+)
Composed by Traditional
African American
Spiritual.
Arranged by Howard J.
Buss.
This well-known African
American spiritual (the
foot
bone's connected to the
leg
bone, the leg bone's
connected to the...),
arranged by Howard Buss,
makes a memorable concert
feature as well as a
rousing
musical offering in
church.
African American
Spiritual.
Score and parts. Duration
2'30". Brixton
Publications
#B1015. Published by
Brixton
Publications
Dry Bones Quatuor de cuivres: 4 cors - Intermédiaire Brixton Publications
Composed by Traditional African American Spiritual. Arranged by Howard J. Bu...(+)
Composed by Traditional
African American
Spiritual.
Arranged by Howard J.
Buss.
This well-known African
American spiritual (the
foot
bone's connected to
the leg
bone, the leg bone's
connected to the...),
arranged by Howard Buss,
makes a memorable concert
feature as well as a
rousing
musical offering in
church.
African American
Spiritual.
Score and parts. Duration
2'30". Brixton
Publications
#B1020. Published by
Brixton
Publications
Dry Bones Quatuor de Saxophones: 4 saxophones Brixton Publications
Composed by Traditional African American Spiritual. Arranged by Howard J. Bu...(+)
Composed by Traditional
African American
Spiritual.
Arranged by Howard J.
Buss.
This well-known African
American spiritual (the
foot
bone's connected to
the leg
bone, the leg bone's
connected to the...),
arranged by Howard Buss,
makes a memorable concert
feature as well as a
rousing
musical offering in
church.
African American
Spiritual.
Score and parts. Duration
2'30". Brixton
Publications
#B1019. Published by
Brixton
Publications
Know Before You Blow - Jazz Modes for Clarinet with CD composed by Chris Tedesco...(+)
Know Before You Blow -
Jazz Modes for Clarinet
with CD composed by Chris
Tedesco. For bb clarinet.
This edition: Paperback.
Instructional. Jazz
Method. Book and CD. Text
Language: English. 32
pages. Published by
Santorella Publications
Know Before You Blow - Jazz Modes for Tenor Sax with CD composed by Chris Tedesc...(+)
Know Before You Blow -
Jazz Modes for Tenor Sax
with CD composed by Chris
Tedesco. For tenor sax.
This edition: Paperback.
Instructional. Jazz
Method. Book and CD. Text
Language: English. 32
pages. Published by
Santorella Publications
Know Before You Blow - Jazz Modes for Flute with CD composed by Chris Tedesco. F...(+)
Know Before You Blow -
Jazz Modes for Flute with
CD composed by Chris
Tedesco. For flute. This
edition: Paperback.
Instructional. Jazz
Method. Book and CD. Text
Language: English. 32
pages. Published by
Santorella Publications
Know Before You Blow - Jazz Modes for Alto Sax with CD composed by Chris Tedesco...(+)
Know Before You Blow -
Jazz Modes for Alto Sax
with CD composed by Chris
Tedesco. For alto sax.
This edition: Paperback.
Instructional. Jazz
Method. Book and CD. Text
Language: English. 32
pages. Published by
Santorella Publications
Know Before You Blow - Jazz Modes for Trumpet with CD composed by Chris Tedesco....(+)
Know Before You Blow -
Jazz Modes for Trumpet
with CD composed by Chris
Tedesco. For bb trumpet.
This edition: Paperback.
Instructional. Jazz
Method. Book and CD. Text
Language: English. 32
pages. Published by
Santorella Publications
Know Before You Blow - Jazz Modes for Trombone with CD composed by Chris Tedesco...(+)
Know Before You Blow -
Jazz Modes for Trombone
with CD composed by Chris
Tedesco. For trombone.
This edition: Paperback.
Instructional. Jazz
Method. Book and CD. Text
Language: English. 32
pages. Published by
Santorella Publications
Jazz ensemble - Grade 2 SKU: LO.60-1291H Composed by Peter Blair. Jazz. C...(+)
Jazz ensemble - Grade 2
SKU: LO.60-1291H
Composed by Peter Blair.
Jazz. Conductor's score.
Heritage Music Press
#60/1291H. Published by
Heritage Music Press
(LO.60-1291H).
UPC:
000308104769.
Your
band will love the
jazz-rock groove of this
new piece! As jazz spread
north in the '30s and
'40s from New Orleans,
Kansas City became a
major jazz hub, and this
composition reflects the
high energy and
excitement of those times
in a contemporary style.
Driving rhythms and
punchy ensemble riffs
will make this one an
audience favorite! The
suggested minimum
required instrumentation
for the music in this
series is 2 alto
saxophones, 1 tenor
saxophone, baritone
saxophone, 3 trumpets, 2
trombones, piano, bass
and drums. Parts are
included for standard
instrumentation (5/4/4/4)
and all charts include a
CD with a full version
and a solo practice
track.
Cantata for the First
Sunday after Trinity.
Composed by Johann
Sebastian Bach. Edited by
Alfred Durr, James
Webster, and Robert
Freeman. This edition:
urtext edition. Stapled.
Barenreiter Urtext.
Stimmen und Klavierauszug
siehe BA 10039. Study
score. BWV 39. Duration
20 minutes. Baerenreiter
Verlag #TP01039_00.
Published by Baerenreiter
Verlag (BA.TP01039).
ISBN 9790006205295.
22.5 x 16.5 cm inches.
Language: German.
Preface: Antje
Wissemann.
This
cantata for the First
Sunday after Trinity,
first performed in 1726,
is one of the most
musically attractive
compositions composed by
Bach during his time as
cantor at St. Thomas
Church, Leipzig. In
its alternating scoring
for oboes, recorders and
strings, the
opulently-structured
opening chorus describes
the gesture of the
breaking of bread. The
arias and recitatives for
the two soloists, alto
and tenor show Bach at
the peak of his
compositional powers. The
two-part cantata
concludes with a simple
chorus.
- Urtext
edition based on theNew
Bach Edition - Richly
coloured scoring using
recorders and oboes -
Vocal score (Ger/Eng),
foreword
(Ger/Eng)
About
Barenreiter
Urtext
What can I
expect from a Barenreiter
Urtext
edition?<
/p>
MUSICOLOGICA
LLY SOUND - A
reliable musical text
based on all available
sources - A
description of the
sources -
Information on the
genesis and history of
the work - Valuable
notes on performance
practice - Includes
an introduction with
critical commentary
explaining source
discrepancies and
editorial decisions
... AND
PRACTICAL -
Page-turns, fold-out
pages, and cues where you
need them - A
well-presented layout and
a user-friendly
format - Excellent
print quality -
Superior paper and
binding
Choral Cello, Oboe (Eng Horn), Viola, Violin I, Violin II SKU: CF.CM9296F ...(+)
Choral Cello, Oboe (Eng
Horn), Viola, Violin I,
Violin II
SKU:
CF.CM9296F
Composed
by Michael John Trotta.
Performance Score. With
Standard notation. 12
pages. Carl Fischer Music
#CM9296F. Published by
Carl Fischer Music
(CF.CM9296F).
ISBN
9780825896675. UPC:
798408096670.
Trott
a augments his own Break
of Day, originally scored
with optional oboe or
English horn, with a new
string quartet
accompaniment, to create
an even more fulfilling
presentation. Break of
Day has been widely
praised and widely
performed, with its
lyrical interplay between
voices and instruments.
Hear the College of Idaho
Chorale perform Break of
Day with piano and cello
on YouTube.
(Music from the Motion Picture Score). By Various. By Carter Burwell. For Pi...(+)
(Music from the Motion
Picture
Score). By Various. By
Carter
Burwell. For
Piano/Keyboard.
Piano Solo Songbook.
Softcover. 32 pages.
Published
by Hal Leonard
Composed by Benjamin Yeo.
Folio. Cps. Set of Score
and Parts.
8+2+8+8+2+4+4+4+4+2+4+4+4
+4+6+6+4+4+8+2+2+1+4+1+2+
24 pages. Duration 2
minutes, 42 seconds. Carl
Fischer Music #CPS245.
Published by Carl Fischer
Music (CF.CPS245).
ISBN 9781491158128.
UPC: 680160916726. 9 x 12
inches.
ABOUT THE
MUSIC Future of Tomorrow
(Concert March) was
commissioned by the Arts
Education Branch,
Ministry of Education as
the set piece for the
Singapore Youth Festival
2016 Arts Presentation
for Concert and Brass
Bands (Primary Level).
This march uses brief
excerpts from the
well-known Malay folk
songs Katak Lompat and
Rasa Sayang. Our youths
are indeed our future of
tomorrow. This
joyful-themed march aims
to bring out the best in
each of your young
players. I hope that
students, band directors
and audiences will enjoy
preparing, performing and
listening to this work.
EDUCATIONAL NOTES Key: Eb
Major SECTION BARS EVENT
/ SCORING / SUGGESTIONS
Introduction 1-4 Opens in
Eb major with dotted
rhythm motif. 1st Strain
5-20 Take note of melodic
phrasing above the
(light) oom-pah ostinato;
melody repeats at m. 13
with the addition of
countermelody in the
inner lines; although
written at mf dynamic,
this anew ideaa needs to
be heard clearly for
contrast with the
previous statement. 2nd
Strain 21-36 C minor
(relative minor); excerpt
from Katak Lompat; melody
in the lower brass/wind
from m. 21 with a
contrasting
attitude/style from 1st
strain; back to a more
lyrical treatment from m.
29. Trio 37-56 Stays
unmodulated in the same
key; opens with a
percussion solo feature
before the start of the
softer Trio theme; keep
this section controlled
and be sensitive to the
balance; the metallic
timbre of the muted
trumpet/cornet needs to
be heard clearly (might
suggest to bring the
dynamic level up to mf
when muted); if
cued-notes are played,
make sure they are played
throughout the melodic
phrase as written to
avoid awkward leaps.
Break Strain 57-62
Excerpt from Rasa Sayang
with some play in
tonality and instrumental
dialogue; quasi
grandioso-style before
the final strain. Final
Strain 63-82 Back to Eb
major with the reprise of
the Trio theme;
festive-like style with
fuller orchestration and
new countermelodies;
dotted rhythm motif from
the introduction
concludes the march in a
codetta-like section from
m. 79. NOTE TO THE
CONDUCTOR This march has
been carefully written
with reasonable
technicalities and range
in mind for younger
players. Generally,
optional cued notes in
parenthesis are given for
less experienced players
who have yet to develop
their range on the
instrument. However, they
should never be taken as
an easy alternative for
all players in the
section; otherwise, this
may result in a less than
ideal flow of the musical
lines. Marches are good
tools to train tempo
consistency, articulation
and rhythmic precision as
well as musical phrasing.
I hope that there will be
great learning
opportunities for your
students as they learn
this piece. This march is
separately orchestrated
for both wind and brass
bands to maximize the
instrumental colors
within each ensemble. The
parts are therefore not
exchangeable between the
wind band and brass band
sets. I wish you the best
in the performance of
this work. - Benjamin
Yeo. ABOUT THE MUSIC
Future of Tomorrow
(Concert March) was
commissioned by the Arts
Education Branch,
Ministry of Education as
the set piece for the
Singapore Youth Festival
2016 Arts Presentation
for Concert and Brass
Bands (Primary Level).
This march uses brief
excerpts from the
well-known Malay folk
songs Katak Lompat and
Rasa Sayang. Our youths
are indeed our future of
tomorrow. This
joyful-themed march aims
to bring out the best in
each of your young
players. I hope that
students, band directors
and audiences will enjoy
preparing, performing and
listening to this work.
EDUCATIONAL NOTES Key: Eb
Major SECTION BARS EVENT
/ SCORING / SUGGESTIONS
Introduction 1-4 Opens in
Eb major with dotted
rhythm motif. 1st Strain
5-20 Take note of melodic
phrasing above the
(light) oom-pah ostinato;
melody repeats at m. 13
with the addition of
countermelody in the
inner lines; although
written at mf dynamic,
this 'new idea' needs to
be heard clearly for
contrast with the
previous statement. 2nd
Strain 21-36 C minor
(relative minor); excerpt
from Katak Lompat; melody
in the lower brass/wind
from m. 21 with a
contrasting
attitude/style from 1st
strain; back to a more
lyrical treatment from m.
29. Trio 37-56 Stays
unmodulated in the same
key; opens with a
percussion solo feature
before the start of the
softer Trio theme; keep
this section controlled
and be sensitive to the
balance; the metallic
timbre of the muted
trumpet/cornet needs to
be heard clearly (might
suggest to bring the
dynamic level up to mf
when muted); if
cued-notes are played,
make sure they are played
throughout the melodic
phrase as written to
avoid awkward leaps.
Break Strain 57-62
Excerpt from Rasa Sayang
with some play in
tonality and instrumental
dialogue; quasi
grandioso-style before
the final strain. Final
Strain 63-82 Back to Eb
major with the reprise of
the Trio theme;
festive-like style with
fuller orchestration and
new countermelodies;
dotted rhythm motif from
the introduction
concludes the march in a
codetta-like section from
m. 79. NOTE TO THE
CONDUCTOR This march has
been carefully written
with reasonable
technicalities and range
in mind for younger
players. Generally,
optional cued notes in
parenthesis are given for
less experienced players
who have yet to develop
their range on the
instrument. However, they
should never be taken as
an easy alternative for
all players in the
section; otherwise, this
may result in a less than
ideal flow of the musical
lines. Marches are good
tools to train tempo
consistency, articulation
and rhythmic precision as
well as musical phrasing.
I hope that there will be
great learning
opportunities for your
students as they learn
this piece. This march is
separately orchestrated
for both wind and brass
bands to maximize the
instrumental colors
within each ensemble. The
parts are therefore not
exchangeable between the
wind band and brass band
sets. I wish you the best
in the performance of
this work. - Benjamin
Yeo. ABOUT THE
MUSICFuture of Tomorrow
(Concert March) was
commissioned by the Arts
Education Branch,
Ministry of Education as
the set piece for the
Singapore Youth Festival
2016 Arts Presentation
for Concert and Brass
Bands (Primary Level).
This march uses brief
excerpts from the
well-known Malay folk
songs Katak Lompat and
Rasa Sayang.Our youths
are indeed our future of
tomorrow. This
joyful-themed march aims
to bring out the best in
each of your young
players. I hope that
students, band directors
and audiences will enjoy
preparing, performing and
listening to this
work.EDUCATIONAL
NOTESKey: Eb
MajorSECTIONBARSEVENT /
SCORING /
SUGGESTIONSIntroduction1-
4Opens in Eb major with
dotted rhythm motif.1st
Strain5-20Take note of
melodic phrasing above
the (light) oom-pah
ostinato;melody repeats
at m. 13 with the
addition of countermelody
in the inner lines;
although written at mf
dynamic, this ‘new
idea’ needs to be
heard clearly for
contrast with the
previous statement.2nd
Strain21-36C minor
(relative minor); excerpt
from Katak Lompat; melody
in the lower brass/wind
from m. 21 with a
contrasting
attitude/style from 1st
strain; back to a more
lyrical treatment from m.
29.Trio37-56Stays
unmodulated in the same
key; opens with a
percussion solo feature
before the start of the
softer Trio theme; keep
this section controlled
and be sensitive to the
balance; the metallic
timbre of the muted
trumpet/cornet needs to
be heard clearly (might
suggest to bring the
dynamic level up to mf
when muted); if
cued-notes are played,
make sure they are played
throughout the melodic
phrase as written to
avoid awkward leaps.Break
Strain57-62Excerpt from
Rasa Sayang with some
play in tonality and
instrumental dialogue;
quasi grandioso-style
before the final
strain.Final
Strain63-82Back to Eb
major with the reprise of
the Trio theme;
festive-like style with
fuller orchestration and
new countermelodies;
dotted rhythm motif from
the introduction
concludes the march in a
codetta-like section from
m. 79.NOTE TO THE
CONDUCTORThis march has
been carefully written
with reasonable
technicalities and range
in mind for younger
players. Generally,
optional cued notes in
parenthesis are given for
less experienced players
who have yet to develop
their range on the
instrument. However, they
should never be taken as
an easy alternative for
all players in the
section; otherwise, this
may result in a less than
ideal flow of the musical
lines. Marches are good
tools to train tempo
consistency, articulation
and rhythmic precision as
well as musical phrasing.
I hope that there will be
great learning
opportunities for your
students as they learn
this piece.This march is
separately orchestrated
for both wind and brass
bands to maximize the
instrumental colors
within each ensemble. The
parts are therefore not
exchangeable between the
wind band and brass band
sets.I wish you the best
in the performance of
this work.- Benjamin
Yeo.
Midday Blues Orchestre d'harmonie [Conducteur et Parties séparées] - Facile Carl Fischer
Composed by Robert Thurston. Carl Fischer Young Performance Series. Score and pa...(+)
Composed by Robert
Thurston. Carl Fischer
Young Performance Series.
Score and part(s). With
Standard notation.
Duration 2 minutes, 27
seconds. Carl Fischer
#YPS193. Published by
Carl Fischer (CF.YPS193).
(A sacred oratorio). By George Frideric Handel (1685-1759). Edited by Watkins Sh...(+)
(A sacred oratorio). By
George Frideric Handel
(1685-1759). Edited by
Watkins Shaw. For soprano
solo voice, alto solo
voice, tenor solo voice,
bass solo voice, SATB
choir and piano
accompaniment. Novello
Handel Edition. Baroque,
Choral, Christmas and
Easter. Difficulty:
medium. Vocal score
(paperback). Choral
notation and piano
reduction. 257 pages.
Published by Novello and
Co Ltd