Choral (orchestration on CD-rom) SKU: HL.35027758 From The Rose of Cal...(+)
Choral (orchestration on
CD-rom)
SKU:
HL.35027758
From
The Rose of Calvary.
Composed by Joseph M.
Martin. Shawnee Sacred.
General Worship, Lent.
CD-ROM, Score and Parts.
Published by Shawnee
Press (HL.35027758).
UPC: 884088539054.
4.75x5
inches.
Scriptur
e: Song of Solomon
2:1, Psalm
23:4
This
breathtaking anthem is a
hopeful paean of grace
for your church family.
Using the images of the
“Rose of
Sharron” this
imaginative text conveys
to all the assurance of
God's presence and watch
care as we journey
through the valleys of
life. A truly memorable
melody moves effortlessly
in a pleasing 3/4 meter
supported by full choral
textures. The brilliant
orchestrations create a
theatre experience for
the listener. This anthem
from the celebrated
The Rose of
Calvary Easter
cantata is available here
for the first time as an
individual octavo.
Secret Valley Orchestre d'harmonie [Conducteur et Parties séparées] - Facile Hal Leonard
Score and Parts Concert Band (Score & Parts) - Grade 3 SKU: HL.4008613 Co...(+)
Score and Parts Concert
Band (Score & Parts) -
Grade 3
SKU:
HL.4008613
Composed
by Michael Sweeney.
MusicWorks Grade 3.
Concert. Softcover.
Duration 315 seconds.
Published by Hal Leonard
(HL.4008613).
UPC:
196288183655.
9.0x12.0x0.845
inches.
In the
Mississippi River valley,
portions of Minnesota,
Wisconsin, Iowa, and
Illinois lie in a
“driftless” region
bypassed by ancient
glaciers. The resulting
scenic beauty is
characterized by
magnificent rocky bluffs,
steep ravines, and
forested hills. Secret
Valley is a musical
journey exploring a
winding road through the
misty bluffs, or an
unexpected forested
valley, a grand view of
the mighty river, or a
surprising burst of
foliage on a crisp Autumn
day. The piece uses
imaginative textures and
striking effects to help
your imagination run
wild. Dur: ca. 5:15.
Concert Band (Score) - Grade 2 SKU: HL.4003190 Composed by Robert Longfie...(+)
Concert Band (Score) -
Grade 2
SKU:
HL.4003190
Composed
by Robert Longfield.
MusicWorks Grade 2. Folk.
Published by Hal Leonard
(HL.4003190).
UPC:
884088656447.
9.0x12.0x0.049
inches.
Inspired by
the mountains of West
Virginia, Valley Mist
portrays a beautiful
scene of cloud-like mist
as it flows gently around
the hills encompassing
the entire valley in an
atmosphere of peace and
tranquility. Quoting the
Appalachian folk song
“Down in the
Valleyâ€, this
sensitively scored work
includes an optional
gentle rain effect with
the use of finger snaps.
Sure to be an enjoyable
change of pace for any
program. Dur: 3:35.
Secret Valley Orchestre d'harmonie [Conducteur] - Facile Hal Leonard
Concert Band (Score) - Grade 3 SKU: HL.4008614 Score. Composed by ...(+)
Concert Band (Score) -
Grade 3
SKU:
HL.4008614
Score. Composed by
Michael Sweeney.
MusicWorks Grade 3.
Concert. Softcover.
Duration 315 seconds.
Published by Hal Leonard
(HL.4008614).
UPC:
196288183662.
9.0x12.0x0.09
inches.
In the
Mississippi River valley,
portions of Minnesota,
Wisconsin, Iowa, and
Illinois lie in a
“driftless” region
bypassed by ancient
glaciers. The resulting
scenic beauty is
characterized by
magnificent rocky bluffs,
steep ravines, and
forested hills. Secret
Valley is a musical
journey exploring a
winding road through the
misty bluffs, or an
unexpected forested
valley, a grand view of
the mighty river, or a
surprising burst of
foliage on a crisp Autumn
day. The piece uses
imaginative textures and
striking effects to help
your imagination run
wild. Dur: ca. 5:15.
Score Only Concert Band; Symphonic Band (Score) - Grade 3 SKU: HL.4005055 ...(+)
Score Only Concert Band;
Symphonic Band (Score) -
Grade 3
SKU:
HL.4005055
Composed
by Michael Sweeney.
MusicWorks Grade 3.
Fanfare. Softcover.
Published by Hal Leonard
(HL.4005055).
UPC:
888680675745.
9.0x12.0x0.085
inches.
The Wildcat
Creek in central Indiana
forms a valley connecting
all schools in the Howard
County area for whom this
piece was written.
Opening with the
percussion section in a
stately style, the main
theme is first heard in a
chorale-like setting.
Designed as an extended
fanfare, the piece
quickly builds in
intensity with each
subsequent phrase, and
culminates in a
fast-paced and brilliant
sounding ending flourish.
Effective as a concert
opener. Dur: 3:15.
Concert Band (Score & Parts) - Grade 5 SKU: HL.4004282 Composed by Richar...(+)
Concert Band (Score &
Parts) - Grade 5
SKU:
HL.4004282
Composed
by Richard L. Saucedo.
MusicWorks Grade 5.
Festival. Published by
Hal Leonard (HL.4004282).
UPC: 888680067922.
10.5x14
inches.
This work
for advanced band was
commissioned by the
Tennessee Valley Winds to
celebrate the group's
30th anniversary. The
piece begins quietly with
clarinet solo, then
quickly moves to a
celebratory section in
12/8 meter. The main
melody is stated in many
different voices as it
steadily builds to a
moment of controlled
frenzy. A brief lyrical
section features an
expressive style and also
a moment of glory for the
entire woodwind choir.
The work concludes with a
return to the vibrant and
enthusiastic flavor of
the opening. Powerful and
impressive writing for
mature groups! Duration:
5:10.
Even In The Valley arranged by Russell Mauldin. For Voice solo with SATB choir. ...(+)
Even In The Valley
arranged by Russell
Mauldin. For Voice solo
with SATB choir. From the
collection "Let His
Praise Be Heard"
(080689401176). Octavo.
Duration 3'51". Published
by Word Music (
Score Only Concert Band (Score) - Grade 5 SKU: HL.4004283 Composed by Ric...(+)
Score Only Concert Band
(Score) - Grade 5
SKU:
HL.4004283
Composed
by Richard L. Saucedo.
MusicWorks Grade 5.
Festival. 24 pages.
Duration 310 seconds.
Published by Hal Leonard
(HL.4004283).
UPC:
888680067939.
10.5x14.0x0.356
inches.
This work
for advanced band was
commissioned by the
Tennessee Valley Winds to
celebrate the group's
30th anniversary. The
piece begins calmly with
a clarinet solo but
quickly moves to a
celebratory section in
12/8 meter. The main
melody is stated in many
different voices as it
steadily builds to a
moment of controlled
frenzy. A brief lyrical
section features an
expressive style and also
a moment of glory for the
entire woodwind choir.
The work concludes with a
return to the vibrant and
enthusiastic flavor of
the opening. Powerful and
impressive writing for
mature groups! Dur:
5:10.
For Viola, Cello, and Piano. Composed by Victor Labenske. Method/Instruction...(+)
For Viola, Cello, and
Piano.
Composed by Victor
Labenske.
Method/Instruction; Piano
with Other Instrument.
Light
Concert. Other. Alfred
Music
#00-47773. Published by
Alfred Music
A Journey with the
Shepherd. Composed by
Pepper Choplin.
Brookfield Choral Series.
Cantata, Christ The Good
Shepherd, General
Worship, Psalm, Sacred.
Softcover. Duration 2280
seconds. Published by
Brookfield Press
(HL.195818).
UPC:
888680642617.
8.5x14.0x3.0
inches.
This major
work is an affirmation of
assurance that takes us
on a musical and
spiritual pilgrimage
through the beloved 23rd
Psalm. Singers and
listeners will be carried
from peaceful meadows to
the shadowed valleys, and
from the fragile hope of
faith, to life
everlasting. A work of
scope and substance,
Psalm 23 - A Journey with
the Shepherd gives
directors a wonderful
opportunity to program
outside the seasonal box.
A glorious orchestration
by Michael Lawrence
decorates the expressive
choral writing with color
and a theatrical sweep.
Songs include: We Are Not
Alone; The Lord Is My
Shepherd; Restore My
Soul; Lead Me on the
Paths of Righteousness;
Though I Walk through the
Valley; You Comfort Me;
My Cup Overflows; We Are
Not Alone (reprise);
Surely Goodness and
Mercy. Score and Parts
(fl 1-2, ob, cl 1-2, bn,
tpt 1-3, hn 1-2, tbn 1-2,
tbn 3/tba, perc 1-2,
timp, hp, pno, vn 1-2,
va, vc, db) available as
a Printed Edition and as
a digital download.
Easy-Intermediate Level Piano Solo. Composed by Joe Hisaishi. Studio Ghibli Pi...(+)
Easy-Intermediate Level
Piano
Solo. Composed by Joe
Hisaishi. Studio Ghibli
Piano
Collection. Studio
Ghibli,
Japanese Animation. Book.
Yamaha Music Media
#GTP01100269. Published
by
Yamaha Music Media
Clarinet and Piano SKU: BT.DOW-07502-400 12 Easy Pieces for Clarinet i...(+)
Clarinet and Piano
SKU:
BT.DOW-07502-400
12 Easy Pieces for
Clarinet in Bb and
Piano. Composed by
Franz Joseph Haydn, Henry
Purcell, Jean-Baptiste
Lully, Johann Strauss
Jr., Ludwig van
Beethoven, and Wolfgang
Amadeus Mozart. Dowani 3
Tempi Play Along. Book
with CD. Composed 2010.
16 pages. Dowani #DOW
07502-400. Published by
Dowani
(BT.DOW-07502-400).
9x12 inches.
International.
Wolf
gang Amadeus Mozart
(1756-1791):
AllegrettoLudwig van
Beethoven (1770-1827):
AndantinoJean-Baptiste
Lully (1632-1687):
ModeratoTraditional:
VivoJoseph Haydn
(1732-1809):
ModeratoTraditional: Down
in the ValleyJohann
Strauss (1825-1899):
Theme from Roses from the
SouthHenry Purcell
(1659-1695): From the
Opera King ArthurWolfgang
Amadeus Mozart
(1756-1791):
AllegrettoWolfgang
Amadeus Mozart
(1756-1791):
AndantinoRobert Schumann
(1810-1856):
MelodieSpiritual: When
the Saints Go Marching
in.
Call of the Valley Orchestre d'harmonie [Conducteur et Parties séparées] - Facile De Haske Publications
Concert Band/Harmonie - Grade 3 SKU: BT.DHP-1135394-010 Bad Orb Impres...(+)
Concert Band/Harmonie -
Grade 3
SKU:
BT.DHP-1135394-010
Bad Orb
Impressions. Composed
by Jacob De Haan. Concert
and Contest Collection
CBHA. Concert Piece. Set
(Score & Parts). Composed
2013. De Haske
Publications #DHP
1135394-010. Published by
De Haske Publications
(BT.DHP-1135394-010).
9x12 inches.
English-German-French-Dut
ch.
The inspiration
for this three-part work
goes back to the
International European
Youth Wind Music
Festival, of which the
patron has been Jacob de
Haan several times. It
begins in a festive march
tempo, then sacred music,
instrumental groups
playing off_x001E_stage
and a little march for
brass and _x001D_flutes.
The third movement is a
parade in which the
various sections of the
ensemble head towards the
stage from different
directions. Even without
the effective
choreography of the
musicians, Call of the
Valley is an
impressive concert band
composition.
Jacob
de Haan haalde zijn
inspiratie voor dit
driedelige werk bij het
Hessische kuuroord Bad
Orb en het tweejaarlijkse
Blaasmuziekfestival van
de Europese Jeugd,
waarvan hij meerdere
keren beschermheer was.
In het werk verwerkte de
componist verschillende
e_x001D_ecten die
betrekking hebben op het
festival. Zo hoort men in
de vallei verschillende
orkesten door elkaar
spelen, een indrukwekkend
e_x001D_ect dat ook in de
compositie werd verwerkt.
Ook kan men ervoor kiezen
om tijdens het werk het
orkest op te splitsen en
het podium te laten
verlaten en marcherend
weer richting podium te
stappen. Een spectaculair
en vernieuwend
werk!
Die
Inspiration für
dieses dreiteilige Werk
geht auf das
Internationale
Blasmusikfest der Jugend
Europas zurück,
dessen Schirmherr schon
mehrfach Jacob de Haan
war. Es beginnt in
festlich marschierendem
Tempo, gefolgt von
sakraler Musik, abseits
der Bühne
spielenden
Instrumentengruppen und
einem kleinen Marsch
für Blechbläser
und Flöten. Der dritte
Satz ist eine Parade, bei
der sich das geteilte
Orchester aus
verschiedenen Richtungen
auf die Bühne zu
bewegt. Auch ohne die
effektvolle
Positionierung der
Musiker ist Call of
the Valley ein
eindrucksvolles
Blasorchesterwerk.
Un
festival di musica per
_x001E_ati per banda
giovanile che si tiene a
Hesse in Germania, e al
quale Jacob de Haan ha
più volte partecipato
in veste di giurato, è
servito da ispirazione
per comporre questo
brano. L’inizio
vede un tempo festivo che
simboleggia
l’arrivo delle
bande. Sonorit maestose
disegnano un concerto di
musica sacra, seguite da
suoni che evocano le
interpretazioni di varie
orchestre. Un gruppo di
sax interpreta un piccolo
valzer, un altro gruppo
che unisce ottoni,
_x001D_auti e ottavino
suona una piccola marcia.
Nel _x001E_finale
dell’opera,
l’orchestra
riprende i temi dei due
gruppi.
Easy Western Piano seul [Conducteur] Lemoine, Henry
Piano - Level 1 SKU: LM.27141 Composed by Hans Gunter Heumann. Pop, jazz....(+)
Piano - Level 1
SKU:
LM.27141
Composed by
Hans Gunter Heumann. Pop,
jazz. Score. Editions
Henry Lemoine #27141.
Published by Editions
Henry Lemoine (LM.27141).
ISBN
9790230971416.
Bill
y the Kid - Oh, Susanna -
Home on the Range - Red
River Valley - Banks of
the Ohio - I'm Goin' to
Leave Old Texas - Yankee
Doodle - Clementine -
Sweet Betsy - The Streets
of Laredo - A Cowboy's
life - Down in the Valley
- Swanee River - Yellow
Rose of Texas - Buffalo
Gals.
Call of the Valley Orchestre d'harmonie [Conducteur] - Facile De Haske Publications
Concert Band/Harmonie - Grade 3 SKU: BT.DHP-1135394-140 Bad Orb Impres...(+)
Concert Band/Harmonie -
Grade 3
SKU:
BT.DHP-1135394-140
Bad Orb
Impressions. Composed
by Jacob De Haan. Concert
and Contest Collection
CBHA. Concert Piece.
Score Only. Composed
2013. 24 pages. De Haske
Publications #DHP
1135394-140. Published by
De Haske Publications
(BT.DHP-1135394-140).
9x12 inches.
English-German-French-Dut
ch.
The inspiration
for this three-part work
goes back to the
International European
Youth Wind Music
Festival, of which the
patron has been Jacob de
Haan several times. It
begins in a festive march
tempo, then sacred music,
instrumental groups
playing off_x001E_stage
and a little march for
brass and _x001D_flutes.
The third movement is a
parade in which the
various sections of the
ensemble head towards the
stage from different
directions. Even without
the effective
choreography of the
musicians, Call of the
Valley is an
impressive concert band
composition.
Jacob
de Haan haalde zijn
inspiratie voor dit
driedelige werk bij het
Hessische kuuroord Bad
Orb en het tweejaarlijkse
Blaasmuziekfestival van
de Europese Jeugd,
waarvan hij meerdere
keren beschermheer was.
In het werk verwerkte de
componist verschillende
e_x001D_ecten die
betrekking hebben op het
festival. Zo hoort men in
de vallei verschillende
orkesten door elkaar
spelen, een indrukwekkend
e_x001D_ect dat ook in de
compositie werd verwerkt.
Ook kan men ervoor kiezen
om tijdens het werk het
orkest op te splitsen en
het podium te laten
verlaten en marcherend
weer richting podium te
stappen. Een spectaculair
en vernieuwend
werk!
Die
Inspiration für
dieses dreiteilige Werk
geht auf das
Internationale
Blasmusikfest der Jugend
Europas zurück,
dessen Schirmherr schon
mehrfach Jacob de Haan
war. Es beginnt in
festlich marschierendem
Tempo, gefolgt von
sakraler Musik, abseits
der Bühne
spielenden
Instrumentengruppen und
einem kleinen Marsch
für Blechbläser
und Flöten. Der dritte
Satz ist eine Parade, bei
der sich das geteilte
Orchester aus
verschiedenen Richtungen
auf die Bühne zu
bewegt. Auch ohne die
effektvolle
Positionierung der
Musiker ist Call of
the Valley ein
eindrucksvolles
Blasorchesterwerk.
Un
festival di musica per
_x001E_ati per banda
giovanile che si tiene a
Hesse in Germania, e al
quale Jacob de Haan ha
più volte partecipato
in veste di giurato, è
servito da ispirazione
per comporre questo
brano. L’inizio
vede un tempo festivo che
simboleggia
l’arrivo delle
bande. Sonorit maestose
disegnano un concerto di
musica sacra, seguite da
suoni che evocano le
interpretazioni di varie
orchestre. Un gruppo di
sax interpreta un piccolo
valzer, un altro gruppo
che unisce ottoni,
_x001D_auti e ottavino
suona una piccola marcia.
Nel _x001E_finale
dell’opera,
l’orchestra
riprende i temi dei due
gruppi.
Sun Valley Flourish Orchestre d'harmonie [Conducteur et Parties séparées] - Facile Opus III Wind Orchestra Publications
Grade 3 SKU: CL.012-4818-00 Composed by Reineke. Arranged by Shaffer. Con...(+)
Grade 3
SKU:
CL.012-4818-00
Composed by Reineke.
Arranged by Shaffer.
Concert Band. Concert
Band Series. Score and
set of parts. Composed
2020. Duration 5 minutes,
49 seconds. Opus III Wind
Orchestra Publications
#012-4818-00. Published
by Opus III Wind
Orchestra Publications
(CL.012-4818-00).
Sun Valley
Flourish is Steven
Reineke at his best!
Originally composed for
orchestra in 2008 as the
opening piece for the
Erich Kunzel’s Sun
Valley Festival
Orchestra, it has been
masterfully adapted for
concert band by
Steven’s first
composition professor,
David Shaffer. Written in
the style of a
fanfare/overture, this
exciting work opens with
brass fanfares and
woodwind flourishes.
Typical of
Steven’s writing,
the main theme of the
piece is a beautiful and
flowing melody
complimented by
masterfully written
counter melodies and
spectacular in-your-face
brass punctuations. The
lyrical middle section is
simple but quite
musically effective
leading into the fast and
powerful finale. If you
are fan of Steven
Reineke’s music,
Sun Valley Flourish is a
must-have!
Arranged by
Virginia Croft. SWS FS.
Young String Orchestra.
Set of Score and Parts.
With Standard notation.
8+8+5+2+5+5+3+1+8 pages.
Carl Fischer Music
#YAS113. Published by
Carl Fischer Music
(CF.YAS113).
ISBN
9780825889547. UPC:
798408089542. 8.5 x 11
inches. Key: D
major.
You will
hear the clicking of
horse hooves and the
sounds of the old west in
this setting of a
standard American folk
song. Virginia Croft
draws from her experience
as a longtime music
educator to write
pleasing arrangements of
popular folk songs like
this one. She has a knack
for bringing out the true
beauty of the song in an
authentic way. All
sections of the orchestra
get a chance to shine in
Red River Valley. This
is one of those love
songs which traveled west
with the pioneers, and
thus the Bright Mohawk
Valley of New York State
became the Red River
Valley. Attention to the
unrelenting rhythm of the
horses’ hooves
(and the suggested sound
effects which complement
this) will bring this
beautiful, poignant
melody to life for both
your performers and your
audiences. NB: This tune,
played and sung up-tempo,
is also used as a
well-known square
dance.
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
Fanfare Band - Grade 3 SKU: BT.DHP-1135394-120 Bad Orb Impressions...(+)
Fanfare Band - Grade 3
SKU:
BT.DHP-1135394-120
Bad Orb
Impressions. Composed
by Jacob De Haan. Concert
and Contest Collection
CBHA. Concert Piece.
Score Only. Composed
2013. De Haske
Publications #DHP
1135394-120. Published by
De Haske Publications
(BT.DHP-1135394-120).
9x12 inches.
English-German-French-Dut
ch.
The inspiration
for this three-part work
goes back to the
International European
Youth Wind Music
Festival, of which the
patron has been Jacob de
Haan several times. It
begins in a festive march
tempo, then sacred music,
instrumental groups
playing off_x001E_stage
and a little march for
brass and _x001D_flutes.
The third movement is a
parade in which the
various sections of the
ensemble head towards the
stage from different
directions. Even without
the effective
choreography of the
musicians, Call of the
Valley is an
impressive concert band
composition.
Jacob
de Haan haalde zijn
inspiratie voor dit
driedelige werk bij het
Hessische kuuroord Bad
Orb en het tweejaarlijkse
Blaasmuziekfestival van
de Europese Jeugd,
waarvan hij meerdere
keren beschermheer was.
In het werk verwerkte de
componist verschillende
e_x001D_ecten die
betrekking hebben op het
festival. Zo hoort men in
de vallei verschillende
orkesten door elkaar
spelen, een indrukwekkend
e_x001D_ect dat ook in de
compositie werd verwerkt.
Ook kan men ervoor kiezen
om tijdens het werk het
orkest op te splitsen en
het podium te laten
verlaten en marcherend
weer richting podium te
stappen. Een spectaculair
en vernieuwend
werk!
Die
Inspiration für
dieses dreiteilige Werk
geht auf das
Internationale
Blasmusikfest der Jugend
Europas zurück,
dessen Schirmherr schon
mehrfach Jacob de Haan
war. Es beginnt in
festlich marschierendem
Tempo, gefolgt von
sakraler Musik, abseits
der Bühne
spielenden
Instrumentengruppen und
einem kleinen Marsch
für Blechbläser
und Flöten. Der dritte
Satz ist eine Parade, bei
der sich das geteilte
Orchester aus
verschiedenen Richtungen
auf die Bühne zu
bewegt. Auch ohne die
effektvolle
Positionierung der
Musiker ist Call of
the Valley ein
eindrucksvolles
Blasorchesterwerk.
Un
festival di musica per
_x001E_ati per banda
giovanile che si tiene a
Hesse in Germania, e al
quale Jacob de Haan ha
più volte partecipato
in veste di giurato, è
servito da ispirazione
per comporre questo
brano. L’inizio
vede un tempo festivo che
simboleggia
l’arrivo delle
bande. Sonorit maestose
disegnano un concerto di
musica sacra, seguite da
suoni che evocano le
interpretazioni di varie
orchestre. Un gruppo di
sax interpreta un piccolo
valzer, un altro gruppo
che unisce ottoni,
_x001D_auti e ottavino
suona una piccola marcia.
Nel _x001E_finale
dell’opera,
l’orchestra
riprende i temi dei due
gruppi.
Sun Valley Flourish Orchestre d'harmonie [Conducteur] - Facile Opus III Wind Orchestra Publications
Grade 3 SKU: CL.012-4818-01 Composed by Reineke. Arranged by Shaffer. Con...(+)
Grade 3
SKU:
CL.012-4818-01
Composed by Reineke.
Arranged by Shaffer.
Concert Band. Extra full
score. Composed 2020.
Opus III Wind Orchestra
Publications
#012-4818-01. Published
by Opus III Wind
Orchestra Publications
(CL.012-4818-01).
Sun Valley
Flourish is Steven
Reineke at his best!
Originally composed for
orchestra in 2008 as the
opening piece for the
Erich Kunzel’s Sun
Valley Festival
Orchestra, it has been
masterfully adapted for
concert band by
Steven’s first
composition professor,
David Shaffer. Written in
the style of a
fanfare/overture, this
exciting work opens with
brass fanfares and
woodwind flourishes.
Typical of
Steven’s writing,
the main theme of the
piece is a beautiful and
flowing melody
complimented by
masterfully written
counter melodies and
spectacular in-your-face
brass punctuations. The
lyrical middle section is
simple but quite
musically effective
leading into the fast and
powerful finale. If you
are fan of Steven
Reineke’s music,
Sun Valley Flourish is a
must-have!
Call of the Valley Fanfare [Conducteur et Parties séparées] - Facile De Haske Publications
Fanfare Band - Grade 3 SKU: BT.DHP-1135394-020 Bad Orb Impressions...(+)
Fanfare Band - Grade 3
SKU:
BT.DHP-1135394-020
Bad Orb
Impressions. Composed
by Jacob De Haan. Concert
and Contest Collection
CBHA. Concert Piece. Set
(Score & Parts). Composed
2013. De Haske
Publications #DHP
1135394-020. Published by
De Haske Publications
(BT.DHP-1135394-020).
9x12 inches.
English-German-French-Dut
ch.
The inspiration
for this three-part work
goes back to the
International European
Youth Wind Music
Festival, of which the
patron has been Jacob de
Haan several times. It
begins in a festive march
tempo, then sacred music,
instrumental groups
playing off_x001E_stage
and a little march for
brass and _x001D_flutes.
The third movement is a
parade in which the
various sections of the
ensemble head towards the
stage from different
directions. Even without
the effective
choreography of the
musicians, Call of the
Valley is an
impressive concert band
composition.
Jacob
de Haan haalde zijn
inspiratie voor dit
driedelige werk bij het
Hessische kuuroord Bad
Orb en het tweejaarlijkse
Blaasmuziekfestival van
de Europese Jeugd,
waarvan hij meerdere
keren beschermheer was.
In het werk verwerkte de
componist verschillende
e_x001D_ecten die
betrekking hebben op het
festival. Zo hoort men in
de vallei verschillende
orkesten door elkaar
spelen, een indrukwekkend
e_x001D_ect dat ook in de
compositie werd verwerkt.
Ook kan men ervoor kiezen
om tijdens het werk het
orkest op te splitsen en
het podium te laten
verlaten en marcherend
weer richting podium te
stappen. Een spectaculair
en vernieuwend
werk!
Die
Inspiration für
dieses dreiteilige Werk
geht auf das
Internationale
Blasmusikfest der Jugend
Europas zurück,
dessen Schirmherr schon
mehrfach Jacob de Haan
war. Es beginnt in
festlich marschierendem
Tempo, gefolgt von
sakraler Musik, abseits
der Bühne
spielenden
Instrumentengruppen und
einem kleinen Marsch
für Blechbläser
und Flöten. Der dritte
Satz ist eine Parade, bei
der sich das geteilte
Orchester aus
verschiedenen Richtungen
auf die Bühne zu
bewegt. Auch ohne die
effektvolle
Positionierung der
Musiker ist Call of
the Valley ein
eindrucksvolles
Blasorchesterwerk.
Un
festival di musica per
_x001E_ati per banda
giovanile che si tiene a
Hesse in Germania, e al
quale Jacob de Haan ha
più volte partecipato
in veste di giurato, è
servito da ispirazione
per comporre questo
brano. L’inizio
vede un tempo festivo che
simboleggia
l’arrivo delle
bande. Sonorit maestose
disegnano un concerto di
musica sacra, seguite da
suoni che evocano le
interpretazioni di varie
orchestre. Un gruppo di
sax interpreta un piccolo
valzer, un altro gruppo
che unisce ottoni,
_x001D_auti e ottavino
suona una piccola marcia.
Nel _x001E_finale
dell’opera,
l’orchestra
riprende i temi dei due
gruppi.
Concert Band Concert Band - Grade 3.5 SKU: CF.CPS79F Fantasy on Red Ri...(+)
Concert Band Concert Band
- Grade 3.5
SKU:
CF.CPS79F
Fantasy
on Red River Valley.
Composed by Gregory B.
Rudgers. SWS. Carl
Fischer Concert
Performance Series. Full
score. With Standard
notation. 24 pages.
Duration 4:21. Carl
Fischer Music #CPS79F.
Published by Carl Fischer
Music (CF.CPS79F).
ISBN 9780825867569.
UPC: 798408067564. 9 X 12
inches. Key: Bb
major.
A fantasy on
the folk song Red River
Valley, composer Gregory
Rudgers's stunning new
composition ranges from
dramatic to lush and
lyrical, accented by
occasional, whimsical
drifts. He employs all of
the forces of the modern
concert band to their
fullest in this symphonic
presentation. Ideal for a
contest or festival.
SSAATTBB choir, baritone
voice solo, piano
reduction - Intermediate
SKU: GI.G-7389
Arranged by Nathan
Carter. African American
Church Music Series. Tune
Name: Peaceful Valley.
Sacred. Octavo. 8 pages.
GIA Publications #7389.
Published by GIA
Publications (GI.G-7389).
UPC: 785147738909.
English. Text source:
Negro Spiritual.
A
Negro spiritual richly
scored for unaccompanied
SSAATTB voices. Not at
all complex, just very
full sounding if
you’ve got the
voices. A comforting text
that promises that, with
Jesus as our leader, we
shall walk through the
valley of life in
peace.
A comforting
text that promises that,
with Jesus as our leader,
we shall walk through the
valley of life in
peace.
Choral SA choir, piano SKU: CF.CM9576 1. Who Robbed the Woods 2. Cool ...(+)
Choral SA choir, piano
SKU: CF.CM9576
1. Who Robbed the
Woods 2. Cool is the
Valley Now. Composed
by Paul David Thomas.
Sws. Performance Score.
16 pages. Carl Fischer
Music #CM9576. Published
by Carl Fischer Music
(CF.CM9576).
ISBN
9781491153987. UPC:
680160912483. 6.875 x
10.5 inches. Key: G
minor. English. Emily
Dickinson (1830-1886) ,
Walt Whitman
(1819-1892).
The
two pieces, Who Robbed
the Woods? and O Cool is
the Valley Now, combine
to create a set that both
explores the subtle
beauty, serenity,
fragility, and resiliency
of nature and examines
our relationship to the
natural world around us.
The first song combines a
short poem by Emily
Dickinson with a journal
entry excerpt by Walt
Whitman entitled The
Lesson of the Tree.
Only two stanzas in
length, Dickinsons poem
considers the ways in
which people use and
exploit trees for their
own purposes and asks, on
the trees behalf, who
would do such a thing?
Whitman ponders a trees
silent majesty and power
and its ability to be yet
say nothing at all. The
musical setting begins
and ends in the mode of
G-Dorian while moving
briefly in the middle
section to Bb major. The
Dorian mode, similar to
the natural minor but
with a raised sixth scale
degree, possesses a
mysterious and whimsical
sound, fitting for a poem
that considers the
possibility of talking
trees. The accents and
syncopation of the piano
accompaniment should be
carefully observed, with
particular attention paid
to the syncopation found
in gestures occurring in
mm. 712. The beginning
a cappella
section should be hushed
yet intense; a richer,
fuller sound may be
brought out in the middle
section where the key
shifts to Bb major and
the choir sings of the
many noble qualities of
trees (mm. 3953). O Cool
is the Valley Now also
makes use of a modal
scale. Set primarily in D
Mixolydian, similar to D
major but with a lowered
seventh scale degree,
this modes lack of a
leading tone gives the
melody a folk-tune
quality. The piano should
at all times remain
legato and flowing, its
ascending and descending
gestures, found in mm.
910, imitating the
rolling hills and valleys
evoked in the text. The
phrases of the vocal
lines should also be
flowing and carefully
shaped. Additional rubato
and dynamic subtleties
may be added to
accentuate any number of
the suspensions and
dissonances that occur,
especially on p.
14. The two pieces,
aWho Robbed the Woods?a
and aO Cool is the Valley
Now,a combine to create a
set that both explores
the subtle beauty,
serenity, fragility, and
resiliency of nature and
examines our relationship
to the natural world
around us. The first song
combines a short poem by
Emily Dickinson with a
journal entry excerpt by
Walt Whitman entitled
The Lesson of the
Tree. Only two
stanzas in length,
Dickinsonas poem
considers the ways in
which people use and
exploit trees for their
own purposes and asks, on
the treesa behalf, who
would do such a thing?
Whitman ponders a treeas
silent majesty and power
and its ability to be
ayet say nothing at all.a
The musical setting
begins and ends in the
mode of G-Dorian while
moving briefly in the
middle section to Bb
major. The Dorian mode,
similar to the natural
minor but with a raised
sixth scale degree,
possesses a mysterious
and whimsical sound,
fitting for a poem that
considers the possibility
of talking trees. The
accents and syncopation
of the piano
accompaniment should be
carefully observed, with
particular attention paid
to the syncopation found
in gestures occurring in
mm. 7a12. The beginning
a cappella
section should be hushed
yet intense; a richer,
fuller sound may be
brought out in the middle
section where the key
shifts to Bb major and
the choir sings of the
many noble qualities of
trees (mm. 39a53). O Cool
is the Valley NowA also
makes use of a modal
scale. Set primarily in D
Mixolydian, similar to D
major but with a lowered
seventh scale degree,
this modeas lack of a
leading tone gives the
melody a folk-tune
quality. The piano should
at all times remain
legato and flowing, its
ascending and descending
gestures, found in mm.
9a10, imitating the
rolling hills and valleys
evoked in the text. The
phrases of the vocal
lines should also be
flowing and carefully
shaped. Additional rubato
and dynamic subtleties
may be added to
accentuate any number of
the suspensions and
dissonances that occur,
especially on p.
14. The two pieces,
aWho Robbed the Woods?a
and aO Cool is the Valley
Now,a combine to create a
set that both explores
the subtle beauty,
serenity, fragility, and
resiliency of nature and
examines our relationship
to the natural world
around us. The first song
combines a short poem by
Emily Dickinson with a
journal entry excerpt by
Walt Whitman entitled
The Lesson of the
Tree. Only two
stanzas in length,
Dickinsonas poem
considers the ways in
which people use and
exploit trees for their
own purposes and asks, on
the treesa behalf, who
would do such a thing?
Whitman ponders a treeas
silent majesty and power
and its ability to be
ayet say nothing at all.a
The musical setting
begins and ends in the
mode of G-Dorian while
moving briefly in the
middle section to Bb
major. The Dorian mode,
similar to the natural
minor but with a raised
sixth scale degree,
possesses a mysterious
and whimsical sound,
fitting for a poem that
considers the possibility
of talking trees. The
accents and syncopation
of the piano
accompaniment should be
carefully observed, with
particular attention paid
to the syncopation found
in gestures occurring in
mm. 7a12. The beginning
a cappella
section should be hushed
yet intense; a richer,
fuller sound may be
brought out in the middle
section where the key
shifts to Bb major and
the choir sings of the
many noble qualities of
trees (mm. 39a53). O Cool
is the Valley NowA also
makes use of a modal
scale. Set primarily in D
Mixolydian, similar to D
major but with a lowered
seventh scale degree,
this modeas lack of a
leading tone gives the
melody a folk-tune
quality. The piano should
at all times remain
legato and flowing, its
ascending and descending
gestures, found in mm.
9a10, imitating the
rolling hills and valleys
evoked in the text. The
phrases of the vocal
lines should also be
flowing and carefully
shaped. Additional rubato
and dynamic subtleties
may be added to
accentuate any number of
the suspensions and
dissonances that occur,
especially on p.
14. The two pieces,
Who Robbed the Woods? and
O Cool is the Valley Now,
combine to create a set
that both explores the
subtle beauty, serenity,
fragility, and resiliency
of nature and examines
our relationship to the
natural world around us.
The first song combines a
short poem by Emily
Dickinson with a journal
entry excerpt by Walt
Whitman entitled The
Lesson of the Tree.
Only two stanzas in
length, Dickinson's poem
considers the ways in
which people use and
exploit trees for their
own purposes and asks, on
the trees' behalf, who
would do such a thing?
Whitman ponders a tree's
silent majesty and power
and its ability to be yet
say nothing at all. The
musical setting begins
and ends in the mode of
G-Dorian while moving
briefly in the middle
section to Bb major. The
Dorian mode, similar to
the natural minor but
with a raised sixth scale
degree, possesses a
mysterious and whimsical
sound, fitting for a poem
that considers the
possibility of talking
trees. The accents and
syncopation of the piano
accompaniment should be
carefully observed, with
particular attention paid
to the syncopation found
in gestures occurring in
mm. 7-12. The beginning
a cappella
section should be hushed
yet intense; a richer,
fuller sound may be
brought out in the middle
section where the key
shifts to Bb major and
the choir sings of the
many noble qualities of
trees (mm. 39-53). O Cool
is the Valley Now also
makes use of a modal
scale. Set primarily in D
Mixolydian, similar to D
major but with a lowered
seventh scale degree,
this mode's lack of a
leading tone gives the
melody a folk-tune
quality. The piano should
at all times remain
legato and flowing, its
ascending and descending
gestures, found in mm.
9-10, imitating the
rolling hills and valleys
evoked in the text. The
phrases of the vocal
lines should also be
flowing and carefully
shaped. Additional rubato
and dynamic subtleties
may be added to
accentuate any number of
the suspensions and
dissonances that occur,
especially on p.
14. The two pieces,
Who Robbed the Woods? and
O Cool is the Valley Now,
combine to create a set
that both explores the
subtle beauty, serenity,
fragility, and resiliency
of nature and examines
our relationship to the
natural world around us.
The first song combines a
short poem by Emily
Dickinson with a journal
entry excerpt by Walt
Whitman entitled The
Lesson of the Tree. Only
two stanzas in length,
Dickinson's poem
considers the ways in
which people use and
exploit trees for their
own purposes and asks, on
the trees' behalf, who
would do such a thing?
Whitman ponders a tree's
silent majesty and power
and its ability to be yet
say nothing at all. The
musical setting begins
and ends in the mode of
G-Dorian while moving
briefly in the middle
section to Bb major. The
Dorian mode, similar to
the natural minor but
with a raised sixth scale
degree, possesses a
mysterious and whimsical
sound, fitting for a poem
that considers the
possibility of talking
trees. The accents and
syncopation of the piano
accompaniment should be
carefully observed, with
particular attention paid
to the syncopation found
in gestures occurring in
mm. 7-12. The beginning a
cappella section should
be hushed yet intense; a
richer, fuller sound may
be brought out in the
middle section where the
key shifts to Bb major
and the choir sings of
the many noble qualities
of trees (mm. 39-53). O
Cool is the Valley Now
also makes use of a modal
scale. Set primarily in D
Mixolydian, similar to D
major but with a lowered
seventh scale degree,
this mode's lack of a
leading tone gives the
melody a folk-tune
quality. The piano should
at all times remain
legato and flowing, its
ascending and descending
gestures, found in mm.
9-10, imitating the
rolling hills and valleys
evoked in the text. The
phrases of the vocal
lines should also be
flowing and carefully
shaped. Additional rubato
and dynamic subtleties
may be added to
accentuate any number of
the suspensions and
dissonances that occur,
especially on p.
14. The two pieces,
“Who Robbed the
Woods?†and
“O Cool is the
Valley Now,â€
combine to create a set
that both explores the
subtle beauty, serenity,
fragility, and resiliency
of nature and examines
our relationship to the
natural world around
us.The first song
combines a short poem by
Emily Dickinson with a
journal entry excerpt by
Walt Whitman entitled The
Lesson of the Tree. Only
two stanzas in length,
Dickinson’s poem
considers the ways in
which people use and
exploit trees for their
own purposes and asks, on
the trees’ behalf,
who would do such a
thing? Whitman ponders a
tree’s silent
majesty and power and its
ability to be “yet
say nothing at
all.â€The musical
setting begins and ends
in the mode of G-Dorian
while moving briefly in
the middle section to Bb
major. The Dorian mode,
similar to the natural
minor but with a raised
sixth scale degree,
possesses a mysterious
and whimsical sound,
fitting for a poem that
considers the possibility
of talking trees. The
accents and syncopation
of the piano
accompaniment should be
carefully observed, with
particular attention paid
to the syncopation found
in gestures occurring in
mm. 7–12. The
beginning a cappella
section should be hushed
yet intense; a richer,
fuller sound may be
brought out in the middle
section where the key
shifts to Bb major and
the choir sings of the
many noble qualities of
trees (mm.
39–53).O Cool is
the Valley Now also
makes use of a modal
scale. Set primarily in D
Mixolydian, similar to D
major but with a lowered
seventh scale degree,
this mode’s lack
of a leading tone gives
the melody a folk-tune
quality. The piano should
at all times remain
legato and flowing, its
ascending and descending
gestures, found in mm.
9–10, imitating
the rolling hills and
valleys evoked in the
text. The phrases of the
vocal lines should also
be flowing and carefully
shaped. Additional rubato
and dynamic subtleties
may be added to
accentuate any number of
the suspensions and
dissonances that occur,
especially on p. 14.