Undercurrents Orchestre d'harmonie - Avancé Hal Leonard
Concert Band (Score & Parts) - Grade 5 SKU: HL.4004646 Composed by Robert...(+)
Concert Band (Score &
Parts) - Grade 5
SKU:
HL.4004646
Composed
by Robert Buckley.
MusicWorks Grade 5.
Festival. Softcover.
Published by Hal Leonard
(HL.4004646).
UPC:
888680604578. 9x12
inches.
Undercur
rents provides an
electrifying, virtuosic
showcase for the whole
ensemble –
featuring a series of
solos, duets and trios,
as well as highlighting
the various chamber
sections within the band.
The music was inspired by
watching schools of fish
and flocks of birds
perpetually moving with
the ocean currents and
air currents. Every once
in a while a single solo
shape will appear –
or two or three –
they dance apart for a
moment and then are drawn
back into the ensemble.
Commissioned by the Naden
Band of the Royal
Canadian Navy, Victoria,
BC, this is a powerful
tour-de-force from
beginning to end.
Duration: c. 6:30.
Currents Orchestre d'harmonie - Intermédiaire Alfred Publishing
By Robert W. Smith. By Robert W. Smith. For Concert Band. Concert Band. Belwin C...(+)
By Robert W. Smith. By
Robert W. Smith. For
Concert Band. Concert
Band. Belwin Concert
Band. Level: Medium Easy
(grade 3.5). Conductor
Score & Parts. Duration
4:37:00. Published by
Alfred Publishing.
Concert Band - Grade 3.5 SKU: AP.24757S Composed by Robert W. Smith. Conc...(+)
Concert Band - Grade 3.5
SKU: AP.24757S
Composed by Robert W.
Smith. Concert Band;
Performance Music
Ensemble; Single Titles.
Belwin Concert Band.
Score. 28 pages. Belwin
Music #00-24757S.
Published by Belwin Music
(AP.24757S).
UPC:
038081269276.
English.
The term
current is defined as a
steady flow of water, air
or electricity in a
particular direction.
Whatever form the current
takes, it is a
fascinating source of
energy that supports, yet
challenges mankind in
multiple ways. The
composition Currents by
Robert W. Smith takes its
inspiration by the
various forms of energy
used in the art of music
and in music education.
Unpredictable, yet
constantly flowing, the
interacting musical lines
of energy provide a
unique experience for
both performer and
listener alike.
Changing Currents Orchestre d'harmonie - Intermédiaire Excelcia Music Publishing
Concert Band - Grade 3.5 SKU: XC.RCB2308FS Composed by Laura Estes. Conce...(+)
Concert Band - Grade 3.5
SKU: XC.RCB2308FS
Composed by Laura Estes.
Concert Concert Band.
Rhapsody Grade 3-3.5.
Score. Excelcia Music
Publishing #RCB2308FS.
Published by Excelcia
Music Publishing
(XC.RCB2308FS).
Written for her
mom, composer Laura Estes
creates a charming and
emotional tribute in
Changing Currents. As
educators, we can apply
so much to this work
utilizing its title and
material, there is a lot
to teach in this one. We
know you will love this
new work by Laura!
Changing Currents Orchestre d'harmonie - Intermédiaire Excelcia Music Publishing
Concert Band - Grade 3.5 SKU: XC.RCB2308 Composed by Laura Estes. Concert...(+)
Concert Band - Grade 3.5
SKU: XC.RCB2308
Composed by Laura Estes.
Concert Concert Band.
Rhapsody Grade 3-3.5. Set
of parts. Excelcia Music
Publishing #RCB2308.
Published by Excelcia
Music Publishing
(XC.RCB2308).
Written for her
mom, composer Laura Estes
creates a charming and
emotional tribute in
Changing Currents. As
educators, we can apply
so much to this work
utilizing its title and
material, there is a lot
to teach in this one. We
know you will love this
new work by Laura!
(6 Graded Duets for Early Intermediate Pianists). Arranged by Dan Coates. For Pi...(+)
(6 Graded Duets for Early
Intermediate Pianists).
Arranged by Dan Coates.
For Piano. Book; Duet or
Duo; Piano Duet (1 Piano,
4 Hands). Current Hits
for Two. Pop. Early
Intermediate. 36 pages.
Published by Alfred Music
Arranged by Dan Coates. For Piano. Other; Promotional Packet; Solo. Current Hits...(+)
Arranged by Dan Coates.
For Piano. Other;
Promotional Packet; Solo.
Current Hits for Teens.
Pop. Early Intermediate;
Intermediate; Late
Intermediate. Published
by Alfred Music
SKU: BR.BV-363 Jean Sibelius. Studien zu Leben und Werk. Composed ...(+)
SKU: BR.BV-363
Jean Sibelius. Studien
zu Leben und Werk.
Composed by Tomi Makela.
Hardback. Buchverlag
Breitkopf & Hartel (Music
Books). For more than 40
years now, Tomi Makela's
book has been the most
comprehensive original
publication in German on
the life and works of
Jean Sibelius. It
contains many
little-known
illustrations as well as
iconographic material
found nowhere else. Music
post-1945. Book. 512
pages. Breitkopf and
Haertel #BV 363.
Published by Breitkopf
and Haertel (BR.BV-363).
ISBN 9783765103636. 7
x 9.5 inches.
German.
For more
than 40 years now, Tomi
Makela's book has been
the most comprehensive
original publication in
German on the life and
works of Jean Sibelius.
It contains many
little-known
illustrations as well as
iconographic material
found nowhere else. An
extensive depiction of
the most important
currents in the Sibelius
reception of the 20th
century as well as a
chronology of Sibelius's
life close the lengthy
volume. Poesie in der
Luft is an attempt to
grasp Sibelius and his
compositional legacy from
the perspective of his
cultivated background and
his regional origins,
which were far from
provincial. The author
sketches the highly
complex psychogram of a
modern artist. The
composer's self-discovery
can easily be compared
with that of other
artists of his
generation. Makela's
results oblige us to
rethink the depiction of
Sibelius as a kind of
exotic naif and nature
lover, and to see in a
new light his creative
individuality, which
consciously guided itself
on the Central European
currents of the time. In
the focus of the author's
commentaries on the works
are the symphonic,
chamber-music and vocal
genres, with which
Sibelius obtained
international
recognition.Tomi Makela
locates Sibelius and his
compositions firmly in
the social and aesthetic
turmoil of his time. This
impressive book is not
only an extremely
thorough and accomplished
presentation of empirical
research, but also an
exciting and vigorously
argued critical study of
a composer whose stature
has been rising ever
higher in recent years.
Prof. Derek Scott, School
of Music, University of
Leeds.
(6 Graded Duets for Late Intermediate Pianists). Arranged by Dan Coates. For Pia...(+)
(6 Graded Duets for Late
Intermediate Pianists).
Arranged by Dan Coates.
For Piano. Book; Duet or
Duo; Piano Duet (1 Piano,
4 Hands). Hits for Teens.
Pop. Late Intermediate.
48 pages. Published by
Alfred Music
(6 Graded Duets for Intermediate Pianists). Arranged by Dan Coates. For Piano. B...(+)
(6 Graded Duets for
Intermediate Pianists).
Arranged by Dan Coates.
For Piano. Book; Duet or
Duo; Piano Duet (1 Piano,
4 Hands). Hits for Teens.
Pop. Intermediate. 40
pages. Published by
Alfred Music
(8 Graded Solutions for Early Intermediate Pianists). Arranged by Dan Coates. Fo...(+)
(8 Graded Solutions for
Early Intermediate
Pianists). Arranged by
Dan Coates. For Piano.
Book; Piano Collection;
Piano Supplemental.
Current Hits for Teens.
Pop. Early Intermediate.
28 pages. Published by
Alfred Music Publishing
(7 Late Intermediate Piano Solos). Arranged by Dan Coates. For Piano. Book; Pian...(+)
(7 Late Intermediate
Piano Solos). Arranged by
Dan Coates. For Piano.
Book; Piano Collection;
Piano Supplemental.
Current Hits for Teens.
Pop. Late Intermediate.
28 pages. Published by
Alfred Music Publishing
(12 Arrangements of Contemporary Christian Favorites). Arranged by Carol Tornqui...(+)
(12 Arrangements of
Contemporary Christian
Favorites). Arranged by
Carol Tornquist. For
Piano. Book; Piano
Collection; Piano
Supplemental; Worship
Resources. Sacred
Performer Collections.
Contemporary Christian;
Sacred. Early Advanced;
Late Intermediate. 48
pages. Published by
Alfred Music
(50 Current Rock and Pop Hits). For Guitar. This edition: Guitar TAB Edition...(+)
(50 Current Rock and Pop
Hits). For Guitar. This
edition: Guitar TAB
Edition.
Artist/Personality; Book;
Guitar Mixed Folio;
Guitar
TAB. The Guitar
Collection.
Pop; Pop/Rock; Rock. 256
pages. Published by
Alfred
Music
(6 Graded Solutions for Late Intermediate Pianists). Arranged by Dan Coates. For...(+)
(6 Graded Solutions for
Late Intermediate
Pianists). Arranged by
Dan Coates. For Piano.
Book; Piano Collection;
Piano Supplemental.
Current Hits for Teens.
Pop. Late Intermediate.
28 pages. Published by
Alfred Music Publishing
Piano and orchestra SKU: FG.55011-372-5 Composed by Matthew Whittall. Stu...(+)
Piano and orchestra
SKU:
FG.55011-372-5
Composed by Matthew
Whittall. Study score.
Fennica Gehrman
#55011-372-5. Published
by Fennica Gehrman
(FG.55011-372-5).
ISBN
9790550113725.
Imag
es of the sea figure
prominently throughout my
life and memories: from
holidays on the Atlantic
coast during my Canadian
childhood to my current
Baltic home, and the
imagined, only later
experienced Mediterranean
of my ancestral heritage.
As an immigrant (son of
an immigrant) bound to
two northern countries,
the sea is emblematic of
my twin homelands, from
the expanses of water
surrounding them to those
separating them. A Mari
usque ad Mare. The sea is
also an enduring image of
the unknown, of expanses
unexplored, of the raw
power of nature and, for
too many currently, of
terror holding a hope of
refuge - or the pain of
loss. Such disparate
ideas were captured for
me in the seascapes of
the New York painter
MaryBeth Thielhelm, whom
I met in 2008 during a
residency on the Gulf of
Mexico. Her vast,
abstract, nearly
monochromatic depictions
of imaginary seas in
wildly varying moods were
the catalyst for a
concerto where the piano
is frequently far from a
hero battling a
collective, but rather
acts as a channel for
elemental forces surging
up from the orchestra,
floating - sometimes
barely so - on its
constantly shifting
surface. There are few
themes to speak of,
beyond a handful of
iconic ideas that
periodically cycle
upward. Rather, the
piano's material is
largely an ornamentation
of the more primal
rhythmic and harmonic
impulses from the
orchestra below - a
poetic interpretation, if
you will, of the more
immediate experience of
facing the vastness of
some unknown body of
water. The title
Nameless Seas is borrowed
from one of Thielhelm's
exhibitions, as are those
of the four movements,
which are bridged
together into two halves
of roughly equal weight -
one rhapsodic and free,
the other more
single-minded and direct,
separated only by a short
breath. The opening
movement, Nocturne, is
predominantly calm, if
brooding, darkness and
light alternating
throughout. Lyrical
arabesques sparkle over
gently lapping
cross-currents in the
strings and mirrored
timpani, the piano's full
power only rarely
deployed. The waves
gradually build, drawing
in the full orchestra for
a meeting of forces in
Land and Sea, a brighter,
more warmly lyrical scene
that unfolds in series of
dreamlike, sometimes even
nostalgic visions, which
for me carry strong
memories of sitting on
rocks above surging
Atlantic waves. The third
movement, Wake, is a
fast, perpetual-motion
texture of glinting,
darting rhythms and
sudden shafts of light,
with a prominent part for
the steel drums, limning
the piano's quicksilver
figurations. An ecstatic
climax crashes into a
solo cadenza that grows
progressively calmer and
more introspective rather
than virtuosic. Much of
the tension finally
releases into Unclaimed
Waters, a drifting,
meditative seascape in
which the piano is
progressively engulfed by
a series of ever-taller
waves, ultimately
dissolving into a
tolling, rippling
continuum of sound.
It has been a great
privilege to realize such
a long-held dream as this
piece, and to write it
for not one, but two
great pianists.
Risto-Matti Marin and
Angela Hewitt, both of
whose friendship and
support have been
unfailing and humbling,
share the dedication.
Nameless Seas was
commissioned by the
PianoEspoo festival and
Canada's National Arts
Centre, with the
premieres in Ottawa and
Helsinki led by Hannu
Lintu and Olari Elts.
Thanks are due also to
the Jenny and Antti
Wihuri fund, whose
generous grant provided
me with much-needed time,
and Escape to Create in
Seaside, Florida, the
source to which I
returned to do a large
part of the work.
Grade 2 SKU: CL.011-3637-01 Composed by Robert W. Smith. Young Concert Ba...(+)
Grade 2
SKU:
CL.011-3637-01
Composed by Robert W.
Smith. Young Concert
Band. Command Series.
Audio recording available
separately (item
CL.WFR351). Extra full
score. Composed 2007.
Duration 5 minutes, 15
seconds. C.L. Barnhouse
#011-3637-01. Published
by C.L. Barnhouse
(CL.011-3637-01).
Spirit of the
Winds, a concert/festival
work for the developing
band, was inspired by the
beautiful Temecula Valley
of California. Each year,
the sky over the valley
is filled with hot air
balloons creating a
visual sight that is not
soon forgotten. Of
course, balloons are
unable to steer and must
fly with the gentle
breezes of the air
current. As a result,
those subject to the
spirit of the winds can
find themselves over
festival grounds or
floating above the
beautiful Temecula Valley
vineyards. Beginning with
a bold, yet mysterious
statement, the
introduction gives way to
a soaring melody as our
flight begins. Cascading
figures in the woodwinds
create the effect of wind
currents followed by a
beautiful secondary
melodic statement. The
original theme returns
leading to a very
energetic conclusion.
Accessible to a wide
range of concert bands,
Spirit of the Winds
provides multiple
teaching opportunities
and will be enjoyed by
both performer and
audience.
About C.L.
Barnhouse Command
Series
The
Barnhouse Command Series
includes works at grade
levels 2, 2.5, and 3.
This series is designed
for middle school and
junior high school bands,
as well as high school
bands of smaller
instrumentation or
limited experience.
Command Series
publications have a
slightly larger
instrumentation than the
Rising Band Series, and
are typically of larger
scope, duration, and
musical content.
Books and Journals SKU: UT.QC-2 Composed by Rohan H. Stewart-MacDonald. H...(+)
Books and Journals
SKU: UT.QC-2
Composed by Rohan H.
Stewart-MacDonald.
Hardback (Cloth Hard
Cover with Jacket).
Quaderni Clementiani.
Classical. Books and
Journals. Ut Orpheus #QC
2. Published by Ut
Orpheus (UT.QC-2).
ISBN 9788881094585.
6.5 x 9.5
inches.
The career
of Muzio Clementi
(1752-1832) spanned the
lives of both Mozart and
Beethoven and was
exceptionally diverse. It
encompassed performing on
the keyboard, conducting,
teaching, business
activities and
composition in the realms
of keyboard, chamber and
orchestral music. This
book focuses on
Clementi’s keyboard
sonatas and aims to shed
new light on their
relationship with the
complex cross-currents of
late eighteenth-century
musical style, both in
England, where Clementi
was active for much of
his career, and the
continent, which he
visited
periodically. The
first chapter summarises
Clementi’s
historical reputation as
it developed in the
nineteenth and twentieth
centuries, and evaluates
the impact on it of the
significant developments
in Clementi scholarship
since 2000. The aim is to
stress the deficiencies
of the established view
of Clementi as a keyboard
pedagogue and to stress
the importance of
liberating him as much as
possible from this
ingrained perception.
This is attempted, in the
remaining chapters,
through close, analytical
readings of a variety of
keyboard sonatas from all
stages of his career,
comparing them with a
range of works by Haydn,
Mozart, Beethoven and
other contemporaries such
as Jan Ladislav Dussek
(1760-1812). The
comparisons are made from
the perspectives of
distinguishing features
of Clementi’s style
such as his unusually
intense deployment of
strict counterpoint in
the later keyboard
sonatas; his cultivation
of irregularity in
recapitulations; his use
of the
‘three-key’
exposition in the
middle-to-later stages of
his career that seems to
anticipate
nineteenth-century
developments, and also
his assimilation of
heightened virtuosity
into the earlier sonatas,
often in the form of
cadenzas more suggestive
of the keyboard concerto
a genre Clementi
seems, rather strangely,
to have neglected. The
book has been envisaged
as a direct response, not
only to the most recent
scholarship on Clementi,
but also to current
approaches to
eighteenth-century music
in general, including the
interdisciplinary work of
Annette Richards.
Solo Guitar SKU: SU.27120180 For Solo Guitar. Composed by Peter Sc...(+)
Solo Guitar
SKU:
SU.27120180
For
Solo Guitar. Composed
by Peter Scott Lewis.
Score. Subito Music
Corporation #27120180.
Published by Subito Music
Corporation
(SU.27120180).
Partita for
Guitar Solo was completed
in Madrid in the spring
of 1974. The first public
performances were in
Amsterdam, Munich, Banff,
and Seattle. The score is
three movements titled
Prelude, Nocturnal, and
Flowing Currents.
—PL Solo Guitar
Duration: 10' Composed:
1974 Published by: Lapis
Island Press.
Composed by Harl
Mcdonald. This edition:
Study Score.
Contemporary. Full score.
With Standard notation.
84 pages. Duration 15
minutes. Theodore Presser
Company #466-41177.
Published by Theodore
Presser Company
(PR.466411770).
UPC:
680160640850. 9 x 12
inches.
Mississippi
I. Father of Waters: born
of the Highlands and the
Lakes; the Glaciers, the
Mountains, and the
Prairies. The picture of
your birth is clounded in
the ice and mists of
ancient ages but your
spirit remains our life
stream. II. The Red Man
knew your bountiful gifts
and gave thanks to the
Great Spirit on your
banks. -- The Spanish and
French Fathers brought
the glory of Christianity
to America on
Mississippi. But all men,
white and dark; --
Indian, Spaniard, and
Negro; Bourbon and
Yankee, combined to make
Mississippi the heart of
America. Saga of the
Mississippi Harl McDonald
Born near Boulder,
Colorado, July 27, 1899
Now living in
Philadelphia The original
suggestion for a
symphonic work on the
subject of the
Mississippi came
indirectly from the late
Booth Tarkington who saw
in it color and movement
and atmosphere
translatable into the
terms of music. In the
course of time, by the
mysterious processes of
composers' chemistry, it
took shape as a tone-poem
of two sections, one
representing the rise of
the great stream from its
primeval geologic
sources, the other the
human history of the
river. Mr. McDonald
devised the following
verbal outline of the
general scheme of his
diptych: I. Father of
Waters: born of the
Highlands and the Lakes;
the Glaciers, the
Mountains, and the
Prairies. The picture of
your birth is clounded in
the ice and mists of
ancient ages but your
spirit remains our life
stream. II. The Red Man
knew your bountiful gifts
and gave thanks to the
Great Spirit on your
banks. -- The Spanish and
French Fathers brought
the glory of Christianity
to America on
Mississippi. But all men,
white and dark; --
Indian, Spaniard, and
Negro; Bourbon and
Yankee, combined to make
Mississippi the heart of
America. The first of the
two movements, beginning
molto andante, is vaguel
modal to hint at
antiquity. It is built
upon the conventional two
themes, with an episode,
poco piu mosso,
misterioso, for
prehistoric murk and
muck. There are various
changes of pace and mood.
The second, Allegro ma
vigorosamente, prefigures
an Indian ceremony. A
theme presented by flute,
clarinet and bassoon is a
Canadian Indian fishing
call collected by the
late J.B. Beck. A later
passage of
quasi-Gregorian chant
identifies the French and
Spanish priests who made
the great river their
highway. The fishing-call
is altered in rhythm and
harmony to represent
Negro field hands and
roustabous. A turbulent
close brings all these
elemts together in the
muddy swirling currents
of the Mississippi. The
work was begun in the
summer of 1945, and was
revised and completed in
the summer of 1947. Harl
McDonald, who is the
manager of The
Philadelphia Orchestra,
has concerned himself
with music as an art, as
a science and as a
business in course of his
career. He was born on a
cattle ranch in the
Rockies, but since his
was a musical family, his
up-bringing combined
piano lessons with ranch
life. Years of study and
professional experience
followed in Los Angeles
and in Germany. In 1927
he was appointed lecuter
in composition at the
University of
Pennsylvania and he has
since then made is home
in Philadelphia. In 1933
under a grant of the
Rockefeller FOundation he
collaborated with
physicists in research
dealing with the
measurement of
instrumental and vocal
tone, new scale divisions
and the resultant
harmonies. In that same
year he was named head of
the University's music
faculty and conductor of
its choral organizations.
In 1939, having been a
member of the Board of
Directors for five years,
he was appointed manager
of The Philadelphia
Orchestra. He continus to
write, but otherwise his
entire attention is now
devoted to managerial
duties. Chief items in
the catalogue of his
compositions are four
symphonies, three
orchestra suites, a
half-dozen tone-poems,
three concertos and
considerable quantity of
choral music.