A
Musical to Ring in the
Holidays. Composed by
John Higgins and John
Jacobson. ExpressiveArts.
Christmas, Elementary,
Holiday, Musicals,
Winter. Softcover with
CD-ROM. 52 pages.
Duration 1500 seconds.
Published by Hal Leonard
(HL.144494).
ISBN
9781495017698. UPC:
888680062385.
8.5x11.0x0.204 inches. By
John Jacobson and John
Higgins.
The bells
of ol' Ring-A-Ding Town
have stopped ringing!
Why? Because everyone who
lives there has
completely lost their
holiday spirit. With all
the pressures of the
season, they have become
so comically grumpy that
even the bells refuse to
ring. When a severe
winter storm pounds the
village with ice, wind
and snow, the grumpy
citizens are reminded how
much they need each
other. They also
rediscover how rewarding
it can be to share and
care for one another in
the true spirit of the
season. When peace, love
and joy returns to warm
their hearts, the bells
of Ring-A-Ding Town ring
in a new season of Peace
on Earth Goodwill for
all! This comical
25-minute holiday musical
features five original
songs and easy-to-learn
rhyming dialog with over
30 speaking parts. The
enhanced Teacher Edition
includes piano/vocal
arrangements with
choreography, helpful
production guide with
staging and costume
suggestions, PLUS an
enclosed CD-ROM with
reproducible singer and
speaking part PDFs. The
Classroom Kit includes
Teacher/SGR CD-ROM plus a
Performance/Accompaniment
CD. ScorePlay - click to
view score with
recording.
Orchestra SKU: PR.416415760 For Really Big Orchestra. Composed by ...(+)
Orchestra
SKU:
PR.416415760
For
Really Big Orchestra.
Composed by PDQ Bach.
Edited by Prof. Peter
Schickele. Study Score.
With Standard notation.
Duration 11 minutes.
Theodore Presser Company
#416-41576. Published by
Theodore Presser Company
(PR.416415760).
UPC:
680160636532. 9 x 12
inches.
The 1712
Overture stands out in
P.D.Q. Bach's oeuvre for
two reasons, among
others: it is by far the
most programmatic
instrumental piece among
those by the minimeister
of Wein-am-Rhein so far
unearthed, and 2) its
discovery has led to a
revelation about the
composer's father, Johann
Sebastian Bach, that has
exploded like a bombshell
on the usually serene
musicological landscape.
The overture is based on
an anecdote told to
P.D.Q. Bach by a cousin,
Peter Ulrich. Since P.U.
Bach lived in Dudeldorf,
only a few miles down the
road from Wein-am-Rhein,
he was P.D.Q.'s closest
relative, and he was, in
fact, one of the few
members of the family who
was on speaking terms
with P.D.Q. The story,
related to P.D.Q.
(fortunately for us
posterity types) in a
letter, may be summarized
thus: The town of
Dudeldorf was founded by
two brothers, Rudi and
Dieter Dudel, early in
the 18th century. Rudi
remained mayor of the
newborn burg for the rest
of his long life, but
Dieter had a dream of
starting a musicians'
colony, an entire city
devoted to music, which
dream, he finally
decided, could be
realized only in the New
World. In 1712, he and
several other bagpipers
sailed to Boston, never
to return to Germany.
(Henceforth, Rudi became
known as der deutscher
Dudel and Dieter as the
Yankee Dudel).
Unfortunately, the head
of the Boston Musicians'
Guild had gotten wind of
Dudel's plans, and
Wilhelm Wiesel (pron.
VEE-zle), known none too
affectionately around
town as Wiesel the
Weasel, was not about to
share what few gigs there
were in colonial America
with more foreigners and
outside agitators. He and
his cronies were on hand
to meet Dudel's boat when
it pulled into Boston
Harbor; they intended to
prevent the newcomers'
disembarkation, but Dudel
and his companions
managed to escape to the
other side of the bay in
a dinghy, landing with
just enough time to rent
a carriage and horses
before hearing the sound
of The Weasel and his
men, who had had to come
around the long way. The
Germans headed West, with
the Bostonians in furious
pursuit. soon the city
had been left far behind,
and by midnight so had
the pursuers; Dieter
Dudel decided that it was
safe for him and his men
to stop and sleep until
daybreak. When they
awoke, they found that
they were in a beautiful
landscape of low,
forested mountains and
pleasant fields, warmed
by the brilliant morning
sun and serenaded by an
entrancing variety of
birds. Here, Dudel
thought, her is where I
will build my colony. The
immigrants continued down
the road at a leisurely
pace until they came upon
a little church, all by
itself in the
countryside, from which
there suddenly emanated
the sounds of a pipe
organ. At this point, the
temptation to quote from
P.U. Bach's letter to
P.D.Q. cannot be
resisted: They went
inside and, after
listening to the glorious
music for a while,
introduced themselves to
the organist. And who do
you think it was? Are you
ready for this -- it was
your old man! Hey, no
kidding -- you know, I'm
sure, that your father
was the guy to get when
it came to testing new
organs, and whoever had
that one in Massachusetts
built offered old
Sebastian a tidy sum to
go over there and check
it out. The unexpected
meeting with J.S. Bach
and his sponsors was
interrupted by the sound
of horse hooves, as the
dreaded Wiesel and his
men thundered on to the
scene. They had been
riding all night,
however, and they were no
spring chickens to start
with, and as soon as they
reached the church they
all dropped, exhausted,
to the ground. The elated
Germans rang the church
bells and offered to buy
everyone a beer at the
nearest tavern. There
they were taught, and
joined in singing, what
might be called the
national anthem of the
New World. The melody of
this pre-revolutionary
patriotic song is still
remembered (P.D.Q. Bach
quotes it, in the bass
instruments, near the end
of the overture), but is
words are now all but
forgotten: Freedom, of
thee we sing, Freedom
e'er is our goal; Death
to the English King, Long
live Rock and Ross. The
striking paucity of
biographical references
to Johann Sebastian Bah
during the year 1712 can
now be explained: he was
abroad for a significant
part of that year,
testing organs in the
British Colonies. That
this revelation has not
been accepted as fact by
the musicological
establishment is no
surprise, since it means
that a lot of books would
have to be rewritten. The
members of that
establishment haven't
even accepted the
existence of P.D.Q. Bach,
one of whose major works
the 1712 Overture
certainly is. It is also
a work that shows
Tchaikowsky up as the
shameless plagiarizer
that some of us have
always known he was. The
discovery of this awesome
opus was made possible by
a Boston Pops Centennial
Research Commission; the
first modern performance
took place at the opening
concert of the 100th
anniversary season of
that orchestra, under the
exciting but authentic
direction of John
Williams.
Orchestra SKU: PR.41641576L For Really Big Orchestra. Composed by ...(+)
Orchestra
SKU:
PR.41641576L
For
Really Big Orchestra.
Composed by PDQ Bach.
Edited by Peter
Schickele. Large Score.
With Standard notation.
Duration 11 minutes.
Theodore Presser Company
#416-41576L. Published by
Theodore Presser Company
(PR.41641576L).
UPC:
680160636549. 11 x 17
inches.
The 1712
Overture stands out in
P.D.Q. Bach's oeuvre for
two reasons, among
others: it is by far the
most programmatic
instrumental piece among
those by the minimeister
of Wein-am-Rhein so far
unearthed, and 2) its
discovery has led to a
revelation about the
composer's father, Johann
Sebastian Bach, that has
exploded like a bombshell
on the usually serene
musicological landscape.
The overture is based on
an anecdote told to
P.D.Q. Bach by a cousin,
Peter Ulrich. Since P.U.
Bach lived in Dudeldorf,
only a few miles down the
road from Wein-am-Rhein,
he was P.D.Q.'s closest
relative, and he was, in
fact, one of the few
members of the family who
was on speaking terms
with P.D.Q. The story,
related to P.D.Q.
(fortunately for us
posterity types) in a
letter, may be summarized
thus: The town of
Dudeldorf was founded by
two brothers, Rudi and
Dieter Dudel, early in
the 18th century. Rudi
remained mayor of the
newborn burg for the rest
of his long life, but
Dieter had a dream of
starting a musicians'
colony, an entire city
devoted to music, which
dream, he finally
decided, could be
realized only in the New
World. In 1712, he and
several other bagpipers
sailed to Boston, never
to return to Germany.
(Henceforth, Rudi became
known as der deutscher
Dudel and Dieter as the
Yankee Dudel).
Unfortunately, the head
of the Boston Musicians'
Guild had gotten wind of
Dudel's plans, and
Wilhelm Wiesel (pron.
VEE-zle), known none too
affectionately around
town as Wiesel the
Weasel, was not about to
share what few gigs there
were in colonial America
with more foreigners and
outside agitators. He and
his cronies were on hand
to meet Dudel's boat when
it pulled into Boston
Harbor; they intended to
prevent the newcomers'
disembarkation, but Dudel
and his companions
managed to escape to the
other side of the bay in
a dinghy, landing with
just enough time to rent
a carriage and horses
before hearing the sound
of The Weasel and his
men, who had had to come
around the long way. The
Germans headed West, with
the Bostonians in furious
pursuit. soon the city
had been left far behind,
and by midnight so had
the pursuers; Dieter
Dudel decided that it was
safe for him and his men
to stop and sleep until
daybreak. When they
awoke, they found that
they were in a beautiful
landscape of low,
forested mountains and
pleasant fields, warmed
by the brilliant morning
sun and serenaded by an
entrancing variety of
birds. Here, Dudel
thought, her is where I
will build my colony. The
immigrants continued down
the road at a leisurely
pace until they came upon
a little church, all by
itself in the
countryside, from which
there suddenly emanated
the sounds of a pipe
organ. At this point, the
temptation to quote from
P.U. Bach's letter to
P.D.Q. cannot be
resisted: They went
inside and, after
listening to the glorious
music for a while,
introduced themselves to
the organist. And who do
you think it was? Are you
ready for this -- it was
your old man! Hey, no
kidding -- you know, I'm
sure, that your father
was the guy to get when
it came to testing new
organs, and whoever had
that one in Massachusetts
built offered old
Sebastian a tidy sum to
go over there and check
it out. The unexpected
meeting with J.S. Bach
and his sponsors was
interrupted by the sound
of horse hooves, as the
dreaded Wiesel and his
men thundered on to the
scene. They had been
riding all night,
however, and they were no
spring chickens to start
with, and as soon as they
reached the church they
all dropped, exhausted,
to the ground. The elated
Germans rang the church
bells and offered to buy
everyone a beer at the
nearest tavern. There
they were taught, and
joined in singing, what
might be called the
national anthem of the
New World. The melody of
this pre-revolutionary
patriotic song is still
remembered (P.D.Q. Bach
quotes it, in the bass
instruments, near the end
of the overture), but is
words are now all but
forgotten: Freedom, of
thee we sing, Freedom
e'er is our goal; Death
to the English King, Long
live Rock and Ross. The
striking paucity of
biographical references
to Johann Sebastian Bah
during the year 1712 can
now be explained: he was
abroad for a significant
part of that year,
testing organs in the
British Colonies. That
this revelation has not
been accepted as fact by
the musicological
establishment is no
surprise, since it means
that a lot of books would
have to be rewritten. The
members of that
establishment haven't
even accepted the
existence of P.D.Q. Bach,
one of whose major works
the 1712 Overture
certainly is. It is also
a work that shows
Tchaikowsky up as the
shameless plagiarizer
that some of us have
always known he was. The
discovery of this awesome
opus was made possible by
a Boston Pops Centennial
Research Commission; the
first modern performance
took place at the opening
concert of the 100th
anniversary season of
that orchestra, under the
exciting but authentic
direction of John
Williams.
Ring Christmas Bells Orchestre à Cordes [Conducteur et Parties séparées] - Débutant Wingert-Jones Publications
Composed by Deborah Baker Monday. For string orchestra. Christmas/Holiday. G...(+)
Composed by Deborah Baker
Monday. For string
orchestra.
Christmas/Holiday. Grade
1.
Score and set of parts.
Duration 1:54. Published
by
Wingert-Jones
Publications
Ring the bells Chorale SATB SATB, Piano Oxford University Press
Composed by Alan Bullard (1947-). Christmas Songs and Carols - Mixed Voices. ...(+)
Composed by Alan Bullard
(1947-). Christmas Songs
and
Carols - Mixed Voices.
Christmas. Vocal score.
12
pages. Duration 2'.
Oxford
University Press
#9780193364998. Published
by
Oxford University Press
Chamber Music String Quartet SKU: PR.114405050 Composed by John Downey. S...(+)
Chamber Music String
Quartet
SKU:
PR.114405050
Composed
by John Downey. Set of
Score and Parts. With
Standard notation. 53
pages. Duration 25
minutes. Theodore Presser
Company #114-40505.
Published by Theodore
Presser Company
(PR.114405050).
UPC:
680160008377. 11 x 14
inches.
Although
structurally it
subdivides into five
movements, the entire
quartet emerges as one
vast continuum. There are
no formal breaks between
movements. However,
certain musical signposts
can be discerned,
associated with each of
the movements'
terminations and new
beginnings. The opening
movement, The Nostalgia
of Clanging Bell
Sonorities, begins
floating on recurrent Bbs
whose soft rhythmic flow
slowly puts into motion
strong undercurrents
suggestive of the latent
power of water... After
several suggestions of
tolling bells, the
movement gradually fades
into hushed tones of
veiled and very distant
sonorities. It uses a
unique efffect, for the
first time in a musical
context, conveyed through
the use of extra heavy
practice mutes. The
second movement, The
Spill of Water ,
disengages itself from
the first through its
distinct contrast in
tempo. Water moves fast,
and when it splashes, it
tends to run wildly. In
this case, it happens to
be bubbly water that
gushes forth bodly...
smashing across rocky
shorlines. So, too, the
music attempts to conjure
such moods. At the end of
this movement, a cello
cadenza emerges,
introducing an
introspective type of
melodicism. The third
movement, The Poignancy
of Memory, contains many
silences as it tries to
convey memory through
fragmented remembrances
much like often occur in
our dream state.
Progressing through
several slowly building
images, it gradually
works itself into
juxtaposition of musical
images. Towards the
movement's end, high
harmonics are sounding in
all four instruments
while left hand pizzicato
notes in the cello pluch
the last remembrances of
this central core. Almost
imperceptibly, the viola
assumes leadership as it
dissolves into: The
fourth movement, The
Fluidity of Motion, which
has mostly the viola, but
also the cello,
articulating lyrical
statements against the
sheets of sound conjured
up by the two violins
playing a flood of
swirling figures, evokes
a kind of static motion
in spae. Here, the
virtually imperceptible
manner in which this
hushed whisper continues
incessantly, can suggest
the potential fluidity
with which movement may
inch forward... Later
into the fourth movement
, two fairly extended
solos by the second and
then the first violins,
lead to a kind of
spontaneous dialogue
among the four
instrumentalists.
Eventually, this musical
conversation gets caught
up in: The fifth
movement's The Rush of
Time, which opens with a
hushed flurry of speed,
precipitates the Finale.
It generates, at first
slowly, but then very
swiftly, whole shifts of
rhythmic fields that
initially seem to
conflict with one
another. Ultimately, this
use of 'psycho-rhythmics
contributes to an on-rush
of motion and time.
Rhythmic changes are, at
times, abruptly
precipitated with but
little or no preparation
creating a kind of
inevitability in forward
thrust, while the
movement rushes forward
with a feeling of gradual
and continuous
acceleration. It gathers
density as more and more
notes are piled
progressively upon
successive beats. The
attempt is to spark
tension and ignite
excitement by means of
frenetic confrontations
of dissimilitudes.
Ultimately - with the
help of time - these
polarities centrifically
spin out their own
destinies with their
accompanying fall-out and
own inevitable
resolutions.
Handbell Ensemble SKU: HP.3007 Arranged by Karissa Dennis. Ring with 6. H...(+)
Handbell Ensemble
SKU:
HP.3007
Arranged by
Karissa Dennis. Ring with
6. Hymn Arrangements,
Funeral & Memorial,
Christmas, Lent,
Thanksgiving, General
Worship, Faith &
Faithfulness, God, Grace,
Gratefulness, Hope, Joy,
Love, Mercy, Adoration &
Praise, Worship. Handbell
score. 20 pages. Hope
Publishing Company #3007.
Published by Hope
Publishing Company
(HP.3007).
UPC:
763628130078.
Volum
e 3 in the Ring w/6
Year-Round Series The
latest in our series for
6 ringers. These 8
arrangements can be
played by only 6 people.
Because there are more
than 12 bells used in
each piece, there is more
harmonic diversity and
tables may be necessary.
A perfect set to provide
a year of music with a
smaller ensemble.
Chamber Music Violin SKU: CF.BF142 22 Holiday Arrangements for Any Com...(+)
Chamber Music Violin
SKU: CF.BF142
22 Holiday
Arrangements for Any
Combination of String
Instruments. Composed
by Basque Carol, Bernard
de la Monnoye, Catalonian
Carol, English Carol,
Felix Bartholdy
Mendelssohn, Franz Xaver
Gruber, French carol,
James Pierpont, John
Henry Hopkins, John Wade,
Lewis Redner, Mykola
Leontovich, Richard
Storrs Willis, and Welsh
Carol. Arranged by Todd
Parrish. Collection -
Score. 48 pages. Carl
Fischer Music #BF142.
Published by Carl Fischer
Music (CF.BF142).
ISBN
9781491160145. UPC:
680160918744.
The
22 holiday classics
contained in this
collection have been
carefully arranged for
any combination of string
trio. The melodies,
both sacred and secular,
cover many centuries and
originate in Western
Europe and the United
States. Each work was
selected for its quality,
musical interest, and
appropriateness in a
chamber setting. All
pieces in this collection
have stood the test of
time and are worthy of
both study and
performance. Arranged
specifically for a
chamber setting, the
trios may be performed in
a variety of venues from
church services to
holiday gatherings. This
Compatible String
Ensembles collection of
Christmas Trios will set
the mood in any
environment.This Series
is Available for:Violin
BF142Viola BF143Cello
BF144Bass BF145. The
22 Christmas tunes
contained in this
collection have been
carefully arranged for
any combination of string
trio. The most standard
instrumentation for
voicing is violin, viola,
and cello. However, three
of the same instruments
work well as do other
groupings, given that the
higher-pitched instrument
plays the higher part.
This three-part format
follows a standard order:
part 1 is melody, part 2
is harmony, and part 3 is
a traditional bass line.
Optional 8va markings are
sometimes given to help
the voicings sound
better.The selections
have been arranged in
alphabetic order. The
melodies, both sacred and
secular, cover many
centuries and originate
in Western Europe and the
United States. Each work
is in the public domain
and was selected for both
its quality and musical
interest.Arranged
specifically for a
chamber setting, the
trios may be performed in
a variety of venues from
church services to
holiday gatherings. Some
repeats are marked in the
music, but any selection
may be repeated for the
appropriate amount of
music needed. Bowings
have been added as
suggestions, and some
fingerings have been
added to show the
direction of shifts
beyond first
position.—Todd
ParrishOrchestra Editor,
Carl Fischer MusicJune
2021.
Chamber Music solo viola SKU: CF.BF143 22 Holiday Arrangements for Any...(+)
Chamber Music solo viola
SKU: CF.BF143
22 Holiday
Arrangements for Any
Combination of String
Instruments. Composed
by Basque Carol, Bernard
de la Monnoye, Catalonian
Carol, English Carol,
Felix Bartholdy
Mendelssohn, Franz Xaver
Gruber, French carol,
James Pierpont, John
Henry Hopkins, John Wade,
Lewis Redner, Mykola
Leontovich, Richard
Storrs Willis, and Welsh
Carol. Arranged by Todd
Parrish. Collection -
Score. 48 pages. Carl
Fischer Music #BF143.
Published by Carl Fischer
Music (CF.BF143).
ISBN
9781491160152. UPC:
680160918751.
The
22 holiday classics
contained in this
collection have been
carefully arranged for
any combination of string
trio. The melodies, both
sacred and secular, cover
many centuries and
originate in Western
Europe and the United
States. Each work was
selected for its quality,
musical interest, and
appropriateness in a
chamber setting. All
pieces in this collection
have stood the test of
time and are worthy of
both study and
performance. Including
such favorites as Carol
of the Bells, Silent
Night, and God Rest You
Merry, Gentlemen, these
trios may be performed in
a variety of venues from
church services to
holiday gatherings. This
Compatible String
Ensembles collection of
Christmas Trios will set
the mood in any
environment.
Chamber Music Double Bass SKU: CF.BF145 22 Holiday Arrangements for An...(+)
Chamber Music Double Bass
SKU: CF.BF145
22 Holiday
Arrangements for Any
Combination of String
Instruments. Composed
by Basque Carol, Bernard
de la Monnoye, Catalonian
Carol, English Carol,
Felix Bartholdy
Mendelssohn, Franz Xaver
Gruber, French carol,
James Pierpont, John
Henry Hopkins, John Wade,
Lewis Redner, Mykola
Leontovich, Richard
Storrs Willis, and Welsh
Carol. Arranged by Todd
Parrish. Collection -
Score. 48 pages. Carl
Fischer Music #BF145.
Published by Carl Fischer
Music (CF.BF145).
ISBN
9781491160176. UPC:
680160918775.
The
22 holiday classics
contained in this
collection have been
carefully arranged for
any combination of string
trio. The melodies, both
sacred and secular, cover
many centuries and
originate in Western
Europe and the United
States. Each work was
selected for its quality,
musical interest, and
appropriateness in a
chamber setting. All
pieces in this collection
have stood the test of
time and are worthy of
both study and
performance. Including
such favorites as Carol
of the Bells, Silent
Night, and God Rest You
Merry, Gentlemen, these
trios may be performed in
a variety of venues from
church services to
holiday gatherings. This
Compatible String
Ensembles collection of
Christmas Trios will set
the mood in any
environment.
Composed by Traditional. Arranged by Robert W. Smith. Orchestra. String Orchestr...(+)
Composed by Traditional.
Arranged by Robert W.
Smith. Orchestra. String
Orchestra. Belwin Concert
String Orchestra.
Christmas; Winter. Grade
3.5. Conductor Score and
Parts. 164 pages.
Duration 5:56. Published
by Belwin Music
(Featuring: I Saw Three Ships / Ding! Dong! Merrily on High / I Heard the Bells ...(+)
(Featuring: I Saw Three
Ships / Ding! Dong!
Merrily on High / I Heard
the Bells of Christmas
Day / Ukrainian Bell
Carol). Arranged by
Douglas E. Wagner.
Concert Band. Concert
Band; Part(s); Score.
Belwin Concert Band.
Form: Medley. Christmas;
Sacred; Winter. Grade 3.
240 pages. Published by
Belwin Music
Jingle Basses Orchestre à Cordes [Conducteur et Parties séparées] - Débutant Alfred Publishing
(Bass Section Feature). Arranged by Bob Phillips. Orchestra. Part(s); Score; Str...(+)
(Bass Section Feature).
Arranged by Bob Phillips.
Orchestra. Part(s);
Score; String Orchestra.
Sound Innovations for
Strings. Christmas;
Winter. Grade 1. 72
pages. Published by
Alfred Music
Compatible with any and all instruments in this series for trios. Compose...(+)
Compatible with any
and all instruments in
this series for
trios. Composed by
Mykola D. Leontovich /
Peter J. Wilhousky.
Arranged by Larry Clark.
Performance score. With
Standard notation. 4
pages. Carl Fischer
#MXE0090. Published by
Carl Fischer (CF.MXE90).
For Him All Stars Chorale 3 parties SSA [Vocal Score] Oxford University Press
For Him all Stars. (15 Carols for Upper Voices). For Upper voices (SSA) accompan...(+)
For Him all Stars. (15
Carols for Upper Voices).
For Upper voices (SSA)
accompanied and a
cappella (Ring the bells:
2 flutes, oboe
(optional), 2 clarinets,
bassoon (optional), 2
horns, trumpet, 2
trombones (optional),
glockenspiel (optional),
harp/piano (optional),
strings; Love came down
at Christmas: Strings
Scots Nativity (brass): 2
trumpets, horn, t). Upper
Voices. Christmas, Choral
Collection. Vocal score.
88 pages. Published by
Oxford University Press
Carol Of The Bells Orchestre à Cordes [Conducteur et Parties séparées] - Intermédiaire Kendor Music Inc.
By Traditional. Arranged by Michael Hopkins. For string orchestra. Concert Strin...(+)
By Traditional. Arranged
by Michael Hopkins. For
string orchestra. Concert
String Orchestra Series.
Christmas. Grade 3. Score
and set of parts.
Duration 2:30. Published
by Kendor Music Inc
December
7, 1941. Composed by
Christina Huss R. Alan
Carter. Sps. Set of Score
and Parts.
2+16+4+8+8+8+4+4+4+4+4+4+
6+6+6+4+4+4+4+6+6+6+6+4+6
+6+2+4+8+2+28 pages.
Duration 6 minutes, 45
seconds. Carl Fischer
Music #SPS95. Published
by Carl Fischer Music
(CF.SPS95).
ISBN
9781491161302. UPC:
680160919895.
Writt
en to commemorate the
80th Anniversary of the
surprise attack on the
American Pacific Fleet,
Remembering Pearl Harbor
is a stirring tribute
honoring the heroes of
the date which will live
in infamy- December 7,
1941. Like flying over
the Pacific, the opening
bars seemingly soar back
in time. The composition
takes the listener on a
moving journey from the
precarious moments before
the fateful attack,
through the air strike
and resulting aftermath.
The musical voyage begins
with chimes, signifying
the hour of the attack
that Sunday morning,
developing into the
heroic main theme
representing the Spirit
of America. A rousing
version of Anchors Aweigh
takes us to the naval
base at Pearl Harbor and
the activities of the
day. By the end of
Anchors Aweigh, the mood
seems to change,
foreshadowing the fate of
the U.S. fleet. Next, the
haunting theme of the
Japanese National Anthem
is heard and the distant
sound of propellers as
they approach. When the
planes arrive, the battle
rages until there is
total destruction.
Countless people lost
their lives on this
tragic day. The playing
of Taps and the Navy
Hymn, Eternal Father,
Strong to Save is
presented as an homage to
those who perished.
Following this solemn
moment, the American
spirit begins to rise as
they come together to
defeat the enemy. As the
U.S. triumphs in the end,
we hear fragments of many
American tunes depicting
the strength and
resilience of the
American People. You may
want to consider using
portions of Franklin
Delano Roosevelt's famous
speech to enhance your
performance. The
following sections are
suggested: Measure 46:
Yesterday, December 7th,
1941 - a date which will
live in infamy - the
United States of America
was suddenly and
deliberately attacked by
the naval and air forces
of the Empire of Japan.
Measure 83: The attack
yesterday on the Hawaiian
Islands has caused severe
damage to American naval
and military forces. I
regret to tell you that
very many American lives
have been lost. Measure
105: No matter how long
it may take us to
overcome this
premeditated invasion,
the American people in
their righteous might
will win through to
absolute
victory.. Written to
commemorate the 80th
Anniversary of the
surprise attack on the
American Pacific Fleet,
Remembering Pearl Harbor
is a stirring tribute
honoring the heroes of
the “date which
will live in
infamyâ€- December
7, 1941. Like flying over
the Pacific, the opening
bars seemingly soar back
in time. The composition
takes the listener on a
moving journey from the
precarious moments before
the fateful attack,
through the air strike
and resulting
aftermath.The musical
voyage begins with
chimes, signifying the
hour of the attack that
Sunday morning,
developing into the
heroic main theme
representing the Spirit
of America. A rousing
version of Anchors
Aweigh takes us to the
naval base at Pearl
Harbor and the activities
of the day. By the end of
Anchors Aweigh, the mood
seems to change,
foreshadowing the fate of
the U.S.
fleet.  Next, the
haunting theme of the
Japanese National Anthem
is heard and the distant
sound of propellers as
they approach. When the
planes arrive, the battle
rages until there is
total destruction.
Countless people lost
their lives on this
tragic day. The playing
of Taps and the Navy
Hymn, Eternal Father,
Strong to Save is
presented as an homage to
those who
perished.Following this
solemn moment, the
American spirit begins to
rise as they come
together to defeat the
enemy. As the U.S.
triumphs in the end, we
hear fragments of many
American tunes depicting
the strength and
resilience of the
American People.You may
want to consider using
portions of Franklin
Delano Roosevelt’s
famous speech to enhance
your performance. The
following sections are
suggested:Measure 46:
“Yesterday,
December 7th, 1941
– a date which
will live in infamy
– the United
States of America was
suddenly and deliberately
attacked by the naval and
air forces of the Empire
of Japan.â€Measure
83: “The attack
yesterday on the Hawaiian
Islands has caused severe
damage to American naval
and military forces. I
regret to tell you that
very many American lives
have been
lost.â€Measure 105:
“No matter how long
it may take us to
overcome this
premeditated invasion,
the American people in
their righteous might
will win through to
absolute
victory.â€.