Soaring! Orchestre d'harmonie [Conducteur] - Facile Opus III Wind Orchestra Publications
Grade 3 SKU: CL.012-3696-01 Composed by Shaffer. Concert Band. Gems of th...(+)
Grade 3
SKU:
CL.012-3696-01
Composed by Shaffer.
Concert Band. Gems of the
Concert Band Series.
Audio recording available
separately (item
CL.WFR357). Extra full
score. Composed 2008.
Duration 5 minutes, 57
seconds. Opus III Wind
Orchestra Publications
#012-3696-01. Published
by Opus III Wind
Orchestra Publications
(CL.012-3696-01).
Soaring is a
mode of flight in which
height is gained slowly
by using air that is
moving upwards. Written
for music
educator’s Randy
Heuvelman’s 30
years of service to the
Woodland (Illinois)
School District, Soaring
paints a music portrait
of dedication, compassion
and intensity, all
aspects of this
educator’s tenure.
A slower middle section
alternating between
choirs of woodwinds and
brass paints a serene
portrait with lush
harmonies and soaring
countermelodies. The
extensive percussion
scoring utilizes timbres
that add and complement
the completed musical
setting. Soaring is truly
one of David’s
best works.
About Gems of
the Concert
Band
A
series of transcriptions
and other works in
varying styles,
representative of the
programming of the Great
American Classic Concert
Band era of a century
ago, as exemplified by
John Phillip Sousa, Edwin
Franko Goldman, Karl L.
King, and Leonard B.
Smith
Chamber Music Piano, Trumpet SKU: CF.W2698 Composed by Sean O'Loughlin. S...(+)
Chamber Music Piano,
Trumpet
SKU:
CF.W2698
Composed by
Sean O'Loughlin. Set of
Score and Parts. 12+2
pages. Carl Fischer Music
#W2698. Published by Carl
Fischer Music (CF.W2698).
ISBN 9781491160305.
UPC:
680160918881.
Soari
ng is a work commissioned
by the G. Ray Bodley High
School Bands under the
direction of Terrance
Caviness in Syracuse, New
York. The work is
dedicated to my dear
friend David Bamonte, who
is currently the
Assistant Principal
Trumpet of the Oregon
Symphony in Portland,
Oregon. David, Terry and
I have been friends and
colleagues for many years
and were looking for a
project to collaborate
with each other. This
work was originally
written for Trumpet and
Concert Band, but I
quickly realized that it
would work really well
with a piano
accompaniment as well.
The result is the work
you see here. As a
trumpet player myself, I
grew up studying the
works of Arban, Clarke,
Hindemith, Arutunian,
Hummel, Haydn and the
more modern sonatas by
Kent Kennan and Halsey
Stevens. This music is an
homage to these great
masters while keeping my
original voice intact. At
times, the piece is lush
and lyrical while other
moments showcase the
power and majesty of the
trumpet sound. The music
is even a touch athletic
while having a musical
conversation with the
piano. Enjoy the journey
of discovering this
exciting new work for you
and your students. --Sean
O'Loughlin. Soaring is
a work commissioned by
the G. Ray Bodley High
School Bands under the
direction of Terrance
Caviness in Syracuse, New
York. The work is
dedicated to my dear
friend David Bamonte, who
is currently the
Assistant Principal
Trumpet of the Oregon
Symphony in Portland,
Oregon. David, Terry and
I have been friends and
colleagues for many years
and were looking for a
project to collaborate
with each other. This
work was originally
written for Trumpet and
Concert Band, but I
quickly realized that it
would work really well
with a piano
accompaniment as well.
The result is the work
you see here.As a trumpet
player myself, I grew up
studying the works of
Arban, Clarke, Hindemith,
Arutunian, Hummel, Haydn
and the more modern
sonatas by Kent Kennan
and Halsey Stevens. This
music is an homage to
these great masters while
keeping my original voice
intact. At times, the
piece is lush and lyrical
while other moments
showcase the power and
majesty of the trumpet
sound. The music is even
a touch athletic while
having a musical
conversation with the
piano.Enjoy the journey
of discovering this
exciting new work for you
and your
students.—Sean
O'Loughlin.
Soaring Orchestre d'harmonie [Conducteur] - Facile Carl Fischer
Band concert band - Grade 3 SKU: CF.CPS137F Composed by Sean O'Loughlin. ...(+)
Band concert band - Grade
3
SKU: CF.CPS137F
Composed by Sean
O'Loughlin. Concert
Performcnace Series. Full
score. With Standard
notation. 28 pages. Carl
Fischer Music #CPS137F.
Published by Carl Fischer
Music (CF.CPS137F).
ISBN 9780825892790.
UPC: 798408092795. 9 x 12
inches.
Soaring is
an exciting composition
for solo trumpet and
concert band. The music
is celebratory in nature
and features the dynamic
and rhythmic range of the
trumpet. The piece opens
with an American rhythmic
gesture reminiscent of
Aaron Copland and John
Williams. The trumpet
answers this gesture with
a bold cadenza that will
transform into the main
melody a little later on
in the piece. If you have
a good trumpet player,
this would be a great
choice to feature them or
it can be used with a
feature soloist from
elsewhere. Just
gorgeous.
Grade 3 SKU: CL.RWS-2219-01 (Camden Celebration). Composed by Robe...(+)
Grade 3
SKU:
CL.RWS-2219-01
(Camden
Celebration).
Composed by Robert W.
Smith. Concert Band.
Extra full score.
Composed 2022. RWS Music
Company #RWS-2219-01.
Published by RWS Music
Company (CL.RWS-2219-01).
Woodwind
flourishes, soaring
melodic lines and
powerful brass
characterize this new
symphonic statement by
composer Robert W. Smith.
Inspired by the
Carolinas, one of
America's most beautiful
and historic regions, the
composer takes us on a
musically panoramic
journey across the skies.
From the mountains in the
west (high country) to
the Atlantic coast in the
east (low country), the
mid-Atlantic region
epitomizes geographic and
cultural beauty that is
uniquely American and
decidedly Carolinian. A
brilliant addition to
your next concert or
festival performance.
Eagle Soaring Orchestre à Cordes [Conducteur et Parties séparées] - Facile Kendor Music Inc.
String Orchestra - Grade 2.5 SKU: KN.KVS2303 Composed by Brian Holmes. Vo...(+)
String Orchestra - Grade
2.5
SKU:
KN.KVS2303
Composed
by Brian Holmes. Voyager
String Orchestra Series
2-2.5. Score and Parts.
Kendor Music Inc
#KVS2303. Published by
Kendor Music Inc
(KN.KVS2303).
12 x 9
inches.
The opening
energetic eighth note
pattern of the upper
strings provides the
perfect backdrop for the
soaring melody of the
Cello and Bass sections.
The tempo remains
constant throughout as
the pulsating rhythm of
the opening theme is
passed from section to
section. This would be a
powerful way to begin or
end a concert.
The Soaring Spirit Orchestre d'harmonie [Conducteur et Parties séparées] - Débutant C.L. Barnhouse
By Grice. For concert band. Young Band. Sound Foundations. Grade 1. Score and pa...(+)
By Grice. For concert
band. Young Band. Sound
Foundations. Grade 1.
Score and parts. Composed
2010. Duration 2 minutes,
6 seconds. Published by
C.L. Barnhouse
By Valerie Roth Roubos. For Piano. Composers In Focus. Contents include: Candy B...(+)
By Valerie Roth Roubos.
For Piano. Composers In
Focus. Contents include:
Candy Bars for Breakfast;
It's Raining; The Magical
Forest; Halloween Night;
Russian Sleigh Ride; The
Forgotten Road; Soaring
Through the Clouds; Race
Across the Serengeti;
December Frost; Calypso
Island. Level:
Intermediate. Book.
Published by The FJH
Music Company Inc.
The Soaring Eagle (Cle Elum Eagles) Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire Opus III Wind Orchestra Publications
Grade 4 SKU: CL.012-4982-00 March. Composed by King. Arranged by G...(+)
Grade 4
SKU:
CL.012-4982-00
March. Composed by
King. Arranged by Glover.
Concert Band. Score and
set of parts. Composed
2022. Opus III Wind
Orchestra Publications
#012-4982-00. Published
by Opus III Wind
Orchestra Publications
(CL.012-4982-00).
Karl King was a
true American march
master, and The Soaring
Eagle is one of his
finest and most tuneful
marches! Memorable
melodies, exciting
countermelodies, and
woodwind obbligatos
combine to make this an
outstanding choice for
mature bands. Originally
entitled Cle Elum Eagles,
this edition for the Karl
L. King Centennial Series
provides a wealth of
historical and
performance material, as
well as background on
this great march. One of
the King’s
best!
To the Sky Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire FJH
Concert Band Symphonic Band - Grade 4 SKU: FJ.B1536 Composed by Jame...(+)
Concert Band
Symphonic Band - Grade 4
SKU: FJ.B1536
Composed by James M.
Stephenson. Concert Band.
FJH Symphonic Band. Score
and Part(s). Duration
5:00. The FJH Music
Company Inc #98-B1536.
Published by The FJH
Music Company Inc
(FJ.B1536).
UPC:
674398230808.
English.
Opening
with an edge of
uncertainty, soft brass
fanfares immediately
begin to build in
intensity until bold
harmonic lines rise to
support the soaring
melodic material. A
flurry of rhythmic
activity catapults the
work forward in joyous
fashion while lyrical
lines continue in stark
contrast. Eventually, the
opening fanfare material
returns while woodwind
flourishes drive the work
to an exciting
conclusion!
About FJH
Symphonic
Band
Appro
priate for accomplished
high school, college, and
professional groups.
Includes expanded
instrumentation and
ranges. Grades 4 -
5
Soaring Orchestre d'harmonie - Facile Carl Fischer
Band concert band - Grade 3 SKU: CF.CPS137 Composed by Sean O'Loughlin. C...(+)
Band concert band - Grade
3
SKU: CF.CPS137
Composed by Sean
O'Loughlin. Concert
Performcnace Series. Set
of Score and Parts. With
Standard notation.
8+8+4+8+8+8+4+4+4+4+4+4+2
+8+8+8+4+4+6+6+4+6+8+4+2+
4+10+28 pages. Duration 5
minutes, 14 seconds. Carl
Fischer Music #CPS137.
Published by Carl Fischer
Music (CF.CPS137).
ISBN 9780825892783.
UPC: 798408092788. 9 x 12
inches.
Soaring is
an exciting composition
for solo trumpet and
concert band. The music
is celebratory in nature
and features the dynamic
and rhythmic range of the
trumpet. The piece opens
with an American rhythmic
gesture reminiscent of
Aaron Copland and John
Williams. The trumpet
answers this gesture with
a bold cadenza that will
transform into the main
melody a little later on
in the piece. If you have
a good trumpet player,
this would be a great
choice to feature them or
it can be used with a
feature soloist from
elsewhere. Just
gorgeous.
The Soaring Spirit Orchestre d'harmonie [Conducteur] - Débutant C.L. Barnhouse
Grade 1 SKU: CL.023-3911-01 Composed by Grice. Young Concert Band. Sound ...(+)
Grade 1
SKU:
CL.023-3911-01
Composed by Grice. Young
Concert Band. Sound
Foundations Series. Audio
recording available
separately (item
CL.WFR370). Extra full
score. Composed 2010.
Duration 2 minutes, 6
seconds. C.L. Barnhouse
#023-3911-01. Published
by C.L. Barnhouse
(CL.023-3911-01).
Celebrating the
enduring human spirit,
composer Rob Grice has
created this exciting
concert/festival work for
the young band. The
Soaring Spirit is musical
energy, grace and
elegance from the
beginning to end. Solid
teaching material and
scoring in a very musical
setting make this an
excellent programming
choice for any concert
performance.
Grade 4 SKU: CL.012-4982-01 March. Composed by King. Arranged by G...(+)
Grade 4
SKU:
CL.012-4982-01
March. Composed by
King. Arranged by Glover.
Concert Band. Extra full
score. Composed 2022.
Opus III Wind Orchestra
Publications
#012-4982-01. Published
by Opus III Wind
Orchestra Publications
(CL.012-4982-01).
Karl King was a
true American march
master, and The Soaring
Eagle is one of his
finest and most tuneful
marches! Memorable
melodies, exciting
countermelodies, and
woodwind obbligatos
combine to make this an
outstanding choice for
mature bands. Originally
entitled Cle Elum Eagles,
this edition for the Karl
L. King Centennial Series
provides a wealth of
historical and
performance material, as
well as background on
this great march. One of
the King’s
best!
Eagle Soaring Orchestre à Cordes [Conducteur] - Facile Kendor Music Inc.
String Orchestra - Grade 2.5 SKU: KN.KVS2303FS Composed by Brian Holmes. ...(+)
String Orchestra - Grade
2.5
SKU:
KN.KVS2303FS
Composed
by Brian Holmes. Voyager
String Orchestra Series
2-2.5. Score Only. Kendor
Music Inc #KVS2303FS.
Published by Kendor Music
Inc (KN.KVS2303FS).
12
x 9 inches.
The
opening energetic eighth
note pattern of the upper
strings provides the
perfect backdrop for the
soaring melody of the
Cello and Bass sections.
The tempo remains
constant throughout as
the pulsating rhythm of
the opening theme is
passed from section to
section. This would be a
powerful way to begin or
end a concert.
Choral Hand Clap, Voice 1, Voice 2, Voice 3 SKU: CF.CM9600 Composed by Am...(+)
Choral Hand Clap, Voice
1, Voice 2, Voice 3
SKU: CF.CM9600
Composed by American Folk
Song. Arranged by Michael
John Trotta. Sws. Mjts.
Performance Score. 20
pages. Duration 3
minutes, 19 seconds. Carl
Fischer Music #CM9600.
Published by Carl Fischer
Music (CF.CM9600).
ISBN 9781491154229.
UPC: 680160912728. 6.875
x 10.5 inches. Key: G
major. English.
Traditional.
About the song .
. .
This
beloved American folk
song is set atop a
rhythmic vocal ostinato
that casts this familiar
tune in a new light. The
energetic ostinato
provides the backdrop for
the soaring vocal line.
Cued notes provide
additional options for
performance, based on the
needs of the ensemble and
the discretion of the
director.
About the text .
. .
The
text for this song dates
back to the 19th century
when one of its many
variants appeared in
Harpers New Monthly
Magazine in 1882. While
there is some debate
about the exact origin of
the song, it is likely
linked to the fur trade
that existed along the
Missouri river. The song
quickly spread along
these trade routes and
exists to this day as one
of the most familiar and
beloved American folk
songs.
This popular
song has been recorded by
many artists including
Judy Garland, Bruce
Springsteen, Bob Dylan,
Renee Flemming, the King
Singers, Chanticleer and
many more.
.
About the song .
. .
This
beloved American folk
song is set atop a
rhythmic vocal ostinato
that casts this familiar
tune in a new light. The
energetic ostinato
provides the backdrop for
the soaring vocal line.
Cued notes provide
additional options for
performance, based on the
needs of the ensemble and
the discretion of the
director.
About the text .
. .
The
text for this song dates
back to the 19th century
when one of its many
variants appeared in
Harpers New Monthly
Magazine in 1882. While
there is some debate
about the exact origin of
the song, it is likely
linked to the fur trade
that existed along the
Missouri river. The song
quickly spread along
these trade routes and
exists to this day as one
of the most familiar and
beloved American folk
songs.
This popular
song has been recorded by
many artists including
Judy Garland, Bruce
Springsteen, Bob Dylan,
Renee Flemming, the King
Singers, Chanticleer and
many more.
. About
the song . . . This
beloved American folk
song is set atop a
rhythmic vocal ostinato
that casts this familiar
tune in a new light. The
energetic ostinato
provides the backdrop for
the soaring vocal line.
Cued notes provide
additional options for
performance, based on the
needs of the ensemble and
the discretion of the
director. About the text
. . . The text for this
song dates back to the
19th century when one of
its many variants
appeared in Harpers New
Monthly Magazine in 1882.
While there is some
debate about the exact
origin of the song, it is
likely linked to the fur
trade that existed along
the Missouri river. The
song quickly spread along
these trade routes and
exists to this day as one
of the most familiar and
beloved American folk
songs. This popular song
has been recorded by many
artists including Judy
Garland, Bruce
Springsteen, Bob Dylan,
Renee Flemming, the King
Singers, Chanticleer and
many more. About the
song . . .This beloved
American folk song is set
atop a rhythmic vocal
ostinato that casts this
familiar tune in a new
light. The energetic
ostinato provides the
backdrop for the soaring
vocal line. Cued notes
provide additional
options for performance,
based on the needs of the
ensemble and the
discretion of the
director.About the text .
. .The text for this song
dates back to the 19th
century when one of its
many variants appeared in
Harpers New Monthly
Magazine in 1882. While
there is some debate
about the exact origin of
the song, it is likely
linked to the fur trade
that existed along the
Missouri river. The song
quickly spread along
these trade routes and
exists to this day as one
of the most familiar and
beloved American folk
songs.This popular song
has been recorded by many
artists including Judy
Garland, Bruce
Springsteen, Bob Dylan,
Renee Flemming, the King
Singers, Chanticleer and
many more.
Summer Dance Orchestre à Cordes [Conducteur et Parties séparées] - Facile Carl Fischer
Orchestra String Orchestra - Grade 2-2.5 SKU: CF.YAS19 Composed by Alan L...(+)
Orchestra String
Orchestra - Grade 2-2.5
SKU: CF.YAS19
Composed by Alan Lee
Silva. Carl Fischer Young
String Orchestra Series.
Classical. Score and
Parts. With Standard
notation. 12 pages. Carl
Fischer Music #YAS19.
Published by Carl Fischer
Music (CF.YAS19).
ISBN
9780825854859. UPC:
798408054854. 8.5 X 11
inches. Key: D
major.
Summer
Dance is a melodic,
up-tempo piece with
plenty of musical and
technical challenges for
every player. Musicians
should strive to play it
with an energetic yet
legato feel. A
spirited introduction
features an opening
melody in the violins and
active repeated-note
pedal patters in the
violas and low strings.
An AABA form begins at
m.5 and the orchestration
is immediately pared down
to feature violin I and
cello. It then builds
again in density to the B
section, where a quick
dynamic drop allows a
question-and-answer
melody between the two
parts to sing out. In m.
29, the melody is
harmonized and a
countermelody in violin I
introduced. The violins
take the melody soaring
in octaves in m. 33, as
the piece again builds to
the B section and
suddenly quiets. Measure
55 then provides more
question-and-answer
interplay, this time for
viola and cello, while
violin continues with its
newly harmonized melody.
Summer Dance finishes
with a soft recurrence of
the opening figure and a
build toward a powerful
divisi voicing
on beat 3 of m. 63, right
before the final
chord. Summer
Dance is a melodic,
up-tempo piece with
plenty of musical and
technical challenges for
every player. Musicians
should strive to play it
with an energetic yetA
legato feel. A
spirited introduction
features an opening
melody in the violins and
active repeated-note
pedal patters in the
violas and low strings.
An AABA form begins at
m.5 and the orchestration
is immediately pared down
to feature violin I and
cello. It then builds
again in density to the B
section, where a quick
dynamic drop allows a
question-and-answer
melody between the two
parts to sing out. In m.
29, the melody is
harmonized and a
countermelody in violin I
introduced. The violins
take the melody soaring
in octaves in m. 33, as
the piece again builds to
the B section and
suddenly quiets. Measure
55 then provides more
question-and-answer
interplay, this time for
viola and cello, while
violin continues with its
newly harmonized melody.
Summer Dance finishes
with a soft recurrence of
the opening figure and a
build toward a powerfulA
divisi voicing
on beat 3 of m. 63, right
before the final
chord. Summer Dance is
a melodic, up-tempo piece
with plenty of musical
and technical challenges
for every player.
Musicians should strive
to play it with an
energetic yet legato
feel. A spirited
introduction features an
opening melody in the
violins and active
repeated-note pedal
patters in the violas and
low strings. An AABA form
begins at m.5 and the
orchestration is
immediately pared down to
feature violin I and
cello. It then builds
again in density to the B
section, where a quick
dynamic drop allows a
question-and-answer
melody between the two
parts to sing out. In m.
29, the melody is
harmonized and a
countermelody in violin I
introduced. The violins
take the melody soaring
in octaves in m. 33, as
the piece again builds to
the B section and
suddenly quiets. Measure
55 then provides more
question-and-answer
interplay, this time for
viola and cello, while
violin continues with its
newly harmonized melody.
Summer Dance finishes
with a soft recurrence of
the opening figure and a
build toward a powerful
divisi voicing on beat 3
of m. 63, right before
the final
chord. Summer Dance is
a melodic, up-tempo piece
with plenty of musical
and technical challenges
for every player.
Musicians should strive
to play it with an
energetic yet legato
feel.A spirited
introduction features an
opening melody in the
violins and active
repeated-note pedal
patters in the violas and
low strings. An AABA form
begins at m.5 and the
orchestration is
immediately pared down to
feature violin I and
cello. It then builds
again in density to the B
section, where a quick
dynamic drop allows a
question-and-answer
melody between the two
parts to sing out.In m.
29, the melody is
harmonized and a
countermelody in violin I
introduced. The violins
take the melody soaring
in octaves in m. 33, as
the piece again builds to
the B section and
suddenly quiets. Measure
55 then provides more
question-and-answer
interplay, this time for
viola and cello, while
violin continues with its
newly harmonized melody.
Summer Dance finishes
with a soft recurrence of
the opening figure and a
build toward a
powerful divisi
voicing on beat 3 of m.
63, right before the
final chord.
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
Life Chorale SSAATTBB SSAATTBB, Piano Carl Fischer
Choral SSAATTBB choir, Piano (for rehearsal) SKU: CF.CM9738 Composed by J...(+)
Choral SSAATTBB choir,
Piano (for rehearsal)
SKU: CF.CM9738
Composed by Jacob
Narverud. 16 pages.
Duration 3 minutes. Carl
Fischer Music #CM9738.
Published by Carl Fischer
Music (CF.CM9738).
ISBN 9781491161180.
UPC: 680160919765. Key:
Eb major. English. Barter
by Sara
Teasdale.
Life has
loveliness to sell, All
beautiful and splendid
things, Blue waves
whitened on a cliff,
Soaring fire that sways
and sings, And children's
faces looking up Holding
wonder in a cup.
Life has loveliness to
sell, Music like a curve
of gold, Scent of pine
trees in the rain, Eyes
that love you, arms that
hold, And for your
spirit's still delight,
Holy thoughts that star
the night. Spend
all you have for
loveliness, Buy it and
never count the cost; For
one white singing hour of
peace Count many a year
of strife well lost, And
for a breath of ecstacy
Give all you have been,
or could be. --Barter
from Love Songs (1918) by
Sara Teasdale Sara
Teasdale (1884-1933) was
an American poet whose
short, personal lyrics
are noted for their
classical simplicity and
quiet intensity. Teasdale
was born in St. Louis,
Missouri and traveled to
Chicago as a young woman,
where she grew acquainted
with Harriet Monroe and
the literary circle
around Poetry. Teasdale
wrote seven books of
poetry in her lifetime
and received public
admiration for her
well-crafted lyrical
poetry which centered on
a woman's changing
perspectives of beauty,
love, life, and death.
Jacob Narverud (b. 1986)
is an American composer,
arranger, and conductor.
A native Kansan, Jacob is
the Founder/Artistic
Director of the Tallgrass
Chamber Choir, a
professional ensemble of
musicians from across the
Great Plains. Dr.
Narverud is a frequent
guest lecturer at
universities and
conferences as well as an
active guest
conductor/clinician for
choral festivals and
all-state choirs across
the United States. Many
of his compositions are
publisher best sellers
and are performed
worldwide by choirs of
all levels. Website:
jnarverud.com YouTube
& Spotify:
jacobnarverud. Life
has loveliness to sell,
All beautiful and
splendid things, Blue
waves whitened on a
cliff, Soaring fire that
sways and sings, And
children's faces looking
up Holding wonder like a
cup. Life has
loveliness to sell, Music
like a curve of gold,
Scent of pine trees in
the rain, Eyes that love
you, arms that hold, And
for your spirit's still
delight, Holy thoughts
that star the night.
Spend all you have
for loveliness, Buy it
and never count the cost;
For one white singing
hour of peace Count many
a year of strife well
lost, And for a breath of
ecstacy Give all you have
been, or could be.
--Barter from Love Songs
(1918) by Sara Teasdale
Sara Teasdale (1884-1933)
was an American poet
whose short, personal
lyrics are noted for
their classical
simplicity and quiet
intensity. Teasdale was
born in St. Louis,
Missouri and traveled to
Chicago as a young woman,
where she grew acquainted
with Harriet Monroe and
the literary circle
around Poetry. Teasdale
wrote seven books of
poetry in her lifetime
and received public
admiration for her
well-crafted lyrical
poetry which centered on
a woman's changing
perspectives of beauty,
love, life, and death.
Jacob Narverud (b. 1986)
is an American composer,
arranger, and conductor.
A native Kansan, Jacob is
the Founder/Artistic
Director of the Tallgrass
Chamber Choir, a
professional ensemble of
musicians from across the
Great Plains. Dr.
Narverud is a frequent
guest lecturer at
universities and
conferences as well as an
active guest
conductor/clinician for
choral festivals and
all-state choirs across
the United States. Many
of his compositions are
publisher best sellers
and are performed
worldwide by choirs of
all levels. Website:
jnarverud.com YouTube
& Spotify:
jacobnarverud. Life
has loveliness to
sell,All beautiful and
splendid things,Blue
waves whitened on a
cliff,Soaring fire that
sways and sings,And
children's faces looking
upHolding wonder like a
cup. Life has
loveliness to sell,Music
like a curve of
gold,Scent of pine trees
in the rain,Eyes that
love you, arms that
hold,And for your
spirit's still
delight,Holy thoughts
that star the
night. Spend all you
have for loveliness,Buy
it and never count the
cost;For one white
singing hour of
peaceCount many a year of
strife well lost,And for
a breath of ecstacyGive
all you have been, or
could
be.     Â
     Â
    Â
 —“Barter
†from Love Songs
(1918) by Sara
Teasdale Sara Teasdale
(1884-1933) was an
American poet whose
short, personal lyrics
are noted for their
classical simplicity and
quiet intensity. Teasdale
was born in St. Louis,
Missouri and traveled to
Chicago as a young woman,
where she grew acquainted
with Harriet Monroe and
the literary circle
around Poetry. Teasdale
wrote seven books of
poetry in her lifetime
and received public
admiration for her
well-crafted lyrical
poetry which centered on
a woman’s changing
perspectives of beauty,
love, life, and
death.Jacob Narverud (b.
1986) is an American
composer, arranger, and
conductor. A native
Kansan, Jacob is the
Founder/Artistic Director
of the Tallgrass Chamber
Choir, a professional
ensemble of musicians
from across the Great
Plains. Dr. Narverud is a
frequent guest lecturer
at universities and
conferences as well as an
active guest
conductor/clinician for
choral festivals and
all-state choirs across
the United States. Many
of his compositions are
publisher best sellers
and are performed
worldwide by choirs of
all levels.Website:
jnarverud.com  Â
    Â
YouTube & Spotify:
jacobnarverud.
Composed
by Michael Boo. Sws. Cps.
Full score. 20 pages.
Duration 3 minutes, 16
seconds. Carl Fischer
Music #CPS244F. Published
by Carl Fischer Music
(CF.CPS244F).
ISBN
9781491157992. UPC:
680160916597. 9 x 12
inches.
On Wings of
Flight is a jubilant,
short overture that is
meant to convey the
wonder of soaring high
above the ground.
Programmatically, it can
represent either the
flight of birds or
aircraft. Donat be
concerned if you donat
have some of the lower
voice color instruments
such as bass clarinet,
baritone saxophone,
and/or bassoon. Those
instruments are doubled
in the low brass. Bass
trombone isnat essential
as it doubles tuba, but a
lack or scarcity of bass
trombone and/or tuba
isnat critical if you do
have those other low
woodwinds. The repetitive
eighth-note accents
should be lighter than
normal so the ongoing
effect is more propulsive
than heavy. Keep those
eighth-note patterns
locked into the tempo so
the band refrains from
unwittingly accelerating.
Think of the legato
accented notes as
slightly separated as
opposed to being slurred.
When the accented whole
notes surrounded by rests
are played, be sure they
are held out for a full
four counts. Save the
crescendo for m. 19 and
quickly drop back down in
volume at m. 21. At m.
31, the whole notes do
not crescendo to the same
ff volume as the melody.
Those parts are to save
their crescendo for m.
35. Pay attention to the
instruments that do not
diminuendo at m. 39. In
the slower section after
m. 41, be careful that
the diminuendos on the
half notes donat sag in
pitch as the notes get
softer. Trumpets and
horns at m. 49 must not
play their notes as
accents. Give particular
attention to the
diminuendos in the melody
at m. 56, so that they
fade out as the volume of
the other instruments
grows. The accented notes
at mm. 85 and 86 should
each be heard through the
volume of the rest of the
instruments, so that the
addition of each pitch is
adequately heard. If you
wish, you may place more
emphasis on the accents
in the last two measures
of the piece than you did
earlier throughout the
piece. On Wings of
Flight is a jubilant,
short overture that is
meant to convey the
wonder of soaring high
above the ground.
Programmatically, it can
represent either the
flight of birds or
aircraft. Don't be
concerned if you don't
have some of the lower
voice color instruments
such as bass clarinet,
baritone saxophone,
and/or bassoon. Those
instruments are doubled
in the low brass. Bass
trombone isn't essential
as it doubles tuba, but a
lack or scarcity of bass
trombone and/or tuba
isn't critical if you do
have those other low
woodwinds. The repetitive
eighth-note accents
should be lighter than
normal so the ongoing
effect is more propulsive
than heavy. Keep those
eighth-note patterns
locked into the tempo so
the band refrains from
unwittingly accelerating.
Think of the legato
accented notes as
slightly separated as
opposed to being slurred.
When the accented whole
notes surrounded by rests
are played, be sure they
are held out for a full
four counts. Save the
crescendo for m. 19 and
quickly drop back down in
volume at m. 21. At m.
31, the whole notes do
not crescendo to the same
ff volume as the melody.
Those parts are to save
their crescendo for m.
35. Pay attention to the
instruments that do not
diminuendo at m. 39. In
the slower section after
m. 41, be careful that
the diminuendos on the
half notes don't sag in
pitch as the notes get
softer. Trumpets and
horns at m. 49 must not
play their notes as
accents. Give particular
attention to the
diminuendos in the melody
at m. 56, so that they
fade out as the volume of
the other instruments
grows. The accented notes
at mm. 85 and 86 should
each be heard through the
volume of the rest of the
instruments, so that the
addition of each pitch is
adequately heard. If you
wish, you may place more
emphasis on the accents
in the last two measures
of the piece than you did
earlier throughout the
piece. On Wings of
Flight is a jubilant,
short overture that is
meant to convey the
wonder of soaring high
above the ground.
Programmatically, it can
represent either the
flight of birds or
aircraft.Don’t be
concerned if you
don’t have some of
the lower voice color
instruments such as bass
clarinet, baritone
saxophone, and/or
bassoon. Those
instruments are doubled
in the low brass. Bass
trombone isn’t
essential as it doubles
tuba, but a lack or
scarcity of bass trombone
and/or tuba isn’t
critical if you do have
those other low
woodwinds.The repetitive
eighth-note accents
should be lighter than
normal so the ongoing
effect is more propulsive
than heavy. Keep those
eighth-note patterns
locked into the tempo so
the band refrains from
unwittingly accelerating.
Think of the legato
accented notes as
slightly separated as
opposed to being
slurred.When the accented
whole notes surrounded by
rests are played, be sure
they are held out for a
full four counts. Save
the crescendo for m. 19
and quickly drop back
down in volume at m. 21.
At m. 31, the whole notes
do not crescendo to the
same ff volume as the
melody. Those parts are
to save their crescendo
for m. 35. Pay attention
to the instruments that
do not diminuendo at m.
39.In the slower section
after m. 41, be careful
that the diminuendos on
the half notes
don’t sag in pitch
as the notes get softer.
Trumpets and horns at m.
49 must not play their
notes as accents. Give
particular attention to
the diminuendos in the
melody at m. 56, so that
they fade out as the
volume of the other
instruments grows.The
accented notes at mm. 85
and 86 should each be
heard through the volume
of the rest of the
instruments, so that the
addition of each pitch is
adequately heard. If you
wish, you may place more
emphasis on the accents
in the last two measures
of the piece than you did
earlier throughout the
piece.
Choral SA choir and piano SKU: CF.CM9707 Composed by Austin Hunt. 8 pages...(+)
Choral SA choir and piano
SKU: CF.CM9707
Composed by Austin Hunt.
8 pages. Duration 3
minutes, 19 seconds. Carl
Fischer Music #CM9707.
Published by Carl Fischer
Music (CF.CM9707).
ISBN 9781491160121.
UPC: 680160918720. Key:
Db major. John Gillespie
Magee. Poem by John
Gillespie Magee,
Jr.
Just weeks
after his nineteenth
birthday, John Gillespie
Magee, Jr. wrote the poem
High Flight while serving
in the Royal Canadian Air
Force. The year was 1941,
and World War II was
culminating toward its
darkest chapters. Magee
had just completed his
seventh flight in the
iconic Spitfire Mk I
fighter plane, soaring to
heights well above 30,000
feet. These high altitude
exercises supplied his
inspiration for the poem,
which describes the long,
delirious, burning blue
and having touched the
face of God. Tragically,
Magee died in a training
exercise just months
after writing High
Flight. His words,
however, live on to lift
our hearts and stir the
imagination. After you
have learned High Flight,
ask yourself the
following questions: Are
you singing the text
clearly and articulately?
Are you properly
stressing the important
syllables and backing off
of non-stressed
syllables? Is there a
sense of energy
throughout the piece, in
both the lyrical, flowing
sections and the
up-tempo, faster
sections? Are you also
singing with a sense of
energy no matter what the
dynamic marking? Are you
singing phrases with
proper breath support and
a sense of rise and fall
to the phrase?. Just
weeks after his
nineteenth birthday, John
Gillespie Magee, Jr.
wrote the poem High
Flight while serving
in the Royal Canadian Air
Force. The year was 1941,
and World War II was
culminating toward its
darkest
chapters. Magee had
just completed his
seventh flight in the
iconic Spitfire Mk
IÂ fighter plane,
soaring to heights well
above 30,000 feet. These
high altitude exercises
supplied
his inspiration for
the poem, which describes
“the long,
delirious, burning
blue†and having
“touched the face
of God.â€Tragically,
Magee died in a training
exercise just months
after writing High
Flight. His words,
however, live on to lift
our hearts and stir the
imagination. After you
have learned High Flight,
ask yourself the
following questions: Are
you singing the text
clearly and articulately?
Are you properly
stressing the important
syllables and backing off
of non-stressed
syllables? Is there a
sense of energy
throughout the piece, in
both the lyrical, flowing
sections and the
up-tempo, faster
sections? Are you also
singing with a sense of
energy no matter what the
dynamic marking? Are you
singing phrases with
proper breath support and
a sense of rise and fall
to the phrase?
Band concert band - Grade 3 SKU: CF.CPS250 Composed by Peter Sciaino. Set...(+)
Band concert band - Grade
3
SKU: CF.CPS250
Composed by Peter
Sciaino. Set of Score and
Parts.
27+12+12+6+12+12+12+6+6+6
+6+4+4+8+8+8+4+4+6+6+6+4+
12+4+2+6+10 pages.
Duration 4 minutes, 40
seconds. Carl Fischer
Music #CPS250. Published
by Carl Fischer Music
(CF.CPS250).
ISBN
9781491159576. UPC:
680160918164.
Kalei
doscope Sky is inspired
by the breathtaking
pastime of hot-air
ballooning and the
glorious festivals around
the world that honor the
practice. A sky full of
colorful spheres
elegantly floating at the
Albuquerque International
Balloon Fiesta,
International Balloon
Festival of
Saint-Jean-sur-Richelieu,
Bristol International
Balloon Fiesta, Mondial
Air Ballons and more draw
thousands of people to
witness awe-inspiring
scenes full of passionate
balloonists. Traditional
hot-air balloons mix with
creatively designed
balloons to thrill the
tens of thousands of
spectators below. While I
personally am not a
person who dreams of
taking my own
flight--heights are not
my thing--I have to
marvel at how gently and
easily these vessels
float among the clouds.
It truly is an image of
exquisite freedom. This
piece reflects the view
and experience of the
onlooker taking in an
elegantly shifting scene
reminiscent of
kaleidoscope patterns.
Spectators like me can
appreciate the beauty and
vibrancy associated with
a horizon full of
adventurous balloonists
and their wondrous
aircrafts. Kaleidoscope
Sky starts in a
triumphant and
celebratory fashion and
continues to conjure
images reminiscent of the
wide variety of soaring
colors on display at a
hot-air balloon event.
Ultimately, the piece
appropriately concludes
with a suspenseful, yet
graceful, run to the
finish line. Melodic
lines should soar with
attention being paid to
phrase markings and
assigned articulations.
Encourage musicians to
allow room for the
melodic material to be
heard in thicker textures
where supporting
harmonies are often
rhythmic in nature. These
harmonies should support,
and not cloud the
melodies. The meter
changes should sound
effortless, and the
continuous figures in the
percussion will help to
achieve this effect. The
snare drum, in
particular, should bring
accented notes to the
foreground while
maintaining a steady
textural effect with
non-accented notes as a
rhythmic background. This
will go a long way in
finding a cohesive
subdivision and ensemble
pulse. Kaleidoscope
Sky is inspired by the
breathtaking pastime of
hot-air ballooning and
the glorious festivals
around the world that
honor the practice. A sky
full of colorful spheres
elegantly floating at the
Albuquerque International
Balloon Fiesta,
International Balloon
Festival of
Saint-Jean-sur-Richelieu,
Bristol International
Balloon Fiesta, Mondial
Air Ballons and more draw
thousands of people to
witness awe-inspiring
scenes full of passionate
balloonists. Traditional
hot-air balloons mix with
creatively designed
balloons to thrill the
tens of thousands of
spectators below. While I
personally am not a
person who dreams of
taking my own
flight—heights are
not my thing—I
have to marvel at how
gently and easily these
vessels float among the
clouds. It truly is an
image of exquisite
freedom. This piece
reflects the view and
experience of the
onlooker taking in an
elegantly shifting scene
reminiscent of
kaleidoscope patterns.
Spectators like me can
appreciate the beauty and
vibrancy associated with
a horizon full of
adventurous balloonists
and their wondrous
aircrafts. Kaleidoscope
Sky starts in a
triumphant and
celebratory fashion and
continues to conjure
images reminiscent of the
wide variety of soaring
colors on display at a
hot-air balloon event.
Ultimately, the piece
appropriately concludes
with a suspenseful, yet
graceful, run to the
finish line.Melodic lines
should “soarâ€
with attention being paid
to phrase markings and
assigned articulations.
Encourage musicians to
allow room for the
melodic material to be
heard in thicker textures
where supporting
harmonies are often
rhythmic in nature. These
harmonies should support,
and not
“cloud†the
melodies. The meter
changes should sound
effortless, and the
continuous figures in the
percussion will help to
achieve this effect. The
snare drum, in
particular, should bring
accented notes to the
foreground while
maintaining a steady
textural effect with
non-accented notes as a
rhythmic background. This
will go a long way in
finding a cohesive
subdivision and ensemble
pulse.
Rockin' 67 Blues Orchestre [Conducteur] - Facile Highland/Etling
Orchestra - Grade 3 SKU: AP.48094S Composed by Bob Phillips. MakeMusic Cl...(+)
Orchestra - Grade 3
SKU: AP.48094S
Composed by Bob Phillips.
MakeMusic Cloud;
Performance Music
Ensemble; Single Titles;
String Orchestra.
Highland/Etling String
Orchestra. Light Concert;
Masterwork Arrangement.
Score. 20 pages. Duration
3:50. Highland/Etling
#00-48094S. Published by
Highland/Etling
(AP.48094S).
UPC:
038081559209.
English.
Starting
with a slow, hypnotic
rock ballad with
beautiful melodic lines
and then moving into a
high-energy, bluesy Rock
section, this piece by
Bob Phillips will be a
great opener or closer.
Two soaring violin
features appear in the
second section and can be
performed solo or soli. A
repetitive, driving,
never-stopping rock
groove moves throughout
this original piece and
the soaring violin
solo/soli part.
Optimistic and powerful,
Rockin' 67 Blues is sure
to be a new classic.
(3:50) This title
available in MakeMusic
Cloud.