Composed by Kathryn
Griesinger. Folio. Cas.
Set of Score and Parts.
12+10+10+16+10+16 pages.
Duration 3 minutes, 44
seconds. Carl Fischer
Music #CAS127. Published
by Carl Fischer Music
(CF.CAS127).
ISBN
9781491157633. UPC:
680160916214. 9 x 12
inches.
A
relentless 6/8
accompaniment drives this
piece forward with
exciting momentum.
Two-against-three rhythm
patterns add urgency to
the theme, requiring
precision in counting and
maintaining an even
tempo. Intensity builds
like the first piercing
light on the morning
horizon, flourishing
toward a stately middle
section that reflects the
grandeur of glorious
colors and spacious
skies. Players with the
melody should take care
to sustain with a warm,
ringing tone. The
pizzicato accompaniment
should also stay unrushed
and steady. The following
restatement of the fast
opening theme soars to a
triumphant finale.
About Carl
Fischer Concert String
Orchestra
Series
Thi
s series of pieces (Grade
3 and higher) is designed
for advancing ensembles.
The pieces in this series
are characterized
by:
Expanded use
of rhythms, ranges and
keys but technical
demands are still
carefully
considered
More
comprehensive bowing
techniques
Viola
T.C.
included
Careful
selection of keys and
degree of difficulty for
advancing
musicians
Concert Band - Grade 2 SKU: AP.32494S Composed by Roland Barrett. Concert...(+)
Concert Band - Grade 2
SKU: AP.32494S
Composed by Roland
Barrett. Concert Band;
MakeMusic Cloud;
Performance Music
Ensemble; Single Titles.
Belwin Young Band. Form:
Overture. Score. 24
pages. Belwin Music
#00-32494S. Published by
Belwin Music (AP.32494S).
UPC: 038081376639.
English.
Chasing
Orion refers to the
practice of celestial
navigation, or sailing by
the stars. It was
inspired by the rich
early history of maritime
sailing and the
commercial shipping
industry. After traveling
to distant and exotic
lands, the fast clipper
ships raced toward home,
their holds bursting with
grain, wool, spices,
gold, and other
treasures. Catapulted
forward by the roaring
forties wind currents,
the sleek and elegant
sailing ships swept
around the ever-dangerous
Cape Horn as they
navigated by the stars,
chasing Orion. A dramatic
new addition to the young
band literature! This
title is available in
MakeMusic Cloud.
Euphonium & Piano SKU: ST.H474 Composed by James Flight. Wind & brass mus...(+)
Euphonium & Piano
SKU:
ST.H474
Composed by
James Flight. Wind &
brass music. For
Euphonium (Treble and
Bass Clef parts provided)
and Piano. Score and
part. Stainer & Bell Ltd.
#H474. Published by
Stainer & Bell Ltd.
(ST.H474).
ISBN
9790220222900.
A Short Sonata is a
work written at around
Grade 8 standard for
euphonium and piano. In
each of the work's three
movements, different
qualities of the
instrument are utilised
and explored. In the
first movement, an
Allegro in 6/8 time,
these qualities are the
instrument's general
agility, and its ability
to play fast-moving
melodies in a way that
drives the music forward.
Throughout, different
ways of phrasing similar
material are used to
create interest and a
varied sound. In the
second, slow movement,
the resonant and majestic
way in which the
euphonium can deliver
lyrical melodic lines is
explored. The movement is
made up of four long
phrases which peak
dynamically at the third,
giving room for
interpretation and
feeling. The third
movement exploits the
instrument's ability to
play loudly and
aggressively, using lots
of accented notes,
hairpin crescendos and
quick
double-tonguing.
A Short Sonata
was the winner of the
first Stainer &
Bell Award for Brass
Composition, held at
the Royal Welsh College
of Music & Drama in
Cardiff in May 2010.
Chamber Music Clarinet,
Viola, Violin 1, Violin
2, Violoncello
SKU:
PR.11441750S
For
Clarinet And String
Quartet. Composed by
Shulamit Ran. Premiered
by Anthony McGill,
clarinet, and Brentano
String Quartet; Kimmel
Center, Philadelphia, PA.
Contemporary. Full score.
With Standard notation.
Composed 2016. 32 pages.
Duration 16 minutes.
Theodore Presser Company
#114-41750S. Published by
Theodore Presser Company
(PR.11441750S).
UPC:
680160634934. 9.5 x 13
inches.
Stream for
Clarinet and String
Quartet (2015) was
commissioned by the
Philadelphia Chamber
Music Society in
celebration of its 30th
Anniversary Season,
through support of The
William Penn Foundation.
The first performance was
in April 2016 at the
Kimmel Center in
Philadelphia. Notes from
the composer: The 'line'
in Stream is often
threaded together into a
chain made up of separate
'points' played by the
strings, and sometimes by
the string and the
clarinet. An analogy
might be that each
instrument, at times,
produces a single 'ray of
light' from within the
larger light source.
Moreover, there are many
passages where the
intended effect is that
of the strings providing
a 'halo' surrounding the
solo clarinet. Similarly,
the clarinet often
dovetails with, as well
as emerges or submerges
in and out of, a strand
in the string
music.. What's in a
name? Â Â In my
titles, I generally aim
to capture something that
I believe to be essential
about the particular
work. Â At some level
this is to offer an
entry-point for the
listener, a glimpse of
the composition in its
totality. Â STREAM as a
title came to be when
much of the music was
already fully composed,
and it encapsulates much
of what I wish to say in
words about this work: it
suggests flow - whether
gentle or forceful; it
implies a journey, one
that could take us onto
unexpected terrains yet
is always moving forward;
embedded into this word
is also the idea of
stream of consciousness,
and with it, free
association and
unexpected twists of
fancy. Approximately
16 minutes in duration,
STREAM is to be played
without a break, yet
there are strong elements
of a three-movement
structure here. An
expository
quasi-first-movement lays
out important materials
of varying character; the
middle part, suggesting
contrast and repose, is
initially slow and
reflective, but then
embarks on new
explorations of the
notion of stasis, while
the final movement is
dominated by fast-moving
music of high energy that
consolidates the previous
materials. Important
throughout is the way in
which seemingly
transitional stretches of
music emerge and propel
the music onward in ways
that are at once
unexpected and
fantastical. A
composer's statement
about this work would not
be complete without
acknowledging the degree
to which the work was
inspired by the awareness
that it was being created
for a quintet of
extraordinary performers
of the most beautiful and
flowing musicianship -
clarinet virtuoso Anthony
McGill and the intrepid
Brentano
Quartet. Shulamit
Ran .
Concert Band - Grade 3 SKU: AP.44988 Composed by Jeremy Bell. Concert Ban...(+)
Concert Band - Grade 3
SKU: AP.44988
Composed by Jeremy Bell.
Concert Band; Performance
Music Ensemble; Single
Titles. Young Symphonic.
Halloween. Score and
Part(s). 264 pages.
Duration 2:30. Alfred
Music #00-44988.
Published by Alfred Music
(AP.44988).
UPC:
038081517810.
English.
Escape
from Dead Raider's Hollow
is a fast-paced
adventure. Opening
quietly, the introduction
gradually builds in
volume and energy up to a
tempo change where the
piece takes off and
doesn't relent until the
end. Combining rhythms of
3 over a pulse of 2
creates a hemiola effect
that drives the piece
forward, creating a
feeling of anxiety and
being chased. This is a
bombastic, action-packed
piece with loud
percussive hits, huge
brass, and soaring
woodwinds that ends with
a bang. (2:30).
Chamber Music String Quartet SKU: PR.11440902S Composed by Behzad Ranjbar...(+)
Chamber Music String
Quartet
SKU:
PR.11440902S
Composed
by Behzad Ranjbaran. Full
score. With Standard
notation. Composed 1990.
44 pages. Duration 22
minutes. Theodore Presser
Company #114-40902S.
Published by Theodore
Presser Company
(PR.11440902S).
UPC:
680160013708.
The
quartet begins with a
5-note motif, played in
unison that permeates
melodically and
harmonically throughout
the movement. The
energetic and hard-driven
character of the second
musical idea propels the
music forward with fast
moving notes and greater
urgency. It often
alternates with the more
lyrical rendition of the
5-note motif, yielding
contrasting sections.
After a brief coda, the
5-note motif concludes
the movement much the
same way it had begun but
with greater intensity.
The second movement
explores the world of
fantasy. To some extent
the beginning and the
ending of the movement
function as the opening
and closing doors that
separate the reality from
the dream and
subconscious. It is one
continuous movement in an
arch form that gradually
accelerates to an
expansive emotional
climax and returning
steadily to the surface
led by an ethereal solo
cello. The transcendent
ending is similar to the
beginning, though half
step higher. The third
movement begins boldly
with the 5-note motif
transformed into a dance
character in a compound
meter. The asymmetrical
meter of the Persian folk
music influences much of
the rhythmic character of
the movement. The return
of many materials from
earlier movements
interwoven into the
fabric of this movement
reinforces the cyclical
and organic character of
the quarter.
Particularly, a
mysterious passage,
reminiscence of the
second movement leading
to a brief full-blown
ballad is a favorite
moment of Ranjbaran's in
the quartet. A blazingly
virtuosic viola leads the
quartet to an uplifting
conclusion.
Three Characters Piano Trio: Violon, Alto, Piano Faber Piano Adventures
(The Collaborative Artist). Composed by Randall Faber. For Piano Trio. Faber Pia...(+)
(The Collaborative
Artist). Composed by
Randall Faber. For Piano
Trio. Faber Piano
Adventures�®. Late
Intermediate. Softcover.
Faber Piano Adventures
#FF7009. Published by
Faber Piano Adventures
Composed by Kathryn
Griesinger. Sws. Cas.
Full score. 12 pages.
Carl Fischer Music
#CAS127F. Published by
Carl Fischer Music
(CF.CAS127F).
ISBN
9781491157466. UPC:
680160916047. 9 x 12
inches.
A
relentless 6/8
accompaniment drives this
piece forward with
exciting momentum.
Two-against-three rhythm
patterns add urgency to
the theme, requiring
precision in counting and
maintaining an even
tempo. Intensity builds
like the first piercing
light on the morning
horizon, flourishing
toward a stately middle
section that reflects the
grandeur of glorious
colors and spacious
skies. Players with the
melody should take care
to sustain with a warm,
ringing tone. The
pizzicato accompaniment
should also stay unrushed
and steady. The following
restatement of the fast
opening theme soars to a
triumphant finale.
About Carl
Fischer Concert String
Orchestra
Series
Thi
s series of pieces (Grade
3 and higher) is designed
for advancing ensembles.
The pieces in this series
are characterized
by:
Expanded use
of rhythms, ranges and
keys but technical
demands are still
carefully
considered
More
comprehensive bowing
techniques
Viola
T.C.
included
Careful
selection of keys and
degree of difficulty for
advancing
musicians
Arranged by Sandra
Eithun. Christmas,
Sacred. Handbell score.
12 pages. Hope Publishing
Company #2728. Published
by Hope Publishing
Company (HP.2728).
UPC:
763628127282.
Chris
tmas hymn With suspended
bells quietly calling, O
Come, O Come, Emmanuel,
the scene is set for the
urgency and excitement
that is to follow -
proclaim the good news
that He Is Born! The
faster tempo, minor
backdrop and tabled
mallet accompaniment
drive the piece forward
with the urgent message
of the Christ Child's
birth. The contrasting
middle section offers a
warmer, more thoughtful
statement that includes
lingering LV passages and
optional handchimes. The
piece closes by reprising
the spirited section and
is capped off with a
celebratory fanfare in
major tonalities.
Harbor Music Quatuor à cordes: 2 violons, alto, violoncelle Theodore Presser Co.
String Quartet SKU: PR.16400222S Composed by Dan Welcher. Full score (stu...(+)
String Quartet
SKU:
PR.16400222S
Composed
by Dan Welcher. Full
score (study). With
Standard notation.
Duration 11 minutes.
Theodore Presser Company
#164-00222S. Published by
Theodore Presser Company
(PR.16400222S).
UPC:
680160037841.
This
work follows my Quartet
No. 1 by five years. In
terms of style and
aesthetic aim, however,
it seems light years
away. Where the first
work, a 28-minute,
four-movement piece, took
aim at cosmic conflicts
and heroic resolutions,
the present work is
intended as a kind of
divertissment. Harbor
Music lasts a mere eleven
minutes, is cast in a
single movement with six
sections, and should
leave both performers and
listeners with a feeling
of good humor and
affection. The
title comes from my
experience as a guest in
the magnificent city of
Sydney, Australia. One of
its most attractive
features is its unique
system of ferry boats:
the city is laid out
around a large,
multi-channeled harbor,
with destinations more
easily approached by
water than by land.
Consequently, inhabitants
of Sydney get around on
small, people-friendly
boats that come and go
from the central docks at
Circular Quay. During a
week's visit in 1991, I
must have boarded these
boats at least a dozen
times, always bound for a
new location - the resort
town of Manley, or the
Zoo at Taronga Park, or
the shopping district at
Darling Harbour.
In casting about for a
form for my second string
quartet, a kind of loose
rondo came to mind. Each
new destination would be
approached from the same
starting-out point
(although there are
subtle variations in the
repeating theme; it's
always in a new key, and
the texture is never the
same). The result, I
hope, is a sense of
constant new information
presented with
introductory frames of a
more familiar nature.
The embarkation
theme, which begins the
piece, is a sort of
bi-tonal fanfare in which
the violins are in G
major and the viola and
cello are in B-flat
major. It is bold, eager,
and forward-looking. The
first voyage maintains
this bi-tonality,
beginning as a 9/8 due
for second violin and
viola in a kind of
rocking motion -much as a
boat produces when
reaching the deeper water
in the harbor. A sweet,
nostalgic theme emerges
over this rocking
accompaniment. This music
is developed somewhat,
then transforms quickly
into a much faster and
lighter episode, filled
with rising and falling
scales (again, in
differing keys). A
scherzando interlude in
short notes and changing
meters provides contrast,
and the episode ends with
a reprise of the scales.
The second
embarkation follows, this
time in A major/C major.
It leads quickly into a
very warm and slow theme,
in wide-leaping intervals
for the viola. This
section is interrupted
twice by solo cadenzas
for the cello, suggesting
distant boat-horns in
major thirds. The end of
the episode becomes a
transition, with
boat-horns leading into
the final appearance of
the embarkation music,
this time in trills and
tremolos instead of
sharply accented chords.
The nostalgic theme of
the first episode makes a
final appearance, serving
now as a coda. The
rocking motion continues,
in a lullaby fashion,
leaving us drowsy and
satisfied on our homeward
journey. Harbor
Music was written for the
Cavani Quartet, and is
dedicated to Richard J.
Bogomolny. Commissioned
by his employees at First
National Supermarkets as
a gift, it represents a
thank you from many of
the people (including
this composer) who have
benefitted from his
vision and generosity. An
ardent advocate of
chamber music (and a
cellist himself), Mr.
Bogomolny has for many
years been Chairman of
the Board of Chamber
Music America. -- Dan
Welcher.
Composed
by Philip Sparke. Anglo
Music Concert Band.
Concert Piece. Score
Only. Composed 2013.
Anglo Music Press
#AMP358140. Published by
Anglo Music Press
(HL.44012271).
UPC:
888680057664.
English-German-French-Dut
ch.
Looking Up,
Moving On was
commissioned by the Tokyo
Kosei Wind Orchestra and
was part of a tour
programme they gave in
May 2012, a tour which
included many areas that
had been devastated by
the 2011 earthquake and
tsunami.The theme of the
piece is the powerful
ability of mankind to
overcome such disasters
and look forward to a
positive future; it opens
in an appropriately
optimistic mood,
featuring bright
orchestral colours and
extensive syncopation. A
chorale-like fanfare is
soon introduced on horns
and euphonium, answered
by chirpy woodwinds. The
mood subsides until an
alto saxophone introduces
a brief quotation from
the composer's The Sun
Will RiseAgain, which
was written to raise
funds for victims of the
2011 disaster. The mood
soon changes and the
horns introduce a noble
theme under woodwind
flourishes. This leads to
the main Vivo
section of the piece
which is characterised
again by strong
syncopations as part of a
florid theme in the low
woodwinds. This melody
undergoes varied
development by all
sections of the band
until the horn fanfare
returns triumphally on
the brass. This is
extended and leads to a
faster coda which brings
together previous
material in counterpoint
to close the work in
optimistic mood.
Looking Up,
Moving On is
gecomponeerd in opdracht
van het Tokyo Kosei Wind
Orchestra. Het werk
maakte deel uit van een
programma uit mei 2012,
dat werd uitgevoerd
tijdens een tournee
waarbij veel regio's
werden bezocht die waren
verwoest door de
aardbeving en tsunami van
2011.Het thema van het
werk is het buitengewone
vermogen van de mens om
dergelijke rampen te
boven te komen en vooruit
te kijken naar een
positieve toekomst. De
opening is dan ook
optimistisch van
karakter, met heldere
orkestrale kleuren en een
rijkelijke syncopering.
Al snel wordt er een
koraalachtige fanfare
geintroduceerd door de
hoorns en het euphonium,
waarop een levendig
antwoord volgt in
dehoutblazerssectie. De
sfeer wordt dan steeds
kalmer totdat een
altsaxofoon een kort
citaat laat horen uit een
eerder werk van de
componist, The Sun
Will Rise Again, dat
werd geschreven om geld
in te zamelen voor de
slachtoffers van de ramp
uit 2011. De stemming
slaat vlug weer om: de
hoorns introduceren een
nobel thema, dat
weerklinkt onder
versieringen in het hout.
Dit leidt naar het Vivo,
het hoofdgedeelte, dat
eveneens wordt gekenmerkt
door sterke
syncoperingen, als
onderdeel van een
sierlijk thema in het
lage hout. De melodie
ondergaat een gevarieerde
ontwikkeling binnen alle
secties van het orkest,
totdat de hoornfanfare op
triomfantelijke wijze
terugkeert in het koper.
De fanfare wordt
vervolgens verder
uitgewerkt en voert ons
mee naar een snellere
coda, die voorafgaand
materiaal in contrapunt
samenbrengt en de
compositie in
optimistische stemming
afsluit.
Looking Up,
Moving Down wurde vom
Tokyo Kosei Wind
Orchestra in Auftrag
gegeben und war Teil des
Konzertprogramms einer
Tour im Mai 2012, welche
viele Gebiete einschloss,
die vom Erdbeben und
Tsunami im Jahr 2011
zerstort worden waren.
Thema dieses Stuckes ist
die gewaltige Fahigkeit
der Menschheit, uber
solche Katastrophen
hinwegzukommen und voll
Optimismus in die Zukunft
zu blicken; es beginnt
dementsprechend in einer
positiven Stimmung mit
strahlenden
Orchesterfarben und einer
ausgepragten
Synkopierung. Schon bald
wird eine choralartige
Fanfare auf den Hornern
und im Euphonium
vorgestellt, die von
munteren Holzblasern
beantwortet wird. Die
Stimmung flaut ab, bis
einAltsaxophon ein kurzes
Zitat aus The Sun Will
Rise Again anspielt,
das der Komponist zur
Spendenbeschaffung fur
die Opfer des Unglucks
2011 geschrieben hatte.
Kurz darauf folgt ein
Stimmungswechsel und die
Horner prasentieren ein
stattliches Thema,
begleitet von Fanfaren in
den Holzblasern. Dies
fuhrt zum mit Vivo
uberschriebenen Hauptteil
des Stuckes, der wiederum
von starken
Synkopierungen gepragt
ist, die Teil eines
bluhenden Themas in den
tiefen Holzblasern sind.
Diese Melodie durchlauft
eine vielgestaltige
Entwicklung durch alle
Instrumentengruppen des
Blasorchesters, bis das
Blech mit der Hornfanfare
triumphal zuruckkehrt.
Dies wird erweitert und
fuhrt zu einer
schnelleren Coda, in dem
verschiedenes zuvor
gehortes Material
kontrapunktisch
zusammenkommt, um das
Werk in einer
optimistischen Stimmung
zu beenden.
Looking Up,
Moving On est une
commande du Tokyo Kosei
Wind Orchestra. Cette
piece faisait partie du
programme de la tournee
effectuee par l'orchestre
en mai 2012, qui s'est
produit dans de
nombreuses regions
devastees par le
tremblement de terre et
le tsunami de 2011.La
composition a pour theme
l'immense capacite
humaine a surmonter de
telles catastrophes et
envisager l'avenir de
facon positive. Elle
debute justement dans un
climat optimiste
comportant de vives
couleurs orchestrales et
des passages syncopes.
Les cors et les euphonium
introduisent bientot une
fanfare en forme de
choral a laquelle
repondent des bois
petillants. L'ambiance
s'apaise jusqu'a ce
qu'unsaxophone alto
introduise un court
extrait de The Sun
Will Rise Again, du
meme compositeur, une
piece ecrite pour
collecter des fonds en
faveur des victimes du
desastre de 2011. Le
climat change hativement
lorsque les cors
introduisent un theme
noble par-dessus des
fioritures executees par
les bois. Vient ensuite
la principale section
vivo de la piece, qui se
caracterise, encore une
fois, par des syncopes
tres marquees dans le
cadre d'un theme fleuri
assure dans le registre
grave des bois. Cette
melodie fait l'objet de
divers developpements par
tous les pupitres de
l'orchestre jusqu'au
retour triomphant de la
fanfare soutenue par les
cuivres. Celle-ci se
prolonge pour mener a une
coda plus rapide qui
rassemble les elements
precedents en contrepoint
pour clore la piece dans
un climat optimiste.
At the Threshold Orchestre d'harmonie [Conducteur et Parties séparées] Carl Fischer
Composed by Bill Calhoun. Score and part(s). 24 136 pages. Duration 4 minutes,...(+)
Composed by Bill Calhoun.
Score and part(s). 24
136 pages. Duration 4
minutes, 22 seconds. Carl
Fischer #YPS0165.
Published by Carl Fischer
(CF.YPS165).
Choral TB chorus with Piano and optional Solos SKU: CF.CM9755 Composed by...(+)
Choral TB chorus with
Piano and optional Solos
SKU: CF.CM9755
Composed by Ashley Dame
Meredith Tompkins. Mjts.
Duration 2 minutes, 33
seconds. Carl Fischer
Music #CM9755. Published
by Carl Fischer Music
(CF.CM9755).
ISBN
9781491162439. UPC:
680160921188. Key: D
minor. English. Matthew
Arnold
(1822-1888).
The
luminous text of the poem
Dover Beach by English
poet Matthew Arnold is
the inspiration for the
rolling and weaving
melodies of this
undulating piece. In his
writing, Arnold ponders
how the vastness of the
sea and the thrashing
waves that crash on the
sand and rocks seem to
mirror the melancholy in
his heart. He comes back
to the steadfast nature
of the cliffs of England
that allow the light of
the moon to gleam across
and then scatter into
darkness. The echoing
phrases are intended to
create concrete
repetitions that mirror
the original unison
melody with minor
deviations. In turn, the
driving passages will
challenge the performer
while providing
arpeggiated accompaniment
to propel them
forward.INSTRUCTIONAL
PURPOSES and RANGES: This
work is composed for the
needs of tenor-bass
voices, with both a
reasonable range and
comfortable tessitura.
The call-and-response
sections allow for
singers to easily hear
their part while
developing harmonic
foundations and listening
skills. Sustained phrases
are strategically written
to strengthen breath
support and the passaggio
during the challenges of
navigating through
various phases of vocal
development. Â The
descant portion is a
great option for solos or
small ensembles.