2 Saxophones SKU: AP.1-ADV7025 Composed by Mike Curtis. Duet or Duo; Solo...(+)
2 Saxophones
SKU:
AP.1-ADV7025
Composed
by Mike Curtis. Duet or
Duo; Solo Small
Ensembles; Woodwind -
Saxophone Duet. Advance
Music. Jazz. Book.
Advance Music
#01-ADV7025. Published by
Advance Music
(AP.1-ADV7025).
UPC:
805095070255.
English.
A
collection of
well-crafted original
compositions with
underlying jazz roots and
a down-home bluesy feel.
These duos would also
work well on a recital
program, alone or
combined as a suite.
Titles: Byard's Bounce *
Wistful * Contuberance *
That Dang Thang *
Huntington Park *
Birdseed * Spring Chicken
Fever * The Follish
Fool.
2 Clarinets SKU: AP.1-ADV8301 Composed by Mike Curtis. Duet or Duo; Solo ...(+)
2 Clarinets
SKU:
AP.1-ADV8301
Composed
by Mike Curtis. Duet or
Duo; Solo Small
Ensembles; Woodwind -
Clarinet Duet. Advance
Music. Jazz. Book.
Advance Music
#01-ADV8301. Published by
Advance Music
(AP.1-ADV8301).
UPC:
805095083019.
English.
A
collection of
well-crafted original
compositions with
underlying jazz roots and
a down-home bluesy feel.
These duos would also
work well on a recital
program, alone or
combined as a suite.
Titles: Byard's Bounce *
Wistful * Contuberance *
That Dang Thang *
Huntington Park *
Birdseed * Spring Chicken
Fever * The Foolish Fool
* About Mike Curtis.
Voice and Piano - Intermediate-Advanced SKU: FP.FWS11 Composed by Stephen...(+)
Voice and Piano -
Intermediate-Advanced
SKU: FP.FWS11
Composed by Stephen
Wilkinson. Sheet Music
and Books. A second
volume of collected songs
for voice and piano by
acclaimed choral
conductor and arranger
Stephen Wilkinson.
Classical. Vocal
Collection. Forsyths
Publications #FWS11.
Published by Forsyths
Publications (FP.FWS11).
ISBN
9790570503995.
Eter
nal Summer is Stephen
Wilkinson's sequel to
Sunlight on the Garden.
It features songs written
in the composer's
eighties and nineties,
elegantly set by recorder
virtuoso John Turner. As
simply put in a review in
the Yorkshire Post, 'In
the field of choral
music, Stephen Wilkinson
is a genius'.
(Words and Chords to Nearly 1200 Songs 9x12 Spiral Bound). Edited by Annie Patte...(+)
(Words and Chords to
Nearly 1200 Songs 9x12
Spiral Bound). Edited by
Annie Patterson and Peter
Blood. For Vocal. Vocal.
Softcover. 304 pages.
Published by Hal Leonard
(Words and Chords to Nearly 1200 Songs Spiral-Bound). Edited by Annie Patterson ...(+)
(Words and Chords to
Nearly 1200 Songs
Spiral-Bound). Edited by
Annie Patterson and Peter
Blood. For Vocal. Vocal.
Softcover. 304 pages.
Published by Hal Leonard
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.
Piano Solo - Easy-Intermediate SKU: FP.FBS02 Composed by Sarah Baker. She...(+)
Piano Solo -
Easy-Intermediate
SKU:
FP.FBS02
Composed by
Sarah Baker. Sheet Music
and Books. Eight pieces
on a night theme for solo
piano, by Sarah Baker.
Suggested grade 4-5.
Classical. Collection.
Forsyths Publications
#FBS02. Published by
Forsyths Publications
(FP.FBS02).
ISBN
9790570500192.
Sara
h Baker is Vocal Composer
in Residence at Education
Music Services, an ABRSM
examiner and a well known
composer of songs and
musicals for primary
schools and massed-choral
events.
All this
experience has come
together in the creation
of this first published
album of piano pieces,
inspired by the sounds
heard at night from the
woodland just beyond
Sarah’s childhood
home.
Suitable for
players of around grade
4-5 standard, her
evocative sound pieces
begin at the tranquillity
of dusk and end with the
exuberant dawn
chorus.
The
composer
writes:
'I grew up
with woods behind my
house, and the nocturnal
noises and images that I
remember were the
inspiration for these
eight short sound
pictures on the theme of
night. The music moves
first from the
tranquility of dusk and
evening mists, to the
emerging starlight of
twilight. As night falls
it takes on on a darker
quality with shadows and
dreams disturbing peace
and calm.The night birds
and bats swoop and flit
past as they seek their
prey, but gradually dawn
approaches and peaceful
sleep is restored. The
morning is heralded in
the joyful exuberance of
the dawn chorus.'.
Dan Welcher’s most enduringly and frequently played orchestral work, Prai...(+)
Dan Welcher’s most
enduringly and frequently
played orchestral work,
Prairie Light is a
fascinating musical
companion to three of
Georgia
O’Keeffe’s
most unusual paintings,
Light Coming on the
Plains, Canyon with
Crows, and Starlight
Night. This work is ideal
for performances using
visual projections of the
paintings, and is
frequently programmed for
subscription concerts as
well as those for
educational settings.
Duration: 14’
Parts available on
rental. This work for
full orchestra was
inspired by three
paintings of the noted
Americanartist Georgia
O’Keeffe. These
three watercolors were
done in 1917 while the
artist was living in
Canyon, Texas (near
Amarillo), and deal
primarily with color and
shape. Consequently, the
music is primarily
concerned with broad
lines and shapes rather
than rhythms, with subtle
washes of color rather
than constant harmonic
movement, and with
arching melody instead of
linear counterpoint.The
first movement, Light
Coming on the Plains, is
an elliptical-shaped
painting, deep blue to
indigo with a
“horizon†at
the bottom that seems
flat and unchanging. The
sun hasn’t risen
yet, although it does in
the course of this
movement, but it seems
instead to be providing
light from behind the
canvas. The music is
unmoving in terms of
rhythm or harmony
(although there is a
modulation midway
through), a color-infused
mantra of sound that is
almost Eastern.At the
height of the sun, we
proceed to the second
movement, entitled Canyon
with Crows. The canyon is
red-orange, with black
crows circling above
friendly unfolding hills.
The music is gentle but
lively and more rhythmic,
with the birds
represented by solo oboe,
clarinet, and sometimes
flute. Halfway through,
the brass have a chorale
version of the opening
motive, played very
slowly, over the unending
triplets of woodwinds and
strings. At the end of
the movement, the
birds return for a
duo-cadenza, accompanied
by the dying rays of the
sun in muted strings and
the ongoing triplets of
the solo quartet.The
stage is set for the
final movement, Starlight
Night. In
O’Keeffe’s
painting, the stars are
represented by
regularly-spaced
rectangles of bright pale
yellow on a blue-black
sky, with the same shape
to the field of vision
and the horizon that is
found in Light Coming on
the Plains. The stars
become audible: harp,
celesta, glockenspiel,
and string pizzicati all
lend a sparkle while a
solo flute introduces a
slowly unfolding theme.
After this theme has been
heard twice and the sky
has begun to really
brighten, there is a
sudden interruption: a
xylophone and a piano
begin another
“mantra†in
brittle staccato chords.
This is the same
mechanical eternity as
O’Keeffe’s
regularly-spaced square
stars, and it continues
on its own as the night
progresses. The music
builds and grows as the
moon rises and arcs, then
falls as the pre-dawn
light that opened the
work returns to bring it
to a close. Acycle of
light, changing with the
movements of sun, moon,
and stars, appearing
differently from various
points of view
(100 Years - 100 Songs). By Woody Guthrie. For Melody/Lyrics/Chords. Richmond Mu...(+)
(100 Years - 100 Songs).
By Woody Guthrie. For
Melody/Lyrics/Chords.
Richmond Music .
Softcover. 128 pages.
Published by TRO - The
Richmond Organization
Concert band (Flute 1,
Flute 2/Piccolo, Oboe, Bb
Clarinet 1, Bb Clarinet
2, Bb Clarinet 3, Bb Bass
Clarinet, Bassoon, Alto
Saxophone 1/2, Tenor
Saxophone, Baritone
Saxophone, Bb Trumpet 1,
Bb Trumpet 2, Bb Trumpet
3, Horn in F 1/2, Horn in
F 3/4, Trombone 1/2,
Trombone) - grade 3
SKU: CN.S11293
Composed by Peter
Meechan. Score only.
Duration 4:15. Published
by G & M Brand Music
Publishers (CN.S11293).
Inspired by the
release of Nelson Mandela
in the early 1990s, Hymn
for Africa pays tribute
to the sense of dignity
and peace that he brought
not only to South Africa,
but around the entire
globe. As the beautifully
lush chorale unfolds,
quietly undulating drums
murmur in the distance
and gradually build into
a rousing
climax.
Hymn for
Africa was written as
part of a project known
as Brass Band Aid. When I
was asked to compose a
piece with relevance to
Africa for the project, I
began to think of all the
things that I associate
with Africa. I have vivid
memories from my
childhood of the
hard-hitting news reports
from the famines of the
early/mid 1980's (and the
concerts that followed).
I also associate Africa
with amazing animal life
- the many species from
snakes to birds to lions,
with their many colours.
But more than these
associations, there is
one memory that stands
out amongst all others.
The release of Nelson
Mandela in the early
1990's had a profound
effect not only in South
Africa, but all over the
continent of Africa, as
well as the World as a
whole. The fact that one
man can achieve this with
peace and great dignity
will always be an
inspiration, not only to
me, but many, many
millions of humans around
the globe. Hymn for
Africa is inspired by
this sense of dignity and
peace. A simple eight bar
melody is the basis of
the composition. A drone
is then added, before a
chorale, and finally a
rousing climax when the
percussion and full band
enter. The piece
dedicated to Bob and
Briony Thompson in
admiration.