| Great Smoky Mountains [Conducteur] Theodore Presser Co.
Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clar...(+)
Band Bass Clarinet,
Bassoon 1, Bassoon 2,
Clarinet, Clarinet 1,
Clarinet 2, Clarinet 3,
Contrabass Clarinet,
Contrabassoon, Double
Bass, English Horn,
Euphonium, Flute 1, Flute
2, Horn 1, Horn 2, Horn
3, Horn 4, Oboe 1, Oboe
2, Percussion 1 and more.
SKU: PR.16500102F
Mvt. 2 from Symphony
No. 6 (Three Places in
the East). Composed
by Dan Welcher. Full
score. 52 pages. Theodore
Presser Company
#165-00102F. Published by
Theodore Presser Company
(PR.16500102F). ISBN
9781491131749. UPC:
680160680276. Ever
since the success of my
series of wind ensemble
works Places in the West,
I've been wanting to
write a companion piece
for national parks on the
other side of the north
American continent. The
earlier work, consisting
of GLACIER, THE
YELLOWSTONE FIRES,
ARCHES, and ZION, spanned
some twenty years of my
composing life, and since
the pieces called for
differing groups of
instruments, and were in
slightly different styles
from each other, I never
considered them to be
connected except in their
subject matter. In their
depiction of both the
scenery and the human
history within these
wondrous places, they had
a common goal: awaking
the listener to the
fragile beauty that is in
them; and calling
attention to the ever
more crucial need for
preservation and
protection of these wild
places, unique in all the
world. With this new
work, commissioned by a
consortium of college and
conservatory wind
ensembles led by the
University of Georgia, I
decided to build upon
that same model---but to
solidify the process. The
result, consisting of
three movements (each
named for a different
national park in the
eastern US), is a
bona-fide symphony. While
the three pieces could be
performed separately,
they share a musical
theme---and also a common
style and
instrumentation. It is a
true symphony, in that
the first movement is
long and expository, the
second is a rather
tightly structured
scherzo-with-trio, and
the finale is a true
culmination of the whole.
The first movement,
Everglades, was the
original inspiration for
the entire symphony.
Conceived over the course
of two trips to that
astonishing place (which
the native Americans
called River of Grass,
the subtitle of this
movement), this movement
not only conveys a sense
of the humid, lush, and
even frightening scenery
there---but also an
overview of the entire
settling-of- Florida
experience. It contains
not one, but two native
American chants, and also
presents a view of the
staggering influence of
modern man on this
fragile part of the
world. Beginning with a
slow unfolding marked
Heavy, humid, the music
soon presents a gentle,
lyrical theme in the solo
alto saxophone. This
theme, which goes through
three expansive phrases
with breaks in between,
will appear in all three
movements of the
symphony. After the mood
has been established, the
music opens up to a rich,
warm setting of a
Cherokee morning song,
with the simple happiness
that this part of Florida
must have had prior to
the nineteenth century.
This music, enveloping
and comforting, gradually
gives way to a more
frenetic, driven section
representative of the
intrusion of the white
man. Since Florida was
populated and developed
largely due to the
introduction of a train
system, there's a
suggestion of the
mechanized iron horse
driving straight into the
heartland. At that point,
the native Americans
become considerably less
gentle, and a second
chant seems to stand in
the way of the intruder;
a kind of warning song.
The second part of this
movement shows us the
great swampy center of
the peninsula, with its
wildlife both in and out
of the water. A new theme
appears, sad but noble,
suggesting that this land
is precious and must be
protected by all the
people who inhabit it. At
length, the morning song
reappears in all its
splendor, until the
sunset---with one last
iteration of the warning
song in the solo piccolo.
Functioning as a scherzo,
the second movement,
Great Smoky Mountains,
describes not just that
huge park itself, but one
brave soul's attempt to
climb a mountain there.
It begins with three
iterations of the
UR-theme (which began the
first movement as well),
but this time as up-tempo
brass fanfares in
octaves. Each time it
begins again, the theme
is a little slower and
less confident than the
previous time---almost as
though the hiker were
becoming aware of the
daunting mountain before
him. But then, a steady,
quick-pulsed ostinato
appears, in a constantly
shifting meter system of
2/4- 3/4 in alteration,
and the hike has begun.
Over this, a slower new
melody appears, as the
trek up the mountain
progresses. It's a big
mountain, and the ascent
seems to take quite
awhile, with little
breaks in the hiker's
stride, until at length
he simply must stop and
rest. An oboe solo, over
several free cadenza-like
measures, allows us (and
our friend the hiker) to
catch our breath, and
also to view in the
distance the rocky peak
before us. The goal is
somehow even more
daunting than at first,
being closer and thus
more frighteningly steep.
When we do push off
again, it's at a slower
pace, and with more
careful attention to our
footholds as we trek over
broken rocks. Tantalizing
little views of the
valley at every
switchback make our
determination even
stronger. Finally, we
burst through a stand of
pines and----we're at the
summit! The immensity of
the view is overwhelming,
and ultimately humbling.
A brief coda, while we
sit dazed on the rocks,
ends the movement in a
feeling of triumph. The
final movement, Acadia,
is also about a trip. In
the summer of 2014, I
took a sailing trip with
a dear friend from North
Haven, Maine, to the
southern coast of Mt.
Desert Island in Acadia
National Park. The
experience left me both
exuberant and exhausted,
with an appreciation for
the ocean that I hadn't
had previously. The
approach to Acadia
National Park by water,
too, was thrilling: like
the difference between
climbing a mountain on
foot with riding up on a
ski-lift, I felt I'd
earned the right to be
there. The music for this
movement is entirely
based on the opening
UR-theme. There's a sense
of the water and the
mysterious, quiet deep
from the very beginning,
with seagulls and bell
buoys setting the scene.
As we leave the harbor,
the theme (in a canon
between solo euphonium
and tuba) almost seems as
if large subaquatic
animals are observing our
departure. There are
three themes (call them
A, B and C) in this
seafaring journey---but
they are all based on the
UR theme, in its original
form with octaves
displaced, in an
upside-down form, and in
a backwards version as
well. (The ocean, while
appearing to be
unchanging, is always
changing.) We move out
into the main channel
(A), passing several
islands (B), until we
reach the long draw that
parallels the coastline
called Eggemoggin Reach,
and a sudden burst of new
speed (C). Things
suddenly stop, as if the
wind had died, and we
have a vision: is that
really Mt. Desert Island
we can see off the port
bow, vaguely in the
distance? A chorale of
saxophones seems to
suggest that. We push off
anew as the chorale ends,
and go through all three
themes again---but in
different
instrumentations, and
different keys. At the
final tack-turn, there it
is, for real: Mt. Desert
Island, big as life.
We've made it. As we pull
into the harbor, where
we'll secure the boat for
the night, there's a
feeling of achievement.
Our whale and dolphin
friends return, and we
end our journey with
gratitude and
celebration. I am
profoundly grateful to
Jaclyn Hartenberger,
Professor of Conducting
at the University of
Georgia, for leading the
consortium which provided
the commissioning of this
work. $36.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Saga of the Mississippi [Conducteur] Theodore Presser Co.
Orchestra 2 Bassoons, 2 Oboes, 3 Clarinets, 3 Flutes, 3 Trombones, 3 Trumpets, 4...(+)
Orchestra 2 Bassoons, 2
Oboes, 3 Clarinets, 3
Flutes, 3 Trombones, 3
Trumpets, 4 Horns, Bass
Drum, Contra-bassoon,
Cymbal, English Horn,
Percussion: Snare Drum,
Strings, Timpani, Tuba
SKU: PR.466411770
Composed by Harl
Mcdonald. This edition:
Study Score.
Contemporary. Full score.
With Standard notation.
84 pages. Duration 15
minutes. Theodore Presser
Company #466-41177.
Published by Theodore
Presser Company
(PR.466411770). UPC:
680160640850. 9 x 12
inches. Mississippi
I. Father of Waters: born
of the Highlands and the
Lakes; the Glaciers, the
Mountains, and the
Prairies. The picture of
your birth is clounded in
the ice and mists of
ancient ages but your
spirit remains our life
stream. II. The Red Man
knew your bountiful gifts
and gave thanks to the
Great Spirit on your
banks. -- The Spanish and
French Fathers brought
the glory of Christianity
to America on
Mississippi. But all men,
white and dark; --
Indian, Spaniard, and
Negro; Bourbon and
Yankee, combined to make
Mississippi the heart of
America. Saga of the
Mississippi Harl McDonald
Born near Boulder,
Colorado, July 27, 1899
Now living in
Philadelphia The original
suggestion for a
symphonic work on the
subject of the
Mississippi came
indirectly from the late
Booth Tarkington who saw
in it color and movement
and atmosphere
translatable into the
terms of music. In the
course of time, by the
mysterious processes of
composers' chemistry, it
took shape as a tone-poem
of two sections, one
representing the rise of
the great stream from its
primeval geologic
sources, the other the
human history of the
river. Mr. McDonald
devised the following
verbal outline of the
general scheme of his
diptych: I. Father of
Waters: born of the
Highlands and the Lakes;
the Glaciers, the
Mountains, and the
Prairies. The picture of
your birth is clounded in
the ice and mists of
ancient ages but your
spirit remains our life
stream. II. The Red Man
knew your bountiful gifts
and gave thanks to the
Great Spirit on your
banks. -- The Spanish and
French Fathers brought
the glory of Christianity
to America on
Mississippi. But all men,
white and dark; --
Indian, Spaniard, and
Negro; Bourbon and
Yankee, combined to make
Mississippi the heart of
America. The first of the
two movements, beginning
molto andante, is vaguel
modal to hint at
antiquity. It is built
upon the conventional two
themes, with an episode,
poco piu mosso,
misterioso, for
prehistoric murk and
muck. There are various
changes of pace and mood.
The second, Allegro ma
vigorosamente, prefigures
an Indian ceremony. A
theme presented by flute,
clarinet and bassoon is a
Canadian Indian fishing
call collected by the
late J.B. Beck. A later
passage of
quasi-Gregorian chant
identifies the French and
Spanish priests who made
the great river their
highway. The fishing-call
is altered in rhythm and
harmony to represent
Negro field hands and
roustabous. A turbulent
close brings all these
elemts together in the
muddy swirling currents
of the Mississippi. The
work was begun in the
summer of 1945, and was
revised and completed in
the summer of 1947. Harl
McDonald, who is the
manager of The
Philadelphia Orchestra,
has concerned himself
with music as an art, as
a science and as a
business in course of his
career. He was born on a
cattle ranch in the
Rockies, but since his
was a musical family, his
up-bringing combined
piano lessons with ranch
life. Years of study and
professional experience
followed in Los Angeles
and in Germany. In 1927
he was appointed lecuter
in composition at the
University of
Pennsylvania and he has
since then made is home
in Philadelphia. In 1933
under a grant of the
Rockefeller FOundation he
collaborated with
physicists in research
dealing with the
measurement of
instrumental and vocal
tone, new scale divisions
and the resultant
harmonies. In that same
year he was named head of
the University's music
faculty and conductor of
its choral organizations.
In 1939, having been a
member of the Board of
Directors for five years,
he was appointed manager
of The Philadelphia
Orchestra. He continus to
write, but otherwise his
entire attention is now
devoted to managerial
duties. Chief items in
the catalogue of his
compositions are four
symphonies, three
orchestra suites, a
half-dozen tone-poems,
three concertos and
considerable quantity of
choral music. $58.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Loch Lomond Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire Manhattan Beach Music
By Frank Ticheli. Concert band. Suitable for advanced middle school, high school...(+)
By Frank Ticheli. Concert
band. Suitable for
advanced middle school,
high school, community
and college bands. Level:
Grade 3. Conductor score
and set of parts.
Duration 6:30. Published
by Manhattan Beach Music.
(1)$135.00 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Loch Lomond Orchestre d'harmonie [Conducteur] - Intermédiaire Manhattan Beach Music
By Frank Ticheli. Concert band. Suitable for advanced middle school, high school...(+)
By Frank Ticheli. Concert
band. Suitable for
advanced middle school,
high school, community
and college bands. Level:
Grade 3. Conductor Full
Score. Duration 6:30.
Published by Manhattan
Beach Music.
$22.50 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Royal Coronation Dances Orchestre d'harmonie [Conducteur et Parties séparées] - Facile Manhattan Beach Music
Concert band - Grade 3 SKU: MH.1-59913-054-8 Composed by Bob Margolis. Su...(+)
Concert band - Grade 3
SKU:
MH.1-59913-054-8
Composed by Bob Margolis.
Suitable for advanced
middle school, high
school, community and
college bands. Conductor
score and set of parts.
Duration 4:45. Published
by Manhattan Beach Music
(MH.1-59913-054-8).
ISBN
9781599130545. Roya
l Coronation Dances is
the first sequel to the
Fanfare Ode & Festival,
both being settings of
dance music originally
arranged by Gervaise in
the mid 16th-century (the
next sequel is The
Renaissance Fair, which
uses music of Susato and
Praetorius). Fanfare Ode
& Festival has been
performed by many tens of
thousands of students,
both in high school and
junior high school. I
have heard that some of
them are amazed that the
music they are playing
was first played and
danced to over 400 years
ago. Some students tend
to think that music
started with Handel and
his Messiah to be
followed by Beethoven and
his Fifth Symphony, with
naught in between or
before of consequence.
Although Royal Coronation
Dances is derived from
the same source as
Fanfare Ode & Festival,
they are treated in
different ways. I
envisioned this new suite
programmatically -- hence
the descriptive movement
titles, which I imagined
to be various dances
actually used at some
long-ago coronation. The
first movement depicts
the guests, both noble
and common, flanked by
flag and banner bearers,
arriving at the palace to
view the majestic event.
They are festive, their
flags swirling the air,
their cloaks brightly
colored. In the second
movement, the queen in
stately measure moves to
take her place on the
throne as leader and
protector of the realm.
In the third movement,
the jesters of the court
entertain the guests with
wild games of sport.
Musically, there are
interesting sonorities to
recreate. Very special
attention should be given
to the tambourine/tenor
drum part in the first
movement. Their lively
rhythms give the movement
its power. Therefore they
should be played as
distinctly and
brilliantly as possible.
The xylophone and
glockenspiel add clarity,
but must not be allowed
to dominate. Observe
especially the differing
dynamics; the intent is
to allow much buzzing
bass to penetrate. The
small drum (starting at
meas. 29) should be
played expressively, with
attention to the notated
articulations, with the
brass light and detached,
especially in a lively
auditorium. It is of some
further interest that the
first dance is extremely
modal. The original is
clearly in G mixolydian
mode (scale:
G-A-B-C-D-E-F-G).
However, other editors
might put in F-sharps in
many places (changing the
piece almost to G major),
in the belief that such
ficta would have been
automatically put in by
the 16th-century
performers as they
played. I doubt it. I
have not only eschewed
these within the work,
but even at the cadences.
So this arrangement is
most distinctly modal
(listen to the F-naturals
in meas. 22 and 23, for
instance), with all the
part-writing as Gervaise
wrote it. In the second
movement, be careful that
things do not become too
glued together. In the
16th century this music
might have been played by
a consort of recorders,
instruments very light of
touch and sensitive to
articulation. Concert
band can easily sound
heavy, and although this
movement has been scored
for tutti band, it must
not sound it. It is
essential, therefore,
that you hear all the
instruments, with none
predominating. Only when
each timbre can be heard
separately and
simultaneously will the
best blend occur, and
consequently the greatest
transparency. So aim for
a transparent, spacious
tutti sound in this
movement. Especially have
the flutes, who do this
so well, articulate
rather sharply, so as to
produce a chiffing sound,
and do not allow the
quarter-notes to become
too tied together in the
entire band. The entrance
of the drums (first
tenor, then bass) are
events and as such should
be audible. Incidentally,
this movement begins in F
Major and ends in D
Minor: They really didn't
care so much about those
things then. The third
movement (one friend has
remarked that it is the
most Margolisian of the
bunch, but actually I am
just getting subtler, I
hope) again relies upon
the percussion (and the
scoring) to make its
points. Xylophone in this
movement is meant to be
distinctly audible.
Therefore, be especially
sure that the xylophone
player is secure in the
part, and also that the
tambourine and toms sound
good. This movement must
fly or it will sink, so
rev up the band and
conduct it in 1 for this
mixolydian jesting. I
suppose the wildly
unrelated keys (clarinets
and then brass at the
end) would be a good
16th-century joke, but to
us, our
put-up-the-chorus-a-half-
step ears readily accept
such shenanigans.
Ensemble instrumentation:
1 Full Score, 1 Piccolo,
4 Flute 1, 4 Flute 2 & 3,
2 Oboe 1 & 2, 2 Bassoon 1
& 2, 1 Eb Clarinet, 4 Bb
Clarinet 1, 4 Bb Clarinet
2, 4 Bb Clarinet 3, 2 Eb
Alto Clarinet, 1 Eb
Contra Alto Clarinet, 3
Bb Bass & Bb Contrabass
Clarinet, 2 Eb Alto
Saxophone 1, 2 Eb Alto
Saxophone 2, 2 Bb Tenor
Saxophone, 2 Eb Baritone
Saxophone, 3 Bb Trumpet
1, 3 Bb Trumpet 2, 3 Bb
Trumpet 3, 4 Horn in F 1
& 2, 2 Trombone 1, 4
Trombone 2 & 3, 3
Euphonium (B.C.), 2
Euphonium (T.C.), 4 Tuba,
1 String Bass, 1 Timpani
(optional), 2 Xylophone &
Glockenspiel, 5
Percussion. $95.00 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| The Rolling Earth Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire Manhattan Beach Music
Composed by Robert Starer (1924-2001). Concert band. Suitable for advanced middl...(+)
Composed by Robert Starer
(1924-2001). Concert
band. Suitable for
advanced middle school,
high school, community
and college bands. Grade
3. Conductor score and
set of parts. Duration
3:15. Published by
Manhattan Beach Music
$95.00 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Tell It on the Mountain [Conducteur et Parties séparées] Shawnee Press
IPrint Orchestration Choral (Orchestration On Cd-Rom) SKU: HL.35027260 (+)
IPrint Orchestration
Choral (Orchestration On
Cd-Rom) SKU:
HL.35027260 From A
World of Christmas.
Arranged by Joseph M.
Martin. Glory Sound
Christmas. Advent,
Christmas Sacred,
Christmas/Advent Sacred.
Score and Parts.
Published by Shawnee
Press (HL.35027260).
UPC: 884088492977.
5.0x5.0x0.154 inches.
Arranged by Joseph M.
Martin. Uses:
Christmas, evangelism,
multicultural, Epiphany
Scripture: Romans 10:8;
Luke 2 Here is a sizzling
Christmas finale that
will be the perfect
exclamation point to your
holiday programming.
Soulful and full of
gospel power, this
partnering is just the
thing to inspire your
audience to share the
good news! Score and
parts for Flt 1&2
(Flt 2 dbl. Piccolo),
Oboe, Clt 1&2,
Bassoon, Horn 1&2,
Tpt 1, Tpt 2&3, Tbone
1&2, Bass Tbone/Tuba,
Timp, Perc 1&2,
Drums, Harp, Piano, Bass,
Violin 1, Violin 2,
Viola, Cello, Double
Bass. $60.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Rolling Earth Orchestre d'harmonie - Facile Manhattan Beach Music
Concert band - Grade 3 SKU: MH.1-59913-053-X Composed by Robert Starer. S...(+)
Concert band - Grade 3
SKU:
MH.1-59913-053-X
Composed by Robert
Starer. Suitable for
advanced middle school,
high school, community
and college bands.
Conductor Full Score.
Duration 3:15. Published
by Manhattan Beach Music
(MH.1-59913-053-X).
ISBN
9781599130538. The
term Rolling Earth comes
from a poem by Walt
Whitman and the music is
a celebration of the
planet we live on. It has
three thematic elements:
the sequence of chords of
the opening, a brief
staccato passage passed
around different
instruments in the
fashion of a canon, and
an expressive melody
first played by the
woodwinds and later
repeated by the trumpet,
saxophone and euphonium.
A gentler section comes
to a point of
contemplation, when a
strong rhythmic motive
brings it back to the
celebratory mood of the
opening. Ensemble
instrumentation: 2
Piccolo, 4 Flute 1, 4
Flute 2, 3 Oboe 1-2, 2 Eb
Clarinet, 4 Bb Clarinet
1, 4 Bb Clarinet 2, 4 Bb
Clarinet 3, 2 Eb Alto
Clarinet, 3 Bb Bass
Clarinet, 3 Bassoon 1-2,
3 Eb Alto Saxophone 1, 3
Eb Alto Saxophone 2, 2 Bb
Tenor Saxophone, 2 Eb
Baritone Saxophone, 3 Bb
Trumpet 1, 3 Bb Trumpet
2, 3 Bb Trumpet 3, 3 Horn
in F 1-2, 3 Horn in F
3-4, 3 Trombone 1, 3
Trombone 2, 3 Trombone 3,
3 Euphonium B.C., 2
Euphonium T.C., 6 Tuba, 2
Timpani, 2 Mallet
Percussion: Xylophone.
Glockenspiel, 6
Percussion Score: Snare
Drum. Tenor Drum, Bass
Drum, Gong. Suspended
Cymbals, Bongo Drum. $15.00 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Appalachian Winter Shawnee Press
Choral (digital production kit) SKU: HL.35028867 Composed by Joseph M. Ma...(+)
Choral (digital
production kit) SKU:
HL.35028867 Composed
by Joseph M. Martin.
Harold Flammer Christmas.
Advent, Cantata,
Christmas. Published by
Shawnee Press
(HL.35028867). UPC:
884088888633. 5.25x7.5
inches. From the
composer of Festival
of Carols and The
Winter Rose comes a
cantata that celebrates
the legacy of early
American carols and
hymnody. Composed in the
spirit of folk music, the
cantata combines
traditional sounds with
more rustic elements
creating a blend that is
fresh and pleasing.
Popular American carols
like Away In a
Manger and O
Little Town of
Bethlehem dance with
traditional spirituals
such as Children, Go
Where I Send Thee and
Go, Tell It on the
Mountain. Sacred Harp
tunes are re-tooled for
Advent and stand
alongside new versions of
Shaker hymns and
Appalachian melodies.
Thoughtful narration
weaves the movements
together in a meaningful
tapestry of song and
Scripture. Two orchestral
options are available
allowing maximum
flexibility in
performance. A full line
of support products is
also available. Available
separately: SATB, CD-ROM
Full Orchestration (Score
& Parts for Flute 1 & 2,
alto recorder,
Oboe/English Horn,
Clarinet 1 & 2, Bassoon,
Horn 1 & 2, Trumpet 1-3,
Trombone 1 & 2, Bass
Trombone/Tuba, Timpani,
Percussion, Acoustic
Guitar, Banjo, Harp,
Piano, Synth, Solo
fiddle, Violin 1 & 2,
Viola, Cello, Double
Bass), Printed Full
Orchestration,
Appalachian Consort
Orchestration (Score &
parts for Flute, Violin,
Cello, Mandolin, Guitar,
Percussion and Piano),
StudioTrax CD
(accompaniment only),
SplitTrax CD, Listening
CD, 10-Pack Listening
CDs, Preview Pack
(Book/CD combo),
RehearsalTrax CDs (part
predominant,
reproducible), Digital
Resource Kit (PowerPoint,
Choir Devotionals,
Poster, Program, Flyers,
Children's Program PDFs).
Duration: approx. 40
min. $64.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Commence! Orchestre d'harmonie - Facile Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Cabasa, Chimes, China Cymbal, Cla...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Bells,
Cabasa, Chimes, China
Cymbal, Clarinet 1,
Clarinet 2, Clarinet 3,
Crash Cymbals, Euphonium,
Euphonium T.C., Flute 1,
Flute 2, Horn 1, Horn 2,
Mallet Percussion, Mark
Tree, Oboe, Percussion 1
and more. - Grade 3
SKU: CF.CPS210
Composed by Sean
O'Loughlin. Concert Band
(CPS). Set of Score and
Parts. With Standard
notation.
16+16+8+16+32+32+8+8+8+8+
8+8+16+16+16+8+8+12+12+12
+16+8+4+8+32+40+8 pages.
Duration 3 minutes, 57
seconds. Carl Fischer
Music #CPS210. Published
by Carl Fischer Music
(CF.CPS210). ISBN
9781491152362. UPC:
680160909865. A
driving composition from
Sean
O'loughlin,?Commence!?beg
ins with a spirited theme
that oscillates between
triple and duple meter.
After developing into a
heartfelt lush brass
chorale, the lilting
theme returns again. The
composition concludes
with a dramatic return of
the B theme and a rousing
finale. A beautiful
piece,?Commence!?is
a?strong choice for any
contest or
festival.
Commence!
em> was commissioned by
the Lynden High School
Class 2017-2019 and the
Lynden, WA Community, and
is dedicated to Steve
Herrick in celebration of
his retirement. Mr.
Herrick and I first
collaborated on a
commission in 2006, and I
was immediately taken by
the community and the
music program in Lynden.
It is truly one of the
most beautiful places in
the country and full of
musical inspiration at
every turn.
This piece is a
loving tribute to Mr.
Herrick and his amazing
contribution to the
students of Lynden for
over thirty years. The
music begins with a
spirited section
oscillating between 6/8
and 2/4 time. It should
maintain a pulsing
feeling throughout. The
main melody appears at m.
25 and has a lilting,
reminiscing quality to
it. After some further
development, it moves to
a B-section at m. 41 with
some warm brass passages.
The woodwinds should soar
over the top with their
counter line. The lower
voices take over the
melody at m. 59. The
harmony becomes more
discordant at m. 71 with
passages trading between
the brass and woodwinds.
This tension
releases into a slow
section that features a
flowing, heartfelt
melody. This builds to
the big moment at m. 112.
The timpani ushers us
back to the 6/8, 2/4
section. The melody is
now accompanied by some
flowing counterpoint at
m. 153 which leads to the
B-section again at m.
169. This time the
woodwinds take the lead
and the brass provide the
counter line. A final big
moment at m. 194 is the
culmination and high
point of the composition.
A brief fast section puts
a bow on the piece for a
rousing
finale. . Commence!
em> was commissioned by
the Lynden High School
Class 2017-2019 and the
Lynden, WA Community, and
is dedicated to Steve
Herrick in celebration of
his retirement. Mr.
Herrick and I first
collaborated on a
commission in 2006, and I
was immediately taken by
the community and the
music program in Lynden.
It is truly one of the
most beautiful places in
the country and full of
musical inspiration at
every turn.
This piece is a
loving tribute to Mr.
Herrick and his amazing
contribution to the
students of Lynden for
over thirty years. The
music begins with a
spirited section
oscillating between 6/8
and 2/4 time. It should
maintain a pulsing
feeling throughout. The
main melody appears at m.
25 and has a lilting,
reminiscing quality to
it. After some further
development, it moves to
a B-section at m. 41 with
some warm brass passages.
The woodwinds should soar
over the top with their
counter line. The lower
voices take over the
melody at m. 59. The
harmony becomes more
discordant at m. 71 with
passages trading between
the brass and woodwinds.
This tension
releases into a slow
section that features a
flowing, heartfelt
melody. This builds to
the big moment at m. 112.
The timpani ushers us
back to the 6/8, 2/4
section. The melody is
now accompanied by some
flowing counterpoint at
m. 153 which leads to the
B-section again at m.
169. This time the
woodwinds take the lead
and the brass provide the
counter line. A final big
moment at m. 194 is the
culmination and high
point of the composition.
A brief fast section puts
a bow on the piece for a
rousing
finale. . Co
mmence! was commissioned
by the Lynden High School
Class 2017-2019 and the
Lynden, WA Community, and
is dedicated to Steve
Herrick in celebration of
his retirement. Mr.
Herrick and I first
collaborated on a
commission in 2006, and I
was immediately taken by
the community and the
music program in Lynden.
It is truly one of the
most beautiful places in
the country and full of
musical inspiration at
every turn. This piece is
a loving tribute to Mr.
Herrick and his amazing
contribution to the
students of Lynden for
over thirty years. The
music begins with a
spirited section
oscillating between 6/8
and 2/4 time. It should
maintain a pulsing
feeling throughout. The
main melody appears at m.
25 and has a lilting,
reminiscing quality to
it. After some further
development, it moves to
a B-section at m. 41 with
some warm brass passages.
The woodwinds should soar
over the top with their
counter line. The lower
voices take over the
melody at m. 59. The
harmony becomes more
discordant at m. 71 with
passages trading between
the brass and woodwinds.
This tension releases
into a slow section that
features a flowing,
heartfelt melody. This
builds to the big moment
at m. 112. The timpani
ushers us back to the
6/8, 2/4 section. The
melody is now accompanied
by some flowing
counterpoint at m. 153
which leads to the
B-section again at m.
169. This time the
woodwinds take the lead
and the brass provide the
counter line. A final big
moment at m. 194 is the
culmination and high
point of the composition.
A brief fast section puts
a bow on the piece for a
rousing finale. $95.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Commence! Orchestre d'harmonie [Conducteur] - Facile Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Cabasa, Chimes, China Cymbal, Cla...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Bells,
Cabasa, Chimes, China
Cymbal, Clarinet 1,
Clarinet 2, Clarinet 3,
Crash Cymbals, Euphonium,
Euphonium T.C., Flute 1,
Flute 2, Horn 1, Horn 2,
Mallet Percussion, Mark
Tree, Oboe, Percussion 1
and more. - Grade 3
SKU: CF.CPS210F
Composed by Sean
O'Loughlin. Concert Band
(CPS). Full score. With
Standard notation. 40
pages. Carl Fischer Music
#CPS210F. Published by
Carl Fischer Music
(CF.CPS210F). ISBN
9781491153048. UPC:
680160910540. A
driving composition from
Sean
O'loughlin,?Commence!?beg
ins with a spirited theme
that oscillates between
triple and duple meter.
After developing into a
heartfelt lush brass
chorale, the lilting
theme returns again. The
composition concludes
with a dramatic return of
the B theme and a rousing
finale. A beautiful
piece,?Commence!?is
a?strong choice for any
contest or
festival.
Commence!
em> was commissioned by
the Lynden High School
Class 2017-2019 and the
Lynden, WA Community, and
is dedicated to Steve
Herrick in celebration of
his retirement. Mr.
Herrick and I first
collaborated on a
commission in 2006, and I
was immediately taken by
the community and the
music program in Lynden.
It is truly one of the
most beautiful places in
the country and full of
musical inspiration at
every turn.
This piece is a
loving tribute to Mr.
Herrick and his amazing
contribution to the
students of Lynden for
over thirty years. The
music begins with a
spirited section
oscillating between 6/8
and 2/4 time. It should
maintain a pulsing
feeling throughout. The
main melody appears at m.
25 and has a lilting,
reminiscing quality to
it. After some further
development, it moves to
a B-section at m. 41 with
some warm brass passages.
The woodwinds should soar
over the top with their
counter line. The lower
voices take over the
melody at m. 59. The
harmony becomes more
discordant at m. 71 with
passages trading between
the brass and woodwinds.
This tension
releases into a slow
section that features a
flowing, heartfelt
melody. This builds to
the big moment at m. 112.
The timpani ushers us
back to the 6/8, 2/4
section. The melody is
now accompanied by some
flowing counterpoint at
m. 153 which leads to the
B-section again at m.
169. This time the
woodwinds take the lead
and the brass provide the
counter line. A final big
moment at m. 194 is the
culmination and high
point of the composition.
A brief fast section puts
a bow on the piece for a
rousing
finale. . Commence!
em> was commissioned by
the Lynden High School
Class 2017-2019 and the
Lynden, WA Community, and
is dedicated to Steve
Herrick in celebration of
his retirement. Mr.
Herrick and I first
collaborated on a
commission in 2006, and I
was immediately taken by
the community and the
music program in Lynden.
It is truly one of the
most beautiful places in
the country and full of
musical inspiration at
every turn.
This piece is a
loving tribute to Mr.
Herrick and his amazing
contribution to the
students of Lynden for
over thirty years. The
music begins with a
spirited section
oscillating between 6/8
and 2/4 time. It should
maintain a pulsing
feeling throughout. The
main melody appears at m.
25 and has a lilting,
reminiscing quality to
it. After some further
development, it moves to
a B-section at m. 41 with
some warm brass passages.
The woodwinds should soar
over the top with their
counter line. The lower
voices take over the
melody at m. 59. The
harmony becomes more
discordant at m. 71 with
passages trading between
the brass and woodwinds.
This tension
releases into a slow
section that features a
flowing, heartfelt
melody. This builds to
the big moment at m. 112.
The timpani ushers us
back to the 6/8, 2/4
section. The melody is
now accompanied by some
flowing counterpoint at
m. 153 which leads to the
B-section again at m.
169. This time the
woodwinds take the lead
and the brass provide the
counter line. A final big
moment at m. 194 is the
culmination and high
point of the composition.
A brief fast section puts
a bow on the piece for a
rousing
finale. . Co
mmence! was commissioned
by the Lynden High School
Class 2017-2019 and the
Lynden, WA Community, and
is dedicated to Steve
Herrick in celebration of
his retirement. Mr.
Herrick and I first
collaborated on a
commission in 2006, and I
was immediately taken by
the community and the
music program in Lynden.
It is truly one of the
most beautiful places in
the country and full of
musical inspiration at
every turn. This piece is
a loving tribute to Mr.
Herrick and his amazing
contribution to the
students of Lynden for
over thirty years. The
music begins with a
spirited section
oscillating between 6/8
and 2/4 time. It should
maintain a pulsing
feeling throughout. The
main melody appears at m.
25 and has a lilting,
reminiscing quality to
it. After some further
development, it moves to
a B-section at m. 41 with
some warm brass passages.
The woodwinds should soar
over the top with their
counter line. The lower
voices take over the
melody at m. 59. The
harmony becomes more
discordant at m. 71 with
passages trading between
the brass and woodwinds.
This tension releases
into a slow section that
features a flowing,
heartfelt melody. This
builds to the big moment
at m. 112. The timpani
ushers us back to the
6/8, 2/4 section. The
melody is now accompanied
by some flowing
counterpoint at m. 153
which leads to the
B-section again at m.
169. This time the
woodwinds take the lead
and the brass provide the
counter line. A final big
moment at m. 194 is the
culmination and high
point of the composition.
A brief fast section puts
a bow on the piece for a
rousing finale. $14.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Colorado Springs Orchestre d'harmonie [Conducteur] - Intermédiaire Anglo Music
Concert Band - Grade 5 SKU: HL.44007324 Grade 5 - Score and Parts....(+)
Concert Band - Grade 5
SKU: HL.44007324
Grade 5 - Score and
Parts. Composed by
Philip Sparke. Anglo
Music Concert Band.
Concert Piece. Score
Only. Composed 2007.
Duration 720 seconds.
Anglo Music Press
#AMP214. Published by
Anglo Music Press
(HL.44007324). UPC:
884088245214.
9.0x12.0x1.232 inches.
English(UK)/Deutsch/Franc
ais/Nederlands. Col
orado Springs was
commissioned by the
United States Air Force
Academy Band, Lieutenant
Steve Grimo,
Commmander/Conductor.
Colorado Springs, home of
the USAF Academy, is set
in spectacular landscape
towards the southern end
of the Rocky Mountains
and is a popular tourist
resort for skiing and
hiking. The Academy plays
an important part in the
life of the area and
serves as a base for the
USAFA Band, one of the
professional bands
forming part of the
musical life of the U.S.
Air Force. The suite is
in three movements: 1.
The Springs (fanfare) -
“The Springsâ€
is the local residents'
name for the town, and
this first movement
starts with a stirring
fanfare for brass and
percussion, opening with
bold unison horns. The
rest of the brass join in
and woodwind add
decorative figures. After
a short change of style,
the opening material
reappears to close the
movement. 2. Seven Falls
- Seven Falls is a
spectacular waterfall
near to the town which
cascades 181 feet in
seven distinct steps down
a solid cliff of pikes
peak granite. In this
movement, high woodwinds
describe the sparkling
water as it descends to a
popular lookout post near
the bottom of the falls.
3. Pikes Peak - To the
north-west of the town
and reaching an altitude
14,110 feet, Pikes Peak
is the farthest east of
the big peaks in the
Rocky Mountain chain,
which contributed to its
early fame among
explorers and pioneers,
and made it the symbol of
the 1859 Gold Rush to
Colorado with the slogan,
“Pikes Peak or
Bust.†It is the
second-most visited
mountain in the world
behind Japan's Mount
Fuji. This atmospheric
movement describes the
majesty of the mountain
and is based around the
fanfare from the first
movement. Opening on a
solitary bassoon, it is
not long before the main
theme appears under
bubbling woodwinds. The
music reaches a
passionate climax at
which point the opening
fanfare reappears to
bring the whole work to a
close. $208.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Colorado Springs Orchestre d'harmonie [Conducteur] - Intermédiaire Anglo Music
Concert Band - Grade 5 SKU: HL.44007325 Grade 5 - Score Only. Comp...(+)
Concert Band - Grade 5
SKU: HL.44007325
Grade 5 - Score
Only. Composed by
Philip Sparke. Anglo
Music Concert Band.
Concert Piece. Score
Only. Composed 2007.
Duration 720 seconds.
Anglo Music Press
#AMP214. Published by
Anglo Music Press
(HL.44007325). UPC:
884088245221.
9.0x12.0x0.173 inches.
English-German-French-Dut
ch. Colorado
Springs was commissioned
by the United States Air
Force Academy Band,
Lieutenant Steve Grimo,
Commmander/Conductor.
Colorado Springs, home of
the USAF Academy, is set
in spectacular landscape
towards the southern end
of the Rocky Mountains
and is a popular tourist
resort for skiing and
hiking. The Academy plays
an important part in the
life of the area and
serves as a base for the
USAFA Band, one of the
professional bands
forming part of the
musical life of the U.S.
Air Force. The suite is
in three movements: 1.
The Springs (fanfare) -
The Springs is the local
residents' name for the
town, and this first
movement starts with a
stirring fanfare for
brass and percussion,
opening with bold unison
horns. The rest of the
brass join in and
woodwind add decorative
figures. After a short
change of style, the
opening material
reappears to close the
movement. 2. Seven Falls
- Seven Falls is a
spectacular waterfall
near to the town which
cascades 181 feet in
seven distinct steps down
a solid cliff of pikes
peak granite. In this
movement, high woodwinds
describe the sparkling
water as it descends to a
popular lookout post near
the bottom of the falls.
3. Pikes Peak - To the
north-west of the town
and reaching an altitude
14,110 feet, Pikes Peak
is the farthest east of
the big peaks in the
Rocky Mountain chain,
which contributed to its
early fame among
explorers and pioneers,
and made it the symbol of
the 1859 Gold Rush to
Colorado with the slogan,
Pikes Peak or Bust. It is
the second-most visited
mountain in the world
behind Japan's Mount
Fuji. This atmospheric
movement describes the
majesty of the mountain
and is based around the
fanfare from the first
movement. Opening on a
solitary bassoon, it is
not long before the main
theme appears under
bubbling woodwinds. The
music reaches a
passionate climax at
which point the opening
fanfare reappears to
bring the whole work to a
close. $29.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
1 |