Edited by Jamey Aebersold. For any C, Eb, Bb, bass instrument or voice. Play-Alo...(+)
Edited by Jamey
Aebersold. For any C, Eb,
Bb, bass instrument or
voice. Play-Along series
with accompaniment CD.
Jazz Play-A-Long For All
Musicians. Book with CD.
Published by Jamey
Aebersold Jazz.
By Cathy Moklebust. Arranged by David Moklebust. For handbells (3, 4, or 5 octav...(+)
By Cathy Moklebust.
Arranged by David
Moklebust. For handbells
(3, 4, or 5 octaves) with
organ, congregation, and
optional brass quartet (2
Trumpets, 2 Trombones)
(with optional Brass
quartet). Sacred. Level 2
. Full score. Published
by Chorister's Guild
Composed by Various. For Piano/Keyboard. Hal Leonard Fake Books. Classical. Diff...(+)
Composed by Various. For
Piano/Keyboard. Hal
Leonard Fake Books.
Classical. Difficulty:
medium to
medium-difficult.
Fakebook. Melody line,
chord names and lyrics
(on some songs). 413
pages. Published by Hal
Leonard
Composed by Dale Jergenson. For 2-part women's voices, piano. General, Memorial....(+)
Composed by Dale
Jergenson. For 2-part
women's voices, piano.
General, Memorial.
Moderately Difficult.
Choral score. Published
by Laurendale Associates
Composed by Franz
Schubert. Edited by
Salome Reiser. This
edition: urtext.
Stuttgart Urtext Edition:
Stuttgart Schubert
Edition. Violin 1.
Innovative practice aids,
Sacred vocal music,
Magnificats, Advent,
Christmas, Feasts of the
Blessed Virgin Mary,
Hymns in praise of the
Virgin Mary, Daily hours.
Single Part, Violin 1.
Composed 1815. D 486. 8
pages. Duration 9
minutes. Carus Verlag #CV
70.053/11. Published by
Carus Verlag
(CA.7005311).
ISBN
9790007228286. Key: D
major. Language:
Latin.
With a
duration of about 10
minutes, Schubert's
Magnificat D 486 in C
major is one of the more
concise settings of the
well-known Marian
canticles, originally for
the service of Vespers.
It was composed in late
summer 1815, and is
therefore probably one of
a series of church music
works Schubert wrote in
his youth for Lichtenthal
Parish Church. The work
requires a large-scale
orchestra with strings,
woodwind, and brass. The
four-part choir contrasts
with four soloists; this
quartet sings the
peaceful middle section
of the three-section
work. For the Carus
edition Schubert's own
autograph manuscript of
his Magnificat was
consulted again for the
first time since 1888.
Until 1989 this had been
thought to be lost. This
work is now available in
carus music, the choir
app! Score and part
available separately -
see item CA.7005300.
Composed by Franz
Schubert. Edited by
Salome Reiser. This
edition: urtext.
Stuttgart Urtext Edition:
Stuttgart Schubert
Edition. Violin 2.
Innovative practice aids,
Sacred vocal music,
Magnificats, Advent,
Christmas, Feasts of the
Blessed Virgin Mary,
Hymns in praise of the
Virgin Mary, Daily hours.
Single Part, Violin 2.
Composed 1815. D 486. 8
pages. Duration 9
minutes. Carus Verlag #CV
70.053/12. Published by
Carus Verlag
(CA.7005312).
ISBN
9790007228293. Key: D
major. Language:
Latin.
With a
duration of about 10
minutes, Schubert's
Magnificat D 486 in C
major is one of the more
concise settings of the
well-known Marian
canticles, originally for
the service of Vespers.
It was composed in late
summer 1815, and is
therefore probably one of
a series of church music
works Schubert wrote in
his youth for Lichtenthal
Parish Church. The work
requires a large-scale
orchestra with strings,
woodwind, and brass. The
four-part choir contrasts
with four soloists; this
quartet sings the
peaceful middle section
of the three-section
work. For the Carus
edition Schubert's own
autograph manuscript of
his Magnificat was
consulted again for the
first time since 1888.
Until 1989 this had been
thought to be lost. This
work is now available in
carus music, the choir
app! Score and part
available separately -
see item CA.7005300.
Composed by Franz
Schubert. Edited by
Salome Reiser. This
edition: urtext.
Stuttgart Urtext Edition:
Stuttgart Schubert
Edition. Viola.
Innovative practice aids,
Sacred vocal music,
Magnificats, Advent,
Christmas, Feasts of the
Blessed Virgin Mary,
Hymns in praise of the
Virgin Mary, Daily hours.
Single Part, Viola.
Composed 1815. D 486. 4
pages. Duration 9
minutes. Carus Verlag #CV
70.053/13. Published by
Carus Verlag
(CA.7005313).
ISBN
9790007228309. Key: D
major. Language:
Latin.
With a
duration of about 10
minutes, Schubert's
Magnificat D 486 in C
major is one of the more
concise settings of the
well-known Marian
canticles, originally for
the service of Vespers.
It was composed in late
summer 1815, and is
therefore probably one of
a series of church music
works Schubert wrote in
his youth for Lichtenthal
Parish Church. The work
requires a large-scale
orchestra with strings,
woodwind, and brass. The
four-part choir contrasts
with four soloists; this
quartet sings the
peaceful middle section
of the three-section
work. For the Carus
edition Schubert's own
autograph manuscript of
his Magnificat was
consulted again for the
first time since 1888.
Until 1989 this had been
thought to be lost. This
work is now available in
carus music, the choir
app! Score and part
available separately -
see item CA.7005300.
Orchestra SKU: PR.11641867S Composed by William Kraft. Full score. Durati...(+)
Orchestra
SKU:
PR.11641867S
Composed
by William Kraft. Full
score. Duration 16
minutes, 25 seconds.
Theodore Presser Company
#116-41867S. Published by
Theodore Presser Company
(PR.11641867S).
UPC:
680160683208.
Conte
xtures: Riots -Decade '60
was commissioned by Zubin
Mehta and the Southern
California Symphony
Association after the
successful premiere of
the Concerto for Four
Percussion Soloists and
Orchestra. It was written
during the spring and
summer months of 1967.
Riots stemming from
resentment against the
racial situation in the
United States and the war
in Vietnam were occurring
throughout the country
and inevitably invaded
the composer's creative
subconscious.
Contextures, as the title
implies, was intended to
exploit various and
varying textures. As the
work progressed the
correspondence between
the fabric of music and
the fabric of society
became apparent and the
allegory grew in
significance. So I found
myself translating social
aspects into musical
techniques. Social
stratification became a
polymetric situation
where disparate groups
function together. The
conflict between the
forces of expansion and
the forces of containment
is expressed through and
opposition of tonal
fluidity vs. rigidity.
This is epitomized in the
fourth movement, where
the brass is divided into
two groups - a muted
group, encircled by the
unmuted one, which does
its utmost to keep the
first group within a
restricted pitch area.
The playful jazzy bits
(one between the first
and second movements and
one at the end of the
piece) are simply saying
that somehow in this age
of turmoil and anxiety
ways of having fun are
found even though that
fun may seem
inappropriate. The piece
is in five movements,
with an interlude between
the first and second
movements. It is scored
for a large orchestra,
supplemented by six
groups of percussion,
including newly created
roto-toms (small tunable
drums) and some original
devices, such as muted
gongs and muted
vibraphone. There is also
an offstage jazz quartet:
bass, drums, soprano
saxophone and trumpet.
The first movement begins
with a solo by the first
clarinetist which is
interrupted by
intermittent heckling
from his colleagues
leading to a
configuration of large
disparate elements. The
interlude of solo violin
and snare-drum follows
without pause. The second
movement, Prestissimo, is
a display piece of
virtuosity for the entire
orchestra. The third
movement marks a period
of repose and reflection
and calls for some
expressive solos,
particularly by the horn
and alto saxophone. The
fourth movement opens
with a rather lengthy
oboe solo, which is
threatened by large
blocks of sound from the
orchestra, against an
underlying current of
agitated energy in the
piano and percussion.
This leads to a section
in which large orchestral
forces oppose one
another, ultimately
bringing the work to a
climax, if not to a
denouement. Various
thematic elements are
strewn all over the
orchestra, resulting in
the formation of a
general haze of sound. A
transition leads to the
fifth movement without
pause. The musical haze
is pierced gently by the
offstage jazz group as if
they were attempting to
ignore and even dispel
the gloom, but a legato
bell sound enters and
hovers over both the jazz
group and the orchestra,
the latter making
statements of disquieting
finality. Two films were
conceived to accompany
portions of Contextures.
The first done by Herbert
Kosowar, was a
chemography film
(painting directly into
the film using dyes and
various implements) with
fast clips of riot
photographs. The second
was a film collage made
by photographically
abstracting details from
paintings of Reginald
Pollack. The purpose was
to invoke a non-specific
response - as in music -
but at the same time to
define the subject matter
of the piece. The films
were constructed to
correspond with certain
developments in the piece
and in no way affect the
independence and musical
flow of the piece, having
been made after the piece
was completed.
Contextures: Riots -
Decade '60 is dedicated
to Mehta, the Southern
California Symphony
Association and the Los
Angeles Philharmonic
Orchestra. The news of
the assassination of Dr.
Martin Luther King came
the afternoon of the
premiere, April 4, 1968.
That evening's
performances, and also
the succeeding ones, were
dedicated to him and a
special dedication to Dr.
King has been inserted
into he score. All the
music that follows the
jazz group - beginning
with the legato bell
sound playing the first 2
notes to We shall
overcome constitutes a
new ending to commemorate
Dr. King's death.
SATB divisi a cappella Choral (SATB a cappella) SKU: HL.1428501 Arranged ...(+)
SATB divisi a cappella
Choral (SATB a cappella)
SKU: HL.1428501
Arranged by Ken Burton.
Gentry Publications.
Octavo. 16 pages. Gentry
Publications #JG2733.
Published by Gentry
Publications
(HL.1428501).
UPC:
196288202677.
6.75x10.5x0.036
inches.
Ken
Burton's “Swing Down,
Chariot,” showcased in
the Jason Max Ferdinand
Choral Series,
intricately weaves a
tapestry of musical
genres intrinsic to Black
American sacred music.
This arrangement
harmonizes African
influences, quartet
styles, close harmony
jazz, big band, and
classical elements,
delivering a vibrant and
diverse sonic landscape.
While its entertaining
aspects shine, the piece
maintains a heartfelt
essence, reflecting a
deep yearning for
freedom. Inspired by
twentieth-century gospel
quartets like the
Fairfield Four and Golden
Gate Quartet, Burton's
arrangement infuses
percussive articulation
and dynamic flexibility.
Choirs are encouraged to
explore creative
articulation options,
ensuring a spirited and
engaging rendition. Ideal
for collegiate, chamber,
honor, and all-state
choirs, this arrangement
captivates effortlessly,
resonating with its rich
musical essence.
Excellent choice for your
advanced and professional
choirs. You can never go
wrong with a Ken Burton
arrangement or
composition.
Boy
Soprano, Soprano, Tenor,
Flugelhorn, Mixed Chorus,
and Chamber Orchestra
Study Score. Composed
by Harald Weiss. This
edition: Paperback/Soft
Cover. Sheet music. Study
Score. Classical.
Softcover. Composed
2008/2009. 188 pages.
Duration 100'. Schott
Music #ED20619. Published
by Schott Music
(HL.49018099).
ISBN
9790001158428. UPC:
884088567347.
8.25x11.75x0.457 inches.
Latin - German.
On
letting go(Concerning the
selection of the texts)
In the selection of the
texts, I have allowed
myself to be motivated
and inspired by the
concept of 'letting go'.
This appears to me to be
one of the essential
aspects of dying, but
also of life itself. We
humans cling far too
strongly to successful
achievements, whether
they have to do with
material or ideal values,
or relationships of all
kinds. We cannot and do
not want to let go,
almost as if our life
depended on it. As we
will have to practise the
art of letting go at the
latest during our hour of
death, perhaps we could
already make a start on
this while we are still
alive. Tagore describes
this farewell with very
simple but strikingly
vivid imagery: 'I will
return the key of my
door'. I have set this
text for tenor solo. Here
I imagine, and have
correspondingly noted in
a certain passage of the
score, that the
protagonist finds himself
as though 'in an ocean'
of voices in which he is
however not drowning, but
immersing himself in
complete relaxation. The
phenomenon of letting go
is described even more
simply and tersely in
Psalm 90, verse 12: 'So
teach us to number our
days, that we may apply
our hearts unto wisdom'.
This cannot be expressed
more plainly.I have begun
the requiem with a solo
boy's voice singing the
beginning of this psalm
on a single note, the
note A. This in effect
says it all. The work
comes full circle at the
culmination with a repeat
of the psalm which
subsequently leads into a
resplendent 'lux
aeterna'. The
intermediate texts of the
Requiem which highlight
the phenomenon of letting
go in the widest spectrum
of colours originate on
the one hand from the
Latin liturgy of the
Messa da Requiem (In
Paradisum, Libera me,
Requiem aeternam, Mors
stupebit) and on the
other hand from poems by
Joseph von Eichendorff,
Hermann Hesse,
Rabindranath Tagore and
Rainer Maria Rilke.All
texts have a distinctive
positive element in
common and view death as
being an organic process
within the great system
of the universe, for
example when Hermann
Hesse writes: 'Entreiss
dich, Seele, nun der
Zeit, entreiss dich
deinen Sorgen und mache
dich zum Flug bereit in
den ersehnten Morgen'
['Tear yourself way , o
soul, from time, tear
yourself away from your
sorrows and prepare
yourself to fly away into
the long-awaited
morning'] and later: 'Und
die Seele unbewacht will
in freien Flugen
schweben, um im
Zauberkreis der Nacht
tief und tausendfach zu
leben' ['And the
unfettered soul strives
to soar in free flight to
live in the magic sphere
of the night, deep and
thousandfold']. Or Joseph
von Eichendorff whose
text evokes a distant
song in his lines: 'Und
meine Seele spannte weit
ihre Flugel aus. Flog
durch die stillen Lande,
als floge sie nach Haus'
['And my soul spread its
wings wide. Flew through
the still country as if
homeward bound.']Here a
strong romantically
tinged occidental
resonance can be detected
which is however also
accompanied by a
universal spirit going
far beyond all cultures
and religions. In the
beginning was the sound
Long before any sort of
word or meaningful phrase
was uttered by vocal
chords, sounds,
vibrations and tones
already existed. This
brings us back to the
music. Both during my
years of study and at
subsequent periods, I had
been an active
participant in the world
of contemporary music,
both as percussionist and
also as conductor and
composer. My early scores
had a somewhat
adventurous appearance,
filled with an abundance
of small black dots: no
rhythm could be too
complicated, no register
too extreme and no
harmony too dissonant. I
devoted myself intensely
to the handling of
different parameters
which in serial music
coexist in total
equality: I also studied
aleatory principles and
so-called minimal music.I
subsequently emigrated
and took up residence in
Spain from where I
embarked on numerous
travels over the years to
India, Africa and South
America. I spent repeated
periods during this time
as a resident in
non-European countries.
This meant that the
currents of contemporary
music swept past me
vaguely and at a great
distance. What I instead
absorbed during this
period were other
completely new cultures
in which I attempted to
immerse myself as
intensively as possible.I
learned foreign languages
and came into contact
with musicians of all
classes and styles who
had a different cultural
heritage than my own: I
was intoxicated with the
diversity of artistic
potential.Nevertheless,
the further I distanced
myself from my own
Western musical heritage,
the more this returned
insistently in my
consciousness.The scene
can be imagined of
sitting somewhere in the
middle of the Brazilian
jungle surrounded by the
wailing of Indians and
out of the blue being
provided with the
opportunity to hear
Beethoven's late string
quartets: this can be a
heart-wrenching
experience, akin to an
identity crisis. This
type of experience can
also be described as
cathartic. Whatever the
circumstances, my
'renewed' occupation with
the 'old' country would
not permit me to return
to the point at which I
as an audacious young
student had maltreated
the musical parameters of
so-called contemporary
music. A completely
different approach would
be necessary: an
extremely careful
approach, inching my way
gradually back into the
Western world: an
approach which would
welcome tradition back
into the fold, attempt to
unfurl the petals and
gently infuse this
tradition with a breath
of contemporary
life.Although I am aware
that I will not unleash a
revolution or scandal
with this approach, I am
nevertheless confident
as, with the musical
vocabulary of this
Requiem, I am travelling
in an orbit in which no
ballast or complex
structures will be
transported or intimated:
on the contrary, I have
attempted to form the
message of the texts in
music with the naivety of
a 'homecomer'. Harald
WeissColonia de San
PedroMarch 2009.
SATB choir, organ accompaniment, trumpet 1 in B-flat, trumpet 2 in B-flat, tromb...(+)
SATB choir, organ
accompaniment, trumpet 1
in B-flat, trumpet 2 in
B-flat, trombone 1,
trombone 2 - Beginning
SKU: GI.G-6117
Composed by Timothy
Valentine. Arranged by
Peter Valentine.
Eastertide, Easter
Sunday. Choral. Sacred.
Octavo. 16 pages. GIA
Publications #6117.
Published by GIA
Publications (GI.G-6117).
English. Text by
Thomas Catania.
The
words of Thomas Catania
and the music of Timothy
Valentine and Peter
Valentine combine in this
festive hymn setting.
Parts for brass quartet
are available
separately. .
Organ, trumpet 1 in B-flat, trumpet 1 in C, trumpet 2 in B-flat, trumpet 2 in C,...(+)
Organ, trumpet 1 in
B-flat, trumpet 1 in C,
trumpet 2 in B-flat,
trumpet 2 in C, horn in
F, trombone 1, trombone 2
- Late intermediate
SKU: GI.G-5676
Based on the tune
CANTATE DOMINO.
Composed by Anne Roberts.
Arranged by Doug
Henderson. Tune Name:
Cantate Domino. Sacred.
Instrumental part(s). 8
pages. GIA Publications
#5676. Published by GIA
Publications (GI.G-5676).
There is a bit
of toccata action in the
organ that will require
some agility, while the
quartet’s part is
straightforward—
though not without
rhythmic or harmonic
interest! The piece can
also be done by organ
alone, or by organ with
solo trumpet. The tune by
David G. Wilson is also
known as ONSLOW SQUARE.
Horn in F can be
substituted for Trombone
I.
SKU: LO.765571000827 Composed by Mosie Lister. Choral collection. Sacred,...(+)
SKU:
LO.765571000827
Composed by Mosie Lister.
Choral collection.
Sacred, Choral.
Performance CD. Lillenas
Publishing Company
#765571000827. Published
by Lillenas Publishing
Company
(LO.765571000827).
UPC:
765571000827.
From
award-winning composer
Mosie Lister, this Stereo
CD features ten favorite
selections from the
souvenir songbook by the
same title. Performances
by The Cathedrals, The
Kingsmen, The Speers, The
Singing Americans, and J.
D. Sumner & The Stamps
Quartet are sure to bring
back the days of Good
Ol’ Gospel.
A Christmas Celebration (Grade 2 to 3 - Score and Parts). Arranged by James Curn...(+)
A Christmas Celebration
(Grade 2 to 3 - Score and
Parts). Arranged by James
Curnow. For Concert Band.
Curnow Music Concert
Band. Grade 2-3. Curnow
Music #019598. Published
by Curnow Music