SKU: GI.G-10665 Composed by Angela Ammerman. Classical. 204 pages. GIA Pu...(+)
SKU: GI.G-10665
Composed by Angela
Ammerman. Classical. 204
pages. GIA Publications
#10665. Published by GIA
Publications
(GI.G-10665).
ISBN
9781574635379.
Cont
ributors: Jaimie
Abney-Giraldo •
Angela Ammerman •
Han Sol Chang •
Charles R. Ciorba •
Jeanne Crowley •
Vivian Gonzalez •
Monica Guido •
Kristina Hamester •
Essel Linton •
Linda Apple Monson
• Marcia Neel
• Tony Sauza
• Ida Steadman Very
few music teachers are
prepared to address the
needs of the rapidly
growing population of
English Language Learners
(ELLs). Whether you have
just one ELL in your
classroom or 50, this
book provides
discipline-specific tips,
strategies, examples,
classroom management
recommendations and much
more. Written by
experienced music
educators with
backgrounds in concert
band, modern band,
chorus, orchestra,
mariachi, special
education, higher
education, general music
and administration, this
highly interactive text
will guide you to reach
optimal engagement with
ALL students while
addressing communication
barriers. Being in
orchestra made me feel
safe and welcome because
we all speak the same
language: music.
—Janine  Â
Manila, Philippines After
music, I feel changed. I
don’t feel sleepy
and worrying, and also
I’m not afraid of
mistakes. I am wanting to
play again.
—Somsak  Â
Chiang Mai, Thailand It
was like playing with
others with no words. No
words, yet we were able
to understand what we
wanted by looking at each
other’s eyes, body
motion, and listening to
each other. —Da
Hoen   Seoul,
South Korea Music brings
people together. Music is
about seeing myself in
another and letting
another see themselves in
me. —Larisa Brasov
  Romania Last
year, I missed 150 days
of school. I just
didn’t go to
school. This year, I
haven’t missed a
day… The only
difference in my life is
this program right here.
This program has saved my
life, and now, I am going
to graduate.
—Maria  Â
Mexico.
Trombone (trumpet or tuba) SKU: M7.AHW-1101 Original Unabridged Editio...(+)
Trombone (trumpet or
tuba)
SKU:
M7.AHW-1101
Original Unabridged
Edition. Composed by
Donald and Reinhardt.
Sheet music. 270 pages.
Charles Colin Corp. #AHW
1101. Published by
Charles Colin Corp.
(M7.AHW-1101).
English.
I
simply can't say it
better than the Doc
himself. Read what he
says about the Pivot
System, then grab some
samples, then a physical
book shipped right to
your home above. From the
Forward During the
initial or formative
years of a player's
career, he acquires the
mechanical habits which
determine the extent of
his development
invariably by pure
chance. If he happens to
be numbered among the few
fortunate ones who
unconsciously utilize
their physical factors to
advantage, eventually
someone will mistakenly
refer to him as being a
'natural' or 'born with
it.' If, as is more
likely the case, he
happens to be one whose
physical factors clash or
function incorrectly, he
inadvertently seals his
own fate. Either he can
give up shortly after
high school as most do,
or he can continue down
the blind alley of his
own circumscribed
potential. Most of these
unfortunates merely
resign themselves to a
career of mediocrity ('I
never had the chops'),
shying away (rom the
'lead book' in favor of
second, third or fourth
parts. A few (even worse)
go on mouthpiece jags or
scavenger hunts for no
pressure systems, etc. ,
always seeking, but never
finding the 'gimmick'
which will 'straighten
out my chops.' Some,
however, after a thorough
analysis, adopt the
scientific principles
which utilize every one
of their playing factors
with maximum efficiency.
These principles are what
is called the PIVOT
SYSTEM. - Doc
Reinhardt.
SATB chorus and organ - Medium-difficult / medium-difficult acc. SKU: JK.0096...(+)
SATB chorus and organ -
Medium-difficult /
medium-difficult acc.
SKU: JK.00969
Composed by John Bacchus
Dykes. Arranged by Nancy
L. Oliver. Choral SATB,
Difficulty Medium Hard,
Languages Spanish, Organ
Choir, Hope, Jesus Christ
- Friend, Jesus Christ -
Savior, Peace. Christian,
Inspirational. Duration
2:45. Jackman Music
Corporation #00969.
Published by Jackman
Music Corporation
(JK.00969).
Psalm
104:34, Enos
1:27.
Reverent
hymn arrangement for
mixed chorus (SATB) and
organ, beginning in
unison and gradually
broadening to a full
eight part
choir--particularly
appropriate for a stake
choir. Includes both
English and Spanish
text. Composer: John
B. Dykes Arranger:
Nancy L. Oliver
Lyricist: attributed to
Bernard of Clair Vaux
Difficulty:
Medium-difficult /
medium-difficult acc.
Performance time:
2:45 Preference: Psalm
104:34, Enos 1:27.
Chamber Music Trombone, Piano SKU: PR.114414450 Man vs. Machine. C...(+)
Chamber Music Trombone,
Piano
SKU:
PR.114414450
Man
vs. Machine. Composed
by Adolphus Hailstork.
Sws. Folk. Set of Score
and Parts. With Standard
notation. Composed 2009.
24+8 pages. Duration 12
minutes. Theodore Presser
Company #114-41445.
Published by Theodore
Presser Company
(PR.114414450).
ISBN
9781598064087. UPC:
680160597635. 9x12
inches.
Inspired by
the tale of a legendary
folk hero, Adolphus
Hailstork’s
tour-de-force for
trombone and piano is a
riveting portrayal of the
steely strength and
stamina of John Henry, a
former slave who helped
build the American
railroads and ultimately
outperformed a steam
engine. This composition
uses quotes from the
spiritual Every Time I
Feel the Spirit and the
folk song The Ballad of
John Henry. For advanced
players. Duration:
13’_______________
_________________________
__Text on the scanned
back cover:JOHN HENRY'S
BIG(MAN vs. MACHINE)FOR
TROMBONE AND
PIANOInspired by the tale
of the legendary hero,
Adolphus
Hailstork’s
tour-de-force for
trombone and piano is a
riveting portrayal of the
steely strength and
stamina of John Henry, a
former slave who helped
build the American
railroads and ultimately
outperformed a steam
engine. PROGRAM NOTES
by the ComposerJohn Henry
was born a slave in the
1840’s or
1850’s. It is
important to remember
that no one knows for
sure if John Henry
existed or is a tall tale
created by writers. That
is one of the things that
makes the legend so
intriguing.According to
the legend, he grew to
stand 6 feet tall, 200
pounds – a giant
in that day.Though the
story of John Henry
sounds like the
quintessential tall tale,
it is certainly based, at
least in part, on
historical circumstance.
There are disputes as to
where the legend
originates. Some place
John Henry in West
Virginia, while recent
research suggests
Alabama. Still, all share
a similar back-story.In
order to construct the
railroads, companies
hired thousands of men to
smooth out terrain and
cut through obstacles
that stood in the way of
the proposed tracks. One
such chore that figures
heavily into some of the
earliest John Henry
ballads is the blasting
of the Big Bend Tunnel,
more than a mile straight
through a mountain in
West
Virginia.Steel-drivinâ
™ men like John Henry
used large hammers and
stakes to pound holes
into the rock, which were
were then filled with
explosives that would
blast a cavity deeper and
deeper into the mountain.
In the folk ballads, the
central event took place
under such conditions.
Eager to reduce costs and
speed up progress, some
tunnel engineers were
using steam drills to
power their way into the
rock. According to the
great American tall
tales, on hearing of the
machine, John Henry
challenged the steam
drill to a contest. He
won, but died of
exhaustion, his life cut
short by his own
superhuman effort.This
composition uses quotes
from the spiritual Every
Time I Feel the Spirit
and the folk song The
Ballad of John Henry.JOHN
HENRY’S BIG was
composed for trombonist
David Jackson.
For Violin (Violin). String Solos and Ensembles - Violin Method/Studies. Souther...(+)
For Violin (Violin).
String Solos and
Ensembles - Violin
Method/Studies. Southern
Music. Grade 1. 48 pages.
Southern Music Company
#B196. Published by
Southern Music Company
By Daniel Anker, Carol Ponder and Donna Santman. Preface by Eric Booth. This edi...(+)
By Daniel Anker, Carol
Ponder and Donna Santman.
Preface by Eric Booth.
This edition: Book,
Listening CD and
Teacher's DVD. Textbook -
General. Instructional
Book, CD and DVD. 104
pages. Published by
Alfred Publishing.
Chuck's Stake Ensemble Jazz [Conducteur] - Facile C.L. Barnhouse
Grade 2 SKU: CL.031-0254-01 Composed by Niehaus. Jazz Ensemble. Extra ful...(+)
Grade 2
SKU:
CL.031-0254-01
Composed by Niehaus. Jazz
Ensemble. Extra full
score. Composed 1983.
C.L. Barnhouse
#031-0254-01. Published
by C.L. Barnhouse
(CL.031-0254-01).
A swinging type
riff tune with a solo for
trumpet (cued for tenor)
and piano. You just
can’t go wrong
with this Lennie Niehaus
classic from the
Barnhouse catalog.
Chuck's Stake Ensemble Jazz [Conducteur et Parties séparées] - Facile C.L. Barnhouse
Grade 2.5 SKU: CL.031-0254-00 Composed by Niehaus. Jazz Ensemble. Score a...(+)
Grade 2.5
SKU:
CL.031-0254-00
Composed by Niehaus. Jazz
Ensemble. Score and set
of parts. Composed 1983.
C.L. Barnhouse
#031-0254-00. Published
by C.L. Barnhouse
(CL.031-0254-00).
A swinging type
riff tune with a solo for
trumpet (cued for tenor)
and piano. You just
can’t go wrong
with this Lennie Niehaus
classic from the
Barnhouse catalog.
Movement III - Mother Earth (SSA Choral Part). Composed by Johan De Meij. Amstel...(+)
Movement III - Mother
Earth (SSA Choral Part).
Composed by Johan De
Meij. Amstel Music.
Concert Piece. Set (Score
and Parts). Composed
2007. Amstel Music #AM
93-050. Published by
Amstel Music
High
Wire Act for
Orchestra. Composed
by Michael Boyman. Study
Score. With Standard
notation. Duration 8
minutes. Merion Music
#446-41340. Published by
Merion Music
(PR.446413400).
UPC:
680160667406. 9 x 12
inches.
Tightrope
Walker is my first piece
for full orchestra. Given
the large forces
available to me, I wanted
to write something
exciting, colorful and
visceral. I remembered
back to when I was a kid
going to see the Cirque
du Soleil. That trip made
a big impression on me,
especially the high wire
performers. These were
artists performing
super-human feats high in
the air, where even the
slightest mistake
guaranteed a fatal
ending. This idea of
danger, of risking one's
life to entertain an
audience has stayed with
me, and Tightrope Walker
is my attempt at
recreating that special
childhood experience. The
opening of the piece
hints at what's to come -
a steady, walking pulse
interrupted by missteps
in the woodwinds. These
missteps increase until
the entire orchestra
comes crashing down - not
a good sign for our
Tightrope Walker. The
tempo slows and the
atmosphere becomes tense.
The primary themes of the
piece are presented in
fragments, most notably
the Tightrope Walker's
theme in the horns. The
orchestra gradually
recovers from the
previous fall, becoming
more lively and coherent
until the original,
faster tempo is restored.
We are now at the circus,
excited and expectant,
and the fragmentary
themes heard previously
are now presented in
their full forms. The
anticipation builds until
we hear a solo drum roll
- the main act is about
to begin. The second half
of the piece depicts the
Tightrope Walker
performing for his
audience. But from the
outset, as in the
beginning of the piece,
we hear there are
problems. The pressure
mounts, the audience
clamoring for more, until
Tightrope Walker comes to
a decisive and
potentially fatal
end. Tightrope
Walker is my first
piece for full
orchestra. Given the
large forces available to
me, I wanted to write
something exciting,
colorful and
visceral. I
remembered back to when I
was a kid going to see
the Cirque du Soleil.Â
That trip made a big
impression on me,
especially the high wire
performers. These
were artists performing
super-human feats high in
the air, where even the
slightest mistake
guaranteed a fatal
ending. This idea of
danger, of risking
one’s life to
entertain an audience has
stayed with me,
and Tightrope
Walker is my attempt
at recreating that
special childhood
experience.The opening of
the piece hints at what's
to come - a steady,
walking pulse interrupted
by missteps in the
woodwinds. These
missteps increase until
the entire orchestra
comes crashing down - not
a good sign for our
Tightrope Walker. The
tempo slows and the
atmosphere becomes
tense. The primary
themes of the piece are
presented in fragments,
most notably the
Tightrope Walker's theme
in the horns. The
orchestra gradually
recovers from the
previous fall, becoming
more lively and coherent
until the original,
faster tempo is
restored.We are now at
the circus, excited and
expectant, and the
fragmentary themes heard
previously are now
presented in their full
forms. Â The
anticipation builds until
we hear a solo drum roll
- the main act is about
to begin. The second
half of the piece depicts
the Tightrope Walker
performing for his
audience. But from
the outset, as in the
beginning of the piece,
we hear there are
problems. The
pressure mounts, the
audience clamoring for
more, until Tightrope
Walker comes to a
decisive and potentially
fatal end.
High
Wire Act for
Orchestra. Composed
by Michael Boyman. Large
Score. With Standard
notation. Duration 8
minutes. Merion Music
#446-41340L. Published by
Merion Music
(PR.44641340L).
UPC:
680160667413. 11 x 17
inches.
Tightrope
Walker is my first piece
for full orchestra. Given
the large forces
available to me, I wanted
to write something
exciting, colorful and
visceral. I remembered
back to when I was a kid
going to see the Cirque
du Soleil. That trip made
a big impression on me,
especially the high wire
performers. These were
artists performing
super-human feats high in
the air, where even the
slightest mistake
guaranteed a fatal
ending. This idea of
danger, of risking one's
life to entertain an
audience has stayed with
me, and Tightrope Walker
is my attempt at
recreating that special
childhood experience. The
opening of the piece
hints at what's to come -
a steady, walking pulse
interrupted by missteps
in the woodwinds. These
missteps increase until
the entire orchestra
comes crashing down - not
a good sign for our
Tightrope Walker. The
tempo slows and the
atmosphere becomes tense.
The primary themes of the
piece are presented in
fragments, most notably
the Tightrope Walker's
theme in the horns. The
orchestra gradually
recovers from the
previous fall, becoming
more lively and coherent
until the original,
faster tempo is restored.
We are now at the circus,
excited and expectant,
and the fragmentary
themes heard previously
are now presented in
their full forms. The
anticipation builds until
we hear a solo drum roll
- the main act is about
to begin. The second half
of the piece depicts the
Tightrope Walker
performing for his
audience. But from the
outset, as in the
beginning of the piece,
we hear there are
problems. The pressure
mounts, the audience
clamoring for more, until
Tightrope Walker comes to
a decisive and
potentially fatal
end. Tightrope
Walker is my first
piece for full
orchestra. Given the
large forces available to
me, I wanted to write
something exciting,
colorful and
visceral. I
remembered back to when I
was a kid going to see
the Cirque du Soleil.Â
That trip made a big
impression on me,
especially the high wire
performers. These
were artists performing
super-human feats high in
the air, where even the
slightest mistake
guaranteed a fatal
ending. This idea of
danger, of risking
one’s life to
entertain an audience has
stayed with me,
and Tightrope
Walker is my attempt
at recreating that
special childhood
experience.The opening of
the piece hints at what's
to come - a steady,
walking pulse interrupted
by missteps in the
woodwinds. These
missteps increase until
the entire orchestra
comes crashing down - not
a good sign for our
Tightrope Walker. The
tempo slows and the
atmosphere becomes
tense. The primary
themes of the piece are
presented in fragments,
most notably the
Tightrope Walker's theme
in the horns. The
orchestra gradually
recovers from the
previous fall, becoming
more lively and coherent
until the original,
faster tempo is
restored.We are now at
the circus, excited and
expectant, and the
fragmentary themes heard
previously are now
presented in their full
forms. Â The
anticipation builds until
we hear a solo drum roll
- the main act is about
to begin. The second
half of the piece depicts
the Tightrope Walker
performing for his
audience. But from
the outset, as in the
beginning of the piece,
we hear there are
problems. The
pressure mounts, the
audience clamoring for
more, until Tightrope
Walker comes to a
decisive and potentially
fatal end.
Parts supplied with fingerings and bowing marks by Engelbert Rontgen. Compose...(+)
Parts supplied with
fingerings and bowing
marks
by Engelbert Rontgen.
Composed by Ludwig van
Beethoven (1770-1827).
Edited by Engelbert
Rontgen.
The Breitkopf Originals
series opens up a
fascinating view into the
Breitkopf and Hartel
publishing-house
archives.
The focus is on its
rarities
and treasures, together
with
milestones in the history
of
interpretation for works
of
the . Breitkopf and
Haertel
#KM-254. Published by
Breitkopf and Haertel
Cantata
for the 1st Sunday in
Advent. Composed by
Johann Sebastian Bach.
Edited by Klaus Hofmann.
This edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. Organ. Sacred
vocal music, Cantatas,
Advent, Christmas. Single
Part, Organ. Composed
1731. BWV 36. 20 pages.
Duration 31 minutes.
Carus Verlag #CV
31.036/49. Published by
Carus Verlag
(CA.3103649).
ISBN
9790007205690. Language:
German/English.
Translation: Henry
Drinker.
Bach's
well-known church cantata
Schwingt freudig euch
empor BWV 36 (Up joyous
raise your song), first
heard in its final
version on First Advent
Sunday in 1731 at the
Leipzig Nikolaikirche,
can be traced back to a
secular birthday cantata
from 1725. The text is
now revised to render the
events of Advent - the
rejoicing of the opening
chorus, the loving
veneration and the
warm-hearted welcome of
the three solo arias
retained from the
original cantata now all
apply to the Messiah,
who, as once in
Jerusalem, should find a
place in the hearts of
the faithful. However,
their unmistakeable
Advent character derives
from the fact that Bach
contrasts the four
festive settings from the
secular cantata with
three strophes from
Luther's Advent chorale,
Nun komm, der Heiden
Heiland, thus at the same
time giving a voice to
the Mystery of God made
man. Score and part
available separately -
see item CA.3103600.
Cantata for the 1st
Sunday in Advent.
Composed by Johann
Sebastian Bach. Edited by
Klaus Hofmann. This
edition: urtext,
paperback. Stuttgart
Urtext Edition: Bach
vocal. Sacred vocal
music, Cantatas, Advent,
Christmas. Vocal score.
Composed 1731. BWV 36. 44
pages. Duration 31
minutes. Carus Verlag #CV
31.036/03. Published by
Carus Verlag
(CA.3103603).
ISBN
9790007171605. Language:
German/English.
Translation: Henry
Drinker.
Bach's
well-known church cantata
Schwingt freudig euch
empor BWV 36 (Up joyous
raise your song), first
heard in its final
version on First Advent
Sunday in 1731 at the
Leipzig Nikolaikirche,
can be traced back to a
secular birthday cantata
from 1725. The text is
now revised to render the
events of Advent - the
rejoicing of the opening
chorus, the loving
veneration and the
warm-hearted welcome of
the three solo arias
retained from the
original cantata now all
apply to the Messiah,
who, as once in
Jerusalem, should find a
place in the hearts of
the faithful. However,
their unmistakeable
Advent character derives
from the fact that Bach
contrasts the four
festive settings from the
secular cantata with
three strophes from
Luther's Advent chorale,
Nun komm, der Heiden
Heiland, thus at the same
time giving a voice to
the Mystery of God made
man. Score available
separately - see item
CA.3103600.
Cantata for the 1st
Sunday in Advent.
Composed by Johann
Sebastian Bach. Edited by
Klaus Hofmann. Stuttgart
Urtext Edition: Bach
vocal. Sacred vocal
music, Cantatas, Advent,
Christmas. Study score.
Composed 1731. BWV 36. 52
pages. Duration 31
minutes. Carus Verlag #CV
31.036/07. Published by
Carus Verlag
(CA.3103607).
ISBN
9790007244910. Language:
German/English.
Bac
h's well-known church
cantata Schwingt freudig
euch empor BWV 36 (Up
joyous raise your song),
first heard in its final
version on First Advent
Sunday in 1731 at the
Leipzig Nikolaikirche,
can be traced back to a
secular birthday cantata
from 1725. The text is
now revised to render the
events of Advent - the
rejoicing of the opening
chorus, the loving
veneration and the
warm-hearted welcome of
the three solo arias
retained from the
original cantata now all
apply to the Messiah,
who, as once in
Jerusalem, should find a
place in the hearts of
the faithful. However,
their unmistakeable
Advent character derives
from the fact that Bach
contrasts the four
festive settings from the
secular cantata with
three strophes from
Luther's Advent chorale,
Nun komm, der Heiden
Heiland, thus at the same
time giving a voice to
the Mystery of God made
man. Score available
separately - see item
CA.3103600.
Cantata
for the 1st Sunday in
Advent. Composed by
Johann Sebastian Bach.
Edited by Klaus Hofmann.
This edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. Complete
orchestral parts. Sacred
vocal music, Cantatas,
Advent, Christmas. Set of
Orchestra Parts. Composed
1731. BWV 36. Duration 31
minutes. Carus Verlag #CV
31.036/19. Published by
Carus Verlag
(CA.3103619).
ISBN
9790007172237. Language:
German/English.
Translation: Henry
Drinker.
Bach's
well-known church cantata
Schwingt freudig euch
empor BWV 36 (Up joyous
raise your song), first
heard in its final
version on First Advent
Sunday in 1731 at the
Leipzig Nikolaikirche,
can be traced back to a
secular birthday cantata
from 1725. The text is
now revised to render the
events of Advent - the
rejoicing of the opening
chorus, the loving
veneration and the
warm-hearted welcome of
the three solo arias
retained from the
original cantata now all
apply to the Messiah,
who, as once in
Jerusalem, should find a
place in the hearts of
the faithful. However,
their unmistakeable
Advent character derives
from the fact that Bach
contrasts the four
festive settings from the
secular cantata with
three strophes from
Luther's Advent chorale,
Nun komm, der Heiden
Heiland, thus at the same
time giving a voice to
the Mystery of God made
man. Score and parts
available separately -
see item CA.3103600.