Composed by
Larry Clark. Concert Band
(CPS). Set of Score and
Parts. With Standard
notation.
12+12+6+12+24+24+6+4+6+6+
6+6+8+8+8+4+4+6+6+6+8+2+1
+6+2+4+10+32+4 pages.
Duration 6 minutes, 9
seconds. Carl Fischer
Music #CPS225. Published
by Carl Fischer Music
(CF.CPS225).
ISBN
9781491152515. UPC:
680160910014.
Tarta
n Tapestries is an
original piece that sets
out to emulate Scottish
folk music. Composer
Larry Clark has created a
concert overture in
triple meter to capture
the essence of music from
Scotland. After a lilting
first section, lush
and beautiful moments
weave a tapestry of
sounds with the lyrical,
middle section of the
piece. There is an
optional part for
bagpipes, and an optional
ending should you chose
to use this instrument as
part of the piece. Alert
your contest music
committee about this
strong new piece for
advancing
groups. Tartan
Tapestries was
commissioned by Friends
of the Arts for the Saint
Andrew's School Band in
Boca Raton,
Florida. The band
program at Saint
Andrew’s School is
under the direction of
Andrea Wolgin. The
premiere took place on
November 29, 2017.When I
was asked by their
conductor Ms. Wolgin to
write a piece for the
Saint Andrew’s
School, I asked her what
kind of involvement she
wanted the students to
have in the process. We
discussed several options
for having the students
involved in the process
of creating with the type
of piece they wanted.Â
We set up a
“Skypeâ€
meeting with members of
the band to discuss the
piece. During this
discussion, the consensus
of the students was that
they wanted a piece
depicting the Scottish
influence to the
school. They also
wanted a piece that would
challenge all sections of
the band and to include
bagpipes if possible. I
asked that the students
be involved in helping to
name the piece once it
was completed, for which
they agreed and were very
helpful. Armed with
this information, I set
out to compose a piece
for them, and Tartan
Tapestries is the
result.The piece begins
with a fanfare gesture
based upon rhythms and
harmonies that appear
throughout the piece. I
chose the lilting triple
feel to the piece, to
bring about the Scottish
flavor. I wanted the
fanfare to be bardic
sounding, to depict the
strength of the Scottish
people and for the piece
to have a dynamic
opening. The fanfare
contains material that
alludes to the main theme
and with a bit of
dissonance and tension
that is resolved in the
main body of the
piece.The main theme is a
lilting original melody,
but one that I hope with
have the essence of
Scottish folk songs. The
main idea is followed by
a more modal and dark
sounding secondary theme,
first stated in the
horns. This material
is later used in the
development section of
the piece. The main
theme returns several
times, with different and
varied orchestrations and
harmonic treatments. This
is followed by a short
transition leading to the
more lyrical and slower
second section of the
piece. A transparent
presentation of the
lyrical theme, which is
based on aspects of the
main theme, is presented
first by a solo flute.
This section is a nod to
famous composer Malcom
Arnold’s wonderful
works for orchestra in
its style and
orchestration. After a
transition or bridge
section with a solo
euphonium, the piece
builds to a dramatic
climax of the lyrical
theme by the full band.
This subsides to a return
of the solo flute to end
this second section of
the piece, followed by a
transition back the main
theme.The solo bagpipes
play a central role in
the return of the main
theme and take center
stage after being heard
in the distance earlier
in the work. The piece
brings back a shortened
version of the darker
secondary theme, followed
by a hint of the fanfare
material that builds to
one last statement of the
main theme by the full
band, before leading to a
dramatic coda to complete
the work.It has been my
pleasure to have been
given the opportunity to
compose this piece for
the Saint Andrew’s
School Band! I thank
Andrea Wolgin for making
it happen, and I hope
that you enjoy it as much
as I have enjoyed
bringing the piece to
life.–Larry
ClarkLakeland, Florida
2017.
Composed
by Larry Clark. Concert
Band (CPS). Full score.
With Standard notation.
32 pages. Carl Fischer
Music #CPS225F. Published
by Carl Fischer Music
(CF.CPS225F).
ISBN
9781491153192. UPC:
680160910694.
Tarta
n Tapestries is an
original piece that sets
out to emulate Scottish
folk music. Composer
Larry Clark has created a
concert overture in
triple meter to capture
the essence of music from
Scotland. After a lilting
first section, lush
and beautiful moments
weave a tapestry of
sounds with the lyrical,
middle section of the
piece. There is an
optional part for
bagpipes, and an optional
ending should you chose
to use this instrument as
part of the piece. Alert
your contest music
committee about this
strong new piece for
advancing
groups. Tartan
Tapestries was
commissioned by Friends
of the Arts for the Saint
Andrew's School Band in
Boca Raton,
Florida. The band
program at Saint
Andrew’s School is
under the direction of
Andrea Wolgin. The
premiere took place on
November 29, 2017.When I
was asked by their
conductor Ms. Wolgin to
write a piece for the
Saint Andrew’s
School, I asked her what
kind of involvement she
wanted the students to
have in the process. We
discussed several options
for having the students
involved in the process
of creating with the type
of piece they wanted.Â
We set up a
“Skypeâ€
meeting with members of
the band to discuss the
piece. During this
discussion, the consensus
of the students was that
they wanted a piece
depicting the Scottish
influence to the
school. They also
wanted a piece that would
challenge all sections of
the band and to include
bagpipes if possible. I
asked that the students
be involved in helping to
name the piece once it
was completed, for which
they agreed and were very
helpful. Armed with
this information, I set
out to compose a piece
for them, and Tartan
Tapestries is the
result.The piece begins
with a fanfare gesture
based upon rhythms and
harmonies that appear
throughout the piece. I
chose the lilting triple
feel to the piece, to
bring about the Scottish
flavor. I wanted the
fanfare to be bardic
sounding, to depict the
strength of the Scottish
people and for the piece
to have a dynamic
opening. The fanfare
contains material that
alludes to the main theme
and with a bit of
dissonance and tension
that is resolved in the
main body of the
piece.The main theme is a
lilting original melody,
but one that I hope with
have the essence of
Scottish folk songs. The
main idea is followed by
a more modal and dark
sounding secondary theme,
first stated in the
horns. This material
is later used in the
development section of
the piece. The main
theme returns several
times, with different and
varied orchestrations and
harmonic treatments. This
is followed by a short
transition leading to the
more lyrical and slower
second section of the
piece. A transparent
presentation of the
lyrical theme, which is
based on aspects of the
main theme, is presented
first by a solo flute.
This section is a nod to
famous composer Malcom
Arnold’s wonderful
works for orchestra in
its style and
orchestration. After a
transition or bridge
section with a solo
euphonium, the piece
builds to a dramatic
climax of the lyrical
theme by the full band.
This subsides to a return
of the solo flute to end
this second section of
the piece, followed by a
transition back the main
theme.The solo bagpipes
play a central role in
the return of the main
theme and take center
stage after being heard
in the distance earlier
in the work. The piece
brings back a shortened
version of the darker
secondary theme, followed
by a hint of the fanfare
material that builds to
one last statement of the
main theme by the full
band, before leading to a
dramatic coda to complete
the work.It has been my
pleasure to have been
given the opportunity to
compose this piece for
the Saint Andrew’s
School Band! I thank
Andrea Wolgin for making
it happen, and I hope
that you enjoy it as much
as I have enjoyed
bringing the piece to
life.–Larry
ClarkLakeland, Florida
2017.
November Evening by Christopher Norton. Marimba Solo - Unaccompanied. For marimb...(+)
November Evening by
Christopher Norton.
Marimba Solo -
Unaccompanied. For
marimba solo (marimba
(low F)). Level 5. Book.
Duration 8 minutes, 15
seconds. Published by
Innovative Percussion
Intelli-Shred Guitare notes et tablatures [Partition + CD] Alfred Publishing
(The Thinking Musicians Guide to Incredible Guitar Soloing) Written by Kevin Dil...(+)
(The Thinking Musicians
Guide to Incredible
Guitar Soloing) Written
by Kevin Dillard.
Instructional book and
examples CD for guitar.
Series: National Guitar
Workshop Book - Approved
Curriculum. 96 pages.
Published by Alfred
Publishing.
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
Chamber Music Clarinet, Flute, Piano, Violin, Violoncello SKU: PR.11441271S(+)
Chamber Music Clarinet,
Flute, Piano, Violin,
Violoncello
SKU:
PR.11441271S
For
Flute, Clarinet, violin,
Cello, and Piano.
Composed by Chen Yi. Poem
by Du Fu (712-770 in Tang
Dynasty). Premiered at
Merkin Hall in New York.
Contemporary. Full score.
With Standard notation.
Composed 2004. 45 pages.
Duration 12 minutes.
Theodore Presser Company
#114-41271S. Published by
Theodore Presser Company
(PR.11441271S).
UPC:
680160587094. 8.5 x 11
inches. Poem by Du Fu
(712-770 in Tang
Dynasty).
It's like
the welcome rain on a
quiet spring night that
nurtures the budding
seeds, our new society is
pushing us forward to the
new future. This music
reflects the scenes and
the expression according
to the meaning of the
poem when it's being
unfolded line by line.
Although the tempo is set
60-70 quarter notes per
minute throughout (played
vividly, never slow
down), the tension is
being built up from the
quiet background in the
beginning, to the
sustained climax towards
the end. The musical
image in Rehersal A and B
(measures 1 - 41)
represents the first four
lines of the poem. The
woodwind instruments
response to the rustling
of fast moving notes on
muted string triplets,
decorated by occasional
strokes produced by
metallic string sound and
high piano gestures. The
music in Rehersal C and D
(measures 42-87)
represents the next two
lines of the poem. It's
so dark, a little light
in the boat is shimmering
on the lake... The
breathy key slaps on the
flute creates a
mysterious atmosphere, in
a dialogue with other
instruments. The cello
glissandi recite the poem
in the tone of Mandarin,
echoed by the string
harmonics. The music in
Rehersal E, F, G (m 88 -
161) is a toccata,
starting with the piano,
which builds up a big
shape, to reach the
climax in m. 116, and
keeps the vivid scene
towards the coda
(Rehersal H, m. 162 - the
end), which stands on the
energetic peak at the end
of the
piece. Commissioned by
the Music From Copland
House ensemble, supported
by a grant from the
NYSCA’s
Composer’s
Commissions program in
2002, my mixed ensemble
piece Happy Rain on a
Spring Night is written
for all five instruments
in the ensemble: flute,
clarinet, violin, cello
and piano, and premiered
on Oct. 18, 2004, at
Merkin Hall in New York.
 The musical
imagination came from an
ancient Chinese poem with
the same title, written
by Du Fu (712-770) in the
Tang Dynasty. Happy
Rain on a Spring Nightby
Du Fu (712-770 in the
Tang Dynasty)Â Happy
rain comes in time,When
spring is in its
prime.With night breeze
it will fall,And quietly
moisten all.Clouds darken
wild roads,Light
brightens a little
boat.Saturated at
dawn,With flowers
blooming the
town. (English
translation by Chen Yi
from the original poem in
Chinese) It’s
like the welcome rain on
a quiet spring night that
nurtures the budding
seeds; our new society is
pushing us forward to the
new future. Â The music
reflects the scenes and
the expression according
to the meaning of the
poem when it’s
being unfolded line by
line. Â Although the
tempo is set 60-70
quarter notes per minute
throughout (played
vividly, never slowing
down), the tension is
being built up from the
quiet background in the
beginning, to the
sustained climax towards
the end. The musical
image in Rehearsal A and
B (measures 1-41)
represents the first four
lines of the poem.
 The woodwind
instruments respond to
the rustling of fast
moving notes on muted
string triplets,
decorated by occasional
strokes produced by
metallic string sound and
high piano gestures.
 The music in
Rehearsal C and D
(measures 42-87)
represents the next two
lines of the poem.
 It’s so dark,
a little light in the
boat is shimmering on the
lake... Â The breathy
key slaps on the flute
create a mysterious
atmosphere, in a dialogue
with other instruments.
 The cello glissandi
recite the poem in the
tone of Mandarin, echoed
by the string harmonics.
 The music in
Rehearsal E, F and G (m
88-161) is a toccata,
starting with the piano,
which builds up a big
shape, to reach the
climax in m. 116, and
keeps the vivid scene
towards the coda
(Rehearsal H, m.
162-192), which stands on
the energetic peak at the
end of the
piece. According to
the principle of the
Golden Section, I have
constructed the piece
with two large parts (m.
1-115 and m. 116-192).
 The GS falls onto the
beginning of the climax
section of the piece,
which is exciting and
loud. Â All
subdivisions of the
structures coincide with
the numbers of
proportions based on the
GS principle. Â The
music has textures
changed according to the
proportional arrangement
throughout the
piece. First Part (m.
1-115, total 115
measures), including two
sectionsSection I (m.
1-69, total 69 measures),
including two
divisionsFirst Division
(m. 1-41, total 41
measures), including two
subdivisions:Subdivision
I (m. 1-25, total 25
measures)Rehearsal A,
violin triplets + cello
metalic sound in small
intervals, followed by
woodwinds.Subdivision II
(m. 26-41, total 16
measures)Rehearsal B,
cello triplets + violin
metallic sound in small
intervals, overlapped by
woodwinds.Second Division
(m. 42-69, total 28
measures)Rehearsal C,
breathy key slaps on
flute, in dark.Section II
(m. 70-115, total 46
measures), including two
divisionsFirst Division
(m. 70-87, total 18
measures)Rehearsal D,
soft cello reciting,
followed by string
harmonics & woodwind
“echoâ€
passages.Second Division
(m. 88-115, total 28
measures)Rehearsal E,
starts to buildup the
excitement, with piano
toccata in the beginning.
When it reachesthe
patterns on the top of
the keyboard, the lowest
passages on piano and
cello punch in, andreview
the pitch material with
small intervals.Second
Part (m.116-192, total 77
measures), including two
sectionsSection I (m.
116-161, total 46
measures), including two
divisionsFirst Division
(m. 116-133, total 18
measures)Rehearsal F, the
excitement reaches the
climax, GS located. All
instruments join
in.Second Division (m.
134-161, total 28
measures)Rehearsal G,
combination of E and F,
continue to
buildup.Section II (m.
162-192, total 31
measures)Rehearsal H,
coda, keep the excitement
on the peak.
For marimba duo. Composed by Alex Stopa. Percussion Duets. Folio and Parts on ...(+)
For marimba duo. Composed
by
Alex Stopa. Percussion
Duets.
Folio and Parts on
CD-ROM.
Tapspace Publications
#TSPCD16-001. Published
by
Tapspace Publications
Cello solo SKU: BR.EB-9357 2 Studies for Solo Violoncello. Compose...(+)
Cello solo
SKU:
BR.EB-9357
2
Studies for Solo
Violoncello. Composed
by Martin Smolka. Solo
instruments; stapled.
Edition Breitkopf.
Compulsory Piece for
the Final Round oft he
ARD International Music
Competition (Munich,
September 2019)
Music
post-1945; New music
(post-2000). Score.
Composed 2019. 16 pages.
Duration 9'. Breitkopf
and Haertel #EB 9357.
Published by Breitkopf
and Haertel (BR.EB-9357).
ISBN 9790004188279. 9
x 12 inches.
The
sound of the cello in
this piece should be
foggy like voice of Ella
Fitzgerald. Sweet, smooth
and pleasant, but at the
same time slightly
hoarse, rustle, dirty.
There are almost only
natural harmonics; either
single, or in chords
(triple-stops) including
two natural harmonics, or
double-stops of two
harmonics. All should be
played flautando, sul
tasto and molto lasciar
vibrare. Flautando and
sul tasto should serve in
search for the foggy
color - harmonics should
speak less clear than
normally, but more smooth
and decent.(Martin
Smolka) ,Like Ella' would
be suited to a player of
a high standard as many
harmonics are in higher
positions and played as
triple-stops. I would
recommend ,Like Ella' to
an advanced cellist
seeking to learn a piece
of modern music to add to
their concert
repertoire.(Mitchell
Smith, AUSTA
Stringendo)
Compul
sory Piece for the Final
Round of the ARD
International Music
Competition (Munich,
September 2019).
Concert Band - Grade 1 SKU: AP.43078S Composed by Victor Lopez. Concert B...(+)
Concert Band - Grade 1
SKU: AP.43078S
Composed by Victor Lopez.
Concert Band; Performance
Music Ensemble; Single
Titles. Belwin Beginning
Band. Score. 16 pages.
Duration 1:45. Belwin
Music #00-43078S.
Published by Belwin Music
(AP.43078S).
ISBN
9781470668952. UPC:
038081507675.
English.
This
exciting original work
for developing band was
conceptualized as a
contest / festival
selection. It is
high-energy and vigorous,
and will make your
ensemble sound like
professionals. Written in
triple meter, this work
provides an opportunity
to learn and teach key
modality, articulations,
phrasing, dynamics---and
the complex structure of
combining the melodic,
rhythmic, and harmonic
materials. This piece
intensely portrays the
mysterious history of
ancient knights as a
force with which to be
reckoned. (1:45).
Composed by Loreta Fin.
Orchestra. Score; String
Orchestra. Wilfin String
Orchestra: Young String
Ensemble Series. Grade 1.
12 pages. Published by
Alfred Music
Concert Band Concert Band - Grade 2 SKU: FJ.B1565 Composed by Chris Sharp...(+)
Concert Band Concert Band
- Grade 2
SKU:
FJ.B1565
Composed by
Chris Sharp. Concert
Band. FJH Concert Band.
Score and Part(s).
Duration 3:45. The FJH
Music Company Inc
#98-B1565. Published by
The FJH Music Company Inc
(FJ.B1565).
UPC:
674398231881.
English.
Composed
as a follow-up to the
writer's popular Danse
Antiqua, this three-part
Renaissance-style dance
suite features a wealth
of musical styles in one
continuous movement. The
opening Allemande
showcases a courtly
duple-meter dance. The
ensuing Pavane features a
slower, more dignified
melody. The final
Galliard is presented as
a lively triple-meter
dance with some
adventurous harmonic
language. A wonderful
addition to the
repertoire!
About FJH
Concert
Band
Desig
ned for high school
groups and upper-level
middle school groups.
Independence is
encouraged, but many
lines are cross-cued.
Usually includes an
expanded percussion
section. Grades 3 -
3.5
Concert Band Concert Band - Grade 2 SKU: FJ.B1565S Score Only. Com...(+)
Concert Band Concert Band
- Grade 2
SKU:
FJ.B1565S
Score
Only. Composed by
Chris Sharp. Concert
Band. FJH Concert Band.
Score. Duration 3:45. The
FJH Music Company Inc
#98-B1565S. Published by
The FJH Music Company Inc
(FJ.B1565S).
English.
Compose
d as a follow-up to the
writer's popular Danse
Antiqua, this three-part
Renaissance-style dance
suite features a wealth
of musical styles in one
continuous movement. The
opening Allemande
showcases a courtly
duple-meter dance. The
ensuing Pavane features a
slower, more dignified
melody. The final
Galliard is presented as
a lively triple-meter
dance with some
adventurous harmonic
language. A wonderful
addition to the
repertoire!
About FJH
Concert
Band
Desig
ned for high school
groups and upper-level
middle school groups.
Independence is
encouraged, but many
lines are cross-cued.
Usually includes an
expanded percussion
section. Grades 3 -
3.5
SKU: LO.99-2975L Composed by Ruth Elaine Schram. Choral. Ready to Worship...(+)
SKU: LO.99-2975L
Composed by Ruth Elaine
Schram. Choral. Ready to
Worship. Sacred Anthem,
Christmas.
Performance/accompaniment
CD. Lorenz Publishing
Company #99/2975L.
Published by Lorenz
Publishing Company
(LO.99-2975L).
UPC:
000308131000.
The
lilting melody and triple
meter give There's a Song
in the Air a tender
quality that is enhanced
by Ruthie's setting,
which is full of lovely
harmonic nuance. The text
images are sheer poetry,
focusing on the nativity
and the message that
Mary's babe is King of
kings. The flexible
voicing makes it easily
prepared for Christmas
Eve, Christmas, or
Christmastide.
Concert Band - Grade 1 SKU: AP.43078 Composed by Victor Lopez. Concert Ba...(+)
Concert Band - Grade 1
SKU: AP.43078
Composed by Victor Lopez.
Concert Band; Performance
Music Ensemble; Single
Titles. Belwin Beginning
Band. Score and Part(s).
146 pages. Duration 1:45.
Belwin Music #00-43078.
Published by Belwin Music
(AP.43078).
ISBN
9781470668945. UPC:
038081507668.
English.
This
exciting original work
for developing band was
conceptualized as a
contest / festival
selection. It is high
energy and vigorous, and
will make your ensemble
sound like professionals.
Written in triple meter,
this work provides an
opportunity to learn and
teach key modality,
articulations, phrasing,
dynamics---and the
complex structure of
combining the melodic,
rhythmic, and harmonic
materials. This piece
intensely portrays the
mysterious history of
ancient knights as a
force with which to be
reckoned. (1:45).
By Ruth Elaine Schram. For SATB/SAB choir, piano (with optional flute). Ready to...(+)
By Ruth Elaine Schram.
For SATB/SAB choir, piano
(with optional flute).
Ready to Worship. Sacred
Anthem, Christmas.
Octavo. Published by
Lorenz Publishing Company
Composed by Loreta Fin.
Part(s); Score; String
Orchestra. Wilfin String
Orchestra: Young String
Ensemble Series. 98
pages. Published by
Alfred Music
(AP.76-44509).
Concert Band - Grade 1.5 SKU: AP.19524 Composed by Steve Hodges. Concert ...(+)
Concert Band - Grade 1.5
SKU: AP.19524
Composed by Steve Hodges.
Concert Band; MakeMusic
Cloud; Performance Music
Ensemble; Single Titles.
Challenger Band Series.
Score and Part(s). 120
pages. Alfred Music
#00-19524. Published by
Alfred Music (AP.19524).
UPC: 038081189611.
English.
Cascadia
Celebration is a buoyant
piece in triple meter,
which provides the young
band with many
interesting rhythmic and
harmonic motives. The
energetic A section and
the contrasting, flowing
B section both feature
active rhythmic patterns
and memorable themes. The
solid scoring provides
melodic interest for
every section of the band
and will make this piece
a favorite to rehearse!
This title is available
in MakeMusic Cloud.
Concert Band/Harmonie - Grade 1 SKU: BT.AMP-037-010 Composed by Philip Sp...(+)
Concert Band/Harmonie -
Grade 1
SKU:
BT.AMP-037-010
Composed by Philip
Sparke. Debut Series
(Anglo). Concert Piece.
Set (Score & Parts).
Composed 2003. Anglo
Music Press #AMP 037-010.
Published by Anglo Music
Press (BT.AMP-037-010).
The sarabande
originated in the early
17th century and is a
stately dance in triple
time. It was popular in
France and Spain but as a
dance it quickly spread
throughout the courts of
Europe and the style was
soon adopted into
instrumental music in
dance suites for solo
instruments as well as
orchestra. Something of
this style has influenced
Simple Sarabande and
although its harmonic
language is perhaps more
up-to-date it could be
seen as a ‘period
piece’.
Simple Sarabande ist
im Stil der
ursprünglichen
Sarabande, einem
würdevollen
höfischen Tanz aus dem
17. Jahrhundert im
3/4-Takt, geschrieben,
wenn auch Philip Sparke
für seine Komposition
einen etwas moderneren
harmonischen Ausdruck
wählte. Einfachheit
und leichte fließende
Bewegungen sind die
Schlüsselworte in
diesem Stück, in dem
Ihr Blasorchester sich
ganz auf die Schönheit
von Ton und Phrasierung
konzentrieren kann.
Concert Band/Harmonie - Grade 1 SKU: BT.AMP-037-140 Composed by Philip Sp...(+)
Concert Band/Harmonie -
Grade 1
SKU:
BT.AMP-037-140
Composed by Philip
Sparke. Debut Series
(Anglo). Concert Piece.
Score Only. Composed
2003. 20 pages. Anglo
Music Press #AMP 037-140.
Published by Anglo Music
Press (BT.AMP-037-140).
The sarabande
originated in the early
17th century and is a
stately dance in triple
time. It was popular in
France and Spain but as a
dance it quickly spread
throughout the courts of
Europe and the style was
soon adopted into
instrumental music in
dance suites for solo
instruments as well as
orchestra. Something of
this style has influenced
Simple Sarabande and
although its harmonic
language is perhaps more
up-to-date it could be
seen as a ‘period
piece’.
Simple Sarabande ist
im Stil der
ursprünglichen
Sarabande, einem
würdevollen
höfischen Tanz aus dem
17. Jahrhundert im
3/4-Takt, geschrieben,
wenn auch Philip Sparke
für seine Komposition
einen etwas moderneren
harmonischen Ausdruck
wählte. Einfachheit
und leichte fließende
Bewegungen sind die
Schlüsselworte in
diesem Stück, in dem
Ihr Blasorchester sich
ganz auf die Schönheit
von Ton und Phrasierung
konzentrieren kann.
SATB Choir, Orchestra SKU: HL.14016787 Composed by Judith Weir. Music Sal...(+)
SATB Choir, Orchestra
SKU: HL.14016787
Composed by Judith Weir.
Music Sales America.
Choral. Sheet Music,
Score. With Text
language: English.
Chester Music #CP56089.
Published by Chester
Music (HL.14016787).
UPC: 884088815271.
12.0x16.5x0.144
inches.
Within much
of her work,Judith Weir
has tried to portray the
sky, stars and planets in
her music and the Moon
and Star follows the same
path. This work based on
poetry by Emily Dickinson
uses the text to act as a
philisophical motto to
the music itself, choral
voices are used a source
of textual richness and
produce wide, harmonic
paragraphs. The orchestra
is used to display
musical height and
distance with a mix of
triple woodwind, 4
trumpets and high
violins. The composition
is 15 minutes long. Work
for SSAATTBB Choir and
Orchestra. Commissioned
by the BBC Promenade
Concerts, and premiered
by the BBC Symphony
Orchestra and BBC Singers
in August 1995.
Orchestra piccolo, English horn, B-clarinet, contrabassoon-4, 1-timpani-4 percus...(+)
Orchestra piccolo,
English horn, B-clarinet,
contrabassoon-4,
1-timpani-4
percussion-harp-piano-str
ings
SKU:
PE.EP73403
Liepaja
Concerto No. 3 (Liepajas
koncerts Nr. 3).
Composed by Rihards
Dubra. Orchestra. Edition
Peters. Book. Duration
00:33:00. Edition Peters
#98-EP73403. Published by
Edition Peters
(PE.EP73403).
ISBN
9790577018331. 297 x 420
mm inches.
English.
Rihards
Dubra (born Latvia, 1964)
wrote his piano concerto
– Liepaja
Concerto No. 3
– in 2012. A
33-minute work for solo
piano and symphony
orchestra comprising
triple wind and brass,
percussion, harp and
strings, the concerto
starts with a mournful
piano melody. It has an
elemental beauty –
we hear water in the
sonorities of harps and
chime-bells, earth in the
rhythmic formulae, and
fire in his colourful
harmonic sequences
– ending with a
majestic and vibrant
conclusion.
This
full score (EP 73403) is
now available as part of
the Peters Baltic
Library.
Peter
s Baltic Library is a new
series of full scores of
orchestral music by
contemporary composers
from the Baltic
States.
Published
in partnership with the
leading music publisher
from the region: Musica
Baltica.
Peters
Baltic Library presents a
rich selection of
compositions that
demonstrates both the
distinctiveness and the
variety of stylistic
approaches adopted by the
region's most prominent
composers.
<
br>This product is
Printed on Demand and may
take several weeks to
fulfill. Please order
from your favorite
retailer.
Cobra Orchestre d'harmonie - Intermédiaire/avancé De Haske Publications
Concert Band/Harmonie - Grade 4 SKU: BT.DHP-0991729-010 Composed by Jan B...(+)
Concert Band/Harmonie -
Grade 4
SKU:
BT.DHP-0991729-010
Composed by Jan Bosveld.
Inspiration Series.
Concert Piece. Set (Score
& Parts). Composed 1999.
De Haske Publications
#DHP 0991729-010.
Published by De Haske
Publications
(BT.DHP-0991729-010).
Shortly after
the Second World War, a
combative movement of
Danish, Belgian and Dutch
artists chose the cobra
snake - extremely
dangerous yet considered
sacred - as a symbol of
their resistance to
strict guideliness of
form. The name Cobra also
happens to contain the
first letters of the
cities Copenhagen,
Brussels ans Amsterdam,
from where most of the
movement's members came.
The Cobra movement, which
existed from November
1948 until November 1951,
can with some
justicication be called
the last major
avant-garde movement of
the 20th century.The
source of inspiration for
the composition Cobra
comes from four
paintings: Obhobning by
the Dane Egill Jacobsen;
La jeune fille et lamort
by the Belgian Pierre
Alechinsky; Orgeldraaier
and Le rythme joyeux de
la ville by the Dutch
artists Karel Appel and
Corneille. Obhobning
means pile-up, which is
represented musically in
the first part by a
melodic and harmonic
pilling up of perfect
fourth's. The first part
is also characterized by
a rhythmic feeling, which
the painting gives
through its use of
numerous black stripes.
In the painting La jeune
fille et la mort, Pierre
Alechinsky places a young
girl opposite Death. The
second part features the
constantly pulsating
motion of live while a
creeping, dark, melodic
line develops. The
tension between life and
death is tangible as a
battle reveals itself. In
part three, one hears the
Orgeldraaier by Karel
Appel, as cheerful and
playful as an organ
grinder's music. The
painting Le rythme joyeux
de la ville by Corneille
is busy and extremely
dynamic, a perfect source
of inspiration for a
powerful, rhythmic ending
to this composition.
