Concert Band/Harmonie - Grade 6 SKU: BT.AMP-422-140 Composed by Philip Sp...(+)
Concert Band/Harmonie -
Grade 6
SKU:
BT.AMP-422-140
Composed by Philip
Sparke. Elite Series.
Score Only. Composed
2015. Anglo Music Press
#AMP 422-140. Published
by Anglo Music Press
(BT.AMP-422-140).
English-German-French-
Dutch.
Three
Washington Statues
was commissioned by the
United States Army Band
â??Pershings Ownâ?,
led by Colonel Thomas H.
Palmatier. Washington
D.C. contains some of the
worldâ??s most iconic
monuments, memorials and
statues. Philip Sparke
has chosenthree of these
as the inspiration for
this piece: â??The
Lincoln Memorialâ?? in
the form of a Greek Doric
temple in which the
composer depicts the
grandeur of this
monument; â??The Martin
Luther King, Jr.
Memorialâ?? on which
steps the iconic speech
â??I havea dreamâ?? was
given - the music is both
reverential as well as
powerful referring to
Martin Luther Kingsâ??
speech; and the
â??Encoreâ?? statue in
memory of the world
famousAfrican-American
composer, pianist and
bandleader Duke
Ellington. In this
finalmovement, Philip
Sparke catches the
virtuosic, energetic and
unique dynamism of
Ellingtonsâ??
music.
Three
Washington Statues is
geschreven in opdracht
van de United States Army
Band â??Pershingâ??s
Ownâ?? en de leider van
dit orkest, kolonel
Thomas H. Palmatier.
Washington D.C. is het
decor van een aantal van
de meest iconische
monumenten,gedenktekens
en standbeelden van de
VS. Componist Philip
Sparke heeft er drie
uitgekozen als inspiratie
voor dit werk: The
Lincoln Memorial, in de
vorm van een Griekse
Dorische tempel, waarin
de grandeur van het
monument wordt verklankt;
het MartinLuther King Jr.
Memorial, het gebouw waar
de iconische toespraak
â??I have a dreamâ??
ooit weerklonk de sfeer
is respectvol en
eerbiedig, maar de muziek
weerspiegelt tevens de
karakteristiekekracht die
ervan uitgaat; en het
beeld â??Encoreâ??
vancomponist, pianist en
bandleider Duke Ellington
in dit laatste deel geeft
Philip Sparke de
virtuoze, energieke,
unieke en dynamische
stijl van Ellingtons
muziek
weer.
Three
Washington Statues
wurde von der United
States Army Band
Pershings Ownâ??, die
von Oberst Thomas H.
Palmatier geleitet wird,
in Auftrag gegeben.
Washington D.C. besitzt
einige der
weltberühmtesten
Bauwerke, Denkmäler
und Statuen. PhilipSparke
hat drei von diesen als
Inspiration für dieses
Stück genommen. So
beschreibt er die
Erhabenheit des Lincoln
Memorialâ??, das mit
seinen dorischen
Säulen in Form eines
griechischen Tempels
erbaut wurde. Das Martin
Luther King, Jr.
Memorialâ??erinnert an
die legendäre Rede
Martin Luther Kings I
have a dreamâ?? (Ich
habe einen Traumâ??).
Die ehrfurchtsvolle und
zugleich kraftvolle Musik
ist ein Tribut an diese
Rede. Die
StatueEncoreâ?? erinnert
an den weltbekannten
afroamerikanischenKomponi
sten, Pianisten und
Bandleader Duke
Ellington. In diesem
letzten Satz fängt
Philip Sparke die
virtuose, energiegeladene
und einzigartige Dynamik
von Duke Ellingtons Musik
ein.
Co
mmissionato dalla banda
dellâ??esercito
statunitense, condotta
dal colonnello Thomas H.
Palmatier, Three
Washington Statues
è un brano dedicato ad
alcuni dei più noti e
iconici monumenti
americani mai realizzati.
Philip Sparke ha
scelto,difatti, di
musicare la stentoreit
del Lincoln Memorial,
della statua di Martin
Luther King di West
Potomac Park e di quella
dedicata al gigante della
musica afro-americana
Duke Ellington.
(Ukulele TAB). Composed by various artists and composers. For Ukulele. Book; Uku...(+)
(Ukulele TAB). Composed
by various artists and
composers. For Ukulele.
Book; Ukulele Mixed
Folio. Contemporary
Christian; Sacred. 64
pages. Published by
Alfred Music
Choral; Flute Accompaniment; Piano Accompaniment (SATB) SKU: HL.292925 Co...(+)
Choral; Flute
Accompaniment; Piano
Accompaniment (SATB)
SKU: HL.292925
Composed by Daniel
McDavitt. Gentry
Publications. Americana,
Concert. Octavo. 12
pages. Gentry
Publications #JG2543.
Published by Gentry
Publications (HL.292925).
UPC: 888680932879.
6.75x10.5x0.029 inches.
Abraham Lincoln/Daniel
McDavitt.
Daniel
McDavitt has composed an
exquisite trilogy using
texts from three American
greats: Ralph Waldo
Emerson, Abraham Lincoln,
and William Wordsworth.
Although they can be
performed individually,
they are most powerful as
a set, each with flute
obbligato. The first
ââ¬Åmemoryâ
¬Â from Emerson is
about music, and is
joyful and buoyant. The
second
ââ¬Åmemoryâ
¬Â is from
Lincoln, and is more
reflective about
childhood. The final
ââ¬Åmemoryâ
¬Â by Wordsworth
combines the thoughts of
the previous two in a
mature understanding. A
delightful trilogy for
high school choirs.
By Jerry Silverman. For piano/vocal. Songbook. American. Level: Intermediate. Bo...(+)
By Jerry Silverman. For
piano/vocal. Songbook.
American. Level:
Intermediate. Book. Size
8.75x11.75. 272 pages.
Published by Mel Bay
Publications, Inc.
Chamber Music Tuba, Piano SKU: CF.W2693 The World's Oldest Tuba Solo(+)
Chamber Music Tuba, Piano
SKU: CF.W2693
The World's Oldest
Tuba Solo. Composed
by William Pettee. Edited
by Curtis Peacock. Sws.
Set of Score and Parts.
8+2 pages. Carl Fischer
Music #W2693. Published
by Carl Fischer Music
(CF.W2693).
ISBN
9781491158586. UPC:
680160917198. 9 x 12
inches.
While
unknown today, composer
William Pettee
(1839a1891) was clearly a
remarkable musician and
composer evidenced by the
fact that he wrote
funeral music for Abraham
Lincoln and General
Ulysses S. Grant. This
funeral music survives to
this day in a piano
reduction format and is
the basis of some of my
most current arranging
projects. This new
edition of Olosabut was
the culmination of years
of research into the era
commonly called The
Golden Age of Bands, a
period spanning
1880a1920. This project
initially began when I
played the solo part for
Olosabut with a reading
band when I was a guest
artist at the Northwest
Brass Festival in Seattle
in 2010. For this new
edition, I created a
score with modern
transpositions. Prior to
this, there has been no
score for this music.
There is often no score
for American band music
from this era. I also
adjusted the dynamics and
articulations to allow
the soloist to be heard
and composed a handful of
new musical lines to
correct the problems
stemming from
inconsistent number of
measures in the original
edition. Finally, I
created a reduction for
tuba and piano as well as
a new edition for solo
tuba and orchestra.
Olosabut (atuba soloa
spelled backwards) from
1885 is possibly the
oldest American tuba solo
to survive to the
twenty-first century. I
have done extensive
research in this area,
and while there may be
some earlier pieces with
small obbligato solos for
tuba, and perhaps even
earlier full-fledged tuba
solos, I believe this is
the earliest music with a
serious solo tuba part
throughout that survives
to this day. In the Tuba
Source Book, several
early solos are listed
from the 1880s. In my
research, I have
attempted to obtain all
of the music listed in
the Tuba Source Book from
the 1880s or earlier
though the Library of
Congress and various
historic libraries in
America. Most of this
music for solo tuba and
band is incomplete or
entirely unavailable
today though. The
earliest of these is
Southwellas Quickstep
(Fun for Basses) from
1881. This is described
as a novelty march for
tuba section, however. A
notable omission from the
Tuba Source Book, though,
is William Petteeas
Olosabut, which is
clearly marked 1885 on
the original published
sheet music. This piece
is not listed in the Tuba
Source Book. However, a
different piece by Pettee
called Osceola is listed
from 1889. While
unknown today, composer
William Pettee
(1839-1891) was clearly a
remarkable musician and
composer evidenced by the
fact that he wrote
funeral music for Abraham
Lincoln and General
Ulysses S. Grant. This
funeral music survives to
this day in a piano
reduction format and is
the basis of some of my
most current arranging
projects. This new
edition of Olosabut was
the culmination of years
of research into the era
commonly called The
Golden Age of Bands, a
period spanning
1880-1920. This project
initially began when I
played the solo part for
Olosabut with a reading
band when I was a guest
artist at the Northwest
Brass Festival in Seattle
in 2010. For this new
edition, I created a
score with modern
transpositions. Prior to
this, there has been no
score for this music.
There is often no score
for American band music
from this era. I also
adjusted the dynamics and
articulations to allow
the soloist to be heard
and composed a handful of
new musical lines to
correct the problems
stemming from
inconsistent number of
measures in the original
edition. Finally, I
created a reduction for
tuba and piano as well as
a new edition for solo
tuba and orchestra.
Olosabut (tuba solo
spelled backwards) from
1885 is possibly the
oldest American tuba solo
to survive to the
twenty-first century. I
have done extensive
research in this area,
and while there may be
some earlier pieces with
small obbligato solos for
tuba, and perhaps even
earlier full-fledged tuba
solos, I believe this is
the earliest music with a
serious solo tuba part
throughout that survives
to this day. In the Tuba
Source Book, several
early solos are listed
from the 1880s. In my
research, I have
attempted to obtain all
of the music listed in
the Tuba Source Book from
the 1880s or earlier
though the Library of
Congress and various
historic libraries in
America. Most of this
music for solo tuba and
band is incomplete or
entirely unavailable
today though. The
earliest of these is
Southwell's Quickstep
(Fun for Basses) from
1881. This is described
as a novelty march for
tuba section, however. A
notable omission from the
Tuba Source Book, though,
is William Pettee's
Olosabut, which is
clearly marked 1885 on
the original published
sheet music. This piece
is not listed in the Tuba
Source Book. However, a
different piece by Pettee
called Osceola is listed
from 1889. While
unknown today, composer
William Pettee
(1839–1891) was
clearly a remarkable
musician and composer
evidenced by the fact
that he wrote funeral
music for Abraham Lincoln
and General Ulysses S.
Grant. This funeral music
survives to this day in a
piano reduction format
and is the basis of some
of my most current
arranging projects. This
new edition of Olosabut
was the culmination of
years of research into
the era commonly called
The Golden Age of Bands,
a period spanning
1880–1920. This
project initially began
when I played the solo
part for Olosabut with a
reading band when I was a
guest artist at the
Northwest Brass Festival
in Seattle in 2010. For
this new edition, I
created a score with
modern transpositions.
Prior to this, there has
been no score for this
music. There is often no
score for American band
music from this era. I
also adjusted the
dynamics and
articulations to allow
the soloist to be heard
and composed a handful of
new musical lines to
correct the problems
stemming from
inconsistent number of
measures in the original
edition. Finally, I
created a reduction for
tuba and piano as well as
a new edition for solo
tuba and
orchestra.Olosabut
(“tuba soloâ€
spelled backwards) from
1885 is possibly the
oldest American tuba solo
to survive to the
twenty-first century. I
have done extensive
research in this area,
and while there may be
some earlier pieces with
small obbligato solos for
tuba, and perhaps even
earlier full-fledged tuba
solos, I believe this is
the earliest music with a
serious solo tuba part
throughout that survives
to this day. In the Tuba
Source Book, several
early solos are listed
from the 1880s. In my
research, I have
attempted to obtain all
of the music listed in
the Tuba Source Book from
the 1880s or earlier
though the Library of
Congress and various
historic libraries in
America. Most of this
music for solo tuba and
band is incomplete or
entirely unavailable
today though. The
earliest of these is
Southwell’s
Quickstep (Fun for
Basses) from 1881. This
is described as a novelty
march for tuba section,
however. A notable
omission from the Tuba
Source Book, though, is
William Pettee’s
Olosabut, which is
clearly marked 1885 on
the original published
sheet music. This piece
is not listed in the Tuba
Source Book. However, a
different piece by Pettee
called Osceola is listed
from 1889.
By Valeaira Luppens and Greg Foreman. Book; CD; Classroom/Pre-School; General Mu...(+)
By Valeaira Luppens and
Greg Foreman. Book; CD;
Classroom/Pre-School;
General Music and
Classroom Publications;
Other Classroom. 140
pages. Published by
Alfred Music
For
Christine Brandes and The
Chamber Music Society Of
Lincoln Center.
Composed by Melinda
Wagner. Premiere:
Christine Brandes,
soprano, Chamber Music
Society of Lincoln
Center, Wharton Center
for the Performing Arts,
East Lansing, Michigan.
Contemporary. Large
Score. With Standard
notation. Composed 2004.
60 pages. Duration 20
minutes. Theodore Presser
Company #416-41411L.
Published by Theodore
Presser Company
(PR.41641411L).
UPC:
680160601578. 11 x 14
inches. Text: Robert A.
Desnos; Emily Dickinson;
Denise Levertov. Robert
Desnos, Denise Levertov,
Emily
Dickinson.
Composed
by Peter Schickele. Full
score. Duration 26
minutes. Theodore Presser
Company #114-42131S.
Published by Theodore
Presser Company
(PR.11442131S).
UPC:
680160681006.
A lot
of chamber music playing
went on in Fargo, North
Dakota during my teenage
years. The participants
included both high school
friend - my brother, who
plays viola, was an is an
inveterate chamber music
player - and members of
parents' generation. The
latter included not only
professional musicians
(the conductor of the
Fargo-Moorhead Community
Orchestra, who also
played cello and was my
first composition
teacher, his wife, who
was the orchestra's
concert mistress, and
others) but also people
from various other walks
of life. Although I don't
play a string instrument,
I was almost always in
attendance, with score in
hand. (One summer, all
the young cellists we
played with went to the
Interlochen Music Camp,
so I got to play the
cello parts on the
bassoon.) Mostly it was
string quartets that were
played, but one of the
larger pieces I remember
being done more than once
was the Brahms Sextet in
G Major, and I think that
the idea for utilizing
that combination had been
lurking in the back of my
mind since then. In the
middle 1980's, ideas for
a string sextet began
appearing in my
sketchbooks; one movement
(the fourth) was actually
completed in one of the
sketchbooks. But without
a deadline, it's hard for
me to finish a major
work, since there are
always other pieces (with
deadlines) waiting to be
completed. So when the
Composers Showcase at
Lincoln Center asked me
to put together a
retrospective of my work,
I knew I wanted to have a
premiere on the program,
and May 7, 1990 became
the deadline that I got
the piece done. The work
is in six movements, with
a symmetrical key
pattern; the movements
range from the very
dramatic to the very
easy-going. I had
contacted the Lark
Quartet, who had
commissioned my String
Quartet No.2, about
forming the core of the
sextet. Unfortunately,
one of the Larks had a
scheduling conflict, but
the other three rounded
up three more players,
and the six of them gave
the piece a rousing
performance, in spite of
the limited rehearsal
time. The players were
Eva Gruesser, Genovia
Cummins, Anna Kruger,
Mary Hamman, Astrid
Schween and Julia
Lichten. A lot of
chamber music playing
went on in Fargo, North
Dakota during my teenage
years. The participants
included both high school
friend – my
brother, who plays viola,
was an is an inveterate
chamber music player
– and members of
parents’
generation. The latter
included not only
professional musicians
(the conductor of the
Fargo-Moorhead Community
Orchestra, who also
played cello and was my
first composition
teacher, his wife, who
was the
orchestra’s
concert mistress, and
others) but also people
from various other walks
of life. Although I
don’t play a
string instrument, I was
almost always in
attendance, with score in
hand. (One summer, all
the young cellists we
played with went to the
Interlochen Music Camp,
so I got to play the
cello parts on the
bassoon.)Mostly it was
string quartets that were
played, but one of the
larger pieces I remember
being done more than once
was the Brahms Sextet in
G Major, and I think that
the idea for utilizing
that combination had been
lurking in the back of my
mind since then. In the
middle 1980’s,
ideas for a string sextet
began appearing in my
sketchbooks; one movement
(the fourth) was actually
completed in one of the
sketchbooks. But without
a deadline, it’s
hard for me to finish a
major work, since there
are always other pieces
(with deadlines) waiting
to be completed. So when
the Composers Showcase at
Lincoln Center asked me
to put together a
retrospective of my work,
I knew I wanted to have a
premiere on the program,
and May 7, 1990 became
the deadline that I got
the piece done.The work
is in six movements, with
a symmetrical key
pattern; the movements
range from the very
dramatic to the very
easy-going.I had
contacted the Lark
Quartet, who had
commissioned my String
Quartet No.2, about
forming the core of the
sextet. Unfortunately,
one of the Larks had a
scheduling conflict, but
the other three rounded
up three more players,
and the six of them gave
the piece a rousing
performance, in spite of
the limited rehearsal
time. The players were
Eva Gruesser, Genovia
Cummins, Anna Kruger,
Mary Hamman, Astrid
Schween and Julia
Lichten.
A New Birth of Freedom Orchestre d'harmonie [Conducteur] - Intermédiaire Alfred Publishing
Concert Band - Grade 4.5 SKU: AP.33862S Composed by Randol Alan Bass. Con...(+)
Concert Band - Grade 4.5
SKU: AP.33862S
Composed by Randol Alan
Bass. Concert Band;
Performance Music
Ensemble; Single Titles.
Alfred Concert Band. 4th
of July; Patriotic;
Summer. Score. 16 pages.
Duration 4:05. Alfred
Music #00-33862S.
Published by Alfred Music
(AP.33862S).
UPC:
038081396569.
English.
This
narrative setting of
Lincoln's immortal
Gettysburg Address was
commissioned by the
United States President's
Own Marine Band in early
2009. As beautiful as the
speech is on paper, the
best way to appreciate
Lincoln's musical
instinct for timbre,
phrasing, and rhythmic
patterns is through
recitation---and American
composer Randol Alan Bass
has created a unique
musical opportunity for
us to do that.
(4:05).
A New Birth of Freedom Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire Alfred Publishing
By Randol Alan Bass. Concert Band. Concert Band; Part(s); Score. Alfred Concert ...(+)
By Randol Alan Bass.
Concert Band. Concert
Band; Part(s); Score.
Alfred Concert Band.
Patriotic. Grade 4.5. 208
pages. Published by
Alfred Music Publishing
(Piano/Vocal/Guitar). Composed by various artists and composers. For Guitar; ...(+)
(Piano/Vocal/Guitar).
Composed by various
artists
and composers. For
Guitar;
Keyboard; Piano; Voice.
This
edition:
Piano/Vocal/Guitar.
Book; P/V/C Mixed Folio;
Piano/Vocal/Chords;
Worship
Resources. Contemporary
Christian; Pop/Rock;
Sacred.
120 pages. Published by
Alfred Music
by Frank Zucco. For keyboard accordion. All styles. Level: Beginning-Intermediat...(+)
by Frank Zucco. For
keyboard accordion. All
styles. Level:
Beginning-Intermediate.
Book. Solos. Size
8.75x11.75. 56 pages.
Published by Mel Bay
Pub., Inc.
Into the Ages Orchestre d'harmonie [Conducteur] - Facile Daehn Publications
Grade 3 SKU: CL.LDP-7154-01 Composed by G. Spears. Concert Band. Extra fu...(+)
Grade 3
SKU:
CL.LDP-7154-01
Composed by G. Spears.
Concert Band. Extra full
score. Composed 2015.
Duration 5 minutes, 43
seconds. Daehn
Publications
#LDP-7154-01. Published
by Daehn Publications
(CL.LDP-7154-01).
A wonderful
portrait of Abraham
Lincoln and the Civil
War. The words ‘Now he
belongs to the ages,’
spoken at the death of
Abraham Lincoln, is the
basis for this musical
tribute. Bold with
beautiful wistful
melodies, fragments of
Battle Hymn of the
Republic and Dixie, and
dramatic percussion
scoring make this an
inspired and memorable
achievement.
(26 Songs of Hope and Praise). Composed by various artists and composers. For Gu...(+)
(26 Songs of Hope and
Praise). Composed by
various artists and
composers. For Guitar.
This edition: Guitar TAB.
Book; Guitar Mixed Folio;
Guitar TAB; Solo Guitar
TAB (EZ/Int). Acoustic;
Contemporary Christian;
Sacred. 112 pages.
Published by Alfred Music
Into the Ages Orchestre d'harmonie [Conducteur et Parties séparées] - Facile Daehn Publications
Grade 3 SKU: CL.LDP-7154-00 Composed by G. Spears. Concert Band. Score an...(+)
Grade 3
SKU:
CL.LDP-7154-00
Composed by G. Spears.
Concert Band. Score and
set of parts. Composed
2015. Duration 5 minutes,
43 seconds. Daehn
Publications
#LDP-7154-00. Published
by Daehn Publications
(CL.LDP-7154-00).
A wonderful
portrait of Abraham
Lincoln and the Civil
War. The words ‘Now he
belongs to the ages,’
spoken at the death of
Abraham Lincoln, is the
basis for this musical
tribute. Bold with
beautiful wistful
melodies, fragments of
Battle Hymn of the
Republic and Dixie, and
dramatic percussion
scoring make this an
inspired and memorable
achievement.