Piano SKU: BT.VOLMB349 Composed by Johann Pachelbel. Book Only. 8 pages. ...(+)
Piano
SKU:
BT.VOLMB349
Composed
by Johann Pachelbel. Book
Only. 8 pages. Volonte e
Co #VOLMB349. Published
by Volonte e Co
(BT.VOLMB349).
ISBN
9788877364111.
International.
Willard A. Palmer's
faithful setting is for
the intermediate pianist.
Tasteful use of
arpeggios, rolled chords,
and dynamics brings out a
rich, sonorous sound that
evokes the original
String arrangement.
Piano SKU: BT.VOLMB350 Composed by Ludwig van Beethoven. Classical. Book ...(+)
Piano
SKU:
BT.VOLMB350
Composed
by Ludwig van Beethoven.
Classical. Book Only.
Volonte e Co #VOLMB350.
Published by Volonte e Co
(BT.VOLMB350).
ISBN
9788863883442.
International.
Willard A. Palmer's
faithful setting is for
the intermediate pianist.
Tasteful use of
arpeggios, rolled chords,
and dynamics brings out a
rich, sonorous sound that
evokes the original
String arrangement.
Edited by George A. Speckert. For Violin/Violoncello. This edition: Stapled. Rea...(+)
Edited by George A.
Speckert. For
Violin/Violoncello. This
edition: Stapled. Ready
to Play. Performance
score and parts. Text
Language: German/English.
20/16 pages. Published by
Baerenreiter Verlag
Edited by George A. Speckert. Stapled. Ready to Play. Performance score, part(s...(+)
Edited by George A.
Speckert. Stapled. Ready
to Play. Performance
score, part(s),
anthology. With Language:
German/English. 43301
pages. Baerenreiter
Verlag #BA10632.
Published by Baerenreiter
Verlag (BA.BA10632).
Amazing Grace! Chorale SATB SATB divisi, A Cappella - Intermédiaire MorningStar Music Publishers
SATB choir divisi (a cappella), with soprano voice and baritone voice - Intermed...(+)
SATB choir divisi (a
cappella), with soprano
voice and baritone voice
- Intermediate
SKU:
MN.50-6097
Composed
by Michael McCarthy. 9/11
Service, Funeral, 21st
Century, Grace,
Hope/Assurance.
Instrument parts.
Duration 3 minutes, 30
seconds. MorningStar
Music Publishers
#50-6097. Published by
MorningStar Music
Publishers (MN.50-6097).
UPC: 688670560972.
English.
This
gorgeous unaccompanied
setting divides in all
parts to create a lush,
sonorous effect. Set in G
major with a brief foray
into E-flat so the
baritone soloist can
sound at his best.
Duration 3:30.
Composed by Robert Wadsworth Lowry. Arranged by Stephen Caracciolo. For TTB/TBB/...(+)
Composed by Robert
Wadsworth Lowry. Arranged
by Stephen Caracciolo.
For TTB/TBB/TTBB divisi.
Secular, 21st Century.
Medium. Octavo. Text
Language: English.
Published by Galaxy Music
Corporation
Concert Band/Harmonie - Grade 2.5 SKU: BT.CMP-1111-07-140 Arranged by Bry...(+)
Concert Band/Harmonie -
Grade 2.5
SKU:
BT.CMP-1111-07-140
Arranged by Bryan Kidd.
Young Band. Concert
Piece. Score Only.
Composed 2007. 16 pages.
Curnow Music #CMP
1111-07-140. Published by
Curnow Music
(BT.CMP-1111-07-140).
9x12 inches.
English.
This
thoughtful and creative
arrangement of the
classic song of the
American West is a rich
and sonorous treatment
infused with exquisite
and unexpected harmonies.
You’ve never heard
it like this before!
Bryan Kidd has managed to
bring a true musical
adventure to the
developing band in his
own unmistakably personal
way.This is a wonderful
chance for your musicians
to show that they can be
truly expressive. This
piece is the perfect tool
for a cross-curricular
unit with U.S. history.
Surprising!
Home
on the Range is gebaseerd
op een gedicht (‘My
Western Home’ uit
1872) van Brewster
Higley, een arts uit
Indiana die een jaar
daarvoor een stukje land
had gekocht in Kansas.
Vervolgens schreef Dean
Kelley er een melodie bij
-het nieuwe lied werd al
snel geliefd onder
migranten in de Verenigde
Staten. In de loop der
jaren werd het steeds
bekender, het is
uitgevoerd door vele
artiesten, onder wie
Frank Sinatra. In 1947
werd Home on the
Range hetofficiële
lied van de staat Kansas.
Brewster Higleys
omschrijving van een
helderblauwe hemel,
oneindige vergezichten en
een overvloedige fauna
vindt met deze muziek nog
altijd weerklank bij
luisteraars.
Ho
me on the Range ist
ein bekanntes Volkslied
aus dem amerikanischen
Westen und Titelsong
eines lustigen
Disneyfilms, der in
Deutschland als Die
Kühe sind los
bekannt ist. Bryan Kidd
schuf eine sehr kreative,
voll klingende
Bearbeitung des
Klassikers mit
ausgefallenen Harmonien.
So haben Sie dieses Lied
noch nie gehört! Mit
dieser Bearbeitung der
einerseits vertrauten
Melodie können Ihre
Musiker doch eine
völlig neue
musikalische Erfahrung
machen und Ihre
Ausdrucksmöglichkeiten
ausloten.
Ãœberraschend!
SATB choir (div) SKU: CA.965900 Composed by Giacomo Mezzalira. Edited by ...(+)
SATB choir (div)
SKU:
CA.965900
Composed by
Giacomo Mezzalira. Edited
by Stefan Schuck.
Contemporary Choir Music.
Sacred vocal music,
Feasts of the Blessed
Virgin Mary, Hymns in
praise of the Virgin
Mary. Full score. 8
pages. Duration 8
minutes. Carus Verlag #CV
09.659/00. Published by
Carus Verlag (CA.965900).
ISBN 9790007165901.
Text language:
Latin.
Mezzalira
places his worked
entirely in the tradition
of Catholic church music:
Gregorian elements are
associated likewise with
Palestrina's counterpoint
and Bruckner's sonorous
expansin. Thoroughly in
the tradition of the
motet, the Memorare is
structured in four
sections, each in
accordance with their
respective texts. This
large structured
composition begins in C
minor from the depths of
the men's voices,
building to a song of
lamentation which
increases to an
harmonically enriched E
flat major passage on the
words virgo maria. In the
second section,
harmonically in A flat
major, Mezzalira places
the upper and lower
voices in a double choir
opposed to each other in
block-like manner in
order to develop
resonating cantilenas in
the third part, which is
in F major. After a very
simple, tender four-part
setting of a hymn the
composition ends with an
Amen with large modally
enriched chords in D
major.
Composed by Christian Mason. World premiere: Paris, Cite de la musique, Januar...(+)
Composed by Christian
Mason.
World premiere: Paris,
Cite
de la musique, January
14,
2020. Breitkopf and
Haertel
#EB 9377. Published by
Breitkopf and Haertel
Fanfare Band - Grade 6 SKU: BT.DHP-1115084-020 Composed by Jan Van der Ro...(+)
Fanfare Band - Grade 6
SKU:
BT.DHP-1115084-020
Composed by Jan Van der
Roost. Concert and
Contest Collection CBHA.
Set (Score & Parts). De
Haske Publications #DHP
1115084-020. Published by
De Haske Publications
(BT.DHP-1115084-020).
9x12 inches.
English-German-French-Dut
ch.
It may be
surprising to see a
fanfare piece
commissioned by a
Japanese ensemble, since
fanfare orchestras are
typically found in
Belgium, Holland and
Luxembourg, and also
France and Switzerland.
Senzoku Gakuen is one of
the largest and
mostprestigious music
universities in Japan,
and home to a wide
variety of ensembles and
orchestras. Since 2006
they have had a fanfare
orchestra, which was
started by Sotaru
Fukaishi, a euphonium
teacher who felt further
performance opportunity
wasneeded for saxhorn
instruments. Fukaishi had
loved the sound of
fanfare orchestras ever
since visiting the World
Music Contest in Kerkrade
(Holland) several years
earlier. Jan Van der
Roost was involved with
this new initiative from
the beginning,and they
were also joined by Manu
Mellaerts for certain
projects. The Dean of the
music department,
Professor Kazuo Tomioka,
fully supports the
ensemble and commissioned
Ostinati. The
première took place on
June 11th at Maeda Hall
inMizonokuchi (Kawasaki)
where Senzoku Gakuen is
based. The piece opens
with an impressive
timpani solo, followed by
brass and saxophone. The
rhythmical pulse remains
constant and the music is
fiery and assertive in
character. A pentatonic
melodygradually emerges
and the music loses its
vehemency and softens.
The initial percussion
ostinati subsequently
recurs and the first
section of the piece
concludes in a similar
mood to the opening. The
second movement is sweet
and melodic, opening
witha long passage for
the saxophone family in a
minor key. The same theme
then appears in the major
and is developed upon;
the music builds to a
majestic orchestral
forte, reminiscent of a
pipe organ in its
sonority. The theme
returns in the
originalminor key with a
change in instrumentation
leading the movement to a
quiet and peaceful end on
a soft E minor chord. The
finale starts with
percussion: a four-bar
pattern is repeated
several times over which
the movement’s
melodic themes
areintroduced. These
melodic elements are
varied and used in
different versions and
the ostinato idea, which
characterizes the entire
piece, is highlighted.
The theme travels through
the orchestra, appearing
on various instruments
and in variousregisters.
It captures the
listener’s
attention and displays
the full range of sound
and colour within the
fanfare
orchestra.
Het is
misschien verrassend dat
dit fanfarewerk is
geschreven in opdracht
van een Japans ensemble,
aangezien fanfareorkesten
vooral te vinden zijn in
België, Nederland en
Luxemburg, en ook wel in
Frankrijk en Zwitserland.
SenzokuGakuen is een van
de grootste en meest
prestigieuze
muziekopleidingen van
Japan, en de thuisbasis
van een grote
verscheidenheid van
ensembles en orkesten. In
2006 is er een
fanfareorkest opgericht,
en wel door Sotaru
Fukaishi,
eeneuphoniumdocent die
vond dat er meer
mogelijkheden moesten
komen voor optredens met
saxhoorninstrumenten.
Fukaishi had enkele jaren
daarvoor genoten van de
fanfareklank toen hij het
Wereld Muziek Concours in
Kerkrade bezocht.
DeBelgische componist Jan
Van der Roost was van het
begin af aan betrokken
bij dit nieuwe
initiatief, en ook Manu
Mellaerts werd voor een
aantal projecten
aangetrokken. Het hoofd
van de muziekfaculteit,
professor Kazuo Tomioka,
staatgeheel achter het
ensemble en gaf de
opdracht tot het
schrijven van
Ostinati. De
première vond plaats
op 11 juni in de Maeda
Hall in Mizonokuchi
(Kawasaki), waar Senzoku
Gakuen is gevestigd. Het
werk begint met een
indrukwekkendepaukensolo,
gevolgd door koper en
saxofoon. De ritmische
puls blijft constant, en
de aard van de muziek is
vurig en krachtig.
Geleidelijk komt er een
pentatonische melodie
naar voren en wordt de
muziek minder heftig, ze
wordtzachter van
karakter. De
aanvankelijke ostinati in
het slagwerk verschijnen
dan opnieuw, waarna het
eerste deel van het werk
eindigt in dezelfde sfeer
als waarmee het begon.
Het tweede deel is
lieflijk en melodisch.
Het opentmet een lange
passage voor de saxofoons
in een mineurtoonsoort.
Dan klinkt hetzelfde
thema in majeur en daar
wordt op voortgeborduurd:
de muziek ontwikkelt zich
tot een majestueus
orkestraal forte, dat qua
sonoriteit doet
denken
Es mag
überraschen, dass
dieses
Fanfareorchesterwerk
ausgerechnet von einem
japanischen Ensemble in
Auftrag gegeben wurde, da
Fanfareorchester doch
eher in Belgien, den
Niederlanden oder
Luxemburg oder auch in
Frankreich oder Schweiz
zu finden sind. Senzoku
Gakuen ist eine der
größten und
renommiertesten
Musikschulen Japans und
Heimstätte einer
Vielfalt an Ensembles und
Orchestern. Im Jahr 2006
wurde ein
Fanfareorchester
gegründet. Den
Anstoß gab Sotaru
Fukaishi, ein
Euphoniumlehrer, der den
Instrumenten der
Saxhorn-Familie mehr
Spielmöglichkeiten
bieten wollte. Fukaishi
hatte sich einige Jahre
zuvor bei der
Weltmeisterschaft in
Kerkrade (Holland) in den
Klang
vonFanfareorchestern
verliebt. Jan Van der
Roost war von Beginn an
in die Entwicklung dieser
Idee involviert und,
einige Projekte
betreffend, ebenso Manu
Mellaerts. Der Dekan des
Musik-Colleges, Professor
Kazuo Tomioka, steht voll
und ganz hinter dem
Ensemble und gab
Ostinati in
Auftrag. Die Premiere
fand am 11. Juni 2011 in
der Maeda Hall in
Mizonokuchi statt, dem
Heimatort der Schule
Senzoku Gakuen. Das
Stück beginnt mit
einem eindrucksvollen
Paukensolo, bevor
Blechbläser und
Saxophon einsetzen. Der
rhythmische Puls bleibt
konstant unter einer
feurigen,
nachdrücklichen Musik.
Eine pentatonische
Melodie bildet sich nach
und nach heraus,
während die Musik an
Heftigkeit verliert und
sanfter wird. Die
anfänglichen Ostinati
im Schlagwerk kehren
zurück und so endet
der erste Satz des Werkes
in einer der Eröffnung
ähnlichen Stimmung.
Der zweite Satz ist
lieblich und melodiös.
Er beginnt mit einem
langen Abschnitt für
die Saxophone in Moll.
Dann erscheint das
gleiche Thema in Dur und
durchläuft eine
Entwicklung; die Musik
baut sich zu einem
majestätischen
orchestralen Forte auf,
das in seiner
Klangfülle an eine
Orgel erinnert. Dann
kehrt das Thema in seiner
ursprünglichen
Moll-Tonart und in
veränderter
Instrumentierung
zurück, um den Satz
ruhig und friedvoll in
einem e-Moll-Akkord enden
zu lassen.
Fanfare Band - Grade 6 SKU: BT.DHP-1115084-120 Composed by Jan Van der Ro...(+)
Fanfare Band - Grade 6
SKU:
BT.DHP-1115084-120
Composed by Jan Van der
Roost. Concert and
Contest Collection CBHA.
Score Only. Composed
2012. 99 pages. De Haske
Publications #DHP
1115084-120. Published by
De Haske Publications
(BT.DHP-1115084-120).
9x12 inches.
English-German-French-Dut
ch.
It may be
surprising to see a
fanfare piece
commissioned by a
Japanese ensemble, since
fanfare orchestras are
typically found in
Belgium, Holland and
Luxembourg, and also
France and Switzerland.
Senzoku Gakuen is one of
the largest and
mostprestigious music
universities in Japan,
and home to a wide
variety of ensembles and
orchestras. Since 2006
they have had a fanfare
orchestra, which was
started by Sotaru
Fukaishi, a euphonium
teacher who felt further
performance opportunity
wasneeded for saxhorn
instruments. Fukaishi had
loved the sound of
fanfare orchestras ever
since visiting the World
Music Contest in Kerkrade
(Holland) several years
earlier. Jan Van der
Roost was involved with
this new initiative from
the beginning,and they
were also joined by Manu
Mellaerts for certain
projects. The Dean of the
music department,
Professor Kazuo Tomioka,
fully supports the
ensemble and commissioned
Ostinati. The
première took place on
June 11th at Maeda Hall
inMizonokuchi (Kawasaki)
where Senzoku Gakuen is
based. The piece opens
with an impressive
timpani solo, followed by
brass and saxophone. The
rhythmical pulse remains
constant and the music is
fiery and assertive in
character. A pentatonic
melodygradually emerges
and the music loses its
vehemency and softens.
The initial percussion
ostinati subsequently
recurs and the first
section of the piece
concludes in a similar
mood to the opening. The
second movement is sweet
and melodic, opening
witha long passage for
the saxophone family in a
minor key. The same theme
then appears in the major
and is developed upon;
the music builds to a
majestic orchestral
forte, reminiscent of a
pipe organ in its
sonority. The theme
returns in the
originalminor key with a
change in instrumentation
leading the movement to a
quiet and peaceful end on
a soft E minor chord. The
finale starts with
percussion: a four-bar
pattern is repeated
several times over which
the movement’s
melodic themes
areintroduced. These
melodic elements are
varied and used in
different versions and
the ostinato idea, which
characterizes the entire
piece, is highlighted.
The theme travels through
the orchestra, appearing
on various instruments
and in variousregisters.
It captures the
listener’s
attention and displays
the full range of sound
and colour within the
fanfare
orchestra.
Het is
misschien verrassend dat
dit fanfarewerk is
geschreven in opdracht
van een Japans ensemble,
aangezien fanfareorkesten
vooral te vinden zijn in
België, Nederland en
Luxemburg, en ook wel in
Frankrijk en Zwitserland.
SenzokuGakuen is een van
de grootste en meest
prestigieuze
muziekopleidingen van
Japan, en de thuisbasis
van een grote
verscheidenheid van
ensembles en orkesten. In
2006 is er een
fanfareorkest opgericht,
en wel door Sotaru
Fukaishi,
eeneuphoniumdocent die
vond dat er meer
mogelijkheden moesten
komen voor optredens met
saxhoorninstrumenten.
Fukaishi had enkele jaren
daarvoor genoten van de
fanfareklank toen hij het
Wereld Muziek Concours in
Kerkrade bezocht.
DeBelgische componist Jan
Van der Roost was van het
begin af aan betrokken
bij dit nieuwe
initiatief, en ook Manu
Mellaerts werd voor een
aantal projecten
aangetrokken. Het hoofd
van de muziekfaculteit,
professor Kazuo Tomioka,
staatgeheel achter het
ensemble en gaf de
opdracht tot het
schrijven van
Ostinati. De
première vond plaats
op 11 juni in de Maeda
Hall in Mizonokuchi
(Kawasaki), waar Senzoku
Gakuen is gevestigd. Het
werk begint met een
indrukwekkendepaukensolo,
gevolgd door koper en
saxofoon. De ritmische
puls blijft constant, en
de aard van de muziek is
vurig en krachtig.
Geleidelijk komt er een
pentatonische melodie
naar voren en wordt de
muziek minder heftig, ze
wordtzachter van
karakter. De
aanvankelijke ostinati in
het slagwerk verschijnen
dan opnieuw, waarna het
eerste deel van het werk
eindigt in dezelfde sfeer
als waarmee het begon.
Het tweede deel is
lieflijk en melodisch.
Het opentmet een lange
passage voor de saxofoons
in een mineurtoonsoort.
Dan klinkt hetzelfde
thema in majeur en daar
wordt op voortgeborduurd:
de muziek ontwikkelt zich
tot een majestueus
orkestraal forte, dat qua
sonoriteit doet
denken
Es mag
überraschen, dass
dieses
Fanfareorchesterwerk
ausgerechnet von einem
japanischen Ensemble in
Auftrag gegeben wurde, da
Fanfareorchester doch
eher in Belgien, den
Niederlanden oder
Luxemburg oder auch in
Frankreich oder Schweiz
zu finden sind. Senzoku
Gakuen ist eine der
größten und
renommiertesten
Musikschulen Japans und
Heimstätte einer
Vielfalt an Ensembles und
Orchestern. Im Jahr 2006
wurde ein
Fanfareorchester
gegründet. Den
Anstoß gab Sotaru
Fukaishi, ein
Euphoniumlehrer, der den
Instrumenten der
Saxhorn-Familie mehr
Spielmöglichkeiten
bieten wollte. Fukaishi
hatte sich einige Jahre
zuvor bei der
Weltmeisterschaft in
Kerkrade (Holland) in den
Klang
vonFanfareorchestern
verliebt. Jan Van der
Roost war von Beginn an
in die Entwicklung dieser
Idee involviert und,
einige Projekte
betreffend, ebenso Manu
Mellaerts. Der Dekan des
Musik-Colleges, Professor
Kazuo Tomioka, steht voll
und ganz hinter dem
Ensemble und gab
Ostinati in
Auftrag. Die Premiere
fand am 11. Juni 2011 in
der Maeda Hall in
Mizonokuchi statt, dem
Heimatort der Schule
Senzoku Gakuen. Das
Stück beginnt mit
einem eindrucksvollen
Paukensolo, bevor
Blechbläser und
Saxophon einsetzen. Der
rhythmische Puls bleibt
konstant unter einer
feurigen,
nachdrücklichen Musik.
Eine pentatonische
Melodie bildet sich nach
und nach heraus,
während die Musik an
Heftigkeit verliert und
sanfter wird. Die
anfänglichen Ostinati
im Schlagwerk kehren
zurück und so endet
der erste Satz des Werkes
in einer der Eröffnung
ähnlichen Stimmung.
Der zweite Satz ist
lieblich und melodiös.
Er beginnt mit einem
langen Abschnitt für
die Saxophone in Moll.
Dann erscheint das
gleiche Thema in Dur und
durchläuft eine
Entwicklung; die Musik
baut sich zu einem
majestätischen
orchestralen Forte auf,
das in seiner
Klangfülle an eine
Orgel erinnert. Dann
kehrt das Thema in seiner
ursprünglichen
Moll-Tonart und in
veränderter
Instrumentierung
zurück, um den Satz
ruhig und friedvoll in
einem e-Moll-Akkord enden
zu lassen.
Nobilitas Orchestre d'harmonie - Intermédiaire/avancé De Haske Publications
Concert Band/Harmonie - Grade 4 SKU: BT.DHP-1155605-140 Composed by Jan V...(+)
Concert Band/Harmonie -
Grade 4
SKU:
BT.DHP-1155605-140
Composed by Jan Van der
Roost. Concert and
Contest Collection CBHA.
Score Only. Composed
2015. De Haske
Publications #DHP
1155605-140. Published by
De Haske Publications
(BT.DHP-1155605-140).
Das noble und
feierliche Werk des
berühmten belgischen
Komponisten Jan Van der
Roost ist ein ideales
Erö nungsstück
für jede Gelegenheit.
Die Orchestrierung ist
nicht so sehr auf
Farbigkeit ausgerichtet,
sondern vielmehr auf
volltönende, warme
Klänge, wodurch der
würdevolle Charakter
des Stückes insgesamt
noch besser zur Geltung
kommt.
L’orchestr
azione di Nobilitas
(Nobilt ) è piena di
calore e sonorit , e
illustra il carattere
maestoso del brano, che
sembra emanare la
solennit e la nobilt di
una “eminenza
grigia†come
Yoshihiro Kimura,
personaggio che ha
ispirato il
compositore.
Nobilitas Orchestre d'harmonie - Intermédiaire/avancé De Haske Publications
Concert Band/Harmonie - Grade 4 SKU: BT.DHP-1155605-010 Composed by Jan V...(+)
Concert Band/Harmonie -
Grade 4
SKU:
BT.DHP-1155605-010
Composed by Jan Van der
Roost. Concert and
Contest Collection CBHA.
Opening Pieces. Set
(Score & Parts). Composed
2015. De Haske
Publications #DHP
1155605-010. Published by
De Haske Publications
(BT.DHP-1155605-010).
Das noble und
feierliche Werk des
berühmten belgischen
Komponisten Jan Van der
Roost ist ein ideales
Erö nungsstück
für jede Gelegenheit.
Die Orchestrierung ist
nicht so sehr auf
Farbigkeit ausgerichtet,
sondern vielmehr auf
volltönende, warme
Klänge, wodurch der
würdevolle Charakter
des Stückes insgesamt
noch besser zur Geltung
kommt.
L’orchestr
azione di Nobilitas
(Nobilt ) è piena di
calore e sonorit , e
illustra il carattere
maestoso del brano, che
sembra emanare la
solennit e la nobilt di
una “eminenza
grigia†come
Yoshihiro Kimura,
personaggio che ha
ispirato il
compositore.
Choral (SATB Choir) SKU: HL.35032368 Composed by Mark Burrows. Shawnee Pr...(+)
Choral (SATB Choir)
SKU: HL.35032368
Composed by Mark Burrows.
Shawnee Press. Concert.
Octavo. 12 pages.
Published by Shawnee
Press (HL.35032368).
ISBN 9781540032553.
UPC: 888680783488.
6.75x10.5
inches.
Rich choral
sonorities fill this
expressive and
contemporary concert
setting of an e.e.
cummings poem. Thoughtful
vocal entrances begin the
piece followed by the ebb
and flow of dynamics and
harmonies, engaging the
singer to explore the
romantic text.
Solo piano - Grade 4 SKU: IG.PM063 Composed by Jennifer Castellano. Score...(+)
Solo piano - Grade 4
SKU: IG.PM063
Composed by Jennifer
Castellano. Score.
Imagine Music Publishing
#PM063. Published by
Imagine Music Publishing
(IG.PM063).
9 x 12 in
inches.
By Jennifer
Castellano. Spectrum,
Seven Preludes for Piano
was inspired by a work by
the American artist,
Ellsworth Kelly (b.
1923). The composer
writes, When I was a
freshman in college, I
saw his work entitled
Spectrum at the
Metropolitan Museum of
Art. The work consisted
of thirteen large panels,
and each contained a
different color or shade
of color. The first panel
was yellow and the last
was yellow. To me this
work was a visual
representation of a
chromatic scale played
one full octave up the
piano keyboard. Five
years after the
magnificent sighting at
the Met, I decided that I
wanted to make an audio
representation of the
seven colors of the
rainbow, each represented
by a different tonality
or pitch center: A being
red, B orange, C yellow,
D green, E blue, F
indigo, and G violet.
Spectrum abandons the use
of the conventional
major-minor key systems
and instead uses a scale
which the composer
invented called the
Castellonian Mode. In
it's original form the
scale is spelled C D E F
G G# (or Ab) A Bb C. The
sound of this new tonal
system exhibits both
major and minor-like
qualities and yet has a
new sonority of its own.
The Castellonian Mode was
invented in the summer of
2004 and has served as
the basis of many of her
tonal compositions.
Concert band - Grade 3 SKU: MH.1-59913-054-8 Composed by Bob Margolis. Su...(+)
Concert band - Grade 3
SKU:
MH.1-59913-054-8
Composed by Bob Margolis.
Suitable for advanced
middle school, high
school, community and
college bands. Conductor
score and set of parts.
Duration 4:45. Published
by Manhattan Beach Music
(MH.1-59913-054-8).
ISBN
9781599130545.
Roya
l Coronation Dances is
the first sequel to the
Fanfare Ode & Festival,
both being settings of
dance music originally
arranged by Gervaise in
the mid 16th-century (the
next sequel is The
Renaissance Fair, which
uses music of Susato and
Praetorius). Fanfare Ode
& Festival has been
performed by many tens of
thousands of students,
both in high school and
junior high school. I
have heard that some of
them are amazed that the
music they are playing
was first played and
danced to over 400 years
ago. Some students tend
to think that music
started with Handel and
his Messiah to be
followed by Beethoven and
his Fifth Symphony, with
naught in between or
before of consequence.
Although Royal Coronation
Dances is derived from
the same source as
Fanfare Ode & Festival,
they are treated in
different ways. I
envisioned this new suite
programmatically -- hence
the descriptive movement
titles, which I imagined
to be various dances
actually used at some
long-ago coronation. The
first movement depicts
the guests, both noble
and common, flanked by
flag and banner bearers,
arriving at the palace to
view the majestic event.
They are festive, their
flags swirling the air,
their cloaks brightly
colored. In the second
movement, the queen in
stately measure moves to
take her place on the
throne as leader and
protector of the realm.
In the third movement,
the jesters of the court
entertain the guests with
wild games of sport.
Musically, there are
interesting sonorities to
recreate. Very special
attention should be given
to the tambourine/tenor
drum part in the first
movement. Their lively
rhythms give the movement
its power. Therefore they
should be played as
distinctly and
brilliantly as possible.
The xylophone and
glockenspiel add clarity,
but must not be allowed
to dominate. Observe
especially the differing
dynamics; the intent is
to allow much buzzing
bass to penetrate. The
small drum (starting at
meas. 29) should be
played expressively, with
attention to the notated
articulations, with the
brass light and detached,
especially in a lively
auditorium. It is of some
further interest that the
first dance is extremely
modal. The original is
clearly in G mixolydian
mode (scale:
G-A-B-C-D-E-F-G).
However, other editors
might put in F-sharps in
many places (changing the
piece almost to G major),
in the belief that such
ficta would have been
automatically put in by
the 16th-century
performers as they
played. I doubt it. I
have not only eschewed
these within the work,
but even at the cadences.
So this arrangement is
most distinctly modal
(listen to the F-naturals
in meas. 22 and 23, for
instance), with all the
part-writing as Gervaise
wrote it. In the second
movement, be careful that
things do not become too
glued together. In the
16th century this music
might have been played by
a consort of recorders,
instruments very light of
touch and sensitive to
articulation. Concert
band can easily sound
heavy, and although this
movement has been scored
for tutti band, it must
not sound it. It is
essential, therefore,
that you hear all the
instruments, with none
predominating. Only when
each timbre can be heard
separately and
simultaneously will the
best blend occur, and
consequently the greatest
transparency. So aim for
a transparent, spacious
tutti sound in this
movement. Especially have
the flutes, who do this
so well, articulate
rather sharply, so as to
produce a chiffing sound,
and do not allow the
quarter-notes to become
too tied together in the
entire band. The entrance
of the drums (first
tenor, then bass) are
events and as such should
be audible. Incidentally,
this movement begins in F
Major and ends in D
Minor: They really didn't
care so much about those
things then. The third
movement (one friend has
remarked that it is the
most Margolisian of the
bunch, but actually I am
just getting subtler, I
hope) again relies upon
the percussion (and the
scoring) to make its
points. Xylophone in this
movement is meant to be
distinctly audible.
Therefore, be especially
sure that the xylophone
player is secure in the
part, and also that the
tambourine and toms sound
good. This movement must
fly or it will sink, so
rev up the band and
conduct it in 1 for this
mixolydian jesting. I
suppose the wildly
unrelated keys (clarinets
and then brass at the
end) would be a good
16th-century joke, but to
us, our
put-up-the-chorus-a-half-
step ears readily accept
such shenanigans.
Ensemble instrumentation:
1 Full Score, 1 Piccolo,
4 Flute 1, 4 Flute 2 & 3,
2 Oboe 1 & 2, 2 Bassoon 1
& 2, 1 Eb Clarinet, 4 Bb
Clarinet 1, 4 Bb Clarinet
2, 4 Bb Clarinet 3, 2 Eb
Alto Clarinet, 1 Eb
Contra Alto Clarinet, 3
Bb Bass & Bb Contrabass
Clarinet, 2 Eb Alto
Saxophone 1, 2 Eb Alto
Saxophone 2, 2 Bb Tenor
Saxophone, 2 Eb Baritone
Saxophone, 3 Bb Trumpet
1, 3 Bb Trumpet 2, 3 Bb
Trumpet 3, 4 Horn in F 1
& 2, 2 Trombone 1, 4
Trombone 2 & 3, 3
Euphonium (B.C.), 2
Euphonium (T.C.), 4 Tuba,
1 String Bass, 1 Timpani
(optional), 2 Xylophone &
Glockenspiel, 5
Percussion.
Percussion (Percussion Parts) SKU: HL.48184434 Composed by Boursault E. G...(+)
Percussion (Percussion
Parts)
SKU:
HL.48184434
Composed
by Boursault E. Guy.
Leduc. Classical.
Softcover. 54 pages.
Alphonse Leduc #AL27441.
Published by Alphonse
Leduc (HL.48184434).
UPC: 888680847777.
9x12
inches.
“Drum
Lesson is a very
progressive method in
four books written by
Emmanuel Boursault (born
in 1949) and Guy
Lefèvre
(1931-2004), both Drum
teachers and founders of
the Emmanuel Boursault
School of Drums. This
first book for beginners
introduces them to the
use of the Snare Drums,
developing all necessary
basics such as finger
positions, theory,
sonority, notions of
tempo and rhythmic
reading. With Drum Lesson
- Vol. 1, the beginner
should be prepared to
face his first Drums
exams and will be
provided guidance
throughout the book with
annotations on how to use
each exercise.&rdquo.
Chamber Music Piano SKU: PR.110418490 Composed by Carter Pann. 16 pages. ...(+)
Chamber Music Piano
SKU: PR.110418490
Composed by Carter Pann.
16 pages. Duration 16
minutes. Theodore Presser
Company #110-41849.
Published by Theodore
Presser Company
(PR.110418490).
ISBN
9781491137260. UPC:
680160690022.
Carte
r Pann writes, the piece
might have been titled
Three Improvisations, but
there is an expressive
inertia baked in to these
works which makes them
truer as rhapsodies. This
description tells us much
about the work, whose
movements are an
enterprising tango, a
bombastic central
movement with virtuosic
thrust, and a and a hymn
heard from afar without
any sense of marked
time. Three Rhapsodies
was commissioned by the
American Composers Forum
with complete support
from the Thelma E. Hunter
Fund. The premiere
performance took place in
Kilbourn Hall at the
Eastman School of Music
in Rochester, New York by
pianist Marina Lomazov.As
with all of my piano
works, this was very much
an at-the-piano
compositional experience.
As a pianist I cannot
imagine writing a solo
work away from the
instrument (though at
times that would be quite
convenient).The whole
work explores a palette
of impassioned emotions
– sometimes
veiled, sometimes
emboldened, or even
outrageous at times.
There are technical
freedoms in each
movement, allowing the
pianist to stretch their
interpretive inclinations
to great lengths. In this
way the piece might have
been titled Three
Improvisations, but there
is an expressive inertia
baked in to these works
which make them truer as
rhapsodies.The first
movement is a tango with
real wanderlust. The
second reminds me of
Rachmaninoff’s
Polka de W.R. in its
bombast, but also
Chopin’s sixteenth
prelude with its sheer
virtuosic thrust. The
third is a hymn heard
from afar with no
rhythmic drive, only
sheened sonority.