Times Gone By Ensemble Jazz [Conducteur et Parties séparées] Kendor Music Inc.
Jazz Ensemble - Medium Easy SKU: KN.EDB2201 Alto Sax or Trumpet Featur...(+)
Jazz Ensemble - Medium
Easy
SKU:
KN.EDB2201
Alto
Sax or Trumpet
Feature. Composed by
Doug Beach. First Edition
Series (E). Score and
Parts. Kendor Music Inc
#EDB2201. Published by
Kendor Music Inc
(KN.EDB2201).
12 x 9
inches.
Doug Beach
has crafted a dramatic
ballad the features
either Alto Saxophone or
Trumpet. The haunting
melody over minor changes
will be an excellent
showcase for your
soloist. Doug uses a
variety of colors in the
background figures to
keep things interesting
and give the chart a lot
of personality.
The book contains ten short training melodies for Clarinet students making their...(+)
The book contains ten
short training melodies
for Clarinet students
making their first moves
into the Jazz playing
style. The pieces cover
various aspects of Jazz
phrasing including large
interval leaps, Latin,
Rock, Swing andBlues
rhythms and the Dorian
mode. This updated
version includes a free
play-along CD recorded by
Malcolm Miles, that will
allow you to put your new
knowledge into practice
and develop confidence in
your Jazz phrasing
Sousa Times Twosa Orchestre d'harmonie [Conducteur] - Débutant Alfred Publishing
Concert Band - Grade 1 SKU: AP.24698S Featuring: High School Cadets / ...(+)
Concert Band - Grade 1
SKU: AP.24698S
Featuring: High School
Cadets / The
Thunderer. Arranged
by Michael Story and
Robert W. Smith. Concert
Band Method; SmartMusic.
Band Expressions. Form:
March. Score. 12 pages.
Alfred Music #00-24698S.
Published by Alfred Music
(AP.24698S).
UPC:
038081282626.
English.
Sousa's
contribution to the band
literature is
unparalleled. The main
themes from The High
School Cadets and The
Thunderer have been
carefully prepared by
Robert W. Smith and
Michael Story for your
beginners at the end of
their first year.
Although scored to
compliment the end of
Band Expressions Book
One, this march-duo would
work well with any
beginning class on their
concluding program. A
worthy teaching and
performance choice. This
title is available in
MakeMusic Cloud.
Piano, Vocal and Guitar SKU: BT.MUSAM971531 Book Only. Wise Publications ...(+)
Piano, Vocal and Guitar
SKU:
BT.MUSAM971531
Book
Only. Wise Publications
#MUSAM971531. Published
by Wise Publications
(BT.MUSAM971531).
ISBN
9780711989900.
E
verybody's favourite
Christmas carols and
songs in one wonderfully
practical and convenient
edition
creates The
Best Christmas Songbook
Ever (A5
Format),
featuring 49 songs
arranged for Piano,
VoiceandGuitar.Â
Every member of the
family is catered for,
young and old, with a
selection of favourites
covering the traditional
classics that make the
season special
like Away In A
Manger, We Three Kings
OfOrientAre and O Come, All Ye
Faithful. Not only
this, but more recent pop
tunes are represented
such as I Wish It
Could Be Christmas Every
Day, Last
Christmas and
Santa ClausIsComing
To Town. The
generous selection of
songs from old carols to
new tunes makes this the
perfect book for you this
Christmas, so you can
begin Christmas Eve with
the classic carols and
bring in Christmas Day
with thefuncontemporary
pop.Â
The
accessible arrangements
of lyrics, melody, Piano
and Guitar chords mean
that you don't have to
spend too much time
practising before family
and friends can gather
around the Piano for
aChristmassing-along.
Because this songbook has
everything, you can keep
it as part of your music
collection and dig it out
every year for those
times when the family can
gather around and sing
the songs that get you
into thespirit of
theseason.Â
For
the best and most varied
collection of Christmas
songs ever compiled, from
old to new, classic to
contemporary, pick up
The Best
Christmas Songbook Ever,
and put a
Yuletidesmile on theface
of everyone with these
universally loved
tunes.
You can also
purchase this book in
its larger,
standardsize for abumper-sized
Yuletide.
Open strings, first and second finger. Arranged by Sarah Stiles. (Violin). This...(+)
Open strings, first and
second finger. Arranged
by Sarah Stiles.
(Violin). This edition:
1074319. De Haske
Play-Along Book.
Softcover with CD. 32
pages. Published by De
Haske Publications.
By George L.O. Strid, Mary Donnelly. (teacher edition). Choral. Music First Exp...(+)
By George L.O. Strid,
Mary Donnelly. (teacher
edition). Choral. Music
First Express. Children's
Musical. Size 9x12
inches. 64 pages.
Published by Hal Leonard.
By George L.O. Strid, Mary Donnelly. (Showtrax Cd). Choral. Music First Express...(+)
By George L.O. Strid,
Mary Donnelly. (Showtrax
Cd). Choral. Music First
Express. Children's
Musical. CD only. Size
5.5x5 inches. Published
by Hal Leonard.
Ten songs by up-and-coming artists for use in worship services or with youth cho...(+)
Ten songs by
up-and-coming artists for
use in worship services
or with youth choirs.
Your musicians will love
with the inventive guitar
accompaniments and
unexpected harmonies in
this collection. Let the
instrumentalists kick it
on Magnificent King. The
mosh pit styled lead
guitar part will be fun
to play for the rock star
of your worship team.
It's okay if this one is
hijacked by the drummer.
Or for times of prayer,
use Center, a song with
lyrics that invite Christ
to be the center of our
lives. It features a
haunting, beautiful
melody line that's
perfect for an alto
voice. From the laid back
John Mayer-type stylings
of Lord Most Holy to the
soft ebbs and flows of
Embrace the Cross, the
songs in this collection
are sure to be new
favorites for your youth
group
A Beginner's Guide, Featuring Step-By-Step Lessons with Audio, Video, and Pop...(+)
A Beginner's Guide,
Featuring Step-By-Step
Lessons with Audio,
Video,
and Popular Songs!. Vocal
Instruction. Softcover
Media
Online. 32 pages.
Published
by Hal Leonard
Featuring 43 Fiddlers
and 188 of Their
Tunes. Perfect
binding. Folk. Book. 212
pages. Mel Bay
Publications, Inc #30091.
Published by Mel Bay
Publications, Inc
(MB.30091).
ISBN
9781513466378. 8.75 x
11.75
inches.
Appalachian
fiddle music, based on
the musical traditions of
the people who settled in
the mountainous regions
of the southeastern
United States, is
widely-known and played
throughout North America
and parts of Europe
because of its complex
rhythms, its catchy
melodies, and its
often-ancient-sounding
stylistic qualities. The
authors explore the lives
and music of 43 of the
classic Appalachian
fiddlers who were active
during the first half of
the 20th century. Some of
them were recorded
commercially in the
1920s, such as Gid
Tanner, Fiddlin? John
Carson, and Charlie
Bowman. Some were
recorded by folklorists
from the Library of
Congress, such as William
Stepp, Emmett Lundy, and
Marion Reece. Others were
recorded informally by
family members and
visitors, such as John
Salyer, Emma Lee
Dickerson, and Manco
Sneed. All of them played
throughout most of their
lives and influenced the
growth and stylistic
elements of fiddle music
in their regions. Each
fiddler has been given a
chapter with a biography,
several tune
transcriptions, and tune
histories. To show the
richness of the music,
the authors make a
special effort to show
the musical elements in
detail, but also
acknowledge that nothing
can take the place of
listening. Many of the
classic recordings used
in this book can be found
on the web, allowing you
to hear and read the
music together.
Christmastimes Three Orchestre d'harmonie [Conducteur et Parties séparées] - Débutant Alfred Publishing
Arranged by Robert Sheldon. Arr. Robert Sheldon. For Concert Band. Concert Band....(+)
Arranged by Robert
Sheldon. Arr. Robert
Sheldon. For Concert
Band. Concert Band.
Yamaha Band Series.
Level: grade 1. Conductor
Score & Parts. 1 pages.
Published by Alfred
Publishing.
Choral SA choir, piano SKU: CF.CM9576 1. Who Robbed the Woods 2. Cool ...(+)
Choral SA choir, piano
SKU: CF.CM9576
1. Who Robbed the
Woods 2. Cool is the
Valley Now. Composed
by Paul David Thomas.
Sws. Performance Score.
16 pages. Carl Fischer
Music #CM9576. Published
by Carl Fischer Music
(CF.CM9576).
ISBN
9781491153987. UPC:
680160912483. 6.875 x
10.5 inches. Key: G
minor. English. Emily
Dickinson (1830-1886) ,
Walt Whitman
(1819-1892).
The
two pieces, Who Robbed
the Woods? and O Cool is
the Valley Now, combine
to create a set that both
explores the subtle
beauty, serenity,
fragility, and resiliency
of nature and examines
our relationship to the
natural world around us.
The first song combines a
short poem by Emily
Dickinson with a journal
entry excerpt by Walt
Whitman entitled The
Lesson of the Tree.
Only two stanzas in
length, Dickinsons poem
considers the ways in
which people use and
exploit trees for their
own purposes and asks, on
the trees behalf, who
would do such a thing?
Whitman ponders a trees
silent majesty and power
and its ability to be yet
say nothing at all. The
musical setting begins
and ends in the mode of
G-Dorian while moving
briefly in the middle
section to Bb major. The
Dorian mode, similar to
the natural minor but
with a raised sixth scale
degree, possesses a
mysterious and whimsical
sound, fitting for a poem
that considers the
possibility of talking
trees. The accents and
syncopation of the piano
accompaniment should be
carefully observed, with
particular attention paid
to the syncopation found
in gestures occurring in
mm. 712. The beginning
a cappella
section should be hushed
yet intense; a richer,
fuller sound may be
brought out in the middle
section where the key
shifts to Bb major and
the choir sings of the
many noble qualities of
trees (mm. 3953). O Cool
is the Valley Now also
makes use of a modal
scale. Set primarily in D
Mixolydian, similar to D
major but with a lowered
seventh scale degree,
this modes lack of a
leading tone gives the
melody a folk-tune
quality. The piano should
at all times remain
legato and flowing, its
ascending and descending
gestures, found in mm.
910, imitating the
rolling hills and valleys
evoked in the text. The
phrases of the vocal
lines should also be
flowing and carefully
shaped. Additional rubato
and dynamic subtleties
may be added to
accentuate any number of
the suspensions and
dissonances that occur,
especially on p.
14. The two pieces,
aWho Robbed the Woods?a
and aO Cool is the Valley
Now,a combine to create a
set that both explores
the subtle beauty,
serenity, fragility, and
resiliency of nature and
examines our relationship
to the natural world
around us. The first song
combines a short poem by
Emily Dickinson with a
journal entry excerpt by
Walt Whitman entitled
The Lesson of the
Tree. Only two
stanzas in length,
Dickinsonas poem
considers the ways in
which people use and
exploit trees for their
own purposes and asks, on
the treesa behalf, who
would do such a thing?
Whitman ponders a treeas
silent majesty and power
and its ability to be
ayet say nothing at all.a
The musical setting
begins and ends in the
mode of G-Dorian while
moving briefly in the
middle section to Bb
major. The Dorian mode,
similar to the natural
minor but with a raised
sixth scale degree,
possesses a mysterious
and whimsical sound,
fitting for a poem that
considers the possibility
of talking trees. The
accents and syncopation
of the piano
accompaniment should be
carefully observed, with
particular attention paid
to the syncopation found
in gestures occurring in
mm. 7a12. The beginning
a cappella
section should be hushed
yet intense; a richer,
fuller sound may be
brought out in the middle
section where the key
shifts to Bb major and
the choir sings of the
many noble qualities of
trees (mm. 39a53). O Cool
is the Valley NowA also
makes use of a modal
scale. Set primarily in D
Mixolydian, similar to D
major but with a lowered
seventh scale degree,
this modeas lack of a
leading tone gives the
melody a folk-tune
quality. The piano should
at all times remain
legato and flowing, its
ascending and descending
gestures, found in mm.
9a10, imitating the
rolling hills and valleys
evoked in the text. The
phrases of the vocal
lines should also be
flowing and carefully
shaped. Additional rubato
and dynamic subtleties
may be added to
accentuate any number of
the suspensions and
dissonances that occur,
especially on p.
14. The two pieces,
aWho Robbed the Woods?a
and aO Cool is the Valley
Now,a combine to create a
set that both explores
the subtle beauty,
serenity, fragility, and
resiliency of nature and
examines our relationship
to the natural world
around us. The first song
combines a short poem by
Emily Dickinson with a
journal entry excerpt by
Walt Whitman entitled
The Lesson of the
Tree. Only two
stanzas in length,
Dickinsonas poem
considers the ways in
which people use and
exploit trees for their
own purposes and asks, on
the treesa behalf, who
would do such a thing?
Whitman ponders a treeas
silent majesty and power
and its ability to be
ayet say nothing at all.a
The musical setting
begins and ends in the
mode of G-Dorian while
moving briefly in the
middle section to Bb
major. The Dorian mode,
similar to the natural
minor but with a raised
sixth scale degree,
possesses a mysterious
and whimsical sound,
fitting for a poem that
considers the possibility
of talking trees. The
accents and syncopation
of the piano
accompaniment should be
carefully observed, with
particular attention paid
to the syncopation found
in gestures occurring in
mm. 7a12. The beginning
a cappella
section should be hushed
yet intense; a richer,
fuller sound may be
brought out in the middle
section where the key
shifts to Bb major and
the choir sings of the
many noble qualities of
trees (mm. 39a53). O Cool
is the Valley NowA also
makes use of a modal
scale. Set primarily in D
Mixolydian, similar to D
major but with a lowered
seventh scale degree,
this modeas lack of a
leading tone gives the
melody a folk-tune
quality. The piano should
at all times remain
legato and flowing, its
ascending and descending
gestures, found in mm.
9a10, imitating the
rolling hills and valleys
evoked in the text. The
phrases of the vocal
lines should also be
flowing and carefully
shaped. Additional rubato
and dynamic subtleties
may be added to
accentuate any number of
the suspensions and
dissonances that occur,
especially on p.
14. The two pieces,
Who Robbed the Woods? and
O Cool is the Valley Now,
combine to create a set
that both explores the
subtle beauty, serenity,
fragility, and resiliency
of nature and examines
our relationship to the
natural world around us.
The first song combines a
short poem by Emily
Dickinson with a journal
entry excerpt by Walt
Whitman entitled The
Lesson of the Tree.
Only two stanzas in
length, Dickinson's poem
considers the ways in
which people use and
exploit trees for their
own purposes and asks, on
the trees' behalf, who
would do such a thing?
Whitman ponders a tree's
silent majesty and power
and its ability to be yet
say nothing at all. The
musical setting begins
and ends in the mode of
G-Dorian while moving
briefly in the middle
section to Bb major. The
Dorian mode, similar to
the natural minor but
with a raised sixth scale
degree, possesses a
mysterious and whimsical
sound, fitting for a poem
that considers the
possibility of talking
trees. The accents and
syncopation of the piano
accompaniment should be
carefully observed, with
particular attention paid
to the syncopation found
in gestures occurring in
mm. 7-12. The beginning
a cappella
section should be hushed
yet intense; a richer,
fuller sound may be
brought out in the middle
section where the key
shifts to Bb major and
the choir sings of the
many noble qualities of
trees (mm. 39-53). O Cool
is the Valley Now also
makes use of a modal
scale. Set primarily in D
Mixolydian, similar to D
major but with a lowered
seventh scale degree,
this mode's lack of a
leading tone gives the
melody a folk-tune
quality. The piano should
at all times remain
legato and flowing, its
ascending and descending
gestures, found in mm.
9-10, imitating the
rolling hills and valleys
evoked in the text. The
phrases of the vocal
lines should also be
flowing and carefully
shaped. Additional rubato
and dynamic subtleties
may be added to
accentuate any number of
the suspensions and
dissonances that occur,
especially on p.
14. The two pieces,
Who Robbed the Woods? and
O Cool is the Valley Now,
combine to create a set
that both explores the
subtle beauty, serenity,
fragility, and resiliency
of nature and examines
our relationship to the
natural world around us.
The first song combines a
short poem by Emily
Dickinson with a journal
entry excerpt by Walt
Whitman entitled The
Lesson of the Tree. Only
two stanzas in length,
Dickinson's poem
considers the ways in
which people use and
exploit trees for their
own purposes and asks, on
the trees' behalf, who
would do such a thing?
Whitman ponders a tree's
silent majesty and power
and its ability to be yet
say nothing at all. The
musical setting begins
and ends in the mode of
G-Dorian while moving
briefly in the middle
section to Bb major. The
Dorian mode, similar to
the natural minor but
with a raised sixth scale
degree, possesses a
mysterious and whimsical
sound, fitting for a poem
that considers the
possibility of talking
trees. The accents and
syncopation of the piano
accompaniment should be
carefully observed, with
particular attention paid
to the syncopation found
in gestures occurring in
mm. 7-12. The beginning a
cappella section should
be hushed yet intense; a
richer, fuller sound may
be brought out in the
middle section where the
key shifts to Bb major
and the choir sings of
the many noble qualities
of trees (mm. 39-53). O
Cool is the Valley Now
also makes use of a modal
scale. Set primarily in D
Mixolydian, similar to D
major but with a lowered
seventh scale degree,
this mode's lack of a
leading tone gives the
melody a folk-tune
quality. The piano should
at all times remain
legato and flowing, its
ascending and descending
gestures, found in mm.
9-10, imitating the
rolling hills and valleys
evoked in the text. The
phrases of the vocal
lines should also be
flowing and carefully
shaped. Additional rubato
and dynamic subtleties
may be added to
accentuate any number of
the suspensions and
dissonances that occur,
especially on p.
14. The two pieces,
“Who Robbed the
Woods?†and
“O Cool is the
Valley Now,â€
combine to create a set
that both explores the
subtle beauty, serenity,
fragility, and resiliency
of nature and examines
our relationship to the
natural world around
us.The first song
combines a short poem by
Emily Dickinson with a
journal entry excerpt by
Walt Whitman entitled The
Lesson of the Tree. Only
two stanzas in length,
Dickinson’s poem
considers the ways in
which people use and
exploit trees for their
own purposes and asks, on
the trees’ behalf,
who would do such a
thing? Whitman ponders a
tree’s silent
majesty and power and its
ability to be “yet
say nothing at
all.â€The musical
setting begins and ends
in the mode of G-Dorian
while moving briefly in
the middle section to Bb
major. The Dorian mode,
similar to the natural
minor but with a raised
sixth scale degree,
possesses a mysterious
and whimsical sound,
fitting for a poem that
considers the possibility
of talking trees. The
accents and syncopation
of the piano
accompaniment should be
carefully observed, with
particular attention paid
to the syncopation found
in gestures occurring in
mm. 7–12. The
beginning a cappella
section should be hushed
yet intense; a richer,
fuller sound may be
brought out in the middle
section where the key
shifts to Bb major and
the choir sings of the
many noble qualities of
trees (mm.
39–53).O Cool is
the Valley Now also
makes use of a modal
scale. Set primarily in D
Mixolydian, similar to D
major but with a lowered
seventh scale degree,
this mode’s lack
of a leading tone gives
the melody a folk-tune
quality. The piano should
at all times remain
legato and flowing, its
ascending and descending
gestures, found in mm.
9–10, imitating
the rolling hills and
valleys evoked in the
text. The phrases of the
vocal lines should also
be flowing and carefully
shaped. Additional rubato
and dynamic subtleties
may be added to
accentuate any number of
the suspensions and
dissonances that occur,
especially on p. 14.
For Trumpet in Bb and Piano, S. 49. Composed by Johann Nepomuk Hummel (17...(+)
For Trumpet in Bb and
Piano, S. 49.
Composed by Johann
Nepomuk Hummel
(1778-1837). Edited by
Elisa Koehler. Arranged
by Elisa Koehler.
Romantic. Score and
part(s). With Standard
notation. 36 8 pages.
Carl Fischer #W002681.
Published by Carl Fischer
(CF.W2681).
Jubilate Agno.
Composed by Z. Randall
Stroope. 16 pages.
Duration 0:03:05. Carl
Fischer Music #CM9735.
Published by Carl Fischer
Music (CF.CM9735).
ISBN 9781491161159.
UPC: 680160919741. Key: A
minor. Latin, English.
Christopher Smart and
ZRS.
Origins of the
Tarantella The tarantella
is a popular southern
Italian dance with
origins in the 11th
century. (There is even
some mention of the
tarantella in ancient
Greek mythology.) Of the
possible sources of the
dance, the most popular
comes from the villages
of Tanto and Tarentum
(little spider), Italy.
During harvest, workers
in the field were
sometimes bitten by the
tarantula spider. To
combat the poison, the
afflicted workers went
into a frenetic, almost
musical exorcism to sweat
the venom out of their
pores. In the millennium
since, the very energetic
nature of the dance has
remained, although the
curative focus of the
dance has given way to
more enjoyable endeavors,
even stately courtship.
Origins of the Text
Christopher Smart
(1722-1771), also known
as Kit Smart or Jack
Smart, was born in Kent,
England and suffered from
what is now believed to
be acute asthma and other
health issues as a child.
As such, he did not work
in the fields, but spent
much time reading and
writing, a passion that
he nurtured for a
lifetime. Well known in
London literary circles,
his career as a writer
floundered due to
mounting debts and his
falling out of favor with
the literary
establishment: Sadly, he
was forced to confinement
at St. Luke's Hospital
for Lunatics, though this
was based on his mounting
debt, and not on
insanity. (Confinement,
or debtor's prison, was
common during this period
if one's debts could not
be paid.) During his
confinement, he worked on
two of his most famous
works, Jubilate Agno and
A Song of David. (Part of
Jubilate Agno [Rejoice in
the Lamb] was set to
music by English
composer, Benjamin
Britten.) Smart's writing
style (which, at times,
bordered on the absurd),
along with his many
obsessions, lead to
frequent misperceptions
of his work and his
lucidity. In this present
work, portions of Smart's
Jubilate Agno were used
in mm. 24-31, 103-110 and
149-156. The remaining
text was gathered by the
composer, including the
rapid, almost
patter-like, delivery of
words from A-Z in the
alphabet. (Christopher
Smart had a preoccupation
with the alphabet.) These
words both rhyme and
accentuate the frenetic
nature of the spider
dance: theraphosa
[teh-rah-fo-sa] a genus
of tarantula spiders
bellicose
[beh-lee-ko-sah] hostile;
aggressive odiosa
[o-dee-o-sa] hateful;
vexation tenebrosa
[teh-neh-bro-sa]
creeping; dark nemorosa
[neh-mo-ro-sa] wooded;
shady lapidosa
[lah-pee-do-sa] stony
area; gritty The
convergence, then, of the
medieval tarantella
(spider dance), the
writings of a brilliant
poet who bordered on the
absurd, and the infusion
of strong, descriptive
and otherwise random,
rhyming words,
synthesizes to make
dramatic lyrics for this
work. About the Composer
Z. Randall Stroope is an
American composer and
conductor. He has served
as Professor of Music at
three universities (an
Endowed Professor at
two), conducted 47
all-state choirs, and
directed over 40 times at
Carnegie Hall, among
other American venues.
Randall guest conducts
full-time, and composes
from his home studios on
Merritt Island, Florida
and in Sandia Park, New
Mexico. Performance Notes
Text: In Latin, the r is
flipped; use s instead of
z on endings such as
phosa, cosa, and so on;
the Latin o is a cross
between oh and aw; in the
transliteration above, I
chose to simply use an o
for consistency. The
director will blend the
oh and aw in the
rehearsals to his/her own
preference. Lastly,
tarantula is pronounced
tah-rah-n-too-lah (avoid
teh-ran-choo-luh) within
the confines of this
text. Stomp: This can be
done by the entire
chorus, or just the first
row. It is as much visual
as it is auditory. The
string quartet is
preferred over piano when
that option affords
itself. I created a piano
score that is a viable
option and included it in
the piano/vocal score if
a performance uses
chorus/piano. The
tarantella is a popular
southern Italian dance
with origins in the 11th
century. (There is even
some mention of the
tarantella in ancient
Greek mythology.) Of the
possible sources of the
dance, the most popular
comes from the villages
of Tanto and Tarentum
(“little
spiderâ€), Italy.
During harvest, workers
in the field were
sometimes bitten by the
tarantula spider. To
combat the
“poison,†the
afflicted workers went
into a frenetic, almost
musical exorcism to sweat
the venom out of their
pores. In the millennium
since, the very energetic
nature of the dance has
remained, although the
curative focus of the
dance has given way to
more enjoyable endeavors,
even stately
courtship.Christopher
Smart (1722-1771), also
known as “Kit
Smart†or
“Jack Smart,â€
was born in Kent, England
and suffered from what is
now believed to be acute
asthma and other health
issues as a child. As
such, he did not work in
the fields, but spent
much time reading and
writing, a passion that
he nurtured for a
lifetime. Well known in
London literary circles,
his career as a writer
floundered due to
mounting debts and his
falling out of favor with
the literary
establishment: Sadly, he
was forced to confinement
at St. Luke’s
Hospital for Lunatics,
though this was based on
his mounting debt, and
not on insanity.
(Confinement, or
debtor’s prison,
was common during this
period if one’s
debts could not be paid.)
During his confinement,
he worked on two of his
most famous works,
Jubilate Agno and A Song
of David. (Part of
Jubilate Agno
[“Rejoice in the
Lambâ€] was set to
music by English
composer, Benjamin
Britten.) Smart’s
writing style (which, at
times, bordered on the
absurd), along with his
many obsessions, lead to
frequent misperceptions
of his work and his
lucidity. In this present
work, portions of
Smart’s Jubilate
Agno were used in mm.
24-31, 103-110 and
149-156. The remaining
text was gathered by the
composer, including the
rapid, almost
patter-like, delivery of
words from A-Z in the
alphabet. (Christopher
Smart had a preoccupation
with the alphabet.) These
words both rhyme and
accentuate the frenetic
nature of the spider
dance:The convergence,
then, of the medieval
tarantella (spider
dance), the writings of a
brilliant poet who
bordered on the absurd,
and the infusion of
strong, descriptive and
otherwise random, rhyming
words, synthesizes to
make dramatic lyrics for
this work.Z. Randall
Stroope is an American
composer and conductor.
He has served as
Professor of Music at
three universities (an
Endowed Professor at
two), conducted 47
all-state choirs, and
directed over 40 times at
Carnegie Hall, among
other American venues.
Randall guest conducts
full-time, and composes
from his home studios on
Merritt Island, Florida
and in Sandia Park, New
Mexico. In Latin, the
“r†is
flipped; use
“s†instead
of “z†on
endings such as
“phosa,â€
“cosa,†and
so on; the Latin
“o†is a
cross between
“oh†and
“awâ€; in the
transliteration above, I
chose to simply use an
“o†for
consistency. The director
will blend the
“oh†and
“aw†in the
rehearsals to his/her own
preference. Lastly,
“tarantulaâ€
is pronounced
“tah-rah-n-too-lah
€ (avoid
“teh-ran-choo-luhâ
€) within the
confines of this
text.Stomp: This can be
done by the entire
chorus, or just the first
row. It is as much visual
as it is auditory. The
string quartet is
preferred over piano when
that option affords
itself. I created a piano
score that is a viable
option and included it in
the piano/vocal score if
a performance uses
chorus/piano. The
tarantella is a popular
southern Italian dance
with origins in the 11th
century. (There is even
some mention of the
tarantella in ancient
Greek mythology.) Of the
possible sources of the
dance, the most popular
comes from the villages
of Tanto and Tarentum
(“little
spiderâ€), Italy.
During harvest, workers
in the field were
sometimes bitten by the
tarantula spider. To
combat the
“poison,†the
afflicted workers went
into a frenetic, almost
musical exorcism to sweat
the venom out of their
pores. In the millennium
since, the very energetic
nature of the dance has
remained, although the
curative focus of the
dance has given way to
more enjoyable endeavors,
even stately
courtship.Christopher
Smart (1722-1771), also
known as “Kit
Smart†or
“Jack Smart,â€
was born in Kent, England
and suffered from what is
now believed to be acute
asthma and other health
issues as a child. As
such, he did not work in
the fields, but spent
much time reading and
writing, a passion that
he nurtured for a
lifetime. Well known in
London literary circles,
his career as a writer
floundered due to
mounting debts and his
falling out of favor with
the literary
establishment: Sadly, he
was forced to confinement
at St. Luke’s
Hospital for Lunatics,
though this was based on
his mounting debt, and
not on insanity.
(Confinement, or
debtor’s prison,
was common during this
period if one’s
debts could not be paid.)
During his confinement,
he worked on two of his
most famous works,
Jubilate Agno and A Song
of David. (Part of
Jubilate Agno
[“Rejoice in the
Lambâ€] was set to
music by English
composer, Benjamin
Britten.) Smart’s
writing style (which, at
times, bordered on the
absurd), along with his
many obsessions, lead to
frequent misperceptions
of his work and his
lucidity. In this present
work, portions of
Smart’s Jubilate
Agno were used in mm.
24-31, 103-110 and
149-156. The remaining
text was gathered by the
composer, including the
rapid, almost
patter-like, delivery of
words from A-Z in the
alphabet. (Christopher
Smart had a preoccupation
with the alphabet.) These
words both rhyme and
accentuate the frenetic
nature of the spider
dance:The convergence,
then, of the medieval
tarantella (spider
dance), the writings of a
brilliant poet who
bordered on the absurd,
and the infusion of
strong, descriptive and
otherwise random, rhyming
words, synthesizes to
make dramatic lyrics for
this work.Z. Randall
Stroope is an American
composer and conductor.
He has served as
Professor of Music at
three universities (an
Endowed Professor at
two), conducted 47
all-state choirs, and
directed over 40 times at
Carnegie Hall, among
other American venues.
Randall guest conducts
full-time, and composes
from his home studios on
Merritt Island, Florida
and in Sandia Park, New
Mexico.In Latin, the
“r†is
flipped; use
“s†instead
of “z†on
endings such as
“phosa,â€
“cosa,†and
so on; the Latin
“o†is a
cross between
“oh†and
“awâ€; in the
transliteration above, I
chose to simply use an
“o†for
consistency. The director
will blend the
“oh†and
“aw†in the
rehearsals to his/her own
preference. Lastly,
“tarantulaâ€
is pronounced
“tah-rah-n-too-lah
€ (avoid
“teh-ran-choo-luhâ
€) within the
confines of this
text.Stomp: This can be
done by the entire
chorus, or just the first
row. It is as much visual
as it is auditory. The
string quartet is
preferred over piano when
that option affords
itself. I created a piano
score that is a viable
option and included it in
the piano/vocal score if
a performance uses
chorus/piano.
Judas Maccabaeus Chorale SATB [Conducteur et Parties séparées] Carus Verlag
SMsATB Voices, SATB Choir, 2 Fl, 2 Ob, 2 Fg, 2 Cor, 3 Tr, Timp, 2 Vl, Va, Bc ...(+)
SMsATB Voices, SATB
Choir, 2 Fl, 2 Ob, 2 Fg,
2 Cor, 3 Tr, Timp, 2 Vl,
Va, Bc
SKU:
CA.5506309
Composed
by George Frideric
Handel. Edited by Felix
Loy. 1x 55.063/21 flute
1, 1x 55.063/22 flute 2,
2x 55.063/23 recorders 1
and 2, 1x 55.063/24 oboe
1, 1x 55.063/25 oboe 2,
2x 55.063/26 Bassoon 1
and 2, 2x 55.063/31 horns
1 and 2, 4x 55.063/32
Trumpets 1-3 and timpani.
Stuttgart Urtext Edition:
Handel. Harmony parts.
Sacred vocal music,
Oratorios. Set of
Orchestra Parts. Duration
160 minutes. Carus Verlag
#CV 55.063/09. Published
by Carus Verlag
(CA.5506309).
ISBN
9790007242060. Language:
English/German. Text:
Eschenburg, J. J. / Loy,
Felix.
First
critical edition. The
oratorio Judas Maccabaeus
is one of George Frideric
Handel's most popular
choral works. It was
performed over fifty
times during the
composer's lifetime and
was one of his first
works to be performed in
Germany (1772). The
frequent performances
given by Handel himself
resulted in a
particularly large number
of reworkings, reflecting
local conditions. This
new edition therefore
offers the work in two
performable versions:
firstly, the version of
the first performance in
1747, and the one from
the last oratorio season
during Handel's lifetime
(1758/59). This makes
available all the
choruses and arias which
Handel ever wrote for
Judas Maccabaeus.
Reflecting the latest
Handel research, the
edition is based for the
first time throughout on
Handel's conductor's
score, thereby
eradicating not only
long-perpetuated
mistakes, but also
providing clarity about
which pieces were
actually performed by
Handel. By contrast with
the Chrysander edition
obligatory until now, the
aria Father of heav'n
which introduces Part III
is included here in its
original, longer version.
Score and parts available
separately - see item
CA.5506300.
SMsATB Voices, SATB Choir, 2 Fl, 2 Ob, 2 Fg, 2 Cor, 3 Tr, Timp, 2 Vl, Va, Bc ...(+)
SMsATB Voices, SATB
Choir, 2 Fl, 2 Ob, 2 Fg,
2 Cor, 3 Tr, Timp, 2 Vl,
Va, Bc
SKU:
CA.5506349
Composed
by George Frideric
Handel. Edited by Felix
Loy. Sacred vocal music,
Oratorios; Stuttgart
Editions (Urtext):
Stuttgart Handel Edition.
Stuttgart Urtext Edition:
Handel. Organ. Sacred
vocal music, Oratorios.
Single Part, Organ. 132
pages. Duration 160
minutes. Carus Verlag #CV
55.063/49. Published by
Carus Verlag
(CA.5506349).
ISBN
9790007239541. Language:
English/German. Text:
Eschenburg, J. J. / Loy,
Felix.
First
critical edition. The
oratorio Judas Maccabaeus
is one of George Frideric
Handel's most popular
choral works. It was
performed over fifty
times during the
composer's lifetime and
was one of his first
works to be performed in
Germany (1772). The
frequent performances
given by Handel himself
resulted in a
particularly large number
of reworkings, reflecting
local conditions. This
new edition therefore
offers the work in two
performable versions:
firstly, the version of
the first performance in
1747, and the one from
the last oratorio season
during Handel's lifetime
(1758/59). This makes
available all the
choruses and arias which
Handel ever wrote for
Judas Maccabaeus.
Reflecting the latest
Handel research, the
edition is based for the
first time throughout on
Handel's conductor's
score, thereby
eradicating not only
long-perpetuated
mistakes, but also
providing clarity about
which pieces were
actually performed by
Handel. By contrast with
the Chrysander edition
obligatory until now, the
aria Father of heav'n
which introduces Part III
is included here in its
original, longer version.
Score and part available
separately - see item
CA.5506300.
Generalbass SKU: CA.5506314 Composed by George Frideric Handel. Edited by...(+)
Generalbass
SKU:
CA.5506314
Composed
by George Frideric
Handel. Edited by Felix
Loy. Sacred vocal music,
Oratorios; Stuttgart
Editions (Urtext):
Stuttgart Handel Edition.
Stuttgart Urtext Edition:
Handel. Basso continuo.
Sacred vocal music,
Oratorios. Individual
part. 84 pages. Duration
160 minutes. Carus Verlag
#CV 55.063/14. Published
by Carus Verlag
(CA.5506314).
ISBN
9790007242107. Language:
English/German. Text:
Eschenburg, J. J. / Loy,
Felix.
First
critical edition. The
oratorio Judas Maccabaeus
is one of George Frideric
Handel's most popular
choral works. It was
performed over fifty
times during the
composer's lifetime and
was one of his first
works to be performed in
Germany (1772). The
frequent performances
given by Handel himself
resulted in a
particularly large number
of reworkings, reflecting
local conditions. This
new edition therefore
offers the work in two
performable versions:
firstly, the version of
the first performance in
1747, and the one from
the last oratorio season
during Handel's lifetime
(1758/59). This makes
available all the
choruses and arias which
Handel ever wrote for
Judas Maccabaeus.
Reflecting the latest
Handel research, the
edition is based for the
first time throughout on
Handel's conductor's
score, thereby
eradicating not only
long-perpetuated
mistakes, but also
providing clarity about
which pieces were
actually performed by
Handel. By contrast with
the Chrysander edition
obligatory until now, the
aria Father of heav'n
which introduces Part III
is included here in its
original, longer version.
Score and part available
separately - see item
CA.5506300.