Air Mail Special Big band [Conducteur et Parties séparées] Jazz Lines Publications
By Benny Goodman. Edited by Jeffrey Sultanof. Arranged by Jimmy Mundy. For big b...(+)
By Benny Goodman. Edited
by Jeffrey Sultanof.
Arranged by Jimmy Mundy.
For big band. Swing.
Medium-difficult. Score
and parts. Published by
Jazz Lines Publications
By Dan Fox and Dick Weissman. For Flute. Improvisation. All Styles. Beginning-In...(+)
By Dan Fox and Dick
Weissman. For Flute.
Improvisation. All
Styles.
Beginning-Intermediate.
Book/CD Set. 116 pages.
Published by Mel Bay
Publications, Inc
Composed by Richard Yates. For guitar (acoustic). Squareback saddle stitch. Inte...(+)
Composed by Richard
Yates. For guitar
(acoustic). Squareback
saddle stitch.
Intermediate. Book and
online audio. Published
by Mel Bay Publications,
Inc
Composed by
Darin Lewis. Performance
Music Ensemble; Single
Titles. Alfred Choral
Designs. Fall; Secular;
Winter. Choral Octavo. 8
pages. Alfred Music
#00-48825. Published by
Alfred Music (AP.48825).
UPC: 038081561493.
English. Words by Rachel
Field.
The last
autumn leaves freely
descend during the short
piano introduction,
symbolic of the change
from fall to winter.
Two-part groups will
luxuriate in the words of
Rachel Field as presented
in this sumptuous
setting. As simple as a
partner song, with two
independent melodies that
assemble into a delicate
choral duet; as
sophisticated as an art
song, with haunting
motives and passing
dissonances. Crystalline
chords, embedded into the
mostly arpeggiated
accompaniment, dazzle the
ear and offer subtle
support to treble voices
of any age. Designed with
the clarity and elegance
that will make any
ensemble sound
impressive.
About Alfred
Choral
Designs
Th
e Alfred Choral Designs
Series provides student
and adult choirs with a
variety of secular choral
music that is useful,
practical, educationally
appropriate, and a
pleasure to sing. To that
end, the Choral Designs
series features original
works, folk song
settings, spiritual
arrangements, choral
masterworks, and holiday
selections suitable for
use in concerts,
festivals, and
contests.
Chamber Music Piano SKU: PR.110418370 Composed by Charles Ives. Arranged ...(+)
Chamber Music Piano
SKU: PR.110418370
Composed by Charles Ives.
Arranged by Danny Holt.
Performance Score. 20
pages. Duration 8
minutes. Theodore Presser
Company #110-41837.
Published by Theodore
Presser Company
(PR.110418370).
ISBN
9781491135075. UPC:
680160686247.
Compo
sed as an organ solo by
the 17-year-old Ives for
his own performance
purposes, the beloved
Variations on America is
a treat for any occasion,
whether a holiday
concert, a serious
recital, or other special
event. Danny
Holt’s
transcription for Piano,
Four Hands adds a
dazzling new option to
play at home or on stage,
taking best advantage of
Ives’ tremendous
contrasts in color,
dynamics, and
texture. Composed when
Charles Ives was a
teenager, Variations on
“America†is
both a convenient
introduction to
Ives’ body of
work, and an early
example of his
iconoclastic musical
voice and creative
genius. Just a few years
after composing this
piece, Ives would leave
home to study music at
Yale. But until then he
had been taught by his
father, George (who had
been a bandmaster in the
Civil War). George
subjected the young Ives
to experiments such as
singing a song in one key
while being accompanied
in another, or arranging
for two marching bands to
converge on a town
center, with the
resulting cacophony that
ensued.The Variations
exemplifies an early
period of experimentation
in Ives’ work,
spurred on by the unusual
pedagogy of his father.
The piece is particularly
notable for its use of
bitonality in the two
interludes, subtly
foreshadowing more
well-known examples by
Stravinsky, Bartók,
and others by
approximately two
decades.The bitonal
interludes were so ahead
of their time, in fact,
they were omitted from
the first copy that was
submitted to a publisher
in 1892. (Alas, the piece
was rejected even despite
these
“shockingâ€
elements having been left
out, and it wasn’t
published until more than
five decades later.)
There is some ambiguity
about when exactly Ives
added the interludes into
his manuscript copy,
though ample evidence
suggests he had performed
the piece with the
interludes around the
time he notated the piece
in 1891-92. In any case,
in light of this piece
and his other polytonal
explorations from the
last decade of the 19th
century, it seems fair to
give Ives credit for
being a pioneer in this
area!This arrangement for
Piano, Four Hands,
closely follows
Ives’ original
version for organ,
setting aside William
Schuman’s popular
adaptation for symphony
orchestra and William
Rhoads’ band
transcription of the
Schuman orchestration.
Pianists will find that
the piece translates well
to the instrument.
Ideally, the choreography
and logistics of
elbow-to-elbow four-hands
playing approximates the
wild joy one gets from
watching an organist play
the piece (e.g., the
elaborate pedal part in
the final variation).In
preparing this
publication, attention
was paid to details in
the dual Critical
Editions (Presser
443-41003) of both
Ives’ manuscript
edition and the 1949
publication edited by
organist E. Power Biggs
(who is credited with
discovering what had been
a long-lost, forgotten
work.) But as with much
of Ives’ output,
attempting to create a
true
‘urtext’
score is a futile
endeavor, and especially
with a piece such as this
one – in which
Ives incorporated
improvisation in live
performance –
seems unnecessary anyhow.
True die-hards are of
course encouraged to
consult the critical
editions and even find
inspiration in the
orchestrated version.
Generally, performers are
advised to be wild, have
fun, and not to be too
rigid in their
interpretive
choices.Dynamics in this
arrangement mostly follow
the organ score closely.
Pianists will use good
judgment about pedaling
throughout, which should
be straightforward and
intuitive. Courtesy
accidentals have been
provided frequently
– without
parentheses –
balancing the need for
extra clarity in the
context of Ives’
murky musical language,
and a desire to avoid
unnecessary clutter.A few
notes that might inform
interpretive
decisions:mm. 15-16:
There are inconsistencies
here between Ives’
original manuscript and
the 1949 Biggs edition,
regarding the top voice
in m. 15, beat 3 (C# vs.
Cn) and m. 16 (D Major
vs. D Minor).mm. 76-84 &
143-146: In both
Interludes, Ives
emphatically notates
extreme dynamic contrast,
in order to highlight the
bitonality. Although it
may seem counterintuitive
(or even a misprint, as
has apparently been
misconstrued by some),
performers are urged to
follow the
composer’s
marking!m. 109: Two-note
slurs have been added
here for clarity and
consistency with other
similar passages, though
they do not appear in
either the original
manuscript or Biggs.m.
112: The last two eighth
notes of Primo appear as
16ths in the original
manuscript.mm. 183-186:
The original manuscript
has a slightly different
bass line.mm. 184 & 186:
Primo gestures have been
re-written to be slightly
more idiomatic for Piano,
Four Hands.m. 186: The
breath mark at the end of
this bar does not appear
in either the manuscript
or Biggs, but is an
editorial suggestion
– aside from being
appropriately dramatic,
it will indeed be
necessary in a
reverberant hall!I would
like to thank Steven
Vanhauwaert, the other
half of my piano duo,
4handsLA, for his input
on early drafts of this
arrangement.—
Danny Holt, April
2022.
Guitar and voice - Intermediate SKU: DY.DO-1538 Composed by David Leisner...(+)
Guitar and voice -
Intermediate
SKU:
DY.DO-1538
Composed
by David Leisner. Score.
Les Editions
Doberman-Yppan #DO 1538.
Published by Les Editions
Doberman-Yppan
(DY.DO-1538).
ISBN
9782897963187.
When
guitarist John Olson and
soprano Gioia De Cari
commissioned me to write
a piece for them, I envi-
sioned writing something
theatrical that might
especially suit Gioia,
who is both a singer and
an actress. Eventually, I
thought of Mark Twain.
The great American writer
and humorist of substance
wrote a short,
little-known book called
The Diary of Adam and
Eve, which is, of course,
about the first days of
human life on this earth,
in Twainâs witty,
but touching take on the
Bible story. Adam and Eve
each write diary entries.
I chose several passages
from Eveâs diary
that convey the sense of
constant wonder that she
felt because absolutely
everything in her world
was new.
Setting
prose, rather than
poetry, is a challenge
for a composer because it
has neither the innate
rhythm nor the lyricism
of poetry. On some
intuitive level, this
challenge led me to a
process that allowed the
music to evolve mostly
from the guitar part.
Whereas normally the
vocal melody might emerge
first, motivated by the
text and with the
accompaniment then added
for support, here the
guitar part was the prime
mover. An example of this
is the last song, which
is a passacaglia played
by the guitar, providing
the ground over which the
vocal line can soar.
Eveâs Diary was
composed in
2015.
Today Orchestre à Cordes - Intermédiaire Alfred Publishing
By Robert Gardner. Orchestra. Part(s); Score; String Orchestra. Highland String ...(+)
By Robert Gardner.
Orchestra. Part(s);
Score; String Orchestra.
Highland String
Alternatives. Light
Concert; Pop/Rock. Grade
3. 124 pages. Published
by Alfred Music
Publishing
German Brass Ensemble; Woodwind Ensemble (Ensemble) SKU: HL.49046955 S...(+)
German Brass Ensemble;
Woodwind Ensemble
(Ensemble)
SKU:
HL.49046955
Schule
Fur Den Klassen-und
Gruppenunterricht mit
Holz-und
Blechblasern.
Ensemble. Educational,
German Edition,
Instruments. Softcover.
80 pages. Schott Music
#ED20513D. Published by
Schott Music
(HL.49046955).
ISBN
9781705172636. UPC:
196288090632.
Die
Blaserbande is a
completely newly
developed concept for
class and group lessons
with woodwind and brass
instruments. It is
primarily aimed at
children of primary
school age and is the
result of intensive
cooperation with music
schools, brass bands and
primary schools. The
tonal range is the same
for all instruments, so
that all songs and voices
can be worked through
together. Numerous
exercises on approach,
posture, intonation and
register play,
accompanying audio
playbacks and a large
pool of playing pieces
open up new perspectives
for the wind class, from
small group lessons to
representative school
auditions and concerts.
With the Blaserbande we
now have a well
thought-out concept for
young brass and woodwind
players that promises
methodically meaningful
and musically interesting
class instruction. We can
look forward to the
sequel. (Lutz Gohmann,
practicing & making
music6/09) 'Die
Blaserbande' is an
exciting concept for
creative and
practice-oriented music
lessons in elementary
schools and will
certainly offer many wind
orchestras some new ideas
for the training of their
own offspring (Matthias
Riedel, Neue musikzeitung
11/09) Songs for every
tonal range, mostly in
German and overall in
such a way that the kids
think it's cool, so they
really see themselves as
a gang - with real gang
songs. [...] But above
all, this is the
essential characteristic
of the wind band: the
sound material is the
same for all wind
instruments! (Bernhard
Gortheil, author of the
Brass Band, practice
& make music
2/10).
Composed by Lei Liang. This edition: Saddle stitching. Sheet music. String. Scor...(+)
Composed by Lei Liang.
This edition: Saddle
stitching. Sheet music.
String. Score and parts.
Composed 2014. 48 pages.
Duration 11'. Schott
Music #ED 30141.
Published by Schott Music
Coro SMsA, Fl SKU: CA.336490 Arranged by Jesus Ochoa. Separate edition wi...(+)
Coro SMsA, Fl
SKU:
CA.336490
Arranged by
Jesus Ochoa. Separate
edition with choral
collection. Secular
choral music. Full score.
5 pages. Carus Verlag #CV
03.364/90. Published by
Carus Verlag (CA.336490).
ISBN 9790007243975.
Language:
Spanish.
This
composition is a Chilean
'Cueca,' which is a dance
found in many South
American countries that
is de rived from the
Spanish 'Jota' and
contains several elements
from the 'Fandango.'
There are many different
styles of 'Cuecas',
depending on the nature
of the texts or the
region from which they
come. However the rhythm
is mostly written in 6/8,
alternating sometimes
with 3/4, and in minor
keys, and it is danced in
single and independent
couples. Because of its
melancholic character,
this 'Cueca' is thought
to have derived from the
Peruvian 'Yaraví'
and it comes from the
province of Sucre and was
composed in the times of
the Chaco war (that
occured between Bolivia
and Paraguay in
1932-1935). Most of the
authors who composed
texts and popular tunes
in this period are
anonymous. The
instruments that
accompany the 'Cueca' are
generally guitar, bombo
and charango.
Composed by Marty Haugen.
Celebration Series.
Sacred. Octavo. With
guitar chord names. 8
pages. GIA Publications
#7107. Published by GIA
Publications (GI.G-7107).
UPC: 785147710707.
English.
A mostly
unison song with a reggae
feel that follows the
textual pattern of many a
reggae song - i.e., the
verses each cite a
particular evil followed
by a plea for an end to
its power over people. A
strong social justice
message that needs to
continually be on the
lips of the church. For
cantor or soloist
A
strong social justice
message that needs to
continually be on the
lips of the church.
Coming Back Orchestre à Cordes [Conducteur] - Facile Excelcia Music Publishing
String Orchestra - early intermediate SKU: XC.ISO2110FS Composed by Tyler...(+)
String Orchestra - early
intermediate
SKU:
XC.ISO2110FS
Composed
by Tyler Arcari. Excelcia
Music Publishing String
Orchestra. Concert and
Contest. Concert &
Contest. Score. Excelcia
Music Publishing
#ISO2110FS. Published by
Excelcia Music Publishing
(XC.ISO2110FS).
UPC:
812598037340. 9 x 12
inches.
Commissione
d during Covid-19, this
work is meant to inspire
us as we Come Back to
normal. Hopeful, and
mostly upbeat, the work
has moments of tension
and sadness that
underscore the year that
we have had through
music. We all hope to get
back to normal soon, and
Coming Back is a perfect
anthem for that
sentiment.
Coming Back Orchestre à Cordes [Conducteur et Parties séparées] - Facile Excelcia Music Publishing
String Orchestra - early intermediate SKU: XC.ISO2110 Composed by Tyler A...(+)
String Orchestra - early
intermediate
SKU:
XC.ISO2110
Composed
by Tyler Arcari. Excelcia
Music Publishing String
Orchestra. Concert and
Contest. Concert &
Contest. Score and set of
parts. Excelcia Music
Publishing #ISO2110.
Published by Excelcia
Music Publishing
(XC.ISO2110).
UPC:
812598037647. 9 x 12
inches.
Commissione
d during Covid-19, this
work is meant to inspire
us as we Come Back to
normal. Hopeful, and
mostly upbeat, the work
has moments of tension
and sadness that
underscore the year that
we have had through
music. We all hope to get
back to normal soon, and
Coming Back is a perfect
anthem for that
sentiment.
Chamber Ensemble (Full Score) SKU: HL.48024013 For Soprano, Chamber En...(+)
Chamber Ensemble (Full
Score)
SKU:
HL.48024013
For
Soprano, Chamber
Ensemble, and
Electronics. Composed
by Sebastian Currier.
Boosey & Hawkes
Scores/Books. Classical.
Softcover. 40 pages.
Published by Boosey &
Hawkes (HL.48024013).
ISBN 9781495090097.
UPC: 888680671266. 11x14
inches.
Deep-Sky
Objects is a cycle of
love songs set in the
distant future, exploring
intergalactic longing and
desire. It is scored for
soprano, piano quintet,
and pre-recorded
electronic sounds. When
the piano quintet was in
its heyday, the subject
that permeated so many of
the great Romantic song
cycles was that of
longing and lost love.
Deep-Sky Objects
transfers this trope to
the outer reaches of the
universe In the cycle a
woman sings of her lover
who is far away in a
remote planet in some
unspecified star system.
At moments she remembers
a time when they were
together, but mostly she
longs for him and
stoically imagines that
his presence, even so
remote, gives her
hope:
I can live
in the world
With
your love
because
I know you
exist
at the end
of the black
universe
The
electronics part often
references various
“sounds from
space,” from
pulsars (which are
routinely converted into
audio signals by
astronomers), the signals
of made-made satellites,
actual audio of the
Huygens probe landing on
Saturn's moon, Titan, as
well as many sounds
suggestive of the eerie,
remote and unfathomable
reaches of deep space.
Each of the ten songs is
preceded by a short
sample, or incipit, which
creates
micro-compositions based
on the title of each
song. The text is written
specifically for
Deep-Sky Objects,
by Sarah
Manguso.–Sebastian
Currier.
Composed by Andrew D. Gordon and Frank Villafranca. Saddle stitch. Blues/Saxopho...(+)
Composed by Andrew D.
Gordon and Frank
Villafranca. Saddle
stitch. Blues/Saxophone
Instruction. Book and
Downloadable audio.
Duration 60 minutes.
Published by ADG
Productions
Editio
Musica Budapest is
launching a new series
entitled Musica da
camera. As its very
general title indicates,
the publishers' intention
is that the volumes in
this series, which is
designed specifically for
music school students,
will include works
composed for chamber
ensembles of every kind,
from the trio to the
sextet. The first two
volumes contain mostly
transcriptions for three
and four flutes
respectively, selected
from every period of
music history from the
late Renaissance to the
present day. This
publication is printed on
high-quality,
age-resistant paper that
is produced in an
environmentally-friendly,
climate-neutral manner
using renewable raw
materials.
Unter
dem Titel ‚Musica
da camera' bringt Editio
Musica Budapest eine neue
Serie auf den Weg.
Bereits dieser sehr
allgemeine Titel zeigt
an, dass in die Bände
dieser neuen Serie den
Wünschen des Verlags
entsprechend Werke für
Kammerensembles der
unterschiedlichsten
Besetzung - vom Trio bis
zum Sextett - aufgenommen
werden. Die ersten beiden
Bände enthalten
grösstenteils
Bearbeitungen für drei
oder vier Flöten aus
allen
musikgeschichtlichen
Epochen von der
Spätrenaissance bis
zur Gegenwart.
Composed by E. Leidzen.
Arranged by E. Leidzen.
Band Music. Score only.
Duration 2:30. Published
by G & M Brand Music
Publishers (CN.S11222).
Could Dvorak
have known that he was
writing a standard piece
for young bands when he
created this piece? This
rendition is ideal for a
variety of occasions -
concerts, graduation
ceremony, and special
events.
Dvorak's
arrangement for orchestra
of 'The Old Folks at
Home' was made in the
1890s for a Summer School
held in Spillville, Iowa.
Those attending were
mostly drawn from a local
Czech-speaking community
and Dvorak enjoyed
sharing time with people
who spoke his own
language. As
instrumentalists the
players were limited,
many little more than
beginners; yet in his
arrangement Dvorak
created a musically
authentic and attractive
setting of Stephen
Foster's popular melody
that is truly a
masterpiece in economy of
demand. Many years later,
in 1942, Edwin Franko
Goldman invited Erik
Leidzen to transcribe
Dvorak's arrangement for
concert band.