| Apollo Arise Orchestre d'harmonie [Conducteur] - Facile Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Clarinet 3, Cras...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Clarinet
1, Clarinet 2, Clarinet
3, Crash Cymbals,
Euphonium, Flute 1, Flute
2, Horn 1, Horn 2, Mallet
Percussion, Marimba,
Oboe, Percussion 1,
Percussion 2, Percussion
3, Piccolo, Snare Drum,
Suspended Cymbal and
more. - Grade 3 SKU:
CF.CPS200F Composed
by Travis Weller. Concert
Band (CPS). Full score.
With Standard notation.
24 pages. Carl Fischer
Music #CPS200F. Published
by Carl Fischer Music
(CF.CPS200F). ISBN
9781491153031. UPC:
680160910533. Altho
ugh some stories in Greek
mythology reveal a
different side to his
character, Apollo was
widely regarded to hold a
cheerful personality and
communicating joy through
the music he played on
his lyre. Apollo Arise is
an energetic and spirited
work for band ideal for
opening a concert. The
uplifting and exuberant
melodic material lead the
group on a sonic journey
to capture the joy and
light music can bring to
both the audience and the
performer. Program
NotesAmong the many
stories in Greek
mythology, Apollo holds a
unique place as a complex
Olympian god known for
truth, prophecy, healing,
poetry, plague,
knowledge, light and
music. Although some
stories reveal a
different side to his
character, Apollo was
widely regarded to hold a
cheerful personality and
communicated joy through
the music he played on
his lyre. Apollo Arise is
an energetic and spirited
work for band, ideal for
opening a concert. The
uplifting and exuberant
melodic material lead the
group on a sonic journey
to capture the joy and
light music can bring to
both the audience and
performer. From the
dynamic opening fanfare
to the soaring motifs and
rhythms that follow,
Apollo Arise provides a
wonderful opportunity for
the ensemble to reach for
new musical heights in
their performance! Â
 Rehearsal Notes and
SuggestionsThe opening
twenty-four measures of
the work are important
for the rest of the work
to unfold successfully.
Encourage the ensemble to
play with a unified
articulation style,
maintain a proper
balance, and establish a
consistent tempo through
this section as several
recurring rhythms must be
performed consistently.
Measure 38 features a
trumpet solo, so be sure
that the rest of the
ensemble balances their
line to support the solo
instrument. In the
section that begins at m.
67, there is an optional
solo opportunity for
trumpet and trombone.
Both of these sections
provide nice contrast
against the full ensemble
sections that are present
in the work. The section
at m. 81 includes a
call-and-response section
between woodwind, brass
and percussion groups. Be
sure that as groups
enter, the tempo remains
consistent and that the
winds articulation style
is unified and
complimentary to the
percussion. As the
opening fanfare returns
at m. 101, remind the
ensemble to play with
consistent style, balance
and tempo as they did in
the opening. As the
ensemble begins the part
of the journey with
Apollo at m. 110, the
music contains unique
layers that must work
together to be effective
and set up the material
that begins at m. 127.
Encourage the group to
play so they can hear all
other lines, and allow
their energy to grow into
a focused musical
celebration by the final
note. Thank you in
advance for your support
of this music, and I wish
you and your ensemble
well as Apollo Arise
welcomes the audience to
your concert hall. $14.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Jarba, Mare Jarba Chorale SATB Carl Fischer
Choral SATB choir SKU: CF.CM9700 Composed by Hungarian Folk. Arranged by ...(+)
Choral SATB choir SKU:
CF.CM9700 Composed by
Hungarian Folk. Arranged
by Stacy Garrop. 20
pages. Duration 4:44.
Carl Fischer Music
#CM9700. Published by
Carl Fischer Music
(CF.CM9700). ISBN
9781491160008. UPC:
680160918607. Key: A
minor. Hungarian.
Hungarian Folk. In
2014, Chanticleer
commissioned me to make a
new arrangement of the
Hungarian-Romani folk
song Jarba, Mare Jarba
for their 2014 touring
program. Passed down
orally through the Romani
communities, this
beautiful folk song, with
text in a language called
Beas (beh-osh), speaks of
a deep longing to visit
one's homeland, a place
where the singer can
never return. Chanticleer
consists of twelve men
whose vocal ranges span
from low bass to high
soprano, equivalent to
the range of a mixed
choir of women and men. I
composed slow sections of
original material to
represent the singers'
longing to return home;
these are interspersed
with the folk song's
traditional fast
sections. The
incorporated shouts and
calls in the score are
typically found in the
performance of Central
European folk songs. I
hope you enjoy singing
this new version of
Jarba, Mare Jarba that
contains all of the vigor
and excitement of the
Chanticleer version.
PERFORMANCE NOTES All
spoken sounds (indicated
by x noteheads) should be
performed by individuals.
Feel free to elaborate
with more sounds of your
own in the tradition of
Eastern European folk
music. If the piece is
memorized, feel free to
experiment with clapping
on the off-beats of m. 93
to the end. TEXT
Transliteration Jarba,
mare jarba mas duce a
casa, da nu pot ca am
jurat, Jarba, mare jarba
mas duce a casa, da nu
pot ca am jurat. Mare
jarba, verde jarba nu me
pot duce a casa. Jarba,
mare jarba mas duce a
casa, da nu pot ca am
jurat. O mers mama de pe
sat, O lasat coliba
goala, Infrunzitu,
ingurzitu da plina de
saracie, da plina de
saracie. Mare jarba,
verde jarba nu me pot
duce a casa. Jarba, mare
jarba mas duce a casa, da
nu pot ca am jurat.
Translation Green grass,
tall grass, I would like
to go home, but I cannot,
because I have sworn not
to. Tall grass, green
grass - oh, that I cannot
go home! My mother has
left the village; she
left the hut empty,
Adorned with leaves but
full of poverty. Tall
grass, green grass - oh,
that I cannot go home!
Tall grass, green grass -
I would like to go home.
but I cannot, because I
have sworn not to. Stacy
Garrop's music is
centered on dramatic and
lyrical storytelling. The
sharing of stories is a
defining element of our
humanity; we strive to
share with others the
experiences and concepts
that we find compelling.
She shares stories by
taking audiences on sonic
journeys - some simple
and beautiful, while
others are complicated
and dark - depending on
the needs and dramatic
shape of the story.
Garrop served as the
first Emerging Opera
Composer of Chicago Opera
Theater's Vanguard
Program. She also held a
3-year
composer-in-residence
position with the
Champaign-Urbana Symphony
Orchestra, funded by New
Music USA and the League
of American Orchestras.
She has received numerous
awards and grants
including an Arts and
Letters Award in Music
from the American Academy
of Arts and Letters,
Fromm Music Foundation
Grant, Barlow Prize, and
three Barlow Endowment
commissions, along with
prizes from competitions
sponsored by the Detroit
Symphony Orchestra, Civic
Orchestra of Chicago,
Omaha Symphony, New
England Philharmonic,
Boston Choral Ensemble,
Utah Arts Festival, and
Pittsburgh New Music
Ensemble. She is a
Cedille Records artist;
her works are
commercially available on
more than ten additional
labels. Her catalog
covers a wide range, with
works for orchestra,
opera, oratorio, wind
ensemble, choir, art
song, various sized
chamber ensembles, and
works for solo
instruments. Notable
commissions include My
Dearest Ruth for soprano
and piano with text by
Martin Ginsburg, the
husband of the late
Supreme Court Justice
Ruth Bader Ginsburg, The
Transformation of Jane
Doe for Chicago Opera
Theater, The Battle for
the Ballot for the
Cabrillo Festival
Orchestra, Goddess
Triptych for the St.
Louis Symphony Orchestra,
Glorious Mahalia for the
Kronos Quartet, Give Me
Hunger for Chanticleer,
Rites for the Afterlife
for the Akropolis and
Calefax Reed Quintets,
and Terra Nostra: an
oratorio about our
planet, commissioned by
the San Francisco Choral
Society and Piedmont East
Bay Children's Chorus.
Garrop previously served
as composer-in-residence
with the Albany Symphony
and Skaneateles Festival,
and as well as on faculty
of the Fresh Inc Festival
(2012-2017). She taught
composition and
orchestration full-time
at Roosevelt University
2000-2016) before leaving
to launch her freelance
career. She earned
degrees in music
composition at the
University of
Michigan-Ann Arbor
(B.M.), University of
Chicago (M.A.), and
Indiana
University-Bloomington
(D.M.). In 2014,
Chanticleer commissioned
me to make a new
arrangement of the
Hungarian-Romani folk
song Jarba, Mare Jarba
for their 2014 touring
program. Passed down
orally through the Romani
communities, this
beautiful folk song, with
text in a language called
Beas (beh-osh), speaks of
a deep longing to visit
one’s homeland, a
place where the singer
can never return.
Chanticleer consists of
twelve men whose vocal
ranges span from low bass
to high soprano,
equivalent to the range
of a mixed choir of women
and men. I composed slow
sections of original
material to represent the
singers’ longing
to return home; these are
interspersed with the
folk song’s
traditional fast
sections. The
incorporated shouts and
calls in the score are
typically found in the
performance of Central
European folk songs. I
hope you enjoy singing
this new version of
Jarba, Mare Jarba that
contains all of the vigor
and excitement of the
Chanticleer
version.PERFORMANCE
NOTESAll spoken sounds
(indicated by x
noteheads) should be
performed by individuals.
Feel free to elaborate
with more sounds of your
own in the tradition of
Eastern European folk
music.If the piece is
memorized, feel free to
experiment with clapping
on the off-beats of m. 93
to the
end.TEXTTransliterationJa
rba, mare jarba mas duce
a casa, da nu pot ca am
jurat, Jarba, mare jarba
mas duce a casa, da nu
pot ca am jurat. Mare
jarba, verde jarba nu me
pot duce a casa.Jarba,
mare jarba mas duce a
casa, da nu pot ca am
jurat.O mers mama de pe
sat, O lasat coliba
goala,Infrunzitu,
ingurzitu da plina de
saracie, da plina de
saracie. Mare jarba,
verde jarba nu me pot
duce a casa.Jarba, mare
jarba mas duce a casa, da
nu pot ca am
jurat.TranslationGreen
grass, tall grass, I
would like to go home,
but I cannot, because I
have sworn not to.Tall
grass, green grass
– oh, that I
cannot go home!My mother
has left the village; she
left the hut empty,
Adorned with leaves but
full of poverty.Tall
grass, green grass
– oh, that I
cannot go home! Tall
grass, green grass
– I would like to
go home.but I cannot,
because I have sworn not
to.Stacy Garrop’s
music is centered on
dramatic and lyrical
storytelling. The sharing
of stories is a defining
element of our humanity;
we strive to share with
others the experiences
and concepts that we find
compelling. She shares
stories by taking
audiences on sonic
journeys – some
simple and beautiful,
while others are
complicated and dark
– depending on the
needs and dramatic shape
of the story.Garrop
served as the first
Emerging Opera Composer
of Chicago Opera
Theater’s Vanguard
Program. She also held a
3-year
composer-in-residence
position with the
Champaign-Urbana Symphony
Orchestra, funded by New
Music USA and the League
of American Orchestras.
She has received
numerous awards and
grants including an
Arts and Letters Award in
Music from the American
Academy of Arts and
Letters, Fromm Music
Foundation Grant, Barlow
Prize, and three Barlow
Endowment commissions,
along with prizes from
competitions sponsored by
the Detroit Symphony
Orchestra, Civic
Orchestra of Chicago,
Omaha Symphony, New
England Philharmonic,
Boston Choral Ensemble,
Utah Arts Festival, and
Pittsburgh New Music
Ensemble. She is a
Cedille Records artist;
her works are
commercially available on
more than ten additional
labels.Her catalog covers
a wide range, with works
for orchestra, opera,
oratorio, wind ensemble,
choir, art song, various
sized chamber ensembles,
and works for solo
instruments. Notable
commissions include My
Dearest Ruth for
soprano and piano with
text by Martin Ginsburg,
the husband of the late
Supreme Court Justice
Ruth Bader
Ginsburg, The
Transformation of Jane
Doe for Chicago Opera
Theater, The Battle for
the Ballot for the
Cabrillo Festival
Orchestra, Goddess
Triptych for the St.
Louis Symphony Orchestra,
Glorious Mahalia for
the Kronos Quartet, Give
Me Hunger for
Chanticleer, Rites for
the Afterlife for the
Akropolis and Calefax
Reed Quintets,
and Terra
Nostra:Â an oratorio
about our planet,
commissioned by the San
Francisco Choral Society
and Piedmont East Bay
Children’s
Chorus.Garrop previously
served as
composer-in-residence
with the Albany Symphony
and Skaneateles Festival,
and as well as on faculty
of the Fresh Inc Festival
(2012-2017). She taught
composition and
orchestration full-time
at Roosevelt University
2000-2016) before leaving
to launch her freelance
career. She earned
degrees in music
composition at the
University of
Michigan-Ann Arbor
(B.M.), University of
Chicago (M.A.), and
Indiana
University-Bloomington
(D.M.).ÂÂ. $3.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Great Smoky Mountains [Conducteur] Theodore Presser Co.
Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clar...(+)
Band Bass Clarinet,
Bassoon 1, Bassoon 2,
Clarinet, Clarinet 1,
Clarinet 2, Clarinet 3,
Contrabass Clarinet,
Contrabassoon, Double
Bass, English Horn,
Euphonium, Flute 1, Flute
2, Horn 1, Horn 2, Horn
3, Horn 4, Oboe 1, Oboe
2, Percussion 1 and more.
SKU: PR.16500102F
Mvt. 2 from Symphony
No. 6 (Three Places in
the East). Composed
by Dan Welcher. Full
score. 52 pages. Theodore
Presser Company
#165-00102F. Published by
Theodore Presser Company
(PR.16500102F). ISBN
9781491131749. UPC:
680160680276. Ever
since the success of my
series of wind ensemble
works Places in the West,
I've been wanting to
write a companion piece
for national parks on the
other side of the north
American continent. The
earlier work, consisting
of GLACIER, THE
YELLOWSTONE FIRES,
ARCHES, and ZION, spanned
some twenty years of my
composing life, and since
the pieces called for
differing groups of
instruments, and were in
slightly different styles
from each other, I never
considered them to be
connected except in their
subject matter. In their
depiction of both the
scenery and the human
history within these
wondrous places, they had
a common goal: awaking
the listener to the
fragile beauty that is in
them; and calling
attention to the ever
more crucial need for
preservation and
protection of these wild
places, unique in all the
world. With this new
work, commissioned by a
consortium of college and
conservatory wind
ensembles led by the
University of Georgia, I
decided to build upon
that same model---but to
solidify the process. The
result, consisting of
three movements (each
named for a different
national park in the
eastern US), is a
bona-fide symphony. While
the three pieces could be
performed separately,
they share a musical
theme---and also a common
style and
instrumentation. It is a
true symphony, in that
the first movement is
long and expository, the
second is a rather
tightly structured
scherzo-with-trio, and
the finale is a true
culmination of the whole.
The first movement,
Everglades, was the
original inspiration for
the entire symphony.
Conceived over the course
of two trips to that
astonishing place (which
the native Americans
called River of Grass,
the subtitle of this
movement), this movement
not only conveys a sense
of the humid, lush, and
even frightening scenery
there---but also an
overview of the entire
settling-of- Florida
experience. It contains
not one, but two native
American chants, and also
presents a view of the
staggering influence of
modern man on this
fragile part of the
world. Beginning with a
slow unfolding marked
Heavy, humid, the music
soon presents a gentle,
lyrical theme in the solo
alto saxophone. This
theme, which goes through
three expansive phrases
with breaks in between,
will appear in all three
movements of the
symphony. After the mood
has been established, the
music opens up to a rich,
warm setting of a
Cherokee morning song,
with the simple happiness
that this part of Florida
must have had prior to
the nineteenth century.
This music, enveloping
and comforting, gradually
gives way to a more
frenetic, driven section
representative of the
intrusion of the white
man. Since Florida was
populated and developed
largely due to the
introduction of a train
system, there's a
suggestion of the
mechanized iron horse
driving straight into the
heartland. At that point,
the native Americans
become considerably less
gentle, and a second
chant seems to stand in
the way of the intruder;
a kind of warning song.
The second part of this
movement shows us the
great swampy center of
the peninsula, with its
wildlife both in and out
of the water. A new theme
appears, sad but noble,
suggesting that this land
is precious and must be
protected by all the
people who inhabit it. At
length, the morning song
reappears in all its
splendor, until the
sunset---with one last
iteration of the warning
song in the solo piccolo.
Functioning as a scherzo,
the second movement,
Great Smoky Mountains,
describes not just that
huge park itself, but one
brave soul's attempt to
climb a mountain there.
It begins with three
iterations of the
UR-theme (which began the
first movement as well),
but this time as up-tempo
brass fanfares in
octaves. Each time it
begins again, the theme
is a little slower and
less confident than the
previous time---almost as
though the hiker were
becoming aware of the
daunting mountain before
him. But then, a steady,
quick-pulsed ostinato
appears, in a constantly
shifting meter system of
2/4- 3/4 in alteration,
and the hike has begun.
Over this, a slower new
melody appears, as the
trek up the mountain
progresses. It's a big
mountain, and the ascent
seems to take quite
awhile, with little
breaks in the hiker's
stride, until at length
he simply must stop and
rest. An oboe solo, over
several free cadenza-like
measures, allows us (and
our friend the hiker) to
catch our breath, and
also to view in the
distance the rocky peak
before us. The goal is
somehow even more
daunting than at first,
being closer and thus
more frighteningly steep.
When we do push off
again, it's at a slower
pace, and with more
careful attention to our
footholds as we trek over
broken rocks. Tantalizing
little views of the
valley at every
switchback make our
determination even
stronger. Finally, we
burst through a stand of
pines and----we're at the
summit! The immensity of
the view is overwhelming,
and ultimately humbling.
A brief coda, while we
sit dazed on the rocks,
ends the movement in a
feeling of triumph. The
final movement, Acadia,
is also about a trip. In
the summer of 2014, I
took a sailing trip with
a dear friend from North
Haven, Maine, to the
southern coast of Mt.
Desert Island in Acadia
National Park. The
experience left me both
exuberant and exhausted,
with an appreciation for
the ocean that I hadn't
had previously. The
approach to Acadia
National Park by water,
too, was thrilling: like
the difference between
climbing a mountain on
foot with riding up on a
ski-lift, I felt I'd
earned the right to be
there. The music for this
movement is entirely
based on the opening
UR-theme. There's a sense
of the water and the
mysterious, quiet deep
from the very beginning,
with seagulls and bell
buoys setting the scene.
As we leave the harbor,
the theme (in a canon
between solo euphonium
and tuba) almost seems as
if large subaquatic
animals are observing our
departure. There are
three themes (call them
A, B and C) in this
seafaring journey---but
they are all based on the
UR theme, in its original
form with octaves
displaced, in an
upside-down form, and in
a backwards version as
well. (The ocean, while
appearing to be
unchanging, is always
changing.) We move out
into the main channel
(A), passing several
islands (B), until we
reach the long draw that
parallels the coastline
called Eggemoggin Reach,
and a sudden burst of new
speed (C). Things
suddenly stop, as if the
wind had died, and we
have a vision: is that
really Mt. Desert Island
we can see off the port
bow, vaguely in the
distance? A chorale of
saxophones seems to
suggest that. We push off
anew as the chorale ends,
and go through all three
themes again---but in
different
instrumentations, and
different keys. At the
final tack-turn, there it
is, for real: Mt. Desert
Island, big as life.
We've made it. As we pull
into the harbor, where
we'll secure the boat for
the night, there's a
feeling of achievement.
Our whale and dolphin
friends return, and we
end our journey with
gratitude and
celebration. I am
profoundly grateful to
Jaclyn Hartenberger,
Professor of Conducting
at the University of
Georgia, for leading the
consortium which provided
the commissioning of this
work. $36.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Cosmic Expedition Orchestre d'harmonie - Facile Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Clarinet ...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Bells,
Clarinet 1, Clarinet 2,
Clarinet 3, Crash
Cymbals, Euphonium,
Euphonium T.C., Flute 1,
Flute 2, Horn 1, Horn 2,
Mallet Percussion 1,
Mallet Percussion 2,
Marimba, Oboe 1, Oboe 2,
Percussion 1 and more. -
Grade 3 SKU:
CF.CPS216 Composed by
Michael J. Miller.
Concert Band (CPS). Set
of Score and Parts. With
Standard notation.
8+2+4+2+8+16+16+4+4+4+4+4
+4+8+8+8+4+4+6+6+6+8+6+2+
2+4+10+36+4 pages.
Duration 3 minutes, 3
seconds. Carl Fischer
Music #CPS216. Published
by Carl Fischer Music
(CF.CPS216). ISBN
9781491152423. UPC:
680160909926. Cosmi
c Expedition takes
performers on a musical
journey far across the
galaxy via three main
sections. This
fanfare composition would
be perfect for opening a
concert. It has bold
brass fanfare figures
over textural woodwinds
to start and
then takes the
listener on a sonic
journey through a
variation of harmonic
colors, tambural and
textural
shifts. Cosmic
Expedition takes
performers on a musical
journey far across the
galaxy via three main
sections. The first, a
rather celebratory and
triumphant fanfare in Bb
major begins with the
upper woodwinds and
percussion creating a
sound-screen, that is a
busy texture consisting
of a flurry of repeated
notes over which the
horns and alto saxophones
present the opening
theme. The sound-screen
should be carefully
balanced and give way to
the melody at m. 5, which
should be played
extremely marcato. The
timpani solo beginning in
m. 11 must not be
understated. A brief
percussion interlude
separates a restatement
of the opening theme,
this time with the
addition of the trumpet,
tenor saxophone, and
euphonium, and a counter
melody by the low winds.
The percussion interlude
is playful, light, but
full of vigor and energy.
An Ab in the low winds
pulls the harmony towards
G minor in m. 40 to start
the second section, a
more serious fanfare.
Here, the marimba repeats
an ostinato that is
complemented by the bass
drum and woodblock. The
upper woodwinds with the
xylophone and snare drum
dance over the stern
secondary fanfare. A
longing call lead by the
trombones, interrupted by
a subtle snare drum
beckons to the clarinets
and horn who begin the
third section of the
piece at m. 68. This
haunting melody in C
minor is legato, and
starkly contrasts all
which came before it. A
relentless concert
tom-tom played with hard
mallets keeps the
momentum persistent, and
a heartbeat-like pulse is
felt from the tuba and
baritone saxophone. The
melody rises towards m.
84 when the brass harken
back to the fanfare style
before fading back into
another lush woodwind
strain.A recapitulation
of the low winds’
call is heard at m. 100
which in this occasion
intensifies into an
emphatic statement by the
battery percussion
instruments. Now in Eb
major, the opening
fanfare theme is heard
again once more before
fading into the beginning
of the piece’s
conclusion.To end, the
counter melody from the
opening section duels
with chromatic tension
above before swelling to
an arrival in the
original key of Bb major.
The full ensemble
celebrates the
piece’s
resolution, and after a
few crunchy power chords
the journey is
completed. $95.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Cosmic Expedition Orchestre d'harmonie [Conducteur] - Facile Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Clarinet ...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Bells,
Clarinet 1, Clarinet 2,
Clarinet 3, Crash
Cymbals, Euphonium,
Euphonium T.C., Flute 1,
Flute 2, Horn 1, Horn 2,
Mallet Percussion 1,
Mallet Percussion 2,
Marimba, Oboe 1, Oboe 2,
Percussion 1 and more. -
Grade 3 SKU:
CF.CPS216F Composed
by Michael J. Miller.
Concert Band (CPS). Full
score. With Standard
notation. 36 pages. Carl
Fischer Music #CPS216F.
Published by Carl Fischer
Music (CF.CPS216F).
ISBN 9781491153109.
UPC:
680160910601. Cosmi
c Expedition takes
performers on a musical
journey far across the
galaxy via three main
sections. This
fanfare composition would
be perfect for opening a
concert. It has bold
brass fanfare figures
over textural woodwinds
to start and
then takes the
listener on a sonic
journey through a
variation of harmonic
colors, tambural and
textural
shifts. Cosmic
Expedition takes
performers on a musical
journey far across the
galaxy via three main
sections. The first, a
rather celebratory and
triumphant fanfare in Bb
major begins with the
upper woodwinds and
percussion creating a
sound-screen, that is a
busy texture consisting
of a flurry of repeated
notes over which the
horns and alto saxophones
present the opening
theme. The sound-screen
should be carefully
balanced and give way to
the melody at m. 5, which
should be played
extremely marcato. The
timpani solo beginning in
m. 11 must not be
understated. A brief
percussion interlude
separates a restatement
of the opening theme,
this time with the
addition of the trumpet,
tenor saxophone, and
euphonium, and a counter
melody by the low winds.
The percussion interlude
is playful, light, but
full of vigor and energy.
An Ab in the low winds
pulls the harmony towards
G minor in m. 40 to start
the second section, a
more serious fanfare.
Here, the marimba repeats
an ostinato that is
complemented by the bass
drum and woodblock. The
upper woodwinds with the
xylophone and snare drum
dance over the stern
secondary fanfare. A
longing call lead by the
trombones, interrupted by
a subtle snare drum
beckons to the clarinets
and horn who begin the
third section of the
piece at m. 68. This
haunting melody in C
minor is legato, and
starkly contrasts all
which came before it. A
relentless concert
tom-tom played with hard
mallets keeps the
momentum persistent, and
a heartbeat-like pulse is
felt from the tuba and
baritone saxophone. The
melody rises towards m.
84 when the brass harken
back to the fanfare style
before fading back into
another lush woodwind
strain.A recapitulation
of the low winds’
call is heard at m. 100
which in this occasion
intensifies into an
emphatic statement by the
battery percussion
instruments. Now in Eb
major, the opening
fanfare theme is heard
again once more before
fading into the beginning
of the piece’s
conclusion.To end, the
counter melody from the
opening section duels
with chromatic tension
above before swelling to
an arrival in the
original key of Bb major.
The full ensemble
celebrates the
piece’s
resolution, and after a
few crunchy power chords
the journey is
completed. $14.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Glacier Express Orchestre d'harmonie [Conducteur] - Facile Opus III Wind Orchestra Publications
Grade 3 SKU: CL.012-3370-75 Composed by Neeck. Concert Band. Spotlight Se...(+)
Grade 3 SKU:
CL.012-3370-75
Composed by Neeck.
Concert Band. Spotlight
Series. Audio recording
available separately
(items CL.WFR332 &
CL.WFR353). Oversized,
spiral-bound score.
Composed 2004. Duration 6
minutes, 49 seconds. Opus
III Wind Orchestra
Publications
#012-3370-75. Published
by Opus III Wind
Orchestra Publications
(CL.012-3370-75).
The Glacier
Express is a famous Swiss
excursion train that has
traveled through the
Swiss countryside between
Zermatt and St. Moritz
since 1930. Larry Neeck's
new composition is
clearly descriptive of
the train's journey and
the spectacular scenery
that passes throughout
mountains, glaciers,
lakes, tunnels and quaint
Swiss villages. Lots of
musical contrasts
including a nice trumpet
solo and interesting
parts for every section!
Ample percussion parts
are sure to keep even a
large herd of drummers
both interested and
involved. A wonderful
piece for developing
bands and an outstanding
choice for festival or
concert performances!
About C.L.
Barnhouse Spotlight
Series The
Barnhouse Spotlight
series includes
publications for solo
instruments with concert
band accompaniment. These
publications are designed
to feature outstanding
members of your band as
soloist, and to provide
unique and entertaining
programming options. Solo
parts are graded more
difficult than the band
accompaniments $30.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Partita No. 2 Piccolo [Conducteur] Theodore Presser Co.
Chamber Music Piccolo SKU: PR.114422450 Composed by Johann Sebastian Bach...(+)
Chamber Music Piccolo
SKU: PR.114422450
Composed by Johann
Sebastian Bach. Arranged
by Nicola Mazzanti. Sws.
Full score. 20 pages.
Duration 17 minutes.
Theodore Presser Company
#114-42245. Published by
Theodore Presser Company
(PR.114422450). ISBN
9781491134986. UPC:
680160685974. 9 x 12
inches. Bachâs
colossal Partita No. 2
for Solo Violin has been
crowned by many masters
as one of musicâs
greatest achievements,
and even its famous
Chaconne movement alone
is a mountain many
performers dare not
scale. While the
literature of several
other instruments has
been enriched by
transcriptions of the
Chaconne, Mazzantiâs
heroic adaptation of the
complete Partita is the
culmination of many
yearsâ work, and the
only transcription
specifically for the
piccoloâs unique
range. THE
INSPIRATIONEver since my
childhood, Johann
Sebastian Bachâs
solo violin music (like
his works for solo cello)
has always held a charm
and mystery for me.
Thereâs something
about this repertoire
that sparks an
inextinguishable
questioning in my musical
and human soul.It is
music without spatial
limits or temporal cages,
a music as essential as
it is masterfully
complex, in which the
solitary voice of man
meets the
all-encompassing voice of
God. It is a music whose
vertical and horizontal
dimensions, already
admirably fused, are
faceted into new and
mysterious realities. For
every violinist, the
study of these
compositions is at the
apex of tenacious
technical study and
interpretative
effort.Violinist Joshua
Bell has said the
Ciaccona (Bach did write
the Partitaâs
movement titles in
Italian) is ânot
just one of the greatest
pieces of music ever
written, but one of the
greatest achievements of
any man in history.
Itâs a spiritually
powerful piece,
emotionally powerful,
structurally
perfect.âTranscribin
g and performing
Bachâs PARTITA NO.
2, BWV 1004 on piccolo
was a feat that took
years of work. The famous
Ciaccona movement is, of
course, the piece that
alone occupied most of
this time. How does one
honor and elevate such
high music with such a
âsmallâ
instrument, devoid of the
enormous expressive
potential of the violin,
devoid of its chords and
its polyphony? How might
I transform the piccolo
into an instrument with,
like the violin,
full-bodied low notes and
subtle high notes? Above
all, why undertake such a
demanding and
extraordinary journey?The
first reason is obvious:
by transcribing,
studying, and performing
such an admirable piece,
we assimilate it, it
becomes part of us, it
enormously enriches our
musical interior.In
addition, it forces us
technically to expand the
colors, agility, and
flexibility of the
instrument; it makes us
think in a polyphonic
way.Finally, the daily
study, especially of the
Ciaccona, is an
extraordinary gymnasium
in which to consolidate
and strengthen our
general technique.THE
TRANSCRIPTIONThe whole
Partita was transcribed
in the key of A minor, a
fifth above the original
in D minor. This was
necessary for the lowest
note of the violin (G) to
correspond to the lowest
note of the piccolo (D).
This version exploits the
full range of the
piccolo, from the D of
the first octave to the B
of the third octave.
However some octave
adjustments were
needed.The chords,
particularly in the
Sarabanda and the
Ciaccona, have been left
with the same notational
system used by Bach in
his version for violin. I
chose to respect
Bachâs presentation
and did not transcribe
these into grace notes
breaking the chords. I
advocate that we must at
least try to think of
this music in its
vertical dimension,
trying to make the notes
resonate as if they were
being played together,
deciding the speed of the
arpeggio based on musical
needs.While some woodwind
editions of Bachâs
string solos do indicate
broken chords as grace
notes, this implies that
the most important note
is necessarily the
highest one, while
sometimes it is precisely
in the lower pitches that
the theme is voiced.In
this piccolo adaptation,
many of Bachâs
original articulations
have been respected. Some
have been changed, when
needing to adapt them to
the specific needs of
flute playing.The two
passages in the Ciaccona
where Bach indicates
âarpeggioâ were
rendered trying to
respect the most
consolidated and virtuous
violin traditions, and at
the same time the
possibilities that the
piccolo offers us. For
this purpose, in some
cases, different
revoicings of the chords
have been used.I thank
all those who patiently
listened to me and were
close to me during this
period, for their
observations and advice.
In particular, I thank my
daughter Sara for her
assistance and skill in
entering this edition
into music writing
software. $18.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Pioneers Orchestre d'harmonie [Conducteur] - Facile Anglo Music
Concert Band - Grade 3 SKU: HL.44005181 Grade 3 - Score Only. Comp...(+)
Concert Band - Grade 3
SKU: HL.44005181
Grade 3 - Score
Only. Composed by
Philip Sparke. Anglo
Music Concert Band.
Concert Piece. Score
Only. Composed 2004. 30
pages. Anglo Music Press
#AMP125-140. Published by
Anglo Music Press
(HL.44005181). UPC:
073999888768. 8.5x11
inches.
English-German-French-Dut
ch. Great Britain
has had a National Youth
Brass Band since 1952,
which caters for players
between the ages of 12
and 18 and has produced
many outstanding
instrumentalists in its
distiguished history. An
exciting development took
place in July 2004 when
the first summer course
of a new National
Children's Brass Band of
Great Britain, for
players between the ages
of 8 and 13, was held in
Bromsgrove, Worcester.
Renowned cornet soloist
and conductor Lynda
Nicholson was appointed
music director and she
commissioned Philip
Sparke to write a piece
for this inaugural
course. The Pioneers was
the result. The title
refers to the fact that
the NCBBGB was starting
out on a new adventure
but is also a salute to
the bicentenary of an
expedition by two of the
composer's heroes -
Meriwether Lewis and
William Clark. They were
commissioned by US
President Thomas
Jefferson to find the
headwaters of the
Mississippi and a route
to the Pacific following
the Louisiana Purchase in
1803, which doubled the
size of USA. They set
out, as the “Corps
of Discovery,” from
Louisville, Kentucky, in
May 1804; not only did
they succeed in reaching
the Pacific through
hostile territory, but
also found their way back
- in three years! The
piece is not descriptive
of the journey but gives
the composer the
opportunity to celebrate
the 200th anniversary of
this amazing feat. $26.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Élégie Guitare Guitare classique [Conducteur] - Intermédiaire Doberman
Guitar - Intermediate SKU: DY.DO-1522 Composed by Francis Bebey. Arranged...(+)
Guitar - Intermediate
SKU: DY.DO-1522
Composed by Francis
Bebey. Arranged by Ingrid
Riollot. Score. Les
Editions Doberman-Yppan
#DO 1522. Published by
Les Editions
Doberman-Yppan
(DY.DO-1522). ISBN
9782897963026. Fran
cis Bebey est né Ã
Douala en juillet 1929,
dans une grande famille
où son père,
pasteur, luttait pour
nourrir ses enfants. Mais
Francis a eu
l'opportunité d'aller
à l'école. Admirant
son frère aîné,
Marcel Eyidi Bebey, il
s'est éduqué, s'est
distingué, et a
finalement reçu une
bourse pour passer son
baccalauréat en
France. Nous
approchions de la fin des
années 1950 lorsqu'il
est arrivé à La
Rochelle. Plus que
jamais, dans cette France
où les Africains
étaient regardés
avec curiosité,
condescendance ou
dédain, Francis
s'appuyait sur ses
ressources
intellectuelles.
Travailleur assidu, il a
obtenu son
baccalauréat, puis
s'est installé Ã
Paris où il a
commencé des études
d'anglais à la
Sorbonne. Un jour, il a
su ce qui l'attirait
vraiment : il voulait
faire de la radio.
Francis a appris son
métier en France et
aux
�tats-Unis. Après
avoir travaillé
quelques années comme
reporter, il a été
embauché en 1961 en
tant que fonctionnaire
international au
Département de
l'information de
l'UNESCO. Parallèle
ment, Francis a toujours
été attiré par
la création musicale.
Son activité diurne
très sérieuse ne
l'empêchait pas de
fréquenter les clubs
de jazz le soir. Ã?
Paris, le jazz, la
musique à la mode Ã
cette époque, mais
aussi la rumba et la
salsa l'attiraient. Il
collectionnait les
disques et assistait Ã
de nombreux concerts.
Avec son complice Manu
Dibango, Francis montait
sur scène et jouait de
la musique. Francis
aimait la musique
classique depuis son
enfance. Il avait grandi
en écoutant les
cantates et les oratorios
de Bach ou Handel que son
père chantait au
temple. Il s'est
passionné pour la
guitare, impressionné
par les maîtres
espagnols et
sud-américains, et a
décidé d'apprendre
à jouer de
l'instrument
lui-même. Il a
commencé à composer
des pièces pour
guitare, mêlant les
diverses influences qui
le traversaient avec la
musique traditionnelle
africaine qu'il portait
en lui depuis son
enfance. Son approche a
captivé le directeur
du Centre culturel
américain (alors
situé dans le quartier
de Saint-Germain Ã
Paris), qui lui a offert
l'opportunité de se
produire devant un
public. Francis y a
donné son premier
récital de guitare
(1963) devant un public
hypnotisé. Son premier
album solo est sorti peu
de temps
après. Progressivem
ent, Francis est devenu
reconnu comme musicien et
compositeur. Plusieurs
albums de l'ambassadeur
africain de la guitare,
comme le décrivait la
presse, sont sortis. Il a
également écrit des
livres, au point que sa
carrière artistique
est devenue difficile
à concilier avec sa
carrière de
fonctionnaire. En 1974,
même s'il était
devenu le directeur
général chargé
de la musique Ã
l'UNESCO, il a fait le
saut audacieux et a
démissionné de
cette prestigieuse
institution pour se
consacrer aux trois
activités qui
l'intéressaient : la
musique, la
littérature et le
journalisme. Il a
exploré le patrimoine
musical traditionnel du
continent africain,
notamment à travers le
piano à pouce sanza et
la musique polyphonique
des pygmées d'Afrique
centrale, ou en chantant
dans sa langue maternelle
et en composant des
chansons humoristiques en
français ! Le
succès a suivi.
Francis Bebey a parcouru
le monde : de la France
au Brésil, du Cameroun
à la Suède, de
l'Allemagne aux
Caraïbes, ou du Maroc
au Japon... la liste des
pays où il a été
invité à se
produire, Ã donner des
conférences ou Ã
rencontrer des lecteurs
est très longue. En
plus de la reconnaissance
publique, il
bénéficiait de la
reconnaissance de ses
collègues musiciens,
tels que le guitariste
John Williams ou le
Vénézuélien
Antonio Lauro, qui l'ont
invité à faire
partie du jury d'un
concours de guitare
classique Ã
Caracas. Sa vie
était le voyage d'un
pionnier africain, un
homme enraciné dans
son patrimoine culturel
et portant un message de
partage et d'espoir pour
le monde. Son
originalité continue
de résonner dans le
monde entier depuis son
décès à la fin
du mois de mai
2001.
Francis
Bebey was born in Douala
in July 1929, into a
large family where his
father, a pastor,
struggled to feed his
children. But Francis had
the opportunity to go to
school. Admiring his
elder brother, Marcel
Eyidi Bebey, he educated
himself, distinguished
himself, and eventually
received a scholarship to
go and take his
baccalaureate in
France. We approached
the end of the 1950s when
he arrived in La
Rochelle. More than ever,
in this France where
Africans were looked at
with curiosity,
condescension, or
disdain, Francis relied
on his intellectual
resources. A diligent
worker, he obtained his
Baccalaureate, then moved
to Paris where he started
English studies at the
Sorbonne. One day, he
knew what truly attracted
him: he wanted to do
radio. Francis learned
his craft in France and
in the USA. After
working for a few years
as a reporter, he was
hired in 1961 as an
international civil
servant in the UNESCO
Information
Department. In
parallel, Francis had
always been drawn to
musical creation. His
very serious daytime
activity didnâ??t
prevent him from
frequenting jazz clubs in
the evenings. In Paris,
the Jazz, the trendy
music of that time, but
also rumba and salsa
attracted him. He
collected records and
attended numerous
concerts. With his
accomplice Manu Dibango,
Francis took the stage
and played
music. Francis liked
classical music since his
childhood. He grew up
listening to the cantatas
and oratorios of Bach or
Handel that his father
had sung in the temple.
He became passionate
about the guitar,
impressed by the Spanish
and South American
masters, and decided to
learn to strum the
instrument himself. He
started composing guitar
pieces, blending the
various influences that
flow through him with the
traditional African music
he had carried within
since childhood. His
approach captivated the
director of the American
Cultural Center (then
located in the
Saint-Germain
neighborhood of Paris),
who offered him the
opportunity to perform in
front of an audience.
Francis gave his first
guitar recital there
(1963) in front of a
mesmerized audience. His
first solo album was
released shortly
thereafter. Gradually,
Francis became recognized
as a musician and
composer. Several albums
of the African guitar
ambassador, as described
by the press, were
released. He also wrote
books, to the point that
his artistic career
became challenging to
reconcile with his career
as a civil servant. In
1974, even though he had
become the General
Manager in charge of
music at UNESCO, he took
the bold leap and
resigned from this
prestigious institution
to dedicated himself to
the three activities that
interested him: music,
literature, and
journalism. He
explored the traditional
musical heritage of the
African continent,
notably through the thumb
piano sanza, and the
polyphonic music of the
Central African pygmies,
or singing in his native
language and composing
humoristic songs in
French! Success
followed. Francis Bebey
traveled the world: from
France to Brazil,
Cameroon to Sweden,
Germany to the Carribean,
or Morocco to Japan...
the list of countries
where he was invited to
perform, gives lectures,
or meets readers is very
long. In addition to
public recognition, he
enjoyed the recognition
of his fellow musicians,
such as guitarist John
Williams or Venezuelan
Antonio Lauro, who
invited him to be a part
of the jury for a
classical guitar
competition in
Caracas. His life was
the journey of an African
pioneer, a man rooted in
his cultural heritage and
carrying a message of
sharing and hope for the
world. His originality
continues to vibrate
around the world since
his passing at the end of
May 2001. $4.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Piano Concerto No.2 [Conducteur] - Intermédiaire Dunvagen Music Publishers
Piano and Orchestra - Grade 4 SKU: BT.MUSDU10804 Composed by Philip Glass...(+)
Piano and Orchestra -
Grade 4 SKU:
BT.MUSDU10804
Composed by Philip Glass.
Classical. Score Only.
Dunvagen Music Publishers
#MUSDU10804. Published by
Dunvagen Music Publishers
(BT.MUSDU10804).
English. Interna
tionally renowned
minimalist Philip Glass
composed this Piano
concerto in the
traditional
three-movement form. The
first movement, titled
‘The Vision’
is classic Glass, with a
steamroller quality that
suggests theimmensedrive
and ambition the two
explorers needed to draw
on for their journey into
the wilderness. At the
beginning of the second
movement, the theme in
the solo Indian Flute
musically represents the
name
‘Sacajawea’,
theShoshoneIndian mother
and guide who assisted
the explorers on their
way, for whom the
movement is named.The
final movement, entitled
‘The Land’,
is an exploration of
expansiveness, both of
the land that was being
explored, butalso of
thegeologically expanded
time over which the
landscape has evolved,
and the great changes
that followed Lewis and
Clark’s
journey.This concerto is
designated as part of The
Concerto Project
recording series started
byGlass in theyear 2000,
currently in four volumes
and including eight
concerti.American
composer Philip Glass is
widely known as one of
the most celebrated,
influential and prolific
of the modern composers.
He is frequentlyreferred
to as aminimalist, though
he prefers to call
himself a composer of
‘music with
repetitive
structures.’ His
operas, among them the
renowned Einstein On The
Beach, are performed
across the globe, and he
has created workfor small
andlarge ensembles, film
and experimental theatre,
and founded his own
performing group, The
Philip Glass
Ensemble. $47.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Harbor Music Quatuor à cordes: 2 violons, alto, violoncelle [Conducteur] Theodore Presser Co.
String Quartet SKU: PR.16400222S Composed by Dan Welcher. Full score (stu...(+)
String Quartet SKU:
PR.16400222S Composed
by Dan Welcher. Full
score (study). With
Standard notation.
Duration 11 minutes.
Theodore Presser Company
#164-00222S. Published by
Theodore Presser Company
(PR.16400222S). UPC:
680160037841. This
work follows my Quartet
No. 1 by five years. In
terms of style and
aesthetic aim, however,
it seems light years
away. Where the first
work, a 28-minute,
four-movement piece, took
aim at cosmic conflicts
and heroic resolutions,
the present work is
intended as a kind of
divertissment. Harbor
Music lasts a mere eleven
minutes, is cast in a
single movement with six
sections, and should
leave both performers and
listeners with a feeling
of good humor and
affection. The
title comes from my
experience as a guest in
the magnificent city of
Sydney, Australia. One of
its most attractive
features is its unique
system of ferry boats:
the city is laid out
around a large,
multi-channeled harbor,
with destinations more
easily approached by
water than by land.
Consequently, inhabitants
of Sydney get around on
small, people-friendly
boats that come and go
from the central docks at
Circular Quay. During a
week's visit in 1991, I
must have boarded these
boats at least a dozen
times, always bound for a
new location - the resort
town of Manley, or the
Zoo at Taronga Park, or
the shopping district at
Darling Harbour.
In casting about for a
form for my second string
quartet, a kind of loose
rondo came to mind. Each
new destination would be
approached from the same
starting-out point
(although there are
subtle variations in the
repeating theme; it's
always in a new key, and
the texture is never the
same). The result, I
hope, is a sense of
constant new information
presented with
introductory frames of a
more familiar nature.
The embarkation
theme, which begins the
piece, is a sort of
bi-tonal fanfare in which
the violins are in G
major and the viola and
cello are in B-flat
major. It is bold, eager,
and forward-looking. The
first voyage maintains
this bi-tonality,
beginning as a 9/8 due
for second violin and
viola in a kind of
rocking motion -much as a
boat produces when
reaching the deeper water
in the harbor. A sweet,
nostalgic theme emerges
over this rocking
accompaniment. This music
is developed somewhat,
then transforms quickly
into a much faster and
lighter episode, filled
with rising and falling
scales (again, in
differing keys). A
scherzando interlude in
short notes and changing
meters provides contrast,
and the episode ends with
a reprise of the scales.
The second
embarkation follows, this
time in A major/C major.
It leads quickly into a
very warm and slow theme,
in wide-leaping intervals
for the viola. This
section is interrupted
twice by solo cadenzas
for the cello, suggesting
distant boat-horns in
major thirds. The end of
the episode becomes a
transition, with
boat-horns leading into
the final appearance of
the embarkation music,
this time in trills and
tremolos instead of
sharply accented chords.
The nostalgic theme of
the first episode makes a
final appearance, serving
now as a coda. The
rocking motion continues,
in a lullaby fashion,
leaving us drowsy and
satisfied on our homeward
journey. Harbor
Music was written for the
Cavani Quartet, and is
dedicated to Richard J.
Bogomolny. Commissioned
by his employees at First
National Supermarkets as
a gift, it represents a
thank you from many of
the people (including
this composer) who have
benefitted from his
vision and generosity. An
ardent advocate of
chamber music (and a
cellist himself), Mr.
Bogomolny has for many
years been Chairman of
the Board of Chamber
Music America. -- Dan
Welcher. $25.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Par For The Course Ensemble Jazz - Facile Kendor Music Inc.
Jazz Ensemble standard jazz ensemble - Grade 3 SKU: KN.61603 Composed by ...(+)
Jazz Ensemble standard
jazz ensemble - Grade 3
SKU: KN.61603
Composed by Lennie
Niehaus. Jazz Journey.
Moderate Swing. Kendor
Music Inc #61603.
Published by Kendor Music
Inc (KN.61603). UPC:
822795616033. Sure
to delight audiences with
an abundance of
interesting original
material and surprise
interludes, the superior
orchestration techniques
in this chart will make
bands of all ability
levels sound impressive.
Scored for advancing
players, sufficient
emphasis on ensemble work
is included. Solo sheets
for Bb, C and Eb
instruments and a guitar
chord chart by Jim
Greeson are provided in
each set. Duration
6:40. $55.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Far across the sea. Harp Harpe [Conducteur] - Intermédiaire Stainer and Bell
Harp - intermediate SKU: ST.Y259 Composed by Rhian Samuel. String music. ...(+)
Harp - intermediate
SKU: ST.Y259
Composed by Rhian Samuel.
String music. [Standard:
Intermediate]. Score.
Stainer & Bell Ltd.
#Y259. Published by
Stainer & Bell Ltd.
(ST.Y259). ISBN
9790220222559. Far
Across the Sea'
(Ymhell dros y
mor) is the
latest instrumental work
from a composer noted for
her original and
sensitive writing for
harp and harp
ensemble. In
this gentle solo, what
sounds like a folksong -
and a very fine one - is
in fact a newly composed
tune, crafted with artful
simplicity. But as the
music journeys further
from its
characteristically Welsh
opening, teasing out new
suggestions from the
material, the sense of
nostalgia becomes
definitely more
contemporary than
traditional, though the
uplifting conclusion
restores the tone of
bardic rhetoric.
This work would be a
rewarding item for
players of intermediate
standard, and was
recommended for the under
18 category of the 2009
Wales International Harp
Festival. $10.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Dark Adventure Orchestre d'harmonie [Conducteur] - Débutant Belwin
Concert Band; Orchestra - Grade 1 SKU: AP.49217S Composed by Ralph Ford. ...(+)
Concert Band; Orchestra -
Grade 1 SKU:
AP.49217S Composed by
Ralph Ford. 5 or More;
Mixed Instruments -
Flexible Instrumentation;
Performance Music
Ensemble; Single Titles;
Solo Small Ensembles.
Belwin Beginning Band.
Score. Duration 3:25.
Belwin Music #00-49217S.
Published by Belwin Music
(AP.49217S). ISBN
9781470648619. UPC:
038081569413.
English. This
version of Dark Adventure
by Ralph Ford is part of
our Belwin FLEX offerings
and is designed with
maximum flexibility for
use by any mix of
instruments---wind,
strings, and percussion,
including like- or
mixed-ensembles with as
few as 5 players. The
suggested instrumentation
and a customizable
Teacher Map will help you
plan out how to best
assign parts to suit your
ensemble's needs. The
5-part instrumentation
will support balanced
instrumentation of the
lower voices. It also
comes with supplemental
parts for maximum
flexibility. With the
purchase of this piece,
permission is granted to
photocopy the parts as
needed for your ensemble.
A percussion
accompaniment track is
also available as a free
download. String parts
have been carefully
edited with extra
fingerings and
appropriate bowings to
support students in mixed
ensembles playing in less
familiar keys.
A
musical adventure through
mysticism and magic. This
unique setting offers a
wide variety of dynamics,
textures, and styles
while remaining playable.
The momentum is quickly
established, and your
students are part of the
journey. This is a super
piece that will capture
the imagination of
students and listeners
alike.
Percussion
Accompaniment Track
Downloads: with click without
click. (3:25). $10.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Dark Adventure Orchestre d'harmonie - Débutant Belwin
Concert Band; Orchestra - Grade 1 SKU: AP.49217 Composed by Ralph Ford. 5...(+)
Concert Band; Orchestra -
Grade 1 SKU:
AP.49217 Composed by
Ralph Ford. 5 or More;
MakeMusic Cloud; Mixed
Instruments - Flexible
Instrumentation;
Performance Music
Ensemble; Single Titles;
Solo Small Ensembles.
Belwin Beginning Band.
Score and Part(s).
Duration 3:25. Belwin
Music #00-49217.
Published by Belwin Music
(AP.49217). ISBN
9781470648602. UPC:
038081569406.
English. This
version of Dark Adventure
by Ralph Ford is part of
our Belwin FLEX offerings
and is designed with
maximum flexibility for
use by any mix of
instruments---wind,
strings, and percussion,
including like- or
mixed-ensembles with as
few as 5 players. The
suggested instrumentation
and a customizable
Teacher Map will help you
plan out how to best
assign parts to suit your
ensemble's needs. The
5-part instrumentation
will support balanced
instrumentation of the
lower voices. It also
comes with supplemental
parts for maximum
flexibility. With the
purchase of this piece,
permission is granted to
photocopy the parts as
needed for your ensemble.
A percussion
accompaniment track is
also available as a free
download. String parts
have been carefully
edited with extra
fingerings and
appropriate bowings to
support students in mixed
ensembles playing in less
familiar keys.
A
musical adventure through
mysticism and magic. This
unique setting offers a
wide variety of dynamics,
textures, and styles
while remaining playable.
The momentum is quickly
established, and your
students are part of the
journey. This is a super
piece that will capture
the imagination of
students and listeners
alike.
Percussion
Accompaniment Track
Downloads: with click without
click. (3:25). $60.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| En passant Flûte traversière Edition HH
Flute solo SKU: HH.HH260-SOL Composed by Luna Alcalay. Flute Solo. Playin...(+)
Flute solo SKU:
HH.HH260-SOL Composed
by Luna Alcalay. Flute
Solo. Playing score.
Edition HH Music
Publishers #HH260-SOL.
Published by Edition HH
Music Publishers
(HH.HH260-SOL). ISBN
9790708092131. Vien
nese composer Luna
Alcalay continues to
enrich the solo
instrumental repertory,
on this occasion with a
short piece for flute in
which she exploits, with
her customary mastery,
the instrument's rich
expressive potential.
Skilfully judged
variations of dynamics,
phrasing, attack and tone
colour, often in close
succession – en
passant (in passing), as
the title suggests
– all combine to
create an eight minute
journey full of shifting
light and atmosphere. $16.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Astronomica Orchestre d'harmonie [Conducteur] - Facile Belwin
Concert Band; Orchestra - Grade 2 SKU: AP.49170S Composed by Michael Stor...(+)
Concert Band; Orchestra -
Grade 2 SKU:
AP.49170S Composed by
Michael Story. 5 or More;
MakeMusic Cloud; Mixed
Instruments - Flexible
Instrumentation;
Performance Music
Ensemble; Single Titles;
Solo Small Ensembles.
Belwin Young Band. Score.
16 pages. Duration 2:30.
Belwin Music #00-49170S.
Published by Belwin Music
(AP.49170S). UPC:
038081563749.
English. This
version of Astronomica by
Michael Story is part of
our Belwin FLEX offerings
and is designed with
maximum flexibility for
use by any mix of
instruments---wind,
strings, and percussion,
including like- or
mixed-ensembles with as
few as 5 players. The
suggested instrumentation
and a customizable
Teacher Map will help you
plan out how to best
assign parts to suit your
ensemble's needs. It also
comes with supplemental
parts for maximum
flexibility. With the
purchase of this piece,
permission is granted to
photocopy the parts as
needed for your ensemble.
A percussion
accompaniment track is
also available as a free
download. String parts
have been carefully
edited with extra
fingerings and
appropriate bowings to
support students in mixed
ensembles playing in less
familiar keys.
Musically
depicting the earliest
recorded writings on
astrology, Story's
original composition
begins with a hauntingly
beautiful introduction
transitioning to a
forceful exploration with
a dynamic conclusion.
Enjoy this astrological
journey that reinforces
fermatas, caesuras, and
contrasting
articulations.
(2:30)
Percussion
Accompaniment Track
Downloads: with click. without
click. This title
available in MakeMusic
Cloud. $10.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Tale of the Sword Orchestre d'harmonie [Conducteur] - Facile Peters
Concert Band - Grade 2 SKU: PE.TSGFX004S Composed by Tyler S. Grant. 5 or...(+)
Concert Band - Grade 2
SKU: PE.TSGFX004S
Composed by Tyler S.
Grant. 5 or More; Mixed
Instruments - Flexible
Instrumentation;
Performance Music
Ensemble; Quartet; Single
Titles; Solo Small
Ensembles. Score. Edition
Peters #98-TSGFX004S.
Published by Edition
Peters (PE.TSGFX004S).
UPC:
038081593494. Intro
duce or reinforce 6/8
time while portraying the
Viking conquests with
Tyler S. Grant's Tale of
the Sword! Using minimal
rhythmic motivic
material, this work
creates an epic and
cinematic soundscape.
Students get to create
the sounds of ocean waves
as driving ostinatos
propel listeners to
dramatic musical scenes.
Supplemental Rhythm &
Melody Sheets are
included to make the most
of your students' journey
into 6/8. Intense and
extremely engaging!
Arranged for flexible
instrumentation.
O
riginal Item#:
TSG-FX004S. $15.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Legend of Crystal Lake Orchestre d'harmonie [Conducteur] - Facile C.L. Barnhouse
Concert band - Grade 2 SKU: CL.011-4308-01 Composed by Shaffer. Young Con...(+)
Concert band - Grade 2
SKU:
CL.011-4308-01
Composed by Shaffer.
Young Concert Band.
Command Series. Audio
recording available
separately (item
CL.WFR382). Extra full
score. Composed 2014.
Duration 4 minutes, 49
seconds. C.L. Barnhouse
#011-4308-01. Published
by C.L. Barnhouse
(CL.011-4308-01).
Legend of
Crystal Lake opens slowly
with haunting and
mysterious tonal mixture
of woodwinds and solo
trumpet. Quickly gaining
energy the piece launches
into a forceful woodwind
rhythmic statement
punctuated by brass and
percussion. A lyrical
¾ middle section
passes a delightful
melody between each choir
of instruments. The fresh
and unique harmonies
combined with the
rhythmic excitement will
make this musical journey
a favorite of your
students and your
audiences. A wonderful
choice for contest!
About C.L.
Barnhouse Command
Series The
Barnhouse Command Series
includes works at grade
levels 2, 2.5, and 3.
This series is designed
for middle school and
junior high school bands,
as well as high school
bands of smaller
instrumentation or
limited experience.
Command Series
publications have a
slightly larger
instrumentation than the
Rising Band Series, and
are typically of larger
scope, duration, and
musical content. $7.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Tale of the Sword Orchestre d'harmonie - Facile Peters
Concert Band - Grade 2 SKU: PE.TSGFX004 Composed by Tyler S. Grant. 5 or ...(+)
Concert Band - Grade 2
SKU: PE.TSGFX004
Composed by Tyler S.
Grant. 5 or More; Mixed
Instruments - Flexible
Instrumentation;
Performance Music
Ensemble; Quartet; Single
Titles; Solo Small
Ensembles. Score and
Part(s). Edition Peters
#98-TSGFX004. Published
by Edition Peters
(PE.TSGFX004). UPC:
038081593487. Intro
duce or reinforce 6/8
time while portraying the
Viking conquests with
Tyler S. Grant's Tale of
the Sword! Using minimal
rhythmic motivic
material, this work
creates an epic and
cinematic soundscape.
Students get to create
the sounds of ocean waves
as driving ostinatos
propel listeners to
dramatic musical scenes.
Supplemental Rhythm &
Melody Sheets are
included to make the most
of your students' journey
into 6/8. Intense and
extremely engaging!
Arranged for flexible
instrumentation.
O
riginal Item#:
TSG-FX004. $75.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Escale Harpe [Conducteur et Parties séparées] - Intermédiaire FLEX Editions
1 Solo Harp - Grade 4 SKU: FL.FX073669 Composed by Max Mereaux. Original ...(+)
1 Solo Harp - Grade 4
SKU: FL.FX073669
Composed by Max Mereaux.
Original Composition.
Classical, Educational.
Score and Set of Parts. 5
pages. Duration 3
minutes, 55 seconds. FLEX
Editions #FX073669.
Published by FLEX
Editions (FL.FX073669).
This
composition on exotic
modes is an invitation to
a journey to an imaginary
place. - Max MEREAUX ; A
piece that can be played
from 7 years of Harp
practice ; Instruments: 1
Solo Harp; Difficuly
Level: Grade 4. $9.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Silence Overwhelmed Orchestre d'harmonie [Conducteur] - Intermédiaire FJH
Concert Band Symphonic Band - Grade 5 SKU: FJ.B1429S Score Only. C...(+)
Concert Band Symphonic
Band - Grade 5 SKU:
FJ.B1429S Score
Only. Composed by
Brian Balmages. Concert
Band. FJH Symphonic Band.
Form: Chorale. Score.
Duration 5:30. The FJH
Music Company Inc
#98-B1429S. Published by
The FJH Music Company Inc
(FJ.B1429S).
English. This
mature lyrical work uses
complex harmonies and
textures amidst a sea of
colors and timbres. Great
opportunities for chamber
playing exist throughout,
with solos provided for
oboe (cued elsewhere) and
trumpet. From the softest
and darkest of sounds to
the most powerful and
soaring lines, this work
is certain to take you on
an incredible emotional
journey.
About FJH
Symphonic
Band Appro
priate for accomplished
high school, college, and
professional groups.
Includes expanded
instrumentation and
ranges. Grades 4 - 5 $6.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
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