Vistas. Composed
by Shulamit Ran. Set of
Score and Parts. With
Standard notation. 42 +
112 pages. Duration 25
minutes. Theodore Presser
Company #114-40698.
Published by Theodore
Presser Company
(PR.114406980).
UPC:
680160010806.
Shula
mit Ran’s second
string quartet, subtitled
“Vistas,â€
occupies a large canvas
that is cast in a
traditional fourmovement
mold, where the outer
movements present,
explore, and later return
to the work’s
principal musical
materials, surrounding a
slow movement and
scherzo-type third
movement with a trio. In
addition to tempo-based
titles, the individual
movements have subtitles
that are evocative of
each movement’s
character, as follows: I.
Concentric: from the
inside out II. Stasis
III. Flashes IV.
Vistas. My second
string quartet,
“Vistasâ€, is
a work cast in a
traditional four-movement
formal mold, with the
outer movements,
presenting and later
returning to the
work’s principal
musical materials,
surrounding a slow
movement and a
scherzo-type third
movement.While the four
movements’
“properâ€
names -- Maestoso con
forza, Lento, Scherzo
impetuoso, and
Introduzione; Maestoso e
grande – give some
indication of the general
character of the
individual movements, I
have also subtitled, less
formally, each movement
as follows:Â 1)
Concentric:Â from the
inside out 2)Â
Stasis 3) FlashesÂ
4) Vista. The images
evoked by these titles
tell one, I think, a bit
more about the inner
workings of the
quartet.In the first
movement, a prominently
presented opening pitch
(E) reveals itself, as
the movement unfolds, to
be a center of gravity
from which ever-growing
cycles of activity
gradually evolve.Â
While various important
themes come into being as
the movement progresses,
their impact on the
listener has, I believe,
a great deal to do with
their juxtaposition and
relationship to the
initial central point of
gravity.Stasis is, as the
name implies, a movement
where activity seems, at
times, almost
suspended. Being
also, as Webster’s
Dictionary reminds us,
“a state of static
balance and equilibrium
among opposing tendencies
or forces,†it
develops various
materials, including ones
from the first movement,
without bringing them to
points of
resolution.Flashes is
short and very fast,
evoking in my mind the
quick shimmer of
fireflies, a
“sudden burst of
lightâ€, but also a
“brief
timeâ€. Perhaps,
even, a
“smile�Final
ly, the last movement,
Vista, is not only
“a view or
outlookâ€, but also
“a comprehensive
mental view of a series
of remembered or
anticipated
events.â€Â After
a brief recall of the
opening of the second
movement, this movement
brings back all the
important themes of the
first movement in their
original order. But
just as going back can
never really mean going
back in time, the
movement is much more
than recapitulatory.Â
By cutting through
previously transitory
passages and presenting
the main ideas in a
fashion more direct yet
more evolved, it also
sheds new light on
earlier events, offering
a retrospective, synoptic
view of the first
movement as it brings to
culmination the work as a
whole. “Vistasâ
€ was commissioned by
C. Geraldine Freund for
the Taneyev String
Quartet of what was then
Leningrad. It was the
first commission given in
this country to a Soviet
chamber ensemble since
the 1985 cultural
exchange accord between
the Soviet Union and the
United States.
Fingerpicking guitar - Intermediate SKU: MB.95266M Composed by Stefan Gro...(+)
Fingerpicking guitar -
Intermediate
SKU:
MB.95266M
Composed by
Stefan Grossman. Solos,
Celtic / Irish, Perfect
binding. Style. Book and
online audio. 160 pages.
Mel Bay Publications, Inc
#95266M. Published by Mel
Bay Publications, Inc
(MB.95266M).
ISBN
9780786695546. 8.75 x
11.75
inches.
Presenting
45 melodies composed by
the blind Irish bard and
harpist Turlough OCarolan
arranged by such guitar
greats as Dave Evans,
Davey Graham, El McMeen,
Duck Baker and many
others. As these melodies
lend themselves
particularly well to
guitar settings,
OCarolans compositions
have captured the
imagination of guitarists
world-wide. This
compilation divides the
tunes into three
categories: Airs and
Dance Tunes, Tunes for
Patronage, and Laments.
Written in standard
notation and tablature.
Includes access to online
audio.
Piano - Grade 5 SKU: FA.MFCD017B By Nicolas Horvath. By Claude Debussy an...(+)
Piano - Grade 5
SKU:
FA.MFCD017B
By
Nicolas Horvath. By
Claude Debussy and Robert
Orledge. Rediscoverd
Debussy. Christmas.
Score. Musik Fabrik
#MFCD017B. Published by
Musik Fabrik
(FA.MFCD017B).
8.27 x
11.69
inches.
Contains Le
Roi Lear:
Prelude,Premiere Fanfare,
and La Mort de
Cordelia,Toomai des
elephants, Rodrigue et
Chimene: Prelude a l'acte
1p. Le Martyre de Saint
Sebastien: La Passion ,
and No-ja-li ou Le Palais
du Silence
From
Robert Orledge's
notes:
My interest
in the wonderful music of
Claude Debussy began in
the 1980s when I
researched and published
a book with Cambridge
University Press entitled
Debussy and the Theatre.
During the course of my
studies in Paris, I was
amazed to discover that
Debussy planned over 50
theatrical works but only
finished two of these
entirely by himself (the
opera Pelleas et
Melisande in 1893-1902
and the ballet Jeux for
Diaghilev's Ballets
Russes in 1912-13). Of
the rest, many were never
started musically (like
Siddartha and Orphee-roi
with the Oriental scholar
Victor Segalen, 1907);
some had a few
tantalising sketches
(like the Edgar Allan Poe
opera Le Diable dans le
beffroi, 1902-03); some
were half-finished (like
his other Poe opera La
Chute de la Maison Usher,
1908-17); while others
were musically complete
but had their
orchestrations completed
by other composers (like
Khamma, by Charles
Koechlin, 1912-13; or Le
Martyre de Saint
Sebastien and La Boite a
joujoux by his 'angel of
corrections' ['l'ange des
Corrections'] Andre
Caplet in 1911 and 1919
respectively).
For
it has to be admitted
that what some scholars
call Debussy's
'compulsive achievement'
could equally well be
viewed as laziness,
especially as far as the
minute detail required
for calligraphing his
orchestral scores was
concerned. It was as if
creating the music itself
was of greater importance
than controlling its
final sound, even if
Debussy was an
imaginative orchestrator
when he found the time
and energy to do it. It
also seems true that
Debussy also preferred
inventing ideas to
turning them into
complete pieces. However,
despite the lack of
detail in many of his
sketches (missing clefs,
key signatures, dynamics,
phrasing, etc.) the notes
themselves are
surprisingly accurate,
whether or not they can
be compared with a later
draft. Thus, a large
number of sketches exist
for his Chinese ballet
No-ja-li ou Le Palais du
Silence and it is not too
difficult to see which
parts of Georges de
Feure's 1913 scenario
(see below) inspired
which ideas. But Debussy
hardly made any attempt
to join them together
after the first few
bars.
It was
usually up to his
publisher, Jacques
Durand, to find solutions
when Debussy risked a
breach of contract.
Debussy was supposed to
supervise the
orchestrations completed
by others, but this
supervision was usually
very light and restricted
to quiet, sensitive
moments in which problems
were easier to spot. Far
from jealously guarding
every one of his created
notes, as Ravel did,
Debussy once even went as
far as to ask Koechlin to
'write a ballet for him
that he would sign' on 26
March 1914 when he was
hard-pressed to fulfil
his lucrative contract
for No-ja-li with Andre
Charlot at the Alhambra
Theatre in London. In the
end, Debussy (through
Durand) sent Charlot the
symphonic suite Printemps
instead, whose
orchestration had been
completed by Henri Busser
in the Spring of
1912.
So, when I
was offered early
retirement as Professor
of Music at Liverpool
University in 2004, I
seized the opportunity it
would give me to spend
time trying to
reconstruct some of
Debussy's lost potential
masterpieces from his
existing sketches and
drafts--then
orchestrating them in
Debussy's style when this
was appropriate. I had
begun this mission in
2001 with the most
promising project, the
missing parts of Scene 2
of La Chute de la Maison
Usher and the sheer joy
it gave me at every stage
persuaded me to tackle
other projects,
especially when Debussy
experts were unable to
identify exactly where I
took over from Debussy
(and vice versa) in
Usher.
By Stanley Yates. For Guitar (Classical). solos. Stanley Yates Gtr. Classic. Lev...(+)
By Stanley Yates. For
Guitar (Classical).
solos. Stanley Yates Gtr.
Classic. Level:
Beginning-Intermediate.
Book. Size 8.75x11.75. 88
pages. Published by Mel
Bay Publications, Inc.
Rock'N Dollard Orchestre d'harmonie - Facile Martin, Robert
Concert band - Grade 2 SKU: RM.SHEL04730-BA Composed by William Sheller. ...(+)
Concert band - Grade 2
SKU:
RM.SHEL04730-BA
Composed by William
Sheller. Arranged by
Thierry Muller. French
variety. Orchestra. Full
set. Duration 4 minutes,
10 seconds. Editions
Robert Martin
#SHEL04730-BA. Published
by Editions Robert Martin
(RM.SHEL04730-BA).
Concert Band/Harmonie,
Children's Choir and
Cello - Grade 4
SKU:
BT.DHP-1115053-140
...dann wachsen
Flügel deinen
Worten. Composed by
Marco Putz. De Haske
Manuscript. Concert
Piece. Score Only.
Composed 2011. 51 pages.
De Haske Publications
#DHP 1115053-140.
Published by De Haske
Publications
(BT.DHP-1115053-140).
A3 (420X297)
inches.
...Then
Thy Words Will Take
Wing... is a four
movement composition
based upon drawings made
by Russian painter
Zinovii Tolkatchev
(1903-1970), who served
as official artist during
the liberation of
concentration camps in
Auschwitz. After the war,
Tolkatchev’s works
were published and now
tour the world as a
travelling exhibition.
This composition is a
tribute to the victims of
the Holocaust who still
remain nameless, and is a
powerful piece to include
in any concert
programme.
“
…dan zullen uw
woorden vleugels
krijgen...†is een
vierdelige compositie
gebaseerd op vier
tekeningen van de
Wit-Russische schilder
Zinovii Tolkatchev
(1903-1970). Tijdens de
bevrijding van de
concentratiekampen
Auschwitz en Majdanekwas
Tolkatchev bij het Rode
Leger in dienst als
tekenaar. Na de oorlog
verschenen de tekening
van Tolkatchevs in
albumvorm en momenteel
reizen ze de wereld over,
te bekijken bij
tentoonstellingen. De
compositie is een
eerbetoonaan alle
naamloze slachtoffers van
de Holocaust en grijpt
daarbij ook terug op de
hoofdgedachte van de Yad
Vashems, het gedenkbeeld
van de Holocaust in
Jeruzalem.
Für
Blasorchester,
Violoncello und
Kinderchor...dann wachsen
Flügel Deinen
Worten...“ ist eine
viersätzige
Komposition nach
Zeichnungen des
weißrussischen Malers
Zinovii Tolkatchev
(1903-1970), der bei der
Befreiung der
Konzentrationslager
Auschwitz und Majdanek in
der Roten Armee als
Zeichner diente. Nach dem
Krieg wurden seine Bilder
veröffentlicht und
wandern jetzt in einer
Ausstellung um die Welt.
Diese Komposition will an
die vielen namenlos
gebliebenen Opfern des
Holocaust erinnern und
damit einen der
Leitgedanken Yad Vashems,
der
Holocaust-Gedenkstätte
in Jerusalem,
vermitteln.
Un
brano in quattro
movimenti che si ispirano
a quattro dipinti del
pittore bielorusso
Zinovii Tolkachev
(1903-1970) che servì
nell’Armata Rossa
come illustratore durante
la liberazione dei campi
di concentramento di
Auschwitz e Majdanek. Il
suo compito era
realizzare schizzi delle
atrocit commesse. In
seguito, i figli di
Tolkachev decisero di
donare la serie di
disegni al Memorial Yad
Vashem di Gerusalemme,
disegni ora oggetto di
una mostra
itinerante.
Bb/Eb Bass TC/BC - advanced SKU: BT.DHP-1043739-400 Patrick Sheridan pres...(+)
Bb/Eb Bass TC/BC -
advanced
SKU:
BT.DHP-1043739-400
Patrick Sheridan
presents. Studies and
Exercises. Book with CD.
Composed 2004. 76 pages.
De Haske Publications
#DHP 1043739-400.
Published by De Haske
Publications
(BT.DHP-1043739-400).
ISBN 9789043121118.
International.
This
book fills previous void
caused by the limited
selection of study books
to work on sound and
technique. This book
contains 17 fantastic
â??performance
studiesâ?, by
composers including
Martin Ellerby, Allen
Vizzutti and Philip
Sparke, that develop
sound and technique while
providing a rich
environment for the study
of style. The
accompanying demo CD
provides you with an
interpretation of these
studies by Patrick
Sheridan.
Jarenlang is er
voor tubaspelers een
beperkt aanbod geweest
van studieboeken voor het
oefenen van klank en
techniek, hoewel de
boeken die er waren
uitstekend geschikt
bleken om deze muzikale
elementen te helpen
ontwikkelen. Veel vande
vroegere boeken misten
echter kwaliteit met
betrekking tot de
muzikale inhoud binnen
een scala van stijlen.
Performance
Studies, een vervolg
op Style Studies,
biedt de gevorderde
tubaspeler muziek in
diverse stijlen,speciaal
geschreven voor
tubaspelers door moderne
componisten.
Als
Fortsetzung von Style
Studies stattet
Performance
Studies den
fortgeschrittenen
Tubisten mit Musik in
einer Vielzahl an Stilen
aus, die von modernen
Komponisten, wie Philip
Sparke, Jan Van der
Roost, Ferrer Ferran,
Thomas Doss und viele
mehr, speziell für die
Tuba geschrieben wurde!
Auf der CD gibt Patrick
Sheridan ein
Interpretationsbeispiel
aller Stücke.
Anspruchsvolle
Studienliteratur, die
sich auch bei Auftritten
hören lassen
kann.
This new book
fills previous void
caused by the limited
selection of study books
to work on sound and
technique. This book
contains 17 fantastic
â??performance
studiesâ?, by
composers including
Martin Ellerby, Allen
Vizzutti and Philip
Sparke, that develop
sound and technique while
providing a rich
environment for the study
of style. The
accompanying demo CD
provides you with an
interpretation of these
studies by Patrick
Sheridan.
Dark Finish Cajon SKU: HL.151266 Accessory. Accessories. Hal Leonard #CB0...(+)
Dark Finish Cajon
SKU:
HL.151266
Accessory.
Accessories. Hal Leonard
#CB002. Published by Hal
Leonard (HL.151266).
UPC: 888680088378.
1.5x14.5x1.195
inches.
Created by
percussionist Paul
Jennings, Cajon
Brushâ„¢ are brushes
designed and built for
the cajon. After
extensive research and
development, these
brushes give the cajon a
rich brushed sound while
also allowing the player
to achieve warm low
tones.One-inch in
diameter, the natural
wood handles not only
look great with your
cajon, but also give you
the right feel and
ability to play with the
best technique. Features:
• Hardwood oak
handles • 1-inch
diameter • Optimum
bristle density for both
high and low tones
• Sliding O-ring on
each brush to control the
sound • Premium
bristle materials give
the brushes a longer life
• Designed and
built for the cajon
• Also works great
with other drums and
percussion • Each
pair comes with free
access to online lessons
PlayCajon.com.
For Violin and
Orchestra. Composed
by Behzad Ranjbaran.
Contemporary. Large
Score. With Standard
notation. Composed 1994.
144 pages. Duration 31
minutes. Theodore Presser
Company #416-41366L.
Published by Theodore
Presser Company
(PR.41641366L).
UPC:
680160585755.
From
my early years studying
violin at the Tehran
Music Conservatory, I was
captivated by the sound
of the kamancheh, an
ancient Persian bowed
instrument considered one
of the ancestors to the
modern violin. I was
pleased when the National
Endowment for the Arts
awarded me a grant to
write a violin concerto
as it provided me with an
occasion to rekindle my
fascination with the
kamancheh. The notion of
writing a violin concerto
that would incorporate
the power and brilliance
of a modern instrument
with the delicate and
lyrical character of an
ancient one was simply
irresistible. Moreover,
the inspiration from the
kamancheh also informed
my use of Persian modes,
melodic, and rhythmic
figures. The notes of the
violins open strings (G,
D, A, E) also influenced
many of the melodic and
harmonic elements of my
violin concerto. The
opening tutti is mostly
based on intervals of a
perfect 4th and 5th. The
primary material for each
movement incorporates
notes of two of the open
strings of the violin,
creating a three-note
melodic motif as the
basis of themes: 1 st
movement: A-D-A 2nd
movement: D-G-D 3rd
movement: E-A-E The
overall structure of the
concerto is organic and
cyclical, as themes are
shared between the three
movements. For example,
the main musical idea of
the third movement is a
transformation of the
first movements primary
theme. While the
movements share similar
musical materials, each
one is defined by
distinguishing
characters. The first
movement is conflicted;
alternating between
sections of unabashed
lyricism and unforgiving
ferocity. The second
movement is haunting,
mysterious, and
expressive with long
melodic lines that vary
continuously. It moves
through different moods
and characters including
a reimagining of a
traditional Persian
wedding tune played by
the orchestra (m. 98).
The third movement is
festive in character and
features much brilliant
passagework for the solo
violin. At the climax of
this movement, themes
from the previous
movements re-emerge
simultaneously with
greater intensity,
propelling the concerto
to an energetic finale.
The Concerto was composed
in 1994 and is dedicated
to Joshua Bell. From
my early years studying
violin at the Tehran
Music Conservatory, I was
captivated by the sound
of the kamancheh, an
ancient Persian bowed
instrument considered one
of the ancestors to the
modern violin. I was
pleased when the National
Endowment for the Arts
awarded me a grant to
write a violin concerto
as it provided me with an
occasion to rekindle my
fascination with the
kamancheh. The notion of
writing a violin concerto
that would incorporate
the power and brilliance
of a modern instrument
with the delicate and
lyrical character of an
ancient one was simply
irresistible. Moreover,
the inspiration from the
kamancheh also informed
my use of Persian modes,
melodic, and rhythmic
figures. The notes of the
violinas open strings (G,
D, A, E) also influenced
many of the melodic and
harmonic elements of my
violin concerto. The
opening tutti is mostly
based on intervals of a
perfect 4th and 5th. The
primary material for each
movement incorporates
notes of two of the open
strings of the violin,
creating a three-note
melodic motif as the
basis of themes: 1 st
movement: A-D-A 2nd
movement: D-G-D 3rd
movement: E-A-E The
overall structure of the
concerto is organic and
cyclical, as themes are
shared between the three
movements. For example,
the main musical idea of
the third movement is a
transformation of the
first movementas primary
theme. While the
movements share similar
musical materials, each
one is defined by
distinguishing
characters. The first
movement is conflicted;
alternating between
sections of unabashed
lyricism and unforgiving
ferocity. The second
movement is haunting,
mysterious, and
expressive with long
melodic lines that vary
continuously. It moves
through different moods
and characters including
a reimagining of a
traditional Persian
wedding tune played by
the orchestra (m. 98).
The third movement is
festive in character and
features much brilliant
passagework for the solo
violin. At the climax of
this movement, themes
from the previous
movements re-emerge
simultaneously with
greater intensity,
propelling the concerto
to an energetic finale.
The Concerto was composed
in 1994 and is dedicated
to Joshua Bell. From
my early years studying
violin at the Tehran
Music Conservatory, I was
captivated by the sound
of the kamancheh, an
ancient Persian bowed
instrument considered one
of the ancestors to the
modern violin. I was
pleased when the National
Endowment for the Arts
awarded me a grant to
write a violin concerto
as it provided me with an
occasion to rekindle my
fascination with the
kamancheh. The notion of
writing a violin concerto
that would incorporate
the power and brilliance
of a modern instrument
with the delicate and
lyrical character of an
ancient one was simply
irresistible. Moreover,
the inspiration from the
kamancheh also informed
my use of Persian modes,
melodic, and rhythmic
figures. The notes of the
violin's open strings (G,
D, A, E) also influenced
many of the melodic and
harmonic elements of my
violin concerto. The
opening tutti is mostly
based on intervals of a
perfect 4th and 5th. The
primary material for each
movement incorporates
notes of two of the open
strings of the violin,
creating a three-note
melodic motif as the
basis of themes: 1 st
movement: A-D-A 2nd
movement: D-G-D 3rd
movement: E-A-E The
overall structure of the
concerto is organic and
cyclical, as themes are
shared between the three
movements. For example,
the main musical idea of
the third movement is a
transformation of the
first movement's primary
theme. While the
movements share similar
musical materials, each
one is defined by
distinguishing
characters. The first
movement is conflicted;
alternating between
sections of unabashed
lyricism and unforgiving
ferocity. The second
movement is haunting,
mysterious, and
expressive with long
melodic lines that vary
continuously. It moves
through different moods
and characters including
a reimagining of a
traditional Persian
wedding tune played by
the orchestra (m. 98).
The third movement is
festive in character and
features much brilliant
passagework for the solo
violin. At the climax of
this movement, themes
from the previous
movements re-emerge
simultaneously with
greater intensity,
propelling the concerto
to an energetic finale.
The Concerto was composed
in 1994 and is dedicated
to Joshua Bell. From
my early years studying
violin at the Tehran
Music Conservatory, I was
captivated by the sound
of the kamancheh, an
ancient Persian bowed
instrument considered one
of the ancestors to the
modern violin. I was
pleased when the National
Endowment for the Arts
awarded me a grant to
write a violin concerto
as it provided me with an
occasion to rekindle my
fascination with the
kamancheh. The notionof
writing a violin concerto
that would incorporate
the power and brilliance
of a modern instrument
with the delicate and
lyrical character of an
ancient one was simply
irresistible. Moreover,
the inspiration from the
kamancheh also informed
my use of Persian modes,
melodic, and rhythmic
figures.The notes of the
violin’s open
strings (G, D, A, E) also
influenced many of the
melodic and harmonic
elements of my violin
concerto. The opening
tutti is mostly based on
intervals of a perfect
4th and 5th. The primary
material for each
movement incorporates
notes of two of the open
strings of the violin,
creating a three-note
melodic motif as the
basis of themes:1 st
movement: A-D-A2nd
movement: D-G-D3rd
movement: E-A-EThe
overall structure of the
concerto is organic and
cyclical, as themes are
shared between the three
movements. For example,
the main musical idea of
the third movement is a
transformation of the
first movement’s
primary theme. While the
movements share similar
musical materials, each
one is definedby
distinguishing
characters. The first
movement is conflicted;
alternating between
sections of unabashed
lyricism and
unforgivingferocity. The
second movement is
haunting, mysterious, and
expressive with long
melodic lines that vary
continuously. It moves
through different moods
and characters including
a reimagining of a
traditional Persian
wedding tune played by
the orchestra (m. 98).
The third movement is
festive in character and
features much brilliant
passagework for the solo
violin. At the climax of
this movement, themes
fromthe previous
movements re-emerge
simultaneously with
greater intensity,
propelling the concerto
to an energetic finale.
The Concerto was composed
in 1994 and is dedicated
to Joshua Bell.
Rock'N Dollard Orchestre d'harmonie - Facile Martin, Robert
Concert band - Grade 2 SKU: RM.SHEL04730-CO Composed by William Sheller. ...(+)
Concert band - Grade 2
SKU:
RM.SHEL04730-CO
Composed by William
Sheller. Arranged by
Thierry Muller. French
variety. Orchestra.
Conductor's score.
Duration 4 minutes, 10
seconds. Editions Robert
Martin #SHEL04730-CO.
Published by Editions
Robert Martin
(RM.SHEL04730-CO).
Choral SSAA choir SKU: CF.CM9570 Composed by John Ratledge. Psalms 47 fro...(+)
Choral SSAA choir
SKU:
CF.CM9570
Composed by
John Ratledge. Psalms 47
from the Bible. Jbc.
Performance Score. With
Standard notation. 8
pages. Duration 1 minute,
44 seconds. Carl Fischer
Music #CM9570. Published
by Carl Fischer Music
(CF.CM9570).
ISBN
9781491153581. UPC:
680160911080. 6.75 x 10.5
inches. Key: Bb major.
Latin. Psalms 47 from the
Bible.
Psalm 47
was commissioned by
the Sigma Alpha Iota
Chapter of Hardin Simmons
University (Abilene,
Texas), Suzanne Watts,
conductor, back in 1978.
I was a graduate student
at the time, and the
premiere was a great
success. Consequently,
the work has received
many performances since
that time; however, it
remained unpublished
until now. In a modified
tripartite structure, the
psalmist uses the
imperative verb tense as
a command to the people:
(you clap), (you shout),
(you sing) to exemplify
that praise and joy
should be public,
intelligent, cheerful,
and constant. The
psalmist admonishes that
praise and joy are
visual, aural, palpable,
and most definitely
contagious. The
contrasting slow section
with a soprano solo
should be like an
accompanied arioso, where
the soloist is supported
by lush, major/minor
seventh chords in
inversion (accompanied
recitative). The soloist
actually becomes the
narrator in this section,
the preacher or deliverer
of the news that the
people will be protected,
sustained and blessed.
The rapid tempo of the
A-section returns and the
staggered entrances in
the last section/coda
indicate the ecstasy
knowing that belief can
manifest itself in
individualized,
energized, emotional
responses that can change
the world. Rise up and
claim the power of
JOY!. Psalm 47A
was commissioned by
the Sigma Alpha Iota
Chapter of Hardin Simmons
University (Abilene,
Texas), Suzanne Watts,
conductor, back in 1978.
I was a graduate student
at the time, and the
premiere was a great
success. Consequently,
the work has received
many performances since
that time; however, it
remained unpublished
until now. In a modified
tripartite structure, the
psalmist uses the
imperative verb tense as
a command to the people:A
(you clap), (you shout),
(you sing) to exemplify
that praise and joy
should be public,
intelligent, cheerful,
and constant. The
psalmist admonishes that
praise and joy are
visual, aural, palpable,
and most definitely
contagious. The
contrasting slow section
with a soprano solo
should be like an
accompanied arioso, where
the soloist is supported
by lush, major/minor
seventh chords in
inversion (accompanied
recitative). The soloist
actually becomes the
narrator in this section,
the preacher or deliverer
of the news that the
people will be protected,
sustained and blessed.
The rapid tempo of the
A-section returns and the
staggered entrances in
the last section/coda
indicate the ecstasy
knowing that belief can
manifest itself in
individualized,
energized, emotional
responses that can change
the world. Rise up and
claim the power of
JOY!. Psalm 47 was
commissioned by the Sigma
Alpha Iota Chapter of
Hardin Simmons University
(Abilene, Texas), Suzanne
Watts, conductor, back in
1978. I was a graduate
student at the time, and
the premiere was a great
success. Consequently,
the work has received
many performances since
that time; however, it
remained unpublished
until now. In a modified
tripartite structure, the
psalmist uses the
imperative verb tense as
a command to the people:
(you clap), (you shout),
(you sing) to exemplify
that praise and joy
should be public,
intelligent, cheerful,
and constant. The
psalmist admonishes that
praise and joy are
visual, aural, palpable,
and most definitely
contagious. The
contrasting slow section
with a soprano solo
should be like an
accompanied arioso, where
the soloist is supported
by lush, major/minor
seventh chords in
inversion (accompanied
recitative). The soloist
actually becomes the
narrator in this section,
the preacher or deliverer
of the news that the
people will be protected,
sustained and blessed.
The rapid tempo of the
A-section returns and the
staggered entrances in
the last section/coda
indicate the ecstasy
knowing that belief can
manifest itself in
individualized,
energized, emotional
responses that can change
the world. Rise up and
claim the power of
JOY!. Psalm 47Â was
commissioned by the Sigma
Alpha Iota Chapter of
Hardin Simmons University
(Abilene, Texas), Suzanne
Watts, conductor, back in
1978. I was a graduate
student at the time, and
the premiere was a great
success. Consequently,
the work has received
many performances since
that time; however, it
remained unpublished
until now.In a modified
tripartite structure, the
psalmist uses the
imperative verb tense as
a command to the
people:Â (you clap),
(you shout), (you sing)
to exemplify that praise
and joy should be public,
intelligent, cheerful,
and constant. The
psalmist admonishes that
praise and joy are
visual, aural, palpable,
and most definitely
contagious. The
contrasting slow section
with a soprano solo
should be like an
accompanied arioso, where
the soloist is supported
by lush, major/minor
seventh chords in
inversion (accompanied
recitative). The soloist
actually becomes the
narrator in this section,
the preacher or deliverer
of the news that the
people will be protected,
sustained and blessed.
The rapid tempo of the
A-section returns and the
staggered entrances in
the last section/coda
indicate the ecstasy
knowing that belief can
manifest itself in
individualized,
energized, emotional
responses that can change
the world.Rise up and
claim the power of
JOY!
Chorale SATB [Vocal Score] Oxford University Press
A Clare Benediction Composed by John Rutter A Prayer Of St Richard Of Chicheste...(+)
A Clare Benediction
Composed by John Rutter
A Prayer Of St Richard Of
Chichester Composed by L.
J. White
Alleluia Composed by
William Boyce
Author Of Life Divine
Composed by Cecilia
Mcdowall
Be Still For The Presence
Of The Lord Composed by
David Evans; Arranged by
Richard Shephard
Bread Of The World
Composed by Scottish
Traditional; Arranged by
Alan Bullard
Brightest And Best
Composed by Malcolm
Archer
Christ Is The World's
True Light Composed by W.
K. Stanton
Christ The Lord Is Risen
Again Composed by Richard
Shephard
Christians Shout For Joy
And Gladness Composed by
Johann Sebastian Bach
Come Down, O Love Divine
Composed by Hilary
Tadman-robins
Plainsong: Creator Of The
Stars Arranged by John
Scott
Drop, Drop Slow Tears
Composed by Kerry Andrew
Evening Service In C
Composed by Frank Henry
Shera
Fairest Lord Jesus
Composed by Martin How
Gabriel To Mary Came
Composed by 14th Century
Irish; Arranged by Alan
Bullard
Give Thanks To God
Composed by Botswanan
Traditional; Arranged by
Alan Bullard
God Be In My Head
Composed by Armstrong
Gibbs
God In Mine Eternity
Composed by Alan Bullard
God So Loved The World
Composed by Alan Bullard
God That Madest Earth And
Heaven Composed by Welsh
Traditional; Arranged by
David Thorne
Hail, Virgin Mary (Ave
Maria) Composed by Franz
Liszt
Hark, The Glad Sound
Composed by David Thorne
Harvest Carol Composed by
Ian Ray
He Is Risen Composed by
Cecil Cope
Hide Not Thy Face
Composed by Richard
Farrant
see all...
Holy, Holy, Holy, Holy Is
The Lord Composed by
Franz Schubert; Arranged
by Alan Bullard
Holy, Holy, Holy! Lord
God Almighty Composed by
Alan Smith
Hosanna To The Son Of
David Composed by Georg
Philipp Telemann
Irish Blessing Composed
by Bob Chilcott
Jesu, Lamb Of God,
Redeemer (Ave Verum
Corpus) Composed by
Edward Elgar
Jesus Christ The Apple
Tree Composed by English
Traditional; Arranged by
Alan Bullard
Jubilate (Let Us Praise
You) Composed by Wolfgang
Amadeus Mozart
Lamb Of God (Agnus Dei)
Composed by Samuel Webbe
Let All Mortal Flesh Keep
Silence Composed by
Stephen Cleobury
Like The Murmur Of The
Dove's Song Composed by
Alan Smith
Lord, In Thy Mercy
Composed by Felix
Bartholdy Mendelssohn
Magnificat And Nunc
Dimittis In C Composed by
F. H. Shera
Never Weather-beaten Sail
Composed by Thomas
Campion; Arranged by Alan
Bullard
Now The Green Blade
Riseth Composed by French
Traditional; Arranged by
Alan Bullard
O Breath Of Life Composed
by English Traditional;
Arranged by Alan Bullard
O For A Closer Walk With
God Composed by Charles
Villiers Stanford
O God Of Mercy Composed
by Simon Lole
O God, Your Goodness
Composed by Ludwig Van
Beethoven
O Praise God In His
Holiness Composed by John
Weldon
Panis Angelicus Composed
by Cesar Auguste Franck
Peace Between Nations
Composed by Christopher
Wiggins
Pie Jesu Composed by
Gabriel Faure
Praise To The Trinity
Composed by Hildegard Of
Bingen
Psalm 150 Composed by Bob
Chilcott
Rejoice In The Lord
Always Composed by
Christopher Wiggins
Shout For Joy Composed by
African Traditional;
Arranged by Alan Bullard
Star Of Wonder Composed
by Alan Bullard
The Eternal Gifts Of
Christ The King Composed
by Guidetti/henry G. Ley
The Heavens Sing Praises
To God Composed by Ludwig
Van Beethoven
The Lord Ascendeth
Composed by Michael
Praetorius
The Lord Bless You And
Keep You Composed by John
Rutter
The Lord's My Shepherd
Composed by Bob Chilcott
The Peace Of God Composed
by Alan Bullard
The True And Living Bread
Composed by David
Blackwell
There Is No Rose Composed
by Andrew Smith
Thou Visitest The Earth
Composed by Maurice
Greene
To Be A Pilgrim Composed
by Nick Burt
Were You There? Composed
by American Spiritual;
Arranged by Peter Hunt
Where All Charity And
Love Are (Ubi Caritas)
Arranged by Alan Bullard
Wondrous Cross Composed
by Philip Wilby
The Oxford Book of
Flexible Anthems by Alan
Bullard (1947-). For
flexible instrumentation.
Mixed Voices. Sacred.
Paperback. 296 pages.
Published by Oxford
University Press
Let's Play Tuba Tuba [Partition + CD] - Intermédiaire De Haske Publications
Bb Bass TC/BC - intermediate SKU: BT.DHP-1043591-400 With Patrick Sher...(+)
Bb Bass TC/BC -
intermediate
SKU:
BT.DHP-1043591-400
With Patrick
Sheridan. Composed by
Dizzy Stratford. Patrick
Sheridan presents.
Educational Tool. Book
with CD. Composed 2004.
56 pages. De Haske
Publications #DHP
1043591-400. Published by
De Haske Publications
(BT.DHP-1043591-400).
ISBN 9789043119580.
English-German-French-Dut
ch.
This volume
addresses all tuba
players who would like to
play the beautiful
melodic parts they hear
so often while playing in
a band. In this
play-along book you will
have the opportunity to
play 11 different
melodies in various
styles - mostly styles
found in pop music! This
book provides the
opportunity for the tuba
to be heard as a cool
instrument, while
enriching the tuba
playerâ??s musical
environment with melody,
rhythmic interest and
relatable styles. You are
about to be a part of a
rockâ??nâ?? roll band,
a ska band and even a
reggae
group!
Letâ??s
Play Tuba is bedoeld
voor alle tubaspelers die
graag de melodieuze
partijen willen spelen
die ze zo vaak horen bij
het spelen in een orkest.
Dit boek biedt de
mogelijkheid om elf
melodieën in
eigentijdse stijlen te
spelen.Hiermee is de tuba
te horen als een gaaf
instrument, dat boeiende
melodieën en ritmes
uit de rock-â??n-roll,
ska en zelfs reggae
geweldig laat klinken. Op
de cd - met voorbeeld- en
meespeeltracks - speelt
Patrick Sheridan de
stukkenvoor.
Le
tâ??s Play Tuba
richtet sich an alle
Tubaspieler, die gerne
auch einmal die
schönen Melodiestimmen
spielen würden, die
sie in ihrem Orchester
oder Ensemble so oft
hören. Dizzy Stratford
schrieb für dieses
Buch elf Melodien in
meist populären
Stilen. Die Demo- und
Mitspiel-Tracks, vom
Meister auf der Tuba
Patrick Sheridan
eingespielt, regen zu
eigenen Interpretationen
an. Mit Letâ??s Play
Tuba präsentiert
sich die Tuba einmal als
coolesâ??
Instrument!
Con
questi brani in stile
variegato, Letâ??s
Play Tuba permetter a
tutti i suonatori di tuba
e basso di essere
considerati dei veri
solisti.
Concert Band/Harmonie,
Children's Choir and
Cello - Grade 4
SKU:
BT.DHP-1115053-010
...dann wachsen
Flügel deinen
Worten. Composed by
Marco Putz. De Haske
Manuscript. Concert
Piece. Set (Score &
Parts). Composed 2011. De
Haske Publications #DHP
1115053-010. Published by
De Haske Publications
(BT.DHP-1115053-010).
9x12
inches.
...Then Thy
Words Will Take Wing...
is a four movement
composition based upon
drawings made by Russian
painter Zinovii
Tolkatchev (1903-1970),
who served as official
artist during the
liberation of
concentration camps in
Auschwitz. After the war,
Tolkatchev’s works
were published and now
tour the world as a
travelling exhibition.
This composition is a
tribute to the victims of
the Holocaust who still
remain nameless, and is a
powerful piece to include
in any concert
programme.
“
…dan zullen uw
woorden vleugels
krijgen...†is een
vierdelige compositie
gebaseerd op vier
tekeningen van de
Wit-Russische schilder
Zinovii Tolkatchev
(1903-1970). Tijdens de
bevrijding van de
concentratiekampen
Auschwitz en Majdanekwas
Tolkatchev bij het Rode
Leger in dienst als
tekenaar. Na de oorlog
verschenen de tekening
van Tolkatchevs in
albumvorm en momenteel
reizen ze de wereld over,
te bekijken bij
tentoonstellingen. De
compositie is een
eerbetoonaan alle
naamloze slachtoffers van
de Holocaust en grijpt
daarbij ook terug op de
hoofdgedachte van de Yad
Vashems, het gedenkbeeld
van de Holocaust in
Jeruzalem.
...dann
wachsen Flügel
Deinen Worten...“
ist eine viersätzige
Komposition nach
Zeichnungen des
weißrussischen Malers
Zinovii Tolkatchev
(1903-1970), der bei der
Befreiung der
Konzentrationslager
Auschwitz und Majdanek in
der Roten Armee als
Zeichner diente. Nach dem
Krieg wurden seine Bilder
veröffentlicht und
wandern jetzt in einer
Ausstellung um die Welt.
Diese Komposition will an
die vielen namenlos
gebliebenen Opfern des
Holocaust erinnern und
damit einen der
Leitgedanken Yad Vashems,
der
Holocaust-Gedenkstätte
in Jerusalem,
vermitteln.
Un
brano in quattro
movimenti che si ispirano
a quattro dipinti del
pittore bielorusso
Zinovii Tolkachev
(1903-1970) che servì
nell’Armata Rossa
come illustratore durante
la liberazione dei campi
di concentramento di
Auschwitz e Majdanek. Il
suo compito era
realizzare schizzi delle
atrocit commesse. In
seguito, i figli di
Tolkachev decisero di
donare la serie di
disegni al Memorial Yad
Vashem di Gerusalemme,
disegni ora oggetto di
una mostra
itinerante.
Eb/Bb Bass TC/BC - intermediate SKU: BT.DHP-1043600-400 Patrick Sheridan ...(+)
Eb/Bb Bass TC/BC -
intermediate
SKU:
BT.DHP-1043600-400
Patrick Sheridan
presents. Studies and
Exercises. Book with CD.
Composed 2004. 72 pages.
De Haske Publications
#DHP 1043600-400.
Published by De Haske
Publications
(BT.DHP-1043600-400).
ISBN 9789043119832.
9x12 inches.
International.
This
new book from De Haske
helps fill the need for
melodic unaccompanied
solos for the tuba. It
contains 16 wonderful
concert studies that
develop sound and
technique while providing
a rich environment for
the study of style. The
accompanying demo CD,
performed by Patrick
Sheridan, gives you an
idea of how it should be
done. This book is a must
for all developing tuba
players.
Nun
gibt es endlich ein Buch
voll Konzertetüden mit
Musik in einer Vielzahl
von Stilen, von modernen
Komponisten speziell
für die Tuba
geschrieben! Dieses Buch
enthält sechzehn
groÃ?artige
Konzertetüden zur
Entwicklung von Ton und
Technik und ist
darüber hinaus reich
an Material für
Stilstudien. Auf der
Demo-CD ist eine
Interpretation der
Studien von Patrick
Sheridan zu hören. Die
Bass-Stimme in B wurde in
der für das Instrument
optimalen Transposition
geschrieben. Das bedeutet
jedoch, dass die CD nur
als Hörbeispiel
verwendet werden kann,
Mittspielen zur CD ist
nicht
möglich.