Orchestra SKU: PR.416415760 For Really Big Orchestra. Composed by ...(+)
Orchestra
SKU:
PR.416415760
For
Really Big Orchestra.
Composed by PDQ Bach.
Edited by Prof. Peter
Schickele. Study Score.
With Standard notation.
Duration 11 minutes.
Theodore Presser Company
#416-41576. Published by
Theodore Presser Company
(PR.416415760).
UPC:
680160636532. 9 x 12
inches.
The 1712
Overture stands out in
P.D.Q. Bach's oeuvre for
two reasons, among
others: it is by far the
most programmatic
instrumental piece among
those by the minimeister
of Wein-am-Rhein so far
unearthed, and 2) its
discovery has led to a
revelation about the
composer's father, Johann
Sebastian Bach, that has
exploded like a bombshell
on the usually serene
musicological landscape.
The overture is based on
an anecdote told to
P.D.Q. Bach by a cousin,
Peter Ulrich. Since P.U.
Bach lived in Dudeldorf,
only a few miles down the
road from Wein-am-Rhein,
he was P.D.Q.'s closest
relative, and he was, in
fact, one of the few
members of the family who
was on speaking terms
with P.D.Q. The story,
related to P.D.Q.
(fortunately for us
posterity types) in a
letter, may be summarized
thus: The town of
Dudeldorf was founded by
two brothers, Rudi and
Dieter Dudel, early in
the 18th century. Rudi
remained mayor of the
newborn burg for the rest
of his long life, but
Dieter had a dream of
starting a musicians'
colony, an entire city
devoted to music, which
dream, he finally
decided, could be
realized only in the New
World. In 1712, he and
several other bagpipers
sailed to Boston, never
to return to Germany.
(Henceforth, Rudi became
known as der deutscher
Dudel and Dieter as the
Yankee Dudel).
Unfortunately, the head
of the Boston Musicians'
Guild had gotten wind of
Dudel's plans, and
Wilhelm Wiesel (pron.
VEE-zle), known none too
affectionately around
town as Wiesel the
Weasel, was not about to
share what few gigs there
were in colonial America
with more foreigners and
outside agitators. He and
his cronies were on hand
to meet Dudel's boat when
it pulled into Boston
Harbor; they intended to
prevent the newcomers'
disembarkation, but Dudel
and his companions
managed to escape to the
other side of the bay in
a dinghy, landing with
just enough time to rent
a carriage and horses
before hearing the sound
of The Weasel and his
men, who had had to come
around the long way. The
Germans headed West, with
the Bostonians in furious
pursuit. soon the city
had been left far behind,
and by midnight so had
the pursuers; Dieter
Dudel decided that it was
safe for him and his men
to stop and sleep until
daybreak. When they
awoke, they found that
they were in a beautiful
landscape of low,
forested mountains and
pleasant fields, warmed
by the brilliant morning
sun and serenaded by an
entrancing variety of
birds. Here, Dudel
thought, her is where I
will build my colony. The
immigrants continued down
the road at a leisurely
pace until they came upon
a little church, all by
itself in the
countryside, from which
there suddenly emanated
the sounds of a pipe
organ. At this point, the
temptation to quote from
P.U. Bach's letter to
P.D.Q. cannot be
resisted: They went
inside and, after
listening to the glorious
music for a while,
introduced themselves to
the organist. And who do
you think it was? Are you
ready for this -- it was
your old man! Hey, no
kidding -- you know, I'm
sure, that your father
was the guy to get when
it came to testing new
organs, and whoever had
that one in Massachusetts
built offered old
Sebastian a tidy sum to
go over there and check
it out. The unexpected
meeting with J.S. Bach
and his sponsors was
interrupted by the sound
of horse hooves, as the
dreaded Wiesel and his
men thundered on to the
scene. They had been
riding all night,
however, and they were no
spring chickens to start
with, and as soon as they
reached the church they
all dropped, exhausted,
to the ground. The elated
Germans rang the church
bells and offered to buy
everyone a beer at the
nearest tavern. There
they were taught, and
joined in singing, what
might be called the
national anthem of the
New World. The melody of
this pre-revolutionary
patriotic song is still
remembered (P.D.Q. Bach
quotes it, in the bass
instruments, near the end
of the overture), but is
words are now all but
forgotten: Freedom, of
thee we sing, Freedom
e'er is our goal; Death
to the English King, Long
live Rock and Ross. The
striking paucity of
biographical references
to Johann Sebastian Bah
during the year 1712 can
now be explained: he was
abroad for a significant
part of that year,
testing organs in the
British Colonies. That
this revelation has not
been accepted as fact by
the musicological
establishment is no
surprise, since it means
that a lot of books would
have to be rewritten. The
members of that
establishment haven't
even accepted the
existence of P.D.Q. Bach,
one of whose major works
the 1712 Overture
certainly is. It is also
a work that shows
Tchaikowsky up as the
shameless plagiarizer
that some of us have
always known he was. The
discovery of this awesome
opus was made possible by
a Boston Pops Centennial
Research Commission; the
first modern performance
took place at the opening
concert of the 100th
anniversary season of
that orchestra, under the
exciting but authentic
direction of John
Williams.
Orchestra SKU: PR.41641576L For Really Big Orchestra. Composed by ...(+)
Orchestra
SKU:
PR.41641576L
For
Really Big Orchestra.
Composed by PDQ Bach.
Edited by Peter
Schickele. Large Score.
With Standard notation.
Duration 11 minutes.
Theodore Presser Company
#416-41576L. Published by
Theodore Presser Company
(PR.41641576L).
UPC:
680160636549. 11 x 17
inches.
The 1712
Overture stands out in
P.D.Q. Bach's oeuvre for
two reasons, among
others: it is by far the
most programmatic
instrumental piece among
those by the minimeister
of Wein-am-Rhein so far
unearthed, and 2) its
discovery has led to a
revelation about the
composer's father, Johann
Sebastian Bach, that has
exploded like a bombshell
on the usually serene
musicological landscape.
The overture is based on
an anecdote told to
P.D.Q. Bach by a cousin,
Peter Ulrich. Since P.U.
Bach lived in Dudeldorf,
only a few miles down the
road from Wein-am-Rhein,
he was P.D.Q.'s closest
relative, and he was, in
fact, one of the few
members of the family who
was on speaking terms
with P.D.Q. The story,
related to P.D.Q.
(fortunately for us
posterity types) in a
letter, may be summarized
thus: The town of
Dudeldorf was founded by
two brothers, Rudi and
Dieter Dudel, early in
the 18th century. Rudi
remained mayor of the
newborn burg for the rest
of his long life, but
Dieter had a dream of
starting a musicians'
colony, an entire city
devoted to music, which
dream, he finally
decided, could be
realized only in the New
World. In 1712, he and
several other bagpipers
sailed to Boston, never
to return to Germany.
(Henceforth, Rudi became
known as der deutscher
Dudel and Dieter as the
Yankee Dudel).
Unfortunately, the head
of the Boston Musicians'
Guild had gotten wind of
Dudel's plans, and
Wilhelm Wiesel (pron.
VEE-zle), known none too
affectionately around
town as Wiesel the
Weasel, was not about to
share what few gigs there
were in colonial America
with more foreigners and
outside agitators. He and
his cronies were on hand
to meet Dudel's boat when
it pulled into Boston
Harbor; they intended to
prevent the newcomers'
disembarkation, but Dudel
and his companions
managed to escape to the
other side of the bay in
a dinghy, landing with
just enough time to rent
a carriage and horses
before hearing the sound
of The Weasel and his
men, who had had to come
around the long way. The
Germans headed West, with
the Bostonians in furious
pursuit. soon the city
had been left far behind,
and by midnight so had
the pursuers; Dieter
Dudel decided that it was
safe for him and his men
to stop and sleep until
daybreak. When they
awoke, they found that
they were in a beautiful
landscape of low,
forested mountains and
pleasant fields, warmed
by the brilliant morning
sun and serenaded by an
entrancing variety of
birds. Here, Dudel
thought, her is where I
will build my colony. The
immigrants continued down
the road at a leisurely
pace until they came upon
a little church, all by
itself in the
countryside, from which
there suddenly emanated
the sounds of a pipe
organ. At this point, the
temptation to quote from
P.U. Bach's letter to
P.D.Q. cannot be
resisted: They went
inside and, after
listening to the glorious
music for a while,
introduced themselves to
the organist. And who do
you think it was? Are you
ready for this -- it was
your old man! Hey, no
kidding -- you know, I'm
sure, that your father
was the guy to get when
it came to testing new
organs, and whoever had
that one in Massachusetts
built offered old
Sebastian a tidy sum to
go over there and check
it out. The unexpected
meeting with J.S. Bach
and his sponsors was
interrupted by the sound
of horse hooves, as the
dreaded Wiesel and his
men thundered on to the
scene. They had been
riding all night,
however, and they were no
spring chickens to start
with, and as soon as they
reached the church they
all dropped, exhausted,
to the ground. The elated
Germans rang the church
bells and offered to buy
everyone a beer at the
nearest tavern. There
they were taught, and
joined in singing, what
might be called the
national anthem of the
New World. The melody of
this pre-revolutionary
patriotic song is still
remembered (P.D.Q. Bach
quotes it, in the bass
instruments, near the end
of the overture), but is
words are now all but
forgotten: Freedom, of
thee we sing, Freedom
e'er is our goal; Death
to the English King, Long
live Rock and Ross. The
striking paucity of
biographical references
to Johann Sebastian Bah
during the year 1712 can
now be explained: he was
abroad for a significant
part of that year,
testing organs in the
British Colonies. That
this revelation has not
been accepted as fact by
the musicological
establishment is no
surprise, since it means
that a lot of books would
have to be rewritten. The
members of that
establishment haven't
even accepted the
existence of P.D.Q. Bach,
one of whose major works
the 1712 Overture
certainly is. It is also
a work that shows
Tchaikowsky up as the
shameless plagiarizer
that some of us have
always known he was. The
discovery of this awesome
opus was made possible by
a Boston Pops Centennial
Research Commission; the
first modern performance
took place at the opening
concert of the 100th
anniversary season of
that orchestra, under the
exciting but authentic
direction of John
Williams.
Boy
Soprano, Soprano, Tenor,
Flugelhorn, Mixed Chorus,
and Chamber Orchestra
Study Score. Composed
by Harald Weiss. This
edition: Paperback/Soft
Cover. Sheet music. Study
Score. Classical.
Softcover. Composed
2008/2009. 188 pages.
Duration 100'. Schott
Music #ED20619. Published
by Schott Music
(HL.49018099).
ISBN
9790001158428. UPC:
884088567347.
8.25x11.75x0.457 inches.
Latin - German.
On
letting go(Concerning the
selection of the texts)
In the selection of the
texts, I have allowed
myself to be motivated
and inspired by the
concept of 'letting go'.
This appears to me to be
one of the essential
aspects of dying, but
also of life itself. We
humans cling far too
strongly to successful
achievements, whether
they have to do with
material or ideal values,
or relationships of all
kinds. We cannot and do
not want to let go,
almost as if our life
depended on it. As we
will have to practise the
art of letting go at the
latest during our hour of
death, perhaps we could
already make a start on
this while we are still
alive. Tagore describes
this farewell with very
simple but strikingly
vivid imagery: 'I will
return the key of my
door'. I have set this
text for tenor solo. Here
I imagine, and have
correspondingly noted in
a certain passage of the
score, that the
protagonist finds himself
as though 'in an ocean'
of voices in which he is
however not drowning, but
immersing himself in
complete relaxation. The
phenomenon of letting go
is described even more
simply and tersely in
Psalm 90, verse 12: 'So
teach us to number our
days, that we may apply
our hearts unto wisdom'.
This cannot be expressed
more plainly.I have begun
the requiem with a solo
boy's voice singing the
beginning of this psalm
on a single note, the
note A. This in effect
says it all. The work
comes full circle at the
culmination with a repeat
of the psalm which
subsequently leads into a
resplendent 'lux
aeterna'. The
intermediate texts of the
Requiem which highlight
the phenomenon of letting
go in the widest spectrum
of colours originate on
the one hand from the
Latin liturgy of the
Messa da Requiem (In
Paradisum, Libera me,
Requiem aeternam, Mors
stupebit) and on the
other hand from poems by
Joseph von Eichendorff,
Hermann Hesse,
Rabindranath Tagore and
Rainer Maria Rilke.All
texts have a distinctive
positive element in
common and view death as
being an organic process
within the great system
of the universe, for
example when Hermann
Hesse writes: 'Entreiss
dich, Seele, nun der
Zeit, entreiss dich
deinen Sorgen und mache
dich zum Flug bereit in
den ersehnten Morgen'
['Tear yourself way , o
soul, from time, tear
yourself away from your
sorrows and prepare
yourself to fly away into
the long-awaited
morning'] and later: 'Und
die Seele unbewacht will
in freien Flugen
schweben, um im
Zauberkreis der Nacht
tief und tausendfach zu
leben' ['And the
unfettered soul strives
to soar in free flight to
live in the magic sphere
of the night, deep and
thousandfold']. Or Joseph
von Eichendorff whose
text evokes a distant
song in his lines: 'Und
meine Seele spannte weit
ihre Flugel aus. Flog
durch die stillen Lande,
als floge sie nach Haus'
['And my soul spread its
wings wide. Flew through
the still country as if
homeward bound.']Here a
strong romantically
tinged occidental
resonance can be detected
which is however also
accompanied by a
universal spirit going
far beyond all cultures
and religions. In the
beginning was the sound
Long before any sort of
word or meaningful phrase
was uttered by vocal
chords, sounds,
vibrations and tones
already existed. This
brings us back to the
music. Both during my
years of study and at
subsequent periods, I had
been an active
participant in the world
of contemporary music,
both as percussionist and
also as conductor and
composer. My early scores
had a somewhat
adventurous appearance,
filled with an abundance
of small black dots: no
rhythm could be too
complicated, no register
too extreme and no
harmony too dissonant. I
devoted myself intensely
to the handling of
different parameters
which in serial music
coexist in total
equality: I also studied
aleatory principles and
so-called minimal music.I
subsequently emigrated
and took up residence in
Spain from where I
embarked on numerous
travels over the years to
India, Africa and South
America. I spent repeated
periods during this time
as a resident in
non-European countries.
This meant that the
currents of contemporary
music swept past me
vaguely and at a great
distance. What I instead
absorbed during this
period were other
completely new cultures
in which I attempted to
immerse myself as
intensively as possible.I
learned foreign languages
and came into contact
with musicians of all
classes and styles who
had a different cultural
heritage than my own: I
was intoxicated with the
diversity of artistic
potential.Nevertheless,
the further I distanced
myself from my own
Western musical heritage,
the more this returned
insistently in my
consciousness.The scene
can be imagined of
sitting somewhere in the
middle of the Brazilian
jungle surrounded by the
wailing of Indians and
out of the blue being
provided with the
opportunity to hear
Beethoven's late string
quartets: this can be a
heart-wrenching
experience, akin to an
identity crisis. This
type of experience can
also be described as
cathartic. Whatever the
circumstances, my
'renewed' occupation with
the 'old' country would
not permit me to return
to the point at which I
as an audacious young
student had maltreated
the musical parameters of
so-called contemporary
music. A completely
different approach would
be necessary: an
extremely careful
approach, inching my way
gradually back into the
Western world: an
approach which would
welcome tradition back
into the fold, attempt to
unfurl the petals and
gently infuse this
tradition with a breath
of contemporary
life.Although I am aware
that I will not unleash a
revolution or scandal
with this approach, I am
nevertheless confident
as, with the musical
vocabulary of this
Requiem, I am travelling
in an orbit in which no
ballast or complex
structures will be
transported or intimated:
on the contrary, I have
attempted to form the
message of the texts in
music with the naivety of
a 'homecomer'. Harald
WeissColonia de San
PedroMarch 2009.
Arranged by Mark Weston, Transcr. And Scored By Douglas E. Wagner. Traditional. ...(+)
Arranged by Mark Weston,
Transcr. And Scored By
Douglas E. Wagner.
Traditional. For Full
Orchestra. Full
Orchestra. Belwin
Intermediate Full
Orchestra. Conductor
Score & Parts. Published
by Alfred Publishing.
Level: 2.5 (Green)
(grade 2.5 Green).
And There Was Light Orchestre [Conducteur et Parties séparées] Shawnee Press
Full Orchestra (Print) Choral (Orchestra Accompaniment) SKU: HL.293395 (+)
Full Orchestra (Print)
Choral (Orchestra
Accompaniment)
SKU:
HL.293395
A
Cantata for
Christmas. Composed
by Joseph M. Martin.
Shawnee Sacred. Advent,
Cantata, Christmas,
Christmas/Advent Sacred.
Softcover. Duration 3000
seconds. Published by
Shawnee Press
(HL.293395).
ISBN
9781540050984. UPC:
888680936129.
9.0x13.75x2.61
inches.
This
cantata is a celebration
of light. Filled with
time-honored carols and
expressive original
songs, this work will
dazzle and inspire. The
first half of the cantata
is dedicated to hopeful
prophecies associated
with the coming Light of
the World. With the birth
of Jesus, the second part
moves forward to declare
the tidings of great joy
and is crowned with an
opportunity for the
congregation to join in
singing, Joy to the
World. Brant Adams and
Robert Sterling shine as
orchestrators of this
truly festive work.
Glorious! Songs include:
A Festive Call to
Christmas; Celebration of
Light; Come, Golden
Light; Dazzling Joy;
Beautiful Name; Dreamer
of Stars; Angel Song;
Silver and Shadows;
Joyous Carols of
Christmas. Score and
Parts for Full Orchestra
(fl 1-2, ob, cl 1-2, bn,
hn 1-2, tpt 1-3, tbn,
1-2, tba, timp, perc 1-2,
hp, pno, vn 1-2, va, vc,
db) available as a
Printed Edition and as a
digital download. Score
and Parts for Consort
(fl, cl, tpt 1-2, tbn,
perc, kybd str) available
as a Printed Edition and
as a digital
download.
Divertimento teatrale
in one act. Operetta for
four voices. Composed
by Antonio Salieri.
Edited by Adrian La
Salvia and Thomas
Betzwieser. This edition:
Edition of selected
works, Urtext edition.
Linen. Spectrum of
European Music Theatre in
Separate Editions 1.
Edition of selected
works, Score, Critical
commentary, USB flash
drive. Duration 1 hour,
15 minutes. Baerenreiter
Verlag #BA08811_00.
Published by Baerenreiter
Verlag (BA.BA08811).
ISBN 9790006539840.
33.1 x 26.5 cm inches.
Text Language: Italian.
Preface: Betzwieser,
Thomas. Text:
Giambattista
Casti.
A memorable
musical competition
commissioned by the
emperor Joseph II took
place on 7 February 1786
as part of a festival in
the orangery of the
Schönbrunn palace. A
German Singspiel ensemble
performed Mozart’s
“Schauspieldirektor
†whilst Antonio
Salieri’s
“Prima la musica e
poi le parole†was
performed by the Italian
court singers and
musicians. This charming
opera satire belongs to
the genre of
“metamelodrammaâ
in which the opera
itself becomes the
subject of the action.
The people who are part
of an opera production,
for example the
librettist, composer and
prima donna, appear as
characters on the stage
and are presented in a
humorous self-reflection.
In this ‘theatre
about theatre’
Salieri parodies the
music from Giuseppe
Sarti’s
“Giulio
Sabino†in his
insert arias, thus
playing on the music
which was totally
familiar with the
audience of the time. By
reflecting on the
musical-dramatic style of
that period and
discussing whether
‘the word’
or ‘the
music’ should take
priority, this
masterpiece is considered
to be an early forerunner
to Richard
Strauss’s
“Capriccioâ€.<
br> The new edition of
the score is published as
part of “opera
– Spectrum of
European Music Theatre in
Separate Editionsâ€.
There are several
alterations regarding the
libretto text, stage
directions, articulation,
ornamentation, etc. which
have been incorporated
into this newly engraved
vocal score. Furthermore,
all appendix numbers from
the score which concern
the quotations from
Giuseppe Sarti’s
“Giulio
Sabino†have also
been
incorporated.
â
¢ Urtext vocal score
based on the
historical-critical
hybrid score published as
part of “opera
– Spectrum of
European Music Theatre in
Separate Editionsâ€
edited by Thomas
Betzwieser (music
edition) and Adrian La
Salvia (text
edition). •
Original Italian libretto
with singable German
translation •
Comprehensive bilingual
foreword (Ger/Eng) on the
genesis and reception of
the work, on
metamelodramma and
intertextuality
etc. • Includes
an extensive appendix to
the quotations taken from
Giuseppe Sarti’s
“Giulio
Sabino†•
Idiomatic piano
reduction
About
Barenreiter
Urtext
What can I
expect from a Barenreiter
Urtext
edition?<
/p>
MUSICOLOGICA
LLY SOUND - A
reliable musical text
based on all available
sources - A
description of the
sources -
Information on the
genesis and history of
the work - Valuable
notes on performance
practice - Includes
an introduction with
critical commentary
explaining source
discrepancies and
editorial decisions
... AND
PRACTICAL -
Page-turns, fold-out
pages, and cues where you
need them - A
well-presented layout and
a user-friendly
format - Excellent
print quality -
Superior paper and
binding
Concert Band; Orchestra - Grade 1 SKU: AP.49215 Featuring Good King We...(+)
Concert Band; Orchestra -
Grade 1
SKU:
AP.49215
Featuring
Good King Wenceslas.
Arranged by Scott Watson.
5 or More; MakeMusic
Cloud; Mixed Instruments
- Flexible
Instrumentation;
Performance Music
Ensemble; Quartet; Single
Titles; Solo Small
Ensembles. Alfred Debut
Series. Christmas;
Holiday Pops; Winter.
Score and Part(s).
Duration 2:30. Alfred
Music #00-49215.
Published by Alfred Music
(AP.49215).
ISBN
9781470648589. UPC:
038081569383.
English.
This
version of At the Feast
of Stephen by Scott
Watson is part of our
Alfred 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 4 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
4-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.
This novel
setting of the
traditional carol Good
King Wenceslas will
musically transport you
and your students to the
royal Christmas banquet
hall of a medieval king!
The old carol tells the
story of a legendary
10th-century monarch,
Duke Wenceslas of
Bohemia, who went out in
the severe cold to give
charity to the poor on
December 26, also known
as St. Stephen's Day. The
well-known 13th-century
tune, as well as
additional original
material in period style,
vividly conjures a lively
celebration of Christmas
in the high Middle Ages.
Come now ye lords
and ladies to the Feast
of Stephen and upon your
instruments faire make
most merry this Yuletide!
Concert Band; Orchestra - Grade 1 SKU: AP.49215S Featuring Good King W...(+)
Concert Band; Orchestra -
Grade 1
SKU:
AP.49215S
Featuring Good King
Wenceslas. Arranged
by Scott Watson. 5 or
More; Mixed Instruments -
Flexible Instrumentation;
Performance Music
Ensemble; Quartet; Single
Titles; Solo Small
Ensembles. Alfred Debut
Series. Christmas;
Holiday Pops; Winter.
Score. Duration 2:30.
Alfred Music #00-49215S.
Published by Alfred Music
(AP.49215S).
ISBN
9781470648596. UPC:
038081569390.
English.
This
version of At the Feast
of Stephen by Scott
Watson is part of our
Alfred 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 4 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
4-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.
This novel
setting of the
traditional carol Good
King Wenceslas will
musically transport you
and your students to the
royal Christmas banquet
hall of a medieval king!
The old carol tells the
story of a legendary
10th-century monarch,
Duke Wenceslas of
Bohemia, who went out in
the severe cold to give
charity to the poor on
December 26, also known
as St. Stephen's Day. The
well-known 13th-century
tune, as well as
additional original
material in period style,
vividly conjures a lively
celebration of Christmas
in the high Middle Ages.
Come now ye lords
and ladies to the Feast
of Stephen and upon your
instruments faire make
most merry this Yuletide!
Composed by
Lin-Manuel Miranda.
Arranged by Douglas E.
Wagner. 5 or More; Mixed
Instruments - Flexible
Instrumentation;
Performance Music
Ensemble; Single Titles;
Solo Small Ensembles. Pop
Young Band. Broadway;
Pop. Score. 20 pages.
Duration 3:15. Alfred
Music #00-49175S.
Published by Alfred Music
(AP.49175S).
UPC:
038081563787.
English.
This
version of You'll Be Back
arranged by Douglas E.
Wagner 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.
The familiar
favorite tune from the
award-winning Broadway
musical Hamilton, is set
in a laid-back, light
rock style with clever
melodic nuances and
richly conceived harmony,
perfectly scored for
developing band. Easy to
play, this one is a
winner! (3:15)
Oboe Concerto Orchestre [Conducteur d'étude / Miniature] Boosey and Hawkes
Orchestra (Study Score) SKU: HL.48024115 Composed by James Macmillan. Boo...(+)
Orchestra (Study Score)
SKU: HL.48024115
Composed by James
Macmillan. Boosey &
Hawkes Scores/Books.
Classical. Softcover. 104
pages. Boosey & Hawkes
#M060125461. Published by
Boosey & Hawkes
(HL.48024115).
ISBN
9780851628219. UPC:
888680708962. 7.25x10.25
inches.
This work
was written for the
Britten Sinfonia and
Nicholas Daniel, and is
dedicated to him. It is
in three movements. The
first opens with a
gradual building up of
rhythmic layers on
violas, bassoon and
trumpet before the
soloist joins in.
Suddenly the music is
thrown forward by a
metrical modulation and
becomes very fast,
flighty and virtuosic.
Structurally, the music
eventually goes into
reverse before a solemn
coda. The second movement
is based on an earlier
work for solo oboe, in
angustiis... The solo
material is expressive
and sad, and enters into
much dialogue with other
wind instruments
throughout. The
reflective character of
the movement is
interrupted by little
dyadic patterns, various
pizzicato outbursts, some
scherzo-like material and
agitated faster passages,
but the principal mood is
introverted and
cantabile. The last
movement begins brashly
and has a clownish
character. The overall
feeling is extrovert and
dramatic, showing off the
oboe in fast display.
Some of the original
ideas from the opening
movement are
re-introduced in new
guises, before an
exultant and joyous
ending.
Orchestra - Grade 1 SKU: AP.49448 Composed by Cooper Ford. MakeMusic Clou...(+)
Orchestra - Grade 1
SKU: AP.49448
Composed by Cooper Ford.
MakeMusic Cloud;
Performance Music
Ensemble; Single Titles;
String Orchestra. Belwin
Beginning String
Orchestra. Score and
Part(s). Duration 1:40.
Belwin Music #00-49448.
Published by Belwin Music
(AP.49448).
ISBN
9781470650384. UPC:
038081571164.
English.
Many
special experiences are
joyful or thrilling, such
as flying for the first
time, a big sports
moment, or the excitement
of a first concert.
Whatever it might be,
Cooper Ford's
Exhilaration is a musical
expression of the
emotions that come from
these memorable moments.
Young musicians should
find this both easily
accessible and fun to
play, as melodies are
passed around to
different sections while
reinforcing foundational
rhythms, notes within a D
major scale, and playing
with a big sound. Written
with the young orchestra
in mind, 2nd violin and
viola parts are doubled,
as well as cello and
string bass. (1:40) This
title is available in
MakeMusic Cloud.
By Lloyd Larson. Arranged by Victor C Johnson. For orchestration (2 flutes, oboe...(+)
By Lloyd Larson. Arranged
by Victor C Johnson. For
orchestration (2 flutes,
oboe, 2 clarinets,
bassoon, 2 horns, 3
trumpets, 2 trombones,
tuba, 2 percussion, harp,
piano, 2 violins, viola,
cello, bass). Cantatas.
Christmas, Sacred. Full
score, set of part
(Orchestra) SKU: HP.C6075O Composed by Mary McDonald. Piano with Optional...(+)
(Orchestra)
SKU:
HP.C6075O
Composed by
Mary McDonald. Piano with
Optional Orchestra. Palm
Sunday, Sacred. Set of
Instrumental Parts. Hope
Publishing Company
#C6075O. Published by
Hope Publishing Company
(HP.C6075O).
UPC:
763628260750. Rose
Aspinall.
Original
Palm Sunday anthem This
original Palm Sunday
anthem is brimming with
rhythmic energy as it
portrays the events of
Jesus, the Blessed
Messiah, entering into
Jerusalem. The text
explores the many
questions that were asked
of who he was and if he
really was the Son of
God. The powerful
conclusion exclaims in
affirmation, You are the
way, the truth, and the
life, Son of God, Blessed
One! Messiah! This comes
from Mary McDonald's
musical My Savior's Love,
code no. 8701.
Orchestrations:
Conductor's Score, Flute,
Oboe (or Soprano Sax or
Clarinet), Clarinet, Horn
in F (or Alto Sax or
Clarinet), 2 Trumpets (or
Alto Sax), 2 Trombones
(or Baritone T. C. or
Tenor Sax), Percussion 1
& 2, Piano, Synth,
Electric Bass, 2 Violins,
Cello/Bassoon (or Bass
Clarinet), String
Reduction.
As Twilight Falls Orchestre [Conducteur] - Débutant Alfred Publishing
Concert Band; Orchestra - Grade 1.5 SKU: AP.49213S Composed by Robert She...(+)
Concert Band; Orchestra -
Grade 1.5
SKU:
AP.49213S
Composed by
Robert Sheldon. 5 or
More; Mixed Instruments -
Flexible Instrumentation;
Performance Music
Ensemble; Single Titles;
Solo Small Ensembles.
Sound Innovations for
Concert Band. Score.
Duration 2:10. Alfred
Music #00-49213S.
Published by Alfred Music
(AP.49213S).
ISBN
9781470648558. UPC:
038081569352.
English.
This
version of As Twilight
Falls by Robert Sheldon
is part of our Alfred
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.
The sense of
peace and tranquility of
twilight on a summer's
evening inspires this
lovely, lyrical offering.
An excellent teaching
opportunity for phrasing
and expression, As
Twilight Falls provides a
moment of contrast at any
young band's concert
performance and is now
available in Alfred's
5-part FLEX format.
Correlates to Book 1,
Level 5 of Sound
Innovations for Concert
Band.
Concert Band; Orchestra - Grade 1.5 SKU: AP.49213 Composed by Robert Shel...(+)
Concert Band; Orchestra -
Grade 1.5
SKU:
AP.49213
Composed by
Robert Sheldon. 5 or
More; MakeMusic Cloud;
Mixed Instruments -
Flexible Instrumentation;
Performance Music
Ensemble; Single Titles;
Solo Small Ensembles.
Sound Innovations for
Concert Band. Score and
Part(s). Duration 2:10.
Alfred Music #00-49213.
Published by Alfred Music
(AP.49213).
ISBN
9781470648541. UPC:
038081569345.
English.
This
version of As Twilight
Falls by Robert Sheldon
is part of our Alfred
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.
The sense of
peace and tranquility of
twilight on a summer's
evening inspires this
lovely, lyrical offering.
An excellent teaching
opportunity for phrasing
and expression, As
Twilight Falls provides a
moment of contrast at any
young band's concert
performance and is now
available in Alfred's
5-part FLEX format.
Correlates to Book 1,
Level 5 of Sound
Innovations for Concert
Band.
New York, New York Orchestre [Conducteur et Parties séparées] Jazz Lines Publications
Recorded by Frank Sinatra. Edited by Rob DuBoff, Jeffrey Sultanof, and Dy...(+)
Recorded by Frank
Sinatra. Edited by
Rob DuBoff, Jeffrey
Sultanof, and Dylan
Canterbury. Arranged by
Don Costa. Jazz, Swing.
Score and parts.
Published by Jazz Lines
Publications
(JL.JLP-9510).
Orchestra SKU: PR.416415720 For Orchestra. Composed by Narong Pran...(+)
Orchestra
SKU:
PR.416415720
For
Orchestra. Composed
by Narong Prangcharoen.
Full score. 24 pages.
Duration 5:30. Theodore
Presser Company
#416-41572. Published by
Theodore Presser Company
(PR.416415720).
UPC:
680160636150.
Illum
inating Journey is
composed to celebrate
Maestro Carl St. Clair's
25th Anniversary season
with Pacific Symphony.
Maestro St. Clair is one
of the few conductors who
has dedicated his time to
new music and support for
living composers. I first
encountered Maestro St.
Clair in 2004 when I was
one of the finalists for
the Young Composers
Competition. After I won
that competition, I had
an opportunity to work
with Maestro St. Clair on
the piece that he
commissioned for the
Pacific Symphony in 2005.
That's the beginning of
the journey of our
friendship. Illuminating
Journey is inspired by
Maestro St. Clair's
personality and the music
he loved. The piece is
mainly based on the pitch
material from Maestro St.
Clair's name CARL which
can be translated as C =
C, A = A, R = Re, and L =
La. That pitch material
already has the character
of Illuminating sound for
the open 5th and octave.
The piece also
incorporates some musical
references that have some
meaning for Maestro St.
Clair, such as the
hopefulness of the
melodic intervals from
West Side Story, There's
a Place for Us, composed
by Leonard Bernstein, who
was also Maestro St.
Clair's mentor.
Illuminating Journey
starts with the rhythmic
motion of the pitch C and
moves on to create a set
of pitches. The note C
functions as a center for
the endless energy of
this piece and creates a
triumphant ending. I
would personally like to
thank Maestro St. Clair
for his dedication on my
music and his friendship
throughout the past 10
years. The work with
Maestro St. Clair and the
Pacific Symphony was an
early step in my career
as a composer. I often
mentioned that I may not
be able to come this far
without that part of my
life. Thank you very
much, Maestro St. Clair
and the Pacific Symphony.
Let's celebrate our
Illuminating Journey
together.
Orchestra SKU: PR.41641572L For Orchestra. Composed by Narong Pran...(+)
Orchestra
SKU:
PR.41641572L
For
Orchestra. Composed
by Narong Prangcharoen.
Large Score. 24 pages.
Duration 5:30. Theodore
Presser Company
#416-41572L. Published by
Theodore Presser Company
(PR.41641572L).
UPC:
680160636167.
Illum
inating Journey is
composed to celebrate
Maestro Carl St. Clair's
25th Anniversary season
with Pacific Symphony.
Maestro St. Clair is one
of the few conductors who
has dedicated his time to
new music and support for
living composers. I first
encountered Maestro St.
Clair in 2004 when I was
one of the finalists for
the Young Composers
Competition. After I won
that competition, I had
an opportunity to work
with Maestro St. Clair on
the piece that he
commissioned for the
Pacific Symphony in 2005.
That's the beginning of
the journey of our
friendship. Illuminating
Journey is inspired by
Maestro St. Clair's
personality and the music
he loved. The piece is
mainly based on the pitch
material from Maestro St.
Clair's name CARL which
can be translated as C =
C, A = A, R = Re, and L =
La. That pitch material
already has the character
of Illuminating sound for
the open 5th and octave.
The piece also
incorporates some musical
references that have some
meaning for Maestro St.
Clair, such as the
hopefulness of the
melodic intervals from
West Side Story, There's
a Place for Us, composed
by Leonard Bernstein, who
was also Maestro St.
Clair's mentor.
Illuminating Journey
starts with the rhythmic
motion of the pitch C and
moves on to create a set
of pitches. The note C
functions as a center for
the endless energy of
this piece and creates a
triumphant ending. I
would personally like to
thank Maestro St. Clair
for his dedication on my
music and his friendship
throughout the past 10
years. The work with
Maestro St. Clair and the
Pacific Symphony was an
early step in my career
as a composer. I often
mentioned that I may not
be able to come this far
without that part of my
life. Thank you very
much, Maestro St. Clair
and the Pacific Symphony.
Let's celebrate our
Illuminating Journey
together.
Arranged by Vince Gassi.
Performance Music
Ensemble; Single Titles;
String Orchestra.
Highland/Etling String
Orchestra. Christmas;
Sacred; Traditional;
Winter. Score and
Part(s). 134 pages.
Highland/Etling
#00-31604. Published by
Highland/Etling
(AP.31604).
UPC:
038081349534. English.
Traditional English
Carol.
You'll have
no trouble getting into
the Christmas spirit with
this delightful
adaptation of a
traditional English
Carol. Coated with a
layer of sugar frosting,
this piece will warm you
up with its joyous
harmonies and charming
melodies, making you feel
like you are sitting in
front of a crackly fire
sipping hot cocoa on a
crisp wintry night. Sure
to become an audience
favorite!
Orchestra SKU: SU.32040140 For Orchestra. Composed by Amy Riebs Mi...(+)
Orchestra
SKU:
SU.32040140
For
Orchestra. Composed
by Amy Riebs Mills.
Orchestra. Full Score.
Subito Music Corporation
#32040140. Published by
Subito Music Corporation
(SU.32040140).
2222; 4331;
timp, 2 perc, pno; stgs
Duration: 13'30 Composed:
2016 Published by: Amy
Mills Music, LLC Like a
modern Pictures at an
Exhibition…. Ha
Shamayim is an original
piece for orchestra that
was inspired by
photographs taken by the
Hubble space telescope.
Each section is inspired
by one photo; the title
of each section is the
title that NASA gave to
the photograph. The words
Ha Shamayim are Hebrew
for The Heavens. They are
written in Genesis 1:1,
In the beginning God
created the heavens and
the earth. The words are
also seen in Psalm 19.
Section I: Warped Edge-On
Galaxy ESO 510-G13
The piece begins in outer
space with its glistening
stars. Glissandi are used
to depict the strange but
beautiful warp seen in
the photograph. Section
II: Galaxy Fires at
Neighboring Galaxy
Suddenly the piece erupts
as one galaxy fires blue
gas at its neighbor. They
engage in a cosmic
battle. Section III:
Youthful-looking Galaxy
May Be an Adult The
adolescent galaxy is
personified by a
humorous, gawky melody
reminiscent of teenage
boys who walk on feet
that are still too big.
Occasionally there is an
argument with an
authority figure, but the
joy of exploring the
universe quickly returns.
Section IV: Star Birth in
Galaxy M83 The
dramatic photograph looks
like a womb with veins.
The music begins on one
note, then it begins to
explore the initial
swelling and stretching.
It morphs into an
energetic fast theme,
still growing. Ultimately
it becomes glorious and
expansive, like the new
star. Section V: String
of ‘Cosmic
Pearls’ Surrounds
an Exploding Star The
first theme is a happy
circle dance inspired by
the circle of white dots
in the photograph. The
second theme is noble and
joyful. It is reminiscent
of the melody in the
famous chorus in
Haydn’s The
Creation with the words
from Psalm 19, The
heavens are telling the
glory of God. The music
then has flashbacks to
the earlier sections, and
ends in triumph. The five
sections in Ha Shamayim
are continuous with no
breaks. Difficulty Level:
5 (Advanced/Professional)
See composer website for
audio sample. Performance
materials available on
rental only:.
Fete with a Prologue and 3 Acts. Composed by Jean- Philippe Rameau (1683-1764)....(+)
Fete with a Prologue and
3
Acts. Composed by Jean-
Philippe Rameau
(1683-1764).
Edited by Julien
Dubruque.
This edition: urtext
edition.
Paperback. Symphonies /
Versions of 1746 and
1745.
Score, anthology. RCT 59.
Baerenreiter Verlag
#BA07563.
Published by Baerenreiter
Verlag
Pastorella Orchestre [Conducteur] - Facile Highland/Etling
Orchestra - Grade 2 SKU: AP.40476S Composed by Richard Meyer. MakeMusic C...(+)
Orchestra - Grade 2
SKU: AP.40476S
Composed by Richard
Meyer. MakeMusic Cloud;
Performance Music
Ensemble; Single Titles;
String Orchestra.
Highland/Etling String
Orchestra. Latin. Score.
12 pages. Highland/Etling
#00-40476S. Published by
Highland/Etling
(AP.40476S).
UPC:
038081454375.
English.
Using all
the colors of the string
orchestra, this charming
Spanish-flavored piece
features melodic material
for every instrument. Two
contrasting tunes, one
for high voices and one
for low, are introduced
and then woven together.
Including all the basic
characteristic 6/8
rhythms, this is a
perfect way to introduce
your students to this
too-often neglected
meter. Some fun
hand-clapping
accompaniment, a violin
solo, and a duet for
first stand violins add
interest and variety to
this selection in a genre
that has become a real
favorite with students
and audiences! This title
is available in MakeMusic
Cloud.
Orchestra - Grade 2.5 SKU: AP.47448S Based on the arrangement by Percy...(+)
Orchestra - Grade 2.5
SKU: AP.47448S
Based on the
arrangement by Percy
Aldridge Grainger.
Arranged by Michael
Story. Full Orchestra;
MakeMusic Cloud;
Performance Music
Ensemble; Single Titles.
Belwin Intermediate
String/Full Orchestra.
Folk; Traditional. Score.
20 pages. Belwin Music
#00-47448S. Published by
Belwin Music (AP.47448S).
UPC: 038081545783.
English. Traditional
British Folk
Song.
A fabulous
selection for contest or
festival, this versatile
piece is a sure winner.
Based on the Percy
Grainger arrangement of
the well-known folk song,
this setting by Michael
Story can be performed by
string orchestra alone or
with any combination of
winds and percussion, up
to full orchestra. The
first statement of the
melody may be played as a
solo or by as many 1st
violins as are
appropriate for your
group. This title is
available in MakeMusic
Cloud.
Arranged by Sandra
Dackow. Performance Music
Ensemble; Single Titles;
String Orchestra.
Orchestra Expressions.
Christmas; Multicultural;
Sacred; Traditional;
Winter. Score. 12 pages.
Duration 1:45. Alfred
Music #00-44781S.
Published by Alfred Music
(AP.44781S).
UPC:
038081516936. English.
Traditional German
Carols.
A terrific
multicultural addition to
any beginning holiday
concert, this arrangement
by Sandra Dackow is a
spirited rendition of
three traditional German
carols. These contrasting
carols---Lasst uns froh
und munter sein, O Come
Little Children, and an
unnamed traditional
tune---are a fun way to
introduce cut time and
reinforce bow lifts to
young string players.
(1:45).
About
Orchestra
Expressions
<
p>Play great songs such
as Over the Rainbow,
Batman, This Land Is Your
Land, and Star Wars (Main
Title). Listen to and
play a variety of styles
of music: popular,
traditional, classical,
folk and patriotic. Read
and write music; compose
and improvise. Perform in
a concert and play for
your family and friends.
Be a conductor of the
orchestra. Learn about
composers, such as
Antonin Dvorak, Johann
Pachelbel, Jacques
Offenbach, Pytor Ilyich
Tchaikovsky, Giuseppe
Verdi, George M. Cohan,
George Frideric Handel,
Ludwig van Beethoven,
Johann Sebastian Bach,
Wolfgang Amadeus Mozart,
Giacomo Puccini, Georges
Bizet, Neal Hefti, and
John Williams. Discover
how music and art are
related. Learn about a
variety of musical
ensembles including
string orchestra, full
orchestra, mariachi band,
steel drum band,
dixieland jazz band, rock
band, and more. Play
music from around the
world, including North
America, Europe, Latin
America, Asia, and
Africa.
Arranged by Sandra
Dackow. Performance Music
Ensemble; Single Titles;
String Orchestra.
Orchestra Expressions.
Christmas; Multicultural;
Sacred; Traditional;
Winter. Score and
Part(s). 88 pages.
Duration 1:45. Alfred
Music #00-44781.
Published by Alfred Music
(AP.44781).
UPC:
038081516929. English.
Traditional German
Carols.
A terrific
multicultural addition to
any beginning holiday
concert, this arrangement
by Sandra Dackow is a
spirited rendition of
three traditional German
carols. These contrasting
carols---Lasst uns froh
und munter sein, O Come
Little Children, and an
unnamed traditional
tune---are a fun way to
introduce cut time and
reinforce bow lifts to
young string players.
(1:45).
About
Orchestra
Expressions
<
p>Play great songs such
as Over the Rainbow,
Batman, This Land Is Your
Land, and Star Wars (Main
Title). Listen to and
play a variety of styles
of music: popular,
traditional, classical,
folk and patriotic. Read
and write music; compose
and improvise. Perform in
a concert and play for
your family and friends.
Be a conductor of the
orchestra. Learn about
composers, such as
Antonin Dvorak, Johann
Pachelbel, Jacques
Offenbach, Pytor Ilyich
Tchaikovsky, Giuseppe
Verdi, George M. Cohan,
George Frideric Handel,
Ludwig van Beethoven,
Johann Sebastian Bach,
Wolfgang Amadeus Mozart,
Giacomo Puccini, Georges
Bizet, Neal Hefti, and
John Williams. Discover
how music and art are
related. Learn about a
variety of musical
ensembles including
string orchestra, full
orchestra, mariachi band,
steel drum band,
dixieland jazz band, rock
band, and more. Play
music from around the
world, including North
America, Europe, Latin
America, Asia, and
Africa.
Composed by
Vince Gassi. 5 or More;
MakeMusic Cloud; Mixed
Instruments - Flexible
Instrumentation;
Performance Music
Ensemble; Single Titles;
Solo Small Ensembles.
Challenger Band Series.
Score and Part(s). 155
pages. Duration 2:35.
Alfred Music #00-49119.
Published by Alfred Music
(AP.49119).
UPC:
038081563497.
English.
This
version of Where Stand
the Dauntless by Vince
Gassi is part of our
Alfred 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.
A
fanfare, a lyrical theme,
and driving energy embody
the spirit of the
dauntless---the brave and
amazing young musicians
of Dolphin Senior Public
School in Mississauga,
Ontario, Canada. Where
Stand the Dauntless by
Vince Gassi is an
exciting work---and a
perfect concert opener
and contest piece. (2:35)
Composed by
Vince Gassi. 5 or More;
MakeMusic Cloud; Mixed
Instruments - Flexible
Instrumentation;
Performance Music
Ensemble; Single Titles;
Solo Small Ensembles.
Challenger Band Series.
Score. 20 pages. Duration
2:35. Alfred Music
#00-49119S. Published by
Alfred Music (AP.49119S).
UPC: 038081563503.
English.
This
version of Where Stand
the Dauntless by Vince
Gassi is part of our
Alfred 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.
A
fanfare, a lyrical theme,
and driving energy embody
the spirit of the
dauntless---the brave and
amazing young musicians
of Dolphin Senior Public
School in Mississauga,
Ontario, Canada. Where
Stand the Dauntless by
Vince Gassi is an
exciting work---and a
perfect concert opener
and contest piece. (2:35)