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.
Orchestra SKU: PR.11641867L Composed by William Kraft. Spiral. Large Scor...(+)
Orchestra
SKU:
PR.11641867L
Composed
by William Kraft. Spiral.
Large Score. Duration 16
minutes, 25 seconds.
Theodore Presser Company
#116-41867L. Published by
Theodore Presser Company
(PR.11641867L).
UPC:
680160683215.
Conte
xtures: Riots -Decade '60
was commissioned by Zubin
Mehta and the Southern
California Symphony
Association after the
successful premiere of
the Concerto for Four
Percussion Soloists and
Orchestra. It was written
during the spring and
summer months of 1967.
Riots stemming from
resentment against the
racial situation in the
United States and the war
in Vietnam were occurring
throughout the country
and inevitably invaded
the composer's creative
subconscious.
Contextures, as the title
implies, was intended to
exploit various and
varying textures. As the
work progressed the
correspondence between
the fabric of music and
the fabric of society
became apparent and the
allegory grew in
significance. So I found
myself translating social
aspects into musical
techniques. Social
stratification became a
polymetric situation
where disparate groups
function together. The
conflict between the
forces of expansion and
the forces of containment
is expressed through and
opposition of tonal
fluidity vs. rigidity.
This is epitomized in the
fourth movement, where
the brass is divided into
two groups - a muted
group, encircled by the
unmuted one, which does
its utmost to keep the
first group within a
restricted pitch area.
The playful jazzy bits
(one between the first
and second movements and
one at the end of the
piece) are simply saying
that somehow in this age
of turmoil and anxiety
ways of having fun are
found even though that
fun may seem
inappropriate. The piece
is in five movements,
with an interlude between
the first and second
movements. It is scored
for a large orchestra,
supplemented by six
groups of percussion,
including newly created
roto-toms (small tunable
drums) and some original
devices, such as muted
gongs and muted
vibraphone. There is also
an offstage jazz quartet:
bass, drums, soprano
saxophone and trumpet.
The first movement begins
with a solo by the first
clarinetist which is
interrupted by
intermittent heckling
from his colleagues
leading to a
configuration of large
disparate elements. The
interlude of solo violin
and snare-drum follows
without pause. The second
movement, Prestissimo, is
a display piece of
virtuosity for the entire
orchestra. The third
movement marks a period
of repose and reflection
and calls for some
expressive solos,
particularly by the horn
and alto saxophone. The
fourth movement opens
with a rather lengthy
oboe solo, which is
threatened by large
blocks of sound from the
orchestra, against an
underlying current of
agitated energy in the
piano and percussion.
This leads to a section
in which large orchestral
forces oppose one
another, ultimately
bringing the work to a
climax, if not to a
denouement. Various
thematic elements are
strewn all over the
orchestra, resulting in
the formation of a
general haze of sound. A
transition leads to the
fifth movement without
pause. The musical haze
is pierced gently by the
offstage jazz group as if
they were attempting to
ignore and even dispel
the gloom, but a legato
bell sound enters and
hovers over both the jazz
group and the orchestra,
the latter making
statements of disquieting
finality. Two films were
conceived to accompany
portions of Contextures.
The first done by Herbert
Kosowar, was a
chemography film
(painting directly into
the film using dyes and
various implements) with
fast clips of riot
photographs. The second
was a film collage made
by photographically
abstracting details from
paintings of Reginald
Pollack. The purpose was
to invoke a non-specific
response - as in music -
but at the same time to
define the subject matter
of the piece. The films
were constructed to
correspond with certain
developments in the piece
and in no way affect the
independence and musical
flow of the piece, having
been made after the piece
was completed.
Contextures: Riots -
Decade '60 is dedicated
to Mehta, the Southern
California Symphony
Association and the Los
Angeles Philharmonic
Orchestra. The news of
the assassination of Dr.
Martin Luther King came
the afternoon of the
premiere, April 4, 1968.
That evening's
performances, and also
the succeeding ones, were
dedicated to him and a
special dedication to Dr.
King has been inserted
into he score. All the
music that follows the
jazz group - beginning
with the legato bell
sound playing the first 2
notes to We shall
overcome constitutes a
new ending to commemorate
Dr. King's death.
Orchestra SKU: PR.11641867S Composed by William Kraft. Full score. Durati...(+)
Orchestra
SKU:
PR.11641867S
Composed
by William Kraft. Full
score. Duration 16
minutes, 25 seconds.
Theodore Presser Company
#116-41867S. Published by
Theodore Presser Company
(PR.11641867S).
UPC:
680160683208.
Conte
xtures: Riots -Decade '60
was commissioned by Zubin
Mehta and the Southern
California Symphony
Association after the
successful premiere of
the Concerto for Four
Percussion Soloists and
Orchestra. It was written
during the spring and
summer months of 1967.
Riots stemming from
resentment against the
racial situation in the
United States and the war
in Vietnam were occurring
throughout the country
and inevitably invaded
the composer's creative
subconscious.
Contextures, as the title
implies, was intended to
exploit various and
varying textures. As the
work progressed the
correspondence between
the fabric of music and
the fabric of society
became apparent and the
allegory grew in
significance. So I found
myself translating social
aspects into musical
techniques. Social
stratification became a
polymetric situation
where disparate groups
function together. The
conflict between the
forces of expansion and
the forces of containment
is expressed through and
opposition of tonal
fluidity vs. rigidity.
This is epitomized in the
fourth movement, where
the brass is divided into
two groups - a muted
group, encircled by the
unmuted one, which does
its utmost to keep the
first group within a
restricted pitch area.
The playful jazzy bits
(one between the first
and second movements and
one at the end of the
piece) are simply saying
that somehow in this age
of turmoil and anxiety
ways of having fun are
found even though that
fun may seem
inappropriate. The piece
is in five movements,
with an interlude between
the first and second
movements. It is scored
for a large orchestra,
supplemented by six
groups of percussion,
including newly created
roto-toms (small tunable
drums) and some original
devices, such as muted
gongs and muted
vibraphone. There is also
an offstage jazz quartet:
bass, drums, soprano
saxophone and trumpet.
The first movement begins
with a solo by the first
clarinetist which is
interrupted by
intermittent heckling
from his colleagues
leading to a
configuration of large
disparate elements. The
interlude of solo violin
and snare-drum follows
without pause. The second
movement, Prestissimo, is
a display piece of
virtuosity for the entire
orchestra. The third
movement marks a period
of repose and reflection
and calls for some
expressive solos,
particularly by the horn
and alto saxophone. The
fourth movement opens
with a rather lengthy
oboe solo, which is
threatened by large
blocks of sound from the
orchestra, against an
underlying current of
agitated energy in the
piano and percussion.
This leads to a section
in which large orchestral
forces oppose one
another, ultimately
bringing the work to a
climax, if not to a
denouement. Various
thematic elements are
strewn all over the
orchestra, resulting in
the formation of a
general haze of sound. A
transition leads to the
fifth movement without
pause. The musical haze
is pierced gently by the
offstage jazz group as if
they were attempting to
ignore and even dispel
the gloom, but a legato
bell sound enters and
hovers over both the jazz
group and the orchestra,
the latter making
statements of disquieting
finality. Two films were
conceived to accompany
portions of Contextures.
The first done by Herbert
Kosowar, was a
chemography film
(painting directly into
the film using dyes and
various implements) with
fast clips of riot
photographs. The second
was a film collage made
by photographically
abstracting details from
paintings of Reginald
Pollack. The purpose was
to invoke a non-specific
response - as in music -
but at the same time to
define the subject matter
of the piece. The films
were constructed to
correspond with certain
developments in the piece
and in no way affect the
independence and musical
flow of the piece, having
been made after the piece
was completed.
Contextures: Riots -
Decade '60 is dedicated
to Mehta, the Southern
California Symphony
Association and the Los
Angeles Philharmonic
Orchestra. The news of
the assassination of Dr.
Martin Luther King came
the afternoon of the
premiere, April 4, 1968.
That evening's
performances, and also
the succeeding ones, were
dedicated to him and a
special dedication to Dr.
King has been inserted
into he score. All the
music that follows the
jazz group - beginning
with the legato bell
sound playing the first 2
notes to We shall
overcome constitutes a
new ending to commemorate
Dr. King's death.
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).
Score and Parts Concert Band; Wind Ensemble - Grade 5 For Wind Orchestra Score ...(+)
Score and Parts Concert
Band;
Wind Ensemble - Grade 5
For Wind Orchestra Score
and
Parts. Composed by Johan
De
Meij. Amstel Music.
Concert.
Softcover. Duration 2580
seconds. Amstel Music
#AM200-
010. Published by Amstel
Music
By Andre J. Thomas. For 3-part mixed choir and piano (with optional full orchest...(+)
By Andre J. Thomas. For
3-part mixed choir and
piano (with optional full
orchestra (concert
band)). Concert,
Patriotic. Octavo.
Published by Heritage
Music Press
Composed by Genaro Codina (1852-1901). Arranged by Alfred Roth. This edition...(+)
Composed by Genaro Codina
(1852-1901). Arranged by
Alfred Roth. This
edition:
Kalmus Orchestra Library.
Full
Orchestra; Performance
Music
Ensemble; Single Titles.
Kalmus Orchestra Library.
Score and Part(s).
LudwigMasters
Publications
#36-A827490. Published by
LudwigMasters
Publications
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.
Prime Time Tuesday Orchestre [Conducteur et Parties séparées] - Intermédiaire Alfred Publishing
(As performed by the cast of Glee (featuring: Any Way You Want It / Dream...(+)
(As performed by the cast
of Glee
(featuring: Any Way You
Want It / Dream a Little
Dream of Me / Don't Stop
Believin')). Arranged by
Victor LÌ_pez.
Orchestra. For full
(Bells/Xylophone, timp
(tambourine), Snare
Drum/Hi-Hat Cymbal/Ride
Cymbal, Bass
Drum,Tom-Toms [Opt.
Drumset], pno opt, vln3).
Full Orchestra; Part(s);
Score. Pop Intermediate
Full Orchestra. Form:
Medley. Jazz; Light
Concert; Pop; TV. Grade
3.5. 226 pages. Published
by Alfred Music
Publishing
Full Orchestra (Print) Choral (Orchestra Accompaniment) SKU: HL.323200 (+)
Full Orchestra (Print)
Choral (Orchestra
Accompaniment)
SKU:
HL.323200
Lessons
for Lent. Composed by
Joseph M. Martin. Shawnee
Sacred. Cantata, Easter,
General Worship, Holy
Week, Lent, Sacred.
Softcover. Duration 2100
seconds. Published by
Shawnee Press
(HL.323200).
ISBN
9781540070487. UPC:
888680978266.
8.5x11.0x1.334
inches.
Presented
in a new edition for the
20th anniversary of its
publication, this seminal
cantata is rich with
musical and spiritual
potential. Using simple
symbols of worship,
expressive music and a
sensitive narration by
Pamela Stewart, this work
is an unforgettable
experience for Holy Week.
A new SAB version and
special anniversary
consort orchestration
join the original
products to open the work
to groups of every size.
Only 30 minutes long, the
cantata is easily learned
and with Brant Adams'
gentle yet dramatic
orchestrations, Colors of
Grace will become a
treasured part of your
Holy Week commemoration.
Songs include: Prologue;
Take My Yoke Upon You; A
Servant's Song (The Basin
and Towel); Take My Yoke
Upon You (Lesson 1:
Service); Underscore: The
Cup; A Shadow Fell on
Sharon's Rose; Take My
Yoke Upon You (Lesson 2:
Obedience); Underscore:
The Crown of Thorns; O
Gentle Jesus; Take My
Yoke Upon You (Lesson 3:
Humility); Come to the
Cross; Epilogue. Score
and Parts for Orchestra
(fl 1-2, ob/eng hn, cl
1-2, bn, hn 1-2,
timp/bass dm, perc 1-2,
hp, pno, vn 1-2, va, vc,
db) available as Printed
Edition and as a digital
download. Consort Score
and Parts (fl, cl, hn,
perc, pno, hp, vn, vc)
available as a digital
download.
((Awesome Remixxx!!!)). Composed by Shawn Patterson (1965-). Arranged by Ralph F...(+)
((Awesome Remixxx!!!)).
Composed by Shawn
Patterson (1965-).
Arranged by Ralph Ford.
Orchestra. Part(s);
Score; String Orchestra.
Pop Intermediate String
Orchestra. Movie. Grade
2.5. 152 pages. Published
by Alfred Music
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!
Arranged by Leroy Anderson, adapted by Douglas E. Wagner. Orchestra. Full Orches...(+)
Arranged by Leroy
Anderson, adapted by
Douglas E. Wagner.
Orchestra. Full
Orchestra; Part(s);
Score. Pop Intermediate
Full Orchestra. Folk;
Pop. Grade 3. 226 pages.
Published by Belwin Music
Orchestra - Grade 1.5 SKU: AP.48071 Featuring Themes from Take Me Out ...(+)
Orchestra - Grade 1.5
SKU: AP.48071
Featuring Themes from
Take Me Out to the Ball
Game and the Ninth
Symphonies of Franz
Shubert, AntonÃn
Dvorák, and Ludwig van
Beethoven. Composed
by Albert Von Tilzer,
Antonin Dvorak, Franz
Shubert, and Ludwig van
Beethoven. Arranged by
Bob Phillips. MakeMusic
Cloud; Performance Music
Ensemble; Single Titles;
Solo Small Ensembles;
String Orchestra. Sound
Innovations for String
Orchestra. Masterwork
Arrangement. Score and
Part(s). 76 pages.
Duration 2:30. Alfred
Music #00-48071.
Published by Alfred Music
(AP.48071).
UPC:
038081557595.
English.
This title
features Alfred Music's
String Orchestra FLEX
options. That means that
every part in this set is
now transposed into every
other part, so you can
play this title with any
combination of like- or
mixed-string ensemble.
After purchasing this
set, decide what
additional parts you need
to meet the unique needs
of your ensemble, then
download and print them
for free at
alfred.com/supplemental--
-free of charge.
Tongue-in-cheek
and beautiful, Bottom of
the Ninths is the perfect
way to delve into these
masterworks with young
players in a fun context!
All sections remain in
1st position, in the key
of D major, with no high
3's or low 1's as the
melodies are passed
throughout the orchestra.
Easy to play and
showcasing the beauty of
these great composers,
this piece, arranged by
Bob Phillips, would shine
at a festival or contest.
The medley features Take
Me Out to the Ball Game;
the opening theme from
Schubert's Symphony No. 9
which is, of course, at
the beginning of that
work; the famous Going
Home theme from the
middle of Dvorák's
Symphony No. 9; and the
Ode to Joy theme from
Beethoven's Symphony No.
9, which is at the end,
or the bottom, of the
9th. Correlated to Sound
Innovations for String
Orchestra, Book 1, Level
5. (2:30) This title is
available in MakeMusic
Cloud.
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!
Concert Band; Orchestra - Grade 1.5 SKU: AP.49118 Composed by Jeremy Bell...(+)
Concert Band; Orchestra -
Grade 1.5
SKU:
AP.49118
Composed by
Jeremy Bell. 5 or More;
MakeMusic Cloud; Mixed
Instruments - Flexible
Instrumentation;
Performance Music
Ensemble; Quartet; Single
Titles; Solo Small
Ensembles. Alfred Debut
Series. Score and
Part(s). 91 pages.
Duration 3:07. Alfred
Music #00-49118.
Published by Alfred Music
(AP.49118).
UPC:
038081563473.
English.
This
version of Defenders of
the Realm by Jeremy Bell
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.
Inspired by
fantasy-themed movies
where heroes find the
strength to fight and
overcome great odds,
Defenders of the Realm by
Jeremy Bell recreates the
big, epic soundtrack of a
Hollywood movie for young
bands. Ranges and rhythms
create an
impressive-sounding piece
appropriate for
developing musicians.
(3:10)
Orchestra - Grade 1.5 SKU: AP.48071S Featuring Themes from Take Me Out...(+)
Orchestra - Grade 1.5
SKU: AP.48071S
Featuring Themes from
Take Me Out to the Ball
Game and the Ninth
Symphonies of Franz
Shubert, AntonÃn
Dvorák, and Ludwig van
Beethoven. Composed
by Albert Von Tilzer,
Antonin Dvorak, Franz
Shubert, and Ludwig van
Beethoven. Arranged by
Bob Phillips. MakeMusic
Cloud; Performance Music
Ensemble; Single Titles;
Solo Small Ensembles;
String Orchestra. Sound
Innovations for String
Orchestra. Masterwork
Arrangement. Score. 8
pages. Duration 2:30.
Alfred Music #00-48071S.
Published by Alfred Music
(AP.48071S).
UPC:
038081557601.
English.
This title
features Alfred Music's
String Orchestra FLEX
options. That means that
every part in this set is
now transposed into every
other part, so you can
play this title with any
combination of like- or
mixed-string ensemble.
After purchasing this
set, decide what
additional parts you need
to meet the unique needs
of your ensemble, then
download and print them
for free at
alfred.com/supplemental--
-free of charge.
Tongue-in-cheek
and beautiful, Bottom of
the Ninths is the perfect
way to delve into these
masterworks with young
players in a fun context!
All sections remain in
1st position, in the key
of D major, with no high
3's or low 1's as the
melodies are passed
throughout the orchestra.
Easy to play and
showcasing the beauty of
these great composers,
this piece, arranged by
Bob Phillips, would shine
at a festival or contest.
The medley features Take
Me Out to the Ball Game;
the opening theme from
Schubert's Symphony No. 9
which is, of course, at
the beginning of that
work; the famous Going
Home theme from the
middle of Dvorák's
Symphony No. 9; and the
Ode to Joy theme from
Beethoven's Symphony No.
9, which is at the end,
or the bottom, of the
9th. Correlated to Sound
Innovations for String
Orchestra, Book 1, Level
5. (2:30) This title
available in MakeMusic
Cloud.
Concert Band; Orchestra - Grade 1.5 SKU: AP.49118S Composed by Jeremy Bel...(+)
Concert Band; Orchestra -
Grade 1.5
SKU:
AP.49118S
Composed by
Jeremy Bell. 5 or More;
MakeMusic Cloud; Mixed
Instruments - Flexible
Instrumentation;
Performance Music
Ensemble; Quartet; Single
Titles; Solo Small
Ensembles. Alfred Debut
Series. Score. 12 pages.
Duration 3:07. Alfred
Music #00-49118S.
Published by Alfred Music
(AP.49118S).
UPC:
038081563480.
English.
This
version of Defenders of
the Realm by Jeremy Bell
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.
Inspired by
fantasy-themed movies
where heroes find the
strength to fight and
overcome great odds,
Defenders of the Realm by
Jeremy Bell recreates the
big, epic soundtrack of a
Hollywood movie for young
bands. Ranges and rhythms
create an
impressive-sounding piece
appropriate for
developing musicians.
(3:10)
By Antonio Carlos Jobim. Edited by Rob Duboff and Jeffrey Sultanof. Arranged by ...(+)
By Antonio Carlos Jobim.
Edited by Rob Duboff and
Jeffrey Sultanof.
Arranged by Claus
Ogerman. For studio
orchestra (English Vocal,
Portuguese Vocal,
Woodwind 1: Piccolo/Bass
Flute (Alto Flute Alt
Part)/C Flute, Woodwind
2: Piccolo/Bass Flute
(Alto Flute Alt Part)/C
Flute/Alto Flute,
Woodwind 3: Bass Flute
(Alto Flute Alt Part)/C
Flute/Alto Flute,
Woodwind 4: Bass Flute).
Recorded by Antonio
Carlos Jobim. Bossa Nova.
Medium. Score and parts.
Published by Jazz Lines
Publications
Composed by
Kirk Vogel. 5 or More;
MakeMusic Cloud; Mixed
Instruments - Flexible
Instrumentation;
Performance Music
Ensemble; Quartet; Single
Titles; Solo Small
Ensembles. Alfred Debut
Series. Fall; Novelty.
Score and Part(s). 107
pages. Duration 2:36.
Alfred Music #00-49117.
Published by Alfred Music
(AP.49117).
UPC:
038081563435.
English.
This
version of In Search of
Yeti by Kirk Vogel 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.
In
Search of Yeti by Kirk
Vogel is a colorful piece
representing the search
for Sasquatch, Bigfoot,
the Abominable Snowman,
Voormi, or Yeti. Whatever
the name, stories have
persisted from the Arctic
to the Himalayas of this
ape-like creature. (2:35)
Composed by
Kirk Vogel. 5 or More;
MakeMusic Cloud; Mixed
Instruments - Flexible
Instrumentation;
Performance Music
Ensemble; Quartet; Single
Titles; Solo Small
Ensembles. Alfred Debut
Series. Novelty. Score.
20 pages. Duration 2:36.
Alfred Music #00-49117S.
Published by Alfred Music
(AP.49117S).
UPC:
038081563442.
English.
This
version of In Search of
Yeti by Kirk Vogel 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.
In
Search of Yeti by Kirk
Vogel is a colorful piece
representing the search
for Sasquatch, Bigfoot,
the Abominable Snowman,
Voormi, or Yeti. Whatever
the name, stories have
persisted from the Arctic
to the Himalayas of this
ape-like creature. (2:35)