| Christ the Lord is risen today Chorale SATB SATB, Orgue [Octavo] - Facile Oxford University Press
Arranged by Mack Wilberg. For SATB choir and organ or large orchestra (3 flutes,...(+)
Arranged by Mack Wilberg.
For SATB choir and organ
or large orchestra (3
flutes, 2 oboes, 2
clarinets, 2 bassoons, 4
horns, 3 trumpets, 3
trombones, tuba, timpani,
2 percussion (suspended
cymbal, chimes), organ,
strings). Mixed Voices.
Sacred. Level B (easy).
Octavo. Duration 3
minutes. Published by
Oxford University Press
$3.25 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Great Smoky Mountains [Conducteur] Theodore Presser Co.
Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clar...(+)
Band Bass Clarinet,
Bassoon 1, Bassoon 2,
Clarinet, Clarinet 1,
Clarinet 2, Clarinet 3,
Contrabass Clarinet,
Contrabassoon, Double
Bass, English Horn,
Euphonium, Flute 1, Flute
2, Horn 1, Horn 2, Horn
3, Horn 4, Oboe 1, Oboe
2, Percussion 1 and more.
SKU: PR.16500102F
Mvt. 2 from Symphony
No. 6 (Three Places in
the East). Composed
by Dan Welcher. Full
score. 52 pages. Theodore
Presser Company
#165-00102F. Published by
Theodore Presser Company
(PR.16500102F). ISBN
9781491131749. UPC:
680160680276. Ever
since the success of my
series of wind ensemble
works Places in the West,
I've been wanting to
write a companion piece
for national parks on the
other side of the north
American continent. The
earlier work, consisting
of GLACIER, THE
YELLOWSTONE FIRES,
ARCHES, and ZION, spanned
some twenty years of my
composing life, and since
the pieces called for
differing groups of
instruments, and were in
slightly different styles
from each other, I never
considered them to be
connected except in their
subject matter. In their
depiction of both the
scenery and the human
history within these
wondrous places, they had
a common goal: awaking
the listener to the
fragile beauty that is in
them; and calling
attention to the ever
more crucial need for
preservation and
protection of these wild
places, unique in all the
world. With this new
work, commissioned by a
consortium of college and
conservatory wind
ensembles led by the
University of Georgia, I
decided to build upon
that same model---but to
solidify the process. The
result, consisting of
three movements (each
named for a different
national park in the
eastern US), is a
bona-fide symphony. While
the three pieces could be
performed separately,
they share a musical
theme---and also a common
style and
instrumentation. It is a
true symphony, in that
the first movement is
long and expository, the
second is a rather
tightly structured
scherzo-with-trio, and
the finale is a true
culmination of the whole.
The first movement,
Everglades, was the
original inspiration for
the entire symphony.
Conceived over the course
of two trips to that
astonishing place (which
the native Americans
called River of Grass,
the subtitle of this
movement), this movement
not only conveys a sense
of the humid, lush, and
even frightening scenery
there---but also an
overview of the entire
settling-of- Florida
experience. It contains
not one, but two native
American chants, and also
presents a view of the
staggering influence of
modern man on this
fragile part of the
world. Beginning with a
slow unfolding marked
Heavy, humid, the music
soon presents a gentle,
lyrical theme in the solo
alto saxophone. This
theme, which goes through
three expansive phrases
with breaks in between,
will appear in all three
movements of the
symphony. After the mood
has been established, the
music opens up to a rich,
warm setting of a
Cherokee morning song,
with the simple happiness
that this part of Florida
must have had prior to
the nineteenth century.
This music, enveloping
and comforting, gradually
gives way to a more
frenetic, driven section
representative of the
intrusion of the white
man. Since Florida was
populated and developed
largely due to the
introduction of a train
system, there's a
suggestion of the
mechanized iron horse
driving straight into the
heartland. At that point,
the native Americans
become considerably less
gentle, and a second
chant seems to stand in
the way of the intruder;
a kind of warning song.
The second part of this
movement shows us the
great swampy center of
the peninsula, with its
wildlife both in and out
of the water. A new theme
appears, sad but noble,
suggesting that this land
is precious and must be
protected by all the
people who inhabit it. At
length, the morning song
reappears in all its
splendor, until the
sunset---with one last
iteration of the warning
song in the solo piccolo.
Functioning as a scherzo,
the second movement,
Great Smoky Mountains,
describes not just that
huge park itself, but one
brave soul's attempt to
climb a mountain there.
It begins with three
iterations of the
UR-theme (which began the
first movement as well),
but this time as up-tempo
brass fanfares in
octaves. Each time it
begins again, the theme
is a little slower and
less confident than the
previous time---almost as
though the hiker were
becoming aware of the
daunting mountain before
him. But then, a steady,
quick-pulsed ostinato
appears, in a constantly
shifting meter system of
2/4- 3/4 in alteration,
and the hike has begun.
Over this, a slower new
melody appears, as the
trek up the mountain
progresses. It's a big
mountain, and the ascent
seems to take quite
awhile, with little
breaks in the hiker's
stride, until at length
he simply must stop and
rest. An oboe solo, over
several free cadenza-like
measures, allows us (and
our friend the hiker) to
catch our breath, and
also to view in the
distance the rocky peak
before us. The goal is
somehow even more
daunting than at first,
being closer and thus
more frighteningly steep.
When we do push off
again, it's at a slower
pace, and with more
careful attention to our
footholds as we trek over
broken rocks. Tantalizing
little views of the
valley at every
switchback make our
determination even
stronger. Finally, we
burst through a stand of
pines and----we're at the
summit! The immensity of
the view is overwhelming,
and ultimately humbling.
A brief coda, while we
sit dazed on the rocks,
ends the movement in a
feeling of triumph. The
final movement, Acadia,
is also about a trip. In
the summer of 2014, I
took a sailing trip with
a dear friend from North
Haven, Maine, to the
southern coast of Mt.
Desert Island in Acadia
National Park. The
experience left me both
exuberant and exhausted,
with an appreciation for
the ocean that I hadn't
had previously. The
approach to Acadia
National Park by water,
too, was thrilling: like
the difference between
climbing a mountain on
foot with riding up on a
ski-lift, I felt I'd
earned the right to be
there. The music for this
movement is entirely
based on the opening
UR-theme. There's a sense
of the water and the
mysterious, quiet deep
from the very beginning,
with seagulls and bell
buoys setting the scene.
As we leave the harbor,
the theme (in a canon
between solo euphonium
and tuba) almost seems as
if large subaquatic
animals are observing our
departure. There are
three themes (call them
A, B and C) in this
seafaring journey---but
they are all based on the
UR theme, in its original
form with octaves
displaced, in an
upside-down form, and in
a backwards version as
well. (The ocean, while
appearing to be
unchanging, is always
changing.) We move out
into the main channel
(A), passing several
islands (B), until we
reach the long draw that
parallels the coastline
called Eggemoggin Reach,
and a sudden burst of new
speed (C). Things
suddenly stop, as if the
wind had died, and we
have a vision: is that
really Mt. Desert Island
we can see off the port
bow, vaguely in the
distance? A chorale of
saxophones seems to
suggest that. We push off
anew as the chorale ends,
and go through all three
themes again---but in
different
instrumentations, and
different keys. At the
final tack-turn, there it
is, for real: Mt. Desert
Island, big as life.
We've made it. As we pull
into the harbor, where
we'll secure the boat for
the night, there's a
feeling of achievement.
Our whale and dolphin
friends return, and we
end our journey with
gratitude and
celebration. I am
profoundly grateful to
Jaclyn Hartenberger,
Professor of Conducting
at the University of
Georgia, for leading the
consortium which provided
the commissioning of this
work. $36.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Everglades (River of Grass) [Conducteur] Theodore Presser Co.
Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clar...(+)
Band Bass Clarinet,
Bassoon 1, Bassoon 2,
Clarinet, Clarinet 1,
Clarinet 2, Clarinet 3,
Contrabass Clarinet,
Contrabassoon, Double
Bass, English Horn,
Euphonium, Flute 1, Flute
2, Horn 1, Horn 2, Horn
3, Horn 4, Oboe 1, Oboe
2, Percussion 1 and more.
SKU: PR.16500101F
Mvt. 1 from Symphony
No. 6 (Three Places in
the East). Composed
by Dan Welcher. Full
score. 52 pages. Theodore
Presser Company
#165-00101F. Published by
Theodore Presser Company
(PR.16500101F). ISBN
9781491131725. UPC:
680160680252. Ever
since the success of my
series of wind ensemble
works Places in the West,
I've been wanting to
write a companion piece
for national parks on the
other side of the north
American continent. The
earlier work, consisting
of GLACIER, THE
YELLOWSTONE FIRES,
ARCHES, and ZION, spanned
some twenty years of my
composing life, and since
the pieces called for
differing groups of
instruments, and were in
slightly different styles
from each other, I never
considered them to be
connected except in their
subject matter. In their
depiction of both the
scenery and the human
history within these
wondrous places, they had
a common goal: awaking
the listener to the
fragile beauty that is in
them; and calling
attention to the ever
more crucial need for
preservation and
protection of these wild
places, unique in all the
world. With this new
work, commissioned by a
consortium of college and
conservatory wind
ensembles led by the
University of Georgia, I
decided to build upon
that same model---but to
solidify the process. The
result, consisting of
three movements (each
named for a different
national park in the
eastern US), is a
bona-fide symphony. While
the three pieces could be
performed separately,
they share a musical
theme---and also a common
style and
instrumentation. It is a
true symphony, in that
the first movement is
long and expository, the
second is a rather
tightly structured
scherzo-with-trio, and
the finale is a true
culmination of the whole.
The first movement,
Everglades, was the
original inspiration for
the entire symphony.
Conceived over the course
of two trips to that
astonishing place (which
the native Americans
called River of Grass,
the subtitle of this
movement), this movement
not only conveys a sense
of the humid, lush, and
even frightening scenery
there---but also an
overview of the entire
settling-of- Florida
experience. It contains
not one, but two native
American chants, and also
presents a view of the
staggering influence of
modern man on this
fragile part of the
world. Beginning with a
slow unfolding marked
Heavy, humid, the music
soon presents a gentle,
lyrical theme in the solo
alto saxophone. This
theme, which goes through
three expansive phrases
with breaks in between,
will appear in all three
movements of the
symphony. After the mood
has been established, the
music opens up to a rich,
warm setting of a
Cherokee morning song,
with the simple happiness
that this part of Florida
must have had prior to
the nineteenth century.
This music, enveloping
and comforting, gradually
gives way to a more
frenetic, driven section
representative of the
intrusion of the white
man. Since Florida was
populated and developed
largely due to the
introduction of a train
system, there's a
suggestion of the
mechanized iron horse
driving straight into the
heartland. At that point,
the native Americans
become considerably less
gentle, and a second
chant seems to stand in
the way of the intruder;
a kind of warning song.
The second part of this
movement shows us the
great swampy center of
the peninsula, with its
wildlife both in and out
of the water. A new theme
appears, sad but noble,
suggesting that this land
is precious and must be
protected by all the
people who inhabit it. At
length, the morning song
reappears in all its
splendor, until the
sunset---with one last
iteration of the warning
song in the solo piccolo.
Functioning as a scherzo,
the second movement,
Great Smoky Mountains,
describes not just that
huge park itself, but one
brave soul's attempt to
climb a mountain there.
It begins with three
iterations of the
UR-theme (which began the
first movement as well),
but this time as up-tempo
brass fanfares in
octaves. Each time it
begins again, the theme
is a little slower and
less confident than the
previous time---almost as
though the hiker were
becoming aware of the
daunting mountain before
him. But then, a steady,
quick-pulsed ostinato
appears, in a constantly
shifting meter system of
2/4- 3/4 in alteration,
and the hike has begun.
Over this, a slower new
melody appears, as the
trek up the mountain
progresses. It's a big
mountain, and the ascent
seems to take quite
awhile, with little
breaks in the hiker's
stride, until at length
he simply must stop and
rest. An oboe solo, over
several free cadenza-like
measures, allows us (and
our friend the hiker) to
catch our breath, and
also to view in the
distance the rocky peak
before us. The goal is
somehow even more
daunting than at first,
being closer and thus
more frighteningly steep.
When we do push off
again, it's at a slower
pace, and with more
careful attention to our
footholds as we trek over
broken rocks. Tantalizing
little views of the
valley at every
switchback make our
determination even
stronger. Finally, we
burst through a stand of
pines and----we're at the
summit! The immensity of
the view is overwhelming,
and ultimately humbling.
A brief coda, while we
sit dazed on the rocks,
ends the movement in a
feeling of triumph. The
final movement, Acadia,
is also about a trip. In
the summer of 2014, I
took a sailing trip with
a dear friend from North
Haven, Maine, to the
southern coast of Mt.
Desert Island in Acadia
National Park. The
experience left me both
exuberant and exhausted,
with an appreciation for
the ocean that I hadn't
had previously. The
approach to Acadia
National Park by water,
too, was thrilling: like
the difference between
climbing a mountain on
foot with riding up on a
ski-lift, I felt I'd
earned the right to be
there. The music for this
movement is entirely
based on the opening
UR-theme. There's a sense
of the water and the
mysterious, quiet deep
from the very beginning,
with seagulls and bell
buoys setting the scene.
As we leave the harbor,
the theme (in a canon
between solo euphonium
and tuba) almost seems as
if large subaquatic
animals are observing our
departure. There are
three themes (call them
A, B and C) in this
seafaring journey---but
they are all based on the
UR theme, in its original
form with octaves
displaced, in an
upside-down form, and in
a backwards version as
well. (The ocean, while
appearing to be
unchanging, is always
changing.) We move out
into the main channel
(A), passing several
islands (B), until we
reach the long draw that
parallels the coastline
called Eggemoggin Reach,
and a sudden burst of new
speed (C). Things
suddenly stop, as if the
wind had died, and we
have a vision: is that
really Mt. Desert Island
we can see off the port
bow, vaguely in the
distance? A chorale of
saxophones seems to
suggest that. We push off
anew as the chorale ends,
and go through all three
themes again---but in
different
instrumentations, and
different keys. At the
final tack-turn, there it
is, for real: Mt. Desert
Island, big as life.
We've made it. As we pull
into the harbor, where
we'll secure the boat for
the night, there's a
feeling of achievement.
Our whale and dolphin
friends return, and we
end our journey with
gratitude and
celebration. I am
profoundly grateful to
Jaclyn Hartenberger,
Professor of Conducting
at the University of
Georgia, for leading the
consortium which provided
the commissioning of this
work. $36.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Guide me, O thou great Jehovah Chorale SATB SATB, Orgue [Octavo] - Facile Oxford University Press
Composed by Mack Wilberg (1955-). For SATB choir and organ or large orchestra (3...(+)
Composed by Mack Wilberg
(1955-). For SATB choir
and organ or large
orchestra (3 flutes (
piccolo), 2 oboes, 2
clarinets, 2 bassoons, 4
horns, 3 trumpets, 3
trombones, tuba, timpani,
2 percussion (suspended
cymbal, chimes), organ,
strings). Mixed Voices.
Sacred. Level B (easy).
Octavo. 12 pages.
Duration 4 minutes.
Published by Oxford
University Press
$3.65 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Classic Rock Hits Instrumental Solos (Clarinet) Clarinette [Partition + CD] - Facile Alfred Publishing
For Clarinet. Book; CD; Instrumental Series; Play-Along. Pop Instrumental Solo S...(+)
For Clarinet. Book; CD;
Instrumental Series;
Play-Along. Pop
Instrumental Solo Series.
Rock. Grade 2; Grade 2.5;
Grade 3. 24 pages.
Published by Alfred Music
Publishing
$10.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Ultimate Pop Instrumental Solos Clarinette [Partition + CD] - Intermédiaire Alfred Publishing
(Clarinet). For Clarinet. Book; CD; Instrumental Series; Play-Along. Ultimate Po...(+)
(Clarinet). For Clarinet.
Book; CD; Instrumental
Series; Play-Along.
Ultimate Pop Instrumental
Solos Series. Pop. Grade
2; Grade 3. 88 pages.
Published by Alfred Music
Publishing
$18.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| 25 or 6 to 4 - Débutant Hal Leonard
Jazz Ensemble (Score) - Grade 1-2 SKU: HL.7470752 By Chicago. By Robert L...(+)
Jazz Ensemble (Score) -
Grade 1-2 SKU:
HL.7470752 By
Chicago. By Robert Lamm.
Arranged by Paul Murtha.
Discovery Jazz. Classic
Rock, Rock. 12 pages.
Published by Hal Leonard
(HL.7470752). UPC:
884088543273.
12.0x9.0x0.02
inches. Recorded by
the group Chicago, this
signature hit has gone on
to become a rock classic.
Paul's easy arrangement
is playable with very
limited rehearsal time,
but still has an
authentic and
hard-driving feel.
Includes optional solos
(or soli) for any sax and
any brass instrument.
Enjoy great flexibility
with the Discovery Jazz
series! Playable with 3
saxes, 2 trumpets, 1
trombone, piano and
drums; includes optional
parts for flute,
clarinet, F horn and
tuba. $7.50 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Stadium Hit Mix Fanfare [Conducteur et Parties séparées] - Facile Hal Leonard
Value Pak (34 part books). (Kit of score and part books). Easy Contemporary Mar...(+)
Value Pak (34 part
books). (Kit of score
and part books). Easy
Contemporary Marching
Band. Published by Hal
Leonard.
$135.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Rejoice, Dolce, and Dance - Facile Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Crash Cym...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Bells,
Clarinet 1, Clarinet 2,
Crash Cymbals, Euphonium,
Euphonium T.C., Flute,
Horn, Mallet Percussion
1, Mallet Percussion 2,
Oboe, Percussion 1,
Percussion 2, Percussion
3, Snare Drum, Suspended
Cymbal and more. - Grade
2.5 SKU: CF.YPS237
Composed by Quincy C.
Hilliard. Set of Score
and Parts.
21+16+2+8+8+4+2+6+4+4+4+4
+4+4+6+6+4+6+6+2+1+4+3+3
pages. Duration 4
minutes, 25 seconds. Carl
Fischer Music #YPS237.
Published by Carl Fischer
Music (CF.YPS237).
ISBN 9781491159538.
UPC:
680160918126. Rejoi
ce, Dolce, and Dance is
written in three
different and distinct
styles. Rejoice is
fanfare-like in quality
and should be played in a
bold majestic manner;
balance is important in
this section. Care should
be taken to not let the
battery percussion
overpower the ensemble
The forzandos are very
important to the
character of the fanfare
and should be carefully
observed. Dolce is slow
and more lyrical in
manner. This section
should be played in a
legato style. The
director is encouraged to
add his own
interpretative elements
in this section. The
Dance is fast and light
in character. Keep the
tempo moving and pay
special attention to the
articulations and
dynamics. Phi Beta Mu
International Bandmasters
Fraternity is an honorary
fraternity for band
directors. There are
currently 35 active
chapters in the United
States, Canada, and
Brazil. Phi Beta Mu is a
non-political, non-profit
fraternity promoting
fellowship among its
members, encouraging the
building of better bands,
developing better
musicians throughout the
world, fostering a deeper
appreciation for quality
wind literature, and
encouraging widespread
interest in band
performance. Consortium
Members: Commissioned by
the International
Bandmasters Fraternity,
Phi Beta Mu Alpha
Chapter (Texas) Theta
Chapter (South Carolina)
Delta Chapter
(Mississippi) Omicron
Chapter (Arkansas) Alpha
Theta Chapter (Nebraska)
Alpha Gamma Chapter
(North Dakota) Gamma
Chapter (Indiana) Nu
Chapter (Pennsylvania)
Psi Chapter (Kentucky) Mu
Alpha Chapter (Alberta,
Canada) Lambda Iota
(Ontario, Canada) Iota
Chapter (Kansas) Kappa
Chapter (Colorado) Eta
Chapter (Tennessee) Zeta
Chapter (Georgia) Keith
and June Bearden (Alpha
Chapter) Steven Moss
(Alpha Chapter) Jay
Watkins (Omega Chapter)
Anonymous, David Lambert
for his service to Phi
Beta Mu International
Anonymous, Scott Coulson,
for his service to Alpha
Chapter Jacqueline Gilley
(Beta Chapter), In
Memoriam, Francis McBeth
Dennis Beck, (Lambda Iota
Chapter) In Memoriam,
Donald McKeller Brek
Hufnus (Xi Chapter), In
Memory of David Wuersig,
Roosevelt Middle School,
River Forest, IL,
1974-2014 David and
Sheryl Gary Lambert
(Alpha Chapter), In
Memory of James D Gary,
John Foster Dulles High
School, Sugar Land, TX
1959-1968 Phil Min (Rho
Chapter), In Honor of
William T. Robinson Julia
Reynolds (Omicron
Chapter), In Honor of
Wendell O. Evanson Julia
Reynolds (Omicron
Chapter), In Honor of Hal
D. Cooper, Senior Steve
Shoop (Alpha Chapter) In
Honor of Patsy Dickerson
Nelson David L. Wenerd
(Nu Chapter), In Honor of
the Chambersburg Area
Senior High School Band
 . Rejoice,
Dolce, and Dance is
written in three
different and distinct
styles. Rejoice is
fanfare-like in quality
and should be played in a
bold majestic manner;
balance is important in
this section. Care should
be taken to not let the
battery percussion
overpower the ensemble
The forzandos are very
important to the
character of the fanfare
and should be carefully
observed. Dolce is slow
and more lyrical in
manner. This section
should be played in a
legato style. The
director is encouraged to
add his own
interpretative elements
in this section. The
Dance is fast and light
in character. Keep the
tempo moving and pay
special attention to the
articulations and
dynamics.Phi Beta Mu
International Bandmasters
Fraternity is an honorary
fraternity for band
directors. There are
currently 35 active
chapters in the United
States, Canada, and
Brazil. Phi Beta Mu is a
non-political, non-profit
fraternity promotingÂ
fellowship among its
members, encouraging the
building of better bands,
developing better
musicians throughout the
world, fostering a deeper
appreciation for quality
wind literature, and
encouraging widespread
interest in band
performance.  Conso
rtium
Members:Commissioned by
the International
Bandmasters Fraternity,
Phi Beta Mu  Alpha
Chapter (Texas)Â Theta
Chapter (South Carolina)
Delta Chapter
(Mississippi)Â Omicron
Chapter (Arkansas) Alpha
Theta Chapter (Nebraska)
Alpha Gamma Chapter
(North Dakota)Â Gamma
Chapter (Indiana)Â Nu
Chapter (Pennsylvania)
Psi Chapter (Kentucky) Mu
Alpha Chapter (Alberta,
Canada) Lambda Iota
(Ontario, Canada) Iota
Chapter (Kansas) Kappa
Chapter (Colorado) Eta
Chapter (Tennessee)Â
Zeta Chapter (Georgia)
Keith and June Bearden
(Alpha Chapter)Â
Steven Moss (Alpha
Chapter) Jay Watkins
(Omega Chapter)
Anonymous, David Lambert
for his service to Phi
Beta Mu International
Anonymous, Scott Coulson,
for his service to Alpha
Chapter Jacqueline Gilley
(Beta Chapter), In
Memoriam, Francis McBeth
Dennis Beck, (Lambda Iota
Chapter) In Memoriam,
Donald McKeller Brek
Hufnus (Xi Chapter), In
Memory of David Wuersig,
Roosevelt Middle School,
River Forest, IL,
1974-2014Â David and
Sheryl Gary Lambert
(Alpha Chapter), In
Memory of James D Gary,
John Foster Dulles High
School, Sugar Land, TX
1959-1968 Phil Min (Rho
Chapter), In Honor of
William T. Robinson Julia
Reynolds (Omicron
Chapter), In Honor of
Wendell O. Evanson Julia
Reynolds (Omicron
Chapter), In Honor of Hal
D. Cooper, Senior Steve
Shoop (Alpha Chapter) In
Honor of Patsy Dickerson
Nelson David L. Wenerd
(Nu Chapter), In Honor of
the Chambersburg Area
Senior High School
Band  . $70.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Remembering Pearl Harbor [Conducteur] - Intermédiaire Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Chimes, Clarinet 1, Clarinet 2, C...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Bells,
Chimes, Clarinet 1,
Clarinet 2, Clarinet 3,
Crash Cymbals, Euphonium,
Euphonium T.C., Flute,
Gong, Horn 1, Horn 2,
Horn 3, Horn 4, Mallet
Percussion, Marimba,
Oboe, Percussion 1,
Percussion 2 and more. -
Grade 4 SKU:
CF.SPS95F December
7, 1941. Composed by
Christina Huss R. Alan
Carter. Sps. Full score.
28 pages. Duration 6
minutes, 45 seconds. Carl
Fischer Music #SPS95F.
Published by Carl Fischer
Music (CF.SPS95F).
ISBN 9781491161845.
UPC:
680160920525. Writt
en to commemorate the
80th Anniversary of the
surprise attack on the
American Pacific Fleet,
Remembering Pearl Harbor
is a stirring tribute
honoring the heroes of
the date which will live
in infamy- December 7,
1941. Like flying over
the Pacific, the opening
bars seemingly soar back
in time. The composition
takes the listener on a
moving journey from the
precarious moments before
the fateful attack,
through the air strike
and resulting aftermath.
The musical voyage begins
with chimes, signifying
the hour of the attack
that Sunday morning,
developing into the
heroic main theme
representing the Spirit
of America. A rousing
version of Anchors Aweigh
takes us to the naval
base at Pearl Harbor and
the activities of the
day. By the end of
Anchors Away, the mood
seems to change,
foreshadowing the fate of
the U.S. fleet. Next, the
haunting theme of the
Japanese National Anthem
is heard and the distant
sound of propellers as
they approach. When the
planes arrive, the battle
rages until there is
total destruction.
Countless people lost
their lives on this
tragic day. The playing
of Taps and the Navy
Hymn, Eternal Father,
Strong to Save is
presented as an homage to
those who perished.
Following this solemn
moment, the American
spirit begins to rise as
they come together to
defeat the enemy. As the
U.S. triumphs in the end,
we hear fragments of many
American tunes depicting
the strength and
resilience of the
American People. You may
want to consider using
portions of Franklin
Delano Roosevelt's famous
speech to enhance your
performance. The
following sections are
suggested: Measure 46:
Yesterday, December 7th,
1941 - a date which will
live in infamy - the
United States of America
was suddenly and
deliberately attacked by
the naval and air forces
of the Empire of Japan.
Measure 83: The attack
yesterday on the Hawaiian
Islands has caused severe
damage to American naval
and military forces. I
regret to tell you that
very many American lives
have been lost. Measure
105: No matter how long
it may take us to
overcome this
premeditated invasion,
the American people in
their righteous might
will win through to
absolute
victory.. Written to
commemorate the 80th
Anniversary of the
surprise attack on the
American Pacific Fleet,
Remembering Pearl Harbor
is a stirring tribute
honoring the heroes of
the “date which
will live in
infamyâ€- December
7, 1941. Like flying over
the Pacific, the opening
bars seemingly soar back
in time. The composition
takes the listener on a
moving journey from the
precarious moments before
the fateful attack,
through the air strike
and resulting
aftermath.The musical
voyage begins with
chimes, signifying the
hour of the attack that
Sunday morning,
developing into the
heroic main theme
representing the Spirit
of America. A rousing
version of Anchors
Aweigh takes us to the
naval base at Pearl
Harbor and the activities
of the day. By the end of
Anchors Away, the mood
seems to change,
foreshadowing the fate of
the U.S.
fleet.  Next, the
haunting theme of the
Japanese National Anthem
is heard and the distant
sound of propellers as
they approach. When the
planes arrive, the battle
rages until there is
total destruction.
Countless people lost
their lives on this
tragic day. The playing
of Taps and the Navy
Hymn, Eternal Father,
Strong to Save is
presented as an homage to
those who
perished.Following this
solemn moment, the
American spirit begins to
rise as they come
together to defeat the
enemy. As the U.S.
triumphs in the end, we
hear fragments of many
American tunes depicting
the strength and
resilience of the
American People.You may
want to consider using
portions of Franklin
Delano Roosevelt’s
famous speech to enhance
your performance. The
following sections are
suggested:Measure 46:
“Yesterday,
December 7th, 1941
– a date which
will live in infamy
– the United
States of America was
suddenly and deliberately
attacked by the naval and
air forces of the Empire
of Japan.â€Measure
83: “The attack
yesterday on the Hawaiian
Islands has caused severe
damage to American naval
and military forces. I
regret to tell you that
very many American lives
have been
lost.â€Measure 105:
“No matter how long
it may take us to
overcome this
premeditated invasion,
the American people in
their righteous might
will win through to
absolute
victory.â€. $13.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Clarinet Orchestral Excerpts Clarinette - Intermédiaire The Frederick Harris Music Company
Clarinet - Late Intermediate to Advanced SKU: FH.WCE1 Clarinet Series,...(+)
Clarinet - Late
Intermediate to Advanced
SKU: FH.WCE1
Clarinet Series, 2013
Edition. Composed by
The Royal Conservatory.
Clarinet Series, 2013
Edition. Book. 48 pages.
The Frederick Harris
Music Company #WCE1.
Published by The
Frederick Harris Music
Company (FH.WCE1).
ISBN
978-1-55440-588-6.
This new series offers a
sequenced approach to the
study of clarinet from
the beginner to advanced
levels. With a
progressive collection of
Repertoire, Etudes,
Recordings, Orchestral
Excerpts, and Technique,
the Clarinet Series, 2014
Edition provides complete
support for teachers and
students at every level
of study. Nine
progressive volumes of
Repertoire expose
students to a wealth of
music from the earliest
works for clarinet to
accompanied and
unaccompanied
contemporary
compositions. Students
will explore some of the
most definitive solo
pieces written for
clarinet, along with
popular folk tunes,
Klezmer melodies,
Classical solos, and
contemporary compositions
that incorporate
traditional and extended
techniques. Level
7: De Hebriden, op.
26: Overture - Felix
Mendelssohn Symphony
No. 39, K 543: II, III,
IV - Wolfgang Amadeus
Mozart Symphony No. 5,
op. 64: I, II - Pyotr
Il'yich
Tchaikovsky Symphony
No. 2, op. 36: II -
Ludwig van
Beethoven Piano
Concerto No. 2, op. 18:
II - Sergei
Rachmaninoff Symphony
No. 6 (Pastoral), op. 68:
I - Ludwig van
Beethoven Level
8: Prince Igor:
Polovtsian Dance No. 8,
Polovtsian Dance No. 17 -
Aleksandr Borodin Il
barbiere di Siviglia:
Overture - Gioachino
Rossini Symphony No. 4
(Italian), op. 90: IV -
Felix
Mendelssohn Symphony
No. 4, op. 98: II -
Johannes
Brahms Ouverture zu
Offenbach's Orpheus in
der Unterwelt - Carl
Binder Symphony No. 8
(Unfinished), D 759: II -
Franz
Schubert Symphonie
fantastique: III - Hector
Berlioz Level
9: Symphony No. 6
(Pastoral), op. 68 : I,
II, III - Ludwig van
Beethoven Symphony No.
3, op. 90: I, II -
Johannes
Brahms Symphony No. 4,
op. 60: II - Ludwig van
Beethoven Semiramide:
Overture - Gioachino
Rossini Symphony No. 3
(Scottish), op. 56: II -
Felix
Mendelssohn Prelude a
l'apres midi d'un faune -
Claude
Debussy Symphony no.
9, op. 125: II - Ludwig
van Beethoven Level
10: Symphony No. 2,
op. 27: III - Sergei
Rachmaninoff Violin
Concerto, op. 61: II -
Ludwig van
Beethoven Incidental
Music to A Midsummer
Night's Dream, op. 61:
Scherzo - Felix
Mendelssohn Symphony
No. 1, op. 39: I, III -
Jean
Sibelius Variations on
a Theme by Haydn, op.
56a: Variation II,
Variation IV, Variation V
- Johannes
Brahms Symphony No. 8,
op. 93: III - Ludwig van
Beethoven Sheherazade,
op. 35: II, III, IV -
Nicolai
Rimsky-Korsakov Associ
ate: B_, A, C
Clarinet: Capriccio
espagnole, op. 34: I,
III, IV - Nicolai
Rimsky-Korsakov Dances
of Galanta - Zoltan
Kodaly Pini di Roma:
III - Ottorino
Respighi Suite de
l'oiseau de feu:
Variation de l'oiseau de
feu - Igor
Stravinsky Symphony
No. 6 (Pathetique), op.
74: I - Pyotr Il'yich
Tchaikovsky Symphony
No. 9, op. 70: II, III -
Dmitri
Shostakovich Don Juan,
op. 20 - Richard
Strauss Symphonie
fantastique: V - Hector
Berlioz Peter and the
Wolf, op. 67: Nervoso -
Sergei
Prokofiev Prince Igor:
Polovtsian Dance No. 17 -
Aleksandr
Borodin Associate: E_
Clarinet: Symphony no.
5, op 100: IV - Sergei
Prokofiev Till
Eulenspiegels lustige
Streiche, op. 28 -
Richard
Strauss Symphony no.
5, op. 47: II - Dmitri
Shostakovich Symphonie
fantastique: V - Hector
Berlioz Bolero -
Maurice
Ravel Associate: Bass
Clarinet: Les
Huguenots: Trio from act
5 - Giacomo
Meyerbeer Violin
Concerto no. 1, op. 77:
II - Dmitri
Shostakovich Grand
Canyon Suite: III - Ferde
Grofe Don Quixote, op.
35: Sancho Panza,
Variation X - Richard
Strauss. $36.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Moontowers - Facile Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Clarinet, Euphonium, Euphonium T.C., Flu...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Clarinet,
Euphonium, Euphonium
T.C., Flute, Horn, Oboe,
Percussion 1, Percussion
2, Percussion 3, Snare
Drum, Suspended Cymbal,
Timpani, Triangle,
Trombone, Trumpet, Tuba,
alto Saxophone, baritone
Saxophone and more. -
Grade 3 SKU:
CF.CPS257 Composed by
Chris Campbell. Cps. Set
of Score and Parts.
16+4+16+2+4+5+2+2+8+6+12+
6+4+8+2+1+1+2+20 pages.
Duration 3 minutes, 28
seconds. Carl Fischer
Music #CPS257. Published
by Carl Fischer Music
(CF.CPS257). ISBN
9781491161265. UPC:
680160919857. The
original intent for this
piece was to evoke a
fantasy atmosphere of
huge mythical constructs,
such as stone edifices,
rising from a lunar
surface softly
illuminated by reflected
light from another
galactic source. It is
meant to give an
impression of a single
vision, allowing the
listener or player to
imagine a personal
interpretation of their
own. The story behind
this particular title
comes from the late 19th
century. Before the
widespread use of
electric streetlights,
many large American and
European cities erected
large structures - some
as tall as 165 feet -
intended to brighten the
cities at night at times
when there was
insufficient natural
moonlight. Referred to at
that time as Moonlight
Towers, the only ones
still in existence and in
use today are found in
Austin, Texas. These
man-made wonders may not
be as stunning as
naturally-formed stone
edifices, but they are
nevertheless
eye-catching. One of
these structures in a
large park is adorned
with strands of lights
every December to
resemble a gigantic
Christmas tree which can
be seen for miles. In
this composition, measure
81 through measure 97
depicts four of the
remaining thirteen towers
in four different
settings in Austin. This
piece is also intended to
capture the wonder of
these singular relics of
history, with a fantasy
atmosphere of their
own. The original
intent for this piece was
to evoke a fantasy
atmosphere of huge
mythical constructs, such
as stone edifices, rising
from a lunar surface
softly illuminated by
reflected light from
another galactic source.
It is meant to give an
impression of a single
vision, allowing the
listener or player to
imagine a personal
interpretation of their
own. The story behind
this particular title
comes from the late 19th
century. Before the
widespread use of
electric streetlights,
many large American and
European cities erected
large structures - some
as tall as 165 feet -
intended to brighten the
cities at night at times
when there was
insufficient natural
moonlight. Referred to at
that time as Moonlight
Towers, the only ones
still in existence and in
use today are found in
Austin, Texas. These
man-made wonders may not
be as stunning as
naturally-formed stone
edifices, but they are
nevertheless
eye-catching. One of
these structures in a
large park is adorned
with strands of lights
every December to
resemble a gigantic
Christmas tree which can
be seen for miles. In
this composition, measure
81 through measure 97
depicts four of the
remaining thirteen towers
in four different
settings in Austin. This
piece is also intended to
capture the wonder of
these singular relics of
history, with a fantasy
atmosphere of their
own. $75.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Clarinet Repertoire 7 Clarinette - Intermédiaire The Frederick Harris Music Company
Clarinet - Late Intermediate SKU: FH.WC7 Clarinet Series, 2013 Edition...(+)
Clarinet - Late
Intermediate SKU:
FH.WC7 Clarinet
Series, 2013 Edition.
Composed by The Royal
Conservatory. Clarinet
Series, 2013 Edition.
Book/CD. 88/36 pages. The
Frederick Harris Music
Company #WC7. Published
by The Frederick Harris
Music Company (FH.WC7).
ISBN
978-1-55440-583-1.
This new series offers a
sequenced approach to the
study of clarinet from
the beginner to advanced
levels. With a
progressive collection of
Repertoire, Etudes,
Recordings, Orchestral
Excerpts, and Technique,
the Clarinet Series, 2014
Edition provides complete
support for teachers and
students at every level
of study. Nine
progressive volumes of
Repertoire expose
students to a wealth of
music from the earliest
works for clarinet to
accompanied and
unaccompanied
contemporary
compositions. Students
will explore some of the
most definitive solo
pieces written for
clarinet, along with
popular folk tunes,
Klezmer melodies,
Classical solos, and
contemporary compositions
that incorporate
traditional and extended
techniques. Level
7: De Hebriden, op.
26: Overture - Felix
Mendelssohn Symphony
No. 39, K 543: II, III,
IV - Wolfgang Amadeus
Mozart Symphony No. 5,
op. 64: I, II - Pyotr
Il'yich
Tchaikovsky Symphony
No. 2, op. 36: II -
Ludwig van
Beethoven Piano
Concerto No. 2, op. 18:
II - Sergei
Rachmaninoff Symphony
No. 6 (Pastoral), op. 68:
I - Ludwig van
Beethoven Level
8: Prince Igor:
Polovtsian Dance No. 8,
Polovtsian Dance No. 17 -
Aleksandr Borodin Il
barbiere di Siviglia:
Overture - Gioachino
Rossini Symphony No. 4
(Italian), op. 90: IV -
Felix
Mendelssohn Symphony
No. 4, op. 98: II -
Johannes
Brahms Ouverture zu
Offenbach's Orpheus in
der Unterwelt - Carl
Binder Symphony No. 8
(Unfinished), D 759: II -
Franz
Schubert Symphonie
fantastique: III - Hector
Berlioz Level
9: Symphony No. 6
(Pastoral), op. 68 : I,
II, III - Ludwig van
Beethoven Symphony No.
3, op. 90: I, II -
Johannes
Brahms Symphony No. 4,
op. 60: II - Ludwig van
Beethoven Semiramide:
Overture - Gioachino
Rossini Symphony No. 3
(Scottish), op. 56: II -
Felix
Mendelssohn Prelude a
l'apres midi d'un faune -
Claude
Debussy Symphony no.
9, op. 125: II - Ludwig
van Beethoven Level
10: Symphony No. 2,
op. 27: III - Sergei
Rachmaninoff Violin
Concerto, op. 61: II -
Ludwig van
Beethoven Incidental
Music to A Midsummer
Night's Dream, op. 61:
Scherzo - Felix
Mendelssohn Symphony
No. 1, op. 39: I, III -
Jean
Sibelius Variations on
a Theme by Haydn, op.
56a: Variation II,
Variation IV, Variation V
- Johannes
Brahms Symphony No. 8,
op. 93: III - Ludwig van
Beethoven Sheherazade,
op. 35: II, III, IV -
Nicolai
Rimsky-Korsakov Associ
ate: B_, A, C
Clarinet: Capriccio
espagnole, op. 34: I,
III, IV - Nicolai
Rimsky-Korsakov Dances
of Galanta - Zoltan
Kodaly Pini di Roma:
III - Ottorino
Respighi Suite de
l'oiseau de feu:
Variation de l'oiseau de
feu - Igor
Stravinsky Symphony
No. 6 (Pathetique), op.
74: I - Pyotr Il'yich
Tchaikovsky Symphony
No. 9, op. 70: II, III -
Dmitri
Shostakovich Don Juan,
op. 20 - Richard
Strauss Symphonie
fantastique: V - Hector
Berlioz Peter and the
Wolf, op. 67: Nervoso -
Sergei
Prokofiev Prince Igor:
Polovtsian Dance No. 17 -
Aleksandr
Borodin Associate: E_
Clarinet: Symphony no.
5, op 100: IV - Sergei
Prokofiev Till
Eulenspiegels lustige
Streiche, op. 28 -
Richard
Strauss Symphony no.
5, op. 47: II - Dmitri
Shostakovich Symphonie
fantastique: V - Hector
Berlioz Bolero -
Maurice
Ravel Associate: Bass
Clarinet: Les
Huguenots: Trio from act
5 - Giacomo
Meyerbeer Violin
Concerto no. 1, op. 77:
II - Dmitri
Shostakovich Grand
Canyon Suite: III - Ferde
Grofe Don Quixote, op.
35: Sancho Panza,
Variation X - Richard
Strauss. $47.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Classic Rock Instrumental Solos Xylophone ou Marimba ou Vibraphone [Partition + CD] Alfred Publishing
Mallet. Arranged by Various. Instrumental Series; Play-Along. Pop Instrum...(+)
Mallet. Arranged
by Various. Instrumental
Series; Play-Along. Pop
Instrumental Solo Series.
Radio; Rock. Book; CD. 24
pages. Alfred Music
#00-42234. Published by
Alfred Music (AP.42234).
$10.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Promise on the Horizon - Facile Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Crash Cym...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Bells,
Clarinet 1, Clarinet 2,
Crash Cymbals, Euphonium,
Euphonium T.C., Flute,
Horn, Mallet Percussion,
Oboe, Percussion 1,
Percussion 2, Percussion
3, Snare Drum, Suspended
Cymbal, Tambourine,
Timpani and more. - Grade
2.5 SKU: CF.YPS252
Composed by Travis
Weller. Yps. Set of Score
and Parts.
16+4+8+8+4+4+6+4+4+4+8+8+
6+6+6+4+6+4+2+4+2+4+24
pages. Duration 2
minutes, 18 seconds. Carl
Fischer Music #YPS252.
Published by Carl Fischer
Music (CF.YPS252).
ISBN 9781491161357.
UPC:
680160919949. A new
day. A new event. A new
opportunity. We look
forward to these things
and the potential they
hold. We live our lives
looking forward, but we
understand them looking
backward (a thought of
Danish philosopher Soren
Kierkegaard). We do not
always know what the
future may hold, but we
must remember: first,
there are no guarantees
beyond the time and
opportunity we are given
to do good. Second,
change around us is
inevitable. Finally, and
the most important
aspect, we have choices.
This lesson is fixed to
the composer's office
door: Today is the
greatest day of your
life, if you want it to
be. Why not look forward
to the Promise on the
Horizon and the
possibilities for
greatness that lie within
it? The opening motif of
this concert fanfare is
purposely inquisitive as
the piece seeks to
establish its first
steps. The subtle shift
at measure 37 and again
at measure 69 are
reminders of the
challenges that await us
during the journey. Here
again it is a matter of
choice - do we choose to
let circumstances define
us, or do we define the
circumstances? The
section at 93 is a
resounding answer that we
will move barriers,
overcome obstacles and
keep our vision looking
forward. The piece builds
toward an exciting
conclusion from measure
127 onward. The piece
reinforces several basic
rhythmic patterns in 6/8
time. As a number of
these rhythms are
repeated, it provides an
easy opportunity for the
entire ensemble to grow
more comfortable
performing in this meter.
While it is a
fanfare-type piece,
remind young musicians to
play with lightness and
precision, rather than
intensity in volume.
Maintaining this style of
articulation and accuracy
helps the rhythms in 6/8
time maintain their
buoyancy. It is vital
that each musician
listens for the melody
and balances their part,
especially in moments
where the melody is
passed between sections.
If vibes are not
available, a second bell
set can be employed in
its place. It is hoped
that this piece is an
uplifting way to open
your next concert, and a
meaningful opportunity
for you to discuss the
power of making positive
choices with your
students in the ensemble
(as a reminder, regular
practicing of their
instrument is a positive
choice). Wishing you and
your ensemble well as you
look to the Promise on
the Horizon. A new
day. A new event. A new
opportunity. We look
forward to these things
and the potential they
hold. We live our lives
looking forward, but we
understand them looking
backward (a thought of
Danish philosopher Soren
Kierkegaard). We do not
always know what the
future may hold, but we
must remember: first,Â
there are no guarantees
beyond the time and
opportunity we are given
to do good. Second,
change around us is
inevitable. Finally, and
the most important
aspect, we have choices.
This lesson is fixed
to the composer's office
door: “Today is the
greatest day of your
life, if you want it to
be.†Why not look
forward to the Promise on
the Horizon and the
possibilities for
greatness that lie within
it?The opening motif of
this concert fanfare is
purposely inquisitive as
the piece seeks to
establish its first
steps. The subtle shift
at measure 37 and again
at measure 69 are
reminders of the
challenges that await us
during the journey. Here
again it is a matter of
choice – do we
choose to let
circumstances define us,
or do we define the
circumstances? The
section at 93 is a
resounding answer that we
will move barriers,
overcome obstacles and
keep our vision looking
forward. The piece builds
toward an exciting
conclusion from measure
127 onward. The piece
reinforces several basic
rhythmic patterns in 6/8
time. As a number of
these rhythms are
repeated, it provides an
easy opportunity for the
entire ensemble to grow
more comfortable
performing in this meter.
While it is a
fanfare-type piece,
remind young musicians to
play with lightness and
precision, rather than
intensity in volume.
Maintaining this style of
articulation and accuracy
helps the rhythms in 6/8
time maintain their
buoyancy. It is vital
that each musician
listens for the melody
and balances their part,
especially in moments
where the melody is
passed between sections.
If vibes are not
available, a second bell
set can be employed in
its place. It is hoped
that this piece is an
uplifting way to open
your next concert, and a
meaningful opportunity
for you to discuss the
power of making positive
choices with your
students in the ensemble
(as a reminder, regular
practicing of their
instrument is a positive
choice). Wishing you and
your ensemble well as you
look to the Promise on
the Horizon. . $65.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Cornish Coastal Walk Orchestre d'harmonie - Facile Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Euphonium, Eupho...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Clarinet
1, Clarinet 2, Euphonium,
Euphonium T.C., Flute,
Flute 2, Horn, Mallet
Percussion, Oboe,
Percussion 1, Percussion
2, Rain Stick, Snare
Drum, Suspended Cymbal,
Tambourine, Timpani,
Tom-tom, Triangle and
more. - Grade 2 SKU:
CF.YPS205 Composed by
Michael J. Miller. Young
Band (YPS). Set of Score
and Parts. With Standard
notation.
8+2+4+2+4+5+4+4+4+8+12+6+
6+1+1+10+16+4+4+4+2
pages. Duration 3
minutes, 9 seconds. Carl
Fischer Music #YPS205.
Published by Carl Fischer
Music (CF.YPS205).
ISBN 9781491152256.
UPC: 680160909759. Key: F
major. Cornish
Coastal Walk is a
beautiful new composition
depicting the majestic
cliffs and coastline of
the Cornwall region in
England. Composer Michael
Miller provides young
bands with an opportunity
to stretch their musical
muscles with this lush
and tuneful piece in 3/4
time. Directors will find
in this piece a strong
vehicle to teach
phrasing, beauty of tone,
and musicianship to young
bands. In the far
southwest of England
reaching out towards the
Celtic Sea is the county
Cornwall. A peninsula,
Cornwall is surrounded by
some of the
world’s most
picturesque scenery
including beaches,
cliffs, and rolling
hills. Separated from the
rest of England by the
river Tamar, the Cornish
take great pride in their
culture including the
pasty (a stuffed pastry
and preferred lunch of
miners), Cornish cream
tea (not to be confused
with rival Devon cream
tea where the cream goes
under the jam), and well
known national heritage
sights such as Rough Tor
(Cornwall’s
highest point), and
Tintagel Castle (rumored
birth place of King
Arthur).In the spring and
summer of 2017, I had the
pleasure to visit
Cornwall, while my wife
was a visiting scholar at
the University of Exeter
in the neighboring county
of Devon. One July
afternoon, while she was
making field observations
(she’s a Cultural
Anthropologist), I
decided to take a stroll
along the cliffs as was
recommended by a friend.
I set out from Boscastle,
a small inlet village
where one can enjoy the
most delicious black
currant ice cream, and I
trekked up and down the
cliffs for three or four
miles before finally
arriving in Tintagel. I
had planned to continue
on to Trebarwith Strand,
home of the fantastic
Port William tavern, but
greatly underestimated
the difficulty of the
terrain.Along my walk I
witnessed some of the
most breathtaking views I
have ever seen. The coast
of this particular region
of Cornwall is both
majestic and peaceful. It
is frighteningly
powerful, but also loving
and kind. It is the type
of place where people
have for years looked out
over the sea longing for
their loved ones to
return. I hope this music
brings you the same inner
peace I found on my hike
that day.This piece is
dedicated to Neil and his
sidekick Derek, without
whom I might have been
just another tourist. $70.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| To Create a Voice Orchestre d'harmonie - Facile Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Clarinet 3, Euph...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Clarinet
1, Clarinet 2, Clarinet
3, Euphonium, Euphonium
T.C., Flute 1, Flute 2,
Horn 1, Horn 2, Mallet
Percussion 1, Mallet
Percussion 2, Marimba,
Oboe, Percussion 1,
Percussion 2, Shaker,
Snare Drum and more. -
Grade 3 SKU:
CF.CPS226 Composed by
Carol Brittin Chambers.
Concert Band (CPS). Set
of Score and Parts. With
Standard notation.
16+4+8+16+16+4+4+4+4+4+4+
8+8+8+4+4+6+6+6+8+2+2+2+6
+12+24+4 pages. Duration
3 minutes, 55 seconds.
Carl Fischer Music
#CPS226. Published by
Carl Fischer Music
(CF.CPS226). ISBN
9781491152522. UPC:
680160910021. Inspi
red by the memory of an
influential music
educator, Carol Brittin
Chambers has woven a
multitude of grooves,
colors, and uplifting
themes into To Create a
Voice. Chambers has
attempted to convey
distinct moods and
emotions that this
educator tried to instill
in his students. In honor
of this dynamic teacher,
you will hear Hot
Cross Buns cleverly
placed throughout the
composition. To Create
a Voice was commissioned
by the Valley Concert
Band in Stockton,
California. The piece
premiered in October
2017, in memory and
celebration of Chris
Anderson, a local
musician and
educator.When writing
this piece, I tried to
convey certain moods and
emotions throughout:
soulful at the beginning
with calm woodwind chords
and solo trombone;
increased energy
throughout the various
sections of the piece;
exploration of different
grooves and colors; an
uplifting, emotional
ending that leaves the
listener with a sense of
how positive and loving
Chris was.This piece is
largely inspired by a
specific quote from
Chris:Most people would
consider the sounds
students first make on
their instruments to be
cringe-worthy, but to me
that’s music to my
ears, because
that’s the first
time students put a voice
to their instrument. Over
time those voices become
stronger; they become
clear, more confident,
and get to a point where
they use those voices to
communicate with each
other, and to their
audiences.To relate to
the first notes on the
instrument idea, I used
motifs based on the first
notes most beginners ever
play, do-re-mi, which are
introduced at the
beginning of the piece
with the trombone solo,
Chris’ instrument.
During the section at m.
15, the brass introduce a
chorale that I named
Chris’ Theme while
the woodwinds keep
reminding us of do-re-mi.
Later in the piece (mm.
71 and 79), I use these
notes again, but in
reverse, which becomes a
reference to the first
song most beginners
learn, Hot Cross Buns.
This section is also
meant to portray
Chris’ quirky and
joking side. In mm. 75
and 83, Chris’
Theme presents itself
again a couple of times
in response to Hot Cross
Buns.Toward the end, at
the uplifting moment (m.
97), do-re-mi is heard
again, but this time in
harmony with mi-fa-sol.
This represents the
ultimate satisfaction we
all feel as musicians
when we have finally
progressed enough to play
in harmony with others.
The half-time feeling in
3 at that moment also has
significance, relating
(rhythmically) to those
important three notes
again.I really hope you
enjoy performing and
listening to this piece
as much as I have enjoyed
creating it! $95.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Cantique de Jean Racine (Lobgesang des Jean Racine) Chorale SATB - Facile Carus Verlag
Orchestra SATB choir, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 vio...(+)
Orchestra SATB choir, 2
flutes, 2 oboes, 2
clarinets, 2 bassoons, 2
horns, 2 violins, viola,
cello, contrabass, harp -
Grade 3 SKU:
CA.7030315 Version
for choir and
orchestra. Composed
by Gabriel Faure. Edited
by Jean-Michel Nectoux.
Cantique De Jean
Racine.Sinfon.Orch.
Sacred vocal music,
Hymns. Single Part,
Double Bass. Composed
1865. Op. 11. 4 pages.
Duration 6 minutes. Carus
Verlag #CV 70.303/15.
Published by Carus Verlag
(CA.7030315). ISBN
9790007228958. Key: D
flat major. Text
language:
German/French. Caru
s 70.301/10, which is
part of the material
associated with this
piece, can be used as the
choral score. Gabriel
Faure composed the
Cantique de Jean Racine
in 1865, the prizewinning
work for the completion
of his musical training.
The composer expanded the
original scoring for
choir and organ by adding
a string accompaniment;
the version with
orchestra was first
performed in 1906. As a
text Faure chose a French
adaptation by Jean Racine
of the Latin hymn Consors
paterni luminis. The
Cantique already displays
the characteristics of an
expressive choral setting
typical for Faure, as
well as the finely worked
out orchestral
accompaniment, and
together with the
Requiem, composed
considerably later, it is
among the most popular
works of the composer.
Score and part available
separately - see item
CA.7030300. $3.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Koncert pro violoncello a orchestr for Violoncello and Orchestra b minor, Op. 104 Barenreiter
First flute, second flute (flute-picc), 2 oboes, first clarinet, clarinet-Ialto ...(+)
First flute, second flute
(flute-picc), 2 oboes,
first clarinet,
clarinet-Ialto second
voice, 2 bassoons, 3
horn, 2 trumpets, 3
trombones, trombone, Tri,
timpani (1. Flute, 2.
Flute (Piccolo flute),
Oboes (2), 1. Clarinet,
2. Clarinet (in A),
Bassoons (2), Horns (3),
Trumpets (2), Trombones
(3), Tuba, Triangle,
Timpani) SKU:
BA.BA09045-65
Composed by Antonin
Dvorak. Edited by
Jonathan Del Mar. This
edition: urtext edition.
Stapled. Barenreiter
Urtext. Set of wind
parts. Opus 104.
11/7/12/7/11/8/8/8/7/6/7/
4/4/4/4/4/4/1/6 pages.
Duration 37 minutes.
Baerenreiter Verlag
#BA09045_65. Published by
Baerenreiter Verlag
(BA.BA09045-65). ISBN
9790006537655. 32.5 x
25.5 cm inches. Key: B
minor. Like every
other great 19th-century
solo concerto, Dvorak's
famous Cello Concerto was
a collaboration between
composer and virtuoso. It
has long been known that
certain solo passages in
Dvorak's autograph score
were actually written by
the cellist Hanus Wihan;
but Barenreiter's edition
now reveals that some
details in the orchestral
parts are also in his
writing, showing just how
closely the two musicians
were working
together.
The
editor Jonathan Del Mar
has painstakingly
examined all the
surviving sources,
including two that have
hitherto been either
ignored or crucially
undervalued, in order to
produce an authoritative
edition which restores -
for the first time since
the original edition was
published in 1896 -
Dvorak's final and
definitive version of the
solo cello part. This
differs, in details, in
almost every bar from the
version found in all
other modern editions,
while hundreds of
corrections have also
been made to the
orchestral
parts.
* With
Dvorak's final and
definitive version of the
solo cello part * With
hundreds of corrections
in the solo cello part as
well as the orchestral
parts * With hitherto
unknown details regarding
the collaboration between
Dvorak and Wihan *
With Dvorak's original
piano reduction * With
Feuermann's and Casals'
alternatives to a passage
in the first
movement. $131.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Music for a Noble Gathering - Facile Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Clarinet ...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Bells,
Clarinet 1, Clarinet 2,
Clarinet 3, Crash
Cymbals, Euphonium,
Euphonium T.C., Flute 1,
Flute 2, Horn 1, Horn 2,
Mallet Percussion, Oboe,
Percussion, Piccolo,
Snare Drum, Suspended
Cymbal, Timpani and more.
- Grade 1.5 SKU:
CF.FPS162 Composed by
William Harbinson. Fps.
Set of Score and Parts.
2+8+8+4+8+8+8+4+4+4+4+4+4
+8+8+8+4+4+6+6+6+4+6+4+2+
10+24 pages. Duration
4:15. Carl Fischer Music
#FPS162. Published by
Carl Fischer Music
(CF.FPS162). ISBN
9781491161548. UPC:
680160920198. Music
for a Noble Gathering
captures the pomp and
dignity of a regal
celebration. The
composition opens with a
percussion flourish to a
fanfare. Perform this
passage at a stately
tempo with marked
separation. A legato,
lyrical theme appears (m.
17) that contrasts the
opening passage.
Emphasize the ritard and
crescendo in m. 24 in
preparation for the
return of the opening
theme (m. 25) that
completes the A section.
Although thematically
related to the fanfare,
the B section (m. 35)
provides contrast in
tempo, key, and style.
Strive for a connected
and sustained
presentation with careful
attention to the shaping
of the phrases. Proper
balance between the
melody and countermelody
at m. 45 is paramount.
The climax in m. 53
quickly subsides but
immediately rebuilds for
a lively percussion
feature. The restatement
of the A section (m. 61)
leads to a final climax
(m. 91), a brief coda (m.
93) and a dynamic
closure. William
Harbinson is Professor
Emeritus and former Dean
of the Hayes School of
Music at Appalachian
State University. He has
received nine J.W. Pepper
Editors' Choice Awards
that identify the very
best of the new music
available. His
compositions for band
appear on
contest/festival
literature lists of
several states and are
performed worldwide.
 . Music for a
Noble Gathering captures
the pomp and dignity of a
regal celebration. The
composition opens with a
percussion flourish to a
fanfare. Perform this
passage at a stately
tempo with marked
separation. A legato,
lyrical theme appears (m.
17) that contrasts the
opening passage.
Emphasize the ritard and
crescendo in m. 24 in
preparation for the
return of the opening
theme (m. 25) that
completes the A section.
Although thematically
related to the fanfare,
the B section (m. 35)
provides contrast in
tempo, key, and style.
Strive for aÂ
connected and sustained
presentation with careful
attention to the shaping
of the phrases. Proper
balance between the
melody and countermelody
at m. 45 is
paramount. The climax
in m. 53 quickly subsides
but immediately rebuilds
for a lively percussion
feature. The restatement
of the A section (m. 61)
leads to a final climax
(m. 91), a brief coda (m.
93) and a dynamic
closure.William Harbinson
is Professor Emeritus and
former Dean of the Hayes
School of Music at
Appalachian State
University. He has
received nine J.W. Pepper
Editors’ Choice
Awards that identify the
very best of the new
music available. His
compositions for band
appear on
contest/festival
literature lists of
several states and are
performed
worldwide. . $58.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Toy Soldier Marches - Facile Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Crash Cymbals, E...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Clarinet
1, Clarinet 2, Crash
Cymbals, Euphonium,
Euphonium T.C., Flute 1,
Horn 1, Horn 2, Mallet
Percussion, Oboe,
Percussion 1, Percussion
2, Piccolo, Snare Drum,
Trombone 1, Trombone 2,
Trumpet 1, Trumpet 2 and
more. - Grade 3 SKU:
CF.CPS258
Featuring Marches by
L on Jessel,
Victor Herbert, Fritz
Kreisler and Peter Ilyich
Tchaikovsky. Arranged
by Marsha Shapiro. Set of
Score and Parts.
2+16+4+8+8+6+4+4+4+4+4+8+
8+4+4+6+6+6+4+8+1+4+1+32
pages. Duration 4
minutes. Carl Fischer
Music #CPS258. Published
by Carl Fischer Music
(CF.CPS258). ISBN
9781491161395. UPC:
680160919987. The
winter holiday season
might bring to mind the
Toy Soldier Dance as
performed annually by the
famous Radio City
Rockettes. There were in
fact a number of
composers who wrote march
music for toy, tin or
wooden soldiers. Four of
those songs have been
included in this medley:
Parade of the Wooden (or
Tin) Soldiers by Leon
Jessel, March of the Toys
from the operetta Babes
in Toyland by Victor
Herbert, Fritz Kreiser's
Toy Soldier March for
violin and piano, and
March of the Wooden
Soldiers from Peter
Ilyich Tchaikovsky's
Nutcracker Suite. This
arrangement, Toy Soldier
Marches, is designed for
high school band because
of the rhythmic technique
required by the
compositions, although
the ranges remain much
easier. The ambitious
director might
incorporate some
uniformed marching band
students into the
performance as wooden
soldiers marching down
the aisles. The winter
holiday season might
bring to mind the Toy
Soldier Dance as
performed annually by the
famous Radio City
Rockettes. There were in
fact a number of
composers who wrote march
music for toy, tin or
wooden soldiers. Four of
those songs have been
included in this medley:
Parade of the Wooden (or
Tin) Soldiers by Leon
Jessel, March of the Toys
from the operetta Babes
in Toyland by Victor
Herbert, Fritz
Kreiser’s Toy
Soldier March for violin
and piano, and March of
the Wooden Soldiers from
Peter Ilyich
Tchaikovsky’s
Nutcracker Suite.This
arrangement, Toy Soldier
Marches, is designed for
high school band because
of the rhythmic technique
required by the
compositions, although
the ranges remain much
easier. The ambitious
director might
incorporate some
uniformed marching band
students into the
performance as wooden
soldiers marching down
the aisles. $75.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Toward Light [Conducteur] Theodore Presser Co.
Orchestra Bass Clarinet, Bassoon 1, Bassoon 2, Bassoon 3, Clarinet, Clarinet 1, ...(+)
Orchestra Bass Clarinet,
Bassoon 1, Bassoon 2,
Bassoon 3, Clarinet,
Clarinet 1, Clarinet 2,
Contrabass,
Contrabassoon, Flute 1,
Flute 2, Flute 3, Harp,
Horn 1, Horn 2, Horn 3,
Horn 4, Oboe 1, Oboe 2,
Oboe 3, Organ,
Percussion, Piano,
Piccolo, Timpani and
more. SKU:
PR.446412510 For
organ and orchestra.
Composed by Gerald
Levinson. This edition:
Corrected score, April
2006. The world premiere
was given by Olivier
Latry and the
Philadelphia Orchestra
under the direction of
Christoph Eschenbach at
the Kimmel Center for the
Performing Arts in
Philadelphia, PA.
Contemporary. Full score.
With Standard notation.
Composed 6-Apr. 35 pages.
Duration 9 minutes.
Theodore Presser Company
#446-41251. Published by
Theodore Presser Company
(PR.446412510). UPC:
680160592623. 8.5 x 11
inches. $29.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Chase the Horizon Orchestre d'harmonie - Facile Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Chimes, Clarinet 1, Clarinet 2, Crash Cy...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Chimes,
Clarinet 1, Clarinet 2,
Crash Cymbals, Euphonium,
Euphonium T.C., Flute,
Flute 2, Glockenspiel,
Horn, Mallet Percussion,
Oboe, Percussion 1,
Percussion 2, Snare Drum,
Suspended Cymbal,
Timpani, Trombone and
more. - Grade 2 SKU:
CF.YPS197 Composed by
John Pasternak. Young
Band (YPS). Set of Score
and Parts. With Standard
notation.
16+4+8+8+4+4+10+4+4+8+8+8
+12+6+6+6+2+4+2+20+4
pages. Duration 3
minutes, 57 seconds. Carl
Fischer Music #YPS197.
Published by Carl Fischer
Music (CF.YPS197).
ISBN 9781491152171.
UPC: 680160909674. Key:
Eb major. Chase the
Horizon is a musical
journey depicting a
lonesome cowboy riding on
his horse, chasing the
horizon. Composer John
Pasternak has delivered a
strong and musically
rewarding piece for the
young band. It begins
with a nice legato
section before setting
off on the journey with a
tuneful theme. The piece
develops through several
contrasting sections
finishing in a dramatic
conclusion. This piece
is a story of new
beginnings. While writing
this piece I pictured a
lonely cowboy riding on
his horse, chasing the
horizon. The beginning
for this piece should
have a very legato feel
except for the Xylophone
part, which should use a
very abrupt, staccato
articulation. Measure 9
should take on a staccato
and light feel. The
feeling should remain
light except for the
instruments with the
melody, who should play
their parts with a more
legato feel. Dynamics
throughout this first
section are crucial. All
parts at m. 22 should
play with a legato style
with focus on the
dynamics. The trumpet
interjection at m. 25
should be played very
light. At m. 32 there
should be contrast with
all the different styles
of articulation. Measure
42 should not slow down
too quickly as the group
should not ever get
slower than the tempo
marking at m. 49.The slow
section at m. 49 should
be played soft with a
legato style growing
gradually through m. 61.
The articulation at m. 61
should be short and
staccato, and be careful
not to rush. The sections
with the melody here
should contrast the
staccato of the ensemble
with a legato style. When
the ensemble arrives at
m. 78 the piece should
have a maestoso-style
feel. The rit. at m. 88
should not become slower
than the tempo at m. 92.
At m. 92, let the
horns and saxophones
really shine through. $70.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Solar Flare Orchestre d'harmonie - Intermédiaire Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Crash Cym...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Bells,
Clarinet 1, Clarinet 2,
Crash Cymbals, Euphonium,
Euphonium T.C., Flute 1,
Flute 2, Horn 1, Horn 2,
Horn 3, Horn 4, Mallet
Percussion 1, Mallet
Percussion 2, Marimba,
Oboe, Percussion 1,
Percussion 2 and more. -
Grade 3.5 SKU:
CF.CPS219 Composed by
Tyler Arcari. Concert
Band (CPS). Set of Score
and Parts. With Standard
notation.
16+4+8+16+4+4+8+4+4+8+8+8
+4+4+4+4+6+6+2+6+8+2+3+2+
4+10+28+4 pages. Duration
4 minutes, 6 seconds.
Carl Fischer Music
#CPS219. Published by
Carl Fischer Music
(CF.CPS219). ISBN
9781491152454. UPC:
680160909957. Solar
Flare, by Tyler Arcari,
depicts the huge
explosion on the Sun that
appears as a sudden
bright flash. The piece
incorporates a whirlwind
of mixed meters to?depict
this phenomenon. Arcari
showcases his fresh,
exciting, and well-scored
compositional style in
this piece. Solar Flare
makes for? an excellent
concert opener. A
solar
flare is a huge
explosion on the sun that
appears as a sudden
increase in brightness or
flash. Sometimes these
explosions push large
amounts of energy and
even parts of the sun
flying out into space.
These events can be so
powerful that they cause
events on Earth such as
auroras, as well as more
serious issues like
disrupting radio and
electronic instruments.
To our naked eye, these
dangerous explosions are
beautiful and quiet. The
celestial is a
fascinating place,
hopefully captured in
some small part by this
work. About the
Work:
Solar
Flare began
as a piece with two
goals: to write a space
piece in 7/8 and to write
a teaching 7/8 space
piece. The piece uses a
2-2-3 pattern, so using
this in pre-performance
warm-ups might be
beneficial. The piece is
loosely based on a minor
second descending to a
minor third. This motif
is used at the onset of
the piece in the mallet
percussion and then again
in the woodwinds. The
melody presents itself at
m. 19 in the clarinets.
This melodic material is
varied and traded
throughout the instrument
groups until m.67.
Measures 6972 should be
treated as a transitional
fanfare to the new
material at m. 73.
Measures 99115 to the end
of the piece feature a
style similar to the
beginning that helps to
transition to m. 115,
which is the climax of
the work. An ostinato
pattern (2-2-3) is
presented with fragments
of the melody appearing
in the alto voices. This
momentum culminates in a
large, abrasive area at
m. 125 where the
suspension-resolution in
the brass and horn
melodic fragment need to
be the focus. This
momentum continuously
grows until the last note
where we resolve finally.
Care should be taken that
the ^ accent on the final
note is one meant to be
played heavy, and not
short. A solar
flare is a huge
explosion on the sun that
appears as a sudden
increase in brightness or
flash. Sometimes these
explosions push large
amounts of energy and
even parts of the sun
flying out into space.
These events can be so
powerful that they cause
events on Earth such as
auroras, as well as more
serious issues like
disrupting radio and
electronic instruments.
To our naked eye, these
dangerous explosions are
beautiful and quiet. The
celestial is a
fascinating place,
hopefully captured in
some small part by this
work. About the
Work:
Solar
Flare began
as a piece with two
goals: to write a space
piece in 7/8 and to write
a ateaching 7/8a space
piece. The piece uses a
2-2-3 pattern, so using
this in pre-performance
warm-ups might be
beneficial. The piece is
loosely based on a minor
second descending to a
minor third. This motif
is used at the onset of
the piece in the mallet
percussion and then again
in the woodwinds. The
melody presents itself at
m. 19 in the clarinets.
This melodic material is
varied and traded
throughout the instrument
groups until m.67.
Measures 69a72 should be
treated as a transitional
fanfare to the new
material at m. 73.
Measures 99a115 to the
end of the piece feature
a style similar to the
beginning that helps to
transition to m. 115,
which is the climax of
the work. An ostinato
pattern (2-2-3) is
presented with fragments
of the melody appearing
in the alto voices. This
momentum culminates in a
large, abrasive area at
m. 125 where the
suspension-resolution in
the brass and horn
melodic fragment need to
be the focus. This
momentum continuously
grows until the last note
where we resolve finally.
Care should be taken that
the a^a accent on the
final note is one meant
to be played heavy, and
not short. A solar
flare is a huge
explosion on the sun that
appears as a sudden
increase in brightness or
flash. Sometimes these
explosions push large
amounts of energy and
even parts of the sun
flying out into space.
These events can be so
powerful that they cause
events on Earth such as
auroras, as well as more
serious issues like
disrupting radio and
electronic instruments.
To our naked eye, these
dangerous explosions are
beautiful and quiet. The
celestial is a
fascinating place,
hopefully captured in
some small part by this
work. About the
Work:
Solar
Flare began
as a piece with two
goals: to write a space
piece in 7/8 and to write
a ateaching 7/8a space
piece. The piece uses a
2-2-3 pattern, so using
this in pre-performance
warm-ups might be
beneficial. The piece is
loosely based on a minor
second descending to a
minor third. This motif
is used at the onset of
the piece in the mallet
percussion and then again
in the woodwinds. The
melody presents itself at
m. 19 in the clarinets.
This melodic material is
varied and traded
throughout the instrument
groups until m.67.
Measures 69a72 should be
treated as a transitional
fanfare to the new
material at m. 73.
Measures 99a115 to the
end of the piece feature
a style similar to the
beginning that helps to
transition to m. 115,
which is the climax of
the work. An ostinato
pattern (2-2-3) is
presented with fragments
of the melody appearing
in the alto voices. This
momentum culminates in a
large, abrasive area at
m. 125 where the
suspension-resolution in
the brass and horn
melodic fragment need to
be the focus. This
momentum continuously
grows until the last note
where we resolve finally.
Care should be taken that
the a^a accent on the
final note is one meant
to be played heavy, and
not short. A solar
flare is a huge
explosion on the sun that
appears as a sudden
increase in brightness or
flash. Sometimes these
explosions push large
amounts of energy and
even parts of the sun
flying out into space.
These events can be so
powerful that they cause
events on Earth such as
auroras, as well as more
serious issues like
disrupting radio and
electronic instruments.
To our naked eye, these
dangerous explosions are
beautiful and quiet. The
celestial is a
fascinating place,
hopefully captured in
some small part by this
work. About the
Work:
Solar
Flare began
as a piece with two
goals: to write a space
piece in 7/8 and to write
a teaching 7/8 space
piece. The piece uses a
2-2-3 pattern, so using
this in pre-performance
warm-ups might be
beneficial. The piece is
loosely based on a minor
second descending to a
minor third. This motif
is used at the onset of
the piece in the mallet
percussion and then again
in the woodwinds. The
melody presents itself at
m. 19 in the clarinets.
This melodic material is
varied and traded
throughout the instrument
groups until m.67.
Measures 69-72 should be
treated as a transitional
fanfare to the new
material at m. 73.
Measures 99-115 to the
end of the piece feature
a style similar to the
beginning that helps to
transition to m. 115,
which is the climax of
the work. An ostinato
pattern (2-2-3) is
presented with fragments
of the melody appearing
in the alto voices. This
momentum culminates in a
large, abrasive area at
m. 125 where the
suspension-resolution in
the brass and horn
melodic fragment need to
be the focus. This
momentum continuously
grows until the last note
where we resolve finally.
Care should be taken that
the ^ accent on the final
note is one meant to be
played heavy, and not
short. A solar flare
is a huge explosion on
the sun that appears as a
sudden increase in
brightness or flash.
Sometimes these
explosions push large
amounts of energy and
even parts of the sun
flying out into space.
These events can be so
powerful that they cause
events on Earth such as
auroras, as well as more
serious issues like
disrupting radio and
electronic instruments.
To our naked eye, these
dangerous explosions are
beautiful and quiet. The
celestial is a
fascinating place,
hopefully captured in
some small part by this
work. About the Work:
Solar Flare began as a
piece with two goals: to
write a space piece in
7/8 and to write a
teaching 7/8 space piece.
The piece uses a 2-2-3
pattern, so using this in
pre-performance warm-ups
might be beneficial. The
piece is loosely based on
a minor second descending
to a minor third. This
motif is used at the
onset of the piece in the
mallet percussion and
then again in the
woodwinds. The melody
presents itself at m. 19
in the clarinets. This
melodic material is
varied and traded
throughout the instrument
groups until m.67.
Measures 69-72 should be
treated as a transitional
fanfare to the new
material at m. 73.
Measures 99-115 to the
end of the piece feature
a style similar to the
beginning that helps to
transition to m. 115,
which is the climax of
the work. An ostinato
pattern (2-2-3) is
presented with fragments
of the melody appearing
in the alto voices. This
momentum culminates in a
large, abrasive area at
m. 125 where the
suspension-resolution in
the brass and horn
melodic fragment need to
be the focus. This
momentum continuously
grows until the last note
where we resolve finally.
Care should be taken that
the ^ accent on the final
note is one meant to be
played heavy, and not
short. A solar flare
is a huge explosion on
the sun that appears as a
sudden increase in
brightness or flash.
Sometimes these
explosions push large
amounts of energy and
even parts of the sun
flying out into space.
These events can be so
powerful that they cause
events on Earth such as
auroras, as well as more
serious issues like
disrupting radio and
electronic instruments.
To our naked eye, these
dangerous explosions are
beautiful and quiet. The
celestial is a
fascinating place,
hopefully captured in
some small part by this
work.About the Work:Solar
Flare began as a piece
with two goals: to write
a space piece in 7/8 and
to write a
“teaching
7/8†space piece.
The piece uses a 2-2-3
pattern, so using this in
pre-performance warm-ups
might be beneficial. The
piece is loosely based on
a minor second descending
to a minor third. This
motif is used at the
onset of the piece in the
mallet percussion and
then again in the
woodwinds. The melody
presents itself at m. 19
in the clarinets. This
melodic material is
varied and traded
throughout the instrument
groups until m.67.
Measures 69–72
should be treated as a
transitional fanfare to
the new material at m.
73.Measures 99–115
to the end of the piece
feature a style similar
to the beginning that
helps to transition to m.
115, which is the climax
of the work. An ostinato
pattern (2-2-3) is
presented with fragments
of the melody appearing
in the alto voices. This
momentum culminates in a
large, abrasive area at
m. 125 where the
suspension-resolution in
the brass and horn
melodic fragment need to
be the focus. This
momentum continuously
grows until the last note
where we resolve finally.
Care should be taken that
the “^â€
accent on the final note
is one meant to be played
heavy, and not short. $95.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Cascades Theodore Presser Co.
Chamber Music Bass Clarinet 1, Bass Clarinet 2, Clarinet 1, Clarinet 2, Clarinet...(+)
Chamber Music Bass
Clarinet 1, Bass Clarinet
2, Clarinet 1, Clarinet
2, Clarinet 3, Clarinet
4, Clarinet 5, Clarinet
6, Clarinet 7, Clarinet
8, Contra-alto Clarinet,
Contrabass Clarinet, alto
Clarinet SKU:
PR.144406690 A
Sonic Etude For 15
Clarinetists.
Composed by Sydney F.
Hodkinson. Premiered by
the International
Clarinet Society,
Orlando, FL.
Contemporary. Set of
Score and Parts. With
Standard notation.
Composed April 16 2015.
72+4+4+8+8+8+8+8+8+8+8+8+
4+4+4+4 pages. Duration
10 minutes. Theodore
Presser Company
#144-40669. Published by
Theodore Presser Company
(PR.144406690). UPC:
680160637454. 9 x 12
inches. Using
two-tiered seating and
both sides of the space,
Hodkinson passes tones
and passages from one
group of clarinets to
another, where the end of
one part begins the next,
in a cascading
fashion. $105.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| The Ankh of Eternity - Facile Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Cabasa, Clarinet 1, Clarinet 2, Congas, ...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Cabasa,
Clarinet 1, Clarinet 2,
Congas, Euphonium,
Euphonium T.C., Flute 1,
Flute 2, Horn, Mark Tree,
Oboe, Percussion 1,
Percussion 2, Percussion
3, Tam-tam, Tambourine,
Trombone 1, Trombone 2,
Trumpet 1 and more. -
Grade 2.5 SKU:
CF.YPS240 Composed by
Kelly Dugger. Set of
Score and Parts.
24+8+8+4+8+8+4+4+6+4+4+4+
8+8+8+6+6+6+4+6+2+4+6
pages. Duration 5
minutes, 20 seconds. Carl
Fischer Music #YPS240.
Published by Carl Fischer
Music (CF.YPS240).
ISBN 9781491159637.
UPC:
680160918225. An
Ankh is an ancient
Egyptian hieroglyphic
representing the word
Life. The Ankh of
Eternity depicts an epic
journey through ancient
lands to find the
mythical Ankh of Eternity
amulet promising eternal
life. The piece journeys
through the desert in a
caravan, with a stop for
a Kaff celebration, an
Arabic hand-clapping folk
art. The discovery of the
tomb is spine chilling
and eerie with special
percussion effects. After
the Ankh is discovered,
swarms of locusts descend
and our travelers run for
their lives. They may
have found eternal life,
but will they be forever
cursed? The Ankh of
Eternity uses an Arabic
or double harmonic-major
scale. Performers have
multiple soloing and
improvising
opportunities. Complex
but repeating rhythms
offer players a chance to
practice getting in the
groove. Players and
audiences alike will be
invigorated by the many
celebratory moments and
thrilled at the eerie and
downright scary moments!
The Ankh of Eternity
offers cultural and
historical inclusion
opportunities,
improvisation, unique
scales, rhythmic
challenges, and a
thrilling story.
Conductor Notes: Measures
45-61: Kaff is the
ancient Arabic art of
hand clapping over
improvised poetry. The
Kaff Celebration section
represents this art form.
The improvising soloists
should be designated by
the conductor and should
each be four measures
long . Alternatively,
soloists may copy the
phrase in the second
ending as a solo. The
AYE! should be shouted
joyously. The repeat may
be omitted for
performance time
concerns, or, of course,
repeated multiple times
for more solos. Measures
64-73: Experiment with
different cymbal noises,
such as scrapes with a
nail or coin, taps with
triangle beaters, bowed
cymbals, etc.
Water-cymbal techniques
should also be used. Fill
a storage tub with water,
and with the suspended
cymbal still on the
stand, hit the cymbal a
couple times with a soft
mallet, and lower the
cymbal into the water for
a glissando effect. The
overall effect should be
creepy cave-like echoes
bending around
corners. An Ankh is an
ancient Egyptian
hieroglyphic representing
the word Life. The
Ankh of
Eternity depicts an
epic journey through
ancient lands to find the
mythical Ankh of Eternity
amulet promising eternal
life. The piece journeys
through the desert in a
caravan, with a stop for
a Kaff celebration, an
Arabic hand-clapping folk
art. The discovery of the
tomb is spine chilling
and eerie with special
percussion effects. After
the Ankh is discovered,
swarms of locusts descend
and our travelers run for
their lives. They may
have found eternal life,
but will they be forever
cursed?The Ankh of
Eternity uses an Arabic
or double harmonic-major
scale. Performers have
multiple soloing and
improvising
opportunities. Complex
but repeating rhythms
offer players a chance to
practice getting in the
groove. Players and
audiences alike will be
invigorated by the many
celebratory moments and
thrilled at the eerie and
downright scary moments!
The Ankh of
Eternity offers
cultural and historical
inclusion opportunities,
improvisation, unique
scales,
rhythmic challenges,
and a thrilling
story.Conductor Notes:
Measures 45–61:
Kaff is the ancient
Arabic art of hand
clapping over improvised
poetry. The Kaff
Celebration section
represents this art form.
The improvising soloists
should be designated by
the conductor and should
each be four measures
long . Alternatively,
soloists may copy the
phrase in the second
ending as a solo. The
AYE! should be shouted
joyously. The repeat may
be omitted for
performance time
concerns, or, of course,
repeated multiple times
for more solos. Measures
64–73: Experiment
with different cymbal
noises, such as scrapes
with a nail or coin, taps
with triangle beaters,
bowed cymbals, etc.
Water-cymbal techniques
should also be used. Fill
a storage tub with water,
and with the suspended
cymbal still on the
stand, hit the cymbal a
couple times with a soft
mallet, and lower the
cymbal into the water for
a glissando effect. The
overall effect should be
creepy cave-like echoes
bending around
corners. $75.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Semper Gratus - Facile Carl Fischer
Band Bass Clarinet, Bassoon, Bells, Chimes, Clarinet 1, Clarinet 2, Clarinet 3, ...(+)
Band Bass Clarinet,
Bassoon, Bells, Chimes,
Clarinet 1, Clarinet 2,
Clarinet 3, Euphonium,
Euphonium T.C., Flute 1,
Flute 2, Horn 1, Horn 2,
Mallet Percussion 1,
Mallet Percussion 2,
Mallet Percussion 3,
Marimba, Oboe, Percussion
1, Percussion 2 and more.
- Grade 3 SKU:
CF.CPS251 Composed by
Patrick Glenn Harper. Set
of Score and Parts.
28+8+8+4+8+8+8+4+4+4+4+4+
4+8+8+8+4+4+6+6+6+4+8+1+4
+2+2+12+2+8 pages.
Duration 4 minutes, 27
seconds. Carl Fischer
Music #CPS251. Published
by Carl Fischer Music
(CF.CPS251). ISBN
9781491159873. UPC:
680160918461. About
the Music Semper Gratus
is Latin for always
grateful. The piece was
written in honor of James
E. Champion, who taught
band for thirty-eight
years, twenty-five of
which were spent in
Florence, Alabama, where
he was my elementary
school and high school
band director. His bands
consistently achieved
superior ratings
throughout his career. He
holds
multi-decade-spanning
memberships in
professional music
education organizations,
continues to serve in
helping with Alabama
Bandmasters Association
events, and conducts and
performs in various
community bands and
ensembles. As my band
director at Bradshaw High
School, Mr. Champion
encouraged me to perform
one of my first
compositions, a clarinet
quartet, at solo/ensemble
festival. He taught his
students the fundamentals
of music, the technical
aspects of performance,
and exposed them to the
great standards of band
literature. But in doing
so, he also modeled
leadership, work-ethic,
good character, and
fostered the love of the
activity of band that led
me to choose music
education as a career.
And for that, I will
always be grateful.
Performance Notes
Measures 1-12: The
beginning of the piece
should be performed in a
majestic, fanfare-like
style. The woodwind cues
should only be used if
absolutely needed during
this section. Measures
41-58: The concert toms
should establish a
presence, but not
overpower the winds. The
triangle and woodblock
parts should be heard
distinctly over the
concert toms. A higher
pitched woodblock should
be used for this section.
(A set of claves could be
used in place of the
woodblock if desired.)
Measures 59-94: The
entirety of the middle
section should be played
in a rubato style to
maximize musical
expression, exaggerating
dynamics and ritardando
sections. The
quarter-note triplets in
the middle and low winds
should be emphasized at
m. 70. The molto
ritardando that begins at
m. 70 should be allowed
to build as long as
possible in m. 71 before
reaching the musical apex
of the middle section at
m. 72. At mm. 92-94,
depending on the size of
the ensemble, you may
want to limit the number
of players (or put one
per part) to achieve the
most delicate sound
possible. Measures
95-End: In mm. 99-107, be
sure that the eighth-note
running mallet parts are
heard as a background
texture, but do not
overpower the winds. In
mm. 114-115, the accents
on beats 2 and 4 in the
lower winds should be
exaggerated to contrast
the feel of the previous
four measures. In m. 118,
all winds should cut off
and breathe on beat two
for maximum impact on the
next three
measures. About the
MusicSemper Gratus is
Latin for “always
grateful.†The
piece was written in
honor of James E.
Champion, who taught band
for thirty-eight years,
twenty-five of which were
spent in Florence,
Alabama, where he was my
elementary school and
high school band
director. His bands
consistently achieved
superior ratings
throughout his career. He
holds
multi-decade-spanning
memberships in
professional music
education organizations,
continues to serve in
helping with Alabama
Bandmasters Association
events, and conducts and
performs in various
community bands and
ensembles. As my band
director at Bradshaw High
School, Mr. Champion
encouraged me to perform
one of my first
compositions, a clarinet
quartet, at solo/ensemble
festival. He taught his
students the fundamentals
of music, the technical
aspects of performance,
and exposed them to the
great standards of band
literature. But in
doing so, he also modeled
leadership, work-ethic,
good character, and
fostered the love of the
activity of band that led
me to choose music
education as a
career. And for that,
I will always be
grateful.Performance
NotesMeasures
1-12:Â Â The
beginning of the piece
should be performed in a
majestic, fanfare-like
style. The woodwind
cues should only be used
if absolutely needed
during this
section.Measures
41-58:Â Â The
concert toms should
establish a presence, but
not overpower the
winds.  The
triangle and woodblock
parts should be heard
distinctly over the
concert toms. A
higher pitched woodblock
should be used for this
section. (A set of
claves could be used in
place of the woodblock if
desired.)Â Measures
59-94:Â Â The
entirety of the middle
section should be played
in a rubato style to
maximize musical
expression, exaggerating
dynamics and ritardando
sections.  The
quarter-note triplets in
the middle and low winds
should be emphasized at
m. 70.  The molto
ritardando that begins at
m. 70 should be allowed
to build as long as
possible in m. 71 before
reaching the musical apex
of the middle section at
m. 72. At mm.
92–94, depending
on the size of the
ensemble, you may want to
limit the number of
players (or put one per
part) to achieve the most
delicate sound
possible.Measures
95-End:Â Â In mm.
99–107, be sure
that the eighth-note
running mallet parts are
heard as a background
texture, but do not
overpower the winds. In
mm. 114–115, the
accents on beats 2 and 4
in the lower winds should
be exaggerated to
contrast the feel of the
previous four measures.
 In m. 118, all winds
should cut off and
breathe on beat two for
maximum impact on the
next three measures. $90.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
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