| The Ultimate Fake Book - Third Edition (Bb version)
Instruments en Sib [Fake Book] Hal Leonard
Bb Edition. Fake Book (Includes melody line and chords). Size 9x12 inches. 816 p...(+)
Bb Edition. Fake Book
(Includes melody line and
chords). Size 9x12
inches. 816 pages.
Published by Hal Leonard.
(8)$49.95 - Voir plus => AcheterDélais: 3 to 5 business days | | |
| The Ultimate Fake Book - 3rd Edition Fake Book [Fake Book] Hal Leonard
Eb Edition. By Various. Fake Book (Includes melody line and chords). Size 9x12 i...(+)
Eb Edition. By Various.
Fake Book (Includes
melody line and chords).
Size 9x12 inches. 816
pages. Published by Hal
Leonard.
(2)$49.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Real Little Ultimate Fake Book - 3rd Edition (C Edition) [Fake Book] Hal Leonard
Fakebook (spiral bound) for voice and C instrument. With vocal melody, lyrics, c...(+)
Fakebook (spiral bound)
for voice and C
instrument. With vocal
melody, lyrics, chord
names, leadsheet notation
and guitar chord chart.
Series: Hal Leonard Fake
Books. 813 pages.
Published by Hal Leonard.
(4)$39.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Everglades (River of Grass) 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 | | |
| Great Smoky Mountains 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 | | |
| Acadia 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.16500103F
Mvt. 3 from Symphony
No. 6 (Three Places in
the East). Composed
by Dan Welcher. Full
score. 60 pages. Theodore
Presser Company
#165-00103F. Published by
Theodore Presser Company
(PR.16500103F). ISBN
9781491131763. UPC:
680160680290. 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. $39.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| For the Mystic Harmony Theodore Presser Co.
Band Bass Clarinet, Bass Drum, Bassoon 1, Bassoon 2, Bongos, Castanets, Celesta,...(+)
Band Bass Clarinet, Bass
Drum, Bassoon 1, Bassoon
2, Bongos, Castanets,
Celesta, Clarinet,
Clarinet 1, Clarinet 2,
Clarinet 3, Contrabass
Clarinet, Contrabassoon,
English Horn, Euphonium,
Euphonium T.C., Flute 1,
Flute 2, Horn 1, Horn 2,
Horn 3 and more. SKU:
PR.16500100F Hymns
for Wind Ensemble.
Composed by Dan Welcher.
Sws. Full score. 48
pages. Duration 10
minutes, 41 seconds.
Theodore Presser Company
#165-00100F. Published by
Theodore Presser Company
(PR.16500100F). ISBN
9781491114421. UPC:
680160669783. 9 x 12
inches. Commissione
d for a consortium of
high school and college
bands in the north Dallas
region, FOR THEMYSTIC
HARMONY is a 10-minute
inspirational work in
homage to Norwood and
Elizabeth Dixon,patrons
of the Fort Worth
Symphony and the Van
Cliburn Competition.
Welcher draws melodic
flavorfrom five American
hymns, spirituals, and
folk tunes of the 19th
century. The last of
these sources toappear is
the hymn tune For the
Beauty of the Earth,
whose third stanza is the
quatrain: “For the
joy of earand eye, For
the heart and
mind’s delight,
For the mystic harmony,
Linking sense to sound
and sight,â€giving
rise to the work’s
title. This work,
commissioned for a
consortium of high school
bands in the north Dallas
area, is my fifteenth
maturework for wind
ensemble (not counting
transcriptions). When I
asked Todd Dixon, the
band director
whospearheaded this
project, what kind of a
work he most wanted, he
first said
“something
that’s basically
slow,†butwanted to
leave the details to me.
During a long subsequent
conversation, he
mentioned that his
grandparents,Norwood and
Elizabeth Dixon, were
prime supporters of the
Fort Worth Symphony,
going so far as to
purchase anumber of high
quality instruments for
that orchestra. This
intrigued me, so I asked
more about his
grandparentsand was
provided an 80-page
biographical sketch.
Reading that article,
including a long section
about theirdevotion to
supporting a young man
through the rigors of the
Van Cliburn International
Piano Competition fora
number of years, moved me
very much. Norwood and
Elizabeth Dixon
weren’t just
supporters of the arts;
theywere passionate
lovers of music and
musicians. I determined
to make this work a
testament to that love,
and tothe religious faith
that sustained them both.
The idea of using extant
hymns was also suggested
by Todd Dixon,and this
10-minute work is the
result.I have employed
existing melodies in
several works, delving
into certain kinds of
religious music more than
a fewtimes. In seeking
new sounds, new ways of
harmonizing old tunes,
and the contrapuntal
overlaying of one
tunewith another, I was
able to make works like
ZION (using 19th-century
Revivalist hymns) and
LABORING SONGS(using
Shaker melodies) reflect
the spirit of the
composers who created
these melodies, without
sounding likepastiches or
medleys. I determined to
do the same with this new
work, with the added
problem of
employingmelodies that
were more familiar. I
chose five tunes from the
19th century: hymns,
spirituals, and
folk-tunes.Some of these
are known by differing
titles, but they all
appear in hymnals of
various Christian
denominations(with
various titles and
texts). My idea was to
employ the tunes without
altering their notes,
instead using aconstantly
modulating sense of
harmony —
sometimes leading to
polytonal harmonizations
of what are
normallysimple four-chord
hymns.The work begins and
ends with a repeated
chime on the note C: a
reminder of steeples,
white clapboard
churchesin the country,
and small church organs.
Beginning with a
Mixolydian folk tune of
Caribbean origin
presentedtwice with
layered entrances, the
work starts with a
feeling of mystery and
gentle sorrow. It
proceeds, after along
transition, into a second
hymn that is sometimes
connected to the sea
(hence the sensation of
water andwaves throughout
it). This tune, by John
B. Dykes (1823-1876), is
a bit more chromatic and
“shifty†than
mosthymn-tunes, so I
chose to play with the
constant sensation of
modulation even more than
the original does. Atthe
climax, the familiar
spiritual “Were you
there?†takes over,
with a double-time
polytonal feeling
propelling itforward at
“Sometimes it
causes me to
tremble.â€Trumpets
in counterpoint raise the
temperature, and the
tempo as well, leading
the music into a third
tune (ofunknown
provenance, though it
appears with different
texts in various hymnals)
that is presented in a
sprightlymanner. Bassoons
introduce the melody, but
it is quickly taken up by
other instruments over
three
“verses,â€cons
tantly growing in
orchestration and volume.
A mysterious second tune,
unrelated to this one,
interrupts it inall three
verses, sending the
melody into unknown
regions.The final melody
is “For the Beauty
of the Earth.†This
tune by Conrad Kocher
(1786-1872) is commonly
sung atThanksgiving
— the perfect
choice to end this work
celebrating two people
known for their
generosity.Keeping the
sense of constant
modulation that has been
present throughout, I
chose to present this
hymn in threegrowing
verses, but with a twist:
every four bars, the
“key†of the
hymn seems to shift
— until the
“Lord of all,
toThee we praiseâ€
melody bursts out in a
surprising compound
meter. This, as it turns
out, was the
“mystery
tuneâ€heard earlier
in the piece. After an
Ivesian, almost polytonal
climax, the Coda begins
over a long B( pedal. At
first,it seems to be a
restatement of the first
two phrases of “For
the Beauty†with
long spaces between them,
but it soonchanges to a
series of
“Amenâ€
cadences, widely
separated by range and
color. These, too, do not
conform to anykey, but
instead overlay each
other in ways that are
unpredictable but
strangely comforting.The
third verse of “For
the Beauty of the
Earth†contains
this quatrain:“For
the joy of ear and eye,
–For the heart and
mind’s delightFor
the mystic harmonyLinking
sense to sound and
sightâ€and it was
from this poetry that I
drew the title for the
present work. It is my
hope that audiences and
performerswill find
within it a sense of
grace: more than a little
familiar, but also quite
new and unexpected. $25.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| For the Mystic Harmony 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, English
Horn, Flute 1, Flute 2,
Oboe 1, Oboe 2, Piccolo,
alto Saxophone, soprano
Saxophone, tenor
Saxophone SKU:
PR.165001000 Hymns
for Wind Ensemble.
Composed by Dan Welcher.
Folio. Set of Score and
Parts.
4+24+24+16+8+4+4+24+12+12
+8+4+4+4+4+8+8+8+8+4+4+4+
4+8+8+8+8+8+8+8+8+4+16+4+
8+4+8+8+4+4+4+48 pages.
Duration 10 minutes, 41
seconds. Theodore Presser
Company #165-00100.
Published by Theodore
Presser Company
(PR.165001000). ISBN
9781491129241. UPC:
680160669776. 9 x 12
inches. Commissione
d for a consortium of
high school and college
bands in the north Dallas
region, FOR THEMYSTIC
HARMONY is a 10-minute
inspirational work in
homage to Norwood and
Elizabeth Dixon,patrons
of the Fort Worth
Symphony and the Van
Cliburn Competition.
Welcher draws melodic
flavorfrom five American
hymns, spirituals, and
folk tunes of the 19th
century. The last of
these sources toappear is
the hymn tune For the
Beauty of the Earth,
whose third stanza is the
quatrain: “For the
joy of earand eye, For
the heart and
mind’s delight,
For the mystic harmony,
Linking sense to sound
and sight,â€giving
rise to the work’s
title. This work,
commissioned for a
consortium of high school
bands in the north Dallas
area, is my fifteenth
maturework for wind
ensemble (not counting
transcriptions). When I
asked Todd Dixon, the
band director
whospearheaded this
project, what kind of a
work he most wanted, he
first said
“something
that’s basically
slow,†butwanted to
leave the details to me.
During a long subsequent
conversation, he
mentioned that his
grandparents,Norwood and
Elizabeth Dixon, were
prime supporters of the
Fort Worth Symphony,
going so far as to
purchase anumber of high
quality instruments for
that orchestra. This
intrigued me, so I asked
more about his
grandparentsand was
provided an 80-page
biographical sketch.
Reading that article,
including a long section
about theirdevotion to
supporting a young man
through the rigors of the
Van Cliburn International
Piano Competition fora
number of years, moved me
very much. Norwood and
Elizabeth Dixon
weren’t just
supporters of the arts;
theywere passionate
lovers of music and
musicians. I determined
to make this work a
testament to that love,
and tothe religious faith
that sustained them both.
The idea of using extant
hymns was also suggested
by Todd Dixon,and this
10-minute work is the
result.I have employed
existing melodies in
several works, delving
into certain kinds of
religious music more than
a fewtimes. In seeking
new sounds, new ways of
harmonizing old tunes,
and the contrapuntal
overlaying of one
tunewith another, I was
able to make works like
ZION (using 19th-century
Revivalist hymns) and
LABORING SONGS(using
Shaker melodies) reflect
the spirit of the
composers who created
these melodies, without
sounding likepastiches or
medleys. I determined to
do the same with this new
work, with the added
problem of
employingmelodies that
were more familiar. I
chose five tunes from the
19th century: hymns,
spirituals, and
folk-tunes.Some of these
are known by differing
titles, but they all
appear in hymnals of
various Christian
denominations(with
various titles and
texts). My idea was to
employ the tunes without
altering their notes,
instead using aconstantly
modulating sense of
harmony —
sometimes leading to
polytonal harmonizations
of what are
normallysimple four-chord
hymns.The work begins and
ends with a repeated
chime on the note C: a
reminder of steeples,
white clapboard
churchesin the country,
and small church organs.
Beginning with a
Mixolydian folk tune of
Caribbean origin
presentedtwice with
layered entrances, the
work starts with a
feeling of mystery and
gentle sorrow. It
proceeds, after along
transition, into a second
hymn that is sometimes
connected to the sea
(hence the sensation of
water andwaves throughout
it). This tune, by John
B. Dykes (1823-1876), is
a bit more chromatic and
“shifty†than
mosthymn-tunes, so I
chose to play with the
constant sensation of
modulation even more than
the original does. Atthe
climax, the familiar
spiritual “Were you
there?†takes over,
with a double-time
polytonal feeling
propelling itforward at
“Sometimes it
causes me to
tremble.â€Trumpets
in counterpoint raise the
temperature, and the
tempo as well, leading
the music into a third
tune (ofunknown
provenance, though it
appears with different
texts in various hymnals)
that is presented in a
sprightlymanner. Bassoons
introduce the melody, but
it is quickly taken up by
other instruments over
three
“verses,â€cons
tantly growing in
orchestration and volume.
A mysterious second tune,
unrelated to this one,
interrupts it inall three
verses, sending the
melody into unknown
regions.The final melody
is “For the Beauty
of the Earth.†This
tune by Conrad Kocher
(1786-1872) is commonly
sung atThanksgiving
— the perfect
choice to end this work
celebrating two people
known for their
generosity.Keeping the
sense of constant
modulation that has been
present throughout, I
chose to present this
hymn in threegrowing
verses, but with a twist:
every four bars, the
“key†of the
hymn seems to shift
— until the
“Lord of all,
toThee we praiseâ€
melody bursts out in a
surprising compound
meter. This, as it turns
out, was the
“mystery
tuneâ€heard earlier
in the piece. After an
Ivesian, almost polytonal
climax, the Coda begins
over a long B( pedal. At
first,it seems to be a
restatement of the first
two phrases of “For
the Beauty†with
long spaces between them,
but it soonchanges to a
series of
“Amenâ€
cadences, widely
separated by range and
color. These, too, do not
conform to anykey, but
instead overlay each
other in ways that are
unpredictable but
strangely comforting.The
third verse of “For
the Beauty of the
Earth†contains
this quatrain:“For
the joy of ear and eye,
–For the heart and
mind’s delightFor
the mystic harmonyLinking
sense to sound and
sightâ€and it was
from this poetry that I
drew the title for the
present work. It is my
hope that audiences and
performerswill find
within it a sense of
grace: more than a little
familiar, but also quite
new and unexpected. $150.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Festival March Orchestre d'harmonie - Avancé Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Clarinet 3, Cymb...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Clarinet
1, Clarinet 2, Clarinet
3, Cymbals, Euphonium,
Euphonium T.C., Flute 1,
Flute 2, Horn 1, Horn 2,
Horn 3, Horn 4, Oboe,
Percussion 1, Percussion
2, Piccolo, Snare Drum,
Timpani, Triangle,
Trombone 1 and more. -
Grade 5 SKU:
CF.SPS78 Composed by
Victor Herbert. Symphonic
Band (SPS). Set of Score
and Parts. With Standard
notation.
3+12+12+6+6+3+12+24+24+6+
6+8+8+6+6+9+18+18+27+8+8+
8+8+9+9+9+9+12+3+6+6+40+6
pages. Duration 7:37.
Carl Fischer Music
#SPS78. Published by Carl
Fischer Music (CF.SPS78).
ISBN 9781491152553.
UPC: 680160910052. Key:
Bb major. Festival
March is presented in a
new edition arranged by
Richard Summers. It is a
tour de force composition
for advanced bands and
hearkens back to a bygone
era during the golden age
of the band movement.
Directors and students
will hear operatic music
from composer Victor
Herbert who is best known
for his Christmas
classic, Toyland. This
is a richly scored
masterpiece that deserves
to return to standard
status in concert band
repertoire. We are proud
to bring you this new
setting of this cherished
classic. Festival
March by Victor Herbert
was written for the
Pittsburgh Symphony and
first performed under
Herbert’s
direction in Chicago on
Dec. 9, 1901 celebrating
the 12th anniversary
of Chicago’s
Auditorium Theatre. Also
known as the Auditorium
Festival March, he
included it many times
for programs of a
festival nature. The main
theme Auld Lang Syne, a
famous Scottish folk
song, is incorporated
many times along with
brass fanfares,
interludes and march
melodies. This band
arrangement is very
similar to the original
orchestral composition.
The missing string parts,
the addition of the
saxophone section and
other band instruments,
editing of the
superimposed triplets
against
sixteenth notes, to
one or the other, and
articulations suitable
for the band, were major
challenges. The style of
early twentieth-century
American music is
captured here. This
arrangement will give
band musicians access to
a fine piece of music
that could only be
appreciated by orchestra
musicians up to now.
Although suitable for
many occasions, this
piece is a great way to
begin or end a December
holiday concert.
 Notes to the
ConductorVictor
Herbert’s music
can be interpreted in a
romantic style, which is
the conductor’s
responsibility to read in
nuance and musicality.
The beginning and other
triple-tonguing sections
of this piece have a
March of the Toys quality
to it. Â The interludes
and Auld Lang Syne
sections are legato and
musical. The March
sections can also be
shaped musically.About
the ComposerVictor
Herbert was born in
Ireland in 1861 and
raised in Germany. When
he moved to America in
1886, he joined the
Metropolitan Opera as
principal cellist and
eventually composed many
works including
forty-three operettas
on Broadway from the
1890s to World War I,
including Naughty
Marietta and Babes in
Toyland. Victor Herbert
conducted the Pittsburgh
Symphony from 1898 to
1904 and then was the
conductor of his own
Victor Herbert Orchestra.
He formed ASCAP with a
group of composers in
1914 and was the director
until his death in 1924.
Among his thirty-one
compositions for
orchestra, Festival March
was a favorite of his and
was eventually published
by Carl Fischer Music.
 . $150.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Festival March Orchestre d'harmonie - Avancé Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Clarinet 3, Cymb...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Clarinet
1, Clarinet 2, Clarinet
3, Cymbals, Euphonium,
Euphonium T.C., Flute 1,
Flute 2, Horn 1, Horn 2,
Horn 3, Horn 4, Oboe,
Percussion 1, Percussion
2, Piccolo, Snare Drum,
Timpani, Triangle,
Trombone 1 and more. -
Grade 5 SKU:
CF.SPS78F Composed by
Victor Herbert. Symphonic
Band (SPS). Full score.
With Standard notation.
40 pages. Carl Fischer
Music #SPS78F. Published
by Carl Fischer Music
(CF.SPS78F). ISBN
9781491153239. UPC:
680160910731. Festi
val March is presented in
a new edition arranged by
Richard Summers. It is a
tour de force composition
for advanced bands and
hearkens back to a bygone
era during the golden age
of the band movement.
Directors and students
will hear operatic music
from composer Victor
Herbert who is best known
for his Christmas
classic, Toyland. This
is a richly scored
masterpiece that deserves
to return to standard
status in concert band
repertoire. We are proud
to bring you this new
setting of this cherished
classic. About the
CompositionFestival March
by Victor Herbert was
written for the
Pittsburgh Symphony and
first performed under
Herbert’s
direction in Chicago on
Dec. 9, 1901 celebrating
the 12th anniversary
of Chicago’s
Auditorium Theatre. Also
known as the Auditorium
Festival March, he
included it many times
for programs of a
festival nature. The main
theme Auld Lang Syne, a
famous Scottish folk
song, is incorporated
many times along with
brass fanfares,
interludes and march
melodies. This band
arrangement is very
similar to the original
orchestral composition.
The missing string parts,
the addition of the
saxophone section and
other band instruments,
editing of the
superimposed triplets
against
sixteenth notes, to
one or the other, and
articulations suitable
for the band, were major
challenges. The style of
early twentieth-century
American music is
captured here. This
arrangement will give
band musicians access to
a fine piece of music
that could only be
appreciated by orchestra
musicians up to now.
Although suitable for
many occasions, this
piece is a great way to
begin or end a December
holiday concert.
 Notes to the
ConductorVictor
Herbert’s music
can be interpreted in a
romantic style, which is
the conductor’s
responsibility to read in
nuance and musicality.
The beginning and other
triple-tonguing sections
of this piece have a
March of the Toys quality
to it. Â The interludes
and Auld Lang Syne
sections are legato and
musical. The March
sections can also be
shaped musically.About
the ComposerVictor
Herbert was born in
Ireland in 1861 and
raised in Germany. When
he moved to America in
1886, he joined the
Metropolitan Opera as
principal cellist and
eventually composed many
works including
forty-three operettas
on Broadway from the
1890s to World War I,
including Naughty
Marietta and Babes in
Toyland. Victor Herbert
conducted the Pittsburgh
Symphony from 1898 to
1904 and then was the
conductor of his own
Victor Herbert Orchestra.
He formed ASCAP with a
group of composers in
1914 and was the director
until his death in 1924.
Among his thirty-one
compositions for
orchestra, Festival March
was a favorite of his and
was eventually published
by Carl Fischer Music.
 . $15.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Rainbow in the Clouds Orchestre d'harmonie - Intermédiaire Carl Fischer
Band Bass Clarinet, Bassoon, Bells, Clarinet 1, Clarinet 2, Clarinet 3, Euphoniu...(+)
Band Bass Clarinet,
Bassoon, Bells, Clarinet
1, Clarinet 2, Clarinet
3, Euphonium, Euphonium
T.C., Flute 1, Flute 2,
Horn 1, Horn 2, Marimba,
Oboe, Percussion,
Suspended Cymbal,
Timpani, Triangle,
Trombone 1, Trombone 2,
Trumpet 1, Trumpet 2 and
more. - Grade 3 SKU:
CF.CPS224 Composed by
Carol Brittin Chambers.
Concert Band (CPS). Set
of Score and Parts. With
Standard notation.
8+2+4+8+8+2+2+2+2+2+2+4+4
+4+2+2+3+3+3+4+1+1+1+1+3+
12+2 pages. Duration 3
minutes, 11 seconds. Carl
Fischer Music #CPS224.
Published by Carl Fischer
Music (CF.CPS224).
ISBN 9781491152508.
UPC:
680160910007. Rainb
ow in the Clouds is
based on an old
traditional spiritual,
possibly an
African-American song
from the 19th century,
entitled God Put a
Rainbow in the
Clouds. Composer
Carol Brittin Chambers
was inspired by poetic
Maya Angelou to create of
setting of this beautiful
song. It is lush and
beautiful throughout and
will highlight the
musicianship of your
students. This would
serve as a welcome change
of pace piece on your
program for concert or
contest. Rainbow in
the Clouds was
commissioned by the
Pflugerville Middle
School Wind Ensemble in
Pflugerville, Texas,
directed by Shauna
Satrom. The piece
premiered in May 2017, in
memory and celebration of
Luis Ham, who was an
Assistant Principal at
Pflugerville Middle
School.This piece is
based on an old
traditional spiritual,
possibly an
African-American song
from the nineteenth
century, entitled God Put
a Rainbow in the Clouds.
The first time I heard
reference to this song
was in a Maya Angelou
video, in which she sings
a portion of it:
“When it looked
like the sun
wouldn’t shine
anymore, Oh, God put a
rainbow in the
clouds.†In the
video, Dr. Angelou honors
those who have
demonstrated kindness to
her in the past, and she
suggests that we all try
to be a blessing to
others. The Pflugerville
community believed that
Mr. Ham, with his
positive outlook, was
definitely a
“rainbow in the
clouds†for other
people.The piece begins
with a full ensemble
introduction, followed by
a woodwind treatment of
the first verse with a
fairly reserved tempo and
straight eighth-note
rhythm. When brass pick
up the melody on the
second phrase, we start
to hear the song more
like the original
spiritual, with
dotted-eighth, sixteenth
rhythms. The middle
section of the piece at
m. 22 begins to move at a
slightly quicker tempo,
and the mood becomes
lighter. This section
becomes a
call-and-response between
a euphonium solo and
upper woodwinds. The
final section of the
piece involves everyone
playing together joyously
and full, eventually
winding down with two
more solo statements in
flute and euphonium.Note
to the Conductor:Use this
piece to introduce or
reinforce the following
musical concepts:Lyrical,
expressive playing varied
stylesSolo
responsibilitiesKey
changes, tempo
changes. $95.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Rainbow in the Clouds Orchestre d'harmonie - Intermédiaire Carl Fischer
Band Bass Clarinet, Bassoon, Bells, Clarinet 1, Clarinet 2, Clarinet 3, Euphoniu...(+)
Band Bass Clarinet,
Bassoon, Bells, Clarinet
1, Clarinet 2, Clarinet
3, Euphonium, Euphonium
T.C., Flute 1, Flute 2,
Horn 1, Horn 2, Marimba,
Oboe, Percussion,
Suspended Cymbal,
Timpani, Triangle,
Trombone 1, Trombone 2,
Trumpet 1, Trumpet 2 and
more. - Grade 3 SKU:
CF.CPS224F Composed
by Carol Brittin
Chambers. Concert Band
(CPS). Full score. With
Standard notation. 12
pages. Carl Fischer Music
#CPS224F. Published by
Carl Fischer Music
(CF.CPS224F). ISBN
9781491153185. UPC:
680160910687. Rainb
ow in the Clouds is
based on an old
traditional spiritual,
possibly an
African-American song
from the 19th century,
entitled God Put a
Rainbow in the
Clouds. Composer
Carol Brittin Chambers
was inspired by poetic
Maya Angelou to create of
setting of this beautiful
song. It is lush and
beautiful throughout and
will highlight the
musicianship of your
students. This would
serve as a welcome change
of pace piece on your
program for concert or
contest. Rainbow in
the Clouds was
commissioned by the
Pflugerville Middle
School Wind Ensemble in
Pflugerville, Texas,
directed by Shauna
Satrom. The piece
premiered in May 2017, in
memory and celebration of
Luis Ham, who was an
Assistant Principal at
Pflugerville Middle
School.This piece is
based on an old
traditional spiritual,
possibly an
African-American song
from the nineteenth
century, entitled God Put
a Rainbow in the Clouds.
The first time I heard
reference to this song
was in a Maya Angelou
video, in which she sings
a portion of it:
“When it looked
like the sun
wouldn’t shine
anymore, Oh, God put a
rainbow in the
clouds.†In the
video, Dr. Angelou honors
those who have
demonstrated kindness to
her in the past, and she
suggests that we all try
to be a blessing to
others. The Pflugerville
community believed that
Mr. Ham, with his
positive outlook, was
definitely a
“rainbow in the
clouds†for other
people.The piece begins
with a full ensemble
introduction, followed by
a woodwind treatment of
the first verse with a
fairly reserved tempo and
straight eighth-note
rhythm. When brass pick
up the melody on the
second phrase, we start
to hear the song more
like the original
spiritual, with
dotted-eighth, sixteenth
rhythms. The middle
section of the piece at
m. 22 begins to move at a
slightly quicker tempo,
and the mood becomes
lighter. This section
becomes a
call-and-response between
a euphonium solo and
upper woodwinds. The
final section of the
piece involves everyone
playing together joyously
and full, eventually
winding down with two
more solo statements in
flute and euphonium.Note
to the Conductor:Use this
piece to introduce or
reinforce the following
musical concepts:Lyrical,
expressive playing varied
stylesSolo
responsibilitiesKey
changes, tempo
changes. $14.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Appalachian Winter Shawnee Press
Choral (digital production kit) SKU: HL.35028867 Composed by Joseph M. Ma...(+)
Choral (digital
production kit) SKU:
HL.35028867 Composed
by Joseph M. Martin.
Harold Flammer Christmas.
Advent, Cantata,
Christmas. Published by
Shawnee Press
(HL.35028867). UPC:
884088888633. 5.25x7.5
inches. From the
composer of Festival
of Carols and The
Winter Rose comes a
cantata that celebrates
the legacy of early
American carols and
hymnody. Composed in the
spirit of folk music, the
cantata combines
traditional sounds with
more rustic elements
creating a blend that is
fresh and pleasing.
Popular American carols
like Away In a
Manger and O
Little Town of
Bethlehem dance with
traditional spirituals
such as Children, Go
Where I Send Thee and
Go, Tell It on the
Mountain. Sacred Harp
tunes are re-tooled for
Advent and stand
alongside new versions of
Shaker hymns and
Appalachian melodies.
Thoughtful narration
weaves the movements
together in a meaningful
tapestry of song and
Scripture. Two orchestral
options are available
allowing maximum
flexibility in
performance. A full line
of support products is
also available. Available
separately: SATB, CD-ROM
Full Orchestration (Score
& Parts for Flute 1 & 2,
alto recorder,
Oboe/English Horn,
Clarinet 1 & 2, Bassoon,
Horn 1 & 2, Trumpet 1-3,
Trombone 1 & 2, Bass
Trombone/Tuba, Timpani,
Percussion, Acoustic
Guitar, Banjo, Harp,
Piano, Synth, Solo
fiddle, Violin 1 & 2,
Viola, Cello, Double
Bass), Printed Full
Orchestration,
Appalachian Consort
Orchestration (Score &
parts for Flute, Violin,
Cello, Mandolin, Guitar,
Percussion and Piano),
StudioTrax CD
(accompaniment only),
SplitTrax CD, Listening
CD, 10-Pack Listening
CDs, Preview Pack
(Book/CD combo),
RehearsalTrax CDs (part
predominant,
reproducible), Digital
Resource Kit (PowerPoint,
Choir Devotionals,
Poster, Program, Flyers,
Children's Program PDFs).
Duration: approx. 40
min. $64.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Amazing Grace Chorale SATB SATB [Octavo] Hope Publishing Company
Arranged by Jack Schrader. For Choir. (Satb). American Folk Tune, Blues/Gospel,...(+)
Arranged by Jack
Schrader. For Choir.
(Satb). American Folk
Tune, Blues/Gospel,
Celebration, Eternal
Life, Grace, Guidance,
Blues-Gospel-Spirituals
and Sacred. Print Music
Single (SATB). Published
by Hope Publishing
Company.
(3)$2.95 - Voir plus => AcheterDélais: 4 to 6 business days | | |
| Victory and Celebration Orchestre d'harmonie - Débutant Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Chimes, Clarinet 1, Clarinet 2, Euphoniu...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Chimes,
Clarinet 1, Clarinet 2,
Euphonium, Euphonium
T.C., Flute, Flute 2,
Glockenspiel, Horn,
Mallet Percussion, Oboe,
Percussion 1, Percussion
2, Snare Drum, Suspended
Cymbal, Tambourine,
Timpani, Triangle and
more. - Grade 1.5 SKU:
CF.FPS87F Composed by
Alan Lee Silva. SWS. Carl
Fischer First Plus
Performance Series. Full
score. With Standard
notation. 16 pages.
Duration 2 minutes, 17
seconds. Carl Fischer
Music #FPS87F. Published
by Carl Fischer Music
(CF.FPS87F). ISBN
9780825873942. UPC:
798408073947. 9x12
inches. Sparkling
fanfare gestures and
celebratory music are the
theme of this dynamic new
piece from composer Alan
Lee Silva. Open harmonies
are used with memorable
melodies in this exciting
new work for developing
bands. You can hear
Silva's influences with
his truly American style
in this winning new
piece. $9.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Symphony No. 2 "Romantic" - Avancé Carl Fischer
Orchestra Cello, Contrabass, Harp, Viola, Violin 1, Violin 2 - Grade 5 SKU: C...(+)
Orchestra Cello,
Contrabass, Harp, Viola,
Violin 1, Violin 2 -
Grade 5 SKU:
CF.AS66F 1st
Movement. Composed by
Howard Hanson. Arranged
by Todd Parrish. Sws.
Full score. 12 pages.
Duration 4 minutes, 47
seconds. Carl Fischer
Music #AS66F. Published
by Carl Fischer Music
(CF.AS66F). ISBN
9781491154649. UPC:
680160913190. 9 x 12
inches. Key: Eb
major. The new
Masterworks Series by
Carl Fischer Music will
showcase arrangements of
20th Century American
composers. Symphony No. 2
by Howard Hanson is one
of the most popular
American Symphonies ever
written, and is played
regularly by major
symphony orchestras
around the world. It was
originally commissioned
by the Boston Symphony
Orchestra to celebrate
their 50th anniversary
in 1930, where it was
given its first
performance. The work was
most famously used in the
end credits of the movie
Alien in 1979. This
arrangement focuses on
the hauntingly beautiful
second theme of the first
movement. After being
stated in the key of
E-flat Major, it provides
a contrasting section
before returning in the
key of D-flat Major.
Cellos are featured
prominently in tenor
clef, and often cover the
soaring horn solos from
the original. Musicians
will experience true
symphonic beauty in this
exquisite arrangement for
strings and harp. The
new Masterworks Series by
Carl Fischer Music will
showcase arrangements of
20th Century American
composers. Symphony No. 2
by Howard Hanson is one
of the most popular
American Symphonies ever
written, and is played
regularly by major
symphony orchestras
around the world. It was
originally commissioned
by the Boston Symphony
Orchestra to celebrate
their 50th anniversary in
1930, where it was given
its first performance.
The work was most
famously used in the end
credits of the movie
Alien in 1979. This
arrangement focuses on
the hauntingly beautiful
second theme of the first
movement. After being
stated in the key of
E-flat Major, it provides
a contrasting section
before returning in the
key of D-flat Major.
Cellos are featured
prominently in tenor
clef, and often cover the
soaring horn solos from
the original. Musicians
will experience true
symphonic beauty in this
exquisite arrangement for
strings and harp. $11.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Celebration! Theodore Presser Co.
Band Bass Clarinet, Bassoon, Bassoon 1, Bassoon 2, Chimes, Clarinet, Clarinet 1,...(+)
Band Bass Clarinet,
Bassoon, Bassoon 1,
Bassoon 2, Chimes,
Clarinet, Clarinet 1,
Clarinet 2, Clarinet 3,
Cymbals, Flute 1, Flute
2, Horn 1, Horn 2, Horn
3, Horn 4, Oboe 1, Oboe
2, Oboe 3, Percussion 1,
Percussion 2, Percussion
3, Percussion 4 and more.
SKU: PR.115402350
For Band. Composed
by Adolphus Hailstork.
Folio. Set of Score and
Parts.
1+2+6+2+6+1+1+1+1+6+6+3+1
+2+1+2+1+1+4+2+4+2+2+2+2+
2+2+2+2+2+2+2+2+4+1+1+2+2
+2+2+2+24 pages. Duration
3:30. Theodore Presser
Company #115-40235.
Published by Theodore
Presser Company
(PR.115402350). ISBN
9781491129388. UPC:
680160674039. 9 x 12
inches. The years
leading to the US
Bicentennial (1976) saw a
great flowering of
artistic celebration,
including the
commissioning of American
composers to write
festive works for the
occasion. The Nashville
Symphony and its
conductor Thor Johnson
asked Adolphus Hailstork
for such a work to
premiere, and to
distribute the music at
no cost to high school
orchestras around the
United States. The
present version for band
followed as a natural
offshoot of the
infectiously exhilarating
3-minute work. $110.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
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