| The Ultimate Fake Book - C Instruments (3rd Edition)
Fake Book [Fake Book] Hal Leonard
C Edition. Fake Book (Includes melody line and chords). Size 9x12 inches. 816 pa...(+)
C Edition. Fake Book
(Includes melody line and
chords). Size 9x12
inches. 816 pages.
Published by Hal Leonard.
(31)$55.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| 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 | | |
| Upriver Orchestre d'harmonie [Conducteur] Theodore Presser Co.
Band Concert Band SKU: PR.465000130 For Large Wind Ensemble. Compo...(+)
Band Concert Band SKU:
PR.465000130 For
Large Wind Ensemble.
Composed by Dan Welcher.
Sws. Contemporary. Full
score. With Standard
notation. Composed 2010.
Duration 14 minutes.
Theodore Presser Company
#465-00013. Published by
Theodore Presser Company
(PR.465000130). ISBN
9781598064070. UPC:
680160600144. 9x12
inches. Following a
celebrated series of wind
ensemble tone poems about
national parks in the
American West, Dan
Welcher’s Upriver
celebrates the Lewis &
Clark Expedition from the
Missouri River to
Oregon’s Columbia
Gorge, following the
Louisiana Purchase of
1803. Welcher’s
imaginative textures and
inventiveness are freshly
modern, evoking our
American heritage,
including references to
Shenandoah and other folk
songs known to have been
sung on the expedition.
For advanced players.
Duration:
14’. In 1803,
President Thomas
Jefferson sent Meriwether
Lewis and William
Clark’s Corps of
Discovery to find a water
route to the Pacific and
explore the uncharted
West. He believed woolly
mammoths, erupting
volcanoes, and mountains
of pure salt awaited
them. What they found was
no less mind-boggling:
some 300 species unknown
to science, nearly 50
Indian tribes, and the
Rockies.Ihave been a
student of the Lewis and
Clark expedition, which
Thomas Jefferson called
the “Voyage of
Discovery,†for as
long as I can remember.
This astonishing journey,
lasting more than
two-and-a-half years,
began and ended in St.
Louis, Missouri —
and took the travelers up
more than a few rivers in
their quest to find the
Northwest Passage to the
Pacific Ocean. In an age
without speedy
communication, this was
akin to space travel out
of radio range in our own
time: no one knew if,
indeed, the party had
even survived the voyage
for more than a year.
Most of them were
soldiers. A few were
French-Canadian voyageurs
— hired trappers
and explorers, who were
fluent in French (spoken
extensively in the
region, due to earlier
explorers from France)
and in some of the Indian
languages they might
encounter. One of the
voyageurs, a man named
Pierre Cruzatte, also
happened to be a
better-than-average
fiddle player. In many
respects, the travelers
were completely on their
own for supplies and
survival, yet,
incredibly, only one of
them died during the
voyage. Jefferson had
outfitted them with food,
weapons, medicine, and
clothing — and
along with other
trinkets, a box of 200
jaw harps to be used in
trading with the Indians.
Their trip was long,
perilous to the point of
near catastrophe, and
arduous. The dream of a
Northwest Passage proved
ephemeral, but the
northwestern quarter of
the continent had finally
been explored, mapped,
and described to an
anxious world. When the
party returned to St.
Louis in 1806, and with
the Louisiana Purchase
now part of the United
States, they were greeted
as national heroes.Ihave
written a sizeable number
of works for wind
ensemble that draw their
inspiration from the
monumental spaces found
in the American West.
Four of them (Arches, The
Yellowstone Fires,
Glacier, and Zion) take
their names, and in large
part their being, from
actual national parks in
Utah, Wyoming, and
Montana. But Upriver,
although it found its
voice (and its finale) in
the magnificent Columbia
Gorge in Oregon, is about
a much larger region.
This piece, like its
brother works about the
national parks,
doesn’t try to
tell a story. Instead, it
captures the flavor of a
certain time, and of a
grand adventure. Cast in
one continuous movement
and lasting close to
fourteen minutes, the
piece falls into several
subsections, each with
its own heading: The
Dream (in which
Jefferson’s vision
of a vast expanse of
western land is opened);
The Promise, a chorale
that re-appears several
times in the course of
the piece and represents
the seriousness of the
presidential mission; The
River; The Voyageurs; The
River II ; Death and
Disappointment; Return to
the Voyage; and The River
III .The music includes
several quoted melodies,
one of which is familiar
to everyone as the
ultimate “river
song,†and which
becomes the
through-stream of the
work. All of the quoted
tunes were either sung by
the men on the voyage, or
played by
Cruzatte’s fiddle.
From various journals and
diaries, we know the men
found enjoyment and
solace in music, and
almost every night
encampment had at least a
bit of music in it. In
addition to Cruzatte,
there were two other
members of the party who
played the fiddle, and
others made do with
singing, or playing upon
sticks, bones, the
ever-present jaw harps,
and boat horns. From
Lewis’ journals, I
found all the tunes used
in Upriver: Shenandoah
(still popular after more
than 200 years),
V’la bon vent,
Soldier’s Joy,
Johnny Has Gone for a
Soldier, Come Ye Sinners
Poor and Needy (a hymn
sung to the tune
“Beech
Springâ€) and
Fisher’s Hornpipe.
The work follows an
emotional journey: not
necessarily step-by-step
with the Voyage of
Discovery heroes, but a
kind of grand arch.
Beginning in the mists of
history and myth,
traversing peaks and
valleys both real and
emotional (and a solemn
funeral scene), finding
help from native people,
and recalling their zeal
upon finding the one
great river that will, in
fact, take them to the
Pacific. When the men
finally roar through the
Columbia Gorge in their
boats (a feat that even
the Indians had not
attempted), the
magnificent river
combines its theme with
the chorale of
Jefferson’s
Promise. The Dream is
fulfilled: not quite the
one Jefferson had
imagined (there is no
navigable water passage
from the Missouri to the
Pacific), but the dream
of a continental
destiny. $45.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Upriver Orchestre d'harmonie Theodore Presser Co.
Band Concert Band SKU: PR.46500013L For Wind Ensemble. Composed by...(+)
Band Concert Band SKU:
PR.46500013L For
Wind Ensemble.
Composed by Dan Welcher.
Contemporary. Large
Score. With Standard
notation. Composed 2010.
Duration 14 minutes.
Theodore Presser Company
#465-00013L. Published by
Theodore Presser Company
(PR.46500013L). UPC:
680160600151. 11 x 14
inches. I n 1803,
President Thomas
Jefferson sent Meriwether
Lewis and William Clarks
Corps of Discovery to
find a water route to the
Pacific and explore the
uncharted West. He
believed woolly mammoths,
erupting volcanoes, and
mountains of pure salt
awaited them. What they
found was no less
mind-boggling: some 300
species unknown to
science, nearly 50 Indian
tribes, and the Rockies.
I have been a student of
the Lewis and Clark
expedition, which Thomas
Jefferson called the
Voyage of Discovery, for
as long as I can
remember. This
astonishing journey,
lasting more than
two-and-a-half years,
began and ended in St.
Louis, Missouri and took
the travelers up more
than a few rivers in
their quest to find the
Northwest Passage to the
Pacific Ocean. In an age
without speedy
communication, this was
akin to space travel out
of radio range in our own
time: no one knew if,
indeed, the party had
even survived the voyage
for more than a year.
Most of them were
soldiers. A few were
French-Canadian voyageurs
hired trappers and
explorers, who were
fluent in French (spoken
extensively in the
region, due to earlier
explorers from France)
and in some of the Indian
languages they might
encounter. One of the
voyageurs, a man named
Pierre Cruzatte, also
happened to be a
better-than-average
fiddle player. In many
respects, the travelers
were completely on their
own for supplies and
survival, yet,
incredibly, only one of
them died during the
voyage. Jefferson had
outfitted them with food,
weapons, medicine, and
clothing and along with
other trinkets, a box of
200 jaw harps to be used
in trading with the
Indians. Their trip was
long, perilous to the
point of near
catastrophe, and arduous.
The dream of a Northwest
Passage proved ephemeral,
but the northwestern
quarter of the continent
had finally been
explored, mapped, and
described to an anxious
world. When the party
returned to St. Louis in
1806, and with the
Louisiana Purchase now
part of the United
States, they were greeted
as national heroes. I
have written a sizeable
number of works for wind
ensemble that draw their
inspiration from the
monumental spaces found
in the American West.
Four of them (Arches, The
Yellowstone Fires,
Glacier, and Zion) take
their names, and in large
part their being, from
actual national parks in
Utah, Wyoming, and
Montana. But Upriver,
although it found its
voice (and its finale) in
the magnificent Columbia
Gorge in Oregon, is about
a much larger region.
This piece, like its
brother works about the
national parks, doesnt
try to tell a story.
Instead, it captures the
flavor of a certain time,
and of a grand adventure.
Cast in one continuous
movement and lasting
close to fourteen
minutes, the piece falls
into several subsections,
each with its own
heading: The Dream (in
which Jeffersons vision
of a vast expanse of
western land is opened);
The Promise, a chorale
that re-appears several
times in the course of
the piece and represents
the seriousness of the
presidential mission; The
River; The Voyageurs; The
River II ; Death and
Disappointment; Return to
the Voyage; and The River
III . The music includes
several quoted melodies,
one of which is familiar
to everyone as the
ultimate river song, and
which becomes the
through-stream of the
work. All of the quoted
tunes were either sung by
the men on the voyage, or
played by Cruzattes
fiddle. From various
journals and diaries, we
know the men found
enjoyment and solace in
music, and almost every
night encampment had at
least a bit of music in
it. In addition to
Cruzatte, there were two
other members of the
party who played the
fiddle, and others made
do with singing, or
playing upon sticks,
bones, the ever-present
jaw harps, and boat
horns. From Lewis
journals, I found all the
tunes used in Upriver:
Shenandoah (still popular
after more than 200
years), Vla bon vent,
Soldiers Joy, Johnny Has
Gone for a Soldier, Come
Ye Sinners Poor and Needy
(a hymn sung to the tune
Beech Spring) and Fishers
Hornpipe. The work
follows an emotional
journey: not necessarily
step-by-step with the
Voyage of Discovery
heroes, but a kind of
grand arch. Beginning in
the mists of history and
myth, traversing peaks
and valleys both real and
emotional (and a solemn
funeral scene), finding
help from native people,
and recalling their zeal
upon finding the one
great river that will, in
fact, take them to the
Pacific. When the men
finally roar through the
Columbia Gorge in their
boats (a feat that even
the Indians had not
attempted), the
magnificent river
combines its theme with
the chorale of Jeffersons
Promise. The Dream is
fulfilled: not quite the
one Jefferson had
imagined (there is no
navigable water passage
from the Missouri to the
Pacific), but the dream
of a continental
destiny. $80.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Gustave Vogt's Musical Album of Autographs Cor anglais, Piano Carl Fischer
Chamber Music English Horn, Oboe SKU: CF.WF229 15 Pieces for Oboe and ...(+)
Chamber Music English
Horn, Oboe SKU:
CF.WF229 15 Pieces
for Oboe and English
Horn. Composed by
Gustave Vogt. Edited by
Kristin Jean Leitterman.
Collection - Performance.
32+8 pages. Carl Fischer
Music #WF229. Published
by Carl Fischer Music
(CF.WF229). ISBN
9781491153789. UPC:
680160911288. Intro
duction Gustave Vogt's
Musical Paris Gustave
Vogt (1781-1870) was born
into the Age of
Enlightenment, at the
apex of the
Enlightenment's outreach.
During his lifetime he
would observe its effect
on the world. Over the
course of his life he
lived through many
changes in musical style.
When he was born,
composers such as Mozart
and Haydn were still
writing masterworks
revered today, and
eighty-nine years later,
as he departed the world,
the new realm of
Romanticism was beginning
to emerge with Mahler,
Richard Strauss and
Debussy, who were soon to
make their respective
marks on the musical
world. Vogt himself left
a huge mark on the
musical world, with
critics referring to him
as the grandfather of the
modern oboe and the
premier oboist of Europe.
Through his eighty-nine
years, Vogt would live
through what was perhaps
the most turbulent period
of French history. He
witnessed the French
Revolution of 1789,
followed by the many
newly established
governments, only to die
just months before the
establishment of the
Third Republic in 1870,
which would be the
longest lasting
government since the
beginning of the
revolution. He also
witnessed the
transformation of the
French musical world from
one in which opera
reigned supreme, to one
in which virtuosi,
chamber music, and
symphonic music ruled.
Additionally, he
experienced the
development of the oboe
right before his eyes.
When he began playing in
the late eighteenth
century, the standard
oboe had two keys (E and
Eb) and at the time of
his death in 1870, the
System Six Triebert oboe
(the instrument adopted
by Conservatoire
professor, Georges
Gillet, in 1882) was only
five years from being
developed. Vogt was born
March 18, 1781 in the
ancient town of
Strasbourg, part of the
Alsace region along the
German border. At the
time of his birth,
Strasbourg had been
annexed by Louis XIV, and
while heavily influenced
by Germanic culture, had
been loosely governed by
the French for a hundred
years. Although it is
unclear when Vogt began
studying the oboe and
when his family made its
move to the French
capital, the Vogts may
have fled Strasbourg in
1792 after much of the
city was destroyed during
the French Revolution. He
was without question
living in Paris by 1798,
as he enrolled on June 8
at the newly established
Conservatoire national de
Musique to study oboe
with the school's first
oboe professor,
Alexandre-Antoine
Sallantin (1775-1830).
Vogt's relationship with
the Conservatoire would
span over half a century,
moving seamlessly from
the role of student to
professor. In 1799, just
a year after enrolling,
he was awarded the
premier prix, becoming
the fourth oboist to
achieve this award. By
1802 he had been
appointed repetiteur,
which involved teaching
the younger students and
filling in for Sallantin
in exchange for a free
education. He maintained
this rank until 1809,
when he was promoted to
professor adjoint and
finally to professor
titulaire in 1816 when
Sallantin retired. This
was a position he held
for thirty-seven years,
retiring in 1853, making
him the longest serving
oboe professor in the
school's history. During
his tenure, he became the
most influential oboist
in France, teaching
eighty-nine students,
plus sixteen he taught
while he was professor
adjoint and professor
titulaire. Many of these
students went on to be
famous in their own
right, such as Henri Brod
(1799-1839), Apollon
Marie-Rose Barret
(1804-1879), Charles
Triebert (1810-1867),
Stanislas Verroust
(1814-1863), and Charles
Colin (1832-1881). His
influence stretches from
French to American oboe
playing in a direct line
from Charles Colin to
Georges Gillet
(1854-1920), and then to
Marcel Tabuteau
(1887-1966), the oboist
Americans lovingly
describe as the father of
American oboe playing.
Opera was an important
part of Vogt's life. His
first performing position
was with the
Theatre-Montansier while
he was still studying at
the Conservatoire.
Shortly after, he moved
to the Ambigu-Comique
and, in 1801 was
appointed as first oboist
with the Theatre-Italien
in Paris. He had been in
this position for only a
year, when he began
playing first oboe at the
Opera-Comique. He
remained there until
1814, when he succeeded
his teacher,
Alexandre-Antoine
Sallantin, as soloist
with the Paris Opera, the
top orchestra in Paris at
the time. He played with
the Paris Opera until
1834, all the while
bringing in his current
and past students to fill
out the section. In this
position, he began to
make a name for himself;
so much so that specific
performances were
immortalized in memoirs
and letters. One comes
from a young Hector
Berlioz (1803-1865) after
having just arrived in
Paris in 1822 and
attended the Paris
Opera's performance of
Mehul's Stratonice and
Persuis' ballet Nina. It
was in response to the
song Quand le bien-amie
reviendra that Berlioz
wrote: I find it
difficult to believe that
that song as sung by her
could ever have made as
true and touching an
effect as the combination
of Vogt's instrument...
Shortly after this,
Berlioz gave up studying
medicine and focused on
music. Vogt frequently
made solo and chamber
appearances throughout
Europe. His busiest
period of solo work was
during the 1820s. In 1825
and 1828 he went to
London to perform as a
soloist with the London
Philharmonic Society.
Vogt also traveled to
Northern France in 1826
for concerts, and then in
1830 traveled to Munich
and Stuttgart, visiting
his hometown of
Strasbourg on the way.
While on tour, Vogt
performed Luigi
Cherubini's (1760-1842)
Ave Maria, with soprano
Anna (Nanette) Schechner
(1806-1860), and a
Concertino, presumably
written by himself. As a
virtuoso performer in
pursuit of repertoire to
play, Vogt found himself
writing much of his own
music. His catalog
includes chamber music,
variation sets, vocal
music, concerted works,
religious music, wind
band arrangements, and
pedagogical material. He
most frequently performed
his variation sets, which
were largely based on
themes from popular
operas he had, presumably
played while he was at
the Opera. He made his
final tour in 1839,
traveling to Tours and
Bordeaux. During this
tour he appeared with the
singer Caroline Naldi,
Countess de Sparre, and
the violinist Joseph
Artot (1815-1845). This
ended his active career
as a soloist. His
performance was described
in the Revue et gazette
musicale de Paris as
having lost none of his
superiority over the
oboe.... It's always the
same grace, the same
sweetness. We made a trip
to Switzerland, just by
closing your eyes and
listening to Vogt's oboe.
Vogt was also active
performing in Paris as a
chamber and orchestral
musician. He was one of
the founding members of
the Societe des Concerts
du Conservatoire, a group
established in 1828 by
violinist and conductor
Francois-Antoine Habeneck
(1781-1849). The group
featured faculty and
students performing
alongside each other and
works such as Beethoven
symphonies, which had
never been heard in
France. He also premiered
the groundbreaking
woodwind quintets of
Antonin Reicha
(1770-1836). After his
retirement from the Opera
in 1834 and from the
Societe des Concerts du
Conservatoire in 1842,
Vogt began to slow down.
His final known
performance was of
Cherubini's Ave Maria on
English horn with tenor
Alexis Dupont (1796-1874)
in 1843. He then began to
reflect on his life and
the people he had known.
When he reached his 60s,
he began gathering
entries for his Musical
Album of Autographs.
Autograph Albums Vogt's
Musical Album of
Autographs is part of a
larger practice of
keeping autograph albums,
also commonly known as
Stammbuch or Album
Amicorum (meaning book of
friendship or friendship
book), which date back to
the time of the
Reformation and the
University of Wittenberg.
It was during the
mid-sixteenth century
that students at the
University of Wittenberg
began passing around
bibles for their fellow
students and professors
to sign, leaving messages
to remember them by as
they moved on to the next
part of their lives. The
things people wrote were
mottos, quotes, and even
drawings of their family
coat of arms or some
other scene that meant
something to the owner.
These albums became the
way these young students
remembered their school
family once they had
moved on to another
school or town. It was
also common for the
entrants to comment on
other entries and for the
owner to amend entries
when they learned of
important life details
such as marriage or
death. As the practice
continued, bibles were
set aside for emblem
books, which was a
popular book genre that
featured allegorical
illustrations (emblems)
in a tripartite form:
image, motto, epigram.
The first emblem book
used for autographs was
published in 1531 by
Andrea Alciato
(1492-1550), a collection
of 212 Latin emblem
poems. In 1558, the first
book conceived for the
purpose of the album
amicorum was published by
Lyon de Tournes
(1504-1564) called the
Thesaurus Amicorum. These
books continued to
evolve, and spread to
wider circles away from
universities. Albums
could be found being kept
by noblemen, physicians,
lawyers, teachers,
painters, musicians, and
artisans. The albums
eventually became more
specialized, leading to
Musical Autograph Albums
(or Notestammbucher).
Before this
specialization, musicians
contributed in one form
or another, but our
knowledge of them in
these albums is mostly
limited to individual
people or events. Some
would simply sign their
name while others would
insert a fragment of
music, usually a canon
(titled fuga) with text
in Latin. Canons were
popular because they
displayed the
craftsmanship of the
composer in a limited
space. Composers
well-known today,
including J. S. Bach,
Telemann, Mozart,
Beethoven, Dowland, and
Brahms, all participated
in the practice, with
Beethoven being the first
to indicate an interest
in creating an album only
of music. This interest
came around 1815. In an
1845 letter from Johann
Friedrich Naue to
Heinrich Carl
Breidenstein, Naue
recalled an 1813 visit
with Beethoven, who
presented a book
suggesting Naue to
collect entries from
celebrated musicians as
he traveled. Shortly
after we find Louis Spohr
speaking about leaving on
his grand tour through
Europe in 1815 and of his
desire to carry an album
with entries from the
many artists he would
come across. He wrote in
his autobiography that
his most valuable
contribution came from
Beethoven in 1815.
Spohr's Notenstammbuch,
comprised only of musical
entries, is
groundbreaking because it
was coupled with a
concert tour, allowing
him to reach beyond the
Germanic world, where the
creation of these books
had been nearly
exclusive. Spohr brought
the practice of
Notenstammbucher to
France, and in turn
indirectly inspired Vogt
to create a book of his
own some fifteen years
later. Vogt's Musical
Album of Autographs
Vogt's Musical Album of
Autographs acts as a form
of a memoir, displaying
mementos of musicians who
held special meaning in
his life as well as
showing those with whom
he was enamored from the
younger generation. The
anonymous Pie Jesu
submitted to Vogt in 1831
marks the beginning of an
album that would span
nearly three decades by
the time the final entry,
an excerpt from Charles
Gounod's (1818-1893)
Faust, which premiered in
1859, was submitted.
Within this album we find
sixty-two entries from
musicians whom he must
have known very well
because they were
colleagues at the
Conservatoire, or
composers of opera whose
works he was performing
with the Paris Opera.
Other entries came from
performers with whom he
had performed and some
who were simply passing
through Paris, such as
Joseph Joachim
(1831-1907). Of the
sixty-three total
entries, some are
original, unpublished
works, while others came
from well-known existing
works. Nineteen of these
works are for solo piano,
sixteen utilize the oboe
or English horn, thirteen
feature the voice (in
many different
combinations, including
vocal solos with piano,
and small choral settings
up to one with double
choir), two feature
violin as a solo
instrument, and one even
features the now obscure
ophicleide. The
connections among the
sixty-two contributors to
Vogt's album are
virtually never-ending.
All were acquainted with
Vogt in some capacity,
from long-time
friendships to
relationships that were
created when Vogt
requested their entry.
Thus, while Vogt is the
person who is central to
each of these musicians,
the web can be greatly
expanded. In general, the
connections are centered
around the Conservatoire,
teacher lineages, the
Opera, and performing
circles. The
relationships between all
the contributors in the
album parallel the
current musical world, as
many of these kinds of
relationships still
exist, and permit us to
fantasize who might be
found in an album created
today by a musician of
the same standing. Also
important, is what sort
of entries the
contributors chose to
pen. The sixty-three
entries are varied, but
can be divided into
published and unpublished
works. Within the
published works, we find
opera excerpts, symphony
excerpts, mass excerpts,
and canons, while the
unpublished works include
music for solo piano,
oboe or English horn,
string instruments
(violin and cello), and
voice (voice with piano
and choral). The music
for oboe and English horn
works largely belong in
the unpublished works of
the album. These entries
were most likely written
to honor Vogt. Seven are
for oboe and piano and
were contributed by
Joseph Joachim, Pauline
Garcia Viardot
(1821-1910), Joseph
Artot, Anton Bohrer
(1783-1852), Georges
Onslow (1784-1853),
Desire Beaulieu
(1791-1863), and Narcisse
Girard (1797-1860). The
common thread between
these entries is the
simplicity of the melody
and structure. Many are
repetitive, especially
Beaulieu's entry, which
features a two-note
ostinato throughout the
work, which he even
included in his
signature. Two composers
contributed pieces for
English horn and piano,
and like the previous
oboe entries, are simple
and repetitive. These
were written by Michele
Carafa (1787-1872) and
Louis Clapisson
(1808-1866). There are
two other entries that
were unpublished works
and are chamber music.
One is an oboe trio by
Jacques Halevy
(1799-1862) and the other
is for oboe and strings
(string trio) by J. B.
Cramer (1771-1858). There
are five published works
in the album for oboe and
English horn. There are
three from operas and the
other two from symphonic
works. Ambroise Thomas
(1811-1896) contributed
an excerpt from the
Entr'acte of his opera La
Guerillero, and was
likely chosen because the
oboe was featured at this
moment. Hippolyte Chelard
(1789-1861) also chose to
honor Vogt by writing for
English horn. His entry,
for English horn and
piano, is taken from his
biggest success, Macbeth.
The English horn part was
actually taken from Lady
Macbeth's solo in the
sleepwalking scene.
Vogt's own entry also
falls into this category,
as he entered an excerpt
from Donizetti's Maria di
Rohan. The excerpt he
chose is a duet between
soprano and English horn.
There are two entries
featuring oboe that are
excerpted from symphonic
repertoire. One is a
familiar oboe melody from
Beethoven's Pastoral
Symphony entered by his
first biographer, Anton
Schindler (1796-1864).
The other is an excerpt
from Berlioz's choral
symphony, Romeo et
Juliette. He entered an
oboe solo from the Grand
Fete section of the
piece. Pedagogical
benefit All of these
works are lovely, and fit
within the album
wonderfully, but these
works also are great oboe
and English horn music
for young students. The
common thread between
these entries is the
simplicity of the melody
and structure. Many are
repetitive, especially
Beaulieu's entry, which
features a two-note
ostinato throughout the
work in the piano. This
repetitive structure is
beneficial for young
students for searching
for a short solo to
present at a studio
recital, or simply to
learn. They also work
many technical issues a
young player may
encounter, such as
mastering the rolling
finger to uncover and
recover the half hole.
This is true of Bealieu's
Pensee as well as
Onslow's Andantino.
Berlioz's entry from
Romeo et Juliette
features very long
phrases, which helps with
endurance and helps keep
the air spinning through
the oboe. Some of the
pieces also use various
levels of ornamentation,
from trills to grace
notes, and short
cadenzas. This allows the
student to learn
appropriate ways to
phrase with these added
notes. The chamber music
is a valuable way to
start younger students
with chamber music,
especially the short
quartet by Cramer for
oboe and string trio. All
of these pieces will not
tax the student to learn
a work that is more
advanced, as well as give
them a full piece that
they can work on from
beginning to end in a
couple weeks, instead of
months. Editorial Policy
The works found in this
edition are based on the
manuscript housed at the
Morgan Library in New
York City (call number
Cary 348, V886. A3). When
possible, published
scores were consulted and
compared to clarify pitch
and text. The general
difficulties in creating
an edition of these works
stem from entries that
appear to be hastily
written, and thus omit
complete articulations
and dynamic indications
for all passages and
parts. The manuscript has
been modernized into a
performance edition. The
score order from the
manuscript has been
retained. If an entry
also exists in a
published work, and this
was not indicated on the
manuscript, appropriate
titles and subtitles have
been added tacitly. For
entries that were
untitled, the beginning
tempo marking or
expressive directive has
been added as its title
tacitly. Part names have
been changed from the
original language to
English. If no part name
was present, it was added
tacitly. All scores are
transposing where
applicable. Measure
numbers have been added
at the beginning of every
system. Written
directives have been
retained in the original
language and are placed
relative to where they
appear in the manuscript.
Tempo markings from the
manuscript have been
retained, even if they
were abbreviated, i.e.,
Andte. The barlines,
braces, brackets, and
clefs are modernized. The
beaming and stem
direction has been
modernized. Key
signatures have been
modernized as some of the
flats/sharps do not
appear on the correct
lines or spaces. Time
signatures have been
modernized. In a few
cases, when a time
signature was missing in
the manuscript, it has
been added tacitly.
Triplet and rhythmic
groupings have been
modernized. Slurs, ties,
and articulations
(staccato and accent)
have been modernized.
Slurs, ties, and
articulations have been
added to parallel
passages tacitly.
Courtesy accidentals
found in the manuscript
have been removed, unless
it appeared to be helpful
to the performer. Dynamic
indications from the
manuscript have been
retained, except where
noted. --Kristin
Leitterman. Introducti
onGustave Vogt’s
Musical ParisGustave Vogt
(1781–1870) was
born into the “Age
of Enlightenment,â€
at the apex of the
Enlightenment’s
outreach. During his
lifetime he would observe
its effect on the world.
Over the course of his
life he lived through
many changes in musical
style. When he was born,
composers such as Mozart
and Haydn were still
writing masterworks
revered today, and
eighty-nine years later,
as he departed the world,
the new realm of
Romanticism was beginning
to emerge with Mahler,
Richard Strauss and
Debussy, who were soon to
make their respective
marks on the musical
world. Vogt himself left
a huge mark on the
musical world, with
critics referring to him
as the “grandfather
of the modern oboeâ€
and the “premier
oboist of
Europe.â€Through his
eighty-nine years, Vogt
would live through what
was perhaps the most
turbulent period of
French history. He
witnessed the French
Revolution of 1789,
followed by the many
newly established
governments, only to die
just months before the
establishment of the
Third Republic in 1870,
which would be the
longest lasting
government since the
beginning of the
revolution. He also
witnessed the
transformation of the
French musical world from
one in which opera
reigned supreme, to one
in which virtuosi,
chamber music, and
symphonic music ruled.
Additionally, he
experienced the
development of the oboe
right before his eyes.
When he began playing in
the late eighteenth
century, the standard
oboe had two keys (E and
Eb) and at the time of
his death in 1870, the
“System Sixâ€
Triébert oboe (the
instrument adopted by
Conservatoire professor,
Georges Gillet, in 1882)
was only five years from
being developed.Vogt was
born March 18, 1781 in
the ancient town of
Strasbourg, part of the
Alsace region along the
German border. At the
time of his birth,
Strasbourg had been
annexed by Louis XIV, and
while heavily influenced
by Germanic culture, had
been loosely governed by
the French for a hundred
years. Although it is
unclear when Vogt began
studying the oboe and
when his family made its
move to the French
capital, the Vogts may
have fled Strasbourg in
1792 after much of the
city was destroyed during
the French Revolution. He
was without question
living in Paris by 1798,
as he enrolled on June 8
at the newly established
Conservatoire national de
Musique to study oboe
with the school’s
first oboe professor,
Alexandre-Antoine
Sallantin
(1775–1830).Vogtâ
€™s relationship with
the Conservatoire would
span over half a century,
moving seamlessly from
the role of student to
professor. In 1799, just
a year after enrolling,
he was awarded the
premier prix, becoming
the fourth oboist to
achieve this award. By
1802 he had been
appointed
répétiteur, which
involved teaching the
younger students and
filling in for Sallantin
in exchange for a free
education. He maintained
this rank until 1809,
when he was promoted to
professor adjoint and
finally to professor
titulaire in 1816 when
Sallantin retired. This
was a position he held
for thirty-seven years,
retiring in 1853, making
him the longest serving
oboe professor in the
school’s history.
During his tenure, he
became the most
influential oboist in
France, teaching
eighty-nine students,
plus sixteen he taught
while he was professor
adjoint and professor
titulaire. Many of these
students went on to be
famous in their own
right, such as Henri Brod
(1799–1839),
Apollon Marie-Rose Barret
(1804–1879),
Charles Triebert
(1810–1867),
Stanislas Verroust
(1814–1863), and
Charles Colin
(1832–1881). His
influence stretches from
French to American oboe
playing in a direct line
from Charles Colin to
Georges Gillet
(1854–1920), and
then to Marcel Tabuteau
(1887–1966), the
oboist Americans lovingly
describe as the
“father of American
oboe playing.â€Opera
was an important part of
Vogt’s life. His
first performing position
was with the
Théâtre-Montansier
while he was still
studying at the
Conservatoire. Shortly
after, he moved to the
Ambigu-Comique and, in
1801 was appointed as
first oboist with the
Théâtre-Italien in
Paris. He had been in
this position for only a
year, when he began
playing first oboe at the
Opéra-Comique. He
remained there until
1814, when he succeeded
his teacher,
Alexandre-Antoine
Sallantin, as soloist
with the Paris Opéra,
the top orchestra in
Paris at the time. He
played with the Paris
Opéra until 1834, all
the while bringing in his
current and past students
to fill out the section.
In this position, he
began to make a name for
himself; so much so that
specific performances
were immortalized in
memoirs and letters. One
comes from a young Hector
Berlioz
(1803–1865) after
having just arrived in
Paris in 1822 and
attended the Paris
Opéra’s
performance of
Mehul’s Stratonice
and Persuis’
ballet Nina. It was in
response to the song
Quand le bien-amié
reviendra that Berlioz
wrote: “I find it
difficult to believe that
that song as sung by her
could ever have made as
true and touching an
effect as the combination
of Vogt’s
instrument…â€
Shortly after this,
Berlioz gave up studying
medicine and focused on
music.Vogt frequently
made solo and chamber
appearances throughout
Europe. His busiest
period of solo work was
during the 1820s. In 1825
and 1828 he went to
London to perform as a
soloist with the London
Philharmonic Society.
Vogt also traveled to
Northern France in 1826
for concerts, and then in
1830 traveled to Munich
and Stuttgart, visiting
his hometown of
Strasbourg on the way.
While on tour, Vogt
performed Luigi
Cherubini’s
(1760–1842) Ave
Maria, with soprano Anna
(Nanette) Schechner
(1806–1860), and a
Concertino, presumably
written by himself. As a
virtuoso performer in
pursuit of repertoire to
play, Vogt found himself
writing much of his own
music. His catalog
includes chamber music,
variation sets, vocal
music, concerted works,
religious music, wind
band arrangements, and
pedagogical material. He
most frequently performed
his variation sets, which
were largely based on
themes from popular
operas he had, presumably
played while he was at
the Opéra.He made his
final tour in 1839,
traveling to Tours and
Bordeaux. During this
tour he appeared with the
singer Caroline Naldi,
Countess de Sparre, and
the violinist Joseph
Artôt
(1815–1845). This
ended his active career
as a soloist. His
performance was described
in the Revue et gazette
musicale de Paris as
having “lost none
of his superiority over
the oboe….
It’s always the
same grace, the same
sweetness. We made a trip
to Switzerland, just by
closing your eyes and
listening to
Vogt’s
oboe.â€Vogt was also
active performing in
Paris as a chamber and
orchestral musician. He
was one of the founding
members of the
Société des
Concerts du
Conservatoire, a group
established in 1828 by
violinist and conductor
François-Antoine
Habeneck
(1781–1849). The
group featured faculty
and students performing
alongside each other and
works such as Beethoven
symphonies, which had
never been heard in
France. He also premiered
the groundbreaking
woodwind quintets of
Antonin Reicha
(1770–1836).After
his retirement from the
Opéra in 1834 and from
the Société des
Concerts du Conservatoire
in 1842, Vogt began to
slow down. His final
known performance was of
Cherubini’s Ave
Maria on English horn
with tenor Alexis Dupont
(1796–1874) in
1843. He then began to
reflect on his life and
the people he had known.
When he reached his 60s,
he began gathering
entries for his Musical
Album of
Autographs.Autograph
AlbumsVogt’s
Musical Album of
Autographs is part of a
larger practice of
keeping autograph albums,
also commonly known as
Stammbuch or Album
Amicorum (meaning book of
friendship or friendship
book), which date back to
the time of the
Reformation and the
University of Wittenberg.
It was during the
mid-sixteenth century
that students at the
University of Wittenberg
began passing around
bibles for their fellow
students and professors
to sign, leaving messages
to remember them by as
they moved on to the next
part of their lives. The
things people wrote were
mottos, quotes, and even
drawings of their family
coat of arms or some
other scene that meant
something to the owner.
These albums became the
way these young students
remembered their school
family once they had
moved on to another
school or town. It was
also common for the
entrants to comment on
other entries and for the
owner to amend entries
when they learned of
important life details
such as marriage or
death.As the practice
continued, bibles were
set aside for emblem
books, which was a
popular book genre that
featured allegorical
illustrations (emblems)
in a tripartite form:
image, motto, epigram.
The first emblem book
used for autographs was
published in 1531 by
Andrea Alciato
(1492–1550), a
collection of 212 Latin
emblem poems. In 1558,
the first book conceived
for the purpose of the
album amicorum was
published by Lyon de
Tournes
(1504–1564) called
the Thesaurus Amicorum.
These books continued to
evolve, and spread to
wider circles away from
universities. Albums
could be found being kept
by noblemen, physicians,
lawyers, teachers,
painters, musicians, and
artisans.The albums
eventually became more
specialized, leading to
Musical Autograph Albums
(or Notestammbücher).
Before this
specialization, musicians
contributed in one form
or another, but our
knowledge of them in
these albums is mostly
limited to individual
people or events. Some
would simply sign their
name while others would
insert a fragment of
music, usually a canon
(titled fuga) with text
in Latin. Canons were
popular because they
displayed the
craftsmanship of the
composer in a limited
space. Composers
well-known today,
including J. S. Bach,
Telemann, Mozart,
Beethoven, Dowland, and
Brahms, all participated
in the practice, with
Beethoven being the first
to indicate an interest
in creating an album only
of music.This interest
came around 1815. In an
1845 letter from Johann
Friedrich Naue to
Heinrich Carl
Breidenstein, Naue
recalled an 1813 visit
with Beethoven, who
presented a book
suggesting Naue to
collect entries from
celebrated musicians as
he traveled. Shortly
after we find Louis Spohr
speaking about leaving on
his “grand
tour†through
Europe in 1815 and of his
desire to carry an album
with entries from the
many artists he would
come across. He wrote in
his autobiography that
his “most valuable
contribution†came
from Beethoven in 1815.
Spohr’s
Notenstammbuch, comprised
only of musical entries,
is groundbreaking because
it was coupled with a
concert tour, allowing
him to reach beyond the
Germanic world, where the
creation of these books
had been nearly
exclusive. Spohr brought
the practice of
Notenstammbücher to
France, and in turn
indirectly inspired Vogt
to create a book of his
own some fifteen years
later.Vogt’s
Musical Album of
AutographsVogt’s
Musical Album of
Autographs acts as a form
of a memoir, displaying
mementos of musicians who
held special meaning in
his life as well as
showing those with whom
he was enamored from the
younger generation. The
anonymous Pie Jesu
submitted to Vogt in 1831
marks the beginning of an
album that would span
nearly three decades by
the time the final entry,
an excerpt from Charles
Gounod’s
(1818–1893) Faust,
which premiered in 1859,
was submitted.Within this
album ... $16.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Real Little New Broadway Fake Book Instruments en Do [Fake Book] Hal Leonard
645 Songs from 285 Shows. Composed by Various. Fake Book. Broadway. Softcover....(+)
645 Songs from 285 Shows.
Composed by Various. Fake
Book. Broadway.
Softcover.
696 pages. Published by
Hal
Leonard
$39.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The New Broadway Fake Book Instruments en Do Hal Leonard
645 Songs from 285 Shows. Composed by Various. Fake Book. Broadway, Musicals. ...(+)
645 Songs from 285 Shows.
Composed by Various. Fake
Book. Broadway, Musicals.
Softcover. 696 pages.
Published by Hal Leonard
$49.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Hope Remains Within [Conducteur] - Facile Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bongos, Brake Drum, Chimes, Clarinet 1, ...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Bongos,
Brake Drum, Chimes,
Clarinet 1, Clarinet 2,
Euphonium, Euphonium
T.C., Flute 1, Flute 2,
Horn, Mallet Percussion
1, Mallet Percussion 2,
Oboe, Percussion 1,
Percussion 2, Percussion
3, Snare Drum and more. -
Grade 2.5 SKU:
CF.YPS217F Composed
by Zachary Cairns. Sws.
Yps. Full score. 24
pages. Duration 4
minutes, 48 seconds. Carl
Fischer Music #YPS217F.
Published by Carl Fischer
Music (CF.YPS217F).
ISBN 9781491156551.
UPC: 680160915095. 9 x 12
inches. Hope
Remains Within was
commissioned by and
composed for the Mount
Nittany Middle School 7th
and 8th Grade Concert
Bands. Having heard the
students of Mount Nittany
perform another work of
mine, I was very excited
when their director,
Johanna Steinbacher,
approached me about
writing a piece
specifically for them. I
knew right away that I
wanted to write something
that would tie in with
their non-music
curriculum in some way,
but I wasn't exactly sure
how, or what. Johanna
talked to some of her
students and learned
that, in 7th grade, the
students spend a good
deal of time studying
mythology in their
English class. In
particular, two clarinet
students mentioned how
much they enjoyed the
story of Pandora. As
such, I decided to use
that story as the basis
of this composition. Hope
Remains Within doesn't
attempt to re-tell the
story, event by event, in
musical terms. Instead,
my goal was to address
what seems to be one of
the central issues of the
Pandora myth. Though
there are some
variations, we probably
all know the basics as
told by the ancient Greek
poet Hesiod. Zeus decides
to punish Prometheus for
stealing fire from heaven
and giving it to humans.
He and the other gods
create Pandora, a
beautiful and deceitful
woman, and they give her
to Prometheus's brother
Epimetheus as a bride.
Pandora is herself given
a jar (according to many
sources, jar seems to be
a more accurate
translation for what we
commonly call Pandora's
box) which contained
numerous evils, diseases,
and other pains. Out of
curiosity, Pandora opens
the jar and releases all
of these evils into the
world. But one thing
remains in the jar: hope.
The issue of hope seems
to be one of the big
interpretive questions of
the Pandora myth. Why
does hope remain within
the jar? Why doesn't it
come out of the jar to
help humanity? Is hope
being held on a pedestal
of some sort? Is hope
deliberately withheld
from humanity? Why was
hope in the jar with all
those evils in the first
place? I'm not enough of
a mythological scholar to
claim to have definitive
answers to those
questions, but these are
the questions that I've
tried to engage from a
musical perspective in
Hope Remains Within. I
encourage the students
and listeners to consider
their own ideas of what
hope is, and where you
can find your own hope
when needed. Musically,
Hope Remains Within draws
one of its main themes
from the Prometheus
Symphony by Alexander
Skryabin (Scriabin). The
note sequence F-D-Gb -F,
heard near Hope's
beginning played by alto
saxophones and chimes,
comes from the opening
measures of Skyrabin's
work. Given the important
role that Prometheus
plays in the Pandora
myth, this seemed like an
appropriate musical
gesture to quote. This
Prometheus motive is
varied throughout the
course of the piece, and
even provides closure at
the end, recast in a
major key. Additionally,
I have tried to involve a
manageable amount of
chromaticism in this
piece. I have worked from
the key of Bb major, no
doubt familiar to every
student who has ever
played an instrument in a
band. But I have added
three extra notes: Db,
Gb, and Ab, which are
drawn from the key of Bb
minor. During the piece's
slow opening, I have
allowed these minor key
pitches to mingle freely
within the Bb major
tonality, adding extra
color and (I hope!)
beauty. As the piece
progresses, though, the
tempo increases, and we
lose sense of the Bb
major key entirely, and
these extra notes play a
more important role. But
finally, Bb major returns
triumphantly and all the
extra notes are gone,
except for a brief memory
near the very end. (Ok,
there are a couple of
E-naturals that sneak in
there along the way. I
couldn't
resist.). Hope Remains
Within was commissioned
by and composed for the
Mount Nittany Middle
School 7th and 8th Grade
Concert Bands. Having
heard the students of
Mount Nittany perform
another work of mine, I
was very excited when
their director, Johanna
Steinbacher, approached
me about writing a piece
specifically for them. I
knew right away that I
wanted to write something
that would tie in with
their non-music
curriculum in some way,
but I wasn’t
exactly sure how, or
what. Johanna talked to
some of her students and
learned that, in 7th
grade, the students spend
a good deal of time
studying mythology in
their English class. In
particular, two clarinet
students mentioned how
much they enjoyed the
story of Pandora.As such,
I decided to use that
story as the basis of
this composition. Hope
Remains Within
doesn’t attempt to
re-tell the story, event
by event, in musical
terms. Instead, my goal
was to address what seems
to be one of the central
issues of the Pandora
myth. Though there are
some variations, we
probably all know the
basics as told by the
ancient Greek poet
Hesiod. Zeus decides to
punish Prometheus for
stealing fire from heaven
and giving it to humans.
He and the other gods
create Pandora, a
beautiful and deceitful
woman, and they give her
to Prometheus’s
brother Epimetheus as a
bride. Pandora is herself
given a jar (according to
many sources,
“jar†seems
to be a more accurate
translation for what we
commonly call
“Pandora’s
boxâ€) which
contained numerous evils,
diseases, and other
pains. Out of curiosity,
Pandora opens the jar and
releases all of these
evils into the world. But
one thing remains in the
jar: hope.The issue of
hope seems to be one of
the big interpretive
questions of the Pandora
myth. Why does hope
remain within the jar?
Why doesn’t it
come out of the jar to
help humanity? Is hope
being held on a pedestal
of some sort? Is hope
deliberately withheld
from humanity? Why was
hope in the jar with all
those evils in the first
place?I’m not
enough of a mythological
scholar to claim to have
definitive answers to
those questions, but
these are the questions
that I’ve tried to
engage from a musical
perspective in Hope
Remains Within. I
encourage the students
and listeners to consider
their own ideas of what
hope is, and where you
can find your own hope
when needed.Musically,
Hope Remains Within draws
one of its main themes
from the Prometheus
Symphony by Alexander
Skryabin (Scriabin). The
note sequence F-D-Gb -F,
heard near Hope’s
beginning played by alto
saxophones and chimes,
comes from the opening
measures of
Skyrabin’s work.
Given the important role
that Prometheus plays in
the Pandora myth, this
seemed like an
appropriate musical
gesture to quote. This
Prometheus motive is
varied throughout the
course of the piece, and
even provides closure at
the end, recast in a
major key.Additionally, I
have tried to involve a
manageable amount of
chromaticism in this
piece. I have worked from
the key of Bb major, no
doubt familiar to every
student who has ever
played an instrument in a
band. But I have added
three extra notes: Db,
Gb, and Ab, which are
drawn from the key of Bb
minor. During the
piece’s slow
opening, I have allowed
these minor key pitches
to mingle freely within
the Bb major tonality,
adding extra color and (I
hope!) beauty. As the
piece progresses, though,
the tempo increases, and
we lose sense of the Bb
major key entirely, and
these extra notes play a
more important role. But
finally, Bb major returns
triumphantly and all the
extra notes are gone,
except for a brief memory
near the very end. (Ok,
there are a couple of
E-naturals that sneak in
there along the way. I
couldn’t
resist.). $11.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Hope Remains Within - Facile Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bongos, Brake Drum, Chimes, Clarinet 1, ...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Bongos,
Brake Drum, Chimes,
Clarinet 1, Clarinet 2,
Euphonium, Euphonium
T.C., Flute 1, Flute 2,
Horn, Mallet Percussion
1, Mallet Percussion 2,
Oboe, Percussion 1,
Percussion 2, Percussion
3, Snare Drum and more. -
Grade 2.5 SKU:
CF.YPS217 Composed by
Zachary Cairns. Folio.
Yps. Set of Score and
Parts.
8+8+4+8+8+4+2+6+4+4+4+8+8
+8+8+6+6+6+4+6+4+2+2+4+6+
10+24 pages. Duration 4
minutes, 48 seconds. Carl
Fischer Music #YPS217.
Published by Carl Fischer
Music (CF.YPS217).
ISBN 9781491156544.
UPC: 680160915088. 9 x 12
inches. Hope
Remains Within was
commissioned by and
composed for the Mount
Nittany Middle School 7th
and 8th Grade Concert
Bands. Having heard the
students of Mount Nittany
perform another work of
mine, I was very excited
when their director,
Johanna Steinbacher,
approached me about
writing a piece
specifically for them. I
knew right away that I
wanted to write something
that would tie in with
their non-music
curriculum in some way,
but I wasn't exactly sure
how, or what. Johanna
talked to some of her
students and learned
that, in 7th grade, the
students spend a good
deal of time studying
mythology in their
English class. In
particular, two clarinet
students mentioned how
much they enjoyed the
story of Pandora. As
such, I decided to use
that story as the basis
of this composition. Hope
Remains Within doesn't
attempt to re-tell the
story, event by event, in
musical terms. Instead,
my goal was to address
what seems to be one of
the central issues of the
Pandora myth. Though
there are some
variations, we probably
all know the basics as
told by the ancient Greek
poet Hesiod. Zeus decides
to punish Prometheus for
stealing fire from heaven
and giving it to humans.
He and the other gods
create Pandora, a
beautiful and deceitful
woman, and they give her
to Prometheus's brother
Epimetheus as a bride.
Pandora is herself given
a jar (according to many
sources, jar seems to be
a more accurate
translation for what we
commonly call Pandora's
box) which contained
numerous evils, diseases,
and other pains. Out of
curiosity, Pandora opens
the jar and releases all
of these evils into the
world. But one thing
remains in the jar: hope.
The issue of hope seems
to be one of the big
interpretive questions of
the Pandora myth. Why
does hope remain within
the jar? Why doesn't it
come out of the jar to
help humanity? Is hope
being held on a pedestal
of some sort? Is hope
deliberately withheld
from humanity? Why was
hope in the jar with all
those evils in the first
place? I'm not enough of
a mythological scholar to
claim to have definitive
answers to those
questions, but these are
the questions that I've
tried to engage from a
musical perspective in
Hope Remains Within. I
encourage the students
and listeners to consider
their own ideas of what
hope is, and where you
can find your own hope
when needed. Musically,
Hope Remains Within draws
one of its main themes
from the Prometheus
Symphony by Alexander
Skryabin (Scriabin). The
note sequence F-D-Gb -F,
heard near Hope's
beginning played by alto
saxophones and chimes,
comes from the opening
measures of Skyrabin's
work. Given the important
role that Prometheus
plays in the Pandora
myth, this seemed like an
appropriate musical
gesture to quote. This
Prometheus motive is
varied throughout the
course of the piece, and
even provides closure at
the end, recast in a
major key. Additionally,
I have tried to involve a
manageable amount of
chromaticism in this
piece. I have worked from
the key of Bb major, no
doubt familiar to every
student who has ever
played an instrument in a
band. But I have added
three extra notes: Db,
Gb, and Ab, which are
drawn from the key of Bb
minor. During the piece's
slow opening, I have
allowed these minor key
pitches to mingle freely
within the Bb major
tonality, adding extra
color and (I hope!)
beauty. As the piece
progresses, though, the
tempo increases, and we
lose sense of the Bb
major key entirely, and
these extra notes play a
more important role. But
finally, Bb major returns
triumphantly and all the
extra notes are gone,
except for a brief memory
near the very end. (Ok,
there are a couple of
E-naturals that sneak in
there along the way. I
couldn't
resist.). Hope Remains
Within was commissioned
by and composed for the
Mount Nittany Middle
School 7th and 8th Grade
Concert Bands. Having
heard the students of
Mount Nittany perform
another work of mine, I
was very excited when
their director, Johanna
Steinbacher, approached
me about writing a piece
specifically for them. I
knew right away that I
wanted to write something
that would tie in with
their non-music
curriculum in some way,
but I wasn’t
exactly sure how, or
what. Johanna talked to
some of her students and
learned that, in 7th
grade, the students spend
a good deal of time
studying mythology in
their English class. In
particular, two clarinet
students mentioned how
much they enjoyed the
story of Pandora.As such,
I decided to use that
story as the basis of
this composition. Hope
Remains Within
doesn’t attempt to
re-tell the story, event
by event, in musical
terms. Instead, my goal
was to address what seems
to be one of the central
issues of the Pandora
myth. Though there are
some variations, we
probably all know the
basics as told by the
ancient Greek poet
Hesiod. Zeus decides to
punish Prometheus for
stealing fire from heaven
and giving it to humans.
He and the other gods
create Pandora, a
beautiful and deceitful
woman, and they give her
to Prometheus’s
brother Epimetheus as a
bride. Pandora is herself
given a jar (according to
many sources,
“jar†seems
to be a more accurate
translation for what we
commonly call
“Pandora’s
boxâ€) which
contained numerous evils,
diseases, and other
pains. Out of curiosity,
Pandora opens the jar and
releases all of these
evils into the world. But
one thing remains in the
jar: hope.The issue of
hope seems to be one of
the big interpretive
questions of the Pandora
myth. Why does hope
remain within the jar?
Why doesn’t it
come out of the jar to
help humanity? Is hope
being held on a pedestal
of some sort? Is hope
deliberately withheld
from humanity? Why was
hope in the jar with all
those evils in the first
place?I’m not
enough of a mythological
scholar to claim to have
definitive answers to
those questions, but
these are the questions
that I’ve tried to
engage from a musical
perspective in Hope
Remains Within. I
encourage the students
and listeners to consider
their own ideas of what
hope is, and where you
can find your own hope
when needed.Musically,
Hope Remains Within draws
one of its main themes
from the Prometheus
Symphony by Alexander
Skryabin (Scriabin). The
note sequence F-D-Gb -F,
heard near Hope’s
beginning played by alto
saxophones and chimes,
comes from the opening
measures of
Skyrabin’s work.
Given the important role
that Prometheus plays in
the Pandora myth, this
seemed like an
appropriate musical
gesture to quote. This
Prometheus motive is
varied throughout the
course of the piece, and
even provides closure at
the end, recast in a
major key.Additionally, I
have tried to involve a
manageable amount of
chromaticism in this
piece. I have worked from
the key of Bb major, no
doubt familiar to every
student who has ever
played an instrument in a
band. But I have added
three extra notes: Db,
Gb, and Ab, which are
drawn from the key of Bb
minor. During the
piece’s slow
opening, I have allowed
these minor key pitches
to mingle freely within
the Bb major tonality,
adding extra color and (I
hope!) beauty. As the
piece progresses, though,
the tempo increases, and
we lose sense of the Bb
major key entirely, and
these extra notes play a
more important role. But
finally, Bb major returns
triumphantly and all the
extra notes are gone,
except for a brief memory
near the very end. (Ok,
there are a couple of
E-naturals that sneak in
there along the way. I
couldn’t
resist.). $75.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| 36 Celebrated Studies for the Cornet Carl Fischer
Chamber Music Cornet SKU: CF.O88X Composed by Narcisse Bousquet. Edited b...(+)
Chamber Music Cornet
SKU: CF.O88X
Composed by Narcisse
Bousquet. Edited by Joey
Tartell Edwin Franko
Goldman. SWS. Softcover.
With Standard notation.
44 pages. Carl Fischer
Music #O88X. Published by
Carl Fischer Music
(CF.O88X). ISBN
9781491153406. UPC:
680160910908. 9 X 12
inches. These
studies are a staple of
the advanced trumpet
method repertoire. Each
etude is an exploration
of a wide variety of
registers, articulations
and tonalities. While
going through these 36
etudes the trumpeter will
develop an even sound in
all registers while
tackling the musical and
melodic challenges that
lie
within. IntroductionTi
ps on Musical
PracticeStarting a new
study can be
overwhelming. Using Etude
No. 1, here’s an
example of how to
approach working on these
etudes with both
musicality and technique
in mind.Bousquet’s
first study can be broken
down into three large
musical sections:Section
1: from the beginning to
the downbeat of m.
26.Section 2: from the
upbeat of 2 in m. 26 to
the downbeat of m.
51.Section 3: from the
downbeat of m. 51 to the
end.Each one of those
sections can be broken
down into two smaller
sections:Section 1a: from
the beginning to the
downbeat of m. 16.Section
1b: from the downbeat of
m. 16 to the downbeat of
m. 26.Section 2a: from
the upbeat of 2 in m. 26
to the end of m.
35.Section 2b: from m. 36
to the downbeat of m.
51.Section 3a: from the
downbeat of m. 51 to the
downbeat of m. 59.Section
3b: from the downbeat of
m. 59 to the end.To get
started playing, choose a
slow tempo that allows
you to play Section 1 all
the way through without
stopping. If that is
problematic, just play
through 1a.Remember to
focus on the music.
Section 1a is light,
moving in four-measure
phrases to the ninth
measure, where it
cadences in G. From
there, retain the
lightness through the
arpeggiation that
concludes with the trill
that brings an arrival
point at Section 1b. Here
the style changes
completely, alternating
two measures of fluid,
connected sixteenth notes
with two measures of
scalar staccato
sixteenths before finally
cadencing on the downbeat
of m. 26.Section 2 begins
with a melodic line of
eighth notes, punctuated
by sixteenths in the
third full measure before
returning to the original
line for only a measure
before driving forward
with a flourish to finish
Section 2a. Section 2b
starts back in C with
four-measure phrases in
which the line moves up
for two measures, then
down for two measures,
ending in G. The last
seven measures of Section
2 stay light as they work
their way back to
C.Section 3 is very
exciting, starting with a
fiery cornet solo-like
passage in 3a. 3b brings
the piece to a dramatic
conclusion outlining C
major for the first four
measures before
arpeggiating C major and
G dominant for two
measures, finally
finishing with the
C-major scale.The next
step is to isolate any of
the parts that proved
troublesome. Examples
could include missed
notes or figuring out
where to breathe. Once
you have practiced the
troublesome sections in
isolation, play the
section all the way
through without stopping
again. Even if there are
still problems, you are
now practicing in a way
that is preparing you to
perform musically.The
next day, play through
Section 1 again, at a
tempo that allows you to
do this without stopping.
Now go on to Section 2,
and follow the same three
steps:Play all the way
through, at a tempo that
allows you to do so
without stopping,Isolate
and practice the
troublesome passages,
thenPlay all the way
through, at a tempo that
allows you to do so
without stopping.Now play
from the beginning to the
end of Section 2.The next
day, play Section 1. Now
play Section 2. Then play
Section 3 and apply the
same three steps outlined
above.Now play the whole
study. At this point you
have spent time on each
section, making musical
decisions and correcting
mistakes. Increase the
tempo as you gain
confidence and control of
the material. As you work
towards performing the
entire study as a piece
of music, record yourself
playing the entire study
as a performance each
day. Review the
recordings to reveal what
still needs work. Be
honest with yourself!
When you are happy with
the recording of your
performance, it’s
time to move on to the
next study.About the
Goldman PrefaceThese
studies will be an
excellent practice,
especially for the lower
register of the Cornet,
which is somewhat
neglected in other
instruction books. It is
recommended that the
pupil should practice one
of this series of Studies
now and then to repose
his lips, and acquire
facility in difficult
fingering.— Edwin
Franko GoldmanIn his
original preface, Edwin
Franko Goldman is
absolutely correct that
these studies are
excellent practice and
will help with the
dexterity demanded of
today’s player.
Although the low register
is certainly explored
throughout the book, it
does not appear to be the
focus of these studies.
There are many books
available now that
concentrate on the low
register. The suggested
fingerings have been
removed. Using alternate
fingerings was more
common to cornet players
to aid in the fluidity of
a passage. This practice
is not nearly as common
today, especially with
trumpet players, as the
difference in timbre
caused by the alternate
fingerings is disruptive
to the musical line.
Published for cornet, as
it was the solo
instrument of choice in
the 1920s, these etudes
are just as useful to
today’s trumpet
player. When playing
these studies on trumpet,
the performer should
strive for a fluid line
while maintaining a full
and clear sound. Because
of the musicianship and
technique demanded, this
book remains as useful
today as it has ever
been.— Joey
TartellAbout Narcisse
Bousquet and the 36
EtudesNarcisse Bousquet
(c. 1800–1869) was
French by birth, active
as a composer, editor and
arranger in both France
and England in the early
nineteenth century.
Bousquet was respected as
an accomplished performer
of the French flageolet,
a high-pitched woodwind
instrument much like a
recorder, although later
outfitted with the Boehm
key system like the
modern flute. Although
obsolete in modern times,
the instrument once
enjoyed great popularity
with a variety of
composers and performers,
both amateur and
professional. Purcell and
Handel composed for the
instrument, and Berlioz
was purportedly an
accomplished amateur
performer of the
flageolet. The Scottish
author Robert Louis
Stevenson, likewise, was
a proficient performer of
the instrument and
composed a number of
pieces for it.Little is
known today of
Bousquet’s life.
He composed a large
variety of music,
including works
specifically for the
flageolet, which were
widely appreciated in
their day. The 36 Etudes
for flageolet are
undoubtedly the most well
known of his works.
Published in 1851, the
Etudes explore a variety
of techniques, such as
scales, arpeggios,
ornamentation, breath
control and expressive
playing, and their
technically demanding
writing confirms
Bousquet’s prowess
as a flageolet performer.
However, the date of the
arrangement of the etudes
for cornet and their
arranger remain
speculative. Edwin Franko
Goldman is credited as
the arranger of the 1890
publication by Carl
Fischer, although Goldman
would have been only
twelve years old at the
time; his work on these
pieces surely came at a
later time. Bousquet
himself may have arranged
these pieces for cornet
at the request of an
accomplished cornet
player at some point
after their
publication. $16.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Begin the Band #1 [Conducteur et Parties séparées] - Facile Music Sales
Combo - early intermediate SKU: BT.1237-06-070-MS Music for starting P...(+)
Combo - early
intermediate SKU:
BT.1237-06-070-MS
Music for starting Pop
Bands. Begin the
Band. Set (Score &
Parts). Composed 2005. 36
pages. Music Sales
#1237-06-070 MS.
Published by Music Sales
(BT.1237-06-070-MS).
ISBN 9789043123259.
9x12 inches.
English-German-French-Dut
ch. Starting a band
is always an adventure.
Once like-minded,
music-loving people have
gathered to form a group,
it can start. But, wait -
there’s still
something missing: the
music!New music groups
whose members do not have
much experience on their
instruments have special
demands. They need
not-too-difficult pieces
which focus on playing
together, and lead
quickly to that most
motivating of
achievements: the
band’s first
performance.Begin the
Band is perfectly
designed with these
demands in mind. Each
book in the series
contains four
entertaining,
great-sounding
arrangements and original
compositions in pop and
jazz styles, with added
scope to improvise. Each
piece consists ofa vocal
part, three accompaniment
parts and an easy part
for wind players, all in
four different keys: C, B
flat, E flat and C bass.
In addition, there are
parts for
piano/keyboard/bass and
guitar (with chords) as
well as drum kit and
percussion. All the parts
can be combined in any
way you like, to form a
pop band, jazz combo and
so on. The minimal
ensemble consists of a
vocal part (sung or
played by a wind
instrument) and one
accompanying instrument.
Let the adventure
begin!Includes songs by:
Joss Stone, Christina
Aguilera and many more
Een ideale
uitgave voor
gelijkgezinde
muziekliefhebbers die pas
een band hebben opgericht
- of van plan zijn een
band te beginnen. Nieuwe
muziekgroepen waarvan de
leden nog niet veel
ervaring met hun
instrument hebben,
stellen specialeeisen. Ze
hebben eenvoudige stukken
nodig die zijn gericht op
samenspel en leiden tot
de zo motiverende
beleving van het eerste
optreden. Begin the
Band is toegesneden
op deze eisen. Elk boek
van deze serie bevat
vieronderhoudende, goed
klinkende arrangementen
en originele composities
in de muziekstijlen pop
en jazz, met de
mogelijkheid tot
improvisatie. Elk stuk
bestaat uit een
zangpartij, drie
begeleidingspartijen en
een ‘easy
part’, steedsin C,
Bes, Es en C-bassleutel.
Er zijn aanvullende
partijen voor
piano/keyboard/basgitaar
en gitaar (met
akkoorden), evenals voor
slagwerk en percussie.
Alle partijen zijn te
combineren voor elke
denkbare bezetting, van
popgroeptot jazzcombo,
enz. De minimale
bezetting omvat de
zangpartij (gezongen of
gespeeld door een
blaasinstrument) en een
begeleidingsinstrument.
Laat het avontuur maar
beginnen!
Die
Gründung einer Band
ist immer ein Abenteuer.
Haben sich erst
genügend
musizierfreudige
Gleichgesinnte zusammen
gefunden, kann es
losgehen. Aber halt -
etwas fehlt noch: die
Musik! Neue Bands, deren
Mitglieder nicht allzu
viel Erfahrung auf ihren
Instrumenten mitbringen,
haben besondere
Bedürfnisse. Leichte
Stücke sind gefragt,
die den Schwerpunkt auf
das Zusammenspiel legen
und schnell zum
motivierenden
Erfolgserlebnis der
Gruppe führen: dem
ersten gemeinsamen
Auftritt! Begin the
Band ist genau
auf diese Bedürfnisse
zugeschnitten. Jedes Buch
dieser Reihe enthält
vier unterhaltsame, gut
klingende Bearbeitungen
und Originalkompositionen
in den Stilen Pop
undJazz, die auch
Gelegenheit zur
Improvisation bieten. Zu
jedem Stück gibt es
eine Gesangsstimme, drei
Begleitstimmen und einen
Easy Part, das Ganze
jeweils im C-, B-, Es-
und im
C-Bassschlüssel. Dazu
kommen Stimmen für
Gitarre und Bassgitarre
(mit Akkorden), sowie
für Schlagzeug und
Percussion. Alle Stimmen
sind beliebig für
zahlreiche verschiedene
Besetzungen ergänzbar
- von einer
Minimalbesetzung aus
Gesangsstimme (auch von
einem Blasinstrument
spielbar) mit einer
Begleitung, über eine
Popband bis hin zur
Jazzcombo und vielem
mehr. Mit Liedern und
Stücken von Christina
Aguilera, Joss Stone,
Gary Barone und Hans
Kerkhoff kann das
Abenteuer beginnen!
Monter un groupe
est toujours un défi
captivant relever. Il
suffit de trouver et
réunir quelques
musiciens passionnés
ayant les mêmes go ts
et l’aventure peut
commencer.
D’accord, mais
qu’allez-vous
jouer ? Les groupes
fraîchement
constitués dont les
membres ont une
expérience
instrumentale limitée
ont besoin d’un
répertoire adapté ;
des pièces simples
axées sur le jeu en
ensemble et qui
permettent
d’atteindre
rapidement le but
suprême: monter sur
scène. Begin the
Band a été
conçu spécialement
pour satisfaire ces
exigences. Chaque recueil
de cette collection
contient quatre superbes
arrangements et
compositions originales
dans les styles pop et
jazz qui offrentun espace
de liberté propice
l’improvisation.
Chaque pièce comporte
une partie vocale, trois
parties
d’accompagnement
et une version
instrumentale de la ligne
mélodique (version
simplifiée de la
partie vocale), le tout
dans les tonalités Ut,
Si b, Mib et Ut BC. Sont
également jointes les
parties pour
keyboard/guitare basse,
guitare (avec accords),
batterie et percussion.
En combinant les
différentes parties
selon votre choix, vous
obtiendrez un groupe de
rock, un combo de jazz ou
tout autre formation.
L’instrumentation
minimale se constitue de
la partie vocale (ou
version instrumentale de
la ligne mélodique) et
d’une partie
d’accompagnement.
Que l’aventure
commence !
Formare un gruppo
è sempre una sfida
accattivante. E’
sufficiente trovare e
riunire alcuni musicisti
appassionati e con gli
stessi gusti e
l’avventura può
iniziare.
D’accordo, ma cosa
si suona? I gruppi
formati da musicisti con
una limitataesperienza
strumentale, hanno
bisogno di un repertorio
adatto: brani semplici
concentrati
sull’esecuzione in
gruppo e che permettano
di raggiungere
rapidamente
l’obiettivo:
esibirsi in pubblico.
Begin the Band è stato
concepito per soddisfare
questeesigenze. Ogni
raccolta di questa
collezione contiene
quattro superbi
arrangiamenti e
composizioni originali
adatti
all’improvvisazion
e. Ogni brano comporta
una parte vocale, tre
parti di accompagnamento
e una versione
strumentale della
lineamelodica (versione
semplificata della parte
vocale), il tutto nelle
tonalit Do, Sib, Mib e Do
�. Sono incluse
anche le parti per
tastiera/chitarra basso,
chitarra (con accordi),
batteria e percussioni.
Combinando le varie parti
a scelta,otterrete un
gruppo rock, un combo
jazz o altre formazioni.
La strumentazione minima
è costituita dalla
parte vocale (o versione
strumentale della linea
melodica) e di una parte
d’accompagnamento.
L’avventura può
iniziare! VFormare un
gruppo è sempreuna
sfida accattivante.
E’ sufficiente
trovare e riunire alcuni
musicisti appassionati e
con gli stessi gusti e
l’avventura può
iniziare.
D’accordo, ma cosa
si suona? I gruppi
formati da musicisti con
una limitata esperienza
strumentale, hannobisogno
di un repertorio adatto:
brani semplici
concentrati
sull’esecuzione in
gruppo e che permettano
di raggiungere
rapidamente
l’obiettivo:
esibirsi in pubblico.
Begin the Band è stato
concepito per soddisfare
queste esigenze. Ogni
raccolta diquesta
collezione contiene
quattro superbi
arrangiamenti e
composizioni originali
adatti
all’improvvisazion
e. Ogni brano comporta
una parte vocale, tre
parti di accompagnamento
e una versione
strumentale della linea
melodica (versione
semplificatadella parte
vocale), il tutto nelle
tonalit Do, Sib, Mib e Do
�. Sono incluse
anche le parti per
tastiera/chitarra basso,
chitarra (con accordi),
batteria e percussioni.
Combinando le varie parti
a scelta, otterrete un
gruppo rock, un combojazz
o altre formazioni. La
strumentazione minima
è costituita dalla
parte vocale (o versione
strumentale della linea
melodica) e di una parte
d’accompagnamento.
L’avventura può
iniziare! Formare un
gruppo è sempre una
sfida accattivante.
E’sufficiente
trovare e riunire alcuni
musicisti appassionati e
con gli stessi gusti e
l’avventura può
iniziare.
D’accordo, ma cosa
si suona? I gruppi
formati da musicisti con
una limitata esperienza
strumentale, hanno
bisogno di un repertorio
adatto:brani semplici
concentrati
sull’esecuzione in
gruppo e che permettano
di raggiungere
rapidamente
l’obiettivo:
esibirsi in pubblico.
Begin the Band è stato
concepito per soddisfare
queste esigenze. Ogni
raccolta di questa
collezione contiene
quattrosuperbi
arrangiamenti e
composizioni originali
adatti
all’improvvisazion
e. Ogni brano comporta
una parte vocale, tre
parti di accompagnamento
e una versione
strumentale della linea
melodica (versione
semplificata della parte
vocale), il tutto
nelletonalit Do, Sib, Mib
e Do �. Sono
incluse anche le parti
per tastiera/chitarra
basso, chitarra (con
accordi), batteria e
percussioni. Combinando
le varie parti a scelta,
otterrete un gruppo rock,
un combo jazz o altre
formazioni.
Lastrumentazione minima
è costituita dalla
parte vocale (o versione
strumentale della linea
melodica) e di una parte
d’accompagnamento.
L’avventura può
iniziare! VFormare un
gruppo è sempre una
sfida accattivante.
E’ sufficiente
trovare e riunirealcuni
musicisti appassionati e
con gli stessi gusti e
l’avventura può
iniziare.
D’accordo, ma cosa
si suona? I gruppi
formati da musicisti con
una limitata esperienza
strumentale, hanno
bisogno di un repertorio
adatto: brani semplici
concentratisull’es
ecuzione in gruppo e che
permettano di raggiungere
rapidamente
l’obiettivo:
esibirsi in pubblico.
Begin the Band è stato
concepito per soddisfare
queste esigenze. Ogni
raccolta di questa
collezione contiene
quattro superbi
arrangiamenti
ecomposizioni originali
adatti
all’improvvisazion
e. Ogni brano comporta
una parte vocale, tre
parti di accompagnamento
e una versione
strumentale della linea
melodica (versione
semplificata della parte
vocale), il tutto nelle
tonalit Do, Sib, Mib eDo
�. Sono incluse
anche le parti per
tastiera/chitarra basso,
chitarra (con accordi),
batteria e percussioni.
Combinando le varie parti
a scelta, otterrete un
gruppo rock, un combo
jazz o altre formazioni.
La strumentazione minima
ècostituita dalla
parte vocale (o versione
strumentale della linea
melodica) e di una parte
d’accompagnamento.
L’avventura può
iniziare! $47.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| The Flutist's Handbook Carl Fischer
Chamber Music Flute(s) SKU: CF.WF230 The Art of Staying in Shape. ...(+)
Chamber Music Flute(s)
SKU: CF.WF230
The Art of Staying in
Shape. Composed by
Robert Stallman. With
Standard notation. 144
pages. Carl Fischer Music
#WF230. Published by Carl
Fischer Music (CF.WF230).
ISBN 9781491153741.
UPC:
680160911240. Ever
since he was honored 50
years ago as a top
prize-winning graduate of
New England Conservatory
and a Fulbright scholar
at the Paris
Conservatoire, flutist
Robert Stallman has drawn
accolades around the
world as a performer and
recording artist who
“dazzles because of
his penetrating
artistry†(Sunday
Times/London). Also known
internationally for
superior flute editions,
including numerous
transcriptions that have
greatly expanded the
repertoire, Stallman now
offers flutists an
appealing collection of
original melodic
warm-ups. With The
Flutist’s
Handbook, he shares his
fresh approach to staying
in shape and maintaining
his reputation for
“consummate
virtuosityâ€
(Repertoire/France). P
refaceOne morning many
years ago I opened my
flute case and suddenly
found myself questioning
the wisdom of having
scales and long tones
come first in my practice
session. Of course, these
are essential to daily
practice, but I wondered
if there might be a
better way to begin the
day—with something
more melodic and
engaging, something to
really inspire me.The
Flutist’s Handbook
emerged from a stream of
musical ideas I began to
jot down during practice
sessions after that
“aha†moment.
As I worked with them, I
noticed a more
spontaneous interest in
practicing. In fact I
even looked forward to
starting my day this way.
As a result, my work on
scales, arpeggios and
long tones followed with
more enjoyment and
focused attention.In
creating many of the
détaché warm-ups
found in Part I, I was
drawn to the musical
sequences of J. S. Bach,
particularly those
developed in his keyboard
works. Bach had
discovered the most
satisfying musical
patterns on which to
build his music, so here
was a treasure trove of
invigorating melodic
material. I also borrowed
apt détaché
passages from C.P.E.
Bach, Schubert,
Dvořák and
others.Part II includes
more musical quodlibets
and echos in a collection
of fifteen short melodies
designed to open and
center the tone, while
encouraging full breath
support. These melodies
also concentrate on
developing our sostenuto,
or true legato
playing—the
foundation of a beautiful
sonority and natural
vocal expression. Except
for final cadence notes,
these warm-ups should be
practiced without
vibrato, to create an
even and seamless
instrument, bottom to
top.All of these warm-ups
are to be played forte
and piano in every major
key, proceeding
chromatically by rising
half-steps. Tempo
indications are given in
the headings, as are
optional rhythmic and
articulation variants.
Suggested breath marks
are in parentheses.The
Handbook opens with
détaché warm-ups
for a good reason. It is
vital to begin our
practice with tonguing,
as a clean attack is
essential to producing a
beautiful tone. Also, in
working on tonguing
(single, double, triple
and tremolando) we
stimulate and strengthen
the jaw muscles that
support the embouchure
(which must remain supple
and flexible). As we
fine-tune these muscles,
we gain tonal center and
clarity, qualities that
may elude us at the
beginning of our
practice. Of course, we
also need to wake up the
air stream and deepen our
breath support. Once the
tongue is alive and the
tone is centered, we are
ready to work further on
our sonority with the
melodic warm-ups in Part
II.This book is meant for
professionals, students
and amateur flutists
alike. I offer it to all
as a companion that
invites more pleasure and
vitality into our daily
practice. It is my firm
belief that by aligning
ourselves with our love
of music and its
energizing patterns each
day—from the very
first moment we pick up
the instrument—we
will bring more ease and
focus into our lifelong
task of staying in shape.
This in turn will support
the heightened
inspiration we want to
take into rehearsals and
performances.
Enjoy!—Robert
StallmanMarblehead,
MassachusettsApril 20,
2018. $32.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Great American Songbook - The Singers Hal Leonard
Electronic Keyboard; Organ; Piano/Keyboard SKU: HL.281046 E-Z Play Tod...(+)
Electronic Keyboard;
Organ; Piano/Keyboard
SKU: HL.281046
E-Z Play Today Volume
284. Composed by
Various. E-Z Play Today.
Standards. Softcover. 250
pages. Published by Hal
Leonard (HL.281046).
ISBN 9781540033253.
UPC: 888680785352.
9.0x12.0x0.603
inches. This
songbook provides a
treasury of 100 classics
by our most beloved
vocalists in our
trademark E-Z Play(r)
Today notation. Includes:
All the Way (Etta James)
* Count Your Blessings
Instead of Sheep
(Rosemary Clooney) *
Everybody Loves Somebody
(Dean Martin) * Fever
(Peggy Lee) * Heart and
Soul (Mel Torme) * How
High the Moon (Ella
Fitzgerald) * I Left My
Heart in San Francisco
(Tony Bennett) * People
(Barbra Streisand) *
Route 66 (Nat King Cole)
* Sentimental Journey
(Doris Day) * Swinging on
a Star (Bing Crosby) *
That's Entertainment
(Judy Garland) * What a
Wonderful World (Louis
Armstrong) * Young at
Heart (Frank Sinatra) *
and many more.
About Hal
Leonard E-Z Play
Today For
organs, pianos, and
electronic keyboards. E-Z
Play Today is the
shortest distance between
beginning music and
playing fun. Now there
are more than 300 reasons
why you should play E-Z
Play Today. * World's
largest series of music
folios * Full-size books
- large 9 x 12 format
features easy-to-read,
easy-to-play music *
Accurate arrangements...
simple enough for the
beginner, but accurate
chords and melody lines
are maintained *
Eye-catching, full-color
covers * Lyrics... most
arrangements include
words and music * Most
up-to-date registrations
- books in the series
contain a general
registration guide, as
well as individual song
rhythm suggestions *
Guitar Chord Chart - all
songs in the series can
also be played on
guitar. $19.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Begin the Band #2 [Conducteur et Parties séparées] - Facile Music Sales
Combo - early intermediate SKU: BT.1350-06-070-MS Music for starting a...(+)
Combo - early
intermediate SKU:
BT.1350-06-070-MS
Music for starting a
Pop Band. Begin the
Band. Pop & Rock. Set
(Score & Parts). Composed
2006. 44 pages. Music
Sales #1350-06-070 MS.
Published by Music Sales
(BT.1350-06-070-MS).
ISBN 9789043124935.
9x12 inches.
English-German-French-Dut
ch. Each volume in
the series Begin The
Band contains four
entertaining,
great-sounding
arrangements and original
compositions in pop and
jazz styles, with added
scope to improvise. Each
piece consists of a vocal
part, threeaccompaniment
parts and an easy part
for wind players, all in
four different keys: C, B
flat, E flat and C bass.
In addition, there are
parts for Piano,
Keyboard, Bass and Guitar
(with chords) as well as
drum kit and
percussion.All the parts
can be combined in any
way you like, to form a
pop band, jazz combo and
so on. The minimal
ensemble consists of a
vocal part (sung or
played by a wind
instrument) and one
accompanying instrument.
Let theadventurebegin!
Ideaal voor
gelijkgezinde
muziekliefhebbers die pas
een band hebben opgericht
- of van plan zijn een
band te beginnen. Nieuwe
muziekgroepen waarvan de
leden nog niet veel
ervaring met hun
instrument hebben,
stellen speciale eisen.Ze
hebben eenvoudige stukken
nodig die zijn gericht op
samenspel en leiden tot
de zo motiverende
beleving van het eerste
optreden. Begin the
Band is toegesneden
op deze eisen. Elk boek
van deze serie bevat vier
onderhoudende,goed
klinkende arrangementen
en originele composities
in de muziekstijlen pop
en jazz, met de
mogelijkheid tot
improvisatie. Elk stuk
bestaat uit een
zangpartij, drie
begeleidingspartijen en
een ‘easy
part’, steeds in
C, Bb, Eben C-bassleutel.
Er zijn aanvullende
partijen voor
piano/keyboard/basgitaar
en gitaar (met
akkoorden), evenals voor
slagwerk en percussie.
Alle partijen zijn te
combineren voor elke
denkbare bezetting, van
popgroep tot
jazzcombo,enz. De
minimale bezetting omvat
de zangpartij (gezongen
of gespeeld door een
blaasinstrument) en een
begeleidingsinstrument.
Laat het avontuur maar
beginnen!Inhoud deel 1:
Beautiful
(Christina Aguilera, arr.
Gary Barone)•
I’ve Fallen in
Love with You (Joss
Stone, arr. Hans
Kerkhoff) •
Summer Afternoon
(Hans Kerkhoff) •
Blue Rock (Gary
Barone). Inhoud deel 2:
Waterloo (Abba,
arr. Gilbert Tinner)
• I Will
Survive(Gloria
Gaynor, arr. Gilbert
Tinner) •
Don’t Know
Why (Norah Jones,
arr. Gilbert Tinner)
• Hey Jude
(Beatles, arr. Gilbert
Tinner)
Die
Gründung einer Band
ist immer ein Abenteuer.
Haben sich erst
genügend
musizierfreudige
Gleichgesinnte zusammen
gefunden, kann es
losgehen. Aber halt -
etwas fehlt noch: die
Musik! Neue Bands, deren
Mitglieder nicht allzu
viel Erfahrung auf ihren
Instrumenten mitbringen,
haben besondere
Bedürfnisse. Leichte
Stücke sind gefragt,
die den Schwerpunkt auf
das Zusammenspiel legen
und schnell zum
motivierenden
Erfolgserlebnis der
Gruppe führen: dem
ersten gemeinsamen
Auftritt!Begin the
Band ist genau
auf diese Bedürfnisse
zugeschnitten. Jede
Ausgabe dieser Reihe
enthält vier
unterhaltsame, gut
klingende Bearbeitungen
und Originalkompositionen
in den Stilen Pop
undJazz, die auch
Gelegenheit zur
Improvisation bieten. Zu
jedem Stück gibt es
eine Gesangsstimme, drei
Begleitstimmen und einen
Easy Part, das Ganze
jeweils in C, B, Es und
in C (Bass). Dazu kommen
Stimmen für Gitarre
und Bassgitarre (mit
Akkorden), sowie für
Schlagzeug und
Percussion. Alle Stimmen
sind beliebig für
zahlreiche verschiedene
Besetzungen ergänzbar
- von einer
Minimalbesetzung aus
Gesangsstimme (auch von
einem Blasinstrument
spielbar) mit einer
Begleitung, über eine
Popband bis hin zur
Jazzcombo und vielem
mehr.
Formare un
gruppo è sempre una
sfida accattivante.
E’ sufficiente
trovare e riunire alcuni
musicisti appassionati e
con gli stessi gusti e
l’avventura può
iniziare.
D’accordo, ma cosa
si suona? I gruppi
formati da musicisti con
una limitata esperienza
strumentale, hanno
bisogno di un repertorio
adatto: brani semplici
concentrati
sull’esecuzione in
gruppo e che permettano
di raggiungere
rapidamente
l’obiettivo:
esibirsi in pubblico.
Begin the Band è stato
concepito per soddisfare
queste esigenze. Ogni
raccolta di questa
collezione contiene
quattro superbi
arrangiamenti e
composizioni originali
adatti
all’improvvisazion
e. Ogni brano comporta
una parte vocale, tre
parti diaccompagnamento e
una versione strumentale
della linea melodica
(versione semplificata
della parte vocale), il
tutto nelle tonalit Do,
Sib, Mib e Do �.
Sono incluse anche le
parti per
tastiera/chitarra basso,
chitarra (con accordi),
batteria e percussioni.
Combinando le varie parti
a scelta, otterrete un
gruppo rock, un combo
jazz o altre formazioni.
La strumentazione minima
è costituita dalla
parte vocale (o versione
strumentale della linea
melodica) e di una parte
d’accompagnamento.
L’avventura può
iniziare! $47.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Drum Fills: The Basics and Beyond Batterie [Partition] Mel Bay
(A Collection of Studies to Develop Great Fills). By D, Scott Williams. For Drum...(+)
(A Collection of Studies
to Develop Great Fills).
By D, Scott Williams. For
Drum Set. Technic. Bill's
Music Shelf.
Contemporary.
Beginning-Intermediate.
Book. 104 pages.
Published by Mel Bay
Publications, Inc
$22.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Voices I Hear GIA Publications
SKU: GI.G-10678 A Philosophical and Practical Approach to the Choral A...(+)
SKU: GI.G-10678
A Philosophical and
Practical Approach to the
Choral Art. Composed
by Will Kesling. Music
Education. 472 pages. GIA
Publications #10678.
Published by GIA
Publications
(GI.G-10678). ISBN
9781622776436. Draw
ing from his five decades
of success as a conductor
and educator in the
choral field, Will
Kesling has compiled a
comprehensive choral
methods resource that
addresses every necessary
fundamental for achieving
artistry in the choral
art. Written in clear and
conversational language,
this resource covers:
Building a healthy and
beautiful choral sound
Dealing with vocal issues
Selecting repertoire and
programming concerts
Developing score study
skills and interpretive
insights Understanding
the characteristics of
musical periods and
composers Planning,
preparing for, and
running rehearsals The
Voices I Hear also
explores important but
often overlooked topics,
including a discussion of
performing sacred music
in secular education
settings, techniques for
performing
choral-orchestral works,
choral versus orchestral
conducting, and how to
become a true
“maestro.â€
Individual chapters also
function as standalone
topics of study. A
valuable read for
emerging and seasoned
conductors alike, The
Voices I Hear is an
expert study of the
aesthetic, intellectual,
and practical aspects of
the choral art. Dr. Will
Kesling is Professor of
Choral and Orchestral
Conducting at the
University of Florida,
where he has taught for
two decades. He has
conducted hundreds of
choral ensembles and
nearly fifty of the
world’s finest
symphony orchestras. His
ensembles have received
international attention
for their excellence and
musical expression. Â
Thank you, Dr. Kesling,
for the decade you gave
of yourself to write the
most complete and
comprehensive writing on
the topics of choral
techniques, methods, and
conducting I have seen.
It is in-depth yet
practical, to the point
of being a valuable
resource for both the
young conductors entering
the choral field to the
well-established
professionals. You have
given us a solid
foundation in all
significant areas of the
choral art, including,
among many others, the
production of beautiful
vocal tone, detailed
physical vocal
production, textual and
physical components of
English diction,
repertoire programming,
appropriate style,
interpretation and
phrasing, and a pathway
to successful conducting
of combined choral and
orchestral forces. Your
enormous and highly
successful career, with
worldwide performances
and numerous awards and
honors, has enabled you
to bring validity and
integrity to the entire
writing. —Donald
Neuen  Â
Distinguished Professor
Emeritus, UCLA Â Â
Former member of the
Robert Shaw Chorale Â
 Mr. Shaw’s
Assistant Conductor with
the Atlanta Symphony
Orchestra and Choruses
For more than 50 years,
Dr. Will Kesling has been
and continues to be a
prominent figure and
voice in the
International and
American choral
profession. His new book,
The Voices I Hear, is the
distillation of his long
and distinguished career
as a conductor and choral
music educator. The
driving and consuming
passion throughout
Kesling’s life is
the preparation and
performance of the
world’s rich and
diverse choral and
orchestral repertoire and
the education,
development, and growth
of those who perform and
conduct it. This book is
a summation of a lifetime
immersed in the choral
art and all its many
aspects. It overflows
with insights into the
choral art that will not
only instruct the
beginning conductor but
also will enlighten and
entertain the seasoned
professional conductor
and educator. It is
filled with wit, wisdom,
and practical advice to
all practitioners of the
choral arts. I
enthusiastically
recommend
Kesling’s
enlightening new book as
an important addition to
the choral pedagogy
bibliography and for use
as an invaluable new text
for choral practicum
classes for both graduate
and undergraduate
students. Dr. Kesling has
brought to the choral
profession significant
new insights to all
lovers of the choral art.
—Craig Jessop Â
 Professor of Music,
University of Utah Â
 Former Music
Director of the
Tabernacle Choir and
Orchestra at Temple
Square   and the
United States Air Force
Singing Sergeants Will
Kesling’s book,
The Voices I Hear, is
practical and
philosophical, useful and
inspirational, focused
and comprehensive. The
observations and advice
are based on his vast
personal experiences on
the podium with choirs
and orchestras, and the
book is a monumental
resource for both the
young conductor and the
veteran. Containing a
broad spectrum of musical
styles, composers, and
topics, Kesling’s
direct and practical
writing connects
immediately with
today’s choral
musician. Keep The Voices
I Hear nearby as there
will be many times down
the road where the
information and opinions
in Dr. Kesling’s
book will answer the
questions you have, as
well as the ones you
didn’t even know
to ask! —Jerry
Blackstone  Â
Professor Emeritus of
Music (conducting) and
Director of Choirs
(retired) Â Â
School of Music, Theatre
& Dance, University of
Michigan This is the
textbook I wish had been
available when I was
beginning my studies. It
is comprehensive in
scope, practical and
helpful in its
suggestions, and, perhaps
most surprising in a book
from an academic,
superbly written in clear
and powerful English.
Kesling speaks with
conviction, clarity, and
polish, and he finds
colorful and memorable
ways of making his points
and presents the material
from the perspective of
one who has done all
these things for decades
at a highly professional
level. I give this volume
the highest possible
recommendation.
—Daniel Gawthrop
  Composer &
Conductor. $39.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| There Was A Child Went Forth Every Day Theodore Presser Co.
Choral Children's choir, Piano SKU: PR.312419290 From Terra Nostra...(+)
Choral Children's choir,
Piano SKU:
PR.312419290 From
Terra Nostra.
Composed by Stacy Garrop.
Performance Score. 8
pages. Duration 2
minutes, 35 seconds.
Theodore Presser Company
#312-41929. Published by
Theodore Presser Company
(PR.312419290). ISBN
9781491137932. UPC:
680160692620. Texts from
The King James Bible,
creation myths from
India, North America, and
Egypt; Edna St. Vincent
Millay, Percy Bysshe
Shelley, Walt Whitman,
Lord Byron, Esther
Iverem, William
Wordsworth, Wendell
Berry, Lord Alfred
Tennyson, Charles Mackay,
William . Terra
Nostra focuses on the
relationship between our
planet and mankind, how
this relationship has
shifted over time, and
how we can re-establish a
harmonious balance. The
oratorio is divided into
three parts:Part I:
Creation of the World
celebrates the birth and
beauty of our planet. The
oratorio begins with
creation myths from
India, North America, and
Egypt that are integrated
into the opening lines of
Genesis from the Old
Testament. The music
surges forth from these
creation stories into
“God’s World” by
Edna St. Vincent Millay,
which describes the world
in exuberant and vivid
detail. Percy Bysshe
Shelley’s “On thine
own child” praises
Mother Earth for her role
bringing forth all life,
while Walt Whitman sings
a love song to the planet
in “Smile O voluptuous
cool-breathed earth!”
Part I ends with “A
Blade of Grass” in
which Whitman muses how
our planet has been
spinning in the heavens
for a very long time.Part
II: The Rise of Humanity
examines the achievements
of mankind, particularly
since the dawn of the
Industrial Age. Lord
Alfred Tennyson’s
“Locksley Hall” sets
an auspicious tone that
mankind is on the verge
of great discoveries.
This is followed in short
order by Charles
Mackay’s “Railways
1846,” William Ernest
Henley’s “A Song of
Speed,” and John
Gillespie Magee, Jr.’s
“High Flight,” each
of which celebrates a new
milestone in
technological
achievement. In “Binsey
Poplars,” Gerard Manley
Hopkins takes note of the
effect that these
advances are having on
the planet, with trees
being brought down and
landscapes forever
changed. Percy Bysshe
Shelley’s “A Dirge”
concludes Part II with a
warning that the planet
is beginning to sound a
grave alarm.Part III:
Searching for Balance
questions how we can
create more awareness for
our planet’s plight,
re-establish a deeper
connection to it, and
find a balance for living
within our planet’s
resources. Three texts
continue the earth’s
plea that ended the
previous section: Lord
Byron’s “Darkness”
speaks of a natural
disaster (a volcano) that
has blotted out the sun
from humanity and the
panic that ensues;
contemporary poet Esther
Iverem’s “Earth
Screaming” gives voice
to the modern issues of
our changing climate; and
William Wordsworth’s
“The World Is Too Much
With Us” warns us that
we are almost out of time
to change our course.
Contemporary/agrarian
poet Wendell Berry’s
“The Want of Peace”
speaks to us at the
climax of the oratorio,
reminding us that we can
find harmony with the
planet if we choose to
live more simply, and to
recall that we ourselves
came from the earth. Two
Walt Whitman texts (“A
Child said, What is the
grass?” and “There
was a child went forth
every day”) echo
Berry’s thoughts,
reminding us that we are
of the earth, as is
everything that we see on
our planet. The oratorio
concludes with a reprise
of Whitman’s “A Blade
of Grass” from Part I,
this time interspersed
with an additional
Whitman text that
sublimely states, “I
bequeath myself to the
dirt to grow from the
grass I love…”My hope
in writing this oratorio
is to invite audience
members to consider how
we interact with our
planet, and what we can
each personally do to
keep the planet going for
future generations. We
are the only stewards
Earth has; what can we
each do to leave her in
better shape than we
found her? $2.50 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Real Vocal Book - Volume IV (Low Voice) Voix basse [Fake Book] Hal Leonard
(Low Voice). Composed by Various. For Voice. Fake Book. Softcover. 472 pages...(+)
(Low Voice). Composed by
Various. For Voice. Fake
Book. Softcover. 472
pages.
Published by Hal Leonard
$49.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Real Vocal Book - Volume IV Voix haute, Piano [Fake Book] Hal Leonard
(High Voice). By Various. For Voice, Piano Accompaniment. Fake Book. Softcover. ...(+)
(High Voice). By Various.
For Voice, Piano
Accompaniment. Fake Book.
Softcover. 472 pages.
Published by Hal Leonard
$39.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Want of Peace Chorale SATB SATB, Piano Theodore Presser Co.
Choral SATB choir, piano SKU: PR.312419280 From Terra Nostra. Comp...(+)
Choral SATB choir, piano
SKU: PR.312419280
From Terra Nostra.
Composed by Stacy Garrop.
Performance Score. 12
pages. Duration 5:30.
Theodore Presser Company
#312-41928. Published by
Theodore Presser Company
(PR.312419280). ISBN
9781491137925. UPC:
680160692613. Terra
Nostra focuses on the
relationship between our
planet and mankind, how
this relationship has
shifted over time, and
how we can re-establish a
harmonious balance. The
oratorio is divided into
three parts:Part I:
Creation of the World
celebrates the birth and
beauty of our planet. The
oratorio begins with
creation myths from
India, North America, and
Egypt that are integrated
into the opening lines of
Genesis from the Old
Testament. The music
surges forth from these
creation stories into
“God’s World” by
Edna St. Vincent Millay,
which describes the world
in exuberant and vivid
detail. Percy Bysshe
Shelley’s “On thine
own child” praises
Mother Earth for her role
bringing forth all life,
while Walt Whitman sings
a love song to the planet
in “Smile O voluptuous
cool-breathed earth!”
Part I ends with “A
Blade of Grass” in
which Whitman muses how
our planet has been
spinning in the heavens
for a very long time.Part
II: The Rise of Humanity
examines the achievements
of mankind, particularly
since the dawn of the
Industrial Age. Lord
Alfred Tennyson’s
“Locksley Hall” sets
an auspicious tone that
mankind is on the verge
of great discoveries.
This is followed in short
order by Charles
Mackay’s “Railways
1846,” William Ernest
Henley’s “A Song of
Speed,” and John
Gillespie Magee, Jr.’s
“High Flight,” each
of which celebrates a new
milestone in
technological
achievement. In “Binsey
Poplars,” Gerard Manley
Hopkins takes note of the
effect that these
advances are having on
the planet, with trees
being brought down and
landscapes forever
changed. Percy Bysshe
Shelley’s “A Dirge”
concludes Part II with a
warning that the planet
is beginning to sound a
grave alarm.Part III:
Searching for Balance
questions how we can
create more awareness for
our planet’s plight,
re-establish a deeper
connection to it, and
find a balance for living
within our planet’s
resources. Three texts
continue the earth’s
plea that ended the
previous section: Lord
Byron’s “Darkness”
speaks of a natural
disaster (a volcano) that
has blotted out the sun
from humanity and the
panic that ensues;
contemporary poet Esther
Iverem’s “Earth
Screaming” gives voice
to the modern issues of
our changing climate; and
William Wordsworth’s
“The World Is Too Much
With Us” warns us that
we are almost out of time
to change our course.
Contemporary/agrarian
poet Wendell Berry’s
“The Want of Peace”
speaks to us at the
climax of the oratorio,
reminding us that we can
find harmony with the
planet if we choose to
live more simply, and to
recall that we ourselves
came from the earth. Two
Walt Whitman texts (“A
Child said, What is the
grass?” and “There
was a child went forth
every day”) echo
Berry’s thoughts,
reminding us that we are
of the earth, as is
everything that we see on
our planet. The oratorio
concludes with a reprise
of Whitman’s “A Blade
of Grass” from Part I,
this time interspersed
with an additional
Whitman text that
sublimely states, “I
bequeath myself to the
dirt to grow from the
grass I love…”My hope
in writing this oratorio
is to invite audience
members to consider how
we interact with our
planet, and what we can
each personally do to
keep the planet going for
future generations. We
are the only stewards
Earth has; what can we
each do to leave her in
better shape than we
found her? $2.70 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Quest - 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,
Glockenspiel, Horn 1,
Horn 2, Mallet Percussion
1, Mallet Percussion 2,
Mallet Percussion 3,
Marimba, Oboe, Percussion
1 and more. - Grade 3
SKU: CF.CPS247
Composed by Patrick Glenn
Harper. Folio. Cps. Set
of Score and Parts.
8+8+4+8+8+8+4+4+4+4+4+4+8
+8+8+4+4+6+6+6+4+8+1+1+1+
2+8+4+4+24 pages.
Duration 4 minutes, 10
seconds. Carl Fischer
Music #CPS247. Published
by Carl Fischer Music
(CF.CPS247). ISBN
9781491158364. UPC:
680160916962. 9 x 12
inches. The Quest
aims to take the listener
on an epic musical
journey. Beginning with a
sweeping cinematic melody
that is restated at the
conclusion of the piece,
the music transitions
into an up-tempo section
that features a catchy
ostinato bass pattern,
and gives your percussion
section a chance to
shine. The slower middle
section features the
woodwinds, before
expanding the simple
chorale into the rest of
the band. The final
section of the piece sees
a restatement of the
adventure theme before
accelerating into a
rousing conclusion that
will make for an exciting
concert closer. Make sure
that all dynamic
crescendos and
decrescendos are very
pronounced in the
performance of the piece.
Take care not to let the
ostinato bass pattern
overpower the melody. The
slow section beginning at
m. 61 may be conducted in
a rubato style for
maximum musical
expression. The tempo at
m. 103 may be taken
faster or slower than the
marked tempo according to
the skill level of the
band. The Quest aims
to take the listener on
an epic musical journey.
Beginning with a sweeping
cinematic melody that is
restated at the
conclusion of the piece,
the music transitions
into an up-tempo section
that features a catchy
ostinato bass pattern,
and gives your percussion
section a chance to
shine. The slower middle
section features the
woodwinds, before
expanding the simple
chorale into the rest of
the band. The final
section of the piece sees
a restatement of the
adventure theme before
accelerating into a
rousing conclusion that
will make for an exciting
concert closer.Make sure
that all dynamic
crescendos and
decrescendos are very
pronounced in the
performance of the piece.
Take care not to let the
ostinato bass pattern
overpower the melody. The
slow section beginning at
m. 61 may be conducted in
a rubato style for
maximum musical
expression. The tempo at
m. 103 may be taken
faster or slower than the
marked tempo according to
the skill level of the
band. $90.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Quest [Conducteur] - Facile Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bongos, Clarinet 1, Clarinet 2, Clarinet...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Bongos,
Clarinet 1, Clarinet 2,
Clarinet 3, Euphonium,
Euphonium T.C., Flute 1,
Flute 2, Glockenspiel,
Gong, Horn 1, Horn 2,
Mallet Percussion 1,
Mallet Percussion 2,
Mallet Percussion 3,
Marimba, Oboe and more. -
Grade 3 SKU:
CF.CPS247F Composed
by Patrick Glenn Harper.
Sws. Cps. Full score. 24
pages. Duration 4
minutes, 10 seconds. Carl
Fischer Music #CPS247F.
Published by Carl Fischer
Music (CF.CPS247F).
ISBN 9781491158371.
UPC: 680160916979. 9 x 12
inches. The Quest
aims to take the listener
on an epic musical
journey. Beginning with a
sweeping cinematic melody
that is restated at the
conclusion of the piece,
the music transitions
into an up-tempo section
that features a catchy
ostinato bass pattern,
and gives your percussion
section a chance to
shine. The slower middle
section features the
woodwinds, before
expanding the simple
chorale into the rest of
the band. The final
section of the piece sees
a restatement of the
adventure theme before
accelerating into a
rousing conclusion that
will make for an exciting
concert closer. Make sure
that all dynamic
crescendos and
decrescendos are very
pronounced in the
performance of the piece.
Take care not to let the
ostinato bass pattern
overpower the melody. The
slow section beginning at
m. 61 may be conducted in
a rubato style for
maximum musical
expression. The tempo at
m. 103 may be taken
faster or slower than the
marked tempo according to
the skill level of the
band. The Quest aims
to take the listener on
an epic musical journey.
Beginning with a sweeping
cinematic melody that is
restated at the
conclusion of the piece,
the music transitions
into an up-tempo section
that features a catchy
ostinato bass pattern,
and gives your percussion
section a chance to
shine. The slower middle
section features the
woodwinds, before
expanding the simple
chorale into the rest of
the band. The final
section of the piece sees
a restatement of the
adventure theme before
accelerating into a
rousing conclusion that
will make for an exciting
concert closer.Make sure
that all dynamic
crescendos and
decrescendos are very
pronounced in the
performance of the piece.
Take care not to let the
ostinato bass pattern
overpower the melody. The
slow section beginning at
m. 61 may be conducted in
a rubato style for
maximum musical
expression. The tempo at
m. 103 may be taken
faster or slower than the
marked tempo according to
the skill level of the
band. $14.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Peter Maxwell Davies: The Lighthouse (Libretto) Chester
Opera, Lyrics Only SKU: HL.14020975 Composed by Sir Peter Maxwell Davies....(+)
Opera, Lyrics Only
SKU: HL.14020975
Composed by Sir Peter
Maxwell Davies. Music
Sales America. Opera or
Operetta. Book
[Softcover]. Composed
1999. 24 pages. Chester
Music #CH55304. Published
by Chester Music
(HL.14020975). UPC:
884088860066. 8.75x8.25
inches. Chamber
opera in a prologue and
one act. A ghost story
telling of the mysterious
disappearance of three
lighthouse keepers in the
Hebrides. This is a
mystery story in the form
of a chamber opera. The
prologue is set as a
court of enquiry into the
unexplained disappearance
of the three keepers from
a lighthouse. Questions
are posed by a solo horn,
which may sound from
among the audience, and
three officers give
answer. Gradually, they
move from straight
testimony into
fantastical imaginings of
evil during a 'flashback'
to the lighthouse; but
then we snap back to the
courtroom. In the main
act the three singers
become the vanished
keepers. They have been
together for months, long
enough to be fully aware
of each other's
weaknesses; petty
bickerings suggest a
relationship which is
stable, but liable to
become highly unstable at
any moment. They sing
songs to reduce the
tension, Blazes beginning
with a rough ballad of
street violence,
accompanied by violin and
banjo. Sandy's song, with
cello and out-of-tune
upright piano, is a
thinly disguised
description of sexual
bliss, and Arthur's with
brass and clarinet, is a
tub-thumping hymn. But
the songs serve only to
resurrect in their minds
ghosts from the past, and
as the fog descends each
of the keepers becomes
convinced that he is
being claimed by the
Beast. They prepare to
meet its dazzling eyes,
which become the lights
of the relief vessel, and
the three men reappear as
officers, met at the
lighthouse only by an
infestation of rats. They
leave, and at the end the
last hours of Blazes,
Sandy and Arthur begin to
play over again. Libretto
only. Duration c. 1h
25mins. $15.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| The Lighthouse Chester
Vocal Score Chamber Opera SKU: HL.14008404 Chamber Opera in a Prologue...(+)
Vocal Score Chamber Opera
SKU: HL.14008404
Chamber Opera in a
Prologue and One Act
Vocal Score. Composed
by Sir Peter Maxwell
Davies. Music Sales
America. 20th Century,
Opera. Study Score.
Composed 1999. 152 pages.
Chester Music #CH55426.
Published by Chester
Music (HL.14008404).
UPC: 884088435356.
8.75x11.75x0.406
inches. Chamber
opera in a prologue and
one act. A ghost story
telling of the mysterious
disappearance of three
lighthouse keepers in the
Hebrides. This is a
mystery story in the form
of a chamber opera. The
prologue is set as a
court of enquiry into the
unexplained disappearance
of the three keepers from
a lighthouse. Questions
are posed by a solo horn,
which may sound from
among the audience, and
three officers give
answer. Gradually, they
move from straight
testimony into
fantastical imaginings of
evil during a 'flashback'
to the lighthouse; but
then we snap back to the
courtroom. In the main
act the three singers
become the vanished
keepers. They have been
together for months, long
enough to be fully aware
of each other's
weaknesses; petty
bickerings suggest a
relationship which is
stable, but liable to
become highly unstable at
any moment. They sing
songs to reduce the
tension, Blazes beginning
with a rough ballad of
street violence,
accompanied by violin and
banjo. Sandy's song, with
cello and out-of-tune
upright piano, is a
thinly disguised
description of sexual
bliss, and Arthur's with
brass and clarinet, is a
tub-thumping hymn. But
the songs serve only to
resurrect in their minds
ghosts from the past, and
as the fog descends each
of the keepers becomes
convinced that he is
being claimed by the
Beast. They prepare to
meet its dazzling eyes,
which become the lights
of the relief vessel, and
the three men reappear as
officers, met at the
lighthouse only by an
infestation of rats. They
leave, and at the end the
last hours of Blazes,
Sandy and Arthur begin to
play over again. Study
Score. Duration c. 1h
25mins. $23.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| The Great Land Run Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire C.L. Barnhouse
By Jackson Anderson. For concert band. Grade 3.5. Score and set of parts. Durati...(+)
By Jackson Anderson. For
concert band. Grade 3.5.
Score and set of parts.
Duration 4 minutes, 38
seconds. Published by
C.L. Barnhouse
$78.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Great Land Run Orchestre d'harmonie [Conducteur] - Facile Opus III Wind Orchestra Publications
Concert band - Grade 3 SKU: CL.012-4185-75 Composed by Anderson. Concert ...(+)
Concert band - Grade 3
SKU:
CL.012-4185-75
Composed by Anderson.
Concert Band. Concert
Band Series. Audio
recording available
separately (item
CL.WFR378). Oversized,
spiral-bound score.
Composed 2013. Duration 4
minutes, 38 seconds. Opus
III Wind Orchestra
Publications
#012-4185-75. Published
by Opus III Wind
Orchestra Publications
(CL.012-4185-75).
An exciting
journey through the old
west, The Great Land Run
paints an exhilarating
picture of 1889 Oklahoma.
A fanfare-like main theme
at the beginning is
followed by the night
around the campfire. As
the settlers rest, a
gentle storm washes over
them bringing forth the
questions of what
tomorrow may bring. As
morning rises, they head
back on their way to
stake their plot of land
and new life. A powerful
recap of the main theme
drives this piece to an
exciting end. With
multiple opportunities
for solos in the flute,
clarinet, oboe, and
trumpet, this piece will
offer a fun, yet
challenging experience
for any concert band! $25.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Great Land Run Orchestre d'harmonie [Conducteur] - Facile Opus III Wind Orchestra Publications
Concert band - Grade 3 SKU: CL.012-4185-01 Composed by Anderson. Concert ...(+)
Concert band - Grade 3
SKU:
CL.012-4185-01
Composed by Anderson.
Concert Band. Concert
Band Series. Audio
recording available
separately (item
CL.WFR378). Extra full
score. Composed 2013.
Duration 4 minutes, 38
seconds. Opus III Wind
Orchestra Publications
#012-4185-01. Published
by Opus III Wind
Orchestra Publications
(CL.012-4185-01).
An exciting
journey through the old
west, The Great Land Run
paints an exhilarating
picture of 1889 Oklahoma.
A fanfare-like main theme
at the beginning is
followed by the night
around the campfire. As
the settlers rest, a
gentle storm washes over
them bringing forth the
questions of what
tomorrow may bring. As
morning rises, they head
back on their way to
stake their plot of land
and new life. A powerful
recap of the main theme
drives this piece to an
exciting end. With
multiple opportunities
for solos in the flute,
clarinet, oboe, and
trumpet, this piece will
offer a fun, yet
challenging experience
for any concert band!
Highly recommended! $8.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Sweet like that Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire American Composers Forum
By Christopher Theofanidis. Score and Parts. BandQuest. Grade 3. Published by Am...(+)
By Christopher
Theofanidis. Score and
Parts. BandQuest. Grade
3. Published by American
Composers Forum
$60.00 $57 (- 5%) Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Lamb Boosey and Hawkes
(SSAATTBB choir) SKU: HL.48024952 SATB Divisi a cappella. Composed...(+)
(SSAATTBB choir) SKU:
HL.48024952 SATB
Divisi a cappella.
Composed by Becky
McGlade. Boosey & Hawkes
Sacred Choral. Octavo.
Boosey & Hawkes
#M060137235. Published by
Boosey & Hawkes
(HL.48024952). ISBN
9781784545987. UPC:
840126947243. 6.75x10.5
inches. I was
introduced to William
Blake's poem The Lamb
many years ago through
John Tavener's famous
setting and, when
commissioned by York
Minster to write a carol
for their 2019 nine
lessons and carols
services, the idea of
writing my own setting of
this beautiful poem was
hard to resist. For me,
the biblical symbol of
the lamb represents one
of the most profound
theological mysteries.
That divine omnipotence
as represented by the
symbolic lamb speaks
volumes of the humility
and self-sacrificing
nature of God; complexity
illustrated in
simplicity. The poet has
seen within the
vulnerability of the
lamb, the profundity of
God's self-sacrifice. I
looked to convey the
innocence of the lamb
through the gentle
opening of the piece with
its simple melody and
harmony. The harmonies
gradually intensify as
the questions of the text
continue, and there is a
stronger feel to the
second verse as those
questions begin to be
answered and it is
revealed that the Creator
God is Himself the Lamb.
A feeling of space should
prevail, without the
tempo dragging. The
commas in bars 29, 33,
46, 51 and 52 imply there
should be room to
breathe, but not a whole
quaver's worth of breath
if possible. $4.95 - Voir plus => Acheter | | |
| The Story of AC/DC - Let There Be Rock Livre - Pas de partitions Biographie [Livre] Omnibus Press
By AC/DC. Omnibus Press. Biography / MUSIC BISAC, Biography/Composers and Musici...(+)
By AC/DC. Omnibus Press.
Biography / MUSIC BISAC,
Biography/Composers and
Musicians. Softcover. 259
pages. Omnibus Press
#OP52921. Published by
Omnibus Press
$19.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
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