| Mandolin Chord Melody System Mandoline - Intermédiaire Mel Bay
Composed by Aaron Weinstein. Saddle-stitched, Chording. Jazz. Book. Published by...(+)
Composed by Aaron
Weinstein.
Saddle-stitched,
Chording. Jazz. Book.
Published by Mel Bay
Publications, Inc
(MB.30502).
$19.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Refining The March Style Orchestre d'harmonie - Facile Carl Fischer
Band Concert Band - Grade 2 SKU: CF.YPS105 Warm-Ups and Fundamentals(+)
Band Concert Band - Grade
2 SKU: CF.YPS105
Warm-Ups and
Fundamentals.
Composed by Larry Clark.
Collate - FS SWS - spine:
3/4 or .75. Young
Performance Series. Set
of Score and Parts. With
Standard notation.
16+4+8+8+4+10+4+4+8+8+8+1
2+4+6+2+2+4+2+20 pages.
Duration 2 minutes, 53
seconds. Carl Fischer
Music #YPS105. Published
by Carl Fischer Music
(CF.YPS105). ISBN
9780825884870. UPC:
798408084875. 9 x 12
inches. Key: Bb
major. Based on our
popular New Bennett Band
Book series, we have
compiled march-style
warm-ups in a separate
publication so they may
be used by all bands
wishing to learn from
them. These innovative
warm-ups and fundamental
drills are the ultimate
method of teaching and
reinforcing the March
style. How To Use the
March Warm-upsPlaying in
a march style can present
difficulties for young
students. The most
prevalent problem is that
students have a tendency
to play every note too
short. Conversely,
accented notes are
usually played
incorrectly with too much
tongue. Do marches
contain short notes?
Absolutely, but these
shortest of notes should
be reserved for notes
that precede an accent or
notes that are
specifically marked with
a staccato. Think of
unmarked notes as being
separated, but not short
and certainly not clipped
or stopped with the
tongue. Accented notes
should be played with
more weight using air and
more length, and not just
a harder tongue. Accents
are given to show
emphasis to a note and
should be thought of in
this manner.The warm-up
exercises provided in
this collection should
give you many
opportunities to stress
the above-mentioned
comments on march
performance style. The
following gives an
explanation on the
purpose and use of each
of these exercises.No. 1
– Basic Chords and
ModulationsOne of the
challenges of playing
marches with young
students is successfully
performing the key change
at the Trio. This
exercise presents the
three basic chords
(tonic, subdominant and
dominant) in each of the
three keys in this
collection of marches.
You can also use this
exercise to teach and
reinforce the style of
accented notes. You may
want to have your band
play major scales in
succession by fourths to
reinforce the concept of
modulation to the
subdominant that occurs
at the Trio (i.e. the
B≤-major scale,
then the E≤-major
scale, then the
A≤-major scale). I
might suggest getting the
students to try
continuing the pattern
all the way around the
circle of fourths.No. 2
– March Style in
B≤ MajorThis
exercise contains many
opportunities to teach
and reinforce the
difference between
staccato and accented
notes. The melody voices
move up and down the
B≤-major scale,
while other instruments
play chords commonly
found in the marches in
this collection. These
include diminished
chords, secondary
dominant chords (i.e. the
V of the V) and other
common chromatic chords
that Fillmore often
used.No. 3 –
Cakewalk Rhythm in
B≤ MajorThe simple
syncopated rhythm in this
exercise is common to
many marches. This drill
gives you the opportunity
to teach/ reinforce the
standard ar-ticulation
and natural accent of
this rhythmic pattern.
Again, this exercise uses
an ascending and
descending major-scale
pattern as the melodic
basis, accompanied by
chords commonly found in
American- style
marches.No. 4 –
The March Scale in
B≤ MajorI call this
exercise “The March
Scale,†because
often in marches (and
especially in these
marches) the descending
half-step is part of the
melodic material. These
chromatic figures give
the melodies of many
marches their charm and
flow. Thus, I devised
this exercise and others
like it in E≤ major
and A≤ major to
familiarize students with
these patterns. I would
suggest playing the
pattern in a variety of
ways different from what
is written. Here are some
other
possibilities:•
Tongue one, slur
three• Slur two,
tongue two• Tongue
two, slur two•
Tongue one, slur two,
tongue oneGradually
increase the tempo to the
march tempo and the
articulation style will
fall right into
place.Another important
consideration is the
performance of the bass
line and the bass-drum
part. Too often, the bass
drum and bass instruments
play their parts with
equal emphasis on both
beats in the measure.
This is incorrect, and
frequently makes the
marchNo. 5 – March
Style in E≤
MajorThis is a similar to
exercise No. 2, but with
a different rhythmic
pattern. Emphasize the
difference between
accented and unaccented
notes. Also, play the
exercise with line
direction moving the
musical line forward.
Experiment and play the
exercise with different
dynamic choices and with
hairpins up and down in
different ways.No. 6
– More March Style
in E≤ MajorExercise
No. 6 comprises more
rhythmic patterns and
harmonic materials in
E≤ major to teach
and reinforce the march
style. This exercise
em-phasizes the
sixteenth-note rhythm, as
notated in the third
measure of the exercise.
Young stu- dents have a
tendency to
“crush†the
sixteenths; consequently,
they lack clarity. It
would be a good idea to
work this rhythmic figure
on a scale pattern with
all of the instruments in
the band as an additional
warm-up exercise.No. 7
– The March Scale
in E≤ MajorSee the
information for No. 4 and
apply it to this
exercise. Use all of the
various articulations
described above as
well.No. 8 – March
Style in A≤
MajorSee the information
for No. 2 and apply it to
this exercise.No. 9
– Cakewalk Rhythm
in A≤ MajorSee the
information for No. 3 and
apply it to this
exercise.No. 10 –
The March Scale in
A≤ MajorSee the
information for No. 4 and
apply it to this
exercise.Other Ideas for
March PerformanceA
rehearsal practice that
has worked very well for
me is to start out by
having the band play the
march very slowly at
about Å’ = 60 in a
chorale/legato style. The
slow tempo is a fine
opportunity to work on
clarity of harmonic move-
ment and to work on the
balance and blend of the
tutti band sound. This
will pay great dividends
toward improving the
sound of your band.
Gradually increase the
tempo to the march tempo
and the articulation
style will fall right
into place.Another
important consideration
is the performance of the
bass line and the
bass-drum part. Too
often, the bass drum and
bass instruments play
their parts with equal
emphasis on both beats in
the measure. This is
incorrect, and frequently
makes the march. $70.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Jazz Saxophone Duets 2 Saxophones (duo) [Livre + CD] Greg Fishman Jazz Studios
By Greg Fishman. For saxophone duet. Play Along, Jazz. Book and 3 CDs. Published...(+)
By Greg Fishman. For
saxophone duet. Play
Along, Jazz. Book and 3
CDs. Published by Greg
Fishman Jazz Studios.
(1)$24.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| A Cappella Arranging Chorale [Partition + DVD] Hal Leonard
| | |
| The Melodic Voice GIA Publications
SKU: GI.G-9660 Conversations with Alice Parker. Composed by Camero...(+)
SKU: GI.G-9660
Conversations with
Alice Parker.
Composed by Cameron
LaBarr and John Wykoff.
Music Education. 243
pages. GIA Publications
#9660. Published by GIA
Publications (GI.G-9660).
ISBN
9781622773572. To
learn from Alice is to
come under a peculiar
kind of enchantment . . .
To hear her is to be
spellbound by a melodic
voice. — John
Wykoff, from the Prelude
The Melodic Voice
presents a series of
interviews with
preeminent composer,
conductor, and teacher
Alice Parker that offers
a fuller and more
intimate view of her life
and music than ever
before. The conversations
Cameron LaBarr and John
Wykoff document in these
pages perfectly capture
the essence of
Alice’s core
philosophies on melody,
arranging, singing, music
teaching, conducting, and
many other topics. During
the course of the
interviews, Alice
discusses a wide range of
topics: her childhood,
her time as a student at
Smith College and
Juilliard, the death of
her husband, her work
with Robert Shaw, living
in New York City,
experiences with
teaching, her
compositional process,
the importance of folk
song, advice for students
and teachers, and much
more. In the accompanying
video component, Alice
speaks candidly and
directly about many of
her most popular and
well-loved arrangements,
including Hark, I Hear
the Harps Eternal, Saints
Bound for Heaven, What
Shall We Do With a
Drunken Sailor?, and John
Saw Duh Numbuh, among
others. Too few have had
the privilege of
attending one of
Alice’s workshops
or engaging with her in
long conversations and
round-the-table singing.
But the conversational
nature of this book gives
everyone the chance to
engage with her in a
deeper way. Musicians and
non-musicians alike are
sure to be inspired by
Alice’s words.
Cameron LaBarr is
Director of Choral
Studies at Missouri State
University. His choirs
have performed
extensively both at home
and abroad, and he has
worked as a guest
conductor and clinician
across the United States,
Europe, South Africa, and
Asia. John Wykoff is
Associate Professor of
Music Theory and
Composition at Lee
University. As an active
composer, he writes for
choir, orchestra, and
chamber groups, and his
music has been performed
internationally by
leading ensembles. Check
out this clip below of
Alice Parker discussing
her beloved arrangement
Hark, I Hear the Harps
Eternal. This is just
a small part of the over
three hours of video
interviews included in
the purchase of this
resource. $29.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Jazz Big Band for the Modern Drummer Batterie [Partition + Accès audio] Hal Leonard
An Essential Guide to Supporting the Large Jazz Ensemble. Drum Instruction. ...(+)
An Essential Guide to
Supporting the Large Jazz
Ensemble. Drum
Instruction.
Instruction. Softcover
Audio
Online. 112 pages.
Published
by Hal Leonard
$29.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Uptown Strut Orchestre d'harmonie FJH
Concert Band Concert Band - Grade 0.5 SKU: FJ.B1552S Score Only. C...(+)
Concert Band Concert Band
- Grade 0.5 SKU:
FJ.B1552S Score
Only. Composed by
Robert Sheldon. Concert
Band. FJH Concert Band.
Light Concert; Novelty.
Score. Duration 1:30. The
FJH Music Company Inc
#98-B1552S. Published by
The FJH Music Company Inc
(FJ.B1552S).
English. Using
no eighth notes in the
winds, this relaxed work
reflects a light-hearted
stroll through the big
city. An air of calm,
cool confidence sets the
mood as people dress to
impress and hit the
streets. Brief musical
conversations are
interjected as they meet
others on their walk
around town in this
easy-to-play, yet tuneful
offering.
About FJH
Concert
Band Desig
ned for high school
groups and upper-level
middle school groups.
Independence is
encouraged, but many
lines are cross-cued.
Usually includes an
expanded percussion
section. Grades 3 -
3.5 $5.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Divertimento Orchestre d'harmonie - Intermédiaire Latham Music Enterprises
Concert Band Clarinet or Violin, Viola, Cello and Piano - Grade 3.5 SKU: AP.3...(+)
Concert Band Clarinet or
Violin, Viola, Cello and
Piano - Grade 3.5 SKU:
AP.36-52784001 For
Violin or Clarinet,
Viola, Cello and
Piano. Composed by
Anna Amalia. Arranged by
Lynne Latham. This
edition: Latham Music.
String Ensemble - Mixed.
LudwigMasters - Latham
Music. Score and Part(s).
Latham Music Enterprises
#36-52784001. Published
by Latham Music
Enterprises
(AP.36-52784001).
English. Anna
Amalia of Prussia held
various titles during her
lifetime, including
Princess and Abbess of
Quedlinburg. Born in
Berlin, she was one of
ten surviving children of
the royal family of King
Frederick William I of
Prussia. Princess Anna
Amalia studied
harpsichord, piano and
counterpoint. Princess
Anna also founded a music
library collection, which
included autographed
scores of J.S. Bach and
other composers. This
collection still exists
today (Amalien
Bibliothek). This
two-movement Divertimento
in Bb Major has something
for everyone. The melodic
and secondary parts are
passed equally between
the instruments. The
piano part is quite
playable for a high
school student. It has
the character of a
conversation between
friends gathering for a
friendly afternoon tea.
This arrangement is
scored for piano quartet,
with a substitue clarinet
part in place of
violin.
These products
are currently being
prepared by a new
publisher. While many
items are ready and will
ship on time, some others
may see delays of several
months. $14.95 - Voir plus => Acheter | | |
| Piano Concerto No. 1 Orchestre d'harmonie Faber Music Limited
Orchestra SKU: AP.12-0571572162 Composed by Carl Vine. Full Orchestra (Fu...(+)
Orchestra SKU:
AP.12-0571572162
Composed by Carl Vine.
Full Orchestra (Full
Score); Masterworks;
Performance Music
Ensemble; Single Titles.
Faber Edition. Form:
Concerto. 20th Century;
Masterwork. Score. Faber
Music #12-0571572162.
Published by Faber Music
(AP.12-0571572162).
ISBN 9780571572168.
English. Carl
Vine's Piano Concerto No.
1 (1997) is one of three
large-scale works
composed with pianist
Michael Kieran Harvey in
mind---the others being
his first two piano
sonatas. Vine describes
it as a conscious and
continuous tribute to the
piano concerto as a
medium and historical
entity, a fact most
apparent in the slow
movement, with its long
melodic lines evoking
both Ravel and Bach. This
25-minute concerto is
cast in the familiar
three-movement form, with
fast outer movements
framing a central slow
movement. The outer
movements share some
material (particularly in
some lively
conversational
interchanges between
piano and trumpet), and
also some typically
pianistic glitter across
the orchestra, with harp
and glockenspiel ensuring
that the piano is less of
an outsider than might
have otherwise been the
case. $48.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Kunst als vom Geist beherrschte Magie Breitkopf & Härtel
SKU: BR.BV-478 Texte zur Musik 1996 bis 2020. Composed by Helmut L...(+)
SKU: BR.BV-478
Texte zur Musik 1996
bis 2020. Composed by
Helmut Lachenmann. Edited
by Ulrich Mosch.
Hardback. Buchverlag
Breitkopf & Hartel (Music
Books). Music post-1945;
New music (post-2000).
Book. 652 pages.
Breitkopf and Haertel #BV
478. Published by
Breitkopf and Haertel
(BR.BV-478). ISBN
9783765104787. 6.5 x 9.5
inches.
German. Shortly
after his book Musik als
existentielle Erfahrung
(1996) was published,
Lachenmann's Madchen mit
den Schwefelholzern was
premiered in Hamburg. The
definitive texts for this
key work of new music
theater have a chapter of
their own in the new
volume Kunst als vom
Geist beherrschte Magie.
Essential are, in
addition, the
many-faceted
conversations and panel
discussions where over
the years Lachenmann has
further developed and
intensively represented
his aesthetics in his
dialogue with
dramaturges, journalists,
philosophers, and music
researchers. The composer
has revised all the
book's texts, and in some
cases even heavily
revamped them. Many texts
are also being published
for the first time, while
others previously
appearing in program
notes are now finally
readily accessible.Please
note, the book is in
German. $122.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Ping Pong Ensemble Jazz [Conducteur et Parties séparées] - Facile Kendor Music Inc.
Jazz Ensemble standard jazz ensemble (Kendor Konvertible for 9-17 players) with ...(+)
Jazz Ensemble standard
jazz ensemble (Kendor
Konvertible for 9-17
players) with opt. flute,
clarinet, F horn, tuba
and vibes - Grade 2
SKU: KN.60623
Composed by Lennie
Niehaus. Kendor
Konvertible. Jazz
Gateway. Moderate Swing.
Score and set of parts.
Duration ca. 4 minutes, 5
seconds. Kendor Music Inc
#60623. Published by
Kendor Music Inc
(KN.60623). UPC:
822795606232. Are
you looking for a solid,
sophisticated chart that
is accessible to aspiring
jazz musicians? Well,
your search is over. Film
writer Lennie Lenny
Niehaus knows how to make
developing players sound
their best. The title of
this cleverly conceived
original refers to the
conversational interplay
between the sax and brass
sections, and it includes
a chorus where everyone
plays a soli in unison, a
writing device used
effectively by Bill
Holman, Rob McConnell,
and others. Each set
includes a guitar chord
chart by Jim Greeson.
Duration ca. 4:05. $48.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Ping Pong (Full Score) Ensemble Jazz - Facile Kendor Music Inc.
Jazz Ensemble standard Jazz ensemble (Kendor Konvertible for 9-17 players) with ...(+)
Jazz Ensemble standard
Jazz ensemble (Kendor
Konvertible for 9-17
players) with opt. flute,
clarinet, F horn, tuba
and vibes - Grade 2
SKU: KN.60623S
Composed by Lennie
Niehaus. Jazz Gateway.
Kendor Music Inc #60623S.
Published by Kendor Music
Inc (KN.60623S). UPC:
822795606232. Are
you looking for a solid,
sophisticated chart that
is accessible to aspiring
jazz musicians? Well,
your search is over. Film
writer Lennie Lenny
Niehaus knows how to make
developing players sound
their best. The title of
this cleverly conceived
original refers to the
conversational interplay
between the sax and brass
sections, and it includes
a chorus where everyone
plays a soli in unison, a
writing device used
effectively by Bill
Holman, Rob McConnell,
and others. Each set
includes a guitar chord
chart by Jim Greeson.
Duration ca. 4:05. $7.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| 4-Aug-64 Theodore Presser Co.
Chamber Music Goodman (Mezzo soprano), Johnson (baritone), McNamara (tenor), Mrs...(+)
Chamber Music Goodman
(Mezzo soprano), Johnson
(baritone), McNamara
(tenor), Mrs. Chaney
(soprano), Piano, alto
voice, bass voice,
choir:, soprano voice,
tenor voice SKU:
PR.441410240 For
Soprano, Mezzo Soprano,
Tenor, Baritone, Chorus
and Orchestra.
Composed by Steven
Stucky. This edition:
Vocal score. Libretto by
Gene Scheer. Laquita
Mitchell/Soprano, Kelley
O?Connor/Mezzo-soprano,
Vale Rideout/Tenor,
Robert Orth/Baritone,
Dallas Symphony Chorus
(David Davidson,
Director); Dallas
Symphony Orchestra,
conducted by Jap van
Zweden. Contemporary.
Vocal Score. With
Standard notation.
Composed 2008. 132 pages.
Duration 1 hour, 10
minutes. Theodore Presser
Company #441-41024.
Published by Theodore
Presser Company
(PR.441410240). UPC:
680160589128. Libretto by
Gene Scheer. August
4, 1964 was commissioned
by the Dallas Symphony
for the 2008 celebration
of President Lyndon B.
Johnson’s
centennial year. The
75-minute oratorio
focuses on two events
that came to a head on
August 4, 1964, events
that defined LBJ’s
presidency: the discovery
of the bodies of three
slain civil rights
workers in Mississippi,
and the bombing of North
Vietnam, which
accelerated U.S.
involvement in the
Vietnam war. Gene
Scheer’s
thoroughly-researched
libretto includes actual
transcripts of White
House phone conversations
and government documents,
as well as letters from
the mothers of the slain
civil rights workers. $85.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| 4-Aug-64 Orchestre Theodore Presser Co.
Orchestra SKU: PR.44641242L Composed by Steven Stucky. With Standard nota...(+)
Orchestra SKU:
PR.44641242L Composed
by Steven Stucky. With
Standard notation.
Duration 1 hour, 10
minutes. Theodore Presser
Company #446-41242L.
Published by Theodore
Presser Company
(PR.44641242L). UPC:
680160617531. Augus
t 4, 1964 was
commissioned by the
Dallas Symphony for the
2008 celebration of
President Lyndon B.
Johnson’s
centennial year. The
75-minute oratorio
focuses on two events
that came to a head on
August 4, 1964, events
that defined LBJ’s
presidency: the discovery
of the bodies of three
slain civil rights
workers in Mississippi,
and the bombing of North
Vietnam, which
accelerated U.S.
involvement in the
Vietnam war. Gene
Scheer’s
thoroughly-researched
libretto includes actual
transcripts of White
House phone conversations
and government documents,
as well as letters from
the mothers of the slain
civil rights workers. $425.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| String Quartet No. 8 Quatuor à cordes: 2 violons, alto, violoncelle Merion Music
Chamber Music String Quartet SKU: PR.144407270 Composed by Sydney F. Hodk...(+)
Chamber Music String
Quartet SKU:
PR.144407270 Composed
by Sydney F. Hodkinson.
Sws. Set of Score and
Parts. 44+16+16+16+16
pages. Duration 22
minutes. Merion Music
#144-40727. Published by
Merion Music
(PR.144407270). UPC:
680160681891. 9 x 12
inches. My Eighth
and Ninth String
Quartets, begun in late
2017, are sonic cousins.
Akin to real cousins,
each piece exhibits
differing natures. They
were requested by two
ensembles that have
become asecond familiesa
to me: The Jupiter
Quartet of Urbana,
Illinois and the Amernet
Quartet based in Miami,
Florida. Their collective
dedication to, and care
for, our art remains a
personal and constant
are-fuelinga for me. The
quartets were
commissioned by, and
dedicated to, Margaret
and Philip Verleger of
Denver, Colorado.
Additional financial
support was provided by
the School of Music at
Stetson University,
Timothy Peter, Dean.
Quartet No.8 is laid out
in a classical
four-movement design. The
work does break somewhat
from conventional
tradition by often
placing quartet members
into soloistic roles as
the movement titles note.
individual The opening
piece presents at the
outset a three-note motto
which is turned over,
tumbled, and
energetically discussed,
primarily by a violin
duet. It is a duel. The
two players part company
only infrequently during
the movement's progress,
pausing briefly for other
commentary by their
alower cohortsa, the
Viola and Cello do not
argue, but abet their
friends' aeffortsa. The
piece's overall character
is fairly bright and
dancelike, closing in an
unresolvedastandoffa. not
Two principal
asound-objectsa stitch
the second movement
scherzo together: sliding
hands (glissandos) and a
plucked ashufflea
(pizzicato) - both
instigated by the (solo)
cellist. The others are
influenced - or are not -
by their aleadera, and
follow - or interrupt -
the cello throughout
their four-voiced
conversation. The third
movement (longest of the
set) is an elegy
dedicated to the memory
of a close personal
friend, the American
composer David Maslanka
(1943 - 2017). Its'
genesis is a simple
5-note melody derived
from my own name
(SaC/DaC/EaC/H). This
line commences in the
(solo) viola and is
obsessively uttered
without relief during the
movement's lamentations.
The closing movement
revisits much of that
opening three-note
material, but now dressed
up for the full quartet
to view. It is a slowly
accelerating romp which -
twice - cannot avoid a
nod to the Amernet and
Jupiter performers by
offering a humble bow to
the 4th movement of
Gustav Holst's PLANETS -
Jupiter: The Bringer of
Jollity. My quartet
serves as an honouring
salute of thanks for the
talent, respect, and
friendship of these two
young quartets. STRING
QUARTET No. 8 is roughly
22 minutes in duration.
It was written as an
homage to Franz Joseph
Haydn, my
adesert-island-composera,
and completed in Holly
Hill, Florida in early
April of 2019. S.H. $70.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| String Quartet No. 8 Quatuor à cordes: 2 violons, alto, violoncelle Merion Music
Chamber Music String Quartet SKU: PR.14440727S Composed by Sydney F. Hodk...(+)
Chamber Music String
Quartet SKU:
PR.14440727S Composed
by Sydney F. Hodkinson.
Sws. Full score. 44
pages. Duration 22
minutes. Merion Music
#144-40727S. Published by
Merion Music
(PR.14440727S). UPC:
680160681907. 9 x 12
inches. My Eighth
and Ninth String
Quartets, begun in late
2017, are sonic cousins.
Akin to real cousins,
each piece exhibits
differing natures. They
were requested by two
ensembles that have
become asecond familiesa
to me: The Jupiter
Quartet of Urbana,
Illinois and the Amernet
Quartet based in Miami,
Florida. Their collective
dedication to, and care
for, our art remains a
personal and constant
are-fuelinga for me. The
quartets were
commissioned by, and
dedicated to, Margaret
and Philip Verleger of
Denver, Colorado.
Additional financial
support was provided by
the School of Music at
Stetson University,
Timothy Peter, Dean.
Quartet No.8 is laid out
in a classical
four-movement design. The
work does break somewhat
from conventional
tradition by often
placing quartet members
into soloistic roles as
the movement titles note.
individual The opening
piece presents at the
outset a three-note motto
which is turned over,
tumbled, and
energetically discussed,
primarily by a violin
duet. It is a duel. The
two players part company
only infrequently during
the movement's progress,
pausing briefly for other
commentary by their
alower cohortsa, the
Viola and Cello do not
argue, but abet their
friends' aeffortsa. The
piece's overall character
is fairly bright and
dancelike, closing in an
unresolvedastandoffa. not
Two principal
asound-objectsa stitch
the second movement
scherzo together: sliding
hands (glissandos) and a
plucked ashufflea
(pizzicato) - both
instigated by the (solo)
cellist. The others are
influenced - or are not -
by their aleadera, and
follow - or interrupt -
the cello throughout
their four-voiced
conversation. The third
movement (longest of the
set) is an elegy
dedicated to the memory
of a close personal
friend, the American
composer David Maslanka
(1943 - 2017). Its'
genesis is a simple
5-note melody derived
from my own name
(SaC/DaC/EaC/H). This
line commences in the
(solo) viola and is
obsessively uttered
without relief during the
movement's lamentations.
The closing movement
revisits much of that
opening three-note
material, but now dressed
up for the full quartet
to view. It is a slowly
accelerating romp which -
twice - cannot avoid a
nod to the Amernet and
Jupiter performers by
offering a humble bow to
the 4th movement of
Gustav Holst's PLANETS -
Jupiter: The Bringer of
Jollity. My quartet
serves as an honouring
salute of thanks for the
talent, respect, and
friendship of these two
young quartets. STRING
QUARTET No. 8 is roughly
22 minutes in duration.
It was written as an
homage to Franz Joseph
Haydn, my
adesert-island-composera,
and completed in Holly
Hill, Florida in early
April of 2019. S.H. $34.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Glitter, Doom, Shards, Memory Theodore Presser Co.
Chamber Music Viola 1, Viola 2, Violin 1, Violin 2, Violoncello SKU: PR.11441...(+)
Chamber Music Viola 1,
Viola 2, Violin 1, Violin
2, Violoncello SKU:
PR.11441690S
String Quartet No.
3. Composed by
Shulamit Ran. Sws.
Contemporary. Full score.
With Standard notation.
Composed March 9 2013. 32
pages. Duration 23
minutes. Theodore Presser
Company #114-41690S.
Published by Theodore
Presser Company
(PR.11441690S). UPC:
680160626021. 9 x 12
inches. Ran's third
string quartet was
written for the Pacifica
Quartet, who are
featuring it in numerous
performances from May
2014 through February
2016, across the country
and abroad. Their blog
page dedicated to the
work also features the
composer's notes, for
more indepth insight.
...impassioned solos
emerge from ominous
quiet, and high arpeggios
in the violins quiver
alongside the earthy
cello. Ms. Ran skillfully
deploys these extremes of
color, volume and pitch,
yet the overall somewhat
chilly impression is one
of poise. -- Zachary
Woolfe, The New York
Times. My third string
quartet was composed at
the invitation of the
Pacifica
Quartet, whose
music-making I have come
to know closely and
admire hugely as resident
artists at the University
of Chicago. Already
in our early
conversations Pacifica
proposed that this
quartet might, in some
manner, refer to the
visual arts as a point of
germination. Probing
further, I found out that
the quartet members had
special interest in art
created during the
earlier part of the 20th
century, perhaps between
the two world wars.Â
It was my good fortune to
have met, a short while
later, while in residence
at the American Academy
in Rome in the fall of
2011, art conservationist
Albert Albano who steered
me to the work of Felix
Nussbaum (1904-1944), a
German-Jewish painter
who, like so many others,
perished in the Holocaust
at a young age, and who
left some powerful,
deeply moving art that
spoke to the life that
was unraveling around
him. The title of my
string quartet takes its
inspiration from a major
exhibit devoted to art by
German artists of the
period of the Weimar
Republic (1919-1933)
titled “Glitter and
Doom: German Portraits
from the 1920sâ€,
first shown at New
York’s
Metropolitan Museum of
Art in 2006-07.Â
Nussbaum would have been
a bit too young to be
included in this
exhibit. His most
noteworthy art was
created in the last very
few years of his short
life. The
exhibit’s
evocative title, however,
suggested to me the idea
of “Glitter, Doom,
Shards, Memory†as
a way of framing a
possible musical
composition that would be
an homage to his life and
art, and to that of so
many others like him
during that era.
 Knowing that their
days were numbered, yet
intent on leaving a mark,
a legacy, a memory, their
art is triumph of the
human spirit over
annihilation. Parallel
to my wish to compose a
string quartet that,
typically for this genre,
would exist as
“pure musicâ€,
independent of a
narrative, was my desire
to effect an awareness in
my listener of matters
which are, to me, of
great human concern.
 To my mind there is
no contradiction between
the two goals. Â As in
several other works
composed since 1969, this
is my way of saying
‘do not
forget’, something
that, I believe, can be
done through music with
special power and
poignancy. Â Â The
individual titles of the
quartet’s four
movements give an
indication of some of the
emotional strands this
work explores. 1)
“That which
happened†(das was
geschah) – is how
the poet Paul Celan
referred to the Shoah
– the Holocaust.
 These simple words
served for me, in the
first movement, as a
metaphor for the way in
which an
“ordinaryâ€
life, with its daily flow
and its sense of sweet
normalcy, was shockingly,
inhumanely, inexplicably
shattered. 2)
“Menace†is a
shorter movement,
mimicking a Scherzo.
 It is also
machine-like, incessant,
with an occasional,
recurring, waltz-like
little tune –
perhaps the chilling
grimace we recognize from
the executioner’s
guillotine mask. Â Like
the death machine it
alludes to, it gathers
momentum as it goes, and
is
unstoppable. 3) â
If I must perish - do
not let my paintings
dieâ€; these words
are by Felix Nussbaum
who, knowing what was
ahead, nonetheless
continued painting till
his death in Auschwitz in
1944. Â If the heart of
the first movement is the
shuddering interruption
of life as we know it,
the third movement tries
to capture something of
what I can only imagine
to be the conflicting
states of mind that would
have made it possible,
and essential, to
continue to live and
practice one’s art
– bearing witness
to the events.
 Creating must have
been, for Nussbaum and
for so many others, a way
of maintaining sanity,
both a struggle and a
catharsis – an act
of defiance and salvation
all at the same
time. 4)
“Shards,
Memory†is a direct
reference to my
quartet’s title.
 Only shards are left.
 And memory.  The
memory is of things large
and small, of unspeakable
tragedy, but also of the
song and the dance, the
smile, the hopes. All
things human. Â As we
remember, in the face of
death’s silence,
we restore dignity to
those who are
gone.—Shulamit
Ran . $29.99 - Voir plus => AcheterDélais: 2 to 3 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 | | |
| Easter, 1906 GIA Publications
SKU: GI.G-1117 Music of William Averitt. Composed by Cameron LaBar...(+)
SKU: GI.G-1117
Music of William
Averitt. Composed by
Cameron LaBarr, Missouri
State University Chorale,
and William Averitt. GIA
ChoralWorks. Music
Education. Choral score.
GIA Publications #1117.
Published by GIA
Publications (GI.G-1117).
UPC:
785147011729. â€
œHistory is written by
the victors…â€
In societal struggles,
those who “come out
on top†seem to get
to choose what is taught
as history. With respect
to racial matters in the
United States, the
struggles of people of
color have simply not
been a significant part
of historical studies in
American schools. The
immense failure of
Reconstruction on Black
people in America is the
cataclysm that is most
pertinent to the
retelling of Easter,
1906. Lynchings were a
deeply disturbing and
immoral method of
dominating, primarily,
Black people and
terrorizing them into
submission. Behind these
exercises in mob violence
lay frequently invented
claims of crimes. Easter,
1906 recounts one such
event that took place in
Springfield, Missouri,
over Easter weekend,
1906. Poet Robert Bode
has collected material
from historical documents
of the period and created
new poems that reflect
upon this tragic event.
In turn, Bode’s
words are here set to
music by composer William
Averitt for double choir,
spoken narration, piano
four-hands, and two
percussionists. Performed
by the Missouri State
University Chorale,
conducted by Cameron
LaBarr. Â A powerful
work like this is
important because we can
easily forget events that
have contributed to the
lingering blatant and
hidden prejudices that
exist today. It is
through this musical
presentation that
musicians and audiences
can have the tough yet
meaningful conversations
about how we all can do
and be better when
relating to others.
—Marques L. A.
Garrett  Â
Conductor and Composer
Learn more about the
story behind this project
in the video below:. $16.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| La Muse et le Poete, Op. 132 Piano Trio: piano, violon, violoncelle LudwigMasters Publications
Violin, Violoncello and Piano SKU: AP.36-60783002 Composed by Camille Sai...(+)
Violin, Violoncello and
Piano SKU:
AP.36-60783002
Composed by Camille
Saint-Saens. String Duo
and Ensemble, Piano Trio,
Conductor Score and
Parts. Master String
Series. Score and
Part(s). LudwigMasters
Publications
#36-60783002. Published
by LudwigMasters
Publications
(AP.36-60783002). ISBN
9798888528655. UPC:
659359997112.
English. The piano
trio version of LA MUSE
ET LE POÈTE, Op. 132 was
written by Camille
Saint-Saëns (1835-1921)
in 1910 during a vacation
to North Africa, and that
version premiered at
Queen's Hall on June 7,
1910, with Eugene Ysaÿe
on violin, Jospeh
Hollmann on cello, and
the composer at the
piano. Saint-Saëns
transcribed the version
for violin, cello and
orchestra that same year,
and the same two string
players premiered that
version on October 20 at
the Sarah Bernhardt
Theater in Paris under
Fernand Le Borne. Despite
the title (which was
later added by the
publisher to make it more
marketable), no program
is intended for the work
and neither instrument
represents either the
muse or the poet.
Saint-Saëns himself
referred to the piece as
a conversation between
the two instruments
instead of a debate
between two
virtuosos.
These products
are currently being
prepared by a new
publisher. While many
items are ready and will
ship on time, some others
may see delays of several
months. $12.99 - Voir plus => Acheter | | |
| Poems of Life: 12 Poems by Judith G. Wolf Edward B. Marks Music Company
Full Score SKU: HL.326756 For Countertenor, Cello and Orchestra Full S...(+)
Full Score SKU:
HL.326756 For
Countertenor, Cello and
Orchestra Full Score.
Composed by Kenneth
Fuchs. E.B. Marks.
Softcover. Edward B.
Marks Music #MP078001.
Published by Edward B.
Marks Music (HL.326756).
ISBN 9781581067200.
UPC: 888680988418.
9.25x12.0x0.516
inches. This piece,
along with three others,
earned the composer a
Grammy for the 2018 Best
Classical Compendium.
Composer's program note
excerpt: Judith G. Wolf's
expressive poems take us
on a memorable journey
through everyday life,
the support of family and
friends, the joy of love,
and the pain of grief and
loss. I was moved by her
work to compose Poems of
Life, an orchestral song
cycle that sets to music
twelve poems from
Wolf'Â’s most recent
volume of poetry,
Otherwise. The poems
weave a narrative of
eternal love, the pain of
loss through death,
emotional transformation
through grief, and
spiritual enlightenment.
Prologue 1. Ethereal 2.
Time Slips Away, Movement
1: 3. Gary Died 4. Just
Like That 5. Watching for
Death 6. Face, Movement
2: 7. Sisters 8. Forever
Gone 9. The Retreat,
Movement 3: 10. The
Dream, Epilogue 11.
Conversation 12.
Epiphany. Orchestra
accompaniment rental
item, soli/ piano score,
and individual cello part
are all available
separately from the
publisher. $64.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Nicola Lefanu: Invisible Places Music Sales
Chamber Ensemble SKU: HL.14018818 Composed by Nicola LeFanu. Music Sales ...(+)
Chamber Ensemble SKU:
HL.14018818 Composed
by Nicola LeFanu. Music
Sales America. Post-1900.
Book [Softcover]. Music
Sales #NOV890193.
Published by Music Sales
(HL.14018818). ISBN
9780853609469. This
piece lasts about 12
minutes, and it plays
continuously, although it
is made up of 16 small
movements. Throughout,
the four string players
form a group: sometimes
the clarinet is caught up
with them, but more often
it is like a person
pursuing an independent
train of thought:
sometimes talking to
itself, sometimes
conversational, sometimes
singing The starting
point for my Quintet was
Italo Calvino's Invisible
Cities: like the book, my
piece is composed from
many small contrasting
ideas that are constantly
transforming, some coming
to the fore as others
recede. This quintet is
dedicated to Hugh
Sargent, who commissioned
it. $18.25 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
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