| Moon & Birds. Four Songs Voice & Pf Stainer and Bell
Medium Voice & Piano SKU: ST.Y291 Composed by Rhian Samuel. Vocal music. ...(+)
Medium Voice & Piano
SKU: ST.Y291
Composed by Rhian Samuel.
Vocal music. Four songs
for medium voice and
piano to poems by Anne
Stevenson and Emily
Dickinson.. Vocal score.
Stainer & Bell Ltd.
#Y291. Published by
Stainer & Bell Ltd.
(ST.Y291). ISBN
9790220223372. CONT
ENTS 1. Blackbird
(Anne Stevenson) (b -
g) 2. The moon is
distant (Emily Dickinson)
(b - g sharp) 3. Bird
in hand (Anne Stevenson)
(e flat - g flat) 4.
On not being able to look
at the moon (Anne
Stevenson) (b - g)
For medium voice and
piano or ensemble of
flute, harp and string
quartet, Moon and
Birds is a
substantial cycle of
songs to words by Anne
Stevenson and Emily
Dickinson. Its sequence
of four settings,
'Blackbird', 'The moon is
distant' (Dickinson),
'Bird in hand' and 'On
not being able to look at
the moon' unfolds a
symmetrical structure of
contrasting yet
interlocking moods in
which the reflective
second and fourth
numbers, lunar visions of
mystic tranquillity
flawed by doubt and pain,
temper with human frailty
the bright epiphanies of
the first and third
songs. There is
a fascinating challenge
here for the performer to
embrace both elation and
gravitas in a single
reading, Samuel's
vigorous musical
invention binding the
developing web of feeling
with its own formal
strengths and subtly
illustrative moments. In
the version for string
quartet, flute and harp,
first performed by
Contemporary Connections
on 4 November 2011 at St
James's Church
Piccadilly, the flute
takes a prominent role
throughout. Violins,
viola and cello at times
elaborate on the simpler
textures of the keyboard
version, though the two
scores remain entirely
compatible. The bluesy
harmonies of the
concluding number,
whether weighted by
sonorous string quartet
or profiled in edgier
piano chords, bring the
cycle to a sombre
conclusion with a proper
sense of an emotional
world traversed. $11.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| The Church Soloist - Eight Sacred Songs Voix moyenne, Piano Novello & Co Ltd.
By Eric Thiman. For Medium Voice, Piano Accompaniment. 20th Century, Religious. ...(+)
By Eric Thiman. For
Medium Voice, Piano
Accompaniment. 20th
Century, Religious. Sheet
Music. Published by
Novello and Co Ltd.
$17.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Richard Hundley: Eight Songs
Piano, Voix [Partition] Boosey and Hawkes
Voice and Piano. By Richard Hundley. Boosey and Hawkes Voice. Softcover. Size 9x...(+)
Voice and Piano. By
Richard Hundley. Boosey
and Hawkes Voice.
Softcover. Size 9x12
inches. 24 pages.
Published by Boosey and
Hawkes.
(1)$18.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Prophesies [Conducteur et Parties séparées] Theodore Presser Co.
Chamber Music Cello, Viola, Violin 1, Violin 2 SKU: PR.114419030 Score...(+)
Chamber Music Cello,
Viola, Violin 1, Violin 2
SKU: PR.114419030
Score and Parts.
Composed by Mohammed
Fairouz. Sws. Score and
parts. With Standard
notation. 68 pages.
Duration 25 minutes.
Theodore Presser Company
#114-41903. Published by
Theodore Presser Company
(PR.114419030). ISBN
9781491114124. UPC:
680160669851. 9 x 12
inches. A
fascination with
polycultural synergy
between diverse literary
textsdrives the
inspiration for much of
Mohammed Fairouz’s
prodigiouscreative
output, including
instrumental music as
well as vocal. Inhis
profound and extensive
essay preceding the
score, Fairouz shedslight
on how Edgar Allen
Poe’s “Israfel”
relates to the
prophetsand prophesies of
the Quran, Old Testament,
and New Testament.The
eight-movement quartet
may be heard as a
dramatic galleryof
portraits and of
story-telling,
flourishing in a
post-traditionallanguage
that is at once
vernacular and spiritual,
Middle Easternand
Western. The complete set
of score and parts is
included in
thispublication. (See
pages 2-3 of score for
clear distinction of
paragraphs,
etc.)Prophesies, by
Mohammed FairouzEdgar
Allen Poe’s rendition
of Israfel was the point
of departure for the
final movement of my
previous stringquartet
which is titled The Named
Angels. At the opening of
his poem, Poe evokes the
Quran:“And the angel
Israfel, whose
heartstrings are a lute,
and who has the sweetest
voice of all God’s
creatures.”This informs
the first lines of the
poem that, in turn, gave
me the title for the
final movement of The
Named
Angels,“Israfel’s
Spell”:In Heaven a
spirit doth dwell“Whose
heartstrings are a
lute”None sing so
wildly wellAs the angel
Israfel,And the giddy
stars (so legends
tell),Ceasing their
hymns, attend the spellOf
his voice, all mute.It is
the end of that poem,
however, that is the
starting point for the
current quartet,
Prophesies, which
concernsitself with
mortal prophets rather
than eternal Angelic
spirits.If I could
dwellWhere IsrafelHath
dwelt, and he where I,He
might not sing so wildly
wellA mortal melody,While
a bolder note than this
might swellFrom my lyre
within the sky.Islamic
thought has asked us to
look at the example of
the prophets. That’s
significant because of
the fact thatJoseph and
all the prophets were
human beings with the
flaws of human beings. No
prophet was perfect,
andIslamic tradition has
never asked its followers
to aspire to the example
of the Angels, the
perfected ones. Instead
weare given the gift of
our prophets. While The
Named Angels drew on the
motion and energy of
everlasting
spirits,Prophesies is a
depiction of the
movements within our own
mortal coil.This quartet
is a continuation of a
long tradition of Muslim
artists telling their
stories and singing their
songs.Many of these
renditions are, in fact,
figurative and (contrary
to popular belief) the
Quran contains no
“Islamicedict”
prohibiting figurative
renditions of the figures
described in the Old
Testament, New Testament,
or Quran.The majority of
artists, however, have
preferred eternal and
abstract forms such as
words and their
calligraphicrepresentatio
ns, poems (Yusuf and
Zuleikha or the
Conference of Birds come
immediately to mind),
architecture,and many
other non-figurative art
forms to the
representation of man.
These cold, ancient, and
everlasting shapesof
unending time flourished,
and the divine infinity
of representing geometric
forms gained favor over
the placementof the
explicit representation
of mankind and our own
likeness at the center of
the universes.Adding the
string quartet to these
forms which express the
recursive spheres of
heavens and earth
abstractly shouldexplain
why I have chosen to
render higher things
through the use of music
without the addition of
words or anyother
art-form. It is the
abstract art of pure
form, in which all is
form and all is content,
which compels me.
Thisquartet should be
seen as no more
programmatic than the
arches of the Great
Mosque at Cordoba.The
first movement, Yāqub
(Jacob), is slow, quiet
and prayerful. It evokes
the patient sorrow of a
slow choraledeveloping
over time as it coaxes
our pulse out of the
ticking of a clock-like
meter that defines our
day-to-day livesand into
a divine eternity.The
second, Saleh, imagines
the spirit of that
desert-prophet through
the use of a Liwa; the
dance-sequence that
hasbeen such a prevalent
form of expression in the
Arabian Peninsula for
much of our recorded
history.The third
movement is titled
Dawoōd, and it is
emblematic of the beloved
Prophet, King, and
Psalmist, David.Though it
has no lyrics, the
movement functions as a
dabkeh (an ancient dance
native to the Levant) and
also “sets”the
opening of Psalm 100
(Make a joyful noise unto
the Lord, all ye lands).
This line is never set to
music or sung inthe
quartet but is evoked
through the rhythmic
shape of the violin part
which imitates the
phonology and rhythmof my
speaking the opening line
in the Hebrew and
develops the contours of
that line incessantly
throughout
themovement.3The fourth
movement is an ode to
Yousef (Joseph) and
relates to the first
movement in tempo and
tone just as
Josephrelates to Jacob,
his father. Together, the
first and fourth
movements provide a sort
of Lamentation and
relief.Joseph had the
appearance of a noble
angel, but he was very
much a human being. And
the story of this
particularprophet had
tragic beginnings many
years before he found
himself in a position of
power in Egypt. Back in
his youth,still among the
Israelites, Joseph
experienced a series of
revelations through his
dreams that spoke of his
impendingcareer in
prophecy. He confided his
dreams to his father, the
Prophet Jacob, who told
his son of the greatness
thatawaited him in his
future only to have his
brothers throw him into a
well and leave him for
dead. Joseph
eventuallyfound his way
from Israel to Egypt and
rose out of slavery into
a position of power.
Meanwhile, famine engulfs
Israel.Forty years pass,
and back in the land of
Jacob and Rachel, of
Joseph’s brothers and
Abraham’s tribe, Israel
wasnot spared the effects
of the famine. They
sorely lacked Joseph’s
prophecy and his vision.
The Qur’an then tells
usthat Jacob, sensing
Joseph, sends the other
brothers to Egypt
instructing them to come
back with food and
grain.Arriving in Egypt,
they unwittingly appear
before Joseph. They
don’t recognize their
little brother who has
risen toa position of
might, dressed in his
Egyptian regalia. They
ask for the food and the
grain.After some
conversation, Joseph is
no longer able to contain
his emotion. Overcome, he
reveals himself to his
nowterrified brothers. He
embraces them. He asks
them eagerly, “How is
our father?” Joseph
gives them the gift of
thefood and the grain
that they came in search
of. He relieves them from
hunger and alleviates
their fear. He sendsthem
back with proof that he
is alive, and it is this
joyful proof from the
miraculous hands of a
prophet that bringsback
the ancient Jacob’s
vision after 40 years of
blindness.In this story,
I am struck by the fact
that Joseph may not have
made the decision to
forgive his brothers on
thespot, but that
something inside the
prophet’s soul found
forgiveness and peace for
the brothers who had so
gravelywronged him at
some point along his
journey. I would suspect
this point to have been
present at Joseph’s
inception,even before he
had ever been
wronged.This is proof, if
we needed it, that
Joseph’s angel-like
beauty was not only
physical and external,
but also internalas well:
Joseph possessed a
profound loveliness of
spirit that bound his
appearance and his soul.
In Joseph, formand soul
are one.Time is to
musicians what light is
to a painter. In this
way, the story of Joseph
also shows us that time
can affectour perception
of even the most tragic
wounds. In fact, the most
common Arabic word for
“human being” is
insaan,which shares its
roots with the word
insaa, “to forget.”
While our ability to
remember is essential to
how we learnabout
ourselves, our capacity
to “forgive and
forget” may also be one
of our great gifts as
human beings.The fifth
movement follows my ode
to Joseph with a
structural memory of
Mūsa (Moses). The
movement consistsentirely
of descending motifs
which I constructed as an
indication of Moses’
descending movement as he
emergedto his people from
the heights of Mt. Sinai.
The music is constructed
in five phrases which
function as a
formalreference to the
five books of Moses, the
Pentateuch. The movement
is placed as the fifth of
the quartet for the
samereason.While Joseph
is always evoked as
supremely beautiful in
the Books of Judaism,
Christianity, and Islam,
Suleiman(Solomon) is
described as surpassing
in his quicksilver
intelligence. This
movement is composed of a
seven-partriddle which
passes by in an instant
but can be caught by the
attentive listener. From
Solomon, we work our
wayback to Yishak (Isaac)
in a seventh movement
that evokes Isaac’s
literal meaning in Arabic
and Hebrew: laughter.The
eighth and final movement
of this quartet is named
for the Patriarch of the
entire Book: Ibrahim
(Abraham). Itrelates to
Isaac just as Joseph
relates to Jacob; they
are father and son. The
lines are prayerful and
contemplative;the form of
the music evolves from a
fugue joining together
many different forms of
prayer into a single
tapestry ofcounterpoint,
to the cyclical form of
this entire quartet which
is rendered through the
motion of pilgrims
circling theKaaba (cube)
in Mecca — a structure
which was built by
Abraham for Hagaar and
their son Ismail.These
are just some of the
figures that are
cherished by all three of
the Middle Eastern
monotheisms
(Judaism,Christianity,
and Islam) that the
Qur’an refers to
collectively as Ahl
Al-Kitab. This Arabic
phrase is most
commonlytranslated as
“The People of the
Book,” but here the
most common translation
is a flawed one: the
Arabic word“ahl”
means “family” and
not just “people.” A
better translation would
be “Family of the
Book.” Each of the
eightmovements of
Prophesies grows from a
single musical cell.This
quartet is a family
album.—Mohammed Fairouz
(2018. $45.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Eight Original Jazz Duos for 2 Saxophones 2 Saxophones (duo) Advance Music
2 Saxophones SKU: AP.1-ADV7025 Composed by Mike Curtis. Duet or Duo; Solo...(+)
2 Saxophones SKU:
AP.1-ADV7025 Composed
by Mike Curtis. Duet or
Duo; Solo Small
Ensembles; Woodwind -
Saxophone Duet. Advance
Music. Jazz. Book.
Advance Music
#01-ADV7025. Published by
Advance Music
(AP.1-ADV7025). UPC:
805095070255.
English. A
collection of
well-crafted original
compositions with
underlying jazz roots and
a down-home bluesy feel.
These duos would also
work well on a recital
program, alone or
combined as a suite.
Titles: Byard's Bounce *
Wistful * Contuberance *
That Dang Thang *
Huntington Park *
Birdseed * Spring Chicken
Fever * The Follish
Fool. $14.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Eight Original Jazz Duos for 2 Clarinets 2 Clarinettes (duo) Advance Music
2 Clarinets SKU: AP.1-ADV8301 Composed by Mike Curtis. Duet or Duo; Solo ...(+)
2 Clarinets SKU:
AP.1-ADV8301 Composed
by Mike Curtis. Duet or
Duo; Solo Small
Ensembles; Woodwind -
Clarinet Duet. Advance
Music. Jazz. Book.
Advance Music
#01-ADV8301. Published by
Advance Music
(AP.1-ADV8301). UPC:
805095083019.
English. A
collection of
well-crafted original
compositions with
underlying jazz roots and
a down-home bluesy feel.
These duos would also
work well on a recital
program, alone or
combined as a suite.
Titles: Byard's Bounce *
Wistful * Contuberance *
That Dang Thang *
Huntington Park *
Birdseed * Spring Chicken
Fever * The Foolish Fool
* About Mike Curtis. $14.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Ultimate Ukulele Fake Book Ukulele [Fake Book] Hal Leonard
Over 400 Songs to Strum and Sing. Composed by Various. Ukulele. Folk, Standard...(+)
Over 400 Songs to Strum
and
Sing. Composed by
Various.
Ukulele. Folk, Standards.
Softcover. 632 pages.
Published by Hal Leonard
$45.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Ultimate Ukulele Fake Book - Small Edition Ukulele [Fake Book] Hal Leonard
Over 400 Songs to Strum and Sing. By Various. Ukulele. Pop. Softcover. 632 pag...(+)
Over 400 Songs to Strum
and
Sing. By Various.
Ukulele.
Pop. Softcover. 632
pages.
Published by Hal Leonard
$39.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Eternal Summer (A Second Book of Songs) Piano, Voix Forsyth Publications
Voice and Piano - Intermediate-Advanced SKU: FP.FWS11 Composed by Stephen...(+)
Voice and Piano -
Intermediate-Advanced
SKU: FP.FWS11
Composed by Stephen
Wilkinson. Sheet Music
and Books. A second
volume of collected songs
for voice and piano by
acclaimed choral
conductor and arranger
Stephen Wilkinson.
Classical. Vocal
Collection. Forsyths
Publications #FWS11.
Published by Forsyths
Publications (FP.FWS11).
ISBN
9790570503995. Eter
nal Summer is Stephen
Wilkinson's sequel to
Sunlight on the Garden.
It features songs written
in the composer's
eighties and nineties,
elegantly set by recorder
virtuoso John Turner. As
simply put in a review in
the Yorkshire Post, 'In
the field of choral
music, Stephen Wilkinson
is a genius'. $20.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Rise Again Songbook Paroles et Accords Hal Leonard
(Words and Chords to Nearly 1200 Songs 9x12 Spiral Bound). Edited by Annie Patte...(+)
(Words and Chords to
Nearly 1200 Songs 9x12
Spiral Bound). Edited by
Annie Patterson and Peter
Blood. For Vocal. Vocal.
Softcover. 304 pages.
Published by Hal Leonard
$39.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Buskers Fake Book All Time Hit Piano seul Music Sales
| | |
| Rise Again Songbook Hal Leonard
(Words and Chords to Nearly 1200 Songs Spiral-Bound). Edited by Annie Patterson ...(+)
(Words and Chords to
Nearly 1200 Songs
Spiral-Bound). Edited by
Annie Patterson and Peter
Blood. For Vocal. Vocal.
Softcover. 304 pages.
Published by Hal Leonard
$34.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| On Wings of Flight - Facile Carl Fischer
Band Bass Clarinet, Bass Drum, Bass Trombone, Bassoon, Bells, Clarinet 1, Clarin...(+)
Band Bass Clarinet, Bass
Drum, Bass Trombone,
Bassoon, Bells, Clarinet
1, Clarinet 2, Crash
Cymbals, Euphonium,
Euphonium T.C., Flute 1,
Flute 2, Horn 1, Horn 2,
Mallet Percussion, Oboe,
Percussion 1, Percussion
2, Percussion 3, Piccolo,
Snare Drum and more. -
Grade 3 SKU:
CF.CPS244 Composed by
Michael Boo. Folio. Cps.
Set of Score and Parts.
1+8+8+4+8+8+2+2+4+4+2+2+8
+8+4+4+6+6+3+2+1+2+1+1+1+
4+4+2+20 pages. Duration
3 minutes, 16 seconds.
Carl Fischer Music
#CPS244. Published by
Carl Fischer Music
(CF.CPS244). ISBN
9781491157985. UPC:
680160916580. 9 x 12
inches. On Wings of
Flight is a jubilant,
short overture that is
meant to convey the
wonder of soaring high
above the ground.
Programmatically, it can
represent either the
flight of birds or
aircraft. Donat be
concerned if you donat
have some of the lower
voice color instruments
such as bass clarinet,
baritone saxophone,
and/or bassoon. Those
instruments are doubled
in the low brass. Bass
trombone isnat essential
as it doubles tuba, but a
lack or scarcity of bass
trombone and/or tuba
isnat critical if you do
have those other low
woodwinds. The repetitive
eighth-note accents
should be lighter than
normal so the ongoing
effect is more propulsive
than heavy. Keep those
eighth-note patterns
locked into the tempo so
the band refrains from
unwittingly accelerating.
Think of the legato
accented notes as
slightly separated as
opposed to being slurred.
When the accented whole
notes surrounded by rests
are played, be sure they
are held out for a full
four counts. Save the
crescendo for m. 19 and
quickly drop back down in
volume at m. 21. At m.
31, the whole notes do
not crescendo to the same
ff volume as the melody.
Those parts are to save
their crescendo for m.
35. Pay attention to the
instruments that do not
diminuendo at m. 39. In
the slower section after
m. 41, be careful that
the diminuendos on the
half notes donat sag in
pitch as the notes get
softer. Trumpets and
horns at m. 49 must not
play their notes as
accents. Give particular
attention to the
diminuendos in the melody
at m. 56, so that they
fade out as the volume of
the other instruments
grows. The accented notes
at mm. 85 and 86 should
each be heard through the
volume of the rest of the
instruments, so that the
addition of each pitch is
adequately heard. If you
wish, you may place more
emphasis on the accents
in the last two measures
of the piece than you did
earlier throughout the
piece. On Wings of
Flight is a jubilant,
short overture that is
meant to convey the
wonder of soaring high
above the ground.
Programmatically, it can
represent either the
flight of birds or
aircraft. Don't be
concerned if you don't
have some of the lower
voice color instruments
such as bass clarinet,
baritone saxophone,
and/or bassoon. Those
instruments are doubled
in the low brass. Bass
trombone isn't essential
as it doubles tuba, but a
lack or scarcity of bass
trombone and/or tuba
isn't critical if you do
have those other low
woodwinds. The repetitive
eighth-note accents
should be lighter than
normal so the ongoing
effect is more propulsive
than heavy. Keep those
eighth-note patterns
locked into the tempo so
the band refrains from
unwittingly accelerating.
Think of the legato
accented notes as
slightly separated as
opposed to being slurred.
When the accented whole
notes surrounded by rests
are played, be sure they
are held out for a full
four counts. Save the
crescendo for m. 19 and
quickly drop back down in
volume at m. 21. At m.
31, the whole notes do
not crescendo to the same
ff volume as the melody.
Those parts are to save
their crescendo for m.
35. Pay attention to the
instruments that do not
diminuendo at m. 39. In
the slower section after
m. 41, be careful that
the diminuendos on the
half notes don't sag in
pitch as the notes get
softer. Trumpets and
horns at m. 49 must not
play their notes as
accents. Give particular
attention to the
diminuendos in the melody
at m. 56, so that they
fade out as the volume of
the other instruments
grows. The accented notes
at mm. 85 and 86 should
each be heard through the
volume of the rest of the
instruments, so that the
addition of each pitch is
adequately heard. If you
wish, you may place more
emphasis on the accents
in the last two measures
of the piece than you did
earlier throughout the
piece. On Wings of
Flight is a jubilant,
short overture that is
meant to convey the
wonder of soaring high
above the ground.
Programmatically, it can
represent either the
flight of birds or
aircraft.Don’t be
concerned if you
don’t have some of
the lower voice color
instruments such as bass
clarinet, baritone
saxophone, and/or
bassoon. Those
instruments are doubled
in the low brass. Bass
trombone isn’t
essential as it doubles
tuba, but a lack or
scarcity of bass trombone
and/or tuba isn’t
critical if you do have
those other low
woodwinds.The repetitive
eighth-note accents
should be lighter than
normal so the ongoing
effect is more propulsive
than heavy. Keep those
eighth-note patterns
locked into the tempo so
the band refrains from
unwittingly accelerating.
Think of the legato
accented notes as
slightly separated as
opposed to being
slurred.When the accented
whole notes surrounded by
rests are played, be sure
they are held out for a
full four counts. Save
the crescendo for m. 19
and quickly drop back
down in volume at m. 21.
At m. 31, the whole notes
do not crescendo to the
same ff volume as the
melody. Those parts are
to save their crescendo
for m. 35. Pay attention
to the instruments that
do not diminuendo at m.
39.In the slower section
after m. 41, be careful
that the diminuendos on
the half notes
don’t sag in pitch
as the notes get softer.
Trumpets and horns at m.
49 must not play their
notes as accents. Give
particular attention to
the diminuendos in the
melody at m. 56, so that
they fade out as the
volume of the other
instruments grows.The
accented notes at mm. 85
and 86 should each be
heard through the volume
of the rest of the
instruments, so that the
addition of each pitch is
adequately heard. If you
wish, you may place more
emphasis on the accents
in the last two measures
of the piece than you did
earlier throughout the
piece. $85.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| On Wings of Flight [Conducteur] - Facile Carl Fischer
Band Bass Clarinet, Bass Drum, Bass Trombone, Bassoon, Bells, Clarinet 1, Clarin...(+)
Band Bass Clarinet, Bass
Drum, Bass Trombone,
Bassoon, Bells, Clarinet
1, Clarinet 2, Crash
Cymbals, Euphonium,
Euphonium T.C., Flute 1,
Flute 2, Horn 1, Horn 2,
Mallet Percussion, Oboe,
Percussion 1, Percussion
2, Percussion 3, Piccolo,
Snare Drum and more. -
Grade 3 SKU:
CF.CPS244F Composed
by Michael Boo. Sws. Cps.
Full score. 20 pages.
Duration 3 minutes, 16
seconds. Carl Fischer
Music #CPS244F. Published
by Carl Fischer Music
(CF.CPS244F). ISBN
9781491157992. UPC:
680160916597. 9 x 12
inches. On Wings of
Flight is a jubilant,
short overture that is
meant to convey the
wonder of soaring high
above the ground.
Programmatically, it can
represent either the
flight of birds or
aircraft. Donat be
concerned if you donat
have some of the lower
voice color instruments
such as bass clarinet,
baritone saxophone,
and/or bassoon. Those
instruments are doubled
in the low brass. Bass
trombone isnat essential
as it doubles tuba, but a
lack or scarcity of bass
trombone and/or tuba
isnat critical if you do
have those other low
woodwinds. The repetitive
eighth-note accents
should be lighter than
normal so the ongoing
effect is more propulsive
than heavy. Keep those
eighth-note patterns
locked into the tempo so
the band refrains from
unwittingly accelerating.
Think of the legato
accented notes as
slightly separated as
opposed to being slurred.
When the accented whole
notes surrounded by rests
are played, be sure they
are held out for a full
four counts. Save the
crescendo for m. 19 and
quickly drop back down in
volume at m. 21. At m.
31, the whole notes do
not crescendo to the same
ff volume as the melody.
Those parts are to save
their crescendo for m.
35. Pay attention to the
instruments that do not
diminuendo at m. 39. In
the slower section after
m. 41, be careful that
the diminuendos on the
half notes donat sag in
pitch as the notes get
softer. Trumpets and
horns at m. 49 must not
play their notes as
accents. Give particular
attention to the
diminuendos in the melody
at m. 56, so that they
fade out as the volume of
the other instruments
grows. The accented notes
at mm. 85 and 86 should
each be heard through the
volume of the rest of the
instruments, so that the
addition of each pitch is
adequately heard. If you
wish, you may place more
emphasis on the accents
in the last two measures
of the piece than you did
earlier throughout the
piece. On Wings of
Flight is a jubilant,
short overture that is
meant to convey the
wonder of soaring high
above the ground.
Programmatically, it can
represent either the
flight of birds or
aircraft. Don't be
concerned if you don't
have some of the lower
voice color instruments
such as bass clarinet,
baritone saxophone,
and/or bassoon. Those
instruments are doubled
in the low brass. Bass
trombone isn't essential
as it doubles tuba, but a
lack or scarcity of bass
trombone and/or tuba
isn't critical if you do
have those other low
woodwinds. The repetitive
eighth-note accents
should be lighter than
normal so the ongoing
effect is more propulsive
than heavy. Keep those
eighth-note patterns
locked into the tempo so
the band refrains from
unwittingly accelerating.
Think of the legato
accented notes as
slightly separated as
opposed to being slurred.
When the accented whole
notes surrounded by rests
are played, be sure they
are held out for a full
four counts. Save the
crescendo for m. 19 and
quickly drop back down in
volume at m. 21. At m.
31, the whole notes do
not crescendo to the same
ff volume as the melody.
Those parts are to save
their crescendo for m.
35. Pay attention to the
instruments that do not
diminuendo at m. 39. In
the slower section after
m. 41, be careful that
the diminuendos on the
half notes don't sag in
pitch as the notes get
softer. Trumpets and
horns at m. 49 must not
play their notes as
accents. Give particular
attention to the
diminuendos in the melody
at m. 56, so that they
fade out as the volume of
the other instruments
grows. The accented notes
at mm. 85 and 86 should
each be heard through the
volume of the rest of the
instruments, so that the
addition of each pitch is
adequately heard. If you
wish, you may place more
emphasis on the accents
in the last two measures
of the piece than you did
earlier throughout the
piece. On Wings of
Flight is a jubilant,
short overture that is
meant to convey the
wonder of soaring high
above the ground.
Programmatically, it can
represent either the
flight of birds or
aircraft.Don’t be
concerned if you
don’t have some of
the lower voice color
instruments such as bass
clarinet, baritone
saxophone, and/or
bassoon. Those
instruments are doubled
in the low brass. Bass
trombone isn’t
essential as it doubles
tuba, but a lack or
scarcity of bass trombone
and/or tuba isn’t
critical if you do have
those other low
woodwinds.The repetitive
eighth-note accents
should be lighter than
normal so the ongoing
effect is more propulsive
than heavy. Keep those
eighth-note patterns
locked into the tempo so
the band refrains from
unwittingly accelerating.
Think of the legato
accented notes as
slightly separated as
opposed to being
slurred.When the accented
whole notes surrounded by
rests are played, be sure
they are held out for a
full four counts. Save
the crescendo for m. 19
and quickly drop back
down in volume at m. 21.
At m. 31, the whole notes
do not crescendo to the
same ff volume as the
melody. Those parts are
to save their crescendo
for m. 35. Pay attention
to the instruments that
do not diminuendo at m.
39.In the slower section
after m. 41, be careful
that the diminuendos on
the half notes
don’t sag in pitch
as the notes get softer.
Trumpets and horns at m.
49 must not play their
notes as accents. Give
particular attention to
the diminuendos in the
melody at m. 56, so that
they fade out as the
volume of the other
instruments grows.The
accented notes at mm. 85
and 86 should each be
heard through the volume
of the rest of the
instruments, so that the
addition of each pitch is
adequately heard. If you
wish, you may place more
emphasis on the accents
in the last two measures
of the piece than you did
earlier throughout the
piece. $14.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Big Book Of Dance Songs Music Sales
| | |
| Night Time Impressions Piano seul - Intermédiaire Forsyth Publications
Piano Solo - Easy-Intermediate SKU: FP.FBS02 Composed by Sarah Baker. She...(+)
Piano Solo -
Easy-Intermediate SKU:
FP.FBS02 Composed by
Sarah Baker. Sheet Music
and Books. Eight pieces
on a night theme for solo
piano, by Sarah Baker.
Suggested grade 4-5.
Classical. Collection.
Forsyths Publications
#FBS02. Published by
Forsyths Publications
(FP.FBS02). ISBN
9790570500192. Sara
h Baker is Vocal Composer
in Residence at Education
Music Services, an ABRSM
examiner and a well known
composer of songs and
musicals for primary
schools and massed-choral
events.
All this
experience has come
together in the creation
of this first published
album of piano pieces,
inspired by the sounds
heard at night from the
woodland just beyond
Sarah’s childhood
home.
Suitable for
players of around grade
4-5 standard, her
evocative sound pieces
begin at the tranquillity
of dusk and end with the
exuberant dawn
chorus.
The
composer
writes:
'I grew up
with woods behind my
house, and the nocturnal
noises and images that I
remember were the
inspiration for these
eight short sound
pictures on the theme of
night. The music moves
first from the
tranquility of dusk and
evening mists, to the
emerging starlight of
twilight. As night falls
it takes on on a darker
quality with shadows and
dreams disturbing peace
and calm.The night birds
and bats swoop and flit
past as they seek their
prey, but gradually dawn
approaches and peaceful
sleep is restored. The
morning is heralded in
the joyful exuberance of
the dawn chorus.'. $12.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Prairie Light Theodore Presser Co.
Dan Welcher’s most enduringly and frequently played orchestral work, Prai...(+)
Dan Welcher’s most
enduringly and frequently
played orchestral work,
Prairie Light is a
fascinating musical
companion to three of
Georgia
O’Keeffe’s
most unusual paintings,
Light Coming on the
Plains, Canyon with
Crows, and Starlight
Night. This work is ideal
for performances using
visual projections of the
paintings, and is
frequently programmed for
subscription concerts as
well as those for
educational settings.
Duration: 14’
Parts available on
rental. This work for
full orchestra was
inspired by three
paintings of the noted
Americanartist Georgia
O’Keeffe. These
three watercolors were
done in 1917 while the
artist was living in
Canyon, Texas (near
Amarillo), and deal
primarily with color and
shape. Consequently, the
music is primarily
concerned with broad
lines and shapes rather
than rhythms, with subtle
washes of color rather
than constant harmonic
movement, and with
arching melody instead of
linear counterpoint.The
first movement, Light
Coming on the Plains, is
an elliptical-shaped
painting, deep blue to
indigo with a
“horizon†at
the bottom that seems
flat and unchanging. The
sun hasn’t risen
yet, although it does in
the course of this
movement, but it seems
instead to be providing
light from behind the
canvas. The music is
unmoving in terms of
rhythm or harmony
(although there is a
modulation midway
through), a color-infused
mantra of sound that is
almost Eastern.At the
height of the sun, we
proceed to the second
movement, entitled Canyon
with Crows. The canyon is
red-orange, with black
crows circling above
friendly unfolding hills.
The music is gentle but
lively and more rhythmic,
with the birds
represented by solo oboe,
clarinet, and sometimes
flute. Halfway through,
the brass have a chorale
version of the opening
motive, played very
slowly, over the unending
triplets of woodwinds and
strings. At the end of
the movement, the
birds return for a
duo-cadenza, accompanied
by the dying rays of the
sun in muted strings and
the ongoing triplets of
the solo quartet.The
stage is set for the
final movement, Starlight
Night. In
O’Keeffe’s
painting, the stars are
represented by
regularly-spaced
rectangles of bright pale
yellow on a blue-black
sky, with the same shape
to the field of vision
and the horizon that is
found in Light Coming on
the Plains. The stars
become audible: harp,
celesta, glockenspiel,
and string pizzicati all
lend a sparkle while a
solo flute introduces a
slowly unfolding theme.
After this theme has been
heard twice and the sky
has begun to really
brighten, there is a
sudden interruption: a
xylophone and a piano
begin another
“mantra†in
brittle staccato chords.
This is the same
mechanical eternity as
O’Keeffe’s
regularly-spaced square
stars, and it continues
on its own as the night
progresses. The music
builds and grows as the
moon rises and arcs, then
falls as the pre-dawn
light that opened the
work returns to bring it
to a close. Acycle of
light, changing with the
movements of sun, moon,
and stars, appearing
differently from various
points of view
$50.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Daily Ukulele - Baritone Edition Ukulele Baryton Hal Leonard
Arranged by Jim Beloff and Liz Beloff. For Baritone Ukulele. Fake Book. Softcove...(+)
Arranged by Jim Beloff
and Liz Beloff. For
Baritone Ukulele. Fake
Book. Softcover. 336
pages. Published by Hal
Leonard
$49.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Mysterium GIA Publications
SKU: GI.G-1085 Composed by Chris De Silva. Sacred. GIA Publications #1085...(+)
SKU: GI.G-1085
Composed by Chris De
Silva. Sacred. GIA
Publications #1085.
Published by GIA
Publications (GI.G-1085).
UPC:
785147008521. A
glorious choral Christmas
collection of music from
around the world! Through
Chris de Silva’s
incredible choral writing
and inspired instrumental
scoring, the themes of
Christmas are exquisitely
retold – those of
light, darkness,
shepherds, angels,
heaven, earth, fear,
wonder, peace, joy,
silence and sound.
Chris’s formal,
classical composition
training shines through
on each piece. From the
joyfully powerful
“Singing, We Come
Singing†to the
regal “The Child Is
Born in Bethlehemâ€
and the dance-like
“Shepherds on to
Bethlehem,†each of
these eight pieces work
beautifully as
stand-alone choices for
your choir’s
Christmas celebrations.
Together, the pieces
would work well as part
of a well-rounded lessons
and carols service. For
choral music lovers, the
Mysterium recording will
become one of your
seasonal favorites!
CONTENTS: Singing, We
Come Singing • Holy
Night, Blessed Night
• Away in a Manger
• The Child Is Born
in Bethlehem •
Shepherds on to Bethlehem
• Carol of the
Birds • Jul,
Jul • Of the
Father’s Love
• Away in a Manger
(reprise). $16.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Every 100 Years - The Woody Guthrie Centennial Songbook Ligne De Mélodie, Paroles et Accords [Partition] TRO - The Richmond Organization
(100 Years - 100 Songs). By Woody Guthrie. For Melody/Lyrics/Chords. Richmond Mu...(+)
(100 Years - 100 Songs).
By Woody Guthrie. For
Melody/Lyrics/Chords.
Richmond Music .
Softcover. 128 pages.
Published by TRO - The
Richmond Organization
$24.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Hymn for Africa Orchestre d'harmonie [Conducteur] - Facile G and M Brand Music Publishers
Concert band (Flute 1, Flute 2/Piccolo, Oboe, Bb Clarinet 1, Bb Clarinet 2, Bb C...(+)
Concert band (Flute 1,
Flute 2/Piccolo, Oboe, Bb
Clarinet 1, Bb Clarinet
2, Bb Clarinet 3, Bb Bass
Clarinet, Bassoon, Alto
Saxophone 1/2, Tenor
Saxophone, Baritone
Saxophone, Bb Trumpet 1,
Bb Trumpet 2, Bb Trumpet
3, Horn in F 1/2, Horn in
F 3/4, Trombone 1/2,
Trombone) - grade 3
SKU: CN.S11293
Composed by Peter
Meechan. Score only.
Duration 4:15. Published
by G & M Brand Music
Publishers (CN.S11293).
Inspired by the
release of Nelson Mandela
in the early 1990s, Hymn
for Africa pays tribute
to the sense of dignity
and peace that he brought
not only to South Africa,
but around the entire
globe. As the beautifully
lush chorale unfolds,
quietly undulating drums
murmur in the distance
and gradually build into
a rousing
climax.
Hymn for
Africa was written as
part of a project known
as Brass Band Aid. When I
was asked to compose a
piece with relevance to
Africa for the project, I
began to think of all the
things that I associate
with Africa. I have vivid
memories from my
childhood of the
hard-hitting news reports
from the famines of the
early/mid 1980's (and the
concerts that followed).
I also associate Africa
with amazing animal life
- the many species from
snakes to birds to lions,
with their many colours.
But more than these
associations, there is
one memory that stands
out amongst all others.
The release of Nelson
Mandela in the early
1990's had a profound
effect not only in South
Africa, but all over the
continent of Africa, as
well as the World as a
whole. The fact that one
man can achieve this with
peace and great dignity
will always be an
inspiration, not only to
me, but many, many
millions of humans around
the globe. Hymn for
Africa is inspired by
this sense of dignity and
peace. A simple eight bar
melody is the basis of
the composition. A drone
is then added, before a
chorale, and finally a
rousing climax when the
percussion and full band
enter. The piece
dedicated to Bob and
Briony Thompson in
admiration. $14.00 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| New Christmas Fake Book - C Edition Fake book [Fake Book] - Intermédiaire Alfred Publishing
Fake book for voice and C instrument. With vocal melody, lyrics and chord names....(+)
Fake book for voice and C
instrument. With vocal
melody, lyrics and chord
names. 115 pages.
Published by Alfred
Publishing.
(1)$12.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Essential Elements Ukulele Method - Book 2 Ukulele [Partition + Accès audio] Hal Leonard
For Ukulele. Essential Elements Ukulele. Softcover Audio Online. Published by Ha...(+)
For Ukulele. Essential
Elements Ukulele.
Softcover Audio Online.
Published by Hal Leonard
$14.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Twelve Jazzy Days of Christmas for Flute Choir Ensemble de Flûtes Hal Leonard
Composed by Sonny Burnette. Set (Score and Parts). Composed 2018. Hal Leonard Eu...(+)
Composed by Sonny
Burnette. Set (Score and
Parts). Composed 2018.
Hal Leonard Europe
#ALRYPCMP118. Published
by Hal Leonard Europe
$27.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| The Real Book Of Jazz Piano seul Music Sales
| | |
| The Daily Ukulele
Ukulele [Partition] Hal Leonard
(365 Songs for Better Living). Arranged by Jim Beloff and Liz Beloff. Ukulele. S...(+)
(365 Songs for Better
Living). Arranged by Jim
Beloff and Liz Beloff.
Ukulele. Softcover. 336
pages. Published by Hal
Leonard
(5)$44.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
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