Choir SKU: WD.080689399237 Composed by Cliff Duren. Arranged by Cliff Dur...(+)
Choir
SKU:
WD.080689399237
Composed by Cliff Duren.
Arranged by Cliff Duren.
Choral. Sacred Anthem,
Eastertide, General.
Octavo. Word Music
#080689399237. Published
by Word Music
(WD.080689399237).
UPC:
080689399237.
The
beginning notes of this
anthem evoke a mournful
ache felt when Jesus was
crucified. As the choir
sings the lyrics of
Finally Gone, we
realize they
aren’t singing
that Jesus is gone but
that with His blood and
by His grace, the chains
of fear and the
curse’s hold are
Finally Gone! The
Accompaniment DVD is the
perfect complement to
pair with this music for
your worship
service.
For Guitar. 1-2-3 Fingerstyle Guitar is designed for intermediate to advanced fl...(+)
For Guitar. 1-2-3
Fingerstyle Guitar is
designed for intermediate
to advanced flat-pick
players who are ready to
throw down that pick for
a while to finally get a
handle on fingerstyle.
That's the secret
ingredient of this study
program -- its a
beginning fingerstyle.
DVD. Published by eMedia
Music
Composed by Doris Gazda.
Edited by Amy Rosen.
FS-SWs. Carl Fischer
Concert String Orchestra
Series. Score and Parts.
With Standard notation.
20+24+24+6+15+15+15
pages. Carl Fischer Music
#CAS7. Published by Carl
Fischer Music (CF.CAS7).
ISBN 9780825847578.
UPC: 798408047573. 8.5 X
11 inches. Key: D
major.
When you
have the good fortune to
visit Red Rock country in
the southwestern United
States, you will all at
once feel that majesty
and beauty in the
towering red landscape.
You can trek, bike,
paddle, ride horseback or
drive through the
canyons, past the
strangely shaped rocks
and over the enormous
boulders. Each time you
turn a corner you will be
dazzled by yet another
magnificent vista. The
Red Rock areas in Utah,
Nevada, Arizona and New
Mexico formed millions of
years ago when that part
of North America was
primarily under water.
The water left behind the
shells and skeletons of
sea creatures that
gradually turned into
limestone and similar
rocks. Beginning 225
million years ago, the
earth's crust began to
move and the seabed
slowly rose. Streams
entering the shallow
water deposited mud and
sand that turned into
shale and marine
sandstone. As the land
continued to rise and dry
out, some of the rocks
oxidized (combined with
oxygen) and turned red in
color. Subsequently the
area was covered with
sands that eventually
compressed into what is
called Aztec sandstone.
Sometimes, when iron was
concentrated in the rock,
the sandstone turned a
bright red color.
Following the
introduction, the music
in Red Rock Rag takes on
a typical ragtime melody
and rhythm. It then
transitions by changing
key, time signature and
the structure into a
swing waltz. At m. 60, it
moves into a combined
time signature of one
measure of 3/4 time and
two measures of 2/4 time
with an occasional lick
in the bass line.
Finally, it moves back
into the swing-waltz
style and finishes with
the original ragtime
melody. Red Rock Rag
is challenging
stylistically and
rhythmically. It would be
appropriate to study both
the ragtime and swing
styles while working on
it. When you have the
good fortune to visit Red
Rock country in the
southwestern United
States, you will all at
once feel that majesty
and beauty in the
towering red landscape.
You can trek, bike,
paddle, ride horseback or
drive through the
canyons, past the
strangely shaped rocks
and over the enormous
boulders. Each time you
turn a corner you will be
dazzled by yet another
magnificent vista. The
Red Rock areas in Utah,
Nevada, Arizona and New
Mexico formed millions of
years ago when that part
of North America was
primarily under water.
The water left behind the
shells and skeletons of
sea creatures that
gradually turned into
limestone and similar
rocks. Beginning 225
million years ago, the
earth's crust began to
move and the seabed
slowly rose. Streams
entering the shallow
water deposited mud and
sand that turned into
shale and marine
sandstone. As the land
continued to rise and dry
out, some of the rocks
oxidized (combined with
oxygen) and turned red in
color. Subsequently the
area was covered with
sands that eventually
compressed into what is
called Aztec sandstone.
Sometimes, when iron was
concentrated in the rock,
the sandstone turned a
bright red color.
Following the
introduction, the music
in Red Rock Rag takes on
a typical ragtime melody
and rhythm. It then
transitions by changing
key, time signature and
the structure into a
swing waltz. At m. 60, it
moves into a combined
time signature of one
measure of 3/4 time and
two measures of 2/4 time
with an occasional lick
in the bass line.
Finally, it moves back
into the swing-waltz
style and finishes with
the original ragtime
melody.A Red Rock
RagA is challenging
stylistically and
rhythmically. It would be
appropriate to study both
the ragtime and swing
styles while working on
it. When you have the
good fortune to visit Red
Rock country in the
southwestern United
States, you will all at
once feel that majesty
and beauty in the
towering red landscape.
You can trek, bike,
paddle, ride horseback or
drive through the
canyons, past the
strangely shaped rocks
and over the enormous
boulders. Each time you
turn a corner you will be
dazzled by yet another
magnificent vista. The
Red Rock areas in Utah,
Nevada, Arizona and New
Mexico formed millions of
years ago when that part
of North America was
primarily under water.
The water left behind the
shells and skeletons of
sea creatures that
gradually turned into
limestone and similar
rocks. Beginning 225
million years ago, the
earth's crust began to
move and the seabed
slowly rose. Streams
entering the shallow
water deposited mud and
sand that turned into
shale and marine
sandstone. As the land
continued to rise and dry
out, some of the rocks
oxidized (combined with
oxygen) and turned red in
color. Subsequently the
area was covered with
sands that eventually
compressed into what is
called Aztec sandstone.
Sometimes, when iron was
concentrated in the rock,
the sandstone turned a
bright red color.
Following the
introduction, the music
in Red Rock Rag takes on
a typical ragtime melody
and rhythm. It then
transitions by changing
key, time signature and
the structure into a
swing waltz. At m. 60, it
moves into a combined
time signature of one
measure of 3/4 time and
two measures of 2/4 time
with an occasional lick
in the bass line.
Finally, it moves back
into the swing-waltz
style and finishes with
the original ragtime
melody.A Red Rock
RagA is challenging
stylistically and
rhythmically. It would be
appropriate to study both
the ragtime and swing
styles while working on
it. When you have the
good fortune to visit Red
Rock country in the
southwestern United
States, you will all at
once feel that majesty
and beauty in the
towering red landscape.
You can trek, bike,
paddle, ride horseback or
drive through the
canyons, past the
strangely shaped rocks
and over the enormous
boulders. Each time you
turn a corner you will be
dazzled by yet another
magnificent vista. The
Red Rock areas in Utah,
Nevada, Arizona and New
Mexico formed millions of
years ago when that part
of North America was
primarily under water.
The water left behind the
shells and skeletons of
sea creatures that
gradually turned into
limestone and similar
rocks. Beginning 225
million years ago, the
earth's crust began to
move and the seabed
slowly rose. Streams
entering the shallow
water deposited mud and
sand that turned into
shale and marine
sandstone. As the land
continued to rise and dry
out, some of the rocks
oxidized (combined with
oxygen) and turned red in
color. Subsequently the
area was covered with
sands that eventually
compressed into what is
called Aztec sandstone.
Sometimes, when iron was
concentrated in the rock,
the sandstone turned a
bright red color.
Following the
introduction, the music
in Red Rock Rag takes on
a typical ragtime melody
and rhythm. It then
transitions by changing
key, time signature and
the structure into a
swing waltz. At m. 60, it
moves into a combined
time signature of one
measure of 3/4 time and
two measures of 2/4 time
with an occasional lick
in the bass line.
Finally, it moves back
into the swing-waltz
style and finishes with
the original ragtime
melody. Red Rock Rag
is challenging
stylistically and
rhythmically. It would be
appropriate to study both
the ragtime and swing
styles while working on
it. When you have the
good fortune to visit Red
Rock country in the
southwestern United
States, you will all at
once feel that majesty
and beauty in the
towering red landscape.
You can trek, bike,
paddle, ride horseback or
drive through the
canyons, past the
strangely shaped rocks
and over the enormous
boulders. Each time you
turn a corner you will be
dazzled by yet another
magnificent vista. The
Red Rock areas in Utah,
Nevada, Arizona and New
Mexico formed millions of
years ago when that part
of North America was
primarily under water.
The water left behind the
shells and skeletons of
sea creatures that
gradually turned into
limestone and similar
rocks. Beginning 225
million years ago, the
earth's crust began to
move and the seabed
slowly rose. Streams
entering the shallow
water deposited mud and
sand that turned into
shale and marine
sandstone. As the land
continued to rise and dry
out, some of the rocks
oxidized (combined with
oxygen) and turned red in
color. Subsequently the
area was covered with
sands that eventually
compressed into what is
called Aztec sandstone.
Sometimes, when iron was
concentrated in the rock,
the sandstone turned a
bright red color.
Following the
introduction, the music
in Red Rock Rag takes on
a typical ragtime melody
and rhythm. It then
transitions by changing
key, time signature and
the structure into a
swing waltz. At m. 60, it
moves into a combined
time signature of one
measure of 3/4 time and
two measures of 2/4 time
with an occasional lick
in the bass line.
Finally, it moves back
into the swing-waltz
style and finishes with
the original ragtime
melody. Red Rock Rag is
challenging stylistically
and rhythmically. It
would be appropriate to
study both the ragtime
and swing styles while
working on it. When
you have the good fortune
to visit Red Rock country
in the southwestern
United States, you will
all at once feel that
majesty and beauty in the
towering red landscape.
You can trek, bike,
paddle, ride horseback or
drive through the
canyons, past the
strangely shaped rocks
and over the enormous
boulders. Each time you
turn a corner you will be
dazzled by yet another
magnificent vista.The Red
Rock areas in Utah,
Nevada, Arizona and New
Mexico formed millions of
years ago when that part
of North America was
primarily under water.
The water left behind the
shells and skeletons of
sea creatures that
gradually turned into
limestone and similar
rocks. Beginning 225
million years ago, the
earth's crust began to
move and the seabed
slowly rose. Streams
entering the shallow
water deposited mud and
sand that turned into
shale and marine
sandstone. As the land
continued to rise and dry
out, some of the rocks
oxidized (combined with
oxygen) and turned red in
color. Subsequently the
area was covered with
sands that eventually
compressed into what is
called Aztec sandstone.
Sometimes, when iron was
concentrated in the rock,
the sandstone turned a
bright red
color.Following the
introduction, the music
in Red Rock Rag takes on
a typical ragtime melody
and rhythm. It then
transitions by changing
key, time signature and
the structure into a
swing waltz. At m. 60, it
moves into a combined
time signature of one
measure of 3/4 time and
two measures of 2/4 time
with an occasional lick
in the bass line.
Finally, it moves back
into the swing-waltz
style and finishes with
the original ragtime
melody. Red Rock
Rag is challenging
stylistically and
rhythmically. It would be
appropriate to study both
the ragtime and swing
styles while working on
it.
Composed by
Tyler Arcari. Concert
Band (CPS). Set of Score
and Parts. With Standard
notation.
16+4+8+16+4+4+8+4+4+8+8+8
+4+4+4+4+6+6+2+6+8+2+3+2+
4+10+28+4 pages. Duration
4 minutes, 6 seconds.
Carl Fischer Music
#CPS219. Published by
Carl Fischer Music
(CF.CPS219).
ISBN
9781491152454. UPC:
680160909957.
Solar
Flare, by Tyler Arcari,
depicts the huge
explosion on the Sun that
appears as a sudden
bright flash. The piece
incorporates a whirlwind
of mixed meters to?depict
this phenomenon. Arcari
showcases his fresh,
exciting, and well-scored
compositional style in
this piece. Solar Flare
makes for? an excellent
concert opener. A
solar
flare is a huge
explosion on the sun that
appears as a sudden
increase in brightness or
flash. Sometimes these
explosions push large
amounts of energy and
even parts of the sun
flying out into space.
These events can be so
powerful that they cause
events on Earth such as
auroras, as well as more
serious issues like
disrupting radio and
electronic instruments.
To our naked eye, these
dangerous explosions are
beautiful and quiet. The
celestial is a
fascinating place,
hopefully captured in
some small part by this
work. About the
Work:Solar
Flare began
as a piece with two
goals: to write a space
piece in 7/8 and to write
a teaching 7/8 space
piece. The piece uses a
2-2-3 pattern, so using
this in pre-performance
warm-ups might be
beneficial. The piece is
loosely based on a minor
second descending to a
minor third. This motif
is used at the onset of
the piece in the mallet
percussion and then again
in the woodwinds. The
melody presents itself at
m. 19 in the clarinets.
This melodic material is
varied and traded
throughout the instrument
groups until m.67.
Measures 6972 should be
treated as a transitional
fanfare to the new
material at m. 73.
Measures 99115 to the end
of the piece feature a
style similar to the
beginning that helps to
transition to m. 115,
which is the climax of
the work. An ostinato
pattern (2-2-3) is
presented with fragments
of the melody appearing
in the alto voices. This
momentum culminates in a
large, abrasive area at
m. 125 where the
suspension-resolution in
the brass and horn
melodic fragment need to
be the focus. This
momentum continuously
grows until the last note
where we resolve finally.
Care should be taken that
the ^ accent on the final
note is one meant to be
played heavy, and not
short. A solar
flare is a huge
explosion on the sun that
appears as a sudden
increase in brightness or
flash. Sometimes these
explosions push large
amounts of energy and
even parts of the sun
flying out into space.
These events can be so
powerful that they cause
events on Earth such as
auroras, as well as more
serious issues like
disrupting radio and
electronic instruments.
To our naked eye, these
dangerous explosions are
beautiful and quiet. The
celestial is a
fascinating place,
hopefully captured in
some small part by this
work. About the
Work:Solar
Flare began
as a piece with two
goals: to write a space
piece in 7/8 and to write
a ateaching 7/8a space
piece. The piece uses a
2-2-3 pattern, so using
this in pre-performance
warm-ups might be
beneficial. The piece is
loosely based on a minor
second descending to a
minor third. This motif
is used at the onset of
the piece in the mallet
percussion and then again
in the woodwinds. The
melody presents itself at
m. 19 in the clarinets.
This melodic material is
varied and traded
throughout the instrument
groups until m.67.
Measures 69a72 should be
treated as a transitional
fanfare to the new
material at m. 73.
Measures 99a115 to the
end of the piece feature
a style similar to the
beginning that helps to
transition to m. 115,
which is the climax of
the work. An ostinato
pattern (2-2-3) is
presented with fragments
of the melody appearing
in the alto voices. This
momentum culminates in a
large, abrasive area at
m. 125 where the
suspension-resolution in
the brass and horn
melodic fragment need to
be the focus. This
momentum continuously
grows until the last note
where we resolve finally.
Care should be taken that
the a^a accent on the
final note is one meant
to be played heavy, and
not short. A solar
flare is a huge
explosion on the sun that
appears as a sudden
increase in brightness or
flash. Sometimes these
explosions push large
amounts of energy and
even parts of the sun
flying out into space.
These events can be so
powerful that they cause
events on Earth such as
auroras, as well as more
serious issues like
disrupting radio and
electronic instruments.
To our naked eye, these
dangerous explosions are
beautiful and quiet. The
celestial is a
fascinating place,
hopefully captured in
some small part by this
work. About the
Work:Solar
Flare began
as a piece with two
goals: to write a space
piece in 7/8 and to write
a ateaching 7/8a space
piece. The piece uses a
2-2-3 pattern, so using
this in pre-performance
warm-ups might be
beneficial. The piece is
loosely based on a minor
second descending to a
minor third. This motif
is used at the onset of
the piece in the mallet
percussion and then again
in the woodwinds. The
melody presents itself at
m. 19 in the clarinets.
This melodic material is
varied and traded
throughout the instrument
groups until m.67.
Measures 69a72 should be
treated as a transitional
fanfare to the new
material at m. 73.
Measures 99a115 to the
end of the piece feature
a style similar to the
beginning that helps to
transition to m. 115,
which is the climax of
the work. An ostinato
pattern (2-2-3) is
presented with fragments
of the melody appearing
in the alto voices. This
momentum culminates in a
large, abrasive area at
m. 125 where the
suspension-resolution in
the brass and horn
melodic fragment need to
be the focus. This
momentum continuously
grows until the last note
where we resolve finally.
Care should be taken that
the a^a accent on the
final note is one meant
to be played heavy, and
not short. A solar
flare is a huge
explosion on the sun that
appears as a sudden
increase in brightness or
flash. Sometimes these
explosions push large
amounts of energy and
even parts of the sun
flying out into space.
These events can be so
powerful that they cause
events on Earth such as
auroras, as well as more
serious issues like
disrupting radio and
electronic instruments.
To our naked eye, these
dangerous explosions are
beautiful and quiet. The
celestial is a
fascinating place,
hopefully captured in
some small part by this
work. About the
Work:Solar
Flare began
as a piece with two
goals: to write a space
piece in 7/8 and to write
a teaching 7/8 space
piece. The piece uses a
2-2-3 pattern, so using
this in pre-performance
warm-ups might be
beneficial. The piece is
loosely based on a minor
second descending to a
minor third. This motif
is used at the onset of
the piece in the mallet
percussion and then again
in the woodwinds. The
melody presents itself at
m. 19 in the clarinets.
This melodic material is
varied and traded
throughout the instrument
groups until m.67.
Measures 69-72 should be
treated as a transitional
fanfare to the new
material at m. 73.
Measures 99-115 to the
end of the piece feature
a style similar to the
beginning that helps to
transition to m. 115,
which is the climax of
the work. An ostinato
pattern (2-2-3) is
presented with fragments
of the melody appearing
in the alto voices. This
momentum culminates in a
large, abrasive area at
m. 125 where the
suspension-resolution in
the brass and horn
melodic fragment need to
be the focus. This
momentum continuously
grows until the last note
where we resolve finally.
Care should be taken that
the ^ accent on the final
note is one meant to be
played heavy, and not
short. A solar flare
is a huge explosion on
the sun that appears as a
sudden increase in
brightness or flash.
Sometimes these
explosions push large
amounts of energy and
even parts of the sun
flying out into space.
These events can be so
powerful that they cause
events on Earth such as
auroras, as well as more
serious issues like
disrupting radio and
electronic instruments.
To our naked eye, these
dangerous explosions are
beautiful and quiet. The
celestial is a
fascinating place,
hopefully captured in
some small part by this
work. About the Work:
Solar Flare began as a
piece with two goals: to
write a space piece in
7/8 and to write a
teaching 7/8 space piece.
The piece uses a 2-2-3
pattern, so using this in
pre-performance warm-ups
might be beneficial. The
piece is loosely based on
a minor second descending
to a minor third. This
motif is used at the
onset of the piece in the
mallet percussion and
then again in the
woodwinds. The melody
presents itself at m. 19
in the clarinets. This
melodic material is
varied and traded
throughout the instrument
groups until m.67.
Measures 69-72 should be
treated as a transitional
fanfare to the new
material at m. 73.
Measures 99-115 to the
end of the piece feature
a style similar to the
beginning that helps to
transition to m. 115,
which is the climax of
the work. An ostinato
pattern (2-2-3) is
presented with fragments
of the melody appearing
in the alto voices. This
momentum culminates in a
large, abrasive area at
m. 125 where the
suspension-resolution in
the brass and horn
melodic fragment need to
be the focus. This
momentum continuously
grows until the last note
where we resolve finally.
Care should be taken that
the ^ accent on the final
note is one meant to be
played heavy, and not
short. A solar flare
is a huge explosion on
the sun that appears as a
sudden increase in
brightness or flash.
Sometimes these
explosions push large
amounts of energy and
even parts of the sun
flying out into space.
These events can be so
powerful that they cause
events on Earth such as
auroras, as well as more
serious issues like
disrupting radio and
electronic instruments.
To our naked eye, these
dangerous explosions are
beautiful and quiet. The
celestial is a
fascinating place,
hopefully captured in
some small part by this
work.About the Work:Solar
Flare began as a piece
with two goals: to write
a space piece in 7/8 and
to write a
“teaching
7/8†space piece.
The piece uses a 2-2-3
pattern, so using this in
pre-performance warm-ups
might be beneficial. The
piece is loosely based on
a minor second descending
to a minor third. This
motif is used at the
onset of the piece in the
mallet percussion and
then again in the
woodwinds. The melody
presents itself at m. 19
in the clarinets. This
melodic material is
varied and traded
throughout the instrument
groups until m.67.
Measures 69–72
should be treated as a
transitional fanfare to
the new material at m.
73.Measures 99–115
to the end of the piece
feature a style similar
to the beginning that
helps to transition to m.
115, which is the climax
of the work. An ostinato
pattern (2-2-3) is
presented with fragments
of the melody appearing
in the alto voices. This
momentum culminates in a
large, abrasive area at
m. 125 where the
suspension-resolution in
the brass and horn
melodic fragment need to
be the focus. This
momentum continuously
grows until the last note
where we resolve finally.
Care should be taken that
the “^â€
accent on the final note
is one meant to be played
heavy, and not short.
Composed
by Tyler Arcari. Concert
Band (CPS). Full score.
With Standard notation.
28 pages. Carl Fischer
Music #CPS219F. Published
by Carl Fischer Music
(CF.CPS219F).
ISBN
9781491153130. UPC:
680160910632.
Solar
Flare, by Tyler Arcari,
depicts the huge
explosion on the Sun that
appears as a sudden
bright flash. The piece
incorporates a whirlwind
of mixed meters to?depict
this phenomenon. Arcari
showcases his fresh,
exciting, and well-scored
compositional style in
this piece. Solar Flare
makes for? an excellent
concert opener. A
solar
flare is a huge
explosion on the sun that
appears as a sudden
increase in brightness or
flash. Sometimes these
explosions push large
amounts of energy and
even parts of the sun
flying out into space.
These events can be so
powerful that they cause
events on Earth such as
auroras, as well as more
serious issues like
disrupting radio and
electronic instruments.
To our naked eye, these
dangerous explosions are
beautiful and quiet. The
celestial is a
fascinating place,
hopefully captured in
some small part by this
work. About the
Work:Solar
Flare began
as a piece with two
goals: to write a space
piece in 7/8 and to write
a teaching 7/8 space
piece. The piece uses a
2-2-3 pattern, so using
this in pre-performance
warm-ups might be
beneficial. The piece is
loosely based on a minor
second descending to a
minor third. This motif
is used at the onset of
the piece in the mallet
percussion and then again
in the woodwinds. The
melody presents itself at
m. 19 in the clarinets.
This melodic material is
varied and traded
throughout the instrument
groups until m.67.
Measures 6972 should be
treated as a transitional
fanfare to the new
material at m. 73.
Measures 99115 to the end
of the piece feature a
style similar to the
beginning that helps to
transition to m. 115,
which is the climax of
the work. An ostinato
pattern (2-2-3) is
presented with fragments
of the melody appearing
in the alto voices. This
momentum culminates in a
large, abrasive area at
m. 125 where the
suspension-resolution in
the brass and horn
melodic fragment need to
be the focus. This
momentum continuously
grows until the last note
where we resolve finally.
Care should be taken that
the ^ accent on the final
note is one meant to be
played heavy, and not
short. A solar
flare is a huge
explosion on the sun that
appears as a sudden
increase in brightness or
flash. Sometimes these
explosions push large
amounts of energy and
even parts of the sun
flying out into space.
These events can be so
powerful that they cause
events on Earth such as
auroras, as well as more
serious issues like
disrupting radio and
electronic instruments.
To our naked eye, these
dangerous explosions are
beautiful and quiet. The
celestial is a
fascinating place,
hopefully captured in
some small part by this
work. About the
Work:Solar
Flare began
as a piece with two
goals: to write a space
piece in 7/8 and to write
a ateaching 7/8a space
piece. The piece uses a
2-2-3 pattern, so using
this in pre-performance
warm-ups might be
beneficial. The piece is
loosely based on a minor
second descending to a
minor third. This motif
is used at the onset of
the piece in the mallet
percussion and then again
in the woodwinds. The
melody presents itself at
m. 19 in the clarinets.
This melodic material is
varied and traded
throughout the instrument
groups until m.67.
Measures 69a72 should be
treated as a transitional
fanfare to the new
material at m. 73.
Measures 99a115 to the
end of the piece feature
a style similar to the
beginning that helps to
transition to m. 115,
which is the climax of
the work. An ostinato
pattern (2-2-3) is
presented with fragments
of the melody appearing
in the alto voices. This
momentum culminates in a
large, abrasive area at
m. 125 where the
suspension-resolution in
the brass and horn
melodic fragment need to
be the focus. This
momentum continuously
grows until the last note
where we resolve finally.
Care should be taken that
the a^a accent on the
final note is one meant
to be played heavy, and
not short. A solar
flare is a huge
explosion on the sun that
appears as a sudden
increase in brightness or
flash. Sometimes these
explosions push large
amounts of energy and
even parts of the sun
flying out into space.
These events can be so
powerful that they cause
events on Earth such as
auroras, as well as more
serious issues like
disrupting radio and
electronic instruments.
To our naked eye, these
dangerous explosions are
beautiful and quiet. The
celestial is a
fascinating place,
hopefully captured in
some small part by this
work. About the
Work:Solar
Flare began
as a piece with two
goals: to write a space
piece in 7/8 and to write
a ateaching 7/8a space
piece. The piece uses a
2-2-3 pattern, so using
this in pre-performance
warm-ups might be
beneficial. The piece is
loosely based on a minor
second descending to a
minor third. This motif
is used at the onset of
the piece in the mallet
percussion and then again
in the woodwinds. The
melody presents itself at
m. 19 in the clarinets.
This melodic material is
varied and traded
throughout the instrument
groups until m.67.
Measures 69a72 should be
treated as a transitional
fanfare to the new
material at m. 73.
Measures 99a115 to the
end of the piece feature
a style similar to the
beginning that helps to
transition to m. 115,
which is the climax of
the work. An ostinato
pattern (2-2-3) is
presented with fragments
of the melody appearing
in the alto voices. This
momentum culminates in a
large, abrasive area at
m. 125 where the
suspension-resolution in
the brass and horn
melodic fragment need to
be the focus. This
momentum continuously
grows until the last note
where we resolve finally.
Care should be taken that
the a^a accent on the
final note is one meant
to be played heavy, and
not short. A solar
flare is a huge
explosion on the sun that
appears as a sudden
increase in brightness or
flash. Sometimes these
explosions push large
amounts of energy and
even parts of the sun
flying out into space.
These events can be so
powerful that they cause
events on Earth such as
auroras, as well as more
serious issues like
disrupting radio and
electronic instruments.
To our naked eye, these
dangerous explosions are
beautiful and quiet. The
celestial is a
fascinating place,
hopefully captured in
some small part by this
work. About the
Work:Solar
Flare began
as a piece with two
goals: to write a space
piece in 7/8 and to write
a teaching 7/8 space
piece. The piece uses a
2-2-3 pattern, so using
this in pre-performance
warm-ups might be
beneficial. The piece is
loosely based on a minor
second descending to a
minor third. This motif
is used at the onset of
the piece in the mallet
percussion and then again
in the woodwinds. The
melody presents itself at
m. 19 in the clarinets.
This melodic material is
varied and traded
throughout the instrument
groups until m.67.
Measures 69-72 should be
treated as a transitional
fanfare to the new
material at m. 73.
Measures 99-115 to the
end of the piece feature
a style similar to the
beginning that helps to
transition to m. 115,
which is the climax of
the work. An ostinato
pattern (2-2-3) is
presented with fragments
of the melody appearing
in the alto voices. This
momentum culminates in a
large, abrasive area at
m. 125 where the
suspension-resolution in
the brass and horn
melodic fragment need to
be the focus. This
momentum continuously
grows until the last note
where we resolve finally.
Care should be taken that
the ^ accent on the final
note is one meant to be
played heavy, and not
short. A solar flare
is a huge explosion on
the sun that appears as a
sudden increase in
brightness or flash.
Sometimes these
explosions push large
amounts of energy and
even parts of the sun
flying out into space.
These events can be so
powerful that they cause
events on Earth such as
auroras, as well as more
serious issues like
disrupting radio and
electronic instruments.
To our naked eye, these
dangerous explosions are
beautiful and quiet. The
celestial is a
fascinating place,
hopefully captured in
some small part by this
work. About the Work:
Solar Flare began as a
piece with two goals: to
write a space piece in
7/8 and to write a
teaching 7/8 space piece.
The piece uses a 2-2-3
pattern, so using this in
pre-performance warm-ups
might be beneficial. The
piece is loosely based on
a minor second descending
to a minor third. This
motif is used at the
onset of the piece in the
mallet percussion and
then again in the
woodwinds. The melody
presents itself at m. 19
in the clarinets. This
melodic material is
varied and traded
throughout the instrument
groups until m.67.
Measures 69-72 should be
treated as a transitional
fanfare to the new
material at m. 73.
Measures 99-115 to the
end of the piece feature
a style similar to the
beginning that helps to
transition to m. 115,
which is the climax of
the work. An ostinato
pattern (2-2-3) is
presented with fragments
of the melody appearing
in the alto voices. This
momentum culminates in a
large, abrasive area at
m. 125 where the
suspension-resolution in
the brass and horn
melodic fragment need to
be the focus. This
momentum continuously
grows until the last note
where we resolve finally.
Care should be taken that
the ^ accent on the final
note is one meant to be
played heavy, and not
short. A solar flare
is a huge explosion on
the sun that appears as a
sudden increase in
brightness or flash.
Sometimes these
explosions push large
amounts of energy and
even parts of the sun
flying out into space.
These events can be so
powerful that they cause
events on Earth such as
auroras, as well as more
serious issues like
disrupting radio and
electronic instruments.
To our naked eye, these
dangerous explosions are
beautiful and quiet. The
celestial is a
fascinating place,
hopefully captured in
some small part by this
work.About the Work:Solar
Flare began as a piece
with two goals: to write
a space piece in 7/8 and
to write a
“teaching
7/8†space piece.
The piece uses a 2-2-3
pattern, so using this in
pre-performance warm-ups
might be beneficial. The
piece is loosely based on
a minor second descending
to a minor third. This
motif is used at the
onset of the piece in the
mallet percussion and
then again in the
woodwinds. The melody
presents itself at m. 19
in the clarinets. This
melodic material is
varied and traded
throughout the instrument
groups until m.67.
Measures 69–72
should be treated as a
transitional fanfare to
the new material at m.
73.Measures 99–115
to the end of the piece
feature a style similar
to the beginning that
helps to transition to m.
115, which is the climax
of the work. An ostinato
pattern (2-2-3) is
presented with fragments
of the melody appearing
in the alto voices. This
momentum culminates in a
large, abrasive area at
m. 125 where the
suspension-resolution in
the brass and horn
melodic fragment need to
be the focus. This
momentum continuously
grows until the last note
where we resolve finally.
Care should be taken that
the “^â€
accent on the final note
is one meant to be played
heavy, and not short.
Choral Hand Clap, Hand Drum, Violin, alto 1, alto 2, soprano 1, soprano 2 SKU...(+)
Choral Hand Clap, Hand
Drum, Violin, alto 1,
alto 2, soprano 1,
soprano 2
SKU:
CF.CM9563
Great
and Fiery Force.
Composed by Michael John
Trotta. Hidegard Von
Bingen transcribed by
Michael John Trotta.
Mjts. With Standard
notation. 24 pages.
Duration 4 minutes, 41
seconds. Carl Fischer
Music #CM9563. Published
by Carl Fischer Music
(CF.CM9563).
ISBN
9781491153635. UPC:
680160911134. 6.75 x 10.5
inches. Key: G minor.
Latin, English. Hidegard
Von Bingen transcribed by
Michael John
Trotta.
Trotta's
composition is an
energetic reimagining of
timeless text and tune
from the 12th century
poet, composer, and
philosopher Hildegard of
Bingen. The marriage of
the chant Caritas Abundat
with a text taken from
Liber Divinorum Operum
(The Book of Divine
Works) creates an
entirely new work that
expresses themes of
empowerment. There is a
reflective sense of the
empowerment that comes
from singing in a choir,
especially the power of
belonging to a group
united for a purpose
greater than
oneself. This
commissioned work for
womens choir is an
energetic reimagining of
a timeless text and tune
from the twelfth-century
poet, composer and
philosopher Hildegard of
Bingen. The text was
selected as a reflection
of the students' desire
to express the
empowerment that comes
from singing in a choir,
especially the power of
belonging to a group
united for a purpose
greater than oneself.
This piece marries the
chant Caritas
Abundat with a text
taken from Liber
Divinorum Operum
(The Book of Divine
Works), creating an
entirely new work that
expresses themes of
empowerment. An adapted
quotation of the tune is
introduced in the violin,
then taken up by the
choir, treated to a
five-part canon in the
more reflective middle
section, and finally
changes meter for an
energetic finish. I am
the great and fiery
force, That breathes life
into all things: I am
what awakens and supports
life And enkindles all
living things I am the
great and fiery force,
That breathes life into
all things: Everything in
the cosmos Is encircled
with my wisdom. I am the
beauty in the fields, The
force, that moves like a
graceful wind I shine in
the waters, and burn in
the sun, Glimmering in
the stars. Caritas
abundat in omnia (Grace
abounds for everyone)
[Liber Divinorum Operum
(The Book of Divine
Works), I.I.2]. This
commissioned work for
womenas choir is an
energetic reimagining of
a timeless text and tune
from the twelfth-century
poet, composer and
philosopher Hildegard of
Bingen. The text was
selected as a reflection
of the students' desire
to express the
empowerment that comes
from singing in a choir,
especially the power of
belonging to a group
united for a purpose
greater than oneself.
This piece marries the
chant Caritas
Abundat with a text
taken from Liber
Divinorum Operum
(The Book of Divine
Works), creating an
entirely new work that
expresses themes of
empowerment. An adapted
quotation of the tune is
introduced in the violin,
then taken up by the
choir, treated to a
five-part canon in the
more reflective middle
section, and finally
changes meter for an
energetic finish. I am
the great and fiery
force, That breathes life
into all things: I am
what awakens and supports
life And enkindles all
living things I am the
great and fiery force,
That breathes life into
all things: Everything in
the cosmos Is encircled
with my wisdom. I am the
beauty in the fields, The
force, that moves like a
graceful wind I shine in
the waters, and burn in
the sun, Glimmering in
the stars. Caritas
abundat in omnia (Grace
abounds for everyone)
[Liber Divinorum Operum
(The Book of Divine
Works), I.I.2]. This
commissioned work for
womenas choir is an
energetic reimagining of
a timeless text and tune
from the twelfth-century
poet, composer and
philosopher Hildegard of
Bingen. The text was
selected as a reflection
of the students' desire
to express the
empowerment that comes
from singing in a choir,
especially the power of
belonging to a group
united for a purpose
greater than oneself.
This piece marries the
chant Caritas
Abundat with a text
taken from Liber
Divinorum Operum
(The Book of Divine
Works), creating an
entirely new work that
expresses themes of
empowerment. An adapted
quotation of the tune is
introduced in the violin,
then taken up by the
choir, treated to a
five-part canon in the
more reflective middle
section, and finally
changes meter for an
energetic finish. I am
the great and fiery
force, That breathes life
into all things: I am
what awakens and supports
life And enkindles all
living things I am the
great and fiery force,
That breathes life into
all things: Everything in
the cosmos Is encircled
with my wisdom. I am the
beauty in the fields, The
force, that moves like a
graceful wind I shine in
the waters, and burn in
the sun, Glimmering in
the stars. Caritas
abundat in omnia (Grace
abounds for everyone)
[Liber Divinorum Operum
(The Book of Divine
Works), I.I.2]. This
commissioned work for
women's choir is an
energetic reimagining of
a timeless text and tune
from the twelfth-century
poet, composer and
philosopher Hildegard of
Bingen. The text was
selected as a reflection
of the students' desire
to express the
empowerment that comes
from singing in a choir,
especially the power of
belonging to a group
united for a purpose
greater than oneself.
This piece marries the
chant Caritas
Abundat with a text
taken from Liber
Divinorum Operum
(The Book of Divine
Works), creating an
entirely new work that
expresses themes of
empowerment. An adapted
quotation of the tune is
introduced in the violin,
then taken up by the
choir, treated to a
five-part canon in the
more reflective middle
section, and finally
changes meter for an
energetic finish. I am
the great and fiery
force, That breathes life
into all things: I am
what awakens and supports
life And enkindles all
living things I am the
great and fiery force,
That breathes life into
all things: Everything in
the cosmos Is encircled
with my wisdom. I am the
beauty in the fields, The
force, that moves like a
graceful wind I shine in
the waters, and burn in
the sun, Glimmering in
the stars. Caritas
abundat in omnia (Grace
abounds for everyone)
[Liber Divinorum Operum
(The Book of Divine
Works), I.I.2]. This
commissioned work for
women's choir is an
energetic reimagining of
a timeless text and tune
from the twelfth-century
poet, composer and
philosopher Hildegard of
Bingen. The text was
selected as a reflection
of the students' desire
to express the
empowerment that comes
from singing in a choir,
especially the power of
belonging to a group
united for a purpose
greater than oneself.
This piece marries the
chant Caritas Abundat
with a text taken from
Liber Divinorum Operum
(The Book of Divine
Works), creating an
entirely new work that
expresses themes of
empowerment. An adapted
quotation of the tune is
introduced in the violin,
then taken up by the
choir, treated to a
five-part canon in the
more reflective middle
section, and finally
changes meter for an
energetic finish. I am
the great and fiery
force, That breathes life
into all things: I am
what awakens and supports
life And enkindles all
living things I am the
great and fiery force,
That breathes life into
all things: Everything in
the cosmos Is encircled
with my wisdom. I am the
beauty in the fields, The
force, that moves like a
graceful wind I shine in
the waters, and burn in
the sun, Glimmering in
the stars. Caritas
abundat in omnia (Grace
abounds for everyone)
[Liber Divinorum Operum
(The Book of Divine
Works), I.I.2]. This
commissioned work for
women’s choir is
an energetic reimagining
of a timeless text and
tune from the
twelfth-century poet,
composer and philosopher
Hildegard of Bingen. The
text was selected as a
reflection of the
students' desire to
express the empowerment
that comes from singing
in a choir, especially
the power of belonging to
a group united for a
purpose greater than
oneself.This piece
marries the chant Caritas
Abundat with a text taken
from Liber Divinorum
Operum (The Book of
Divine Works), creating
an entirely new work that
expresses themes of
empowerment.An adapted
quotation of the tune is
introduced in the violin,
then taken up by the
choir, treated to a
five-part canon in the
more reflective middle
section, and finally
changes meter for an
energetic finish.I am the
great and fiery
force,That breathes life
into all things:I am what
awakens and supports
lifeAnd enkindles all
living thingsI am the
great and fiery
force,That breathes life
into all
things:Everything in the
cosmosIs encircled with
my wisdom.I am the beauty
in the fields,The force,
that moves like a
graceful windI shine in
the waters, and burn in
the sun,Glimmering in the
stars.Caritas abundat in
omnia (Grace abounds for
everyone)[Liber Divinorum
Operum (The Book of
Divine Works),
I.I.2].
Orchestra SKU: SU.94010400 For Orchestra. Composed by James Lee II...(+)
Orchestra
SKU:
SU.94010400
For
Orchestra. Composed
by James Lee III.
Orchestra. Study Score.
Subito Music Corporation
#94010400. Published by
Subito Music Corporation
(SU.94010400).
2,1 2,1 2,1
2,1; 4331; timp, perc(3),
cel, hp; stgs Duration:
11' Composed: 2013
Published by: Subito
Music Publishing
Performance materials
available on rental:
Alas! Babylon’s
Final Sunset is
another installment in my
series of works that
musically comment on the
biblical books of Daniel
and Revelation. The
principal source of
inspiration for this
works comes from the 18th
chapter of the book of
Revelation. This chapter
states that the career of
Babylon the Great is
finally coming to an end.
The music begins with a
mysterious pianissimo
tremolo accompanied by
tam-tam and bass drum.
The initial flourishes in
the oboes and English
horn serve as the
principal motive of
warning. As the music
continues, there are
varying degrees of
agitation among the
strings and woodwinds.
Throughout the work there
are rhythmic motives in
the brass, percussion,
and various woodwind
instruments that sing and
speak Babylon is Fallen
in triple meter. As the
tutti ensemble arrives at
a climax, the orchestral
texture becomes thinner
and slightly transparent.
As the music continues,
the opening motive
returns in the oboes,
however the counterpoint
produces a series of solo
laments. These passages
are intended to provide
picturesque images of
these words: And the
voice of harpers, and
musicians, and of pipers,
and trumpeters, shall be
heard no more at all in
thee; and no craftsman,
of whatsoever craft he
be, shall be found any
more in thee; and the
sound of a millstone
shall be heard no more at
all in thee; And the
light of a candle shall
shine no more at all in
thee. and the voice of
the bridegroom and of the
bride shall be heard no
more at all in thee: for
thy merchants were the
great men of the earth;
for by thy sorceries were
all nations deceived. And
in her was found the
blood of prophets, and of
saints, and of all that
were slain upon the
earth. Rev. 18:22-24 The
following passages
musically comment on the
historical career of
Babylon with a sense of
her impending
destruction. The series
of laments transforms
into the more emphatic
rhythmic motive Babylon
is Fallen. The orchestral
texture begins to become
more condense, once
again, with the initial
flourishes of, but with
notable variations.
Finally, the celesta,
harp, oboes, English
horn, and strings sing
profundities that are
finally transformed into
a minor mode tonality
that fades away with the
ringing of the tam-tam.
Babylon has finally seen
her last sunset.
Chamber Music Cello,
Flute, Viola 1, Viola 2,
Violin
SKU:
CF.MXE219
Composed by
Wolfgang Amadeus Mozart.
Arranged by Robert
Stallman. Sws.
56+16+16+16+16+12 pages.
Carl Fischer Music
#MXE219. Published by
Carl Fischer Music
(CF.MXE219).
ISBN
9781491157794. UPC:
680160916399. 9 x 12
inches.
Composed
by Richard Summers. Sws.
Cps. Full score. 24
pages. Duration 3
minutes, 55 seconds. Carl
Fischer Music #CPS240F.
Published by Carl Fischer
Music (CF.CPS240F).
ISBN 9781491157879.
UPC: 680160916474. 9 x 12
inches.
Composing
this piece was an
interesting process. A
piece of a melody or an
idea takes shape, and
after writing it down,
itas like planting a seed
that starts to grow and
develop. I got a snippet
of a western idea and
then thought of a
monument in my hometown
of Wheeling, West
Virginia. The statue is
called Madonna of the
Trail. The history part
of this piece started to
take shape as I
researched this statue.
There are twelve of them
located in twelve states
where the Old Trail Road,
or National Road, passes
through. As the piece
developed, I started to
think about the travel of
a pioneer woman and her
family passing through
various areas of our
early country. The 3,000
mile coast-to-coast
National road was
realized in the early
1900s but was based on
six trails that date back
to the 1700s. After
developing the
introduction and theme to
this concert band piece,
the story began to take
shape. The slower 3/4
section melody hints at
Greensleeves (What Child
Is This) which
appropriately weaves
itself into the mix.
Finally heading further
west into New Mexico,
Arizona, and California,
the melody takes on a
Spanish flavor and
returns to the main theme
before its conclusion.
Divisi parts that are
optional can be utilized
to add a richer sound.
Feel free to experiment
with octave changes in
the woodwinds in the
fuller sections, if
students are comfortable
playing up an octave.
Always be aware of the
musicality, blend, and
especially legato playing
when
required. Composing
this piece was an
interesting process. A
piece of a melody or an
idea takes shape, and
after writing it down,
it's like planting a seed
that starts to grow and
develop. I got a snippet
of a western idea and
then thought of a
monument in my hometown
of Wheeling, West
Virginia. The statue is
called Madonna of the
Trail. The history part
of this piece started to
take shape as I
researched this statue.
There are twelve of them
located in twelve states
where the Old Trail Road,
or National Road, passes
through. As the piece
developed, I started to
think about the travel of
a pioneer woman and her
family passing through
various areas of our
early country. The 3,000
mile coast-to-coast
National road was
realized in the early
1900s but was based on
six trails that date back
to the 1700s. After
developing the
introduction and theme to
this concert band piece,
the story began to take
shape. The slower 3/4
section melody hints at
Greensleeves (What Child
Is This) which
appropriately weaves
itself into the mix.
Finally heading further
west into New Mexico,
Arizona, and California,
the melody takes on a
Spanish flavor and
returns to the main theme
before its conclusion.
Divisi parts that are
optional can be utilized
to add a richer sound.
Feel free to experiment
with octave changes in
the woodwinds in the
fuller sections, if
students are comfortable
playing up an octave.
Always be aware of the
musicality, blend, and
especially legato playing
when
required. Composing
this piece was an
interesting process. A
piece of a melody or an
idea takes shape, and
after writing it down,
it’s like planting
a seed that starts to
grow and develop. I got a
snippet of a western idea
and then thought of a
monument in my hometown
of Wheeling, West
Virginia. The statue
is called Madonna of the
Trail. The history part
of this piece started to
take shape as I
researched this statue.
There are twelve of them
located in twelve states
where the Old Trail Road,
or National Road, passes
through. As the piece
developed, I started to
think about the travel of
a pioneer woman and her
family passing through
various areas of our
early country. The
3,000 mile coast-to-coast
National road was
realized in the early
1900s but was based on
six trails that date back
to the 1700s. After
developing the
introduction and theme to
this concert band piece,
the story began to take
shape. The slower 3/4
section melody hints at
Greensleeves (What Child
Is This) which
appropriately weaves
itself into the mix.Â
Finally heading further
west into New Mexico,
Arizona, and California,
the melody takes on a
Spanish flavor and
returns to the main theme
before its
conclusion. Divisi
parts that are optional
can be utilized to add a
richer sound. Feel free
to experiment with octave
changes in the woodwinds
in the fuller sections,
if students are
comfortable playing up an
octave. Always be aware
of the musicality, blend,
and especially legato
playing when
required.
Odyssee Orchestre d'harmonie [Conducteur] - Facile Gobelin Music Publications
Concert Band/Harmonie - Grade 3 SKU: BT.GOB-000508-140 Composed by Jan Bo...(+)
Concert Band/Harmonie -
Grade 3
SKU:
BT.GOB-000508-140
Composed by Jan Bosveld.
Score Only. 20 pages.
Gobelin Music
Publications #GOB
000508-140. Published by
Gobelin Music
Publications
(BT.GOB-000508-140).
The Odyssee
tells the story of
Odysseus, the undaunted
hero. In times long
ago the blind poet Homer
wrote this famous epic.
The Odyssey follows
the Iliad, the story of
the bloody war between
the Greek and the
Trojans. This battle
endsafter ten years
thanks to the Odysseys
famous trick. the Trojan
Horse. The Odyssey
is not a war epic, but a
story about perseverance,
loyalty, adventure, and
the survival instinct of
its ingenious hero.
In The Odyssey, Homer
describes howOdysseus,
the king of Ithaca, had
to endure another ten
years of affliction after
the ten years of war in
Troy before he could
finally return to his
home land. During
those years, his wife,
Penelope, had to try and
keep her many admirers
away.These men not only
wanted het hand but also
the kingship. To prove
her husbands worth, she
played a trick: As soon
as I have finished
weaving this shroud for
my father-in-law,
Laertes, I will choose
one of you to become my
husband, she
promisedthem. But
during the night, she
secretly loosened what
she had woven during the
day, prolonging the time
until Odysseus would
finally return. After
twenty long years, when
he finally stood at the
door, she wondered: Is
this really my husband?
Ishe an imposter?
Cunningly, she asked him
to move the bed, because
only she and her husband
know that the bed was
immovable and was build
around an old three
trunk! Odysseus was
deeply moved: this really
was his wife, his
Penelope! Nearly
threethousands years
later, the loyalty and
strength of this
character, and all the
dangerous adventures that
Odysseus survived thanks
to courage and
intelligence, still moves
us today.
Odyssee
by Jan Bosveld is not
just an adventure story,
butrather a
characteristic piece in
which memories of Homers
story can be heard.
The composition opens
with a firm, stirring
theme describing our
hero, Odysseus, in
detail: This man is not
to be taken lightly.
The further
development of thisshort
introduction completes
this character sketch:
trustworthy, perseverant,
and a genius. After
that we can picture
Odysseus on the lonely
beach of Ogygia. Do the
trumpets depict his
memories of the war of
Troy? Does he think of
his wife, as werecognise
the weaving loom of
Penelope in the murmuring
eighth? In the
solemn, plaintive part
that follows, we can
imagine Penelope feeling
lonely, sitting in the
womens room with her
servants.One of the girls
plays the harp, but that
does notclear the sombre
atmosphere. Then we can
imagine seeing the
sorceress Circe, who
changed Odysseus men into
swine. After she gives a
simple magic sign
something follows that
reminds us of the sound
of pigs grunting. Then
the Odysseus theme
resounds:the hero comes
to savi his comrades.
Assisted by Hermes, he
forces Circe to lift the
spell. The piece ends
the same way as it began,
with an animated theme:
Odysseus is still the
same, undefeated and not
to be taken
lighty!
Het
muzikale relaas van de
Griekse schrijver Homerus
over de held Odyssee in
een karakterstuk vol
herinneringen. Een
stevig opgewekt thema
symboliseert de
grootsheid van Odyssee en
zijn karaktertrekken -
betrouwbaar, volhardenden
vernuftig. De tegenslagen
welke hij tegenkomt en in
het tweede tragische
gedeelte dreigen te
escaleren, nemen in het
derde snelle gedeelte bij
zijn verschijning toch
weer een positieve
wending. Nijmegenaar
Jan Bosveld bewijstin dit
originele werk dat hij op
de hoogte is van de
onmogelijkheden, maar
vooral de ongekende
mogelijkheden van
muzikanten uit de lagere
afdelingen.
Odyssee Fanfare [Conducteur] - Facile Gobelin Music Publications
Fanfare Band - Grade 3 SKU: BT.GOB-000432-120 Composed by Jan Bosveld. Sc...(+)
Fanfare Band - Grade 3
SKU:
BT.GOB-000432-120
Composed by Jan Bosveld.
Score Only. 20 pages.
Gobelin Music
Publications #GOB
000432-120. Published by
Gobelin Music
Publications
(BT.GOB-000432-120).
The Odyssee
tells the story of
Odysseus, the undaunted
hero. In times long
ago the blind poet Homer
wrote this famous epic.
The Odyssey follows
the Iliad, the story of
the bloody war between
the Greek and the
Trojans. This battle
endsafter ten years
thanks to the Odysseys
famous trick. the Trojan
Horse. The Odyssey
is not a war epic, but a
story about perseverance,
loyalty, adventure, and
the survival instinct of
its ingenious hero.
In The Odyssey, Homer
describes howOdysseus,
the king of Ithaca, had
to endure another ten
years of affliction after
the ten years of war in
Troy before he could
finally return to his
home land. During
those years, his wife,
Penelope, had to try and
keep her many admirers
away.These men not only
wanted het hand but also
the kingship. To prove
her husbands worth, she
played a trick: As soon
as I have finished
weaving this shroud for
my father-in-law,
Laertes, I will choose
one of you to become my
husband, she
promisedthem. But
during the night, she
secretly loosened what
she had woven during the
day, prolonging the time
until Odysseus would
finally return. After
twenty long years, when
he finally stood at the
door, she wondered: Is
this really my husband?
Ishe an imposter?
Cunningly, she asked him
to move the bed, because
only she and her husband
know that the bed was
immovable and was build
around an old three
trunk! Odysseus was
deeply moved: this really
was his wife, his
Penelope! Nearly
threethousands years
later, the loyalty and
strength of this
character, and all the
dangerous adventures that
Odysseus survived thanks
to courage and
intelligence, still moves
us today.
Odyssee
by Jan Bosveld is not
just an adventure story,
butrather a
characteristic piece in
which memories of Homers
story can be heard.
The composition opens
with a firm, stirring
theme describing our
hero, Odysseus, in
detail: This man is not
to be taken lightly.
The further
development of thisshort
introduction completes
this character sketch:
trustworthy, perseverant,
and a genius. After
that we can picture
Odysseus on the lonely
beach of Ogygia. Do the
trumpets depict his
memories of the war of
Troy? Does he think of
his wife, as werecognise
the weaving loom of
Penelope in the murmuring
eighth? In the
solemn, plaintive part
that follows, we can
imagine Penelope feeling
lonely, sitting in the
womens room with her
servants.One of the girls
plays the harp, but that
does notclear the sombre
atmosphere. Then we can
imagine seeing the
sorceress Circe, who
changed Odysseus men into
swine. After she gives a
simple magic sign
something follows that
reminds us of the sound
of pigs grunting. Then
the Odysseus theme
resounds:the hero comes
to savi his comrades.
Assisted by Hermes, he
forces Circe to lift the
spell. The piece ends
the same way as it began,
with an animated theme:
Odysseus is still the
same, undefeated and not
to be taken
lighty!
Het
muzikale relaas van de
Griekse schrijver Homerus
over de held Odyssee in
een karakterstuk vol
herinneringen. Een
stevig opgewekt thema
symboliseert de
grootsheid van Odyssee en
zijn karaktertrekken -
betrouwbaar, volhardend
en vernuftig.
Detegenslagen welke hij
tegenkomt en in het
tweede tragische gedeelte
dreigen te escaleren,
nemen in het derde snelle
gedeelte bij zijn
verschijning toch weer
een positieve wending.
Nijmegenaar Jan
Bosveld bewijst in dit
originele werk dat hij
opde hoogte is van de
onmogelijkheden, maar
vooral de ongekende
mogelijkheden van
muzikanten uit de lagere
afdelingen.
Odyssee Fanfare [Conducteur et Parties séparées] - Facile Gobelin Music Publications
Fanfare Band - Grade 3 SKU: BT.GOB-000432-020 Composed by Jan Bosveld. Se...(+)
Fanfare Band - Grade 3
SKU:
BT.GOB-000432-020
Composed by Jan Bosveld.
Set (Score & Parts). 71
pages. Gobelin Music
Publications #GOB
000432-020. Published by
Gobelin Music
Publications
(BT.GOB-000432-020).
The Odyssee
tells the story of
Odysseus, the undaunted
hero. In times long
ago the blind poet Homer
wrote this famous epic.
The Odyssey follows
the Iliad, the story of
the bloody war between
the Greek and the
Trojans. This battle
endsafter ten years
thanks to the Odysseys
famous trick. the Trojan
Horse. The Odyssey
is not a war epic, but a
story about perseverance,
loyalty, adventure, and
the survival instinct of
its ingenious hero.
In The Odyssey, Homer
describes howOdysseus,
the king of Ithaca, had
to endure another ten
years of affliction after
the ten years of war in
Troy before he could
finally return to his
home land. During
those years, his wife,
Penelope, had to try and
keep her many admirers
away.These men not only
wanted het hand but also
the kingship. To prove
her husbands worth, she
played a trick: As soon
as I have finished
weaving this shroud for
my father-in-law,
Laertes, I will choose
one of you to become my
husband, she
promisedthem. But
during the night, she
secretly loosened what
she had woven during the
day, prolonging the time
until Odysseus would
finally return. After
twenty long years, when
he finally stood at the
door, she wondered: Is
this really my husband?
Ishe an imposter?
Cunningly, she asked him
to move the bed, because
only she and her husband
know that the bed was
immovable and was build
around an old three
trunk! Odysseus was
deeply moved: this really
was his wife, his
Penelope! Nearly
threethousands years
later, the loyalty and
strength of this
character, and all the
dangerous adventures that
Odysseus survived thanks
to courage and
intelligence, still moves
us today.
Odyssee
by Jan Bosveld is not
just an adventure story,
butrather a
characteristic piece in
which memories of Homers
story can be heard.
The composition opens
with a firm, stirring
theme describing our
hero, Odysseus, in
detail: This man is not
to be taken lightly.
The further
development of thisshort
introduction completes
this character sketch:
trustworthy, perseverant,
and a genius. After
that we can picture
Odysseus on the lonely
beach of Ogygia. Do the
trumpets depict his
memories of the war of
Troy? Does he think of
his wife, as werecognise
the weaving loom of
Penelope in the murmuring
eighth? In the
solemn, plaintive part
that follows, we can
imagine Penelope feeling
lonely, sitting in the
womens room with her
servants.One of the girls
plays the harp, but that
does notclear the sombre
atmosphere. Then we can
imagine seeing the
sorceress Circe, who
changed Odysseus men into
swine. After she gives a
simple magic sign
something follows that
reminds us of the sound
of pigs grunting. Then
the Odysseus theme
resounds:the hero comes
to savi his comrades.
Assisted by Hermes, he
forces Circe to lift the
spell. The piece ends
the same way as it began,
with an animated theme:
Odysseus is still the
same, undefeated and not
to be taken
lighty!
Het
muzikale relaas van de
Griekse schrijver Homerus
over de held Odyssee in
een karakterstuk vol
herinneringen. Een
stevig opgewekt thema
symboliseert de
grootsheid van Odyssee en
zijn karaktertrekken -
betrouwbaar, volhardend
en vernuftig.
Detegenslagen welke hij
tegenkomt en in het
tweede tragische gedeelte
dreigen te escaleren,
nemen in het derde snelle
gedeelte bij zijn
verschijning toch weer
een positieve wending.
Nijmegenaar Jan
Bosveld bewijst in dit
originele werk dat hij
opde hoogte is van de
onmogelijkheden, maar
vooral de ongekende
mogelijkheden van
muzikanten uit de lagere
afdelingen.
Odyssee Orchestre d'harmonie [Conducteur et Parties séparées] - Facile Gobelin Music Publications
Concert Band/Harmonie - Grade 3 SKU: BT.GOB-000508-010 Composed by Jan Bo...(+)
Concert Band/Harmonie -
Grade 3
SKU:
BT.GOB-000508-010
Composed by Jan Bosveld.
Set (Score & Parts). 72
pages. Gobelin Music
Publications #GOB
000508-010. Published by
Gobelin Music
Publications
(BT.GOB-000508-010).
The Odyssee
tells the story of
Odysseus, the undaunted
hero. In times long
ago the blind poet Homer
wrote this famous epic.
The Odyssey follows
the Iliad, the story of
the bloody war between
the Greek and the
Trojans. This battle
endsafter ten years
thanks to the Odysseys
famous trick. the Trojan
Horse. The Odyssey
is not a war epic, but a
story about perseverance,
loyalty, adventure, and
the survival instinct of
its ingenious hero.
In The Odyssey, Homer
describes howOdysseus,
the king of Ithaca, had
to endure another ten
years of affliction after
the ten years of war in
Troy before he could
finally return to his
home land. During
those years, his wife,
Penelope, had to try and
keep her many admirers
away.These men not only
wanted het hand but also
the kingship. To prove
her husbands worth, she
played a trick: As soon
as I have finished
weaving this shroud for
my father-in-law,
Laertes, I will choose
one of you to become my
husband, she
promisedthem. But
during the night, she
secretly loosened what
she had woven during the
day, prolonging the time
until Odysseus would
finally return. After
twenty long years, when
he finally stood at the
door, she wondered: Is
this really my husband?
Ishe an imposter?
Cunningly, she asked him
to move the bed, because
only she and her husband
know that the bed was
immovable and was build
around an old three
trunk! Odysseus was
deeply moved: this really
was his wife, his
Penelope! Nearly
threethousands years
later, the loyalty and
strength of this
character, and all the
dangerous adventures that
Odysseus survived thanks
to courage and
intelligence, still moves
us today.
Odyssee
by Jan Bosveld is not
just an adventure story,
butrather a
characteristic piece in
which memories of Homers
story can be heard.
The composition opens
with a firm, stirring
theme describing our
hero, Odysseus, in
detail: This man is not
to be taken lightly.
The further
development of thisshort
introduction completes
this character sketch:
trustworthy, perseverant,
and a genius. After
that we can picture
Odysseus on the lonely
beach of Ogygia. Do the
trumpets depict his
memories of the war of
Troy? Does he think of
his wife, as werecognise
the weaving loom of
Penelope in the murmuring
eighth? In the
solemn, plaintive part
that follows, we can
imagine Penelope feeling
lonely, sitting in the
womens room with her
servants.One of the girls
plays the harp, but that
does notclear the sombre
atmosphere. Then we can
imagine seeing the
sorceress Circe, who
changed Odysseus men into
swine. After she gives a
simple magic sign
something follows that
reminds us of the sound
of pigs grunting. Then
the Odysseus theme
resounds:the hero comes
to savi his comrades.
Assisted by Hermes, he
forces Circe to lift the
spell. The piece ends
the same way as it began,
with an animated theme:
Odysseus is still the
same, undefeated and not
to be taken
lighty!
Het
muzikale relaas van de
Griekse schrijver Homerus
over de held Odyssee in
een karakterstuk vol
herinneringen. Een
stevig opgewekt thema
symboliseert de
grootsheid van Odyssee en
zijn karaktertrekken -
betrouwbaar, volhardenden
vernuftig. De tegenslagen
welke hij tegenkomt en in
het tweede tragische
gedeelte dreigen te
escaleren, nemen in het
derde snelle gedeelte bij
zijn verschijning toch
weer een positieve
wending. Nijmegenaar
Jan Bosveld bewijstin dit
originele werk dat hij op
de hoogte is van de
onmogelijkheden, maar
vooral de ongekende
mogelijkheden van
muzikanten uit de lagere
afdelingen.
Choral SATB choir, piano SKU: PR.362034230 A Prologue to THE CREATION ...(+)
Choral SATB choir, piano
SKU: PR.362034230
A Prologue to THE
CREATION by Franz Joseph
Haydn. Composed by
Dan Welcher. Sws.
Premiered at the
Northwest Hills United
Methodist Church, Austin,
TX. Choral. Performance
Score. With Standard
notation. Composed July 5
2014. 16 pages. Duration
5:15. Theodore Presser
Company #362-03423.
Published by Theodore
Presser Company
(PR.362034230).
ISBN
9781598069556. UPC:
680160624225. Letter
inches.
English.
Composed by
Richard Summers. Folio.
Cps. Set of Score and
Parts.
16+4+8+8+8+4+4+4+4+4+4+8+
8+8+4+4+6+6+6+4+8+2+2+4+2
+24 pages. Duration 3
minutes, 55 seconds. Carl
Fischer Music #CPS240.
Published by Carl Fischer
Music (CF.CPS240).
ISBN 9781491157862.
UPC: 680160916467. 9 x 12
inches.
Composing
this piece was an
interesting process. A
piece of a melody or an
idea takes shape, and
after writing it down,
itas like planting a seed
that starts to grow and
develop. I got a snippet
of a western idea and
then thought of a
monument in my hometown
of Wheeling, West
Virginia. The statue is
called Madonna of the
Trail. The history part
of this piece started to
take shape as I
researched this statue.
There are twelve of them
located in twelve states
where the Old Trail Road,
or National Road, passes
through. As the piece
developed, I started to
think about the travel of
a pioneer woman and her
family passing through
various areas of our
early country. The 3,000
mile coast-to-coast
National road was
realized in the early
1900s but was based on
six trails that date back
to the 1700s. After
developing the
introduction and theme to
this concert band piece,
the story began to take
shape. The slower 3/4
section melody hints at
Greensleeves (What Child
Is This) which
appropriately weaves
itself into the mix.
Finally heading further
west into New Mexico,
Arizona, and California,
the melody takes on a
Spanish flavor and
returns to the main theme
before its conclusion.
Divisi parts that are
optional can be utilized
to add a richer sound.
Feel free to experiment
with octave changes in
the woodwinds in the
fuller sections, if
students are comfortable
playing up an octave.
Always be aware of the
musicality, blend, and
especially legato playing
when
required. Composing
this piece was an
interesting process. A
piece of a melody or an
idea takes shape, and
after writing it down,
it's like planting a seed
that starts to grow and
develop. I got a snippet
of a western idea and
then thought of a
monument in my hometown
of Wheeling, West
Virginia. The statue is
called Madonna of the
Trail. The history part
of this piece started to
take shape as I
researched this statue.
There are twelve of them
located in twelve states
where the Old Trail Road,
or National Road, passes
through. As the piece
developed, I started to
think about the travel of
a pioneer woman and her
family passing through
various areas of our
early country. The 3,000
mile coast-to-coast
National road was
realized in the early
1900s but was based on
six trails that date back
to the 1700s. After
developing the
introduction and theme to
this concert band piece,
the story began to take
shape. The slower 3/4
section melody hints at
Greensleeves (What Child
Is This) which
appropriately weaves
itself into the mix.
Finally heading further
west into New Mexico,
Arizona, and California,
the melody takes on a
Spanish flavor and
returns to the main theme
before its conclusion.
Divisi parts that are
optional can be utilized
to add a richer sound.
Feel free to experiment
with octave changes in
the woodwinds in the
fuller sections, if
students are comfortable
playing up an octave.
Always be aware of the
musicality, blend, and
especially legato playing
when
required. Composing
this piece was an
interesting process. A
piece of a melody or an
idea takes shape, and
after writing it down,
it’s like planting
a seed that starts to
grow and develop. I got a
snippet of a western idea
and then thought of a
monument in my hometown
of Wheeling, West
Virginia. The statue
is called Madonna of the
Trail. The history part
of this piece started to
take shape as I
researched this statue.
There are twelve of them
located in twelve states
where the Old Trail Road,
or National Road, passes
through. As the piece
developed, I started to
think about the travel of
a pioneer woman and her
family passing through
various areas of our
early country. The
3,000 mile coast-to-coast
National road was
realized in the early
1900s but was based on
six trails that date back
to the 1700s. After
developing the
introduction and theme to
this concert band piece,
the story began to take
shape. The slower 3/4
section melody hints at
Greensleeves (What Child
Is This) which
appropriately weaves
itself into the mix.Â
Finally heading further
west into New Mexico,
Arizona, and California,
the melody takes on a
Spanish flavor and
returns to the main theme
before its
conclusion. Divisi
parts that are optional
can be utilized to add a
richer sound. Feel free
to experiment with octave
changes in the woodwinds
in the fuller sections,
if students are
comfortable playing up an
octave. Always be aware
of the musicality, blend,
and especially legato
playing when
required.
Chamber Music Tuba, Piano SKU: CF.W2693 The World's Oldest Tuba Solo(+)
Chamber Music Tuba, Piano
SKU: CF.W2693
The World's Oldest
Tuba Solo. Composed
by William Pettee. Edited
by Curtis Peacock. Sws.
Set of Score and Parts.
8+2 pages. Carl Fischer
Music #W2693. Published
by Carl Fischer Music
(CF.W2693).
ISBN
9781491158586. UPC:
680160917198. 9 x 12
inches.
While
unknown today, composer
William Pettee
(1839a1891) was clearly a
remarkable musician and
composer evidenced by the
fact that he wrote
funeral music for Abraham
Lincoln and General
Ulysses S. Grant. This
funeral music survives to
this day in a piano
reduction format and is
the basis of some of my
most current arranging
projects. This new
edition of Olosabut was
the culmination of years
of research into the era
commonly called The
Golden Age of Bands, a
period spanning
1880a1920. This project
initially began when I
played the solo part for
Olosabut with a reading
band when I was a guest
artist at the Northwest
Brass Festival in Seattle
in 2010. For this new
edition, I created a
score with modern
transpositions. Prior to
this, there has been no
score for this music.
There is often no score
for American band music
from this era. I also
adjusted the dynamics and
articulations to allow
the soloist to be heard
and composed a handful of
new musical lines to
correct the problems
stemming from
inconsistent number of
measures in the original
edition. Finally, I
created a reduction for
tuba and piano as well as
a new edition for solo
tuba and orchestra.
Olosabut (atuba soloa
spelled backwards) from
1885 is possibly the
oldest American tuba solo
to survive to the
twenty-first century. I
have done extensive
research in this area,
and while there may be
some earlier pieces with
small obbligato solos for
tuba, and perhaps even
earlier full-fledged tuba
solos, I believe this is
the earliest music with a
serious solo tuba part
throughout that survives
to this day. In the Tuba
Source Book, several
early solos are listed
from the 1880s. In my
research, I have
attempted to obtain all
of the music listed in
the Tuba Source Book from
the 1880s or earlier
though the Library of
Congress and various
historic libraries in
America. Most of this
music for solo tuba and
band is incomplete or
entirely unavailable
today though. The
earliest of these is
Southwellas Quickstep
(Fun for Basses) from
1881. This is described
as a novelty march for
tuba section, however. A
notable omission from the
Tuba Source Book, though,
is William Petteeas
Olosabut, which is
clearly marked 1885 on
the original published
sheet music. This piece
is not listed in the Tuba
Source Book. However, a
different piece by Pettee
called Osceola is listed
from 1889. While
unknown today, composer
William Pettee
(1839-1891) was clearly a
remarkable musician and
composer evidenced by the
fact that he wrote
funeral music for Abraham
Lincoln and General
Ulysses S. Grant. This
funeral music survives to
this day in a piano
reduction format and is
the basis of some of my
most current arranging
projects. This new
edition of Olosabut was
the culmination of years
of research into the era
commonly called The
Golden Age of Bands, a
period spanning
1880-1920. This project
initially began when I
played the solo part for
Olosabut with a reading
band when I was a guest
artist at the Northwest
Brass Festival in Seattle
in 2010. For this new
edition, I created a
score with modern
transpositions. Prior to
this, there has been no
score for this music.
There is often no score
for American band music
from this era. I also
adjusted the dynamics and
articulations to allow
the soloist to be heard
and composed a handful of
new musical lines to
correct the problems
stemming from
inconsistent number of
measures in the original
edition. Finally, I
created a reduction for
tuba and piano as well as
a new edition for solo
tuba and orchestra.
Olosabut (tuba solo
spelled backwards) from
1885 is possibly the
oldest American tuba solo
to survive to the
twenty-first century. I
have done extensive
research in this area,
and while there may be
some earlier pieces with
small obbligato solos for
tuba, and perhaps even
earlier full-fledged tuba
solos, I believe this is
the earliest music with a
serious solo tuba part
throughout that survives
to this day. In the Tuba
Source Book, several
early solos are listed
from the 1880s. In my
research, I have
attempted to obtain all
of the music listed in
the Tuba Source Book from
the 1880s or earlier
though the Library of
Congress and various
historic libraries in
America. Most of this
music for solo tuba and
band is incomplete or
entirely unavailable
today though. The
earliest of these is
Southwell's Quickstep
(Fun for Basses) from
1881. This is described
as a novelty march for
tuba section, however. A
notable omission from the
Tuba Source Book, though,
is William Pettee's
Olosabut, which is
clearly marked 1885 on
the original published
sheet music. This piece
is not listed in the Tuba
Source Book. However, a
different piece by Pettee
called Osceola is listed
from 1889. While
unknown today, composer
William Pettee
(1839–1891) was
clearly a remarkable
musician and composer
evidenced by the fact
that he wrote funeral
music for Abraham Lincoln
and General Ulysses S.
Grant. This funeral music
survives to this day in a
piano reduction format
and is the basis of some
of my most current
arranging projects. This
new edition of Olosabut
was the culmination of
years of research into
the era commonly called
The Golden Age of Bands,
a period spanning
1880–1920. This
project initially began
when I played the solo
part for Olosabut with a
reading band when I was a
guest artist at the
Northwest Brass Festival
in Seattle in 2010. For
this new edition, I
created a score with
modern transpositions.
Prior to this, there has
been no score for this
music. There is often no
score for American band
music from this era. I
also adjusted the
dynamics and
articulations to allow
the soloist to be heard
and composed a handful of
new musical lines to
correct the problems
stemming from
inconsistent number of
measures in the original
edition. Finally, I
created a reduction for
tuba and piano as well as
a new edition for solo
tuba and
orchestra.Olosabut
(“tuba soloâ€
spelled backwards) from
1885 is possibly the
oldest American tuba solo
to survive to the
twenty-first century. I
have done extensive
research in this area,
and while there may be
some earlier pieces with
small obbligato solos for
tuba, and perhaps even
earlier full-fledged tuba
solos, I believe this is
the earliest music with a
serious solo tuba part
throughout that survives
to this day. In the Tuba
Source Book, several
early solos are listed
from the 1880s. In my
research, I have
attempted to obtain all
of the music listed in
the Tuba Source Book from
the 1880s or earlier
though the Library of
Congress and various
historic libraries in
America. Most of this
music for solo tuba and
band is incomplete or
entirely unavailable
today though. The
earliest of these is
Southwell’s
Quickstep (Fun for
Basses) from 1881. This
is described as a novelty
march for tuba section,
however. A notable
omission from the Tuba
Source Book, though, is
William Pettee’s
Olosabut, which is
clearly marked 1885 on
the original published
sheet music. This piece
is not listed in the Tuba
Source Book. However, a
different piece by Pettee
called Osceola is listed
from 1889.
Chamber Music Trumpet, Piano SKU: PR.114418940 For Trumpet in C and Pi...(+)
Chamber Music Trumpet,
Piano
SKU:
PR.114418940
For
Trumpet in C and
Piano. Composed by
Adolphus Hailstork. Sws.
Score and parts. With
Standard notation. 28
pages. Duration 10
minutes. Theodore Presser
Company #114-41894.
Published by Theodore
Presser Company
(PR.114418940).
UPC:
680160669653. 9 x 12
inches.
Hailstork
names his four diverse
pieces for trumpet Hymns,
because of the hymn-like
impression of the opening
statements. These short
pieces can be played
individually or as a set,
and can well serve within
the worship service as
processional or
recessional. Four Hymns
Without Words is
available in two versions
for piano or organ
accompaniment. Music
for trumpet and organ has
a long grand history,
especially as written by
English composers. These
four pieces were written
to be used as separate
service pieces or as a
suite. I then decided to
orchestrate them as a
concert suite I had some
themes that reminded me
of church hymns,
especially processionals,
from my early years
growing up as a singer in
an Episcopal cathedral. I
kept envisioning entrance
music when I worked on
Hymns 1 and 2, then quiet
hymn (with a minor key
ending!) as might occur
in a Black church for no.
3, and, finally, a
buoyant exit song for the
recessional as the church
doors are flung open to
the sun.. Music for
trumpet and organ has a
long grand history,
especially as written by
English composers.These
four pieces were written
to be used as separate
service pieces or as a
suite. I then decided to
orchestrate them as a
concert suite I had some
themes that reminded me
of church hymns,
especially processionals,
from my early years
growing up as a singer in
an Episcopal cathedral. I
kept envisioning entrance
music when I worked on
Hymns 1 and 2, then quiet
hymn (with a minor key
ending!) as might occur
in a Black church for no.
3, and, finally,
a buoyant exit song for
the recessional as the
church doors are flung
open to the
sun.. Music for
trumpet and organ has a
long grand history,
especially as written by
English composers.These
four pieces were written
to be used as separate
service pieces or as a
suite. I then decided to
orchestrate them as a
concert suitexa0I had
some themes that reminded
me of church hymns,
especially processionals,
from my early years
growing up as a singer in
an Episcopal cathedral. I
kept envisioning entrance
music when I worked on
Hymns 1 and 2, then quiet
hymn (with a minor key
ending!) as might occur
in a Black church for no.
3, and, finally,
axa0buoyantxa0exit song
for the recessional as
the church doors are
flung open to the
sun..
(Christmas Favorites for Two Acoustic Guitars). Composed by William Bay. For aco...(+)
(Christmas Favorites for
Two Acoustic Guitars).
Composed by William Bay.
For acoustic guitar duet.
CD.
Intermediate-Advanced.
Compact Disc. Published
by Mel Bay Publications,
Inc
Composed
by Mark Lortz. Yps. Full
score. 12 pages. Duration
3 minutes, 18 seconds.
Carl Fischer Music
#YPS257F. Published by
Carl Fischer Music
(CF.YPS257F).
ISBN
9781491161968. UPC:
680160920648.
Break
Through is my musical
representation of one's
struggle to pass through
a barrier or move beyond
an obstacle. This could
be a literal breakthrough
or a metaphorical
achievement. The
composition is centered
around the key of G minor
to achieve a dark,
resonant emotion. The
percussion is the
heartbeat and pulse for
the introduction and
should follow all
dynamics to match the
winds. Soft rolling
mallets should be used
for the bass drum and
gong rolls, creating a
dark timbre without
overpowering the
ensemble. At Rehearsal
13, work to have a
balanced section where
the clarinets can be
heard on the melody and
the tenor sax and horn on
the countermelody.
Rehearsal 21 provides a
fully scored variation of
the theme and should
continue to be as dark as
possible. Rehearsal 29 is
the final musical
struggle before the
Rehearsal 38 'break
through' climax of the
composition. The
resolution of the
relative major of Bb
should be majestic and
triumphant. Finally,
rehearsal 48 transitions
to a recapitulation of
the opening theme, moving
towards a contemplative
ending back to G minor. I
hope you and your
ensemble enjoy
perforinming Break
Through. Break Through
is my musical
representation of
one’s struggle to
pass through a barrier or
move beyond an obstacle.
This could be a literal
breakthrough or a
metaphorical achievement.
The composition is
centered around the key
of G minor to achieve a
dark, resonant emotion.
The percussion is the
heartbeat and pulse for
the introduction and
should follow all
dynamics to match the
winds. Soft rolling
mallets should be used
for the bass drum and
gong rolls, creating a
dark timbre without
overpowering the
ensemble. At Rehearsal
13, work to have a
balanced section where
the clarinets can be
heard on the melody and
the tenor sax and horn on
the countermelody.
Rehearsal 21 provides a
fully scored variation of
the theme and should
continue to be as dark as
possible. Rehearsal 29 is
the final musical
struggle before the
Rehearsal 38 ‘break
through’ climax of
the composition. The
resolution of the
relative major of Bb
should be majestic and
triumphant. Finally,
rehearsal 48 transitions
to a recapitulation of
the opening theme, moving
towards a contemplative
ending back to G minor.I
hope you and your
ensemble enjoy
perforinming Break
Through.
Harp Accompaniment; Percussion; Strings; Tenor (Score) SKU: HL.286427 ...(+)
Harp Accompaniment;
Percussion; Strings;
Tenor (Score)
SKU:
HL.286427
Tenor,
Strings, Harp, Piano and
Percussion Score.
Composed by Witold
Lutoslawski. PWM.
Classical. Softcover. 64
pages. Polskie
Wydawnictwo Muzyczne
#6288. Published by
Polskie Wydawnictwo
Muzyczne (HL.286427).
''Witold
Lutoslawski treated the
surrealistic poem of Jean
Francois Chabrun as a
symbolist story about
love and death. In his
musical interpretation,
according to its default
course he distinguished
the subsequent stages of
the opus which are
characterised by
different kinds of
expression. The first
stage is of an epic and
lyrical character, the
second refers to a
lullaby, the third is of
a dramatic nature and
constitutes the
culmination of the work,
finally, the fourth stage
is a kind of a lament
ending with a reflective
message. Lutoslawski's
musical language is
characterised by
contemporary means of
composing technique. One
should take note of the
unique twelve-note system
elaborated by the
composer, a
characteristic time
organisation based on
contrasting the conducted
sections against the ad
libitum ones, and finally
the vast repertoire of
sound articulation
allowing for unusual
differentiation of the
timbre. [Regina
Chlopicka: Paroles
tissees Witolda
Lutoslawskiego, in:
Muzyka polska
1945-1995'', Akademia
Muzyczna w Krakowie,
1996].
Composed by
Patrick Glenn Harper.
Cps. Set of Score and
Parts.
8+8+4+8+8+8+4+4+4+4+4+4+4
+4+4+4+4+8+8+6+4+8+1+2+2+
2+4+8+4+32 pages.
Duration 5:22. Carl
Fischer Music #CPS261.
Published by Carl Fischer
Music (CF.CPS261).
ISBN 9781491161272.
UPC:
680160919864.
Sahar
a is an exciting
programmatic work for
concert band that
musically paints a
picture of a fantastical
desert crossing in three
contrasting sections. The
first section depicts a
large caravan moving
across the giant dunes.
The second section
describes a visit to a
palace in a mystical
oasis city. The third
section brings the piece
to an epic close as the
caravan outruns a
sandstorm to reach their
final destination.
Performance Notes You may
use a set of congas in
addition to or in lieu of
the dumbek part to bring
out that pitched drum
sound. At m. 4, emphasize
the accented quarter
notes in the horns and
euphonium. Measures
17-26, make sure that the
sixteenth note marimba
part is heard clearly. In
measures 48-92, this
entire middle section may
be played in a rubato
style at the director's
discretion to achieve
maximum musical
expression. Be sure to
emphasize the
crescendo-decrescendo
dynamics in this entire
section. In measures
56-61, be sure that the
syncopated flute and
clarinet parts are heard
clearly. and the flute
and oboe are heard as
well mm. 76-81. The
descending eighth notes
in the bass clarinet and
tuba part should be
brought out in mm. 76-81.
Measures 109-112, make
sure to bring out the
trills in the Flute and
oboe parts and sustain
them all the way through
the measure with a
release immediately on
beat 1 of the following
measure. And finally, mm.
125-126, emphasize the F
Horn and Alto Saxophone
parts. Sahara is an
exciting programmatic
work for concert band
that musically paints a
picture of a fantastical
desert crossing in three
contrasting sections. The
first section depicts a
large caravan moving
across the giant dunes.
The second section
describes a visit to a
palace in a mystical
oasis city. The third
section brings the piece
to an epic close as the
caravan outruns a
sandstorm to reach their
final
destination.Performance
NotesYou may use a set of
congas in addition to or
in lieu of the dumbek
part to bring out that
pitched drum sound. At m.
4, emphasize the accented
quarter notes in the
horns and euphonium.
Measures 17-26, make sure
that the sixteenth note
marimba part is heard
clearly. In measures
48-92, this entire middle
section may be played in
a rubato style at the
director’s
discretion to achieve
maximum musical
expression. Be sure to
emphasize the
crescendo-decrescendo
dynamics in this entire
section. In measures
56-61, be sure that the
syncopated flute and
clarinet parts are heard
clearly. and the flute
and oboe are heard as
well mm. 76-81. The
descending eighth notes
in the bass clarinet and
tuba part should be
brought out in mm.
76-81.Measures 109-112,
make sure to bring out
the trills in the Flute
and oboe parts and
sustain them all the way
through the measure with
a release immediately on
beat 1 of the following
measure. And finally, mm.
125-126, emphasize the F
Horn and Alto Saxophone
parts.
Lights Out Orchestre d'harmonie [Conducteur] - Facile Opus III Wind Orchestra Publications
Concert band - Grade 3 SKU: CL.012-4601-75 March. Composed by McCo...(+)
Concert band - Grade 3
SKU:
CL.012-4601-75
March. Composed by
McCoy. Arranged by
Glover. Concert Band.
Heritage of the March
Series. Audio recording
available separately
(item CL.WFR391). March.
Oversized, spiral-bound
score. Composed 2017.
Duration 3 minutes, 48
seconds. Opus III Wind
Orchestra Publications
#012-4601-75. Published
by Opus III Wind
Orchestra Publications
(CL.012-4601-75).
This famous old
line march is finally
available in a concert
edition! This spirited
march gives the entire
band a chance to shine.
The trio is presented
first with a lyrical
melody/countermelody,
second with a delightful
woodwind variation, and
finally tutti with a
solid trombone
countermelody. Featuring
a musical reference to
the bugle call Taps
(hence the title,) Lights
Out is an excellent 6/8
march for mid-level
bands. A guaranteed
audience-pleaser!
About Heritage
of the
March
Full
-sized concert band
editions of the greatest
marches of all time. Each
has been faithfully
re-scored to accommodate
modern instrumentation
and incorporate
performance practices of
classic march style
Composed by Travis
Weller. Yps. Set of Score
and Parts.
16+4+8+8+4+4+6+4+4+4+8+8+
6+6+6+4+6+4+2+4+2+4+24
pages. Duration 2
minutes, 18 seconds. Carl
Fischer Music #YPS252.
Published by Carl Fischer
Music (CF.YPS252).
ISBN 9781491161357.
UPC:
680160919949.
A new
day. A new event. A new
opportunity. We look
forward to these things
and the potential they
hold. We live our lives
looking forward, but we
understand them looking
backward (a thought of
Danish philosopher Soren
Kierkegaard). We do not
always know what the
future may hold, but we
must remember: first,
there are no guarantees
beyond the time and
opportunity we are given
to do good. Second,
change around us is
inevitable. Finally, and
the most important
aspect, we have choices.
This lesson is fixed to
the composer's office
door: Today is the
greatest day of your
life, if you want it to
be. Why not look forward
to the Promise on the
Horizon and the
possibilities for
greatness that lie within
it? The opening motif of
this concert fanfare is
purposely inquisitive as
the piece seeks to
establish its first
steps. The subtle shift
at measure 37 and again
at measure 69 are
reminders of the
challenges that await us
during the journey. Here
again it is a matter of
choice - do we choose to
let circumstances define
us, or do we define the
circumstances? The
section at 93 is a
resounding answer that we
will move barriers,
overcome obstacles and
keep our vision looking
forward. The piece builds
toward an exciting
conclusion from measure
127 onward. The piece
reinforces several basic
rhythmic patterns in 6/8
time. As a number of
these rhythms are
repeated, it provides an
easy opportunity for the
entire ensemble to grow
more comfortable
performing in this meter.
While it is a
fanfare-type piece,
remind young musicians to
play with lightness and
precision, rather than
intensity in volume.
Maintaining this style of
articulation and accuracy
helps the rhythms in 6/8
time maintain their
buoyancy. It is vital
that each musician
listens for the melody
and balances their part,
especially in moments
where the melody is
passed between sections.
If vibes are not
available, a second bell
set can be employed in
its place. It is hoped
that this piece is an
uplifting way to open
your next concert, and a
meaningful opportunity
for you to discuss the
power of making positive
choices with your
students in the ensemble
(as a reminder, regular
practicing of their
instrument is a positive
choice). Wishing you and
your ensemble well as you
look to the Promise on
the Horizon. A new
day. A new event. A new
opportunity. We look
forward to these things
and the potential they
hold. We live our lives
looking forward, but we
understand them looking
backward (a thought of
Danish philosopher Soren
Kierkegaard). We do not
always know what the
future may hold, but we
must remember: first,Â
there are no guarantees
beyond the time and
opportunity we are given
to do good. Second,
change around us is
inevitable. Finally, and
the most important
aspect, we have choices.
This lesson is fixed
to the composer's office
door: “Today is the
greatest day of your
life, if you want it to
be.†Why not look
forward to the Promise on
the Horizon and the
possibilities for
greatness that lie within
it?The opening motif of
this concert fanfare is
purposely inquisitive as
the piece seeks to
establish its first
steps. The subtle shift
at measure 37 and again
at measure 69 are
reminders of the
challenges that await us
during the journey. Here
again it is a matter of
choice – do we
choose to let
circumstances define us,
or do we define the
circumstances? The
section at 93 is a
resounding answer that we
will move barriers,
overcome obstacles and
keep our vision looking
forward. The piece builds
toward an exciting
conclusion from measure
127 onward. The piece
reinforces several basic
rhythmic patterns in 6/8
time. As a number of
these rhythms are
repeated, it provides an
easy opportunity for the
entire ensemble to grow
more comfortable
performing in this meter.
While it is a
fanfare-type piece,
remind young musicians to
play with lightness and
precision, rather than
intensity in volume.
Maintaining this style of
articulation and accuracy
helps the rhythms in 6/8
time maintain their
buoyancy. It is vital
that each musician
listens for the melody
and balances their part,
especially in moments
where the melody is
passed between sections.
If vibes are not
available, a second bell
set can be employed in
its place. It is hoped
that this piece is an
uplifting way to open
your next concert, and a
meaningful opportunity
for you to discuss the
power of making positive
choices with your
students in the ensemble
(as a reminder, regular
practicing of their
instrument is a positive
choice). Wishing you and
your ensemble well as you
look to the Promise on
the Horizon. .