Accordion - difficult SKU: HL.49018091 Composed by Benjamin Schweitzer. T...(+)
Accordion - difficult
SKU: HL.49018091
Composed by Benjamin
Schweitzer. This edition:
Saddle stitching. Sheet
music. Composed
2008/2009. 24 pages.
Duration 15'. Schott
Music #ED20759. Published
by Schott Music
(HL.49018091).
ISBN
9790001170338. UPC:
884088520069.
9.0x12.0x0.115
inches.
The title
hidden tracks is
ambiguous. First of all,
the piece is almost
throughout imagined as
'multi-track', with
layers (in the sense of
sound tracks) that partly
overlay each other,
partly suddenly appear
from the background. The
composition deals with
'hidden' lines, sounds at
the perception threshold,
with side effects of the
accordion sound which
-observed, so to speak,
under a compositional
'microscope' - develop a
special allure: that is
the vertical component.
The title has also a
horizontal meaning: a
'hidden track' is a piece
on a record without a
track number that is not
mentioned on the cover
either. In most cases, a
'hidden track' follows
after a longer break
after the (presumably)
last piece on the record;
often this track contains
strange sounds, noise or
other surprising
elements. 'Hidden tracks'
are surrounded by a
nimbus of the mysterious
and subversive. This
effect is being used
rather often throughout
the piece: again and
again, it seems to have
ended but continues after
a pause. The expectation
of the listener and the
attentiveness also for
the tiniest events rises;
the performance receives
an almost scenic
character. hidden tracks
was partly composed in
August 2008 during a stay
at the Kunstlerhaus Lukas
in Ahrenshoop at the
shores of the Baltic Sea.
The work was accompanied
by many walks on the
beach - again and again,
I caught a sight on
tracks in the sand that
became overlaid by other
tracks, wiped out by the
wind and the waves...
Benjamin Schweitzer.
Hidden Dimensions Orchestre à Cordes [Conducteur et Parties séparées] - Intermédiaire Belwin
Composed by Michael Hopkins. Performance Music Ensemble; Single Titles; String O...(+)
Composed by Michael
Hopkins. Performance
Music Ensemble; Single
Titles; String Orchestra.
Belwin Concert String
Orchestra. Part(s);
Score. 124 pages. Belwin
Music #00-44810.
Published by Belwin Music
(AP.44810).
Orchestra - Grade 3 SKU: AP.44810S Composed by Michael Hopkins. Performan...(+)
Orchestra - Grade 3
SKU: AP.44810S
Composed by Michael
Hopkins. Performance
Music Ensemble; Single
Titles; String Orchestra.
Belwin Concert String
Orchestra. Score. 24
pages. Belwin Music
#00-44810S. Published by
Belwin Music (AP.44810S).
UPC: 038081521206.
English.
Explore
the hidden dimensions of
spacetime and string
theory with multiple
meters! Great for a
cross-curricular
experience with the
science class. There is a
string theory in physics
named M-Theory that
suggests spacetime
contains eleven
dimensions. Most of these
dimensions are compacted,
hidden, and undetectable
by human experiments.
Composer Michael Hopkins
creates a musical
exploration of these
hidden dimensions---a
journey through
spacetime! Through the
use of multiple meters,
the phrases are of
lengths that represent
all the different
dimensions.
SKU: GI.G-CD-711 Composed by James Abbington. Sacred. CD. GIA Publication...(+)
SKU: GI.G-CD-711
Composed by James
Abbington. Sacred. CD.
GIA Publications #711.
Published by GIA
Publications
(GI.G-CD-711).
Once again, Dr.
James Abbington has
combed the extensive
resource that is the
African American Heritage
Hymnal and uncovered yet
another forty-six hidden
treasures. Again, using
the talented voices of
the Morgan State
University, he has
produced this stirringly
inspirational and joyous
recording for your
listening pleasure. The
first recording, 49
Hidden Treasures, was
extremely successful and
heartily welcomed. With
the success of that first
recording it became
apparent that a second
volume would need to be
produced. It is our hope
that 46 More Hidden
Treasures becomes as
valued a resource as its
predecessor!
Hidden Wonders Orchestre d'harmonie - Facile Excelcia Music Publishing
Concert Band Concert Band - Grade 2 SKU: XC.ICB1904FS Composed by Sean O'...(+)
Concert Band Concert Band
- Grade 2
SKU:
XC.ICB1904FS
Composed
by Sean O'Loughlin.
Intermezzo Band Series.
Concert and Contest.
Classical, Acoustic.
Score. Excelcia Music
Publishing #ICB1904FS.
Published by Excelcia
Music Publishing
(XC.ICB1904FS).
UPC:
812598031393. 9 x 12
inches.
Hidden
Wonders is a great
example of Sean
O’Loughlin’
s skill at writing for
young musicians. Full of
lyrical beauty and
exquisite craft, this
piece will challenge your
musicians. Inspired by
beauty and unity, Hidden
Wonders is a great
addition to any concert
program.
Hidden Wonders Orchestre d'harmonie - Facile Excelcia Music Publishing
Concert Band Concert Band - Grade 2 SKU: XC.ICB1904 Composed by Sean O'Lo...(+)
Concert Band Concert Band
- Grade 2
SKU:
XC.ICB1904
Composed
by Sean O'Loughlin.
Intermezzo Band Series.
Concert and Contest.
Classical, Acoustic. Set
of parts. Excelcia Music
Publishing #ICB1904.
Published by Excelcia
Music Publishing
(XC.ICB1904).
UPC:
812598032017. 9 x 12
inches.
Hidden
Wonders is a great
example of Sean
O’Loughlin’
s skill at writing for
young musicians. Full of
lyrical beauty and
exquisite craft, this
piece will challenge your
musicians. Inspired by
beauty and unity, Hidden
Wonders is a great
addition to any concert
program.
Piano SKU: BT.MUSM570364244 Composed by Sadie Harrison. Classical. Book O...(+)
Piano
SKU:
BT.MUSM570364244
Composed by Sadie
Harrison. Classical. Book
Only. 24 pages.
University of York Music
Press #MUSM570364244.
Published by University
of York Music Press
(BT.MUSM570364244).
English.
Hidden
Ceremonies I by Sadie
Harrison. 9 fragments
after paintings by Brian
Graham.
I after
‘Antiphon’
(1999) II after
‘Sacrarium’
(2000) III after
‘Palimpsest’
(2000) IV after
‘The Intervening
Figure’
(2002) V after
‘Flint’
(2003) VI after
‘Hearth’
(2003) VII after
‘Hidden
Ceremony’
(2004) VIII after
‘Spine’
(2005) XI after
‘Antler
Music’ (2006).
Music from the Motion Picture Soundtrack. Composed by John Powell. Arranged by...(+)
Music from the Motion
Picture
Soundtrack. Composed by
John
Powell. Arranged by Batu
Sener. Piano Solo
Songbook.
Movies. Softcover. 48
pages.
Published by Hal Leonard
By Sean O'Loughlin. For concert band (flute, oboe (opt. flute 2), clarinet in Bb...(+)
By Sean O'Loughlin. For
concert band (flute, oboe
(opt. flute 2), clarinet
in Bb, bass clarinet in
Bb, alto saxophone in Eb,
tenor saxophone in Bb,
baritone saxophone in Eb,
trumpet in Bb, horn in F,
trombone, euphonium b.c.,
bassoon, euphonium t.c.
in Bb
Hidden Gems Orchestre d'harmonie - Facile C.L. Barnhouse
Grade 2 SKU: CL.011-5043-01 Composed by Bob Hilliard. Young Concert Band....(+)
Grade 2
SKU:
CL.011-5043-01
Composed by Bob Hilliard.
Young Concert Band. Extra
score. C.L. Barnhouse
#011-5043-01. Published
by C.L. Barnhouse
(CL.011-5043-01).
Hidden Gems is
an electrifying
composition composed to
challenge your entire
band! Solid scoring makes
this work ideal for a
group with limited
instrumentation. A slow
dramatic opening leads
into an exciting
aggressive fast section.
This section features
great percussion writing
which augments unique
melodic and fragment
motives. An ideal work
for contest or concert
performance. Highly
recommended!
Hidden Wonders Orchestre d'harmonie - Facile Excelcia Music Publishing
Flexible Concert Band Concert Band - Grade 2 SKU: XC.FCB2003FS Composed b...(+)
Flexible Concert Band
Concert Band - Grade 2
SKU: XC.FCB2003FS
Composed by Sean
O'Loughlin. Flexible
Concert Concert Band.
Flexcel Concert Works.
Concert and Contest.
Concert and contest.
Score. Excelcia Music
Publishing #FCB2003FS.
Published by Excelcia
Music Publishing
(XC.FCB2003FS).
UPC:
812598035384. 9 x 12
inches.
Hidden
Wonders has been
scored for flexible
instrumentation. Playable
with as few as 5
wind/string players and
percussion, this
accessible concert march
is perfect for small
ensemble rehearsal,
performance, or as a
planning piece for when
your ensemble comes back
together in force. Each
Flexcelseries work comes
with a letter for proof
of copyright permission
as well as a digital
download coupon so you
can get the music to your
students in the most
efficient and safest way
possible.
SKU: AP.44080 The Story of Rock Pioneer Charlie Gracie. Composed b...(+)
SKU: AP.44080
The Story of Rock
Pioneer Charlie
Gracie. Composed by
Charlie Gracie with John
A. Jackson.
Artist/Personality;
Reference Textbooks;
Textbook - General. Pop;
Pop/Rock; Rock. Book. 328
pages. Alfred Music
#00-44080. Published by
Alfred Music (AP.44080).
ISBN 9781470619671.
UPC: 038081495668.
English.
Charlie
Gracie's hit song
Butterfly topped the
American and British
music charts in 1957,
selling over three
million copies. His hits
in the late '50s
propelled him to
appearances on Dick
Clark's American
Bandstand, The Ed
Sullivan Show, and some
of the largest venues in
the U. S. and abroad.
Charlie was part of the
birth of rock & roll, and
his unique style
influenced some of the
most important artists in
rock history, including
The Beatles, Cliff
Richard, Van Morrison,
Graham Nash, Chubby
Checker, and countless
others.
Rock &
Roll's Hidden Giant
uncovers Charlie's
inspiring story, tracing
his rise to the top of
the charts through to his
fall from fame. From his
upbringing on the streets
of Philadelphia to the
tragic death of his
friend Eddie Cochran to
experiencing the dark
side of Dick Clark and
the early days of the
music industry, we learn
that Charlie's
unfaltering integrity and
talent were the constant
guides in his life. Rock
history would not be the
same without Charlie
Gracie, and this
remarkable, uplifting
account is essential for
all fans of rock & roll.
When we were
starting out with The
Beatles, the music coming
over from America was
magical to us---and one
of the artists who
epitomized this magic was
Charlie Gracie. ---Sir
Paul McCartney
Charlie Gracie
was FIRST in Rock &
Roll---and the FIRST Rock
& Roller to come out of
Philadelphia! He started
it and made it possible
for all the rest of us!
---Chubby Checker
His concerts in
the late '50s in
Manchester, England
helped me to become who I
am today. ---Graham Nash
This book will
allow you to see that
nothing comes 'easy.'
Success comes with hard
work, disappointments,
and some artists suffer
betrayal by those they
trust. ---Sir Cliff
Richard
His
guitar sound was
brilliant! ---George
Harrison.
Hidden World Orchestre d'harmonie - Débutant Carl Fischer
Band - Grade 1 SKU: CF.BPS76F Composed by Sean O'Loughlin. Beginning Perf...(+)
Band - Grade 1
SKU:
CF.BPS76F
Composed by
Sean O'Loughlin.
Beginning Performance
Series. Full score. With
Standard notation. 16
pages. Carl Fischer Music
#BPS76F. Published by
Carl Fischer Music
(CF.BPS76F).
ISBN
9780825892318. UPC:
798408092313. 9 x 12
inches.
Hidden
World is a dynamic
composition for the
beginning band,
containing great
performance and teaching
opportunities. The
opening motive is loosely
based on the first
gesture in Tchaikovsky's
Piano Concerto No. 1. In
the concerto, that
gesture is very heroic,
but also explores a more
mysterious side. An
excellent choice for
contest or festival.
Hidden Wonders Orchestre d'harmonie - Facile Excelcia Music Publishing
Flexible Concert Band Concert Band - Grade 2 SKU: XC.FCB2003 Composed by ...(+)
Flexible Concert Band
Concert Band - Grade 2
SKU: XC.FCB2003
Composed by Sean
O'Loughlin. Flexible
Concert Concert Band.
Flexcel Concert Works.
Concert and Contest.
Concert and contest. Set
of parts. Excelcia Music
Publishing #FCB2003.
Published by Excelcia
Music Publishing
(XC.FCB2003).
UPC:
812598035391. 9 x 12
inches.
Hidden
Wonders has been
scored for flexible
instrumentation. Playable
with as few as 5
wind/string players and
percussion, this
accessible concert march
is perfect for small
ensemble rehearsal,
performance, or as a
planning piece for when
your ensemble comes back
together in force. Each
Flexcelseries work comes
with a letter for proof
of copyright permission
as well as a digital
download coupon so you
can get the music to your
students in the most
efficient and safest way
possible.
Hidden Gems Orchestre d'harmonie - Facile C.L. Barnhouse
Grade 2 SKU: CL.011-5043-00 Composed by Bob Hilliard. Young Concert Band....(+)
Grade 2
SKU:
CL.011-5043-00
Composed by Bob Hilliard.
Young Concert Band. Score
and set of parts. C.L.
Barnhouse #011-5043-00.
Published by C.L.
Barnhouse
(CL.011-5043-00).
Hidden Gems is
an electrifying
composition composed to
challenge your entire
band! Solid scoring makes
this work ideal for a
group with limited
instrumentation. A slow
dramatic opening leads
into an exciting
aggressive fast section.
This section features
great percussion writing
which augments unique
melodic and fragment
motives. An ideal work
for contest or concert
performance. Highly
recommended!
SATB chorus - early intermediate SKU: XC.HRMG1734 Composed by Michael Joh...(+)
SATB chorus - early
intermediate
SKU:
XC.HRMG1734
Composed
by Michael John Trotta.
Michael John Trotta.
Music Education. Octavo.
8 pages. Hampton Roads
Music Group LLC
#HRMG1734. Published by
Hampton Roads Music Group
LLC (XC.HRMG1734).
UPC: 785147101154.
English. Text Source:
Giovanni ,Giocondo.
p>
The powerful message
of this 15th century text
is the inspiration for
Trotta's stunning a
cappella setting will
resonate with choirs and
audiences alike. The
gift, the wonder of it
all, is the presence
hidden deep within, and
the joy, yet somehow even
more... the secret that
conceals diviner things.
 .
SSAA chorus and piano - Medium SKU: JK.01893 Composed by Kenneth Cope. Ar...(+)
SSAA chorus and piano -
Medium
SKU:
JK.01893
Composed by
Kenneth Cope. Arranged by
Grant Kenneth Cope and
Michael Gibbons. Choral 2
Part, Choral SA,
Difficulty Medium,
Seasonal Music Christmas,
Christmas, Humility,
Jesus Christ - Birth,
Jesus Christ - Savior,
Vocal Solo. Christian,
Inspirational. Duration
approx. 3 minutes.
Jackman Music Corporation
#01893. Published by
Jackman Music Corporation
(JK.01893).
UPC:
093285018938. Luke
2:19This song is from the
musical Son of Man by
Kenneth Cope. You may
purchase the CD
here.
From the new
musical about the life of
Christ, Son of Man, we
bring you Hidden in My
Heart for SSAA and piano.
This song, written by the
award-winning composer,
Kenneth Cope, is sung
from Mary's perspective
and gives us a look into
the heart of the
expecting mother of the
Son of God. Highly
recommended! But Mary
kept all these things,
and pondered them in her
heart. Luke 2:19 Music
and Lyrics: Kenneth
Cope Arranger: Kenneth
Cope, Grant and Michael
Gibbons Difficulty:
Medium Performance
time: approx.
2:47 Reference: Luke
2:19 This song is from
the musical Son of Man by
Kenneth Cope. You may
purchase the CD here.
Ligne De Mélodie, Paroles et Accords [Fake Book] - Facile Hal Leonard
For voice and C instrument. Format: fakebook (spiral bound). With vocal melody, ...(+)
For voice and C
instrument. Format:
fakebook (spiral bound).
With vocal melody,
lyrics, piano
accompaniment, chord
names and leadsheet
notation. Hymn. Series:
Hal Leonard Fake Books.
494 pages. 9x12 inches.
Published by Hal Leonard.
America Orchestre d'harmonie - Intermédiaire Carl Fischer
Band Concert Band - Grade 3 SKU: CF.CPS252 Composed by Michael J. Miller....(+)
Band Concert Band - Grade
3
SKU: CF.CPS252
Composed by Michael J.
Miller. Set of Score and
Parts.
12+4+4+2+4+4+4+2+2+2+2+2+
2+4+4+4+2+2+3+3+3+2+4+3+1
+2+3 pages. Duration
1:45. Carl Fischer Music
#CPS252. Published by
Carl Fischer Music
(CF.CPS252).
ISBN
9781491159699. UPC:
680160918287.
Ameri
ca is intended for any
intermediate to
professional concert band
looking to honor the
United States of America
and/or members of the
Armed Forces. It is
therefore ideal for
performance on or around
any patriotic holiday. It
is not a typical setting
of the tune, in that many
liberties are taken to
showcase each instrument
of the ensemble, with the
melodic focus constantly
shifting. The conductor
and performers should
seek out these moments,
and bring them to life
whenever possible. The
introduction, mm. 1-12,
should be approached in
the style of a fanfare,
with an emphasis on
syncopation and
exaggerated nuance in
regards to articulation
style. Here, hidden
beneath woodwind
flourishes and triumphant
bugle calls, the low
voices play quotes of
familiar American tunes
such as The Star-Spangled
Banner (m. 1, beat 3) and
Simple Gifts (m. 3, beat
4). In mm. 15-22 the
melody is carefully
hidden among counter
lines. This should be
carefully balanced to
highlight the melody,
while still shaping the
counter melodies
appropriately. A brief
return to the fanfare
style occurs in mm. 33-35
before melding back into
the chorale style. In
regards to dynamics,
performers should be
reminded that within any
single dynamic exists a
range of expressive
shades. No two notes
should be played at the
same volume, ensuring
direction in even the
simplest of phrases.
Generally speaking, the
fortissimo dynamic should
be approached
thoughtfully, with the
bulk of the sound coming
from the lowest voices,
and the least from the
highest
voices. America is
intended for any
intermediate to
professional concert band
looking to honor the
United States of America
and/or members of the
Armed Forces. It is
therefore ideal for
performance on or around
any patriotic holiday. It
is not a typical setting
of the tune, in that many
liberties are taken to
showcase each instrument
of the ensemble, with the
melodic focus constantly
shifting. The conductor
and performers should
seek out these moments,
and bring them to life
whenever possible.The
introduction, mm.
1–12, should be
approached in the style
of a fanfare, with an
emphasis on syncopation
and exaggerated nuance in
regards to articulation
style. Here, hidden
beneath woodwind
flourishes and triumphant
bugle calls, the low
voices play quotes of
familiar American tunes
such as The Star-Spangled
Banner (m. 1, beat 3) and
Simple Gifts (m. 3, beat
4). In mm.
15–22 the melody
is carefully hidden among
counter lines. This
should be carefully
balanced to highlight the
melody, while still
shaping the counter
melodies appropriately.A
brief return to the
fanfare style occurs in
mm. 33–35 before
melding back into the
chorale style.In regards
to dynamics, performers
should be reminded that
within any single dynamic
exists a range of
expressive shades. No two
notes should be played at
the same volume, ensuring
direction in even the
simplest of
phrases.Generally
speaking, the fortissimo
dynamic should be
approached thoughtfully,
with the bulk of the
sound coming from the
lowest voices, and the
least from the highest
voices.
America Orchestre d'harmonie - Intermédiaire Carl Fischer
Band Concert Band - Grade 3 SKU: CF.CPS252F Composed by Michael J. Miller...(+)
Band Concert Band - Grade
3
SKU: CF.CPS252F
Composed by Michael J.
Miller. Full score. 9
pages. Carl Fischer Music
#CPS252F. Published by
Carl Fischer Music
(CF.CPS252F).
ISBN
9781491159705. UPC:
680160918294.
Ameri
ca is intended for any
intermediate to
professional concert band
looking to honor the
United States of America
and/or members of the
Armed Forces. It is
therefore ideal for
performance on or around
any patriotic holiday. It
is not a typical setting
of the tune, in that many
liberties are taken to
showcase each instrument
of the ensemble, with the
melodic focus constantly
shifting. The conductor
and performers should
seek out these moments,
and bring them to life
whenever possible. The
introduction, mm. 1-12,
should be approached in
the style of a fanfare,
with an emphasis on
syncopation and
exaggerated nuance in
regards to articulation
style. Here, hidden
beneath woodwind
flourishes and triumphant
bugle calls, the low
voices play quotes of
familiar American tunes
such as The Star-Spangled
Banner (m. 1, beat 3) and
Simple Gifts (m. 3, beat
4). In mm. 15-22 the
melody is carefully
hidden among counter
lines. This should be
carefully balanced to
highlight the melody,
while still shaping the
counter melodies
appropriately. A brief
return to the fanfare
style occurs in mm. 33-35
before melding back into
the chorale style. In
regards to dynamics,
performers should be
reminded that within any
single dynamic exists a
range of expressive
shades. No two notes
should be played at the
same volume, ensuring
direction in even the
simplest of phrases.
Generally speaking, the
fortissimo dynamic should
be approached
thoughtfully, with the
bulk of the sound coming
from the lowest voices,
and the least from the
highest
voices. America is
intended for any
intermediate to
professional concert band
looking to honor the
United States of America
and/or members of the
Armed Forces. It is
therefore ideal for
performance on or around
any patriotic holiday. It
is not a typical setting
of the tune, in that many
liberties are taken to
showcase each instrument
of the ensemble, with the
melodic focus constantly
shifting. The conductor
and performers should
seek out these moments,
and bring them to life
whenever possible.The
introduction, mm.
1–12, should be
approached in the style
of a fanfare, with an
emphasis on syncopation
and exaggerated nuance in
regards to articulation
style. Here, hidden
beneath woodwind
flourishes and triumphant
bugle calls, the low
voices play quotes of
familiar American tunes
such as The Star-Spangled
Banner (m. 1, beat 3) and
Simple Gifts (m. 3, beat
4). In mm.
15–22 the melody
is carefully hidden among
counter lines. This
should be carefully
balanced to highlight the
melody, while still
shaping the counter
melodies appropriately.A
brief return to the
fanfare style occurs in
mm. 33–35 before
melding back into the
chorale style.In regards
to dynamics, performers
should be reminded that
within any single dynamic
exists a range of
expressive shades. No two
notes should be played at
the same volume, ensuring
direction in even the
simplest of
phrases.Generally
speaking, the fortissimo
dynamic should be
approached thoughtfully,
with the bulk of the
sound coming from the
lowest voices, and the
least from the highest
voices.
Composed by Michael Boo.
Folio. Yps. Set of Score
and Parts.
4+2+2+2+4+4+2+2+5+5+2+2+4
+4+4+2+2+3+3+3+2+3+2+1+1+
1+2+16 pages. Duration
2:30. Carl Fischer Music
#YPS228. Published by
Carl Fischer Music
(CF.YPS228).
ISBN
9781491157961. UPC:
680160916566. 9 x 12
inches.
Ninja is a
Grade 2 piece playable by
any young band, due to
extensive doublings
throughout. The mood of
the piece is mysterious,
reflecting the image of
ninjas being seen one
moment and gone the next.
Flute 3 is not essential
as it doubles the oboes,
but is useful in case you
have a lot of flutes or
due to a limited number
of oboes. If you donat
have a bass clarinet,
baritone saxophone or
bassoons, those parts are
covered in the low brass.
The timpani part is
optional, and the piece
wonat suffer if you donat
have access to that
percussion. The optional
F-chime and gong only
play in the final measure
of the piece. While
adding a notable effect
at the end, those
instruments wonat be
missed if you donat have
them available. The
tom-tom part can be
played on a snare drum
with the snares off or
may be played on a tenor
drum. Care should be
taken that accented notes
are emphasized, but never
become ponderous. The
half notes at the
beginning of the piece
should not be accented.
The theme is introduced
in the first twelve
measures, and at m. 13
many of the instruments
trade the melody for half
notes and vice-versa. Be
careful that the
percussion section never
becomes overpowering. At
m. 25, care should be
taken that there is quite
a volume difference
between ff and mp. Think
of this representing the
ninjas being seen one
moment and being hidden
the next. The double
staccato figures at m. 33
should not be accented.
Trumpets and trombones at
m. 37 should not be
overly legato, but
certainly shouldnat be
treated as staccatos.
Being aware of not
accenting notes that
donat have accents will
make the accents at m. 49
more dramatic. Please
note that the legato
notes at mm. 58 and 60
are not to be
accented. Ninja is a
Grade 2 piece playable by
any young band, due to
extensive doublings
throughout. The mood of
the piece is mysterious,
reflecting the image of
ninjas being seen one
moment and gone the next.
Flute 3 is not essential
as it doubles the oboes,
but is useful in case you
have a lot of flutes or
due to a limited number
of oboes. If you don't
have a bass clarinet,
baritone saxophone or
bassoons, those parts are
covered in the low brass.
The timpani part is
optional, and the piece
won't suffer if you don't
have access to that
percussion. The optional
F-chime and gong only
play in the final measure
of the piece. While
adding a notable effect
at the end, those
instruments won't be
missed if you don't have
them available. The
tom-tom part can be
played on a snare drum
with the snares off or
may be played on a tenor
drum. Care should be
taken that accented notes
are emphasized, but never
become ponderous. The
half notes at the
beginning of the piece
should not be accented.
The theme is introduced
in the first twelve
measures, and at m. 13
many of the instruments
trade the melody for half
notes and vice-versa. Be
careful that the
percussion section never
becomes overpowering. At
m. 25, care should be
taken that there is quite
a volume difference
between ff and mp. Think
of this representing the
ninjas being seen one
moment and being hidden
the next. The double
staccato figures at m. 33
should not be accented.
Trumpets and trombones at
m. 37 should not be
overly legato, but
certainly shouldn't be
treated as staccatos.
Being aware of not
accenting notes that
don't have accents will
make the accents at m. 49
more dramatic. Please
note that the legato
notes at mm. 58 and 60
are not to be
accented. Ninja is a
Grade 2 piece playable by
any young band, due to
extensive doublings
throughout. The mood of
the piece is mysterious,
reflecting the image of
ninjas being seen one
moment and gone the
next.Flute 3 is not
essential as it doubles
the oboes, but is useful
in case you have a lot of
flutes or due to a
limited number of oboes.
If you don’t have
a bass clarinet, baritone
saxophone or bassoons,
those parts are covered
in the low brass. The
timpani part is optional,
and the piece
won’t suffer if
you don’t have
access to that
percussion. The optional
F-chime and gong only
play in the final measure
of the piece. While
adding a notable effect
at the end, those
instruments won’t
be missed if you
don’t have them
available. The tom-tom
part can be played on a
snare drum with the
snares off or may be
played on a tenor
drum.Care should be taken
that accented notes are
emphasized, but never
become ponderous. The
half notes at the
beginning of the piece
should not be accented.
The theme is introduced
in the first twelve
measures, and at m. 13
many of the instruments
trade the melody for half
notes and vice-versa. Be
careful that the
percussion section never
becomes overpowering.At
m. 25, care should be
taken that there is quite
a volume difference
between ff and mp. Think
of this representing the
ninjas being seen one
moment and being hidden
the next. The double
staccato figures at m. 33
should not be accented.
Trumpets and trombones at
m. 37 should not be
overly legato, but
certainly
shouldn’t be
treated as staccatos.
Being aware of not
accenting notes that
don’t have accents
will make the accents at
m. 49 more dramatic.
Please note that the
legato notes at mm. 58
and 60 are not to be
accented.
Composed by Michael Boo.
Sws. Yps. Full score. 16
pages. Duration 2:30.
Carl Fischer Music
#YPS228F. Published by
Carl Fischer Music
(CF.YPS228F).
ISBN
9781491157978. UPC:
680160916573. 9 x 12
inches.
Ninja is a
Grade 2 piece playable by
any young band, due to
extensive doublings
throughout. The mood of
the piece is mysterious,
reflecting the image of
ninjas being seen one
moment and gone the next.
Flute 3 is not essential
as it doubles the oboes,
but is useful in case you
have a lot of flutes or
due to a limited number
of oboes. If you donat
have a bass clarinet,
baritone saxophone or
bassoons, those parts are
covered in the low brass.
The timpani part is
optional, and the piece
wonat suffer if you donat
have access to that
percussion. The optional
F-chime and gong only
play in the final measure
of the piece. While
adding a notable effect
at the end, those
instruments wonat be
missed if you donat have
them available. The
tom-tom part can be
played on a snare drum
with the snares off or
may be played on a tenor
drum. Care should be
taken that accented notes
are emphasized, but never
become ponderous. The
half notes at the
beginning of the piece
should not be accented.
The theme is introduced
in the first twelve
measures, and at m. 13
many of the instruments
trade the melody for half
notes and vice-versa. Be
careful that the
percussion section never
becomes overpowering. At
m. 25, care should be
taken that there is quite
a volume difference
between ff and mp. Think
of this representing the
ninjas being seen one
moment and being hidden
the next. The double
staccato figures at m. 33
should not be accented.
Trumpets and trombones at
m. 37 should not be
overly legato, but
certainly shouldnat be
treated as staccatos.
Being aware of not
accenting notes that
donat have accents will
make the accents at m. 49
more dramatic. Please
note that the legato
notes at mm. 58 and 60
are not to be
accented. Ninja is a
Grade 2 piece playable by
any young band, due to
extensive doublings
throughout. The mood of
the piece is mysterious,
reflecting the image of
ninjas being seen one
moment and gone the next.
Flute 3 is not essential
as it doubles the oboes,
but is useful in case you
have a lot of flutes or
due to a limited number
of oboes. If you don't
have a bass clarinet,
baritone saxophone or
bassoons, those parts are
covered in the low brass.
The timpani part is
optional, and the piece
won't suffer if you don't
have access to that
percussion. The optional
F-chime and gong only
play in the final measure
of the piece. While
adding a notable effect
at the end, those
instruments won't be
missed if you don't have
them available. The
tom-tom part can be
played on a snare drum
with the snares off or
may be played on a tenor
drum. Care should be
taken that accented notes
are emphasized, but never
become ponderous. The
half notes at the
beginning of the piece
should not be accented.
The theme is introduced
in the first twelve
measures, and at m. 13
many of the instruments
trade the melody for half
notes and vice-versa. Be
careful that the
percussion section never
becomes overpowering. At
m. 25, care should be
taken that there is quite
a volume difference
between ff and mp. Think
of this representing the
ninjas being seen one
moment and being hidden
the next. The double
staccato figures at m. 33
should not be accented.
Trumpets and trombones at
m. 37 should not be
overly legato, but
certainly shouldn't be
treated as staccatos.
Being aware of not
accenting notes that
don't have accents will
make the accents at m. 49
more dramatic. Please
note that the legato
notes at mm. 58 and 60
are not to be
accented. Ninja is a
Grade 2 piece playable by
any young band, due to
extensive doublings
throughout. The mood of
the piece is mysterious,
reflecting the image of
ninjas being seen one
moment and gone the
next.Flute 3 is not
essential as it doubles
the oboes, but is useful
in case you have a lot of
flutes or due to a
limited number of oboes.
If you don’t have
a bass clarinet, baritone
saxophone or bassoons,
those parts are covered
in the low brass. The
timpani part is optional,
and the piece
won’t suffer if
you don’t have
access to that
percussion. The optional
F-chime and gong only
play in the final measure
of the piece. While
adding a notable effect
at the end, those
instruments won’t
be missed if you
don’t have them
available. The tom-tom
part can be played on a
snare drum with the
snares off or may be
played on a tenor
drum.Care should be taken
that accented notes are
emphasized, but never
become ponderous. The
half notes at the
beginning of the piece
should not be accented.
The theme is introduced
in the first twelve
measures, and at m. 13
many of the instruments
trade the melody for half
notes and vice-versa. Be
careful that the
percussion section never
becomes overpowering.At
m. 25, care should be
taken that there is quite
a volume difference
between ff and mp. Think
of this representing the
ninjas being seen one
moment and being hidden
the next. The double
staccato figures at m. 33
should not be accented.
Trumpets and trombones at
m. 37 should not be
overly legato, but
certainly
shouldn’t be
treated as staccatos.
Being aware of not
accenting notes that
don’t have accents
will make the accents at
m. 49 more dramatic.
Please note that the
legato notes at mm. 58
and 60 are not to be
accented.