| Then Sings My Soul (How Great Thou Art) Chorale 2 parties [Octavo] Hope Publishing Company
Composed by Stuart Hine. Arranged by Mary McDonald. For 2-part mixed choir. Voca...(+)
Composed by Stuart Hine.
Arranged by Mary
McDonald. For 2-part
mixed choir. Vocal Solo
Sheet Music Series.
General, Worshiping,
Hymntune, Hymn setting.
Octavo. Published by Hope
Publishing Company
$3.25 - Voir plus => AcheterDélais: 4 to 6 business days | | |
| Then Sings My Soul (How Great Thou Art) Chorale 3 parties SAB [Octavo] Hope Publishing Company
By Stuart Hine. Arranged by Mary Mcdonald. For SAB choir or 3-part choir. Choral...(+)
By Stuart Hine. Arranged
by Mary Mcdonald. For SAB
choir or 3-part choir.
Choral music. General,
Worshiping, Hymntune,
Sacred. Choral octavo. 12
pages. Published by Hope
Publishing Company
$3.25 - Voir plus => AcheterDélais: 4 to 6 business days | | |
| Jazz Hymns: Alto Sax Solos with Piano Accompaniment Saxophone Alto et Piano - Intermédiaire Childrens Music Workshop
Alto Saxophone - Intermediate SKU: CZ.9798879438420 Composed by Various. ...(+)
Alto Saxophone -
Intermediate SKU:
CZ.9798879438420
Composed by Various.
Arranged by Larry Newman.
Book. Children's Music
Workshop #9798879438420.
Published by Children's
Music Workshop
(CZ.9798879438420).
ISBN
9798879438420. Disc
over Jazz Hymns â
where cherished hymns
meet the vibrant world of
jazz! Immerse yourself in
the timeless essence of
twenty beloved hymns, now
adorned with
sophisticated jazz
harmonies, designed to be
easily performed by music
enthusiasts of all
levels. This unique
collection features
classics like 'Amazing
Grace,' 'How Great Thou
Art,' and 'What a Friend
We Have in Jesus,' each
thoughtfully arranged to
blend tradition with the
allure of contemporary
jazz. Featuring beautiful
arrangements, online
audio mp3s and included
lyrics, this book is a
comprehensive resource
for both musicians and
congregations
alike. Ideal for
church services, personal
devotion, or musical
gatherings, these hymns
resonate with a newfound
energy while honoring
their sacred roots.
Elevate the ambiance of
your gatherings and
infuse them with the rich
melodies and fresh
harmonies found within
Jazz Hymns. Embrace
the beauty of tradition
reimagined and experience
the joy of playing these
timeless hymns, perfectly
suited for musicians
seeking a harmonious
blend of classic and
modern influences Jazz
Hymns is available is
editions for flute, oboe,
clarinet, saxophone,
trumpet, trombone,
violin, viola, cello,
guitar and solo
piano. $12.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Then Sings My Soul (How Great Thou Art) Cloches Hope Publishing Company
Composed by Stuart Hine. Arranged by Mary McDonald. Vocal Solo Sheet Music Serie...(+)
Composed by Stuart Hine.
Arranged by Mary
McDonald. Vocal Solo
Sheet Music Series.
Worshiping, Sacred,
Hymntune, General
Worship. Handbell score.
Hope Publishing Company
#C 6102HB. Published by
Hope Publishing Company
(HP.C6102HB).
$7.00 - Voir plus => AcheterDélais: 4 to 6 business days | | |
| Then Sings My Soul (How Great Thou Art) Voix duo Hope Publishing Company
Composed by Stuart Hine. Arranged by Mary Mcdonald. For Vocal Duet (High and Low...(+)
Composed by Stuart Hine.
Arranged by Mary
Mcdonald. For Vocal Duet
(High and Low Voice - Key
of A-flat). Vocal Solo
Sheet Music. Worshiping,
Hymntune. Published by
Hope Publishing Company
$7.95 - Voir plus => AcheterDélais: 4 to 6 business days | | |
| Then Sings My Soul (How Great Thou Art) Chorale SATB SATB, Orchestre [Octavo] Hope Publishing Company
By Stuart Hine. Arranged by Mary Mcdonald. For SATB choir, orchestra. Choral mus...(+)
By Stuart Hine. Arranged
by Mary Mcdonald. For
SATB choir, orchestra.
Choral music. General,
Worshiping, Hymntune,
Sacred. Choral octavo. 12
pages. Published by Hope
Publishing Company
(1)$3.25 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Then Sings My Soul (How Great Thou Art) Voix Moyenne [Feuillet] Hope Publishing Company
By Stuart Hine. Arranged by Mary Mcdonald. For Medium Voice Solo (Key of A-flat)...(+)
By Stuart Hine. Arranged
by Mary Mcdonald. For
Medium Voice Solo (Key of
A-flat). Hymntune,
Worshipping, General,
Sacred. Single. Published
by Hope Publishing
Company
(1)$7.95 - Voir plus => AcheterDélais: 4 to 6 business days | | |
| Then Sings My Soul (How Great Thou Art) [Set de Parties séparées] Hope Publishing Company
By Stuart Hine. Arranged by Mary Mcdonald. For Flute 1 & 2, Oboe, Clarinet 1 & 2...(+)
By Stuart Hine. Arranged
by Mary Mcdonald. For
Flute 1 & 2, Oboe,
Clarinet 1 & 2, Trumpet
1, Trumpet 2 & 3, Horn 1
& 2 (opt. Alto Sax),
Trombone 1 & 2 (opt.
Tenor Sax/Baritone T.C.),
Trombone III/Tuba,
Percussion, Timpani,
Harp, Piano, Violin 1,
Violin 2, Viola, Cello
and String Bass (opt.
Bass Clarin. Hymntune,
Worshipping, General,
Sacred. Set of
instrumental parts.
Published by Hope
Publishing Company
$89.95 - Voir plus => AcheterDélais: 4 to 6 business days | | |
| Know Before You Blow - Jazz Modes for Alto Saxophone Saxophone Alto [Partition + CD] Santorella Publications
Know Before You Blow - Jazz Modes for Alto Sax with CD composed by Chris Tedesco...(+)
Know Before You Blow -
Jazz Modes for Alto Sax
with CD composed by Chris
Tedesco. For alto sax.
This edition: Paperback.
Instructional. Jazz
Method. Book and CD. Text
Language: English. 32
pages. Published by
Santorella Publications
(1)$14.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Then Sings My Soul Hope Publishing Company
Vocal Trio for Treble Voices SKU: HP.9140 Composed by Stuart K. Hine. Arr...(+)
Vocal Trio for Treble
Voices SKU:
HP.9140 Composed by
Stuart K. Hine. Arranged
by Mary McDonald. Piano
Accompaniment with
Optional Orchestra. Vocal
Score. 12 pages. Hope
Publishing Company #9140.
Published by Hope
Publishing Company
(HP.9140). UPC:
763628191405. Origi
nal anthem with notes of
How Great Thou Art
Inspired by what is
considered to be one of
the greatest hymn texts
of the 20th century, Mary
McDonald has crafted an
exceptional anthem
available in a variety of
voices. With altered
melody and lush
harmonies, this fresh
treatment awakens a new
breadth and splendor into
this timeless hymn,
giving rise to the
greatness that it invokes
in worshiping God, our
Creator. The gorgeous
orchestration by Michael
Lawrence is a true
complement to Mary's
splendid choral writing.
This includes a
Conductor's Score and
parts for: Flute 1 & 2,
Oboe, Clarinet 1 & 2,
Trumpet 1, Trumpet 2 & 3,
Horn 1 & 2 (opt. Alto
Sax), Trombone 1 & 2
(opt. Tenor Sax/Baritone
T. C. ), Trombone
III/Tuba, Percussion,
Timpani, Harp, Piano,
Violin 1, Violin 2,
Viola, Cello and String
Bass (opt. Bass
Clarinet). $7.95 - Voir plus => AcheterDélais: 4 to 6 business days | | |
| Star Spangled and America * Alto sax Saxophone Alto et Piano Santorella Publications
Star Spangled Banner and America the Beautiful for Alto Sax and Piano composed b...(+)
Star Spangled Banner and
America the Beautiful for
Alto Sax and Piano
composed by John Stafford
Smith and Samuel A. Ward.
Arranged by Jonathon
Robbins. For alto sax
solo and piano
accompaniment. Solo with
Accompaniment. Patriotic.
Score and solo part. Text
Language: English. 8
pages. Published by
Santorella Publications
$7.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Essence of Bebop Clarinet Clarinette [Partition + Accès audio] Advance Music
10 Great Studies in the Style and Language of Bebop. Composed by Jim Snidero. ...(+)
10 Great Studies in the
Style and Language of
Bebop.
Composed by Jim Snidero.
Improvisation;
Method/Instruction; Play-
Along; Technique
Musicianship; Woodwind -
Clarinet Method or
Collection. Advance
Music.
Jazz. Book; Digital
Download. Advance Music
#01-
ADV14115. Published by
Advance Music
$24.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Know Before You Blow - Jazz Modes for Clarinet Clarinette [Partition + CD] Santorella Publications
Know Before You Blow - Jazz Modes for Clarinet with CD composed by Chris Tedesco...(+)
Know Before You Blow -
Jazz Modes for Clarinet
with CD composed by Chris
Tedesco. For bb clarinet.
This edition: Paperback.
Instructional. Jazz
Method. Book and CD. Text
Language: English. 32
pages. Published by
Santorella Publications
$14.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Great Smoky Mountains [Conducteur] Theodore Presser Co.
Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clar...(+)
Band Bass Clarinet,
Bassoon 1, Bassoon 2,
Clarinet, Clarinet 1,
Clarinet 2, Clarinet 3,
Contrabass Clarinet,
Contrabassoon, Double
Bass, English Horn,
Euphonium, Flute 1, Flute
2, Horn 1, Horn 2, Horn
3, Horn 4, Oboe 1, Oboe
2, Percussion 1 and more.
SKU: PR.16500102F
Mvt. 2 from Symphony
No. 6 (Three Places in
the East). Composed
by Dan Welcher. Full
score. 52 pages. Theodore
Presser Company
#165-00102F. Published by
Theodore Presser Company
(PR.16500102F). ISBN
9781491131749. UPC:
680160680276. Ever
since the success of my
series of wind ensemble
works Places in the West,
I've been wanting to
write a companion piece
for national parks on the
other side of the north
American continent. The
earlier work, consisting
of GLACIER, THE
YELLOWSTONE FIRES,
ARCHES, and ZION, spanned
some twenty years of my
composing life, and since
the pieces called for
differing groups of
instruments, and were in
slightly different styles
from each other, I never
considered them to be
connected except in their
subject matter. In their
depiction of both the
scenery and the human
history within these
wondrous places, they had
a common goal: awaking
the listener to the
fragile beauty that is in
them; and calling
attention to the ever
more crucial need for
preservation and
protection of these wild
places, unique in all the
world. With this new
work, commissioned by a
consortium of college and
conservatory wind
ensembles led by the
University of Georgia, I
decided to build upon
that same model---but to
solidify the process. The
result, consisting of
three movements (each
named for a different
national park in the
eastern US), is a
bona-fide symphony. While
the three pieces could be
performed separately,
they share a musical
theme---and also a common
style and
instrumentation. It is a
true symphony, in that
the first movement is
long and expository, the
second is a rather
tightly structured
scherzo-with-trio, and
the finale is a true
culmination of the whole.
The first movement,
Everglades, was the
original inspiration for
the entire symphony.
Conceived over the course
of two trips to that
astonishing place (which
the native Americans
called River of Grass,
the subtitle of this
movement), this movement
not only conveys a sense
of the humid, lush, and
even frightening scenery
there---but also an
overview of the entire
settling-of- Florida
experience. It contains
not one, but two native
American chants, and also
presents a view of the
staggering influence of
modern man on this
fragile part of the
world. Beginning with a
slow unfolding marked
Heavy, humid, the music
soon presents a gentle,
lyrical theme in the solo
alto saxophone. This
theme, which goes through
three expansive phrases
with breaks in between,
will appear in all three
movements of the
symphony. After the mood
has been established, the
music opens up to a rich,
warm setting of a
Cherokee morning song,
with the simple happiness
that this part of Florida
must have had prior to
the nineteenth century.
This music, enveloping
and comforting, gradually
gives way to a more
frenetic, driven section
representative of the
intrusion of the white
man. Since Florida was
populated and developed
largely due to the
introduction of a train
system, there's a
suggestion of the
mechanized iron horse
driving straight into the
heartland. At that point,
the native Americans
become considerably less
gentle, and a second
chant seems to stand in
the way of the intruder;
a kind of warning song.
The second part of this
movement shows us the
great swampy center of
the peninsula, with its
wildlife both in and out
of the water. A new theme
appears, sad but noble,
suggesting that this land
is precious and must be
protected by all the
people who inhabit it. At
length, the morning song
reappears in all its
splendor, until the
sunset---with one last
iteration of the warning
song in the solo piccolo.
Functioning as a scherzo,
the second movement,
Great Smoky Mountains,
describes not just that
huge park itself, but one
brave soul's attempt to
climb a mountain there.
It begins with three
iterations of the
UR-theme (which began the
first movement as well),
but this time as up-tempo
brass fanfares in
octaves. Each time it
begins again, the theme
is a little slower and
less confident than the
previous time---almost as
though the hiker were
becoming aware of the
daunting mountain before
him. But then, a steady,
quick-pulsed ostinato
appears, in a constantly
shifting meter system of
2/4- 3/4 in alteration,
and the hike has begun.
Over this, a slower new
melody appears, as the
trek up the mountain
progresses. It's a big
mountain, and the ascent
seems to take quite
awhile, with little
breaks in the hiker's
stride, until at length
he simply must stop and
rest. An oboe solo, over
several free cadenza-like
measures, allows us (and
our friend the hiker) to
catch our breath, and
also to view in the
distance the rocky peak
before us. The goal is
somehow even more
daunting than at first,
being closer and thus
more frighteningly steep.
When we do push off
again, it's at a slower
pace, and with more
careful attention to our
footholds as we trek over
broken rocks. Tantalizing
little views of the
valley at every
switchback make our
determination even
stronger. Finally, we
burst through a stand of
pines and----we're at the
summit! The immensity of
the view is overwhelming,
and ultimately humbling.
A brief coda, while we
sit dazed on the rocks,
ends the movement in a
feeling of triumph. The
final movement, Acadia,
is also about a trip. In
the summer of 2014, I
took a sailing trip with
a dear friend from North
Haven, Maine, to the
southern coast of Mt.
Desert Island in Acadia
National Park. The
experience left me both
exuberant and exhausted,
with an appreciation for
the ocean that I hadn't
had previously. The
approach to Acadia
National Park by water,
too, was thrilling: like
the difference between
climbing a mountain on
foot with riding up on a
ski-lift, I felt I'd
earned the right to be
there. The music for this
movement is entirely
based on the opening
UR-theme. There's a sense
of the water and the
mysterious, quiet deep
from the very beginning,
with seagulls and bell
buoys setting the scene.
As we leave the harbor,
the theme (in a canon
between solo euphonium
and tuba) almost seems as
if large subaquatic
animals are observing our
departure. There are
three themes (call them
A, B and C) in this
seafaring journey---but
they are all based on the
UR theme, in its original
form with octaves
displaced, in an
upside-down form, and in
a backwards version as
well. (The ocean, while
appearing to be
unchanging, is always
changing.) We move out
into the main channel
(A), passing several
islands (B), until we
reach the long draw that
parallels the coastline
called Eggemoggin Reach,
and a sudden burst of new
speed (C). Things
suddenly stop, as if the
wind had died, and we
have a vision: is that
really Mt. Desert Island
we can see off the port
bow, vaguely in the
distance? A chorale of
saxophones seems to
suggest that. We push off
anew as the chorale ends,
and go through all three
themes again---but in
different
instrumentations, and
different keys. At the
final tack-turn, there it
is, for real: Mt. Desert
Island, big as life.
We've made it. As we pull
into the harbor, where
we'll secure the boat for
the night, there's a
feeling of achievement.
Our whale and dolphin
friends return, and we
end our journey with
gratitude and
celebration. I am
profoundly grateful to
Jaclyn Hartenberger,
Professor of Conducting
at the University of
Georgia, for leading the
consortium which provided
the commissioning of this
work. $36.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Star Spangled Banner and America the Beautiful for Trombone and Piano Trombone et Piano Santorella Publications
Composed by John Stafford Smith and Samuel A. Ward. Arranged by Jonathon Robbins...(+)
Composed by John Stafford
Smith and Samuel A. Ward.
Arranged by Jonathon
Robbins. For trombone
solo and piano
accompaniment. Solo with
Accompaniment. Patriotic.
Score and solo part. Text
Language: English. 8
pages. Published by
Santorella Publications
$7.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Acadia [Conducteur] Theodore Presser Co.
Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clar...(+)
Band Bass Clarinet,
Bassoon 1, Bassoon 2,
Clarinet, Clarinet 1,
Clarinet 2, Clarinet 3,
Contrabass Clarinet,
Contrabassoon, Double
Bass, English Horn,
Euphonium, Flute 1, Flute
2, Horn 1, Horn 2, Horn
3, Horn 4, Oboe 1, Oboe
2, Percussion 1 and more.
SKU: PR.16500103F
Mvt. 3 from Symphony
No. 6 (Three Places in
the East). Composed
by Dan Welcher. Full
score. 60 pages. Theodore
Presser Company
#165-00103F. Published by
Theodore Presser Company
(PR.16500103F). ISBN
9781491131763. UPC:
680160680290. Ever
since the success of my
series of wind ensemble
works Places in the West,
I've been wanting to
write a companion piece
for national parks on the
other side of the north
American continent. The
earlier work, consisting
of GLACIER, THE
YELLOWSTONE FIRES,
ARCHES, and ZION, spanned
some twenty years of my
composing life, and since
the pieces called for
differing groups of
instruments, and were in
slightly different styles
from each other, I never
considered them to be
connected except in their
subject matter. In their
depiction of both the
scenery and the human
history within these
wondrous places, they had
a common goal: awaking
the listener to the
fragile beauty that is in
them; and calling
attention to the ever
more crucial need for
preservation and
protection of these wild
places, unique in all the
world. With this new
work, commissioned by a
consortium of college and
conservatory wind
ensembles led by the
University of Georgia, I
decided to build upon
that same model---but to
solidify the process. The
result, consisting of
three movements (each
named for a different
national park in the
eastern US), is a
bona-fide symphony. While
the three pieces could be
performed separately,
they share a musical
theme---and also a common
style and
instrumentation. It is a
true symphony, in that
the first movement is
long and expository, the
second is a rather
tightly structured
scherzo-with-trio, and
the finale is a true
culmination of the whole.
The first movement,
Everglades, was the
original inspiration for
the entire symphony.
Conceived over the course
of two trips to that
astonishing place (which
the native Americans
called River of Grass,
the subtitle of this
movement), this movement
not only conveys a sense
of the humid, lush, and
even frightening scenery
there---but also an
overview of the entire
settling-of- Florida
experience. It contains
not one, but two native
American chants, and also
presents a view of the
staggering influence of
modern man on this
fragile part of the
world. Beginning with a
slow unfolding marked
Heavy, humid, the music
soon presents a gentle,
lyrical theme in the solo
alto saxophone. This
theme, which goes through
three expansive phrases
with breaks in between,
will appear in all three
movements of the
symphony. After the mood
has been established, the
music opens up to a rich,
warm setting of a
Cherokee morning song,
with the simple happiness
that this part of Florida
must have had prior to
the nineteenth century.
This music, enveloping
and comforting, gradually
gives way to a more
frenetic, driven section
representative of the
intrusion of the white
man. Since Florida was
populated and developed
largely due to the
introduction of a train
system, there's a
suggestion of the
mechanized iron horse
driving straight into the
heartland. At that point,
the native Americans
become considerably less
gentle, and a second
chant seems to stand in
the way of the intruder;
a kind of warning song.
The second part of this
movement shows us the
great swampy center of
the peninsula, with its
wildlife both in and out
of the water. A new theme
appears, sad but noble,
suggesting that this land
is precious and must be
protected by all the
people who inhabit it. At
length, the morning song
reappears in all its
splendor, until the
sunset---with one last
iteration of the warning
song in the solo piccolo.
Functioning as a scherzo,
the second movement,
Great Smoky Mountains,
describes not just that
huge park itself, but one
brave soul's attempt to
climb a mountain there.
It begins with three
iterations of the
UR-theme (which began the
first movement as well),
but this time as up-tempo
brass fanfares in
octaves. Each time it
begins again, the theme
is a little slower and
less confident than the
previous time---almost as
though the hiker were
becoming aware of the
daunting mountain before
him. But then, a steady,
quick-pulsed ostinato
appears, in a constantly
shifting meter system of
2/4- 3/4 in alteration,
and the hike has begun.
Over this, a slower new
melody appears, as the
trek up the mountain
progresses. It's a big
mountain, and the ascent
seems to take quite
awhile, with little
breaks in the hiker's
stride, until at length
he simply must stop and
rest. An oboe solo, over
several free cadenza-like
measures, allows us (and
our friend the hiker) to
catch our breath, and
also to view in the
distance the rocky peak
before us. The goal is
somehow even more
daunting than at first,
being closer and thus
more frighteningly steep.
When we do push off
again, it's at a slower
pace, and with more
careful attention to our
footholds as we trek over
broken rocks. Tantalizing
little views of the
valley at every
switchback make our
determination even
stronger. Finally, we
burst through a stand of
pines and----we're at the
summit! The immensity of
the view is overwhelming,
and ultimately humbling.
A brief coda, while we
sit dazed on the rocks,
ends the movement in a
feeling of triumph. The
final movement, Acadia,
is also about a trip. In
the summer of 2014, I
took a sailing trip with
a dear friend from North
Haven, Maine, to the
southern coast of Mt.
Desert Island in Acadia
National Park. The
experience left me both
exuberant and exhausted,
with an appreciation for
the ocean that I hadn't
had previously. The
approach to Acadia
National Park by water,
too, was thrilling: like
the difference between
climbing a mountain on
foot with riding up on a
ski-lift, I felt I'd
earned the right to be
there. The music for this
movement is entirely
based on the opening
UR-theme. There's a sense
of the water and the
mysterious, quiet deep
from the very beginning,
with seagulls and bell
buoys setting the scene.
As we leave the harbor,
the theme (in a canon
between solo euphonium
and tuba) almost seems as
if large subaquatic
animals are observing our
departure. There are
three themes (call them
A, B and C) in this
seafaring journey---but
they are all based on the
UR theme, in its original
form with octaves
displaced, in an
upside-down form, and in
a backwards version as
well. (The ocean, while
appearing to be
unchanging, is always
changing.) We move out
into the main channel
(A), passing several
islands (B), until we
reach the long draw that
parallels the coastline
called Eggemoggin Reach,
and a sudden burst of new
speed (C). Things
suddenly stop, as if the
wind had died, and we
have a vision: is that
really Mt. Desert Island
we can see off the port
bow, vaguely in the
distance? A chorale of
saxophones seems to
suggest that. We push off
anew as the chorale ends,
and go through all three
themes again---but in
different
instrumentations, and
different keys. At the
final tack-turn, there it
is, for real: Mt. Desert
Island, big as life.
We've made it. As we pull
into the harbor, where
we'll secure the boat for
the night, there's a
feeling of achievement.
Our whale and dolphin
friends return, and we
end our journey with
gratitude and
celebration. I am
profoundly grateful to
Jaclyn Hartenberger,
Professor of Conducting
at the University of
Georgia, for leading the
consortium which provided
the commissioning of this
work. $39.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Everglades (River of Grass) [Conducteur] Theodore Presser Co.
Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clar...(+)
Band Bass Clarinet,
Bassoon 1, Bassoon 2,
Clarinet, Clarinet 1,
Clarinet 2, Clarinet 3,
Contrabass Clarinet,
Contrabassoon, Double
Bass, English Horn,
Euphonium, Flute 1, Flute
2, Horn 1, Horn 2, Horn
3, Horn 4, Oboe 1, Oboe
2, Percussion 1 and more.
SKU: PR.16500101F
Mvt. 1 from Symphony
No. 6 (Three Places in
the East). Composed
by Dan Welcher. Full
score. 52 pages. Theodore
Presser Company
#165-00101F. Published by
Theodore Presser Company
(PR.16500101F). ISBN
9781491131725. UPC:
680160680252. Ever
since the success of my
series of wind ensemble
works Places in the West,
I've been wanting to
write a companion piece
for national parks on the
other side of the north
American continent. The
earlier work, consisting
of GLACIER, THE
YELLOWSTONE FIRES,
ARCHES, and ZION, spanned
some twenty years of my
composing life, and since
the pieces called for
differing groups of
instruments, and were in
slightly different styles
from each other, I never
considered them to be
connected except in their
subject matter. In their
depiction of both the
scenery and the human
history within these
wondrous places, they had
a common goal: awaking
the listener to the
fragile beauty that is in
them; and calling
attention to the ever
more crucial need for
preservation and
protection of these wild
places, unique in all the
world. With this new
work, commissioned by a
consortium of college and
conservatory wind
ensembles led by the
University of Georgia, I
decided to build upon
that same model---but to
solidify the process. The
result, consisting of
three movements (each
named for a different
national park in the
eastern US), is a
bona-fide symphony. While
the three pieces could be
performed separately,
they share a musical
theme---and also a common
style and
instrumentation. It is a
true symphony, in that
the first movement is
long and expository, the
second is a rather
tightly structured
scherzo-with-trio, and
the finale is a true
culmination of the whole.
The first movement,
Everglades, was the
original inspiration for
the entire symphony.
Conceived over the course
of two trips to that
astonishing place (which
the native Americans
called River of Grass,
the subtitle of this
movement), this movement
not only conveys a sense
of the humid, lush, and
even frightening scenery
there---but also an
overview of the entire
settling-of- Florida
experience. It contains
not one, but two native
American chants, and also
presents a view of the
staggering influence of
modern man on this
fragile part of the
world. Beginning with a
slow unfolding marked
Heavy, humid, the music
soon presents a gentle,
lyrical theme in the solo
alto saxophone. This
theme, which goes through
three expansive phrases
with breaks in between,
will appear in all three
movements of the
symphony. After the mood
has been established, the
music opens up to a rich,
warm setting of a
Cherokee morning song,
with the simple happiness
that this part of Florida
must have had prior to
the nineteenth century.
This music, enveloping
and comforting, gradually
gives way to a more
frenetic, driven section
representative of the
intrusion of the white
man. Since Florida was
populated and developed
largely due to the
introduction of a train
system, there's a
suggestion of the
mechanized iron horse
driving straight into the
heartland. At that point,
the native Americans
become considerably less
gentle, and a second
chant seems to stand in
the way of the intruder;
a kind of warning song.
The second part of this
movement shows us the
great swampy center of
the peninsula, with its
wildlife both in and out
of the water. A new theme
appears, sad but noble,
suggesting that this land
is precious and must be
protected by all the
people who inhabit it. At
length, the morning song
reappears in all its
splendor, until the
sunset---with one last
iteration of the warning
song in the solo piccolo.
Functioning as a scherzo,
the second movement,
Great Smoky Mountains,
describes not just that
huge park itself, but one
brave soul's attempt to
climb a mountain there.
It begins with three
iterations of the
UR-theme (which began the
first movement as well),
but this time as up-tempo
brass fanfares in
octaves. Each time it
begins again, the theme
is a little slower and
less confident than the
previous time---almost as
though the hiker were
becoming aware of the
daunting mountain before
him. But then, a steady,
quick-pulsed ostinato
appears, in a constantly
shifting meter system of
2/4- 3/4 in alteration,
and the hike has begun.
Over this, a slower new
melody appears, as the
trek up the mountain
progresses. It's a big
mountain, and the ascent
seems to take quite
awhile, with little
breaks in the hiker's
stride, until at length
he simply must stop and
rest. An oboe solo, over
several free cadenza-like
measures, allows us (and
our friend the hiker) to
catch our breath, and
also to view in the
distance the rocky peak
before us. The goal is
somehow even more
daunting than at first,
being closer and thus
more frighteningly steep.
When we do push off
again, it's at a slower
pace, and with more
careful attention to our
footholds as we trek over
broken rocks. Tantalizing
little views of the
valley at every
switchback make our
determination even
stronger. Finally, we
burst through a stand of
pines and----we're at the
summit! The immensity of
the view is overwhelming,
and ultimately humbling.
A brief coda, while we
sit dazed on the rocks,
ends the movement in a
feeling of triumph. The
final movement, Acadia,
is also about a trip. In
the summer of 2014, I
took a sailing trip with
a dear friend from North
Haven, Maine, to the
southern coast of Mt.
Desert Island in Acadia
National Park. The
experience left me both
exuberant and exhausted,
with an appreciation for
the ocean that I hadn't
had previously. The
approach to Acadia
National Park by water,
too, was thrilling: like
the difference between
climbing a mountain on
foot with riding up on a
ski-lift, I felt I'd
earned the right to be
there. The music for this
movement is entirely
based on the opening
UR-theme. There's a sense
of the water and the
mysterious, quiet deep
from the very beginning,
with seagulls and bell
buoys setting the scene.
As we leave the harbor,
the theme (in a canon
between solo euphonium
and tuba) almost seems as
if large subaquatic
animals are observing our
departure. There are
three themes (call them
A, B and C) in this
seafaring journey---but
they are all based on the
UR theme, in its original
form with octaves
displaced, in an
upside-down form, and in
a backwards version as
well. (The ocean, while
appearing to be
unchanging, is always
changing.) We move out
into the main channel
(A), passing several
islands (B), until we
reach the long draw that
parallels the coastline
called Eggemoggin Reach,
and a sudden burst of new
speed (C). Things
suddenly stop, as if the
wind had died, and we
have a vision: is that
really Mt. Desert Island
we can see off the port
bow, vaguely in the
distance? A chorale of
saxophones seems to
suggest that. We push off
anew as the chorale ends,
and go through all three
themes again---but in
different
instrumentations, and
different keys. At the
final tack-turn, there it
is, for real: Mt. Desert
Island, big as life.
We've made it. As we pull
into the harbor, where
we'll secure the boat for
the night, there's a
feeling of achievement.
Our whale and dolphin
friends return, and we
end our journey with
gratitude and
celebration. I am
profoundly grateful to
Jaclyn Hartenberger,
Professor of Conducting
at the University of
Georgia, for leading the
consortium which provided
the commissioning of this
work. $36.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| The Bach Buch Theodore Presser Co.
Chamber Music Bass Clarinet 2, Bassoon 1, Bassoon 2, Clarinet 1, Clarinet 2, Flu...(+)
Chamber Music Bass
Clarinet 2, Bassoon 1,
Bassoon 2, Clarinet 1,
Clarinet 2, Flute 1,
Flute 2, Oboe 1, Oboe 2,
alto Saxophone, soprano
Saxophone SKU:
PR.114414480 18
Transcriptions of J.S.
Bach for Chamber
Winds. Composed by
Johann Sebastian Bach.
Folder. Baroque. Set of
Score and Parts. With
Standard notation.
64+12+12+12+12+12+12+12+1
2+12+12+12+12+12+12
pages. Duration 48
minutes. Theodore Presser
Company #114-41448.
Published by Theodore
Presser Company
(PR.114414480). ISBN
9781598063264. UPC:
680160597932. 9x12
inches. Key: Bb major.
Transcribed by Carter
Pann. A unique
collection of elegant
transcriptions of
Bach’s keyboard
and instrumental gems
scored for 10 woodwinds,
with flexible scoring and
ossia parts –
ideal for schools and
“pull-outâ€
groups on wind ensemble
concerts. The music of
Johann Sebastian Bach
(1685-1750) is a gift.
Nearly every piece that
poured out of this man is
as inspired and perfected
as the next. His body of
work has cut a deep
incision in the recorded
history of music and set
a benchmark to which all
the contrapuntal masters
who followed have aspired
to meet.The
transcriptions found
within this volume add to
the thousands upon
thousands of versions of
his music already
re-worked for different
groups and media. The
music here does not,
however, embellish
Bach’s own scores
(save but for a couple of
instances in which it was
felt necessary to add an
inner voice to serve the
expansive range of the
ten woodwinds). The
selections are ordered
(loosely) to assume a
smooth, inclined
trajectory of both
difficulty and musical
breadth. The first piece
is a small and
simpleminuet, the last is
a long interior movement
of one of the most
beloved and advanced
violin concertos in the
whole repertoire.As a
keyboard player I grew up
learning and falling in
love with much of
Bach’s music at
the piano. For this very
reason, much of this
volume consists of the
composer’s
keyboard works. One
cannot, however, deny
many of the most
cherished works from
Bach’s oeuvre when
compiling a set of
transcriptions, and many
of those
“hits†are
included here as
well.Departing from a
traditional harmoniemusik
ensemble, I have replaced
the horns here with
saxophones. There are two
reasons: 1) the nature of
much of this music
requires instruments with
an ease of agility not
executable so readily on
the horn; and 2) the
opportunity for saxophone
players to be included in
such an ensemble was very
attractive,
pedagogically.I hope you
enjoy these gems from
such a great genius. $95.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Know Before You Blow - Jazz Modes for Tenor Saxophone Saxophone Tenor [Partition + CD] Santorella Publications
Know Before You Blow - Jazz Modes for Tenor Sax with CD composed by Chris Tedesc...(+)
Know Before You Blow -
Jazz Modes for Tenor Sax
with CD composed by Chris
Tedesco. For tenor sax.
This edition: Paperback.
Instructional. Jazz
Method. Book and CD. Text
Language: English. 32
pages. Published by
Santorella Publications
$14.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Know Before You Blow - Jazz Modes for Flute Flûte traversière [Partition + CD] Santorella Publications
Know Before You Blow - Jazz Modes for Flute with CD composed by Chris Tedesco. F...(+)
Know Before You Blow -
Jazz Modes for Flute with
CD composed by Chris
Tedesco. For flute. This
edition: Paperback.
Instructional. Jazz
Method. Book and CD. Text
Language: English. 32
pages. Published by
Santorella Publications
(1)$14.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Know Before You Blow - Jazz Modes Conductor's Score with CD Formation musicale - Solfège [Partition + CD] Santorella Publications
By Chris Tedesco. This edition: Paperback. Instructional. Jazz Method. Conductor...(+)
By Chris Tedesco. This
edition: Paperback.
Instructional. Jazz
Method. Conductor's score
with CD. Text Language:
English. 104 pages.
Published by Santorella
Publications
$19.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Know Before You Blow - Jazz Modes for Trumpet Trompette [Partition + CD] Santorella Publications
Know Before You Blow - Jazz Modes for Trumpet with CD composed by Chris Tedesco....(+)
Know Before You Blow -
Jazz Modes for Trumpet
with CD composed by Chris
Tedesco. For bb trumpet.
This edition: Paperback.
Instructional. Jazz
Method. Book and CD. Text
Language: English. 32
pages. Published by
Santorella Publications
$14.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Know Before You Blow - Jazz Modes for Trombone Trombone [Partition + CD] Santorella Publications
Know Before You Blow - Jazz Modes for Trombone with CD composed by Chris Tedesco...(+)
Know Before You Blow -
Jazz Modes for Trombone
with CD composed by Chris
Tedesco. For trombone.
This edition: Paperback.
Instructional. Jazz
Method. Book and CD. Text
Language: English. 32
pages. Published by
Santorella Publications
$14.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
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