| Mitchell on Trumpet * Book 1 with DVD Trompette [Partition + DVD] Santorella Publications
(82 balanced lessons). By Harold E. Mitchell. For trumpet. This edition: Paperba...(+)
(82 balanced lessons). By
Harold E. Mitchell. For
trumpet. This edition:
Paperback. Instructional.
Method. Method book and
DVD. Text Language:
English. 96 pages.
Published by Santorella
Publications
$18.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Fingerstyle Guitar Gig Book Guitare notes et tablatures [Partition] - Intermédiaire Mel Bay
By Bill Piburn. For Guitar (Fingerpicking). Solos. Bluegrass and Country. Level:...(+)
By Bill Piburn. For
Guitar (Fingerpicking).
Solos. Bluegrass and
Country. Level:
Intermediate. Book. Size
9.5x11.75. 384 pages.
Published by Mel Bay
Publications, Inc.
(2)$39.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| You Can Teach Yourself Recorder Flûte à Bec [CD + DVD] - Débutant Mel Bay
By William Bay. For Recorder (Soprano). Methods. You Can Teach Yourself. All Sty...(+)
By William Bay. For
Recorder (Soprano).
Methods. You Can Teach
Yourself. All Styles.
Level: Beginning. Book CD
DVD. Size 8.75x11.75. 80
pages. Published by Mel
Bay Publications, Inc.
$24.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| You Can Teach Yourself Recorder - Book DVD Flûte à Bec [DVD] - Débutant Mel Bay
By William Bay and Mike Buerk. For Recorder (Soprano). method. You Can Teach You...(+)
By William Bay and Mike
Buerk. For Recorder
(Soprano). method. You
Can Teach Yourself. All
Styles. Level: Beginning.
Book DVD. Size
8.75x11.75. 80 pages.
Published by Mel Bay
Publications, Inc.
$19.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| You Can Teach Yourself Recorder - Book/CD Flûte à Bec [Partition + CD] - Débutant Mel Bay
by William Bay. For Recorder (Soprano). method. You Can Teach Yourself. All Styl...(+)
by William Bay. For
Recorder (Soprano).
method. You Can Teach
Yourself. All Styles.
Level: Beginning. Book/CD
Set. Size 8.75x11.75. 80
pages. Published by Mel
Bay Publications, Inc.
(2)$19.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Double Play Violon Theodore Presser Co.
Orchestra Bass Clarinet, Bassoon 1, Bassoon 2, Bongos, Cello, Clarinet, Contraba...(+)
Orchestra Bass Clarinet,
Bassoon 1, Bassoon 2,
Bongos, Cello, Clarinet,
Contrabass, Crotales,
Cymbals, English Horn,
Field Drum, Flute,
Glockenspiel, Horn 1,
Horn 2, Oboe 1, Oboe 2,
Percussion, Piano, Snare
Drum, Triangle, Trumpet,
Vibraphone, Viola and
more. SKU:
PR.416411770 For
Violin, Piano, and
Chamber Orchestra.
Composed by William
Kraft. Full score. With
Standard notation.
Duration 17 minutes.
Theodore Presser Company
#416-41177. Published by
Theodore Presser Company
(PR.416411770). UPC:
680160091508. I was
tempted to call the piece
Throw Back because it
consciously employs
rhythmic and harmonic
approaches characteristic
of the earlier part of
the twentieth century,
much of which plays a
part in forging my
musical personality.
Going along with the
impetus, I have paid
homage by subtly
interpolating stylistic
or actual references to
such unexpected
bedfellows as Scriabin,
Ravel, Debussy, Piston,
Roussel, and Ysaye. I
hope I will be musically
forgiven. In one
continuous movement,
there are three definite
internal sections:
Presto-Largo-Allegro. The
first section opens with
a very soft percussion
cadenza. If the acoustics
allow it, the player will
use sponge pottery
mallets (sponge-headed
mallets employed to
smooth the interior of a
pot as it is being
spin-dried). No matter
how hard the
percussionist strikes the
drums, the dynamic cannot
go above pp (pianissimo).
This cadenza serves as a
basis for the first
movement. The elements of
the cadenza are taken by
the orchestra to make the
first major statement,
similar to the classical
concerto; but rather than
making a restatement, the
soloists, when they come
in, begin with
variational ideas. The
second section is given
over to the soloists, and
is lyrical. The third
section begins with an
alternation between
strict rhythmic pulsation
and free-sounding
timbres, as if reluctant
to leave the second
section behind. The
rhythmic aspect takes
over more and more as the
piece progresses toward
its conclusion. Double
Play was commissioned by
the Saint Paul Chamber
Orchestra with financial
assistance from the
Northwest Area
Foundation. It received
its premiere on January
7, 1983, in St. Paul,
with the St. Paul Chamber
Orchestra; Pinchas
Zukerman, violinist; Marc
Neikrug, piano; and the
composer conducting. $26.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| George Frideric Handel: Messiah (Oratorio, 1741) - Violin I Violon [Partie séparée] Schirmer
Violin 1 Part. By George Frideric Handel. (Violin). Choral Large Works. Size 9x1...(+)
Violin 1 Part. By George
Frideric Handel.
(Violin). Choral Large
Works. Size 9x12 inches.
44 pages. Published by
Schirmer.
(1)$6.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| 3e Symphonie en ut mineur, op. 78 - Avancé Barenreiter
Orchestra, Organ (Fl1, Fl2 , Fl3(Fl-picc), 2 Ob, EnglHn, 2 clarinet, clarinet-B,...(+)
Orchestra, Organ (Fl1,
Fl2 , Fl3(Fl-picc), 2 Ob,
EnglHn, 2 clarinet,
clarinet-B, 2 bassoon,
bassoon-Co, Hn1, Hn2 ,
Hn3(chrom.), Hn4(chrom.),
3Trp, 3trombone, timpani,
Tr-Gr, Tri, Be, Org,
piano-4ms, 2 Violin,
Viola, Cello, Double
Bass) - Level 5 SKU:
BA.BA10303-01
Composed by Camille
Saint-Saens. Edited by
Michael Stegemann. This
edition: Edition of
selected works, Urtext
edition. Linen.
Saint-Saens, Camille.
Oevres instrumentales
completes I/3. Edition of
selected works, Score.
Opus 78. Duration 39
minutes. Baerenreiter
Verlag #BA10303_01.
Published by Baerenreiter
Verlag (BA.BA10303-01).
ISBN 9790006559503. 33
x 26 cm inches. Key: C
minor. Preface: Michael
Stegemann. The
third symphony by Camille
Saint-Saens, known as the
Organ Symphony, is the
first publication in a
complete
historical-critical
edition of the French
composer's instrumental
works.
I gave
everything I was able to
give in this work. [...]
What I have done here I
will never be able to do
again.Camille Saint-Saens
was rightly proud of his
third Symphony in C minor
Op.78, dedicated to the
memory of Franz Liszt.
Called theOrgan
Symphonybecause of its
novel scoring, the work
was a commission from the
Philharmonic Society in
London, as was
Beethoven's Ninth, and
was premiered there on 19
May 1886. The first
performance in Paris
followed on 9 January
1887 and confirmed the
composer's reputation
asprobably the most
significant, and
certainly the most
independent French
symphonistof his time, as
Ludwig Finscher wrote in
MGG. In fact the work
remains the only one in
the history of that genre
in France to the present
day, composed a good half
century after the
Symphonie fantastique by
Hector Berlioz and a good
half century before
Olivier Messiaen's
Turangalila
Symphonie.
You
would think that such a
famous, much-performed
and much recorded opus
could not hold any more
secrets, but far from it:
in the first
historical-critical
edition of the Symphony,
numerous inconsistencies
and mistakes in the
Durand edition in general
use until now, have been
uncovered and corrected.
An examination and
evaluation of the sources
ranged from two early
sketches, now preserved
in Paris and Washington
(in which the Symphony
was still in B minor!)
via the autograph
manuscript and a set of
proofs corrected by
Saint-Saens himself, to
the first and subsequent
editions of the full
score and parts. The
versions for piano duet
(by Leon Roques) and for
two pianos (by the
composer himself) were
also consulted. Further
crucial information was
finally found in his
extensive correspondence,
encompassing thousands of
previously unpublished
letters. The discoveries
made in producing this
edition include the fact
that at its London
premiere, the Symphony
probably looked quite
different from its
present appearance
...
No less
exciting than the work
itself is the history of
its composition and
reception, which are
described in an extensive
foreword. With his
Symphony, Saint-Saens
entered right into the
dispute which divided
French musical life into
pro and contra Wagner in
the 1880s and 1890s. At
the same time, the work
succeeded in preserving
the balance between
tradition and modernism
in masterly fashion, as a
contemporary critic
stated:The C minor
Symphony by Saint-Saens
creates a bridge from the
past into the future,
from immortal richness to
progress, from ideas to
their
implementation.
On
19 March 1886 Saint-Saens
wrote to the London
Philharmonic Society,
which commissioned the
work:
Work on the
symphony is in full
swing. But I warn you, it
will be terrible. Here is
the precise
instrumentation: 3 flutes
/ 2 oboes / 1 cor anglais
/ 2 clarinets / 1 bass
clarinet / 2 bassoons / 1
contrabassoon / 2 natural
horns / [3 trumpets /
Saint-Saens had forgotten
these in his listing.] 2
chromatic horns / 3
trombones / 1 tuba / 3
timpani / organ / 1 piano
duet and the strings, of
course. Fortunately,
there are no harps.
Unfortunately it will be
difficult. I am doing
what I can to mitigate
the
difficulties.
As
in my 4th Concerto [for
piano] and my [1st]
Violin Sonata [in D minor
Op.75] at first glance
there appear to be just
two parts: the first
Allegro and the Adagio,
the Scherzo and the
Finale, each attacca.
This fiendish symphony
has crept up by a
semitone; it did not want
to stay in B minor, and
is now in C
minor.
It would be
a pleasure for me to
conduct this symphony.
Whether it would be a
pleasure for others to
hear it? That is the
question. It is you who
wanted it, I wash my
hands of it. I will bring
the orchestral parts
carefully corrected with
me, and if anyone wants
to give me a nice
rehearsal for the
symphony after the full
rehearsal, everything
will be fine.
When
Saint-Saens hit upon the
idea of adding an organ
and a piano to the usual
orchestral scoring is not
known. The idea of adding
an organ part to a
secular orchestral work
intended for the concert
hall was thoroughly novel
- and not without
controversy. On the other
hand, Franz Liszt, whose
music Saint-Saens'
Symphony is so close to,
had already demonstrated
that the organ could
easily be an orchestral
instrument in his
symphonic poem
Hunnenschlacht (1856/57).
There was also a model
for the piano duet part
which Saint-Saens knew
and may possibly have
used quite consciously as
an exemplar: theFantaisie
sur la Tempetefrom the
lyrical monodrama Lelio,
ou le retour a la Vie op.
14bis (1831) by Berlioz.
The name of the organist
at the premiere ist
unknown, as,
incidentally, was also
the case with many of the
later performances; the
organ part is indeed not
soloistic, but should be
understood as part of the
orchestral
texture.
In fact
the subsequent success of
the symphony seems to
have represented a kind
of breakthrough for the
composer, who was then
over 50 years of age.My
dear composer of a famous
symphony, wrote
Saint-Saens' friend and
pupil Gabriel Faure:You
will never be able to
imagine what a pleasure I
had last Sunday [at the
second performance on 16
January 1887]! And I had
the score and did not
miss a single note of
this Symphony, which will
endure much longer than
we two, even if we were
to join together our two
lifespans!
About
Barenreiter
Urtext
What can I
expect from a Barenreiter
Urtext
edition?<
/p> MUSICOLOGICA
LLY SOUND - A
reliable musical text
based on all available
sources - A
description of the
sources -
Information on the
genesis and history of
the work - Valuable
notes on performance
practice - Includes
an introduction with
critical commentary
explaining source
discrepancies and
editorial decisions
... AND
PRACTICAL -
Page-turns, fold-out
pages, and cues where you
need them - A
well-presented layout and
a user-friendly
format - Excellent
print quality -
Superior paper and
binding
$566.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Miles Davis: Standards Volume 1 - Trumpet Trompette Hal Leonard
Performed by Miles Davis. For trumpet. Format: trumpet solo book. With chord na...(+)
Performed by Miles
Davis. For trumpet.
Format: trumpet solo
book. With chord names
and introductory text.
Jazz. Series: Hal Leonard
Artist Transcriptions. 94
pages. 9x12 inches.
$19.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Interplay for Piano 4-Hands and Orchestra 1 Piano, 4 mains [Conducteur] C. Alan Publications
Composed by David Gillingham. Arranged by Dennis Wright. Score only. Duration 9:...(+)
Composed by David
Gillingham. Arranged by
Dennis Wright. Score
only. Duration 9:30.
Published by C. Alan
Publications (CN.06191).
$40.00 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Chasing Mercury - Intermédiaire Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Chimes, Clarinet 1, Clarinet 2, C...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Bells,
Chimes, Clarinet 1,
Clarinet 2, Clarinet 3,
Crash Cymbals, Euphonium,
Euphonium T.C., Flute 1,
Flute 2, Horn, Mallet
Percussion, Oboe,
Percussion 1, Percussion
2, Percussion 3, Snare
Drum and more. - Grade 3
SKU: CF.CPS234F
Composed by Travis
Weller. Sws. Cps. Full
score. 32 pages. Duration
3 minutes, 10 seconds.
Carl Fischer Music
#CPS234F. Published by
Carl Fischer Music
(CF.CPS234F). ISBN
9781491156353. UPC:
680160914890. 9 x 12
inches. Mercury -
the Roman god of
financial gain, commerce,
travelers, boundaries,
luck, trickery,
merchants, and thieves. A
popular deity in Roman
culture, he was instantly
recognized by his unique
winged shoes (talaria)
and hat (petasos). With
its close proximity to
the sun and faster orbit
than all other planets,
the Romans named this
small celestial body
after the swift-winged
messenger of their
culture. It is not
surprising that in
Holst's major orchestral
suite The Planets that
Mercury utilizes such
light and swift themes.
There is some duality to
the title of the work.
Part of it involves my
impression of what a
playful chase of the
winged messenger sounds
like. The other part is
the opening motif chasing
two themes of Holst
around the rest of the
work. It was only after
developing the first few
ideas that I recognized
some of the commonalities
with some of those same
themes from Holst's
orchestral work. There
are several quotations
from that famous piece by
Holst (notably as both
are stated successively
at mm. 13-20). The idea
of someone having to
chase the Winged
Messenger struck me as a
unique title around which
to craft a work. One of
my core beliefs about
music is that it can be
imbued with meaning by a
composer, and as the
sonic story unfolds an
ensemble, director, and
audience members can draw
out their own meaning
from the experience. Who
exactly is chasing
Mercury? I leave that up
to the wonderfully
creative minds of the
young ladies and
gentlemen who have the
opportunity to bring this
work to life. The
opportunity to compose
music and allow student
musicians to give this
piece new life and draw
out different meanings is
a humbling experience.
Rehearsal Notes and
Suggestions As stated
earlier, the opening
motif (a range of a
seventh) comes back
frequently in the work in
a variety of settings and
textures. Throughout the
work, it is important for
students to recognize the
two themes from Holst
when they are present in
the sound canvas. If the
solos (clarinet and alto
saxophone) are utilized,
the supporting parts
around and underneath
those lines must be
sensitive and play in
such a way to properly
balance those parts.
There are number of muted
sections for the trumpet
section, and I would
advocate for all trumpets
acquiring the same mute
to contribute to unity in
timbre. The bold fanfare
sections (the first
occurs at m. 37) must be
presented with a unified
articulation style. As
the texture intensifies
prior to m. 169, it is
crucial for the ensemble
to play within themselves
and exercise musical
courtesy to allow all
voices to be heard as
they arrive at m. 181. My
thanks in advance for
your support of this
music, and I wish you
well as you and your
ensemble begin Chasing
Mercury!. Mercury
– the Roman god of
financial gain, commerce,
travelers, boundaries,
luck, trickery,
merchants, and thieves. A
popular deity in Roman
culture, he was instantly
recognized by his unique
winged shoes (talaria)
and hat (petasos). With
its close proximity to
the sun and faster orbit
than all other planets,
the Romans named this
small celestial body
after the swift-winged
messenger of their
culture. It is not
surprising that in
Holst’s major
orchestral suite The
Planets that Mercury
utilizes such light and
swift themes.There is
some duality to the title
of the work. Part of it
involves my impression of
what a playful chase of
the winged messenger
sounds like. The other
part is the opening motif
chasing two themes of
Holst around the rest of
the work. It was only
after developing the
first few ideas that I
recognized some of the
commonalities with some
of those same themes from
Holst’s orchestral
work. There are several
quotations from that
famous piece by Holst
(notably as both are
stated successively at
mm. 13–20). The
idea of someone having to
chase the Winged
Messenger struck me as a
unique title around which
to craft a work.One of my
core beliefs about music
is that it can be imbued
with meaning by a
composer, and as the
sonic story unfolds an
ensemble, director, and
audience members can draw
out their own meaning
from the experience. Who
exactly is chasing
Mercury? I leave that up
to the wonderfully
creative minds of the
young ladies and
gentlemen who have the
opportunity to bring this
work to life. The
opportunity to compose
music and allow student
musicians to give this
piece new life and draw
out different meanings is
a humbling
experience.Rehearsal
Notes and SuggestionsAs
stated earlier, the
opening motif (a range of
a seventh) comes back
frequently in the work in
a variety of settings and
textures. Throughout the
work, it is important for
students to recognize the
two themes from Holst
when they are present in
the sound canvas. If the
solos (clarinet and alto
saxophone) are utilized,
the supporting parts
around and underneath
those lines must be
sensitive and play in
such a way to properly
balance those parts.
There are number of muted
sections for the trumpet
section, and I would
advocate for all trumpets
acquiring the same mute
to contribute to unity in
timbre. The bold fanfare
sections (the first
occurs at m. 37) must be
presented with a unified
articulation style. As
the texture intensifies
prior to m. 169, it is
crucial for the ensemble
to play within themselves
and exercise musical
courtesy to allow all
voices to be heard as
they arrive at m. 181. My
thanks in advance for
your support of this
music, and I wish you
well as you and your
ensemble begin Chasing
Mercury! $14.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Chasing Mercury - Intermédiaire Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Chimes, Clarinet 1, Clarinet 2, C...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Bells,
Chimes, Clarinet 1,
Clarinet 2, Clarinet 3,
Crash Cymbals, Euphonium,
Euphonium T.C., Flute 1,
Flute 2, Horn, Mallet
Percussion, Oboe,
Percussion 1, Percussion
2, Percussion 3, Snare
Drum and more. - Grade 3
SKU: CF.CPS234
Composed by Travis
Weller. Folio. Cps. Set
of Score and Parts.
8+8+4+8+8+8+4+4+8+4+4+8+8
+8+8+6+6+6+4+8+6+2+4+4+6+
32 pages. Duration 3
minutes, 10 seconds. Carl
Fischer Music #CPS234.
Published by Carl Fischer
Music (CF.CPS234).
ISBN 9781491156346.
UPC: 680160914883. 9 x 12
inches. Mercury -
the Roman god of
financial gain, commerce,
travelers, boundaries,
luck, trickery,
merchants, and thieves. A
popular deity in Roman
culture, he was instantly
recognized by his unique
winged shoes (talaria)
and hat (petasos). With
its close proximity to
the sun and faster orbit
than all other planets,
the Romans named this
small celestial body
after the swift-winged
messenger of their
culture. It is not
surprising that in
Holst's major orchestral
suite The Planets that
Mercury utilizes such
light and swift themes.
There is some duality to
the title of the work.
Part of it involves my
impression of what a
playful chase of the
winged messenger sounds
like. The other part is
the opening motif chasing
two themes of Holst
around the rest of the
work. It was only after
developing the first few
ideas that I recognized
some of the commonalities
with some of those same
themes from Holst's
orchestral work. There
are several quotations
from that famous piece by
Holst (notably as both
are stated successively
at mm. 13-20). The idea
of someone having to
chase the Winged
Messenger struck me as a
unique title around which
to craft a work. One of
my core beliefs about
music is that it can be
imbued with meaning by a
composer, and as the
sonic story unfolds an
ensemble, director, and
audience members can draw
out their own meaning
from the experience. Who
exactly is chasing
Mercury? I leave that up
to the wonderfully
creative minds of the
young ladies and
gentlemen who have the
opportunity to bring this
work to life. The
opportunity to compose
music and allow student
musicians to give this
piece new life and draw
out different meanings is
a humbling experience.
Rehearsal Notes and
Suggestions As stated
earlier, the opening
motif (a range of a
seventh) comes back
frequently in the work in
a variety of settings and
textures. Throughout the
work, it is important for
students to recognize the
two themes from Holst
when they are present in
the sound canvas. If the
solos (clarinet and alto
saxophone) are utilized,
the supporting parts
around and underneath
those lines must be
sensitive and play in
such a way to properly
balance those parts.
There are number of muted
sections for the trumpet
section, and I would
advocate for all trumpets
acquiring the same mute
to contribute to unity in
timbre. The bold fanfare
sections (the first
occurs at m. 37) must be
presented with a unified
articulation style. As
the texture intensifies
prior to m. 169, it is
crucial for the ensemble
to play within themselves
and exercise musical
courtesy to allow all
voices to be heard as
they arrive at m. 181. My
thanks in advance for
your support of this
music, and I wish you
well as you and your
ensemble begin Chasing
Mercury!. Mercury
– the Roman god of
financial gain, commerce,
travelers, boundaries,
luck, trickery,
merchants, and thieves. A
popular deity in Roman
culture, he was instantly
recognized by his unique
winged shoes (talaria)
and hat (petasos). With
its close proximity to
the sun and faster orbit
than all other planets,
the Romans named this
small celestial body
after the swift-winged
messenger of their
culture. It is not
surprising that in
Holst’s major
orchestral suite The
Planets that Mercury
utilizes such light and
swift themes.There is
some duality to the title
of the work. Part of it
involves my impression of
what a playful chase of
the winged messenger
sounds like. The other
part is the opening motif
chasing two themes of
Holst around the rest of
the work. It was only
after developing the
first few ideas that I
recognized some of the
commonalities with some
of those same themes from
Holst’s orchestral
work. There are several
quotations from that
famous piece by Holst
(notably as both are
stated successively at
mm. 13–20). The
idea of someone having to
chase the Winged
Messenger struck me as a
unique title around which
to craft a work.One of my
core beliefs about music
is that it can be imbued
with meaning by a
composer, and as the
sonic story unfolds an
ensemble, director, and
audience members can draw
out their own meaning
from the experience. Who
exactly is chasing
Mercury? I leave that up
to the wonderfully
creative minds of the
young ladies and
gentlemen who have the
opportunity to bring this
work to life. The
opportunity to compose
music and allow student
musicians to give this
piece new life and draw
out different meanings is
a humbling
experience.Rehearsal
Notes and SuggestionsAs
stated earlier, the
opening motif (a range of
a seventh) comes back
frequently in the work in
a variety of settings and
textures. Throughout the
work, it is important for
students to recognize the
two themes from Holst
when they are present in
the sound canvas. If the
solos (clarinet and alto
saxophone) are utilized,
the supporting parts
around and underneath
those lines must be
sensitive and play in
such a way to properly
balance those parts.
There are number of muted
sections for the trumpet
section, and I would
advocate for all trumpets
acquiring the same mute
to contribute to unity in
timbre. The bold fanfare
sections (the first
occurs at m. 37) must be
presented with a unified
articulation style. As
the texture intensifies
prior to m. 169, it is
crucial for the ensemble
to play within themselves
and exercise musical
courtesy to allow all
voices to be heard as
they arrive at m. 181. My
thanks in advance for
your support of this
music, and I wish you
well as you and your
ensemble begin Chasing
Mercury! $90.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Future of Tomorrow - Intermédiaire Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Cornet, Cornet 2...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Clarinet
1, Clarinet 2, Cornet,
Cornet 2, Crash Cymbals,
Euphonium, Euphonium
T.C., Flute,
Glockenspiel, Horn 1,
Horn 2, Mallet
Percussion, Oboe,
Percussion 1, Percussion
2, Percussion 3, Snare
Drum and more. - Grade 3
SKU: CF.CPS245F
Composed by Benjamin Yeo.
Sws. Cps. Full score. 24
pages. Carl Fischer Music
#CPS245F. Published by
Carl Fischer Music
(CF.CPS245F). ISBN
9781491158135. UPC:
680160916733. 9 x 12
inches. ABOUT THE
MUSIC Future of Tomorrow
(Concert March) was
commissioned by the Arts
Education Branch,
Ministry of Education as
the set piece for the
Singapore Youth Festival
2016 Arts Presentation
for Concert and Brass
Bands (Primary Level).
This march uses brief
excerpts from the
well-known Malay folk
songs Katak Lompat and
Rasa Sayang. Our youths
are indeed our future of
tomorrow. This
joyful-themed march aims
to bring out the best in
each of your young
players. I hope that
students, band directors
and audiences will enjoy
preparing, performing and
listening to this work.
EDUCATIONAL NOTES Key: Eb
Major SECTION BARS EVENT
/ SCORING / SUGGESTIONS
Introduction 1-4 Opens in
Eb major with dotted
rhythm motif. 1st Strain
5-20 Take note of melodic
phrasing above the
(light) oom-pah ostinato;
melody repeats at m. 13
with the addition of
countermelody in the
inner lines; although
written at mf dynamic,
this anew ideaa needs to
be heard clearly for
contrast with the
previous statement. 2nd
Strain 21-36 C minor
(relative minor); excerpt
from Katak Lompat; melody
in the lower brass/wind
from m. 21 with a
contrasting
attitude/style from 1st
strain; back to a more
lyrical treatment from m.
29. Trio 37-56 Stays
unmodulated in the same
key; opens with a
percussion solo feature
before the start of the
softer Trio theme; keep
this section controlled
and be sensitive to the
balance; the metallic
timbre of the muted
trumpet/cornet needs to
be heard clearly (might
suggest to bring the
dynamic level up to mf
when muted); if
cued-notes are played,
make sure they are played
throughout the melodic
phrase as written to
avoid awkward leaps.
Break Strain 57-62
Excerpt from Rasa Sayang
with some play in
tonality and instrumental
dialogue; quasi
grandioso-style before
the final strain. Final
Strain 63-82 Back to Eb
major with the reprise of
the Trio theme;
festive-like style with
fuller orchestration and
new countermelodies;
dotted rhythm motif from
the introduction
concludes the march in a
codetta-like section from
m. 79. NOTE TO THE
CONDUCTOR This march has
been carefully written
with reasonable
technicalities and range
in mind for younger
players. Generally,
optional cued notes in
parenthesis are given for
less experienced players
who have yet to develop
their range on the
instrument. However, they
should never be taken as
an easy alternative for
all players in the
section; otherwise, this
may result in a less than
ideal flow of the musical
lines. Marches are good
tools to train tempo
consistency, articulation
and rhythmic precision as
well as musical phrasing.
I hope that there will be
great learning
opportunities for your
students as they learn
this piece. This march is
separately orchestrated
for both wind and brass
bands to maximize the
instrumental colors
within each ensemble. The
parts are therefore not
exchangeable between the
wind band and brass band
sets. I wish you the best
in the performance of
this work. - Benjamin
Yeo. ABOUT THE MUSIC
Future of Tomorrow
(Concert March) was
commissioned by the Arts
Education Branch,
Ministry of Education as
the set piece for the
Singapore Youth Festival
2016 Arts Presentation
for Concert and Brass
Bands (Primary Level).
This march uses brief
excerpts from the
well-known Malay folk
songs Katak Lompat and
Rasa Sayang. Our youths
are indeed our future of
tomorrow. This
joyful-themed march aims
to bring out the best in
each of your young
players. I hope that
students, band directors
and audiences will enjoy
preparing, performing and
listening to this work.
EDUCATIONAL NOTES Key: Eb
Major SECTION BARS EVENT
/ SCORING / SUGGESTIONS
Introduction 1-4 Opens in
Eb major with dotted
rhythm motif. 1st Strain
5-20 Take note of melodic
phrasing above the
(light) oom-pah ostinato;
melody repeats at m. 13
with the addition of
countermelody in the
inner lines; although
written at mf dynamic,
this 'new idea' needs to
be heard clearly for
contrast with the
previous statement. 2nd
Strain 21-36 C minor
(relative minor); excerpt
from Katak Lompat; melody
in the lower brass/wind
from m. 21 with a
contrasting
attitude/style from 1st
strain; back to a more
lyrical treatment from m.
29. Trio 37-56 Stays
unmodulated in the same
key; opens with a
percussion solo feature
before the start of the
softer Trio theme; keep
this section controlled
and be sensitive to the
balance; the metallic
timbre of the muted
trumpet/cornet needs to
be heard clearly (might
suggest to bring the
dynamic level up to mf
when muted); if
cued-notes are played,
make sure they are played
throughout the melodic
phrase as written to
avoid awkward leaps.
Break Strain 57-62
Excerpt from Rasa Sayang
with some play in
tonality and instrumental
dialogue; quasi
grandioso-style before
the final strain. Final
Strain 63-82 Back to Eb
major with the reprise of
the Trio theme;
festive-like style with
fuller orchestration and
new countermelodies;
dotted rhythm motif from
the introduction
concludes the march in a
codetta-like section from
m. 79. NOTE TO THE
CONDUCTOR This march has
been carefully written
with reasonable
technicalities and range
in mind for younger
players. Generally,
optional cued notes in
parenthesis are given for
less experienced players
who have yet to develop
their range on the
instrument. However, they
should never be taken as
an easy alternative for
all players in the
section; otherwise, this
may result in a less than
ideal flow of the musical
lines. Marches are good
tools to train tempo
consistency, articulation
and rhythmic precision as
well as musical phrasing.
I hope that there will be
great learning
opportunities for your
students as they learn
this piece. This march is
separately orchestrated
for both wind and brass
bands to maximize the
instrumental colors
within each ensemble. The
parts are therefore not
exchangeable between the
wind band and brass band
sets. I wish you the best
in the performance of
this work. - Benjamin
Yeo. ABOUT THE
MUSICFuture of Tomorrow
(Concert March) was
commissioned by the Arts
Education Branch,
Ministry of Education as
the set piece for the
Singapore Youth Festival
2016 Arts Presentation
for Concert and Brass
Bands (Primary Level).
This march uses brief
excerpts from the
well-known Malay folk
songs Katak Lompat and
Rasa Sayang.Our youths
are indeed our future of
tomorrow. This
joyful-themed march aims
to bring out the best in
each of your young
players. I hope that
students, band directors
and audiences will enjoy
preparing, performing and
listening to this
work.EDUCATIONAL
NOTESKey: Eb
MajorSECTIONBARSEVENT /
SCORING /
SUGGESTIONSIntroduction1-
4Opens in Eb major with
dotted rhythm motif.1st
Strain5-20Take note of
melodic phrasing above
the (light) oom-pah
ostinato;melody repeats
at m. 13 with the
addition of countermelody
in the inner lines;
although written at mf
dynamic, this ‘new
idea’ needs to be
heard clearly for
contrast with the
previous statement.2nd
Strain21-36C minor
(relative minor); excerpt
from Katak Lompat; melody
in the lower brass/wind
from m. 21 with a
contrasting
attitude/style from 1st
strain; back to a more
lyrical treatment from m.
29.Trio37-56Stays
unmodulated in the same
key; opens with a
percussion solo feature
before the start of the
softer Trio theme; keep
this section controlled
and be sensitive to the
balance; the metallic
timbre of the muted
trumpet/cornet needs to
be heard clearly (might
suggest to bring the
dynamic level up to mf
when muted); if
cued-notes are played,
make sure they are played
throughout the melodic
phrase as written to
avoid awkward leaps.Break
Strain57-62Excerpt from
Rasa Sayang with some
play in tonality and
instrumental dialogue;
quasi grandioso-style
before the final
strain.Final
Strain63-82Back to Eb
major with the reprise of
the Trio theme;
festive-like style with
fuller orchestration and
new countermelodies;
dotted rhythm motif from
the introduction
concludes the march in a
codetta-like section from
m. 79.NOTE TO THE
CONDUCTORThis march has
been carefully written
with reasonable
technicalities and range
in mind for younger
players. Generally,
optional cued notes in
parenthesis are given for
less experienced players
who have yet to develop
their range on the
instrument. However, they
should never be taken as
an easy alternative for
all players in the
section; otherwise, this
may result in a less than
ideal flow of the musical
lines. Marches are good
tools to train tempo
consistency, articulation
and rhythmic precision as
well as musical phrasing.
I hope that there will be
great learning
opportunities for your
students as they learn
this piece.This march is
separately orchestrated
for both wind and brass
bands to maximize the
instrumental colors
within each ensemble. The
parts are therefore not
exchangeable between the
wind band and brass band
sets.I wish you the best
in the performance of
this work.- Benjamin
Yeo. $14.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Future of Tomorrow - Intermédiaire Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Cornet, Cornet 2...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Clarinet
1, Clarinet 2, Cornet,
Cornet 2, Crash Cymbals,
Euphonium, Euphonium
T.C., Flute,
Glockenspiel, Horn 1,
Horn 2, Mallet
Percussion, Oboe,
Percussion 1, Percussion
2, Percussion 3, Snare
Drum and more. - Grade 3
SKU: CF.CPS245
Composed by Benjamin Yeo.
Folio. Cps. Set of Score
and Parts.
8+2+8+8+2+4+4+4+4+2+4+4+4
+4+6+6+4+4+8+2+2+1+4+1+2+
24 pages. Duration 2
minutes, 42 seconds. Carl
Fischer Music #CPS245.
Published by Carl Fischer
Music (CF.CPS245).
ISBN 9781491158128.
UPC: 680160916726. 9 x 12
inches. ABOUT THE
MUSIC Future of Tomorrow
(Concert March) was
commissioned by the Arts
Education Branch,
Ministry of Education as
the set piece for the
Singapore Youth Festival
2016 Arts Presentation
for Concert and Brass
Bands (Primary Level).
This march uses brief
excerpts from the
well-known Malay folk
songs Katak Lompat and
Rasa Sayang. Our youths
are indeed our future of
tomorrow. This
joyful-themed march aims
to bring out the best in
each of your young
players. I hope that
students, band directors
and audiences will enjoy
preparing, performing and
listening to this work.
EDUCATIONAL NOTES Key: Eb
Major SECTION BARS EVENT
/ SCORING / SUGGESTIONS
Introduction 1-4 Opens in
Eb major with dotted
rhythm motif. 1st Strain
5-20 Take note of melodic
phrasing above the
(light) oom-pah ostinato;
melody repeats at m. 13
with the addition of
countermelody in the
inner lines; although
written at mf dynamic,
this anew ideaa needs to
be heard clearly for
contrast with the
previous statement. 2nd
Strain 21-36 C minor
(relative minor); excerpt
from Katak Lompat; melody
in the lower brass/wind
from m. 21 with a
contrasting
attitude/style from 1st
strain; back to a more
lyrical treatment from m.
29. Trio 37-56 Stays
unmodulated in the same
key; opens with a
percussion solo feature
before the start of the
softer Trio theme; keep
this section controlled
and be sensitive to the
balance; the metallic
timbre of the muted
trumpet/cornet needs to
be heard clearly (might
suggest to bring the
dynamic level up to mf
when muted); if
cued-notes are played,
make sure they are played
throughout the melodic
phrase as written to
avoid awkward leaps.
Break Strain 57-62
Excerpt from Rasa Sayang
with some play in
tonality and instrumental
dialogue; quasi
grandioso-style before
the final strain. Final
Strain 63-82 Back to Eb
major with the reprise of
the Trio theme;
festive-like style with
fuller orchestration and
new countermelodies;
dotted rhythm motif from
the introduction
concludes the march in a
codetta-like section from
m. 79. NOTE TO THE
CONDUCTOR This march has
been carefully written
with reasonable
technicalities and range
in mind for younger
players. Generally,
optional cued notes in
parenthesis are given for
less experienced players
who have yet to develop
their range on the
instrument. However, they
should never be taken as
an easy alternative for
all players in the
section; otherwise, this
may result in a less than
ideal flow of the musical
lines. Marches are good
tools to train tempo
consistency, articulation
and rhythmic precision as
well as musical phrasing.
I hope that there will be
great learning
opportunities for your
students as they learn
this piece. This march is
separately orchestrated
for both wind and brass
bands to maximize the
instrumental colors
within each ensemble. The
parts are therefore not
exchangeable between the
wind band and brass band
sets. I wish you the best
in the performance of
this work. - Benjamin
Yeo. ABOUT THE MUSIC
Future of Tomorrow
(Concert March) was
commissioned by the Arts
Education Branch,
Ministry of Education as
the set piece for the
Singapore Youth Festival
2016 Arts Presentation
for Concert and Brass
Bands (Primary Level).
This march uses brief
excerpts from the
well-known Malay folk
songs Katak Lompat and
Rasa Sayang. Our youths
are indeed our future of
tomorrow. This
joyful-themed march aims
to bring out the best in
each of your young
players. I hope that
students, band directors
and audiences will enjoy
preparing, performing and
listening to this work.
EDUCATIONAL NOTES Key: Eb
Major SECTION BARS EVENT
/ SCORING / SUGGESTIONS
Introduction 1-4 Opens in
Eb major with dotted
rhythm motif. 1st Strain
5-20 Take note of melodic
phrasing above the
(light) oom-pah ostinato;
melody repeats at m. 13
with the addition of
countermelody in the
inner lines; although
written at mf dynamic,
this 'new idea' needs to
be heard clearly for
contrast with the
previous statement. 2nd
Strain 21-36 C minor
(relative minor); excerpt
from Katak Lompat; melody
in the lower brass/wind
from m. 21 with a
contrasting
attitude/style from 1st
strain; back to a more
lyrical treatment from m.
29. Trio 37-56 Stays
unmodulated in the same
key; opens with a
percussion solo feature
before the start of the
softer Trio theme; keep
this section controlled
and be sensitive to the
balance; the metallic
timbre of the muted
trumpet/cornet needs to
be heard clearly (might
suggest to bring the
dynamic level up to mf
when muted); if
cued-notes are played,
make sure they are played
throughout the melodic
phrase as written to
avoid awkward leaps.
Break Strain 57-62
Excerpt from Rasa Sayang
with some play in
tonality and instrumental
dialogue; quasi
grandioso-style before
the final strain. Final
Strain 63-82 Back to Eb
major with the reprise of
the Trio theme;
festive-like style with
fuller orchestration and
new countermelodies;
dotted rhythm motif from
the introduction
concludes the march in a
codetta-like section from
m. 79. NOTE TO THE
CONDUCTOR This march has
been carefully written
with reasonable
technicalities and range
in mind for younger
players. Generally,
optional cued notes in
parenthesis are given for
less experienced players
who have yet to develop
their range on the
instrument. However, they
should never be taken as
an easy alternative for
all players in the
section; otherwise, this
may result in a less than
ideal flow of the musical
lines. Marches are good
tools to train tempo
consistency, articulation
and rhythmic precision as
well as musical phrasing.
I hope that there will be
great learning
opportunities for your
students as they learn
this piece. This march is
separately orchestrated
for both wind and brass
bands to maximize the
instrumental colors
within each ensemble. The
parts are therefore not
exchangeable between the
wind band and brass band
sets. I wish you the best
in the performance of
this work. - Benjamin
Yeo. ABOUT THE
MUSICFuture of Tomorrow
(Concert March) was
commissioned by the Arts
Education Branch,
Ministry of Education as
the set piece for the
Singapore Youth Festival
2016 Arts Presentation
for Concert and Brass
Bands (Primary Level).
This march uses brief
excerpts from the
well-known Malay folk
songs Katak Lompat and
Rasa Sayang.Our youths
are indeed our future of
tomorrow. This
joyful-themed march aims
to bring out the best in
each of your young
players. I hope that
students, band directors
and audiences will enjoy
preparing, performing and
listening to this
work.EDUCATIONAL
NOTESKey: Eb
MajorSECTIONBARSEVENT /
SCORING /
SUGGESTIONSIntroduction1-
4Opens in Eb major with
dotted rhythm motif.1st
Strain5-20Take note of
melodic phrasing above
the (light) oom-pah
ostinato;melody repeats
at m. 13 with the
addition of countermelody
in the inner lines;
although written at mf
dynamic, this ‘new
idea’ needs to be
heard clearly for
contrast with the
previous statement.2nd
Strain21-36C minor
(relative minor); excerpt
from Katak Lompat; melody
in the lower brass/wind
from m. 21 with a
contrasting
attitude/style from 1st
strain; back to a more
lyrical treatment from m.
29.Trio37-56Stays
unmodulated in the same
key; opens with a
percussion solo feature
before the start of the
softer Trio theme; keep
this section controlled
and be sensitive to the
balance; the metallic
timbre of the muted
trumpet/cornet needs to
be heard clearly (might
suggest to bring the
dynamic level up to mf
when muted); if
cued-notes are played,
make sure they are played
throughout the melodic
phrase as written to
avoid awkward leaps.Break
Strain57-62Excerpt from
Rasa Sayang with some
play in tonality and
instrumental dialogue;
quasi grandioso-style
before the final
strain.Final
Strain63-82Back to Eb
major with the reprise of
the Trio theme;
festive-like style with
fuller orchestration and
new countermelodies;
dotted rhythm motif from
the introduction
concludes the march in a
codetta-like section from
m. 79.NOTE TO THE
CONDUCTORThis march has
been carefully written
with reasonable
technicalities and range
in mind for younger
players. Generally,
optional cued notes in
parenthesis are given for
less experienced players
who have yet to develop
their range on the
instrument. However, they
should never be taken as
an easy alternative for
all players in the
section; otherwise, this
may result in a less than
ideal flow of the musical
lines. Marches are good
tools to train tempo
consistency, articulation
and rhythmic precision as
well as musical phrasing.
I hope that there will be
great learning
opportunities for your
students as they learn
this piece.This march is
separately orchestrated
for both wind and brass
bands to maximize the
instrumental colors
within each ensemble. The
parts are therefore not
exchangeable between the
wind band and brass band
sets.I wish you the best
in the performance of
this work.- Benjamin
Yeo. $85.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Apollo Arise Orchestre d'harmonie - Intermédiaire Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Clarinet 3, Cras...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Clarinet
1, Clarinet 2, Clarinet
3, Crash Cymbals,
Euphonium, Flute 1, Flute
2, Horn 1, Horn 2, Mallet
Percussion, Marimba,
Oboe, Percussion 1,
Percussion 2, Percussion
3, Piccolo, Snare Drum,
Suspended Cymbal and
more. - Grade 3 SKU:
CF.CPS200F Composed
by Travis Weller. Concert
Band (CPS). Full score.
With Standard notation.
24 pages. Carl Fischer
Music #CPS200F. Published
by Carl Fischer Music
(CF.CPS200F). ISBN
9781491153031. UPC:
680160910533. Altho
ugh some stories in Greek
mythology reveal a
different side to his
character, Apollo was
widely regarded to hold a
cheerful personality and
communicating joy through
the music he played on
his lyre. Apollo Arise is
an energetic and spirited
work for band ideal for
opening a concert. The
uplifting and exuberant
melodic material lead the
group on a sonic journey
to capture the joy and
light music can bring to
both the audience and the
performer. Program
NotesAmong the many
stories in Greek
mythology, Apollo holds a
unique place as a complex
Olympian god known for
truth, prophecy, healing,
poetry, plague,
knowledge, light and
music. Although some
stories reveal a
different side to his
character, Apollo was
widely regarded to hold a
cheerful personality and
communicated joy through
the music he played on
his lyre. Apollo Arise is
an energetic and spirited
work for band, ideal for
opening a concert. The
uplifting and exuberant
melodic material lead the
group on a sonic journey
to capture the joy and
light music can bring to
both the audience and
performer. From the
dynamic opening fanfare
to the soaring motifs and
rhythms that follow,
Apollo Arise provides a
wonderful opportunity for
the ensemble to reach for
new musical heights in
their performance! Â
 Rehearsal Notes and
SuggestionsThe opening
twenty-four measures of
the work are important
for the rest of the work
to unfold successfully.
Encourage the ensemble to
play with a unified
articulation style,
maintain a proper
balance, and establish a
consistent tempo through
this section as several
recurring rhythms must be
performed consistently.
Measure 38 features a
trumpet solo, so be sure
that the rest of the
ensemble balances their
line to support the solo
instrument. In the
section that begins at m.
67, there is an optional
solo opportunity for
trumpet and trombone.
Both of these sections
provide nice contrast
against the full ensemble
sections that are present
in the work. The section
at m. 81 includes a
call-and-response section
between woodwind, brass
and percussion groups. Be
sure that as groups
enter, the tempo remains
consistent and that the
winds articulation style
is unified and
complimentary to the
percussion. As the
opening fanfare returns
at m. 101, remind the
ensemble to play with
consistent style, balance
and tempo as they did in
the opening. As the
ensemble begins the part
of the journey with
Apollo at m. 110, the
music contains unique
layers that must work
together to be effective
and set up the material
that begins at m. 127.
Encourage the group to
play so they can hear all
other lines, and allow
their energy to grow into
a focused musical
celebration by the final
note. Thank you in
advance for your support
of this music, and I wish
you and your ensemble
well as Apollo Arise
welcomes the audience to
your concert hall. $14.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Apollo Arise Orchestre d'harmonie - Intermédiaire Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Clarinet 3, Cras...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Clarinet
1, Clarinet 2, Clarinet
3, Crash Cymbals,
Euphonium, Flute 1, Flute
2, Horn 1, Horn 2, Mallet
Percussion, Marimba,
Oboe, Percussion 1,
Percussion 2, Percussion
3, Piccolo, Snare Drum,
Suspended Cymbal and
more. - Grade 3 SKU:
CF.CPS200 Composed by
Travis Weller. Concert
Band (CPS). Set of Score
and Parts. With Standard
notation.
2+8+8+4+8+16+16+4+4+4+4+4
+4+8+8+8+4+2+6+6+6+2+2+8+
2+2+3+6+6+24 pages.
Duration 3 minutes, 1
seconds. Carl Fischer
Music #CPS200. Published
by Carl Fischer Music
(CF.CPS200). ISBN
9781491152355. UPC:
680160909858. Altho
ugh some stories in Greek
mythology reveal a
different side to his
character, Apollo was
widely regarded to hold a
cheerful personality and
communicating joy through
the music he played on
his lyre. Apollo Arise is
an energetic and spirited
work for band ideal for
opening a concert. The
uplifting and exuberant
melodic material lead the
group on a sonic journey
to capture the joy and
light music can bring to
both the audience and the
performer. Program
NotesAmong the many
stories in Greek
mythology, Apollo holds a
unique place as a complex
Olympian god known for
truth, prophecy, healing,
poetry, plague,
knowledge, light and
music. Although some
stories reveal a
different side to his
character, Apollo was
widely regarded to hold a
cheerful personality and
communicated joy through
the music he played on
his lyre. Apollo Arise is
an energetic and spirited
work for band, ideal for
opening a concert. The
uplifting and exuberant
melodic material lead the
group on a sonic journey
to capture the joy and
light music can bring to
both the audience and
performer. From the
dynamic opening fanfare
to the soaring motifs and
rhythms that follow,
Apollo Arise provides a
wonderful opportunity for
the ensemble to reach for
new musical heights in
their performance! Â
 Rehearsal Notes and
SuggestionsThe opening
twenty-four measures of
the work are important
for the rest of the work
to unfold successfully.
Encourage the ensemble to
play with a unified
articulation style,
maintain a proper
balance, and establish a
consistent tempo through
this section as several
recurring rhythms must be
performed consistently.
Measure 38 features a
trumpet solo, so be sure
that the rest of the
ensemble balances their
line to support the solo
instrument. In the
section that begins at m.
67, there is an optional
solo opportunity for
trumpet and trombone.
Both of these sections
provide nice contrast
against the full ensemble
sections that are present
in the work. The section
at m. 81 includes a
call-and-response section
between woodwind, brass
and percussion groups. Be
sure that as groups
enter, the tempo remains
consistent and that the
winds articulation style
is unified and
complimentary to the
percussion. As the
opening fanfare returns
at m. 101, remind the
ensemble to play with
consistent style, balance
and tempo as they did in
the opening. As the
ensemble begins the part
of the journey with
Apollo at m. 110, the
music contains unique
layers that must work
together to be effective
and set up the material
that begins at m. 127.
Encourage the group to
play so they can hear all
other lines, and allow
their energy to grow into
a focused musical
celebration by the final
note. Thank you in
advance for your support
of this music, and I wish
you and your ensemble
well as Apollo Arise
welcomes the audience to
your concert hall. $95.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Festival First Nowell Chorale SATB [Octavo] - Facile GIA Publications
SATB choir, assembly, organ accompaniment, trumpet 1 in B-flat, trumpet 1 in C, ...(+)
SATB choir, assembly,
organ accompaniment,
trumpet 1 in B-flat,
trumpet 1 in C, trumpet 2
in B-flat, trumpet 2 in
C, horn in f, trombone,
tuba, percussion - Early
intermediate
Arranged by Dan Forrest.
Christmastide, Christmas
Vigil, Christmas Night,
Christmas Dawn, Christmas
Day. Music from
Westminster,Westminster
Choir. Tune Name: The
First Nowell. Music
Education. Octavo. 12
pages. GIA Publications
#8720. Published by GIA
Publications
$2.60 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| FLASH! Theodore Presser Co.
Orchestra Bassoon 1, Bassoon 2, Clarinet 1, Clarinet 2, Contrabass, Flute 1, Flu...(+)
Orchestra Bassoon 1,
Bassoon 2, Clarinet 1,
Clarinet 2, Contrabass,
Flute 1, Flute 2, Horn 1,
Horn 2, Oboe 1, Oboe 2,
Percussion 1, Percussion
2, Piccolo, Trumpet 1,
Trumpet 2, Tuba, Viola,
Violin 1, Violin 2,
Violoncello SKU:
PR.11640385S For
Piccolo and
Orchestra. Composed
by Daniel Dorff. Full
score. 60 pages. Duration
6:30. Theodore Presser
Company #116-40385S.
Published by Theodore
Presser Company
(PR.11640385S). UPC:
680160682898. Key: G
major. By 2008,
Sonatine de Giverny was
being performed so
frequently that I decided
to write another piccolo
piece as soon as an
opportunity arose. Since
Giverny is a study in
French style, I knew the
new piece must be in my
own authentic American
voice. That summer,
Giverny was performed six
times at the NFA
convention as a mandatory
competition piece, and I
returned from the August
2008 convention all
charged up to write
something different for
piccolo. In September,
Kate Prestia-Schaub wrote
to tell me about the
International Piccolo
Symposium's new composer
competition. She proposed
that if I write a new
piccolo/piano piece, she
would record a demo for
me to submit to the
competition, and she
would submit applications
to perform it at the 2009
IPS convention and NFA
convention. What amazing
timing! I set out to
compose a flashy
showpiece with a jazzy
snap, lots of idiomatic
scales and arpeggios, and
a scary middle section,
and by mid-October FLASH!
was complete. Kate
followed suit and all 3
wishes came true - FLASH!
won first prize in the
IPS composer competition,
and she performed it both
there and at NFA. In the
meantime many other
piccoloists have added
the work to their
repertoire, Cynthia Ellis
wrote an article about it
for Flute Talk magazine,
and Walfrid Kujala
commissioned a band
accompaniment to premiere
at NFA in 2010. More
recently, Sarah Jackson
has commissioned an
orchestra version,
premiered at the 2014 NFA
convention. By
2008, Sonatine de
Giverny was being
performed so frequently
that I decided to write
another piccolo piece as
soon as an opportunity
arose.
Since Giverny is a
study in French style, I
knew the new piece must
be in my own authentic
American voice. That
summer, Giverny was
performed six times at
the NFA convention as a
mandatory competition
piece, and I returned
from the August 2008
convention all charged up
to write something
different for piccolo.In
September, Kate
Prestia-Schaub wrote to
tell me about the
International Piccolo
Symposium's new composer
competition. She proposed
that if I write a new
piccolo/piano piece, she
would record a demo for
me to submit to the
competition, and she
would submit applications
to perform it at the 2009
IPS convention and NFA
convention. What amazing
timing! I set out to
compose a flashy
showpiece with a jazzy
snap, lots of idiomatic
scales and arpeggios, and
a scary middle section,
and by mid-October FLASH!
was complete.Kate
followed suit and all 3
wishes came true - FLASH!
won first prize in the
IPS composer competition,
and she performed it both
there and at NFA. In the
meantime many other
piccoloists have added
the work to their
repertoire, Cynthia Ellis
wrote an article about it
for Flute Talk magazine,
and Walfrid Kujala
commissioned a band
accompaniment to premiere
at NFA in 2010.More
recently, Sarah Jackson
has commissioned an
orchestra version,
premiered at the 2014 NFA
convention. $37.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| FLASH! Theodore Presser Co.
Orchestra Bassoon 1, Bassoon 2, Clarinet 1, Clarinet 2, Contrabass, Flute 1, Flu...(+)
Orchestra Bassoon 1,
Bassoon 2, Clarinet 1,
Clarinet 2, Contrabass,
Flute 1, Flute 2, Horn 1,
Horn 2, Oboe 1, Oboe 2,
Percussion 1, Percussion
2, Piccolo, Trumpet 1,
Trumpet 2, Tuba, Viola,
Violin 1, Violin 2,
Violoncello SKU:
PR.11640385L For
Piccolo and
Orchestra. Composed
by Daniel Dorff. Large
Score. 60 pages. Duration
6:30. Theodore Presser
Company #116-40385L.
Published by Theodore
Presser Company
(PR.11640385L). UPC:
680160682904. Key: G
major. By 2008,
Sonatine de Giverny was
being performed so
frequently that I decided
to write another piccolo
piece as soon as an
opportunity arose. Since
Giverny is a study in
French style, I knew the
new piece must be in my
own authentic American
voice. That summer,
Giverny was performed six
times at the NFA
convention as a mandatory
competition piece, and I
returned from the August
2008 convention all
charged up to write
something different for
piccolo. In September,
Kate Prestia-Schaub wrote
to tell me about the
International Piccolo
Symposium's new composer
competition. She proposed
that if I write a new
piccolo/piano piece, she
would record a demo for
me to submit to the
competition, and she
would submit applications
to perform it at the 2009
IPS convention and NFA
convention. What amazing
timing! I set out to
compose a flashy
showpiece with a jazzy
snap, lots of idiomatic
scales and arpeggios, and
a scary middle section,
and by mid-October FLASH!
was complete. Kate
followed suit and all 3
wishes came true - FLASH!
won first prize in the
IPS composer competition,
and she performed it both
there and at NFA. In the
meantime many other
piccoloists have added
the work to their
repertoire, Cynthia Ellis
wrote an article about it
for Flute Talk magazine,
and Walfrid Kujala
commissioned a band
accompaniment to premiere
at NFA in 2010. More
recently, Sarah Jackson
has commissioned an
orchestra version,
premiered at the 2014 NFA
convention. By
2008, Sonatine de
Giverny was being
performed so frequently
that I decided to write
another piccolo piece as
soon as an opportunity
arose.
Since Giverny is a
study in French style, I
knew the new piece must
be in my own authentic
American voice. That
summer, Giverny was
performed six times at
the NFA convention as a
mandatory competition
piece, and I returned
from the August 2008
convention all charged up
to write something
different for piccolo.In
September, Kate
Prestia-Schaub wrote to
tell me about the
International Piccolo
Symposium's new composer
competition. She proposed
that if I write a new
piccolo/piano piece, she
would record a demo for
me to submit to the
competition, and she
would submit applications
to perform it at the 2009
IPS convention and NFA
convention. What amazing
timing! I set out to
compose a flashy
showpiece with a jazzy
snap, lots of idiomatic
scales and arpeggios, and
a scary middle section,
and by mid-October FLASH!
was complete.Kate
followed suit and all 3
wishes came true - FLASH!
won first prize in the
IPS composer competition,
and she performed it both
there and at NFA. In the
meantime many other
piccoloists have added
the work to their
repertoire, Cynthia Ellis
wrote an article about it
for Flute Talk magazine,
and Walfrid Kujala
commissioned a band
accompaniment to premiere
at NFA in 2010.More
recently, Sarah Jackson
has commissioned an
orchestra version,
premiered at the 2014 NFA
convention. $56.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| George Frederic Handel: Messiah (Oratorio, 1741) - Violin II [Partie séparée] Schirmer
Composed by George Frederic Handel (1685-1759). 1741. Orchestral part for second...(+)
Composed by George
Frederic Handel
(1685-1759). 1741.
Orchestral part for
second violin. With
standard notation and
vocal cues. 41 pages.
Published by G. Schirmer,
Inc.
(1)$6.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Piano Pieces For Adult Beginners Piano seul [Partition] Amsco Wise Publications
By Amy Appleby. For Piano. Classical, Folk. Sheet Music. 194 pages. Published by...(+)
By Amy Appleby. For
Piano. Classical, Folk.
Sheet Music. 194 pages.
Published by Wise
Publications.
(1)$17.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| For the Mystic Harmony Theodore Presser Co.
Band Bass Clarinet, Bass Drum, Bassoon 1, Bassoon 2, Bongos, Castanets, Celesta,...(+)
Band Bass Clarinet, Bass
Drum, Bassoon 1, Bassoon
2, Bongos, Castanets,
Celesta, Clarinet,
Clarinet 1, Clarinet 2,
Clarinet 3, Contrabass
Clarinet, Contrabassoon,
English Horn, Euphonium,
Euphonium T.C., Flute 1,
Flute 2, Horn 1, Horn 2,
Horn 3 and more. SKU:
PR.16500100F Hymns
for Wind Ensemble.
Composed by Dan Welcher.
Sws. Full score. 48
pages. Duration 10
minutes, 41 seconds.
Theodore Presser Company
#165-00100F. Published by
Theodore Presser Company
(PR.16500100F). ISBN
9781491114421. UPC:
680160669783. 9 x 12
inches. Commissione
d for a consortium of
high school and college
bands in the north Dallas
region, FOR THEMYSTIC
HARMONY is a 10-minute
inspirational work in
homage to Norwood and
Elizabeth Dixon,patrons
of the Fort Worth
Symphony and the Van
Cliburn Competition.
Welcher draws melodic
flavorfrom five American
hymns, spirituals, and
folk tunes of the 19th
century. The last of
these sources toappear is
the hymn tune For the
Beauty of the Earth,
whose third stanza is the
quatrain: “For the
joy of earand eye, For
the heart and
mind’s delight,
For the mystic harmony,
Linking sense to sound
and sight,â€giving
rise to the work’s
title. This work,
commissioned for a
consortium of high school
bands in the north Dallas
area, is my fifteenth
maturework for wind
ensemble (not counting
transcriptions). When I
asked Todd Dixon, the
band director
whospearheaded this
project, what kind of a
work he most wanted, he
first said
“something
that’s basically
slow,†butwanted to
leave the details to me.
During a long subsequent
conversation, he
mentioned that his
grandparents,Norwood and
Elizabeth Dixon, were
prime supporters of the
Fort Worth Symphony,
going so far as to
purchase anumber of high
quality instruments for
that orchestra. This
intrigued me, so I asked
more about his
grandparentsand was
provided an 80-page
biographical sketch.
Reading that article,
including a long section
about theirdevotion to
supporting a young man
through the rigors of the
Van Cliburn International
Piano Competition fora
number of years, moved me
very much. Norwood and
Elizabeth Dixon
weren’t just
supporters of the arts;
theywere passionate
lovers of music and
musicians. I determined
to make this work a
testament to that love,
and tothe religious faith
that sustained them both.
The idea of using extant
hymns was also suggested
by Todd Dixon,and this
10-minute work is the
result.I have employed
existing melodies in
several works, delving
into certain kinds of
religious music more than
a fewtimes. In seeking
new sounds, new ways of
harmonizing old tunes,
and the contrapuntal
overlaying of one
tunewith another, I was
able to make works like
ZION (using 19th-century
Revivalist hymns) and
LABORING SONGS(using
Shaker melodies) reflect
the spirit of the
composers who created
these melodies, without
sounding likepastiches or
medleys. I determined to
do the same with this new
work, with the added
problem of
employingmelodies that
were more familiar. I
chose five tunes from the
19th century: hymns,
spirituals, and
folk-tunes.Some of these
are known by differing
titles, but they all
appear in hymnals of
various Christian
denominations(with
various titles and
texts). My idea was to
employ the tunes without
altering their notes,
instead using aconstantly
modulating sense of
harmony —
sometimes leading to
polytonal harmonizations
of what are
normallysimple four-chord
hymns.The work begins and
ends with a repeated
chime on the note C: a
reminder of steeples,
white clapboard
churchesin the country,
and small church organs.
Beginning with a
Mixolydian folk tune of
Caribbean origin
presentedtwice with
layered entrances, the
work starts with a
feeling of mystery and
gentle sorrow. It
proceeds, after along
transition, into a second
hymn that is sometimes
connected to the sea
(hence the sensation of
water andwaves throughout
it). This tune, by John
B. Dykes (1823-1876), is
a bit more chromatic and
“shifty†than
mosthymn-tunes, so I
chose to play with the
constant sensation of
modulation even more than
the original does. Atthe
climax, the familiar
spiritual “Were you
there?†takes over,
with a double-time
polytonal feeling
propelling itforward at
“Sometimes it
causes me to
tremble.â€Trumpets
in counterpoint raise the
temperature, and the
tempo as well, leading
the music into a third
tune (ofunknown
provenance, though it
appears with different
texts in various hymnals)
that is presented in a
sprightlymanner. Bassoons
introduce the melody, but
it is quickly taken up by
other instruments over
three
“verses,â€cons
tantly growing in
orchestration and volume.
A mysterious second tune,
unrelated to this one,
interrupts it inall three
verses, sending the
melody into unknown
regions.The final melody
is “For the Beauty
of the Earth.†This
tune by Conrad Kocher
(1786-1872) is commonly
sung atThanksgiving
— the perfect
choice to end this work
celebrating two people
known for their
generosity.Keeping the
sense of constant
modulation that has been
present throughout, I
chose to present this
hymn in threegrowing
verses, but with a twist:
every four bars, the
“key†of the
hymn seems to shift
— until the
“Lord of all,
toThee we praiseâ€
melody bursts out in a
surprising compound
meter. This, as it turns
out, was the
“mystery
tuneâ€heard earlier
in the piece. After an
Ivesian, almost polytonal
climax, the Coda begins
over a long B( pedal. At
first,it seems to be a
restatement of the first
two phrases of “For
the Beauty†with
long spaces between them,
but it soonchanges to a
series of
“Amenâ€
cadences, widely
separated by range and
color. These, too, do not
conform to anykey, but
instead overlay each
other in ways that are
unpredictable but
strangely comforting.The
third verse of “For
the Beauty of the
Earth†contains
this quatrain:“For
the joy of ear and eye,
–For the heart and
mind’s delightFor
the mystic harmonyLinking
sense to sound and
sightâ€and it was
from this poetry that I
drew the title for the
present work. It is my
hope that audiences and
performerswill find
within it a sense of
grace: more than a little
familiar, but also quite
new and unexpected. $25.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| For the Mystic Harmony 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, English
Horn, Flute 1, Flute 2,
Oboe 1, Oboe 2, Piccolo,
alto Saxophone, soprano
Saxophone, tenor
Saxophone SKU:
PR.165001000 Hymns
for Wind Ensemble.
Composed by Dan Welcher.
Folio. Set of Score and
Parts.
4+24+24+16+8+4+4+24+12+12
+8+4+4+4+4+8+8+8+8+4+4+4+
4+8+8+8+8+8+8+8+8+4+16+4+
8+4+8+8+4+4+4+48 pages.
Duration 10 minutes, 41
seconds. Theodore Presser
Company #165-00100.
Published by Theodore
Presser Company
(PR.165001000). ISBN
9781491129241. UPC:
680160669776. 9 x 12
inches. Commissione
d for a consortium of
high school and college
bands in the north Dallas
region, FOR THEMYSTIC
HARMONY is a 10-minute
inspirational work in
homage to Norwood and
Elizabeth Dixon,patrons
of the Fort Worth
Symphony and the Van
Cliburn Competition.
Welcher draws melodic
flavorfrom five American
hymns, spirituals, and
folk tunes of the 19th
century. The last of
these sources toappear is
the hymn tune For the
Beauty of the Earth,
whose third stanza is the
quatrain: “For the
joy of earand eye, For
the heart and
mind’s delight,
For the mystic harmony,
Linking sense to sound
and sight,â€giving
rise to the work’s
title. This work,
commissioned for a
consortium of high school
bands in the north Dallas
area, is my fifteenth
maturework for wind
ensemble (not counting
transcriptions). When I
asked Todd Dixon, the
band director
whospearheaded this
project, what kind of a
work he most wanted, he
first said
“something
that’s basically
slow,†butwanted to
leave the details to me.
During a long subsequent
conversation, he
mentioned that his
grandparents,Norwood and
Elizabeth Dixon, were
prime supporters of the
Fort Worth Symphony,
going so far as to
purchase anumber of high
quality instruments for
that orchestra. This
intrigued me, so I asked
more about his
grandparentsand was
provided an 80-page
biographical sketch.
Reading that article,
including a long section
about theirdevotion to
supporting a young man
through the rigors of the
Van Cliburn International
Piano Competition fora
number of years, moved me
very much. Norwood and
Elizabeth Dixon
weren’t just
supporters of the arts;
theywere passionate
lovers of music and
musicians. I determined
to make this work a
testament to that love,
and tothe religious faith
that sustained them both.
The idea of using extant
hymns was also suggested
by Todd Dixon,and this
10-minute work is the
result.I have employed
existing melodies in
several works, delving
into certain kinds of
religious music more than
a fewtimes. In seeking
new sounds, new ways of
harmonizing old tunes,
and the contrapuntal
overlaying of one
tunewith another, I was
able to make works like
ZION (using 19th-century
Revivalist hymns) and
LABORING SONGS(using
Shaker melodies) reflect
the spirit of the
composers who created
these melodies, without
sounding likepastiches or
medleys. I determined to
do the same with this new
work, with the added
problem of
employingmelodies that
were more familiar. I
chose five tunes from the
19th century: hymns,
spirituals, and
folk-tunes.Some of these
are known by differing
titles, but they all
appear in hymnals of
various Christian
denominations(with
various titles and
texts). My idea was to
employ the tunes without
altering their notes,
instead using aconstantly
modulating sense of
harmony —
sometimes leading to
polytonal harmonizations
of what are
normallysimple four-chord
hymns.The work begins and
ends with a repeated
chime on the note C: a
reminder of steeples,
white clapboard
churchesin the country,
and small church organs.
Beginning with a
Mixolydian folk tune of
Caribbean origin
presentedtwice with
layered entrances, the
work starts with a
feeling of mystery and
gentle sorrow. It
proceeds, after along
transition, into a second
hymn that is sometimes
connected to the sea
(hence the sensation of
water andwaves throughout
it). This tune, by John
B. Dykes (1823-1876), is
a bit more chromatic and
“shifty†than
mosthymn-tunes, so I
chose to play with the
constant sensation of
modulation even more than
the original does. Atthe
climax, the familiar
spiritual “Were you
there?†takes over,
with a double-time
polytonal feeling
propelling itforward at
“Sometimes it
causes me to
tremble.â€Trumpets
in counterpoint raise the
temperature, and the
tempo as well, leading
the music into a third
tune (ofunknown
provenance, though it
appears with different
texts in various hymnals)
that is presented in a
sprightlymanner. Bassoons
introduce the melody, but
it is quickly taken up by
other instruments over
three
“verses,â€cons
tantly growing in
orchestration and volume.
A mysterious second tune,
unrelated to this one,
interrupts it inall three
verses, sending the
melody into unknown
regions.The final melody
is “For the Beauty
of the Earth.†This
tune by Conrad Kocher
(1786-1872) is commonly
sung atThanksgiving
— the perfect
choice to end this work
celebrating two people
known for their
generosity.Keeping the
sense of constant
modulation that has been
present throughout, I
chose to present this
hymn in threegrowing
verses, but with a twist:
every four bars, the
“key†of the
hymn seems to shift
— until the
“Lord of all,
toThee we praiseâ€
melody bursts out in a
surprising compound
meter. This, as it turns
out, was the
“mystery
tuneâ€heard earlier
in the piece. After an
Ivesian, almost polytonal
climax, the Coda begins
over a long B( pedal. At
first,it seems to be a
restatement of the first
two phrases of “For
the Beauty†with
long spaces between them,
but it soonchanges to a
series of
“Amenâ€
cadences, widely
separated by range and
color. These, too, do not
conform to anykey, but
instead overlay each
other in ways that are
unpredictable but
strangely comforting.The
third verse of “For
the Beauty of the
Earth†contains
this quatrain:“For
the joy of ear and eye,
–For the heart and
mind’s delightFor
the mystic harmonyLinking
sense to sound and
sightâ€and it was
from this poetry that I
drew the title for the
present work. It is my
hope that audiences and
performerswill find
within it a sense of
grace: more than a little
familiar, but also quite
new and unexpected. $150.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Under a Winter Sky - Facile Carl Fischer
Band Bass Clarinet, Bassoon, Bells, Clarinet 1, Clarinet 2, Euphonium, Euphonium...(+)
Band Bass Clarinet,
Bassoon, Bells, Clarinet
1, Clarinet 2, Euphonium,
Euphonium T.C., Flute,
Flute 2, Horn, Mallet
Percussion, Oboe,
Percussion, Suspended
Cymbal, Timpani,
Triangle, Trombone,
Trumpet 1, Trumpet 2,
Tuba, alto Saxophone and
more. - Grade 2 SKU:
CF.YPS242F Composed
by Yukiko Nishimura. Full
score. 8 pages. Carl
Fischer Music #YPS242F.
Published by Carl Fischer
Music (CF.YPS242F).
ISBN 9781491159682.
UPC:
680160918270. I
love the winter season,
perhaps because I was
born in February. My
hometown is known for its
cold weather in winter.
In fact, my first name
Yukiko means snow girl.
My parents gave me this
name because it was
snowing on the day I was
born. Before I started to
write the piece, various
images depicting the
scenery of a snowy
morning developed in my
mind. Imagine that there
is no wind, no sound, and
it is a very clear
morning. I heard the
sound of an organ playing
a traditional chorale
somewhere from a
distance. This is the
scenery of my imagination
for this piece. You will
find many inner melodies,
dialogues and
conversations between the
instruments throughout
the piece. Listen
carefully to the other
instruments and stay in
tune while you play. I
love the winter season,
perhaps because I was
born in February. My
hometown is known for its
cold weather in winter.
In fact, my first name
“Yukikoâ€
means snow girl. My
parents gave me this name
because it was snowing on
the day I was born.Before
I started to write the
piece, various images
depicting the scenery of
a snowy morning developed
in my mind. Imagine that
there is no wind, no
sound, and it is a very
clear morning. I
heard the sound of an
organ playing a
traditional chorale
somewhere from a
distance. This is the
scenery of my imagination
for this
piece.  You will
find many inner melodies,
dialogues and
conversations between the
instruments throughout
the piece. Listen
carefully to the other
instruments and stay in
tune while you play. $11.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Golden Age of American Bands GIA Publications
SKU: GI.G-10368 A Document History (1835-1935). Composed by Bryan ...(+)
SKU: GI.G-10368
A Document History
(1835-1935). Composed
by Bryan J. Proksch.
Music Education. 346
pages. GIA Publications
#10368. Published by GIA
Publications
(GI.G-10368). ISBN
9781622776276. This
is a fascinating and
important book for
everybody even remotely
interested in the history
of American bands. Bryan
Proksch has done some
painstakingly thorough
research in putting
together an amazing
assemblage of
documents… This is
a must-have book!
—Jon Ceander
Mitchell   The
Wind Music Research
Quarterly:
Mitteilungsblatt der IGEB
  (March 2022),
14–15 For the
scholar, each entry
presents an opportunity
for expansion. For the
teacher, this work
provides source readings
for courses on wind band
history or for
complementing Strunk or
Weiss-Taruskin in
university music history
courses. That said, these
documents stand as an
enriching and
entertaining read in
their own right for
anyone interested in the
subject. —Michael
O’Connor  Â
Historic Brass Today 1/2
(Spring 2022), 32 The
Golden Age of American
Bands is ideally suited
for courses on the
history and literature of
bands in America. Indeed,
this volume could suffice
as a textbook for
adventuresome teachers in
that it touches on the
major musicians,
instruments, ensembles,
and functions expected of
such a course. . . . Both
private and classroom
band instructors will
find compelling glimpses
into the history of their
craft. [It is] bursting
with opportunities to
inspire curiosity in
their students while
effectively supporting
their own curricular
goals. —Benjamin
D. Lawson and James A.
Davis   The
Journal of Music History
Pedagogy Proksch’s
new collection of
documents is a most
welcome step in the
direction of getting [the
story of bands] under
control. The
juxtaposition of
documents from so many
levels and types of
ensembles proves to have
a cumulative effect: one
begins to see the subtle
and long-lasting
connections among them
despite the big
differences. It is easy
to envision it as a
supplemental text in a
course on band history
and literature, but the
book is also just an
absorbing read. There is
much to learn here, and
much to enjoy.
—Ken Kreitner Â
 Notes 79/2 (December
2022): 217-218 This is
the story of the American
wind band, told
chronologically by those
who experienced it in
real time from 1835 to
1935. How did bands
become bands? How did
they rise in popularity?
Which figures had
insights and specific
impacts on the
development of the genre?
Through source documents
and articles, Bryan
Proksch takes us on an
extraordinary journey
from the time of the
first brass bands in the
1830s, through the Civil
War and the golden ages
of Gilmore and Sousa, to
the cusp of the wind
ensemble just before
World War II. Hear from a
young Frederick Fennell
about his efforts to
create the first band at
Eastman. Read the outline
of Allessandro
Liberati’s
unpublished trumpet
method book. Eavesdrop on
Karl L. King as he muses
on the fate of bands
after the death of Sousa.
See Patrick
Conway’s first
undergraduate music
education curriculum.
Gawk as trombonist
Fredrick Neil Innes
embarrasses
“world’s
greatest cornetistâ€
Jules Levy at Coney
Island. Explore as Alan
Dodworth revolutionizes
bands. Retreat with a
military band in the
middle of a Civil War
battle. Find out what it
felt like to sit in a
Sousa Band rehearsal. Ask
Herbert L. Clarke why he
thinks you should be
playing a cornet instead
of a trumpet. Find out
how P. S. Gilmore managed
to pull off the biggest
concert events in
American history. The
book includes numerous
rare and unknown
illustrations to show you
the places where band
history happened. The
documents include rare
periodical excerpts,
handwritten letters, and
other writings taken from
archives throughout the
United States. These
first-person accounts are
certain to further refine
and deepen our
understanding and
appreciation of American
band history on a grand
scale. Contents:
Beginnings
(1835–1859) The
Civil War
(1860–1865) The
Jubilees
(1866–1879) The
Gilded Age
(1880–1896) The
Band Age
(1897–1914) World
War I (1915–1919)
Transition and Decline
(1920–1935) Â
Click here to download a
FREE addenda. Bryan
Proksch is a
distinguished faculty
lecturer and associate
professor of music
history and literature at
Lamar University in
Beaumont, Texas. This is
his third book. His A
Sousa Reader: Essays,
Interviews, and Clippings
(GIA Publications, 2016)
explores the documents
relating to the life and
career of John Philip
Sousa. $39.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Chase the Horizon Orchestre d'harmonie - Facile Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Chimes, Clarinet 1, Clarinet 2, Crash Cy...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Chimes,
Clarinet 1, Clarinet 2,
Crash Cymbals, Euphonium,
Euphonium T.C., Flute,
Flute 2, Glockenspiel,
Horn, Mallet Percussion,
Oboe, Percussion 1,
Percussion 2, Snare Drum,
Suspended Cymbal,
Timpani, Trombone and
more. - Grade 2 SKU:
CF.YPS197F Composed
by John Pasternak. Young
Band (YPS). Full score.
With Standard notation.
20 pages. Carl Fischer
Music #YPS197F. Published
by Carl Fischer Music
(CF.YPS197F). ISBN
9781491152850. UPC:
680160910359. Chase
the Horizon is
a musical journey
depicting a lonesome
cowboy riding on his
horse, chasing the
horizon. Composer John
Pasternak has delivered a
strong and musically
rewarding piece for the
young band. It begins
with a nice legato
section before setting
off on the journey with a
tuneful theme. The piece
develops through several
contrasting sections
finishing in a dramatic
conclusion. This piece
is a story of new
beginnings. While writing
this piece I pictured a
lonely cowboy riding on
his horse, chasing the
horizon. The beginning
for this piece should
have a very legato feel
except for the Xylophone
part, which should use a
very abrupt, staccato
articulation. Measure 9
should take on a staccato
and light feel. The
feeling should remain
light except for the
instruments with the
melody, who should play
their parts with a more
legato feel. Dynamics
throughout this first
section are crucial. All
parts at m. 22 should
play with a legato style
with focus on the
dynamics. The trumpet
interjection at m. 25
should be played very
light. At m. 32 there
should be contrast with
all the different styles
of articulation. Measure
42 should not slow down
too quickly as the group
should not ever get
slower than the tempo
marking at m. 49.The slow
section at m. 49 should
be played soft with a
legato style growing
gradually through m. 61.
The articulation at m. 61
should be short and
staccato, and be careful
not to rush. The sections
with the melody here
should contrast the
staccato of the ensemble
with a legato style. When
the ensemble arrives at
m. 78 the piece should
have a maestoso-style
feel. The rit. at m. 88
should not become slower
than the tempo at m. 92.
At m. 92, let the
horns and saxophones
really shine through. $11.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Under a Winter Sky - Facile Carl Fischer
Band Bass Clarinet, Bassoon, Bells, Clarinet 1, Clarinet 2, Euphonium, Euphonium...(+)
Band Bass Clarinet,
Bassoon, Bells, Clarinet
1, Clarinet 2, Euphonium,
Euphonium T.C., Flute,
Flute 2, Horn, Mallet
Percussion, Oboe,
Percussion, Suspended
Cymbal, Timpani,
Triangle, Trombone,
Trumpet 1, Trumpet 2,
Tuba, alto Saxophone and
more. - Grade 2 SKU:
CF.YPS242 Composed by
Yukiko Nishimura. Set of
Score and Parts.
8+8+2+4+4+2+2+5+2+2+4+4+4
+6+2+3+3+1+1+2 pages.
Duration 3 minutes, 16
seconds. Carl Fischer
Music #YPS242. Published
by Carl Fischer Music
(CF.YPS242). ISBN
9781491159675. UPC:
680160918263. I
love the winter season,
perhaps because I was
born in February. My
hometown is known for its
cold weather in winter.
In fact, my first name
Yukiko means snow girl.
My parents gave me this
name because it was
snowing on the day I was
born. Before I started to
write the piece, various
images depicting the
scenery of a snowy
morning developed in my
mind. Imagine that there
is no wind, no sound, and
it is a very clear
morning. I heard the
sound of an organ playing
a traditional chorale
somewhere from a
distance. This is the
scenery of my imagination
for this piece. You will
find many inner melodies,
dialogues and
conversations between the
instruments throughout
the piece. Listen
carefully to the other
instruments and stay in
tune while you play. I
love the winter season,
perhaps because I was
born in February. My
hometown is known for its
cold weather in winter.
In fact, my first name
“Yukikoâ€
means snow girl. My
parents gave me this name
because it was snowing on
the day I was born.Before
I started to write the
piece, various images
depicting the scenery of
a snowy morning developed
in my mind. Imagine that
there is no wind, no
sound, and it is a very
clear morning. I
heard the sound of an
organ playing a
traditional chorale
somewhere from a
distance. This is the
scenery of my imagination
for this
piece.  You will
find many inner melodies,
dialogues and
conversations between the
instruments throughout
the piece. Listen
carefully to the other
instruments and stay in
tune while you play. $65.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Chase the Horizon Orchestre d'harmonie - Facile Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Chimes, Clarinet 1, Clarinet 2, Crash Cy...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Chimes,
Clarinet 1, Clarinet 2,
Crash Cymbals, Euphonium,
Euphonium T.C., Flute,
Flute 2, Glockenspiel,
Horn, Mallet Percussion,
Oboe, Percussion 1,
Percussion 2, Snare Drum,
Suspended Cymbal,
Timpani, Trombone and
more. - Grade 2 SKU:
CF.YPS197 Composed by
John Pasternak. Young
Band (YPS). Set of Score
and Parts. With Standard
notation.
16+4+8+8+4+4+10+4+4+8+8+8
+12+6+6+6+2+4+2+20+4
pages. Duration 3
minutes, 57 seconds. Carl
Fischer Music #YPS197.
Published by Carl Fischer
Music (CF.YPS197).
ISBN 9781491152171.
UPC: 680160909674. Key:
Eb major. Chase the
Horizon is a musical
journey depicting a
lonesome cowboy riding on
his horse, chasing the
horizon. Composer John
Pasternak has delivered a
strong and musically
rewarding piece for the
young band. It begins
with a nice legato
section before setting
off on the journey with a
tuneful theme. The piece
develops through several
contrasting sections
finishing in a dramatic
conclusion. This piece
is a story of new
beginnings. While writing
this piece I pictured a
lonely cowboy riding on
his horse, chasing the
horizon. The beginning
for this piece should
have a very legato feel
except for the Xylophone
part, which should use a
very abrupt, staccato
articulation. Measure 9
should take on a staccato
and light feel. The
feeling should remain
light except for the
instruments with the
melody, who should play
their parts with a more
legato feel. Dynamics
throughout this first
section are crucial. All
parts at m. 22 should
play with a legato style
with focus on the
dynamics. The trumpet
interjection at m. 25
should be played very
light. At m. 32 there
should be contrast with
all the different styles
of articulation. Measure
42 should not slow down
too quickly as the group
should not ever get
slower than the tempo
marking at m. 49.The slow
section at m. 49 should
be played soft with a
legato style growing
gradually through m. 61.
The articulation at m. 61
should be short and
staccato, and be careful
not to rush. The sections
with the melody here
should contrast the
staccato of the ensemble
with a legato style. When
the ensemble arrives at
m. 78 the piece should
have a maestoso-style
feel. The rit. at m. 88
should not become slower
than the tempo at m. 92.
At m. 92, let the
horns and saxophones
really shine through. $70.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
Page suivante 1 31 61 |