| I Will Rise - Orchestration Word Music
Instrumental ensemble (flute 1, 2; penny whistle; oboe; clarinet 1, 2; horn 1, 2...(+)
Instrumental ensemble
(flute 1, 2; penny
whistle; oboe; clarinet
1, 2; horn 1, 2; trumpet
1, 2; trumpet 3; trombone
1, 2; trombone 3/tuba;
drumline; percussion 1,
2; percussion 3, 4; harp
(optional); rhythm;
*violin 1, 2; *viola;
cello; string bass;
string reduction; brass
redu) SKU:
WD.080689457678
Arranged by Tim Cates.
Choral, cantatas.
Orchestration. Word Music
#080689457678. Published
by Word Music
(WD.080689457678).
UPC:
080689457678. $399.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| God So Loved Hope Publishing Company
Cello, Clarinet, Flute, French Horn, Piano, Trombone, Trumpet, Violin SKU: HP...(+)
Cello, Clarinet, Flute,
French Horn, Piano,
Trombone, Trumpet, Violin
SKU: HP.9161
Composed by Pepper
Choplin. Musicals for
Adults. Ash Wednesday,
Lent, Palm Sunday, Holy
Week, Maundy Thursday,
Good Friday, Easter
Sunday, Jesus Christ -
Cross, Jesus Christ -
Death, Jesus Christ -
Redeemer, Jesus Christ -
Resurrection, Jesus
Christ - Savior. Choral
score. 92 pages. Hope
Publishing Company #9161.
Published by Hope
Publishing Company
(HP.9161). UPC:
763628191610. Pepper
Choplin. Easter
Cantata Beginning with
John 3:16, this musical
tells the remarkable
Passion story. The theme
of God's love is
highlighted in every step
of Jesus' journey to the
cross. With a light
contemporary feel in the
rhythm and harmony, the
music is full of
memorable melodies with a
dramatic flair. From the
rhythmic call of Hosanna,
God Save Us to the
reassuring, Remember I Am
There to the dramatic one
note melody of They Came
to Arrest Him, this work
will provide a moving
experience for any
service during Holy Week.
The choir parts are
carefully crafted and
choir-tested, ensuring
that your singers will
perform with confidence.
Four of the pieces may
serve as Sunday anthems
as the larger work is
being prepared.
Accompaniment can be
provided by piano, or a
small ensemble of eleven
instruments arranged by
Ed Hogan. Performance
time is
39-minutes.
Instru
mental Parts include:
Conductor's Score, Flute,
Clarinet, Trumpet, French
Horn (opt. Alto Sax),
Trombone (opt. Baritone
T.C. or Tenor Sax),
Drums, Piano, Electric
Bass, 2 Violins (opt.
Viola), Cello & String
Reduction. $12.95 - Voir plus => AcheterDélais: 4 to 6 business days | | |
| God So Loved CD Chorale Hope Publishing Company
Accomp CD SKU: HP.9163 Composed by Pepper Choplin. Accompaniment CD. Hope...(+)
Accomp CD SKU:
HP.9163 Composed by
Pepper Choplin.
Accompaniment CD. Hope
Publishing Company #9163.
Published by Hope
Publishing Company
(HP.9163). UPC:
763628191634. Pepper
Choplin. Easter
Cantata Beginning with
John 3:16, this musical
tells the remarkable
Passion story. The theme
of God's love is
highlighted in every step
of Jesus' journey to the
cross. With a light
contemporary feel in the
rhythm and harmony, the
music is full of
memorable melodies with a
dramatic flair. From the
rhythmic call of Hosanna,
God Save Us to the
reassuring, Remember I Am
There to the dramatic one
note melody of They Came
to Arrest Him, this work
will provide a moving
experience for any
service during Holy Week.
The choir parts are
carefully crafted and
choir-tested, ensuring
that your singers will
perform with confidence.
Four of the pieces may
serve as Sunday anthems
as the larger work is
being prepared.
Accompaniment can be
provided by piano, or a
small ensemble of eleven
instruments arranged by
Ed Hogan. Performance
time is
39-minutes.
Instru
mental Parts include:
Conductor's Score, Flute,
Clarinet, Trumpet, French
Horn (opt. Alto Sax),
Trombone (opt. Baritone
T.C. or Tenor Sax),
Drums, Piano, Electric
Bass, 2 Violins (opt.
Viola), Cello & String
Reduction. $89.95 - Voir plus => AcheterDélais: 4 to 6 business days | | |
| God So Loved CD Chorale Hope Publishing Company
Voice-Dominant SA/TB Rehearsal CDs SKU: HP.9169 Composed by Pepper Chopli...(+)
Voice-Dominant SA/TB
Rehearsal CDs SKU:
HP.9169 Composed by
Pepper Choplin. Listening
CD. Hope Publishing
Company #9169. Published
by Hope Publishing
Company (HP.9169).
UPC: 763628191696.
Pepper
Choplin. Easter
Cantata Beginning with
John 3:16, this musical
tells the remarkable
Passion story. The theme
of God's love is
highlighted in every step
of Jesus' journey to the
cross. With a light
contemporary feel in the
rhythm and harmony, the
music is full of
memorable melodies with a
dramatic flair. From the
rhythmic call of Hosanna,
God Save Us to the
reassuring, Remember I Am
There to the dramatic one
note melody of They Came
to Arrest Him, this work
will provide a moving
experience for any
service during Holy Week.
The choir parts are
carefully crafted and
choir-tested, ensuring
that your singers will
perform with confidence.
Four of the pieces may
serve as Sunday anthems
as the larger work is
being prepared.
Accompaniment can be
provided by piano, or a
small ensemble of eleven
instruments arranged by
Ed Hogan. Performance
time is
39-minutes.
Instru
mental Parts include:
Conductor's Score, Flute,
Clarinet, Trumpet, French
Horn (opt. Alto Sax),
Trombone (opt. Baritone
T.C. or Tenor Sax),
Drums, Piano, Electric
Bass, 2 Violins (opt.
Viola), Cello & String
Reduction. $59.95 - Voir plus => AcheterDélais: 4 to 6 business days | | |
| God So Loved Hope Publishing Company
Value Pack (10 listening CDs) SKU: HP.9167 Composed by Pepper Choplin. Va...(+)
Value Pack (10 listening
CDs) SKU: HP.9167
Composed by Pepper
Choplin. Value pack (10
listening CDs). Hope
Publishing Company #9167.
Published by Hope
Publishing Company
(HP.9167). UPC:
763628191672. Pepper
Choplin. Easter
Cantata Beginning with
John 3:16, this musical
tells the remarkable
Passion story. The theme
of God's love is
highlighted in every step
of Jesus' journey to the
cross. With a light
contemporary feel in the
rhythm and harmony, the
music is full of
memorable melodies with a
dramatic flair. From the
rhythmic call of Hosanna,
God Save Us to the
reassuring, Remember I Am
There to the dramatic one
note melody of They Came
to Arrest Him, this work
will provide a moving
experience for any
service during Holy Week.
The choir parts are
carefully crafted and
choir-tested, ensuring
that your singers will
perform with confidence.
Four of the pieces may
serve as Sunday anthems
as the larger work is
being prepared.
Accompaniment can be
provided by piano, or a
small ensemble of eleven
instruments arranged by
Ed Hogan. Performance
time is
39-minutes.
Instru
mental Parts include:
Conductor's Score, Flute,
Clarinet, Trumpet, French
Horn (opt. Alto Sax),
Trombone (opt. Baritone
T.C. or Tenor Sax),
Drums, Piano, Electric
Bass, 2 Violins (opt.
Viola), Cello & String
Reduction. $79.95 - Voir plus => AcheterDélais: 4 to 6 business days | | |
| God So Loved CD Chorale Hope Publishing Company
Listening CD SKU: HP.9162 Composed by Pepper Choplin. Listening CD. Hope ...(+)
Listening CD SKU:
HP.9162 Composed by
Pepper Choplin. Listening
CD. Hope Publishing
Company #9162. Published
by Hope Publishing
Company (HP.9162).
UPC: 763628191627.
Pepper
Choplin. Easter
Cantata Beginning with
John 3:16, this musical
tells the remarkable
Passion story. The theme
of God's love is
highlighted in every step
of Jesus' journey to the
cross. With a light
contemporary feel in the
rhythm and harmony, the
music is full of
memorable melodies with a
dramatic flair. From the
rhythmic call of Hosanna,
God Save Us to the
reassuring, Remember I Am
There to the dramatic one
note melody of They Came
to Arrest Him, this work
will provide a moving
experience for any
service during Holy Week.
The choir parts are
carefully crafted and
choir-tested, ensuring
that your singers will
perform with confidence.
Four of the pieces may
serve as Sunday anthems
as the larger work is
being prepared.
Accompaniment can be
provided by piano, or a
small ensemble of eleven
instruments arranged by
Ed Hogan. Performance
time is
39-minutes.
Instru
mental Parts include:
Conductor's Score, Flute,
Clarinet, Trumpet, French
Horn (opt. Alto Sax),
Trombone (opt. Baritone
T.C. or Tenor Sax),
Drums, Piano, Electric
Bass, 2 Violins (opt.
Viola), Cello & String
Reduction. $17.95 - Voir plus => AcheterDélais: 4 to 6 business days | | |
| God So Loved Hope Publishing Company
Instrumental Parts SKU: HP.9165 Composed by Pepper Choplin. Instrumental ...(+)
Instrumental Parts
SKU: HP.9165
Composed by Pepper
Choplin. Instrumental
parts. Hope Publishing
Company #9165. Published
by Hope Publishing
Company (HP.9165).
UPC: 763628191658.
Pepper
Choplin. Easter
Cantata Beginning with
John 3:16, this musical
tells the remarkable
Passion story. The theme
of God's love is
highlighted in every step
of Jesus' journey to the
cross. With a light
contemporary feel in the
rhythm and harmony, the
music is full of
memorable melodies with a
dramatic flair. From the
rhythmic call of Hosanna,
God Save Us to the
reassuring, Remember I Am
There to the dramatic one
note melody of They Came
to Arrest Him, this work
will provide a moving
experience for any
service during Holy Week.
The choir parts are
carefully crafted and
choir-tested, ensuring
that your singers will
perform with confidence.
Four of the pieces may
serve as Sunday anthems
as the larger work is
being prepared.
Accompaniment can be
provided by piano, or a
small ensemble of eleven
instruments arranged by
Ed Hogan. Performance
time is
39-minutes.
Instru
mental Parts include:
Conductor's Score, Flute,
Clarinet, Trumpet, French
Horn (opt. Alto Sax),
Trombone (opt. Baritone
T.C. or Tenor Sax),
Drums, Piano, Electric
Bass, 2 Violins (opt.
Viola), Cello & String
Reduction. $250.00 - Voir plus => AcheterDélais: 4 to 6 business days | | |
| God So Loved Hope Publishing Company
Preview Pack (book & listening CD) SKU: HP.9168 Composed by Pepper Chopli...(+)
Preview Pack (book &
listening CD) SKU:
HP.9168 Composed by
Pepper Choplin. Preview
pack - book & listening
CD. Hope Publishing
Company #9168. Published
by Hope Publishing
Company (HP.9168).
UPC: 763628191689.
Pepper
Choplin. Easter
Cantata Beginning with
John 3:16, this musical
tells the remarkable
Passion story. The theme
of God's love is
highlighted in every step
of Jesus' journey to the
cross. With a light
contemporary feel in the
rhythm and harmony, the
music is full of
memorable melodies with a
dramatic flair. From the
rhythmic call of Hosanna,
God Save Us to the
reassuring, Remember I Am
There to the dramatic one
note melody of They Came
to Arrest Him, this work
will provide a moving
experience for any
service during Holy Week.
The choir parts are
carefully crafted and
choir-tested, ensuring
that your singers will
perform with confidence.
Four of the pieces may
serve as Sunday anthems
as the larger work is
being prepared.
Accompaniment can be
provided by piano, or a
small ensemble of eleven
instruments arranged by
Ed Hogan. Performance
time is
39-minutes.
Instru
mental Parts include:
Conductor's Score, Flute,
Clarinet, Trumpet, French
Horn (opt. Alto Sax),
Trombone (opt. Baritone
T.C. or Tenor Sax),
Drums, Piano, Electric
Bass, 2 Violins (opt.
Viola), Cello & String
Reduction. $17.95 - Voir plus => AcheterDélais: 4 to 6 business days | | |
| God So Loved CD Chorale Hope Publishing Company
Split-Track Accomp CD SKU: HP.9164 Composed by Pepper Choplin. Accompanim...(+)
Split-Track Accomp CD
SKU: HP.9164
Composed by Pepper
Choplin. Accompaniment
CD. Hope Publishing
Company #9164. Published
by Hope Publishing
Company (HP.9164).
UPC: 763628191641.
Pepper
Choplin. Easter
Cantata Beginning with
John 3:16, this musical
tells the remarkable
Passion story. The theme
of God's love is
highlighted in every step
of Jesus' journey to the
cross. With a light
contemporary feel in the
rhythm and harmony, the
music is full of
memorable melodies with a
dramatic flair. From the
rhythmic call of Hosanna,
God Save Us to the
reassuring, Remember I Am
There to the dramatic one
note melody of They Came
to Arrest Him, this work
will provide a moving
experience for any
service during Holy Week.
The choir parts are
carefully crafted and
choir-tested, ensuring
that your singers will
perform with confidence.
Four of the pieces may
serve as Sunday anthems
as the larger work is
being prepared.
Accompaniment can be
provided by piano, or a
small ensemble of eleven
instruments arranged by
Ed Hogan. Performance
time is
39-minutes.
Instru
mental Parts include:
Conductor's Score, Flute,
Clarinet, Trumpet, French
Horn (opt. Alto Sax),
Trombone (opt. Baritone
T.C. or Tenor Sax),
Drums, Piano, Electric
Bass, 2 Violins (opt.
Viola), Cello & String
Reduction. $94.95 - Voir plus => AcheterDélais: 4 to 6 business days | | |
| Future of Tomorrow - Facile 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 | | |
| Future of Tomorrow [Conducteur] - Facile 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 | | |
| For the Mystic Harmony [Conducteur] 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 | | |
| Osud (Fate) Chorale SATB - Intermédiaire/avancé Barenreiter
4 soprano voice solos/alto voice solo/2 tenor voice solos/baritone voice solo/ba...(+)
4 soprano voice
solos/alto voice solo/2
tenor voice
solos/baritone voice
solo/bass voice solo/SATB
choir/piccolo/3 flutes/2
oboes/english horn/2
clarinets/bass clarinet/2
bassoons/contrabassoon/4
horns/3 trumpets/4
trombones/tuba/timpani/tr
iangle/bass dru (solo
voices, SATB Choir,
Fl-picc, 3Fl, 2 Ob,
EnglHn, 2 clarinet,
clarinet-B, 2 bassoon,
bassoon-Co, 4Hn, 3Trp,
4trombone, Tb, timpani,
Tri, Tr-Gr, Tam, Be, Xyl,
Gl, harp, Org, piano, 2
Violin, Viola, Cello,
Double Bass, (2 Va-dam),
Kindertrompete, Tr-Kl) -
Level 4 SKU:
BA.BA09562-01
Three novel-like
scenes. Composed by
Leos Janacek. Edited by
Jirà Zahrádka. This
edition: complete
edition, urtext edition.
Linen. Complete edition,
Score. Baerenreiter
Verlag #BA09562_01.
Published by Baerenreiter
Verlag (BA.BA09562-01).
ISBN 9790260107380. 34
x 27.5 cm inches. Text
Language: Czech, English,
German. Preface:
Zahrádka, JirÃ.
Text: Bartošová,
Fedora. Janacek's
operaOsudis an
extraordinary example of
the creative boldness of
the composer and presents
demanding dramaturgical
challenges. This new
critical edition is based
on a thorough comparison
of all surviving sources.
The principle source is a
copyist's copy of
authorised by Janacek in
which all revisions are
marked. Further sources
include a manuscript copy
of the vocal score
together with the
orchestral parts and
various copies of the
libretto. The score of
this new edition will be
published as part of
theComplete Critical
Edition of the Works of
Leos Janacek.
*
First critical edition of
this opera * Foreword
on the genesis of the
work and its reception by
Jiri Zahradka
(Cz/Eng/Ger) * New
idiomatic piano reduction
by Rasmus Baumann *
Singable German
translation
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
$847.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
1 |