Choral Piano, Tambourine, Voice 1, Voice 2, Voice 3

SKU: CF.CM9602

Composed by Brazilian Folk Song. Arranged by Eduardo Lakschevitz Elisa Dekaney. Fold. Performance Score. 12 pages. Duration 2 minutes, 28 seconds. Carl Fischer Music #CM9602. Published by Carl Fischer Music (CF.CM9602).

ISBN 9781491154243. UPC: 680160912742. 6.875 x 10.5 inches. Key: Gb major. Portuguese. Brazilian Folk Song.

According to Ermelinda Paz , Marujo do Rosario (literally translated from the Portuguese as Sailor of the Rosary) comes from the hydrographic region of the Sao Francisco River, a basin that includes the states of Minas Gerais, Bahia, Pernambuco, Sergipe, and Alagoas. This song most likely belongs to a style of dramatic dance called cheganca-de-marujo (arrival of sailor). In this tragicomic street drama, the community of actors enact a story in which they demonstrate their experiences as if they were in a vessel lost at sea. In this dance, several characters dressed as sailors and carrying small sail boats on their shoulders, parade through the streets singing and dancing to a march. When they arrive at a determined house, they place their little sail boats on the floor and start the dramatic play. This song seems to be performed when the sailors arrive at the chosen location. The Portuguese lyrics E com licenca e, olele, e com licenca do dono da casa, o e com licenca e means please excuse me, I have permission from the houses owner to come in. This arrangement is scored for three-part mixed with optional baritone, piano, and pandeiro. The pandeiro is a Brazilian frame drum with jingles played with the hands, similar to the orchestral tambourine. It is used in various music styles but particularly in samba and bossa nova. In fact, feel free to substitute the pandeiro with the orchestral tambourine. The text is very short and simple. To make your singers Portuguese pronunciation more accurate, do not close final m or n. Just nasalize them. IPA Transcription E com licenca olele e [? k? li'sensa olele e] E com licenca do dono da casa [? k? li'sensa du d?nu da kaza].
According to Ermelinda Paz , Marujo do RosA!rio (literally translated from the Portuguese as aSailor of the Rosarya) comes from the hydrographic region of the SAPSo Francisco River, a basin that includes the states of Minas Gerais, Bahia, Pernambuco, Sergipe, and Alagoas. This song most likely belongs to a style of dramatic dance called acheganASSa-de-marujoa (arrival of sailor). In this tragicomic street drama, the community of actors enact a story in which they demonstrate their experiences as if they were in a vessel lost at sea. In this dance, several characters dressed as sailors and carrying small sail boats on their shoulders, parade through the streets singing and dancing to a march. When they arrive at a determined house, they place their little sail boats on the floor and start the dramatic play. This song seems to be performed when the sailors arrive at the chosen location. The Portuguese lyrics aA com licenASSa Aa, A'lelAa, A(c) com licenASSa do dono da casa, A' Aa com licenASSa Aaa means aplease excuse me, I have permission from the houseas owner to come in.a This arrangement is scored for three-part mixed with optional baritone, piano, and pandeiro. The pandeiro is a Brazilian frame drum with jingles played with the hands, similar to the orchestral tambourine. It is used in various music styles but particularly in samba and bossa nova. In fact, feel free to substitute the pandeiro with the orchestral tambourine. The text is very short and simple. To make your singers Portuguese pronunciation more accurate, do not close final ama or an.a Just nasalize them. IPA Transcription A com licenASSa olelAa Aa [E kE li'sensa oleale e] A com licenASSa do dono da casa [E kE li'sensa du adEnu da akaza].
According to Ermelinda Paz , Marujo do Rosario (literally translated from the Portuguese as Sailor of the Rosary) comes from the hydrographic region of the Sao Francisco River, a basin that includes the states of Minas Gerais, Bahia, Pernambuco, Sergipe, and Alagoas. This song most likely belongs to a style of dramatic dance called cheganca-de-marujo (arrival of sailor). In this tragicomic street drama, the community of actors enact a story in which they demonstrate their experiences as if they were in a vessel lost at sea. In this dance, several characters dressed as sailors and carrying small sail boats on their shoulders, parade through the streets singing and dancing to a march. When they arrive at a determined house, they place their little sail boats on the floor and start the dramatic play. This song seems to be performed when the sailors arrive at the chosen location. The Portuguese lyrics E com licenca e, olele, e com licenca do dono da casa, o e com licenca e means please excuse me, I have permission from the house's owner to come in. This arrangement is scored for three-part mixed with optional baritone, piano, and pandeiro. The pandeiro is a Brazilian frame drum with jingles played with the hands, similar to the orchestral tambourine. It is used in various music styles but particularly in samba and bossa nova. In fact, feel free to substitute the pandeiro with the orchestral tambourine. The text is very short and simple. To make your singers Portuguese pronunciation more accurate, do not close final m or n. Just nasalize them. IPA Transcription E com licenca olele e [e k^ li'sensa ole'le e] E com licenca do dono da casa [e k^ li'sensa du 'd^nu da 'kaza].
According to Ermelinda Paz, Marujo do Rosario (literally translated from the Portuguese as Sailor of the Rosary) comes from the hydrographic region of the Sao Francisco River, a basin that includes the states of Minas Gerais, Bahia, Pernambuco, Sergipe, and Alagoas. This song most likely belongs to a style of dramatic dance called cheganca-de-marujo (arrival of sailor). In this tragicomic street drama, the community of actors enact a story in which they demonstrate their experiences as if they were in a vessel lost at sea. In this dance, several characters dressed as sailors and carrying small sail boats on their shoulders, parade through the streets singing and dancing to a march. When they arrive at a determined house, they place their little sail boats on the floor and start the dramatic play. This song seems to be performed when the sailors arrive at the chosen location. The Portuguese lyrics E com licenca e, olele, e com licenca do dono da casa, o e com licenca e means please excuse me, I have permission from the house's owner to come in. This arrangement is scored for three-part mixed with optional baritone, piano, and pandeiro. The pandeiro is a Brazilian frame drum with jingles played with the hands, similar to the orchestral tambourine. It is used in various music styles but particularly in samba and bossa nova. In fact, feel free to substitute the pandeiro with the orchestral tambourine. The text is very short and simple. To make your singers Portuguese pronunciation more accurate, do not close final m or n. Just nasalize them. IPA Transcription E com licenca olele e [e k^ li'sensa ole'le e] E com licenca do dono da casa [e k^ li'sensa du 'd^nu da 'kaza].
According to Ermelinda Paz, Marujo do Rosário (literally translated from the Portuguese as “Sailor of the Rosary”) comes from the hydrographic region of the São Francisco River, a basin that includes the states of Minas Gerais, Bahia, Pernambuco, Sergipe, and Alagoas. This song most likely belongs to a style of dramatic dance called “chegança-de-mar ujo” (arrival of sailor). In this tragicomic street drama, the community of actors enact a story in which they demonstrate their experiences as if they were in a vessel lost at sea. In this dance, several characters dressed as sailors and carrying small sail boats on their shoulders, parade through the streets singing and dancing to a march. When they arrive at a determined house, they place their little sail boats on the floor and start the dramatic play. This song seems to be performed when the sailors arrive at the chosen location. The Portuguese lyrics “É com licença ê, ôlelê, é com licença do dono da casa, ô ê com licença ê” means “please excuse me, I have permission from the house’s owner to come in.”This arrangement is scored for three-part mixed with optional baritone, piano, and pandeiro. The pandeiro is a Brazilian frame drum with jingles played with the hands, similar to the orchestral tambourine. It is used in various music styles but particularly in samba and bossa nova. In fact, feel free to substitute the pandeiro with the orchestral tambourine. The text is very short and simple. To make your singers Portuguese pronunciation more accurate, do not close final “m” or “n.” Just nasalize them.IPA TranscriptionÉ com licença olelê ê[ɛ kʌ li'sensa ole‘le e]É com licença do dono da casa[ɛ kʌ li'sensa du ‘dʌnu da ‘kaza].

Orchestra Bass Drum, Bassoon 1, Bassoon 2, Clarinet 1, Clarinet 2, Contrabass, Flute 1, Flute 2, Harp, Horn 1, Horn 2, Horn 3, Horn 4, Marimba, Oboe 1, Oboe 2, Percussion 1, Percussion 2, Percussion 3, Snare Drum, Suspended Cymbal, Tam-tam, Trombone 1 and more.

SKU: PR.11641963S

Composed by Chen Yi. Full score. 58 pages. Duration 20 minutes. Theodore Presser Company #116-41963S. Published by Theodore Presser Company (PR.11641963S).

UPC: 680160684472.

The violin concerto is commissioned by Friends of Dresden Music Foundation for American soloist Mira Wang and the New York Philharmonic and Staatskapelle Dresden as an American commemoration of the reconstruction of the Dresden Frauenkirche, 60 years after its destruction in World War II by American and British Forces. The world premiere is given at the Semperoper in Dresden, Germany, on October 9, 10 & 11, 2005, conducted by Ivan Fischer. Full of excitement and inner power, the musical image is vivid, energetic, sometimes lyrical and sometimes dramatic. The major angular thematic material (a three note motive) consists of big leaps in interval (a perfect fourth downward and then a minor seventh upward, first introduced by the violin solo in measures 27-29). Except for the cadenzas which stand at the middle (Rehearsal E, measure 127) and the two ends of the piece as a frame, the virtuosic violin solo line is always accompanied by the ever moving and growing textures in the background. The rests between long and short phrases symbolize the space in Chinese paintings. The Beijing Opera reciting tune, and the fingerings to produce sliding tones in the performance of the Chinese fiddle erhu are also borrowed in the writing and the performing of the western instruments. The musical imagination of the violin concerto came from an ancient Chinese poem with the same title, written by Du Fu (712-770) in Tang Dynasty. Happy Rain on a Spring Night by Du Fu (712-770 in Tang Dynasty) Happy rain comes in time, When spring is in its prime. With night breeze it will fall, And quietly moisten all. Clouds darken wild roads, Light brightens a little boat. Saturated at dawn, With flowers blooming the town. (English translation by Chen Yi from the original poem in Chinese) The following is the poem in its original Chinese form, and the detailed introduction on the structural plan of the violin concerto Spring in Dresden. It's like the welcome rain on a quiet spring night that nurtures the budding seeds, our new society is pushing us forward to the new future. The music reflects the scenes and the expression according to the meaning of the poem when it's being unfolded line by line. Although the tempo is set 63 quarter notes per minute throughout (played vividly, never slow down), the tension is being built up from the quiet background in the beginning, to the sustained climax towards the end. The musical image in Rehearsal A and B (measures 39-80) represents the first four lines of the poem. The wind instruments response to the rustling of fast moving notes on muted string triplets, decorated by occasional strokes produced by metallic string sound and high woodwind gestures. The music in Rehearsal C and D (measures 81-126) represents the next two lines of the poem. It's so dark, a little light in the boat is shimmering on the lake... The breathy sound and key slaps on the flutes create a mysterious atmosphere, in a dialogue with other instruments. The cello glissandi recite the poem in the tone of Mandarin, echoed by the string harmonics. The music in Rehearsal F, G and H (m 129-202) is a toccata, starting in the orchestra (led by the marimba), which builds up a big shape, to reach the climax in m. 157 (Rehearsal G, the location of the Golden Section, according to the length of the music without cadenzas), and keeps the vivid scene towards the coda (from Rehearsal I, m. 203), which stands on the energetic peak until the clear cutoff on measure 239, followed by the short, yet powerful solo conclusion with the lingering echo produced by the high string harmonics. On the top, there is a recall of the three note motive in the sound of wonderland, touched by the motor-on vibraphone meaningfully. The music is written for 2 flutes, 2 oboes, 2 clarinets (in Bb), 2 bassoons, 4 French horns (in F), 2 trumpets (in Bb), 3 trombones, tuba, harp, 3 percussion players (Perc. 1: xylophone; Perc. 2: suspended cymbal, Japanese high woodblock, snare drum, bass drum and vibraphone; Perc. 3: marimba and tam-tam), solo violin, and strings. Duration is about 20 minutes.
The violin concerto is commissioned by Friends of Dresden Music Foundation for American soloist Mira Wang and the New York Philharmonic and Staatskapelle Dresden as an American commemoration of the reconstruction of the Dresden Frauenkirche, 60 years after its destruction in World War II by American and British Forces. The world premiere is given at the Semperoper in Dresden, Germany, on October 9, 10 & 11, 2005, conducted by Ivan Fischer.Full of excitement and inner power, the musical image is vivid, energetic, sometimeslyrical and sometimes dramatic. The major angular thematic material (a three notemotive) consists of big leaps in interval (a perfect fourth downward and then a minorseventh upward, first introduced by the violin solo in measures 27-29). Except for thecadenzas which stand at the middle (Rehearsal E, measure 127) and the two ends of the piece as a frame, the virtuosic violin solo line is always accompanied by the ever moving and growing textures in the background. The rests between long and short phrases symbolize the space in Chinese paintings. The Beijing Opera reciting tune, and the fingerings to produce sliding tones in the performance of the Chinese fiddle erhu are also borrowed in the writing and the performing of the western instruments.The musical imagination of the violin concerto came from an ancient Chinese poem with the same title, written by Du Fu (712-770) in Tang Dynasty.Happy Rain on a Spring Nightby Du Fu (712-770 in Tang Dynasty)Happy rain comes in time,When spring is in its prime.With night breeze it will fall,And quietly moisten all.Clouds darken wild roads,Light brightens a little boat.Saturated at dawn,With flowers blooming the town.(English translation by Chen Yi from the original poem in Chinese)The following is the poem in its original Chinese form, and the detailed introduction onthe structural plan of the violin concerto Spring in Dresden.It’s like the welcome rain on a quiet spring night that nurtures the budding seeds, our newsociety is pushing us forward to the new future. The music reflects the scenes and theexpression according to the meaning of the poem when it’s being unfolded line by line.Although the tempo is set 63 quarter notes per minute throughout (played vividly, neverslow down), the tension is being built up from the quiet background in the beginning, tothe sustained climax towards the end. The musical image in Rehearsal A and B (measures39-80) represents the first four lines of the poem. The wind instruments response to therustling of fast moving notes on muted string triplets, decorated by occasional strokesproduced by metallic string sound and high woodwind gestures. The music in RehearsalC and D (measures 81-126) represents the next two lines of the poem. It's so dark, a littlelight in the boat is shimmering on the lake... The breathy sound and key slaps on theflutes create a mysterious atmosphere, in a dialogue with other instruments. The celloglissandi recite the poem in the tone of Mandarin, echoed by the string harmonics. Themusic in Rehearsal F, G and H (m 129-202) is a toccata, starting in the orchestra (led bythe marimba), which builds up a big shape, to reach the climax in m. 157 (Rehearsal G,the location of the Golden Section, according to the length of the music withoutcadenzas), and keeps the vivid scene towards the coda (from Rehearsal I, m. 203), whichstands on the energetic peak until the clear cutoff on measure 239, followed by the short,yet powerful solo conclusion with the lingering echo produced by the high stringharmonics. On the top, there is a recall of the three note motive in the sound ofwonderland, touched by the motor-on vibraphone meaningfully.The music is written for 2 flutes, 2 oboes, 2 clarinets (in Bb), 2 bassoons, 4 French horns (in F), 2 trumpets (in Bb), 3 trombones, tuba, harp, 3 percussion players (Perc. 1:xylophone; Perc. 2: suspended cymbal, Japanese high woodblock, snare drum, bass drum and vibraphone; Perc. 3: marimba and tam-tam), solo violin, and strings.Duration is about 20 minutes.

Orchestra Bass Drum, Bassoon 1, Bassoon 2, Clarinet 1, Clarinet 2, Contrabass, Flute 1, Flute 2, Harp, Horn 1, Horn 2, Horn 3, Horn 4, Marimba, Oboe 1, Oboe 2, Percussion 1, Percussion 2, Percussion 3, Snare Drum, Suspended Cymbal, Tam-tam, Trombone 1 and more.

SKU: PR.11641963SP

Composed by Chen Yi. Part. 11 pages. Duration 20 minutes. Theodore Presser Company #116-41963SP. Published by Theodore Presser Company (PR.11641963SP).

UPC: 680160684496.

The violin concerto is commissioned by Friends of Dresden Music Foundation for American soloist Mira Wang and the New York Philharmonic and Staatskapelle Dresden as an American commemoration of the reconstruction of the Dresden Frauenkirche, 60 years after its destruction in World War II by American and British Forces. The world premiere is given at the Semperoper in Dresden, Germany, on October 9, 10 & 11, 2005, conducted by Ivan Fischer. Full of excitement and inner power, the musical image is vivid, energetic, sometimes lyrical and sometimes dramatic. The major angular thematic material (a three note motive) consists of big leaps in interval (a perfect fourth downward and then a minor seventh upward, first introduced by the violin solo in measures 27-29). Except for the cadenzas which stand at the middle (Rehearsal E, measure 127) and the two ends of the piece as a frame, the virtuosic violin solo line is always accompanied by the ever moving and growing textures in the background. The rests between long and short phrases symbolize the space in Chinese paintings. The Beijing Opera reciting tune, and the fingerings to produce sliding tones in the performance of the Chinese fiddle erhu are also borrowed in the writing and the performing of the western instruments. The musical imagination of the violin concerto came from an ancient Chinese poem with the same title, written by Du Fu (712-770) in Tang Dynasty. Happy Rain on a Spring Night by Du Fu (712-770 in Tang Dynasty) Happy rain comes in time, When spring is in its prime. With night breeze it will fall, And quietly moisten all. Clouds darken wild roads, Light brightens a little boat. Saturated at dawn, With flowers blooming the town. (English translation by Chen Yi from the original poem in Chinese) The following is the poem in its original Chinese form, and the detailed introduction on the structural plan of the violin concerto Spring in Dresden. It's like the welcome rain on a quiet spring night that nurtures the budding seeds, our new society is pushing us forward to the new future. The music reflects the scenes and the expression according to the meaning of the poem when it's being unfolded line by line. Although the tempo is set 63 quarter notes per minute throughout (played vividly, never slow down), the tension is being built up from the quiet background in the beginning, to the sustained climax towards the end. The musical image in Rehearsal A and B (measures 39-80) represents the first four lines of the poem. The wind instruments response to the rustling of fast moving notes on muted string triplets, decorated by occasional strokes produced by metallic string sound and high woodwind gestures. The music in Rehearsal C and D (measures 81-126) represents the next two lines of the poem. It's so dark, a little light in the boat is shimmering on the lake... The breathy sound and key slaps on the flutes create a mysterious atmosphere, in a dialogue with other instruments. The cello glissandi recite the poem in the tone of Mandarin, echoed by the string harmonics. The music in Rehearsal F, G and H (m 129-202) is a toccata, starting in the orchestra (led by the marimba), which builds up a big shape, to reach the climax in m. 157 (Rehearsal G, the location of the Golden Section, according to the length of the music without cadenzas), and keeps the vivid scene towards the coda (from Rehearsal I, m. 203), which stands on the energetic peak until the clear cutoff on measure 239, followed by the short, yet powerful solo conclusion with the lingering echo produced by the high string harmonics. On the top, there is a recall of the three note motive in the sound of wonderland, touched by the motor-on vibraphone meaningfully. The music is written for 2 flutes, 2 oboes, 2 clarinets (in Bb), 2 bassoons, 4 French horns (in F), 2 trumpets (in Bb), 3 trombones, tuba, harp, 3 percussion players (Perc. 1: xylophone; Perc. 2: suspended cymbal, Japanese high woodblock, snare drum, bass drum and vibraphone; Perc. 3: marimba and tam-tam), solo violin, and strings. Duration is about 20 minutes.
The violin concerto is commissioned by Friends of Dresden Music Foundation for American soloist Mira Wang and the New York Philharmonic and Staatskapelle Dresden as an American commemoration of the reconstruction of the Dresden Frauenkirche, 60 years after its destruction in World War II by American and British Forces. The world premiere is given at the Semperoper in Dresden, Germany, on October 9, 10 & 11, 2005, conducted by Ivan Fischer.Full of excitement and inner power, the musical image is vivid, energetic, sometimeslyrical and sometimes dramatic. The major angular thematic material (a three notemotive) consists of big leaps in interval (a perfect fourth downward and then a minorseventh upward, first introduced by the violin solo in measures 27-29). Except for thecadenzas which stand at the middle (Rehearsal E, measure 127) and the two ends of the piece as a frame, the virtuosic violin solo line is always accompanied by the ever moving and growing textures in the background. The rests between long and short phrases symbolize the space in Chinese paintings. The Beijing Opera reciting tune, and the fingerings to produce sliding tones in the performance of the Chinese fiddle erhu are also borrowed in the writing and the performing of the western instruments.The musical imagination of the violin concerto came from an ancient Chinese poem with the same title, written by Du Fu (712-770) in Tang Dynasty.Happy Rain on a Spring Nightby Du Fu (712-770 in Tang Dynasty)Happy rain comes in time,When spring is in its prime.With night breeze it will fall,And quietly moisten all.Clouds darken wild roads,Light brightens a little boat.Saturated at dawn,With flowers blooming the town.(English translation by Chen Yi from the original poem in Chinese)The following is the poem in its original Chinese form, and the detailed introduction onthe structural plan of the violin concerto Spring in Dresden.It’s like the welcome rain on a quiet spring night that nurtures the budding seeds, our newsociety is pushing us forward to the new future. The music reflects the scenes and theexpression according to the meaning of the poem when it’s being unfolded line by line.Although the tempo is set 63 quarter notes per minute throughout (played vividly, neverslow down), the tension is being built up from the quiet background in the beginning, tothe sustained climax towards the end. The musical image in Rehearsal A and B (measures39-80) represents the first four lines of the poem. The wind instruments response to therustling of fast moving notes on muted string triplets, decorated by occasional strokesproduced by metallic string sound and high woodwind gestures. The music in RehearsalC and D (measures 81-126) represents the next two lines of the poem. It's so dark, a littlelight in the boat is shimmering on the lake... The breathy sound and key slaps on theflutes create a mysterious atmosphere, in a dialogue with other instruments. The celloglissandi recite the poem in the tone of Mandarin, echoed by the string harmonics. Themusic in Rehearsal F, G and H (m 129-202) is a toccata, starting in the orchestra (led bythe marimba), which builds up a big shape, to reach the climax in m. 157 (Rehearsal G,the location of the Golden Section, according to the length of the music withoutcadenzas), and keeps the vivid scene towards the coda (from Rehearsal I, m. 203), whichstands on the energetic peak until the clear cutoff on measure 239, followed by the short,yet powerful solo conclusion with the lingering echo produced by the high stringharmonics. On the top, there is a recall of the three note motive in the sound ofwonderland, touched by the motor-on vibraphone meaningfully.The music is written for 2 flutes, 2 oboes, 2 clarinets (in Bb), 2 bassoons, 4 French horns (in F), 2 trumpets (in Bb), 3 trombones, tuba, harp, 3 percussion players (Perc. 1:xylophone; Perc. 2: suspended cymbal, Japanese high woodblock, snare drum, bass drum and vibraphone; Perc. 3: marimba and tam-tam), solo violin, and strings.Duration is about 20 minutes.

SKU: BA.BVK01677

Composed by Gunther Braam. Edited by John Warrack and Richard Maccnutt. This edition: Complete edition. Linen. New Berlioz Edition. Volume 26. Complete edition, Book. Baerenreiter Verlag #BVK01677_00. Published by Baerenreiter Verlag (BA.BVK01677).

ISBN 9783761816776. 27.5 x 19.8 cm inches. Translation: John Warrack.

The volume contains 122 portraits of Hector Berlioz, including paintings, medals, busts, woodcuts, drawings, lithographs, photographs and caricatures. It also presents several doubtful or spurious portraits.
Each reproduction is accompanied by information on its date, artist and present location. This collection of all known Berlioz portraits sheds entirely new light on the life and surroundings of the great French composer.

The Portraits of Hector Berliozis the first collection of all the portraits made of Berlioz during his lifetime. It ranges from photographs, formal paintings and drawings by way of woodcuts and lithographs to the many caricatures which his striking appearance attracted. Each picture is accompanied by a full description and thorough documentation of its location and history, details of the artist's career and relationship with Berlioz, an explanation of the circumstances of the picture's creation, and much else in the way of relevant comment. This documentation also sheds light on the development of photography and its position in the society of the Second Empire , as well as on the emphasis on caricature in the often satirical journalism of the day. Where they contribute to the appreciation of the picture, the articles which the caricatures illustrate, or extracts from them, are also included in an Appendix. Some of the pictures are published for the first time and many for the first time in colour.

As well as being fascinating and often entertaining, the collection adds to our understanding of Berlioz's life, times and the circumstances in which his music was composed and performed.

Band Concert Band - Grade 2

SKU: CF.YPS250

Concert March. Composed by Joseph Compello. Yps. Set of Score and Parts. 2+16+4+8+8+8+4+4+10+4+4+8 +8+8+4+4+6+6+6+4+6+1+1+4+ 1+24 pages. Duration 2 minutes, 43 seconds. Carl Fischer Music #YPS250. Published by Carl Fischer Music (CF.YPS250).

ISBN 9781491161333. UPC: 680160919925.

Mount Vernon Square derives its title from the location of the Peabody Conservatory of Music in Baltimore, Maryland. It was here that the composer Joseph Compello took his first classes in Music Theory from Professor Haven Hensler, to whom this march is dedicated. After hearing this march performed on piano as part of final exam requirements in a Music Theory course, Professor Hensler encouraged further exploration of music composition, leading Compello into a prolific career writing pieces like this theme, now years later arranged for full band as a concert march. Performance Notes The form of the march is a standard A-BB-Trio-C-A. Melodically, much of the march is based on the figure contained in mm. 8 and 9. Tempo, articulation, and dynamics in a standard march style are essential to a successful interpretation. Pay particular attention to dynamics in the second strain at m. 41. Strive for a legato diminuendo at the transition in mm. 63-65. The melody in the Trio (m. 70) will also require smooth articulation from low brass and woodwinds. The Euphonium counter-melody will be played only during the repeat of the Trio. The Breakup Strain (m. 87) is, of course, powerfully marcato as is the reprise of the first theme at m. 109.
Mount Vernon Square derives its title from the location of the Peabody Conservatory of Music in Baltimore, Maryland. It was here that the composer Joseph Compello took his first classes in Music Theory from Professor Haven Hensler, to whom this march is dedicated. After hearing this march performed on piano as part of final exam requirements in a Music Theory course, Professor Hensler encouraged further exploration of music composition, leading Compello into a prolific career writing pieces like this theme, now years later arranged for full band as a concert march.Performance NotesThe form of the march is a standard A-BB-Trio-C-A. Melodically, much of the march is based on the figure contained in mm. 8 and 9. Tempo, articulation, and dynamics in a standard march style are essential to a successful interpretation. Pay particular attention to dynamics in the second strain at m. 41. Strive for a legato diminuendo at the transition in mm. 63-65. The melody in the Trio (m. 70) will also require smooth articulation from low brass and woodwinds. The Euphonium counter-melody will be played only during the repeat of the Trio. The Breakup Strain (m. 87) is, of course, powerfully marcato as is the reprise of the first theme at m. 109.

Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet 1, Clarinet 2, Clarinet 3, Crash Cymbals, Euphonium, Euphonium T.C., Flute 1, Flute 2, Horn 1, Horn 2, Horn 3, Horn 4, Mallet Percussion 1, Mallet Percussion 2, Oboe 1, Oboe 2, Percussion 1 and more. - Grade 5

SKU: CF.SPS89F

Composed by Nicholas Costanza. Sws. Sps. Full score. 32 pages. Duration 3 minutes, 52 seconds. Carl Fischer Music #SPS89F. Published by Carl Fischer Music (CF.SPS89F).

ISBN 9781491156490. UPC: 680160915033. 9 x 12 inches.

Program Notes This composition for wind ensemble is partially inspired by my home town of Sebastian, specifically its location on the east coast of the state of Florida. My childhood included many quick trips to both the nearby Indian River and the beaches on the coast, so swimming and the water were integral parts of my experience growing up. This work is my musical expression of diving underwater and getting swept up by a fast current and discovering wonders beneath the surface. Dive! has two central components: a constant, driving eighth-note pulse and a main theme which is fragmented and passed around at first, but then is presented completely by the low reeds around a minute and a half into the piece. The steady eighth-note pulse reflects the swift current that a diver might follow, while the main theme represents all the wonders that might be hidden under the water. Performance Notes Ideally, the Trombone 3 part should be played on a Bass Trombone. However, if one is not available there are cues for notes that are beneath a tenor trombone's range. Make sure the vibraphone is heard clearly throughout the piece, as this particular sound is very important to the overall color of this piece. The Percussion 5 part requires two performers as some of the hits happen too quickly for one player to switch between instruments. The most important component of this work is the steady eighth-note pulse, and this pulse never changes even though the meter changes frequently to odd or uncommon time signatures; if the eighth notes remain constant and driving, the meter changes will not pose much of a problem.              .
Program NotesThis composition for wind ensemble is partially inspired by my home town of Sebastian, specifically its location on the east coast of the state of Florida. My childhood included many quick trips to both the nearby Indian River and the beaches on the coast, so swimming and the water were integral parts of my experience growing up. This work is my musical expression of diving underwater and getting swept up by a fast current and discovering wonders beneath the surface.Dive! has two central components: a constant, driving eighth-note pulse and a main theme which is fragmented and passed around at first, but then is presented completely by the low reeds around a minute and a half into the piece. The steady eighth-note pulse reflects the swift current that a diver might follow, while the main theme represents all the wonders that might be hidden under the water.Performance NotesIdeally, the Trombone 3 part should be played on a Bass Trombone. However, if one is not available there are cues for notes that are beneath a tenor trombone's range.Make sure the vibraphone is heard clearly throughout the piece, as this particular sound is very important to the overall color of this piece. The Percussion 5 part requires two performers as some of the hits happen too quickly for one player to switch between instruments.The most important component of this work is the steady eighth-note pulse, and this pulse never changes even though the meter changes frequently to odd or uncommon time signatures; if the eighth notes remain constant and driving, the meter changes will not pose much of a problem.    � � Â Â .

Band Concert Band - Grade 2

SKU: CF.YPS250F

Concert March. Composed by Joseph Compello. Yps. Full score. 24 pages. Duration 2 minutes, 43 seconds. Carl Fischer Music #YPS250F. Published by Carl Fischer Music (CF.YPS250F).

ISBN 9781491161890. UPC: 680160920570.

Mount Vernon Square derives its title from the location of the Peabody Conservatory of Music in Baltimore, Maryland. It was here that the composer Joseph Compello took his first classes in Music Theory from Professor Haven Hensler, to whom this march is dedicated. After hearing this march performed on piano as part of final exam requirements in a Music Theory course, Professor Hensler encouraged further exploration of music composition, leading Compello into a prolific career writing pieces like this theme, now years later arranged for full band as a concert march. Performance Notes The form of the march is a standard A-BB-Trio-C-A. Melodically, much of the march is based on the figure contained in mm. 8 and 9. Tempo, articulation, and dynamics in a standard march style are essential to a successful interpretation. Pay particular attention to dynamics in the second strain at m. 41. Strive for a legato diminuendo at the transition in mm. 63-65. The melody in the Trio (m. 70) will also require smooth articulation from low brass and woodwinds. The Euphonium counter-melody will be played only during the repeat of the Trio. The Breakup Strain (m. 87) is, of course, powerfully marcato as is the reprise of the first theme at m. 109.
Mount Vernon Square derives its title from the location of the Peabody Conservatory of Music in Baltimore, Maryland. It was here that the composer Joseph Compello took his first classes in Music Theory from Professor Haven Hensler, to whom this march is dedicated. After hearing this march performed on piano as part of final exam requirements in a Music Theory course, Professor Hensler encouraged further exploration of music composition, leading Compello into a prolific career writing pieces like this theme, now years later arranged for full band as a concert march.Performance NotesThe form of the march is a standard A-BB-Trio-C-A. Melodically, much of the march is based on the figure contained in mm. 8 and 9. Tempo, articulation, and dynamics in a standard march style are essential to a successful interpretation. Pay particular attention to dynamics in the second strain at m. 41. Strive for a legato diminuendo at the transition in mm. 63-65. The melody in the Trio (m. 70) will also require smooth articulation from low brass and woodwinds. The Euphonium counter-melody will be played only during the repeat of the Trio. The Breakup Strain (m. 87) is, of course, powerfully marcato as is the reprise of the first theme at m. 109.

Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet 1, Clarinet 2, Clarinet 3, Euphonium, Euphonium T.C., Flute 1, Flute 2, Horn 1, Horn 2, Horn 3, Horn 4, Mallet Percussion 1, Mallet Percussion 2, Oboe 1, Oboe 2, Percussion 1, Percussion 2, Piccolo and more. - Grade 5

SKU: CF.SPS89

Composed by Nicholas Costanza. Folio. Sps. Set of Score and Parts. 2+8+8+4+4+8+8+8+4+4+4+4+4 +4+4+8+8+8+4+4+4+4+6+6+6+ 6+4+8+4+2+1+2+2+32 pages. Duration 3 minutes, 52 seconds. Carl Fischer Music #SPS89. Published by Carl Fischer Music (CF.SPS89).

ISBN 9781491156483. UPC: 680160915026. 9 x 12 inches.

Program Notes This composition for wind ensemble is partially inspired by my home town of Sebastian, specifically its location on the east coast of the state of Florida. My childhood included many quick trips to both the nearby Indian River and the beaches on the coast, so swimming and the water were integral parts of my experience growing up. This work is my musical expression of diving underwater and getting swept up by a fast current and discovering wonders beneath the surface. Dive! has two central components: a constant, driving eighth-note pulse and a main theme which is fragmented and passed around at first, but then is presented completely by the low reeds around a minute and a half into the piece. The steady eighth-note pulse reflects the swift current that a diver might follow, while the main theme represents all the wonders that might be hidden under the water. Performance Notes Ideally, the Trombone 3 part should be played on a Bass Trombone. However, if one is not available there are cues for notes that are beneath a tenor trombone's range. Make sure the vibraphone is heard clearly throughout the piece, as this particular sound is very important to the overall color of this piece. The Percussion 5 part requires two performers as some of the hits happen too quickly for one player to switch between instruments. The most important component of this work is the steady eighth-note pulse, and this pulse never changes even though the meter changes frequently to odd or uncommon time signatures; if the eighth notes remain constant and driving, the meter changes will not pose much of a problem.              .
Program NotesThis composition for wind ensemble is partially inspired by my home town of Sebastian, specifically its location on the east coast of the state of Florida. My childhood included many quick trips to both the nearby Indian River and the beaches on the coast, so swimming and the water were integral parts of my experience growing up. This work is my musical expression of diving underwater and getting swept up by a fast current and discovering wonders beneath the surface.Dive! has two central components: a constant, driving eighth-note pulse and a main theme which is fragmented and passed around at first, but then is presented completely by the low reeds around a minute and a half into the piece. The steady eighth-note pulse reflects the swift current that a diver might follow, while the main theme represents all the wonders that might be hidden under the water.Performance NotesIdeally, the Trombone 3 part should be played on a Bass Trombone. However, if one is not available there are cues for notes that are beneath a tenor trombone's range.Make sure the vibraphone is heard clearly throughout the piece, as this particular sound is very important to the overall color of this piece. The Percussion 5 part requires two performers as some of the hits happen too quickly for one player to switch between instruments.The most important component of this work is the steady eighth-note pulse, and this pulse never changes even though the meter changes frequently to odd or uncommon time signatures; if the eighth notes remain constant and driving, the meter changes will not pose much of a problem.    � � Â Â .

Orchestra Bass Drum, Bassoon 1, Bassoon 2, Clarinet 1, Clarinet 2, Contrabass, Flute 1, Flute 2, Harp, Horn 1, Horn 2, Horn 3, Horn 4, Marimba, Oboe 1, Oboe 2, Percussion 1, Percussion 2, Percussion 3, Snare Drum, Suspended Cymbal, Tam-tam, Trombone 1 and more.

SKU: PR.11641963L

Composed by Chen Yi. Large Score. 58 pages. Duration 20 minutes. Theodore Presser Company #116-41963L. Published by Theodore Presser Company (PR.11641963L).

UPC: 680160684489.

The violin concerto is commissioned by Friends of Dresden Music Foundation for American soloist Mira Wang and the New York Philharmonic and Staatskapelle Dresden as an American commemoration of the reconstruction of the Dresden Frauenkirche, 60 years after its destruction in World War II by American and British Forces. The world premiere is given at the Semperoper in Dresden, Germany, on October 9, 10 & 11, 2005, conducted by Ivan Fischer. Full of excitement and inner power, the musical image is vivid, energetic, sometimes lyrical and sometimes dramatic. The major angular thematic material (a three note motive) consists of big leaps in interval (a perfect fourth downward and then a minor seventh upward, first introduced by the violin solo in measures 27-29). Except for the cadenzas which stand at the middle (Rehearsal E, measure 127) and the two ends of the piece as a frame, the virtuosic violin solo line is always accompanied by the ever moving and growing textures in the background. The rests between long and short phrases symbolize the space in Chinese paintings. The Beijing Opera reciting tune, and the fingerings to produce sliding tones in the performance of the Chinese fiddle erhu are also borrowed in the writing and the performing of the western instruments. The musical imagination of the violin concerto came from an ancient Chinese poem with the same title, written by Du Fu (712-770) in Tang Dynasty. Happy Rain on a Spring Night by Du Fu (712-770 in Tang Dynasty) Happy rain comes in time, When spring is in its prime. With night breeze it will fall, And quietly moisten all. Clouds darken wild roads, Light brightens a little boat. Saturated at dawn, With flowers blooming the town. (English translation by Chen Yi from the original poem in Chinese) The following is the poem in its original Chinese form, and the detailed introduction on the structural plan of the violin concerto Spring in Dresden. It's like the welcome rain on a quiet spring night that nurtures the budding seeds, our new society is pushing us forward to the new future. The music reflects the scenes and the expression according to the meaning of the poem when it's being unfolded line by line. Although the tempo is set 63 quarter notes per minute throughout (played vividly, never slow down), the tension is being built up from the quiet background in the beginning, to the sustained climax towards the end. The musical image in Rehearsal A and B (measures 39-80) represents the first four lines of the poem. The wind instruments response to the rustling of fast moving notes on muted string triplets, decorated by occasional strokes produced by metallic string sound and high woodwind gestures. The music in Rehearsal C and D (measures 81-126) represents the next two lines of the poem. It's so dark, a little light in the boat is shimmering on the lake... The breathy sound and key slaps on the flutes create a mysterious atmosphere, in a dialogue with other instruments. The cello glissandi recite the poem in the tone of Mandarin, echoed by the string harmonics. The music in Rehearsal F, G and H (m 129-202) is a toccata, starting in the orchestra (led by the marimba), which builds up a big shape, to reach the climax in m. 157 (Rehearsal G, the location of the Golden Section, according to the length of the music without cadenzas), and keeps the vivid scene towards the coda (from Rehearsal I, m. 203), which stands on the energetic peak until the clear cutoff on measure 239, followed by the short, yet powerful solo conclusion with the lingering echo produced by the high string harmonics. On the top, there is a recall of the three note motive in the sound of wonderland, touched by the motor-on vibraphone meaningfully. The music is written for 2 flutes, 2 oboes, 2 clarinets (in Bb), 2 bassoons, 4 French horns (in F), 2 trumpets (in Bb), 3 trombones, tuba, harp, 3 percussion players (Perc. 1: xylophone; Perc. 2: suspended cymbal, Japanese high woodblock, snare drum, bass drum and vibraphone; Perc. 3: marimba and tam-tam), solo violin, and strings. Duration is about 20 minutes.
The violin concerto is commissioned by Friends of Dresden Music Foundation for American soloist Mira Wang and the New York Philharmonic and Staatskapelle Dresden as an American commemoration of the reconstruction of the Dresden Frauenkirche, 60 years after its destruction in World War II by American and British Forces. The world premiere is given at the Semperoper in Dresden, Germany, on October 9, 10 & 11, 2005, conducted by Ivan Fischer.Full of excitement and inner power, the musical image is vivid, energetic, sometimeslyrical and sometimes dramatic. The major angular thematic material (a three notemotive) consists of big leaps in interval (a perfect fourth downward and then a minorseventh upward, first introduced by the violin solo in measures 27-29). Except for thecadenzas which stand at the middle (Rehearsal E, measure 127) and the two ends of the piece as a frame, the virtuosic violin solo line is always accompanied by the ever moving and growing textures in the background. The rests between long and short phrases symbolize the space in Chinese paintings. The Beijing Opera reciting tune, and the fingerings to produce sliding tones in the performance of the Chinese fiddle erhu are also borrowed in the writing and the performing of the western instruments.The musical imagination of the violin concerto came from an ancient Chinese poem with the same title, written by Du Fu (712-770) in Tang Dynasty.Happy Rain on a Spring Nightby Du Fu (712-770 in Tang Dynasty)Happy rain comes in time,When spring is in its prime.With night breeze it will fall,And quietly moisten all.Clouds darken wild roads,Light brightens a little boat.Saturated at dawn,With flowers blooming the town.(English translation by Chen Yi from the original poem in Chinese)The following is the poem in its original Chinese form, and the detailed introduction onthe structural plan of the violin concerto Spring in Dresden.It’s like the welcome rain on a quiet spring night that nurtures the budding seeds, our newsociety is pushing us forward to the new future. The music reflects the scenes and theexpression according to the meaning of the poem when it’s being unfolded line by line.Although the tempo is set 63 quarter notes per minute throughout (played vividly, neverslow down), the tension is being built up from the quiet background in the beginning, tothe sustained climax towards the end. The musical image in Rehearsal A and B (measures39-80) represents the first four lines of the poem. The wind instruments response to therustling of fast moving notes on muted string triplets, decorated by occasional strokesproduced by metallic string sound and high woodwind gestures. The music in RehearsalC and D (measures 81-126) represents the next two lines of the poem. It's so dark, a littlelight in the boat is shimmering on the lake... The breathy sound and key slaps on theflutes create a mysterious atmosphere, in a dialogue with other instruments. The celloglissandi recite the poem in the tone of Mandarin, echoed by the string harmonics. Themusic in Rehearsal F, G and H (m 129-202) is a toccata, starting in the orchestra (led bythe marimba), which builds up a big shape, to reach the climax in m. 157 (Rehearsal G,the location of the Golden Section, according to the length of the music withoutcadenzas), and keeps the vivid scene towards the coda (from Rehearsal I, m. 203), whichstands on the energetic peak until the clear cutoff on measure 239, followed by the short,yet powerful solo conclusion with the lingering echo produced by the high stringharmonics. On the top, there is a recall of the three note motive in the sound ofwonderland, touched by the motor-on vibraphone meaningfully.The music is written for 2 flutes, 2 oboes, 2 clarinets (in Bb), 2 bassoons, 4 French horns (in F), 2 trumpets (in Bb), 3 trombones, tuba, harp, 3 percussion players (Perc. 1:xylophone; Perc. 2: suspended cymbal, Japanese high woodblock, snare drum, bass drum and vibraphone; Perc. 3: marimba and tam-tam), solo violin, and strings.Duration is about 20 minutes.

SKU: HL.1418387

AlphaTheta. DJ Gear. Duration 195 seconds. Hal Leonard #WAVE-EIGHT. Published by Hal Leonard (HL.1418387).

UPC: 841300102410. 16.0x26.5x17.0 inches.

Faster and easier Cable-free DJing without sound delays is now possible with the WAVE-EIGHT thanks to SonicLink. This new ultra-low-latency technology wirelessly transmits audio much faster than a Bluetooth connection so only a fraction of a second passes between pressing play on the decks and hearing the track through the speakers, which lets you mix without missing a beat. Take the included transmitter out of its storage compartment on the WAVE-EIGHT and connect it to your DJ gear, and you can instantly create a wireless connection, enabling you to throw a DJ party anywhere you want. And if you combine the WAVE-EIGHT with the new OMNIS-DUO portable all-in-one DJ system, which features battery power, you can play cable-free for total freedom. Professional sound with effortless setup With a highly efficient Class D amplifier, a newly designed 8-inch driver, and a Vortex Bass Accelerator which delivers clear and powerful bass, the WAVE-EIGHT will bring the vibes and the punch to your party's sound, even in outdoor settings. To cover larger events and spaces, you can easily add more units to your setup with the SonicLink connection: e.g., using 2 speakers in stereo for an expansive experience, or with a third added as a dedicated subwoofer for a club-like heavy bass sound. There are even several modes you can change between with a single switch to create the type of sound you need, including Mono, Stereo, and Subwoofer mode. Battery power and waterproof design for outdoor events A full battery charge gives you 8 hours of music on the WAVE-EIGHT so you can keep the tunes going throughout the evening and night. The unit is also waterproof, with an IPX4 rating, so it's ideal for using outdoors. And, if you need to charge your phone or another device, you can plug it into the USB Type-C port. Find party venues wherever you go The extendable handle, casters, and additional grab handles make it easy to carry the WAVE-EIGHT to any location on your own. There's a pole socket built-in, too, so you can mount the speaker on a stand for extra height, making it ideal for use in a variety of locations.

SATB choir, piano accompaniment, cello, percussion - Intermediate

SKU: GI.G-10239

Night Song / Acquainted with the Night / The Sundown Sea. Composed by Anthony Bernarducci. Evoking Sound. Music Education. Octavo. 56 pages. GIA Publications #10239. Published by GIA Publications (GI.G-10239).

English. Text Source: Prairie Waters by Night, Acquainted with the Night, A Song of Creation Text by Carl Sandburg.

Each movement of this work describes aspects of the night in a different location, utilizing the poetry of Carl Sandburg, Robert Frost, and Joaquin Miller. The music strives to portray the artistic intention of each poem while also illustrating sounds of the locations through the use of instrument and voice. The percussion part is for orchestral chimes, wind chimes, bass drum, low brake drum, ocean drum and tom-toms.

Orchestra Concert Band

SKU: PR.44641256L

For Orchestra. Composed by Ellen Taaffe Zwilich. This edition: Orchestra version. Contemporary. Large Score. With Standard notation. Composed 2010. 28 pages. Duration 12 minutes. Theodore Presser Company #446-41256L. Published by Theodore Presser Company (PR.44641256L).

UPC: 680160596010. 11 x 17 inches. Key: A major.

Fanfare; Reminiscence and Celebration is in 2 movements. I. Fanfare The opening of a concert hall is always an exciting event, introducing the hall to the performers and the performers to the hall each testing the capacities of the other. I decided to have the ensemble greet and salute the new Ruby Diamond Hall with a Fanfare that includes offstage brass players in 3 different locations in the audience. II. Reminiscence and Celebration The 2nd movement begins in a reflective mood. As I thought about Ruby Diamond Hall, where I had performed as a teenager, I remembered people, particularly many mentors with whom I have performed here, who are gone, but whose gifts and spirits are still with us. The theater has a beautiful tradition of leaving one light bulb burning all night long for the spirits of the actors who have graced that stage. While I wanted my 2nd movement to acknowledge that sense of continuity of past and present, the piece ends in celebration of the new. Perhaps all artists feel a strong connection with the past, but we work in and for the present and we build for the future.
Fanfare; Reminiscence and Celebration is in 2 movements. I. Fanfare The opening of a concert hall is always an exciting event, introducing the hall to the performers and the performers to the hall a each testing the capacities of the other. I decided to have the ensemble greet and salute the new Ruby Diamond Hall with a Fanfare that includes offstage brass players in 3 different locations in the audience. II. Reminiscence and Celebration The 2nd movement begins in a reflective mood. As I thought about Ruby Diamond Hall, where I had performed as a teenager, I remembered people, particularly many mentors with whom I have performed here, who are gone, but whose gifts and spirits are still with us. The theater has a beautiful tradition of leaving one light bulb burning all night long for the spirits of the actors who have graced that stage. While I wanted my 2nd movement to acknowledge that sense of continuity of past and present, the piece ends in celebration of the new. Perhaps all artists feel a strong connection with the past, but we work in and for the present and we build for the future.
Fanfare; Reminiscence and Celebration is in 2 movements. I. Fanfare The opening of a concert hall is always an exciting event, introducing the hall to the performers and the performers to the hall -- each testing the capacities of the other. I decided to have the ensemble greet and salute the new Ruby Diamond Hall with a Fanfare that includes offstage brass players in 3 different locations in the audience. II. Reminiscence and Celebration The 2nd movement begins in a reflective mood. As I thought about Ruby Diamond Hall, where I had performed as a teenager, I remembered people, particularly many mentors with whom I have performed here, who are gone, but whose gifts and spirits are still with us. The theater has a beautiful tradition of leaving one light bulb burning all night long for the spirits of the actors who have graced that stage. While I wanted my 2nd movement to acknowledge that sense of continuity of past and present, the piece ends in celebration of the new. Perhaps all artists feel a strong connection with the past, but we work in and for the present and we build for the future.
Fanfare; Reminiscence and Celebration is in 2 movements.I. FanfareThe opening of a concert hall is always an exciting event, introducing the hall to the performers and the performers to the hall — each testing the capacities of the other. I decided to have the ensemble greet and salute the new Ruby Diamond Hall with a Fanfare that includes offstage brass players in 3 different locations in the audience.II. Reminiscence and CelebrationThe 2nd movement begins in a reflective mood. As I thought about Ruby Diamond Hall, where I had performed as a teenager, I remembered people, particularly many mentors with whom I have performed here, who are gone, but whose gifts and spirits are still with us. The theater has a beautiful tradition of leaving one light bulb burning all night long for the spirits of the actors who have graced that stage. While I wanted my 2nd movement to acknowledge that sense of continuity of past and present, the piece ends in celebration of the new. Perhaps all artists feel a strong connection with the past, but we work in and for the present and we build for the future.

Orchestra Concert Band

SKU: PR.446412560

For Orchestra. Composed by Ellen Taaffe Zwilich. This edition: Orchestra version. Sws. Contemporary. Full score. With Standard notation. Composed 2010. 28 pages. Duration 12 minutes. Theodore Presser Company #446-41256. Published by Theodore Presser Company (PR.446412560).

ISBN 9781598063738. UPC: 680160596003. 9x12 inches. Key: A major.

Fanfare; Reminiscence and Celebration is in 2 movements. I. Fanfare The opening of a concert hall is always an exciting event, introducing the hall to the performers and the performers to the hall each testing the capacities of the other. I decided to have the ensemble greet and salute the new Ruby Diamond Hall with a Fanfare that includes offstage brass players in 3 different locations in the audience. II. Reminiscence and Celebration The 2nd movement begins in a reflective mood. As I thought about Ruby Diamond Hall, where I had performed as a teenager, I remembered people, particularly many mentors with whom I have performed here, who are gone, but whose gifts and spirits are still with us. The theater has a beautiful tradition of leaving one light bulb burning all night long for the spirits of the actors who have graced that stage. While I wanted my 2nd movement to acknowledge that sense of continuity of past and present, the piece ends in celebration of the new. Perhaps all artists feel a strong connection with the past, but we work in and for the present and we build for the future.
Fanfare; Reminiscence and Celebration is in 2 movements. I. Fanfare The opening of a concert hall is always an exciting event, introducing the hall to the performers and the performers to the hall a each testing the capacities of the other. I decided to have the ensemble greet and salute the new Ruby Diamond Hall with a Fanfare that includes offstage brass players in 3 different locations in the audience. II. Reminiscence and Celebration The 2nd movement begins in a reflective mood. As I thought about Ruby Diamond Hall, where I had performed as a teenager, I remembered people, particularly many mentors with whom I have performed here, who are gone, but whose gifts and spirits are still with us. The theater has a beautiful tradition of leaving one light bulb burning all night long for the spirits of the actors who have graced that stage. While I wanted my 2nd movement to acknowledge that sense of continuity of past and present, the piece ends in celebration of the new. Perhaps all artists feel a strong connection with the past, but we work in and for the present and we build for the future.
Fanfare; Reminiscence and Celebration is in 2 movements. I. Fanfare The opening of a concert hall is always an exciting event, introducing the hall to the performers and the performers to the hall -- each testing the capacities of the other. I decided to have the ensemble greet and salute the new Ruby Diamond Hall with a Fanfare that includes offstage brass players in 3 different locations in the audience. II. Reminiscence and Celebration The 2nd movement begins in a reflective mood. As I thought about Ruby Diamond Hall, where I had performed as a teenager, I remembered people, particularly many mentors with whom I have performed here, who are gone, but whose gifts and spirits are still with us. The theater has a beautiful tradition of leaving one light bulb burning all night long for the spirits of the actors who have graced that stage. While I wanted my 2nd movement to acknowledge that sense of continuity of past and present, the piece ends in celebration of the new. Perhaps all artists feel a strong connection with the past, but we work in and for the present and we build for the future.
Fanfare; Reminiscence and Celebration is in 2 movements.I. FanfareThe opening of a concert hall is always an exciting event, introducing the hall to the performers and the performers to the hall — each testing the capacities of the other. I decided to have the ensemble greet and salute the new Ruby Diamond Hall with a Fanfare that includes offstage brass players in 3 different locations in the audience.II. Reminiscence and CelebrationThe 2nd movement begins in a reflective mood. As I thought about Ruby Diamond Hall, where I had performed as a teenager, I remembered people, particularly many mentors with whom I have performed here, who are gone, but whose gifts and spirits are still with us. The theater has a beautiful tradition of leaving one light bulb burning all night long for the spirits of the actors who have graced that stage. While I wanted my 2nd movement to acknowledge that sense of continuity of past and present, the piece ends in celebration of the new. Perhaps all artists feel a strong connection with the past, but we work in and for the present and we build for the future.

Harp; Tenor (Score) - Grade 4

SKU: HL.250604

Tenor Voice and Harp. Composed by Anna Thorvaldsdottir. Music Sales America. Classical. Softcover. Composed 2017. 8 pages. Duration 300 seconds. Chester Music #CH86834. Published by Chester Music (HL.250604).

9.0x12.0x0.062 inches. English.

Written for the International Contemporary Ensemble and for Tenor Peter Tantsits. The work was created through ICEs First Page Commissioning Program thanks to the lead support of Frances Kazan. The first performance was given on 3 August 2016 in Hearst Plaza at Lincoln Center, New York City, U.S.A. Performance notes: As a composer I have a tendency to write music in rather low dynamics. The dynamics indicate an atmosphere and the urge to approach the music with a sense of calm rather than merely indicating the dynamic level. I do not intend for the music tobe too quiet but rather projecting a sense of serenity. I would kindly ask that the dynamics be tuned to the location of the performance and subtly dramatized as appropriate with regards to the performance space and/or concert venue. To the accompaniment of everyday lifeindicates an atmospheric approach to the music that suggests fragility and loneliness. The work was commissioned to be premiered outside, so the music was inspired by the notion of hearing the environment accompanyingthe music. - Anna Thorvaldsdottir. Language: English.

SKU: HL.1418386

AlphaTheta. DJ Gear. Duration 195 seconds. Hal Leonard #OMNIS-DUO. Published by Hal Leonard (HL.1418386).

UPC: 841300102441. 17.5x24.5x6.5 inches.

Portability and playability: turn any location into a party venue instantly! Easily slide the OMNIS-DUO into a good-sized backpack and carry it anywhere thanks to the compact size, modest weight, and rounded corners of the unit. The system's 2-deck + mixer layout will look familiar to everyone and feel great when you're DJing. And there are two modes for the touchscreen – Light and Dark – which you can instantly switch between so you'll always be able to see the displayed information, even in bright outdoor settings. Built-in battery means no power supply needed and less gear to transport Play for up to 5 hours without plugging into the mains. When it's time to top up the power, you can connect the AC adapter or plug in a compatible power bank (45W or more) to the dedicated USB Type-C terminal. Need to keep the music going? Switching to Eco mode extends the life of the battery and the party. And if you combine the OMNIS-DUO with the new battery-powered WAVE-EIGHT speaker, which features ultra-low-latency SonicLink technology, you can enjoy wireless DJing for total freedom. Flexible audio output options to play anywhere - there's no limit! As the first-ever all-in-one DJ system to feature a Bluetooth audio output function, the OMNIS-DUO opens up brand-new possibilities. Whether you want to play on a campground, at the beach, or even connect to the sound system in a vehicle, there's no limit to the places you can hold a party. And when the time comes to play in a venue like a bar, you can use the professional XLR output, while the RCA terminals are perfect for plugging in monitor speakers at home. Bluetooth audio input enables the crowd to join in your set Never disappoint a friend again when they request a song. Instead, invite them to connect their phone to the OMNIS-DUO via Bluetooth function and you can drop the track into your set. Thanks to the system's Bluetooth Playback function, you'll have control of the audio on the deck. You can adjust the volume and EQ, apply effects to the sound, change the tempo, use Hot Cues, and scratch, just like you would with tracks loaded from a USB stick or SD card. With the OMNIS-DUO and Bluetooth audio input, you can enjoy collaborating with friends and expand your musical experiences.

Saxophone/Piano Reduction Piano Accompaniment; Soprano Saxophone

SKU: HL.50602272

For Soprano Saxophone and Chamber Orchestra Saxophone/Piano Reduction. Composed by Michael Nyman. Instrumental. Classical. Softcover. 48 pages. Chester Music #CH88099. Published by Chester Music (HL.50602272).

ISBN 9781540080974. UPC: 888680988678. 9.0x12.0x0.165 inches.

This saxophone concerto, written in one continuous movement with a wide variety of tempi, celebrates the talents of John Harle, who has been a central player in the Michael Nyman Band for over ten years. The title has a double reference: on the one hand to the circular orientation dances which a foraging bee performs to communicate the location of food source, and on the other hand to my setting of 'Where the bee sucks', composed for Peter Greenaway's film Prospero's Books and quoted sporadically during the concerto. However, most of the material is derived from a 4-chord sequence that John once overheard me playing and which he expressed a particular liking for. -Michael Nyman.

Vocal and Piano (Voice and Piano)

SKU: HL.48187326

Composed by Joseph Canteloube. Leduc. Folk. Softcover. 24 pages. Heugel & Cie #HE28794. Published by Heugel & Cie (HL.48187326).

UPC: 888680828882. 9.0x12.0x0.119 inches.

“Comp iled by Joseph Canteloube, this book is the first set from the series Songs from the Auvergne. It features three songs, including the most famous one ?Báïlèro?. This edition, written for Voice and Piano, contains lyrics in the local dialect ?Occitan?, with the French translation below. Some directives are given to obtain the correct pronunciation of the language. I. La Pastoura als camps (La Bergère aux champs) / Shepherdess in the fields II. Báïlèro (Chant de Bergers) / Shepherd?s song III. Trois Bourrées a. L?aïo de rotso (L?eau de source) / Spring Water b. Ound? onoren gorda ? (Où irons-nous garder ?) / Where will we take the sheep c. Obal din lou Limouzi (Là-bas dans le Limousin) / There, in the Limousin Each piece is also commented with the exact location the song is from Joseph Canteloube (1879-1957) was a French composer, musician and author, mainly known for his folk songs and for the series 'Songs from the Auvergne' inspired by the area his family was from.”.

Arranged by Tom Porter. For SSA choir, piano/violin. Octavo. Published by Alliance Music Publications

Composed by Thomas Doss. De Haske Concert Band. Festival, Austrian. Softcover. Published by De Haske Publications

Band Wind Band - Grade 2

SKU: KJ.JB106

Composed by David Bobrowitz. Concert and Contest. Tradition of Excellence, Excellence In Performance. Score and parts. Neil A. Kjos Music Company #JB106. Published by Neil A. Kjos Music Company (KJ.JB106).

UPC: 8402704846.

The music captures the energy and activity of a festival in the fictional land of King Arthur's Camelot, from the legends in Great Britain. Staccato eighths and quick sixteenth note gures provide the feeling of movement, and traditional yet interesting harmonies provide the feeling of the time period and location. e piece is in ABA form, and although there are two distinct sections, the feeling of energy never ceases. ere is plenty of interest in all of the band parts, and it's a wonderful change of pace for your audience to enjoy!

About Tradition of Excellence: Excellence in Performance

< p>Excellence in performance is a concert band repertoire series correlated with the Tradition of Excellence Comprehensive Band Method by Bruce Pearson and Ryan Nowlin. The compositions in the series correlate to a specific page in Tradition of Excellence Books 1, 2, or 3 and reinforce and expand on skills and concepts introduced in the method.

/Selecti ons include exciting parts for every player, grade-appropriate cross-cueing, accessible ranges and rhythms, creative percussion writing, electric bass and rehearsal piano parts, and full conductor scores with rehearsal suggestions, program notes and composer biographies. In addition, the Grade 1 works provide an Advanced Snare Drum part for percussionists who have achieved a higher level of ability, playable simultaneously with the more basic Snare Drum part to facilitate differentiated learning.

Orchestra string orchestra - Grade 1

SKU: KJ.SO343C

Composed by Jeremy Woolstenhulme. Arranged by Jeremy Woolstenhulme. Score and parts. Neil A. Kjos Music Company #SO343C. Published by Neil A. Kjos Music Company (KJ.SO343C).

UPC: 8402704183.

Maiden' s Rescue, in D Major, includes note and rest values limited to quarter notes/rests, half notes, and whole rests. It can be successfully performed at a range of tempos, depending on the experience level of the orchestra. Rather than writing for 1st and 2nd violins, this piece features a single violin part.

Jeremy Woolstenhulme composed this work for his beginning string orchestra. He decided that it should be a programmatic work accompanied by a short story and artwork. Once students became comfortable with the music and story, Mr. Woolstenhulme assigned an art project to them! Some samples of their work are printed in this publication. Connecting music, creative writing, and visual arts strengthened the entire experience and students definitely enjoyed the process. Approx. time - 2:00

Steps to Successful Literature presents exceptional performance pieces - concert and festival works for beginning to intermediate string orchestras. Each piece is correlated with a specific location in String BasicsTM Books 1 or 2. Literature reinforces musical skills, concepts, and terms introduced in the method. Sometimes, a few new concepts are included and are officially introduced and defined in the score and parts. Each string orchestra work offers extended learning opportunities and briefly taps into one or more elements related to common core state standards.

Voice and Piano

SKU: BT.ALHE28794

Composed by Joseph Canteloube. Folk Music. Book Only. 24 pages. Heugel & Cie #ALHE28794. Published by Heugel & Cie (BT.ALHE28794).

French.

Compiled by Joseph Canteloube, this book is the first set from the series Songs from the Auvergne. It features three songs, including the most famous one _x001A_Bá lèro_x001A_. This edition, written for Voice and Piano, contains lyrics in thelocal dialect _x001A_Occitan_x001A_, with the French translation below. Some directives are given to obtain the correct pronunciation of the language. I. La Pastoura als camps (La Bergère aux champs) / Shepherdess in the fields II. Bá lèro(Chant de Bergers) / Shepherd's song III. Trois Bourrées a. L'a o de rotso (L'eau de source) / Spring Water b. Ound' onoren gorda ? (Où irons-nous garder ?) / Where will we take the sheep c. Obal din lou Limouzi (L -bas dans leLimousin) / There, in the Limousin Each piece is also commented with the exact location the song is from Joseph Canteloube (1879-1957) was a French composer, musician and author, mainly known for his folk songs and for theseries 'Songs from the Auvergne' inspired by the area his family was from.

SKU: HL.1115715

For Soprano, Speaker, and Electronics. Composed by Cheryl Frances-Hoad. Vocal. Softcover. Duration 180 seconds. Chester Music #CH88154. Published by Chester Music (HL.1115715).

ISBN 9781705179741. UPC: 196288105640. 9.0x12.0 inches.

Thinking I Hear Thee Call by Cheryl Frances-Hoad is inspired by the life of Florence Attridge, an Essex woman who, whilst working at the Marconi factory in Chelmsford during WWII, helped to make secret radio sets for spys. In this piece for soprano, speaker and electronics, we hear Florence recount her experiences, whilst, in another, secret location, in another time, a spy goes through the radio's (complicated!) set up instructions one last time before going on their first reconnaissance mission. The electronic element takes sounds that are associated with Florence's life and the history of Marconi, including morse code and Absent, the first song to be broadcast from the factory. The text for Florence's part was written by Frances M Lynch based on research by Patricia Fara, and the speakers text comes from the official manual for the The British Type 3 Mark II Spy Radio. The work was commissioned by electric voice theatre and first Performed Online during the Covid-19 Pandemic, Aug 24th 2020 as part of the 'Echoes from Essex'. The project was supported by the Arts Council Emergency Response Fund (National Lottery). The performers from electric voice theatre are: Frances M Lynch - Soprano (Florence Attridge) Margaret Cameron - Speaker (Spy). The performers recorded their parts individually in their homes and the final work was combined with the composer's electronic track and produced by Frances M Lynch & Herbie Clarke at Birnam Studios, London.

By Ryan Fraley. Young Band. FJH Young Band. Score for this title: B1313S. Concert Band. Level: 2.5. Score and Set of Parts. Composed 2006. Published by The FJH Music Company Inc.

Contes musicaux - Grade 4

SKU: RM.NAUL03778-CH

Composed by Jerome Naulais. Contes musicaux. Voice and chorus. Choral score. Editions Robert Martin #NAUL03778-CH. Published by Editions Robert Martin (RM.NAUL03778-CH).

Band concert band - Grade 1

SKU: CF.BPS118

March. Composed by Matthew R. Putnam. Beginning Band (BPS). Set of Score and Parts. With Standard notation. 8+2+8+2+5+2+2+8+3+6+3+1+1 +3+3+16+2 pages. Duration 2 minutes, 9 seconds. Carl Fischer Music #BPS118. Published by Carl Fischer Music (CF.BPS118).

ISBN 9781491152041. UPC: 680160909544.

Wolve rine Trail is a concert march for beginning bands and is rather helpful in introducing beginners to the march form and style. This piece is based in the key of Eb major and uses only the first seven notes taught in most method books. It is also rhythmically accessible to beginners, as simple eighth-note combinations are the most difficult rhythms in this march. The piece follows standard march form except that is does not modulate at the trio section.
When writing this piece, I was thinking of my beginning band students at Polk County Middle School. Our school is located at the foothills of the Appalachian Mountains and is surrounded by dense pine forests. The mascot of our school is rather fittingly the wolverine; hence, our school is located on the street named “Wolverine Trail.” Learning to be a musician is not an easy trial, as it requires hard work, dedication, and endurance. However, the trail to becoming a musician is full of rewarding and breathtaking experiences. As I wrote this piece, I was inspired by the rugged beauty of our school’s location and also how I am helping my beginner students to start on the trail to becoming mature musicians.Wolverine Trail is a concert march for beginning bands and is rather helpful in introducing beginners to the march form and style. This piece is based in the key of Eb major and uses only the first seven notes taught in most method books. It is also rhythmically accessible to beginners, as simple eighth-note combinations are the most difficult rhythms in this march. The piece follows standard march form except that is does not modulate at the trio section which begins at m. 57. It is my hope that this piece will help you and your beginners start your own musical trailblazing.

SATB choir

SKU: ST.CN16P

Composed by Richard Bullen. ChoralNow. This PRINTED version is available to purchase as a regular sheet music title for delivery by post. Octavo. Stainer & Bell Ltd. #CN16P. Published by Stainer & Bell Ltd. (ST.CN16P).

ISBN 9790220224737.

As well as traditional genres, Richard Bullen's music embraces several contemporary ones including video and electronics, and shows a keen interest in location both in its formal possibilities and in its genius loci - its spirit of place. A five-minute stand-alone piece for SATB chorus, The Seven Arches was written for a site-specific project at the Dartington International Summer School: an invocation of the rich cultural and mythic past of the celebrated gardens. In poet Steve Willey's multi-layered text the remaining seven arches of the medieval courtyard become metaphors for this continuing presence. Bold arched melodies springing from resilient, purposeful chords likewise animate the music, a sonic tableau of the sites / sights and sounds of history. Click video tab for the premiere performance conducted by David Lardi with the Finchley Chamber Choir, and view the full text as presented in Willey's intriguing original visual conception of his poem about Dartington Hall.