| String Quartet No. 3 Quatuor à cordes: 2 violons, alto, violoncelle [Conducteur] Theodore Presser Co.
String quartet String Quartet SKU: PR.16400272S Cassatt. Composed ...(+)
String quartet String
Quartet SKU:
PR.16400272S
Cassatt. Composed
by Dan Welcher. Premiere:
Cassatt Quartet,
Northeastern Illinois
University, Chicago, IL.
Contemporary. Full score.
With Standard notation.
Composed 2007. WRT11142.
52 pages. Duration 24
minutes. Theodore Presser
Company #164-00272S.
Published by Theodore
Presser Company
(PR.16400272S). UPC:
680160588442. 8.5 x 11
inches. My third
quartet is laid out in a
three-movement structure,
with each movement based
on an early, middle, and
late work of the great
American impressionist
painter Mary Cassatt.
Although the movements
are separate, with
full-stop endings, the
music is connected by a
common scale-form,
derived from the name
MARY CASSATT, and by a
recurring theme that
introduces all three
movements. I see this
theme as Mary's Theme, a
personality that stays
intact while undergoing
gradual change. I
The Bacchante (1876)
[Pennsylvania Academy of
Fine Arts, Philadelphia,
Pennsylvania] The
painting shows a young
girl of Italian or
Spanish origin, playing a
small pair of cymbals.
Since Cassatt was trying
very hard to fit in at
the French Academy at the
time, she painted a lot
of these subjects, which
were considered typical
and universal. The style
of the painting doesn't
yet show Cassatt's
originality, except
perhaps for certain
details in the face.
Accordingly the music for
this movement is
Spanish/Italian, in a
similar period-style but
using the musical
signature described
above. The music begins
with Mary's Theme,
ruminative and slow, then
abruptly changes to an
alla Spagnola-type fast
3/4 - 6/8 meter. It
evokes the
Spanish-influenced music
of Ravel and Falla.
Midway through,
there's an accompanied
recitative for the viola,
which figures large in
this particular movement,
then back to a truncated
recapitulation of the
fast music. The overall
feeling is of a
well-made, rather
conventional movement in
a contemporary
Spanish/Italian style.
Cassatt's painting, too,
is rather conventional.
II At the Opera
(1880) [Museum of Fine
Arts, Boston,
Massachusetts]
This painting is one of
Cassatt's most well known
works, and it hangs in
the Museum of Fine Arts
in Boston. The painting
shows a woman alone in a
box at the opera house,
completely dressed
(including gloves) and
looking through opera
glasses at someone or
something that is NOT on
the stage. Across the
auditorium from her, but
exactly at eye level, is
a gentleman with opera
glasses intently watching
her - though it is not
him that she's looking
at. It's an intriguing
picture. This
movement is far less
conventional than the
first movement, as the
painting is far less
conventional. The music
begins with a rapid,
Shostakovich-type
mini-overture lasting
less than a minute, based
on Mary's Theme. My
conjecture is that the
woman in the painting has
arrived late to the
opera, busily stumbling
into her box. What
happens next is a kind of
collage, a kind of
surrealistic overlaying
of two different
elements: the foreground
music, at first is a
direct quotation of
Soldier's Chorus from
Gounod's FAUST (an opera
Cassatt would certainly
have heard in the
brand-new Paris Opera
House at that time),
played by Violin II,
Viola, and Cello. This
music is played sul
ponticello in the melody
and col legno in the
marching accompaniment.
On top of this, the first
violin hovers at first on
a high harmonic, then
descends into a slow
melody, completely
separate from the Gounod.
It's as if the woman in
the painting is hearing
the opera onstage but is
not really interested in
it. Then the cello joins
the first violin in a
kind of love-duet (just
the two of them, at
first). This music isn't
at all Gounod-derived;
it's entirely from the
same scale patterns as
the first movement and
derives from Mary's Theme
and its scale. The music
stays in a kind of
dichotomy feeling,
usually
three-against-one, until
the end of the movement,
when another Gounod
melody, Valentin's aria
Avant de quitter ce lieux
reappears in a kind of
coda for all four
players. It ends
atmospherically and
emotionally disconnected,
however. The overall
feeling is a kind of
schizophrenic,
opera-inspired dream.
III Young Woman in
Green, Outdoors in the
Sun (1909) [Worcester Art
Museum, Massachusetts]
The painting, one
of Cassatt's last, is
very simple: just a
figure, looking sideways
out of the picture. The
colors are pastel and yet
bold - and the woman is
likewise very
self-assured and not in
the least demure. It is
eight minutes long, and
is all about melody -
three melodies, to be
exact (Young Woman,
Green, and Sunlight). No
angst, no choppy rhythms,
just ever-unfolding
melody and lush
harmonies. I quote one
other French composer
here, too: Debussy's song
Green, from Ariettes
Oubliees. 1909 would have
been Debussy's heyday in
Paris, and it makes
perfect sense musically
as well as visually to do
this. Mary Cassatt
lived her last several
years in near-total
blindness, and as she
lost visual acuity, her
work became less sharply
defined - something akin
to late water lilies of
Monet, who suffered
similar vision loss. My
idea of making this
movement entirely melodic
was compounded by having
each of the three
melodies appear twice,
once in a pure form, and
the second time in a more
diffuse setting. This
makes an interesting two
ways form:
A-B-C-A1-B1-C1.
String Quartet No.3
(Cassatt) is dedicated,
with great affection and
respect, to the Cassatt
String Quartet, whose
members have dedicated
themselves in large
measure to the furthering
of the contemporary
repertoire for
quartet. $38.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| String Quartet No. 3 Quatuor à cordes: 2 violons, alto, violoncelle Theodore Presser Co.
Chamber Music String Quartet SKU: PR.164002720 Cassatt. Composed b...(+)
Chamber Music String
Quartet SKU:
PR.164002720
Cassatt. Composed
by Dan Welcher. Spiral
and Saddle. Premiere:
Cassatt Quartet,
Northeastern Illinois
University, Chicago, IL.
Contemporary. Set of
Score and Parts. With
Standard notation.
Composed 2007. WRT11142.
52+16+16+16+16 pages.
Duration 24 minutes.
Theodore Presser Company
#164-00272. Published by
Theodore Presser Company
(PR.164002720). UPC:
680160573042. 8.5 x 11
inches. My third
quartet is laid out in a
three-movement structure,
with each movement based
on an early, middle, and
late work of the great
American impressionist
painter Mary Cassatt.
Although the movements
are separate, with
full-stop endings, the
music is connected by a
common scale-form,
derived from the name
MARY CASSATT, and by a
recurring theme that
introduces all three
movements. I see this
theme as Mary's Theme, a
personality that stays
intact while undergoing
gradual change. I
The Bacchante (1876)
[Pennsylvania Academy of
Fine Arts, Philadelphia,
Pennsylvania] The
painting shows a young
girl of Italian or
Spanish origin, playing a
small pair of cymbals.
Since Cassatt was trying
very hard to fit in at
the French Academy at the
time, she painted a lot
of these subjects, which
were considered typical
and universal. The style
of the painting doesn't
yet show Cassatt's
originality, except
perhaps for certain
details in the face.
Accordingly the music for
this movement is
Spanish/Italian, in a
similar period-style but
using the musical
signature described
above. The music begins
with Mary's Theme,
ruminative and slow, then
abruptly changes to an
alla Spagnola-type fast
3/4 - 6/8 meter. It
evokes the
Spanish-influenced music
of Ravel and Falla.
Midway through,
there's an accompanied
recitative for the viola,
which figures large in
this particular movement,
then back to a truncated
recapitulation of the
fast music. The overall
feeling is of a
well-made, rather
conventional movement in
a contemporary
Spanish/Italian style.
Cassatt's painting, too,
is rather conventional.
II At the Opera
(1880) [Museum of Fine
Arts, Boston,
Massachusetts]
This painting is one of
Cassatt's most well known
works, and it hangs in
the Museum of Fine Arts
in Boston. The painting
shows a woman alone in a
box at the opera house,
completely dressed
(including gloves) and
looking through opera
glasses at someone or
something that is NOT on
the stage. Across the
auditorium from her, but
exactly at eye level, is
a gentleman with opera
glasses intently watching
her - though it is not
him that she's looking
at. It's an intriguing
picture. This
movement is far less
conventional than the
first movement, as the
painting is far less
conventional. The music
begins with a rapid,
Shostakovich-type
mini-overture lasting
less than a minute, based
on Mary's Theme. My
conjecture is that the
woman in the painting has
arrived late to the
opera, busily stumbling
into her box. What
happens next is a kind of
collage, a kind of
surrealistic overlaying
of two different
elements: the foreground
music, at first is a
direct quotation of
Soldier's Chorus from
Gounod's FAUST (an opera
Cassatt would certainly
have heard in the
brand-new Paris Opera
House at that time),
played by Violin II,
Viola, and Cello. This
music is played sul
ponticello in the melody
and col legno in the
marching accompaniment.
On top of this, the first
violin hovers at first on
a high harmonic, then
descends into a slow
melody, completely
separate from the Gounod.
It's as if the woman in
the painting is hearing
the opera onstage but is
not really interested in
it. Then the cello joins
the first violin in a
kind of love-duet (just
the two of them, at
first). This music isn't
at all Gounod-derived;
it's entirely from the
same scale patterns as
the first movement and
derives from Mary's Theme
and its scale. The music
stays in a kind of
dichotomy feeling,
usually
three-against-one, until
the end of the movement,
when another Gounod
melody, Valentin's aria
Avant de quitter ce lieux
reappears in a kind of
coda for all four
players. It ends
atmospherically and
emotionally disconnected,
however. The overall
feeling is a kind of
schizophrenic,
opera-inspired dream.
III Young Woman in
Green, Outdoors in the
Sun (1909) [Worcester Art
Museum, Massachusetts]
The painting, one
of Cassatt's last, is
very simple: just a
figure, looking sideways
out of the picture. The
colors are pastel and yet
bold - and the woman is
likewise very
self-assured and not in
the least demure. It is
eight minutes long, and
is all about melody -
three melodies, to be
exact (Young Woman,
Green, and Sunlight). No
angst, no choppy rhythms,
just ever-unfolding
melody and lush
harmonies. I quote one
other French composer
here, too: Debussy's song
Green, from Ariettes
Oubliees. 1909 would have
been Debussy's heyday in
Paris, and it makes
perfect sense musically
as well as visually to do
this. Mary Cassatt
lived her last several
years in near-total
blindness, and as she
lost visual acuity, her
work became less sharply
defined - something akin
to late water lilies of
Monet, who suffered
similar vision loss. My
idea of making this
movement entirely melodic
was compounded by having
each of the three
melodies appear twice,
once in a pure form, and
the second time in a more
diffuse setting. This
makes an interesting two
ways form:
A-B-C-A1-B1-C1.
String Quartet No.3
(Cassatt) is dedicated,
with great affection and
respect, to the Cassatt
String Quartet, whose
members have dedicated
themselves in large
measure to the furthering
of the contemporary
repertoire for
quartet. $53.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Spirit Realms Theodore Presser Co.
Chamber Music Flute, Piccolo, alto Flute SKU: PR.164002480 Composed by Da...(+)
Chamber Music Flute,
Piccolo, alto Flute
SKU: PR.164002480
Composed by Dan Welcher.
Set of performance
scores. With Standard
notation. 23 pages.
Duration 14 minutes.
Theodore Presser Company
#164-00248. Published by
Theodore Presser Company
(PR.164002480). UPC:
680160038237. This
work is my second for a
solo woodwind and a solo
percussionist, following
Firewing: The Flame and
the Moth for oboe and
percussion by nine years.
The earlier piece
followed a specific story
line, and pitted the oboe
against the percussionist
as both adversary and
lover. In Spirit Realms,
my aim was not only to
juxtapose the very
different sounds of flute
(plus alto flute and
piccolo) against a large
array of percussion, but
also to attempt three
different meditative
spaces, each named for a
different type of
spiritual practice. The
musical means of
expression is very
different for each of the
three movements (as is
the instrumentation),
although they share a
common scale-source: the
looped pentatonic scale I
have been developing over
the last several years.
The first movement
is called Prayer Tunnel,
and is named for the
Eskimo practice of solo
meditation within a
tunnel of ice blocks.
This is said to be a
means of overcoming
demons within, and in my
musical rendering it
takes the form of an
unaccompanied alto flute
solo. The flute begins
rather angrily, full of
tension, but in the
course of the solo
passage manages to slowly
unwind. The percussionist
then plays the exact same
music the alto flute had
played....on seven tuned
cymbals. Toward the end,
the alto flute re-enters,
its original meditation
having fused with its
mirror. Kiva
represents the circular,
subterranean pit in which
the Anasazi practiced
their religion, a form of
which still can be found
in the Hopi tribes of the
American southwest. These
are not spaces for solo
meditation, but rather a
group meeting place in
which only the sanctified
are permitted. After an
introductory invocation
(dove call), the music
begins. At first, it is
flowing, in a repetitive
double-five meter. It
then traces several
sections, with metric
shifts forcing the pulse
to race faster and
faster, until it halves
itself in the coda and
returns to the exact
pulse of the beginning.
The flutist here uses the
C flute, and the
percussionist plays on
both pitched (marimba)
and unpitched instruments
(various drums and struck
sources). Zendo is
the meditation room used
by Zen Buddhists. My
music begins with another
invocation (wind chimes,
temple cup gongs, and
temple blocks), then
moves on to a slow
subject stated by the
flute. The subject is
taken up by the
vibraphone, and after
several modulations and
tempo changes, the
flutist takes up the
piccolo. The music
continues higher and
higher, and faster and
faster (Zen meditation is
NOT all about becoming
lost!) until it breaks
free at the very end. The
percussionist is put
through his paces in this
movement, having to reach
a staggering number of
instruments in a short
time. Spirit
Realms was commissioned
by, and is dedicated to,
the Armstrong Duo. -- Dan
Welcher. $75.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Spirit Realms Theodore Presser Co.
Flute, Percussion SKU: PR.16400248S Composed by Dan Welcher. With Standar...(+)
Flute, Percussion SKU:
PR.16400248S Composed
by Dan Welcher. With
Standard notation.
Duration 14 minutes.
Theodore Presser Company
#164-00248S. Published by
Theodore Presser Company
(PR.16400248S). UPC:
680160038244. This
work is my second for a
solo woodwind and a solo
percussionist, following
Firewing: The Flame and
the Moth for oboe and
percussion by nine years.
The earlier piece
followed a specific story
line, and pitted the oboe
against the percussionist
as both adversary and
lover. In Spirit Realms,
my aim was not only to
juxtapose the very
different sounds of flute
(plus alto flute and
piccolo) against a large
array of percussion, but
also to attempt three
different meditative
spaces, each named for a
different type of
spiritual practice. The
musical means of
expression is very
different for each of the
three movements (as is
the instrumentation),
although they share a
common scale-source: the
looped pentatonic scale I
have been developing over
the last several years.
The first movement
is called Prayer Tunnel,
and is named for the
Eskimo practice of solo
meditation within a
tunnel of ice blocks.
This is said to be a
means of overcoming
demons within, and in my
musical rendering it
takes the form of an
unaccompanied alto flute
solo. The flute begins
rather angrily, full of
tension, but in the
course of the solo
passage manages to slowly
unwind. The percussionist
then plays the exact same
music the alto flute had
played....on seven tuned
cymbals. Toward the end,
the alto flute re-enters,
its original meditation
having fused with its
mirror. Kiva
represents the circular,
subterranean pit in which
the Anasazi practiced
their religion, a form of
which still can be found
in the Hopi tribes of the
American southwest. These
are not spaces for solo
meditation, but rather a
group meeting place in
which only the sanctified
are permitted. After an
introductory invocation
(dove call), the music
begins. At first, it is
flowing, in a repetitive
double-five meter. It
then traces several
sections, with metric
shifts forcing the pulse
to race faster and
faster, until it halves
itself in the coda and
returns to the exact
pulse of the beginning.
The flutist here uses the
C flute, and the
percussionist plays on
both pitched (marimba)
and unpitched instruments
(various drums and struck
sources). Zendo is
the meditation room used
by Zen Buddhists. My
music begins with another
invocation (wind chimes,
temple cup gongs, and
temple blocks), then
moves on to a slow
subject stated by the
flute. The subject is
taken up by the
vibraphone, and after
several modulations and
tempo changes, the
flutist takes up the
piccolo. The music
continues higher and
higher, and faster and
faster (Zen meditation is
NOT all about becoming
lost!) until it breaks
free at the very end. The
percussionist is put
through his paces in this
movement, having to reach
a staggering number of
instruments in a short
time. Spirit
Realms was commissioned
by, and is dedicated to,
the Armstrong Duo. -- Dan
Welcher. $41.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Do You Hear What I Hear Chorale 2 parties Shawnee Press
By Regney, Shayne. Arranged by Harry Simeone. Two-part. Christmas Music, Popular...(+)
By Regney, Shayne.
Arranged by Harry
Simeone. Two-part.
Christmas Music, Popular
Standards/Show Tunes.
Published by Shawnee
Press.
(3)$2.50 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Do You Hear What I Hear? SATB
Chorale SATB SATB, Piano Shawnee Press
By Gloria Shayne and Noel Regney. Arranged by Harry Simeone. For SATB Choir (SAT...(+)
By Gloria Shayne and Noel
Regney. Arranged by Harry
Simeone. For SATB Choir
(SATB). Shawnee Press.
Choral, Sacred,
Christmas. 8 pages.
Shawnee Press #A0708.
Published by Shawnee
Press
(7)$2.50 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Do You Hear What I Hear Chorale 3 parties SSA Shawnee Press
By Regney, Shayne. Arranged by Harry Simeone. Choral - SSA. Christmas Music, Pop...(+)
By Regney, Shayne.
Arranged by Harry
Simeone. Choral - SSA.
Christmas Music, Popular
Standards/Show Tunes.
Published by Shawnee
Press.
(1)$2.75 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Do You Hear What I Hear Chorale 3 parties SAB Shawnee Press
By Regney, Shayne. Arranged by Harry Simeone. Choral - SAB. Christmas Music, Pop...(+)
By Regney, Shayne.
Arranged by Harry
Simeone. Choral - SAB.
Christmas Music, Popular
Standards/Show Tunes.
Published by Shawnee
Press.
$2.75 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Ancient Dances Theodore Presser Co.
Chamber Music Pipa, Percussion:, Peng Ling, Japanese High Woodblock, Two Bongos,...(+)
Chamber Music Pipa,
Percussion:, Peng Ling,
Japanese High Woodblock,
Two Bongos, Conga, Nao
Bo, Suspended Cymbal,
Three Beijing Opera
Gongs, Triangle SKU:
PR.114412930 For
Pipa and Percussion.
Composed by Chen Yi.
Saddle. Contemporary. Set
of Score and Parts. With
Standard notation.
Composed 2005. 20+6+11
pages. Duration 20
minutes. Theodore Presser
Company #114-41293.
Published by Theodore
Presser Company
(PR.114412930). UPC:
680160571604. 8.5 x 11
inches. Text: Li Bai. Li
Bai. Three poems by Li
Bai (701 -
762). It's a
privilege to write a new
work for my friend, the
pipa master Ms. Wu Man to
perform in the 05/06
concert season.
Remembering the first
time we worked together
in 1991, Wu Man premiered
my solo piece The Points
on the age-old Chinese
traditional instrument,
with her adventurous
virtuosity and
sensibility in the piece
with new musical concept
and language, at the
NewWorkOctober concert
series at Columbia
University in New York,
presented by New Music
Consort. I have been very
happy to keep track with
her new experiment and
success in the new music
field since then. Again,
in 2001, I have composed
a trio for her to play
with Yo-Yo Ma and
Young-Nam Kim,
commissioned by the
Chamber Music Society of
Minnesota for the Hun
Qiao project. Wu Man
loved the piece so much
that she commissioned me
another new work to
perform this time. In
Chinese cultural
tradition, in which I am
deeply rooted, music is a
part of an organic art
form, along with poetry,
calligraphy and painting.
I am glad that Wu Man
suggested to create our
new work together with
visual artist Catherine
Owens. We are going to
combine the art forms
together in one. I got my
inspiration from three
ancient poems, which are
drawn in Chinese
calligraphy, with
exaggerated dancing lines
and shapes in layers of
ink. The music would go
with image projection in
Chinese painting
according to the poems.
Written for Wu Man and
commissioned by the
Walton Arts Center,
Fayetteville, AR, the
duet Ancient Dances is
written for pipa and a
set of percussion
instruments (including a
pair of naobo, finger
cymbals, and bongos; a
Japanese high woodblock,
a triangle, 3 Beijing
Opera gongs in small,
medium and large sizes, a
suspended cymbal and a
conga). It consists of
three movements of music
- Cheering, Longing, and
Wondering, in which the
music abstractly
represents various
expressions, in different
textures and tempi,
inspired by the text in
the three Chinese poems
by Li Bai from Tang
Dynasty: 1) Riding on My
Skiff; 2) Night Thoughts;
3) The Cataract of Mount
Lu. The flying lines, as
like mysterious and vivid
ancient dances, bring the
music, the calligraphy,
and the painting all
together in our work.
--Chen Yi. It's a
privilege to write a new
work for my friend, the
pipa master Ms. Wu Man to
perform in the 05/06
concert season.
Remembering the first
time we worked together
in 1991, Wu Man premiered
my solo piece The Points
on the age-old Chinese
traditional instrument,
with her adventurous
virtuosity and
sensibility in the piece
with new musical concept
and language, at the
NewWorkOctober concert
series at Columbia
University in New York,
presented by New Music
Consort. I have been very
happy to keep track with
her new experiment and
success in the new music
field since then. Again,
in 2001, I have composed
a trio for her to play
with Yo-Yo Ma and
Young-Nam Kim,
commissioned by the
Chamber Music Society of
Minnesota for the Hun
Qiao project. Wu Man
loved the piece so much
that she commissioned me
another new work to
perform this time.In
Chinese cultural
tradition, in which I am
deeply rooted, music is a
part of an organic art
form, along with poetry,
calligraphy and painting.
I am glad that Wu Man
suggested to create our
new work together with
visual artist Catherine
Owens. We are going to
combine the art forms
together in one. I got my
inspiration from three
ancient poems, which are
drawn in Chinese
calligraphy, with
exaggerated dancing lines
and shapes in layers of
ink. The music would go
with image projection in
Chinese painting
according to the
poems.Written for Wu Man
and commissioned by the
Walton Arts Center,
Fayetteville, AR, the
duet Ancient Dances is
written for pipa and a
set of percussion
instruments (including a
pair of naobo, finger
cymbals, and bongos; a
Japanese high woodblock,
a triangle, 3 Beijing
Opera gongs in small,
medium and large sizes, a
suspended cymbal and a
conga). It consists of
three movements of music
- Cheering, Longing, and
Wondering, in which the
music abstractly
represents various
expressions, in different
textures and tempi,
inspired by the text in
the three Chinese poems
by Li Bai from Tang
Dynasty: 1) Riding on My
Skiff; 2) Night Thoughts;
3) The Cataract of Mount
Lu. The flying lines, as
like mysterious and vivid
ancient dances, bring the
music, the calligraphy,
and the painting all
together in our
work.—Chen Yi. $37.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Songs of Desire, Love, and Loss Theodore Presser Co.
Chamber Music Bass Clarinet, Cello, Clarinet, Finger Cymbals, Flute, Glockenspie...(+)
Chamber Music Bass
Clarinet, Cello,
Clarinet, Finger Cymbals,
Flute, Glockenspiel,
Marimba, Percussion,
Piano, Vibraphone,
Violin, soprano voice
SKU: PR.111402590
For Soprano and
Chamber Ensemble.
Composed by James
Matheson. This edition:
Full Set. The world
premiere was given at
Carnegie Hall, New York
City, on October 10,
2004. Contemporary. Set
of Score and Parts. With
Standard notation.
Composed August 29 2004.
60+12+12+12+16+8+8 pages.
Duration 18 minutes.
Theodore Presser Company
#111-40259. Published by
Theodore Presser Company
(PR.111402590). UPC:
680160638208. 9x12
inches. Text: Alan Dugan.
Alan Dugan. Poems Seven,
©Alan Dugan, published
by Seven Stories Press,
New York. The
poetry of Pulitzer Prize
winner Alan Dugan struck
a chord with Matheson,
who notes a certain
contradiction in the
poems and in his own
writings - an emotional
directness combined with
complexity. Matheson
chose seven Dugan poems,
which span decades, in
answering a 2004
commission by Carnegie
Hall through the Weill
Music Institute, and also
chose the Pierrot
ensemble to convey his
impressions. Matheson
tends to build to a punch
line,which often helps
clarify Dugan's slight
obscurities. You may not
know what the poet means,
but the music at least
directs you to the right
place emotionally. - Mark
Swed, The Los Angeles
Times. $95.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Secret Mission - Débutant Carl Fischer
Band Bass Clarinet, Bass Drum, Bells, Clarinet, Cowbell, Crash Cymbals, Euphoniu...(+)
Band Bass Clarinet, Bass
Drum, Bells, Clarinet,
Cowbell, Crash Cymbals,
Euphonium, Euphonium
T.C., Flute, Horn, Mallet
Percussion, Oboe,
Percussion 1, Percussion
2, Snare Drum, Suspended
Cymbal, Timpani,
Trombone, Trumpet, Tuba,
Wood Block and more. -
Grade 1 SKU:
CF.BPS132 Composed by
Jason Taurins. Folio.
Bps. Set of Score and
Parts.
8+2+8+2+5+2+2+8+3+3+3+2+3
+1+1+2+4+12 pages.
Duration 1 minute, 41
seconds. Carl Fischer
Music #BPS132. Published
by Carl Fischer Music
(CF.BPS132). ISBN
9781491158463. UPC:
680160917068. 9 x 12
inches. Secret
Mission is a cinematic
depiction of a spy on a
mission to defeat a
nefarious villain. This
was inspired by my love
for several spies and
superheroes from movies
and television series,
both serious and
humorous. With exciting
parts for all players, I
hope your imagination is
sparked by this
accessible and melodic
piece. In the opening,
the spy receives his
mission in grand fashion,
as the title sequence
rolls across the screen.
After a dramatic pause
(m. 10), the spy is on
the chase! The melody at
m. 11 depicts the spy
doing reconnaissance on
his enemy. The villain
reveals his evil plan,
and soon, the hero and
the villain face off in
an epic battle! Who do
you think wins? Is it a
serious thriller or a
hilarious cartoon? Decide
for your own as you see
the end credits scroll!
Itas an epic journey sure
to spark your
imagination. For smaller
ensembles, the power
chords in the low brass
can be divided such that
trombones take the top
note, and euphonium the
bottom, or divide it as
is appropriate for your
ensemble. At m. 9, and as
it recurs, the students
should choose a note that
is comfortably in their
playing range that they
can play beautifully.
They should, however,
strive to choose a
different note than their
neighbor, and can change
the note as this
technique recurs. The
melody at measure 11
should sound soft, light,
and sneaky! Do not let
the students get too loud
at m. 17. If anything,
this section should be
slightly softer. The
woodblock and cowbell add
a touch of urgency (like
the ticking of a clock)
and humor (I got a
fevah!). Make sure the
countermelody at m. 25
can be heard clearly. At
m. 33, dynamic contrast
is very important. If
needed, a crash cymbal
from a drum set can be
used, and both cymbals
can be struck by a
drumstick. In either
case, suspended cymbal
should be played with a
drumstick (unless
rolling: then, use a pair
of yarn mallets). I
sincerely hope you and
your students enjoy the
cinematic journey, and
thank you for choosing my
music!. Secret Mission
is a cinematic depiction
of a spy on a mission to
defeat a nefarious
villain. This was
inspired by my love for
several spies and
superheroes from movies
and television series,
both serious and
humorous. With exciting
parts for all players, I
hope your imagination is
sparked by this
accessible and melodic
piece. In the opening,
the spy receives his
mission in grand fashion,
as the title sequence
rolls across the screen.
After a dramatic pause
(m. 10), the spy is on
the chase! The melody at
m. 11 depicts the spy
doing reconnaissance on
his enemy. The villain
reveals his evil plan,
and soon, the hero and
the villain face off in
an epic battle! Who do
you think wins? Is it a
serious thriller or a
hilarious cartoon? Decide
for your own as you see
the end credits scroll!
It's an epic journey sure
to spark your
imagination. For smaller
ensembles, the power
chords in the low brass
can be divided such that
trombones take the top
note, and euphonium the
bottom, or divide it as
is appropriate for your
ensemble. At m. 9, and as
it recurs, the students
should choose a note that
is comfortably in their
playing range that they
can play beautifully.
They should, however,
strive to choose a
different note than their
neighbor, and can change
the note as this
technique recurs. The
melody at measure 11
should sound soft, light,
and sneaky! Do not let
the students get too loud
at m. 17. If anything,
this section should be
slightly softer. The
woodblock and cowbell add
a touch of urgency (like
the ticking of a clock)
and humor (I got a
fevah!). Make sure the
countermelody at m. 25
can be heard clearly. At
m. 33, dynamic contrast
is very important. If
needed, a crash cymbal
from a drum set can be
used, and both cymbals
can be struck by a
drumstick. In either
case, suspended cymbal
should be played with a
drumstick (unless
rolling: then, use a pair
of yarn mallets). I
sincerely hope you and
your students enjoy the
cinematic journey, and
thank you for choosing my
music!. Secret Mission
is a cinematic depiction
of a spy on a mission to
defeat a nefarious
villain. This was
inspired by my love for
several spies and
superheroes from movies
and television series,
both serious and
humorous. With exciting
parts for all players, I
hope your imagination is
sparked by this
accessible and melodic
piece. In the opening,
the spy receives his
mission in grand fashion,
as the title sequence
rolls across the screen.
After a dramatic pause
(m. 10), the spy is on
the chase! The melody at
m. 11 depicts the spy
doing reconnaissance on
his enemy. The villain
reveals his evil plan,
and soon, the hero and
the villain face off in
an epic battle! Who do
you think wins? Is it a
serious thriller or a
hilarious cartoon? Decide
for your own as you see
the end credits scroll!
It’s an epic
journey sure to spark
your imagination.For
smaller ensembles, the
power chords in the low
brass can be divided such
that trombones take the
top note, and euphonium
the bottom, or divide it
as is appropriate for
your ensemble. At m. 9,
and as it recurs, the
students should choose a
note that is comfortably
in their playing range
that they can play
beautifully. They should,
however, strive to choose
a different note than
their neighbor, and can
change the note as this
technique recurs. The
melody at measure 11
should sound soft, light,
and sneaky! Do not let
the students get too loud
at m. 17. If anything,
this section should be
slightly softer. The
woodblock and cowbell add
a touch of urgency (like
the ticking of a clock)
and humor (I got a
fevah!). Make sure the
countermelody at m. 25
can be heard clearly. At
m. 33, dynamic contrast
is very important. If
needed, a crash cymbal
from a drum set can be
used, and both cymbals
can be struck by a
drumstick. In either
case, suspended cymbal
should be played with a
drumstick (unless
rolling: then, use a pair
of yarn mallets). I
sincerely hope you and
your students enjoy the
cinematic journey, and
thank you for choosing my
music! $53.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Secret Mission [Conducteur] - Débutant Carl Fischer
Band Bass Clarinet, Bass Drum, Bells, Clarinet, Cowbell, Crash Cymbals, Euphoniu...(+)
Band Bass Clarinet, Bass
Drum, Bells, Clarinet,
Cowbell, Crash Cymbals,
Euphonium, Euphonium
T.C., Flute, Horn, Mallet
Percussion, Oboe,
Percussion 1, Percussion
2, Snare Drum, Suspended
Cymbal, Timpani,
Trombone, Trumpet, Tuba,
Wood Block and more. -
Grade 1 SKU:
CF.BPS132F Composed
by Jason Taurins. Sws.
Bps. Full score. 12
pages. Carl Fischer Music
#BPS132F. Published by
Carl Fischer Music
(CF.BPS132F). ISBN
9781491158470. UPC:
680160917075. 9 x 12
inches. Secret
Mission is a cinematic
depiction of a spy on a
mission to defeat a
nefarious villain. This
was inspired by my love
for several spies and
superheroes from movies
and television series,
both serious and
humorous. With exciting
parts for all players, I
hope your imagination is
sparked by this
accessible and melodic
piece. In the opening,
the spy receives his
mission in grand fashion,
as the title sequence
rolls across the screen.
After a dramatic pause
(m. 10), the spy is on
the chase! The melody at
m. 11 depicts the spy
doing reconnaissance on
his enemy. The villain
reveals his evil plan,
and soon, the hero and
the villain face off in
an epic battle! Who do
you think wins? Is it a
serious thriller or a
hilarious cartoon? Decide
for your own as you see
the end credits scroll!
Itas an epic journey sure
to spark your
imagination. For smaller
ensembles, the power
chords in the low brass
can be divided such that
trombones take the top
note, and euphonium the
bottom, or divide it as
is appropriate for your
ensemble. At m. 9, and as
it recurs, the students
should choose a note that
is comfortably in their
playing range that they
can play beautifully.
They should, however,
strive to choose a
different note than their
neighbor, and can change
the note as this
technique recurs. The
melody at measure 11
should sound soft, light,
and sneaky! Do not let
the students get too loud
at m. 17. If anything,
this section should be
slightly softer. The
woodblock and cowbell add
a touch of urgency (like
the ticking of a clock)
and humor (I got a
fevah!). Make sure the
countermelody at m. 25
can be heard clearly. At
m. 33, dynamic contrast
is very important. If
needed, a crash cymbal
from a drum set can be
used, and both cymbals
can be struck by a
drumstick. In either
case, suspended cymbal
should be played with a
drumstick (unless
rolling: then, use a pair
of yarn mallets). I
sincerely hope you and
your students enjoy the
cinematic journey, and
thank you for choosing my
music!. Secret Mission
is a cinematic depiction
of a spy on a mission to
defeat a nefarious
villain. This was
inspired by my love for
several spies and
superheroes from movies
and television series,
both serious and
humorous. With exciting
parts for all players, I
hope your imagination is
sparked by this
accessible and melodic
piece. In the opening,
the spy receives his
mission in grand fashion,
as the title sequence
rolls across the screen.
After a dramatic pause
(m. 10), the spy is on
the chase! The melody at
m. 11 depicts the spy
doing reconnaissance on
his enemy. The villain
reveals his evil plan,
and soon, the hero and
the villain face off in
an epic battle! Who do
you think wins? Is it a
serious thriller or a
hilarious cartoon? Decide
for your own as you see
the end credits scroll!
It's an epic journey sure
to spark your
imagination. For smaller
ensembles, the power
chords in the low brass
can be divided such that
trombones take the top
note, and euphonium the
bottom, or divide it as
is appropriate for your
ensemble. At m. 9, and as
it recurs, the students
should choose a note that
is comfortably in their
playing range that they
can play beautifully.
They should, however,
strive to choose a
different note than their
neighbor, and can change
the note as this
technique recurs. The
melody at measure 11
should sound soft, light,
and sneaky! Do not let
the students get too loud
at m. 17. If anything,
this section should be
slightly softer. The
woodblock and cowbell add
a touch of urgency (like
the ticking of a clock)
and humor (I got a
fevah!). Make sure the
countermelody at m. 25
can be heard clearly. At
m. 33, dynamic contrast
is very important. If
needed, a crash cymbal
from a drum set can be
used, and both cymbals
can be struck by a
drumstick. In either
case, suspended cymbal
should be played with a
drumstick (unless
rolling: then, use a pair
of yarn mallets). I
sincerely hope you and
your students enjoy the
cinematic journey, and
thank you for choosing my
music!. Secret Mission
is a cinematic depiction
of a spy on a mission to
defeat a nefarious
villain. This was
inspired by my love for
several spies and
superheroes from movies
and television series,
both serious and
humorous. With exciting
parts for all players, I
hope your imagination is
sparked by this
accessible and melodic
piece. In the opening,
the spy receives his
mission in grand fashion,
as the title sequence
rolls across the screen.
After a dramatic pause
(m. 10), the spy is on
the chase! The melody at
m. 11 depicts the spy
doing reconnaissance on
his enemy. The villain
reveals his evil plan,
and soon, the hero and
the villain face off in
an epic battle! Who do
you think wins? Is it a
serious thriller or a
hilarious cartoon? Decide
for your own as you see
the end credits scroll!
It’s an epic
journey sure to spark
your imagination.For
smaller ensembles, the
power chords in the low
brass can be divided such
that trombones take the
top note, and euphonium
the bottom, or divide it
as is appropriate for
your ensemble. At m. 9,
and as it recurs, the
students should choose a
note that is comfortably
in their playing range
that they can play
beautifully. They should,
however, strive to choose
a different note than
their neighbor, and can
change the note as this
technique recurs. The
melody at measure 11
should sound soft, light,
and sneaky! Do not let
the students get too loud
at m. 17. If anything,
this section should be
slightly softer. The
woodblock and cowbell add
a touch of urgency (like
the ticking of a clock)
and humor (I got a
fevah!). Make sure the
countermelody at m. 25
can be heard clearly. At
m. 33, dynamic contrast
is very important. If
needed, a crash cymbal
from a drum set can be
used, and both cymbals
can be struck by a
drumstick. In either
case, suspended cymbal
should be played with a
drumstick (unless
rolling: then, use a pair
of yarn mallets). I
sincerely hope you and
your students enjoy the
cinematic journey, and
thank you for choosing my
music! $7.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Anitra's Dance Ensemble de Percussions [Partition + CD-ROM] Tapspace Publications
(from Peer Gynt Suite No. 1 arranged for percussion ensemble). Composed by Edvar...(+)
(from Peer Gynt Suite No.
1 arranged for percussion
ensemble). Composed by
Edvard Grieg (1843-1907).
Arranged by Brian Blume.
Percussion Ensembles. For
Glockenspiel, xylophone,
bell tree, chimes, 2
vibraphones, 2 low-A
marimbas, 1 low-C
marimba, 4 timpani,
double bass (optional),
triangle, 3 suspended
cymbals, windchimes, bass
drum, ride cymbal, and
finger cymbals (12-13
players). Difficulty:
Medium-Advanced. Folio
and CD-ROM. 10 pages.
Duration 3:15. Published
by Tapspace Publications
$40.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Light Cavalry Overture Ensemble de Percussions [Conducteur et Parties séparées] - Intermédiaire Kendor Music Inc.
By Franz von Suppe (1819-1895). Arranged by Murray Houllif. For percussion septe...(+)
By Franz von Suppe
(1819-1895). Arranged by
Murray Houllif. For
percussion septet (bells,
xylophone, vibes,
marimba, timpani,
tambourine/snare drum,
bass drum/cymbals). Grade
4. Score and parts.
Published by Kendor Music
Inc
$22.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Jock Jams Super Book - Cymbals Fanfare Hal Leonard
Contemporary Marching Band. Book only. Size 6.8x5.2 inches. 16 pages. Published ...(+)
Contemporary Marching
Band. Book only. Size
6.8x5.2 inches. 16 pages.
Published by Hal Leonard.
$3.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Messe solennelle (Saint Cecile) for Soloists, Choir and Orchestra Barenreiter
Flute-picc, 2 flutes, 2 oboes, 2 clarinets, 4 bassoon, 4 horn, 2Kor, 2 trumpets,...(+)
Flute-picc, 2 flutes, 2
oboes, 2 clarinets, 4
bassoon, 4 horn, 2Kor, 2
trumpets, 3 trombones,
timpani, Be, Tr-Gr, harp
(Piccolo flute, Flutes
(2), Oboes (2), Clarinets
(2), Bassoons (4), Horns
(4), Cornets (2),
Trumpets (2), Trombones
(3), Timpani, Cymbals,
Concert bass drum, Harp)
SKU: BA.BA08966-65
Composed by Charles
Francois Gounod. Edited
by Hans Schellevis. This
edition: urtext edition.
Stapled. Barenreiter
Urtext. Set of wind
parts. 192 pages.
Baerenreiter Verlag
#BA08966_65. Published by
Baerenreiter Verlag
(BA.BA08966-65). ISBN
9790006563982. 32.5 x
25.5 cm
inches. Sacred
works occupy a large part
of Charles Gounod's
oeuvre. It was the Messe
solennelle en l'honneur
de Sainte Cecile that
established his fame as a
church composer. Its
melodic invention and
effective handling of the
orchestra reveal a close
proximity to opera. This
Urtext edition is based
not only on the original
print of 1856 but also on
copyists' manuscripts and
autograph sources.
Rounding off this
well-researched Urtext
edition are an
informative Introduction
and a detailed Critical
Commentary. The edition
is being published to
celebrate the 200th
anniversary of Gounod's
birth.
About
Barenreiter Urtext
Orchestral
Parts
Why musicians
love to play from
Bärenreiter Urtext
Orchestral
Parts - Urtext
editions as close as
possible to the
composerâ€â„
s intentions - With
alternate versions in
full score and parts
- Orchestral parts in an
enlarged format of 25.5cm
x 32.5cm - With
cues, rehearsal letters,
and page turns where
players need them -
Clearly presented divisi
passages so that players
know exactly what they
have to play -
High-quality paper with a
slight yellow tinge which
does not glare under
lights and is thick
enough that reverse pages
do not shine
through
$122.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Prelude a lapres-midi dun faune for Orchestra Barenreiter
First flute, second flute, third flute, first oboe, second oboe, English horn, f...(+)
First flute, second
flute, third flute, first
oboe, second oboe,
English horn, first
clarinet, second
clarinet, first bassoon,
second bassoon, first
horn, second horn, third
horn, horn 4, Cymb, first
harp, second harp, (1.
Flute, 2. Flute, 3.
Flute, 1. Oboe, 2. Oboe,
Cor anglais, 1. Clarinet,
2. Clarinet, 1. Bassoon,
2. Bassoon, 1. Horn, 2.
Horn, 3. Horn, 4. Horn,
Antique cymbals, 1. Harp,
2. Harp) SKU:
BA.BA08841-65
Composed by Claude
Debussy. Edited by
Douglas Woodfull-Harris.
This edition: urtext
edition. Folded.
Barenreiter Urtext. Set
of wind parts.
4/4/4/3/3/3/3/3/3/3/3/3/3
/3/2/4/3 pages. Duration
10 minutes. Baerenreiter
Verlag #BA08841_65.
Published by Baerenreiter
Verlag (BA.BA08841-65).
ISBN 9790006540587.
32.5 x 25.5 cm
inches. Prelude a
l'apres-midi d'un faune,
often referred to as the
first composition of the
modern era, is one of
Debussy's most popular
and frequently performed
orchestral works. The
piece comes down to us in
an array of sources, and
several important ones
are drawn upon for the
first time in
Baerenreiter's new
scholarly-critical
edition. Most of the
currently available
editions are based on the
first edition from 1895
which, however, contains
many engraver errors.
When the corresponding
orchestral parts are also
taken into consideration,
countless discrepancies
are
revealed. Baerenreiter
's Urtext edition
incorporates readings of
a printed copy of the
score from c. 1908 which
shows corrections and
emendations by the
composer. These important
changes, found in no
other source, include
metronome markings,
different pitches and
additional notes, as well
as added tempo and
articulation markings,
which all subtly enhance
Debussy's finely sculpted
work. There is even a
breath mark added to the
famous solo flute passage
which opens the
work. * Scholarly
critical edition with
many corrections in the
score and orchestral
parts * Clear
presentation of
orchestral parts in an
enlarged format.
About
Barenreiter Urtext
Orchestral
Parts
Why musicians
love to play from
Bärenreiter Urtext
Orchestral
Parts - Urtext
editions as close as
possible to the
composerâ€â„
s intentions - With
alternate versions in
full score and parts
- Orchestral parts in an
enlarged format of 25.5cm
x 32.5cm - With
cues, rehearsal letters,
and page turns where
players need them -
Clearly presented divisi
passages so that players
know exactly what they
have to play -
High-quality paper with a
slight yellow tinge which
does not glare under
lights and is thick
enough that reverse pages
do not shine
through
$69.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Songs of Desire, Love, and Loss [Conducteur] Theodore Presser Co.
Chamber Music Bass Clarinet, Clarinet, Finger Cymbals, Flute, Glockenspiel, Mari...(+)
Chamber Music Bass
Clarinet, Clarinet,
Finger Cymbals, Flute,
Glockenspiel, Marimba,
Vibraphone SKU:
PR.11140259S For
Soprano and Chamber
Ensemble. Composed by
James Matheson. This
edition: score. The world
premiere was given at
Carnegie Hall, New York
City, on October 10,
2004. Contemporary.
Score. With Standard
notation. Composed August
29 2004. 60 pages.
Duration 18 minutes.
Theodore Presser Company
#111-40259S. Published by
Theodore Presser Company
(PR.11140259S). UPC:
680160638222. 9x12
inches. Text: Alan Dugan.
Alan Dugan. Poems Seven,
©Alan Dugan, published
by Seven Stories Press,
New York. The
poetry of Pulitzer Prize
winner Alan Dugan struck
a chord with Matheson,
who notes a certain
contradiction in the
poems and in his own
writings - an emotional
directness combined with
complexity. Matheson
chose seven Dugan poems,
which span decades, in
answering a 2004
commission by Carnegie
Hall through the Weill
Music Institute, and also
chose the Pierrot
ensemble to convey his
impressions. $35.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Semper Gratus [Conducteur] - Facile Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Chimes, Clarinet 1, Clarinet 2, C...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Bells,
Chimes, Clarinet 1,
Clarinet 2, Clarinet 3,
Crash Cymbals, Euphonium,
Euphonium T.C., Flute 1,
Flute 2, Gong, Horn 1,
Horn 2, Mallet Percussion
1, Mallet Percussion 2,
Mallet Percussion 3,
Marimba, Oboe and more. -
Grade 3 SKU:
CF.CPS251F Composed
by Patrick Glenn Harper.
Full score. 25 pages.
Carl Fischer Music
#CPS251F. Published by
Carl Fischer Music
(CF.CPS251F). ISBN
9781491159880. UPC:
680160918478. About
the Music Semper Gratus
is Latin for always
grateful. The piece was
written in honor of James
E. Champion, who taught
band for thirty-eight
years, twenty-five of
which were spent in
Florence, Alabama, where
he was my elementary
school and high school
band director. His bands
consistently achieved
superior ratings
throughout his career. He
holds
multi-decade-spanning
memberships in
professional music
education organizations,
continues to serve in
helping with Alabama
Bandmasters Association
events, and conducts and
performs in various
community bands and
ensembles. As my band
director at Bradshaw High
School, Mr. Champion
encouraged me to perform
one of my first
compositions, a clarinet
quartet, at solo/ensemble
festival. He taught his
students the fundamentals
of music, the technical
aspects of performance,
and exposed them to the
great standards of band
literature. But in doing
so, he also modeled
leadership, work-ethic,
good character, and
fostered the love of the
activity of band that led
me to choose music
education as a career.
And for that, I will
always be grateful.
Performance Notes
Measures 1-12: The
beginning of the piece
should be performed in a
majestic, fanfare-like
style. The woodwind cues
should only be used if
absolutely needed during
this section. Measures
41-58: The concert toms
should establish a
presence, but not
overpower the winds. The
triangle and woodblock
parts should be heard
distinctly over the
concert toms. A higher
pitched woodblock should
be used for this section.
(A set of claves could be
used in place of the
woodblock if desired.)
Measures 59-94: The
entirety of the middle
section should be played
in a rubato style to
maximize musical
expression, exaggerating
dynamics and ritardando
sections. The
quarter-note triplets in
the middle and low winds
should be emphasized at
m. 70. The molto
ritardando that begins at
m. 70 should be allowed
to build as long as
possible in m. 71 before
reaching the musical apex
of the middle section at
m. 72. At mm. 92-94,
depending on the size of
the ensemble, you may
want to limit the number
of players (or put one
per part) to achieve the
most delicate sound
possible. Measures
95-End: In mm. 99-107, be
sure that the eighth-note
running mallet parts are
heard as a background
texture, but do not
overpower the winds. In
mm. 114-115, the accents
on beats 2 and 4 in the
lower winds should be
exaggerated to contrast
the feel of the previous
four measures. In m. 118,
all winds should cut off
and breathe on beat two
for maximum impact on the
next three
measures. About the
MusicSemper Gratus is
Latin for “always
grateful.†The
piece was written in
honor of James E.
Champion, who taught band
for thirty-eight years,
twenty-five of which were
spent in Florence,
Alabama, where he was my
elementary school and
high school band
director. His bands
consistently achieved
superior ratings
throughout his career. He
holds
multi-decade-spanning
memberships in
professional music
education organizations,
continues to serve in
helping with Alabama
Bandmasters Association
events, and conducts and
performs in various
community bands and
ensembles. As my band
director at Bradshaw High
School, Mr. Champion
encouraged me to perform
one of my first
compositions, a clarinet
quartet, at solo/ensemble
festival. He taught his
students the fundamentals
of music, the technical
aspects of performance,
and exposed them to the
great standards of band
literature. But in
doing so, he also modeled
leadership, work-ethic,
good character, and
fostered the love of the
activity of band that led
me to choose music
education as a
career. And for that,
I will always be
grateful.Performance
NotesMeasures
1-12:Â Â The
beginning of the piece
should be performed in a
majestic, fanfare-like
style. The woodwind
cues should only be used
if absolutely needed
during this
section.Measures
41-58:Â Â The
concert toms should
establish a presence, but
not overpower the
winds.  The
triangle and woodblock
parts should be heard
distinctly over the
concert toms. A
higher pitched woodblock
should be used for this
section. (A set of
claves could be used in
place of the woodblock if
desired.)Â Measures
59-94:Â Â The
entirety of the middle
section should be played
in a rubato style to
maximize musical
expression, exaggerating
dynamics and ritardando
sections.  The
quarter-note triplets in
the middle and low winds
should be emphasized at
m. 70.  The molto
ritardando that begins at
m. 70 should be allowed
to build as long as
possible in m. 71 before
reaching the musical apex
of the middle section at
m. 72. At mm.
92–94, depending
on the size of the
ensemble, you may want to
limit the number of
players (or put one per
part) to achieve the most
delicate sound
possible.Measures
95-End:Â Â In mm.
99–107, be sure
that the eighth-note
running mallet parts are
heard as a background
texture, but do not
overpower the winds. In
mm. 114–115, the
accents on beats 2 and 4
in the lower winds should
be exaggerated to
contrast the feel of the
previous four measures.
 In m. 118, all winds
should cut off and
breathe on beat two for
maximum impact on the
next three measures. $14.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The ULTIMATE Collection for Marching and Pep Band Fanfare - Facile Alfred Publishing
(Featuring ten of the greatest rock and pop classics of all time (Cymbals)). Arr...(+)
(Featuring ten of the
greatest rock and pop
classics of all time
(Cymbals)). Arranged by
Doug Adams, Nick Baratta,
Ralph Ford, Victor
López, Shane Porter, and
Mike Story. Marching
Band. For Cymbals. Book;
Marching Band Collection.
Pop/Rock. Grade 2; Grade
2.5; Grade 3. 12 pages.
Published by Alfred Music
Publishing
$4.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Ultimate Organ Book
Orgue [Partition] Hope Publishing Company
Arranged by Hal H. Hopson. Church-Worship, Funeral, Funeral & Memorial, Wedding ...(+)
Arranged by Hal H.
Hopson. Church-Worship,
Funeral, Funeral &
Memorial, Wedding and
Sacred. Print Music
Collection (Book). 407
pages. Published by Hope
Publishing Company.
Level: (Moderate).
(4)$79.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Call of the Ancient Clans - Débutant Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Crash Cym...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Bells,
Clarinet 1, Clarinet 2,
Crash Cymbals, Euphonium,
Euphonium T.C., Flute,
Gong, Horn, Mallet
Percussion, Oboe,
Percussion 1, Percussion
2, Timpani, Tom-tom,
Trombone 1, Trombone 2,
Trumpet 1, Trumpet 2 and
more. - Grade 1.5 SKU:
CF.FPS164 Composed by
Amy Webb. Set of Score
and Parts. Carl Fischer
Music #FPS164. Published
by Carl Fischer Music
(CF.FPS164). ISBN
9781491163504. UPC:
680160922291. Call
of the Ancient Clans
takes players back to the
time of the dawn of man,
when neighboring tribes
could communicate with
each other not by racing
through the harsh jungle
or dry desert, but by the
use of different rhythm
instruments. Music was
also used in religious
rituals, celebrations and
to share the history of
the group.With an
interesting, pulsating
rhythm and catchy
woodwind lines, Call of
the Ancient Clans is sure
to light a fire under
students and get them
involved in making some
exhilarating music. The
notes can be easily
played by those with over
a year of band
experience, but will also
provide a good challenge,
as the first clarinets do
go over the break a
couple of times.Students
will have a lot of fun
playing double forte (who
doesn’t?).
However, caution students
that playing “as
loud as you canâ€
can lead to bad-sounding
notes. Balance with the
person next to you; if
you can’t hear
them, you’re too
loud. Double forte is a
bit like calling to your
friend from across the
gym when nobody else is
in there. You
don’t want to be
louder than that.Who has
the melody at each
rehearsal mark? Your
students should know and
if they do not, tell
them. If they
don’t have the
melody, they need to back
off their notes and play
softer. Let the melody
shine.Balance will make
this piece truly sing. I
hope you enjoy playing
it; I loved writing
it. $58.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
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