| Dramatic Essay Orchestre à Cordes [Conducteur et Parties séparées] - Débutant Alfred Publishing
By Mark Williams. Music by Mark Williams. For String Orchestra. String Orchestra...(+)
By Mark Williams. Music
by Mark Williams. For
String Orchestra. String
Orchestra. Strictly
Strings Series. Level: 1
(grade 1). Conductor
Score and Parts. 1 pages.
Published by Alfred
Publishing.
(6)$46.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Ein Spanier fur Elise ( CD) 1 Piano, 4 mains [Partition + CD] Breitkopf & Härtel
By Michael Proksch. For Piano, 4-hands. This edition: Piano, 4-hands. Edition Br...(+)
By Michael Proksch. For
Piano, 4-hands. This
edition: Piano, 4-hands.
Edition Breitkopf.
Attached. 48 pages.
Published by Breitkopf
and Haertel (German
import).
$31.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Essay for Strings [Conducteur] Theodore Presser Co.
Orchestra Violin 1, Violin 2, Viola, Cello, Contrabass SKU: PR.11640110S ...(+)
Orchestra Violin 1,
Violin 2, Viola, Cello,
Contrabass SKU:
PR.11640110S Composed
by Adolphus Hailstork.
Full score. Duration 8
minutes. Theodore Presser
Company #116-40110S.
Published by Theodore
Presser Company
(PR.11640110S). UPC:
680160682744. The
Essay for Strings was
written in 1986 in memory
of Glenn Hull, a
colleague and the choir
director at Norfolk State
University during my
early years there. His
sudden passing was a
shock, and I expressed my
sadness in this work. It
was premiered that year
by the NSU orchestra at
their Winter concert. In
w000, after
conductor-composer
Coleridge Taylor
Perkinson gave the work
its second performance in
Chicago (with the
ensemble of the Center
For Black Music
Reasearch), I decided to
add it to my catalog of
orchestra works. The
designation Essay refers
to the fact that the
piece is based on one
idea (like a literary
essay). In this case the
musical idea (or motive)
is made from the initials
of my deceased friend,
Glenn Hull (G and H in
music are represented by
the pitches G and
B-natural). These two
notes are sounded
throughout the work in
tribute to him. $16.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Essay for Strings Theodore Presser Co.
Orchestra Violin 1, Violin 2, Viola, Cello, Contrabass SKU: PR.11640110L ...(+)
Orchestra Violin 1,
Violin 2, Viola, Cello,
Contrabass SKU:
PR.11640110L Composed
by Adolphus Hailstork.
Large Score. Duration 8
minutes. Theodore Presser
Company #116-40110L.
Published by Theodore
Presser Company
(PR.11640110L). UPC:
680160682751. The
Essay for Strings was
written in 1986 in memory
of Glenn Hull, a
colleague and the choir
director at Norfolk State
University during my
early years there. His
sudden passing was a
shock, and I expressed my
sadness in this work. It
was premiered that year
by the NSU orchestra at
their Winter concert. In
w000, after
conductor-composer
Coleridge Taylor
Perkinson gave the work
its second performance in
Chicago (with the
ensemble of the Center
For Black Music
Reasearch), I decided to
add it to my catalog of
orchestra works. The
designation Essay refers
to the fact that the
piece is based on one
idea (like a literary
essay). In this case the
musical idea (or motive)
is made from the initials
of my deceased friend,
Glenn Hull (G and H in
music are represented by
the pitches G and
B-natural). These two
notes are sounded
throughout the work in
tribute to him. $22.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Jeff Cortazzo : Opus Esoterica, Op. 18a Quatuor de cuivres: 4 trombones [Conducteur et Parties séparées] BRS Music
Composed by Jeff Cortazzo. For trombone quartet. Grade 6. Score and parts. D...(+)
Composed by Jeff
Cortazzo.
For trombone quartet.
Grade
6. Score and parts.
Duration
7 minutes, 30 seconds.
Published by BRS Music
$25.00 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Brenda Stubbert's - The Second Collection Violon [Partition] - Intermédiaire Cranford Publication
Edited by Paul Stewart Cranford. Arranged by Melissa Emmons. For Fiddle. Solos. ...(+)
Edited by Paul Stewart
Cranford. Arranged by
Melissa Emmons. For
Fiddle. Solos. Cranford
Publications.
Canadian-Maritime.
Intermediate. Book. 80
pages
$19.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Three Essays Quatuor de Saxophones: 4 saxophones Advance Music
4 Saxophones SATBar SKU: AP.1-ADV7666 For SATBar Saxophone Quartet...(+)
4 Saxophones SATBar
SKU: AP.1-ADV7666
For SATBar Saxophone
Quartet. Composed by
Joey Sellers. Quartet;
Solo Small Ensembles;
Woodwind - Saxophone
Quartet. Advance Music.
Form: Suite. Jazz. Score
and Part(s). Advance
Music #01-ADV7666.
Published by Advance
Music (AP.1-ADV7666).
ISBN 9783892217275.
UPC: 805095076660.
English. Three-move
ment suite for SATB
saxophone quartet. The
first movement simply
spins out a five-note
shape in an improvisatory
fashion. The second
movement attempts to
offer a poignant
introspection to the
outside movements. The
third movement is a
microtonally compressed
treatment of the original
five-note shape of the
first movement. Though
completely notated, the
ideas and development are
conceived in an
improvisatory
fashion. $39.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Prophesies [Conducteur et Parties séparées] Theodore Presser Co.
Chamber Music Cello, Viola, Violin 1, Violin 2 SKU: PR.114419030 Score...(+)
Chamber Music Cello,
Viola, Violin 1, Violin 2
SKU: PR.114419030
Score and Parts.
Composed by Mohammed
Fairouz. Sws. Score and
parts. With Standard
notation. 68 pages.
Duration 25 minutes.
Theodore Presser Company
#114-41903. Published by
Theodore Presser Company
(PR.114419030). ISBN
9781491114124. UPC:
680160669851. 9 x 12
inches. A
fascination with
polycultural synergy
between diverse literary
textsdrives the
inspiration for much of
Mohammed Fairouz’s
prodigiouscreative
output, including
instrumental music as
well as vocal. Inhis
profound and extensive
essay preceding the
score, Fairouz shedslight
on how Edgar Allen
Poe’s “Israfel”
relates to the
prophetsand prophesies of
the Quran, Old Testament,
and New Testament.The
eight-movement quartet
may be heard as a
dramatic galleryof
portraits and of
story-telling,
flourishing in a
post-traditionallanguage
that is at once
vernacular and spiritual,
Middle Easternand
Western. The complete set
of score and parts is
included in
thispublication. (See
pages 2-3 of score for
clear distinction of
paragraphs,
etc.)Prophesies, by
Mohammed FairouzEdgar
Allen Poe’s rendition
of Israfel was the point
of departure for the
final movement of my
previous stringquartet
which is titled The Named
Angels. At the opening of
his poem, Poe evokes the
Quran:“And the angel
Israfel, whose
heartstrings are a lute,
and who has the sweetest
voice of all God’s
creatures.”This informs
the first lines of the
poem that, in turn, gave
me the title for the
final movement of The
Named
Angels,“Israfel’s
Spell”:In Heaven a
spirit doth dwell“Whose
heartstrings are a
lute”None sing so
wildly wellAs the angel
Israfel,And the giddy
stars (so legends
tell),Ceasing their
hymns, attend the spellOf
his voice, all mute.It is
the end of that poem,
however, that is the
starting point for the
current quartet,
Prophesies, which
concernsitself with
mortal prophets rather
than eternal Angelic
spirits.If I could
dwellWhere IsrafelHath
dwelt, and he where I,He
might not sing so wildly
wellA mortal melody,While
a bolder note than this
might swellFrom my lyre
within the sky.Islamic
thought has asked us to
look at the example of
the prophets. That’s
significant because of
the fact thatJoseph and
all the prophets were
human beings with the
flaws of human beings. No
prophet was perfect,
andIslamic tradition has
never asked its followers
to aspire to the example
of the Angels, the
perfected ones. Instead
weare given the gift of
our prophets. While The
Named Angels drew on the
motion and energy of
everlasting
spirits,Prophesies is a
depiction of the
movements within our own
mortal coil.This quartet
is a continuation of a
long tradition of Muslim
artists telling their
stories and singing their
songs.Many of these
renditions are, in fact,
figurative and (contrary
to popular belief) the
Quran contains no
“Islamicedict”
prohibiting figurative
renditions of the figures
described in the Old
Testament, New Testament,
or Quran.The majority of
artists, however, have
preferred eternal and
abstract forms such as
words and their
calligraphicrepresentatio
ns, poems (Yusuf and
Zuleikha or the
Conference of Birds come
immediately to mind),
architecture,and many
other non-figurative art
forms to the
representation of man.
These cold, ancient, and
everlasting shapesof
unending time flourished,
and the divine infinity
of representing geometric
forms gained favor over
the placementof the
explicit representation
of mankind and our own
likeness at the center of
the universes.Adding the
string quartet to these
forms which express the
recursive spheres of
heavens and earth
abstractly shouldexplain
why I have chosen to
render higher things
through the use of music
without the addition of
words or anyother
art-form. It is the
abstract art of pure
form, in which all is
form and all is content,
which compels me.
Thisquartet should be
seen as no more
programmatic than the
arches of the Great
Mosque at Cordoba.The
first movement, Yāqub
(Jacob), is slow, quiet
and prayerful. It evokes
the patient sorrow of a
slow choraledeveloping
over time as it coaxes
our pulse out of the
ticking of a clock-like
meter that defines our
day-to-day livesand into
a divine eternity.The
second, Saleh, imagines
the spirit of that
desert-prophet through
the use of a Liwa; the
dance-sequence that
hasbeen such a prevalent
form of expression in the
Arabian Peninsula for
much of our recorded
history.The third
movement is titled
Dawoōd, and it is
emblematic of the beloved
Prophet, King, and
Psalmist, David.Though it
has no lyrics, the
movement functions as a
dabkeh (an ancient dance
native to the Levant) and
also “sets”the
opening of Psalm 100
(Make a joyful noise unto
the Lord, all ye lands).
This line is never set to
music or sung inthe
quartet but is evoked
through the rhythmic
shape of the violin part
which imitates the
phonology and rhythmof my
speaking the opening line
in the Hebrew and
develops the contours of
that line incessantly
throughout
themovement.3The fourth
movement is an ode to
Yousef (Joseph) and
relates to the first
movement in tempo and
tone just as
Josephrelates to Jacob,
his father. Together, the
first and fourth
movements provide a sort
of Lamentation and
relief.Joseph had the
appearance of a noble
angel, but he was very
much a human being. And
the story of this
particularprophet had
tragic beginnings many
years before he found
himself in a position of
power in Egypt. Back in
his youth,still among the
Israelites, Joseph
experienced a series of
revelations through his
dreams that spoke of his
impendingcareer in
prophecy. He confided his
dreams to his father, the
Prophet Jacob, who told
his son of the greatness
thatawaited him in his
future only to have his
brothers throw him into a
well and leave him for
dead. Joseph
eventuallyfound his way
from Israel to Egypt and
rose out of slavery into
a position of power.
Meanwhile, famine engulfs
Israel.Forty years pass,
and back in the land of
Jacob and Rachel, of
Joseph’s brothers and
Abraham’s tribe, Israel
wasnot spared the effects
of the famine. They
sorely lacked Joseph’s
prophecy and his vision.
The Qur’an then tells
usthat Jacob, sensing
Joseph, sends the other
brothers to Egypt
instructing them to come
back with food and
grain.Arriving in Egypt,
they unwittingly appear
before Joseph. They
don’t recognize their
little brother who has
risen toa position of
might, dressed in his
Egyptian regalia. They
ask for the food and the
grain.After some
conversation, Joseph is
no longer able to contain
his emotion. Overcome, he
reveals himself to his
nowterrified brothers. He
embraces them. He asks
them eagerly, “How is
our father?” Joseph
gives them the gift of
thefood and the grain
that they came in search
of. He relieves them from
hunger and alleviates
their fear. He sendsthem
back with proof that he
is alive, and it is this
joyful proof from the
miraculous hands of a
prophet that bringsback
the ancient Jacob’s
vision after 40 years of
blindness.In this story,
I am struck by the fact
that Joseph may not have
made the decision to
forgive his brothers on
thespot, but that
something inside the
prophet’s soul found
forgiveness and peace for
the brothers who had so
gravelywronged him at
some point along his
journey. I would suspect
this point to have been
present at Joseph’s
inception,even before he
had ever been
wronged.This is proof, if
we needed it, that
Joseph’s angel-like
beauty was not only
physical and external,
but also internalas well:
Joseph possessed a
profound loveliness of
spirit that bound his
appearance and his soul.
In Joseph, formand soul
are one.Time is to
musicians what light is
to a painter. In this
way, the story of Joseph
also shows us that time
can affectour perception
of even the most tragic
wounds. In fact, the most
common Arabic word for
“human being” is
insaan,which shares its
roots with the word
insaa, “to forget.”
While our ability to
remember is essential to
how we learnabout
ourselves, our capacity
to “forgive and
forget” may also be one
of our great gifts as
human beings.The fifth
movement follows my ode
to Joseph with a
structural memory of
Mūsa (Moses). The
movement consistsentirely
of descending motifs
which I constructed as an
indication of Moses’
descending movement as he
emergedto his people from
the heights of Mt. Sinai.
The music is constructed
in five phrases which
function as a
formalreference to the
five books of Moses, the
Pentateuch. The movement
is placed as the fifth of
the quartet for the
samereason.While Joseph
is always evoked as
supremely beautiful in
the Books of Judaism,
Christianity, and Islam,
Suleiman(Solomon) is
described as surpassing
in his quicksilver
intelligence. This
movement is composed of a
seven-partriddle which
passes by in an instant
but can be caught by the
attentive listener. From
Solomon, we work our
wayback to Yishak (Isaac)
in a seventh movement
that evokes Isaac’s
literal meaning in Arabic
and Hebrew: laughter.The
eighth and final movement
of this quartet is named
for the Patriarch of the
entire Book: Ibrahim
(Abraham). Itrelates to
Isaac just as Joseph
relates to Jacob; they
are father and son. The
lines are prayerful and
contemplative;the form of
the music evolves from a
fugue joining together
many different forms of
prayer into a single
tapestry ofcounterpoint,
to the cyclical form of
this entire quartet which
is rendered through the
motion of pilgrims
circling theKaaba (cube)
in Mecca — a structure
which was built by
Abraham for Hagaar and
their son Ismail.These
are just some of the
figures that are
cherished by all three of
the Middle Eastern
monotheisms
(Judaism,Christianity,
and Islam) that the
Qur’an refers to
collectively as Ahl
Al-Kitab. This Arabic
phrase is most
commonlytranslated as
“The People of the
Book,” but here the
most common translation
is a flawed one: the
Arabic word“ahl”
means “family” and
not just “people.” A
better translation would
be “Family of the
Book.” Each of the
eightmovements of
Prophesies grows from a
single musical cell.This
quartet is a family
album.—Mohammed Fairouz
(2018. $45.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| A Farewell Wish Carl Fischer
Choral alto 1, alto 2, solo Voices, soprano 1, soprano 2 SKU: CF.CM9768 C...(+)
Choral alto 1, alto 2,
solo Voices, soprano 1,
soprano 2 SKU:
CF.CM9768 Composed by
Z. Randall Stroope.
Duration 3 minutes, 19
seconds. Carl Fischer
Music #CM9768. Published
by Carl Fischer Music
(CF.CM9768). ISBN
9781491160343. UPC:
680160923298. Key: G
major.
English. About the
WorkThe text of this work
is most often attributed
to Ralph Waldo Emerson,
although it doesn't
mirror his style, and no
research credits an
essay, book or letter
with its source. Other
individuals are
occasionally suggested as
possible authors, but
equally unsubstantiated.
Even whether the textis a
poem or a quote seems
unclear. But there is one
thing that is without
question: that this
beloved text has inspired
countless people and
contributed toward a view
of the world through eyes
of hope, resilience,
courage, beauty, and joy.
Music for this text
flowed more easily than
about any text I have
ever set. It has an
emotional connection that
is mystical, and after I
read it for the first
time, I immediately sat
down and wrote this work
without stop.Rehearsal
NotesIn many cases, art
is more expressive and
reaches a wider range of
human emotions when
multiple artistic fields
are fused together. Such
is the case with choral
music: the intertwining
of literature, music, and
very often dance, visual
arts, and more. The story
in choral music is often
quite specific, much like
film scoring. At times,
the music is the picture
frame (score) around the
picture (text), while at
others the music is the
leading
dramatic/emotional
impetus.In the present
case (My Farewell Wish),
the text is sincere,
innocent, heartfelt, and
earnest. By all accounts,
the message is
altruistic, expressing
selfless desire for
another's present/future
happiness. Capturing this
message has a strong
reliance on the
performers to not only
carry the emotional
intent of the moment (a
phrase of text or a
measure), but the the
energy and continuance of
the message
throughout.The use of the
[o] vowel functions
almost as instrumental
interludes or
underpinning of strings.
The conductor may use the
[o] as indicated in the
score, or a [u] vowel, a
hum (with [o] as the
vowel inside the mouth),
or all three at different
times for different
reasons. In an acoustical
performance (no mic), the
soloist and the ensemble
are a reflection of each
other's natural sound.
And, even gentle, warm
solo voices should have
no trouble projecting.Two
final thoughts: 1) the
obbligato or added voice
or two on high passages
(m. 66) or a single note
(final chord) will be
best delivered by
lyrical, pure voices with
demonstrated control; and
2) the metronome marking
of 80 bpm (mm.
1–81) was strongly
considered and should be
followed.About the
ComposerZ. Randall
Stroope is an American
composer and conductor.
His composition teachers
were Normand Lockwood and
Cecil Effinger, both
students of the Nadia
Boulanger, the famous
French teacher (and
student of Gabriel
FaureÌ). Randall is
the artistic director of
two international summer
music festivals, is an
Honorary Board Member of
the NationalAssociation
of Italian Choral
Directors, and has
conducted in 25
countries. He has
directed over 40 times at
Carnegie Hall, and is a
frequent conductor at
other prestigious concert
venues. Randall has 190
published works, and his
music can be heard on
Spotify, YouTube and
other platforms,
including his website
(www.zrstroope.com). $2.30 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| More First Person Singular Reflections on Worship, Liturgy, Church Music, and Children in Worship MorningStar Music Publishers
SKU: MN.90-51 Composed by Carl Schalk. This edition: paperback. Book. Mor...(+)
SKU: MN.90-51
Composed by Carl Schalk.
This edition: paperback.
Book. MorningStar Music
Publishers #90-51.
Published by MorningStar
Music Publishers
(MN.90-51). UPC:
688670090516. 8 1/2 x 11
inches. A
delightful second volume
of brief essays by
revered professor of
church music, Carl
Schalk. Carl’s
wit, charm, and wisdom
shine through each of
these essays. Some may
make you uncomfortable
while others will make
you laugh. As with the
original book, First
Person Singular, these
essays are refreshing and
remarkable insights into
our work as church
musicians. Ultimately,
all will make you think.
Paperback. 60 pages. $12.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Symphonie I in C Minor Orgue [Conducteur]
Composed by Charles Marie Widor (1844-1937). Edited by John R. Near. This editio...(+)
Composed by Charles Marie
Widor (1844-1937). Edited
by John R. Near. This
edition: critical
edition. Score. Published
by A-R Editions
(A2.N011).
$48.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Classical Riqq Technique [Partition + Accès audio] Mel Bay
Hand percussion and bodhran - Beginning; Intermediate; Advanced SKU: MB.22062...(+)
Hand percussion and
bodhran - Beginning;
Intermediate; Advanced
SKU: MB.22062M
Composed by Michel Merhej
Baklouk. Squareback
saddle stitch,
Percussion: Hand
Percussion and Bodhran,
Method. World Music. Book
and online audio. 128
pages. Mel Bay
Publications, Inc
#22062M. Published by Mel
Bay Publications, Inc
(MB.22062M). ISBN
9781513460536. 8.75 x
11.75 inches. Built
around the life and
teachings of master
percussionist, Michel
Merhej Baklouk, this book
has been designed as a
biographical tribute, a
teaching manual, and a
resource guide for anyone
wishing to develop a
deeper understanding of
the role that percussion
plays in Near Eastern
Arabic music. This book
differs from most
technique manuals in that
it includes historical
information about Arabic
music as it pertains to
the life and work of a
single artist, Michel
Merhej Baklouk.The book
is composed of three
parts: Introduction,
Lessons, and Reference
Information. Each part is
written to stand on its
own as well as fit with
the whole so that readers
can approach the book
either as individual
articles and lessons, or
in its entirety, to be
read from cover to cover.
By presenting Michel's
work in this way, we hope
to appeal to a wider
audience, percussion
students at varying skill
levels and from varying
music disciplines and
backgrounds, students of
music and Middle Eastern
studies, or anyone else
interested in twentieth
century Arab music and
culture.The first part,
Introduction, contains
several essays about
Michel's life, his
teaching philosophy,
pedagogical practices,
musical aesthetics and
performance practices.
Although these sections
may be read
independently, they are
also designed to help
percussion students apply
the book's lessons to
their own playing and
musical
interpretations.The
technical focus of this
book is on the riqq;
however, students of
Arabic music (beginning
through advanced) can
adapt the practical
exercises to gain mastery
of the percussion
instrument(s) of their
choice.The second part,
Lessons, begins with
information about how to
hold the percussion
instrument (case in
point: the riqq) and how
to practice effectively.
It then presents the body
of exercises that Michel
developed for his
students. These exercises
have been taken directly
from Michel's notated
lessons, which he
developed into units
corresponding to levels
of proficiency, or
academic years as he
taught them at the
Conservatory in Beirut;
however, for the purposes
of this book, the
exercises are reorganized
to correspond to subject
matter and only roughly
mirror Michel's
conservatory sequence.
Unit 1, Technique
Building Exercises, is
aimed at novice players
or anyone who is new to
reading music. Units 2
through 5 focus on
specific rhythmic
structures with
increasing complexity.
Students should master
each unit of exercises
before proceeding to the
next unit. The third
part, Reference
Information, includes a
notation reference, a
list of rhythms, a list
of further reading
recommendations, and a
glossary of Arabic music
terms, many of which are
used in the text. All
Arabic words in this book
appear in italics, except
proper names, and with
the exception of some
proper Arab names, the
text is essentially
written in the standard
system of transliteration
used by the Library of
Congress and most
academic literature
Throughout the book you
will see quotations from
Michel offset in the
text. These prosaic
tidbits may be words of
wisdom, interesting
anecdotes about Michel's
life, or insights into
his work and world of
music.Each provides a
glimpse into the
personality of this
exceptional musician. As
a technical manual for
students of Arabic
percussion, Classical
Riqq Technique provides
specific exercises and
explores important
concepts, some of which
are rarely taught, even
in private lessons. At
the same time, this book
strives for a broader
goal, to present and
preserve classical
percussion from the
perspective of a master
who not only lived in but
also influenced the
golden age of Arabic
music. Includes access to
online audio. $22.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
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