| Habits of a Successful Musician: Clarinet Clarinette GIA Publications
(A Comprehensive Curriculum for Use During Fundamentals Time). By Scott Rush and...(+)
(A Comprehensive
Curriculum for Use During
Fundamentals Time). By
Scott Rush and Rich Moon.
For clarinet. High school
and middle school bands.
Music Education - Band
Method. Method book. 68
pages. Published by GIA
Publications
$9.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| First Class - In Concert Orchestre d'harmonie [Partie séparée] - Débutant De Haske Publications
Beginning Band - Grade 1.5 - E Flat Alto Clarinet, E Flat Alto Sax - E Flat Part...(+)
Beginning Band - Grade
1.5 - E Flat Alto
Clarinet, E Flat Alto Sax
- E Flat Part 2. By Jacob
De Haan. De Haske Concert
Band Full Set. 16 pages.
Published by De Haske
Publications.
$7.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Acequia Madre Alto, Piano Boosey and Hawkes
Piano Accompaniment; Viola (Score and Solo Part) SKU: HL.48024203 Viol...(+)
Piano Accompaniment;
Viola (Score and Solo
Part) SKU:
HL.48024203 Viola
and Piano. Composed
by Magnus Lindberg.
Boosey & Hawkes Chamber
Music. Classical.
Softcover. 26 pages.
Boosey & Hawkes
#M060133077. Published by
Boosey & Hawkes
(HL.48024203). ISBN
9781784542689.
9.0x12.0x0.127
inches. The
composer states: Acequia
Madre demonstrates an
approach which was
somewhat new to the style
of my musical expression
at the time of its
composition [2012]:
structuring a work with
the focus on its melodic
aspects. I drew
inspiration from other
creative artists through
one of my 'rituals': I
surrounded myself with
the scores of composers
who, for one reason or
another, were on my mind
at the time, like Iannis
Xenakis, Alban Berg's
'Four Pieces for Clarinet
and Piano,' and
'Contrasts for violin,
clarinet and piano' by
Bela Bartok, plus
Schubert's haunting final
'String Quartet No. 15.'
Conquering technical
difficulties is something
I find particularly
rewarding when playing
acoustic instruments:
fully aware that today's
electronics can triumph
over a composer's most
demanding technical
challenges, I love the
idea of performers
encountering their
instruments with
virtuosity ... doing
something that seems to
defy physical
boundaries.. $35.00 - Voir plus => Acheter | | |
| Something Connected with Energy Orchestre Chester
Orchestra (Full Score) SKU: HL.238319 (2008). Composed by Michael ...(+)
Orchestra (Full Score)
SKU: HL.238319
(2008). Composed
by Michael Nyman. Music
Sales America. Classical.
Softcover. Composed 2017.
324 pages. Chester Music
#CH74756. Published by
Chester Music
(HL.238319). UPC:
888680888442. 9x12
inches. Somethin
g Connected with
Energy was composed
in 2008 and was
commissioned by the
Festival Della Scienza
2008, Genova, Italy with
financial support by
ERG.
Scored for
Flute/Piccolo,
Clarinet/Bass Clarinet,
Alto/Tenor Saxophone,
Horn, Trumpet,
Vibraphone, Piano and
Strings. Duration is
approximately: 48
minutes. $125.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Under The Sun's Gaze Theodore Presser Co.
Chamber Music SKU: PR.41641301L Concerto da Camera III. Composed b...(+)
Chamber Music SKU:
PR.41641301L
Concerto da Camera
III. Composed by
Shulamit Ran. Large
Score. With Standard
notation. Duration 19
minutes. Theodore Presser
Company #416-41301L.
Published by Theodore
Presser Company
(PR.41641301L). UPC:
680160619795. Under
the Sun's Gaze as a title
for a musical composition
conjures up many
possibilities. It is, in
fact, an imagined line
from an unwritten poem,
invented with the idea of
capturing something of
the visual aura the
sounds and energy of this
work invoke in its
composer' mind. An
omnipotent presence in
all of nature, a source
of life yet also capable
of its destruction, the
sun affects the light and
dark in our physical
existence as it defines
the daily and seasonal
life. The music of this
work, in three
interlocking parts, takes
turns being exuberant,
caressing, scorching,
receding, hazy, lazy,
blazing, dissolving into
darkness, blinding in its
intensity. Subtitled
Concerto da Camera III,
this work is written for
what has become known as
the standard Pierrot
instrumentation of flute,
clarinet, violin, cello,
piano plus percussion.
The difference here is
that the winds are
doubled - the two
flutists alternating with
piccolo and alto flute
and both clarinetists
also doubling on bass
clarinets. The ninth
member of the ensemble, a
soprano saxophone,
appears well into the
piece, its lyrical,
plaintively expressive
quality dominating the
musical terrain for a
while. While occasionally
joining the others for
some tutti outbursts, it
maintains its position as
something of a guest
throughout. Of the
various thematic ideas
that populate this work,
a six-note descending
line played by the
clarinet appearing right
at the work's opening
then arching back up
reveals itself, as the
music unfolds, to be the
principal melodic
building block of Under
the Sun's Gaze. Its
various transformations
include the plaintive
soprano saxophone melody
appearing in the middle
section. Just under 20
minutes in length, the
work in its totality can
be heard as being in a
loose arch form, its
ending receding into a
distant darkening horizon
which carries in it the
seed of the new dawn that
lies beyond. Under the
Sun's Gaze was
commissioned by the Serge
Koussevitzky Music
Foundation in the Library
of Congress for the San
Francisco Contemporary
Players, David Milnes,
conductor. $65.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Under The Sun's Gaze [Conducteur] Theodore Presser Co.
Chamber Music SKU: PR.416413010 Concerto da Camera III. Composed b...(+)
Chamber Music SKU:
PR.416413010
Concerto da Camera
III. Composed by
Shulamit Ran. Full score.
With Standard notation.
Duration 19 minutes.
Theodore Presser Company
#416-41301. Published by
Theodore Presser Company
(PR.416413010). UPC:
680160605682. Under
the Sun's Gaze as a title
for a musical composition
conjures up many
possibilities. It is, in
fact, an imagined line
from an unwritten poem,
invented with the idea of
capturing something of
the visual aura the
sounds and energy of this
work invoke in its
composer' mind. An
omnipotent presence in
all of nature, a source
of life yet also capable
of its destruction, the
sun affects the light and
dark in our physical
existence as it defines
the daily and seasonal
life. The music of this
work, in three
interlocking parts, takes
turns being exuberant,
caressing, scorching,
receding, hazy, lazy,
blazing, dissolving into
darkness, blinding in its
intensity. Subtitled
Concerto da Camera III,
this work is written for
what has become known as
the standard Pierrot
instrumentation of flute,
clarinet, violin, cello,
piano plus percussion.
The difference here is
that the winds are
doubled - the two
flutists alternating with
piccolo and alto flute
and both clarinetists
also doubling on bass
clarinets. The ninth
member of the ensemble, a
soprano saxophone,
appears well into the
piece, its lyrical,
plaintively expressive
quality dominating the
musical terrain for a
while. While occasionally
joining the others for
some tutti outbursts, it
maintains its position as
something of a guest
throughout. Of the
various thematic ideas
that populate this work,
a six-note descending
line played by the
clarinet appearing right
at the work's opening
then arching back up
reveals itself, as the
music unfolds, to be the
principal melodic
building block of Under
the Sun's Gaze. Its
various transformations
include the plaintive
soprano saxophone melody
appearing in the middle
section. Just under 20
minutes in length, the
work in its totality can
be heard as being in a
loose arch form, its
ending receding into a
distant darkening horizon
which carries in it the
seed of the new dawn that
lies beyond. Under the
Sun's Gaze was
commissioned by the Serge
Koussevitzky Music
Foundation in the Library
of Congress for the San
Francisco Contemporary
Players, David Milnes,
conductor. $34.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| String quartet no. 1 (2015) - Score & parts Quatuor à cordes: 2 violons, alto, violoncelle [Conducteur et Parties séparées] Fennica Gehrman
String quartet SKU: FG.55011-775-4 Composed by Alex Freeman. Classical, c...(+)
String quartet SKU:
FG.55011-775-4
Composed by Alex Freeman.
Classical, contemporary.
Score & parts. Fennica
Gehrman #55011-775-4.
Published by Fennica
Gehrman (FG.55011-775-4).
ISBN
9790550117754. Alex
Freeman found initial
inspiration for his
string quartet (2015) in
a series of photographs a
geologist friend showed
him of en échelon
veins in rock formations.
The open strings
punctuated with pizzicato
unisons that begin the
single-movement work call
to mind something
crystalline and
shimmering, which is
immediately infused with
tumbling lyrical lines in
something of a rapid
caccia technique
throughout. The middle of
the work becomes more
suspended in slower
material loosely based on
a technique of prolation
canon, comprises layers
of free, expressive,
lyrical, and even elegiac
music moving at different
speeds. As the work
concludes, the materials
converge in a
rhythmically pulsating
stasis and an almost
chorale-like statement.
Duration: c. 13'
This product
includes the score and
the parts (A4 sized).
American-Finn
ish composer Alex Freeman
(b.1972) has established
himself among the
foremost composers of
choral music in Finland.
A dedicated citizen of
his musical community, a
teacher, and a choral
singer himself, he
composes music that
reflects an appreciation
for a wide range of
aesthetics and a passion
for communicating with
listeners and performers.
In his choral works, in
particular, we find music
that aims to be sonorous,
melodic, and resonant,
but is always crafted to
carefully avoid the
cliches that can burden
conventional tonality.
His instrumental
works run the gamut: a
cantata with orchestra
based on poetry of
Whitman; a significant
body of solo piano works
that reveal deep roots in
everything from austere
absolute music to soaring
elegaic rhetoric (see
Albany Records, Inner
Voice); his chamber work
Blueshift (Navona
Records), which is a kind
of paean to Reich and
Adams in miniature;
open-ended modular works,
like various iterations
of his Slow All Clocks
for electronic media,
solo clarinet, and mixed
choirs of kanteles; and,
recently, some new
directions in microtonal
music. $48.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Stormbreak Ensemble de Percussions - Facile Tapspace Publications
(For Percussion Octet (and optional wind ensemble)). By Jim Casella. For Glocken...(+)
(For Percussion Octet
(and optional wind
ensemble)). By Jim
Casella. For
Glockenspiel, xylophone,
chimes, 4 timpani,
bongos, congas,
rainstick, vibra slap,
suspended cymbal,
woodblock, finger cymbal,
snare drum, brake drum,
hihat, ocean drum, 4
concert toms, cowbell,
shaker, splash cymbal,
china cymbal, tambourine,
triangle, b (8 percussion
players). This edition:
Percussion ensemble and
optional wind ensemble.
Concert Percussion
Ensembles. Optional Wind
Ensemble Parts Included
(divisi if applicable):
Flute, oboe, clarinet,
bass clarinet, contrabass
clarinet (E-flat),
bassoon, alto saxophone,
tenor saxophone, baritone
saxophone, trumpet,
french horn, trombone,
baritone, tuba.
Medium-Easy. Folio
parts on CD-Rom. 32
pages. Duration 3:30.
Published by Tapspace
Publications
$55.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Wave Big band [Conducteur et Parties séparées] Jazz Lines Publications
By Antonio Carlos Jobim. Edited by Rob Duboff and Jeffrey Sultanof. Arranged by ...(+)
By Antonio Carlos Jobim.
Edited by Rob Duboff and
Jeffrey Sultanof.
Arranged by Claus
Ogerman. For studio
ensemble (Piccolo
(doubles Alto Flute), C
Flute (doubles Alto
Flute), Alto Flute,
Trombone, 2 Violins, 2
Celli, Guitar, Piano,
Bass, Drums, Synthesizer
(optional)). Bossa Nova.
Medium. Score and parts.
Published by Jazz Lines
Publications
$50.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Manoir De Mes Reves (Django's Castle) Big band [Conducteur et Parties séparées] Jazz Lines Publications
By The Gerry Mulligan Concert Jazz Band. Edited by Ted Hogarth, Rob Duboff, and ...(+)
By The Gerry Mulligan
Concert Jazz Band. Edited
by Ted Hogarth, Rob
Duboff, and Jeffrey
Sultanof. Arranged by Bob
Brookmeyer. For big band
(Clarinet, Alto
Saxophone, Tenor
Saxophone, 2 Baritone
Saxophones, 3 Trumpets, 2
Trombones, Bass Trombone,
Bass, Drums (Optional)).
Ballad. Medium. Score and
parts. Published by Jazz
Lines Publications
$50.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Southern Charm Ensemble Jazz [Conducteur et Parties séparées] - Débutant Kendor Music Inc.
By Les Sabina. For jazz ensemble (Kendor Konvertible for 9-17 players) plus opti...(+)
By Les Sabina. For jazz
ensemble (Kendor
Konvertible for 9-17
players) plus optional
flute, clarinet, F horn,
tuba and vibes. Jazz
Gateway Series. Bluesy
Ballad. Easy. Score and
set of parts. Duration 3
minutes, 30 seconds.
Published by Kendor Music
Inc
$48.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| First Class - In Concert - Débutant De Haske Publications
Beginning Band - Grade 1.5 - E Flat Clarinet, E Flat Alto Sax - E Flat Part 1. D...(+)
Beginning Band - Grade
1.5 - E Flat Clarinet, E
Flat Alto Sax - E Flat
Part 1. De Haske Concert
Band Full Set. Size 9x12
inches. 16 pages.
Published by De Haske
Publications.
$7.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Joy Has Dawned Chorale SATB Hope Publishing Company
SATB choir SKU: HP.8973 Composed by Lloyd Larson. Arranged by Lloyd Larso...(+)
SATB choir SKU:
HP.8973 Composed by
Lloyd Larson. Arranged by
Lloyd Larson.
Accompaniment CD. Hope
Publishing Company #8973.
Published by Hope
Publishing Company
(HP.8973). UPC:
763628189730. Chris
tmas Musical The message
of Christmas is a message
of joy - and becomes the
central theme that is
woven throughout this
37-minute musical by
Lloyd Larson. Easily
learned, this work
contains eight selections
of both new and familiar
carols and spirituals,
including Keith Getty's
powerful song, 'Joy Has
Dawned. ' The work is
dynamically arranged for
SATB choirs and
orchestra, and is filled
with the joy of the
season, which
congregations will find
appealing, as the message
embraces the hope that we
have in both the good
days and the bad - that
joy has dawned upon the
world - giving us
something to
celebrate!
A
Christmas musical
composed & arranged by
Lloyd Larson,
orchestrated by Ed Hogan.
Included parts:
Conductor's Score, 2
Flutes, Oboe (or Soprano
Sax or Clarinet)*, 2
Clarinets, Bassoon (or
Bass Clarinet)*, 3 Horns
(or Alto Sax or
Clarinet)*, 3 Trumpets
(or Alto Sax)*, 2
Trombones (or Tenor Sax
or Baritone T.C.)*, Tuba,
Percussion, Harp, Piano,
2 Violins, Viola (or
Clarinet)*, Cello, Double
Bass/Electric Bass,
String Reduction,
*Alternate Parts on
CD-ROM. $89.95 - Voir plus => AcheterDélais: 4 to 6 business days | | |
| Joy Has Dawned Hope Publishing Company
SKU: HP.8976 Composed by Lloyd Larson. Arranged by Lloyd Larson. Set of 1...(+)
SKU: HP.8976
Composed by Lloyd Larson.
Arranged by Lloyd Larson.
Set of 10 CDs. Hope
Publishing Company #8976.
Published by Hope
Publishing Company
(HP.8976). UPC:
763628189761. Chris
tmas Musical The message
of Christmas is a message
of joy - and becomes the
central theme that is
woven throughout this
37-minute musical by
Lloyd Larson. Easily
learned, this work
contains eight selections
of both new and familiar
carols and spirituals,
including Keith Getty's
powerful song, 'Joy Has
Dawned. ' The work is
dynamically arranged for
SATB choirs and
orchestra, and is filled
with the joy of the
season, which
congregations will find
appealing, as the message
embraces the hope that we
have in both the good
days and the bad - that
joy has dawned upon the
world - giving us
something to
celebrate!
A
Christmas musical
composed & arranged by
Lloyd Larson,
orchestrated by Ed Hogan.
Included parts:
Conductor's Score, 2
Flutes, Oboe (or Soprano
Sax or Clarinet)*, 2
Clarinets, Bassoon (or
Bass Clarinet)*, 3 Horns
(or Alto Sax or
Clarinet)*, 3 Trumpets
(or Alto Sax)*, 2
Trombones (or Tenor Sax
or Baritone T.C.)*, Tuba,
Percussion, Harp, Piano,
2 Violins, Viola (or
Clarinet)*, Cello, Double
Bass/Electric Bass,
String Reduction,
*Alternate Parts on
CD-ROM. $79.95 - Voir plus => AcheterDélais: 4 to 6 business days | | |
| Joy Has Dawned CD Chorale Hope Publishing Company
Voice-Dominant (Reproducible) SKU: HP.8978 Composed by Lloyd Larson. Arra...(+)
Voice-Dominant
(Reproducible) SKU:
HP.8978 Composed by
Lloyd Larson. Arranged by
Lloyd Larson. Listening
CD. Hope Publishing
Company #8978. Published
by Hope Publishing
Company (HP.8978).
UPC:
763628189785. Chris
tmas Musical The message
of Christmas is a message
of joy - and becomes the
central theme that is
woven throughout this
37-minute musical by
Lloyd Larson. Easily
learned, this work
contains eight selections
of both new and familiar
carols and spirituals,
including Keith Getty's
powerful song, 'Joy Has
Dawned. ' The work is
dynamically arranged for
SATB choirs and
orchestra, and is filled
with the joy of the
season, which
congregations will find
appealing, as the message
embraces the hope that we
have in both the good
days and the bad - that
joy has dawned upon the
world - giving us
something to
celebrate!
A
Christmas musical
composed & arranged by
Lloyd Larson,
orchestrated by Ed Hogan.
Included parts:
Conductor's Score, 2
Flutes, Oboe (or Soprano
Sax or Clarinet)*, 2
Clarinets, Bassoon (or
Bass Clarinet)*, 3 Horns
(or Alto Sax or
Clarinet)*, 3 Trumpets
(or Alto Sax)*, 2
Trombones (or Tenor Sax
or Baritone T.C.)*, Tuba,
Percussion, Harp, Piano,
2 Violins, Viola (or
Clarinet)*, Cello, Double
Bass/Electric Bass,
String Reduction,
*Alternate Parts on
CD-ROM. $59.95 - Voir plus => AcheterDélais: 4 to 6 business days | | |
| Joy Has Dawned Hope Publishing Company
SKU: HP.8975 Composed by Lloyd Larson. Arranged by Lloyd Larson. Orchestr...(+)
SKU: HP.8975
Composed by Lloyd Larson.
Arranged by Lloyd Larson.
Orchestration.
Instrumental parts. Hope
Publishing Company #8975.
Published by Hope
Publishing Company
(HP.8975). UPC:
763628189754. Chris
tmas Musical The message
of Christmas is a message
of joy - and becomes the
central theme that is
woven throughout this
37-minute musical by
Lloyd Larson. Easily
learned, this work
contains eight selections
of both new and familiar
carols and spirituals,
including Keith Getty's
powerful song, 'Joy Has
Dawned. ' The work is
dynamically arranged for
SATB choirs and
orchestra, and is filled
with the joy of the
season, which
congregations will find
appealing, as the message
embraces the hope that we
have in both the good
days and the bad - that
joy has dawned upon the
world - giving us
something to
celebrate!
A
Christmas musical
composed & arranged by
Lloyd Larson,
orchestrated by Ed Hogan.
Included parts:
Conductor's Score, 2
Flutes, Oboe (or Soprano
Sax or Clarinet)*, 2
Clarinets, Bassoon (or
Bass Clarinet)*, 3 Horns
(or Alto Sax or
Clarinet)*, 3 Trumpets
(or Alto Sax)*, 2
Trombones (or Tenor Sax
or Baritone T.C.)*, Tuba,
Percussion, Harp, Piano,
2 Violins, Viola (or
Clarinet)*, Cello, Double
Bass/Electric Bass,
String Reduction,
*Alternate Parts on
CD-ROM. $399.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Joy Has Dawned Chorale SATB Hope Publishing Company
SATB choir SKU: HP.8972 Composed by Lloyd Larson. Arranged by Lloyd Larso...(+)
SATB choir SKU:
HP.8972 Composed by
Lloyd Larson. Arranged by
Lloyd Larson. Listening
CD. Hope Publishing
Company #8972. Published
by Hope Publishing
Company (HP.8972).
UPC:
763628189723. Chris
tmas Musical The message
of Christmas is a message
of joy - and becomes the
central theme that is
woven throughout this
37-minute musical by
Lloyd Larson. Easily
learned, this work
contains eight selections
of both new and familiar
carols and spirituals,
including Keith Getty's
powerful song, 'Joy Has
Dawned. ' The work is
dynamically arranged for
SATB choirs and
orchestra, and is filled
with the joy of the
season, which
congregations will find
appealing, as the message
embraces the hope that we
have in both the good
days and the bad - that
joy has dawned upon the
world - giving us
something to
celebrate!
A
Christmas musical
composed & arranged by
Lloyd Larson,
orchestrated by Ed Hogan.
Included parts:
Conductor's Score, 2
Flutes, Oboe (or Soprano
Sax or Clarinet)*, 2
Clarinets, Bassoon (or
Bass Clarinet)*, 3 Horns
(or Alto Sax or
Clarinet)*, 3 Trumpets
(or Alto Sax)*, 2
Trombones (or Tenor Sax
or Baritone T.C.)*, Tuba,
Percussion, Harp, Piano,
2 Violins, Viola (or
Clarinet)*, Cello, Double
Bass/Electric Bass,
String Reduction,
*Alternate Parts on
CD-ROM. $17.95 - Voir plus => AcheterDélais: 4 to 6 business days | | |
| Joy Has Dawned Hope Publishing Company
SKU: HP.8977 Preview Pack. Composed by Lloyd Larson. Arranged by L...(+)
SKU: HP.8977
Preview Pack.
Composed by Lloyd Larson.
Arranged by Lloyd Larson.
Collection. Book & CD. 96
pages. Hope Publishing
Company #8977. Published
by Hope Publishing
Company (HP.8977).
UPC:
763628189778. Chris
tmas Musical The message
of Christmas is a message
of joy - and becomes the
central theme that is
woven throughout this
37-minute musical by
Lloyd Larson. Easily
learned, this work
contains eight selections
of both new and familiar
carols and spirituals,
including Keith Getty's
powerful song, 'Joy Has
Dawned. ' The work is
dynamically arranged for
SATB choirs and
orchestra, and is filled
with the joy of the
season, which
congregations will find
appealing, as the message
embraces the hope that we
have in both the good
days and the bad - that
joy has dawned upon the
world - giving us
something to
celebrate!
A
Christmas musical
composed & arranged by
Lloyd Larson,
orchestrated by Ed Hogan.
Included parts:
Conductor's Score, 2
Flutes, Oboe (or Soprano
Sax or Clarinet)*, 2
Clarinets, Bassoon (or
Bass Clarinet)*, 3 Horns
(or Alto Sax or
Clarinet)*, 3 Trumpets
(or Alto Sax)*, 2
Trombones (or Tenor Sax
or Baritone T.C.)*, Tuba,
Percussion, Harp, Piano,
2 Violins, Viola (or
Clarinet)*, Cello, Double
Bass/Electric Bass,
String Reduction,
*Alternate Parts on
CD-ROM. $17.95 - Voir plus => AcheterDélais: 4 to 6 business days | | |
| Joy Has Dawned Chorale SATB Hope Publishing Company
SATB choir SKU: HP.8974 Composed by Lloyd Larson. Arranged by Lloyd Larso...(+)
SATB choir SKU:
HP.8974 Composed by
Lloyd Larson. Arranged by
Lloyd Larson.
Accompaniment CD. Hope
Publishing Company #8974.
Published by Hope
Publishing Company
(HP.8974). UPC:
763628189747. Chris
tmas Musical The message
of Christmas is a message
of joy - and becomes the
central theme that is
woven throughout this
37-minute musical by
Lloyd Larson. Easily
learned, this work
contains eight selections
of both new and familiar
carols and spirituals,
including Keith Getty's
powerful song, 'Joy Has
Dawned. ' The work is
dynamically arranged for
SATB choirs and
orchestra, and is filled
with the joy of the
season, which
congregations will find
appealing, as the message
embraces the hope that we
have in both the good
days and the bad - that
joy has dawned upon the
world - giving us
something to
celebrate!
A
Christmas musical
composed & arranged by
Lloyd Larson,
orchestrated by Ed Hogan.
Included parts:
Conductor's Score, 2
Flutes, Oboe (or Soprano
Sax or Clarinet)*, 2
Clarinets, Bassoon (or
Bass Clarinet)*, 3 Horns
(or Alto Sax or
Clarinet)*, 3 Trumpets
(or Alto Sax)*, 2
Trombones (or Tenor Sax
or Baritone T.C.)*, Tuba,
Percussion, Harp, Piano,
2 Violins, Viola (or
Clarinet)*, Cello, Double
Bass/Electric Bass,
String Reduction,
*Alternate Parts on
CD-ROM. $94.95 - Voir plus => AcheterDélais: 4 to 6 business days | | |
| Hope Remains Within [Conducteur] - Facile Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bongos, Brake Drum, Chimes, Clarinet 1, ...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Bongos,
Brake Drum, Chimes,
Clarinet 1, Clarinet 2,
Euphonium, Euphonium
T.C., Flute 1, Flute 2,
Horn, Mallet Percussion
1, Mallet Percussion 2,
Oboe, Percussion 1,
Percussion 2, Percussion
3, Snare Drum and more. -
Grade 2.5 SKU:
CF.YPS217F Composed
by Zachary Cairns. Sws.
Yps. Full score. 24
pages. Duration 4
minutes, 48 seconds. Carl
Fischer Music #YPS217F.
Published by Carl Fischer
Music (CF.YPS217F).
ISBN 9781491156551.
UPC: 680160915095. 9 x 12
inches. Hope
Remains Within was
commissioned by and
composed for the Mount
Nittany Middle School 7th
and 8th Grade Concert
Bands. Having heard the
students of Mount Nittany
perform another work of
mine, I was very excited
when their director,
Johanna Steinbacher,
approached me about
writing a piece
specifically for them. I
knew right away that I
wanted to write something
that would tie in with
their non-music
curriculum in some way,
but I wasn't exactly sure
how, or what. Johanna
talked to some of her
students and learned
that, in 7th grade, the
students spend a good
deal of time studying
mythology in their
English class. In
particular, two clarinet
students mentioned how
much they enjoyed the
story of Pandora. As
such, I decided to use
that story as the basis
of this composition. Hope
Remains Within doesn't
attempt to re-tell the
story, event by event, in
musical terms. Instead,
my goal was to address
what seems to be one of
the central issues of the
Pandora myth. Though
there are some
variations, we probably
all know the basics as
told by the ancient Greek
poet Hesiod. Zeus decides
to punish Prometheus for
stealing fire from heaven
and giving it to humans.
He and the other gods
create Pandora, a
beautiful and deceitful
woman, and they give her
to Prometheus's brother
Epimetheus as a bride.
Pandora is herself given
a jar (according to many
sources, jar seems to be
a more accurate
translation for what we
commonly call Pandora's
box) which contained
numerous evils, diseases,
and other pains. Out of
curiosity, Pandora opens
the jar and releases all
of these evils into the
world. But one thing
remains in the jar: hope.
The issue of hope seems
to be one of the big
interpretive questions of
the Pandora myth. Why
does hope remain within
the jar? Why doesn't it
come out of the jar to
help humanity? Is hope
being held on a pedestal
of some sort? Is hope
deliberately withheld
from humanity? Why was
hope in the jar with all
those evils in the first
place? I'm not enough of
a mythological scholar to
claim to have definitive
answers to those
questions, but these are
the questions that I've
tried to engage from a
musical perspective in
Hope Remains Within. I
encourage the students
and listeners to consider
their own ideas of what
hope is, and where you
can find your own hope
when needed. Musically,
Hope Remains Within draws
one of its main themes
from the Prometheus
Symphony by Alexander
Skryabin (Scriabin). The
note sequence F-D-Gb -F,
heard near Hope's
beginning played by alto
saxophones and chimes,
comes from the opening
measures of Skyrabin's
work. Given the important
role that Prometheus
plays in the Pandora
myth, this seemed like an
appropriate musical
gesture to quote. This
Prometheus motive is
varied throughout the
course of the piece, and
even provides closure at
the end, recast in a
major key. Additionally,
I have tried to involve a
manageable amount of
chromaticism in this
piece. I have worked from
the key of Bb major, no
doubt familiar to every
student who has ever
played an instrument in a
band. But I have added
three extra notes: Db,
Gb, and Ab, which are
drawn from the key of Bb
minor. During the piece's
slow opening, I have
allowed these minor key
pitches to mingle freely
within the Bb major
tonality, adding extra
color and (I hope!)
beauty. As the piece
progresses, though, the
tempo increases, and we
lose sense of the Bb
major key entirely, and
these extra notes play a
more important role. But
finally, Bb major returns
triumphantly and all the
extra notes are gone,
except for a brief memory
near the very end. (Ok,
there are a couple of
E-naturals that sneak in
there along the way. I
couldn't
resist.). Hope Remains
Within was commissioned
by and composed for the
Mount Nittany Middle
School 7th and 8th Grade
Concert Bands. Having
heard the students of
Mount Nittany perform
another work of mine, I
was very excited when
their director, Johanna
Steinbacher, approached
me about writing a piece
specifically for them. I
knew right away that I
wanted to write something
that would tie in with
their non-music
curriculum in some way,
but I wasn’t
exactly sure how, or
what. Johanna talked to
some of her students and
learned that, in 7th
grade, the students spend
a good deal of time
studying mythology in
their English class. In
particular, two clarinet
students mentioned how
much they enjoyed the
story of Pandora.As such,
I decided to use that
story as the basis of
this composition. Hope
Remains Within
doesn’t attempt to
re-tell the story, event
by event, in musical
terms. Instead, my goal
was to address what seems
to be one of the central
issues of the Pandora
myth. Though there are
some variations, we
probably all know the
basics as told by the
ancient Greek poet
Hesiod. Zeus decides to
punish Prometheus for
stealing fire from heaven
and giving it to humans.
He and the other gods
create Pandora, a
beautiful and deceitful
woman, and they give her
to Prometheus’s
brother Epimetheus as a
bride. Pandora is herself
given a jar (according to
many sources,
“jar†seems
to be a more accurate
translation for what we
commonly call
“Pandora’s
boxâ€) which
contained numerous evils,
diseases, and other
pains. Out of curiosity,
Pandora opens the jar and
releases all of these
evils into the world. But
one thing remains in the
jar: hope.The issue of
hope seems to be one of
the big interpretive
questions of the Pandora
myth. Why does hope
remain within the jar?
Why doesn’t it
come out of the jar to
help humanity? Is hope
being held on a pedestal
of some sort? Is hope
deliberately withheld
from humanity? Why was
hope in the jar with all
those evils in the first
place?I’m not
enough of a mythological
scholar to claim to have
definitive answers to
those questions, but
these are the questions
that I’ve tried to
engage from a musical
perspective in Hope
Remains Within. I
encourage the students
and listeners to consider
their own ideas of what
hope is, and where you
can find your own hope
when needed.Musically,
Hope Remains Within draws
one of its main themes
from the Prometheus
Symphony by Alexander
Skryabin (Scriabin). The
note sequence F-D-Gb -F,
heard near Hope’s
beginning played by alto
saxophones and chimes,
comes from the opening
measures of
Skyrabin’s work.
Given the important role
that Prometheus plays in
the Pandora myth, this
seemed like an
appropriate musical
gesture to quote. This
Prometheus motive is
varied throughout the
course of the piece, and
even provides closure at
the end, recast in a
major key.Additionally, I
have tried to involve a
manageable amount of
chromaticism in this
piece. I have worked from
the key of Bb major, no
doubt familiar to every
student who has ever
played an instrument in a
band. But I have added
three extra notes: Db,
Gb, and Ab, which are
drawn from the key of Bb
minor. During the
piece’s slow
opening, I have allowed
these minor key pitches
to mingle freely within
the Bb major tonality,
adding extra color and (I
hope!) beauty. As the
piece progresses, though,
the tempo increases, and
we lose sense of the Bb
major key entirely, and
these extra notes play a
more important role. But
finally, Bb major returns
triumphantly and all the
extra notes are gone,
except for a brief memory
near the very end. (Ok,
there are a couple of
E-naturals that sneak in
there along the way. I
couldn’t
resist.). $11.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Hope Remains Within - Facile Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bongos, Brake Drum, Chimes, Clarinet 1, ...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Bongos,
Brake Drum, Chimes,
Clarinet 1, Clarinet 2,
Euphonium, Euphonium
T.C., Flute 1, Flute 2,
Horn, Mallet Percussion
1, Mallet Percussion 2,
Oboe, Percussion 1,
Percussion 2, Percussion
3, Snare Drum and more. -
Grade 2.5 SKU:
CF.YPS217 Composed by
Zachary Cairns. Folio.
Yps. Set of Score and
Parts.
8+8+4+8+8+4+2+6+4+4+4+8+8
+8+8+6+6+6+4+6+4+2+2+4+6+
10+24 pages. Duration 4
minutes, 48 seconds. Carl
Fischer Music #YPS217.
Published by Carl Fischer
Music (CF.YPS217).
ISBN 9781491156544.
UPC: 680160915088. 9 x 12
inches. Hope
Remains Within was
commissioned by and
composed for the Mount
Nittany Middle School 7th
and 8th Grade Concert
Bands. Having heard the
students of Mount Nittany
perform another work of
mine, I was very excited
when their director,
Johanna Steinbacher,
approached me about
writing a piece
specifically for them. I
knew right away that I
wanted to write something
that would tie in with
their non-music
curriculum in some way,
but I wasn't exactly sure
how, or what. Johanna
talked to some of her
students and learned
that, in 7th grade, the
students spend a good
deal of time studying
mythology in their
English class. In
particular, two clarinet
students mentioned how
much they enjoyed the
story of Pandora. As
such, I decided to use
that story as the basis
of this composition. Hope
Remains Within doesn't
attempt to re-tell the
story, event by event, in
musical terms. Instead,
my goal was to address
what seems to be one of
the central issues of the
Pandora myth. Though
there are some
variations, we probably
all know the basics as
told by the ancient Greek
poet Hesiod. Zeus decides
to punish Prometheus for
stealing fire from heaven
and giving it to humans.
He and the other gods
create Pandora, a
beautiful and deceitful
woman, and they give her
to Prometheus's brother
Epimetheus as a bride.
Pandora is herself given
a jar (according to many
sources, jar seems to be
a more accurate
translation for what we
commonly call Pandora's
box) which contained
numerous evils, diseases,
and other pains. Out of
curiosity, Pandora opens
the jar and releases all
of these evils into the
world. But one thing
remains in the jar: hope.
The issue of hope seems
to be one of the big
interpretive questions of
the Pandora myth. Why
does hope remain within
the jar? Why doesn't it
come out of the jar to
help humanity? Is hope
being held on a pedestal
of some sort? Is hope
deliberately withheld
from humanity? Why was
hope in the jar with all
those evils in the first
place? I'm not enough of
a mythological scholar to
claim to have definitive
answers to those
questions, but these are
the questions that I've
tried to engage from a
musical perspective in
Hope Remains Within. I
encourage the students
and listeners to consider
their own ideas of what
hope is, and where you
can find your own hope
when needed. Musically,
Hope Remains Within draws
one of its main themes
from the Prometheus
Symphony by Alexander
Skryabin (Scriabin). The
note sequence F-D-Gb -F,
heard near Hope's
beginning played by alto
saxophones and chimes,
comes from the opening
measures of Skyrabin's
work. Given the important
role that Prometheus
plays in the Pandora
myth, this seemed like an
appropriate musical
gesture to quote. This
Prometheus motive is
varied throughout the
course of the piece, and
even provides closure at
the end, recast in a
major key. Additionally,
I have tried to involve a
manageable amount of
chromaticism in this
piece. I have worked from
the key of Bb major, no
doubt familiar to every
student who has ever
played an instrument in a
band. But I have added
three extra notes: Db,
Gb, and Ab, which are
drawn from the key of Bb
minor. During the piece's
slow opening, I have
allowed these minor key
pitches to mingle freely
within the Bb major
tonality, adding extra
color and (I hope!)
beauty. As the piece
progresses, though, the
tempo increases, and we
lose sense of the Bb
major key entirely, and
these extra notes play a
more important role. But
finally, Bb major returns
triumphantly and all the
extra notes are gone,
except for a brief memory
near the very end. (Ok,
there are a couple of
E-naturals that sneak in
there along the way. I
couldn't
resist.). Hope Remains
Within was commissioned
by and composed for the
Mount Nittany Middle
School 7th and 8th Grade
Concert Bands. Having
heard the students of
Mount Nittany perform
another work of mine, I
was very excited when
their director, Johanna
Steinbacher, approached
me about writing a piece
specifically for them. I
knew right away that I
wanted to write something
that would tie in with
their non-music
curriculum in some way,
but I wasn’t
exactly sure how, or
what. Johanna talked to
some of her students and
learned that, in 7th
grade, the students spend
a good deal of time
studying mythology in
their English class. In
particular, two clarinet
students mentioned how
much they enjoyed the
story of Pandora.As such,
I decided to use that
story as the basis of
this composition. Hope
Remains Within
doesn’t attempt to
re-tell the story, event
by event, in musical
terms. Instead, my goal
was to address what seems
to be one of the central
issues of the Pandora
myth. Though there are
some variations, we
probably all know the
basics as told by the
ancient Greek poet
Hesiod. Zeus decides to
punish Prometheus for
stealing fire from heaven
and giving it to humans.
He and the other gods
create Pandora, a
beautiful and deceitful
woman, and they give her
to Prometheus’s
brother Epimetheus as a
bride. Pandora is herself
given a jar (according to
many sources,
“jar†seems
to be a more accurate
translation for what we
commonly call
“Pandora’s
boxâ€) which
contained numerous evils,
diseases, and other
pains. Out of curiosity,
Pandora opens the jar and
releases all of these
evils into the world. But
one thing remains in the
jar: hope.The issue of
hope seems to be one of
the big interpretive
questions of the Pandora
myth. Why does hope
remain within the jar?
Why doesn’t it
come out of the jar to
help humanity? Is hope
being held on a pedestal
of some sort? Is hope
deliberately withheld
from humanity? Why was
hope in the jar with all
those evils in the first
place?I’m not
enough of a mythological
scholar to claim to have
definitive answers to
those questions, but
these are the questions
that I’ve tried to
engage from a musical
perspective in Hope
Remains Within. I
encourage the students
and listeners to consider
their own ideas of what
hope is, and where you
can find your own hope
when needed.Musically,
Hope Remains Within draws
one of its main themes
from the Prometheus
Symphony by Alexander
Skryabin (Scriabin). The
note sequence F-D-Gb -F,
heard near Hope’s
beginning played by alto
saxophones and chimes,
comes from the opening
measures of
Skyrabin’s work.
Given the important role
that Prometheus plays in
the Pandora myth, this
seemed like an
appropriate musical
gesture to quote. This
Prometheus motive is
varied throughout the
course of the piece, and
even provides closure at
the end, recast in a
major key.Additionally, I
have tried to involve a
manageable amount of
chromaticism in this
piece. I have worked from
the key of Bb major, no
doubt familiar to every
student who has ever
played an instrument in a
band. But I have added
three extra notes: Db,
Gb, and Ab, which are
drawn from the key of Bb
minor. During the
piece’s slow
opening, I have allowed
these minor key pitches
to mingle freely within
the Bb major tonality,
adding extra color and (I
hope!) beauty. As the
piece progresses, though,
the tempo increases, and
we lose sense of the Bb
major key entirely, and
these extra notes play a
more important role. But
finally, Bb major returns
triumphantly and all the
extra notes are gone,
except for a brief memory
near the very end. (Ok,
there are a couple of
E-naturals that sneak in
there along the way. I
couldn’t
resist.). $75.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Star Spangled Banner Orchestre d'harmonie - Intermédiaire Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Clarinet 3, Cras...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Clarinet
1, Clarinet 2, Clarinet
3, Crash Cymbals,
Euphonium, Euphonium
T.C., Flute 1, Flute 2,
Glockenspiel, Horn 1,
Horn 2, Horn 3, Horn 4,
Mallet Percussion, Oboe,
Percussion 1, Percussion
2, Piccolo and more. -
Grade 4 SKU:
CF.SPS73 Composed by
John Stafford Smith.
Arranged by Sean
O'Loughlin. SWS FS. Carl
Fischer Symphonic
Performance Series. Set
of Score and Parts. With
Standard notation.
1+4+4+2+4+4+4+2+2+2+2+2+2
+3+3+3+2+2+2+2+3+3+3+2+3+
4+1+1+2+3+12 pages.
Duration 1 minute, 48
seconds. Carl Fischer
Music #SPS73. Published
by Carl Fischer Music
(CF.SPS73). ISBN
9781491147689. UPC:
680160905188. 9 x 12
inches. Key: Bb
major. Composer/arr
anger Sean O'Loughlin has
provided a refreshing new
setting of our National
Anthem. It was originally
written for orchestral
brass and percussion and
has been performed at
both MLB and NBA events.
The arrangement begins
with a bold fanfare to
set the tone, but also to
provide the motive glue
to hold the arrangement
together and create
something unique.
Creative harmonic usage
and colorful
orchestration really make
this version stand out
from the rest. There
have been many great
arrangements of our
National Anthem
throughout the years .
The responsibility of
creating one that truly
brought something new to
the mix was very daunting
. I was fortunate enough
to get an opportunity to
write this version for
the Oregon Symphony Brass
Section to perform at the
Portland Trail Blazers
NBA games . Subsequent
performances have
occurred with the
Baltimore Symphony at the
Baltimore Orioles MLB
games . At this time, it
is my supreme honor to
adapt this for the
advanced concert band .In
bringing something new, I
decided to start with a
bold fanfare to set the
tone for this great music
. Introducing some more
dissonant harmonies also
created a more intense
feel .The first stanza
includes a flowing
counter line in the horns
and alto saxophones . The
trumpets interject some
flourishes on the second
pass to further the
intensity . These
flourishes continue
“ . . . when the
rockets red glare!â€
The final push at m . 29
is colored with pulsating
16th notes in the
woodwinds that lead to
some dramatic harmony at
the fermata in m . 32 .
The opening fanfare then
returns to let everyone
know that it's time to
“Play
ball!â€. $110.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Labyrinth Theodore Presser Co.
Band Bass Clarinet, Bass Trombone, Bassoon, Clarinet, Contrabass, Contrabassoon,...(+)
Band Bass Clarinet, Bass
Trombone, Bassoon,
Clarinet, Contrabass,
Contrabassoon, English
Horn, Euphonium, Flute,
Horn, Keyboard, Oboe,
Percussion, Piccolo,
Timpani, Trumpet, Tuba,
alto Saxophone, baritone
Saxophone, soprano
Saxophone, tenor
Saxophone and more.
SKU: PR.11540425S
Composed by Carter Pann.
Study Score. 92 pages.
Duration 26 minutes.
Theodore Presser Company
#115-40425S. Published by
Theodore Presser Company
(PR.11540425S). UPC:
680160688142. MyÂ
work Labyrinth for
Ithaca College could have
easily been titled as my
Third Symphony. The work
is larger in scope than
every other work of mine
for winds, save perhaps
my first symphony. The
piece is cast in two main
parts, each consisting of
two movements. As it
happened I wrote the
movements backwards
(fitting for something
called Labyrinth). The
size of the band is on
par with that of Karel
Husa’s Music for
Prague 1968 with one
exception, there is an
electric keyboard part
which lends certain
moments in the piece an
other-worldly ambience...
sounds that are
altogether different from
anything possible from
acoustic instruments. At
the risk of sounding
obvious or mundane, I had
two words floating around
my brain during the
composing of this work
— HUGE and
melodic. My
predisposition to create
inherently melodic music
is inescapable at this
point in my composing
career. This is the kind
of music I have
gravitated towards since
beginning at the piano so
long ago. I don’t
write ambient or spectral
music, nor do I write
music replete with
extended techniques. The
crafting of melodies with
gravitas has always made
my process of composing
the most satisfying. The
very last movement of
Labyrinth is a gargantuan
crescendo the likes of
the last movement of
Respighi’s The
Pines of Rome or
Ravel’s Bolero and
should leave the audience
and players sonically
drenched by the end.
I’m so honored to
have this opportunity to
compose for Ithaca
College’s 50th
Anniversary of that
seminal work of Karel
Husa’s. I have
known Music for Prague
1968 as long as
I’ve known serious
music for winds. It is my
aim that every moment of
Labyrinth offers the
players as much to bite
their teeth on as it
leaves the audience in
its throng from start to
finish. -CP. $46.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Labyrinth Theodore Presser Co.
Band Bass Clarinet, Bass Trombone, Bassoon, Clarinet, Contrabass, Contrabassoon,...(+)
Band Bass Clarinet, Bass
Trombone, Bassoon,
Clarinet, Contrabass,
Contrabassoon, English
Horn, Euphonium, Flute,
Horn, Keyboard, Oboe,
Percussion, Piccolo,
Timpani, Trumpet, Tuba,
alto Saxophone, baritone
Saxophone, soprano
Saxophone, tenor
Saxophone and more.
SKU: PR.11540425L
Composed by Carter Pann.
Large Score. 92 pages.
Duration 26 minutes.
Theodore Presser Company
#115-40425L. Published by
Theodore Presser Company
(PR.11540425L). UPC:
680160688159. MyÂ
work Labyrinth for
Ithaca College could have
easily been titled as my
Third Symphony. The work
is larger in scope than
every other work of mine
for winds, save perhaps
my first symphony. The
piece is cast in two main
parts, each consisting of
two movements. As it
happened I wrote the
movements backwards
(fitting for something
called Labyrinth). The
size of the band is on
par with that of Karel
Husa’s Music for
Prague 1968 with one
exception, there is an
electric keyboard part
which lends certain
moments in the piece an
other-worldly ambience...
sounds that are
altogether different from
anything possible from
acoustic instruments. At
the risk of sounding
obvious or mundane, I had
two words floating around
my brain during the
composing of this work
— HUGE and
melodic. My
predisposition to create
inherently melodic music
is inescapable at this
point in my composing
career. This is the kind
of music I have
gravitated towards since
beginning at the piano so
long ago. I don’t
write ambient or spectral
music, nor do I write
music replete with
extended techniques. The
crafting of melodies with
gravitas has always made
my process of composing
the most satisfying. The
very last movement of
Labyrinth is a gargantuan
crescendo the likes of
the last movement of
Respighi’s The
Pines of Rome or
Ravel’s Bolero and
should leave the audience
and players sonically
drenched by the end.
I’m so honored to
have this opportunity to
compose for Ithaca
College’s 50th
Anniversary of that
seminal work of Karel
Husa’s. I have
known Music for Prague
1968 as long as
I’ve known serious
music for winds. It is my
aim that every moment of
Labyrinth offers the
players as much to bite
their teeth on as it
leaves the audience in
its throng from start to
finish. -CP. $82.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Labyrinth Theodore Presser Co.
Band Bass Clarinet, Bass Trombone, Bassoon, Clarinet, Contrabass, Contrabassoon,...(+)
Band Bass Clarinet, Bass
Trombone, Bassoon,
Clarinet, Contrabass,
Contrabassoon, English
Horn, Euphonium, Flute,
Horn, Keyboard, Oboe,
Percussion, Piccolo,
Timpani, Trumpet, Tuba,
alto Saxophone, baritone
Saxophone, soprano
Saxophone, tenor
Saxophone and more.
SKU: PR.115404250
Composed by Carter Pann.
Set of Score and Parts.
92+8+12+12+12+12+8+8+12+1
2+12+12+12+12+12+12+8+12+
12+12+8+8+8+8+8+8+8+8+8+8
+8+8+8+8+8+8+12+8+8+8+8+8
+8 pages. Duration 26
minutes. Theodore Presser
Company #115-40425.
Published by Theodore
Presser Company
(PR.115404250). UPC:
680160688135. MyÂ
work Labyrinth for
Ithaca College could have
easily been titled as my
Third Symphony. The work
is larger in scope than
every other work of mine
for winds, save perhaps
my first symphony. The
piece is cast in two main
parts, each consisting of
two movements. As it
happened I wrote the
movements backwards
(fitting for something
called Labyrinth). The
size of the band is on
par with that of Karel
Husa’s Music for
Prague 1968 with one
exception, there is an
electric keyboard part
which lends certain
moments in the piece an
other-worldly ambience...
sounds that are
altogether different from
anything possible from
acoustic instruments. At
the risk of sounding
obvious or mundane, I had
two words floating around
my brain during the
composing of this work
— HUGE and
melodic. My
predisposition to create
inherently melodic music
is inescapable at this
point in my composing
career. This is the kind
of music I have
gravitated towards since
beginning at the piano so
long ago. I don’t
write ambient or spectral
music, nor do I write
music replete with
extended techniques. The
crafting of melodies with
gravitas has always made
my process of composing
the most satisfying. The
very last movement of
Labyrinth is a gargantuan
crescendo the likes of
the last movement of
Respighi’s The
Pines of Rome or
Ravel’s Bolero and
should leave the audience
and players sonically
drenched by the end.
I’m so honored to
have this opportunity to
compose for Ithaca
College’s 50th
Anniversary of that
seminal work of Karel
Husa’s. I have
known Music for Prague
1968 as long as
I’ve known serious
music for winds. It is my
aim that every moment of
Labyrinth offers the
players as much to bite
their teeth on as it
leaves the audience in
its throng from start to
finish. -CP. $285.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| For the Mystic Harmony Theodore Presser Co.
Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clar...(+)
Band Bass Clarinet,
Bassoon 1, Bassoon 2,
Clarinet, Clarinet 1,
Clarinet 2, Clarinet 3,
Contrabass Clarinet,
Contrabassoon, English
Horn, Flute 1, Flute 2,
Oboe 1, Oboe 2, Piccolo,
alto Saxophone, soprano
Saxophone, tenor
Saxophone SKU:
PR.165001000 Hymns
for Wind Ensemble.
Composed by Dan Welcher.
Folio. Set of Score and
Parts.
4+24+24+16+8+4+4+24+12+12
+8+4+4+4+4+8+8+8+8+4+4+4+
4+8+8+8+8+8+8+8+8+4+16+4+
8+4+8+8+4+4+4+48 pages.
Duration 10 minutes, 41
seconds. Theodore Presser
Company #165-00100.
Published by Theodore
Presser Company
(PR.165001000). ISBN
9781491129241. UPC:
680160669776. 9 x 12
inches. Commissione
d for a consortium of
high school and college
bands in the north Dallas
region, FOR THEMYSTIC
HARMONY is a 10-minute
inspirational work in
homage to Norwood and
Elizabeth Dixon,patrons
of the Fort Worth
Symphony and the Van
Cliburn Competition.
Welcher draws melodic
flavorfrom five American
hymns, spirituals, and
folk tunes of the 19th
century. The last of
these sources toappear is
the hymn tune For the
Beauty of the Earth,
whose third stanza is the
quatrain: “For the
joy of earand eye, For
the heart and
mind’s delight,
For the mystic harmony,
Linking sense to sound
and sight,â€giving
rise to the work’s
title. This work,
commissioned for a
consortium of high school
bands in the north Dallas
area, is my fifteenth
maturework for wind
ensemble (not counting
transcriptions). When I
asked Todd Dixon, the
band director
whospearheaded this
project, what kind of a
work he most wanted, he
first said
“something
that’s basically
slow,†butwanted to
leave the details to me.
During a long subsequent
conversation, he
mentioned that his
grandparents,Norwood and
Elizabeth Dixon, were
prime supporters of the
Fort Worth Symphony,
going so far as to
purchase anumber of high
quality instruments for
that orchestra. This
intrigued me, so I asked
more about his
grandparentsand was
provided an 80-page
biographical sketch.
Reading that article,
including a long section
about theirdevotion to
supporting a young man
through the rigors of the
Van Cliburn International
Piano Competition fora
number of years, moved me
very much. Norwood and
Elizabeth Dixon
weren’t just
supporters of the arts;
theywere passionate
lovers of music and
musicians. I determined
to make this work a
testament to that love,
and tothe religious faith
that sustained them both.
The idea of using extant
hymns was also suggested
by Todd Dixon,and this
10-minute work is the
result.I have employed
existing melodies in
several works, delving
into certain kinds of
religious music more than
a fewtimes. In seeking
new sounds, new ways of
harmonizing old tunes,
and the contrapuntal
overlaying of one
tunewith another, I was
able to make works like
ZION (using 19th-century
Revivalist hymns) and
LABORING SONGS(using
Shaker melodies) reflect
the spirit of the
composers who created
these melodies, without
sounding likepastiches or
medleys. I determined to
do the same with this new
work, with the added
problem of
employingmelodies that
were more familiar. I
chose five tunes from the
19th century: hymns,
spirituals, and
folk-tunes.Some of these
are known by differing
titles, but they all
appear in hymnals of
various Christian
denominations(with
various titles and
texts). My idea was to
employ the tunes without
altering their notes,
instead using aconstantly
modulating sense of
harmony —
sometimes leading to
polytonal harmonizations
of what are
normallysimple four-chord
hymns.The work begins and
ends with a repeated
chime on the note C: a
reminder of steeples,
white clapboard
churchesin the country,
and small church organs.
Beginning with a
Mixolydian folk tune of
Caribbean origin
presentedtwice with
layered entrances, the
work starts with a
feeling of mystery and
gentle sorrow. It
proceeds, after along
transition, into a second
hymn that is sometimes
connected to the sea
(hence the sensation of
water andwaves throughout
it). This tune, by John
B. Dykes (1823-1876), is
a bit more chromatic and
“shifty†than
mosthymn-tunes, so I
chose to play with the
constant sensation of
modulation even more than
the original does. Atthe
climax, the familiar
spiritual “Were you
there?†takes over,
with a double-time
polytonal feeling
propelling itforward at
“Sometimes it
causes me to
tremble.â€Trumpets
in counterpoint raise the
temperature, and the
tempo as well, leading
the music into a third
tune (ofunknown
provenance, though it
appears with different
texts in various hymnals)
that is presented in a
sprightlymanner. Bassoons
introduce the melody, but
it is quickly taken up by
other instruments over
three
“verses,â€cons
tantly growing in
orchestration and volume.
A mysterious second tune,
unrelated to this one,
interrupts it inall three
verses, sending the
melody into unknown
regions.The final melody
is “For the Beauty
of the Earth.†This
tune by Conrad Kocher
(1786-1872) is commonly
sung atThanksgiving
— the perfect
choice to end this work
celebrating two people
known for their
generosity.Keeping the
sense of constant
modulation that has been
present throughout, I
chose to present this
hymn in threegrowing
verses, but with a twist:
every four bars, the
“key†of the
hymn seems to shift
— until the
“Lord of all,
toThee we praiseâ€
melody bursts out in a
surprising compound
meter. This, as it turns
out, was the
“mystery
tuneâ€heard earlier
in the piece. After an
Ivesian, almost polytonal
climax, the Coda begins
over a long B( pedal. At
first,it seems to be a
restatement of the first
two phrases of “For
the Beauty†with
long spaces between them,
but it soonchanges to a
series of
“Amenâ€
cadences, widely
separated by range and
color. These, too, do not
conform to anykey, but
instead overlay each
other in ways that are
unpredictable but
strangely comforting.The
third verse of “For
the Beauty of the
Earth†contains
this quatrain:“For
the joy of ear and eye,
–For the heart and
mind’s delightFor
the mystic harmonyLinking
sense to sound and
sightâ€and it was
from this poetry that I
drew the title for the
present work. It is my
hope that audiences and
performerswill find
within it a sense of
grace: more than a little
familiar, but also quite
new and unexpected. $150.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
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