| Zion Orchestre d'harmonie Theodore Presser Co.
Concert Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet...(+)
Concert Band Bass
Clarinet, Bassoon 1,
Bassoon 2, Clarinet,
Clarinet 1, Clarinet 2,
Clarinet 3,
Contrabassoon, English
Horn, Euphonium, Flute 1,
Flute 2, Flute 3, Horn 1,
Horn 2, Horn 3, Horn 4,
Oboe 1, Oboe 2,
Percussion 1, Percussion
2, Percussion 3 and more.
SKU: PR.16500092L
For Concert Band.
Composed by Dan Welcher.
Spiral. Contemporary.
Large Full Score. With
Standard notation.
Composed 1994. 76 pages.
Duration 10 minutes.
Theodore Presser Company
#165-00092L. Published by
Theodore Presser Company
(PR.16500092L). UPC:
680160039531. 11 x 17
inches. Zion is the
third and final
installment of a series
of works for Wind
Ensemble inspired by
national parks in the
western United States,
collectively called Three
Places in the West. As in
the other two works (The
Yellowstone Fires and
Arches), it is my
intention to convey more
an impression of the
feelings I've had in Zion
National Park in Utah
than an attempt at
pictorial description.
Zion is a place with
unrivalled natural
grandeur, being a sort of
huge box canyon in which
the traveler is
constantly overwhelmed by
towering rock walls on
every side of him -- but
it is also a place with a
human history, having
been inhabited by several
tribes of native
Americans before the
arrival of the Mormon
settlers in the mid-19th
century. By the time the
Mormons reached Utah,
they had been driven all
the way from New York
State through Ohio and,
with tragic losses,
through Missouri. They
saw Utah in general as a
place nobody wanted, but
they were nonetheless
determined to keep it to
themselves. Although Zion
Canyon was never a Mormon
Stronghold, the people
who reached it and
claimed it (and gave it
its present name) had
been through extreme
trials. It is the
religious fervor of these
persecuted people that I
was able to draw upon in
creating Zion as a piece
of music. There are two
quoted hymns in the work:
Zion's Walls (which Aaron
Copland adapted to his
own purposes in both is
Old American Songs and
the opera The Tender
Land) and Zion's
Security, which I found
in the same volume in
which Copland found
Zion's Walls -- that
inexhaustible storehouse
of 19th-century hymnody
called The Sacred Harp.
My work opens with a
three-verse setting of
Zion's Security, a stern
tune in F-sharp minor
which is full of resolve.
(The words of this hymn
are resolute and strong,
rallying the faithful to
be firm, and describing
the city of our God they
hope to establish). This
melody alternates with a
fanfare tune, whose
origins will be revealed
in later music, until the
second half of the piece
begins: a driving
rhythmic ostinato based
on a 3/4-4/4 alternating
meter scheme. This pauses
at its height to restate
Zion's Security one more
time, in a rather obscure
setting surrounded by
freely shifting patterns
in the flutes, clarinets,
and percussion -- until
the sun warms the ground
sufficiently for the
second hymn to appear.
Zion's Walls is set in
7/8, unlike Copland's
9/8-6/8 meters (the
original is quite
strange, and doesn't
really fit any constant
meter), and is introduced
by a warm horn solo. The
two hymns vie for
attention from here to
the end of the piece,
with the glowingly
optimistic Zion's Walls
finally achieving
prominence. The work ends
with a sense of triumph
and unbreakable spirit.
Zion was commissioned in
1994 by the wind
ensembles of the
University of Texas at
Arlington, the University
of Texas at Austin, and
the University of
Oklahoma. It is dedicated
to the memory of Aaron
Copland. $105.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Siku's Song Chorale [Partition + CD] Hal Leonard
(Storybook from Musical Tales for Modern Minds). For Choral. J3 Music Studios. H...(+)
(Storybook from Musical
Tales for Modern Minds).
For Choral. J3 Music
Studios. Hardcover with
CD. Published by Hal
Leonard
$24.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Rodelinda, Regina de' Langobardi [Vocal Score] Barenreiter
Dramma per musica in tre atti. By Georg Friedrich Handel. Edited by Jones, Andre...(+)
Dramma per musica in tre
atti. By Georg Friedrich
Handel. Edited by Jones,
Andrew V. Arranged by Rot
Michael. For Recorder 1,
Recorder 2, Flute, Oboe
1, Oboe 2, Horn 1, Horn
2, Violin 1, Violin 2,
Violin 3, Viola,
Violoncello, Contrabass,
Bassoon, Lute,
Harpsichord. Piano
Reduction/Vocal Score;
Urtext Edition
(paperbound). HWV 19.
Published by
Baerenreiter-Ausgaben
(German import).
(1)$80.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Zion Theodore Presser Co.
Orchestra Bassoon 1, Bassoon 2, Bassoon 3, Clarinet 1, Clarinet 2, Clarinet 3, C...(+)
Orchestra Bassoon 1,
Bassoon 2, Bassoon 3,
Clarinet 1, Clarinet 2,
Clarinet 3, Contrabass,
Flute 1, Flute 2, Flute
3, Harp, Horn 1, Horn 3,
Horn 4, Oboe 1, Oboe 2,
Oboe 3, Percussion 1,
Percussion 2, Percussion
3, Percussion 4, Piano,
Timpani, Trombone 1 and
more. SKU:
PR.466000470 Composed
by Dan Welcher. Spiral.
Large Score. With
Standard notation.
Duration 10 minutes.
Theodore Presser Company
#466-00047. Published by
Theodore Presser Company
(PR.466000470). UPC:
680160099405. 11 x 17
inches. This is the
second incarnation of a
work I first composed in
1994 for symphonic wind
ensemble. The earlier
version was intended to
be the summation of
three-part suite, each
part being named for a
different national park
in the Western United
States. This orchestral
version, commissioned in
1999 by the Utah Symphony
and dedicated to the
memory of Aaron Copland,
is more than a re-scoring
of the earlier piece; it
is a re-thinking of all
its elements. Zion is a
place with unrivaled
natural grandeur, being a
sort of huge box canyon
in which the traveler is
constantly overwhelmed by
towering rock walls on
every side of him -- but
it is also a place with a
human history, having
been inhabited by several
tribes of native
Americans before the
arrival of the Mormon
settlers in the mid-19th
century. By the time the
Mormons reached Utah,
they had been driven all
the way from New York
State through Ohio and,
with tragic losses,
through Missouri. They
saw Utah in general as a
place nobody wanted, but
they were nonetheless
determined to keep it to
themselves. Although Zion
Canyon was never a Mormon
Stronghold, the people
who reached it and
claimed it (and gave it
its present name) had
been through extreme
trials. It is the
religious fervor of these
persecuted people that I
was able to draw upon in
creating Zion as a piece
of music. There are two
quoted hymns in the work:
Zion's Walls (which Aaron
Copland adapted to his
own purposes in both his
Old American Songs and
the opera The Tender
Land) and Zion's
Security, which I found
in the same volume in
which Copland found
Zion's Walls -- that
inexhaustible storehouse
of 19th-century hymnody
called The Sacred Harp.
My work opens with a
three-verse setting of
Zion's Security, a stern
tune in F-sharp minor
which is full of resolve.
(The words of this hymn
are resolute and strong,
rallying the faithful to
be firm, and describing
the city of our God they
hope to establish). This
melody alternates with a
fanfare tune, whose
origins will be revealed
in later music, until the
second half of the piece
begins: a driving
rhythmic ostinato based
on a 3/4-4/4 alternating
meter scheme. This pauses
at its height to restate
Zion's Security one more
time, in a rather obscure
setting surrounded by
freely shifting patterns
in the flutes, clarinets,
and percussion -- until
the sun warms the ground
sufficiently for the
second hymn to appear.
Zion's Walls is set in
7/8, unlike Copland's
9/8-6/8 meters (the
original is quite
strange, and doesn't
really fit any constant
meter), and is introduced
by a warm horn solo. The
two hymns vie for
attention from here to
the end of the piece,
with the glowingly
optimistic Zion's Walls
finally achieving
prominence. The work ends
with a sense of
triumph. $80.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Overture to a Small Town - Intermédiaire/avancé Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon 1, Bassoon 2, Chimes, Clarinet 1, Clarine...(+)
Band Bass Clarinet, Bass
Drum, Bassoon 1, Bassoon
2, Chimes, Clarinet 1,
Clarinet 2, Clarinet 3,
Crotales, English Horn,
Euphonium, Euphonium
T.C., Flute 1, Flute 2,
Glockenspiel, Horn 1,
Horn 2, Horn 3, Horn 4,
Mallet Percussion 1 and
more. - Grade 4 SKU:
CF.SPS94 Composed by
Cooper Minnis. Sps. Set
of Score and Parts.
1+8+8+4+1+8+8+8+2+2+2+2+2
+2+2+3+3+3+2+2+2+2+3+3+3+
3+2+3+1+2+2+1+2+2+24
pages. Duration 7:48.
Carl Fischer Music
#SPS94. Published by Carl
Fischer Music (CF.SPS94).
ISBN 9781491161449.
UPC:
680160920037. On
November 5th, 2017, a
mass shooting took place
at the First Baptist
Church in Sutherland
Springs, Texas.
Twenty-six innocent
people lost their lives
that day, including an
unborn child. Overture to
a Small Town is dedicated
to these victims and the
loved ones they left
behind. From the biggest
cities to the smallest
towns, the senseless
bloodshed must end.
Despite the darkness of
this tragedy, it is my
intent through this music
to portray a sense of
hope, dignity, and
innocence deserved by all
America's cities and
towns. The opening
moments of this piece
should be treated
delicately, ensuring that
the brass section moves
together in one unified
voice, and that the
crotales evoke distant
flickers of light.
Similarly, in mm.
120-127, articulations in
the flutes, trumpets and
mallets should be strong
enough to be heard, but
without being aggressive.
The textural layering in
mm. 48-53 should be
executed with
machine-like precision of
both rhythm and
articulation. This
passage should evoke the
sound of many voices
rising together. There
should be a great
contrast between the
opening Piano dynamic and
the final Forte dynamic.
In mm. 65-69, both mallet
percussionists may play
the indicated notes in
any octave they choose.
Both players should move
rapidly between notes in
any order. This passage
should sound fluid and
ethereal. In mm. 69-73:
If there is no English
Horn available to the
ensemble, the Trumpet
should play this passage
solo. If there is an
English Horn, both
instruments should play
the passage together.
This impressionistic
composition about these
vanished structures,
although written for more
advanced ensembles, has
only one flute, clarinet,
trumpet, horn and
trombone part. As a
result, smaller bands can
play this composition
without having to look
for a flex-band
arrangement. Use this to
develop the essential
skills of syncopation and
counting while also
offering the security of
only having one part for
each instrument voice. An
exciting contrasting
selection for bands
looking for a
harmonically interesting
composition, this also
works well as a contest
selection.  . On
November 5th, 2017, a
mass shooting took place
at the First Baptist
Church in Sutherland
Springs, Texas.
Twenty-six innocent
people lost their lives
that day, including an
unborn child. Overture to
a Small Town is dedicated
to these victims and the
loved ones they left
behind. From the biggest
cities to the smallest
towns, the senseless
bloodshed must end.
Despite the darkness of
this tragedy, it is my
intent through this music
to portray a sense of
hope, dignity, and
innocence deserved by all
America’s cities
and towns.  The
opening moments of this
piece should be treated
delicately, ensuring that
the brass section moves
together in one unified
voice, and that the
crotales evoke distant
flickers of light.
Similarly, in mm.
120-127, articulations in
the flutes, trumpets and
mallets should be strong
enough to be heard, but
without being
aggressive.  The
textural layering in mm.
48-53 should be executed
with machine-like
precision of both rhythm
and articulation. This
passage should evoke the
sound of many voices
rising together. There
should be a great
contrast between the
opening Piano dynamic and
the final Forte
dynamic.  In mm.
65-69, both mallet
percussionists may play
the indicated notes in
any octave they choose.
Both players should move
rapidly between notes in
any order. This passage
should sound fluid and
ethereal.  In mm.
69-73: If there is no
English Horn available to
the ensemble, the Trumpet
should play this passage
solo. If there is an
English Horn, both
instruments should play
the passage together.This
impressionistic
composition about these
vanished structures,
although written for more
advanced ensembles, has
only one flute, clarinet,
trumpet, horn and
trombone part. As a
result, smaller bands can
play this composition
without having to look
for a flex-band
arrangement. Use this to
develop the essential
skills of syncopation and
counting while also
offering the security of
only having one part for
each instrument voice. An
exciting contrasting
selection for bands
looking for a
harmonically interesting
composition, this also
works well as a contest
selection. . $90.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Classical Fake Book - 2nd Edition
Fake Book [Fake Book] - Facile Hal Leonard
(Over 850 Classical Themes and Melodies in the Original Keys) For C instrument. ...(+)
(Over 850 Classical
Themes and Melodies in
the Original Keys) For C
instrument. Format:
fakebook (spiral bound).
With vocal melody
(excerpts) and chord
names. Lassical. Series:
Hal Leonard Fake Books.
646 pages. 9x12 inches.
Published by Hal Leonard.
(8)$49.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Overture for a Small Town - Intermédiaire/avancé Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon 1, Bassoon 2, Chimes, Clarinet 1, Clarine...(+)
Band Bass Clarinet, Bass
Drum, Bassoon 1, Bassoon
2, Chimes, Clarinet 1,
Clarinet 2, Clarinet 3,
Crotales, English Horn,
Euphonium, Euphonium
T.C., Flute 1, Flute 2,
Glockenspiel, Horn 1,
Horn 2, Horn 3, Horn 4,
Mallet Percussion 1 and
more. - Grade 4 SKU:
CF.SPS94F Composed by
Cooper Minnis. Sps. Full
score. 24 pages. Duration
7:48. Carl Fischer Music
#SPS94F. Published by
Carl Fischer Music
(CF.SPS94F). ISBN
9781491161838. UPC:
680160920518. On
November 5th, 2017, a
mass shooting took place
at the First Baptist
Church in Sutherland
Springs, Texas.
Twenty-six innocent
people lost their lives
that day, including an
unborn child. Overture to
a Small Town is dedicated
to these victims and the
loved ones they left
behind. From the biggest
cities to the smallest
towns, the senseless
bloodshed must end.
Despite the darkness of
this tragedy, it is my
intent through this music
to portray a sense of
hope, dignity, and
innocence deserved by all
America's cities and
towns. The opening
moments of this piece
should be treated
delicately, ensuring that
the brass section moves
together in one unified
voice, and that the
crotales evoke distant
flickers of light.
Similarly, in mm.
120-127, articulations in
the flutes, trumpets and
mallets should be strong
enough to be heard, but
without being aggressive.
The textural layering in
mm. 48-53 should be
executed with
machine-like precision of
both rhythm and
articulation. This
passage should evoke the
sound of many voices
rising together. There
should be a great
contrast between the
opening Piano dynamic and
the final Forte dynamic.
In mm. 65-69, both mallet
percussionists may play
the indicated notes in
any octave they choose.
Both players should move
rapidly between notes in
any order. This passage
should sound fluid and
ethereal. In mm. 69-73:
If there is no English
Horn available to the
ensemble, the Trumpet
should play this passage
solo. If there is an
English Horn, both
instruments should play
the passage
together. On November
5th, 2017, a mass
shooting took place at
the First Baptist Church
in Sutherland Springs,
Texas. Twenty-six
innocent people lost
their lives that day,
including an unborn
child. Overture to a
Small Town is dedicated
to these victims and the
loved ones they left
behind. From the biggest
cities to the smallest
towns, the senseless
bloodshed must end.
Despite the darkness of
this tragedy, it is my
intent through this music
to portray a sense of
hope, dignity, and
innocence deserved by all
America’s cities
and towns.  The
opening moments of this
piece should be treated
delicately, ensuring that
the brass section moves
together in one unified
voice, and that the
crotales evoke distant
flickers of light.
Similarly, in mm.
120-127, articulations in
the flutes, trumpets and
mallets should be strong
enough to be heard, but
without being
aggressive.  The
textural layering in mm.
48-53 should be executed
with machine-like
precision of both rhythm
and articulation. This
passage should evoke the
sound of many voices
rising together. There
should be a great
contrast between the
opening Piano dynamic and
the final Forte
dynamic.  In mm.
65-69, both mallet
percussionists may play
the indicated notes in
any octave they choose.
Both players should move
rapidly between notes in
any order. This passage
should sound fluid and
ethereal.  In mm.
69-73: If there is no
English Horn available to
the ensemble, the Trumpet
should play this passage
solo. If there is an
English Horn, both
instruments should play
the passage together. $13.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| We are the Heroes - Débutant Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Euphonium...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Bells,
Clarinet 1, Clarinet 2,
Euphonium, Euphonium
T.C., Flute, Horn, Mallet
Percussion, Oboe,
Percussion, Piano, Snare
Drum, Suspended Cymbal,
Timpani, Trombone,
Trumpet 1, Trumpet 2,
Tuba, Voice 1, Voice 2
and more. - Grade 1.5
SKU: CF.FPS159F
Composed by Carl
Strommen. Sws. Fps. Full
score. 16 pages. Duration
4 minutes, 29 seconds.
Carl Fischer Music
#FPS159F. Published by
Carl Fischer Music
(CF.FPS159F). ISBN
9781491158296. UPC:
680160916894. 9 x 12
inches. The
commissioning party of We
Are the Heroes requested
that the band arrangement
work alone and with full
chorus. Based on the
school theme Building a
Better World, the lyrics
(see below) were
contributed by the
students at the Sea Cliff
Elementary School, part
of the Long Island, New
York's North Shore school
district. When performed
with chorus, the
director(s) should
consider balance,
placement of the chorus
(in front of or behind
the band), whether on
risers, and if
amplification is used. At
the director's
discretion, written
dynamics may be altered.
Verse: A word and a
smile, with hope in our
heart with kindness and
and love reaching out to
us all - a helping hand
one step at a time, it
starts with a smile, one
voice will be heard we
will build a better world
- for all Chorus: We are
the future, we are have a
voice we are the future,
we have a choice we are
the heroes, weall lead
the way to make a better
world, today we are the
future- now hear our song
we are the future and we
are strong we are the
heroes, weall lead the
way to build a better
world - to-day Chorus 2:
to be repeated as many
times as desired- with
increasing intensity We
are the future - we are
the heroes we make the
music, we have the power
Our voices proud and
strong the futureas in
our hands Weall build a
better world - today
(repeat). The
commissioning party of We
Are the Heroes requested
that the band arrangement
work alone and with full
chorus. Based on the
school theme Building a
Better World, the lyrics
(see below) were
contributed by the
students at the Sea Cliff
Elementary School, part
of the Long Island, New
York's North Shore school
district. When performed
with chorus, the
director(s) should
consider balance,
placement of the chorus
(in front of or behind
the band), whether on
risers, and if
amplification is used. At
the director's
discretion, written
dynamics may be altered.
Verse: A word and a
smile, with hope in our
heart with kindness and
and love reaching out to
us all - a helping hand
one step at a time, it
starts with a smile, one
voice will be heard we
will build a better world
- for all Chorus: We are
the future, we are have a
voice we are the future,
we have a choice we are
the heroes, we'll lead
the way to make a better
world, today we are the
future- now hear our song
we are the future and we
are strong we are the
heroes, we'll lead the
way to build a better
world - to-day Chorus 2:
to be repeated as many
times as desired- with
increasing intensity We
are the future - we are
the heroes we make the
music, we have the power
Our voices proud and
strong the future's in
our hands We'll build a
better world - today
(repeat). The
commissioning party of We
Are the Heroes requested
that the band arrangement
work alone and with full
chorus. Based on the
school theme Building a
Better World, the lyrics
(see below) were
contributed by the
students at the Sea Cliff
Elementary School, part
of the Long Island, New
York's North Shore school
district.When performed
with chorus, the
director(s) should
consider balance,
placement of the chorus
(in front of or behind
the band), whether on
risers, and if
amplification is used. At
the director's
discretion, written
dynamics may be
altered.Verse:A word and
a smile, with hope in our
heartwith kindness and
and love reaching out to
us all - a helping hand
onestep at a time, it
starts with a smile, one
voice will be heard we
will builda better world
- for allChorus:We are
the future, we are have a
voice we are the future,
we have achoice we are
the heroes, we’ll
lead the way to make a
better world,todaywe are
the future- now hear our
song we are the future
and we arestrongwe are
the heroes, we’ll
lead the way to build a
better world -
to-dayChorus 2: to be
repeated as many times as
desired- with
increasingintensityWe are
the future - we are the
heroes we make the music,
we have thepower Our
voices proud and
strongthe future’s
in our handsWe’ll
build a better world -
today (repeat). $9.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| We Are the Heroes - Débutant Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Euphonium...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Bells,
Clarinet 1, Clarinet 2,
Euphonium, Euphonium
T.C., Flute, Horn, Mallet
Percussion, Oboe,
Percussion, Piano, Snare
Drum, Suspended Cymbal,
Timpani, Trombone,
Trumpet 1, Trumpet 2,
Tuba, Voice 1, Voice 2
and more. - Grade 1.5
SKU: CF.FPS159
Composed by Carl
Strommen. Folio. Fps. Set
of Score and Parts.
8+2+4+4+2+5+2+2+4+4+3+6+2
+3+1+1+3+16 pages.
Duration 4 minutes, 29
seconds. Carl Fischer
Music #FPS159. Published
by Carl Fischer Music
(CF.FPS159). ISBN
9781491158289. UPC:
680160916887. 9 x 12
inches. The
commissioning party of We
Are the Heroes requested
that the band arrangement
work alone and with full
chorus. Based on the
school theme Building a
Better World, the lyrics
(see below) were
contributed by the
students at the Sea Cliff
Elementary School, part
of the Long Island, New
York's North Shore school
district. When performed
with chorus, the
director(s) should
consider balance,
placement of the chorus
(in front of or behind
the band), whether on
risers, and if
amplification is used. At
the director's
discretion, written
dynamics may be altered.
Verse: A word and a
smile, with hope in our
heart with kindness and
and love reaching out to
us all - a helping hand
one step at a time, it
starts with a smile, one
voice will be heard we
will build a better world
- for all Chorus: We are
the future, we are have a
voice we are the future,
we have a choice we are
the heroes, weall lead
the way to make a better
world, today we are the
future- now hear our song
we are the future and we
are strong we are the
heroes, weall lead the
way to build a better
world - to-day Chorus 2:
to be repeated as many
times as desired- with
increasing intensity We
are the future - we are
the heroes we make the
music, we have the power
Our voices proud and
strong the futureas in
our hands Weall build a
better world - today
(repeat). The
commissioning party of We
Are the Heroes requested
that the band arrangement
work alone and with full
chorus. Based on the
school theme Building a
Better World, the lyrics
(see below) were
contributed by the
students at the Sea Cliff
Elementary School, part
of the Long Island, New
York's North Shore school
district. When performed
with chorus, the
director(s) should
consider balance,
placement of the chorus
(in front of or behind
the band), whether on
risers, and if
amplification is used. At
the director's
discretion, written
dynamics may be altered.
Verse: A word and a
smile, with hope in our
heart with kindness and
and love reaching out to
us all - a helping hand
one step at a time, it
starts with a smile, one
voice will be heard we
will build a better world
- for all Chorus: We are
the future, we are have a
voice we are the future,
we have a choice we are
the heroes, we'll lead
the way to make a better
world, today we are the
future- now hear our song
we are the future and we
are strong we are the
heroes, we'll lead the
way to build a better
world - to-day Chorus 2:
to be repeated as many
times as desired- with
increasing intensity We
are the future - we are
the heroes we make the
music, we have the power
Our voices proud and
strong the future's in
our hands We'll build a
better world - today
(repeat). The
commissioning party of We
Are the Heroes requested
that the band arrangement
work alone and with full
chorus. Based on the
school theme Building a
Better World, the lyrics
(see below) were
contributed by the
students at the Sea Cliff
Elementary School, part
of the Long Island, New
York's North Shore school
district.When performed
with chorus, the
director(s) should
consider balance,
placement of the chorus
(in front of or behind
the band), whether on
risers, and if
amplification is used. At
the director's
discretion, written
dynamics may be
altered.Verse:A word and
a smile, with hope in our
heartwith kindness and
and love reaching out to
us all - a helping hand
onestep at a time, it
starts with a smile, one
voice will be heard we
will builda better world
- for allChorus:We are
the future, we are have a
voice we are the future,
we have achoice we are
the heroes, we’ll
lead the way to make a
better world,todaywe are
the future- now hear our
song we are the future
and we arestrongwe are
the heroes, we’ll
lead the way to build a
better world -
to-dayChorus 2: to be
repeated as many times as
desired- with
increasingintensityWe are
the future - we are the
heroes we make the music,
we have thepower Our
voices proud and
strongthe future’s
in our handsWe’ll
build a better world -
today (repeat). $58.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Cornish Coastal Walk Orchestre d'harmonie - Facile Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Euphonium, Eupho...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Clarinet
1, Clarinet 2, Euphonium,
Euphonium T.C., Flute,
Flute 2, Horn, Mallet
Percussion, Oboe,
Percussion 1, Percussion
2, Rain Stick, Snare
Drum, Suspended Cymbal,
Tambourine, Timpani,
Tom-tom, Triangle and
more. - Grade 2 SKU:
CF.YPS205 Composed by
Michael J. Miller. Young
Band (YPS). Set of Score
and Parts. With Standard
notation.
8+2+4+2+4+5+4+4+4+8+12+6+
6+1+1+10+16+4+4+4+2
pages. Duration 3
minutes, 9 seconds. Carl
Fischer Music #YPS205.
Published by Carl Fischer
Music (CF.YPS205).
ISBN 9781491152256.
UPC: 680160909759. Key: F
major. Cornish
Coastal Walk is a
beautiful new composition
depicting the majestic
cliffs and coastline of
the Cornwall region in
England. Composer Michael
Miller provides young
bands with an opportunity
to stretch their musical
muscles with this lush
and tuneful piece in 3/4
time. Directors will find
in this piece a strong
vehicle to teach
phrasing, beauty of tone,
and musicianship to young
bands. In the far
southwest of England
reaching out towards the
Celtic Sea is the county
Cornwall. A peninsula,
Cornwall is surrounded by
some of the
world’s most
picturesque scenery
including beaches,
cliffs, and rolling
hills. Separated from the
rest of England by the
river Tamar, the Cornish
take great pride in their
culture including the
pasty (a stuffed pastry
and preferred lunch of
miners), Cornish cream
tea (not to be confused
with rival Devon cream
tea where the cream goes
under the jam), and well
known national heritage
sights such as Rough Tor
(Cornwall’s
highest point), and
Tintagel Castle (rumored
birth place of King
Arthur).In the spring and
summer of 2017, I had the
pleasure to visit
Cornwall, while my wife
was a visiting scholar at
the University of Exeter
in the neighboring county
of Devon. One July
afternoon, while she was
making field observations
(she’s a Cultural
Anthropologist), I
decided to take a stroll
along the cliffs as was
recommended by a friend.
I set out from Boscastle,
a small inlet village
where one can enjoy the
most delicious black
currant ice cream, and I
trekked up and down the
cliffs for three or four
miles before finally
arriving in Tintagel. I
had planned to continue
on to Trebarwith Strand,
home of the fantastic
Port William tavern, but
greatly underestimated
the difficulty of the
terrain.Along my walk I
witnessed some of the
most breathtaking views I
have ever seen. The coast
of this particular region
of Cornwall is both
majestic and peaceful. It
is frighteningly
powerful, but also loving
and kind. It is the type
of place where people
have for years looked out
over the sea longing for
their loved ones to
return. I hope this music
brings you the same inner
peace I found on my hike
that day.This piece is
dedicated to Neil and his
sidekick Derek, without
whom I might have been
just another tourist. $70.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Cornish Coastal Walk Orchestre d'harmonie - Facile Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Euphonium, Eupho...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Clarinet
1, Clarinet 2, Euphonium,
Euphonium T.C., Flute,
Flute 2, Horn, Mallet
Percussion, Oboe,
Percussion 1, Percussion
2, Rain Stick, Snare
Drum, Suspended Cymbal,
Tambourine, Timpani,
Tom-tom, Triangle and
more. - Grade 2 SKU:
CF.YPS205F Composed
by Michael J. Miller.
Young Band (YPS). Full
score. With Standard
notation. 16 pages. Carl
Fischer Music #YPS205F.
Published by Carl Fischer
Music (CF.YPS205F).
ISBN 9781491152935.
UPC:
680160910434. Corni
sh Coastal Walk is a
beautiful new composition
depicting the majestic
cliffs and coastline of
the Cornwall region in
England. Composer Michael
Miller provides young
bands with an opportunity
to stretch their musical
muscles with this lush
and tuneful piece in 3/4
time. Directors will find
in this piece a strong
vehicle to teach
phrasing, beauty of tone,
and musicianship to young
bands. In the far
southwest of England
reaching out towards the
Celtic Sea is the county
Cornwall. A peninsula,
Cornwall is surrounded by
some of the
world’s most
picturesque scenery
including beaches,
cliffs, and rolling
hills. Separated from the
rest of England by the
river Tamar, the Cornish
take great pride in their
culture including the
pasty (a stuffed pastry
and preferred lunch of
miners), Cornish cream
tea (not to be confused
with rival Devon cream
tea where the cream goes
under the jam), and well
known national heritage
sights such as Rough Tor
(Cornwall’s
highest point), and
Tintagel Castle (rumored
birth place of King
Arthur).In the spring and
summer of 2017, I had the
pleasure to visit
Cornwall, while my wife
was a visiting scholar at
the University of Exeter
in the neighboring county
of Devon. One July
afternoon, while she was
making field observations
(she’s a Cultural
Anthropologist), I
decided to take a stroll
along the cliffs as was
recommended by a friend.
I set out from Boscastle,
a small inlet village
where one can enjoy the
most delicious black
currant ice cream, and I
trekked up and down the
cliffs for three or four
miles before finally
arriving in Tintagel. I
had planned to continue
on to Trebarwith Strand,
home of the fantastic
Port William tavern, but
greatly underestimated
the difficulty of the
terrain.Along my walk I
witnessed some of the
most breathtaking views I
have ever seen. The coast
of this particular region
of Cornwall is both
majestic and peaceful. It
is frighteningly
powerful, but also loving
and kind. It is the type
of place where people
have for years looked out
over the sea longing for
their loved ones to
return. I hope this music
brings you the same inner
peace I found on my hike
that day.This piece is
dedicated to Neil and his
sidekick Derek, without
whom I might have been
just another tourist. $11.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Tartan Tapestries Orchestre d'harmonie - Intermédiaire Carl Fischer
Band Bagpipes, Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2,...(+)
Band Bagpipes, Bass
Clarinet, Bass Drum,
Bassoon, Bells, Clarinet
1, Clarinet 2, Clarinet
3, Crash Cymbals, Double
Bass, Euphonium,
Euphonium T.C., Flute 1,
Flute 2, Horn 1, Horn 2,
Mallet Percussion, Mark
Tree, Oboe, Percussion 1,
Percussion 2 and more. -
Grade 3.5 SKU:
CF.CPS225 Composed by
Larry Clark. Concert Band
(CPS). Set of Score and
Parts. With Standard
notation.
12+12+6+12+24+24+6+4+6+6+
6+6+8+8+8+4+4+6+6+6+8+2+1
+6+2+4+10+32+4 pages.
Duration 6 minutes, 9
seconds. Carl Fischer
Music #CPS225. Published
by Carl Fischer Music
(CF.CPS225). ISBN
9781491152515. UPC:
680160910014. Tarta
n Tapestries is an
original piece that sets
out to emulate Scottish
folk music. Composer
Larry Clark has created a
concert overture in
triple meter to capture
the essence of music from
Scotland. After a lilting
first section, lush
and beautiful moments
weave a tapestry of
sounds with the lyrical,
middle section of the
piece. There is an
optional part for
bagpipes, and an optional
ending should you chose
to use this instrument as
part of the piece. Alert
your contest music
committee about this
strong new piece for
advancing
groups. Tartan
Tapestries was
commissioned by Friends
of the Arts for the Saint
Andrew's School Band in
Boca Raton,
Florida. The band
program at Saint
Andrew’s School is
under the direction of
Andrea Wolgin. The
premiere took place on
November 29, 2017.When I
was asked by their
conductor Ms. Wolgin to
write a piece for the
Saint Andrew’s
School, I asked her what
kind of involvement she
wanted the students to
have in the process. We
discussed several options
for having the students
involved in the process
of creating with the type
of piece they wanted.Â
We set up a
“Skypeâ€
meeting with members of
the band to discuss the
piece. During this
discussion, the consensus
of the students was that
they wanted a piece
depicting the Scottish
influence to the
school. They also
wanted a piece that would
challenge all sections of
the band and to include
bagpipes if possible. I
asked that the students
be involved in helping to
name the piece once it
was completed, for which
they agreed and were very
helpful. Armed with
this information, I set
out to compose a piece
for them, and Tartan
Tapestries is the
result.The piece begins
with a fanfare gesture
based upon rhythms and
harmonies that appear
throughout the piece. I
chose the lilting triple
feel to the piece, to
bring about the Scottish
flavor. I wanted the
fanfare to be bardic
sounding, to depict the
strength of the Scottish
people and for the piece
to have a dynamic
opening. The fanfare
contains material that
alludes to the main theme
and with a bit of
dissonance and tension
that is resolved in the
main body of the
piece.The main theme is a
lilting original melody,
but one that I hope with
have the essence of
Scottish folk songs. The
main idea is followed by
a more modal and dark
sounding secondary theme,
first stated in the
horns. This material
is later used in the
development section of
the piece. The main
theme returns several
times, with different and
varied orchestrations and
harmonic treatments. This
is followed by a short
transition leading to the
more lyrical and slower
second section of the
piece. A transparent
presentation of the
lyrical theme, which is
based on aspects of the
main theme, is presented
first by a solo flute.
This section is a nod to
famous composer Malcom
Arnold’s wonderful
works for orchestra in
its style and
orchestration. After a
transition or bridge
section with a solo
euphonium, the piece
builds to a dramatic
climax of the lyrical
theme by the full band.
This subsides to a return
of the solo flute to end
this second section of
the piece, followed by a
transition back the main
theme.The solo bagpipes
play a central role in
the return of the main
theme and take center
stage after being heard
in the distance earlier
in the work. The piece
brings back a shortened
version of the darker
secondary theme, followed
by a hint of the fanfare
material that builds to
one last statement of the
main theme by the full
band, before leading to a
dramatic coda to complete
the work.It has been my
pleasure to have been
given the opportunity to
compose this piece for
the Saint Andrew’s
School Band! I thank
Andrea Wolgin for making
it happen, and I hope
that you enjoy it as much
as I have enjoyed
bringing the piece to
life.–Larry
ClarkLakeland, Florida
2017. $95.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Tartan Tapestries Orchestre d'harmonie - Intermédiaire Carl Fischer
Band Bagpipes, Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2,...(+)
Band Bagpipes, Bass
Clarinet, Bass Drum,
Bassoon, Bells, Clarinet
1, Clarinet 2, Clarinet
3, Crash Cymbals, Double
Bass, Euphonium,
Euphonium T.C., Flute 1,
Flute 2, Horn 1, Horn 2,
Mallet Percussion, Mark
Tree, Oboe, Percussion 1,
Percussion 2 and more. -
Grade 3.5 SKU:
CF.CPS225F Composed
by Larry Clark. Concert
Band (CPS). Full score.
With Standard notation.
32 pages. Carl Fischer
Music #CPS225F. Published
by Carl Fischer Music
(CF.CPS225F). ISBN
9781491153192. UPC:
680160910694. Tarta
n Tapestries is an
original piece that sets
out to emulate Scottish
folk music. Composer
Larry Clark has created a
concert overture in
triple meter to capture
the essence of music from
Scotland. After a lilting
first section, lush
and beautiful moments
weave a tapestry of
sounds with the lyrical,
middle section of the
piece. There is an
optional part for
bagpipes, and an optional
ending should you chose
to use this instrument as
part of the piece. Alert
your contest music
committee about this
strong new piece for
advancing
groups. Tartan
Tapestries was
commissioned by Friends
of the Arts for the Saint
Andrew's School Band in
Boca Raton,
Florida. The band
program at Saint
Andrew’s School is
under the direction of
Andrea Wolgin. The
premiere took place on
November 29, 2017.When I
was asked by their
conductor Ms. Wolgin to
write a piece for the
Saint Andrew’s
School, I asked her what
kind of involvement she
wanted the students to
have in the process. We
discussed several options
for having the students
involved in the process
of creating with the type
of piece they wanted.Â
We set up a
“Skypeâ€
meeting with members of
the band to discuss the
piece. During this
discussion, the consensus
of the students was that
they wanted a piece
depicting the Scottish
influence to the
school. They also
wanted a piece that would
challenge all sections of
the band and to include
bagpipes if possible. I
asked that the students
be involved in helping to
name the piece once it
was completed, for which
they agreed and were very
helpful. Armed with
this information, I set
out to compose a piece
for them, and Tartan
Tapestries is the
result.The piece begins
with a fanfare gesture
based upon rhythms and
harmonies that appear
throughout the piece. I
chose the lilting triple
feel to the piece, to
bring about the Scottish
flavor. I wanted the
fanfare to be bardic
sounding, to depict the
strength of the Scottish
people and for the piece
to have a dynamic
opening. The fanfare
contains material that
alludes to the main theme
and with a bit of
dissonance and tension
that is resolved in the
main body of the
piece.The main theme is a
lilting original melody,
but one that I hope with
have the essence of
Scottish folk songs. The
main idea is followed by
a more modal and dark
sounding secondary theme,
first stated in the
horns. This material
is later used in the
development section of
the piece. The main
theme returns several
times, with different and
varied orchestrations and
harmonic treatments. This
is followed by a short
transition leading to the
more lyrical and slower
second section of the
piece. A transparent
presentation of the
lyrical theme, which is
based on aspects of the
main theme, is presented
first by a solo flute.
This section is a nod to
famous composer Malcom
Arnold’s wonderful
works for orchestra in
its style and
orchestration. After a
transition or bridge
section with a solo
euphonium, the piece
builds to a dramatic
climax of the lyrical
theme by the full band.
This subsides to a return
of the solo flute to end
this second section of
the piece, followed by a
transition back the main
theme.The solo bagpipes
play a central role in
the return of the main
theme and take center
stage after being heard
in the distance earlier
in the work. The piece
brings back a shortened
version of the darker
secondary theme, followed
by a hint of the fanfare
material that builds to
one last statement of the
main theme by the full
band, before leading to a
dramatic coda to complete
the work.It has been my
pleasure to have been
given the opportunity to
compose this piece for
the Saint Andrew’s
School Band! I thank
Andrea Wolgin for making
it happen, and I hope
that you enjoy it as much
as I have enjoyed
bringing the piece to
life.–Larry
ClarkLakeland, Florida
2017. $14.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Folksong Fake Book - C Edition
Fake Book [Fake Book] Hal Leonard
For voice and C instrument. Format: fakebook. With vocal melody, lyrics and chor...(+)
For voice and C
instrument. Format:
fakebook. With vocal
melody, lyrics and chord
names. Folk. Series: Hal
Leonard Fake Books. 536
pages. 9.6x12 inches.
Published by Hal Leonard.
(10)$34.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Big Book Of Dance Songs Music Sales
| | |
| I Will Not Be Sad In This World Theodore Presser Co.
Chamber Music Electronics, alto Flute SKU: PR.114422360 Composed by Eve B...(+)
Chamber Music
Electronics, alto Flute
SKU: PR.114422360
Composed by Eve
Beglarian. Sws. Score. 8
pages. Duration 6:30.
Theodore Presser Company
#114-42236. Published by
Theodore Presser Company
(PR.114422360). ISBN
9781491133828. UPC:
680160683321. 9 x 12
inches. Based on an
Armenian troubadour song,
I WILL NOT BE SAD IN THIS
WORLD is a uniquely
beautiful work for alto
flute (or bass flute)
accompanied by a
pre-recorded audio track
made purely from the
composer’s own
singing. The result is a
fluid interplay between
the live flute and the
composer’s
multi-tracked and
processed vocal
sonorities. The work was
created for Marya
Martin’s
“Eight
Visions†collection
(published by Presser),
and is now available as a
single publication. I
will not be sad in this
world is based on the
song “Ashkharumes
Akh Chim Kashil†by
the legendary
18th-century Armenian
troubadour Sayat Nova.
The song is often played
on the duduk, and your
flute playing should
respond to the
ornamentation,
intonation, and vibrato
of traditional duduk
playing.In playing this
piece, you will want to
be flexible with time:
the 32nd notes are mostly
notated grace notes
coloring the following
note, and can be
compressed towards that
next note for effect.
Similarly, the meter
should be downplayed: use
the pre-recorded part to
give you guideposts, and
then shape your phrases
quite freely around those
guideposts.I strongly
suggest that you listen
to my demo recording of
the piece, as it will
give an indication of
what I am looking for. I
have not transcribed
every note that I sang on
the demo, and similarly,
once you feel comfortable
with the playing style,
you can ornament the
melody with some
flexibility yourself. The
notated turns are meant
to indicate places where
it is most natural to do
some ornamentation.The
piece can be played on
either alto flute or bass
flute. I am hoping for a
certain vulnerability in
your playing, so choose
the flute that will help
you most with that. If
you are playing in a dry
hall, you might consider
slight amplification, not
for volume, but to allow
you to add reverb to your
sound. It will then be
easier to blend well with
the tape part.Optionally,
one (or even two)
additional flutists may
double the lines called
“voice†that
are part of the tape
part. The additional
player(s) should play
more softly than the
soloist, and get even
softer as the piece
progresses and the
electronics take over.* *
*Thanks to Marya Martin
who commissioned the
piece. Many thanks to my
friend and colleague
Margaret Lancaster, who
tried out the piece for
me and advised me about
notation. Thanks also to
the Civitella Ranieri
Foundation who were my
generous hosts while I
was writing I will not be
sad in this world.The
audio accompaniment and
the demo are available
for free download from
the “Additional
Downloads†tab at
www.presser.com/114-42236
. $11.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Russian and Eastern European Piano Music Pt. 1 (Version 2.0)
Piano seul [CD Sheet Music] Subito Music
By russian. For Piano. (Piano Solo). CD Sheet Music (Version 2.0). PDF file on C...(+)
By russian. For Piano.
(Piano Solo). CD Sheet
Music (Version 2.0). PDF
file on CD. 4000 pages.
Published by Subito
Music.
(1)$28.95 - Voir plus => AcheterDélais: 3 to 5 business days | | |
| Partch H Settings From Finnegans Wake2 Schott
Voice Part (Sopran) and 2 Flutes (Voice And Ensemble) - difficult SKU: HL.490...(+)
Voice Part (Sopran) and 2
Flutes (Voice And
Ensemble) - difficult
SKU: HL.49033024
Text by James
Joyce. Composed by
Harry Partch. This
edition: Saddle
stitching. Sheet music.
Edition Schott.
Performance score,
Faksimile-Edition.
Composed 1944. 14 pages.
Duration 3'. Schott Music
#ED9346. Published by
Schott Music
(HL.49033024). ISBN
9790001130479. UPC:
841886029453.
8.5x11.75x0.075 inches.
English. Harry
Partch met soprano Ethel
Luening in 1942 and two
years later composed this
work for her. Initial
performances featured
Luening as soprano with
Partch playing his
kithara, and composer
Henry Brant playing
double flageolet; Partch
would eventually replace
the double flageolet with
two flutes. The use of
the complex text from
James Joyce's Finnegan's
Wake contrasts strongly
with Partch's other works
at the time, which used
texts from Partch's
experiences as a
transient or from authors
like Thomas Wolfe. $11.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
1 |