| Quicksilver Saxophone Alto et Piano Theodore Presser Co.
Chamber Music Piano, alto Saxophone SKU: PR.114419850 Composed by Stacy G...(+)
Chamber Music Piano, alto
Saxophone SKU:
PR.114419850 Composed
by Stacy Garrop. Sws. See
lengthy program note on
prefatory page. Set of
Score and Parts. 44+24
pages. Duration 23
minutes. Theodore Presser
Company #114-41985.
Published by Theodore
Presser Company
(PR.114419850). ISBN
9781491135808. UPC:
680160681044. 9 x 12
inches. Both a
spectacular concerto for
saxophone, and a dramatic
tone poem on Roman
mythology, QUICKSILVER is
a 23-minute concerto for
Alto Saxophone and Wind
Ensemble by one of the
sax literature’s
most commissioned and
admired composers.Through
worded captions as well
as gorgeously expressive
tone painting, Movement 1
depicts the birth and
childhood pranks of
Mercury, Movement 2 shows
him escorting souls to
the gates of the
Underworld, and Movement
3 is a phantasmagoric
finale portraying Mercury
as messenger amid the
conflicts of other
mythological figures.
There are many YouTube
performances available,
both in the original
version with Wind
Ensemble, and with
Piano. In addition to
being another name for
the element mercury,
“quicksilverâ€
is used to describe
something that changes
quickly or is difficult
to contain. My concerto
of the same name was
inspired by the Roman god
Mercury, as well as the
mercurial nature of the
saxophone: unpredictable,
very lively, and
volatile. Mercury (known
as Hermes in Greek
mythology) is best known
for his winged shoes,
which allowed him to fly
swiftly as the messenger
of his fellow Olympians.
Mercury had other duties
too, including serving as
the god of merchants,
travelers, and
tricksters; he also
ushered souls of the
departed to the
Underworld.Quicksilver
tells three tales of the
Roman god. The first
movement (Antics of a
Newborn God) opens with
the birth of Mercury;
after he takes his first
steps, he toddles around,
gleefully looking for
mischief. He stumbles
across a herd of cows
that belong to his
brother Apollo; Mercury
slyly lets the cows out
of their pen before
toddling onward with his
mischief-making.In the
second movement (Guiding
Souls to the Underworld),
Pluto, god of the
Underworld, bids Mercury
to bring him fresh souls.
The movement begins with
death-knells tolling for
humans who are about to
die; Mercury picks up
these souls and leads
them down to the gates of
the Underworld.The third
and final movement
(Messenger of Olympus)
depicts Mercury as he is
busily running errands
for various gods and
goddesses. We first
encounter him mid-flight
as he dashes to earth to
find Aeneas, a Trojan
lieutenant who had been
run out of Troy by the
invading Greeks. Aeneas
is on a quest to find
land on which to
establish a new city that
would eventually become
Rome. While traveling, he
is distracted from his
quest when he meets the
beautiful queen Dido.
They live together for
many years before Mercury
intervenes; he chastises
Aeneas for giving up on
his quest and persuades
him to pick it up again.
As Aeneas mournfully
resumes his journey, we
hear Dido perish of a
broken heart. Mercury
then takes to the skies
to seek out Perseus, who
is preparing to kill
Medusa, the hideous
gorgon who has snakes for
hair and a gaze that
turns those who catch her
glance into stone.
Mercury advises Perseus
on how to slay Medusa and
lends Perseus his sword
to do the deed. We hear
Perseus victorious in the
beheading of Medusa,
after which Mercury takes
to the skies once more to
fly home to Olympus. $34.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Everglades (River of Grass) [Conducteur] 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, Double
Bass, English Horn,
Euphonium, Flute 1, Flute
2, Horn 1, Horn 2, Horn
3, Horn 4, Oboe 1, Oboe
2, Percussion 1 and more.
SKU: PR.16500101F
Mvt. 1 from Symphony
No. 6 (Three Places in
the East). Composed
by Dan Welcher. Full
score. 52 pages. Theodore
Presser Company
#165-00101F. Published by
Theodore Presser Company
(PR.16500101F). ISBN
9781491131725. UPC:
680160680252. Ever
since the success of my
series of wind ensemble
works Places in the West,
I've been wanting to
write a companion piece
for national parks on the
other side of the north
American continent. The
earlier work, consisting
of GLACIER, THE
YELLOWSTONE FIRES,
ARCHES, and ZION, spanned
some twenty years of my
composing life, and since
the pieces called for
differing groups of
instruments, and were in
slightly different styles
from each other, I never
considered them to be
connected except in their
subject matter. In their
depiction of both the
scenery and the human
history within these
wondrous places, they had
a common goal: awaking
the listener to the
fragile beauty that is in
them; and calling
attention to the ever
more crucial need for
preservation and
protection of these wild
places, unique in all the
world. With this new
work, commissioned by a
consortium of college and
conservatory wind
ensembles led by the
University of Georgia, I
decided to build upon
that same model---but to
solidify the process. The
result, consisting of
three movements (each
named for a different
national park in the
eastern US), is a
bona-fide symphony. While
the three pieces could be
performed separately,
they share a musical
theme---and also a common
style and
instrumentation. It is a
true symphony, in that
the first movement is
long and expository, the
second is a rather
tightly structured
scherzo-with-trio, and
the finale is a true
culmination of the whole.
The first movement,
Everglades, was the
original inspiration for
the entire symphony.
Conceived over the course
of two trips to that
astonishing place (which
the native Americans
called River of Grass,
the subtitle of this
movement), this movement
not only conveys a sense
of the humid, lush, and
even frightening scenery
there---but also an
overview of the entire
settling-of- Florida
experience. It contains
not one, but two native
American chants, and also
presents a view of the
staggering influence of
modern man on this
fragile part of the
world. Beginning with a
slow unfolding marked
Heavy, humid, the music
soon presents a gentle,
lyrical theme in the solo
alto saxophone. This
theme, which goes through
three expansive phrases
with breaks in between,
will appear in all three
movements of the
symphony. After the mood
has been established, the
music opens up to a rich,
warm setting of a
Cherokee morning song,
with the simple happiness
that this part of Florida
must have had prior to
the nineteenth century.
This music, enveloping
and comforting, gradually
gives way to a more
frenetic, driven section
representative of the
intrusion of the white
man. Since Florida was
populated and developed
largely due to the
introduction of a train
system, there's a
suggestion of the
mechanized iron horse
driving straight into the
heartland. At that point,
the native Americans
become considerably less
gentle, and a second
chant seems to stand in
the way of the intruder;
a kind of warning song.
The second part of this
movement shows us the
great swampy center of
the peninsula, with its
wildlife both in and out
of the water. A new theme
appears, sad but noble,
suggesting that this land
is precious and must be
protected by all the
people who inhabit it. At
length, the morning song
reappears in all its
splendor, until the
sunset---with one last
iteration of the warning
song in the solo piccolo.
Functioning as a scherzo,
the second movement,
Great Smoky Mountains,
describes not just that
huge park itself, but one
brave soul's attempt to
climb a mountain there.
It begins with three
iterations of the
UR-theme (which began the
first movement as well),
but this time as up-tempo
brass fanfares in
octaves. Each time it
begins again, the theme
is a little slower and
less confident than the
previous time---almost as
though the hiker were
becoming aware of the
daunting mountain before
him. But then, a steady,
quick-pulsed ostinato
appears, in a constantly
shifting meter system of
2/4- 3/4 in alteration,
and the hike has begun.
Over this, a slower new
melody appears, as the
trek up the mountain
progresses. It's a big
mountain, and the ascent
seems to take quite
awhile, with little
breaks in the hiker's
stride, until at length
he simply must stop and
rest. An oboe solo, over
several free cadenza-like
measures, allows us (and
our friend the hiker) to
catch our breath, and
also to view in the
distance the rocky peak
before us. The goal is
somehow even more
daunting than at first,
being closer and thus
more frighteningly steep.
When we do push off
again, it's at a slower
pace, and with more
careful attention to our
footholds as we trek over
broken rocks. Tantalizing
little views of the
valley at every
switchback make our
determination even
stronger. Finally, we
burst through a stand of
pines and----we're at the
summit! The immensity of
the view is overwhelming,
and ultimately humbling.
A brief coda, while we
sit dazed on the rocks,
ends the movement in a
feeling of triumph. The
final movement, Acadia,
is also about a trip. In
the summer of 2014, I
took a sailing trip with
a dear friend from North
Haven, Maine, to the
southern coast of Mt.
Desert Island in Acadia
National Park. The
experience left me both
exuberant and exhausted,
with an appreciation for
the ocean that I hadn't
had previously. The
approach to Acadia
National Park by water,
too, was thrilling: like
the difference between
climbing a mountain on
foot with riding up on a
ski-lift, I felt I'd
earned the right to be
there. The music for this
movement is entirely
based on the opening
UR-theme. There's a sense
of the water and the
mysterious, quiet deep
from the very beginning,
with seagulls and bell
buoys setting the scene.
As we leave the harbor,
the theme (in a canon
between solo euphonium
and tuba) almost seems as
if large subaquatic
animals are observing our
departure. There are
three themes (call them
A, B and C) in this
seafaring journey---but
they are all based on the
UR theme, in its original
form with octaves
displaced, in an
upside-down form, and in
a backwards version as
well. (The ocean, while
appearing to be
unchanging, is always
changing.) We move out
into the main channel
(A), passing several
islands (B), until we
reach the long draw that
parallels the coastline
called Eggemoggin Reach,
and a sudden burst of new
speed (C). Things
suddenly stop, as if the
wind had died, and we
have a vision: is that
really Mt. Desert Island
we can see off the port
bow, vaguely in the
distance? A chorale of
saxophones seems to
suggest that. We push off
anew as the chorale ends,
and go through all three
themes again---but in
different
instrumentations, and
different keys. At the
final tack-turn, there it
is, for real: Mt. Desert
Island, big as life.
We've made it. As we pull
into the harbor, where
we'll secure the boat for
the night, there's a
feeling of achievement.
Our whale and dolphin
friends return, and we
end our journey with
gratitude and
celebration. I am
profoundly grateful to
Jaclyn Hartenberger,
Professor of Conducting
at the University of
Georgia, for leading the
consortium which provided
the commissioning of this
work. $36.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Acadia [Conducteur] 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, Double
Bass, English Horn,
Euphonium, Flute 1, Flute
2, Horn 1, Horn 2, Horn
3, Horn 4, Oboe 1, Oboe
2, Percussion 1 and more.
SKU: PR.16500103F
Mvt. 3 from Symphony
No. 6 (Three Places in
the East). Composed
by Dan Welcher. Full
score. 60 pages. Theodore
Presser Company
#165-00103F. Published by
Theodore Presser Company
(PR.16500103F). ISBN
9781491131763. UPC:
680160680290. Ever
since the success of my
series of wind ensemble
works Places in the West,
I've been wanting to
write a companion piece
for national parks on the
other side of the north
American continent. The
earlier work, consisting
of GLACIER, THE
YELLOWSTONE FIRES,
ARCHES, and ZION, spanned
some twenty years of my
composing life, and since
the pieces called for
differing groups of
instruments, and were in
slightly different styles
from each other, I never
considered them to be
connected except in their
subject matter. In their
depiction of both the
scenery and the human
history within these
wondrous places, they had
a common goal: awaking
the listener to the
fragile beauty that is in
them; and calling
attention to the ever
more crucial need for
preservation and
protection of these wild
places, unique in all the
world. With this new
work, commissioned by a
consortium of college and
conservatory wind
ensembles led by the
University of Georgia, I
decided to build upon
that same model---but to
solidify the process. The
result, consisting of
three movements (each
named for a different
national park in the
eastern US), is a
bona-fide symphony. While
the three pieces could be
performed separately,
they share a musical
theme---and also a common
style and
instrumentation. It is a
true symphony, in that
the first movement is
long and expository, the
second is a rather
tightly structured
scherzo-with-trio, and
the finale is a true
culmination of the whole.
The first movement,
Everglades, was the
original inspiration for
the entire symphony.
Conceived over the course
of two trips to that
astonishing place (which
the native Americans
called River of Grass,
the subtitle of this
movement), this movement
not only conveys a sense
of the humid, lush, and
even frightening scenery
there---but also an
overview of the entire
settling-of- Florida
experience. It contains
not one, but two native
American chants, and also
presents a view of the
staggering influence of
modern man on this
fragile part of the
world. Beginning with a
slow unfolding marked
Heavy, humid, the music
soon presents a gentle,
lyrical theme in the solo
alto saxophone. This
theme, which goes through
three expansive phrases
with breaks in between,
will appear in all three
movements of the
symphony. After the mood
has been established, the
music opens up to a rich,
warm setting of a
Cherokee morning song,
with the simple happiness
that this part of Florida
must have had prior to
the nineteenth century.
This music, enveloping
and comforting, gradually
gives way to a more
frenetic, driven section
representative of the
intrusion of the white
man. Since Florida was
populated and developed
largely due to the
introduction of a train
system, there's a
suggestion of the
mechanized iron horse
driving straight into the
heartland. At that point,
the native Americans
become considerably less
gentle, and a second
chant seems to stand in
the way of the intruder;
a kind of warning song.
The second part of this
movement shows us the
great swampy center of
the peninsula, with its
wildlife both in and out
of the water. A new theme
appears, sad but noble,
suggesting that this land
is precious and must be
protected by all the
people who inhabit it. At
length, the morning song
reappears in all its
splendor, until the
sunset---with one last
iteration of the warning
song in the solo piccolo.
Functioning as a scherzo,
the second movement,
Great Smoky Mountains,
describes not just that
huge park itself, but one
brave soul's attempt to
climb a mountain there.
It begins with three
iterations of the
UR-theme (which began the
first movement as well),
but this time as up-tempo
brass fanfares in
octaves. Each time it
begins again, the theme
is a little slower and
less confident than the
previous time---almost as
though the hiker were
becoming aware of the
daunting mountain before
him. But then, a steady,
quick-pulsed ostinato
appears, in a constantly
shifting meter system of
2/4- 3/4 in alteration,
and the hike has begun.
Over this, a slower new
melody appears, as the
trek up the mountain
progresses. It's a big
mountain, and the ascent
seems to take quite
awhile, with little
breaks in the hiker's
stride, until at length
he simply must stop and
rest. An oboe solo, over
several free cadenza-like
measures, allows us (and
our friend the hiker) to
catch our breath, and
also to view in the
distance the rocky peak
before us. The goal is
somehow even more
daunting than at first,
being closer and thus
more frighteningly steep.
When we do push off
again, it's at a slower
pace, and with more
careful attention to our
footholds as we trek over
broken rocks. Tantalizing
little views of the
valley at every
switchback make our
determination even
stronger. Finally, we
burst through a stand of
pines and----we're at the
summit! The immensity of
the view is overwhelming,
and ultimately humbling.
A brief coda, while we
sit dazed on the rocks,
ends the movement in a
feeling of triumph. The
final movement, Acadia,
is also about a trip. In
the summer of 2014, I
took a sailing trip with
a dear friend from North
Haven, Maine, to the
southern coast of Mt.
Desert Island in Acadia
National Park. The
experience left me both
exuberant and exhausted,
with an appreciation for
the ocean that I hadn't
had previously. The
approach to Acadia
National Park by water,
too, was thrilling: like
the difference between
climbing a mountain on
foot with riding up on a
ski-lift, I felt I'd
earned the right to be
there. The music for this
movement is entirely
based on the opening
UR-theme. There's a sense
of the water and the
mysterious, quiet deep
from the very beginning,
with seagulls and bell
buoys setting the scene.
As we leave the harbor,
the theme (in a canon
between solo euphonium
and tuba) almost seems as
if large subaquatic
animals are observing our
departure. There are
three themes (call them
A, B and C) in this
seafaring journey---but
they are all based on the
UR theme, in its original
form with octaves
displaced, in an
upside-down form, and in
a backwards version as
well. (The ocean, while
appearing to be
unchanging, is always
changing.) We move out
into the main channel
(A), passing several
islands (B), until we
reach the long draw that
parallels the coastline
called Eggemoggin Reach,
and a sudden burst of new
speed (C). Things
suddenly stop, as if the
wind had died, and we
have a vision: is that
really Mt. Desert Island
we can see off the port
bow, vaguely in the
distance? A chorale of
saxophones seems to
suggest that. We push off
anew as the chorale ends,
and go through all three
themes again---but in
different
instrumentations, and
different keys. At the
final tack-turn, there it
is, for real: Mt. Desert
Island, big as life.
We've made it. As we pull
into the harbor, where
we'll secure the boat for
the night, there's a
feeling of achievement.
Our whale and dolphin
friends return, and we
end our journey with
gratitude and
celebration. I am
profoundly grateful to
Jaclyn Hartenberger,
Professor of Conducting
at the University of
Georgia, for leading the
consortium which provided
the commissioning of this
work. $39.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Great Smoky Mountains [Conducteur] 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, Double
Bass, English Horn,
Euphonium, Flute 1, Flute
2, Horn 1, Horn 2, Horn
3, Horn 4, Oboe 1, Oboe
2, Percussion 1 and more.
SKU: PR.16500102F
Mvt. 2 from Symphony
No. 6 (Three Places in
the East). Composed
by Dan Welcher. Full
score. 52 pages. Theodore
Presser Company
#165-00102F. Published by
Theodore Presser Company
(PR.16500102F). ISBN
9781491131749. UPC:
680160680276. Ever
since the success of my
series of wind ensemble
works Places in the West,
I've been wanting to
write a companion piece
for national parks on the
other side of the north
American continent. The
earlier work, consisting
of GLACIER, THE
YELLOWSTONE FIRES,
ARCHES, and ZION, spanned
some twenty years of my
composing life, and since
the pieces called for
differing groups of
instruments, and were in
slightly different styles
from each other, I never
considered them to be
connected except in their
subject matter. In their
depiction of both the
scenery and the human
history within these
wondrous places, they had
a common goal: awaking
the listener to the
fragile beauty that is in
them; and calling
attention to the ever
more crucial need for
preservation and
protection of these wild
places, unique in all the
world. With this new
work, commissioned by a
consortium of college and
conservatory wind
ensembles led by the
University of Georgia, I
decided to build upon
that same model---but to
solidify the process. The
result, consisting of
three movements (each
named for a different
national park in the
eastern US), is a
bona-fide symphony. While
the three pieces could be
performed separately,
they share a musical
theme---and also a common
style and
instrumentation. It is a
true symphony, in that
the first movement is
long and expository, the
second is a rather
tightly structured
scherzo-with-trio, and
the finale is a true
culmination of the whole.
The first movement,
Everglades, was the
original inspiration for
the entire symphony.
Conceived over the course
of two trips to that
astonishing place (which
the native Americans
called River of Grass,
the subtitle of this
movement), this movement
not only conveys a sense
of the humid, lush, and
even frightening scenery
there---but also an
overview of the entire
settling-of- Florida
experience. It contains
not one, but two native
American chants, and also
presents a view of the
staggering influence of
modern man on this
fragile part of the
world. Beginning with a
slow unfolding marked
Heavy, humid, the music
soon presents a gentle,
lyrical theme in the solo
alto saxophone. This
theme, which goes through
three expansive phrases
with breaks in between,
will appear in all three
movements of the
symphony. After the mood
has been established, the
music opens up to a rich,
warm setting of a
Cherokee morning song,
with the simple happiness
that this part of Florida
must have had prior to
the nineteenth century.
This music, enveloping
and comforting, gradually
gives way to a more
frenetic, driven section
representative of the
intrusion of the white
man. Since Florida was
populated and developed
largely due to the
introduction of a train
system, there's a
suggestion of the
mechanized iron horse
driving straight into the
heartland. At that point,
the native Americans
become considerably less
gentle, and a second
chant seems to stand in
the way of the intruder;
a kind of warning song.
The second part of this
movement shows us the
great swampy center of
the peninsula, with its
wildlife both in and out
of the water. A new theme
appears, sad but noble,
suggesting that this land
is precious and must be
protected by all the
people who inhabit it. At
length, the morning song
reappears in all its
splendor, until the
sunset---with one last
iteration of the warning
song in the solo piccolo.
Functioning as a scherzo,
the second movement,
Great Smoky Mountains,
describes not just that
huge park itself, but one
brave soul's attempt to
climb a mountain there.
It begins with three
iterations of the
UR-theme (which began the
first movement as well),
but this time as up-tempo
brass fanfares in
octaves. Each time it
begins again, the theme
is a little slower and
less confident than the
previous time---almost as
though the hiker were
becoming aware of the
daunting mountain before
him. But then, a steady,
quick-pulsed ostinato
appears, in a constantly
shifting meter system of
2/4- 3/4 in alteration,
and the hike has begun.
Over this, a slower new
melody appears, as the
trek up the mountain
progresses. It's a big
mountain, and the ascent
seems to take quite
awhile, with little
breaks in the hiker's
stride, until at length
he simply must stop and
rest. An oboe solo, over
several free cadenza-like
measures, allows us (and
our friend the hiker) to
catch our breath, and
also to view in the
distance the rocky peak
before us. The goal is
somehow even more
daunting than at first,
being closer and thus
more frighteningly steep.
When we do push off
again, it's at a slower
pace, and with more
careful attention to our
footholds as we trek over
broken rocks. Tantalizing
little views of the
valley at every
switchback make our
determination even
stronger. Finally, we
burst through a stand of
pines and----we're at the
summit! The immensity of
the view is overwhelming,
and ultimately humbling.
A brief coda, while we
sit dazed on the rocks,
ends the movement in a
feeling of triumph. The
final movement, Acadia,
is also about a trip. In
the summer of 2014, I
took a sailing trip with
a dear friend from North
Haven, Maine, to the
southern coast of Mt.
Desert Island in Acadia
National Park. The
experience left me both
exuberant and exhausted,
with an appreciation for
the ocean that I hadn't
had previously. The
approach to Acadia
National Park by water,
too, was thrilling: like
the difference between
climbing a mountain on
foot with riding up on a
ski-lift, I felt I'd
earned the right to be
there. The music for this
movement is entirely
based on the opening
UR-theme. There's a sense
of the water and the
mysterious, quiet deep
from the very beginning,
with seagulls and bell
buoys setting the scene.
As we leave the harbor,
the theme (in a canon
between solo euphonium
and tuba) almost seems as
if large subaquatic
animals are observing our
departure. There are
three themes (call them
A, B and C) in this
seafaring journey---but
they are all based on the
UR theme, in its original
form with octaves
displaced, in an
upside-down form, and in
a backwards version as
well. (The ocean, while
appearing to be
unchanging, is always
changing.) We move out
into the main channel
(A), passing several
islands (B), until we
reach the long draw that
parallels the coastline
called Eggemoggin Reach,
and a sudden burst of new
speed (C). Things
suddenly stop, as if the
wind had died, and we
have a vision: is that
really Mt. Desert Island
we can see off the port
bow, vaguely in the
distance? A chorale of
saxophones seems to
suggest that. We push off
anew as the chorale ends,
and go through all three
themes again---but in
different
instrumentations, and
different keys. At the
final tack-turn, there it
is, for real: Mt. Desert
Island, big as life.
We've made it. As we pull
into the harbor, where
we'll secure the boat for
the night, there's a
feeling of achievement.
Our whale and dolphin
friends return, and we
end our journey with
gratitude and
celebration. I am
profoundly grateful to
Jaclyn Hartenberger,
Professor of Conducting
at the University of
Georgia, for leading the
consortium which provided
the commissioning of this
work. $36.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Rites for the Afterlife Theodore Presser Co.
Chamber Music Bass Clarinet, Bassoon, Clarinet, English Horn, Oboe, alto Saxopho...(+)
Chamber Music Bass
Clarinet, Bassoon,
Clarinet, English Horn,
Oboe, alto Saxophone,
soprano Saxophone SKU:
PR.114419980 Composed
by Stacy Garrop. Sws. Set
of Score and Parts.
32+16+16+16+16+16 pages.
Duration 16 minutes.
Theodore Presser Company
#114-41998. Published by
Theodore Presser Company
(PR.114419980). UPC:
680160681723. 9 x 12
inches. The ancient
Egyptian empire began
around 3100 B.C. and
continued for over 3000
years until Alexander the
Great conquered the
country in 332 B.C. Over
the centuries, the
Egyptian empire grew and
flourished into a highly
developed society. They
invented hieroglyphics,
built towering pyramids
(including the Great
Pyramid of Giza, the
oldest of the Seven
Wonders of the World),
and the created many
household items we still
use today, including
toothbrushes, toothpaste,
eyeliner, black ink, and
the forerunner of
modern-day paper.
Included among their
achievements were a
series of highly
developed funerary
practices and beliefs in
the Afterlife. As the
average lifespan of an
Egyptian hovered around
30 years, living past the
death of oneAs physical
body was a legitimate
concern. Egyptians
believed that upon death,
their souls would
undertake a harrowing
journey through the
Netherworld. If they
survived the horrific
creatures and arduous
trials that awaited them,
then their souls would be
reunified with their
bodies (hence the need to
preserve the body through
mummification) and live
forever in a perfect
version of the life they
had lived in Egypt. To
achieve this, Egyptians
devised around 200
magical spells and
incantations to aid souls
on the path to the
Afterlife. These spells
are collectively called
The Book of the Dead.
Particular spells would
be chosen by the family
of the deceased and
inscribed on the tombAs
walls and scrolls of
papyrus, as well as on a
stone scarab placed over
the deceasedAs heart.
Subsequent collections of
spells and mortuary
texts, such as The Book
of Gates, assisted a soul
in navigating the twelve
stages of the
Netherworld. Not only did
these spells protect and
guide the soul on this
dangerous path, but they
also served as a
safeguard against any
unbecoming behavior an
Egyptian did while alive.
For instance, if a person
had robbed another while
alive, there was a spell
that would prevent the
soulAs heart from
revealing the truth when
in the Hall of Judgment.
Rites for the Afterlife
follows the path of a
soul to the Afterlife. In
Inscriptions from the
Book of the Dead
(movement 1), the soul
leaves the body and
begins the journey,
protected by spells and
incantations written on
the tombAs walls. In
Passage though the
Netherworld (movement 2),
the soul is now on a
funerary barque, being
towed through the
Netherworld by four of
the regionAs inhabitants.
We hear the soul slowly
chanting incantations as
the barque encounters
demons, serpents,
crocodiles, lakes of
fire, and other terrors.
The soul arrives at The
Hall of Judgment in
movement 3. Standing
before forty-two divine
judges, the soul
addresses each by name
and gives a A!negative
confessionA(r) connected
to each judge (i.e. A!I
did not rob,A(r) A!I did
not do violence,A(r) and
so on). Afterwards, the
soulAs heart is put on a
scale to be weighed
against a feather of
MaAat, the goddess of
truth. If the heart
weighs more than the
feather, it will be eaten
by Ammut, a hideous
creature that lies in
wait below the scale, and
the soul will die a
second and permanent
death (this was the worst
fear of the Egyptians).
But if the heart is in
balance with the feather,
the soul proceeds onward.
The final stage of the
journey is the arrival at
The Field of Reeds
(movement 4), which is a
perfect mirror image of
the soulAs life in
ancient Egypt. The soul
reunites with deceased
family members, makes
sacrifices to the
Egyptian gods and
goddess, harvests crops
from plentiful fields of
wheat under a brilliant
blue sky, and lives
forever next to the
abundant and nourishing
waters of the Nile. Rites
for the Afterlife was
commissioned by the
Barlow Endowment on
behalf of the Akropolis
Reed Quintet, Calefax
Reed Quintet, and the
Brigham Young University
Reed Quintet. -S.G. $53.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Rites for the Afterlife [Conducteur] Theodore Presser Co.
Chamber Music Bass Clarinet, Bassoon, Clarinet, English Horn, Oboe, alto Saxopho...(+)
Chamber Music Bass
Clarinet, Bassoon,
Clarinet, English Horn,
Oboe, alto Saxophone,
soprano Saxophone SKU:
PR.11441998S Composed
by Stacy Garrop. Sws.
Full score. 32 pages.
Duration 16 minutes.
Theodore Presser Company
#114-41998S. Published by
Theodore Presser Company
(PR.11441998S). UPC:
680160681730. 9 x 12
inches. The ancient
Egyptian empire began
around 3100 B.C. and
continued for over 3000
years until Alexander the
Great conquered the
country in 332 B.C. Over
the centuries, the
Egyptian empire grew and
flourished into a highly
developed society. They
invented hieroglyphics,
built towering pyramids
(including the Great
Pyramid of Giza, the
oldest of the Seven
Wonders of the World),
and the created many
household items we still
use today, including
toothbrushes, toothpaste,
eyeliner, black ink, and
the forerunner of
modern-day paper.
Included among their
achievements were a
series of highly
developed funerary
practices and beliefs in
the Afterlife. As the
average lifespan of an
Egyptian hovered around
30 years, living past the
death of oneAs physical
body was a legitimate
concern. Egyptians
believed that upon death,
their souls would
undertake a harrowing
journey through the
Netherworld. If they
survived the horrific
creatures and arduous
trials that awaited them,
then their souls would be
reunified with their
bodies (hence the need to
preserve the body through
mummification) and live
forever in a perfect
version of the life they
had lived in Egypt. To
achieve this, Egyptians
devised around 200
magical spells and
incantations to aid souls
on the path to the
Afterlife. These spells
are collectively called
The Book of the Dead.
Particular spells would
be chosen by the family
of the deceased and
inscribed on the tombAs
walls and scrolls of
papyrus, as well as on a
stone scarab placed over
the deceasedAs heart.
Subsequent collections of
spells and mortuary
texts, such as The Book
of Gates, assisted a soul
in navigating the twelve
stages of the
Netherworld. Not only did
these spells protect and
guide the soul on this
dangerous path, but they
also served as a
safeguard against any
unbecoming behavior an
Egyptian did while alive.
For instance, if a person
had robbed another while
alive, there was a spell
that would prevent the
soulAs heart from
revealing the truth when
in the Hall of Judgment.
Rites for the Afterlife
follows the path of a
soul to the Afterlife. In
Inscriptions from the
Book of the Dead
(movement 1), the soul
leaves the body and
begins the journey,
protected by spells and
incantations written on
the tombAs walls. In
Passage though the
Netherworld (movement 2),
the soul is now on a
funerary barque, being
towed through the
Netherworld by four of
the regionAs inhabitants.
We hear the soul slowly
chanting incantations as
the barque encounters
demons, serpents,
crocodiles, lakes of
fire, and other terrors.
The soul arrives at The
Hall of Judgment in
movement 3. Standing
before forty-two divine
judges, the soul
addresses each by name
and gives a A!negative
confessionA(r) connected
to each judge (i.e. A!I
did not rob,A(r) A!I did
not do violence,A(r) and
so on). Afterwards, the
soulAs heart is put on a
scale to be weighed
against a feather of
MaAat, the goddess of
truth. If the heart
weighs more than the
feather, it will be eaten
by Ammut, a hideous
creature that lies in
wait below the scale, and
the soul will die a
second and permanent
death (this was the worst
fear of the Egyptians).
But if the heart is in
balance with the feather,
the soul proceeds onward.
The final stage of the
journey is the arrival at
The Field of Reeds
(movement 4), which is a
perfect mirror image of
the soulAs life in
ancient Egypt. The soul
reunites with deceased
family members, makes
sacrifices to the
Egyptian gods and
goddess, harvests crops
from plentiful fields of
wheat under a brilliant
blue sky, and lives
forever next to the
abundant and nourishing
waters of the Nile. Rites
for the Afterlife was
commissioned by the
Barlow Endowment on
behalf of the Akropolis
Reed Quintet, Calefax
Reed Quintet, and the
Brigham Young University
Reed Quintet. -S.G. $29.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Écouter, lire and jouer 1 - Les Chants de Noël Saxophone Alto - Débutant De Haske Publications
Alto Saxophone - very easy SKU: BT.DHP-1185951-400 Saxophone Alto....(+)
Alto Saxophone - very
easy SKU:
BT.DHP-1185951-400
Saxophone Alto.
Ã?couter, Lire et Jouer.
Tuition. Book, CD and
Audio Online. Composed
2018. 28 pages. De Haske
Publications #DHP
1185951-400. Published by
De Haske Publications
(BT.DHP-1185951-400).
ISBN 9789043156011.
French. Unique en
son genre, la méthode
Ã?couter, lire and
jouer se distingue,
entre autres, par des
publications
supplémentaires
contenant des morceaux
parfaitement adaptés
aux trois volumes de
base. Les Chants de
Noël, un recueil
de chansons festives
comprenant au moins un
chant correspondant
chaque leçon,
sâ??ajoute aux livres
existants pour instrument
solo (Les Chansons
célèbres,
Les Solos et
Les Styles
musicaux) ainsi
quâ??aux éditions
pour petits ensembles
(Les Duos et
Les Trios). Outre
de nombreux chants bien
connus choisis et
arrangés un niveau
approprié, ce recueil
contient bon nombre de
chansons plus faciles
spécialement
composées pour
convenir aux premières
leçons de
Ã?couter, lire and
jouer. Des
accompagnements festifs
disponibles sur le CD
joint au livre, mais
aussi en ligne en format
MP3, permettront même
aux débutants au
saxophone alto de
présenter un beau
concert de fête
après quelques
leçons seulement.
Vivement Noël ! $23.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| First Concert Folio Saxophone Alto [Set de Parties séparées] - Débutant Carl Fischer
(Pieces for Grade 1 Bands). By Anonymous Joseph Compello. Arranged by Andrew Bal...(+)
(Pieces for Grade 1
Bands). By Anonymous
Joseph Compello. Arranged
by Andrew Balent Joseph
Compello. For Alto
Saxophone. This edition:
Eb Alto Saxophone. Sounds
Spectacular. Grade 1.
Part(s). Standard
notation. 16 pages.
Published by Carl Fischer
$7.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Beginning Band Book #1 Bari Saxophone Saxophone Baryton [Partition] Queenwood Publications
By John Edmondson. Edited by Anne Mcginty. Program/Technic Books. Queenwood Begi...(+)
By John Edmondson. Edited
by Anne Mcginty.
Program/Technic Books.
Queenwood Beginning Band.
Music Book. Published by
Queenwood Publications.
$4.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Symphony No. 2 Orchestre d'harmonie [Conducteur] - Intermédiaire/avancé Manhattan Beach Music
By Frank Ticheli. Concert band. Suitable for the most advanced high school bands...(+)
By Frank Ticheli. Concert
band. Suitable for the
most advanced high school
bands, community,
college, university, and
professional bands.
Level: Grade 6. Conductor
Full Score. Duration
21:00. Published by
Manhattan Beach Music.
$95.00 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Chant and Ritual Dance Orchestre d'harmonie [Conducteur et Parties séparées] Carl Fischer
Composed by Joseph Compello. For concert band (flute, oboe (opt. flute 2), clari...(+)
Composed by Joseph
Compello. For concert
band (flute, oboe (opt.
flute 2), clarinet 1 in
Bb, clarinet 2 in Bb,
bass clarinet in Bb, alto
saxophone in Eb, tenor
saxophone in Bb, baritone
saxophone in Eb, trumpet
1 in Bb, trumpet 2 in Bb,
horn in F, trombone,
euphonium b.c., bassoon,
euphonium t.c. in B).
First Plus Performance
Series. Score and parts.
Duration 2 minutes, 50
seconds. Published by
Carl Fischer
$65.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Sunset Orchestre d'harmonie [Conducteur et Parties séparées] C. Alan Publications
('Tramonto'). By Luigi Zaninelli. For concert band (Piccolo, Flute 1, Flute 2, O...(+)
('Tramonto'). By Luigi
Zaninelli. For concert
band (Piccolo, Flute 1,
Flute 2, Oboe 1, Oboe 2,
English Horn, Solo Bb
Clarinet, Bb Clarinet 1,
Bb Clarinet 2, Bb
Clarinet 3, Bb Bass
Clarinet, Eb Contralto
Clarinet, Bassoon 1,
Bassoon 2, Eb Alto
Saxophone 1,
$80.00 $76 (- 5%) Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Standard Of Excellence: First Performance Plus - 1st/2nd Eb Alto Saxophone [Partition] Kjos Music Company
By Bruce Pearson. Edited by Barrie Gott. Band Methods. Standard of Excellence. M...(+)
By Bruce Pearson. Edited
by Barrie Gott. Band
Methods. Standard of
Excellence. Music Book.
Published by Neil A. Kjos
Music Company. Level:
Book A,1.
$7.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Chasing Mercury - Facile Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Chimes, Clarinet 1, Clarinet 2, C...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Bells,
Chimes, Clarinet 1,
Clarinet 2, Clarinet 3,
Crash Cymbals, Euphonium,
Euphonium T.C., Flute 1,
Flute 2, Horn, Mallet
Percussion, Oboe,
Percussion 1, Percussion
2, Percussion 3, Snare
Drum and more. - Grade 3
SKU: CF.CPS234
Composed by Travis
Weller. Folio. Cps. Set
of Score and Parts.
8+8+4+8+8+8+4+4+8+4+4+8+8
+8+8+6+6+6+4+8+6+2+4+4+6+
32 pages. Duration 3
minutes, 10 seconds. Carl
Fischer Music #CPS234.
Published by Carl Fischer
Music (CF.CPS234).
ISBN 9781491156346.
UPC: 680160914883. 9 x 12
inches. Mercury -
the Roman god of
financial gain, commerce,
travelers, boundaries,
luck, trickery,
merchants, and thieves. A
popular deity in Roman
culture, he was instantly
recognized by his unique
winged shoes (talaria)
and hat (petasos). With
its close proximity to
the sun and faster orbit
than all other planets,
the Romans named this
small celestial body
after the swift-winged
messenger of their
culture. It is not
surprising that in
Holst's major orchestral
suite The Planets that
Mercury utilizes such
light and swift themes.
There is some duality to
the title of the work.
Part of it involves my
impression of what a
playful chase of the
winged messenger sounds
like. The other part is
the opening motif chasing
two themes of Holst
around the rest of the
work. It was only after
developing the first few
ideas that I recognized
some of the commonalities
with some of those same
themes from Holst's
orchestral work. There
are several quotations
from that famous piece by
Holst (notably as both
are stated successively
at mm. 13-20). The idea
of someone having to
chase the Winged
Messenger struck me as a
unique title around which
to craft a work. One of
my core beliefs about
music is that it can be
imbued with meaning by a
composer, and as the
sonic story unfolds an
ensemble, director, and
audience members can draw
out their own meaning
from the experience. Who
exactly is chasing
Mercury? I leave that up
to the wonderfully
creative minds of the
young ladies and
gentlemen who have the
opportunity to bring this
work to life. The
opportunity to compose
music and allow student
musicians to give this
piece new life and draw
out different meanings is
a humbling experience.
Rehearsal Notes and
Suggestions As stated
earlier, the opening
motif (a range of a
seventh) comes back
frequently in the work in
a variety of settings and
textures. Throughout the
work, it is important for
students to recognize the
two themes from Holst
when they are present in
the sound canvas. If the
solos (clarinet and alto
saxophone) are utilized,
the supporting parts
around and underneath
those lines must be
sensitive and play in
such a way to properly
balance those parts.
There are number of muted
sections for the trumpet
section, and I would
advocate for all trumpets
acquiring the same mute
to contribute to unity in
timbre. The bold fanfare
sections (the first
occurs at m. 37) must be
presented with a unified
articulation style. As
the texture intensifies
prior to m. 169, it is
crucial for the ensemble
to play within themselves
and exercise musical
courtesy to allow all
voices to be heard as
they arrive at m. 181. My
thanks in advance for
your support of this
music, and I wish you
well as you and your
ensemble begin Chasing
Mercury!. Mercury
– the Roman god of
financial gain, commerce,
travelers, boundaries,
luck, trickery,
merchants, and thieves. A
popular deity in Roman
culture, he was instantly
recognized by his unique
winged shoes (talaria)
and hat (petasos). With
its close proximity to
the sun and faster orbit
than all other planets,
the Romans named this
small celestial body
after the swift-winged
messenger of their
culture. It is not
surprising that in
Holst’s major
orchestral suite The
Planets that Mercury
utilizes such light and
swift themes.There is
some duality to the title
of the work. Part of it
involves my impression of
what a playful chase of
the winged messenger
sounds like. The other
part is the opening motif
chasing two themes of
Holst around the rest of
the work. It was only
after developing the
first few ideas that I
recognized some of the
commonalities with some
of those same themes from
Holst’s orchestral
work. There are several
quotations from that
famous piece by Holst
(notably as both are
stated successively at
mm. 13–20). The
idea of someone having to
chase the Winged
Messenger struck me as a
unique title around which
to craft a work.One of my
core beliefs about music
is that it can be imbued
with meaning by a
composer, and as the
sonic story unfolds an
ensemble, director, and
audience members can draw
out their own meaning
from the experience. Who
exactly is chasing
Mercury? I leave that up
to the wonderfully
creative minds of the
young ladies and
gentlemen who have the
opportunity to bring this
work to life. The
opportunity to compose
music and allow student
musicians to give this
piece new life and draw
out different meanings is
a humbling
experience.Rehearsal
Notes and SuggestionsAs
stated earlier, the
opening motif (a range of
a seventh) comes back
frequently in the work in
a variety of settings and
textures. Throughout the
work, it is important for
students to recognize the
two themes from Holst
when they are present in
the sound canvas. If the
solos (clarinet and alto
saxophone) are utilized,
the supporting parts
around and underneath
those lines must be
sensitive and play in
such a way to properly
balance those parts.
There are number of muted
sections for the trumpet
section, and I would
advocate for all trumpets
acquiring the same mute
to contribute to unity in
timbre. The bold fanfare
sections (the first
occurs at m. 37) must be
presented with a unified
articulation style. As
the texture intensifies
prior to m. 169, it is
crucial for the ensemble
to play within themselves
and exercise musical
courtesy to allow all
voices to be heard as
they arrive at m. 181. My
thanks in advance for
your support of this
music, and I wish you
well as you and your
ensemble begin Chasing
Mercury! $90.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Chasing Mercury [Conducteur] - Facile Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Chimes, Clarinet 1, Clarinet 2, C...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Bells,
Chimes, Clarinet 1,
Clarinet 2, Clarinet 3,
Crash Cymbals, Euphonium,
Euphonium T.C., Flute 1,
Flute 2, Horn, Mallet
Percussion, Oboe,
Percussion 1, Percussion
2, Percussion 3, Snare
Drum and more. - Grade 3
SKU: CF.CPS234F
Composed by Travis
Weller. Sws. Cps. Full
score. 32 pages. Duration
3 minutes, 10 seconds.
Carl Fischer Music
#CPS234F. Published by
Carl Fischer Music
(CF.CPS234F). ISBN
9781491156353. UPC:
680160914890. 9 x 12
inches. Mercury -
the Roman god of
financial gain, commerce,
travelers, boundaries,
luck, trickery,
merchants, and thieves. A
popular deity in Roman
culture, he was instantly
recognized by his unique
winged shoes (talaria)
and hat (petasos). With
its close proximity to
the sun and faster orbit
than all other planets,
the Romans named this
small celestial body
after the swift-winged
messenger of their
culture. It is not
surprising that in
Holst's major orchestral
suite The Planets that
Mercury utilizes such
light and swift themes.
There is some duality to
the title of the work.
Part of it involves my
impression of what a
playful chase of the
winged messenger sounds
like. The other part is
the opening motif chasing
two themes of Holst
around the rest of the
work. It was only after
developing the first few
ideas that I recognized
some of the commonalities
with some of those same
themes from Holst's
orchestral work. There
are several quotations
from that famous piece by
Holst (notably as both
are stated successively
at mm. 13-20). The idea
of someone having to
chase the Winged
Messenger struck me as a
unique title around which
to craft a work. One of
my core beliefs about
music is that it can be
imbued with meaning by a
composer, and as the
sonic story unfolds an
ensemble, director, and
audience members can draw
out their own meaning
from the experience. Who
exactly is chasing
Mercury? I leave that up
to the wonderfully
creative minds of the
young ladies and
gentlemen who have the
opportunity to bring this
work to life. The
opportunity to compose
music and allow student
musicians to give this
piece new life and draw
out different meanings is
a humbling experience.
Rehearsal Notes and
Suggestions As stated
earlier, the opening
motif (a range of a
seventh) comes back
frequently in the work in
a variety of settings and
textures. Throughout the
work, it is important for
students to recognize the
two themes from Holst
when they are present in
the sound canvas. If the
solos (clarinet and alto
saxophone) are utilized,
the supporting parts
around and underneath
those lines must be
sensitive and play in
such a way to properly
balance those parts.
There are number of muted
sections for the trumpet
section, and I would
advocate for all trumpets
acquiring the same mute
to contribute to unity in
timbre. The bold fanfare
sections (the first
occurs at m. 37) must be
presented with a unified
articulation style. As
the texture intensifies
prior to m. 169, it is
crucial for the ensemble
to play within themselves
and exercise musical
courtesy to allow all
voices to be heard as
they arrive at m. 181. My
thanks in advance for
your support of this
music, and I wish you
well as you and your
ensemble begin Chasing
Mercury!. Mercury
– the Roman god of
financial gain, commerce,
travelers, boundaries,
luck, trickery,
merchants, and thieves. A
popular deity in Roman
culture, he was instantly
recognized by his unique
winged shoes (talaria)
and hat (petasos). With
its close proximity to
the sun and faster orbit
than all other planets,
the Romans named this
small celestial body
after the swift-winged
messenger of their
culture. It is not
surprising that in
Holst’s major
orchestral suite The
Planets that Mercury
utilizes such light and
swift themes.There is
some duality to the title
of the work. Part of it
involves my impression of
what a playful chase of
the winged messenger
sounds like. The other
part is the opening motif
chasing two themes of
Holst around the rest of
the work. It was only
after developing the
first few ideas that I
recognized some of the
commonalities with some
of those same themes from
Holst’s orchestral
work. There are several
quotations from that
famous piece by Holst
(notably as both are
stated successively at
mm. 13–20). The
idea of someone having to
chase the Winged
Messenger struck me as a
unique title around which
to craft a work.One of my
core beliefs about music
is that it can be imbued
with meaning by a
composer, and as the
sonic story unfolds an
ensemble, director, and
audience members can draw
out their own meaning
from the experience. Who
exactly is chasing
Mercury? I leave that up
to the wonderfully
creative minds of the
young ladies and
gentlemen who have the
opportunity to bring this
work to life. The
opportunity to compose
music and allow student
musicians to give this
piece new life and draw
out different meanings is
a humbling
experience.Rehearsal
Notes and SuggestionsAs
stated earlier, the
opening motif (a range of
a seventh) comes back
frequently in the work in
a variety of settings and
textures. Throughout the
work, it is important for
students to recognize the
two themes from Holst
when they are present in
the sound canvas. If the
solos (clarinet and alto
saxophone) are utilized,
the supporting parts
around and underneath
those lines must be
sensitive and play in
such a way to properly
balance those parts.
There are number of muted
sections for the trumpet
section, and I would
advocate for all trumpets
acquiring the same mute
to contribute to unity in
timbre. The bold fanfare
sections (the first
occurs at m. 37) must be
presented with a unified
articulation style. As
the texture intensifies
prior to m. 169, it is
crucial for the ensemble
to play within themselves
and exercise musical
courtesy to allow all
voices to be heard as
they arrive at m. 181. My
thanks in advance for
your support of this
music, and I wish you
well as you and your
ensemble begin Chasing
Mercury! $14.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Ritual and Celebration Orchestre [Conducteur et Parties séparées] - Facile Hal Leonard
Composed by John Moss. MusicWorks Grade 2. Concert. Score and parts (with online...(+)
Composed by John Moss.
MusicWorks Grade 2.
Concert. Score and parts
(with online audio).
Published by Hal Leonard
$55.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Heritage Orchestre d'harmonie [Conducteur] Peters
Concert Band SKU: PE.EP68748 Score. Composed by Shawn E. Okpebholo...(+)
Concert Band SKU:
PE.EP68748
Score. Composed by
Shawn E. Okpebholo.
Edition Peters.
Contemporary. Score. 36
pages. Edition Peters
#98-EP68748. Published by
Edition Peters
(PE.EP68748). ISBN
9790300762289. S
hawn Okpebholo's
Heritage, in the
Edition Peters Concert
Band Series, evokes
moods, events and sounds
(including West African
drumming and indigenous
melodies) from an
ethnomusicological
research visit the
composer undertook to
Nigeria. One of the
primary musical themes of
the work is an adaptation
of a song that comes from
the Esan people, a small
ethnic group in the
southern part of Nigeria
and the tribe to which
the composer has deep
historical and family
ties. The Esan
language is poetic in
nature and, at various
moments in the work, the
musicians chant the text
from an Esan
song: Ekine leleyea
do obhimen la doeki
nalo.
(My
investment in you is paid
off. Because of your hard
work, your future is
bright)
Heritage<
/em> is a revised version
of a work previously
entitled This is
Africa, which was
commissioned by Professor
Marcellus Brown and the
Boise State University
Symphonic Winds for the
2011 National CBDNA
Convention and is
dedicated to the memory
of Dr Harry
Begian. Orchestrati
on: 1 Piccolo, 2
Flute 1, 2 Flute 2, 1
Oboe 1, 1 Oboe 2, 1
Clarinet in E-flat, 3
Clarinet 1 in B-flat, 3
Clarinet 2 in B-flat, 3
Clarinet 3 in B-flat, 2
Bass Clarinet 1 and 2, 1
Bassoon 1, 1 Bassoon 2, 1
Alto Saxophone 1, 1 Alto
Saxophone 2, 1 Tenor
Saxophone, 1 Baritone
Saxophone, 1 Trumpet 1 in
B-flat, 1 Trumpet 2 in
B-flat, 1 Trumpet 3 in
B-flat, 1 Trumpet 4 in
B-flat, 1 Horn 1 in F, 1
Horn 2 in F, 1 Horn 3 in
F, 1 Horn 4 in F, 1
Trombone 1, 1 Trombone 2,
1 Bass Trombone, 1
Euphonium 1, 1 Euphonium
2, 2 Tuba 1 and 2, 1
String Bass, 1 Percussion
1, 1 Percussion 2, 1 Drum
Kit, 1 Bongos, 1 Congas,
1 Horn 1 in E-flat, 1
Horn 2 in E-flat, 1 Horn
3 in E-flat, 1 Horn 4 in
E-flat, 1 Trombone 1
(B-flat treble clef), 1
Trombone 2 (B-flat treble
clef), 1 Bass Trombone
(B-flat treble clef), 1
Euphonium 1 (B-flat
treble clef), 1 Euphonium
2 (B-flat treble clef), 2
Tuba 1 and 2 (B-flat
treble clef), 2 Tuba 1
and 2 (E-flat treb. $29.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Match Day Orchestre d'harmonie [Conducteur] - Intermédiaire G and M Brand Music Publishers
Concert band (Piccolo, 1st Flute, 2nd Flute, Oboe 1/2, 1st Bb Clarinet, 2nd Bb C...(+)
Concert band (Piccolo,
1st Flute, 2nd Flute,
Oboe 1/2, 1st Bb
Clarinet, 2nd Bb
Clarinet, 3rd Bb
Clarinet, Eb Alto
Clarinet, Bb Bass
Clarinet, Bassoon, Eb
Alto Saxophone 1/2, Bb
Tenor Saxophone, Eb
Baritone Saxophone, Bb
Trumpet 1, Bb Trumpet
2/3, F Horn 1/2, F Horn
3/4) - grade 4 SKU:
CN.S11279 Composed by
Peter Meechan. Band
Music. Score only.
Duration 5:00. Published
by G & M Brand Music
Publishers (CN.S11279).
It's game time!
Match Day is an aural
representation of the
chants, songs, and
general excitement heard
at a football (soccer)
games in Britain.
Match Day takes
its inspiration from a
night in May 2005, when
the football team I have
supported from my
childhood, Liverpool FC,
won the European Cup in
what was considered by
many to be one of the
greatest football matches
of all time. The piece is
not only inspired by a
football match, but also
takes its musical
material from chants and
songs that you will hear
at 3pm on a Saturday
afternoon at any football
ground in Britain. Match
Day was written as a
result of a commission
from the National Youth
Brass Band of Great
Britain (with funds from
Youth Music), and their
Musical Director,
Bramwell Tovey, to whom
the piece is dedicated
and who conducted the
first performance in
April 2006. $20.00 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Match Day Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire G and M Brand Music Publishers
Concert band (Piccolo, 1st Flute, 2nd Flute, Oboe 1/2, 1st Bb Clarinet, 2nd Bb C...(+)
Concert band (Piccolo,
1st Flute, 2nd Flute,
Oboe 1/2, 1st Bb
Clarinet, 2nd Bb
Clarinet, 3rd Bb
Clarinet, Eb Alto
Clarinet, Bb Bass
Clarinet, Bassoon, Eb
Alto Saxophone 1/2, Bb
Tenor Saxophone, Eb
Baritone Saxophone, Bb
Trumpet 1, Bb Trumpet
2/3, F Horn 1/2, F Horn
3/4) - grade 4 SKU:
CN.R10279 Composed by
Peter Meechan. Band
Music. Score and parts.
Duration 5:00. Published
by G & M Brand Music
Publishers (CN.R10279).
It's game time!
Match Day is an aural
representation of the
chants, songs, and
general excitement heard
at a football (soccer)
games in Britain.
Match Day takes
its inspiration from a
night in May 2005, when
the football team I have
supported from my
childhood, Liverpool FC,
won the European Cup in
what was considered by
many to be one of the
greatest football matches
of all time. The piece is
not only inspired by a
football match, but also
takes its musical
material from chants and
songs that you will hear
at 3pm on a Saturday
afternoon at any football
ground in Britain. Match
Day was written as a
result of a commission
from the National Youth
Brass Band of Great
Britain (with funds from
Youth Music), and their
Musical Director,
Bramwell Tovey, to whom
the piece is dedicated
and who conducted the
first performance in
April 2006. $85.00 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Beginning Band Book #1 Alto Saxophone [Partition] Queenwood Publications
By John Edmondson. Edited by Anne Mcginty. Program/Technic Books. Queenwood Begi...(+)
By John Edmondson. Edited
by Anne Mcginty.
Program/Technic Books.
Queenwood Beginning Band
Book. Music Book.
Published by Queenwood
Publications.
$4.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Beginning Band Book #1 Conductor/Cd [Partition + CD] Queenwood Publications
By John Edmondson. Edited by Anne Mcginty. Program/Technic Books. Queenwood Begi...(+)
By John Edmondson. Edited
by Anne Mcginty.
Program/Technic Books.
Queenwood Beginning Band.
Music Book. Published by
Queenwood Publications.
$25.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Beginning Band Book #1 Trombone/Baritone/Bassoon [Partition] Queenwood Publications
By John Edmondson. Edited by Anne Mcginty. Program/Technic Books. Queenwood Begi...(+)
By John Edmondson. Edited
by Anne Mcginty.
Program/Technic Books.
Queenwood Beginning Band.
Music Book. Published by
Queenwood Publications.
(1)$4.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Reflections on the Mississippi Orchestre d'harmonie [Conducteur] - Intermédiaire/avancé Hal Leonard
(for Tuba and Symphonic Band). Composed by Michael Daugherty (1954-). For Concer...(+)
(for Tuba and Symphonic
Band). Composed by
Michael Daugherty
(1954-). For Concert Band
(Full Score). Michael
Daugherty Music. Grade
5-6. Softcover. Published
by Hal Leonard
$65.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| First Concert Folio Orchestre d'harmonie [Partition + CD] - Débutant Carl Fischer
Pieces for Grade 1 Bands - Full Score with Piano Reduction and CD. By Andrew Bal...(+)
Pieces for Grade 1 Bands
- Full Score with Piano
Reduction and CD. By
Andrew Balent, Johann
A.P. Schulz, James
Pierpont. Edited by
Andrew Balent, Joseph
Compello. Arranged by
Andrew Balent; Joseph
Compello. For Flute,
Oboe, Clarinet, Alto
Saxophone, Bass Clarinet,
Euphonium, Tenor
Saxophone, Trumpet, Horn,
Tenor, Bassoon, Tuba,
Percussion. Sounds
Spectacular. Score and
Audio CD. 76 pages.
Published by Carl
Fischer.
$29.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Moment Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire Hal Leonard
Composed by Alex Shapiro (1962-). CSIC Library. Softcover. Published by Hal L...(+)
Composed by Alex Shapiro
(1962-). CSIC Library.
Softcover. Published by
Hal
Leonard
$33.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Spring (wind Sextet) Leduc, Alphonse
SKU: HL.48182320 Composed by Henri Tomasi. Leduc. Classical. 23 pages. Al...(+)
SKU: HL.48182320
Composed by Henri Tomasi.
Leduc. Classical. 23
pages. Alphonse Leduc
#AL23456. Published by
Alphonse Leduc
(HL.48182320). UPC:
888680840440.
9.0x12.0x0.208
inches. Spring by
Henri Tomassi is a wind
sextet for Flute, Oboe,
Bb Clarinet, Alto
Saxophone, Horn and
Bassoon. This book
includes the score for
each instrument and the
conductor?s score.
Lasting 9 and a half
minutes, this melodious
piece is divided into
three main parts and
finishes on a Scherzando
section. These three
pieces musically describe
the flirting process of
birds in Spring. 1.
Reveil des oiseaux /
Birds wake up 2. Chant
d?amour / Love song 3.
Danse des oiseaux / Dance
of the birds This piece
is very difficult to play
for all instruments
involved, but
simultaneously really
nice and challenging.
Henri Tomasi also
composed a variety of
concerti for Alto
Saxophone and for
Trombone, as well as some
ballades.. $64.30 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Histories Leduc, Alphonse
Alto Saxophone (saxophone & piano) SKU: HL.48180953 For Saxophone and ...(+)
Alto Saxophone (saxophone
& piano) SKU:
HL.48180953 For
Saxophone and Piano.
Composed by
Jacques-Francois Ibert.
Arranged by Marcel Mule.
Leduc. Classical. CD
only. 44 pages. Alphonse
Leduc #AL19854. Published
by Alphonse Leduc
(HL.48180953). UPC:
888680868734.
9.0x12.0x0.103
inches. Composed
between 1920 and 1921,
Stories is a suite of ten
short movements by
Jacques Ibert
(1890-1962), a
neoclassical composer who
won the Prix de Rome in
1919. Initially written
for piano only and later
arranged for saxophone
and piano, this
publication was
commissioned by Alphonse
Leduc editor and
increased Jacques Ibert's
popularity. The ten
pieces are as follows: 1.
La meneuse de tortures
d'or (The golden Turtles
leader) 2. Le petit
âne blanc (The little
white donkey) 3. Le vieux
mendicant (The old
beggar) 4.?A Giddy girl
5. Dans la maison triste
(In the sad house) 6. Le
palais abandonné (The
abandoned palace) 7. Bajo
la mesa (Under the table)
8. La cage de cristal
(The crystal cage) 9. La
marchande d?eau fraiche
(The fresh water
merchant) 10. Le
cortège de Balkis
(Balkis? march) Jacques
Ibert (1890-1962) also
composed many symphonic
suites, operas and seven
orchestras, including
Angelique (1926) and
Divertissement (1930). He
also was in charge of the
French Academy in the
Villa Médicis (Roma)
and was later
administrator for the
Paris Opera. $41.30 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Memorial Suite in C Minor Orchestre d'harmonie [Conducteur] - Facile De Haske Publications
Concert Band (Score) - Grade 3 SKU: HL.44011072 Concert Band Full Scor...(+)
Concert Band (Score) -
Grade 3 SKU:
HL.44011072
Concert Band Full
Score. Composed by
Jacob De Haan. De Haske
Concert Band. Classical.
Score Only. Composed
2009. De Haske
Publications #1094774140.
Published by De Haske
Publications
(HL.44011072). UPC:
884088646097. 9x12
inches.
English-German-French-Dut
ch. Diese Suite in
c-Moll zollt einem
berühmten
klassischen Blaserwerk
Tribut - der Ersten Suite
in Es-Dur von Gustav
Holst von 1909 - und
erscheint zu deren
100-jahrigem Jubilaum.
Die viersatzige Suite
erinnert an die Stilistik
von Holst, enthalt aber
auch charakteristische
Klangidiome sowie
Strukturmerkmale von
Jacob de Haan. Eine
erfrischende originale
Komposition, inspiriert
von einem durchaus nicht
angestaubten Klassiker.
En 1909, Gustav
Holst composa une
œuvre audacieuse et
novatrice, la Premiere
Suite en Mib Majeur, op.
28 ndeg1 (First Suite in
Eb major, Op. 28, No.
1), une suite
exclusivement ecrite pour
instruments a vent. A
l'occasion du centenaire
de cette piece, devenue
un classique du
repertoire pour Orchestre
d'Harmonie, Jacob de Haan
a compose la Memorial
Suite en Ut mineur.
Cette composition en
quatre mouvements fait
reference aux qualites
stylistiques de
l'œuvre de Holst,
tout en s'appuyant sur le
langage sonore et
l'ecriture
caracteristiques du style
de Jacob de Haan. Le
resultat est
original.Comme Gustav
Holst, Jacob de Haan a
choisi d'ouvrir sasuite
avec une chaconne, une
forme de variation
contrapuntique (a
l'origine une danse
espagnole a trois temps)
dans laquelle un theme
revient de facon
recurrente accompagne a
chaque fois par un
nouveau contre-chant. Ce
theme ostinato est
utilise de differentes
manieres tout au long des
quatre mouvements,
assurant ainsi l'unite de
l'œuvre. Le second
mouvement est un
scherzo. Par sa
progression et son
caractere, il s'apparente
a l'intermezzo
central de la suite de
Holst. Le troisieme
mouvement, Song
Without Words (Chanson
sans paroles), porte
le meme titre que le
second mouvement de la
Deuxieme Suite en Fa,
op. 28 ndeg 2 (Second
Suite in F, Op. 28, No.
1) composee par Holst
en 1911. A mi-chemin de
ce mouvement tres
expressif apparait un
solo de saxophone alto.
Jacob de Haan conclut son
œuvre par une
Marche comme le
fit jadis Gustav
Holst. $33.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
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