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.
(Major and Minor, Six Progressively Graded Games on Each Player Card) Written by...(+)
(Major and Minor, Six
Progressively Graded
Games on Each Player
Card) Written by Andrew
Surmani, Karen Farnum
Surmani, Morton Manus.
Bingo Game Cards. Series:
Alfred's Essentials of
Music Theory. Published
by Alfred Publishing.
(Major and Minor) Written by Andrew Surmani, Karen Farnum Surmani, Morton Manus....(+)
(Major and Minor) Written
by Andrew Surmani, Karen
Farnum Surmani, Morton
Manus. Flash Cards. With
instructional photos and
instructional text.
Series: Alfred's
Essentials of Music
Theory. 48 pages.
Published by Alfred
Publishing.
Chamber Music Flute(s) SKU: PR.114423620 Composed by Jovana DamnjanoviÄ...(+)
Chamber Music Flute(s)
SKU: PR.114423620
Composed by Jovana
Damnjanović.
Performance Score.
Theodore Presser Company
#114-42362. Published by
Theodore Presser Company
(PR.114423620).
ISBN
9781491137321. UPC:
680160690053.
MAYKA
(Serbian for
“motherâ€) is
a fascinating collection
of 10 short recital
pieces, each inspired by
Serbian folk-music
traditions, enriched
through a broad variety
of non-traditional
techniques. Serbian-born
flutist Jovana
Damnjanović created
these teaching etudes in
conjunction with her
doctoral thesis
introducing Eastern
European traditions to
Western flutists. Along
with its 10 fresh and
dazzling concert works,
this publication includes
a thorough preface on
performance techniques
and instructions for each
etude. MAYKA attempts
to represent the sounds
of traditional Serbian
music and also make them
more familiar and
accessible to flute
players around the world.
The overarching
inspiration for the sound
is one of the most
popular instruments in
Serbian traditional
music: the frula.
Inspirations from the
tone colors of other
instruments such as
duduk, cevara, dvojnice,
and kaval are also
present. To read more
about these instruments,
refer to Chapter 1:
Introduction (pg. 13-16)
in the online
dissertation.My intention
was to create an original
work exclusively for
flute that holds
characteristics of
Serbian traditional
music. An imitation of
one of the Serbian
traditional song forms
can be found in
“ČоÄek;â
irregular time
signatures can be found
in “Igra,â€
“ČоÄek,â
and
“Vez.†The
style is mostly present
through trills,
ornaments, and tonality,
which are ubiquitous
characteristics of
Serbian traditional
music.Each of the concert
etudes has a narrative.
The reason for narrative
is to bring the style
closer to the performer,
and to help with
understanding each
etude’s expressive
significance. Some etudes
were inspired by people
and events, some by
specific dances, music,
and literature from
Serbia. As the etudes are
of programmatic nature,
they are a great choice
for themed recitals. The
idea was to write pieces
short enough to be good
program-fillers, not too
hard to put together yet
effective, and also
suitable for short
performances in venues
that do not have a piano.
To read more about each
etude’s narrative,
refer to Chapter 3:
Performance Guide (pg.
24-75) in the
dissertation.The book is
titled MAYKA, Serbian for
mother, to honor my
mother, my
mother’s mother,
and my Motherland,
Serbia. Motherland is
represented through the
style and tonal language
of all of the concert
etudes, and my mother and
grandmother have been the
biggest inspiration for
the narrative of
“Svila,â€
“Nana,†and
“Uspavanka.â€.
Orchestra SKU: PR.416415760 For Really Big Orchestra. Composed by ...(+)
Orchestra
SKU:
PR.416415760
For
Really Big Orchestra.
Composed by PDQ Bach.
Edited by Prof. Peter
Schickele. Study Score.
With Standard notation.
Duration 11 minutes.
Theodore Presser Company
#416-41576. Published by
Theodore Presser Company
(PR.416415760).
UPC:
680160636532. 9 x 12
inches.
The 1712
Overture stands out in
P.D.Q. Bach's oeuvre for
two reasons, among
others: it is by far the
most programmatic
instrumental piece among
those by the minimeister
of Wein-am-Rhein so far
unearthed, and 2) its
discovery has led to a
revelation about the
composer's father, Johann
Sebastian Bach, that has
exploded like a bombshell
on the usually serene
musicological landscape.
The overture is based on
an anecdote told to
P.D.Q. Bach by a cousin,
Peter Ulrich. Since P.U.
Bach lived in Dudeldorf,
only a few miles down the
road from Wein-am-Rhein,
he was P.D.Q.'s closest
relative, and he was, in
fact, one of the few
members of the family who
was on speaking terms
with P.D.Q. The story,
related to P.D.Q.
(fortunately for us
posterity types) in a
letter, may be summarized
thus: The town of
Dudeldorf was founded by
two brothers, Rudi and
Dieter Dudel, early in
the 18th century. Rudi
remained mayor of the
newborn burg for the rest
of his long life, but
Dieter had a dream of
starting a musicians'
colony, an entire city
devoted to music, which
dream, he finally
decided, could be
realized only in the New
World. In 1712, he and
several other bagpipers
sailed to Boston, never
to return to Germany.
(Henceforth, Rudi became
known as der deutscher
Dudel and Dieter as the
Yankee Dudel).
Unfortunately, the head
of the Boston Musicians'
Guild had gotten wind of
Dudel's plans, and
Wilhelm Wiesel (pron.
VEE-zle), known none too
affectionately around
town as Wiesel the
Weasel, was not about to
share what few gigs there
were in colonial America
with more foreigners and
outside agitators. He and
his cronies were on hand
to meet Dudel's boat when
it pulled into Boston
Harbor; they intended to
prevent the newcomers'
disembarkation, but Dudel
and his companions
managed to escape to the
other side of the bay in
a dinghy, landing with
just enough time to rent
a carriage and horses
before hearing the sound
of The Weasel and his
men, who had had to come
around the long way. The
Germans headed West, with
the Bostonians in furious
pursuit. soon the city
had been left far behind,
and by midnight so had
the pursuers; Dieter
Dudel decided that it was
safe for him and his men
to stop and sleep until
daybreak. When they
awoke, they found that
they were in a beautiful
landscape of low,
forested mountains and
pleasant fields, warmed
by the brilliant morning
sun and serenaded by an
entrancing variety of
birds. Here, Dudel
thought, her is where I
will build my colony. The
immigrants continued down
the road at a leisurely
pace until they came upon
a little church, all by
itself in the
countryside, from which
there suddenly emanated
the sounds of a pipe
organ. At this point, the
temptation to quote from
P.U. Bach's letter to
P.D.Q. cannot be
resisted: They went
inside and, after
listening to the glorious
music for a while,
introduced themselves to
the organist. And who do
you think it was? Are you
ready for this -- it was
your old man! Hey, no
kidding -- you know, I'm
sure, that your father
was the guy to get when
it came to testing new
organs, and whoever had
that one in Massachusetts
built offered old
Sebastian a tidy sum to
go over there and check
it out. The unexpected
meeting with J.S. Bach
and his sponsors was
interrupted by the sound
of horse hooves, as the
dreaded Wiesel and his
men thundered on to the
scene. They had been
riding all night,
however, and they were no
spring chickens to start
with, and as soon as they
reached the church they
all dropped, exhausted,
to the ground. The elated
Germans rang the church
bells and offered to buy
everyone a beer at the
nearest tavern. There
they were taught, and
joined in singing, what
might be called the
national anthem of the
New World. The melody of
this pre-revolutionary
patriotic song is still
remembered (P.D.Q. Bach
quotes it, in the bass
instruments, near the end
of the overture), but is
words are now all but
forgotten: Freedom, of
thee we sing, Freedom
e'er is our goal; Death
to the English King, Long
live Rock and Ross. The
striking paucity of
biographical references
to Johann Sebastian Bah
during the year 1712 can
now be explained: he was
abroad for a significant
part of that year,
testing organs in the
British Colonies. That
this revelation has not
been accepted as fact by
the musicological
establishment is no
surprise, since it means
that a lot of books would
have to be rewritten. The
members of that
establishment haven't
even accepted the
existence of P.D.Q. Bach,
one of whose major works
the 1712 Overture
certainly is. It is also
a work that shows
Tchaikowsky up as the
shameless plagiarizer
that some of us have
always known he was. The
discovery of this awesome
opus was made possible by
a Boston Pops Centennial
Research Commission; the
first modern performance
took place at the opening
concert of the 100th
anniversary season of
that orchestra, under the
exciting but authentic
direction of John
Williams.
Orchestra SKU: PR.41641576L For Really Big Orchestra. Composed by ...(+)
Orchestra
SKU:
PR.41641576L
For
Really Big Orchestra.
Composed by PDQ Bach.
Edited by Peter
Schickele. Large Score.
With Standard notation.
Duration 11 minutes.
Theodore Presser Company
#416-41576L. Published by
Theodore Presser Company
(PR.41641576L).
UPC:
680160636549. 11 x 17
inches.
The 1712
Overture stands out in
P.D.Q. Bach's oeuvre for
two reasons, among
others: it is by far the
most programmatic
instrumental piece among
those by the minimeister
of Wein-am-Rhein so far
unearthed, and 2) its
discovery has led to a
revelation about the
composer's father, Johann
Sebastian Bach, that has
exploded like a bombshell
on the usually serene
musicological landscape.
The overture is based on
an anecdote told to
P.D.Q. Bach by a cousin,
Peter Ulrich. Since P.U.
Bach lived in Dudeldorf,
only a few miles down the
road from Wein-am-Rhein,
he was P.D.Q.'s closest
relative, and he was, in
fact, one of the few
members of the family who
was on speaking terms
with P.D.Q. The story,
related to P.D.Q.
(fortunately for us
posterity types) in a
letter, may be summarized
thus: The town of
Dudeldorf was founded by
two brothers, Rudi and
Dieter Dudel, early in
the 18th century. Rudi
remained mayor of the
newborn burg for the rest
of his long life, but
Dieter had a dream of
starting a musicians'
colony, an entire city
devoted to music, which
dream, he finally
decided, could be
realized only in the New
World. In 1712, he and
several other bagpipers
sailed to Boston, never
to return to Germany.
(Henceforth, Rudi became
known as der deutscher
Dudel and Dieter as the
Yankee Dudel).
Unfortunately, the head
of the Boston Musicians'
Guild had gotten wind of
Dudel's plans, and
Wilhelm Wiesel (pron.
VEE-zle), known none too
affectionately around
town as Wiesel the
Weasel, was not about to
share what few gigs there
were in colonial America
with more foreigners and
outside agitators. He and
his cronies were on hand
to meet Dudel's boat when
it pulled into Boston
Harbor; they intended to
prevent the newcomers'
disembarkation, but Dudel
and his companions
managed to escape to the
other side of the bay in
a dinghy, landing with
just enough time to rent
a carriage and horses
before hearing the sound
of The Weasel and his
men, who had had to come
around the long way. The
Germans headed West, with
the Bostonians in furious
pursuit. soon the city
had been left far behind,
and by midnight so had
the pursuers; Dieter
Dudel decided that it was
safe for him and his men
to stop and sleep until
daybreak. When they
awoke, they found that
they were in a beautiful
landscape of low,
forested mountains and
pleasant fields, warmed
by the brilliant morning
sun and serenaded by an
entrancing variety of
birds. Here, Dudel
thought, her is where I
will build my colony. The
immigrants continued down
the road at a leisurely
pace until they came upon
a little church, all by
itself in the
countryside, from which
there suddenly emanated
the sounds of a pipe
organ. At this point, the
temptation to quote from
P.U. Bach's letter to
P.D.Q. cannot be
resisted: They went
inside and, after
listening to the glorious
music for a while,
introduced themselves to
the organist. And who do
you think it was? Are you
ready for this -- it was
your old man! Hey, no
kidding -- you know, I'm
sure, that your father
was the guy to get when
it came to testing new
organs, and whoever had
that one in Massachusetts
built offered old
Sebastian a tidy sum to
go over there and check
it out. The unexpected
meeting with J.S. Bach
and his sponsors was
interrupted by the sound
of horse hooves, as the
dreaded Wiesel and his
men thundered on to the
scene. They had been
riding all night,
however, and they were no
spring chickens to start
with, and as soon as they
reached the church they
all dropped, exhausted,
to the ground. The elated
Germans rang the church
bells and offered to buy
everyone a beer at the
nearest tavern. There
they were taught, and
joined in singing, what
might be called the
national anthem of the
New World. The melody of
this pre-revolutionary
patriotic song is still
remembered (P.D.Q. Bach
quotes it, in the bass
instruments, near the end
of the overture), but is
words are now all but
forgotten: Freedom, of
thee we sing, Freedom
e'er is our goal; Death
to the English King, Long
live Rock and Ross. The
striking paucity of
biographical references
to Johann Sebastian Bah
during the year 1712 can
now be explained: he was
abroad for a significant
part of that year,
testing organs in the
British Colonies. That
this revelation has not
been accepted as fact by
the musicological
establishment is no
surprise, since it means
that a lot of books would
have to be rewritten. The
members of that
establishment haven't
even accepted the
existence of P.D.Q. Bach,
one of whose major works
the 1712 Overture
certainly is. It is also
a work that shows
Tchaikowsky up as the
shameless plagiarizer
that some of us have
always known he was. The
discovery of this awesome
opus was made possible by
a Boston Pops Centennial
Research Commission; the
first modern performance
took place at the opening
concert of the 100th
anniversary season of
that orchestra, under the
exciting but authentic
direction of John
Williams.
Choral; Organ Accompaniment; Percussion (Vocal Score) SKU: HL.48024592 (+)
Choral; Organ
Accompaniment; Percussion
(Vocal Score)
SKU:
HL.48024592
SATB,
Organ, Percussion Vocal
Score. Composed by
James Macmillan. Boosey &
Hawkes Sacred Choral.
Classical, General
Worship, Sacred.
Softcover. 56 pages.
Duration 1020 seconds.
Boosey & Hawkes
#M060129773. Published by
Boosey & Hawkes
(HL.48024592).
ISBN
9781784540685. UPC:
888680931285.
9.0x12.0x0.226
inches.
This
17-minute choral sequence
is scored for mixed
chorus and organ, with
optional percussion, and
presents five of the
Latin motetsÂ’which
occur at the end of
movements in MacMillan's
St John Passion (2007):
Astiterunt reges terr,
Judas, mercator pessimus,
Peccantem me quotidie,
Crucifixus etiam pro
nobis, Stabat Mater. In
the last of these,
MacMillan quotes Bach's
Passion Chorale; Bach's
original is therefore
included as an optional
opening movement in the
sequence, to be sung in
German or English. The
sequence was selected by
Nigel Perrin (Bath
Camerata), who comments,
“I chose these
movements because they
stand on their own and
are effective as 'motets'
with organ accompaniment.
The order of movements
forms a sort of
chronological sequence.
Although the keys do not
relate I felt that this
did not matter as each
movement is completely
different, creating its
own sound-world and
emotion. I have not added
to the original settings;
rather, I have removed
material so that the
choral construction can
stand alone.†A
Choral Sequence from the
St John Passion
represents a significant
addition to the repertory
of devotional works for
Passiontide and is
appropriate for church
and concert performance
alike.
Arranged by Patrick Roszell. Intermediate Wind Band/Ensemble. FJH Developing Ban...(+)
Arranged by Patrick
Roszell. Intermediate
Wind Band/Ensemble. FJH
Developing Band. Score
for this title: B1311S.
Extra part for this
title: B1311P. Concert
Band. Level: 1.5. Score
and Set of Parts.
Published by The FJH
Music Company Inc.
Written by Andrew Surmani, Karen Farnum Surmani, Morton Manus. Instructional wor...(+)
Written by Andrew
Surmani, Karen Farnum
Surmani, Morton Manus.
Instructional workbook.
Series: Alfred's
Essentials of Music
Theory. 144 pages.
Published by Alfred
Publishing.
Alto voice solo, boys chorus, female chorus, orchestra Final Version 1906 - Te...(+)
Alto voice solo, boys
chorus,
female chorus, orchestra
Final Version 1906 -
Textcritical Edition.
Composed by Gustav Mahler
(1860-1911). Edited by
Christian Rudolf Riedel.
Vocal score. Breitkopf
and
Haertel #EB 9363.
Published
by Breitkopf and Haertel
Buster's Last Stand Big band [Conducteur et Parties séparées] Jazz Lines Publications
By Claude Thornhill. Edited by Jeffrey Sultanof. Arranged by Gil Evans. For jazz...(+)
By Claude Thornhill.
Edited by Jeffrey
Sultanof. Arranged by Gil
Evans. For jazz big band
(2 alto saxophones
(double clarinet), 2
tenor saxophones,
baritone saxophone,
clarinet (optional), 4
trumpets (4th alternate
for horn 1), 2 horns in
F, 3 trombones (3rd
alternate for horn 2),
guitar, piano, bass,
drums, 2 trombones).
Swing. Difficult. Score
and parts. Published by
Jazz Lines Publications
Composed by Franz Schubert (1797-1828). Edited by Christine Martin and Walther...(+)
Composed by Franz
Schubert
(1797-1828). Edited by
Christine Martin and
Walther
Durr. This edition:
complete
edition, urtext edition.
LN.
Franz Schubert. Neue
Ausgabe
samtlicher Werke III/3a
b.
Complete edition, vocal
score, anthology.
Baerenreiter Verlag
#BA05574-01. Published by
Baerenreiter Verlag
Theory and reference - other - Beginning-Intermediate SKU: MB.98294M C...(+)
Theory and reference -
other -
Beginning-Intermediate
SKU: MB.98294M
Classical and
Commercial Aspects.
Composed by Vince
Corozine. Theory and
Reference - Other, Theory
and Reference, Perfect
binding, Adult
Contemporary.
Contemporary. Book and
online audio. 212 pages.
Mel Bay Publications, Inc
#98294M. Published by Mel
Bay Publications, Inc
(MB.98294M).
ISBN
9780786687626. 8.75 x
11.75 inches.
This
book is written from a
composers point of view
and is intended to be a
reference book for the
analysis of arranging
techniques. Its aim is to
help composers and
arrangers improve their
compositional skills as
well as their
understanding of various
musical styles. Through a
study and analysis of the
scores and styles of the
master composers, the
author gives a broad view
of the music of both the
past and of the present.
This allows the musician
to navigate within the
contemporary music scene
with an essential
awareness of and
appreciation for all
genres of music. The
skills and concepts
taught in this book will
help the aspiring
arranger harmonize
melodies and write
counter-melodies quickly
and efficiently utilizing
various combinations of
instruments and voices,
whether for pops
orchestra, television, or
recordings, according to
the demands of modern
commercial music.
Includes access to online
audio.
Marching Band Marching Band - 3 (Medium) (grade 3) SKU: AP.31667S Compose...(+)
Marching Band Marching
Band - 3 (Medium) (grade
3)
SKU: AP.31667S
Composed by Doyle
Bramhall and Stevie Ray
Vaughan [Brian Setzer].
Arranged by Roland
Barrett. Marching Band.
Mega Sounds for Marching
Band. Pop/Rock. Score. 12
pages. Alfred Music
#00-31667S. Published by
Alfred Music (AP.31667S).
UPC: 038081348414.
English.
Rock out
in the stands this year
with this sizzling
arrangement of the tune
made famous by Stevie Ray
Vaughn and the Brian
Setzer Orchestra. Another
winner from arranger
Roland Barrett!
Chamber Music Piano SKU: PR.110418160 Composed by Stacy Garrop. Performan...(+)
Chamber Music Piano
SKU: PR.110418160
Composed by Stacy Garrop.
Performance score. With
Standard notation. 16
pages. Duration 8:30.
Theodore Presser Company
#110-41816. Published by
Theodore Presser Company
(PR.110418160).
ISBN
9781491114049. UPC:
680160640393. 9 x 12
inches.
Stacy
Garrop began hiking in
northern
Colorado’s Rocky
Mountain National Park in
her early 20s. From the
start, she was drawn to a
jagged stretch of rock
formations linking Longs
Peak to Pagoda Mountain,
at over 13,000 feet.
These formations are
called the
“Keyboard of the
Winds,†as their
thin, spindly peaks
suggest splintered keys
of an old, broken piano.
Inspired by one
particular journey the
composer took through the
Keyboard of the Winds en
route to Pagoda’s
summit, this work is a
tribute to the Keyboard
of the Winds. Its fast,
whirling gestures depict
swirling clouds above,
and the musical high
points represent a hiker
reaching the peak of
Pagoda Mountain. These
sections are set in
contrast with quiet,
introspective material
embodying the hiker
quietly surveying the
grandeur and beauty of
the valley below, as well
as the soaring pinnacle
of Longs Peak
overhead. I began
hiking in the Rocky
Mountain National Park in
northern Colorado when I
was in my early twenties.
RMNP is home to some of
the most gorgeous
mountains in North
America, encompassing
265,000 acres of
wilderness, flora, and
fauna. Among the
park’s numerous
summits is Longs Peak, a
mountain that is 14,259
feet high (the highest in
the region). From my
earliest days of hiking,
I was drawn to Longs
Peak, as well as to a
jagged stretch of rock
formations that link
Longs Peak to Pagoda
Mountain (which stands at
13,497 feet). These
formations are called the
Keyboard of the Winds, as
their thin, spindly peaks
loosely suggest the
splintered keys of an
old, broken piano.One
summer, I made the ascent
to Pagoda Mountain using
a route that took me
along the right side of
the Keyboard of the
Winds. My hiking partner
and I started up the
trail in the pre-dawn
hours, and the weather
was stormy. Dawn had
broken by the time we
reached the base of the
Keyboard, but its peaks
were still surrounded by
clouds. As we climbed
higher and higher, the
Keyboard’s thin
spires became visible,
along with the top of
Pagoda Mountain. We
reached the summit of
Pagoda, admired the view
(what we could see
through the clouds), and
made our descent.My piece
is a tribute to the
Keyboard of the Winds.
The fast, whirling
gestures depict swirling
clouds, and the musical
high points represent a
hiker reaching the peaks
of the Keyboard. I have
contrasted these sections
with quiet, introspective
material; these embody
the hiker quietly
surveying the grandeur
and beauty of the valley
below (on a cloudless
day), as well as the
soaring pinnacles of
Longs Peak and Pagoda
Mountain overhead.
Chamber Music Saxophone Quartet SKU: PR.114417130 & Happy Birthday to ...(+)
Chamber Music Saxophone
Quartet
SKU:
PR.114417130
&
Happy Birthday to
Prism. Composed by
Chen Yi. Sws each.
Contemporary. Set of
Score and Parts. With
Standard notation.
Composed 2014.
24+12+12+12+8 pages.
Duration 14 minutes.
Theodore Presser Company
#114-41713. Published by
Theodore Presser Company
(PR.114417130).
ISBN
9781491110409. UPC:
680160626687. 9x12
inches.
A recipient
of the New Music USA 2013
Live Music For Dance
Award commissioning
grant, Not Alone is
inspired by the ancient
Chinese poet Li Bai's
poem Drinking Alone under
the Moon with the Shadow.
The premiere was given on
April 26, 2014 by the
PRISM Quartet with the
Nai-Ni Chen Dance
Company, which
commissioned the work to
celebrate its 25th
Anniversary NYC Season.
From the Program Note by
Matthew Levy (The PRISM
Quartet), Not Alone
(2014) is an
interdisciplinary
work...but it stands
alone in a chamber music
setting. The work spans a
stunning range of
textures, from
introspective solos for
each of the four
saxophones to majestic
hyper-active gestures.
The PRISM Quartet
recorded Not Alone for a
2017 release on XAS
Records titled Paradigm
Lost. But we're excited
for a wider community of
saxophonists to embrace
the work, and share it
with their own audiences.
Not Alone is published
together with Happy
Birthday to PRISM, a
brief miniature that Chen
Yi wrote for the
quartet's 20th
anniversary celebration
in 2004. For advanced
performers.______________
___________Text from the
scanned back cover:NOT
ALONE for Saxophone
QuartetHAPPY BIRTHDAY TO
PRISM for Saxophone
QuartetNot Alone is a
14-minute saxophone
quartet and dance score
inspired by the ancient
Chinese poet Li
Bai’s
“Drinking Alone
under the Moon with the
Shadow.†The
expansively-textured sax
quartet matches the
exploratory and dramatic
movements and gestures in
the dance. NOT ALONE was
commissioned by the
Nai-Ni Chen Dance Company
which premiered the work
in collaboration with the
PRISM Quartet. Also
included in this
publication is Chen
Yi’s fascinating
take on “Happy
Birthday to You,â€
composed in celebration
of Prism’s 25th
anniversary season. A
recipient of the New
Music USA 2013 Live Music
For Dance Award
commissioning grant, Not
Alone is inspiredby the
ancient Chinese poet Li
Bai’s poem
“Drinking Alone
under the Moon with the
Shadow.†The
premierewas given on
April 26, 2014 by the
PRISM Quartet with the
Nai-Ni Chen Dance
Company, which
commissioned thework to
celebrate its 25th
Anniversary NYC
Season. Program Note
by composer Chen YiThe
original inspiration for
this work for both the
choreographer and the
composer came from the
Tang Dynasty poem - Alone
Under the Moon by Li Bai.
The poem describes the
poet being alone in a
garden. The moon and his
shadow became his
companions that night.
The choreographer brings
this idea to modern life
in an urban setting. She
created a series of
“mindscapesâ€
which are the result of
the exploration of the
different mental and
physical states of being
alone.Through
self-examination, the
choreographer raises the
question: are we ever
really alone? Our
physical being may be
standing by itself, but
what about our
introspective self? When
we are still, we let our
thoughts pass by like
flowing water. If we
could engage with our
shadows, what would it be
like?Program Note by
Matthew Levy, The PRISM
QuartetThe PRISM Quartet
has commissioned a great
many composers since our
founding days in 1984.
Chen Yi is among ahandful
of our very favorites,
and one to whom
we’ve returned
time and time again. Her
music is powerful,
expansive,intimate, and
draws connections between
Eastern and Western,
ancient and modern
traditions in a voice all
her own.Chen Yi has
written or adapted four
works for the PRISM
Quartet. She penned a
wonderful miniature
called HappyBirth day to
PRISM to celebrate the
ensemble’s 20th
anniversary back in 2004
(Dedication, Innova
Recordings).We
subsequently commissioned
her to compose Septet
(2008) for Erhu, Pipa,
Percussion, and Saxophone
Quartet(2008), premiered
and recorded with the New
York ensemble Music From
China (Antiphony, Innova
Recordings 2010).In 2015,
the PRISM Quartet
performed and recorded
(XAS Records) a new
version of her saxophone
quartet concerto,BA YIN,
with the University of
Missouri-Kansas City Wind
Ensemble under the baton
of Steven Davis
(originally writtenfor
the Rascher Quartet and
scored for saxophones and
string
orchestra.).Finally, Not
Alone (2014) is an
interdisciplinary work
written for the Nai-Ni
Chen Dance Company with
the PRISMQuartet, but it
stands alone in a chamber
music setting. The work
spans a stunning range of
textures, from
introspectivesolos for
each of the four
saxophones to majestic
hyper-active gestures.
The PRISM Quartet
recorded Not Alonefor a
2017 release on XAS
Records titled Paradigm
Lost. But we’re
excited for a wider
community of saxophonists
toembrace the work, and
share it with their own
audiences.In his liner
notes for the recording,
WNYC’s John
Schaefer writes:
“As with much of
her music, Chen employs
percussiveeffects and
glissandi; in Chinese
music these are not
considered
“extended
techniques†or
special effects, but
animportant part of the
performer’s
arsenal. Here, they help
create the twilit mood of
the opening moments. The
piecesoon becomes more
dramatic, suggesting the
arrival of the
drinker’s
companions (real or
imagined) and his or
herincreasingly garrulous
outbursts. Passages of
consonance and discord
can easily be heard as
companionable singingand
bouts of drunken
argument. The piece
bustles along on a kind
of restless energy,
until, finally, that
restlessnesssubsides,
giving way to a gently
humorous ending where a
short falling phrase
signals the drinker
falling
asleep.â€.
By Cindy McTee. For concert band. This edition: Revised edition, 2011. Concert B...(+)
By Cindy McTee. For
concert band. This
edition: Revised edition,
2011. Concert Band Music.
Score and parts. Duration
ca. 6 minutes. Published
by Bill Holab Music
Marching Band (Score) SKU: HL.3746569 From Sing 2. By Shawn Mendes...(+)
Marching Band (Score)
SKU: HL.3746569
From Sing 2. By
Shawn Mendes. Arranged by
Ishbah Cox. Contemporary
Marching Band. Movies,
Pop. Softcover. 8 pages.
Published by Hal Leonard
(HL.3746569).
UPC:
196288071570.
6.75x10.5x0.019
inches.
Recorded by
Shawn Mendes in 2017,
this catchy rock hit has
a lot going for it
including over a billion
views on YouTube!
Featured in the hit movie
Sing 2, it's a great
number for a dance
feature, or just rockin'
the stands.
Composed by Carl Major. Arranged by Carl Major. For Drumline. Stands Tunes and P...(+)
Composed by Carl Major.
Arranged by Carl Major.
For Drumline. Stands
Tunes and Pep Band.
Percussion Features.
Medium Easy. Score and
parts. Published by Jalen
Publishing
Blazing Bones of the West! Orchestre d'harmonie [Conducteur et Parties séparées] - Facile Alfred Publishing
(Trombone Section Feature (Featuring: The Magnificent Seven / How the West Was W...(+)
(Trombone Section Feature
(Featuring: The
Magnificent Seven / How
the West Was Won (Main
Title) / Blazing
Saddles)). Arranged by
Michael Story and Michael
Story. Concert Band.
Concert Band; Part(s);
Score; SmartMusic. Pop
Young Band. Movie; Pop.
Grade 2.
Organ (SATB) SKU: HL.48023998 For Baritone Solo, Mixed Choir and Orche...(+)
Organ (SATB)
SKU:
HL.48023998
For
Baritone Solo, Mixed
Choir and Orchestra
(Organ Score).
Composed by John Ireland.
BH Secular Choral.
Classical. Softcover. 24
pages. Boosey & Hawkes
#M060132209. Published by
Boosey & Hawkes
(HL.48023998).
ISBN
9781784542108.
12.0x9.0x0.4
inches.
Scored for
baritone (or tenor) solo,
mixed choir and
orchestra, this work was
composed in 1936-37, and
sets a utopian and
pacifist poem by John
Addington Symonds
(1840-93): Say, heart,
what will the future
bring / To happier men
when we are gone... This
edition is the latest
addition to Boosey &
Hawkess series of organ
reductions of
choral/orchestral scores
(Finzis Requiem da
Camera, For St Cecilia,
In terra pax). The
reductions broaden the
reach of these works to
choirs which do not wish
to present the works with
orchestra, as with other
standards from the sacred
repertoire such the
Requiems of Faure and
Durufle. athetically
recreat The Reductions
sympathetically recreate
the orchestra scoring for
a three-manual organ.
Ingeniously, the manual
couplings (II to III, II
and III to I) are
unaltered throughout,
with pedal coupled to
manuals as appropriate.
Detailed registrations
are not indicated as
these are best left to
the performer, taking
into account the unique
circumstances of the
particular instrument,
size of choir and
acoustic setting at each
performance.
Composed by Johann Sebastian Bach (1685-1750), edited by Albert Riemenschneider,...(+)
Composed by Johann
Sebastian Bach
(1685-1750), edited by
Albert Riemenschneider,
Charles Boyd. Vocal score
book for SATB choir. With
vocal score notation
(open score in German;
closed score in English),
introductory text and .
Text language English;
lyrics in German and
English. 127 pages.
Published by G. Schirmer,
Inc.