(Over 850 Classical Themes and Melodies in the Original Keys) For C instrument. ...(+)
(Over 850 Classical
Themes and Melodies in
the Original Keys) For C
instrument. Format:
fakebook (spiral bound).
With vocal melody
(excerpts) and chord
names. Lassical. Series:
Hal Leonard Fake Books.
646 pages. 9x12 inches.
Published by Hal Leonard.
compiled by Dr. Ed Whitcomb. For Fiddle. songbook. Canadian. Level: Beginning-In...(+)
compiled by Dr. Ed
Whitcomb. For Fiddle.
songbook. Canadian.
Level:
Beginning-Intermediate.
Book. Size 8.75x11.75.
224 pages. Published by
Mel Bay Publications,
Inc.
Composed by
Zachary Cairns. Folio.
Yps. Set of Score and
Parts.
8+8+4+8+8+4+2+6+4+4+4+8+8
+8+8+6+6+6+4+6+4+2+2+4+6+
10+24 pages. Duration 4
minutes, 48 seconds. Carl
Fischer Music #YPS217.
Published by Carl Fischer
Music (CF.YPS217).
ISBN 9781491156544.
UPC: 680160915088. 9 x 12
inches.
Hope
Remains Within was
commissioned by and
composed for the Mount
Nittany Middle School 7th
and 8th Grade Concert
Bands. Having heard the
students of Mount Nittany
perform another work of
mine, I was very excited
when their director,
Johanna Steinbacher,
approached me about
writing a piece
specifically for them. I
knew right away that I
wanted to write something
that would tie in with
their non-music
curriculum in some way,
but I wasn't exactly sure
how, or what. Johanna
talked to some of her
students and learned
that, in 7th grade, the
students spend a good
deal of time studying
mythology in their
English class. In
particular, two clarinet
students mentioned how
much they enjoyed the
story of Pandora. As
such, I decided to use
that story as the basis
of this composition. Hope
Remains Within doesn't
attempt to re-tell the
story, event by event, in
musical terms. Instead,
my goal was to address
what seems to be one of
the central issues of the
Pandora myth. Though
there are some
variations, we probably
all know the basics as
told by the ancient Greek
poet Hesiod. Zeus decides
to punish Prometheus for
stealing fire from heaven
and giving it to humans.
He and the other gods
create Pandora, a
beautiful and deceitful
woman, and they give her
to Prometheus's brother
Epimetheus as a bride.
Pandora is herself given
a jar (according to many
sources, jar seems to be
a more accurate
translation for what we
commonly call Pandora's
box) which contained
numerous evils, diseases,
and other pains. Out of
curiosity, Pandora opens
the jar and releases all
of these evils into the
world. But one thing
remains in the jar: hope.
The issue of hope seems
to be one of the big
interpretive questions of
the Pandora myth. Why
does hope remain within
the jar? Why doesn't it
come out of the jar to
help humanity? Is hope
being held on a pedestal
of some sort? Is hope
deliberately withheld
from humanity? Why was
hope in the jar with all
those evils in the first
place? I'm not enough of
a mythological scholar to
claim to have definitive
answers to those
questions, but these are
the questions that I've
tried to engage from a
musical perspective in
Hope Remains Within. I
encourage the students
and listeners to consider
their own ideas of what
hope is, and where you
can find your own hope
when needed. Musically,
Hope Remains Within draws
one of its main themes
from the Prometheus
Symphony by Alexander
Skryabin (Scriabin). The
note sequence F-D-Gb -F,
heard near Hope's
beginning played by alto
saxophones and chimes,
comes from the opening
measures of Skyrabin's
work. Given the important
role that Prometheus
plays in the Pandora
myth, this seemed like an
appropriate musical
gesture to quote. This
Prometheus motive is
varied throughout the
course of the piece, and
even provides closure at
the end, recast in a
major key. Additionally,
I have tried to involve a
manageable amount of
chromaticism in this
piece. I have worked from
the key of Bb major, no
doubt familiar to every
student who has ever
played an instrument in a
band. But I have added
three extra notes: Db,
Gb, and Ab, which are
drawn from the key of Bb
minor. During the piece's
slow opening, I have
allowed these minor key
pitches to mingle freely
within the Bb major
tonality, adding extra
color and (I hope!)
beauty. As the piece
progresses, though, the
tempo increases, and we
lose sense of the Bb
major key entirely, and
these extra notes play a
more important role. But
finally, Bb major returns
triumphantly and all the
extra notes are gone,
except for a brief memory
near the very end. (Ok,
there are a couple of
E-naturals that sneak in
there along the way. I
couldn't
resist.). Hope Remains
Within was commissioned
by and composed for the
Mount Nittany Middle
School 7th and 8th Grade
Concert Bands. Having
heard the students of
Mount Nittany perform
another work of mine, I
was very excited when
their director, Johanna
Steinbacher, approached
me about writing a piece
specifically for them. I
knew right away that I
wanted to write something
that would tie in with
their non-music
curriculum in some way,
but I wasn’t
exactly sure how, or
what. Johanna talked to
some of her students and
learned that, in 7th
grade, the students spend
a good deal of time
studying mythology in
their English class. In
particular, two clarinet
students mentioned how
much they enjoyed the
story of Pandora.As such,
I decided to use that
story as the basis of
this composition. Hope
Remains Within
doesn’t attempt to
re-tell the story, event
by event, in musical
terms. Instead, my goal
was to address what seems
to be one of the central
issues of the Pandora
myth. Though there are
some variations, we
probably all know the
basics as told by the
ancient Greek poet
Hesiod. Zeus decides to
punish Prometheus for
stealing fire from heaven
and giving it to humans.
He and the other gods
create Pandora, a
beautiful and deceitful
woman, and they give her
to Prometheus’s
brother Epimetheus as a
bride. Pandora is herself
given a jar (according to
many sources,
“jar†seems
to be a more accurate
translation for what we
commonly call
“Pandora’s
boxâ€) which
contained numerous evils,
diseases, and other
pains. Out of curiosity,
Pandora opens the jar and
releases all of these
evils into the world. But
one thing remains in the
jar: hope.The issue of
hope seems to be one of
the big interpretive
questions of the Pandora
myth. Why does hope
remain within the jar?
Why doesn’t it
come out of the jar to
help humanity? Is hope
being held on a pedestal
of some sort? Is hope
deliberately withheld
from humanity? Why was
hope in the jar with all
those evils in the first
place?I’m not
enough of a mythological
scholar to claim to have
definitive answers to
those questions, but
these are the questions
that I’ve tried to
engage from a musical
perspective in Hope
Remains Within. I
encourage the students
and listeners to consider
their own ideas of what
hope is, and where you
can find your own hope
when needed.Musically,
Hope Remains Within draws
one of its main themes
from the Prometheus
Symphony by Alexander
Skryabin (Scriabin). The
note sequence F-D-Gb -F,
heard near Hope’s
beginning played by alto
saxophones and chimes,
comes from the opening
measures of
Skyrabin’s work.
Given the important role
that Prometheus plays in
the Pandora myth, this
seemed like an
appropriate musical
gesture to quote. This
Prometheus motive is
varied throughout the
course of the piece, and
even provides closure at
the end, recast in a
major key.Additionally, I
have tried to involve a
manageable amount of
chromaticism in this
piece. I have worked from
the key of Bb major, no
doubt familiar to every
student who has ever
played an instrument in a
band. But I have added
three extra notes: Db,
Gb, and Ab, which are
drawn from the key of Bb
minor. During the
piece’s slow
opening, I have allowed
these minor key pitches
to mingle freely within
the Bb major tonality,
adding extra color and (I
hope!) beauty. As the
piece progresses, though,
the tempo increases, and
we lose sense of the Bb
major key entirely, and
these extra notes play a
more important role. But
finally, Bb major returns
triumphantly and all the
extra notes are gone,
except for a brief memory
near the very end. (Ok,
there are a couple of
E-naturals that sneak in
there along the way. I
couldn’t
resist.).
Composed
by Zachary Cairns. Sws.
Yps. Full score. 24
pages. Duration 4
minutes, 48 seconds. Carl
Fischer Music #YPS217F.
Published by Carl Fischer
Music (CF.YPS217F).
ISBN 9781491156551.
UPC: 680160915095. 9 x 12
inches.
Hope
Remains Within was
commissioned by and
composed for the Mount
Nittany Middle School 7th
and 8th Grade Concert
Bands. Having heard the
students of Mount Nittany
perform another work of
mine, I was very excited
when their director,
Johanna Steinbacher,
approached me about
writing a piece
specifically for them. I
knew right away that I
wanted to write something
that would tie in with
their non-music
curriculum in some way,
but I wasn't exactly sure
how, or what. Johanna
talked to some of her
students and learned
that, in 7th grade, the
students spend a good
deal of time studying
mythology in their
English class. In
particular, two clarinet
students mentioned how
much they enjoyed the
story of Pandora. As
such, I decided to use
that story as the basis
of this composition. Hope
Remains Within doesn't
attempt to re-tell the
story, event by event, in
musical terms. Instead,
my goal was to address
what seems to be one of
the central issues of the
Pandora myth. Though
there are some
variations, we probably
all know the basics as
told by the ancient Greek
poet Hesiod. Zeus decides
to punish Prometheus for
stealing fire from heaven
and giving it to humans.
He and the other gods
create Pandora, a
beautiful and deceitful
woman, and they give her
to Prometheus's brother
Epimetheus as a bride.
Pandora is herself given
a jar (according to many
sources, jar seems to be
a more accurate
translation for what we
commonly call Pandora's
box) which contained
numerous evils, diseases,
and other pains. Out of
curiosity, Pandora opens
the jar and releases all
of these evils into the
world. But one thing
remains in the jar: hope.
The issue of hope seems
to be one of the big
interpretive questions of
the Pandora myth. Why
does hope remain within
the jar? Why doesn't it
come out of the jar to
help humanity? Is hope
being held on a pedestal
of some sort? Is hope
deliberately withheld
from humanity? Why was
hope in the jar with all
those evils in the first
place? I'm not enough of
a mythological scholar to
claim to have definitive
answers to those
questions, but these are
the questions that I've
tried to engage from a
musical perspective in
Hope Remains Within. I
encourage the students
and listeners to consider
their own ideas of what
hope is, and where you
can find your own hope
when needed. Musically,
Hope Remains Within draws
one of its main themes
from the Prometheus
Symphony by Alexander
Skryabin (Scriabin). The
note sequence F-D-Gb -F,
heard near Hope's
beginning played by alto
saxophones and chimes,
comes from the opening
measures of Skyrabin's
work. Given the important
role that Prometheus
plays in the Pandora
myth, this seemed like an
appropriate musical
gesture to quote. This
Prometheus motive is
varied throughout the
course of the piece, and
even provides closure at
the end, recast in a
major key. Additionally,
I have tried to involve a
manageable amount of
chromaticism in this
piece. I have worked from
the key of Bb major, no
doubt familiar to every
student who has ever
played an instrument in a
band. But I have added
three extra notes: Db,
Gb, and Ab, which are
drawn from the key of Bb
minor. During the piece's
slow opening, I have
allowed these minor key
pitches to mingle freely
within the Bb major
tonality, adding extra
color and (I hope!)
beauty. As the piece
progresses, though, the
tempo increases, and we
lose sense of the Bb
major key entirely, and
these extra notes play a
more important role. But
finally, Bb major returns
triumphantly and all the
extra notes are gone,
except for a brief memory
near the very end. (Ok,
there are a couple of
E-naturals that sneak in
there along the way. I
couldn't
resist.). Hope Remains
Within was commissioned
by and composed for the
Mount Nittany Middle
School 7th and 8th Grade
Concert Bands. Having
heard the students of
Mount Nittany perform
another work of mine, I
was very excited when
their director, Johanna
Steinbacher, approached
me about writing a piece
specifically for them. I
knew right away that I
wanted to write something
that would tie in with
their non-music
curriculum in some way,
but I wasn’t
exactly sure how, or
what. Johanna talked to
some of her students and
learned that, in 7th
grade, the students spend
a good deal of time
studying mythology in
their English class. In
particular, two clarinet
students mentioned how
much they enjoyed the
story of Pandora.As such,
I decided to use that
story as the basis of
this composition. Hope
Remains Within
doesn’t attempt to
re-tell the story, event
by event, in musical
terms. Instead, my goal
was to address what seems
to be one of the central
issues of the Pandora
myth. Though there are
some variations, we
probably all know the
basics as told by the
ancient Greek poet
Hesiod. Zeus decides to
punish Prometheus for
stealing fire from heaven
and giving it to humans.
He and the other gods
create Pandora, a
beautiful and deceitful
woman, and they give her
to Prometheus’s
brother Epimetheus as a
bride. Pandora is herself
given a jar (according to
many sources,
“jar†seems
to be a more accurate
translation for what we
commonly call
“Pandora’s
boxâ€) which
contained numerous evils,
diseases, and other
pains. Out of curiosity,
Pandora opens the jar and
releases all of these
evils into the world. But
one thing remains in the
jar: hope.The issue of
hope seems to be one of
the big interpretive
questions of the Pandora
myth. Why does hope
remain within the jar?
Why doesn’t it
come out of the jar to
help humanity? Is hope
being held on a pedestal
of some sort? Is hope
deliberately withheld
from humanity? Why was
hope in the jar with all
those evils in the first
place?I’m not
enough of a mythological
scholar to claim to have
definitive answers to
those questions, but
these are the questions
that I’ve tried to
engage from a musical
perspective in Hope
Remains Within. I
encourage the students
and listeners to consider
their own ideas of what
hope is, and where you
can find your own hope
when needed.Musically,
Hope Remains Within draws
one of its main themes
from the Prometheus
Symphony by Alexander
Skryabin (Scriabin). The
note sequence F-D-Gb -F,
heard near Hope’s
beginning played by alto
saxophones and chimes,
comes from the opening
measures of
Skyrabin’s work.
Given the important role
that Prometheus plays in
the Pandora myth, this
seemed like an
appropriate musical
gesture to quote. This
Prometheus motive is
varied throughout the
course of the piece, and
even provides closure at
the end, recast in a
major key.Additionally, I
have tried to involve a
manageable amount of
chromaticism in this
piece. I have worked from
the key of Bb major, no
doubt familiar to every
student who has ever
played an instrument in a
band. But I have added
three extra notes: Db,
Gb, and Ab, which are
drawn from the key of Bb
minor. During the
piece’s slow
opening, I have allowed
these minor key pitches
to mingle freely within
the Bb major tonality,
adding extra color and (I
hope!) beauty. As the
piece progresses, though,
the tempo increases, and
we lose sense of the Bb
major key entirely, and
these extra notes play a
more important role. But
finally, Bb major returns
triumphantly and all the
extra notes are gone,
except for a brief memory
near the very end. (Ok,
there are a couple of
E-naturals that sneak in
there along the way. I
couldn’t
resist.).
Composed by Dan Welcher.
With Standard notation.
Duration 15 minutes.
Theodore Presser Company
#164-00261S. Published by
Theodore Presser Company
(PR.16400261S).
UPC:
680160038411.
Since
the bassoon is my own
instrument, many people
have asked me why I've
written so little for the
instrument. Beyond my
early Concerto Da Camera
for bassoon and small
orchestra, written for
Leonard Sharrow in 1975,
I've not written a single
piece that features the
bassoon as a solo vehicle
(though I have written
three woodwind quintets).
When I first began
composing seriously,
critics were quick to
point out that my
orchestral writing
revealed nothing of my
roots as a woodwind
player--and bassoonists
asked why my pieces
didn't have more bassoon
solos. Perhaps I was so
aware that people were
looking at me as a
bassoonist/composer that
I was determined to
remove that stigma. Now
that my transformation
from performer to
composer is complete,
however, it's time to
re-address my instrument.
I wanted this new piece
to be serious rather than
whimsical. The Wind Won't
Listen represents my
return to the bassoon as
the highly expressive,
poetic soul that it is.
As such, it
shouldn't come as a
surprise that the piece
is based on a poem, and
that the title of the
piece as well as both its
movement titles come from
lines in that poem. I
first read Beth Gylys'
poem Split at the
MacDowell Colony in the
summer of 2001, and it
made a big impression on
me. My personal life had
been ruptured by divorce
in the preceding year.
This poem, with its dry
insistence on observation
rather than feeling,
expressed the wrung-out
state of my emotions at
the time better than any
I had seen. I set it to
music, as a song,
immediately. In this
format, for voice and
piano, I was able to put
a musical note to every
word of the poem. The
first lines of the poem,
Everyone I know is
crying, or should be
crying, became a melody
that haunted me even
without the words.
The work for bassoon and
string quartet is an
outgrowth of the song.
The first movement is
labeled Romanza, and has
a loose formal arch
structure of A-B-C-B-A,
with B and C being fast
sections framed by the
lamenting A music. In
addition to hearing the
bassoon's first notes
attached to the lines
Everyone I know is
crying, there's a sense
of agitation, of loss, of
longing, and at times of
desperation in the music.
At one point, the opening
theme from Tristan even
appears in the strings.
The second
movement follows, without
a real pause--the
pizzicato final chords of
the first movement
becoming the increasingly
aggressive opening chords
of the second. The
recitative is actually a
foreshadowing of the
basic theme that will be
varied, again to the
words of the song: Life
makes itself without us.
Don't let me tell you how
it is. Go out. Look. The
recitative begins in an
anguished state, but
subsides into more gentle
singing by the end, when
it simply falls into an
ostinato 5/8-3/4 pattern
to begin the variations.
Marked Very steady tempo;
Dancing, this set of
variations consists of
three dances, each faster
than the previous. The
first, in the
aforementioned 5/8-3/4
meter, gives way to a 3/8
scherzo, which in turn
takes on a furious 2/4
scurrying motion. The
music becomes breathless,
almost pulse-less, and an
ethereal theme appears in
the violins while the
rushing music continues,
sotto voce in the
bassoon. This new theme
is also from the song:
Why do I do this? The
wind won't listen. The
bassoon re-states its
Everyone I know is crying
melody from the first
movement, and at length
the 5/8-3/4 music
returns, more subdued
this time. The piece ends
on a major-minor chord,
suspended. The
Wind Won't Listen is
dedicated to the man who
commissioned it,
bassoonist Steven
Dibner--who shares my
passion for poetry and
language. --Dan
Welcher.
Books 1 and 2 with Online Audio, Plus Bonus Material. By Various. Guitar Tab ...(+)
Books 1 and 2 with Online
Audio, Plus Bonus
Material.
By Various. Guitar Tab
Method. Acoustic,
Instruction. Softcover
Audio
Online. With guitar
tablature. 82 pages.
Published by Hal Leonard
The Wooden Soldier Orchestre d'harmonie [Conducteur] - Facile De Haske Publications
Concert Band/Harmonie - Grade 2 SKU: BT.DHP-1115249-140 Composed by Jan V...(+)
Concert Band/Harmonie -
Grade 2
SKU:
BT.DHP-1115249-140
Composed by Jan Van der
Roost. Concert and
Contest Collection CBHA.
Concert Piece. Score
Only. Composed 2012. 32
pages. De Haske
Publications #DHP
1115249-140. Published by
De Haske Publications
(BT.DHP-1115249-140).
9x12 inches.
English-German-French-Dut
ch.
The Wooden
Soldier is a short
and simple piece
commissioned by the
Singapore Ministry of
Education. It was
originally intended as a
compulsory piece for the
2012 Singapore Youth
Festival. Because many
school bands in Singapore
are incomplete, the
composer was specifically
asked to create a work
that could equally be
played by a limited
ensemble—which
explains various doubled
andoptional parts.The
wooden toy soldier that
inspires the work
initially marches in a
fictitious parade before
gliding into a swift
waltz. Both sections are
based on the same melodic
material: the brisk
triple-time passage is in
fact a variation on the
parade theme. Switching
between majorand minor
keys—together with
a number of surprising
twists—makes an
enthralling work despite
the restrictions imposed.
The Wooden
Soldier is een kort
en eenvoudig werkje dat
is geschreven in opdracht
van het Singaporese
ministerie van Onderwijs.
Het was aanvankelijk
bedoeld als verplicht
werk voor het Singapore
Youth Festival 2012.
Omdat veelschoolorkesten
in Singapore een
onvolledige bezetting
hebben, kreeg de
componist het
nadrukkelijke verzoek om
het werk zo vorm te geven
dat het ook met een
beperkt ensemble
uitgevoerd kan worden:
dat verklaart een aantal
verdubbelingenen
instrumenten ad
libitum.Het houten
speelgoedsoldaatje dat
als inspiratiebron
diende, stapt eerst in
een fictieve parade en
strekt daarna de benen
tijdens een vlotte wals.
Beide passages zijn
gebaseerd op hetzelfde
melodischemateriaal: de
snelle driekwartsmaat is
dus als het ware een
variant op het
paradethema. De
afwisseling tussen grote-
en kleinetertstoonaarden
en hier en daar een
verrassende wending
zorgen ervoor dat dit
werkje met zijn enethema
blijft boeien, ondanks de
vele opgelegde
beperkingen.
Th
e Wooden Soldier ist
ein kurzes, einfaches
Werk, das im Auftrag des
Bildungsministeriums von
Singapur geschrieben
wurde. Es war zunächst
als Pflichtstück
für das Singapurer
Jugendfestival 2012
gedacht. Da viele
Schulblasorchester in
Singapur unvollständig
besetzt sind, bat man den
Komponisten
ausdrücklich, das
Werk so zu gestalten,
dass es auch mit einem
begrenzten Ensemble
gespielt werden könne:
Dies erklärt einige
Verdopplungen und
optionale Instrumente.Der
hölzerne
Spielzeugsoldat, der als
Quelle der Inspiration
diente, marschiert
zunächst in einer
fiktiven Parade, um
danach das Tanzbein zu
einem flotten Walzer zu
schwingen.
BeideAbschnitte basieren
auf demselben melodischen
Material: Der schnelle
Dreivierteltakt ist also
im Grunde eine Variation
auf das Parade-Thema. Der
Wechsel zwischen Dur- und
Moll-Tonarten sowie
eingestreute
überraschende
Wendungen sorgen
dafür, dass dieses
Stück mit seinem
einen Thema trotz der
zahlreichen auferlegten
Beschränkungen stets
spannend bleibt.
Commissionato
come brano
d’obbligo dal
Ministero
dell’Educazione
per il Singapore Youth
Festival 2012, The
Wooden Soldier è
stato arrangiato per
poter essere eseguito da
una formazione ad
organico ridotto. Il
pezzo include varie parti
raddoppiate e opzionali.
Il brano inizia in uno
stile simile a una marcia
da parata per poi
scivolare verso un rapido
valzer, basandosi,
seppure in stili diversi,
sul medesimo materiale
melodico. I passaggi tra
tonalit maggiori e
minori, come anche
sorprendenti colpi di
scena, fanno di questo
brano una valida aggiunta
al programma da
concerto.
Edited by Amy Appleby. Collection and examples CD for easy solo piano. Over 200 ...(+)
Edited by Amy Appleby.
Collection and examples
CD for easy solo piano.
Over 200 great
masterpieces from the
baroque, classical,
romantic and modern eras.
Series: Piano Treasury
Series. 399 pages.
Published by Music Sales.
(A Comprehensive Guide to Exploring New Techniques and Styles from Heavy Metal t...(+)
(A Comprehensive Guide to
Exploring New Techniques
and Styles from Heavy
Metal to Jazz). Composed
by Raleigh Green. For
Guitar. Book; CD; Guitar
Method or Supplement;
Method/Instruction. Style
Resource Series. Funk;
Jazz; Metal; Rock. 96
pages. Published by
Alfred Music
Composed by Various. Arranged by Peter Lavender. Music Sales America. Baroque an...(+)
Composed by Various.
Arranged by Peter
Lavender. Music Sales
America. Baroque and
Classical Period. Fake
book (softcover). With
melody line (no
accompaniment included)
and chord names. 128
pages. Music Sales
#AM92350. Published by
Music Sales
Composed by Alan Lee
Silva. SWS FS. Carl
Fischer Concert String
Orchestra Series. Set of
Score and Parts. With
Standard notation.
24+24+6+15+15+15+6+20
pages. Duration 4
minutes, 17 seconds. Carl
Fischer Music #CAS107.
Published by Carl Fischer
Music (CF.CAS107).
ISBN 9781491146675.
UPC: 680160904174. 9 x 12
inches. Key: E
minor.
Triangle of
the Tempest is a
fast-moving composition
with interesting rhythmic
challenges and dynamic
color shifts. Starting
with syncopated figures
over a repeated
eight-measure
progression, the piece
builds in intensity as
more sections and layers
are added. The second
part changes tone and is
led by a heroic violin
melody with a soaring
cello obligato. The
themes intertwine and the
material develops into a
dramatic conclusion with
a final explosive
ensemble hit.
Action-packed and full of
rhythmic drive, this
piece is a good choice
for contest or festival
performance. An
up-tempo 3â„4 piece
in E minor, Triangle of
the Tempest features
inviting rhythmic
challenges, provocative
melodic variations and
dynamic color shifts .The
A-section is based on a
repeating eight-measure
harmonic progression with
punctuated open voicings
and syncopated figures .
Each section builds in
intensity as new elements
are added in subsequent
eight-measure increments
. Rhythmically, the
pattern in the A-section
(mm . 1–36)
follows a two-measure
form: the first of the
two measures has a dotted
quarter-eighth syncopated
figure, and the rhythms
in the second measure
fall primarily on the
beats . After the main
eight-measure pattern is
established, the A-melody
and its variations are
introduced on top of it
.A two-measure build (mm
. 35–36),
highlighted by fast
moving ensemble triplet
figures, propels the
piece as it crescendos
into the jubilant
B-section (mm .
37–52), changing
tone and moving to the
relative G major . The
violins carry the soaring
melody atop sonorous
major chords in the mid
and low strings .
Rhythmically, the
alternating syncopated
measure/non-syncopated
measure form continues
through this section
.Returning to the
dramatic E minor
A-section phrases in mm .
53–86, the piece
shifts to the original
eight-measure harmonic
progression with melodic
variations in the violins
over the top . After
reprising the B-section
(mm . 87–102),
intertwining motifs at m
. 103 offer a variation
on the A-theme where the
melodic entrances happen
at one-measure intervals
.The tempo slows slightly
and the tone changes
again in the flowing and
magical C-section at m .
123 as the piece moves
again to the relative G
major . Repeating lyrical
legato violin lines
create the musical
background for a majestic
viola melody, featured in
mm . 126–146 . A
brief fanfare statement
with motifs spread
throughout the orchestra
at m . 153, prepares the
return to E minor and the
A-theme in mm .
160–193 .Measure
194 introduces an E-pedal
point and tension builds,
ramping up emotionally to
the ending . The ensemble
thunders at m . 202 as
the violins and violas
begin a four-measure
syncopated
question/answer section
with the cellos and
basses . The phrases
crescendo and build for
another four measures at
m . 206, setting up the
driving unison, tutti
figures at m . 211 and a
final explosive hit on
the downbeat of m . 212
.
About
Carl Fischer Concert
String Orchestra
Series
Thi
s series of pieces (Grade
3 and higher) is designed
for advancing ensembles.
The pieces in this series
are characterized
by:
Expanded use
of rhythms, ranges and
keys but technical
demands are still
carefully
considered
More
comprehensive bowing
techniques
Viola
T.C.
included
Careful
selection of keys and
degree of difficulty for
advancing
musicians
(A Technical Guitar Method and Introduction to Music). By Juan Serrano and Corey...(+)
(A Technical Guitar
Method and Introduction
to Music). By Juan
Serrano and Corey
Whithead. For Guitar
(Classical). Methods.
Flamenco. Multiple
Levels. Book. 176 pages.
Published by Mel Bay
Publications, Inc
Chorale and Variations Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire Anglo Music
Concert Band/Harmonie - Grade 4 SKU: BT.AMP-056-010 Composed by Philip Sp...(+)
Concert Band/Harmonie -
Grade 4
SKU:
BT.AMP-056-010
Composed by Philip
Sparke. Anglo Music
Midway Series. Concert
Piece. Set (Score &
Parts). Composed 2003.
Anglo Music Press #AMP
056-010. Published by
Anglo Music Press
(BT.AMP-056-010).
As the title
suggests, this piece
comprises a set of
variations on an original
chorale,which is
presented in the opening
bars.The chorale uses the
dark middle and lower
sections of the band and
is extended with minor
variations until a pause
leads to the first real
variation, marked Vivo.
This is in the form of a
moto perpetuo. The second
variation is a beautiful
Andante introduced by a
solo clarinet. Following
a full band climax the
final variation opens
with quiet, nervous
energy until its main
theme is introduced.The
chorale makes a brief
appearance until the main
theme reappears. This
leads to a triumphant
final augmented statement
of the chorale theme,
decorated by theflorid
clarinet theme in the
upper woodwinds. A
dazzling new concert
work.
Zoals de
titel al aangeeft,
bestaat het stuk uit een
aantal variaties op een
oorspronkelijk koraal,
dat aan het begin wordt
ge ntroduceerd. Het
koraal, stevig verankerd
in c mineur, komt naar
voren in de donkere
midden- en lage
sectiesvan het orkest en
wordt uitgebouwd met
variaties in mineur,
totdat een korte pauze de
overgang vormt naar de
eerste echte variatie,
Vivo getiteld. Dit is een
moto perpetuo. De tweede
variatie, een krachtige
Andante, introduceerteen
soloklarinet. Na een
climax in het hele orkest
vangt de laatste variatie
aan met een stille,
nerveuze energie totdat
het hoofdthema naar voren
komt. Het koraal duikt
even op totdat het
hoofdthema weer
verschijnt. Dit leidtnaar
een glorierijke laatste
reprise van het
koraalthema in
verbreding, omspeeld met
het zwierige
klarinetthema in het hoge
hout. Een verbluffend
nieuw
concertwerk.
In
drei sehr
unterschiedlichen
Variationen kommen in
diesem Werk alle Register
des Blasorchesters zum
Zug: Die mittleren und
tieferen Register stellen
den originalen Choral in
Moll vor, darauf folgt
die erste, lyrische
Variation im
Tenorregister. Eine
Solo-Klarinette
präsentiert die
metrische zweite
Variation, abgelöst
vom gesamten
Blasorchester. Die hohen
Holzbläser spielen
eine wichtige Rolle in
der dritten Variation,
die zunächst verhalten
einsetztt, dann aber das
Werk zu einem
triiumphalen Schluss
führt. Ein
interessantes Werk, das
keine Wünsche bei
Musikern oder Zuhörern
offen
lässt!
Concert Band/Harmonie - Grade 4 SKU: BT.AMP-056-140 Composed by Philip Sp...(+)
Concert Band/Harmonie -
Grade 4
SKU:
BT.AMP-056-140
Composed by Philip
Sparke. Anglo Music
Midway Series. Concert
Piece. Score Only.
Composed 2003. 56 pages.
Anglo Music Press #AMP
056-140. Published by
Anglo Music Press
(BT.AMP-056-140).
As the title
suggests, this piece
comprises a set of
variations on an original
chorale,which is
presented in the opening
bars.The chorale uses the
dark middle and lower
sections of the band and
is extended with minor
variations until a pause
leads to the first real
variation, marked Vivo.
This is in the form of a
moto perpetuo. The second
variation is a beautiful
Andante introduced by a
solo clarinet. Following
a full band climax the
final variation opens
with quiet, nervous
energy until its main
theme is introduced.The
chorale makes a brief
appearance until the main
theme reappears. This
leads to a triumphant
final augmented statement
of the chorale theme,
decorated by theflorid
clarinet theme in the
upper woodwinds. A
dazzling new concert
work.
Zoals de
titel al aangeeft,
bestaat het stuk uit een
aantal variaties op een
oorspronkelijk koraal,
dat aan het begin wordt
ge ntroduceerd. Het
koraal, stevig verankerd
in c mineur, komt naar
voren in de donkere
midden- en lage
sectiesvan het orkest en
wordt uitgebouwd met
variaties in mineur,
totdat een korte pauze de
overgang vormt naar de
eerste echte variatie,
Vivo getiteld. Dit is een
moto perpetuo. De tweede
variatie, een krachtige
Andante, introduceerteen
soloklarinet. Na een
climax in het hele orkest
vangt de laatste variatie
aan met een stille,
nerveuze energie totdat
het hoofdthema naar voren
komt. Het koraal duikt
even op totdat het
hoofdthema weer
verschijnt. Dit leidtnaar
een glorierijke laatste
reprise van het
koraalthema in
verbreding, omspeeld met
het zwierige
klarinetthema in het hoge
hout. Een verbluffend
nieuw
concertwerk.
In
drei sehr
unterschiedlichen
Variationen kommen in
diesem Werk alle Register
des Blasorchesters zum
Zug: Die mittleren und
tieferen Register stellen
den originalen Choral in
Moll vor, darauf folgt
die erste, lyrische
Variation im
Tenorregister. Eine
Solo-Klarinette
präsentiert die
metrische zweite
Variation, abgelöst
vom gesamten
Blasorchester. Die hohen
Holzbläser spielen
eine wichtige Rolle in
der dritten Variation,
die zunächst verhalten
einsetzt, dann aber das
Werk zu einem
triiumphalen Schluss
führt. Ein
interessantes Werk, das
keine Wünsche bei
Musikern oder Zuhörern
offen
lässt!
String Quartet SKU: HL.49047454 Score and Parts. Composed by Julia...(+)
String Quartet
SKU:
HL.49047454
Score
and Parts. Composed
by Julian Anderson.
String Ensemble. Chamber,
Classical. Softcover. 148
pages. Duration 1380
seconds. Schott Music
#ED13989. Published by
Schott Music
(HL.49047454).
UPC:
842819101086.
9.0x12.0x0.358
inches.
My 3rd
String Quartet is in six
contrasted movements.
Certain musical figures
recur across the work,
but there are few themes
as such. The main
emphasis is on contrast
of mood, texture,
harmony, pacing and
timing. Unlike many of my
works this quartet had no
extra-musical
inspiration, and in
principle should have no
subtitle. Certain
features already present
in my music became more
prominent in this new
work: modes (limited
collections of pitches)
have always helped me to
focus musical character,
but here a sense of key
note for each mode became
much more pronounced, as
did the difference
between modes for each
section of the work. A
sort of hybrid key-system
emerged (even with
equivalents of major and
minor) which is not
normal tonality, nor does
it aim to imitate it.
Unlike tonality this
key-system includes
noises, extended
performance techniques
and intervals outside
Western tuning as
available resources. What
I hope it does is to
focus the listening
experience onto different
musical areas, to
encourage a sense of both
modulation from one area
to another and to give
the music a sense of
goal. No conscious
knowledge of this is
needed when listening:
the music should
communicate directly on
its own. Here, then, is
this collection of six
musical colours, related
and unrelated, different
yet belonging together,
variable yet in a set
order. Hence the
subtitle, chosen both for
both its sound and its
sense: 'hana no hanataba'
meaning, in Japanese,
'bouquet of flowers'. A
brief description: 1)
Moderately fast. Short
droplets of sounds gather
increasing momentum. 2)
Very fast. Canons and
bells at different
speeds. 3) Very slow -
fast - very slow - very
fast - very slow. The
main slow movement and
its main scherzo. An
emphasis on non-tempered
tunings and on inhaling
and exhaling waves of
sound. The slow sections
feature florid melodic
writing. In the exuberant
scherzo competing duos
and trios create
imaginary folk music. 4)
Extremely fast/extremely
slow. Open strings and
harmonics fuse into a
single string instrument
- like a sort of large
resonating Medieval
tromba marina. 5) Very
fast. A variation on
movement 2). Variation,
Schoenberg told Cage, is
just a sort of repetition
'with some things changed
and others not.' 6) Slow
- Very Fast - Fast -
Slow. The opening calm
harmonies and florid
melodies evoke movement
3) in different music.
The fast part features
one overt theme: a
fanfare-like call to
attention which is
subject to extensive
development. There is
much use of non-Western
tuning. At its climax the
music freezes into a
frieze - a wall of sound
standing in front of the
audience with increasing
obstinacy and certainty
as the work grinds
towards its cadence.
Composed by
Peter Terry. Young Band
(YPS). Set of Score and
Parts. With Standard
notation.
8+2+4+4+2+2+5+2+2+4+4+4+6
+3+3+2+1+2+2+16+2 pages.
Duration 4 minutes, 13
seconds. Carl Fischer
Music #YPS211. Published
by Carl Fischer Music
(CF.YPS211).
ISBN
9781491152300. UPC:
680160909803. Key: F
major.
A Certain
Slant of Light is
inspired by the
introspective
mood created by the
rays of light on a dark
cloudy day. A
colorful, murmuring
introduction is followed
by a rich main theme in a
minor key. It is a
well-scored and
fresh-sounding piece that
will help young bands
enhance their
musicality. Rays of
light against the dark of
a cloudy day, or these
same rays of light as
they penetrate a dark
room in late afternoon
can create a mood of
introspection and make us
pause to reflect on the
nature of life, loss and
hope. A Certain Slant of
Light is inspired by the
title, but does not
depict the actual
poem There is a
Certain Slant of
Light by Emily
Dickinson.A Certain Slant
of Light opens with a
colorful murmuring
introduction followed
immediately by a
statement of the main
theme of the piece. The
opening briefly returns,
followed by a setting of
the melody in flute with
woodwind accompaniment.
The opening then returns
and grows to a climax
built on variations of
the main theme. The piece
fades to silence with a
soft echo of the opening
murmuring material.I
enjoyed writing this
piece and hope your
students will enjoy
playing these contrasting
styles and that you will
find the piece beneficial
in teaching important
musical concepts.Peter
Terry, 2018.
Composed
by Peter Terry. Young
Band (YPS). Full score.
With Standard notation.
16 pages. Carl Fischer
Music #YPS211F. Published
by Carl Fischer Music
(CF.YPS211F).
ISBN
9781491152980. UPC:
680160910489.
A
Certain Slant of
Light is inspired by
the introspective
mood created by the
rays of light on a dark
cloudy day. A
colorful, murmuring
introduction is followed
by a rich main theme in a
minor key. It is a
well-scored and
fresh-sounding piece that
will help young bands
enhance their
musicality. Rays of
light against the dark of
a cloudy day, or these
same rays of light as
they penetrate a dark
room in late afternoon
can create a mood of
introspection and make us
pause to reflect on the
nature of life, loss and
hope. A Certain Slant of
Light is inspired by the
title, but does not
depict the actual
poem There is a
Certain Slant of
Light by Emily
Dickinson.A Certain Slant
of Light opens with a
colorful murmuring
introduction followed
immediately by a
statement of the main
theme of the piece. The
opening briefly returns,
followed by a setting of
the melody in flute with
woodwind accompaniment.
The opening then returns
and grows to a climax
built on variations of
the main theme. The piece
fades to silence with a
soft echo of the opening
murmuring material.I
enjoyed writing this
piece and hope your
students will enjoy
playing these contrasting
styles and that you will
find the piece beneficial
in teaching important
musical concepts.Peter
Terry, 2018.
Composed by Peter Terry.
Concert String Orchestra
(CAS). Set of Score and
Parts. With Standard
notation.
16+4+16+10+10+10+4+12
pages. Duration 2
minutes, 57 seconds. Carl
Fischer Music #CAS112.
Published by Carl Fischer
Music (CF.CAS112).
ISBN 9781491151310.
UPC: 680160908813. 9 x 12
inches. Key: E
minor.
Peter
Terry's Unleashed?makes
for an impressive concert
opener that is the
musical equivalent of
unleashing a caged
animal. The piece is
exciting from start to
finish, with energetic
and bold material that
students will love to
play. Everyone wants
to be unleashed, to be
set free of restraints.
This piece captures the
exhilaration of being set
into motion with
unlimited optimism and
energy. The piece is a
rhythmic and
propulsive gallop that spins
off lyrical material as
it drives to a climactic
finish that is both
exciting and
fun.The piece opens
with a robust
first theme, then
transitions on a rhythmic
figure spun off from the
opening
material. The opening
sectionrepeats in
variation with different
orchestration. The more
lyrical material that
emerges should be brought
out to balance the first
theme and rhythmic
figures from the first
section. A development of
the material from the
opening follows,
driving to a
brief
pause. This
pause
feels like it
will lead to a
contrasting lyrical
theme, but the energy
is
just suspended for a
second before the piece
takes off again.
The
work finishes with a
repeated-note transition
back to variations on the
opening material and a
propulsive rush to the
end.I enjoyed
writing this piece and
hope your students will
enjoy playing these
contrasting styles and
that you will find the
piece beneficial in
teaching important
musical concepts.
?????????Peter Terry,
2018. Everyone
wants to be unleashed, to
be set free of
restraints. This piece
captures the exhilaration
of being set into motion
with unlimited optimism
and energy.A The piece is a
rhythmic and
propulsive gallop that spins
off lyrical material as
it drives to a climactic
finish that is both
exciting and
fun.The piece opens
with a robust
first theme, then
transitions on a rhythmic
figure spun off from the
opening
material. The opening
sectionrepeats in
variation with different
orchestration. The more
lyrical material that
emerges should be brought
out to balance the first
theme and rhythmic
figures from the first
section. A development of
the material from the
opening follows,
driving to a
brief
pause. This
pause
feels like it
will lead to a
contrasting lyrical
theme, but the energy
is
just suspended for a
second before the piece
takes off again.
The
work finishes with a
repeated-note transition
back to variations on the
opening material and a
propulsive rush to the
end.I enjoyed
writing this piece and
hope your students will
enjoy playing these
contrasting styles and
that you will find the
piece beneficial in
teaching important
musical concepts.
?????????Peter Terry,
2018. Everyone
wants to be unleashed, to
be set free of
restraints. This piece
captures the exhilaration
of being set into motion
with unlimited optimism
and energy.A The piece is a
rhythmic and
propulsive gallop that spins
off lyrical material as
it drives to a climactic
finish that is both
exciting and
fun.The piece opens
with a robust
first theme, then
transitions on a rhythmic
figure spun off from the
opening
material. The opening
sectionrepeats in
variation with different
orchestration. The more
lyrical material that
emerges should be brought
out to balance the first
theme and rhythmic
figures from the first
section. A development of
the material from the
opening follows,
driving to a
brief
pause. This
pause
feels like it
will lead to a
contrasting lyrical
theme, but the energy
is
just suspended for a
second before the piece
takes off again.
The
work finishes with a
repeated-note transition
back to variations on the
opening material and a
propulsive rush to the
end.I enjoyed
writing this piece and
hope your students will
enjoy playing these
contrasting styles and
that you will find the
piece beneficial in
teaching important
musical concepts.
?????????Peter Terry,
2018. Everyone
wants to be unleashed, to
be set free of
restraints. This piece
captures the exhilaration
of being set into motion
with unlimited optimism
and energy. The piece is a
rhythmic and
propulsive gallop that spins
off lyrical material as
it drives to a climactic
finish that is both
exciting and
fun.The piece opens
with a robust
first theme, then
transitions on a rhythmic
figure spun off from the
opening
material. The opening
sectionrepeats in
variation with different
orchestration. The more
lyrical material that
emerges should be brought
out to balance the first
theme and rhythmic
figures from the first
section. A development of
the material from the
opening follows,
driving to a
brief
pause. This
pause
feels like it
will lead to a
contrasting lyrical
theme, but the energy
is
just suspended for a
second before the piece
takes off again.
The
work finishes with a
repeated-note transition
back to variations on the
opening material and a
propulsive rush to the
end.I enjoyed
writing this piece and
hope your students will
enjoy playing these
contrasting styles and
that you will find the
piece beneficial in
teaching important
musical concepts.
?????????Peter Terry,
2018. Eve
ryone wants to be
unleashed, to be set free
of restraints. This piece
captures the exhilaration
of being set into motion
with unlimited optimism
and energy. The piece is
a rhythmic and propulsive
gallop that spins off
lyrical material as it
drives to a climactic
finish that is both
exciting and fun. The
piece opens with a robust
first theme, then
transitions on a rhythmic
figure spun off from the
opening material. The
opening section repeats
in variation with
different orchestration.
The more lyrical material
that emerges should be
brought out to balance
the first theme and
rhythmic figures from the
first section. A
development of the
material from the opening
follows, driving to a
brief pause. This pause
feels like it will lead
to a contrasting lyrical
theme, but the energy is
just suspended for a
second before the piece
takes off again. The work
finishes with a
repeated-note transition
back to variations on the
opening material and a
propulsive rush to the
end. I enjoyed writing
this piece and hope your
students will enjoy
playing these contrasting
styles and that you will
find the piece beneficial
in teaching important
musical concepts. Peter
Terry, 2018. Everyone
wants to be unleashed, to
be set free of
restraints. This piece
captures the exhilaration
of being set into motion
with unlimited optimism
and energy. The piece
is a rhythmic and
propulsive gallop that
spins off lyrical
material as it drives to
a climactic finish that
is both exciting and
fun.The piece opens with
a robust first theme,
then transitions on a
rhythmic figure spun off
from the opening
material. The opening
section repeats in
variation with different
orchestration. The more
lyrical material that
emerges should be brought
out to balance the first
theme and rhythmic
figures from the first
section. A development of
the material from the
opening follows, driving
to a brief pause. This
pause feels like it will
lead to a contrasting
lyrical theme, but the
energy is just suspended
for a second before the
piece takes off again.
The work finishes with a
repeated-note transition
back to variations on the
opening material and a
propulsive rush to the
end.I enjoyed writing
this piece and hope your
students will enjoy
playing these contrasting
styles and that you will
find the piece beneficial
in teaching important
musical
concepts.​​
​​​
€‹â€‹â€‹â
€‹Peter Terry,
2018.
About Carl
Fischer Concert String
Orchestra
Series
Thi
s series of pieces (Grade
3 and higher) is designed
for advancing ensembles.
The pieces in this series
are characterized
by:
Expanded use
of rhythms, ranges and
keys but technical
demands are still
carefully
considered
More
comprehensive bowing
techniques
Viola
T.C.
included
Careful
selection of keys and
degree of difficulty for
advancing
musicians
Chamber Music Dizi, Erhu, Piccolo, Zheng SKU: PR.11441684S For Dizi, E...(+)
Chamber Music Dizi, Erhu,
Piccolo, Zheng
SKU:
PR.11441684S
For
Dizi, Erhu, Pipa, And
Zheng. Composed by
Chen Yi. Premiered at
Weill Recital Hall in
Carnegie Hall in New York
City. Traditional. Full
score. With Standard
notation. Composed 2014.
36 pages. Theodore
Presser Company
#114-41684S. Published by
Theodore Presser Company
(PR.11441684S).
UPC:
680160625253. 9 x 12
inches.
On the
occasion of its 30th
anniversary, the ensemble
Music From China
commissioned Chen Yi for
a new work, which became
Three Dances from China
South, scored for Chinese
instruments. Its three
descriptive movements
(Lions Playing Ball,
Bamboo Dance, Lusheng
Dance) are each inspired
by folk dances from the
southeastern provinces of
China. My chamber
ensemble work Three
Dances From China South
is commissioned by Music
From China tocelebrate
its 30th anniversary, and
scored for Chinese
traditional instruments
dizi, erhu, pipa, and
zheng. The commission
has been made possible by
the Chamber Music America
Classical
CommissioningProgram,
with generous funding
provided by The Andrew W.
Mellon Foundation, and
the Chamber Music America
Endowment Fund. Â The
world premiere is given
at Weill Recital Hall in
Carnegie Hall in New York
City, on November 21,
2014. Â My Three Dances
From China South is
dedicated to Susan Cheng,
the founder and Executive
Director of Music From
China, to celebrate the
30th anniversary of
MFC. There are three
movements in my Three
Dances From China South
for dizi, erhu, pipa, and
zheng. Â Thematerial in
the first movement Lions
Playing Ball is drawn
from a folk tune played
in the
accompanyingensemble for
the folk dance under the
same title in Chaozhou
region in Guangdong
province. Â The image
of the folk dance is
vivid and entertaining.
 The movement includes
several variations on the
theme. Â The variation
methods are inspired by
the various rhythmic
patterns used in the
traditional ensemble
playing. The melodic
material features a
special mode with a
tritone interval taken
from the folk tune.
 There are also
lyrical sections with
polyphonic layers in the
variations.The music in
the second movement is
inspired by the folk
Bamboo Dance, which is
popular in Li
minoritypeople from
Hainan Island in the
south. Â The aged old
folk dance is for ritual
ceremony and harvest
celebration in the
history, in which there
are pairs of people
holding the ends of the
long bamboo rods and
clapping them loudly in
stable pulse, for groups
of dancers to dance
between the bamboo shapes
on the floor, in musical
rhythms and ensemble
patterns. Â A musical
motive with a jumping
interval and articulation
is used throughout the
movement.The third
movement is called
Lusheng Dance. Â I have
witnessed the folk dance
performance of the Dong
minority people in
Guangxi province in the
1980’s.  The
exciting scene inspired
me to imitate the large
lusheng ensemble playing
style in my ensemble of
four Chinese instrumental
musicians without using
the sheng (a wind
instrument with metal
pipes that is popular in
concert music, and
similar to the folk
lusheng). Â On top of
the rhythmic patterns, I
imitated a two--voice
folk song of Zhuang
minority people in the
same province. Â The
melody is played by the
leading erhu and
dizi.—Chen Yi.
(Parts). By Ralph Vaughan Williams (1872-1958). Masterworks; Part(s); Quartet; S...(+)
(Parts). By Ralph Vaughan
Williams (1872-1958).
Masterworks; Part(s);
Quartet; String Quartet.
Faber Edition. 20th
Century; Masterwork.
Published by Faber Music