SKU: HL.49019767

SKU: P2.80169

Notes from the Underground, for euphonium and piano, was commissioned by and composed for euphonium artist Ben Pierce in 2011. Aside from the obvious references to the great work of Fyodor Dostoyevsky, the main impetus for the piece was the artistry and absolute mastery of the instrument displayed by Dr. Pierce. The first movement, entitled, Existential Ballade, involves the duo in a mournful dialog that soon turns into a display of raw power. Elegy for Nothingness, the slow movement that follows, is neither happy nor sad; but perhaps nonchalantly disconnected from emotion. The Inevitable Moto Perpetuo closes the work in a flash, but not without some reminiscing and hand wringing.

SKU: LM.VV294

ISBN 9790560052946.

Unde rground - Blouse a carreaux - Barock memory - La petite boucle - Nuit noire - It's a rainy waltz.

SKU: UT.CH-157

ISBN 9790215320369. 9 x 12 inches.

Vals d'la Masca; Il racconto della Montagna; Sequenze sotterranee

Th e Alpinia Suite was commissioned and composed for the festival <> and is dedicated to my friend and colleague Elio Galvagno. It was performed for the first time on August 30, 2011, in the Church of San Giovanni in Saluzzo, by an ensemble of professional and student guitarists from all over Europe. This piece was written to commemorate the first ascent of mount Monviso, by William Mathews, Frederick Jacomb, Jean Baptiste Croz and Michel Croz, exactly 150 years before, on August 30, 1861.
The first movement is a small Waltz. I imagined a Masca (a sort of alpine pixie, a teasing sprite), dancing all around the house and playing tricks, mostly harmless and funny. The Masca is a legendary and very important character in the folklore of my valleys, and all rationally inexplicable events of everyday life are ascribed to her - such as objects that cannot be found anymore, holes in flour sacks, salt in sugar bowls...
The next two movements are a homage to the Mountains. The Tale is a sort of journal, a bright and peaceful chronicle of a hike uphill, in which the beauty of the place is highlighted by an easy harmony and a sweet melody. After this, Underground sequences evokes that same world in a darker and nocturnal way; the faster pace and the choice of repeated and varying patterns are meant to show the transformation of the former environment into something more complex and tormented. Here mountains are a metaphor of human life, warts and all: their sundrenched slopes and their green pasture grasslands, but also their icy and dangerous northern sides, which demand calm, training and caution.
(G. Signorile).

SKU: CF.CM9643

ISBN 9781491157152. UPC: 680160915712. 6.875 x 10.5 inches. Key: F major. English, English. Traditional Spiritual.

For the emerging mixed choir, Delanoy's arrangement of this timeless spiritual favorite offers energy, variety and is sure to inspire through its uplifting melody of hope and determination for a better life -no matter the obstacle. Concert and festival approved!.
Let Me Fly is an American spiritual which, on the surface, tells of a yearning for the promised land of heaven. On a deeper level, its early singers envisioned an escape from slavery, with the Underground Railroad serving as the chariot. In either case, the song is an uplifting melody of hope and determination for a better life, no matter the obstacle. Please take note of the layered section in mm. 55-62, which starts with Part II, adds Part I in m. 57, and completes the layering with Part III at m. 59. The repeated measures of 59-60 allow for an accompanist or soloist to improvise while the choir sings and claps along for as many repeats as desired. The number of repeats is up to the discretion of the conductor. If there is no improvisation, it is recommended that mm. 59-60 be sung three times before moving on.
Let Me Fly is an American spiritual which, on the surface, tells of a yearning for the promised land of heaven. On a deeper level, its early singers envisioned an escape from slavery, with the Underground Railroad serving as the chariot. In either case, the song is an uplifting melody of hope and determination for a better life, no matter the obstacle.Please take note of the layered section in mm. 55-62, which starts with Part II, adds Part I in m. 57, and completes the layering with Part III at m. 59. The repeated measures of 59-60 allow for an accompanist or soloist to improvise while the choir sings and claps along for as many repeats as desired. The number of repeats is up to the discretion of the conductor. If there is no improvisation, it is recommended that mm. 59-60 be sung three times before moving on.

SKU: PR.411411690

UPC: 680160686032.

The four name arias in HARRIET TUBMAN: When I crossed that Line To Freedom, portray stages in the title character's transformation from slave to freedom-fighter. First, as a child, she introduces herself as Araminta, who is often called, Minty. Her naive prattlings establish a dramatic contrast between childhood's contentment and the harsh realities of slave existence. My name is Harriet, now. Don't call me Minty any more, declares the teenaged heroine. Having survived a series of abusive masters and a debilitating injury, she asserts her rites of womanhood through the shedding of her childhood moniker. The grown Harriet Tubman reintroduces herself as a free woman, recounting the harrowing tale of escape from slavery. Confronted by bittersweet poignancy at having crossed the line to freedom without family to welcome her, she is inspired towards a new goal: returning home to rescue loved ones. In the final aria, Tubman, a seasoned conductor on the Underground Railroad, embraces the folkloric title given to her by escapees and aspiring runaways. I am 'Moses, the Liberator,' she proclaims. Her transformation is complete.
The four “name” arias in HARRIET TUBMAN: When I crossed thatLine To Freedom, portray stages in the title character's transformationfrom slave to freedom-fighter.First, as a child, she introduces herself as “Araminta,” who is oftencalled, “Minty.” Her naïve prattlings establish a dramatic contrastbetween childhood's contentment and the harsh realities of slaveexistence.“My name is Harriet, now. Don't call me Minty any more,” declares theteenaged heroine. Having survived a series of abusive masters and adebilitating injury, she asserts her rites of womanhood through theshedding of her childhood moniker.The grown Harriet Tubman reintroduces herself as a free woman,recounting the harrowing tale of escape from slavery. Confronted bybittersweet poignancy at having crossed the line to freedom withoutfamily to welcome her, she is inspired towards a new goal: returninghome to rescue loved ones.In the final aria, Tubman, a seasoned conductor on the UndergroundRailroad, embraces the folkloric title given to her by escapees andaspiring runaways. “I am 'Moses, the Liberator,'” she proclaims. Hertransformation is complete.

SKU: BR.PB-5435

ISBN 9790004212820. 11.5 x 16.5 inches.

Meine eigene neue Orchesterkomposition hat den Titel ,,SCHREIBEN. Die praktische Aktion des Schreibens, als mechanisches Einwirken per Hand, Stift, Pinsel, auf eine Flache (Papier, Pergament, Stein etc.), ausgelost und gesteuert von einem kommunikativen Bedurfnis und, bei aller Spontaneitat, beherrscht durch die Regeln von Schrift und Sprache, ist fur mich einer der geheimnisvollsten Vorgange im zwischenmenschlichen Alltag, bei dem menschlicher Geist und tote Materie einander begegnen: Gedanken bzw. Gedachtes werden auf einer Flache - Papier, Pergament, Stein - festgehalten, ihr sozusagen anvertraut. Und auf diesem Umweg uber Sprache, Schrift und Gravur begegnen sie dem Geist des lesenden oder entziffernden Mitmenschen. Als Komponist aber frage ich: gibt es auch einen anderen Kausalitatszusammenhang, gibt es z. B. ein ,,autonomes Schreiben, eine sinn-freie Zeichengebung, durch entfesselte, losgelassene Fortbewegung der schreibenden Hand, wo der Schreibende seinem eigenen Schreiben nur noch staunend zusieht? Werden nicht in Japan Bilder, auch ,,abstrakte, geschrieben??? (In einem Underground-Film der 70er-Jahre uber den jungen Mozart sieht sich der Zuschauer versetzt in ein Zimmer eines italienischen Gasthauses, in dem der junge durchreisende Mozart am Tisch eilig die Rezitative einer seiner italienischen Opern zu Papier bringt. Mehr als eine Viertelstunde lang sind wir dabei, horen nicht die entstehende Musik, sondern das nervose Kratzen der Feder auf dem groben Notenpapier in nachmittaglicher Stille - nur der gleichmassige Pendelschlag der Wanduhr ist noch zu horen -, und wir erleben diese sekundare Klangwelt kaum weniger intensiv als nachher andere Horer die dabei stumm entstehende Musik.) Das Orchester in meinem Stuck ,,schreibt. Es fugt Strich zu Strich, versteht sich selbst als eine Art vielfaltiges ,,Schreib-Gerat. Wir als Horer lesen nicht das ,,Geschriebene, aber wir horen den Vorgang des Schreibens, den Bogenstrich, die Bewegung des scharrenden Holzstabs auf Fell oder Tamtam, und wir beobachten dessen Imitation bzw. Transformation durch - zeitweise auch tonlos - sich zu linearen Gestalten verbindende Blasinstrumente als eine Art klingender Schreib-Zeremonie. Es ergibt sich eine Musik, die gelegentlich ihren gedanklichen Ausgangspunkt vergisst und sich als autonome Klang-Situation fortentwickelt und verwandelt, und die schliesslich im hochsten Register eine Art ,,Kantilene be-schreibt. Wer das deutsche Wort ,,Schreiben (engl. ,,to write) schreibt, der schreibt dabei auch unweigerlich das Wort ,,Schrei (engl. ,,shout), und er schreibt auch das Wort ,,reiben (engl. ,,to rub). So emotional der erste Begriff gedacht werden kann, so nuchtern-praktisch ist der zweite. Von beiden Aspekten, samt ihrer Gegensatzlichkeit, ist mein Stuck gepragt. (Helmut Lachenmann, 2003)

World premiere: Tokyo/Japan, December 4, 2003.

SKU: YM.GPE01096808

ISBN 9784636968088.

Spec ial Electone book with USB for registration data.
Fu USBNei Han Zhu Ce Shu Ju ,Shuang Pai Jian Le Pu Shu .

1. Strauss, Sr., J.: Radetzky March; 2. Offenbach: Can Can from Overture to The Orpheus in Underground; 3. Tchaikovsky: The Dance of the Reed Pipes & Waltz of the Flowers from Nutcraker Suite; 4. Mozart: TurkishMarch; 5. Delibes: Waltz from Coppeli; 6. Smetana: Molda; 7. Pryor: The Whistler and His Dog; 8. Moussorgsky: Promenade & The Great Gate of Kiev from Pictures at an Exhibision
1. Shi Te Lao Si : La De Ci Ji Jin Xing Qu ; 2. Ao Fen Ba He : Kang Kang Wu Qu Chu Zi <> Xu Qu ; 3. Chai Ke Fu Si Ji : Lu Di Zhi Wu &Hua Zhi Yuan Wu Qu Chu Zi <> ; 4. Mo Zha Te : Tu Er Qi Jin Xing Qu ; 5. De Li Bu : Yuan Wu Qu Chu Zi <> ; 6. Si Mei Ta Na : Mo Er Dao He Chu Zi Jiao Xiang Shi <> ; 7. Pu Lai Er : Kou Shao Yu Xiao Gou ; 8. Mu Suo Er Si Ji : Man Bu , Ji Fu Da Men Chu Zi <>

SKU: HH.HH462-FSP

ISBN 9790708146711.

Cica da larvae live underground for years, creeping about slowly and peacefully in the darkness until that sudden, beautiful brief moment when, one warm, damp summer’s eve, they emerge, metamorphosed into a highly mobile life form. Gaily they dance in the sunshine, singing ardently to the trees in all their greenery --- but only for a short while, for, just as suddenly, they are gone. The same process repeats year upon year. The life cycle of this string quartet resembles that of the cicada. Initially, two embryonic cells remain hidden within dense, gloomy note-clusters; over time they evolve into buds, grow and then blossom. They appear for the first time in their adult form in the fast middle section, where they assume the shape of two very popular Chinese folk melodies, Jasmine and Old Six Blows, albeit in wholly chromaticized and defamiliarized variants. After their grand efflorescence, these forms gradually dissolve into transparent wisps of sound.

SKU: CF.PF37

ISBN 9780825879609. UPC: 798408079604. 9.5 x 13 inches.

SKU: FJ.ST6470S

English.

Go underground to explore the deep, dark sounds of the orchestra's lowest strings. A ponderous, minor theme weaves through every section of the orchestra along with a few easy off-beat rhythms. The absence of low 2 finger patterns make this helpful for teaching and reinforcing note reading on the G, C, and E (bass) strings, while also being extremely satisfying musically.

About FJH Beginning Strings

Ap propriate for first year string students. All instruments stay in first position, and optional third violin (viola) parts and piano are included to aid in rehearsal and performance situations. Grade 1 - 1.5