| The Folksong Fake Book - C Edition
Fake Book [Fake Book] Hal Leonard
For voice and C instrument. Format: fakebook. With vocal melody, lyrics and chor...(+)
For voice and C
instrument. Format:
fakebook. With vocal
melody, lyrics and chord
names. Folk. Series: Hal
Leonard Fake Books. 536
pages. 9.6x12 inches.
Published by Hal Leonard.
(10)$34.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Hal Leonard Mandolin Fake Book Mandoline [Fake Book] Hal Leonard
300 Songs. Composed by Various. Mandolin. Softcover. 456 pages. Published by ...(+)
300 Songs. Composed by
Various. Mandolin.
Softcover. 456 pages.
Published by Hal Leonard
$45.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Real Bluegrass Book
Guitare [Fake Book] Hal Leonard
(C Instruments). By Various. Fake Book. Softcover. 432 pages. Published by Hal L...(+)
(C Instruments). By
Various. Fake Book.
Softcover. 432 pages.
Published by Hal Leonard
(1)$44.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Great Smoky Mountains Theodore Presser Co.
Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clar...(+)
Band Bass Clarinet,
Bassoon 1, Bassoon 2,
Clarinet, Clarinet 1,
Clarinet 2, Clarinet 3,
Contrabass Clarinet,
Contrabassoon, Double
Bass, English Horn,
Euphonium, Flute 1, Flute
2, Horn 1, Horn 2, Horn
3, Horn 4, Oboe 1, Oboe
2, Percussion 1 and more.
SKU: PR.16500102F
Mvt. 2 from Symphony
No. 6 (Three Places in
the East). Composed
by Dan Welcher. Full
score. 52 pages. Theodore
Presser Company
#165-00102F. Published by
Theodore Presser Company
(PR.16500102F). ISBN
9781491131749. UPC:
680160680276. Ever
since the success of my
series of wind ensemble
works Places in the West,
I've been wanting to
write a companion piece
for national parks on the
other side of the north
American continent. The
earlier work, consisting
of GLACIER, THE
YELLOWSTONE FIRES,
ARCHES, and ZION, spanned
some twenty years of my
composing life, and since
the pieces called for
differing groups of
instruments, and were in
slightly different styles
from each other, I never
considered them to be
connected except in their
subject matter. In their
depiction of both the
scenery and the human
history within these
wondrous places, they had
a common goal: awaking
the listener to the
fragile beauty that is in
them; and calling
attention to the ever
more crucial need for
preservation and
protection of these wild
places, unique in all the
world. With this new
work, commissioned by a
consortium of college and
conservatory wind
ensembles led by the
University of Georgia, I
decided to build upon
that same model---but to
solidify the process. The
result, consisting of
three movements (each
named for a different
national park in the
eastern US), is a
bona-fide symphony. While
the three pieces could be
performed separately,
they share a musical
theme---and also a common
style and
instrumentation. It is a
true symphony, in that
the first movement is
long and expository, the
second is a rather
tightly structured
scherzo-with-trio, and
the finale is a true
culmination of the whole.
The first movement,
Everglades, was the
original inspiration for
the entire symphony.
Conceived over the course
of two trips to that
astonishing place (which
the native Americans
called River of Grass,
the subtitle of this
movement), this movement
not only conveys a sense
of the humid, lush, and
even frightening scenery
there---but also an
overview of the entire
settling-of- Florida
experience. It contains
not one, but two native
American chants, and also
presents a view of the
staggering influence of
modern man on this
fragile part of the
world. Beginning with a
slow unfolding marked
Heavy, humid, the music
soon presents a gentle,
lyrical theme in the solo
alto saxophone. This
theme, which goes through
three expansive phrases
with breaks in between,
will appear in all three
movements of the
symphony. After the mood
has been established, the
music opens up to a rich,
warm setting of a
Cherokee morning song,
with the simple happiness
that this part of Florida
must have had prior to
the nineteenth century.
This music, enveloping
and comforting, gradually
gives way to a more
frenetic, driven section
representative of the
intrusion of the white
man. Since Florida was
populated and developed
largely due to the
introduction of a train
system, there's a
suggestion of the
mechanized iron horse
driving straight into the
heartland. At that point,
the native Americans
become considerably less
gentle, and a second
chant seems to stand in
the way of the intruder;
a kind of warning song.
The second part of this
movement shows us the
great swampy center of
the peninsula, with its
wildlife both in and out
of the water. A new theme
appears, sad but noble,
suggesting that this land
is precious and must be
protected by all the
people who inhabit it. At
length, the morning song
reappears in all its
splendor, until the
sunset---with one last
iteration of the warning
song in the solo piccolo.
Functioning as a scherzo,
the second movement,
Great Smoky Mountains,
describes not just that
huge park itself, but one
brave soul's attempt to
climb a mountain there.
It begins with three
iterations of the
UR-theme (which began the
first movement as well),
but this time as up-tempo
brass fanfares in
octaves. Each time it
begins again, the theme
is a little slower and
less confident than the
previous time---almost as
though the hiker were
becoming aware of the
daunting mountain before
him. But then, a steady,
quick-pulsed ostinato
appears, in a constantly
shifting meter system of
2/4- 3/4 in alteration,
and the hike has begun.
Over this, a slower new
melody appears, as the
trek up the mountain
progresses. It's a big
mountain, and the ascent
seems to take quite
awhile, with little
breaks in the hiker's
stride, until at length
he simply must stop and
rest. An oboe solo, over
several free cadenza-like
measures, allows us (and
our friend the hiker) to
catch our breath, and
also to view in the
distance the rocky peak
before us. The goal is
somehow even more
daunting than at first,
being closer and thus
more frighteningly steep.
When we do push off
again, it's at a slower
pace, and with more
careful attention to our
footholds as we trek over
broken rocks. Tantalizing
little views of the
valley at every
switchback make our
determination even
stronger. Finally, we
burst through a stand of
pines and----we're at the
summit! The immensity of
the view is overwhelming,
and ultimately humbling.
A brief coda, while we
sit dazed on the rocks,
ends the movement in a
feeling of triumph. The
final movement, Acadia,
is also about a trip. In
the summer of 2014, I
took a sailing trip with
a dear friend from North
Haven, Maine, to the
southern coast of Mt.
Desert Island in Acadia
National Park. The
experience left me both
exuberant and exhausted,
with an appreciation for
the ocean that I hadn't
had previously. The
approach to Acadia
National Park by water,
too, was thrilling: like
the difference between
climbing a mountain on
foot with riding up on a
ski-lift, I felt I'd
earned the right to be
there. The music for this
movement is entirely
based on the opening
UR-theme. There's a sense
of the water and the
mysterious, quiet deep
from the very beginning,
with seagulls and bell
buoys setting the scene.
As we leave the harbor,
the theme (in a canon
between solo euphonium
and tuba) almost seems as
if large subaquatic
animals are observing our
departure. There are
three themes (call them
A, B and C) in this
seafaring journey---but
they are all based on the
UR theme, in its original
form with octaves
displaced, in an
upside-down form, and in
a backwards version as
well. (The ocean, while
appearing to be
unchanging, is always
changing.) We move out
into the main channel
(A), passing several
islands (B), until we
reach the long draw that
parallels the coastline
called Eggemoggin Reach,
and a sudden burst of new
speed (C). Things
suddenly stop, as if the
wind had died, and we
have a vision: is that
really Mt. Desert Island
we can see off the port
bow, vaguely in the
distance? A chorale of
saxophones seems to
suggest that. We push off
anew as the chorale ends,
and go through all three
themes again---but in
different
instrumentations, and
different keys. At the
final tack-turn, there it
is, for real: Mt. Desert
Island, big as life.
We've made it. As we pull
into the harbor, where
we'll secure the boat for
the night, there's a
feeling of achievement.
Our whale and dolphin
friends return, and we
end our journey with
gratitude and
celebration. I am
profoundly grateful to
Jaclyn Hartenberger,
Professor of Conducting
at the University of
Georgia, for leading the
consortium which provided
the commissioning of this
work. $36.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Symphony No. 6 Theodore Presser Co.
Band SKU: PR.16500104F Three Places in the East. Composed by Dan W...(+)
Band SKU:
PR.16500104F Three
Places in the East.
Composed by Dan Welcher.
Full score. Theodore
Presser Company
#165-00104F. Published by
Theodore Presser Company
(PR.16500104F). ISBN
9781491132159. UPC:
680160681082. Ever
since the success of my
series of wind ensemble
works Places in the West,
I've been wanting to
write a companion piece
for national parks on the
other side of the north
American continent. The
earlier work, consisting
of GLACIER, THE
YELLOWSTONE FIRES,
ARCHES, and ZION, spanned
some twenty years of my
composing life, and since
the pieces called for
differing groups of
instruments, and were in
slightly different styles
from each other, I never
considered them to be
connected except in their
subject matter. In their
depiction of both the
scenery and the human
history within these
wondrous places, they had
a common goal: awaking
the listener to the
fragile beauty that is in
them; and calling
attention to the ever
more crucial need for
preservation and
protection of these wild
places, unique in all the
world. With this new
work, commissioned by a
consortium of college and
conservatory wind
ensembles led by the
University of Georgia, I
decided to build upon
that same model---but to
solidify the process. The
result, consisting of
three movements (each
named for a different
national park in the
eastern US), is a
bona-fide symphony. While
the three pieces could be
performed separately,
they share a musical
theme---and also a common
style and
instrumentation. It is a
true symphony, in that
the first movement is
long and expository, the
second is a rather
tightly structured
scherzo-with-trio, and
the finale is a true
culmination of the whole.
The first movement,
Everglades, was the
original inspiration for
the entire symphony.
Conceived over the course
of two trips to that
astonishing place (which
the native Americans
called River of Grass,
the subtitle of this
movement), this movement
not only conveys a sense
of the humid, lush, and
even frightening scenery
there---but also an
overview of the entire
settling-of- Florida
experience. It contains
not one, but two native
American chants, and also
presents a view of the
staggering influence of
modern man on this
fragile part of the
world. Beginning with a
slow unfolding marked
Heavy, humid, the music
soon presents a gentle,
lyrical theme in the solo
alto saxophone. This
theme, which goes through
three expansive phrases
with breaks in between,
will appear in all three
movements of the
symphony. After the mood
has been established, the
music opens up to a rich,
warm setting of a
Cherokee morning song,
with the simple happiness
that this part of Florida
must have had prior to
the nineteenth century.
This music, enveloping
and comforting, gradually
gives way to a more
frenetic, driven section
representative of the
intrusion of the white
man. Since Florida was
populated and developed
largely due to the
introduction of a train
system, there's a
suggestion of the
mechanized iron horse
driving straight into the
heartland. At that point,
the native Americans
become considerably less
gentle, and a second
chant seems to stand in
the way of the intruder;
a kind of warning song.
The second part of this
movement shows us the
great swampy center of
the peninsula, with its
wildlife both in and out
of the water. A new theme
appears, sad but noble,
suggesting that this land
is precious and must be
protected by all the
people who inhabit it. At
length, the morning song
reappears in all its
splendor, until the
sunset---with one last
iteration of the warning
song in the solo piccolo.
Functioning as a scherzo,
the second movement,
Great Smoky Mountains,
describes not just that
huge park itself, but one
brave soul's attempt to
climb a mountain there.
It begins with three
iterations of the
UR-theme (which began the
first movement as well),
but this time as up-tempo
brass fanfares in
octaves. Each time it
begins again, the theme
is a little slower and
less confident than the
previous time---almost as
though the hiker were
becoming aware of the
daunting mountain before
him. But then, a steady,
quick-pulsed ostinato
appears, in a constantly
shifting meter system of
2/4- 3/4 in alteration,
and the hike has begun.
Over this, a slower new
melody appears, as the
trek up the mountain
progresses. It's a big
mountain, and the ascent
seems to take quite
awhile, with little
breaks in the hiker's
stride, until at length
he simply must stop and
rest. An oboe solo, over
several free cadenza-like
measures, allows us (and
our friend the hiker) to
catch our breath, and
also to view in the
distance the rocky peak
before us. The goal is
somehow even more
daunting than at first,
being closer and thus
more frighteningly steep.
When we do push off
again, it's at a slower
pace, and with more
careful attention to our
footholds as we trek over
broken rocks. Tantalizing
little views of the
valley at every
switchback make our
determination even
stronger. Finally, we
burst through a stand of
pines and----we're at the
summit! The immensity of
the view is overwhelming,
and ultimately humbling.
A brief coda, while we
sit dazed on the rocks,
ends the movement in a
feeling of triumph. The
final movement, Acadia,
is also about a trip. In
the summer of 2014, I
took a sailing trip with
a dear friend from North
Haven, Maine, to the
southern coast of Mt.
Desert Island in Acadia
National Park. The
experience left me both
exuberant and exhausted,
with an appreciation for
the ocean that I hadn't
had previously. The
approach to Acadia
National Park by water,
too, was thrilling: like
the difference between
climbing a mountain on
foot with riding up on a
ski-lift, I felt I'd
earned the right to be
there. The music for this
movement is entirely
based on the opening
UR-theme. There's a sense
of the water and the
mysterious, quiet deep
from the very beginning,
with seagulls and bell
buoys setting the scene.
As we leave the harbor,
the theme (in a canon
between solo euphonium
and tuba) almost seems as
if large subaquatic
animals are observing our
departure. There are
three themes (call them
A, B and C) in this
seafaring journey---but
they are all based on the
UR theme, in its original
form with octaves
displaced, in an
upside-down form, and in
a backwards version as
well. (The ocean, while
appearing to be
unchanging, is always
changing.) We move out
into the main channel
(A), passing several
islands (B), until we
reach the long draw that
parallels the coastline
called Eggemoggin Reach,
and a sudden burst of new
speed (C). Things
suddenly stop, as if the
wind had died, and we
have a vision: is that
really Mt. Desert Island
we can see off the port
bow, vaguely in the
distance? A chorale of
saxophones seems to
suggest that. We push off
anew as the chorale ends,
and go through all three
themes again---but in
different
instrumentations, and
different keys. At the
final tack-turn, there it
is, for real: Mt. Desert
Island, big as life.
We've made it. As we pull
into the harbor, where
we'll secure the boat for
the night, there's a
feeling of achievement.
Our whale and dolphin
friends return, and we
end our journey with
gratitude and
celebration. I am
profoundly grateful to
Jaclyn Hartenberger,
Professor of Conducting
at the University of
Georgia, for leading the
consortium which provided
the commissioning of this
work. $90.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Acadia Theodore Presser Co.
Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clar...(+)
Band Bass Clarinet,
Bassoon 1, Bassoon 2,
Clarinet, Clarinet 1,
Clarinet 2, Clarinet 3,
Contrabass Clarinet,
Contrabassoon, Double
Bass, English Horn,
Euphonium, Flute 1, Flute
2, Horn 1, Horn 2, Horn
3, Horn 4, Oboe 1, Oboe
2, Percussion 1 and more.
SKU: PR.16500103F
Mvt. 3 from Symphony
No. 6 (Three Places in
the East). Composed
by Dan Welcher. Full
score. 60 pages. Theodore
Presser Company
#165-00103F. Published by
Theodore Presser Company
(PR.16500103F). ISBN
9781491131763. UPC:
680160680290. Ever
since the success of my
series of wind ensemble
works Places in the West,
I've been wanting to
write a companion piece
for national parks on the
other side of the north
American continent. The
earlier work, consisting
of GLACIER, THE
YELLOWSTONE FIRES,
ARCHES, and ZION, spanned
some twenty years of my
composing life, and since
the pieces called for
differing groups of
instruments, and were in
slightly different styles
from each other, I never
considered them to be
connected except in their
subject matter. In their
depiction of both the
scenery and the human
history within these
wondrous places, they had
a common goal: awaking
the listener to the
fragile beauty that is in
them; and calling
attention to the ever
more crucial need for
preservation and
protection of these wild
places, unique in all the
world. With this new
work, commissioned by a
consortium of college and
conservatory wind
ensembles led by the
University of Georgia, I
decided to build upon
that same model---but to
solidify the process. The
result, consisting of
three movements (each
named for a different
national park in the
eastern US), is a
bona-fide symphony. While
the three pieces could be
performed separately,
they share a musical
theme---and also a common
style and
instrumentation. It is a
true symphony, in that
the first movement is
long and expository, the
second is a rather
tightly structured
scherzo-with-trio, and
the finale is a true
culmination of the whole.
The first movement,
Everglades, was the
original inspiration for
the entire symphony.
Conceived over the course
of two trips to that
astonishing place (which
the native Americans
called River of Grass,
the subtitle of this
movement), this movement
not only conveys a sense
of the humid, lush, and
even frightening scenery
there---but also an
overview of the entire
settling-of- Florida
experience. It contains
not one, but two native
American chants, and also
presents a view of the
staggering influence of
modern man on this
fragile part of the
world. Beginning with a
slow unfolding marked
Heavy, humid, the music
soon presents a gentle,
lyrical theme in the solo
alto saxophone. This
theme, which goes through
three expansive phrases
with breaks in between,
will appear in all three
movements of the
symphony. After the mood
has been established, the
music opens up to a rich,
warm setting of a
Cherokee morning song,
with the simple happiness
that this part of Florida
must have had prior to
the nineteenth century.
This music, enveloping
and comforting, gradually
gives way to a more
frenetic, driven section
representative of the
intrusion of the white
man. Since Florida was
populated and developed
largely due to the
introduction of a train
system, there's a
suggestion of the
mechanized iron horse
driving straight into the
heartland. At that point,
the native Americans
become considerably less
gentle, and a second
chant seems to stand in
the way of the intruder;
a kind of warning song.
The second part of this
movement shows us the
great swampy center of
the peninsula, with its
wildlife both in and out
of the water. A new theme
appears, sad but noble,
suggesting that this land
is precious and must be
protected by all the
people who inhabit it. At
length, the morning song
reappears in all its
splendor, until the
sunset---with one last
iteration of the warning
song in the solo piccolo.
Functioning as a scherzo,
the second movement,
Great Smoky Mountains,
describes not just that
huge park itself, but one
brave soul's attempt to
climb a mountain there.
It begins with three
iterations of the
UR-theme (which began the
first movement as well),
but this time as up-tempo
brass fanfares in
octaves. Each time it
begins again, the theme
is a little slower and
less confident than the
previous time---almost as
though the hiker were
becoming aware of the
daunting mountain before
him. But then, a steady,
quick-pulsed ostinato
appears, in a constantly
shifting meter system of
2/4- 3/4 in alteration,
and the hike has begun.
Over this, a slower new
melody appears, as the
trek up the mountain
progresses. It's a big
mountain, and the ascent
seems to take quite
awhile, with little
breaks in the hiker's
stride, until at length
he simply must stop and
rest. An oboe solo, over
several free cadenza-like
measures, allows us (and
our friend the hiker) to
catch our breath, and
also to view in the
distance the rocky peak
before us. The goal is
somehow even more
daunting than at first,
being closer and thus
more frighteningly steep.
When we do push off
again, it's at a slower
pace, and with more
careful attention to our
footholds as we trek over
broken rocks. Tantalizing
little views of the
valley at every
switchback make our
determination even
stronger. Finally, we
burst through a stand of
pines and----we're at the
summit! The immensity of
the view is overwhelming,
and ultimately humbling.
A brief coda, while we
sit dazed on the rocks,
ends the movement in a
feeling of triumph. The
final movement, Acadia,
is also about a trip. In
the summer of 2014, I
took a sailing trip with
a dear friend from North
Haven, Maine, to the
southern coast of Mt.
Desert Island in Acadia
National Park. The
experience left me both
exuberant and exhausted,
with an appreciation for
the ocean that I hadn't
had previously. The
approach to Acadia
National Park by water,
too, was thrilling: like
the difference between
climbing a mountain on
foot with riding up on a
ski-lift, I felt I'd
earned the right to be
there. The music for this
movement is entirely
based on the opening
UR-theme. There's a sense
of the water and the
mysterious, quiet deep
from the very beginning,
with seagulls and bell
buoys setting the scene.
As we leave the harbor,
the theme (in a canon
between solo euphonium
and tuba) almost seems as
if large subaquatic
animals are observing our
departure. There are
three themes (call them
A, B and C) in this
seafaring journey---but
they are all based on the
UR theme, in its original
form with octaves
displaced, in an
upside-down form, and in
a backwards version as
well. (The ocean, while
appearing to be
unchanging, is always
changing.) We move out
into the main channel
(A), passing several
islands (B), until we
reach the long draw that
parallels the coastline
called Eggemoggin Reach,
and a sudden burst of new
speed (C). Things
suddenly stop, as if the
wind had died, and we
have a vision: is that
really Mt. Desert Island
we can see off the port
bow, vaguely in the
distance? A chorale of
saxophones seems to
suggest that. We push off
anew as the chorale ends,
and go through all three
themes again---but in
different
instrumentations, and
different keys. At the
final tack-turn, there it
is, for real: Mt. Desert
Island, big as life.
We've made it. As we pull
into the harbor, where
we'll secure the boat for
the night, there's a
feeling of achievement.
Our whale and dolphin
friends return, and we
end our journey with
gratitude and
celebration. I am
profoundly grateful to
Jaclyn Hartenberger,
Professor of Conducting
at the University of
Georgia, for leading the
consortium which provided
the commissioning of this
work. $39.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Everglades (River of Grass) Theodore Presser Co.
Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clar...(+)
Band Bass Clarinet,
Bassoon 1, Bassoon 2,
Clarinet, Clarinet 1,
Clarinet 2, Clarinet 3,
Contrabass Clarinet,
Contrabassoon, Double
Bass, English Horn,
Euphonium, Flute 1, Flute
2, Horn 1, Horn 2, Horn
3, Horn 4, Oboe 1, Oboe
2, Percussion 1 and more.
SKU: PR.16500101F
Mvt. 1 from Symphony
No. 6 (Three Places in
the East). Composed
by Dan Welcher. Full
score. 52 pages. Theodore
Presser Company
#165-00101F. Published by
Theodore Presser Company
(PR.16500101F). ISBN
9781491131725. UPC:
680160680252. Ever
since the success of my
series of wind ensemble
works Places in the West,
I've been wanting to
write a companion piece
for national parks on the
other side of the north
American continent. The
earlier work, consisting
of GLACIER, THE
YELLOWSTONE FIRES,
ARCHES, and ZION, spanned
some twenty years of my
composing life, and since
the pieces called for
differing groups of
instruments, and were in
slightly different styles
from each other, I never
considered them to be
connected except in their
subject matter. In their
depiction of both the
scenery and the human
history within these
wondrous places, they had
a common goal: awaking
the listener to the
fragile beauty that is in
them; and calling
attention to the ever
more crucial need for
preservation and
protection of these wild
places, unique in all the
world. With this new
work, commissioned by a
consortium of college and
conservatory wind
ensembles led by the
University of Georgia, I
decided to build upon
that same model---but to
solidify the process. The
result, consisting of
three movements (each
named for a different
national park in the
eastern US), is a
bona-fide symphony. While
the three pieces could be
performed separately,
they share a musical
theme---and also a common
style and
instrumentation. It is a
true symphony, in that
the first movement is
long and expository, the
second is a rather
tightly structured
scherzo-with-trio, and
the finale is a true
culmination of the whole.
The first movement,
Everglades, was the
original inspiration for
the entire symphony.
Conceived over the course
of two trips to that
astonishing place (which
the native Americans
called River of Grass,
the subtitle of this
movement), this movement
not only conveys a sense
of the humid, lush, and
even frightening scenery
there---but also an
overview of the entire
settling-of- Florida
experience. It contains
not one, but two native
American chants, and also
presents a view of the
staggering influence of
modern man on this
fragile part of the
world. Beginning with a
slow unfolding marked
Heavy, humid, the music
soon presents a gentle,
lyrical theme in the solo
alto saxophone. This
theme, which goes through
three expansive phrases
with breaks in between,
will appear in all three
movements of the
symphony. After the mood
has been established, the
music opens up to a rich,
warm setting of a
Cherokee morning song,
with the simple happiness
that this part of Florida
must have had prior to
the nineteenth century.
This music, enveloping
and comforting, gradually
gives way to a more
frenetic, driven section
representative of the
intrusion of the white
man. Since Florida was
populated and developed
largely due to the
introduction of a train
system, there's a
suggestion of the
mechanized iron horse
driving straight into the
heartland. At that point,
the native Americans
become considerably less
gentle, and a second
chant seems to stand in
the way of the intruder;
a kind of warning song.
The second part of this
movement shows us the
great swampy center of
the peninsula, with its
wildlife both in and out
of the water. A new theme
appears, sad but noble,
suggesting that this land
is precious and must be
protected by all the
people who inhabit it. At
length, the morning song
reappears in all its
splendor, until the
sunset---with one last
iteration of the warning
song in the solo piccolo.
Functioning as a scherzo,
the second movement,
Great Smoky Mountains,
describes not just that
huge park itself, but one
brave soul's attempt to
climb a mountain there.
It begins with three
iterations of the
UR-theme (which began the
first movement as well),
but this time as up-tempo
brass fanfares in
octaves. Each time it
begins again, the theme
is a little slower and
less confident than the
previous time---almost as
though the hiker were
becoming aware of the
daunting mountain before
him. But then, a steady,
quick-pulsed ostinato
appears, in a constantly
shifting meter system of
2/4- 3/4 in alteration,
and the hike has begun.
Over this, a slower new
melody appears, as the
trek up the mountain
progresses. It's a big
mountain, and the ascent
seems to take quite
awhile, with little
breaks in the hiker's
stride, until at length
he simply must stop and
rest. An oboe solo, over
several free cadenza-like
measures, allows us (and
our friend the hiker) to
catch our breath, and
also to view in the
distance the rocky peak
before us. The goal is
somehow even more
daunting than at first,
being closer and thus
more frighteningly steep.
When we do push off
again, it's at a slower
pace, and with more
careful attention to our
footholds as we trek over
broken rocks. Tantalizing
little views of the
valley at every
switchback make our
determination even
stronger. Finally, we
burst through a stand of
pines and----we're at the
summit! The immensity of
the view is overwhelming,
and ultimately humbling.
A brief coda, while we
sit dazed on the rocks,
ends the movement in a
feeling of triumph. The
final movement, Acadia,
is also about a trip. In
the summer of 2014, I
took a sailing trip with
a dear friend from North
Haven, Maine, to the
southern coast of Mt.
Desert Island in Acadia
National Park. The
experience left me both
exuberant and exhausted,
with an appreciation for
the ocean that I hadn't
had previously. The
approach to Acadia
National Park by water,
too, was thrilling: like
the difference between
climbing a mountain on
foot with riding up on a
ski-lift, I felt I'd
earned the right to be
there. The music for this
movement is entirely
based on the opening
UR-theme. There's a sense
of the water and the
mysterious, quiet deep
from the very beginning,
with seagulls and bell
buoys setting the scene.
As we leave the harbor,
the theme (in a canon
between solo euphonium
and tuba) almost seems as
if large subaquatic
animals are observing our
departure. There are
three themes (call them
A, B and C) in this
seafaring journey---but
they are all based on the
UR theme, in its original
form with octaves
displaced, in an
upside-down form, and in
a backwards version as
well. (The ocean, while
appearing to be
unchanging, is always
changing.) We move out
into the main channel
(A), passing several
islands (B), until we
reach the long draw that
parallels the coastline
called Eggemoggin Reach,
and a sudden burst of new
speed (C). Things
suddenly stop, as if the
wind had died, and we
have a vision: is that
really Mt. Desert Island
we can see off the port
bow, vaguely in the
distance? A chorale of
saxophones seems to
suggest that. We push off
anew as the chorale ends,
and go through all three
themes again---but in
different
instrumentations, and
different keys. At the
final tack-turn, there it
is, for real: Mt. Desert
Island, big as life.
We've made it. As we pull
into the harbor, where
we'll secure the boat for
the night, there's a
feeling of achievement.
Our whale and dolphin
friends return, and we
end our journey with
gratitude and
celebration. I am
profoundly grateful to
Jaclyn Hartenberger,
Professor of Conducting
at the University of
Georgia, for leading the
consortium which provided
the commissioning of this
work. $36.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Bluegrass Picker's Tune Book [Partition] Mel Bay
By Richard Matteson, Jr. For Fretted. Tune book. Bluegrass. Level: Beginning. Bo...(+)
By Richard Matteson, Jr.
For Fretted. Tune book.
Bluegrass. Level:
Beginning. Book. Size
8.75x11.75. 248 pages.
Published by Mel Bay
Publications, Inc.
(1)$29.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Mastering the Guitar Book 1A - Spiral Guitare [Partition] Mel Bay
By William Bay and Mike Christiansen. For Guitar (All). Methods. Mastering Guita...(+)
By William Bay and Mike
Christiansen. For Guitar
(All). Methods. Mastering
Guitar. All Styles.
Level: Beginning. Book.
Size 9x11.75. 144 pages.
Published by Mel Bay
Publications, Inc.
(2)$19.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Harmonica Pocket Companion Harmonica [Partition] - Débutant Mel Bay
by William Bay. For Harmonica (Diatonic). solos. All Styles. Level: Beginning-In...(+)
by William Bay. For
Harmonica (Diatonic).
solos. All Styles. Level:
Beginning-Intermediate.
Book. Size 8.75x5.75. 128
pages. Published by Mel
Bay Publications, Inc.
$12.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Folk Blues Schott
Guitar; Piano; Voice SKU: HL.49032219 113 American Folk Blues. Edi...(+)
Guitar; Piano; Voice
SKU: HL.49032219
113 American Folk
Blues. Edited by
Jerry Silverman. This
edition: Paperback/Soft
Cover. Sheet music.
Edition Schott. Blues.
Playing score. 262 pages.
Schott Music #ED 6837.
Published by Schott Music
(HL.49032219). ISBN
9790001072403. UPC:
884088055837.
8.25x11.75x0.76 inches.
German -
English. Voice,
Piano and Guitar. $31.00 - Voir plus => Acheter | | |
| Labyrinth Theodore Presser Co.
Band Bass Clarinet, Bass Trombone, Bassoon, Clarinet, Contrabass, Contrabassoon,...(+)
Band Bass Clarinet, Bass
Trombone, Bassoon,
Clarinet, Contrabass,
Contrabassoon, English
Horn, Euphonium, Flute,
Horn, Keyboard, Oboe,
Percussion, Piccolo,
Timpani, Trumpet, Tuba,
alto Saxophone, baritone
Saxophone, soprano
Saxophone, tenor
Saxophone and more.
SKU: PR.11540425S
Composed by Carter Pann.
Study Score. 92 pages.
Duration 26 minutes.
Theodore Presser Company
#115-40425S. Published by
Theodore Presser Company
(PR.11540425S). UPC:
680160688142. MyÂ
work Labyrinth for
Ithaca College could have
easily been titled as my
Third Symphony. The work
is larger in scope than
every other work of mine
for winds, save perhaps
my first symphony. The
piece is cast in two main
parts, each consisting of
two movements. As it
happened I wrote the
movements backwards
(fitting for something
called Labyrinth). The
size of the band is on
par with that of Karel
Husa’s Music for
Prague 1968 with one
exception, there is an
electric keyboard part
which lends certain
moments in the piece an
other-worldly ambience...
sounds that are
altogether different from
anything possible from
acoustic instruments. At
the risk of sounding
obvious or mundane, I had
two words floating around
my brain during the
composing of this work
— HUGE and
melodic. My
predisposition to create
inherently melodic music
is inescapable at this
point in my composing
career. This is the kind
of music I have
gravitated towards since
beginning at the piano so
long ago. I don’t
write ambient or spectral
music, nor do I write
music replete with
extended techniques. The
crafting of melodies with
gravitas has always made
my process of composing
the most satisfying. The
very last movement of
Labyrinth is a gargantuan
crescendo the likes of
the last movement of
Respighi’s The
Pines of Rome or
Ravel’s Bolero and
should leave the audience
and players sonically
drenched by the end.
I’m so honored to
have this opportunity to
compose for Ithaca
College’s 50th
Anniversary of that
seminal work of Karel
Husa’s. I have
known Music for Prague
1968 as long as
I’ve known serious
music for winds. It is my
aim that every moment of
Labyrinth offers the
players as much to bite
their teeth on as it
leaves the audience in
its throng from start to
finish. -CP. $46.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Labyrinth Theodore Presser Co.
Band Bass Clarinet, Bass Trombone, Bassoon, Clarinet, Contrabass, Contrabassoon,...(+)
Band Bass Clarinet, Bass
Trombone, Bassoon,
Clarinet, Contrabass,
Contrabassoon, English
Horn, Euphonium, Flute,
Horn, Keyboard, Oboe,
Percussion, Piccolo,
Timpani, Trumpet, Tuba,
alto Saxophone, baritone
Saxophone, soprano
Saxophone, tenor
Saxophone and more.
SKU: PR.11540425L
Composed by Carter Pann.
Large Score. 92 pages.
Duration 26 minutes.
Theodore Presser Company
#115-40425L. Published by
Theodore Presser Company
(PR.11540425L). UPC:
680160688159. MyÂ
work Labyrinth for
Ithaca College could have
easily been titled as my
Third Symphony. The work
is larger in scope than
every other work of mine
for winds, save perhaps
my first symphony. The
piece is cast in two main
parts, each consisting of
two movements. As it
happened I wrote the
movements backwards
(fitting for something
called Labyrinth). The
size of the band is on
par with that of Karel
Husa’s Music for
Prague 1968 with one
exception, there is an
electric keyboard part
which lends certain
moments in the piece an
other-worldly ambience...
sounds that are
altogether different from
anything possible from
acoustic instruments. At
the risk of sounding
obvious or mundane, I had
two words floating around
my brain during the
composing of this work
— HUGE and
melodic. My
predisposition to create
inherently melodic music
is inescapable at this
point in my composing
career. This is the kind
of music I have
gravitated towards since
beginning at the piano so
long ago. I don’t
write ambient or spectral
music, nor do I write
music replete with
extended techniques. The
crafting of melodies with
gravitas has always made
my process of composing
the most satisfying. The
very last movement of
Labyrinth is a gargantuan
crescendo the likes of
the last movement of
Respighi’s The
Pines of Rome or
Ravel’s Bolero and
should leave the audience
and players sonically
drenched by the end.
I’m so honored to
have this opportunity to
compose for Ithaca
College’s 50th
Anniversary of that
seminal work of Karel
Husa’s. I have
known Music for Prague
1968 as long as
I’ve known serious
music for winds. It is my
aim that every moment of
Labyrinth offers the
players as much to bite
their teeth on as it
leaves the audience in
its throng from start to
finish. -CP. $82.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Labyrinth Theodore Presser Co.
Band Bass Clarinet, Bass Trombone, Bassoon, Clarinet, Contrabass, Contrabassoon,...(+)
Band Bass Clarinet, Bass
Trombone, Bassoon,
Clarinet, Contrabass,
Contrabassoon, English
Horn, Euphonium, Flute,
Horn, Keyboard, Oboe,
Percussion, Piccolo,
Timpani, Trumpet, Tuba,
alto Saxophone, baritone
Saxophone, soprano
Saxophone, tenor
Saxophone and more.
SKU: PR.115404250
Composed by Carter Pann.
Set of Score and Parts.
92+8+12+12+12+12+8+8+12+1
2+12+12+12+12+12+12+8+12+
12+12+8+8+8+8+8+8+8+8+8+8
+8+8+8+8+8+8+12+8+8+8+8+8
+8 pages. Duration 26
minutes. Theodore Presser
Company #115-40425.
Published by Theodore
Presser Company
(PR.115404250). UPC:
680160688135. MyÂ
work Labyrinth for
Ithaca College could have
easily been titled as my
Third Symphony. The work
is larger in scope than
every other work of mine
for winds, save perhaps
my first symphony. The
piece is cast in two main
parts, each consisting of
two movements. As it
happened I wrote the
movements backwards
(fitting for something
called Labyrinth). The
size of the band is on
par with that of Karel
Husa’s Music for
Prague 1968 with one
exception, there is an
electric keyboard part
which lends certain
moments in the piece an
other-worldly ambience...
sounds that are
altogether different from
anything possible from
acoustic instruments. At
the risk of sounding
obvious or mundane, I had
two words floating around
my brain during the
composing of this work
— HUGE and
melodic. My
predisposition to create
inherently melodic music
is inescapable at this
point in my composing
career. This is the kind
of music I have
gravitated towards since
beginning at the piano so
long ago. I don’t
write ambient or spectral
music, nor do I write
music replete with
extended techniques. The
crafting of melodies with
gravitas has always made
my process of composing
the most satisfying. The
very last movement of
Labyrinth is a gargantuan
crescendo the likes of
the last movement of
Respighi’s The
Pines of Rome or
Ravel’s Bolero and
should leave the audience
and players sonically
drenched by the end.
I’m so honored to
have this opportunity to
compose for Ithaca
College’s 50th
Anniversary of that
seminal work of Karel
Husa’s. I have
known Music for Prague
1968 as long as
I’ve known serious
music for winds. It is my
aim that every moment of
Labyrinth offers the
players as much to bite
their teeth on as it
leaves the audience in
its throng from start to
finish. -CP. $285.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| The William Bay Collection - Plectrum Guitar Solo Anthology Guitare [Partition + Accès audio] - Intermédiaire Mel Bay
Guitar - Intermediate SKU: MB.WBM58M Traditional, Wire bound, Celtic. Fol...(+)
Guitar - Intermediate
SKU: MB.WBM58M
Traditional, Wire bound,
Celtic. Folk. Book and
online audio. 216 pages.
Mel Bay Publications, Inc
#WBM58M. Published by Mel
Bay Publications, Inc
(MB.WBM58M). ISBN
9781736363058. 8.75x11.75
inches. A
comprehensive collection
of 172 guitar solos for
the flatpick or plectrum
guitarist. All solos are
written in standard
notation with
accompanying online
recordings by the author.
The solos include
beautiful American,
British and Celtic airs
and ballads, Celtic dance
tunes, lute and early
music, popular classical
repertoire and
contemporary etudes.
Includes access to online
audio. $34.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Americana Songbook Guitare Hal Leonard
Piano/Vocal/Guitar SKU: HL.275865 By Various. Piano/Vocal/Guitar Songbook...(+)
Piano/Vocal/Guitar
SKU: HL.275865 By
Various.
Piano/Vocal/Guitar
Songbook. Americana,
Country, Folk. Softcover.
304 pages. Published by
Hal Leonard (HL.275865).
ISBN 9781540026569.
UPC: 888680744960.
9.0x12.0x0.729
inches. 45 roots
favorites in arrangements
for piano, voice and
guitar. Includes: Broken
Halos (Chris Stapleton)
• Copperhead Road
(Steve Earle) •
Hurricane (The Band of
Heathens) • If I
Had a Boat (Lyle Lovett)
• If We Were
Vampires (Jason Isbell
and the 400 Unit) •
Live and Die (The Avett
Brothers) • Mykonos
(Fleet Foxes) •
Pancho & Lefty (Merle
Haggard & Willie
Nelson) • The Story
(Brandi Carlile) •
Wagon Wheel (Old Crow
Medicine Show) •
and many more. $19.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Favorite Recorder Tunes - Beautiful American Airs and Ballads Flûte à Bec - Intermédiaire Mel Bay
Woodwinds - Intermediate SKU: MB.30964 Old Time, Saddle-stitched. Country...(+)
Woodwinds - Intermediate
SKU: MB.30964 Old
Time, Saddle-stitched.
Country. Book. 44 pages.
Mel Bay Publications, Inc
#30964. Published by Mel
Bay Publications, Inc
(MB.30964). ISBN
9781513469775. 8.75x11.75
inches. This
collection of 41 timeless
melodies is tastefully
arranged for soprano and
tenor recorders with
suggested breath marks
and accompaniment chords.
Selections include a
variety of influences
which provide a
historical and aesthetic
view of the American
musical landscape. The
works of both well-known,
classically trained
composers and unknown
folk artists are featured
in standard notation
arrangements suitable for
performance by
intermediate players. The
one thing these tunes
have in common is their
striking melodies, which
in many cases have
endured throughout the
ages. $16.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| First 50 Songs You Should Play on Banjo Banjo - Facile Hal Leonard
Arranged by Greg Cahill and Michael J. Miles. For Banjo. Banjo. Softcover. Guita...(+)
Arranged by Greg Cahill
and Michael J. Miles. For
Banjo. Banjo. Softcover.
Guitar tablature. 112
pages. Published by Hal
Leonard
$16.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Music of Tim Janis Piano seul - Intermédiaire/avancé Hal Leonard
Performed by Tim Janis. Piano Solo Composer Collection. Size 9x12 inches. 128 pa...(+)
Performed by Tim Janis.
Piano Solo Composer
Collection. Size 9x12
inches. 128 pages.
Published by Hal Leonard.
$24.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| World Melodies for Accordion Accordéon [Partition] - Facile Mel Bay
By Frances Irwin. For Accordion (Keyboard). Solos. World Music. Level: Beginning...(+)
By Frances Irwin. For
Accordion (Keyboard).
Solos. World Music.
Level:
Beginning-Intermediate.
Book. Size 8.5x11. 106
pages. Published by Mel
Bay Publications, Inc.
$24.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Inferno in the Lost Pines Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Clarinet, Crash Cymbals, Euphonium, Euph...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Clarinet,
Crash Cymbals, Euphonium,
Euphonium T.C., Flute,
Flute 2, Horn, Mallet
Percussion, Oboe,
Percussion 1, Percussion
2, Snare Drum,
Tambourine, Timpani,
Tom-tom, Triangle,
Trombone, Trumpet, Tuba
and more. - Grade 0.5
SKU: CF.PPS29
Composed by Larry Clark.
SWS FS. Set of Score and
Parts. With Standard
notation.
8+2+8+2+5+2+2+8+2+3+2+6+2
+3+1+1+2+4+16 pages.
Duration 2 minutes, 24
seconds. Carl Fischer
Music #PPS29. Published
by Carl Fischer Music
(CF.PPS29). ISBN
9781491140383. UPC:
680160628445. 9 x 12
inches. Larry Clark
does it again, with a
bold new piece for young
students, using only the
first 6 notes of the Bb
scale and two eighth
notes on the same pitch
as the most difficult
rhythm. The piece is
meant to depict the
struggle that
firefighters go through
when trying to tame an
out of control brush
fire. The piece goes
right into the main theme
without introduction and
then moves into a more
subdued second theme, in
contrast. After a short
development of the themes
with interplay between
the winds and percussion,
the piece builds to a
strong coda; a great way
to showcase your
beginning band at a
concert or festival. $50.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Light in the Heart of Winter Chorale SATB SATB, Piano Lorenz Publishing Company
Composed by Nancy Middlemas. Arranged by Lloyd Larson. Choral. Sacred Anthem, ...(+)
Composed by Nancy
Middlemas.
Arranged by Lloyd Larson.
Choral. Sacred Anthem,
Advent, Christmas.
Octavo.
Lorenz Publishing Company
#10/5331L. Published by
Lorenz Publishing Company
$2.75 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Piccolo (C Or D Flat) Solos With Piano - Wind In The Pines Hal Leonard
| | |
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