| Collected Songs for Soprano and Piano Voix Soprano, Piano Schirmer
Composed by Zachary Wadsworth. For soprano voice solo, piano. 21st century, Secu...(+)
Composed by Zachary
Wadsworth. For soprano
voice solo, piano. 21st
century, Secular. Medium.
Collection. Published by
E.C. Schirmer Publishing
$20.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Qué Verdes Son - Débutant Carl Fischer
Band Bass Clarinet, Bassoon, Bells, Clarinet, Claves, Congas, Euphonium, Euphoni...(+)
Band Bass Clarinet,
Bassoon, Bells, Clarinet,
Claves, Congas,
Euphonium, Euphonium
T.C., Flute, Güiro,
Horn, Mallet Percussion,
Maracas, Oboe, Percussion
1, Percussion 2,
Percussion 3, Percussion
4, Sleigh Bells, Snare
Drum, Trombone, Trumpet,
Tuba and more. - Grade 1
SKU: CF.BPS134F
O Christmas Tree.
Composed by Zachary
Poulter. Sws. Bps. Full
score. 12 pages. Carl
Fischer Music #BPS134F.
Published by Carl Fischer
Music (CF.BPS134F).
ISBN 9781491158272.
UPC: 680160916870. 9 x 12
inches. QuA(c)
verdes son is the
Spanish-language version
of O Tannenbaum (O
Christmas Tree). Although
the Christmas carol is
sung in many languages,
the translated lyrics are
rarely a close copy of
the original German text.
Instead, each version
finds unique ways to
explore the beauty and
meaning of one of the
holidayas most beloved
symbols: the Christmas
tree. In QuA(c) verdes
son, the beautiful
lights, fresh aroma, and
especially the lovely
color of the tree are
celebrated. This
arrangement of QuA(c)
verdes son begins with
simmering Latin
percussion playing a
groove based on a 3-2 son
clave. Subdividing this
in groups of eighth notes
(123-123-1234-12-12-12)
will help lock in the
time. In the gA 1/4 iro
part, the quarter notes
should be scraped and the
eighth notes tapped. The
main melody begins at m.
5. Rather than needing to
be overly loud, much of
the energy comes from the
silences between notes
and from the contrast
between accents and
staccatos. The woodwind
countermelody at m. 9 and
m. 17 should be smooth
and sweet, a further
contrast to the punchy
rhythms beneath it. The
percussion section is
featured at m. 26, with a
gradual buildup of
textures and rhythmic
energy. At m. 38 the
whole band is back in,
driving toward the fun
cha-cha-cha
ending. Que verdes son
is the Spanish-language
version of O Tannenbaum
(O Christmas Tree).
Although the Christmas
carol is sung in many
languages, the translated
lyrics are rarely a close
copy of the original
German text. Instead,
each version finds unique
ways to explore the
beauty and meaning of one
of the holiday's most
beloved symbols: the
Christmas tree. In Que
verdes son, the beautiful
lights, fresh aroma, and
especially the lovely
color of the tree are
celebrated. This
arrangement of Que verdes
son begins with simmering
Latin percussion playing
a groove based on a 3-2
son clave. Subdividing
this in groups of eighth
notes
(123-123-1234-12-12-12)
will help lock in the
time. In the guiro part,
the quarter notes should
be scraped and the eighth
notes tapped. The main
melody begins at m. 5.
Rather than needing to be
overly loud, much of the
energy comes from the
silences between notes
and from the contrast
between accents and
staccatos. The woodwind
countermelody at m. 9 and
m. 17 should be smooth
and sweet, a further
contrast to the punchy
rhythms beneath it. The
percussion section is
featured at m. 26, with a
gradual buildup of
textures and rhythmic
energy. At m. 38 the
whole band is back in,
driving toward the fun
cha-cha-cha
ending. Qué verdes
son is the
Spanish-language version
of O Tannenbaum (O
Christmas Tree). Although
the Christmas carol is
sung in many languages,
the translated lyrics are
rarely a close copy of
the original German text.
Instead, each version
finds unique ways to
explore the beauty and
meaning of one of the
holiday’s most
beloved symbols: the
Christmas tree. In Qué
verdes son, the beautiful
lights, fresh aroma, and
especially the lovely
color of the tree are
celebrated.This
arrangement of Qué
verdes son begins with
simmering Latin
percussion playing a
groove based on a 3-2 son
clave. Subdividing this
in groups of eighth notes
(123-123-1234-12-12-12)
will help lock in the
time. In the güiro
part, the quarter notes
should be scraped and the
eighth notes tapped.The
main melody begins at m.
5. Rather than needing to
be overly loud, much of
the energy comes from the
silences between notes
and from the contrast
between accents and
staccatos. The woodwind
countermelody at m. 9 and
m. 17 should be smooth
and sweet, a further
contrast to the punchy
rhythms beneath it.The
percussion section is
featured at m. 26, with a
gradual buildup of
textures and rhythmic
energy. At m. 38 the
whole band is back in,
driving toward the fun
cha-cha-cha ending. $7.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Qué Verdes Son - Débutant Carl Fischer
Band Bass Clarinet, Bassoon, Bells, Clarinet, Claves, Congas, Euphonium, Euphoni...(+)
Band Bass Clarinet,
Bassoon, Bells, Clarinet,
Claves, Congas,
Euphonium, Euphonium
T.C., Flute, Güiro,
Horn, Mallet Percussion,
Maracas, Oboe, Percussion
1, Percussion 2,
Percussion 3, Percussion
4, Sleigh Bells, Snare
Drum, Trombone, Trumpet,
Tuba and more. - Grade 1
SKU: CF.BPS134
O Christmas Tree.
Composed by Zachary
Poulter. Folio. Bps. Set
of Score and Parts.
8+2+8+2+2+5+2+2+8+3+2+2+2
+3+1+2+1+1+2+12 pages.
Duration 1 minute, 56
seconds. Carl Fischer
Music #BPS134. Published
by Carl Fischer Music
(CF.BPS134). ISBN
9781491158265. UPC:
680160916863. 9 x 12
inches. QuA(c)
verdes son is the
Spanish-language version
of O Tannenbaum (O
Christmas Tree). Although
the Christmas carol is
sung in many languages,
the translated lyrics are
rarely a close copy of
the original German text.
Instead, each version
finds unique ways to
explore the beauty and
meaning of one of the
holidayas most beloved
symbols: the Christmas
tree. In QuA(c) verdes
son, the beautiful
lights, fresh aroma, and
especially the lovely
color of the tree are
celebrated. This
arrangement of QuA(c)
verdes son begins with
simmering Latin
percussion playing a
groove based on a 3-2 son
clave. Subdividing this
in groups of eighth notes
(123-123-1234-12-12-12)
will help lock in the
time. In the gA 1/4 iro
part, the quarter notes
should be scraped and the
eighth notes tapped. The
main melody begins at m.
5. Rather than needing to
be overly loud, much of
the energy comes from the
silences between notes
and from the contrast
between accents and
staccatos. The woodwind
countermelody at m. 9 and
m. 17 should be smooth
and sweet, a further
contrast to the punchy
rhythms beneath it. The
percussion section is
featured at m. 26, with a
gradual buildup of
textures and rhythmic
energy. At m. 38 the
whole band is back in,
driving toward the fun
cha-cha-cha
ending. Que verdes son
is the Spanish-language
version of O Tannenbaum
(O Christmas Tree).
Although the Christmas
carol is sung in many
languages, the translated
lyrics are rarely a close
copy of the original
German text. Instead,
each version finds unique
ways to explore the
beauty and meaning of one
of the holiday's most
beloved symbols: the
Christmas tree. In Que
verdes son, the beautiful
lights, fresh aroma, and
especially the lovely
color of the tree are
celebrated. This
arrangement of Que verdes
son begins with simmering
Latin percussion playing
a groove based on a 3-2
son clave. Subdividing
this in groups of eighth
notes
(123-123-1234-12-12-12)
will help lock in the
time. In the guiro part,
the quarter notes should
be scraped and the eighth
notes tapped. The main
melody begins at m. 5.
Rather than needing to be
overly loud, much of the
energy comes from the
silences between notes
and from the contrast
between accents and
staccatos. The woodwind
countermelody at m. 9 and
m. 17 should be smooth
and sweet, a further
contrast to the punchy
rhythms beneath it. The
percussion section is
featured at m. 26, with a
gradual buildup of
textures and rhythmic
energy. At m. 38 the
whole band is back in,
driving toward the fun
cha-cha-cha
ending. Qué verdes
son is the
Spanish-language version
of O Tannenbaum (O
Christmas Tree). Although
the Christmas carol is
sung in many languages,
the translated lyrics are
rarely a close copy of
the original German text.
Instead, each version
finds unique ways to
explore the beauty and
meaning of one of the
holiday’s most
beloved symbols: the
Christmas tree. In Qué
verdes son, the beautiful
lights, fresh aroma, and
especially the lovely
color of the tree are
celebrated.This
arrangement of Qué
verdes son begins with
simmering Latin
percussion playing a
groove based on a 3-2 son
clave. Subdividing this
in groups of eighth notes
(123-123-1234-12-12-12)
will help lock in the
time. In the güiro
part, the quarter notes
should be scraped and the
eighth notes tapped.The
main melody begins at m.
5. Rather than needing to
be overly loud, much of
the energy comes from the
silences between notes
and from the contrast
between accents and
staccatos. The woodwind
countermelody at m. 9 and
m. 17 should be smooth
and sweet, a further
contrast to the punchy
rhythms beneath it.The
percussion section is
featured at m. 26, with a
gradual buildup of
textures and rhythmic
energy. At m. 38 the
whole band is back in,
driving toward the fun
cha-cha-cha ending. $53.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Fanfare: Generation Next - Intermédiaire Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Chimes, Clarinet 1, Clarinet 2, C...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Bells,
Chimes, Clarinet 1,
Clarinet 2, Clarinet 3,
Crash Cymbals, Euphonium,
Euphonium T.C., Flute 1,
Flute 2, Horn 1, Horn 2,
Mallet Percussion 1,
Mallet Percussion 2,
Mallet Percussion 3,
Marimba, Oboe and more. -
Grade 3 SKU:
CF.CPS233 Composed by
Zachary Cairns. Folio.
Cps. Set of Score and
Parts.
8+8+4+8+8+8+2+2+4+4+2+2+8
+8+8+4+4+3+3+3+2+4+4+4+2+
1+6+3+20 pages. Duration
2 minutes, 36 seconds.
Carl Fischer Music
#CPS233. Published by
Carl Fischer Music
(CF.CPS233). ISBN
9781491156322. UPC:
680160914869. 9 x 12
inches. Fanfare:
Generation Next Fanfare:
Generation Next is a
piece I wrote in honor of
Mr. Dean Zirkle,
long-time director of
bands at Camp Hill Senior
High School (near
Harrisburg, PA). I had
been working as Dean's
marching band
arranger/composer for
eleven years when he
announced his upcoming
retirement, and I felt
compelled to write a
piece to pay tribute to
his remarkable
contributions to music
education and to the
lives of his students and
colleagues. The piece is
built on two primary
ideas. The first idea is
a musical rendering of
the name Dean. D, E, and
A are all musical notes,
but N is not. I have
chosen to use a neighbor
tone (a note a half-step
above or below a given
note) to finish off the
name. (MUSIC EXAMPLE)
This melodic idea occurs
throughout the
composition in a variety
of transformations.
Sometimes it is presented
with the exact notes
shown above; sometimes
the interval structure is
maintained, but the pitch
series is transposed
(G-A-D-C#, for example);
sometimes the four notes
are played in order,
sometimes out of order;
sometimes the first three
notes (D-E-A) sound
together as a chord; etc.
(MUSIC EXAMPLE) The
second idea is a rhythmic
motive, established in
the opening brass
fanfare. (MUSIC EXAMPLE)
This rhythm is later
transformed to the accent
pattern shown below,
which is used as an
ostinato throughout much
of the allegro section of
the piece.
 . Fanfare:
Generation
Next Fanfare:
Generation Next is a
piece I wrote in honor of
Mr. Dean Zirkle,
long-time director of
bands at Camp Hill Senior
High School (near
Harrisburg, PA). I had
been working as
Dean’s marching
band arranger/composer
for eleven years when he
announced his upcoming
retirement, and I felt
compelled to write a
piece to pay tribute to
his remarkable
contributions to music
education and to the
lives of his students and
colleagues.The piece is
built on two primary
ideas. The first idea is
a musical rendering of
the name
“Dean.†D, E,
and A are all musical
notes, but N is not. I
have chosen to use a
“neighbor
tone†(a note a
half-step above or below
a given note) to finish
off the name.(MUSIC
EXAMPLE)This melodic idea
occurs throughout the
composition in a variety
of transformations.
Sometimes it is presented
with the exact notes
shown above; sometimes
the interval structure is
maintained, but the pitch
series is transposed
(G-A-D-C#, for example);
sometimes the four notes
are played in order,
sometimes out of order;
sometimes the first three
notes (D-E-A) sound
together as a chord;
etc.(MUSIC EXAMPLE)The
second idea is a rhythmic
motive, established in
the opening brass
fanfare.(MUSIC
EXAMPLE)This rhythm is
later transformed to the
accent pattern shown
below, which is used as
an ostinato throughout
much of the allegro
section of the
piece.   . $85.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Fanfare: Generation Next - Intermédiaire Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Chimes, Clarinet 1, Clarinet 2, C...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Bells,
Chimes, Clarinet 1,
Clarinet 2, Clarinet 3,
Crash Cymbals, Euphonium,
Euphonium T.C., Flute 1,
Flute 2, Horn 1, Horn 2,
Mallet Percussion 1,
Mallet Percussion 2,
Mallet Percussion 3,
Marimba, Oboe and more. -
Grade 3 SKU:
CF.CPS233F Composed
by Zachary Cairns. Sws.
Cps. Full score. 20
pages. Duration 2
minutes, 36 seconds. Carl
Fischer Music #CPS233F.
Published by Carl Fischer
Music (CF.CPS233F).
ISBN 9781491156339.
UPC: 680160914876. 9 x 12
inches. Fanfare:
Generation Next Fanfare:
Generation Next is a
piece I wrote in honor of
Mr. Dean Zirkle,
long-time director of
bands at Camp Hill Senior
High School (near
Harrisburg, PA). I had
been working as Dean's
marching band
arranger/composer for
eleven years when he
announced his upcoming
retirement, and I felt
compelled to write a
piece to pay tribute to
his remarkable
contributions to music
education and to the
lives of his students and
colleagues. The piece is
built on two primary
ideas. The first idea is
a musical rendering of
the name Dean. D, E, and
A are all musical notes,
but N is not. I have
chosen to use a neighbor
tone (a note a half-step
above or below a given
note) to finish off the
name. (MUSIC EXAMPLE)
This melodic idea occurs
throughout the
composition in a variety
of transformations.
Sometimes it is presented
with the exact notes
shown above; sometimes
the interval structure is
maintained, but the pitch
series is transposed
(G-A-D-C#, for example);
sometimes the four notes
are played in order,
sometimes out of order;
sometimes the first three
notes (D-E-A) sound
together as a chord; etc.
(MUSIC EXAMPLE) The
second idea is a rhythmic
motive, established in
the opening brass
fanfare. (MUSIC EXAMPLE)
This rhythm is later
transformed to the accent
pattern shown below,
which is used as an
ostinato throughout much
of the allegro section of
the piece.
 . Fanfare:
Generation
Next Fanfare:
Generation Next is a
piece I wrote in honor of
Mr. Dean Zirkle,
long-time director of
bands at Camp Hill Senior
High School (near
Harrisburg, PA). I had
been working as
Dean’s marching
band arranger/composer
for eleven years when he
announced his upcoming
retirement, and I felt
compelled to write a
piece to pay tribute to
his remarkable
contributions to music
education and to the
lives of his students and
colleagues.The piece is
built on two primary
ideas. The first idea is
a musical rendering of
the name
“Dean.†D, E,
and A are all musical
notes, but N is not. I
have chosen to use a
“neighbor
tone†(a note a
half-step above or below
a given note) to finish
off the name.(MUSIC
EXAMPLE)This melodic idea
occurs throughout the
composition in a variety
of transformations.
Sometimes it is presented
with the exact notes
shown above; sometimes
the interval structure is
maintained, but the pitch
series is transposed
(G-A-D-C#, for example);
sometimes the four notes
are played in order,
sometimes out of order;
sometimes the first three
notes (D-E-A) sound
together as a chord;
etc.(MUSIC EXAMPLE)The
second idea is a rhythmic
motive, established in
the opening brass
fanfare.(MUSIC
EXAMPLE)This rhythm is
later transformed to the
accent pattern shown
below, which is used as
an ostinato throughout
much of the allegro
section of the
piece.   . $14.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Blest Be the God of Israel GIA Publications
(Canticle of Zachary). By Kathleen Powell. For SATB Chorus, Descant, Piano accom...(+)
(Canticle of Zachary). By
Kathleen Powell. For SATB
Chorus, Descant, Piano
accompaniment, and C
Instrument. Celebration
Series. Includes guitar
chord names. Sacred.
Easy. 12 pages
$2.40 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Spirit of the Warrior Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet, Euphonium, Euphonium T....(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Bells,
Clarinet, Euphonium,
Euphonium T.C., Flute,
Gong, Horn, Mallet
Percussion, Oboe,
Percussion 1, Percussion
2, Snare Drum, Suspended
Cymbal, Trombone,
Trumpet, Tuba, Vibraslap,
alto Saxophone and more.
SKU: CF.PPS60F
Composed by Zachary
Poulter. Full score. 8
pages. Carl Fischer Music
#PPS60F. Published by
Carl Fischer Music
(CF.PPS60F). ISBN
9781491163825. UPC:
680160922611. An
ancient world
calls… Spirit of
the Warrior explores both
the beauty and the power
of a forgotten
civilization;
man’s mighty force
amidst nature’s
gentle majesty. It is
dedicated to all soldiers
and warriors, past and
present, who give their
all to protect home and
nation. The warrior shows
courage in the face of
danger, and loyalty to a
cause beyond
self-interest. The
warrior sees
life’s fragile
beauty with eyes few
others can understand.
Long after warriors fall
in battle, their spirit
lives on in the people
and lands they have
protected.  Using
only the first six notes
of the concert Bb scale,
Spirit of the Warrior
begins boldly. Separated
notes in the low brass
and winds represent the
warrior’s power.
Nature’s inspiring
beauty is represented by
the high woodwinds and
bells, which play in
counterpoint to the lower
instruments.  Fully
separate the staccatos,
and shape the accents
throughout to help the
music feel powerful
without being overly
heavy or loud. At m. 29,
be sure that the
countermelody played by
the clarinets and alto
saxophone can be clearly
heard.If you have
additional
percussionists, consider
doubling the snare drum
part on a low tom-tom.
Experiment with the gong
to find the sound you
prefer: strike closer to
the edge for a brash
“crashâ€
sound, or closer to the
center for a more
mysterious tone. The
piece ends with the sound
of the sustaining gong .
Enjoy the drama and let
the sound fade without
(much)
dampening.  . $7.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Gabriel's Message Chorale SATB SATB/SATB (Double) Schirmer
Composed by Zachary Wadsworth. For SATB/SATB choir, organ. Advent, Church Servic...(+)
Composed by Zachary
Wadsworth. For SATB/SATB
choir, organ. Advent,
Church Services,
Concerts, 21st Century.
Medium. Choral score.
Text Language: English.
Published by E.C.
Schirmer Publishing
$3.20 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Hope Remains Within - Facile Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bongos, Brake Drum, Chimes, Clarinet 1, ...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Bongos,
Brake Drum, Chimes,
Clarinet 1, Clarinet 2,
Euphonium, Euphonium
T.C., Flute 1, Flute 2,
Horn, Mallet Percussion
1, Mallet Percussion 2,
Oboe, Percussion 1,
Percussion 2, Percussion
3, Snare Drum and more. -
Grade 2.5 SKU:
CF.YPS217F 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.). $11.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Spirit of the Warrior Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet, Euphonium, Euphonium T....(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Bells,
Clarinet, Euphonium,
Euphonium T.C., Flute,
Gong, Horn, Mallet
Percussion, Oboe,
Percussion 1, Percussion
2, Snare Drum, Suspended
Cymbal, Trombone,
Trumpet, Tuba, Vibraslap,
alto Saxophone and more.
- Grade 0.5 SKU:
CF.PPS60 Composed by
Zachary Poulter. Set of
Score and Parts. Carl
Fischer Music #PPS60.
Published by Carl Fischer
Music (CF.PPS60). ISBN
9781491163429. UPC:
680160922215. An
ancient world
calls… Spirit of
the Warrior explores both
the beauty and the power
of a forgotten
civilization;
man’s mighty force
amidst nature’s
gentle majesty. It is
dedicated to all soldiers
and warriors, past and
present, who give their
all to protect home and
nation. The warrior shows
courage in the face of
danger, and loyalty to a
cause beyond
self-interest. The
warrior sees
life’s fragile
beauty with eyes few
others can understand.
Long after warriors fall
in battle, their spirit
lives on in the people
and lands they have
protected.  Using
only the first six notes
of the concert Bb scale,
Spirit of the Warrior
begins boldly. Separated
notes in the low brass
and winds represent the
warrior’s power.
Nature’s inspiring
beauty is represented by
the high woodwinds and
bells, which play in
counterpoint to the lower
instruments.  Fully
separate the staccatos,
and shape the accents
throughout to help the
music feel powerful
without being overly
heavy or loud. At m. 29,
be sure that the
countermelody played by
the clarinets and alto
saxophone can be clearly
heard.If you have
additional
percussionists, consider
doubling the snare drum
part on a low tom-tom.
Experiment with the gong
to find the sound you
prefer: strike closer to
the edge for a brash
“crashâ€
sound, or closer to the
center for a more
mysterious tone. The
piece ends with the sound
of the sustaining gong .
Enjoy the drama and let
the sound fade without
(much)
dampening.  . $50.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Hope Remains Within - Facile Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bongos, Brake Drum, Chimes, Clarinet 1, ...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Bongos,
Brake Drum, Chimes,
Clarinet 1, Clarinet 2,
Euphonium, Euphonium
T.C., Flute 1, Flute 2,
Horn, Mallet Percussion
1, Mallet Percussion 2,
Oboe, Percussion 1,
Percussion 2, Percussion
3, Snare Drum and more. -
Grade 2.5 SKU:
CF.YPS217 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.). $75.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Pictures of the Floating World Voix Soprano, Piano Schirmer
By Zachary Wadsworth. For Soprano, piano. Vocal / Secular. 28 pages. Published b...(+)
By Zachary Wadsworth. For
Soprano, piano. Vocal /
Secular. 28 pages.
Published by E.C.
Schirmer Publishing
$17.25 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
1 |