| Complete Chord Songbook Music Sales
| | |
| Lieder Z Weihnachtszeit [Partition + CD] - Débutant Schott
Voice (BUCH+CD) - very easy SKU: HL.49033170 Composed by Lieder. Edited b...(+)
Voice (BUCH+CD) - very
easy SKU:
HL.49033170 Composed
by Lieder. Edited by
Susanne Vennemann. This
edition: Ring/Spiral
binding. Book with CD.
Edition Schott. Manual
for group leaders with
CD. 40 pages. Schott
Music #ED 9561. Published
by Schott Music
(HL.49033170). ISBN
9783795756260.
German. Gerade fur
die vielen alteren
Menschen hat das Singen
eine besondere Bedeutung.
Denn durch die Freude am
gemeinsamen Singen und
die mit bestimmten
Liedern verbundenen
Erinnerungen konnen Geist
und Korper gefordert und
gefordert werden. So wird
die Singstunde nicht nur
zu einem frohlichen
Gemeinschaftserlebnis,
sondern zugleich auch zum
Trainingsprogramm fur
geistige und korperliche
Fitness.Alle, die
Musikstunden mit Senioren
veranstalten, konnen mit
den Materialien aus der
Reihe 'Singen mit Spass'
von Schott Musik
International ihre
Singstunden einfach
vorbereiten und
durchfuhren. Durch die
Playbacks auf der
beiliegenden CD ist es
moglich, alle Lieder zu
begleiten, ohne dass ein
Instrument benotigt wird.
Die CD enthalt ausserdem
alle Titel in
Vollversion. Das
didaktische Handbuch fur
die Gruppenleitung
umfasst neben Liedtext,
Noten und Harmonieangaben
auch Informationen zur
Geschichte des Liedes und
Anregungen zu Gedachtnis-
und Bewegungsubungen und
leichtem
Instrumentalspiel. Das
Liederbuch im handlichen
Format (ED 9560) ist
ausgestattet mit Noten
und Texten in Grossdruck
und einem abwaschbaren
Einband. Die Melodien
sind der tieferen
Stimmlage alterer
Menschen angepasst. $43.00 - Voir plus => Acheter | | |
| Lieder Z Weihnachtszeit - Débutant Schott
Voice (GRDPAK) - very easy SKU: HL.49033168 Liederbuch in grosser Schr...(+)
Voice (GRDPAK) - very
easy SKU:
HL.49033168
Liederbuch in grosser
Schrift. Composed by
Lieder. Edited by Susanne
Vennemann. Sheet music
with CD. Edition Schott.
Basic package: ;10
songbooks and manual with
CD. 360 pages. Schott
Music #ED 9560-50.
Published by Schott Music
(HL.49033168). ISBN
9783795756246.
German. Gerade fur
die vielen alteren
Menschen hat das Singen
eine besondere Bedeutung.
Denn durch die Freude am
gemeinsamen Singen und
die mit bestimmten
Liedern verbundenen
Erinnerungen konnen Geist
und Korper gefordert und
gefordert werden. So wird
die Singstunde nicht nur
zu einem frohlichen
Gemeinschaftserlebnis,
sondern zugleich auch zum
Trainingsprogramm fur
geistige und korperliche
Fitness.Alle, die
Musikstunden mit Senioren
veranstalten, konnen mit
den Materialien aus der
Reihe 'Singen mit Spass'
von Schott Musik
International ihre
Singstunden einfach
vorbereiten und
durchfuhren. Durch die
Playbacks auf der
beiliegenden CD ist es
moglich, alle Lieder zu
begleiten, ohne dass ein
Instrument benotigt wird.
Die CD enthalt ausserdem
alle Titel in
Vollversion. Das
didaktische Handbuch fur
die Gruppenleitung (ED
9561) umfasst neben
Liedtext, Noten und
Harmonieangaben auch
Informationen zur
Geschichte des Liedes und
Anregungen zu Gedachtnis-
und Bewegungsubungen und
leichtem
Instrumentalspiel. Das
Liederbuch im handlichen
Format (ED 9560) ist
ausgestattet mit Noten
und Texten in Grossdruck
und einem abwaschbaren
Einband. Die Melodien
sind der tieferen
Stimmlage alterer
Menschen angepasst. $96.00 - Voir plus => Acheter | | |
| Lieder Z Weihnachtszeit - Débutant Schott
Voice (GROSSPAK) - very easy SKU: HL.49033169 Liederbuch in grosser Sc...(+)
Voice (GROSSPAK) - very
easy SKU:
HL.49033169
Liederbuch in grosser
Schrift. Composed by
Lieder. Edited by Susanne
Vennemann. Sheet music
with CD. Edition Schott.
Full Package: 20
Songbooks and Manual with
CD. 680 pages. Schott
Music #ED 9560-60.
Published by Schott Music
(HL.49033169). ISBN
9783795756253.
German. Gerade fur
die vielen alteren
Menschen hat das Singen
eine besondere Bedeutung.
Denn durch die Freude am
gemeinsamen Singen und
die mit bestimmten
Liedern verbundenen
Erinnerungen konnen Geist
und Korper gefordert und
gefordert werden. So wird
die Singstunde nicht nur
zu einem frohlichen
Gemeinschaftserlebnis,
sondern zugleich auch zum
Trainingsprogramm fur
geistige und korperliche
Fitness.Alle, die
Musikstunden mit Senioren
veranstalten, konnen mit
den Materialien aus der
Reihe 'Singen mit Spass'
von Schott Musik
International ihre
Singstunden einfach
vorbereiten und
durchfuhren. Durch die
Playbacks auf der
beiliegenden CD ist es
moglich, alle Lieder zu
begleiten, ohne dass ein
Instrument benotigt wird.
Die CD enthalt ausserdem
alle Titel in
Vollversion. Das
didaktische Handbuch fur
die Gruppenleitung (ED
9561) umfasst neben
Liedtext, Noten und
Harmonieangaben auch
Informationen zur
Geschichte des Liedes und
Anregungen zu Gedachtnis-
und Bewegungsubungen und
leichtem
Instrumentalspiel. Das
Liederbuch im handlichen
Format (ED 9560) ist
ausgestattet mit Noten
und Texten in Grossdruck
und einem abwaschbaren
Einband. Die Melodien
sind der tieferen
Stimmlage alterer
Menschen angepasst. $136.00 - Voir plus => Acheter | | |
| Lieder Z Weihnachtszeit - Débutant Schott
Voice (MELA) - very easy SKU: HL.49033167 Liederbuch in grosser Schrif...(+)
Voice (MELA) - very easy
SKU: HL.49033167
Liederbuch in grosser
Schrift. Composed by
Lieder. Edited by Susanne
Vennemann. This edition:
Saddle stitching. Sheet
music. Edition Schott.
Songbook. 32 pages.
Schott Music #ED 9560.
Published by Schott Music
(HL.49033167). ISBN
9783795756239.
6.5x8.75x0.115 inches.
German. Gerade fur
viele altere Menschen hat
das Singen eine besondere
Bedeutung. Denn durch die
Freude am gemeinsamen
Singen und die mit
bestimmten Liedern
verbundenen Erinnerungen
konnen Geist und Korper
gefordert und gefordert
werden. So wird die
Singstunde nicht nur zu
einem frohlichen
Gemeinschaftserlebnis,
sondern zugleich auch zum
Trainingsprogramm fur
geistige und korperliche
Fitness.Alle, die
Musikstunden mit Senioren
veranstalten, konnen mit
den Materialien aus der
Reihe Singen mit Spass
ihre Singstunden einfach
vorbereiten und
durchfuhren. Durch die
Playbacks auf der
beiliegenden CD ist es
moglich, alle Lieder zu
begleiten, ohne dass ein
Instrument benotigt wird.
Die CD enthalt ausserdem
alle Titel in
Vollversion. Das
didaktische Handbuch fur
die Gruppenleitung (ED
9561) umfasst neben
Liedtext, Noten und
Harmonieangaben auch
Informationen zur
Geschichte des Liedes und
Anregungen zu Gedachtnis-
und Bewegungsubungen und
leichtem
Instrumentalspiel. Das
Liederbuch im handlichen
Format ist ausgestattet
mit Noten und Texten in
Grossdruck und einem
abwaschbaren Einband. Die
Melodien sind der
tieferen Stimmlage
alterer Menschen
angepasst. $9.95 - Voir plus => Acheter | | |
| L'orecchio musicale per il basso (Ear Training) Basse electrique [Partition + CD] Play Music Publishing
Bass Guitar SKU: BT.MI0395 Composed by Enrico Agnesi. Studies & Exercises...(+)
Bass Guitar SKU:
BT.MI0395 Composed by
Enrico Agnesi. Studies &
Exercises. Book with CD.
Composed 2019. Play Music
Italy #MI0395. Published
by Play Music Italy
(BT.MI0395).
Italian. Avere
un buon orecchio musicale
fa di sicuro parte degli
elementi richiesti per
essere o diventare un
buon bassista. In
effetti, oltre a dover
migliorare la manualit
sullo strumento, bisogna
anche educare ed allenare
il proprio orecchio per
sviluppare la cosiddetta
musicalit . Il che
significa fare esercizi
specifici, come quelli
che vi proponiamo in
questo metodo. Iniziamo
perciò lo studio con
un primo lungo capitolo
dedicato agli intervalli,
poiché saperli
riconoscere è proprio
la base della formazione
uditiva (ear training in
inglese). In seguito
affronteremo gli arpeggi
(e gli accordi) di 3 e 4
suoni nonché le scale
che sono altrettanti
attrezzi indispensabili
peridentificare ad
orecchio i grooves e le
linee di basso, così
come le melodie e gli
assoli suonati dal basso.
Ogni tappa
dell’apprendimento
propone un quiz musicale
per permettervi di
valutare i progressi
effettuati e quindi
rendervi conto se siete
capaci di andare avanti o
meno. Troverete inoltre
sul disco MP3 allegato al
metodo tutte le
registrazioni audio
corrispondenti ai
numerosi esercizi e
quiz. $18.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| L'orecchio musicale per la chitarra (Ear Training) Guitare [Partition + CD] Play Music Publishing
Guitar SKU: BT.MI0396 Studies & Exercises. Book with CD. Composed 2019. P...(+)
Guitar SKU:
BT.MI0396 Studies &
Exercises. Book with CD.
Composed 2019. Play Music
Italy #MI0396. Published
by Play Music Italy
(BT.MI0396).
Italian. Avere
un buon orecchio musicale
fa di sicuro parte degli
elementi richiesti per
essere o diventare un
buon chitarrista. In
effetti, oltre a dover
migliorare la manualit
sullo strumento, bisogna
anche educare ed allenare
il proprio orecchio per
sviluppare la cosiddetta
musicalit . Il che
significa fare esercizi
specifici, come quelli
che vi proponiamo in
questo metodo. Iniziamo
perciò lo studio con
un primo lungo capitolo
dedicato agli intervalli,
poiché saperli
riconoscere è proprio
la base della formazione
uditiva (ear training in
inglese). In seguito
affronteremo gli arpeggi
e gli accordi di 3 e 4
suoni nonché le scale
che sono altrettanti
attrezzi indispensabili
peridentificare ad
orecchio le melodie, gli
assoli e gli
accompagnamenti suonati
dalla chitarra. Ogni
tappa
dell’apprendimento
propone un quiz musicale
per permettervi di
valutare i progressi
effettuati e quindi
rendervi conto se siete
capaci di andare avanti o
meno. Troverete inoltre
sul disco MP3 allegato al
metodo tutte le
registrazioni audio
corrispondenti ai
numerosi esercizi e
quiz. $18.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Ear Training Formation musicale - Solfège Ricordi
Solfege SKU: HL.50493165 Composed by Anesa M. MGB. Theory. Book Only. Com...(+)
Solfege SKU:
HL.50493165 Composed
by Anesa M. MGB. Theory.
Book Only. Composed 2003.
Ricordi #MLR634.
Published by Ricordi
(HL.50493165).
Italian. ESERCIZ
I DI LETTURA E DI
EDUCAZIONE MUSICALE
DELL'ORECCHIO. $26.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Hava N'Chalela (Recorder) Flûte à Bec Transcontinental Music
A Method for the Recorder Based on Israel Folk Melodies. By Tzipora H. Jochsberg...(+)
A Method for the Recorder
Based on Israel Folk
Melodies. By Tzipora H.
Jochsberger.
Transcontinental Music
Folios. Size 9x12 inches.
66 pages. Published by
Transcontinental Music
Publications.
(2)$9.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Expressions of Freedom Volume III (Anthology of African-American Spirituals) Chorale Hal Leonard
By Rene Boyer-Alexander. Arranged by Rene Boyer-Alexander. (Volume III). Expres...(+)
By Rene Boyer-Alexander.
Arranged by Rene
Boyer-Alexander. (Volume
III). Expressive Art
(Choral). 72 pages.
Published by Hal Leonard.
$16.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Expressions of Freedom Complete Edition (Anthology of African-American Spirituals) Chorale Hal Leonard
By Rene Boyer-Alexander. Arranged by Rene Boyer-Alexander. (Complete Ed). Expre...(+)
By Rene Boyer-Alexander.
Arranged by Rene
Boyer-Alexander.
(Complete Ed). Expressive
Art (Choral). Size 8.5x11
inches. 152 pages.
Published by Hal Leonard.
$39.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Hymn Fake Book - C Edition
Ligne De Mélodie, Paroles et Accords [Fake Book] - Facile Hal Leonard
For voice and C instrument. Format: fakebook (spiral bound). With vocal melody, ...(+)
For voice and C
instrument. Format:
fakebook (spiral bound).
With vocal melody,
lyrics, piano
accompaniment, chord
names and leadsheet
notation. Hymn. Series:
Hal Leonard Fake Books.
494 pages. 9x12 inches.
Published by Hal Leonard.
(3)$39.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Hymns - Paperback Songs Ligne De Mélodie, Paroles et Accords [Fake Book] Hal Leonard
Paperback Songs (Melodies, lyrics, and chords in a convenient format). Size 4.1x...(+)
Paperback Songs
(Melodies, lyrics, and
chords in a convenient
format). Size 4.1x6.7
inches. 256 pages.
Published by Hal Leonard.
(1)$7.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| All Aboard! - Intermédiaire Curnow Music
Brass Band and Trombone Solo - Grade 3 SKU: BT.CMP-1192-07-130 (This T...(+)
Brass Band and Trombone
Solo - Grade 3 SKU:
BT.CMP-1192-07-130
(This Train is Bound
for Glory) Trombone
Ensemble Feature.
Composed by Nathan
Farrell. Brassband. Solo
& Concerto. Score Only.
Composed 2007. 18 pages.
Curnow Music #CMP
1192-07-130. Published by
Curnow Music
(BT.CMP-1192-07-130).
9x12 inches.
English. This
infectious arrangement
uses the old spiritual
This Train is Bound
for Glory as a boogie
style feature with the
trombone section as
soloists. The train can
hardly stay on the rails
because the coaches
can’t stop
dancing! Along the way
see how many other famous
train references you can
hear. A fantastic piece
that’s great fun
to play.
Alle an
Bord!“ - bezieht
sich auf das alte
Spiritual This Train
is Bound for Glory.
In Nathan Farrells
Stück kann sich der
Zug kaum auf den Gleisen
halten, weil die Waggons
im Boogie-Rhythmus
tanzen! Einige
Zwischenhalte entlang
dieser musikalischen
Reise für das
Posaunenregister und
Brass Band erinnern zudem
an andere bekannte
Melodien zum Thema
Zug“. Eine
schwungvolle Fahrt zum
nächsten Konzerterfolg
ist damit gesichert!
Pour mettre en
valeur votre pupitre de
trombones, Nathan Farrell
a composé All
Aboard! (“En
voiture !â€), une
oeuvre basée sur le
spiritual The Train is
Bound for Glory.
Rythmiquement dynamique
All Aboard!
possède un charme et
une ingéniosité
très authentiques.
Per mettere in
evidenza la sezione dei
tromboni, Nathan Farrell
ha composto All
Aboard, un brano
basato sullo spiritual
This Train is Bound
for Glory. Dai ritmi
dinamici, All
Aboard possiede uno
charme che coinvolger
anche il pubblico. $13.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| All Aboard! - Intermédiaire Curnow Music
Brass Band and Trombone Solo - Grade 3 SKU: BT.CMP-1192-07-030 (This T...(+)
Brass Band and Trombone
Solo - Grade 3 SKU:
BT.CMP-1192-07-030
(This Train is Bound
for Glory) Trombone
Ensemble Feature.
Composed by Nathan
Farrell. Brassband.
Concert Piece. Set (Score
& Parts). Composed 2007.
Curnow Music #CMP
1192-07-030. Published by
Curnow Music
(BT.CMP-1192-07-030).
9x12 inches.
English. This
infectious arrangement
uses the old spiritual
This Train is Bound
for Glory as a boogie
style feature with the
trombone section as
soloists. The train can
hardly stay on the rails
because the coaches
can’t stop
dancing! Along the way
see how many other famous
train references you can
hear. A fantastic piece
that’s great fun
to play.
Alle an
Bord!“ - bezieht
sich auf das alte
Spiritual This Train
is Bound for Glory.
In Nathan Farrells
Stück kann sich der
Zug kaum auf den Gleisen
halten, weil die Waggons
im Boogie-Rhythmus
tanzen! Einige
Zwischenhalte entlang
dieser musikalischen
Reise für das
Posaunenregister und
Brass Band erinnern zudem
an andere bekannte
Melodien zum Thema
Zug“. Eine
schwungvolle Fahrt zum
nächsten Konzerterfolg
ist damit gesichert!
Pour mettre en
valeur votre pupitre de
trombones, Nathan Farrell
a composé All
Aboard! (“En
voiture !â€), une
oeuvre basée sur le
spiritual The Train is
Bound for Glory.
Rythmiquement dynamique
All Aboard!
possède un charme et
une ingéniosité
très authentiques.
Per mettere in
evidenza la sezione dei
tromboni, Nathan Farrell
ha composto All
Aboard, un brano
basato sullo spiritual
This Train is Bound
for Glory. Dai ritmi
dinamici, All
Aboard possiede uno
charme che coinvolger
anche il pubblico. $64.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| All Aboard! - Intermédiaire Curnow Music
Concert Band/Harmonie and Trombone Trio - Grade 3 SKU: BT.CMP-1006-06-010 ...(+)
Concert Band/Harmonie and
Trombone Trio - Grade 3
SKU:
BT.CMP-1006-06-010
Composed by Nathan
Farrell. Concert Band.
Set (Score & Parts).
Composed 2006. Curnow
Music #CMP 1006-06-010.
Published by Curnow Music
(BT.CMP-1006-06-010).
9x12 inches.
English. This
infectious arrangement
uses the old spiritual
This Train is Bound
for Glory as a boogie
style feature with the
trombone section as
soloists. The train can
hardly stay on the rails
because the coaches
can’t stop
dancing! Along the way
see how many other famous
train references you can
hear. A fantastic piece
that’s great fun
to play.
All
Aboard! verklankt een
trein die maar nauwelijks
op het spoor kan blijven
omdat de wagons niet
kunnen stoppen met
dansen! In dit
arrangement is de oude
spiritual This Train
is Bound for Glory
verwerkt in een
gospelboogie,waarbij de
trombonesectie voor het
voetlicht treedt. Tijdens
de reis worden
verschillende muzikale
stations aangedaan. Dit
werk loopt als een
trein!
Alle an
Bord!“ - bezieht
sich auf das alte
Spiritual This Train
is Bound for Glory.
In Nathan Farrells
Stück kann sich der
Zug kaum auf den Gleisen
halten, weil die Waggons
im Boogie-Rhythmus
tanzen! Einige
Zwischenhalte entlang
dieser musikalischen
Reise für das
Posaunenregister und
Brass Band erinnern zudem
an andere bekannte
Melodien zum Thema
Zug“. Eine
schwungvolle Fahrt zum
nächsten Konzerterfolg
ist damit gesichert!
Pour mettre en
valeur votre pupitre de
trombones, Nathan Farrell
a composé All
Aboard! (“En
voiture !â€), une
oeuvre basée sur le
spiritual The Train is
Bound for Glory.
Rythmiquement dynamique
All Aboard!
possède un charme et
une ingéniosité
très authentiques.
Per mettere in
evidenza la sezione dei
tromboni, Nathan Farrell
ha composto All
Aboard, un brano
basato sullo spiritual
The Train is Bound for
Glory. Dai ritmi
dinamici, All
Aboard possiede uno
charme che coinvolger
anche il pubblico. $80.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Oppermann R Blockfloetenkarussell Schott
1-2 soprano recorders with chords (BFL) SKU: HL.49023857 Starke Songs ...(+)
1-2 soprano recorders
with chords (BFL) SKU:
HL.49023857 Starke
Songs und Hits fur
Kids. Composed by
Oppermann. Edited by Rolf
Oppermann. This edition:
Saddle stitching. Sheet
music.
Kunter-bund-edition. 64
pages. Schott Music #BUND
71150. Published by
Schott Music
(HL.49023857). ISBN
9783795756833. Dies
e Sammlung von ein- und
zweistimmigen Stucken fur
Blockflote(n) wurde mit
Akkorden fur Gitarre-,
Keyboard-, Klavier- und
Orgelspieler
erweitert. $10.95 - Voir plus => Acheter | | |
| Spirituals: Duets for Soprano Recorder and Piano 2 Flûtes à bec, Piano [Partition + CD]
Arranged by Craig Cassils. For 2 soprano recorders and piano. Score, part and ac...(+)
Arranged by Craig
Cassils. For 2 soprano
recorders and piano.
Score, part and
accompaniment CD. 28
pages. Published by
Themes and Variations
$20.00 - Voir plus => AcheterDélais: 4 to 6 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 | | |
| Backpackers Songbook Ligne De Mélodie, Paroles et Accords [Partition] Centerstream
Compiled by Ron Middlebrook. For voice and guitar or banjo. Format: guitar/vocal...(+)
Compiled by Ron
Middlebrook. For voice
and guitar or banjo.
Format: guitar/vocal
songbook (no tablature -
lyrics and chords only).
With lyrics, chord names,
guitar chord chart, banjo
chord chart and
illustrations. Folk. 108
pages. 6x9 inches.
Published by Centerstream
Publications.
(6)$7.99 - 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 | | |
| Voiceworks 2: A Further Handbook For Singing Voix d'Enfants [Vocal Score] Oxford University Press
| | |
| 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 | | |
| 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 | | |
| For the Mystic Harmony 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, English
Horn, Flute 1, Flute 2,
Oboe 1, Oboe 2, Piccolo,
alto Saxophone, soprano
Saxophone, tenor
Saxophone SKU:
PR.165001000 Hymns
for Wind Ensemble.
Composed by Dan Welcher.
Folio. Set of Score and
Parts.
4+24+24+16+8+4+4+24+12+12
+8+4+4+4+4+8+8+8+8+4+4+4+
4+8+8+8+8+8+8+8+8+4+16+4+
8+4+8+8+4+4+4+48 pages.
Duration 10 minutes, 41
seconds. Theodore Presser
Company #165-00100.
Published by Theodore
Presser Company
(PR.165001000). ISBN
9781491129241. UPC:
680160669776. 9 x 12
inches. Commissione
d for a consortium of
high school and college
bands in the north Dallas
region, FOR THEMYSTIC
HARMONY is a 10-minute
inspirational work in
homage to Norwood and
Elizabeth Dixon,patrons
of the Fort Worth
Symphony and the Van
Cliburn Competition.
Welcher draws melodic
flavorfrom five American
hymns, spirituals, and
folk tunes of the 19th
century. The last of
these sources toappear is
the hymn tune For the
Beauty of the Earth,
whose third stanza is the
quatrain: “For the
joy of earand eye, For
the heart and
mind’s delight,
For the mystic harmony,
Linking sense to sound
and sight,â€giving
rise to the work’s
title. This work,
commissioned for a
consortium of high school
bands in the north Dallas
area, is my fifteenth
maturework for wind
ensemble (not counting
transcriptions). When I
asked Todd Dixon, the
band director
whospearheaded this
project, what kind of a
work he most wanted, he
first said
“something
that’s basically
slow,†butwanted to
leave the details to me.
During a long subsequent
conversation, he
mentioned that his
grandparents,Norwood and
Elizabeth Dixon, were
prime supporters of the
Fort Worth Symphony,
going so far as to
purchase anumber of high
quality instruments for
that orchestra. This
intrigued me, so I asked
more about his
grandparentsand was
provided an 80-page
biographical sketch.
Reading that article,
including a long section
about theirdevotion to
supporting a young man
through the rigors of the
Van Cliburn International
Piano Competition fora
number of years, moved me
very much. Norwood and
Elizabeth Dixon
weren’t just
supporters of the arts;
theywere passionate
lovers of music and
musicians. I determined
to make this work a
testament to that love,
and tothe religious faith
that sustained them both.
The idea of using extant
hymns was also suggested
by Todd Dixon,and this
10-minute work is the
result.I have employed
existing melodies in
several works, delving
into certain kinds of
religious music more than
a fewtimes. In seeking
new sounds, new ways of
harmonizing old tunes,
and the contrapuntal
overlaying of one
tunewith another, I was
able to make works like
ZION (using 19th-century
Revivalist hymns) and
LABORING SONGS(using
Shaker melodies) reflect
the spirit of the
composers who created
these melodies, without
sounding likepastiches or
medleys. I determined to
do the same with this new
work, with the added
problem of
employingmelodies that
were more familiar. I
chose five tunes from the
19th century: hymns,
spirituals, and
folk-tunes.Some of these
are known by differing
titles, but they all
appear in hymnals of
various Christian
denominations(with
various titles and
texts). My idea was to
employ the tunes without
altering their notes,
instead using aconstantly
modulating sense of
harmony —
sometimes leading to
polytonal harmonizations
of what are
normallysimple four-chord
hymns.The work begins and
ends with a repeated
chime on the note C: a
reminder of steeples,
white clapboard
churchesin the country,
and small church organs.
Beginning with a
Mixolydian folk tune of
Caribbean origin
presentedtwice with
layered entrances, the
work starts with a
feeling of mystery and
gentle sorrow. It
proceeds, after along
transition, into a second
hymn that is sometimes
connected to the sea
(hence the sensation of
water andwaves throughout
it). This tune, by John
B. Dykes (1823-1876), is
a bit more chromatic and
“shifty†than
mosthymn-tunes, so I
chose to play with the
constant sensation of
modulation even more than
the original does. Atthe
climax, the familiar
spiritual “Were you
there?†takes over,
with a double-time
polytonal feeling
propelling itforward at
“Sometimes it
causes me to
tremble.â€Trumpets
in counterpoint raise the
temperature, and the
tempo as well, leading
the music into a third
tune (ofunknown
provenance, though it
appears with different
texts in various hymnals)
that is presented in a
sprightlymanner. Bassoons
introduce the melody, but
it is quickly taken up by
other instruments over
three
“verses,â€cons
tantly growing in
orchestration and volume.
A mysterious second tune,
unrelated to this one,
interrupts it inall three
verses, sending the
melody into unknown
regions.The final melody
is “For the Beauty
of the Earth.†This
tune by Conrad Kocher
(1786-1872) is commonly
sung atThanksgiving
— the perfect
choice to end this work
celebrating two people
known for their
generosity.Keeping the
sense of constant
modulation that has been
present throughout, I
chose to present this
hymn in threegrowing
verses, but with a twist:
every four bars, the
“key†of the
hymn seems to shift
— until the
“Lord of all,
toThee we praiseâ€
melody bursts out in a
surprising compound
meter. This, as it turns
out, was the
“mystery
tuneâ€heard earlier
in the piece. After an
Ivesian, almost polytonal
climax, the Coda begins
over a long B( pedal. At
first,it seems to be a
restatement of the first
two phrases of “For
the Beauty†with
long spaces between them,
but it soonchanges to a
series of
“Amenâ€
cadences, widely
separated by range and
color. These, too, do not
conform to anykey, but
instead overlay each
other in ways that are
unpredictable but
strangely comforting.The
third verse of “For
the Beauty of the
Earth†contains
this quatrain:“For
the joy of ear and eye,
–For the heart and
mind’s delightFor
the mystic harmonyLinking
sense to sound and
sightâ€and it was
from this poetry that I
drew the title for the
present work. It is my
hope that audiences and
performerswill find
within it a sense of
grace: more than a little
familiar, but also quite
new and unexpected. $150.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| For the Mystic Harmony Theodore Presser Co.
Band Bass Clarinet, Bass Drum, Bassoon 1, Bassoon 2, Bongos, Castanets, Celesta,...(+)
Band Bass Clarinet, Bass
Drum, Bassoon 1, Bassoon
2, Bongos, Castanets,
Celesta, Clarinet,
Clarinet 1, Clarinet 2,
Clarinet 3, Contrabass
Clarinet, Contrabassoon,
English Horn, Euphonium,
Euphonium T.C., Flute 1,
Flute 2, Horn 1, Horn 2,
Horn 3 and more. SKU:
PR.16500100F Hymns
for Wind Ensemble.
Composed by Dan Welcher.
Sws. Full score. 48
pages. Duration 10
minutes, 41 seconds.
Theodore Presser Company
#165-00100F. Published by
Theodore Presser Company
(PR.16500100F). ISBN
9781491114421. UPC:
680160669783. 9 x 12
inches. Commissione
d for a consortium of
high school and college
bands in the north Dallas
region, FOR THEMYSTIC
HARMONY is a 10-minute
inspirational work in
homage to Norwood and
Elizabeth Dixon,patrons
of the Fort Worth
Symphony and the Van
Cliburn Competition.
Welcher draws melodic
flavorfrom five American
hymns, spirituals, and
folk tunes of the 19th
century. The last of
these sources toappear is
the hymn tune For the
Beauty of the Earth,
whose third stanza is the
quatrain: “For the
joy of earand eye, For
the heart and
mind’s delight,
For the mystic harmony,
Linking sense to sound
and sight,â€giving
rise to the work’s
title. This work,
commissioned for a
consortium of high school
bands in the north Dallas
area, is my fifteenth
maturework for wind
ensemble (not counting
transcriptions). When I
asked Todd Dixon, the
band director
whospearheaded this
project, what kind of a
work he most wanted, he
first said
“something
that’s basically
slow,†butwanted to
leave the details to me.
During a long subsequent
conversation, he
mentioned that his
grandparents,Norwood and
Elizabeth Dixon, were
prime supporters of the
Fort Worth Symphony,
going so far as to
purchase anumber of high
quality instruments for
that orchestra. This
intrigued me, so I asked
more about his
grandparentsand was
provided an 80-page
biographical sketch.
Reading that article,
including a long section
about theirdevotion to
supporting a young man
through the rigors of the
Van Cliburn International
Piano Competition fora
number of years, moved me
very much. Norwood and
Elizabeth Dixon
weren’t just
supporters of the arts;
theywere passionate
lovers of music and
musicians. I determined
to make this work a
testament to that love,
and tothe religious faith
that sustained them both.
The idea of using extant
hymns was also suggested
by Todd Dixon,and this
10-minute work is the
result.I have employed
existing melodies in
several works, delving
into certain kinds of
religious music more than
a fewtimes. In seeking
new sounds, new ways of
harmonizing old tunes,
and the contrapuntal
overlaying of one
tunewith another, I was
able to make works like
ZION (using 19th-century
Revivalist hymns) and
LABORING SONGS(using
Shaker melodies) reflect
the spirit of the
composers who created
these melodies, without
sounding likepastiches or
medleys. I determined to
do the same with this new
work, with the added
problem of
employingmelodies that
were more familiar. I
chose five tunes from the
19th century: hymns,
spirituals, and
folk-tunes.Some of these
are known by differing
titles, but they all
appear in hymnals of
various Christian
denominations(with
various titles and
texts). My idea was to
employ the tunes without
altering their notes,
instead using aconstantly
modulating sense of
harmony —
sometimes leading to
polytonal harmonizations
of what are
normallysimple four-chord
hymns.The work begins and
ends with a repeated
chime on the note C: a
reminder of steeples,
white clapboard
churchesin the country,
and small church organs.
Beginning with a
Mixolydian folk tune of
Caribbean origin
presentedtwice with
layered entrances, the
work starts with a
feeling of mystery and
gentle sorrow. It
proceeds, after along
transition, into a second
hymn that is sometimes
connected to the sea
(hence the sensation of
water andwaves throughout
it). This tune, by John
B. Dykes (1823-1876), is
a bit more chromatic and
“shifty†than
mosthymn-tunes, so I
chose to play with the
constant sensation of
modulation even more than
the original does. Atthe
climax, the familiar
spiritual “Were you
there?†takes over,
with a double-time
polytonal feeling
propelling itforward at
“Sometimes it
causes me to
tremble.â€Trumpets
in counterpoint raise the
temperature, and the
tempo as well, leading
the music into a third
tune (ofunknown
provenance, though it
appears with different
texts in various hymnals)
that is presented in a
sprightlymanner. Bassoons
introduce the melody, but
it is quickly taken up by
other instruments over
three
“verses,â€cons
tantly growing in
orchestration and volume.
A mysterious second tune,
unrelated to this one,
interrupts it inall three
verses, sending the
melody into unknown
regions.The final melody
is “For the Beauty
of the Earth.†This
tune by Conrad Kocher
(1786-1872) is commonly
sung atThanksgiving
— the perfect
choice to end this work
celebrating two people
known for their
generosity.Keeping the
sense of constant
modulation that has been
present throughout, I
chose to present this
hymn in threegrowing
verses, but with a twist:
every four bars, the
“key†of the
hymn seems to shift
— until the
“Lord of all,
toThee we praiseâ€
melody bursts out in a
surprising compound
meter. This, as it turns
out, was the
“mystery
tuneâ€heard earlier
in the piece. After an
Ivesian, almost polytonal
climax, the Coda begins
over a long B( pedal. At
first,it seems to be a
restatement of the first
two phrases of “For
the Beauty†with
long spaces between them,
but it soonchanges to a
series of
“Amenâ€
cadences, widely
separated by range and
color. These, too, do not
conform to anykey, but
instead overlay each
other in ways that are
unpredictable but
strangely comforting.The
third verse of “For
the Beauty of the
Earth†contains
this quatrain:“For
the joy of ear and eye,
–For the heart and
mind’s delightFor
the mystic harmonyLinking
sense to sound and
sightâ€and it was
from this poetry that I
drew the title for the
present work. It is my
hope that audiences and
performerswill find
within it a sense of
grace: more than a little
familiar, but also quite
new and unexpected. $25.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Morning Star Choir Book [Partition] Concordia Publishing House
| | |
| Hymns and Descants for Trumpet
Trompette - Intermédiaire Mel Bay
by William Bay. For trumpet. Sacred, duets. Level: Intermediate. Book. Descants....(+)
by William Bay. For
trumpet. Sacred, duets.
Level: Intermediate.
Book. Descants. Size
8.75x11.75. 64 pages.
Published by Mel Bay
Pub., Inc.
(4)$19.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Easy Hymn Settings for Organ, Vol. 2 Orgue Augsburg Fortress
By Ronald A. Nelson (1927-). For organ. Sacred, Advent, Baptism, Christmas, Comm...(+)
By Ronald A. Nelson
(1927-). For organ.
Sacred, Advent, Baptism,
Christmas, Communion,
Easter, Lent, Pentecost,
Reformation,
Thanksgiving, Three Days.
Collection. Published by
Augsburg Fortress
$18.50 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
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