| Walkin' Up Big band [Conducteur et Parties séparées] - Avancé Jazz Lines Publications
Arranged by Chuck Israels. For little big band. Swing, Jazz. Difficult. Score an...(+)
Arranged by Chuck
Israels. For little big
band. Swing, Jazz.
Difficult. Score and
parts. Published by Jazz
Lines Publications
$50.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Far From East Big band [Conducteur et Parties séparées] - Intermédiaire Walrus Music Publishing
Arranged by Michael Kocour. Jazz, Swing/Afro-Cuban. Score and parts. Published ...(+)
Arranged by Michael
Kocour. Jazz,
Swing/Afro-Cuban. Score
and parts. Published by
Walrus Music Publishing
(WA.52030).
$35.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| A Maritime Overture Orchestre d'harmonie [Conducteur et Parties séparées] G and M Brand Music Publishers
Concert band (Piccolo, 1st Flute, 2nd Flute, 1st Oboe, 2nd Oboe, 1st Bassoon, 2n...(+)
Concert band (Piccolo,
1st Flute, 2nd Flute, 1st
Oboe, 2nd Oboe, 1st
Bassoon, 2nd Bassoon,
Solo Bb Clarinet, 1st Bb
Clarinet, 2nd Bb
Clarinet, 3rd Bb
Clarinet, Eb Alto
Clarinet, Bb Bass
Clarinet, Bb Contra Bass
Clarinet, Eb Alto
Saxophone, Bb Tenor
Saxophone, Eb Barito) -
grade 5 SKU:
CN.R10011 Composed by
John Ireland. Band Music.
Score and parts. Duration
10:00. Published by G & M
Brand Music Publishers
(CN.R10011).
Cast your self
into a storm at sea with
this fantastic piece from
John Ireland. Turbulent
rhythmic motives launch
the work to blend into a
more lyrical melody
contrasting the opening.
Don't be fooled though;
the first rhythmic motive
provides the underlay, a
reminder that the calm
surface of the sea is
only masking the swirling
water
underneath!
A
Maritime Overture was
written in 1944 and
published in 1946. This
edition was published in
1988. The score was
prepared from the
composer's full draft by
Norman Richardson, and
uses the same material as
Tritons - a Symphonic
Prelude for orchestra
dating from the early
1900s. The development of
the material however is
different in each piece.
The work is conceived in
F major - but it is 24
bars before Ireland
establishes this
tonality. Fortissimo
chords of B-flat major
open the work, and the
Overture hovers between G
minor and B-flat as a
restless rhythmic motif
is introduced. As soon as
F major is finally
established it is
contradicted as the music
fragments, but the key is
allowed a further 4 bars
to consolidate before
more lyrical interplay
leads to a second idea,
introduced by flutes and
oboes in C major. Marked
'espressivo e ben
cantando' this is a
complete contrast to the
opening, although the
first rhythmic motif
provides the underlay - a
reminder after the
opening storms that the
calm surface of the sea
is only masking the
swirling water
underneath. A Maritime
Overture has a freer
approach to form than say
the first movement of a
symphony might allow,
enabling Ireland to
introduce a totally new
central section marked
'poco meno mosso' in F
minor. A bold cornet (not
trumpet) heralds this new
idea, in a passage marked
'with freedom' and
perhaps for the only time
there is a true
tranquility in the
sextuplet accompaniment.
Thus the restlessness is
suspended, but not for
long, as the opening
storm returns and a
recapitulation allows the
F major theme and the
second theme - this time
in the sub-dominant
(B-flat) - to reassert
themselves. $115.00 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Stand Up, Stand Up For Jesus Orchestre d'harmonie [Conducteur et Parties séparées] - Facile C.L. Barnhouse
Arranged by Andy Clark. Young Concert Band. Command. Grade 2. Score and set of p...(+)
Arranged by Andy Clark.
Young Concert Band.
Command. Grade 2. Score
and set of parts.
Composed 2006. Duration
0:02:11
$50.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Live On - Facile Carl Fischer
Orchestra Cello, Contrabass, Piano, Viola, Violin 1, Violin 2, Violin 3 - Grade ...(+)
Orchestra Cello,
Contrabass, Piano, Viola,
Violin 1, Violin 2,
Violin 3 - Grade 2
SKU: CF.YAS182
Composed by Larry Clark.
Young String Orchestra.
Set of Score and Parts.
With Standard notation.
16+16+10+4+3+10+10+12
pages. Duration 3
minutes, 32 seconds. Carl
Fischer Music #YAS182.
Published by Carl Fischer
Music (CF.YAS182).
ISBN 9781491151471.
UPC: 680160908974. 9 x 12
inches. Key: G
major. The title,
Live On, by Larry Clark,
is taken from Chrissie
Pinney's poem about grief
and loss. The piece is
meant to depict the
personality of Linda
Mann, to whom it is
dedicated. The opening is
poignant and pensive,
followed by a whimsical
theme which alludes to
happy thoughts of a life
well-lived. The piece
builds to a
triumphant?conclusion
based on an augmented
version of the
theme.
Live On
was commissioned by
Diplomat Middle School's
staff, faculty and
students in Cape Coral,
Florida, and is dedicated
to the memory of their
Director of Bands, Linda
Mann. Director of
Orchestras, Roland Forti,
championed the
commissioning of this
piece to honor the life
of Linda after her
untimely passing in
February of 2017. Linda Manns
impact on the field of
music education was
profound and
wide-reaching. She was a
beloved member of the
staff at Diplomat Middle
School, as well as the
music community of Cape
Coral and the state of
Florida. Linda was highly
respected throughout the
state, serving as recent
past-president of the
Florida Bandmasters
Association.
In discussing
the type of piece the
school wanted to honor
Ms. Mann, they indicated
the piece should depict
Lindas personality -
dynamic, sassy, yet
thoughtful and almost
mentor-like. They wanted
a piece that was upbeat,
yet still had moments
that were thoughtful,
portraying the grief that
the Diplomat Middle
School community has
suffered from the sudden
loss of such a beloved
teacher. After
contemplating their
thoughts, I did some
research to find
inspiration for the
piece. This led me to
poetry about grief and
loss. In time, I stumbled
upon a short, yet
poignant poem that I felt
perfectly depicted the
sentiment that I wanted
the piece to convey. That poem is
entitled Live On
by Chrissie
Pinney. Live
On Now as I live
on Without
you I
hope to keep
The pieces of
you That I loved so
dearly Your
mannerisms And
compassionate
character And smiles
through
struggle So
that you May live on
too
-Chrissie
Pinney I
reached out to Ms.
Pinney, and she
graciously agreed to
allow me to quote her
powerful poem in these
notes. She expressed
that she was deeply
touched that her work
would inspire me to write
a piece in honor of Linda
Mann. The piece begins
with a poignant, pensive
opening section. The use
of the musical interval
of a tritone between the
first two openly voiced
chords are used to
represent the sadness we
all feel from this type
of loss. When I sat in
front of my piano and
started to work on this
piece, my hands seemed to
naturally and immediately
play these first two
chords, which set the
process in motion of
composing the
piece. After the somber
opening, the piece shifts
to a whimsical theme that
I hope brings about happy
thoughts of Linda and her
personality. It was also
my intent, however, to
include some musical
dissonance in the theme
that still reflected the
bittersweet loss at the
same time. The piece
develops into a secondary
theme that is a quasi
inversion of the main
fast theme. This section
is followed by a return
of the opening material,
with snippets of the fast
theme intertwined, before
the piece builds to a
triumphant, augmented
presentation of the main
theme in a lush form to
complete the
work. It is my hope
that in some small way,
this piece will bring
comfort to those affected
by the loss of Linda
Mann, and that the music
will allow her memory to
Live
On. Larry
Clark Lakeland, FL
2017 . Live On
was commissioned by
Diplomat Middle School's
staff, faculty and
students in Cape Coral,
Florida, and is dedicated
to the memory of their
Director of Bands, Linda
Mann. Director of
Orchestras, Roland Forti,
championed the
commissioning of this
piece to honor the life
of Linda after her
untimely passing in
February of 2017.A Linda Mannas
impact on the field of
music education was
profound and
wide-reaching. She was a
beloved member of the
staff at Diplomat Middle
School, as well as the
music community of Cape
Coral and the state of
Florida. Linda was highly
respected throughout the
state, serving as recent
past-president of the
Florida Bandmasters
Association.
In discussing
the type of piece the
school wanted to honor
Ms. Mann, they indicated
the piece should adepict
Lindaas personality -
dynamic, sassy, yet
thoughtful and almost
mentor-like.a They wanted
a piece that was upbeat,
yet still had moments
that were thoughtful,
portraying the grief that
the Diplomat Middle
School community has
suffered from the sudden
loss of such a beloved
teacher. After
contemplating their
thoughts, I did some
research to find
inspiration for the
piece. This led me to
poetry about grief and
loss. In time, I stumbled
upon a short, yet
poignant poem that I felt
perfectly depicted the
sentiment that I wanted
the piece to convey.A That poem is
entitled Live On
by Chrissie
Pinney. Live
On Now as I live
on Without
you I
hope to keep
The pieces of
you That I loved so
dearly Your
mannerisms And
compassionate
character And smiles
through
struggle So
that you May live on
too A
-Chrissie
Pinney I
reached out to Ms.
Pinney, and she
graciously agreed to
allow me to quote her
powerful poem in these
notes.A She expressed
that she was deeply
touched that her work
would inspire me to write
a piece in honor of Linda
Mann. The piece begins
with a poignant, pensive
opening section. The use
of the musical interval
of a tritone between the
first two openly voiced
chords are used to
represent the sadness we
all feel from this type
of loss. When I sat in
front of my piano and
started to work on this
piece, my hands seemed to
naturally and immediately
play these first two
chords, which set the
process in motion of
composing the
piece. After the somber
opening, the piece shifts
to a whimsical theme that
I hope brings about happy
thoughts of Linda and her
personality. It was also
my intent, however, to
include some musical
dissonance in the theme
that still reflected the
bittersweet loss at the
same time.A The piece
develops into a secondary
theme that is a quasi
inversion of the main
fast theme.A This section
is followed by a return
of the opening material,
with snippets of the fast
theme intertwined, before
the piece builds to a
triumphant, augmented
presentation of the main
theme in a lush form to
complete the
work. It is my hope
that in some small way,
this piece will bring
comfort to those affected
by the loss of Linda
Mann, and that the music
will allow her memory to
Live
On. aLarry
Clark Lakeland, FL
2017 . Live On
was commissioned by
Diplomat Middle School's
staff, faculty and
students in Cape Coral,
Florida, and is dedicated
to the memory of their
Director of Bands, Linda
Mann. Director of
Orchestras, Roland Forti,
championed the
commissioning of this
piece to honor the life
of Linda after her
untimely passing in
February of 2017.A Linda Mannas
impact on the field of
music education was
profound and
wide-reaching. She was a
beloved member of the
staff at Diplomat Middle
School, as well as the
music community of Cape
Coral and the state of
Florida. Linda was highly
respected throughout the
state, serving as recent
past-president of the
Florida Bandmasters
Association.
In discussing
the type of piece the
school wanted to honor
Ms. Mann, they indicated
the piece should adepict
Lindaas personality -
dynamic, sassy, yet
thoughtful and almost
mentor-like.a They wanted
a piece that was upbeat,
yet still had moments
that were thoughtful,
portraying the grief that
the Diplomat Middle
School community has
suffered from the sudden
loss of such a beloved
teacher. After
contemplating their
thoughts, I did some
research to find
inspiration for the
piece. This led me to
poetry about grief and
loss. In time, I stumbled
upon a short, yet
poignant poem that I felt
perfectly depicted the
sentiment that I wanted
the piece to convey.A That poem is
entitled Live On
by Chrissie
Pinney. Live
On Now as I live
on Without
you I
hope to keep
The pieces of
you That I loved so
dearly Your
mannerisms And
compassionate
character And smiles
through
struggle So
that you May live on
too A
-Chrissie
Pinney I
reached out to Ms.
Pinney, and she
graciously agreed to
allow me to quote her
powerful poem in these
notes.A She expressed
that she was deeply
touched that her work
would inspire me to write
a piece in honor of Linda
Mann. The piece begins
with a poignant, pensive
opening section. The use
of the musical interval
of a tritone between the
first two openly voiced
chords are used to
represent the sadness we
all feel from this type
of loss. When I sat in
front of my piano and
started to work on this
piece, my hands seemed to
naturally and immediately
play these first two
chords, which set the
process in motion of
composing the
piece. After the somber
opening, the piece shifts
to a whimsical theme that
I hope brings about happy
thoughts of Linda and her
personality. It was also
my intent, however, to
include some musical
dissonance in the theme
that still reflected the
bittersweet loss at the
same time.A The piece
develops into a secondary
theme that is a quasi
inversion of the main
fast theme.A This section
is followed by a return
of the opening material,
with snippets of the fast
theme intertwined, before
the piece builds to a
triumphant, augmented
presentation of the main
theme in a lush form to
complete the
work. It is my hope
that in some small way,
this piece will bring
comfort to those affected
by the loss of Linda
Mann, and that the music
will allow her memory to
Live
On. aLarry
Clark Lakeland, FL
2017 . Live On
was commissioned by
Diplomat Middle School's
staff, faculty and
students in Cape Coral,
Florida, and is dedicated
to the memory of their
Director of Bands, Linda
Mann. Director of
Orchestras, Roland Forti,
championed the
commissioning of this
piece to honor the life
of Linda after her
untimely passing in
February of 2017. Linda Mann's
impact on the field of
music education was
profound and
wide-reaching. She was a
beloved member of the
staff at Diplomat Middle
School, as well as the
music community of Cape
Coral and the state of
Florida. Linda was highly
respected throughout the
state, serving as recent
past-president of the
Florida Bandmasters
Association.
In discussing
the type of piece the
school wanted to honor
Ms. Mann, they indicated
the piece should depict
Linda's personality -
dynamic, sassy, yet
thoughtful and almost
mentor-like. They wanted
a piece that was upbeat,
yet still had moments
that were thoughtful,
portraying the grief that
the Diplomat Middle
School community has
suffered from the sudden
loss of such a beloved
teacher. After
contemplating their
thoughts, I did some
research to find
inspiration for the
piece. This led me to
poetry about grief and
loss. In time, I stumbled
upon a short, yet
poignant poem that I felt
perfectly depicted the
sentiment that I wanted
the piece to convey. That poem is
entitled Live On
by Chrissie
Pinney. Live
On Now as I live
on Without
you I
hope to keep
The pieces of
you That I loved so
dearly Your
mannerisms And
compassionate
character And smiles
through
struggle So
that you May live on
too
-Chrissie
Pinney I
reached out to Ms.
Pinney, and she
graciously agreed to
allow me to quote her
powerful poem in these
notes. She expressed
that she was deeply
touched that her work
would inspire me to write
a piece in honor of Linda
Mann. The piece begins
with a poignant, pensive
opening section. The use
of the musical interval
of a tritone between the
first two openly voiced
chords are used to
represent the sadness we
all feel from this type
of loss. When I sat in
front of my piano and
started to work on this
piece, my hands seemed to
naturally and immediately
play these first two
chords, which set the
process in motion of
composing the
piece. After the somber
opening, the piece shifts
to a whimsical theme that
I hope brings about happy
thoughts of Linda and her
personality. It was also
my intent, however, to
include some musical
dissonance in the theme
that still reflected the
bittersweet loss at the
same time. The piece
develops into a secondary
theme that is a quasi
inversion of the main
fast theme. This section
is followed by a return
of the opening material,
with snippets of the fast
theme intertwined, before
the piece builds to a
triumphant, augmented
presentation of the main
theme in a lush form to
complete the
work. It is my hope
that in some small way,
this piece will bring
comfort to those affected
by the loss of Linda
Mann, and that the music
will allow her memory to
Live
On. -Larry
Clark Lakeland, FL
2017 . Live
On was commissioned by
Diplomat Middle School's
staff, faculty and
students in Cape Coral,
Florida, and is dedicated
to the memory of their
Director of Bands, Linda
Mann. Director of
Orchestras, Roland Forti,
championed the
commissioning of this
piece to honor the life
of Linda after her
untimely passing in
February of 2017. Linda
Mann's impact on the
field of music education
was profound and
wide-reaching. She was a
beloved member of the
staff at Diplomat Middle
School, as well as the
music community of Cape
Coral and the state of
Florida. Linda was highly
respected throughout the
state, serving as recent
past-president of the
Florida Bandmasters
Association. In
discussing the type of
piece the school wanted
to honor Ms. Mann, they
indicated the piece
should depict Linda's
personality - dynamic,
sassy, yet thoughtful and
almost mentor-like. They
wanted a piece that was
upbeat, yet still had
moments that were
thoughtful, portraying
the grief that the
Diplomat Middle School
community has suffered
from the sudden loss of
such a beloved teacher.
After contemplating their
thoughts, I did some
research to find
inspiration for the
piece. This led me to
poetry about grief and
loss. In time, I stumbled
upon a short, yet
poignant poem that I felt
perfectly depicted the
sentiment that I wanted
the piece to convey. That
poem is entitled Live On
by Chrissie Pinney. Live
On Now as I live on
Without you I hope to
keep The pieces of you
That I loved so dearly
Your mannerisms And
compassionate character
And smiles through
struggle So that you May
live on too -Chrissie
Pinney I reached out to
Ms. Pinney, and she
graciously agreed to
allow me to quote her
powerful poem in these
notes. She expressed that
she was deeply touched
that her work would
inspire me to write a
piece in honor of Linda
Mann. The piece begins
with a poignant, pensive
opening section. The use
of the musical interval
of a tritone between the
first two openly voiced
chords are used to
represent the sadness we
all feel from this type
of loss. When I sat in
front of my piano and
started to work on this
piece, my hands seemed to
naturally and immediately
play these first two
chords, which set the
process in motion of
composing the piece.
After the somber opening,
the piece shifts to a
whimsical theme that I
hope brings about happy
thoughts of Linda and her
personality. It was also
my intent, however, to
include some musical
dissonance in the theme
that still reflected the
bittersweet loss at the
same time. The piece
develops into a secondary
theme that is a quasi
inversion of the main
fast theme. This section
is followed by a return
of the opening material,
with snippets of the fast
theme intertwined, before
the piece builds to a
triumphant, augmented
presentation of the main
theme in a lush form to
complete the work. It is
my hope that in some
small way, this piece
will bring comfort to
those affected by the
loss of Linda Mann, and
that the music will allow
her memory to Live On.
-Larry Clark Lakeland, FL
2017. Live On was
commissioned by Diplomat
Middle School's staff,
faculty and students in
Cape Coral, Florida, and
is dedicated to the
memory of their Director
of Bands, Linda Mann.
Director of Orchestras,
Roland Forti, championed
the commissioning of this
piece to honor the life
of Linda after her
untimely passing in
February of
2017. Linda
Mann’s impact on
the field of music
education was profound
and wide-reaching. She
was a beloved member of
the staff at Diplomat
Middle School, as well as
the music community of
Cape Coral and the state
of Florida. Linda was
highly respected
throughout the state,
serving as recent
past-president of the
Florida Bandmasters
Association.In discussing
the type of piece the
school wanted to honor
Ms. Mann, they indicated
the piece should
“depict
Linda’s
personality - dynamic,
sassy, yet thoughtful and
almost
mentor-like.†They
wanted a piece that was
upbeat, yet still had
moments that were
thoughtful, portraying
the grief that the
Diplomat Middle School
community has suffered
from the sudden loss of
such a beloved
teacher.After
contemplating their
thoughts, I did some
research to find
inspiration for the
piece. This led me to
poetry about grief and
loss. In time, I stumbled
upon a short, yet
poignant poem that I felt
perfectly depicted the
sentiment that I wanted
the piece to convey.Â
That poem is entitled
Live On by Chrissie
Pinney.Live OnNow as I
live onWithout youI hope
to keepThe pieces of
youThat I loved so
dearlyYour mannerismsAnd
compassionate
characterAnd smiles
through struggleSo that
youMay live on
too -Chrissie PinneyI
reached out to Ms.
Pinney, and she
graciously agreed to
allow me to quote her
powerful poem in these
notes. She expressed
that she was deeply
touched that her work
would inspire me to write
a piece in honor of Linda
Mann.The piece begins
with a poignant, pensive
opening section. The use
of the musical interval
of a tritone between the
first two openly voiced
chords are used to
represent the sadness we
all feel from this type
of loss. When I sat in
front of my piano and
started to work on this
piece, my hands seemed to
naturally and immediately
play these first two
chords, which set the
process in motion of
composing the piece.After
the somber opening, the
piece shifts to a
whimsical theme that I
hope brings about happy
thoughts of Linda and her
personality. It was also
my intent, however, to
include some musical
dissonance in the theme
that still reflected the
bittersweet loss at the
same time. The piece
develops into a secondary
theme that is a quasi
inversion of the main
fast theme. This
section is followed by a
return of the opening
material, with snippets
of the fast theme
intertwined, before the
piece builds to a
triumphant, augmented
presentation of the main
theme in a lush form to
complete the work.It is
my hope that in some
small way, this piece
will bring comfort to
those affected by the
loss of Linda Mann, and
that the music will allow
her memory to Live
On.–Larry
ClarkLakeland, FL
2017.
About Carl
Fischer Young String
Orchestra
Series Thi
s series of Grade 2/Grade
2.5 pieces is designed
for second and third year
ensembles. The pieces in
this series are
characterized
by: --Occasionally
extending to third
position --Keys
carefully considered for
appropriate
difficulty --Addition
of separate 2nd violin
and viola
parts --Viola T.C.
part
included --Increase
in independence of parts
over beginning levels $55.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Live On Orchestre d'harmonie - Facile Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Cabasa, Clarinet 1, Clarinet 2, C...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Bells,
Cabasa, Clarinet 1,
Clarinet 2, Crash
Cymbals, Euphonium,
Euphonium T.C., Flute,
Flute 2, Horn, Mallet
Percussion, Oboe,
Percussion 1, Percussion
2, Snare Drum, Suspended
Cymbal, Tambourine,
Timpani and more. - Grade
2.5 SKU: CF.YPS212
Composed by Larry Clark.
Young Band (YPS). Set of
Score and Parts. With
Standard notation.
16+4+8+8+4+4+10+4+4+8+8+8
+12+6+6+2+2+4+10+20+4
pages. Duration 3
minutes, 39 seconds. Carl
Fischer Music #YPS212.
Published by Carl Fischer
Music (CF.YPS212).
ISBN 9781491152317.
UPC: 680160909810. Key: C
minor. Taking its
title from a poem about
grief and loss by
Chrissie Pinney, Live
On honors the life of
band director Linda Mann,
to whom the piece is
dedicated. The piece
begins with a pensive
intro before shifting to
a whimsical theme that
brings about happy
thoughts of a life
well-lived. After a
return to the poignant
opening material, the
music surges to a
triumphant conclusion
based on an augmented
version of the whimsical
theme. Live On was
commissioned by Diplomat
Middle School's staff,
faculty and students, in
Cape Coral, Florida, and
is dedicated to the
memory of their Director
of Bands, Linda Mann.
Director of Orchestras,
Roland Forti, championed
the commissioning of this
piece to honor the life
of Linda after her
untimely passing in
February of
2017. Linda
Mann’s impact on
the field of music
education was profound
and wide-reaching. She
was a beloved member of
the staff at Diplomat
Middle School, as well as
the music community of
Cape Coral and the state
of Florida. Linda was
highly respected
throughout the state,
serving as recent
past-president of the
Florida Bandmasters
Association.In discussing
the type of piece the
school wanted to honor
Ms. Mann, they indicated
the piece should
“depict
Linda’s
personality: dynamic,
sassy, yet thoughtful and
almost
mentor-like.†They
wanted a piece that was
upbeat, yet still had
moments that were
thoughtful, portraying
the grief that the
Diplomat Middle School
community has suffered
from the sudden loss of
such a beloved
teacher.After
contemplating their
thoughts, I did some
research to find
inspiration for the
piece. This led me to
poetry about grief and
loss. In time, I stumbled
upon a short, yet
poignant poem that I felt
perfectly depicted the
sentiment that I wanted
the piece to convey.Â
That poem is entitled
Live On by Chrissie
Pinney.Live OnNow as I
live onWithout youI hope
to keepThe pieces of
youThat I loved so
dearlyYour mannerismsAnd
compassionate
characterAnd smiles
through struggleSo that
youMay live on
too -Chrissie PinneyI
reached out to Ms.
Pinney, and she
graciously agreed to
allow me to quote her
powerful poem in these
notes. She expressed
that she was deeply
touched that her work
would inspire me to write
a piece in honor of Linda
Mann.The piece begins
with a poignant, pensive
opening section. The use
of the musical interval
of a tritone between the
first two openly voiced
chords are used to
represent the sadness we
all feel from this type
of loss. When I sat in
front of my piano and
started to work on this
piece, my hands seemed to
naturally and immediately
play these first two
chords, which set the
process in motion of
composing the piece.After
the somber opening, the
piece shifts to a
whimsical theme that I
hope brings about happy
thoughts of Linda and her
personality. It was also
my intent, however, to
include some musical
dissonance in the theme
that still reflected the
bittersweet loss at the
same time. The piece
develops into a secondary
theme that is a quasi
inversion of the main
fast theme. This
section is followed by a
return of the opening
material, with snippets
of the fast theme
intertwined, before the
piece builds to a
triumphant, augmented
presentation of the main
theme in a lush form to
complete the work.It is
my hope that in some
small way, this piece
will bring comfort to
those affected by the
loss of Linda Mann, and
that the music will allow
her memory to Live
On.–Larry
ClarkLakeland, FL
2017. $75.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Something Borrowed, Something Blue Orchestre d'harmonie [Conducteur et Parties séparées] - Débutant Anglo Music
Concert Band Set w/Flexible Instrumentation. By Philip Sparke. (Score and Parts...(+)
Concert Band Set
w/Flexible
Instrumentation. By
Philip Sparke. (Score
and Parts). ANGLO MUSIC
PRESS. Published by Anglo
Music.
$74.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Grande Processional for an Academic Occasion Orchestre [Conducteur et Parties séparées] - Intermédiaire Alfred Publishing
By Felix Alexandre Guilmant (1837-1911). Arranged by Rick England. Orchestra. Fu...(+)
By Felix Alexandre
Guilmant (1837-1911).
Arranged by Rick England.
Orchestra. Full
Orchestra; Masterworks.
Highland Full Orchestra.
Form: Transcription.
Masterwork Arrangement;
Romantic. Grade 3.
Conductor Score and
Parts. 198 pages.
Published by Alfred Music
Publishing
$68.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| White Light Orchestre d'harmonie - Facile Anglo Music
Grade 3 - Score and Parts. Composed by Philip Sparke (1951-). Anglo Music...(+)
Grade 3 - Score and
Parts. Composed by
Philip Sparke (1951-).
Anglo Music Concert Band.
Anglo Music Press
#AMP317010. Published by
Anglo Music Press
(HL.44011004).
$117.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Skyliner Big band [Conducteur et Parties séparées] - Avancé Lush Life
By Charlie Barnet. Arranged by Myles Collins. Swing. Full score and set of parts...(+)
By Charlie Barnet.
Arranged by Myles
Collins. Swing. Full
score and set of parts.
Published by Lush Life
(JL.LL-1043).
$65.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Allen Vizzutti : American Jazz Suite Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire Alfred Publishing
By Allen Vizzutti. Music by Allen Vizzutti. For Concert Band. Concert Band. Alfr...(+)
By Allen Vizzutti. Music
by Allen Vizzutti. For
Concert Band. Concert
Band. Alfred Concert
Band. Level: Level 4
(grade 4). Conductor
Score and Parts. 2 pages.
Published by Alfred
Publishing.
$75.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Hommage! Fanfare and Hymn Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire Hal Leonard
Score and Parts Concert Band (Score & Parts) - Grade 4 SKU: HL.4008989 (+)
Score and Parts Concert
Band (Score & Parts) -
Grade 4 SKU:
HL.4008989 Concert
Band, Grade 4 5:51 Score
and Parts. Composed
by Hermann Pallhuber.
Symphonic Dimensions.
Concert, Concert Band.
Softcover. Duration 351
seconds. Hal Leonard
#SDP290-24-02. Published
by Hal Leonard
(HL.4008989). UPC:
196288283836. “Ho
mmage!” is a festive
composition that
commences with an
imposing fanfare in the
deep brass register,
gradually allowing all
instruments of the
orchestra to shine. A
delicate melodic passage
in the woodwind register
forms the emotional
centerpiece of the piece.
This simple anthem,
styled as a ballad,
returns to the initial
theme and culminates once
again in powerful closing
chords. The composition
serves as a tribute to
all musicians and
conductors who
wholeheartedly dedicate
themselves to the world
of wind orchestra music
with passion and
dedication. $150.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Ballet For Band Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire Southern Music Ltd
Score and Parts Concert Band - Grade 5 SKU: HL.1455412 Revised Edition...(+)
Score and Parts Concert
Band - Grade 5 SKU:
HL.1455412 Revised
Edition. Composed by
Don Gillis. Arranged by
R. Mark Rogers. Southern
Music Band. Ballet,
Symphonic. Softcover.
Duration 840 seconds.
Southern Music Company
#S1007CB. Published by
Southern Music Company
(HL.1455412). UPC:
196288209430.
9.0x12.0x0.942
inches. Gillis'
BALLET FOR BAND is music
of the 20th century. The
score is endlessly
inventive and richly
colored, with scoring for
the full palette of
sounds available in the
symphonic wind band. The
score contains both
contrasting moments of
lyrical beauty and
muscular energy while
never dissonant, with
more than a few extended
jazz chords a-la-Gershwin
to be found. Both
performers and listeners
will discover much to
admire in this exciting
score. $150.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Variations on a Nautical Hymn Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire Alfred Publishing
Arranged by Mark Williams. Arr. Mark Williams. For Concert Band. Concert Band. A...(+)
Arranged by Mark
Williams. Arr. Mark
Williams. For Concert
Band. Concert Band.
Alfred Concert Band.
Hymn. Level: 4 (Medium
Difficult) (grade 4).
Conductor Score and
Parts. 3 pages. Published
by Alfred Publishing.
$75.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Theme And Variations Trombone et Piano Theodore Presser Co.
Chamber Music Trombone, Piano SKU: PR.114415260 For Trombone And Piano...(+)
Chamber Music Trombone,
Piano SKU:
PR.114415260 For
Trombone And Piano.
Composed by Martin
Kennedy. Premiere: Becky
Cherian, trombone;
Pittsburgh, PA.
Contemporary. Set of
Score and Parts. With
Standard notation.
Composed 2003. 24+12
pages. Duration 9
minutes. Theodore Presser
Company #114-41526.
Published by Theodore
Presser Company
(PR.114415260). UPC:
680160605057. 8.5 x 11
inches. Theme and
Variations was written
for trombonist Rebecca
Bower Cherian, who has
recently released her
recording Water Awakening
(listen to a preview
here). Cherian describes
the work: begins with a
very powerful and driving
theme in the trombone,
supported by blocks of
chords from the piano,
and continues with an
overview of the
variations. In sum,
Cherian says, It is a
beautiful and challenging
work which I hope becomes
a new standard in the
solo trombone repertoire.
For advanced performers.
Duration: 9'. $31.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| The Saga of Haakon the Good Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire Anglo Music
Concert Band - Grade 4 SKU: HL.44010429 Grade 4 - Score and Parts....(+)
Concert Band - Grade 4
SKU: HL.44010429
Grade 4 - Score and
Parts. Composed by
Philip Sparke. Anglo
Music Concert Band.
Concert Piece. Set (Score
& Parts). Composed 2008.
Anglo Music Press
#AMP236-010. Published by
Anglo Music Press
(HL.44010429). UPC:
884088414603.
9.0x12.0x1.97 inches.
English-German-French-Dut
ch. The piece
traces key events in the
life of Haakon the Good,
later to become King
Haakon I (ca. 921-960),
who had been fostered by
King Athelstan of England
as part of a peace
agreement made by his
father (The Future King).
The English king brought
him up in the Christian
religion and, on the news
of his father's death,
provided him with ships
and men for an expedition
against his half-brother
Eirik Bloodaxe, who had
been proclaimed king of
Norway. On his arrival he
travelled north (The
Journey to Trondheim),
where he began to gain
the support of the
landowners by promising
to give up the rights of
taxation his father had
previously claimed.
Elrik's sons allied
themselves with the
Danes, but were
invariably defeated by
Haakon, who was
successful in everything
he undertook except in
his attempt to introduce
Christianity to the
country (The Missionary
King), which aroused an
opposition he did not
feel strong enough to
face. One of his most
famous victories was The
Battle of Rastarkalv
(near Frei) in 955. By
placing ten standards far
apart along a low ridge
(to give the impression
his army was bigger than
it actually was), he
managed to fool Eirik's
sons that they were
outnumbered (the ten
standards are represented
by ten loud chords that
begin in m. 420). The
Danes fled and were
slaughtered by Haakon's
army. $196.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Sleep, My Child Orchestre d'harmonie - Facile Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Euphonium...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Bells,
Clarinet 1, Clarinet 2,
Euphonium, Euphonium
T.C., Flute, Flute 2,
Horn, Mallet Percussion,
Oboe, Percussion 1,
Percussion 2, Snare Drum,
Timpani, Trombone,
Trumpet 1, Trumpet 2,
Tuba, alto Saxophone and
more. - Grade 2 SKU:
CF.YPS208 Shlof,
Mayn Kind. Composed
by Larry Clark. Young
Band (YPS). Set of Score
and Parts. With Standard
notation.
8+2+4+4+2+2+5+2+2+4+4+4+6
+3+2+3+1+1+2+6+12 pages.
Duration 4 minutes, 31
seconds. Carl Fischer
Music #YPS208. Published
by Carl Fischer Music
(CF.YPS208). ISBN
9781491152287. UPC:
680160909780. Key: D
minor. A stunning
and heart-wrenching
composition based on the
Jewish folk son Shlof,
Mayn Kind. You can
hear the emotional
content pour out of this
piece written in memory
of an outstanding
orchestra director. The
piece beginnings with
original material to set
the tone, followed by
a clarinet solo on the
song. It then develops
through a variety of
different harmonic
presentation before
building to a nice key
change and climatic
moment. The piece ends as
it began, but with a more
hopeful tone. An amazing
piece. Sleep, My Child
was commissioned by the
Madison Middle School
Band and Orchestra in
Tampa, Florida, and is
dedicated to the memory
of their Director of
Orchestras Kevin Frye.
Director of Bands Chris
Shultz championed the
commissioning of this
piece to honor Kevin
after he passed away in
December 2016. Mr. Frye
was a beloved member of
the staff at Madison
Middle as well as the
music community of Tampa
and the state of
Florida. I was a
personal friend of
Kevin’s. We were
in several musical groups
together when we were
young that were formative
to both of our musical
careers. I also guest
conducted his Madison
Middle School Orchestra
several times over the
past four years. His
musicianship, teaching
skills and love for his
students were
exemplary.When taking on
the challenge of writing
a piece to honor
Kevin’s legacy,
Mr. Shultz and I decided
to try and include
several important aspects
of Kevin’s life
into the piece. Kevin was
proudly Jewish, a
fantastic trumpet player
and loved Jazz. With that
in mind, and after a lot
of research, a Jewish
folk song Shlof, Mayn
Kind was selected as the
basis for the piece, not
to be religious, but to
honor his faith and
heritage. Plus it is a
beautiful song, and I
felt the title reflected
the sentiment I was
looking to express, which
is of someone taking rest
after a long battle with
illness. Thus, a lullaby
seemed appropriate.I also
wanted to incorporate
Jazz into the piece, but
in a concert setting, so
you will hear as the
piece develops, the
harmonies of the folk
song expand into ones
found more commonly in
Jazz compositions. Not
in a far out way, but in
a subtle way to again
honor this part of his
life. For example the
climactic moment of the
piece at the fermata in
m. 57 is a Dbmaj9#11
chord. It appropriately
give the piece the angst
that I was looking for at
this moment in the piece,
while honoring the
importance of Jazz in
Kevin’s musical
life.The piece was also
conceived to include both
the Madison band and
orchestra in the
performance at the
premiere. I wanted the
pieces to work separately
by the band and
separately by the
orchestra, but I also
wanted them to be able to
play the piece together
to honor Kevin.The piece
begins with original
material designed to set
the mood of the piece
with a tempo/style
marking of pensive, but
also as material that I
used as connective
musical tissue between
statements of the folk
song. After this
introduction, the folk
song is presented by a
solo violin (or clarinet)
with orchestral
accompaniment in a simple
straight forward
presentation of the song.
This is followed by a
woodwind section
statement of the folk
song accompanied by muted
trumpets. During this
presentation the harmony
starts to expand with
more color notes in the
chords. The low brass are
added half way through
this statement to add
depth and lushness.The
introductory material
returns, but with some
angry hits in the lower
voices. This leads to a
full ensemble state of
new material that is used
to transition to the
climax of the piece, and
to build tension. After
the build, the piece
modulates to a shortened
statement of the folk
song with more advanced
harmonies and an active
counter line in the
violas, horns, saxes and
first clarinets to
further build the
tension. This tension
is released at the
fermata in m. 57, as
mentioned above. After a
thoughtful pause, the
piece concludes with a
completion of the folk
song again with a solo
violin (or clarinet)
followed by a return of
the introductory material
to tie the piece
together. The piece ends
hopeful, with a solo
trumpet (Kevin’s
instrument) that is
dissonant at first, but
then resolves as if to
say - everything will be
OK! It has been my
distinct honor to have
been asked to write this
piece in Kevin’s
memory! I hope that in
some small way the piece
helps to bring comfort to
his family, students,
colleagues and to all
those that knew
him!–Larry
ClarkLakeland, FLÂ
2017. $70.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Refining The March Style Orchestre d'harmonie - Facile Carl Fischer
Band Concert Band - Grade 2 SKU: CF.YPS105 Warm-Ups and Fundamentals(+)
Band Concert Band - Grade
2 SKU: CF.YPS105
Warm-Ups and
Fundamentals.
Composed by Larry Clark.
Collate - FS SWS - spine:
3/4 or .75. Young
Performance Series. Set
of Score and Parts. With
Standard notation.
16+4+8+8+4+10+4+4+8+8+8+1
2+4+6+2+2+4+2+20 pages.
Duration 2 minutes, 53
seconds. Carl Fischer
Music #YPS105. Published
by Carl Fischer Music
(CF.YPS105). ISBN
9780825884870. UPC:
798408084875. 9 x 12
inches. Key: Bb
major. Based on our
popular New Bennett Band
Book series, we have
compiled march-style
warm-ups in a separate
publication so they may
be used by all bands
wishing to learn from
them. These innovative
warm-ups and fundamental
drills are the ultimate
method of teaching and
reinforcing the March
style. How To Use the
March Warm-upsPlaying in
a march style can present
difficulties for young
students. The most
prevalent problem is that
students have a tendency
to play every note too
short. Conversely,
accented notes are
usually played
incorrectly with too much
tongue. Do marches
contain short notes?
Absolutely, but these
shortest of notes should
be reserved for notes
that precede an accent or
notes that are
specifically marked with
a staccato. Think of
unmarked notes as being
separated, but not short
and certainly not clipped
or stopped with the
tongue. Accented notes
should be played with
more weight using air and
more length, and not just
a harder tongue. Accents
are given to show
emphasis to a note and
should be thought of in
this manner.The warm-up
exercises provided in
this collection should
give you many
opportunities to stress
the above-mentioned
comments on march
performance style. The
following gives an
explanation on the
purpose and use of each
of these exercises.No. 1
– Basic Chords and
ModulationsOne of the
challenges of playing
marches with young
students is successfully
performing the key change
at the Trio. This
exercise presents the
three basic chords
(tonic, subdominant and
dominant) in each of the
three keys in this
collection of marches.
You can also use this
exercise to teach and
reinforce the style of
accented notes. You may
want to have your band
play major scales in
succession by fourths to
reinforce the concept of
modulation to the
subdominant that occurs
at the Trio (i.e. the
B≤-major scale,
then the E≤-major
scale, then the
A≤-major scale). I
might suggest getting the
students to try
continuing the pattern
all the way around the
circle of fourths.No. 2
– March Style in
B≤ MajorThis
exercise contains many
opportunities to teach
and reinforce the
difference between
staccato and accented
notes. The melody voices
move up and down the
B≤-major scale,
while other instruments
play chords commonly
found in the marches in
this collection. These
include diminished
chords, secondary
dominant chords (i.e. the
V of the V) and other
common chromatic chords
that Fillmore often
used.No. 3 –
Cakewalk Rhythm in
B≤ MajorThe simple
syncopated rhythm in this
exercise is common to
many marches. This drill
gives you the opportunity
to teach/ reinforce the
standard ar-ticulation
and natural accent of
this rhythmic pattern.
Again, this exercise uses
an ascending and
descending major-scale
pattern as the melodic
basis, accompanied by
chords commonly found in
American- style
marches.No. 4 –
The March Scale in
B≤ MajorI call this
exercise “The March
Scale,†because
often in marches (and
especially in these
marches) the descending
half-step is part of the
melodic material. These
chromatic figures give
the melodies of many
marches their charm and
flow. Thus, I devised
this exercise and others
like it in E≤ major
and A≤ major to
familiarize students with
these patterns. I would
suggest playing the
pattern in a variety of
ways different from what
is written. Here are some
other
possibilities:•
Tongue one, slur
three• Slur two,
tongue two• Tongue
two, slur two•
Tongue one, slur two,
tongue oneGradually
increase the tempo to the
march tempo and the
articulation style will
fall right into
place.Another important
consideration is the
performance of the bass
line and the bass-drum
part. Too often, the bass
drum and bass instruments
play their parts with
equal emphasis on both
beats in the measure.
This is incorrect, and
frequently makes the
marchNo. 5 – March
Style in E≤
MajorThis is a similar to
exercise No. 2, but with
a different rhythmic
pattern. Emphasize the
difference between
accented and unaccented
notes. Also, play the
exercise with line
direction moving the
musical line forward.
Experiment and play the
exercise with different
dynamic choices and with
hairpins up and down in
different ways.No. 6
– More March Style
in E≤ MajorExercise
No. 6 comprises more
rhythmic patterns and
harmonic materials in
E≤ major to teach
and reinforce the march
style. This exercise
em-phasizes the
sixteenth-note rhythm, as
notated in the third
measure of the exercise.
Young stu- dents have a
tendency to
“crush†the
sixteenths; consequently,
they lack clarity. It
would be a good idea to
work this rhythmic figure
on a scale pattern with
all of the instruments in
the band as an additional
warm-up exercise.No. 7
– The March Scale
in E≤ MajorSee the
information for No. 4 and
apply it to this
exercise. Use all of the
various articulations
described above as
well.No. 8 – March
Style in A≤
MajorSee the information
for No. 2 and apply it to
this exercise.No. 9
– Cakewalk Rhythm
in A≤ MajorSee the
information for No. 3 and
apply it to this
exercise.No. 10 –
The March Scale in
A≤ MajorSee the
information for No. 4 and
apply it to this
exercise.Other Ideas for
March PerformanceA
rehearsal practice that
has worked very well for
me is to start out by
having the band play the
march very slowly at
about Å’ = 60 in a
chorale/legato style. The
slow tempo is a fine
opportunity to work on
clarity of harmonic move-
ment and to work on the
balance and blend of the
tutti band sound. This
will pay great dividends
toward improving the
sound of your band.
Gradually increase the
tempo to the march tempo
and the articulation
style will fall right
into place.Another
important consideration
is the performance of the
bass line and the
bass-drum part. Too
often, the bass drum and
bass instruments play
their parts with equal
emphasis on both beats in
the measure. This is
incorrect, and frequently
makes the march. $70.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Five Ensemble Jazz [Conducteur et Parties séparées] - Avancé Jazz Lines Publications
Arranged by Chuck Israels. For little big band. Swing, Jazz. Difficult. Score an...(+)
Arranged by Chuck
Israels. For little big
band. Swing, Jazz.
Difficult. Score and
parts. Published by Jazz
Lines Publications
$50.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Six (6) Pieces Score And Parts Horn, Violin And Piano - Intermédiaire Wilhelm Hansen
Violin, Horn and Piano (Score & Parts) - Grade 4 SKU: HL.14042920 Compose...(+)
Violin, Horn and Piano
(Score & Parts) - Grade 4
SKU: HL.14042920
Composed by Hans
Abrahamsen. Music Sales
America. Softcover.
Composed 2012. Edition
Wilhelm Hansen #WH30687.
Published by Edition
Wilhelm Hansen
(HL.14042920). ISBN
9788759814185.
9.5x14.25x0.107 inches.
International (more than
one
language). Programm
e Note My &rsquo,6 Pieces
for horn, violin and
piano&rsquo, was written
in 1984 as a commission
from the Danish Radio for
a concert where
Ligeti&rsquo,s Horn Trio
should receive its Danish
premiere played by Danish
musicians. My trio is
based on my work
&rsquo,Studies for
Piano&rsquo,. While I
wrote these studies I
tried to &rsquo,conjure
up&rsquo, instrumental
parts inside the piano
movement. When I received
the commission for a horn
trio I turned to six of
the studies and deepened
them by &rsquo,screening
them&rsquo, so that their
parts and moods appeared
in a clearer way.
Furthermore I changed the
order of the movements so
a new unity appeared,
beginning with asteadyly
hesitating
&rsquo,Serenade&rsquo, in
slow-motion followed by
the
&rsquo,Arabesque&rsquo,
which hardly gets started
before it stops. Then
&rsquo,Blues&rsquo,, a
melancholy melody and
&rsquo,Marcia
Funebre&rsquo,, like a
fossilized picture with a
dramatic threatening
outburst ending with a
quiet but majestic melody
in violin and horn, a
melody that disappears in
the chords of the piano.
Before the last movement
&rsquo,For the
Children&rsquo, is a
large &rsquo,Scherzo
misterioso&rsquo,. Hans
Abrahamsen Six
Pieces for Horn,
Violin and Piano by
Hans
Abrahamsen.
Programme
Note
My ’6 Pieces
for horn, violin and
piano’ was written
in 1984 as a commission
from the Danish Radio for
a concert where
Ligeti’s Horn Trio
should receive its Danish
premiere played by Danish
musicians. My trio is
based on my work
’Studies for
Piano’. While I
wrote these studies I
tried to ’conjure
up’ instrumental
parts inside the piano
movement. When I received
the commission for a horn
trio I turned to six of
the studies and deepened
them by ’screening
them’ so that their
partsand moods appeared
in a clearer way.
Furthermore I changed the
order of the movements so
a new unity appeared,
beginning with a steadyly
hesitating
’Serenade’ in
slow-motion followed by
the
’Arabesque’
which hardly gets started
before it stops. Then
’Blues’, a
melancholy melody and
’Marcia
Funebre’, like a
fossilized picture with a
dramatic threatening
outburst ending with a
quiet but majestic melody
in violin and horn, a
melody that disappears in
the chords of the piano.
Before the last movement
’For the
Children’ is a
large ’Scherzo
misterioso’.
Hans
Abrahamsen $68.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Interplay for Piano 4-Hands and Orchestra 1 Piano, 4 mains [Conducteur] C. Alan Publications
Composed by David Gillingham. Arranged by Dennis Wright. Score only. Duration 9:...(+)
Composed by David
Gillingham. Arranged by
Dennis Wright. Score
only. Duration 9:30.
Published by C. Alan
Publications (CN.06191).
$40.00 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Postlude For Ensemble Fl,cl,harp, String Quartet Score And Parts [Conducteur et Parties séparées] Schott
Flute, clarinet, harp and string quartet - difficult SKU: HL.49017715 ...(+)
Flute, clarinet, harp and
string quartet -
difficult SKU:
HL.49017715 For
flute, clarinet, harp and
string quartet.
Composed by Huw Watkins.
This edition: Saddle
stitching. Sheet music.
String. Score and parts.
Composed 2007. 22 pages.
Duration 3'. Schott Music
#ED13241. Published by
Schott Music
(HL.49017715). ISBN
9790220131301. UPC:
841886013506.
9.25x12.0x0.072
inches. 'Postlude'
was one of 10 birthday
candles written for
Mobius' 10th anniversary
and is scored for flute,
clarinet, harp and string
quartet. At just 3
minutes in length and
with a lento tempo
marking, 'Postlude' could
be programmed perfectly
as an intelligent
alternative to the
stereotypically flashy
encore or even as an
unusual concert opener.
The music begins with
some beautiful
choral-like chords from
the string quartet before
a number of virtuosic
flashes are injected by a
flute line which gains
prominence throughout the
work. $46.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Spirit of the Highlands Orchestre d'harmonie [Conducteur et Parties séparées] - Facile Daehn Publications
Grade 3 SKU: CL.LDP-7264-00 Composed by R. Kirby. Concert Band. Score and...(+)
Grade 3 SKU:
CL.LDP-7264-00
Composed by R. Kirby.
Concert Band. Score and
set of parts. Composed
2011. Daehn Publications
#LDP-7264-00. Published
by Daehn Publications
(CL.LDP-7264-00).
A splendid
portrait of the Scottish
Highlands packed with
lots of wonderful musical
moments. The beautiful
variations of Loch Lomond
combined with lush
chords, magnificent horn
melodies, alto saxophone
(or bagpipe) solos, crisp
regimental snare
drumming, and clever
features for
flute-piccolo and
xylophone make this work
absolutely stunning! $76.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Blue Shades Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire/avancé Manhattan Beach Music
By Frank Ticheli. Concert band. Suitable for the most advanced high school bands...(+)
By Frank Ticheli. Concert
band. Suitable for the
most advanced high school
bands, community,
college, university, and
professional bands.
Level: Grade 5. Conductor
score and set of parts.
Duration 10:00. Published
by Manhattan Beach Music.
$365.00 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Beyond the Crest Orchestre d'harmonie - Facile Carl Fischer
Band Concert Band - Grade 2 SKU: CF.YPS215 Composed by Sean O'Loughlin. Y...(+)
Band Concert Band - Grade
2 SKU: CF.YPS215
Composed by Sean
O'Loughlin. Young Band
(YPS). Set of Score and
Parts. With Standard
notation.
16+4+8+8+4+4+10+4+4+8+8+8
+12+6+6+2+2+4+12+20+4
pages. Duration 3:15.
Carl Fischer Music
#YPS215. Published by
Carl Fischer Music
(CF.YPS215). ISBN
9781491152348. UPC:
680160909841. Key: Bb
major. Beyond the
Crest is an exciting
piece that captures the
essence of Sean
O'Loughlin's popular
style. The piece opens
with a slow, soaring
melody that develops
throughout the
composition. Pulsating
eighth notes build the
tension and intense
harmonies drive the piece
to a satisfying and
dynamic ending. Beyond
the Crest was
commissioned by the
Lakeshore Bands of
Stevensville, Michigan,
and dedicated to Philip
and Cindy Huff, Directors
of Bands, in honor of
their retirement. The
piece captures the
excitement and
achievement that defined
Philip and Cindy Huff's
illustrious careers. The
piece opens with a slow,
soaring melody that will
become the basis of the
entire composition. It
builds to an intense
chord at m. 13 that sets
off into the fast section
at m. 14. This section
begins with some
eighth-note pulses. The
woodwinds have more
eighth notes than the
rest of the ensemble to
create an echo effect.
Bring out the dynamics to
highlight this. The main
melody comes in at m. 33,
which is a faster version
of the opening melody. It
is complimented by some
eighth-note punches and
lush chords. The
woodwinds take over at m.
43 with a much broader
accompaniment in the
lower voices. The lower
voices get their chance
at the melody at m. 54.
The echo effect returns
at m. 68 to start the
cycle over again but this
time with some new
wrinkles. Measure 77
transports to a new tonal
center and then brings it
back to a broad
presentation at m. 85.
The eighth notes
return to bring the piece
to an exciting end. $75.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Phaedrus Violon et Piano Theodore Presser Co.
Chamber Music Clarinet, Piano, Violin SKU: PR.164002390 Composed by Dan W...(+)
Chamber Music Clarinet,
Piano, Violin SKU:
PR.164002390 Composed
by Dan Welcher. Set of
Score and Parts. With
Standard notation.
Composed 1995. 26+14+14
pages. Duration 14
minutes. Theodore Presser
Company #164-00239.
Published by Theodore
Presser Company
(PR.164002390). UPC:
680160038091. I
became interested in the
work of Plato through my
friend and collaborator,
the writer and
philosopher Paul
Woodruff. Paul's new
translation, with
Alexander Nehamas, of the
Symposium gave me
insights into ancient
Greek ways of thinking
about Love, Beauty, and
Wisdom -- and managed to
keep the earthy, and
often bawdy side of it
all in full view. But
their new translation of
Plato's later dialogue
Phaedrus went even
further: the beauty of
the speeches is
breathtaking, and the
discourse itself is
enough to keep one awake
at night. Basically the
Great Speech of Socrates
in the Phaedrus dialogue
has to do with the place
of Eros in the world, and
with the conflict in the
soul between fleshly
pleasure and philosophic
discovery. I will not
attempt to encapsulate
this brilliant discourse
in a program note:
suffice it to say that
reading it gave rise to
my two-sided work for
clarinet, violin, and
piano, Phaedrus. The
first movement represents
the Philosophic life, and
is thus subtitled
Apollo's Lyre (Invocation
and Hymn). It begins with
an unaccompanied melody
for the clarinet, which
(after a pair of
harp-like flourishes for
the piano, expands into
an accompanied canon. The
voices in the dialogue
(clarinet and violin)
follow each other by a
prescribed number of
beats, but the music is
totally devoid of any
meter at all. The piano,
representing the lyre,
accompanies this lyric
love-feast with repeated
strummed chords. The
canon has three large
sections, and ends with
violin echoing the
unaccompanied clarinet
invocation as the sound
of the lyre fades. The
second movement, called
Dionysus' Dream-Orgy
(Ritual Dance) presents,
after a brief
introduction, another
kind of unmetered music.
Rather than long lyric
flights of philosophic
song, however, this time
we hear a unison dance of
unbridled energy and
sensual transport. The
piece soon forms itself
into a loose arch form,
with contrasting metered
dance sections divided by
the unison unmetered orgy
tune. Midway through the
movement, Apollo's melody
returns from the first
movement, but it is a
temporary reminiscence.
The orgiastic dance
returns, reaches a
climax, and ends with a
stomping of feet. While
Plato asserts that a
proper balance between
lust and reason is
necessary in all men, he
(naturally) gives the nod
to Philosophy as the
better choice in which to
live. Not so in my music:
the two sides are meant
to coexist and to
complement each other. No
sides are taken. Phaedrus
was commissioned of the
Verdehr Trio by Michigan
State University. It is
dedicated to the Vedehr
Trio with great affection
and admiration. $85.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| The Snake Pit Orchestre d'harmonie - Débutant Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Cabasa, China Cymbal, Clarinet 1, Clarin...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Cabasa,
China Cymbal, Clarinet 1,
Clarinet 2, Congas,
Cowbell, Euphonium,
Euphonium T.C., Flute,
Flute 2, Glockenspiel,
Gong, Horn, Mallet
Percussion, Maracas,
Oboe, Percussion 1,
Percussion 2, Snare Drum
and more. - Grade 1.5
SKU: CF.FPS151
Composed by Tyler Arcari.
First Plus Band (FPS).
Set of Score and Parts.
With Standard notation.
8+2+4+4+2+5+2+2+4+4+4+6+3
+1+1+3+6+12+2 pages.
Duration 1 minute, 36
seconds. Carl Fischer
Music #FPS151. Published
by Carl Fischer Music
(CF.FPS151). ISBN
9781491152119. UPC:
680160909612. Every
one remembers the first
time that they saw a
snake. Though fascinating
to some and terrifying to
others, few animals are
as universally
mesmerizing. Composer
Tyler Arcari has crafted
a very fun piece making
use of auxiliary
percussion instruments to
emulate a snake's hiss or
ominous rattle. With very
strong and interesting
melodic material, and
scored to make a
developing band sound
great, this piece is sure
to be a favorite among
students. Everyone
remembers the first time
that they saw a snake.
The majority of people
have a base fear of them,
while others have a
“heebie-jeebiesâ
experience. We all
know how the great
explorer Dr. Indiana
Jones felt about snakes,
especially when he
famously fell into a
snake pit during Raiders
of the Lost Ark. However
you feel about snakes, a
pit of them certainly
sounds like an
adventure.About the
work:Snake Pit uses a lot
of auxiliary percussion
instruments. Some of
these sounds are intended
to subtly mimic the
sounds that snakes make.
The maraca in m. 4, of
course, is a
rattler’s call!
The Chinese cymbal is
intended to sound like
the “hiss†of
a not-so-friendly
serpent. The eighth-note
pattern at m. 9 is used
throughout as a
“creepyâ€
effect using dynamic
contrast so take care to
emphasize this when
present.I enjoy the gong
as a “colorâ€
instrument in the band. I
try to balance it with
the low brass. Take care
that at m. 42 the gong is
not “front-and
center†but more of
a support for the nice
accented chords in the
low brass. Also, the
trumpets can become
spaced too much here. The
accents are more for
emphasis and less
space. $60.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Precious Lord, Take My Hand Hope Publishing Company
Arranged by Cathy Moklebust. General Worship, Sacred. Conductor's score and ins...(+)
Arranged by Cathy
Moklebust. General
Worship, Sacred.
Conductor's score and
instrumental parts.
Published by Hope
Publishing Company
(HP.2730P).
$22.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Avidity for Brass Quintet Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba [Conducteur et Parties séparées] Stainer and Bell
Brass Quintet SKU: ST.Y290 Composed by Timothy Wilson. Wind & brass music...(+)
Brass Quintet SKU:
ST.Y290 Composed by
Timothy Wilson. Wind &
brass music. Score and
Parts. Score and parts.
Stainer & Bell Ltd.
#Y290. Published by
Stainer & Bell Ltd.
(ST.Y290). ISBN
9790220223228. Winn
er of the 2011 Stainer &
Bell Award for Brass
Composition held at the
Royal Welsh College of
Music and Drama, Timothy
Wilson's Avidity
is a dynamic
endorsement of the
competition's aim to
provide exciting new
brass music for schools,
conservatoires and
professional ensembles.
Generated by the
composer's skilful
invention and purposeful
structure, its
fast-moving six-minute
sonata form for brass
quintet delivers the
musical counterpart of
the eagerness and
expectancy implied by its
title. In the
outer sections of
Avidity strongly
accented rhythms command
the attention, with
arresting unisono
phrases balanced by
effervescent staccato
passages. The level of
energy is sustained
through unexpected
rhythmic twists and turns
distorting the pulse of
the music, with striking
crescendi and strong
dynamic contrasts that
are a particular strength
of the brass idiom. There
is respite however, with
two episodes of solemn,
chorale-like material
whose arched lines sound
no less well on the five
instruments. But the last
word is with the opening
theme, returning with
unstoppable momentum and
concluding Avidity
with a decisive
cadence of abrupt
repeated chords. $24.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
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