Choral (SAB Choir) SKU: HL.8754698 (with We Wish You a Merry Christmas...(+)
Choral (SAB Choir)
SKU: HL.8754698
(with We Wish You a
Merry Christmas).
Composed by Jerry Herman.
Arranged by Robert
Sterling. Secular
Christmas Choral.
Christmas, Holiday.
Octavo. 16 pages.
Published by Hal Leonard
(HL.8754698).
UPC:
884088650872. 6.75x10.5
inches.
Set in a
happy Latin groove, this
holiday classic from
Mame will put
everyone in the spirit of
the season! Opening with
a sizzling brass intro,
the vocals present the
familiar tune with solid
harmonies and rhythmic
verve. It transitions
seamlessly into a joyful
“We Wish You a
Merry Christmas”
for a perfect close to
your concert! Score and
parts (tpt 1-2, asx, tsx,
tbn 1-2, bsx, pno, gtr,
b, dm) available as a
CD-ROM and as a digital
download.
Marsch. Composed
by Johann Schrammel.
Arranged by Wolfgang
Birtel. Der Musikalische
Salon Vol. 1. Classical.
Score, parts. 6 S. Part.
+ 5 S. Stimmen pages.
Verlag Dohr #ED22901.
Published by Verlag Dohr
(VD.ED22901).
For alto voice and
string trio. Composed
by Gavin Bryars. Sheet
music. Edition Schott.
Classical. Score and
Parts. Composed 1989. 16
pages. Duration 6'.
Schott Music #ED12465.
Published by Schott Music
(HL.49003219).
ISBN
9790220118548. UPC:
884088077846.
9.0x12.0x0.03 inches.
Latin -
English.
Christmas Classique Chorale SATB [Conducteur et Parties séparées] Shawnee Press
Choral (SATB) SKU: HL.428623 A Gathering of Carols, Choir and Candleli...(+)
Choral (SATB)
SKU:
HL.428623
A
Gathering of Carols,
Choir and
Candlelight. Composed
by Various. Arranged by
Various. Shawnee Sacred.
Advent, Christmas,
Christmas/Advent Sacred.
Softcover. 72 pages.
Published by Shawnee
Press (HL.428623).
ISBN 9781705163191.
UPC: 196288063940.
6.75x10.5x0.19
inches.
This choral
compilation brings
together beloved carols
and new seasonal lyrics
with celebrated music
from Bach, Handel, Mozart
and others. As a
collection, you can use
this resource throughout
Advent and Christmas, or
use the optional
narration to present the
entire work as a cantata.
A full line of support
products is available to
enable your performance
options. Score and Parts
(instrumentation varies
by song) available as a
digital download. For the
Accompaniment Tracks:
Audio is accessed online
using the unique code
generated upon purchase
and can be streamed or
downloaded. The audio
files include PLAYBACK+,
a multi-functional audio
player that allows you to
slow down audio without
changing pitch, set loop
points, change keys, and
pan left or right.
HL00428625: Accompaniment
Tracks Songs include:
Canon de Noel; Procession
of Light; A Classic
Advent Flourish; Advent
Alleluia; Celebration for
Advent; He Shall Feed His
Flock; An Etude Carol;
Christ Is Born! Let Earth
and Heaven Rejoice;
Adoramus Te; Christmas
Jubilate.
Composed by
Peter Terry. 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+3+2+1+2+2+16+2 pages.
Duration 4 minutes, 13
seconds. Carl Fischer
Music #YPS211. Published
by Carl Fischer Music
(CF.YPS211).
ISBN
9781491152300. UPC:
680160909803. Key: F
major.
A Certain
Slant of Light is
inspired by the
introspective
mood created by the
rays of light on a dark
cloudy day. A
colorful, murmuring
introduction is followed
by a rich main theme in a
minor key. It is a
well-scored and
fresh-sounding piece that
will help young bands
enhance their
musicality. Rays of
light against the dark of
a cloudy day, or these
same rays of light as
they penetrate a dark
room in late afternoon
can create a mood of
introspection and make us
pause to reflect on the
nature of life, loss and
hope. A Certain Slant of
Light is inspired by the
title, but does not
depict the actual
poem There is a
Certain Slant of
Light by Emily
Dickinson.A Certain Slant
of Light opens with a
colorful murmuring
introduction followed
immediately by a
statement of the main
theme of the piece. The
opening briefly returns,
followed by a setting of
the melody in flute with
woodwind accompaniment.
The opening then returns
and grows to a climax
built on variations of
the main theme. The piece
fades to silence with a
soft echo of the opening
murmuring material.I
enjoyed writing this
piece and hope your
students will enjoy
playing these contrasting
styles and that you will
find the piece beneficial
in teaching important
musical concepts.Peter
Terry, 2018.
Urtext. Composed
by Joachim Raff. Edited
by Severin Kolb and
Stefan Konig. This
edition: Urtext. Chamber
music; Folder. Edition
Breitkopf.
Orchestrally-conceived,
full of energetic vigor,
and at times
uncompromisingly modern:
The two captivating
quartets are now
available as Urtext
editions. Romantic
period. Set of parts. 88
pages. Breitkopf and
Haertel #EB 8939.
Published by Breitkopf
and Haertel (BR.EB-8939).
ISBN
9790004186084.
With
his first String Quartet
in D minor, op. 77,
composed in 1855, the
native Swiss composer
Joachim Raff bid a
brilliant farewell to
Weimar. He had been there
as Franz Liszt's
assistant since 1850 and
had made a name for
himself in the city's art
scene - now he embarked
on new paths. He composed
his second Quartet in A
major, op. 90, already in
1857 in Wiesbaden, the
spa town that was to
become his home for 21
years. The two quartets
are unequivocal works:
orchestrally-conceived,
full of energetic vigor,
and at times
uncompromisingly modern.
They confidently continue
the Beethoven tradition
and attest at the same
time to Raff's intensive
confrontation with
Richard Wagner's music
during the Weimar years.
In his chamber music, the
composer wanted to
achieve progress in an
inherently historical way
and to ground the
individual substance in
existing forms, as he
told the Viennese
violinist Josef
Hellmesberger, who
launched opus 77. The
quartets, first published
in 1860/62, found
illustrious interpreters,
among them, the Muller
brothers' renowned
ensemble, to which opus
90 was also dedicated,
and Joseph Joachim.In
collaboration with the
Joachim-Raff-Archiv
Lachen (CH)
Some
eighteen years elapsed
between Raff's first
counted String Quartet
op. 77 and his Quartets
Nos. 6-8 op. 192,
combined as one work. As
such, Raff parted with
the weighty single opus
in quartet composition -
without, however,
sacrificing musical
quality.
Cantata
for the feast of
Epiphany. Composed by
Johann Sebastian Bach.
Edited by Reinhold Kubik.
Arranged by Paul Horn. 1x
31.065/21 flute 1, 1x
31.065/22 flute 2, 1x
31.065/23 oboe da caccia
1, 1x 31.065/24 oboe da
caccia 2, 1x 31.065/31
horn 1, 1x 31.065/32 horn
2. German title: Sie
werden aus Saba 6. Sacred
vocal music, Cantatas,
Epiphany. Set of
Orchestra Parts. Composed
1724. BWV 65. 24 pages.
Duration 18 minutes.
Carus Verlag #CV
31.065/09. Published by
Carus Verlag
(CA.3106509).
ISBN
9790007043889. Key: C
major. Language:
German/English.
Sco
re available separately -
see item CA.3106500.
Chamber Music Flute, Organ SKU: PR.114423910 Composed by Samuel Adler. Se...(+)
Chamber Music Flute,
Organ
SKU:
PR.114423910
Composed
by Samuel Adler. Set of
Score and Parts. 20+8
pages. Duration 6
minutes. Theodore Presser
Company #114-42391.
Published by Theodore
Presser Company
(PR.114423910).
(Movement 2 from Symphony No.6). Composed by Vincent Persichetti (1915-1987). Co...(+)
(Movement 2 from Symphony
No.6). Composed by
Vincent Persichetti
(1915-1987). Concert
Band. For Flute I, Flute
II, Piccolo, Oboe I, Oboe
II, Clarinet (in Eb),
Clarinet I, Clarinet II,
Clarinet III, Alto
Clarinet (in Eb), Bass
Clarinet, Bassoon I,
Bassoon II, Alto
Saxophone I, Alto
Saxophone II, Tenor
Saxophone, Baritone
Saxophone, Cornet I,
Cornet I. Classical.
Score and Set of Parts.
Standard notation. Opus
69. 8 pages. Duration 3
minutes. Theodore Presser
Company #165-00093.
Published by Theodore
Presser Company
Chamber orchestra (SO) SKU: HL.49041185 Potpourri nach Motiven des Bal...(+)
Chamber orchestra (SO)
SKU: HL.49041185
Potpourri nach Motiven
des Balletts Die
Puppenfee. Composed
by Bayer. Edited by
Richard Atzler. Sheet
music. Odeon. Piano
Direction and Parts. 72
pages. Duration 6' 30''.
Schott Music #OD 76-30.
Published by Schott Music
(HL.49041185).
For Elise Flûte traversière et Piano Theodore Presser Co.
Chamber Music flute, piano SKU: PR.114418040 For Flute and Piano. ...(+)
Chamber Music flute,
piano
SKU:
PR.114418040
For
Flute and Piano.
Composed by Daniel Dorff.
Set of Score and Parts.
With Standard notation.
16+8 pages. Duration 8
minutes. Theodore Presser
Company #114-41804.
Published by Theodore
Presser Company
(PR.114418040).
ISBN
9781491109496. UPC:
680160639564.
Commi
ssioned by flutist Cindy
Anne Broz in celebration
of her granddaughter
Elise, Dorff’s FOR
ELISE is a portrait of a
delightful 3-year-old, as
well as recital piece in
the slow-fast mold of the
great Conservatoire
repertory. The main body
of the work is a 6/8
rondo marked Exuberant,
in which playful yet
challenging episodes lead
into a recurring jazz
waltz, serving as a
“safeâ€
refrain.
Composed
by Georg Philipp
Telemann. Edited by Silja
Reidemeister. Arranged by
Sven Hiemke. Stuttgart
Urtext Edition:
Telemann-Archiv. Sacred
vocal music. Full score.
Composed 1756/1760. TVWV
6:3. 104 pages. Duration
40 minutes. Carus Verlag
#CV 39.142/00. Published
by Carus Verlag
(CA.3914200).
ISBN
9790007166663. Text
language:
German.
The
ambitious late work of
Georg Philipp Telemann,
consciously dedicated to
vocal composition, begins
with the Donner-Ode
(1756/1760). As a symbol
thunder represents the
forces of nature, here in
close connection to the
traumatic earthquake of
Lisbon in 1755. The
characteristic
arrangement of the vocal
parts and the scoring
with three trumpets, the
soloistic use of the
timpani and instrumental
ensemble made this
avant-garde work popular
and well known already
during the composer's
lifetime. The new edition
presented here takes into
consideration important,
newly discovered sources
such as the autograph of
the first part.
Band concert band - Grade 1 SKU: CF.BPS138 Composed by Joseph Compello. S...(+)
Band concert band - Grade
1
SKU: CF.BPS138
Composed by Joseph
Compello. Set of Score
and Parts.
10+8+2+8+2+5+2+2+8+3+6+2+
3+2+1+2+2 pages. Duration
1 minute, 59 seconds.
Carl Fischer Music
#BPS138. Published by
Carl Fischer Music
(CF.BPS138).
ISBN
9781491159491. UPC:
680160918089.
Woody
Woodblocker is a novelty
piece featuring the title
instrument as a soloist.
It is suitable for bands
currently in the first
year of lessons. It
should be performed in a
lively manner and played
at a tempo deemed
suitable by the director.
While the typical
woodblock is usually
struck with a drumstick,
the director may wish to
explore other types of
blocks and mallets which
may prove more effective
with bands of varying
sizes. To overcome the
issue of balance, the
woodblock notes are
primarily sounded while
the winds have rests
within a measure. Young
bands, therefore, with
more than a few players
in the percussion section
may use more than one
woodblock player on the
solo part without
upsetting the balance
between woodblock(s) and
winds. Thank you for
choosing this
composition. Woody
Woodblocker is a
novelty piece featuring
the title instrument as a
soloist. It is suitable
for bands currently in
the first year of
lessons. It should be
performed in a lively
manner and played at a
tempo deemed suitable by
the director. While the
typical woodblock is
usually struck with a
drumstick, the
director may wish to
explore other types of
blocks and mallets which
may prove more effective
with bands of varying
sizes. To overcome the
issue of balance, the
woodblock notes are
primarily sounded while
the winds have rests
within a measure. Young
bands, therefore, with
more than a few players
in the percussion section
may use more than one
woodblock player on the
solo part without
upsetting the balance
between woodblock(s) and
winds.Thank you for
choosing this
composition.
Composed by Antonio Vivaldi (1678-1741), edited by Ferdinand Kuechler. Opus 3, N...(+)
Composed by Antonio
Vivaldi (1678-1741),
edited by Ferdinand
Kuechler. Opus 3, No. 6.
For violin and piano.
Format: set of
performance parts
(includes separate
pull-out violin part).
With solo part and piano
reduction. Baroque. A
Minor. 19 pages. 9x12
inches. Published by C.F.
Peters.
Laius Quatuor à cordes: 2 violons, alto, violoncelle [Conducteur et Parties séparées] Jobert
String quartet SKU: LM.JJ19718 Composed by Samuel Sighicelli. Classical: ...(+)
String quartet
SKU:
LM.JJ19718
Composed
by Samuel Sighicelli.
Classical: 20th Century
(Contemporary). Score and
parts. 14 + 8+6+7+5
pages. Editions Jobert
#JJ19718. Published by
Editions Jobert
(LM.JJ19718).
Choral (SSA Choir) SKU: HL.1161485 Composed by Pietro A. Yon. Arranged by...(+)
Choral (SSA Choir)
SKU: HL.1161485
Composed by Pietro A.
Yon. Arranged by John
Leavitt. Brookfield
Christmas Choral.
Christmas. Octavo. 8
pages. Duration 250
seconds. Published by
Brookfield Press
(HL.1161485).
UPC:
196288121992.
6.75x10.5x0.019 inches.
Isaiah 7:14, John 1:14,
Matthew 1:18-23.
A
quintessential Christmas
classic! This arrangement
is “on pointâ€
at every turn with
stellar part writing and
a creative accompaniment.
Respectful to the source
material, this octavo is
equally at home in
concert halls and
sanctuaries. Score and
Parts (fl 1-2, ob, cl
1-2, bn, perc 1-2, hp, vn
1-2, va, vc, db)
available as a digital
download.
Composed by Peter Ilyich
Tchaikovsky. Arranged by
Bud Caputo. Concert
String Orchestra (CAS).
Set of Score and Parts.
With Standard notation.
24+24+6+15+15+15+7+24
pages. Duration 5:57.
Carl Fischer Music
#CAS110. Published by
Carl Fischer Music
(CF.CAS110).
ISBN
9781491151297. UPC:
680160908790. 9 x 12
inches. Key: E
minor.
Bud Caputo
presents Nutcracker Suite
Selections for string
orchestra featuring three
abridged movements
of?Tchaikovsky's
Nutcracker Suite:?Dance
of the Sugar Plum Fairy,
March, and Trepak. These
abridged movements are
sure to be crowd-pleasers
around the?winter
holidays or a favorite
for?any time of the
year. This arrangement
will challenge students,
while fostering rhythmic
independence, execution
of bowing and pizzicato,
and the ability to
balance the melody with
the accompaniment
throughout the
arrangement. However,
ranges remain primarily
in first position with
some optional
8va<
span class=s4> passages,
allowing intermediate
groups to perform this in
time for the winter
holiday concert. Suitable
for Grades 3 through
5. To the
Director:Dance
of the Sugar Plum
Fairy:A steady tempo
is critical when
performing this movement,
as students may have a
tendency to rush during
the pizzicato sections.
There is a
regularly occurring
descending sixteenth-note
rhythmic figure that is
transcribed form the bass
clarinet part in the
original.
It
is important to maintain
clarity and
balance in performing
these passages as seen
in
mm. 16-19, in the Basses
and m. 34 in the
Cello and Bass.
The
balancing of the chords
will be a challenge
in
the execution of the many
sforzandos
em> in this
movement. March:Measures 2 and
4, and similar melodic
patterns that follow,
require the performers to
carefully balance their
forte/pianos
on beats 3 and 4,
along with the rapid
diminuendo. The contrasting
rhythmic patterns in mm.
5-8, and later throughout
this movement must line
up precisely. Strings
playing the pizzicato
eight note, walking bass
line, must not rush,
and the upper strings
playing the
eighth-note/eight-rest
figure must
follow their section
leaders in executing this
in a unified manner.
While there is
no formal tempo change
from mm. 40 to 41,
directors may need to
relax the tempo at the
beginning of the
movement to
accommodate the
technical challenge of
the double time feel that
happens in m. 41. Trepak:
Tchaikovsky was careful
to notate the
p,
fand
sf,
requiring the performers
to recognize the
difference between all
three markings that frame
the chief melody. The
upper strings must be
careful to support the
melody in the lower
strings that begins in m.
33. Directors will
challenge their students
to have fun in the last
twelve measures with the
accelerando
passage to the
end. Care must
be taken to use
anaccelerando
that works for
all
the players in the
particular
ensemble.. This
arrangement will
challenge students, while
fostering rhythmic
independence, execution
of bowing and pizzicato,
and the ability to
balance the melody with
the accompaniment
throughout the
arrangement. However,
ranges remain primarily
in first position with
some optional
8va<
span class=s4> passages,
allowing intermediate
groups to perform this in
time for the winter
holiday concert.A
Suitable for Grades 3
through 5. To the
Director:Dance
of the Sugar Plum
Fairy:A steady tempo
is critical when
performing this movement,
as students may have a
tendency to rush during
the pizzicato sections.
There is a
regularly occurring
descending sixteenth-note
rhythmic figure that is
transcribed form the bass
clarinet part in the
original.
It
is important to maintain
clarity and
balance in performing
these passages as seen
in
mm.A 16-19, in the Basses
and m.A 34A in the
Cello and Bass.
The
balancing of the chords
will be a challenge
in
the execution of the many
sforzandos
em>A in this
movement. March: A Measures 2 and
4, and similar melodic
patterns that follow,
require the performers to
carefully balance their
forte/pianos
on beats 3 and 4,
along with the rapid
diminuendo. The contrasting
rhythmic patterns in mm.
5-8, and later throughout
this movement must line
up precisely. Strings
playing the pizzicato
eight note, walking bass
line, must not rush,
and the upper strings
playing the
eighth-note/eight-restA
figure must
follow their section
leaders in executing this
in a unified manner.
While there is
no formal tempo change
from mm. 40 to 41,
directors may need to
relax the tempo at the
beginning of the
movement toA
accommodate the
technical challenge of
the double time feel that
happens in m. 41. Trepak:
A
Tchaikovsky was careful
to notate the
p,
fand
sf,
requiring the performers
to recognize the
difference between all
three markings that frame
the chief melody. The
upper strings must be
careful to support the
melody in the lower
strings that begins in m.
33. Directors will
challenge their students
to have fun in the last
twelve measures with the
accelerando
passage to the
end. Care must
be taken to use
anaccelerando
that works for
all
the players in the
particular
ensemble.. This
arrangement will
challenge students, while
fostering rhythmic
independence, execution
of bowing and pizzicato,
and the ability to
balance the melody with
the accompaniment
throughout the
arrangement. However,
ranges remain primarily
in first position with
some optional
8va<
span class=s4> passages,
allowing intermediate
groups to perform this in
time for the winter
holiday concert.A
Suitable for Grades 3
through 5. To the
Director:Dance
of the Sugar Plum
Fairy:A steady tempo
is critical when
performing this movement,
as students may have a
tendency to rush during
the pizzicato sections.
There is a
regularly occurring
descending sixteenth-note
rhythmic figure that is
transcribed form the bass
clarinet part in the
original.
It
is important to maintain
clarity and
balance in performing
these passages as seen
in
mm.A 16-19, in the Basses
and m.A 34A in the
Cello and Bass.
The
balancing of the chords
will be a challenge
in
the execution of the many
sforzandos
em>A in this
movement. March: A Measures 2 and
4, and similar melodic
patterns that follow,
require the performers to
carefully balance their
forte/pianos
on beats 3 and 4,
along with the rapid
diminuendo. The contrasting
rhythmic patterns in mm.
5-8, and later throughout
this movement must line
up precisely. Strings
playing the pizzicato
eight note, walking bass
line, must not rush,
and the upper strings
playing the
eighth-note/eight-restA
figure must
follow their section
leaders in executing this
in a unified manner.
While there is
no formal tempo change
from mm. 40 to 41,
directors may need to
relax the tempo at the
beginning of the
movement toA
accommodate the
technical challenge of
the double time feel that
happens in m. 41. Trepak:
A
Tchaikovsky was careful
to notate the
p,
fand
sf,
requiring the performers
to recognize the
difference between all
three markings that frame
the chief melody. The
upper strings must be
careful to support the
melody in the lower
strings that begins in m.
33. Directors will
challenge their students
to have fun in the last
twelve measures with the
accelerando
passage to the
end. Care must
be taken to use
anaccelerando
that works for
all
the players in the
particular
ensemble.. This
arrangement will
challenge students, while
fostering rhythmic
independence, execution
of bowing and pizzicato,
and the ability to
balance the melody with
the accompaniment
throughout the
arrangement. However,
ranges remain primarily
in first position with
some optional
8va<
span class=s4> passages,
allowing intermediate
groups to perform this in
time for the winter
holiday concert. Suitable
for Grades 3 through
5. To the
Director:Dance
of the Sugar Plum
Fairy:A steady tempo
is critical when
performing this movement,
as students may have a
tendency to rush during
the pizzicato sections.
There is a
regularly occurring
descending sixteenth-note
rhythmic figure that is
transcribed form the bass
clarinet part in the
original.
It
is important to maintain
clarity and
balance in performing
these passages as seen
in
mm. 16-19, in the Basses
and m. 34 in the
Cello and Bass.
The
balancing of the chords
will be a challenge
in
the execution of the many
sforzandos
em> in this
movement. March:Measures 2 and
4, and similar melodic
patterns that follow,
require the performers to
carefully balance their
forte/pianos
on beats 3 and 4,
along with the rapid
diminuendo. The contrasting
rhythmic patterns in mm.
5-8, and later throughout
this movement must line
up precisely. Strings
playing the pizzicato
eight note, walking bass
line, must not rush,
and the upper strings
playing the
eighth-note/eight-rest
figure must
follow their section
leaders in executing this
in a unified manner.
While there is
no formal tempo change
from mm. 40 to 41,
directors may need to
relax the tempo at the
beginning of the
movement to
accommodate the
technical challenge of
the double time feel that
happens in m. 41. Trepak:
Tchaikovsky was careful
to notate the
p,
fand
sf,
requiring the performers
to recognize the
difference between all
three markings that frame
the chief melody. The
upper strings must be
careful to support the
melody in the lower
strings that begins in m.
33. Directors will
challenge their students
to have fun in the last
twelve measures with the
accelerando
passage to the
end. Care must
be taken to use
anaccelerando
that works for
all
the players in the
particular
ensemble.. This
arrangement will
challenge students, while
fostering rhythmic
independence, execution
of bowing and pizzicato,
and the ability to
balance the melody with
the accompaniment
throughout the
arrangement. However,
ranges remain primarily
in first position with
some optional 8va
passages, allowing
intermediate groups to
perform this in time for
the winter holiday
concert. Suitable for
Grades 3 through 5. To
the Director: Dance of
the Sugar Plum Fairy: A
steady tempo is critical
when performing this
movement, as students may
have a tendency to rush
during the pizzicato
sections. There is a
regularly occurring
descending sixteenth-note
rhythmic figure that is
transcribed form the bass
clarinet part in the
original. It is important
to maintain clarity and
balance in performing
these passages as seen in
mm. 16-19, in the Basses
and m. 34 in the Cello
and Bass. The balancing
of the chords will be a
challenge in the
execution of the many
sforzandos in this
movement. March: Measures
2 and 4, and similar
melodic patterns that
follow, require the
performers to carefully
balance their
forte/pianos on beats 3
and 4, along with the
rapid diminuendo. The
contrasting rhythmic
patterns in mm. 5-8, and
later throughout this
movement must line up
precisely. Strings
playing the pizzicato
eight note, walking bass
line, must not rush, and
the upper strings playing
the
eighth-note/eight-rest
figure must follow their
section leaders in
executing this in a
unified manner. While
there is no formal tempo
change from mm. 40 to 41,
directors may need to
relax the tempo at the
beginning of the movement
to accommodate the
technical challenge of
the double time feel that
happens in m. 41. Trepak:
Tchaikovsky was careful
to notate the p, f and
sf, requiring the
performers to recognize
the difference between
all three markings that
frame the chief melody.
The upper strings must be
careful to support the
melody in the lower
strings that begins in m.
33. Directors will
challenge their students
to have fun in the last
twelve measures with the
accelerando passage to
the end. Care must be
taken to use an
accelerando that works
for all the players in
the particular
ensemble. This
arrangement will
challenge students, while
fostering rhythmic
independence, execution
of bowing and pizzicato,
and the ability to
balance the melody with
the accompaniment
throughout the
arrangement. However,
ranges remain primarily
in first position with
some optional 8va
passages, allowing
intermediate groups to
perform this in time for
the winter holiday
concert. Suitable for
Grades 3 through 5.To the
Director:Dance of the
Sugar Plum Fairy: A
steady tempo is critical
when performing this
movement, as students may
have a tendency to rush
during the pizzicato
sections. There is a
regularly occurring
descending sixteenth-note
rhythmic figure that is
transcribed form the bass
clarinet part in the
original. It is important
to maintain clarity and
balance in performing
these passages as seen in
mm. 16-19, in the
Basses and m. 34 in
the Cello and Bass. The
balancing of the chords
will be a challenge in
the execution of the many
sforzandos in this
movement. March:
 Measures 2 and 4, and
similar melodic patterns
that follow, require the
performers to carefully
balance their
forte/pianos on beats 3
and 4, along with the
rapid diminuendo. The
contrasting rhythmic
patterns in mm. 5-8, and
later throughout this
movement must line up
precisely. Strings
playing the pizzicato
eight note, walking bass
line, must not rush, and
the upper strings playing
the
eighth-note/eight-restÂ
figure must follow their
section leaders in
executing this in a
unified manner. While
there is no formal tempo
change from mm. 40 to 41,
directors may need to
relax the tempo at the
beginning of the movement
to accommodate the
technical challenge of
the double time feel that
happens in m. 41. Trepak:
 Tchaikovsky was
careful to notate the p,
f and sf, requiring the
performers to recognize
the difference between
all three markings that
frame the chief melody.
The upper strings must be
careful to support the
melody in the lower
strings that begins in m.
33. Directors will
challenge their students
to have fun in the last
twelve measures with the
accelerando passage to
the end. Care must be
taken to use an
accelerando that works
for all the players in
the particular
ensemble.
About Carl
Fischer Concert String
Orchestra
Series
Thi
s series of pieces (Grade
3 and higher) is designed
for advancing ensembles.
The pieces in this series
are characterized
by:
Expanded use
of rhythms, ranges and
keys but technical
demands are still
carefully
considered
More
comprehensive bowing
techniques
Viola
T.C.
included
Careful
selection of keys and
degree of difficulty for
advancing
musicians
Hafner Music: Hafner
Symphony with March in D
major K. 408/2 (385a) -
Urtext. Composed by
Wolfgang Amadeus Mozart.
Edited by Henrik Wiese.
Orchestra; stapled.
Partitur-Bibliothek
(Score Library).
Symphony; Dances/marches;
Classical. Study Score.
56 pages. Duration 20'.
Breitkopf and Haertel #PB
5552-07. Published by
Breitkopf and Haertel
(BR.PB-5552-07).
ISBN
9790004213629. 6.5 x 9
inches.
Wolfgang
Amadeus Mozart wrote his
Hafner Symphony K. 385 in
the summer of 1782 on the
occasion of the elevation
into the nobility of his
friend and patron Sigmund
Hafner. Next to the
well-known movements,
this version (A) also
contained the March K.
408/2 (385a) and possibly
a second, no longer
extant minuet. Called
Hafner=Musique by Mozart,
the work was
unquestionably a serenade
at first. In early 1783
Mozart then reduced the
Hafner Music for his
subscription concert at
the Vienna Burgtheater on
23 March 1783 to a
four-movement symphony.
This is the form in which
the work was first
printed in 1785 (Version
B). For a further
performance, Mozart added
flute and clarinet parts
to the symphony. In 1805,
this version (C) was
published by Andre in
Offenbach, who thus began
making it known.The
primary sources of the
present Breitkopf Urtext
edition are the
autographs to K. 385 and
K. 408/2 (385a). It thus
becomes possible for the
first time to play all
three versions of the
Hafner Music, since the
variants of Versions A
and B can be easily
discerned through
indications in footnotes
and notes in small
print.
Guitar - difficult SKU: HL.49010943 Composed by Joaquí and n Rodrig...(+)
Guitar - difficult
SKU: HL.49010943
Composed by Joaquí
and n Rodrigo. Arranged
by Peter Jermer. This
edition: Saddle
stitching. Sheet music.
Gitarren-Archiv (Guitar
Archive). Classical.
Score and Parts. Composed
1986. 24 pages. Duration
6'. Schott Music
#EJR190248. Published by
Schott Music
(HL.49010943).
ISBN
9790001097765. UPC:
073999944730.
9.0x12.0x0.102
inches.
Composed by
George Sweet. 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+3+1+1+1+2+3+16+2
pages. Duration 2
minutes, 49 seconds. Carl
Fischer Music #YPS214.
Published by Carl Fischer
Music (CF.YPS214).
ISBN 9781491152331.
UPC: 680160909834. Key:
Bb major.
This new
piece from composer
George Sweet is a
delightful combination of
Scotland the Brave and
Amazing Grace. Each tune
on its own is wonderful,
but in Sweet's setting,
they are masterfully
layered to reflect the
composer's
Scottish-American
heritage. This
presentation of a
Scottish melody with
Americana-inspired
harmonies is a stunning
example of compositional
craft. Bravery and
Grace is a setting of the
unofficial Scottish
national anthem, Scotland
the Brave. While the
melody is taken from
Scotland the Brave, the
accompaniment and harmony
both have a
“Western
Americana†feel,
reminiscent of composers
like Roy Harris and Aaron
Copland. Â This
combination of a Scottish
melody with American
harmony is a reflection
of the composer’s
Scottish-American
Heritage.The piece begins
with a fragment of
Scotland the Brave
presented in a lush and
reflective context. The
main theme is performed
in full by the upper
voices at m. 9. The
middle voices perform the
material at m. 17, and
the lower voices perform
it again at m. 33. This
results in a loud passage
representing pipers at m.
46. The traditional
spiritual Amazing Grace
appears suddenly at m. 51
in a somewhat polytonal
setting. This is, once
again, reminiscent of
practices of the
aforementioned American
composers. Â After this
lyrical presentation, a
fragment of the main
theme returns at m. 66.
This is followed by a
broad restatement of the
theme at m. 70 and a
brisk conclusion with a
final flair of
polytonality.
Flute, horn, viola, cello and piano (P/ST) - difficult SKU: HL.49033137 C...(+)
Flute, horn, viola, cello
and piano (P/ST) -
difficult
SKU:
HL.49033137
Composed
by Leon Kirchner. This
edition: Saddle
stitching. Sheet music.
Edition Schott. Score and
parts. Composed 2001. 36
pages. Duration 6'.
Schott Music #ED 9511.
Published by Schott Music
(HL.49033137).
ISBN
9790001133272.
Volk
er David Kirchner's works
encompass every genre; in
addition to numerous
compositions for musical
theatre and for
orchestra, this viola
player who formerly
played in orchestras and
chamber ensembles still
shows a preference for
composing chamber music.
Yet even in this field of
'pure, absolute' music,
Kirchner's work has a
theatrical quality which
shows itself very clearly
in his choice of titles
(e.g. Mysterion, Il canto
della notte, Lamento
d'Orfeo, Exil).In this
Quintet Kirchner manages
to use the various
possible combinations of
the different instruments
to create highly
expressive music.
Song for Bilbao Ensemble Jazz [Conducteur et Parties séparées] - Intermédiaire Alfred Publishing
By Pat Metheny. Arranged by Alan Baylock. By Pat Metheny / arr. Alan Baylock. Fo...(+)
By Pat Metheny. Arranged
by Alan Baylock. By Pat
Metheny / arr. Alan
Baylock. For Jazz
Ensemble. Jazz Ensemble.
Premier Jazz Series.
Level: 4 (Medium Advanced
/ Difficult) (grade 4).
Conductor Score and
Parts. 76 pages. Duration
6:35:00. Published by
Alfred Publishing.
Composed by Ferrer
Ferran. Symphonic Brass
Ensemble Series.
Educational Tool. Set
(Score & Parts). Composed
2004. 24 pages. De Haske
Publications #DHP
1043657-070. Published by
De Haske Publications
(BT.DHP-1043657-070).
International.
<
I>Chernovil ist ein
anspruchsvolles Stück
für
Blechbläserquintett in
einer modernen
Tonsprache, das an die
Katastrophe, werlche sich
1986 im Atomkraftwerk von
Tschernobyl ereignete,
erinnert. Der Komponist
widmet das Werk den
tausenden Menschen -
Kindern und Erwachsenen -
die damals der
radioaktiven Strahlung
ausgesetzt waren, die
genetische Probleme
ausläste und sich
negativ auf das
Immunsystem auswirkte.
Urtext. Composed
by Wolfgang Amadeus
Mozart. Edited by
Ernst-Gunter Heinemann.
Orchestra; stapled.
Partitur-Bibliothek
(Score Library). In
Cooperation with G. Henle
Verlag EB 10767 is
printed in score form;
two copies are needed for
performance. You will
find the original
cadenzas under Mozart, 36
Cadenzas for his own
Piano Concertos. Our
edition EB 8579 contains
a Ferrucci Busoni
cadenza. Solo concerto;
Classical. Study Score.
76 pages. Duration 26'.
Breitkopf and Haertel #PB
15111-07. Published by
Breitkopf and Haertel
(BR.PB-15111-07).
ISBN
9790004212684. 6.5 x 9
inches.
One of the
most frequently performed
concertos of all, it was
written while Mozart was
working on the opera Le
nozze di Figaro. The
source situation is
clear: the autograph
score has survived, and
the first printed
editions were not
published until after
Mozart's death.The
editorial quality of the
new edition is guaranteed
not only by Schiffs
sensitive fingerings and
stylistically
well-grounded cadenzas,
but also by the Mozart
scholar Ernst-Gunter
Heinemann to whom Henle
has entrusted its urtext
editions.Breitkopf/Henle
cooperation means: Each
work is edited according
to predetermined
standardized editorial
guidelines. First and
foremost among the
sources consulted were
Mozarts handwritten
scores, being the most
important sources. In
some cases they had not
been available when the
previous editions were
being prepared. Moreover,
we know today that in
addition to Mozarts own
manuscripts, early copies
in parts and prints also
contain important
information regarding the
musical text.
Fiesta Mexicana Orchestre d'harmonie Music Distribution Services
Concert band ((2 Flöten, 2 Oboen, Klarinette in Es, 2 Klarinetten in B, 2 Fag...(+)
Concert band ((2
Flöten, 2 Oboen,
Klarinette in Es, 2
Klarinetten in B, 2
Fagotte, kleines Kornett
in Es, 2
Flügelhörner in B,
4 Hörner in Es, 4
Trompeten in B, 3
Tenorhörner in B, 4
Posaunen, Bariton, 2
Tuben, Schlagwerk,
Singstimme)
SKU:
M7.AV-6029-50
Fantasia. Composed
by Hans Joachim Rhinow.
This edition: Folding.
Sheet music. Set of
parts. 40 pages. Duration
6'. MDS (Music
Distribution Services)
#AV 6029-50. Published by
MDS (Music Distribution
Services)
(M7.AV-6029-50).
(For Two Guitars). By Lowell Liebermann. For Guitar I, Guitar II. Premiered May ...(+)
(For Two Guitars). By
Lowell Liebermann. For
Guitar I, Guitar II.
Premiered May 6, 2000,
Raritan River Music
Festival, Pittstown, NJ
by Michael Newman and
Laura Oltman. Set of
performance parts and
score. Standard notation.
Opus 69. 12 pages.
Duration 12 minutes, 30
seconds. Published by
Theodore Presser Company
Choral (SAB Choir) SKU: HL.8203086 By Creedence Clearwater Revival. By Jo...(+)
Choral (SAB Choir)
SKU: HL.8203086
By
Creedence Clearwater
Revival. By John Fogerty.
Arranged by Kirby Shaw.
Pop Choral Series.
Classic Rock, Pop,
Pop/Rock, Rock, Show
Choir, Sixties, Southern
Rock. Octavo. 12 pages.
Published by Hal Leonard
(HL.8203086).
UPC:
884088642600. 6.75x10.5
inches.
The 1969
hit by Creedence
Clearwater Revival evokes
an earlier time and place
with John Fogerty's
signature guitar riffs
and licks. Vocal
harmonies and the great
rhythms of the
country-rock style will
energize any pop/show
concert. Available
separately: SATB, SAB,
TTB, ShowTrax CD. Combo
parts available as a
digital download (tpt
1-2, tsx, tbn, gtr, b,
dm). Duration: ca.
2:40.
Composed
by Manfred Trojahn.
Stapled. Score, Set of
parts. Composed
2005-2008. 68/15/17/14
pages. Baerenreiter
Verlag #BA09332_00.
Published by Baerenreiter
Verlag (BA.BA09332).
ISBN 9790006533749.
32.5 x 26.6 cm
inches.
Manfred
Trojahn’s amply
dimensioned piano quartet
in four movements with a
duration of approx. 40
minutes was composed and
developed in several
stages.
The inner
movements, a Vivace
characterised by lombard
rhythms and vitality and
a dream-like adagio were
written in the Mozart
Year 2005. By 2008 the
outer movements were
completed. The
opening Adagio
“Zerbrochenes
Lied†is an
imposing lamentation of
the dead whereas the
Finale, a profound,
moving
“Wanderliedâ€,
was dedicated to
Trojahn’s friend
and composer Wilhelm
Killmayer on the occasion
of his 80th
birthday. In this way
Trojahn’s work
stands in the tradition
of Mozart’s two
piano quartets, but adds
a biographical
element.
This is a
large, musically
demanding but rewarding
work for ambitious
musicians.
2 Instrumental Ensembles (A Instrumental Ensemble I - Strings / Instrumental Ens...(+)
2 Instrumental Ensembles
(A Instrumental Ensemble
I - Strings /
Instrumental Ensemble II
- Brass Instruments / B
Instrumental Ensemble I -
Strings / Instrumental
Ensemble II - Strings)
(STR ERG) - intermediate
SKU: HL.49001842
Composed by Eberhard
Werdin. Sheet music.
Concertino (Chamber
Orchestra). Classical.
Set of supplemental
string parts. 34 pages.
Duration 6'. Schott Music
#CON 169-60. Published by
Schott Music
(HL.49001842).