The Quiet Place [Conducteur et Parties séparées] University Of York Music Press
Oboe, Clarinet, Viola, Harp and Percussion SKU: BT.MUSM570207770 Composed...(+)
Oboe, Clarinet, Viola,
Harp and Percussion
SKU:
BT.MUSM570207770
Composed by Anne Boyd.
Set (Score & Parts). 12
pages. University of York
Music Press
#MUSM570207770. Published
by University of York
Music Press
(BT.MUSM570207770).
English.
Anne
Boyd 's The Quiet Place
for Oboe (doubling
antique cymbals),
Clarinet (doubling rin),
Viola and Harp. The Quiet
Place was commissioned by
the Warwick and
Leamington Festival for
performance by Okeanos on
their New Music Day on
14th July 2002. The Quiet
Place is a meditation
site in the University of
York dedicated by Dame
Janet Baker In honour of
the spirituality which is
in all people. It was a
place I visited
frequently in the months
I spent as visiting
Professor at the
University in late 2001.
So soon after the attack
on the New York Trade
Centre, the world felt a
very unstable place,
especially to be so far
from my Australian home.
It was difficult to make
much senseof existence in
a world of fanatical
fundamentalism - both
Islamic and Christian.
Perhaps for comfort, I
found myself thinking
back a thousand years to
the vital earth based
spirituality of Hildegard
of Bingen and uncovered
an Antiphon she had
composed, 'Nunc Aperuit'.
This chant became the
basis of the work I have
written for Okeanos in
response to an invitation
from Jinny Shaw whom I
met in York last year. In
English translation the
words of the chant
translate as Now the
closed door has opened
for us, / What the
serpent has suffocated in
woman./ Therefore shines
forth in the dawn/ the
flower from the Virgin
Mary. The music of The
Quiet Place is a simple
meditation which explores
the moods of this text
often retreating into a
silence which is both
breath and transcendence.
- Anne Boyd.
Chamber Ensemble; Harp (Score) SKU: HL.288104 Two Movements in The Moo...(+)
Chamber Ensemble; Harp
(Score)
SKU:
HL.288104
Two
Movements in The Mood of
Spades (2012) for Harp
Solo and Ense.
Composed by Per Nø,
rd, and rgå. Music
Sales America. Classical.
Softcover. 36 pages.
Duration 840 seconds.
Edition Wilhelm Hansen
#WH31493. Published by
Edition Wilhelm Hansen
(HL.288104).
Queen and Ace -
Two Movements in The Mood
of Spades (2012) for Harp
Solo and Ensemble. Edited
by Steve Ferre in
collaboration with the
composer. Parts are for
hire: hire@ewh.dk QUEEN
AND ACE is based on KING,
QUEEN AND ACE from 1989,
for Harp Solo and
Thirteen Instruments.
QUEEN AND ACE is, as the
title indicates,
identical to the two
latter movements of the
work from 1989, except
that the ensemble leaves
out trumpet, trombone and
double bass.
Chamber Music English Horn, Oboe SKU: CF.WF229 15 Pieces for Oboe and ...(+)
Chamber Music English
Horn, Oboe
SKU:
CF.WF229
15 Pieces
for Oboe and English
Horn. Composed by
Gustave Vogt. Edited by
Kristin Jean Leitterman.
Collection - Performance.
32+8 pages. Carl Fischer
Music #WF229. Published
by Carl Fischer Music
(CF.WF229).
Mvt. 1 from Symphony
No. 6 (Three Places in
the East). Composed
by Dan Welcher. Full
score. 52 pages. Theodore
Presser Company
#165-00101F. Published by
Theodore Presser Company
(PR.16500101F).
ISBN
9781491131725. UPC:
680160680252.
Ever
since the success of my
series of wind ensemble
works Places in the West,
I've been wanting to
write a companion piece
for national parks on the
other side of the north
American continent. The
earlier work, consisting
of GLACIER, THE
YELLOWSTONE FIRES,
ARCHES, and ZION, spanned
some twenty years of my
composing life, and since
the pieces called for
differing groups of
instruments, and were in
slightly different styles
from each other, I never
considered them to be
connected except in their
subject matter. In their
depiction of both the
scenery and the human
history within these
wondrous places, they had
a common goal: awaking
the listener to the
fragile beauty that is in
them; and calling
attention to the ever
more crucial need for
preservation and
protection of these wild
places, unique in all the
world. With this new
work, commissioned by a
consortium of college and
conservatory wind
ensembles led by the
University of Georgia, I
decided to build upon
that same model---but to
solidify the process. The
result, consisting of
three movements (each
named for a different
national park in the
eastern US), is a
bona-fide symphony. While
the three pieces could be
performed separately,
they share a musical
theme---and also a common
style and
instrumentation. It is a
true symphony, in that
the first movement is
long and expository, the
second is a rather
tightly structured
scherzo-with-trio, and
the finale is a true
culmination of the whole.
The first movement,
Everglades, was the
original inspiration for
the entire symphony.
Conceived over the course
of two trips to that
astonishing place (which
the native Americans
called River of Grass,
the subtitle of this
movement), this movement
not only conveys a sense
of the humid, lush, and
even frightening scenery
there---but also an
overview of the entire
settling-of- Florida
experience. It contains
not one, but two native
American chants, and also
presents a view of the
staggering influence of
modern man on this
fragile part of the
world. Beginning with a
slow unfolding marked
Heavy, humid, the music
soon presents a gentle,
lyrical theme in the solo
alto saxophone. This
theme, which goes through
three expansive phrases
with breaks in between,
will appear in all three
movements of the
symphony. After the mood
has been established, the
music opens up to a rich,
warm setting of a
Cherokee morning song,
with the simple happiness
that this part of Florida
must have had prior to
the nineteenth century.
This music, enveloping
and comforting, gradually
gives way to a more
frenetic, driven section
representative of the
intrusion of the white
man. Since Florida was
populated and developed
largely due to the
introduction of a train
system, there's a
suggestion of the
mechanized iron horse
driving straight into the
heartland. At that point,
the native Americans
become considerably less
gentle, and a second
chant seems to stand in
the way of the intruder;
a kind of warning song.
The second part of this
movement shows us the
great swampy center of
the peninsula, with its
wildlife both in and out
of the water. A new theme
appears, sad but noble,
suggesting that this land
is precious and must be
protected by all the
people who inhabit it. At
length, the morning song
reappears in all its
splendor, until the
sunset---with one last
iteration of the warning
song in the solo piccolo.
Functioning as a scherzo,
the second movement,
Great Smoky Mountains,
describes not just that
huge park itself, but one
brave soul's attempt to
climb a mountain there.
It begins with three
iterations of the
UR-theme (which began the
first movement as well),
but this time as up-tempo
brass fanfares in
octaves. Each time it
begins again, the theme
is a little slower and
less confident than the
previous time---almost as
though the hiker were
becoming aware of the
daunting mountain before
him. But then, a steady,
quick-pulsed ostinato
appears, in a constantly
shifting meter system of
2/4- 3/4 in alteration,
and the hike has begun.
Over this, a slower new
melody appears, as the
trek up the mountain
progresses. It's a big
mountain, and the ascent
seems to take quite
awhile, with little
breaks in the hiker's
stride, until at length
he simply must stop and
rest. An oboe solo, over
several free cadenza-like
measures, allows us (and
our friend the hiker) to
catch our breath, and
also to view in the
distance the rocky peak
before us. The goal is
somehow even more
daunting than at first,
being closer and thus
more frighteningly steep.
When we do push off
again, it's at a slower
pace, and with more
careful attention to our
footholds as we trek over
broken rocks. Tantalizing
little views of the
valley at every
switchback make our
determination even
stronger. Finally, we
burst through a stand of
pines and----we're at the
summit! The immensity of
the view is overwhelming,
and ultimately humbling.
A brief coda, while we
sit dazed on the rocks,
ends the movement in a
feeling of triumph. The
final movement, Acadia,
is also about a trip. In
the summer of 2014, I
took a sailing trip with
a dear friend from North
Haven, Maine, to the
southern coast of Mt.
Desert Island in Acadia
National Park. The
experience left me both
exuberant and exhausted,
with an appreciation for
the ocean that I hadn't
had previously. The
approach to Acadia
National Park by water,
too, was thrilling: like
the difference between
climbing a mountain on
foot with riding up on a
ski-lift, I felt I'd
earned the right to be
there. The music for this
movement is entirely
based on the opening
UR-theme. There's a sense
of the water and the
mysterious, quiet deep
from the very beginning,
with seagulls and bell
buoys setting the scene.
As we leave the harbor,
the theme (in a canon
between solo euphonium
and tuba) almost seems as
if large subaquatic
animals are observing our
departure. There are
three themes (call them
A, B and C) in this
seafaring journey---but
they are all based on the
UR theme, in its original
form with octaves
displaced, in an
upside-down form, and in
a backwards version as
well. (The ocean, while
appearing to be
unchanging, is always
changing.) We move out
into the main channel
(A), passing several
islands (B), until we
reach the long draw that
parallels the coastline
called Eggemoggin Reach,
and a sudden burst of new
speed (C). Things
suddenly stop, as if the
wind had died, and we
have a vision: is that
really Mt. Desert Island
we can see off the port
bow, vaguely in the
distance? A chorale of
saxophones seems to
suggest that. We push off
anew as the chorale ends,
and go through all three
themes again---but in
different
instrumentations, and
different keys. At the
final tack-turn, there it
is, for real: Mt. Desert
Island, big as life.
We've made it. As we pull
into the harbor, where
we'll secure the boat for
the night, there's a
feeling of achievement.
Our whale and dolphin
friends return, and we
end our journey with
gratitude and
celebration. I am
profoundly grateful to
Jaclyn Hartenberger,
Professor of Conducting
at the University of
Georgia, for leading the
consortium which provided
the commissioning of this
work.
Band SKU: PR.16500104F Three Places in the East. Composed by Dan W...(+)
Band
SKU:
PR.16500104F
Three
Places in the East.
Composed by Dan Welcher.
Full score. Theodore
Presser Company
#165-00104F. Published by
Theodore Presser Company
(PR.16500104F).
ISBN
9781491132159. UPC:
680160681082.
Ever
since the success of my
series of wind ensemble
works Places in the West,
I've been wanting to
write a companion piece
for national parks on the
other side of the north
American continent. The
earlier work, consisting
of GLACIER, THE
YELLOWSTONE FIRES,
ARCHES, and ZION, spanned
some twenty years of my
composing life, and since
the pieces called for
differing groups of
instruments, and were in
slightly different styles
from each other, I never
considered them to be
connected except in their
subject matter. In their
depiction of both the
scenery and the human
history within these
wondrous places, they had
a common goal: awaking
the listener to the
fragile beauty that is in
them; and calling
attention to the ever
more crucial need for
preservation and
protection of these wild
places, unique in all the
world. With this new
work, commissioned by a
consortium of college and
conservatory wind
ensembles led by the
University of Georgia, I
decided to build upon
that same model---but to
solidify the process. The
result, consisting of
three movements (each
named for a different
national park in the
eastern US), is a
bona-fide symphony. While
the three pieces could be
performed separately,
they share a musical
theme---and also a common
style and
instrumentation. It is a
true symphony, in that
the first movement is
long and expository, the
second is a rather
tightly structured
scherzo-with-trio, and
the finale is a true
culmination of the whole.
The first movement,
Everglades, was the
original inspiration for
the entire symphony.
Conceived over the course
of two trips to that
astonishing place (which
the native Americans
called River of Grass,
the subtitle of this
movement), this movement
not only conveys a sense
of the humid, lush, and
even frightening scenery
there---but also an
overview of the entire
settling-of- Florida
experience. It contains
not one, but two native
American chants, and also
presents a view of the
staggering influence of
modern man on this
fragile part of the
world. Beginning with a
slow unfolding marked
Heavy, humid, the music
soon presents a gentle,
lyrical theme in the solo
alto saxophone. This
theme, which goes through
three expansive phrases
with breaks in between,
will appear in all three
movements of the
symphony. After the mood
has been established, the
music opens up to a rich,
warm setting of a
Cherokee morning song,
with the simple happiness
that this part of Florida
must have had prior to
the nineteenth century.
This music, enveloping
and comforting, gradually
gives way to a more
frenetic, driven section
representative of the
intrusion of the white
man. Since Florida was
populated and developed
largely due to the
introduction of a train
system, there's a
suggestion of the
mechanized iron horse
driving straight into the
heartland. At that point,
the native Americans
become considerably less
gentle, and a second
chant seems to stand in
the way of the intruder;
a kind of warning song.
The second part of this
movement shows us the
great swampy center of
the peninsula, with its
wildlife both in and out
of the water. A new theme
appears, sad but noble,
suggesting that this land
is precious and must be
protected by all the
people who inhabit it. At
length, the morning song
reappears in all its
splendor, until the
sunset---with one last
iteration of the warning
song in the solo piccolo.
Functioning as a scherzo,
the second movement,
Great Smoky Mountains,
describes not just that
huge park itself, but one
brave soul's attempt to
climb a mountain there.
It begins with three
iterations of the
UR-theme (which began the
first movement as well),
but this time as up-tempo
brass fanfares in
octaves. Each time it
begins again, the theme
is a little slower and
less confident than the
previous time---almost as
though the hiker were
becoming aware of the
daunting mountain before
him. But then, a steady,
quick-pulsed ostinato
appears, in a constantly
shifting meter system of
2/4- 3/4 in alteration,
and the hike has begun.
Over this, a slower new
melody appears, as the
trek up the mountain
progresses. It's a big
mountain, and the ascent
seems to take quite
awhile, with little
breaks in the hiker's
stride, until at length
he simply must stop and
rest. An oboe solo, over
several free cadenza-like
measures, allows us (and
our friend the hiker) to
catch our breath, and
also to view in the
distance the rocky peak
before us. The goal is
somehow even more
daunting than at first,
being closer and thus
more frighteningly steep.
When we do push off
again, it's at a slower
pace, and with more
careful attention to our
footholds as we trek over
broken rocks. Tantalizing
little views of the
valley at every
switchback make our
determination even
stronger. Finally, we
burst through a stand of
pines and----we're at the
summit! The immensity of
the view is overwhelming,
and ultimately humbling.
A brief coda, while we
sit dazed on the rocks,
ends the movement in a
feeling of triumph. The
final movement, Acadia,
is also about a trip. In
the summer of 2014, I
took a sailing trip with
a dear friend from North
Haven, Maine, to the
southern coast of Mt.
Desert Island in Acadia
National Park. The
experience left me both
exuberant and exhausted,
with an appreciation for
the ocean that I hadn't
had previously. The
approach to Acadia
National Park by water,
too, was thrilling: like
the difference between
climbing a mountain on
foot with riding up on a
ski-lift, I felt I'd
earned the right to be
there. The music for this
movement is entirely
based on the opening
UR-theme. There's a sense
of the water and the
mysterious, quiet deep
from the very beginning,
with seagulls and bell
buoys setting the scene.
As we leave the harbor,
the theme (in a canon
between solo euphonium
and tuba) almost seems as
if large subaquatic
animals are observing our
departure. There are
three themes (call them
A, B and C) in this
seafaring journey---but
they are all based on the
UR theme, in its original
form with octaves
displaced, in an
upside-down form, and in
a backwards version as
well. (The ocean, while
appearing to be
unchanging, is always
changing.) We move out
into the main channel
(A), passing several
islands (B), until we
reach the long draw that
parallels the coastline
called Eggemoggin Reach,
and a sudden burst of new
speed (C). Things
suddenly stop, as if the
wind had died, and we
have a vision: is that
really Mt. Desert Island
we can see off the port
bow, vaguely in the
distance? A chorale of
saxophones seems to
suggest that. We push off
anew as the chorale ends,
and go through all three
themes again---but in
different
instrumentations, and
different keys. At the
final tack-turn, there it
is, for real: Mt. Desert
Island, big as life.
We've made it. As we pull
into the harbor, where
we'll secure the boat for
the night, there's a
feeling of achievement.
Our whale and dolphin
friends return, and we
end our journey with
gratitude and
celebration. I am
profoundly grateful to
Jaclyn Hartenberger,
Professor of Conducting
at the University of
Georgia, for leading the
consortium which provided
the commissioning of this
work.
Pacific Fanfare Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire Manhattan Beach Music
By Frank Ticheli. Concert band - antiphonal. Suitable for the most advanced high...(+)
By Frank Ticheli. Concert
band - antiphonal.
Suitable for the most
advanced high school
bands, community,
college, university, and
professional bands. Grade
5. Conductor score and
set of parts. Duration
5:30
A Call to Peace Piano seul - Intermédiaire/avancé Alfred Publishing
10 Hymn Arrangements Based on the Theme of Peace. Arranged by Melody Bober. B...(+)
10 Hymn Arrangements
Based
on the Theme of Peace.
Arranged by Melody Bober.
Book; Piano Collection;
Piano Supplemental.
Sacred
Performer Collections.
Hymn;
Peace/Brotherhood;
Sacred.
36 pages. Published by
Alfred Music
Solo Vocal, Mixed Choir and Orchestra SKU: BT.PWM5363020 For Tenor Sol...(+)
Solo Vocal, Mixed Choir
and Orchestra
SKU:
BT.PWM5363020
For
Tenor Solo, Mixed Choir,
Organ and Orchestra.
Composed by Karol
Szymanowski. Classical.
Score Only. Composed
1985. 92 pages. Polskie
Wydawnictwo Muzyczne
#PWM5363020. Published by
Polskie Wydawnictwo
Muzyczne (BT.PWM5363020).
The Third
Symphony occupies an
special place in the
evolutionary process of
Szymanowskis style. The
Symphony The Song of the
Night, Op. 27, is a
setting of the poem of
the same title, from the
second divan of Mawlana
Jalal-ad-din Rumi, for
tenor solo, mixed choir
and orchestra. It was
completed in the summer
1916. Szymanowskis
interest in oriental
music at this period is
not so much , as far as
the Third Symphony is
concerned, an attempt at
some formal stylisation
of eastern music, but
rather an indication of
his search for some mode
of expression which would
best reflect the
conflicts of his
aesthetic and artistic
ideas. It was the direct
contact made with the art
of the Grecian and Arabic
worlds during his travel
to Sicily and North
Africa in 1911 and 1914
that provided the
external stimulus for
this interest. The Third
Symphony can be classed
with those symphonies for
chorus and solo voices so
often favoured by the
neo-romantic and
expressionist composers.
It is written in a free
ternary form, the
thematic material being
the basic unifying
structural element, which
imparts a conciseness to
the form, and retaining
the function despite the
significant changes that
occur in the melodic
character of the music.
The texture is
polymelodic, and a score
reveals a masterly
interweaving of the
multiplicity of parts,
melodic lines and
patterns of sound. This
symphony is consummation
of all Szymanowskis
mastery in
instrumentation and
colour, and a superb
study of orchestral
polyphony. Here,
Szymanowski liberates
himself from the rigid
relations of the
functional harmonic
system. In the place of
tonal progressions, he
shifts chromatically from
one sound lane to
another, of which the
smallest units are chords
made up of tritones and
seconds, using only a
free intervallic
structure, far more
remote in Szymanowski
from the dominant
centralistic harmony then
Debussy. In style, the
Third Symphony belongs to
the neo-romantic period,
if this can be broadly
defined as including
modernistic and
expressionistic trends,
and to musical
impressionism. (based on
the Preface to the
''Works'' by Teresa Chyli
ska, PWM 1985).
Orchestra Concert Band SKU: PR.11642169L Concerto for Orchestra. C...(+)
Orchestra Concert Band
SKU: PR.11642169L
Concerto for
Orchestra. Composed
by Zhou Long. Large
Score. Duration 36
minutes. Theodore Presser
Company #116-42169L.
Published by Theodore
Presser Company
(PR.11642169L).
UPC:
680160692118.
Chine
se mythology is a
cultural heritage that
has been passed down
through the ages. It is
full of bizarre
andsupernatural artistic
charm. Shan Hai Jing is
like a history book,
which contains many
mythological stories
depictingthousands of
mountains and waters,
geography and humanities,
The Concerto for
Orchestra Shan Hai Jing
is using alarge scyle
orchestra in
multi-movements, inspired
by the anceint
supernatural aesthetics,
and creates an
imaginaryuniverse and
human illusion with an
abstract sound world.
This work is not based on
the story of the ancient
gods, butbased on the
geographical distribution
of the Fivering
Mountains, metaphorical
waters, mountains range,
folkcustoms, and rituals
of the gods, depicting
the north, west, east,
south, and middle
respectively in five
movements.
Thecharacteristics of the
mountain system and the
regional customs.The
first movement, Beishan
Jing (Largo) (page 1-30).
In this movement, folk
music elements such as
the traditionalMongolian
“Humai” and the
traditional Tibetan
“Bon’e’ri” are
used to Ode the folk
customs and heroism of
the vastmountains and
plains and different
ethnic groups.The second
movement, Xishan Jing
(Allegro and Adagio)
(page 31-52). The music
of this movement has the
westernstyle of Gansu and
Qinghai Plateau.The third
movement, Dongshan Jing
(Adagio and Allegro)
(page 53-86). The legend
of great bells that
ringspontaneously without
being struck has origins
in the ancient Classic of
Mountains and Seas, in
which we read:“Upon the
Mountains of Plenty, Nine
Bells ring with Knowledge
of the Frost.”Tales of
those blasts of wind that
pulse like a heartbeat
through caverns in the
limestone cliffs, setting
off a
mysterioussympathetic
ringing from bells
encrusted in frost, led
to “Frost-Bell”
becoming a word during
the Tang dynasty, almosta
millennium after the
Mountains and Seas
classic first
appeared.The fourth
movement, Nanshan Jing
(Adagio and Andante)
(page 87-100) . The music
is characterized by
thewoodwinds and string
harmonics texture
depicting of the cloud
mountain in the south of
the Yangtze River,
Fujian,Guangdong and
Hunan.The fifth movement,
Zhongshan Jing
(Allegretto) (page
101-118) symbolizes the
end of the ritual
ceremony, which isroughly
centered on the sacred
place of Chu. The people
danced together, waving
flowers and hitting the
bronze drums,just like
sending the Divine
Comedy, the scene is
lively, the atmosphere is
Solemn and lively.
Orchestra Concert Band SKU: PR.11642169S Concerto for Orchestra. C...(+)
Orchestra Concert Band
SKU: PR.11642169S
Concerto for
Orchestra. Composed
by Zhou Long. Study
Score. Duration 36
minutes. Theodore Presser
Company #116-42169S.
Published by Theodore
Presser Company
(PR.11642169S).
UPC:
680160692101.
Chine
se mythology is a
cultural heritage that
has been passed down
through the ages. It is
full of bizarre
andsupernatural artistic
charm. Shan Hai Jing is
like a history book,
which contains many
mythological stories
depictingthousands of
mountains and waters,
geography and humanities,
The Concerto for
Orchestra Shan Hai Jing
is using alarge scyle
orchestra in
multi-movements, inspired
by the anceint
supernatural aesthetics,
and creates an
imaginaryuniverse and
human illusion with an
abstract sound world.
This work is not based on
the story of the ancient
gods, butbased on the
geographical distribution
of the Fivering
Mountains, metaphorical
waters, mountains range,
folkcustoms, and rituals
of the gods, depicting
the north, west, east,
south, and middle
respectively in five
movements.
Thecharacteristics of the
mountain system and the
regional customs.The
first movement, Beishan
Jing (Largo) (page 1-30).
In this movement, folk
music elements such as
the traditionalMongolian
“Humai” and the
traditional Tibetan
“Bon’e’ri” are
used to Ode the folk
customs and heroism of
the vastmountains and
plains and different
ethnic groups.The second
movement, Xishan Jing
(Allegro and Adagio)
(page 31-52). The music
of this movement has the
westernstyle of Gansu and
Qinghai Plateau.The third
movement, Dongshan Jing
(Adagio and Allegro)
(page 53-86). The legend
of great bells that
ringspontaneously without
being struck has origins
in the ancient Classic of
Mountains and Seas, in
which we read:“Upon the
Mountains of Plenty, Nine
Bells ring with Knowledge
of the Frost.”Tales of
those blasts of wind that
pulse like a heartbeat
through caverns in the
limestone cliffs, setting
off a
mysterioussympathetic
ringing from bells
encrusted in frost, led
to “Frost-Bell”
becoming a word during
the Tang dynasty, almosta
millennium after the
Mountains and Seas
classic first
appeared.The fourth
movement, Nanshan Jing
(Adagio and Andante)
(page 87-100) . The music
is characterized by
thewoodwinds and string
harmonics texture
depicting of the cloud
mountain in the south of
the Yangtze River,
Fujian,Guangdong and
Hunan.The fifth movement,
Zhongshan Jing
(Allegretto) (page
101-118) symbolizes the
end of the ritual
ceremony, which isroughly
centered on the sacred
place of Chu. The people
danced together, waving
flowers and hitting the
bronze drums,just like
sending the Divine
Comedy, the scene is
lively, the atmosphere is
Solemn and lively.
10 Great Studies in the Style and Language of Bebop. Composed by Jim Snidero. ...(+)
10 Great Studies in the
Style and Language of
Bebop.
Composed by Jim Snidero.
Improvisation;
Method/Instruction; Play-
Along; Technique
Musicianship; Woodwind -
Tenor Saxophone Method or
Collection. Advance
Music.
Jazz. Book; Digital
Download. Advance Music
#01-
ADV14741. Published by
Advance Music
Chamber Music Cello, Piano, Violin SKU: PR.114423360 Composed by Stacy Ga...(+)
Chamber Music Cello,
Piano, Violin
SKU:
PR.114423360
Composed
by Stacy Garrop. Set of
Score and Parts. 24+12+12
pages. Duration 8:30.
Theodore Presser Company
#114-42336. Published by
Theodore Presser Company
(PR.114423360).
UPC:
680160686285.
When
the Newport Music
Festival commissioned me
for a piano trio in honor
of their 2021 season, I
looked for a topic that
would celebrate an aspect
of the Newport community.
While researching the
area, I was struck by the
nine lighthouses situated
around the island. The
dual nature of
lighthouses was
particularly appealing to
me: not only do they
serve a vital role in the
navigation of ships
around rocks and land,
but they are also a
beautiful sight,
particularly at night
when their blinking
beacons are clearly
visible to the eye. It
occurred to me that
lighthouses link the past
with the present, and
will endure long into the
future, with their
beacons serving the same
purpose for every
generation.I became
fascinated with the
lighthouse on the
property of Castle Hill
Inn, located at the
opening of the East
Passage of the
Narragansett Bay. This
squat thirty-four foot
granite structure was
erected in 1890 on a very
picturesque spot, right
at the water’s
edge. Its
“characteristic,â
the nautical term
for each
lighthouse’s
unique light sequence
that allows ships to
identify the lighthouse,
is to alternate on for
three seconds, then off
for three seconds. The
lighthouse has also
served as the starting
and finish line for
numerous high profile
yacht races, as well as
survived a massive
hurricane in 1938, though
the lighthouse
keeper’s nearby
residence wasn’t
so lucky. American
novelist Thornton Wilder
wrote much of his 1973
novel Theophilus North
while staying at the
Castle Hill Inn; a
passage from the book
perfectly captures the
dual nature of
lighthouses:“At a
later visit I was able to
engage the pentagonal
room in a turret above
the house; from that
magical room I could see
at night the beacons of
six lighthouses and hear
the booming and chiming
of as many sea
buoys.â€In Beacon of
the Bay, we first hear
the lighthouse’s
characteristic as its
ruby light blinks on and
off. This is followed by
a simple theme that
represents the lighthouse
performing its solitary
duty. As the piece
progresses, we hear waves
playfully lapping around
its base, then yachts
gracefully floating by;
this is followed by a
violent storm that churns
the waves with so much
force that they crash
against the
lighthouse’s
granite body. But the
steadfast lighthouse
holds firm to the rocks,
grandly blinking its ruby
light. The music quiets
back down to its simple
theme, with yachts
sailing by once more as
the piece concludes.
An American Elegy Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire Manhattan Beach Music
By Frank Ticheli. Concert band. Suitable for high school, community, and college...(+)
By Frank Ticheli. Concert
band. Suitable for high
school, community, and
college bands. Level:
Grade 4. Conductor score
and set of parts.
Duration 11:10. Published
by Manhattan Beach Music.
Featuring 43 Fiddlers
and 188 of Their
Tunes. Perfect
binding. Folk. Book. 212
pages. Mel Bay
Publications, Inc #30091.
Published by Mel Bay
Publications, Inc
(MB.30091).
ISBN
9781513466378. 8.75 x
11.75
inches.
Appalachian
fiddle music, based on
the musical traditions of
the people who settled in
the mountainous regions
of the southeastern
United States, is
widely-known and played
throughout North America
and parts of Europe
because of its complex
rhythms, its catchy
melodies, and its
often-ancient-sounding
stylistic qualities. The
authors explore the lives
and music of 43 of the
classic Appalachian
fiddlers who were active
during the first half of
the 20th century. Some of
them were recorded
commercially in the
1920s, such as Gid
Tanner, Fiddlin? John
Carson, and Charlie
Bowman. Some were
recorded by folklorists
from the Library of
Congress, such as William
Stepp, Emmett Lundy, and
Marion Reece. Others were
recorded informally by
family members and
visitors, such as John
Salyer, Emma Lee
Dickerson, and Manco
Sneed. All of them played
throughout most of their
lives and influenced the
growth and stylistic
elements of fiddle music
in their regions. Each
fiddler has been given a
chapter with a biography,
several tune
transcriptions, and tune
histories. To show the
richness of the music,
the authors make a
special effort to show
the musical elements in
detail, but also
acknowledge that nothing
can take the place of
listening. Many of the
classic recordings used
in this book can be found
on the web, allowing you
to hear and read the
music together.
SKU: GI.G-CD-524 Composed by Liam Lawton. Sacred. CD. GIA Publications #5...(+)
SKU: GI.G-CD-524
Composed by Liam Lawton.
Sacred. CD. GIA
Publications #524.
Published by GIA
Publications
(GI.G-CD-524).
In the crazy,
often relentless pace of
today's world, Liam
Lawton brings us to a
place of peace and solace
with his new recording,
In the Quiet. Meditative
melodies are combined
with reflective texts to
create a unique and
wonderful listening
experience filled with
the traditional Celtic
spirituality found in all
of Liam's music. Each
song in this collection
offers a gentle and
beautiful reminder of
God's holy presence in
our lives. The title
song, written in response
to the horrific events of
September 11, 2001,
speaks of God being
beside us even when the
worst is happening. So
Longs My Soul is a song
of great hope and trust
in God, based on Psalm42.
Ruah, meaning breath of
God speaks of the grace
of the Holy Spirit. In
the words of Fr. Lawton,
I hope that this
collection of songs will
draw you into the quiet
so that you too may hear
the silent whisperings
and longing of God for
all of us. Note - Octavo
Breastplate (G-5987) is
not part of the
collection, but sold
separately.
SKU: HL.1141413 Blue Microphones. Lighting. Duration 210 seconds. Hal Leo...(+)
SKU: HL.1141413
Blue Microphones.
Lighting. Duration 210
seconds. Hal Leonard
#946-000006. Published by
Hal Leonard (HL.1141413).
UPC: 097855175052.
7.0x18.0x2.75
inches.
Built for
streaming, the Logitech
Litra Beam desktop key
light with TrueSoft
technology makes it easy
to achieve professional
lighting effects. Direct
light where you want it
for a cinematic look.
Easily swap between
lighting techniques to
express different moods.
Whether you're shooting a
YouTube video, streaming
on Twitch or just working
from home, Litra Beam
ensures you always look
your best. Natural Skin
Tones, Radiant Look
Logitech's TrueSoft
technology delivers
balanced full-spectrum
LED light with cinematic
color accuracy for a
natural, radiant look
across all skin tones.
The Ultimate Desktop Fit
Litra Beam is packed with
features that make it
easier than ever t
oachieve professional
lighting effects in any
space. Its slim, elegant
design can snuggle up to
your monitor and fit into
your desktop in ways
other lights can't.
Built-in cable management
in the base keeps your
setup looking sleek. And
three 1/4-20 thread
fittings allow you to
attach Litra Beam to its
desktop stand in multiple
ways to achieve your
desired lighting setup.
Safe for All-Day
Streaming Litra Beam has
cleared even the
strictest testing
guidelines to ensure safe
all-day streaming. So,
whether you're creating a
new video for YouTube of
kicking off a marathon
streaming session, Litra
Beam helps you stay
comfortable and confident
on-camera – all
day long. Fine-Tune Your
Look On Camera Litra Beam
features 5 brightness and
5 color temperature
settings (2700K-6500K) to
dial in the look you
want. Or, you can hold
down the buttons for
continuous, stepless
adjustment. Quick Access
to Your Favorite Settings
Download Logitech's free
G HUB desktop app and
connect via USB or
Bluetooth® to control
brightness and color
temperature, save
presets, turn light
on/off, and more right
from your desktop. And,
if you have a Logitech G
keyboard or mouse, you
can use G-Keys to easily
turn your light on/off,
change brightness and
color temperature, and
more. Logitech TrueSoft
Technology TrueSoft was
designed to solve common
challenges for today's
content creator including
quality of light, harsh
shadows, and eye fatigue
from long hours of
streaming. Litra Beam was
purpose-built for
streaming and uses
TrueSoft technology to
wrap the subject in soft
and diffused, accurate
LED light that is gentle
on the eyes for all-day
professional content
creation.
(after the Sonata for Violin and Piano). Composed by Leos Janacek (1854-1928...(+)
(after the Sonata for
Violin
and Piano). Composed by
Leos
Janacek (1854-1928).
Arranged by Shirley
Brill.
For clarinet and piano.
Score with part.
Published
by Baerenreiter Verlag
Shalom, Pacem, Peace Chorale 3 parties mixtes, Piano [Octavo] Heritage Music Press
By Ruth Elaine Schram. For 3-part (any combination of voices) and piano (with op...(+)
By Ruth Elaine Schram.
For 3-part (any
combination of voices)
and piano (with optional
cello, 2 violin (flute,
oboe)). Christmas,
Concert. Octavo.
Published by Heritage
Music Press
Handbook of classical-modern organ playing. Edited by Peter Wagner. Paper...(+)
Handbook of
classical-modern organ
playing. Edited by
Peter Wagner. Paperback.
Performance scores,
anthology. Published by
Baerenreiter Verlag
(BA.BA11238).
Birthplace of the
Desert People.
Composed by Doris Gazda.
Carl Fischer Concert
String Orchestra Series.
Set of Score and Parts.
With Standard notation.
16+16+4+10+10+10+2+4+12
pages. Duration 4
minutes, 21 seconds. Carl
Fischer Music #CAS73.
Published by Carl Fischer
Music (CF.CAS73).
ISBN
9780825894749. UPC:
798408094744. 9 x 12
inches. Key: Eb
minor.
A dynamic
new concert piece from
popular composer Doris
Gazda, Baboquivari is
mysterious at first and
then breaks into an
exciting 6/8 groove that
shifts into several
different key areas to
add to the excitement.
Perfect for contest and
festival
performances. The
Native American people
who reside primarily in
the Sonoran Desert of
southeastern Arizona and
northwest Mexico are
known as the Tohono
O'odham. Tohono
O’odham means
Desert People. The Tohono
O’odham
reservation is the
location of the Quinlan
and Baboquivari
Mountains, which include
Kitt Peak, the Kitt Peak
National Observatory with
its numerous telescopes
and Baboquivari Peak.
Baboquivari is a
7,730-foot (2,356- meter)
granitic monolith located
about 60 miles southwest
of Tucson, Arizona. Part
of the peak lies in the
2,900,000-acre Tohono
O’odham
Reservation, the second
largest Indian
reservation in the United
States, while most of it
lies in the Baboquivari
Mountains Wilderness
Area.Baboquivari Peak is
the most sacred place to
the Tohono O'odham
people. It is the cen-
ter of the Tohono O'odham
cosmology and the home of
the creator,
I’itoi. According
to tribal legend, he
resides in a cave below
the base of the mountain
which is regarded by the
O'odham nation as the
navel of the world, a
place where the earth
opened and the people
emerged after the great
flood. Baboquivari Peak
is also sometimes
referred to as I'itoi
Mountain. In the native
O’odham language,
it is referred to as Waw
Kiwulik, meaning narrow
about the
middle.Baboquivari Peak
was mentioned in the
journals of Jesuit
missionary Padre Eusebio
Francisco Kino
(1645-1711), who made
many expeditions into
this region of the
Sonoran Desert. Beginning
in 1699, Kino introduced
Spanish culture and
Christianity to the
desert dwellers. He
established at least
twenty Spanish Missions
in the area, most of
which were in the Tohono
O'odham nation. The
Tohono O'odham tell the
story that at the
beginning of the Spanish
conquest of what is
present day Arizona, a
certain Spanish officer
and his men tried to dig
their way into
Baboquivari. Suddenly,
the ground under them
opened and Baboquivari
swallowed them. This
story has similarities to
that of Francisco
Vásquez de Coronado's
search for the Seven
Cities of Cibola and a
place called Quivira,
where, he was told, he
could get his hands on
unlimited quantities of
gold. The gold had a way
of disappearing while
they were
searching.Today, the
mountain offers a
strenuous climb for
experienced hikers. It
has a waist which was
overcome at one time
through the use of
ladders. Today's mountain
climbers get past the
indentation that
encircles the mountain by
using ropes where
necessary.