Intermediate SKU: WD.080689560170 Composed by Marty Hamby. Choral, cantat...(+)
Intermediate
SKU:
WD.080689560170
Composed by Marty Hamby.
Choral, cantatas.
Christmas. Book. Word
Music #080689560170.
Published by Word Music
(WD.080689560170).
UPC:
080689560170.
Word
Music & Church Resources,
in collaboration with
Integrity Music, proudly
presents the latest
release from the new
Integrity Church Choir
Series, The
Arrival, a
compelling Christmas
musical of praise,
celebrating the joy of
His birth! From the
song catalog of one of
the most well-known and
respected Christian music
publishers–Integri
ty Music–comes
this fresh, new Christmas
musical, designed to
provide church choirs of
all sizes and styles with
the perfect vehicle for
ministering to your
congregation with songs
and arrangements
proclaiming the arrival
of our promised Savior.
Arranged by Marty Hamby,
you’ll discover a
wide range of song
styles…offering
everything from a
celebratory opening
medley of carols (both
familiar and
re-imagined), to
inspiring ballads
expressing the
anticipation and
expectancy of a people
who had long awaited the
coming Messiah, to
intimate and powerful
worship moments that will
bring your choir and
congregation together in
praise of our Lord and
King.
The music
in The
Arrival will
touch hearts, the
arrangements will
encourage and inspire
both the singer and the
listener, and the message
will fill everyone who
hears it with hope,
joy, and the blessing of
Christmas!
Featu
ring songs by renowned
songwriter and worship
leader, Paul Baloche, the
title song from Jared
Anderson, and the
wonderful new song,
“God Made
Low,†from
Sovereign Grace
ministries, The
Arrival is sure
to encourage your
congregation to enter
into worship this
Christmas and prepare
their hearts to make room
for the
Savior.
Composed by Richard Wagner (1813-1883). Arranged by Ralph Sauer. Romantic solo w...(+)
Composed by Richard
Wagner (1813-1883).
Arranged by Ralph Sauer.
Romantic solo with
Pianno. Solo part and
Piano accompaniment.
Published by Cherry
Classics (CY.CC2648).
(Contemporary Rock, Progressive, and Funk Songs for Drummers). By Joe Bergamini ...(+)
(Contemporary Rock,
Progressive, and Funk
Songs for Drummers). By
Joe Bergamini with Dom
Famularo. Percussion -
Drum Set Method or
Collection. Wizdom Media.
48 pages. Published by
Alfred Music
Trombone & Piano - Moderately Advanced SKU: CY.CC2397 Composed by Richard...(+)
Trombone & Piano -
Moderately Advanced
SKU: CY.CC2397
Composed by Richard
Wagner. Arranged by Ralph
Sauer. Romantic solo with
Piano. Solo part & Piano.
Published by Cherry
Classics (CY.CC2397).
Ralph Sauer has
arranged a marvelous song
by Wagner called the
Arrival of the Black
Swans or Ankunft be den
schwarzen Schwanen for
Trombone and
Piano.
Arrival of the
Black Swans by Richard
Wagner was originally
written for solo piano in
1861 and first published
in 1897. A somber opening
is followed by a moving
middle section,
reminiscent of passages
from Lohengrin.This
song is in Wagner's
romantic style and is for
moderately advanced
performers. Length of the
song is about 4.5 minutes
& includes Tenor Clef for
the Trombone part.
(from Solomon Brass Quintet The Canadian Brass Ensemble Series). By The Canadian...(+)
(from Solomon Brass
Quintet The Canadian
Brass Ensemble Series).
By The Canadian Brass. By
George Frideric Handel
(1685-1759). Arranged by
Howard Cable. Score and
Parts. Brass Ensemble.
Softcover. 28 pages.
Published by Hal Leonard
Village Scenes Hautbois, Clarinette, Basson (trio d'anches) [Conducteur et Parties séparées] Brixton Publications
Composed by Howard J. Buss (1951-). The music is sophisticated, yet accessible, ...(+)
Composed by Howard J.
Buss (1951-). The music
is sophisticated, yet
accessible, and makes a
wonderful recital
feature. The 3
picturesque movements are
titled: I. Playground
Games, The Church By the
Spring, and The Arrival
of Winter. 21st Century.
Score and parts. Composed
2004. Duration 7'16 .
Published by Brixton
Publications (B7.B395).
By George Frideric Handel. Arranged by Scott Hyslop. For Brass Quartet and Organ...(+)
By George Frideric
Handel. Arranged by Scott
Hyslop. For Brass Quartet
and Organ. Level:
Moderately Difficult.
Score and set of parts.
Published by MorningStar
Music Publishers.
Concert Band Bass
Clarinet, Bass Drum,
Bassoon, Chimes,
Clarinet, Crash Cymbals,
Euphonium, Euphonium
T.C., Floor Tom, Flute,
Flute 2, Horn, Mallet
Percussion, Oboe,
Percussion 1, Percussion
2, Snare Drum, Suspended
Cymbal, Tam-tam, Timpani,
Triangle and more. -
Grade 1
SKU:
CF.BPS39
Composed by
Sean O'Loughlin. Carl
Fischer Beginning
Performance Series. Score
and Set of Parts. With
Standard notation.
8+2+8+2+5+2+2+8+3+6+2+3+3
+1+2+6+12 pages. Carl
Fischer Music #BPS39.
Published by Carl Fischer
Music (CF.BPS39).
ISBN
9780825858611. UPC:
798408058616. 9 X 12
inches. Key: G
minor.
Arrival at
Normandy depicts the
entry into Normandy by
our forces on D-Day. The
tune uses only the first
6 notes learned in most
band method and the most
difficult rhythm is
quarter note based in the
winds. Perfect
contest/festival showcase
piece for a beginning
band. .
(Abba Selection (Dancing
Queen / Arrival /
Money,Money,Money)).
Arranged by Johan De
Meij. For Concert Band.
Pop / Arrangements of
Modern Light Music / New
band Music 4. Hit Series.
Grade 4. Score and Parts.
Duration 5 minutes, 53
seconds. Published by
Molenaar Edition
Arrival of the Queen of Sheba Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire/avancé Canadian Brass
Performed by The Canadian Brass. By George Frideric Handel. Arranged by Ted Rick...(+)
Performed by The Canadian
Brass. By George Frideric
Handel. Arranged by Ted
Ricketts. Score and full
set of parts. Canadian
Brass Concert Band. Size
9x12 inches. Published by
Canadian Brass.
(Abba Selection (Dancing
Queen / Arrival /
Money,Money,Money)).
Arranged by Johan De
Meij. For Concert Band.
Pop / Arrangements of
Modern Light Music / New
band Music 4. Hit Series.
Grade 4. Score. Duration
5 minutes, 53 seconds
String,
Brass & Woodwind
Ensemble. Music Sales
America. Classical. Sheet
Music, Instrumental
Album. With Text
language: English. Music
Sales #NOV12068501.
Published by Music Sales
(HL.14036955).
8.5x11.75x0.215
inches.
A superb
collection of classic
showpieces for flute
ensemble. Paganini's
'Moto Perpetuo', Handel's
'Arrival Of The Queen Of
Sheba' and Widor's famous
'Toccata' are arranged to
give all the players
interesting parts and
display their technical
prowess. A score is
available on sale
separately.
Piano - intermediate to advanced SKU: HL.49003259 Volume Three. Co...(+)
Piano - intermediate to
advanced
SKU:
HL.49003259
Volume
Three. Composed by
Percy Aldridge Grainger.
This edition:
Paperback/Soft Cover.
Sheet music. Edition
Schott. Classical,
Collection, Contemporary.
60 pages. Schott Music
#ED12577. Published by
Schott Music
(HL.49003259).
ISBN
9790220118883. UPC:
073999173741.
9.0x12.0x0.185
inches.
Contents:
Arrival Platform Humlet *
Gay But Wistful *
Pastoral * The
Gum-Suckers March.
Choral SATB choir SKU: CF.CM9606 Composed by Paul Salerni. Fold. Performa...(+)
Choral SATB choir
SKU:
CF.CM9606
Composed by
Paul Salerni. Fold.
Performance. 8 pages.
Duration 3 minutes, 17
seconds. Carl Fischer
Music #CM9606. Published
by Carl Fischer Music
(CF.CM9606).
ISBN
9781491154281. UPC:
680160912780. 6.875 x
10.5 inches. Key: C
major. English. Charles
A. Coffin
(1844-1926).
Be
thlehem Carol was
the result of a
commission in 2000 from
the Cathedral Church of
the Nativity in
Bethlehem, Pennsylvania.
The request came from the
Cathedrals music
director, Russell
Jackson; he had very much
liked the Italian
Fable cum Violin
Concerto (The Big
Sword and the Little
Broom) I had written in
1997 for the Lehigh
Valley Chamber Orchestra.
Russell chose the text by
Charles Coffin, a French
poet and educator whose
hymn verses were often
translated into English.
My approach toward
setting the poem was my
usual one; that is, to
translate literally the
words into music (note
the dips into the minor
mode for the cave of
Bethlehem and the child
of poverty.) But most of
all, I wanted to capture
the sense of joy and
peace brought by the
arrival of the Christ
Child. Bethlehem
Carol was the result
of a commission in 2000
from the Cathedral Church
of the Nativity in
Bethlehem, Pennsylvania.
The request came from the
Cathedralas music
director, Russell
Jackson; he had very much
liked the Italian
Fable cum Violin
Concerto (The Big
Sword and the Little
Broom) I had written in
1997 for the Lehigh
Valley Chamber Orchestra.
Russell chose the text by
Charles Coffin, a French
poet and educator whose
hymn verses were often
translated into English.
My approach toward
setting the poem was my
usual one; that is, to
translate literally the
words into music (note
the dips into the minor
mode for athe cave of
Bethlehema and athe child
of poverty.a)A But most
of all, I wanted to
capture the sense of joy
and peace brought by the
arrival of the Christ
Child. Bethlehem
Carol was the result
of a commission in 2000
from the Cathedral Church
of the Nativity in
Bethlehem, Pennsylvania.
The request came from the
Cathedral's music
director, Russell
Jackson; he had very much
liked the Italian
Fable cum Violin
Concerto (The Big
Sword and the Little
Broom) I had written in
1997 for the Lehigh
Valley Chamber Orchestra.
Russell chose the text by
Charles Coffin, a French
poet and educator whose
hymn verses were often
translated into English.
My approach toward
setting the poem was my
usual one; that is, to
translate literally the
words into music (note
the dips into the minor
mode for the cave of
Bethlehem and the child
of poverty.) But most of
all, I wanted to capture
the sense of joy and
peace brought by the
arrival of the Christ
Child. Bethlehem Carol
was the result of a
commission in 2000 from
the Cathedral Church of
the Nativity in
Bethlehem, Pennsylvania.
The request came from the
Cathedral's music
director, Russell
Jackson; he had very much
liked the Italian Fable
cum Violin Concerto (The
Big Sword and the Little
Broom) I had written in
1997 for the Lehigh
Valley Chamber Orchestra.
Russell chose the text by
Charles Coffin, a French
poet and educator whose
hymn verses were often
translated into English.
My approach toward
setting the poem was my
usual one; that is, to
translate literally the
words into music (note
the dips into the minor
mode for the cave of
Bethlehem and the child
of poverty.) But most of
all, I wanted to capture
the sense of joy and
peace brought by the
arrival of the Christ
Child. Bethlehem Carol
was the result of a
commission in 2000 from
the Cathedral Church of
the Nativity in
Bethlehem, Pennsylvania.
The request came from the
Cathedral’s music
director, Russell
Jackson; he had very much
liked the Italian Fable
cum Violin Concerto (The
Big Sword and the Little
Broom) I had written in
1997 for the Lehigh
Valley Chamber Orchestra.
Russell chose the text by
Charles Coffin, a French
poet and educator whose
hymn verses were often
translated into English.
My approach toward
setting the poem was my
usual one; that is, to
translate literally the
words into music (note
the dips into the minor
mode for “the cave
of Bethlehem†and
“the child of
poverty.â€) But
most of all, I wanted to
capture the sense of joy
and peace brought by the
arrival of the Christ
Child.
Composed by Brazilian
Folk Song. Arranged by
Eduardo Lakschevitz Elisa
Dekaney. Fold.
Performance Score. 12
pages. Duration 2
minutes, 28 seconds. Carl
Fischer Music #CM9602.
Published by Carl Fischer
Music (CF.CM9602).
ISBN 9781491154243.
UPC: 680160912742. 6.875
x 10.5 inches. Key: Gb
major. Portuguese.
Brazilian Folk
Song.
The Beasty Band [Conducteur] - Débutant De Haske Publications
4-Part Flexible Band and Opt. Piano - Grade 1.5 SKU: BT.DHP-1185885-215 C...(+)
4-Part Flexible Band and
Opt. Piano - Grade 1.5
SKU:
BT.DHP-1185885-215
Composed by Jacob De
Haan. De Haske Flexible
Series. Original Light
Music. Score Only.
Composed 2018. 27 pages.
De Haske Publications
#DHP 1185885-215.
Published by De Haske
Publications
(BT.DHP-1185885-215).
English-German-French-
Dutch.
Let your
musicians experience a
day at the farm with the
animals with this great
new piece by Jacob de
Haan. The Beasty
Band is a collection
of nine short, catchy
pieces, each featuring
animal sounds made by the
players! The pieces are:
1. Arrival, 2.
Cows, 3.
Horses, 4.
Cats, 5. Dogs,
6. Pigs, 7.
Chickens, 8. Sheep
and Goats and 9.
Departure. On this CD
you will hear a
selection.
The
Beasty Band klinkt
bij Jacob de Haan als een
dag vol plezier voor
muzikanten en publiek!
Deze verzameling van
negen korte, tot de
verbeelding sprekende
stukken met
dierengeluiden bestaat
uit: 1. Arrival,
2. Cows, 3.
Horses, 4.
Cats, 5. Dogs,
6. Pigs, 7.
Chickens, 8. Sheep
and Goats en 9.
Departure.
The Beasty
Band klingt bei Jacob
de Haan in einer
vierstimmig variablen
Besetzung nach viel
Spaß fu r Musiker und
Zuhörer! Dies ist eine
Sammlung von neun kurzen,
eingängigen Stücken
mit Tierlauten, die von
den Spielern erzeugt
werden können: 1.
Arrival, 2.
Cows, 3.
Horses, 4.
Cats, 5. Dogs,
6. Pigs, 7.
Chickens, 8. Sheep
and Goats und 9.
Departure. Auf dieser
CD können Sie eine
Auswahl daraus hören.
Chamber Music Cello, Recording, Viola, Violin SKU: CF.BE10F For String...(+)
Chamber Music Cello,
Recording, Viola, Violin
SKU: CF.BE10F
For String Trio and
Recording. Composed
by Paul Lansky. Full
score. With Standard
notation. 32 pages.
Duration 19:37. Carl
Fischer Music #BE10F.
Published by Carl Fischer
Music (CF.BE10F).
ISBN
9780825891175. UPC:
798408091170. 8.5 x 11
inches. Key: G
major.
Commissioned
by the Princeton-Columbia
Electronic Music Center
for Speculum Musicae in
1981. The first movement,
In Preparation, is a
study in tuning and
intonation and is based
on the open strings in
perfectly tuned fifths,
with the violins D string
tuned 294 hertz. The
first moments of the
piece provide opportunity
to tune to the tape part.
(This tuning probably
differs imperceptibly
from a tempered tuning
since the E string of the
violin is only 1/33 of a
semitone sharper then in
a tempered system and the
C strings of the viola
and cello 1/33 of a
semitone flatter.) Most
subsequent pitches in the
movement are either the
open strings or major and
minor thirds above and
below the open strings.
The minor thirds will be
slightly sharp with
respect to equal tempered
tuning about 15 cents or
1/6 of a semitone and the
major thirds will be
slightly flat about 14
cents, or one seventh of
a semitone. Listen to the
tape part as a guide. All
harmonics in this
movement are to be played
as natural harmonics and
open strings are to be
used whenever possible.
In the second movement,
At a Distance, the tape
part largely doubles
selected pitches in the
string parts and should
be thought of as a
backdrop rather then
counterpart. In this and
the remaining movements
equal tempered tuning is
used though it will
probably not be necessary
to retune the instruments
for this reason alone.
The third movement, In
Practice, is a study in
modes of performance
particularly with respect
to rhythmic rigidity and
flexibility. While the
tape part may seem to
bend and sway a great
deal, the string parts
are to be played with as
much rhythmic precision
as possible. At many
points it may be
necessary to delay or
anticipate beats in order
to coincide with the
arrival of beats in the
tape part, though in
general the quarter
equals 120 is accurate.
In the fourth movement,
In Distinction, different
kinds of musical
conceptions are
counter-pointed and
counter-posed. Here the
beat is quite accurate
although the notation of
the synthetic saxophone
part is only approximate.
All the tape parts are
based on computer
reprocessed violin except
for parts of the fourth
movement in which
synthetic saxophone is
used. The tape part was
synthesized on the IBM
3033 and 3081 computers
at Princeton University
and converted at the
Winham Laboratory. The
violin source was
performed by Cyrus
Stevens. Commissioned
by the Princeton-Columbia
Electronic Music Center
for Speculum Musicae in
1981. The first movement,
In Preparation, is a
study in tuning and
intonation and is based
on the open strings in
perfectly tuned fifths,
with the violinas D
string tuned 294 hertz.
The first moments of the
piece provide opportunity
to tune to the tape part.
(This tuning probably
differs imperceptibly
from a tempered tuning
since the E string of the
violin is only 1/33 of a
semitone sharper then in
a tempered system and the
C strings of the viola
and acello 1/33 of a
semitone flatter.) Most
subsequent pitches in the
movement are either the
open strings or major and
minor thirds above and
below the open strings.
The minor thirds will be
slightly sharp with
respect to equal tempered
tuning about 15 cents or
1/6 of a semitone and the
major thirds will be
slightly flat about 14
cents, or one seventh of
a semitone. Listen to the
tape part as a guide. All
harmonics in this
movement are to be played
as natural harmonics and
open strings are to be
used whenever possible.
In the second movement,
At a Distance, the tape
part largely doubles
selected pitches in the
string parts and should
be thought of as a
backdrop rather then
counterpart. In this and
the remaining movements
equal tempered tuning is
used though it will
probably not be necessary
to retune the instruments
for this reason alone.
The third movement, In
Practice, is a study in
modes of performance
particularly with respect
to rhythmic rigidity and
flexibility. While the
tape part may seem to
bend and sway a great
deal, the string parts
are to be played with as
much rhythmic precision
as possible. At many
points it may be
necessary to delay or
anticipate beats in order
to coincide with the
arrival of beats in the
tape part, though in
general the quarter
equals 120 is accurate.
In the fourth movement,
In Distinction, different
kinds of musical
conceptions are
counter-pointed and
counter-posed. Here the
beat is quite accurate
although the notation of
the synthetic saxophone
part is only approximate.
All the tape parts are
based on computer
reprocessed violin except
for parts of the fourth
movement in which
synthetic saxophone is
used. The tape part was
synthesized on the IBM
3033 and 3081 computers
at Princeton University
and converted at the
Winham Laboratory. The
violin source was
performed by Cyrus
Stevens. Commissioned
by the Princeton-Columbia
Electronic Music Center
for Speculum Musicae in
1981. The first movement,
In Preparation, is a
study in tuning and
intonation and is based
on the open strings in
perfectly tuned fifths,
with the violin's D
string tuned 294 hertz.
The first moments of the
piece provide opportunity
to tune to the tape part.
(This tuning probably
differs imperceptibly
from a tempered tuning
since the E string of the
violin is only 1/33 of a
semitone sharper then in
a tempered system and the
C strings of the viola
and 'cello 1/33 of a
semitone flatter.) Most
subsequent pitches in the
movement are either the
open strings or major and
minor thirds above and
below the open strings.
The minor thirds will be
slightly sharp with
respect to equal tempered
tuning about 15 cents or
1/6 of a semitone and the
major thirds will be
slightly flat about 14
cents, or one seventh of
a semitone. Listen to the
tape part as a guide. All
harmonics in this
movement are to be played
as natural harmonics and
open strings are to be
used whenever possible.
In the second movement,
At a Distance, the tape
part largely doubles
selected pitches in the
string parts and should
be thought of as a
backdrop rather then
counterpart. In this and
the remaining movements
equal tempered tuning is
used though it will
probably not be necessary
to retune the instruments
for this reason alone.
The third movement, In
Practice, is a study in
modes of performance
particularly with respect
to rhythmic rigidity and
flexibility. While the
tape part may seem to
bend and sway a great
deal, the string parts
are to be played with as
much rhythmic precision
as possible. At many
points it may be
necessary to delay or
anticipate beats in order
to coincide with the
arrival of beats in the
tape part, though in
general the quarter
equals 120 is accurate.
In the fourth movement,
In Distinction, different
kinds of musical
conceptions are
counter-pointed and
counter-posed. Here the
beat is quite accurate
although the notation of
the synthetic saxophone
part is only approximate.
All the tape parts are
based on computer
reprocessed violin except
for parts of the fourth
movement in which
synthetic saxophone is
used. The tape part was
synthesized on the IBM
3033 and 3081 computers
at Princeton University
and converted at the
Winham Laboratory. The
violin source was
performed by Cyrus
Stevens. Commissioned
by the Princeton-Columbia
Electronic Music Center
for SpeculumMusicae in
1981.The first movement,
In Preparation, is a
study in tuning and
intonation and isbased on
the open strings in
perfectly tuned fifths,
with the violin’s
D stringtuned 294 hertz.
The first moments of the
piece provide opportunity
to tuneto the tape part.
(This tuning probably
differs imperceptibly
from a temperedtuning
since the E string of the
violin is only 1/33 of a
semitone sharper then ina
tempered system and the C
strings of the viola and
‘cello 1/33 of a
semitoneflatter.) Most
subsequent pitches in the
movement are either the
open stringsor major and
minor thirds above and
below the open strings.
The minor thirdswill be
slightly sharp with
respect to equal tempered
tuning about 15 cents
or1/6 of a semitone and
the major thirds will be
slightly flat about 14
cents, or oneseventh of a
semitone. Listen to the
tape part as a guide. All
harmonics in thismovement
are to be played as
natural harmonics and
open strings are to be
usedwhenever possible.In
the second movement, At a
Distance, the tape part
largely doubles
selectedpitches in the
string parts and should
be thought of as a
backdrop rather
thencounterpart. In this
and the remaining
movements equal tempered
tuning is usedthough it
will probably not be
necessary to retune the
instruments for this
reasonalone.The third
movement, In Practice, is
a study in modes of
performance
particularlywith respect
to rhythmic rigidity and
flexibility. While the
tape part may seemto bend
and sway a great deal,
the string parts are to
be played with as
muchrhythmic precision as
possible. At many points
it may be necessary to
delay oranticipate beats
in order to coincide with
the arrival of beats in
the tape part,though in
general the quarter
equals 120 is accurate.In
the fourth movement, In
Distinction, different
kinds of musical
conceptions
arecounter-pointed and
counter-posed. Here the
beat is quite accurate
although thenotation of
the synthetic saxophone
part is only
approximate.All the tape
parts are based on
computer reprocessed
violin except for parts
ofthe fourth movement in
which synthetic saxophone
is used. The tape part
wassynthesized on the IBM
3033 and 3081 computers
at Princeton University
andconverted at the
Winham Laboratory. The
violin source was
performed by
CyrusStevens.
Romeo and Juliet Orchestre d'harmonie - Intermédiaire Molenaar Edition
Concert Band - Grade 5 SKU: ML.013759100 The Complete Trilogy. Com...(+)
Concert Band - Grade 5
SKU: ML.013759100
The Complete
Trilogy. Composed by
Sergei Prokofiev.
Arranged by Johan De
Meij. Full set. Molenaar
Edition #013759100.
Published by Molenaar
Edition (ML.013759100).
In this suite
for symphonic band the
arranger did not use the
existing orchestral
suites, but composed
another suite of his own
with those parts of the
ballet music that suited
well for a transcription.
Romeo &
Juliet - Part
I I. Introduction
– The Duke’s
Command II. The
Street Awakens III.
Morning Dance IV.
Romeo at Friar
Laurence’s V.
Departure of the Guests
(Gavotte) VI.
Montagues & Capulets
– Dance of the Nights
Romeo
& Juliet - Part
II I. Arrival of
the Guests II. The
Quarrel III. The
Fight IV.
Interlude V. Tybalt
recognizes Romeo VI.
Mercutio
Romeo &
Juliet - Part
III I. Public
Merrymaking II.
Further public
festivities III.
Meeting of Tybalt and
Mercutio IV. The
Duel V. The Death of
Mercutio VI. Romeo
decides to avenge
Mercutio VII. Finale:
Cortège with Tybalt’s
Body
In deze suite voor
harmonieorkest is Johan
de Meij niet uitgegaan
van de bestaande
orkestsuites maar heeft
hij een eigen suite
samengesteld uit delen
van het ballet die zich
goed lenen voor een
bewerking.
Ro
meo & Juliet - Part
I I. Introduction
– The Duke’s
Command II. The
Street Awakens III.
Morning Dance IV.
Romeo at Friar
Laurence’s V.
Departure of the Guests
(Gavotte) VI.
Montagues & Capulets
– Dance of the Nights
Romeo
& Juliet - Part
II I. Arrival of
the Guests II. The
Quarrel III. The
Fight IV.
Interlude V. Tybalt
recognizes Romeo VI.
Mercutio
Romeo &
Juliet - Part
III I. Public
Merrymaking II.
Further public
festivities III.
Meeting of Tybalt and
Mercutio IV. The
Duel V. The Death of
Mercutio VI. Romeo
decides to avenge
Mercutio VII. Finale:
Cortège with Tybalt’s
Body
Pour cette suite pour
orchestre d'harmonie,
l'arrangeur Johan de Meij
ne s'est pas basé sur
les suites d'orchestres
existantes, mais il a
composé une nouvelle
suite en choisissant ces
morceaux du ballet qui se
prêtent bien à la
transcription.
<
b>Romeo & Juliet -
Part I I.
Introduction – The
Duke’s Command II.
The Street
Awakens III. Morning
Dance IV. Romeo at
Friar Laurence’s V.
Departure of the Guests
(Gavotte) VI.
Montagues & Capulets
– Dance of the Nights
Romeo
& Juliet - Part
II I. Arrival of
the Guests II. The
Quarrel III. The
Fight IV.
Interlude V. Tybalt
recognizes Romeo VI.
Mercutio
Romeo &
Juliet - Part
III I. Public
Merrymaking II.
Further public
festivities III.
Meeting of Tybalt and
Mercutio IV. The
Duel V. The Death of
Mercutio VI. Romeo
decides to avenge
Mercutio VII. Finale:
Cortège with Tybalt’s
Body
In dieser Suite für
Blasorchester ist Johan
de Meij nicht von den
bestehenden
Orchestersuiten
ausgegangen, sondern hat
er mit welchen Teilen des
Balletts, die für ein
Arrangement gut geeignet
sind, eine eigene Suite
zusammengestellt.
Romeo & Juliet -
Part I I.
Introduction – The
Duke’s Command II.
The Street
Awakens III. Morning
Dance IV. Romeo at
Friar Laurence’s V.
Departure of the Guests
(Gavotte) VI.
Montagues & Capulets
– Dance of the Nights
Romeo
& Juliet - Part
II I. Arrival of
the Guests II. The
Quarrel III. The
Fight IV.
Interlude V. Tybalt
recognizes Romeo VI.
Mercutio
Romeo &
Juliet - Part
III I. Public
Merrymaking II.
Further public
festivities III.
Meeting of Tybalt and
Mercutio IV. The
Duel V. The Death of
Mercutio VI. Romeo
decides to avenge
Mercutio VII. Finale:
Cortège with Tybalt’s
Body
The Beasty Band [Conducteur et Parties séparées] - Débutant De Haske Publications
4-Part Flexible Band and Opt. Piano - Grade 1.5 SKU: BT.DHP-1185885-015 C...(+)
4-Part Flexible Band and
Opt. Piano - Grade 1.5
SKU:
BT.DHP-1185885-015
Composed by Jacob De
Haan. De Haske Flexible
Series. Original Light
Music. Set (Score &
Parts). Composed 2018. De
Haske Publications #DHP
1185885-015. Published by
De Haske Publications
(BT.DHP-1185885-015).
English-German-French-
Dutch.
Let your
musicians experience a
day at the farm with the
animals with this great
new piece by Jacob de
Haan. The Beasty
Band is a collection
of nine short, catchy
pieces, each featuring
animal sounds made by the
players! The pieces are:
1. Arrival, 2.
Cows, 3.
Horses, 4.
Cats, 5. Dogs,
6. Pigs, 7.
Chickens, 8. Sheep
and Goats and 9.
Departure. On this CD
you will hear a
selection.
The
Beasty Band klinkt
bij Jacob de Haan als een
dag vol plezier voor
muzikanten en publiek!
Deze verzameling van
negen korte, tot de
verbeelding sprekende
stukken met
dierengeluiden bestaat
uit: 1. Arrival,
2. Cows, 3.
Horses, 4.
Cats, 5. Dogs,
6. Pigs, 7.
Chickens, 8. Sheep
and Goats en 9.
Departure.
The Beasty
Band klingt bei Jacob
de Haan in einer
vierstimmig variablen
Besetzung nach viel
Spaß fu r Musiker und
Zuhörer! Dies ist eine
Sammlung von neun kurzen,
eingängigen Stücken
mit Tierlauten, die von
den Spielern erzeugt
werden können: 1.
Arrival, 2.
Cows, 3.
Horses, 4.
Cats, 5. Dogs,
6. Pigs, 7.
Chickens, 8. Sheep
and Goats und 9.
Departure. Auf dieser
CD können Sie eine
Auswahl daraus hören.
Choral SSAA choir SKU: CF.CM9717 Composed by Mark Burrows. 8 pages. Durat...(+)
Choral SSAA choir
SKU:
CF.CM9717
Composed by
Mark Burrows. 8 pages.
Duration 3 minutes, 7
seconds. Carl Fischer
Music #CM9717. Published
by Carl Fischer Music
(CF.CM9717).
ISBN
9781491160961. UPC:
680160919567. Psalm
91:4-5.
The Lord
will overshadow you with
his pinions, and you will
find refuge under his
wings. His faithfulness
will encompass you with a
shield. Psalm 91:4-5 To
feel safe and to feel
cared for, these are two
of the great yearnings of
the human heart. What a
blessing it is,
especially during times
of distress or
uncertainty, to know that
we aren't alone, that
someone is reaching out
to help us and even hold
us. It could be a family
member or a friend. It
could be a still small
voice whispering, It's
okay. I've got you. It
could even be a loving
community, like a choir,
assuring us that we are
known, that we are loved,
that we belong. The first
word - scapulis - is
translated as pinions. On
a bird, a pinion is the
outer part of the wing,
including the flight
feathers. The opening
measures, with a
one-measure phrase
followed be a
three-measure phrase, are
meant to evoke the image
of wings unfurling to
welcome in. All through
this section - mm. 1-20 -
encourage phrasing that
is never hurried but
moves with intention to
the last stressed
syllable of each phrase,
before ebbing slightly.
This section is all about
reassurance and comfort.
In mm. 21-30 we have a
new section where
uncertainty grows. At
this point the text - and
you will find refuge
under his wings - is more
aspirational than
definitive. Leaning into
non-chord tones will help
make this feeling of
uncertainty more
palpable. Places where
this occurs: Alto I -
Measure 22 the Ab in
pennis, m. 26 the Bb in
sperabis Soprano II -
Measure 23 the A natural
in pennis, m. 29 the C in
sperabis Soprano I -
Measure 24 the C in
pennis, m. 28 the D in
sperabis The apex of the
piece is at m. 30 where
the yearning for comfort
and assurance reaches its
height, finding that
comfort in the arrival
back at Eb major in m.
39. The phrase veritas
ejus (his faithfulness),
with its triplet figure
should flow gently, like
a musical carress. The
final reassurance occurs
at m. 51 as we return to
the melody, and the
homophonic texture, of
the opening. Even as the
piece gets softer and
softer, encourage the
singers to keep energy
moving through each
phrase. The structure and
feel of this piece was
inspired by one of the
all-time great settings
of yet another Psalm of
assurance - Felix
Mendelssohn's Lift Thine
Eyes. The Lord will
overshadow you with his
pinions,and you will find
refuge under his
wings.His faithfulness
will encompass you with a
shield. Psalm
91:4-5Â To feel safe
and to feel cared for,
these are two of the
great yearnings of the
human heart.What a
blessing it is,
especially during times
of distress or
uncertainty, to know that
we aren’t alone,
that someone is reaching
out to help us and even
hold us. It could be a
family member or a
friend. It could be a
still small voice
whispering,
“It’s okay.
I’ve got
you.†It could even
be a loving community,
like a choir, assuring us
that we are known, that
we are loved, that we
belong.The first word
– scapulis
– is translated as
“pinions.†On
a bird, a pinion is the
outer part of the wing,
including the flight
feathers. The opening
measures, with a
one-measure phrase
followed be a
three-measure phrase, are
meant to evoke the image
of wings unfurling to
welcome in. All through
this section – mm.
1-20 – encourage
phrasing that is never
hurried but moves with
intention to the last
stressed syllable of each
phrase, before ebbing
slightly. This section is
all about reassurance and
comfort.In mm. 21-30 we
have a new section where
uncertainty grows. At
this point the text
– and you will
find refuge under his
wings – is more
aspirational than
definitive. Leaning into
non-chord tones will help
make this feeling of
uncertainty more
palpable. Places where
this occurs:Alto I
– Measure 22 the
Ab in pennis, m. 26 the
Bb in sperabisSoprano II
– Measure 23 the A
natural in pennis, m. 29
the C in sperabisSoprano
I – Measure 24 the
C in pennis, m. 28 the D
in sperabis The apex
of the piece is at m. 30
where the yearning for
comfort and assurance
reaches its height,
finding that comfort in
the arrival back at Eb
major in m. 39. The
phrase veritas ejus (his
faithfulness), with its
triplet figure should
flow gently, like a
musical carress.The final
reassurance occurs at m.
51 as we return to the
melody, and the
homophonic texture, of
the opening. Even as the
piece gets softer and
softer, encourage the
singers to keep energy
moving through each
phrase.The structure and
feel of this piece was
inspired by one of the
all-time great settings
of yet another Psalm of
assurance – Felix
Mendelssohn’s Lift
Thine Eyes.
Violin, piano SKU: FG.55011-824-9 Solo part & piano reduction. Com...(+)
Violin, piano
SKU:
FG.55011-824-9
Solo part & piano
reduction. Composed
by Mikko Heinio.
Classical, contemporary.
Solo part & piano
reduction. Fennica
Gehrman #55011-824-9.
Published by Fennica
Gehrman (FG.55011-824-9).
ISBN
9790550118249.
Mikk
o Heiniö's Alla madre
(2007) abandons the
traditional virtuoso
concerto concept: here a
large orchestra engages
in dialogue with a solo
violin. The first
movement is called
Arrivo, “Arrival:
the soloist literally
arrives later, and by
degrees, playing his/her
first two solos offstage.
Even then the orchestra
continues to take the
initiative for a long
time. Not until the
second movement, entitled
Aura, “Air or Wind,
does the initiative pass
to the solo violin as it
sets light to notes in
the orchestra harmony
like individual lamps.
And not until the end of
the second movement and
the beginning of the
third does the solo
violin play completely on
its own. The title of the
first movement,
“Arrival,
underlines the event, the
dramaturgy, whereas that
of the second movement,
“Aura, alludes to
the texture and the
shimmering space. The
third movement is the
most strongly emotional,
as the name Carezza,
“Caress
suggests.
This
product includes the solo
part and the piano
reduction (B4
sized).
The
orchestral material is
available from the
publisher. The
orchestration:
3(III+picc)3(III+ca)3(III
=bcl)3(III=cfg)-4331-13-h
p-str.
Chamber Music String Quartet SKU: PR.114422680 Spring Outing. Comp...(+)
Chamber Music String
Quartet
SKU:
PR.114422680
Spring Outing.
Composed by Chen Yi. Set
of Score and Parts.
8+2+2+2+1 pages. Duration
5 minutes. Theodore
Presser Company
#114-42268. Published by
Theodore Presser Company
(PR.114422680).
ISBN
9781491136041. UPC:
680160688197.
TACHU
N (SPRING OUTING) was
composed in 2021 for
“The Joy
Project,†to
commission uplifting
works for performance at
free outdoor concerts in
the San Francisco Bay
region. The work’s
title comes from the
annual Chinese festival
when people go outdoors
and travel, to welcome
the arrival of the new
Spring season. This
cheerful 5-minute work
features energetic
melodic lines in unison,
contrasting with vivid
rhythmic patterns, which
the composer indicates as
expressing our excitement
upon breathing the fresh
Spring air. Tachun
(Spring Outing) was
commissioned by and
dedicated to the Del Sol
String Quartet as a part
of The Joy Project in
2021. Tachun is also the
name of a Chinese
traditional festival when
people go outdoors and
travel, to welcome the
arrival of the new spring
season each year. Here is
a statement from the Del
Sol String Quartet about
this project:“Del
Sol has commissioned a
body of short musical
works written to give
joy. As our gift to our
community during these
times, we are performing
these pieces in numerous
free concerts at public
settings around the Bay
Area — parks,
schoolyards, open spaces
— where people can
soak up some musical
“joy†while
safely practicing social
distancing in the open
air.â€My string
quartet has active
melodic lines in unison,
contrasting with vivid
rhythmic patterns, to
express our excitement
when we breathe the fresh
air.
Composed by Pepper
Choplin. Arranged by
Brant Adams. Shawnee
Press. Print on demand -
publisher prints this
title after order is
received. Lent. Shawnee
Press #LB5677. Published
by Shawnee Press
(HL.35002167).
Excitement
and anticipation build
throughout this
triumphant Palm Sunday
anthem as the crowd waits
in charged expectation
for Jesus's arrival in
Jerusalem. “Look in
the distance!...What do
you see?...I heard
Messiah is
coming!...Could it be
he?” Questions and
speculations mount as the
long-awaited Christ
approaches. “I see
it clear...He is
here!” Harmony
bursts out of the unison
“wonderings”
to announce the arrival
of Messiah. Blessed Is
He is majestic, yet
dance-like, inviting all
to join the celebration.
From Pepper Choplin's
best-selling cantata,
Once Upon a Tree,
this electrifying
processional is a must
for Palm Sunday.
Composed by Sean
O'Loughlin. SWS FS. Young
String Orchestra. Set of
Score and Parts. With
Standard notation.
16+4+16+10+10+10+4+12
pages. Duration 3
minutes, 37 seconds. Carl
Fischer Music #YAS177.
Published by Carl Fischer
Music (CF.YAS177).
ISBN 9781491146576.
UPC: 680160904075. 9 x 12
inches. Key: G
major.
The term
Doppler effect describes
the aural phenomenon of
pitch produced by a
moving source changing
relative to position,
like a siren passing you
on the street. Sean
O'Loughlin uses this
fascinating concept to
construct an original
composition that uses
instances of this effect.
A broad melody acts as a
connective element in the
piece, with a multitude
of teaching opportunities
for dynamics and
musicality. The term
Doppler effect is defined
as the shift in frequency
of acoustic or
electromagnetic radiation
emitted by a source
moving relative to an
observer as perceived by
the observer. Yes, it is
when the siren comes at
you at one pitch and
leaves you at another
pitch. I found this a
fascinating concept to
construct an original
musical composition with.
There are plenty of
instances of this effect,
but I also created a
broad melody to act as a
connective element to
thework. There are also a
multitude of teaching
opportunities for
dynamics and
musicality.The opening
material should be played
very mysteriously and by
exaggerating the
dynamics. Make the change
from p to f as big as you
can. The whole opening
section builds up to a
big arrival at m. 15.
From there, we're off to
the races with a rhythmic
version of the effect.
Again, bring out the
range of the dynamics for
maximum effect. The main
melody appears at m. 30
and should be played with
much lyricism as a
contrast to the pulsing
rhythmic activity
underneath. The rhythmic
pulse evaporates at m. 38
to leave a warm
chorale-like section. A
big presentation follows
at m. 46. The
chorale-like section
returns at m. 54. Keep
that same warmth of sound
as before. The next big
event happens at m. 67,
where the Doppler effect
is in full force.
Exaggerate those dynamics
and bring out the
ascending lines in the
celli. This leads to a
climactic arrival at m.
92 where the main melody
is augmented with lush
power chords supporting
the sound. The rhythmic
energy returns at m. 98
to drive the music to a
heroic ending.
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