Ascent (Day 6) Piano Trio: piano, violon, violoncelle Chester
SKU: HL.50606990 For Piano Trio. Composed by Ludovico Einaudi. Ins...(+)
SKU: HL.50606990
For Piano Trio.
Composed by Ludovico
Einaudi. Instrumental.
Softcover. 12 pages.
Duration 360 seconds.
Chester Music #CH88268.
Published by Chester
Music (HL.50606990).
ISBN 9798350128734.
UPC: 196288215370.
9.0x12.0x0.079
inches.
From 'Day
6' of Seven Days Walking,
Einaudi's Ascent (Day 6)
is a six minute piece for
Piano trio. Inspired by
winter walks through the
mountains and the subtle
details and variations
found when exploring the
same path over and over,
Seven Days Walking is a
seriesof seven studio
albums released
throughout 2019.
Ascentis one of several
main themes which recur
in different forms and
variations across the
days.
Composed by Tanner Otto.
MakeMusic Cloud;
Performance Music
Ensemble; Single Titles;
String Orchestra. Belwin
Intermediate String
Orchestra. Score. 12
pages. Duration 2:10.
Belwin Music #00-48044S.
Published by Belwin Music
(AP.48044S).
ISBN
9781470658779. UPC:
038081550824.
English.
Students
will love playing The
Ascent by Tanner Otto for
its upbeat, driving
rhythms and beautiful
melodies. This piece
begins with a triumphant
ostinato pattern that
reappears throughout the
work. The animated main
theme leads to a cold and
tense middle section
before building back into
familiar melody. This
piece is perfect for
working on the A minor
and C major finger
pattern and staccato
bowing. (2:10) This title
available in MakeMusic
Cloud.
Concert Band - Grade 4 SKU: AP.50883S Composed by Rossano Galante. Concer...(+)
Concert Band - Grade 4
SKU: AP.50883S
Composed by Rossano
Galante. Concert Band;
Performance Music
Ensemble; Single Titles.
Alfred Concert Band.
Score. Duration 4:00.
Alfred Music #00-50883S.
Published by Alfred Music
(AP.50883S).
ISBN
9781470668464. UPC:
038081587332.
English.
The Ascent
from Darkness, by Rossano
Galante, pays homage to
the human race that
endured the pandemic. He
creates a musical
landscape that depicts
strength, tenacity, and
compassion. The main
theme, which is broad and
lyrical, is stated by
horns and winds. As the
piece develops, the theme
is played by full,
chordal brass accompanied
by rhythmic woodwind
lines. The B section is
lightly orchestrated with
a solo oboe accompanied
by the clarinet section,
slowly growing to a tutti
statement. The piece
recapitulates with bold
brass chords. The work
ends as it begins,
quietly incorporating the
first motive. (4:00).
Sonic Ascent Orchestre d'harmonie [Conducteur] C.L. Barnhouse
Concert band - Pre 1 SKU: CL.023-4182-01 Composed by Weller. Young Concer...(+)
Concert band - Pre 1
SKU:
CL.023-4182-01
Composed by Weller. Young
Concert Band. Sound
Foundations Series. Audio
recording available
separately (item
CL.WFR380). Extra full
score. Composed 2013.
Duration 1 minute, 16
seconds. C.L. Barnhouse
#023-4182-01. Published
by C.L. Barnhouse
(CL.023-4182-01).
Energize your
beginning band with Sonic
Ascent, a triumphant
concert opener that fuels
a young musician’s
aspiration to play an
instrument. Using just
six notes in all the wind
parts, bold melodies are
shared by each section in
the ensemble. The middle
section offers
opportunities to develop
the ensemble’s
awareness of dynamic and
articulation contrast
through a series of short
call and response motifs
between the sections. A
brilliant opener for that
very first band
concert!
Concert Band - Grade 4 SKU: AP.50883 Composed by Rossano Galante. Concert...(+)
Concert Band - Grade 4
SKU: AP.50883
Composed by Rossano
Galante. Concert Band;
Performance Music
Ensemble; Single Titles.
Alfred Concert Band.
Score and Part(s).
Duration 4:00. Alfred
Music #00-50883.
Published by Alfred Music
(AP.50883).
ISBN
9781470668457. UPC:
038081587325.
English.
The Ascent
from Darkness, by Rossano
Galante, pays homage to
the human race that
endured the pandemic. He
creates a musical
landscape that depicts
strength, tenacity, and
compassion. The main
theme, which is broad and
lyrical, is stated by
horns and winds. As the
piece develops, the theme
is played by full,
chordal brass accompanied
by rhythmic woodwind
lines. The B section is
lightly orchestrated with
a solo oboe accompanied
by the clarinet section,
slowly growing to a tutti
statement. The piece
recapitulates with bold
brass chords. The work
ends as it begins,
quietly incorporating the
first motive. (4:00).
Horn - Advanced SKU: FP.FZZ10 Composed by Various Various. Published by F...(+)
Horn - Advanced
SKU:
FP.FZZ10
Composed by
Various Various.
Published by Forsyths
Publications (FP.FZZ10).
ISBN
979-0-57050-331-5.
Forsyth's Modern Wind
Music is a series of
volumes containing
exciting and challenging,
but not unduly difficult,
works by talented English
composers of current or
recent vintage for
recital, study or
recreation. Each volume
includes three works with
piano, one unaccompanied
piece, and one piece for
two or more players of
the instrument. In this
volume for horn two
aubades by David Ellis
and John Golland (Ascent)
reflect traditional
associations of the
instrument, whilst
Anthony Gilbert's Two
Birds by Kuring-Gai show
the horn in an unusual
guise and where written
whilst the composer was
living in the spectacular
landscape of New South
Wales. James Langley's
music is well known to
horn players and his
fanfare-like Caccia for
solo horn and Trident for
three horns are both
welcome additions to a
slender repertory.
Composed by Tanner Otto.
MakeMusic Cloud;
Performance Music
Ensemble; Single Titles;
String Orchestra. Belwin
Intermediate String
Orchestra. Score and
Part(s). 144 pages.
Duration 2:10. Belwin
Music #00-48044.
Published by Belwin Music
(AP.48044).
ISBN
9781470658762. UPC:
038081550817.
English.
Students
will love playing The
Ascent by Tanner Otto for
its upbeat, driving
rhythms and beautiful
melodies. This piece
begins with a triumphant
ostinato pattern that
reappears throughout the
work. The animated main
theme leads to a cold and
tense middle section
before building back into
familiar melody. This
piece is perfect for
working on the A minor
and C major finger
pattern and staccato
bowing. (2:10) This title
is available in MakeMusic
Cloud.
Composed by Luís Tinoco.
Score Only. 60 pages.
University of York Music
Press #MUSM570209583.
Published by University
of York Music Press
(BT.MUSM570209583).
English.
For
Symphony Orchestra.
Published 2007.
3(1st=picc).3
(3rd=ca).3(2nd=Eb,
3rd=bcl).3(3rd=cbn) /
4.2.3.1 /hp.pno.3perc /
str Commissioned by the
El Paso Symphony
Orchestra. First
performance: EPSO,
conducted by Sarah
Ioannides, Plaza Theatre,
20th April, 2007.
Score.
Sonic Ascent Orchestre d'harmonie [Conducteur et Parties séparées] C.L. Barnhouse
Concert band - Pre 1 SKU: CL.023-4182-00 Composed by Weller. Young Concer...(+)
Concert band - Pre 1
SKU:
CL.023-4182-00
Composed by Weller. Young
Concert Band. Sound
Foundations Series. Audio
recording available
separately (item
CL.WFR380). Score and set
of parts. Composed 2013.
Duration 1 minute, 16
seconds. C.L. Barnhouse
#023-4182-00. Published
by C.L. Barnhouse
(CL.023-4182-00).
Energize your
beginning band with Sonic
Ascent, a triumphant
concert opener that fuels
a young musician’s
aspiration to play an
instrument. Using just
six notes in all the wind
parts, bold melodies are
shared by each section in
the ensemble. The middle
section offers
opportunities to develop
the ensemble’s
awareness of dynamic and
articulation contrast
through a series of short
call and response motifs
between the sections. A
brilliant opener for that
very first band
concert!
Choral SATB choir, piano SKU: CF.CM9608 Composed by Jamey Ray. Fold. Perf...(+)
Choral SATB choir, piano
SKU: CF.CM9608
Composed by Jamey Ray.
Fold. Performance. 12
pages. Duration 3
minutes, 33 seconds. Carl
Fischer Music #CM9608.
Published by Carl Fischer
Music (CF.CM9608).
ISBN 9781491154304.
UPC: 680160912803. 6.875
x 10.5 inches. Key: E
major. English. Alfred,
Lord Tennyson
(1809-1892).
The
beauty in Alfred, Lord
Tennysons poem is
reflected by the music
with the use of text
painting. The piano
creates the sound of
moving water in m. 19,
providing the first
instance of text
painting. When the men
enter, they continue this
idea of the ocean tide
while the descent into
the word deep in m. 27
gives another instance of
text painting. Take
advantage of the minor
second suspension on the
word dark in m. 38 in
order to achieve a
feeling of suspense. The
entrance at m. 41 is
full, and while still
minor, the text gives us
hope for a change. The
change comes in m. 45
with the staggered
entrances creating a
sense of building and
ascent until the climax
of this moment at m. 47
on the word embark, which
is to be an ascent to
Heaven. The melody moves
between voice parts, even
as early as m. 14 where
the altos have the melody
for only a single
measure; it is then
handed back to the
sopranos. From mm. 5764,
the altos trade the
melody back and forth
with the sopranos. Take
note that the alto melody
should be brought out,
but the line does not
actually begin until the
word when. Lastly, be
intentional with syllabic
stress (no two eighth
notes or quarter notes
alike) and to give
direction to any note
longer than a quarter. I
hope you enjoy learning
and performing
Crossing the Bar
as much as I enjoyed
writing it. ~Jamey
Ray. The beauty in
Alfred, Lord Tennysonas
poem is reflected by the
music with the use of
text painting. The piano
creates the sound of
moving water in m.A 19,
providing the first
instance of text
painting. When the men
enter, they continue this
idea of the ocean tide
while the descent into
the word adeepa in m. 27
gives another instance of
text painting. Take
advantage of the minor
second suspension on the
word adarka in m. 38 in
order to achieve a
feeling of suspense. The
entrance at m. 41 is
full, and while still
minor, the text gives us
hope for a change. The
change comes in m. 45
with the staggered
entrances creating a
sense of building and
ascent until the climax
of this moment at m. 47
on the word aembark,a
which is to be an ascent
to Heaven. The melody
moves between voice
parts, even as early as
m. 14 where the altos
have the melody for only
a single measure; it is
then handed back to the
sopranos. From mm. 57a64,
the altos trade the
melody back and forth
with the sopranos. Take
note that the alto melody
should be brought out,
but the line does not
actually begin until the
word awhen.a Lastly, be
intentional with syllabic
stress (no two eighth
notes or quarter notes
alike) and to give
direction to any note
longer than a quarter. I
hope you enjoy learning
and performing
Crossing the Bar
as much as I enjoyed
writing it. ~Jamey
Ray. The beauty in
Alfred, Lord Tennyson's
poem is reflected by the
music with the use of
text painting. The piano
creates the sound of
moving water in m. 19,
providing the first
instance of text
painting. When the men
enter, they continue this
idea of the ocean tide
while the descent into
the word deep in m. 27
gives another instance of
text painting. Take
advantage of the minor
second suspension on the
word dark in m. 38 in
order to achieve a
feeling of suspense. The
entrance at m. 41 is
full, and while still
minor, the text gives us
hope for a change. The
change comes in m. 45
with the staggered
entrances creating a
sense of building and
ascent until the climax
of this moment at m. 47
on the word embark, which
is to be an ascent to
Heaven. The melody moves
between voice parts, even
as early as m. 14 where
the altos have the melody
for only a single
measure; it is then
handed back to the
sopranos. From mm. 57-64,
the altos trade the
melody back and forth
with the sopranos. Take
note that the alto melody
should be brought out,
but the line does not
actually begin until the
word when. Lastly, be
intentional with syllabic
stress (no two eighth
notes or quarter notes
alike) and to give
direction to any note
longer than a quarter. I
hope you enjoy learning
and performing
Crossing the Bar
as much as I enjoyed
writing it. ~Jamey
Ray. The beauty in
Alfred, Lord Tennyson's
poem is reflected by the
music with the use of
text painting. The piano
creates the sound of
moving water in m. 19,
providing the first
instance of text
painting. When the men
enter, they continue this
idea of the ocean tide
while the descent into
the word deep in m. 27
gives another instance of
text painting. Take
advantage of the minor
second suspension on the
word dark in m. 38 in
order to achieve a
feeling of suspense. The
entrance at m. 41 is
full, and while still
minor, the text gives us
hope for a change. The
change comes in m. 45
with the staggered
entrances creating a
sense of building and
ascent until the climax
of this moment at m. 47
on the word embark, which
is to be an ascent to
Heaven. The melody moves
between voice parts, even
as early as m. 14 where
the altos have the melody
for only a single
measure; it is then
handed back to the
sopranos. From mm. 57-64,
the altos trade the
melody back and forth
with the sopranos. Take
note that the alto melody
should be brought out,
but the line does not
actually begin until the
word when. Lastly, be
intentional with syllabic
stress (no two eighth
notes or quarter notes
alike) and to give
direction to any note
longer than a quarter. I
hope you enjoy learning
and performing Crossing
the Bar as much as I
enjoyed writing it.
~Jamey Ray. The beauty
in Alfred, Lord
Tennyson’s poem is
reflected by the music
with the use of text
painting. The piano
creates the sound of
moving water in m.Â
19, providing the first
instance of text
painting. When the men
enter, they continue this
idea of the ocean tide
while the descent into
the word
“deep†in m.
27 gives another instance
of text painting.Take
advantage of the minor
second suspension on the
word “darkâ€
in m. 38 in order to
achieve a feeling of
suspense. The entrance at
m. 41 is full, and while
still minor, the text
gives us hope for a
change. The change comes
in m. 45 with the
staggered entrances
creating a sense of
building and ascent until
the climax of this moment
at m. 47 on the word
“embark,â€
which is to be an ascent
to Heaven.The melody
moves between voice
parts, even as early as
m. 14 where the altos
have the melody for only
a single measure; it is
then handed back to the
sopranos. From mm.
57–64, the altos
trade the melody back and
forth with the sopranos.
Take note that the alto
melody should be brought
out, but the line does
not actually begin until
the word
“when.â€Lastly
, be intentional with
syllabic stress (no two
eighth notes or quarter
notes alike) and to give
direction to any note
longer than a quarter.I
hope you enjoy learning
and performing Crossing
the Bar as much as I
enjoyed writing it.~Jamey
Ray.
Composed by Ruth Elaine
Schram. Young String
Orchestra (YAS). Full
score. With Standard
notation. 8 pages. Carl
Fischer Music #YAS178F.
Published by Carl Fischer
Music (CF.YAS178F).
ISBN 9781491151808.
UPC: 680160909308. 9 x 12
inches.
The title
of this piece,?Le
Printemps,?is French for
the springtime. This
piece brings images of
springtime to the
listener's mind. ?The
rhythmic pattern that
begins in the bass and
works its way up to the
violins illustrates the
patter of raindrops or of
flowers bursting into
bloom. The beautiful
melodies in the piece
engage players and
audiences. The title
Le Printemps is
French for the
springtime. This piece is
meant to bring images of
springtime to the
listeners mind. The
rhythmic pattern that
begins in the bass and
works its way up through
the sections to the
violins could be the
patter of raindrops, or
indicative of flowers
pushing their way up
through the ground and
bursting into bloom. All
the instruments that have
the staccato notes are
the backup; the
instruments who have the
slurred notes are playing
the melody in these
sections and should bring
the melody out a little
bit. The middle section
is a little softer
(mp<
/em>) and more legato,
and could bring to mind a
lovely, warm breeze that
is gently moving across
the new, green grass and
the budding leaves of the
trees. It should be
played with tenderness
and feeling, paying
careful attention to the
crescendo in mm. 2528,
building up to the
mf
em>. In m. 34, make the
most of the poco
rall. as you prepare
to reiterate the staccato
portion that begins again
in m. 35. Again, the
moving parts here with
the slurs have the melody
and should not be
overwhelmed by the
staccato instruments. At
m. 55 should begin to
build slightly into the
crescendo at m. 57 and
really build that up
through beat 3 of m. 58.
At m. 59, be suddenly
very soft to begin the
final ascent into the
climactic ending. Build
steadily through the last
four measures and give a
good solid bowing of your
last note. Enjoy Le
Printemps!. The
title Le
PrintempsA is French
for athe springtime.a
This piece is meant to
bring images of
springtime to the
listeneras mind. A The
rhythmic pattern that
begins in the bass and
works its way up through
the sections to the
violins could be the
patter of raindrops, or
indicative of flowers
pushing their way up
through the ground and
bursting into bloom. All
the instruments that have
the staccato notes are
the backup; the
instruments who have the
slurred notes are playing
the melody in these
sections and should bring
the melody out a little
bit. The middle section
is a little softer
(mp<
/em>) and more legato,
and could bring to mind a
lovely, warm breeze that
is gently moving across
the new, green grass and
the budding leaves of the
trees. It should be
played with tenderness
and feeling, paying
careful attention to the
crescendo in mm. 25a28,
building up to the
mf
em>. In m. 34, make the
most of the poco
rall. as you prepare
to reiterate the staccato
portion that begins again
in m. 35. Again, the
moving parts here with
the slurs have the melody
and should not be
overwhelmed by the
staccato instruments. At
m. 55 should begin to
build slightly into the
crescendo at m. 57 and
really build that up
through beat 3 of m. 58.
At m. 59, be suddenly
very soft to begin the
final ascent into the
climactic ending. Build
steadily through the last
four measures and give a
good solid bowing of your
last note. A Enjoy Le
Printemps!. The
title Le
Printemps is French
for the springtime. This
piece is meant to bring
images of springtime to
the listener's mind. The
rhythmic pattern that
begins in the bass and
works its way up through
the sections to the
violins could be the
patter of raindrops, or
indicative of flowers
pushing their way up
through the ground and
bursting into bloom. All
the instruments that have
the staccato notes are
the backup; the
instruments who have the
slurred notes are playing
the melody in these
sections and should bring
the melody out a little
bit. The middle section
is a little softer
(mp<
/em>) and more legato,
and could bring to mind a
lovely, warm breeze that
is gently moving across
the new, green grass and
the budding leaves of the
trees. It should be
played with tenderness
and feeling, paying
careful attention to the
crescendo in mm. 25-28,
building up to the
mf
em>. In m. 34, make the
most of the poco
rall. as you prepare
to reiterate the staccato
portion that begins again
in m. 35. Again, the
moving parts here with
the slurs have the melody
and should not be
overwhelmed by the
staccato instruments. At
m. 55 should begin to
build slightly into the
crescendo at m. 57 and
really build that up
through beat 3 of m. 58.
At m. 59, be suddenly
very soft to begin the
final ascent into the
climactic ending. Build
steadily through the last
four measures and give a
good solid bowing of your
last note. Enjoy Le
Printemps!. The
title Le Printemps is
French for the
springtime. This piece is
meant to bring images of
springtime to the
listener's mind. The
rhythmic pattern that
begins in the bass and
works its way up through
the sections to the
violins could be the
patter of raindrops, or
indicative of flowers
pushing their way up
through the ground and
bursting into bloom. All
the instruments that have
the staccato notes are
the backup; the
instruments who have the
slurred notes are playing
the melody in these
sections and should bring
the melody out a little
bit. The middle section
is a little softer (mp)
and more legato, and
could bring to mind a
lovely, warm breeze that
is gently moving across
the new, green grass and
the budding leaves of the
trees. It should be
played with tenderness
and feeling, paying
careful attention to the
crescendo in mm. 25-28,
building up to the mf. In
m. 34, make the most of
the poco rall. as you
prepare to reiterate the
staccato portion that
begins again in m. 35.
Again, the moving parts
here with the slurs have
the melody and should not
be overwhelmed by the
staccato instruments. At
m. 55 should begin to
build slightly into the
crescendo at m. 57 and
really build that up
through beat 3 of m. 58.
At m. 59, be suddenly
very soft to begin the
final ascent into the
climactic ending. Build
steadily through the last
four measures and give a
good solid bowing of your
last note. Enjoy Le
Printemps!. The title
Le Printemps is French
for “the
springtime.†This
piece is meant to bring
images of springtime to
the listener’s
mind. Â The rhythmic
pattern that begins in
the bass and works its
way up through the
sections to the violins
could be the patter of
raindrops, or indicative
of flowers pushing their
way up through the ground
and bursting into bloom.
All the instruments that
have the staccato notes
are the backup; the
instruments who have the
slurred notes are playing
the melody in these
sections and should bring
the melody out a little
bit.The middle section is
a little softer (mp) and
more legato, and could
bring to mind a lovely,
warm breeze that is
gently moving across the
new, green grass and the
budding leaves of the
trees. It should be
played with tenderness
and feeling, paying
careful attention to the
crescendo in mm.
25–28, building up
to the mf. In m. 34, make
the most of the poco
rall. as you prepare to
reiterate the staccato
portion that begins again
in m. 35. Again, the
moving parts here with
the slurs have the melody
and should not be
overwhelmed by the
staccato instruments.At
m. 55 should begin to
build slightly into the
crescendo at m. 57 and
really build that up
through beat 3 of m. 58.
At m. 59, be suddenly
very soft to begin the
final ascent into the
climactic ending. Build
steadily through the last
four measures and give a
good solid bowing of your
last note. Â Enjoy Le
Printemps!
Springtime.
Composed by Ruth Elaine
Schram. Young String
Orchestra. Set of Score
and Parts. With Standard
notation. 8+8+2+5+5+5+2+8
pages. Duration 2
minutes, 16 seconds. Carl
Fischer Music #YAS178.
Published by Carl Fischer
Music (CF.YAS178).
ISBN 9781491151433.
UPC: 680160908936. 9 x 12
inches. Key: D
major.
The title of
this piece,?Le
Printemps,?is French for
the springtime. This
piece brings images of
springtime to the
listener's mind. ?The
rhythmic pattern that
begins in the bass and
works its way up to the
violins illustrates the
patter of raindrops or of
flowers bursting into
bloom. The beautiful
melodies in the piece
engage players and
audiences. The title
Le Printemps is
French for the
springtime. This piece is
meant to bring images of
springtime to the
listeners mind. The
rhythmic pattern that
begins in the bass and
works its way up through
the sections to the
violins could be the
patter of raindrops, or
indicative of flowers
pushing their way up
through the ground and
bursting into bloom. All
the instruments that have
the staccato notes are
the backup; the
instruments who have the
slurred notes are playing
the melody in these
sections and should bring
the melody out a little
bit. The middle section
is a little softer
(mp<
/em>) and more legato,
and could bring to mind a
lovely, warm breeze that
is gently moving across
the new, green grass and
the budding leaves of the
trees. It should be
played with tenderness
and feeling, paying
careful attention to the
crescendo in mm. 2528,
building up to the
mf
em>. In m. 34, make the
most of the poco
rall. as you prepare
to reiterate the staccato
portion that begins again
in m. 35. Again, the
moving parts here with
the slurs have the melody
and should not be
overwhelmed by the
staccato instruments. At
m. 55 should begin to
build slightly into the
crescendo at m. 57 and
really build that up
through beat 3 of m. 58.
At m. 59, be suddenly
very soft to begin the
final ascent into the
climactic ending. Build
steadily through the last
four measures and give a
good solid bowing of your
last note. Enjoy Le
Printemps!. The
title Le
PrintempsA is French
for athe springtime.a
This piece is meant to
bring images of
springtime to the
listeneras mind. A The
rhythmic pattern that
begins in the bass and
works its way up through
the sections to the
violins could be the
patter of raindrops, or
indicative of flowers
pushing their way up
through the ground and
bursting into bloom. All
the instruments that have
the staccato notes are
the backup; the
instruments who have the
slurred notes are playing
the melody in these
sections and should bring
the melody out a little
bit. The middle section
is a little softer
(mp<
/em>) and more legato,
and could bring to mind a
lovely, warm breeze that
is gently moving across
the new, green grass and
the budding leaves of the
trees. It should be
played with tenderness
and feeling, paying
careful attention to the
crescendo in mm. 25a28,
building up to the
mf
em>. In m. 34, make the
most of the poco
rall. as you prepare
to reiterate the staccato
portion that begins again
in m. 35. Again, the
moving parts here with
the slurs have the melody
and should not be
overwhelmed by the
staccato instruments. At
m. 55 should begin to
build slightly into the
crescendo at m. 57 and
really build that up
through beat 3 of m. 58.
At m. 59, be suddenly
very soft to begin the
final ascent into the
climactic ending. Build
steadily through the last
four measures and give a
good solid bowing of your
last note. A Enjoy Le
Printemps!. The
title Le
Printemps is French
for the springtime. This
piece is meant to bring
images of springtime to
the listener's mind. The
rhythmic pattern that
begins in the bass and
works its way up through
the sections to the
violins could be the
patter of raindrops, or
indicative of flowers
pushing their way up
through the ground and
bursting into bloom. All
the instruments that have
the staccato notes are
the backup; the
instruments who have the
slurred notes are playing
the melody in these
sections and should bring
the melody out a little
bit. The middle section
is a little softer
(mp<
/em>) and more legato,
and could bring to mind a
lovely, warm breeze that
is gently moving across
the new, green grass and
the budding leaves of the
trees. It should be
played with tenderness
and feeling, paying
careful attention to the
crescendo in mm. 25-28,
building up to the
mf
em>. In m. 34, make the
most of the poco
rall. as you prepare
to reiterate the staccato
portion that begins again
in m. 35. Again, the
moving parts here with
the slurs have the melody
and should not be
overwhelmed by the
staccato instruments. At
m. 55 should begin to
build slightly into the
crescendo at m. 57 and
really build that up
through beat 3 of m. 58.
At m. 59, be suddenly
very soft to begin the
final ascent into the
climactic ending. Build
steadily through the last
four measures and give a
good solid bowing of your
last note. Enjoy Le
Printemps!. The
title Le Printemps is
French for the
springtime. This piece is
meant to bring images of
springtime to the
listener's mind. The
rhythmic pattern that
begins in the bass and
works its way up through
the sections to the
violins could be the
patter of raindrops, or
indicative of flowers
pushing their way up
through the ground and
bursting into bloom. All
the instruments that have
the staccato notes are
the backup; the
instruments who have the
slurred notes are playing
the melody in these
sections and should bring
the melody out a little
bit. The middle section
is a little softer (mp)
and more legato, and
could bring to mind a
lovely, warm breeze that
is gently moving across
the new, green grass and
the budding leaves of the
trees. It should be
played with tenderness
and feeling, paying
careful attention to the
crescendo in mm. 25-28,
building up to the mf. In
m. 34, make the most of
the poco rall. as you
prepare to reiterate the
staccato portion that
begins again in m. 35.
Again, the moving parts
here with the slurs have
the melody and should not
be overwhelmed by the
staccato instruments. At
m. 55 should begin to
build slightly into the
crescendo at m. 57 and
really build that up
through beat 3 of m. 58.
At m. 59, be suddenly
very soft to begin the
final ascent into the
climactic ending. Build
steadily through the last
four measures and give a
good solid bowing of your
last note. Enjoy Le
Printemps!. The title
Le Printemps is French
for “the
springtime.†This
piece is meant to bring
images of springtime to
the listener’s
mind. Â The rhythmic
pattern that begins in
the bass and works its
way up through the
sections to the violins
could be the patter of
raindrops, or indicative
of flowers pushing their
way up through the ground
and bursting into bloom.
All the instruments that
have the staccato notes
are the backup; the
instruments who have the
slurred notes are playing
the melody in these
sections and should bring
the melody out a little
bit.The middle section is
a little softer (mp) and
more legato, and could
bring to mind a lovely,
warm breeze that is
gently moving across the
new, green grass and the
budding leaves of the
trees. It should be
played with tenderness
and feeling, paying
careful attention to the
crescendo in mm.
25–28, building up
to the mf. In m. 34, make
the most of the poco
rall. as you prepare to
reiterate the staccato
portion that begins again
in m. 35. Again, the
moving parts here with
the slurs have the melody
and should not be
overwhelmed by the
staccato instruments.At
m. 55 should begin to
build slightly into the
crescendo at m. 57 and
really build that up
through beat 3 of m. 58.
At m. 59, be suddenly
very soft to begin the
final ascent into the
climactic ending. Build
steadily through the last
four measures and give a
good solid bowing of your
last note. Â Enjoy Le
Printemps!
Choral SATB Choir, Organ, Piano SKU: PR.312407280 S.A.T.B. and Piano o...(+)
Choral SATB Choir, Organ,
Piano
SKU:
PR.312407280
S.A.T.B. and Piano or
Organ. Composed by
Lee Hoiby. Sws. Choral.
Performance Score. With
Standard notation.
36+22+4+3+3+3+3+2 pages.
Theodore Presser Company
#312-40728. Published by
Theodore Presser Company
(PR.312407280).
UPC:
680160043491. Octavo
inches. English. Text:
John Donne. John Donne.
Ascention: Holy Sonnet,
No. 7.
Concert
Band, Grade 2.5 6:50
Score. Composed by
Otto M. Schwarz. Concert.
Softcover. Duration 410
seconds. Hal Leonard
#SDP0672101. Published by
Hal Leonard (HL.4007970).
With its height
of 4,808 meters,
Mont-Blanc is called
“the roof of
Europe.†The
highest mountains on our
planet have been
insurmountable for a long
time. Only in the past
250 years have those
giants been mounted.
Crystal-hunter Jacques
Balmat and Michel-Gabriel
Paccard, a doctor, were
the first to climb
Mont-Blanc, in 1786. Many
paths lead to
Mont-Blanc's peak: the
regular ascent goes
through the magnificent
“voie royale of
Saint-Gervais-les-
Bains,†which was
opened in August 1855 by
the Englishmen Hudson,
Kennedy, and Smythe.
Today's most common route
to climb up, starting
from Saint-Gervais via
Aiguille du Gou ter
(3,863m), Do me du Gou
ter (4,304m), and Are te
des Bosses (4,547m), was
first used in 1861. Otto
M. Schwarz composed this
work inspired by
“the roof of
Europe†with its
luminous and huge
glaciers. Early in the
morning, mountain
climbers set off to the
peak; they witness the
sunrise, and experience
the hazards that the
journey up to the summit
brings along. A snowstorm
and falling rocks at Are
te des Bosses aggravate
their journey. A sudden
change of weather,
however, enables them to
reach the top after a
strenuous ascent. This
piece invites you to an
imaginary journey from
Saint-Gervais-les-Bains
via the “voie
royale†to the top
of Mont-Blanc.
Challenger Deep Orchestre d'harmonie [Conducteur et Parties séparées] - Facile Scomegna Edizioni Musicali
By Filippo Ledda. For concert band. Music for Young band. Grade 2. Score and f...(+)
By Filippo Ledda. For
concert
band. Music for Young
band.
Grade 2. Score and full
set of
parts. Duration 5
minutes, 50
seconds. Published by
Scomegna
Edizioni Musical srl
Composed by Huckeby.
Concert Band. Spotlight
Series. Audio recording
available separately
(item CL.WFR332).
Oversized, spiral-bound
score. Composed 2004.
Duration 5 minutes, 38
seconds. Opus III Wind
Orchestra Publications
#012-3354-75. Published
by Opus III Wind
Orchestra Publications
(CL.012-3354-75).
From the
opening pyramid chords to
the rousing and energetic
conclusion, Ascentium
will bring out the best
in your ensemble. The
crisp, syncopated rhythms
and exciting, but
playable, melodic lines
provide the basis for a
new piece which is
characteristically
Huckeby through and
through! Great for
concert and/or contest
performance.
About C.L.
Barnhouse Spotlight
Series
The
Barnhouse Spotlight
series includes
publications for solo
instruments with concert
band accompaniment. These
publications are designed
to feature outstanding
members of your band as
soloist, and to provide
unique and entertaining
programming options. Solo
parts are graded more
difficult than the band
accompaniments
Bayan SKU: HL.50600472 For Bayan Solo. Composed by Sofia Gubaiduli...(+)
Bayan
SKU:
HL.50600472
For
Bayan Solo. Composed
by Sofia Gubaidulina.
Woodwind Solo. Classical.
Softcover. 16 pages.
Sikorski #SIK8742.
Published by Sikorski
(HL.50600472).
8.25x12.0x0.076
inches.
In the
field of New Music, Sofia
Gubaidulina's “De
profundis†has
already achieved the
status of a classic. It
is not only an attainment
of the New Music that
instruments are capable
of approaching the human
voice in their sound, or
that they can imitate
areas of expression found
in language and
linguistic articulation.
But the avant-garde has
surely expanded the
spectrum to a
considerable extent. The
piece for solo bayan is
an impressive example of
this. The listener
witnesses a slow and
inexorable
intensification from the
“rattling†of
the lowest accordion
register up to the pure,
tender tones of the
highest register. It is
“anascent from the
lowest to the highest,
from the breath and soul
to the world's soul or
wisdomâ€, as
Gubaidulina's friend and
colleague Viktor Suslin
once expressed it. With
the means of sound,
Gubaidulina transfers a
symbol of life onto the
music: breathing.
Breathing distinguishes
the living from the dead.
What other instrument,
other than the winds,
perhaps, could better
lendexpression to this
characteristic than the
accordion? In contrast to
the wind instruments,
however, the accordion is
not an instrument into
which the player breathes
and creates breathing
sounds - instead, the
instrument itself assumes
this function. It
breathes through the
pulling apart and
pressing together of the
bellows. As the basis of
her composition,
Gubaidulina chose the
lines of the Psalm 130
“From the depths, o
Lord, I call to
you†for the
characterisation of her
interlaced message.
Shadowy chorale melodies
are occasionally heard,
but the fundamental idea
of ascent remains
decisive. Sharp
insertions and expressive
gestures, intrusive
glissandi and nervous
vibrati repeatedly
disturb the direction of
movement. And then we
hear consciously the
integrated breathing of
the instrument -
breathing slightly,
hardly audible, opposing
the powerful chord
blocks. The musicologist
Valentina Cholopova once
said of this: “All
these sounds confront
solemn chords richly
ornamented with
figurations, but there is
also a long, monodic
melody running through
the entire symbolic path
of the work - from the
depths all the way up to
the brilliant
heights.†The work
is dedicated to Friedrich
Lips!
Cantata
for the Feast of
Ascension. Composed
by Johann Sebastian Bach.
Edited by Julia Ronge.
This edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. Basso
continuo. Sacred vocal
music, Cantatas,
Ascension. Single Part,
basso continuo. Composed
1725. BWV 128. 8 pages.
Duration 22 minutes.
Carus Verlag #CV
31.128/14. Published by
Carus Verlag
(CA.3112814).
ISBN
9790007207748. Text
language: German/English.
Text: von Ziegler,
Christiane Mariane. Text
by Christiane Mariane von
Ziegler.
After
breaking off the annual
cantata cycle at the end
of March 1725 Bach set a
series of cantata texts
by the Leipzig poet
Christiana Mariana von
Ziegler, who maintained
one of the first
literary-musical salons.
The large scale chorale
chorus ties this work to
the chorale cantatas. The
central bass aria
Auf,auf, mit hellem
Schall with solo trumpet
is note-worthy since in
place of a middle section
in the aria, here Bach
employs an accompagnato
recitative. Score and
part available separately
- see item
CA.3112800.
By Frank Milholland. For Piano. The FJH Sacred Piano Library. Contents include: ...(+)
By Frank Milholland. For
Piano. The FJH Sacred
Piano Library. Contents
include: O Worship the
King; Wonderful Grace of
Jesus; Open My Eyes, That
I May See; Amazing Grace;
Praise Him! Praise Him!;
The Solid Rock; Blessed
Assurance; God Will Take
Care of You; Stand Up,
Stand Up for Jesus.
Sacred. Level: Early
Advanced. Book. Published
by The FJH Music Company
Inc.
Piano Accompaniment; Violin (Score and Solo Part) - advanced SKU: HL.49045598...(+)
Piano Accompaniment;
Violin (Score and Solo
Part) - advanced
SKU:
HL.49045598
Poem
for Violin and Piano.
Composed by Tatjana
Komarova. This edition:
Saddle stitching. Sheet
music. String Solo.
Musiker sind auf der
Buhne von Rampenlicht und
Ruhm, und nach der
Auffuhrung von einem
seltsamen Nebel in
Einsamkeit umhullt.Licht
verknupft sich mit Auf-
und Untergang, es fuhrt
in die Helligkeit, aber
auch in die Finsternis.
Licht kann erleuchten
oder b. Classical.
Softcover. Composed 2014.
36 pages. Duration 14'.
Schott Music #VLB193.
Published by Schott Music
(HL.49045598).
ISBN
9790001165709. 0.196
inches.
Musicians
onstage stand in the
limelight and enjoy their
fame whereas after
performance they become
shrouded in a strange fog
of isolation. Light is
associated with ascent
and descent: it can lead
into brightness, but
equally into darkness.
Light can illuminate and
yet bedazzling; fog
stands for insecurity,
uncertainty and anxiety
... but also for
mysticism and wafting
dreams. Somehow time
stands still...
Sunrise Over Kilimanjaro Orchestre d'harmonie [Conducteur] - Facile Opus III Wind Orchestra Publications
Concert band - Grade 3 SKU: CL.012-4309-01 Composed by Huckeby. Concert B...(+)
Concert band - Grade 3
SKU:
CL.012-4309-01
Composed by Huckeby.
Concert Band. Concert
Band Series. Audio
recording available
separately (item
CL.WFR381). Extra full
score. Composed 2014.
Duration 3 minutes, 25
seconds. Opus III Wind
Orchestra Publications
#012-4309-01. Published
by Opus III Wind
Orchestra Publications
(CL.012-4309-01).
This creative
work incorporates an
intriguing combination of
dramatic harmonies and
syncopated rhythms which
make it refreshingly
unique. From the subtle
opening to the lively
percussive motives,
Sunrise Over Kilimanjaro
presents an outstanding
programmatic perspective
which features unique
African-style polyrhythms
and harmonies. Inspired
by an actual ascent to
the top of Kilimanjaro,
this exciting work is a
real winner for concert
or contest
performance.
Cantata
for the Feast of
Ascension. Composed
by Johann Sebastian Bach.
Edited by Julia Ronge.
This edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. Violin 2.
Sacred vocal music,
Cantatas, Ascension.
Single Part, Violin 2.
Composed 1725. BWV 128. 8
pages. Duration 22
minutes. Carus Verlag #CV
31.128/12. Published by
Carus Verlag
(CA.3112812).
ISBN
9790007207724. Text
language: German/English.
Text: von Ziegler,
Christiane Mariane. Text
by Christiane Mariane von
Ziegler.
After
breaking off the annual
cantata cycle at the end
of March 1725 Bach set a
series of cantata texts
by the Leipzig poet
Christiana Mariana von
Ziegler, who maintained
one of the first
literary-musical salons.
The large scale chorale
chorus ties this work to
the chorale cantatas. The
central bass aria
Auf,auf, mit hellem
Schall with solo trumpet
is note-worthy since in
place of a middle section
in the aria, here Bach
employs an accompagnato
recitative. Score and
part available separately
- see item
CA.3112800.
Zeus Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire Scomegna Edizioni Musicali
(Dissidio e Furia). By Federico Agnello. For concert band. Grade 3.5. Score an...(+)
(Dissidio e Furia). By
Federico Agnello. For
concert
band. Grade 3.5. Score
and
full set of parts.
Duration 8
minutes, 30 seconds.
Published
by Scomegna Edizioni
Musical
srl
Performed by R.E.M. Edited by Carol Cuellar. Songbook (Piano/Vocal/Chords. Arran...(+)
Performed by R.E.M.
Edited by Carol Cuellar.
Songbook
(Piano/Vocal/Chords.
Arrangements for piano
and voice with guitar
chords). 76 pages.
Published by Warner
Brothers.