Composed by Travis
Weller. Folio. Cps. Set
of Score and Parts.
8+8+4+8+8+8+4+4+8+4+4+8+8
+8+8+6+6+6+4+8+6+2+4+4+6+
32 pages. Duration 3
minutes, 10 seconds. Carl
Fischer Music #CPS234.
Published by Carl Fischer
Music (CF.CPS234).
ISBN 9781491156346.
UPC: 680160914883. 9 x 12
inches.
Mercury -
the Roman god of
financial gain, commerce,
travelers, boundaries,
luck, trickery,
merchants, and thieves. A
popular deity in Roman
culture, he was instantly
recognized by his unique
winged shoes (talaria)
and hat (petasos). With
its close proximity to
the sun and faster orbit
than all other planets,
the Romans named this
small celestial body
after the swift-winged
messenger of their
culture. It is not
surprising that in
Holst's major orchestral
suite The Planets that
Mercury utilizes such
light and swift themes.
There is some duality to
the title of the work.
Part of it involves my
impression of what a
playful chase of the
winged messenger sounds
like. The other part is
the opening motif chasing
two themes of Holst
around the rest of the
work. It was only after
developing the first few
ideas that I recognized
some of the commonalities
with some of those same
themes from Holst's
orchestral work. There
are several quotations
from that famous piece by
Holst (notably as both
are stated successively
at mm. 13-20). The idea
of someone having to
chase the Winged
Messenger struck me as a
unique title around which
to craft a work. One of
my core beliefs about
music is that it can be
imbued with meaning by a
composer, and as the
sonic story unfolds an
ensemble, director, and
audience members can draw
out their own meaning
from the experience. Who
exactly is chasing
Mercury? I leave that up
to the wonderfully
creative minds of the
young ladies and
gentlemen who have the
opportunity to bring this
work to life. The
opportunity to compose
music and allow student
musicians to give this
piece new life and draw
out different meanings is
a humbling experience.
Rehearsal Notes and
Suggestions As stated
earlier, the opening
motif (a range of a
seventh) comes back
frequently in the work in
a variety of settings and
textures. Throughout the
work, it is important for
students to recognize the
two themes from Holst
when they are present in
the sound canvas. If the
solos (clarinet and alto
saxophone) are utilized,
the supporting parts
around and underneath
those lines must be
sensitive and play in
such a way to properly
balance those parts.
There are number of muted
sections for the trumpet
section, and I would
advocate for all trumpets
acquiring the same mute
to contribute to unity in
timbre. The bold fanfare
sections (the first
occurs at m. 37) must be
presented with a unified
articulation style. As
the texture intensifies
prior to m. 169, it is
crucial for the ensemble
to play within themselves
and exercise musical
courtesy to allow all
voices to be heard as
they arrive at m. 181. My
thanks in advance for
your support of this
music, and I wish you
well as you and your
ensemble begin Chasing
Mercury!. Mercury
– the Roman god of
financial gain, commerce,
travelers, boundaries,
luck, trickery,
merchants, and thieves. A
popular deity in Roman
culture, he was instantly
recognized by his unique
winged shoes (talaria)
and hat (petasos). With
its close proximity to
the sun and faster orbit
than all other planets,
the Romans named this
small celestial body
after the swift-winged
messenger of their
culture. It is not
surprising that in
Holst’s major
orchestral suite The
Planets that Mercury
utilizes such light and
swift themes.There is
some duality to the title
of the work. Part of it
involves my impression of
what a playful chase of
the winged messenger
sounds like. The other
part is the opening motif
chasing two themes of
Holst around the rest of
the work. It was only
after developing the
first few ideas that I
recognized some of the
commonalities with some
of those same themes from
Holst’s orchestral
work. There are several
quotations from that
famous piece by Holst
(notably as both are
stated successively at
mm. 13–20). The
idea of someone having to
chase the Winged
Messenger struck me as a
unique title around which
to craft a work.One of my
core beliefs about music
is that it can be imbued
with meaning by a
composer, and as the
sonic story unfolds an
ensemble, director, and
audience members can draw
out their own meaning
from the experience. Who
exactly is chasing
Mercury? I leave that up
to the wonderfully
creative minds of the
young ladies and
gentlemen who have the
opportunity to bring this
work to life. The
opportunity to compose
music and allow student
musicians to give this
piece new life and draw
out different meanings is
a humbling
experience.Rehearsal
Notes and SuggestionsAs
stated earlier, the
opening motif (a range of
a seventh) comes back
frequently in the work in
a variety of settings and
textures. Throughout the
work, it is important for
students to recognize the
two themes from Holst
when they are present in
the sound canvas. If the
solos (clarinet and alto
saxophone) are utilized,
the supporting parts
around and underneath
those lines must be
sensitive and play in
such a way to properly
balance those parts.
There are number of muted
sections for the trumpet
section, and I would
advocate for all trumpets
acquiring the same mute
to contribute to unity in
timbre. The bold fanfare
sections (the first
occurs at m. 37) must be
presented with a unified
articulation style. As
the texture intensifies
prior to m. 169, it is
crucial for the ensemble
to play within themselves
and exercise musical
courtesy to allow all
voices to be heard as
they arrive at m. 181. My
thanks in advance for
your support of this
music, and I wish you
well as you and your
ensemble begin Chasing
Mercury!
Composed by Travis
Weller. Sws. Cps. Full
score. 32 pages. Duration
3 minutes, 10 seconds.
Carl Fischer Music
#CPS234F. Published by
Carl Fischer Music
(CF.CPS234F).
ISBN
9781491156353. UPC:
680160914890. 9 x 12
inches.
Mercury -
the Roman god of
financial gain, commerce,
travelers, boundaries,
luck, trickery,
merchants, and thieves. A
popular deity in Roman
culture, he was instantly
recognized by his unique
winged shoes (talaria)
and hat (petasos). With
its close proximity to
the sun and faster orbit
than all other planets,
the Romans named this
small celestial body
after the swift-winged
messenger of their
culture. It is not
surprising that in
Holst's major orchestral
suite The Planets that
Mercury utilizes such
light and swift themes.
There is some duality to
the title of the work.
Part of it involves my
impression of what a
playful chase of the
winged messenger sounds
like. The other part is
the opening motif chasing
two themes of Holst
around the rest of the
work. It was only after
developing the first few
ideas that I recognized
some of the commonalities
with some of those same
themes from Holst's
orchestral work. There
are several quotations
from that famous piece by
Holst (notably as both
are stated successively
at mm. 13-20). The idea
of someone having to
chase the Winged
Messenger struck me as a
unique title around which
to craft a work. One of
my core beliefs about
music is that it can be
imbued with meaning by a
composer, and as the
sonic story unfolds an
ensemble, director, and
audience members can draw
out their own meaning
from the experience. Who
exactly is chasing
Mercury? I leave that up
to the wonderfully
creative minds of the
young ladies and
gentlemen who have the
opportunity to bring this
work to life. The
opportunity to compose
music and allow student
musicians to give this
piece new life and draw
out different meanings is
a humbling experience.
Rehearsal Notes and
Suggestions As stated
earlier, the opening
motif (a range of a
seventh) comes back
frequently in the work in
a variety of settings and
textures. Throughout the
work, it is important for
students to recognize the
two themes from Holst
when they are present in
the sound canvas. If the
solos (clarinet and alto
saxophone) are utilized,
the supporting parts
around and underneath
those lines must be
sensitive and play in
such a way to properly
balance those parts.
There are number of muted
sections for the trumpet
section, and I would
advocate for all trumpets
acquiring the same mute
to contribute to unity in
timbre. The bold fanfare
sections (the first
occurs at m. 37) must be
presented with a unified
articulation style. As
the texture intensifies
prior to m. 169, it is
crucial for the ensemble
to play within themselves
and exercise musical
courtesy to allow all
voices to be heard as
they arrive at m. 181. My
thanks in advance for
your support of this
music, and I wish you
well as you and your
ensemble begin Chasing
Mercury!. Mercury
– the Roman god of
financial gain, commerce,
travelers, boundaries,
luck, trickery,
merchants, and thieves. A
popular deity in Roman
culture, he was instantly
recognized by his unique
winged shoes (talaria)
and hat (petasos). With
its close proximity to
the sun and faster orbit
than all other planets,
the Romans named this
small celestial body
after the swift-winged
messenger of their
culture. It is not
surprising that in
Holst’s major
orchestral suite The
Planets that Mercury
utilizes such light and
swift themes.There is
some duality to the title
of the work. Part of it
involves my impression of
what a playful chase of
the winged messenger
sounds like. The other
part is the opening motif
chasing two themes of
Holst around the rest of
the work. It was only
after developing the
first few ideas that I
recognized some of the
commonalities with some
of those same themes from
Holst’s orchestral
work. There are several
quotations from that
famous piece by Holst
(notably as both are
stated successively at
mm. 13–20). The
idea of someone having to
chase the Winged
Messenger struck me as a
unique title around which
to craft a work.One of my
core beliefs about music
is that it can be imbued
with meaning by a
composer, and as the
sonic story unfolds an
ensemble, director, and
audience members can draw
out their own meaning
from the experience. Who
exactly is chasing
Mercury? I leave that up
to the wonderfully
creative minds of the
young ladies and
gentlemen who have the
opportunity to bring this
work to life. The
opportunity to compose
music and allow student
musicians to give this
piece new life and draw
out different meanings is
a humbling
experience.Rehearsal
Notes and SuggestionsAs
stated earlier, the
opening motif (a range of
a seventh) comes back
frequently in the work in
a variety of settings and
textures. Throughout the
work, it is important for
students to recognize the
two themes from Holst
when they are present in
the sound canvas. If the
solos (clarinet and alto
saxophone) are utilized,
the supporting parts
around and underneath
those lines must be
sensitive and play in
such a way to properly
balance those parts.
There are number of muted
sections for the trumpet
section, and I would
advocate for all trumpets
acquiring the same mute
to contribute to unity in
timbre. The bold fanfare
sections (the first
occurs at m. 37) must be
presented with a unified
articulation style. As
the texture intensifies
prior to m. 169, it is
crucial for the ensemble
to play within themselves
and exercise musical
courtesy to allow all
voices to be heard as
they arrive at m. 181. My
thanks in advance for
your support of this
music, and I wish you
well as you and your
ensemble begin Chasing
Mercury!
Band Bass Clarinet, Bass
Drum, Bassoon, Bells,
Chimes, Clarinet 1,
Clarinet 2, Crash
Cymbals, Euphonium,
Euphonium T.C., Floor
Tom, Flute, Flute 2,
Horn, Mallet Percussion,
Oboe, Percussion 1,
Percussion 2, Snare Drum,
Suspended Cymbal,
Tambourine and more. -
Grade 1.5
SKU:
CF.FPS156
Composed by
Joseph Compello. Folio.
Fps. Set of Score and
Parts.
8+2+4+4+2+5+2+2+4+4+4+6+2
+3+2+1+2+3+16 pages.
Duration 2 minutes, 50
seconds. Carl Fischer
Music #FPS156. Published
by Carl Fischer Music
(CF.FPS156).
ISBN
9781491156360. UPC:
680160914906. 9 x 12
inches.
Personal
Note My high school band
director, Clarence F.
Wroblewski, died on
November 24, 2018. In the
1950s, he was a pioneer
in the field of public
school instrumental music
in Baltimore City. He was
my mentor and my dear
friend. It was his
guidance and
encouragement that set my
young life's course on
the path of music.
Performance Notes The
idea for Ghost Chasers is
to have a spooky tune (m.
9, Trumpets) chasing
around in simple
counterpoint between two
sections. (See m. 19).
Students will find the
independent part playing
both challenging and fun.
In the contrasting
section at m. 30, young
students will gain
experience in changing
their articulation from
marcato to legato.
Obeying the cues for low
brass in this section is
recommended, but
depending on the
instrumentation of the
band, directors may
disregard the cues if
necessary. Directors may
also wish to take the
opportunity to teach a
lesson about major and
minor keys and discuss
why the tune at m. 9
sounds spooky and the
theme at m. 30 sound
lighthearted. Overall,
the main challenge for
this piece is balance.
For the chaser idea to be
effective the
half-measure lag between
the two sections playing
the same tune must be
easily heard. Even more
attention to balance must
be paid at m. 45, where
the spooky theme is added
to the chasing theme. If
Clarinets can play
third-line written D, use
it instead of the
alternate cued note. If
three Timpani are not
available, omit the note
D. Personal NoteMy
high school band
director, Clarence F.
Wroblewski, died on
November 24, 2018. In the
1950s, he was a pioneer
in the field of public
school instrumental music
in Baltimore City. He was
my mentor and my dear
friend. It was his
guidance and
encouragement that set my
young life’s
course on the path of
music.Performance
NotesThe idea for Ghost
Chasers is to have a
spooky tune (m. 9,
Trumpets) chasing around
in simple counterpoint
between two sections.
(See m. 19). Students
will find the independent
part playing both
challenging and fun.In
the contrasting section
at m. 30, young students
will gain experience in
changing their
articulation from marcato
to legato. Obeying the
cues for low brass in
this section is
recommended, but
depending on the
instrumentation of the
band, directors may
disregard the cues if
necessary. Directors may
also wish to take the
opportunity to teach a
lesson about major and
minor keys and discuss
why the tune at m. 9
sounds spooky and the
theme at m. 30 sound
lighthearted.Overall, the
main challenge for this
piece is balance. For the
“chaser†idea
to be effective the
half-measure lag between
the two sections playing
the same tune must be
easily heard. Even more
attention to balance must
be paid at m. 45, where
the “spookyâ€
theme is added to the
“chasingâ€
theme.If Clarinets can
play third-line written
D, use it instead of the
alternate cued note. If
three Timpani are not
available, omit the note
D.
Band Bass Clarinet, Bass
Drum, Bassoon, Bells,
Chimes, Clarinet 1,
Clarinet 2, Crash
Cymbals, Euphonium,
Euphonium T.C., Floor
Tom, Flute, Flute 2,
Horn, Mallet Percussion,
Oboe, Percussion 1,
Percussion 2, Snare Drum,
Suspended Cymbal,
Tambourine and more. -
Grade 1.5
SKU:
CF.FPS156F
Composed
by Joseph Compello. Sws.
Fps. Full score. 16
pages. Duration 2
minutes, 50 seconds. Carl
Fischer Music #FPS156F.
Published by Carl Fischer
Music (CF.FPS156F).
ISBN 9781491156377.
UPC: 680160914913. 9 x 12
inches.
Personal
Note My high school band
director, Clarence F.
Wroblewski, died on
November 24, 2018. In the
1950s, he was a pioneer
in the field of public
school instrumental music
in Baltimore City. He was
my mentor and my dear
friend. It was his
guidance and
encouragement that set my
young life's course on
the path of music.
Performance Notes The
idea for Ghost Chasers is
to have a spooky tune (m.
9, Trumpets) chasing
around in simple
counterpoint between two
sections. (See m. 19).
Students will find the
independent part playing
both challenging and fun.
In the contrasting
section at m. 30, young
students will gain
experience in changing
their articulation from
marcato to legato.
Obeying the cues for low
brass in this section is
recommended, but
depending on the
instrumentation of the
band, directors may
disregard the cues if
necessary. Directors may
also wish to take the
opportunity to teach a
lesson about major and
minor keys and discuss
why the tune at m. 9
sounds spooky and the
theme at m. 30 sound
lighthearted. Overall,
the main challenge for
this piece is balance.
For the chaser idea to be
effective the
half-measure lag between
the two sections playing
the same tune must be
easily heard. Even more
attention to balance must
be paid at m. 45, where
the spooky theme is added
to the chasing theme. If
Clarinets can play
third-line written D, use
it instead of the
alternate cued note. If
three Timpani are not
available, omit the note
D. Personal NoteMy
high school band
director, Clarence F.
Wroblewski, died on
November 24, 2018. In the
1950s, he was a pioneer
in the field of public
school instrumental music
in Baltimore City. He was
my mentor and my dear
friend. It was his
guidance and
encouragement that set my
young life’s
course on the path of
music.Performance
NotesThe idea for Ghost
Chasers is to have a
spooky tune (m. 9,
Trumpets) chasing around
in simple counterpoint
between two sections.
(See m. 19). Students
will find the independent
part playing both
challenging and fun.In
the contrasting section
at m. 30, young students
will gain experience in
changing their
articulation from marcato
to legato. Obeying the
cues for low brass in
this section is
recommended, but
depending on the
instrumentation of the
band, directors may
disregard the cues if
necessary. Directors may
also wish to take the
opportunity to teach a
lesson about major and
minor keys and discuss
why the tune at m. 9
sounds spooky and the
theme at m. 30 sound
lighthearted.Overall, the
main challenge for this
piece is balance. For the
“chaser†idea
to be effective the
half-measure lag between
the two sections playing
the same tune must be
easily heard. Even more
attention to balance must
be paid at m. 45, where
the “spookyâ€
theme is added to the
“chasingâ€
theme.If Clarinets can
play third-line written
D, use it instead of the
alternate cued note. If
three Timpani are not
available, omit the note
D.
Composed
by John Pasternak. Young
Band (YPS). Full score.
With Standard notation.
20 pages. Carl Fischer
Music #YPS197F. Published
by Carl Fischer Music
(CF.YPS197F).
ISBN
9781491152850. UPC:
680160910359.
Chase
the Horizon is
a musical journey
depicting a lonesome
cowboy riding on his
horse, chasing the
horizon. Composer John
Pasternak has delivered a
strong and musically
rewarding piece for the
young band. It begins
with a nice legato
section before setting
off on the journey with a
tuneful theme. The piece
develops through several
contrasting sections
finishing in a dramatic
conclusion. This piece
is a story of new
beginnings. While writing
this piece I pictured a
lonely cowboy riding on
his horse, chasing the
horizon. The beginning
for this piece should
have a very legato feel
except for the Xylophone
part, which should use a
very abrupt, staccato
articulation. Measure 9
should take on a staccato
and light feel. The
feeling should remain
light except for the
instruments with the
melody, who should play
their parts with a more
legato feel. Dynamics
throughout this first
section are crucial. All
parts at m. 22 should
play with a legato style
with focus on the
dynamics. The trumpet
interjection at m. 25
should be played very
light. At m. 32 there
should be contrast with
all the different styles
of articulation. Measure
42 should not slow down
too quickly as the group
should not ever get
slower than the tempo
marking at m. 49.The slow
section at m. 49 should
be played soft with a
legato style growing
gradually through m. 61.
The articulation at m. 61
should be short and
staccato, and be careful
not to rush. The sections
with the melody here
should contrast the
staccato of the ensemble
with a legato style. When
the ensemble arrives at
m. 78 the piece should
have a maestoso-style
feel. The rit. at m. 88
should not become slower
than the tempo at m. 92.
At m. 92, let the
horns and saxophones
really shine through.
Composed by
John Pasternak. Young
Band (YPS). Set of Score
and Parts. With Standard
notation.
16+4+8+8+4+4+10+4+4+8+8+8
+12+6+6+6+2+4+2+20+4
pages. Duration 3
minutes, 57 seconds. Carl
Fischer Music #YPS197.
Published by Carl Fischer
Music (CF.YPS197).
ISBN 9781491152171.
UPC: 680160909674. Key:
Eb major.
Chase the
Horizon is a musical
journey depicting a
lonesome cowboy riding on
his horse, chasing the
horizon. Composer John
Pasternak has delivered a
strong and musically
rewarding piece for the
young band. It begins
with a nice legato
section before setting
off on the journey with a
tuneful theme. The piece
develops through several
contrasting sections
finishing in a dramatic
conclusion. This piece
is a story of new
beginnings. While writing
this piece I pictured a
lonely cowboy riding on
his horse, chasing the
horizon. The beginning
for this piece should
have a very legato feel
except for the Xylophone
part, which should use a
very abrupt, staccato
articulation. Measure 9
should take on a staccato
and light feel. The
feeling should remain
light except for the
instruments with the
melody, who should play
their parts with a more
legato feel. Dynamics
throughout this first
section are crucial. All
parts at m. 22 should
play with a legato style
with focus on the
dynamics. The trumpet
interjection at m. 25
should be played very
light. At m. 32 there
should be contrast with
all the different styles
of articulation. Measure
42 should not slow down
too quickly as the group
should not ever get
slower than the tempo
marking at m. 49.The slow
section at m. 49 should
be played soft with a
legato style growing
gradually through m. 61.
The articulation at m. 61
should be short and
staccato, and be careful
not to rush. The sections
with the melody here
should contrast the
staccato of the ensemble
with a legato style. When
the ensemble arrives at
m. 78 the piece should
have a maestoso-style
feel. The rit. at m. 88
should not become slower
than the tempo at m. 92.
At m. 92, let the
horns and saxophones
really shine through.
For
Flute (or Recorder) &
Marimba. Composed by
Alexandra Pierce.
Woodwinds, Flute/Piccolo,
Percussion, Percussion.
Marimba. Score. Seesaw
Music Corp #50024250.
Published by Seesaw Music
Corp (SU.50024250).
A common chase
is an opening to the
outside in the inner wall
of a building, through
which diverse pipes and
wires exit; and also: a
foxhunt, a run of police
after hoodlums, a chaser
after brandy, a caccia, a
14th century poetic and
musical form on a hunting
text in which one voice
chases another, using the
same melody, at a
distance of eight or so
measures. Total duration:
9 1/2 minutes.Copyright
1991. Published by:
Seesaw Music.
Thunder Chase Orchestre d'harmonie [Conducteur et Parties séparées] - Facile Excelcia Music Publishing
Concert Band - Grade 2.5 SKU: XC.ICB2402 Composed by Larry Clark. Interme...(+)
Concert Band - Grade 2.5
SKU: XC.ICB2402
Composed by Larry Clark.
Intermezzo Grade 2-2.5.
Contest/Festival. Set of
parts. Excelcia Music
Publishing #ICB2402.
Published by Excelcia
Music Publishing
(XC.ICB2402).
9 x 12
inches.
Thunder
Chase takes you on a wild
ride along with the
famous storm chasers who
risk their lives to
better understand how
major storms work and
ultimately save lives.
The piece is a
high-energy musical chase
your students will love
to play again and again.
Every section plays a key
role in this exciting new
work for young bands.
Concert Band - Grade 2.5 SKU: XC.ICB2402FS Composed by Larry Clark. Inter...(+)
Concert Band - Grade 2.5
SKU: XC.ICB2402FS
Composed by Larry Clark.
Intermezzo Grade 2-2.5.
Contest/Festival. Score.
Excelcia Music Publishing
#ICB2402FS. Published by
Excelcia Music Publishing
(XC.ICB2402FS).
9 x 12
inches.
Thunder
Chase takes you on a wild
ride along with the
famous storm chasers who
risk their lives to
better understand how
major storms work and
ultimately save lives.
The piece is a
high-energy musical chase
your students will love
to play again and again.
Every section plays a key
role in this exciting new
work for young bands.
Composed by Neeck.
Concert Band. Heritage of
the March Series. Audio
recording available
separately (items
CL.WFR341 & CL.WFR353).
Extra full score.
Composed 2006. Duration 4
minutes, 32 seconds. Opus
III Wind Orchestra
Publications
#012-3500-01. Published
by Opus III Wind
Orchestra Publications
(CL.012-3500-01).
A vigorous
composition which is full
of exciting melodies and
vibrant rhythms. Starting
out in a fast 6/8, your
students and audiences
will feel that they are
riding along with
fearless Stormchasers who
are chasing a tornado or
hurricane. The calm at
the eye of the storm is
depicted with a beautiful
yet ominous sounding
section that gives your
flute section and flute
soloist a chance to
shine. An outstanding
choice for concert or
festival performances,
this unique selection
will challenge mid-level
bands. Outstanding!
About Heritage
of the
March
Full
-sized concert band
editions of the greatest
marches of all time. Each
has been faithfully
re-scored to accommodate
modern instrumentation
and incorporate
performance practices of
classic march style
Score Only.
Composed by Mark Lortz.
Series; String Orchestra.
FJH String Orchestra.
Score. Duration 2:15. The
FJH Music Company Inc
#98-ST6232S. Published by
The FJH Music Company Inc
(FJ.ST6232S).
English.
Immerse
yourself in the world of
storm chasers, following
the planet's deadliest
and most violent weather
outbreaks. This
high-energy piece uses
ostinatos and dynamic
rhythms to capture the
power and awe of these
massive storms. A soft
opening portrays the calm
before the storm,
followed by a driving
chase motive that
includes an optional
percussion section. An
explosive work!
About FJH
String
Orchestra
More emphasis on bow
technique and
independence of lines.
For the accomplished
middle, high school,
college, or professional
group. Grade 3 and up
Composed
by Francois Dandrieu.
Edited by Jeurissen.
Arranged by Jeurissen.
Sheet music. Friedrich
Hofmeister Musikverlag
#FH 2654. Published by
Friedrich Hofmeister
Musikverlag (HF.FH-2654).
ISBN 9790203426547.
8.3 x 11.7
inches.
1. La
Chasse; 2. Prmiere
Fanfare; 3. Second Bruit
de Chasse; 4. Fanfare
(Rondeau).
Composed by
Lauren Taylor. Set of
Score and Parts. Carl
Fischer Music #CPS273.
Published by Carl Fischer
Music (CF.CPS273).
ISBN 9781491163726.
UPC:
680160922512.
This
impression of the hustle
and bustle of a busy city
day and one's chase to
accomplish their daily
goals offers many
opportunities for the
development of the
performer's musical
skills. Starting
aggressively before
moving to a short
reflective section, one
can easily see the day
unfolding.Balance between
the percussion section
and ensemble is essential
to an accurate
performance of City
Chase. Careful attention
to ensure that the
melodic lines are heard
and not covered by
accompaniment will bring
the composition to life.
It is important to
maintain the stylistic
difference between
staccato and legato lines
so that the contrasts can
be heard.I hope you enjoy
your own chase through
the city!
Composed by Tanner Otto.
Performance Music
Ensemble; Single Titles;
String Orchestra. Belwin
Beginning String
Orchestra. Score.
Duration 2:05. Belwin
Music #00-49906S.
Published by Belwin Music
(AP.49906S).
ISBN
9781470657956. UPC:
038081575810.
English.
A sequel
to his earlier work
Sunchasers, Starchasers
by Tanner Otto is a dark,
driving piece that makes
B minor accessible to
younger players by
carefully avoiding any
extensions in the violin,
viola, and cello parts.
Its memorable themes,
reminiscent of a
nighttime adventure, are
spread across all
instruments. The middle
section becomes ethereal
with the pizzicato in the
viola, evoking an image
of twinkling stars.
Starchasers is a great
teaching piece for 3/4
time and uses low-2 and
high-2 work to reinforce
the 1-2 finger pattern
for intermediate
students. (2:05).
Composed by Tanner Otto.
MakeMusic Cloud;
Performance Music
Ensemble; Single Titles;
String Orchestra. Belwin
Beginning String
Orchestra. Programmatic.
Score and Part(s).
Duration 2:05. Belwin
Music #00-49906.
Published by Belwin Music
(AP.49906).
ISBN
9781470657949. UPC:
038081575803.
English.
A sequel
to his earlier work
Sunchasers, Starchasers
by Tanner Otto is a dark,
driving piece that makes
B minor accessible to
younger players by
carefully avoiding any
extensions in the violin,
viola, and cello parts.
Its memorable themes,
reminiscent of a
nighttime adventure, are
spread across all
instruments. The middle
section becomes ethereal
with the pizzicato in the
viola, evoking an image
of twinkling stars.
Starchasers is a great
teaching piece for 3/4
time and uses low-2 and
high-2 work to reinforce
the 1-2 finger pattern
for intermediate
students. (2:05).
Chasing Orion Orchestre d'harmonie [Conducteur et Parties séparées] - Facile Alfred Publishing
By Roland Barrett. Concert Band. Concert Band. Belwin Young Band. Form: Overture...(+)
By Roland Barrett.
Concert Band. Concert
Band. Belwin Young Band.
Form: Overture. Grade 2.
Conductor Score and
Parts. 272 pages.
Published by Alfred Music
Publishing
Grade 1 SKU: CL.023-4613-01 Composed by J. McBride. Young Concert Band. S...(+)
Grade 1
SKU:
CL.023-4613-01
Composed by J. McBride.
Young Concert Band. Sound
Foundations Series. Audio
recording available
separately (item
CL.WFR396). Extra full
score. Composed 2018.
Duration 1 minute, 46
seconds. C.L. Barnhouse
#023-4613-01. Published
by C.L. Barnhouse
(CL.023-4613-01).
Chasing The
Future opens with a soft,
yet stirring, ostinato
that builds into an
anthem of inspiration and
hope. Interweaving
melodies and
countermelodies give this
work a mature sound,
while individual parts
are written to be easily
accessible for young
players. Ample percussion
parts add intensity,
while a more delicate
middle section provides
the opportunity to
develop legato playing.
Captivating and exciting,
Chasing The Future is an
excellent opener or
closer for your next
concert!
Concert Band - Grade 2 SKU: AP.32494S Composed by Roland Barrett. Concert...(+)
Concert Band - Grade 2
SKU: AP.32494S
Composed by Roland
Barrett. Concert Band;
MakeMusic Cloud;
Performance Music
Ensemble; Single Titles.
Belwin Young Band. Form:
Overture. Score. 24
pages. Belwin Music
#00-32494S. Published by
Belwin Music (AP.32494S).
UPC: 038081376639.
English.
Chasing
Orion refers to the
practice of celestial
navigation, or sailing by
the stars. It was
inspired by the rich
early history of maritime
sailing and the
commercial shipping
industry. After traveling
to distant and exotic
lands, the fast clipper
ships raced toward home,
their holds bursting with
grain, wool, spices,
gold, and other
treasures. Catapulted
forward by the roaring
forties wind currents,
the sleek and elegant
sailing ships swept
around the ever-dangerous
Cape Horn as they
navigated by the stars,
chasing Orion. A dramatic
new addition to the young
band literature! This
title is available in
MakeMusic Cloud.
Easy Piano Piano/Keyboard SKU: HL.282482 The New Decade Series. Co...(+)
Easy Piano Piano/Keyboard
SKU: HL.282482
The New Decade
Series. Composed by
Various. Easy Piano
Songbook. Pop, Rock.
Softcover. 400 pages.
Published by Hal Leonard
(HL.282482).
ISBN
9781540034397. UPC:
888680789268.
9.0x12.0x0.923
inches.
70 songs
from the new millenium
arranged for easy piano,
including: Beautiful *
Before He Cheats * Bye
Bye Bye * Chasing
Pavements * Don't Know
Why * Drive * Fallin' *
Hey There Delilah * I
Gotta Feeling * I'm Yours
* Just Dance * Love Story
* Mercy * Only Time * The
Reason * Rehab * This
Love * A Thousand Miles *
Umbrella * Viva La Vida *
Waiting on the World to
Change * With Arms Wide
Open * You Raise Me Up *
and more.
Grade 1 SKU: CL.023-4613-00 Composed by J. McBride. Young Concert Band. S...(+)
Grade 1
SKU:
CL.023-4613-00
Composed by J. McBride.
Young Concert Band. Sound
Foundations Series. Audio
recording available
separately (item
CL.WFR396). Score and set
of parts. Composed 2018.
Duration 1 minute, 46
seconds. C.L. Barnhouse
#023-4613-00. Published
by C.L. Barnhouse
(CL.023-4613-00).
Chasing The
Future opens with a soft,
yet stirring, ostinato
that builds into an
anthem of inspiration and
hope. Interweaving
melodies and
countermelodies give this
work a mature sound,
while individual parts
are written to be easily
accessible for young
players. Ample percussion
parts add intensity,
while a more delicate
middle section provides
the opportunity to
develop legato playing.
Captivating and exciting,
Chasing The Future is an
excellent opener or
closer for your next
concert!
Violin and basso continuo (VN/BC) - advanced SKU: HL.49016283 From the...(+)
Violin and basso continuo
(VN/BC) - advanced
SKU: HL.49016283
From the Sonata op.
11/1. Composed by
Louis-Gabriel Guillemain.
Edited by Frederick F.
Polnauer. This edition:
Saddle stitching. Sheet
music. Violin-Bibliothek
(Violin Library).
Classical. 17 pages.
Schott Music #VLB 12.
Published by Schott Music
(HL.49016283).
ISBN
9790001102582.
Loui
s-Gabriel Guillemain
(1705-1770) was born in
Paris and entered the
court orchestra of
Versailles as a violinist
in 1737. As a composer he
was influenced by Corelli
and apparently
self-taught.This Chasse
comes from Jean-Baptiste
Cartier's compendium
L'Art du violin (1798).
Hunt pieces of this type
were very common in
eighteenth-century French
violin music.
Piano 4 hands - Level 1 SKU: LM.P1362 Pantheon des pianistes. Classical. ...(+)
Piano 4 hands - Level 1
SKU: LM.P1362
Pantheon des pianistes.
Classical. Score.
Editions Henry Lemoine
#P1362. Published by
Editions Henry Lemoine
(LM.P1362).
ISBN
9790230916462.
COTT
RAU : Santa Lucia (Chant
national napolitain) -
DIABELLI : Piece
melodique Op.149 - GRETRY
: Une fievre brulante
(Richard Coeur de Lion) -
LACK : Le bapteme de la
poupee Op.61 bis - LANDRY
: Valse espagnole op.77 -
LAVIGNAC : Priere et
Choral - SOR : Galopade -
THOME : Alsacienne Op.58
bis - En chasse Op.58 bis
- WOHLFART : L'Ami des
enfants Op.87.