(Hal Leonard Solo Guitar Library). By Pat Donohue. For Guitar. Guitar Solo. S...(+)
(Hal Leonard Solo Guitar
Library). By Pat Donohue.
For Guitar. Guitar Solo.
Softcover Audio Online.
Guitar tablature. 96
pages.
Published by Hal Leonard
Grade 3 SKU: CL.032-2421-00 Jazz Ensemble. Score and set of parts. Compos...(+)
Grade 3
SKU:
CL.032-2421-00
Jazz
Ensemble. Score and set
of parts. Composed 1992.
C.L. Barnhouse
#032-2421-00. Published
by C.L. Barnhouse
(CL.032-2421-00).
An uptempo rock
original with a unique
sound, Steeplechase is
sure to catch the
imagination of your
students. Has solos for
tenor sax and trumpet
(written suggested solos
are provided) and lots of
hard drivin’ rock for
the whole ensemble.
Ranges are quite modest
for a chart at this level
and a great little fugue
section after the solos
helps make this a very
strong arrangement.
Repertoire for Piano Duet, Two Pianos, and Multiple Pianos. Composed by Select...(+)
Repertoire for Piano
Duet,
Two Pianos, and Multiple
Pianos. Composed by
Selected
by E. L. Lancaster and
Kenon
D. Renfrow.
Method/Instruction; Piano
-
Alfred's Group Piano for
Adults. Alfred's Group
Piano
for Adults. Book. 80
pages.
Alfred Music #00-47849.
Published by Alfred Music
By Nori Kelley. For Guitar (Flatpicking and Fingerpicking). Method. Value Line. ...(+)
By Nori Kelley. For
Guitar (Flatpicking and
Fingerpicking). Method.
Value Line. All Styles.
Level: Beginning. Book/CD
Set. Size 8.75x11.75. 40
pages. Published by Mel
Bay Publications, Inc.
Grade 3.5 SKU: CL.032-2476-01 Composed by Spera. Jazz Ensemble. Audio rec...(+)
Grade 3.5
SKU:
CL.032-2476-01
Composed by Spera. Jazz
Ensemble. Audio recording
available separately
(items CL.WFR177 &
CL.991-2008-02). Extra
full score. Composed
1992. Duration 6 minutes,
26 seconds. C.L.
Barnhouse #032-2476-01.
Published by C.L.
Barnhouse
(CL.032-2476-01).
A hot,
drivin’ shuffle by
Dominic Spera that is
sure to be a big favorite
at festivals and concerts
everywhere. An extremely
bold introduction gets
things started on the
right foot and then it
just gets better and
better! Easily opened up
for as many solos as you
wish, this exciting chart
is a real showstopper for
a solid band.
Grade 3 SKU: CL.032-2270-00 Composed by Rowe. Jazz Ensemble. Score and se...(+)
Grade 3
SKU:
CL.032-2270-00
Composed by Rowe. Jazz
Ensemble. Score and set
of parts. Composed 1990.
C.L. Barnhouse
#032-2270-00. Published
by C.L. Barnhouse
(CL.032-2270-00).
Hard Drivin’
funk in the Crusaders’
style. A great vehicle
for young soloists and
can be a super feature
for that one really
exceptional player in
your band! Playable with
reduced instrumentation.
Suggested solos
included.
The Main Attraction Ensemble Jazz [Conducteur] - Intermédiaire C.L. Barnhouse
Grade 3 SKU: CL.032-4858-01 Composed by Berg. Jazz Ensemble. Extra full s...(+)
Grade 3
SKU:
CL.032-4858-01
Composed by Berg. Jazz
Ensemble. Extra full
score. C.L. Barnhouse
#032-4858-01. Published
by C.L. Barnhouse
(CL.032-4858-01).
The Main
Attraction is a hard
drivin’ shuffle in the
style of Basie, Thad and
Mel, and Phil Wilson, but
with a slightly more
modern groove. This is
the perfect opener for
any concert or festival!
The tune is based on a
16-bar blues, features
lots of ensemble for the
band, and has solo spots
for any saxophone, brass
player, guitarist or
pianist. Your performance
can’t go wrong if
you’re featuring The
Main Attraction!.
A Complete Guide to Learning Jazz-Blues Guitar. Guitar Educational. Book and CD ...(+)
A Complete Guide to
Learning Jazz-Blues
Guitar. Guitar
Educational. Book and CD
Package. With notes and
tablature. Size 9x12
inches. 104 pages.
Published by Hal Leonard.
Grade 3 SKU: CL.032-3272-00 Composed by Rowe. Jazz Ensemble. Barnhouse Me...(+)
Grade 3
SKU:
CL.032-3272-00
Composed by Rowe. Jazz
Ensemble. Barnhouse
Medium Jazz Series. Audio
recording available
separately (items
CL.991-2003-01 &
CL.991-2003-02). Score
and set of parts.
Composed 2003. Duration 5
minutes, 4 seconds. C.L.
Barnhouse #032-3272-00.
Published by C.L.
Barnhouse
(CL.032-3272-00).
A hard drivin'
swing shuffle chart in
the Quincy Jones mode
that really cooks! Built
on an extended Blues
form, every section gets
a chance to shine and it
includes an open solo
section for the soloists
of your choosing (written
suggested solos are
included). Playable with
limited instrumentation
and a helpful Guitar
Performance Help Sheet is
included. Big sounding
ensemble sections make
this a great choice for
any occasion for
mid-level bands.
OUTSTANDING!
By William Owens. For concert band. FJH Young Band. Full set (score and parts). ...(+)
By William Owens. For
concert band. FJH Young
Band. Full set (score and
parts). Score only also
available: B1353S. Grade
2. Score and set of
parts. Composed 2007
Grade 1 SKU: CL.015-3471-01 Composed by Shaffer. Young Concert Band. Elem...(+)
Grade 1
SKU:
CL.015-3471-01
Composed by Shaffer.
Young Concert Band.
Elementary Series. Audio
recording available
separately (items
CL.WFR336 & CL.WFR344).
Extra full score.
Composed 2005. Duration 2
minutes, 17 seconds. C.L.
Barnhouse #015-3471-01.
Published by C.L.
Barnhouse
(CL.015-3471-01).
A very easy but
solid rock tune that
features the whole drum
section. Full of fun and
vitality and a great way
to let your young
drummers shine! Horn
parts are powerful and
provide a great backing
for the percussion. Sure
to be a big hit at any
concert performance but
mostly, this one is just
a ton of fun!!!!
Composed by Peter Terry.
Concert String Orchestra
(CAS). Full score. With
Standard notation. 12
pages. Carl Fischer Music
#CAS112F. Published by
Carl Fischer Music
(CF.CAS112F).
ISBN
9781491151686. UPC:
680160909186. 9 x 12
inches.
Peter
Terry's Unleashed?makes
for an impressive concert
opener that is the
musical equivalent of
unleashing a caged
animal. The piece is
exciting from start to
finish, with energetic
and bold material that
students will love to
play. Everyone wants
to be unleashed, to be
set free of restraints.
This piece captures the
exhilaration of being set
into motion with
unlimited optimism and
energy. The piece is a
rhythmic and
propulsive gallop that spins
off lyrical material as
it drives to a climactic
finish that is both
exciting and
fun.The piece opens
with a robust
first theme, then
transitions on a rhythmic
figure spun off from the
opening
material. The opening
sectionrepeats in
variation with different
orchestration. The more
lyrical material that
emerges should be brought
out to balance the first
theme and rhythmic
figures from the first
section. A development of
the material from the
opening follows,
driving to a
brief
pause. This
pause
feels like it
will lead to a
contrasting lyrical
theme, but the energy
is
just suspended for a
second before the piece
takes off again.
The
work finishes with a
repeated-note transition
back to variations on the
opening material and a
propulsive rush to the
end.I enjoyed
writing this piece and
hope your students will
enjoy playing these
contrasting styles and
that you will find the
piece beneficial in
teaching important
musical concepts.
?????????Peter Terry,
2018. Everyone
wants to be unleashed, to
be set free of
restraints. This piece
captures the exhilaration
of being set into motion
with unlimited optimism
and energy.A The piece is a
rhythmic and
propulsive gallop that spins
off lyrical material as
it drives to a climactic
finish that is both
exciting and
fun.The piece opens
with a robust
first theme, then
transitions on a rhythmic
figure spun off from the
opening
material. The opening
sectionrepeats in
variation with different
orchestration. The more
lyrical material that
emerges should be brought
out to balance the first
theme and rhythmic
figures from the first
section. A development of
the material from the
opening follows,
driving to a
brief
pause. This
pause
feels like it
will lead to a
contrasting lyrical
theme, but the energy
is
just suspended for a
second before the piece
takes off again.
The
work finishes with a
repeated-note transition
back to variations on the
opening material and a
propulsive rush to the
end.I enjoyed
writing this piece and
hope your students will
enjoy playing these
contrasting styles and
that you will find the
piece beneficial in
teaching important
musical concepts.
?????????Peter Terry,
2018. Everyone
wants to be unleashed, to
be set free of
restraints. This piece
captures the exhilaration
of being set into motion
with unlimited optimism
and energy.A The piece is a
rhythmic and
propulsive gallop that spins
off lyrical material as
it drives to a climactic
finish that is both
exciting and
fun.The piece opens
with a robust
first theme, then
transitions on a rhythmic
figure spun off from the
opening
material. The opening
sectionrepeats in
variation with different
orchestration. The more
lyrical material that
emerges should be brought
out to balance the first
theme and rhythmic
figures from the first
section. A development of
the material from the
opening follows,
driving to a
brief
pause. This
pause
feels like it
will lead to a
contrasting lyrical
theme, but the energy
is
just suspended for a
second before the piece
takes off again.
The
work finishes with a
repeated-note transition
back to variations on the
opening material and a
propulsive rush to the
end.I enjoyed
writing this piece and
hope your students will
enjoy playing these
contrasting styles and
that you will find the
piece beneficial in
teaching important
musical concepts.
?????????Peter Terry,
2018. Everyone
wants to be unleashed, to
be set free of
restraints. This piece
captures the exhilaration
of being set into motion
with unlimited optimism
and energy. The piece is a
rhythmic and
propulsive gallop that spins
off lyrical material as
it drives to a climactic
finish that is both
exciting and
fun.The piece opens
with a robust
first theme, then
transitions on a rhythmic
figure spun off from the
opening
material. The opening
sectionrepeats in
variation with different
orchestration. The more
lyrical material that
emerges should be brought
out to balance the first
theme and rhythmic
figures from the first
section. A development of
the material from the
opening follows,
driving to a
brief
pause. This
pause
feels like it
will lead to a
contrasting lyrical
theme, but the energy
is
just suspended for a
second before the piece
takes off again.
The
work finishes with a
repeated-note transition
back to variations on the
opening material and a
propulsive rush to the
end.I enjoyed
writing this piece and
hope your students will
enjoy playing these
contrasting styles and
that you will find the
piece beneficial in
teaching important
musical concepts.
?????????Peter Terry,
2018. Eve
ryone wants to be
unleashed, to be set free
of restraints. This piece
captures the exhilaration
of being set into motion
with unlimited optimism
and energy. The piece is
a rhythmic and propulsive
gallop that spins off
lyrical material as it
drives to a climactic
finish that is both
exciting and fun. The
piece opens with a robust
first theme, then
transitions on a rhythmic
figure spun off from the
opening material. The
opening section repeats
in variation with
different orchestration.
The more lyrical material
that emerges should be
brought out to balance
the first theme and
rhythmic figures from the
first section. A
development of the
material from the opening
follows, driving to a
brief pause. This pause
feels like it will lead
to a contrasting lyrical
theme, but the energy is
just suspended for a
second before the piece
takes off again. The work
finishes with a
repeated-note transition
back to variations on the
opening material and a
propulsive rush to the
end. I enjoyed writing
this piece and hope your
students will enjoy
playing these contrasting
styles and that you will
find the piece beneficial
in teaching important
musical concepts. Peter
Terry, 2018. Everyone
wants to be unleashed, to
be set free of
restraints. This piece
captures the exhilaration
of being set into motion
with unlimited optimism
and energy. The piece is
a rhythmic and propulsive
gallop that spins off
lyrical material as it
drives to a climactic
finish that is both
exciting and fun.The
piece opens with a robust
first theme, then
transitions on a rhythmic
figure spun off from the
opening material. The
opening section repeats
in variation with
different orchestration.
The more lyrical material
that emerges should be
brought out to balance
the first theme and
rhythmic figures from the
first section. A
development of the
material from the opening
follows, driving to a
brief pause. This pause
feels like it will lead
to a contrasting lyrical
theme, but the energy is
just suspended for a
second before the piece
takes off again. The work
finishes with a
repeated-note transition
back to variations on the
opening material and a
propulsive rush to the
end.I enjoyed writing
this piece and hope your
students will enjoy
playing these contrasting
styles and that you will
find the piece beneficial
in teaching important
musical
concepts.​​​​​â
€‹â€‹â€‹â€‹Peter Terry,
2018.
About Carl
Fischer Concert String
Orchestra
Series
Thi
s series of pieces (Grade
3 and higher) is designed
for advancing ensembles.
The pieces in this series
are characterized
by:
Expanded use
of rhythms, ranges and
keys but technical
demands are still
carefully
considered
More
comprehensive bowing
techniques
Viola
T.C.
included
Careful
selection of keys and
degree of difficulty for
advancing
musicians
Composed by Peter Terry.
Concert String Orchestra
(CAS). Set of Score and
Parts. With Standard
notation.
16+4+16+10+10+10+4+12
pages. Duration 2
minutes, 57 seconds. Carl
Fischer Music #CAS112.
Published by Carl Fischer
Music (CF.CAS112).
ISBN 9781491151310.
UPC: 680160908813. 9 x 12
inches. Key: E
minor.
Peter
Terry's Unleashed?makes
for an impressive concert
opener that is the
musical equivalent of
unleashing a caged
animal. The piece is
exciting from start to
finish, with energetic
and bold material that
students will love to
play. Everyone wants
to be unleashed, to be
set free of restraints.
This piece captures the
exhilaration of being set
into motion with
unlimited optimism and
energy. The piece is a
rhythmic and
propulsive gallop that spins
off lyrical material as
it drives to a climactic
finish that is both
exciting and
fun.The piece opens
with a robust
first theme, then
transitions on a rhythmic
figure spun off from the
opening
material. The opening
sectionrepeats in
variation with different
orchestration. The more
lyrical material that
emerges should be brought
out to balance the first
theme and rhythmic
figures from the first
section. A development of
the material from the
opening follows,
driving to a
brief
pause. This
pause
feels like it
will lead to a
contrasting lyrical
theme, but the energy
is
just suspended for a
second before the piece
takes off again.
The
work finishes with a
repeated-note transition
back to variations on the
opening material and a
propulsive rush to the
end.I enjoyed
writing this piece and
hope your students will
enjoy playing these
contrasting styles and
that you will find the
piece beneficial in
teaching important
musical concepts.
?????????Peter Terry,
2018. Everyone
wants to be unleashed, to
be set free of
restraints. This piece
captures the exhilaration
of being set into motion
with unlimited optimism
and energy.A The piece is a
rhythmic and
propulsive gallop that spins
off lyrical material as
it drives to a climactic
finish that is both
exciting and
fun.The piece opens
with a robust
first theme, then
transitions on a rhythmic
figure spun off from the
opening
material. The opening
sectionrepeats in
variation with different
orchestration. The more
lyrical material that
emerges should be brought
out to balance the first
theme and rhythmic
figures from the first
section. A development of
the material from the
opening follows,
driving to a
brief
pause. This
pause
feels like it
will lead to a
contrasting lyrical
theme, but the energy
is
just suspended for a
second before the piece
takes off again.
The
work finishes with a
repeated-note transition
back to variations on the
opening material and a
propulsive rush to the
end.I enjoyed
writing this piece and
hope your students will
enjoy playing these
contrasting styles and
that you will find the
piece beneficial in
teaching important
musical concepts.
?????????Peter Terry,
2018. Everyone
wants to be unleashed, to
be set free of
restraints. This piece
captures the exhilaration
of being set into motion
with unlimited optimism
and energy.A The piece is a
rhythmic and
propulsive gallop that spins
off lyrical material as
it drives to a climactic
finish that is both
exciting and
fun.The piece opens
with a robust
first theme, then
transitions on a rhythmic
figure spun off from the
opening
material. The opening
sectionrepeats in
variation with different
orchestration. The more
lyrical material that
emerges should be brought
out to balance the first
theme and rhythmic
figures from the first
section. A development of
the material from the
opening follows,
driving to a
brief
pause. This
pause
feels like it
will lead to a
contrasting lyrical
theme, but the energy
is
just suspended for a
second before the piece
takes off again.
The
work finishes with a
repeated-note transition
back to variations on the
opening material and a
propulsive rush to the
end.I enjoyed
writing this piece and
hope your students will
enjoy playing these
contrasting styles and
that you will find the
piece beneficial in
teaching important
musical concepts.
?????????Peter Terry,
2018. Everyone
wants to be unleashed, to
be set free of
restraints. This piece
captures the exhilaration
of being set into motion
with unlimited optimism
and energy. The piece is a
rhythmic and
propulsive gallop that spins
off lyrical material as
it drives to a climactic
finish that is both
exciting and
fun.The piece opens
with a robust
first theme, then
transitions on a rhythmic
figure spun off from the
opening
material. The opening
sectionrepeats in
variation with different
orchestration. The more
lyrical material that
emerges should be brought
out to balance the first
theme and rhythmic
figures from the first
section. A development of
the material from the
opening follows,
driving to a
brief
pause. This
pause
feels like it
will lead to a
contrasting lyrical
theme, but the energy
is
just suspended for a
second before the piece
takes off again.
The
work finishes with a
repeated-note transition
back to variations on the
opening material and a
propulsive rush to the
end.I enjoyed
writing this piece and
hope your students will
enjoy playing these
contrasting styles and
that you will find the
piece beneficial in
teaching important
musical concepts.
?????????Peter Terry,
2018. Eve
ryone wants to be
unleashed, to be set free
of restraints. This piece
captures the exhilaration
of being set into motion
with unlimited optimism
and energy. The piece is
a rhythmic and propulsive
gallop that spins off
lyrical material as it
drives to a climactic
finish that is both
exciting and fun. The
piece opens with a robust
first theme, then
transitions on a rhythmic
figure spun off from the
opening material. The
opening section repeats
in variation with
different orchestration.
The more lyrical material
that emerges should be
brought out to balance
the first theme and
rhythmic figures from the
first section. A
development of the
material from the opening
follows, driving to a
brief pause. This pause
feels like it will lead
to a contrasting lyrical
theme, but the energy is
just suspended for a
second before the piece
takes off again. The work
finishes with a
repeated-note transition
back to variations on the
opening material and a
propulsive rush to the
end. I enjoyed writing
this piece and hope your
students will enjoy
playing these contrasting
styles and that you will
find the piece beneficial
in teaching important
musical concepts. Peter
Terry, 2018. Everyone
wants to be unleashed, to
be set free of
restraints. This piece
captures the exhilaration
of being set into motion
with unlimited optimism
and energy. The piece is
a rhythmic and propulsive
gallop that spins off
lyrical material as it
drives to a climactic
finish that is both
exciting and fun.The
piece opens with a robust
first theme, then
transitions on a rhythmic
figure spun off from the
opening material. The
opening section repeats
in variation with
different orchestration.
The more lyrical material
that emerges should be
brought out to balance
the first theme and
rhythmic figures from the
first section. A
development of the
material from the opening
follows, driving to a
brief pause. This pause
feels like it will lead
to a contrasting lyrical
theme, but the energy is
just suspended for a
second before the piece
takes off again. The work
finishes with a
repeated-note transition
back to variations on the
opening material and a
propulsive rush to the
end.I enjoyed writing
this piece and hope your
students will enjoy
playing these contrasting
styles and that you will
find the piece beneficial
in teaching important
musical
concepts.​​​​​â
€‹â€‹â€‹â€‹Peter Terry,
2018.
About Carl
Fischer Concert String
Orchestra
Series
Thi
s series of pieces (Grade
3 and higher) is designed
for advancing ensembles.
The pieces in this series
are characterized
by:
Expanded use
of rhythms, ranges and
keys but technical
demands are still
carefully
considered
More
comprehensive bowing
techniques
Viola
T.C.
included
Careful
selection of keys and
degree of difficulty for
advancing
musicians
Composed by
Nicholas Costanza. Sws.
Sps. Full score. 32
pages. Duration 3
minutes, 52 seconds. Carl
Fischer Music #SPS89F.
Published by Carl Fischer
Music (CF.SPS89F).
ISBN 9781491156490.
UPC: 680160915033. 9 x 12
inches.
Program
Notes This composition
for wind ensemble is
partially inspired by my
home town of Sebastian,
specifically its location
on the east coast of the
state of Florida. My
childhood included many
quick trips to both the
nearby Indian River and
the beaches on the coast,
so swimming and the water
were integral parts of my
experience growing up.
This work is my musical
expression of diving
underwater and getting
swept up by a fast
current and discovering
wonders beneath the
surface. Dive! has two
central components: a
constant, driving
eighth-note pulse and a
main theme which is
fragmented and passed
around at first, but then
is presented completely
by the low reeds around a
minute and a half into
the piece. The steady
eighth-note pulse
reflects the swift
current that a diver
might follow, while the
main theme represents all
the wonders that might be
hidden under the water.
Performance Notes
Ideally, the Trombone 3
part should be played on
a Bass Trombone. However,
if one is not available
there are cues for notes
that are beneath a tenor
trombone's range. Make
sure the vibraphone is
heard clearly throughout
the piece, as this
particular sound is very
important to the overall
color of this piece. The
Percussion 5 part
requires two performers
as some of the hits
happen too quickly for
one player to switch
between instruments. The
most important component
of this work is the
steady eighth-note pulse,
and this pulse never
changes even though the
meter changes frequently
to odd or uncommon time
signatures; if the eighth
notes remain constant and
driving, the meter
changes will not pose
much of a problem.
 . Program
NotesThis composition for
wind ensemble is
partially inspired by my
home town of Sebastian,
specifically its location
on the east coast of the
state of Florida. My
childhood included many
quick trips to both the
nearby Indian River and
the beaches on the coast,
so swimming and the water
were integral parts of my
experience growing up.
This work is my musical
expression of diving
underwater and getting
swept up by a fast
current and discovering
wonders beneath the
surface.Dive! has two
central components: a
constant, driving
eighth-note pulse and a
main theme which is
fragmented and passed
around at first, but then
is presented completely
by the low reeds around a
minute and a half into
the piece. The steady
eighth-note pulse
reflects the swift
current that a diver
might follow, while the
main theme represents all
the wonders that might be
hidden under the
water.Performance
NotesIdeally, the
Trombone 3 part should be
played on a Bass
Trombone. However, if one
is not available there
are cues for notes that
are beneath a tenor
trombone's range.Make
sure the vibraphone is
heard clearly throughout
the piece, as this
particular sound is very
important to the overall
color of this piece. The
Percussion 5 part
requires two performers
as some of the hits
happen too quickly for
one player to switch
between instruments.The
most important component
of this work is the
steady eighth-note pulse,
and this pulse never
changes even though the
meter changes frequently
to odd or uncommon time
signatures; if the eighth
notes remain constant and
driving, the meter
changes will not pose
much of a
problem.       .
p>
Composed by
Nicholas Costanza. Folio.
Sps. Set of Score and
Parts.
2+8+8+4+4+8+8+8+4+4+4+4+4
+4+4+8+8+8+4+4+4+4+6+6+6+
6+4+8+4+2+1+2+2+32 pages.
Duration 3 minutes, 52
seconds. Carl Fischer
Music #SPS89. Published
by Carl Fischer Music
(CF.SPS89).
ISBN
9781491156483. UPC:
680160915026. 9 x 12
inches.
Program
Notes This composition
for wind ensemble is
partially inspired by my
home town of Sebastian,
specifically its location
on the east coast of the
state of Florida. My
childhood included many
quick trips to both the
nearby Indian River and
the beaches on the coast,
so swimming and the water
were integral parts of my
experience growing up.
This work is my musical
expression of diving
underwater and getting
swept up by a fast
current and discovering
wonders beneath the
surface. Dive! has two
central components: a
constant, driving
eighth-note pulse and a
main theme which is
fragmented and passed
around at first, but then
is presented completely
by the low reeds around a
minute and a half into
the piece. The steady
eighth-note pulse
reflects the swift
current that a diver
might follow, while the
main theme represents all
the wonders that might be
hidden under the water.
Performance Notes
Ideally, the Trombone 3
part should be played on
a Bass Trombone. However,
if one is not available
there are cues for notes
that are beneath a tenor
trombone's range. Make
sure the vibraphone is
heard clearly throughout
the piece, as this
particular sound is very
important to the overall
color of this piece. The
Percussion 5 part
requires two performers
as some of the hits
happen too quickly for
one player to switch
between instruments. The
most important component
of this work is the
steady eighth-note pulse,
and this pulse never
changes even though the
meter changes frequently
to odd or uncommon time
signatures; if the eighth
notes remain constant and
driving, the meter
changes will not pose
much of a problem.
 . Program
NotesThis composition for
wind ensemble is
partially inspired by my
home town of Sebastian,
specifically its location
on the east coast of the
state of Florida. My
childhood included many
quick trips to both the
nearby Indian River and
the beaches on the coast,
so swimming and the water
were integral parts of my
experience growing up.
This work is my musical
expression of diving
underwater and getting
swept up by a fast
current and discovering
wonders beneath the
surface.Dive! has two
central components: a
constant, driving
eighth-note pulse and a
main theme which is
fragmented and passed
around at first, but then
is presented completely
by the low reeds around a
minute and a half into
the piece. The steady
eighth-note pulse
reflects the swift
current that a diver
might follow, while the
main theme represents all
the wonders that might be
hidden under the
water.Performance
NotesIdeally, the
Trombone 3 part should be
played on a Bass
Trombone. However, if one
is not available there
are cues for notes that
are beneath a tenor
trombone's range.Make
sure the vibraphone is
heard clearly throughout
the piece, as this
particular sound is very
important to the overall
color of this piece. The
Percussion 5 part
requires two performers
as some of the hits
happen too quickly for
one player to switch
between instruments.The
most important component
of this work is the
steady eighth-note pulse,
and this pulse never
changes even though the
meter changes frequently
to odd or uncommon time
signatures; if the eighth
notes remain constant and
driving, the meter
changes will not pose
much of a
problem.       .
p>
Composed by Bruce W.
Tippette. Concert String
Orchestra (CAS). Set of
Score and Parts. With
Standard notation.
16+4+16+10+10+10+3+12
pages. Duration 3
minutes, 50 seconds. Carl
Fischer Music #CAS113.
Published by Carl Fischer
Music (CF.CAS113).
ISBN 9781491151327.
UPC: 680160908820. 9 x 12
inches. Key: E
minor.
Composed by
Bruce W. Tippette,
Drifting?utilizes musical
passages to allude to the
image of something
drifting down a river in
the woods. It journeys
through twists and turns,
placid streams and
roaring rapids,
eventually making a grand
entrance into open
waters. The musical
passages in this piece
for string orchestra
conjure images of
something, perhaps a
leaf, gently drifting
down a river in the
woods. It journeys
through twists and turns,
placid streams and
roaring rapids,
eventually making a grand
entrance into open
waters. As
Drifting<
/em>
opens, soft pizzicato
strings are uttered in
the lower string voices,
while the upper voices
slowly swell into the
appearance of the main
motive in m. 9. This
theme develops and passes
through several voices
until being replaced by a
new motive in m. 36,
accompanied by driving
rhythms and frequent
modulations. A powerful
resurgence of the
original motive occurs in
m. 60. Melodic remnants
of the previous sections
are presented in a new
fashion as the piece
comes to a dramatic close
with all voices playing
in rhythmic unison in the
closing
measures.. The musical
passages in this piece
for string orchestra
conjure images of
something, perhaps a
leaf, gently drifting
down a river in the
woods. It journeys
through twists and turns,
placid streams and
roaring rapids,
eventually making a grand
entrance into open
waters. As
Drifting<
/em>
opens, soft pizzicato
strings are uttered in
the lower string voices,
while the upper voices
slowly swell into the
appearance of the main
motive in m. 9. This
theme develops and passes
through several voices
until being replaced by a
new motive in m. 36,
accompanied by driving
rhythms and frequent
modulations. A powerful
resurgence of the
original motive occurs in
m. 60. Melodic remnants
of the previous sections
are presented in a new
fashion as the piece
comes to a dramatic close
with all voices playing
in rhythmic unison in the
closing
measures.. The
musical passages in this
piece for string
orchestra conjure images
of something, perhaps a
leaf, gently drifting
down a river in the
woods. It journeys
through twists and turns,
placid streams and
roaring rapids,
eventually making a grand
entrance into open
waters. As Drifting
opens, soft pizzicato
strings are uttered in
the lower string voices,
while the upper voices
slowly swell into the
appearance of the main
motive in m. 9. This
theme develops and passes
through several voices
until being replaced by a
new motive in m. 36,
accompanied by driving
rhythms and frequent
modulations. A powerful
resurgence of the
original motive occurs in
m. 60. Melodic remnants
of the previous sections
are presented in a new
fashion as the piece
comes to a dramatic close
with all voices playing
in rhythmic unison in the
closing measures.
About Carl
Fischer Concert String
Orchestra
Series
Thi
s series of pieces (Grade
3 and higher) is designed
for advancing ensembles.
The pieces in this series
are characterized
by:
Expanded use
of rhythms, ranges and
keys but technical
demands are still
carefully
considered
More
comprehensive bowing
techniques
Viola
T.C.
included
Careful
selection of keys and
degree of difficulty for
advancing
musicians
O Christmas Tree.
Composed by Zachary
Poulter. Sws. Bps. Full
score. 12 pages. Carl
Fischer Music #BPS134F.
Published by Carl Fischer
Music (CF.BPS134F).
ISBN 9781491158272.
UPC: 680160916870. 9 x 12
inches.
Composed by Bruce W.
Tippette. Concert String
Orchestra (CAS). Full
score. With Standard
notation. 12 pages. Carl
Fischer Music #CAS113F.
Published by Carl Fischer
Music (CF.CAS113F).
ISBN 9781491151693.
UPC: 680160909193. 9 x 12
inches.
Composed by
Bruce W. Tippette,
Drifting?utilizes musical
passages to allude to the
image of something
drifting down a river in
the woods. It journeys
through twists and turns,
placid streams and
roaring rapids,
eventually making a grand
entrance into open
waters. The musical
passages in this piece
for string orchestra
conjure images of
something, perhaps a
leaf, gently drifting
down a river in the
woods. It journeys
through twists and turns,
placid streams and
roaring rapids,
eventually making a grand
entrance into open
waters. As
Drifting<
/em>
opens, soft pizzicato
strings are uttered in
the lower string voices,
while the upper voices
slowly swell into the
appearance of the main
motive in m. 9. This
theme develops and passes
through several voices
until being replaced by a
new motive in m. 36,
accompanied by driving
rhythms and frequent
modulations. A powerful
resurgence of the
original motive occurs in
m. 60. Melodic remnants
of the previous sections
are presented in a new
fashion as the piece
comes to a dramatic close
with all voices playing
in rhythmic unison in the
closing
measures.. The musical
passages in this piece
for string orchestra
conjure images of
something, perhaps a
leaf, gently drifting
down a river in the
woods. It journeys
through twists and turns,
placid streams and
roaring rapids,
eventually making a grand
entrance into open
waters. As
Drifting<
/em>
opens, soft pizzicato
strings are uttered in
the lower string voices,
while the upper voices
slowly swell into the
appearance of the main
motive in m. 9. This
theme develops and passes
through several voices
until being replaced by a
new motive in m. 36,
accompanied by driving
rhythms and frequent
modulations. A powerful
resurgence of the
original motive occurs in
m. 60. Melodic remnants
of the previous sections
are presented in a new
fashion as the piece
comes to a dramatic close
with all voices playing
in rhythmic unison in the
closing
measures.. The
musical passages in this
piece for string
orchestra conjure images
of something, perhaps a
leaf, gently drifting
down a river in the
woods. It journeys
through twists and turns,
placid streams and
roaring rapids,
eventually making a grand
entrance into open
waters. As Drifting
opens, soft pizzicato
strings are uttered in
the lower string voices,
while the upper voices
slowly swell into the
appearance of the main
motive in m. 9. This
theme develops and passes
through several voices
until being replaced by a
new motive in m. 36,
accompanied by driving
rhythms and frequent
modulations. A powerful
resurgence of the
original motive occurs in
m. 60. Melodic remnants
of the previous sections
are presented in a new
fashion as the piece
comes to a dramatic close
with all voices playing
in rhythmic unison in the
closing measures.
About Carl
Fischer Concert String
Orchestra
Series
Thi
s series of pieces (Grade
3 and higher) is designed
for advancing ensembles.
The pieces in this series
are characterized
by:
Expanded use
of rhythms, ranges and
keys but technical
demands are still
carefully
considered
More
comprehensive bowing
techniques
Viola
T.C.
included
Careful
selection of keys and
degree of difficulty for
advancing
musicians
Composed by
Mykola Leontovich.
Arranged by Carol Brittin
Chambers. Full score. 16
pages. Carl Fischer Music
#XPS15F. Published by
Carl Fischer Music
(CF.XPS15F).
ISBN
9781491158838. UPC:
680160917532.
Carol
of the Bells This version
of Carol of the Bells is
a new take on a
traditional carol. The
Ukrainian Bell Carol,
which has become an
important part of the
American holiday
tradition, was originally
composed by Mykola
Leontovych with lyrics by
Peter J. Wilhousky. In
this arrangement, the
flexibility of the
instrumentation allows it
to be played with as few
as five wind or string
players, and the various
recognizable motifs are
passed around the
ensemble, giving everyone
something interesting to
play. Chambers
incorporates energetic
grooves with the bass
line and percussion, as
well as a new B melody
that adds extra technique
and a fresh sound. Please
enjoy Carol of the Bells
on your next holiday
concert! Note to the
Conductor: Use this piece
to introduce or reinforce
the following musical
concepts: Steady pulse in
a driving 3/4 meter,
definition of ostinato,
accidentals (minimal),
and Syncopated feel
(minimal). Carol of
the Bells This version of
Carol of the Bells is a
new take on a tradi1onal
carol. The Ukrainian Bell
Carol, which has become
an important part of the
American holiday
tradition, was originally
composed by Mykola
Leontovych with lyrics by
Peter J. Wilhousky. In
this arrangement, the
flexibility of the
instrumentation allows it
to be played with as few
as five wind or string
players, and the various
recognizable motifs are
passed around the
ensemble, giving everyone
something interesting to
play. Chambers
incorporates energe1c
grooves with the bass
line and percussion, as
well as a new B melody
that adds extra technique
and a fresh sound. Please
enjoy Carol of the Bells
on your next holiday
concert! Note to the
Conductor: Use this piece
to introduce or reinforce
the following musical
concepts: Steady pulse in
a driving 3/4 meter
Defini1on of Os1nato
Accidentals (minimal)
Syncopated feel
(minimal). Carol of
the BellsThis version of
Carol of the Bells is a
new take on a tradi1onal
carol. The Ukrainian Bell
Carol, which has become
an important part of the
American holiday
tradition, was originally
composed by Mykola
Leontovych with lyrics by
Peter J. Wilhousky. In
this arrangement, the
flexibility of the
instrumentation allows it
to be played with as few
as five wind or string
players, and the various
recognizable motifs are
passed around the
ensemble, giving everyone
something interesting to
play. Chambers
incorporates energe1c
grooves with the bass
line and percussion, as
well as a new B melody
that adds extra technique
and a fresh sound. Please
enjoy Carol of the Bells
on your next holiday
concert!Note to the
Conductor: Use this piece
to introduce or reinforce
the following musical
concepts: Steady pulse in
a driving 3/4 meter
Defini1on of Os1nato
Accidentals (minimal)
Syncopated feel
(minimal).
O Christmas Tree.
Composed by Zachary
Poulter. Folio. Bps. Set
of Score and Parts.
8+2+8+2+2+5+2+2+8+3+2+2+2
+3+1+2+1+1+2+12 pages.
Duration 1 minute, 56
seconds. Carl Fischer
Music #BPS134. Published
by Carl Fischer Music
(CF.BPS134).
ISBN
9781491158265. UPC:
680160916863. 9 x 12
inches.