Some Juice for Bruce Ensemble Jazz [Conducteur et Parties séparées] - Intermédiaire C.L. Barnhouse
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!
Cruisin' Orchestre d'harmonie [Conducteur et Parties séparées] - Facile FJH
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.
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.
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.
QuA(c)
verdes son is the
Spanish-language version
of O Tannenbaum (O
Christmas Tree). Although
the Christmas carol is
sung in many languages,
the translated lyrics are
rarely a close copy of
the original German text.
Instead, each version
finds unique ways to
explore the beauty and
meaning of one of the
holidayas most beloved
symbols: the Christmas
tree. In QuA(c) verdes
son, the beautiful
lights, fresh aroma, and
especially the lovely
color of the tree are
celebrated. This
arrangement of QuA(c)
verdes son begins with
simmering Latin
percussion playing a
groove based on a 3-2 son
clave. Subdividing this
in groups of eighth notes
(123-123-1234-12-12-12)
will help lock in the
time. In the gA 1/4 iro
part, the quarter notes
should be scraped and the
eighth notes tapped. The
main melody begins at m.
5. Rather than needing to
be overly loud, much of
the energy comes from the
silences between notes
and from the contrast
between accents and
staccatos. The woodwind
countermelody at m. 9 and
m. 17 should be smooth
and sweet, a further
contrast to the punchy
rhythms beneath it. The
percussion section is
featured at m. 26, with a
gradual buildup of
textures and rhythmic
energy. At m. 38 the
whole band is back in,
driving toward the fun
cha-cha-cha
ending. Que verdes son
is the Spanish-language
version of O Tannenbaum
(O Christmas Tree).
Although the Christmas
carol is sung in many
languages, the translated
lyrics are rarely a close
copy of the original
German text. Instead,
each version finds unique
ways to explore the
beauty and meaning of one
of the holiday's most
beloved symbols: the
Christmas tree. In Que
verdes son, the beautiful
lights, fresh aroma, and
especially the lovely
color of the tree are
celebrated. This
arrangement of Que verdes
son begins with simmering
Latin percussion playing
a groove based on a 3-2
son clave. Subdividing
this in groups of eighth
notes
(123-123-1234-12-12-12)
will help lock in the
time. In the guiro part,
the quarter notes should
be scraped and the eighth
notes tapped. The main
melody begins at m. 5.
Rather than needing to be
overly loud, much of the
energy comes from the
silences between notes
and from the contrast
between accents and
staccatos. The woodwind
countermelody at m. 9 and
m. 17 should be smooth
and sweet, a further
contrast to the punchy
rhythms beneath it. The
percussion section is
featured at m. 26, with a
gradual buildup of
textures and rhythmic
energy. At m. 38 the
whole band is back in,
driving toward the fun
cha-cha-cha
ending. Qué verdes
son is the
Spanish-language version
of O Tannenbaum (O
Christmas Tree). Although
the Christmas carol is
sung in many languages,
the translated lyrics are
rarely a close copy of
the original German text.
Instead, each version
finds unique ways to
explore the beauty and
meaning of one of the
holiday’s most beloved
symbols: the Christmas
tree. In Qué verdes son,
the beautiful lights,
fresh aroma, and
especially the lovely
color of the tree are
celebrated.This
arrangement of Qué
verdes son begins with
simmering Latin
percussion playing a
groove based on a 3-2 son
clave. Subdividing this
in groups of eighth notes
(123-123-1234-12-12-12)
will help lock in the
time. In the güiro part,
the quarter notes should
be scraped and the eighth
notes tapped.The main
melody begins at m. 5.
Rather than needing to be
overly loud, much of the
energy comes from the
silences between notes
and from the contrast
between accents and
staccatos. The woodwind
countermelody at m. 9 and
m. 17 should be smooth
and sweet, a further
contrast to the punchy
rhythms beneath it.The
percussion section is
featured at m. 26, with a
gradual buildup of
textures and rhythmic
energy. At m. 38 the
whole band is back in,
driving toward the fun
cha-cha-cha ending.
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.
QuA(c)
verdes son is the
Spanish-language version
of O Tannenbaum (O
Christmas Tree). Although
the Christmas carol is
sung in many languages,
the translated lyrics are
rarely a close copy of
the original German text.
Instead, each version
finds unique ways to
explore the beauty and
meaning of one of the
holidayas most beloved
symbols: the Christmas
tree. In QuA(c) verdes
son, the beautiful
lights, fresh aroma, and
especially the lovely
color of the tree are
celebrated. This
arrangement of QuA(c)
verdes son begins with
simmering Latin
percussion playing a
groove based on a 3-2 son
clave. Subdividing this
in groups of eighth notes
(123-123-1234-12-12-12)
will help lock in the
time. In the gA 1/4 iro
part, the quarter notes
should be scraped and the
eighth notes tapped. The
main melody begins at m.
5. Rather than needing to
be overly loud, much of
the energy comes from the
silences between notes
and from the contrast
between accents and
staccatos. The woodwind
countermelody at m. 9 and
m. 17 should be smooth
and sweet, a further
contrast to the punchy
rhythms beneath it. The
percussion section is
featured at m. 26, with a
gradual buildup of
textures and rhythmic
energy. At m. 38 the
whole band is back in,
driving toward the fun
cha-cha-cha
ending. Que verdes son
is the Spanish-language
version of O Tannenbaum
(O Christmas Tree).
Although the Christmas
carol is sung in many
languages, the translated
lyrics are rarely a close
copy of the original
German text. Instead,
each version finds unique
ways to explore the
beauty and meaning of one
of the holiday's most
beloved symbols: the
Christmas tree. In Que
verdes son, the beautiful
lights, fresh aroma, and
especially the lovely
color of the tree are
celebrated. This
arrangement of Que verdes
son begins with simmering
Latin percussion playing
a groove based on a 3-2
son clave. Subdividing
this in groups of eighth
notes
(123-123-1234-12-12-12)
will help lock in the
time. In the guiro part,
the quarter notes should
be scraped and the eighth
notes tapped. The main
melody begins at m. 5.
Rather than needing to be
overly loud, much of the
energy comes from the
silences between notes
and from the contrast
between accents and
staccatos. The woodwind
countermelody at m. 9 and
m. 17 should be smooth
and sweet, a further
contrast to the punchy
rhythms beneath it. The
percussion section is
featured at m. 26, with a
gradual buildup of
textures and rhythmic
energy. At m. 38 the
whole band is back in,
driving toward the fun
cha-cha-cha
ending. Qué verdes
son is the
Spanish-language version
of O Tannenbaum (O
Christmas Tree). Although
the Christmas carol is
sung in many languages,
the translated lyrics are
rarely a close copy of
the original German text.
Instead, each version
finds unique ways to
explore the beauty and
meaning of one of the
holiday’s most beloved
symbols: the Christmas
tree. In Qué verdes son,
the beautiful lights,
fresh aroma, and
especially the lovely
color of the tree are
celebrated.This
arrangement of Qué
verdes son begins with
simmering Latin
percussion playing a
groove based on a 3-2 son
clave. Subdividing this
in groups of eighth notes
(123-123-1234-12-12-12)
will help lock in the
time. In the güiro part,
the quarter notes should
be scraped and the eighth
notes tapped.The main
melody begins at m. 5.
Rather than needing to be
overly loud, much of the
energy comes from the
silences between notes
and from the contrast
between accents and
staccatos. The woodwind
countermelody at m. 9 and
m. 17 should be smooth
and sweet, a further
contrast to the punchy
rhythms beneath it.The
percussion section is
featured at m. 26, with a
gradual buildup of
textures and rhythmic
energy. At m. 38 the
whole band is back in,
driving toward the fun
cha-cha-cha ending.
Psalm 46 Chorale SATB SATB, Piano Lorenz Publishing Company
Composed by Mark Hayes (1953-). Choral. Sacred Anthem, Concert, Festival, Gen...(+)
Composed by Mark Hayes
(1953-). Choral. Sacred
Anthem, Concert,
Festival,
General. Lorenz
Publishing
Company #10/5724L.
Published
by Lorenz Publishing
Company
Orchestra - Grade 1.5 SKU: AP.45823S Composed by Michael Kamuf. Performan...(+)
Orchestra - Grade 1.5
SKU: AP.45823S
Composed by Michael
Kamuf. Performance Music
Ensemble; Single Titles;
String Orchestra. Belwin
Beginning String
Orchestra. Score. 12
pages. Duration 2:00.
Belwin Music #00-45823S.
Published by Belwin Music
(AP.45823S).
UPC:
038081529196.
English.
Perfect
for concerts and
festivals, Dayspring by
Michael Kamuf is an ideal
piece for reinforcing
both
dotted-quarter/eighth
note and syncopation
rhythms with your
beginning string
orchestra. In this
driving new work by
Michael Kamuf, the
lyrical melodies and
driving motifs are passed
around the entire
ensemble, supported by
rich harmonies.
(2:00).
Composed by
Traditional Christmas
Spiritual. Arranged by
Ken Berg. Sws.
Performance Score. 16
pages. Duration 3
minutes, 40 seconds. Carl
Fischer Music #CM9634.
Published by Carl Fischer
Music (CF.CM9634).
ISBN 9781491157060.
UPC: 680160915620. 6.875
x 10.5 inches. Key: G
major. English, English.
Traditional Christmas
Spiritual.
Berg's
fantastic setting of this
beloved American
Christmas spiritual for
advanced tenor-bass
choirs tells a story of
hope and meaning. The
various textures
throughout the a cappella
arrangement with solos
add much variety and
musical interest. A
holiday programming
must!. This beloved
American Christmas
Spiritual, like all
spirituals and/or folk
songs, tells a story.
This is a story of hope
and meaning. The
introductory solo call
and response (mm. 1-7) is
hymnic in nature, just to
get us started. (Think of
it as an effective head
fake!) The entrance at m.
8 from the upper three
voices (we'll call them
the trio part henceforth)
is pivotal. They set the
stage for the
conversation between the
singers and the soloist
for the rest of the song.
From this point, the song
is basically a Jazz Trio
in vocal form. The bass
singers take on the role
of the cool dude in the
back wearing dark glasses
and a beret playing the
string bass. They provide
the driving force for the
forward movement of the
entire song. The trio
part, basically tenors 1
& 2 and baritones,
take on the role of the
keyboard providing
chordal structure and
syncopation. Their job is
to fill the listener's
ear with sound and
rhythm. The soloist tells
the story using the known
melody and text with
appropriate improv
opportunities to keep the
listeners focused on the
message of the song.
There is enough
repetition to make for
easy learning, but this
also means that the
chords need to snap into
position cleanly every
time. The Verses are
easily identified (there
are three) and presented
with some small
variations in Verse 3
(see mm. 56-58...this
only happens once). The
Refrain (mm. 30-37) is
the part of the song
where the singers switch
from the Jazz Trio role
and actually become a
Men's Choral Ensemble.
This Refrain is repeated
after Verse 3 at mm.
66-71. Between verses 2
& 3, there is not a
refrain. Instead, there
is a bridge repeated from
the introductory
material, but used this
time to move us into a
new key signature. This
can be a very exciting
moment for the singers as
well as the listeners!
Measures 72-75 is known
in the business as a
vamp. It can be repeated
once and then move on, OR
it can be repeated
multiple times, depending
on the comfort level of
the soloist and the
response of the audience.
It is important that
there be a clear signal
from the conductor as to
how to end the vamp and
move effectively to the
actual coda of the song.
The ending should be sung
with tight control that
only looks like reckless
abandon! Faces bright;
words clean; melody
clear; rhythms precise!
Enjoy. This beloved
American Christmas
Spiritual, like all
spirituals and/or folk
songs, tells a story.
This is a story of hope
and meaning. The
introductory solo call
and response (mm. 1-7) is
hymnic in nature, just to
get us started. (Think of
it as an effective head
fake!)The entrance at m.
8 from the upper three
voices (we’ll call them
the “trio part”
henceforth) is pivotal.
They set the stage for
the conversation between
the singers and the
soloist for the rest of
the song. From this
point, the song is
basically a Jazz Trio in
vocal form. The bass
singers take on the role
of the cool dude in the
back wearing dark glasses
and a beret playing the
string bass. They provide
the driving force for the
forward movement of the
entire song.The “trio
part”, basically tenors
1 & 2 and baritones, take
on the role of the
keyboard providing
chordal structure and
syncopation. Their job is
to fill the listener’s
ear with sound and
rhythm.The soloist tells
the story using the known
melody and text with
appropriate improv
opportunities to keep the
listeners focused on the
message of the song.There
is enough repetition to
make for easy learning,
but this also means that
the chords need to
“snap into position”
cleanly every time. The
Verses are easily
identified (there are
three) and presented with
some small variations in
Verse 3 (see mm.
56-58…this only happens
once).The Refrain (mm.
30-37) is the part of the
song where the singers
switch from the “Jazz
Trio” role and actually
become a “Men’s
Choral Ensemble”. This
Refrain is repeated after
Verse 3 at mm. 66-71.
Between verses 2 & 3,
there is not a refrain.
Instead, there is a
bridge repeated from the
introductory material,
but used this time to
move us into a new key
signature. This can be a
very exciting moment for
the singers as well as
the listeners!Measures
72-75 is known in the
business as a “vamp”.
It can be repeated once
and then move on, OR it
can be repeated multiple
times, depending on the
comfort level of the
soloist and the response
of the audience.It is
important that there be a
clear signal from the
conductor as to how to
end the “vamp” and
move effectively to the
actual coda of the song.
The ending should be sung
with tight control that
only looks like reckless
abandon!Faces bright;
words clean; melody
clear; rhythms precise!
Enjoy.
Jazz Ensemble standard jazz ensemble - Grade 3 SKU: KN.61165 Composed by ...(+)
Jazz Ensemble standard
jazz ensemble - Grade 3
SKU: KN.61165
Composed by Jeff Jarvis.
Jazz Journey. 12/8 Funk.
Score and parts. Kendor
Music Inc #61165.
Published by Kendor Music
Inc (KN.61165).
UPC:
822795611655.
This
chart conjures up mental
images of driving on a
curvy mountain road
overlooking a picturesque
desert valley. This
exciting chart for
advancing groups has a
driving 12/8 funk feel
that is sure to engage
your band and audiences
with its relentless
intensity - but without
excessive brass range
demands (trumpet: D6 and
trombone: G4). The
harmonies are sturdy and
the melodies are
memorable. All
instrumental sections
have interesting,
well-articulated parts
and solo space is provide
for guitar and piano. A
guitar chord chard by Jim
Greeson is included in
each set. Duration
5:55.
Sharp Dressed Man Ensemble Jazz [Conducteur et Parties séparées] - Intermédiaire Hal Leonard
By ZZ Top. By Billy F. Gibbons, Dusty Hill, and Frank Lee Beard. Arranged by Rog...(+)
By ZZ Top. By Billy F.
Gibbons, Dusty Hill, and
Frank Lee Beard. Arranged
by Roger Holmes. Score
and Parts. Young Jazz
(Jazz Ensemble). Grade 3.
Published by Hal Leonard
Composed
by Mark Lortz. Cps. Full
score. 28 pages. Carl
Fischer Music #CPS266F.
Published by Carl Fischer
Music (CF.CPS266F).
ISBN 9781491161760.
UPC:
680160920457.
Clash
of the Warriors is
lightly based upon the
Bulgarian folk song Kaval
Sviri. The composer's
vision was to create a
musical depiction of two
warriors getting ready
and ultimately battling
each other. The
introduction should be
mysterious and ominous.
To create the open fifth
interval slide effect,
the trombone glissandi in
measures 2-3 should be
emphasized, and the
suggested slide positions
followed. At Rehearsal
10, the timpani, marimba,
and tambourine will
control the pulse and
diminuendo to Rehearsal
18, where the woodwinds
have the melody.
Rehearsal 38 should be
bold and energetic,
whereas Rehearsal 57
should be light with a
driving pulse. The
Rehearsal 92 9/8 section
should be conducted in
four (2+2+2+3) and set up
the warrior's battle
clash. Rehearsal 109
represents the 'clash' of
the warriors where they
will ultimately battle
against one another,
represented by the three
measure motivic
tradeoffs. Finally,
rehearsal 129 to the end
is the soundtrack for the
final conflict for the
warriors. I hope you and
your ensemble enjoy
performing Clash of the
Warriors.. Clash of
the Warriors is lightly
based upon the Bulgarian
folk song Kaval Sviri.
The composer's vision was
to create a musical
depiction of two warriors
getting ready and
ultimately battling each
other. The introduction
should be mysterious and
ominous. To create the
open fifth interval slide
effect, the trombone
glissandi in measures 2-3
should be emphasized, and
the suggested slide
positions followed. At
Rehearsal 10, the
timpani, marimba, and
tambourine will control
the pulse and diminuendo
to Rehearsal 18, where
the woodwinds have the
melody. Rehearsal 38
should be bold and
energetic, whereas
Rehearsal 57 should be
light with a driving
pulse. The Rehearsal 92
9/8 section should be
conducted in four
(2+2+2+3) and set up the
warrior's battle clash.
Rehearsal 109 represents
the 'clash' of the
warriors where they will
ultimately battle against
one another, represented
by the three measure
motivic tradeoffs.
Finally, rehearsal 129 to
the end is the soundtrack
for the final conflict
for the warriors.I hope
you and your ensemble
enjoy performing “Clash
of the Warriors.”.