| Le Printemps [Conducteur] - Facile Carl Fischer
Orchestra Cello, Contrabass, Piano, Viola, Violin 1, Violin 2, Violin 3 - Grade ...(+)
Orchestra Cello,
Contrabass, Piano, Viola,
Violin 1, Violin 2,
Violin 3 - Grade 2
SKU: CF.YAS178F
Composed by Ruth Elaine
Schram. Young String
Orchestra (YAS). Full
score. With Standard
notation. 8 pages. Carl
Fischer Music #YAS178F.
Published by Carl Fischer
Music (CF.YAS178F).
ISBN 9781491151808.
UPC: 680160909308. 9 x 12
inches. The title
of this piece,?Le
Printemps,?is French for
the springtime. This
piece brings images of
springtime to the
listener's mind. ?The
rhythmic pattern that
begins in the bass and
works its way up to the
violins illustrates the
patter of raindrops or of
flowers bursting into
bloom. The beautiful
melodies in the piece
engage players and
audiences. The title
Le Printemps is
French for the
springtime. This piece is
meant to bring images of
springtime to the
listeners mind. The
rhythmic pattern that
begins in the bass and
works its way up through
the sections to the
violins could be the
patter of raindrops, or
indicative of flowers
pushing their way up
through the ground and
bursting into bloom. All
the instruments that have
the staccato notes are
the backup; the
instruments who have the
slurred notes are playing
the melody in these
sections and should bring
the melody out a little
bit. The middle section
is a little softer
(mp<
/em>) and more legato,
and could bring to mind a
lovely, warm breeze that
is gently moving across
the new, green grass and
the budding leaves of the
trees. It should be
played with tenderness
and feeling, paying
careful attention to the
crescendo in mm. 2528,
building up to the
mf
em>. In m. 34, make the
most of the poco
rall. as you prepare
to reiterate the staccato
portion that begins again
in m. 35. Again, the
moving parts here with
the slurs have the melody
and should not be
overwhelmed by the
staccato instruments. At
m. 55 should begin to
build slightly into the
crescendo at m. 57 and
really build that up
through beat 3 of m. 58.
At m. 59, be suddenly
very soft to begin the
final ascent into the
climactic ending. Build
steadily through the last
four measures and give a
good solid bowing of your
last note. Enjoy Le
Printemps!. The
title Le
PrintempsA is French
for athe springtime.a
This piece is meant to
bring images of
springtime to the
listeneras mind. A The
rhythmic pattern that
begins in the bass and
works its way up through
the sections to the
violins could be the
patter of raindrops, or
indicative of flowers
pushing their way up
through the ground and
bursting into bloom. All
the instruments that have
the staccato notes are
the backup; the
instruments who have the
slurred notes are playing
the melody in these
sections and should bring
the melody out a little
bit. The middle section
is a little softer
(mp<
/em>) and more legato,
and could bring to mind a
lovely, warm breeze that
is gently moving across
the new, green grass and
the budding leaves of the
trees. It should be
played with tenderness
and feeling, paying
careful attention to the
crescendo in mm. 25a28,
building up to the
mf
em>. In m. 34, make the
most of the poco
rall. as you prepare
to reiterate the staccato
portion that begins again
in m. 35. Again, the
moving parts here with
the slurs have the melody
and should not be
overwhelmed by the
staccato instruments. At
m. 55 should begin to
build slightly into the
crescendo at m. 57 and
really build that up
through beat 3 of m. 58.
At m. 59, be suddenly
very soft to begin the
final ascent into the
climactic ending. Build
steadily through the last
four measures and give a
good solid bowing of your
last note. A Enjoy Le
Printemps!. The
title Le
Printemps is French
for the springtime. This
piece is meant to bring
images of springtime to
the listener's mind. The
rhythmic pattern that
begins in the bass and
works its way up through
the sections to the
violins could be the
patter of raindrops, or
indicative of flowers
pushing their way up
through the ground and
bursting into bloom. All
the instruments that have
the staccato notes are
the backup; the
instruments who have the
slurred notes are playing
the melody in these
sections and should bring
the melody out a little
bit. The middle section
is a little softer
(mp<
/em>) and more legato,
and could bring to mind a
lovely, warm breeze that
is gently moving across
the new, green grass and
the budding leaves of the
trees. It should be
played with tenderness
and feeling, paying
careful attention to the
crescendo in mm. 25-28,
building up to the
mf
em>. In m. 34, make the
most of the poco
rall. as you prepare
to reiterate the staccato
portion that begins again
in m. 35. Again, the
moving parts here with
the slurs have the melody
and should not be
overwhelmed by the
staccato instruments. At
m. 55 should begin to
build slightly into the
crescendo at m. 57 and
really build that up
through beat 3 of m. 58.
At m. 59, be suddenly
very soft to begin the
final ascent into the
climactic ending. Build
steadily through the last
four measures and give a
good solid bowing of your
last note. Enjoy Le
Printemps!. The
title Le Printemps is
French for the
springtime. This piece is
meant to bring images of
springtime to the
listener's mind. The
rhythmic pattern that
begins in the bass and
works its way up through
the sections to the
violins could be the
patter of raindrops, or
indicative of flowers
pushing their way up
through the ground and
bursting into bloom. All
the instruments that have
the staccato notes are
the backup; the
instruments who have the
slurred notes are playing
the melody in these
sections and should bring
the melody out a little
bit. The middle section
is a little softer (mp)
and more legato, and
could bring to mind a
lovely, warm breeze that
is gently moving across
the new, green grass and
the budding leaves of the
trees. It should be
played with tenderness
and feeling, paying
careful attention to the
crescendo in mm. 25-28,
building up to the mf. In
m. 34, make the most of
the poco rall. as you
prepare to reiterate the
staccato portion that
begins again in m. 35.
Again, the moving parts
here with the slurs have
the melody and should not
be overwhelmed by the
staccato instruments. At
m. 55 should begin to
build slightly into the
crescendo at m. 57 and
really build that up
through beat 3 of m. 58.
At m. 59, be suddenly
very soft to begin the
final ascent into the
climactic ending. Build
steadily through the last
four measures and give a
good solid bowing of your
last note. Enjoy Le
Printemps!. The title
Le Printemps is French
for “the
springtime.†This
piece is meant to bring
images of springtime to
the listener’s
mind. Â The rhythmic
pattern that begins in
the bass and works its
way up through the
sections to the violins
could be the patter of
raindrops, or indicative
of flowers pushing their
way up through the ground
and bursting into bloom.
All the instruments that
have the staccato notes
are the backup; the
instruments who have the
slurred notes are playing
the melody in these
sections and should bring
the melody out a little
bit.The middle section is
a little softer (mp) and
more legato, and could
bring to mind a lovely,
warm breeze that is
gently moving across the
new, green grass and the
budding leaves of the
trees. It should be
played with tenderness
and feeling, paying
careful attention to the
crescendo in mm.
25–28, building up
to the mf. In m. 34, make
the most of the poco
rall. as you prepare to
reiterate the staccato
portion that begins again
in m. 35. Again, the
moving parts here with
the slurs have the melody
and should not be
overwhelmed by the
staccato instruments.At
m. 55 should begin to
build slightly into the
crescendo at m. 57 and
really build that up
through beat 3 of m. 58.
At m. 59, be suddenly
very soft to begin the
final ascent into the
climactic ending. Build
steadily through the last
four measures and give a
good solid bowing of your
last note. Â Enjoy Le
Printemps! $8.50 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Le Printemps - Facile Carl Fischer
Orchestra Cello, Contrabass, Piano, Viola, Violin 1, Violin 2, Violin 3 - Grade ...(+)
Orchestra Cello,
Contrabass, Piano, Viola,
Violin 1, Violin 2,
Violin 3 - Grade 2
SKU: CF.YAS178
Springtime.
Composed by Ruth Elaine
Schram. Young String
Orchestra. Set of Score
and Parts. With Standard
notation. 8+8+2+5+5+5+2+8
pages. Duration 2
minutes, 16 seconds. Carl
Fischer Music #YAS178.
Published by Carl Fischer
Music (CF.YAS178).
ISBN 9781491151433.
UPC: 680160908936. 9 x 12
inches. Key: D
major. The title of
this piece,?Le
Printemps,?is French for
the springtime. This
piece brings images of
springtime to the
listener's mind. ?The
rhythmic pattern that
begins in the bass and
works its way up to the
violins illustrates the
patter of raindrops or of
flowers bursting into
bloom. The beautiful
melodies in the piece
engage players and
audiences. The title
Le Printemps is
French for the
springtime. This piece is
meant to bring images of
springtime to the
listeners mind. The
rhythmic pattern that
begins in the bass and
works its way up through
the sections to the
violins could be the
patter of raindrops, or
indicative of flowers
pushing their way up
through the ground and
bursting into bloom. All
the instruments that have
the staccato notes are
the backup; the
instruments who have the
slurred notes are playing
the melody in these
sections and should bring
the melody out a little
bit. The middle section
is a little softer
(mp<
/em>) and more legato,
and could bring to mind a
lovely, warm breeze that
is gently moving across
the new, green grass and
the budding leaves of the
trees. It should be
played with tenderness
and feeling, paying
careful attention to the
crescendo in mm. 2528,
building up to the
mf
em>. In m. 34, make the
most of the poco
rall. as you prepare
to reiterate the staccato
portion that begins again
in m. 35. Again, the
moving parts here with
the slurs have the melody
and should not be
overwhelmed by the
staccato instruments. At
m. 55 should begin to
build slightly into the
crescendo at m. 57 and
really build that up
through beat 3 of m. 58.
At m. 59, be suddenly
very soft to begin the
final ascent into the
climactic ending. Build
steadily through the last
four measures and give a
good solid bowing of your
last note. Enjoy Le
Printemps!. The
title Le
PrintempsA is French
for athe springtime.a
This piece is meant to
bring images of
springtime to the
listeneras mind. A The
rhythmic pattern that
begins in the bass and
works its way up through
the sections to the
violins could be the
patter of raindrops, or
indicative of flowers
pushing their way up
through the ground and
bursting into bloom. All
the instruments that have
the staccato notes are
the backup; the
instruments who have the
slurred notes are playing
the melody in these
sections and should bring
the melody out a little
bit. The middle section
is a little softer
(mp<
/em>) and more legato,
and could bring to mind a
lovely, warm breeze that
is gently moving across
the new, green grass and
the budding leaves of the
trees. It should be
played with tenderness
and feeling, paying
careful attention to the
crescendo in mm. 25a28,
building up to the
mf
em>. In m. 34, make the
most of the poco
rall. as you prepare
to reiterate the staccato
portion that begins again
in m. 35. Again, the
moving parts here with
the slurs have the melody
and should not be
overwhelmed by the
staccato instruments. At
m. 55 should begin to
build slightly into the
crescendo at m. 57 and
really build that up
through beat 3 of m. 58.
At m. 59, be suddenly
very soft to begin the
final ascent into the
climactic ending. Build
steadily through the last
four measures and give a
good solid bowing of your
last note. A Enjoy Le
Printemps!. The
title Le
Printemps is French
for the springtime. This
piece is meant to bring
images of springtime to
the listener's mind. The
rhythmic pattern that
begins in the bass and
works its way up through
the sections to the
violins could be the
patter of raindrops, or
indicative of flowers
pushing their way up
through the ground and
bursting into bloom. All
the instruments that have
the staccato notes are
the backup; the
instruments who have the
slurred notes are playing
the melody in these
sections and should bring
the melody out a little
bit. The middle section
is a little softer
(mp<
/em>) and more legato,
and could bring to mind a
lovely, warm breeze that
is gently moving across
the new, green grass and
the budding leaves of the
trees. It should be
played with tenderness
and feeling, paying
careful attention to the
crescendo in mm. 25-28,
building up to the
mf
em>. In m. 34, make the
most of the poco
rall. as you prepare
to reiterate the staccato
portion that begins again
in m. 35. Again, the
moving parts here with
the slurs have the melody
and should not be
overwhelmed by the
staccato instruments. At
m. 55 should begin to
build slightly into the
crescendo at m. 57 and
really build that up
through beat 3 of m. 58.
At m. 59, be suddenly
very soft to begin the
final ascent into the
climactic ending. Build
steadily through the last
four measures and give a
good solid bowing of your
last note. Enjoy Le
Printemps!. The
title Le Printemps is
French for the
springtime. This piece is
meant to bring images of
springtime to the
listener's mind. The
rhythmic pattern that
begins in the bass and
works its way up through
the sections to the
violins could be the
patter of raindrops, or
indicative of flowers
pushing their way up
through the ground and
bursting into bloom. All
the instruments that have
the staccato notes are
the backup; the
instruments who have the
slurred notes are playing
the melody in these
sections and should bring
the melody out a little
bit. The middle section
is a little softer (mp)
and more legato, and
could bring to mind a
lovely, warm breeze that
is gently moving across
the new, green grass and
the budding leaves of the
trees. It should be
played with tenderness
and feeling, paying
careful attention to the
crescendo in mm. 25-28,
building up to the mf. In
m. 34, make the most of
the poco rall. as you
prepare to reiterate the
staccato portion that
begins again in m. 35.
Again, the moving parts
here with the slurs have
the melody and should not
be overwhelmed by the
staccato instruments. At
m. 55 should begin to
build slightly into the
crescendo at m. 57 and
really build that up
through beat 3 of m. 58.
At m. 59, be suddenly
very soft to begin the
final ascent into the
climactic ending. Build
steadily through the last
four measures and give a
good solid bowing of your
last note. Enjoy Le
Printemps!. The title
Le Printemps is French
for “the
springtime.†This
piece is meant to bring
images of springtime to
the listener’s
mind. Â The rhythmic
pattern that begins in
the bass and works its
way up through the
sections to the violins
could be the patter of
raindrops, or indicative
of flowers pushing their
way up through the ground
and bursting into bloom.
All the instruments that
have the staccato notes
are the backup; the
instruments who have the
slurred notes are playing
the melody in these
sections and should bring
the melody out a little
bit.The middle section is
a little softer (mp) and
more legato, and could
bring to mind a lovely,
warm breeze that is
gently moving across the
new, green grass and the
budding leaves of the
trees. It should be
played with tenderness
and feeling, paying
careful attention to the
crescendo in mm.
25–28, building up
to the mf. In m. 34, make
the most of the poco
rall. as you prepare to
reiterate the staccato
portion that begins again
in m. 35. Again, the
moving parts here with
the slurs have the melody
and should not be
overwhelmed by the
staccato instruments.At
m. 55 should begin to
build slightly into the
crescendo at m. 57 and
really build that up
through beat 3 of m. 58.
At m. 59, be suddenly
very soft to begin the
final ascent into the
climactic ending. Build
steadily through the last
four measures and give a
good solid bowing of your
last note. Â Enjoy Le
Printemps! $55.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Summit - Score Orchestre d'harmonie [Conducteur] - Débutant Kjos Music Company
Band concert band - Grade 1.5 SKU: KJ.WB346F Composed by Kirk Vogel. Stan...(+)
Band concert band - Grade
1.5 SKU: KJ.WB346F
Composed by Kirk Vogel.
Standard of Excellence in
Concert. Score. Neil A.
Kjos Music Company
#WB346F. Published by
Neil A. Kjos Music
Company (KJ.WB346F).
The Summit is a
programmatic piece
written about a journey
to the top of a mountain.
Numerous visual pictures
are presented regarding
the journey: repeated
eighth notes represent
the endless walking
necessary to reach the
summit; the use of the
minor mode to signifies
fatigue; bold statements
by the low brass and
woodwinds indicate the
beauty and grandeur that
unfolds as the journey
continues; and, of
course, the grand finale
describing the final
ascent to the mountain
top. A wonderful
composition with varying
tone colors.
About Standard
of Excellence in
Concert Th
e Standard of Excellence
In Concert series
presents exceptional
arrangements,
transcriptions, and
original concert and
festival pieces for
beginning and
intermediate band. Each
selection is correlated
to a specific page in the
Standard of Excellence
Band Method, reinforcing
and expanding skills and
concepts introduced in
the method up to that
point. Exciting parts
with extensive
cross-cueing are
presented for every
player. Accessible
ranges, appropriate
rhythmic challenges, and
creative percussion
section writing enhance
the pedagogical value of
the series.
Sold
individually, each In
Concert selection
includes a full Conductor
Score and enough student
parts for large symphonic
bands. Each student part
also includes correlated
Warm-Up Studies. The
Conductor Score comes
complete with rehearsal
suggestions, a composer
biography, program notes,
a rehearsal piano part,
several
ready-to-duplicate
worksheets and a
duplicable written
quiz. $5.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Acadia [Conducteur] Theodore Presser Co.
Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clar...(+)
Band Bass Clarinet,
Bassoon 1, Bassoon 2,
Clarinet, Clarinet 1,
Clarinet 2, Clarinet 3,
Contrabass Clarinet,
Contrabassoon, Double
Bass, English Horn,
Euphonium, Flute 1, Flute
2, Horn 1, Horn 2, Horn
3, Horn 4, Oboe 1, Oboe
2, Percussion 1 and more.
SKU: PR.16500103F
Mvt. 3 from Symphony
No. 6 (Three Places in
the East). Composed
by Dan Welcher. Full
score. 60 pages. Theodore
Presser Company
#165-00103F. Published by
Theodore Presser Company
(PR.16500103F). ISBN
9781491131763. UPC:
680160680290. Ever
since the success of my
series of wind ensemble
works Places in the West,
I've been wanting to
write a companion piece
for national parks on the
other side of the north
American continent. The
earlier work, consisting
of GLACIER, THE
YELLOWSTONE FIRES,
ARCHES, and ZION, spanned
some twenty years of my
composing life, and since
the pieces called for
differing groups of
instruments, and were in
slightly different styles
from each other, I never
considered them to be
connected except in their
subject matter. In their
depiction of both the
scenery and the human
history within these
wondrous places, they had
a common goal: awaking
the listener to the
fragile beauty that is in
them; and calling
attention to the ever
more crucial need for
preservation and
protection of these wild
places, unique in all the
world. With this new
work, commissioned by a
consortium of college and
conservatory wind
ensembles led by the
University of Georgia, I
decided to build upon
that same model---but to
solidify the process. The
result, consisting of
three movements (each
named for a different
national park in the
eastern US), is a
bona-fide symphony. While
the three pieces could be
performed separately,
they share a musical
theme---and also a common
style and
instrumentation. It is a
true symphony, in that
the first movement is
long and expository, the
second is a rather
tightly structured
scherzo-with-trio, and
the finale is a true
culmination of the whole.
The first movement,
Everglades, was the
original inspiration for
the entire symphony.
Conceived over the course
of two trips to that
astonishing place (which
the native Americans
called River of Grass,
the subtitle of this
movement), this movement
not only conveys a sense
of the humid, lush, and
even frightening scenery
there---but also an
overview of the entire
settling-of- Florida
experience. It contains
not one, but two native
American chants, and also
presents a view of the
staggering influence of
modern man on this
fragile part of the
world. Beginning with a
slow unfolding marked
Heavy, humid, the music
soon presents a gentle,
lyrical theme in the solo
alto saxophone. This
theme, which goes through
three expansive phrases
with breaks in between,
will appear in all three
movements of the
symphony. After the mood
has been established, the
music opens up to a rich,
warm setting of a
Cherokee morning song,
with the simple happiness
that this part of Florida
must have had prior to
the nineteenth century.
This music, enveloping
and comforting, gradually
gives way to a more
frenetic, driven section
representative of the
intrusion of the white
man. Since Florida was
populated and developed
largely due to the
introduction of a train
system, there's a
suggestion of the
mechanized iron horse
driving straight into the
heartland. At that point,
the native Americans
become considerably less
gentle, and a second
chant seems to stand in
the way of the intruder;
a kind of warning song.
The second part of this
movement shows us the
great swampy center of
the peninsula, with its
wildlife both in and out
of the water. A new theme
appears, sad but noble,
suggesting that this land
is precious and must be
protected by all the
people who inhabit it. At
length, the morning song
reappears in all its
splendor, until the
sunset---with one last
iteration of the warning
song in the solo piccolo.
Functioning as a scherzo,
the second movement,
Great Smoky Mountains,
describes not just that
huge park itself, but one
brave soul's attempt to
climb a mountain there.
It begins with three
iterations of the
UR-theme (which began the
first movement as well),
but this time as up-tempo
brass fanfares in
octaves. Each time it
begins again, the theme
is a little slower and
less confident than the
previous time---almost as
though the hiker were
becoming aware of the
daunting mountain before
him. But then, a steady,
quick-pulsed ostinato
appears, in a constantly
shifting meter system of
2/4- 3/4 in alteration,
and the hike has begun.
Over this, a slower new
melody appears, as the
trek up the mountain
progresses. It's a big
mountain, and the ascent
seems to take quite
awhile, with little
breaks in the hiker's
stride, until at length
he simply must stop and
rest. An oboe solo, over
several free cadenza-like
measures, allows us (and
our friend the hiker) to
catch our breath, and
also to view in the
distance the rocky peak
before us. The goal is
somehow even more
daunting than at first,
being closer and thus
more frighteningly steep.
When we do push off
again, it's at a slower
pace, and with more
careful attention to our
footholds as we trek over
broken rocks. Tantalizing
little views of the
valley at every
switchback make our
determination even
stronger. Finally, we
burst through a stand of
pines and----we're at the
summit! The immensity of
the view is overwhelming,
and ultimately humbling.
A brief coda, while we
sit dazed on the rocks,
ends the movement in a
feeling of triumph. The
final movement, Acadia,
is also about a trip. In
the summer of 2014, I
took a sailing trip with
a dear friend from North
Haven, Maine, to the
southern coast of Mt.
Desert Island in Acadia
National Park. The
experience left me both
exuberant and exhausted,
with an appreciation for
the ocean that I hadn't
had previously. The
approach to Acadia
National Park by water,
too, was thrilling: like
the difference between
climbing a mountain on
foot with riding up on a
ski-lift, I felt I'd
earned the right to be
there. The music for this
movement is entirely
based on the opening
UR-theme. There's a sense
of the water and the
mysterious, quiet deep
from the very beginning,
with seagulls and bell
buoys setting the scene.
As we leave the harbor,
the theme (in a canon
between solo euphonium
and tuba) almost seems as
if large subaquatic
animals are observing our
departure. There are
three themes (call them
A, B and C) in this
seafaring journey---but
they are all based on the
UR theme, in its original
form with octaves
displaced, in an
upside-down form, and in
a backwards version as
well. (The ocean, while
appearing to be
unchanging, is always
changing.) We move out
into the main channel
(A), passing several
islands (B), until we
reach the long draw that
parallels the coastline
called Eggemoggin Reach,
and a sudden burst of new
speed (C). Things
suddenly stop, as if the
wind had died, and we
have a vision: is that
really Mt. Desert Island
we can see off the port
bow, vaguely in the
distance? A chorale of
saxophones seems to
suggest that. We push off
anew as the chorale ends,
and go through all three
themes again---but in
different
instrumentations, and
different keys. At the
final tack-turn, there it
is, for real: Mt. Desert
Island, big as life.
We've made it. As we pull
into the harbor, where
we'll secure the boat for
the night, there's a
feeling of achievement.
Our whale and dolphin
friends return, and we
end our journey with
gratitude and
celebration. I am
profoundly grateful to
Jaclyn Hartenberger,
Professor of Conducting
at the University of
Georgia, for leading the
consortium which provided
the commissioning of this
work. $39.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Great Smoky Mountains [Conducteur] Theodore Presser Co.
Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clar...(+)
Band Bass Clarinet,
Bassoon 1, Bassoon 2,
Clarinet, Clarinet 1,
Clarinet 2, Clarinet 3,
Contrabass Clarinet,
Contrabassoon, Double
Bass, English Horn,
Euphonium, Flute 1, Flute
2, Horn 1, Horn 2, Horn
3, Horn 4, Oboe 1, Oboe
2, Percussion 1 and more.
SKU: PR.16500102F
Mvt. 2 from Symphony
No. 6 (Three Places in
the East). Composed
by Dan Welcher. Full
score. 52 pages. Theodore
Presser Company
#165-00102F. Published by
Theodore Presser Company
(PR.16500102F). ISBN
9781491131749. UPC:
680160680276. Ever
since the success of my
series of wind ensemble
works Places in the West,
I've been wanting to
write a companion piece
for national parks on the
other side of the north
American continent. The
earlier work, consisting
of GLACIER, THE
YELLOWSTONE FIRES,
ARCHES, and ZION, spanned
some twenty years of my
composing life, and since
the pieces called for
differing groups of
instruments, and were in
slightly different styles
from each other, I never
considered them to be
connected except in their
subject matter. In their
depiction of both the
scenery and the human
history within these
wondrous places, they had
a common goal: awaking
the listener to the
fragile beauty that is in
them; and calling
attention to the ever
more crucial need for
preservation and
protection of these wild
places, unique in all the
world. With this new
work, commissioned by a
consortium of college and
conservatory wind
ensembles led by the
University of Georgia, I
decided to build upon
that same model---but to
solidify the process. The
result, consisting of
three movements (each
named for a different
national park in the
eastern US), is a
bona-fide symphony. While
the three pieces could be
performed separately,
they share a musical
theme---and also a common
style and
instrumentation. It is a
true symphony, in that
the first movement is
long and expository, the
second is a rather
tightly structured
scherzo-with-trio, and
the finale is a true
culmination of the whole.
The first movement,
Everglades, was the
original inspiration for
the entire symphony.
Conceived over the course
of two trips to that
astonishing place (which
the native Americans
called River of Grass,
the subtitle of this
movement), this movement
not only conveys a sense
of the humid, lush, and
even frightening scenery
there---but also an
overview of the entire
settling-of- Florida
experience. It contains
not one, but two native
American chants, and also
presents a view of the
staggering influence of
modern man on this
fragile part of the
world. Beginning with a
slow unfolding marked
Heavy, humid, the music
soon presents a gentle,
lyrical theme in the solo
alto saxophone. This
theme, which goes through
three expansive phrases
with breaks in between,
will appear in all three
movements of the
symphony. After the mood
has been established, the
music opens up to a rich,
warm setting of a
Cherokee morning song,
with the simple happiness
that this part of Florida
must have had prior to
the nineteenth century.
This music, enveloping
and comforting, gradually
gives way to a more
frenetic, driven section
representative of the
intrusion of the white
man. Since Florida was
populated and developed
largely due to the
introduction of a train
system, there's a
suggestion of the
mechanized iron horse
driving straight into the
heartland. At that point,
the native Americans
become considerably less
gentle, and a second
chant seems to stand in
the way of the intruder;
a kind of warning song.
The second part of this
movement shows us the
great swampy center of
the peninsula, with its
wildlife both in and out
of the water. A new theme
appears, sad but noble,
suggesting that this land
is precious and must be
protected by all the
people who inhabit it. At
length, the morning song
reappears in all its
splendor, until the
sunset---with one last
iteration of the warning
song in the solo piccolo.
Functioning as a scherzo,
the second movement,
Great Smoky Mountains,
describes not just that
huge park itself, but one
brave soul's attempt to
climb a mountain there.
It begins with three
iterations of the
UR-theme (which began the
first movement as well),
but this time as up-tempo
brass fanfares in
octaves. Each time it
begins again, the theme
is a little slower and
less confident than the
previous time---almost as
though the hiker were
becoming aware of the
daunting mountain before
him. But then, a steady,
quick-pulsed ostinato
appears, in a constantly
shifting meter system of
2/4- 3/4 in alteration,
and the hike has begun.
Over this, a slower new
melody appears, as the
trek up the mountain
progresses. It's a big
mountain, and the ascent
seems to take quite
awhile, with little
breaks in the hiker's
stride, until at length
he simply must stop and
rest. An oboe solo, over
several free cadenza-like
measures, allows us (and
our friend the hiker) to
catch our breath, and
also to view in the
distance the rocky peak
before us. The goal is
somehow even more
daunting than at first,
being closer and thus
more frighteningly steep.
When we do push off
again, it's at a slower
pace, and with more
careful attention to our
footholds as we trek over
broken rocks. Tantalizing
little views of the
valley at every
switchback make our
determination even
stronger. Finally, we
burst through a stand of
pines and----we're at the
summit! The immensity of
the view is overwhelming,
and ultimately humbling.
A brief coda, while we
sit dazed on the rocks,
ends the movement in a
feeling of triumph. The
final movement, Acadia,
is also about a trip. In
the summer of 2014, I
took a sailing trip with
a dear friend from North
Haven, Maine, to the
southern coast of Mt.
Desert Island in Acadia
National Park. The
experience left me both
exuberant and exhausted,
with an appreciation for
the ocean that I hadn't
had previously. The
approach to Acadia
National Park by water,
too, was thrilling: like
the difference between
climbing a mountain on
foot with riding up on a
ski-lift, I felt I'd
earned the right to be
there. The music for this
movement is entirely
based on the opening
UR-theme. There's a sense
of the water and the
mysterious, quiet deep
from the very beginning,
with seagulls and bell
buoys setting the scene.
As we leave the harbor,
the theme (in a canon
between solo euphonium
and tuba) almost seems as
if large subaquatic
animals are observing our
departure. There are
three themes (call them
A, B and C) in this
seafaring journey---but
they are all based on the
UR theme, in its original
form with octaves
displaced, in an
upside-down form, and in
a backwards version as
well. (The ocean, while
appearing to be
unchanging, is always
changing.) We move out
into the main channel
(A), passing several
islands (B), until we
reach the long draw that
parallels the coastline
called Eggemoggin Reach,
and a sudden burst of new
speed (C). Things
suddenly stop, as if the
wind had died, and we
have a vision: is that
really Mt. Desert Island
we can see off the port
bow, vaguely in the
distance? A chorale of
saxophones seems to
suggest that. We push off
anew as the chorale ends,
and go through all three
themes again---but in
different
instrumentations, and
different keys. At the
final tack-turn, there it
is, for real: Mt. Desert
Island, big as life.
We've made it. As we pull
into the harbor, where
we'll secure the boat for
the night, there's a
feeling of achievement.
Our whale and dolphin
friends return, and we
end our journey with
gratitude and
celebration. I am
profoundly grateful to
Jaclyn Hartenberger,
Professor of Conducting
at the University of
Georgia, for leading the
consortium which provided
the commissioning of this
work. $36.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Everglades (River of Grass) [Conducteur] Theodore Presser Co.
Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clar...(+)
Band Bass Clarinet,
Bassoon 1, Bassoon 2,
Clarinet, Clarinet 1,
Clarinet 2, Clarinet 3,
Contrabass Clarinet,
Contrabassoon, Double
Bass, English Horn,
Euphonium, Flute 1, Flute
2, Horn 1, Horn 2, Horn
3, Horn 4, Oboe 1, Oboe
2, Percussion 1 and more.
SKU: PR.16500101F
Mvt. 1 from Symphony
No. 6 (Three Places in
the East). Composed
by Dan Welcher. Full
score. 52 pages. Theodore
Presser Company
#165-00101F. Published by
Theodore Presser Company
(PR.16500101F). ISBN
9781491131725. UPC:
680160680252. Ever
since the success of my
series of wind ensemble
works Places in the West,
I've been wanting to
write a companion piece
for national parks on the
other side of the north
American continent. The
earlier work, consisting
of GLACIER, THE
YELLOWSTONE FIRES,
ARCHES, and ZION, spanned
some twenty years of my
composing life, and since
the pieces called for
differing groups of
instruments, and were in
slightly different styles
from each other, I never
considered them to be
connected except in their
subject matter. In their
depiction of both the
scenery and the human
history within these
wondrous places, they had
a common goal: awaking
the listener to the
fragile beauty that is in
them; and calling
attention to the ever
more crucial need for
preservation and
protection of these wild
places, unique in all the
world. With this new
work, commissioned by a
consortium of college and
conservatory wind
ensembles led by the
University of Georgia, I
decided to build upon
that same model---but to
solidify the process. The
result, consisting of
three movements (each
named for a different
national park in the
eastern US), is a
bona-fide symphony. While
the three pieces could be
performed separately,
they share a musical
theme---and also a common
style and
instrumentation. It is a
true symphony, in that
the first movement is
long and expository, the
second is a rather
tightly structured
scherzo-with-trio, and
the finale is a true
culmination of the whole.
The first movement,
Everglades, was the
original inspiration for
the entire symphony.
Conceived over the course
of two trips to that
astonishing place (which
the native Americans
called River of Grass,
the subtitle of this
movement), this movement
not only conveys a sense
of the humid, lush, and
even frightening scenery
there---but also an
overview of the entire
settling-of- Florida
experience. It contains
not one, but two native
American chants, and also
presents a view of the
staggering influence of
modern man on this
fragile part of the
world. Beginning with a
slow unfolding marked
Heavy, humid, the music
soon presents a gentle,
lyrical theme in the solo
alto saxophone. This
theme, which goes through
three expansive phrases
with breaks in between,
will appear in all three
movements of the
symphony. After the mood
has been established, the
music opens up to a rich,
warm setting of a
Cherokee morning song,
with the simple happiness
that this part of Florida
must have had prior to
the nineteenth century.
This music, enveloping
and comforting, gradually
gives way to a more
frenetic, driven section
representative of the
intrusion of the white
man. Since Florida was
populated and developed
largely due to the
introduction of a train
system, there's a
suggestion of the
mechanized iron horse
driving straight into the
heartland. At that point,
the native Americans
become considerably less
gentle, and a second
chant seems to stand in
the way of the intruder;
a kind of warning song.
The second part of this
movement shows us the
great swampy center of
the peninsula, with its
wildlife both in and out
of the water. A new theme
appears, sad but noble,
suggesting that this land
is precious and must be
protected by all the
people who inhabit it. At
length, the morning song
reappears in all its
splendor, until the
sunset---with one last
iteration of the warning
song in the solo piccolo.
Functioning as a scherzo,
the second movement,
Great Smoky Mountains,
describes not just that
huge park itself, but one
brave soul's attempt to
climb a mountain there.
It begins with three
iterations of the
UR-theme (which began the
first movement as well),
but this time as up-tempo
brass fanfares in
octaves. Each time it
begins again, the theme
is a little slower and
less confident than the
previous time---almost as
though the hiker were
becoming aware of the
daunting mountain before
him. But then, a steady,
quick-pulsed ostinato
appears, in a constantly
shifting meter system of
2/4- 3/4 in alteration,
and the hike has begun.
Over this, a slower new
melody appears, as the
trek up the mountain
progresses. It's a big
mountain, and the ascent
seems to take quite
awhile, with little
breaks in the hiker's
stride, until at length
he simply must stop and
rest. An oboe solo, over
several free cadenza-like
measures, allows us (and
our friend the hiker) to
catch our breath, and
also to view in the
distance the rocky peak
before us. The goal is
somehow even more
daunting than at first,
being closer and thus
more frighteningly steep.
When we do push off
again, it's at a slower
pace, and with more
careful attention to our
footholds as we trek over
broken rocks. Tantalizing
little views of the
valley at every
switchback make our
determination even
stronger. Finally, we
burst through a stand of
pines and----we're at the
summit! The immensity of
the view is overwhelming,
and ultimately humbling.
A brief coda, while we
sit dazed on the rocks,
ends the movement in a
feeling of triumph. The
final movement, Acadia,
is also about a trip. In
the summer of 2014, I
took a sailing trip with
a dear friend from North
Haven, Maine, to the
southern coast of Mt.
Desert Island in Acadia
National Park. The
experience left me both
exuberant and exhausted,
with an appreciation for
the ocean that I hadn't
had previously. The
approach to Acadia
National Park by water,
too, was thrilling: like
the difference between
climbing a mountain on
foot with riding up on a
ski-lift, I felt I'd
earned the right to be
there. The music for this
movement is entirely
based on the opening
UR-theme. There's a sense
of the water and the
mysterious, quiet deep
from the very beginning,
with seagulls and bell
buoys setting the scene.
As we leave the harbor,
the theme (in a canon
between solo euphonium
and tuba) almost seems as
if large subaquatic
animals are observing our
departure. There are
three themes (call them
A, B and C) in this
seafaring journey---but
they are all based on the
UR theme, in its original
form with octaves
displaced, in an
upside-down form, and in
a backwards version as
well. (The ocean, while
appearing to be
unchanging, is always
changing.) We move out
into the main channel
(A), passing several
islands (B), until we
reach the long draw that
parallels the coastline
called Eggemoggin Reach,
and a sudden burst of new
speed (C). Things
suddenly stop, as if the
wind had died, and we
have a vision: is that
really Mt. Desert Island
we can see off the port
bow, vaguely in the
distance? A chorale of
saxophones seems to
suggest that. We push off
anew as the chorale ends,
and go through all three
themes again---but in
different
instrumentations, and
different keys. At the
final tack-turn, there it
is, for real: Mt. Desert
Island, big as life.
We've made it. As we pull
into the harbor, where
we'll secure the boat for
the night, there's a
feeling of achievement.
Our whale and dolphin
friends return, and we
end our journey with
gratitude and
celebration. I am
profoundly grateful to
Jaclyn Hartenberger,
Professor of Conducting
at the University of
Georgia, for leading the
consortium which provided
the commissioning of this
work. $36.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Symphony No. 6 [Conducteur] Theodore Presser Co.
Band SKU: PR.16500104F Three Places in the East. Composed by Dan W...(+)
Band SKU:
PR.16500104F Three
Places in the East.
Composed by Dan Welcher.
Full score. Theodore
Presser Company
#165-00104F. Published by
Theodore Presser Company
(PR.16500104F). ISBN
9781491132159. UPC:
680160681082. Ever
since the success of my
series of wind ensemble
works Places in the West,
I've been wanting to
write a companion piece
for national parks on the
other side of the north
American continent. The
earlier work, consisting
of GLACIER, THE
YELLOWSTONE FIRES,
ARCHES, and ZION, spanned
some twenty years of my
composing life, and since
the pieces called for
differing groups of
instruments, and were in
slightly different styles
from each other, I never
considered them to be
connected except in their
subject matter. In their
depiction of both the
scenery and the human
history within these
wondrous places, they had
a common goal: awaking
the listener to the
fragile beauty that is in
them; and calling
attention to the ever
more crucial need for
preservation and
protection of these wild
places, unique in all the
world. With this new
work, commissioned by a
consortium of college and
conservatory wind
ensembles led by the
University of Georgia, I
decided to build upon
that same model---but to
solidify the process. The
result, consisting of
three movements (each
named for a different
national park in the
eastern US), is a
bona-fide symphony. While
the three pieces could be
performed separately,
they share a musical
theme---and also a common
style and
instrumentation. It is a
true symphony, in that
the first movement is
long and expository, the
second is a rather
tightly structured
scherzo-with-trio, and
the finale is a true
culmination of the whole.
The first movement,
Everglades, was the
original inspiration for
the entire symphony.
Conceived over the course
of two trips to that
astonishing place (which
the native Americans
called River of Grass,
the subtitle of this
movement), this movement
not only conveys a sense
of the humid, lush, and
even frightening scenery
there---but also an
overview of the entire
settling-of- Florida
experience. It contains
not one, but two native
American chants, and also
presents a view of the
staggering influence of
modern man on this
fragile part of the
world. Beginning with a
slow unfolding marked
Heavy, humid, the music
soon presents a gentle,
lyrical theme in the solo
alto saxophone. This
theme, which goes through
three expansive phrases
with breaks in between,
will appear in all three
movements of the
symphony. After the mood
has been established, the
music opens up to a rich,
warm setting of a
Cherokee morning song,
with the simple happiness
that this part of Florida
must have had prior to
the nineteenth century.
This music, enveloping
and comforting, gradually
gives way to a more
frenetic, driven section
representative of the
intrusion of the white
man. Since Florida was
populated and developed
largely due to the
introduction of a train
system, there's a
suggestion of the
mechanized iron horse
driving straight into the
heartland. At that point,
the native Americans
become considerably less
gentle, and a second
chant seems to stand in
the way of the intruder;
a kind of warning song.
The second part of this
movement shows us the
great swampy center of
the peninsula, with its
wildlife both in and out
of the water. A new theme
appears, sad but noble,
suggesting that this land
is precious and must be
protected by all the
people who inhabit it. At
length, the morning song
reappears in all its
splendor, until the
sunset---with one last
iteration of the warning
song in the solo piccolo.
Functioning as a scherzo,
the second movement,
Great Smoky Mountains,
describes not just that
huge park itself, but one
brave soul's attempt to
climb a mountain there.
It begins with three
iterations of the
UR-theme (which began the
first movement as well),
but this time as up-tempo
brass fanfares in
octaves. Each time it
begins again, the theme
is a little slower and
less confident than the
previous time---almost as
though the hiker were
becoming aware of the
daunting mountain before
him. But then, a steady,
quick-pulsed ostinato
appears, in a constantly
shifting meter system of
2/4- 3/4 in alteration,
and the hike has begun.
Over this, a slower new
melody appears, as the
trek up the mountain
progresses. It's a big
mountain, and the ascent
seems to take quite
awhile, with little
breaks in the hiker's
stride, until at length
he simply must stop and
rest. An oboe solo, over
several free cadenza-like
measures, allows us (and
our friend the hiker) to
catch our breath, and
also to view in the
distance the rocky peak
before us. The goal is
somehow even more
daunting than at first,
being closer and thus
more frighteningly steep.
When we do push off
again, it's at a slower
pace, and with more
careful attention to our
footholds as we trek over
broken rocks. Tantalizing
little views of the
valley at every
switchback make our
determination even
stronger. Finally, we
burst through a stand of
pines and----we're at the
summit! The immensity of
the view is overwhelming,
and ultimately humbling.
A brief coda, while we
sit dazed on the rocks,
ends the movement in a
feeling of triumph. The
final movement, Acadia,
is also about a trip. In
the summer of 2014, I
took a sailing trip with
a dear friend from North
Haven, Maine, to the
southern coast of Mt.
Desert Island in Acadia
National Park. The
experience left me both
exuberant and exhausted,
with an appreciation for
the ocean that I hadn't
had previously. The
approach to Acadia
National Park by water,
too, was thrilling: like
the difference between
climbing a mountain on
foot with riding up on a
ski-lift, I felt I'd
earned the right to be
there. The music for this
movement is entirely
based on the opening
UR-theme. There's a sense
of the water and the
mysterious, quiet deep
from the very beginning,
with seagulls and bell
buoys setting the scene.
As we leave the harbor,
the theme (in a canon
between solo euphonium
and tuba) almost seems as
if large subaquatic
animals are observing our
departure. There are
three themes (call them
A, B and C) in this
seafaring journey---but
they are all based on the
UR theme, in its original
form with octaves
displaced, in an
upside-down form, and in
a backwards version as
well. (The ocean, while
appearing to be
unchanging, is always
changing.) We move out
into the main channel
(A), passing several
islands (B), until we
reach the long draw that
parallels the coastline
called Eggemoggin Reach,
and a sudden burst of new
speed (C). Things
suddenly stop, as if the
wind had died, and we
have a vision: is that
really Mt. Desert Island
we can see off the port
bow, vaguely in the
distance? A chorale of
saxophones seems to
suggest that. We push off
anew as the chorale ends,
and go through all three
themes again---but in
different
instrumentations, and
different keys. At the
final tack-turn, there it
is, for real: Mt. Desert
Island, big as life.
We've made it. As we pull
into the harbor, where
we'll secure the boat for
the night, there's a
feeling of achievement.
Our whale and dolphin
friends return, and we
end our journey with
gratitude and
celebration. I am
profoundly grateful to
Jaclyn Hartenberger,
Professor of Conducting
at the University of
Georgia, for leading the
consortium which provided
the commissioning of this
work. $90.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Songs from the High Sierra Voix haute, Piano Schirmer
Composed by Gwyneth W. Walker (1947-). For high voice, piano. Secular, 21st cent...(+)
Composed by Gwyneth W.
Walker (1947-). For high
voice, piano. Secular,
21st century. Medium.
Collection. Published by
E.C. Schirmer Publishing
$13.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| R.E.M. : Around the Sun Piano, Voix et Guitare [Partition] - Intermédiaire Warner Brothers
Performed by R.E.M. Edited by Carol Cuellar. Songbook (Piano/Vocal/Chords. Arran...(+)
Performed by R.E.M.
Edited by Carol Cuellar.
Songbook
(Piano/Vocal/Chords.
Arrangements for piano
and voice with guitar
chords). 76 pages.
Published by Warner
Brothers.
$19.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Touching the Infinite Sky: Based on the letters of John Muir from Yosemite, California (1871-72) Chorale TTBB TTBB, Piano Schirmer
Composed by Gwyneth W. Walker (1947-). Secular, 21st century. Duration 17 minut...(+)
Composed by Gwyneth W.
Walker (1947-). Secular,
21st century. Duration 17
minutes, 30 seconds. E.C.
Schirmer Publishing
#8516. Published by E.C.
Schirmer Publishing
(EC.8516).
$8.75 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| High Flyers Ensemble de cuivres [Conducteur et Parties séparées] - Facile Gobelin Music Publications
Brass Band - Grade 3 SKU: BT.GOB-000495-030 Composed by Andrew R. Mackere...(+)
Brass Band - Grade 3
SKU:
BT.GOB-000495-030
Composed by Andrew R.
Mackereth. Set (Score &
Parts). 22 pages. Gobelin
Music Publications #GOB
000495-030. Published by
Gobelin Music
Publications
(BT.GOB-000495-030).
From the
composer:
High
Flyers are regarded as
people with promise and
potential.They are
winners. This is
music for
winners.
The
title, as well as being a
play-on-words, implies
the nature of the work.
It is a bright,
optimistic, and upbeat
piece attempting to
depict an exhilarating
ride on flying
carpet. The opening
rising chords immediately
suggest the gentle
elevation of the carpets'
ascent towards unknown
heights, leading to a
hint of a first theme in
the horns at Fig. B.
The first four notes
provide the thematic
material for the whole
work: C F G A. A
perpetual sense of
movement is achieved
through accented quaver
chords punctuating the
melodicmaterial of the
first main theme.
Fig. E sees the music of
the opening bars fully
realised, with flourishes
from the euphonium and
baritones representing
swirling clouds, shooting
stars, or passing birds
in flight. The same
subject is developed into
a lyrical second theme
with a new lush harmonic
treatment, evocative of
gliding over an expanse
of sparse
countryside.This section
ends with a note of
serenity but is shattered
by the urgent insistence
of the percussion
rhythms. The third
section introduces a new
idea with a slightly
distorted fanfare in the
cornets and
trombones. This
figure suggests for the
first time that there may
be trouble ahead. In
fact, there is no need to
fear and the journey can
continue without
aggravation. This fanfare
returns near the end to
signal a final note of
triumph. A new
rhythmic variant of the
cell motif emerges as the
third theme now
transformed by the
addition of a triplet
figure. The music
steadily gains momentum
before moving inexorably
towards the climactic
return of the music and
tonality of the opening
bars of the piece. $137.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Trumpet Sonata Forton Music
Trumpet and piano - Advanced SKU: FT.FM531 Composed by Brian Inglis. Trum...(+)
Trumpet and piano -
Advanced SKU:
FT.FM531 Composed by
Brian Inglis. Trumpet and
Piano. Score and Part.
Forton Music #FM531.
Published by Forton Music
(FT.FM531). ISBN
9790570484300. All
three movements of this
sonata are concerned
metaphorically with
overcoming adversity; or
in registral terms, with
rising from the depths
(more directly at some
times than others). This
concept is referenced in
the subtitle of the first
movement, from Psalm 130:
'Out of the depths have I
cried unto thee, O
Lord...' A slowly rising
figure, emerging from the
lowest register of the
trumpet and the bottom of
the piano, progresses
throughout the movement,
transforming itself as it
rises through the
registers to triumphant,
glittering heights. This
is interrupted and
alternated with
dancelike, scherzando
material, which features
a rigorously mechanistic
process of contraction
and expansion in the
chords of the piano part.
The slow movement has
elements of polystylism,
with echoes of modern
jazz and of the ballroom
in the presentation (by
trumpet and piano
alternately) of the
melancholy main theme,
The climactic rise begins
around two-thirds of the
way through (from bar
44), taking the trumpet
from the bottom to the
top of it's range within
a dozen bars, In the
final chaconne the
process of ascent is
heard transparently in
the piano part: a six-bar
ground bass rises
inexorably through six
octaves of the keyboard,
against which the trumpet
presents increasingly
elaborate
counterpoint. $19.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| High Flyers Ensemble de cuivres [Conducteur] - Facile Gobelin Music Publications
Brass Band - Grade 3 SKU: BT.GOB-000495-130 Composed by Andrew R. Mackere...(+)
Brass Band - Grade 3
SKU:
BT.GOB-000495-130
Composed by Andrew R.
Mackereth. Score Only. 22
pages. Gobelin Music
Publications #GOB
000495-130. Published by
Gobelin Music
Publications
(BT.GOB-000495-130).
From the
composer:
High
Flyers are regarded as
people with promise and
potential.They are
winners. This is
music for
winners.
The
title, as well as being a
play-on-words, implies
the nature of the work.
It is a bright,
optimistic, and upbeat
piece attempting to
depict an exhilarating
ride on flying
carpet. The opening
rising chords immediately
suggest the gentle
elevation of the carpets'
ascent towards unknown
heights, leading to a
hint of a first theme in
the horns at Fig. B.
The first four notes
provide the thematic
material for the whole
work: C F G A. A
perpetual sense of
movement is achieved
through accented quaver
chords punctuating the
melodicmaterial of the
first main theme.
Fig. E sees the music of
the opening bars fully
realised, with flourishes
from the euphonium and
baritones representing
swirling clouds, shooting
stars, or passing birds
in flight. The same
subject is developed into
a lyrical second theme
with a new lush harmonic
treatment, evocative of
gliding over an expanse
of sparse
countryside.This section
ends with a note of
serenity but is shattered
by the urgent insistence
of the percussion
rhythms. The third
section introduces a new
idea with a slightly
distorted fanfare in the
cornets and
trombones. This
figure suggests for the
first time that there may
be trouble ahead. In
fact, there is no need to
fear and the journey can
continue without
aggravation. This fanfare
returns near the end to
signal a final note of
triumph. A new
rhythmic variant of the
cell motif emerges as the
third theme now
transformed by the
addition of a triplet
figure. The music
steadily gains momentum
before moving inexorably
towards the climactic
return of the music and
tonality of the opening
bars of the piece. $26.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Contemporary Film Scores For Solo Piano Piano seul Music Sales
| | |
| SONG AND DANCE [Conducteur] Theodore Presser Co.
Chamber Music Vibraphone, soprano Saxophone SKU: PR.11441378S Duo for ...(+)
Chamber Music Vibraphone,
soprano Saxophone SKU:
PR.11441378S Duo
for Saxophones and
Percussion. Composed
by Shulamit Ran. Spiral.
Contemporary. Full score.
With Standard notation.
Composed 2007. 12 pages.
Theodore Presser Company
#114-41378S. Published by
Theodore Presser Company
(PR.11441378S). UPC:
680160585939. 11 x 14
inches. Commissione
d by Network for New
Music, who premiered the
work in April 2008, with
support from Philadelphia
Music Project, an
Artistic Initiative of
The Pew Charitable
Trusts, administered by
the University of the
Arts. “Song and
Dance†began its
life as a nascent melody
in the late eighties,
employing a similar
motivic cell as did three
of my works written over
a period of several years
— East Wind,
String Quartet No. 2
(Vistas), and Mirage.Â
At the ore of these three
works is the simplest of
melodic kernels —
a note encircled by its
two neighboring tones
(and more specifically, a
half step above and whole
step below). At the
time, I envisioned
writing a work for voice,
oboe, and marimba, and
had just begun it, only
to drop it in favor of
more pressing
compositional
assignments. Almost
twenty years later, the
vocal fragment finally
evolved into the
“song†of
this work, played here by
the soprano
saxophone. But it
seems that the song, all
these years, had been
waiting for its
counterpart, a dance.Â
Singing and dancing are
two of humankind’s
most basic and essential
impulses, transcending
time and place, reaching
back to the earliest
civilizations. The
resulting composition,
“Song and
Danceâ€, moves back
and forth between the
two, delineating its
various parts further
with the use of both
soprano and alto
saxophones, partnered by
mallet percussion
instruments —
mostly vibraphone and
marimba, with bells added
at the very end of the
work. The song
portions return to the
same melody, varied and
evolved over time, as new
materials are introduced
in the dance sections,
affecting the
presentation of the
recurring song
music. My thanks to
the Network for New Music
for commissioning this
work and allowing me the
freedom to choose its
format and
instrumentation.—S
hulamit Ran. $23.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
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