Composed by
Joseph Compello. Folio.
Fps. Set of Score and
Parts.
8+2+4+4+2+5+2+2+4+4+3+6+2
+3+1+1+2+3+16 pages.
Duration 2 minutes, 5
seconds. Carl Fischer
Music #FPS158. Published
by Carl Fischer Music
(CF.FPS158).
ISBN
9781491158005. UPC:
680160916603. 9 x 12
inches.
Vulcan's
Anvil is intended for
band students who have
completed at least one
year of instruction. In
order to capture properly
the character of the
music, students should
not confuse a Star Trek
character with the title
character of this piece.
Explain to them that
Vulcan is the ancient
mythological god of fire
who is often portrayed
holding a hammer over an
anvil at a blacksmith's
hearth. Of primary
importance to an
effective performance is
the acquisition of an
instrument which produces
a convincing anvil sound.
If possible, consult with
an orchestral
percussionist who, more
than likely, has used the
anvil in Verdi's Anvil
Chorus or in Wagner's
Ring Cycle. Web searches
will reveal in-depth
information about anvils
in music and the lore of
the character Vulcan.
Regarding wind
instruments, articulation
is always marcato. There
are no tender or
contrasting passages in
this piece. Effective
execution of crescendos
will add drama to the
music. As always, balance
between winds and
percussion is crucial.
Thank you for choosing
this composition. Joseph
Compello. Vulcan's
Anvil is intended for
band students who have
completed at least one
year of instruction. In
order to capture properly
the character of the
music, students should
not confuse a Star Trek
character with the title
character of this piece.
Explain to them that
Vulcan is the ancient
mythological god of fire
who is often portrayed
holding a hammer over an
anvil at a blacksmith's
hearth. Of primary
importance to an
effective performance
is the acquisition of an
instrument which produces
a convincing anvil sound.
If possible, consult with
an orchestral
percussionist who, more
than likely, has used the
anvil in Verdi's Anvil
Chorus or in Wagner's
Ring Cycle. Web searches
will reveal in-depth
information about anvils
in music and the lore of
the character Vulcan.
Regarding wind
instruments, articulation
is always marcato. There
are no tender or
contrasting passages in
this piece. Effective
execution of crescendos
will add drama to the
music. As always, balance
between winds and
percussion is
crucial.Thank you for
choosing this
composition.Joseph
Compello.
Oratorio. Composed
by George Frideric
Handel. Edited by Felix
Loy. This edition:
urtext. 2x 55.053/21
flutes 1 and 2, 1x
55.053/22 oboe 1, 1x
55.053/23 oboe 2, 2x
55.053/24 flutes 1 and 2,
2x 55.053/31 trumpet, 3x
55.053/32 trombone, 1x
55.053/41 timpani, 1x
55.053/42 harp, 2x
55.053/43 carillion.
Stuttgart Urtext Edition:
Handel. Saul Hwv 53
Kartoniert. Sacred vocal
music, Oratorios. Set of
Orchestra Parts. Composed
1739. HWV 53. Duration
165 minutes. Carus Verlag
#CV 55.053/09. Published
by Carus Verlag
(CA.5505309).
ISBN
9790007226565. Text
language:
English/German.
Sau
l, published for the
first time in the version
conducted by Handel
himself. Saul is one of
the most dramatic of
Handel's oratorios. To a
greater extent than
almost any other oratorio
it reveals with its
gripping dramatic power
its proximity to opera of
its time. The score
demands what was at the
time Handel's most varied
orchestra. The normal
opera orchestra of the
day was augmented by
trombones, harp, solo
organ, carillon
(Glockenspiel) and large
kettledrums. The choir
functions for the first
time as a central
participant in dramatic
action, while also
undertaking commentating
functions as in a Greek
tragedy. This new edition
makes use for the first
time of musical material
revealed by the latest
Handel research, based as
its most important source
on the conducting score
from which Handel himself
directed his
performances. Only this
research has shown which
arias, choruses,
recitatives and
instrumental pieces,
after he had made
numerous corrections in
his autograph, Handel
chose for his
performances, and in what
order they were given.
The result has produced,
apart from many changes
of details (e.g.
autograph instructions
concerning the use of the
organ), uncommon ordering
of individual pieces, and
passages with altered
notes. Score and parts
available separately -
see item CA.5505300.
Classical Duets for Clarinet with CD composed by Various. Arranged by Jonathon R...(+)
Classical Duets for
Clarinet with CD composed
by Various. Arranged by
Jonathon Robbins. For
clarinet. This edition:
Paperback. Collection.
Classical, Play Along.
Book and CD. Text
Language: English. 48
pages. Published by
Santorella Publications
From Terra Nostra.
Composed by Stacy Garrop.
Set of Score and Parts.
Duration 3:15. Theodore
Presser Company
#312-41902A. Published by
Theodore Presser Company
(PR.31241902A).
UPC:
680160690510.
English.
Commission
ed by the San Francisco
Choral Society and the
Piedmont East Bay
Children’s Choir, Terra
Nostra is a 70-minute
oratorio on the
relationship between our
planet and humankind, how
this relationship has
shifted over time, and
how we can re-establish a
harmonious balance. Part
I: Creation of the World
explores various creation
myths from different
cultures, culminating in
a joyous celebration of
the beauty of our planet.
Part II: The Rise of
Humanity examines human
achievements,
particularly since the
dawn of our Industrial
Age, and how these
achievements have
impacted the planet. Part
III: Searching for
Balance questions how to
create more awareness for
our planet’s plight,
re-establish a deeper
connection to it, and
find a balance for living
within our planet’s
resources. In addition to
the complete oratorio,
stand-alone movements for
mixed chorus, and for
solo voice with piano,
are also available
separately. Terra
Nostra focuses on the
relationship between our
planet and mankind, how
this relationship has
shifted over time, and
how we can re-establish a
harmonious balance. The
oratorio is divided into
three parts:Part I:
Creation of the World
celebrates the birth and
beauty of our planet. The
oratorio begins with
creation myths from
India, North America, and
Egypt that are integrated
into the opening lines of
Genesis from the Old
Testament. The music
surges forth from these
creation stories into
“God’s World” by
Edna St. Vincent Millay,
which describes the world
in exuberant and vivid
detail. Percy Bysshe
Shelley’s “On thine
own child” praises
Mother Earth for her role
bringing forth all life,
while Walt Whitman sings
a love song to the planet
in “Smile O voluptuous
cool-breathed earth!”
Part I ends with “A
Blade of Grass” in
which Whitman muses how
our planet has been
spinning in the heavens
for a very long time.Part
II: The Rise of Humanity
examines the achievements
of mankind, particularly
since the dawn of the
Industrial Age. Lord
Alfred Tennyson’s
“Locksley Hall” sets
an auspicious tone that
mankind is on the verge
of great discoveries.
This is followed in short
order by Charles
Mackay’s “Railways
1846,” William Ernest
Henley’s “A Song of
Speed,” and John
Gillespie Magee, Jr.’s
“High Flight,” each
of which celebrates a new
milestone in
technological
achievement. In “Binsey
Poplars,” Gerard Manley
Hopkins takes note of the
effect that these
advances are having on
the planet, with trees
being brought down and
landscapes forever
changed. Percy Bysshe
Shelley’s “A Dirge”
concludes Part II with a
warning that the planet
is beginning to sound a
grave alarm.Part III:
Searching for Balance
questions how we can
create more awareness for
our planet’s plight,
re-establish a deeper
connection to it, and
find a balance for living
within our planet’s
resources. Three texts
continue the earth’s
plea that ended the
previous section: Lord
Byron’s “Darkness”
speaks of a natural
disaster (a volcano) that
has blotted out the sun
from humanity and the
panic that ensues;
contemporary poet Esther
Iverem’s “Earth
Screaming” gives voice
to the modern issues of
our changing climate; and
William Wordsworth’s
“The World Is Too Much
With Us” warns us that
we are almost out of time
to change our course.
Contemporary/agrarian
poet Wendell Berry’s
“The Want of Peace”
speaks to us at the
climax of the oratorio,
reminding us that we can
find harmony with the
planet if we choose to
live more simply, and to
recall that we ourselves
came from the earth. Two
Walt Whitman texts (“A
Child said, What is the
grass?” and “There
was a child went forth
every day”) echo
Berry’s thoughts,
reminding us that we are
of the earth, as is
everything that we see on
our planet. The oratorio
concludes with a reprise
of Whitman’s “A Blade
of Grass” from Part I,
this time interspersed
with an additional
Whitman text that
sublimely states, “I
bequeath myself to the
dirt to grow from the
grass I love…”My hope
in writing this oratorio
is to invite audience
members to consider how
we interact with our
planet, and what we can
each personally do to
keep the planet going for
future generations. We
are the only stewards
Earth has; what can we
each do to leave her in
better shape than we
found her?
Band Bass Clarinet, Bass
Drum, Bassoon, Clarinet,
Euphonium, Euphonium
T.C., Floor Tom, Flute,
Flute 2, Horn, Mallet
Percussion, Oboe,
Percussion 1, Percussion
2, Snare Drum, Tam-tam,
Timpani, Trombone,
Trumpet, Tuba, Xylophone,
alto Saxophone and more.
- Grade 1
SKU:
CF.BPS136F
Composed
by Joseph Compello. Sws.
Bps. Full score. 12
pages. Duration 2:10.
Carl Fischer Music
#BPS136F. Published by
Carl Fischer Music
(CF.BPS136F).
ISBN
9781491158050. UPC:
680160916658. 9 x 12
inches.
Cyclops is
intended for first-year
band students. Young
players will better
understand the character
and mood of the music
once they are given a
description of the
beastly, mythological
giant with only one eye
in middle of its
forehead. An effective
performance will require
young players to adhere
as closely as possible to
the suggested tempo with
a continuous marcato
articulation. The piece
has only one theme which
is first heard in the low
brass and low woodwinds
from m. 9 to m. 21.
Students should be made
aware of the need for
balance between the theme
and the countermelody at
m. 41. Percussion will
learn to execute a
crescendo at m. 61. Wind
instruments will learn to
properly perform ff with
accents at m. 63. If a
Tam-tam is not available,
many electronic keyboards
can closely simulate the
sound. Thank you for
choosing this
composition. Joseph
Compello. Cyclops is
intended for first-year
band students. Young
players will better
understand the character
and mood of the music
once they are given a
description of the
beastly, mythological
giant with only one eye
in middle of its
forehead. An effective
performance will require
young players to adhere
as closely as possible to
the suggested tempo with
a continuous marcato
articulation. The piece
has only one theme which
is first heard in the low
brass and low woodwinds
from m. 9 to m. 21.
Students should be made
aware of the need for
balance between the theme
and the countermelody at
m. 41. Percussion will
learn to execute a
crescendo at m. 61. Wind
instruments will learn to
properly perform ff with
accents at m. 63. If a
Tam-tam is not available,
many electronic keyboards
can closely simulate the
sound.Thank you for
choosing this
composition.Joseph
Compello.
Composed
by Michael J. Miller.
Full score. 12 pages.
Carl Fischer Music
#YPS259F. Published by
Carl Fischer Music
(CF.YPS259F).
ISBN
9781491163993. UPC:
680160922789.
Silen
t Midwinter’s Noel is a
fantasia on three
traditional Christmas
tunes. The introduction
of the piece, an
Adagietto, alternates
between melodic
statements of In The
Bleak Midwinter and
Silent Night. The second
main section of the
piece, an Allegro,
primarily juxtaposes The
First Noel and Silent
Night.The tempo markings
throughout the score are
mostly suggestions. The
conductor may choose to
deviate within five to
ten clicks in either
direction on their
metronome. During the
Adagietto, the conductor
may also choose to draw
out harmonic cadences for
increased tension and
resolution.The piece is
scored in Eb and F major
to allow younger
performers to achieve
excellent intonation.
Performers should strive
to produce characteristic
sounds, especially when
playing melodic
statements. The tunes
within this piece are all
carols, and should be
played as such. The
conductor may choose to
teach the performers how
to sing the carols for
added educational value.
Lyrics for the carols are
included below:Silent
NightSilent night! Holy
night!All is calm, all is
brightRound yon virgin
mother and child!Holy
infant, so tender and
mild,Sleep in heavenly
peace!Sleep in heavenly
peace!In the Bleak
MidwinterIn the bleak
midwinterfrosty wind made
moan,earth stood hard as
iron,water like a
stone:snow had
fallen,snow on snow, snow
on snow,in the bleak
midwinter,long ago.The
First NoelThe First Noel
the angel did sayWas to
certain poor shepherdsin
fields as they lay;In
fields as they lay,
keeping their sheep,On a
cold winter's night that
was so deep.Noel, Noel,
Noel, Noel,Born is the
King of Israel.
Tenor Saxophone. Arranged by various, ed. John O\'Reilly. Book; CD; Instr...(+)
Tenor Saxophone.
Arranged by various, ed.
John O\'Reilly. Book; CD;
Instrumental Series;
Play-Along. Instrumental
Solos Series. Movie; Pop;
Rock. 48 pages. Published
by Alfred Music
(AP.45909).
Classical Duets for Alto Sax with CD composed by Various. Arranged by Jonathon R...(+)
Classical Duets for Alto
Sax with CD composed by
Various. Arranged by
Jonathon Robbins. For
alto sax. This edition:
Paperback. Collection.
Classical. Book and CD.
Text Language: English.
48 pages. Published by
Santorella Publications
Open Thy Heart Orchestre d'harmonie - Intermédiaire C.L. Barnhouse
Concert band - Grade 3 SKU: CL.012-4303-01 Spanish Serenade. Arran...(+)
Concert band - Grade 3
SKU:
CL.012-4303-01
Spanish Serenade.
Arranged by Glover.
Concert Band. Spotlight
Series. Audio recording
available separately
(item CL.WFR381). Extra
full score. Composed
2014. Duration 2 minutes,
33 seconds. Opus III Wind
Orchestra Publications
#012-4303-01. Published
by Opus III Wind
Orchestra Publications
(CL.012-4303-01).
Open Thy Heart
is an exciting and showy
solo work for flute with
band. Excerpted from a
tone-poem by French
composer Georges Bizet,
and originally for
soprano with orchestra,
this arrangement for solo
flute with concert band
can also be performed by
a soprano soloist.
Subtitled Spanish
Serenade, this lively
dance will showcase your
soloist as well as
delight and charm
audiences. Brilliant and
entertaining!
About C.L.
Barnhouse Spotlight
Series
The
Barnhouse Spotlight
series includes
publications for solo
instruments with concert
band accompaniment. These
publications are designed
to feature outstanding
members of your band as
soloist, and to provide
unique and entertaining
programming options. Solo
parts are graded more
difficult than the band
accompaniments
Composed by Jeremy
Martin. Sws. Sps. Full
score. 44 pages. Duration
7 minutes, 8 seconds.
Carl Fischer Music
#SPS85F. Published by
Carl Fischer Music
(CF.SPS85F).
ISBN
9781491156438. UPC:
680160914975. 9 x 12
inches.
Blue
Horizons is a spirited
tribute to the musical
heritage of the United
States Air Force. The
main theme is a variation
of the U.S. Air Force
Song (Off We Go), with a
secondary theme based on
A Toast to the Host (the
bridge of The Air Force
Song). Throughout the
work, fragments of other
Air Force-related songs
appear: Lord, Guard and
Guide (the Air Force
Hymn), Air Force Blue,
and Those Magnificent Men
in Their Flying Machines.
The original request for
this work was a daunting
task: I was asked to
create an Air Force
companion piece to Robert
Jager's Esprit de Corps
that would mirror the
style and spirit of that
landmark work. The goal
was to use elements of
our various Air Force
tunes in the same way
that Jager incorporated
The Marine's Hymn into
his work - that is, to
weave a musical tapestry
of the Air Force's
musical heritage without
ever becoming a mere
arrangement of the
original material. As a
former student of Robert
Jager at Tennessee
Technological University,
I discussed my plans for
the piece with him,
shared my progress along
the way, and sought his
guidance as I had done so
many times in the past.
He was delighted that I
managed to incorporate a
few Jager-isms into the
music, including one
direct quote from Esprit
de Corps. Although Blue
Horizons was conceived as
a dedication to the Air
Force's musical legacy,
it is also a personal
homage to my teacher and
friend, Robert Jager.
Performance Notes * If
only two flutists are
available, omit the
piccolo part and have
them play Flute 1 and 2;
in this case, Flute 1
should switch over to
piccolo (still playing
from the Flute 1 part) at
m. 81 and back to regular
flute at m. 114. If only
covering the Flute 1 and
2 parts, Flute 2 should
ignore indications to
switch to piccolo and
just play the entire work
on regular flute. * Oboe
1 and 2 parts should be
covered before adding the
English Horn part. * The
clarinet in Eb part
should not be covered
unless there are a
sufficient number of
players on the clarinet
in Bb parts. * The
trumpet cues in mm. 77-80
are only necessary if the
horns need assistance
finishing their soli
phrase with enough
strength to be heard. If
you can hear them without
extra support, leave the
trumpets out. * From mm.
89-95, be sure the wind
players with static
eighth notes do not cover
up the players with
moving lines. * There is
a strong tendency to rush
m. 121. * During the oboe
solo from mm. 157-168,
ensure that the
suspension/resolution
lines in the bassoon and
clarinet parts are heard;
emphasize the importance
of growing into the
suspension with a slight
crescendo. * In the
scherzo section that
begins at m. 217, be sure
that each player knows
how his/her part fits
into the overall sound. I
recommend isolating
different textural items
so the players can hear
those parts on their own.
(The bass line from mm.
243-260, for example, or
the moving inner-voice
line from mm. 251-260.) *
In this same scherzo
section, care should be
taken to not play too
loud and save a little
strength for the climax
fanfare at m. 279. * If
you have an abundance of
tubas, I would recommend
having one or two of them
play up an octave from
mm. 243-271 if the lower
part seems too
heavy. Blue Horizons
is a spirited tribute to
the musical heritage of
the United States Air
Force. The main theme is
a variation of the U.S.
Air Force Song (Off We
Go), with a secondary
theme based on A Toast to
the Host (the bridge of
The Air Force Song).
Throughout the work,
fragments of other Air
Force-related songs
appear: Lord, Guard and
Guide (the Air Force
Hymn), Air Force Blue,
and Those Magnificent Men
in Their Flying
Machines.The original
request for this work was
a daunting task: I was
asked to create an Air
Force “companion
piece” to Robert
Jager’s Esprit de Corps
that would mirror the
style and spirit of that
landmark work. The goal
was to use elements of
our various Air Force
tunes in the same way
that Jager incorporated
The Marine’s Hymn into
his work – that is, to
weave amusical tapestry
of the Air Force’s
musical heritage without
ever becoming a mere
arrangement of the
original material. As a
former student of Robert
Jager at Tennessee
Technological University,
I discussed my plans for
the piece with him,
shared my progress along
the way, and sought his
guidance as I had done so
many times in the past.
He was delighted that I
managed to incorporate a
few “Jager-isms” into
the music, including one
direct quote from Esprit
de Corps. Although Blue
Horizons was conceived
asa dedication to the Air
Force’s musical legacy,
it is also a personal
homage to my teacher and
friend, Robert
Jager.Performance
Notes• If only two
flutists are available,
omit the piccolo part and
have them play Flute 1
and 2; in this case,
Flute 1 should switch
over to piccolo (still
playing from the Flute 1
part) at m. 81 and back
to regular flute at m.
114. If only covering the
Flute 1 and 2 parts,
Flute 2 should ignore
indications to switch to
piccolo and just play the
entire work on regular
flute.• Oboe 1 and 2
parts should be covered
before adding the English
Horn part.• The
clarinet in Eb part
should not be covered
unless there are a
sufficient number of
players on the clarinet
in Bb parts.• The
trumpet cues in mm. 77-80
are only necessary if the
horns need assistance
finishing their soli
phrase with enough
strength to be heard. If
you can hear them without
extra support, leave the
trumpets out.• From mm.
89-95, be sure the wind
players with static
eighth notes do not cover
up the players with
moving lines.• There is
a strong tendency to rush
m. 121.• During the
oboe solo from mm.
157-168, ensure that the
suspension/resolution
lines in the bassoon and
clarinet parts are heard;
emphasize the importance
of growing into the
suspension with a slight
crescendo.• In the
scherzo section that
begins at m. 217, be sure
that each player knows
how his/her part fits
into the overall sound. I
recommend isolating
different textural items
so the players can hear
those parts on their own.
(The bass line from mm.
243-260, for example, or
the moving inner-voice
linefrom mm. 251-260.)•
In this same scherzo
section, care should be
taken to not play too
loud and save a little
strength for the climax
fanfare at m. 279.• If
you have an abundance of
tubas, I would recommend
having one or two of them
play up an octave from
mm. 243-271 if the lower
part seems too heavy.
Composed by
Samuel Adler. Set of
Score and Parts. With
Standard notation.
41+4+4+4+2+3+3+3+3 pages.
Duration 10 minutes. Carl
Fischer Music #FE189.
Published by Carl Fischer
Music (CF.FE189).
ISBN
9780825877513. UPC:
798408077518. 9.5 x 13
inches.
Nuptial
Scene was commissioned by
the Jerusalem Symphony
Orchestra in cooperation
with the city of
Jerusalem for the
celebration of the fourth
Testimonium, a festival
to preserve Jewish
heritage. The work was
written in September,
1975, and premiered in
Jerusalem in February,
1976, with the Jerusalem
Symphony, Juan Pablo
Izquierdo conducting, and
Adi Etzion as soloist. It
is dedicated to Recha
Freier, the originator
and prime mover of the
festival. Nuptial Scene
is based on a simple
medieval poem of
prenuptial instruction.
Part of it is in Catalan
and part in Hebrew. The
poem originated in
Catalonia, where a highly
developed Jewish
community existed until
the expulsion of 1492. A
mother is instructing her
daughter in the ways and
strategies of marriage
and rejoicing with a new
song for a new bride.
When I initially planned
the setting for this
lovely poem, I realized
that the age of the
daughter would be about
twelve, for girls in that
historical period were
married at puberty. This
set in motion a scheme
for the composition,
since my oldest daughter
was thirteen at that
time, and I used her
psyche to give me
direction. When a girl of
twelve or thirteen thinks
of a wedding, she is
completely captivated by
its frills -- the dress,
the party, the dancing.
In her imagination, the
reality of a husband or
any kind of domestic
responsibility would be
nonexistent. Therefore,
during the mother's
ardent pleas,
instructions,
admonitions, and even
innuendos, the daughter's
mind wanders and dreams
of dancing. Musically,
the rather straight,
somber rhythm and melody
of the song are
interrupted by an
independent, faster dance
speed of the bongos and
by scattered fragments of
an actual medieval
Spanish-Jewish dance. At
the point where the
mother speaks of sensuous
marital problems, she
herself becomes excited,
and in a nostalgic,
dreamlike spirit -- with
the use of improvised
melodic lines for which
only the gestural
outlines are given -- she
goes into a kind of
rapturous trance. The
daughter, however, seems
unmoved, and she falls
asleep. The mother calms
down, puts her head on
the daughter's shoulder,
and quietly muses, then
also closes her eyes.
--Samuel Adler
 . Nuptial Scene
was commissioned by the
Jerusalem Symphony
Orchestra in cooperation
with the city of
Jerusalem for the
celebration of the fourth
“Testimonium”, a
festival to preserve
Jewish heritage. The
work was written in
September, 1975, and
premiered in Jerusalem in
February, 1976, with the
Jerusalem Symphony, Juan
Pablo Izquierdo
conducting, and Adi
Etzion as soloist. It
is dedicated to Recha
Freier, the originator
and prime mover of the
festival.Nuptial Scene is
based on a simple
medieval poem of
prenuptial instruction.
Part of it is in Catalan
and part in Hebrew. The
poem originated in
Catalonia, where a highly
developed Jewish
community existed until
the expulsion of 1492.
A mother is instructing
her daughter in the ways
and strategies of
marriage and rejoicing
with a “new song” for
a “new bride”.When I
initially planned the
setting for this lovely
poem, I realized that the
age of the daughter would
be about twelve, for
girls in that historical
period were married at
puberty. This set in
motion a scheme for the
composition, since my
oldest daughter was
thirteen at that time,
and I used her psyche to
give me direction. When
a girl of twelve or
thirteen thinks of a
wedding, she is
completely captivated by
its frills — the dress,
the party, the dancing.
In her imagination, the
reality of a husband or
any kind of domestic
responsibility would be
nonexistent. Therefore,
during the mother’s
ardent pleas,
instructions,
admonitions, and even
innuendos, the
daughter’s mind wanders
and dreams of dancing.
Musically, the rather
straight, somber rhythm
and melody of the song
are interrupted by an
independent, faster dance
speed of the bongos and
by scattered fragments of
an actual medieval
Spanish-Jewish dance.
At the point where the
mother speaks of sensuous
marital problems, she
herself becomes excited,
and in a nostalgic,
dreamlike spirit — with
the use of improvised
melodic lines for which
only the gestural
outlines are given —
she goes into a kind of
rapturous trance. The
daughter, however, seems
unmoved, and she falls
asleep. The mother
calms down, puts her head
on the daughter’s
shoulder, and quietly
muses, then also closes
her eyes.—Samuel
Adler .
Composed by R. Alan
Carter. Sws. Fps. Full
score. 20 pages. Duration
3 minutes, 35 seconds.
Carl Fischer Music
#YPS230F. Published by
Carl Fischer Music
(CF.YPS230F).
ISBN
9781491158159. UPC:
680160916757. 9 x 12
inches.
The
Okefenokee Swamp is
slated as one of the
seven natural wonders of
Georgia. The name has two
different meanings: first
being bubbling waters,
and the second meaning
Land of Trembling Earth,
so named because the peat
bog (land) moves when you
walk on it, because it is
actually floating on
water. Although the Oconi
are the earliest known
inhabitants, this piece
is written to honor the
Chehaw Indians who gave
the swamp its name. The
beginning of the piece
depicts the grandeur of
the over 438,000 acre
swamp (one of the five
largest swamps in the
world). The middle
section has a flute solo
that depicts the
primitive life of the
early inhabitants. For a
more authentic portrayal,
the use of a recorder,
especially an alto
recorder should be used.
The piece ends with a
spirited dance, beginning
with the thunderous roll
of the timpani and bass
drums. The Okefenokee
Swamp is slated as one of
the seven natural wonders
of Georgia. The name has
two different meanings:
first being bubbling
waters, and the second
meaning Land of Trembling
Earth, so named because
the peat bog (land) moves
when you walk on it,
because it is actually
floating on water.
Although the Oconi are
the earliest known
inhabitants, this piece
is written to honor the
Chehaw Indians who gave
the swamp its name. The
beginning of the piece
depicts the grandeur of
the over 438,000 acre
swamp (one of the five
largest swamps in the
world). The middle
section has a flute solo
that depicts the
primitive life of the
early inhabitants. For a
more authentic portrayal,
the use of a recorder,
especially an alto
recorder should be used.
The piece ends with a
spirited dance, beginning
with the thunderous roll
of the timpaniand bass
drums.
Clarinet. Arranged by various, ed. John O'Reilly. Book; CD; Instrumental Seri...(+)
Clarinet. Arranged by
various, ed. John
O'Reilly.
Book; CD; Instrumental
Series; Play-Along.
Instrumental Solos
Series.
Movie; Pop; Rock. 48
pages.
Published by Alfred Music
arranged by Simon Lasky. For Saxophone (All). solos. Kevin Mayhew Ltd. Classic. ...(+)
arranged by Simon Lasky.
For Saxophone (All).
solos. Kevin Mayhew Ltd.
Classic. Level:
Intermediate. Book. Size
9x12. 40 pages. Published
by Kevin Mayhew Ltd.
Composed
by Chris Campbell. Cps.
Full score. 20 pages.
Duration 3 minutes, 28
seconds. Carl Fischer
Music #CPS257F. Published
by Carl Fischer Music
(CF.CPS257F).
ISBN
9781491161678. UPC:
680160920358.
The
original intent for this
piece was to evoke a
fantasy atmosphere of
huge mythical constructs,
such as stone edifices,
rising from a lunar
surface softly
illuminated by reflected
light from another
galactic source. It is
meant to give an
impression of a single
vision, allowing the
listener or player to
imagine a personal
interpretation of their
own. The story behind
this particular title
comes from the late 19th
century. Before the
widespread use of
electric streetlights,
many large American and
European cities erected
large structures - some
as tall as 165 feet -
intended to brighten the
cities at night at times
when there was
insufficient natural
moonlight. Referred to at
that time as Moonlight
Towers, the only ones
still in existence and in
use today are found in
Austin, Texas. These
man-made wonders may not
be as stunning as
naturally-formed stone
edifices, but they are
nevertheless
eye-catching. One of
these structures in a
large park is adorned
with strands of lights
every December to
resemble a gigantic
Christmas tree which can
be seen for miles. In
this composition, measure
81 through measure 97
depicts four of the
remaining thirteen towers
in four different
settings in Austin. This
piece is also intended to
capture the wonder of
these singular relics of
history, with a fantasy
atmosphere of their
own. The original
intent for this piece was
to evoke a fantasy
atmosphere of huge
mythical constructs, such
as stone edifices, rising
from a lunar surface
softly illuminated by
reflected light from
another galactic source.
It is meant to give an
impression of a single
vision, allowing the
listener or player to
imagine a personal
interpretation of their
own. The story behind
this particular title
comes from the late 19th
century. Before the
widespread use of
electric streetlights,
many large American and
European cities erected
large structures - some
as tall as 165 feet -
intended to brighten the
cities at night at times
when there was
insufficient natural
moonlight. Referred to at
that time as Moonlight
Towers, the only ones
still in existence and in
use today are found in
Austin, Texas. These
man-made wonders may not
be as stunning as
naturally-formed stone
edifices, but they are
nevertheless
eye-catching. One of
these structures in a
large park is adorned
with strands of lights
every December to
resemble a gigantic
Christmas tree which can
be seen for miles. In
this composition, measure
81 through measure 97
depicts four of the
remaining thirteen towers
in four different
settings in Austin. This
piece is also intended to
capture the wonder of
these singular relics of
history, with a fantasy
atmosphere of their
own.
Composed by Michael Boo.
Sws. Yps. Full score. 16
pages. Duration 2:30.
Carl Fischer Music
#YPS228F. Published by
Carl Fischer Music
(CF.YPS228F).
ISBN
9781491157978. UPC:
680160916573. 9 x 12
inches.
Ninja is a
Grade 2 piece playable by
any young band, due to
extensive doublings
throughout. The mood of
the piece is mysterious,
reflecting the image of
ninjas being seen one
moment and gone the next.
Flute 3 is not essential
as it doubles the oboes,
but is useful in case you
have a lot of flutes or
due to a limited number
of oboes. If you donat
have a bass clarinet,
baritone saxophone or
bassoons, those parts are
covered in the low brass.
The timpani part is
optional, and the piece
wonat suffer if you donat
have access to that
percussion. The optional
F-chime and gong only
play in the final measure
of the piece. While
adding a notable effect
at the end, those
instruments wonat be
missed if you donat have
them available. The
tom-tom part can be
played on a snare drum
with the snares off or
may be played on a tenor
drum. Care should be
taken that accented notes
are emphasized, but never
become ponderous. The
half notes at the
beginning of the piece
should not be accented.
The theme is introduced
in the first twelve
measures, and at m. 13
many of the instruments
trade the melody for half
notes and vice-versa. Be
careful that the
percussion section never
becomes overpowering. At
m. 25, care should be
taken that there is quite
a volume difference
between ff and mp. Think
of this representing the
ninjas being seen one
moment and being hidden
the next. The double
staccato figures at m. 33
should not be accented.
Trumpets and trombones at
m. 37 should not be
overly legato, but
certainly shouldnat be
treated as staccatos.
Being aware of not
accenting notes that
donat have accents will
make the accents at m. 49
more dramatic. Please
note that the legato
notes at mm. 58 and 60
are not to be
accented. Ninja is a
Grade 2 piece playable by
any young band, due to
extensive doublings
throughout. The mood of
the piece is mysterious,
reflecting the image of
ninjas being seen one
moment and gone the next.
Flute 3 is not essential
as it doubles the oboes,
but is useful in case you
have a lot of flutes or
due to a limited number
of oboes. If you don't
have a bass clarinet,
baritone saxophone or
bassoons, those parts are
covered in the low brass.
The timpani part is
optional, and the piece
won't suffer if you don't
have access to that
percussion. The optional
F-chime and gong only
play in the final measure
of the piece. While
adding a notable effect
at the end, those
instruments won't be
missed if you don't have
them available. The
tom-tom part can be
played on a snare drum
with the snares off or
may be played on a tenor
drum. Care should be
taken that accented notes
are emphasized, but never
become ponderous. The
half notes at the
beginning of the piece
should not be accented.
The theme is introduced
in the first twelve
measures, and at m. 13
many of the instruments
trade the melody for half
notes and vice-versa. Be
careful that the
percussion section never
becomes overpowering. At
m. 25, care should be
taken that there is quite
a volume difference
between ff and mp. Think
of this representing the
ninjas being seen one
moment and being hidden
the next. The double
staccato figures at m. 33
should not be accented.
Trumpets and trombones at
m. 37 should not be
overly legato, but
certainly shouldn't be
treated as staccatos.
Being aware of not
accenting notes that
don't have accents will
make the accents at m. 49
more dramatic. Please
note that the legato
notes at mm. 58 and 60
are not to be
accented. Ninja is a
Grade 2 piece playable by
any young band, due to
extensive doublings
throughout. The mood of
the piece is mysterious,
reflecting the image of
ninjas being seen one
moment and gone the
next.Flute 3 is not
essential as it doubles
the oboes, but is useful
in case you have a lot of
flutes or due to a
limited number of oboes.
If you don’t have a
bass clarinet, baritone
saxophone or bassoons,
those parts are covered
in the low brass. The
timpani part is optional,
and the piece won’t
suffer if you don’t
have access to that
percussion. The optional
F-chime and gong only
play in the final measure
of the piece. While
adding a notable effect
at the end, those
instruments won’t be
missed if you don’t
have them available. The
tom-tom part can be
played on a snare drum
with the snares off or
may be played on a tenor
drum.Care should be taken
that accented notes are
emphasized, but never
become ponderous. The
half notes at the
beginning of the piece
should not be accented.
The theme is introduced
in the first twelve
measures, and at m. 13
many of the instruments
trade the melody for half
notes and vice-versa. Be
careful that the
percussion section never
becomes overpowering.At
m. 25, care should be
taken that there is quite
a volume difference
between ff and mp. Think
of this representing the
ninjas being seen one
moment and being hidden
the next. The double
staccato figures at m. 33
should not be accented.
Trumpets and trombones at
m. 37 should not be
overly legato, but
certainly shouldn’t be
treated as staccatos.
Being aware of not
accenting notes that
don’t have accents will
make the accents at m. 49
more dramatic. Please
note that the legato
notes at mm. 58 and 60
are not to be
accented.
Chamber Music SKU: PR.164002120 Composed by Dan Welcher. Set of Score and...(+)
Chamber Music
SKU:
PR.164002120
Composed
by Dan Welcher. Set of
Score and Parts. With
Standard notation.
32+16+12+12+12 pages.
Duration 16 minutes.
Theodore Presser Company
#164-00212. Published by
Theodore Presser Company
(PR.164002120).
UPC:
680160037582.
Works
of chamber music
including flute and
strings are not nearly as
numerous as those for
clarinet, or even the
oboe. Probably the reason
for this is the less
assertive, more pure tone
the flute possesses - it
can't compete for volume
or range with the
clarinet, except in its
top octave, and the
oboe's tone is more
penetrating and easily
discerned from within a
string texture.
Consequently, composers
who have written for
flute and strings have
done so in lightweight
divertimento works:
compare, for instance,
the delicate flute
quartets of Mozart with
his monumental quintet
for clarinet and strings.
When Karl and Joan
Karber approached me with
the ideas of writing a
work for flute and string
trio, I originally
thought it would be best
to write a humorous,
rather offhand piece -
but a look at their
repertoire (mostly
comprised of smaller
works of the Rococo
period) convinced me that
it was the last thing
they needed. In spite of
the challenge (or maybe
because of it?), I
determined to write a
large work, and a serious
work. Zephyrus (named for
the God of the West Wind,
in deference to the
flute) is a
three-movement work, with
each movement cast in a
very different form, but
all three being built of
the same twelve-note
series. There is also a
rhythmic motive and a
pair of themes that
appear in all three
movements. The
first movement plays with
the idea of contrast and
persuasion. The flute, at
the outset, is the
hell-for-leather
protagonist, charging and
swooping around the
strings - who seem oddly
unconcerned by his
passion. Indeed, they
have a more somber song
to sing - and as the
movement unfolds, the
flute becomes less and
less active, while the
strings become
increasingly enlivened.
By the midpoint, when all
four instruments are
finally in the same meter
and the same tempo, the
flute's energy has
finally infected the
other three players, and
this energy does not let
up until the movement's
abrupt final cadence.
The second
movement begins with a
tag from the first - as
if the energy left over
was too great to simply
stop. At length, though,
a very poignant flute
melody appears over an
almost bluesy harmony in
the strings. After this
has been fully exposed, a
slight increase in
motion, marked gently
rocking in triplets,
features a theme-fragment
from Leonard Bernstein's
Symphony No. 2 (Kaddish).
Bernstein died as I was
writing this work, and it
seemed quite natural to
encourage what was
already implicit in the
music, and create an
Elegy for L.B. The music
rises and peaks, then in
the recapitulation of the
opening the Kaddish theme
reappears, as the
ensemble suggests a
gentle song of sleep.
The final movement
is a Rondo-Variations
form, with the slight
alteration of adding the
main theme of the second
movement in what would be
the trio of the form. The
ritornello theme is a
kind of ethnic dance
music, almost an allusion
to the Klezmer ensembles
of Eastern Europe. The
successive episodes
between the ritornelli
are loosely organized
variations on the basic
theme, but always
beginning with a metric
modulation, a rhythmic
changing of gears. The
movement reaches and apex
of speed and furious
pulsing, then abruptly
pirouttes, and finishes.
Zephyrus was
written between April and
November of 1990 in
Austin, Aspen, and
Honolulu, and is
dedicated to Karl Kraber
and The Chamber Soloists
of Austin. --Dan
Welcher.
Schott Student Edition
- Level 3. Composed
by Friedrich Kuhlau.
Edited by Monika
Twelsiek. This edition:
Saddle stitching. Sheet
music. Piano Solo.
Classical. Softcover. Op.
88/3. 20 pages. Schott
Music #SE1045. Published
by Schott Music
(HL.49046242).
ISBN
9783795716691. UPC:
888680950040. 9x12
inches. German - English
-
French.
“Thes
e real masterpieces, even
if only a few minutes
long, are of tremendous
melodiousness and
expressiveness!”,
Franz Schubert said about
Friedrich Kuhlau's
sonatinas.
The
four Sonatinas Op. 88
were written in 1827,
i.e. during Friedrich
Kuhlau's middle creative
period, even before the
great success of the
opera
“Elfenhügel.&r
dquo; and the year of
Beethoven's death. All
four works contain
beautiful melodic ideas,
but Sonatina Op. 88 No. 3
with its minor tonality,
its free treatment of
form and tempo in the
first movement and the
lively last movement is
something special. Of
medium difficulty, this
sonatina is great fun to
play.
This edition
is accompanied by a
preface and
“Teaching
Notes” by Monika
Twelsiek. It is part of
the new Schott Student
Edition series which
offers varied literature
at five different levels
of difficulty, from 1
(easy) to 5 (difficult),
for instrumental lessons.
For further information
on this series, see
www.schott-student-editio
n.com.
About Schott
Student
Edition
Th
e Schott Student Edition
gathers instrumental
works for music lessons
providing a unique and
varied repertoire
resource including
standard teaching works,
lesser known pieces which
are perfectly suited to
lessons as well as to
student concerts and
competitions.
Th
e repertoire is divided
into levels 1-5, from
very easy to difficult,
and includes works from
the Renaissance up to
modern performance
pieces. Each title is
graded, from very easy
works for beginners up to
demanding pieces for more
advanced students who are
preparing for further
study or
examinations.
Ev
ery work in the series
has been carefully
selected and edited by
experienced music
teachers. The editions
also contain a wealth of
information on the pieces
as well as useful advice
on studying, rehearsing
and interpreting the
works. The first titles
to be published in the
Schott Student Edition
series contain works for
violin, violoncello,
flute, clarinet and
recorder. Further
editions are in
preparation.
Band Bass Clarinet, Bass
Drum, Bassoon 1, Bassoon
2, Bongos, Castanets,
Celesta, Clarinet,
Clarinet 1, Clarinet 2,
Clarinet 3, Contrabass
Clarinet, Contrabassoon,
English Horn, Euphonium,
Euphonium T.C., Flute 1,
Flute 2, Horn 1, Horn 2,
Horn 3 and more.
SKU:
PR.16500100F
Hymns
for Wind Ensemble.
Composed by Dan Welcher.
Sws. Full score. 48
pages. Duration 10
minutes, 41 seconds.
Theodore Presser Company
#165-00100F. Published by
Theodore Presser Company
(PR.16500100F).
ISBN
9781491114421. UPC:
680160669783. 9 x 12
inches.
Commissione
d for a consortium of
high school and college
bands in the north Dallas
region, FOR THEMYSTIC
HARMONY is a 10-minute
inspirational work in
homage to Norwood and
Elizabeth Dixon,patrons
of the Fort Worth
Symphony and the Van
Cliburn Competition.
Welcher draws melodic
flavorfrom five American
hymns, spirituals, and
folk tunes of the 19th
century. The last of
these sources toappear is
the hymn tune For the
Beauty of the Earth,
whose third stanza is the
quatrain: “For the joy
of earand eye, For the
heart and mind’s
delight, For the mystic
harmony, Linking sense to
sound and sight,”giving
rise to the work’s
title. This work,
commissioned for a
consortium of high school
bands in the north Dallas
area, is my fifteenth
maturework for wind
ensemble (not counting
transcriptions). When I
asked Todd Dixon, the
band director
whospearheaded this
project, what kind of a
work he most wanted, he
first said “something
that’s basically
slow,” butwanted to
leave the details to me.
During a long subsequent
conversation, he
mentioned that his
grandparents,Norwood and
Elizabeth Dixon, were
prime supporters of the
Fort Worth Symphony,
going so far as to
purchase anumber of high
quality instruments for
that orchestra. This
intrigued me, so I asked
more about his
grandparentsand was
provided an 80-page
biographical sketch.
Reading that article,
including a long section
about theirdevotion to
supporting a young man
through the rigors of the
Van Cliburn International
Piano Competition fora
number of years, moved me
very much. Norwood and
Elizabeth Dixon weren’t
just supporters of the
arts; theywere passionate
lovers of music and
musicians. I determined
to make this work a
testament to that love,
and tothe religious faith
that sustained them both.
The idea of using extant
hymns was also suggested
by Todd Dixon,and this
10-minute work is the
result.I have employed
existing melodies in
several works, delving
into certain kinds of
religious music more than
a fewtimes. In seeking
new sounds, new ways of
harmonizing old tunes,
and the contrapuntal
overlaying of one
tunewith another, I was
able to make works like
ZION (using 19th-century
Revivalist hymns) and
LABORING SONGS(using
Shaker melodies) reflect
the spirit of the
composers who created
these melodies, without
sounding likepastiches or
medleys. I determined to
do the same with this new
work, with the added
problem of
employingmelodies that
were more familiar. I
chose five tunes from the
19th century: hymns,
spirituals, and
folk-tunes.Some of these
are known by differing
titles, but they all
appear in hymnals of
various Christian
denominations(with
various titles and
texts). My idea was to
employ the tunes without
altering their notes,
instead using aconstantly
modulating sense of
harmony — sometimes
leading to polytonal
harmonizations of what
are normallysimple
four-chord hymns.The work
begins and ends with a
repeated chime on the
note C: a reminder of
steeples, white clapboard
churchesin the country,
and small church organs.
Beginning with a
Mixolydian folk tune of
Caribbean origin
presentedtwice with
layered entrances, the
work starts with a
feeling of mystery and
gentle sorrow. It
proceeds, after along
transition, into a second
hymn that is sometimes
connected to the sea
(hence the sensation of
water andwaves throughout
it). This tune, by John
B. Dykes (1823-1876), is
a bit more chromatic and
“shifty” than
mosthymn-tunes, so I
chose to play with the
constant sensation of
modulation even more than
the original does. Atthe
climax, the familiar
spiritual “Were you
there?” takes over,
with a double-time
polytonal feeling
propelling itforward at
“Sometimes it causes me
to tremble.”Trumpets in
counterpoint raise the
temperature, and the
tempo as well, leading
the music into a third
tune (ofunknown
provenance, though it
appears with different
texts in various hymnals)
that is presented in a
sprightlymanner. Bassoons
introduce the melody, but
it is quickly taken up by
other instruments over
three
“verses,”constantly
growing in orchestration
and volume. A mysterious
second tune, unrelated to
this one, interrupts it
inall three verses,
sending the melody into
unknown regions.The final
melody is “For the
Beauty of the Earth.”
This tune by Conrad
Kocher (1786-1872) is
commonly sung
atThanksgiving — the
perfect choice to end
this work celebrating two
people known for their
generosity.Keeping the
sense of constant
modulation that has been
present throughout, I
chose to present this
hymn in threegrowing
verses, but with a twist:
every four bars, the
“key” of the hymn
seems to shift — until
the “Lord of all,
toThee we praise”
melody bursts out in a
surprising compound
meter. This, as it turns
out, was the “mystery
tune”heard earlier in
the piece. After an
Ivesian, almost polytonal
climax, the Coda begins
over a long B( pedal. At
first,it seems to be a
restatement of the first
two phrases of “For the
Beauty” with long
spaces between them, but
it soonchanges to a
series of “Amen”
cadences, widely
separated by range and
color. These, too, do not
conform to anykey, but
instead overlay each
other in ways that are
unpredictable but
strangely comforting.The
third verse of “For the
Beauty of the Earth”
contains this
quatrain:“For the joy
of ear and eye, –For
the heart and mind’s
delightFor the mystic
harmonyLinking sense to
sound and sight”and it
was from this poetry that
I drew the title for the
present work. It is my
hope that audiences and
performerswill find
within it a sense of
grace: more than a little
familiar, but also quite
new and unexpected.
18
Transcriptions of J.S.
Bach for Chamber
Winds. Composed by
Johann Sebastian Bach.
Folder. Baroque. Set of
Score and Parts. With
Standard notation.
64+12+12+12+12+12+12+12+1
2+12+12+12+12+12+12
pages. Duration 48
minutes. Theodore Presser
Company #114-41448.
Published by Theodore
Presser Company
(PR.114414480).
ISBN
9781598063264. UPC:
680160597932. 9x12
inches. Key: Bb major.
Transcribed by Carter
Pann.
A unique
collection of elegant
transcriptions of
Bach’s keyboard and
instrumental gems scored
for 10 woodwinds, with
flexible scoring and
ossia parts – ideal for
schools and
“pull-out” groups on
wind ensemble
concerts. The music of
Johann Sebastian Bach
(1685-1750) is a gift.
Nearly every piece that
poured out of this man is
as inspired and perfected
as the next. His body of
work has cut a deep
incision in the recorded
history of music and set
a benchmark to which all
the contrapuntal masters
who followed have aspired
to meet.The
transcriptions found
within this volume add to
the thousands upon
thousands of versions of
his music already
re-worked for different
groups and media. The
music here does not,
however, embellish
Bach’s own scores (save
but for a couple of
instances in which it was
felt necessary to add an
inner voice to serve the
expansive range of the
ten woodwinds). The
selections are ordered
(loosely) to assume a
smooth, inclined
trajectory of both
difficulty and musical
breadth. The first piece
is a small and
simpleminuet, the last is
a long interior movement
of one of the most
beloved and advanced
violin concertos in the
whole repertoire.As a
keyboard player I grew up
learning and falling in
love with much of
Bach’s music at the
piano. For this very
reason, much of this
volume consists of the
composer’s keyboard
works. One cannot,
however, deny many of the
most cherished works from
Bach’s oeuvre when
compiling a set of
transcriptions, and many
of those “hits” are
included here as
well.Departing from a
traditional harmoniemusik
ensemble, I have replaced
the horns here with
saxophones. There are two
reasons: 1) the nature of
much of this music
requires instruments with
an ease of agility not
executable so readily on
the horn; and 2) the
opportunity for saxophone
players to be included in
such an ensemble was very
attractive,
pedagogically.I hope you
enjoy these gems from
such a great genius.
Orchestra (2 flutes (2nd
flute doubling piccolo),
2 oboes, 2 clarinets in
bb, 2 bassoons, 4 french
horns in f, 2 trumpets in
c, 2 trombones, 1 bass
trombone, 1 tuba,
percussion 1: small
beijing opera gong,
marimba, tam-tam,
japanese high, wood
block, percussion 2: s)
SKU: PR.41641511L
For Violin And
Orchestra. Composed
by Chen Yi. Contemporary.
Large Score. With
Standard Notation.
Duration 10 minutes.
Theodore Presser Company
#416-41511L. Published by
Theodore Presser Company
(PR.41641511L).
UPC:
680160621293.
Commi
ssioned by Kennesaw State
University Symphony
Orchestra in 2012,
Chinese Rap for violin
and orchestra is
premiered by Prof. Helen
Kim as the soloist and
the KSUSO led by Prof.
Michael Alexander at
Bailey Center in KSU, GA
on Feb. 17, 2014. The
work is inspired by
Chinese folk musical
story telling, Quyi, in a
form of mixed reciting
and singing style, with
interludes played by
percussion and plucking
instruments in
accompaniment. The folk
musical story telling is
sung in dialects from
different geographic
regions. I mixed all
these elements in a
complex three-part form,
with an introduction, a
cadenza in the middle,
and a coda as the frame
in the structure. The
melodies are delicate and
leisurely, and the
rhythmic parts are
energetic, vivid and
lively. There are big
contrasts between
sections, which are
juxtaposed and connected
smoothly and
congenially. Commissio
ned by Kennesaw State
University Symphony
Orchestra in 2012,Chinese
Rap for violin and
orchestra is premiered by
Prof. Helen Kim as
thesoloist and the KSUSO
led by Prof. Michael
Alexander at Bailey
Center inKSU, GA on Feb.
17, 2014. The work is
inspired by Chinese folk
musical storytelling,
Quyi, in a form of mixed
reciting and singing
style, with
interludesplayed by
percussion and plucking
instruments in
accompaniment. The
folkmusical story telling
is sung in dialects from
different geographic
regions. Imixed all these
elements in a complex
three-part form, with an
introduction, a cadenza
in the middle, and a coda
as the frame in the
structure. The melodies
are delicate and
leisurely, and the
rhythmic parts are
energetic, vivid and
lively. There are big
contrasts between
sections, which are
juxtaposed and connected
smoothly and
congenially.
Composed
by Peter Sciaino. Sws.
Bps. Full score. 16
pages. Duration 2
minutes, 25 seconds. Carl
Fischer Music #BPS128F.
Published by Carl Fischer
Music (CF.BPS128F).
ISBN 9781491156230.
UPC: 680160914777. 9 x 12
inches.
Program
Notes Start Your Engines
is an exciting concert
selection for young band
that features the
percussion section (with
opportunities for
doubling parts if
needed). The band revs up
right from the beginning
as the opposing eighth
notes in the drums evoke
a race car engine at the
starting line. As the
piece continues, the
winds have opportunities
to shine in comfortable
ranges with reasonable
technical demands. The
use of the phrase
Gentlemen, Start Your
Engines became a
tradition of the
Indianapolis Motor
Speedway in the early
1950s. The Greatest Race
Course in the world has
celebrated over 100 years
of competition in
motorsports. Note to the
Conductor Measures 37-40
require staggered and
independent entrances.
This is especially the
case for the flute,
clarinet and trumpet
sections. Students should
be challenged to enter
confidently while
performing at a softer
dynamic so as to allow
for an effective
crescendo leading into m.
45. For some younger
students, the use of
repeat signs and phrases
like 2nd time only may
not be familiar. This
piece presents an
excellent opportunity to
become familiar with this
common device. Program
NotesStart Your Engines
is an exciting concert
selection for young band
that features the
percussion section (with
opportunities for
doubling parts if
needed). The band “revs
up” right from the
beginning as the opposing
eighth notes in the drums
evoke a race car engine
at the starting line. As
the piece continues, the
winds have opportunities
to shine in comfortable
ranges with reasonable
technical demands. The
use of the phrase
“Gentlemen, Start Your
Engines” became a
tradition of the
Indianapolis Motor
Speedway in the early
1950s. The “Greatest
Race Course in the
world” has celebrated
over 100 years of
competition in
motorsports.Note to the
Conductor Measures
37–40 require staggered
and independent
entrances. This is
especially the case for
the flute, clarinet and
trumpet sections.
Students should be
challenged to enter
confidently while
performing at a softer
dynamic so as to allow
for an effective
crescendo leading into m.
45.For some younger
students, the use of
repeat signs and phrases
like “2nd time only”
may not be familiar. This
piece presents an
excellent opportunity to
become familiar with this
common device.
Commence! Orchestre d'harmonie - Intermédiaire Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Cabasa, Chimes, China Cymbal, Cla...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Bells,
Cabasa, Chimes, China
Cymbal, Clarinet 1,
Clarinet 2, Clarinet 3,
Crash Cymbals, Euphonium,
Euphonium T.C., Flute 1,
Flute 2, Horn 1, Horn 2,
Mallet Percussion, Mark
Tree, Oboe, Percussion 1
and more. - Grade 3
SKU: CF.CPS210F
Composed by Sean
O'Loughlin. Concert Band
(CPS). Full score. With
Standard notation. 40
pages. Carl Fischer Music
#CPS210F. Published by
Carl Fischer Music
(CF.CPS210F).
ISBN
9781491153048. UPC:
680160910540.
A
driving composition from
Sean
O'loughlin,?Commence!?beg
ins with a spirited theme
that oscillates between
triple and duple meter.
After developing into a
heartfelt lush brass
chorale, the lilting
theme returns again. The
composition concludes
with a dramatic return of
the B theme and a rousing
finale. A beautiful
piece,?Commence!?is
a?strong choice for any
contest or
festival.
Commence!
em> was commissioned by
the Lynden High School
Class 2017-2019 and the
Lynden, WA Community, and
is dedicated to Steve
Herrick in celebration of
his retirement. Mr.
Herrick and I first
collaborated on a
commission in 2006, and I
was immediately taken by
the community and the
music program in Lynden.
It is truly one of the
most beautiful places in
the country and full of
musical inspiration at
every turn.
This piece is a
loving tribute to Mr.
Herrick and his amazing
contribution to the
students of Lynden for
over thirty years. The
music begins with a
spirited section
oscillating between 6/8
and 2/4 time. It should
maintain a pulsing
feeling throughout. The
main melody appears at m.
25 and has a lilting,
reminiscing quality to
it. After some further
development, it moves to
a B-section at m. 41 with
some warm brass passages.
The woodwinds should soar
over the top with their
counter line. The lower
voices take over the
melody at m. 59. The
harmony becomes more
discordant at m. 71 with
passages trading between
the brass and woodwinds.
This tension
releases into a slow
section that features a
flowing, heartfelt
melody. This builds to
the big moment at m. 112.
The timpani ushers us
back to the 6/8, 2/4
section. The melody is
now accompanied by some
flowing counterpoint at
m. 153 which leads to the
B-section again at m.
169. This time the
woodwinds take the lead
and the brass provide the
counter line. A final big
moment at m. 194 is the
culmination and high
point of the composition.
A brief fast section puts
a bow on the piece for a
rousing
finale.
.
Commence!
em> was commissioned by
the Lynden High School
Class 2017-2019 and the
Lynden, WA Community, and
is dedicated to Steve
Herrick in celebration of
his retirement. Mr.
Herrick and I first
collaborated on a
commission in 2006, and I
was immediately taken by
the community and the
music program in Lynden.
It is truly one of the
most beautiful places in
the country and full of
musical inspiration at
every turn.
This piece is a
loving tribute to Mr.
Herrick and his amazing
contribution to the
students of Lynden for
over thirty years. The
music begins with a
spirited section
oscillating between 6/8
and 2/4 time. It should
maintain a pulsing
feeling throughout. The
main melody appears at m.
25 and has a lilting,
reminiscing quality to
it. After some further
development, it moves to
a B-section at m. 41 with
some warm brass passages.
The woodwinds should soar
over the top with their
counter line. The lower
voices take over the
melody at m. 59. The
harmony becomes more
discordant at m. 71 with
passages trading between
the brass and woodwinds.
This tension
releases into a slow
section that features a
flowing, heartfelt
melody. This builds to
the big moment at m. 112.
The timpani ushers us
back to the 6/8, 2/4
section. The melody is
now accompanied by some
flowing counterpoint at
m. 153 which leads to the
B-section again at m.
169. This time the
woodwinds take the lead
and the brass provide the
counter line. A final big
moment at m. 194 is the
culmination and high
point of the composition.
A brief fast section puts
a bow on the piece for a
rousing
finale.
. Co
mmence! was commissioned
by the Lynden High School
Class 2017-2019 and the
Lynden, WA Community, and
is dedicated to Steve
Herrick in celebration of
his retirement. Mr.
Herrick and I first
collaborated on a
commission in 2006, and I
was immediately taken by
the community and the
music program in Lynden.
It is truly one of the
most beautiful places in
the country and full of
musical inspiration at
every turn. This piece is
a loving tribute to Mr.
Herrick and his amazing
contribution to the
students of Lynden for
over thirty years. The
music begins with a
spirited section
oscillating between 6/8
and 2/4 time. It should
maintain a pulsing
feeling throughout. The
main melody appears at m.
25 and has a lilting,
reminiscing quality to
it. After some further
development, it moves to
a B-section at m. 41 with
some warm brass passages.
The woodwinds should soar
over the top with their
counter line. The lower
voices take over the
melody at m. 59. The
harmony becomes more
discordant at m. 71 with
passages trading between
the brass and woodwinds.
This tension releases
into a slow section that
features a flowing,
heartfelt melody. This
builds to the big moment
at m. 112. The timpani
ushers us back to the
6/8, 2/4 section. The
melody is now accompanied
by some flowing
counterpoint at m. 153
which leads to the
B-section again at m.
169. This time the
woodwinds take the lead
and the brass provide the
counter line. A final big
moment at m. 194 is the
culmination and high
point of the composition.
A brief fast section puts
a bow on the piece for a
rousing finale.
2-part equal voices,
piano accompaniment,
flute, guitar -
Intermediate
SKU:
GI.G-10695
Composed
by John F. Wade. Arranged
by James Wahl.
Christmastide, Christmas
Vigil, Christmas Night,
Christmas Dawn, Christmas
Day, Children. Christmas.
Tune Name: Adeste
Fideles. Sacred. With
guitar chord names. 12
pages. GIA Publications
#10695. Published by GIA
Publications
(GI.G-10695).
English.
Text Source:
Adeste fideles, John
F. Wade, ca.
1711&ndash,1786, tr.
Frederick Oakeley,
1802&ndash,1880, alt.;
Translation: Frederick
Oakeley. Text by John F.
Wade.
Composed
by Joseph Compello. Sws.
Fps. Full score. 16
pages. Duration 2
minutes, 5 seconds. Carl
Fischer Music #FPS158F.
Published by Carl Fischer
Music (CF.FPS158F).
ISBN 9781491158012.
UPC: 680160916610. 9 x 12
inches.
Vulcan's
Anvil is intended for
band students who have
completed at least one
year of instruction. In
order to capture properly
the character of the
music, students should
not confuse a Star Trek
character with the title
character of this piece.
Explain to them that
Vulcan is the ancient
mythological god of fire
who is often portrayed
holding a hammer over an
anvil at a blacksmith's
hearth. Of primary
importance to an
effective performance is
the acquisition of an
instrument which produces
a convincing anvil sound.
If possible, consult with
an orchestral
percussionist who, more
than likely, has used the
anvil in Verdi's Anvil
Chorus or in Wagner's
Ring Cycle. Web searches
will reveal in-depth
information about anvils
in music and the lore of
the character Vulcan.
Regarding wind
instruments, articulation
is always marcato. There
are no tender or
contrasting passages in
this piece. Effective
execution of crescendos
will add drama to the
music. As always, balance
between winds and
percussion is crucial.
Thank you for choosing
this composition. Joseph
Compello. Vulcan's
Anvil is intended for
band students who have
completed at least one
year of instruction. In
order to capture properly
the character of the
music, students should
not confuse a Star Trek
character with the title
character of this piece.
Explain to them that
Vulcan is the ancient
mythological god of fire
who is often portrayed
holding a hammer over an
anvil at a blacksmith's
hearth. Of primary
importance to an
effective performance
is the acquisition of an
instrument which produces
a convincing anvil sound.
If possible, consult with
an orchestral
percussionist who, more
than likely, has used the
anvil in Verdi's Anvil
Chorus or in Wagner's
Ring Cycle. Web searches
will reveal in-depth
information about anvils
in music and the lore of
the character Vulcan.
Regarding wind
instruments, articulation
is always marcato. There
are no tender or
contrasting passages in
this piece. Effective
execution of crescendos
will add drama to the
music. As always, balance
between winds and
percussion is
crucial.Thank you for
choosing this
composition.Joseph
Compello.
Composed
by Carl Maria von Weber.
Edited by Frank Ziegler
and Johannes Kepper. This
edition: Full-cloth
binding. Sheet music.
Edition Schott. Score and
critical commentary,
complete edition. 306
pages. Schott Music
#WGA1021. Published by
Schott Music
(HL.49042434).
ISBN
9783795794491.
10.25x13.5x1.141 inches.
German.
Carl Maria
von Weber's fame rests
mainly on 'Der
Freischutz'. The
unprecedented success of
this opera overshadowed
all his other works and
contributed to their
increasing fall into
oblivion. Certain works
such as 'Preciosa',
'Oberon', and
'Euryanthe', the
overtures, solo concertos
and piano sonatas, the
lieder and chamber works
enjoyed great popularity
and were widely known in
Germany and abroad as
late as the second half
of the 19th century.
However, any chance of a
revival of Weber's
influential and
substantial oeuvre was
wasted in the 1920s, when
a complete edition -
begun by Hans Joachim
Moser and with potential
contributors including
Wilhelm Kempff, Hans
Pfitzner, Max von
Schillings, Fritz Stein
and Richard Strauss -
failed after the third
volume.Ever since there
have been numerous
attempts to restart a
complete edition of
Weber's works, but as
this kind of project
would have required the
co-operation of scholars
from both sides of the
inter-German border, the
political situation after
1945 was not conducive to
any such enterprise.
Careful negotiations led
to the first tangible
steps in the 1980s. The
intention, right from the
beginning, was to place
Weber's work in context,
and not to separate his
musical output from his
influential work as a
writer, critic and
organiser in the musical
field, but to publish his
compositions together
with his letters, diaries
and other literary output
as the best way to
document the
cross-fertilisation
between his musical,
literary and practical
activities.Since the
German re-unification
both working-parties
concerned - at the
Staatsbibliothek zu
Berlin, and at the
Musikwissenschaftliches
Seminar,
Detmold/Paderborn - have
co-operated on the
complete edition of the
musical works (c. 45
volumes in 10 series:
sacred music; cantatas,
odes and other occasional
works; stage works;
lieder and vocal works;
orchestral works; chamber
music; music for piano;
piano reductions;
miscellanea, arrangements
and orchestrations; works
of doubtful attribution).
The diaries (6-8 vols.)
are edited in Berlin and
the letters (8-10 vols.)
and other writings (2
vols.) in Detmold. This
complete edition aims to
be a reliable basis of
scholarly debate as well
as for the authentic
performance practice of
Carl Maria von Weber's
music. Conforming to the
standards of recent
historico-critical
editions, the textual
material will be based on
all available authentic
sources, accompanied by a
detailed documentation of
the genesis and a list of
variants for each work.
The musicological
importance of the works
will be evaluated by
placing them in their
historical context, the
presentation of their
genesis, history and
Critical Commentaries.
The letters, writings and
diaries will be treated
as inter-related and
relevant to each other in
the commentaries,
therefore readers should
benefit from a wealth of
concise information and
cross-references.