| Reflections on Endless Song Cloches - Facile Lorenz Publishing Company
(How Can I Keep from Singing?). By Michael Ryan. For handbells (2-3 octaves) / h...(+)
(How Can I Keep from
Singing?). By Michael
Ryan. For handbells (2-3
octaves) / handchimes
(2-3 octaves). General,
Lent. Level 2. Sheet
music. Published by
Lorenz Publishing Company
$5.50 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Sonata (arranged for Piano and Viola) Alto, Piano [Conducteur] Barenreiter
Arranged for piano and viola. Composed by Cesar Auguste Franck (1822-1890...(+)
Arranged for piano and
viola. Composed by
Cesar Auguste Franck
(1822-1890). Edited by
Douglas Woodfull-Harris.
Arranged by Douglas
Woodfull-Harris. Stapled.
Performance score.
Published by Baerenreiter
Verlag (BA.BA10918).
$27.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| English Suite 2-3 Oct Cloches - Facile Beckenhorst Press
2-3 octave handbells - Grade 2 SKU: BP.HB622 Composed by Michael Helman. ...(+)
2-3 octave handbells -
Grade 2 SKU:
BP.HB622 Composed by
Michael Helman. Arranged
by Michael Helman.
Handbell choir music.
Handbell score.
Beckenhorst Press #HB622.
Published by Beckenhorst
Press (BP.HB622).
2-3 octave
handbell choir, optional
2 octaves of handchimes.
Level 2 to 3-. Set of
three pieces: March
(processional); Air
(Meditation); Giga
(Rejoicing). This
delightful trio of tunes
from Michael Helman are
great fun to play and
hear, whether
individually, or played
together as an entire
suite. The stately March
throws in some exciting
harmonies while
maintaining a steady,
forward-moving tempo. The
delicate Air breathes
life into a flowing,
memorable melody and
makes effective use of
handchimes. The spirited
Giga is a grand
celebration in six-eight
time. Each movement also
has alternate subtitles,
suitable for use in
worship. Also available
for 3-5
octaves.
The
recording is of the 3 to
5 octave version. $5.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Sevcik Violin Studies: School Of Violin Technique Op. 1 Part 3 Violon Bosworth
By Ottakar Sevcik. For Violin. Pop. Sheet Music. 40 pages. Published by Bosworth...(+)
By Ottakar Sevcik. For
Violin. Pop. Sheet Music.
40 pages. Published by
Bosworth.
$9.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Holy Light Chorale SATB SATB [Vocal Score] - Intermédiaire MorningStar Music Publishers
By Robert A. Hobby (1962-). For Two-Part Mixed Voices or SATB, Soprano Solo, opt...(+)
By Robert A. Hobby
(1962-). For Two-Part
Mixed Voices or SATB,
Soprano Solo, opt.
Congregation, opt.
Children's Choir or
Treble Solo with Organ,
Piano, Brass Quintet,
Percussion, Handbells or
Full Orchestra. Choral.
Christmas, Advent. Medium
to Moderately Difficult.
Published by MorningStar
Music Publishers
$7.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Alfred's Group Piano for Adults: Student Book 1 (2nd Edition) Piano seul [Partition + CD] Alfred Publishing
An Innovative Method Enhanced with Audio and MIDI Files for Practice and Perform...(+)
An Innovative Method
Enhanced with Audio and
MIDI Files for Practice
and Performance. By Kenon
D. Renfrow, E. L.
Lancaster. For Piano.
Piano - Alfred's Group
Piano for Adults.
Alfred's Group Piano for
Adults. Book and CD-ROM.
360 pages. Published by
Alfred Publishing.
$69.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Alleluia, What Wondrous Love! Cloches [Partition] Lorenz Publishing Company
(Eight Reproducible Hymn Settings for Lent and Easter). By Douglas E. Wagner. Fo...(+)
(Eight Reproducible Hymn
Settings for Lent and
Easter). By Douglas E.
Wagner. For handbells (3
octaves) / handchimes (3
octaves). Reproducible,
Handbell Collection.
Eastertide, Lent. Level
1. Collection. Published
by Lorenz Publishing
Company
$59.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Sheep May Safely Graze Cloches Choristers Guild
By Johann Sebastian Bach (1685-1750). Arranged by Sharon Elery Rogers. For handb...(+)
By Johann Sebastian Bach
(1685-1750). Arranged by
Sharon Elery Rogers. For
handbells (2-3 octaves) /
handchimes (2-3 octaves).
Level 2-. Sheet Music.
Published by Chorister's
Guild
(1)$3.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Before the Throne of God Above Cloches [Conducteur] - Facile Hope Publishing Company
By Charitie Bancroft and Vikki Cook. Arranged by Joel Raney. For handbell choir ...(+)
By Charitie Bancroft and
Vikki Cook. Arranged by
Joel Raney. For handbell
choir (3-5 octaves) with
optional 3-5 octave
handchimes. Handbell
music. General, Ring and
Sing, Sacred. Grade 2 .
Handbell score. 8 pages.
Published by Hope
Publishing Company
$7.00 - Voir plus => AcheterDélais: 4 to 6 business days | | |
| I Love Scales Flûte traversière [Partition] - Débutant AMA Verlag
By Robert Winn. For Flute. Technique. AMA Verlag. All Styles. Level: Beginning. ...(+)
By Robert Winn. For
Flute. Technique. AMA
Verlag. All Styles.
Level: Beginning. Book.
Size 9x12. 44 pages.
Published by AMA Verlag.
ISBN 3932587561.
(1)$9.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Holy, Holy, Holy, Hosanna Cloches - Facile Lorenz Publishing Company
By Peter Scholtes. Arranged by Michael Ryan. For handbells (2-3 octaves) / handc...(+)
By Peter Scholtes.
Arranged by Michael Ryan.
For handbells (2-3
octaves) / handchimes
(2-3 octaves) (with
optional djembe
(congregation), cowbell,
shaker). Concert,
General, Palm Sunday.
Level 2 . Sheet music.
Published by Lorenz
Publishing Company
$6.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Spanish Dance From the Nutcracker Cloches Beckenhorst Press
Composed by William Griffin. For 4-5 octave handbell choir. Handbell Choir Music...(+)
Composed by William
Griffin. For 4-5 octave
handbell choir. Handbell
Choir Music. Handbell
part. Published by
Beckenhorst Press
$4.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Lenten Triptych (2-3 octaves) Beckenhorst Press
2-3 octave handbells and optiona 2-3 octave handchimes SKU: BP.HB466 Arra...(+)
2-3 octave handbells and
optiona 2-3 octave
handchimes SKU:
BP.HB466 Arranged by
Jason W. Krug. Handbell
choir music. Handbell
score. Beckenhorst Press
#HB466. Published by
Beckenhorst Press
(BP.HB466).
Arranged for
2-3 octave handbell choir
and optional 2-3 octaves
of handchimes. Recording
is of the 3-5 octave
version. This trio of
pieces - What Wondrous
Love Is This; To Mock
Your Reign, O Dearest
Lord; and When I Survey
the Wondrous Cross - are
perfect for any time
during the Lenten season,
and especially fitting
for a Good Friday
service. Full of
interesting and
unexpected harmonic
twists, these
arrangements capture the
mood of the Lenten season
perfectly. The two
compatible sets - for 2
or 3 octaves, and for 3
to 5 octaves - make these
pieces a good choice not
just for worship, but for
festival settings, as
well. $5.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Come and Adore (3, 4 or 5 octaves) Cloches Choristers Guild
Reproducible Advent and Christmas arrangements for handbells or handchimes(+)
Reproducible Advent
and Christmas
arrangements for
handbells or
handchimes. Arranged
by Bill Ingram, Linda R.
Lamb, Cathy Moklebust,
Sharon Elery Rogers.
Advent; Christmas.
Reproducible handbell
collection. Published by
Chorister's Guild
(LO.CGB976).
$39.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Comfort, Comfort Ye My People Cloches [Conducteur] Hope Publishing Company
Arranged by Cynthia Dobrinski. For Handbells (3-5 octaves) with optional flute a...(+)
Arranged by Cynthia
Dobrinski. For Handbells
(3-5 octaves) with
optional flute and drums.
Advent, Sacred. Score
$6.25 - Voir plus => AcheterDélais: 4 to 6 business days | | |
| I Could Sing of Your Love Forever Cloches Lorenz Publishing Company
By Martin Smith; Douglas E Wagner. For handbells (2-3 octaves) / handchimes (2-3...(+)
By Martin Smith; Douglas
E Wagner. For handbells
(2-3 octaves) /
handchimes (2-3 octaves).
General, Holy Communion.
Level: Level 2. Handbell
sheet. Published by
Lorenz Publishing
Company. (20/1432L)
$5.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Praise Songs, Volume 2 Cloches [Partition] - Débutant Lorenz Publishing Company
By Douglas E. Wagner. For handbells (3 octaves) / handchimes (3 octaves). Level:...(+)
By Douglas E. Wagner. For
handbells (3 octaves) /
handchimes (3 octaves).
Level: Level 1 . Handbell
collection. Published by
Lorenz Publishing
Company. (20/1441L)
$14.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Christmas Near and Far (3, 4 or 5 octaves) Cloches - Facile Choristers Guild
Composed by Sondra K. Tucker. For handbell choir (3-5 octaves). Christmas. Grade...(+)
Composed by Sondra K.
Tucker. For handbell
choir (3-5 octaves).
Christmas. Grade 2 and 3.
Reproducible collection.
Published by Chorister's
Guild
$49.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Acadia 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 | | |
| Piano Town, Lessons-Level 3 Piano seul [Partition] - Facile Kjos Music Company
By Keith Snell. Edited by Diane Hidy. (Piano Town). Snell Piano. Piano Town. Lev...(+)
By Keith Snell. Edited by
Diane Hidy. (Piano Town).
Snell Piano. Piano Town.
Level: Level 3. Music
Book. Size 232. Published
by Neil A. Kjos Music
Company.
(1)$8.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Great Smoky Mountains 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) 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 | | |
| The Passion Prophecy Cloches - Intermédiaire Choristers Guild
By Cathy Moklebust. For handbells (3 octaves) / handbells (5 octaves) (with opti...(+)
By Cathy Moklebust. For
handbells (3 octaves) /
handbells (5 octaves)
(with optional 3-5 octave
handchimes). Holy Week,
Lent, Sacred. Level 3 .
Handbell score. Published
by Chorister's Guild .
handbell score. Holy
Week, Lent, Sacred.
$4.50 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| We Come Before the Table Cloches Lorenz Publishing Company
By Derek K. Hakes. For handbells (2-3 octaves) / handchimes (2-3 octaves). Holy ...(+)
By Derek K. Hakes. For
handbells (2-3 octaves) /
handchimes (2-3 octaves).
Holy Communion, General.
Level: Level 2+. Handbell
sheet. Published by
Lorenz Publishing
Company. (20/1385L)
$5.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Let Us Go Rejoicing - 3, 4, or 5 octaves Handbell edition GIA Publications
Flute 1, flute 2, clarinet in B-flat, 2 octaves handbells, 2 or 3 octaves handbe...(+)
Flute 1, flute 2,
clarinet in B-flat, 2
octaves handbells, 2 or 3
octaves handbells,
guitar, 3, 4, or 5
octaves handbells SKU:
GI.G-9024HB-C
Psalm 122.
Composed by Jeffrey
Honore. This edition: or
5 octaves Handbell
edition. Common Psalm for
Last Weeks in Ordinary
Time, Advent 1 A, Christ
the King C. Sacred.
Handbell score. 13 pages.
GIA Publications
#9024HB-C. Published by
GIA Publications
(GI.G-9024HB-C).
This handbell
part is optional. $25.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Praise to the Lord, the Almighty Chorale SATB SATB, Cloches [Octavo] Hope Publishing Company
Arranged by Kevin McChesney. For SATB choir, handbells (2-3 octaves). Hope's All...(+)
Arranged by Kevin
McChesney. For SATB
choir, handbells (2-3
octaves). Hope's All-Time
Best Sellers Series.
Sacred, LOBE DEN HERREN,
Hymntune, Devotion,
General. Octavo. 8 pages.
Published by Hope
Publishing Company
$2.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Lullay, Thou Son of Mary, 3 oct. edition - Handbells GIA Publications
Guitar, 3 octaves handbells, 3 octaves handchimes, flute, violin SKU: GI.G-93...(+)
Guitar, 3 octaves
handbells, 3 octaves
handchimes, flute, violin
SKU: GI.G-9302
Arranged by Marilyn
Shenenberger.
Christmastide, Children.
Resounding Faith Series.
Tune Name: Coventry
Carol, Greensleeves.
Sacred. With guitar chord
names. 12 pages. GIA
Publications #9302.
Published by GIA
Publications (GI.G-9302).
UPC:
785147930280. This
is a simple, yet moving
pairing of the CONVENTRY
CAROL with GREENSLEEVES.
This arrangement is also
available in a 5 or 6
octave setting
(G-9328). The optional
C instrument part is for
flute or violin. 3
octaves Handbells with
optional 3 octaves (+D7)
Handchimes Solo or C
Instrument and Guitar
 . $5.50 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Three Hymn Preludes Cloches Beckenhorst Press
By Linda Lamb. For 2-3 octave handbell choir. Handbell Choir Music. Handbell par...(+)
By Linda Lamb. For 2-3
octave handbell choir.
Handbell Choir Music.
Handbell part. Published
by Beckenhorst Press
$5.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
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