Band concert band - Grade 3 SKU: CF.CPS250 Composed by Peter Sciaino. Set...(+)
Band concert band - Grade
3
SKU: CF.CPS250
Composed by Peter
Sciaino. Set of Score and
Parts.
27+12+12+6+12+12+12+6+6+6
+6+4+4+8+8+8+4+4+6+6+6+4+
12+4+2+6+10 pages.
Duration 4 minutes, 40
seconds. Carl Fischer
Music #CPS250. Published
by Carl Fischer Music
(CF.CPS250).
ISBN
9781491159576. UPC:
680160918164.
Kalei
doscope Sky is inspired
by the breathtaking
pastime of hot-air
ballooning and the
glorious festivals around
the world that honor the
practice. A sky full of
colorful spheres
elegantly floating at the
Albuquerque International
Balloon Fiesta,
International Balloon
Festival of
Saint-Jean-sur-Richelieu,
Bristol International
Balloon Fiesta, Mondial
Air Ballons and more draw
thousands of people to
witness awe-inspiring
scenes full of passionate
balloonists. Traditional
hot-air balloons mix with
creatively designed
balloons to thrill the
tens of thousands of
spectators below. While I
personally am not a
person who dreams of
taking my own
flight--heights are not
my thing--I have to
marvel at how gently and
easily these vessels
float among the clouds.
It truly is an image of
exquisite freedom. This
piece reflects the view
and experience of the
onlooker taking in an
elegantly shifting scene
reminiscent of
kaleidoscope patterns.
Spectators like me can
appreciate the beauty and
vibrancy associated with
a horizon full of
adventurous balloonists
and their wondrous
aircrafts. Kaleidoscope
Sky starts in a
triumphant and
celebratory fashion and
continues to conjure
images reminiscent of the
wide variety of soaring
colors on display at a
hot-air balloon event.
Ultimately, the piece
appropriately concludes
with a suspenseful, yet
graceful, run to the
finish line. Melodic
lines should soar with
attention being paid to
phrase markings and
assigned articulations.
Encourage musicians to
allow room for the
melodic material to be
heard in thicker textures
where supporting
harmonies are often
rhythmic in nature. These
harmonies should support,
and not cloud the
melodies. The meter
changes should sound
effortless, and the
continuous figures in the
percussion will help to
achieve this effect. The
snare drum, in
particular, should bring
accented notes to the
foreground while
maintaining a steady
textural effect with
non-accented notes as a
rhythmic background. This
will go a long way in
finding a cohesive
subdivision and ensemble
pulse. Kaleidoscope
Sky is inspired by the
breathtaking pastime of
hot-air ballooning and
the glorious festivals
around the world that
honor the practice. A sky
full of colorful spheres
elegantly floating at the
Albuquerque International
Balloon Fiesta,
International Balloon
Festival of
Saint-Jean-sur-Richelieu,
Bristol International
Balloon Fiesta, Mondial
Air Ballons and more draw
thousands of people to
witness awe-inspiring
scenes full of passionate
balloonists. Traditional
hot-air balloons mix with
creatively designed
balloons to thrill the
tens of thousands of
spectators below. While I
personally am not a
person who dreams of
taking my own
flight—heights are
not my thing—I
have to marvel at how
gently and easily these
vessels float among the
clouds. It truly is an
image of exquisite
freedom. This piece
reflects the view and
experience of the
onlooker taking in an
elegantly shifting scene
reminiscent of
kaleidoscope patterns.
Spectators like me can
appreciate the beauty and
vibrancy associated with
a horizon full of
adventurous balloonists
and their wondrous
aircrafts. Kaleidoscope
Sky starts in a
triumphant and
celebratory fashion and
continues to conjure
images reminiscent of the
wide variety of soaring
colors on display at a
hot-air balloon event.
Ultimately, the piece
appropriately concludes
with a suspenseful, yet
graceful, run to the
finish line.Melodic lines
should “soarâ€
with attention being paid
to phrase markings and
assigned articulations.
Encourage musicians to
allow room for the
melodic material to be
heard in thicker textures
where supporting
harmonies are often
rhythmic in nature. These
harmonies should support,
and not
“cloud†the
melodies. The meter
changes should sound
effortless, and the
continuous figures in the
percussion will help to
achieve this effect. The
snare drum, in
particular, should bring
accented notes to the
foreground while
maintaining a steady
textural effect with
non-accented notes as a
rhythmic background. This
will go a long way in
finding a cohesive
subdivision and ensemble
pulse.
Kaleidoscope Sky Orchestre d'harmonie [Conducteur] - Facile Carl Fischer
Band concert band - Grade 3 SKU: CF.CPS250F Composed by Peter Sciaino. Fu...(+)
Band concert band - Grade
3
SKU: CF.CPS250F
Composed by Peter
Sciaino. Full score. 27
pages. Carl Fischer Music
#CPS250F. Published by
Carl Fischer Music
(CF.CPS250F).
ISBN
9781491159583. UPC:
680160918171.
Kalei
doscope Sky is inspired
by the breathtaking
pastime of hot-air
ballooning and the
glorious festivals around
the world that honor the
practice. A sky full of
colorful spheres
elegantly floating at the
Albuquerque International
Balloon Fiesta,
International Balloon
Festival of
Saint-Jean-sur-Richelieu,
Bristol International
Balloon Fiesta, Mondial
Air Ballons and more draw
thousands of people to
witness awe-inspiring
scenes full of passionate
balloonists. Traditional
hot-air balloons mix with
creatively designed
balloons to thrill the
tens of thousands of
spectators below. While I
personally am not a
person who dreams of
taking my own
flight--heights are not
my thing--I have to
marvel at how gently and
easily these vessels
float among the clouds.
It truly is an image of
exquisite freedom. This
piece reflects the view
and experience of the
onlooker taking in an
elegantly shifting scene
reminiscent of
kaleidoscope patterns.
Spectators like me can
appreciate the beauty and
vibrancy associated with
a horizon full of
adventurous balloonists
and their wondrous
aircrafts. Kaleidoscope
Sky starts in a
triumphant and
celebratory fashion and
continues to conjure
images reminiscent of the
wide variety of soaring
colors on display at a
hot-air balloon event.
Ultimately, the piece
appropriately concludes
with a suspenseful, yet
graceful, run to the
finish line. Melodic
lines should soar with
attention being paid to
phrase markings and
assigned articulations.
Encourage musicians to
allow room for the
melodic material to be
heard in thicker textures
where supporting
harmonies are often
rhythmic in nature. These
harmonies should support,
and not cloud the
melodies. The meter
changes should sound
effortless, and the
continuous figures in the
percussion will help to
achieve this effect. The
snare drum, in
particular, should bring
accented notes to the
foreground while
maintaining a steady
textural effect with
non-accented notes as a
rhythmic background. This
will go a long way in
finding a cohesive
subdivision and ensemble
pulse. Kaleidoscope
Sky is inspired by the
breathtaking pastime of
hot-air ballooning and
the glorious festivals
around the world that
honor the practice. A sky
full of colorful spheres
elegantly floating at the
Albuquerque International
Balloon Fiesta,
International Balloon
Festival of
Saint-Jean-sur-Richelieu,
Bristol International
Balloon Fiesta, Mondial
Air Ballons and more draw
thousands of people to
witness awe-inspiring
scenes full of passionate
balloonists. Traditional
hot-air balloons mix with
creatively designed
balloons to thrill the
tens of thousands of
spectators below. While I
personally am not a
person who dreams of
taking my own
flight—heights are
not my thing—I
have to marvel at how
gently and easily these
vessels float among the
clouds. It truly is an
image of exquisite
freedom. This piece
reflects the view and
experience of the
onlooker taking in an
elegantly shifting scene
reminiscent of
kaleidoscope patterns.
Spectators like me can
appreciate the beauty and
vibrancy associated with
a horizon full of
adventurous balloonists
and their wondrous
aircrafts. Kaleidoscope
Sky starts in a
triumphant and
celebratory fashion and
continues to conjure
images reminiscent of the
wide variety of soaring
colors on display at a
hot-air balloon event.
Ultimately, the piece
appropriately concludes
with a suspenseful, yet
graceful, run to the
finish line.Melodic lines
should “soarâ€
with attention being paid
to phrase markings and
assigned articulations.
Encourage musicians to
allow room for the
melodic material to be
heard in thicker textures
where supporting
harmonies are often
rhythmic in nature. These
harmonies should support,
and not
“cloud†the
melodies. The meter
changes should sound
effortless, and the
continuous figures in the
percussion will help to
achieve this effect. The
snare drum, in
particular, should bring
accented notes to the
foreground while
maintaining a steady
textural effect with
non-accented notes as a
rhythmic background. This
will go a long way in
finding a cohesive
subdivision and ensemble
pulse.
Chamber Music Two Flutes, Piano SKU: PR.114408650 For 2 Flutes and Pia...(+)
Chamber Music Two Flutes,
Piano
SKU:
PR.114408650
For 2
Flutes and Piano.
Composed by Robert
Maggio. Spiral, Saddle,
Tape. Set of Score and
Parts. With Standard
notation. 56 + 32 pages.
Duration 20 minutes.
Theodore Presser Company
#114-40865. Published by
Theodore Presser Company
(PR.114408650).
UPC:
680160013180. 8.5 x 11
inches.
The Laurel
Tree is rooted in the
world of mythology, for
it reflects the legend of
Daphne and Apollo. As the
story goes, Cupid, in a
fit of spite, shot Apollo
with an arrow that rouses
love, then shot Daphne
with an arrow that
vanquishes love. Upon
seeing Daphne, Apollo
fell passionately in
love. When he approached
her, Daphne fled in
terror, and Apollo chased
after her. Just as she
was about to be caught by
Apollo, Daphne cried for
help to her father, the
river-god Peneus. She
begged him to change her,
to destroy her beauty, so
that Apollo would no
longer persue her. And
so, Peneus turned her
into a radiant laurel
tree. The Laurel Tree
looks at the legend of
Daphne in psychological
terms. In an essay titled
Schizophrenia - the
Inward Journey, Joseph
Campbell refers to the
image of Daphne turning
into a laurel tree as the
image of a psychosis, and
shows that the imagery of
the mythological hero
journey matches that of
schizophrenic fantasy.
The movement titles and
the structure of the
piece are influenced by
Campbell's writings on
mythology, particularly
his universal formula of
the hero's journey. The
first movement is based
on the legend as
described above, up to
the moment Daphne is
turned into a laurel
tree. The second movement
explores Daphne's inward
retreat, deep into her
psyche and backward in
time, toward chaotic and
terrifying experiences,
to recover something
missed or lost. The third
movement tracks Daphne's
return journey of rebirth
to life, in harmony, at
peace, richer, stronger,
and more joyous.
Featuring Music from 2001: A Space Odyssey, A Clockwork Orange and Barry Lyndo...(+)
Featuring Music from
2001: A
Space Odyssey, A
Clockwork
Orange and Barry Lyndon.
Composed by Antonio
Vivaldi
(1678-1741), Giovanni
Paisiello (1740-1816),
Wolfgang Amadeus Mozart
(1756-1791), Ludwig van
Beethoven (1770-1827),
Gioachino Rossini (1792-
1868), Franz Schubert
(1797-
1828), Edward Elgar
(1857-
1934), and George
Frideric
Handel (1685-1759).
Edited
by Nicholas Hopkins.
Arranged by Nicholas
Hopkins. Carl Fischer
Music
#PL1064. Published by
Carl
Fischer Music
SKU: SP.TS572 Composed by Tony Santorella. Collection; Recreational. Book...(+)
SKU: SP.TS572
Composed by Tony
Santorella. Collection;
Recreational. Book.
Santorella Publications
#TS572. Published by
Santorella Publications
(SP.TS572).
ISBN
9781585607587.
The
next book in this
exciting series has
arrived! The popularity
of coloring books for the
middle school aged to
adult artist, while
relatively recent, has
become one of the faster
growing recreational
activities for artists of
all skill levels. It took
the innovation of the
publisher you've known
for many years, however,
to marry the visual arts
with music in this never
seen before original
concept and series,
exclusively available
from Santorella
Publications. Experience
the high quality you've
come to expect from
Santorella Publications
in More Colors of Music,
with over 60 musical
instruments from around
the world depicted with
intricate background
patterns. Each image is
printed on heavy stock on
only one side of the page
to avoid bleed-through.
Printed in the larger 9 x
12 size, with Santorella
s lay-flat binding, the
book is designed to last
for years, while each
page is perforated for
easy removal and
coloring. Every
illustration, while a
work of art on its own,
will become a
one-of-a-kind original
piece with your personal
touch; a work of art
truly suitable for
framing. The foreword
from, More Colors of
Music. The Colors of
Music began the journey.
Artist and musicians
experienced a new level
of meditative creativity
with over 60 familiar
musical instruments to
color and make their own.
More Colors of Music
continues this journey
with over 60 additional
images dedicated to
instruments from around
the world. This
collection of unusual
instruments, both past
and present offers an
additional cultural
context, reminding us how
art and music not only
enable us to share
cultural similarities,
but also explore our
differences in a way
which makes the world a
little smaller. From the
dawn of time, coloring
has been one of the most
basic forms of
self-expression and is
often the first creative
process which many of us
experience. Taking an
existing image or pattern
and making it our own is
a uniquely personal
experience. We decide
which creative implements
to use, perhaps crayons,
pencils, or markers, and
which colors to apply. As
we color, we find we are
in control of the entire
process, limited only by
our imagination, and when
we are done, we have an
artistic embodiment of
our own personality, as
unique and individual as
each of us is to the
other. It makes no
difference if we are
relatively skilled or
unskilled; we express
what is in our heart and
mind each and every time
we set pencil to paper.
As we become more
experienced and skilled,
we acquire the power
through technique and
style to more freely
express what is so clear
in our imagination. In
time, our creations
become freely expressed
works of art. Both art
and music have creativity
at their core. They allow
the artist or musician,
both young and old, to
freely express feelings
within while providing a
sense of joy,
tranquility, and
meditative focus. The
Colors of Music and More
Colors of Music literally
remind us that art and
music are on the same
page. This highly
sought-after series, by
Santorella Publications,
will provide both the
artist and musician with
yet another creative
channel for
self-expression and
individualism, as well as
the opportunity for some
much-needed downtown from
the hard work of
practicing and the rigors
of everyday life.
Experience the fun and
satisfaction of The
Colors of Music and More
Colors of Music for
yourself, and turn each
page to discover the
endless possibilities and
opportunities for
creativity and
relaxation, as you
nurture and cultivate
your inner spirit, while
feeding your soul with
peace, tranquility,
color, and harmony. The
journey continues, so
have some fun!
St. Martin's Suite Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire De Haske Publications
Concert Band/Harmonie - Grade 4 SKU: BT.DHP-0920404-010 Composed by Jan V...(+)
Concert Band/Harmonie -
Grade 4
SKU:
BT.DHP-0920404-010
Composed by Jan Van der
Roost. Inspiration
Series. Set (Score &
Parts). Composed 1992. De
Haske Publications #DHP
0920404-010. Published by
De Haske Publications
(BT.DHP-0920404-010).
This suite was
composed by Jan Van der
Roost on the occasion of
the 110th anniversary of
the ‘Koninklijke
Sint
Martinusfanfare’
(Royal Saint Martinus
Fanfare Band) from Halle
(Belgium). The composer
was required to create a
suite in three movements
based on three images
associated with the
‘Sint
Martinusfanfare’
from the small town of
Halle in the province of
Brabant. The first
movement (Andante
Pomposo) describes
Martin, a soldier in the
Roman army. In Andante
Moderato we see the image
of Martin, who become a
Christian and chooses to
devote his life to God.
In this movement, the
composer was inspired by
the Brabantine gothic art
of the Sint Martinus
Basilica in Halle.
Thecontrast between the
dark Basilica and the
statue of Our Lady
between the soaring
pillars will vividly come
to life for audiences of
this descriptive piece.
The final movement,
Allegro Molto
Vivace’, could
have been an image for a
frivolous peasant in the
Halle carnival. In a
triptych about St. Martin
it is more fitting to
refer to it as an
apotheosis, the crown on
the pastoral work of
Martin, Bishop of Tours,
Patron Saint of the
Fanfare Band and the
Basilica of Halle.
Jan Van der Roost
komponierte diese Suite
anlässlich des 110.
Geburtstages der
Koninklijke Sint
Martinusfanfare aus Halle
(Brabant). Auftrag des
Komponisten was es, ein
dreisätziges Werk zu
schreiben, dessen
einzelne bildhafte Teile
einen Bezug zur Sint
Martinusfanfare
herstellen sollten. Der
erste Satz, ein Andante
Pomposo, beschreibt
Martin, Soldat im
römischen Heer. Das
darauffolgende Andante
Moderato zeichnet ein
Bild von Martin, der sich
zum Christentum bekehrt
und sein Leben Gott
widmen möchte. In
diesem Satz ließ sich
derKomponist von der
brabantischen Gotik der
Sint Martinus Basiliek in
Halle inspirieren. Der
Kontrast zwischen der
dunklen Basilika und der
von hoch emporstrebenden
Pfeilern umgebenen,
strahlenden Statue der
Mutter Gottes wird für
den Zuhörer in
diesemausdrucksvollen
Bild leicht
nachvollziehbar. Der
Schlusssatz, ein Allegro
Molto Vivace, hätte
die musikalische
Beschreibung eines
ausgelassenen
Bauerntanzes während
des Karnevalsumzugs in
Halle sein können. In
einem dem Heiligen Martin
gewidmeten Triptychon ist
es jedoch angemessener,
in einerApotheose darauf
zu verweisen, als
Krönung des pastoralen
Wirkens des Heiligen
Martin, Bischof von
Tours, Schutzheiliger des
Auftraggebers und Stifter
der Basilika in
Halle.
St. Martin's Suite Fanfare [Conducteur et Parties séparées] - Intermédiaire De Haske Publications
Fanfare Band - Grade 4 SKU: BT.DHP-0920404-020 Composed by Jan Van der Ro...(+)
Fanfare Band - Grade 4
SKU:
BT.DHP-0920404-020
Composed by Jan Van der
Roost. Inspiration
Series. Concert Piece.
Set (Score & Parts).
Composed 1992. De Haske
Publications #DHP
0920404-020. Published by
De Haske Publications
(BT.DHP-0920404-020).
This suite was
composed by Jan Van der
Roost on the occasion of
the 110th anniversary of
the ‘Koninklijke
Sint
Martinusfanfare’
(Royal Saint Martinus
Fanfare Band) from Halle
(Belgium). The composer
was required to create a
suite in three movements
based on three images
associated with the
‘Sint
Martinusfanfare’
from the small town of
Halle in the province of
Brabant. The first
movement (Andante
Pomposo) describes
Martin, a soldier in the
Roman army. In Andante
Moderato we see the image
of Martin, who become a
Christian and chooses to
devote his life to God.
In this movement, the
composer was inspired by
the Brabantine gothic art
of the Sint Martinus
Basilica in Halle.
Thecontrast between the
dark Basilica and the
statue of Our Lady
between the soaring
pillars will vividly come
to life for audiences of
this descriptive piece.
The final movement,
Allegro Molto
Vivace’, could
have been an image for a
frivolous peasant in the
Halle carnival. In a
triptych about St. Martin
it is more fitting to
refer to it as an
apotheosis, the crown on
the pastoral work of
Martin, Bishop of Tours,
Patron Saint of the
Fanfare Band and the
Basilica of Halle.
Jan Van der Roost
komponierte diese Suite
anlässlich des 110.
Geburtstages der
Koninklijke Sint
Martinusfanfare aus Halle
(Brabant). Auftrag des
Komponisten was es, ein
dreisätziges Werk zu
schreiben, dessen
einzelne bildhafte Teile
einen Bezug zur Sint
Martinusfanfare
herstellen sollten. Der
erste Satz, ein Andante
Pomposo, beschreibt
Martin, Soldat im
römischen Heer. Das
darauffolgende Andante
Moderato zeichnet ein
Bild von Martin, der sich
zum Christentum bekehrt
und sein Leben Gott
widmen möchte. In
diesem Satz ließ sich
derKomponist von der
brabantischen Gotik der
Sint Martinus Basiliek in
Halle inspirieren. Der
Kontrast zwischen der
dunklen Basilika und der
von hoch emporstrebenden
Pfeilern umgebenen,
strahlenden Statue der
Mutter Gottes wird für
den Zuhörer in
diesemausdrucksvollen
Bild leicht
nachvollziehbar. Der
Schlusssatz, ein Allegro
Molto Vivace, hätte
die musikalische
Beschreibung eines
ausgelassenen
Bauerntanzes während
des Karnevalsumzugs in
Halle sein können. In
einem dem Heiligen Martin
gewidmeten Triptychon ist
es jedoch angemessener,
in einerApotheose darauf
zu verweisen, als
Krönung des pastoralen
Wirkens des Heiligen
Martin, Bischof von
Tours, Schutzheiliger des
Auftraggebers und Stifter
der Basilika in
Halle.
Flute, Clarinet, Violin, Viola & Piano SKU: SS.50021160 Composed by Randa...(+)
Flute, Clarinet, Violin,
Viola & Piano
SKU:
SS.50021160
Composed
by Randall Mcclellan.
Chamber Music. Full
Score. Duration the wild
geese fly across the long
sky above. their image is
reflected upon the chilly
water below. the geese do
not mean to cast their
image upon the water; nor
does the water mean to
hold the image of the
geese. duration: 12
minutes. copyright 1.
Published by Seesaw Music
Corp (SS.50021160).
the wild geese
fly across the long sky
above. their image is
reflected upon the chilly
water below. the geese do
not mean to cast their
image upon the water; nor
does the water mean to
hold the image of the
geese. duration: 12
minutes. copyright
1976. published by:
seesaw music.
Composed by Bud Woodruff.
First-Plus String
Orchestra (FAS). Set of
Score and Parts. With
Standard notation.
8+8+2+5+5+2+5+8 pages.
Duration 1 minute, 46
seconds. Carl Fischer
Music #FAS105. Published
by Carl Fischer Music
(CF.FAS105).
ISBN
9781491151365. UPC:
680160908868. 9 x 12
inches. Key: B
minor.
Composer Bud
Woodruff continues to
present compositions that
students will love to
perform and will learn
from playing. The title,
Dorian's Barn has a
unique double meaning in
that it is dedicated to a
man named Dorian and it
is in the Dorian mode.
The addition of the word
'barn' in the title also
adds to the music a fun
country backwoods
aesthetic.
I had promised a
piece for my valued
friend, Dorian Barnes, in
exchange for some repair
work he performed on my
violin at an inconvenient
time for him. He is a
very gifted luthier,
which is a very ancient
craft, and in addition to
carving modern
instruments, he has also
carved more archaic
stringed instrument. So I
wanted to write a piece
that captured the gist of
what those original
instruments might have
performed.
The title
Dorian's Barn is
a twist on his name
(Dorian Barnes), but also
gave a good bit of
inspiration to the piece,
too. There are many
ancient, deserted, old
barns where I live, and
they are all wonderfully
made, but there is no
telling what one might
find inside of one of
them. There is a real
sense of mystery one
feels when approaching
one for the first time,
and I wanted to capture
that feeling in the
music, too. It turns out
that there was an old
barn on the land where
Dorian grew up, and that
image has really stuck in
his mind, too.
As a further
twist on Dorian's name,
the piece is primarily in
the E-Dorian
mode.
.
I had promised a
piece for my valued
friend, Dorian Barnes, in
exchange for some repair
work he performed on my
violin at an inconvenient
time for him. He is a
very gifted luthier,
which is a very ancient
craft, and in addition to
carving modern
instruments, he has also
carved more archaic
stringed instrument. So I
wanted to write a piece
that captured the gist of
what those original
instruments might have
performed.
A The title
Dorian's BarnA
is a twist on his name
(Dorian Barnes), but also
gave a good bit of
inspiration to the piece,
too. There are many
ancient, deserted, old
barns where I live, and
they are all wonderfully
made, but there is no
telling what one might
find inside of one of
them. There is a real
sense of mystery one
feels when approaching
one for the first time,
and I wanted to capture
that feeling in the
music, too. It turns out
that there was an old
barn on the land where
Dorian grew up, and that
image has really stuck in
his mind, too.
A As a further
twist on Dorian's name,
the piece is primarily in
the E-Dorian
mode.
.
I had promised a
piece for my valued
friend, Dorian Barnes, in
exchange for some repair
work he performed on my
violin at an inconvenient
time for him. He is a
very gifted luthier,
which is a very ancient
craft, and in addition to
carving modern
instruments, he has also
carved more archaic
stringed instrument. So I
wanted to write a piece
that captured the gist of
what those original
instruments might have
performed.
A The title
Dorian's BarnA
is a twist on his name
(Dorian Barnes), but also
gave a good bit of
inspiration to the piece,
too. There are many
ancient, deserted, old
barns where I live, and
they are all wonderfully
made, but there is no
telling what one might
find inside of one of
them. There is a real
sense of mystery one
feels when approaching
one for the first time,
and I wanted to capture
that feeling in the
music, too. It turns out
that there was an old
barn on the land where
Dorian grew up, and that
image has really stuck in
his mind, too.
A As a further
twist on Dorian's name,
the piece is primarily in
the E-Dorian
mode.
.
I had promised a
piece for my valued
friend, Dorian Barnes, in
exchange for some repair
work he performed on my
violin at an inconvenient
time for him. He is a
very gifted luthier,
which is a very ancient
craft, and in addition to
carving modern
instruments, he has also
carved more archaic
stringed instrument. So I
wanted to write a piece
that captured the gist of
what those original
instruments might have
performed.
The title
Dorian's Barn is
a twist on his name
(Dorian Barnes), but also
gave a good bit of
inspiration to the piece,
too. There are many
ancient, deserted, old
barns where I live, and
they are all wonderfully
made, but there is no
telling what one might
find inside of one of
them. There is a real
sense of mystery one
feels when approaching
one for the first time,
and I wanted to capture
that feeling in the
music, too. It turns out
that there was an old
barn on the land where
Dorian grew up, and that
image has really stuck in
his mind, too.
As a further
twist on Dorian's name,
the piece is primarily in
the E-Dorian
mode.
. I had
promised a piece for my
valued friend, Dorian
Barnes, in exchange for
some repair work he
performed on my violin at
an inconvenient time for
him. He is a very gifted
luthier, which is a very
ancient craft, and in
addition to carving
modern instruments, he
has also carved more
archaic stringed
instrument. So I wanted
to write a piece that
captured the gist of what
those original
instruments might have
performed. The title
Dorian's Barn is a twist
on his name (Dorian
Barnes), but also gave a
good bit of inspiration
to the piece, too. There
are many ancient,
deserted, old barns where
I live, and they are all
wonderfully made, but
there is no telling what
one might find inside of
one of them. There is a
real sense of mystery one
feels when approaching
one for the first time,
and I wanted to capture
that feeling in the
music, too. It turns out
that there was an old
barn on the land where
Dorian grew up, and that
image has really stuck in
his mind, too. As a
further twist on Dorian's
name, the piece is
primarily in the E-Dorian
mode. I had promised a
piece for my valued
friend, Dorian Barnes, in
exchange for some repair
work he performed on my
violin at an inconvenient
time for him. He is a
very gifted luthier,
which is a very ancient
craft, and in addition to
carving modern
instruments, he has also
carved more archaic
stringed instrument. So I
wanted to write a piece
that captured the gist of
what those original
instruments might have
performed. The title
Dorian's Barn is a
twist on his name (Dorian
Barnes), but also gave a
good bit of inspiration
to the piece, too. There
are many ancient,
deserted, old barns where
I live, and they are all
wonderfully made, but
there is no telling what
one might find inside of
one of them. There is a
real sense of mystery one
feels when approaching
one for the first time,
and I wanted to capture
that feeling in the
music, too. It turns out
that there was an old
barn on the land where
Dorian grew up, and that
image has really stuck in
his mind, too. As a
further twist on Dorian's
name, the piece is
primarily in the E-Dorian
mode.
Composed by Bud Woodruff.
First-Plus String
Orchestra (FAS). Full
score. With Standard
notation. 8 pages. Carl
Fischer Music #FAS105F.
Published by Carl Fischer
Music (CF.FAS105F).
ISBN 9781491151730.
UPC: 680160909230. 9 x 12
inches.
Composer
Bud Woodruff continues to
present compositions that
students will love to
perform and will learn
from playing. The title,
Dorian's Barn has a
unique double meaning in
that it is dedicated to a
man named Dorian and it
is in the Dorian mode.
The addition of the word
'barn' in the title also
adds to the music a fun
country backwoods
aesthetic.
I had promised a
piece for my valued
friend, Dorian Barnes, in
exchange for some repair
work he performed on my
violin at an inconvenient
time for him. He is a
very gifted luthier,
which is a very ancient
craft, and in addition to
carving modern
instruments, he has also
carved more archaic
stringed instrument. So I
wanted to write a piece
that captured the gist of
what those original
instruments might have
performed.
The title
Dorian's Barn is
a twist on his name
(Dorian Barnes), but also
gave a good bit of
inspiration to the piece,
too. There are many
ancient, deserted, old
barns where I live, and
they are all wonderfully
made, but there is no
telling what one might
find inside of one of
them. There is a real
sense of mystery one
feels when approaching
one for the first time,
and I wanted to capture
that feeling in the
music, too. It turns out
that there was an old
barn on the land where
Dorian grew up, and that
image has really stuck in
his mind, too.
As a further
twist on Dorian's name,
the piece is primarily in
the E-Dorian
mode.
.
I had promised a
piece for my valued
friend, Dorian Barnes, in
exchange for some repair
work he performed on my
violin at an inconvenient
time for him. He is a
very gifted luthier,
which is a very ancient
craft, and in addition to
carving modern
instruments, he has also
carved more archaic
stringed instrument. So I
wanted to write a piece
that captured the gist of
what those original
instruments might have
performed.
A The title
Dorian's BarnA
is a twist on his name
(Dorian Barnes), but also
gave a good bit of
inspiration to the piece,
too. There are many
ancient, deserted, old
barns where I live, and
they are all wonderfully
made, but there is no
telling what one might
find inside of one of
them. There is a real
sense of mystery one
feels when approaching
one for the first time,
and I wanted to capture
that feeling in the
music, too. It turns out
that there was an old
barn on the land where
Dorian grew up, and that
image has really stuck in
his mind, too.
A As a further
twist on Dorian's name,
the piece is primarily in
the E-Dorian
mode.
.
I had promised a
piece for my valued
friend, Dorian Barnes, in
exchange for some repair
work he performed on my
violin at an inconvenient
time for him. He is a
very gifted luthier,
which is a very ancient
craft, and in addition to
carving modern
instruments, he has also
carved more archaic
stringed instrument. So I
wanted to write a piece
that captured the gist of
what those original
instruments might have
performed.
A The title
Dorian's BarnA
is a twist on his name
(Dorian Barnes), but also
gave a good bit of
inspiration to the piece,
too. There are many
ancient, deserted, old
barns where I live, and
they are all wonderfully
made, but there is no
telling what one might
find inside of one of
them. There is a real
sense of mystery one
feels when approaching
one for the first time,
and I wanted to capture
that feeling in the
music, too. It turns out
that there was an old
barn on the land where
Dorian grew up, and that
image has really stuck in
his mind, too.
A As a further
twist on Dorian's name,
the piece is primarily in
the E-Dorian
mode.
.
I had promised a
piece for my valued
friend, Dorian Barnes, in
exchange for some repair
work he performed on my
violin at an inconvenient
time for him. He is a
very gifted luthier,
which is a very ancient
craft, and in addition to
carving modern
instruments, he has also
carved more archaic
stringed instrument. So I
wanted to write a piece
that captured the gist of
what those original
instruments might have
performed.
The title
Dorian's Barn is
a twist on his name
(Dorian Barnes), but also
gave a good bit of
inspiration to the piece,
too. There are many
ancient, deserted, old
barns where I live, and
they are all wonderfully
made, but there is no
telling what one might
find inside of one of
them. There is a real
sense of mystery one
feels when approaching
one for the first time,
and I wanted to capture
that feeling in the
music, too. It turns out
that there was an old
barn on the land where
Dorian grew up, and that
image has really stuck in
his mind, too.
As a further
twist on Dorian's name,
the piece is primarily in
the E-Dorian
mode.
. I had
promised a piece for my
valued friend, Dorian
Barnes, in exchange for
some repair work he
performed on my violin at
an inconvenient time for
him. He is a very gifted
luthier, which is a very
ancient craft, and in
addition to carving
modern instruments, he
has also carved more
archaic stringed
instrument. So I wanted
to write a piece that
captured the gist of what
those original
instruments might have
performed. The title
Dorian's Barn is a twist
on his name (Dorian
Barnes), but also gave a
good bit of inspiration
to the piece, too. There
are many ancient,
deserted, old barns where
I live, and they are all
wonderfully made, but
there is no telling what
one might find inside of
one of them. There is a
real sense of mystery one
feels when approaching
one for the first time,
and I wanted to capture
that feeling in the
music, too. It turns out
that there was an old
barn on the land where
Dorian grew up, and that
image has really stuck in
his mind, too. As a
further twist on Dorian's
name, the piece is
primarily in the E-Dorian
mode. I had promised a
piece for my valued
friend, Dorian Barnes, in
exchange for some repair
work he performed on my
violin at an inconvenient
time for him. He is a
very gifted luthier,
which is a very ancient
craft, and in addition to
carving modern
instruments, he has also
carved more archaic
stringed instrument. So I
wanted to write a piece
that captured the gist of
what those original
instruments might have
performed. The title
Dorian's Barn is a
twist on his name (Dorian
Barnes), but also gave a
good bit of inspiration
to the piece, too. There
are many ancient,
deserted, old barns where
I live, and they are all
wonderfully made, but
there is no telling what
one might find inside of
one of them. There is a
real sense of mystery one
feels when approaching
one for the first time,
and I wanted to capture
that feeling in the
music, too. It turns out
that there was an old
barn on the land where
Dorian grew up, and that
image has really stuck in
his mind, too. As a
further twist on Dorian's
name, the piece is
primarily in the E-Dorian
mode.
Tenor Voice and Piano (MED) SKU: HL.49005752 By Kurt Adler. Edited by Hei...(+)
Tenor Voice and Piano
(MED)
SKU:
HL.49005752
By Kurt
Adler. Edited by Heinrich
Moeller. Edition Schott.
Classical. Book Only. 64
pages. Schott Music
#HL50325850. Published by
Schott Music
(HL.49005752).
ISBN
9780793526123. UPC:
73999258509. 273 X 191
inches.
Contents:
Meyerbeer: O Paradis
sorti de l'onde
(L'Africaine) –
Verdi: Celeste Aida
(Aida) • Io la vidi
(Don Carlo) • Oh, tu
che in seno agli angeli
(La Forza Del Destino)
• Parmi veder le
lagrime (Rigoletto)•
La donna e mobile
(Rigoletto) • Ah, si
ben mio coll'essere (Il
Trovatore) –
Smetana: Jenik's Aria
(The Bartered Bride)
– Puccini: Che
gelida manina (La Boheme)
• Donna non vidi mai
(Manon Lescaut)•
Recondita armonia (Tosca)
• E lucevan le
stelle (Tosca) –
Bizet: Le fleur que tu
m'avais jetee (Carmen)
– Mozart: Un' aura
amorosa (Cosö fan
tutte) • Il mio
tesoro intanto (Don
Giovanni) •Dalla sua
pace (Don Giovanni)
• O wie angstlich
(Die Entführung aus
dem Serail) • Dies
Bildniss ist bezaubernd
schon (Die
Zauberflöte) –
Donizetti: Com'e gentil
(Don Pasquale) • Una
furtiva lagrima(L'Elisir
D'Amore) • Spirto
gentil (La Favorita)
• Fra poco a me
ricovero (Lucia di
Lammermoor) –
Tchaikovsky: Lenski's
Aria (Eugene Onegin)
– Gounod: Salut!
demeure chaste et pure
(Faust) •
Ah,leve-toi, soleil!
(Roméo et
Juliette) – C.M.von
Weber: Durch die Walder
(Der Freischütz)
– Ponchielli: Cielo
e mar (La Gioconda);
Godard: Oh! ne t'eveille
pas (Jocelyn) –
Wagner: Amstillen Herd
(DieMeistersinger von
Nurnberg) •
Morgenlich leuchtend im
rosigen Schein (Walther's
Prize-Song) (Die
Meistersinger von
Nurnburg) • In
fernem Land (Lohengrin)
• Wintersturme
wichen dem Wonnemond (Die
Walkure) –Halevy:
Rachel, quand du Seigneur
(La Juive) –
Delibes: Fantaisie aux
divins mensonges (Lakme)
– Massenet: En
ferment les yeux (The
Dream of Des Grieux)
(Manon) • Ah! fuyez,
douce image (Manon)
– Flotow:M'appari
tutt'amor (Martha)
– A. Thomas: Elle
ne croyait pas (Mignon)
• Adieu, Mignon!
(Mignon) – Auber:
Du pauvre seul ami
(Slumber-Song) (La Muette
de Portici) –
Leoncavallo: Vesti la
giubba (Pagliacci)–
Lalo: Vainement, ma
bien-aimee (Le Roi
d'Ys).Celebrated arias
selected from operas a
range of composers in
five volumes. This volume
is compiled by Kurt Adler
and is for Tenor Voice.
It includes selections
from The Magic Flute, The
Bartered Bride, Faust,
Cosi Fan Tutte, Romeo and
Juliet and many more
operas.
Contents:
Meyerbeer: O Paradis
sorti de l'onde
(L'Africaine) –
Verdi: Celeste Aida
(Aida) • Io la vidi
(Don Carlo) • Oh, tu
che in seno agli angeli
(La Forza Del Destino)
• Parmi veder le
lagrime (Rigoletto)•
La donna e mobile
(Rigoletto) • Ah, si
ben mio coll'essere (Il
Trovatore) –
Smetana: Jenik's Aria
(The Bartered Bride)
– Puccini: Che
gelida manina (La Boheme)
• Donna non vidi mai
(Manon Lescaut)•
Recondita armonia (Tosca)
• E lucevan le
stelle (Tosca) –
Bizet: Le fleur que tu
m'avais jetee (Carmen)
– Mozart: Un' aura
amorosa (Cosö fan
tutte) • Il mio
tesoro intanto (Don
Giovanni) •Dalla sua
pace (Don Giovanni)
• O wie angstlich
(Die Entführung aus
dem Serail) • Dies
Bildniss ist bezaubernd
schon (Die
Zauberflöte) –
Donizetti: Com'e gentil
(Don Pasquale) • Una
furtiva lagrima(L'Elisir
D'Amore) • Spirto
gentil (La Favorita)
• Fra poco a me
ricovero (Lucia di
Lammermoor) –
Tchaikovsky: Lenski's
Aria (Eugene Onegin)
– Gounod: Salut!
demeure chaste et pure
(Faust) •
Ah,leve-toi, soleil!
(Roméo et
Juliette) – C.M.von
Weber: Durch die Walder
(Der Freischütz)
– Ponchielli: Cielo
e mar (La Gioconda);
Godard: Oh! ne t'eveille
pas (Jocelyn) –
Wagner: Amstillen Herd
(DieMeistersinger von
Nurnberg) •
Morgenlich leuchtend im
rosigen Schein (Walther's
Prize-Song) (Die
Meistersinger von
Nurnburg) • In
fernem Land (Lohengrin)
• Wintersturme
wichen dem Wonnemond (Die
Walkure) –Halevy:
Rachel, quand du Seigneur
(La Juive) –
Delibes: Fantaisie aux
divins mensonges (Lakme)
– Massenet: En
ferment les yeux (The
Dream of Des Grieux)
(Manon) • Ah! fuyez,
douce image (Manon)
– Flotow:M'appari
tutt'amor (Martha)
– A. Thomas: Elle
ne croyait pas (Mignon)
• Adieu, Mignon!
(Mignon) – Auber:
Du pauvre seul ami
(Slumber-Song) (La Muette
de Portici) –
Leoncavallo: Vesti la
giubba (Pagliacci)–
Lalo: Vainement, ma
bien-aimee (Le Roi
d'Ys).
Contents:
Meyerbeer: O Paradis
sorti de l'onde
(L'Africaine) –
Verdi: Celeste Aida
(Aida) • Io la vidi
(Don Carlo) • Oh, tu
che in seno agli angeli
(La Forza Del Destino)
• Parmi veder le
lagrime (Rigoletto)•
La donna e mobile
(Rigoletto) • Ah, si
ben mio coll'essere (Il
Trovatore) –
Smetana: Jenik's Aria
(The Bartered Bride)
– Puccini: Che
gelida manina (La Boheme)
• Donna non vidi mai
(Manon Lescaut)•
Recondita armonia (Tosca)
• E lucevan le
stelle (Tosca) –
Bizet: Le fleur que tu
m'avais jetee (Carmen)
– Mozart: Un' aura
amorosa (Cosö fan
tutte) • Il mio
tesoro intanto (Don
Giovanni) •Dalla sua
pace (Don Giovanni)
• O wie angstlich
(Die Entführung aus
dem Serail) • Dies
Bildniss ist bezaubernd
schon (Die
Zauberflöte) –
Donizetti: Com'e gentil
(Don Pasquale) • Una
furtiva lagrima(L'Elisir
D'Amore) • Spirto
gentil (La Favorita)
• Fra poco a me
ricovero (Lucia di
Lammermoor) –
Tchaikovsky: Lenski's
Aria (Eugene Onegin)
– Gounod: Salut!
demeure chaste et pure
(Faust) •
Ah,leve-toi, soleil!
(Roméo et
Juliette) – C.M.von
Weber: Durch die Walder
(Der Freischütz)
– Ponchielli: Cielo
e mar (La Gioconda);
Godard: Oh! ne t'eveille
pas (Jocelyn) –
Wagner: Amstillen Herd
(DieMeistersinger von
Nurnberg) •
Morgenlich leuchtend im
rosigen Schein (Walther's
Prize-Song) (Die
Meistersinger von
Nurnburg) • In
fernem Land (Lohengrin)
• Wintersturme
wichen dem Wonnemond (Die
Walkure) –Halevy:
Rachel, quand du Seigneur
(La Juive) –
Delibes: Fantaisie aux
divins mensonges (Lakme)
– Massenet: En
ferment les yeux (The
Dream of Des Grieux)
(Manon) • Ah! fuyez,
douce image (Manon)
– Flotow:M'appari
tutt'amor (Martha)
– A. Thomas: Elle
ne croyait pas (Mignon)
• Adieu, Mignon!
(Mignon) – Auber:
Du pauvre seul ami
(Slumber-Song) (La Muette
de Portici) –
Leoncavallo: Vesti la
giubba (Pagliacci)–
Lalo: Vainement, ma
bien-aimee (Le Roi
d'Ys).
Contents:
Meyerbeer: O Paradis
sorti de l'onde
(L'Africaine) –
Verdi: Celeste Aida
(Aida) • Io la vidi
(Don Carlo) • Oh, tu
che in seno agli angeli
(La Forza Del Destino)
• Parmi veder le
lagrime (Rigoletto)•
La donna e mobile
(Rigoletto) • Ah, si
ben mio coll'essere (Il
Trovatore) –
Smetana: Jenik's Aria
(The Bartered Bride)
– Puccini: Che
gelida manina (La Boheme)
• Donna non vidi mai
(Manon Lescaut)•
Recondita armonia (Tosca)
• E lucevan le
stelle (Tosca) –
Bizet: Le fleur que tu
m'avais jetee (Carmen)
– Mozart: Un' aura
amorosa (Cosö fan
tutte) • Il mio
tesoro intanto (Don
Giovanni) •Dalla sua
pace (Don Giovanni)
• O wie angstlich
(Die Entführung aus
dem Serail) • Dies
Bildniss ist bezaubernd
schon (Die
Zauberflöte) –
Donizetti: Com'e gentil
(Don Pasquale) • Una
furtiva lagrima(L'Elisir
D'Amore) • Spirto
gentil (La Favorita)
• Fra poco a me
ricovero (Lucia di
Lammermoor) –
Tchaikovsky: Lenski's
Aria (Eugene Onegin)
– Gounod: Salut!
demeure chaste et pure
(Faust) •
Ah,leve-toi, soleil!
(Roméo et
Juliette) – C.M.von
Weber: Durch die Walder
(Der Freischütz)
– Ponchielli: Cielo
e mar (La Gioconda);
Godard: Oh! ne t'eveille
pas (Jocelyn) –
Wagner: Amstillen Herd
(DieMeistersinger von
Nurnberg) •
Morgenlich leuchtend im
rosigen Schein (Walther's
Prize-Song) (Die
Meistersinger von
Nurnburg) • In
fernem Land (Lohengrin)
• Wintersturme
wichen dem Wonnemond (Die
Walkure) –Halevy:
Rachel, quand du Seigneur
(La Juive) –
Delibes: Fantaisie aux
divins mensonges (Lakme)
– Massenet: En
ferment les yeux (The
Dream of Des Grieux)
(Manon) • Ah! fuyez,
douce image (Manon)
– Flotow:M'appari
tutt'amor (Martha)
– A. Thomas: Elle
ne croyait pas (Mignon)
• Adieu, Mignon!
(Mignon) – Auber:
Du pauvre seul ami
(Slumber-Song) (La Muette
de Portici) –
Leoncavallo: Vesti la
giubba (Pagliacci)–
Lalo: Vainement, ma
bien-aimee (Le Roi
d'Ys).
Contents:
Meyerbeer: O Paradis
sorti de l'onde
(L'Africaine) –
Verdi: Celeste Aida
(Aida) • Io la vidi
(Don Carlo) • Oh, tu
che in seno agli angeli
(La Forza Del Destino)
• Parmi veder le
lagrime (Rigoletto)•
La donna e mobile
(Rigoletto) • Ah, si
ben mio coll'essere (Il
Trovatore) –
Smetana: Jenik's Aria
(The Bartered Bride)
– Puccini: Che
gelida manina (La Boheme)
• Donna non vidi mai
(Manon Lescaut)•
Recondita armonia (Tosca)
• E lucevan le
stelle (Tosca) –
Bizet: Le fleur que tu
m'avais jetee (Carmen)
– Mozart: Un' aura
amorosa (Cosö fan
tutte) • Il mio
tesoro intanto (Don
Giovanni) •Dalla sua
pace (Don Giovanni)
• O wie angstlich
(Die Entführung aus
dem Serail) • Dies
Bildniss ist bezaubernd
schon (Die
Zauberflöte) –
Donizetti: Com'e gentil
(Don Pasquale) • Una
furtiva lagrima(L'Elisir
D'Amore) • Spirto
gentil (La Favorita)
• Fra poco a me
ricovero (Lucia di
Lammermoor) –
Tchaikovsky: Lenski's
Aria (Eugene Onegin)
– Gounod: Salut!
demeure chaste et pure
(Faust) •
Ah,leve-toi, soleil!
(Roméo et
Juliette) – C.M.von
Weber: Durch die Walder
(Der Freischütz)
– Ponchielli: Cielo
e mar (La Gioconda);
Godard: Oh! ne t'eveille
pas (Jocelyn) –
Wagner: Amstillen Herd
(DieMeistersinger von
Nurnberg) •
Morgenlich leuchtend im
rosigen Schein (Walther's
Prize-Song) (Die
Meistersinger von
Nurnburg) • In
fernem Land (Lohengrin)
• Wintersturme
wichen dem Wonnemond (Die
Walkure) –Halevy:
Rachel, quand du Seigneur
(La Juive) –
Delibes: Fantaisie aux
divins mensonges (Lakme)
– Massenet: En
ferment les yeux (The
Dream of Des Grieux)
(Manon) • Ah! fuyez,
douce image (Manon)
– Flotow:M'appari
tutt'amor (Martha)
– A. Thomas: Elle
ne croyait pas (Mignon)
• Adieu, Mignon!
(Mignon) – Auber:
Du pauvre seul ami
(Slumber-Song) (La Muette
de Portici) –
Leoncavallo: Vesti la
giubba (Pagliacci)–
Lalo: Vainement, ma
bien-aimee (Le Roi
d'Ys).
Composed by Bruce W.
Tippette. Concert String
Orchestra (CAS). Set of
Score and Parts. With
Standard notation.
16+4+16+10+10+10+3+12
pages. Duration 3
minutes, 50 seconds. Carl
Fischer Music #CAS113.
Published by Carl Fischer
Music (CF.CAS113).
ISBN 9781491151327.
UPC: 680160908820. 9 x 12
inches. Key: E
minor.
Composed by
Bruce W. Tippette,
Drifting?utilizes musical
passages to allude to the
image of something
drifting down a river in
the woods. It journeys
through twists and turns,
placid streams and
roaring rapids,
eventually making a grand
entrance into open
waters. The musical
passages in this piece
for string orchestra
conjure images of
something, perhaps a
leaf, gently drifting
down a river in the
woods. It journeys
through twists and turns,
placid streams and
roaring rapids,
eventually making a grand
entrance into open
waters. As
Drifting<
/em>
opens, soft pizzicato
strings are uttered in
the lower string voices,
while the upper voices
slowly swell into the
appearance of the main
motive in m. 9. This
theme develops and passes
through several voices
until being replaced by a
new motive in m. 36,
accompanied by driving
rhythms and frequent
modulations. A powerful
resurgence of the
original motive occurs in
m. 60. Melodic remnants
of the previous sections
are presented in a new
fashion as the piece
comes to a dramatic close
with all voices playing
in rhythmic unison in the
closing
measures.. The musical
passages in this piece
for string orchestra
conjure images of
something, perhaps a
leaf, gently drifting
down a river in the
woods. It journeys
through twists and turns,
placid streams and
roaring rapids,
eventually making a grand
entrance into open
waters. As
Drifting<
/em>
opens, soft pizzicato
strings are uttered in
the lower string voices,
while the upper voices
slowly swell into the
appearance of the main
motive in m. 9. This
theme develops and passes
through several voices
until being replaced by a
new motive in m. 36,
accompanied by driving
rhythms and frequent
modulations. A powerful
resurgence of the
original motive occurs in
m. 60. Melodic remnants
of the previous sections
are presented in a new
fashion as the piece
comes to a dramatic close
with all voices playing
in rhythmic unison in the
closing
measures.. The
musical passages in this
piece for string
orchestra conjure images
of something, perhaps a
leaf, gently drifting
down a river in the
woods. It journeys
through twists and turns,
placid streams and
roaring rapids,
eventually making a grand
entrance into open
waters. As Drifting
opens, soft pizzicato
strings are uttered in
the lower string voices,
while the upper voices
slowly swell into the
appearance of the main
motive in m. 9. This
theme develops and passes
through several voices
until being replaced by a
new motive in m. 36,
accompanied by driving
rhythms and frequent
modulations. A powerful
resurgence of the
original motive occurs in
m. 60. Melodic remnants
of the previous sections
are presented in a new
fashion as the piece
comes to a dramatic close
with all voices playing
in rhythmic unison in the
closing measures.
About Carl
Fischer Concert String
Orchestra
Series
Thi
s series of pieces (Grade
3 and higher) is designed
for advancing ensembles.
The pieces in this series
are characterized
by:
Expanded use
of rhythms, ranges and
keys but technical
demands are still
carefully
considered
More
comprehensive bowing
techniques
Viola
T.C.
included
Careful
selection of keys and
degree of difficulty for
advancing
musicians
Composed by Bruce W.
Tippette. Concert String
Orchestra (CAS). Full
score. With Standard
notation. 12 pages. Carl
Fischer Music #CAS113F.
Published by Carl Fischer
Music (CF.CAS113F).
ISBN 9781491151693.
UPC: 680160909193. 9 x 12
inches.
Composed by
Bruce W. Tippette,
Drifting?utilizes musical
passages to allude to the
image of something
drifting down a river in
the woods. It journeys
through twists and turns,
placid streams and
roaring rapids,
eventually making a grand
entrance into open
waters. The musical
passages in this piece
for string orchestra
conjure images of
something, perhaps a
leaf, gently drifting
down a river in the
woods. It journeys
through twists and turns,
placid streams and
roaring rapids,
eventually making a grand
entrance into open
waters. As
Drifting<
/em>
opens, soft pizzicato
strings are uttered in
the lower string voices,
while the upper voices
slowly swell into the
appearance of the main
motive in m. 9. This
theme develops and passes
through several voices
until being replaced by a
new motive in m. 36,
accompanied by driving
rhythms and frequent
modulations. A powerful
resurgence of the
original motive occurs in
m. 60. Melodic remnants
of the previous sections
are presented in a new
fashion as the piece
comes to a dramatic close
with all voices playing
in rhythmic unison in the
closing
measures.. The musical
passages in this piece
for string orchestra
conjure images of
something, perhaps a
leaf, gently drifting
down a river in the
woods. It journeys
through twists and turns,
placid streams and
roaring rapids,
eventually making a grand
entrance into open
waters. As
Drifting<
/em>
opens, soft pizzicato
strings are uttered in
the lower string voices,
while the upper voices
slowly swell into the
appearance of the main
motive in m. 9. This
theme develops and passes
through several voices
until being replaced by a
new motive in m. 36,
accompanied by driving
rhythms and frequent
modulations. A powerful
resurgence of the
original motive occurs in
m. 60. Melodic remnants
of the previous sections
are presented in a new
fashion as the piece
comes to a dramatic close
with all voices playing
in rhythmic unison in the
closing
measures.. The
musical passages in this
piece for string
orchestra conjure images
of something, perhaps a
leaf, gently drifting
down a river in the
woods. It journeys
through twists and turns,
placid streams and
roaring rapids,
eventually making a grand
entrance into open
waters. As Drifting
opens, soft pizzicato
strings are uttered in
the lower string voices,
while the upper voices
slowly swell into the
appearance of the main
motive in m. 9. This
theme develops and passes
through several voices
until being replaced by a
new motive in m. 36,
accompanied by driving
rhythms and frequent
modulations. A powerful
resurgence of the
original motive occurs in
m. 60. Melodic remnants
of the previous sections
are presented in a new
fashion as the piece
comes to a dramatic close
with all voices playing
in rhythmic unison in the
closing measures.
About Carl
Fischer Concert String
Orchestra
Series
Thi
s series of pieces (Grade
3 and higher) is designed
for advancing ensembles.
The pieces in this series
are characterized
by:
Expanded use
of rhythms, ranges and
keys but technical
demands are still
carefully
considered
More
comprehensive bowing
techniques
Viola
T.C.
included
Careful
selection of keys and
degree of difficulty for
advancing
musicians
Composed
by Chen Yi. Full score.
58 pages. Duration 20
minutes. Theodore Presser
Company #116-41963S.
Published by Theodore
Presser Company
(PR.11641963S).
UPC:
680160684472.
The
violin concerto is
commissioned by Friends
of Dresden Music
Foundation for American
soloist Mira Wang and the
New York Philharmonic and
Staatskapelle Dresden as
an American commemoration
of the reconstruction of
the Dresden Frauenkirche,
60 years after its
destruction in World War
II by American and
British Forces. The world
premiere is given at the
Semperoper in Dresden,
Germany, on October 9, 10
& 11, 2005, conducted
by Ivan Fischer. Full of
excitement and inner
power, the musical image
is vivid, energetic,
sometimes lyrical and
sometimes dramatic. The
major angular thematic
material (a three note
motive) consists of big
leaps in interval (a
perfect fourth downward
and then a minor seventh
upward, first introduced
by the violin solo in
measures 27-29). Except
for the cadenzas which
stand at the middle
(Rehearsal E, measure
127) and the two ends of
the piece as a frame, the
virtuosic violin solo
line is always
accompanied by the ever
moving and growing
textures in the
background. The rests
between long and short
phrases symbolize the
space in Chinese
paintings. The Beijing
Opera reciting tune, and
the fingerings to produce
sliding tones in the
performance of the
Chinese fiddle erhu are
also borrowed in the
writing and the
performing of the western
instruments. The musical
imagination of the violin
concerto came from an
ancient Chinese poem with
the same title, written
by Du Fu (712-770) in
Tang Dynasty. Happy Rain
on a Spring Night by Du
Fu (712-770 in Tang
Dynasty) Happy rain comes
in time, When spring is
in its prime. With night
breeze it will fall, And
quietly moisten all.
Clouds darken wild roads,
Light brightens a little
boat. Saturated at dawn,
With flowers blooming the
town. (English
translation by Chen Yi
from the original poem in
Chinese) The following is
the poem in its original
Chinese form, and the
detailed introduction on
the structural plan of
the violin concerto
Spring in Dresden. It's
like the welcome rain on
a quiet spring night that
nurtures the budding
seeds, our new society is
pushing us forward to the
new future. The music
reflects the scenes and
the expression according
to the meaning of the
poem when it's being
unfolded line by line.
Although the tempo is set
63 quarter notes per
minute throughout (played
vividly, never slow
down), the tension is
being built up from the
quiet background in the
beginning, to the
sustained climax towards
the end. The musical
image in Rehearsal A and
B (measures 39-80)
represents the first four
lines of the poem. The
wind instruments response
to the rustling of fast
moving notes on muted
string triplets,
decorated by occasional
strokes produced by
metallic string sound and
high woodwind gestures.
The music in Rehearsal C
and D (measures 81-126)
represents the next two
lines of the poem. It's
so dark, a little light
in the boat is shimmering
on the lake... The
breathy sound and key
slaps on the flutes
create a mysterious
atmosphere, in a dialogue
with other instruments.
The cello glissandi
recite the poem in the
tone of Mandarin, echoed
by the string harmonics.
The music in Rehearsal F,
G and H (m 129-202) is a
toccata, starting in the
orchestra (led by the
marimba), which builds up
a big shape, to reach the
climax in m. 157
(Rehearsal G, the
location of the Golden
Section, according to the
length of the music
without cadenzas), and
keeps the vivid scene
towards the coda (from
Rehearsal I, m. 203),
which stands on the
energetic peak until the
clear cutoff on measure
239, followed by the
short, yet powerful solo
conclusion with the
lingering echo produced
by the high string
harmonics. On the top,
there is a recall of the
three note motive in the
sound of wonderland,
touched by the motor-on
vibraphone meaningfully.
The music is written for
2 flutes, 2 oboes, 2
clarinets (in Bb), 2
bassoons, 4 French horns
(in F), 2 trumpets (in
Bb), 3 trombones, tuba,
harp, 3 percussion
players (Perc. 1:
xylophone; Perc. 2:
suspended cymbal,
Japanese high woodblock,
snare drum, bass drum and
vibraphone; Perc. 3:
marimba and tam-tam),
solo violin, and strings.
Duration is about 20
minutes. The violin
concerto is commissioned
by Friends of Dresden
Music Foundation for
American soloist Mira
Wang and the New York
Philharmonic and
Staatskapelle Dresden as
an American commemoration
of the reconstruction of
the Dresden Frauenkirche,
60 years after its
destruction in World War
II by American and
British Forces. The world
premiere is given at the
Semperoper in Dresden,
Germany, on October 9, 10
& 11, 2005, conducted by
Ivan Fischer.Full of
excitement and inner
power, the musical image
is vivid, energetic,
sometimeslyrical and
sometimes dramatic. The
major angular thematic
material (a three
notemotive) consists of
big leaps in interval (a
perfect fourth downward
and then a minorseventh
upward, first introduced
by the violin solo in
measures 27-29). Except
for thecadenzas which
stand at the middle
(Rehearsal E, measure
127) and the two ends of
the piece as a frame, the
virtuosic violin solo
line is always
accompanied by the ever
moving and growing
textures in the
background. The rests
between long and short
phrases symbolize the
space in Chinese
paintings. The Beijing
Opera reciting tune, and
the fingerings to produce
sliding tones in the
performance of the
Chinese fiddle erhu are
also borrowed in the
writing and the
performing of the western
instruments.The musical
imagination of the violin
concerto came from an
ancient Chinese poem with
the same title, written
by Du Fu (712-770) in
Tang Dynasty.Happy Rain
on a Spring Nightby Du Fu
(712-770 in Tang
Dynasty)Happy rain comes
in time,When spring is in
its prime.With night
breeze it will fall,And
quietly moisten
all.Clouds darken wild
roads,Light brightens a
little boat.Saturated at
dawn,With flowers
blooming the
town.(English translation
by Chen Yi from the
original poem in
Chinese)The following is
the poem in its original
Chinese form, and the
detailed introduction
onthe structural plan of
the violin concerto
Spring in
Dresden.It’s like
the welcome rain on a
quiet spring night that
nurtures the budding
seeds, our newsociety is
pushing us forward to the
new future. The music
reflects the scenes and
theexpression according
to the meaning of the
poem when it’s
being unfolded line by
line.Although the tempo
is set 63 quarter notes
per minute throughout
(played vividly,
neverslow down), the
tension is being built up
from the quiet background
in the beginning, tothe
sustained climax towards
the end. The musical
image in Rehearsal A and
B (measures39-80)
represents the first four
lines of the poem. The
wind instruments response
to therustling of fast
moving notes on muted
string triplets,
decorated by occasional
strokesproduced by
metallic string sound and
high woodwind gestures.
The music in RehearsalC
and D (measures 81-126)
represents the next two
lines of the poem. It's
so dark, a littlelight in
the boat is shimmering on
the lake... The breathy
sound and key slaps on
theflutes create a
mysterious atmosphere, in
a dialogue with other
instruments. The
celloglissandi recite the
poem in the tone of
Mandarin, echoed by the
string harmonics.
Themusic in Rehearsal F,
G and H (m 129-202) is a
toccata, starting in the
orchestra (led bythe
marimba), which builds up
a big shape, to reach the
climax in m. 157
(Rehearsal G,the location
of the Golden Section,
according to the length
of the music
withoutcadenzas), and
keeps the vivid scene
towards the coda (from
Rehearsal I, m. 203),
whichstands on the
energetic peak until the
clear cutoff on measure
239, followed by the
short,yet powerful solo
conclusion with the
lingering echo produced
by the high
stringharmonics. On the
top, there is a recall of
the three note motive in
the sound ofwonderland,
touched by the motor-on
vibraphone
meaningfully.The music is
written for 2 flutes, 2
oboes, 2 clarinets (in
Bb), 2 bassoons, 4 French
horns (in F), 2 trumpets
(in Bb), 3 trombones,
tuba, harp, 3 percussion
players (Perc.
1:xylophone; Perc. 2:
suspended cymbal,
Japanese high woodblock,
snare drum, bass drum and
vibraphone; Perc. 3:
marimba and tam-tam),
solo violin, and
strings.Duration is about
20 minutes.
Composed by Chen Yi.
Part. 11 pages. Duration
20 minutes. Theodore
Presser Company
#116-41963SP. Published
by Theodore Presser
Company (PR.11641963SP).
UPC:
680160684496.
The
violin concerto is
commissioned by Friends
of Dresden Music
Foundation for American
soloist Mira Wang and the
New York Philharmonic and
Staatskapelle Dresden as
an American commemoration
of the reconstruction of
the Dresden Frauenkirche,
60 years after its
destruction in World War
II by American and
British Forces. The world
premiere is given at the
Semperoper in Dresden,
Germany, on October 9, 10
& 11, 2005, conducted
by Ivan Fischer. Full of
excitement and inner
power, the musical image
is vivid, energetic,
sometimes lyrical and
sometimes dramatic. The
major angular thematic
material (a three note
motive) consists of big
leaps in interval (a
perfect fourth downward
and then a minor seventh
upward, first introduced
by the violin solo in
measures 27-29). Except
for the cadenzas which
stand at the middle
(Rehearsal E, measure
127) and the two ends of
the piece as a frame, the
virtuosic violin solo
line is always
accompanied by the ever
moving and growing
textures in the
background. The rests
between long and short
phrases symbolize the
space in Chinese
paintings. The Beijing
Opera reciting tune, and
the fingerings to produce
sliding tones in the
performance of the
Chinese fiddle erhu are
also borrowed in the
writing and the
performing of the western
instruments. The musical
imagination of the violin
concerto came from an
ancient Chinese poem with
the same title, written
by Du Fu (712-770) in
Tang Dynasty. Happy Rain
on a Spring Night by Du
Fu (712-770 in Tang
Dynasty) Happy rain comes
in time, When spring is
in its prime. With night
breeze it will fall, And
quietly moisten all.
Clouds darken wild roads,
Light brightens a little
boat. Saturated at dawn,
With flowers blooming the
town. (English
translation by Chen Yi
from the original poem in
Chinese) The following is
the poem in its original
Chinese form, and the
detailed introduction on
the structural plan of
the violin concerto
Spring in Dresden. It's
like the welcome rain on
a quiet spring night that
nurtures the budding
seeds, our new society is
pushing us forward to the
new future. The music
reflects the scenes and
the expression according
to the meaning of the
poem when it's being
unfolded line by line.
Although the tempo is set
63 quarter notes per
minute throughout (played
vividly, never slow
down), the tension is
being built up from the
quiet background in the
beginning, to the
sustained climax towards
the end. The musical
image in Rehearsal A and
B (measures 39-80)
represents the first four
lines of the poem. The
wind instruments response
to the rustling of fast
moving notes on muted
string triplets,
decorated by occasional
strokes produced by
metallic string sound and
high woodwind gestures.
The music in Rehearsal C
and D (measures 81-126)
represents the next two
lines of the poem. It's
so dark, a little light
in the boat is shimmering
on the lake... The
breathy sound and key
slaps on the flutes
create a mysterious
atmosphere, in a dialogue
with other instruments.
The cello glissandi
recite the poem in the
tone of Mandarin, echoed
by the string harmonics.
The music in Rehearsal F,
G and H (m 129-202) is a
toccata, starting in the
orchestra (led by the
marimba), which builds up
a big shape, to reach the
climax in m. 157
(Rehearsal G, the
location of the Golden
Section, according to the
length of the music
without cadenzas), and
keeps the vivid scene
towards the coda (from
Rehearsal I, m. 203),
which stands on the
energetic peak until the
clear cutoff on measure
239, followed by the
short, yet powerful solo
conclusion with the
lingering echo produced
by the high string
harmonics. On the top,
there is a recall of the
three note motive in the
sound of wonderland,
touched by the motor-on
vibraphone meaningfully.
The music is written for
2 flutes, 2 oboes, 2
clarinets (in Bb), 2
bassoons, 4 French horns
(in F), 2 trumpets (in
Bb), 3 trombones, tuba,
harp, 3 percussion
players (Perc. 1:
xylophone; Perc. 2:
suspended cymbal,
Japanese high woodblock,
snare drum, bass drum and
vibraphone; Perc. 3:
marimba and tam-tam),
solo violin, and strings.
Duration is about 20
minutes. The violin
concerto is commissioned
by Friends of Dresden
Music Foundation for
American soloist Mira
Wang and the New York
Philharmonic and
Staatskapelle Dresden as
an American commemoration
of the reconstruction of
the Dresden Frauenkirche,
60 years after its
destruction in World War
II by American and
British Forces. The world
premiere is given at the
Semperoper in Dresden,
Germany, on October 9, 10
& 11, 2005, conducted by
Ivan Fischer.Full of
excitement and inner
power, the musical image
is vivid, energetic,
sometimeslyrical and
sometimes dramatic. The
major angular thematic
material (a three
notemotive) consists of
big leaps in interval (a
perfect fourth downward
and then a minorseventh
upward, first introduced
by the violin solo in
measures 27-29). Except
for thecadenzas which
stand at the middle
(Rehearsal E, measure
127) and the two ends of
the piece as a frame, the
virtuosic violin solo
line is always
accompanied by the ever
moving and growing
textures in the
background. The rests
between long and short
phrases symbolize the
space in Chinese
paintings. The Beijing
Opera reciting tune, and
the fingerings to produce
sliding tones in the
performance of the
Chinese fiddle erhu are
also borrowed in the
writing and the
performing of the western
instruments.The musical
imagination of the violin
concerto came from an
ancient Chinese poem with
the same title, written
by Du Fu (712-770) in
Tang Dynasty.Happy Rain
on a Spring Nightby Du Fu
(712-770 in Tang
Dynasty)Happy rain comes
in time,When spring is in
its prime.With night
breeze it will fall,And
quietly moisten
all.Clouds darken wild
roads,Light brightens a
little boat.Saturated at
dawn,With flowers
blooming the
town.(English translation
by Chen Yi from the
original poem in
Chinese)The following is
the poem in its original
Chinese form, and the
detailed introduction
onthe structural plan of
the violin concerto
Spring in
Dresden.It’s like
the welcome rain on a
quiet spring night that
nurtures the budding
seeds, our newsociety is
pushing us forward to the
new future. The music
reflects the scenes and
theexpression according
to the meaning of the
poem when it’s
being unfolded line by
line.Although the tempo
is set 63 quarter notes
per minute throughout
(played vividly,
neverslow down), the
tension is being built up
from the quiet background
in the beginning, tothe
sustained climax towards
the end. The musical
image in Rehearsal A and
B (measures39-80)
represents the first four
lines of the poem. The
wind instruments response
to therustling of fast
moving notes on muted
string triplets,
decorated by occasional
strokesproduced by
metallic string sound and
high woodwind gestures.
The music in RehearsalC
and D (measures 81-126)
represents the next two
lines of the poem. It's
so dark, a littlelight in
the boat is shimmering on
the lake... The breathy
sound and key slaps on
theflutes create a
mysterious atmosphere, in
a dialogue with other
instruments. The
celloglissandi recite the
poem in the tone of
Mandarin, echoed by the
string harmonics.
Themusic in Rehearsal F,
G and H (m 129-202) is a
toccata, starting in the
orchestra (led bythe
marimba), which builds up
a big shape, to reach the
climax in m. 157
(Rehearsal G,the location
of the Golden Section,
according to the length
of the music
withoutcadenzas), and
keeps the vivid scene
towards the coda (from
Rehearsal I, m. 203),
whichstands on the
energetic peak until the
clear cutoff on measure
239, followed by the
short,yet powerful solo
conclusion with the
lingering echo produced
by the high
stringharmonics. On the
top, there is a recall of
the three note motive in
the sound ofwonderland,
touched by the motor-on
vibraphone
meaningfully.The music is
written for 2 flutes, 2
oboes, 2 clarinets (in
Bb), 2 bassoons, 4 French
horns (in F), 2 trumpets
(in Bb), 3 trombones,
tuba, harp, 3 percussion
players (Perc.
1:xylophone; Perc. 2:
suspended cymbal,
Japanese high woodblock,
snare drum, bass drum and
vibraphone; Perc. 3:
marimba and tam-tam),
solo violin, and
strings.Duration is about
20 minutes.
Composed
by Chen Yi. Large Score.
58 pages. Duration 20
minutes. Theodore Presser
Company #116-41963L.
Published by Theodore
Presser Company
(PR.11641963L).
UPC:
680160684489.
The
violin concerto is
commissioned by Friends
of Dresden Music
Foundation for American
soloist Mira Wang and the
New York Philharmonic and
Staatskapelle Dresden as
an American commemoration
of the reconstruction of
the Dresden Frauenkirche,
60 years after its
destruction in World War
II by American and
British Forces. The world
premiere is given at the
Semperoper in Dresden,
Germany, on October 9, 10
& 11, 2005, conducted
by Ivan Fischer. Full of
excitement and inner
power, the musical image
is vivid, energetic,
sometimes lyrical and
sometimes dramatic. The
major angular thematic
material (a three note
motive) consists of big
leaps in interval (a
perfect fourth downward
and then a minor seventh
upward, first introduced
by the violin solo in
measures 27-29). Except
for the cadenzas which
stand at the middle
(Rehearsal E, measure
127) and the two ends of
the piece as a frame, the
virtuosic violin solo
line is always
accompanied by the ever
moving and growing
textures in the
background. The rests
between long and short
phrases symbolize the
space in Chinese
paintings. The Beijing
Opera reciting tune, and
the fingerings to produce
sliding tones in the
performance of the
Chinese fiddle erhu are
also borrowed in the
writing and the
performing of the western
instruments. The musical
imagination of the violin
concerto came from an
ancient Chinese poem with
the same title, written
by Du Fu (712-770) in
Tang Dynasty. Happy Rain
on a Spring Night by Du
Fu (712-770 in Tang
Dynasty) Happy rain comes
in time, When spring is
in its prime. With night
breeze it will fall, And
quietly moisten all.
Clouds darken wild roads,
Light brightens a little
boat. Saturated at dawn,
With flowers blooming the
town. (English
translation by Chen Yi
from the original poem in
Chinese) The following is
the poem in its original
Chinese form, and the
detailed introduction on
the structural plan of
the violin concerto
Spring in Dresden. It's
like the welcome rain on
a quiet spring night that
nurtures the budding
seeds, our new society is
pushing us forward to the
new future. The music
reflects the scenes and
the expression according
to the meaning of the
poem when it's being
unfolded line by line.
Although the tempo is set
63 quarter notes per
minute throughout (played
vividly, never slow
down), the tension is
being built up from the
quiet background in the
beginning, to the
sustained climax towards
the end. The musical
image in Rehearsal A and
B (measures 39-80)
represents the first four
lines of the poem. The
wind instruments response
to the rustling of fast
moving notes on muted
string triplets,
decorated by occasional
strokes produced by
metallic string sound and
high woodwind gestures.
The music in Rehearsal C
and D (measures 81-126)
represents the next two
lines of the poem. It's
so dark, a little light
in the boat is shimmering
on the lake... The
breathy sound and key
slaps on the flutes
create a mysterious
atmosphere, in a dialogue
with other instruments.
The cello glissandi
recite the poem in the
tone of Mandarin, echoed
by the string harmonics.
The music in Rehearsal F,
G and H (m 129-202) is a
toccata, starting in the
orchestra (led by the
marimba), which builds up
a big shape, to reach the
climax in m. 157
(Rehearsal G, the
location of the Golden
Section, according to the
length of the music
without cadenzas), and
keeps the vivid scene
towards the coda (from
Rehearsal I, m. 203),
which stands on the
energetic peak until the
clear cutoff on measure
239, followed by the
short, yet powerful solo
conclusion with the
lingering echo produced
by the high string
harmonics. On the top,
there is a recall of the
three note motive in the
sound of wonderland,
touched by the motor-on
vibraphone meaningfully.
The music is written for
2 flutes, 2 oboes, 2
clarinets (in Bb), 2
bassoons, 4 French horns
(in F), 2 trumpets (in
Bb), 3 trombones, tuba,
harp, 3 percussion
players (Perc. 1:
xylophone; Perc. 2:
suspended cymbal,
Japanese high woodblock,
snare drum, bass drum and
vibraphone; Perc. 3:
marimba and tam-tam),
solo violin, and strings.
Duration is about 20
minutes. The violin
concerto is commissioned
by Friends of Dresden
Music Foundation for
American soloist Mira
Wang and the New York
Philharmonic and
Staatskapelle Dresden as
an American commemoration
of the reconstruction of
the Dresden Frauenkirche,
60 years after its
destruction in World War
II by American and
British Forces. The world
premiere is given at the
Semperoper in Dresden,
Germany, on October 9, 10
& 11, 2005, conducted by
Ivan Fischer.Full of
excitement and inner
power, the musical image
is vivid, energetic,
sometimeslyrical and
sometimes dramatic. The
major angular thematic
material (a three
notemotive) consists of
big leaps in interval (a
perfect fourth downward
and then a minorseventh
upward, first introduced
by the violin solo in
measures 27-29). Except
for thecadenzas which
stand at the middle
(Rehearsal E, measure
127) and the two ends of
the piece as a frame, the
virtuosic violin solo
line is always
accompanied by the ever
moving and growing
textures in the
background. The rests
between long and short
phrases symbolize the
space in Chinese
paintings. The Beijing
Opera reciting tune, and
the fingerings to produce
sliding tones in the
performance of the
Chinese fiddle erhu are
also borrowed in the
writing and the
performing of the western
instruments.The musical
imagination of the violin
concerto came from an
ancient Chinese poem with
the same title, written
by Du Fu (712-770) in
Tang Dynasty.Happy Rain
on a Spring Nightby Du Fu
(712-770 in Tang
Dynasty)Happy rain comes
in time,When spring is in
its prime.With night
breeze it will fall,And
quietly moisten
all.Clouds darken wild
roads,Light brightens a
little boat.Saturated at
dawn,With flowers
blooming the
town.(English translation
by Chen Yi from the
original poem in
Chinese)The following is
the poem in its original
Chinese form, and the
detailed introduction
onthe structural plan of
the violin concerto
Spring in
Dresden.It’s like
the welcome rain on a
quiet spring night that
nurtures the budding
seeds, our newsociety is
pushing us forward to the
new future. The music
reflects the scenes and
theexpression according
to the meaning of the
poem when it’s
being unfolded line by
line.Although the tempo
is set 63 quarter notes
per minute throughout
(played vividly,
neverslow down), the
tension is being built up
from the quiet background
in the beginning, tothe
sustained climax towards
the end. The musical
image in Rehearsal A and
B (measures39-80)
represents the first four
lines of the poem. The
wind instruments response
to therustling of fast
moving notes on muted
string triplets,
decorated by occasional
strokesproduced by
metallic string sound and
high woodwind gestures.
The music in RehearsalC
and D (measures 81-126)
represents the next two
lines of the poem. It's
so dark, a littlelight in
the boat is shimmering on
the lake... The breathy
sound and key slaps on
theflutes create a
mysterious atmosphere, in
a dialogue with other
instruments. The
celloglissandi recite the
poem in the tone of
Mandarin, echoed by the
string harmonics.
Themusic in Rehearsal F,
G and H (m 129-202) is a
toccata, starting in the
orchestra (led bythe
marimba), which builds up
a big shape, to reach the
climax in m. 157
(Rehearsal G,the location
of the Golden Section,
according to the length
of the music
withoutcadenzas), and
keeps the vivid scene
towards the coda (from
Rehearsal I, m. 203),
whichstands on the
energetic peak until the
clear cutoff on measure
239, followed by the
short,yet powerful solo
conclusion with the
lingering echo produced
by the high
stringharmonics. On the
top, there is a recall of
the three note motive in
the sound ofwonderland,
touched by the motor-on
vibraphone
meaningfully.The music is
written for 2 flutes, 2
oboes, 2 clarinets (in
Bb), 2 bassoons, 4 French
horns (in F), 2 trumpets
(in Bb), 3 trombones,
tuba, harp, 3 percussion
players (Perc.
1:xylophone; Perc. 2:
suspended cymbal,
Japanese high woodblock,
snare drum, bass drum and
vibraphone; Perc. 3:
marimba and tam-tam),
solo violin, and
strings.Duration is about
20 minutes.
Lux et Umbra Orchestre à Cordes Editorial de Musica Boileau
String orchestra SKU: BO.B.3292 Composed by Jordi Cervello. Instrumental ...(+)
String orchestra
SKU:
BO.B.3292
Composed by
Jordi Cervello.
Instrumental Sets.
Duration 17:35. Published
by Editorial de Musica
Boileau (BO.B.3292).
English
comments: This is
the definitive version of
Biogenesis, a piece that
Cervello had written in
1976, together with his
friend Jorge Wagensberg,
and which was awarded the
First Prize at the
Spanish Ministry for
Education and Science's
Permanent Composition and
Musical Research
Competition. The new
version was made at
1984-85 Lux et umbra is
written for a string
group consisting of four
first and four second
violins, three violas,
three cellos and a double
bass. The conceptual
battle between darkness
and light is represented
by the instability
between the notes B and
C, and by the
compartmentation of the
group of fifteen strings
into divisi that provide
an independent
arrangement for each
instrument, thus
bestowing great substance
upon the texture of the
music. A cello cadence
emerges from a slow and
straightforward
beginning. A process of
contrasts then begins,
culminating in a molto
vivace passage of a
scherzando nature, which
alludes to the Baroque
concerti grossi. The
music once again plays
with chiaroscuro until
reaching its climax, from
which point the
conclusion slowly begins,
establishing itself in
the high register until
fading away. The work was
first performed at
Barcelona's Palau de la
Musica by the English
Chamber Orchestra,
directed by Enrique
Garcia Asensio, in 1987.
That same year, in the
newspaper El Pais, the
observations of the
composer and critic
Francesc Taverna-Bech
paid tribute to the
work's intelligence as
regards the use of and
search for instrumental
resources (in this case,
string instruments, about
which Cervello knows a
great deal), the skill
involved in endowing the
lyrical line with
tension, and a singular
touch that confers formal
essence upon the musical
discourse. In La
Vanguardia, Jordi Llovet
wrote that this is a work
in which, as is the case
with most of Cervello's
compositions, the
listener finds something
covertly religious, a
mysterious secret, a
transcendence linked to
the origins of
communication requiring
more than a single being,
which provides
excitement. In 1990, when
the Orquesta de Granada
(Orchestra of Granada)
performed the work at
Barcelona's Grec
festival, the critic
Cesar Calmell opined, in
the same newspaper, that
inch by inch, surely and
imperturbably, Cervello
built up a perfect world
that reflects the image
of the craftsman who, so
astonished at the
delights of his trade, is
unable to do anything but
turn the very backdrop of
tragedy into something
pleasant. Lux et umbra
was recorded by the
Orchestra Estatal of the
Hermitage, conducted by
Alexis Soriano (CD
SA01210 Fundacion Autor).
--Xavier Casanoves Danes
Music
critic
Comentari
os del Espanol: Se
trata de la version
definitiva de Biogenesis,
obra que habia escrito en
1976 en colaboracion con
su amigo Jorge Wagensberg
y que obtuvo el Primer
Premio, en el ano de su
creacion, en el Concurso
Permanente de Composicion
e Investigacion Musical
del Ministerio de
Educacion y Ciencia. La
nueva version fue
realizada en 1984-85. Lux
et umbra esta escrita
para un grupo de cuerda
integrado por cuatro
primeros violines, cuatro
segundos, tres violas,
tres violoncelos y un
contrabajo. El combate
filosofico entre la
oscuridad y la luz lo
lleva a cabo la
inestabilidad entre las
notas si y do y la
compartimentacion del
grupo de quince cuerdas
en unos divisi que llegan
a una escritura
independiente para cada
instrumento, otorgando
una gran importancia a la
textura sonora. De un
principio lento y
descarnado emerge una
cadencia del violonchelo.
A continuacion da
comienzo un proceso de
contrastes que culmina en
un pasaje molto vivace de
caracter scherzando que
alude a los concerti
grossi del barroco. La
musica juega de nuevo con
el claroscuro hasta
llegar a la cumbre sonora
iniciando el final
lentamente que se instala
en el registro agudo
hasta desvanecerse. La
estreno en el Palau de la
Musica de Barcelona la
English Chamber Orchestra
en el ano 1987 bajo la
direccion de Enrique
Garcia Asensio. Ese mismo
ano, en el periodico El
Pais, el compositor y
critico Francesc
Taverna-Bech reconocia en
sus comentarios la
inteligencia en el uso y
la busqueda de los
recursos instrumentales
-en este caso la cuerda,
de la que Cervello es
profundo conocedor-, la
destreza para revestir de
tension la linea lirica y
un tacto particular para
conferir entidad formal
al discurso sonoro. Jordi
Llovet, en La Vanguardia,
escribia que en esta
obra, se encuentra, como
en la mayor parte de la
produccion de Cervello,
algo secretamente
religioso, un arcano
misterioso, una
trascendencia vinculada a
los origenes de la
comunicacion
impracticable con el ser
unico que resulta
apasionante. En el ano
1990, cuando la Orquesta
de Granada la toco en el
Grec de Barcelona, era el
critico Cesar Calmell
quien, en el mismo
periodico consideraba que
Cervello construyo palmo
a palmo, segura e
imperturbablemente, un
mundo perfecto que
refleja la imagen del
artesano que, de tan
admirado con las delicias
de su oficio, no puede
hacer otra cosa que
convertir en agradable el
fondo mismo de la
tragedia. Lux et umbra
esta grabada por la
Orquesta Estatal del
Hermitage, dirigida por
Alexis Soriano (CD
SA01210 Fundacion Autor).
--Xavier Casanoves Danes
Critico musical.
Rhythmic Etudes for
Bass Clef
Instruments. Composed
by David Brubeck.
Published by Cherry
Classics (CY.CC2629).
A visual
stereogram represents a
3-D image while looking
though a pair of 2-D
images. There are special
viewers that are used to
give this effect where
two images viewed through
the special device can
give a 3-D or
stereographic effect.
Brubeck's Stereograms for
Bass Clef Instruments are
musical versions of the
graphic form. Brubeck
uses familiar folk
melodies to create his
Stereograms and adds
jazzy twists to many of
them. The musical version
may contain two or three
individual parts within a
single melodic line, thus
the musical 3-D
Stereogram is created.
Bach’s
unaccompanied works have
underlying multiple parts
in them and Brubeck has
been inspired by the
Master to create a
similar texture in these
works. They are suitable
encore pieces or
performance pieces, alone
or grouped into ad hoc
suites.
Brubeck'
s music requires rhythmic
accuracy and multiple
tonal colors, and are
especially useful as
sight reading tools to
keep the performer sharp
and on his/her toes. He
has also added octave
suggestions to allow them
to be playable by the
widest array of bass clef
instruments.
Eac
h Stereogram is dedicated
to a special musical hero
in Brubeck's life.
Excellent as study etudes
or sight-reading pieces,
Stereograms can be
performed/practiced by
Trombonists, Bass
Trombonists, Tubists and
Euphoniumists.
T
he thirteen melodies used
in Volume I are: You Are
My Sunshine, This Little
Light of Mine, The Itsy
Bitsy Spider, When the
Saints Go Marching In,
Just a Closer Walk With
Thee, Frère
Jacques, On Top of Old
Smokey, If You're Happy
and You Know It, London
Bridge is Falling Down,
Twinkle Twinkle Little
Star, Jesus Loves Me,
Have You Ever Seen a
Lassie, Go Tell Aunt
Rhody.
(KASSETTE) SKU: HL.49020155 Ein Bilder-Zyklus. Composed by Richard...(+)
(KASSETTE)
SKU:
HL.49020155
Ein
Bilder-Zyklus.
Composed by Richard
Wagner. Book. Edition
Schott. Schott Music #AQ
1001. Published by Schott
Music (HL.49020155).
Ferdinand
Leeke.
Ferdinand
Leeke (1859-1923) was the
creator of a serial of
paintings showing scenes
from the operas of
Richard Wagner.These
images provide much more
than a simple
illustration of Wagner's
music dramas. Like no
other artist Leeke
managed to create the
exact atmosphere that
Wagner had established by
his compositions.The
works by Leeke are
exhibited in several
well-established
art-museums, as for
example the Neue
Pinakothek in Munich and
the Richard Wagner Museum
in Bayreuth.In 1899 the
prominent Bavarian
printer Franz Hanfstaengl
made copper plates from
the original pictures. In
a highly complicated
procedure Franz
Hanfstaengl produced the
printing plates to
transform Leeke's images
into photogravures.These
photogravures printed
from the original plates
are assorted in an
exclusive folder that is
produced only in a
limited edition of 970
pieces worldwide.Every
handpulled picture an
originalThe art of
etching and handcopper
prints is regarded as one
of the oldest and
finestprinting
techniques.In case of
etching the motif is
etched by the artist
directly into the
copperplate, with
heliogravure the image
has been engraved by
using a complicated and
extremly difficult
photographic and
handicraft
procedure.Printing is
done on heavy
handmade-paper. Today, as
500 years ago, the
copperplate is still
carefully re-inked by
hand and then cleaned
with wide-meshed gauze
balls, for only when the
ink lies deep in the
impressions the print
will possess the velvety
tones and fragile lines
so characteristic of old,
valuable engravings.The
print is produced by
pressing the plate under
the pressroller with a
pressure of around 16
tons. For every single
print the entire
procedure has to be
repeated.To a greater
extent than with wooden
engravings, the artistic
quality of etchings and
copper engravings /
heliogravures is
dependent on the
handicraft skills and the
aesthetic sensitivity of
the printer.This special
way of printing has been
done by Hanfstaengl
publishers since 1833.
Through the precise
application and remova!
of ink, the
carefully-considered
choice of paper and the
use of the hand press,
the printing specialists
create a precious
original with every
page.
SKU: BA.BVK04020 Das Bayerische Staatsorchester. Edited by Florian...(+)
SKU: BA.BVK04020
Das Bayerische
Staatsorchester.
Edited by Florian Amort.
Hardback. Book. 287
pages. Baerenreiter
Verlag #BVK04020.
Published by Baerenreiter
Verlag (BA.BVK04020).
ISBN 9783761826423.
23.6 x 28 cm inches.
Language: German.
The
Bavarian State Orchestra
is one of the leading
orchestras in the world,
awarded many
international prizes and
characterized by great
conductors. At the same
time, it is one of the
oldest orchestras of all,
celebrating its 500th
anniversary in 2023 with
many concerts and with
this opulent
book.
The
anniversary book traces
the development of the
orchestra from a ducal
court orchestra around
1523 to a large,
versatile opera and
symphony orchestra. It
contains in-depth
contributions from
prominent authors,
current reports as well
as attractive and
little-known images on
selected aspects of the
history of the orchestra,
which is closely linked
to important figures in
European music history.
Whether Orlando di Lasso,
Wolfgang Amad Mozart,
Richard Wagner, Richard
Strauss or the more
recent general music
directors: they all
continue to shape the
orchestra's self-image
and its extraordinary
sound culture to this
day.
The
editor Florian Amort
is a dramaturg for the
Bregenz Festival and
works as a music
journalist for various
media companies,
including the Frankfurter
Allgemeine Zeitung, the
music magazine
“crescendo” and
Deutschlandfunk.
Composed
by Michael Boo. Sws. Bps.
Full score. 16 pages.
Duration 2:20. Carl
Fischer Music #BPS137F.
Published by Carl Fischer
Music (CF.BPS137F).
ISBN 9781491158494.
UPC: 680160917099. 9 x 12
inches.
Fanfare and
Jubilation is a Grade 1
work that is playable by
any beginning band with
any instrumentation due
to extensive doubling.
The mood is regal and
optimistic and is
non-programmatic,
conveying no picturesque
image or storyline. It is
appropriate for any
occasion. Accents are to
be emphasized more than
non-accented notes, but
are not to be hammered
hard. Stress that
accented notes are to be
played with the same good
tone as the other notes
and that pitches should
not suffer from the
additional emphasis.
Think of the accents as
more of an additional
emphasis from the air
column and not the
tongue. Percussion
accents are to played
with more emphasis than
non-accented notes, but
shouldnat be perceived as
being much louder.
Timpani is only two
pitches and is optional.
The piece will not suffer
at all if you donat have
access to Timpani or a
timpanist. Bells cover a
wide rangea|the lower
octave sections should
not be played louder just
because theyare low
pitched, as those notes
will still be
appropriately heard while
supporting the melody. Do
not use brass mallets.
Balter 10 Phenolic
mallets or equivalent
(such as clear Balter
Lexan or white Medium
Hard Poly models) are
most appropriate. Think
of the m. 10 accented
quarter notes tied to the
half notes (and similar
later examples) as being
akin to Horn rips in a
Hollywood movie. They are
to be emphasized slightly
but should not be
blaring. Even though they
are the only things
happening on counts 2 and
3, care must be given
that the young players
donat get carried away
and give them more
emphasis than is
musically desired. At m.
21, be careful that the
bass line isnat plodding
or over-emphasized due to
the accents. Those
players should be aware
of the sudden drop in
volume and lack of
accents at m. 25.
Attention to sudden
dynamic shifts will add
interest to the piece and
present a more musical
performance. Throughout
this entire section, try
to get all winds to
sustain a single breath
through four bars until
the breath marks. If they
are unable to do so,
please explain the
concept of staggered
breathing between members
of their section. There
may be a tendency among
the players to blast out
m. 57 to the end. Notes
should have more power
than the section from mm.
21-56, but are still to
be approached musically.
Explaining such concepts
during their early
musical development will
go far in helping them
develop good traits that
will pay off dividends in
the future. Fanfare
and Jubilation is a Grade
1 work that is playable
by any beginning band
with any instrumentation
due to extensive
doubling. The mood is
regal and optimistic and
is non-programmatic,
conveying no picturesque
image or storyline. It is
appropriate for any
occasion. Accents are to
be emphasized more than
non-accented notes, but
are not to be hammered
hard. Stress that
accented notes are to be
played with the same good
tone as the other notes
and that pitches should
not suffer from the
additional emphasis.
Think of the accents as
more of an additional
emphasis from the air
column and not the
tongue. Percussion
accents are to played
with more emphasis than
non-accented notes, but
shouldn't be perceived as
being much louder.
Timpani is only two
pitches and is optional.
The piece will not suffer
at all if you don't have
access to Timpani or a
timpanist. Bells cover a
wide range...the lower
octave sections should
not be played louder just
because they're low
pitched, as those notes
will still be
appropriately heard while
supporting the melody. Do
not use brass mallets.
Balter 10 Phenolic
mallets or equivalent
(such as clear Balter
Lexan or white Medium
Hard Poly models) are
most appropriate. Think
of the m. 10 accented
quarter notes tied to the
half notes (and similar
later examples) as being
akin to Horn rips in a
Hollywood movie. They are
to be emphasized slightly
but should not be
blaring. Even though they
are the only things
happening on counts 2 and
3, care must be given
that the young players
don't get carried away
and give them more
emphasis than is
musically desired. At m.
21, be careful that the
bass line isn't plodding
or over-emphasized due to
the accents. Those
players should be aware
of the sudden drop in
volume and lack of
accents at m. 25.
Attention to sudden
dynamic shifts will add
interest to the piece and
present a more musical
performance. Throughout
this entire section, try
to get all winds to
sustain a single breath
through four bars until
the breath marks. If they
are unable to do so,
please explain the
concept of staggered
breathing between members
of their section. There
may be a tendency among
the players to blast out
m. 57 to the end. Notes
should have more power
than the section from mm.
21-56, but are still to
be approached musically.
Explaining such concepts
during their early
musical development will
go far in helping them
develop good traits that
will pay off dividends in
the future. Fanfare
and Jubilation is a Grade
1 work that is playable
by any beginning band
with any instrumentation
due to extensive
doubling. The mood is
regal and optimistic and
is non-programmatic,
conveying no picturesque
image or storyline. It is
appropriate for any
occasion.Accents are to
be emphasized more than
non-accented notes, but
are not to be hammered
hard. Stress that
accented notes are to be
played with the same good
tone as the other notes
and that pitches should
not suffer from the
additional emphasis.
Think of the accents as
more of an additional
emphasis from the air
column and not the
tongue.Percussion accents
are to played with more
emphasis than
non-accented notes, but
shouldn’t be
perceived as being much
louder. Timpani is only
two pitches and is
optional. The piece will
not suffer at all if you
don’t have access
to Timpani or a
timpanist. Bells cover a
wide range…the
lower octave sections
should not be played
louder just because
they’re low
pitched, as those notes
will still be
appropriately heard while
supporting the melody. Do
not use brass mallets.
Balter 10 Phenolic
mallets or equivalent
(such as clear Balter
Lexan or white Medium
Hard Poly models) are
most appropriate.Think of
the m. 10 accented
quarter notes tied to the
half notes (and similar
later examples) as being
akin to Horn rips in a
Hollywood movie. They are
to be emphasized slightly
but should not be
blaring. Even though they
are the only things
happening on counts 2 and
3, care must be given
that the young players
don’t get carried
away and give them more
emphasis than is
musically desired.At m.
21, be careful that the
bass line isn’t
plodding or
over-emphasized due to
the accents. Those
players should be aware
of the sudden drop in
volume and lack of
accents at m. 25.
Attention to sudden
dynamic shifts will add
interest to the piece and
present a more musical
performance. Throughout
this entire section, try
to get all winds to
sustain a single breath
through four bars until
the breath marks. If they
are unable to do so,
please explain the
concept of staggered
breathing between members
of their section.There
may be a tendency among
the players to blast out
m. 57 to the end. Notes
should have more power
than the section from mm.
21-56, but are still to
be approached musically.
Explaining such concepts
during their early
musical development will
go far in helping them
develop good traits that
will pay off dividends in
the future.
Composed by Michael Boo.
Folio. Yps. Set of Score
and Parts.
4+2+2+2+4+4+2+2+5+5+2+2+4
+4+4+2+2+3+3+3+2+3+2+1+1+
1+2+16 pages. Duration
2:30. Carl Fischer Music
#YPS228. Published by
Carl Fischer Music
(CF.YPS228).
ISBN
9781491157961. UPC:
680160916566. 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.
Piano; Strings (Set) SKU: HL.49006883 Score and Parts. Composed by...(+)
Piano; Strings (Set)
SKU: HL.49006883
Score and Parts.
Composed by Volker David
Kirchner. This edition:
Saddle stitching. Sheet
music. Edition Schott.
'Notturno', the first
movement of Trio
originates from 'E flat',
the note which made
'Schumann in Endenich'
hear the music of heaven.
The famous 'Last
Thought', however, is not
quoted. Instead, the
image of Robert
Schumann's melody is
evoked in the listen.
Classical, Contemporary.
Score and Parts. Composed
1979. 48 pages. Duration
16'. Schott Music #ED
7015. Published by Schott
Music (HL.49006883).
ISBN 9790001073813.
9.0x12.0x0.122
inches.
The
'Notturno', the
first movement of
Trio, originates from 'E
flat', the
notewhich made 'Schumann
in Endenich' hear the
music of heaven. The
famous 'Last Thought',
however, is not quoted.
Instead, the image of
Schumann's melody is
evoked in the listener's
mind by the help of an
augmented triad,
stretched to breaking
point, which is inverted
and transposed again and
again.Even the following
movements do not quote
directly but present only
a notion. Accordingly,
Volker David Kirchner
describes his work as a
'procession of musical
visions', the subtitles
of which are no
references to certain
themes but to the
associated composers and
stylistic
means.
'Notturno',
the first movement of
Trio originates from 'E
flat', the note which
made 'Schumann in
Endenich' hear the music
of heaven. The famous
'Last Thought', however,
is not quoted. Instead,
the image of Robert
Schumann's melody is
evoked in the listener's
mind by the help of an
augmented triad,
stretched to breaking
point, which is inverted
and transposed again and
again. The movements that
follow also do not quote
directly but present
merely a notion.
Flute, Clarinet, Violin, Viola & Piano SKU: SU.50021160 For Flute, Cla...(+)
Flute, Clarinet, Violin,
Viola & Piano
SKU:
SU.50021160
For
Flute, Clarinet, Violin,
Viola & Piano.
Composed by Randall
Mcclellan. Chamber Music,
Mixed Ensemble. Full
Score. Seesaw Music Corp
#50021160. Published by
Seesaw Music Corp
(SU.50021160).
The wild geese
fly across the long sky
above. Their image is
reflected upon the chilly
water below. The geese do
not mean to cast their
image upon the water; Nor
does the water mean to
hold the image of the
geese.Duration: 12
minutes.Copyright 1976.
Published by: Seesaw
Music.
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.
Composed by
Michael Boo. Folio. Bps.
Set of Score and Parts.
4+4+2+4+4+2+2+3+2+2+2+4+4
+3+2+2+2+3+1+1+2+1+16
pages. Duration 2:20.
Carl Fischer Music
#BPS137. Published by
Carl Fischer Music
(CF.BPS137).
ISBN
9781491158487. UPC:
680160917082. 9 x 12
inches.
Fanfare and
Jubilation is a Grade 1
work that is playable by
any beginning band with
any instrumentation due
to extensive doubling.
The mood is regal and
optimistic and is
non-programmatic,
conveying no picturesque
image or storyline. It is
appropriate for any
occasion. Accents are to
be emphasized more than
non-accented notes, but
are not to be hammered
hard. Stress that
accented notes are to be
played with the same good
tone as the other notes
and that pitches should
not suffer from the
additional emphasis.
Think of the accents as
more of an additional
emphasis from the air
column and not the
tongue. Percussion
accents are to played
with more emphasis than
non-accented notes, but
shouldnat be perceived as
being much louder.
Timpani is only two
pitches and is optional.
The piece will not suffer
at all if you donat have
access to Timpani or a
timpanist. Bells cover a
wide rangea|the lower
octave sections should
not be played louder just
because theyare low
pitched, as those notes
will still be
appropriately heard while
supporting the melody. Do
not use brass mallets.
Balter 10 Phenolic
mallets or equivalent
(such as clear Balter
Lexan or white Medium
Hard Poly models) are
most appropriate. Think
of the m. 10 accented
quarter notes tied to the
half notes (and similar
later examples) as being
akin to Horn rips in a
Hollywood movie. They are
to be emphasized slightly
but should not be
blaring. Even though they
are the only things
happening on counts 2 and
3, care must be given
that the young players
donat get carried away
and give them more
emphasis than is
musically desired. At m.
21, be careful that the
bass line isnat plodding
or over-emphasized due to
the accents. Those
players should be aware
of the sudden drop in
volume and lack of
accents at m. 25.
Attention to sudden
dynamic shifts will add
interest to the piece and
present a more musical
performance. Throughout
this entire section, try
to get all winds to
sustain a single breath
through four bars until
the breath marks. If they
are unable to do so,
please explain the
concept of staggered
breathing between members
of their section. There
may be a tendency among
the players to blast out
m. 57 to the end. Notes
should have more power
than the section from mm.
21-56, but are still to
be approached musically.
Explaining such concepts
during their early
musical development will
go far in helping them
develop good traits that
will pay off dividends in
the future. Fanfare
and Jubilation is a Grade
1 work that is playable
by any beginning band
with any instrumentation
due to extensive
doubling. The mood is
regal and optimistic and
is non-programmatic,
conveying no picturesque
image or storyline. It is
appropriate for any
occasion. Accents are to
be emphasized more than
non-accented notes, but
are not to be hammered
hard. Stress that
accented notes are to be
played with the same good
tone as the other notes
and that pitches should
not suffer from the
additional emphasis.
Think of the accents as
more of an additional
emphasis from the air
column and not the
tongue. Percussion
accents are to played
with more emphasis than
non-accented notes, but
shouldn't be perceived as
being much louder.
Timpani is only two
pitches and is optional.
The piece will not suffer
at all if you don't have
access to Timpani or a
timpanist. Bells cover a
wide range...the lower
octave sections should
not be played louder just
because they're low
pitched, as those notes
will still be
appropriately heard while
supporting the melody. Do
not use brass mallets.
Balter 10 Phenolic
mallets or equivalent
(such as clear Balter
Lexan or white Medium
Hard Poly models) are
most appropriate. Think
of the m. 10 accented
quarter notes tied to the
half notes (and similar
later examples) as being
akin to Horn rips in a
Hollywood movie. They are
to be emphasized slightly
but should not be
blaring. Even though they
are the only things
happening on counts 2 and
3, care must be given
that the young players
don't get carried away
and give them more
emphasis than is
musically desired. At m.
21, be careful that the
bass line isn't plodding
or over-emphasized due to
the accents. Those
players should be aware
of the sudden drop in
volume and lack of
accents at m. 25.
Attention to sudden
dynamic shifts will add
interest to the piece and
present a more musical
performance. Throughout
this entire section, try
to get all winds to
sustain a single breath
through four bars until
the breath marks. If they
are unable to do so,
please explain the
concept of staggered
breathing between members
of their section. There
may be a tendency among
the players to blast out
m. 57 to the end. Notes
should have more power
than the section from mm.
21-56, but are still to
be approached musically.
Explaining such concepts
during their early
musical development will
go far in helping them
develop good traits that
will pay off dividends in
the future. Fanfare
and Jubilation is a Grade
1 work that is playable
by any beginning band
with any instrumentation
due to extensive
doubling. The mood is
regal and optimistic and
is non-programmatic,
conveying no picturesque
image or storyline. It is
appropriate for any
occasion.Accents are to
be emphasized more than
non-accented notes, but
are not to be hammered
hard. Stress that
accented notes are to be
played with the same good
tone as the other notes
and that pitches should
not suffer from the
additional emphasis.
Think of the accents as
more of an additional
emphasis from the air
column and not the
tongue.Percussion accents
are to played with more
emphasis than
non-accented notes, but
shouldn’t be
perceived as being much
louder. Timpani is only
two pitches and is
optional. The piece will
not suffer at all if you
don’t have access
to Timpani or a
timpanist. Bells cover a
wide range…the
lower octave sections
should not be played
louder just because
they’re low
pitched, as those notes
will still be
appropriately heard while
supporting the melody. Do
not use brass mallets.
Balter 10 Phenolic
mallets or equivalent
(such as clear Balter
Lexan or white Medium
Hard Poly models) are
most appropriate.Think of
the m. 10 accented
quarter notes tied to the
half notes (and similar
later examples) as being
akin to Horn rips in a
Hollywood movie. They are
to be emphasized slightly
but should not be
blaring. Even though they
are the only things
happening on counts 2 and
3, care must be given
that the young players
don’t get carried
away and give them more
emphasis than is
musically desired.At m.
21, be careful that the
bass line isn’t
plodding or
over-emphasized due to
the accents. Those
players should be aware
of the sudden drop in
volume and lack of
accents at m. 25.
Attention to sudden
dynamic shifts will add
interest to the piece and
present a more musical
performance. Throughout
this entire section, try
to get all winds to
sustain a single breath
through four bars until
the breath marks. If they
are unable to do so,
please explain the
concept of staggered
breathing between members
of their section.There
may be a tendency among
the players to blast out
m. 57 to the end. Notes
should have more power
than the section from mm.
21-56, but are still to
be approached musically.
Explaining such concepts
during their early
musical development will
go far in helping them
develop good traits that
will pay off dividends in
the future.
Composed
by Robert Maggio. Spiral
and Saddle. Set of Score
and Parts. With Standard
notation. Composed 1996.
58+12+12+9+10+11+11+8+10
pages. Duration 15
minutes. Theodore Presser
Company #114-40909.
Published by Theodore
Presser Company
(PR.114409090).
UPC:
680160013807. 8.5 x 11
inches.
Each
movement has two or three
sections which get
progressively faster by
passing through a metric
(or pulse) modulation,
like a boat moving
through a lock. At these
moments of the piece,
there is also a
color/texture shift from
one quartet to the other.
The three movements
essentially present the
same rhythmic theme in
different colors. The
first movement utilizes
only indefinite pitched
metal and wood
instruments. The second
movement presents a
repetition and extension
of the rhythmic in the
first movement using
definite pitched metal
and wood instruments. In
this way, the first two
movements present the
aural equivalent of
non-representational
(indifinite pitch) and
representational imagery
(definite pitch) in
visual art. Or, to use
another visual metaphor,
this process of recasting
the same material without
and with definite pitches
is akin to color-izing an
image that was originally
seen in black and white.
The third movement
repeats and extends the
music of the second,
returning to indefinite
pitched instruments, all
eight players on skins.
Much of the writing is
imitative, canonic, and
even fugal at times; it
also includes passages of
call and response, and
hocketing. The main theme
is simple and elemental,
and the predominant
rhythmic patterns are
additive, irregular
groupings.
Deep Field Orchestre d'harmonie, Chorale-Voix [Conducteur et Parties séparées] Hal Leonard
Adapted for Wind Ensemble, Choir, and Smartphone App Score and Parts. Composed...(+)
Adapted for Wind
Ensemble,
Choir, and Smartphone App
Score and Parts. Composed
by
Eric Whitacre (1970-).
Eric
Whitacre Concert Band.
Classical. Softcover.
Published by Hal Leonard