Band Bass Clarinet, Bass
Drum, Bassoon 1, Bassoon
2, Bongos, Castanets,
Celesta, Clarinet,
Clarinet 1, Clarinet 2,
Clarinet 3, Contrabass
Clarinet, Contrabassoon,
English Horn, Euphonium,
Euphonium T.C., Flute 1,
Flute 2, Horn 1, Horn 2,
Horn 3 and more.
SKU:
PR.16500100F
Hymns
for Wind Ensemble.
Composed by Dan Welcher.
Sws. Full score. 48
pages. Duration 10
minutes, 41 seconds.
Theodore Presser Company
#165-00100F. Published by
Theodore Presser Company
(PR.16500100F).
ISBN
9781491114421. UPC:
680160669783. 9 x 12
inches.
Commissione
d for a consortium of
high school and college
bands in the north Dallas
region, FOR THEMYSTIC
HARMONY is a 10-minute
inspirational work in
homage to Norwood and
Elizabeth Dixon,patrons
of the Fort Worth
Symphony and the Van
Cliburn Competition.
Welcher draws melodic
flavorfrom five American
hymns, spirituals, and
folk tunes of the 19th
century. The last of
these sources toappear is
the hymn tune For the
Beauty of the Earth,
whose third stanza is the
quatrain: “For the joy
of earand eye, For the
heart and mind’s
delight, For the mystic
harmony, Linking sense to
sound and sight,”giving
rise to the work’s
title. This work,
commissioned for a
consortium of high school
bands in the north Dallas
area, is my fifteenth
maturework for wind
ensemble (not counting
transcriptions). When I
asked Todd Dixon, the
band director
whospearheaded this
project, what kind of a
work he most wanted, he
first said “something
that’s basically
slow,” butwanted to
leave the details to me.
During a long subsequent
conversation, he
mentioned that his
grandparents,Norwood and
Elizabeth Dixon, were
prime supporters of the
Fort Worth Symphony,
going so far as to
purchase anumber of high
quality instruments for
that orchestra. This
intrigued me, so I asked
more about his
grandparentsand was
provided an 80-page
biographical sketch.
Reading that article,
including a long section
about theirdevotion to
supporting a young man
through the rigors of the
Van Cliburn International
Piano Competition fora
number of years, moved me
very much. Norwood and
Elizabeth Dixon weren’t
just supporters of the
arts; theywere passionate
lovers of music and
musicians. I determined
to make this work a
testament to that love,
and tothe religious faith
that sustained them both.
The idea of using extant
hymns was also suggested
by Todd Dixon,and this
10-minute work is the
result.I have employed
existing melodies in
several works, delving
into certain kinds of
religious music more than
a fewtimes. In seeking
new sounds, new ways of
harmonizing old tunes,
and the contrapuntal
overlaying of one
tunewith another, I was
able to make works like
ZION (using 19th-century
Revivalist hymns) and
LABORING SONGS(using
Shaker melodies) reflect
the spirit of the
composers who created
these melodies, without
sounding likepastiches or
medleys. I determined to
do the same with this new
work, with the added
problem of
employingmelodies that
were more familiar. I
chose five tunes from the
19th century: hymns,
spirituals, and
folk-tunes.Some of these
are known by differing
titles, but they all
appear in hymnals of
various Christian
denominations(with
various titles and
texts). My idea was to
employ the tunes without
altering their notes,
instead using aconstantly
modulating sense of
harmony — sometimes
leading to polytonal
harmonizations of what
are normallysimple
four-chord hymns.The work
begins and ends with a
repeated chime on the
note C: a reminder of
steeples, white clapboard
churchesin the country,
and small church organs.
Beginning with a
Mixolydian folk tune of
Caribbean origin
presentedtwice with
layered entrances, the
work starts with a
feeling of mystery and
gentle sorrow. It
proceeds, after along
transition, into a second
hymn that is sometimes
connected to the sea
(hence the sensation of
water andwaves throughout
it). This tune, by John
B. Dykes (1823-1876), is
a bit more chromatic and
“shifty” than
mosthymn-tunes, so I
chose to play with the
constant sensation of
modulation even more than
the original does. Atthe
climax, the familiar
spiritual “Were you
there?” takes over,
with a double-time
polytonal feeling
propelling itforward at
“Sometimes it causes me
to tremble.”Trumpets in
counterpoint raise the
temperature, and the
tempo as well, leading
the music into a third
tune (ofunknown
provenance, though it
appears with different
texts in various hymnals)
that is presented in a
sprightlymanner. Bassoons
introduce the melody, but
it is quickly taken up by
other instruments over
three
“verses,”constantly
growing in orchestration
and volume. A mysterious
second tune, unrelated to
this one, interrupts it
inall three verses,
sending the melody into
unknown regions.The final
melody is “For the
Beauty of the Earth.”
This tune by Conrad
Kocher (1786-1872) is
commonly sung
atThanksgiving — the
perfect choice to end
this work celebrating two
people known for their
generosity.Keeping the
sense of constant
modulation that has been
present throughout, I
chose to present this
hymn in threegrowing
verses, but with a twist:
every four bars, the
“key” of the hymn
seems to shift — until
the “Lord of all,
toThee we praise”
melody bursts out in a
surprising compound
meter. This, as it turns
out, was the “mystery
tune”heard earlier in
the piece. After an
Ivesian, almost polytonal
climax, the Coda begins
over a long B( pedal. At
first,it seems to be a
restatement of the first
two phrases of “For the
Beauty” with long
spaces between them, but
it soonchanges to a
series of “Amen”
cadences, widely
separated by range and
color. These, too, do not
conform to anykey, but
instead overlay each
other in ways that are
unpredictable but
strangely comforting.The
third verse of “For the
Beauty of the Earth”
contains this
quatrain:“For the joy
of ear and eye, –For
the heart and mind’s
delightFor the mystic
harmonyLinking sense to
sound and sight”and it
was from this poetry that
I drew the title for the
present work. It is my
hope that audiences and
performerswill find
within it a sense of
grace: more than a little
familiar, but also quite
new and unexpected.
Edited by Jamey Aebersold. For any C, Eb, Bb, bass instrument or voice. Play-Alo...(+)
Edited by Jamey
Aebersold. For any C, Eb,
Bb, bass instrument or
voice. Play-Along series
with accompaniment CD.
Jazz Play-A-Long For All
Musicians. Book with CD.
Published by Jamey
Aebersold Jazz.
(Music and Lyrics for 100 Classic Songs). By Various. For Piano/Vocal/Guitar. Pi...(+)
(Music and Lyrics for 100
Classic Songs). By
Various. For
Piano/Vocal/Guitar.
Piano/Vocal/Guitar
Songbook. Softcover. 402
pages. Published by Hal
Leonard
Ten Years of Popular Hits Arranged for EASY PIANO. Arranged by Dan Coates. For P...(+)
Ten Years of Popular Hits
Arranged for EASY PIANO.
Arranged by Dan Coates.
For Piano. Piano - Easy
Piano Collection. Decade
by Decade. Nostalgia;
Pop. Level: Easy Piano.
Book. 144 pages.
Published by Alfred
Publishing.
Performed by Neil Diamond. Paperback Songs (Melodies, lyrics, and chords in a co...(+)
Performed by Neil
Diamond. Paperback Songs
(Melodies, lyrics, and
chords in a convenient
format). Size 4.1x6.7
inches. 256 pages.
Published by Hal Leonard
For Alto Saxophone and Piano. This edition: Revised. Book; Method/Instruction; W...(+)
For Alto Saxophone and
Piano. This edition:
Revised. Book;
Method/Instruction;
Woodwind - Saxophone
Method or Collection.
Faber Edition. Pop.
Published by Faber Music
. Pop.
E-Z Play Today (Easy big-note right-hand-only arrangements for piano, organ, and...(+)
E-Z Play Today (Easy
big-note right-hand-only
arrangements for piano,
organ, and electronic
keyboard). Size 9x12
inches. 344 pages.
Published by Hal Leonard.
(100210).
Composed by Larry Clark.
Young String Orchestra.
Set of Score and Parts.
With Standard notation.
8+2+8+2+5+5+5+8 pages.
Duration 3 minutes, 54
seconds. Carl Fischer
Music #YAS150. Published
by Carl Fischer Music
(CF.YAS150).
ISBN
9781491143568. UPC:
680160901067. Key: G
major.
A heartfelt
piece that is dedicated
to the memory of a lost
student, the music is
both emotional and
beautiful. It is meant to
depict the life of the
person lost, not the
sadness. In typical Larry
Clark fashion, the piece
has memorable melodies,
interesting lush
harmonies and is
well-scored. This will be
a great vehicle to
improve the musicianship
of your
students. Heartstrings
began its life as the
main musical material for
a piece I wrote called
Forever Climbing. It was
a concert band work that
was commissioned by the
Boulder Creek High School
Band under the direction
of James O'Haloran. It
was dedicated to the
memory of Trevor Crouse
who died tragically in a
climbing accident. When
Ifinished that piece, I
just knew that I was not
finished with the main
musical ideas and decided
it would work very nicely
for strings.Certainly in
the face of losing a
loved one it would pull
on your heartstrings, but
when I was composing this
piece I also wanted to
bring about the love that
we have for our close
friends and family
members. I hope that you
will hear love in the
piece along with a touch
of sadness. Certain
harmonic choices and
dissonances in the melody
to the harmonies were
used to bring about this
emotional feeling. I take
great pride in writing
music for young people
that stretches their
musicianship. When I work
with students, I ask them
to put their emotions
into the music stretch
phrasing, push lines,and
giving things shape; make
the music more than what
is on the page. Bring it
to life and make the
audience feel something
with their performance.
It is my sincere hope
that it will inspire them
to do so and expand their
musical horizons. I
continue to honor the
memory of Trevor and the
memory of those loved
ones I have lost as
well.It has been my
pleasure to have the
opportunity to write this
piece. I hope you and
your students enjoy it
and find it useful for
your program.—Larry
ClarkLakeland, FL
2016.
About Carl
Fischer Young String
Orchestra
Series
Thi
s series of Grade 2/Grade
2.5 pieces is designed
for second and third year
ensembles. The pieces in
this series are
characterized
by: --Occasionally
extending to third
position --Keys
carefully considered for
appropriate
difficulty --Addition
of separate 2nd violin
and viola
parts --Viola T.C.
part
included --Increase
in independence of parts
over beginning levels
(E-Z Play Today #216). By Frank Sinatra. For Organ, Piano/Keyboard, Electron...(+)
(E-Z Play Today #216). By
Frank Sinatra. For Organ,
Piano/Keyboard,
Electronic
Keyboard. E-Z Play Today.
Softcover. 256 pages.
Published by Hal Leonard