| Aida (Songs from the Musical) Chorale 3 parties SAB Hal Leonard
By Elton John, Tim Rice. Arranged by Ed Lojeski. (SAB). Broadway Choral. Size 6...(+)
By Elton John, Tim Rice.
Arranged by Ed Lojeski.
(SAB). Broadway Choral.
Size 6.75x10.5 inches. 16
pages. Published by Hal
Leonard.
$1.95 $1.8525 (- 5%) Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Aida (Songs from the Musical) Chorale SATB SATB Hal Leonard
By Elton John, Tim Rice. Arranged by Ed Lojeski. (SATB). Broadway Choral. Size ...(+)
By Elton John, Tim Rice.
Arranged by Ed Lojeski.
(SATB). Broadway Choral.
Size 6.75x10.5 inches. 16
pages. Published by Hal
Leonard.
$2.25 $2.1375 (- 5%) Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Aida (Songs from the Musical) CD Chorale [CD d'accompagnement] Hal Leonard
By Elton John, Tim Rice. Arranged by Ed Lojeski. (Showtrax Cd). Broadway Choral...(+)
By Elton John, Tim Rice.
Arranged by Ed Lojeski.
(Showtrax Cd). Broadway
Choral. CD only. Size 5x5
inches. Published by Hal
Leonard.
$29.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Home of the Brave Orchestre d'harmonie [Conducteur] - Débutant C.L. Barnhouse
Grade 1.5 SKU: CL.015-3246-01 Concert March. Composed by Shaffer. ...(+)
Grade 1.5 SKU:
CL.015-3246-01
Concert March.
Composed by Shaffer.
Young Concert Band.
Elementary Series. Audio
recording available
separately (item
CL.WFR330). Extra full
score. Composed 2003.
Duration 1 minute, 53
seconds. C.L. Barnhouse
#015-3246-01. Published
by C.L. Barnhouse
(CL.015-3246-01).
A concert march
for young bands that
includes short quotes
from several well known
patriotic tunes including
America, The Star
Spangled Banner and
Yankee Doodle. These
quotes are woven together
to create a unique piece
which will introduce your
young players to the
musical concept of
dissonance. Challenging
and Unique. $5.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Big Book Of Dance Songs Music Sales
| | |
| The William Bay Collection - Plectrum Guitar Solo Anthology Guitare [Partition + Accès audio] - Intermédiaire Mel Bay
Guitar - Intermediate SKU: MB.WBM58M Traditional, Wire bound, Celtic. Fol...(+)
Guitar - Intermediate
SKU: MB.WBM58M
Traditional, Wire bound,
Celtic. Folk. Book and
online audio. 216 pages.
Mel Bay Publications, Inc
#WBM58M. Published by Mel
Bay Publications, Inc
(MB.WBM58M). ISBN
9781736363058. 8.75x11.75
inches. A
comprehensive collection
of 172 guitar solos for
the flatpick or plectrum
guitarist. All solos are
written in standard
notation with
accompanying online
recordings by the author.
The solos include
beautiful American,
British and Celtic airs
and ballads, Celtic dance
tunes, lute and early
music, popular classical
repertoire and
contemporary etudes.
Includes access to online
audio. $34.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Little Black Songbook: Eric Clapton Music Sales
| | |
| Atlas Orchestre d'harmonie [Conducteur et Parties séparées] - Facile Alfred Publishing
Composed by William Palange. Concert Band; Part(s); Score; SmartMusic. Young Sym...(+)
Composed by William
Palange. Concert Band;
Part(s); Score;
SmartMusic. Young
Symphonic. 304 pages.
Published by Alfred Music
(AP.44993).
$60.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Complete Organ Player Scottish Songbook Music Sales
| | |
| Viper Squadron March Orchestre d'harmonie - Intermédiaire Alfred Publishing
By John O'reilly. Music by John O'Reilly. For Concert Band. Concert Band. Alfred...(+)
By John O'reilly. Music
by John O'Reilly. For
Concert Band. Concert
Band. Alfred Concert
Band. Level: 3 (Medium)
(grade 3). Conductor
Score. 24 pages.
Published by Alfred
Publishing.
$7.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Pour faire un brave mousquetaire from Les Mousquetaires au Couvent Voix Baryton Prima Voce Editions
By Louis Varney (1844-1908). For Baritone Voice. Operetta. Sheet music. 6 pages....(+)
By Louis Varney
(1844-1908). For Baritone
Voice. Operetta. Sheet
music. 6 pages. Published
by Prima Voce Editions
$8.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Mountain Rangers Orchestre d'harmonie [Conducteur] - Facile RWS Music Company
Grade 2 SKU: CL.RWS-1819-01 Composed by Bankston. Young Concert Band. RWS...(+)
Grade 2 SKU:
CL.RWS-1819-01
Composed by Bankston.
Young Concert Band. RWS
Developing Band Series.
Extra full score.
Composed 2018. Duration 2
minutes, 5 seconds. RWS
Music Company
#RWS-1819-01. Published
by RWS Music Company
(CL.RWS-1819-01).
The bravery,
adventure and excitement
of the Mountain Rangers
comes to life in this
musical work by
composer/teacher Brian
Bankston. Section soli
features throughout
insure musician and
audience interest as the
piece develops from one
melodic idea to the next.
Bold, energetic and
musically exciting, take
your band on a mountain
musical adventure! $10.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Fingerpicking Film Score Music Guitare notes et tablatures Hal Leonard
15 Famous Pieces Arranged for Solo Guitar in Standard Notation and Tablature. ...(+)
15 Famous Pieces Arranged
for Solo Guitar in
Standard
Notation and Tablature.
Composed by Various.
Guitar
Solo. Softcover. With
guitar
tablature. 48 pages.
Published by Hal Leonard
$15.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Strauss J Zigeunerbaron Schott
(TB) SKU: HL.49028131 Comic Opera in 3 Acts. Composed by Johann St...(+)
(TB) SKU:
HL.49028131 Comic
Opera in 3 Acts.
Composed by Johann
Strauss Jr. Sheet music.
Edition Schott. Text
book/libretto. 40 pages.
Schott Music #CRZ
1016-10. Published by
Schott Music
(HL.49028131). ISBN
9790204001613.
6.0x8.25x0.158 inches.
German. $7.99 - Voir plus => Acheter | | |
| Dog Tags GIA Publications
SKU: GI.G-8093 Adventures with Music - Book 2. Composed by Ann Kac...(+)
SKU: GI.G-8093
Adventures with Music
- Book 2. Composed by
Ann Kaczkowski Kimpton
and Paul Kimpton.
Adventures with Music.
Music Education. Book.
GIA Publications #8093.
Published by GIA
Publications (GI.G-8093).
ISBN 9781579998509.
English. A young
boy and his faithful dog
face a big decision. Dale
Kingston isn’t
your average boy. He
saved the Conn musical
instrument factory from
burning to the ground in
Book One of the
Adventures with Music
series. In Dog Tags, Book
Two in the Adventures
with Music series, Dale
faces a big decision:
World War II is in full
swing, and he wants to do
his patriotic duty. But
Dale is only twelve years
old. How can he help
America? His dog, Scout,
provides the answer when
his master hears about
the U.S. Army’s
Dogs for Defense program.
Dale loves his pet, but
he knows Scout would do
his country proud by
serving as an animal
courier for American
troops at war. Should he
enroll Scout in the
program? Along the way,
Dale begins trumpet
lessons as his school
forms a band for the
first time. He loves the
Andrews Sisters and their
hot new song, Boogie
Woogie Bugle Boy. His
dream is to play that
solo for the popular
trio. Could that dream
come true? Dog Tags, the
second volume in the
Adventures with Music
series, answers these
questions and more in a
story told from the heart
that will inspire young
readers everywhere.
Excerpt from the book...
The instruments arrive
and the students have
their first band
rehearsal, but Dale has
his mind on other
things.... Grandpa knelt
down and looked directly
into Dale's eyes. This is
a very brave thing you're
doing for your country
son. You're making the
biggest sacrifice any boy
can make by volunteering
your dog for the
military. Breaking free
from his grandfather,
Dale ran to Scout and
gave him one last deep
hug. He whispered, Do
your best, Scout. I love
you! Â Paul Kimpton
grew up in a musical
family and was a band
director in Illinois for
34 years. His father Dale
was a band director and
professor at the
University of Illinois,
and his mother Barbara
was a vocalist. When Paul
is not writing, he is
reading or enjoying the
outdoors. Ann Kimpton
played French horn
through college and went
on to be a mother,
teacher, and high school
administrator. Her
parents, Henry and
Maryalyce Kaczkowski,
both educators, instilled
an appreciation for the
fine arts and the
outdoors in all of their
children. . $8.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Acadia [Conducteur] Theodore Presser Co.
Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clar...(+)
Band Bass Clarinet,
Bassoon 1, Bassoon 2,
Clarinet, Clarinet 1,
Clarinet 2, Clarinet 3,
Contrabass Clarinet,
Contrabassoon, Double
Bass, English Horn,
Euphonium, Flute 1, Flute
2, Horn 1, Horn 2, Horn
3, Horn 4, Oboe 1, Oboe
2, Percussion 1 and more.
SKU: PR.16500103F
Mvt. 3 from Symphony
No. 6 (Three Places in
the East). Composed
by Dan Welcher. Full
score. 60 pages. Theodore
Presser Company
#165-00103F. Published by
Theodore Presser Company
(PR.16500103F). ISBN
9781491131763. UPC:
680160680290. Ever
since the success of my
series of wind ensemble
works Places in the West,
I've been wanting to
write a companion piece
for national parks on the
other side of the north
American continent. The
earlier work, consisting
of GLACIER, THE
YELLOWSTONE FIRES,
ARCHES, and ZION, spanned
some twenty years of my
composing life, and since
the pieces called for
differing groups of
instruments, and were in
slightly different styles
from each other, I never
considered them to be
connected except in their
subject matter. In their
depiction of both the
scenery and the human
history within these
wondrous places, they had
a common goal: awaking
the listener to the
fragile beauty that is in
them; and calling
attention to the ever
more crucial need for
preservation and
protection of these wild
places, unique in all the
world. With this new
work, commissioned by a
consortium of college and
conservatory wind
ensembles led by the
University of Georgia, I
decided to build upon
that same model---but to
solidify the process. The
result, consisting of
three movements (each
named for a different
national park in the
eastern US), is a
bona-fide symphony. While
the three pieces could be
performed separately,
they share a musical
theme---and also a common
style and
instrumentation. It is a
true symphony, in that
the first movement is
long and expository, the
second is a rather
tightly structured
scherzo-with-trio, and
the finale is a true
culmination of the whole.
The first movement,
Everglades, was the
original inspiration for
the entire symphony.
Conceived over the course
of two trips to that
astonishing place (which
the native Americans
called River of Grass,
the subtitle of this
movement), this movement
not only conveys a sense
of the humid, lush, and
even frightening scenery
there---but also an
overview of the entire
settling-of- Florida
experience. It contains
not one, but two native
American chants, and also
presents a view of the
staggering influence of
modern man on this
fragile part of the
world. Beginning with a
slow unfolding marked
Heavy, humid, the music
soon presents a gentle,
lyrical theme in the solo
alto saxophone. This
theme, which goes through
three expansive phrases
with breaks in between,
will appear in all three
movements of the
symphony. After the mood
has been established, the
music opens up to a rich,
warm setting of a
Cherokee morning song,
with the simple happiness
that this part of Florida
must have had prior to
the nineteenth century.
This music, enveloping
and comforting, gradually
gives way to a more
frenetic, driven section
representative of the
intrusion of the white
man. Since Florida was
populated and developed
largely due to the
introduction of a train
system, there's a
suggestion of the
mechanized iron horse
driving straight into the
heartland. At that point,
the native Americans
become considerably less
gentle, and a second
chant seems to stand in
the way of the intruder;
a kind of warning song.
The second part of this
movement shows us the
great swampy center of
the peninsula, with its
wildlife both in and out
of the water. A new theme
appears, sad but noble,
suggesting that this land
is precious and must be
protected by all the
people who inhabit it. At
length, the morning song
reappears in all its
splendor, until the
sunset---with one last
iteration of the warning
song in the solo piccolo.
Functioning as a scherzo,
the second movement,
Great Smoky Mountains,
describes not just that
huge park itself, but one
brave soul's attempt to
climb a mountain there.
It begins with three
iterations of the
UR-theme (which began the
first movement as well),
but this time as up-tempo
brass fanfares in
octaves. Each time it
begins again, the theme
is a little slower and
less confident than the
previous time---almost as
though the hiker were
becoming aware of the
daunting mountain before
him. But then, a steady,
quick-pulsed ostinato
appears, in a constantly
shifting meter system of
2/4- 3/4 in alteration,
and the hike has begun.
Over this, a slower new
melody appears, as the
trek up the mountain
progresses. It's a big
mountain, and the ascent
seems to take quite
awhile, with little
breaks in the hiker's
stride, until at length
he simply must stop and
rest. An oboe solo, over
several free cadenza-like
measures, allows us (and
our friend the hiker) to
catch our breath, and
also to view in the
distance the rocky peak
before us. The goal is
somehow even more
daunting than at first,
being closer and thus
more frighteningly steep.
When we do push off
again, it's at a slower
pace, and with more
careful attention to our
footholds as we trek over
broken rocks. Tantalizing
little views of the
valley at every
switchback make our
determination even
stronger. Finally, we
burst through a stand of
pines and----we're at the
summit! The immensity of
the view is overwhelming,
and ultimately humbling.
A brief coda, while we
sit dazed on the rocks,
ends the movement in a
feeling of triumph. The
final movement, Acadia,
is also about a trip. In
the summer of 2014, I
took a sailing trip with
a dear friend from North
Haven, Maine, to the
southern coast of Mt.
Desert Island in Acadia
National Park. The
experience left me both
exuberant and exhausted,
with an appreciation for
the ocean that I hadn't
had previously. The
approach to Acadia
National Park by water,
too, was thrilling: like
the difference between
climbing a mountain on
foot with riding up on a
ski-lift, I felt I'd
earned the right to be
there. The music for this
movement is entirely
based on the opening
UR-theme. There's a sense
of the water and the
mysterious, quiet deep
from the very beginning,
with seagulls and bell
buoys setting the scene.
As we leave the harbor,
the theme (in a canon
between solo euphonium
and tuba) almost seems as
if large subaquatic
animals are observing our
departure. There are
three themes (call them
A, B and C) in this
seafaring journey---but
they are all based on the
UR theme, in its original
form with octaves
displaced, in an
upside-down form, and in
a backwards version as
well. (The ocean, while
appearing to be
unchanging, is always
changing.) We move out
into the main channel
(A), passing several
islands (B), until we
reach the long draw that
parallels the coastline
called Eggemoggin Reach,
and a sudden burst of new
speed (C). Things
suddenly stop, as if the
wind had died, and we
have a vision: is that
really Mt. Desert Island
we can see off the port
bow, vaguely in the
distance? A chorale of
saxophones seems to
suggest that. We push off
anew as the chorale ends,
and go through all three
themes again---but in
different
instrumentations, and
different keys. At the
final tack-turn, there it
is, for real: Mt. Desert
Island, big as life.
We've made it. As we pull
into the harbor, where
we'll secure the boat for
the night, there's a
feeling of achievement.
Our whale and dolphin
friends return, and we
end our journey with
gratitude and
celebration. I am
profoundly grateful to
Jaclyn Hartenberger,
Professor of Conducting
at the University of
Georgia, for leading the
consortium which provided
the commissioning of this
work. $39.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Great Smoky Mountains [Conducteur] Theodore Presser Co.
Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clar...(+)
Band Bass Clarinet,
Bassoon 1, Bassoon 2,
Clarinet, Clarinet 1,
Clarinet 2, Clarinet 3,
Contrabass Clarinet,
Contrabassoon, Double
Bass, English Horn,
Euphonium, Flute 1, Flute
2, Horn 1, Horn 2, Horn
3, Horn 4, Oboe 1, Oboe
2, Percussion 1 and more.
SKU: PR.16500102F
Mvt. 2 from Symphony
No. 6 (Three Places in
the East). Composed
by Dan Welcher. Full
score. 52 pages. Theodore
Presser Company
#165-00102F. Published by
Theodore Presser Company
(PR.16500102F). ISBN
9781491131749. UPC:
680160680276. Ever
since the success of my
series of wind ensemble
works Places in the West,
I've been wanting to
write a companion piece
for national parks on the
other side of the north
American continent. The
earlier work, consisting
of GLACIER, THE
YELLOWSTONE FIRES,
ARCHES, and ZION, spanned
some twenty years of my
composing life, and since
the pieces called for
differing groups of
instruments, and were in
slightly different styles
from each other, I never
considered them to be
connected except in their
subject matter. In their
depiction of both the
scenery and the human
history within these
wondrous places, they had
a common goal: awaking
the listener to the
fragile beauty that is in
them; and calling
attention to the ever
more crucial need for
preservation and
protection of these wild
places, unique in all the
world. With this new
work, commissioned by a
consortium of college and
conservatory wind
ensembles led by the
University of Georgia, I
decided to build upon
that same model---but to
solidify the process. The
result, consisting of
three movements (each
named for a different
national park in the
eastern US), is a
bona-fide symphony. While
the three pieces could be
performed separately,
they share a musical
theme---and also a common
style and
instrumentation. It is a
true symphony, in that
the first movement is
long and expository, the
second is a rather
tightly structured
scherzo-with-trio, and
the finale is a true
culmination of the whole.
The first movement,
Everglades, was the
original inspiration for
the entire symphony.
Conceived over the course
of two trips to that
astonishing place (which
the native Americans
called River of Grass,
the subtitle of this
movement), this movement
not only conveys a sense
of the humid, lush, and
even frightening scenery
there---but also an
overview of the entire
settling-of- Florida
experience. It contains
not one, but two native
American chants, and also
presents a view of the
staggering influence of
modern man on this
fragile part of the
world. Beginning with a
slow unfolding marked
Heavy, humid, the music
soon presents a gentle,
lyrical theme in the solo
alto saxophone. This
theme, which goes through
three expansive phrases
with breaks in between,
will appear in all three
movements of the
symphony. After the mood
has been established, the
music opens up to a rich,
warm setting of a
Cherokee morning song,
with the simple happiness
that this part of Florida
must have had prior to
the nineteenth century.
This music, enveloping
and comforting, gradually
gives way to a more
frenetic, driven section
representative of the
intrusion of the white
man. Since Florida was
populated and developed
largely due to the
introduction of a train
system, there's a
suggestion of the
mechanized iron horse
driving straight into the
heartland. At that point,
the native Americans
become considerably less
gentle, and a second
chant seems to stand in
the way of the intruder;
a kind of warning song.
The second part of this
movement shows us the
great swampy center of
the peninsula, with its
wildlife both in and out
of the water. A new theme
appears, sad but noble,
suggesting that this land
is precious and must be
protected by all the
people who inhabit it. At
length, the morning song
reappears in all its
splendor, until the
sunset---with one last
iteration of the warning
song in the solo piccolo.
Functioning as a scherzo,
the second movement,
Great Smoky Mountains,
describes not just that
huge park itself, but one
brave soul's attempt to
climb a mountain there.
It begins with three
iterations of the
UR-theme (which began the
first movement as well),
but this time as up-tempo
brass fanfares in
octaves. Each time it
begins again, the theme
is a little slower and
less confident than the
previous time---almost as
though the hiker were
becoming aware of the
daunting mountain before
him. But then, a steady,
quick-pulsed ostinato
appears, in a constantly
shifting meter system of
2/4- 3/4 in alteration,
and the hike has begun.
Over this, a slower new
melody appears, as the
trek up the mountain
progresses. It's a big
mountain, and the ascent
seems to take quite
awhile, with little
breaks in the hiker's
stride, until at length
he simply must stop and
rest. An oboe solo, over
several free cadenza-like
measures, allows us (and
our friend the hiker) to
catch our breath, and
also to view in the
distance the rocky peak
before us. The goal is
somehow even more
daunting than at first,
being closer and thus
more frighteningly steep.
When we do push off
again, it's at a slower
pace, and with more
careful attention to our
footholds as we trek over
broken rocks. Tantalizing
little views of the
valley at every
switchback make our
determination even
stronger. Finally, we
burst through a stand of
pines and----we're at the
summit! The immensity of
the view is overwhelming,
and ultimately humbling.
A brief coda, while we
sit dazed on the rocks,
ends the movement in a
feeling of triumph. The
final movement, Acadia,
is also about a trip. In
the summer of 2014, I
took a sailing trip with
a dear friend from North
Haven, Maine, to the
southern coast of Mt.
Desert Island in Acadia
National Park. The
experience left me both
exuberant and exhausted,
with an appreciation for
the ocean that I hadn't
had previously. The
approach to Acadia
National Park by water,
too, was thrilling: like
the difference between
climbing a mountain on
foot with riding up on a
ski-lift, I felt I'd
earned the right to be
there. The music for this
movement is entirely
based on the opening
UR-theme. There's a sense
of the water and the
mysterious, quiet deep
from the very beginning,
with seagulls and bell
buoys setting the scene.
As we leave the harbor,
the theme (in a canon
between solo euphonium
and tuba) almost seems as
if large subaquatic
animals are observing our
departure. There are
three themes (call them
A, B and C) in this
seafaring journey---but
they are all based on the
UR theme, in its original
form with octaves
displaced, in an
upside-down form, and in
a backwards version as
well. (The ocean, while
appearing to be
unchanging, is always
changing.) We move out
into the main channel
(A), passing several
islands (B), until we
reach the long draw that
parallels the coastline
called Eggemoggin Reach,
and a sudden burst of new
speed (C). Things
suddenly stop, as if the
wind had died, and we
have a vision: is that
really Mt. Desert Island
we can see off the port
bow, vaguely in the
distance? A chorale of
saxophones seems to
suggest that. We push off
anew as the chorale ends,
and go through all three
themes again---but in
different
instrumentations, and
different keys. At the
final tack-turn, there it
is, for real: Mt. Desert
Island, big as life.
We've made it. As we pull
into the harbor, where
we'll secure the boat for
the night, there's a
feeling of achievement.
Our whale and dolphin
friends return, and we
end our journey with
gratitude and
celebration. I am
profoundly grateful to
Jaclyn Hartenberger,
Professor of Conducting
at the University of
Georgia, for leading the
consortium which provided
the commissioning of this
work. $36.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Everglades (River of Grass) [Conducteur] Theodore Presser Co.
Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clar...(+)
Band Bass Clarinet,
Bassoon 1, Bassoon 2,
Clarinet, Clarinet 1,
Clarinet 2, Clarinet 3,
Contrabass Clarinet,
Contrabassoon, Double
Bass, English Horn,
Euphonium, Flute 1, Flute
2, Horn 1, Horn 2, Horn
3, Horn 4, Oboe 1, Oboe
2, Percussion 1 and more.
SKU: PR.16500101F
Mvt. 1 from Symphony
No. 6 (Three Places in
the East). Composed
by Dan Welcher. Full
score. 52 pages. Theodore
Presser Company
#165-00101F. Published by
Theodore Presser Company
(PR.16500101F). ISBN
9781491131725. UPC:
680160680252. Ever
since the success of my
series of wind ensemble
works Places in the West,
I've been wanting to
write a companion piece
for national parks on the
other side of the north
American continent. The
earlier work, consisting
of GLACIER, THE
YELLOWSTONE FIRES,
ARCHES, and ZION, spanned
some twenty years of my
composing life, and since
the pieces called for
differing groups of
instruments, and were in
slightly different styles
from each other, I never
considered them to be
connected except in their
subject matter. In their
depiction of both the
scenery and the human
history within these
wondrous places, they had
a common goal: awaking
the listener to the
fragile beauty that is in
them; and calling
attention to the ever
more crucial need for
preservation and
protection of these wild
places, unique in all the
world. With this new
work, commissioned by a
consortium of college and
conservatory wind
ensembles led by the
University of Georgia, I
decided to build upon
that same model---but to
solidify the process. The
result, consisting of
three movements (each
named for a different
national park in the
eastern US), is a
bona-fide symphony. While
the three pieces could be
performed separately,
they share a musical
theme---and also a common
style and
instrumentation. It is a
true symphony, in that
the first movement is
long and expository, the
second is a rather
tightly structured
scherzo-with-trio, and
the finale is a true
culmination of the whole.
The first movement,
Everglades, was the
original inspiration for
the entire symphony.
Conceived over the course
of two trips to that
astonishing place (which
the native Americans
called River of Grass,
the subtitle of this
movement), this movement
not only conveys a sense
of the humid, lush, and
even frightening scenery
there---but also an
overview of the entire
settling-of- Florida
experience. It contains
not one, but two native
American chants, and also
presents a view of the
staggering influence of
modern man on this
fragile part of the
world. Beginning with a
slow unfolding marked
Heavy, humid, the music
soon presents a gentle,
lyrical theme in the solo
alto saxophone. This
theme, which goes through
three expansive phrases
with breaks in between,
will appear in all three
movements of the
symphony. After the mood
has been established, the
music opens up to a rich,
warm setting of a
Cherokee morning song,
with the simple happiness
that this part of Florida
must have had prior to
the nineteenth century.
This music, enveloping
and comforting, gradually
gives way to a more
frenetic, driven section
representative of the
intrusion of the white
man. Since Florida was
populated and developed
largely due to the
introduction of a train
system, there's a
suggestion of the
mechanized iron horse
driving straight into the
heartland. At that point,
the native Americans
become considerably less
gentle, and a second
chant seems to stand in
the way of the intruder;
a kind of warning song.
The second part of this
movement shows us the
great swampy center of
the peninsula, with its
wildlife both in and out
of the water. A new theme
appears, sad but noble,
suggesting that this land
is precious and must be
protected by all the
people who inhabit it. At
length, the morning song
reappears in all its
splendor, until the
sunset---with one last
iteration of the warning
song in the solo piccolo.
Functioning as a scherzo,
the second movement,
Great Smoky Mountains,
describes not just that
huge park itself, but one
brave soul's attempt to
climb a mountain there.
It begins with three
iterations of the
UR-theme (which began the
first movement as well),
but this time as up-tempo
brass fanfares in
octaves. Each time it
begins again, the theme
is a little slower and
less confident than the
previous time---almost as
though the hiker were
becoming aware of the
daunting mountain before
him. But then, a steady,
quick-pulsed ostinato
appears, in a constantly
shifting meter system of
2/4- 3/4 in alteration,
and the hike has begun.
Over this, a slower new
melody appears, as the
trek up the mountain
progresses. It's a big
mountain, and the ascent
seems to take quite
awhile, with little
breaks in the hiker's
stride, until at length
he simply must stop and
rest. An oboe solo, over
several free cadenza-like
measures, allows us (and
our friend the hiker) to
catch our breath, and
also to view in the
distance the rocky peak
before us. The goal is
somehow even more
daunting than at first,
being closer and thus
more frighteningly steep.
When we do push off
again, it's at a slower
pace, and with more
careful attention to our
footholds as we trek over
broken rocks. Tantalizing
little views of the
valley at every
switchback make our
determination even
stronger. Finally, we
burst through a stand of
pines and----we're at the
summit! The immensity of
the view is overwhelming,
and ultimately humbling.
A brief coda, while we
sit dazed on the rocks,
ends the movement in a
feeling of triumph. The
final movement, Acadia,
is also about a trip. In
the summer of 2014, I
took a sailing trip with
a dear friend from North
Haven, Maine, to the
southern coast of Mt.
Desert Island in Acadia
National Park. The
experience left me both
exuberant and exhausted,
with an appreciation for
the ocean that I hadn't
had previously. The
approach to Acadia
National Park by water,
too, was thrilling: like
the difference between
climbing a mountain on
foot with riding up on a
ski-lift, I felt I'd
earned the right to be
there. The music for this
movement is entirely
based on the opening
UR-theme. There's a sense
of the water and the
mysterious, quiet deep
from the very beginning,
with seagulls and bell
buoys setting the scene.
As we leave the harbor,
the theme (in a canon
between solo euphonium
and tuba) almost seems as
if large subaquatic
animals are observing our
departure. There are
three themes (call them
A, B and C) in this
seafaring journey---but
they are all based on the
UR theme, in its original
form with octaves
displaced, in an
upside-down form, and in
a backwards version as
well. (The ocean, while
appearing to be
unchanging, is always
changing.) We move out
into the main channel
(A), passing several
islands (B), until we
reach the long draw that
parallels the coastline
called Eggemoggin Reach,
and a sudden burst of new
speed (C). Things
suddenly stop, as if the
wind had died, and we
have a vision: is that
really Mt. Desert Island
we can see off the port
bow, vaguely in the
distance? A chorale of
saxophones seems to
suggest that. We push off
anew as the chorale ends,
and go through all three
themes again---but in
different
instrumentations, and
different keys. At the
final tack-turn, there it
is, for real: Mt. Desert
Island, big as life.
We've made it. As we pull
into the harbor, where
we'll secure the boat for
the night, there's a
feeling of achievement.
Our whale and dolphin
friends return, and we
end our journey with
gratitude and
celebration. I am
profoundly grateful to
Jaclyn Hartenberger,
Professor of Conducting
at the University of
Georgia, for leading the
consortium which provided
the commissioning of this
work. $36.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Along the Western Trail Orchestre d'harmonie [Conducteur] - Débutant Belwin
Concert Band - Grade 1 SKU: AP.BD9813C Featuring: Sweet Betsy from Pik...(+)
Concert Band - Grade 1
SKU: AP.BD9813C
Featuring: Sweet Betsy
from Pike / The Streets
of Laredo / The Lone
Prairie / Little Brown
Jug. Arranged by
James D. Ployhar. Concert
Band; Performance Music
Ensemble; Single Titles.
Belwin Beginning Band.
Folk. Score. 12 pages.
Duration 2:04. Belwin
Music #00-BD9813C.
Published by Belwin Music
(AP.BD9813C). UPC:
029156908343.
English. From radio
to motion pictures to
television, all have
glamorized what we know
as The Wild West, but the
folk songs from that era
have lived on in an
unaltered state. They
tell stories of the
lives, loves, and losses
of the brave souls who
ventured into a then
uncharted landscape. Here
is a musical salute to
that time and its people,
featuring SWEET BETSY
FROM PIKE, THE STREETS OF
LAREDO, THE LONE PRAIRIE,
and LITTLE BROWN JUG.
Head 'em up and move 'em
out! (2:04). $8.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Along the Western Trail Orchestre d'harmonie - Débutant Belwin
Concert Band - Grade 1 SKU: AP.BD9813 Featuring: Sweet Betsy from Pike...(+)
Concert Band - Grade 1
SKU: AP.BD9813
Featuring: Sweet Betsy
from Pike / The Streets
of Laredo / The Lone
Prairie / Little Brown
Jug. Arranged by
James D. Ployhar. Concert
Band; Performance Music
Ensemble; Single Titles.
Belwin Beginning Band.
Folk. Score and Part(s).
126 pages. Duration 2:04.
Belwin Music #00-BD9813.
Published by Belwin Music
(AP.BD9813). UPC:
029156908336.
English. From radio
to motion pictures to
television, all have
glamorized what we know
as The Wild West, but the
folk songs from that era
have lived on in an
unaltered state. They
tell stories of the
lives, loves, and losses
of the brave souls who
ventured into a then
uncharted landscape. Here
is a musical salute to
that time and its people,
featuring SWEET BETSY
FROM PIKE, THE STREETS OF
LAREDO, THE LONE PRAIRIE,
and LITTLE BROWN JUG.
Head 'em up and move 'em
out! (2:04). $55.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Symphony No. 6 [Conducteur] Theodore Presser Co.
Band SKU: PR.16500104F Three Places in the East. Composed by Dan W...(+)
Band SKU:
PR.16500104F Three
Places in the East.
Composed by Dan Welcher.
Full score. Theodore
Presser Company
#165-00104F. Published by
Theodore Presser Company
(PR.16500104F). ISBN
9781491132159. UPC:
680160681082. Ever
since the success of my
series of wind ensemble
works Places in the West,
I've been wanting to
write a companion piece
for national parks on the
other side of the north
American continent. The
earlier work, consisting
of GLACIER, THE
YELLOWSTONE FIRES,
ARCHES, and ZION, spanned
some twenty years of my
composing life, and since
the pieces called for
differing groups of
instruments, and were in
slightly different styles
from each other, I never
considered them to be
connected except in their
subject matter. In their
depiction of both the
scenery and the human
history within these
wondrous places, they had
a common goal: awaking
the listener to the
fragile beauty that is in
them; and calling
attention to the ever
more crucial need for
preservation and
protection of these wild
places, unique in all the
world. With this new
work, commissioned by a
consortium of college and
conservatory wind
ensembles led by the
University of Georgia, I
decided to build upon
that same model---but to
solidify the process. The
result, consisting of
three movements (each
named for a different
national park in the
eastern US), is a
bona-fide symphony. While
the three pieces could be
performed separately,
they share a musical
theme---and also a common
style and
instrumentation. It is a
true symphony, in that
the first movement is
long and expository, the
second is a rather
tightly structured
scherzo-with-trio, and
the finale is a true
culmination of the whole.
The first movement,
Everglades, was the
original inspiration for
the entire symphony.
Conceived over the course
of two trips to that
astonishing place (which
the native Americans
called River of Grass,
the subtitle of this
movement), this movement
not only conveys a sense
of the humid, lush, and
even frightening scenery
there---but also an
overview of the entire
settling-of- Florida
experience. It contains
not one, but two native
American chants, and also
presents a view of the
staggering influence of
modern man on this
fragile part of the
world. Beginning with a
slow unfolding marked
Heavy, humid, the music
soon presents a gentle,
lyrical theme in the solo
alto saxophone. This
theme, which goes through
three expansive phrases
with breaks in between,
will appear in all three
movements of the
symphony. After the mood
has been established, the
music opens up to a rich,
warm setting of a
Cherokee morning song,
with the simple happiness
that this part of Florida
must have had prior to
the nineteenth century.
This music, enveloping
and comforting, gradually
gives way to a more
frenetic, driven section
representative of the
intrusion of the white
man. Since Florida was
populated and developed
largely due to the
introduction of a train
system, there's a
suggestion of the
mechanized iron horse
driving straight into the
heartland. At that point,
the native Americans
become considerably less
gentle, and a second
chant seems to stand in
the way of the intruder;
a kind of warning song.
The second part of this
movement shows us the
great swampy center of
the peninsula, with its
wildlife both in and out
of the water. A new theme
appears, sad but noble,
suggesting that this land
is precious and must be
protected by all the
people who inhabit it. At
length, the morning song
reappears in all its
splendor, until the
sunset---with one last
iteration of the warning
song in the solo piccolo.
Functioning as a scherzo,
the second movement,
Great Smoky Mountains,
describes not just that
huge park itself, but one
brave soul's attempt to
climb a mountain there.
It begins with three
iterations of the
UR-theme (which began the
first movement as well),
but this time as up-tempo
brass fanfares in
octaves. Each time it
begins again, the theme
is a little slower and
less confident than the
previous time---almost as
though the hiker were
becoming aware of the
daunting mountain before
him. But then, a steady,
quick-pulsed ostinato
appears, in a constantly
shifting meter system of
2/4- 3/4 in alteration,
and the hike has begun.
Over this, a slower new
melody appears, as the
trek up the mountain
progresses. It's a big
mountain, and the ascent
seems to take quite
awhile, with little
breaks in the hiker's
stride, until at length
he simply must stop and
rest. An oboe solo, over
several free cadenza-like
measures, allows us (and
our friend the hiker) to
catch our breath, and
also to view in the
distance the rocky peak
before us. The goal is
somehow even more
daunting than at first,
being closer and thus
more frighteningly steep.
When we do push off
again, it's at a slower
pace, and with more
careful attention to our
footholds as we trek over
broken rocks. Tantalizing
little views of the
valley at every
switchback make our
determination even
stronger. Finally, we
burst through a stand of
pines and----we're at the
summit! The immensity of
the view is overwhelming,
and ultimately humbling.
A brief coda, while we
sit dazed on the rocks,
ends the movement in a
feeling of triumph. The
final movement, Acadia,
is also about a trip. In
the summer of 2014, I
took a sailing trip with
a dear friend from North
Haven, Maine, to the
southern coast of Mt.
Desert Island in Acadia
National Park. The
experience left me both
exuberant and exhausted,
with an appreciation for
the ocean that I hadn't
had previously. The
approach to Acadia
National Park by water,
too, was thrilling: like
the difference between
climbing a mountain on
foot with riding up on a
ski-lift, I felt I'd
earned the right to be
there. The music for this
movement is entirely
based on the opening
UR-theme. There's a sense
of the water and the
mysterious, quiet deep
from the very beginning,
with seagulls and bell
buoys setting the scene.
As we leave the harbor,
the theme (in a canon
between solo euphonium
and tuba) almost seems as
if large subaquatic
animals are observing our
departure. There are
three themes (call them
A, B and C) in this
seafaring journey---but
they are all based on the
UR theme, in its original
form with octaves
displaced, in an
upside-down form, and in
a backwards version as
well. (The ocean, while
appearing to be
unchanging, is always
changing.) We move out
into the main channel
(A), passing several
islands (B), until we
reach the long draw that
parallels the coastline
called Eggemoggin Reach,
and a sudden burst of new
speed (C). Things
suddenly stop, as if the
wind had died, and we
have a vision: is that
really Mt. Desert Island
we can see off the port
bow, vaguely in the
distance? A chorale of
saxophones seems to
suggest that. We push off
anew as the chorale ends,
and go through all three
themes again---but in
different
instrumentations, and
different keys. At the
final tack-turn, there it
is, for real: Mt. Desert
Island, big as life.
We've made it. As we pull
into the harbor, where
we'll secure the boat for
the night, there's a
feeling of achievement.
Our whale and dolphin
friends return, and we
end our journey with
gratitude and
celebration. I am
profoundly grateful to
Jaclyn Hartenberger,
Professor of Conducting
at the University of
Georgia, for leading the
consortium which provided
the commissioning of this
work. $90.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| O Say, Can You See CD Chorale Alfred Publishing
Choir Secular SKU: AP.47582 Composed by Ruth Morris Gray. This edition: S...(+)
Choir Secular SKU:
AP.47582 Composed by
Ruth Morris Gray. This
edition: SoundTrax CD.
Choral Octavo;
Performance Music
Ensemble; Single Titles.
Alfred Choral Designs.
4th of July; Patriotic;
Secular. CD. Alfred Music
#00-47582. Published by
Alfred Music (AP.47582).
UPC: 038081542751.
English. Francis Scott
Key. Program this
moving patriotic piece to
celebrate our country at
any time of year. An
all-new original melody
and a shimmering
accompaniment beautifully
highlight Francis Scott
Key's words from The
Star-Spangled Banner.
Toward the end, a lush
musical quote from the
national anthem blossoms
into a final glorious
refrain, a soaring
penultimate cadence, and
one last introspective
accolade for the
brave! $27.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| O Say, Can You See Chorale SATB Alfred Publishing
Choir Secular (SATB choir) SKU: AP.47579 Composed by Ruth Morris Gray. Pe...(+)
Choir Secular (SATB
choir) SKU:
AP.47579 Composed by
Ruth Morris Gray.
Performance Music
Ensemble; Single Titles.
Alfred Choral Designs.
4th of July; Patriotic;
Secular. Choral Octavo.
12 pages. Alfred Music
#00-47579. Published by
Alfred Music (AP.47579).
UPC: 038081542720.
English. Francis Scott
Key. Program this
moving patriotic piece to
celebrate our country at
any time of year. An
all-new original melody
and a shimmering
accompaniment beautifully
highlight Francis Scott
Key's words from The
Star-Spangled Banner.
Toward the end, a lush
musical quote from the
national anthem blossoms
into a final glorious
refrain, a soaring
penultimate cadence, and
one last introspective
accolade for the
brave! $2.05 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| O Say, Can You See Chorale 3 parties SAB Alfred Publishing
Choir Secular (SAB choir/3-Part choir Mixed) SKU: AP.47580 Composed by Ru...(+)
Choir Secular (SAB
choir/3-Part choir Mixed)
SKU: AP.47580
Composed by Ruth Morris
Gray. Performance Music
Ensemble; Single Titles.
Alfred Choral Designs.
4th of July; Patriotic;
Secular. Choral Octavo.
12 pages. Alfred Music
#00-47580. Published by
Alfred Music (AP.47580).
UPC: 038081542737.
English. Francis Scott
Key. Program this
moving patriotic piece to
celebrate our country at
any time of year. An
all-new original melody
and a shimmering
accompaniment beautifully
highlight Francis Scott
Key's words from The
Star-Spangled Banner.
Toward the end, a lush
musical quote from the
national anthem blossoms
into a final glorious
refrain, a soaring
penultimate cadence, and
one last introspective
accolade for the
brave! $2.05 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| O Say, Can You See Chorale 3 parties TTB/TBB Alfred Publishing
Choir Secular (Men's Choir) SKU: AP.47581 Composed by Ruth Morris Gray. P...(+)
Choir Secular (Men's
Choir) SKU:
AP.47581 Composed by
Ruth Morris Gray.
Performance Music
Ensemble; Single Titles.
Alfred Choral Designs.
4th of July; Patriotic;
Secular. Choral Octavo.
12 pages. Alfred Music
#00-47581. Published by
Alfred Music (AP.47581).
UPC: 038081542744.
English. Francis Scott
Key. Program this
moving patriotic piece to
celebrate our country at
any time of year. An
all-new original melody
and a shimmering
accompaniment beautifully
highlight Francis Scott
Key's words from The
Star-Spangled Banner.
Toward the end, a lush
musical quote from the
national anthem blossoms
into a final glorious
refrain, a soaring
penultimate cadence, and
one last introspective
accolade for the
brave! $2.05 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Galaxy's Edge Orchestre d'harmonie [Conducteur] - Débutant C.L. Barnhouse
Grade 1 SKU: CL.024-4844-01 Composed by Hammonds. Young Concert Band. Ext...(+)
Grade 1 SKU:
CL.024-4844-01
Composed by Hammonds.
Young Concert Band. Extra
full score. C.L.
Barnhouse #024-4844-01.
Published by C.L.
Barnhouse
(CL.024-4844-01).
Hopeful, brave,
and determined –
those words describes
most beginning band
musicians. Your
first-year players will
be ready to blast across
the skies with
Galaxy’s Edge, a
bold and adventurous work
from composer Mike
Hammonds. With melodies
and scoring reminiscent
of epic film soundtracks,
young musicians will find
the heroic melodic
material to be inspiring
as it passes through each
section of the band. Give
your young band a chance
to ride the rocket of
success with
Galaxy’s
Edge!. $7.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Galaxy's Edge Orchestre d'harmonie [Conducteur et Parties séparées] - Débutant C.L. Barnhouse
Grade 1 SKU: CL.024-4844-00 Composed by Hammonds. Young Concert Band. Sco...(+)
Grade 1 SKU:
CL.024-4844-00
Composed by Hammonds.
Young Concert Band. Score
and set of parts. C.L.
Barnhouse #024-4844-00.
Published by C.L.
Barnhouse
(CL.024-4844-00).
Hopeful, brave,
and determined –
those words describes
most beginning band
musicians. Your
first-year players will
be ready to blast across
the skies with
Galaxy’s Edge, a
bold and adventurous work
from composer Mike
Hammonds. With melodies
and scoring reminiscent
of epic film soundtracks,
young musicians will find
the heroic melodic
material to be inspiring
as it passes through each
section of the band. Give
your young band a chance
to ride the rocket of
success with
Galaxy’s
Edge!. $60.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| A Scottish Portrait Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire C.L. Barnhouse
By James Swearingen. Concert band. Symphony Band Series. Audio recording availab...(+)
By James Swearingen.
Concert band. Symphony
Band Series. Audio
recording available
separately (item
CL.WFR373). Grade 3.5.
Score and set of parts.
Composed 2011. Duration 5
minutes, 58 seconds.
Published by C.L.
Barnhouse
$76.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
1 31 Page suivante 61 91 |