| Second Still Life Oxford University Press
Oboe & hp/pno & optional tam-tam - Moderately Difficult SKU: OU.9780193359826...(+)
Oboe & hp/pno & optional
tam-tam - Moderately
Difficult SKU:
OU.9780193359826
Composed by Michael
Berkeley. Mixed Ensemble.
12 pages. Duration 7'.
Oxford University Press
#9780193359826. Published
by Oxford University
Press (OU.9780193359826).
ISBN 9780193359826. 12
x 8 inches. For
oboe and harp. In Second
Still Life the play on
the word second is very
apt. Not only is it
scored for just two
instruments (although
there is also an optional
tam-tam part) but the
interval of a second is
explored throughout the
piece. The piece is short
yet memorable, exploiting
the beautiful timbres of
the harp and oboe. $15.99 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Still Life with Melon & Sand (from Summer Suite) Orchestre à Cordes [Conducteur et Parties séparées] - Intermédiaire Imagine Music
Composed by Greg Bartholomew. For "trumpet, timpani & string orches...(+)
Composed by Greg
Bartholomew.
For "trumpet,
timpani & string
orchestra". Pathways
Series.
Level 4. Score and set of
parts. Duration "3
minutes, 40
seconds". Published
by Imagine
Music
$40.00 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Transfigured Life - Still Life Violon et Piano - Avancé Doberman
Violin and piano - Advanced SKU: DY.DO-1525 Composed by David Braid. Scor...(+)
Violin and piano -
Advanced SKU:
DY.DO-1525 Composed
by David Braid. Score and
part. Les Editions
Doberman-Yppan #DO 1525.
Published by Les Editions
Doberman-Yppan
(DY.DO-1525). ISBN
9782897963057. J'ai
me les formes musicales
concises telles que le
Prélude et la Fugue,
où il y a une idée
claire et directe, suivie
d'une autre plus complexe
et
développée.
Conformément Ã
cette idée, cette
Å“uvre se compose de
deux pièces
distinctes, la
première -
Transfigured Life - vise
à attirer l'auditeur
avec son rythme rapide et
dansant et sa partie de
violon simple et
mélodique. Il se
«transfigure» via
quelques courts
intermèdes au piano
solo en seulement deux
notes alternées pour
terminer - qui sont le
cœur de l'idée
originale, maintenant
clarifiée en
effaçant tout le
reste.
Le
deuxième morceau -
Still Life - conserve son
sentiment de quiétude
grâce à une ligne
de piano simple qui
laisse beaucoup d'espace
à la partie
contrastée (mais
encore une fois simple)
du violon. En tant que
pièce absolue et non
programmatique, le titre
fait référence
uniquement à la
couleur et au rythme
atmosphériques ; c'est
à l'auditeur de voir
la « nature morte »
de son choix dans son
esprit.
Une note
sur les performances
: Malgré ma
référence à des
lignes « simples »
et l'évitement
déterminé par
l'Å“uvre des
grincements modernistes
traditionnels,
l'œuvre présente
certains défis
d'exécution en termes
de phrasé et
d'ensemble qui
nécessitent des
compétences et une
musicalité
considérables.
L'Å“uvre a eu le
privilège d'être
récemment
enregistrée par le
violoniste Ezgi
Sarıkcıoğlu et
la pianiste Rossitza
Stoycheva, et est
disponible sur toutes les
principales plateformes
:
https://open.spo
tify.com/album/6p5YIe17ci
0UMuo2RqZgjR https://m
usic.apple.com/gb/album/t
ransfigured-life-still-li
fe-world-premiere-recordi
ng/1738035953 Envoyer
des
commentaires
Trans
figured Life - Still
Life, Op. 165 (violin and
piano) - David
Braid
I am keen on
concise musical forms
such as Prelude and
Fugue, where there is one
clear straightforward
idea, followed by another
that is more involved and
developed.
In
keeping with that idea,
this work consists of two
distinct pieces, the
first - Transfigured Life
- aims to draw in the
listener with its quick,
dancing rhythm and
simple, melodic violin
part. It 'transfigures'
via a few short solo
piano interludes into
just two alternating
notes to end - which are
the core of the original
idea, now made clear by
clearing everything else
out of the
way.
The second
piece - Still Life -
retains its sense of
stillness through an
uncomplicated piano line
that gives lots of space
for the violin's
contrasting (but again
simple) part. As an
absolute, not
programmatic, piece the
title refers to the
atmospheric colour and
pacing only; it's up to
the listener to see
'Still life' of their
choosing in their own
mind.
A note on
performance: Despite
my reference to 'simple'
lines, and the work's
determined avoidance of
mainstream modernist
squeak - the work has
certain performance
challenges of phrasing
and ensemble that
requires considerable
skill and musicianship.
The work has had the
privilege of being
recently recorded by
violinist Ezgi
Sarıkcıoğlu and
pianist Rossitza
Stoycheva, and is
available on all major
platforms:
https:/
/open.spotify.com/album/6
p5YIe17ci0UMuo2RqZgjR
https://music.apple.com/g
b/album/transfigured-life
-still-life-world-premier
e-recording/1738035953.
p>
$14.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Sing Jazz! Second Floor Music
Leadsheets for 76 Jazz Vocals. By Various. Vocal Collection. Size 9x12 inches. 1...(+)
Leadsheets for 76 Jazz
Vocals. By Various. Vocal
Collection. Size 9x12
inches. 180 pages.
Published by Second Floor
Music.
$14.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Popsicle Rocket Sunrise (from Summer Suite) Orchestre à Cordes [Conducteur et Parties séparées] - Intermédiaire Imagine Music
Composed by Greg Bartholomew. For "trumpet, percussion & string orc...(+)
Composed by Greg
Bartholomew.
For "trumpet,
percussion &
string orchestra".
Pathways
Series. Level 4. Score
and set
of parts. Duration
"3 minutes,
40 seconds".
Published by
Imagine Music
$40.00 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Seven Oxford University Press
Chamber ensemble (flute (+alto flute), oboe, clarinet, tam-tam, harp, violin, ce...(+)
Chamber ensemble (flute
(+alto flute), oboe,
clarinet, tam-tam, harp,
violin, cello) -
Moderately Difficult
SKU:
OU.9780193359963
Composed by Michael
Berkeley. Mixed Ensemble.
21 pages. Duration 7'.
Oxford University Press
#9780193359963. Published
by Oxford University
Press (OU.9780193359963).
ISBN 9780193359963. 12
x 8 inches. Seven
is founded on the further
elaboration of a simple
phrase used in Second
Still Life. As the number
2 is significant in that
piece, the number 7 is
prevalent throughout
Seven: the work is for
seven players and is
seven minutes in
duration. $30.99 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Rites for the Afterlife Theodore Presser Co.
Chamber Music Bass Clarinet, Bassoon, Clarinet, English Horn, Oboe, alto Saxopho...(+)
Chamber Music Bass
Clarinet, Bassoon,
Clarinet, English Horn,
Oboe, alto Saxophone,
soprano Saxophone SKU:
PR.114419980 Composed
by Stacy Garrop. Sws. Set
of Score and Parts.
32+16+16+16+16+16 pages.
Duration 16 minutes.
Theodore Presser Company
#114-41998. Published by
Theodore Presser Company
(PR.114419980). UPC:
680160681723. 9 x 12
inches. The ancient
Egyptian empire began
around 3100 B.C. and
continued for over 3000
years until Alexander the
Great conquered the
country in 332 B.C. Over
the centuries, the
Egyptian empire grew and
flourished into a highly
developed society. They
invented hieroglyphics,
built towering pyramids
(including the Great
Pyramid of Giza, the
oldest of the Seven
Wonders of the World),
and the created many
household items we still
use today, including
toothbrushes, toothpaste,
eyeliner, black ink, and
the forerunner of
modern-day paper.
Included among their
achievements were a
series of highly
developed funerary
practices and beliefs in
the Afterlife. As the
average lifespan of an
Egyptian hovered around
30 years, living past the
death of oneAs physical
body was a legitimate
concern. Egyptians
believed that upon death,
their souls would
undertake a harrowing
journey through the
Netherworld. If they
survived the horrific
creatures and arduous
trials that awaited them,
then their souls would be
reunified with their
bodies (hence the need to
preserve the body through
mummification) and live
forever in a perfect
version of the life they
had lived in Egypt. To
achieve this, Egyptians
devised around 200
magical spells and
incantations to aid souls
on the path to the
Afterlife. These spells
are collectively called
The Book of the Dead.
Particular spells would
be chosen by the family
of the deceased and
inscribed on the tombAs
walls and scrolls of
papyrus, as well as on a
stone scarab placed over
the deceasedAs heart.
Subsequent collections of
spells and mortuary
texts, such as The Book
of Gates, assisted a soul
in navigating the twelve
stages of the
Netherworld. Not only did
these spells protect and
guide the soul on this
dangerous path, but they
also served as a
safeguard against any
unbecoming behavior an
Egyptian did while alive.
For instance, if a person
had robbed another while
alive, there was a spell
that would prevent the
soulAs heart from
revealing the truth when
in the Hall of Judgment.
Rites for the Afterlife
follows the path of a
soul to the Afterlife. In
Inscriptions from the
Book of the Dead
(movement 1), the soul
leaves the body and
begins the journey,
protected by spells and
incantations written on
the tombAs walls. In
Passage though the
Netherworld (movement 2),
the soul is now on a
funerary barque, being
towed through the
Netherworld by four of
the regionAs inhabitants.
We hear the soul slowly
chanting incantations as
the barque encounters
demons, serpents,
crocodiles, lakes of
fire, and other terrors.
The soul arrives at The
Hall of Judgment in
movement 3. Standing
before forty-two divine
judges, the soul
addresses each by name
and gives a A!negative
confessionA(r) connected
to each judge (i.e. A!I
did not rob,A(r) A!I did
not do violence,A(r) and
so on). Afterwards, the
soulAs heart is put on a
scale to be weighed
against a feather of
MaAat, the goddess of
truth. If the heart
weighs more than the
feather, it will be eaten
by Ammut, a hideous
creature that lies in
wait below the scale, and
the soul will die a
second and permanent
death (this was the worst
fear of the Egyptians).
But if the heart is in
balance with the feather,
the soul proceeds onward.
The final stage of the
journey is the arrival at
The Field of Reeds
(movement 4), which is a
perfect mirror image of
the soulAs life in
ancient Egypt. The soul
reunites with deceased
family members, makes
sacrifices to the
Egyptian gods and
goddess, harvests crops
from plentiful fields of
wheat under a brilliant
blue sky, and lives
forever next to the
abundant and nourishing
waters of the Nile. Rites
for the Afterlife was
commissioned by the
Barlow Endowment on
behalf of the Akropolis
Reed Quintet, Calefax
Reed Quintet, and the
Brigham Young University
Reed Quintet. -S.G. $53.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Rites for the Afterlife [Conducteur] Theodore Presser Co.
Chamber Music Bass Clarinet, Bassoon, Clarinet, English Horn, Oboe, alto Saxopho...(+)
Chamber Music Bass
Clarinet, Bassoon,
Clarinet, English Horn,
Oboe, alto Saxophone,
soprano Saxophone SKU:
PR.11441998S Composed
by Stacy Garrop. Sws.
Full score. 32 pages.
Duration 16 minutes.
Theodore Presser Company
#114-41998S. Published by
Theodore Presser Company
(PR.11441998S). UPC:
680160681730. 9 x 12
inches. The ancient
Egyptian empire began
around 3100 B.C. and
continued for over 3000
years until Alexander the
Great conquered the
country in 332 B.C. Over
the centuries, the
Egyptian empire grew and
flourished into a highly
developed society. They
invented hieroglyphics,
built towering pyramids
(including the Great
Pyramid of Giza, the
oldest of the Seven
Wonders of the World),
and the created many
household items we still
use today, including
toothbrushes, toothpaste,
eyeliner, black ink, and
the forerunner of
modern-day paper.
Included among their
achievements were a
series of highly
developed funerary
practices and beliefs in
the Afterlife. As the
average lifespan of an
Egyptian hovered around
30 years, living past the
death of oneAs physical
body was a legitimate
concern. Egyptians
believed that upon death,
their souls would
undertake a harrowing
journey through the
Netherworld. If they
survived the horrific
creatures and arduous
trials that awaited them,
then their souls would be
reunified with their
bodies (hence the need to
preserve the body through
mummification) and live
forever in a perfect
version of the life they
had lived in Egypt. To
achieve this, Egyptians
devised around 200
magical spells and
incantations to aid souls
on the path to the
Afterlife. These spells
are collectively called
The Book of the Dead.
Particular spells would
be chosen by the family
of the deceased and
inscribed on the tombAs
walls and scrolls of
papyrus, as well as on a
stone scarab placed over
the deceasedAs heart.
Subsequent collections of
spells and mortuary
texts, such as The Book
of Gates, assisted a soul
in navigating the twelve
stages of the
Netherworld. Not only did
these spells protect and
guide the soul on this
dangerous path, but they
also served as a
safeguard against any
unbecoming behavior an
Egyptian did while alive.
For instance, if a person
had robbed another while
alive, there was a spell
that would prevent the
soulAs heart from
revealing the truth when
in the Hall of Judgment.
Rites for the Afterlife
follows the path of a
soul to the Afterlife. In
Inscriptions from the
Book of the Dead
(movement 1), the soul
leaves the body and
begins the journey,
protected by spells and
incantations written on
the tombAs walls. In
Passage though the
Netherworld (movement 2),
the soul is now on a
funerary barque, being
towed through the
Netherworld by four of
the regionAs inhabitants.
We hear the soul slowly
chanting incantations as
the barque encounters
demons, serpents,
crocodiles, lakes of
fire, and other terrors.
The soul arrives at The
Hall of Judgment in
movement 3. Standing
before forty-two divine
judges, the soul
addresses each by name
and gives a A!negative
confessionA(r) connected
to each judge (i.e. A!I
did not rob,A(r) A!I did
not do violence,A(r) and
so on). Afterwards, the
soulAs heart is put on a
scale to be weighed
against a feather of
MaAat, the goddess of
truth. If the heart
weighs more than the
feather, it will be eaten
by Ammut, a hideous
creature that lies in
wait below the scale, and
the soul will die a
second and permanent
death (this was the worst
fear of the Egyptians).
But if the heart is in
balance with the feather,
the soul proceeds onward.
The final stage of the
journey is the arrival at
The Field of Reeds
(movement 4), which is a
perfect mirror image of
the soulAs life in
ancient Egypt. The soul
reunites with deceased
family members, makes
sacrifices to the
Egyptian gods and
goddess, harvests crops
from plentiful fields of
wheat under a brilliant
blue sky, and lives
forever next to the
abundant and nourishing
waters of the Nile. Rites
for the Afterlife was
commissioned by the
Barlow Endowment on
behalf of the Akropolis
Reed Quintet, Calefax
Reed Quintet, and the
Brigham Young University
Reed Quintet. -S.G. $29.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Quadri Morandi Guitare Fennica Gehrman
Guitar SKU: FG.55011-324-4 Composed by Kai Nieminen. Fennica Gehrman #550...(+)
Guitar SKU:
FG.55011-324-4
Composed by Kai Nieminen.
Fennica Gehrman
#55011-324-4. Published
by Fennica Gehrman
(FG.55011-324-4). ISBN
9790550113244. Quad
ri Morandi (2014) ties
together two essential
themes of Kai Niminen's
(b. 1953) compositional
style: guitar and a
subject inspired by
Italy. The strong
presence of the guitar in
his works is natural
since he is in an
actively performing
guitarist himself, and
guitar works indeed play
a significant role in his
oeuvre. Moreover, he has
written plenty of
orchestral music; for
instance two symphonies,
numerous concertos, and
chamber music. In the
field of Finnish music he
is a composer who can be
characterized as free
from any specific school
or style. In his musical
language, free tonal in
essence, one can detect
traces of Impressionism,
Neoromanticism and even
Expressionism at times,
but he is also willing to
employ more recent
20th-century stylistic
devices. Nieminen has
mentioned that he finds
himself very similar to
Japanese Toru Takemitsu
both musically and in
thought.
Mediterannean culture and
Italy especially have
been close to Nieminen's
heart ever since he first
visited the country and
appeared in the jury of
the international
Fernando Sor guitar
competition in 1981. He
has composed a great
number of works which
refer to Italian
landscapes or artists.
The work Quadri Morandi
(Morandi's pictures) is
written in four
movements. It has at its
centre the painter
Giorgio Morandi
(1890-1964), who is known
as a master of still
lifes and landscapes
painted in a plain manner
and is subdued colours.
Their atmosphere
typically reflects a calm
spirit. This is the third
guitar work that nieminen
has written for Kleemola.
It is easy to
find a counterpart for
the encaptivating realm
of Morandi's art in
Nieminen's clear and pure
expression. The titles
and expression markings
also include several
references to Morandi.
For example, in the
opening movement Prelude
the words la Natura morta
(still life) appear as an
additional note on the
chord sequence following
the freely flowing
opening section. At the
end of the movement one
can hear rhythmic motif
coloured with flageolets
that repeats the
syllables of the
painter's name: Gior-gio
Moran-di. A similar motif
can be heard at the end
of the second movement
Quasi cadenza. The
tranquilly breathing
third movement Paesaggio
(landscape) creates an
illusion of landscape by
imitating the echo of
monastery bells (come
campane del monastero)
and at the same time
refers to il monaco (the
monk), the name by which
Morandi was often called.
The final movement
Ritratto (Portrait) is
the most extensive of all
the movements and can be
seen, with its recurring
motifs, as a reflection
of the stable yet subtly
varying elements of
Morandi's art. The work
ends with the rhythmic
motif that once more
echoes Morandi's name,
like signature. $16.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Billy Joel - Greatest Hits, Volume I and II Piano, Voix et Guitare Hal Leonard
By Billy Joel. Edited by David Rosenthal. Piano/Vocal/Guitar Artist Songbook....(+)
By Billy Joel. Edited by
David Rosenthal.
Piano/Vocal/Guitar Artist
Songbook. Pop. Softcover.
Duration 675 seconds.
Published by Hal Leonard
$29.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Real Book Volume III - Second Edition - CD-ROM Tous Les Instruments [CD-ROM] Hal Leonard
| | |
| The Real Book - Volume 3 - Mini Edition Fake Book [Fake Book] Hal Leonard
Second Edition C Instruments. By Various. Fake Book (Includes melody line and ch...(+)
Second Edition C
Instruments. By Various.
Fake Book (Includes
melody line and chords).
Softcover. 464 pages.
Published by Hal Leonard.
$39.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Still, Still, Still - Intermédiaire Laurendale Associates
Unison voices, bassoon/english horn or oboe - Intermediate SKU: MN.CH-1180(+)
Unison voices,
bassoon/english horn or
oboe - Intermediate
SKU: MN.CH-1180
Composed by Paul Stuart.
Christmas. Choral score.
Duration 3 minutes, 20
seconds. Laurendale
Associates #CH-1180.
Published by Laurendale
Associates (MN.CH-1180).
This
arrangement of Still,
Still, Still utilizes the
warmth of an English
Horn, or Oboe solo to
gently bring life to this
beloved Austrian Carol
about the Holy Babe
asleep during a quiet,
chilly night. The unison
chorus later enters with
Corde Natus Ex Parentis
(Of the Father's Love
Begotten), the plainsong
by Aurelius Clemens
Prudentius (348-413)
about Jesus' eternal
reign. Because the chorus
sings plainchant, it may
equally be effective
performed by adults or
children. Duration
3:20. $1.50 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| A Gathering of Grace [Conducteur et Parties séparées] Shawnee Press
Choral (Listening CD) SKU: HL.35032529 A Service for Holy Week. Co...(+)
Choral (Listening CD)
SKU: HL.35032529
A Service for Holy
Week. Composed by
Douglas Nolan. Shawnee
Sacred. Cantata, Easter,
General Worship, Holy
Week, Sacred. CD.
Duration 2220 seconds.
Published by Shawnee
Press (HL.35032529).
ISBN 9781540040183.
UPC: 888680896898. 5x5
inches. Written to
commemorate the Passion
of Christ, this cantata
is a moving tribute to
His life and ministry.
Composed for maximum
flexibility and scored
for SA(T)B voices, the
optional cued notes make
it possible for the
cantata to grow with your
choir. Smaller choirs
will enjoy the rich
textures and larger
ensembles will be able to
engage their full
resources. For churches
that desire an
instrumental component, a
very modest consort
instrumentation creates a
reverent accompaniment.
The narration contains
scriptures and prayers to
convey the graceful theme
of Christ's sacrificial
love. Ending with the
crucifixion, A Gathering
of Grace will set the
stage for Easter morning.
Songs include: Prelude of
Shadows; In the Stillness
of This Moment; Ask of
Me; Palm Branches; A
Light in the Upper Room;
Jesus, in Gethsemane; The
Day the Cross Held Up the
Sky; A Green Hill Far
Away; Recessional. Score
and Parts (fl, cl, hn,
perc, pno, hp, vn, vc)
available as a Printed
Edition and as a digital
download. $15.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Real Book - Volume 2: Second Edition Instruments en Do [Partition + Accès audio] Hal Leonard
Book with Play-Along Tracks. Composed by Various. Real Book Play-Along. Softco...(+)
Book with Play-Along
Tracks.
Composed by Various. Real
Book Play-Along.
Softcover
Audio Online. 440 pages.
Published by Hal Leonard
$75.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Real Book - Volume II - Second Edition CD-ROM Fake Book [CD-ROM] Hal Leonard
| | |
| Winternacht - 87 Version, Kopi [Conducteur] Music Sales
Flute, Clarinet, Percussion, Piano Chamber, Guitar, Violin, Cello SKU: HL.140...(+)
Flute, Clarinet,
Percussion, Piano
Chamber, Guitar, Violin,
Cello SKU:
HL.14036215 Composed
by Hans Abrahamsen. Music
Sales America. Classical.
Score. 36 pages. Music
Sales #KP00054. Published
by Music Sales
(HL.14036215). ISBN
9788759875384.
Danish. Winternach
was written in1976-78 and
the title was taken from
a poem by the Austrian
poet Georg Trakl. The
four movements, which are
all very precise and
dreamingly poetic, are
almost classical in terms
of clarity and discipline
in orchestration and
form: hence the
dedication of the third
movement to Igor
Stravinsky. However, the
music has a strong
impressionistic quality
as well: four introverted
still lifes of the
velvety, dark iceness of
a silvery winter night
(one can veritably sense
the fairy-tale-like
sleigh ride in the two
outer movements). The
second movement is
dedicated to the
eccentric lithographer
M.C. Escher and the first
and last movements are
both dedicated to Georg
Trakl. As in the
well-known orchestral
work, Stratifications, we
can enjoy Amrahamsen's
fiscination with having
several events occur
simultaneously: a
thoughtful as well as
playful multilayered
quality mirrors the
poetic and mysterious
worlds of painting,
literature, nature and
most important of all:
music. $44.50 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| To Hell and Back Livre - Pas de partitions Biographie [Livre]
My Life in Johnny Thunders' Heartbreakers, in the Words of the Last Man...(+)
My Life in Johnny
Thunders'
Heartbreakers, in the
Words
of the Last Man Standing.
By
Johnny Thunders and the
Heartbreakers. Book.
Biography / Personal
Memoir,
Biography/Composers &
Musicians. Softcover. 264
pages. Duration 245
seconds.
Published by Rowman &
Littlefield
$18.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Mother to Son Chorale 2 parties SA, Piano - Intermédiaire Schirmer
Composed by Gwyneth W. Walker (1947-). 21st Century. Octavo. Duration 3 minute...(+)
Composed by Gwyneth W.
Walker
(1947-). 21st Century.
Octavo. Duration 3
minutes,
45 seconds. E.C. Schirmer
Publishing #8678.
Published
by E.C. Schirmer
Publishing
$2.25 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Live On - Facile Carl Fischer
Orchestra Cello, Contrabass, Piano, Viola, Violin 1, Violin 2, Violin 3 - Grade ...(+)
Orchestra Cello,
Contrabass, Piano, Viola,
Violin 1, Violin 2,
Violin 3 - Grade 2
SKU: CF.YAS182
Composed by Larry Clark.
Young String Orchestra.
Set of Score and Parts.
With Standard notation.
16+16+10+4+3+10+10+12
pages. Duration 3
minutes, 32 seconds. Carl
Fischer Music #YAS182.
Published by Carl Fischer
Music (CF.YAS182).
ISBN 9781491151471.
UPC: 680160908974. 9 x 12
inches. Key: G
major. The title,
Live On, by Larry Clark,
is taken from Chrissie
Pinney's poem about grief
and loss. The piece is
meant to depict the
personality of Linda
Mann, to whom it is
dedicated. The opening is
poignant and pensive,
followed by a whimsical
theme which alludes to
happy thoughts of a life
well-lived. The piece
builds to a
triumphant?conclusion
based on an augmented
version of the
theme.
Live On
was commissioned by
Diplomat Middle School's
staff, faculty and
students in Cape Coral,
Florida, and is dedicated
to the memory of their
Director of Bands, Linda
Mann. Director of
Orchestras, Roland Forti,
championed the
commissioning of this
piece to honor the life
of Linda after her
untimely passing in
February of 2017. Linda Manns
impact on the field of
music education was
profound and
wide-reaching. She was a
beloved member of the
staff at Diplomat Middle
School, as well as the
music community of Cape
Coral and the state of
Florida. Linda was highly
respected throughout the
state, serving as recent
past-president of the
Florida Bandmasters
Association.
In discussing
the type of piece the
school wanted to honor
Ms. Mann, they indicated
the piece should depict
Lindas personality -
dynamic, sassy, yet
thoughtful and almost
mentor-like. They wanted
a piece that was upbeat,
yet still had moments
that were thoughtful,
portraying the grief that
the Diplomat Middle
School community has
suffered from the sudden
loss of such a beloved
teacher. After
contemplating their
thoughts, I did some
research to find
inspiration for the
piece. This led me to
poetry about grief and
loss. In time, I stumbled
upon a short, yet
poignant poem that I felt
perfectly depicted the
sentiment that I wanted
the piece to convey. That poem is
entitled Live On
by Chrissie
Pinney. Live
On Now as I live
on Without
you I
hope to keep
The pieces of
you That I loved so
dearly Your
mannerisms And
compassionate
character And smiles
through
struggle So
that you May live on
too
-Chrissie
Pinney I
reached out to Ms.
Pinney, and she
graciously agreed to
allow me to quote her
powerful poem in these
notes. She expressed
that she was deeply
touched that her work
would inspire me to write
a piece in honor of Linda
Mann. The piece begins
with a poignant, pensive
opening section. The use
of the musical interval
of a tritone between the
first two openly voiced
chords are used to
represent the sadness we
all feel from this type
of loss. When I sat in
front of my piano and
started to work on this
piece, my hands seemed to
naturally and immediately
play these first two
chords, which set the
process in motion of
composing the
piece. After the somber
opening, the piece shifts
to a whimsical theme that
I hope brings about happy
thoughts of Linda and her
personality. It was also
my intent, however, to
include some musical
dissonance in the theme
that still reflected the
bittersweet loss at the
same time. The piece
develops into a secondary
theme that is a quasi
inversion of the main
fast theme. This section
is followed by a return
of the opening material,
with snippets of the fast
theme intertwined, before
the piece builds to a
triumphant, augmented
presentation of the main
theme in a lush form to
complete the
work. It is my hope
that in some small way,
this piece will bring
comfort to those affected
by the loss of Linda
Mann, and that the music
will allow her memory to
Live
On. Larry
Clark Lakeland, FL
2017 . Live On
was commissioned by
Diplomat Middle School's
staff, faculty and
students in Cape Coral,
Florida, and is dedicated
to the memory of their
Director of Bands, Linda
Mann. Director of
Orchestras, Roland Forti,
championed the
commissioning of this
piece to honor the life
of Linda after her
untimely passing in
February of 2017.A Linda Mannas
impact on the field of
music education was
profound and
wide-reaching. She was a
beloved member of the
staff at Diplomat Middle
School, as well as the
music community of Cape
Coral and the state of
Florida. Linda was highly
respected throughout the
state, serving as recent
past-president of the
Florida Bandmasters
Association.
In discussing
the type of piece the
school wanted to honor
Ms. Mann, they indicated
the piece should adepict
Lindaas personality -
dynamic, sassy, yet
thoughtful and almost
mentor-like.a They wanted
a piece that was upbeat,
yet still had moments
that were thoughtful,
portraying the grief that
the Diplomat Middle
School community has
suffered from the sudden
loss of such a beloved
teacher. After
contemplating their
thoughts, I did some
research to find
inspiration for the
piece. This led me to
poetry about grief and
loss. In time, I stumbled
upon a short, yet
poignant poem that I felt
perfectly depicted the
sentiment that I wanted
the piece to convey.A That poem is
entitled Live On
by Chrissie
Pinney. Live
On Now as I live
on Without
you I
hope to keep
The pieces of
you That I loved so
dearly Your
mannerisms And
compassionate
character And smiles
through
struggle So
that you May live on
too A
-Chrissie
Pinney I
reached out to Ms.
Pinney, and she
graciously agreed to
allow me to quote her
powerful poem in these
notes.A She expressed
that she was deeply
touched that her work
would inspire me to write
a piece in honor of Linda
Mann. The piece begins
with a poignant, pensive
opening section. The use
of the musical interval
of a tritone between the
first two openly voiced
chords are used to
represent the sadness we
all feel from this type
of loss. When I sat in
front of my piano and
started to work on this
piece, my hands seemed to
naturally and immediately
play these first two
chords, which set the
process in motion of
composing the
piece. After the somber
opening, the piece shifts
to a whimsical theme that
I hope brings about happy
thoughts of Linda and her
personality. It was also
my intent, however, to
include some musical
dissonance in the theme
that still reflected the
bittersweet loss at the
same time.A The piece
develops into a secondary
theme that is a quasi
inversion of the main
fast theme.A This section
is followed by a return
of the opening material,
with snippets of the fast
theme intertwined, before
the piece builds to a
triumphant, augmented
presentation of the main
theme in a lush form to
complete the
work. It is my hope
that in some small way,
this piece will bring
comfort to those affected
by the loss of Linda
Mann, and that the music
will allow her memory to
Live
On. aLarry
Clark Lakeland, FL
2017 . Live On
was commissioned by
Diplomat Middle School's
staff, faculty and
students in Cape Coral,
Florida, and is dedicated
to the memory of their
Director of Bands, Linda
Mann. Director of
Orchestras, Roland Forti,
championed the
commissioning of this
piece to honor the life
of Linda after her
untimely passing in
February of 2017.A Linda Mannas
impact on the field of
music education was
profound and
wide-reaching. She was a
beloved member of the
staff at Diplomat Middle
School, as well as the
music community of Cape
Coral and the state of
Florida. Linda was highly
respected throughout the
state, serving as recent
past-president of the
Florida Bandmasters
Association.
In discussing
the type of piece the
school wanted to honor
Ms. Mann, they indicated
the piece should adepict
Lindaas personality -
dynamic, sassy, yet
thoughtful and almost
mentor-like.a They wanted
a piece that was upbeat,
yet still had moments
that were thoughtful,
portraying the grief that
the Diplomat Middle
School community has
suffered from the sudden
loss of such a beloved
teacher. After
contemplating their
thoughts, I did some
research to find
inspiration for the
piece. This led me to
poetry about grief and
loss. In time, I stumbled
upon a short, yet
poignant poem that I felt
perfectly depicted the
sentiment that I wanted
the piece to convey.A That poem is
entitled Live On
by Chrissie
Pinney. Live
On Now as I live
on Without
you I
hope to keep
The pieces of
you That I loved so
dearly Your
mannerisms And
compassionate
character And smiles
through
struggle So
that you May live on
too A
-Chrissie
Pinney I
reached out to Ms.
Pinney, and she
graciously agreed to
allow me to quote her
powerful poem in these
notes.A She expressed
that she was deeply
touched that her work
would inspire me to write
a piece in honor of Linda
Mann. The piece begins
with a poignant, pensive
opening section. The use
of the musical interval
of a tritone between the
first two openly voiced
chords are used to
represent the sadness we
all feel from this type
of loss. When I sat in
front of my piano and
started to work on this
piece, my hands seemed to
naturally and immediately
play these first two
chords, which set the
process in motion of
composing the
piece. After the somber
opening, the piece shifts
to a whimsical theme that
I hope brings about happy
thoughts of Linda and her
personality. It was also
my intent, however, to
include some musical
dissonance in the theme
that still reflected the
bittersweet loss at the
same time.A The piece
develops into a secondary
theme that is a quasi
inversion of the main
fast theme.A This section
is followed by a return
of the opening material,
with snippets of the fast
theme intertwined, before
the piece builds to a
triumphant, augmented
presentation of the main
theme in a lush form to
complete the
work. It is my hope
that in some small way,
this piece will bring
comfort to those affected
by the loss of Linda
Mann, and that the music
will allow her memory to
Live
On. aLarry
Clark Lakeland, FL
2017 . Live On
was commissioned by
Diplomat Middle School's
staff, faculty and
students in Cape Coral,
Florida, and is dedicated
to the memory of their
Director of Bands, Linda
Mann. Director of
Orchestras, Roland Forti,
championed the
commissioning of this
piece to honor the life
of Linda after her
untimely passing in
February of 2017. Linda Mann's
impact on the field of
music education was
profound and
wide-reaching. She was a
beloved member of the
staff at Diplomat Middle
School, as well as the
music community of Cape
Coral and the state of
Florida. Linda was highly
respected throughout the
state, serving as recent
past-president of the
Florida Bandmasters
Association.
In discussing
the type of piece the
school wanted to honor
Ms. Mann, they indicated
the piece should depict
Linda's personality -
dynamic, sassy, yet
thoughtful and almost
mentor-like. They wanted
a piece that was upbeat,
yet still had moments
that were thoughtful,
portraying the grief that
the Diplomat Middle
School community has
suffered from the sudden
loss of such a beloved
teacher. After
contemplating their
thoughts, I did some
research to find
inspiration for the
piece. This led me to
poetry about grief and
loss. In time, I stumbled
upon a short, yet
poignant poem that I felt
perfectly depicted the
sentiment that I wanted
the piece to convey. That poem is
entitled Live On
by Chrissie
Pinney. Live
On Now as I live
on Without
you I
hope to keep
The pieces of
you That I loved so
dearly Your
mannerisms And
compassionate
character And smiles
through
struggle So
that you May live on
too
-Chrissie
Pinney I
reached out to Ms.
Pinney, and she
graciously agreed to
allow me to quote her
powerful poem in these
notes. She expressed
that she was deeply
touched that her work
would inspire me to write
a piece in honor of Linda
Mann. The piece begins
with a poignant, pensive
opening section. The use
of the musical interval
of a tritone between the
first two openly voiced
chords are used to
represent the sadness we
all feel from this type
of loss. When I sat in
front of my piano and
started to work on this
piece, my hands seemed to
naturally and immediately
play these first two
chords, which set the
process in motion of
composing the
piece. After the somber
opening, the piece shifts
to a whimsical theme that
I hope brings about happy
thoughts of Linda and her
personality. It was also
my intent, however, to
include some musical
dissonance in the theme
that still reflected the
bittersweet loss at the
same time. The piece
develops into a secondary
theme that is a quasi
inversion of the main
fast theme. This section
is followed by a return
of the opening material,
with snippets of the fast
theme intertwined, before
the piece builds to a
triumphant, augmented
presentation of the main
theme in a lush form to
complete the
work. It is my hope
that in some small way,
this piece will bring
comfort to those affected
by the loss of Linda
Mann, and that the music
will allow her memory to
Live
On. -Larry
Clark Lakeland, FL
2017 . Live
On was commissioned by
Diplomat Middle School's
staff, faculty and
students in Cape Coral,
Florida, and is dedicated
to the memory of their
Director of Bands, Linda
Mann. Director of
Orchestras, Roland Forti,
championed the
commissioning of this
piece to honor the life
of Linda after her
untimely passing in
February of 2017. Linda
Mann's impact on the
field of music education
was profound and
wide-reaching. She was a
beloved member of the
staff at Diplomat Middle
School, as well as the
music community of Cape
Coral and the state of
Florida. Linda was highly
respected throughout the
state, serving as recent
past-president of the
Florida Bandmasters
Association. In
discussing the type of
piece the school wanted
to honor Ms. Mann, they
indicated the piece
should depict Linda's
personality - dynamic,
sassy, yet thoughtful and
almost mentor-like. They
wanted a piece that was
upbeat, yet still had
moments that were
thoughtful, portraying
the grief that the
Diplomat Middle School
community has suffered
from the sudden loss of
such a beloved teacher.
After contemplating their
thoughts, I did some
research to find
inspiration for the
piece. This led me to
poetry about grief and
loss. In time, I stumbled
upon a short, yet
poignant poem that I felt
perfectly depicted the
sentiment that I wanted
the piece to convey. That
poem is entitled Live On
by Chrissie Pinney. Live
On Now as I live on
Without you I hope to
keep The pieces of you
That I loved so dearly
Your mannerisms And
compassionate character
And smiles through
struggle So that you May
live on too -Chrissie
Pinney I reached out to
Ms. Pinney, and she
graciously agreed to
allow me to quote her
powerful poem in these
notes. She expressed that
she was deeply touched
that her work would
inspire me to write a
piece in honor of Linda
Mann. The piece begins
with a poignant, pensive
opening section. The use
of the musical interval
of a tritone between the
first two openly voiced
chords are used to
represent the sadness we
all feel from this type
of loss. When I sat in
front of my piano and
started to work on this
piece, my hands seemed to
naturally and immediately
play these first two
chords, which set the
process in motion of
composing the piece.
After the somber opening,
the piece shifts to a
whimsical theme that I
hope brings about happy
thoughts of Linda and her
personality. It was also
my intent, however, to
include some musical
dissonance in the theme
that still reflected the
bittersweet loss at the
same time. The piece
develops into a secondary
theme that is a quasi
inversion of the main
fast theme. This section
is followed by a return
of the opening material,
with snippets of the fast
theme intertwined, before
the piece builds to a
triumphant, augmented
presentation of the main
theme in a lush form to
complete the work. It is
my hope that in some
small way, this piece
will bring comfort to
those affected by the
loss of Linda Mann, and
that the music will allow
her memory to Live On.
-Larry Clark Lakeland, FL
2017. Live On was
commissioned by Diplomat
Middle School's staff,
faculty and students in
Cape Coral, Florida, and
is dedicated to the
memory of their Director
of Bands, Linda Mann.
Director of Orchestras,
Roland Forti, championed
the commissioning of this
piece to honor the life
of Linda after her
untimely passing in
February of
2017. Linda
Mann’s impact on
the field of music
education was profound
and wide-reaching. She
was a beloved member of
the staff at Diplomat
Middle School, as well as
the music community of
Cape Coral and the state
of Florida. Linda was
highly respected
throughout the state,
serving as recent
past-president of the
Florida Bandmasters
Association.In discussing
the type of piece the
school wanted to honor
Ms. Mann, they indicated
the piece should
“depict
Linda’s
personality - dynamic,
sassy, yet thoughtful and
almost
mentor-like.†They
wanted a piece that was
upbeat, yet still had
moments that were
thoughtful, portraying
the grief that the
Diplomat Middle School
community has suffered
from the sudden loss of
such a beloved
teacher.After
contemplating their
thoughts, I did some
research to find
inspiration for the
piece. This led me to
poetry about grief and
loss. In time, I stumbled
upon a short, yet
poignant poem that I felt
perfectly depicted the
sentiment that I wanted
the piece to convey.Â
That poem is entitled
Live On by Chrissie
Pinney.Live OnNow as I
live onWithout youI hope
to keepThe pieces of
youThat I loved so
dearlyYour mannerismsAnd
compassionate
characterAnd smiles
through struggleSo that
youMay live on
too -Chrissie PinneyI
reached out to Ms.
Pinney, and she
graciously agreed to
allow me to quote her
powerful poem in these
notes. She expressed
that she was deeply
touched that her work
would inspire me to write
a piece in honor of Linda
Mann.The piece begins
with a poignant, pensive
opening section. The use
of the musical interval
of a tritone between the
first two openly voiced
chords are used to
represent the sadness we
all feel from this type
of loss. When I sat in
front of my piano and
started to work on this
piece, my hands seemed to
naturally and immediately
play these first two
chords, which set the
process in motion of
composing the piece.After
the somber opening, the
piece shifts to a
whimsical theme that I
hope brings about happy
thoughts of Linda and her
personality. It was also
my intent, however, to
include some musical
dissonance in the theme
that still reflected the
bittersweet loss at the
same time. The piece
develops into a secondary
theme that is a quasi
inversion of the main
fast theme. This
section is followed by a
return of the opening
material, with snippets
of the fast theme
intertwined, before the
piece builds to a
triumphant, augmented
presentation of the main
theme in a lush form to
complete the work.It is
my hope that in some
small way, this piece
will bring comfort to
those affected by the
loss of Linda Mann, and
that the music will allow
her memory to Live
On.–Larry
ClarkLakeland, FL
2017.
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 $55.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Ultimate Fake Book - C Instruments (3rd Edition)
Fake Book [Fake Book] Hal Leonard
C Edition. Fake Book (Includes melody line and chords). Size 9x12 inches. 816 pa...(+)
C Edition. Fake Book
(Includes melody line and
chords). Size 9x12
inches. 816 pages.
Published by Hal Leonard.
(31)$55.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Serenade [Conducteur] Carl Fischer
Full orchestra Bassoon 1, Bassoon 2, Clarinet 1, Clarinet 2, Contrabass, Crash C...(+)
Full orchestra Bassoon 1,
Bassoon 2, Clarinet 1,
Clarinet 2, Contrabass,
Crash Cymbals, Flute 1,
Flute 2, Glockenspiel,
Harp, Horn 1, Horn 2,
Horn 3, Oboe 2,
Percussion 1, Percussion
2, Piccolo, Suspended
Cymbal, Timpani, Trombone
1, Trombone 2, Trumpet 1
and more. SKU:
CF.SC88 Composed by
William Grant Still. Full
score. 32 pages. Duration
9 minutes, 20 seconds.
Carl Fischer Music #SC88.
Published by Carl Fischer
Music (CF.SC88). ISBN
9781491158845. UPC:
680160917563. Willi
am Grant Stillas catalog
of works comprises over
200 pieces, including
five symphonies, nine
operas, four ballets and
numerous works for
chamber ensembles. He
initially found
employment as an oboist
in pit orchestras in New
York City, later as an
arranger of popular music
for various ensembles,
including those by
William C. Handy, James
P. Johnson and Paul
Whiteman. His career as a
composer was launched
with a performance in
1931 of his Symphony No.
1 aAfro-Americana by the
Rochester Philharmonic,
conducted by Howard
Hanson, who would remain
a life-long champion of
Stillas orchestral works.
By the 1950s the symphony
had been performed in New
York, Chicago, Los
Angeles and various
European capitals. This
notoriety earned Still a
Guggenheim Fellowship in
1934, after which he
moved to Los Angeles. He
is credited as the first
African-American to
conduct a major orchestra
(the Los Angeles
Philharmonic Orchestra),
the first to have an
opera performed by a
major company (Troubled
Island by the New York
City Opera in 1949), and
one of the first
composers to write for
radio, films and
television. So numerous
were his awards and
accolades, including
three Guggenheim
Fellowships and a variety
of honorary doctorates,
that he was designated as
the aDean of
Afro-American Composers.a
Still composed his
Serenade for Orchestra in
1957 on a commission by
the Great Falls High
School in Great Falls,
Montana. He later
transcribed the work for
a chamber ensemble of
flute, clarinet, harp and
strings. The piece
reflects Stillas interest
in American folk idioms,
with conventional
melodies and harmonies
that nonetheless express
a fresh and individual
compositional
voice. William Grant
Still's catalog of works
comprises over 200
pieces, including five
symphonies, nine operas,
four ballets and numerous
works for chamber
ensembles. He initially
found employment as an
oboist in pit orchestras
in New York City, later
as an arranger of popular
music for various
ensembles, including
those by William C.
Handy, James P. Johnson
and Paul Whiteman. His
career as a composer was
launched with a
performance in 1931 of
his Symphony No. 1
Afro-American by the
Rochester Philharmonic,
conducted by Howard
Hanson, who would remain
a life-long champion of
Still's orchestral works.
By the 1950s the symphony
had been performed in New
York, Chicago, Los
Angeles and various
European capitals. This
notoriety earned Still a
Guggenheim Fellowship in
1934, after which he
moved to Los Angeles. He
is credited as the first
African-American to
conduct a major orchestra
(the Los Angeles
Philharmonic Orchestra),
the first to have an
opera performed by a
major company (Troubled
Island by the New York
City Opera in 1949), and
one of the first
composers to write for
radio, films and
television. So numerous
were his awards and
accolades, including
three Guggenheim
Fellowships and a variety
of honorary doctorates,
that he was designated as
the Dean of Afro-American
Composers. Still composed
his Serenade for
Orchestra in 1957 on a
commission by the Great
Falls High School in
Great Falls, Montana. He
later transcribed the
work for a chamber
ensemble of flute,
clarinet, harp and
strings. The piece
reflects Still's interest
in American folk idioms,
with conventional
melodies and harmonies
that nonetheless express
a fresh and individual
compositional
voice. William Grant
Still’s catalog of
works comprises over 200
pieces, including five
symphonies, nine operas,
four ballets and numerous
works for chamber
ensembles. He initially
found employment as an
oboist in pit orchestras
in New York City, later
as an arranger of popular
music for various
ensembles, including
those by William C.
Handy, James P. Johnson
and Paul Whiteman. His
career as a composer was
launched with a
performance in 1931 of
his Symphony No. 1
“Afro-Americanâ€
by the Rochester
Philharmonic, conducted
by Howard Hanson, who
would remain a life-long
champion of
Still’s orchestral
works. By the 1950s the
symphony had been
performed in New York,
Chicago, Los Angeles and
various European
capitals.This notoriety
earned Still a Guggenheim
Fellowship in 1934, after
which he moved to Los
Angeles. He is credited
as the first
African-American to
conduct a major orchestra
(the Los Angeles
Philharmonic Orchestra),
the first to have an
opera performed by a
major company (Troubled
Island by the New York
City Opera in 1949), and
one of the first
composers to write for
radio, films and
television. So numerous
were his awards and
accolades, including
three Guggenheim
Fellowships and a variety
of honorary doctorates,
that he was designated as
the “Dean of
Afro-American
Composers.â€Still
composed his Serenade for
Orchestra in 1957 on a
commission by the Great
Falls High School in
Great Falls, Montana. He
later transcribed the
work for a chamber
ensemble of flute,
clarinet, harp and
strings. The piece
reflects Still’s
interest in American folk
idioms, with conventional
melodies and harmonies
that nonetheless express
a fresh and individual
compositional voice. $25.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Ankh of Eternity - Facile Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Cabasa, Clarinet 1, Clarinet 2, Congas, ...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Cabasa,
Clarinet 1, Clarinet 2,
Congas, Euphonium,
Euphonium T.C., Flute 1,
Flute 2, Horn, Mark Tree,
Oboe, Percussion 1,
Percussion 2, Percussion
3, Tam-tam, Tambourine,
Trombone 1, Trombone 2,
Trumpet 1 and more. -
Grade 2.5 SKU:
CF.YPS240 Composed by
Kelly Dugger. Set of
Score and Parts.
24+8+8+4+8+8+4+4+6+4+4+4+
8+8+8+6+6+6+4+6+2+4+6
pages. Duration 5
minutes, 20 seconds. Carl
Fischer Music #YPS240.
Published by Carl Fischer
Music (CF.YPS240).
ISBN 9781491159637.
UPC:
680160918225. An
Ankh is an ancient
Egyptian hieroglyphic
representing the word
Life. The Ankh of
Eternity depicts an epic
journey through ancient
lands to find the
mythical Ankh of Eternity
amulet promising eternal
life. The piece journeys
through the desert in a
caravan, with a stop for
a Kaff celebration, an
Arabic hand-clapping folk
art. The discovery of the
tomb is spine chilling
and eerie with special
percussion effects. After
the Ankh is discovered,
swarms of locusts descend
and our travelers run for
their lives. They may
have found eternal life,
but will they be forever
cursed? The Ankh of
Eternity uses an Arabic
or double harmonic-major
scale. Performers have
multiple soloing and
improvising
opportunities. Complex
but repeating rhythms
offer players a chance to
practice getting in the
groove. Players and
audiences alike will be
invigorated by the many
celebratory moments and
thrilled at the eerie and
downright scary moments!
The Ankh of Eternity
offers cultural and
historical inclusion
opportunities,
improvisation, unique
scales, rhythmic
challenges, and a
thrilling story.
Conductor Notes: Measures
45-61: Kaff is the
ancient Arabic art of
hand clapping over
improvised poetry. The
Kaff Celebration section
represents this art form.
The improvising soloists
should be designated by
the conductor and should
each be four measures
long . Alternatively,
soloists may copy the
phrase in the second
ending as a solo. The
AYE! should be shouted
joyously. The repeat may
be omitted for
performance time
concerns, or, of course,
repeated multiple times
for more solos. Measures
64-73: Experiment with
different cymbal noises,
such as scrapes with a
nail or coin, taps with
triangle beaters, bowed
cymbals, etc.
Water-cymbal techniques
should also be used. Fill
a storage tub with water,
and with the suspended
cymbal still on the
stand, hit the cymbal a
couple times with a soft
mallet, and lower the
cymbal into the water for
a glissando effect. The
overall effect should be
creepy cave-like echoes
bending around
corners. An Ankh is an
ancient Egyptian
hieroglyphic representing
the word Life. The
Ankh of
Eternity depicts an
epic journey through
ancient lands to find the
mythical Ankh of Eternity
amulet promising eternal
life. The piece journeys
through the desert in a
caravan, with a stop for
a Kaff celebration, an
Arabic hand-clapping folk
art. The discovery of the
tomb is spine chilling
and eerie with special
percussion effects. After
the Ankh is discovered,
swarms of locusts descend
and our travelers run for
their lives. They may
have found eternal life,
but will they be forever
cursed?The Ankh of
Eternity uses an Arabic
or double harmonic-major
scale. Performers have
multiple soloing and
improvising
opportunities. Complex
but repeating rhythms
offer players a chance to
practice getting in the
groove. Players and
audiences alike will be
invigorated by the many
celebratory moments and
thrilled at the eerie and
downright scary moments!
The Ankh of
Eternity offers
cultural and historical
inclusion opportunities,
improvisation, unique
scales,
rhythmic challenges,
and a thrilling
story.Conductor Notes:
Measures 45–61:
Kaff is the ancient
Arabic art of hand
clapping over improvised
poetry. The Kaff
Celebration section
represents this art form.
The improvising soloists
should be designated by
the conductor and should
each be four measures
long . Alternatively,
soloists may copy the
phrase in the second
ending as a solo. The
AYE! should be shouted
joyously. The repeat may
be omitted for
performance time
concerns, or, of course,
repeated multiple times
for more solos. Measures
64–73: Experiment
with different cymbal
noises, such as scrapes
with a nail or coin, taps
with triangle beaters,
bowed cymbals, etc.
Water-cymbal techniques
should also be used. Fill
a storage tub with water,
and with the suspended
cymbal still on the
stand, hit the cymbal a
couple times with a soft
mallet, and lower the
cymbal into the water for
a glissando effect. The
overall effect should be
creepy cave-like echoes
bending around
corners. $75.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Live On [Conducteur] - Facile Carl Fischer
Orchestra Cello, Contrabass, Piano, Viola, Violin 1, Violin 2, Violin 3 - Grade ...(+)
Orchestra Cello,
Contrabass, Piano, Viola,
Violin 1, Violin 2,
Violin 3 - Grade 2
SKU: CF.YAS182F
Composed by Larry Clark.
Young String Orchestra
(YAS). Full score. With
Standard notation. 12
pages. Carl Fischer Music
#YAS182F. Published by
Carl Fischer Music
(CF.YAS182F). ISBN
9781491151846. UPC:
680160909346. 9 x 12
inches. The title,
Live On, by Larry Clark,
is taken from Chrissie
Pinney's poem about grief
and loss. The piece is
meant to depict the
personality of Linda
Mann, to whom it is
dedicated. The opening is
poignant and pensive,
followed by a whimsical
theme which alludes to
happy thoughts of a life
well-lived. The piece
builds to a
triumphant?conclusion
based on an augmented
version of the
theme.
Live On
was commissioned by
Diplomat Middle School's
staff, faculty and
students in Cape Coral,
Florida, and is dedicated
to the memory of their
Director of Bands, Linda
Mann. Director of
Orchestras, Roland Forti,
championed the
commissioning of this
piece to honor the life
of Linda after her
untimely passing in
February of 2017. Linda Manns
impact on the field of
music education was
profound and
wide-reaching. She was a
beloved member of the
staff at Diplomat Middle
School, as well as the
music community of Cape
Coral and the state of
Florida. Linda was highly
respected throughout the
state, serving as recent
past-president of the
Florida Bandmasters
Association.
In discussing
the type of piece the
school wanted to honor
Ms. Mann, they indicated
the piece should depict
Lindas personality -
dynamic, sassy, yet
thoughtful and almost
mentor-like. They wanted
a piece that was upbeat,
yet still had moments
that were thoughtful,
portraying the grief that
the Diplomat Middle
School community has
suffered from the sudden
loss of such a beloved
teacher. After
contemplating their
thoughts, I did some
research to find
inspiration for the
piece. This led me to
poetry about grief and
loss. In time, I stumbled
upon a short, yet
poignant poem that I felt
perfectly depicted the
sentiment that I wanted
the piece to convey. That poem is
entitled Live On
by Chrissie
Pinney. Live
On Now as I live
on Without
you I
hope to keep
The pieces of
you That I loved so
dearly Your
mannerisms And
compassionate
character And smiles
through
struggle So
that you May live on
too
-Chrissie
Pinney I
reached out to Ms.
Pinney, and she
graciously agreed to
allow me to quote her
powerful poem in these
notes. She expressed
that she was deeply
touched that her work
would inspire me to write
a piece in honor of Linda
Mann. The piece begins
with a poignant, pensive
opening section. The use
of the musical interval
of a tritone between the
first two openly voiced
chords are used to
represent the sadness we
all feel from this type
of loss. When I sat in
front of my piano and
started to work on this
piece, my hands seemed to
naturally and immediately
play these first two
chords, which set the
process in motion of
composing the
piece. After the somber
opening, the piece shifts
to a whimsical theme that
I hope brings about happy
thoughts of Linda and her
personality. It was also
my intent, however, to
include some musical
dissonance in the theme
that still reflected the
bittersweet loss at the
same time. The piece
develops into a secondary
theme that is a quasi
inversion of the main
fast theme. This section
is followed by a return
of the opening material,
with snippets of the fast
theme intertwined, before
the piece builds to a
triumphant, augmented
presentation of the main
theme in a lush form to
complete the
work. It is my hope
that in some small way,
this piece will bring
comfort to those affected
by the loss of Linda
Mann, and that the music
will allow her memory to
Live
On. Larry
Clark Lakeland, FL
2017 . Live On
was commissioned by
Diplomat Middle School's
staff, faculty and
students in Cape Coral,
Florida, and is dedicated
to the memory of their
Director of Bands, Linda
Mann. Director of
Orchestras, Roland Forti,
championed the
commissioning of this
piece to honor the life
of Linda after her
untimely passing in
February of 2017.A Linda Mannas
impact on the field of
music education was
profound and
wide-reaching. She was a
beloved member of the
staff at Diplomat Middle
School, as well as the
music community of Cape
Coral and the state of
Florida. Linda was highly
respected throughout the
state, serving as recent
past-president of the
Florida Bandmasters
Association.
In discussing
the type of piece the
school wanted to honor
Ms. Mann, they indicated
the piece should adepict
Lindaas personality -
dynamic, sassy, yet
thoughtful and almost
mentor-like.a They wanted
a piece that was upbeat,
yet still had moments
that were thoughtful,
portraying the grief that
the Diplomat Middle
School community has
suffered from the sudden
loss of such a beloved
teacher. After
contemplating their
thoughts, I did some
research to find
inspiration for the
piece. This led me to
poetry about grief and
loss. In time, I stumbled
upon a short, yet
poignant poem that I felt
perfectly depicted the
sentiment that I wanted
the piece to convey.A That poem is
entitled Live On
by Chrissie
Pinney. Live
On Now as I live
on Without
you I
hope to keep
The pieces of
you That I loved so
dearly Your
mannerisms And
compassionate
character And smiles
through
struggle So
that you May live on
too A
-Chrissie
Pinney I
reached out to Ms.
Pinney, and she
graciously agreed to
allow me to quote her
powerful poem in these
notes.A She expressed
that she was deeply
touched that her work
would inspire me to write
a piece in honor of Linda
Mann. The piece begins
with a poignant, pensive
opening section. The use
of the musical interval
of a tritone between the
first two openly voiced
chords are used to
represent the sadness we
all feel from this type
of loss. When I sat in
front of my piano and
started to work on this
piece, my hands seemed to
naturally and immediately
play these first two
chords, which set the
process in motion of
composing the
piece. After the somber
opening, the piece shifts
to a whimsical theme that
I hope brings about happy
thoughts of Linda and her
personality. It was also
my intent, however, to
include some musical
dissonance in the theme
that still reflected the
bittersweet loss at the
same time.A The piece
develops into a secondary
theme that is a quasi
inversion of the main
fast theme.A This section
is followed by a return
of the opening material,
with snippets of the fast
theme intertwined, before
the piece builds to a
triumphant, augmented
presentation of the main
theme in a lush form to
complete the
work. It is my hope
that in some small way,
this piece will bring
comfort to those affected
by the loss of Linda
Mann, and that the music
will allow her memory to
Live
On. aLarry
Clark Lakeland, FL
2017 . Live On
was commissioned by
Diplomat Middle School's
staff, faculty and
students in Cape Coral,
Florida, and is dedicated
to the memory of their
Director of Bands, Linda
Mann. Director of
Orchestras, Roland Forti,
championed the
commissioning of this
piece to honor the life
of Linda after her
untimely passing in
February of 2017.A Linda Mannas
impact on the field of
music education was
profound and
wide-reaching. She was a
beloved member of the
staff at Diplomat Middle
School, as well as the
music community of Cape
Coral and the state of
Florida. Linda was highly
respected throughout the
state, serving as recent
past-president of the
Florida Bandmasters
Association.
In discussing
the type of piece the
school wanted to honor
Ms. Mann, they indicated
the piece should adepict
Lindaas personality -
dynamic, sassy, yet
thoughtful and almost
mentor-like.a They wanted
a piece that was upbeat,
yet still had moments
that were thoughtful,
portraying the grief that
the Diplomat Middle
School community has
suffered from the sudden
loss of such a beloved
teacher. After
contemplating their
thoughts, I did some
research to find
inspiration for the
piece. This led me to
poetry about grief and
loss. In time, I stumbled
upon a short, yet
poignant poem that I felt
perfectly depicted the
sentiment that I wanted
the piece to convey.A That poem is
entitled Live On
by Chrissie
Pinney. Live
On Now as I live
on Without
you I
hope to keep
The pieces of
you That I loved so
dearly Your
mannerisms And
compassionate
character And smiles
through
struggle So
that you May live on
too A
-Chrissie
Pinney I
reached out to Ms.
Pinney, and she
graciously agreed to
allow me to quote her
powerful poem in these
notes.A She expressed
that she was deeply
touched that her work
would inspire me to write
a piece in honor of Linda
Mann. The piece begins
with a poignant, pensive
opening section. The use
of the musical interval
of a tritone between the
first two openly voiced
chords are used to
represent the sadness we
all feel from this type
of loss. When I sat in
front of my piano and
started to work on this
piece, my hands seemed to
naturally and immediately
play these first two
chords, which set the
process in motion of
composing the
piece. After the somber
opening, the piece shifts
to a whimsical theme that
I hope brings about happy
thoughts of Linda and her
personality. It was also
my intent, however, to
include some musical
dissonance in the theme
that still reflected the
bittersweet loss at the
same time.A The piece
develops into a secondary
theme that is a quasi
inversion of the main
fast theme.A This section
is followed by a return
of the opening material,
with snippets of the fast
theme intertwined, before
the piece builds to a
triumphant, augmented
presentation of the main
theme in a lush form to
complete the
work. It is my hope
that in some small way,
this piece will bring
comfort to those affected
by the loss of Linda
Mann, and that the music
will allow her memory to
Live
On. aLarry
Clark Lakeland, FL
2017 . Live On
was commissioned by
Diplomat Middle School's
staff, faculty and
students in Cape Coral,
Florida, and is dedicated
to the memory of their
Director of Bands, Linda
Mann. Director of
Orchestras, Roland Forti,
championed the
commissioning of this
piece to honor the life
of Linda after her
untimely passing in
February of 2017. Linda Mann's
impact on the field of
music education was
profound and
wide-reaching. She was a
beloved member of the
staff at Diplomat Middle
School, as well as the
music community of Cape
Coral and the state of
Florida. Linda was highly
respected throughout the
state, serving as recent
past-president of the
Florida Bandmasters
Association.
In discussing
the type of piece the
school wanted to honor
Ms. Mann, they indicated
the piece should depict
Linda's personality -
dynamic, sassy, yet
thoughtful and almost
mentor-like. They wanted
a piece that was upbeat,
yet still had moments
that were thoughtful,
portraying the grief that
the Diplomat Middle
School community has
suffered from the sudden
loss of such a beloved
teacher. After
contemplating their
thoughts, I did some
research to find
inspiration for the
piece. This led me to
poetry about grief and
loss. In time, I stumbled
upon a short, yet
poignant poem that I felt
perfectly depicted the
sentiment that I wanted
the piece to convey. That poem is
entitled Live On
by Chrissie
Pinney. Live
On Now as I live
on Without
you I
hope to keep
The pieces of
you That I loved so
dearly Your
mannerisms And
compassionate
character And smiles
through
struggle So
that you May live on
too
-Chrissie
Pinney I
reached out to Ms.
Pinney, and she
graciously agreed to
allow me to quote her
powerful poem in these
notes. She expressed
that she was deeply
touched that her work
would inspire me to write
a piece in honor of Linda
Mann. The piece begins
with a poignant, pensive
opening section. The use
of the musical interval
of a tritone between the
first two openly voiced
chords are used to
represent the sadness we
all feel from this type
of loss. When I sat in
front of my piano and
started to work on this
piece, my hands seemed to
naturally and immediately
play these first two
chords, which set the
process in motion of
composing the
piece. After the somber
opening, the piece shifts
to a whimsical theme that
I hope brings about happy
thoughts of Linda and her
personality. It was also
my intent, however, to
include some musical
dissonance in the theme
that still reflected the
bittersweet loss at the
same time. The piece
develops into a secondary
theme that is a quasi
inversion of the main
fast theme. This section
is followed by a return
of the opening material,
with snippets of the fast
theme intertwined, before
the piece builds to a
triumphant, augmented
presentation of the main
theme in a lush form to
complete the
work. It is my hope
that in some small way,
this piece will bring
comfort to those affected
by the loss of Linda
Mann, and that the music
will allow her memory to
Live
On. -Larry
Clark Lakeland, FL
2017 . Live
On was commissioned by
Diplomat Middle School's
staff, faculty and
students in Cape Coral,
Florida, and is dedicated
to the memory of their
Director of Bands, Linda
Mann. Director of
Orchestras, Roland Forti,
championed the
commissioning of this
piece to honor the life
of Linda after her
untimely passing in
February of 2017. Linda
Mann's impact on the
field of music education
was profound and
wide-reaching. She was a
beloved member of the
staff at Diplomat Middle
School, as well as the
music community of Cape
Coral and the state of
Florida. Linda was highly
respected throughout the
state, serving as recent
past-president of the
Florida Bandmasters
Association. In
discussing the type of
piece the school wanted
to honor Ms. Mann, they
indicated the piece
should depict Linda's
personality - dynamic,
sassy, yet thoughtful and
almost mentor-like. They
wanted a piece that was
upbeat, yet still had
moments that were
thoughtful, portraying
the grief that the
Diplomat Middle School
community has suffered
from the sudden loss of
such a beloved teacher.
After contemplating their
thoughts, I did some
research to find
inspiration for the
piece. This led me to
poetry about grief and
loss. In time, I stumbled
upon a short, yet
poignant poem that I felt
perfectly depicted the
sentiment that I wanted
the piece to convey. That
poem is entitled Live On
by Chrissie Pinney. Live
On Now as I live on
Without you I hope to
keep The pieces of you
That I loved so dearly
Your mannerisms And
compassionate character
And smiles through
struggle So that you May
live on too -Chrissie
Pinney I reached out to
Ms. Pinney, and she
graciously agreed to
allow me to quote her
powerful poem in these
notes. She expressed that
she was deeply touched
that her work would
inspire me to write a
piece in honor of Linda
Mann. The piece begins
with a poignant, pensive
opening section. The use
of the musical interval
of a tritone between the
first two openly voiced
chords are used to
represent the sadness we
all feel from this type
of loss. When I sat in
front of my piano and
started to work on this
piece, my hands seemed to
naturally and immediately
play these first two
chords, which set the
process in motion of
composing the piece.
After the somber opening,
the piece shifts to a
whimsical theme that I
hope brings about happy
thoughts of Linda and her
personality. It was also
my intent, however, to
include some musical
dissonance in the theme
that still reflected the
bittersweet loss at the
same time. The piece
develops into a secondary
theme that is a quasi
inversion of the main
fast theme. This section
is followed by a return
of the opening material,
with snippets of the fast
theme intertwined, before
the piece builds to a
triumphant, augmented
presentation of the main
theme in a lush form to
complete the work. It is
my hope that in some
small way, this piece
will bring comfort to
those affected by the
loss of Linda Mann, and
that the music will allow
her memory to Live On.
-Larry Clark Lakeland, FL
2017. Live On was
commissioned by Diplomat
Middle School's staff,
faculty and students in
Cape Coral, Florida, and
is dedicated to the
memory of their Director
of Bands, Linda Mann.
Director of Orchestras,
Roland Forti, championed
the commissioning of this
piece to honor the life
of Linda after her
untimely passing in
February of
2017. Linda
Mann’s impact on
the field of music
education was profound
and wide-reaching. She
was a beloved member of
the staff at Diplomat
Middle School, as well as
the music community of
Cape Coral and the state
of Florida. Linda was
highly respected
throughout the state,
serving as recent
past-president of the
Florida Bandmasters
Association.In discussing
the type of piece the
school wanted to honor
Ms. Mann, they indicated
the piece should
“depict
Linda’s
personality - dynamic,
sassy, yet thoughtful and
almost
mentor-like.†They
wanted a piece that was
upbeat, yet still had
moments that were
thoughtful, portraying
the grief that the
Diplomat Middle School
community has suffered
from the sudden loss of
such a beloved
teacher.After
contemplating their
thoughts, I did some
research to find
inspiration for the
piece. This led me to
poetry about grief and
loss. In time, I stumbled
upon a short, yet
poignant poem that I felt
perfectly depicted the
sentiment that I wanted
the piece to convey.Â
That poem is entitled
Live On by Chrissie
Pinney.Live OnNow as I
live onWithout youI hope
to keepThe pieces of
youThat I loved so
dearlyYour mannerismsAnd
compassionate
characterAnd smiles
through struggleSo that
youMay live on
too -Chrissie PinneyI
reached out to Ms.
Pinney, and she
graciously agreed to
allow me to quote her
powerful poem in these
notes. She expressed
that she was deeply
touched that her work
would inspire me to write
a piece in honor of Linda
Mann.The piece begins
with a poignant, pensive
opening section. The use
of the musical interval
of a tritone between the
first two openly voiced
chords are used to
represent the sadness we
all feel from this type
of loss. When I sat in
front of my piano and
started to work on this
piece, my hands seemed to
naturally and immediately
play these first two
chords, which set the
process in motion of
composing the piece.After
the somber opening, the
piece shifts to a
whimsical theme that I
hope brings about happy
thoughts of Linda and her
personality. It was also
my intent, however, to
include some musical
dissonance in the theme
that still reflected the
bittersweet loss at the
same time. The piece
develops into a secondary
theme that is a quasi
inversion of the main
fast theme. This
section is followed by a
return of the opening
material, with snippets
of the fast theme
intertwined, before the
piece builds to a
triumphant, augmented
presentation of the main
theme in a lush form to
complete the work.It is
my hope that in some
small way, this piece
will bring comfort to
those affected by the
loss of Linda Mann, and
that the music will allow
her memory to Live
On.–Larry
ClarkLakeland, FL
2017.
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 $8.50 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Really Easy Piano: Billy Joel Piano Facile - Facile Hal Leonard
By Billy Joel. Really Easy Piano. Pop. Softcover. 56 pages. Duration 120 secon...(+)
By Billy Joel. Really
Easy
Piano. Pop. Softcover. 56
pages. Duration 120
seconds.
Published by Hal Leonard
$12.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Posuo Pishon Piano Piano seul Hal Leonard
(Piano) SKU: HL.49047281 Piano Solo. Softcover. Duration 1500 second...(+)
(Piano) SKU:
HL.49047281 Piano
Solo. Softcover. Duration
1500 seconds. Hal Leonard
#ED23699. Published by
Hal Leonard
(HL.49047281). ISBN
9798350112665. UPC:
196288183273.
Special Import
titles are specialty
titles that are not
generally offered for
sale by US based
retailers. These items
must be obtained from our
overseas suppliers. When
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may be subject to
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| Judgement Day: Dies Irae Orchestre d'harmonie - Facile Hal Leonard
Score and Parts Concert Band (Score and Parts) - Grade 3 SKU: HL.4008730...(+)
Score and Parts
Concert Band (Score and
Parts) - Grade 3 SKU:
HL.4008730 Concert
Band, Grade 3 3:50 Score
and parts. Composed
by Peter Knockaert.
Symphonic Dimensions.
Concert Band. Softcover.
Duration 230 seconds. Hal
Leonard #SDP2392302.
Published by Hal Leonard
(HL.4008730). ISBN
9798350119473. UPC:
196288195238. The
last decades we humans
have witnessed a
significant number of
disturbing developments.
If we look at the direct
and persistent
destructive influence of
humans on nature: air and
water quality are
reducing, soils are
depleting, crops are
short of pollinators,
coasts are less protected
from storms,
deforestation, the
degradation of land, loss
of biodiversity and
pollution. In stark
contrast we find the
intelligence and
boundless creativity of
humans: what about all
the high technological
advancements? What lies
ahead in the realm of
Artificial Intelligence?
Will we let machines make
human decisions? What
ethical issues arise
there? This composition
reflects the desperation
and urgency of the human
need for action. The
music draws inspiration
from the brutal natural
forces that ravage our
world as a direct
consequence of human
failure and selfishness.
Are we heading towards a
'Judgment Day'? Or will
humanity find a way to
reverse negative trends
towards a more livable,
peaceful, and joyful
environment for humans,
animals, and nature? To
underscore this message,
composer Peter Knockaert
opted for a highly
classical idiom that has
been used by many
composers in classical
music: the 'Dies Irae'.
Traditionally, the Dies
Irae is the third part of
a requiem (funeral mass).
The text used in
'Judgment DayÂ? (for
optional choir) is coming
from the original Latin
text.
Priority
Direct Import titles are
specialty titles that are
not generally offered for
sale by US based
retailers. These items
must be obtained from our
overseas suppliers. When
you order a Priority
Direct Import title, our
overseas warehouse will
ship it to you directly
at the time of order,
typically within one
business day. However,
the shipment time will be
slower than items shipped
from our US warehouse. It
may take up to 2-3 weeks
to get to
you. $133.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Judgement Day: Dies Irae Orchestre d'harmonie [Conducteur] - Facile Hal Leonard
Concert Band (Score) - Grade 3 SKU: HL.4008731 Concert Band, Grde...(+)
Concert Band (Score)
- Grade 3 SKU:
HL.4008731 Concert
Band, Grde 3 3:50
Score. Composed by
Peter Knockaert.
Symphonic Dimensions.
Concert Band. Softcover.
Duration 230 seconds. Hal
Leonard #SDP2392301.
Published by Hal Leonard
(HL.4008731). UPC:
196288195245. The
last decades we humans
have witnessed a
significant number of
disturbing developments.
If we look at the direct
and persistent
destructive influence of
humans on nature: air and
water quality are
reducing, soils are
depleting, crops are
short of pollinators,
coasts are less protected
from storms,
deforestation, the
degradation of land, loss
of biodiversity and
pollution. In stark
contrast we find the
intelligence and
boundless creativity of
humans: what about all
the high technological
advancements? What lies
ahead in the realm of
Artificial Intelligence?
Will we let machines make
human decisions? What
ethical issues arise
there? This composition
reflects the desperation
and urgency of the human
need for action. The
music draws inspiration
from the brutal natural
forces that ravage our
world as a direct
consequence of human
failure and selfishness.
Are we heading towards a
'Judgment Day'? Or will
humanity find a way to
reverse negative trends
towards a more livable,
peaceful, and joyful
environment for humans,
animals, and nature? To
underscore this message,
composer Peter Knockaert
opted for a highly
classical idiom that has
been used by many
composers in classical
music: the 'Dies Irae'.
Traditionally, the Dies
Irae is the third part of
a requiem (funeral mass).
The text used in
'Judgment DayÂ? (for
optional choir) is coming
from the original Latin
text.
Priority
Direct Import titles are
specialty titles that are
not generally offered for
sale by US based
retailers. These items
must be obtained from our
overseas suppliers. When
you order a Priority
Direct Import title, our
overseas warehouse will
ship it to you directly
at the time of order,
typically within one
business day. However,
the shipment time will be
slower than items shipped
from our US warehouse. It
may take up to 2-3 weeks
to get to
you. $23.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| 101 Hit Songs Tuba Hal Leonard
For Tuba. By Various. Instrumental Folio. Pop. Softcover. 160 pages. Duration ...(+)
For Tuba. By Various.
Instrumental Folio. Pop.
Softcover. 160 pages.
Duration
175 seconds. Published by
Hal
Leonard
$17.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Reflections Piano seul Theodore Presser Co.
Scott Joplin Reconsidered. Composed by Scott Joplin (1868-1917). Edited by L...(+)
Scott Joplin
Reconsidered.
Composed by Scott Joplin
(1868-1917). Edited by
Lara
Downes. Collection.
Theodore
Presser Company
#440-40028.
Published by Theodore
Presser
Company
$21.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
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