SKU: HL.398631 Line 6 Effects. Guitar Pedal. Line 6 #99-040-3705. Publish...(+)
SKU: HL.398631
Line 6 Effects. Guitar
Pedal. Line 6
#99-040-3705. Published
by Line 6 (HL.398631).
UPC: 614252311656.
6.5x16.25x3.0
inches.
The DL4
Delay Modeler has
remained one of the most
widely used delay pedals
in the world for more
than two decades -
embraced by everyone from
casual players to
superstars. The DL4 was
the first pedal to offer
a broad selection of
delay models based on
vintage tape echo devices
such as the Maestro®
EP-1 Echoplex and the
Roland® RE-101 Space
Echo, classic analog
delay stompboxes such as
the Electro-Harmonix®
Deluxe Memory Man, and
even the Binson Echorec
and studio staple TC
Electronic® 2290
Dynamic Digital Delay.
These were complemented
by several Line 6
originals, including the
exceptional Reverse delay
- and the DL4 also
boasted a highly
intuitive “14
Second Loop
Sampler†that is
still considered one of
most engaging loopers
ever made. The DL4 MkII
honors that legacy by
including every one of
those original sounds and
features, and retaining
the same knob and
footswitch layout, so
there's no need for DL4
users to learn any new
moves - but the DL4 MkII
also introduces many new
sounds and features that
bring it fully into the
21st century. The 15 MkII
delays were drawn from
our HX family of amp and
effects processors and
include Line 6 originals
such as Harmony Delay,
Pitch Echo, Euclidian
Delay, Glitch Delay and
ADT tape delay, as well
as 4-Switch and 1-Switch
loopers with up to 240
seconds of record time,
expandable to several
hours using an optional
microSD card. The DL4
MkII also features an XLR
dynamic microphone input
for vocal processing and
looping; MIDI
capabilities such as real
time parameter control
and preset selection (up
to 128) via its MIDI In
and Out/Thru DIN
connectors; four heavy
duty footswitches with
colored halo rings; and
switchable true,
buffered, or DSP bypass.
There's also a jack for
connecting an optional
expression pedal
(automatically assigned
to the Delay Time,
Repeat, Tweak, Tweez, or
Mix controls) or two
assignable external
footswitches.
•Identical knob and
footswitch layout as the
original DL4 •30
Delay options: 15 new
MkII plus 15 Legacy DL4
•2 Loopers -
mono/stereo and pre/post
signal path options
•Up to 240 seconds
of looping time, or
several hours with
optional microSD card
•XLR dynamic
microphone input for
vocal processing and
looping •MIDI In,
Out/Thru DIN
connectors-receives PC
and CC messages
•128 Presets via
MIDI, with footswitch
control of up to six
•Switchable true,
buffered, or DSP bypass
•Input for optional
expression pedal or two
additional
footswitches.
SSAA Choral (SSA Choir) SKU: HL.1105189 Arranged by Adam Podd and Matt Po...(+)
SSAA Choral (SSA Choir)
SKU: HL.1105189
Arranged by Adam Podd and
Matt Podd. Voices Rising.
Concert, Festival.
Octavo. Duration 320
seconds. Published by Hal
Leonard (HL.1105189).
UPC: 196288102106.
6.75x10.5x0.036
inches.
Now
available for SSAA.This
thrilling new arrangement
by twin brothers Matt and
Adam Podd became an
internet sensation
shortly after we were all
quarantined due to
Covid-19. Drawing on
friendships in the New
York City Broadway,
church, and opera worlds,
more than 120 world class
singers and players came
together to create the
virtual choir and
orchestra. In the final
chorus, the arrangers
very cleverly turn the
iconic phrase “How
can I keep from
singing?†into
“Keep
Singing.†A message
we all need to hear and
remember during times of
isolation and at all
times.
Choral TBB choir, piano SKU: CF.CM9594 Composed by Greg Gilpin. Fold. Per...(+)
Choral TBB choir, piano
SKU: CF.CM9594
Composed by Greg Gilpin.
Fold. Performance Score.
8 pages. Duration 2
minutes, 50 seconds. Carl
Fischer Music #CM9594.
Published by Carl Fischer
Music (CF.CM9594).
ISBN 9781491154168.
UPC: 680160912667. 6.875
x 10.5 inches. Key: Bb
major. English. Alfred
Tennyson. Alfred, Lord
Tennyson
(1809-1892).
The
text of Alfred, Lord
Tennyson's There is
Sweet Music Here is
a wonderful example of
word painting. Keep this
in mind while learning to
sing the music and try to
capture the different
scenes created through
these famous words. The
first two measures of
accompaniment outline the
opening chord in the
voices. Crescendo to the
word music every time it
occurs. In mm. 710, the
vocals cascade gently
into a dissonance that
develops into a full,
rich sound. Allow the
piano to support the
unison lines in mm. 1417
as well as those that
contain three-part
singing. The piano
establishes a consistent
undulating tempo in mm.
2225, as if lulling
someone to sleep. Be
intentional with
word/syllabic stress when
singing through the
quarter notes. Maintain a
consistent tempo when
singing the eighth notes
in mm. 3336. The chord
progression helps
establish the coolness of
the mosses and ivies.
Notice the melodic
movement in mm. 3738
reflecting the craggy
ledge and hanging poppy
followed by the unison
sleep which ushers in the
return of the original
melody within the
accompaniment. Linger
with quiet, full and
supported singing during
the last three
measures. The text of
Alfred, Lord Tennyson'sA
There is Sweet Music
HereA is a wonderful
example of word painting.
Keep this in mind while
learning to sing the
music and try to capture
the different scenes
created through these
famous words. The first
two measures of
accompaniment outline the
opening chord in the
voices. Crescendo to the
word music every time it
occurs. In mm. 7a10, the
vocals cascade gently
into a dissonance that
develops into a full,
rich sound. Allow the
piano to support the
unison lines in mm. 14a17
as well as those that
contain three-part
singing. The piano
establishes a consistent
undulating tempo in mm.
22a25, as if lulling
someone to sleep. Be
intentional with
word/syllabic stress when
singing through the
quarter notes. Maintain a
consistent tempo when
singing the eighth notes
in mm. 33a36. The chord
progression helps
establish the coolness of
the mosses and ivies.
Notice the melodic
movement in mm. 37a38
reflecting the craggy
ledge and hanging poppy
followed by the unison
sleep which ushers in the
return of the original
melody within the
accompaniment. Linger
with quiet, full and
supported singing during
the last three
measures. The text of
Alfred, Lord Tennyson'sA
There is Sweet Music
HereA is a wonderful
example of word painting.
Keep this in mind while
learning to sing the
music and try to capture
the different scenes
created through these
famous words. The first
two measures of
accompaniment outline the
opening chord in the
voices. Crescendo to the
word music every time it
occurs. In mm. 7a10, the
vocals cascade gently
into a dissonance that
develops into a full,
rich sound. Allow the
piano to support the
unison lines in mm. 14a17
as well as those that
contain three-part
singing. The piano
establishes a consistent
undulating tempo in mm.
22a25, as if lulling
someone to sleep. Be
intentional with
word/syllabic stress when
singing through the
quarter notes. Maintain a
consistent tempo when
singing the eighth notes
in mm. 33a36. The chord
progression helps
establish the coolness of
the mosses and ivies.
Notice the melodic
movement in mm. 37a38
reflecting the craggy
ledge and hanging poppy
followed by the unison
sleep which ushers in the
return of the original
melody within the
accompaniment. Linger
with quiet, full and
supported singing during
the last three
measures. The text of
Alfred, Lord Tennyson's
There is Sweet Music
Here is a wonderful
example of word painting.
Keep this in mind while
learning to sing the
music and try to capture
the different scenes
created through these
famous words. The first
two measures of
accompaniment outline the
opening chord in the
voices. Crescendo to the
word music every time it
occurs. In mm. 7-10, the
vocals cascade gently
into a dissonance that
develops into a full,
rich sound. Allow the
piano to support the
unison lines in mm. 14-17
as well as those that
contain three-part
singing. The piano
establishes a consistent
undulating tempo in mm.
22-25, as if lulling
someone to sleep. Be
intentional with
word/syllabic stress when
singing through the
quarter notes. Maintain a
consistent tempo when
singing the eighth notes
in mm. 33-36. The chord
progression helps
establish the coolness of
the mosses and ivies.
Notice the melodic
movement in mm. 37-38
reflecting the craggy
ledge and hanging poppy
followed by the unison
sleep which ushers in the
return of the original
melody within the
accompaniment. Linger
with quiet, full and
supported singing during
the last three
measures. The text of
Alfred, Lord Tennyson's
There is Sweet Music Here
is a wonderful example of
word painting. Keep this
in mind while learning to
sing the music and try to
capture the different
scenes created through
these famous words. The
first two measures of
accompaniment outline the
opening chord in the
voices. Crescendo to the
word music every time it
occurs. In mm. 7-10, the
vocals cascade gently
into a dissonance that
develops into a full,
rich sound. Allow the
piano to support the
unison lines in mm. 14-17
as well as those that
contain three-part
singing. The piano
establishes a consistent
undulating tempo in mm.
22-25, as if lulling
someone to sleep. Be
intentional with
word/syllabic stress when
singing through the
quarter notes. Maintain a
consistent tempo when
singing the eighth notes
in mm. 33-36. The chord
progression helps
establish the coolness of
the mosses and ivies.
Notice the melodic
movement in mm. 37-38
reflecting the craggy
ledge and hanging poppy
followed by the unison
sleep which ushers in the
return of the original
melody within the
accompaniment. Linger
with quiet, full and
supported singing during
the last three
measures. The text of
Alfred, Lord
Tennyson's There is
Sweet Music Here is a
wonderful example of word
painting. Keep this in
mind while learning to
sing the music and try to
capture the different
scenes created through
these famous words.The
first two measures of
accompaniment outline the
opening chord in the
voices. Crescendo to the
word music every time it
occurs. In mm.
7–10, the vocals
cascade gently into a
dissonance that develops
into a full, rich sound.
Allow the piano to
support the unison lines
in mm. 14–17 as
well as those that
contain three-part
singing.The piano
establishes a consistent
undulating tempo in mm.
22–25, as if
lulling someone to sleep.
Be intentional with
word/syllabic stress when
singing through the
quarter notes.Maintain a
consistent tempo when
singing the eighth notes
in mm. 33–36. The
chord progression helps
establish the coolness of
the mosses and ivies.
Notice the melodic
movement in mm.
37–38 reflecting
the craggy ledge and
hanging poppy followed by
the unison sleep which
ushers in the return of
the original melody
within the
accompaniment.Linger with
quiet, full and supported
singing during the last
three measures.
Composed by Felix
Bartholdy Mendelssohn.
Edited by R. Larry Todd.
This edition: urtext
edition. Stapled.
Barenreiter Urtext. Set
of wind parts. Opus 64.
12/8/10/8/14/12/12/10/8/8
/6/6/6 pages.
Baerenreiter Verlag
#BA09099_65. Published by
Baerenreiter Verlag
(BA.BA09099-65).
ISBN
9790006565672. 32.5 x
25.5 cm inches. Key: E
minor.
WithElversku
d(The Erl-Kings
Daughter), Gade presented
his secondsecular cantata
for soloists, choir and
orchestra, the first
having been his
successfulComalaOp. 12
(1845/46). The genre was
quite popular among his
contemporaries. This
time, Gade planned to
base the work on the text
of a folk song.
Originally, he had
approached Hans Christian
Andersen for a text but a
collaboration did not
materialize. The text
Gade ultimately chose for
his music was that of a
ballad most likely penned
by Emil Erslev and Gade
himself. A German
translation by Edmund
Lobedanz was added at a
later time.
The
composition, started in
1851 and finished in
March of 1854, soon
became an international
success and one of Gade's
most-performed works. In
1864, the composer made a
number of changes to the
instrumentation. While
the new version was
subsequently used for all
performances conducted by
Gade, the changes were
never incorporated into
the printed edition of
the score. This edition
is the first to present
this 1864
version.
About
Barenreiter Urtext
Orchestral
Parts
Why musicians
love to play from
B�¤renreiter Urtext
Orchestral
Parts
- Urtext
editions as close as
possible to the
composer�s
intentions - With
alternate versions in
full score and parts
- Orchestral parts in an
enlarged format of 25.5cm
x 32.5cm - With
cues, rehearsal letters,
and page turns where
players need them -
Clearly presented divisi
passages so that players
know exactly what they
have to play -
High-quality paper with a
slight yellow tinge which
does not glare under
lights and is thick
enough that reverse pages
do not shine
through
Composed by Kirt Mosier.
Carl Fischer First Plus
String Orchestra Series.
Set of Score and Parts.
8+1+1+2+5+5+5+1 pages.
Duration 1 minute, 53
seconds. Carl Fischer
Music #FAS121. Published
by Carl Fischer Music
(CF.FAS121).
ISBN
9781491159163. UPC:
680160917747.
Searc
hing for Destiny’s
Diamond is a
tension-filled, and
mysterious work depicting
young people seeking out
their destiny during dark
times — and
ultimately towards the
diamond that is their
bright future. All
parts can be learned at
the same time since every
section gets the melody
in this work. The melodic
figure in the second half
is offset by one measure
in Violin II, Viola and
Bass, making for some
intriguing harmonies that
will increase the
students' hearing
ability. While optional,
the piano part will add
intrigue to your
performance and was
written to be accessible
to developing pianists.
If no pianist is
available, a recorded
piano part is available
online. Searching for
Destiny’s Diamond
is a mysterious work that
centers around the idea
of young people searching
out their destiny during
dark times. It involves
intrigue and tension, as
they journey towards
their purpose and the
diamond that is their
bright future.Every
instrument in the
orchestra begins with the
melody and plays it
throughout the piece,
making this work an
excellent teaching piece
since all parts can be
learned at the same time.
The second half of the
work is a musical stretto
with the melodic figure
offset by one measure in
Violin II, Viola and
Bass. This makes for some
intriguing harmonies that
will increase the
student’s hearing
ability and bring tension
to the piece.While this
piece can be performed
without piano, it is
desired that the piano be
played in performance, as
it adds intrigue to the
sound. The piano part has
been written so that it
can be performed by
developing pianists. To
facilitate performances
when no player is
available, a recorded
piano part is available
at
www.carlfischer.com/FAS12
1.
Composed by Larry Clark.
First-Plus String
Orchestra (FAS). Set of
Score and Parts. With
Standard notation.
8+8+2+5+5+2+5+12 pages.
Duration 2 minutes, 59
seconds. Carl Fischer
Music #FAS97. Published
by Carl Fischer Music
(CF.FAS97).
ISBN
9781491143049. UPC:
680160900541. Key: D
major.
Expectations
is dedicated to Larry
Clark's young son. It was
written with thoughts of
his playful nature, which
can be heard throughout
the piece, while the
lush, emotional opening
depicts the composer's
awe at being a parent to
a wonderful little boy.
This touching piece will
stretch the musicianship
of young string students,
but it will be worth the
journey. Expectations
is a special piece for
me. I wrote it with my
youngest son Benjamin in
mind. Most nine year
olds, as Benjamin, are
full of carefree joy,
wonder and excitement. It
was my hope to depict
that nature in the style
of the piece.The piece
begins sentimentally, as
I remember the
overwhelming joy I felt
upon his birth. There is
nothing that can replace
the feeling of becoming a
dad. Ben has always been
a “daddy's
boy†and is a great
hugger! This first
section of the piece
should be lush and
musical. It is important
to ask young musicians to
play with heart. They can
certainly do it but might
have to be asked to pour
some emotion into
bringing the music to
life.After the lyrical
opening the piece heads
off on a carefree journey
with a bouncy bass line
and a jaunty tune. There
are moments of
counterpoint in the piece
where the melody echoes
itself. The musical
material from the
beginning returns several
times as the bridge
material, the glue that
holds the piece together.
It is my hope that if
nothing else, the piece
brings a smile to your
face. Perhaps it can also
serve to teach young
students contrast and
musicianship in music.It
has been my pleasure to
have the opportunity to
write this piece. I hope
you andyour students
enjoy it and find it
useful for your
program.-Larry
ClarkLakeland, FL
2016.
Choral TBB choir, piano accompaniment SKU: CF.CM9590 Composed by Philip E...(+)
Choral TBB choir, piano
accompaniment
SKU:
CF.CM9590
Composed by
Philip E. Silvey. Sws.
OCTAVO. 16 pages.
Duration 3 minutes, 38
seconds. Carl Fischer
Music #CM9590. Published
by Carl Fischer Music
(CF.CM9590).
ISBN
9781491154120. UPC:
680160912629. 6.875 x
10.5 inches. Key: F
major. English. Philip E.
Silvey.
Original.
Early one
spring a robin nested in
the bend of the downspout
under my neighbors roof.
Through an upstairs
window, I could easily
observe her feeding the
newly hatched birds. A
couple weeks passed
before I spotted one of
the babies perched on the
edge of the nest. To my
surprise, I witnessed it
suddenly take flight for
the first time, with a
rustle of wings and a
rocky descent to the
ground. Feeling worried,
I hurried outside to see
what would happen. Part
of me wanted its mother
to come to the rescue,
but deep down I knew this
tiny creature would have
to fend for itself. I
wrote this composition
for those who face such
seminal moments as they
muster the courage to
leap from one stage of
life into the
next. Early one spring
a robin nested in the
bend of the downspout
under my neighboras roof.
Through an upstairs
window, I could easily
observe her feeding the
newly hatched birds. A
couple weeks passed
before I spotted one of
the babies perched on the
edge of the nest. To my
surprise, I witnessed it
suddenly take flight for
the first time, with a
rustle of wings and a
rocky descent to the
ground. Feeling worried,
I hurried outside to see
what would happen. Part
of me wanted its mother
to come to the rescue,
but deep down I knew this
tiny creature would have
to fend for itself. I
wrote this composition
for those who face such
seminal moments as they
muster the courage to
leap from one stage of
life into the
next. Early one spring
a robin nested in the
bend of the downspout
under my neighbor's roof.
Through an upstairs
window, I could easily
observe her feeding the
newly hatched birds. A
couple weeks passed
before I spotted one of
the babies perched on the
edge of the nest. To my
surprise, I witnessed it
suddenly take flight for
the first time, with a
rustle of wings and a
rocky descent to the
ground. Feeling worried,
I hurried outside to see
what would happen. Part
of me wanted its mother
to come to the rescue,
but deep down I knew this
tiny creature would have
to fend for itself. I
wrote this composition
for those who face such
seminal moments as they
muster the courage to
leap from one stage of
life into the
next. Early one spring
a robin nested in the
bend of the downspout
under my
neighbor’s roof.
Through an upstairs
window, I could easily
observe her feeding the
newly hatched birds. A
couple weeks passed
before I spotted one of
the babies perched on the
edge of the nest. To my
surprise, I witnessed it
suddenly take flight for
the first time, with a
rustle of wings and a
rocky descent to the
ground. Feeling worried,
I hurried outside to see
what would happen. Part
of me wanted its mother
to come to the rescue,
but deep down I knew this
tiny creature would have
to fend for itself. I
wrote this composition
for those who face such
seminal moments as they
muster the courage to
leap from one stage of
life into the next.
Composed by Bill Calhoun.
SWS FS. Carl Fischer
Concert String Orchestra
Series. Set of Score and
Parts. With Standard
notation.
16+10+16+4+10+10+4+12
pages. Duration 3
minutes, 27 seconds. Carl
Fischer Music #CAS103.
Published by Carl Fischer
Music (CF.CAS103).
ISBN 9781491146637.
UPC: 680160904136. 9 x 12
inches. Key: B
minor.
Textures is
a rhythmic and driving
composition from composer
Bill Calhoun. It contains
shifting meters and
ostinato bass lines
underneath jaunty melodic
material. There is a
respite from the angular
textures during a
luscious, slow, lyrical
section that features a
beautiful violin solo.
The pointed textures
return for a dramatic
finish. Textures is an
original composition for
string orchestra set in B
minor . In its
introduction, which
alternates between 4/4
and 6/8, the piece begins
with an ostinato bass
rhythm that sets the time
for the other voices to
add, creating an
interesting texture .
Continuing in its bright
tempo, the main theme is
introduced in 5/4, which
eventually becomes the
unifying feel of this
section . This rhythmic
motif trades back and
forth between the
violins, violas and
cellos before moving into
a full chorus finishing
in 5/4 . There is a brief
return to a tutti
treatment of the
introductory 4/4 to 6/8
material as it moves into
a melodic 3/4 middle
section . A solo violin
begins this dance-like
theme . After a short
ritardando and closing
fermata, this section
moves into a return to
the opening Allegro,
though slightly quicker .
First is the return to
its A-theme, then using
the introductory material
to transition into its
dynamic ending .
About Carl
Fischer Concert String
Orchestra
Series
Thi
s series of pieces (Grade
3 and higher) is designed
for advancing ensembles.
The pieces in this series
are characterized
by:
Expanded use
of rhythms, ranges and
keys but technical
demands are still
carefully
considered
More
comprehensive bowing
techniques
Viola
T.C.
included
Careful
selection of keys and
degree of difficulty for
advancing
musicians
SKU: HL.50603994 Score and Parts. Composed by Daniel D'Adamo. Stri...(+)
SKU: HL.50603994
Score and Parts.
Composed by Daniel
D'Adamo. String.
Softcover. 88 pages.
Duration 600 seconds.
Chant Du Monde
#CDMMC5013. Published by
Chant Du Monde
(HL.50603994).
ISBN
9781705164679. UPC:
196288068310. 9.0x12.0
inches.
Quatuor No
2 was first performed by
the Tana string quartet
on April 14, 2013, at
Radio France, Paris. I
conceived a piece whose
principal subject was
going to consist in the
description of a
minuscule sonic element.
The description of this
tiny initial material
would be so precise, so
detailed that, deployed
on a much larger scale
than its original one, it
would occupy the entire
duration of the piece. At
that point, I just had to
choose a sound model as
the starting point of the
piece, the sound that
would best characterize
the string instruments
themselves: the noisy
sound produced by the bow
barely coming in contact
with one of the strings,
getting ready to acquire
speed, weight,
acceleration, and
producing a full sound of
a violin, a viola or a
cello... -Daniel
D'Adamo.
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.
Bells/Glockenspiel Bells; Glockenspiel (Bells) SKU: HL.367549 For Bell...(+)
Bells/Glockenspiel Bells;
Glockenspiel (Bells)
SKU: HL.367549
For
Bells/Glockenspiel.
By Various. Instrumental
Folio. Christmas.
Softcover. 96 pages.
Duration 245 seconds.
Published by Hal Leonard
(HL.367549).
ISBN
9781705140024. UPC:
840126966039.
9.0x12.0x0.277
inches.
Instrumenta
lists will love this
jam-packed collection of
101 holiday favorites!
Songs include: Away in a
Manger • Caroling,
Caroling • Do You
Want to Build a Snowman?
• Feliz Navidad
• Grandma Got Run
over by a Reindeer
• Hark! The Herald
Angels Sing • I Saw
Three Ships •
Jingle Bells • Joy
to the World •
Mary, Did You Know?
• O Come, All Ye
Faithful • O Holy
Night • Silent
Night • The Twelve
Days of Christmas •
We Wish You a Merry
Christmas • White
Chrismas • and
more.
A Camaroon Marching Song. Composed by Camaroon Folksong. Arranged by Ken B...(+)
A Camaroon Marching Song.
Composed by Camaroon
Folksong. Arranged by Ken
Berg. Fold. Octavo. 12
pages.
Duration 2 minutes, 35
seconds. Carl Fischer
Music
#CM9658. Published by
Carl
Fischer Music
Hallelujah Chorus (from Messiah) Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba [Conducteur et Parties séparées] - Intermédiaire/avancé Kendor Music Inc.
Composed by George Frideric Handel (1685-1759). Arranged by Arthur Frackenpohl. ...(+)
Composed by George
Frideric Handel
(1685-1759). Arranged by
Arthur Frackenpohl. For
brass quintet. Level 5.
Duration 3 minutes, 45
seconds. Published by
Kendor Music Inc
(from Album For The Young, Op. 68). Composed by Robert Schumann. Arranged by J...(+)
(from Album For The
Young, Op.
68). Composed by Robert
Schumann. Arranged by
John
Caponegro. For string
orchestra (88555) with
optional 3rd violin/viola
TC
(3) and piano. Cadet
String
Orchestra Series. Grade
2.5.
Score and set of parts.
Duration 1 minute, 20
seconds.
Published by Kendor Music
Inc
Orchestra String Sextet, Piano - Grade 2 SKU: CF.YAS99F Composed by Larry...(+)
Orchestra String Sextet,
Piano - Grade 2
SKU:
CF.YAS99F
Composed by
Larry Clark. FS SWS. Carl
Fischer Young String
Orchestra Series. Full
score. With Standard
notation. 12 pages.
Duration 3 minutes, 25
seconds. Carl Fischer
Music #YAS99F. Published
by Carl Fischer Music
(CF.YAS99F).
ISBN
9780825884191. UPC:
798408084196. 8.5 x 11
inches.
Dance of
the Harlequins is a
lively work that uses the
harmonic progression of
the famous Pachelbel
Canon as its foundation.
Larry Clark uses this
line as a jumping-off
point to create an
ingenuous work that shows
the many moods of the
Harlequin clown, from
joyous to
melodramatic. When I
started to write this
piece I came up with the
main melody first, then I
harmonized it. In the
process of doing that I
realized that I was
composing a new piece
that was based on the
harmonic progression
found in the famous Canon
by Johann Pachelbel. At
first this sort of
worried me, but then by
doing a little research
on the famous canon, I
realized I was far from
alone. There is even an
incredibly funny YouTube
video called
“Pachelbel
Rant†where
comedian Rob Paravonian
points out many of the
usages of the chord
progression from
Pachelbel’s Canon
found in many
popular/rock songs. Watch
it if you get a chance it
is very funny! So, I
decided to forge ahead
and complete the
piece.After the main
theme begins without
introduction that
includes short
punctuations of the
harmony in the lower
strings, the main theme
is repeated with a
countermelody playedby
the violas. The cellos
then take up a new B
theme with the
countermelody to this
section covered by the
first violins. The main
theme with counter melody
is stated one more time
before it is followed by
a transition to a more
lyrical and augmented
theme that is first
presented in the violas.
This theme repeats now
with the melody in the
first violins and a
countermelody added in
the violas. One more
statement of the lyrical
section theme is
presented, but now the
celli state the original
main theme in
augmentation along with
the lyrical theme and
countermelody. This is
followed by an extended
transition that leads
back tot the B section
theme now presented in
the violins. After an
extended cadence and
build, the main theme
returns one last time
followed by a lively coda
to complete the
piece.There is something
about the use of this
famous chord progression
that just makes it feel
so right. I hope that I
did justice to it and
provided you and your
students with a musical
vehicle that will be
enjoyable and at the same
time educational.It has
been my pleasure to have
the opportunity to write
this piece. I hope you
and your students enjoy
it and find it useful for
your
program.—LARRY
CLARKLakeland, FL
2011.
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
Composed by Roy Clark. This edition: Paperback. Instructional. Method. Book and ...(+)
Composed by Roy Clark.
This edition: Paperback.
Instructional. Method.
Book and DVD. With Text
Language: English; Big
Note notation, chords and
tablature. 208 pages.
Published by Santorella
Publications
Clarinet SKU: ST.Y214 Composed by Morgan Hayes. Wind & brass music. 1 min...(+)
Clarinet
SKU:
ST.Y214
Composed by
Morgan Hayes. Wind &
brass music. 1 minute 30
seconds. Score. Stainer &
Bell Ltd. #Y214.
Published by Stainer &
Bell Ltd. (ST.Y214).
ISBN
9790220221293.
1st
perf: Douglas Mitchell,
Clare Hall, Cambridge, 26
October 2002
Morgan Hayes's
Totem, for B
flat clarinet, is a
short, single melodic
line that in its brief
duration challenges
players of Grades 7 or 8
standard or above to
encompass widely
contrasted dramatic and
lyrical moods within the
primitive vision of its
title. The composer had
no specific ethnological
source in mind when
composing this piece.
Rather, his aim was to
suggest the complex
rhythms and rituals of
tribal life, remote in
time from the
sophistications of the
modern world, but in
spirit closer perhaps to
our own than we might
care to imagine.
Guitar SKU: FG.55011-071-7 Hommage to Paul Klee. Composed by Kai N...(+)
Guitar
SKU:
FG.55011-071-7
Hommage to Paul
Klee. Composed by Kai
Nieminen. Fennica Gehrman
#55011-071-7. Published
by Fennica Gehrman
(FG.55011-071-7).
ISBN
9790550110717.
Comp
leted in Karstula,
Finland during late July
2010, this carefully
structured, but also
free-ranging work is
drawn from ideas for a
much earlier work in four
movements, Fantasy dating
from the 1980s. Kai
Nieminen has been for a
long time an admirer of
the work of artist Paul
Klee (1879-1940), and the
solo presented in its
final form here is
influenced by the
painting Dances caused by
Fear or as it is often
refered to Dancing from
Fear painted towards the
end of Klee's life in
Bern, 1938. Having
left Germany for
Switzerland in December
1933, Klee's later works
were often full of signs
and lines, very often
represented in black,
depicting human figures
or various objects
against a variety of
coloured backgrounds, in
the case of this painting
of a brownish hue. This
development in his
painting style and
technique is felt by some
to be an effect perhaps
of his long-term illness,
systemic sclerosis, but
in the case of Dances
caused by Fear there is
suggested an atmosphere
of panic and terror, an
attempt to escape from
horrors to come (World
War II), represented in
the violent movement of
the arms and legs of the
figures, and the dark,
indeed brooding nature of
the colours. In Kai
Nieminen's guitar work
Images of Fear, there is
only a very brief passage
of calm at the very
beginning, after which
come three main connected
sections in which a wide
range of musically
unsettling ideas emerge
one by one, making use of
the tritone, minor
seconds, glissandos,
tamboura, campanella,
etc. The third and final
section incorporates the
grouping of 5
sixteenth-notes, to give
an uneasy feeling to the
music, with a short
haunting and pleading
five-note phrase
(Cantando) heard
immediately following
this passage, before the
work ends with further
glissandos, and distant
and diminishing
harmonics. As with
Kai Nieminen's other
guitar works, the use of
'orchestral colour' is
vital to the performance,
and passages suggestive
of for example brass,
strings, woodwind, etc.,
should be taken into
account and played with
suitably considered
contrast of tone.
Piano (Piano Solo) SKU: HL.49046935 Solo Piano. Composed by Gregor...(+)
Piano (Piano Solo)
SKU: HL.49046935
Solo Piano.
Composed by Gregory
Spears. Piano Solo.
Classical. Softcover. 98
pages. Duration 6180
seconds. Schott Music
#ED30418. Published by
Schott Music
(HL.49046935).
ISBN
9781705169353. UPC:
842819116837.
9.25x12.0x0.5
inches.
SEVEN DAYS
is a cycle for solo piano
in 21 movements, most
lasting between three and
seven minutes,
distributed in the form
of a custom app produced
by the 92Y and released
during their Fall 2021
season. Using the app on
their phones, listeners
are asked to listen to
three movements a day
according to an
approximate schedule -
one movement in the
morning, one in the
afternoon, and another
sometime in the evening -
for seven days. The music
is performed by Pedja
Muzijevic and presented
alongside paintings by
Gloria Maximo. (Please
visit 92Y.org for
information on how to
download the Seven Days
app.) The work is
designed as a listening
experience that tunes us
into the passing of time,
connecting us both to the
present moment as well as
the cycle of the week.
The experience invites
music to inhabit and
structure our everyday -
to find us where we are
in the world. The
morning-afternoonevening
schedule is meant to
focus participants on the
dawn-to-dusk cycle as
well as to create a
communal listening
ritual. It is also an
experiment in large-scale
form, designed to draw
attention to musical
material developing
across a week-long
expanse, interspersed
with vast silences. SEVEN
DAYS was shaped by a year
spent in relative
isolation due to the
pandemic. While it is a
work composed during a
time of quarantine, it
will be experienced first
by an audience in the
process of returning to a
more normal world. In
that sense, it is an
artwork born out of a
year of relatively
cloistered existence that
seeks to preserve aspects
of that experience as we
move forward. The piece
was also inspired by the
work of Morton Feldman
and Chantal Akerman,
whose large-scale works
consider time, process,
and stillness. Their art
struck me with a fresh
relevance during the
silent stretches of the
pandemic year 2020. It
was also a year in which
writings about time,
penned by contemplatives
like Henry David Thoreau
and Thomas Merton, held
new weight. All of this
in turnresonated with
Gloria Maximo's profound
paintings, which I've
long admired. SEVEN DAYS
is an artwork we are
invited to do - using
music to point our
attention to the present
moment, the everyday, and
the seemingly mundane. It
is a piece listeners are
also asked to live within
as it unfolds over a week
rather than to witness it
live. The key players
here are time and the
listener's own
surroundings, starring
together alongside music
and art in a wordless
drama. -Gregory
Spears.