4 Saxophones SATBar/AATBar SKU: AP.1-ADV7633 For SATBar/AATBar Saxopho...(+)
4 Saxophones
SATBar/AATBar
SKU:
AP.1-ADV7633
For
SATBar/AATBar Saxophone
Quartet. Arranged by
Friedemann Graef.
Quartet; Solo Small
Ensembles; Woodwind -
Saxophone Quartet.
Advance Music. Form:
Suite. Sacred; Spiritual;
Traditional. Score and
Part(s). Advance Music
#01-ADV7633. Published by
Advance Music
(AP.1-ADV7633).
ISBN
9783892216988. UPC:
805095076332. English.
Traditional.
Part
four of the Spiritual
Suite, Sometimes I Feel
Like a Motherless Child /
Swing Low, Sweet Chariot
has been arranged for
SATB/AATB.
(Phonemic Awareness through Song). By Mark Burrows. For unison choir. General Mu...(+)
(Phonemic Awareness
through Song). By Mark
Burrows. For unison
choir. General Music.
Choral score and
performance/accompaniment
CD. Published by Heritage
Music Press
Alto Saxophone & Organ SKU: AP.1-ADV7062 For Alto Saxophone and Organ<...(+)
Alto Saxophone & Organ
SKU: AP.1-ADV7062
For Alto Saxophone and
Organ. Arranged by
Friedemann Graef. Series;
Solo; Solo Small
Ensembles; Woodwind -
Alto Saxophone Solo.
Advance Music: Spirituals
for Saxophone. Sacred;
Spiritual; Traditional.
Score and Part(s).
Advance Music
#01-ADV7062. Published by
Advance Music
(AP.1-ADV7062).
UPC:
805095070620. English.
Traditional.
This
collection of pieces for
saxophone and organ or
piano, Spirituals for
Saxophone arranged by
Friedemann Graef, is
designed for use in
concert performances as
well as for church
services and other
ceremonies. This
traditional American
spiritual, Sometimes I
Feel Like a Motherless
Child, has been extended
by composed introductions
and endings, or
interludes and written
solos. The notated solos
here are the results of
more than ten years of
the arranger's personal
experience with these
tunes and chord changes.
The organ part may also
be played on acoustic
piano if the bass voice
is played one octave
lower in respective
passages---these passages
are marked. There is a
transposed part for
B-flat and E-flat
saxophones. Due to the
different register of the
tenor and alto saxophone,
a few notes of the alto
saxophone parts have been
changed for a more
effective sound.
Affirmation of Hope Chorale SATB - Intermédiaire MorningStar Music Publishers
SATB choir, keyboard - Intermediate SKU: MN.50-9094 Composed by Donna But...(+)
SATB choir, keyboard -
Intermediate
SKU:
MN.50-9094
Composed
by Donna Butler Douglas
and William B. Cooper.
Arranged by William B.
Cooper.
Commitment/Discipleship,
Trust/Guidance. Octavo.
MorningStar Music
Publishers #50-9094.
Published by MorningStar
Music Publishers
(MN.50-9094).
UPC:
688670590948.
This
anthem is in
quasi-contemporary
Christian music style.
Makes use of William
Coopers tune SOMETIMES A
LIGHT SUPRISES and a hint
of hymn Have Thine Own
Way, Lord in
accompaniment.
Appropriate for high
school level or
adults.
Arranged by Edwin Mclean. For Piano. The FJH Piano Teaching Library. Contents in...(+)
Arranged by Edwin Mclean.
For Piano. The FJH Piano
Teaching Library.
Contents include: The
Rock Island Line; La
Cucaracha; Polovtsian
Dance No. 17; Oh! How I
Hate to Get Up in the
Morning; Waiter, There's
a Bug on My Plate;
Sometimes I Feel Like a
Motherless Child; Give My
Regards to Broadway,
Cuckoo Waltz, Wildwood
Flower; O Mio Babbino
Caro; Whirlwind Boogie.
Level: Elementary. Book.
Published by The FJH
Music Company, Inc.
Piano SKU: LM.27145 Composed by Hans Gunter Heumann. Pop, jazz. Score. Ed...(+)
Piano
SKU:
LM.27145
Composed by
Hans Gunter Heumann. Pop,
jazz. Score. Editions
Henry Lemoine #27145.
Published by Editions
Henry Lemoine (LM.27145).
ISBN
9790230971454.
He's
got the Whole World in
his Hands - Kum ba yah -
I'm Gonna Sing - Michael,
Row the Boat Ashore - Go
Down Moses - Give me that
Old time Religion - Roll,
Jordan, Roll - Amen,
Amen, Amen - Sometimes I
Feel like a Motherless
Child - Joshua fit the
Battle of Jericho -
Nobody Knows the Trouble
I've seen - Deep River -
I Want to be Ready -
Swing Low, Sweet
Chariot.
Soprano, Mezzo-soprano,
Violin, Cello,
Harpsichord Duration: 22'
Movements: 1. Prelude:
Largo Rock my soul; 2.
Courante: Allegretto My
lord, what a morning; 3.
Aire: Largo; Passacaille
Sometimes I feel like a
motherless child; 4.
Gavotte: Tempo rubato
(harpsichord solo); 5.
Bourée: Andante moderato
I got shoes; 6. Gigue:
Allegro Rock my soul in
the bosom of Abraham
Composed: 2003 Published
by: Notevole Music
Publishing
Grade 2 SKU: CL.032-3847-01 Composed by Aldrich. Jazz Ensemble. Audio rec...(+)
Grade 2
SKU:
CL.032-3847-01
Composed by Aldrich. Jazz
Ensemble. Audio recording
available separately
(items CL.991-2009-01 &
CL.991-2009-02). Extra
full score. Composed
2009. Duration 3 minutes,
22 seconds. C.L.
Barnhouse #032-3847-01.
Published by C.L.
Barnhouse
(CL.032-3847-01).
Sometimes You
Have To Fly Away by Les
Aldrich is a beautiful
ballad that you can use
to feature any
instrument. Includes solo
parts for alto and tenor
sax, trumpet and trombone
and a C instrument part
that is playable by
flute, guitar or vibes.
The lush sounding
orchestration will make
your students sound like
pros. Ranges are modest,
and only a minimum
instrumentation is
required. A winner for
your young jazz
ensemble!
Grade 2 SKU: CL.032-3847-00 Composed by Aldrich. Jazz Ensemble. Audio rec...(+)
Grade 2
SKU:
CL.032-3847-00
Composed by Aldrich. Jazz
Ensemble. Audio recording
available separately
(items CL.991-2009-01 &
CL.991-2009-02). Score
and set of parts.
Composed 2009. Duration 3
minutes, 22 seconds. C.L.
Barnhouse #032-3847-00.
Published by C.L.
Barnhouse
(CL.032-3847-00).
Sometimes You
Have To Fly Away by Les
Aldrich is a beautiful
ballad that you can use
to feature any
instrument. Includes solo
parts for alto and tenor
sax, trumpet and trombone
and a C instrument part
that is playable by
flute, guitar or vibes.
The lush sounding
orchestration will make
your students sound like
pros. Ranges are modest,
and only a minimum
instrumentation is
required. A winner for
your young jazz
ensemble!
Tenor Saxophone & Organ SKU: AP.1-ADV7067 For Tenor Saxophone and Orga...(+)
Tenor Saxophone & Organ
SKU: AP.1-ADV7067
For Tenor Saxophone
and Organ. Arranged
by Friedemann Graef.
Series; Solo; Solo Small
Ensembles; Woodwind -
Tenor Saxophone Solo.
Advance Music: Spirituals
for Saxophone. Sacred;
Spiritual; Traditional.
Score and Part(s).
Advance Music
#01-ADV7067. Published by
Advance Music
(AP.1-ADV7067).
UPC:
805095070675. English.
Traditional.
This
collection of pieces for
saxophone and organ or
piano, Spirituals for
Saxophone arranged by
Friedemann Graef, is
designed for use in
concert performances as
well as for church
services and other
ceremonies. This
traditional American
spiritual, Sometimes I
Feel Like a Motherless
Child, has been extended
by composed introductions
and endings, or
interludes and written
solos. The notated solos
here are the results of
more than ten years of
the arranger's personal
experience with these
tunes and chord changes.
The organ part may also
be played on acoustic
piano if the bass voice
is played one octave
lower in respective
passages---these passages
are marked. There is a
transposed part for
B-flat and E-flat
saxophones. Due to the
different register of the
tenor and alto saxophone,
a few notes of the alto
saxophone parts have been
changed for a more
effective sound.
Choral (SSAA Choir) - intermediate SKU: HL.49001445 2. Sometimes I Fee...(+)
Choral (SSAA Choir) -
intermediate
SKU:
HL.49001445
2.
Sometimes I Feel like a
Motherless Child
(Spiritual). Composed
by Hilger Schallehn. This
edition: Folding. Sheet
music. Schott Chorverlag
(Choral Music).
Classical. Choral Score.
4 pages. Schott Music #C
48305. Published by
Schott Music
(HL.49001445).
ISBN
9790001016773. UPC:
073999666670.
7.5x10.75x0.01 inches.
English.
(Sometimes I Feel Like a Motherless Child, Going Home). Arranged by Ruth Elaine ...(+)
(Sometimes I Feel Like a
Motherless Child, Going
Home). Arranged by Ruth
Elaine Schram. For 3-part
mixed choir (optional
Baritone), with
accompaniment. Spiritual.
Choral octavo. Duration
3:37
Nanafushi 3 Percussions [Conducteur et Parties séparées] Tapspace Publications
(for percussion trio). By Tetsuro Naito. Arranged by Jeffery Crowell. Percussion...(+)
(for percussion trio). By
Tetsuro Naito. Arranged
by Jeffery Crowell.
Percussion Trio. For 2
sets of bongos, 2 congas,
2 floor toms, 2 kick
drums, 2 small concert
bass drums to be played
with a foot pedal on
each, Asian, jing style
cymbals (pair) (sometimes
called chappas), high and
low clave (or high
woodblocks with
distinctly different pitc
(3 players).
Medium-Advanced. Score
and parts on CD-ROM. 12
pages. Duration 6'00 .
Published by Tapspace
Publications
Mixed choir (SATB) with 2
soloists (SS) (SATB) -
advanced
SKU:
HL.49001457
Sometimes I feel like
a motherless child.
Composed by Werner
Jung-Faber. This edition:
Saddle stitching. Sheet
music. Schott Chorverlag
(Choral Music).
Classical. Choral Score.
8 pages. Duration 2'.
Schott Music #C 49004.
Published by Schott Music
(HL.49001457).
ISBN
9790001120579. UPC:
073999715156.
7.5x10.75x0.079 inches.
English.
Percussion SKU: LM.28357 Composed by Eric Sammut and Paul Mindy. Pop, jaz...(+)
Percussion
SKU:
LM.28357
Composed by
Eric Sammut and Paul
Mindy. Pop, jazz. Score
and CD. 24 + 10x2 + 8x2
pages. Editions Henry
Lemoine #28357. Published
by Editions Henry Lemoine
(LM.28357).
ISBN
9790230983570.
Some
times I Feel like a
Mother Child (Negro
Spiritual) - BEETHOVEN :
Hymne a la joie -
TRADITIONNEL : Touran -
MINDY / SAMMUT : Saudade
pour Nina et Tali - KOSMA
/ PREVERT : Les Feuilles
mortes.
Composed
by Chen Yi. Full score.
58 pages. Duration 20
minutes. Theodore Presser
Company #116-41963S.
Published by Theodore
Presser Company
(PR.11641963S).
UPC:
680160684472.
The
violin concerto is
commissioned by Friends
of Dresden Music
Foundation for American
soloist Mira Wang and the
New York Philharmonic and
Staatskapelle Dresden as
an American commemoration
of the reconstruction of
the Dresden Frauenkirche,
60 years after its
destruction in World War
II by American and
British Forces. The world
premiere is given at the
Semperoper in Dresden,
Germany, on October 9, 10
& 11, 2005, conducted
by Ivan Fischer. Full of
excitement and inner
power, the musical image
is vivid, energetic,
sometimes lyrical and
sometimes dramatic. The
major angular thematic
material (a three note
motive) consists of big
leaps in interval (a
perfect fourth downward
and then a minor seventh
upward, first introduced
by the violin solo in
measures 27-29). Except
for the cadenzas which
stand at the middle
(Rehearsal E, measure
127) and the two ends of
the piece as a frame, the
virtuosic violin solo
line is always
accompanied by the ever
moving and growing
textures in the
background. The rests
between long and short
phrases symbolize the
space in Chinese
paintings. The Beijing
Opera reciting tune, and
the fingerings to produce
sliding tones in the
performance of the
Chinese fiddle erhu are
also borrowed in the
writing and the
performing of the western
instruments. The musical
imagination of the violin
concerto came from an
ancient Chinese poem with
the same title, written
by Du Fu (712-770) in
Tang Dynasty. Happy Rain
on a Spring Night by Du
Fu (712-770 in Tang
Dynasty) Happy rain comes
in time, When spring is
in its prime. With night
breeze it will fall, And
quietly moisten all.
Clouds darken wild roads,
Light brightens a little
boat. Saturated at dawn,
With flowers blooming the
town. (English
translation by Chen Yi
from the original poem in
Chinese) The following is
the poem in its original
Chinese form, and the
detailed introduction on
the structural plan of
the violin concerto
Spring in Dresden. It's
like the welcome rain on
a quiet spring night that
nurtures the budding
seeds, our new society is
pushing us forward to the
new future. The music
reflects the scenes and
the expression according
to the meaning of the
poem when it's being
unfolded line by line.
Although the tempo is set
63 quarter notes per
minute throughout (played
vividly, never slow
down), the tension is
being built up from the
quiet background in the
beginning, to the
sustained climax towards
the end. The musical
image in Rehearsal A and
B (measures 39-80)
represents the first four
lines of the poem. The
wind instruments response
to the rustling of fast
moving notes on muted
string triplets,
decorated by occasional
strokes produced by
metallic string sound and
high woodwind gestures.
The music in Rehearsal C
and D (measures 81-126)
represents the next two
lines of the poem. It's
so dark, a little light
in the boat is shimmering
on the lake... The
breathy sound and key
slaps on the flutes
create a mysterious
atmosphere, in a dialogue
with other instruments.
The cello glissandi
recite the poem in the
tone of Mandarin, echoed
by the string harmonics.
The music in Rehearsal F,
G and H (m 129-202) is a
toccata, starting in the
orchestra (led by the
marimba), which builds up
a big shape, to reach the
climax in m. 157
(Rehearsal G, the
location of the Golden
Section, according to the
length of the music
without cadenzas), and
keeps the vivid scene
towards the coda (from
Rehearsal I, m. 203),
which stands on the
energetic peak until the
clear cutoff on measure
239, followed by the
short, yet powerful solo
conclusion with the
lingering echo produced
by the high string
harmonics. On the top,
there is a recall of the
three note motive in the
sound of wonderland,
touched by the motor-on
vibraphone meaningfully.
The music is written for
2 flutes, 2 oboes, 2
clarinets (in Bb), 2
bassoons, 4 French horns
(in F), 2 trumpets (in
Bb), 3 trombones, tuba,
harp, 3 percussion
players (Perc. 1:
xylophone; Perc. 2:
suspended cymbal,
Japanese high woodblock,
snare drum, bass drum and
vibraphone; Perc. 3:
marimba and tam-tam),
solo violin, and strings.
Duration is about 20
minutes. The violin
concerto is commissioned
by Friends of Dresden
Music Foundation for
American soloist Mira
Wang and the New York
Philharmonic and
Staatskapelle Dresden as
an American commemoration
of the reconstruction of
the Dresden Frauenkirche,
60 years after its
destruction in World War
II by American and
British Forces. The world
premiere is given at the
Semperoper in Dresden,
Germany, on October 9, 10
& 11, 2005, conducted by
Ivan Fischer.Full of
excitement and inner
power, the musical image
is vivid, energetic,
sometimeslyrical and
sometimes dramatic. The
major angular thematic
material (a three
notemotive) consists of
big leaps in interval (a
perfect fourth downward
and then a minorseventh
upward, first introduced
by the violin solo in
measures 27-29). Except
for thecadenzas which
stand at the middle
(Rehearsal E, measure
127) and the two ends of
the piece as a frame, the
virtuosic violin solo
line is always
accompanied by the ever
moving and growing
textures in the
background. The rests
between long and short
phrases symbolize the
space in Chinese
paintings. The Beijing
Opera reciting tune, and
the fingerings to produce
sliding tones in the
performance of the
Chinese fiddle erhu are
also borrowed in the
writing and the
performing of the western
instruments.The musical
imagination of the violin
concerto came from an
ancient Chinese poem with
the same title, written
by Du Fu (712-770) in
Tang Dynasty.Happy Rain
on a Spring Nightby Du Fu
(712-770 in Tang
Dynasty)Happy rain comes
in time,When spring is in
its prime.With night
breeze it will fall,And
quietly moisten
all.Clouds darken wild
roads,Light brightens a
little boat.Saturated at
dawn,With flowers
blooming the
town.(English translation
by Chen Yi from the
original poem in
Chinese)The following is
the poem in its original
Chinese form, and the
detailed introduction
onthe structural plan of
the violin concerto
Spring in
Dresden.It’s like
the welcome rain on a
quiet spring night that
nurtures the budding
seeds, our newsociety is
pushing us forward to the
new future. The music
reflects the scenes and
theexpression according
to the meaning of the
poem when it’s
being unfolded line by
line.Although the tempo
is set 63 quarter notes
per minute throughout
(played vividly,
neverslow down), the
tension is being built up
from the quiet background
in the beginning, tothe
sustained climax towards
the end. The musical
image in Rehearsal A and
B (measures39-80)
represents the first four
lines of the poem. The
wind instruments response
to therustling of fast
moving notes on muted
string triplets,
decorated by occasional
strokesproduced by
metallic string sound and
high woodwind gestures.
The music in RehearsalC
and D (measures 81-126)
represents the next two
lines of the poem. It's
so dark, a littlelight in
the boat is shimmering on
the lake... The breathy
sound and key slaps on
theflutes create a
mysterious atmosphere, in
a dialogue with other
instruments. The
celloglissandi recite the
poem in the tone of
Mandarin, echoed by the
string harmonics.
Themusic in Rehearsal F,
G and H (m 129-202) is a
toccata, starting in the
orchestra (led bythe
marimba), which builds up
a big shape, to reach the
climax in m. 157
(Rehearsal G,the location
of the Golden Section,
according to the length
of the music
withoutcadenzas), and
keeps the vivid scene
towards the coda (from
Rehearsal I, m. 203),
whichstands on the
energetic peak until the
clear cutoff on measure
239, followed by the
short,yet powerful solo
conclusion with the
lingering echo produced
by the high
stringharmonics. On the
top, there is a recall of
the three note motive in
the sound ofwonderland,
touched by the motor-on
vibraphone
meaningfully.The music is
written for 2 flutes, 2
oboes, 2 clarinets (in
Bb), 2 bassoons, 4 French
horns (in F), 2 trumpets
(in Bb), 3 trombones,
tuba, harp, 3 percussion
players (Perc.
1:xylophone; Perc. 2:
suspended cymbal,
Japanese high woodblock,
snare drum, bass drum and
vibraphone; Perc. 3:
marimba and tam-tam),
solo violin, and
strings.Duration is about
20 minutes.
Composed by Chen Yi.
Part. 11 pages. Duration
20 minutes. Theodore
Presser Company
#116-41963SP. Published
by Theodore Presser
Company (PR.11641963SP).
UPC:
680160684496.
The
violin concerto is
commissioned by Friends
of Dresden Music
Foundation for American
soloist Mira Wang and the
New York Philharmonic and
Staatskapelle Dresden as
an American commemoration
of the reconstruction of
the Dresden Frauenkirche,
60 years after its
destruction in World War
II by American and
British Forces. The world
premiere is given at the
Semperoper in Dresden,
Germany, on October 9, 10
& 11, 2005, conducted
by Ivan Fischer. Full of
excitement and inner
power, the musical image
is vivid, energetic,
sometimes lyrical and
sometimes dramatic. The
major angular thematic
material (a three note
motive) consists of big
leaps in interval (a
perfect fourth downward
and then a minor seventh
upward, first introduced
by the violin solo in
measures 27-29). Except
for the cadenzas which
stand at the middle
(Rehearsal E, measure
127) and the two ends of
the piece as a frame, the
virtuosic violin solo
line is always
accompanied by the ever
moving and growing
textures in the
background. The rests
between long and short
phrases symbolize the
space in Chinese
paintings. The Beijing
Opera reciting tune, and
the fingerings to produce
sliding tones in the
performance of the
Chinese fiddle erhu are
also borrowed in the
writing and the
performing of the western
instruments. The musical
imagination of the violin
concerto came from an
ancient Chinese poem with
the same title, written
by Du Fu (712-770) in
Tang Dynasty. Happy Rain
on a Spring Night by Du
Fu (712-770 in Tang
Dynasty) Happy rain comes
in time, When spring is
in its prime. With night
breeze it will fall, And
quietly moisten all.
Clouds darken wild roads,
Light brightens a little
boat. Saturated at dawn,
With flowers blooming the
town. (English
translation by Chen Yi
from the original poem in
Chinese) The following is
the poem in its original
Chinese form, and the
detailed introduction on
the structural plan of
the violin concerto
Spring in Dresden. It's
like the welcome rain on
a quiet spring night that
nurtures the budding
seeds, our new society is
pushing us forward to the
new future. The music
reflects the scenes and
the expression according
to the meaning of the
poem when it's being
unfolded line by line.
Although the tempo is set
63 quarter notes per
minute throughout (played
vividly, never slow
down), the tension is
being built up from the
quiet background in the
beginning, to the
sustained climax towards
the end. The musical
image in Rehearsal A and
B (measures 39-80)
represents the first four
lines of the poem. The
wind instruments response
to the rustling of fast
moving notes on muted
string triplets,
decorated by occasional
strokes produced by
metallic string sound and
high woodwind gestures.
The music in Rehearsal C
and D (measures 81-126)
represents the next two
lines of the poem. It's
so dark, a little light
in the boat is shimmering
on the lake... The
breathy sound and key
slaps on the flutes
create a mysterious
atmosphere, in a dialogue
with other instruments.
The cello glissandi
recite the poem in the
tone of Mandarin, echoed
by the string harmonics.
The music in Rehearsal F,
G and H (m 129-202) is a
toccata, starting in the
orchestra (led by the
marimba), which builds up
a big shape, to reach the
climax in m. 157
(Rehearsal G, the
location of the Golden
Section, according to the
length of the music
without cadenzas), and
keeps the vivid scene
towards the coda (from
Rehearsal I, m. 203),
which stands on the
energetic peak until the
clear cutoff on measure
239, followed by the
short, yet powerful solo
conclusion with the
lingering echo produced
by the high string
harmonics. On the top,
there is a recall of the
three note motive in the
sound of wonderland,
touched by the motor-on
vibraphone meaningfully.
The music is written for
2 flutes, 2 oboes, 2
clarinets (in Bb), 2
bassoons, 4 French horns
(in F), 2 trumpets (in
Bb), 3 trombones, tuba,
harp, 3 percussion
players (Perc. 1:
xylophone; Perc. 2:
suspended cymbal,
Japanese high woodblock,
snare drum, bass drum and
vibraphone; Perc. 3:
marimba and tam-tam),
solo violin, and strings.
Duration is about 20
minutes. The violin
concerto is commissioned
by Friends of Dresden
Music Foundation for
American soloist Mira
Wang and the New York
Philharmonic and
Staatskapelle Dresden as
an American commemoration
of the reconstruction of
the Dresden Frauenkirche,
60 years after its
destruction in World War
II by American and
British Forces. The world
premiere is given at the
Semperoper in Dresden,
Germany, on October 9, 10
& 11, 2005, conducted by
Ivan Fischer.Full of
excitement and inner
power, the musical image
is vivid, energetic,
sometimeslyrical and
sometimes dramatic. The
major angular thematic
material (a three
notemotive) consists of
big leaps in interval (a
perfect fourth downward
and then a minorseventh
upward, first introduced
by the violin solo in
measures 27-29). Except
for thecadenzas which
stand at the middle
(Rehearsal E, measure
127) and the two ends of
the piece as a frame, the
virtuosic violin solo
line is always
accompanied by the ever
moving and growing
textures in the
background. The rests
between long and short
phrases symbolize the
space in Chinese
paintings. The Beijing
Opera reciting tune, and
the fingerings to produce
sliding tones in the
performance of the
Chinese fiddle erhu are
also borrowed in the
writing and the
performing of the western
instruments.The musical
imagination of the violin
concerto came from an
ancient Chinese poem with
the same title, written
by Du Fu (712-770) in
Tang Dynasty.Happy Rain
on a Spring Nightby Du Fu
(712-770 in Tang
Dynasty)Happy rain comes
in time,When spring is in
its prime.With night
breeze it will fall,And
quietly moisten
all.Clouds darken wild
roads,Light brightens a
little boat.Saturated at
dawn,With flowers
blooming the
town.(English translation
by Chen Yi from the
original poem in
Chinese)The following is
the poem in its original
Chinese form, and the
detailed introduction
onthe structural plan of
the violin concerto
Spring in
Dresden.It’s like
the welcome rain on a
quiet spring night that
nurtures the budding
seeds, our newsociety is
pushing us forward to the
new future. The music
reflects the scenes and
theexpression according
to the meaning of the
poem when it’s
being unfolded line by
line.Although the tempo
is set 63 quarter notes
per minute throughout
(played vividly,
neverslow down), the
tension is being built up
from the quiet background
in the beginning, tothe
sustained climax towards
the end. The musical
image in Rehearsal A and
B (measures39-80)
represents the first four
lines of the poem. The
wind instruments response
to therustling of fast
moving notes on muted
string triplets,
decorated by occasional
strokesproduced by
metallic string sound and
high woodwind gestures.
The music in RehearsalC
and D (measures 81-126)
represents the next two
lines of the poem. It's
so dark, a littlelight in
the boat is shimmering on
the lake... The breathy
sound and key slaps on
theflutes create a
mysterious atmosphere, in
a dialogue with other
instruments. The
celloglissandi recite the
poem in the tone of
Mandarin, echoed by the
string harmonics.
Themusic in Rehearsal F,
G and H (m 129-202) is a
toccata, starting in the
orchestra (led bythe
marimba), which builds up
a big shape, to reach the
climax in m. 157
(Rehearsal G,the location
of the Golden Section,
according to the length
of the music
withoutcadenzas), and
keeps the vivid scene
towards the coda (from
Rehearsal I, m. 203),
whichstands on the
energetic peak until the
clear cutoff on measure
239, followed by the
short,yet powerful solo
conclusion with the
lingering echo produced
by the high
stringharmonics. On the
top, there is a recall of
the three note motive in
the sound ofwonderland,
touched by the motor-on
vibraphone
meaningfully.The music is
written for 2 flutes, 2
oboes, 2 clarinets (in
Bb), 2 bassoons, 4 French
horns (in F), 2 trumpets
(in Bb), 3 trombones,
tuba, harp, 3 percussion
players (Perc.
1:xylophone; Perc. 2:
suspended cymbal,
Japanese high woodblock,
snare drum, bass drum and
vibraphone; Perc. 3:
marimba and tam-tam),
solo violin, and
strings.Duration is about
20 minutes.
Composed
by Chen Yi. Large Score.
58 pages. Duration 20
minutes. Theodore Presser
Company #116-41963L.
Published by Theodore
Presser Company
(PR.11641963L).
UPC:
680160684489.
The
violin concerto is
commissioned by Friends
of Dresden Music
Foundation for American
soloist Mira Wang and the
New York Philharmonic and
Staatskapelle Dresden as
an American commemoration
of the reconstruction of
the Dresden Frauenkirche,
60 years after its
destruction in World War
II by American and
British Forces. The world
premiere is given at the
Semperoper in Dresden,
Germany, on October 9, 10
& 11, 2005, conducted
by Ivan Fischer. Full of
excitement and inner
power, the musical image
is vivid, energetic,
sometimes lyrical and
sometimes dramatic. The
major angular thematic
material (a three note
motive) consists of big
leaps in interval (a
perfect fourth downward
and then a minor seventh
upward, first introduced
by the violin solo in
measures 27-29). Except
for the cadenzas which
stand at the middle
(Rehearsal E, measure
127) and the two ends of
the piece as a frame, the
virtuosic violin solo
line is always
accompanied by the ever
moving and growing
textures in the
background. The rests
between long and short
phrases symbolize the
space in Chinese
paintings. The Beijing
Opera reciting tune, and
the fingerings to produce
sliding tones in the
performance of the
Chinese fiddle erhu are
also borrowed in the
writing and the
performing of the western
instruments. The musical
imagination of the violin
concerto came from an
ancient Chinese poem with
the same title, written
by Du Fu (712-770) in
Tang Dynasty. Happy Rain
on a Spring Night by Du
Fu (712-770 in Tang
Dynasty) Happy rain comes
in time, When spring is
in its prime. With night
breeze it will fall, And
quietly moisten all.
Clouds darken wild roads,
Light brightens a little
boat. Saturated at dawn,
With flowers blooming the
town. (English
translation by Chen Yi
from the original poem in
Chinese) The following is
the poem in its original
Chinese form, and the
detailed introduction on
the structural plan of
the violin concerto
Spring in Dresden. It's
like the welcome rain on
a quiet spring night that
nurtures the budding
seeds, our new society is
pushing us forward to the
new future. The music
reflects the scenes and
the expression according
to the meaning of the
poem when it's being
unfolded line by line.
Although the tempo is set
63 quarter notes per
minute throughout (played
vividly, never slow
down), the tension is
being built up from the
quiet background in the
beginning, to the
sustained climax towards
the end. The musical
image in Rehearsal A and
B (measures 39-80)
represents the first four
lines of the poem. The
wind instruments response
to the rustling of fast
moving notes on muted
string triplets,
decorated by occasional
strokes produced by
metallic string sound and
high woodwind gestures.
The music in Rehearsal C
and D (measures 81-126)
represents the next two
lines of the poem. It's
so dark, a little light
in the boat is shimmering
on the lake... The
breathy sound and key
slaps on the flutes
create a mysterious
atmosphere, in a dialogue
with other instruments.
The cello glissandi
recite the poem in the
tone of Mandarin, echoed
by the string harmonics.
The music in Rehearsal F,
G and H (m 129-202) is a
toccata, starting in the
orchestra (led by the
marimba), which builds up
a big shape, to reach the
climax in m. 157
(Rehearsal G, the
location of the Golden
Section, according to the
length of the music
without cadenzas), and
keeps the vivid scene
towards the coda (from
Rehearsal I, m. 203),
which stands on the
energetic peak until the
clear cutoff on measure
239, followed by the
short, yet powerful solo
conclusion with the
lingering echo produced
by the high string
harmonics. On the top,
there is a recall of the
three note motive in the
sound of wonderland,
touched by the motor-on
vibraphone meaningfully.
The music is written for
2 flutes, 2 oboes, 2
clarinets (in Bb), 2
bassoons, 4 French horns
(in F), 2 trumpets (in
Bb), 3 trombones, tuba,
harp, 3 percussion
players (Perc. 1:
xylophone; Perc. 2:
suspended cymbal,
Japanese high woodblock,
snare drum, bass drum and
vibraphone; Perc. 3:
marimba and tam-tam),
solo violin, and strings.
Duration is about 20
minutes. The violin
concerto is commissioned
by Friends of Dresden
Music Foundation for
American soloist Mira
Wang and the New York
Philharmonic and
Staatskapelle Dresden as
an American commemoration
of the reconstruction of
the Dresden Frauenkirche,
60 years after its
destruction in World War
II by American and
British Forces. The world
premiere is given at the
Semperoper in Dresden,
Germany, on October 9, 10
& 11, 2005, conducted by
Ivan Fischer.Full of
excitement and inner
power, the musical image
is vivid, energetic,
sometimeslyrical and
sometimes dramatic. The
major angular thematic
material (a three
notemotive) consists of
big leaps in interval (a
perfect fourth downward
and then a minorseventh
upward, first introduced
by the violin solo in
measures 27-29). Except
for thecadenzas which
stand at the middle
(Rehearsal E, measure
127) and the two ends of
the piece as a frame, the
virtuosic violin solo
line is always
accompanied by the ever
moving and growing
textures in the
background. The rests
between long and short
phrases symbolize the
space in Chinese
paintings. The Beijing
Opera reciting tune, and
the fingerings to produce
sliding tones in the
performance of the
Chinese fiddle erhu are
also borrowed in the
writing and the
performing of the western
instruments.The musical
imagination of the violin
concerto came from an
ancient Chinese poem with
the same title, written
by Du Fu (712-770) in
Tang Dynasty.Happy Rain
on a Spring Nightby Du Fu
(712-770 in Tang
Dynasty)Happy rain comes
in time,When spring is in
its prime.With night
breeze it will fall,And
quietly moisten
all.Clouds darken wild
roads,Light brightens a
little boat.Saturated at
dawn,With flowers
blooming the
town.(English translation
by Chen Yi from the
original poem in
Chinese)The following is
the poem in its original
Chinese form, and the
detailed introduction
onthe structural plan of
the violin concerto
Spring in
Dresden.It’s like
the welcome rain on a
quiet spring night that
nurtures the budding
seeds, our newsociety is
pushing us forward to the
new future. The music
reflects the scenes and
theexpression according
to the meaning of the
poem when it’s
being unfolded line by
line.Although the tempo
is set 63 quarter notes
per minute throughout
(played vividly,
neverslow down), the
tension is being built up
from the quiet background
in the beginning, tothe
sustained climax towards
the end. The musical
image in Rehearsal A and
B (measures39-80)
represents the first four
lines of the poem. The
wind instruments response
to therustling of fast
moving notes on muted
string triplets,
decorated by occasional
strokesproduced by
metallic string sound and
high woodwind gestures.
The music in RehearsalC
and D (measures 81-126)
represents the next two
lines of the poem. It's
so dark, a littlelight in
the boat is shimmering on
the lake... The breathy
sound and key slaps on
theflutes create a
mysterious atmosphere, in
a dialogue with other
instruments. The
celloglissandi recite the
poem in the tone of
Mandarin, echoed by the
string harmonics.
Themusic in Rehearsal F,
G and H (m 129-202) is a
toccata, starting in the
orchestra (led bythe
marimba), which builds up
a big shape, to reach the
climax in m. 157
(Rehearsal G,the location
of the Golden Section,
according to the length
of the music
withoutcadenzas), and
keeps the vivid scene
towards the coda (from
Rehearsal I, m. 203),
whichstands on the
energetic peak until the
clear cutoff on measure
239, followed by the
short,yet powerful solo
conclusion with the
lingering echo produced
by the high
stringharmonics. On the
top, there is a recall of
the three note motive in
the sound ofwonderland,
touched by the motor-on
vibraphone
meaningfully.The music is
written for 2 flutes, 2
oboes, 2 clarinets (in
Bb), 2 bassoons, 4 French
horns (in F), 2 trumpets
(in Bb), 3 trombones,
tuba, harp, 3 percussion
players (Perc.
1:xylophone; Perc. 2:
suspended cymbal,
Japanese high woodblock,
snare drum, bass drum and
vibraphone; Perc. 3:
marimba and tam-tam),
solo violin, and
strings.Duration is about
20 minutes.
For Piano * Transcribed Exactly from His Recorded Solos. By Chick Corea. Jazz ...(+)
For Piano * Transcribed
Exactly from His Recorded
Solos. By Chick Corea.
Jazz
Transcriptions. Jazz.
Softcover. 272 pages.
Published by Hal Leonard
Armando's Rhumba
Blue Miles
Blues For Art
Brasilia (Lyric Suite
Part 5)
Bud Powell
Chick's Piano Solo
(Spanish
Fantasy Part 3)
Children's Song No. 6
Crystal Silence
Duende
Eternal Child
500 Miles High
Humpty Dumpty
Improvisation On
Scarlatti
La Fiesta
Love Castle
Mirror, Mirror
Morning Sprite
Quartet No. 1
The Romantic Warrior
The Sky
Sometime Ago
Spain
Stride Time VII (Rhapsody
For
Mr. T)
Waltz (Lyric Suite, Part
2)
Windows
The Yellow Nimbus
Sometime, Somewhere Orchestre d'harmonie [Conducteur et Parties séparées] - Facile De Haske Publications
Concert Band/Harmonie and Trumpet Solo - Grade 3 SKU: BT.DHP-0981261-010 ...(+)
Concert Band/Harmonie and
Trumpet Solo - Grade 3
SKU:
BT.DHP-0981261-010
Composed by George
Shutack. Arranged by
Klaas van der Woude. Solo
Spectrum. Festive and
Solemn Music. Set (Score
& Parts). Composed 1998.
De Haske Publications
#DHP 0981261-010.
Published by De Haske
Publications
(BT.DHP-0981261-010).
An arrangement
of George Shutack piano
piece Sometime, Somewhere
for Cornet solo and brass
band. In this ‘Rock
Ballad’ the
soloist is given the
opportunity to show off
his musical talent
leaving the audience to
float off on a romantic
cloud.
Sometime, Somewhere [Conducteur et Parties séparées] - Facile De Haske Publications
Brass Band and Cornet Solo - Grade 3 SKU: BT.DHP-0981261-030 Composed by ...(+)
Brass Band and Cornet
Solo - Grade 3
SKU:
BT.DHP-0981261-030
Composed by George
Shutack. Arranged by
Klaas van der Woude. Solo
Spectrum. Festive and
Solemn Music. Set (Score
& Parts). Composed 1998.
De Haske Publications
#DHP 0981261-030.
Published by De Haske
Publications
(BT.DHP-0981261-030).
An arrangement
of George Shutack piano
piece Sometime, Somewhere
for Cornet solo and brass
band. In this ‘Rock
Ballad’ the
soloist is given the
opportunity to show off
his musical talent
leaving the audience to
float off on a romantic
cloud.