SKU: HL.50603924 Score and Parts. Composed by Peter Dickinson. Str...(+)
SKU: HL.50603924
Score and Parts.
Composed by Peter
Dickinson. String.
Softcover. 64 pages.
Duration 600 seconds.
Novello & Co Ltd.
#NOV100474. Published by
Novello & Co Ltd.
(HL.50603924).
ISBN
9781705157718. UPC:
196288032458. 9.0x12.0
inches.
The
composer writes: These
three pieces are based on
movements from my Mass of
the Apocalypse,
commissioned for the
300th anniversary of St
James' Church, Piccadilly
and recorded by the St
James' Singers/Ivor
Bolton. They are
dedicated to Peter
Sheppard Sk''rved and the
Kreutzer Quartet in
gratitude for their
outstanding CD of my
chamber music released
early in 2020. They gave
the first performance of
the Three Pieces, which
was filmed and streamed
in November 2020, but the
live premiere was given
by the Gildas Quartet in
the William Alwyn
Festival at Southwold
Church on 8 October
2021..
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from our US warehouse. It
may take up to 2-3 weeks
to get to
you.
Choral Keyboard (Rehearsal Use Only), SATB choir SKU: PR.UE021717 Compose...(+)
Choral Keyboard
(Rehearsal Use Only),
SATB choir
SKU:
PR.UE021717
Composed
by Traditional. Arranged
by George Arthur.
Contemporary. Part. With
Standard notation. 12
pages. Universal Edition
#UE021717. Published by
Universal Edition
(PR.UE021717).
ISBN
9783702474096. UPC:
803452071204.
Georg
e Arthur, director of
Southampton University
Chamber Choir and now
award-winning composer,
joins the Universal
Edition catalog with four
choral works for a
cappella choir. In a
setting more akin to show
choir, I Saw Three Ships
is a high-end arrangement
of the traditional folk
song, using a tricky
rhythm structure. Well
worth the extra time in
preparation as a feature
on your Christmas
program.
Tanoan Echoes Orchestre d'harmonie [Conducteur et Parties séparées] - Débutant Alfred Publishing
By Robert W. Smith. By Robert W. Smith. For Concert Band. Concert Band. Belwin B...(+)
By Robert W. Smith. By
Robert W. Smith. For
Concert Band. Concert
Band. Belwin Beginning
Band. Level: Very Easy
(grade I). Conductor
Score & Parts. 132 pages.
Duration 1:44. Published
by Alfred Publishing.
For C instrument. Music Theory. All Styles. Difficulty: easy-medium. Fakebook. S...(+)
For C instrument. Music
Theory. All Styles.
Difficulty: easy-medium.
Fakebook. Standard
notation and chord names.
48 pages. Published by
Kevin Mayhew Publishers
Red River Station Orchestre d'harmonie [Conducteur et Parties séparées] C.L. Barnhouse
Composed by J.H. Bell. Concert Band Series. Audio recording available separately...(+)
Composed by J.H. Bell.
Concert Band Series.
Audio recording available
separately (item
CL.WFR391). Score and
parts. Composed 2017.
Duration 5 minutes.
Published by C.L.
Barnhouse
(CL.012-4523-00).
Piano and orchestra - difficult SKU: HL.49046544 For piano and orchest...(+)
Piano and orchestra -
difficult
SKU:
HL.49046544
For
piano and orchestra.
Composed by Gyorgy
Ligeti. This edition:
Saddle stitching. Sheet
music. Edition Schott.
Softcover. Composed
1985-1988. Duration 24'.
Schott Music #ED23178.
Published by Schott Music
(HL.49046544).
ISBN
9781705122655. UPC:
842819108726.
9.0x12.0x0.224
inches.
I composed
the Piano Concerto in two
stages: the first three
movements during the
years 1985-86, the next
two in 1987, the final
autograph of the last
movement was ready by
January, 1988. The
concerto is dedicated to
the American conductor
Mario di Bonaventura. The
markings of the movements
are the following: 1.
Vivace molto ritmico e
preciso 2. Lento e
deserto 3. Vivace
cantabile 4. Allegro
risoluto 5. Presto
luminoso.The first
performance of the
three-movement Concerto
was on October 23rd, 1986
in Graz. Mario di
Bonaventura conducted
while his brother,
Anthony di Bonaventura,
was the soloist. Two days
later the performance was
repeated in the Vienna
Konzerthaus. After
hearing the work twice, I
came to the conclusion
that the third movement
is not an adequate
finale; my feeling of
form demanded
continuation, a
supplement. That led to
the composing of the next
two movements. The
premiere of the whole
cycle took place on
February 29th, 1988, in
the Vienna Konzerthaus
with the same conductor
and the same pianist. The
orchestra consisted of
the following: flute,
oboe, clarinet, bassoon,
horn, trumpet, tenor
trombone, percussion and
strings. The flautist
also plays the piccoIo,
the clarinetist, the alto
ocarina. The percussion
is made up of diverse
instruments, which one
musician-virtuoso can
play. It is more
practical, however, if
two or three musicians
share the instruments.
Besides traditional
instruments the
percussion part calls
also for two simple wind
instruments: the swanee
whistle and the
harmonica. The string
instrument parts (two
violins, viola, cello and
doubles bass) can be
performed soloistic since
they do not contain
divisi. For balance,
however, the ensemble
playing is recommended,
for example 6-8 first
violins, 6-8 second, 4-6
violas, 4-6 cellos, 3-4
double basses. In the
Piano Concerto I realized
new concepts of harmony
and rhythm. The first
movement is entirely
written in bimetry:
simultaneously 12/8 and
4/4 (8/8). This relates
to the known triplet on a
doule relation and in
itself is nothing new.
Because, however, I
articulate 12 triola and
8 duola pulses, an
entangled, up till now
unheard kind of polymetry
is created. The rhythm is
additionally complicated
because of asymmetric
groupings inside two
speed layers, which means
accents are
asymmetrically
distributed. These
groups, as in the talea
technique, have a fixed,
continuously repeating
rhythmic structures of
varying lengths in speed
layers of 12/8 and 4/4.
This means that the
repeating pattern in the
12/8 level and the
pattern in the 4/4 level
do not coincide and
continuously give a
kaleidoscope of renewing
combinations. In our
perception we quickly
resign from following
particular rhythmical
successions and that what
is going on in time
appears for us as
something static,
resting. This music, if
it is played properly, in
the right tempo and with
the right accents inside
particular layers, after
a certain time 'rises, as
it were, as a plane after
taking off: the rhythmic
action, too complex to be
able to follow in detail,
begins flying. This
diffusion of individual
structures into a
different global
structure is one of my
basic compositional
concepts: from the end of
the fifties, from the
orchestral works
Apparitions and
Atmospheres I
continuously have been
looking for new ways of
resolving this basic
question. The harmony of
the first movement is
based on mixtures, hence
on the parallel leading
of voices. This technique
is used here in a rather
simple form; later in the
fourth movement it will
be considerably
developed. The second
movement (the only slow
one amongst five
movements) also has a
talea type of structure,
it is however much
simpler rhythmically,
because it contains only
one speed layer. The
melody is consisted in
the development of a
rigorous interval mode in
which two minor seconds
and one major second
alternate therefore nine
notes inside an octave.
This mode is transposed
into different degrees
and it also determines
the harmony of the
movement; however, in
closing episode in the
piano part there is a
combination of diatonics
(white keys) and
pentatonics (black keys)
led in brilliant,
sparkling quasimixtures,
while the orchestra
continues to play in the
nine tone mode. In this
movement I used isolated
sounds and extreme
registers (piccolo in a
very low register,
bassoon in a very high
register, canons played
by the swanee whistle,
the alto ocarina and
brass with a harmon-mute'
damper, cutting sound
combinations of the
piccolo, clarinet and
oboe in an extremely high
register, also
alternating of a
whistle-siren and
xylophone). The third
movement also has one
speed layer and because
of this it appears as
simpler than the first,
but actually the rhythm
is very complicated in a
different way here. Above
the uninterrupted, fast
and regular basic pulse,
thanks to the asymmetric
distribution of accents,
different types of
hemiolas and inherent
melodical patterns appear
(the term was coined by
Gerhard Kubik in relation
to central African
music). If this movement
is played with the
adequate speed and with
very clear accentuation,
illusory
rhythmic-melodical
figures appear. These
figures are not played
directly; they do not
appear in the score, but
exist only in our
perception as a result of
co-operation of different
voices. Already earlier I
had experimented with
illusory rhythmics,
namely in Poeme
symphonique for 100
metronomes (1962), in
Continuum for harpsichord
(1968), in Monument for
two pianos (1976), and
especially in the first
and sixth piano etude
Desordre and Automne a
Varsovie (1985). The
third movement of the
Piano Concerto is up to
now the clearest example
of illusory rhythmics and
illusory melody. In
intervallic and chordal
structure this movement
is based on alternation,
and also inter-relation
of various modal and
quasi-equidistant harmony
spaces. The tempered
twelve-part division of
the octave allows for
diatonical and other
modal interval
successions, which are
not equidistant, but are
based on the alternation
of major and minor
seconds in different
groups. The tempered
system also allows for
the use of the
anhemitonic pentatonic
scale (the black keys of
the piano). From
equidistant scales,
therefore interval
formations which are
based on the division of
an octave in equal
distances, the
twelve-tone tempered
system allows only
chromatics (only minor
seconds) and the six-tone
scale (the whole-tone:
only major seconds).
Moreover, the division of
the octave into four
parts only minor thirds)
and three parts (three
major thirds) is
possible. In several
music cultures different
equidistant divisions of
an octave are accepted,
for example, in the
Javanese slendro into
five parts, in Melanesia
into seven parts, popular
also in southeastern
Asia, and apart from
this, in southern Africa.
This does not mean an
exact equidistance: there
is a certain tolerance
for the inaccurateness of
the interval tuning.
These exotic for us,
Europeans, harmony and
melody have attracted me
for several years.
However I did not want to
re-tune the piano
(microtone deviations
appear in the concerto
only in a few places in
the horn and trombone
parts led in natural
tones). After the period
of experimenting, I got
to pseudo- or
quasiequidistant
intervals, which is
neither whole-tone nor
chromatic: in the
twelve-tone system, two
whole-tone scales are
possible, shifted a minor
second apart from each
other. Therefore, I
connect these two scales
(or sound resources), and
for example, places occur
where the melodies and
figurations in the piano
part are created from
both whole tone scales;
in one band one six-tone
sound resource is
utilized, and in the
other hand, the
complementary. In this
way whole-tonality and
chromaticism mutually
reduce themselves: a type
of deformed
equidistancism is formed,
strangely brilliant and
at the same time
slanting; illusory
harmony, indeed being
created inside the
tempered twelve-tone
system, but in sound
quality not belonging to
it anymore. The
appearance of such
slantedequidistant
harmony fields
alternating with modal
fields and based on
chords built on fifths
(mainly in the piano
part), complemented with
mixtures built on fifths
in the orchestra, gives
this movement an
individual, soft-metallic
colour (a metallic sound
resulting from
harmonics). The fourth
movement was meant to be
the central movement of
the Concerto. Its
melodc-rhythmic elements
(embryos or fragments of
motives) in themselves
are simple. The movement
also begins simply, with
a succession of
overlapping of these
elements in the mixture
type structures. Also
here a kaleidoscope is
created, due to a limited
number of these elements
- of these pebbles in the
kaleidoscope - which
continuously return in
augmentations and
diminutions. Step by
step, however, so that in
the beginning we cannot
hear it, a compiled
rhythmic organization of
the talea type gradually
comes into daylight,
based on the simultaneity
of two mutually shifted
to each other speed
layers (also triplet and
duoles, however, with
different asymmetric
structures than in the
first movement). While
longer rests are
gradually filled in with
motive fragments, we
slowly come to the
conclusion that we have
found ourselves inside a
rhythmic-melodical whirl:
without change in tempo,
only through increasing
the density of the
musical events, a
rotation is created in
the stream of successive
and compiled, augmented
and diminished motive
fragments, and increasing
the density suggests
acceleration. Thanks to
the periodical structure
of the composition,
always new but however of
the same (all the motivic
cells are similar to
earlier ones but none of
them are exactly
repeated; the general
structure is therefore
self-similar), an
impression is created of
a gigantic, indissoluble
network. Also, rhythmic
structures at first
hidden gradually begin to
emerge, two independent
speed layers with their
various internal
accentuations. This
great, self-similar whirl
in a very indirect way
relates to musical
associations, which came
to my mind while watching
the graphic projection of
the mathematical sets of
Julia and of Mandelbrot
made with the help of a
computer. I saw these
wonderful pictures of
fractal creations, made
by scientists from Brema,
Peitgen and Richter, for
the first time in 1984.
From that time they have
played a great role in my
musical concepts. This
does not mean, however,
that composing the fourth
movement I used
mathematical methods or
iterative calculus;
indeed, I did use
constructions which,
however, are not based on
mathematical thinking,
but are rather craftman's
constructions (in this
respect, my attitude
towards mathematics is
similar to that of the
graphic artist Maurits
Escher). I am concerned
rather with intuitional,
poetic, synesthetic
correspondence, not on
the scientific, but on
the poetic level of
thinking. The fifth, very
short Presto movement is
harmonically very simple,
but all the more
complicated in its
rhythmic structure: it is
based on the further
development of ''inherent
patterns of the third
movement. The
quasi-equidistance system
dominates harmonically
and melodically in this
movement, as in the
third, alternating with
harmonic fields, which
are based on the division
of the chromatic whole
into diatonics and
anhemitonic pentatonics.
Polyrhythms and harmonic
mixtures reach their
greatest density, and at
the same time this
movement is strikingly
light, enlightened with
very bright colours: at
first it seems chaotic,
but after listening to it
for a few times it is
easy to grasp its
content: many autonomous
but self-similar figures
which crossing
themselves. I present my
artistic credo in the
Piano Concerto: I
demonstrate my
independence from
criteria of the
traditional avantgarde,
as well as the
fashionable
postmodernism. Musical
illusions which I
consider to be also so
important are not a goal
in itself for me, but a
foundation for my
aesthetical attitude. I
prefer musical forms
which have a more
object-like than
processual character.
Music as frozen time, as
an object in imaginary
space evoked by music in
our imagination, as a
creation which really
develops in time, but in
imagination it exists
simultaneously in all its
moments. The spell of
time, the enduring its
passing by, closing it in
a moment of the present
is my main intention as a
composer. (Gyorgy
Ligeti).
Tuba and string quartet SKU: P2.90107 Composed by Lon W. Chaffin. Chamber...(+)
Tuba and string quartet
SKU: P2.90107
Composed by Lon W.
Chaffin. Chamber music.
Published by Potenza
Music (P2.90107).
Doors is a set
of four pieces, for
string quartet and tuba,
is based on photographs
by Albuquerque
photographer Jim
Gale.
The first
movement, Stone-Layered
Maze, creates an
atmosphere of mystery.
The music moves as if
through openings in a
maze of layered stone
walls. It incorporates
the use of rocks as an
additional sound
source.
Old
Leaning Lumber paints an
aural picture of old,
dilapidated wooden
structures with open
doors and windows. The
music creaks, sways, and
falls. The string players
occasionally tap on their
instruments to add a
percussive wooden
timbre.
The
third movement is based
on an eclectic collection
of door photos from all
types of structures, from
all parts of town. Out
About Town has the
performers tapping the
heels and toes of their
shoes on the floor in
this contrapuntal stroll
with an asymmetrical
meter.
Blue Door
Blues is an actual blues
tune inspired by the
multitude of blue doors
seen throughout the
southwest United States.
Even the blue church
doors have their moment
in the middle of the
piece as the audience
hears both an old-world
chant and a gospel riff.
The performers add to the
mix with a few cool
finger snaps. - Lon
W. Chaffin.
Composed by Don Henley, Glenn Frey, Bob Seger, and John David Souther. Arranged ...(+)
Composed by Don Henley,
Glenn Frey, Bob Seger,
and John David Souther.
Arranged by Greg Gilpin.
This edition: SoundTrax
CD. CD. Alfred Pop
Series. Pop; Rock;
Secular. Published by
Alfred Music (AP.43574).
The Legend of Killarney Orchestre d'harmonie [Conducteur et Parties séparées] - Facile Belwin
By Roland Barrett. Concert Band. Concert Band; Part(s); Score. Belwin Young Band...(+)
By Roland Barrett.
Concert Band. Concert
Band; Part(s); Score.
Belwin Young Band. Form:
Overture. Folk;
Multicultural. Grade 2.
Published by Belwin Music
SATB choir, keyboard accompaniment SKU: GI.001119 Composed by G. E. Mulla...(+)
SATB choir, keyboard
accompaniment
SKU:
GI.001119
Composed by
G. E. Mullan. Children.
Sacred. Octavo. GIA
Publications #001119.
Published by GIA
Publications (GI.001119).
English.
The
unique watercolor style
of San Antonio artist G.
E. Mullan is noted for
its lyrical line set
against an ordered and
complex geometry of
interdependent shapes.
His technique creates a
visual excitement that
involves the viewer and
invites close study of
the excellence of the
work. His religious
subjects incorporate the
historical traditions of
the Santos figures of
Mexico and the Southwest,
the illuminated
manuscripts of Western
Europe, and the icons and
mosaics of the Byzantine
style. 4in. x 9in.
Notecard.
Heartache Tonight Fanfare [Conducteur et Parties séparées] - Facile Alfred Publishing
(As recorded by The Eagles). Composed by Don Henley, Glenn Frey, Bob Seger, and ...(+)
(As recorded by The
Eagles). Composed by Don
Henley, Glenn Frey, Bob
Seger, and John David
Souther [The Eagles].
Arranged by Michael Story
and Mike Story. Marching
Band. Marching Band;
Part(s); Score. Big and
Easy. Rock. Grade 2. 116
pages. Published by
Alfred Music
Desert Dances Orchestre d'harmonie - Facile Anglo Music
Concert Band (Score) - Grade 3 SKU: HL.4007380 Composed by Philip Sparke....(+)
Concert Band (Score) -
Grade 3
SKU:
HL.4007380
Composed
by Philip Sparke. Anglo
Music Concert Band.
Concert. Softcover.
Duration 290 seconds.
Anglo Music Press
#AMP474-140. Published by
Anglo Music Press
(HL.4007380).
UPC:
196288019725.
Hende
rson is a city in Clark
County, Nevada, just
southeast of Las Vegas
and surrounded by desert:
this was the inspiration
for the title. Desert
Dances opens with a
lively introduction,
mostly in 3/4, which
pervades the faster
sections of the piece.
This subsides to
introduce a slower dance
which expands to a
full-band climax. The
introduction soon returns
and leads to the main
theme of the piece, a
waltz-like melody played
by the full ensemble. A
short bridge passage
follows, which leads to a
legato central theme.
This is played twice and
heralds the return of the
main theme and a short
coda which closes the
work. An imaginative work
for concert or contest
with nice features
throughout all groups of
the band.
Flute, Percussion SKU: PR.16400248S Composed by Dan Welcher. With Standar...(+)
Flute, Percussion
SKU:
PR.16400248S
Composed
by Dan Welcher. With
Standard notation.
Duration 14 minutes.
Theodore Presser Company
#164-00248S. Published by
Theodore Presser Company
(PR.16400248S).
UPC:
680160038244.
This
work is my second for a
solo woodwind and a solo
percussionist, following
Firewing: The Flame and
the Moth for oboe and
percussion by nine years.
The earlier piece
followed a specific story
line, and pitted the oboe
against the percussionist
as both adversary and
lover. In Spirit Realms,
my aim was not only to
juxtapose the very
different sounds of flute
(plus alto flute and
piccolo) against a large
array of percussion, but
also to attempt three
different meditative
spaces, each named for a
different type of
spiritual practice. The
musical means of
expression is very
different for each of the
three movements (as is
the instrumentation),
although they share a
common scale-source: the
looped pentatonic scale I
have been developing over
the last several years.
The first movement
is called Prayer Tunnel,
and is named for the
Eskimo practice of solo
meditation within a
tunnel of ice blocks.
This is said to be a
means of overcoming
demons within, and in my
musical rendering it
takes the form of an
unaccompanied alto flute
solo. The flute begins
rather angrily, full of
tension, but in the
course of the solo
passage manages to slowly
unwind. The percussionist
then plays the exact same
music the alto flute had
played....on seven tuned
cymbals. Toward the end,
the alto flute re-enters,
its original meditation
having fused with its
mirror. Kiva
represents the circular,
subterranean pit in which
the Anasazi practiced
their religion, a form of
which still can be found
in the Hopi tribes of the
American southwest. These
are not spaces for solo
meditation, but rather a
group meeting place in
which only the sanctified
are permitted. After an
introductory invocation
(dove call), the music
begins. At first, it is
flowing, in a repetitive
double-five meter. It
then traces several
sections, with metric
shifts forcing the pulse
to race faster and
faster, until it halves
itself in the coda and
returns to the exact
pulse of the beginning.
The flutist here uses the
C flute, and the
percussionist plays on
both pitched (marimba)
and unpitched instruments
(various drums and struck
sources). Zendo is
the meditation room used
by Zen Buddhists. My
music begins with another
invocation (wind chimes,
temple cup gongs, and
temple blocks), then
moves on to a slow
subject stated by the
flute. The subject is
taken up by the
vibraphone, and after
several modulations and
tempo changes, the
flutist takes up the
piccolo. The music
continues higher and
higher, and faster and
faster (Zen meditation is
NOT all about becoming
lost!) until it breaks
free at the very end. The
percussionist is put
through his paces in this
movement, having to reach
a staggering number of
instruments in a short
time. Spirit
Realms was commissioned
by, and is dedicated to,
the Armstrong Duo. -- Dan
Welcher.
Bisbee Hill Orchestre d'harmonie [Conducteur] - Facile Carl Fischer
Concert Band concert band - Grade 2-2.5 SKU: CF.YPS57F March. Comp...(+)
Concert Band concert band
- Grade 2-2.5
SKU:
CF.YPS57F
March. Composed by
Doris Gazda. This
edition: full score.
FS-SWS. Carl Fischer
Young Performance Series.
Classical. Full score.
With Standard notation.
20 pages. Carl Fischer
Music #YPS57F. Published
by Carl Fischer Music
(CF.YPS57F).
ISBN
9780825862076. UPC:
798408062071. 9 X 12
inches. Key: Bb
major.
Bisbee, a
small town southwest of
Tucson, Arizona, is best
known as the home of the
Copper Queen Mine, one of
the richest mineral sites
in the world. Composer
Doris Gazda uses here
experience as a band
director to give us a
well constructed, tuneful
and easy to play concert
march.
Vocal and Piano SKU: HL.14034354 Composed by David Turnbull. Music Sales ...(+)
Vocal and Piano
SKU:
HL.14034354
Composed
by David Turnbull. Music
Sales America. Tuition.
Book [Softcover]. 48
pages. Music Sales
#BOE005169. Published by
Music Sales
(HL.14034354).
ISBN
9781844494170.
9.0x12.0x0.152
inches.
This book
contains everything you
need to progress to
intermediate singing
level, including over 20
songs which can be used
in your ABRSM Grade 4
exam, with plenty of help
and theory information
throughout. There are
also sections on
warming-up and sight
singing. Audio is
accessed online using the
unique code inside the
book and can be streamed
or downloaded. The audio
files include PLAYBACK+,
a multi-functional audio
player that allows you to
slow down audio without
changing pitch, set loop
points, change keys, and
pan left or right.
11 Beautiful Moods and Styles. Composed by Eugenie R. Rocherolle. Arranged by ...(+)
11 Beautiful Moods and
Styles.
Composed by Eugenie R.
Rocherolle. Arranged by
Eugé
and nie Rocherolle.
Educational Piano
Library.
Classical, Folk, Solos.
Softcover. Published by
Hal
Leonard
Images of Appalachia Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire Kjos Music Company
Band concert band - Grade 4 SKU: KJ.WB148 Composed by Christopher Salerno...(+)
Band concert band - Grade
4
SKU: KJ.WB148
Composed by Christopher
Salerno. Bandworks. Score
and set of parts. Neil A.
Kjos Music Company
#WB148. Published by Neil
A. Kjos Music Company
(KJ.WB148).
An
overture-style piece,
Images of Appalachia
portrays the composer's
impression of the
colorful Appalachian
mountain ranges and
valleys of southwestern
Virginia.
Composed by Chen Yi.
Performance score. With
Standard notation. 56
pages. Duration 14
minutes. Theodore Presser
Company #114-41166S.
Published by Theodore
Presser Company
(PR.11441166S).
UPC:
680160016945. 8.5 x 11
inches.
Commissione
d by Boston Musica Viva
with funds provided by
Catherine and Paul
Buttenwieser, premiered
on March 15, 2002, in
Boston, directed by
Richard Pittman, Wu Yu is
composed for flute,
clarinet (doubling bass
clarinet), bassoon,
violin, cello and
percussion (vibraphone,
bongo, Japanese high
woodblock, cymbal, 2
Chinese gongs, tom-tom
and bass drum), in two
movements. Wu Yu was a
ritual dance in ancient
China, which includes
song and dance performed
with ox tails in hands.
It's a ceremony of
praying to the deity for
rain. In the first
movement of my
composition Wu Yu, I use
the flute, clarinet and
bassoon to play in
heterophonic style,
imitating the tunes
played by a group of
suona players in a
village ceremony (the
blowing instrument suona
is a shawm, made with
wood), while using other
instruments to create
sheng-like sustained
chords (the Chinese
traditional instrument
sheng is a free-reed
mouth-organ, made with a
gourd). The music starts
slowly, and gets faster
and faster towards the
coda. In the second
movement, I imitate a
whole group of Chinese
traditional percussion
instruments played in the
folk ensemble music
Shifan Gong-and-drum in
Southeast China, which is
often used in ceremonies
and village gatherings.
The music is brought to a
climax at the end of the
work. The whole piece
lasts about 14 minutes.
--Chen Yi.
Red River Station Orchestre d'harmonie [Conducteur] - Intermédiaire Opus III Wind Orchestra Publications
Concert band - Grade 4 SKU: CL.012-4523-75 Composed by J. Bell. Concert B...(+)
Concert band - Grade 4
SKU:
CL.012-4523-75
Composed by J. Bell.
Concert Band. Concert
Band Series. Audio
recording available
separately (item
CL.WFR391). Oversized,
spiral-bound score.
Composed 2017. Duration 5
minutes. Opus III Wind
Orchestra Publications
#012-4523-75. Published
by Opus III Wind
Orchestra Publications
(CL.012-4523-75).
Red River
Station is a bright and
upbeat work emulating the
style popularized by the
soundtrack of the great
American west. After the
Civil War, cattle drives
from Texas to Kansas
included a stop at Red
River Station along the
Chisholm Trail, just
before leaving Texas. The
syncopated rhythms and
pentatonic melodies bring
to the life the vibrant
and beautiful landscape
and experience of riding
horseback through the
southwest. The energetic
and inventive
orchestration and
exciting nature of this
work make it an excellent
fit for any concert, and
a great contest or
festival selection.
For SATB choir unaccompanied. Composed by Paul Mealor. Choral. Sacred, C...(+)
For SATB choir
unaccompanied.
Composed by Paul Mealor.
Choral. Sacred,
Classical. Octavo. 8
pages. Novello and Co
Ltd. #NOV295350.
Published by Novello and
Co Ltd. (HL.14047961).
Continuum Orchestre d'harmonie [Conducteur] - Intermédiaire Hal Leonard
Concert Band (Score) - Grade 4 SKU: HL.4003031 Composed by Robert Buckley...(+)
Concert Band (Score) -
Grade 4
SKU:
HL.4003031
Composed
by Robert Buckley.
MusicWorks Grade 4.
Contest, Festival. Score.
40 pages. Published by
Hal Leonard (HL.4003031).
UPC: 884088546427.
9x12 inches.
This
exciting, innovative new
work from Robert Buckley
was commissioned by the
Troy University Symphony
Band in honor of the 37th
annual Southeastern
United States Concert
Band Clinic in Alabama.
Using a recurring
two-measure loop, this
uniquely constructed
piece is built up around
various musical building
blocks that are
constantly evolving and
transforming. The music
is dramatic and dynamic,
with full-blown ensemble
passages suddenly
dropping to quiet,
powerful moments without
ever losing the music's
continuous drive.
Following an exotic,
bluesy middle section the
piece builds,
accelerating to a
thrilling, rhythmic,
percussive finish. A real
tour de force! Duration:
7:00.
Ji-Dong-Nuo Piano seul [Partie seule] Theodore Presser Co.
For Piano. By Chen Yi. Solo piano. For Piano. World premiere at Birmingham Symph...(+)
For Piano. By Chen Yi.
Solo piano. For Piano.
World premiere at
Birmingham Symphony Hall,
England, November 13,
2005. US premiere at
Isaac Stern Auditorium,
Carnegie Hall, December
4, 2005. Solo part. 8
pages. Published by
Theodore Presser Company.