Composed by Travis
Weller. Folio. Yps. Set
of Score and Parts.
8+2+8+2+2+5+2+2+8+4+3+3+2
+3+2+1+2+3+16 pages.
Duration 2 minutes, 14
seconds. Carl Fischer
Music #YPS231. Published
by Carl Fischer Music
(CF.YPS231).
ISBN
9781491157831. UPC:
680160916436. 9 x 12
inches.
The life of
railroad worker in the
early days of expansion
was lonely, and the need
for music to bolster
spirits was of great
importance. The character
singing 900 Miles is
looking forward to being
reunited with his family
after being separated
from them for
considerable time. The
Wayfaring Stranger is a
prominent American folk
and gospel song that
reflects upon the journey
through life. The
character in that song
contemplates better times
with their family in the
afterlife. Both of these
songs speak to the idea
of searching for
something beyond the
current situation in
which that person finds
themselves. The
programmatic qualities of
the work are essentially
tied to the main folk
songa900 Milesaand they
evoke the idea of where
the song found its
origins. Beyond that,
both songs connect each
of us to the sense of
belonging and family that
are the human experience.
While the music paints a
picture of someone who is
alone, that is not a
feeling I want for any
young student in our
schools today. Band is
one of the few places
where students can
discover that sense of
belonging and find a
surrogate family. While
band is a family that
might not always get
along, they can reach a
shared goal through
diligent work, caring and
encouragement. It was a
pleasure completing
Lonely Travelers for
longtime friend, superb
musician, excellent
educator and dedicated
leader in music education
Dennis Emert. His
students debuted the work
at the 2020 PMEA State
Conference. I am deeply
appreciative of Dennis
and the friendship,
encouragement and
perspective he shared
with me over the years
teaching in the same
region. The opening
flute, clarinet and alto
saxophone part can be
performed by the entire
section or as a solo at
the discretion of the
director. The washboard
and spoon part can be
doubled as players allow.
I would suggest bringing
these students to the
front of the stage to get
the sound of both
instruments to the
audience. As the piece
develops and Wayfaring
Stranger is layered with
900 Miles, please remind
your ensemble to play so
they can hear each other,
not so they are
individually heard. I
thank you and your
ensemble in advance as
you begin this journey
together in search of
Lonely Travelers. The
life of railroad worker
in the early days of
expansion was lonely, and
the need for music to
bolster spirits was of
great importance. The
character singing 900
Miles is looking forward
to being reunited with
his family after being
separated from them for
considerable time. The
Wayfaring Stranger is a
prominent American folk
and gospel song that
reflects upon the journey
through life. The
character in that song
contemplates better times
with their family in the
afterlife. Both of these
songs speak to the idea
of searching for
something beyond the
current situation in
which that person finds
themselves. The
programmatic qualities of
the work are essentially
tied to the main folk
song--900 Miles--and they
evoke the idea of where
the song found its
origins. Beyond that,
both songs connect each
of us to the sense of
belonging and family that
are the human experience.
While the music paints a
picture of someone who is
alone, that is not a
feeling I want for any
young student in our
schools today. Band is
one of the few places
where students can
discover that sense of
belonging and find a
surrogate family. While
band is a family that
might not always get
along, they can reach a
shared goal through
diligent work, caring and
encouragement. It was a
pleasure completing
Lonely Travelers for
longtime friend, superb
musician, excellent
educator and dedicated
leader in music education
Dennis Emert. His
students debuted the work
at the 2020 PMEA State
Conference. I am deeply
appreciative of Dennis
and the friendship,
encouragement and
perspective he shared
with me over the years
teaching in the same
region. The opening
flute, clarinet and alto
saxophone part can be
performed by the entire
section or as a solo at
the discretion of the
director. The washboard
and spoon part can be
doubled as players allow.
I would suggest bringing
these students to the
front of the stage to get
the sound of both
instruments to the
audience. As the piece
develops and Wayfaring
Stranger is layered with
900 Miles, please remind
your ensemble to play so
they can hear each other,
not so they are
individually heard. I
thank you and your
ensemble in advance as
you begin this journey
together in search of
Lonely Travelers. The
life of railroad worker
in the early days of
expansion was lonely, and
the need for music to
bolster spirits was of
great importance. The
character singing 900
Miles is looking forward
to being reunited with
his family after being
separated from them for
considerable time. The
Wayfaring Stranger is a
prominent American folk
and gospel song that
reflects upon the journey
through life. The
character in that song
contemplates better times
with their family in the
afterlife. Both of these
songs speak to the idea
of searching for
something beyond the
current situation in
which that person finds
themselves. The
programmatic qualities of
the work are essentially
tied to the main folk
song—900
Miles—and they
evoke the idea of where
the song found its
origins. Beyond that,
both songs connect each
of us to the sense of
belonging and family that
are the human
experience.While the
music paints a picture of
someone who is alone,
that is not a feeling I
want for any young
student in our schools
today. Band is one of the
few places where students
can discover that sense
of belonging and find a
surrogate family. While
band is a family that
might not always get
along, they can reach a
shared goal through
diligent work, caring and
encouragement. It was a
pleasure completing
Lonely Travelers for
longtime friend, superb
musician, excellent
educator and dedicated
leader in music education
Dennis Emert. His
students debuted the work
at the 2020 PMEA State
Conference. I am deeply
appreciative of Dennis
and the friendship,
encouragement and
perspective he shared
with me over the years
teaching in the same
region.The opening flute,
clarinet and alto
saxophone part can be
performed by the entire
section or as a solo at
the discretion of the
director. The washboard
and spoon part can be
doubled as players allow.
I would suggest bringing
these students to the
front of the stage to get
the sound of both
instruments to the
audience. As the piece
develops and Wayfaring
Stranger is layered with
900 Miles, please remind
your ensemble to play so
they can hear each other,
not so they are
individually heard. I
thank you and your
ensemble in advance as
you begin this journey
together in search of
Lonely Travelers.
Composed by Travis
Weller. Sws. Yps. Full
score. 16 pages. Duration
2 minutes, 14 seconds.
Carl Fischer Music
#YPS231F. Published by
Carl Fischer Music
(CF.YPS231F).
ISBN
9781491157824. UPC:
680160916429. 9 x 12
inches.
The life of
railroad worker in the
early days of expansion
was lonely, and the need
for music to bolster
spirits was of great
importance. The character
singing 900 Miles is
looking forward to being
reunited with his family
after being separated
from them for
considerable time. The
Wayfaring Stranger is a
prominent American folk
and gospel song that
reflects upon the journey
through life. The
character in that song
contemplates better times
with their family in the
afterlife. Both of these
songs speak to the idea
of searching for
something beyond the
current situation in
which that person finds
themselves. The
programmatic qualities of
the work are essentially
tied to the main folk
songa900 Milesaand they
evoke the idea of where
the song found its
origins. Beyond that,
both songs connect each
of us to the sense of
belonging and family that
are the human experience.
While the music paints a
picture of someone who is
alone, that is not a
feeling I want for any
young student in our
schools today. Band is
one of the few places
where students can
discover that sense of
belonging and find a
surrogate family. While
band is a family that
might not always get
along, they can reach a
shared goal through
diligent work, caring and
encouragement. It was a
pleasure completing
Lonely Travelers for
longtime friend, superb
musician, excellent
educator and dedicated
leader in music education
Dennis Emert. His
students debuted the work
at the 2020 PMEA State
Conference. I am deeply
appreciative of Dennis
and the friendship,
encouragement and
perspective he shared
with me over the years
teaching in the same
region. The opening
flute, clarinet and alto
saxophone part can be
performed by the entire
section or as a solo at
the discretion of the
director. The washboard
and spoon part can be
doubled as players allow.
I would suggest bringing
these students to the
front of the stage to get
the sound of both
instruments to the
audience. As the piece
develops and Wayfaring
Stranger is layered with
900 Miles, please remind
your ensemble to play so
they can hear each other,
not so they are
individually heard. I
thank you and your
ensemble in advance as
you begin this journey
together in search of
Lonely Travelers. The
life of railroad worker
in the early days of
expansion was lonely, and
the need for music to
bolster spirits was of
great importance. The
character singing 900
Miles is looking forward
to being reunited with
his family after being
separated from them for
considerable time. The
Wayfaring Stranger is a
prominent American folk
and gospel song that
reflects upon the journey
through life. The
character in that song
contemplates better times
with their family in the
afterlife. Both of these
songs speak to the idea
of searching for
something beyond the
current situation in
which that person finds
themselves. The
programmatic qualities of
the work are essentially
tied to the main folk
song--900 Miles--and they
evoke the idea of where
the song found its
origins. Beyond that,
both songs connect each
of us to the sense of
belonging and family that
are the human experience.
While the music paints a
picture of someone who is
alone, that is not a
feeling I want for any
young student in our
schools today. Band is
one of the few places
where students can
discover that sense of
belonging and find a
surrogate family. While
band is a family that
might not always get
along, they can reach a
shared goal through
diligent work, caring and
encouragement. It was a
pleasure completing
Lonely Travelers for
longtime friend, superb
musician, excellent
educator and dedicated
leader in music education
Dennis Emert. His
students debuted the work
at the 2020 PMEA State
Conference. I am deeply
appreciative of Dennis
and the friendship,
encouragement and
perspective he shared
with me over the years
teaching in the same
region. The opening
flute, clarinet and alto
saxophone part can be
performed by the entire
section or as a solo at
the discretion of the
director. The washboard
and spoon part can be
doubled as players allow.
I would suggest bringing
these students to the
front of the stage to get
the sound of both
instruments to the
audience. As the piece
develops and Wayfaring
Stranger is layered with
900 Miles, please remind
your ensemble to play so
they can hear each other,
not so they are
individually heard. I
thank you and your
ensemble in advance as
you begin this journey
together in search of
Lonely Travelers. The
life of railroad worker
in the early days of
expansion was lonely, and
the need for music to
bolster spirits was of
great importance. The
character singing 900
Miles is looking forward
to being reunited with
his family after being
separated from them for
considerable time. The
Wayfaring Stranger is a
prominent American folk
and gospel song that
reflects upon the journey
through life. The
character in that song
contemplates better times
with their family in the
afterlife. Both of these
songs speak to the idea
of searching for
something beyond the
current situation in
which that person finds
themselves. The
programmatic qualities of
the work are essentially
tied to the main folk
song—900
Miles—and they
evoke the idea of where
the song found its
origins. Beyond that,
both songs connect each
of us to the sense of
belonging and family that
are the human
experience.While the
music paints a picture of
someone who is alone,
that is not a feeling I
want for any young
student in our schools
today. Band is one of the
few places where students
can discover that sense
of belonging and find a
surrogate family. While
band is a family that
might not always get
along, they can reach a
shared goal through
diligent work, caring and
encouragement. It was a
pleasure completing
Lonely Travelers for
longtime friend, superb
musician, excellent
educator and dedicated
leader in music education
Dennis Emert. His
students debuted the work
at the 2020 PMEA State
Conference. I am deeply
appreciative of Dennis
and the friendship,
encouragement and
perspective he shared
with me over the years
teaching in the same
region.The opening flute,
clarinet and alto
saxophone part can be
performed by the entire
section or as a solo at
the discretion of the
director. The washboard
and spoon part can be
doubled as players allow.
I would suggest bringing
these students to the
front of the stage to get
the sound of both
instruments to the
audience. As the piece
develops and Wayfaring
Stranger is layered with
900 Miles, please remind
your ensemble to play so
they can hear each other,
not so they are
individually heard. I
thank you and your
ensemble in advance as
you begin this journey
together in search of
Lonely Travelers.
Travel Diary 2 Percussions [Conducteur] Carl Fischer
(For Two Percussionists). By Paul Lansky (1944-). For Two Percussionists. Travel...(+)
(For Two Percussionists).
By Paul Lansky (1944-).
For Two Percussionists.
Travel Diary was first
performed by the
Meehan/Perkins Duo at the
round top Festival in
March 2008. Full score
(large). 40 pages.
Duration 19 minutes, 40
seconds. Published by
Carl Fischer
(For Two Percussionists). Composed by Paul Lansky (1944-). For Two Percussionist...(+)
(For Two Percussionists).
Composed by Paul Lansky
(1944-). For Two
Percussionists. Travel
Diary was first performed
by the Meehan/Perkins Duo
at the round top Festival
in March 2008. 24
pages. Duration 19
minutes, 40 seconds.
Published by Carl Fischer
Guitar/Bass/Drum. J-POP.
Sheet music. Yamaha Music
Media #GTL01097338.
Published by Yamaha Music
Media (YM.GTL01097338).
ISBN
9784636973389.
Matc
hing Score of their album
Traveler Hu Zi Nan
Zui Xin Zhuan Ji
<> De Guan Fang
Le Pu Ji
1.
Yesterday; 2. Fate; 3.
Amazing; 4. Roman; 5. Bad
for Me; 6. Last Lave; 7.
Vintage; 8. Stand by You;
9. FIRE GROUND; 10.
Travel is with you; 11.
Pretender; 12. Last Song;
13. Travelers.
Choir Sacred SKU: JU.00-47227 A Musical Adventure for Children. Co...(+)
Choir Sacred
SKU:
JU.00-47227
A
Musical Adventure for
Children. Composed by
Jill Gallina and Michael
Gallina. This edition: CD
Preview Pack. Choral
(Sacred); Christian
Elementary Musical;
Church Musicals;
Performance Music
Ensemble; Worship
Resources. Alfred Sacred.
Children; Christmas;
Sacred; Winter. Book and
CD. Jubilate Music Group
#00-47227. Published by
Jubilate Music Group
(JU.00-47227).
UPC:
038081540825.
English.
Hop aboard
Mr. Pfister's Time
Traveling Machine for an
unforgettable journey to
the heart of Christmas!
When three kids stop by
Mr. Pfister's Fix-It Shop
for a simple iPhone
repair, they stumble upon
his top-secret invention
. . . a time machine!
They soon talk him into
taking them on a journey
in the rickety
contraption. But instead
of landing them at their
preferred Disney World
destination, Pop plops
them into Bethlehem on
the night Jesus is born
to learn about the true
Spirit of Christmas.
Band Concert Band SKU: PR.46500013L For Wind Ensemble. Composed by...(+)
Band Concert Band
SKU:
PR.46500013L
For
Wind Ensemble.
Composed by Dan Welcher.
Contemporary. Large
Score. With Standard
notation. Composed 2010.
Duration 14 minutes.
Theodore Presser Company
#465-00013L. Published by
Theodore Presser Company
(PR.46500013L).
UPC:
680160600151. 11 x 14
inches.
I n 1803,
President Thomas
Jefferson sent Meriwether
Lewis and William Clarks
Corps of Discovery to
find a water route to the
Pacific and explore the
uncharted West. He
believed woolly mammoths,
erupting volcanoes, and
mountains of pure salt
awaited them. What they
found was no less
mind-boggling: some 300
species unknown to
science, nearly 50 Indian
tribes, and the Rockies.
I have been a student of
the Lewis and Clark
expedition, which Thomas
Jefferson called the
Voyage of Discovery, for
as long as I can
remember. This
astonishing journey,
lasting more than
two-and-a-half years,
began and ended in St.
Louis, Missouri and took
the travelers up more
than a few rivers in
their quest to find the
Northwest Passage to the
Pacific Ocean. In an age
without speedy
communication, this was
akin to space travel out
of radio range in our own
time: no one knew if,
indeed, the party had
even survived the voyage
for more than a year.
Most of them were
soldiers. A few were
French-Canadian voyageurs
hired trappers and
explorers, who were
fluent in French (spoken
extensively in the
region, due to earlier
explorers from France)
and in some of the Indian
languages they might
encounter. One of the
voyageurs, a man named
Pierre Cruzatte, also
happened to be a
better-than-average
fiddle player. In many
respects, the travelers
were completely on their
own for supplies and
survival, yet,
incredibly, only one of
them died during the
voyage. Jefferson had
outfitted them with food,
weapons, medicine, and
clothing and along with
other trinkets, a box of
200 jaw harps to be used
in trading with the
Indians. Their trip was
long, perilous to the
point of near
catastrophe, and arduous.
The dream of a Northwest
Passage proved ephemeral,
but the northwestern
quarter of the continent
had finally been
explored, mapped, and
described to an anxious
world. When the party
returned to St. Louis in
1806, and with the
Louisiana Purchase now
part of the United
States, they were greeted
as national heroes. I
have written a sizeable
number of works for wind
ensemble that draw their
inspiration from the
monumental spaces found
in the American West.
Four of them (Arches, The
Yellowstone Fires,
Glacier, and Zion) take
their names, and in large
part their being, from
actual national parks in
Utah, Wyoming, and
Montana. But Upriver,
although it found its
voice (and its finale) in
the magnificent Columbia
Gorge in Oregon, is about
a much larger region.
This piece, like its
brother works about the
national parks, doesnt
try to tell a story.
Instead, it captures the
flavor of a certain time,
and of a grand adventure.
Cast in one continuous
movement and lasting
close to fourteen
minutes, the piece falls
into several subsections,
each with its own
heading: The Dream (in
which Jeffersons vision
of a vast expanse of
western land is opened);
The Promise, a chorale
that re-appears several
times in the course of
the piece and represents
the seriousness of the
presidential mission; The
River; The Voyageurs; The
River II ; Death and
Disappointment; Return to
the Voyage; and The River
III . The music includes
several quoted melodies,
one of which is familiar
to everyone as the
ultimate river song, and
which becomes the
through-stream of the
work. All of the quoted
tunes were either sung by
the men on the voyage, or
played by Cruzattes
fiddle. From various
journals and diaries, we
know the men found
enjoyment and solace in
music, and almost every
night encampment had at
least a bit of music in
it. In addition to
Cruzatte, there were two
other members of the
party who played the
fiddle, and others made
do with singing, or
playing upon sticks,
bones, the ever-present
jaw harps, and boat
horns. From Lewis
journals, I found all the
tunes used in Upriver:
Shenandoah (still popular
after more than 200
years), Vla bon vent,
Soldiers Joy, Johnny Has
Gone for a Soldier, Come
Ye Sinners Poor and Needy
(a hymn sung to the tune
Beech Spring) and Fishers
Hornpipe. The work
follows an emotional
journey: not necessarily
step-by-step with the
Voyage of Discovery
heroes, but a kind of
grand arch. Beginning in
the mists of history and
myth, traversing peaks
and valleys both real and
emotional (and a solemn
funeral scene), finding
help from native people,
and recalling their zeal
upon finding the one
great river that will, in
fact, take them to the
Pacific. When the men
finally roar through the
Columbia Gorge in their
boats (a feat that even
the Indians had not
attempted), the
magnificent river
combines its theme with
the chorale of Jeffersons
Promise. The Dream is
fulfilled: not quite the
one Jefferson had
imagined (there is no
navigable water passage
from the Missouri to the
Pacific), but the dream
of a continental
destiny.
Band Concert Band SKU: PR.465000130 For Large Wind Ensemble. Compo...(+)
Band Concert Band
SKU:
PR.465000130
For
Large Wind Ensemble.
Composed by Dan Welcher.
Sws. Contemporary. Full
score. With Standard
notation. Composed 2010.
Duration 14 minutes.
Theodore Presser Company
#465-00013. Published by
Theodore Presser Company
(PR.465000130).
ISBN
9781598064070. UPC:
680160600144. 9x12
inches.
Following a
celebrated series of wind
ensemble tone poems about
national parks in the
American West, Dan
Welcher’s Upriver
celebrates the Lewis &
Clark Expedition from the
Missouri River to
Oregon’s Columbia
Gorge, following the
Louisiana Purchase of
1803. Welcher’s
imaginative textures and
inventiveness are freshly
modern, evoking our
American heritage,
including references to
Shenandoah and other folk
songs known to have been
sung on the expedition.
For advanced players.
Duration:
14’. In 1803,
President Thomas
Jefferson sent Meriwether
Lewis and William
Clark’s Corps of
Discovery to find a water
route to the Pacific and
explore the uncharted
West. He believed woolly
mammoths, erupting
volcanoes, and mountains
of pure salt awaited
them. What they found was
no less mind-boggling:
some 300 species unknown
to science, nearly 50
Indian tribes, and the
Rockies.Ihave been a
student of the Lewis and
Clark expedition, which
Thomas Jefferson called
the “Voyage of
Discovery,†for as
long as I can remember.
This astonishing journey,
lasting more than
two-and-a-half years,
began and ended in St.
Louis, Missouri —
and took the travelers up
more than a few rivers in
their quest to find the
Northwest Passage to the
Pacific Ocean. In an age
without speedy
communication, this was
akin to space travel out
of radio range in our own
time: no one knew if,
indeed, the party had
even survived the voyage
for more than a year.
Most of them were
soldiers. A few were
French-Canadian voyageurs
— hired trappers
and explorers, who were
fluent in French (spoken
extensively in the
region, due to earlier
explorers from France)
and in some of the Indian
languages they might
encounter. One of the
voyageurs, a man named
Pierre Cruzatte, also
happened to be a
better-than-average
fiddle player. In many
respects, the travelers
were completely on their
own for supplies and
survival, yet,
incredibly, only one of
them died during the
voyage. Jefferson had
outfitted them with food,
weapons, medicine, and
clothing — and
along with other
trinkets, a box of 200
jaw harps to be used in
trading with the Indians.
Their trip was long,
perilous to the point of
near catastrophe, and
arduous. The dream of a
Northwest Passage proved
ephemeral, but the
northwestern quarter of
the continent had finally
been explored, mapped,
and described to an
anxious world. When the
party returned to St.
Louis in 1806, and with
the Louisiana Purchase
now part of the United
States, they were greeted
as national heroes.Ihave
written a sizeable number
of works for wind
ensemble that draw their
inspiration from the
monumental spaces found
in the American West.
Four of them (Arches, The
Yellowstone Fires,
Glacier, and Zion) take
their names, and in large
part their being, from
actual national parks in
Utah, Wyoming, and
Montana. But Upriver,
although it found its
voice (and its finale) in
the magnificent Columbia
Gorge in Oregon, is about
a much larger region.
This piece, like its
brother works about the
national parks,
doesn’t try to
tell a story. Instead, it
captures the flavor of a
certain time, and of a
grand adventure. Cast in
one continuous movement
and lasting close to
fourteen minutes, the
piece falls into several
subsections, each with
its own heading: The
Dream (in which
Jefferson’s vision
of a vast expanse of
western land is opened);
The Promise, a chorale
that re-appears several
times in the course of
the piece and represents
the seriousness of the
presidential mission; The
River; The Voyageurs; The
River II ; Death and
Disappointment; Return to
the Voyage; and The River
III .The music includes
several quoted melodies,
one of which is familiar
to everyone as the
ultimate “river
song,†and which
becomes the
through-stream of the
work. All of the quoted
tunes were either sung by
the men on the voyage, or
played by
Cruzatte’s fiddle.
From various journals and
diaries, we know the men
found enjoyment and
solace in music, and
almost every night
encampment had at least a
bit of music in it. In
addition to Cruzatte,
there were two other
members of the party who
played the fiddle, and
others made do with
singing, or playing upon
sticks, bones, the
ever-present jaw harps,
and boat horns. From
Lewis’ journals, I
found all the tunes used
in Upriver: Shenandoah
(still popular after more
than 200 years),
V’la bon vent,
Soldier’s Joy,
Johnny Has Gone for a
Soldier, Come Ye Sinners
Poor and Needy (a hymn
sung to the tune
“Beech
Springâ€) and
Fisher’s Hornpipe.
The work follows an
emotional journey: not
necessarily step-by-step
with the Voyage of
Discovery heroes, but a
kind of grand arch.
Beginning in the mists of
history and myth,
traversing peaks and
valleys both real and
emotional (and a solemn
funeral scene), finding
help from native people,
and recalling their zeal
upon finding the one
great river that will, in
fact, take them to the
Pacific. When the men
finally roar through the
Columbia Gorge in their
boats (a feat that even
the Indians had not
attempted), the
magnificent river
combines its theme with
the chorale of
Jefferson’s
Promise. The Dream is
fulfilled: not quite the
one Jefferson had
imagined (there is no
navigable water passage
from the Missouri to the
Pacific), but the dream
of a continental
destiny.
Composed
by Kelly Dugger. Full
score. 24 pages. Carl
Fischer Music #YPS240F.
Published by Carl Fischer
Music (CF.YPS240F).
ISBN 9781491159644.
UPC:
680160918232.
An
Ankh is an ancient
Egyptian hieroglyphic
representing the word
Life. The Ankh of
Eternity depicts an epic
journey through ancient
lands to find the
mythical Ankh of Eternity
amulet promising eternal
life. The piece journeys
through the desert in a
caravan, with a stop for
a Kaff celebration, an
Arabic hand-clapping folk
art. The discovery of the
tomb is spine chilling
and eerie with special
percussion effects. After
the Ankh is discovered,
swarms of locusts descend
and our travelers run for
their lives. They may
have found eternal life,
but will they be forever
cursed? The Ankh of
Eternity uses an Arabic
or double harmonic-major
scale. Performers have
multiple soloing and
improvising
opportunities. Complex
but repeating rhythms
offer players a chance to
practice getting in the
groove. Players and
audiences alike will be
invigorated by the many
celebratory moments and
thrilled at the eerie and
downright scary moments!
The Ankh of Eternity
offers cultural and
historical inclusion
opportunities,
improvisation, unique
scales, rhythmic
challenges, and a
thrilling story.
Conductor Notes: Measures
45-61: Kaff is the
ancient Arabic art of
hand clapping over
improvised poetry. The
Kaff Celebration section
represents this art form.
The improvising soloists
should be designated by
the conductor and should
each be four measures
long . Alternatively,
soloists may copy the
phrase in the second
ending as a solo. The
AYE! should be shouted
joyously. The repeat may
be omitted for
performance time
concerns, or, of course,
repeated multiple times
for more solos. Measures
64-73: Experiment with
different cymbal noises,
such as scrapes with a
nail or coin, taps with
triangle beaters, bowed
cymbals, etc.
Water-cymbal techniques
should also be used. Fill
a storage tub with water,
and with the suspended
cymbal still on the
stand, hit the cymbal a
couple times with a soft
mallet, and lower the
cymbal into the water for
a glissando effect. The
overall effect should be
creepy cave-like echoes
bending around
corners. An Ankh is an
ancient Egyptian
hieroglyphic representing
the word Life. The
Ankh of
Eternity depicts an
epic journey through
ancient lands to find the
mythical Ankh of Eternity
amulet promising eternal
life. The piece journeys
through the desert in a
caravan, with a stop for
a Kaff celebration, an
Arabic hand-clapping folk
art. The discovery of the
tomb is spine chilling
and eerie with special
percussion effects. After
the Ankh is discovered,
swarms of locusts descend
and our travelers run for
their lives. They may
have found eternal life,
but will they be forever
cursed?The Ankh of
Eternity uses an Arabic
or double harmonic-major
scale. Performers have
multiple soloing and
improvising
opportunities. Complex
but repeating rhythms
offer players a chance to
practice getting in the
groove. Players and
audiences alike will be
invigorated by the many
celebratory moments and
thrilled at the eerie and
downright scary moments!
The Ankh of
Eternity offers
cultural and historical
inclusion opportunities,
improvisation, unique
scales,
rhythmic challenges,
and a thrilling
story.Conductor Notes:
Measures 45–61:
Kaff is the ancient
Arabic art of hand
clapping over improvised
poetry. The Kaff
Celebration section
represents this art form.
The improvising soloists
should be designated by
the conductor and should
each be four measures
long . Alternatively,
soloists may copy the
phrase in the second
ending as a solo. The
AYE! should be shouted
joyously. The repeat may
be omitted for
performance time
concerns, or, of course,
repeated multiple times
for more solos. Measures
64–73: Experiment
with different cymbal
noises, such as scrapes
with a nail or coin, taps
with triangle beaters,
bowed cymbals, etc.
Water-cymbal techniques
should also be used. Fill
a storage tub with water,
and with the suspended
cymbal still on the
stand, hit the cymbal a
couple times with a soft
mallet, and lower the
cymbal into the water for
a glissando effect. The
overall effect should be
creepy cave-like echoes
bending around
corners.
Composed by Travis
Weller. Folio. Cps. Set
of Score and Parts.
8+8+4+8+8+8+4+4+8+4+4+8+8
+8+8+6+6+6+4+8+6+2+4+4+6+
32 pages. Duration 3
minutes, 10 seconds. Carl
Fischer Music #CPS234.
Published by Carl Fischer
Music (CF.CPS234).
ISBN 9781491156346.
UPC: 680160914883. 9 x 12
inches.
Mercury -
the Roman god of
financial gain, commerce,
travelers, boundaries,
luck, trickery,
merchants, and thieves. A
popular deity in Roman
culture, he was instantly
recognized by his unique
winged shoes (talaria)
and hat (petasos). With
its close proximity to
the sun and faster orbit
than all other planets,
the Romans named this
small celestial body
after the swift-winged
messenger of their
culture. It is not
surprising that in
Holst's major orchestral
suite The Planets that
Mercury utilizes such
light and swift themes.
There is some duality to
the title of the work.
Part of it involves my
impression of what a
playful chase of the
winged messenger sounds
like. The other part is
the opening motif chasing
two themes of Holst
around the rest of the
work. It was only after
developing the first few
ideas that I recognized
some of the commonalities
with some of those same
themes from Holst's
orchestral work. There
are several quotations
from that famous piece by
Holst (notably as both
are stated successively
at mm. 13-20). The idea
of someone having to
chase the Winged
Messenger struck me as a
unique title around which
to craft a work. One of
my core beliefs about
music is that it can be
imbued with meaning by a
composer, and as the
sonic story unfolds an
ensemble, director, and
audience members can draw
out their own meaning
from the experience. Who
exactly is chasing
Mercury? I leave that up
to the wonderfully
creative minds of the
young ladies and
gentlemen who have the
opportunity to bring this
work to life. The
opportunity to compose
music and allow student
musicians to give this
piece new life and draw
out different meanings is
a humbling experience.
Rehearsal Notes and
Suggestions As stated
earlier, the opening
motif (a range of a
seventh) comes back
frequently in the work in
a variety of settings and
textures. Throughout the
work, it is important for
students to recognize the
two themes from Holst
when they are present in
the sound canvas. If the
solos (clarinet and alto
saxophone) are utilized,
the supporting parts
around and underneath
those lines must be
sensitive and play in
such a way to properly
balance those parts.
There are number of muted
sections for the trumpet
section, and I would
advocate for all trumpets
acquiring the same mute
to contribute to unity in
timbre. The bold fanfare
sections (the first
occurs at m. 37) must be
presented with a unified
articulation style. As
the texture intensifies
prior to m. 169, it is
crucial for the ensemble
to play within themselves
and exercise musical
courtesy to allow all
voices to be heard as
they arrive at m. 181. My
thanks in advance for
your support of this
music, and I wish you
well as you and your
ensemble begin Chasing
Mercury!. Mercury
– the Roman god of
financial gain, commerce,
travelers, boundaries,
luck, trickery,
merchants, and thieves. A
popular deity in Roman
culture, he was instantly
recognized by his unique
winged shoes (talaria)
and hat (petasos). With
its close proximity to
the sun and faster orbit
than all other planets,
the Romans named this
small celestial body
after the swift-winged
messenger of their
culture. It is not
surprising that in
Holst’s major
orchestral suite The
Planets that Mercury
utilizes such light and
swift themes.There is
some duality to the title
of the work. Part of it
involves my impression of
what a playful chase of
the winged messenger
sounds like. The other
part is the opening motif
chasing two themes of
Holst around the rest of
the work. It was only
after developing the
first few ideas that I
recognized some of the
commonalities with some
of those same themes from
Holst’s orchestral
work. There are several
quotations from that
famous piece by Holst
(notably as both are
stated successively at
mm. 13–20). The
idea of someone having to
chase the Winged
Messenger struck me as a
unique title around which
to craft a work.One of my
core beliefs about music
is that it can be imbued
with meaning by a
composer, and as the
sonic story unfolds an
ensemble, director, and
audience members can draw
out their own meaning
from the experience. Who
exactly is chasing
Mercury? I leave that up
to the wonderfully
creative minds of the
young ladies and
gentlemen who have the
opportunity to bring this
work to life. The
opportunity to compose
music and allow student
musicians to give this
piece new life and draw
out different meanings is
a humbling
experience.Rehearsal
Notes and SuggestionsAs
stated earlier, the
opening motif (a range of
a seventh) comes back
frequently in the work in
a variety of settings and
textures. Throughout the
work, it is important for
students to recognize the
two themes from Holst
when they are present in
the sound canvas. If the
solos (clarinet and alto
saxophone) are utilized,
the supporting parts
around and underneath
those lines must be
sensitive and play in
such a way to properly
balance those parts.
There are number of muted
sections for the trumpet
section, and I would
advocate for all trumpets
acquiring the same mute
to contribute to unity in
timbre. The bold fanfare
sections (the first
occurs at m. 37) must be
presented with a unified
articulation style. As
the texture intensifies
prior to m. 169, it is
crucial for the ensemble
to play within themselves
and exercise musical
courtesy to allow all
voices to be heard as
they arrive at m. 181. My
thanks in advance for
your support of this
music, and I wish you
well as you and your
ensemble begin Chasing
Mercury!
Composed by Travis
Weller. Sws. Cps. Full
score. 32 pages. Duration
3 minutes, 10 seconds.
Carl Fischer Music
#CPS234F. Published by
Carl Fischer Music
(CF.CPS234F).
ISBN
9781491156353. UPC:
680160914890. 9 x 12
inches.
Mercury -
the Roman god of
financial gain, commerce,
travelers, boundaries,
luck, trickery,
merchants, and thieves. A
popular deity in Roman
culture, he was instantly
recognized by his unique
winged shoes (talaria)
and hat (petasos). With
its close proximity to
the sun and faster orbit
than all other planets,
the Romans named this
small celestial body
after the swift-winged
messenger of their
culture. It is not
surprising that in
Holst's major orchestral
suite The Planets that
Mercury utilizes such
light and swift themes.
There is some duality to
the title of the work.
Part of it involves my
impression of what a
playful chase of the
winged messenger sounds
like. The other part is
the opening motif chasing
two themes of Holst
around the rest of the
work. It was only after
developing the first few
ideas that I recognized
some of the commonalities
with some of those same
themes from Holst's
orchestral work. There
are several quotations
from that famous piece by
Holst (notably as both
are stated successively
at mm. 13-20). The idea
of someone having to
chase the Winged
Messenger struck me as a
unique title around which
to craft a work. One of
my core beliefs about
music is that it can be
imbued with meaning by a
composer, and as the
sonic story unfolds an
ensemble, director, and
audience members can draw
out their own meaning
from the experience. Who
exactly is chasing
Mercury? I leave that up
to the wonderfully
creative minds of the
young ladies and
gentlemen who have the
opportunity to bring this
work to life. The
opportunity to compose
music and allow student
musicians to give this
piece new life and draw
out different meanings is
a humbling experience.
Rehearsal Notes and
Suggestions As stated
earlier, the opening
motif (a range of a
seventh) comes back
frequently in the work in
a variety of settings and
textures. Throughout the
work, it is important for
students to recognize the
two themes from Holst
when they are present in
the sound canvas. If the
solos (clarinet and alto
saxophone) are utilized,
the supporting parts
around and underneath
those lines must be
sensitive and play in
such a way to properly
balance those parts.
There are number of muted
sections for the trumpet
section, and I would
advocate for all trumpets
acquiring the same mute
to contribute to unity in
timbre. The bold fanfare
sections (the first
occurs at m. 37) must be
presented with a unified
articulation style. As
the texture intensifies
prior to m. 169, it is
crucial for the ensemble
to play within themselves
and exercise musical
courtesy to allow all
voices to be heard as
they arrive at m. 181. My
thanks in advance for
your support of this
music, and I wish you
well as you and your
ensemble begin Chasing
Mercury!. Mercury
– the Roman god of
financial gain, commerce,
travelers, boundaries,
luck, trickery,
merchants, and thieves. A
popular deity in Roman
culture, he was instantly
recognized by his unique
winged shoes (talaria)
and hat (petasos). With
its close proximity to
the sun and faster orbit
than all other planets,
the Romans named this
small celestial body
after the swift-winged
messenger of their
culture. It is not
surprising that in
Holst’s major
orchestral suite The
Planets that Mercury
utilizes such light and
swift themes.There is
some duality to the title
of the work. Part of it
involves my impression of
what a playful chase of
the winged messenger
sounds like. The other
part is the opening motif
chasing two themes of
Holst around the rest of
the work. It was only
after developing the
first few ideas that I
recognized some of the
commonalities with some
of those same themes from
Holst’s orchestral
work. There are several
quotations from that
famous piece by Holst
(notably as both are
stated successively at
mm. 13–20). The
idea of someone having to
chase the Winged
Messenger struck me as a
unique title around which
to craft a work.One of my
core beliefs about music
is that it can be imbued
with meaning by a
composer, and as the
sonic story unfolds an
ensemble, director, and
audience members can draw
out their own meaning
from the experience. Who
exactly is chasing
Mercury? I leave that up
to the wonderfully
creative minds of the
young ladies and
gentlemen who have the
opportunity to bring this
work to life. The
opportunity to compose
music and allow student
musicians to give this
piece new life and draw
out different meanings is
a humbling
experience.Rehearsal
Notes and SuggestionsAs
stated earlier, the
opening motif (a range of
a seventh) comes back
frequently in the work in
a variety of settings and
textures. Throughout the
work, it is important for
students to recognize the
two themes from Holst
when they are present in
the sound canvas. If the
solos (clarinet and alto
saxophone) are utilized,
the supporting parts
around and underneath
those lines must be
sensitive and play in
such a way to properly
balance those parts.
There are number of muted
sections for the trumpet
section, and I would
advocate for all trumpets
acquiring the same mute
to contribute to unity in
timbre. The bold fanfare
sections (the first
occurs at m. 37) must be
presented with a unified
articulation style. As
the texture intensifies
prior to m. 169, it is
crucial for the ensemble
to play within themselves
and exercise musical
courtesy to allow all
voices to be heard as
they arrive at m. 181. My
thanks in advance for
your support of this
music, and I wish you
well as you and your
ensemble begin Chasing
Mercury!
Composed by
Kelly Dugger. Set of
Score and Parts.
24+8+8+4+8+8+4+4+6+4+4+4+
8+8+8+6+6+6+4+6+2+4+6
pages. Duration 5
minutes, 20 seconds. Carl
Fischer Music #YPS240.
Published by Carl Fischer
Music (CF.YPS240).
ISBN 9781491159637.
UPC:
680160918225.
An
Ankh is an ancient
Egyptian hieroglyphic
representing the word
Life. The Ankh of
Eternity depicts an epic
journey through ancient
lands to find the
mythical Ankh of Eternity
amulet promising eternal
life. The piece journeys
through the desert in a
caravan, with a stop for
a Kaff celebration, an
Arabic hand-clapping folk
art. The discovery of the
tomb is spine chilling
and eerie with special
percussion effects. After
the Ankh is discovered,
swarms of locusts descend
and our travelers run for
their lives. They may
have found eternal life,
but will they be forever
cursed? The Ankh of
Eternity uses an Arabic
or double harmonic-major
scale. Performers have
multiple soloing and
improvising
opportunities. Complex
but repeating rhythms
offer players a chance to
practice getting in the
groove. Players and
audiences alike will be
invigorated by the many
celebratory moments and
thrilled at the eerie and
downright scary moments!
The Ankh of Eternity
offers cultural and
historical inclusion
opportunities,
improvisation, unique
scales, rhythmic
challenges, and a
thrilling story.
Conductor Notes: Measures
45-61: Kaff is the
ancient Arabic art of
hand clapping over
improvised poetry. The
Kaff Celebration section
represents this art form.
The improvising soloists
should be designated by
the conductor and should
each be four measures
long . Alternatively,
soloists may copy the
phrase in the second
ending as a solo. The
AYE! should be shouted
joyously. The repeat may
be omitted for
performance time
concerns, or, of course,
repeated multiple times
for more solos. Measures
64-73: Experiment with
different cymbal noises,
such as scrapes with a
nail or coin, taps with
triangle beaters, bowed
cymbals, etc.
Water-cymbal techniques
should also be used. Fill
a storage tub with water,
and with the suspended
cymbal still on the
stand, hit the cymbal a
couple times with a soft
mallet, and lower the
cymbal into the water for
a glissando effect. The
overall effect should be
creepy cave-like echoes
bending around
corners. An Ankh is an
ancient Egyptian
hieroglyphic representing
the word Life. The
Ankh of
Eternity depicts an
epic journey through
ancient lands to find the
mythical Ankh of Eternity
amulet promising eternal
life. The piece journeys
through the desert in a
caravan, with a stop for
a Kaff celebration, an
Arabic hand-clapping folk
art. The discovery of the
tomb is spine chilling
and eerie with special
percussion effects. After
the Ankh is discovered,
swarms of locusts descend
and our travelers run for
their lives. They may
have found eternal life,
but will they be forever
cursed?The Ankh of
Eternity uses an Arabic
or double harmonic-major
scale. Performers have
multiple soloing and
improvising
opportunities. Complex
but repeating rhythms
offer players a chance to
practice getting in the
groove. Players and
audiences alike will be
invigorated by the many
celebratory moments and
thrilled at the eerie and
downright scary moments!
The Ankh of
Eternity offers
cultural and historical
inclusion opportunities,
improvisation, unique
scales,
rhythmic challenges,
and a thrilling
story.Conductor Notes:
Measures 45–61:
Kaff is the ancient
Arabic art of hand
clapping over improvised
poetry. The Kaff
Celebration section
represents this art form.
The improvising soloists
should be designated by
the conductor and should
each be four measures
long . Alternatively,
soloists may copy the
phrase in the second
ending as a solo. The
AYE! should be shouted
joyously. The repeat may
be omitted for
performance time
concerns, or, of course,
repeated multiple times
for more solos. Measures
64–73: Experiment
with different cymbal
noises, such as scrapes
with a nail or coin, taps
with triangle beaters,
bowed cymbals, etc.
Water-cymbal techniques
should also be used. Fill
a storage tub with water,
and with the suspended
cymbal still on the
stand, hit the cymbal a
couple times with a soft
mallet, and lower the
cymbal into the water for
a glissando effect. The
overall effect should be
creepy cave-like echoes
bending around
corners.
Choral SSAA choir SKU: CF.CM9616 Composed by John Ratledge. Fold. Jbc. Pe...(+)
Choral SSAA choir
SKU:
CF.CM9616
Composed by
John Ratledge. Fold. Jbc.
Performance. 12 pages.
Duration 4 minutes, 2
seconds. Carl Fischer
Music #CM9616. Published
by Carl Fischer Music
(CF.CM9616).
ISBN
9781491156711. UPC:
680160915255. 6.875 x
10.5 inches. Key: C
major. English. Thomas
Troeger.
This SSAA
work, originally written
for SATB voices
celebrates the tenth
anniversary of the
Masterworks Community
Chorale in Newnan,
Georgia. The
inspirational text is
Somewhere I Have Never
Traveled, a text by the
Yale Theologian, Thomas
Troeger. Somewhere I Have
Never Traveled has
potential for building
tone and creating a
panorama of colors, while
at the same time creating
emotional soundscapes,
all through a delightful
text that creates a
dreamlike
innocence. It has been
a joy to re-voice this
original SATB composition
for SSAA voices and to
collaborate with Heather
Orr at Montgomery High
School. In July 2014, my
dear friend Kathy Bizarth
commissioned me to
compose a new work
celebrating the tenth
anniversary of the
Masterworks Community
Chorale in Newnan,
Georgia. It was in
September when we agreed
on the inspirational
text, Somewhere I Have
Never Traveled, a text by
the Yale Theologian,
Thomas Troeger. I moved
to Italy in January for a
sabbatical, and in
February, I spent four
days composing the piece
at the Palazzo Bassi
Brugnatelli, a dear
friend's villa in
Robbiate, Italy.
Interestingly enough, the
middle part of the piece
(mm. 30-39) and end of
the piece came first (mm.
40-62). Completed in
Conegliano in late
February, this
composition is very
special to me as it was
the first composition I
wrote after my mother
died, and it was also
composed for a dear
friend. I have a profound
connection to what I hope
will be a deeply
inspirational composition
to those who sing it.
Somewhere I Have Never
Traveled has real
potential for building
tone and creating a
panorama of colors, while
at the same time creating
emotional soundscapes,
all through a delightful
text that creates a
dreamlike innocence.
Somewhere I have never
traveled is the place I
want to be... (Me
too.). It has been a
joy to re-voice this
original SATB composition
for SSAA voices and to
collaborate with Heather
Orr at Montgomery High
School. In July 2014, my
dear friend Kathy Bizarth
commissioned me to
compose a new work
celebrating the tenth
anniversary of the
Masterworks Community
Chorale in Newnan,
Georgia. It was in
September when we agreed
on the inspirational
text, Somewhere I Have
Never Traveled, a text by
the Yale Theologian,
Thomas Troeger. I moved
to Italy in January for a
sabbatical, and in
February, I spent four
days composing the piece
at the Palazzo Bassi
Brugnatelli, a dear
friend’s villa in
Robbiate, Italy.
Interestingly enough, the
middle part of the piece
(mm. 30-39) and end of
the piece came first (mm.
40-62). Completed in
Conegliano in late
February, this
composition is very
special to me as it was
the first composition I
wrote after my mother
died, and it was also
composed for a dear
friend. I have a profound
connection to what I hope
will be a deeply
inspirational composition
to those who sing
it.Somewhere I Have Never
Traveled has real
potential for building
tone and creating a
panorama of colors, while
at the same time creating
emotional soundscapes,
all through a delightful
text that creates a
dreamlike
innocence.Somewhere I
have never traveled is
the place I want to be...
(Me too.).
Full Score SKU: HL.367873 Full Score. Composed by Donald Crockett....(+)
Full Score
SKU:
HL.367873
Full
Score. Composed by
Donald Crockett. LKM
Music. Softcover. Lauren
Keiser Music Publishing
#X054076. Published by
Lauren Keiser Music
Publishing (HL.367873).
ISBN 9781705140291.
UPC: 840126966657.
9.0x12.0x0.655
inches.
Commissione
d by Caramoor Music
Festival in New York and
premiered July 14, 2017
by the Argus Quartet,
this work is in no small
part a response to this
quartet's sense of
adventure and expressive
emotional range. Inspired
by two
end-of-civilization
novels the composer was
reading prior to
composing the work, the
quartet unfolds in a
single movement, loosely
based on plot lines in
both novels. One of the
novels includes a
Traveling Symphony, an
assortment of musicians
and actors who travel the
countryside for decades
playing symphonies, jazz
and orchestral
arrangements of popular
music alongside
performances of
Shakespeare plays,
reminiscent of medieval
troupes traveling the
countryside in
plague-ridden times. The
work is written so that
the quartet embodies the
Traveling Symphony, not
only playing music but
also singing and 'stage
whispering' fragments of
King Lear and other text
across the collection of
nine scenes.
Score and Parts SKU: HL.367874 Score and Parts. Composed by Donald...(+)
Score and Parts
SKU:
HL.367874
Score
and Parts. Composed
by Donald Crockett. LKM
Music. Softcover. Lauren
Keiser Music Publishing
#X504092. Published by
Lauren Keiser Music
Publishing (HL.367874).
ISBN 9781705140307.
UPC: 840126966664.
9.0x12.0x0.523
inches.
Commissione
d by Caramoor Music
Festival in New York and
premiered July 14, 2017
by the Argus Quartet,
this work is in no small
part a response to this
quartet's sense of
adventure and expressive
emotional range. Inspired
by two
end-of-civilization
novels the composer was
reading prior to
composing the work, the
quartet unfolds in a
single movement, loosely
based on plot lines in
both novels. One of the
novels includes a
Traveling Symphony, an
assortment of musicians
and actors who travel the
countryside for decades
playing symphonies, jazz
and orchestral
arrangements of popular
music alongside
performances of
Shakespeare plays,
reminiscent of medieval
troupes traveling the
countryside in
plague-ridden times. The
work is written so that
the quartet embodies the
Traveling Symphony, not
only playing music but
also singing and 'stage
whispering' fragments of
King Lear and other text
across the collection of
nine scenes.
SKU: HL.260564 Includes Rain Cover Model BG002. Journey Tek Uke Ca...(+)
SKU: HL.260564
Includes Rain Cover
Model BG002. Journey
Tek Uke Cases. Fretted
Instrument Accessories.
Hal Leonard #BG002.
Published by Hal Leonard
(HL.260564).
UPC:
888680741273.
10.0x25.0x5.5
inches.
Designed
with premium high-density
polyethelyne foam, a
reinforced neck pad, a
ballistic nylon shell,
and rubberized protective
panels on the bottom, the
Journeytek case is
engineered for maximum
instrument protection.
But this is the only the
beginning of an awesome
travel bag. An abundance
of daisy chains enables
you to clip your ukulele
on to any other backpack,
and makes it a cinch to
clip it directly to other
JourneyTek instrument and
travel bags – or
simply use the adjustable
shoulder strap to
comfortably carry your
uke hands-free. The
JourneyTek uke case comes
with tons of storage
space too! Our patented
neck pockets enable you
to store your “case
candy,†digital
accessories, and other
essentials by taking
advantage of the space on
the sides of the
instrument neck. The
pleated main pocket
expands to fit even more
gear, and the expandable
front mesh pocket gives
you even more.
SKU: HL.260563 Includes Rain Cover Model BG007. Journey Tek Uke Ca...(+)
SKU: HL.260563
Includes Rain Cover
Model BG007. Journey
Tek Uke Cases. Fretted
Instrument Accessories.
Hal Leonard #BG008.
Published by Hal Leonard
(HL.260563).
UPC:
888680741280.
9.5x23.25x5.0
inches.
Designed
with premium high-density
polyethelyne foam, a
reinforced neck pad, a
ballistic nylon shell,
and rubberized protective
panels on the bottom, the
Journeytek case is
engineered for maximum
instrument protection.
But this is only the
beginning of an awesome
travel bag. An abundance
of daisy chains enables
you to clip your ukulele
on to any other backpack,
and makes it a cinch to
clip it directly to other
JourneyTek instrument and
travel bags – or
simply use the adjustable
shoulder strap to
comfortably carry your
uke hands-free. The
JourneyTek uke case comes
with tons of storage
space too! Our patented
neck pockets enable you
to store your “case
candy,†digital
accessories, and other
essentials by taking
advantage of the space on
the sides of the
instrument neck. The
pleated main pocket
expands to fit even more
gear, and the expandable
front mesh pocket gives
you even more.
Time Traveler Orchestre d'harmonie [Conducteur et Parties séparées] - Débutant C.L. Barnhouse
By Neeck. For concert band. Young Band. Sound Foundations. Real music using only...(+)
By Neeck. For concert
band. Young Band. Sound
Foundations. Real music
using only the first
octave!. Grade 1. Score
and parts. Composed 2010.
Duration 1 minutes, 10
seconds. Published by
C.L. Barnhouse
A Road Less Traveled Orchestre à Cordes [Conducteur et Parties séparées] - Facile Carl Fischer
Orchestra String Orchestra - Grade 2-2.5 SKU: CF.YAS52 Composed by Sean O...(+)
Orchestra String
Orchestra - Grade 2-2.5
SKU: CF.YAS52
Composed by Sean
O'Loughlin. Carl Fischer
Young String Orchestra
Series. Classical. Score
and Parts. With Standard
notation. 12 pages. Carl
Fischer Music #YAS52.
Published by Carl Fischer
Music (CF.YAS52).
ISBN
9780825863608. UPC:
798408063603. 8.5 X 11
inches. Key: D
major.
This is a
striking and original
piece that builds
interest and momentum
using a four note cello
and bass ostinato. Arco
and pizzicato contrasts
of texture and off-beat
accents and rhythms
sustain interest in this
unusual selection, which
puts minimal musical
resources to maximum
use. A Road Less
Traveled is a musical
journey based on four
notes. The cellos and
basses provide these
notes in mm. 2 and 3. The
piece explores some new
compositional techniques
for me, and in some
sections can be
considered minimalist.
However, I constructed
the piece in a very
accessible manner. The
individual rhythms create
new composite rhythms
when played together. It
has a unique clockwork
quality to it. The music
morphs from arco to
pizzicato at m. 49. The
odd accents bring out
some of the quirky
quality to the music. A
return to arco playing at
m. 94 provides a
recapitulation of the
opening section. Upon
return, some of the
punchy music now becomes
sustained for a dramatic
climax. This piece was a
real joy to work on, and
illustrates “a road
less traveled†in
my compositional
career.
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
Time Traveler Orchestre d'harmonie [Conducteur] - Débutant C.L. Barnhouse
Grade 1 SKU: CL.023-3914-01 Composed by Neeck. Young Concert Band. Sound ...(+)
Grade 1
SKU:
CL.023-3914-01
Composed by Neeck. Young
Concert Band. Sound
Foundations Series. Audio
recording available
separately (item
CL.WFR370). Extra full
score. Composed 2010.
Duration 1 minute, 10
seconds. C.L. Barnhouse
#023-3914-01. Published
by C.L. Barnhouse
(CL.023-3914-01).
Real music
using only the first
octave! Exciting and
dramatic, Time Traveler
is a perfect introduction
to mixed meters. The
energetic, repeating
ostinato (3/4 + 2/4)
coupled with soaring
melodies provides an
easily achievable, but
truly musical experience
for your young musicians.
On your next concert,
take your band and
audience on a journey
through time withTime
Traveler..
A
Tribute to H.G.
Wells. Composed by
Ron Goodwin. Band Music.
Score and parts. Duration
10:15. Published by G & M
Brand Music Publishers
(CN.R10243).
This 3-movement
tribute to H.G. Wells
perfectly captures the
imagination and
wonderment found in the
author's collection of
works. The first movement
is a march that could
easily be extracted and
performed on its own as a
nice alternative to
Sousa.
The Time
Traveller: A tribute to
H.G. Wells is cast in
three movements: March:
Anticipation, Mankind in
the Making, and A Modern
Utopia. Commissioned by
the Bromley Youth Concert
Band and first performed
under the Director: Peter
Mawson, on Sunday, March
3, 2002, at the Queen
Elizabeth Hall, South
Bank Centre, London.