| The Irish Songbook Piano, Voix et Guitare [Partition] - Intermédiaire Music Sales
The Clancy Brothers and Tommy Makem. Book. Published by Music Sales. Includes 75...(+)
The Clancy Brothers and
Tommy Makem. Book.
Published by Music Sales.
Includes 75 all-time
favorites, best-selling
hits, old traditional
songs - many in Gaelic
and not to be found
anywhere else - lavishly
ilustrated with Irish
art, design and
anecdotes. Lyrics, full
piano scores and guitar
chords.
$29.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Tiger Of San Pedro (Full Score) - Intermédiaire Kendor Music Inc.
Jazz Ensemble 1st Alto Sax doubles on flute or piccoloopt. guitaropt. conga on d...(+)
Jazz Ensemble 1st Alto
Sax doubles on flute or
piccoloopt. guitaropt.
conga on drum part -
Grade 5 SKU:
KN.52928S Composed by
John LaBarbera. Kendor
Archive Editions. Kendor
Music Inc #52928S.
Published by Kendor Music
Inc (KN.52928S). UPC:
822795529289. Recor
ded by Bill Watrous on
the Columbia album of the
same name, this big band
masterpiece features a
relentless Latin groove,
crisp articulations, and
full solo choruses for
trumpet, tenor and
trombone. Perfect as a
concert opener or closer!
Rhythm section parts are
partially notated with
chords cued. Duration
4:30. $7.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Tiger Of San Pedro - Intermédiaire Kendor Music Inc.
Jazz Ensemble 1st Alto Sax doubles on flute or piccoloopt. guitaropt. conga on d...(+)
Jazz Ensemble 1st Alto
Sax doubles on flute or
piccoloopt. guitaropt.
conga on drum part -
Grade 5 SKU:
KN.52928 Composed by
John LaBarbera. Kendor
Archive Editions. Latin.
Kendor Music Inc #52928.
Published by Kendor Music
Inc (KN.52928). UPC:
822795529289. Recor
ded by Bill Watrous on
the Columbia album of the
same name, this big band
masterpiece features a
relentless Latin groove,
crisp articulations, and
full solo choruses for
trumpet, tenor and
trombone. Perfect as a
concert opener or closer!
Rhythm section parts are
partially notated with
chords cued. Duration
4:30. $95.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Mist Theodore Presser Co.
Orchestra Bassoon 1, Bassoon 2, Clarinet 1, Clarinet 2, Contrabass, English Horn...(+)
Orchestra Bassoon 1,
Bassoon 2, Clarinet 1,
Clarinet 2, Contrabass,
English Horn, Flute 1,
Flute 2, Harp, Horn 1,
Horn 2, Horn 3, Oboe 1,
Oboe 2, Percussion,
Timpani, Trombone,
Trumpet, Tuba, Viola,
Violin 1, Violin 2,
Violoncello SKU:
PR.41641613L Composed
by Diane Wittry. Large
Score. With Standard
notation. Duration 16
minutes. Theodore Presser
Company #416-41613L.
Published by Theodore
Presser Company
(PR.41641613L). UPC:
680160642199. 11 x 17
inches. On the
island of Elba, off the
coast of Italy, I
composed this work as the
sun was rising over the
ocean in the mornings and
gently sifting through
the clouds against the
lingering fog. As the
piece developed, it took
on a shape of its own and
gradually became centered
around diminished chords
and the interval of a
tri-tone (diminished
5th). I love these chords
for their angst and for
their sadness, but also
for their flexibility. My
piece is very textural in
nature; and yes, it does
have a melody of sorts,
and yet, this melody
comes and goes, and is
never quite grasped until
the end. Portions of it
are repeated and spun out
creating layers of sound
without the heaviness of
form. It is indeed a
depiction of mist, where
one minute you see things
and the next they are
gone. As you move through
the piece, you find that
the trumpet is also an
antagonist, creeping in
with a haunting cry; a
reminder of things
unsettled. Throughout the
piece, we are quietly
searching. We search for
a tonal center for
stability, and also for a
melody that will make us
feel fulfilled. Once
found, we hold them for
an instant, and then like
the clouds and like life
itself, they are gone. We
are warmed by their
presence and saddened by
their loss. I hope that
you will reflect upon
your own memories of
life's quiet moments as
we enjoy the world
premiere of this new work
together. Mist is not a
piece to be analyzed, but
rather a piece to be
experienced and absorbed.
As you listen, release
your mind, embrace your
emotions, close your
eyes, and allow the mist
to creep in. $95.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Mist [Conducteur] Theodore Presser Co.
Orchestra Bassoon 1, Bassoon 2, Clarinet 1, Clarinet 2, Contrabass, English Horn...(+)
Orchestra Bassoon 1,
Bassoon 2, Clarinet 1,
Clarinet 2, Contrabass,
English Horn, Flute 1,
Flute 2, Harp, Horn 1,
Horn 2, Horn 3, Oboe 1,
Oboe 2, Percussion,
Timpani, Trombone,
Trumpet 1, Trumpet 2,
Tuba, Viola, Violin 1,
Violin 2, Violoncello
SKU: PR.416416130
Composed by Diane Wittry.
Full score. With Standard
notation. Duration 16
minutes. Theodore Presser
Company #416-41613.
Published by Theodore
Presser Company
(PR.416416130). UPC:
680160642182. 9 x 12
inches. On the
island of Elba, off the
coast of Italy, I
composed this work as the
sun was rising over the
ocean in the mornings and
gently sifting through
the clouds against the
lingering fog. As the
piece developed, it took
on a shape of its own and
gradually became centered
around diminished chords
and the interval of a
tri-tone (diminished
5th). I love these chords
for their angst and for
their sadness, but also
for their flexibility. My
piece is very textural in
nature; and yes, it does
have a melody of sorts,
and yet, this melody
comes and goes, and is
never quite grasped until
the end. Portions of it
are repeated and spun out
creating layers of sound
without the heaviness of
form. It is indeed a
depiction of mist, where
one minute you see things
and the next they are
gone. As you move through
the piece, you find that
the trumpet is also an
antagonist, creeping in
with a haunting cry; a
reminder of things
unsettled. Throughout the
piece, we are quietly
searching. We search for
a tonal center for
stability, and also for a
melody that will make us
feel fulfilled. Once
found, we hold them for
an instant, and then like
the clouds and like life
itself, they are gone. We
are warmed by their
presence and saddened by
their loss. I hope that
you will reflect upon
your own memories of
life's quiet moments as
we enjoy the world
premiere of this new work
together. Mist is not a
piece to be analyzed, but
rather a piece to be
experienced and absorbed.
As you listen, release
your mind, embrace your
emotions, close your
eyes, and allow the mist
to creep in. $47.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Moon & Birds. Four Songs Voice & Pf Stainer and Bell
Medium Voice & Piano SKU: ST.Y291 Composed by Rhian Samuel. Vocal music. ...(+)
Medium Voice & Piano
SKU: ST.Y291
Composed by Rhian Samuel.
Vocal music. Four songs
for medium voice and
piano to poems by Anne
Stevenson and Emily
Dickinson.. Vocal score.
Stainer & Bell Ltd.
#Y291. Published by
Stainer & Bell Ltd.
(ST.Y291). ISBN
9790220223372. CONT
ENTS 1. Blackbird
(Anne Stevenson) (b -
g) 2. The moon is
distant (Emily Dickinson)
(b - g sharp) 3. Bird
in hand (Anne Stevenson)
(e flat - g flat) 4.
On not being able to look
at the moon (Anne
Stevenson) (b - g)
For medium voice and
piano or ensemble of
flute, harp and string
quartet, Moon and
Birds is a
substantial cycle of
songs to words by Anne
Stevenson and Emily
Dickinson. Its sequence
of four settings,
'Blackbird', 'The moon is
distant' (Dickinson),
'Bird in hand' and 'On
not being able to look at
the moon' unfolds a
symmetrical structure of
contrasting yet
interlocking moods in
which the reflective
second and fourth
numbers, lunar visions of
mystic tranquillity
flawed by doubt and pain,
temper with human frailty
the bright epiphanies of
the first and third
songs. There is
a fascinating challenge
here for the performer to
embrace both elation and
gravitas in a single
reading, Samuel's
vigorous musical
invention binding the
developing web of feeling
with its own formal
strengths and subtly
illustrative moments. In
the version for string
quartet, flute and harp,
first performed by
Contemporary Connections
on 4 November 2011 at St
James's Church
Piccadilly, the flute
takes a prominent role
throughout. Violins,
viola and cello at times
elaborate on the simpler
textures of the keyboard
version, though the two
scores remain entirely
compatible. The bluesy
harmonies of the
concluding number,
whether weighted by
sonorous string quartet
or profiled in edgier
piano chords, bring the
cycle to a sombre
conclusion with a proper
sense of an emotional
world traversed. $11.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Cosmic Expedition Orchestre d'harmonie - Facile Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Clarinet ...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Bells,
Clarinet 1, Clarinet 2,
Clarinet 3, Crash
Cymbals, Euphonium,
Euphonium T.C., Flute 1,
Flute 2, Horn 1, Horn 2,
Mallet Percussion 1,
Mallet Percussion 2,
Marimba, Oboe 1, Oboe 2,
Percussion 1 and more. -
Grade 3 SKU:
CF.CPS216 Composed by
Michael J. Miller.
Concert Band (CPS). Set
of Score and Parts. With
Standard notation.
8+2+4+2+8+16+16+4+4+4+4+4
+4+8+8+8+4+4+6+6+6+8+6+2+
2+4+10+36+4 pages.
Duration 3 minutes, 3
seconds. Carl Fischer
Music #CPS216. Published
by Carl Fischer Music
(CF.CPS216). ISBN
9781491152423. UPC:
680160909926. Cosmi
c Expedition takes
performers on a musical
journey far across the
galaxy via three main
sections. This
fanfare composition would
be perfect for opening a
concert. It has bold
brass fanfare figures
over textural woodwinds
to start and
then takes the
listener on a sonic
journey through a
variation of harmonic
colors, tambural and
textural
shifts. Cosmic
Expedition takes
performers on a musical
journey far across the
galaxy via three main
sections. The first, a
rather celebratory and
triumphant fanfare in Bb
major begins with the
upper woodwinds and
percussion creating a
sound-screen, that is a
busy texture consisting
of a flurry of repeated
notes over which the
horns and alto saxophones
present the opening
theme. The sound-screen
should be carefully
balanced and give way to
the melody at m. 5, which
should be played
extremely marcato. The
timpani solo beginning in
m. 11 must not be
understated. A brief
percussion interlude
separates a restatement
of the opening theme,
this time with the
addition of the trumpet,
tenor saxophone, and
euphonium, and a counter
melody by the low winds.
The percussion interlude
is playful, light, but
full of vigor and energy.
An Ab in the low winds
pulls the harmony towards
G minor in m. 40 to start
the second section, a
more serious fanfare.
Here, the marimba repeats
an ostinato that is
complemented by the bass
drum and woodblock. The
upper woodwinds with the
xylophone and snare drum
dance over the stern
secondary fanfare. A
longing call lead by the
trombones, interrupted by
a subtle snare drum
beckons to the clarinets
and horn who begin the
third section of the
piece at m. 68. This
haunting melody in C
minor is legato, and
starkly contrasts all
which came before it. A
relentless concert
tom-tom played with hard
mallets keeps the
momentum persistent, and
a heartbeat-like pulse is
felt from the tuba and
baritone saxophone. The
melody rises towards m.
84 when the brass harken
back to the fanfare style
before fading back into
another lush woodwind
strain.A recapitulation
of the low winds’
call is heard at m. 100
which in this occasion
intensifies into an
emphatic statement by the
battery percussion
instruments. Now in Eb
major, the opening
fanfare theme is heard
again once more before
fading into the beginning
of the piece’s
conclusion.To end, the
counter melody from the
opening section duels
with chromatic tension
above before swelling to
an arrival in the
original key of Bb major.
The full ensemble
celebrates the
piece’s
resolution, and after a
few crunchy power chords
the journey is
completed. $95.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Cosmic Expedition Orchestre d'harmonie [Conducteur] - Facile Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Clarinet ...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Bells,
Clarinet 1, Clarinet 2,
Clarinet 3, Crash
Cymbals, Euphonium,
Euphonium T.C., Flute 1,
Flute 2, Horn 1, Horn 2,
Mallet Percussion 1,
Mallet Percussion 2,
Marimba, Oboe 1, Oboe 2,
Percussion 1 and more. -
Grade 3 SKU:
CF.CPS216F Composed
by Michael J. Miller.
Concert Band (CPS). Full
score. With Standard
notation. 36 pages. Carl
Fischer Music #CPS216F.
Published by Carl Fischer
Music (CF.CPS216F).
ISBN 9781491153109.
UPC:
680160910601. Cosmi
c Expedition takes
performers on a musical
journey far across the
galaxy via three main
sections. This
fanfare composition would
be perfect for opening a
concert. It has bold
brass fanfare figures
over textural woodwinds
to start and
then takes the
listener on a sonic
journey through a
variation of harmonic
colors, tambural and
textural
shifts. Cosmic
Expedition takes
performers on a musical
journey far across the
galaxy via three main
sections. The first, a
rather celebratory and
triumphant fanfare in Bb
major begins with the
upper woodwinds and
percussion creating a
sound-screen, that is a
busy texture consisting
of a flurry of repeated
notes over which the
horns and alto saxophones
present the opening
theme. The sound-screen
should be carefully
balanced and give way to
the melody at m. 5, which
should be played
extremely marcato. The
timpani solo beginning in
m. 11 must not be
understated. A brief
percussion interlude
separates a restatement
of the opening theme,
this time with the
addition of the trumpet,
tenor saxophone, and
euphonium, and a counter
melody by the low winds.
The percussion interlude
is playful, light, but
full of vigor and energy.
An Ab in the low winds
pulls the harmony towards
G minor in m. 40 to start
the second section, a
more serious fanfare.
Here, the marimba repeats
an ostinato that is
complemented by the bass
drum and woodblock. The
upper woodwinds with the
xylophone and snare drum
dance over the stern
secondary fanfare. A
longing call lead by the
trombones, interrupted by
a subtle snare drum
beckons to the clarinets
and horn who begin the
third section of the
piece at m. 68. This
haunting melody in C
minor is legato, and
starkly contrasts all
which came before it. A
relentless concert
tom-tom played with hard
mallets keeps the
momentum persistent, and
a heartbeat-like pulse is
felt from the tuba and
baritone saxophone. The
melody rises towards m.
84 when the brass harken
back to the fanfare style
before fading back into
another lush woodwind
strain.A recapitulation
of the low winds’
call is heard at m. 100
which in this occasion
intensifies into an
emphatic statement by the
battery percussion
instruments. Now in Eb
major, the opening
fanfare theme is heard
again once more before
fading into the beginning
of the piece’s
conclusion.To end, the
counter melody from the
opening section duels
with chromatic tension
above before swelling to
an arrival in the
original key of Bb major.
The full ensemble
celebrates the
piece’s
resolution, and after a
few crunchy power chords
the journey is
completed. $14.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Deep Winter's Night - Facile Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Clarinet ...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Bells,
Clarinet 1, Clarinet 2,
Clarinet 3, Euphonium,
Euphonium T.C., Flute 1,
Flute 2, Gong, Horn 1,
Horn 2, Jingle Bells,
Mallet Percussion, Oboe,
Percussion 1, Percussion
2, Percussion 3, Piccolo,
Snare Drum and more. -
Grade 3 SKU:
CF.CPS243
Incorporating The
First Noel. Composed
by Ed Kiefer. Folio. Cps.
Set of Score and Parts.
2+8+8+4+8+8+8+4+4+4+4+4+4
+8+8+8+4+4+6+6+6+4+8+1+2+
3+1+2+24 pages. Duration
4:15. Carl Fischer Music
#CPS243. Published by
Carl Fischer Music
(CF.CPS243). ISBN
9781491158500. UPC:
680160917105. 9 x 12
inches. This
setting of The First Noel
begins with a percussion
intro and dissonant
chords that lead to a
beautiful flute duet. The
melody is freely adapted
and at times, outright
changed, to give this
arrangement a very
different sound. Using
rhythmic motives, tone
clusters, altered
melodies and all the
sounds available for a
concert band, the piece
takes the audience on a
journey that leads to a
statement of the original
tune at m. 118. Everyone
gets the melody at some
point. After a
chorale-like section, the
composition returns to
the fast and upbeat
sounds of the beginning.
Your musicians and
audience will love this
unique version of this
old-time favorite. When
performing this piece,
start dark and mysterious
and let the sounds
crescendo through the
introduction all the way
to m. 21, the first
statement of the hymn.
Make sure you keep the
tempo moving so the
arrangement does not lose
excitement. Keep the
flute duet, and later the
trumpet duet, nice and
light. At m. 118, play a
little slower and in a
standard chorale style,
being careful to let the
flute and oboe voices be
heard. Let the low voices
have the reins at m. 126
as they play the melody.
Pick the tempo back up to
the original tempo at m.
145 and push to the end.
The main thing is to
match articulation
throughout the band--at
the beginning and at the
end, think light accents
and separation, and at
the chorale section at m.
118, more legato. Keeping
everyone on the same page
with articulation will be
the key to making a great
performance. This
setting of The First Noel
begins with a percussion
intro and dissonant
chords that lead to a
beautiful flute duet. The
melody is freely adapted
and at times, outright
changed, to give this
arrangement a very
different sound. Using
rhythmic motives, tone
clusters, altered
melodies and all the
sounds available for a
concert band, the piece
takes the audience on a
journey that leads to a
statement of the original
tune at m. 118. Everyone
gets the melody at some
point. After a
chorale-like section, the
composition returns to
the fast and upbeat
sounds of the beginning.
Your musicians and
audience will love this
unique version of this
old-time favorite.When
performing this piece,
start dark and mysterious
and let the sounds
crescendo through the
introduction all the way
to m. 21, the first
statement of the hymn.
Make sure you keep the
tempo moving so the
arrangement does not lose
excitement. Keep the
flute duet, and later the
trumpet duet,nice and
light. At m. 118, play a
little slower and in a
standard chorale style,
being careful to let the
flute and oboe voices be
heard. Let the low voices
have the reins at m. 126
as they play the melody.
Pick the tempo back up to
the original tempo at m.
145 and push to the end.
The main thing is to
matcharticulation
throughout the band--at
the beginning and at the
end, think light accents
and separation, and at
the chorale section at m.
118, more legato. Keeping
everyone on the same page
with articulation will be
the key to making a great
performance. $85.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Deep Winter's Night [Conducteur] - Facile Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Clarinet ...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Bells,
Clarinet 1, Clarinet 2,
Clarinet 3, Euphonium,
Euphonium T.C., Flute 1,
Flute 2, Gong, Horn 1,
Horn 2, Jingle Bells,
Mallet Percussion, Oboe,
Percussion 1, Percussion
2, Percussion 3, Piccolo,
Snare Drum and more. -
Grade 3 SKU:
CF.CPS243F
Incorporating The
First Noel. Composed
by Ed Kiefer. Sws. Cps.
Full score. 24 pages.
Duration 4:15. Carl
Fischer Music #CPS243F.
Published by Carl Fischer
Music (CF.CPS243F).
ISBN 9781491158517.
UPC: 680160917112. 9 x 12
inches. This
setting of The First Noel
begins with a percussion
intro and dissonant
chords that lead to a
beautiful flute duet. The
melody is freely adapted
and at times, outright
changed, to give this
arrangement a very
different sound. Using
rhythmic motives, tone
clusters, altered
melodies and all the
sounds available for a
concert band, the piece
takes the audience on a
journey that leads to a
statement of the original
tune at m. 118. Everyone
gets the melody at some
point. After a
chorale-like section, the
composition returns to
the fast and upbeat
sounds of the beginning.
Your musicians and
audience will love this
unique version of this
old-time favorite. When
performing this piece,
start dark and mysterious
and let the sounds
crescendo through the
introduction all the way
to m. 21, the first
statement of the hymn.
Make sure you keep the
tempo moving so the
arrangement does not lose
excitement. Keep the
flute duet, and later the
trumpet duet, nice and
light. At m. 118, play a
little slower and in a
standard chorale style,
being careful to let the
flute and oboe voices be
heard. Let the low voices
have the reins at m. 126
as they play the melody.
Pick the tempo back up to
the original tempo at m.
145 and push to the end.
The main thing is to
match articulation
throughout the band--at
the beginning and at the
end, think light accents
and separation, and at
the chorale section at m.
118, more legato. Keeping
everyone on the same page
with articulation will be
the key to making a great
performance. This
setting of The First Noel
begins with a percussion
intro and dissonant
chords that lead to a
beautiful flute duet. The
melody is freely adapted
and at times, outright
changed, to give this
arrangement a very
different sound. Using
rhythmic motives, tone
clusters, altered
melodies and all the
sounds available for a
concert band, the piece
takes the audience on a
journey that leads to a
statement of the original
tune at m. 118. Everyone
gets the melody at some
point. After a
chorale-like section, the
composition returns to
the fast and upbeat
sounds of the beginning.
Your musicians and
audience will love this
unique version of this
old-time favorite.When
performing this piece,
start dark and mysterious
and let the sounds
crescendo through the
introduction all the way
to m. 21, the first
statement of the hymn.
Make sure you keep the
tempo moving so the
arrangement does not lose
excitement. Keep the
flute duet, and later the
trumpet duet,nice and
light. At m. 118, play a
little slower and in a
standard chorale style,
being careful to let the
flute and oboe voices be
heard. Let the low voices
have the reins at m. 126
as they play the melody.
Pick the tempo back up to
the original tempo at m.
145 and push to the end.
The main thing is to
matcharticulation
throughout the band--at
the beginning and at the
end, think light accents
and separation, and at
the chorale section at m.
118, more legato. Keeping
everyone on the same page
with articulation will be
the key to making a great
performance. $14.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| A Ways In... Potenza Music
Flute duo and piano SKU: P2.10035 Composed by Josh Oxford. Chamber music,...(+)
Flute duo and piano
SKU: P2.10035
Composed by Josh Oxford.
Chamber music, 20th
century. Published by
Potenza Music (P2.10035).
In twelve tone
music, all twelve
chromatic pitches are
arranged so that all
twelve notes are played
without repeating. The
chromatic scale is a
basic example of this
concept. This technique
was initially used to
free composers from the
dogmas of functional
harmony. Many frown upon
this technique because it
often creates ugly music
that is dissonant and
atonal. There's even a
technique called total
serialism where dynamics
and articulations, along
with pitches, are also
serialized. I found that
by harmonizing every note
with consonant chords
that plane well, such as
sus2 chords or major 7th
chords, it's possible to
create very tonal and
tuneful music-- tonal
serialism. Experimenting
with this technique has
led to music that sounds,
at times, reminiscent of
Eric Ewazen, hence the
title A Ways In.... $19.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Promised Land Early American Hymns from the Shape-Note Tradition Voix seule - Débutant Mel Bay
Vocal - Beginning SKU: MB.30856 Christian, Saddle-stitched. Woodwinds. Bo...(+)
Vocal - Beginning SKU:
MB.30856 Christian,
Saddle-stitched.
Woodwinds. Book. 36
pages. Mel Bay
Publications, Inc #30856.
Published by Mel Bay
Publications, Inc
(MB.30856). ISBN
9781513470795. 8.75x11.75
inches. With this
collection of 26 folk
hymns, author Peter
Irvine brings shape-note
music into the home, and
provides adaptable music
for a variety of
instrumental ensembles.
This format allows for
instruments such as the
mountain dulcimer, Native
American or transverse
flute, penny whistle,
fiddle, mandolin, guitar,
and so forth. Anyone can
play shape-note music,
even when Sacred Harp
gatherings or
â??singingsâ? are not
easily
accessible. Â Th
e hymns in this
collection are drawn from
various classic
shape-note sources like
Southern Harmony
(1835) and The Sacred
Harp (1844).
Presented in lead-sheet
format (melody, chords,
and lyrics), and written
in keys accessible to all
C instruments and several
D instruments such as the
penny whistle and
mountain dulcimer, the
material offers plenty of
arrangements. Hymns can
be sung by a soloist, in
unison by a small group
with chordal
accompaniment, or a mixed
ensemble.
<
div> $14.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Ave Maria - Handbells Paraclete Press
Handbells SKU: PL.0436HB Composed by Michael Bedford. Parish. Choral, Eve...(+)
Handbells SKU:
PL.0436HB Composed by
Michael Bedford. Parish.
Choral, Evensong,
General. Handbell score.
Paraclete Press #0436HB.
Published by Paraclete
Press (PL.0436HB).
This prayer to
the blessed Mother is
absolutely exquisite.
Incorporating handbells
and flute to complement
the choir and organ, this
anthem carries the heart
of its message with depth
and beauty. Bedford's Ave
Maria is a perfect anthem
for Marian holy days as
well as being a gem for
any choir and handbell
concert program.
Scripture Reference: Luke
1: 26-35. Also available:
0436FS Ave Maria (full
score), 0436FL Ave Maria
(flute), 0436HB Ave Maria
(handbells) There is a
seren mysteriousness to
this setting, which open
with minor chords beneath
a wandering melody, then
dissolves into major as
the Latin text begins in
the soprano section. The
opening salutation
material is then sung in
two parts (male.female).
At the conclusion (Sancat
Maria), the choir sings
in vertical chords
doubled by the organ.
This setting has a
somewhat haunting
character that is
attractive and not
difficult. - James McCray
The Diapason January
2005. $3.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Redeemer (C Treble) - Solo Instrumental Folio Word Music
Solo C Instrument SKU: WD.080689322587 Instrumental Favorites of Prais...(+)
Solo C Instrument SKU:
WD.080689322587
Instrumental Favorites
of Praise for the
Instrumental Soloist.
Composed by Fletch Wiley.
Arranged by Fletch Wiley
& David Winkler. Also
available for Bb Treble
instruments (trumpet,
clarinet & tenor sax).
Sacred Instrumental. Solo
instrumental collection.
Word Music #080689322587.
Published by Word Music
(WD.080689322587).
UPC:
080689322587. Redeemer is a
remarkable collection of
top inspirational and
praise songs featuring
outstanding instrumental
solos. The accompaniment
tracks vary from
contemporary rhythm
tracks to full symphonic
orchestration. The
recording highlight
Fletch Wiley's light jazz
artistry with
performances on the
flute, flugelhorn and
trumpet.
Redeemer is
availabe in two formats:
Bb Treble Clef
instruments (trumpet,
clarinet & tenor sax) and
C Treble Clef
instruments (flute, oboe,
violin & viola). The
arrangements are designed
to be performed with
piano and optional rhythm
section using the chords
in the book, or with the
accompaniment CD
(available separately).
The instrumental solo
part can be pulled out
and used separately by
the instrumental
soloist. $32.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Threefold - Facile Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Clarinet 3, Cras...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Clarinet
1, Clarinet 2, Clarinet
3, Crash Cymbals,
Euphonium, Euphonium
T.C., Flute 1, Flute 2,
Horn 1, Horn 2, Mallet
Percussion, Oboe,
Percussion 1, Percussion
2, Snare Drum, Timpani,
Trombone 1, Trombone 2
and more. - Grade 3
SKU: CF.CPS239
Composed by Richard
Summers. Folio. Cps. Set
of Score and Parts.
8+8+4+8+8+8+4+4+4+4+4+4+8
+8+8+4+4+6+6+6+8+2+1+4+4+
24+4 pages. Duration 3
minutes, 40 seconds. Carl
Fischer Music #CPS239.
Published by Carl Fischer
Music (CF.CPS239).
ISBN 9781491157855.
UPC: 680160916450. 9 x 12
inches. The energy
and drive of this piece
uses simple time
signatures of 4/4 and 3/4
and mixes groups of three
notes and syncopation to
the rhythm and the
melody. There is also a
use of a musical term
called hemiola, when
groups of two beats are
replaced by groups of
three beats, creating a
shift between duple and
triple meter. Syncopation
adds a modern, jazzy,
popular feel to this
exciting concert band
composition. Along with
syncopation and popular
influences are
countermelodies to the
main theme that are as
important as the melody
for balance and blend.
This adds a feeling of
baroque or renaissance
style to the texture. Yet
the melodies, chords, and
structure are
recognizable and
enjoyable to listen to
and perform. The middle
3/4 section is slightly
slower featuring brass
and saxophones and played
legato. Then at the key
change, it becomes more
articulate and
contrapuntal. The a tempo
at m. 88 returns to the
original thematic
material, differing
slightly from the
beginning, and the coda
has some added technical
and challenging woodwind
passages. The
cymbal/triangle part has
a lot of directions on
choking, hi-hat sound,
etc., that will add nice
color to the piece if
performed as
indicated. The energy
and drive of this piece
uses simple time
signatures of 4/4 and 3/4
and mixes groups of three
notes and syncopation to
the rhythm and the
melody. There is also a
use of a musical term
called hemiola, when
groups of two beats are
replaced by groups of
three beats, creating a
shift between duple and
triple meter.Â
Syncopation adds a
modern, jazzy, popular
feel to this exciting
concert band
composition.Along with
syncopation and popular
influences are
countermelodies to the
main theme that are as
important as the melody
for balance and
blend. This adds a
feeling of baroque or
renaissance style to the
texture. Yet the
melodies, chords, and
structure are
recognizable and
enjoyable to listen to
and perform. The
middle 3/4 section is
slightly slower featuring
brass and saxophones and
played legato. Then at
the key change, it
becomes more articulate
and contrapuntal. The
a tempo at m. 88 returns
to the original thematic
material, differing
slightly from the
beginning, and the coda
has some added technical
and challenging woodwind
passages. The
cymbal/triangle part has
a lot of directions on
choking, hi-hat sound,
etc., that will add nice
color to the piece if
performed as
indicated. $85.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Threefold [Conducteur] - Facile Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Clarinet 3, Cras...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Clarinet
1, Clarinet 2, Clarinet
3, Crash Cymbals,
Euphonium, Euphonium
T.C., Flute 1, Flute 2,
Horn 1, Horn 2, Mallet
Percussion, Oboe,
Percussion 1, Percussion
2, Snare Drum, Timpani,
Trombone 1, Trombone 2
and more. - Grade 3
SKU: CF.CPS239F
Composed by Richard
Summers. Sws. Cps. Full
score. 24 pages. Duration
3 minutes, 40 seconds.
Carl Fischer Music
#CPS239F. Published by
Carl Fischer Music
(CF.CPS239F). ISBN
9781491157848. UPC:
680160916443. 9 x 12
inches. The energy
and drive of this piece
uses simple time
signatures of 4/4 and 3/4
and mixes groups of three
notes and syncopation to
the rhythm and the
melody. There is also a
use of a musical term
called hemiola, when
groups of two beats are
replaced by groups of
three beats, creating a
shift between duple and
triple meter. Syncopation
adds a modern, jazzy,
popular feel to this
exciting concert band
composition. Along with
syncopation and popular
influences are
countermelodies to the
main theme that are as
important as the melody
for balance and blend.
This adds a feeling of
baroque or renaissance
style to the texture. Yet
the melodies, chords, and
structure are
recognizable and
enjoyable to listen to
and perform. The middle
3/4 section is slightly
slower featuring brass
and saxophones and played
legato. Then at the key
change, it becomes more
articulate and
contrapuntal. The a tempo
at m. 88 returns to the
original thematic
material, differing
slightly from the
beginning, and the coda
has some added technical
and challenging woodwind
passages. The
cymbal/triangle part has
a lot of directions on
choking, hi-hat sound,
etc., that will add nice
color to the piece if
performed as
indicated. The energy
and drive of this piece
uses simple time
signatures of 4/4 and 3/4
and mixes groups of three
notes and syncopation to
the rhythm and the
melody. There is also a
use of a musical term
called hemiola, when
groups of two beats are
replaced by groups of
three beats, creating a
shift between duple and
triple meter.Â
Syncopation adds a
modern, jazzy, popular
feel to this exciting
concert band
composition.Along with
syncopation and popular
influences are
countermelodies to the
main theme that are as
important as the melody
for balance and
blend. This adds a
feeling of baroque or
renaissance style to the
texture. Yet the
melodies, chords, and
structure are
recognizable and
enjoyable to listen to
and perform. The
middle 3/4 section is
slightly slower featuring
brass and saxophones and
played legato. Then at
the key change, it
becomes more articulate
and contrapuntal. The
a tempo at m. 88 returns
to the original thematic
material, differing
slightly from the
beginning, and the coda
has some added technical
and challenging woodwind
passages. The
cymbal/triangle part has
a lot of directions on
choking, hi-hat sound,
etc., that will add nice
color to the piece if
performed as
indicated. $14.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Three Seas Treble Clef Music Press
SA; SAA; SSA, Piano (or Flute, Harp, & Bassoon) SKU: SU.80300181 For S...(+)
SA; SAA; SSA, Piano (or
Flute, Harp, & Bassoon)
SKU: SU.80300181
For SA; SAA; SSA,
Piano (or Flute, Harp, &
Bassoon). Composed by
Alice Parker.
Vocal/Choral, Secular
Choral. Accompanied by
piano. Choral Octavo.
Treble Clef Music Press
#80300181. Published by
Treble Clef Music Press
(SU.80300181).
Alice Parker
here uses simple devices
to achieve sophisticated
effects: first, choral
unisons expanding to long
chords; then melodic
tritones in 5/8 meter,
with the voices in canon;
then rocking rhythms in
contrary motion.
Instrumental score and
parts are available from
the publisher. 1. There
is a solitude of space
(SAA with piano OR 2
flutes, harp, and
bassoon; English;
duration: 2’10;
range: a flat - g flat;
difficulty: medium). 2.
As if the Sea should part
(SSA with piano OR harp
and bassoon; duration:
1’50; range: b-f;
difficulty: medium). 3. A
soft Sea washed around
the House (SA with piano
OR flute, harp and
bassoon; English;
duration: 2’55;
range: a-a; difficulty:
medium).SA; SAA; SSA,
piano (or flute, harp,
and bassoon) Published
by: Treble Clef Music
Minimum order quantity: 8
copies. $2.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Une Geometrie, Nr. 1 - Figurations de memoire [Conducteur] Carus Verlag
Alto flute in G, English horn, Bass Clarinet, Bassoon, Horn SKU: CA.1632800(+)
Alto flute in G, English
horn, Bass Clarinet,
Bassoon, Horn SKU:
CA.1632800
Synchroniestudie Nr. 2
fur tiefes
Blaserquintett.
Composed by Walter
Feldmann. This edition:
Paperbound. German title:
Une Geometrie.
Synchronstudie F Blaser.
Full score. Composed
2005. 54 pages. Duration
14 minutes. Carus Verlag
#CV 16.328/00. Published
by Carus Verlag
(CA.1632800). ISBN
9790007112745. Language:
all languages. E
texts of the French
author Anne-Marie Albiach
have long been the point
of departure for my
works. Following the
viola concerto <<
monstrueuse vecut dans le
cadre >> la memoire,
which is based on her <<
H II>> lineaires, the
three texts entitled <<
une geometrie >> have
generated a new cycle. As
in the other two works of
the cycle, << figurations
de memoire >> is
predicated on two
different readings of the
text: on the one hand a
(private) reading by
Anne-Marie Albiach in
which time is measured
[demarcated] out; while
on the other hand the
graphic text is measured
millimeter by millimeter.
The latter serves as the
basis - the genetic code
- for the temporal,
horizontal structure of
the quintet, whereas the
reading of the author
appears in rhythmic
surfaces which interrupt
the horizontal plane. In
<< figurations de memoire
>> two clearly
recognizable elements are
repeated: the tone b
(which plays a central
roll in most of my works)
and a chord of fifths
built around the tone b -
a piece of memory
(memoire) from viola
concerto. In contrast,
the extended chords of
the reading consist of
five tones which in their
frequencies are
equidistant from each
other (like an overtone
chord). For the
generation of tone
materials the chords of
both levels are
compressed and stretched
within the ranges
(frames) of tones from
which the horizontal
positions of the text
fragments are derived:
lower, borderline tones
on the left margin, and
higher borderline tones
on the right margin. Thus
the disposition on the
page, essential for
Anne-Marie Albiach (and
first introduced in
poetry by Mallarme in Un
coup de des jamais
n'abolire le hasard), is
rendered in sound.
Naturally each element of
the text serves to mold
structure and dynamic, to
include typography:
fragments within
quotation marks, in
italics, etc., yield
different sonorous images
[sonorities] and
movements. Each word from
the typographical reading
is orchestrated
[instrumentated]
differently, which is
important for the whole
cycle (however, the
chords of the spoken
reading are always played
by five instruments; here
only speech and pauses in
speech [[interruptions of
speech]are distinguished
from each other). Thus a
tight network of
instrumental combinations
is created in which, word
for word, the text is
made audible. The most
important element in the
process: the vertical,
synchronized playing
together of the
individual instruments
(Synchorniestudie),
ranging from solo to
quintet. $33.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Une Geometrie, Nr. 1 - Figurations de memoire [Conducteur et Parties séparées] Carus Verlag
Alto flute in G, English horn, Bass Clarinet, Bassoon, Horn SKU: CA.1632809(+)
Alto flute in G, English
horn, Bass Clarinet,
Bassoon, Horn SKU:
CA.1632809
Synchroniestudie Nr. 2
fur tiefes
Blaserquintett.
Composed by Walter
Feldmann. Une Geometrie.
Synchronstudie F Blaser.
Set of Orchestra Parts.
Composed 2005. 100 pages.
Duration 14 minutes.
Carus Verlag #CV
16.328/09. Published by
Carus Verlag
(CA.1632809).
Language: all
languages. E texts
of the French author
Anne-Marie Albiach have
long been the point of
departure for my works.
Following the viola
concerto << monstrueuse
vecut dans le cadre >> la
memoire, which is based
on her << H II>>
lineaires, the three
texts entitled << une
geometrie >> have
generated a new cycle. As
in the other two works of
the cycle, << figurations
de memoire >> is
predicated on two
different readings of the
text: on the one hand a
(private) reading by
Anne-Marie Albiach in
which time is measured
[demarcated] out; while
on the other hand the
graphic text is measured
millimeter by millimeter.
The latter serves as the
basis - the genetic code
- for the temporal,
horizontal structure of
the quintet, whereas the
reading of the author
appears in rhythmic
surfaces which interrupt
the horizontal plane. In
<< figurations de memoire
>> two clearly
recognizable elements are
repeated: the tone b
(which plays a central
roll in most of my works)
and a chord of fifths
built around the tone b -
a piece of memory
(memoire) from viola
concerto. In contrast,
the extended chords of
the reading consist of
five tones which in their
frequencies are
equidistant from each
other (like an overtone
chord). For the
generation of tone
materials the chords of
both levels are
compressed and stretched
within the ranges
(frames) of tones from
which the horizontal
positions of the text
fragments are derived:
lower, borderline tones
on the left margin, and
higher borderline tones
on the right margin. Thus
the disposition on the
page, essential for
Anne-Marie Albiach (and
first introduced in
poetry by Mallarme in Un
coup de des jamais
n'abolire le hasard), is
rendered in sound.
Naturally each element of
the text serves to mold
structure and dynamic, to
include typography:
fragments within
quotation marks, in
italics, etc., yield
different sonorous images
[sonorities] and
movements. Each word from
the typographical reading
is orchestrated
[instrumentated]
differently, which is
important for the whole
cycle (however, the
chords of the spoken
reading are always played
by five instruments; here
only speech and pauses in
speech [[interruptions of
speech]are distinguished
from each other). Thus a
tight network of
instrumental combinations
is created in which, word
for word, the text is
made audible. The most
important element in the
process: the vertical,
synchronized playing
together of the
individual instruments
(Synchorniestudie),
ranging from solo to
quintet. Score and parts
available separately -
see item CA.1632800. $52.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Misa Una Santa Fe / One Holy Faith Mass (Full Score) Chorale SATB [Conducteur] - Facile GIA Publications
SATB choir, cantor, priest, assembly, keyboard accompaniment, flute, oboe, trump...(+)
SATB choir, cantor,
priest, assembly,
keyboard accompaniment,
flute, oboe, trumpet 1 in
B-flat, trumpet 1 in C,
trumpet 2 in B-flat,
trumpet 2 in C, horn in
f, trombone 1, trombone
2, percussion 1,
percussion 2, timpani,
guitar, keyboard - Early
intermediate SKU:
GI.G-7853FS
Revised Order of Mass
2010. Composed by
Ronald Krisman. Mass.
Sacred. Full score. With
guitar chord names. 80
pages. GIA Publications
#7853FS. Published by GIA
Publications
(GI.G-7853FS). UPC:
785147785392. English,
Spanish. Text Source:
Revised Order of Mass
2010, Lectionary for
Mass Misa Una
Santa Fe/One Holy Faith
Mass offers a multitude
of performance options,
making this fully
bilingual setting perfect
for any parish. This
comprehensive Mass
contains every
acclamation you'll need
for the liturgical year
plus additional verses
for the Gospel
Acclamations (including
Lent), bilingual
intercessions, the
Preface dialogue, every
form of the Memorial
Acclamation, and a sung
setting of the Our
Father. And everything
can be sung in Spanish,
English, or any
combination of the two.
This setting works well
with an ensemble of
piano, guitars, and
optional percussion, but
also with organ. The use
of brass quartet and
timpani will enhance the
Eucharistic Acclamations
and add a festive
dimension to this
thoroughly appealing Mass
setting. Â This is the
full score. Keyboard
accompaniment and guitar
chords are printed in
full score. $22.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Dreamscape [Conducteur] - Facile G and M Brand Music Publishers
Soloist(s) with Concert Band (Solo Eb Alto Saxophone, Solo Bb Tenor Saxophone (a...(+)
Soloist(s) with Concert
Band (Solo Eb Alto
Saxophone, Solo Bb Tenor
Saxophone (alternative to
Alto Saxophone), 1st
Flute, 2nd Flute, Oboe*,
1st Bb Clarinet, 2nd Bb
Clarinet, 3rd Bb
Clarinet, Bb Bass
Clarinet*, Bassoon*, 1st
Eb Alto Saxophone*, 2nd
Eb Alto Saxophone*, Bb
Tenor Saxophon) - grade
2.5 SKU: CN.S11160
Alto Saxophone
Feature. Composed by
Bruce Fraser. Band Music.
Score only. Duration
4:45. Published by G & M
Brand Music Publishers
(CN.S11160).
This short
feature creates a hazy
atmosphere for the solo
saxophonist to shine
through. The solo line
provides plenty of
opportunities for
expressive and flowing
playing. Great use is
made of consecutive
augmented chords before
the Da Capo to give that
dreamy quality. There is
a simple, yet effective,
cadenza for the soloist
just before the end. $7.50 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| A Bluegrass Overture Orchestre d'harmonie - Intermédiaire Anglo Music
Concert Band (Score) - Grade 5 SKU: HL.44012906 For Concert Band (Scor...(+)
Concert Band (Score) -
Grade 5 SKU:
HL.44012906 For
Concert Band (Score
Only). Composed by
Philip Sparke. Anglo
Music Concert Band.
Opening Pieces.
Softcover. Composed 2017.
32 pages. Anglo Music
Press #AMP447140.
Published by Anglo Music
Press (HL.44012906).
UPC: 840126916560.
10.75x14.0x0.035 inches.
English-German-French-Dut
ch. A Bluegrass
Overture was
commissioned by Gabriel
Wooley and funded by a
grant from Leslie and
Cathy Anderson for the
Central Kentucky Concert
Band to celebrate their
40th anniversary in 2016.
This energetic overture
opens with an
introduction loosely
based on 'bluegrass'
chords before a slower,
legato chorale appears in
the clarinets and flutes.
This is short-lived and
soon a new mood is
introduced, based on a
repeated-note
accompaniment. This leads
to the main theme,
heavily syncopated with
bluesy inflections. A
central section features
a cantabile melody, which
changes key frequently,
before the main theme
reappears, leading to a
triumphal presentation of
the earlierchorale
melody.
A
Bluegrass Overture is
geschreven voor de
Central Kentucky Concert
Band ter gelegenheid van
hun veertigjarig bestaan
in 2016. De opdracht komt
van Gabriel Wooley en is
gefinancierd door een
gift van Leslie en Cathy
Anderson. Deze energieke
ouverture opent met
bluegrass-akkoorden,
waarna in de klarinetten
en fluiten een langzamer,
legato koraal naar voren
komt. Het wordt al snel
gevolgd door een nieuw
sfeerbeeld, dat is
gebaseerd op een
begeleiding van herhaalde
noten. Hier komt het
hoofdthema uit voort, dat
zwaar gesyncopeerd is en
bluesachtige invloeden
laat horen. In het
middengedeelte klinkt een
zangerige melodie met
frequente modulaties,
waarna hethoofdthema weer
opduikt en ons meevoert
naar een glorierijke
presentatie van de eerder
gespeelde koraalmelodie.
A Bluegrass
Overture wurde von
Gabriel Wooley anlasslich
des 40-jahrigen Jubilaums
der Central Kentucky
Concert Band im Jahre
2016 in Auftrag gegeben
und von Leslie und Cathy
Anderson finanziell
unterstutzt. Diese
energiegeladene Ouverture
beginnt mit einer
Einleitung mit lockeren
Bluegrass-Akkorden, bevor
ein langsamer Choral im
Legato in den Klarinetten
und Floten erklingt. Das
ist jedoch nur von kurzer
Dauer, denn schon bald
wird durch eine
Begleitung mit
repetierten Noten eine
neue Stimmung erzeugt.
Dies fuhrt schliesslich
zum Hauptthema mit
deutlichen Synkopen und
Blues-Modulationen. Die
zentrale Passage zeichnet
sich durch eine kantable
Melodie aus, die
haufigdie Tonart
wechselt, bevor das
Hauptthema wiederkehrt
und zu einer triumphalen
Prasentation der
vorherigen Choralmelodie
hinleitet.
A
Bluegrass Overture
fut commande par Gabriel
Wooley et finance par une
bourse de Leslie et Cathy
Anderson pour la
celebration du 40e
anniversaire du Central
Kentucky Concert Band en
2016. Cette ouverture
energique debute par une
introduction basee
vaguement sur les accords
de bluegrass, puis un
court choral plus lent et
plus legato apparait chez
les clarinettes et
flutes. Bientot un
changement d'atmosphere
se produit, base sur un
accompagnement de motifs
de notes repetees. Ceci
nous mene au theme
principal, tres syncope,
aux inflexions de blues.
La section du milieu
comprend une melodie
lyrique qui change de
tonalite frequemment,
avant que le retour du
theme principal nousmene
a une presentation
triomphale de la melodie
de choral entendue plus
tot.
Questa
ouverture energica si
apre con una introduzione
dal movimento ampio
caratterizzata da accordi
in stile bluegrass prima
di un corale lento e
legato affi dato ai
clarinetti e ai flauti,
di breve durata, e presto
sostituito da una nuova
atmosfera, scandita da un
accompagnamento con note
ribattute. Questo conduce
a un tema principale,
molto sincopato, con
inflessioni blues. Una
sezione centrale dalla
melodia cantabile che
cambia spesso tonalita
anticipa la ricomparsa
del tema principale, che
conduce a sua volta a una
trionfale riproposizione
della melodia corale. $30.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Oregon Ensemble de cuivres - Intermédiaire De Haske Publications
Brass Band - Grade 4 SKU: BT.DHP-0890139-030 Composed by Jacob De Haan. I...(+)
Brass Band - Grade 4
SKU:
BT.DHP-0890139-030
Composed by Jacob De
Haan. Inspiration Series.
Concert Piece. Set (Score
and Parts). Composed
1989. De Haske
Publications #DHP
0890139-030. Published by
De Haske Publications
(BT.DHP-0890139-030).
This fantasy
tells the story of
Oregon, one of Americas
north-western states.
Traveling by train on the
Northern Pacific
Railroad, the listener is
taken through the
fascinating Oregon
landscape. Indians,
cowboys, golddiggers and
hooded wagons willfile
past on this adventurous
journey. The piece has
some similarities with a
soundtrack of a movie.
Various melodies, which
could be the main themes
of a movie, pass the
review.The piece begins
in a slow movement,
introducing the first
theme inminor. Then we
hear in the following
fast movement the
trombones imitate the
train, whistling the
steam-flute. We hear the
characteristic minor
theme again, but now in
different variants(also
in major). The rythmic
structure of western
stile androck succeed
each other. This is
leading to the slow
movement, where the
signals of horns and
trumpets introduce a
wonderful vocal melody.
After this characteristic
melody, the fast movement
appears shortly again,
the trombones whistling
thesteam-flute again (now
in major). We hear also
some musical elements,
that plays a part in the
following Presto.
Barchanges, jazzy chords,
interesting rhytmic
patterns (with bongo) and
an original theme are the
characteristics of this
Presto. Afterthis, the
horns announce the last
section of the piece.
Interesting is the fact
that we hear in this
Allegro section a variant
of the vocal melody in
the slow movement. Also
the Presto theme returns
shortly, followed by the
Allargando, which is
agrand characteristic end
of a soundtrack. The
movie of our travelling
fantasy has come to an
end.
Deze fantasie
vertelt het verhaal van
Oregon, een van de
noordwestelijke staten
van Amerika. Een
treinreis over de
Northern Pacific Railroad
voert de luisteraar mee
door het boeiende
landschap van Oregon.
Tijdens deze
avontuurlijke reis
isdromen over een ver
verleden onvermijdelijk.
Indianen, cowboys,
goudzoekers en huifkarren
met paarden ervoor
passeren hierbij de
revue. Het werk heeft
overeenkomsten met de
soundtrack van een
film.
In
Oregon entführt
Sie Jacob de Haan auf
eine abenteuerliche
Zugfahrt durch die
faszinierende Landschaft
einer der nordwestlichen
Staaten Amerikas. Ein
langsames Thema in Moll,
gepaart mit Variationen
in Western- und
Rockrhythmen
undmelodiösen Passagen
sind nur einige der
Elemente, die diese Reise
so spannend und
abwechslungsreich
gestalten.
Cette
pièce est un voyage
musical travers
lâ??Oregon, Ã?tat du
nord-ouest des
Ã?tats-Unis. bord
dâ??un train de la
Northern Pacific
Railroad, lâ??auditeur
est invité
découvrir les paysages
somptueux de lâ??Oregon.
Au fil du trajet, sur la
route empruntéepar les
chariots des pionniers,
on rencontre des Indiens,
des cowboys et des
chercheurs dâ??or. Et la
musique prend la forme
dâ??une aventure digne
dâ??un western. $98.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Cantiga's Renaissance Festival Favorites Violon [Partition + Accès audio] Mel Bay
Violin - Beginning-Intermediate SKU: MB.99960M For All Instruments wit...(+)
Violin -
Beginning-Intermediate
SKU: MB.99960M
For All Instruments
with Guitar Chords.
Composed by Robert
Bielefeld. Wire bound,
Mandolin, Acoustic: Other
Non-String, Flute,
Acoustic: Other Strings,
Violin, Tunebooks, Folk.
Early Music /
Renaissance. Book and
online audio. 152 pages.
Mel Bay Publications, Inc
#99960M. Published by Mel
Bay Publications, Inc
(MB.99960M). ISBN
9780786689972. 8.75 x
11.75
inches. Players of
all kinds of instruments
including flute, fiddle,
mandolin, recorder,
whistle, guitar, harp and
more can use this
collection of music which
is popular at modern
renaissance festivals.
The music is presented
simply, with melody lines
and chord symbols,
allowing for a wide range
of interpretation. In
addition to many period
dance tunes, the book
contains a selection of
vocal numbers with lyrics
included. Each selection
is accompanied by text to
suggest ideas for
performance, place the
music in a modern
festival context and
provide useful
information to those
interested in studying
historical sources of
early music. Cantigas
arrangements of some of
the tunes in this book
can be heard on the
companion recording. They
are played at a listening
tempo by the ensemble:
Wooden flute or recorder,
fiddle, cello, harp and
percussion. Includes
access to online
audio. $29.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| A Bluegrass Overture Orchestre d'harmonie - Intermédiaire Anglo Music
Score and Parts Concert Band (Score & Parts) - Grade 5 SKU: HL.44012905 <...(+)
Score and Parts Concert
Band (Score & Parts) -
Grade 5 SKU:
HL.44012905 For
Concert Band.
Composed by Philip
Sparke. Anglo Music
Concert Band. Bluegrass,
Concert. Softcover.
Composed 2017. Anglo
Music Press #AMP447010.
Published by Anglo Music
Press (HL.44012905).
English-German-French-
Dutch. A Bluegrass
Overture was commissioned
by Gabriel Wooley and
funded by a grant from
Leslie and Cathy Anderson
for the Central Kentucky
Concert Band to celebrate
their 40th anniversary in
2016. This energetic
overture opens with an
introduction loosely
based on bluegrass chords
before a slower, legato
chorale appears in the
clarinets and flutes.
This is short-lived and
soon a new mood is
introduced, based on a
repeated-note
accompaniment. This leads
to the main theme,
heavily syncopated with
bluesy inflections. A
central section features
a cantabile melody, which
changes key frequently,
before the main theme
reappears, leading to a
triumphal presentation of
the earlier chorale
melody. $150.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| The Raider's Last Crusade - Facile Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Clarinet 3, Euph...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Clarinet
1, Clarinet 2, Clarinet
3, Euphonium, Euphonium
T.C., Flute, Horn, Jingle
Bells, Mallet Percussion,
Marimba, Oboe, Percussion
1, Percussion 2,
Percussion 3, Snare Drum,
Suspended Cymbal,
Tambourine and more. -
Grade 2.5 SKU:
CF.YPS251 Composed by
Ed Kiefer. Yps. Set of
Score and Parts.
16+4+8+8+8+4+4+10+4+4+8+8
+8+8+6+6+6+4+6+2+2+4+4+1+
24 pages. Duration 3
minutes, 10 seconds. Carl
Fischer Music #YPS251.
Published by Carl Fischer
Music (CF.YPS251).
ISBN 9781491161340.
UPC:
680160919932. Commi
ssioned by the Midway
High School Band, NC
Joshua Tew and Jesse
Shelton, Directors
Commission funded by the
Simple Gifts Grant Fund
(Clinton, NC) In memory
of Deborah Tew, mother of
Joshua Tew This
composition is a great
concert opener or
festival selection for a
young band. Beginning
with a joyful motive and
lots of featured
percussion, it uses
sudden dynamic changes
and a dark middle section
to create plenty of
contrast and excitement.
The ending begins very
softly, building to a
tension filled climax
that eventually returns
to the joyful motive from
the beginning of the
piece. Lots of fun for
the musicians and the
audience! Be sure to keep
the tempo moving
throughout--don't let it
slow down or it will lose
energy, especially in the
soft sections. Keep
articulations crisp and
let the horns wail
(doubles in altos). Make
sure your percussionists
observe the marked
dynamics and do not cover
the winds. Otherwise,
this piece is very
accessible, with
reasonable ranges and
rhythmic challenges. It
may take a minute or two
to balance the dark
chords in the middle
section, but it will be
well worth it for the
contrast. Have
fun!. Commissioned by
the Midway High School
Band, NCJoshua Tew and
Jesse Shelton,
DirectorsCommission
funded by the Simple
Gifts Grant Fund
(Clinton, NC)In memory of
Deborah Tew, mother of
Joshua TewThis
composition is a great
concert opener or
festival selection for a
young band. Beginning
with a joyful motive and
lots of featured
percussion, it uses
sudden dynamic changes
and a dark middle section
to create plenty of
contrast and excitement.
The ending begins very
softly, building to a
tension filled climax
that eventually returns
to the joyful motive from
the beginning of the
piece. Lots of fun for
the musicians and the
audience!Be sure to keep
the tempo moving
throughout--don’t
let it slow down or it
will lose energy,
especially in the soft
sections. Keep
articulations crisp and
let the horns wail
(doubles in altos). Make
sure your percussionists
observe the marked
dynamics and do not cover
the winds. Otherwise,
this piece is very
accessible, with
reasonable ranges and
rhythmic challenges. It
may take a minute or two
to balance the dark
chords in the middle
section, but it will be
well worth it for the
contrast. Have fun! $65.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| White Light Orchestre d'harmonie [Conducteur] - Facile Anglo Music
Concert Band - Grade 3 SKU: HL.44011005 Grade 3 - Score Only. Comp...(+)
Concert Band - Grade 3
SKU: HL.44011005
Grade 3 - Score
Only. Composed by
Philip Sparke. Anglo
Music Concert Band. Score
Only. Composed 2011. 22
pages. Anglo Music Press
#AMP317140. Published by
Anglo Music Press
(HL.44011005). UPC:
884088637651. 9x12
inches.
English-German-French-Dut
ch. White
Light was
commissioned by Fumiko
Teramoto, oboist with the
Musashino Grand Concert
Band in Tokyo, Japan. The
request was for a
moderately slow piece of
intermediate difficulty
that included the work
“white” (Ms.
Teramoto's lucky color)
in the title. The
composer used this
suggestion to write a
piece that was both
bright and light in terms
of harmony, color and
orchestration, with much
use of simple major and
minor chords and an
emphasis on the pure,
transparent timbres of
the upper woodwinds of
the band; he was also
keen to capture the
essence and history of
the oboe as a solo
instrument. The piece is
pastoral in character and
often almost baroque in
style. It opens with a
chorale-like passage on
flutes and clarinets; the
soloist enters with a
recitative over trilling
clarinets. The main theme
is then introduced,
accompanied by the
woodwinds. After a short
bridge passage, a change
of key heralds a second
theme by the soloist,
with gentle brass
punctuations. This builds
to a climax, ending on a
high trill from the
soloist. After short
passage over a timpani
roll, the band recalls
the main theme, taken up
once again by the
soloist. This leads to a
short cadenza before the
closing bars bring the
work peacefully to a
close. $29.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| White Light Orchestre d'harmonie - Facile Anglo Music
Grade 3 - Score and Parts. Composed by Philip Sparke (1951-). Anglo Music...(+)
Grade 3 - Score and
Parts. Composed by
Philip Sparke (1951-).
Anglo Music Concert Band.
Anglo Music Press
#AMP317010. Published by
Anglo Music Press
(HL.44011004).
$117.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| To Create a Voice Orchestre d'harmonie - Facile Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Clarinet 3, Euph...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Clarinet
1, Clarinet 2, Clarinet
3, Euphonium, Euphonium
T.C., Flute 1, Flute 2,
Horn 1, Horn 2, Mallet
Percussion 1, Mallet
Percussion 2, Marimba,
Oboe, Percussion 1,
Percussion 2, Shaker,
Snare Drum and more. -
Grade 3 SKU:
CF.CPS226 Composed by
Carol Brittin Chambers.
Concert Band (CPS). Set
of Score and Parts. With
Standard notation.
16+4+8+16+16+4+4+4+4+4+4+
8+8+8+4+4+6+6+6+8+2+2+2+6
+12+24+4 pages. Duration
3 minutes, 55 seconds.
Carl Fischer Music
#CPS226. Published by
Carl Fischer Music
(CF.CPS226). ISBN
9781491152522. UPC:
680160910021. Inspi
red by the memory of an
influential music
educator, Carol Brittin
Chambers has woven a
multitude of grooves,
colors, and uplifting
themes into To Create a
Voice. Chambers has
attempted to convey
distinct moods and
emotions that this
educator tried to instill
in his students. In honor
of this dynamic teacher,
you will hear Hot
Cross Buns cleverly
placed throughout the
composition. To Create
a Voice was commissioned
by the Valley Concert
Band in Stockton,
California. The piece
premiered in October
2017, in memory and
celebration of Chris
Anderson, a local
musician and
educator.When writing
this piece, I tried to
convey certain moods and
emotions throughout:
soulful at the beginning
with calm woodwind chords
and solo trombone;
increased energy
throughout the various
sections of the piece;
exploration of different
grooves and colors; an
uplifting, emotional
ending that leaves the
listener with a sense of
how positive and loving
Chris was.This piece is
largely inspired by a
specific quote from
Chris:Most people would
consider the sounds
students first make on
their instruments to be
cringe-worthy, but to me
that’s music to my
ears, because
that’s the first
time students put a voice
to their instrument. Over
time those voices become
stronger; they become
clear, more confident,
and get to a point where
they use those voices to
communicate with each
other, and to their
audiences.To relate to
the first notes on the
instrument idea, I used
motifs based on the first
notes most beginners ever
play, do-re-mi, which are
introduced at the
beginning of the piece
with the trombone solo,
Chris’ instrument.
During the section at m.
15, the brass introduce a
chorale that I named
Chris’ Theme while
the woodwinds keep
reminding us of do-re-mi.
Later in the piece (mm.
71 and 79), I use these
notes again, but in
reverse, which becomes a
reference to the first
song most beginners
learn, Hot Cross Buns.
This section is also
meant to portray
Chris’ quirky and
joking side. In mm. 75
and 83, Chris’
Theme presents itself
again a couple of times
in response to Hot Cross
Buns.Toward the end, at
the uplifting moment (m.
97), do-re-mi is heard
again, but this time in
harmony with mi-fa-sol.
This represents the
ultimate satisfaction we
all feel as musicians
when we have finally
progressed enough to play
in harmony with others.
The half-time feeling in
3 at that moment also has
significance, relating
(rhythmically) to those
important three notes
again.I really hope you
enjoy performing and
listening to this piece
as much as I have enjoyed
creating it! $95.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| To Create a Voice Orchestre d'harmonie [Conducteur] - Facile Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Clarinet 3, Euph...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Clarinet
1, Clarinet 2, Clarinet
3, Euphonium, Euphonium
T.C., Flute 1, Flute 2,
Horn 1, Horn 2, Mallet
Percussion 1, Mallet
Percussion 2, Marimba,
Oboe, Percussion 1,
Percussion 2, Shaker,
Snare Drum and more. -
Grade 3 SKU:
CF.CPS226F Composed
by Carol Brittin
Chambers. Concert Band
(CPS). Full score. With
Standard notation. 24
pages. Carl Fischer Music
#CPS226F. Published by
Carl Fischer Music
(CF.CPS226F). ISBN
9781491153208. UPC:
680160910700. Inspi
red by the memory of an
influential music
educator, Carol Brittin
Chambers has woven a
multitude of grooves,
colors, and uplifting
themes into To Create a
Voice. Chambers has
attempted to convey
distinct moods and
emotions that this
educator tried to instill
in his students. In honor
of this dynamic teacher,
you will hear Hot
Cross Buns cleverly
placed throughout the
composition. To Create
a Voice was commissioned
by the Valley Concert
Band in Stockton,
California. The piece
premiered in October
2017, in memory and
celebration of Chris
Anderson, a local
musician and
educator.When writing
this piece, I tried to
convey certain moods and
emotions throughout:
soulful at the beginning
with calm woodwind chords
and solo trombone;
increased energy
throughout the various
sections of the piece;
exploration of different
grooves and colors; an
uplifting, emotional
ending that leaves the
listener with a sense of
how positive and loving
Chris was.This piece is
largely inspired by a
specific quote from
Chris:Most people would
consider the sounds
students first make on
their instruments to be
cringe-worthy, but to me
that’s music to my
ears, because
that’s the first
time students put a voice
to their instrument. Over
time those voices become
stronger; they become
clear, more confident,
and get to a point where
they use those voices to
communicate with each
other, and to their
audiences.To relate to
the first notes on the
instrument idea, I used
motifs based on the first
notes most beginners ever
play, do-re-mi, which are
introduced at the
beginning of the piece
with the trombone solo,
Chris’ instrument.
During the section at m.
15, the brass introduce a
chorale that I named
Chris’ Theme while
the woodwinds keep
reminding us of do-re-mi.
Later in the piece (mm.
71 and 79), I use these
notes again, but in
reverse, which becomes a
reference to the first
song most beginners
learn, Hot Cross Buns.
This section is also
meant to portray
Chris’ quirky and
joking side. In mm. 75
and 83, Chris’
Theme presents itself
again a couple of times
in response to Hot Cross
Buns.Toward the end, at
the uplifting moment (m.
97), do-re-mi is heard
again, but this time in
harmony with mi-fa-sol.
This represents the
ultimate satisfaction we
all feel as musicians
when we have finally
progressed enough to play
in harmony with others.
The half-time feeling in
3 at that moment also has
significance, relating
(rhythmically) to those
important three notes
again.I really hope you
enjoy performing and
listening to this piece
as much as I have enjoyed
creating it! $14.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
1 ... 151 Page suivante 181 211 |